Tim Key (part 1 of 2) (The Ballad Of Wallis Island / No More Jockeys / Alan Partridge) • #344 - Films To Be Buried With with Brett Goldstein

Episode Transcript
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Speaker 1 (00:00):
Look out.

Speaker 2 (00:00):
It's only films to be buried with. Hello, and welcome
to films to be buried with. My name is Brett Goldstein.
I'm a comedian, an actor, a writer and director, a
roundabout and I love films. As Taju Cole once said,

(00:24):
cities are a collection of the stories we tell about them,
which is why Gangs of New York could probably be
a lot longer. Every week I invite a special guest.
I tell them they've died, then I get them to
discuss their life through the films that men the most
of them. Previous guests include Barry Jenkins, Kevin Smith, Sharon Stone,
and even Samples. But this week we have the brilliant actor, writer, poet,

(00:45):
and award winning comedian and movie.

Speaker 1 (00:47):
Star mister Tim Key.

Speaker 2 (00:49):
All episodes of Shrinking season two are available on Apple TV.
Get caught up on season one and season two. You
will love it. Head over to the Patreon at patreon
dot com, forward slash Brett Goldstein, where you get extra
stuff with Tim, you get all sorts of other stuff,
you get the whole episode adfree and does a video.
Check it out over at patreon dot com forward slash
Bret Gunstein so Tim Key. You might know him from

(01:11):
Mid Morning Matters with Alan Partridge and other Alan Partridge shows.
You might know him from his Skepco group Cowards, or
from the film See How They Run. He is now
in the film The Ballad of Wallace Island, which he
co wrote with the other star of the film, Tom Basden.
It's in cinemas March twenty eighth. I've seen it. It's
fucking brilliant. You will love it. You should go see it.

(01:33):
At a Lovely Time with Tim. We recorded this on
Zoom a few weeks ago and I really think you're
going to love this one.

Speaker 1 (01:39):
So that is it for now. I very much hope
you enjoy episode three hundred and forty four of Films
to be Buried With.

Speaker 2 (01:57):
Hello, and welcome to Films to be Buried With. It
is I Brett Goldstein, and I'm joined today by a poet,
a stand up a bather, an actor, a Alan partridga,
a witch hunter.

Speaker 3 (02:11):
A and Hathaway leader, a movie star, a fisherman, a singer, a.

Speaker 1 (02:24):
A lover, voice over artist.

Speaker 2 (02:26):
A voiceover artist, and a award winning comedian who is
also a sun Dance sensation. Ah Yes Good and a writer,
a screenwriter for God's sakes, and a skeet coo. We
haven't even mentioned the skeet co and a cricketer.

Speaker 4 (02:50):
Yeah.

Speaker 2 (02:51):
Most of all very good, most of all good at ball,
please show.

Speaker 1 (02:58):
I can't believe he's here. It's been for Tim k.

Speaker 4 (03:02):
It's great to be here. Thanks for having me. I
thought maybe you'd run out of steam when he got
to Comedian, but then some of the best stuff came
after that. Yeah, Sun sund Dance was a bit of
a highlight after that.

Speaker 2 (03:13):
Yeah, Sensation. Now, typically, I've been trying to get you
on the podcast for a long time, but obviously you've
never wanted to do it because you don't like talking
about your feelings and you know that I see through you.
But you've now got a movie, an actually incredible movie
that I in the full let's be let's be honest.
I don't like to lie. I've seen one hour, one

(03:36):
minute of because I only got and I can say
this unequivocally unless it turns out there's a big twist
at the end. I love this film. I think it's beautiful.
I think it's beautifully written, beautifully performed. I think it
plays to all of your strengths. You're incredibly charming in it,
Tom Basin, very put upon cam manager, delightful and the

(03:59):
direct Ah, it is class. It is so beautifully directed.
It's like real masterclass, like good storytelling, very nice shots,
very unobtrusive, but very lovely.

Speaker 1 (04:13):
I love it.

Speaker 4 (04:14):
Do you want to know the ending?

Speaker 2 (04:15):
I would have finish it's.

Speaker 4 (04:18):
What's going on at one hour, one minute.

Speaker 1 (04:20):
I don't want to spoil it. It's all got.

Speaker 2 (04:21):
It was like lovely, lovely, lovely, And now I don't
want to spoil it for you too.

Speaker 4 (04:26):
The wheels are coming off.

Speaker 2 (04:27):
She's just revealed something we didn't know, and it's like, ah.

Speaker 4 (04:30):
That's a great scene. You know, very lucky to have
been involved in that film. You make your own luck.
But yeah, tell us how?

Speaker 1 (04:39):
Tell us how? Because it was a short, right, tell
us the story of this film.

Speaker 4 (04:44):
It was a short. I don't don't know whether you
saw the short or how. How far? How far into
the short you managed?

Speaker 2 (04:49):
I saw three minutes, three seconds, and I got the
gist and I thought, as long as it's not all
I think, I love you.

Speaker 4 (04:57):
Well, yeah I was. I was a Peter at the
short as well. Yeah, we just fledged it out. No
the short. Mayor Basden made the short. It is a
good story. Actually, well, I don't know. I still a
lot to tell with stories, isn't it. But Tom Basden,
who I made the film with, he did a Barclays
advert for Barclay Card.

Speaker 1 (05:16):
Lovely fantastic.

Speaker 4 (05:18):
I mean, this is two thousand and seven, so very
envious because he suddenly had money. I was living with him.
I imagine it is, I mean, decent campaign. And then
the director of the advert.

Speaker 1 (05:30):
Do you remember the campaign? Can you do it for me?

Speaker 4 (05:33):
I'll tell you what. Some of your listeners might remember
this one. Some of the u UK listeners there was
at the end of it he I think he's got
a golf machine, a putting machine, and I think the
ball spits the golf ball out and it smashes the computer,
something like that. And then he writes a letter of
apology and then at the end doesn't know whether to
put a kiss or not to his boss. I don't

(05:54):
know whether they sold more more more Barclay Card accounts
on the back of it. But the important thing for us,
what's the messaging? No, no, no, no, just classic Barclays,
just being a rock solid bank. But you can't go
wrong with right.

Speaker 2 (06:09):
So the point is, if you're with Berkeley, you've still
got manners if you break something.

Speaker 4 (06:14):
Okay, I'm now. I think I will submit to the
idea that we won't talk about the film again. So
I think if we're drilling down into this advert, maybe
want to enjoy it. I don't know what I'm engaging.

Speaker 1 (06:25):
I'm engaging, thank you.

Speaker 4 (06:28):
This is my theory. I shouldn't have a theory about advert.
But I think what it's maybe trying to say is
maybe the campaign was for insurance, and so maybe at
the end he's something, maybe he's messed something.

Speaker 2 (06:41):
Do I have insurance? But also, yeah, I love you?

Speaker 1 (06:46):
Yeah?

Speaker 4 (06:47):
Oh maybe Yeah. I think the kiss was just satire
on you know, we're all sending messages day and day out,
an't we? And you never know exactly when to put
a kiss. I mean you you said you were going
to be five minutes late to this podcast? Yeah kiss? Maybe? Well,
that was certainly what I was trying to get across.

Speaker 1 (07:08):
It was because it's blow Well, yeah, you said.

Speaker 4 (07:12):
You're going to be five minutes late, and I said
kiss blowy kis blowy kiss blowy kiss blowry fine.

Speaker 2 (07:17):
And that made me a Lloyd's master Care Barclay's MasterCard.

Speaker 4 (07:22):
That's it.

Speaker 1 (07:24):
Anyway.

Speaker 4 (07:24):
The point being, Griff, who was the director of the advert,
emailed Boston's agent and said, got to tell you I've
just worked with your client. Lovely guy, very talented. We
talked about stuff. Apparently he writes as well, I'd like
to work with him again.

Speaker 1 (07:38):
Wow.

Speaker 4 (07:38):
So yeah, And so Baston was living with me at
the time, so he told me this. We had an
idea for a short film, and he said, why don't we, like,
you know, bump it out into a little treatment, send
it to him and see if he wants to make it.
We did that and he said I can make this.
And he had stock left over from the advert, and
so they shot it on film with the stock that

(07:58):
was left over from the Bard effort.

Speaker 1 (08:00):
Wow.

Speaker 4 (08:01):
Two thousand and seven. And that was the short which
we made of this movie.

Speaker 1 (08:05):
And it's a long short.

Speaker 2 (08:06):
It's twenty three minutes, right, obviously we saw the first
three minutes three seconds, So that's a lot of shock. Yeah,
that's a lot's one take on this baking card that
would do cut, that would do.

Speaker 4 (08:21):
It did feel a bit thin. It didn't seem to
have got many establishing shots. There was no shot of
the bank, let's put it that way. The golf ball
immediately fired by the advertising agency. But now we had
this short film which would become a feature film sixteen
years later.

Speaker 1 (08:35):
Wow.

Speaker 4 (08:36):
Yeah, So then that film was like, we were very
proud of it. I think that film would have gone
down as you know, when you do interviews. For example,
if I'm doing this today and I haven't made this
feature film and you'd said what you're most proud of,
I probably would have said, weirdly, this short we made
in two thousand and seven. Probably. Yeah. We loved making that.
It took like three days just on the Welsh coast.

