Speaker 1: Look out. It's only films to be buried with. Hello,
Speaker 1: and welcome to films to be buried with. My name
Speaker 1: is Brett Goldstein. I'm a comedian, an actor, a writer,
Speaker 1: a director, a roady, and I love films. As John
Speaker 1: Lennon once said, count your age by your friends, not years.
Speaker 1: Count your life by smiles not tears. Count your rocky
Speaker 1: movies by learning Roman numerals. Every week I'm invite a
Speaker 1: special guest over. I tell them they've died. Then I
Speaker 1: get them to discuss their life through the films that
Speaker 1: men the most of them. Previous guests include Barry Jenkins
Speaker 1: and but Ruffin, Mark Frost, Sharon Stone, and even Dead Bambles.
Speaker 1: But this week it is the excellent writer, producer and
Speaker 1: director James Wine. Head over to the patron at patreon
Speaker 1: dot com forward slash Brett Goldstein, where you get an
Speaker 1: extra twenty minutes of chat with James. He tells a secret.
Speaker 1: We talk about the makings of some of these films.
Speaker 1: We talk beginnings and endings. You also get the whole
Speaker 1: episode uncut and add free and as a video. Check
Speaker 1: it out over at patreon dot com Forward slash Brett
Speaker 1: Goldsteam James one is an amazing director, a producer. You
Speaker 1: know him as part of the team who created Saw.
Speaker 1: He went on to make the Conjuring films, the the
Speaker 1: Insidious movies, the two Aquaman films, Malignant, Furious seven, you
Speaker 1: name it, he's done it. We recorded this on Zoom
Speaker 1: last week. He was brilliant and I really think you're
Speaker 1: going to love this chat. So that is it for now.
Speaker 1: I very much hope you enjoy episode three hundred and
Speaker 1: eleven of Films to be Buried With. Hello, and welcome
Speaker 1: to Films to be Buried With. It is I Brett Goldstein,
Speaker 1: and I am joined today by a writer, a producer,
Speaker 1: a creator, a director, a horror fanatic and action hero,
Speaker 1: a legend, an incredible visionary, an insidious, a conjurer, a
Speaker 1: furious man, a aquaman, a lost city, a tea cuppa.
Speaker 1: He's malignant, he's lovable, and he's here. He's right in
Speaker 1: front of me. Please, welcome to the show. It's the
Speaker 1: brilliant James Rue.
Speaker 2: I'm like, whre's this guy?
Speaker 1: Where is he?
Speaker 2: I gotta turn around and check him out. Sounds pretty incredible.
Speaker 1: He's right here.
Speaker 2: Thank you.
Speaker 1: It is very nice to meet you. James. This is
Speaker 1: the first time we've met. I am a huge fan
Speaker 1: of your work. Congratulations on everything you have achieved thus far.
Speaker 2: Thank you, Thank you for having me. This is very
Speaker 2: exciting you made.
Speaker 1: If I may say, I like an awful lot of
Speaker 1: what you've done. But when people ask me like favorite
Speaker 1: horror movies, I often cite the Conjuring Part two because
Speaker 1: I think Conjuring Part two is a masterpiece of there
Speaker 1: are different types of horror films. By a horror film
Speaker 1: that's like a ghost train ride that is fucking flawless
Speaker 1: and perfect, I go Conjuring two. I love it so much.
Speaker 2: Oh, thank you.
Speaker 3: It's funny when people ask me, you know, which of
Speaker 3: my work do I like the most. I mean, obviously
Speaker 3: I generally say, oh, you know, Conjuring one, just because
Speaker 3: of what Conjuring one did, But I actually think more
Speaker 3: my most complete work that I've done from my perspective,
Speaker 3: is Conjuring two. So Conjuring two in that respect is
Speaker 3: probably my favorite as well.
Speaker 1: And the idea there's so many. It's like two hours
Speaker 1: quarter and it's like every five minutes, five ten minutes,
Speaker 1: you have an idea. It's just filled with such great ideas,
Speaker 1: and I to this day think one of the greatest
Speaker 1: ideas is how you shot the little girl becoming the
Speaker 1: old man and we just stay far in back. She's
Speaker 1: out to focus, and when she's out to focus, she
Speaker 1: speaks like that old man. It's such a clever, fucking
Speaker 1: creepy it's so brilliant, such a good idea. Anyway, well done,
Speaker 1: well Dak.
Speaker 2: Thank you, thank you. Yeah.
Speaker 3: I mean that little scene was just me wanting ask
Speaker 3: the audience to be with Patrick, right with Patrick Wilson's character,
Speaker 3: ed Warren's perspective, and just kind of see how it
Speaker 3: plays out, because you know, he turned his head to
Speaker 3: talk to a little girl and uh, and then we
Speaker 3: can't see what he's seeing and we can only feel
Speaker 3: what he's seeing. And so that's why I wanted to
Speaker 3: play out of focus.
Speaker 1: It's brilliant. It's so brilliant. And you started, I mean,
Speaker 1: you've you've you've built an empire off Saw. You started
Speaker 1: with Saul, right, is it you forgive me if I've
Speaker 1: got it? If it's you or Lee, or is it
Speaker 1: you who were not well and had an experience that
Speaker 1: inspired Saw.
Speaker 3: I think that story is Lee's story, So I don't
Speaker 3: know if it's a story that he made up.
Speaker 1: I always it's a great story.
Speaker 3: You cannot trust these writers. They like to make things up.
Speaker 3: Sometimes they're belly sorious. No, I actually think I know
Speaker 3: Lee did pull something from his own personal experience. He
Speaker 3: was kind of going through a bit of a physical
Speaker 3: difficulty at the time when we were writing Saw and
Speaker 3: and Yeah, and it found a lot of that into
Speaker 3: Jigsaw's philosophy in the first script. So so yeah, we
Speaker 3: tried to kind of bring a lot of our own
Speaker 3: personal things into the films we make, even though our
Speaker 3: movies on the surface look like, you know, just traditional
Speaker 3: popcorn movie. But but you know, you've got to make
Speaker 3: it personal in some ways otherwise the film I just
Speaker 3: I think they don't work if you don't, you know,
Speaker 3: bring something personal to it.
Speaker 1: Completely agree, and they And that's the thing with your
Speaker 1: with your conjuring films. Conjuring films are really emotional as well.
Speaker 1: They're quite they're very moving, and they're fucking scaring their
Speaker 1: great rights, but you really love them as a couple
Speaker 1: and you care about their well being and the you're
Speaker 1: very good at all that. Can I ask you what
Speaker 1: when I'm looking at your CV. It's so fascinating to me,
Speaker 1: and I'm wondering why you choose. What is it that
Speaker 1: makes you go, Okay, I'm going to do Furious seven
Speaker 1: or Aquaman or like. Like, clearly you love horror, that
Speaker 1: was your thing, But to branch out into these other areas,
Speaker 1: what's the thing that motivates me go, that's the thing
Speaker 1: I'm excited about. I want to do that. Yeah.
