Speaker 1: Look out, you show me films to be bettered with, Hello,
Speaker 1: and welcome to films to be buried with.
Speaker 2: My name is Brett Goldstein. I'm a comedian and actor,
Speaker 2: a writer and director at Cheese Puff, and I love films.
Speaker 2: As Richard E. Byrd once said, few men during their
Speaker 2: lifetime come anywhere near exhausting the resources dwelling within them.
Speaker 2: There are deep welds of strength that are never used.
Speaker 2: You think you couldn't make it through all five hours
Speaker 2: and fourteen minutes of Fanny and Alexander, But you can,
Speaker 2: and you could, and you will, and you'll even enjoy
Speaker 2: it too deep. Every week I'm a special guest. I
Speaker 2: tell them they've died, then they get them to discuss
Speaker 2: their life through the films that meant that most of them.
Speaker 2: Previous guests include Barry Jenkins, him As Patel, Mark Frost,
Speaker 2: Sharon Stone, Jamida Jamil, and even bed A Ambles. But
Speaker 2: this week it's the brilliant horror film director Rob Savage.
Speaker 2: You can watch all of Ted Lasso season one to
Speaker 2: three and all of Shrinking season one on Apple TV Plus.
Speaker 2: Give him a watch, Like Him, love Him. Head over
Speaker 2: to the Patreon at Patreon dot com Forward slash Brett Goldstein,
Speaker 2: where you get an extra twenty minutes with Rob. We chat,
Speaker 2: we talk secrets, he talks about the best beginning to
Speaker 2: a film. You get the whole episode, uncut and ad free,
Speaker 2: with all sorts of extra stuff. Check it out over
Speaker 2: at patreon dot com. Forward slash Brett Goldstein, So Rob Savage.
Speaker 2: Rob Savage is an excellent director. He directed Host, he
Speaker 2: directed Dashcad, he directed the first two episodes of soul Mates,
Speaker 2: and now he has a film in the cinema called
Speaker 2: The Boogie Man, which you should also see. He's an
Speaker 2: excellent director, a very nice man. We recorded this on
Speaker 2: Zoom a few weeks ago and he was an absolute joy.
Speaker 2: And I really think you're going to enjoy this one.
Speaker 2: And if you haven't seen The Boogeyman, go see it
Speaker 2: at the cinema. So that is it for now. I
Speaker 2: very much hope you enjoy episode two hundred and fifty
Speaker 2: four of Films to be Buried With. Hello, and welcome
Speaker 2: to Films to be Buried With. It is I Brett Goldstein,
Speaker 2: and I am joined today by a writer, a producer,
Speaker 2: a director, a soul mater, a true horror and one
Speaker 2: of the finest horror directors of his generation here with
Speaker 2: his new film and all sorts of other things. Will
Speaker 2: you please welcome to the show. It's the brilliant, it's
Speaker 2: the amazing. It's the one who is Rob Savage. Thank you? Hello?
Speaker 2: How are you? I'm not bad? How are you doing?
Speaker 2: I'm all right? Thank you? Are you in LA?
Speaker 3: I am yeah, I'm in Burbank? Where about you?
Speaker 2: I'm in LA two? Oh yeah? Yeah. Now, Rob Savage.
Speaker 2: For those of you who don't know, we first met,
Speaker 2: you directed the first two episodes of Soulmates, very very
Speaker 2: very well, but that is a show all about love.
Speaker 2: And ever since then you've made fucking incredible horrors, and
Speaker 2: it turns out you're the fucking the horror guy I got.
Speaker 2: I got all the love out of my sister. Yeah,
Speaker 2: we milked you for your love and then you and
Speaker 2: then you went dark and you made Host, which I
Speaker 2: think is a fucking masterpiece. That you made in Knockdown,
Speaker 2: which is a zoom film, it scared the shit out
Speaker 2: of me. It's fucking amazing. Then you made dash Cam,
Speaker 2: and now you've made The Boogeyman, which I went to
Speaker 2: a preview with with Mae Martin and it is big.
Speaker 2: That is a big, old fucking Hollywood film. And I
Speaker 2: have many questions for you. And one of the things
Speaker 2: it's a real movie. It's a real big movie. And
Speaker 2: you're so good at set pieces. I was thinking that,
Speaker 2: and there's so many bits in it where you're like, yeah,
Speaker 2: this is like listen. I think you're good at lots
Speaker 2: of things, but you're very good at set pieces. Like
Speaker 2: you're very good at like just sort of ideas of
Speaker 2: like when the girl's looking under the bed, the way
Speaker 2: you film that and they won't spoil anything, but the
Speaker 2: way you light it. It's like such a good idea
Speaker 2: stuff like that. You have really good ideas of like
Speaker 2: where to hide things. Well, I think idea is the word.
Speaker 3: Like I always try every single scar scene, I try
Speaker 3: and have like a central idea behind it, Like I'll
Speaker 3: literally put it up on the walls. Well, we'll do
Speaker 3: cards on the walls and be like, what's the thing
Speaker 3: that you'll tell your friend about in this scene?
Speaker 2: What's that?
Speaker 3: If you could boil it down to one like drunken
Speaker 3: slurd description of this at the bar, what would it be?
Speaker 2: And I find like if you could hook it.
Speaker 3: Around just one thing that's really easy to get your
Speaker 3: hands around. People really respond to it.
Speaker 2: Yeah, it's fucking great. And tell me this like having
Speaker 2: gone from Host, which is very small and you made
Speaker 2: with your friends, and then dash Can which is which
Speaker 2: is bigger but still seems more contained.
Speaker 3: Tiny budget still yeah.
Speaker 2: Yeah, to this, which feels like a probably with movie
Speaker 2: made with I'm assuming lots of execs and studio. And
Speaker 2: how was it for you transitioning into that? How was
Speaker 2: all the kind of relationships part of that? Was it easy?
Speaker 2: Was it difficult? Did they trust you? Can you tell me?
Speaker 3: Yeah? I think one of the benefits of having done
Speaker 3: a couple of movies, especially Host, where we made it
Speaker 3: for nothing, We made it on our own backs. Every
Speaker 3: great decision came down to me. It was like it wasn't.
Speaker 3: Wasn't a movie that was swarm with execs and then
Speaker 3: it goes on and does well. Your voice in the
Speaker 3: room suddenly has a lot more clout, So when you're
Speaker 3: sitting there with all the execs, you're speaking as the
Speaker 3: person who made Host, which carries carried a lot of
Speaker 3: way to the time when I came on board, which
Speaker 3: is right after Host, and no I was I mean
Speaker 3: I was spoiling for a fight when I came on board.
Speaker 3: I was, I was so ready to be fucked over
Speaker 3: in every which way. And it just wasn't like that.
Speaker 3: It wasn't like that, right. I remember when I first
Speaker 3: started working with American people, I just didn't trust them
Speaker 3: at all. Just I thought I thought they were sneaky
Speaker 3: and and I and I wasted, wasted a good, good
Speaker 3: couple of years working with American producers, but just being
Speaker 3: really guarded and fighting them on every single thing, and
Speaker 3: just being being a nuisance. And so I was really,
Speaker 3: you know, I was really wary of not doing that
Speaker 3: on this one, making sure to go with my gut
Speaker 3: and not back down, but also not to just not
Speaker 3: to be a dickhead, you know. And from the very
Speaker 3: beginning we were all kind of on the same page
Speaker 3: about what we wanted this movie to be.
Speaker 2: It wasn't an a twenty four movie. It wasn't The Witch.
Speaker 3: I wasn't trying to sneak in, you know, bo Is
Speaker 3: Afraid under the guys of a studio movie I wanted
Speaker 3: to do. I wanted to do a popcorn movie, but
Speaker 3: just a really good one. And so when they when
Speaker 3: they figured out that I was doing just that, and
Speaker 3: I wasn't you know, I wasn't trying to short change
Speaker 3: them and make an art movie.
Speaker 2: They were perfectly happy to lear me alone. That's great.
Speaker 2: It also sounded like it seemed very genuine, and I
Speaker 2: know that at the screening. I was at the A
Speaker 2: lot of the actors were there, and you did a
Speaker 2: Cueto stuff. Everyone seemed really really nice about you, as
Speaker 2: in it seemed very very genuine, like they all had
Speaker 2: that the actors had a really good time with you,
Speaker 2: and that it had been a really good experience on
Speaker 2: set with them and stuff, and there's like real emotional
Speaker 2: shit in it, and you obviously created a good atmosphere
Speaker 2: for everyone. It's impressive.
