April 19, 2023 • 59 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 with the many times guest NISH KUMAR!
...or more accurately, part 1 of 2 of the 'When You Think About It Way Ahead Of Schedule Films Of The Year 2022 Special' - to give it the more official title.
For newer listeners to the show, every year around this time (actually often later), Brett and Nish catch up to reminisce about all the cinematic goodness that we were bless with back in 2022. Sure seems like a good while ago now doesn't it... There are some forgotten gems, some well reviewed modern classics, and some exercises in just plain old good fun, but you can be sure you'll have a grand time with these two catching up like old pals. Get amongst it and enjoy!
Video and extra audio available on Brett's Patreon!
Home Of Nish's Soon Coming New Podcast!
SUPERBOB (Brett's 2015 feature film)
CORNERBOYS with BRETT & SCROOBIUS PIP
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look at her. It's only films to be buried with
that when you think about it.
Speaker 2 (00:04):
Way ahead of schedule Films of the Year twenty twenty
two Special Part one with Nish Kuma. Hello and welcome
to Films to be buried with that when you think
(00:25):
about it, Way ahead of schedule Films of the Year
twenty twenty two Special Part.
Speaker 1 (00:29):
One with Thish Kuma. My name is Brett Goldstein.
Speaker 2 (00:31):
I'm a comedian, an actor, a writer, a director, and
they're white rap and I love film. As Frank Sinatra
once said, the big lesson in life, baby is never
be scared of anyone or anything. Having said that, I
must warn you about Bob in twin Peaks fire Work
with me. That really is a scary motherfucker, and I
would suggest you do your best to stay the heck
away from him. That's excellent advice. Thank you, Frank, Thank you,
(00:52):
mister Sinatra. Every week I invite a special guest, ever,
I tell them they've died. Then I get them to
discuss their life through the films that meant the most
of them.
Speaker 1 (01:00):
But not this week. This week it's Steve. When you
think about it.
Speaker 2 (01:03):
Way ahead of schedule, Films of the Year twenty twenty
two Special Part one with mister nish Kuma. You can
watch all of Shrinking on Apple tv Plus. And you
can now watch ted Lasso Season three episodes one to
six on Apple tv Plus. Basically go to Apple tv Plus.
That's all you need, isn't it. I guess? So yeah,
watch it, love it. Head over to the Patreon at
Patreon dot com forward slash Brett Goldstein, where you get
(01:25):
all the extra stuff from all the episodes. You get
extra questions with guests, you get the episodes uncut and
ad free, and you get most of the episodes as videos.
Speaker 1 (01:34):
Head over to the.
Speaker 2 (01:35):
Patreon at Patreon dot com forward Slashbrett Goldstein. So if
you are new to this podcast, every year, me and
nish Kumar do our Films of the Year. I never
did them in December of that year because I haven't
seen them all and that would be disrespectful and I
want to make sure I've seen all the films before
we record this. This edition is actually way ahead of
time when you think about it. I normally get it
down about June. So you are very lucky people. Nis
(01:56):
was as brilliant as ever. I've included everything in the
main podcast because a special one here is part one
of the way ahead of schedule. When you think about it,
special Films of the Year twenty twenty two with mister
nish Kuma. Really loved cutting up with this and recording this.
I hope you do too. So that's it for now.
I very much hope you enjoy episode two hundred and
(02:17):
forty four of Films to be Buried With. Hello and
welcome to Films to be Buried With the end of
year special. It is I Brett Goldstein and I'm joined
(02:39):
today for the fifth, sixth, seventh to seventh time, is
my guess, seventh time in his life death and judgment.
Please we haven't judged you anyway. Please. He's a he's
(02:59):
an actor, he's a writer, he's a panel, he's a door,
he's a window, he's a roof that he will take
off in your presence. He's a lover, he's a fighter,
but he's a pacifist and he's also one of the
great stand ups of all time. Please work him back
(03:21):
to the show. It's the brilliant mister nish Kuma.
Speaker 3 (03:26):
Hindu Wisdom, Hindu incarnation, reincarnation. He keeps coming back it's
like I've achieved, like I don't know what level of
enlightenment this season. In the Hindu and Buddhist system of reincarnation.
Speaker 1 (03:41):
You're a terminator.
Speaker 3 (03:42):
I'm coming back as the same person every time. I've
behaved in exactly the same way in every one of
my lives, and I'm constantly re reincarnating as myself.
Speaker 2 (03:54):
Every time you die, the gods, go and try that again.
I feel like you didn't really do much with that.
Speaker 1 (04:03):
Do you want to go try again? We'll give you
another gun.
Speaker 3 (04:08):
As with all of my acting, Brett, they asked me
to do a second take, I do exactly the same.
Everyone gets frustrated, everyone gets Australian. Nothing is anything.
Speaker 2 (04:17):
Else this time, anything just some options, just anything. We'll
send you back, same as before, just something different.
Speaker 1 (04:26):
What a delight to see you.
Speaker 2 (04:29):
I miss you. I'm in America, you're in London. This
isn't how it's meant to be. We should be in
each other's arms, but here we are.
Speaker 3 (04:36):
We've run a whole gamut of things. Now you and
me in the same room, you and me live in
front of an audience, You and me on zoom in
the supposed in the UK but currently you're ensconced in
the sweet bosom of Halliwood now and I am being
slowly passed out of the annus of London.
Speaker 2 (04:59):
What's what's your tell us for the listener who hasn't
heard from you in a while, what's the latest?
Speaker 1 (05:06):
What's he happen to now?
Speaker 2 (05:07):
What I will say is, because I don't said, I
did come to the recording of your stand up special,
and I'll say this in public. It was phenomenal. It
was truly brilliant. It was so good. It was the
sort of thing that makes you question your own work.
Your stand up was so good that I was like, oh,
I guess that's I guess that's how you do it.
Like I sort of was like simultaneously delighted, is a
(05:31):
bit and a bit and I think I left.
Speaker 1 (05:33):
Like fucking pricks really good.
Speaker 3 (05:35):
Well, this is this is clearly something we have in
common Bread, because after I do stand up, I deeply
question my own work. The first thing I think is
I don't think that's good enough. Yeah, I've recorded that
show and I've got a finish editing it, and yeah,
I was touring a lot, but I'm about to start
(05:56):
a podcast. Tell Us like as we record.
Speaker 1 (05:59):
Podcast toilet toilet podcast.
Speaker 3 (06:01):
No now I have. I did try and suggest toilet niche.
It's toilet niche is what you used to refer in
the brief period when I did a show for Quibi
r I p for ever in our hearts. We put
I pour one out every morning for Quibi. It was
a short whose business model was YouTube but you pay
(06:22):
for it, and whose business model, it turns out, was
written on a piece of toilet paper and human shit.
But it's it did it did listen it, It paid
me money and I was thrilled about it. But yeah,
when that was on, I believe you might be the
only viewer of working on the shower wat it.
Speaker 2 (06:41):
But I watched it every single day? Was it every day?
Speaker 3 (06:46):
You watch it on the toilet?
Speaker 1 (06:48):
On the toilet?
Speaker 2 (06:49):
It was the perfect amount of time and also what
better way to get the news and information that's important.
Speaker 1 (06:56):
And I know maybe I don't have a sort of
radar for what.
Speaker 2 (07:00):
Populist because I was like, this is the one, toilet,
this is the one.
Speaker 3 (07:05):
But now I'm doing a show about the UK news
for Crooked Media, the American podcast network who do pod
Save America. I'm about to start on May the fourth,
I start doing a show called Pod Save the UK,
which is going to be a weekly show which I
do with my friend Coco Kahn, who's a journalist about
what's going on in UK politics. So now Brett, you
(07:26):
don't have to text me and say can you tell
me what the fuck is going on in the news.
Speaker 1 (07:32):
You're doing for me?
Speaker 3 (07:35):
No, it's weekly. It's once a week. I'll be doing
a full round up of the week. I did suggest
toilet Nish as a name for the podcast, but they
said that that name was as off putting as it
was incomprehensible, and they thought that they'd stick.
Speaker 2 (07:48):
Like I don't have a populist instinct, but for me,
I'm like that.
Speaker 3 (07:56):
For me, I don't have a populist instinct. I think
all kids should be forced to watch Twin Peaks, and
I think toilet Dish is a good note for a podcast.
If there's two things I know about you, Brett, it's
that you think Twin Peaks should be added to Disney
Plus and put under the family section. And I should
have done called toilet Dish, but no, We've elected to
(08:17):
stay with Pod Save the UK, which is part puts
it in line with the successful branding of the incredibly
famous American podcast America.
Speaker 2 (08:26):
I guess I can see some logic to that decision.
When does this start?
Speaker 3 (08:30):
May the fourth Star Wars Day? Not not on purpose? Well,
this is thrilling news. How's your year been, Brett? How's
your year?
Speaker 1 (08:43):
Bin Emmy number two?
Speaker 3 (08:47):
Yeah? Yeah, I like to give the impression that you
and I don't speak at all.
Speaker 1 (08:54):
In between these exist between.
Speaker 3 (08:58):
April is pretty good going for us to get our
best of the previous year going. I think what we
always try and do is get it in before June,
where the half the year is.
Speaker 1 (09:08):
A halfway mark.
Speaker 2 (09:09):
Yeah, okay, so this is we're doing our films of
the Year twenty twenty two very early because it is April.
Speaker 1 (09:15):
I think we're way ahead.
Speaker 2 (09:17):
But one of the reasons it always happens late is
it's hard to see all the films. You want to
see as many films as you can before you're calling
the list. I never want to do it before New
Year's Eve because, as you know how to fuck do
you know, you might see something on the December day
if but the rules generally are it has to be
a film that was officially released in the UK between
January first and December thirty first, twenty two. So then
(09:39):
it becomes difficult because Tar. You might be thinking, why
isn't Tar on this list because that's twenty three.
Speaker 3 (09:44):
Mate, twenty twenty three.
Speaker 2 (09:46):
Why isn't women talking about that's twenty twenty three, will
be twenty twenty three about that June next. Now, generally,
generally what we're saying good year for film, Good.
Speaker 3 (10:00):
Year for film, good year for Brett Goldstein, good year
for this tumor. How was Emmy number two as an experience?
Speaker 2 (10:07):
Truthfully, no less mental? It isn't like you go like, yeah, no,
I get it. I think you just because these things
are so sort of huge but also very brief. It's
not like when you do stand up, when you two
hundreds of gigs and you build up yeah yeah, ten
(10:28):
thousand hours of experience like I guess the Emmys is.
You don't really get to practice it. It's just fun
and it's so surreal that the first time it happened,
I think my brain just put it away like that
obviously didn't happen. The second time it happened, it was
the same, the same sort of like what.
Speaker 3 (10:46):
The heck is.
Speaker 1 (10:49):
Very nice, obviously very nice.
Speaker 3 (10:51):
What's weirder winning Emmy or talking to Harrison Ford? Because
I think that for me because we obviously the lasso
jugger all rolls on, but we should talk a little
bit about shrinking, which is a fucking great show.
Speaker 1 (11:04):
Thank you, Nis.
Speaker 3 (11:05):
And I mean, like I've seen you on these talk
shows Brett talking about how you met Harrison Ford. But
there is something very clearly omitted from that story, which
is immediately after it happened, I didn't see you telling
bloody Stephen Colbert. I just immediately got on the phone
with my friend. She went, fucking hew mate, our fucking
oh fucking met Indie. I fucking did, fucking Indee.
Speaker 1 (11:31):
Yeah, I did leave that far out. That's true.
Speaker 2 (11:37):
Well, I mean what I would say about Harrison Ford
is what is weird because sometimes you meet people, and
you know, I've been very lucky to meet and work
with lots of amazing, very famous people, and usually if
they're great people and lovely people, you just sort of
get they do become it's normal, this is your friend whatever.
But I will say I think for everyone with Harrison
(11:58):
Ford has avoid has been nothing but lovely and delightful
and charming and hard working and and good, you know
what I mean, like zero complaints from him. However, I
think all of us from crew to cast are still
like fucking hell.
Speaker 1 (12:15):
And that's after a year of working with it, you
know what I mean.
Speaker 3 (12:18):
I had to watch the first episode twice because, to
be honest with you, I honestly wasn't paying attention to
what was going on just whenever he was on screen.
I was just thinking, Brett met Harrison, Brett, Brett met
Han Solo, and now Brett writes things that Han Solo
says out loud.
Speaker 1 (12:35):
It is nuts.
Speaker 2 (12:37):
It is and I still even when he texts me,
which you know we're we are in communication every single time,
I go fucking hell.
Speaker 1 (12:46):
Oh look, Harrison for tastes me anyway.
Speaker 3 (12:52):
Wait, so just answer the question, working with Harrison Ford
or Emmy number or two times Emmy, which is weirder?
Speaker 2 (12:58):
I guess Harrison Void is weirder because it has been longer.
It's been longer and not got any less weird. It's
it's so cool. It's the absolute coolness. Now, I forgot
to tell you something and I can't believe it.
Speaker 1 (13:12):
I can't believe it. I see this is mad, No,
what is it?
Speaker 2 (13:17):
I don't know if you know how Sometimes they say
like every fear hides a wish, Like sometimes I'm like,
I think you, I think this is you've died.
Speaker 3 (13:28):
You fucking hell yeah, this is truly shocking information to me.
Speaker 1 (13:33):
What happened? Oh man, I don't.
