Speaker 1: Okay, it's only films to be buried with. Hello, and
Speaker 1: welcome to films to be buried with. My name is
Speaker 1: Brett Goldstein. I'm a comedian, an actor, a writer, a
Speaker 1: director of Feng Shuia, and I love films. As Bertrand
Speaker 1: Russell once said, do not fear to be eccentric in opinion.
Speaker 1: For every opinion now accepted was once eccentric. Show Girls
Speaker 1: was once considered a bad movie. Now everyone's seen the light.
Speaker 1: You get it. Every week I invite a special guest over.
Speaker 1: I tell them they've died. Then I get them to
Speaker 1: discuss their life through the films that men the most
Speaker 1: of them. Previous guests include Barry Jenkins, Amber Ruffin, Sharon Stone,
Speaker 1: and even said Ambles. But this week it is the
Speaker 1: brilliant National Treasurer of an actor, David Morrissey. Head over
Speaker 1: to the Patreon at patreon dot com forward slash Brett Goldstein,
Speaker 1: where you get about twenty minutes extra stuff with David,
Speaker 1: including a secret. You also get the whole episode uncut
Speaker 1: and dad free and normally as a video, except this week,
Speaker 1: when for once there was a technical issue in that
Speaker 1: perhaps I forgot to press record on the video, and
Speaker 1: I didn't get the video, but at the end, when
Speaker 1: I realized this, we did record a special quick video
Speaker 1: message with David so you could all see his lovely face.
Speaker 1: And that is exclusively for the Patriots, but normally you
Speaker 1: get a great, old, long good video. Check it out
Speaker 1: over at patreon dot com. Forwards left, Brett Goldstein David Morrissey.
Speaker 2: Wow.
Speaker 1: David Morrissey is an excellent actor. You've seen him in
Speaker 1: all your favorite TV shows and a lot of your
Speaker 1: favorite movies, from The Walking Dead to Sherwood to Britannia,
Speaker 1: to Blackpool, to The Missing, to Thorn, to Red Riding
Speaker 1: to State of Play.
Speaker 2: Amongst many others.
Speaker 1: And he is now in the truly brilliant sitcom Daddy Issues,
Speaker 1: written by stand up Danielle Ward, now playing on the BBC.
Speaker 1: He's a lovely man and you'll find out I worked
Speaker 1: with him many years ago and we recorded this on
Speaker 1: Zoom a few weeks ago.
Speaker 2: It was so great to hang out with him again
Speaker 2: and I really think you're going to love it. So
Speaker 2: that is it for now.
Speaker 1: I very much hope you enjoy episode three hundred and
Speaker 1: thirteen of Films to.
Speaker 2: Be Buried with.
Speaker 1: Hello and Welcome to films to be buried with. It
Speaker 1: is I Berett Goldstein, and I am joined today by
Speaker 1: an actor, a producer, an executive producer, a creator, a
Speaker 1: walking dadda, a basic instinctor, a thorner, a Britannia, a
Speaker 1: daddy issue, a legend.
Speaker 2: I don't have the list off the top of my head.
Speaker 2: That there's too.
Speaker 1: Many things to go on IMDb. He has done everything.
Speaker 1: He is not only a national treasurer and one of
Speaker 1: the great actors, he's also my dad's favorite accent and
Speaker 1: has been always and he is a wonderful man. He's here.
Speaker 1: He's the DJ. We forgot that bit. He's also a
Speaker 1: hero to us all. He's here, He's alive, He's real.
Speaker 2: It's David Morrissey. Oh my goodness, what an intro. That
Speaker 2: was fantastic. I didn't know it was your dad's favorite actor.
Speaker 2: That's wonderful. Did you not know?
Speaker 1: I thought I told you you you were You were
Speaker 1: the only I think you're the only English.
Speaker 2: Actor that I've heard my dad talk about.
Speaker 1: And he talks about you like he'll watch anything you're in,
Speaker 1: like he'll always like it was like when before you
Speaker 1: and I met, he would always be like, well, David
Speaker 1: Morris is.
Speaker 2: In it, so it's definitely good. Oh I'm so chocked
Speaker 2: by that. I will send the side in poto. Obviously
Speaker 2: he lost his right texted him this morning.
Speaker 1: I said, you'll never guess, You'll never guess who I've
Speaker 1: got one today. Oh well, I'm so chucked. I'm so yeah.
Speaker 1: I haven't seen you in a long time. You if
Speaker 1: we can talk about this and we can cut it
Speaker 1: out if you don't want. And we worked together briefly.
Speaker 1: You you were one of my first You hired me
Speaker 1: to write a script for you, and I think that
Speaker 1: was one of one of my first sort of things
Speaker 1: sort of writing job at assignment.
Speaker 2: So I'm very grateful to you. And that's how we met,
Speaker 2: and we went on a bit of a journey with that.
Speaker 2: And then do you want? And now you you know,
Speaker 2: your world famous, your globe trotting, your sort of selling
Speaker 2: out stadiums, and all my dad wants to talk about
Speaker 2: is me such his life?
Speaker 1: How is it all going now? So you're you have
Speaker 1: a new show coming out, I've got yeah.
Speaker 2: I've got a new show called Daddy Issues with Amy
Speaker 2: Lou Wood, The Wonderful Amy Lou Wood and that's a
Speaker 2: comedy you know, half hour comedy show BBC, which comes
Speaker 2: out in the middle of this month. In the middle
Speaker 2: of August, I watched the first episode, did you all right? Okay? Great?
Speaker 1: It's great and it's really funny, and it's really different,
Speaker 1: and you a brilliant in it, and it's it's the
Speaker 1: sort of thing you've never done.
Speaker 2: I don't think all of your stuff. Well I did.
Speaker 2: I did one episode of Inside Number nine, which was
Speaker 2: really I really enjoyed doing it, and obviously I know
Speaker 2: Stephen Reese quite well and that was great. So, you know,
Speaker 2: I don't usually get I'm not at the top of
Speaker 2: the list for comedy shows.
Speaker 1: What I mean is it's not that I haven't seen
Speaker 1: it to be funny. Is that you're very You're you're
Speaker 1: often because you're very handsome. This starts my dad, because
Speaker 1: you're you have gravitas. That's my dad. But in Daddysues
Speaker 1: you're quite yeah, weak and vulnerable and sort of pathetic.
Speaker 2: And it's really great. You're so good. It's a really
Speaker 2: different performance. He's a manchild. Yeah. It's about a girl
Speaker 2: who she gets pregnant and her sister's in jail. Her
Speaker 2: mother's left the country and so she's sort of got
Speaker 2: no one in her life really, so she has to
Speaker 2: reconnect with her dad, who's a complete sort of you know,
Speaker 2: he's a real manchild. He's a guy who's sort of
Speaker 2: lost his way. He's living in a bedsit with a
Speaker 2: lot of other angry men, and he's sort of being
Speaker 2: bullied and sort of manipulated by these guys, and he
Speaker 2: doesn't know how to he's lost the manual to life, really,
Speaker 2: and she sort of needs needs him to sort of
Speaker 2: step up, and he does his best to step up,
Speaker 2: and the comedy is him trying to step up for
Speaker 2: her and inevitably failing every now and again. But I
Speaker 2: think it's got great heart. It's written by Danielle A. Ward,
Speaker 2: who you know, I think is such a She was
Speaker 2: a stand up as well and great writer. So yeah,
Speaker 2: you're right, it's very different for me. But I had
Speaker 2: a board. Comedy is hard, though, isn't it. I mean, well,
Speaker 2: that that sort of half hour comedy I found really
Speaker 2: are because usually in drama, you know, I have time
Speaker 2: to sit down with the director and talk about motivation
Speaker 2: and talk about you know the backstory of my character
Speaker 2: and stuff like that, whereas comedy, no way, You're just
Speaker 2: on and you're going. You're like, you know, you don't
Speaker 2: have time to chat too much, you know, You've just
Speaker 2: it's like shuts off a shovel. Really, you just gotta
Speaker 2: get going, you know. And I found that really really
Speaker 2: actually I found it tough, but really invigorating as well
Speaker 2: and really sort of challenging in a great way. And
Speaker 2: when you've got a great David Finns in it as
Speaker 2: well and sort of you know, so funny, and it's
Speaker 2: that thing of having great actors around you who are
Speaker 2: used to that format. You just spark off them and
Speaker 2: Amy's like pretty amazing. So it's we got on so well.
Speaker 2: So yeah, it was a joy to do. Actually, did
Speaker 2: you find it?
Speaker 1: Because I saw you in Hangman, which was a play,
Speaker 1: and it was very funny, and you were very very
Speaker 1: funny in it, and you did that for a while,
Speaker 1: so you're you're used to live laughs and you knew
Speaker 1: how to play that. You were very funny and you
Speaker 1: you knew how to play the audience and all that.
Speaker 1: And when you're doing this half out of comedy where
Speaker 1: there is no laughter, there's no audience was their laughter
Speaker 1: on set? Was it like a nice vibe You'll be like,
Speaker 1: I just have to trust this is funny, you see.
Speaker 2: That was the other thing that it was I found
Speaker 2: really difficult was that we were pissing ourselves all the time.
Speaker 2: So you know, me and me and Amy and David
Speaker 2: and the crew, we would piss ourselves laughing. But there's
Speaker 2: nothing worse than that thing as an actor, where you
Speaker 2: start corpsing and pissing yourself and you turn and look
Speaker 2: at the crew and they're all stony faced, looking at
Speaker 2: their looking at their watching and look, we want to
Speaker 2: get home by seven, you know. And it was and
Speaker 2: that would make me laugh even more and sort of
Speaker 2: like my heart would start pumping and something and my
Speaker 2: stomach would start turning, you know. But I was, yeah,
Speaker 2: you could gauge it, I think, you know, if it
Speaker 2: was making us laugh, and the director and stuff and
Speaker 2: its it comes out of Fudge Park who did the
Speaker 2: in between us and stuff, and you know they've got
Speaker 2: a track record with that, and so yeah, it was.
Speaker 2: It did make me laugh though. That was my big
Speaker 2: thing was trying not to corpse all the time with
Speaker 2: me and Amy. And even now when I watch it,
Speaker 2: I can see where they've just got the scissors in
Speaker 2: just before I start pissed myself. I like that.
Speaker 1: What what makes you David Morrissey, Britain's best actor? What
Speaker 1: makes you choose a project? Because I assume you offered
Speaker 1: an awful lot and turned down an awful lot.