Speaker 3: You know. One of the things I generally like to
Speaker 3: kind of point out is, you know, I'm a huge
Speaker 3: horror fans obviously, but at the end of the day,
Speaker 3: I'm actually, you know, I'm just a film fan. I
Speaker 3: love movies of all kinds. I definitely gravitate towards horror.
Speaker 3: It's a genre that I love growing up, but I
Speaker 3: enjoy all kinds of movies, and I really I guess,
Speaker 3: you know, I'm kind of charting my career and trying
Speaker 3: to be kind of a little bit methodical with the
Speaker 3: movies I pick. You know, I wanted to make sure
Speaker 3: that people see me as a filmmaker and not just
Speaker 3: a horror filmmaker, and so that was important for me.
Speaker 3: Just the opportunity to sort of branch out do other
Speaker 3: kind of things. I mean, I love fantasy movies, I
Speaker 3: love sci fi, I love actions. So I definitely wanted
Speaker 3: to kind of broaden my filmmaking horizon and you know
Speaker 3: and sort of like exercise my director muscles in other
Speaker 3: genres and uh and so it was important for me
Speaker 3: to not be fully type cast.
Speaker 1: Yeah, yeah, and done. How was it, if you can
Speaker 1: talk about it? I don't know. My question is sort of,
Speaker 1: how is it when you moved into massive you know,
Speaker 1: Furious Severs, fucking massive Aquaman and massive films, right, big egos.
Speaker 1: I'm sure big studios you're having to navigate and politics?
Speaker 1: How was all that? And did you was that the
Speaker 1: thing you'd learned to navigate or was it always? Was
Speaker 1: it much trickier? Was it the same but bigger?
Speaker 3: Yeah? Listen, you know, like by the time it got
Speaker 3: to the big film, so you know, I wasn't a
Speaker 3: first time director or a second time director, so I
Speaker 3: kind of, you know, knew, you know, it was somewhat
Speaker 3: familiar quite well already with the mechanition of making movies
Speaker 3: in Hollywood, So I kind of, you know, I know,
Speaker 3: all the politics and all the bullshit and crap that
Speaker 3: goes along in Hollywood, And I always said that the
Speaker 3: creative part of filmmaking is always a small portion compared
Speaker 3: to all the other rubbish that you have to navigate through,
Speaker 3: you know. So definitely, you know, jumping onto a big,
Speaker 3: big film with furious Server and a film that is
Speaker 3: always already so established, right, so you're coming into someone's
Speaker 3: playground that other people have made very successful, and you know,
Speaker 3: and I kind of saw my job as someone you know,
Speaker 3: who is coming in here, try to bring my own
Speaker 3: tape to it, but at the same time knowing that
Speaker 3: I have to play within this sandbox that everyone has created.
Speaker 3: So I was respectful of that, and I kind of
Speaker 3: went in there with that mindset, knowing that, you know,
Speaker 3: if the movie works, you know, it's going to be
Speaker 3: good for me in the long term.
Speaker 2: So so I'm gonna come in and play.
Speaker 3: And on top of that, I'm actually a fan of
Speaker 3: the franchise, right, so it wasn't hard for me to
Speaker 3: kind of want to play with the characters and go
Speaker 3: in there and come up with some of these big,
Speaker 3: crazy action set pieces.
Speaker 2: So so that was fun.
Speaker 3: I try to look at it from a fun perspective,
Speaker 3: but boy, making the movie was definitely very, very difficult.
Speaker 3: It was a crash course into you know, into that
Speaker 3: big budget roller filmmaking.
Speaker 1: I read it, I read it interview you where you
Speaker 1: said you said something like, it's always fucking hard every
Speaker 1: single film, and if you're not completely broken by the
Speaker 1: end of it, you weren't doing it right. Yeah.
Speaker 3: Yeah, you're definitely you know, like usually finish a shoot,
Speaker 3: you know, falling really ill, and if you don't sort
Speaker 3: of get get sick by the end, then you're not
Speaker 3: quite doing it right.
Speaker 2: No.
Speaker 3: The other thing I will add to that is just
Speaker 3: the fact that I always say this as well.
Speaker 2: Making movies at the end of the day, regardless of
Speaker 2: the genre or the size of the film, the actual
Speaker 2: process is basically the same. You know, like you're there
Speaker 2: to tell the best story you can tell, you know,
Speaker 2: create the best kind of action set pieces. So set
Speaker 2: pieces you can whether it's in the action genre or
Speaker 2: it's creating a scary set piece. You know, they all
Speaker 2: have g on rhythm and sort of like methodical process
Speaker 2: to them, and it's kind of knowing how to kind
Speaker 2: of like play with that. Obviously, a big budget movie
Speaker 2: means that you know, you have much bigger toys to
Speaker 2: play with but the you have a lot more cooks
Speaker 2: in the kitchen, and you have a lot more people
Speaker 2: you have to try and please and navi get that around.
Speaker 2: So a lot of you know, a lot of the
Speaker 2: job that comes down to going, Okay, how can I
Speaker 2: make these people feel good?
Speaker 3: But at the same time make the fucking movie that
Speaker 3: I want. Because I would say Fury seven is the
Speaker 3: only movie I've ever done as a director for High.
Speaker 2: I'm not a director for High.
Speaker 3: I don't think I don't think I can ever go
Speaker 3: back to being a director for High. It was the
Speaker 3: first film that I knew I had to do just
Speaker 3: so that I can take that, you know, big step
Speaker 3: into the big league.
Speaker 2: And so I was willing to, you know, kind of
Speaker 2: find that compromise.
Speaker 1: God, that's fascinating. Can you tell me maybe again if
Speaker 1: you don't know this fight Furious seven giving you a
Speaker 1: director to High? What percentage of the finished product are
Speaker 1: you like, that's the film I wanted to make versus
Speaker 1: the film they wanted to make. You know what I mean? Like,
Speaker 1: are you like eighty percent that's the that's my movie?
Speaker 1: Or will you don't go.
Speaker 2: There's never eighty percent?
Speaker 3: And on the best of days, I would say maybe
Speaker 3: with you or seven about maybe forty five to fifty,
Speaker 3: which is pretty done, pretty good generally speaking. Yeah, especially
Speaker 3: for me, you know, with like the vision that I
Speaker 3: had for it. I remember hearing Peter Jackson saying, even
Speaker 3: on the lot of the rings, you know, what he
Speaker 3: wanted percentage wise, was so small compared to what you
Speaker 3: would think it would be. He's like, you know, I
Speaker 3: only achieved like fifty percent of what he wanted. So yeah,
Speaker 3: you know, it's not a shocking thing to hear that
Speaker 3: from directors.
Speaker 1: Yeah, amazing, And so tell me if you can. What's
Speaker 1: this teacup? What's teacup? You've got coming up?
