November 27, 2024 • 56 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 truly unique comic PAUL FOOT!
A firm fixture on the standup circuit for a huge amount of years now, spilling out into the greater entertainment universe a bunch times too, Paul is a genuine character and someone with a very individual sound and vibe. Naturally this comes across in this funny ep which bottles all the essence of what Paul excels in (including a couple of extended bits which the Paul heads will appreciate!) - but other ground covered includes his hour long theme shows, advice for Brett from years ago, "a bit of a drag", watching 'making of's as an antidote, bleak films as sexytime erasers, Nicolas Cage's luggage, Poirot and Chinese takeaway price increases. Variety! Enjoy!
Video and extra audio available on Brett's Patreon!
ONLINE (all links)
SUPERBOB (Brett's 2015 feature film)
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look out. It's only films to be buried with.
Speaker 2 (00:14):
Hello, and welcome to films to be buried with. My
name is Brett Goldstein. I'm a comedian and actor, a
writer director at pet Psyekick, and I love films. As
Mary Shelley once said, beware for I am fearless and
therefore powerful until I saw Hereditary when I felt weak
and scared. Yeah, Mary, I relate. Every week I'm invite
a special guest. I tell them they've died, then I
get them to discuss their life through the films the Minimize.
(00:36):
The previous guests include Barry Jenkins, Kevin Smith, Sharon Stone,
and even Bed Ambles. But this week we have the
brilliant comedian Paul Foot. Head over to the Patreon at
patreon dot com forward slash Brett Goldstein, where you get
an extra fifteen minutes of chat with Paul.
Speaker 1 (00:51):
We talk secrets, we.
Speaker 2 (00:52):
Talk beginnings and endings, and you get the whole episode
uncart and ad free and as a video. Check it
out over at Patreon dot com Forward Slash Break Goldstein.
Episode eight of Shrinking season two is now available on
an Apple TV. Get caught up on all of it.
I think you'll love it. That's all available there, seasons
one and two. So Paul Foot. Paulfoot is a legend
on the comedy scene. When I started stand up, he
(01:15):
was a legend. Then he is a legend now. He
is a unique and brilliant man. You might have seen
him on never Mind, the Buzzcocks, Would I Lie to You?
As well as various radio shows. He is currently touring
his new show, Dissolve. We recorded this on Zoom a
few weeks ago. I hadn't seen him in a while,
and it was very, very very lovely to catch up.
I really think you're gonna love this one. So that
is it for now. I very much hope you enjoy
(01:37):
episode three hundred and twenty seven of Films to be
Buried With. Hello, and welcome to Films to be Buried With.
It is me Brett Goldstein, and I am joined today
(01:57):
by a comedy hero, a comedy legend.
Speaker 1 (02:01):
He's an actor, he's a writer, he's a stand up.
Speaker 2 (02:04):
He's an award winner, he's an advertiser, he's a game shower.
He's everything you could want in a man and more.
He's here. I can't believe it. I haven't seen him
in ages. He's one of my all time favorites and
I love it very much. Please welcome to the show.
It's the amazing it's Paul fa.
Speaker 3 (02:23):
Oh thank you, Bret. I'm sure some of those things,
I'm not those things.
Speaker 1 (02:28):
You are all of those things.
Speaker 3 (02:31):
Actually, I was going to say, I'm definitely not game
show hosts. But I did do one you but like
a little life and a silly one, not like one
of those five o'clock in the afternoon on the television
soul destroying ones.
Speaker 1 (02:44):
Not one of those what would you like to do?
One of the old destroyers.
Speaker 3 (02:49):
Where you just stand there and then you just think, well,
this is boring. But I'm paying for my new extension
of my house.
Speaker 2 (02:58):
Yes, and at least there's only one hundred episodes to film.
Speaker 3 (03:02):
It's because they drive me in on a Monday. We
always do three shows on the Monday. On a Tuesday
we do another three and Wednesday's lighter. It's just the
one show. Yeah, I'm back with a wife by Thursday
and we can be discussing our assets and what to
do with because report is her home. It's an old
(03:23):
farmhouse and it needs a little work. We're converting the
old stables into a granny flat for her mother so
that she can be near us. Is it's going to
cost us about three even forty pounds to do it?
Because with the money I'm earning, you know, I do
get quite a lot, you know, pay quite a packet
for a show on the game show.
Speaker 1 (03:45):
Anyway on Fridays, back to another three.
Speaker 3 (03:48):
Yeah, yeah, yes, they have said now, yeah, they're saying,
now we're going to have to do three. We do
three on a Friday. Is a real drag. And I
do get seventeen pounds in episodes. I suppose that it's
small compensation, but it's a bit of a drag. And
also I have to go up to Glasgow to do it.
(04:08):
To fly to Glasgow every Monday morning, it's a bit
of a drag. Because sometimes I drive me there. I'll
find all a bit of a drag. Such a drag.
You know, these people you must have met, these people
who have really successful lives. It's all just a big drag,
like you know on a chief executive of a big company.
And you know, I have to fly to Sydney in
(04:30):
first class once every month. It's all a bit of
a drag. Really, I'd rather just be with my family.
I'd rather just spend more time with my family, and
I'd rather spend time with my teenage daughter instead. I'm
the chief executive of a major company. I have to
fly backs and floorwards, and I have to have meetings
with people. It's all a bit of a drag. Oh oh, my,
(04:52):
my mind. You know my secretary is calling me to
rearrange a meeting. It's all a bit of a drag.
Speaker 2 (04:58):
Really, don't speak pull pull for I haven't seen you
in fucking ages. And when I started, I gigged with
you at so much and you were always so wonderful
to me, and you actually taught me something that I
have tried to maintain but I find it difficult. But
it is something you told me. Do you do you
know this? You told me off in a very loving way.
Speaker 3 (05:19):
Was it if you do a gig and you didn't
feel it didn't go so well? Yes, you don't let
that energy go to everyone else. So oh that was
real rubbish, that was all.
Speaker 2 (05:31):
Yes, you have to act in front of the audience
like wow, what a great crowd.
Speaker 3 (05:35):
Because I remember doing your show a long long time
ago before I gave that lesson to you. But I
can't remember. It wasn't getting that much reaction with the
audience compared to what normally got. But afterwards the people
that the other comedians, they were all like, wow, that
was brilliant. We loved it so much. And I just said, well,
didn't go as well as normal, and it's all just
like all down until and all their enthusiasm, sup are working. Yeah,
(06:00):
but there are of course times when it is quite
funny to say.
Speaker 1 (06:03):
That, Yeah, you just have to have to pick it.
Speaker 3 (06:07):
Every rule to do with writing or performing or creative things,
or maybe every rule in life, there's always an exception.
Speaker 2 (06:14):
Yeah, do you remember we once had to stay over
night in the service station? Do you remember this? And
you tell me your plan and I don't know if
you ever did it.
Speaker 1 (06:23):
I don't know.
Speaker 2 (06:23):
I'm sure everyone knows you, but anyone who doesn't know you.
You have secret gigs that you do for your kin.
And you tell me that you were going to do
an hour and you did it for me on toast
and it was just going to be an hour on
how annoying taste.
Speaker 3 (06:39):
I think I did a number. I don't remember spending
an evening in a service station with you, which is
probably a good thing, yeah, But I have done various
quite wild things throughout the years. There was a whole
thing when I did a whole hour on the Chinese
takeaway price increases. In fact, actually I did. I kind
(07:01):
of didn't because I was going to and then I
think I did do a whole hour on various things
that have been things i've done like secret shows. Certainly
at Secret shows I've done like a whole hour because
Secret Shows is just all my best sort of fans,
connoisseurves A call them and they just they know what
they're coming for, and it's a wild anarchic night that
(07:23):
is a little bit different to my theater show night.
It's more sort of improvided where it's all completely improvised.
It's just crazy in anarchic and I have done all
sorts of things like for a whole hour. They're all
sorts of weird, crazy things. Let's take an idea and
just take it for an hour or two hours. I
was going to it in Edinburgh Festival in two thousand
(07:45):
and four. I was going to do a whole hour
on Chinese takeaway prizing creases. But then my manager at
the time put me together with Matthew from Channel five.
What's his name? He presents on Channel five. Matthew. He
was presented in the morning on Channel five. He was
such a nice man and he used to take me
(08:06):
terrible that I can't remember. He's quite well known. Loads
of people reading or not reading, listening or watching this
podcast or reading it if they're legal, people pounding, so
you can't you.
Speaker 1 (08:20):
Remember it's Mac made right, Mathew right, Matthew right, Matthew right.
Speaker 3 (08:25):
Anyway, so my manager put me together with him as
a sort of mentor, and he used to take me
for meals. So I didn't have any money at the time.
I couldn't affward it. But he obviously had like a
successful career on Channel five drag, and he liked my
comedy and he'd give me a bit of advice and stuff.
And then I said, look, I've got this big idea.
I said, look, my career is going really bad me.
(08:48):
This is two thousand and four, so my career is
going really bad to me, Matthew, but I've got an idea.
You know, I could come on stage into an hour
and Chinese take away pricey cruises. And he just said, Paul,
that would be comedy. Suicide, professional suicide to do that.
So I was persuaded to tone it down from a
whole hour to just fifty minutes. But in fact, the
(09:11):
worst of all worlds in the end because it was
not knowing that it was in the early stages of
my career. I don't know whether you had this bread,
but I certainly had it at the early stages of
my career when you know, you'd get the audience would
come in. And this was of course pre YouTube really,
so maybe this is before your time, before YouTube is
so common and social media and all that. Nowadays people
(09:34):
would look to check what they were coming to see
before or nowadays. My reputation in the general just sort
of vibe is enough that even if someone comes with
someone else and it's not really for them, they just
get into it. But in those days, there'd be an
audience and half of them would love it and the
other half would hate it. So when I did that
show for fifty minutes about.
Speaker 4 (09:55):
Chinese takeaway price increases in the EDINB Festival, I remember
people would walk the loads of half the audience comes
at various points, nobody saying you're the worst ca reading ever,
and the people who were still there saying.
Speaker 3 (10:08):
We love it, this is brilliant comedy. We love it.
It's all about Chinese taper price.
Speaker 2 (10:13):
And he's absolutely right about the Chinese segway price increases.
Speaker 3 (10:19):
So it was all like that. It was very sort
of mixed.
Speaker 2 (10:22):
When people walk out, when it's that sort of vibe,
when people are loving it, people are hating it. Do
you love it? Is it thrilling or does it make
you sad? When they walk out? The people that leave, well.
Speaker 3 (10:31):
It's kind of thrilling. It doesn't happen very often now.
I can't think when the last time that happened. It
must have been years ago that I was doing a
tour show, an actual show people come to see me,
and people would have done that. But yes, it was
at the time, I remember it being No, I wasn't sad.
I was always just focused on making sure that the
(10:53):
people who loved the comedy, who were in the early
stages and two thousand and four maybe half the audience,
and later on it would be ninety nine percent of
the audience who loved it, making sure they had a
great time, because you can't allow one person who walks
out to affect up to ninety percent of the people
who are having you know, you've got to make sure
(11:13):
they have a wonderful evening. It is obviously in some
ways slightly scary because they are always dangerous moments. Yeah,
but it was basically exciting and an opportunity to galvanize
the people who are loving it and to get them
to love it even more.
Speaker 1 (11:31):
And can I ask you?
Speaker 2 (11:32):
And you don't have to talk about it, but I
really want to because I haven't been able to see
your latest show because I've not been in the country.
Speaker 3 (11:39):
I've been in America.
Speaker 2 (11:40):
I've been in the Americas, but I have been told
by Louie Sanders that it's amazing and that you have
had a big spiritual epiphany something, and they want to
know about it.