Speaker 2: What is it?
Speaker 1: Because you have a very eclectic and brilliant CV. I'm
Speaker 1: interested in what makes you go business?
Speaker 2: I think that's where I start with that thing. I
Speaker 2: start with have I done this before? Right? And then
Speaker 2: if I have done it before, I say how much
Speaker 2: money are they paying me? But you know I tend
Speaker 2: to try to make things different for myself. I get
Speaker 2: bored quite quickly. I get I think, you know it's
Speaker 2: the thing for me. You mentioned Hangman and I loved it.
Speaker 2: I never got bored doing Hangman, but then you know
Speaker 2: it was it was a three and a half month run.
Speaker 2: If it had been a year. You know, a friend
Speaker 2: of mine has just been in Guys and Dolls for
Speaker 2: a year. You know, I think I think I would
Speaker 2: start banging out against the brick wall then, So I
Speaker 2: like to mix it up. I like it to be different.
Speaker 2: I like, you know, what I'm looking at is a
Speaker 2: character that intrigues me, but is also possibly different from
Speaker 2: where I've been in the past. You know, and you
Speaker 2: change what you yourself, you know, you're the things that
Speaker 2: concern you in life change and what you're looking for.
Speaker 2: So and I do like not just in terms of character,
Speaker 2: but theater, film, television, radio, you know, all those things.
Speaker 2: Audio books, you know, all those things keep me on
Speaker 2: my toes and I like that. I like the test
Speaker 2: of all that. But also sometimes what attracts me to
Speaker 2: the job is the other people. You know. It's always
Speaker 2: best to work with good people and talented people. So
Speaker 2: sometimes I've got into a job not really knowing what
Speaker 2: it is. I did two jobs with Dominic Savage, and
Speaker 2: there's no script with Dominic. You know, you just go
Speaker 2: in and you're sort of improvising. He's got scenarios for
Speaker 2: certain scenes, but he hasn't got there's no proper script
Speaker 2: or dialogue. You're making it up with the other actor.
Speaker 2: And I love that. But because of him and trusting
Speaker 2: him and knowing his work, you walk into that with
Speaker 2: a lot of faith. But also it's that thing of
Speaker 2: you never you know, you've got to take risks a
Speaker 2: lot of a lot of the time with me, I've
Speaker 2: said yes and found out what it is afterwards, you
Speaker 2: know what I mean. I'm not trying to sort of
Speaker 2: get everything locked down before I walk into it. I
Speaker 2: wanted to cover it as I'm doing it, and that
Speaker 2: for me, that's always been the best way. That's great.
Speaker 1: It's something I sometimes ask actors I'm interested in, do
Speaker 1: you always know, like what have you made? Stuff where
Speaker 1: you're on set and you're like, I think this might
Speaker 1: be shit, I think this might be a disaster, and
Speaker 1: then it turns out it's fucking brilliant, Or vice versa,
Speaker 1: where you're like, this definitely works and then you're like,
Speaker 1: oh no, you obviously don't have to name the bad
Speaker 1: if you don't want.
Speaker 2: But the former is every job I've done, every job
Speaker 2: I've done, there's a point where I think this is terrible,
Speaker 2: and I'm terrible. Okay, it's never going to work. But
Speaker 2: what the what the hell? Was I thinking, Oh my god,
Speaker 2: I'm never going to work again. I remember I did
Speaker 2: a show called Blackpool, which again was funny. Actually it
Speaker 2: was a funny show that was and it was a
Speaker 2: show with singing and dancing. It was very sort of
Speaker 2: every now and again it was a musical basically, and
Speaker 2: it was myself and David Tennant. And after about probably
Speaker 2: about five or six weeks, we were staying in a
Speaker 2: hotel at Blackpool and the producers decided it would be
Speaker 2: a good idea to give us a little show reel
Speaker 2: of what we've done so far. So we were all
Speaker 2: in the bar, all the cast and the crew, and
Speaker 2: this showed this show reel of about three minutes of
Speaker 2: what we've done so far down routines knocking back, and
Speaker 2: everybody was like, oh, that's great, that's great. Me and
Speaker 2: David walked away and we both got into the lift
Speaker 2: together and we looked at each other, wind We're never
Speaker 2: gonna work again. We're never gonna work. We were so
Speaker 2: panic stricken by the whole thing. It was like, you're
Speaker 2: such a you're sort of such a bad judge of
Speaker 2: those things when you're in it, and you just have
Speaker 2: to keep going and sort of trusting what you're doing
Speaker 2: and fight for what you want to believe in. But
Speaker 2: I'm not a good judge while I'm in it. I'm
Speaker 2: sort of not a good judge afterwards either as well.
Speaker 2: I mean, I think I have my instincts and stuff,
Speaker 2: but I watched myself. I know actors who never watched themselves,
Speaker 2: and I do watch myself, but I have to watch
Speaker 2: myself more than once because the first time I watched myself,
Speaker 2: all I'm saying is the fact that you know, I've
Speaker 2: got a big nose, or I wish I hadn't chosen
Speaker 2: that shirt or whatever. And then I get through that
Speaker 2: ego watch and I start watching it the way that
Speaker 2: everybody else would watch it, and I start accept it
Speaker 2: in a different way. But I also think it's really important.
Speaker 2: It's certainly important for me to watch myself. And as
Speaker 2: you get older, it gets harder to watch yourself, but
Speaker 2: I mean, it's still important to watch what you're doing.
Speaker 2: I mean, I've I agree with it.
Speaker 1: I have to watch when I when I've done stuff
Speaker 1: that I've like written and I've had to be in
Speaker 1: the edit and stuff, I have to watch it three times,
Speaker 1: and I do it. I've sort of figured out this routine.
Speaker 1: I watched it three times on my own because I'm
Speaker 1: going to hate it. I think I'm disgusting this is
Speaker 1: what my face does. I can't believe that's my face.
Speaker 1: And then after three times, I can then be objective
Speaker 1: and go Okay, this is what the character.
Speaker 2: This is the story we're telling. Except I think you
Speaker 2: have to do that because that's the that's the point
Speaker 2: where you start watching it, like everybody else is watching it. Yeah.
Speaker 2: And also I think for me, I watch it because
Speaker 2: I want to see what the people have done with it.
Speaker 2: I want to see what the editor is done, what
Speaker 2: the director is done in terms of what music they
Speaker 2: put on it, stuff like that is the story there.
Speaker 2: And also sometimes you think, you know, you feel that
Speaker 2: you're conveying something or you're feeling an emotion and a scene,
Speaker 2: and then you watch it and you'll think, oh, God,
Speaker 2: that's not what I that's not the emotion I thought
Speaker 2: I was coming across. But actually it's quite interesting or whatever.
Speaker 2: It's just I'm just curious around that process. That's interesting
Speaker 2: to hear from you when you're so experienced. I definitely
Speaker 2: I've had that. I had it recently when the director
Speaker 2: came over and gave me a note and I didn't
Speaker 2: say it. I wasn't defensive, but what I thought was, oh,
Speaker 2: I thought, that's exactly what I just did, what you
Speaker 2: just asked me to do. That's what I was feeling.
Speaker 2: But it was obviously not coming out through this head.
Speaker 2: That's really interesting, though, isn't it, Because for a long
Speaker 2: time as an actor, as a young actor, a director
Speaker 2: came over and gave me a note. All I heard
Speaker 2: was your shit. That's all I heard. I didn't hear
Speaker 2: they were saying things like, look at you know, why
Speaker 2: don't you just dial this bit up or dial that down?
Speaker 2: Or there's more at stake in the scene, or you know,
Speaker 2: I'm I'm not getting the emotion as much as I need.
Speaker 2: All I heard was your shit, and we wish we'd
Speaker 2: cast someone else. And it took me a long time
Speaker 2: to know that some directors hate actors. They don't like
Speaker 2: actors at all. But mostly when I've worked with really
Speaker 2: good directors, they love actors and they want you to
Speaker 2: be good. So what the notes are there to sort
Speaker 2: of encourage you to be brave or to sort of
Speaker 2: tell you that you're in a close up so you
Speaker 2: don't need to give me so much stuff, you know,
Speaker 2: things like that that they're there to make you better.
Speaker 1: Really, And what's it like for you Because you've made
Speaker 1: your own stuff produced, have you directed?
Speaker 2: Yeah, I'm not directed myself, but I've directed stuff.
Speaker 1: Okay, and how is it because the thing that I
Speaker 1: watched all of and that was done, which is your
Speaker 1: You produced it and made it and you were involved
Speaker 1: in every aspect of that. How how is it for
Speaker 1: you that side of it where you're in.
Speaker 2: Well, that's that's an interesting one for me because yeah,
Speaker 2: that was something that I produced and it was my
Speaker 2: company that produced it. And what I really had to do,
Speaker 2: which was new for me, is when I was on set,
Speaker 2: was thinking, Oh, the acting is the easy bit, you know,
Speaker 2: this is the bit. I know. Okay, let's move on.
Speaker 2: We've only got half an hour left, the lights dying.
Speaker 2: And I did exactly what I don't do is just
Speaker 2: a pure actors say hey, can we put the brakes
Speaker 2: on here? Hang on a minute. I you know, I
Speaker 2: need a bit more time. I mean. So I had
Speaker 2: to sort of do this thing with Thorn where I
Speaker 2: suddenly went just be the actor. When the camera's rolling,
Speaker 2: you have to don't be thinking about anything else. And
Speaker 2: it was that you can. I could only wear one
Speaker 2: hat at a time, and it was more about the
Speaker 2: fact that I had to learn not to sell myself
Speaker 2: short as the actor. I still needed to sort of
Speaker 2: dig in as the actor. I still needed to sort
Speaker 2: of tell that story, tell that character. But the producer
Speaker 2: head was a bit like, you know, we need to
Speaker 2: be moving on here. You know, we haven't got them
Speaker 2: a lot of time, or or also you know, you
Speaker 2: on a Tuesday, you're just about to do a scene
Speaker 2: and your partner would say to you, your producing partner
Speaker 2: would say to you, we've lost the location for tomorrow,
Speaker 2: and you were like shit, So you were in a
Speaker 2: scene going what are we going to do tomorrow? What
Speaker 2: are we going to do? I'm gonna you think about
Speaker 2: I'm not here now. I've got to be as as
Speaker 2: present as I can be in this moment. So it
Speaker 2: was a real learning curve for me. But I was
Speaker 2: very proud and I've done it a few times now,
Speaker 2: but I was very proud with the final product. But
Speaker 2: it was a learning curve for me about making sure
Speaker 2: I was one once they shouted action, I was right
Speaker 2: in the character and doing what I was supposed to
Speaker 2: be doing.