Speaker 3 (13:37):
I can't remember how all the ways that I've died.
Speaker 1 (13:40):
Listen to a podcast, walked into the road.
Speaker 3 (13:43):
Oh you definitely killed me because you were embarrassed by
my compliments.
Speaker 1 (13:47):
Yeah, I killed you once and again. Yeah.
Speaker 3 (13:50):
Well let's say this was times too. Every year you
win an Emmy and I congratulate you too earnestly I
had to say that I'm proud of you too much,
and you murder me again. This time you actually blunted
me to death with the Emmy, which was horrible.
Speaker 1 (14:09):
So many that.
Speaker 3 (14:11):
Yeah, yeah, it's like it's like it's a sword with
a bunch of knives taped on it.
Speaker 2 (14:18):
Basically it is like the Game of Thrones throne. Then
it's sort of that with a face, well, well done,
you have died, but this time when you've you come
back to them and again and again.
Speaker 3 (14:35):
They're sort of like, oh my god, we can't get
rid of this guy.
Speaker 1 (14:39):
It doesn't seem like he changed much this anyway. Compactly.
Speaker 3 (14:44):
It's like the British television audience, Oh Christ, we thought
we got rid of this guy, and yet here he
is back again.
Speaker 2 (14:53):
But they want to talk about the films of the year.
To both of us, weirdly, for once, that's good. That's
film films of the year.
Speaker 3 (15:01):
Murderers and their victims rarely do things together, and that's
actually a real shape.
Speaker 2 (15:06):
And that brings us to one of my answers. But
we'll come to that. We're going to answer the questions,
some questions, and then we're both going to do our
top ten generally great year.
Speaker 3 (15:21):
I film very good year. Yeah, very good year.
Speaker 1 (15:24):
When you look back, you go a little bangers there.
Speaker 3 (15:26):
Yeah, I felt like the year was there were a
lot of early bangers. And because before we do this,
we do prep for this beyond just watching a lot
of films, and I was looking at some of the
year end lists and slowly realizing that there was a
bit of a sort of recency bias with some of
the lists, and I think there were some real early bangers. Also, again,
(15:46):
because of the UK releases, there's some stuff that comes
out in America. That so people, I think, feel weird
about including it on UK lists. But there's definitely some stuff.
If we're observing the strict rule, which no one is
making us do, there's no reason for it to continue
to be in this life. Increasingly as release schedules changed. No,
(16:08):
you and I bought Empire magazine in the nineties, and
so we can only engage with the idea that it's
the first of January to the thirty first of December.
This is UK release dates.
Speaker 1 (16:21):
Tah, I keep hearing you knocking at the door.
Speaker 3 (16:24):
Wait, and I hope those women are talking about how
we'll be talking about them next year.
Speaker 2 (16:30):
Oh, we're gonna be talking about their women talking in
the time.
Speaker 3 (16:36):
Quite your marital dispute, pablements. We'll get to it. But yes,
we're stuck to this incredibly strict rule and this year
we're hoping to keep it sub two hours.
Speaker 1 (16:47):
Okay, let's go.
Speaker 2 (16:49):
What was the film that scared you the most this
yearns Kuma.
Speaker 3 (16:54):
I'll tell you what it was, Brett. This film scared
me and it also delighted me in how it's scared me.
It was Barbarian Love. Barbarian one of the and I
mean this is an absolute, absolute compliment, one of the
nastiest films I have ever seen. Just nasty, just like
(17:15):
deeply unpleasant, and like the worst thing about it is
that I actually had to stop watching it the first
time I was watching it because I was watching it
on a plane, so I have to wait until I
got home. I think a I was conscious that this
is a really good movie, and I would really like
(17:36):
to watch this like in the you know, and feel
immersed in the film. But also, nobody needs to see
that breastfeeding scene. There's kids on the plane.
Speaker 1 (17:49):
Never forget.
Speaker 3 (17:51):
Listen. I'm all for mother's breastfeeding their children in public.
I think we need to remove the stigma around that. However,
this specific breastfeeding cover them up love.
Speaker 1 (18:01):
I think this has set that debate back.
Speaker 2 (18:09):
Oh, it's just some journalists at the Daily Mail.
Speaker 3 (18:14):
See this is the end of the slippery slope.
Speaker 2 (18:18):
First it's cafes, then it's underground dungeons in your house.
Speaker 3 (18:24):
Then it's the kid from Dodgeball being forced meent tit
milk in a basement. This is the future liberal ones.
Speaker 2 (18:31):
He's very good, justin long it's something about him, very charming,
he's good. You can play sort of bad people because
you sort of you sort of like him, don't you.
Speaker 3 (18:39):
Yeah, it's kind of It's interesting because there's like three
thirds to the film, and when the first one, the
first kind of sequence that involves the couple of we
should also say spoiler alert for everything. Yeah, yeah, yeah,
arguably the chat about breastfeeding is a huge spoiler. But
(19:00):
the first sort of third of the film, which kind
of shows you this couple they've both got in there's
been a confusion and they're both in the same airbnb,
and then you know, they get dragged into the basement
by this monster and it's almost happened so quickly. There
is a hard cut suddenly to a close up of
Justin Long's face, and it's one of the most I've
laughed at anything in a film this year, Like it's
(19:22):
just like you just don't expect it. And also it's
such a clever piece of casting, and it follows along
the line of something that Promising young Woman did as well,
which is take beloved soft boy be to male comedy
performers and turn them into sex pests. And like in
(19:42):
this case, he's playing an actor who's like embroiled in
an allegation of sexual assault, and it's just like it's
so brilliant. Again, like this is sort of slightly by
the Bible. There's a scene in it where he's in
a bar talking to a friend of his, and just
the language that he's using about this woman, it's just
like such a like it's such a brilliant depiction of
(20:05):
a very specific type of misogyny. But the film itself
is I mean, it's it's horrific, it's imaginative in its horror,
and there's obviously some sort of comedy connection because justin
Long's and it cut braun OLA's in it late, but
it's sort of then the third third flashes back to
the eighties to explain the entire backstory for how this
(20:28):
situation and this Often horror films, it's nice when you
don't know every single detail and you can kind of
put a bit of it into your imagination. But I
think with this one, it's quite good that we know.
I don't think you want to let people's imaginations run
right with this film. It's I think with this film,
it's good to have all of the facts.
Speaker 2 (20:44):
You know, what the director I believe was a sketch
comedian guy. I think now I've just it's just occurred
to me that what the structure of Barbarian is is
a Harald.
Speaker 3 (20:54):
Yeah.
Speaker 2 (20:55):
Like, guys, here's one thing, there's another thing. Here's the
two things together, little game. Yeah, middle a Harold structure.
Speaker 1 (21:03):
How about that?
Speaker 3 (21:03):
Yeah, that's yeah, that's amazing because he did what all
what I do know about it is that he kind
of it was written as an improv effectively, So what
you've said makes absolute sense because he didn't plot out
the beat of the plot. He just had this idea
for the first third of the film and then just
kept writing it and trying to surprise himself. So I
guess if he has like improv training, he's essentially done
(21:25):
the horror movie equivalent of playing a Harold. That that's
an extraordinary observation. God that God, that was. That was insightful.
Speaker 1 (21:33):
Brett, thank you, thank you. As long as I've done one, do.
Speaker 3 (21:39):
You want to explain fully what a Harold is? Everybody
listens to this podcast. Everyone who listens to this podcast
has some improv credits. Let's be honest. Let's be honest here.
Speaker 1 (21:48):
There's hasn't done a week.
Speaker 2 (21:54):
Harold is a structure used in improv, which is the
same structure as barbarian thing. Basically, you do a scene,
then you do a little thing in the middle, then
you do a completely different scene A to B and
then a little thing in the middle, and then C
should be a combination of A and B paying off.
Speaker 3 (22:14):
Yeah, and also there's there's a there's a structure in
improv where you kind of where you have two people
where you see an event, and then there's a sub
scene that explores how that event came to happen. And
that's also definitely what's going on here. We're getting backstory
on backstory on backstory, it's just all of the suggestions.
It's like doing improv, but all of the suggestions were
(22:36):
from Joseph Ritzel. Like that was basically.
Speaker 2 (22:40):
Also, if there are people listening, which of course there are,
and I have explained the Herald correctly, and you're fucking huming,
I'm within the bullpark and if you're not, if you're
tuning in for this for expertise, then you've only got
yourself to play out film. That scared me most. I
(23:03):
got sort of double. There's there's a brief mention to Smile,
which I thought was just a great, great horror I
will say for Smile, and this is not Smiles, for
it is the world of marketing, et cetera. The trailer
of Smile really does put all of the bits in it,
which is really shayeah. They work really well in the trailer,
and they work really well in the film. And my
(23:24):
only sort of negative was I wish I hadn't seen
that Trainer because it's pretty much all the bits are
in the right yeah, yeah, but they're really really good bits.
It's a really well made film. It's a fucking scary,
scary idea, really well done recommend don't works the Trainer.
And then the other film is made by with people
we know All my friends hate me?
Speaker 1 (23:45):
Have you seen it? Scary? That's a horror film.
Speaker 3 (23:49):
This is this is closer to the answer that I
normally give to this question, which is like, I go, oh,
the film that scared me was actually the film that
inspired existence childread how do you feel about that? But
now this year I have gone straight to breastfeeding, Frankenstein,
(24:09):
Bang disgusting, I've got root. One horror talk to Me
about All my Friends my.
Speaker 2 (24:15):
Friends Hate Me? Is made by Andrew Gaynord. I believe
with the Totally Tom's writing it.
Speaker 3 (24:20):
I believe Tom Sterton and Tom Palmer, who were in
a sketch double at called Totally Tom fun fact about them.
We shared a flat in Edinburgh twenty twelve and we
flooded the toilet. I believe that it was the toilet
largely used by me and Tom Sterton. So all our
friends certainly hated us starves, they're just like us.
Speaker 2 (24:40):
The the it's a film, very very well made film.
I would recommend it about a sort of reunion of friends.
And it plays it's like a horror comedy, but it's
it's really it plays on your fear quite your social
paranoia is what it plays on. It plays is like
(25:01):
the title says, do all my friends hate me? That
there is a series of things that happened that make
him think is this a Was that a joke or
did I misread it?
Speaker 1 (25:09):
Was that a joke? Or did I misread it?
Speaker 2 (25:10):
And it's really well done and really well acted and
very like, yeah, I get it.
Speaker 1 (25:17):
We've all felt like that somewhere.
Speaker 3 (25:18):
And also it's like friendships in your thirties where they're
predicated on you know, there's some friendships where I dare say, Brett,
I would describe You're my friendship as being this. Occasionally
we do speak fairly regularly on text, but even if
we don't see each other, we can resume the friendship
from exactly where we left off, right. Yeah, but there
are definitely friends friendships that are predicated on you seeing
(25:42):
each other a lot, and when you don't see each
other a lot, the insecurities and the kind of fault
lines in those friendships start to come to the foe.
And like, this is definitely it's definitely a very good
depiction of that. Yeah, it's good, it's good, and it's
full of really funny British comedy perform It's really it's
definitely worth checking out. And it also is an interesting
(26:04):
double bill with another more conventional horror movie, Bodies Bodies Bodies,
which again is about a bunch of friends getting together
in a house, and it's again about the tensions that
have I think it's it's a slightly younger group of people,
but again it's like the tensions that are occurring between
a group of friends. And but then and then it
becomes a lot of fun in a very straightforward horror way.
Speaker 1 (26:25):
Yeah.
Speaker 2 (26:26):
I watched them in a weekend, both those two, which
is a weird.
Speaker 3 (26:29):
Yeah, but I think it's a great doubleheader. Well, I
don't know if it's too close. I think like because
you know all my friends hate me, definitely moves much
more into a kind of comedy territory and bodies bodies.
But it's kind of interesting, Like it's like an interesting
exercise in how creativity works, because you can take the
same themes and structure and then make a horror movie
(26:50):
and a comedy out of it.
Speaker 2 (26:51):
Yes, correct, What is the film that made you cry
the most this year? You fucking pathetic, weedy little crier?
What what didn't make what didn't make you cry?
Speaker 3 (27:07):
Brett? What phil make you cry the most this year?
Speaker 2 (27:10):
I know what you think. My answer is because you
saw me? Is that what you think? I actually think
there were more. It's a close call. I'll give you
the answer you think because I think it's second.
Speaker 1 (27:20):
Yeah.
Speaker 2 (27:20):
I went to see after Sun and I had. I
went to see it near Nish and then I was
going to go to Nicia's house afterwards. It was like
fifteen minute walk to Nish's house from the cinema. I
saw after Sun. I sat for all the credits. I
stayed in the cinema after ten minutes to get myself together,
and then walked to this's house, thinking I'll be all right.
By the time I get to the Nish had family
around the answered the door, he saw me, he went,
(27:41):
you just seen after Son. He helped me and then
he said come in, and I said, I'm not ready,
and then you introduced me to your family by going
he just saw after And I was like, okay.
Speaker 1 (27:55):
Yeah.
Speaker 3 (27:55):
My brother was there, and my brother had had seen
after Son, and he was like, fair enough, give him
a second. My teenage cousins were there, who were also
say quite star struck and then very baffled. Roy Kent
a lot of sadder in real life. Yeah, I hope
(28:17):
he says. I hope he says fuck soon, because this
is what he looks really like. He's thinking about things.
