Speaker 1: Get a Pete Helly here. Welcome to you Ain't Seen
Speaker 1: Nothing Yet? The movie podcast Wire, our chat to a
Speaker 1: movie lover about a classic or loved movie they haven't
Speaker 1: quite got around to watching until now. In today's guest
Speaker 1: Oscar nominee, chewital as you for.
Speaker 2: All below.
Speaker 1: I want to stay here with you.
Speaker 3: Thank the jobber, my nay shucked, my fail that you
Speaker 3: couldn't happening right.
Speaker 4: You ain't seen nothing yet?
Speaker 1: If you don't mind, what an exciting episode of you
Speaker 1: Ain't Seen Nothing Yet today?
Speaker 2: Because we have.
Speaker 5: I think I might be wrong, but I think.
Speaker 2: It's our first Oscar nominee.
Speaker 1: He was nominated for an Oscar for twelve Years a Slave,
Speaker 1: and he has been in many of my favorite films,
Speaker 1: including a film that I am growingly becoming obsessed with,
Speaker 1: which is Children of Men by Alfonso Kron and he's
Speaker 1: brilliant in that.
Speaker 2: I think that's a perfect movie. We had a guest
Speaker 2: who nominated it as one of their favorite movies and I.
Speaker 1: Checked it out after they mentioned it, and I was like, yeah,
Speaker 1: this is an amazing film. I thought it was really
Speaker 1: good when I first saw it, but it's spectacular. So
Speaker 1: we get the chat Chewadel about that, and this is
Speaker 1: a bit of a break in protocol. And I should
Speaker 1: also mention I'm recording this intro in an apartment in
Speaker 1: Sydney because I've been there for Peter and the Starcatcher
Speaker 1: coming to Briege and soon the interview is done under
Speaker 1: lott bit junk condition set up by Universal Pictures. I
Speaker 1: appreciate or their helping as system with this interview, but yes,
Speaker 1: it's it's all clean audio for the interview, but it
Speaker 1: is a break from traditional Yasny protocol.
Speaker 2: It's hard to ask somebody doing a junk at the
Speaker 2: squeeze in the time to watch a film.
Speaker 1: So I discuss Childwell's three favorite films of his and
Speaker 1: then we discuss a little grab bag of my favorite
Speaker 1: chiwitel as you four films, which include Twelve Years of Slave,
Speaker 1: Children of Men and Kinky Boots. I was tossing up
Speaker 1: because we had a certain amount of time whether to
Speaker 1: ask about Kinky Boots or love actually, but I assume
Speaker 1: there's plenty of stuff about his thoughts on love Actually.
Speaker 1: I was curious to see how he remembered Kinky Boots
Speaker 1: because there was a big film for him and I
Speaker 1: don't think it was his first lead, but firstly maybe
Speaker 1: the major picture motion picture.
Speaker 2: He done Love Actually, which of course was an ensemble.
Speaker 5: He's only a pretty good time around around that time.
Speaker 1: Actually made Love Actually in two thousand and three, and
Speaker 1: then you Boots in two thousand and five, and he
Speaker 1: makes Children of Men in two thousand and six. But
Speaker 1: you get to discuss what it was like working on
Speaker 1: twelve years a slide, the responsibility that came without, how
Speaker 1: he shok the character off, and the time that took
Speaker 1: working with Joel.
Speaker 2: Edgend In Kicky Boots.
Speaker 1: His love for that film, and also just the amazing
Speaker 1: movie Children of Men, and that amazing ambush scene that
Speaker 1: was almost a one take action masterpiece. So I hope
Speaker 1: you enjoy Chewardelle as before he is in town. He
Speaker 1: was in Sydney for Bridget Jones Mad about the Boy,
Speaker 1: and I recommend those who have followed Bridget on her
Speaker 1: adventures this is not the time to get off.
Speaker 2: I were quite moved by the film. It's as funny
Speaker 2: as I think the.
Speaker 1: Other installments, this one I found more moving for many reasons,
Speaker 1: I think, But yeah, check it out. Get to a cinema,
Speaker 1: watch movies in a cinema when you can. But I
Speaker 1: absolutely stoke.
Speaker 2: Can you hang yet? Cheered out?
Speaker 6: D four?
Speaker 7: Toda Hi, my name is CHURTI ledio four. My three
Speaker 7: favorite films are Bicycle Theme and Andre Rubelev That's.
Speaker 5: And Do the Right Thing?
Speaker 6: Doctor?
Speaker 2: Come on?
Speaker 5: What what? Always? Do the right thing?
Speaker 3: That's it, That's it, I got it.
Speaker 5: I'm gone. Do you miss Tis?
Speaker 8: Sometimes?
Speaker 9: I miss him all of the times.
Speaker 5: Can you survive?
Speaker 9: I think so.
Speaker 5: It's not enough to survive, You've got to live, just Harry.
Speaker 9: Miss don't welcome now. That is what I call a rebrand.
Speaker 5: Did you have sex?
Speaker 9: Did you have sex? Did you have sex last night?
Speaker 10: Yes? I did.
Speaker 11: I had a full night of utterly mind blowing sex
Speaker 11: and it was amazing.