Speaker 3: Teacup is a new series that we're producing, an Atomic
Speaker 3: Monster with Peacock, based on Robert Kayman's book called Stinger.
Speaker 3: And it's written and you know, show run by Ian
Speaker 3: mckilloch for Peacock, and uh, you.
Speaker 2: Know, it's cool.
Speaker 3: It's a sort of a big world invasion story. It's
Speaker 3: an alien kind of type horror story. But but the
Speaker 3: way Ian has approached it is, you know, he calls
Speaker 3: it an epic keyhole storytelling, which is, you know, you're
Speaker 3: telling a big story, but you're really only focusing on
Speaker 3: a very small group of people on a farm and
Speaker 3: within their world. You're you're sort off, You're telling a
Speaker 3: small slice of a big, bigger story, not unlike what
Speaker 3: Shamalan did with Signs.
Speaker 1: Yeah great, I love.
Speaker 2: Yeah, it's kind of in that spirit.
Speaker 1: Yeah. Cool.
Speaker 3: So it's a very grounded sci fi series that we've
Speaker 3: got coming out that I'm excited for.
Speaker 1: That's cool. And you're doing Sylum's Lot, Salem's Lot, Salem
Speaker 1: is that always it? Salem's Lot?
Speaker 2: Yes, Yeah, We've got Salem's Lot coming out soon.
Speaker 3: I know a lot of people have been waiting for that,
Speaker 3: and uh, it's coming out on Maxim hopefully hopefully somewhere
Speaker 3: around Halloween or leading up to Halloween.
Speaker 2: Which would be extremely appropriate.
Speaker 3: And I think people, I think people would be pleasantly
Speaker 3: surprised because I think Gary Doberman did a really great
Speaker 3: job adapting this novel from Stephen King.
Speaker 1: James. I'd forgotten to tell you something. Fuck fuck, I
Speaker 1: should have told you at the beginning. It's mad that
Speaker 1: I didn't tell you that.
Speaker 3: Fuck.
Speaker 1: I'll just say wow, fuck it, I'll just say tell
Speaker 1: me now, I say it. You've died, You're dead, You've died,
Speaker 1: You're dead.
Speaker 3: Okay, it sounds like one of my movies. Okay, god
Speaker 3: wait wait am I? Am I supposed to do this
Speaker 3: as a ghost?
Speaker 2: Is that?
Speaker 1: Yeah, you're a ghost. Now you're a guyst Ah, Okay,
Speaker 1: you're already doing it. You're already a guys. That's the trick.
Speaker 2: So am I speaking about all this stuff in the
Speaker 2: past tense?
Speaker 1: Oh yeah? Okay, Well you personally, you have to tell
Speaker 1: me how you died. You get to choose how you died.
Speaker 1: Oh my god, and I figure of all the people
Speaker 1: on this podcast, you've thought about this?
Speaker 3: You know, I have not thought about this. Despite what
Speaker 3: people think.
Speaker 2: Of me, and because the kind of films I make,
Speaker 2: I'm actually not a very morbid person. In reality.
Speaker 3: I love scary movies, I love scary stories and collections,
Speaker 3: but I don't necessarily.
Speaker 2: Have the first Can I ask you? How many people
Speaker 2: have said that they would love to die very old
Speaker 2: in their sleep?
Speaker 1: A lot of people. But I always have to ask, well,
Speaker 1: what is it that killed them? Because I don't buy
Speaker 1: that you just die in your sleep. Something happened.
Speaker 3: Okay, I will add to that, I would like to
Speaker 3: die in my sleep, very very old, hopefully old and
Speaker 3: happy and content and uh and maybe at the very
Speaker 3: last moment, Freddy Krueger shows up, Freddy Freddy shows up,
Speaker 3: and then he'd be like, you know, maybe it's not
Speaker 3: as horrific as victims. Yeah, exactly. Yeah, this is the
Speaker 3: nicer Freddy versions. This is the Freddie ways. It's and
Speaker 3: play video games with me or we just smoke pot.
Speaker 1: All right, I like this. That's a great death. So
Speaker 1: do you so, do you worry about death? You don't?
Speaker 3: Sorry, that sounds more like John Carpenter than Freddy Krueger.
Speaker 3: Sorry do I am I few foo of death?
Speaker 1: Do you worry about death?
Speaker 2: I mean, I guess I worry as much as the
Speaker 2: next person.
Speaker 3: You know, when you're younger, you don't give a shit
Speaker 3: about that, right you think when you're much younger, you
Speaker 3: think you're immortal, that you you live forever, or that
Speaker 3: you know that death is still decades and decades away. Obviously,
Speaker 3: as you get older, it becomes more, you know, it
Speaker 3: comes to the forefront a lot more. I guess I
Speaker 3: do think about it a bit more, in the sense
Speaker 3: that you know, I try to take better care of
Speaker 3: myself and I used to, you know, I try to
Speaker 3: eat better. I try to you know, see my doctors
Speaker 3: on a more on a more regular basis. I try
Speaker 3: to exercise more, so you know, you become more aware, right,
Speaker 3: I do the thing that I didn't do as much
Speaker 3: when I was in my thirties, and when I was
Speaker 3: in my thirties, I didn't do as much as what I.
Speaker 2: Didn't do in my in my twenties. So I don't know.
Speaker 2: I think I think, you know, it is something, whether
Speaker 2: you like it or not.
Speaker 3: Mortality is legit and it's always looming around the corner.
Speaker 1: Do you think anything happens after you day? Do you
Speaker 1: think there's enough to life?
Speaker 2: You know, growing up in an Asian sort of culture,
Speaker 2: you know where we are somewhat quite superstitious. And also,
Speaker 2: you know, this is very interesting just religion wise. My
Speaker 2: father's side of the family a very Christian, but my
Speaker 2: mom's side of the family Buddhist. So like I kind
Speaker 2: of grew up with sort of two sets of thinking,
Speaker 2: and I kind of see the best of both worlds. Yeah,
Speaker 2: and and so you know, I'm somewhere kind of in
Speaker 2: the middle. I'm NotI the you know there in terms
Speaker 2: of how I.
Speaker 3: Feel about religion, necessarily, but I do think that there's
Speaker 3: something after life, I you know, just like I believe
Speaker 3: that their other life form outside of this planet. Right,
Speaker 3: we live in such a big galaxy slash universe that
Speaker 3: we cannot be the only thing. And so if you
Speaker 3: look at it from that perspective, I like to think
Speaker 3: that there's something that works on a you know, on
Speaker 3: a very metaphysical or supernatural plane that we don't understand today,
Speaker 3: but you know, hopefully when we move on, we'll get
Speaker 3: to visit those places.
Speaker 1: Have you ever seen a guyst Have you ever had
Speaker 1: a guist experience?
Speaker 2: No?