(08:56):
And well, you've had the same sort of thing in
your you know, your job, where you kind of you're
just poodling around, aren't you. Then you get he gets
a little part in something where you're like wide eyed
and nervous and there's like a massive TV program of
film being made and you're like a tiny little person
and you're just trying not to fuck it up. And

(09:17):
then you leave and then you go, wow, there you
go a little insight into what happens out there. And
so this was our first one where you're like, this
is mad. We wrote this thing. We now have a
crew tiny, like you know, twenty five people, but still
in our minds that was like loads. It wasn't just
me him and the director. It is like there was
people doing makeup and stuff. And so we made it.

(09:37):
We loved it, and then it did well, that went
to festivals and things, and then we got the chance
to develop it into a feature. We declined and decided
to write a different film about about business in China.
Don't know whether you've seen that one.

Speaker 1 (09:49):
I don't think it was.

Speaker 4 (09:51):
I don't think it's definitely was made.

Speaker 1 (09:54):
We just.

Speaker 4 (09:57):
No, not really certainly, not enough left over enthusia as
from the production company. Eventually we decided that well that
just ended. It sort of fizzled out. Some of it
was fun. I guess we got a script. The script
was pretty good. But anyway, the elephant in the room
is we had the chance to make a feature of
this short and all three of us decided that we
should do something different and go a different angle because

(10:19):
we didn't know what the feature would be. Then sixteen
years later, me and Basden in twenty twenty had a
look at it again and I think we'd had like
maybe let's say, six different conversations in pubs across sixteen
years saying we really should do that, and then we
decided this could be how it would work as a feature.
And the way that it worked in the short is

(10:40):
just me and Basden and I get him to come
to my island by paying him money. I sort of
could wink him. And then in the feature he also
is coming with the other member of his band. They
used to play together, and they used to be lovers
and they used to be in love. And then it's
all about me nefariously bringing them back together as a
band and also as a couple. That's my I don't

(11:01):
know what I'm trying to do, but it all goes
it all goes wrong.

Speaker 2 (11:03):
You know, it's very charming. Here's a question I genuinely
am curious about. In your shot the original short, are
there any identical scenes that you redid sixteen years later?

Speaker 4 (11:14):
Great question, great question. This is where you earn your money, bro. Honestly,
I would say that is the perfect question, Thank you, beautiful.
There are yeah, I'd say maybe there's two scenes which
are kind of pretty much almost shot for shot.

Speaker 2 (11:29):
Then here's the question as a performer. As an actor,
did you find yourself like, forgive me for being sincere,
just being present in the moment, or were you unconsciously
trying to replicate exactly what you've done in the short
having seen the short a million times and liking how
that bit works.

Speaker 4 (11:44):
Yeah, yeah, it was very, very weird. And I remember
because also because of what I just said about how affection,
how much affection we have for the short. We did
see it a lot of times, and me and Bazan
like used to do a double act a lot.

Speaker 2 (11:56):
I know I saw it a lot, right, I'm like
your character in the film.

Speaker 4 (12:00):
With and not paying me a million pounds to do this.

Speaker 1 (12:04):
Yeah, I don't know.

Speaker 2 (12:05):
We haven't talked many I could come up with.

Speaker 4 (12:11):
So the answer to your question is yes, but probably
are like times one hundred where there's definitely one scene
where there's an intonation that I use which is exactly
the same, and it's not because I went back and
looked deliberately, once we got green Lip to make the feature,
I did not go back and look at the short
again because I think that would have been made me
go mad. Maybe, And you have such a complicated relationship.

(12:34):
You don't want to drive this one by nostalgia for
watching your own short film. But yeah, there's this moment
where it's the same, it's not the same. We didn't
shoot in the same location, so that sort of helped.
But it's the same setup, the same guy directing it,
it's the same sort of the same words pretty much.
But then there's this one intonation which is exactly to

(12:56):
the millimeter, exactly how I said it seventeen years before,
sixteen years before. And yeah, I think we got a
pretty good balance because I think if you do too
much of that, then you are literally making the same
thing and then adding scenes. So there's some which I
think I think, if anything, we did it a little
bit less than we could have done. I think we
could have, but I think we were quite keen to
make sure that this film had its own sort of identity,

(13:19):
and it wasn't. Kind of I think it was like
enriched by this short having existed, but I think you
don't want it to be just sort of leaning on that,
yeah script, Bearing in mind also we wrote that script
when we were maybe like thirty yeah, yeah, twelve.

Speaker 1 (13:34):
Yeah, and then this one when we were like in our.

Speaker 4 (13:37):
Much more sort of well, let's be fair forties quite
late forties.

Speaker 1 (13:43):
Did you know carry melligan or did you just send
her the script in a center? Agent? How did that happen?

Speaker 4 (13:48):
This is another brilliant bit of luck where she had
emailed my agent asking if I could do something for
her about six or seven years ago. She wanted me
to like host a charity event with a charity she's
evolved with, And it was a flat eno from me.
Obviously despise charity naturally, but I'm not, like, it's not

(14:09):
really my scene to like, you have different comfort zones
and one of mine isn't to host something. It would
literally make me vomit, I'm afraid. And that was roughly
what I replied to her with, But I said, like,
I'm very grateful to be arsen all of this. Then
we wrote the film. Then we had this additional main
character who is going to be Basden's love interest. Then

(14:31):
we wrote up, as you will have done in your movies,
you just go. You just forget about whether they're too famous.
It's a wishless you just daydream. You just go, well,
who cares, Maybe we can get this person. I don't
know anyway, then you're waiting for a bit of luck,
which is anyway, at the top of our list was Carrie.
And then I said to Griff and Tom, I mean,

(14:53):
I've got her email, and you know, me and Basard
have known her for a long time, so he's like
very much in the camp of yeah, well done. Literally
doesn't believe me. Would I have carry Mulligan's email, but
I did have it from this incident with the charity thing,
and so yeah, I just emailed her and I'd say, like,
I'm pretty proud of like the writing of the film,

(15:14):
but I think my best writing in the in this
project was that email. It was very, very high quality.
And then she wrote back immediately. So the bit of
luck is that she wrote back saying, I mean I
was just asked. I was just saying, can I send
the script? Who should I send it to?

Speaker 1 (15:29):
Yeah?

Speaker 4 (15:30):
And then she said I'd love to read the script,
and so she we were totally like on her radar.
You never know who is watching what who you know
who knows what you do, and it could have been
you know, we reach out to Kerry Mulligan and that's
Kerry Mulligan. Unobtainable Kerry Mulligan, who's just Carry Mulligan, and
literally she can't be in your film because she's Carry Mulligan.

(15:50):
Or you reach out and they go weirdly. There's another
dimension to me, which is that I know who you are,
and then you've got then you have a chance. And
then of course if the script doesn't really her scene,
then she'll just go, oh well look, you know, let
me know if you do something else. This isn't quite
for me, or more likely I'm busy whatever, but she did.
She said, I'd love to do it. Let's try and
make it work.

Speaker 2 (16:11):
Very very long, if you will, if you will host
this charity thing for me.

Speaker 4 (16:15):
This was the thing.

Speaker 1 (16:16):
This was.

Speaker 4 (16:16):
This was well yeah, yeah, yeah, that is a line
in the sound that we're not cross completely unpaid, completely unpaid.

Speaker 1 (16:25):
Obviously obviously ridiculous.

Speaker 4 (16:26):
Yeah.

Speaker 1 (16:28):
How long was the shoot?

Speaker 4 (16:29):
Twenty two days, twenty one days, whatever it was? It
was not quite enough for anyone concerned. But the direct
drove in particular was like, this is very very tight
and it.

Speaker 1 (16:38):
Felt very well directed. It's really beautiful.

Speaker 4 (16:41):
Well that's good. I'm glad you said that's he's fantastic. Yeah,
And all of that stuff is like quite difficult. You know,
you make a short when you're young and then you know,
we we were like we'd see each other and stuff
in between. But I mean he was living in La
for a bit, so you do sort of not drift
but like me and baths and live in each other's
pockets a bit. But we really wanted to get the

(17:02):
you know, the original team to do it. And that's
not really plain sailing always, particularly as other people getting
get involved and there's more and more money or whatever.

Speaker 1 (17:11):
There's money and.

Speaker 4 (17:11):
You know, other people like to have like make decisions
and things. But we were very lucky that everyone was
kind of very supportive and wanted. I think also you
have this sort of smoking gun of a short where
people are like, I like that short. That'd be great
if these people can make it. But yeah, we felt
very lucky that we managed to all come through together
and make it.

Speaker 1 (17:31):
When was it? You shot this?

Speaker 4 (17:33):
Shut it two summers ago? I think I love it?

Speaker 2 (17:35):
Yeah, question for the group two more questions? If I
make this is great. I'm loving answering these questions. Okay, good, well, actually, okay,
let's finished on the film.

Speaker 1 (17:45):
How was Sandouts? You won?

Speaker 2 (17:46):
Suandos? Of course you won three awards at Sundouts. You
went Best Beard, Best Film, and Best sort of Blake.

Speaker 1 (17:54):
You went Best Blake at Sundouts. How was that.

Speaker 4 (17:58):
Humbling? Humbling? No, we didn't actually to refer to you
when anything, but it was really you.

Speaker 2 (18:06):
Did get a fantastic reception. We've got an amazing reception,
and you sold it.

Speaker 4 (18:10):
You sold it there, Okay, pretty so. But yeah, it's
very strange because you make the film and then I
don't know exactly you know, all of the machinations of
movie making and how it ends up in Sundance or whatever,
but it arrived in Sundance, and for whatever reason, I
hadn't seen it. So it's kind of quite as spicy

(18:33):
first place as it. Obviously, we'd been in edits and
stuff and seen different versions, and I'd say we've seen
something really really close to the finished thing, like maybe
like one percent off, but that's kind of makes quite
a big difference. I think the very very final screwing
in of the final bolts that can make the film
makes it exactly.