Speaker 9: Bridget Jones, It's time to live.
Speaker 1: Bridget Jones is back and she isn't in great shape.
Speaker 1: And no it's not because she's hitting the bottle or
Speaker 1: pining for a man. It's kind of the opposite. In fact,
Speaker 1: the Bridget, played brilliantly once again by Rene Zoweger, is
Speaker 1: mourning the death of her beloved mister Darcy Colin Firth,
Speaker 1: with two young children to raise with a somewhat shambolic
Speaker 1: help from Uncle Daniel Cleaver, the always watchable Hu Grant
Speaker 1: in full sleeze mode once again. But it's time for
Speaker 1: Bridget Jones to get out of her slump, to get
Speaker 1: back into the workforce, connected with friends, and yes, of course,
Speaker 1: to find her next love. When a tree climbing missap
Speaker 1: brings the attention of her kids, teacher mister Walker, today's guest,
Speaker 1: the always classy chewill Edge You four and the younger
Speaker 1: Chap Rockster White lotuses Leo Woodall. It provides the opportunity
Speaker 1: for the more mature Bridget to try something and someone
Speaker 1: new in life.
Speaker 9: There are memories that will never leave us. I like
Speaker 9: you very much, just as you are. But sometimes those
Speaker 9: memories are suddenly bridges. Oh we left with.
Speaker 11: Welcome to you and see nothing yet real. It's a
Speaker 11: pleasure to have you.
Speaker 1: Thank you, And I'm relieved because I've seen well, i've
Speaker 1: seen two of the three of these films. Okay, so
Speaker 1: you're going to educate me on one of them, which
Speaker 1: is Andre reblov And from nineteen sixty six.
Speaker 10: I know of it.
Speaker 1: I know it's considered one of the great art house
Speaker 1: movies of all time. I somehow know there's a cow
Speaker 1: that is on fire and some some reason I know
Speaker 1: that tell us about it, and what do you like
Speaker 1: it so much?
Speaker 7: So it's a Tarkovski film, and it is a beautiful epic,
Speaker 7: a religious epic really around the life of Andre Rublev
Speaker 7: and his sort of his struggles as a as an
Speaker 7: artist and as a religious figure in this time of
Speaker 7: great change in Russia and these very sort of violent
Speaker 7: encounters and struggles, a period of great political life, of
Speaker 7: great emotional life, of great emotional striving. And you know,
Speaker 7: I was struck by the film because I mean, I'm
Speaker 7: struck by Tarkovsky generally like everybody else. The imaging that
Speaker 7: he uses, the kind of systems of shooting he uses,
Speaker 7: the the way that there's a kind of very visceral
Speaker 7: reaction and a kind of profound intelligence to the work
Speaker 7: that's being done. That is, you know, that is present
Speaker 7: throughout his films, and that was present throughout his career,
Speaker 7: and a sort of a shortened career because he died
Speaker 7: relatively early. But I think because Rublev is so ambitious,
Speaker 7: you know, because it is so so epic in its scale,
Speaker 7: and because the kind of epic quality of it seems
Speaker 7: almost I mean it's hard to say like this, but
Speaker 7: it seems almost easily achieved. You really feel that you're
Speaker 7: confidently in the presence of somebody who has mastered scale
Speaker 7: in cinematic language.
Speaker 5: So there are.
Speaker 7: Sequences that you can go back to time and time
Speaker 7: again and marvel not only the sort of imagination that
Speaker 7: they would have required, but also the fact that you
Speaker 7: would attempt at that some would attempt this sort of
Speaker 7: at all and achieve it so beautifully. These kind of
Speaker 7: sequences with thousands of extras, these sequences with everything on fire,
Speaker 7: these war sequences, but also these sequences of celebrations. There
Speaker 7: are sequences that are aerial, you know, shots from balloons
Speaker 7: and shots from the top of these church towers, and
Speaker 7: there are you know, these shots in the water and
Speaker 7: communities meeting each other. There is such beautiful poetry in
Speaker 7: the filming, and.
Speaker 1: You make them social change, which is runs through I
Speaker 1: think your three favorite films and a lot of the
Speaker 1: movies you've made in your career. But do the Right Thing,
Speaker 1: what does that film make mean to you?
Speaker 7: Well, I mean, do the Right Thing is epic in
Speaker 7: a kind of different way, you know it is. It
Speaker 7: really does capture a moment in time. It's still relevant today.
Speaker 7: But the kind of the discussion of the tensions, the tensions,
Speaker 7: the racial tensions in America, that it brings up this
Speaker 7: idea of there being a real conversation to be had,
Speaker 7: and are people prepared to have these conversations, you know,
Speaker 7: and what is the result of these conversations. To set
Speaker 7: that film in that in that time, For Spikey to
Speaker 7: place it, and to place that argument so vehemently with
Speaker 7: such kind of clarity and strength, I think was the
Speaker 7: thing that ingrained it as an idea into the minds
Speaker 7: of everybody who watched that film. It was again a
Speaker 7: sort of perfectly realized way of having a very complicated
Speaker 7: conversation with an audience.