Speaker 3: Yeah, I think they It helps that we got such
Speaker 3: a silly title, so everyone everyone reads that they got
Speaker 3: on offer coming in for the Boogeyman, and they roll
Speaker 3: their eyes and then you know, you can only go
Speaker 3: up from there.
Speaker 2: So as soon as they as soon as they realized.
Speaker 3: You want them to do real acting and you're going
Speaker 3: to give them real notes, and you know, the script's
Speaker 3: got some really meaty bits in it. You know, you
Speaker 3: just see their eyes light up, they reanimate suddenly, because
Speaker 3: they get to do they get to do these really beautiful,
Speaker 3: grounded scenes that just happened to be in a movie
Speaker 3: about a silly monster.
Speaker 2: Can I ask you this, how much was practical effects
Speaker 2: and how much is CGI on like a percentage in
Speaker 2: that film.
Speaker 3: All the creature is CGI is no practical at all.
Speaker 3: But we had a guy, We had a guy in
Speaker 3: a spotted suit who was you know, every time a
Speaker 3: lamp was getting knocked over or somebody was fighting it back,
Speaker 3: we had that real guy throwing his weight around. Because
Speaker 3: when you're working with CG, it's all about giving weight
Speaker 3: to the character. So every time yeah, stepping on something,
Speaker 3: we needed a real depression. It was all about how
Speaker 3: he interacts with the world.
Speaker 2: Because pretty impressive. There's one thing you said at this
Speaker 2: Q and A which I would love you to repeat
Speaker 2: here if you don't mind about because I didn't even
Speaker 2: really thought about it that it was a monster movie,
Speaker 2: like I watched it and as in I didn't think
Speaker 2: of that as the genre that it is. And then
Speaker 2: you said a thing about Jaws and your editsweek.
Speaker 3: Can you say that, Oh, yeah, well, I was always
Speaker 3: coming out of this movie as a haunted house movie,
Speaker 3: even though it's got this flesh and blood monster that
Speaker 3: that really wrestles with the characters at the end, and
Speaker 3: you see it and it's it's a monster, it's not
Speaker 3: a ghost. But I treated it like something a bit
Speaker 3: more spectral. That was that was lurking in the shadows,
Speaker 3: and I really wanted to make sure that you didn't
Speaker 3: see too much of it. I didn't want people to
Speaker 3: leave this movie feeling like, oh, I've seen the Boogyman.
Speaker 2: He's not all that.
Speaker 3: If you know, if we demystify the Boogyman, then that
Speaker 3: would just be that would be awful. So I had
Speaker 3: I had on the wall of the edit the amount
Speaker 3: of screen time that the shark is in Jaws, and
Speaker 3: then the amount of screen time that the alien is
Speaker 3: in Aliens, and I wanted to make sure that we
Speaker 3: didn't ever go above that. And in fact, I think
Speaker 3: we're a second less of the shark in Jaws, and
Speaker 3: we're a second less of.
Speaker 2: The alien and Aliens.
Speaker 3: So it's really it's pretty minimal, but still pretty you know,
Speaker 3: but still pretty scary.
Speaker 2: Congratulations, I think it will be a very successful film.
Speaker 2: Do you know what you're doing next?
Speaker 3: I got one lined up, I mean with things installed
Speaker 3: a bit because of the writer's strike, which go writers,
Speaker 3: So I'm happily taking a break. But there's another movie
Speaker 3: that's sort of sort of in a similar vein. It's
Speaker 3: another kind of demonic horror movie based on one of
Speaker 3: my short films.
Speaker 2: Which one Salt Fantastic. When I said to you, I
Speaker 2: realized as I said it, I said, you're a horror guy.
Speaker 2: And then I thought maybe you'd be offended by that
Speaker 2: and you'd be like, no, I want to do three
Speaker 2: hundred types of different things. Or do you actually sort
Speaker 2: of like being no, only horror love being the horror guy.
Speaker 3: No, because because horror is like horrors, like it's like
Speaker 3: a it's like a sugar pill, you know, you can
Speaker 3: kind of do anything within horror like this, Yeah, this movie,
Speaker 3: I'm you know, I'm really proud of the performances and
Speaker 3: some of the some of the some of the scenes
Speaker 3: that are just the family working through their their trauma
Speaker 3: in this movie that have no monster at all are
Speaker 3: some of the best scenes in the movie or some
Speaker 3: of the scenes that I'm the proudest of. And you
Speaker 3: can do that within horror, and you can still get
Speaker 3: big audiences because of the promise of monsters jumping out
Speaker 3: of closets. But there's just a bit of a trade off,
Speaker 3: and you can really do anything as so long as
Speaker 3: you liver on the scales.
Speaker 2: Well roll. It's one other thing I forgot to tell you.
Speaker 2: I'm meant to tell you when I saw you earlier
Speaker 2: in the week, actually, but I didn't get a chance
Speaker 2: because he was doing, you know, lots of people trying
Speaker 2: to talk to you, and I thought I probably wouldn't
Speaker 2: interrupt and tell him this, but I did at the
Speaker 2: time thing I must tell him, And then I thought, no,
Speaker 2: I'll tell him when when we talk on the podcast.
Speaker 2: So I'll just tell you now. I'll tell you died.
Speaker 2: You're dead dead shit dead dead dead. How did you die?
Speaker 3: If it's coming back to me correctly, I think I
Speaker 3: froze to death. I think I froze. Maybe it was
Speaker 3: maybe like liquid nitrogen. It was definitely something sci fi.
Speaker 3: Oh wow, I got knocked over or I was pushed
Speaker 3: or something and I shattered into just a million pieces.
Speaker 2: You had a two one thousand death? Yeah? Or Jason
Speaker 2: X Wow? Shit, do you know how you got covered
Speaker 2: in liquid? Night ship? That bit? I don't remember that
Speaker 2: bit I don't remember.
Speaker 3: I think I was just walking down the street and
Speaker 3: the next next moment.
Speaker 2: There was like a fissure in the air and it
Speaker 2: squirted up night.
Speaker 3: I think maybe or maybe there was some truck that
Speaker 3: had that had liquid nitrogen it if that's the thing,
Speaker 3: and it just poured on me accidentally.
Speaker 2: It's not a bad way to go as long as
Speaker 2: it sort of all hits you at once. I'm wondering
Speaker 2: how long it takes till you're frozen and dead. It was.
Speaker 3: It was a two tiered thing, you know. I remember
Speaker 3: freezing and then being frozen, and then teetering, and then
Speaker 3: it was falling and shattering.
Speaker 2: That really hurt, right, that's the bit. Yeah, I wonder
Speaker 2: in the frozen in the second where your frozen are
Speaker 2: still conscious, you're still like.
Speaker 3: Fuck, yeah, that was Actually that's my worst fear actually
Speaker 3: is dying in a hilarious way, but and knowing in
Speaker 3: the last moments how hilarious the death is.
Speaker 2: I'm gonna look so stupid. Bang.
Speaker 3: Okay, did you ever hear there was this there's this story.
Speaker 3: I think about the story all the time. There's this
Speaker 3: there was this guy who he was like a Wall
Speaker 3: Street guy, like a kind of cocaine snipping Wall Street guy,
Speaker 3: and he he got unbreakable glass installed on his in
Speaker 3: his office windows. He was at the top of this
Speaker 3: big skyscraper and he had a client over and he
Speaker 3: was showing off his new unbreakable windows and he was
Speaker 3: ramming it with his shoulder, being like, look this, it's
Speaker 3: never gonna break. I can do anything, throwing his phone
Speaker 3: at it, and he ran at it, and the window
Speaker 3: didn't break, but it popped out of the out of
Speaker 3: its socket ship and he fell and splatted on the
Speaker 3: ground and the window didn't break. He did, but the
Speaker 3: window didn't break when he landed.
Speaker 2: Oh Jesus Christ, that's a great way today, not a
Speaker 2: bad way today.
Speaker 3: But that's that, That's what I'm most afraid of in
Speaker 3: that moment, that just just realizing what a tit you've
Speaker 3: made of yourself as you plummet towards the ground.