Speaker 1 (18:56):
It just suddenly makes it your movie.

Speaker 4 (18:58):
So I've found sun Dance incredibly surreal, very very overwhelming.
And you and I again we have a lot in
common in terms of we do live stuff as well.
And it's funny because you start a live thing and
you're just trying to work out how to do it,
and you might do it in a smaller room, and
then you get you gradually work out what it is
and it gets better and better, and then eventually nearer

(19:19):
the end of its life, you might be playing in
quite big rooms. For me, like not impossible to play
in a room like about five hundred would seem okay
when I know what my show is and at the start,
but I build up to it. But it's kind of
weird with a movie where the first time you see
it was in like a massive movie, it was crazy
and all of this stuff that I'm just not used to,

(19:41):
like all of this stuff where you're doing interviews where
I actually felt really overwhelming where people were like saying
they like the film. That stuff is kind of I
don't know. I think maybe as you get more experience
and more experienced film someone being in a film who's
a bit in loads, it would sort of wash over
you a bit. It is weird the first time when
you think made something and some people like it, you

(20:02):
don't know how many or whatever, and also you don't
know what's real and what's not real. But then it
all builds up to this premiere and then you're on
a red carpet and that is so crazy because again
I've been on red carpets but felt like completely like
a fraud and trying not to be on the red
carpet because I've got like a tiny part in the film,
I think, and I haven't written the film, so I
think it's stupid. And then suddenly you're in a situation

(20:24):
where they're saying, now this film. You know you've made
this film, and you're like, wow, it is mad.

Speaker 1 (20:28):
I guess we.

Speaker 4 (20:29):
Thought weirdly did. And then we sit down in the
cinema and then Griff the director, says some nice stuff
about the film and things, and it's full and then
it starts, and then you get like the first laugh
and things and the first and you realize that people
are into it and they're engaged in the movie. And
it's honestly, I think it will stay with me pretty

(20:50):
much forever because it was it was a crazy feeling
where you just and at the end of it, people were, Yeah,
they were into the movie, I think, and you know, yeah,
it's so. I guess my answer is the old pit
of saying oh yeah, that's all fine. Literally, it was
mind blowing moment of that weekend crazy.

Speaker 1 (21:08):
I'm glad to hear it.

Speaker 4 (21:09):
Yeah, I couldn't believe it.

Speaker 2 (21:11):
The thing about the red carpet stuff, it's so fucking intense,
and when it's your film and you wrote it like
we had it in Toronto with a film like I
care so much about that film. It's the thing I'm
most proud of all of you. I want you know,
I want people to see it. I want to sell it.
So I'm like, yes, I'll do whatever it is you
tell me to do that will help this film exactly.

Speaker 1 (21:32):
Weird.

Speaker 2 (21:33):
So then you in the position normally I'm like, oh,
can I do the least.

Speaker 1 (21:36):
Amount, but in this case, I'm like, I'll do all
of it.

Speaker 2 (21:39):
But then you find yourself on a red carpet and
you have some people who are like, tell us about
the film, and tell us about image, and and and
then and you're really like locked in and sincere okay,
but they're still shouting and it's kind of chaos.

Speaker 1 (21:52):
And then you get to the next person.

Speaker 2 (21:53):
They're like, what's your favorite potato chip and you're like, what,
what's happening here?

Speaker 1 (21:58):
Yeah, there's a lot of that. It was. It was
very interesting.

Speaker 4 (22:00):
I mean, I suppose when you first start doing it,
the first interview is like fresh and they can't really
do anything wrong because I'm just ask him questions. It's
like the fourth one where you go, oh, I see,
like every single question would be more or less well done.

Speaker 1 (22:14):
Who are you?

Speaker 4 (22:14):
And then the next one, how the fun did you
get carried Ulligan? Great? And then what would you do
if you want the lottery? And you're like, oh, why
have you asked me that? And then you think, oh,
that's in the film. More and more throughout the weekend
people are like, go on, then what would you do
if you win the lottery?

Speaker 1 (22:28):
I don't know, I don't know. Yeah. Yeah.

Speaker 4 (22:34):
The reason the reason we made the film isn't because
me and Tom Basman have like an interest in lottery,
but not like like, if someone makes, you know, an
important film where it's got themes and stuff, then it's
totally legit. Say to the director, wow, these themes were
your views on the themes? And they go, well, yeah,
this theme's been in my head for a while, so

(22:54):
I thought I'd make a movie where with this literally
the guy wins the lottery at one point, and do
you like? Okay, fine, I suppose if I'm going to
do interviews, I should work out whether I'm going around
the world or like buying a pub.

Speaker 1 (23:05):
What's what's your answer? You've given it some thought? Now, No,
I don't know.

Speaker 4 (23:10):
I mean literally the answer would be. I always thought
like maybe the answer would be actually making a movie. Yeah,
But now I suppose once you've made the movie, you
sort of think maybe there's a chance of like making
another one without winning the lottery. Potentially, what would you
do if you won the lottery?

Speaker 2 (23:25):
I'd make Yeah, I'd make a movie. I mean I
like that. Neither of us are giving the money to charity, obviously, but.

Speaker 4 (23:30):
We'd give it back to Carry. I won't host it. Carry,
but here's a million pounds a.

Speaker 1 (23:40):
Million pounds to thank you for doing the film. Speaking
of life.

Speaker 2 (23:45):
I love your life stuff, love it and you the
show that you won the Edinburgh Edinburgh Was it the
if dot Comedy?

Speaker 1 (23:53):
Where did you win the Do you know what it was?

Speaker 2 (23:55):
The Edinburgh Comedy Award? It was unsponsored. Nice Nice only
were artist?

Speaker 4 (24:01):
I thought if it's not being sponsored, I'll make the
effort this year.

Speaker 1 (24:03):
Yeah.

Speaker 2 (24:04):
And in that show, which was one of my all
time favorites, you have a bath on stage and you
you do poetry and you do jokes, and at some
point you get you go into the bath. You get
in the bath on stage and I'm going to say
this to him. I found that. I think that was
a very sexy show. It was a very sensual show.

(24:24):
I loved that show and I thought it was I guess,
how do you do it? How do you learn to
hold your breath?

Speaker 1 (24:31):
All right?

Speaker 4 (24:32):
Yeah, well it isn't easy actually holding your breath, but
I do remember. Well, actually, I know you're you do
a podcast about films, don't you.

Speaker 1 (24:40):
Yeah, at some point we'll probably get to the film
part of it.

Speaker 4 (24:43):
There's definitely a movie where someone's trying to escape from
some prison and he has a cigarette and he puts
the cigarette on the side of the bath and then
goes underwater and he's trying to train to get the
cigarette to go right down to the orange bed. And
that's what it's doing doing in this hotel room or
not be a hostel in a prison. But you know,

(25:03):
you get the idea. I'm surprised to Scott a bath.

Speaker 2 (25:06):
Maybe I'm uddling anyway, he's in the hot time.

Speaker 1 (25:12):
Yeah, yeah, Well.

Speaker 4 (25:15):
Look well I had to do two things. Had to
learn how to hold my breath, so that was literally
in the bath and just kind of what you have
to do, weirdly is hyperventilate before you go under, so
you breathe in and out really quickly, then take a
huge breath in and then go under. And I had
to go under I think for about maybe thirty seconds
and then I think in the last bit maybe a minute.

(25:37):
But crucially this changes the anadomee quite a lot. We
also had like a oxygen cylinder in the bath.

Speaker 5 (25:43):
Ah right, okay, so I would sometimes use that and
sometimes not, but the longer breath hold later in the
show that would generally involve holding that, although there was
one or two times where it was forgotten to put
it in and and at that point my training came in.

Speaker 4 (26:01):
But also on the screen in that show, when I
go into the bath, on the screen, there's like an
underwater world where I kind of appear in this on
screen swimming down into the bath, and that was like,
that was absolutely horrific. We shot that in a in
a water tank in Basingstoke. I mean, basing Stoke isn't
the obviously isn't horrific, but but going on and going

(26:24):
to this underwater tank was like, but I think one
of the most hard the hardest thing I've done in
my life. It's horrific with these two divers. So a
diver would obviously I'm I'm in a suit, yeah, shirt
and tie, and so I'd be with one of the
divers with the thing in my mouth, just breathing, and
then when we've said action, he would like push me out,

(26:47):
and then I would swim across this water tank about
maybe twenty feet underwater and looking for this other diver
who's waving this torch which you couldn't see until you
get quite close. So there's a bit where you're just like, oh, fantastic,
I mean, fair player, I am going to drowne now.
And then it grabbed me and then plunged the string
into my mouth. Yeah, yeah, I suppose it is kind

(27:10):
of real old school suffering for your art.

Speaker 1 (27:12):
It's great love it. Are you going to do a
new sur.

Speaker 2 (27:17):
Looks like, yeah, yeah, I'm doing it in May. Great
in the Soviet theater. Yeah, do you have a new
stunt for it?

Speaker 4 (27:25):
No, I had a bath in that one, and then
the next show, I had a bed with a dancer
coming up the steps.

Speaker 1 (27:30):
That was great, yeh in bed. Yeah, it is funny, isn't.
You do?