Speaker 1: It was he was the first time I heard or
Speaker 1: answer the argument. Spikeley made the argument that film's idea
Speaker 1: is or purpose is to present problems and then for
Speaker 1: the audience to debate them. And I think some writers do,
Speaker 1: mean some critics get confused about trying to fix the
Speaker 1: world through movies. It's not we can promote, debate and
Speaker 1: have arguments. And he mentioned, you know, the whole debate
Speaker 1: about did Murky did do the right thing? And he
Speaker 1: says only white people ever asking that question, which is interesting.
Speaker 1: But is that what you like when you watch a
Speaker 1: film that is just prompting a debate or a new
Speaker 1: way of thinking.
Speaker 3: I think so.
Speaker 5: I mean, I think that's part of it, you know.
Speaker 7: I feel like that film actually does land on a side,
Speaker 7: It has a position. I think that the sort of
Speaker 7: the final questions I think are kind of the debate.
Speaker 7: But I think it's just in the presentation of the
Speaker 7: conditions and the overall.
Speaker 5: Context of a life.
Speaker 7: You have so many answers to to what is, to
Speaker 7: what was then what still continues in some ways, to
Speaker 7: go on, and to be able to have that conversation
Speaker 7: without the.
Speaker 5: Need for explicitly stating anything.
Speaker 7: But through images, through characters, through conversations, through the dynamics,
Speaker 7: through cinematography, through sound, through music, you know, you can
Speaker 7: have these very developed concepts looked at, thought about, and
Speaker 7: I think people come away from it changed. You know
Speaker 7: that even if they feel like, well, I don't know
Speaker 7: if he did the right thing or didn't do the
Speaker 7: right thing, what they actually come away from is a
Speaker 7: better understanding of the world. And that I think is
Speaker 7: really what films can achieve. You know, if you come
Speaker 7: out of a film and you're looking at the world
Speaker 7: in a slightly different way. You know, then you've really
Speaker 7: truly had a cinematic experience.
Speaker 1: Basycle Themes I've loved for it's the first foreign language
Speaker 1: film I ever watched when I was younger.
Speaker 5: What does that film mean to you? Well so much.
Speaker 7: I mean, Bicycle Themes is a film of just this
Speaker 7: kind of deep profundity. First of all, I think it's
Speaker 7: the relationship between a father and a son that and
Speaker 7: I think when I first watched that film, it was
Speaker 7: the first time I had seen that relationship represented quite
Speaker 7: as powerfully as that one is. Just the love and
Speaker 7: that bond seemed so deep to me. You know, there's
Speaker 7: a sequences he walks towards the river when he thinks
Speaker 7: Bruno might have fallen in and you know, they've had
Speaker 7: an argument and he's stormed off, and then he hears
Speaker 7: that a boy has fallen in the river, so he
Speaker 7: starts to walk back, and there's a close up shot
Speaker 7: of his face as he's walking back, and you see
Speaker 7: a beautiful piece of acting by the way that you
Speaker 7: see the doubt and the concern and the fear creep
Speaker 7: into his face as he thinks, could it be, could
Speaker 7: it be? Is there any chance that they're calling for Bruno?
Speaker 10: You know?
Speaker 7: And then he starts to run and starts to scream
Speaker 7: the name of his son, and then eventually he finds
Speaker 7: him and they're embrace, and that moment is absolutely heartbreaking.
Speaker 7: And so the film for a lot of that kind
Speaker 7: of postwar Italian circumstance and all of the questions it
Speaker 7: asks about ethics and morality, about circumstances, about the social
Speaker 7: structures that we live in.
Speaker 10: You know.
Speaker 5: It's a deep and profound and beautifully sharp film.
Speaker 7: And all amateur actors, yeah, exactly, found actors, including the
Speaker 7: adult axes. Often people talk about it in terms of
Speaker 7: the young actors and they say, oh, these are young,
Speaker 7: but everybody in that film is really sort of coming
Speaker 7: to that. It was arriving in that moment into the
Speaker 7: into that that's and take on the mantle of it
Speaker 7: with such precision. So Desika did an extraordinary job.
Speaker 1: And let's jump forward to why you're here in Australia.
Speaker 1: Bridge Giants A matter about the boy? Congratulations? Sorry last
Speaker 1: week I've seen all Bridge Jones films, have enjoyed all
Speaker 1: of them. This one was speaking of somebody about I said,
Speaker 1: it's as funny as all the other films, but with
Speaker 1: this one there is it got me like emotionally, I I,
Speaker 1: you know, I whether a tear roll down my check,
Speaker 1: but my eyes were watering that this, I don't know,
Speaker 1: the great the whole grief thing really struck me emotionally.
Speaker 1: This was the most emotional I've gotten watching a Bridge
Speaker 1: Janons film.
Speaker 5: Yeah. I think that's right.
Speaker 7: I think that the what I loved about it when
Speaker 7: I read the script was that it had all of
Speaker 7: exactly as you're saying, and had all of the humor.
Speaker 5: You know.
Speaker 7: Somebody put it this way recently. They said, it's like
Speaker 7: nothing's changed except everything. I think that's a really beautiful
Speaker 7: way of describing it. I just I felt like it
Speaker 7: had all of that humor, but it had this layering
Speaker 7: of this kind of emotional base to it that felt
Speaker 7: very authentic and very very real.
