May 22, 2024 • 60 mins
LOOK OUT! It’s only Films To Be Buried With!
Join your host Brett Goldstein as he talks life, death, love and the universe for the FOURTH TIME in this historical episode featuring comic, actor, podcaster, genie and so much more JAMES ACASTER! THE REINCARNATION!
James is given another chance to walk the Earth in a first for FTBBW - a reincarnation! If you've been listening since day one you've heard all of the appearances, and even if you're a recent attendee you'll have heard him somewhere along the line for sure. Well, in appearance number 4 it gets no less real as James and Brett jump in for some proper behind the scenes gossip and goodies, all new questions, and all new perspectives on the whole game. A lovely one and definitely one that a lot of you will have been waiting for. So, enjoy!!
Video and extra audio available on Brett's Patreon!
SUPERBOB (Brett's 2015 feature film)
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look out. It's only films to be buried with the reincarnation. Hello,
and welcome to films to be buried with the reincarnation.
(00:21):
My name is Brett Goldstein. I'm a comedian, an actor, writer,
a director, a bed post and I love film. As
Robin S. Sharma once said, don't live the same year
seventy five times and call it a life. I will
make an exception for watching Maupet Christmas Carol every Christmas
Eve for seventy five years. Then you're absolutely smashing it
for sure.
Speaker 2 (00:38):
Yeah.
Speaker 1 (00:39):
Every week I'm invite a special guest over. I tell
them they've died. Then I get them to discuss their
life through the films that meant the most of them.
Previous guests include Ped Plambles, Jed Lambles, and even Mary mccampbell's.
But this week is different. It's episode three hundred. We
did It, Joe, So to celebrate this milestone in all
of our lives, as is now tradition, every one hundred episodes,
(01:00):
I am returning to my very first guest, the Genie himself.
The Ghostbuster is mister James Acaster. He's been resurrected, He's
been through his judgment day, and now for his fourth appearance,
he will experience for the very first time, the Reincarnation.
Check out the Patreon over at patreon dot com, forward slashback, Goldsting,
where you get extra twenty minutes with James. He tells
(01:21):
the secret, we talk about music, we talk about his
sitcom spring Leaf, and many more things. You get all
of that, plus the episode uncut Adfrey, and there's a video.
Check it out over at patreon dot com, Forward slashbreack, Goldsteam.
James Acaster is a genie, a podcaster, a rapper, a musician,
a stand up an actor, a ghostbuster, and an author.
I was delighted to have him back for the three
(01:43):
hundredth episode. We recorded this last week Agazoom. He was
as brilliant as ever. You're going to love it. That
is it for now. Thank you for listening this far.
I very much hope you enjoy episode three hundred. Can
you believe it? Of Films to be Buried with the Reincarnation? Hello,
(02:10):
and welcome to Films to be Buried with the Reincarnation.
It is I Brett Goldstein and I am joined today
for the fourth time for a very special episode three hundred.
He's a writer. He's a comedian. He loves hecklers. He's
(02:31):
a stand up. He's a genie. He's a movie star.
He's a ghostbuster. He's a tora. He's a lover. He's
a guy. He's a genie in a bottle and sometimes
he's out. He likes food. God, he really likes food,
(02:51):
and boy does he want you to know about it.
He's here, he's alive. I'm delighted to see him. You
are too, He's back for good. Please welcome. Everyone's hero.
It's mister j Vecas. There how many?
Speaker 2 (03:06):
This is our fourth one? Yeah? What were the other
ones called? If we're not done the incarnation yet, this
is the first reincarnation.
Speaker 1 (03:12):
Basically, it goes films to be buried with, then it's
films to be beared with the Resurrection, Then it's films
to be buried with Judgment Day, and now it's films
to be buried with the Reincarnation.
Speaker 2 (03:20):
I love it.
Speaker 1 (03:21):
Thank you for doing this, James. It's is tradition in
our show that every hundred episodes you come back. It's
so nice to see you. I haven't seen you in ages.
Can we talk about the big news that has happened
since we last saw you.
Speaker 2 (03:34):
Well, first, let's talk about oh, come on, how every
episode has been slightly different. So episode one, Yeah, me
and you in your kitchen, face to face. The second
one we did episode one hundred. It's over Zoom, but
very much the same vibes. Yeah, you and your house.
Yeah we're having a laugh.
Speaker 1 (03:52):
Yeah.
Speaker 2 (03:52):
Episode two hundred, we're still over Zoom, but you're in
a hotel. All the curtains of drawn so people can't
see you and your midway filming. Yeah, your hit TV show.
We're all very proud of you. But every time I
go off on a rant about a film that I
don't like, you look at me and don't say the
thing because you don't want to burn your bridges because
(04:12):
things have changed. This episode one hundred, here we are.
Episode three hundred. Your assistant contacted me to do this,
and your background's blurred on zoom.
Speaker 1 (04:24):
We've come a long way. We've come a long way.
Well on your side of this.
Speaker 2 (04:30):
Episode four hundred, your face is going to be blurred out,
your voice of being pitched.
Speaker 1 (04:33):
Now and I'll be like, hello, I am speaking to
you from an undisclosed location. I'm fine.
Speaker 2 (04:41):
What films do you like?
Speaker 1 (04:44):
Well, you can say all this, but you know, last
time we did this, you were just a humble podcaster
with the number one podcast in England who was touring
and playing the Royal alb But just a humble comedian
podcaster who plays the Royal Albert whole sell out the
Royal album. Just a humble small podcaster, comedian doing his
little tour around the world. And then between episodes you
(05:08):
become a movie star in a huge hit Hollywood film.
I don't know if you've ever heard of it, The Ghostbusters.
I have, And there was James A. Custer in Ghostbusters
Frozen Empire. And let me tell you something, I've never
been more proud in my life. You're a fucking movie star.
You're so good in it. And what I really loved
is the second you appear. The first thing you say
(05:32):
made me laugh out loud. You're funny. You turn up,
You're fucking funny. You turn up and you go like, yeah,
I'm a movie star and I'm really funny. And then
I goes, oh wow. And I had someone say to me,
who's the guy, the kind of the breakout star. They're
sort of the favorite in the film, And I'm like,
you the Genie. They're like, yeah, the GENI. Yeah, yeah, yeah,
you're brilliant. Thank you for watching it. But I'm so
(05:54):
so glad you watched it. Well, the thing that I
hadn't that hadn't occurred to me. I knew you'd be
brilliant and everything, but it hadn't occurred to me that
you also have a movie star head. Interesting, you've got
a movie star head.
Speaker 2 (06:03):
What are you talking? What does that mean?
Speaker 1 (06:04):
Well, you've got a very you're very good looking, but
you also have and I'm in this lovely I think
you've got big heads. And that's brilliant for movies. Movie
stars have big heads, and it's like, oh, yeah, you've
got a movie start head. You're a beautiful man with
a with a big head. That's what movie stars are.
Speaker 2 (06:21):
That's good.
Speaker 1 (06:22):
Yeah.
Speaker 2 (06:23):
I didn't even know I had a big head until now,
or definitely when they put my hair up like that,
I've got all the My hair is all up in
the air as well, So that adds a few That's
maybe why they wanted me to do that.
Speaker 1 (06:32):
You have to have a big head so that you know,
because you're on a big screen, so you've got to
have things to look at you know, it's got to
be spread out as essential. Yeah, and so you've got
a beautiful movie star head. And I was like, yeah,
of course, how did we not know this all along?
He's been fucking wasted on stage.
Speaker 2 (06:47):
If anyone else watched it and thought that, I think
everyone's got a big head. Of course, of course.
Speaker 1 (06:55):
Of course you've got a movie start head. This is
a comment. I know you're taking it like, is it no? No,
I take it as a compliment what I'm enjoying. And
I've missed it because we know we don't get to
talk all the time. You're you're on tour at the minute.
Speaker 2 (07:07):
Very proud of you for that thing, just to be
proud of each other for the whole the whole podcast.
But like, I like how you always every time I
talk to you, you say something that I've never come
across before, Like it's common knowledge, like movie stars have
to have big heads. I've never heard that from anyone ever.
But it's like, nam movies a small head. Hey, it's
a good point. Hey, I'm not saying I'm not saying
(07:29):
you're wrong.
Speaker 1 (07:29):
Here, think I mean, just think it through it there
any your favorite movie stars anytime I guess.
Speaker 2 (07:35):
There's loads of people who I think don't have big heads,
but the movie stars, but ones that have specifically small heads.
Bob Balaban his big head, Yeah, small the small man.
Speaker 1 (07:48):
That's a great shot. He's a smaller man. But the
other thing movie stars at the thing that's different. Way
you'll have a sort of huge career as well. Is
that your tool which is unusual for me movie really
sure with big heads, your tool with big edg your
head is actually portional, which is why it's like, wow,
people are in Hollywood. They're like, this is a money
making machine. This cast is what we want. Yeah, yeah, yeah. Anyway,
(08:12):
I was very very proud of you, and I did
wonder what it was like because also you have you
have quite difficult stuff in that film, because you've got
you get all the funny stuff, but actually you you're
the exposition character as well. You're the one who says
all the complicated science stuff. You have to do quite
a lot of heavy lifting of science talk, and there's
scenes where you're doing science talk to the entire cast
(08:33):
of the film, which is a massive curst. And I
was thinking, God, that must have been an intimidating day
where you're you're doing these big, long monologues in front
of everyone. Yes, how was all that?
Speaker 2 (08:42):
Well that that scene you'r took about was my audition
scene as well, so like I kind of knew it
really well already, so that helped. But like I remember
when I auditioned, maybe you know, I did a self
tape and then I did an impersonal audition, and you know,
at the time, they were like, oh, we also might
do some improv so I just want to do a
quick improve seen with you. I was like, okay, cool,
and they're like, so I was going to keep it
(09:03):
in the lab, yeah, where we've just done that scripted
scene and you got all the equipment around, so let's
just improvise here. Would go, hey, Las, what do you
got here? And I was like, I'm sorry, what have
I got to improvised? What's in my lab? Like I've
got improvised science to you like improvise made up science
as well? It's not even like yeah. They were like yeah, yeah, yeah,
(09:23):
You've got your ghost equipment and we're just gonna So
that was the most that was more intimidated than anything
I think we actually ended up filming. But like I
liked the scenes when we were all there, it was exciting.
It was all exciting, man, I mean like, yeah, did
you love it? I loved it. There was one there
was one little bit where I had a wobble and
my confidence, like for half a day, really went. So
(09:45):
I was like, what am I going to do? Because
I was like, I'm not feeling like I want to
go in tomorrow. I'm feeling like I really showed myself
up today and really messed that scene up. So I
sent a message to a friend of mine who's filmed
a lot himself, called Brett Goldstein, and I messaged him
and said, is it normal to feel like you're an
impostor and you can't do any of this stuff?
Speaker 1 (10:03):
Is it?
Speaker 2 (10:04):
It's a normal to feel like you're the worst person
on set? And he could have texted me back, but
instead he find me and he reassured me and said, look,
this is this is every single actor, every single time.
He told me a nice story about a really big
famous actor and I can't remember who it was now
who says you always feel like you can't do it
and and all that, and it made me feel much
(10:26):
better and I was able to go in, and I thought,
what a nice boy. And that was genuinely the only
time that I had a wobble during it all, and
you got me back on track. I know you've forgotten
about that. So as I started telling it, I saw
your face go, oh, who's this nice? Oh? No, oh no,
I've cheeed myself up for a compliment. You were like,
this is my worst nightmare. Hard to get complimented for
(10:46):
being a good man.
Speaker 1 (10:47):
It's nice of you to tell this. Like what I
happened is I called you and went, what are you
fucking talking about? No, I've never heard that too. That's Matt.
You must have been terrible. That's all. You should quit
that film, shouldquit the film. You're going to get fired. No,
it's funny. Everyone feels that. I feel that. I know, yeah,
I know lots of lots of very very famous, brilliant
people who feel that. And I told you the thing
(11:07):
that I always think is really brilliant. And I don't
know if anyone has this luxury these days because of
the madness of budgets and stuff. But you know the
thing about Donald Sutherland that he has it, I believe,
or he at least used to have it in his
contract that when he makes a film that you start
with the middle scenes because he's like, it will take
(11:29):
me a while to find the character and get it right,
but by the time we film the beginning of the film,
I'll have it. So if there's any mistakes, if I'm
not good, I'm not good in the middle. And by
that time of you watching it as an audience, you're
into it. You don't care, and you stop, you don't
notice if there's one scene he's not good in you've
watched an hour and you're fully invested. That's good. Yeah. Yeah.
Speaker 2 (11:50):
I think our first few days was like it's a
scene that took three days, but for the first two
I didn't have any lines, so I was able to
just walk around just in the scene and just get
told in you know, non consequential, what is stop doing that?
Speaker 1 (12:06):
Do it?
Speaker 2 (12:06):
Do it differently.
Speaker 1 (12:08):
You're very good at You're very still, and you're very
you really are like movie start. You're not like shuffling
around and you have to do and the bit I
was really impressed with where I was like, wow, that's real.
Is the bit where your hands freezes and you get
you have to like you have to do proper stuff.
There's a lot of stuff that my favorite day that
was that was a few days. I thought you were
really good. You did it was just really good. I
(12:28):
was very very proud of you, and I loved seeing it.
And you're a fucking big part in it. You're fucking gas.
Speaker 2 (12:34):
That's the beauty of exposition. Baby. When I was reading
that script for the first time, I was like, Yes,
keep on giving me that exposition. That's all I want.
You can't cut around that. Film doesn't make sense if
you lose it.
Speaker 1 (12:45):
You can't cut around it. It was excellent. I was
very impressed. Also, you have been on your Heckler's Welcome Tour.
I think when we did a comment relief special, we
did talk about you about to start that. How have
you foundled that? And I know loads of people have
seen it absolutely loved it. How much heckling has there been?
And has that part of it been fun or regrettable
(13:05):
or you know what I mean? Like, because most people
who I know who've seen it said there wasn't really
much heckling, but then there was the Usually the heckling
was quite boring and it was like what's your favorite
dish or something? So I wondered in general what it
was those American gigs. Yeah, I think so, because.
Speaker 2 (13:21):
Like, yeah, and in America, the heckles are referencing other
stuff I've done, you know, TV shows I've done or whatever.
But they've always been like that. Basically, there's been no
increase or decrease in heckles or the types of heckles
I get. I've got exactly the same amount of heckles,
exactly the same amount of gigs that acquire. But what
I'm trying to change is my response to those gigs
because I never really was one of those comics who
(13:44):
kind of goes well. I would immediately after a gig,
I'd blame the audience. I'd come off stage and be like,
why can't I just get rid of these idiots? And
then you know, ten to fifteen minutes later, I'd be like,
I've got to stop throwing these gigs in the bin, man,
Because that was the main thing was I was like,
this isn't going to change. They're not going to change
as an audience. They never you know, you watch comedians
(14:06):
have been going for decades and they've got heckler's or
they've still got quiet gigs, you know, relatively to them.