Speaker 1: And sometimes in the edit we like, god, he looks
Speaker 1: really stressed. Yeah, because I was thinking about the right.
Speaker 2: I was thinking why did we get these caterings? Now?
Speaker 2: It was so yeah, you have to sort of the
Speaker 2: edits the other. The other thing is interesting about being
Speaker 2: in the edit because you sort of you know, you
Speaker 2: you have to do the thing that you said, You
Speaker 2: have to watch it again and again and again before
Speaker 2: you can start editing it with any sort of distance
Speaker 2: and sort of, you know, give yourself a little bit
Speaker 2: of perspective on how are you at not working, like
Speaker 2: when you have gaps between stuff, are you relaxed or
Speaker 2: are you in a state? How are you at? Time off?
Speaker 2: So there's two types of time off. There's time off
Speaker 2: that you have knowing that you're going to a job,
Speaker 2: so you know where you'll you'll finish a job in February,
Speaker 2: but know you're going to work in April, and that's great.
Speaker 2: That's because you know something's coming and you know you
Speaker 2: can kick back and you can sort of but that
Speaker 2: sort of abyss of time where you sort of finish
Speaker 2: a job and you've got nothing in front of the
Speaker 2: fifth you know that that is like the tumbleweed moments
Speaker 2: of just thinking, oh my god, you know, and what
Speaker 2: was you know? The interesting thing for me about Lockdown
Speaker 2: was I really and I know lots of people had
Speaker 2: a difficult time in Lockdown, but I sort of had
Speaker 2: I was okay in lockdown because we were doing Britannia.
Speaker 2: We'd been five weeks into Britannia and then we went
Speaker 2: into lockdown, and we were always planning to go back
Speaker 2: to Britannia at the end of it, so that was okay.
Speaker 2: But also I knew that everybody else's phone wasn't ringing
Speaker 2: as well. It wasn't just Mate, so that so I
Speaker 2: didn't have that thing of like, you know, maybe they're
Speaker 2: phoning him and maybe what's going on nobody There was
Speaker 2: just that thing about, no, nothing's happening to anybody, So
Speaker 2: it's fine, And that'd never been so relaxed. It was
Speaker 2: whereas you usually if you're in that place of you know,
Speaker 2: waiting for something to come up and you haven't got it,
Speaker 2: I do start to panic. But I also start to
Speaker 2: use my time creatively in other things. You know. I'm
Speaker 2: developing stuff. I've got a podcasts myself. I do a
Speaker 2: radio show, you know, so things like that. I tend
Speaker 2: to stay busy in the creative sphere really, but I
Speaker 2: love working. I have to be careful in the fact
Speaker 2: that work becomes my master a little bit. And I've
Speaker 2: gone through that place of work being the thing that
Speaker 2: validates me. I don't feel that anymore, but for years
Speaker 2: I did think work was the one thing that told
Speaker 2: me I was of worth. What does validate you know,
Speaker 2: if anything? Or is that not the point? Yeah? I
Speaker 2: think you know, family is the thing that validates me.
Speaker 2: You know, I've got three kids and I see a
Speaker 2: lot of them. But I'm also able to sort of
Speaker 2: relax a little bit in myself about you know, it
Speaker 2: will happen, you know, rather than chasing it like a
Speaker 2: greyhound around the track like I used to do in
Speaker 2: terms of work, I now do think, you know what,
Speaker 2: it will be okay, it's going to be okay. And
Speaker 2: I know what, having just said that, I thought, Fuck, Dave,
Speaker 2: don't say that. Don't tell that's just cast the whole thing.
Speaker 2: You're never going to work again, now that you've said so,
Speaker 2: it's quite weird. But it's back in the abyss. If
Speaker 2: I'm back in the abyss in that you know, it's
Speaker 2: not right, it's not right. Listen.
Speaker 1: I'm not saying this just because he said that. But
Speaker 1: I have forgotten to tell you something, and I mean
Speaker 1: the timing can be worse, but I'll tell you. I'll
Speaker 1: just tell you and then we'll deal with it. You've died,
Speaker 1: you're dead.
Speaker 2: Oh Jesus Christ, thanks very much. Don't tell my agent.
Speaker 2: No oh god, no, no no, they're not the how
Speaker 2: did you die? What's your dream? Dead? I probably don't
Speaker 2: know what my dream does. It's painless, definitely, I probably
Speaker 2: you know what, I probably die running into a burning
Speaker 2: orphanage and and you know, so getting everybody out and
Speaker 2: then just falling down, you know, a burning hole before
Speaker 2: that type of thing. You know. I want a heroic
Speaker 2: I want to be heroic.
Speaker 1: The problem is you fall down when you when you collapse,
Speaker 1: you fall down next to a petrol can and it
Speaker 1: looks like you started to fire. So it's kind of
Speaker 1: a miz and I grab it. I grab it, so
Speaker 1: it's got my fingerprints on it. Yeah, its mixed messages
Speaker 1: at the but I think he started that.
Speaker 2: He's got a boocket matches in his pocket. Yeah, it's
Speaker 2: like a John Stonehouse thing. Just to make myself look heroic. No,
Speaker 2: I think it's uh yeah, just painless. Please, I don't
Speaker 2: want to I don't want any pain. That would be
Speaker 2: my main thing. You know, do you worry about death?
Speaker 2: You forget we'd have to talk about it. I forgot
Speaker 2: about that. Yeah, not anymore. No, I used to, but yeah,
Speaker 2: you know I used to. I think just I just
Speaker 2: I felt that all through my twenties and thirties, I
Speaker 2: thought about it a lot, and actually through my teenagers.
Speaker 2: My dad died when I was a kid, so death
Speaker 2: was always very close to me. How old were you, maya, yes,
Speaker 2: So he got ill when I was eight, and he
Speaker 2: eventually died when I was fifteen, but he'd been very
Speaker 2: ill between that period. But so death was always very close.
Speaker 2: It was really, it was hanging over us all through
Speaker 2: my childhood, really, and so that was that sort of
Speaker 2: gave me this idea of mortality, you know, that I
Speaker 2: was going to go and he was fifty four, and
Speaker 2: that was ancient to me. I mean, the idea of
Speaker 2: you know, he was an old man when he died,
Speaker 2: and he died of fifty four, and people around me,
Speaker 2: you know, I would see adults in their fifties and
Speaker 2: the late fifties, early sixties, and they looked old. They
Speaker 2: were old people. In fact, recently, I did a thing
Speaker 2: recently called The Long Shadow, where I played a real
Speaker 2: guy at polacement. It was all about the Yorkshire Ripper
Speaker 2: and I played this guy called George Oldfield, and when
Speaker 2: I looked at it pictures, I was like, wow, God,
Speaker 2: and this is an old man and he was four
Speaker 2: years younger than me, and I was like, God, this
Speaker 2: is because it was that sort of These were post
Speaker 2: war generation, you know, they've been through it. They were smokers,
Speaker 2: they were drinkers. You know. It was that type of lifestyle,
Speaker 2: and they carried it. You know. So death for me
Speaker 2: for quite a long time was hanging over me. I
Speaker 2: knew it was there, it was coming. I mean I
Speaker 2: made life choices accordingly, sometimes quite bad ones. But now, no,
Speaker 2: I don't know. I'm very much about keeping it in
Speaker 2: the day, keeping it in the living, being very grateful
Speaker 2: about my life and what I have, and you know,
Speaker 2: try to stay healthy and stuff. But you know, I
Speaker 2: don't dwell on it like I used to. I was
Speaker 2: quite morbid for a long time and I don't feel
Speaker 2: that now. What do you think happens when you die?
Speaker 2: There's an after life? I don't actually know. I think
Speaker 2: you're you live on in the in the memories of
Speaker 2: those that are left. I think you you you know
Speaker 2: what you like Marley's ghost. I think what you know?
Speaker 2: What you put down here during your life will live on.
Speaker 2: But I don't think there's a heaven or hell or
Speaker 2: anything like that, or limbo or I don't have any
Speaker 2: I don't think. I don't believe in reincarnation or anything
Speaker 2: like that. But I do believe in goodness and spirituality
Speaker 2: and the goodness that we spread whilst we're alive, you know,
Speaker 2: having some effect on the people behind us. Well, you're
Speaker 2: you're completely wrong. There is a heaven God, I knew
Speaker 2: that God.
Speaker 1: The heaven is and you're welcome there despite your beliefs,
Speaker 1: really welcome, and it's stilled with your favorite thing.
Speaker 2: What's your favorite thing? Probably sausages and mash. I don't know.
Speaker 2: D's great choice, you know, things your mass as far
Speaker 2: as the sausage and match of the day, that'll be
Speaker 2: my that'll be thinking, right, A heaven.
Speaker 1: That is heaven, and you're welcome there, and everyone is
Speaker 1: so excited to meet you. They're all huge fans, but
Speaker 1: they won't know about your but they won't know about
Speaker 1: your life through film.
Speaker 2: It's weird, okay.
Speaker 1: And the first thing they ask you is what is
Speaker 1: the first film you remember seeing David Merrisey.
Speaker 2: So this is really weird. Because the first film I
Speaker 2: remember going to see was my sister. I'm sure my
Speaker 2: sister took me to see Pinocchio the original Disneys Terrified,
Speaker 2: but that came out in nineteen forty, so I mean,
Speaker 2: you know, not getting on but the re releases, right,
Speaker 2: so they must it must have been a re release,
Speaker 2: And I remember going and the thing I remember most
Speaker 2: was the post walking in. I remember this huge poster
Speaker 2: outside the cinema, and then I just remember this color
Speaker 2: and this sort of the size of the screen. Obviously
Speaker 2: I had seen had a black and white talley, you know,
Speaker 2: so I just remember having that as my entertainment, but
Speaker 2: suddenly seeing this massive technical film really blew me away.
Speaker 2: And obviously, you know, it's got those two characters who
Speaker 2: are running take them off to the circus and they
Speaker 2: sing Hi diddly d. So maybe that's where I became
Speaker 2: interested in acting, particularly the line where they say hi
Speaker 2: didly do ustily still after two Maybe that was where
Speaker 2: I thought, well, that sounds good. I love some of that.