Speaker 4 (27:36):
Have to keep on going and making new stuff. But
like it's very dangerous to look back and sort of
go I love doing that. But I really did, like
I had a great time doing that show just and
but I guess what I'm trying to do now is
each show had like one of these things. I guess
it's like a Kuda tiatra. And this one I'm really
really being strict to try and have nothing on stage,

(27:57):
no screens, no nothing, and just do it with just
use your words. So that's that's what I'm trying to do, right,
And I think the show is now pretty much finished.

Speaker 1 (28:07):
I've done it quite a lot.

Speaker 4 (28:11):
Yeah, I think this one, this one definitely I did
achieve the target of no props and no other stuff.
Still music, oh, still music, and still like still poems.

Speaker 1 (28:22):
And things playing cards, playing.

Speaker 4 (28:24):
Cards, Yeah, but nothing else. I guess nothing interesting that's
I've lost.

Speaker 2 (28:31):
Yeah, yeah, thank god him that all the stuff that
you were saying you just liked. Yeah, this one's for
the fans. Last question on all of this stuff. You're
very excellent in the Alan Partridge stuff, Morning Matters, This Time,

(28:52):
et cetera. I was, I think I was thinking about
the other day. Keeps popping up on my reels, lots
of clips of you being very funny, very subtle, very
very good. I imagine that was incredibly intimidating to join
that and to start with a kind of legendary figure
such as Alan Partridge. How was And it seems very

(29:12):
clear from I have no idea, but it certainly plays
as if he massively respects you and thinks you're brilliant,
particularly the fact that you're still part of it. I
wonder how it was joining that world and how difficult
it was to do in the beginning. I'm interested in
the beginning of that because I imagine that scary to start.

Speaker 4 (29:31):
Yeah, it was. The thing is, well, watching Partridge was
like very very formative. I think it's like it's sort
of next level. I mean, the fact is, again you've
got like almost a direct same experience in that you've
worked a lot with Ricky Gierbet's and I'm sure without

(29:51):
like putting words into your mouth, it's probably similar because
it would have been crazy to have got a job
where I'm working with French and Saunders or like like
any amount of amazing people, Sasha Baron Cohen or something
like that. But this was like the direct hit of
the thing that I was watching when I was like
starting to you know, just love comedy and also watching

(30:14):
not stuff just with my family. This is like stuff
where you're going to school and quoting this stuff and
all of that, and so I remember when I was like,
I think this stuff was coming out around the mid
to early to mid nineties.

Speaker 1 (30:26):
This character.

Speaker 4 (30:27):
I mean like I used to listen to the tapes
driving around Cambridgeshire with my friend Greens, and it would
be like quoting these tapes of Mame knowing you, and
then you sort of really were spoilt because suddenly after
that you would then get the TV show would come
out around about that time as well. You had the
day to day and you had you know, all of

(30:48):
those guys making this stuff and a lot of Alan
Partridge stuff and then all leading up to I'm Alan Partridge,
which for me, that's my favorite incomfirmation of it. So
if you were to, like, you know, ask me who
my favorite person is, look, I guess influential or my
favorite comedian, it would be probably him and all those
people around him as well, you know, you know, Doom

(31:08):
mckeekon and Patrick Marburn, Chris Morris or all those people.
So so what the question you're asking is, The answer is, yeah,
it was absolutely insane. I do remember meeting him for
the first time and just thinking this is completely overwhelming
and sort of impossible. And that was doing a tiny
part on Saxondale, and then they offered me yeah, and

(31:30):
then they offered me this, and so you're kind of like, wow,
that is this is kind of almost impossible to kind
of process. And so I then obviously said yes, I'll
do that, and then I went and did it for
the first time. And it was shot in this tiny
little radio recording studio, and the way they shoot it
is just two fixed cameras, so you go in. I

(31:51):
mean there's really no hiding because he's literally dressed as
Alan Partridge and you know where you go. And so weirdly,
the part in playing is kind of like a little uncomfortable,
and he's been sort of dragged out of the pub
to host this thing with him, and he's trying not
to let the guy down, and then meanwhile, that's what's
happening in my head, where I'm just like, this is crazy.
I've been sort of plucked from obscurity to just be

(32:14):
in this room with this guy. And so both my
character and me are just like I've got massive, very
very big, don't funck this up energy, and so it
kind of made it kind of weirdly easy to perform.
As in most people who say, oh, I like that
you do this, I'm like, yeah, that's that's not that's
not that's me, and then kind of like trying to

(32:37):
remember that as it goes on. So like the TV one,
I remember there's bits where he's walking over to me
in this time and it's slightly too far and his
shoes are slightly too heavy and it takes a long time,
and I know what I'm doing. I'm like playing the
guy who's like, fuck, I'm about to be on camera,
but also that I haven't completely got rid of fuck

(32:59):
come up out to be on camera has me, so.

Speaker 1 (33:02):
It's very pure before that's great.

Speaker 4 (33:05):
So I bet it's like you know, I would imagine
that it's like what you have when you when you
first started working with Ricky Gervas, where you're like very
flattered to be asked and very I don't know whether
you were kind of quite you know, shy, or like
worried that you're.

Speaker 1 (33:20):
Going to.

Speaker 2 (33:22):
It's also like it doesn't I remember walking into Ricky's
office for the first time for the audition and he
was just sat at his desk and it's sort of impossible,
surreal thing that this person that you have watched so much.
I've watched the office a million times and there he
is and he's he looks like him.

Speaker 1 (33:42):
It's very weird.

Speaker 4 (33:43):
Yeah, exactly Weirdly Steve Coogan doesn't look like Alan Partridge, right,
but he was dressed as Alan Partridge because he was
playing him.

Speaker 1 (33:53):
But but I think you're right.

Speaker 4 (33:55):
I think that's you get that full on as well
with Ricky Gervas, because he really does look Ricky Gervays.
He looks like David Brent. I mean, because David Brent
isn't a sort of grotesque a wig makeup job. It's
like roughly Ricky Gervas's look.

Speaker 1 (34:09):
Yeah, so weird lucky boys.

Speaker 4 (34:12):
Where we are Lucky Boys are it's really interesting to
be I have found that thing. Like obviously both of
us we liked too our own stuff, but to have
that as a kind of thing where you it's an
interesting I mean, I like the way that it's written
and stuff. I love the Gibbons brothers who write it.
But it is also just really interesting to kind of
it's like sort of doing evening classes. That's quite and

(34:36):
he's really interesting to work with. I think we're very different,
I think in terms of how we work, probably, But
when I'm watching him work, it's like it's kind of
fascinating how kind of what a perfectionist he is and
how he just does it again and again and again
and again, and some of it's crazy where it's like
making mistakes and like false starting and stuff like that.

(34:56):
Then he'll get the take and you're like looking at
him thinking, yeah, Okay, finally you've got to take. That's
world class. It's really interesting.

Speaker 1 (35:05):
And how is it different from how you like to work.

Speaker 4 (35:07):
Well, let's say with the film, it's kind of a
different thing where me and Tom have like worked together
on stage and on radio and on screen. I guess
for maybe two thousand and four, so I'd say twenty years,
twenty one years, and it's always been like a kind
of a shorthand that we have where we're able to

(35:29):
kind of I guess it's much more even than me
working with Steve. That's like like obviously like you're working
with Steve, you're like playing in the same football team
as Pele. And so the answer isn't to sort of go, well,
I'll tell you what, I'll have a shot here, yea,
you give it? Yeah, Whereas me and Basden are much

(35:51):
more to sort of work a day midfielders who can
just pass it to each other, we're like Shabby and Iniesta.
I mean, you know, I'd take it, said it, but.

Speaker 1 (36:03):
But it's more of that shorthand and I've taken it.

Speaker 4 (36:09):
Yeah, So we we have like this kind of Yeah,
it's it's much more of a kind of single organism
with where we sort of come as a pair, and
also the other big differences. We've written this stuff, so
we have a definite idea of how it should be delivered,
and we we're I mean, I think as people were
like quite similar but obviously similarities and differences. I think

(36:31):
as like a kind of sense of how things should
be on set. We're about the same. I think you know.
We would like to be really we're trying to be precise. Also, yeah,
has to be now. We like to have like we
like to know exactly what we're doing. We like to
know what the script doesn't. Work really hard on the script,
and then we like to be able to get that

(36:52):
down and then have some freedom in a subsequent take.

Speaker 1 (36:56):
Oh, Tim, I've forgotten to tell you something.

Speaker 4 (36:59):
Fuck great, here we go.

Speaker 1 (37:01):
What is it? Well?

Speaker 2 (37:02):
I should have told you sooner probably, But I've really
been enjoying this chat. I really loved this. But I
do have to Oh God, should I just tell you?

Speaker 1 (37:11):
Oh? I think I know? Do I? I hope it? Well? Well,
what is it? You're dead?

Speaker 4 (37:15):
They can't be that. Ye got to be dead guy?

Speaker 1 (37:19):
Dead guy, yeah, dead guy. Very enough. You've had a
great life, but you are dead.

Speaker 4 (37:23):
I'd bite your hand off to die now at this point,
I've had a good inn. Okay, Oh well, how old
were you thinking I was when I died?

Speaker 1 (37:29):
Am I older? That's up to you. Okay, how did
you die in what age? Oh?

Speaker 4 (37:33):
Well I did think about this? Oh good, Well I
died at Oh I don't think my math is going
to work. Tell you what put me down for eighty eighty? Okay, yeahray,
how did you die at eighty? I actually do think
I want to take a bullet.