So like I've just got to sort out my response.
So that was the whole idea behind let the audience
do what they want, tell them they're allowed to hecki
blah blah blah. Was just so I removed the option
of bollocking them and their shit.
Speaker 1 (14:26):
And how did it work out? Did it work as
an experiment for your mind and stuff? It absolutely worked
as an experiment for my mind. I've got as of
now when we're talking, I've got thirteen left, so I
don't want to draw a complete conclusion just yet. But
I made a lot of changes, not just you know
the fact that I let them do what they want,
but it also spaced the tour shows out a bit more.
(14:49):
I did residencies instead of a different city every night,
and I only went back to places that I'd enjoyed
in the past and had a good time, and all
the places where I've consistently struggled on tour. I was like,
let's stop going back there, because you know, you know
what's going to happen there great.
Speaker 2 (15:03):
And I didn't over preview it. I didn't do like
a billion work in progress shows and then get it
so it was finished and then take it on the road.
When I'm already sick of it as well, which is
what I've done a lot of in the past. So
all of that helped. And yeah, I think I want
to finish it before I say anything for definite. But
it's definitely been a better tour for my head than
(15:24):
any of the others have. There hasn't been a gig
where I've throwed the whole gig in the bin and
told him it's shit, And that's every other tour I've done.
Definitely that has happened, especially on the last tour in
twenty nineteen. There was probably most of them was me going,
you know, thirty seconds zero, fuck this, but this I
know how good the show could be, and the way
(15:45):
you applauded me on to stage just not indicate this
is going to be the best show ever. So why
even bother see you later? I start slugging their city
off to them?
Speaker 1 (15:53):
Have you like, have you had anywhere, because from what
I understand, you have a full if no one haggles,
you have a full, complete, yeah show. So have you
had any shows where you've had so much interaction that
you've had to abandon the thing and you never finished
the story or the right.
Speaker 2 (16:10):
So I'm still yet to film it. When filming the
show at the end of the tour, I'm actually filming
it in two different locations, two different crowds, because like
in completely different setups as well, because I think that
this show, more than any other, is different. Every night
I did an audio record in the other day for
an audio release we're doing, and I did it two
nights in a row in Keprin and my hometown, and
(16:32):
on neither occasion did we finish the show. So that's
going to be released, you know, officially, and there's going
to be a vinyl release of it and everything. And
it's not it's not we don't finish the materials. We
don't really get halfway into the material both nights. So
the first night was my fault. I was messing around
too much, and then the second night they were hectic
(16:53):
a lot to the point where I had to be like,
I've got to admit that we're not getting to the
edge of this. But that's what's you know, good about
it as well, is that you know, definitely in the past,
if they were hecting to the point where I couldn't
finish the show, which happens every tour, at some point
I would bother them all, go you don't deserve comedy,
you deserve to laugh. You're a bunch of absolute assholes.
(17:14):
What do I even bother coming here? And then everyone
goes home feeling sad. On these ones, when that happens,
I go along with it and try and find and
ending and try and be a bit more positive. So
even I'm not saying that I end every gig feeling fantastic,
but the ones where I do feel disappointed with the
show or that wasn't that good, that feeling is usually
gone by the time I get back to the hotel room,
rather than carrying on. And there's been some I did
(17:36):
find my wall by breaking. I had to break some
of my rules and had a month where I gigged
a lot more than usual, and I went back to
some places that I wasn't going to go back to,
and I very quickly was back in the same place. Mentally,
I wasn't taking it out on the crowd on stage.
They had no idea, but like you know, I was like,
oh no, this is now. I'm back in the hotel room.
I still feel bad, and it's the next day and
(17:57):
I still feel like I don't want to do the
gig tonight, I like, but that was good as well.
It was good to I think if I hadn't found
the line on this tour, it wouldn't have been as useful,
and it was good to find the line and go, okay,
these are definitely no notes.
Speaker 1 (18:11):
This is great, this is good.
Speaker 2 (18:13):
It's good.
Speaker 1 (18:14):
How about how was the Giant off menu tour? You
did that in a row, right, you did them like
in a row kind of Yeah? Yeah, yeah, that was great.
I mean love the audiences. That never got boring.
Speaker 2 (18:26):
Well no, because you know, it's different every night, so
that's great. That's what's good about that. And the first
half is me and Ed going out and talking to
the audience and doing their menus, so that's different and
just improvising and messing about. And then second half is
you get a different guest on and and do the
podcast with them. So yeah, that was brilliant and just
like very good, you know, I mean tiring. Yeah, and
there was a lot of people working on that big crew.
(18:48):
Normally it's me and my tour manager for my tour shows.
This one, Ed and I we'd okayed a bunch of
stuff and Benito, but not thought about it at all
because he's so good at his job, so we we
just go, yeah, yeah, we want a lamp on stage,
a giant lamp, and yeah we want that back that
that scenery looks great. I didn't even think about the
people needed. And we turned upon day one, which is
(19:09):
in Birmingham, and there was a big tour bus outside
and we went is that for us? And Ben was
like it was for your crew?
Speaker 1 (19:15):
Yeah? What?
Speaker 2 (19:16):
But you've got a full crew on there and they're
gonna be traveling through the night from here back to
London with that, and it's your whole set is is
in that that lorry next to it, That's where your
set is. And we didn't think about any of that.
And then we're like, oh god, yeah, there's a whole
bunch of people working on this who were amazing.
Speaker 1 (19:32):
Wow. I mean pretty fucking insane, isn't it right? It
was insane, etc. You know.
Speaker 2 (19:39):
And also I mean Ben did the thing is with
off menu? Now? Is that all? I don't really feel
like it's my podcast. I feel like I'm a host
on it. But whenever I kind of listened to some
of it, all I think is what Ben and his
team are doing a great joas they're doing a great
They've made these live episodes sound so good.
Speaker 1 (19:58):
Yeah, they've done great.
Speaker 2 (20:00):
So I think it's Ben's podcasters, Benito's podcast.
Speaker 3 (20:06):
We work for Ben James Acaster. I am dead impressed
with you. I have decided to let you come back
to life. You will be reincarnated. But how would you
like to come back? Who will you be?
Speaker 1 (20:22):
A human? An animal? What will your new life entail?
Tell us now? Please?
Speaker 2 (20:29):
Was this question in the email? Yeah? Okay, I don't remember. Well, yeah, okay,
so if I'm coming back, I guess see, I'd like
to say an animal, but really it probably is a
human because I just like to have another go around
and do a bunch of different stuff and live a
different human life. Because I think about, how are there
(20:51):
so many animals? What were the things you'd like? Well,
you know, you think, just just like different choices. Long,
so you know, as entertainers, I think there are times
where we think ourselves we live in a bit of
a selfish life. It's all geared towards our own egos.
And then I'm like, man, if only I had another life,
I could be selfless during that all further in the
future when the world is more funcks so probably can
(21:13):
do less. But you know, so, yeah, I probably come
back and be a good person, you know, So come
back and I come work. Yeah, well, you know, I
used to work with autistic children in the school, and
when I quit that to do stand up, I just
feel a little bit like maybe I'm a bad person.
And you know, I could probably go back to the
school and go, look, I've been being kindated. I don't
(21:35):
know if my CIB is still valid, but like I'd
like to work here again and stick at it this time.
And yeah, obviously, you know, full on, I'll probably yeah,
just be a climate scientist. I'll come back and be
a climate scientist.
Speaker 1 (21:50):
Okay, you do more more exposition. You've come back and
do all the exposition and the news.
Speaker 2 (21:55):
I'd be the character from Ghosts. Yeah, I'll be him,
even though I've watched that film quite a few times
now because I've been with various friends and family. Yeah,
and it's different screenings when it came out. And I
would say that scientist isn't upon close to examination, is
not very clever.
Speaker 1 (22:12):
Why he sounds like he knows what he's talking about.
Speaker 2 (22:14):
I think he should have once that brass or but
frozen his hand. I think he should have put it
back in that special room that he got it out
of in Camail's house.
Speaker 1 (22:22):
Yes, that's true, but he.
Speaker 2 (22:24):
That was irresponsible of him. But yes, yeah, oh no,
why he did it? Yeah, I know that he's curious
it is. But again we're back to ego. Now, maybe
that's not the most abandoning of my ego if I
become a scientist. They were bearing it for the glory
as well. That Lars Pinfield, that's my character's name, he
was he lets he go get the better of him
(22:45):
and then goaka nearly froze everyone to death.
Speaker 1 (22:48):
Yeah, and he's learned nothing coming back, nothing coming back? Well,
welcome back. Now you're you are coming back to life.
Before you you start your new life, you would like
to know about the films you would like to know
about in your new life. You get it anyway, What
we want to know is what's your favorite remake.
Speaker 2 (23:10):
I mean, you can probably guess this, maybe you can't,
but Departed great answer.
Speaker 1 (23:16):
Did not guess that at all.
Speaker 2 (23:17):
I feel like it's a bit predictable because obviously, you
know one best picture. It's a great film and you know,
I'm a bloody bloke, so of course I love it,
but love The Departed. And also, yeah, it's one of
those films I get annoyed when people criticize it because
I think it's just a really fun film. Yes, And
(23:37):
like I think people get shitty about it because it
won the Oscar and they're like, oh, but you know,
it's not even his best film. It's like what you
want about, like it's the Oscars. It's not an exact science.
They eventually gave him Best Picture, which they should have
DoD ages ago, and it was for a film that's
really good.
Speaker 1 (23:54):
It was one of his fun ones. I like it
when he makes a fun one.
Speaker 2 (23:57):
Yeah. I just think for me, it's the most rewatchable
school says he film. I go back to it loads,
like I'm always in the mood for it. I was
having a chat with some frends the other day about
films you're always in the mood for whenever. I might
have even bought it up on your podcast in the past,
because like, I love it that there was some films
were like, yeah, anytime someone says to me, you want
to watch Departed, the answer will always be.
Speaker 1 (24:17):
Yes, you know, what when I love of his that
he made for fun is Cape Fear. I love Cape Fear,
and I think it's sort of bas it's absolutely bananas.
But it's also been like the Simpsons did the thing,
like it's kind of now like sort of been spoofed
so much it's quite hard to remember it as it was.
But it's fucking great. It's so wild, and I like
how exciting it is in first and it's like what
(24:40):
the whole time you're like fucking out, like he's really
enjoying himself. Who is the one actor you would watch
in anything other than James acast Who is my answer
to this question?
Speaker 2 (24:54):
Of course it's your answer. Yes, there's a lot, There's
a lot, a lot, a lot, so I had to
really think about this, but I think the one who
takes the crown is Amy Adams. I've never seen Amy
Adams in something in for get her off the screen,
no matter what the film is, even like films like that.
(25:15):
I didn't even know she was in when I first
watched it, because I know who Amy Adams was. And
then you go back and watch Catch Me if you can,
and then realize that Amy Adams is in it, and
in that she's just magnetic and brilliant and you really like,
you know, her character's not even in it for that long,
but it's a fully fleshed out, three dimensional character you
completely buy into. I think obviously it's got big character actors,
(25:36):
isn't it that you can watch in whatever, because like,
I don't want to watch somebody does the same thing
all the time. So people like Amy Adams is just
like changes it up every film. That's such a great
great you always believe her in the role. It's always
just like I don't even think there's Amy Adams pretending
to be a princess or Amy Adams pretending to be
you know, annoyed at him for boxing again, Like yeah, yeah,
(25:57):
she's properly that's the person.
Speaker 1 (26:01):
She's really good at funny and really good at serious.
She really can do. She's a very good comedian actor
as well and very serious. God, that's a great shout
for me.
Speaker 2 (26:12):
One of the worst things about being like, you know,
because obviously, despite all of our Ghostbusters chat, I'm a
stand up comedian and I'm like actor adjacent and sometimes
interact with actors. And one of the worst things is
that I'm still astounded by the very basics of acting.
So when I meet an actor, it's very easy for
me to say, which I did to one person once. Mate,
(26:33):
you're really good. Like every film I see you and like,
I really believe you're that person. It's crazy. It's like,
do you know what I mean? When you're watching it
and it doesn't even seem like someone acting, it just
seems like they are that guy. That's you. That's really
that seems really hard to me. And they're like, we
are literally on the set of a film now chatting.
You should not feel like this. I don't feel comfortable
that we're about to do a scene together.
Speaker 1 (26:55):
Was it poor Rat?
Speaker 2 (26:56):
It wasn't on Ghostbusters film Cinderella. My other my feature debut.
Speaker 1 (27:02):
Was it Ramis.
Speaker 2 (27:03):
No, that wasn't James Corden either. It wasn't. It wasn't
actually someone I'm in a scene with. It was somebody
who was filming a scene in tandem to ours, and
I got to chat to them quick.
Speaker 1 (27:13):
You say this about character actors, and you're absolutely right.
That's a great shout. But movie star wise, I would
pick Denzel Washington because I watched Denzel Washington and ending
Densie Winston is my favorite movie star. Like, I'll even
watch all the Equalizers. That's how I can't.
Speaker 2 (27:29):
I can't watch the Equalizer. You know, I love Denzil
Obviously I'm not not an idiot, but like, if Equalizer
had Amy Adams is the Equalizer, yeah, that would be great. Yeah, yeah, God,
that'd be great. And then the twist in the final
Equalizer would be that actually this is the first one and
the others haven't happened yet, but she's going to decide
to do them anyway. She could have decide to live
(27:49):
her life.
Speaker 1 (27:50):
I love it. What is the film you changed your
mind about significantly from the first time you saw it?
E g. You saw it, you loved it, now you
hate it, or you saw it you hated it, and
then you saw it again you're like, oh my god,
it's so wrong about this film is amazing.
Speaker 2 (28:06):
Yes, iron Man, Yes, go on, first time I saw
iron Man, and this might be this is the case
for this might be quite universal. Actually, but like where
the world was with superhero films when iron Man came
out was that they were they got bums on seats,
but we all thought they were bad. Yeah, and we
were all just turning up to a routine to get disappointed,
and Iron Man was doubly Soci're like, why they really
(28:27):
scraping the banel. Now they're doing Iron Man, they clearly
haven't got any decent superheroes to draw from. Now this
will be bad. And at the time, I was not aware,
you know, of how much Jon Favreau was like an
amazing director, and I didn't even know how much of
a safe over hands Robert Downey Junior was. I was
just like, I was just going to see a film
a keptin cinema with my friends, another superhero film, and
(28:48):
I watched it and I thought it was fine. At
the time, I thought, yeah, I was all right, but
I wasn't really into superhero stuff. I just go and
see him because my mates wanted to. And then yeah,
just forgot about it. And then all these superhero films
came out. I wasn't really about any of them for ages,
and then went to watch I mean it was probably
Guardians of the Galaxy and was like, well that's one
of my favorite films, yeah straight away, and then really
(29:10):
got into the MCU and then went back and watched everything.