Speaker 3 (11:53):
Way. It's something that I don't normally going to do
much detail about, Okay because because personal and private. No,
because it's kind of spoils it for people who come
from the show. Okay, fuck, are you recording it? It
has been recorded, It will be coming out on whatever
it comes out on. But yes, that's normally wearing my
(12:15):
pr hat. It's not something we don't normally say just
while it's still live what it's about. But Yeah. The
show is about how I used to have really serious
mental health problems and how I recovered from them, and
how things not just recovered, but became even better than
normal as it were. So that's what it's about.
Speaker 1 (12:37):
Wonderful, But you can I don't have to fucking wait
for the fucking video.
Speaker 3 (12:41):
Yes, I think. I think in a year's time. In
a year's time, once I'm knowing I'm doing the show,
I'll just talk about it. It's not like some secret.
Speaker 1 (12:48):
We'll be chatting away about it, okay.
Speaker 3 (12:50):
And it's not like it's the secret. Thousands of people
have seen the show.
Speaker 1 (12:54):
No, but maybe you know fair enough.
Speaker 2 (12:57):
Listen, this is a good advert for the show because
I'm very desperate to say it. Yeah, Pulfo, Well, hey,
I'm delighted that you are feeling better from whatever happened
that we can't talk about. But however, I've forgotten to
tell you honey. Oh yes, I should have told you.
Oh I'm dead. Oh yeah, you're dead. That was it?
Speaker 3 (13:18):
Or was I not supposed to say that?
Speaker 2 (13:19):
No, I'm glad you reminded me. I forgot. Yes, you're dead,
you died. So how did you die? Pulfit?
Speaker 3 (13:27):
Well, I thought a good way would be death by
being gor by moose. I thought that'd be quite exciting
because be a real talking point, wouldn't it. And it also,
you know Pulf has been gone by moose also had
raised a number of questions, what was I doing in
the Moose sanctuary or in the moose community that the
(13:48):
Moose community, what was I doing there?
Speaker 1 (13:51):
Can you tell us? What is that? Up to me
to find out?
Speaker 3 (13:54):
Yeah, and there'd be an air of mystique about it
would be a bit like that one who's I get confused,
But it wasn't the one who had that EMU thing
and he fell off a roof?
Speaker 1 (14:04):
Yes, Rod, how was that? Rod?
Speaker 2 (14:06):
Hale Row? Yeah, you was fixing his TV area and
he fell off the roof and.
Speaker 3 (14:11):
He fell off the roof to be a bit like that,
but more steep to it.
Speaker 2 (14:15):
Like killed, killed by the amused Moose. Is that what
you're that's terrible?
Speaker 1 (14:21):
Yes.
Speaker 3 (14:22):
For those For those of people were listening or watching,
or indeed reading this, if they're legal people reading a
transcript for legal reasons, we should point out that the
Amused Moose was a comedy club. I think it's still going.
Speaker 1 (14:38):
I'm not sure, but it was a comedy competition in
this and it was.
Speaker 3 (14:43):
Going when when you started out and when I'm starting out,
really and it was it was a sort of legendary.
Speaker 1 (14:50):
Place good by the Amused Move.
Speaker 3 (14:53):
It was one of those places where when you started
you used to think, oh my goodness, if I can
get it on the Amused Move, this could open all
these doors met And conversely, if I don't get booked
by the Amused Moose, it's kind of curtains. But then
later you realized a little bit like the Wizard and
(15:14):
the Wizard of Oz, that it wasn't as frightening as
it's such a big thing after all, so it would
be terrible. So you know, it's really in many ways,
all of our careers. I know, you have a big
career here in America, So in many ways, all our
careers as comedians has been to psychologically get over the
(15:35):
Amused Moose, either the fact we were booked it and
think you've got to move on, You've got to stop
clinging on to the Amuse Moose as that, or getting
over the fact that maybe you never really were booked
very much to the Amuse Moose, you never were a
success at the amused Moose. All of our careers, whatever
we do is psychologically moving on from the amuse Moose,
(15:56):
So it would be.
Speaker 1 (15:57):
Ironic to be killed by them, to be got or
to death by one.
Speaker 2 (16:02):
I remember being booked for the amusements, finally being bookes
and giving me a slot, a five minutes lot in
two and a half years time.
Speaker 1 (16:11):
She was like are you freeing?
Speaker 2 (16:12):
Like remember it was like are you've free in twenty
seventeen and it was like twenty fourteen.
Speaker 1 (16:17):
I was like, possibly, what's going to make that work?
Speaker 3 (16:21):
So what I want to know is two things. Actually
one thing, did you do it?
Speaker 1 (16:26):
I didn't I think in the end.
Speaker 3 (16:27):
So so what happened? That's my second Christmas pose? What
happened in this administrative Was it that you were the
failure and ultimately the offer was withdrawn as your career
didn't quite go up as much as it had been
a home yeah you know? Or was it that you
were a success and you ultimately were said, look, actually
I know you offered me this two and a half
(16:48):
years ago and now I've moved on to bigger things now.
Speaker 1 (16:53):
Yeah.
Speaker 2 (16:53):
I think it was that I think I was too
busy to do five minutes at the amusements two and
a half years later.
Speaker 3 (16:59):
Yeah, a bit like me because when I started out,
I remember starting out in nineteen ninety six or seven properly,
when I started properly, and then I remember in nineteen
ninety eight, an agent at the time said, you're not
really a club comedian, for you're a theater comedian. But
I just started off in all the clubs.
Speaker 1 (17:20):
So I was just like, what do you mean.
Speaker 3 (17:21):
I'm not a theater comedian. I'm not going to play theaters.
I'm designed for the clubs. You know. I didn't know
what you mean, but anyway, So I always dreamed for
years and years becoming a success on the club circuit,
but it never really seemed to happen. But eventually, in
about two thousand and ten or eleven, twenty eleven, I
(17:41):
did finally become a success on the club circuit. And
I was a success on the club circuit, but only
for about three months prior to retiring from the club
circuit because I no longer needed it and I was
moving on to other things. So spit similar to you
with your moose moose.
Speaker 2 (17:59):
Thing, really amusements killed about the amusements? Do you worry
about death Pulfit, Well.
Speaker 3 (18:05):
I worry in case it doesn't happen. It's like, yeah,
I could.
Speaker 1 (18:10):
Just be the.
Speaker 3 (18:13):
Immortal. I just keep going on and on, but just
increasingly in ill health and just really really I don't
worry about it. So it's death is one of those
things where it's quite difficult to imagine it, isn't it.
It's difficult to imagine a world without us in it.
Speaker 2 (18:31):
Difficult imagine about Pulfort, for sure. I think you're quite
a unique proposition. If you die, there's no another Pulfit.
Speaker 3 (18:39):
I don't know about that, but yes, I suppose we
go to sleep every night and we're kind of dead
for most of that time, aren't we. We're not there.
I know we have dreams, but that's only a short time.
But the rest of the time, we're just it's quite
interesting sleep because they say they've worked out we need
two three hours a night to rejuvenate the body. We
(19:00):
need two or three hours for the brain to process
memories and those things like that. And as for the
rest of the time, they have no idea really what
it's for. But what we do know is that if
we had only two and a half hour sleep for
a night, you probably cope the next day, and by
if we did that two nights in a row, we
would be really quite ill. So no one really knows
(19:23):
what that is. It's like we're dead, We're like in
some other realm. So I don't know. Maybe that's what
happens when we die. Maybe we're in that same realm.
Speaker 1 (19:32):
We're in the other two and a half in.
Speaker 3 (19:34):
Every night when we die, when we're dead. So I
don't know. So I'm not really concerned about being dead.
Speaker 1 (19:40):
Do you think there's enough to day?
Speaker 3 (19:42):
Well? I think there is more than what we just see,
the physical stuff we're seeing, And I do think that
there is some sort of soul. I think my philosophy
is that everyone believes in a soul in the sense
that you know, if I were to say to you, O,
let's meet up the two of us, and then I said, oh, one,
(20:03):
and there was a friend of yours there, and ignore
things like crimes and like police and stuff. But let's
assume that doesn't exist. So I'm there with you and
your friend. So what would be the problem with me
just brutally stabbing your friend to death? Because if your
friend is just literally a collection of cells, then what
(20:26):
does it matter? And you could say, well, they're feeling pain,
they're upset, But I could say, well, there's no one
to feel pain or the upset. Really, that's just a
trick of the brain. The brain makes you feel this thing.
It makes you feel in emotion because the chemicals coming
out something. It's all just chemicals moving around. It is
literally what it is is just literally just the scientific
(20:48):
what we see in front of us, or what science
currently understands in front of us. And the same would
apply for love. If you say you love your partner,
then if I say, well, it's it's just to learn
of chemical reactions, but it doesn't. I don't think it
is that it's more in something deeper. So I think
therefore we all, even if we don't, kind of believe
(21:10):
in it. So we don't in some way, we all
instinctively believe that there is there's some soul, there's something important,
there's something more than just what we see. And so
I think after death there is something more than It
doesn't necessarily mean we just float around with like Jesus,
like saying hello Jesus, but there's something.
Speaker 2 (21:31):
That Yeah, well, I think you're absolutely right. And the
truth is, there is a heaven and you are invited,
and it is filled with your favorite thing.
Speaker 1 (21:41):
What's your favorite thing? Pull fit films, isn't it can be? Yeah,
all right, welcome.
Speaker 3 (21:46):
I thought that's what you were saying. I thought you
were leading me to say that because it's a podcast
about films, and I thought he wants me to say
that you did perfect.
Speaker 1 (21:54):
You did that to perfect.
Speaker 2 (21:56):
Everyone in heaven is so excited to see you and
they want to know about your life through film. And
the first thing they asked her is what is the
first film you remember seeing?
Speaker 3 (22:04):
Pulfit Well, the first film that I know I saw,
but I don't really have any recollection of it. It's
just because my mother's told me I saw it was
Bambi and she's told me you went to Samby and
you were crying. But I don't actually remember any other
film until I was probably like ten or twelve older.
And I think the first one I remember seeing is
(22:25):
Death on the Nile with.
Speaker 1 (22:28):
Peter us Off and yeah.
Speaker 3 (22:31):
Taste about ten and I just like it's just the
best film ever. My favorite bit is it's so kind
of camp and ridiculous. My favorite bit is Angela Lansbury
and when she says and then I saw the killer,
I knew who the killer was. And then I saw
that the killer was. And then then she shot just
(22:54):
as she's about to say the killer was. It's so good.
So that's the first film I remember seeing.
Speaker 1 (23:00):
That's a great photos film.
Speaker 3 (23:02):
I remember thinking, I hope all films were as good
as that, you know, And then Peter Rusenov pacing around saying, yeah,
everyone here had both motive and means to commit the crime.
It's all done murder mystery way where it's all like
little vignettes acted out. It was all like and so
(23:23):
and so, it's all like everyone here had a grudge
against sound. So oh you lady so and so you
stood to inherit a fortune. And then it's whilst we
all know that you excuse yourself from the banquet that evening,
(23:44):
saying that you had indigestion. Put in reality, you could
have had just enough time to go up the steps.
And obviously the little like the vignette of the thing
that never actually happened but could have happened, you see
the perspect you could have gone to your room, got
the gun, then returned to commit the crime. And then
(24:08):
put the gun in the nile before returning with no
one suspecting anything. And then he says but and then
they say, oh dare you accuse me of murder? Oh
dare you, mister Porridge? And then he says, it is
actually Poiro And then and then he says, anyway, it
wasn't you. Then he goes off the next one. Yes,
(24:30):
you also had a grudge, you could have you had
reason to kill her, because I can now reveal that
she was Actually you're the secret relative. You were born illegitimately,
but you'd kept this concealed. I can now reveal your
real name is not Madam so and So, it's actually
(24:53):
so and so. You're actually you say that you were
actually called Johnny so and so, but actually you are
real name is Silas Montague, illegitimately bonne are you? I
had a grudge against your father, who had rejected you,
and you knew by right the mansion should be yours.