Speaker 5: And I think it's it is that thing.
Speaker 7: About all of the sort of challenges of growing of
Speaker 7: growing older, the different things you face. But you know,
Speaker 7: but having Bridget in this phase of life, it means
Speaker 7: that you can have all of that optimism and that
Speaker 7: perseverance and that kindness frankly, and still feel that it's
Speaker 7: relevant in middle age. I mean to still feel like,
Speaker 7: actually that gets you through some of the sort of
Speaker 7: profound challenges that you can face. It this at a
Speaker 7: certain time in life. And so I felt it just
Speaker 7: had a real riches. It was almost as if Bridget
Speaker 7: Jones had found her moment.
Speaker 1: You know, and it was and it was now comedies
Speaker 1: are hard to get made, and they're hard to make work,
Speaker 1: but here we are fourth, you know, installment of Bridge Jions.
Speaker 1: What what is it about Bridge Gionts and the character
Speaker 1: of Helen Fielding created And now Rene Zelwega has.
Speaker 7: I think that it's there's a lot of different factors.
Speaker 7: I think, I think absolutely that Helen Fielding right from
Speaker 7: the beginning, there was a very there was I remember
Speaker 7: at the beginning, there was that intrigue, you know, when
Speaker 7: the in the in the newspapers, when it when it
Speaker 7: first came out, you know, as as a sort of
Speaker 7: in the journal you know that was printed I think
Speaker 7: weekly was the Bridget Jones Diary, and it was fun
Speaker 7: and everybody was kind of excited about it. And then
Speaker 7: and then it turned into the book, the first book,
Speaker 7: and there was a lot of excitement about that, and
Speaker 7: I hadn't I didn't read the book at the time,
Speaker 7: but I was familiar with the newspaper and then and
Speaker 7: you know, obviously everybody was talking about the book and
Speaker 7: then and then the film, you know, so I came
Speaker 7: to it then with the film, and I just fell.
Speaker 5: In love with it.
Speaker 2: You know.
Speaker 5: I thought that it was incredibly fresh.
Speaker 7: You know, just it had in this character, very very funny,
Speaker 7: but also something unique, you know, just something that was
Speaker 7: about everybody that was that felt like, you know, this
Speaker 7: character didn't say the right.
Speaker 5: Thing or do the right thing, but it wasn't sort
Speaker 5: of broad comedic. It was it felt very real.
Speaker 7: And I had loved Renee from before, and to see
Speaker 7: her in this film it was sort of surprising to
Speaker 7: me because obviously she was an American actress, and yet
Speaker 7: she was doing something that was so specific in terms
Speaker 7: of the kind of Britishness that she was that she
Speaker 7: sort of pinpointed that it sort of felt like, you know, witchcraft,
Speaker 7: and it felt like sorcery.
Speaker 5: She just got it so right.
Speaker 1: And so do you think sometimes those comedic performances don't
Speaker 1: get the accolades that they deserve because it is a
Speaker 1: stunning performance.
Speaker 5: I think that's you know, absolutely true.
Speaker 7: I think it's just that everything about it, you know,
Speaker 7: because having to get into the manners, having to get
Speaker 7: into the specifics, having to perform in that way, and
Speaker 7: that at that level, you know, you know, I'd seen it.
Speaker 7: I was first aware of her and Jerry maguire, so
Speaker 7: it was a completely different you know, she brought the
Speaker 7: same authenticity and energy in a way, but it was
Speaker 7: a completely different sort of line of it. So I
Speaker 7: think that's why people were just crazy about it, you know,
Speaker 7: when it came out and they felt so seen and
Speaker 7: represented by it, and I think it sort of set
Speaker 7: off this kind of huge wave of affection it became,
Speaker 7: and that I think is the reason that it became
Speaker 7: so beloved. It's so optimistic and this idea of somebody
Speaker 7: being able to persevere, you know, through it all. I
Speaker 7: think we all feel out of step with the world sometimes,
Speaker 7: you know that we're kind of trying to catch up,
Speaker 7: or we're spinning plates and some of them are falling,
Speaker 7: and we're blaming ourselves, you know, for all of these things,
Speaker 7: and then along come somebody who says, don't worry about
Speaker 7: all that. You know, yes, we spend all of this
Speaker 7: time judging ourselves and blaming ourselves, but actually, you know what,
Speaker 7: you can still win, and you can do it with
Speaker 7: optimism and kindness. And I think there was something very
Speaker 7: it's something that still lasts and almost feels like right now.
Speaker 7: It's a it's it's a it's a message that I
Speaker 7: think can be really her.
Speaker 1: It gets the mixture out of being right now. And
Speaker 1: there's a reason for this film to exist. Absolutely that
Speaker 1: you know that the passing of you know, mister Darcy,
Speaker 1: but it's it's not relying and sorry, it also feels nostalgic,
Speaker 1: but it's not relying on nostalgia. But watching the film
Speaker 1: and seeing you Grant again and then Thompson, it's it's
Speaker 1: so much fun. But also what I was quite touched
Speaker 1: by was her little circle of friends, you know, the
Speaker 1: Sally Phillips, and it was really I was quite moved
Speaker 1: to see them again and that those friendships continue totally.