Speaker 2: To be fair to you, in your in your liquid
Speaker 2: nitrogen death, it doesn't seem like it's your fault unless
Speaker 2: you've gone, unless you're trying to impress a woman and
Speaker 2: you're going, look at this pot of liquid nightgen. I
Speaker 2: bet it wouldn't hurt me, could I? Can drink it. Yeah. Yeah,
Speaker 2: it seems fairly like accidentally, haven't you be Like you
Speaker 2: say you don't remember how it happens. Maybe it was
Speaker 2: you were trying to impress it late it. I think
Speaker 2: I think I'm blocked. I'm blocking. I'm blocking out the
Speaker 2: humiliating aspects of it. Probably. Yeah. Do you do you
Speaker 2: worry about death? I mean you must think about it
Speaker 2: a lot in your job. Yeah, No, I don't. I
Speaker 2: don't really.
Speaker 3: I think I did a lot more when I was
Speaker 3: when I was younger and moodier. I think I kind
Speaker 3: of I've kind of just built a life where I'm
Speaker 3: so busy that I don't really have time to worry
Speaker 3: about death. I think that's the way that I stave
Speaker 3: off most worrying. It's just by keeping I'm just doing
Speaker 3: things all the fuss.
Speaker 2: Yes, that's the secret. That's how I avoid all feelings.
Speaker 3: Yes, isn't there Yeah, if you if you stop it,
Speaker 3: if you stop for a moment, it all catches up.
Speaker 3: I mean it's really it's quite elastic. It bounces back
Speaker 3: pretty fast. But so long as you keep moving, keep
Speaker 3: fucking moving, Sam, what about you? What about you?
Speaker 2: Oh? I just keep sucking moving never think about anything. Yeah,
Speaker 2: what do you think happens when you die?
Speaker 3: I think probably it's just curtains. It's just black, black curtains.
Speaker 3: It's just black curtains to send on you, swallow you.
Speaker 2: But I don't know.
Speaker 3: But then I don't. I don't believe that I know anything.
Speaker 3: So it's probably the opposite of what I think. It's
Speaker 3: probably probably eternal damnation curtains opening up. Oh yeah, it's
Speaker 3: this is probably just the first stage.
Speaker 2: You know what. It's interesting. I've done a lot of these,
Speaker 2: done a lot of these episodes. No one, I don't think,
Speaker 2: unless I'm being rude and forgetting someone, no one's ever
Speaker 2: thought they're going to Hell. Like it almost never comes
Speaker 2: up Hell. Despite all that has been put out in
Speaker 2: the world, Hell rarely shows up on this show, which
Speaker 2: is interesting. Yeah, for a thing that was really you know,
Speaker 2: pump pumped into the world that no one's really brought
Speaker 2: into Hell, but you out of your other first, I'm
Speaker 2: so finally if it exists. If it exists, that's where
Speaker 2: I'm heading. Fantastic. What do you think hell is?
Speaker 3: It's probably being forced to rewatch all of I mean,
Speaker 3: there's a theme emerging here. It's probably being forced to
Speaker 3: watch all the most humiliating moments or moments you've disappointed yourself,
Speaker 3: or or things, the relationships you've sucked up and opportunities
Speaker 3: missed for eternity.
Speaker 2: Hell, yeah, that's good. You're good at this horror shit.
Speaker 2: I got news for you. There is a hell, but
Speaker 2: you ain't going You're going to heaven, and heaven is
Speaker 2: filled with your favorite things. It's philed me. Your favorite thing?
Speaker 2: What is it? Movies? Well, all right, there's movie world
Speaker 2: to worl movies everywhere, and everyone is very excited to
Speaker 2: see you. They're big fans of everything you've done, including
Speaker 2: all your humiliating stuff. Some of them watched that stuff
Speaker 2: and they go, hey, it's all understandable. What a great guy.
Speaker 2: And they want to talk to you about your life.
Speaker 2: They want to talk about your life through film. The
Speaker 2: first thing they ask you is, what is the first
Speaker 2: film you remember seeing? Rob Savage?
Speaker 3: You know, I think the first movie that I ever
Speaker 3: saw remember seeing was Hercules, the Disney movie Amazing, and
Speaker 3: I don't know if they've even seen it since. But
Speaker 3: it's a weird one because the thing that I remember
Speaker 3: most was the happy meal toy that I got of
Speaker 3: the movie, not the movie itself. I got a happy
Speaker 3: meal toy of the little of the hydra that Hercules
Speaker 3: has to find.
Speaker 2: Oh great, And.
Speaker 3: That was such a special thing because it was the
Speaker 3: first time I ever got to go to McDonald's. I
Speaker 3: was raised vegan, no sugar, no salt, nothing fun. And
Speaker 3: my friend's dad took us to McDonald's and I was
Speaker 3: forced to like swear that I wouldn't tell my parents.
Speaker 3: So I had this little contraband hydra and wow, and
Speaker 3: I kept it. I kept it from my parents like
Speaker 3: it was you know, it was. It was like a
Speaker 3: murder weapon or something. So I had to hide it away.
Speaker 3: How are were you, God, I don't know. I was tiny.
Speaker 3: I must have been like, I don't know, I don't
Speaker 3: know ages. I'm not good with ages. I was probably
Speaker 3: I was anywhere anywhere between five and fifteen.
Speaker 2: So it was that the first burger you'd eat it.
Speaker 3: Yeah, I think the first proper burger that wasn't made
Speaker 3: of lentils.
Speaker 2: Wow. Shit, he must have been like dun dun, dun, dun. Oh.
Speaker 3: It was amazing. And my mouth was so dry from
Speaker 3: all the salt. I remember, I felt like I was
Speaker 3: a mummy. But I do remember, I do remember. I
Speaker 3: do remember the hyph I that's the only bit I
Speaker 3: remember from the movie.
Speaker 2: I think because of the toy.
Speaker 3: It was they that him fighting the hydra and the
Speaker 3: kind of green blood and the decapitation.
Speaker 2: I guess it. I guess it tracks. Yeah, yeah, it
Speaker 2: really does that. That was the toy you've got. You
Speaker 2: didn't get Hercules, You've got the monster. Yeah.
Speaker 3: I remember being really fascinated by that. You know when
Speaker 3: the hydro got beheaded, wasn't just kind of cartoon. You
Speaker 3: saw like the bone and you saw the wind pipe
Speaker 3: of the creature and it's like it's quite it's quite
Speaker 3: full on, and it was like that really early, that
Speaker 3: really early CGI that looked really terrible, but was amazed,
Speaker 3: like just was amazing at that age.
Speaker 2: Are you an only child or do you have siblings?
Speaker 2: I got a brother older or younger, younger. Okay, so
Speaker 2: he wasn't there. I can't imagine. So he wasn't there
Speaker 2: at Hercules. He might not have existed there. Oh wow, wow, Okay,
Speaker 2: what is the film that made you cry the most?
Speaker 2: Do you cry? Are you a crier? Yeah?
Speaker 3: I'm a big Anything makes me cry. But you know,
Speaker 3: I think you'll probably relate to this as somebody who
Speaker 3: who constantly moves to evade any feeling.
Speaker 2: Movies make me cry more than live because that's where
Speaker 2: you stop, right, you move your movie move, and then
Speaker 2: you stopped watching film, and then you cry for two
Speaker 2: hours and then you run.
Speaker 3: It sounds healthy when you say, yeah, I think the movie,
Speaker 3: weirdly that makes me cry the most is the ending
Speaker 3: of the assassination of Jesse James by the coward Robert Ford.
Speaker 3: Great incredible movie, and there's a sequence that shows, I mean,
Speaker 3: it's two thousand and two thousand and seven when it
Speaker 3: came out.
Speaker 2: It's not going to be a spoilers.
Speaker 3: It's the it's the sequence that shows what happened to Yeah,
Speaker 3: what happened to Bob after he after he killed Jesse
Speaker 3: James and was then himself assassinated. And it's it's just
Speaker 3: it's about the how his life transpired after he imagined
Speaker 3: that he'd be living in glory after after killing the
Speaker 3: only person who ever admired and looked up to and
Speaker 3: and maybe loved.
Speaker 2: Part of it's the score.