(25:17):
You could have you and blah blah blah. And then
you see the little vignette and then they say, oh
dare you say that, you pompous Frenchman. And then he says,
I am actually weld you and all the jokes to
staying over and over again like that, and then eventually
it's the real scene and then of course they all
kill each other and it's all marvelous. It's the best
(25:38):
film ever, isn't it.
Speaker 2 (25:39):
This is a great, great first film for you, and
I think it may have influenced all of your life
and I could see it. What about being scared? Do
you like being scared? What's the film that scared you
the most?
Speaker 3 (25:50):
Film scaredy? I like being scared in films, yeah, but
also the film scared me most was The Hostel.
Speaker 1 (25:58):
Horrible film.
Speaker 3 (25:59):
It's so horrible, horrid for anyone who hasn't seen it.
It's basically these people, they're like young people and they
arrive in a hostel somewhere in eastern Europe, and it
all seems fairly pleasant and they meet there as quite
attractive women and all this, but then it all turns
out to be a trick that actually they're kind of abducted.
And then the film kind of goes on and on
(26:20):
and on and on, obviously, as films do, on and
on and on and on and on on and on
on and on, and then eventually they're all like tortured
and it's all terrible, and it's like all people are watching,
they're all sadistic, and it's so awful and terrible. But
this man had his achilles heel cup and it and
(26:41):
and there was other things. I think it was a
hostel too, and the hostel three that similarly ghastly. They
had their insides opened out and it was it was
all ghastly. I was so traumatized by it. I had
to actually watch a film, the making of a hostel,
so that I could actually just see, Oh, actually, it's
all right. They really are all just actors and this
(27:03):
bit is done with piggs blood and this bit's done
like that, and this bit is done with pathetics and
then oh they're all just having lunch together and it's
all just fine. I had to watch that because it
was just And this bit is done with when she
falls off the train platform, it's all done with that,
and the train isn't actually there and there's a mattress
(27:24):
and she's not harmed. Because I was just so traumatized
by it.
Speaker 1 (27:28):
So rightly, who is so horrible? I hate? What about crying?
Are you a crier? What's the film that made you cry?
The most perfeit.
Speaker 3 (27:37):
A film that made me cry the most is I
don't know, because I know you're a film person, but
you might have seen this film The water Horse Go on,
I'm glad. I'm glad to get one you haven't seen.
Came out in two thousand and seven, and it's about
the blockless monsters. There was like some children with their
parents or something. They lived near lot Bess and the
(27:58):
new It's all just like a legend. All the local
people knew there was no such thing as a Locknest monster.
But then the children they see the lot Ness Monster,
and the lot Ness Monster kind of because they're children,
a lot Nest Monster lets them like pat its face
and stuff. It's two thousand and seven, so it's obviously
just like all made up of bits of plastic. It's
not like it's good as the best effects today. And
(28:20):
then of course they tell the adults and they all
just say, don't be silly. Thing. It's a lot Nest monster,
and if you're going to keep on like this, you're
going to have to go to detention at school and
you're being very naughty. Gang on. And then eventually they
do take the parents to see the Locknest monster, and
then the parents are like, there's no such thing. I
(28:42):
told you, Like, the lot Nest Monster won't come out
obviously when when they wanted to. But then eventually the
lot and the film is on and on and on
and on and on and on and on. Obviously films too,
on and on and on with the subplots and on
and on on and on on and on and on and on.
So you get to the bit obviously you've been waiting
for about that and a half, which is eventually they
do get there whatever some plot twist, and then the parents,
(29:04):
the older they do see the locknest monster, and then
the children say, do you see what I mean, Mummy?
There really is a lot Thiss monster. And then the
parents say, yes, you're right, there really is. You were
right all along, like the tears are flowing down my face,
the emotion, and then they're all like and then and
then the the children saying, it's all right, you can
(29:26):
stroke the lot next monster. And then the mother goes
to stroke it, and a lotless monster doesn't like the
mother because they're like a grown up. And then children
say it's all right, little nesty. Eventually the lot this
monster lets the let's the mother stroke and then the
mother's got like all tears in her eyes and she
strokes the lotlest monster and her tears flowing down my face.
(29:46):
And I should point out I was like thirty four
at the time. I should have liked, you know, there's
no excuse for this. I should have been But I
was just a blubbering wreck. There's wreck like crying and crying,
and I think maybe maybe they just readly twists and
if I can't remember now, it's maybe the monster dies
because of like, maybe there's some some bad pollution. Someone
(30:10):
with our harpoon kills it. Who doesn't understand. I'm just
like tears flowing down my face the terrible states about it.
I've actually got the d v d's making Yeah, what's
the making of Obviously I watched all the special bits.
Speaker 1 (30:27):
So that you you could stop crying and go it's
just a puppet.
Speaker 3 (30:31):
Yeah, it's all right, It's just a bit of plastic.
It's not a real lots monster. There's a terrible state
about it.
Speaker 1 (30:39):
Sorry.
Speaker 2 (30:39):
What is the film that you love other than The
water Horse that is not critically acclaimed but you love
it unconditionally?
Speaker 3 (30:47):
Well, I think it would be the down To and
Abby film, or it could be it could be actually
I think there's two down to Happy films. Could I
could be a friend to either of them. They're indistinct
from each other basically, just you know, it's not the way.
I don't think even the fans know. There's no difference.
So the the same film, this exactly the same film
that they turn them exactly the same. And then obviously
(31:09):
it's like my sort of guilty secret because the Downton
Abbey films were kind of spin off. It was a
it was a cash cow, wasn't it from the Downtown
Abbey series, but the down and Abby series itself, because
I stopped watching Downton Abbey after about series two. The
Downton Abby itself was a sort of cash cow, a
(31:29):
sort of diminishing returns for the fans, like Series eight
was only there a sort of as a sort of
second rate spin off of Series seven. Series seven was
a second rate spin off of series six, and so on.
It goes down and down. And if you were to
say each time you have a spin off of the series,
it's like half the return off the previous series, you
(31:51):
would be looking at literally and then he got the films.
You would be literally looking at night, did mathematics, so
it'd be like one divided by two to the power
of nine, just like one divided by five hundred and twelve,
So like the film is therefore one five hundred and
twelve as good as the original series, which itself is
(32:14):
a sort of spin off, as a sort of lazy,
lazy spin off of Gostard Park, which was actually quite
a good film. It's quite really, quite interesting with loads
of subplots, quite sort of murder mystery. It's a murder mystery.
It had other things in it, and it does it
does fulfill a role that no other film was fulfilled.
(32:34):
It's got its own thing. It achieved. But we're now
talking about it could be even one divided by one
thy twenty four of the quality of Gosward Park with
one of those indistincitionable the two different films. But nevertheless,
I would still sometimes watch a bit, Oh what's the
bit where King Jaws the Fifth comes to have his
(32:57):
mail at Downton Abbey and then the servants have to
serve the meal under difficult circumstances, and one of these
servants speaks out of turn, and shouldn't have said something
in the presence of King George the fifth. I still
like watching Guilty Guilty?
Speaker 2 (33:22):
What about on the other end, a film that you loved,
you used to love, and you've watched it recently and
you do not like it anymore.
Speaker 3 (33:29):
Avatar. So when that first came out Avatise, it was
like you were and you watched it in three D
and it was like, Wow, I'm being transported not only
into this really interesting idea, the idea that these mortal
people have an Avatar verse for them, and the idea
that there's some an alternative sort of virtual reality in
(33:51):
which people can live and plays with the idea of well,
which is the real reality? Oh, this is fascinating. I
thought this is. And they're not only that, but you're
also just the sheer spectacle and you're you feel like
you're inside the film and it's three D and you're
leaping up these huge tree things that are so high
up and you're like, I can't believe how high I am.
(34:12):
And yet I'm safe because it's all within a film.
And and now I'm getting on this flying bird thing
and on flying and this dragon thing, and it was
all just so fascinating, and then of course the anticipation
of Avatar too the way of the water and it's
unbearable forging. Wow, it's going to be and the special
effects will be even better now, and it's just like,
(34:35):
oh god, it's just going on the same old sort
of thing, and it's all at this time. They go
under the water and they're inside all the fronds of
the sort of sea ferns, and they go on and
on and it's just like, yeah, okay, special affair. Yes,
as the turtle went past, very clever, and it's just like, oh,
it's the same sort of story to do it. The
(34:56):
place has been threatened and in humanity he's going to
destroy it and they've got to defend themselves. And I
think that it's all the fort with Avatar. And then
it's just like, all right, that's Avatar two. And then
having watched Avatar two, you then go back to Avatar
one and there's no way you can watch the film again,
and it's spoiled forever. It's stilled by Avatar two. Destroy
(35:20):
it's just like, oh, right, key, this was the the
sort of reverse knockoff of Avatar two. I actually think,
so I can't watch it again, it's ruined.
Speaker 1 (35:33):
Whatever. Oh tell me this. What is the film that
you love?
Speaker 2 (35:39):
Not necessarily the film itself is good, but because the
experience you had around seeing it will always make it
special to you.
Speaker 1 (35:46):
Pulfit.
Speaker 3 (35:47):
Well, there is a film it's kind of special to me.
Once I love it, it's special to me, and perhaps
not quite the way you've imagined. But it was called
Dancer in the Dark. Yeah, I know it, so it's
all York in it. And she played this blind woman
who was incorrectly, falsely accused of murder. And in the
(36:08):
end it was all very bleak, very very bleak film,
and nothing went right and it was all terrible, and
in the end she was convicted of this crime that
she'd never committed and she was hanged for it. At
the end, she's blind and she's hanged for the crime. Anyway,
at the time, I was going up with a boyfriend
and it was a bit of a ropeye time for
the relationship. So we said, let's go to the cinema together,
(36:30):
and so we went to see Dancing in the Dark.
And obviously going to the cinema together if your relationship
has been a bit dodgy, It's the perfect thing, isn't it.
It's the time for the two of you to nestle
up together, and you know, there's the opportunity for maybe
a hand to go on to a knee or something
like that. In the show, something like that, it could
(36:51):
sometimes maybe even a kiss might be exchanged over a
bit of popcorn sort of thing. You know, that's the
opportunity you have watching a film with a lover. The
film was so bleak that there was no possible moment
even for a second. There wasn't even a five second
window in the film when it would have been even
(37:12):
appropriate to put my hand on his knee or something,
or just take his hand in my hand. It would
have been just callous and it would have shown that
I was not empathizing with her joy.
Speaker 1 (37:24):
There's no joyful moment for there was no.
Speaker 3 (37:26):
Joyful moment in the film. So literally, that film destroyed
our relationship.
Speaker 2 (37:32):
Fuck, that's one has a lot to answer for. Yes,
I'm so sorry. Fuck that is not a good date movie.
Speaker 3 (37:40):
But I always remember the film because it was a
sort of Yeah, it was a very emotionally charged at
the end of it. It's you know, it wasn't that devastating,
the injustice of the fact that this this woman was
blind and she was hand and then you have to break.
Boyfriend was saying, well, it's not real is it's just acting?
(38:03):
But it was felt so real. We haven't watched the
film the making of Dance.
Speaker 1 (38:08):
From the Door.
Speaker 3 (38:10):
Immediately it was very much the case of you know,
that was a devastating film. And also I think that
home has come for us to party.
Speaker 1 (38:18):
Did you break up that note on the way home?
Speaker 3 (38:20):
We didn't. Actually, it would have been a good story
for we didn't.