Speaker 1 (37:50):
For I just want to get shot in the back
of the head.

Speaker 4 (37:52):
I don't that's not taking a bullet.

Speaker 1 (37:55):
It's very much taking a bullet right the back of head.
It is taking a bullet.

Speaker 4 (37:59):
It's not giving a bullet. Wow, you want to get
shot on the back of the.

Speaker 2 (38:01):
Head, get it done while in the shower by fielded lover.

Speaker 1 (38:07):
I don't mind. Really could be a mistaken identity.

Speaker 4 (38:10):
Mistake of identity would be nice. It's nice to have
a little bit of, you know, mystery in the old papers.
You'll be in the papers when you don't. Don't worry
about that.

Speaker 1 (38:19):
Sure, we don't know. I'm not sure.

Speaker 4 (38:21):
You'd have to go pretty cool. You have to go
pretty quiet for about thirty years.

Speaker 1 (38:23):
I think.

Speaker 4 (38:24):
Okay, if you if you keep this up for thirty
years and then you're shot in the back of the head,
I think you've got a chance.

Speaker 1 (38:31):
This podcast, this.

Speaker 4 (38:33):
Podcast, if you if you could not be acting on
the head, just keep doing this for thirty years.

Speaker 2 (38:39):
Podcast Shut in the back of the head in a shower. Yeah,
I like being in anyway. That's enough about me. How
you've died taking a bullet for someone? It wasn't even
why not? Why not in the face wherever you're taking it.
It's funny that you should immediately think in the face.
It's because my face is on your screen.

Speaker 1 (38:56):
Possibly, I think, well, how about this in the chest
in the left why not? Why not?

Speaker 4 (39:02):
Well, the heart is the phrase you're after. Are you
still calling the left chest still.

Speaker 1 (39:06):
The heart of the left chest? Yeah? Question for the group.

Speaker 2 (39:09):
Yes, practically a bullet for Carroen mallaghan because of them.

Speaker 1 (39:12):
No, No, I've got.

Speaker 4 (39:15):
I've got two options, but the one I don't think
my math is going to work. But it's good for
your podcast because it brings him back to film. A
certain g Horn, g Horn, g Horn, Garry Horn, huge,
huge movie star.

Speaker 1 (39:32):
G Horn.

Speaker 4 (39:35):
Honestly one of my favorites.

Speaker 1 (39:37):
This is a very.

Speaker 4 (39:37):
Interesting version of a cryptic question crossword, isn't it. But
the person we're looking for is g Horn. She's she's
world famous. I would imagine she's one of your favorites.
I would be staggered if not, only is she like
one of your favorite actors. She's probably you probably were

(39:57):
in love with her.

Speaker 1 (39:58):
G Horn, g Horn, Jean triple Horn.

Speaker 2 (40:02):
I'll give you it Goldie Horn. Oh, so I was
spelling it wrong in my head. I was thinking of
the old Horn. You mustn't blame yourself. You mustn't blame yourself.

Speaker 1 (40:14):
Doesn't I'll take that bullet back ahead right now.

Speaker 4 (40:17):
Well, I mean if we were in the same country,
have you met have.

Speaker 1 (40:20):
You met Goldie? I have not met Goldie. I have
worked with her daughter.

Speaker 2 (40:25):
In law is an amazing, amazing Yeah, Meredith Hagner, No, No.

Speaker 4 (40:32):
Never met either. I don't know what I do if
I met Goldie. Actually I probably do. Yeah, I would exactly.
I'd make sure I make sure I came with an assassin.
But also she didn't worry because I'm taking my left.

Speaker 1 (40:46):
Wow, that's a lovely way.

Speaker 4 (40:48):
To Actually, I don't I mean, is it worth? I
mean you don't want to sort of you don't want
to set it up really this far out? But would
you would you find the bullet.

Speaker 2 (40:56):
If if I have not been taken out? Yeah, you said,
I got thirty years of podcasting before I'm dead, So
I don't think the maths works out. I'm gonna have
to hang on a bit longer. Question, Yes, has Goldie
seen me? Or am I hiding in like the in
a bush?

Speaker 4 (41:10):
I think you're I think you're doing the classic company.
I think you're hiding in the bush.

Speaker 1 (41:14):
Right, So I don't get to me Goldie. I could have.
I could reveal myself after after you've taken mine in
the left chair.

Speaker 4 (41:19):
Yeah, I don't think.

Speaker 1 (41:21):
Is she difficult? I've never heard.

Speaker 4 (41:25):
It's such a bad starting point, though, isn't it where
you've you've tried to take her out?

Speaker 1 (41:29):
Well?

Speaker 4 (41:30):
Oh it is, Brett.

Speaker 2 (41:31):
Yeah, you're right, it's not ideal. And I think her
husband Cut also has guns, and I'm worried that he
might shoot me. I probably got to stay hidden in
the bush.

Speaker 1 (41:40):
I think so.

Speaker 4 (41:40):
I think probably for the rest of your life.

Speaker 1 (41:42):
Same.

Speaker 2 (41:43):
Okay, Oh you know what fucking circle of life is
in't it? I shoot you in the bush? Russell seeks
me in the back of the head. Not mistaken, I don't.
There we go perfect. That is almost the definition of
circle of life. You could look that up at a dictionary.
That's what it would say.

Speaker 1 (41:56):
Do you worry about death? No?

Speaker 4 (41:58):
I used to think as a kid. I think I
might have been obsessed with it. I think I was
worried when I went to bed when I was a
kid that I wouldn't wake up.

Speaker 1 (42:08):
Wow.

Speaker 4 (42:09):
There was a bit where I couldn't work out how
I would know to breathe if I'm asleep.

Speaker 1 (42:15):
Oh my god, you put that in my head.

Speaker 4 (42:17):
Yeah, I don't know, but a lot of people are
managing it. It's the numbers going really.

Speaker 1 (42:27):
Wow. So what stopped too worried about you? For worth?

Speaker 2 (42:29):
Statistically, I must be breathing in asleep. I must have
said it. I must have said it to someone and
they must have said, well done, you will care. I'm
reading when you go to sleep? And then I think
a fear of mortality. I think that that sort of
once I sort of became, you know, a little older,
I don't know that.

Speaker 1 (42:46):
Do you know anyone?

Speaker 4 (42:47):
Do you have anyone on your books who worries about death?

Speaker 5 (42:50):
Yes?

Speaker 2 (42:51):
Do you care? Absolutely? Filled with death anxiety brought her
on this show for five times now. I just talked
about it. She's got death anxiety.

Speaker 4 (43:01):
That must be hard to deal with, because if you
look at the world through that prison, there's plenty going
on where you think you could, you could go.

Speaker 1 (43:09):
Oh yeah, I mean mad that we were just walking around.

Speaker 4 (43:12):
I do find it really surprising that there's not more death,
I really do. There's so much chaos going on in life,
but everyone sort of seems to I guess because everyone
takes control of their own destiny and is trying to
stay alive. I suppose that's what's happening.

Speaker 1 (43:29):
Weird? Did you stop worrying about it?

Speaker 4 (43:30):
You grow out of these things asthma as.

Speaker 2 (43:32):
A childre no, far from it. How do you cure that?

Speaker 4 (43:36):
I think it is one of those it's a grow
out of. Really, I think it can be a growout
of just that pull yourself together, stop having That's my
father again, that's doing his parenting.

Speaker 1 (43:52):
And it worked. He's good.

Speaker 6 (43:54):
He's very good. Or mental health? What do you think happens?
Please tell me about it? Yeah, I will just tell
you what his catchphrases, bottle it up. You'd never know
that from hanging out with you.

Speaker 1 (44:12):
Tell me this. What do you think happens when.

Speaker 4 (44:17):
You got I was very open with you once on
a train back from Luton. What do you think happens
when you die? You?

Speaker 2 (44:23):
We're very open with me on a train for Luton,
and then I think you felt so sick about it
you said, if you ever bring that up again, I'll
kill you.

Speaker 1 (44:30):
I'll cut you.

Speaker 4 (44:31):
Yeah, that sort of thing. I also think, to be
completely fair to you, you said on that train, I'm
thinking of starting a podcast. Would you come on it?

Speaker 1 (44:39):
Yeah? Really?

Speaker 2 (44:40):
And you said absolutely not. I don't like talking about
my feelings. There's no chances that's not going to happen. Yeah,
but flattered to be asked. Here we are twenty five
years later.

Speaker 4 (44:50):
Well, I said, if you get incredibly famous, let's talk.

Speaker 1 (44:59):
Wake me up, Wake me up.

Speaker 2 (45:00):
When you've got an Emmy, it's totally worth. What happens
when you die? I think nothing. I mean I do
think nothing. That's the thing.

Speaker 4 (45:13):
I don't really think about it anymore. I think when
you're scared of dying, When I was scared of dying,
then I'm thinking, wells, there must be something afterwards, or
you don't know you've died and you just sort of
carry on, and all sorts of things will going around
my head about what would happen, all of them positive.
And now I think maybe when you die, I think
that might be potentially that not in a bad way.

(45:37):
I judge from your facial expression, you think there might
be more to it.

Speaker 1 (45:40):
Well, young man, let me tell you something. You're wrong.
There's a heaven and you're going.

Speaker 4 (45:46):
Oh, fantastic, that's good news.

Speaker 1 (45:48):
And it's filled with your favorite thing. What's your favorite thing? Films?
Right then you'll love it there. It's all lame.