Speaker 3: It's got Nick Caven Warren Alis just the most beautiful
Speaker 3: cue that plays over that scene, and there's something I
Speaker 3: can't quite I can't quite get at it with words,
Speaker 3: but there's something about the idea of what it takes
Speaker 3: to be great and how some people just don't have
Speaker 3: it in them. And you know, the last words of
Speaker 3: the movie is is. It talks about Robert Ford staring
Speaker 3: up at the ceiling and not being able to find
Speaker 3: the right words to say before he dies. And there's
Speaker 3: something about just being being inarticulate and having aspirations of
Speaker 3: greatness but having them always just beyond your reach. That movie,
Speaker 3: that movie, it just feels like it's so profoundly articulates
Speaker 3: that idea.
Speaker 2: It's so interesting now. I was thinking when you're saying that,
Speaker 2: like Amma Dais, for example, there's another film about like
Speaker 2: a special person and the person next to them, and
Speaker 2: the person next to them is the story and maybe
Speaker 2: because that's what we more relate to. And you know
Speaker 2: the Book of Prayer for Owen Meani. Do you know
Speaker 2: that book which is also some sort of a film.
Speaker 2: It's kind of about this very special person, Owen Meani,
Speaker 2: but it's told by his best friend, and his best
Speaker 2: friend his whole thing is I will never be this
Speaker 2: special you know, and yet as the reader, you're relating
Speaker 2: to the friend much more than you are a special
Speaker 2: genius person because that's how we all feel. I think
Speaker 2: it's much more relatable to be Robert Ford than it
Speaker 2: is Jesse Jays, right, Yeah, because we all don't feel
Speaker 2: great and special totally. I seem totally.
Speaker 3: And the thing the film does so beautifully is it
Speaker 3: shows how burd and Jesse James is by the legend,
Speaker 3: that the legend almost becomes something that he can't. It's
Speaker 3: almost this it's almost like a spirit that's been conjured.
Speaker 3: It's not like it's not anything that he's in control of.
Speaker 3: And ultimately, you know, there's that beautiful scene which again
Speaker 3: is it's probably probably the point where I start crying
Speaker 3: in that movie. About two hours in he realizes that
Speaker 3: the two Ford brothers are going to kill him, and
Speaker 3: he goes and fixes fixes the picture almost as a
Speaker 3: surrender of you know, these two people who've I've been
Speaker 3: my authentic self with that are here to kill me
Speaker 3: for some fleeting glory. I'm just going to turn my
Speaker 3: back to them and see what happens. It's like, yeah,
Speaker 3: it's a beautiful scene.
Speaker 2: Weirdly, it's a bit like Marie Antoinette, the Sophia Couple
Speaker 2: of film, Yeah, in that both that and this film,
Speaker 2: I would argue, are also kind of about celebrity, and
Speaker 2: they're also about Brad Pitt and Kirsten Dunce. Like Marie
Speaker 2: Antoette is a film about Cairstin Dunce. I think it's
Speaker 2: like a love letter to her, and it's and it's
Speaker 2: the impossibility of being Cursten Dunce, Yeah, and then being
Speaker 2: misunderstood as a celebrity or whatever. And with Jesse James
Speaker 2: like it's Brad Pitt, it's Brad Pitt as a celebrity,
Speaker 2: beloved movie star that can never really be this thing
Speaker 2: that everyone yeah projects something onto and yeah, and as
Speaker 2: that film goes on, he becomes sort of bleaker because
Speaker 2: he's sort of like has to for any of this
Speaker 2: to survive, he has to be yeah, a shell. Yeah.
Speaker 3: And it's it's the only movie where he looks like
Speaker 3: vaguely his own age, you know, he looks like he
Speaker 3: looks haggard and his eyes are so deep set, and
Speaker 3: there's that there's that beautiful bit at the beginning where
Speaker 3: it's like the voiceover is talking about he had this
Speaker 3: this this condition where he was always he was always blinking,
Speaker 3: like he was kind of overwhelmed by the world, and
Speaker 3: it was kind of like this beautiful poetic reading over
Speaker 3: this this shot of Brad Pitt staring, unblinking into the sun,
Speaker 3: and it's almost like the narration is kind of like
Speaker 3: mythologizing him even as we're seeing him, and it doesn't
Speaker 3: match up as this constant mismatch of how he's presented
Speaker 3: and the actuality of him.
Speaker 2: Great, great answer, now is the big one for you?
Speaker 2: What is the film that scared you the most.
Speaker 3: I've got a really boring answer for this, because it's
Speaker 3: The Exorcist. It won't be the movie I talk about
Speaker 3: only because only because I mean I already talked about
Speaker 3: growing up in this vegan, lentile household, but I was
Speaker 3: always I was also raised for a few years without TV.
Speaker 3: They my parents tried to raise me with no TV,
Speaker 3: which backfired, but they really really didn't want me to
Speaker 3: watch scary movies, and so that was all I wanted
Speaker 3: to watch, and The Exorcist. The Exorcist and Science the
Speaker 3: Lambs were the two that my dad. My dad took
Speaker 3: me to the side one day and said, I said, listen.
Speaker 3: I know you're going to watch horror movies because we've
Speaker 3: told you not to. But just person to person, there's
Speaker 3: two movies I want you to not watch, and that's
Speaker 3: Silence of the Lambs and The Exorcist.
Speaker 2: You immediately went to the video immediately. I guess signs
Speaker 2: of Lambs in exist.
Speaker 3: Exactly exactly, but they there's such an aura around them.
Speaker 2: He must have known what he was doing. He must
Speaker 2: have been like, these two are good, I can let
Speaker 2: you watch. He must have known.
Speaker 3: That's crazy, maybe, but it really I just feeling watching
Speaker 3: The Exorcist after it had finished, feeling like maybe my
Speaker 3: DNA had been altered in some way, Like it was
Speaker 3: like I'd done something so bad that I couldn't walk
Speaker 3: back on it, and I felt so so ashamed.
Speaker 2: Wow.
Speaker 3: Yeah, so that one, that one was a big one.
Speaker 2: How old? How old were you? Do you remember that?
Speaker 2: I know you don't know age, but was it like
Speaker 2: were very young or a teenager?
Speaker 3: I think I was like fifteen maybe. I think I
Speaker 3: watched that a little later, okay, partly because I, yeah,
Speaker 3: really I really thought that movie was going to curse
Speaker 3: me in some way.
Speaker 2: Yeah, yeah, I can see that. Yeah, Weirdly, with The Exorcist,
Speaker 2: I had the sort of I think I saw it
Speaker 2: too young and I didn't really get it. I sort
Speaker 2: of thought it was boring, and I didn't I didn't
Speaker 2: find it scary. I thought it was boring and I
Speaker 2: just thought this is stupid. And then I watched it
Speaker 2: only a few years ago and I was like, this
Speaker 2: film is fucking terrible and so dark. I didn't realize
Speaker 2: how dark, dark, dark it is, and exactly that feeling
Speaker 2: of like there's something very horrible. It's like it feels
Speaker 2: so real. And when I think it's when she wets herself,
Speaker 2: that scene is so kind of real and you're just like,
Speaker 2: oh my god, what's going on here? Yeah, and it
Speaker 2: makes you feel so uncomfortable. There's something horrible.
Speaker 3: There's something, there's something in the just the the celluloid
Speaker 3: of that movie that feels a bit evil. It's like
Speaker 3: I had the exact experience with the Texas changel Masca recently.
Speaker 3: I watched it around horrible, horrible. I watched it when
Speaker 3: I watch it around the same time. And maybe when
Speaker 3: I was fourteen and I was so I was such
Speaker 3: a gorehound then that I was kind of disappointed by
Speaker 3: it because there's not there's really not very much on
Speaker 3: screen Gore. It's all just a vibe of that movie
Speaker 3: is so is so nasty and oppressive. And then I
Speaker 3: didn't watch it for like ten years, over ten years,
Speaker 3: and then I got asked to do They're doing a
Speaker 3: Blu ray release and I asked to do an interview
Speaker 3: about it, and I said, yeah, yeah, I loved it,
Speaker 3: and they sent me the remastered version of it, and
Speaker 3: I watched it on a plane to New Orleans, which
Speaker 3: is where we shot The Boogieman, and about about halfway
Speaker 3: into it is that no, it's the scene where it
Speaker 3: at the dinner.