Speaker 2 (38:24):
A few texts later, a few feels later, what's the
film that you most relate to?
Speaker 3 (38:33):
We have we've gone off? Have we gone off the list?
Speaker 1 (38:36):
What is the sexiest film you've ever seen? No?
Speaker 3 (38:39):
No, no, no, no, Right, But I didn't know. I've
got confused there because obviously I'm sure people listening to
this podcast regulars or people watching it, or indeed legal people.
Speaker 1 (38:53):
Reason.
Speaker 3 (38:53):
I'm sure they'll realize that I am giving their heads
up about some of the things, so I can in
a different or you really throw me there, because I thought,
is that one of these there is one, there is one.
You've just gone out of order. I don't know, I
didn't know whether you had just thrown in a new question,
(39:14):
no it's a new order, or whether it's one of
the cressors in a new order. So yes, well, oh yes.
The films to relate to is actually The Disaster Artist.
Speaker 1 (39:28):
Go on, how interesting? Who? Why?
Speaker 3 (39:32):
Go? Well? The Disaster Artist, as you know, is about
it's a real film called The Room. He is considered
the worst film of all time. It's so hilarious. It's
so bad it's become hilarious. It's just brilliant. It has
all these matured to sex scenes in which sort of
don't relate to the show in any way. Do you
(39:53):
know that the bit I love it is the bit
when there's the mother in law announces that she's got
cant and then it's just never mentioned the game of
the film. It's just like a non secret. There's no
relevance or anything at all, and there's loads of things.
It's just terrible. And it was shot by two young actors,
or one young and one was a bit older. No
(40:15):
one really knows to this day how it was funded.
This man obviously had some sort of private means and
it was shot with you know, a proper crew and everything,
And I would advise anyone who hasn't seen The Room.
It sounds weird, but I would advise them to watch
The Disaster Artists first. The Disaster Artist is a film
(40:36):
about the making of the Room. First, before you actually
watch a film. But anyway, I relate to it because,
you know, in the late nineties and stuff, I did
write some sort of sketches and things for like BBC
two and things like that that were just but when
you look back on it, you just think, what sketch
(41:00):
like I got.
Speaker 5 (41:02):
One of the things I did is I got a
professional actress to dress up as a beefeater for completely
ill advised sketch, and you look back and you just
why did I do that? So for that reason, I identify.
Speaker 3 (41:16):
With the Disaster Artists, the people who made the worst
film of all time.
Speaker 2 (41:21):
I would like to see these sketches. I totally relate
to it.
Speaker 3 (41:24):
Because I think I don't know what you are like
as an artist. Well, I obviously I know what you're
like or seen your comedy, but I don't know enough
about you as a completely new the answer to this question,
but there are some comedians who are always pretty good.
Sometimes they might have a bad night, or they might
it's something to say, oh, there were a few tricky
(41:44):
nights in the early stages. But there are some who
and I would count myself amongst them. I mean, now
it's different. Really, it all goes pretty, it all goes
really well and everything. But there are some things I've
done in the past as I was learning, as I
was experimenting, and it was terrible. I have done some
really really terrible stuff. And I've done stuff where in
(42:07):
the early stages of my career where I'd come on
one night and people would say that was just brilliant,
it was original and different people were saying, oh wow,
and then and then I'd come on the next night
and it would be terrible, really awful. So I kind
of relate to the disaster artist. I don't know what
sort you are.
Speaker 2 (42:27):
Yeah, no, listen, I've experienced all of this. I related
to the disaster artists, and that I sort of feel.
I sort of go like, isn't that all of us?
And also the room is so unique that I'm like,
maybe it's brilliant.
Speaker 1 (42:41):
What does anyone know?
Speaker 3 (42:43):
Yeah it is, Yeah, it's almost brilliant because it's so bad.
Speaker 2 (42:46):
So unique, there's nothing you can't sort of fake that
sort of idiosyncratic way of writing and filming it act
like it's it's really impressive.
Speaker 3 (42:56):
And there's obviously that goes in comedy. I mean my comedy,
the sort of stomach comedy I do. There is a
chambalts to it, and there is a sort of unprofessionalism.
Speaker 1 (43:07):
But no one could do what you do.
Speaker 3 (43:08):
That's why that's sort of I mean, obviously I know
what I'm doing and all that, but there's a sort
of another layer. There's a sort of anti comedy or
not even is a bit of anti comedy in there,
and there's a bit of incompetence in there within the competence,
so you do get I mean some people say, like
Nicholas Cage, so some people say they don't know whether
he's the best actor ever or the worst actor. I
(43:31):
was on a flight once back from Sofia in Bulgaria,
and of course they have film sets up there. Lots
of people don't realize loads of films like Breakfast at
Tiffany's and all these famous films over the years have
all been shot in Bulgaria in these studios. Anyways, coming
back from Bulgaric and he was on the plane, and
I couldn't work it out. He was walking with a
(43:53):
kind of stick with a sort of strange limp, but
I got the feeling he was just doing method acting.
He was in the middle of being this character, and
it was just like it was a nice He went
past me a couple of times to go to the
loon and stuff with his stick and everything. And then
you remember him saying, the cabin crew on this plane,
they're just about the best crew ever. They're the best
(44:16):
crew ever. And then I remember when we got off,
and then I was taking my luggage off the carousel.
He had like people with him, and it was just
an unbelievable amount of luggage, and it seems a very
nice man.
Speaker 1 (44:30):
What's the sexiest film ever made?
Speaker 3 (44:32):
Pul Foot the sexiest film ever made? I would say
it's got to be the Full Monty, hasn't it, because
you know, obviously it doesn't have like all Hollywood heart
throbs in it and stuff like that, so pig mysel oh,
it's Ryan Gosling or whatever. But to me, it's got
to be the Full Monty because it was because they're
(44:54):
all like northern like blokes in it. And then I
don't have the best bodies or anything. They're not like
the sexiest bodies, but they're all just like real, just
normal British men getting a kid off. And it is
really it's erections all round. It's just it's so real.
Speaker 1 (45:14):
Isn't it a wonderful answer?
Speaker 3 (45:16):
I mean, you know, one couldn't have an erection with
Ryan Gosling because it's just too perfect.
Speaker 1 (45:23):
You just you wouldn't know what you know, it's you
wouldn't know where to start.
Speaker 3 (45:27):
We don't know where to start. It would just be terrible.
Speaker 2 (45:29):
But yeah, but you could have a yeah, wonderful What
what about troubling boners?
Speaker 1 (45:36):
Worrying?
Speaker 2 (45:36):
Why done the film you found arousing? You weren't sure
you should? The full guy?
Speaker 3 (45:41):
And what a film I found unexpectedly arousing? Wish I
hadn't eat? Well, you know, because there is always that
bit of you that thinks, wouldn't it be good to
make laugh to an extraterrestrial being? You know, it is
the final Frontier, isn't it.
Speaker 2 (46:01):
Et of all the aliens? I don't know that Et
is my type and I just just don't know.
Speaker 3 (46:06):
There's not It doesn't even have to be eat. It
could just be one of the other ones in the spaceship.
One of them waved came and you saw them still atte.
Speaker 1 (46:17):
And sort of looked, that's the one you fancy, is it?
The one? That one? The one inside?
Speaker 3 (46:24):
More mysterious that way. The idea of just getting in
that spaceship and then just going to town, well, it's
just interesting, wouldn't it start joining the mile high club?
But it's a lot higher. It's like it's like light
Year Club.
Speaker 1 (46:44):
Yeah, that's pretty good.
Speaker 2 (46:45):
I do like you being with the one already, the
one that's like the seeker, you know what I mean?
Speaker 3 (46:51):
Yeah, because I think because you know, because the actual
et in the film, the main one one felt it
felt like quite an innocent character. It was obviously it
was a grown up Eat. It was quite innocent character.
Because I got the feeling that the one that was
waving at the top of the stairs just up up
for most things.
Speaker 2 (47:11):
Really, the one that was waving like I had something
about them, didn't they had? They knew what they were
doing that way, very suggestive, You're right.
Speaker 3 (47:21):
I mean, that's probably why it's just so long to
come back and get eat.
Speaker 1 (47:24):
Wasn't it. Yeah, they were all very busy on that
ship all up to it in there.
Speaker 2 (47:29):
Yeah, at some point they take they're all sweaty, they
take a break and they're like, oh god, we better
pick up the old.
Speaker 3 (47:37):
I don't know how they do. I imagine they probably
just do it like the fingers just touching the nipple.
That's probably how they do making in that world.
Speaker 1 (47:48):
What is objectively the greatest film of all time?
Speaker 3 (47:53):
I was going to say The Truman Show. I love
the Truman Shows. It's just so yeah, nice, just so clever,
isn't it so clever? It's about reality, it's about people
playing roles in life. So yeah, I love the Truman Show.
That's mine. I think it's for me.
Speaker 2 (48:12):
What is the film you could or have watched the
most over and over again?
Speaker 3 (48:17):
Titanic? I'll just watch it over and over again. In fact,
recently I was in Awfuls in Denmark and after the
show doing a couple of shows, and after the show
I go back to the hotel and relax in the hotel,
and both times it was the last two hours of Titanic,
and I watched it both nights. But you can never
tire of it. It doesn't matter, it doesn't matter what
(48:39):
point you're picking up on it. It doesn't matter if
you have to switch off, if you can just watch
an hour and then you've got to go out. It's
the gift that gives on giving Titanic. I just love
it so much.
Speaker 1 (48:49):
You love James Cameron. Do you cry at the end
every time?
Speaker 3 (48:53):
Yes? Yes I do cry at the end. But I'll
tell you more about that later on in the podcast.
Speaker 1 (49:00):
What's the worst film You've ever seen?
Speaker 3 (49:03):
It's got to be Wimbledon because it's basically Wimbledon is
a film about Wimbledon tennis player and another test player
fall in love or something, and it's basically you can
see what happened. The screenwriters they based the whole film
around the line they really like this line he says
(49:26):
I'm in love with you or something she says, don't
you know love means nothing in tennis? And that's the line.
Speaker 1 (49:33):
That's good.
Speaker 3 (49:33):
They built the whole film ground And obviously they must
have had that or like the thing that they must
have got to get people to invest in the film.
And the people investing in the film must have thought, well,
if they've written that one great line, think how many
other great lines there could be the answer is zero,
And the answer is that the whole rest of the
film is just awful, and it's purely serves to serve
(49:58):
up like you have to watch an hour and forty
minutes of the film just to see that line. And
they say, if you're if you was writing a script,
I've read this in a book. They say that if
you've got a line you really like, they say, forget
the line, cross it out, write a film, and then
maybe at the end put it back in. We'll probably
(50:19):
find that you've written a better film. You don't need
that line anymore. Anyway, they didn't follow that advice, so
they wrote the film and it would have been better
if they hadn't bothered. And also that man Paul Bettany,
who was the star of the film. He was on
a flight with me once from New York or Los
Angeles to London, and all the cabin crew were fussing
(50:43):
over him and I was waiting for my suit.
Speaker 1 (50:46):
Did he say these are the best cabin crew in
the world.
Speaker 3 (50:48):
He didn't say that. I don't know. I don't know.
It probably did. I would have thought you would have done,
because they were great to him. But meanwhile I was
waiting for my salad and for.
Speaker 2 (51:01):
That reason, for that reason, what you're in comedy, you're
very funny. What's the film that made you laugh the most?
Speaker 1 (51:09):
Pulfit?
Speaker 3 (51:10):
It was actually Reservoir Dogs because I watched it and
when I was at university in a cinema, Yes, and
I found it's so awful that I kind of went
round and some sort of loop and I actually started
buying it really funny. And when never doing these awful
things like cussing about's ear off of those horrible things,
(51:32):
I was just laughing. And this caused a lot of
consternation in the cinema for people who were like, you're
not taking this film seriously. But I genuinely made me laugh.