Speaker 3: No. And the reason why that that took me a
Speaker 3: while to say is, you know, I feel like I've
Speaker 3: had like one or two kind of small experiences, but
Speaker 3: never anything big enough for me to go that was
Speaker 3: a ghost, right?
Speaker 1: Can you tell me one of the move ones, you know, Like,
Speaker 1: you know, like I.
Speaker 3: Remember one time staying at a hotel and it's a
Speaker 3: very old hotel, and I remember just kind.
Speaker 2: Of like opening my eyes and in the middle of
Speaker 2: the room, I think I see an apparition, but I
Speaker 2: can't quite tell, you know, like it's blurry. I just
Speaker 2: walking up and uh, and I think it's that the
Speaker 2: lights are shadow so I turn the light on and
Speaker 2: there's nothing there. And you know that's about the extent
Speaker 2: of anything, so natural life experience.
Speaker 1: I take it. Well, listen, there's a heaven. Both your
Speaker 1: mother and your father are right. There's a heaven, and
Speaker 1: you're going to be reincarnated. But in the meantime, you
Speaker 1: come to heaven and they're very excited to see you,
Speaker 1: and it's Heaven's filled with your favorite thing. What's your
Speaker 1: favorite thing?
Speaker 3: Oh, my goodness, I have a lot of favorite earthly
Speaker 3: things I love. I enjoy books, comic books, I enjoy collectibles, toys,
Speaker 3: video games. I want to make sure these things are
Speaker 3: still up there for me to play with.
Speaker 1: Okay, So heaven it is like a comic books. It's
Speaker 1: like a fucking incredible comic.
Speaker 2: Book and that's gone by Kevin Smith.
Speaker 1: Yeah, and it's got books and DVD. It's fucking to
Speaker 1: be fair, it's fucking great, and it's got toys and
Speaker 1: it's got comic books. You're going to love it. And
Speaker 1: everyone wants to talk to you big fans, but they
Speaker 1: want to ask you about your life through film. And
Speaker 1: the first thing they ask you is, what is the
Speaker 1: first film you remember seeing, James Ryne.
Speaker 2: The first film I remember seeing would have to be
Speaker 2: Snow White and the Seven Dwarves. I saw that film
Speaker 2: when I was seven in theaters. I think it was
Speaker 2: a rerun really, because.
Speaker 1: No one came out a long time, because you're.
Speaker 2: H h exactly.
Speaker 3: I'm not.
Speaker 2: I'm not like eighty or ninety years old. Yeah, but
Speaker 2: that is the first movie I remember seeing in the theaters,
Speaker 2: and I remember how magical I thought it was.
Speaker 1: Yeah, were you with family? Who do you remember you
Speaker 1: were with?
Speaker 2: I was, yeah, with your mom and dad and my siblings.
Speaker 1: And did you find it scary because it's quite scary, right.
Speaker 2: Yeah, you know when she became the Witch, that was
Speaker 2: pretty scary, you know, and the fact that she kind
Speaker 2: of got as well dark. It's pretty dark.
Speaker 3: All the Disney stuff are dark, as we know, but
Speaker 3: you know, but they're all based on all fairy tales, right,
Speaker 3: and fairy tales tend to be pretty pretty dark.
Speaker 1: Yeah. What's the what's the film that made you cry
Speaker 1: the most? And are you a cryer? Do you cray ezily?
Speaker 3: I try not to show it.
Speaker 2: Yes, I get emotional in films.
Speaker 3: I think that that's a wild off movies because I
Speaker 3: believe in the power of you know, pulling at your
Speaker 3: heart strings and uh and manipulating you to feel a
Speaker 3: certain way. And that's what the medium of movies do.
Speaker 3: Cinema do so well.
Speaker 2: And I am a sucker for that. Jezus.
Speaker 3: A lot of movies have made me cry, but not
Speaker 3: that I would admit to it. But if I have
Speaker 3: to pick one, I want to pick something that is
Speaker 3: I'm gonna pick something that's not typical, not like your
Speaker 3: Titanic or whatever.
Speaker 2: Right, I'm sure a lot of people have said I
Speaker 2: would say maybe.
Speaker 3: And this is actually also one of my favorite films
Speaker 3: is The Boy who Could Fly from the eighties. Ah,
Speaker 3: do you know if you remember that The Boy was
Speaker 3: like yeah, directed by Nick Castle.
Speaker 2: It's a great movie. It's about this great movie.
Speaker 3: Yeah.
Speaker 2: No one talks about this film ever. This girl moves
Speaker 2: into the house with a family and the next door boy,
Speaker 2: you know it is this troubled boy. His parents died
Speaker 2: when he was young and I think a plane crash
Speaker 2: and ever since then he believes.
Speaker 3: That he can fly. And this girl becomes friends with him,
Speaker 3: and it's but the sort of like the love story together.
Speaker 3: It's such a beautiful movie. I definitely want to bring
Speaker 3: this from you. It's a great film. Yes, I want
Speaker 3: to bring this to people's radar more. And it had
Speaker 3: a very sad ending. So yeah, the ending was very sad.
Speaker 1: And I cried on that is it an American film?
Speaker 1: Or is it it is? It's American? Yeah, oh, man,
Speaker 1: I love that film. You're so I forgot about it.
Speaker 1: It's the sort of me and my sister would rent
Speaker 1: that quite a lot. I love that film. Oh really, yeah,
Speaker 1: good shout.
Speaker 3: Fred Green played the kid's uncle. Yes, yeah, he was
Speaker 3: Herman Munster.
Speaker 1: Yeah that's right, I have answer it. And Fred Savage
Speaker 1: is in't it? Is that right? Yeah?
Speaker 3: Fred Savage played the girls young young brother.
Speaker 2: Yeah, little brother.
Speaker 1: Yeah.
Speaker 2: Fred Savage was so young in.
Speaker 1: That great shot. Yes, I tell my sister that's very exciting.
Speaker 1: That's really giving me. Thank you. What about now? This
Speaker 1: is the big one for you. What's the film that
Speaker 1: scared you the most?
Speaker 3: Well, I'm definitely I would say I'm going to pinpoint
Speaker 3: to the film that had a huge impact on me
Speaker 3: growing up when I was a kid. I would say
Speaker 3: the movie that s gied me the most growing up
Speaker 3: as a kid was Portergeist.
Speaker 2: That was another movie I saw in theaters and I
Speaker 2: think I was eight years old when I saw that.
Speaker 3: I can't believe my parents put me to the theaters
Speaker 3: to see Porter Guys.
Speaker 1: Well it was a PG, right, it was a PG.
Speaker 2: Yeah it was but craiky. It was scary as hell.
Speaker 3: It was terrifying and seriously it made me terrified of
Speaker 3: clowned and dolls.
Speaker 2: And that's what up to today.
Speaker 3: When people ask me how come your movies have so
Speaker 3: many creepy dolls in them, I can say it's because
Speaker 3: of Porter Guys. I can literally point it, pinpoint it
Speaker 3: back to Porter Guys where my obsession slash fetish came from.