Speaker 2: Table and Granddad comes out with the hammer. I just realized.
Speaker 3: I realized that I hadn't taken a breath in for
Speaker 3: about thirty seconds, and I was like, oh, I'm having
Speaker 3: a panic attack. And I literally had to get up
Speaker 3: and walk, walk up and down. I couldn't finish the movie.
Speaker 3: It was like it was so there was something so
Speaker 3: just like relentlessly unpleasant about.
Speaker 2: Watching that movie.
Speaker 3: It's horrible, and I think I think now it's maybe
Speaker 3: it's it's really horrible. It's like it's maybe the best
Speaker 3: horror movie.
Speaker 2: Ever made.
Speaker 3: It's it's like the most like viscerally disturbing horror movie
Speaker 3: ever made.
Speaker 2: Yeah, well is that your answer?
Speaker 3: That's your Those two I can't dicist Ye, one of
Speaker 3: them is one of them.
Speaker 2: I felt like.
Speaker 3: It's like like my immortal my immortal soul was maybe
Speaker 3: tarnished by watching it. And then and then The Texas
Speaker 3: Chainsaw Masker is the film that keeps me up at
Speaker 3: night recently.
Speaker 2: And what did you think of Silence as the Lambs
Speaker 2: when you finally saw it the day after the Exorcist.
Speaker 3: It's it's not it's not in the same league as
Speaker 3: as those ones in terms of scares, But I just
Speaker 3: thought it was brilliant. And actually it's got The ending
Speaker 3: of that movie is one of the endings that I
Speaker 3: reference more than anything else. It's got one of the
Speaker 3: scariest endings to a horror movie, where she goes down
Speaker 3: into the basement and Buffalo Bill uses his night vision.
Speaker 2: It's just excruciating. Yeah, what is the film that you love?
Speaker 2: Most people don't like it. It's not critically acclaimed, but
Speaker 2: you love it forever and the day the Village, I
Speaker 2: like the village. The village is great. I like the
Speaker 2: Village really underrated. Yeah, the Village is great.
Speaker 3: I think it's it's the movie that everyone kind of
Speaker 3: agrees is where I started going downhill, But I thought,
Speaker 3: I think it's I think it's one of my favorite
Speaker 3: of his movies. I remember seeing it and it was
Speaker 3: the first time I went to see a movie with
Speaker 3: a bunch of friends and I left. I left being
Speaker 3: like that was that was amazing, And everyone else is
Speaker 3: like it felt like everyone else has seen a different movie.
Speaker 3: I just thought it was. It has such a kind
Speaker 3: of sadness to it. That movie that when you find
Speaker 3: out the secret as to why everyone's I mean not
Speaker 3: ruining the twist, but you know why they why they
Speaker 3: are where they are, and why.
Speaker 2: They've made the decisions they've made.
Speaker 3: It's so it's got a it's got a real heaviness
Speaker 3: that feels lived in that doesn't feel flippant or cheap
Speaker 3: to me, and it's really truly scary. And there are
Speaker 3: images in the movie that I, you know, since I
Speaker 3: saw it as a as a kid, like it haven't
Speaker 3: left me. The Walkers in the Woods are still genuinely terrifying.
Speaker 2: And the sequence where what is it.
Speaker 3: Bryce Alas Howard tries to get is running back to
Speaker 3: to Whacky in Phoenix and he's reaching out his hand
Speaker 3: and then they're yelling at him to shut the door.
Speaker 3: The tension in that scene is just hitchcocky, and so
Speaker 3: it's some some of m Night's best directing in that movie.
Speaker 2: I remember thinking this is the Village because I thought this,
Speaker 2: what's his film? After that? That? I like. Sometimes the
Speaker 2: films of his that I don't love, I still go
Speaker 2: he's a very good director, even when sometimes I don't
Speaker 2: like the writing of the film. I think he can't
Speaker 2: help himself as a director. Like I think he's a
Speaker 2: good director. And there's stuff in the Village. There's that
Speaker 2: I haven't seen a lot of it. There's a scene
Speaker 2: with Whack in Phoenix and I think Bresda's had where
Speaker 2: they're just sitting talking to each other and the whole
Speaker 2: thing is just their backs. There's that long shot in
Speaker 2: the doorway, and I was like, this is fucking great, Like, yeah,
Speaker 2: he's good, he's good at this, He's really good.
Speaker 3: There's the thing I've been thinking about this a lot
Speaker 3: about there are certain directors who are just great image makers.
Speaker 3: They make images that stick in your head and in
Speaker 3: whatever you think of the movie, you're going to remember
Speaker 3: these images. I think like Jordan Peel is a filmmaker
Speaker 3: like that, where he can't help but put these these
Speaker 3: indelible images on screen. Kubrick is the ultimate one, obviously,
Speaker 3: And then there are filmmakers like David Fincher, who you know,
Speaker 3: occasionally he has an image that's really potent, but really
Speaker 3: he's he's technically an incredible filmmaker, but I don't think
Speaker 3: he he's got that same. His movies aren't as immediately
Speaker 3: iconic as some of these other filmmakers, and I think
Speaker 3: m n I can't help but be iconic in the
Speaker 3: way he directs things.
Speaker 2: Yeah, I think you're right. What is the film that
Speaker 2: you used to love but you've watched it recently and
Speaker 2: you thought, I don't like this anymore?
Speaker 3: No thanks, So I don't don't. I don't don't to
Speaker 3: get into this one too much. But Manhattan is the
Speaker 3: one that I watched recently that just doesn't fair enough.
Speaker 3: And it's still a beautiful movie in a lot of ways.
Speaker 3: I mean good and Willis's cinematography is beautiful. There are
Speaker 3: lots of amazing scenes, but it's it's you know, there
Speaker 3: are a lot of movies that are being you have
Speaker 3: to kind of recontextualize in the wake of it being
Speaker 3: twenty twenty one or twenty twenty one. No, twenty twenty three. Fuck,
Speaker 3: that was the last Jesust Hello and you just like
Speaker 3: I watched this movie recently that used to be my
Speaker 3: favorite Woody Allen movie, and now all I can see
Speaker 3: is a middle aged man writing a seventeen year old
Speaker 3: character justifying through her voice him wanting to sleep sleep
Speaker 3: with seventeen year olds, and it's it's you know, I
Speaker 3: think a lot of movies like this when you watch
Speaker 3: them young and you've got different ideas about love and romance.
Speaker 3: Like I used to think it was such a romantic movie,
Speaker 3: and now it feels very sleazy to watch.
Speaker 2: It's such a shame because that ending, the very last
Speaker 2: minute of that film is so I always was like,
Speaker 2: that's one of the great endings, but you're right, everything
Speaker 2: is tainted, Yeah it is.
Speaker 3: I feel the same way that that was one of
Speaker 3: my favorite endings ever. You've got to have a little
Speaker 3: faith in people, and then you realize that that's Woody
Speaker 3: Allen writing for a seventeen year old girl telling her
Speaker 3: telling him to sleep with her.
Speaker 2: What is the film that means the most to you?
Speaker 2: Not necessarily the film itself is any good, but the
Speaker 2: experience you had around seeing the film will always make
Speaker 2: it special to you.
Speaker 3: There's a movie called ghost Ship from the early two thousands.
Speaker 2: The Michael Bay Julianna Margalese.
Speaker 3: Yes, did Michael Bay produce it?
Speaker 2: I think it's a Michael Bay produced wasn't it Platinum Junes?
Speaker 2: Wasn't it there one of their things? Oh?
Speaker 3: Maybe I could be right. I was obsessed with that
Speaker 3: movie as a kid. I used to watch it over
Speaker 3: and over and over. And the memory that I that
Speaker 3: I associate with that film is I used to carry
Speaker 3: it around to the DVD of it in my school bag.
Speaker 3: And it was the end of term when we've done
Speaker 3: all our tests, we've done all our exams, we had
Speaker 3: no more work to do, and the teacher said, well,
Speaker 3: we're not going to do any work today. This was
Speaker 3: English class. She said, there's anyone got a movie we
Speaker 3: can throw on? And I had ghost Ship and I
Speaker 3: took it out of the case. It was an eighteen
Speaker 3: certificate movie and I handed it to the teacher.