Speaker 1 (28:24):
The film that made me cry longer?
Speaker 3 (28:26):
Yeah, how is that not your number?
Speaker 1 (28:27):
One? Yeah?
Speaker 2 (28:28):
Because it was everything everywhere, all at once, which I
think made me cry solidly from the last half hour
of it, and it's like what two and a half
hours from the two hour mark to.
Speaker 1 (28:39):
The end, I was crying.
Speaker 2 (28:41):
Yeah, and then on, and then I just didn't see it,
you know, I blocked out the rest of the night.
Speaker 3 (28:52):
I'll say everything over all at Once made me cry twice.
I've seen it twice in the cinema and it made
me cry twice in the cinema. And it's one of
my answers for later. So I'll probably get into why
I think it made me cry, because I'll be honest
with you, Brett, I started crying. I think minute six.
I don't have an exact time code, but it was
(29:13):
very very early. But what was it about it that?
What's the point? I mean, I think I know the point,
but what was the point that tipped you over?
Speaker 2 (29:21):
Well, I'm sure we're talking, we're talking in depth and
it I think everything over all the ones is amazing
and amazing at won Best Picture because it's so rare.
Speaker 3 (29:28):
That it's so weird.
Speaker 2 (29:30):
The films that are popular and chrys nick named and
win stuff are very rarely the same, and you go,
it's such a weird film. It's so original, it's so
odd and funny, and it has button dealdayes in it
and hot dog fingers and still there's so much going
on about parenting and children But for me, ultimately it
was I think the relationship of the husband and wife
(29:53):
in this idea, right, Yeah, I can't even say it
without Win's cry, but you know, we'd be happy doing
taxes and laundry in a kind of finish.
Speaker 3 (30:08):
Hold on, let me get my cousins on FaceTime. Froy's
got sad again, So you're so yeah, so yeah. So
for you it was that is that relation to it,
because it's he starts out, he seems so ineffectual. Then
you sort of find out there's this kind of heartbreaking
thing where she finds out that he's planning on divorcing her. Yeah,
(30:32):
it's also like, I mean, there's so many reasons why
it was an unlikely Oscar winner, but also for a
film to be a genuinely funny comedy with properly brilliant jokes,
and to have genre elements full on and full on
sci fi elements, those are two things that normally immediately
boxed you out of an Oscar. So I do think
(30:53):
it is incredible that it won. But then the point,
and also the point that you were talking about, is
the kind of one car why sort of tribute when
she's been at the movie premiere, and he's it's sort
of a stylistic homage to things like in the Mood
for Love, and Yeah, I think that is such a
that's such a potent scene and it's so brilliantly played,
(31:15):
and Ko Kwan is so. I mean, Michelle Yo is
incredible in the whole thing, and that it's like, you know,
it's like one of those performances like Daniel Kalua in
Get Out. If the center of a film with that
higher concept can't hold, if that if we don't buy
every single thing that she's putting out into the performance,
the entire movie collapses. Like as brilliant as the film
(31:37):
as I think it is, I don't think you can
sell a film that has to have so many outrageous
elements and then proper emotional beats without that. But he's
incredible in that scene. And so that was the thing
that set you.
Speaker 1 (31:47):
Off, I think so, Yeah, And but I was.
Speaker 2 (31:51):
But that's why I think the film is amazing is
that everyone had talked about it. It's another element that
gets that they I know, with you unless you want
to save it, I know.
Speaker 3 (32:00):
Yeah, yeah we can definitely. Yeah is different. Yeah, it's
a completely different thing. But I'm keen to it. I'm
just interested to see what it is about that central
relationship that you think sort of pushed you over the edge.
Speaker 1 (32:14):
I mean, this is not that's not.
Speaker 2 (32:20):
This is I would describe this as unfair. I would
describe this as an attack. This is our frost Nis
at moment. Yeah, you know, it's just it's just, you know,
I didn't mean anything to it. It's just a nice
thing that he says.
Speaker 3 (32:43):
The man that made me cry the most was after Son.
Oh yeah, sorry, because everything everywhere did make me cry
twice both times I saw it. After Sun, I actually
I went to I can't remember what why I was
doing this, but I got I like panic, bought tickets
to see what turned out to be a preview screening.
I think because I was going to be away and
(33:03):
so I was like, I got to see this, and
then I saw there was one ticket left in the
picture house central in the screenline, it's a really nice
screen and I think the man who was sat next
to me was uncomfortable and was worried about me. I
genuinely think that there is a guy out there. It's
almost funnier if he recognized me. But even if he
(33:24):
didn't he has. I think I'm an anecdote that that
man tells. Because also it was a preview screening and
there was a Q and A with the director, which
Charlotte wells afterwards, and I was like, I've got to go,
like as in, I can't stay. I didn't stay for
the Q and I really regret it because I think
it's a masterpiece. I think it's one of the I
(33:45):
think it just in terms of just for a debut feature,
is absolutely unfathomable. It's not even worth dwelling on the
fact that it's her debut feature. But I just think
as a piece of filmmaking, it's extraordinary. I think the seat,
the repeated refrain of the night club, so it's about
this holiday. And also I realized that I didn't understand
(34:05):
what it was from the trailer, and the trailer I
think keeps the secrets of the film really nicely. It's
not really a big twist, but it's a woman in
her kind of early thirties looking at camcorder footage of
a holiday she took in Turkey with her dad and
it was the last time she saw him, and she keeps,
(34:25):
she keeps she's almost like trying to sift through like
I saw black box recording to try and find clues,
and we don't really see too much of her. She
sort of appears kind of in the background. The main
bulk of the movie is the period piece between poor
mescal Is. I mean, just like just imagine that scene
(34:48):
where he's crying in normal people, but for a whole film,
Like it's like he's like he's such a like such
a like wounded animal for the whole movie. And but
and like I just thought that there's something really tragic
about the fact that you can see that he is
being weighed down by his insecurities and depression and anxiety.
(35:10):
But and also he's really beating himself up about how
he parents his daughter, and I think it's just a
very sad thing that he doesn't realize that like he's
enough for her, like him just being there is enough
for her. And the sequence, the thing that sort of
then really like tipped me over the edge is you
keep seeing shots of him in a nightclub and her
as an adult looking for him, and it kind of
(35:32):
appears like outside of the action, which for quite like
low key naturalistic film, it's quite this like it's quite
bold or stylistic flourish, and then at the end those sequences,
the like archive footage and the nightclub sequence converges. And
in the holiday in Turkey also I'm almost exactly in
the same age as as woman, because all the music
(35:54):
in it was like unbearable, like Tender by Blur, like
it was all just unbearable late night to stuff. And
the song that her dad loves is ari, Yeah, is
Losing my Religion, And there's a sequence where she tries
to sing it with him a karaoki and he doesn't
do it, like all of that, but there's like a
moment where he's dancing to under Pressure and she is
(36:15):
sort of embarrassed by him, but she kind of walks
towards him on the dance floor anyway. And also under
Pressure is a fucking amazing song. I know we're sort
of innuded to it because we all hear it sort
of ten thousand times a day, but like that when
David Bowie sings that love such and old fact, like
that is incredible. And as she hugs him in the
(36:36):
past in the kind of nightclub sequence, she like fights
through a crowd and finds him and it's just strobe
lights going the whole time, and he sort of thinks
that she's going to like confront him, but instead she
hugs him. And it cuts between her finding him on
the dance floor on holiday and hugging him, and her
finding him in the nightclub and hugging him, and it's
(36:56):
the it's the act of forgive being your parents, for
just being human beings. And I just thought it was
such a brilliant expression of just of love and just
an evocation of like love and loss, and it just
absolutely flawed me. And like the last frames of that
movie when he's like you see him pulling the video
(37:19):
corder camcorder away and then walking down this corridor and
then opening the door and it's the nightclub. It's just
like it was such an amazing mixture of really naturalistic
sequences and then these kind of really amazing stylistic flourishes.
But that thing of her when you think she's going
to hit him and she fucking hugs him. I was
(37:42):
like I was like throwing up tears, like they were
like I was crying out in my mouth, just like
because I think just whatever situation you're in in your life,
they just has to come a point where you have
to forgive your parents for just being people, and what's
happened to her is really difficult. Like she's like been
(38:03):
abandoned by this man, you know, like whatever his problems were,
she probably feels to some extent abandoned by him. But
now we also see that she's got a kid, and
it's almost like she's coming to some understanding about what
he was going through, and like the whole film has
kind of been a journey for her to understand her
dad and empathize with him. And I just think that
(38:26):
that is absolutely and I probably should stop talking about
it now.
Speaker 1 (38:28):
Because Where Guys Are Quiet has left the podcast.
Speaker 3 (38:40):
Oh god, it's perfect.
Speaker 2 (38:42):
It is an incredible film, and I don't know what
I find fascinating about it, you know, as someone who
is involved in making stuff, And I don't know how
After Sun works, Like I think it's so I can't
sort of work out. It's almost and it's a very
(39:03):
different reference, but it's almost like a David Lynch film
in terms of I go, I don't know why this
is doing the things that it is doing to me. Yeah,
I don't know what makes this so special. It's incredibly special,
and I can't really make sense of why. I don't
know how she's shooting it, how she's framing it, how
Like I can't really analyate. I can't really sort of
(39:23):
dissect it and go, well it works because of this
and this and this. I don't know this. This kind
of seems like nothing else. It's really pretty magical. Yeah, anyway,
well masterpiece. Great, all right, so that's two down. What's
the film that's sort of meant to be shit? But
you loved it?
Speaker 3 (39:43):
This is because we do these every year. I think
it has affected the way that I watch movies because
I literally walked out of this film and was like, yeah,
I got my answer three words, Brett, Ticket to Paradise,
Ticket to Paradise, and yes I will. I will admit
to you, Brett. The plot is very predictable. Yes, it's
(40:04):
shot like a mid range travel agency YouTube advert. There
were definitely points where I was expecting Skip had to
appear in the corner of the screen. But on the
other hand, I give you Brett. Movie stars, fucking movie stars, Clooney, Roberts,
Caitlin Diver as well playing the daughter who I think
is a future movie star. But Clooney and Roberts. This
(40:27):
is it is charisma. These are people who they couldn't
have worked in McDonald's. You can't put Julia Roberts and
McDonald's be distracting for everybody. You've got to put her
on the biggest screen possible, and her and Clooney are
having such a good time, and it's just one of
those things where all of their charisma translates on camera,
(40:50):
and there's point that in the end during the credits
there's like bloopers, and a lot of the bloopers, just
the extras are mainly just like step like thrilled to
be in the company of George Clue and Julia Roberts,
and I just I loved it. I was completely charmed
by it. I thought that it was really funny. I
thought that even though the plot doesn't it's bad, it's
(41:10):
quite bad, and even though it's the twooting of it,
it's quite shit. I had an absolutely like great time
for whatever it is nineteen minutes to two hours, I
had an absolutely great time. I was thrilled to see
proper cinematic charisma I was. I loved it. I absolutely
(41:33):
loved it.
Speaker 2 (41:33):
What's Yours Mine is three thousand years of Longing, which
I don't know what happened to that film. It was
George Miller. When George Miller made the film you fucking listen, Yeah,
you turn up. It sort of came.
Speaker 3 (41:47):
Sometimes you're like, well that's Happy Feet. Okay, well I
guess I'm seeing that now.
Speaker 2 (41:51):
Listen. The man made Happy Feet. He made Babe Babe
Pig in the City. He made Mad Max. He made
Mad Max all the Mad Max and Mad Fury.
Speaker 3 (42:00):
Rode Mad Meat. He made mad MEAs that's what Mad Max.
Speaker 2 (42:06):
He's a fucking artist. And then I had somehow missed
this film. I watched it on a plane, which is
not the idea way to watch it. I had no
idea what it was about. It's fucking mad. What it's
about is Till the Swinton. I mean, if you told
me this, I'd have been there opening night. Till the
Swinton finds a lamp and rubs it, and Indrice Elbow
(42:27):
pops out as a genie and they're in a hotel
room or a little apartment, and she's got three wishes
and she's trying to outthink him. And while she asked
him questions about previous people he'd done, Wishes it's almost
like a sort of one thousand and one nights.
Speaker 1 (42:44):
Is that what it's called? Arabian Night?
Speaker 3 (42:45):
Arabian Nights?
Speaker 2 (42:46):
Yeah, yeah, yeah, like as in so many short stories
from the Genies past and from her past, and it's
about love and it's about sex, and it's got like
it's like fairy tales.
Speaker 1 (42:55):
And it's great. I mean, it's fucking great.
Speaker 2 (43:00):
And it's also I like that he made Mad Mad
Max Females and then he made a film bat it's
fucking Genie.
Speaker 1 (43:08):
It's lovely.
Speaker 3 (43:10):
You can't pin this man's filmography down to one thing.
Speaker 2 (43:13):
That's what I love. You're like, what's he going to
do next? I don't know, couldn't guess. Yeah, full full
on musical musical set in in Hell starring mice. You'd
be like, okay, yeah.
Speaker 3 (43:31):
George Miller's back with an all mouse musical set in
the bowel of Hades itself.
Speaker 1 (43:36):
Or he do like die Hard seven? Do you know
what I mean?
Speaker 3 (43:39):
Yeah? Right, yeah, yeah, you don't know, you just down. Yeah.
Speaker 2 (43:43):
I think it was great, very entertaining, sweet, sexy, fine hot.