Speaker 7: I mean, it's all about love, isn't it in a way,
Speaker 7: and all of the different kinds of love that you
Speaker 7: that you experience, and obviously there's romantic love, but then
Speaker 7: there's the love of family, you know, the love of parents,
Speaker 7: the love of children, you know, and then you know,
Speaker 7: there's love of friends, which doesn't often get talked about,
Speaker 7: you know, quite as much. But this is a very
Speaker 7: profound love that we have in our lives. And that
Speaker 7: kind of support system and that kind of chosen family
Speaker 7: is so important. And I think one of the things
Speaker 7: about this is exactly that sense of feeling, oh, thank goodness.
Speaker 7: You know, she's held onto all of these relationships, and
Speaker 7: I'm so happy that in the twenty five years that
Speaker 7: I've been able.
Speaker 5: To do that too, you know.
Speaker 7: And it's another way that you relate to her and
Speaker 7: you reflect on how important those relationships have been for you.
Speaker 1: Now you carrige everyone to go to the cinema. Of course,
Speaker 1: I see Prittis Jones, met that boy and have a
Speaker 1: laugh with people around you. I want to jump around
Speaker 1: a little bit now to your studying career. Obviously nominated
Speaker 1: for the OSCAR for twelve years.
Speaker 5: A slave. I want to ask you what part of
Speaker 5: the country you come from. I originate from Canada.
Speaker 9: I guess where that is.
Speaker 5: Well, I know where Canada is. I've been there myself.
Speaker 9: We'll traveled for a slave.
Speaker 6: Solomon Northolk is an expert player on the violin.
Speaker 5: I was born a free men, lived with my family
Speaker 5: in New York. Been good for your mother until the
Speaker 5: day I was to see to Solomon kidnapped, sold into slavery.
Speaker 1: If you can go back, can you remember, I mean,
Speaker 1: accepting that role, the responsibility that comes with that. Do
Speaker 1: you remember what you were feeling on day one of
Speaker 1: filming or the night before, you know, trying to get
Speaker 1: the select, like just rolling up to that set. Yeah,
Speaker 1: incredible actors around you. You know it's gonna be a
Speaker 1: big film. The pressure must have been on you. Yeah,
Speaker 1: did you deal with it?
Speaker 5: Well? It was very interesting, you know. I think that
Speaker 5: it was.
Speaker 7: We got down to Louisiana for you know, a few
Speaker 7: weeks before to do some rehearsals and to kind of
Speaker 7: go to some of the locations and have a look
Speaker 7: around basically just to get a feel for what was.
Speaker 5: Kind of going on.
Speaker 7: And I do think that there was a sense of,
Speaker 7: you know, kind of a building pressure. It's like this
Speaker 7: kind of energy that's sort of arriving that you know,
Speaker 7: and it is it's something that you're trying to control
Speaker 7: a lot of the time, you know, because you do
Speaker 7: feel this sense of responsibility the sense of the kind
Speaker 7: of weight that you're meeting an occasion in a way,
Speaker 7: and then I think it's really I think the first
Speaker 7: day we were out by plantation and it was so
Speaker 7: moving just to be there, just to be having any
Speaker 7: kind of tangible contact with the experiences that people had
Speaker 7: in these places. And then you know, the cameras start
Speaker 7: rolling and you start playing the scenes and you feel
Speaker 7: that you feel supported. You know, I felt an ease,
Speaker 7: I felt supported by what had happened in the places,
Speaker 7: and I just felt supported by by the people, by
Speaker 7: the people themselves, by the spirit of all of these people,
Speaker 7: you know. And I think the Peter talked about the
Speaker 7: same thing, that there was a sense of we're here
Speaker 7: to tell a story. We're here to tell the story
Speaker 7: of people, and from the perspective of people who've never
Speaker 7: really been able to tell the story in this way.
Speaker 4: Mister Parker, see again, mister Barker, man received a letter
Speaker 4: compiling many accusations.
Speaker 10: You look me in the eye.
Speaker 4: On your life, you answer me truthfully. Have you any
Speaker 4: other name than Platt?
Speaker 5: Solomon Northup is my name?
Speaker 2: Sure?
Speaker 4: That's all this it's official business, my nigga, my business,
Speaker 4: your business, waits.
Speaker 5: Tell me if you're family, Platt, I have a wife,
Speaker 5: two children.
Speaker 4: What the hell are your children's name?
Speaker 5: Margaret and Alonzo?
Speaker 4: What's your wife's name before her married?
Speaker 5: Annhampton? I am who I say? Where you going, Platt?
Speaker 6: Go with the rose you need in a few with
Speaker 6: my property, my author that you.
Speaker 2: Come back here.
Speaker 3: You come back here.
Speaker 4: Boy, you're going to hand him.
Speaker 5: Monig he is mister Solomon North. You come here unfamiliar to.
Speaker 4: Me, and no doubt Samana Solomon northon hell he is.
Speaker 3: He's more nigger, And I'll fuck you for as is
Speaker 3: your right, as it will be my pleasure to bankrupt
Speaker 3: you in the courts.