Speaker 2: But I remember it as an experience rather than I've
Speaker 2: obviously seen it since then. But I remember it as
Speaker 2: going with her and her friend and sort of being
Speaker 2: amazed by the size and the sound of it, and
Speaker 2: just the whole experience of sixty foot to cross screen
Speaker 2: with this amazing color and story. It really stuck in
Speaker 2: my mind. So they must have done those re releases, I.
Speaker 3: Think, yeah, yeah, So she's six years older than me,
Speaker 3: so I think there might have been her friend's mom
Speaker 3: might have gone with us, so we might have all
Speaker 3: gone together.
Speaker 2: But it was, Yeah, it was quite a big memory,
Speaker 2: and just I remember walking your way from the cinema
Speaker 2: and looking back and seeing the poster and just thinking, Wow,
Speaker 2: that was just amazing and just wanting more of it,
Speaker 2: wanting more of it. And then you know that thing
Speaker 2: of going back in the black and white TV not
Speaker 2: being enough anymore or something that that sort of I
Speaker 2: felt cheated about that really yea, But cinema suddenly began
Speaker 2: the smell of it and the sort of the communal
Speaker 2: idea of all these people in one space having the
Speaker 2: same experience that was really moving for me. I found
Speaker 2: it very, very sort of exciting. Really, I love it.
Speaker 2: I love it. What's the film that scared you the most?
Speaker 2: Do you like being scared? Yeah? I like being So
Speaker 2: there's those two types of SCA isn't that there's there's
Speaker 2: sort of jump scar stuff, which I sort of do
Speaker 2: find in the cinema fine. I mean I hate fair
Speaker 2: grounds and roller coasters and stuff. I can't stand them.
Speaker 2: They just drive me back. I once embarrassed my son
Speaker 2: very much in Lego Land on the Pirates if they're
Speaker 2: streaming screaming while all these kids around me were like
Speaker 2: loving it and I was gonna get me up. So yeah,
Speaker 2: I'm not braied on that. But in films, I'm not.
Speaker 2: So I do like a good film that scares me.
Speaker 2: And then there's the psychological, all sort of type of
Speaker 2: film that really sort of troubles one, and I like
Speaker 2: that as well, So yeah, I do. But the film
Speaker 2: that really you know, there's things like you know, there's
Speaker 2: films like Don'tknock Now and stuff like that. But the
Speaker 2: film I remember being really petrified about was watching it
Speaker 2: in my house was The Poseidon Adventure. And I watched
Speaker 2: it at home and I must have been We moved
Speaker 2: house when I was about seven and I saw it
Speaker 2: in that house, so I must have been six or
Speaker 2: seven and it was on the TV, so I must
Speaker 2: have watched it in black and white and the bit
Speaker 2: where they're all this sort of bit where a guy
Speaker 2: or a woman I think maybe it's Shelley Winton's, and
Speaker 2: she's got this little space where she can breathe, and
Speaker 2: the water's climbing and climbing and climbing, and I just
Speaker 2: freaked out. And I remember freaking out and crying, and
Speaker 2: I remember my brother's laughing at me, and my mom
Speaker 2: wasn't there, and I remember thinking, oh, they're laughing at me,
Speaker 2: that no one's going to save me. Someone's going to
Speaker 2: save this woe as Shelley went, she's drowning and I've
Speaker 2: got and and it was just the experience of watching it,
Speaker 2: but also the experience of being laughed at bout my
Speaker 2: older brothers because I was sort of shaking and crying.
Speaker 2: It was quite traumatic actually, So yeah, they owe me
Speaker 2: a lot for that, But that that was That was
Speaker 2: the film. I remember being really scared of and understanding
Speaker 2: that entertainment could be scary, you know, you you I
Speaker 2: always put of entertainment as sort of pleasant and and
Speaker 2: sort of you know, there to give me joy. So
Speaker 2: suddenly to see something on my television which I knew
Speaker 2: was fiction but its purpose was to scare the shit
Speaker 2: out of me, I thought that was a new concept really,
Speaker 2: But then after that, you know, things like The Bird.
Speaker 2: I remember The Bird again with my is really scary.
Speaker 2: I remember my brothers who'd already seen it talking about
Speaker 2: the bit where you see the person who had their
Speaker 2: eyes pecked out, and I was like, oh, and then
Speaker 2: you see it for like two seconds. But it was
Speaker 2: like just absolutely And there's a bit where she's on
Speaker 2: the phone and this one bird just flies and on
Speaker 2: this sort of telephone line behind it, and then there's
Speaker 2: all of these other ones and you're.
Speaker 1: Like, oh my god. So that was really really did
Speaker 1: my head in. The Birds is quite unpleasant, isn't it.
Speaker 1: It's quite It's a surprisingly sort of cold film. Yeah,
Speaker 1: It's like The Birds is one of those films where
Speaker 1: it's like we're all fucked.
Speaker 2: Yeah, Like that's the feeling of it. Yeah, and actually
Speaker 2: nature has turned against us in that way and we're
Speaker 2: the victims. That was just absolutely that concept was crazy.
Speaker 2: And then later on, you know, things like Rosemary's Baby Deliverance.
Speaker 2: O Deliverance really freaked me out. I mean, oh my god,
Speaker 2: I mean that was that was a film where I
Speaker 2: was watching it thinking I was watching one film which
Speaker 2: was like this sort of nice sort of adventure and
Speaker 2: you know sort of there's nice bit of music in
Speaker 2: it and stuff like that, and then sodden you think,
Speaker 2: what the fuck is just that? You're like, oh my god,
Speaker 2: this is just you know, I didn't see that coming
Speaker 2: at all sort of and I just and I sort
Speaker 2: of adore John Borman as well. I think he's a
Speaker 2: great filmmaker. So that's sort of that's the film that really,
Speaker 2: you know, freaked me out by. It's the way it
Speaker 2: turned and it's in its narrative.
Speaker 1: Yeah, what about crying? What's the film that made you
Speaker 1: cry the most?
Speaker 2: I cry a lot. Yeah, I get very emotional and
Speaker 2: I do cry a lot. Sorry are you? Are there
Speaker 2: four of you? Didn't? Yeah, there's four of us. Yeah.
Speaker 2: I'm the youngest. Yeah yeah, So there's my eldest brother
Speaker 2: is twelve years older than me. Then my next brother
Speaker 2: is eight years older than my sister's six years old,
Speaker 2: and then there's men. So yeah, I do cry a lot.
Speaker 2: I mean the time I really the first time I
Speaker 2: ever went on a date to a film, there was
Speaker 2: a girl I really fancy in Liverpool and she was
Speaker 2: sort of slightly outside of our groups. So you know,
Speaker 2: there was I was in a youth theater and she
Speaker 2: sort of came to the theater, but not a lot.
Speaker 2: I used to see around town and she's just gorgeous,
Speaker 2: and I plucked up the courage to ask her to
Speaker 2: go for a date and I took her to see
Speaker 2: the Champ the John Voyd and Ricky Shed and exactly.
Speaker 2: So then I'm sitting in the cinema next to trying
Speaker 2: to beat that cool and stuff, and then you know,
Speaker 2: I'm just in I'm snotty tear and all the way through,
Speaker 2: just when John Voyd's on the canvas and and Ricky
Speaker 2: Shriander's go get up, Chimp, Get up, Chimp, and I'm like,
Speaker 2: oh my god, Oh my god, It's like just pouring.
Speaker 2: And I remember through my tears turning to look at her,
Speaker 2: and she was looking at me like, you know, the
Speaker 2: most embarrassed person in the world. She just felt to
Speaker 2: shames for me, I think, and just you know, as
Speaker 2: we came out, I said, do you want to go through?
Speaker 2: Come through coffee now you're all right, and she just
Speaker 2: marched off and I was like, oh my god. It
Speaker 2: was just terrible. So yeah, that was so that was
Speaker 2: my big Crime one and also Michael Hanklettermore you know
Speaker 2: that film that just broke me That just broke me up.
Speaker 1: I just thought that, you know what that film. I
Speaker 1: dreaded seeing that film. If anyone listening has not seen
Speaker 1: that film, it is a film about elderly people and
Speaker 1: the woman has Alzheimer's dementia and she says to the husband,
Speaker 1: end this before I get too far. And you watch
Speaker 1: her decline over the film, and he doesn't for a
Speaker 1: very long time. And it's and for this the reason
Speaker 1: I was dreading seen that film, because thought it was
Speaker 1: gonna be so fucking depressing, and it is fucking depressing.
Speaker 1: But on the other hand, what it did for me
Speaker 1: was it made me go, yeah, of course, how the
Speaker 1: fuck do you end it? Of course he doesn't want
Speaker 1: to end it. He loves her.
Speaker 2: It's about love. It's about that. Yet it's the love
Speaker 2: that they've had through the years and about where you
Speaker 2: will go with love. Han calls s such an amazing film.
Speaker 2: I mean, I think, you know hidden it's just an
Speaker 2: amazing film.
Speaker 1: There's a thing in the in the very beginning of
Speaker 1: a More, there's a shot, big wide shot of an
Speaker 1: audience arriving for an opera or and you don't get
Speaker 1: any close ups, and it's such a it's such an
Speaker 1: interesting thing because you know exactly who the leads of
Speaker 1: the film mark. They sit in this big white audience,
Speaker 1: but there's something about them that is like a light.
Speaker 2: I don't know if they're literally they're just placed in
Speaker 2: this particular and I think also costume plays a thing
Speaker 2: where certainly they have a different sort of shade that
Speaker 2: they're wearying to everybody else, and that's.
Speaker 1: You know, you're meant to look at them, but it's
Speaker 1: a huge shot of a crowd. But you're watching these too,
Speaker 1: very brilliant.
Speaker 2: And there's another film that there's a film called dream
Speaker 2: Child which was about Alison. It's about Lewis Carroll with
Speaker 2: Ian Holme. Yeah, but it's a Jim Henson. It's a
Speaker 2: Jim Henson film as well, and it's Carl Brown and
Speaker 2: it's about the woman who was Alice when she growing up.