And one of the people who really loved the Infinity
Saga and Infinity warn Endgame was some of the best
experiences I've ever had in the cinema. I loved it,
and I'd never thought I would love it. So now
I look back at Iron Man and I've rewatched it since,
and you go, what and a cheap Like it's literally
(29:30):
Marvel and everything and Superhero films were completely like they were,
you know, on the edge of just like that's it,
We're fight now, we're not doing it anymore. And that
team who made that film completely changed how superhero films
were made, set a whole new blueproot for stuff, and
we're able to launch what was it, twenty three other
films off the back of it there, and it was
able to like set up things that got paid off
(29:52):
in those final two films, which is incredible. So now
I look at it and I'm like, well, you know,
that's one of the most significant film in the history
of modern cinema. It is. But at the time I
was just like whatever, whatever, But like, yeah, now I'm like,
what an important film. What a bunch of really clever
(30:12):
people who made it, clever boys, And yeah, there were
things that are in that film. Now obviously what happens
in the in the final two films that I just go, oh,
I know where that's going later on. That's very satisfying.
Speaker 1 (30:25):
It's very good, and it was funny. It was funny,
and they figured out how to be funny as well
in the other stuff. Great answer, James A. Custer, perfect answer,
And without iron Man we would not have Yes, father,
what is your favorite documentary film? And vil Ah, of
course it's your life story.
Speaker 2 (30:44):
I really really relate to it. It's funny, obviously, but
it's also quite poignant, especially if you tried for many
years to be in a band, especially if it was
you and your best mate and you didn't always get on.
But also you really really believed in the muse, and
you weren't very good at articulating to other people why
(31:04):
they should also believe in it. And all you could
come up with was it's such good music. It's really good,
which is what the bit in Anvil when they go
round all the different record labels and they're talking to
the big execs, and the execs are like, why should
we put this out? And all they can come up
with is because it's great, because it's so good, because
(31:25):
this is brilliant music, and people need to hear it,
and they're like, everyone says that to us about their album.
You need to tell us why this is different. And
of course they can't because they're authentic. They are actually
about the music that that's what they put their life into.
They're not sitting around with their business heads on thinking
what sells or how can we like pitch this and
(31:45):
sell this to a record label. They're just thinking, we
love music. This speaks to us. Surely, surely these record
label execs are going to see that they care about music, right,
So they're just they're going like this just kicks ass.
This is great music. They're like, yeah, okay, buys, leave
the CD on the coffee table, and that I really
really related to those scenes. I was like, yeah, that's
(32:07):
that's us. That was us saying to everyone for quite
a few years. But this is just really great music.
Speaker 1 (32:13):
It's just good. It's funny. You have these conversations in
creative stuff, particularly you must have had them with your
with your By the way, with the other thing we
haven't talked about springdef you're brilliant fucking sitcom podcast, which
is brilliant. I'm so well plotted and like I'm like,
you made a whole fucking TV show, but put it
on a podcast all a way was so impressive. But
(32:35):
I also like the reality of anything you do that
isn't just you on your own, that there is this
part where you have to communicate what you're trying to
do to other people to get them on board, or
to get them to buy it, or even just to
get them to carry out your vision. It is always amazing.
It's amazing when you write a script and then the
props departments show you the props they've got for it,
(32:55):
and you think, oh, my god, obviously not that, but
in your head it's so clear in your head, and
you're like, oh, I guess I haven't explained this properly.
And it's very interesting that stuff. You do have to
kind of learn ways of trying to explain things in
a different way than it's natural to you. And then
very occasionally have found this when we've made a film
that you fight and you you say all these things,
and there'll always be one decision or one moment where
(33:17):
it's eventually you're just like, I can't explain it any better.
I just really like this. I just really like this.
And you can say all the arguments, but I don't
have any more arguments outing it. It just feels good. Yeah,
can we just do this because it feels good?
Speaker 2 (33:31):
Stand up to a really good way of learning to communicate,
because that's the whole job. Yeah, music, I think is
the opposite because you're not it's almost intangible. Yeah, So
musicians like those two guys in that documentary more than anything,
are like, we don't know how to tell you why
this is.
Speaker 1 (33:45):
Good and you know what, It goes both ways. Because
I found the hardest part of like when we made
a thing was working with the composers because I don't
have the music language to explain what I'm trying to get,
and so when they'd send music, if the music didn't
feel right to me, I didn't quite know how to
explain what I wanted because I'm not a musician. So
(34:05):
it's really difficult actually that communication of like can it
be I wanted to feel, I don't know, romantic or
whatever the fuck words you're using, and then somehow you'd
get there in the end, But it was that was
one of the hardest parts, was communicating.
Speaker 2 (34:19):
Having to describe music. So the second book I wrote
was all about albums that I love, and I had
to just written word to describe how an album sounded
felt an everything was a massive, massive task and fun
to learn how to do it. But having to describe
as someone how a song sounds that makes you feel.
Speaker 1 (34:40):
It's, yeah, I need to get better at that. That
is a real gave me.
Speaker 2 (34:44):
A whole new load of respect for good music critics.
They're proper good writers.
Speaker 1 (34:49):
Yeah, because to me, music's magic is like this thing
made me feel things. I have no idea why, and
it just happened. It should be that you're like, you
just do the magic thing for this.
Speaker 2 (34:59):
Yeah thing, please magician?
Speaker 1 (35:02):
All right, what is your favorite sequel? Genie?
Speaker 2 (35:07):
So many contenders. Obviously we're taking Ghostbusters, Froze an Empire
off the table. Okay, it hurts to do that, but okay,
look there's loads and loads of contenders here. I think
it comes down to a lot of honorable mentions. Evil
Dead two, Bill and Ted's Bogus Journey Home Alone two
Lost in New York. These are honorable mentions. Comes down
(35:29):
to three. One is Toy Story three. But you say
that people mention it too much on the podcast.
Speaker 1 (35:34):
Oh they haven't for a while, because I haven't let them.
You can say it now.
Speaker 2 (35:37):
It's my favorite toy story film. Patenton two is a
perfect film. Yeah, everyone knows this, everyone would have said
it on your podcast before. And then this other one
is probably my answer because it also falls into the
category of I'm always up for watching it whenever. But again,
it's probably one that's been mentioned on your podcast byion times.
But I probably go for The Dark Knight.
Speaker 1 (35:56):
I thought you were going to say Bad Boys Too,
which is obviously the best sequel, but okay, yeah, yeah,
the Dark Knight's very good.
Speaker 2 (36:03):
Im've learned from like the films, the films that I'm
always in the mood to watch, like Dark Knight Departed.
I think, like a heart, I'm a very different but
I'm probably an insl Actually.
Speaker 1 (36:13):
That's what I was thinking. You're an absolute lad. You're
a real blokey bloke deep down. Yeah, you like you
like boys, tough guys, fire.
Speaker 2 (36:21):
I like films that can be misinterpreted to fully kind
of empower the wrong type of bloke.
Speaker 1 (36:29):
Yeah, you think Fight Club is aspirational?
Speaker 2 (36:31):
Yeah, well, I hope that I interpret them the correct way.
But I love them still as much as the wrong
po people love them. Yeah that's good, but like, yeah,
I mean I could have tried to come up with
a cleverer answer. I mean before Sunset as well, was
in the obviously incredible. But I've realized I basically like
all the same sequels that everyone likes. Bill and Ted's
(36:54):
Bogus Journey is probably the only one that isn't an
obvious pick.
Speaker 1 (36:57):
We're going with The Dark Night because you're an inso
and I love this about you. Yeah, it's what people
don't know. I've got to accept it. Yea, what is
your favorite film by a director that you don't usually like?
Speaker 2 (37:09):
To go? Just trying to think of this one, which
is why, you know, just think about a lot of
these which I'm annoyed because the rate you're asking me
the questions is quicker than the amount of time I
spent thinking about them. This is hard because what I
realized with this one, I had to properly.
Speaker 1 (37:25):
I have just remembered that. Yeah, you think I'm rushing
you too much, right, yeah, only because of time. I
forget that. What you're amazing and you you've you've got
like half an hour and every question, but we don't
have that method.
Speaker 2 (37:40):
Oh yeah, no, I know that.
Speaker 1 (37:41):
So I have to I have to move you because
otherwise we'll never finished. But I don't want to question
in your method that we're moving. Oh listen, if you
weren't a movies down, we'd be doing a five hour record.
But you've got to get back to set.
Speaker 2 (37:56):
So the reason why it is difficult is because I
realized that there's not really any directors I don't like
that have done like one film that I love, unless
it's their first film. And I thought it was unfair
to have it be someone's first film because it doesn't
really seem to be like a I don't know, do
you know what I mean? I thought that doesn't really
fit the rules, but I wasn't able to do it
any other way. So it's two people. I don't even
(38:17):
know these people's names. Okay, so it's between and this
is like classic thirty nine year old it's between Napoleon
Dynamite and Donnie Darko.
Speaker 1 (38:26):
That is that is a very good answer, that makes sense,
pretty equal on both. I would say both directors. I've
only watched two of their films, and also, yeah, the
other films that I've watched, I feel kind of like
much the same about maybe I'd go for Donnie Darko
because like I preferred natural Libra to the.
Speaker 2 (38:42):
Box or the button or whatever it was called. So like,
even though I really liked the concept of that film,
great concept, So maybe I'd go Donnie Darko. But like
both films Napoleon Dynamite and Donny Darko were I think
probably anyone in my age, they just go in the
all time faves list or maybe just again the insullly blokes.
Speaker 1 (39:01):
Yeah, don'ty Jaco, maybe that's in that list.
Speaker 2 (39:03):
I love it, absolutely love it, love it.
Speaker 1 (39:07):
What is your favorite film that you get the most
stick about loving from people? And I don't know who
you're hanging out with, but they're giving you stick about
your favorite film that you let get given stick?
Speaker 2 (39:19):
Sure, I know if I've mentioned this on the podcast before,
maybe have Lady in the Water?
Speaker 1 (39:23):
Have I said that before? I don't remember that coming up,
but I have absolutely no memory. So I would love
to talk about Lady in the Water. I love it,
tell me everything.
Speaker 2 (39:32):
I think sham Alan is one of those directors who,
at least at the time when the films were coming out,
because he almost got more and more himself. I think
so like this first film, which everyone would say is
his best film objectively. He was like, right, this is
what I need to make to make a film that
people will like another people. And then with each film
(39:54):
and it's been less and less what other people would
like him more, just what he likes, right, So I
reckon with him. He was doing his initial run of
films before it is Little. I mean, I don't know
what you'd call it. There's a brief time where they
were like, you can't put your name on the films anymore.
Your name little after Last air Bender, Yeah, yeah, your
name's not on the poster anymore. And then he got
(40:14):
his name back on the poster by doing his indie stuff.
But every film up until that, so up until the Happening,
I guess or whatever, I reckon, everyone's got a line
where they go, no, I can't do these films anymore.
But the film directly before that line is your favorite.
It is often your favorite, Shamolanca. So I was there
all the way to Lady in the Water and I
was just like, I love that he's getting sillier, and
(40:36):
Lady in the Water was so sweet in a way.
I love ensemble casts of a massive sucker for an
ensemble cast. It's a very good ensemble cast. Regardless of
what you think of the film, you've got to admit
that all those actors are good. I liked that it
was just setting this little like.
Speaker 1 (40:50):
It's got your favorite movies down by Bala ban in it.
Bob Balaban's in it. Yeah, he gets he gets eating
by wolf or something eating a dog and demon dog
for being a critic. That's why he gets eaten. He's
a critic, Yeah, yeah, which is funny. Yeah.
Speaker 2 (41:06):
I just really liked the fairy tale aspect of it
and how it was like a fairy tale just done
in a modern day. But Jim, I mean, poor Jim
might is another of those acts I can watching anything.
Jeff as well, so they're both knocking about in that film. Yeah,
I just really haven't seen it in a while. But
obviously every time people talk about Shammelin and whatever, I
have to just be honest and say, I actually really like
(41:27):
Lady in the Water. And then obviously I get destroyed
and they writ me the shreds spot like like that
Demon Dog did to Bob Balaba.
Speaker 1 (41:33):
I should watch it again. I imagine i'd probably find it.
Speaker 2 (41:36):
You won't like it. And the people don't like it.
Speaker 1 (41:38):
But he's he's Jesus in it right. He's a writer
who will save humanity and the critic is eating by
demon dog. I think that was what seemed like bold
about it. Maybe people didn't like those bits, but I
was like, that's great. It's really funny that he's done
that with himself, that he's put himself as this savior
as the writers with a safe human It is great
(41:58):
funny that the critic gets to part by a demon dog.
And if if the critics don't find that funny, the problem,
but you know, I get that it's it's flimsy, and
also that everyone everyone goes along with it too easily.
Speaker 2 (42:11):
In the everyone immediately believes him when he tells them
this is like she came out of the water and
there's these demon dogs coming and all this, and don't
go you're nuts. They all go, Okay, what can we do?
Which is why I thought the twist, because you're looking
for the twisting Champ films, it was going to be that.
It's like it's they've all got mass hysteria and they're
all like, this isn't an apartment building, this is like
(42:31):
a hospital and I thought that was going to be.
The twist is like, how are they all going along
with this?
Speaker 1 (42:35):
That's funny, but I still enjoy I fork it's sweet. God,
I'm gonna have to watch this again. This is annoying.
What is the single sexiest moment in all cinema?
Speaker 2 (42:48):
Always a question like this from you?
Speaker 1 (42:51):
Yep, And I don't regret it.
Speaker 2 (42:53):
I want it to come over a proper ans because
I was almost going to go with some very generic
ones that actually, if I'm honest with myself, I don't
find that sex. Like I was gonna say, oh, Karon
Diaz when she enters in the mask, that farck, But
like that's me being told by the camera this is sexy.
You're meant to like this, this is a sexy moment,
and still goes on about it.
Speaker 1 (43:12):
It is like it is, I mean it is, I'm sure.
Speaker 2 (43:16):
Well, I'm sure it is, but it's not a sexy
as Katharin Hahn is step Brothers. Katharyn Harten is step Brothers.
Every time she jumps on John c Riley and tries
to make out of him and says she wants to
roll him up in a little ball and put her
in her vagina. That is sexy. It's funny. Yeah, it's
really funny, which is sexy to be frank, really really confident,
really just like really over the top. And it already
(43:39):
over the top film. Yeah, I mean, Katharyn Harnen is
sexy and doesn't get enough credit for it. True, it's
a much sexier, it's a much more carn Dias walks
in the bank in the mask and I'm like, yeah, yeah, yeah, yeah, everything.