Speaker 5: Your decision one hand him.
Speaker 1: At the other end the final day of filming, how
Speaker 1: were you able to shake Solomon off?
Speaker 5: If you're able to it all?
Speaker 7: Well, I you know, one of the producers on the
Speaker 7: film had an apartment in Dumbo in New York. So
Speaker 7: basically I just needed somewhere to go, you know what
Speaker 7: I mean. After we finished filming, I couldn't go back home.
Speaker 7: You know, I couldn't go back to London immediately because
Speaker 7: I just wasn't really in a state. You know, you
Speaker 7: can't because you can't just sort of rejoin society sort
Speaker 7: of straight away, and because it feels very weird, you're
Speaker 7: only you're only going to be talking about where you've been,
Speaker 7: you know, the kind of the depth of the experience
Speaker 7: that you've just had.
Speaker 5: So so I stayed there actually for about three months.
Speaker 6: You know.
Speaker 7: So I was in this place, you know, and then
Speaker 7: I would and then I sort of slowly came out
Speaker 7: of the experience and slowly started to see people and
Speaker 7: you know, and then sort of get back into back
Speaker 7: into life.
Speaker 5: So it took a little bit of time. Yeah, incredible,
Speaker 5: Children of Men. Homeland Security Bill is ratified after eighty years.
Speaker 5: British borders will remain closed, a deportation of illegal immigrants
Speaker 5: will continue. Good Morning, our lead story.
Speaker 10: The world was stunned today by the death of Diego Ricardo,
Speaker 10: the youngest person on the planet. Baby Diego was stabbed
Speaker 10: outside a bar in Buenos Aires after refusing to sign
Speaker 10: an autograph.
Speaker 1: This movie, Blade Runner wasn't like a massive, massive hit
Speaker 1: when it came out, but it became it becomes Blade Runner.
Speaker 1: I don't even know what young men boxed office and
Speaker 1: did when it came out. I remember saying it I
Speaker 1: think okay, but yeah, but I feel like that film
Speaker 1: is finding new audiences all the time.
Speaker 5: Now, Yeah, do you feel that totally?
Speaker 7: I think people are stunned and they see it, know
Speaker 7: that they just you know, and what was what you know,
Speaker 7: obviously Alfonso and and emmanuel Lebedski were able to achieve
Speaker 7: in the film is I just can't think it's I
Speaker 7: don't think it's ever been surpassed, you know, like, I
Speaker 7: just think it's so extraordinary what was what was done
Speaker 7: and how relevant and raw and honest it feels, you know,
Speaker 7: as a piece of cinema.
Speaker 1: Why do they great films stay alive and they keep changing.
Speaker 1: There's there's a line that I wrote down when the
Speaker 1: illegal immigrants come by, and Michael Kaye makes the point,
Speaker 1: you know, they they do their best to make the
Speaker 1: best life of themselves and now the government are handing
Speaker 1: them down like cockroaches. Yeah, and you look at what's
Speaker 1: happening around the world at the moment, and that's as
Speaker 1: relevant today as it was in two thousand and so for.
Speaker 7: Sure, it's and it's sort of become more and more
Speaker 7: more and more relevant. You know that it's because it's
Speaker 7: sort of prescient and it's sort of it's it's kind
Speaker 7: of it is terrifying, you know, how much closer we
Speaker 7: get to these dystopia in realities, you know, and you
Speaker 7: don't know, it's hard to judge when you're in the
Speaker 7: middle of it all, you know, because you're sort of
Speaker 7: looking around and you're like, well, this is all seems
Speaker 7: pretty out of control. But you know, everybody's trying to
Speaker 7: still live their lives, and you're like, but this wasn't
Speaker 7: like this twenty years ago. Twenty years ago they were
Speaker 7: warning about this, and here we are and we're still
Speaker 7: trying to sort of make the best of it. But
Speaker 7: at some point we've got to really reflect on the
Speaker 7: fact that this has been a long time coming, you know,
Speaker 7: and we are in the midst of something that's kind
Speaker 7: of strange right now.
Speaker 1: Obviously, you shoots these long scenes. The opening scenes are
Speaker 1: absolutely stunning, but the one of the most famous one
Speaker 1: is the ambush, Yeah, which you're involved with. What was
Speaker 1: What are your memories of shooting that?
Speaker 5: What's happened? What are you doing? Why did you do that?
Speaker 5: We're gonna get off the road to get in.
Speaker 7: Mm hmm, Well I remember the car rig, you know,
Speaker 7: and and That was pretty wild, you know because just
Speaker 7: I think there are there are YouTube videos now about
Speaker 7: how that was achieved, you know, with Alfonso and she
Speaker 7: were up above us, you know, in the in the
Speaker 7: rig and then us in the car and my seat
Speaker 7: on a hinge, you know, so that the camera could
Speaker 7: pass over my head, and I remember it was just
Speaker 7: it was such a dance to be able to say
Speaker 7: a line, you know, and the intensity of the moment
Speaker 7: and then go back on this hinge and lie there
Speaker 7: as the camera goes over my face and then does
Speaker 7: you know something else and then you come back as
Speaker 7: the camera comes back to you and you're still in
Speaker 7: the moment, you're still doing the thing, but you're having
Speaker 7: to kind of dance do a choreography the camera. And
Speaker 7: it was the only time really that I've experienced this
Speaker 7: that the camera was a performer, you know, the camera
Speaker 7: was a performer in the scene, and so the choreography
Speaker 7: was with the camera, and it just meant for it
Speaker 7: just made for a very kind of rich, emotional, you
Speaker 7: know sequence, and then to watch it, you can't tear
Speaker 7: your eyes away.