Speaker 3: That's a great yeah, Potter Guys, Toby, Trees and Spielberg.
Speaker 1: Yes there scared of trees as well.
Speaker 3: Yeah, the tree was scary, but it was the clown.
Speaker 3: It was the clown and uh and the the the
Speaker 3: psychic medium woman.
Speaker 2: Oh yeah, Rubinstein, Yeah, she was terrifying.
Speaker 1: What is the film that you love? But critically it's
Speaker 1: not acclaimed, most people don't really like it, but you
Speaker 1: love it unconditionally.
Speaker 2: You know, I can.
Speaker 3: Almost say that about every single movie that I love.
Speaker 3: Are not loved by critics. So like any movie I
Speaker 3: can just pull from the sky right now that I
Speaker 3: love panned by critics, and uh, you.
Speaker 2: Know, those are the films that I love.
Speaker 3: I don't necessarily like the movies that most critics love necessarily,
Speaker 3: I mean, unless it's the classic. But like right now,
Speaker 3: just the other night, this is the example, because I
Speaker 3: just watched this the other night. Is Wolfman the twenty
Speaker 3: ten remake of Wolfman, the one with Benicio del Toro.
Speaker 1: Yes, who made that?
Speaker 3: Joe Johnston directed it, The twenty ten Wolfman with Benicccio
Speaker 3: playing Wolfman.
Speaker 2: I love that film. I'm a big fan of the
Speaker 2: old school universal monsters.
Speaker 3: So like I love it anytime they you know, they
Speaker 3: reinvent trying to bring out a new one, right, And
Speaker 3: that's just among many.
Speaker 1: Did you have anything to do with the Invisible Men.
Speaker 2: Lee's Invisible Man?
Speaker 1: Yeah?
Speaker 2: I was, like, you know, Lee was making that when
Speaker 2: I was knee deep on Aquaman.
Speaker 1: Do you watch each other's stuff and give notes on that,
Speaker 1: you know?
Speaker 2: Yeah? Like sometimes what Lee and I like to do.
Speaker 3: I mean we're very busy now obviously kind of like
Speaker 3: in our own career with what we're doing, but but
Speaker 3: we love to just get together and just like we
Speaker 3: let to throw ideas at each other. And Lee had
Speaker 3: a little cameo Lee when now had a little cameo
Speaker 3: in Aquaman, the first Acoman for me.
Speaker 2: And you know, so he came down to.
Speaker 3: Australia, visited me on the Gold Coast and we were
Speaker 3: just hanging out and he was telling me, you know,
Speaker 3: his ideas for Invisible Man and like what he was
Speaker 3: gonna do, and we were just like, I was just
Speaker 3: having fun geeking with him like we used to in
Speaker 3: the old days. Uh.
Speaker 2: That's what Lee and I love to do whenever we
Speaker 2: can catch up.
Speaker 1: That's very sweet. So what is the film that you
Speaker 1: did love but you have watched it recently and for
Speaker 1: some reason you don't like it anymore, probably because you've changed.
Speaker 2: That's a very good question.
Speaker 3: I always don't want to say a name a movie
Speaker 3: just because I feel bad. But I don't know, maybe
Speaker 3: just one off the top of my head that I
Speaker 3: kind of I thought of when I was younger. I
Speaker 3: love American Ninja and that doesn't necessarily quite hold up today,
Speaker 3: but socially I still love American Ninja.
Speaker 1: Come on, Michael, still yeah into the concept. That's good.
Speaker 3: I love the concept, and you know, I cannot wait
Speaker 3: for someone to remake American Ninja.
Speaker 2: That'd be awesome, could be you, Yes.
Speaker 1: Tell me this. What is the film that means the
Speaker 1: most to you? Not necessarily the film itself is good,
Speaker 1: but the experience you had around seeing it will always
Speaker 1: make it special to you.
Speaker 2: James White, I would say Teenage Mutant Ninja Turtle two.
Speaker 2: The second one secret is the secret of the use,
Speaker 2: secret of these. Yeah. The reason why the film means
Speaker 2: a lot to me is because it's literally the last
Speaker 2: movie I saw with my father in a movie theater
Speaker 2: and before he passed, so that you know, has a
Speaker 2: lot of sort of holes, a lot of significance and
Speaker 2: you know, emotional significance for me.
Speaker 1: Yeah. Yeah. Oh man, Can I ask you a difficult question.
Speaker 1: Did you did you know it was going to be
Speaker 1: the last?
Speaker 3: Like?
Speaker 1: Was he ill? Was it?
Speaker 2: Like?
Speaker 1: Yeah, yeah, yeah.
Speaker 3: My father was kind of sick for a couple of
Speaker 3: years there, you know, getting gill from cancer and uh yeah,
Speaker 3: and that's you know, that was one of the few
Speaker 3: movies that we could actually go out and watch together.
Speaker 1: Did he enjoy it?
Speaker 2: I don't know. I was pretty young. I think I
Speaker 2: was about twelve, and I enjoyed it, you know, just
Speaker 2: like because he hasn't been to the movies. He doesn't
Speaker 2: go to the movies that often anymore, as on a dog,
Speaker 2: So I think, you know, I think it was fun
Speaker 2: just to experience that again for him.
Speaker 1: Yeah, that's lovely. What about relate to? What's the film
Speaker 1: you most relate to?
Speaker 2: You know, I don't know that one.
Speaker 3: I gotta be honest, I've never kind of sat down
Speaker 3: and can I go this movie is very much me,
Speaker 3: So I might have to skip that one.
Speaker 2: You don't know that one right off the top of
Speaker 2: my head.
Speaker 1: You're allowed to skip it. People often struggle with that one,
Speaker 1: which is interesting and I won't.
Speaker 2: Really what as people say, what's a what are some
Speaker 2: movies that people have pointed out.
Speaker 1: It's often films about like childhood, about growing up, like
Speaker 1: a coming of age story where people like I really
Speaker 1: relate to that.
Speaker 2: You know, I don't necessarily have one movie, but I
Speaker 2: would say definitely just the movies from the eighties and
Speaker 2: early nineties in general, eighties and nineties, just because that's
Speaker 2: pretty that's the era that I grew up in, you know,
Speaker 2: like the early nineties and stuff.
Speaker 3: And just a lot of the ambulance movies and the
Speaker 3: stuff that Steven Spielberg made. You know, that's pretty much
Speaker 3: my generation. You know, I grew up, you know, hang
Speaker 3: out with France. We ride our bicycles everywhere where, We
Speaker 3: stay out late till and our parents don't really you know,
Speaker 3: I don't worry that much as long as you come
Speaker 3: home in time for dinner. So you know, those movies
Speaker 3: are the ones that I think I relate to the most.
Speaker 1: Yeah, yeah, I get that. What is the sexiest film
Speaker 1: of all time?