Speaker 2: And she's asked to go to Harvard to pick up
Speaker 2: an award that they're presenting to Lewis Carroll for all
Speaker 2: the work he's done. And obviously he died years ago,
Speaker 2: and she's an old woman now, she's in her aces,
Speaker 2: and she decides to go, and she's on the boat
Speaker 2: going over to America and she's sort of replaying in
Speaker 2: her head this relationship that she had with Lewis Carroll
Speaker 2: and she's she's the girl in all those photographs that
Speaker 2: he So it's quite it's quite a sort of troublesome
Speaker 2: sort of you know, relationship and a very troublesome memory
Speaker 2: that she's having about what went on. But Ian Home
Speaker 2: is just heartbreaking in it, and it's sort of weird
Speaker 2: because it's also it's Jim Henson's sort of creations in
Speaker 2: it as well, where he's having she's having conversations with
Speaker 2: you know, the sort of different sort of creatures throughout
Speaker 2: the piece that Lewis Carroll's sort of creations. And but
Speaker 2: I loved it. I just loved that sort of three
Speaker 2: or four times. And it's really that broke me up. Actually,
Speaker 2: it was an amazing film. Gavin Miller, I think, was
Speaker 2: the director. Yeah, Sarah Polly talks about it a lot
Speaker 2: in her book. Yeah, very interesting. Tell me this, what
Speaker 2: is the film that you love? People don't like it,
Speaker 2: critics definitely don't like it, but you love it consistantly.
Speaker 2: It's big Fish. You know, big Fish, Big Fish is
Speaker 2: one of my favorite films. I love it, but it
Speaker 2: got slagged off. Honestly, it's just I love it. It's
Speaker 2: like it's Billy Credible and it's Albert Finny and again
Speaker 2: it's this sort of memory for peace about you know,
Speaker 2: He's with his dad, and his dad used to tell
Speaker 2: him these stories and he's realizing that they were all bollocks, really,
Speaker 2: and he can't really get to his dad. His dad
Speaker 2: is pushing him away in this really strange way about
Speaker 2: just keeps telling them stories and his dad's like a liar.
Speaker 2: And he's coming to terms with the fact that his
Speaker 2: dad's just a big liar and has told him these
Speaker 2: tales all his life. But then when he goes back,
Speaker 2: he realizes that there's something inside of having had this
Speaker 2: relationship with these tales that his dad told him that
Speaker 2: actually is quite magical and wonderful and sort of and
Speaker 2: he reassessing it and I just loved it. It just
Speaker 2: broke my heart. I thought it was great. And then
Speaker 2: I remember when you're because when you're a member of BAFTA,
Speaker 2: it's all changed now, but when you're a member beft
Speaker 2: used to get used to love that end of the
Speaker 2: year because you would get all these First of all,
Speaker 2: you got sort of VHS's, and then you've got DVDs
Speaker 2: and stuff. It was great. It was like Christmas had
Speaker 2: come too early for you because we were getting all
Speaker 2: the best films to watch. And I remember getting this
Speaker 2: VHS of Big Fish and I was on my own
Speaker 2: and I watched it and thought, that's one of the
Speaker 2: greatest films I've ever seen. I just absolutely love it
Speaker 2: old and everybody I mentioned it too, went oh, it's
Speaker 2: just sentimental Tosh, And I was like one. And then
Speaker 2: I read reviews which weren't really good and stuff, and
Speaker 2: I was like, this is a great film. This is
Speaker 2: a wonderful film. And I had to defend it amongst
Speaker 2: everybody I knew. Nobody else liked it. Everybody. I mean,
Speaker 2: now that I've met you, obviously we can have a
Speaker 2: big Fish night. But it was like, I just made
Speaker 2: that's my answer one of my answers to film. It
Speaker 2: made me crying about I think, amazing. It's just the
Speaker 2: end scene. There's a scene at the end where Billy
Speaker 2: is sitting next to Alberfinny and they're talk and it's
Speaker 2: just one of the great great scenes father and some
Speaker 2: scenes I've ever yeah seen in my life. It's just brilliant.
Speaker 2: So that's the film that I really felt that nobody
Speaker 2: got it. Nobody, certainly nobody in my circle got it.
Speaker 2: Nobody sort of. And when I read the reviews, I
Speaker 2: was like wow. And then when I looked at the
Speaker 2: awards coming out with Nowhere, nobody had voted for it,
Speaker 2: so I couldn't believe it. And mcgreg McGregor is fantastic.
Speaker 2: He's just he's so, he's like such a wonderful sort
Speaker 2: of presence of both innocence and magical sort of thinking.
Speaker 2: You know, he's just wonderful. I loved him. That was
Speaker 2: my real beauty.
Speaker 1: And whenever I Tim Burton, who makes how listen? Timbird's
Speaker 1: got a hell of a CV and these days it
Speaker 1: seems like every other film he makes is really great.
Speaker 1: But whenever he's accused of like not being mature or
Speaker 1: emotionally or something, I'm always like, watch big Fish.
Speaker 2: This is fucking deep as fast, it's really hard. I
Speaker 2: interviewed Griffin done recently about After Hours YEA and Tim
Speaker 2: Burton was the original director and After Hours, before Scorsese
Speaker 2: took over and I thought, what a different film that
Speaker 2: would have been. He was like, he was a film student.
Speaker 2: He was just you know, they just seen a short
Speaker 2: he'd done and gone, let's get this guy. But then
Speaker 2: Scorcese I think less Temptation of Christ went down or
Speaker 2: something and he was suddenly available, and he was very
Speaker 2: gracious about saying, oh God, you know he wants to
Speaker 2: do it, let him do it in But what a
Speaker 2: different film that would have been. I'd see that. Yeah.
Speaker 1: Maybe on the other end of the scale, what is
Speaker 1: a film that you used to love but you have
Speaker 1: watched recently and now you don't love it, And it
Speaker 1: may not be the films for it might just be
Speaker 1: you have changed.
Speaker 2: It's interesting because obviously this film is like Manhattan, which
Speaker 2: you watched with a very different eye now, and I
Speaker 2: found it very difficult to watch that film in recent years.
Speaker 2: But the film that I mean, I used to really
Speaker 2: go back to this film when I was younger and
Speaker 2: love it for its acting really, which is Husbands, which
Speaker 2: is a John Cassavetti's film with Ben Gazara and Peter
Speaker 2: Falk and John Cassavetti's in it as well, and it's
Speaker 2: about these three mates who one of them. His wife
Speaker 2: dies and he's having a little bit of a breakdown
Speaker 2: and he decides he wants to go to London, so
Speaker 2: his two mates go with him on despair at the moment,
Speaker 2: and it's about their time here in London. And I remember,
Speaker 2: just as a younger man, I'm a really big fan
Speaker 2: of John Cassavetti's and Husband's was the one that I thought,
Speaker 2: you know, and Gazarre is an amazing actor, and Peter
Speaker 2: Faulk And then I watched it again about four or
Speaker 2: five years ago, and I hated it. I absolutely hated it.
Speaker 2: I thought it was so misogynistic and crass and too
Speaker 2: long and too indulgent, and it really pissed me off
Speaker 2: as a movie, and it was like it was a
Speaker 2: real whank in the end. I thought, I just like, God, no,
Speaker 2: this is just I'm not having this film. And it
Speaker 2: really disappointed me in the sense that i'd sort of
Speaker 2: championed it and loved it. You know. I feel the
Speaker 2: same about On the Road actually as a novel. I mean,
Speaker 2: it was a novel I read so much as a
Speaker 2: younger man, and then when I went back to it,
Speaker 2: i read it again, I thought, what what the fuck
Speaker 2: is this this is shite? It was so like by change,
Speaker 2: but also the world had changed. I was like, I
Speaker 2: don't know. And again I like, I love other stuff
Speaker 2: of Karrac but that book I just thought, no, I'm
Speaker 2: not having this anymore. And Husband's was very much that
Speaker 2: I think interesting. I have not seen it. Yeah, maybe
Speaker 2: I don't need to. There's a really interesting bit where
Speaker 2: all three of those actors are on the Dick Covit
Speaker 2: Show and they are all battered, I mean absolutely drunker stunts,
Speaker 2: and they start they start having this raw and I
Speaker 2: can't work out whether it's sort of them manufacturing in
Speaker 2: terms of because that's the relationships they have in the film.
Speaker 2: But Guzara gets really really angry with Peter Falk and
Speaker 2: piece of Fox trying to calm everything down because it
Speaker 2: just can't stop laughing in that sort of mad way,
Speaker 2: and it's really just can't keep them under control. It's
Speaker 2: really amazing. But something like, you know, the other film
Speaker 2: that they did together was The Killing of a Chinese
Speaker 2: Bookie and that's a brilliant film and and really you know,
Speaker 2: Gazarre and that is absolutely and that really stands up
Speaker 2: for me and obviously has stuff with General Rowlands and stuff.
Speaker 2: Is Opening Night and stuff. They're great, great movies. Faces
Speaker 2: is a really interesting film, and I love him as
Speaker 2: a I mean, you know, he's a great actor as well.
Speaker 2: You see him in something like Rosemiye's Baby and he's
Speaker 2: just yeah, he's amazing in that film. I mean, that's
Speaker 2: a skirt. I mean that was a film that really
Speaker 2: skirted me a lot, and I still think is a
Speaker 2: great piece of work.
Speaker 1: What is the film that means the most to you?
Speaker 1: Not necessarily the film itself is any good, but because
Speaker 1: the experience you had around seeing it will always make
Speaker 1: it meaningful to you.
Speaker 2: David Morriseley. So I've got two for this actually, and
Speaker 2: they're both about my dad. So let's hear it. So
Speaker 2: i'd go, I'd sort of go the cinema a lot,
Speaker 2: you know, on my own or with mates and stuff.
Speaker 2: But my dad took me to see Rocky. How well
Speaker 2: were it then? So what was I I must have
Speaker 2: been about thirteen maybe maybe sort of, Yeah, I was
Speaker 2: sort of. I was youngish. I was old enough to
Speaker 2: get in obviously, but you know, he took me anyway,
Speaker 2: and I think it was a twelve. It must have
Speaker 2: been a twelve, Rocky and I got in with him,
Speaker 2: and you know, I never did think like that with
Speaker 2: my dad. I never went to the cinema. It never
Speaker 2: took me out in those ways, you know it. It
Speaker 2: wasn't what he did. And as I said before, you know,
Speaker 2: he was ill at that time, and we went together.
Speaker 2: So even just being in his cinema with them, sitting
Speaker 2: next to him, it was just the two of you,
Speaker 2: not with the others. No, it's just me and him.