Everyone's working real hard here to make this sexy. For me,
that moment is step Brothers. It's like, I know you
all think this is funny, but this is sexy. And
(44:01):
also when I'm when I was making my list for this,
I realized that me and Adam McKay, I think, have
the same ideas and what's sexy because you know, also
high up in the list was even Mendes and the
other guys, and from On a Cocording Stone for On
a Cocording Stone, sexy for all the Anchorman. She's holding
her own in a in a world overrun by men,
(44:22):
but she's still owning her sexuality throughout and still she's
not she's not made of stone. She's a she's hot blooded,
a wonderful answer. I think Adam McKay knows what he's like.
I mean, apart from a big misstep when he put
Margot Robbie in the bath. That's too far from me.
That's not sexy.
Speaker 1 (44:39):
Again it is, But you know, I hear no way,
I hear your very good tastes. What is the film
that means the most to you as a family. Could
be your wife and kids that you obviously have, or
you and your parents, or however you interpret family, Vin Diesel.
Speaker 2 (44:56):
Yeah, I don't know if this means the most us
as a family or not. For me, it does, so
i'd i'd have to ask my family. But I'm thinking
of like my mum and my dad, and my brother
and sister and growing up. And it's mainly because there's
a family video of us getting this for Christmas, and
me and my brother and sister lose our minds and
we run around shouting it's Fantasia. We got it, We've
(45:18):
got Fantasia. Pumped about it, and I wrote a school
essay about getting Fantasia for Christmas, and in the school
essay wrote the only bit I remember about it was
that I said the final part is not to be
watched before bedtime. I wrote it. I wanted other kids
(45:40):
to not make the mistake that I did and watch
the scary bit of the end before bed time about
the Greek gods. But yeah, that for me was the
is the film that I remember us getting most excited
about receiving for Christmas. And then there's also on that home
video footage of us watching Fantasia, just absolutely transfixed by it.
And also it's just good to I've you know, there's
(46:00):
a lot of films we probably loved as kids that
now I try and like, we were obsessed with Three
men and a baby, but I've watched it as an adult,
and God, actually this is not a very good film.
And I thought it was, but it's not as gripping
as I thought.
Speaker 1 (46:15):
These three men really should be able to raise this
baby without too much problem.
Speaker 2 (46:19):
And the plot seems overully complicated. Why is there suddenly
the end of this film is this big like drug
dealers are chasing them, like it's quite the tonal shift
between this like funny three three bachelors trying to raise
a little baby and singing a compella to it. It's bedside,
and then suddenly there's drunky to running after them, give
us that package. But like Fantasia still holds that that's
(46:42):
exactly the y. It should be a cocaine plot in
this cocain this which gets some very realistic props, But yeah,
Fantasia still holds up very special film.
Speaker 1 (46:53):
You're a very good boy and a nice family because
I think Fantasia I remember was I think maybe we're
like the first big Disney VHS releases that I remember.
It was a very big we had fantastic We had
it like a really big, sort of commemorative fucking box
one thing. But the reason I think You're good and
special is because I also think the reality Fantasia is
(47:16):
most children, including myself, secretly think it's boring, really exciting
about it. Then you're like, it's really boring. It's this
fucking good music and nothing nothing going on, but.
Speaker 2 (47:26):
Your I loved music so much you asthmatic point that
like cartoons and music together was very's very exciting that
they were doing that and.
Speaker 1 (47:35):
Oh, I'll get it now, I'll get it now.
Speaker 2 (47:37):
Also it was like it was like, I guess that's
why it stands out as the family films because I
could watch it with my parents and feel a little
bit grown up as well.
Speaker 1 (47:47):
No, I think what is the film that is as
good or better than the book?
Speaker 2 (47:53):
Had to go on a film that I've actually read
the book of what I'm talking out my ass? Yeah,
I think ghost World, even though I no, it's a
graphic novel, but I think that is as good as
as good as the I wouldn't say I think better is,
but I like how they expand the world of it,
and there's all the stuff and ghost in the comic
book that I wanted to see more of is what
(48:15):
they expand on. They don't change the tone of it.
It looks like the comic book has come to life.
They've really they've cast it perfectly, the jokes as well,
Land just as well, and the characters also. It like
completely was how I grew up in keptn with like
two like you know friends who were girls in my
year who were into alternative music and stuff. And how
(48:36):
they treat that boy in that film was a lot
of the time how I felt. I felt, Yeah, they
got this power over me that I really quote, I
don't really want to go around doing doing all these
stupid things, but pretty much joinnething they tell me do. So, Yeah,
some of it really really spoke to grown up in
a town where it felt like nothing happens and having
(48:58):
just like walk around trying to make more out of
your day and getting obsessed with like there was a
weird older guy in Ketrin as well who would occasionally
hang out with. It kind of was similar to that book.
So yeah, but I really like how they expanded the
world and it still felt like everything identified with in
the comic book. It grew that out and I still
(49:20):
identified with it all and can still like even more
say oh, yeah, this is what I connected with.
Speaker 1 (49:26):
It's still still there. Are you still friends with Scully
Hanson and Dora.
Speaker 2 (49:31):
Sirch No?
Speaker 1 (49:34):
No, do you know where they are? Do you know
what happened to him?
Speaker 2 (49:36):
I know one of them is definitely still and kept
because they bump into a few years ago.
Speaker 1 (49:40):
It. Did she still have power?
Speaker 2 (49:42):
Yeah? Instantly started punching myself in the face for her amusement. No,
I think the power's gone, and you could tell in
her eyes she was gutted.
Speaker 1 (49:53):
Furious set it himself. What is the what is the
this one? I assume you have a lot on what's
your favorite score to a film? Now I've asked you
in one of the other episodes, what's the favorite soundtrack,
by which I mean these songs. This I'm talking about
composed score for a film. Yeah, this is weird because
(50:14):
I don't like the film.
Speaker 2 (50:15):
I liked it when it came out because whatever age
I was, and so then I really and it was
the first soundtrack that I mega got into and then
I got into all the soundtracks. Is John Bryan's iHeart
Huggerbe's soundtrack.
Speaker 1 (50:28):
Hundred one hundred percent degree? You love that soundtrack? Yeah,
absolutely love it.
Speaker 2 (50:33):
Yeah, however old it was when the film came out
as a teenager, I think, and it was like, oh, yeah,
that's great, that's so clever. Oh, it's genius. And now
I'm like, na, no, I don't. I don't really think
that's a very good film. But I yeah, brilliant performance
is in it. I think more probably just the writing
and direction of an absolute maniac maybe pushed it off
(50:57):
the rails. But and you know, I'll only watch films
of his that have Amy Adams in them now. But
she didn't like him either, so that that makes me
double down in my statement the John Bryan score. So
it was the first time I remember really really noticing
a score in a film and loving it. I think
it was great, and actually seeking it out online and
buying it and listening to it outside of watching the film.
(51:20):
So it's got to be that. And then also I
then started watching or like I'd seek out what else
he had done soundtracks for, and he was doing a
lot of soundtracks for a lot of cool films around
that point as well, since the first time I started
paying attention to film score was his films, And I
actually just love his entire career. I think he's a
fascinating person. But like, yeah, that the main theme from that,
(51:45):
the waltz kind of like because he played this old
organ for it. I think they got in this really old,
crazy organ that he could use in this massive like
church type room and it was like one of a kind,
like not many of them left anymore, and he composed
it all on that. Yeah, all of it's great. I
think each film that he does a score for, there's
always like a song that's got some lyrics on it. Yeah,
(52:07):
and he's he is so good at summing up what
the film is about in a song.
Speaker 1 (52:11):
It's in song that song yourself out great, Yeah, beautiful.
Speaker 2 (52:15):
Brilliant, so good. I'd say it nails the message of
the film better than the film.
Speaker 1 (52:20):
Does you know what. I went to see that film
at the London Film Festival and he they introduced the
film by having him play that song live on stage,
and I thought exactly that. I was like, oh, you
should have done this in the other order, because you
peaked and then you said the film and it's like, oh,
but he said it better.
Speaker 2 (52:38):
Yeah, yeah, he knows what he's on about.
Speaker 1 (52:40):
Yeah, he said a chatting with him, I.
Speaker 2 (52:42):
Had a little playlist for a while on my iTunes
of just all the John Brian some on some films
that had.
Speaker 1 (52:47):
Lyrics and his stuff with Kanye's the best stuff.
Speaker 2 (52:50):
That He did an amazing album in twenty twenty where
with Matt Miller, who passed away before the album came
out and John Brian had to finish it. And you
know when those rare instances where someone actually nails that,
usually people then ruin it and it's sacrilegious to have
released it. But that album's superb.
Speaker 1 (53:08):
He does Eternal Sunshine as well, right, I think.
Speaker 2 (53:11):
Sunshine Magnolia, The Breakup, I love The Breakup underrated yeah,
he's very good.
Speaker 1 (53:17):
What is your favorite single set piece in a film
that isn't a classic film overall?
Speaker 2 (53:24):
Favorite question? I love this question.
Speaker 1 (53:26):
Yeah, good question.
Speaker 2 (53:27):
Yeah, I would say it is. And this is a
film full of set pieces, but it's not classic, but
I like it. It's when I've just put when the
Dweed shoots everyone in Hard Times at the l Royale,
so I really like I love that Bad Times at
the l Royales. Sorry, apologies to everyone involved in making
the film. You were better than that Bad Times at
(53:48):
the Old Royal, which a film I like, I enjoyed
I won't see at the cinema twice because I really
enjoyed it for it was really fun film.
Speaker 1 (53:54):
And that's why I departed that film. I've watched that
film so many times. I think it's brilliant, so very
able because of how fun it is. I love films
a big set pieces in them, which I think end
up being the ones I can rewatch the most because
it's just like constantly fun. And the one where I
don't know his name, Bill Pullman's son Lewis gets up
(54:15):
and designs he's just gonna like shoot them all. It's
pretty incredible because it's a very satisfying payoff to that
character's arc that he's been pushed around the whole thing
and being a dewey But actually the reason why he's
like that is because he can't. He can't let the
beast down, he can't let the monster out, and he's
really reckoning and dealing with all the things that he's done.
Speaker 2 (54:33):
There's a very very short little shot of him in
nam is It I think, and that just tells you
all you need to know. And then it's just one
of those very cool shots where a character stands up
and you realize, oh fuck, he was Karen behind us
sofa a minute ago, and now he's just stood up
and he's about to absolutely waste them all and he
takes them all out.
Speaker 1 (54:55):
This is so funny because you don't realize what a
great arc we've been on that we started this episode,
you started to suspect you were an intel with your choices,
and then your final favorite set is a guy's been
pushed around too much shoots everywhere. Yeah, wow, Wow, what
(55:16):
a reveal, huge reveal.
Speaker 2 (55:17):
I mean, it's a lot to think about. I need
to go away and reflect on my choices here. It's
been very revealing. I mean every single bit of this
to be fair if you go for all my answers.
Speaker 1 (55:29):
I have talked about it so many times, but my
set piece of the year that it came out is
in Bad Times at the Arroyo, where she sings the
song and he's hammering to her clap under the tab
for fucking oh. I love that.
Speaker 2 (55:46):
Should be in a lot of realizing stuff. I don't.
I don't feel like she's in enough stuff. Even though
she's done loads and she's multi talented and all of this,
I still feel like she needs to be in my stuff. Yeah,
there needs to be more lead roles. I might watch
that film tonight.
Speaker 1 (55:59):
It's such a good film. Well, the gen James A Caster,
You've come back to life as Last Pinfield, your character
from ghist pastas, and you are using your expositional skills
to try and solve the climate crisis and trying not
let your ego to be the best climate crisis scientist
get in the way of actually saving the world and
(56:20):
causing more destruction. Yes, you are welcome to this new existence,
but that you must choose one film to take with
you when you're like hanging out with your climate change
science buddies.
Speaker 2 (56:30):
Yeah, well I've stayed on theme here. I've been reincarnated.
It's a recent one. Past Lives. I love Past Lives.
It's it's one of the rare films that you know,
you proper for me. Yeah, I kind of at the
end of watching it, just like instantly. That's one of
my favorite films. Really, that's straight to the heart, makes
(56:51):
you really feel something that you haven't felt in that
film hasn't made you feel.
Speaker 3 (56:54):
In a while.
Speaker 2 (56:55):
Love it and also come on thematically, I've nailed it.
I've been and I'm going to playing Past Lives.
Speaker 1 (57:02):
Let's hope you don't come back more in selly this time. Yeah,
that problem. I love Past Life so very much. I'm
not going to say much about it because I did
record my Films of the Year special with nich the
other day, Films of twenty twenty three, which I'll probably
release around August. But I do talk about Past Lives
for about thirty minutes because I love it so much.
Speaker 2 (57:20):
It's so good.
Speaker 1 (57:21):
It's a top ten all time. That's opposite. Yeah, this
is your new life. I'm really proud of you.
Speaker 2 (57:27):
Yeah, this is I've come back as.
Speaker 1 (57:32):
You're an outset. You're an out by the genie. Thank
you for doing this podcast every hundred episodes. You're a
joy and a delay and you are beloved by all
in the UK.
Speaker 2 (57:48):
Surely this is the last one.
Speaker 1 (57:49):
Well, we'll see.
Speaker 2 (57:50):
If you're still going another one hundred episodes. Me and
you're going to have either you've absolutely torpedoed your career
or you continue to not accept the fact that you
are way too busy for this.
Speaker 1 (58:02):
Thank you for doing this. In this Raye short window,
we have, honest to.
Speaker 2 (58:06):
God, Bret, I feel like if you want a film reference,
I feel like Ben Affleck in Goodwill Hunting. The best
part of my day is waiting for you to log
onto Zoom because maybe, just maybe you won't do it,
and then I'll know that you've gone on to achieve
your full potential.
Speaker 1 (58:22):
You're a movie star. Hello, you are happy, happy reincarnation.
Good day to you.
Speaker 2 (58:28):
Say that's worse to yourself. You need to say those
worse to yourself. This is ridiculous. I love doing it.
I love doing it every time.
Speaker 1 (58:38):
So that was episode three hundred. Head over to the
Patreon at patreon dot com. Forward Slash pret Goldstein The
extra Chat Secrets and video with James. Thank you to
everyone who listens to the podcast. We've come a long way,
haven't we. Bloody our three hundred ridiculous anyway, Next one
a fucking banger, so many bangers come in, You're gonna
love it. Thank you to everyone who listens. I hope
you're all well. Thank you so much to the You
(59:00):
Need for giving me his time. Thanks to Scrubius, Pip
and the Distracts Pieces Network. Thanks to Buddy Peace for
producing it. Thanks to iHeartMedia and Will Ferrell's Big Money
Players Network for hosting it. Thanks to Adam Richardson for
the graphics, at least alight them for the photography. Come
and join me next week first smasher of an episode
with a very big star. But that is it for now.