Speaker 2: I think I was about fifteen.
Speaker 3: And she played ghost Ship, and anyone who's seen Ghostship
Speaker 3: knows the only reason to talk about Ghostship is the
Speaker 3: opening scene of that movie, where the producer Joel Silver
Speaker 3: had said, I want to have the most decapitations of
Speaker 3: any movie in one scene, in our opening scene, and
Speaker 3: it's got this scene where the the what is it
Speaker 3: the awning of the ship, The wire that holds up
Speaker 3: the lights suddenly becomes comes loose and whips across this
Speaker 3: dance floor full of one hundred people and cuts them
Speaker 3: all to bits in classic early two thousand style. They
Speaker 3: don't realize they've been cut open, and then slowly they
Speaker 3: start to slide off into into pieces.
Speaker 2: And it's just.
Speaker 3: Missed the head of our child protagonist. It's just flown
Speaker 3: over the top. And I remember, I mean to her credit,
Speaker 3: the teacher let the whole scene play, and then as
Speaker 3: soon as the title comes up over that the shot
Speaker 3: of all the writhing body parts, she just ejected it
Speaker 3: and handed it back to me silently. We didn't talk
Speaker 3: about it, but I was a legend. I was a
Speaker 3: legend for a couple of weeks after that.
Speaker 2: Yeah, they carried you out and their shoulders are better. Yeah,
Speaker 2: what a fucking day exactly. What is the film you
Speaker 2: most relate to.
Speaker 3: The movie that I remember seeing and feeling feeling the
Speaker 3: most seen by was Despite Jones Is Where the Wild
Speaker 3: Things Are? That just it felt like, fuck, yeah, yeah,
Speaker 3: go film. It's so sad and it's so so sad.
Speaker 3: It's you know, up mostly just like playing on my
Speaker 3: own and my NaN's farm, like you know, it's a lonely,
Speaker 3: lonely child with where was this in Shropshire? So very
Speaker 3: very beautiful, very idyllic, but you know, it's just me
Speaker 3: and my imagination for a long periods of time. And
Speaker 3: there's something that that movie gets so right about how
Speaker 3: melancholy it can be be to be a kid sometimes
Speaker 3: and the kind of loneliness of being a kid, and
Speaker 3: the frustration of being a kid and not understanding how
Speaker 3: other people tick and how they work, and struggling to
Speaker 3: learn how to relate to people. There's a scene where
Speaker 3: his older sister of having a snowball fight and she
Speaker 3: makes him cry, and then rather than comforting him, she
Speaker 3: goes off and drives off with her cool friends, and
Speaker 3: he goes to her bedroom and he's made her this
Speaker 3: like thing out of lollipop sticks that clearly meant a
Speaker 3: lot to him, and he put a lot of work
Speaker 3: into it. In a rage, he breaks it into pieces,
Speaker 3: and then Spike just like sits with him for a
Speaker 3: moment as he realizes he's done this thing that he
Speaker 3: can't undo and that he's ruined this this gesture that
Speaker 3: meant a lot to him and meant a lot in
Speaker 3: his relationship with the sister. And it just sits with
Speaker 3: that feeling of the rage subsiding and the kind of
Speaker 3: sadness kicking in, and that that movie is so just
Speaker 3: just speaks to that feeling of being a lonely kid
Speaker 3: so well. So I saw that and I thought that
Speaker 3: was that was spawn. I saw that a bunch of
Speaker 3: times in the cinema.
Speaker 2: You were answering these very well, you're doing very well.
Speaker 2: That's a really really good shout. It's so sad that film.
Speaker 2: It really made me very sad. I really really I
Speaker 2: get you, what is the sexiest film ever made? Species two?
Speaker 2: Species two? Species two, Species two not Species work remind
Speaker 2: me of Species tix. Species two.
Speaker 3: It's like I wasn't really watching it as a movie
Speaker 3: so much as from what I remember, there's an alien,
Speaker 3: there's an alien that manifests as a naked woman.
Speaker 2: And yes, Natessa hen Street, Yes.
Speaker 3: Yes, exactly, No, you've you've you've put more thought into
Speaker 3: this than I have.
Speaker 2: But oh, I know Species, but I'm not so so
Speaker 2: Species too.
Speaker 3: Well, it was just because it was on TV. It
Speaker 3: was on TV and the I think it was in
Speaker 3: the Radio Times and they had a picture of the
Speaker 3: woman whose name I've immediately forgotten, and I Street Natasha Henstridge,
Speaker 3: and so I snuck downstairs at about one in the morning.
Speaker 3: I think it was on channel five, and of course
Speaker 3: it was on channel five. It was on Channel five
Speaker 3: one in the morning. I snuck downstairs and I taped
Speaker 3: it off the TV and.
Speaker 2: It was again.
Speaker 3: I mean a lot of these stories are about me
Speaker 3: passing around illicit movies in my class, but I like,
Speaker 3: I would literally all of my friends would get this
Speaker 3: copy of Species too.
Speaker 2: It would go round.
Speaker 3: And eventually got eventually got worn down until it was
Speaker 3: just just flickering, flickering white noise on the screen.
Speaker 2: But great, shat wonderful. A wonderful subcategory is this question
Speaker 2: traveling bonus worrying. Why don't a film you found arousing
Speaker 2: you weren't sure you ship.
Speaker 3: I don't know if I got I don't have a
Speaker 3: spec of the answer for this, but I think as
Speaker 3: a child, just on the cusp of adolescents, any any
Speaker 3: Disney movie where the animal character have long eyelashes gave
Speaker 3: me very weird sensations.
Speaker 2: That's it.
Speaker 3: It is just long eyeless that's all it takes. They
Speaker 3: could be a a fox or or a stray dog,
Speaker 3: doesn't matter.
Speaker 2: Yeah, it could be a lady dog. A fox could
Speaker 2: be That's it, isn't it? Are there any others? A
Speaker 2: lion like? Definitely a lion would be a lady lion.
Speaker 2: What is objectively objectively the greatest film of all time?
Speaker 2: Not your favorite, but the greatest objectively objectively?
Speaker 3: I think if you were to subject, if you were
Speaker 3: to feed every movie into a into a machine and
Speaker 3: through science come up with that answer, it would be
Speaker 3: a Space Odyssey two thousand one of Space Odyssey.
Speaker 2: I don't think.
Speaker 3: I don't think there's a movie that's stuck in the
Speaker 3: consciousness as long as that movie that looks still as
Speaker 3: amazing as that movie does, even when it's blown up
Speaker 3: on the big screen to seventy milimeters.
Speaker 2: I don't think that's a movie that's.
Speaker 3: As profound and open ended as that movie, a movie
Speaker 3: that you could watch today and still feel like you
Speaker 3: haven't got all of it's you kind of haven't unraveled
Speaker 3: all of its mysteries. It's got the greatest cut of
Speaker 3: all time. It's the only it's the only Qubriic movie
Speaker 3: I think that's properly emotional. And it just happens that
Speaker 3: that scene is the death of an Ai, but it's
Speaker 3: it's really emotional, involving in a way that his other
Speaker 3: films aren't. And it's full of images. It's full of
Speaker 3: images that once you see them, you'll never forget. I mean,
Speaker 3: probably more packed full of iconic images than any other movie.
Speaker 2: Yeah, you can have it. What's what's your answer to
Speaker 2: that one? What's your answer to that one? It's don't
Speaker 2: look now? Pretty good, it's my answer to the greatest
Speaker 2: as in Pinnacle of Cinema. Yeah, you sort of go,
Speaker 2: what concinema do? It can do that time, It can
Speaker 2: deal with time in a way, yeah, you know what
Speaker 2: I mean. It can deal with love, sex, grief, type
Speaker 2: life in a way that I don't know many other
Speaker 2: art forms can. Yeah, like what what don't look now?
Speaker 2: That in this sex scene in particular, which is often
Speaker 2: talked about, but it does the thing of you watch
Speaker 2: the post sex at the same time you watch the
Speaker 2: sex at the same time you watch the pre and
Speaker 2: as Donald Sutlin's getting dressed after this the first time,
Speaker 2: they've clearly reconnected, and it's very beautiful they've reconnected. But
Speaker 2: there's almost like, I don't know what the word for it,
Speaker 2: it's like preemptive nostalgia. It's like, even as it's happening,
Speaker 2: he's mourning the fact that it will be over. Yeah,
Speaker 2: you know what I mean that this moment has already
Speaker 2: passed and it's this lovely memory but it's happening at
Speaker 2: the same time as it's actually happening, and it's that feeling.