Speaker 2: Ah No, And Rocky came on and it was just
Speaker 2: like the great story, you know. It was the story
Speaker 2: of this you know, rags to riches sort of madness,
Speaker 2: and we both both loved it. You know, we're both
Speaker 2: having this experience together of absolutely adoring what was going
Speaker 2: on around us, which was this amazing story. You know,
Speaker 2: this really that we sort of could relate to, you know,
Speaker 2: because we were both you know, we both love boxing
Speaker 2: and stuff like that. And so that's the film and
Speaker 2: I come back to that, and it's one of those
Speaker 2: things I watched it with one of my sons actually
Speaker 2: years and years ago, and I wanted the same experience,
Speaker 2: but he was just a little bit too young. But
Speaker 2: the other film like that is a film I didn't
Speaker 2: watch with him. But what was interesting was I was
Speaker 2: sitting on the sofa with him, or sitting on the sofa,
Speaker 2: and he was in his chair. He always had this
Speaker 2: chair that he sat in, and we didn't have much communication.
Speaker 2: He wasn't a chatter my dad. He was quite distant.
Speaker 2: And this film came on, which was on the Waterfront,
Speaker 2: and my dad went, oh, this is great film. This
Speaker 2: is a great film. And he got out of his
Speaker 2: chair and he came and sat on the sofa with me,
Speaker 2: and the credits starts, and the credits are like the
Speaker 2: sort of on a white black print on a on
Speaker 2: a white background sort of stuff. This great bansteam music
Speaker 2: coming up. Yeah, And my mom came into the living
Speaker 2: room and she said, what's this And my dad said,
Speaker 2: it's on the Waterfront. And my mom went, he's too
Speaker 2: young for this, he's too young for this. Don't let
Speaker 2: him watch this. And she took me out, and I
Speaker 2: was so upset, and I was like, I couldn't you know.
Speaker 2: I was about to have this great experience with my
Speaker 2: dad watching this movie. And I think that was before
Speaker 2: the Rocky experience, and so I never got to see it.
Speaker 2: And then you know, he died and stuff like that.
Speaker 2: And then I watched on the Waterfront later and I
Speaker 2: absolutely loved it. It's one of my favorite films of
Speaker 2: all time. And I thought, God, I wish i'd had
Speaker 2: this experience with my dad watching this movie, and it's
Speaker 2: sort of been taken away from me, and my mom
Speaker 2: had good reasons for that, you know, but I was
Speaker 2: sort of like, Oh, if only i'd had that with
Speaker 2: him as well, you know, But they're the two films
Speaker 2: that I have, those that memory around, which they're both
Speaker 2: to do with him. Really that phrased my heart. He
Speaker 2: came and sat in the same movie. Yeah, it was
Speaker 2: so And it was really sort of like I remember thinking, Wow,
Speaker 2: what's going on. This is weird. It's like, I don't think, yeah,
Speaker 2: he's he's broken. It's like someone walking across the floor
Speaker 2: of the House of Commons, you know. I mean, I
Speaker 2: was like, oh my god, it's coming over to our site.
Speaker 2: And it was like, you know, just even him just
Speaker 2: being close to me, it was like amazing. And then
Speaker 2: that music, of course, that Burnstein soundtrack for Waterfront. I
Speaker 2: just think it is one of the great film scores
Speaker 2: of all time, and the film itself. I just think
Speaker 2: is pretty wonderful. You love big fist there you go,
Speaker 2: of course, thank you, doctor.
Speaker 1: Oh Man. What's the film that you most relate to?
Speaker 2: Well, that's kes Keres was the first film I saw
Speaker 2: where there was people like me in it. I knew
Speaker 2: it was a film because the woman from Coronation Street
Speaker 2: was the mom in it, so I knew that, so
Speaker 2: I knew there was they were actors right right right.
Speaker 2: And also, you know, he does weird things ken Loads
Speaker 2: in that film, like he puts the score up at
Speaker 2: one point, you know Manchester. Yeah, so he has that,
Speaker 2: which is really weird. It's a really funny movie. It's
Speaker 2: a fucking hilarious movie. But I was also sort of
Speaker 2: slightly I couldn't work out. You know, mostly I'd watched
Speaker 2: films or television. I was a big soap watcher. You know,
Speaker 2: I love Coronation Street, so it was just a lift
Speaker 2: for that. I love TV shows like Cold Its and stuff.
Speaker 2: I watched everything. The TV was my best friend when
Speaker 2: I was a kid, and so when I watched Cares,
Speaker 2: it was like I couldn't work out. There was a
Speaker 2: there was a new style of acting that I was seeing,
Speaker 2: a new style of observation that I was seeing. It
Speaker 2: was a new It was like, as we know from Loach.
Speaker 2: You know, he was using non actors, even though there
Speaker 2: was some actors in it. I did know, like Colum
Speaker 2: Well and I knew obviously I'd seen him on the Turney.
Speaker 2: But the world, the school, the kids in the school,
Speaker 2: the teachers, it was my world. That was my school.
Speaker 2: It was exactly the same as my school, even down
Speaker 2: to the fact that you know, during the football match
Speaker 2: there's two kids playing pit a pat rather than none
Speaker 2: of their kids fit. The teachers are bastard, you know,
Speaker 2: the injustice of that kid getting caned when actually he's
Speaker 2: only just turned up to give a message. That stuff that,
Speaker 2: the noise in the classroom, the sort of shouting of children,
Speaker 2: you know, the danger of the streets and the funniness
Speaker 2: of the streets and stuff like that. I'd never seen
Speaker 2: anything like that. And to see it as a movie,
Speaker 2: and to know that people like us were being portrayed
Speaker 2: in film, it gave me this weird thing of going, oh,
Speaker 2: there's a worth here, there's something we are we can't give,
Speaker 2: something we can give to the world. In some way.
Speaker 2: It was like, really it was an amazing experience for me.
Speaker 2: And then years later, obviously there was Distant Voices Still Lives,
Speaker 2: which you know, that was the street I grew up in,
Speaker 2: my mom and dad and my grandmother Terence Davis film,
Speaker 2: So Terence Davis lived, He grew up in the in
Speaker 2: the street to streets along from us. So that's where
Speaker 2: we grew up in Kensington and Liverpool. And so my
Speaker 2: mom knew everybody in that film. She knew them all.
Speaker 2: She knew so you know, and they she I remember
Speaker 2: her saying to me, she phone me and said, have
Speaker 2: you seen this Terry Davis film? You know, little Terry
Speaker 2: Davis has made a film. I said, you mean Terence
Speaker 2: Davis mom, and she said, yeah, used to live. I
Speaker 2: couldn't believe it. And it was like when I saw it,
Speaker 2: I sort of saw my ancestors and my family and
Speaker 2: the way they grew up and the streets they grew
Speaker 2: up in and how they grew up and the trauma
Speaker 2: that they carried and the secrets that they carried, and
Speaker 2: and that that had a big influence on me as well.
Speaker 2: And also I felt that the film was beautiful, that
Speaker 2: it was an observation of a world that was tough
Speaker 2: and monochrome, and he brought this real, almost you know,
Speaker 2: like a Terrence Malick like look to it. That was
Speaker 2: this beauty and observe and the observation of it was
Speaker 2: just through the eyes of a real, a real craftsman.
Speaker 2: I thought. I thought he was a real sort of
Speaker 2: visionary and I loved I loved hisself. And that film
Speaker 2: particularly was something I'd seen a version of it because
Speaker 2: he'd done it for the BFI. I think beforehand he'd
Speaker 2: done the Terrence Davis trilogy and he dealt with certain
Speaker 2: stories that he brought in later on, but this was
Speaker 2: he now had the real budget to be able to
Speaker 2: do what he needed. I love what you're saying. I
Speaker 2: love what you say about Kaz.
Speaker 1: I have a vague obsession with Kez because I can't
Speaker 1: to this day, and I would like to know, given
Speaker 1: your sort of affinity to it. It makes me laugh
Speaker 1: because it's so awful. The end of KS I can't
Speaker 1: get past it. I'm like, the difference between an American
Speaker 1: film for kids and for kids is at the end
Speaker 1: of Kas the Bird is that there's a dead bird
Speaker 1: in a bin. The kids off. You guy, enjoy your life.
Speaker 1: I can't get past. It's such a it's such a
Speaker 1: horrific ending. But I think I think, you know, it's
Speaker 1: in a tradition. M it's in you know when you
Speaker 1: see something like Saturday night, Sunday morning, or you know,
Speaker 1: kind of loving and stuff like that. There's those films
Speaker 1: that came of that British new Way. They were basically
Speaker 1: set in a room at the top. They were saying,
Speaker 1: you know, it's it ain't great, it's not you know,
Speaker 1: your work hard and you'll do this and you'll you know,
Speaker 1: don't let the bastards grind you down. But you know,
Speaker 1: stuff is tough out there. It's grim up north sort
Speaker 1: of stuff, you know, and they have that. But you
Speaker 1: know that that was the message.
Speaker 2: We were getting a lot, you know, and that's it's
Speaker 2: a tradition that we've been in and you know it's
Speaker 2: really hard to break out of that. I mean, it's
Speaker 2: to come back to what we were talking about earlier
Speaker 2: on about my you know, being morbid around thoughts and
Speaker 2: death and stuff. It was coming from things like that,
Speaker 2: and of course Kez was it was a book. It
Speaker 2: was the from a Kestral to a Knave, which was
Speaker 2: Barry Hines and Hines. You know, he wrote lots of
Speaker 2: stuff like that, which were really tough stories of northern life,
Speaker 2: you know. I mean you see something like the Sporting Life.
Speaker 2: I mean you see that and God it's grim. It's
Speaker 2: really grim, and it's tough. And Saturday night, Sunday morning
Speaker 2: it's tough. You know. These are tough stories in a
Speaker 2: really big tradition of that. You know. So if if
Speaker 2: at the end of Cares he'd sort of, you know,
Speaker 2: his brother had put a you know, hidden the bird
Speaker 2: and sort of brought it out and gone, ah, you know,
Speaker 2: here he is, and he'd gone off and the bird
Speaker 2: sanctuary or something, you would have gone, fuck off. I'm
Speaker 2: not having that. I'm not believe. You know, this is
Speaker 2: a real ending. This is and that bit when the
Speaker 2: actor's name is David Bradley, obviously there's another David Bradley
Speaker 2: Bill when he runs in and he starts hitting his
Speaker 2: brother and going, he's killed my bird, He's killed my
Speaker 2: there's you can't fake that. There's something in there that
Speaker 2: is so heartbreaking and brilliant, and Ken Lodge captures it
Speaker 2: in such a raw their was dead. I think right
Speaker 2: he I think he did do that, but always I
Speaker 2: also think what he did was the little boy gets
Speaker 2: caned in the school. I think ken Loach had a
Speaker 2: dead bird on certain showed it to the kid just
Speaker 2: and that's when he gets his When you can't do
Speaker 2: those things nowadays, you see Brett youze, you can't do that.