I hope you're all well. Thank you as ever. But
(59:20):
in the meantime, have a lovely week and please be
excellent to each other. Six
Look out. It's only films to be buried with the reincarnation. Hello,
and welcome to films to be buried with the reincarnation.
(00:21):
My name is Brett Goldstein. I'm a comedian, an actor, writer,
a director, a bed post and I love film. As
Robin S. Sharma once said, don't live the same year
seventy five times and call it a life. I will
make an exception for watching Maupet Christmas Carol every Christmas
Eve for seventy five years. Then you're absolutely smashing it
for sure.
Speaker 2 (00:38):
Yeah.
Speaker 1 (00:39):
Every week I'm invite a special guest over. I tell
them they've died. Then I get them to discuss their
life through the films that meant the most of them.
Previous guests include Ped Plambles, Jed Lambles, and even Mary mccampbell's.
But this week is different. It's episode three hundred. We
did It, Joe, So to celebrate this milestone in all
of our lives, as is now tradition, every one hundred episodes,
(01:00):
I am returning to my very first guest, the Genie himself.
The Ghostbuster is mister James Acaster. He's been resurrected, He's
been through his judgment day, and now for his fourth appearance,
he will experience for the very first time, the Reincarnation.
Check out the Patreon over at patreon dot com, forward slashback, Goldsting,
where you get extra twenty minutes with James. He tells
(01:21):
the secret, we talk about music, we talk about his
sitcom spring Leaf, and many more things. You get all
of that, plus the episode uncut Adfrey, and there's a video.
Check it out over at patreon dot com, Forward slashbreack, Goldsteam.
James Acaster is a genie, a podcaster, a rapper, a musician,
a stand up an actor, a ghostbuster, and an author.
I was delighted to have him back for the three
(01:43):
hundredth episode. We recorded this last week Agazoom. He was
as brilliant as ever. You're going to love it. That
is it for now. Thank you for listening this far.
I very much hope you enjoy episode three hundred. Can
you believe it? Of Films to be Buried with the Reincarnation? Hello,
(02:10):
and welcome to Films to be Buried with the Reincarnation.
It is I Brett Goldstein and I am joined today
for the fourth time for a very special episode three hundred.
He's a writer. He's a comedian. He loves hecklers. He's
(02:31):
a stand up. He's a genie. He's a movie star.
He's a ghostbuster. He's a tora. He's a lover. He's
a guy. He's a genie in a bottle and sometimes
he's out. He likes food. God, he really likes food,
(02:51):
and boy does he want you to know about it.
He's here, he's alive. I'm delighted to see him. You
are too, He's back for good. Please welcome. Everyone's hero.
It's mister j Vecas. There how many?
Speaker 2 (03:06):
This is our fourth one? Yeah? What were the other
ones called? If we're not done the incarnation yet, this
is the first reincarnation.
Speaker 1 (03:12):
Basically, it goes films to be buried with, then it's
films to be beared with the Resurrection, Then it's films
to be buried with Judgment Day, and now it's films
to be buried with the Reincarnation.
Speaker 2 (03:20):
I love it.
Speaker 1 (03:21):
Thank you for doing this, James. It's is tradition in
our show that every hundred episodes you come back. It's
so nice to see you. I haven't seen you in ages.
Can we talk about the big news that has happened
since we last saw you.
Speaker 2 (03:34):
Well, first, let's talk about oh, come on, how every
episode has been slightly different. So episode one, Yeah, me
and you in your kitchen, face to face. The second
one we did episode one hundred. It's over Zoom, but
very much the same vibes. Yeah, you and your house.
Yeah we're having a laugh.
Speaker 1 (03:52):
Yeah.
Speaker 2 (03:52):
Episode two hundred, we're still over Zoom, but you're in
a hotel. All the curtains of drawn so people can't
see you and your midway filming. Yeah, your hit TV show.
We're all very proud of you. But every time I
go off on a rant about a film that I
don't like, you look at me and don't say the
thing because you don't want to burn your bridges because
(04:12):
things have changed. This episode one hundred, here we are.
Episode three hundred. Your assistant contacted me to do this,
and your background's blurred on zoom.
Speaker 1 (04:24):
We've come a long way. We've come a long way.
Well on your side of this.
Speaker 2 (04:30):
Episode four hundred, your face is going to be blurred out,
your voice of being pitched.
Speaker 1 (04:33):
Now and I'll be like, hello, I am speaking to
you from an undisclosed location. I'm fine.
Speaker 2 (04:41):
What films do you like?
Speaker 1 (04:44):
Well, you can say all this, but you know, last
time we did this, you were just a humble podcaster
with the number one podcast in England who was touring
and playing the Royal alb But just a humble comedian
podcaster who plays the Royal Albert whole sell out the
Royal album. Just a humble small podcaster, comedian doing his
little tour around the world. And then between episodes you
(05:08):
become a movie star in a huge hit Hollywood film.
I don't know if you've ever heard of it, The Ghostbusters.
I have, And there was James A. Custer in Ghostbusters
Frozen Empire. And let me tell you something, I've never
been more proud in my life. You're a fucking movie star.
You're so good in it. And what I really loved
is the second you appear. The first thing you say
(05:32):
made me laugh out loud. You're funny. You turn up,
You're fucking funny. You turn up and you go like, yeah,
I'm a movie star and I'm really funny. And then
I goes, oh wow. And I had someone say to me,
who's the guy, the kind of the breakout star. They're
sort of the favorite in the film, And I'm like,
you the Genie. They're like, yeah, the GENI. Yeah, yeah, yeah,
you're brilliant. Thank you for watching it. But I'm so
(05:54):
so glad you watched it. Well, the thing that I
hadn't that hadn't occurred to me. I knew you'd be
brilliant and everything, but it hadn't occurred to me that
you also have a movie star head. Interesting, you've got
a movie star head.
Speaker 2 (06:03):
What are you talking? What does that mean?
Speaker 1 (06:04):
Well, you've got a very you're very good looking, but
you also have and I'm in this lovely I think
you've got big heads. And that's brilliant for movies. Movie
stars have big heads, and it's like, oh, yeah, you've
got a movie start head. You're a beautiful man with
a with a big head. That's what movie stars are.
Speaker 2 (06:21):
That's good.
Speaker 1 (06:22):
Yeah.
Speaker 2 (06:23):
I didn't even know I had a big head until now,
or definitely when they put my hair up like that,
I've got all the My hair is all up in
the air as well, So that adds a few That's
maybe why they wanted me to do that.
Speaker 1 (06:32):
You have to have a big head so that you know,
because you're on a big screen, so you've got to
have things to look at you know, it's got to
be spread out as essential. Yeah, and so you've got
a beautiful movie star head. And I was like, yeah,
of course, how did we not know this all along?
He's been fucking wasted on stage.
Speaker 2 (06:47):
If anyone else watched it and thought that, I think
everyone's got a big head. Of course, of course.
Speaker 1 (06:55):
Of course you've got a movie start head. This is
a comment. I know you're taking it like, is it no? No,
I take it as a compliment what I'm enjoying. And
I've missed it because we know we don't get to
talk all the time. You're you're on tour at the minute.
Speaker 2 (07:07):
Very proud of you for that thing, just to be
proud of each other for the whole the whole podcast.
But like, I like how you always every time I
talk to you, you say something that I've never come
across before, Like it's common knowledge, like movie stars have
to have big heads. I've never heard that from anyone ever.
But it's like, nam movies a small head. Hey, it's
a good point. Hey, I'm not saying I'm not saying
(07:29):
you're wrong.
Speaker 1 (07:29):
Here, think I mean, just think it through it there
any your favorite movie stars anytime I guess.
Speaker 2 (07:35):
There's loads of people who I think don't have big heads,
but the movie stars, but ones that have specifically small heads.
Bob Balaban his big head, Yeah, small the small man.
Speaker 1 (07:48):
That's a great shot. He's a smaller man. But the
other thing movie stars at the thing that's different. Way
you'll have a sort of huge career as well. Is
that your tool which is unusual for me movie really
sure with big heads, your tool with big edg your
head is actually portional, which is why it's like, wow,
people are in Hollywood. They're like, this is a money
making machine. This cast is what we want. Yeah, yeah, yeah. Anyway,
(08:12):
I was very very proud of you, and I did
wonder what it was like because also you have you
have quite difficult stuff in that film, because you've got
you get all the funny stuff, but actually you you're
the exposition character as well. You're the one who says
all the complicated science stuff. You have to do quite
a lot of heavy lifting of science talk, and there's
scenes where you're doing science talk to the entire cast
(08:33):
of the film, which is a massive curst. And I
was thinking, God, that must have been an intimidating day
where you're you're doing these big, long monologues in front
of everyone. Yes, how was all that?
Speaker 2 (08:42):
Well that that scene you'r took about was my audition
scene as well, so like I kind of knew it
really well already, so that helped. But like I remember
when I auditioned, maybe you know, I did a self
tape and then I did an impersonal audition, and you know,
at the time, they were like, oh, we also might
do some improv so I just want to do a
quick improve seen with you. I was like, okay, cool,
and they're like, so I was going to keep it
(09:03):
in the lab, yeah, where we've just done that scripted
scene and you got all the equipment around, so let's
just improvise here. Would go, hey, Las, what do you
got here? And I was like, I'm sorry, what have
I got to improvised? What's in my lab? Like I've
got improvised science to you like improvise made up science
as well? It's not even like yeah. They were like yeah, yeah, yeah,
(09:23):
You've got your ghost equipment and we're just gonna So
that was the most that was more intimidated than anything
I think we actually ended up filming. But like I
liked the scenes when we were all there, it was exciting.
It was all exciting, man, I mean like, yeah, did
you love it? I loved it. There was one there
was one little bit where I had a wobble and
my confidence, like for half a day, really went. So
(09:45):
I was like, what am I going to do? Because
I was like, I'm not feeling like I want to
go in tomorrow. I'm feeling like I really showed myself
up today and really messed that scene up. So I
sent a message to a friend of mine who's filmed
a lot himself, called Brett Goldstein, and I messaged him
and said, is it normal to feel like you're an
impostor and you can't do any of this stuff?
Speaker 1 (10:03):
Is it?
Speaker 2 (10:04):
It's a normal to feel like you're the worst person
on set? And he could have texted me back, but
instead he find me and he reassured me and said, look,
this is this is every single actor, every single time.
He told me a nice story about a really big
famous actor and I can't remember who it was now
who says you always feel like you can't do it
and and all that, and it made me feel much
(10:26):
better and I was able to go in, and I thought,
what a nice boy. And that was genuinely the only
time that I had a wobble during it all, and
you got me back on track. I know you've forgotten
about that. So as I started telling it, I saw
your face go, oh, who's this nice? Oh? No, oh no,
I've cheeed myself up for a compliment. You were like,
this is my worst nightmare. Hard to get complimented for
(10:46):
being a good man.
Speaker 1 (10:47):
It's nice of you to tell this. Like what I
happened is I called you and went, what are you
fucking talking about? No, I've never heard that too. That's Matt.
You must have been terrible. That's all. You should quit
that film, shouldquit the film. You're going to get fired. No,
it's funny. Everyone feels that. I feel that. I know, yeah,
I know lots of lots of very very famous, brilliant
people who feel that. And I told you the thing
(11:07):
that I always think is really brilliant. And I don't
know if anyone has this luxury these days because of
the madness of budgets and stuff. But you know the
thing about Donald Sutherland that he has it, I believe,
or he at least used to have it in his
contract that when he makes a film that you start
with the middle scenes because he's like, it will take
(11:29):
me a while to find the character and get it right,
but by the time we film the beginning of the film,
I'll have it. So if there's any mistakes, if I'm
not good, I'm not good in the middle. And by
that time of you watching it as an audience, you're
into it. You don't care, and you stop, you don't
notice if there's one scene he's not good in you've
watched an hour and you're fully invested. That's good. Yeah. Yeah.
Speaker 2 (11:50):
I think our first few days was like it's a
scene that took three days, but for the first two
I didn't have any lines, so I was able to
just walk around just in the scene and just get
told in you know, non consequential, what is stop doing that?
Speaker 1 (12:06):
Do it?
Speaker 2 (12:06):
Do it differently.
Speaker 1 (12:08):
You're very good at You're very still, and you're very
you really are like movie start. You're not like shuffling
around and you have to do and the bit I
was really impressed with where I was like, wow, that's real.
Is the bit where your hands freezes and you get
you have to like you have to do proper stuff.
There's a lot of stuff that my favorite day that
was that was a few days. I thought you were
really good. You did it was just really good. I
(12:28):
was very very proud of you, and I loved seeing it.
And you're a fucking big part in it. You're fucking gas.
Speaker 2 (12:34):
That's the beauty of exposition. Baby. When I was reading
that script for the first time, I was like, Yes,
keep on giving me that exposition. That's all I want.
You can't cut around that. Film doesn't make sense if
you lose it.
Speaker 1 (12:45):
You can't cut around it. It was excellent. I was
very impressed. Also, you have been on your Heckler's Welcome Tour.
I think when we did a comment relief special, we
did talk about you about to start that. How have
you foundled that? And I know loads of people have
seen it absolutely loved it. How much heckling has there been?
And has that part of it been fun or regrettable
(13:05):
or you know what I mean? Like, because most people
who I know who've seen it said there wasn't really
much heckling, but then there was the Usually the heckling
was quite boring and it was like what's your favorite
dish or something? So I wondered in general what it
was those American gigs. Yeah, I think so, because.
Speaker 2 (13:21):
Like, yeah, and in America, the heckles are referencing other
stuff I've done, you know, TV shows I've done or whatever.
But they've always been like that. Basically, there's been no
increase or decrease in heckles or the types of heckles
I get. I've got exactly the same amount of heckles,
exactly the same amount of gigs that acquire. But what
I'm trying to change is my response to those gigs
because I never really was one of those comics who
(13:44):
kind of goes well. I would immediately after a gig,
I'd blame the audience. I'd come off stage and be like,
why can't I just get rid of these idiots? And
then you know, ten to fifteen minutes later, I'd be like,
I've got to stop throwing these gigs in the bin, man,
Because that was the main thing was I was like,
this isn't going to change. They're not going to change
as an audience. They never you know, you watch comedians
(14:06):
have been going for decades and they've got heckler's or
they've still got quiet gigs, you know, relatively to them.
So like I've just got to sort out my response.
So that was the whole idea behind let the audience
do what they want, tell them they're allowed to hecki
blah blah blah. Was just so I removed the option
of bollocking them and their shit.
Speaker 1 (14:26):
And how did it work out? Did it work as
an experiment for your mind and stuff? It absolutely worked
as an experiment for my mind. I've got as of
now when we're talking, I've got thirteen left, so I
don't want to draw a complete conclusion just yet. But
I made a lot of changes, not just you know
the fact that I let them do what they want,
but it also spaced the tour shows out a bit more.