Pilis Winton who doesn't love it? Just me who doesn't
love it?
Speaker 3 (43:53):
Yeah, Well this is very much my argument with Yeah,
cluding Roberts.
Speaker 2 (43:59):
What is the film that surprised you the most as
you thought you'd hate it, but you loved it.
Speaker 3 (44:05):
Okay, so this is going to sound a bit weird,
but Banshee's of inn A sharing well, and I'll tell
you why it was a bit weird. I did not
get on with Three Billboards at all, to the extent
that it made me quite angry. And the thing is,
I really loved Martin McDonough. Like I saw the Left
(44:27):
Tent of Finish More when I was like eighteen in
a small theater because I was there on like a
fun school trip, and like this. I think the second
act of that play opens with just like blood and
limbs on the stage and obviously we're just like, this
is fucking brilliant. And I remember loving in Bruges, and
I watched a bit of in Bruges after I saw
Three Billboards because I was and I was like, oh,
(44:48):
I don't like this anymore. I don't like in Bruges anymore.
And so there was a part of me that slightly
worried that I'd grown out of Martin McDonough and his thing.
But I thought Banshee's was great. I thought was absolutely brilliant.
I thought it was really funny. I thought it was
really sad. I thought it was brilliantly performed. I think
obviously Pleasing and Farrell are brilliant. I also think, man, listen,
(45:12):
if you need a creepy little fucker, you call Kegan,
you call Barry Keegan. I'm not sure I'm pronouncing his
name correctly, but I'll be honest with you. I'm too
creeped out by the guy. I'm too creeped out by
the guy Barry Barry We I mean, the nice thing
about this is the creepy there's there's a real depth
(45:34):
to it, and he brings a lot of depth for
that part. But like man between like Killing of Killing
of Sacredea and Green Knight, like he is a massive
rogues gallery of fucking little creeps. And I'm sure he's
a very nice man, but he creeps me the fuck out.
In fact, I know that he's a nice someone I
(45:54):
know is work with him, and he says, no, he's
a really nice guy, and I was like, sure he
is fucking creepy little Yeah, he's a nice guy. Then
you catch him later and he's snacking on someone's toenails. Horrible,
creepy guy. And Carry Condon was great as well. Yes,
really good.
Speaker 2 (46:11):
Well I'm going to talk about that film from my
side In an upcoming question, I said, film that's surprised me.
The most that I thought I'd hate was The Souvenir
Part two because as you.
Speaker 1 (46:21):
Know, Wow, boy did I struggle with the part? Boy?
Oh boy?
Speaker 2 (46:27):
Would I describe that as beyond homework?
Speaker 3 (46:31):
The the eye set you service?
Speaker 1 (46:34):
Fuck me? Fuck me? That was? That was like, yes,
this is good.
Speaker 2 (46:42):
Really struggled with the part to the extent that I
was like, I don't have to see part two?
Speaker 1 (46:47):
Do I have done? You know what I mean, I've
eaten my greens? Let me go? Was it you do?
You beg me?
Speaker 3 (46:54):
I really begged you to see too.
Speaker 1 (46:56):
And you know what, I fucking liked it really good.
I liked it.
Speaker 2 (47:01):
Yeah, I really liked it. And how come you like
that one? I'd argue, it's partly because stuff happens.
Speaker 1 (47:11):
Would be my main one and two do you like
things happening in a film? Then what's the second one?
Speaker 3 (47:19):
I'm genuinely a most They didn't use that as a
poll quote and I'd be shocked if that's not what
they used in future. I loved Part one. I loved
Part two, Portrait of an Artist as a young woman,
loved it. Loved the ending where it pulls out to
reveal the crew and you hear I guess Joanna Hogg
call cut and the whole thing has kind of come
full circle. I love the whole package. I love Richard
(47:41):
i Addy smoking two cigarettes at the same time. I
love the fact that Joanna Hogg has made room for
him to just be sort of do his thing in
these films. I think he's great. I love Souvenir one.
I was thrilled to see Souvenir two. I think it's better.
I think that the two parts constitute a very significant
achievement in modern British cinemar. But that's me.
Speaker 2 (48:02):
But I'm being a cheeky boy because one is brilliant.
One is brilliant, but it's not easy. I can't say
that it's not easy.
Speaker 1 (48:15):
But two easier. Yeah, that's what that's what I want.
Speaker 2 (48:19):
I really like too, I really I was really like, oh,
I think about half an hour and I was like,
I'm enjoying this. I'd also like to give a shout,
and not that I thought it would be ship or
that people didn't like it. It's just sort of breezed
by and didn't get as much love as I'm just
giving this an honorable mention, which is she said, which
kind of came and went.
Speaker 3 (48:40):
I totally agree.
Speaker 1 (48:42):
Yeah.
Speaker 2 (48:43):
I watched it and I was like, this is fucking great. Yeah,
it's great. It's weirdly because it's so recent news and
all of that, but it's quite thrilling. It's quite exciting,
and it's kind of pasty and interesting, and and there's
the just the sort of basics so of I don't
want to sound like a right on kind of guy,
but I do think it's interesting that kind of structurally
it's kind of like all the President's men and stuff
(49:04):
like that is two journalists trying to sort of crack
a case, and it is just interesting the reality of
these two journalists were women and they had children, and
they had margined them just the same scenes but with childcare.
Just kind of like, oh that's interesting. Yeah, it's a
whole different level that it just feels new and interesting.
Speaker 3 (49:26):
Yeah, I totally agree. I thought I thought it was
absolutely great, and also I thought it did something really
interesting that you can do in a film, which is
take quite a big question that people have, which is
often like, well, why don't these women come forward or
why is there a gap? And why is there a
gap between you know, we heard these rumors, then it
(49:48):
took years before and it actually showed you like it's difficult.
These people have armies of lawyers that get people to
sign MDAs, and they operate almost like he's like Harvey
Winstein's kind of a sort of massive Also the choice
to not really show his face. I thought it was
brilliant and really smart. But he operates like a kind
of mafia don like it's an atmosphere of fear. And
(50:10):
also journalism is really hard, Like you know, tweeting something
is really easy, but like actually putting it out in
print and getting it to a mass audience and clearing
the legals of it and making it is really hard.
And I thought it was a good I thought it
was a really good process movie about journalism.
Speaker 1 (50:29):
Yeah.
Speaker 2 (50:30):
Great, what was the most meaningful experience that you had
this year?
Speaker 3 (50:37):
Well, there's two answers to this, I mean what I mean, look,
look right, obviously it was very meaningful to see you
turn up in a Marvel film like, of course that
was hugely meaningful for me. Of course that that was
(50:57):
incredibly meaningful. Russell Crow to turn around me like, are
you ready Hercules, Yeah, I fucking am dead. I'll get him.
Ah fucking nail the caunt. I'll kill him and I'll
ask him about what films he liked.
Speaker 1 (51:13):
Store getting a fucking get a coffin.
Speaker 3 (51:18):
Fucking listen for you're playing up front with Jamie tart
So on a personal level, that was very meaningful for me.
It's very exciting and I was very proud of you.
I think that in terms of like I kind of
experienced that, like I had that left something on me personally.
(51:38):
I think watching Flea definitely did that. I just thought,
you know, especially like I don't mean to lean into
the worst characters of myself, but if I could briefly
talk about the government's refugee policy, yeah, I just think
that like in a climate where casual demonization of refugees
(52:01):
and also you know this, this is this idea constantly
now that they casually demonize them for political points and
then they flip flop into saying, well, we're actually trying
to protect them from people traffickers, and when you see
a thing like Flea, you see the extent to which
that government policy and people traffickers are just two sides
(52:22):
of the same shitcoin mistreating these people. And I thought,
Flee he really left a mark on me. Also, it
really reminded me of Walts of Bashir, which is another
one of my favorite films. And like, when you take
difficult and complicated stories and you're hopping in and out
of people's memories, animation is such a brilliant tool to
do that. I thought that as a piece of filmmaking,
(52:44):
I thought it was incredibly impressive and brilliantly put together.
Speaker 2 (52:47):
I completely agree with you, and I really love that film,
and I haven't analyzed it, Like why is it Do
you think that by animating it it sort of makes
it makes it sort of more palatable or something, or
is it the slight distancing of animation makes it.
Speaker 3 (53:01):
I wonder if. I also wonder if it just it
allows you to really feel like you're watching a film
set inside someone's consciousness. You know, so much of this
film is memory, and so much of it is about
the act of remembering, and animation allows you almost to
set a film inside somebody's brain, and Wolsabashia definitely does that.
(53:24):
And again it's and I wonder if there is something
to it, because Boltsibashi is also about it's you know,
it's about Israeli soldiers who have sort of been given
a kind of post from my extress and have sort
of got amnesia because of the strain of their own
participation in massacre. And like, I just wonder whether there
is something too. If you animate something, it gives you
(53:44):
one layer of distance that allows you to really show
some pretty horrific things. But I also just think it's
a great way of showing memory and showing the kind
of slipperiness of it. And they do something very clever
where they incorporate news footage just into spur the film
with news footage, and the overall effect I thought was
just was brilliant. You really, you really felt like you
(54:07):
were being taken down somebody's really really traumatic and difficult memories.
But also it was humanizing and it was you know,
it was you saw, I mean, who's the narrator of
the film and whose life is about. You've got sense
of him as a person, and you know he was
also struggling with like his sexuality, and he had these
(54:28):
kind of personal concerns that were going alongside how am
I going to survive the day because these people traffickers
have like locked us in a boat with no air
in it.
Speaker 1 (54:37):
You know.
Speaker 3 (54:37):
It's yeah, I just thought it's It's a film that
really left a mark on me.
Speaker 1 (54:41):
What was yours? I mean, it's an excellent one.
Speaker 2 (54:43):
Mine was probably the bandities of in this area and
talk about well, it made me really really sad.
Speaker 1 (54:50):
It really really affected me. That film.
Speaker 2 (54:52):
I think it's brilliant and I think that it really
sort of made me think about the fact that what
the story that one way of reading the story is
that it is about a breakup, but it's about Brendan
Gleason has decided that life is short, has suddenly realized
life is short and he's an artist and he needs
(55:14):
to focus on his art at all costs, and that
he needs to sort of cut the dead weight of
his social life so that he can really make his
art before he dies.
Speaker 1 (55:27):
And as someone who.
Speaker 2 (55:29):
Very much has a very bad work life balance and
constantly makes decisions on the basis of well we did soon,
I did watch it going am I Brendan Gleeson just
fucking cutting my fingers off, chucking them love.
Speaker 3 (55:54):
I could not agree with you more strongly.
Speaker 1 (55:59):
Well, yes you are, Yes you are.
Speaker 3 (56:03):
No. I just like I'm interested in the way that
people write about that movie. They were like Colin Farrell's
just like do first, and you're like, no, it's a
story of two idiots. Like I think the key line
in that whole movie is when Carrie Condon says, you're
all fucking boring, like all of you men are fucking boring,
and you're like, it's like it's Laurel and Hardy, Like
it's two idiots. I mean they sort of even look
(56:24):
like Laurel, and like the outlines of them look like
Laurel and Hardy, And you know, it's like one of
them is an idiot, but at least he knows he's
kind of an idiot. The other one is as big
an idiot because he's got He's like, he's I've got
to commit myself to my arm. Why you live on
a fucking island the BDD of nowhere? Yeah, and no
no one cares the sort.
Speaker 2 (56:45):
Of stupid only of like who wants to make this
beautiful FIDLM music? But it keeps cutting off his fingers
the thing.
Speaker 3 (56:56):
Yeah, I just wonder whether that's like, I wonder whether
that's true of a lot of people who work or
have devoted a lot of their are like life to
making pieces of culture. And now maybe now maybe watch
that movie and we're like, maybe Colin Farrell was right,
Like maybe we were wrong, And.
Speaker 2 (57:14):
Colin Farrell is like, it's also the thing of the
the sort of life versus work, Like, yes, Colin Farrell
is boring, but he's also love's love, and so what
if you're going to tell you about his taste every day?
Like it's kind of funny, you know what I mean, Like,
it's not that that's that has its place.
Speaker 3 (57:35):
I found an unpleasant experience to relate to both characters
because I think I've there's times in my life where
I've cut my fingers off and thrown them at love.
And there's times of my life where I've also been
the guy going, come on, let's be friends, come and
look at a donkey. Oh it's death. Very good film,
(57:59):
very very film, very good film. Best film is made.
Absolutely all right, here we go.
Speaker 2 (58:07):
The sexiest film of the year, the sexiest film. Oh
what a Cliffhanger. So that was episode two hundred and
forty four. Head over to the Patreon at patreon dot
com Forward Slash Brett Goldstein for all the extra stuff
and the video with Nish. You can watch Shrinking and
ted Lasso, half of ted Lasso, all of Shrinking all
(58:28):
on Apple TV plus. I mean, what else do we
need to know? I think that's it in it. Thank
you very much for listening. I hope you're enjoying this
so far. Part two is fucking hell. We get deep,
I'll tell you that son anyway. Thank you so much
to Nish. You know I love him, I love talking
to him, love doing this. I hope you enjoyed it too.
Thank you so much to Scrubyus Pittman the distraction Pieces
(58:50):
of Network. Thanks to Buddy Peace for producing it. Thanks
to ACAS for hosting it. Thanks to Adam Richardson for
the graphics at Least Alighting for the photography. Come and
join me next week for part two, The way ahead
of Schedule when you think about it. End of the
Year Special Films of the Year twenty twenty two with
mister Nis Kumber.