Speaker 2: I have that feeling a lot of Listen, I'll tell
Speaker 2: you this, I don't mind saying it. When we made
Speaker 2: said last week, I would have that feeling a lot
Speaker 2: of knowing like this is so fucking special when one
Speaker 2: day it will be over and I'd feel it in
Speaker 2: the middle of We'd still have months to go, but
Speaker 2: I'd still have that sadness of nostalgia for a thing
Speaker 2: that is still happening. You know what I mean, yeah,
Speaker 2: and I think Don't Look Now captures that yeah in
Speaker 2: a very impressive way.
Speaker 3: I heard that sequence talked about like that, but that's
Speaker 3: so true. I think there's a passage in Watchman, the
Speaker 3: Alan Moore comic where it kind of describes how doctor
Speaker 3: Manhattan sees time, and it's and it's talking about.
Speaker 2: He's talking about it all in present tense.
Speaker 3: He's saying, you know, I'm I'm meeting the love of
Speaker 3: my life and at the same time she's throwing her
Speaker 3: wedding ring back in my face and we're breaking up,
Speaker 3: and I'm also seeing her die, and I'm also making
Speaker 3: love to her the first time, and it's all encapsulated
Speaker 3: in this, in this moment that every every good thing
Speaker 3: holds this this, this possibility and promise.
Speaker 2: Of it going away and it's decaying well. And the
Speaker 2: idea in Dunkling Now, which is in so many other films,
Speaker 2: but I think originated from Doulin Now, this idea of
Speaker 2: the sixth sense being actually about time, being someone experiencing
Speaker 2: time all at once, rather than they're seeing the future
Speaker 2: in the present and the past in the time. Is it, yes,
Speaker 2: a circle that's happening all at the same.
Speaker 3: It's flat. It's a flat circle. Yeah have you seen
Speaker 3: have you seen Lake Mungo?
Speaker 2: Have I you love like Mungo? I love it? And
Speaker 2: where is the guy? Yeah, that's a perfect example.
Speaker 3: He's I think he's just he's given up filmmaking. I
Speaker 3: think he works for a charity. Now he's doing real work.
Speaker 2: He did one and done. Yeah, he made like a
Speaker 2: perfect film and then said wow, that would do. Yeah
Speaker 2: he made that. I think that.
Speaker 3: I think is probably the most brilliant film about loneliness,
Speaker 3: about the loneliness of realizing realizing that we all we
Speaker 3: all go through it alone. Ultimately, for all the kind
Speaker 3: of fanfare, it's almost that that same thing, the character
Speaker 3: being haunted by her own future Lake Mungo.
Speaker 2: For those of you who haven't seen it, you must
Speaker 2: see it. It's like a cult classic. It wasn't available
Speaker 2: but now it's available again on Blu ray and it's
Speaker 2: an Australian film made by a film like I then
Speaker 2: vanished and now works for charity. That feels like a
Speaker 2: real documentary and aside from everything, the performances are genuinely
Speaker 2: It's one of those few films where he's like, yeah,
Speaker 2: this is real, This must be real. Yeah, this feels
Speaker 2: completely real. Everyone is a real person in the documentary,
Speaker 2: completely about It's amazing. Okay, what is the film you
Speaker 2: could or have watched the most over and over again?
Speaker 3: Evil Dead Too nice. It's the movie that taught me
Speaker 3: about directing. It was the first movie where I noticed
Speaker 3: the placement of the camera and how that made me feel,
Speaker 3: how the different choice directorial choices made me feel. It's
Speaker 3: like eighty four minutes and every single scene feels like
Speaker 3: you your favorite scene. You know, you're always watching it,
Speaker 3: showing it to friends, and every five minutes you're like,
Speaker 3: this is the best inn best scene is coming up,
Speaker 3: and then ten minutes later you're like, no, no, no, this
Speaker 3: it's just perfect. And you can tell how much fun
Speaker 3: Sam Raimi is having and it's infectious, and it's properly cinematic,
Speaker 3: and it's scary and it's funny and it's just it's
Speaker 3: it's like, it does does everything you want movies to
Speaker 3: do in a tight eighty four.
Speaker 2: What did you say? It's probably thematic? Is that what
Speaker 2: you said? Probably? Oh? I don't know, I was rambling.
Speaker 2: Sad as much? Have you seen Evil Dead rises? Yeah,
Speaker 2: it's really good. It's really good, yeah, really well made.
Speaker 3: Yeah, and it's got that same it's got the same
Speaker 3: DNA from Evil Dead too. It's that movie's like ninety
Speaker 3: minutes and it's I've seen it a few times now
Speaker 3: and it's like you're like twenty minutes and you're like,
Speaker 3: oh fuck, we're here already. She's already getting She's great,
Speaker 3: this is great. It doesn't wait, it doesn't weigh around.
Speaker 2: She's I was thinking about I guess I've taken it
Speaker 2: for granted previously, but watching The Dead Writer and I'm like,
Speaker 2: it's a really impressive performance that the mum puts in
Speaker 2: I don't know her name, the act of listics, other ones.
Speaker 2: It's a very impressive performance. Alyssa suddle and amazing and
Speaker 2: like it might be hard work. All the stuff she's
Speaker 2: doing in that it's really good. Yeah, it's it's the
Speaker 2: only performance. It's the only horror franchise that's really performance based.
Speaker 2: You know.
Speaker 3: It's all about this this evil getting inside of people
Speaker 3: and then then presenting this kind of pantomime version of
Speaker 3: all that character's worst qualities.
Speaker 2: You know, the Boogeyman's easy.
Speaker 3: It's just a CG thing that pops out every now
Speaker 3: and then, But like The Evil Dead, you really have
Speaker 3: to pitch it to pitch it just right.
Speaker 2: Yeah, yeah, we don't like to be negative. Let's do
Speaker 2: it quick. What's the worst film you've ever seen? I
Speaker 2: don't like to shed on movies, so I haven't picked.
Speaker 3: I haven't picked a movie that's actually the probably objectively
Speaker 3: the worst film I've ever seen.
Speaker 2: But it's the movie that kind of disappointed me.
Speaker 3: The most, which is and this is this is probably
Speaker 3: going to be the best movie that's that's ever been
Speaker 3: the answer to this question.
Speaker 2: But it's out for.
Speaker 3: Hitchcock's Rope, Okay, great, Yeah, which I was so excited for.
Speaker 3: I was working my way through all of his movies,
Speaker 3: and I was like, the idea of like I knew
Speaker 3: what it was about, these two kind of intellectuals who
Speaker 3: hide a body under the table and then host a
Speaker 3: dinner party. I thought, that's that's such an amazing hitchcocky
Speaker 3: and conceit and obviously it's based on a real story.
Speaker 3: And then the idea of Hitchcock shooting the whole thing
Speaker 3: in single unbroken takes it just like it sounded like
Speaker 3: such an amazing movie on paper, and then and then
Speaker 3: the movie happens, and you realize that Hitchcock's completely newted
Speaker 3: by having to shoot everything in a single take, and
Speaker 3: everything becomes clunky and wooden, and the blocking has to
Speaker 3: facilitate these these camera moves, and the camera has to
Speaker 3: sprint to get over into the position it wants to
Speaker 3: be in, and you have, you know, you've got all
Speaker 3: this material that would otherwise end upon the cutting room
Speaker 3: floor that's just there, that's laid bare. And then and
Speaker 3: then the script is just full of all this awful
Speaker 3: Todd philosophy. And then you know, you've got James Stewart,
Speaker 3: who's amazing because he's amazing and everything, like valiantly trying
Speaker 3: to hold it all together. But he's acting against Farley Granger,
Speaker 3: who's just one of the worst actors who ever graced
Speaker 3: the screen.
Speaker 2: And yeah, it's just it's such a missed opportunity.
Speaker 3: And I think that's almost more egregious than a movie
Speaker 3: that's just outright bad and never stood a chance of
Speaker 3: being good.
Speaker 2: Yeah, I'd say that's a very wise answer. There's humor
Speaker 2: in your films. There's some big laughs in a Biggie Man.