Speaker 2: But if you're going to get tears out of an actor,
Speaker 2: but no doubt, can't bring them dead birds, just can't
Speaker 2: make them dead anymore. Great, he's gone back, so yeah,
Speaker 2: but I loved it.
Speaker 1: Have you ever worked forgive me for not knowing this,
Speaker 1: have you ever worked for Kennet?
Speaker 2: I haven't know. I've met him a few times and
Speaker 2: sort of worshiped at his altar, But no, I think
Speaker 2: he's you know, he's one of the great He's sort
Speaker 2: of I think he's one of the people that we
Speaker 2: should be, you know, sort of loading all the time. Really,
Speaker 2: I think his work is just unbelievable. And my best
Speaker 2: friend is ian Heart, and ian Heart did, yeah, he
Speaker 2: did a film with him, which I I love. But yeah, no,
Speaker 2: I mean I've never had a chance and little Terry Davis,
Speaker 2: No I never did. Again. I met him, but I
Speaker 2: never never got a chance to work with him. Look,
Speaker 2: Davis Funny.
Speaker 1: It's the fact that it's a fucking It's not just
Speaker 1: that the bird dies.
Speaker 2: I can I can live with the bird dyeing.
Speaker 1: That's sad. It's okay, you're going to tell me a
Speaker 1: sad story. You can tell me a sad story. But
Speaker 1: to end with the bird in the bin. Yeah, it's like,
Speaker 1: come on, man, give me something otherwise we're all going
Speaker 1: to just end our own lives.
Speaker 2: What do we do now? But also his brother kills
Speaker 2: the bird because he didn't put a bet on. It's
Speaker 2: like this whole sort of series of events which is
Speaker 2: just horrible, the cruelty of it, you know, But there's never.
Speaker 1: It's as awful as your brother's laughing at you for
Speaker 1: being for crying at the sid It's.
Speaker 2: Just as bad as that. It's just as I should
Speaker 2: report them. Actually I should get on to that now.
Speaker 2: But also he did you know when he's when you
Speaker 2: do Kathy come Home? The end of Kathy Come Home?
Speaker 2: When they take the kids? I mean, that is just
Speaker 2: unbelievable horror horror.
Speaker 1: What is the sexiest film you've ever seen?
Speaker 2: David Rosey? You know, one of the you always fall
Speaker 2: in love with movie stars and when I was growing up.
Speaker 2: You know, one of the people who I just thought
Speaker 2: was like the most beautiful person I've ever seen, really
Speaker 2: was Julie Christie. And obviously, you know, people talk about
Speaker 2: films like Don't Look Now, and you know, Doctor Shivago
Speaker 2: and stuff like that, but the film that really knocked
Speaker 2: me out as a kid and I thought it was
Speaker 2: just so sexy was the go Between. Of course, Joseph
Speaker 2: Losi and I think Hawld Pincer wrote the screenplay, and
Speaker 2: it's also obviously a story about class as well. It's
Speaker 2: about a little boy who's on his summer holidays from
Speaker 2: his public school and he goes to his friend's house
Speaker 2: spending the summer with his friend. And his friend is
Speaker 2: really really rich and lives in this amazing sort of
Speaker 2: country pile with his big sister and which is Julie Christie,
Speaker 2: and all their friends, and they're very, very posh, and
Speaker 2: this boy who's come along for the summer, he's sort
Speaker 2: of out of his depth, really, and then his friend
Speaker 2: gets ill and so he has to sort of fend
Speaker 2: for himself through the summer, and then he's used as
Speaker 2: a go between between Julie Christie's character, who's about to
Speaker 2: get married and stuff, and she's having an enlisted affair
Speaker 2: with this blacksmith sort of guy in the village played
Speaker 2: by Alan Bates, and this little boy is that runs
Speaker 2: messages between them and it all goes horribly wrong and
Speaker 2: he feels very compromised. Yeah, but the stuff between Julie
Speaker 2: Christie and Alan Bates are so hot, and the whole
Speaker 2: illicit nature of it was quite amazing. And it's a
Speaker 2: beautifully shot film and the score is brilliant. They used
Speaker 2: the score again recently and the film may December because
Speaker 2: it's just such a theatrical score and the whole atmosphere
Speaker 2: of it is just really just hot.
Speaker 4: Yeah, it's really really fantastically hard and she's so beautiful
Speaker 4: and and it's such a terrible thing that she does
Speaker 4: that they both do using this little boy as a messenger.
Speaker 2: And I loved it. It's a great, great film, And yeah,
Speaker 2: I found that very sexy.
Speaker 1: There is a sub category to this traveling bonus worrying
Speaker 1: white film you found arousing.
Speaker 2: You weren't sure you should? What's that, David Morrissey, Yeah,
Speaker 2: so always a revealing one. This but I think you know,
Speaker 2: one of the films I saw and I thought, Wow,
Speaker 2: I never thought i'd find that sexy, and I did.
Speaker 2: It was sort of something about it that really got
Speaker 2: to me was was actually Tim Curry as frank and
Speaker 2: Furter in the Rocky Horror Show. That's a good outfit.
Speaker 2: I've never seen anybody like him, really. I wish I'd
Speaker 2: seen him on stage and know whether he ever did
Speaker 2: it on stage, but there's just something about him.
Speaker 4: Where he's just so outrageous and without boundaries and just
Speaker 4: free and passionate as well.
Speaker 2: And there was, Yeah, I remember the first time seeing
Speaker 2: that thing and oh, I don't know whether I've had
Speaker 2: this feeling before, but it was quite I mean, he's
Speaker 2: just sensational in the movie. Obviously I've seen it loads
Speaker 2: and loads of times, but he, just as Franken first,
Speaker 2: was just embodies this whole liberated sexuality which I just
Speaker 2: I'd never come across before. Really, Yeah, and I found
Speaker 2: it very, very yeah, very powerful.
Speaker 1: What is objectively the greatest film of all type might
Speaker 1: not be your favorite, but it is the best of cinema.
Speaker 2: I would say The Red Shoes and the Red Shoes is,
Speaker 2: you know, it's the film I come back to. I mean,
Speaker 2: Prospector are the people I adore, you know, other films
Speaker 2: I just think are masterpieces, right, But The Red Shoes
Speaker 2: is the film that I slightly get lost in. It's
Speaker 2: like that sort of you know, people talk about Singing
Speaker 2: in the Rain, and I love all those Hollywood musicals,
Speaker 2: I really do. You know, one of my big favorite
Speaker 2: films is On the Town because I watched it when
Speaker 2: I was a king, and I loved it and watch
Speaker 2: it again and again. But when I first watched The
Speaker 2: Red Shoes, it was sort of it had all that
Speaker 2: with it, which was those big you know, the ballet
Speaker 2: in it is just second to no It's just an
Speaker 2: amazing piece of filmmaking. But it also had this story
Speaker 2: inside it of what it takes to create something brilliant
Speaker 2: and what it takes in order to get a group
Speaker 2: of people together to have the highest heights of performance.
Speaker 2: And it was really it's a wonderful film. It's a
Speaker 2: great script, it's brilliantly acted, it's brilliantly short, it's magical,
Speaker 2: and I do think it's got so much of everything
Speaker 2: we need from cinema. It's tragic again the ending, you know,
Speaker 2: it's not a barrel of left at the end, but
Speaker 2: also this is something that is so about love and connection,
Speaker 2: and yeah, I love it. I mean, it's it's the
Speaker 2: film I returned to again and again and again. The
Speaker 2: score is wonderful, the ballet in that which goes on
Speaker 2: for ages, it's one of the but it's so filmic.
Speaker 2: You're not watching something and thinking, oh, they're just they're
Speaker 2: just filmed. The stage version here, it's absolutely cinematic, and
Speaker 2: that is that is just joyful. And you can tell,
Speaker 2: you can tell in all their films actually that they're
Speaker 2: pushing the envelope, but they're actually, you know, having so
Speaker 2: much fun in their own inventiveness. You know. I think
Speaker 2: The Cancery Tales is a great film. Blimp Connel Blimber
Speaker 2: is just the amazing film, you know, a massive life
Speaker 2: and death. So you know, all those I just adore them.
Speaker 2: So but The Red Shoes is the one that I
Speaker 2: will take away. I think, very good answer. I don't
Speaker 2: think that has been chosen on this three episode. So boo, what.
Speaker 1: Is the film you could or have watched the most
Speaker 1: over and over again?
Speaker 2: So again, I think the Red chooses the film I
Speaker 2: watched a lot. But the film I really also love
Speaker 2: watching and it never lets me down. It is The Apartment,
Speaker 2: fucking great film. I just think it's great. And again
Speaker 2: it's like what I love about it is it's a comedy,
Speaker 2: but it breaks your bloody heart. I mean, it just does.
Speaker 2: And he's so the bit and love all the time,
Speaker 2: and it always breaks my heart. Is when he sees
Speaker 2: her compact mirror and it's the compact mirror that he's
Speaker 2: given He's given to Fred McMurray because he's found it
Speaker 2: in the flat and he really and he puts the
Speaker 2: two things together and his face and you just you
Speaker 2: just go because he's so in love with her, and
Speaker 2: then he realizes that it's her that's it's just wonderful,
Speaker 2: wonderful and then you know, can draining the spaghetti with
Speaker 2: the tennis racket and the joy he has, And I mean,
Speaker 2: I do love Jack Lemon. I think he's sort of
Speaker 2: someone I watch a lot, and just that line he
Speaker 2: treads between being utterly comedic but always true. He's never
Speaker 2: not true. He's never never has a false emotion, you know,
Speaker 2: and people talk about Brando and those actors, but what
Speaker 2: he does is just like that as well. For me,
Speaker 2: you know, he can make me laugh, but he actually
Speaker 2: he's always real. He's always honest, and even in you know,
Speaker 2: something like a hot he's always honest. You feel his
Speaker 2: fear he's shitting himself, you know, it's like that thing,
Speaker 2: and you go, God, this is absolutely a man in
Speaker 2: this place, right here, right now. And I love I
Speaker 2: love that. But The Apartments is the one that whenever
Speaker 2: I come back to it, I'm like, oh, I love this,
Speaker 2: but and it always still still makes me laugh or
Speaker 2: makes me you know, makes me cry or whatever. It's
Speaker 2: always that thing. And when and also it's got that
Speaker 2: you know when she she's at the New Year's Eve
Speaker 2: celebrations and she just runs away from him and it's
Speaker 2: just that great ending. It's just and she thinks he's
Speaker 2: shot himself and actually he's just opened. It's just great.