Speaker 1 (59:07):
I hope you're all well. Thank you for listening.
Speaker 2 (59:09):
That's it for now having a lovely week, and in
the meantime, please now more than ever, be excellent to
each other.
Look at her. It's only films to be buried with
that when you think about it.
Speaker 2 (00:04):
Way ahead of schedule Films of the Year twenty twenty
two Special Part one with Nish Kuma. Hello and welcome
to Films to be buried with that when you think
(00:25):
about it, Way ahead of schedule Films of the Year
twenty twenty two Special Part.
Speaker 1 (00:29):
One with Thish Kuma. My name is Brett Goldstein.
Speaker 2 (00:31):
I'm a comedian, an actor, a writer, a director, and
they're white rap and I love film. As Frank Sinatra
once said, the big lesson in life, baby is never
be scared of anyone or anything. Having said that, I
must warn you about Bob in twin Peaks fire Work
with me. That really is a scary motherfucker, and I
would suggest you do your best to stay the heck
away from him. That's excellent advice. Thank you, Frank, Thank you,
(00:52):
mister Sinatra. Every week I invite a special guest, ever,
I tell them they've died. Then I get them to
discuss their life through the films that meant the most
of them.
Speaker 1 (01:00):
But not this week. This week it's Steve. When you
think about it.
Speaker 2 (01:03):
Way ahead of schedule, Films of the Year twenty twenty
two Special Part one with mister nish Kuma. You can
watch all of Shrinking on Apple tv Plus. And you
can now watch ted Lasso Season three episodes one to
six on Apple tv Plus. Basically go to Apple tv Plus.
That's all you need, isn't it. I guess? So yeah,
watch it, love it. Head over to the Patreon at
Patreon dot com forward slash Brett Goldstein, where you get
(01:25):
all the extra stuff from all the episodes. You get
extra questions with guests, you get the episodes uncut and
ad free, and you get most of the episodes as videos.
Speaker 1 (01:34):
Head over to the.
Speaker 2 (01:35):
Patreon at Patreon dot com forward Slashbrett Goldstein. So if
you are new to this podcast, every year, me and
nish Kumar do our Films of the Year. I never
did them in December of that year because I haven't
seen them all and that would be disrespectful and I
want to make sure I've seen all the films before
we record this. This edition is actually way ahead of
time when you think about it. I normally get it
down about June. So you are very lucky people. Nis
(01:56):
was as brilliant as ever. I've included everything in the
main podcast because a special one here is part one
of the way ahead of schedule. When you think about it,
special Films of the Year twenty twenty two with mister
nish Kuma. Really loved cutting up with this and recording this.
I hope you do too. So that's it for now.
I very much hope you enjoy episode two hundred and
(02:17):
forty four of Films to be Buried With. Hello and
welcome to Films to be Buried With the end of
year special. It is I Brett Goldstein and I'm joined
(02:39):
today for the fifth, sixth, seventh to seventh time, is
my guess, seventh time in his life death and judgment.
Please we haven't judged you anyway. Please. He's a he's
(02:59):
an actor, he's a writer, he's a panel, he's a door,
he's a window, he's a roof that he will take
off in your presence. He's a lover, he's a fighter,
but he's a pacifist and he's also one of the
great stand ups of all time. Please work him back
(03:21):
to the show. It's the brilliant mister nish Kuma.
Speaker 3 (03:26):
Hindu Wisdom, Hindu incarnation, reincarnation. He keeps coming back it's
like I've achieved, like I don't know what level of
enlightenment this season. In the Hindu and Buddhist system of reincarnation.
Speaker 1 (03:41):
You're a terminator.
Speaker 3 (03:42):
I'm coming back as the same person every time. I've
behaved in exactly the same way in every one of
my lives, and I'm constantly re reincarnating as myself.
Speaker 2 (03:54):
Every time you die, the gods, go and try that again.
I feel like you didn't really do much with that.
Speaker 1 (04:03):
Do you want to go try again? We'll give you
another gun.
Speaker 3 (04:08):
As with all of my acting, Brett, they asked me
to do a second take, I do exactly the same.
Everyone gets frustrated, everyone gets Australian. Nothing is anything.
Speaker 2 (04:17):
Else this time, anything just some options, just anything. We'll
send you back, same as before, just something different.
Speaker 1 (04:26):
What a delight to see you.
Speaker 2 (04:29):
I miss you. I'm in America, you're in London. This
isn't how it's meant to be. We should be in
each other's arms, but here we are.
Speaker 3 (04:36):
We've run a whole gamut of things. Now you and
me in the same room, you and me live in
front of an audience, You and me on zoom in
the supposed in the UK but currently you're ensconced in
the sweet bosom of Halliwood now and I am being
slowly passed out of the annus of London.
Speaker 2 (04:59):
What's what's your tell us for the listener who hasn't
heard from you in a while, what's the latest?
Speaker 1 (05:06):
What's he happen to now?
Speaker 2 (05:07):
What I will say is, because I don't said, I
did come to the recording of your stand up special,
and I'll say this in public. It was phenomenal. It
was truly brilliant. It was so good. It was the
sort of thing that makes you question your own work.
Your stand up was so good that I was like, oh,
I guess that's I guess that's how you do it.
Like I sort of was like simultaneously delighted, is a
(05:31):
bit and a bit and I think I left.
Speaker 1 (05:33):
Like fucking pricks really good.
Speaker 3 (05:35):
Well, this is this is clearly something we have in
common Bread, because after I do stand up, I deeply
question my own work. The first thing I think is
I don't think that's good enough. Yeah, I've recorded that
show and I've got a finish editing it, and yeah,
I was touring a lot, but I'm about to start
(05:56):
a podcast. Tell Us like as we record.
Speaker 1 (05:59):
Podcast toilet toilet podcast.
Speaker 3 (06:01):
No now I have. I did try and suggest toilet niche.
It's toilet niche is what you used to refer in
the brief period when I did a show for Quibi
r I p for ever in our hearts. We put
I pour one out every morning for Quibi. It was
a short whose business model was YouTube but you pay
(06:22):
for it, and whose business model, it turns out, was
written on a piece of toilet paper and human shit.
But it's it did it did listen it, It paid
me money and I was thrilled about it. But yeah,
when that was on, I believe you might be the
only viewer of working on the shower wat it.
Speaker 2 (06:41):
But I watched it every single day? Was it every day?
Speaker 3 (06:46):
You watch it on the toilet?
Speaker 1 (06:48):
On the toilet?
Speaker 2 (06:49):
It was the perfect amount of time and also what
better way to get the news and information that's important.
Speaker 1 (06:56):
And I know maybe I don't have a sort of
radar for what.
Speaker 2 (07:00):
Populist because I was like, this is the one, toilet,
this is the one.
Speaker 3 (07:05):
But now I'm doing a show about the UK news
for Crooked Media, the American podcast network who do pod
Save America. I'm about to start on May the fourth,
I start doing a show called Pod Save the UK,
which is going to be a weekly show which I
do with my friend Coco Kahn, who's a journalist about
what's going on in UK politics. So now Brett, you
(07:26):
don't have to text me and say can you tell
me what the fuck is going on in the news.
Speaker 1 (07:32):
You're doing for me?
Speaker 3 (07:35):
No, it's weekly. It's once a week. I'll be doing
a full round up of the week. I did suggest
toilet Nish as a name for the podcast, but they
said that that name was as off putting as it
was incomprehensible, and they thought that they'd stick.
Speaker 2 (07:48):
Like I don't have a populist instinct, but for me,
I'm like that.
Speaker 3 (07:56):
For me, I don't have a populist instinct. I think
all kids should be forced to watch Twin Peaks, and
I think toilet Dish is a good note for a podcast.
If there's two things I know about you, Brett, it's
that you think Twin Peaks should be added to Disney
Plus and put under the family section. And I should
have done called toilet Dish, but no, We've elected to
(08:17):
stay with Pod Save the UK, which is part puts
it in line with the successful branding of the incredibly
famous American podcast America.
Speaker 2 (08:26):
I guess I can see some logic to that decision.
When does this start?
Speaker 3 (08:30):
May the fourth Star Wars Day? Not not on purpose? Well,
this is thrilling news. How's your year been, Brett? How's
your year?
Speaker 1 (08:43):
Bin Emmy number two?
Speaker 3 (08:47):
Yeah? Yeah, I like to give the impression that you
and I don't speak at all.
Speaker 1 (08:54):
In between these exist between.
Speaker 3 (08:58):
April is pretty good going for us to get our
best of the previous year going. I think what we
always try and do is get it in before June,
where the half the year is.
Speaker 1 (09:08):
A halfway mark.
Speaker 2 (09:09):
Yeah, okay, so this is we're doing our films of
the Year twenty twenty two very early because it is April.
Speaker 1 (09:15):
I think we're way ahead.
Speaker 2 (09:17):
But one of the reasons it always happens late is
it's hard to see all the films. You want to
see as many films as you can before you're calling
the list. I never want to do it before New
Year's Eve because, as you know how to fuck do
you know, you might see something on the December day
if but the rules generally are it has to be
a film that was officially released in the UK between
January first and December thirty first, twenty two. So then
(09:39):
it becomes difficult because Tar. You might be thinking, why
isn't Tar on this list because that's twenty three.
Speaker 3 (09:44):
Mate, twenty twenty three.
Speaker 2 (09:46):
Why isn't women talking about that's twenty twenty three, will
be twenty twenty three about that June next. Now, generally,
generally what we're saying good year for film, Good.
Speaker 3 (10:00):
Year for film, good year for Brett Goldstein, good year
for this tumor. How was Emmy number two as an experience?
Speaker 2 (10:07):
Truthfully, no less mental? It isn't like you go like, yeah, no,
I get it. I think you just because these things
are so sort of huge but also very brief. It's
not like when you do stand up, when you two
hundreds of gigs and you build up yeah yeah, ten
(10:28):
thousand hours of experience like I guess the Emmys is.
You don't really get to practice it. It's just fun
and it's so surreal that the first time it happened,
I think my brain just put it away like that
obviously didn't happen. The second time it happened, it was
the same, the same sort of like what.
Speaker 3 (10:46):
The heck is.
Speaker 1 (10:49):
Very nice, obviously very nice.
Speaker 3 (10:51):
What's weirder winning Emmy or talking to Harrison Ford? Because
I think that for me because we obviously the lasso
jugger all rolls on, but we should talk a little
bit about shrinking, which is a fucking great show.
Speaker 1 (11:04):
Thank you, Nis.
Speaker 3 (11:05):
And I mean, like I've seen you on these talk
shows Brett talking about how you met Harrison Ford. But
there is something very clearly omitted from that story, which
is immediately after it happened, I didn't see you telling
bloody Stephen Colbert. I just immediately got on the phone
with my friend. She went, fucking hew mate, our fucking
oh fucking met Indie. I fucking did, fucking Indee.
Speaker 1 (11:31):
Yeah, I did leave that far out. That's true.
Speaker 2 (11:37):
Well, I mean what I would say about Harrison Ford
is what is weird because sometimes you meet people, and
you know, I've been very lucky to meet and work
with lots of amazing, very famous people, and usually if
they're great people and lovely people, you just sort of
get they do become it's normal, this is your friend whatever.
But I will say I think for everyone with Harrison
(11:58):
Ford has avoid has been nothing but lovely and delightful
and charming and hard working and and good, you know
what I mean, like zero complaints from him. However, I
think all of us from crew to cast are still
like fucking hell.
Speaker 1 (12:15):
And that's after a year of working with it, you
know what I mean.
Speaker 3 (12:18):
I had to watch the first episode twice because, to
be honest with you, I honestly wasn't paying attention to
what was going on just whenever he was on screen.
I was just thinking, Brett met Harrison, Brett, Brett met
Han Solo, and now Brett writes things that Han Solo
says out loud.
Speaker 1 (12:35):
It is nuts.
Speaker 2 (12:37):
It is and I still even when he texts me,
which you know we're we are in communication every single time,
I go fucking hell.
Speaker 1 (12:46):
Oh look, Harrison for tastes me anyway.
Speaker 3 (12:52):
Wait, so just answer the question, working with Harrison Ford
or Emmy number or two times Emmy, which is weirder?
Speaker 2 (12:58):
I guess Harrison Void is weirder because it has been longer.
It's been longer and not got any less weird. It's
it's so cool. It's the absolute coolness. Now, I forgot
to tell you something and I can't believe it.
Speaker 1 (13:12):
I can't believe it. I see this is mad, No,
what is it?
Speaker 2 (13:17):
I don't know if you know how Sometimes they say
like every fear hides a wish, Like sometimes I'm like,
I think you, I think this is you've died.
Speaker 3 (13:28):
You fucking hell yeah, this is truly shocking information to me.
Speaker 1 (13:33):
What happened? Oh man, I don't.
Speaker 3 (13:37):
I can't remember how all the ways that I've died.
Speaker 1 (13:40):
Listen to a podcast, walked into the road.
Speaker 3 (13:43):
Oh you definitely killed me because you were embarrassed by
my compliments.
Speaker 1 (13:47):
Yeah, I killed you once and again. Yeah.