(14:49):
I did residencies instead of a different city every night,
and I only went back to places that I'd enjoyed
in the past and had a good time, and all
the places where I've consistently struggled on tour. I was like,
let's stop going back there, because you know, you know
what's going to happen there great.
Speaker 2 (15:03):
And I didn't over preview it. I didn't do like
a billion work in progress shows and then get it
so it was finished and then take it on the road.
When I'm already sick of it as well, which is
what I've done a lot of in the past. So
all of that helped. And yeah, I think I want
to finish it before I say anything for definite. But
it's definitely been a better tour for my head than
(15:24):
any of the others have. There hasn't been a gig
where I've throwed the whole gig in the bin and
told him it's shit, And that's every other tour I've done.
Definitely that has happened, especially on the last tour in
twenty nineteen. There was probably most of them was me going,
you know, thirty seconds zero, fuck this, but this I
know how good the show could be, and the way
(15:45):
you applauded me on to stage just not indicate this
is going to be the best show ever. So why
even bother see you later? I start slugging their city
off to them?
Speaker 1 (15:53):
Have you like, have you had anywhere, because from what
I understand, you have a full if no one haggles,
you have a full, complete, yeah show. So have you
had any shows where you've had so much interaction that
you've had to abandon the thing and you never finished
the story or the right.
Speaker 2 (16:10):
So I'm still yet to film it. When filming the
show at the end of the tour, I'm actually filming
it in two different locations, two different crowds, because like
in completely different setups as well, because I think that
this show, more than any other, is different. Every night
I did an audio record in the other day for
an audio release we're doing, and I did it two
nights in a row in Keprin and my hometown, and
(16:32):
on neither occasion did we finish the show. So that's
going to be released, you know, officially, and there's going
to be a vinyl release of it and everything. And
it's not it's not we don't finish the materials. We
don't really get halfway into the material both nights. So
the first night was my fault. I was messing around
too much, and then the second night they were hectic
(16:53):
a lot to the point where I had to be like,
I've got to admit that we're not getting to the
edge of this. But that's what's you know, good about
it as well, is that you know, definitely in the past,
if they were hecting to the point where I couldn't
finish the show, which happens every tour, at some point
I would bother them all, go you don't deserve comedy,
you deserve to laugh. You're a bunch of absolute assholes.
(17:14):
What do I even bother coming here? And then everyone
goes home feeling sad. On these ones, when that happens,
I go along with it and try and find and
ending and try and be a bit more positive. So
even I'm not saying that I end every gig feeling fantastic,
but the ones where I do feel disappointed with the
show or that wasn't that good, that feeling is usually
gone by the time I get back to the hotel room,
rather than carrying on. And there's been some I did
(17:36):
find my wall by breaking. I had to break some
of my rules and had a month where I gigged
a lot more than usual, and I went back to
some places that I wasn't going to go back to,
and I very quickly was back in the same place. Mentally,
I wasn't taking it out on the crowd on stage.
They had no idea, but like you know, I was like,
oh no, this is now. I'm back in the hotel room.
I still feel bad, and it's the next day and
(17:57):
I still feel like I don't want to do the
gig tonight, I like, but that was good as well.
It was good to I think if I hadn't found
the line on this tour, it wouldn't have been as useful,
and it was good to find the line and go, okay,
these are definitely no notes.
Speaker 1 (18:11):
This is great, this is good.
Speaker 2 (18:13):
It's good.
Speaker 1 (18:14):
How about how was the Giant off menu tour? You
did that in a row, right, you did them like
in a row kind of Yeah? Yeah, yeah, that was great.
I mean love the audiences. That never got boring.
Speaker 2 (18:26):
Well no, because you know, it's different every night, so
that's great. That's what's good about that. And the first
half is me and Ed going out and talking to
the audience and doing their menus, so that's different and
just improvising and messing about. And then second half is
you get a different guest on and and do the
podcast with them. So yeah, that was brilliant and just
like very good, you know, I mean tiring. Yeah, and
there was a lot of people working on that big crew.
(18:48):
Normally it's me and my tour manager for my tour shows.
This one, Ed and I we'd okayed a bunch of
stuff and Benito, but not thought about it at all
because he's so good at his job, so we we
just go, yeah, yeah, we want a lamp on stage,
a giant lamp, and yeah we want that back that
that scenery looks great. I didn't even think about the
people needed. And we turned upon day one, which is
(19:09):
in Birmingham, and there was a big tour bus outside
and we went is that for us? And Ben was
like it was for your crew?
Speaker 1 (19:15):
Yeah? What?
Speaker 2 (19:16):
But you've got a full crew on there and they're
gonna be traveling through the night from here back to
London with that, and it's your whole set is is
in that that lorry next to it, That's where your
set is. And we didn't think about any of that.
And then we're like, oh god, yeah, there's a whole
bunch of people working on this who were amazing.
Speaker 1 (19:32):
Wow. I mean pretty fucking insane, isn't it right? It
was insane, etc. You know.
Speaker 2 (19:39):
And also I mean Ben did the thing is with
off menu? Now? Is that all? I don't really feel
like it's my podcast. I feel like I'm a host
on it. But whenever I kind of listened to some
of it, all I think is what Ben and his
team are doing a great joas they're doing a great
They've made these live episodes sound so good.
Speaker 1 (19:58):
Yeah, they've done great.
Speaker 2 (20:00):
So I think it's Ben's podcasters, Benito's podcast.
Speaker 3 (20:06):
We work for Ben James Acaster. I am dead impressed
with you. I have decided to let you come back
to life. You will be reincarnated. But how would you
like to come back? Who will you be?
Speaker 1 (20:22):
A human? An animal? What will your new life entail?
Tell us now? Please?
Speaker 2 (20:29):
Was this question in the email? Yeah? Okay, I don't remember. Well, yeah, okay,
so if I'm coming back, I guess see, I'd like
to say an animal, but really it probably is a
human because I just like to have another go around
and do a bunch of different stuff and live a
different human life. Because I think about, how are there
(20:51):
so many animals? What were the things you'd like? Well,
you know, you think, just just like different choices. Long,
so you know, as entertainers, I think there are times
where we think ourselves we live in a bit of
a selfish life. It's all geared towards our own egos.
And then I'm like, man, if only I had another life,
I could be selfless during that all further in the
future when the world is more funcks so probably can
(21:13):
do less. But you know, so, yeah, I probably come
back and be a good person, you know, So come
back and I come work. Yeah, well, you know, I
used to work with autistic children in the school, and
when I quit that to do stand up, I just
feel a little bit like maybe I'm a bad person.
And you know, I could probably go back to the
school and go, look, I've been being kindated. I don't
(21:35):
know if my CIB is still valid, but like I'd
like to work here again and stick at it this time.
And yeah, obviously, you know, full on, I'll probably yeah,
just be a climate scientist. I'll come back and be
a climate scientist.
Speaker 1 (21:50):
Okay, you do more more exposition. You've come back and
do all the exposition and the news.
Speaker 2 (21:55):
I'd be the character from Ghosts. Yeah, I'll be him,
even though I've watched that film quite a few times
now because I've been with various friends and family. Yeah,
and it's different screenings when it came out. And I
would say that scientist isn't upon close to examination, is
not very clever.
Speaker 1 (22:12):
Why he sounds like he knows what he's talking about.
Speaker 2 (22:14):
I think he should have once that brass or but
frozen his hand. I think he should have put it
back in that special room that he got it out
of in Camail's house.
Speaker 1 (22:22):
Yes, that's true, but he.
Speaker 2 (22:24):
That was irresponsible of him. But yes, yeah, oh no,
why he did it? Yeah, I know that he's curious
it is. But again we're back to ego. Now, maybe
that's not the most abandoning of my ego if I
become a scientist. They were bearing it for the glory
as well. That Lars Pinfield, that's my character's name, he
was he lets he go get the better of him
(22:45):
and then goaka nearly froze everyone to death.
Speaker 1 (22:48):
Yeah, and he's learned nothing coming back, nothing coming back? Well,
welcome back. Now you're you are coming back to life.
Before you you start your new life, you would like
to know about the films you would like to know
about in your new life. You get it anyway, What
we want to know is what's your favorite remake.
Speaker 2 (23:10):
I mean, you can probably guess this, maybe you can't,
but Departed great answer.
Speaker 1 (23:16):
Did not guess that at all.
Speaker 2 (23:17):
I feel like it's a bit predictable because obviously, you
know one best picture. It's a great film and you know,
I'm a bloody bloke, so of course I love it,
but love The Departed. And also, yeah, it's one of
those films I get annoyed when people criticize it because
I think it's just a really fun film. Yes, And
(23:37):
like I think people get shitty about it because it
won the Oscar and they're like, oh, but you know,
it's not even his best film. It's like what you
want about, like it's the Oscars. It's not an exact science.
They eventually gave him Best Picture, which they should have
DoD ages ago, and it was for a film that's
really good.
Speaker 1 (23:54):
It was one of his fun ones. I like it
when he makes a fun one.
Speaker 2 (23:57):
Yeah. I just think for me, it's the most rewatchable
school says he film. I go back to it loads,
like I'm always in the mood for it. I was
having a chat with some frends the other day about
films you're always in the mood for whenever. I might
have even bought it up on your podcast in the past,
because like, I love it that there was some films
were like, yeah, anytime someone says to me, you want
to watch Departed, the answer will always be.
Speaker 1 (24:17):
Yes, you know, what when I love of his that
he made for fun is Cape Fear. I love Cape Fear,
and I think it's sort of bas it's absolutely bananas.
But it's also been like the Simpsons did the thing,
like it's kind of now like sort of been spoofed
so much it's quite hard to remember it as it was.
But it's fucking great. It's so wild, and I like
how exciting it is in first and it's like what
(24:40):
the whole time you're like fucking out, like he's really
enjoying himself. Who is the one actor you would watch
in anything other than James acast Who is my answer
to this question?
Speaker 2 (24:54):
Of course it's your answer. Yes, there's a lot, There's
a lot, a lot, a lot, so I had to
really think about this, but I think the one who
takes the crown is Amy Adams. I've never seen Amy
Adams in something in for get her off the screen,
no matter what the film is, even like films like that.
(25:15):
I didn't even know she was in when I first
watched it, because I know who Amy Adams was. And
then you go back and watch Catch Me if you can,
and then realize that Amy Adams is in it, and
in that she's just magnetic and brilliant and you really like,
you know, her character's not even in it for that long,
but it's a fully fleshed out, three dimensional character you
completely buy into. I think obviously it's got big character actors,
(25:36):
isn't it that you can watch in whatever, because like,
I don't want to watch somebody does the same thing
all the time. So people like Amy Adams is just
like changes it up every film. That's such a great
great you always believe her in the role. It's always
just like I don't even think there's Amy Adams pretending
to be a princess or Amy Adams pretending to be
you know, annoyed at him for boxing again, Like yeah, yeah,
(25:57):
she's properly that's the person.
Speaker 1 (26:01):
She's really good at funny and really good at serious.
She really can do. She's a very good comedian actor
as well and very serious. God, that's a great shout
for me.
Speaker 2 (26:12):
One of the worst things about being like, you know,
because obviously, despite all of our Ghostbusters chat, I'm a
stand up comedian and I'm like actor adjacent and sometimes
interact with actors. And one of the worst things is
that I'm still astounded by the very basics of acting.
So when I meet an actor, it's very easy for
me to say, which I did to one person once. Mate,
(26:33):
you're really good. Like every film I see you and like,
I really believe you're that person. It's crazy. It's like,
do you know what I mean? When you're watching it
and it doesn't even seem like someone acting, it just
seems like they are that guy. That's you. That's really
that seems really hard to me. And they're like, we
are literally on the set of a film now chatting.
You should not feel like this. I don't feel comfortable
that we're about to do a scene together.
Speaker 1 (26:55):
Was it poor Rat?
Speaker 2 (26:56):
It wasn't on Ghostbusters film Cinderella. My other my feature debut.
Speaker 1 (27:02):
Was it Ramis.
Speaker 2 (27:03):
No, that wasn't James Corden either. It wasn't. It wasn't
actually someone I'm in a scene with. It was somebody
who was filming a scene in tandem to ours, and
I got to chat to them quick.
Speaker 1 (27:13):
You say this about character actors, and you're absolutely right.
That's a great shout. But movie star wise, I would
pick Denzel Washington because I watched Denzel Washington and ending
Densie Winston is my favorite movie star. Like, I'll even
watch all the Equalizers. That's how I can't.
Speaker 2 (27:29):
I can't watch the Equalizer. You know, I love Denzil
Obviously I'm not not an idiot, but like, if Equalizer
had Amy Adams is the Equalizer, yeah, that would be great. Yeah, yeah, God,
that'd be great. And then the twist in the final
Equalizer would be that actually this is the first one and
the others haven't happened yet, but she's going to decide
to do them anyway. She could have decide to live
(27:49):
her life.
Speaker 1 (27:50):
I love it. What is the film you changed your
mind about significantly from the first time you saw it?
E g. You saw it, you loved it, now you
hate it, or you saw it you hated it, and
then you saw it again you're like, oh my god,
it's so wrong about this film is amazing.
Speaker 2 (28:06):
Yes, iron Man, Yes, go on, first time I saw
iron Man, and this might be this is the case
for this might be quite universal. Actually, but like where
the world was with superhero films when iron Man came
out was that they were they got bums on seats,
but we all thought they were bad. Yeah, and we
were all just turning up to a routine to get disappointed,
and Iron Man was doubly Soci're like, why they really
(28:27):
scraping the banel. Now they're doing Iron Man, they clearly
haven't got any decent superheroes to draw from. Now this
will be bad. And at the time, I was not aware,
you know, of how much Jon Favreau was like an
amazing director, and I didn't even know how much of
a safe over hands Robert Downey Junior was. I was
just like, I was just going to see a film
a keptin cinema with my friends, another superhero film, and
(28:48):
I watched it and I thought it was fine. At
the time, I thought, yeah, I was all right, but
I wasn't really into superhero stuff. I just go and
see him because my mates wanted to. And then yeah,
just forgot about it. And then all these superhero films
came out. I wasn't really about any of them for ages,
and then went to watch I mean it was probably
Guardians of the Galaxy and was like, well that's one
of my favorite films, yeah straight away, and then really
(29:10):
got into the MCU and then went back and watched everything.