Speaker 5: So it was brilliant. It was the egg. Was there
Speaker 5: any practical you know, CG.
Speaker 1: On effect with the egg going, because you would would
Speaker 1: have had a front, right, I say to that, Yeah, that.
Speaker 5: Was that done in the moment? No, No, that's that's
Speaker 5: yea yeah, no, no, that's a visual effect. Yeah, I'm glad.
Speaker 5: I think maybe they got it once or something.
Speaker 1: Is there a part of you when that's happening kind
Speaker 1: of thinking, don't be the one who stuffs his take.
Speaker 5: Oh yeah, yeah, yeah, that is real.
Speaker 7: I mean, but that it wasn't in that scene because
Speaker 7: I think because I think it's easier when it's a
Speaker 7: bit more when it's a bit chaotic. You know, if
Speaker 7: you're doing a long scene like that and a hundred
Speaker 7: different things are happening, and then it comes to you
Speaker 7: and you're in the middle of some very kind of
Speaker 7: hectic moment, you know, you feel a bit more confident
Speaker 7: about that. I think it's harder when you are doing
Speaker 7: a scene that one hundred things are happening, it's very
Speaker 7: long scene, and it comes to you and it's a
Speaker 7: calm moment and you've just got to say a line
Speaker 7: or move something.
Speaker 5: You know that you feel the build of the pressure.
Speaker 7: Actually, you know, it seems sort of counterintuitive in a way,
Speaker 7: but that was those were the moments and I was like,
Speaker 7: oh wow.
Speaker 11: That's that's tough and just quickly Kinky Bridge I love.
Speaker 5: I'll watch again.
Speaker 1: Recently, Joel adgit and is a friend of mine, and
Speaker 1: I feel like there's a big film for both of you.
Speaker 1: I should think that was for Joel. Like Joel, I
Speaker 1: think it's one of his first big international films. You've
Speaker 1: done love actually, but this is you, you know, in
Speaker 1: the laid Laula would have come with its own you know, pressure,
Speaker 1: and you know, as far as representing and you know,
Speaker 1: and what a beautiful film and that message of gives
Speaker 1: you know, sorry, change your mind about someone?
Speaker 5: Yeah, yeah, that's a beautiful message. Why did you stop? Well,
Speaker 5: I won't want you to walk into the factory and
Speaker 5: feel that people didn't respect you.
Speaker 6: Done.
Speaker 8: I wouldn't want anyone else to know what that feels like. Oh,
Speaker 8: change your mind about someone?
Speaker 5: I love that. I mean, I love that film. I
Speaker 5: loved making it. I loved spending time with Joel.
Speaker 7: You know, he was that was when we first when
Speaker 7: we first met, and we've been friends now for twenty
Speaker 7: something years. And it's it's a beautiful film. You know,
Speaker 7: it's a beautiful film. It's a fantastic message. I love
Speaker 7: the fact that it then went on to have a
Speaker 7: life as a musical. Yeah, you know, I mean I
Speaker 7: could never. I couldn't even imagine doing it as a musical,
Speaker 7: like playing Lola as a musical because of the heels.
Speaker 5: You know, I just I just thought, I can't. You know,
Speaker 5: I would, I would break my neck in a day.
Speaker 5: You know, it was hard enough just doing the catwalk
Speaker 5: in the film, you know, to try and dance properly,
Speaker 5: dance in those heels. You know, you might as well
Speaker 5: call the ambulance before the curtain goes up. You know,
Speaker 5: it was. It was terrifying stuff.
Speaker 11: Yeah, we probably wrap up this film this podcast.
Speaker 1: Usually my guests watches a classic movie they've never seen,
Speaker 1: and then we talk about, oh yeah, is there a
Speaker 1: classic movie that you are maybe slightly embarrassed that you
Speaker 1: haven't caught or you were pretty much.
Speaker 7: I don't know. It's hard to say. I suppose there
Speaker 7: must be. I mean, there's obviously millions of films that
Speaker 7: I haven't seen, but the classic but it's sort of
Speaker 7: my mind is a blank. I tell you, I did
Speaker 7: watch again, you know a film that I love, A
Speaker 7: classic film that I love that. Not a lot of
Speaker 7: people have.
Speaker 5: I mean, I suppose people have seen Holiday? Do you
Speaker 5: know the Filmy Grant?
Speaker 10: Yes?
Speaker 5: Yes, I just watch that again the other day.
Speaker 10: How does your garden girl case?
Speaker 5: It's like wonderful where you are can be, but it
Speaker 5: hasn't been well. I don't call what I've been doing living?
Speaker 9: And what do you recommend for yourself, doctor Holliday?