Speaker 2 (45:56):
It's like a blockbuster video, but with reels on actual film.

Speaker 1 (46:00):
Thirty five meal? Everyone wow?

Speaker 4 (46:04):
And is there like a shambling figure who you point
to your film and they shamble over and pull it down.

Speaker 2 (46:09):
Yeah, carry down the reels and they've got like a trolley.
They pussed the reels and they load them up and
they always coffing and they cigarette in the booth.

Speaker 4 (46:19):
This is very interesting because I used to work at
cinema and I can picture the yeah, big game, I
am your perfect guest.

Speaker 1 (46:26):
Tell me everything. What cinema.

Speaker 4 (46:29):
It's called the Cambridge Picture House, an art house cinema.

Speaker 1 (46:33):
What did you do there?

Speaker 4 (46:34):
I was, you know, I don't want to sort of
blow smoke up my own ass, but I was selling
tickets and I was working behind the bar. I could
do them both.

Speaker 1 (46:42):
Ever worked the projecting. No, But the guy I.

Speaker 4 (46:45):
Just described just just described shambling around. I think I
roughly described him. He had a very long white beard.
He was kind of like I would say, if anyone
can be, this guy looked quite mythical. And he he
was the projectionist. I don't think you could have like
a twenty five year old projectionist. I'm sure there are some.

(47:06):
I'm sure you'll have people emailing you.

Speaker 1 (47:08):
And saying, well well done.

Speaker 4 (47:10):
I am one, But I think that it felt very
right that this projectionist was. I mean, basically, this guy
could only really have been either a projectionist or an egged.

Speaker 1 (47:27):
Well, he chose the right path. I think that's.

Speaker 4 (47:30):
Wonder when he chose it, because you know these people,
they sort of they look like they've been doing it
forever as well, So those two things don't quite match up,
do they.

Speaker 2 (47:37):
He must he was a twenty five year old projectionist,
I guess, or maybe he wasn't good for a bit.

Speaker 1 (47:42):
Yeah.

Speaker 4 (47:42):
I suppose The thing that can be your through line though,
is that they smoke rollies or something, and they've always
done that.

Speaker 2 (47:46):
Do you think he was as old as film? Do
you think he like was there at the beginning and
followed it through well?

Speaker 4 (47:52):
Let's let's say I don't know how old he was,
but let's say I mean he looked so mythical.

Speaker 1 (47:57):
Even if he was like seventy.

Speaker 4 (47:59):
This was two thousand and maybe four, so that would
have been nineteen thirty four, early thirties. I'm sure there
was films in like the twenties.

Speaker 1 (48:08):
One.

Speaker 4 (48:08):
Now you could probably tell me.

Speaker 2 (48:10):
Yeah, I think film is about one hundred by then,
right by two thousand and four, Yeah, I think.

Speaker 1 (48:15):
Yeah.

Speaker 4 (48:16):
Do you think we'll talk about any films? What do
you think is the oldest film we'll talk about? From you?
Do you know what I was thinking about? Tom Basden?
You know your your good friend Tom Basin love that film.
I'm the godfather to his daughter.

Speaker 1 (48:28):
Carry on you? Wow, what have you done about that?

Speaker 4 (48:32):
Nothing so far? But she's only eleven?

Speaker 1 (48:37):
When are you going to start kicking in? Maybe? Like
I guess it's got to be soon, isn't it?

Speaker 4 (48:41):
By her like a laptop or something?

Speaker 1 (48:43):
Right? Right?

Speaker 4 (48:43):
No, she's I don't know how old she is, probably should.
I think she's probably about two or something like that.
And I did buy her a pink hippo and then
she left it here And then the following Christmas. I
gave her that again, so she's forgotten. So it was
basically a case of giving her a hippo the same
hip Hoover.

Speaker 2 (49:00):
Well, that seems like an absolute sort of dereliction of
your duties, but I appreciate it, so anyway, he and
I say this with respect. So many people come on
this podcast and they always go, oh, I don't know
anything really about film, worried I'm too stupid, I don't
know anything about film, And I go, are you talking
about all films?

Speaker 1 (49:17):
Film?

Speaker 2 (49:17):
And then they'll talk about School of Rock, and they
talk about just masterpiece after masterpiece. But everyone thinks that
they're supposed to come on and talk about sort of
French black and white, you know, impossible to get hold
of films, and no one's done that except for Tom Bastard.

Speaker 1 (49:36):
Entirely.

Speaker 4 (49:39):
You must get you cook in the books. It must
have had a few classics and then thrown in the
odd Italian film.

Speaker 2 (49:46):
I think it was the most the most where I
was going and thinking I haven't seen that.

Speaker 4 (49:54):
Did you release the film? Did you release the podcast? Yeah?

Speaker 1 (49:57):
Yeah, it's out there with my with my nodding lies. Yeah, yeah,
of course I love.

Speaker 4 (50:04):
Did you educate yourself.

Speaker 1 (50:05):
I did. Afterwards, I looked up half of him.

Speaker 5 (50:07):
You know.

Speaker 1 (50:08):
Yeah, I'm busy. I'm busy to him.

Speaker 4 (50:10):
He once brought his girlfriend to the Cambridge Picture House
when I was working there.

Speaker 1 (50:13):
Yeah.

Speaker 4 (50:14):
Yeah, they watched the Taiwanese film, of course they did.

Speaker 2 (50:19):
Did Did you two become friends at Uni?

Speaker 1 (50:22):
Is that where you met? You need to have forever.

Speaker 4 (50:25):
I was living in Cambridge and he was. He was
studying there and I met him. I was I was
directing him in something, a sketch show.

Speaker 1 (50:36):
Yeah, but you weren't.

Speaker 4 (50:37):
No, I was not in it. I was directing it.
And then after that I identified his talent. I was
an opportunist. I thought, I need I need to get
involved with this guy. I need this man in my circle.
And so then we started doing our sketch show shortly
after that.

Speaker 1 (50:52):
Yeah cowards. Yeah the name of the sketch show. If
you've not heard of.

Speaker 4 (50:55):
It, Yeah, yeah, yeah, I thought, I thought, I thought,
you meant you're making movies.

Speaker 1 (51:00):
Wards.

Speaker 4 (51:02):
He's very good. He's a very good actor.

Speaker 1 (51:04):
That really good.

Speaker 4 (51:05):
He's brilliant.

Speaker 1 (51:06):
You both are really good.

Speaker 2 (51:07):
I'll tell you what is the scene the scene of
the movie so far there's a scene at the kitchen table,
dinner table. You are watching Carrie and Tom sing to
each other. It's beautifully framed, the beautiful shot. And then
there is a long shot of you just listening. Really
beautiful performance too. It's a really lovely bit of acting

(51:28):
more than watching an actor listen. You don't say anything,
You're just watching in this thing and it's really beautiful.

Speaker 4 (51:35):
Well that's very kind. Yeah, it was interesting. That is
a scene where I'm like, it is sort of again
a bit like the party thing. Not much acting really,
I'm just like thinking this is mad. But yeah, but
they were doing it right. They were there, you were
they were there. They were there, So that's and I
hadn't heard them sing together before. So there was a
lot of me thinking, well, two levels really, me think

(51:56):
me and my characters are thinking fantastic, I've got the
band back together and are singing. But also there's a
little tranche as well of it's wild that we're making
this film. Yeah, and that's mad that Boston singing with
Kerry Mulligan. Yeah, there's a little bit of that in
my eyes.

Speaker 2 (52:13):
Yeah, and directing wise, if I may, there's a shot
you on this side of the screen, the two of
them on the other, lit almost by candles and circles
at the side of the frame.

Speaker 1 (52:23):
Beautiful, really, really good.

Speaker 4 (52:25):
I am going to forward this podcast to my director.
He's going to love this.

Speaker 2 (52:30):
It's a real I've got a real interesting directors who
like as in, he's not getting in the way of it.
He's not going to look at me, look at me.
But nonetheless he is doing a beautiful job and just
telling the story in a very beautiful, unobtrusive way.

Speaker 1 (52:47):
It's great.

Speaker 4 (52:48):
And do you know what I would like to say
about directors before we move on. Yeah, I think they've
got a very interesting skill set personally where they also
are the beating heart of the other whole movie when
you're making it, and you really do notice that when
you get a really good one, where I think it
counts for a lot when all of the different departments

(53:10):
are like they really love the director. And it was
a really nice vibe on set and also stressful because
you know, we don't have much time, so there are
lots of kind of by it points where it could
be quite difficult. But through it all he had a
very good vibe where he's very good at creating the cliched,

(53:32):
you know, family atmosphere on set. It's very interesting and
you and you really notice it when it's not happening
where you're like, huh, it's not good. It just doesn't
work if someone knows what shots they want. But of
course there's like loads of really famous directors, so people
are like there and you're like, oh, well done, that's
my favorite film. So actually I take it back. It

(53:55):
really doesn't matter.

Speaker 1 (53:59):
Basically one could do it.

Speaker 4 (54:01):
Yeah. And also the shot you were talking about was
a complete fluke. Anyway, carry on.

Speaker 1 (54:10):
On, all of you. The film that we took to Toronto.