I actually found it funny. I found it so awful.
I was actually just laughing. I found it hilarious.
Speaker 1 (51:51):
Did you have to watch the making up?
Speaker 3 (51:52):
I've never watched the making of it. I'd probably find
it quite traumatic. So yeah, that made me laugh. It's
just I've never reacted like that tournam before like that,
but I just found it so awful. I was literally
stoical laughter that just how you coach way to escape
the just the horror of it.
Speaker 1 (52:15):
Did you laugh in hostel.
Speaker 3 (52:17):
No, I didn't in hospital. I just found castle. That's
probably why I had to get over it.
Speaker 2 (52:27):
When you were booked, when you were booked to do
amused moose, and you were booked three years in advance,
and you said, all right, I'll do it in three years.
And then you got very busy and you called up
with amused moose three years la you said, you know what,
I'm too busy to do it, and the amused moose
got so angry that the amused mouse chased you through
the streets and you were like, wait, wait, all right,
(52:47):
I'll do it. I'll do a five minute tryout. And
the amused moods said no, you rejected me. And then
the amused moose, gorgeous and it's antlers, went right into
your stomach and pulled apart your stomach and your intestine
came out like someone in hostel. And I'm walking past
with a coffin, you know what I'm like, And I'm like, Jesus,
Paulfoot's been good by a moose. And everyone said, yeah,
(53:08):
I read it on chortill and I'm like, oh God,
and I go, everyone help me. We pick up all
your bits, we stuff it in the coffin. But there's
more of you than I was expecting. We having to
chop you up anyway, we put you in the coffin.
There's only enough room in this coffin. De slide one
DVD into the side for you to take across to
the other side. And on the other side's movie night
every night. What film are you taking to show the
people in heaven when it's your movie night, mister Pulfoot.
Speaker 3 (53:30):
Grand, Hot Day, fantastic. But it's such a brilliant film,
and obviously it'd be good. It really would be grand
because we'd be watching the Spin tvd over and over again,
and it's just such a there's screenwriters must have had
such fun film working out how to do that, so
that initially, obviously nothing much happens, and then it starts
to repeat and it's more and more. I love it.
(53:52):
I love my favorite bits that bit when he just
like remembers some fact. He says, because I know that
you like condensed milk and your gold field or something,
and she just says, that is not love. That is
not what love is. You're idiots. I love.
Speaker 2 (54:10):
It's been so wonderful to see you when you tell
people what to watch with you coming.
Speaker 3 (54:14):
Up soon on on stages doing my show Dissolve. So
I've got my show Dissolve, which is all around on
tour all around the UK at the moment, and possibly
other places. It may be going to which I don't
think I'm officially allowed to say. It may be going
to other territories, other sovereign territories around the globe. And
(54:37):
also it may even don't you're supposed to say this either,
it may even possibly have been filmed and that may
possibly come out onto other streaming platforms and other methods
of watching the show Dissolve. That's what they can see.
Speaker 1 (54:52):
Mostly, I love you, Thank you for your time.
Speaker 3 (54:56):
Thanks Prett Goldstein.
Speaker 1 (54:58):
Goodbye. So that was episode three hundred and twenty seven.
Speaker 2 (55:03):
Head over to the Patreon at Patreon dot com, Forts
Last brit Ghosteam for the extra chat, secrets and videos
with all foot Happy.
Speaker 1 (55:09):
Thanksgiving to everyone in America who listens.
Speaker 2 (55:11):
Goes to Apple Podcast, give us a five star rating
and write about the film that means the most to
you and why it's a lovely thing to read.
Speaker 1 (55:17):
Helps numbers, It's very much appreciated. I hope you're all well.
Thank you for listening. Thanks to Paul forgiving me his time.
Go see him.
Speaker 2 (55:23):
Monteur and his live show dissolved thanks to Scruby's PIP
and the distraction piece of network. Thanks Buddy Peace for
producing it. Thanks to iHeartMedia and wil Farrow's Big Money
Players Network facting it. Thanks to Adamchison for the graphics
and leads a loading for the photography.
Speaker 1 (55:34):
Come join me next week for another brilliant guest. That
is it for now.
Speaker 6 (55:38):
In the meantime, have a lovely week and please, now
more than ever, be excellent to each others.
Speaker 3 (56:03):
Bass back by the bat back, colors out says backs
out bas bass back bas backs a ba ba back
Look out. It's only films to be buried with.
Speaker 2 (00:14):
Hello, and welcome to films to be buried with. My
name is Brett Goldstein. I'm a comedian and actor, a
writer director at pet Psyekick, and I love films. As
Mary Shelley once said, beware for I am fearless and
therefore powerful until I saw Hereditary when I felt weak
and scared. Yeah, Mary, I relate. Every week I'm invite
a special guest. I tell them they've died, then I
get them to discuss their life through the films the Minimize.
(00:36):
The previous guests include Barry Jenkins, Kevin Smith, Sharon Stone,
and even Bed Ambles. But this week we have the
brilliant comedian Paul Foot. Head over to the Patreon at
patreon dot com forward slash Brett Goldstein, where you get
an extra fifteen minutes of chat with Paul.
Speaker 1 (00:51):
We talk secrets, we.
Speaker 2 (00:52):
Talk beginnings and endings, and you get the whole episode
uncart and ad free and as a video. Check it
out over at Patreon dot com Forward Slash Break Goldstein.
Episode eight of Shrinking season two is now available on
an Apple TV. Get caught up on all of it.
I think you'll love it. That's all available there, seasons
one and two. So Paul Foot. Paulfoot is a legend
on the comedy scene. When I started stand up, he
(01:15):
was a legend. Then he is a legend now. He
is a unique and brilliant man. You might have seen
him on never Mind, the Buzzcocks, Would I Lie to You?
As well as various radio shows. He is currently touring
his new show, Dissolve. We recorded this on Zoom a
few weeks ago. I hadn't seen him in a while,
and it was very, very very lovely to catch up.
I really think you're gonna love this one. So that
is it for now. I very much hope you enjoy
(01:37):
episode three hundred and twenty seven of Films to be
Buried With. Hello, and welcome to Films to be Buried With.
It is me Brett Goldstein, and I am joined today
(01:57):
by a comedy hero, a comedy legend.
Speaker 1 (02:01):
He's an actor, he's a writer, he's a stand up.
Speaker 2 (02:04):
He's an award winner, he's an advertiser, he's a game shower.
He's everything you could want in a man and more.
He's here. I can't believe it. I haven't seen him
in ages. He's one of my all time favorites and
I love it very much. Please welcome to the show.
It's the amazing it's Paul fa.
Speaker 3 (02:23):
Oh thank you, Bret. I'm sure some of those things,
I'm not those things.
Speaker 1 (02:28):
You are all of those things.
Speaker 3 (02:31):
Actually, I was going to say, I'm definitely not game
show hosts. But I did do one you but like
a little life and a silly one, not like one
of those five o'clock in the afternoon on the television
soul destroying ones.
Speaker 1 (02:44):
Not one of those what would you like to do?
One of the old destroyers.
Speaker 3 (02:49):
Where you just stand there and then you just think, well,
this is boring. But I'm paying for my new extension
of my house.
Speaker 2 (02:58):
Yes, and at least there's only one hundred episodes to film.
Speaker 3 (03:02):
It's because they drive me in on a Monday. We
always do three shows on the Monday. On a Tuesday
we do another three and Wednesday's lighter. It's just the
one show. Yeah, I'm back with a wife by Thursday
and we can be discussing our assets and what to
do with because report is her home. It's an old
(03:23):
farmhouse and it needs a little work. We're converting the
old stables into a granny flat for her mother so
that she can be near us. Is it's going to
cost us about three even forty pounds to do it?
Because with the money I'm earning, you know, I do
get quite a lot, you know, pay quite a packet
for a show on the game show.
Speaker 1 (03:45):
Anyway on Fridays, back to another three.
Speaker 3 (03:48):
Yeah, yeah, yes, they have said now, yeah, they're saying,
now we're going to have to do three. We do
three on a Friday. Is a real drag. And I
do get seventeen pounds in episodes. I suppose that it's
small compensation, but it's a bit of a drag. And
also I have to go up to Glasgow to do it.
(04:08):
To fly to Glasgow every Monday morning, it's a bit
of a drag. Because sometimes I drive me there. I'll
find all a bit of a drag. Such a drag.
You know, these people you must have met, these people
who have really successful lives. It's all just a big drag,
like you know on a chief executive of a big company.
And you know, I have to fly to Sydney in
(04:30):
first class once every month. It's all a bit of
a drag. Really, I'd rather just be with my family.
I'd rather just spend more time with my family, and
I'd rather spend time with my teenage daughter instead. I'm
the chief executive of a major company. I have to
fly backs and floorwards, and I have to have meetings
with people. It's all a bit of a drag. Oh oh, my,
(04:52):
my mind. You know my secretary is calling me to
rearrange a meeting. It's all a bit of a drag.
Speaker 2 (04:58):
Really, don't speak pull pull for I haven't seen you
in fucking ages. And when I started, I gigged with
you at so much and you were always so wonderful
to me, and you actually taught me something that I
have tried to maintain but I find it difficult. But
it is something you told me. Do you do you
know this? You told me off in a very loving way.
Speaker 3 (05:19):
Was it if you do a gig and you didn't
feel it didn't go so well? Yes, you don't let
that energy go to everyone else. So oh that was
real rubbish, that was all.
Speaker 2 (05:31):
Yes, you have to act in front of the audience
like wow, what a great crowd.
Speaker 3 (05:35):
Because I remember doing your show a long long time
ago before I gave that lesson to you. But I
can't remember. It wasn't getting that much reaction with the
audience compared to what normally got. But afterwards the people
that the other comedians, they were all like, wow, that
was brilliant. We loved it so much. And I just said, well,
didn't go as well as normal, and it's all just
like all down until and all their enthusiasm, sup are working. Yeah,
(06:00):
but there are of course times when it is quite
funny to say.
Speaker 1 (06:03):
That, Yeah, you just have to have to pick it.
Speaker 3 (06:07):
Every rule to do with writing or performing or creative things,
or maybe every rule in life, there's always an exception.
Speaker 2 (06:14):
Yeah, do you remember we once had to stay over
night in the service station? Do you remember this? And
you tell me your plan and I don't know if
you ever did it.
Speaker 1 (06:23):
I don't know.
Speaker 2 (06:23):
I'm sure everyone knows you, but anyone who doesn't know you.
You have secret gigs that you do for your kin.
And you tell me that you were going to do
an hour and you did it for me on toast
and it was just going to be an hour on
how annoying taste.
Speaker 3 (06:39):
I think I did a number. I don't remember spending
an evening in a service station with you, which is
probably a good thing, yeah, But I have done various
quite wild things throughout the years. There was a whole
thing when I did a whole hour on the Chinese
takeaway price increases. In fact, actually I did. I kind
(07:01):
of didn't because I was going to and then I
think I did do a whole hour on various things
that have been things i've done like secret shows. Certainly
at Secret shows I've done like a whole hour because
Secret Shows is just all my best sort of fans,
connoisseurves A call them and they just they know what
they're coming for, and it's a wild anarchic night that
(07:23):
is a little bit different to my theater show night.
It's more sort of improvided where it's all completely improvised.
It's just crazy in anarchic and I have done all
sorts of things like for a whole hour. They're all
sorts of weird, crazy things. Let's take an idea and
just take it for an hour or two hours. I
was going to it in Edinburgh Festival in two thousand
(07:45):
and four. I was going to do a whole hour
on Chinese takeaway prizing creases. But then my manager at
the time put me together with Matthew from Channel five.