And one of the people who really loved the Infinity
Saga and Infinity warn Endgame was some of the best
experiences I've ever had in the cinema. I loved it,
and I'd never thought I would love it. So now
I look back at Iron Man and I've rewatched it since,
and you go, what and a cheap Like it's literally
(29:30):
Marvel and everything and Superhero films were completely like they were,
you know, on the edge of just like that's it,
We're fight now, we're not doing it anymore. And that
team who made that film completely changed how superhero films
were made, set a whole new blueproot for stuff, and
we're able to launch what was it, twenty three other
films off the back of it there, and it was
able to like set up things that got paid off
(29:52):
in those final two films, which is incredible. So now
I look at it and I'm like, well, you know,
that's one of the most significant film in the history
of modern cinema. It is. But at the time I
was just like whatever, whatever, But like, yeah, now I'm like,
what an important film. What a bunch of really clever
(30:12):
people who made it, clever boys, And yeah, there were
things that are in that film. Now obviously what happens
in the in the final two films that I just go, oh,
I know where that's going later on. That's very satisfying.
Speaker 1 (30:25):
It's very good, and it was funny. It was funny,
and they figured out how to be funny as well
in the other stuff. Great answer, James A. Custer, perfect answer,
And without iron Man we would not have Yes, father,
what is your favorite documentary film? And vil Ah, of
course it's your life story.
Speaker 2 (30:44):
I really really relate to it. It's funny, obviously, but
it's also quite poignant, especially if you tried for many
years to be in a band, especially if it was
you and your best mate and you didn't always get on.
But also you really really believed in the muse, and
you weren't very good at articulating to other people why
(31:04):
they should also believe in it. And all you could
come up with was it's such good music. It's really good,
which is what the bit in Anvil when they go
round all the different record labels and they're talking to
the big execs, and the execs are like, why should
we put this out? And all they can come up
with is because it's great, because it's so good, because
(31:25):
this is brilliant music, and people need to hear it,
and they're like, everyone says that to us about their album.
You need to tell us why this is different. And
of course they can't because they're authentic. They are actually
about the music that that's what they put their life into.
They're not sitting around with their business heads on thinking
what sells or how can we like pitch this and
(31:45):
sell this to a record label. They're just thinking, we
love music. This speaks to us. Surely, surely these record
label execs are going to see that they care about music, right,
So they're just they're going like this just kicks ass.
This is great music. They're like, yeah, okay, buys, leave
the CD on the coffee table, and that I really
really related to those scenes. I was like, yeah, that's
(32:07):
that's us. That was us saying to everyone for quite
a few years. But this is just really great music.
Speaker 1 (32:13):
It's just good. It's funny. You have these conversations in
creative stuff, particularly you must have had them with your
with your By the way, with the other thing we
haven't talked about springdef you're brilliant fucking sitcom podcast, which
is brilliant. I'm so well plotted and like I'm like,
you made a whole fucking TV show, but put it
on a podcast all a way was so impressive. But
(32:35):
I also like the reality of anything you do that
isn't just you on your own, that there is this
part where you have to communicate what you're trying to
do to other people to get them on board, or
to get them to buy it, or even just to
get them to carry out your vision. It is always amazing.
It's amazing when you write a script and then the
props departments show you the props they've got for it,
(32:55):
and you think, oh, my god, obviously not that, but
in your head it's so clear in your head, and
you're like, oh, I guess I haven't explained this properly.
And it's very interesting that stuff. You do have to
kind of learn ways of trying to explain things in
a different way than it's natural to you. And then
very occasionally have found this when we've made a film
that you fight and you you say all these things,
and there'll always be one decision or one moment where
(33:17):
it's eventually you're just like, I can't explain it any better.
I just really like this. I just really like this.
And you can say all the arguments, but I don't
have any more arguments outing it. It just feels good. Yeah,
can we just do this because it feels good?
Speaker 2 (33:31):
Stand up to a really good way of learning to communicate,
because that's the whole job. Yeah, music, I think is
the opposite because you're not it's almost intangible. Yeah, So
musicians like those two guys in that documentary more than anything,
are like, we don't know how to tell you why
this is.
Speaker 1 (33:45):
Good and you know what, It goes both ways. Because
I found the hardest part of like when we made
a thing was working with the composers because I don't
have the music language to explain what I'm trying to get,
and so when they'd send music, if the music didn't
feel right to me, I didn't quite know how to
explain what I wanted because I'm not a musician. So
(34:05):
it's really difficult actually that communication of like can it
be I wanted to feel, I don't know, romantic or
whatever the fuck words you're using, and then somehow you'd
get there in the end, But it was that was
one of the hardest parts, was communicating.
Speaker 2 (34:19):
Having to describe music. So the second book I wrote
was all about albums that I love, and I had
to just written word to describe how an album sounded
felt an everything was a massive, massive task and fun
to learn how to do it. But having to describe
as someone how a song sounds that makes you feel.
Speaker 1 (34:40):
It's, yeah, I need to get better at that. That
is a real gave me.
Speaker 2 (34:44):
A whole new load of respect for good music critics.
They're proper good writers.
Speaker 1 (34:49):
Yeah, because to me, music's magic is like this thing
made me feel things. I have no idea why, and
it just happened. It should be that you're like, you
just do the magic thing for this.
Speaker 2 (34:59):
Yeah thing, please magician?
Speaker 1 (35:02):
All right, what is your favorite sequel? Genie?
Speaker 2 (35:07):
So many contenders. Obviously we're taking Ghostbusters, Froze an Empire
off the table. Okay, it hurts to do that, but okay,
look there's loads and loads of contenders here. I think
it comes down to a lot of honorable mentions. Evil
Dead two, Bill and Ted's Bogus Journey Home Alone two
Lost in New York. These are honorable mentions. Comes down
(35:29):
to three. One is Toy Story three. But you say
that people mention it too much on the podcast.
Speaker 1 (35:34):
Oh they haven't for a while, because I haven't let them.
You can say it now.
Speaker 2 (35:37):
It's my favorite toy story film. Patenton two is a
perfect film. Yeah, everyone knows this, everyone would have said
it on your podcast before. And then this other one
is probably my answer because it also falls into the
category of I'm always up for watching it whenever. But again,
it's probably one that's been mentioned on your podcast byion times.
But I probably go for The Dark Knight.
Speaker 1 (35:56):
I thought you were going to say Bad Boys Too,
which is obviously the best sequel, but okay, yeah, yeah,
the Dark Knight's very good.
Speaker 2 (36:03):
Im've learned from like the films, the films that I'm
always in the mood to watch, like Dark Knight Departed.
I think, like a heart, I'm a very different but
I'm probably an insl Actually.
Speaker 1 (36:13):
That's what I was thinking. You're an absolute lad. You're
a real blokey bloke deep down. Yeah, you like you
like boys, tough guys, fire.
Speaker 2 (36:21):
I like films that can be misinterpreted to fully kind
of empower the wrong type of bloke.
Speaker 1 (36:29):
Yeah, you think Fight Club is aspirational?
Speaker 2 (36:31):
Yeah, well, I hope that I interpret them the correct way.
But I love them still as much as the wrong
po people love them. Yeah that's good, but like, yeah,
I mean I could have tried to come up with
a cleverer answer. I mean before Sunset as well, was
in the obviously incredible. But I've realized I basically like
all the same sequels that everyone likes. Bill and Ted's
(36:54):
Bogus Journey is probably the only one that isn't an
obvious pick.
Speaker 1 (36:57):
We're going with The Dark Night because you're an inso
and I love this about you. Yeah, it's what people
don't know. I've got to accept it. Yea, what is
your favorite film by a director that you don't usually like?
Speaker 2 (37:09):
To go? Just trying to think of this one, which
is why, you know, just think about a lot of
these which I'm annoyed because the rate you're asking me
the questions is quicker than the amount of time I
spent thinking about them. This is hard because what I
realized with this one, I had to properly.
Speaker 1 (37:25):
I have just remembered that. Yeah, you think I'm rushing
you too much, right, yeah, only because of time. I
forget that. What you're amazing and you you've you've got
like half an hour and every question, but we don't
have that method.
Speaker 2 (37:40):
Oh yeah, no, I know that.
Speaker 1 (37:41):
So I have to I have to move you because
otherwise we'll never finished. But I don't want to question
in your method that we're moving. Oh listen, if you
weren't a movies down, we'd be doing a five hour record.
But you've got to get back to set.
Speaker 2 (37:56):
So the reason why it is difficult is because I
realized that there's not really any directors I don't like
that have done like one film that I love, unless
it's their first film. And I thought it was unfair
to have it be someone's first film because it doesn't
really seem to be like a I don't know, do
you know what I mean? I thought that doesn't really
fit the rules, but I wasn't able to do it
any other way. So it's two people. I don't even
(38:17):
know these people's names. Okay, so it's between and this
is like classic thirty nine year old it's between Napoleon
Dynamite and Donnie Darko.
Speaker 1 (38:26):
That is that is a very good answer, that makes sense,
pretty equal on both. I would say both directors. I've
only watched two of their films, and also, yeah, the
other films that I've watched, I feel kind of like
much the same about maybe I'd go for Donnie Darko
because like I preferred natural Libra to the.
Speaker 2 (38:42):
Box or the button or whatever it was called. So like,
even though I really liked the concept of that film,
great concept, So maybe I'd go Donnie Darko. But like
both films Napoleon Dynamite and Donny Darko were I think
probably anyone in my age, they just go in the
all time faves list or maybe just again the insullly blokes.
Speaker 1 (39:01):
Yeah, don'ty Jaco, maybe that's in that list.
Speaker 2 (39:03):
I love it, absolutely love it, love it.
Speaker 1 (39:07):
What is your favorite film that you get the most
stick about loving from people? And I don't know who
you're hanging out with, but they're giving you stick about
your favorite film that you let get given stick?
Speaker 2 (39:19):
Sure, I know if I've mentioned this on the podcast before,
maybe have Lady in the Water?
Speaker 1 (39:23):
Have I said that before? I don't remember that coming up,
but I have absolutely no memory. So I would love
to talk about Lady in the Water. I love it,
tell me everything.
Speaker 2 (39:32):
I think sham Alan is one of those directors who,
at least at the time when the films were coming out,
because he almost got more and more himself. I think
so like this first film, which everyone would say is
his best film objectively. He was like, right, this is
what I need to make to make a film that
people will like another people. And then with each film
(39:54):
and it's been less and less what other people would
like him more, just what he likes, right, So I
reckon with him. He was doing his initial run of
films before it is Little. I mean, I don't know
what you'd call it. There's a brief time where they
were like, you can't put your name on the films anymore.
Your name little after Last air Bender, Yeah, yeah, your
name's not on the poster anymore. And then he got
(40:14):
his name back on the poster by doing his indie stuff.
But every film up until that, so up until the Happening,
I guess or whatever, I reckon, everyone's got a line
where they go, no, I can't do these films anymore.
But the film directly before that line is your favorite.
It is often your favorite, Shamolanca. So I was there
all the way to Lady in the Water and I
was just like, I love that he's getting sillier, and
(40:36):
Lady in the Water was so sweet in a way.
I love ensemble casts of a massive sucker for an
ensemble cast. It's a very good ensemble cast. Regardless of
what you think of the film, you've got to admit
that all those actors are good. I liked that it
was just setting this little like.
Speaker 1 (40:50):
It's got your favorite movies down by Bala ban in it.
Bob Balaban's in it. Yeah, he gets he gets eating
by wolf or something eating a dog and demon dog
for being a critic. That's why he gets eaten. He's
a critic, Yeah, yeah, which is funny. Yeah.
Speaker 2 (41:06):
I just really liked the fairy tale aspect of it
and how it was like a fairy tale just done
in a modern day. But Jim, I mean, poor Jim
might is another of those acts I can watching anything.
Jeff as well, so they're both knocking about in that film. Yeah,
I just really haven't seen it in a while. But
obviously every time people talk about Shammelin and whatever, I
have to just be honest and say, I actually really like
(41:27):
Lady in the Water. And then obviously I get destroyed
and they writ me the shreds spot like like that
Demon Dog did to Bob Balaba.
Speaker 1 (41:33):
I should watch it again. I imagine i'd probably find it.
Speaker 2 (41:36):
You won't like it. And the people don't like it.
Speaker 1 (41:38):
But he's he's Jesus in it right. He's a writer
who will save humanity and the critic is eating by
demon dog. I think that was what seemed like bold
about it. Maybe people didn't like those bits, but I
was like, that's great. It's really funny that he's done
that with himself, that he's put himself as this savior
as the writers with a safe human It is great
(41:58):
funny that the critic gets to part by a demon dog.
And if if the critics don't find that funny, the problem,
but you know, I get that it's it's flimsy, and
also that everyone everyone goes along with it too easily.
Speaker 2 (42:11):
In the everyone immediately believes him when he tells them
this is like she came out of the water and
there's these demon dogs coming and all this, and don't
go you're nuts. They all go, Okay, what can we do?
Which is why I thought the twist, because you're looking
for the twisting Champ films, it was going to be that.
It's like it's they've all got mass hysteria and they're
all like, this isn't an apartment building, this is like
(42:31):
a hospital and I thought that was going to be.
The twist is like, how are they all going along
with this?
Speaker 1 (42:35):
That's funny, but I still enjoy I fork it's sweet. God,
I'm gonna have to watch this again. This is annoying.
What is the single sexiest moment in all cinema?
Speaker 2 (42:48):
Always a question like this from you?
Speaker 1 (42:51):
Yep, And I don't regret it.
Speaker 2 (42:53):
I want it to come over a proper ans because
I was almost going to go with some very generic
ones that actually, if I'm honest with myself, I don't
find that sex. Like I was gonna say, oh, Karon
Diaz when she enters in the mask, that farck, But
like that's me being told by the camera this is sexy.
You're meant to like this, this is a sexy moment,
and still goes on about it.
Speaker 1 (43:12):
It is like it is, I mean it is, I'm sure.
Speaker 2 (43:16):
Well, I'm sure it is, but it's not a sexy
as Katharin Hahn is step Brothers. Katharyn Harten is step Brothers.
Every time she jumps on John c Riley and tries
to make out of him and says she wants to
roll him up in a little ball and put her
in her vagina. That is sexy. It's funny. Yeah, it's
really funny, which is sexy to be frank, really really confident,
really just like really over the top. And it already
(43:39):
over the top film. Yeah, I mean, Katharyn Harnen is
sexy and doesn't get enough credit for it. True, it's
a much sexier, it's a much more carn Dias walks
in the bank in the mask and I'm like, yeah, yeah, yeah, yeah, everything.
Everyone's working real hard here to make this sexy. For me,
that moment is step Brothers. It's like, I know you
all think this is funny, but this is sexy. And
(44:01):
also when I'm when I was making my list for this,
I realized that me and Adam McKay, I think, have
the same ideas and what's sexy because you know, also
high up in the list was even Mendes and the
other guys, and from On a Cocording Stone for On
a Cocording Stone, sexy for all the Anchorman. She's holding
her own in a in a world overrun by men,
(44:22):
but she's still owning her sexuality throughout and still she's
not she's not made of stone. She's a she's hot blooded,
a wonderful answer. I think Adam McKay knows what he's like.
I mean, apart from a big misstep when he put
Margot Robbie in the bath. That's too far from me.