Speaker 2 (54:13):
The director of that, Will Bridges, who I'd worked with forever,
like in a way that we sort of joke about,
he doesn't like talking about his feelings, let's say, you
know what I mean. He's not a feeling openly like
to talk about the stuff. And there was one day
on set we were doing this scene, me and imaging,
and he took it. Before we did the scene, he said,
you two come for a walk with me. And this

(54:33):
was very unusual, we didn't normally do this. And we
went for a walk and he told us an incredibly personal,
intimate story about him and his kids, and it was
such a beautiful like and I know exactly why he
did it. He did it because he wanted to put
us in a certain headspace for this scene. But it
was such an amazing like wow, he really read. It

(54:53):
was like he knew for this moment he had to
divulge something of himself, which he does don't like to do,
and he did it, you know what I mean. It
was almost like a sacrifice, Like it's a very lovely thing.

Speaker 4 (55:05):
It's very interesting and how one did that once or
twice two. He's probably more open than the one you're
than your one that you're describing, but still it's like
it's very you don't want to do that lightly and
you don't want to just be like a big old
splurge person. It's just like a sort of emotional chaos,
just just trying to get anyone to do stuff throughout

(55:25):
if you, if you if it's sort of it's sort
of occasional. I do remember the times on that shoot
where he said something about his life where you're like hmm, interesting, yeah,
and you can like, yeah, that was a useful bit
of information and it was something that you shared for
like a good reason.

Speaker 2 (55:42):
Yeah, all right, well you've got to have an It's
filled with films and a scary old man who could
be an egghead, but he's not.

Speaker 1 (55:49):
He's definite. The film.

Speaker 2 (55:51):
Very excited to see you, and he wants to talk
to you about your life, but he wants to talk
about it through film.

Speaker 1 (55:56):
Of course he does. And the first thing he asked
you is, what's the first film you remember? Seeing? Timothy Keys.

Speaker 4 (56:02):
It's very interesting. I had a will have a mother
and she she phoned, she phoned right before this, and
also I got like a heads up some notes about
the podcast, and one of them was like, don't mention
these films because everyone does.

Speaker 2 (56:19):
And then it's been so long since people have mentioned
the things on the list.

Speaker 4 (56:25):
Well I have to, because she she said, I said,
what is the first film I saw? And she said, hmmm,
I think it's the one about the Flying Man begins
with E and I said, right at.

Speaker 2 (56:40):
The famous your Believer man could play.

Speaker 4 (56:45):
Yes, So the first film I saw was et the.

Speaker 1 (56:48):
Flying Man with Wow.

Speaker 2 (56:55):
Did you see that at the cinema?

Speaker 1 (56:57):
Yeah?

Speaker 4 (56:58):
The dates check out when we was that eighty three
something like that round about the Yeah, I was I
would have been like maybe I did. I think genuinely,
I do think I saw Bambi before that.

Speaker 1 (57:08):
Jesus Christ, what double headed?

Speaker 4 (57:10):
Oh no, but yeah, that wasn't It wasn't a double bill.
I was like Bambi was not. Bambi was released years ago.
I think it was like a re release. But I
think I did go and see that in the cinema.
But Et is the first one I can totally remember.
How were you and I would have been six, probably
being totally beguiled by it, And I think I it

(57:32):
must have been a massive movie, right. I think I
remember stick stickers and like they used to have transfers
and things in cereal boxes, and I think ET might
have got the full might've got the full push on that.

Speaker 1 (57:46):
Sure, even had like a Michael Jackson audio tape? Did it? Yeah?
With it where Michael Jackson telling the story of the
Flying Man Et? No? Yeah, I think I had it. Wow? Yeah?
Do you have brothers and sisters? Oh? God?

Speaker 6 (58:00):
Got a brother older, younger older and a half years Yeah.

Speaker 4 (58:05):
Well, I'd say, well, how do you define close? We
got on very well, and we see each other.

Speaker 1 (58:11):
And I like the guy.

Speaker 4 (58:14):
Recently we've called each other a few times.

Speaker 1 (58:17):
Did he go to et with you? Oh? Great question,
he's nine.

Speaker 4 (58:22):
Well, yeah, what we would have to do is do
a bit of finding out when it was in the
cinemas in the UK.

Speaker 2 (58:27):
Do we call your mom? Would you remember? I mean
she she remembers the Flying the Playing Man.

Speaker 4 (58:33):
He remembers the Flying Man, beginning with E E T A.
I would say probably we did. The only way we
didn't is if he's in school and I'm not. But
I'm thinking I'm in school at that point, an't I.
So I'm saying this was after school or most likely
someer holidays. I bet that was released in the summer.
That's got to be a big summer film.

Speaker 1 (58:53):
Yeah, it's a big movie for.

Speaker 4 (58:55):
All the kids to go to in the summer holidays.

Speaker 2 (58:57):
Yeah, you and your brother? You and your brother open
weeping in this film?

Speaker 4 (59:02):
I don't. Yeah, my dad wasn't this I probably would grow.
I would say, well, I've watched it again since, you know,
as an adult, and definitely there was some ow in
that one. It's a very touching film, hopefully weeping.

Speaker 1 (59:15):
Yeah.

Speaker 2 (59:16):
Did you watch that film and think I want to fly?
I want to be able to fly like that man?

Speaker 1 (59:21):
Oh?

Speaker 4 (59:21):
I think when you watch that film at six, you
are I want to fly like the man beginning with
the Eto, and you're also thinking I want to find
an alien like the Boys, beginning with the Elliott.

Speaker 1 (59:33):
Yeah. Yeah.

Speaker 4 (59:34):
Also, of course you must have mentioned this on your podcast,
the audition tape for Elliott.

Speaker 2 (59:39):
Yeah, yeah, I'm sure that's come up extraordinary myself.

Speaker 1 (59:43):
That's crazy.

Speaker 4 (59:44):
That is absolutely insane.

Speaker 1 (59:47):
When I see.

Speaker 4 (59:48):
Something like that, that is where you go, okay, absolutely
understand that there are literally with acting, there's two types
of acting. I'm not the same type of actor as
the lad in that. Yeah, and I know that he's
not like the usual go to example of what an
amazing actor is.

Speaker 1 (01:00:04):
I know what you mean. Though, I watched.

Speaker 4 (01:00:07):
Movies and like people are like crying, people are like
you know, inhabiting a character. People are doing some absolutely
crazy stuff. Yeah. I think I'm I have a different
sort of approach or I'm in a different path when
I do acting, where it's much more trying to say,
roughly roughly playing a version of myself and trying to

(01:00:27):
do it where you think, yeah, roughly that's how a
person would be maybe, And then you watch that audition
and you're like, oh, okay, well I don't even know
what he did after that.

Speaker 1 (01:00:37):
He's in some haunted hill. Great, okay, that's great. Keep
up your acting, always keep he's kept it out. Yeah awful.

Speaker 2 (01:00:49):
I mean I have talked about this on the podcast
too much, but I'll do it again for you. I
can't bear eat. And what I mean by that is
I'm not strong enough for it. The Flying Man is
so upsetting to me. I remember on Trauma. It's I
just remember crying so much watching it, and my dad
had taken us and I think I said, why have

(01:01:10):
you broadtested this? Like I was so sad. I was like,
what are you doing?

Speaker 4 (01:01:15):
You must have been tiny.

Speaker 1 (01:01:17):
Well I think it was a re release.

Speaker 2 (01:01:18):
They re released right because my dad had loved it
and he was like, we're gonna we're gonna go see this,
and I was like, what are you doing?

Speaker 1 (01:01:25):
Why are you making us watch it? Is?

Speaker 4 (01:01:27):
There are some films that unfortunately just need to sort
of work it out a bit, because that one doesn't
hold back, and they could have held back a bit
more and still had a lovely film, but without absolutely
breaking everyone's hearts. I don't go I don't go to
the cinema. My heart broken. I get enough of that
down the Boozer. Really really good film. I can't argue

(01:01:54):
with it when he's hiding amongst the cudly toys. Come on, relaxed.
There's some levity in the film. You must you must
admit that.

Speaker 1 (01:02:01):
There's a lovely bit.

Speaker 2 (01:02:01):
And there's a bit I always remember when when you
think he's dead and then he's not dead and the
taller brother jumps in the air and bangs his head
on the ceiling. I remember thinking, well, thank god, something
something fun's happened in this.

Speaker 4 (01:02:15):
Oh well, I once went to the doctor as someone
and he banged his head and lose that bit.

Speaker 1 (01:02:21):
Carry on, carry on.

Speaker 2 (01:02:23):
I once went to the doctor, walked out. The doctors
stabbed a window into my head. I had to walk
straight back in and getst it.

Speaker 4 (01:02:29):
Yeah, that's annoying. That's a decent anecdote. That means my
bit staysy.

Speaker 2 (01:02:36):
The day I went to see the Witches. Speaking of
films anyway, speaking of scary.

Speaker 4 (01:02:40):
Films, Speaking of films, when a bad name for the podcasts?

Speaker 1 (01:02:43):
Would you be fed up if I started one of those,
I'd come on, would you come on? I'd come on?
Speaking speaking of films.

Speaker 2 (01:02:55):
It would mean a lot to me because that would
mean you're endorsing it. I'd love to come on, speaking
of films, what about being scared?

Speaker 1 (01:03:03):
Tim Key? Do you like being scared? This is very good. Yeah.

Speaker 4 (01:03:06):
I used to get scared. Are you talking about being scared.

Speaker 1 (01:03:09):
Of the movies?

Speaker 5 (01:03:10):
No?

Speaker 1 (01:03:10):
Not yet. We'll get to that.

Speaker 4 (01:03:12):
Yeah, Well, hang on, where else can it be scared?