What's his name? He presents on Channel five. Matthew. He
was presented in the morning on Channel five. He was
such a nice man and he used to take me
(08:06):
terrible that I can't remember. He's quite well known. Loads
of people reading or not reading, listening or watching this
podcast or reading it if they're legal, people pounding, so
you can't you.
Speaker 1 (08:20):
Remember it's Mac made right, Mathew right, Matthew right, Matthew right.
Speaker 3 (08:25):
Anyway, so my manager put me together with him as
a sort of mentor, and he used to take me
for meals. So I didn't have any money at the time.
I couldn't affward it. But he obviously had like a
successful career on Channel five drag, and he liked my
comedy and he'd give me a bit of advice and stuff.
And then I said, look, I've got this big idea.
I said, look, my career is going really bad me.
(08:48):
This is two thousand and four, so my career is
going really bad to me, Matthew, but I've got an idea.
You know, I could come on stage into an hour
and Chinese take away pricey cruises. And he just said, Paul,
that would be comedy. Suicide, professional suicide to do that.
So I was persuaded to tone it down from a
whole hour to just fifty minutes. But in fact, the
(09:11):
worst of all worlds in the end because it was
not knowing that it was in the early stages of
my career. I don't know whether you had this bread,
but I certainly had it at the early stages of
my career when you know, you'd get the audience would
come in. And this was of course pre YouTube really,
so maybe this is before your time, before YouTube is
so common and social media and all that. Nowadays people
(09:34):
would look to check what they were coming to see
before or nowadays. My reputation in the general just sort
of vibe is enough that even if someone comes with
someone else and it's not really for them, they just
get into it. But in those days, there'd be an
audience and half of them would love it and the
other half would hate it. So when I did that
show for fifty minutes about.
Speaker 4 (09:55):
Chinese takeaway price increases in the EDINB Festival, I remember
people would walk the loads of half the audience comes
at various points, nobody saying you're the worst ca reading ever,
and the people who were still there saying.
Speaker 3 (10:08):
We love it, this is brilliant comedy. We love it.
It's all about Chinese taper price.
Speaker 2 (10:13):
And he's absolutely right about the Chinese segway price increases.
Speaker 3 (10:19):
So it was all like that. It was very sort
of mixed.
Speaker 2 (10:22):
When people walk out, when it's that sort of vibe,
when people are loving it, people are hating it. Do
you love it? Is it thrilling or does it make
you sad? When they walk out? The people that leave, well.
Speaker 3 (10:31):
It's kind of thrilling. It doesn't happen very often now.
I can't think when the last time that happened. It
must have been years ago that I was doing a
tour show, an actual show people come to see me,
and people would have done that. But yes, it was
at the time, I remember it being No, I wasn't sad.
I was always just focused on making sure that the
(10:53):
people who loved the comedy, who were in the early
stages and two thousand and four maybe half the audience,
and later on it would be ninety nine percent of
the audience who loved it, making sure they had a
great time, because you can't allow one person who walks
out to affect up to ninety percent of the people
who are having you know, you've got to make sure
(11:13):
they have a wonderful evening. It is obviously in some
ways slightly scary because they are always dangerous moments. Yeah,
but it was basically exciting and an opportunity to galvanize
the people who are loving it and to get them
to love it even more.
Speaker 1 (11:31):
And can I ask you?
Speaker 2 (11:32):
And you don't have to talk about it, but I
really want to because I haven't been able to see
your latest show because I've not been in the country.
Speaker 3 (11:39):
I've been in America.
Speaker 2 (11:40):
I've been in the Americas, but I have been told
by Louie Sanders that it's amazing and that you have
had a big spiritual epiphany something, and they want to
know about it.
Speaker 3 (11:53):
Way. It's something that I don't normally going to do
much detail about, Okay because because personal and private. No,
because it's kind of spoils it for people who come
from the show. Okay, fuck, are you recording it? It
has been recorded, It will be coming out on whatever
it comes out on. But yes, that's normally wearing my
(12:15):
pr hat. It's not something we don't normally say just
while it's still live what it's about. But Yeah. The
show is about how I used to have really serious
mental health problems and how I recovered from them, and
how things not just recovered, but became even better than
normal as it were. So that's what it's about.
Speaker 1 (12:37):
Wonderful, But you can I don't have to fucking wait
for the fucking video.
Speaker 3 (12:41):
Yes, I think. I think in a year's time. In
a year's time, once I'm knowing I'm doing the show,
I'll just talk about it. It's not like some secret.
Speaker 1 (12:48):
We'll be chatting away about it, okay.
Speaker 3 (12:50):
And it's not like it's the secret. Thousands of people
have seen the show.
Speaker 1 (12:54):
No, but maybe you know fair enough.
Speaker 2 (12:57):
Listen, this is a good advert for the show because
I'm very desperate to say it. Yeah, Pulfo, Well, hey,
I'm delighted that you are feeling better from whatever happened
that we can't talk about. But however, I've forgotten to
tell you honey. Oh yes, I should have told you.
Oh I'm dead. Oh yeah, you're dead. That was it?
Speaker 3 (13:18):
Or was I not supposed to say that?
Speaker 2 (13:19):
No, I'm glad you reminded me. I forgot. Yes, you're dead,
you died. So how did you die? Pulfit?
Speaker 3 (13:27):
Well, I thought a good way would be death by
being gor by moose. I thought that'd be quite exciting
because be a real talking point, wouldn't it. And it also,
you know Pulf has been gone by moose also had
raised a number of questions, what was I doing in
the Moose sanctuary or in the moose community that the
(13:48):
Moose community, what was I doing there?
Speaker 1 (13:51):
Can you tell us? What is that? Up to me
to find out?
Speaker 3 (13:54):
Yeah, and there'd be an air of mystique about it
would be a bit like that one who's I get confused,
But it wasn't the one who had that EMU thing
and he fell off a roof?
Speaker 1 (14:04):
Yes, Rod, how was that? Rod?
Speaker 2 (14:06):
Hale Row? Yeah, you was fixing his TV area and
he fell off the roof and.
Speaker 3 (14:11):
He fell off the roof to be a bit like that,
but more steep to it.
Speaker 2 (14:15):
Like killed, killed by the amused Moose. Is that what
you're that's terrible?
Speaker 1 (14:21):
Yes.
Speaker 3 (14:22):
For those For those of people were listening or watching,
or indeed reading this, if they're legal people reading a
transcript for legal reasons, we should point out that the
Amused Moose was a comedy club. I think it's still going.
Speaker 1 (14:38):
I'm not sure, but it was a comedy competition in
this and it was.
Speaker 3 (14:43):
Going when when you started out and when I'm starting out,
really and it was it was a sort of legendary.
Speaker 1 (14:50):
Place good by the Amused Move.
Speaker 3 (14:53):
It was one of those places where when you started
you used to think, oh my goodness, if I can
get it on the Amused Move, this could open all
these doors met And conversely, if I don't get booked
by the Amused Moose, it's kind of curtains. But then
later you realized a little bit like the Wizard and
(15:14):
the Wizard of Oz, that it wasn't as frightening as
it's such a big thing after all, so it would
be terrible. So you know, it's really in many ways,
all of our careers. I know, you have a big
career here in America, So in many ways, all our
careers as comedians has been to psychologically get over the
(15:35):
Amused Moose, either the fact we were booked it and
think you've got to move on, You've got to stop
clinging on to the Amuse Moose as that, or getting
over the fact that maybe you never really were booked
very much to the Amuse Moose, you never were a
success at the amused Moose. All of our careers, whatever
we do is psychologically moving on from the amuse Moose,
(15:56):
So it would be.
Speaker 1 (15:57):
Ironic to be killed by them, to be got or
to death by one.
Speaker 2 (16:02):
I remember being booked for the amusements, finally being bookes
and giving me a slot, a five minutes lot in
two and a half years time.
Speaker 1 (16:11):
She was like are you freeing?
Speaker 2 (16:12):
Like remember it was like are you've free in twenty
seventeen and it was like twenty fourteen.
Speaker 1 (16:17):
I was like, possibly, what's going to make that work?
Speaker 3 (16:21):
So what I want to know is two things. Actually
one thing, did you do it?
Speaker 1 (16:26):
I didn't I think in the end.
Speaker 3 (16:27):
So so what happened? That's my second Christmas pose? What
happened in this administrative Was it that you were the
failure and ultimately the offer was withdrawn as your career
didn't quite go up as much as it had been
a home yeah you know? Or was it that you
were a success and you ultimately were said, look, actually
I know you offered me this two and a half
(16:48):
years ago and now I've moved on to bigger things now.
Speaker 1 (16:53):
Yeah.
Speaker 2 (16:53):
I think it was that I think I was too
busy to do five minutes at the amusements two and
a half years later.
Speaker 3 (16:59):
Yeah, a bit like me because when I started out,
I remember starting out in nineteen ninety six or seven properly,
when I started properly, and then I remember in nineteen
ninety eight, an agent at the time said, you're not
really a club comedian, for you're a theater comedian. But
I just started off in all the clubs.
Speaker 1 (17:20):
So I was just like, what do you mean.
Speaker 3 (17:21):
I'm not a theater comedian. I'm not going to play theaters.
I'm designed for the clubs. You know. I didn't know
what you mean, but anyway, So I always dreamed for
years and years becoming a success on the club circuit,
but it never really seemed to happen. But eventually, in
about two thousand and ten or eleven, twenty eleven, I
(17:41):
did finally become a success on the club circuit. And
I was a success on the club circuit, but only
for about three months prior to retiring from the club
circuit because I no longer needed it and I was
moving on to other things. So spit similar to you
with your moose moose.
Speaker 2 (17:59):
Thing, really amusements killed about the amusements? Do you worry
about death Pulfit, Well.
Speaker 3 (18:05):
I worry in case it doesn't happen. It's like, yeah,
I could.
Speaker 1 (18:10):
Just be the.
Speaker 3 (18:13):
Immortal. I just keep going on and on, but just
increasingly in ill health and just really really I don't
worry about it. So it's death is one of those
things where it's quite difficult to imagine it, isn't it.
It's difficult to imagine a world without us in it.
Speaker 2 (18:31):
Difficult imagine about Pulfort, for sure. I think you're quite
a unique proposition. If you die, there's no another Pulfit.
Speaker 3 (18:39):
I don't know about that, but yes, I suppose we
go to sleep every night and we're kind of dead
for most of that time, aren't we. We're not there.
I know we have dreams, but that's only a short time.
But the rest of the time, we're just it's quite
interesting sleep because they say they've worked out we need
two three hours a night to rejuvenate the body. We
(19:00):
need two or three hours for the brain to process
memories and those things like that. And as for the
rest of the time, they have no idea really what
it's for. But what we do know is that if
we had only two and a half hour sleep for
a night, you probably cope the next day, and by
if we did that two nights in a row, we
would be really quite ill. So no one really knows
(19:23):
what that is. It's like we're dead, We're like in
some other realm. So I don't know. Maybe that's what
happens when we die. Maybe we're in that same realm.
Speaker 1 (19:32):
We're in the other two and a half in.
Speaker 3 (19:34):
Every night when we die, when we're dead. So I
don't know. So I'm not really concerned about being dead.
Speaker 1 (19:40):
Do you think there's enough to day?
Speaker 3 (19:42):
Well? I think there is more than what we just see,
the physical stuff we're seeing, And I do think that
there is some sort of soul. I think my philosophy
is that everyone believes in a soul in the sense
that you know, if I were to say to you, O,
let's meet up the two of us, and then I said, oh, one,
(20:03):
and there was a friend of yours there, and ignore
things like crimes and like police and stuff. But let's
assume that doesn't exist. So I'm there with you and
your friend. So what would be the problem with me
just brutally stabbing your friend to death? Because if your
friend is just literally a collection of cells, then what
(20:26):
does it matter? And you could say, well, they're feeling pain,
they're upset, But I could say, well, there's no one
to feel pain or the upset. Really, that's just a
trick of the brain. The brain makes you feel this thing.