Speaker 2: Oh golly, there's so many, so many sexy movies.
Speaker 1: Correct, Thank you, James. Yeah. I've had people on this
Speaker 1: podcast say I don't really get that question, and I'm like,
Speaker 1: what were we talking about?
Speaker 2: Oh my god, No, that's an easy question.
Speaker 3: That's an easy it's too easy that I have too
Speaker 3: many movies to pick from, and I'm not going to
Speaker 3: pick one movie necessarily.
Speaker 2: I'm going to pick from this group of movies. I
Speaker 2: would say the old school Hammer horror films. Those were
Speaker 2: the sexiest movies for me. Does any of the Hammer movies,
Speaker 2: you know, whether they have Ingrid Pitt or not. Oh,
Speaker 2: Carolyn Monroe.
Speaker 3: Or Medelene Smith, just any of those movies were like,
Speaker 3: you know, like they're so beautiful, like they're off a
Speaker 3: different time period, and uh, there's just like this quality
Speaker 3: about them that we don't see anymore. And I love
Speaker 3: those movies.
Speaker 1: You could absolutely have that. There is this sub category
Speaker 1: to this question. Troubling boner is worrying why don't found
Speaker 1: a browsing that you weren't sure if you should?
Speaker 2: Oh, okay, because that's because that's a pretty outfit question.
Speaker 2: So I'm going to give you a somewhat out there answer.
Speaker 2: I'm going to have to say, the old nineteen thirties
Speaker 2: Metropolis movie, and why is that sexy? Because of that
Speaker 2: freaking sexy robo?
Speaker 1: Yep, the sexy robot that is our perfect Yes, that's
Speaker 1: a hot robot.
Speaker 2: Yeah, I guess I got to think for hot probs.
Speaker 1: You like dolls, you like hot robots. That's a really
Speaker 1: hot robot. There's nothing I'm impressed by the answer. But
Speaker 1: don't be troubled by your ba I think that is objectively. Objectively,
Speaker 1: that's a hot robot.
Speaker 3: Do not be tribal by the fact that I find
Speaker 3: inanimate thing sexy.
Speaker 1: Yes, that's a metallic woman.
Speaker 2: That's very wrong.
Speaker 1: Tell me this, what is objectively the greatest film of
Speaker 1: all type might not be your favorite, but it's what
Speaker 1: you think is the best of cinema.
Speaker 3: Yeah, this is where I have to kind of step
Speaker 3: back a little bit and give you the kind of
Speaker 3: answer that you probably get very often. I think Jaws
Speaker 3: is one of the greatest films ever, if not at
Speaker 3: the top. And I think a lot of people agree
Speaker 3: with me, you know, Jaws.
Speaker 2: Yeah, it's just it's brilliant.
Speaker 3: It's brilliant at every level, the filmmaking, the actors, the script,
Speaker 3: the execution, just everything about it is just sublime, incredibly
Speaker 3: well put together, you know. So, yeah, that is one
Speaker 3: for me personally. I mean I have others as well,
Speaker 3: but you know, this is a good one.
Speaker 1: I think. Do you know what I love about seventy
Speaker 1: Spielberg films? I love it in Close Encounters and I
Speaker 1: love it in Jaws, this sense of I'm always curious
Speaker 1: as to how much was scripted and how much wasn't.
Speaker 1: There was always a really good sense in the family
Speaker 1: scenes in both films where it feels slightly improvised and
Speaker 1: it's sort of rough. Yeah, people talk over each other
Speaker 1: and it feels so real. Yes, family feels very, very real,
Speaker 1: and that they live together and that this is dinner
Speaker 1: and this is you know what I mean. Like there's
Speaker 1: a real kind of rough quality to it that I
Speaker 1: don't think you see so often in later stuff. It
Speaker 1: maybe becomes sort of cleaner, you know what I mean.
Speaker 1: But I like that it feels very real that family.
Speaker 2: Yeah, yeah, no, I agree.
Speaker 3: It's funny that you pinpoint that aspect because that is
Speaker 3: a very classic Spielbergian aesthetic, which is everyone talking on
Speaker 3: top of each other, right, and then you're like, you're
Speaker 3: trying to listen, so much is going on, but then
Speaker 3: someone will say one thing that will cut through all
Speaker 3: that noise, and that is that becomes the meaning of
Speaker 3: that scene, and that's incredible.
Speaker 2: It's not easy to do.
Speaker 3: It's actually very it's a very tricky miss on scene
Speaker 3: to try and pour together. And that's what I do
Speaker 3: love about, you know, the older, earlier Spielberg stuff.
Speaker 1: Yeah, yeah, I wouldn't know your take on this because
Speaker 1: it upsets me. Close Encounters one of my favorite spielbergs.
Speaker 1: Spielberg said that he wouldn't make that now since he's
Speaker 1: had children, because he can't live with the fact that
Speaker 1: he leaves his family at the end to go in
Speaker 1: the spaceship. But to me, that's what's so interesting about
Speaker 1: that film. That's what makes that film like so unusual
Speaker 1: and sort of powerful and like re bound to man
Speaker 1: with an overwhelming obsession that can't be nothing will stop it.
Speaker 1: And I'm always like, no, but that's what's good about it.
Speaker 1: That's what makes it.
Speaker 3: Like, well, I mean, what I love about that respond
Speaker 3: from Stephen is the fact that it speaks to the
Speaker 3: bigger world of how the movies that we make as
Speaker 3: filmmakers really reflect a period of the time of our lives, right,
Speaker 3: And I think that is kind of cool. I mean
Speaker 3: what it means is we grow as human being. We're
Speaker 3: not stuck on this just one singular mindset. And Stephen
Speaker 3: looks at that and go, you know, like, you know,
Speaker 3: it's later and it's not this movie that he would
Speaker 3: have made when he was back in his twenties or whatever, right,
Speaker 3: And I feel the same way as well, Like can
Speaker 3: I make a Saw type movie today? I don't know,
Speaker 3: you know, so I do think the movies that you
Speaker 3: make reflects the period of time that your life is
Speaker 3: in or going through. Yeah, it's like a diary, isn't it?
Speaker 1: Yeah, it is. It is.
Speaker 2: It's a bit like a diary.
Speaker 1: What is it that has changed in you in terms
Speaker 1: of that makes you think that about? So is it
Speaker 1: like like you tell me? Is it like what's changed me? Like?
Speaker 1: I couldn't do the nasty bits anymore? Like? What is it?
Speaker 2: I probably want to do the nasty bits better?
Speaker 1: Okay?
Speaker 2: No, I mean just you know.