Speaker 2: It's just all of it is just wonderful. And I
Speaker 2: love the guy who's the doctor who lives downstairs and
Speaker 2: he has to keep kidding and he's like, how many
Speaker 2: women do you have? Will you donate your body to science?
Speaker 2: It's just and so that's the I love that. I
Speaker 2: love that film. Great, what's the worst film you've ever seen?
Speaker 2: We don't have to dwell on it. So the worst
Speaker 2: film I've ever seen. And this is because it was
Speaker 2: so I was looking forward to so much. It's a
Speaker 2: film called Tetra by Francis fool Couple and I was
Speaker 2: and it's got Vincent gallow in it. And I was
Speaker 2: in Bayreuth and I was working. I was I ran
Speaker 2: a charity for a while and used to we used
Speaker 2: to do this thing where we took creative arts to
Speaker 2: people who didn't have it. And there was a school
Speaker 2: in Bay Route that we doing that with. And of
Speaker 2: course you have to jump through all the hoops of
Speaker 2: British ambassadors and all that, and there's this guy there
Speaker 2: and he said, I'd like to take you to the
Speaker 2: opening night of the Bay Route Film Festival. Francis for
Speaker 2: Copola's new film is there. And I was like great,
Speaker 2: you know, of course I had nothing to had no
Speaker 2: posh talks, just went me t shirt britshots, got there
Speaker 2: and it's honestly, it's Compola's there, everyone's out the film cruiser,
Speaker 2: aud everyone, it's massive, flashing lights, it's like everything you
Speaker 2: would want for an opening of this film of a
Speaker 2: film festival. And this film comes on and it's absolutely terrible.
Speaker 2: It's it's like I mean, it's like a film made
Speaker 2: by someone who's never made a film in their life.
Speaker 2: It's really strange. It's like, you know, obviously you know,
Speaker 2: believed in it, and why would he make a film
Speaker 2: that he doesn't believe in it? But it's just self
Speaker 2: indulgent madness. And I couldn't. Like about half an hour
Speaker 2: into this, the guy who took me, who was this
Speaker 2: like sort of British Ambassadors sort of person, turned to
Speaker 2: me and said, I'm so sorry, and I was like,
Speaker 2: but it was it was I mean, I couldn't figure out.
Speaker 2: You know, this is the man who's made some of
Speaker 2: the greatest films we have ever, you know, the Conversation, Apocalypse,
Speaker 2: to all those fun you know, Peggy who Got Married?
Speaker 2: I love it. You know, he's a great, great filmmaker.
Speaker 2: In one from the Heart, I fucking love it. And
Speaker 2: this film go what. I could not understand how someone
Speaker 2: who could make such great films had made a film
Speaker 2: like this. I might be in a minority, but I
Speaker 2: just I just thought it was awful.
Speaker 1: No, it's interesting and I don't know the answer, and
Speaker 1: I think it is fascinating and I don't know, and
Speaker 1: I wonder if he knows, and it's scary.
Speaker 2: Yeah, because he knows, I mean, and also you know,
Speaker 2: maybe you know the souceral a doesn't always rise, does it.
Speaker 2: You know, you're you're you're doing everything you used to do,
Speaker 2: but it just it just it must have. I'd love
Speaker 2: to hear that. Never mind the stories of Apocalypse Now
Speaker 2: and you know those documentaries. I want to know the
Speaker 2: documentary about how he made that, because I don't know
Speaker 2: how he got there.
Speaker 1: You know, Yeah, you're in the comedy now, you're very
Speaker 1: funny in it.
Speaker 2: What's the film that made you laugh the most? God,
Speaker 2: there's so many. I mean, the Pink Panther films obviously loved,
Speaker 2: and the Spinal Tap, Mighty Wind or that you know
Speaker 2: Dr Preston's show. I love that, But the film I
Speaker 2: really love and make it and Marks Brothers as well,
Speaker 2: he loved all about it. But there's a film called
Speaker 2: to Be or Not to Be? Do you know that film?
Speaker 2: It's Jack Benny and it's lubbish and it's it's Jack
Speaker 2: Benny Carol Lombard and it's about It's about a Polish
Speaker 2: theater troupe as Hitler is invading Poland, and it's a
Speaker 2: knock about comedy and it's sort of Jack Benny plays
Speaker 2: the leading actor, Carol Lombard plays the leading actress, and
Speaker 2: they have to recreate this sort of scene and use
Speaker 2: all their skills as an acting troop in order to
Speaker 2: get out of this terrible situation that was happening and
Speaker 2: get these they get these sort of secrets back to
Speaker 2: the British and stuff. You know, it's it's absolutely brilliant.
Speaker 2: And Jack Benny is so he's sort of he does
Speaker 2: nothing the whole thing. He's so cam but he's also
Speaker 2: sort of slightly loose, and he's very back foot. He
Speaker 2: doesn't it's just hilarious and it's like one of those
Speaker 2: real knock about comedy sort of times were brilliantly done.
Speaker 2: I really strongly recommend it.
Speaker 1: Okay, yeah, David Morrisey, you have been an absolute joy. However,
Speaker 1: when you saw a burning orphanage and you ran inside
Speaker 1: and you took every every child out, You've got every
Speaker 1: child out, and you went back in thinking is there
Speaker 1: anyone else? And you saw a petrol cat and a
Speaker 1: box of actually got so picked their manpats and you
Speaker 1: put your hands on him, but then he started coughing
Speaker 1: from the spake and he lay down. He saw when
Speaker 1: on the floor, and it was a note that said,
Speaker 1: I did it. I blew up the orphans and you
Speaker 1: held it like what's this? And then you cough and
Speaker 1: you died and the place burned down. But the only
Speaker 1: thing that didn't burn was the piece of paper that
Speaker 1: said I did it.
Speaker 2: I love it.
Speaker 1: I was walking past with the coffin, you know what
Speaker 1: I'm like, and I go, who's that corpse? And then
Speaker 1: I go over and I go, I think that's my
Speaker 1: dad's favorite actor to David Morrissey. And I see this
Speaker 1: piece of go I can't believe he blew up an orphans.
Speaker 1: Oh god, what? But he saved all the orphans. What
Speaker 1: was the message he was doing? I don't even get it.
Speaker 1: Just didn't like the building anyway. We should probably bury him.
Speaker 1: So I take a course. But it's got lots of
Speaker 1: carbon on it. Lot you know, like you've solidified. It's difficult.
Speaker 1: You have to chop you up into bits, put you
Speaker 1: in the coffin that's rammed in there. There's no room
Speaker 1: in this coffin. It's only enough space for me to
Speaker 1: slip one DVD into the side for you to take
Speaker 1: across to the other side, and on the other side
Speaker 1: it's movie night every night. What film are you taking
Speaker 1: to show the people of Heaven after you watch Match
Speaker 1: of the Day and have sausage and mash when it's
Speaker 1: your movie night.
Speaker 2: David Morrissey go, Okay, I'm going to choose a matter
Speaker 2: of life and death because because it's got Heaven in
Speaker 2: it and I just want to go, look, this is
Speaker 2: what we think heaven is. It's great. Yeah, God, what's
Speaker 2: that big staircase thing? You know all that, But yeah,
Speaker 2: I love that depiction of heaven Robert Roger Livesey coming
Speaker 2: up and sort of depending him and stuff. So I
Speaker 2: would take that because I just think it's a really
Speaker 2: it would be a good film night in Heaven for
Speaker 2: them to see what we think of them. That's great.
Speaker 1: Dave Rose, would you like to tell people to look
Speaker 1: out for and to listen to things with you in
Speaker 1: the coming months please?
Speaker 2: Yeah. So I've got Daddy issues coming out in the
Speaker 2: middle of August. I've got Sherwood two coming out in
Speaker 2: the August. Yeah. So they are the two things coming out,
Speaker 2: So take a take a look at them both on
Speaker 2: BBC The Wonderful BBC both on BBC one I think,
Speaker 2: although I think Daddy Issues first comes out on BBC
Speaker 2: three an Ie player and then we'll be on BBC
Speaker 2: one later.
Speaker 1: Oh cool, Dave morris Absolutely pleasure. It's been so nice
Speaker 1: to hang out with you.
Speaker 2: Good to see you again. There's been years.
Speaker 1: Thank you so much for a man, and well done.
Speaker 1: And I hope you have a lovely death and I
Speaker 1: hope see you've seen lots of love.
Speaker 2: Good day to you. Thanks mate. Bye.
Speaker 1: So that was episode three hundred and thirteen. Head over
Speaker 1: to the Patreon at patreon dot com, Forward Slash, break Cards,
Speaker 1: Tume for the text for your secret chat and very
Speaker 1: very very very short video with David Morrissey. Go to
Speaker 1: Apple Podcasts give us a five star rating, but write
Speaker 1: about a film that means the most to you and
Speaker 1: why it's a very nice thing to read. My neighbor
Speaker 1: Marian loves it and it makes her cry every single
Speaker 1: time she reads it. Thank you so much to David
Speaker 1: Morrissey for giving me his time, Thanks to his previous
Speaker 1: pip and the Distraction Pieces Network.
Speaker 2: Thanks to Buddy Peace for producing it.
Speaker 1: Thanks to iHeartMedia and Will Pharaoh's Big Money Players Network
Speaker 1: for hosting it. Thanks to Adam Mischarison for the graphics,
Speaker 1: at least to Loight them for the photography.
Speaker 2: Thank you all for listening. I hope everyone is well.
Speaker 1: Come join me next week for a brilliant episode with
Speaker 1: a very brilliant guest. So much brilliant. Thank you all
Speaker 1: for listening. I hope you're all well. But that's it
Speaker 1: for now. In the meantime, have a lovely week. Please
Speaker 1: be excellent to each other.
Speaker 2: Back back back back back