It makes you feel in emotion because the chemicals coming
out something. It's all just chemicals moving around. It is
literally what it is is just literally just the scientific
(20:48):
what we see in front of us, or what science
currently understands in front of us. And the same would
apply for love. If you say you love your partner,
then if I say, well, it's it's just to learn
of chemical reactions, but it doesn't. I don't think it
is that it's more in something deeper. So I think
therefore we all, even if we don't, kind of believe
(21:10):
in it. So we don't in some way, we all
instinctively believe that there is there's some soul, there's something important,
there's something more than just what we see. And so
I think after death there is something more than It
doesn't necessarily mean we just float around with like Jesus,
like saying hello Jesus, but there's something.
Speaker 2 (21:31):
That Yeah, well, I think you're absolutely right. And the
truth is, there is a heaven and you are invited,
and it is filled with your favorite thing.
Speaker 1 (21:41):
What's your favorite thing? Pull fit films, isn't it can be? Yeah,
all right, welcome.
Speaker 3 (21:46):
I thought that's what you were saying. I thought you
were leading me to say that because it's a podcast
about films, and I thought he wants me to say
that you did perfect.
Speaker 1 (21:54):
You did that to perfect.
Speaker 2 (21:56):
Everyone in heaven is so excited to see you and
they want to know about your life through film. And
the first thing they asked her is what is the
first film you remember seeing?
Speaker 3 (22:04):
Pulfit Well, the first film that I know I saw,
but I don't really have any recollection of it. It's
just because my mother's told me I saw it was
Bambi and she's told me you went to Samby and
you were crying. But I don't actually remember any other
film until I was probably like ten or twelve older.
And I think the first one I remember seeing is
(22:25):
Death on the Nile with.
Speaker 1 (22:28):
Peter us Off and yeah.
Speaker 3 (22:31):
Taste about ten and I just like it's just the
best film ever. My favorite bit is it's so kind
of camp and ridiculous. My favorite bit is Angela Lansbury
and when she says and then I saw the killer,
I knew who the killer was. And then I saw
that the killer was. And then then she shot just
(22:54):
as she's about to say the killer was. It's so good.
So that's the first film I remember seeing.
Speaker 1 (23:00):
That's a great photos film.
Speaker 3 (23:02):
I remember thinking, I hope all films were as good
as that, you know, And then Peter Rusenov pacing around saying, yeah,
everyone here had both motive and means to commit the crime.
It's all done murder mystery way where it's all like
little vignettes acted out. It was all like and so
(23:23):
and so, it's all like everyone here had a grudge
against sound. So oh you lady so and so you
stood to inherit a fortune. And then it's whilst we
all know that you excuse yourself from the banquet that evening,
(23:44):
saying that you had indigestion. Put in reality, you could
have had just enough time to go up the steps.
And obviously the little like the vignette of the thing
that never actually happened but could have happened, you see
the perspect you could have gone to your room, got
the gun, then returned to commit the crime. And then
(24:08):
put the gun in the nile before returning with no
one suspecting anything. And then he says but and then
they say, oh dare you accuse me of murder? Oh
dare you, mister Porridge? And then he says, it is
actually Poiro And then and then he says, anyway, it
wasn't you. Then he goes off the next one. Yes,
(24:30):
you also had a grudge, you could have you had
reason to kill her, because I can now reveal that
she was Actually you're the secret relative. You were born illegitimately,
but you'd kept this concealed. I can now reveal your
real name is not Madam so and So, it's actually
(24:53):
so and so. You're actually you say that you were
actually called Johnny so and so, but actually you are
real name is Silas Montague, illegitimately bonne are you? I
had a grudge against your father, who had rejected you,
and you knew by right the mansion should be yours.
(25:17):
You could have you and blah blah blah. And then
you see the little vignette and then they say, oh
dare you say that, you pompous Frenchman. And then he says,
I am actually weld you and all the jokes to
staying over and over again like that, and then eventually
it's the real scene and then of course they all
kill each other and it's all marvelous. It's the best
(25:38):
film ever, isn't it.
Speaker 2 (25:39):
This is a great, great first film for you, and
I think it may have influenced all of your life
and I could see it. What about being scared? Do
you like being scared? What's the film that scared you
the most?
Speaker 3 (25:50):
Film scaredy? I like being scared in films, yeah, but
also the film scared me most was The Hostel.
Speaker 1 (25:58):
Horrible film.
Speaker 3 (25:59):
It's so horrible, horrid for anyone who hasn't seen it.
It's basically these people, they're like young people and they
arrive in a hostel somewhere in eastern Europe, and it
all seems fairly pleasant and they meet there as quite
attractive women and all this, but then it all turns
out to be a trick that actually they're kind of abducted.
And then the film kind of goes on and on
(26:20):
and on and on, obviously, as films do, on and
on and on and on and on on and on
on and on, and then eventually they're all like tortured
and it's all terrible, and it's like all people are watching,
they're all sadistic, and it's so awful and terrible. But
this man had his achilles heel cup and it and
(26:41):
and there was other things. I think it was a
hostel too, and the hostel three that similarly ghastly. They
had their insides opened out and it was it was
all ghastly. I was so traumatized by it. I had
to actually watch a film, the making of a hostel,
so that I could actually just see, Oh, actually, it's
all right. They really are all just actors and this
(27:03):
bit is done with piggs blood and this bit's done
like that, and this bit is done with pathetics and
then oh they're all just having lunch together and it's
all just fine. I had to watch that because it
was just And this bit is done with when she
falls off the train platform, it's all done with that,
and the train isn't actually there and there's a mattress
(27:24):
and she's not harmed. Because I was just so traumatized
by it.
Speaker 1 (27:28):
So rightly, who is so horrible? I hate? What about crying?
Are you a crier? What's the film that made you cry?
The most perfeit.
Speaker 3 (27:37):
A film that made me cry the most is I
don't know, because I know you're a film person, but
you might have seen this film The water Horse Go on,
I'm glad. I'm glad to get one you haven't seen.
Came out in two thousand and seven, and it's about
the blockless monsters. There was like some children with their
parents or something. They lived near lot Bess and the
(27:58):
new It's all just like a legend. All the local
people knew there was no such thing as a Locknest monster.
But then the children they see the lot Ness Monster,
and the lot Ness Monster kind of because they're children,
a lot Nest Monster lets them like pat its face
and stuff. It's two thousand and seven, so it's obviously
just like all made up of bits of plastic. It's
not like it's good as the best effects today. And
(28:20):
then of course they tell the adults and they all
just say, don't be silly. Thing. It's a lot Nest monster,
and if you're going to keep on like this, you're
going to have to go to detention at school and
you're being very naughty. Gang on. And then eventually they
do take the parents to see the Locknest monster, and
then the parents are like, there's no such thing. I
(28:42):
told you, Like, the lot Nest Monster won't come out
obviously when when they wanted to. But then eventually the
lot and the film is on and on and on
and on and on and on and on. Obviously films too,
on and on and on with the subplots and on
and on on and on on and on and on and on.
So you get to the bit obviously you've been waiting
for about that and a half, which is eventually they
do get there whatever some plot twist, and then the parents,
(29:04):
the older they do see the locknest monster, and then
the children say, do you see what I mean, Mummy?
There really is a lot Thiss monster. And then the
parents say, yes, you're right, there really is. You were
right all along, like the tears are flowing down my face,
the emotion, and then they're all like and then and
then the the children saying, it's all right, you can
(29:26):
stroke the lot next monster. And then the mother goes
to stroke it, and a lotless monster doesn't like the
mother because they're like a grown up. And then children
say it's all right, little nesty. Eventually the lot this
monster lets the let's the mother stroke and then the
mother's got like all tears in her eyes and she
strokes the lotlest monster and her tears flowing down my face.
(29:46):
And I should point out I was like thirty four
at the time. I should have liked, you know, there's
no excuse for this. I should have been But I
was just a blubbering wreck. There's wreck like crying and crying,
and I think maybe maybe they just readly twists and
if I can't remember now, it's maybe the monster dies
because of like, maybe there's some some bad pollution. Someone
(30:10):
with our harpoon kills it. Who doesn't understand. I'm just
like tears flowing down my face the terrible states about it.
I've actually got the d v d's making Yeah, what's
the making of Obviously I watched all the special bits.
Speaker 1 (30:27):
So that you you could stop crying and go it's
just a puppet.
Speaker 3 (30:31):
Yeah, it's all right, It's just a bit of plastic.
It's not a real lots monster. There's a terrible state
about it.
Speaker 1 (30:39):
Sorry.
Speaker 2 (30:39):
What is the film that you love other than The
water Horse that is not critically acclaimed but you love
it unconditionally?
Speaker 3 (30:47):
Well, I think it would be the down To and
Abby film, or it could be it could be actually
I think there's two down to Happy films. Could I
could be a friend to either of them. They're indistinct
from each other basically, just you know, it's not the way.
I don't think even the fans know. There's no difference.
So the the same film, this exactly the same film
that they turn them exactly the same. And then obviously
(31:09):
it's like my sort of guilty secret because the Downton
Abbey films were kind of spin off. It was a
it was a cash cow, wasn't it from the Downtown
Abbey series, but the down and Abby series itself, because
I stopped watching Downton Abbey after about series two. The
Downton Abby itself was a sort of cash cow, a
(31:29):
sort of diminishing returns for the fans, like Series eight
was only there a sort of as a sort of
second rate spin off of Series seven. Series seven was
a second rate spin off of series six, and so on.
It goes down and down. And if you were to
say each time you have a spin off of the series,
it's like half the return off the previous series, you
(31:51):
would be looking at literally and then he got the films.
You would be literally looking at night, did mathematics, so
it'd be like one divided by two to the power
of nine, just like one divided by five hundred and twelve,
So like the film is therefore one five hundred and
twelve as good as the original series, which itself is
(32:14):
a sort of spin off, as a sort of lazy,
lazy spin off of Gostard Park, which was actually quite
a good film. It's quite really, quite interesting with loads
of subplots, quite sort of murder mystery. It's a murder mystery.
It had other things in it, and it does it
does fulfill a role that no other film was fulfilled.
(32:34):
It's got its own thing. It achieved. But we're now
talking about it could be even one divided by one
thy twenty four of the quality of Gosward Park with
one of those indistincitionable the two different films. But nevertheless,
I would still sometimes watch a bit, Oh what's the
bit where King Jaws the Fifth comes to have his
(32:57):
mail at Downton Abbey and then the servants have to
serve the meal under difficult circumstances, and one of these
servants speaks out of turn, and shouldn't have said something
in the presence of King George the fifth. I still
like watching Guilty Guilty?
Speaker 2 (33:22):
What about on the other end, a film that you loved,
you used to love, and you've watched it recently and
you do not like it anymore.
Speaker 3 (33:29):
Avatar. So when that first came out Avatise, it was
like you were and you watched it in three D
and it was like, Wow, I'm being transported not only
into this really interesting idea, the idea that these mortal
people have an Avatar verse for them, and the idea
that there's some an alternative sort of virtual reality in
(33:51):
which people can live and plays with the idea of well,
which is the real reality? Oh, this is fascinating. I
thought this is. And they're not only that, but you're
also just the sheer spectacle and you're you feel like
you're inside the film and it's three D and you're
leaping up these huge tree things that are so high
up and you're like, I can't believe how high I am.
(34:12):
And yet I'm safe because it's all within a film.