Speaker 3: Saw, for example, was really design as a movie like Lee,
Speaker 3: and I really specifically designed it as a film for
Speaker 3: us to kind of break through, cut through all the noises,
Speaker 3: you know at the time, and you know, obviously you
Speaker 3: know we are not in that same space anymore. And
Speaker 3: so those the kind of movies that I choose these
Speaker 3: days are a little bit different. I think I look
Speaker 3: for different things that but having said that, they steal
Speaker 3: things that I still insult. That still means stays with
Speaker 3: me up to today, and it's relevant in all my work,
Speaker 3: which is, it doesn't matter what genre I make my
Speaker 3: movies in. For me, the most important thing is are
Speaker 3: the characters, Like I care about the characters. I want
Speaker 3: to create interesting, cool characters that you like and can
Speaker 3: relate to.
Speaker 2: And then if I did my job.
Speaker 3: Well, there, I can take those characters and drop them
Speaker 3: into any kind of genre I want them to be. So,
Speaker 3: you know, my philosophy with With the Country was I
Speaker 3: wanted to make a love story drama movie that just
Speaker 3: so happens to be living in a horror genre.
Speaker 1: Yeah, you did it. You fucking did it. What is
Speaker 1: the film that you could or have? What's the most
Speaker 1: over and over again?
Speaker 2: It's interesting.
Speaker 3: I generally don't watch an entire movie over and over again,
Speaker 3: but I do love going back and watching certain scenes
Speaker 3: again and again and again, partially because I just don't
Speaker 3: want to kind of like exhaust the movie. Like I
Speaker 3: still want to give these movies somewhat still fresh and
Speaker 3: the memories I have, because the more I watch them
Speaker 3: some oftimes they kind of deplete a little. But the
Speaker 3: movies that I love to kind of go back and
Speaker 3: visit again and again. You know, I love La Confidential.
Speaker 3: I think that's truly one of the best, one of
Speaker 3: the best made movies ever. I left the Fugitives. I
Speaker 3: love in the Line of Fire. So like these three thrillers.
Speaker 2: Are the films that I love to visit again and
Speaker 2: again when I get the chance.
Speaker 1: To God that that is three very good choices in
Speaker 1: the line of five was a fucking amazing Fugitives, amazing
Speaker 1: and amazing.
Speaker 3: Yeah, they all the kind of like adult thrillers that
Speaker 3: they made in the nineties that they don't really make it.
Speaker 3: You know, I would love to be able to go
Speaker 3: back and do those type of movies again today.
Speaker 2: Do it?
Speaker 1: Do it for us?
Speaker 2: I gonna find the right one.
Speaker 1: What is the worst film you've ever seen? Don't have
Speaker 1: to be negative for long?
Speaker 2: Oh you know, I'm not like that.
Speaker 3: I don't watch a movie and go that's the worst
Speaker 3: movie I've ever made. I can really compartmentalize. I mean,
Speaker 3: I can watch what they call s OV. Do you
Speaker 3: know what are you familiar with?
Speaker 2: The subsubgenre of SOV, which literally means shot on video,
Speaker 2: like you know, back in the nineties when they were
Speaker 2: shottings cameras. They're just super rough indie movies. And I
Speaker 2: can watch that and kind of go, Okay, these are
Speaker 2: what they're supposed to be.
Speaker 3: And you know, like I cannot judge this against you know,
Speaker 3: et or Indiana Jones, right, So it's not like that.
Speaker 2: So I am very reticent about picking a worst movie
Speaker 2: because I don't really have.
Speaker 1: One I'm going to let you out of that question,
Speaker 1: thank you and respect you for it.
Speaker 2: Because every movie is great in your own ways. I'm
Speaker 2: just like every movie is great in the own ways.
Speaker 2: You never catch.
Speaker 3: Me trash another movie or trash another filmmaker.
Speaker 2: That is totally against my policy.
Speaker 1: Never God bless you, James Ryan. I like that very much.
Speaker 3: Filmmaking is so hot, you know, there's no point, there's
Speaker 3: no point doing that to a fellow filmmaker.
Speaker 2: It's just wrong.
Speaker 1: Good Man, that was a test that you passed. It
Speaker 1: is what is the film that made you laugh the most?
Speaker 3: You know, there's so many great comedies out there, but
Speaker 3: for me, it's hard to go past the Leslie Nelson
Speaker 3: naked gun films, you know, like those naked gun Flying High.
Speaker 3: I mean, those jokes just come at you, just rapid fire,
Speaker 3: just one every fifteen seconds or something, and they're hilarious
Speaker 3: and they're brilliant and they still hold up today, like
Speaker 3: all the jokes whole today, even if they outdated, but
Speaker 3: they still cand of work because they actually were so
Speaker 3: well executed.
Speaker 1: And it's a really classically made film. They're very well made.
Speaker 1: They're really well sort of shocked and put together.
Speaker 2: In really well crafted, right, Yeah, yeah, there's so much
Speaker 2: craft you know, we talk about the craftsmanship in movies
Speaker 2: like Jaws and you know, like The Godfather and all that,
Speaker 2: but like we need to apply that simple of mentality
Speaker 2: to the Flying High movies.
Speaker 3: You know that obviously the Airplane movie is a naked
Speaker 3: gun and all that those movies were so well made.
Speaker 3: I mean, Top Secret is brilliant? How brilliant top Yeah?
Speaker 1: I am always like, I have a huge respect for
Speaker 1: throwaway gags that must have been a day or more
Speaker 1: to shoot, where you're like, so much effort went into
Speaker 1: this one second joke. I'm always so impressed by that.
Speaker 3: Yeah, yeah, I know what you mean, especially when it's
Speaker 3: all choreographed in one shot and like twenty different things
Speaker 3: are happening at the same time and everyone has to
Speaker 3: hit their marks at exactly the same time for all
Speaker 3: the you know, for all the humor to kind of
Speaker 3: really land.
Speaker 2: Yeah, you're totally right.
Speaker 3: They're throwaway when you're watching them, but they were not
Speaker 3: thrown away when they were making them.
Speaker 1: And you know what I'm thinking is just now, like
Speaker 1: the shot where O. J. Simpson's in the wheel chain
Speaker 1: and goes down the stairs, and then his body flips
Speaker 1: up like I don't know how they did that. It's
Speaker 1: really impressive. It's technically very impressive. One shot.
Speaker 3: I think they had dummy at some point and they
Speaker 3: shot him out with a cannon or something.
Speaker 1: I don't know. Yeah, timed with the but it's very
Speaker 1: impressive stuff.
Speaker 2: Do you remember one way?
Speaker 3: I think, in top secret way, Peter Cushion has the
Speaker 3: magnifying glass up to his eye and he's got like
Speaker 3: a really big eye and he's looking at stuff and
Speaker 3: then he lowers the magnifying glass and his eyes is
Speaker 3: too gigantic.