Speaker 5: As long as I need? You mean just to play?
Speaker 6: No, No, I'll be working since I was ten. I
Speaker 6: want to find out why I'm working. The answer can't
Speaker 6: be just to pay bills and to pile up more money.
Speaker 6: Even if you do, the government's gonna take most of it.
Speaker 7: Yes, But what is the answer, Well, I don't know.
Speaker 2: That's what I tend to find out.
Speaker 10: Now.
Speaker 6: The world's changing out there. It's a lot of new
Speaker 6: exciting ideas running around. Someone that might be writing, some
Speaker 6: might be car guy, but they're affecting all our lives.
Speaker 6: I want to know how I stand, where I fit
Speaker 6: into the picture. Well, it's all gonna mean to me.
Speaker 6: I can't find that out sitting behind some desk in
Speaker 6: an office. So since I get enough money together, I'm
Speaker 6: gonna knock off for a while, QUI quit. I want
Speaker 6: to say part of my life for myself. There's a
Speaker 6: catch to it, though, It's gotta be part of the
Speaker 6: young part, you know, Uh, retire young, workold, come back
Speaker 6: and work when I know what I'm working for. Does
Speaker 6: that make sense to you? You know?
Speaker 7: I love that film and I love Carry Gronk, you know,
Speaker 7: because I feel like he's an actor that can do
Speaker 7: He's an actor that did everything.
Speaker 5: You know, he could do drama, he could do comedy because.
Speaker 7: He was always incredibly believable and he was one of
Speaker 7: these people that you didn't need to know much about
Speaker 7: the films. You just need to know that Carry Grant
Speaker 7: was in it and you thought this is going to
Speaker 7: be a good time, And that I think is a
Speaker 7: real marker of you know that you want to hit
Speaker 7: as an actor, where somebody just thinks that actually, just
Speaker 7: by you being in the film, they're probably going to
Speaker 7: be okay, you know. So so I think everybody should
Speaker 7: check out Holiday if they haven't seen it, you know,
Speaker 7: or haven't seen it recently, because again it's such a
Speaker 7: kind of beautiful classic film.
Speaker 5: Thank you so much for joining us.
Speaker 1: You're a class actor, so much fun to watch on
Speaker 1: screen and pleasure to mention thank you.
Speaker 4: And you need to look behind, but I can keep
Speaker 4: you here.
Speaker 6: This side to make the.
Speaker 5: Well, there we go.
Speaker 1: That was a real treatwell Edgy four, so classy, so articulate,
Speaker 1: so kind and personable, and it's it's what I hoped,
Speaker 1: as you always do, and I guess what I kind
Speaker 1: of expected, because when you watch Chitterwell on screen, he
Speaker 1: does have this presence and this dignity, a classiness, whether
Speaker 1: it's playing a Lola in Kinky Boots or Solomon in
Speaker 1: Twelve Years of Slave or mister Wollaka in the Bridget
Speaker 1: Jones Mad for the Boy. Yeah, there's real there's real
Speaker 1: dignity to him and a kindness. And that's exactly what
Speaker 1: I felt when chatting to him. Obviously he loves his films.
Speaker 1: I cannot wait to go and watch both Holiday and
Speaker 1: Andre Ribley off, and I might go back and revisit
Speaker 1: Bicycle Thieves and do the right thing as well. It's
Speaker 1: been a while since I've seen those films. But what
Speaker 1: a classy guy. A I don't want to embarrass him,
Speaker 1: but I think his on screen is as close to
Speaker 1: Sidney Poitier as we have gotten there's there's a similarity
Speaker 1: in the way they hold themselves. Denzel obviously is in
Speaker 1: that conversation as well. But there's a real yeah dignity
Speaker 1: in class that I always associate with Sidney Poitier that
Speaker 1: I think Chiedewell A G four has as well. What
Speaker 1: was funny actually is when I ask people to do
Speaker 1: the intros, often people who come on that my yasni
Speaker 1: are friends or people I've known and and they've listened
Speaker 1: to the podcast. Either they listen to it because they
Speaker 1: like the podcast their movie fans, or they've listened to
Speaker 1: it in anticipation for doing the podcast. And I've taken
Speaker 1: through the intro and sometimes I've got to run through
Speaker 1: it a few times. Sometimes there's a few bloopers if
Speaker 1: you like, and it takes a little while. Cheerydell had
Speaker 1: never heard the podcast before. I explained to him just
Speaker 1: really quickly how we start the episode. He got it
Speaker 1: one take. He's a professional. I think he's a really
Speaker 1: good actor. I think that's probably all of this. Yeah,
Speaker 1: thank you so much for Universal for helping set that up.
Speaker 1: Thanks Amy, a producer as well, for getting all the
Speaker 1: bits and pieces together.
Speaker 2: I will confirm through maybe social media. Who our next
Speaker 2: guest is. There's a few aligning that now, which is exciting.
Speaker 1: So kick out of the movies, same in cinemas if
Speaker 1: you can, and until then, bye
Speaker 5: For now, And so we leave old Pete save fan
Speaker 5: sout and to our friends of the radio audience, we've
Speaker 5: been a pleasant good night.