Speaker 3 (13:50):
Well let's say this was times too. Every year you
win an Emmy and I congratulate you too earnestly I
had to say that I'm proud of you too much,
and you murder me again. This time you actually blunted
me to death with the Emmy, which was horrible.
Speaker 1 (14:09):
So many that.
Speaker 3 (14:11):
Yeah, yeah, it's like it's like it's a sword with
a bunch of knives taped on it.
Speaker 2 (14:18):
Basically it is like the Game of Thrones throne. Then
it's sort of that with a face, well, well done,
you have died, but this time when you've you come
back to them and again and again.
Speaker 3 (14:35):
They're sort of like, oh my god, we can't get
rid of this guy.
Speaker 1 (14:39):
It doesn't seem like he changed much this anyway. Compactly.
Speaker 3 (14:44):
It's like the British television audience, Oh Christ, we thought
we got rid of this guy, and yet here he
is back again.
Speaker 2 (14:53):
But they want to talk about the films of the year.
To both of us, weirdly, for once, that's good. That's
film films of the year.
Speaker 3 (15:01):
Murderers and their victims rarely do things together, and that's
actually a real shape.
Speaker 2 (15:06):
And that brings us to one of my answers. But
we'll come to that. We're going to answer the questions,
some questions, and then we're both going to do our
top ten generally great year.
Speaker 3 (15:21):
I film very good year. Yeah, very good year.
Speaker 1 (15:24):
When you look back, you go a little bangers there.
Speaker 3 (15:26):
Yeah, I felt like the year was there were a
lot of early bangers. And because before we do this,
we do prep for this beyond just watching a lot
of films, and I was looking at some of the
year end lists and slowly realizing that there was a
bit of a sort of recency bias with some of
the lists, and I think there were some real early bangers. Also, again,
(15:46):
because of the UK releases, there's some stuff that comes
out in America. That so people, I think, feel weird
about including it on UK lists. But there's definitely some stuff.
If we're observing the strict rule, which no one is
making us do, there's no reason for it to continue
to be in this life. Increasingly as release schedules changed. No,
(16:08):
you and I bought Empire magazine in the nineties, and
so we can only engage with the idea that it's
the first of January to the thirty first of December.
This is UK release dates.
Speaker 1 (16:21):
Tah, I keep hearing you knocking at the door.
Speaker 3 (16:24):
Wait, and I hope those women are talking about how
we'll be talking about them next year.
Speaker 2 (16:30):
Oh, we're gonna be talking about their women talking in
the time.
Speaker 3 (16:36):
Quite your marital dispute, pablements. We'll get to it. But yes,
we're stuck to this incredibly strict rule and this year
we're hoping to keep it sub two hours.
Speaker 1 (16:47):
Okay, let's go.
Speaker 2 (16:49):
What was the film that scared you the most this
yearns Kuma.
Speaker 3 (16:54):
I'll tell you what it was, Brett. This film scared
me and it also delighted me in how it's scared me.
It was Barbarian Love. Barbarian one of the and I
mean this is an absolute, absolute compliment, one of the
nastiest films I have ever seen. Just nasty, just like
(17:15):
deeply unpleasant, and like the worst thing about it is
that I actually had to stop watching it the first
time I was watching it because I was watching it
on a plane, so I have to wait until I
got home. I think a I was conscious that this
is a really good movie, and I would really like
(17:36):
to watch this like in the you know, and feel
immersed in the film. But also, nobody needs to see
that breastfeeding scene. There's kids on the plane.
Speaker 1 (17:49):
Never forget.
Speaker 3 (17:51):
Listen. I'm all for mother's breastfeeding their children in public.
I think we need to remove the stigma around that. However,
this specific breastfeeding cover them up love.
Speaker 1 (18:01):
I think this has set that debate back.
Speaker 2 (18:09):
Oh, it's just some journalists at the Daily Mail.
Speaker 3 (18:14):
See this is the end of the slippery slope.
Speaker 2 (18:18):
First it's cafes, then it's underground dungeons in your house.
Speaker 3 (18:24):
Then it's the kid from Dodgeball being forced meent tit
milk in a basement. This is the future liberal ones.
Speaker 2 (18:31):
He's very good, justin long it's something about him, very charming,
he's good. You can play sort of bad people because
you sort of you sort of like him, don't you.
Speaker 3 (18:39):
Yeah, it's kind of It's interesting because there's like three
thirds to the film, and when the first one, the
first kind of sequence that involves the couple of we
should also say spoiler alert for everything. Yeah, yeah, yeah,
arguably the chat about breastfeeding is a huge spoiler. But
(19:00):
the first sort of third of the film, which kind
of shows you this couple they've both got in there's
been a confusion and they're both in the same airbnb,
and then you know, they get dragged into the basement
by this monster and it's almost happened so quickly. There
is a hard cut suddenly to a close up of
Justin Long's face, and it's one of the most I've
laughed at anything in a film this year, Like it's
(19:22):
just like you just don't expect it. And also it's
such a clever piece of casting, and it follows along
the line of something that Promising young Woman did as well,
which is take beloved soft boy be to male comedy
performers and turn them into sex pests. And like in
(19:42):
this case, he's playing an actor who's like embroiled in
an allegation of sexual assault, and it's just like it's
so brilliant. Again, like this is sort of slightly by
the Bible. There's a scene in it where he's in
a bar talking to a friend of his, and just
the language that he's using about this woman, it's just
like such a like it's such a brilliant depiction of
(20:05):
a very specific type of misogyny. But the film itself
is I mean, it's it's horrific, it's imaginative in its horror,
and there's obviously some sort of comedy connection because justin
Long's and it cut braun OLA's in it late, but
it's sort of then the third third flashes back to
the eighties to explain the entire backstory for how this
(20:28):
situation and this Often horror films, it's nice when you
don't know every single detail and you can kind of
put a bit of it into your imagination. But I
think with this one, it's quite good that we know.
I don't think you want to let people's imaginations run
right with this film. It's I think with this film,
it's good to have all of the facts.
Speaker 2 (20:44):
You know, what the director I believe was a sketch
comedian guy. I think now I've just it's just occurred
to me that what the structure of Barbarian is is
a Harald.
Speaker 3 (20:54):
Yeah.
Speaker 2 (20:55):
Like, guys, here's one thing, there's another thing. Here's the
two things together, little game. Yeah, middle a Harold structure.
Speaker 1 (21:03):
How about that?
Speaker 3 (21:03):
Yeah, that's yeah, that's amazing because he did what all
what I do know about it is that he kind
of it was written as an improv effectively, So what
you've said makes absolute sense because he didn't plot out
the beat of the plot. He just had this idea
for the first third of the film and then just
kept writing it and trying to surprise himself. So I
guess if he has like improv training, he's essentially done
(21:25):
the horror movie equivalent of playing a Harold. That that's
an extraordinary observation. God that God, that was. That was insightful.
Speaker 1 (21:33):
Brett, thank you, thank you. As long as I've done one, do.
Speaker 3 (21:39):
You want to explain fully what a Harold is? Everybody
listens to this podcast. Everyone who listens to this podcast
has some improv credits. Let's be honest. Let's be honest here.
Speaker 1 (21:48):
There's hasn't done a week.
Speaker 2 (21:54):
Harold is a structure used in improv, which is the
same structure as barbarian thing. Basically, you do a scene,
then you do a little thing in the middle, then
you do a completely different scene A to B and
then a little thing in the middle, and then C
should be a combination of A and B paying off.
Speaker 3 (22:14):
Yeah, and also there's there's a there's a structure in
improv where you kind of where you have two people
where you see an event, and then there's a sub
scene that explores how that event came to happen. And
that's also definitely what's going on here. We're getting backstory
on backstory on backstory, it's just all of the suggestions.
It's like doing improv, but all of the suggestions were
(22:36):
from Joseph Ritzel. Like that was basically.
Speaker 2 (22:40):
Also, if there are people listening, which of course there are,
and I have explained the Herald correctly, and you're fucking huming,
I'm within the bullpark and if you're not, if you're
tuning in for this for expertise, then you've only got
yourself to play out film. That scared me most. I
(23:03):
got sort of double. There's there's a brief mention to Smile,
which I thought was just a great, great horror I
will say for Smile, and this is not Smiles, for
it is the world of marketing, et cetera. The trailer
of Smile really does put all of the bits in it,
which is really shayeah. They work really well in the trailer,
and they work really well in the film. And my
(23:24):
only sort of negative was I wish I hadn't seen
that Trainer because it's pretty much all the bits are
in the right yeah, yeah, but they're really really good bits.
It's a really well made film. It's a fucking scary,
scary idea, really well done recommend don't works the Trainer.
And then the other film is made by with people
we know All my friends hate me?
Speaker 1 (23:45):
Have you seen it? Scary? That's a horror film.
Speaker 3 (23:49):
This is this is closer to the answer that I
normally give to this question, which is like, I go, oh,
the film that scared me was actually the film that
inspired existence childread how do you feel about that? But
now this year I have gone straight to breastfeeding, Frankenstein,
(24:09):
Bang disgusting, I've got root. One horror talk to Me
about All my Friends my.
Speaker 2 (24:15):
Friends Hate Me? Is made by Andrew Gaynord. I believe
with the Totally Tom's writing it.
Speaker 3 (24:20):
I believe Tom Sterton and Tom Palmer, who were in
a sketch double at called Totally Tom fun fact about them.
We shared a flat in Edinburgh twenty twelve and we
flooded the toilet. I believe that it was the toilet
largely used by me and Tom Sterton. So all our
friends certainly hated us starves, they're just like us.
Speaker 2 (24:40):
The the it's a film, very very well made film.
I would recommend it about a sort of reunion of friends.
And it plays it's like a horror comedy, but it's
it's really it plays on your fear quite your social
paranoia is what it plays on. It plays is like
(25:01):
the title says, do all my friends hate me? That
there is a series of things that happened that make
him think is this a Was that a joke or
did I misread it?
Speaker 1 (25:09):
Was that a joke? Or did I misread it?
Speaker 2 (25:10):
And it's really well done and really well acted and
very like, yeah, I get it.
Speaker 1 (25:17):
We've all felt like that somewhere.
Speaker 3 (25:18):
And also it's like friendships in your thirties where they're
predicated on you know, there's some friendships where I dare say, Brett,
I would describe You're my friendship as being this. Occasionally
we do speak fairly regularly on text, but even if
we don't see each other, we can resume the friendship
from exactly where we left off, right. Yeah, but there
are definitely friends friendships that are predicated on you seeing
(25:42):
each other a lot, and when you don't see each
other a lot, the insecurities and the kind of fault
lines in those friendships start to come to the foe.
And like, this is definitely it's definitely a very good
depiction of that. Yeah, it's good, it's good, and it's
full of really funny British comedy perform It's really it's
definitely worth checking out. And it also is an interesting
(26:04):
double bill with another more conventional horror movie, Bodies Bodies Bodies,
which again is about a bunch of friends getting together
in a house, and it's again about the tensions that
have I think it's it's a slightly younger group of people,
but again it's like the tensions that are occurring between
a group of friends. And but then and then it
becomes a lot of fun in a very straightforward horror way.
Speaker 1 (26:25):
Yeah.
Speaker 2 (26:26):
I watched them in a weekend, both those two, which
is a weird.
Speaker 3 (26:29):
Yeah, but I think it's a great doubleheader. Well, I
don't know if it's too close. I think like because
you know all my friends hate me, definitely moves much
more into a kind of comedy territory and bodies bodies.
But it's kind of interesting, Like it's like an interesting
exercise in how creativity works, because you can take the
same themes and structure and then make a horror movie
(26:50):
and a comedy out of it.
Speaker 2 (26:51):
Yes, correct, What is the film that made you cry
the most this year? You fucking pathetic, weedy little crier?
What what didn't make what didn't make you cry?
Speaker 3 (27:07):
Brett? What phil make you cry the most this year?
Speaker 2 (27:10):
I know what you think. My answer is because you
saw me? Is that what you think? I actually think
there were more. It's a close call. I'll give you
the answer you think because I think it's second.
Speaker 1 (27:20):
Yeah.
Speaker 2 (27:20):
I went to see after Sun and I had. I
went to see it near Nish and then I was
going to go to Nicia's house afterwards. It was like
fifteen minute walk to Nish's house from the cinema. I
saw after Sun. I sat for all the credits. I
stayed in the cinema after ten minutes to get myself together,
and then walked to this's house, thinking I'll be all right.
By the time I get to the Nish had family
around the answered the door, he saw me, he went,
(27:41):
you just seen after Son. He helped me and then
he said come in, and I said, I'm not ready,
and then you introduced me to your family by going
he just saw after And I was like, okay.
Speaker 1 (27:55):
Yeah.
Speaker 3 (27:55):
My brother was there, and my brother had had seen
after Son, and he was like, fair enough, give him
a second. My teenage cousins were there, who were also
say quite star struck and then very baffled. Roy Kent
a lot of sadder in real life. Yeah, I hope
(28:17):
he says. I hope he says fuck soon, because this
is what he looks really like. He's thinking about things.
Speaker 1 (28:24):
The film that made me cry longer?
Speaker 3 (28:26):
Yeah, how is that not your number?
Speaker 1 (28:27):
One? Yeah?
Speaker 2 (28:28):
Because it was everything everywhere, all at once, which I
think made me cry solidly from the last half hour
of it, and it's like what two and a half
hours from the two hour mark to.
Speaker 1 (28:39):
The end, I was crying.