Speaker 2: What's the film that made you laugh the most?
Speaker 3: Bet everyone says this, but Airplane was the movie that
Speaker 3: broy Literally I literally felt like I was going to
Speaker 3: die watch because I couldn't get a breath in. I
Speaker 3: watched it when I was I watched it when I
Speaker 3: was maybe twelve or something. Me and my brother watched it,
Speaker 3: and I just never seen anything. I didn't know you
Speaker 3: could do that. I'd never seen a movie that was
Speaker 3: like meta text you in that way, that was referencing
Speaker 3: its own existence and calling back, and that was playing
Speaker 3: it so serious but so silly at the same time,
Speaker 3: that kind of you know, that thing that Leslie Nielsen
Speaker 3: does so perfectly wasn't It wasn't in my like, I'd
Speaker 3: never seen anything like that before. It was just a
Speaker 3: revelation and the amount of jokes that were coming at
Speaker 3: you in such a short amount of time, the fact
Speaker 3: that they were in every shot. There's a joke that
Speaker 3: the movie doesn't care if you see because there's another
Speaker 3: movie going on in the foreground. But if you look
Speaker 3: in the background, there's a sign that you could read
Speaker 3: that's going to be as funny as the joke in
Speaker 3: the foreground.
Speaker 2: It was just unreal. Yeah, it's fucking funny. It's really
Speaker 2: really funny. And I'll say, was it before video? I
Speaker 2: don't know. But the fact that there's so many jokes
Speaker 2: where it's like you need to see this twice, Yeah,
Speaker 2: you need to see this three times because there's three
Speaker 2: jokes going on. It's great, Rob Savage, you have been brilliant. Congratulations. However,
Speaker 2: when you were out with the lady and you were
Speaker 2: trying to impress her and there was a big liquid
Speaker 2: dices in tank in this bar, and you went, I'll
Speaker 2: tell you what I could. I could drink a whole
Speaker 2: load of liquid nitrogen. And she said, I don't know
Speaker 2: if that. I don't know if you could, and you went, yeah, yeah,
Speaker 2: no I could. I could And she said you don't
Speaker 2: have to, and you went, no, I can, and you
Speaker 2: took off the tap, went to put it in your mouth,
Speaker 2: but the whole thing just sprayed out. You immediately froze.
Speaker 2: She was looking at you. She screamed, screamed, scream screamed.
Speaker 2: Every in the bar looked across. What the fuck? You
Speaker 2: were frozen. You couldn't say anything, and then you felt
Speaker 2: yourself tipping forward and you were like, oh God. In
Speaker 2: your head You're like, oh God. And she stepped out
Speaker 2: of the way, and you smashed on the Florida bar,
Speaker 2: shattered into pieces. Only then you died. And I was
Speaker 2: walking past the bar with a coffin, you know what.
Speaker 2: I'm like, well, what was that sound of shattering ice?
Speaker 2: In there? Put my head in. There's this girl sort
Speaker 2: of screaming and laughing, and I go, what's happened? She goes,
Speaker 2: I was just on a date with a guy and
Speaker 2: he said he could drink liquid nitrogen and then it
Speaker 2: killed him. And I was like, oh, that's nice, embarrassing,
Speaker 2: and she goes, yeah, I suspected he wasn't going to
Speaker 2: be able to try to stop him. And I go,
Speaker 2: is that him? She goes yeah. I think his name
Speaker 2: is Rob And I go, what Rob Savage? She goes yeah,
Speaker 2: I was fucking hell. I go, oh, come in and
Speaker 2: help movie this. And we're it's so cold, all the
Speaker 2: bits he is. We're having to put on like industrial
Speaker 2: gloves from the bar. We pick up all the shards
Speaker 2: of you. It's a fucking mess, so much of it.
Speaker 2: You're in such little pieces, but us so much of it.
Speaker 2: The coffin is rammed. There's only enough room in this
Speaker 2: coffin for me to slip one DVD into the side
Speaker 2: for you to take across to the other side, and
Speaker 2: when you're there, it's movie night. Every night one day,
Speaker 2: it's your movie night. What film are you taking to
Speaker 2: show the people of heaven when it is your movie night?
Speaker 2: Rob Savage, you know what?
Speaker 3: I think it would be Bringing Out the Dead, the
Speaker 3: Martin Scorsese movie, which amazing, which which for.
Speaker 2: Why I was watching that very recently.
Speaker 3: Tell me why that because I think I'd like to
Speaker 3: show them up there. How underrated that is. It's the
Speaker 3: scorse movie I go back and watch the most. It's
Speaker 3: like Taxi Driver is sleeplessness and whiskey that that movie
Speaker 3: is like too much caffeine and staying up for three
Speaker 3: nights in a row. It's so brilliantly nervy. It's got
Speaker 3: some of my favorite Scorsese set pieces in it. It's
Speaker 3: a movie that I constantly watch just for how he
Speaker 3: stages the scenes and moves the camera and blocks, and
Speaker 3: it's one of those gorgeous looking movies as well. The
Speaker 3: cinematography is is just jaw dropping. And it's not the
Speaker 3: best Scorsese movie.
Speaker 2: It's not.
Speaker 3: It's not probably even my favorite Scorsase movie. It's the
Speaker 3: one that I can watch again and again again and
Speaker 3: just absorb that Scorsese goodness and and I think that's
Speaker 3: what I'd want to be doing if I was sitting
Speaker 3: on a cloud after being shattered.
Speaker 2: It's also funny. It's so funny that film. I think
Speaker 2: it's like, got so many proper jokes in it, really
Speaker 2: like a funny recurring thing of him trying to be
Speaker 2: fired and he's the buzz is like I fight. It's funny, Like,
Speaker 2: there's so many good jokes in it. Yeah, Bing Raims
Speaker 2: is fucking Hilario is in it. Tom Size more great,
Speaker 2: Tom Size more terrifying and funny. Yeah, great, good film.
Speaker 2: It's the best. Well, Rob Savage, what a delight. You're brilliant.
Speaker 2: Thank you so much. What would you like to tell
Speaker 2: people to look out for? I don't know when this
Speaker 2: is going to come out, so either the Boogeyman may
Speaker 2: be out by the time this comes out, So I
Speaker 2: would say to everyone, guys, see that. Is there anything
Speaker 2: else you would like to tell people to look for
Speaker 2: or listen to from you?
Speaker 3: No, that's all I got going on. I'm all boogie
Speaker 3: all of the time. Go and see it in the
Speaker 3: Cinemaie really is a big screen movie.
Speaker 2: Yeah, it is, and it is.
Speaker 3: If this comes out after Boogeyman's already come out, then
Speaker 3: we've already established that past and present exists at the
Speaker 3: same time.
Speaker 2: So go and go and see it either way. Yeah,
Speaker 2: thank you very much.
Speaker 3: Man.
Speaker 2: That was really great. That was so much fun. It's
Speaker 2: very good to see you. I have a wonderful death.
Speaker 2: Good day to you. So that was episode two hundred
Speaker 2: and fifty four. Head over to the Patreon at patreon
Speaker 2: dot com forwards. Last Breck Goldstein for the extra twenty
Speaker 2: minutes of chat secrets and video with remember to watch
Speaker 2: Shrinking and Ted Lasso on Apple TV plus. Go to
Speaker 2: Apple Podcasts. Give us a five star rating. But right
Speaker 2: about the film that means the most of you and why.
Speaker 2: It's a very nice thing to read and we really
Speaker 2: appreciate it. Thank you very much. Thank you so much
Speaker 2: to Rob for being so open and forgiving me his
Speaker 2: tome for being excellent. Thanksgrebious, Pip, and there's tracks some
Speaker 2: pieces of network. Thanks to Buddy Peace for producing it.
Speaker 2: Thanks to iHeartMedia and Will Ferrell's Big Money Players Network
Speaker 2: for hosting it. Thanks to Adam Richison for the graphics
Speaker 2: and least alone for the photography. Come and join me
Speaker 2: next week for another smasher of a guest. But that
Speaker 2: is it for now. Have a good week, and in
Speaker 2: the meantime, please, now more than ever, be excellent to
Speaker 2: each other. Colors outcast backs, bass back, tack Tolers, outcasts,
Speaker 2: bass back,