That's not sexy.
Speaker 1 (44:39):
Again it is, But you know, I hear no way,
I hear your very good tastes. What is the film
that means the most to you as a family. Could
be your wife and kids that you obviously have, or
you and your parents, or however you interpret family, Vin Diesel.
Speaker 2 (44:56):
Yeah, I don't know if this means the most us
as a family or not. For me, it does, so
i'd i'd have to ask my family. But I'm thinking
of like my mum and my dad, and my brother
and sister and growing up. And it's mainly because there's
a family video of us getting this for Christmas, and
me and my brother and sister lose our minds and
we run around shouting it's Fantasia. We got it, We've
(45:18):
got Fantasia. Pumped about it, and I wrote a school
essay about getting Fantasia for Christmas, and in the school
essay wrote the only bit I remember about it was
that I said the final part is not to be
watched before bedtime. I wrote it. I wanted other kids
(45:40):
to not make the mistake that I did and watch
the scary bit of the end before bed time about
the Greek gods. But yeah, that for me was the
is the film that I remember us getting most excited
about receiving for Christmas. And then there's also on that home
video footage of us watching Fantasia, just absolutely transfixed by it.
And also it's just good to I've you know, there's
(46:00):
a lot of films we probably loved as kids that
now I try and like, we were obsessed with Three
men and a baby, but I've watched it as an adult,
and God, actually this is not a very good film.
And I thought it was, but it's not as gripping
as I thought.
Speaker 1 (46:15):
These three men really should be able to raise this
baby without too much problem.
Speaker 2 (46:19):
And the plot seems overully complicated. Why is there suddenly
the end of this film is this big like drug
dealers are chasing them, like it's quite the tonal shift
between this like funny three three bachelors trying to raise
a little baby and singing a compella to it. It's bedside,
and then suddenly there's drunky to running after them, give
us that package. But like Fantasia still holds that that's
(46:42):
exactly the y. It should be a cocaine plot in
this cocain this which gets some very realistic props, But yeah,
Fantasia still holds up very special film.
Speaker 1 (46:53):
You're a very good boy and a nice family because
I think Fantasia I remember was I think maybe we're
like the first big Disney VHS releases that I remember.
It was a very big we had fantastic We had
it like a really big, sort of commemorative fucking box
one thing. But the reason I think You're good and
special is because I also think the reality Fantasia is
(47:16):
most children, including myself, secretly think it's boring, really exciting
about it. Then you're like, it's really boring. It's this
fucking good music and nothing nothing going on, but.
Speaker 2 (47:26):
Your I loved music so much you asthmatic point that
like cartoons and music together was very's very exciting that
they were doing that and.
Speaker 1 (47:35):
Oh, I'll get it now, I'll get it now.
Speaker 2 (47:37):
Also it was like it was like, I guess that's
why it stands out as the family films because I
could watch it with my parents and feel a little
bit grown up as well.
Speaker 1 (47:47):
No, I think what is the film that is as
good or better than the book?
Speaker 2 (47:53):
Had to go on a film that I've actually read
the book of what I'm talking out my ass? Yeah,
I think ghost World, even though I no, it's a
graphic novel, but I think that is as good as
as good as the I wouldn't say I think better is,
but I like how they expand the world of it,
and there's all the stuff and ghost in the comic
book that I wanted to see more of is what
(48:15):
they expand on. They don't change the tone of it.
It looks like the comic book has come to life.
They've really they've cast it perfectly, the jokes as well,
Land just as well, and the characters also. It like
completely was how I grew up in keptn with like
two like you know friends who were girls in my
year who were into alternative music and stuff. And how
(48:36):
they treat that boy in that film was a lot
of the time how I felt. I felt, Yeah, they
got this power over me that I really quote, I
don't really want to go around doing doing all these
stupid things, but pretty much joinnething they tell me do. So, Yeah,
some of it really really spoke to grown up in
a town where it felt like nothing happens and having
(48:58):
just like walk around trying to make more out of
your day and getting obsessed with like there was a
weird older guy in Ketrin as well who would occasionally
hang out with. It kind of was similar to that book.
So yeah, but I really like how they expanded the
world and it still felt like everything identified with in
the comic book. It grew that out and I still
(49:20):
identified with it all and can still like even more
say oh, yeah, this is what I connected with.
Speaker 1 (49:26):
It's still still there. Are you still friends with Scully
Hanson and Dora.
Speaker 2 (49:31):
Sirch No?
Speaker 1 (49:34):
No, do you know where they are? Do you know
what happened to him?
Speaker 2 (49:36):
I know one of them is definitely still and kept
because they bump into a few years ago.
Speaker 1 (49:40):
It. Did she still have power?
Speaker 2 (49:42):
Yeah? Instantly started punching myself in the face for her amusement. No,
I think the power's gone, and you could tell in
her eyes she was gutted.
Speaker 1 (49:53):
Furious set it himself. What is the what is the
this one? I assume you have a lot on what's
your favorite score to a film? Now I've asked you
in one of the other episodes, what's the favorite soundtrack,
by which I mean these songs. This I'm talking about
composed score for a film. Yeah, this is weird because
(50:14):
I don't like the film.
Speaker 2 (50:15):
I liked it when it came out because whatever age
I was, and so then I really and it was
the first soundtrack that I mega got into and then
I got into all the soundtracks. Is John Bryan's iHeart
Huggerbe's soundtrack.
Speaker 1 (50:28):
Hundred one hundred percent degree? You love that soundtrack? Yeah,
absolutely love it.
Speaker 2 (50:33):
Yeah, however old it was when the film came out
as a teenager, I think, and it was like, oh, yeah,
that's great, that's so clever. Oh, it's genius. And now
I'm like, na, no, I don't. I don't really think
that's a very good film. But I yeah, brilliant performance
is in it. I think more probably just the writing
and direction of an absolute maniac maybe pushed it off
(50:57):
the rails. But and you know, I'll only watch films
of his that have Amy Adams in them now. But
she didn't like him either, so that that makes me
double down in my statement the John Bryan score. So
it was the first time I remember really really noticing
a score in a film and loving it. I think
it was great, and actually seeking it out online and
buying it and listening to it outside of watching the film.
(51:20):
So it's got to be that. And then also I
then started watching or like I'd seek out what else
he had done soundtracks for, and he was doing a
lot of soundtracks for a lot of cool films around
that point as well, since the first time I started
paying attention to film score was his films, And I
actually just love his entire career. I think he's a
fascinating person. But like, yeah, that the main theme from that,
(51:45):
the waltz kind of like because he played this old
organ for it. I think they got in this really old,
crazy organ that he could use in this massive like
church type room and it was like one of a kind,
like not many of them left anymore, and he composed
it all on that. Yeah, all of it's great. I
think each film that he does a score for, there's
always like a song that's got some lyrics on it. Yeah,
(52:07):
and he's he is so good at summing up what
the film is about in a song.
Speaker 1 (52:11):
It's in song that song yourself out great, Yeah, beautiful.
Speaker 2 (52:15):
Brilliant, so good. I'd say it nails the message of
the film better than the film.
Speaker 1 (52:20):
Does you know what. I went to see that film
at the London Film Festival and he they introduced the
film by having him play that song live on stage,
and I thought exactly that. I was like, oh, you
should have done this in the other order, because you
peaked and then you said the film and it's like, oh,
but he said it better.
Speaker 2 (52:38):
Yeah, yeah, he knows what he's on about.
Speaker 1 (52:40):
Yeah, he said a chatting with him, I.
Speaker 2 (52:42):
Had a little playlist for a while on my iTunes
of just all the John Brian some on some films
that had.
Speaker 1 (52:47):
Lyrics and his stuff with Kanye's the best stuff.
Speaker 2 (52:50):
That He did an amazing album in twenty twenty where
with Matt Miller, who passed away before the album came
out and John Brian had to finish it. And you
know when those rare instances where someone actually nails that,
usually people then ruin it and it's sacrilegious to have
released it. But that album's superb.
Speaker 1 (53:08):
He does Eternal Sunshine as well, right, I think.
Speaker 2 (53:11):
Sunshine Magnolia, The Breakup, I love The Breakup underrated yeah,
he's very good.
Speaker 1 (53:17):
What is your favorite single set piece in a film
that isn't a classic film overall?
Speaker 2 (53:24):
Favorite question? I love this question.
Speaker 1 (53:26):
Yeah, good question.
Speaker 2 (53:27):
Yeah, I would say it is. And this is a
film full of set pieces, but it's not classic, but
I like it. It's when I've just put when the
Dweed shoots everyone in Hard Times at the l Royale,
so I really like I love that Bad Times at
the l Royales. Sorry, apologies to everyone involved in making
the film. You were better than that Bad Times at
(53:48):
the Old Royal, which a film I like, I enjoyed
I won't see at the cinema twice because I really
enjoyed it for it was really fun film.
Speaker 1 (53:54):
And that's why I departed that film. I've watched that
film so many times. I think it's brilliant, so very
able because of how fun it is. I love films
a big set pieces in them, which I think end
up being the ones I can rewatch the most because
it's just like constantly fun. And the one where I
don't know his name, Bill Pullman's son Lewis gets up
(54:15):
and designs he's just gonna like shoot them all. It's
pretty incredible because it's a very satisfying payoff to that
character's arc that he's been pushed around the whole thing
and being a dewey But actually the reason why he's
like that is because he can't. He can't let the
beast down, he can't let the monster out, and he's
really reckoning and dealing with all the things that he's done.
Speaker 2 (54:33):
There's a very very short little shot of him in
nam is It I think, and that just tells you
all you need to know. And then it's just one
of those very cool shots where a character stands up
and you realize, oh fuck, he was Karen behind us
sofa a minute ago, and now he's just stood up
and he's about to absolutely waste them all and he
takes them all out.
Speaker 1 (54:55):
This is so funny because you don't realize what a
great arc we've been on that we started this episode,
you started to suspect you were an intel with your choices,
and then your final favorite set is a guy's been
pushed around too much shoots everywhere. Yeah, wow, Wow, what
(55:16):
a reveal, huge reveal.
Speaker 2 (55:17):
I mean, it's a lot to think about. I need
to go away and reflect on my choices here. It's
been very revealing. I mean every single bit of this
to be fair if you go for all my answers.
Speaker 1 (55:29):
I have talked about it so many times, but my
set piece of the year that it came out is
in Bad Times at the Arroyo, where she sings the
song and he's hammering to her clap under the tab
for fucking oh. I love that.
Speaker 2 (55:46):
Should be in a lot of realizing stuff. I don't.
I don't feel like she's in enough stuff. Even though
she's done loads and she's multi talented and all of this,
I still feel like she needs to be in my stuff. Yeah,
there needs to be more lead roles. I might watch
that film tonight.
Speaker 1 (55:59):
It's such a good film. Well, the gen James A Caster,
You've come back to life as Last Pinfield, your character
from ghist pastas, and you are using your expositional skills
to try and solve the climate crisis and trying not
let your ego to be the best climate crisis scientist
get in the way of actually saving the world and
(56:20):
causing more destruction. Yes, you are welcome to this new existence,
but that you must choose one film to take with
you when you're like hanging out with your climate change
science buddies.
Speaker 2 (56:30):
Yeah, well I've stayed on theme here. I've been reincarnated.
It's a recent one. Past Lives. I love Past Lives.
It's it's one of the rare films that you know,
you proper for me. Yeah, I kind of at the
end of watching it, just like instantly. That's one of
my favorite films. Really, that's straight to the heart, makes
(56:51):
you really feel something that you haven't felt in that
film hasn't made you feel.
Speaker 3 (56:54):
In a while.
Speaker 2 (56:55):
Love it and also come on thematically, I've nailed it.
I've been and I'm going to playing Past Lives.
Speaker 1 (57:02):
Let's hope you don't come back more in selly this time. Yeah,
that problem. I love Past Life so very much. I'm
not going to say much about it because I did
record my Films of the Year special with nich the
other day, Films of twenty twenty three, which I'll probably
release around August. But I do talk about Past Lives
for about thirty minutes because I love it so much.
Speaker 2 (57:20):
It's so good.
Speaker 1 (57:21):
It's a top ten all time. That's opposite. Yeah, this
is your new life. I'm really proud of you.
Speaker 2 (57:27):
Yeah, this is I've come back as.
Speaker 1 (57:32):
You're an outset. You're an out by the genie. Thank
you for doing this podcast every hundred episodes. You're a
joy and a delay and you are beloved by all
in the UK.
Speaker 2 (57:48):
Surely this is the last one.
Speaker 1 (57:49):
Well, we'll see.
Speaker 2 (57:50):
If you're still going another one hundred episodes. Me and
you're going to have either you've absolutely torpedoed your career
or you continue to not accept the fact that you
are way too busy for this.
Speaker 1 (58:02):
Thank you for doing this. In this Raye short window,
we have, honest to.
Speaker 2 (58:06):
God, Bret, I feel like if you want a film reference,
I feel like Ben Affleck in Goodwill Hunting. The best
part of my day is waiting for you to log
onto Zoom because maybe, just maybe you won't do it,
and then I'll know that you've gone on to achieve
your full potential.
Speaker 1 (58:22):
You're a movie star. Hello, you are happy, happy reincarnation.
Good day to you.
Speaker 2 (58:28):
Say that's worse to yourself. You need to say those
worse to yourself. This is ridiculous. I love doing it.
I love doing it every time.
Speaker 1 (58:38):
So that was episode three hundred. Head over to the
Patreon at patreon dot com. Forward Slash pret Goldstein The
extra Chat Secrets and video with James. Thank you to
everyone who listens to the podcast. We've come a long way,
haven't we. Bloody our three hundred ridiculous anyway, Next one
a fucking banger, so many bangers come in, You're gonna
love it. Thank you to everyone who listens. I hope
you're all well. Thank you so much to the You
(59:00):
Need for giving me his time. Thanks to Scrubius, Pip
and the Distracts Pieces Network. Thanks to Buddy Peace for
producing it. Thanks to iHeartMedia and Will Ferrell's Big Money
Players Network for hosting it. Thanks to Adam Richardson for
the graphics, at least alight them for the photography. Come
and join me next week first smasher of an episode
with a very big star. But that is it for now.
I hope you're all well. Thank you as ever. But
(59:20):
in the meantime, have a lovely week and please be
excellent to each other. Six
Host
Brett Goldstein
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Daniel Jeremiah of Move the Sticks and Gregg Rosenthal of NFL Daily join forces to break down every team's needs this offseason.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Las Culturistas with Matt Rogers and Bowen Yang
Ding dong! Join your culture consultants, Matt Rogers and Bowen Yang, on an unforgettable journey into the beating heart of CULTURE. Alongside sizzling special guests, they GET INTO the hottest pop-culture moments of the day and the formative cultural experiences that turned them into Culturistas. Produced by the Big Money Players Network and iHeartRadio.