Speaker 1: So good, it was so brilliant, boy, James One, you
Speaker 1: have been excellent. Your answers have been brilliant. You have
Speaker 1: been lovely to talk to. However, when you were very
Speaker 1: very old and you were lying in bed, you were happy,
Speaker 1: you were content. You've lived a good life, you had
Speaker 1: everyone that you loved, You've done all the things you
Speaker 1: wanted to do. When you were pleasing with yourself, and
Speaker 1: you lay down for what might be your final sleep,
Speaker 1: and you drifted into a dream and you looked over
Speaker 1: and there was Freddy Krueger, and Freddie Krueger was there,
Speaker 1: and you were like uh oh, Freddie Krueger said, listen,
Speaker 1: I'm tired myself. Let's just sort of play a game.
Speaker 1: And you sit down, he hands you simp pot, you
Speaker 1: both smoke a doobie and you watch a John Carpet
Speaker 1: to film and then but because of Freddy Krueger, what
Speaker 1: he gives you is so strong that you od on
Speaker 1: weed and you die in your sleep. So it's actually
Speaker 1: quite a nice Yeah that's so bad that.
Speaker 2: Yeah, that's kind of fun. Yeah, okay, okay.
Speaker 1: So I'm walking, I'm walking past. I got a coffin,
Speaker 1: you know what I'm like, And I'm like, they were
Speaker 1: seeing James Won, and I go, yeah, he's upstairs. He
Speaker 1: just went to bed. And I go, oh shit, well
Speaker 1: come up. And I'm knock on the door, no answer,
Speaker 1: and opened it and there you are dead. And because
Speaker 1: of all the smoke that you've inhaled, your your body's
Speaker 1: much bigger than I expected. I'm like, oh, we're not
Speaker 1: going to fit this in the coffin. So I get
Speaker 1: an axe. I'm chopping you up, chopping up, get you
Speaker 1: all into little pieces of stuff you in the coffin.
Speaker 1: I stuff you in, stuff you in, but there's no
Speaker 1: room in this coffin. Now there's only enough room for
Speaker 1: me to slip one DVD into the side for you
Speaker 1: to take across to the other side. And on the
Speaker 1: other side, it's movie night every night. What film are
Speaker 1: you taking to show the people of Heaven in the
Speaker 1: comic book shop in Heaven when it is your movie night?
Speaker 1: James White go, probably The Crow? Great answer.
Speaker 3: I love The Crow. I think, you know, that's a
Speaker 3: pretty underrated movie. That movie should be up there with
Speaker 3: the great when they speak of great genre films, great
Speaker 3: comic book movies.
Speaker 2: No one ever really can I talk about that. They'd
Speaker 2: like it.
Speaker 3: But I think that movie is perfect across the board,
Speaker 3: beautifully acted, beautiful to look at the amazing accomplishment on
Speaker 3: what was a very low budget and uh and so
Speaker 3: that's definitely, you know, if I have to pick one,
Speaker 3: that would be one of them.
Speaker 1: And it's also like esthetically, I think it's one of
Speaker 1: those films that set something that then was copied a
Speaker 1: million times, but it started with the crowd, Like I
Speaker 1: think it was quite original. How it the feel of
Speaker 1: it at the time of it.
Speaker 3: The look, the feel, and you know, and you know
Speaker 3: obviously the music as well. The uh, you know, Alex's
Speaker 3: Alex Proyes's background in music videos and all that, and
Speaker 3: he brought a lot of his experience into that film
Speaker 3: and it's probably the best look in music video movie,
Speaker 3: if you will. And I think that movie has a
Speaker 3: lot of residence for me because it's you know, it's
Speaker 3: in the nineties, It's when I grew up.
Speaker 2: And that movie made a huge impact for me.
Speaker 3: And I was such a big Brandon Lee fan and
Speaker 3: uh and to see him make a movie like that
Speaker 3: that was so unique.
Speaker 2: It was really cool. You know, he wasn't just making
Speaker 2: another martial ut movie.
Speaker 3: There was something a lot more to it, and that
Speaker 3: it was really a romantic movie at heart as well,
Speaker 3: just like the comic that it was based off. So
Speaker 3: I would say that is maybe one of them. Do
Speaker 3: you want to hear maybe another one? I can give
Speaker 3: you another one.
Speaker 1: Yeah.
Speaker 3: If if my cro DVD was broken, I was like,
Speaker 3: oh crap, Okay.
Speaker 2: The other movie that I would bring with me is
Speaker 2: Roman Holiday.
Speaker 1: Oh wow, I expected that.
Speaker 2: I know you were expecting that. Yes, I love Roman Holiday.
Speaker 2: I love Audrey Hepburn and especially heading that film. She's
Speaker 2: incredible in that movie, just so charming, beautiful, beautiful, film.
Speaker 1: What a wonder what a wonderful DVD Spring, what's a
Speaker 1: romantic you are? Thank you so much for doing this day.
Speaker 1: Please tell everyone what they should be looking out for
Speaker 1: in the coming months.
Speaker 3: Yeah, Bret, thank you so much for this, man, this
Speaker 3: was really fun. Comic Monster has Teacup coming out very
Speaker 3: soon on Peacock.
Speaker 2: But then we're now.
Speaker 1: In the midst of shooting Huber tenth coming.
Speaker 3: Teacup coming out October tenth. And we're in the midst
Speaker 3: of shooting Megan too right now. And I'm gonna be
Speaker 3: studying shooting Conjuring four, the last Conjuring film, So I
Speaker 3: really want everyone else to be there when these films
Speaker 3: come out. It's the end of an era, the end
Speaker 3: of an era for the Conjuring films.
Speaker 1: I love the Conjuring films, and I loved Megan so much.
Speaker 1: I'm very excited about it. Thank you, thank you, Yes, congratulations,
Speaker 1: You've been brilliant. Thank you for your time. Fred.
Speaker 2: I really appreciate this. This was fun.
Speaker 1: Thank you, man. Have a wonderful death. Okay, so that
Speaker 1: was episode three hundred and eleven. Head over to the
Speaker 1: Patreon at patreon dot com. Forward slash breat Gohlsting for
Speaker 1: the Express Secret chat and videos with James. Go to
Speaker 1: Apple Podcast, give us a five star rating and write
Speaker 1: about the film that means the most to you and
Speaker 1: why it's a lovely thing to it helps numbers. My
Speaker 1: neighbor Morien loves it and we are very grateful to you.
Speaker 1: Thank you so much for listening. I hope you're all well.
Speaker 1: Thank you to James for giving me that time. Thanks
Speaker 1: to Krubys Pip and Distract some Pieces Network. Thanks to
Speaker 1: Buddy Peace for producing it. Thanks to Ihelp Media and
Speaker 1: Will Ferrell's Big Money Players Network posting it. Thanks to
Speaker 1: Adam Richison for the graphics and Lisa Laden for the photography.
Speaker 1: Come join me next week for another brilliant guest. Thank
Speaker 1: you for listening. That is it for now. In the meantime,
Speaker 1: have a lovely week, and please, now more than ever,
Speaker 1: be excellent to each other.
Speaker 2: Battaks back back