Speaker 1 (01:03:15):
Yeah?

Speaker 2 (01:03:16):
Am I going to Am I going to breathe in
my sleep? Is there someone in my house? Is there
a ghost at the end of my bed? Am I
safe in the woods? We're filming in a remote location.
Does that mean it's haunted? What happens if you know?

Speaker 1 (01:03:27):
Yeah?

Speaker 4 (01:03:27):
Got it, I've got it.

Speaker 1 (01:03:28):
No, I would never would never get scared, right, but
in films? Do you like it? I'll tell you what.
In films?

Speaker 4 (01:03:36):
I think the period where I would like it was
so so slim. I think I was so scared by
films when I was small, so I couldn't really watch
them because they're too scary, and then tip over into
not being scared so I can watch them but then bored.
You need to have the perfect Goldilocks amount of fear

(01:03:58):
where you're scared, but you are still able to good
to watch it.

Speaker 2 (01:04:02):
So you're not scared. You can watch a scary film
there and not be scared.

Speaker 4 (01:04:06):
I think, I think, unfortunately for your podcast and for
films in general, I think I do have the capacity
to just move myself out of the scene by six
feet and be amongst the sort of crew and the
people sort of like knowing that just out of screen
there's a there's a boom, so that I'm not really

(01:04:27):
scared that that that that thing that has been done
in post production is going to eat that lady.

Speaker 1 (01:04:33):
Yeah, I can understand that. So what is the film
that's scared you? Okay?

Speaker 4 (01:04:38):
So there was a film that I watched in Yugoslavia
at the former yugoslav which was in a hotel. I
think it might be the first time I went to
a hotel. My brother was there definitely, and they had like.

Speaker 1 (01:04:47):
A video room.

Speaker 2 (01:04:48):
What were you doing in Yugoslavia holiday holiday.

Speaker 4 (01:04:51):
For us globing Montenegro? I think it became and then
and then they had like a video room and they
were showing a film called April Fall's Day.

Speaker 1 (01:05:02):
Have you seen a classic? Have you seen that? Of
the slasher genre? Right?

Speaker 4 (01:05:08):
Is it because I'm like, I remember watching that being
so completely petrified. Bearing in mind i'm probably well probably twelve.
Do you remember the plot of April fourth Day? No
tell me it, please, I mean, I genuinely think. I mean,
I'm ever so sorry if I've misremembered this to anyone
involved in April Fall's Day. But I think it's like

(01:05:30):
you're right, Slasher type film. I think they one by
one they get.

Speaker 1 (01:05:33):
Picked off on April the first.

Speaker 4 (01:05:36):
Yeah, and if I'm not wrong, it turns out that
no one died and it was the April Four's park.

Speaker 2 (01:05:40):
I think, yeah, I think you're I think you're right.
So it's like it's come Halloween was made. They're like,
we need something else. What other holidays are there? April
Fall's Day? We're doing April Four's Day. One final twist,
it's April Falls just like we said.

Speaker 4 (01:05:54):
Yeah, yeah, exactly. That's not a bad lift pitch. Also,
always nice to have final twist in any lift pitch.
I think, look, let's be fair. When you say it
like that, it sounds like a decent movie.

Speaker 2 (01:06:11):
I mean, but did the twist then? Go oh, I
didn't need to be scared. Everyone's fain.

Speaker 1 (01:06:16):
That's what I mean.

Speaker 4 (01:06:17):
That's what I mean. It shouldn't be you have nightmares.
It should be when you go to sleep, you go ah.
But none of it happened. But I think I was
ready for horror films to scare me at that point.

Speaker 1 (01:06:28):
I don't know.

Speaker 4 (01:06:28):
I kind of stayed scared, probably for another few years.
I think when I got a little older, Yeah, snapped
out of it. I mean I sometimes have seen a
horror movie and thought that's fantastic. I think, like the
Blair Witch Project is insanely good, but in my opinion,
but it didn't well, it's difficult not to be scared

(01:06:49):
by Blair Witch Project. Just the final final twist. The
final twist of the blow Witch Project is kind of crazy.
It's just a moment, isn't it. Yeah, which does everything crazy.
I then I think The Shining. I think I watched
The Shining I was very, very scared by. So I

(01:07:09):
think maybe that was that would be the one film
I watched in the zone I was scared by movies
and was able to sit just about watch it.

Speaker 2 (01:07:19):
So this thing of stepping six foot to the sides
downing with the crew, thinking about the boom that keeps
you protected from fear. Do you use that same technique
with all things? It's a sad film, I don't want
to cry. There's a boom over there. Oh, a funny film.
I get what they're doing. There's a boom over there?
Or is it? Does it only apply to horror films?

Speaker 1 (01:07:38):
Yeah? Good point.

Speaker 4 (01:07:38):
If I'm watching a comedy, do I think, oh god,
I shouldn't be laughing this much? This is a film?

Speaker 1 (01:07:47):
No? I think.

Speaker 4 (01:07:48):
The thing is, when you're sad in a film, you
just think great, you throw the kitchen sink at it.
It means you're alive. When you're laughing at the film,
you just think, okay, well that's good stuff, you know,
as I'm happy scared, this is something where you're like,
it's not your instinct when you're scared is to stop
being scared, I think. But then, I don't really know

(01:08:09):
what horror film I've seen recently where oh I'll tell
you what I did see. It follows that's a horror film,
isn't it that? But I don't think it's a hollow film.
There's nothing in it pointless decent Final finals twist. I
don't remember the final finals twist A bit follows I
think fellows some else. I like it for those very much.

(01:08:31):
It follows someone else probably is that a sequel?

Speaker 1 (01:08:34):
No, good for it?

Speaker 4 (01:08:36):
Yeah, I really like that film and I really really
did absolutely harvest the soundtrack to use.

Speaker 1 (01:08:46):
My own shows.

Speaker 4 (01:08:47):
Oh did Yeah, really good soundtrack.

Speaker 1 (01:08:51):
Is that what you're listening to? Underwater?

Speaker 4 (01:08:53):
No, it would have been like a few years later.
In the Bed, yeah, one of those. It's a brilliant soundtrack,
very evocative, beautiful.

Speaker 2 (01:09:02):
The dancer in the bed in that show, she's there
the whole show, just hiding in the bed.

Speaker 1 (01:09:06):
Yeah. Wow, what is most impressive?

Speaker 2 (01:09:09):
She doesn't like go when she gets up, she's been
lined out for an hour.

Speaker 4 (01:09:14):
I went in that bed. Yeah, it's really really difficult
to be in that bed. I mean there might be
people on your who's listen to the podcast who hasn't
even seen that live show. But basically it's a the
way we did it. It's a mattress and we've carved
out the shape of a person in the mattress, and
they go into that little like coffee and I suppose yeah,

(01:09:36):
and then the douvet goes over the top so it
looks like a bed with no one in it, and
then she just appears magically. But I went into that
hollow bit and I could last in there for about
maybe ninety seconds because it's so hot and with the
with the theater lights as well and the douve, and
she would go in there when the audience were coming in,
so she would be in there before she comes out

(01:09:57):
for the first time. She'd have been in there for
about thirty five minutes, two minutes, and then there'd be
a lighting change and she'd come out, and I would
just be like staggered.

Speaker 1 (01:10:06):
Every time she was like.

Speaker 4 (01:10:08):
There would not be a pearl of sweat on her
whole body. Just she'd come out this elegant, serene figure
and dance and then go back in. It's crazy. She
never fell asleep in there, never fell asleep. One time
she came out, danced and then walked away, walked past
me and out of the auditory, and I'm like, oh, okay,

(01:10:28):
my dances, my dances slept she should end up back
in the bed, And I'm like, off he goes. What well,
I carried on doing the show, and then the next
time she's supposed to appear from the bed, she just
appeared at the top of the steps and then danced
and went back into the bed and I was like,
welln't there just had to throw up. Oh no, genuinely

(01:10:51):
lying in the bed, just ill, just thinking. Okay, I
guess my technique is when I come out, obviously do
the dance and then if I go.

Speaker 2 (01:11:00):
Fuck game, well I here, yeah you did do what
a cliffhanger. Come back next week for part two. But
in the meantime, that was episode three hundred and forty four.
Head over to the Patreon at patreon dot com forwards.
Last Brett Goldstein for the extra video secrets and chat

(01:11:20):
with Tim go chat Apple podcast. Give us a five
star rating, but right about the film that means the
best to you and why it's a love and think
to read it.

Speaker 1 (01:11:27):
We really appreciate it. Thank you very much.

Speaker 2 (01:11:29):
Thank you to Tim for giving me his time. Thanks
to Scruby's pipping the distraction, Pieces of Network. Thanks to
Buddy Peace for producing it. Thanks to iHeartMedia and Wilfaw
with Big Money Players Network posting it. Thanks for the
graphics and needs Aladdin for the photography. Come and join
me next week for part two with the brilliant Tim Key.
Thank you for listening, but that is it for now.

Speaker 7 (01:11:45):
In the meantime, have a lovely week and please be
excellent to each others.

Speaker 8 (01:12:08):
Back back back, backs and tacks and back by the bat,
back flos and backs back back by the bass, back
flos and tax by back back, back back

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Tim Key (part 1 of 2) (The Ballad Of Wallis Island / No More Jockeys / Alan Partridge) • #344

Episode Transcript

Host

Brett Goldstein

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Tim Key (part 1 of 2) (The Ballad Of Wallis Island / No More Jockeys / Alan Partridge) • #344