Speaker 2 (28:41):
Yeah, and then on, and then I just didn't see it,
you know, I blocked out the rest of the night.
Speaker 3 (28:52):
I'll say everything over all at Once made me cry twice.
I've seen it twice in the cinema and it made
me cry twice in the cinema. And it's one of
my answers for later. So I'll probably get into why
I think it made me cry, because I'll be honest
with you, Brett, I started crying. I think minute six.
I don't have an exact time code, but it was
(29:13):
very very early. But what was it about it that?
What's the point? I mean, I think I know the point,
but what was the point that tipped you over?
Speaker 2 (29:21):
Well, I'm sure we're talking, we're talking in depth and
it I think everything over all the ones is amazing
and amazing at won Best Picture because it's so rare.
Speaker 3 (29:28):
That it's so weird.
Speaker 2 (29:30):
The films that are popular and chrys nick named and
win stuff are very rarely the same, and you go,
it's such a weird film. It's so original, it's so
odd and funny, and it has button dealdayes in it
and hot dog fingers and still there's so much going
on about parenting and children But for me, ultimately it
was I think the relationship of the husband and wife
(29:53):
in this idea, right, Yeah, I can't even say it
without Win's cry, but you know, we'd be happy doing
taxes and laundry in a kind of finish.
Speaker 3 (30:08):
Hold on, let me get my cousins on FaceTime. Froy's
got sad again, So you're so yeah, so yeah. So
for you it was that is that relation to it,
because it's he starts out, he seems so ineffectual. Then
you sort of find out there's this kind of heartbreaking
thing where she finds out that he's planning on divorcing her. Yeah,
(30:32):
it's also like, I mean, there's so many reasons why
it was an unlikely Oscar winner, but also for a
film to be a genuinely funny comedy with properly brilliant jokes,
and to have genre elements full on and full on
sci fi elements, those are two things that normally immediately
boxed you out of an Oscar. So I do think
(30:53):
it is incredible that it won. But then the point,
and also the point that you were talking about, is
the kind of one car why sort of tribute when
she's been at the movie premiere, and he's it's sort
of a stylistic homage to things like in the Mood
for Love, and Yeah, I think that is such a
that's such a potent scene and it's so brilliantly played,
(31:15):
and Ko Kwan is so. I mean, Michelle Yo is
incredible in the whole thing, and that it's like, you know,
it's like one of those performances like Daniel Kalua in
Get Out. If the center of a film with that
higher concept can't hold, if that if we don't buy
every single thing that she's putting out into the performance,
the entire movie collapses. Like as brilliant as the film
(31:37):
as I think it is, I don't think you can
sell a film that has to have so many outrageous
elements and then proper emotional beats without that. But he's
incredible in that scene. And so that was the thing
that set you.
Speaker 1 (31:47):
Off, I think so, Yeah, And but I was.
Speaker 2 (31:51):
But that's why I think the film is amazing is
that everyone had talked about it. It's another element that
gets that they I know, with you unless you want
to save it, I know.
Speaker 3 (32:00):
Yeah, yeah we can definitely. Yeah is different. Yeah, it's
a completely different thing. But I'm keen to it. I'm
just interested to see what it is about that central
relationship that you think sort of pushed you over the edge.
Speaker 1 (32:14):
I mean, this is not that's not.
Speaker 2 (32:20):
This is I would describe this as unfair. I would
describe this as an attack. This is our frost Nis
at moment. Yeah, you know, it's just it's just, you know,
I didn't mean anything to it. It's just a nice
thing that he says.
Speaker 3 (32:43):
The man that made me cry the most was after Son.
Oh yeah, sorry, because everything everywhere did make me cry
twice both times I saw it. After Sun, I actually
I went to I can't remember what why I was
doing this, but I got I like panic, bought tickets
to see what turned out to be a preview screening.
I think because I was going to be away and
(33:03):
so I was like, I got to see this, and
then I saw there was one ticket left in the
picture house central in the screenline, it's a really nice
screen and I think the man who was sat next
to me was uncomfortable and was worried about me. I
genuinely think that there is a guy out there. It's
almost funnier if he recognized me. But even if he
(33:24):
didn't he has. I think I'm an anecdote that that
man tells. Because also it was a preview screening and
there was a Q and A with the director, which
Charlotte wells afterwards, and I was like, I've got to go,
like as in, I can't stay. I didn't stay for
the Q and I really regret it because I think
it's a masterpiece. I think it's one of the I
(33:45):
think it just in terms of just for a debut feature,
is absolutely unfathomable. It's not even worth dwelling on the
fact that it's her debut feature. But I just think
as a piece of filmmaking, it's extraordinary. I think the seat,
the repeated refrain of the night club, so it's about
this holiday. And also I realized that I didn't understand
(34:05):
what it was from the trailer, and the trailer I
think keeps the secrets of the film really nicely. It's
not really a big twist, but it's a woman in
her kind of early thirties looking at camcorder footage of
a holiday she took in Turkey with her dad and
it was the last time she saw him, and she keeps,
(34:25):
she keeps she's almost like trying to sift through like
I saw black box recording to try and find clues,
and we don't really see too much of her. She
sort of appears kind of in the background. The main
bulk of the movie is the period piece between poor
mescal Is. I mean, just like just imagine that scene
(34:48):
where he's crying in normal people, but for a whole film,
Like it's like he's like he's such a like such
a like wounded animal for the whole movie. And but
and like I just thought that there's something really tragic
about the fact that you can see that he is
being weighed down by his insecurities and depression and anxiety.
(35:10):
But and also he's really beating himself up about how
he parents his daughter, and I think it's just a
very sad thing that he doesn't realize that like he's
enough for her, like him just being there is enough
for her. And the sequence, the thing that sort of
then really like tipped me over the edge is you
keep seeing shots of him in a nightclub and her
as an adult looking for him, and it kind of
(35:32):
appears like outside of the action, which for quite like
low key naturalistic film, it's quite this like it's quite
bold or stylistic flourish, and then at the end those sequences,
the like archive footage and the nightclub sequence converges. And
in the holiday in Turkey also I'm almost exactly in
the same age as as woman, because all the music
(35:54):
in it was like unbearable, like Tender by Blur, like
it was all just unbearable late night to stuff. And
the song that her dad loves is ari, Yeah, is
Losing my Religion, And there's a sequence where she tries
to sing it with him a karaoki and he doesn't
do it, like all of that, but there's like a
moment where he's dancing to under Pressure and she is
(36:15):
sort of embarrassed by him, but she kind of walks
towards him on the dance floor anyway. And also under
Pressure is a fucking amazing song. I know we're sort
of innuded to it because we all hear it sort
of ten thousand times a day, but like that when
David Bowie sings that love such and old fact, like
that is incredible. And as she hugs him in the
(36:36):
past in the kind of nightclub sequence, she like fights
through a crowd and finds him and it's just strobe
lights going the whole time, and he sort of thinks
that she's going to like confront him, but instead she
hugs him. And it cuts between her finding him on
the dance floor on holiday and hugging him, and her
finding him in the nightclub and hugging him, and it's
(36:56):
the it's the act of forgive being your parents, for
just being human beings. And I just thought it was
such a brilliant expression of just of love and just
an evocation of like love and loss, and it just
absolutely flawed me. And like the last frames of that
movie when he's like you see him pulling the video
(37:19):
corder camcorder away and then walking down this corridor and
then opening the door and it's the nightclub. It's just
like it was such an amazing mixture of really naturalistic
sequences and then these kind of really amazing stylistic flourishes.
But that thing of her when you think she's going
to hit him and she fucking hugs him. I was
(37:42):
like I was like throwing up tears, like they were
like I was crying out in my mouth, just like
because I think just whatever situation you're in in your life,
they just has to come a point where you have
to forgive your parents for just being people, and what's
happened to her is really difficult. Like she's like been
(38:03):
abandoned by this man, you know, like whatever his problems were,
she probably feels to some extent abandoned by him. But
now we also see that she's got a kid, and
it's almost like she's coming to some understanding about what
he was going through, and like the whole film has
kind of been a journey for her to understand her
dad and empathize with him. And I just think that
(38:26):
that is absolutely and I probably should stop talking about
it now.
Speaker 1 (38:28):
Because Where Guys Are Quiet has left the podcast.
Speaker 3 (38:40):
Oh god, it's perfect.
Speaker 2 (38:42):
It is an incredible film, and I don't know what
I find fascinating about it, you know, as someone who
is involved in making stuff, And I don't know how
After Sun works, Like I think it's so I can't
sort of work out. It's almost and it's a very
(39:03):
different reference, but it's almost like a David Lynch film
in terms of I go, I don't know why this
is doing the things that it is doing to me. Yeah,
I don't know what makes this so special. It's incredibly special,
and I can't really make sense of why. I don't
know how she's shooting it, how she's framing it, how
Like I can't really analyate. I can't really sort of
(39:23):
dissect it and go, well it works because of this
and this and this. I don't know this. This kind
of seems like nothing else. It's really pretty magical. Yeah, anyway,
well masterpiece. Great, all right, so that's two down. What's
the film that's sort of meant to be shit? But
you loved it?
Speaker 3 (39:43):
This is because we do these every year. I think
it has affected the way that I watch movies because
I literally walked out of this film and was like, yeah,
I got my answer three words, Brett, Ticket to Paradise,
Ticket to Paradise, and yes I will. I will admit
to you, Brett. The plot is very predictable. Yes, it's
(40:04):
shot like a mid range travel agency YouTube advert. There
were definitely points where I was expecting Skip had to
appear in the corner of the screen. But on the
other hand, I give you Brett. Movie stars, fucking movie stars, Clooney, Roberts,
Caitlin Diver as well playing the daughter who I think
is a future movie star. But Clooney and Roberts. This
(40:27):
is it is charisma. These are people who they couldn't
have worked in McDonald's. You can't put Julia Roberts and
McDonald's be distracting for everybody. You've got to put her
on the biggest screen possible, and her and Clooney are
having such a good time, and it's just one of
those things where all of their charisma translates on camera,
(40:50):
and there's point that in the end during the credits
there's like bloopers, and a lot of the bloopers, just
the extras are mainly just like step like thrilled to
be in the company of George Clue and Julia Roberts,
and I just I loved it. I was completely charmed
by it. I thought that it was really funny. I
thought that even though the plot doesn't it's bad, it's
(41:10):
quite bad, and even though it's the twooting of it,
it's quite shit. I had an absolutely like great time
for whatever it is nineteen minutes to two hours, I
had an absolutely great time. I was thrilled to see
proper cinematic charisma I was. I loved it. I absolutely
(41:33):
loved it.
Speaker 2 (41:33):
What's Yours Mine is three thousand years of Longing, which
I don't know what happened to that film. It was
George Miller. When George Miller made the film you fucking listen, Yeah,
you turn up. It sort of came.
Speaker 3 (41:47):
Sometimes you're like, well that's Happy Feet. Okay, well I
guess I'm seeing that now.
Speaker 2 (41:51):
Listen. The man made Happy Feet. He made Babe Babe
Pig in the City. He made Mad Max. He made
Mad Max all the Mad Max and Mad Fury.
Speaker 3 (42:00):
Rode Mad Meat. He made mad MEAs that's what Mad Max.
Speaker 2 (42:06):
He's a fucking artist. And then I had somehow missed
this film. I watched it on a plane, which is
not the idea way to watch it. I had no
idea what it was about. It's fucking mad. What it's
about is Till the Swinton. I mean, if you told
me this, I'd have been there opening night. Till the
Swinton finds a lamp and rubs it, and Indrice Elbow
(42:27):
pops out as a genie and they're in a hotel
room or a little apartment, and she's got three wishes
and she's trying to outthink him. And while she asked
him questions about previous people he'd done, Wishes it's almost
like a sort of one thousand and one nights.
Speaker 1 (42:44):
Is that what it's called? Arabian Night?
Speaker 3 (42:45):
Arabian Nights?
Speaker 2 (42:46):
Yeah, yeah, yeah, like as in so many short stories
from the Genies past and from her past, and it's
about love and it's about sex, and it's got like
it's like fairy tales.
Speaker 1 (42:55):
And it's great. I mean, it's fucking great.
Speaker 2 (43:00):
And it's also I like that he made Mad Mad
Max Females and then he made a film bat it's
fucking Genie.
Speaker 1 (43:08):
It's lovely.
Speaker 3 (43:10):
You can't pin this man's filmography down to one thing.
Speaker 2 (43:13):
That's what I love. You're like, what's he going to
do next? I don't know, couldn't guess. Yeah, full full
on musical musical set in in Hell starring mice. You'd
be like, okay, yeah.
Speaker 3 (43:31):
George Miller's back with an all mouse musical set in
the bowel of Hades itself.
Speaker 1 (43:36):
Or he do like die Hard seven? Do you know
what I mean?
Speaker 3 (43:39):
Yeah? Right, yeah, yeah, you don't know, you just down. Yeah.
Speaker 2 (43:43):
I think it was great, very entertaining, sweet, sexy, fine hot.
Pilis Winton who doesn't love it? Just me who doesn't
love it?
Speaker 3 (43:53):
Yeah, Well this is very much my argument with Yeah,
cluding Roberts.
Speaker 2 (43:59):
What is the film that surprised you the most as
you thought you'd hate it, but you loved it.
Speaker 3 (44:05):
Okay, so this is going to sound a bit weird,
but Banshee's of inn A sharing well, and I'll tell
you why it was a bit weird. I did not
get on with Three Billboards at all, to the extent
that it made me quite angry. And the thing is,
I really loved Martin McDonough. Like I saw the Left
(44:27):
Tent of Finish More when I was like eighteen in
a small theater because I was there on like a
fun school trip, and like this. I think the second
act of that play opens with just like blood and
limbs on the stage and obviously we're just like, this
is fucking brilliant. And I remember loving in Bruges, and
I watched a bit of in Bruges after I saw
Three Billboards because I was and I was like, oh,
(44:48):
I don't like this anymore. I don't like in Bruges anymore.
And so there was a part of me that slightly
worried that I'd grown out of Martin McDonough and his thing.
But I thought Banshee's was great. I thought was absolutely brilliant.
I thought it was really funny. I thought it was
really sad. I thought it was brilliantly performed. I think
obviously Pleasing and Farrell are brilliant. I also think, man, listen,
(45:12):
if you need a creepy little fucker, you call Kegan,
you call Barry Keegan. I'm not sure I'm pronouncing his
name correctly, but I'll be honest with you. I'm too
creeped out by the guy. I'm too creeped out by
the guy Barry Barry We I mean, the nice thing
about this is the creepy there's there's a real depth
(45:34):
to it, and he brings a lot of depth for
that part. But like man between like Killing of Killing
of Sacredea and Green Knight, like he is a massive
rogues gallery of fucking little creeps. And I'm sure he's
a very nice man, but he creeps me the fuck out.
In fact, I know that he's a nice someone I
(45:54):
know is work with him, and he says, no, he's
a really nice guy, and I was like, sure he
is fucking creepy little Yeah, he's a nice guy. Then
you catch him later and he's snacking on someone's toenails. Horrible,
creepy guy. And Carry Condon was great as well. Yes,
really good.
Speaker 2 (46:11):
Well I'm going to talk about that film from my
side In an upcoming question, I said, film that's surprised me.
The most that I thought I'd hate was The Souvenir
Part two because as you.
Speaker 1 (46:21):
Know, Wow, boy did I struggle with the part? Boy?
Oh boy?
Speaker 2 (46:27):
Would I describe that as beyond homework?
Speaker 3 (46:31):
The the eye set you service?
Speaker 1 (46:34):
Fuck me? Fuck me? That was? That was like, yes,
this is good.
Speaker 2 (46:42):
Really struggled with the part to the extent that I
was like, I don't have to see part two?
Speaker 1 (46:47):
Do I have done? You know what I mean, I've
eaten my greens? Let me go? Was it you do?
You beg me?
Speaker 3 (46:54):
I really begged you to see too.
Speaker 1 (46:56):
And you know what, I fucking liked it really good.
I liked it.
Speaker 2 (47:01):
Yeah, I really liked it. And how come you like
that one? I'd argue, it's partly because stuff happens.
Speaker 1 (47:11):
Would be my main one and two do you like
things happening in a film? Then what's the second one?
Speaker 3 (47:19):
I'm genuinely a most They didn't use that as a
poll quote and I'd be shocked if that's not what
they used in future. I loved Part one. I loved
Part two, Portrait of an Artist as a young woman,
loved it. Loved the ending where it pulls out to
reveal the crew and you hear I guess Joanna Hogg
call cut and the whole thing has kind of come
full circle. I love the whole package. I love Richard
(47:41):
i Addy smoking two cigarettes at the same time. I
love the fact that Joanna Hogg has made room for
him to just be sort of do his thing in
these films. I think he's great. I love Souvenir one.
I was thrilled to see Souvenir two. I think it's better.
I think that the two parts constitute a very significant
achievement in modern British cinemar. But that's me.
Speaker 2 (48:02):
But I'm being a cheeky boy because one is brilliant.
One is brilliant, but it's not easy. I can't say
that it's not easy.
Speaker 1 (48:15):
But two easier. Yeah, that's what that's what I want.
Speaker 2 (48:19):
I really like too, I really I was really like, oh,
I think about half an hour and I was like,
I'm enjoying this. I'd also like to give a shout,
and not that I thought it would be ship or
that people didn't like it. It's just sort of breezed
by and didn't get as much love as I'm just
giving this an honorable mention, which is she said, which
kind of came and went.
Speaker 3 (48:40):
I totally agree.
Speaker 1 (48:42):
Yeah.
Speaker 2 (48:43):
I watched it and I was like, this is fucking great. Yeah,
it's great. It's weirdly because it's so recent news and
all of that, but it's quite thrilling. It's quite exciting,
and it's kind of pasty and interesting, and and there's
the just the sort of basics so of I don't
want to sound like a right on kind of guy,
but I do think it's interesting that kind of structurally
it's kind of like all the President's men and stuff
(49:04):
like that is two journalists trying to sort of crack
a case, and it is just interesting the reality of
these two journalists were women and they had children, and
they had margined them just the same scenes but with childcare.
Just kind of like, oh that's interesting. Yeah, it's a
whole different level that it just feels new and interesting.
Speaker 3 (49:26):
Yeah, I totally agree. I thought I thought it was
absolutely great, and also I thought it did something really
interesting that you can do in a film, which is
take quite a big question that people have, which is
often like, well, why don't these women come forward or
why is there a gap? And why is there a
gap between you know, we heard these rumors, then it
(49:48):
took years before and it actually showed you like it's difficult.
These people have armies of lawyers that get people to
sign MDAs, and they operate almost like he's like Harvey
Winstein's kind of a sort of massive Also the choice
to not really show his face. I thought it was
brilliant and really smart. But he operates like a kind
of mafia don like it's an atmosphere of fear. And
(50:10):
also journalism is really hard, Like you know, tweeting something
is really easy, but like actually putting it out in
print and getting it to a mass audience and clearing
the legals of it and making it is really hard.
And I thought it was a good I thought it
was a really good process movie about journalism.
Speaker 1 (50:29):
Yeah.
Speaker 2 (50:30):
Great, what was the most meaningful experience that you had
this year?
Speaker 3 (50:37):
Well, there's two answers to this, I mean what I mean, look,
look right, obviously it was very meaningful to see you
turn up in a Marvel film like, of course that
was hugely meaningful for me. Of course that that was
(50:57):
incredibly meaningful. Russell Crow to turn around me like, are
you ready Hercules, Yeah, I fucking am dead. I'll get him.
Ah fucking nail the caunt. I'll kill him and I'll
ask him about what films he liked.
Speaker 1 (51:13):
Store getting a fucking get a coffin.
Speaker 3 (51:18):
Fucking listen for you're playing up front with Jamie tart
So on a personal level, that was very meaningful for me.
It's very exciting and I was very proud of you.
I think that in terms of like I kind of
experienced that, like I had that left something on me personally.
(51:38):
I think watching Flea definitely did that. I just thought,
you know, especially like I don't mean to lean into
the worst characters of myself, but if I could briefly
talk about the government's refugee policy, yeah, I just think
that like in a climate where casual demonization of refugees
(52:01):
and also you know this, this is this idea constantly
now that they casually demonize them for political points and
then they flip flop into saying, well, we're actually trying
to protect them from people traffickers, and when you see
a thing like Flea, you see the extent to which
that government policy and people traffickers are just two sides
(52:22):
of the same shitcoin mistreating these people. And I thought,
Flee he really left a mark on me. Also, it
really reminded me of Walts of Bashir, which is another
one of my favorite films. And like, when you take
difficult and complicated stories and you're hopping in and out
of people's memories, animation is such a brilliant tool to
do that. I thought that as a piece of filmmaking,
(52:44):
I thought it was incredibly impressive and brilliantly put together.
Speaker 2 (52:47):
I completely agree with you, and I really love that film,
and I haven't analyzed it, Like why is it Do
you think that by animating it it sort of makes
it makes it sort of more palatable or something, or
is it the slight distancing of animation makes it.
Speaker 3 (53:01):
I wonder if. I also wonder if it just it
allows you to really feel like you're watching a film
set inside someone's consciousness. You know, so much of this
film is memory, and so much of it is about
the act of remembering, and animation allows you almost to
set a film inside somebody's brain, and Wolsabashia definitely does that.
(53:24):
And again it's and I wonder if there is something
to it, because Boltsibashi is also about it's you know,
it's about Israeli soldiers who have sort of been given
a kind of post from my extress and have sort
of got amnesia because of the strain of their own
participation in massacre. And like, I just wonder whether there
is something too. If you animate something, it gives you
(53:44):
one layer of distance that allows you to really show
some pretty horrific things. But I also just think it's
a great way of showing memory and showing the kind
of slipperiness of it. And they do something very clever
where they incorporate news footage just into spur the film
with news footage, and the overall effect I thought was
just was brilliant. You really, you really felt like you
(54:07):
were being taken down somebody's really really traumatic and difficult memories.
But also it was humanizing and it was you know,
it was you saw, I mean, who's the narrator of
the film and whose life is about. You've got sense
of him as a person, and you know he was
also struggling with like his sexuality, and he had these
(54:28):
kind of personal concerns that were going alongside how am
I going to survive the day because these people traffickers
have like locked us in a boat with no air
in it.
Speaker 1 (54:37):
You know.
Speaker 3 (54:37):
It's yeah, I just thought it's It's a film that
really left a mark on me.
Speaker 1 (54:41):
What was yours? I mean, it's an excellent one.
Speaker 2 (54:43):
Mine was probably the bandities of in this area and
talk about well, it made me really really sad.
Speaker 1 (54:50):
It really really affected me. That film.
Speaker 2 (54:52):
I think it's brilliant and I think that it really
sort of made me think about the fact that what
the story that one way of reading the story is
that it is about a breakup, but it's about Brendan
Gleason has decided that life is short, has suddenly realized
life is short and he's an artist and he needs
(55:14):
to focus on his art at all costs, and that
he needs to sort of cut the dead weight of
his social life so that he can really make his
art before he dies.
Speaker 1 (55:27):
And as someone who.
Speaker 2 (55:29):
Very much has a very bad work life balance and
constantly makes decisions on the basis of well we did soon,
I did watch it going am I Brendan Gleeson just
fucking cutting my fingers off, chucking them love.
Speaker 3 (55:54):
I could not agree with you more strongly.
Speaker 1 (55:59):
Well, yes you are, Yes you are.
Speaker 3 (56:03):
No. I just like I'm interested in the way that
people write about that movie. They were like Colin Farrell's
just like do first, and you're like, no, it's a
story of two idiots. Like I think the key line
in that whole movie is when Carrie Condon says, you're
all fucking boring, like all of you men are fucking boring,
and you're like, it's like it's Laurel and Hardy, Like
it's two idiots. I mean they sort of even look
(56:24):
like Laurel, and like the outlines of them look like
Laurel and Hardy, And you know, it's like one of
them is an idiot, but at least he knows he's
kind of an idiot. The other one is as big
an idiot because he's got He's like, he's I've got
to commit myself to my arm. Why you live on
a fucking island the BDD of nowhere? Yeah, and no
no one cares the sort.
Speaker 2 (56:45):
Of stupid only of like who wants to make this
beautiful FIDLM music? But it keeps cutting off his fingers
the thing.
Speaker 3 (56:56):
Yeah, I just wonder whether that's like, I wonder whether
that's true of a lot of people who work or
have devoted a lot of their are like life to
making pieces of culture. And now maybe now maybe watch
that movie and we're like, maybe Colin Farrell was right,
Like maybe we were wrong, And.
Speaker 2 (57:14):
Colin Farrell is like, it's also the thing of the
the sort of life versus work, Like, yes, Colin Farrell
is boring, but he's also love's love, and so what
if you're going to tell you about his taste every day?
Like it's kind of funny, you know what I mean, Like,
it's not that that's that has its place.
Speaker 3 (57:35):
I found an unpleasant experience to relate to both characters
because I think I've there's times in my life where
I've cut my fingers off and thrown them at love.
And there's times of my life where I've also been
the guy going, come on, let's be friends, come and
look at a donkey. Oh it's death. Very good film,
(57:59):
very very film, very good film. Best film is made.
Absolutely all right, here we go.
Speaker 2 (58:07):
The sexiest film of the year, the sexiest film. Oh
what a Cliffhanger. So that was episode two hundred and
forty four. Head over to the Patreon at patreon dot
com Forward Slash Brett Goldstein for all the extra stuff
and the video with Nish. You can watch Shrinking and
ted Lasso, half of ted Lasso, all of Shrinking all
(58:28):
on Apple TV plus. I mean, what else do we
need to know? I think that's it in it. Thank
you very much for listening. I hope you're enjoying this
so far. Part two is fucking hell. We get deep,
I'll tell you that son anyway. Thank you so much
to Nish. You know I love him, I love talking
to him, love doing this. I hope you enjoyed it too.
Thank you so much to Scrubyus Pittman the distraction Pieces
(58:50):
of Network. Thanks to Buddy Peace for producing it. Thanks
to ACAS for hosting it. Thanks to Adam Richardson for
the graphics at Least Alighting for the photography. Come and
join me next week for part two, The way ahead
of Schedule when you think about it. End of the
Year Special Films of the Year twenty twenty two with
mister Nis Kumber.
Speaker 1 (59:07):
I hope you're all well. Thank you for listening.
Speaker 2 (59:09):
That's it for now having a lovely week, and in
the meantime, please now more than ever, be excellent to
each other.
Host
Brett Goldstein
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