And and now I'm getting on this flying bird thing
and on flying and this dragon thing, and it was
all just so fascinating, and then of course the anticipation
of Avatar too the way of the water and it's
unbearable forging. Wow, it's going to be and the special
effects will be even better now, and it's just like,
(34:35):
oh god, it's just going on the same old sort
of thing, and it's all at this time. They go
under the water and they're inside all the fronds of
the sort of sea ferns, and they go on and
on and it's just like, yeah, okay, special affair. Yes,
as the turtle went past, very clever, and it's just like, oh,
it's the same sort of story to do it. The
(34:56):
place has been threatened and in humanity he's going to
destroy it and they've got to defend themselves. And I
think that it's all the fort with Avatar. And then
it's just like, all right, that's Avatar two. And then
having watched Avatar two, you then go back to Avatar
one and there's no way you can watch the film again,
and it's spoiled forever. It's stilled by Avatar two. Destroy
(35:20):
it's just like, oh, right, key, this was the the
sort of reverse knockoff of Avatar two. I actually think,
so I can't watch it again, it's ruined.
Speaker 1 (35:33):
Whatever. Oh tell me this. What is the film that
you love?
Speaker 2 (35:39):
Not necessarily the film itself is good, but because the
experience you had around seeing it will always make it
special to you.
Speaker 1 (35:46):
Pulfit.
Speaker 3 (35:47):
Well, there is a film it's kind of special to me.
Once I love it, it's special to me, and perhaps
not quite the way you've imagined. But it was called
Dancer in the Dark. Yeah, I know it, so it's
all York in it. And she played this blind woman
who was incorrectly, falsely accused of murder. And in the
(36:08):
end it was all very bleak, very very bleak film,
and nothing went right and it was all terrible, and
in the end she was convicted of this crime that
she'd never committed and she was hanged for it. At
the end, she's blind and she's hanged for the crime. Anyway,
at the time, I was going up with a boyfriend
and it was a bit of a ropeye time for
the relationship. So we said, let's go to the cinema together,
(36:30):
and so we went to see Dancing in the Dark.
And obviously going to the cinema together if your relationship
has been a bit dodgy, It's the perfect thing, isn't it.
It's the time for the two of you to nestle
up together, and you know, there's the opportunity for maybe
a hand to go on to a knee or something
like that. In the show, something like that, it could
(36:51):
sometimes maybe even a kiss might be exchanged over a
bit of popcorn sort of thing. You know, that's the
opportunity you have watching a film with a lover. The
film was so bleak that there was no possible moment
even for a second. There wasn't even a five second
window in the film when it would have been even
(37:12):
appropriate to put my hand on his knee or something,
or just take his hand in my hand. It would
have been just callous and it would have shown that
I was not empathizing with her joy.
Speaker 1 (37:24):
There's no joyful moment for there was no.
Speaker 3 (37:26):
Joyful moment in the film. So literally, that film destroyed
our relationship.
Speaker 2 (37:32):
Fuck, that's one has a lot to answer for. Yes,
I'm so sorry. Fuck that is not a good date movie.
Speaker 3 (37:40):
But I always remember the film because it was a
sort of Yeah, it was a very emotionally charged at
the end of it. It's you know, it wasn't that devastating,
the injustice of the fact that this this woman was
blind and she was hand and then you have to break.
Boyfriend was saying, well, it's not real is it's just acting?
(38:03):
But it was felt so real. We haven't watched the
film the making of Dance.
Speaker 1 (38:08):
From the Door.
Speaker 3 (38:10):
Immediately it was very much the case of you know,
that was a devastating film. And also I think that
home has come for us to party.
Speaker 1 (38:18):
Did you break up that note on the way home?
Speaker 3 (38:20):
We didn't. Actually, it would have been a good story
for we didn't.
Speaker 2 (38:24):
A few texts later, a few feels later, what's the
film that you most relate to?
Speaker 3 (38:33):
We have we've gone off? Have we gone off the list?
Speaker 1 (38:36):
What is the sexiest film you've ever seen? No?
Speaker 3 (38:39):
No, no, no, no, Right, But I didn't know. I've
got confused there because obviously I'm sure people listening to
this podcast regulars or people watching it, or indeed legal people.
Speaker 1 (38:53):
Reason.
Speaker 3 (38:53):
I'm sure they'll realize that I am giving their heads
up about some of the things, so I can in
a different or you really throw me there, because I thought,
is that one of these there is one, there is one.
You've just gone out of order. I don't know, I
didn't know whether you had just thrown in a new question,
(39:14):
no it's a new order, or whether it's one of
the cressors in a new order. So yes, well, oh yes.
The films to relate to is actually The Disaster Artist.
Speaker 1 (39:28):
Go on, how interesting? Who? Why?
Speaker 3 (39:32):
Go? Well? The Disaster Artist, as you know, is about
it's a real film called The Room. He is considered
the worst film of all time. It's so hilarious. It's
so bad it's become hilarious. It's just brilliant. It has
all these matured to sex scenes in which sort of
don't relate to the show in any way. Do you
(39:53):
know that the bit I love it is the bit
when there's the mother in law announces that she's got
cant and then it's just never mentioned the game of
the film. It's just like a non secret. There's no
relevance or anything at all, and there's loads of things.
It's just terrible. And it was shot by two young actors,
or one young and one was a bit older. No
(40:15):
one really knows to this day how it was funded.
This man obviously had some sort of private means and
it was shot with you know, a proper crew and everything,
And I would advise anyone who hasn't seen The Room.
It sounds weird, but I would advise them to watch
The Disaster Artists first. The Disaster Artist is a film
(40:36):
about the making of the Room. First, before you actually
watch a film. But anyway, I relate to it because,
you know, in the late nineties and stuff, I did
write some sort of sketches and things for like BBC
two and things like that that were just but when
you look back on it, you just think, what sketch
(41:00):
like I got.
Speaker 5 (41:02):
One of the things I did is I got a
professional actress to dress up as a beefeater for completely
ill advised sketch, and you look back and you just
why did I do that? So for that reason, I identify.
Speaker 3 (41:16):
With the Disaster Artists, the people who made the worst
film of all time.
Speaker 2 (41:21):
I would like to see these sketches. I totally relate
to it.
Speaker 3 (41:24):
Because I think I don't know what you are like
as an artist. Well, I obviously I know what you're
like or seen your comedy, but I don't know enough
about you as a completely new the answer to this question,
but there are some comedians who are always pretty good.
Sometimes they might have a bad night, or they might
it's something to say, oh, there were a few tricky
(41:44):
nights in the early stages. But there are some who
and I would count myself amongst them. I mean, now
it's different. Really, it all goes pretty, it all goes
really well and everything. But there are some things I've
done in the past as I was learning, as I
was experimenting, and it was terrible. I have done some
really really terrible stuff. And I've done stuff where in
(42:07):
the early stages of my career where I'd come on
one night and people would say that was just brilliant,
it was original and different people were saying, oh wow,
and then and then I'd come on the next night
and it would be terrible, really awful. So I kind
of relate to the disaster artist. I don't know what
sort you are.
Speaker 2 (42:27):
Yeah, no, listen, I've experienced all of this. I related
to the disaster artists, and that I sort of feel.
I sort of go like, isn't that all of us?
And also the room is so unique that I'm like,
maybe it's brilliant.
Speaker 1 (42:41):
What does anyone know?
Speaker 3 (42:43):
Yeah it is, Yeah, it's almost brilliant because it's so bad.
Speaker 2 (42:46):
So unique, there's nothing you can't sort of fake that
sort of idiosyncratic way of writing and filming it act
like it's it's really impressive.
Speaker 3 (42:56):
And there's obviously that goes in comedy. I mean my comedy,
the sort of stomach comedy I do. There is a
chambalts to it, and there is a sort of unprofessionalism.
Speaker 1 (43:07):
But no one could do what you do.
Speaker 3 (43:08):
That's why that's sort of I mean, obviously I know
what I'm doing and all that, but there's a sort
of another layer. There's a sort of anti comedy or
not even is a bit of anti comedy in there,
and there's a bit of incompetence in there within the competence,
so you do get I mean some people say, like
Nicholas Cage, so some people say they don't know whether
he's the best actor ever or the worst actor. I
(43:31):
was on a flight once back from Sofia in Bulgaria,
and of course they have film sets up there. Lots
of people don't realize loads of films like Breakfast at
Tiffany's and all these famous films over the years have
all been shot in Bulgaria in these studios. Anyways, coming
back from Bulgaric and he was on the plane, and
I couldn't work it out. He was walking with a
(43:53):
kind of stick with a sort of strange limp, but
I got the feeling he was just doing method acting.
He was in the middle of being this character, and
it was just like it was a nice He went
past me a couple of times to go to the
loon and stuff with his stick and everything. And then
you remember him saying, the cabin crew on this plane,
they're just about the best crew ever. They're the best
(44:16):
crew ever. And then I remember when we got off,
and then I was taking my luggage off the carousel.
He had like people with him, and it was just
an unbelievable amount of luggage, and it seems a very
nice man.
Speaker 1 (44:30):
What's the sexiest film ever made?
Speaker 3 (44:32):
Pul Foot the sexiest film ever made? I would say
it's got to be the Full Monty, hasn't it, because
you know, obviously it doesn't have like all Hollywood heart
throbs in it and stuff like that, so pig mysel oh,
it's Ryan Gosling or whatever. But to me, it's got
to be the Full Monty because it was because they're
(44:54):
all like northern like blokes in it. And then I
don't have the best bodies or anything. They're not like
the sexiest bodies, but they're all just like real, just
normal British men getting a kid off. And it is
really it's erections all round. It's just it's so real.
Speaker 1 (45:14):
Isn't it a wonderful answer?
Speaker 3 (45:16):
I mean, you know, one couldn't have an erection with
Ryan Gosling because it's just too perfect.
Speaker 1 (45:23):
You just you wouldn't know what you know, it's you
wouldn't know where to start.
Speaker 3 (45:27):
We don't know where to start. It would just be terrible.
Speaker 2 (45:29):
But yeah, but you could have a yeah, wonderful What
what about troubling boners?
Speaker 1 (45:36):
Worrying?
Speaker 2 (45:36):
Why done the film you found arousing? You weren't sure
you should? The full guy?
Speaker 3 (45:41):
And what a film I found unexpectedly arousing? Wish I
hadn't eat? Well, you know, because there is always that
bit of you that thinks, wouldn't it be good to
make laugh to an extraterrestrial being? You know, it is
the final Frontier, isn't it.
Speaker 2 (46:01):
Et of all the aliens? I don't know that Et
is my type and I just just don't know.
Speaker 3 (46:06):
There's not It doesn't even have to be eat. It
could just be one of the other ones in the spaceship.
One of them waved came and you saw them still atte.
Speaker 1 (46:17):
And sort of looked, that's the one you fancy, is it?
The one? That one? The one inside?
Speaker 3 (46:24):
More mysterious that way. The idea of just getting in
that spaceship and then just going to town, well, it's
just interesting, wouldn't it start joining the mile high club?
But it's a lot higher. It's like it's like light
Year Club.
Speaker 1 (46:44):
Yeah, that's pretty good.
Speaker 2 (46:45):
I do like you being with the one already, the
one that's like the seeker, you know what I mean?
Speaker 3 (46:51):
Yeah, because I think because you know, because the actual
et in the film, the main one one felt it
felt like quite an innocent character. It was obviously it
was a grown up Eat. It was quite innocent character.
Because I got the feeling that the one that was
waving at the top of the stairs just up up
for most things.
Speaker 2 (47:11):
Really, the one that was waving like I had something
about them, didn't they had? They knew what they were
doing that way, very suggestive, You're right.
Speaker 3 (47:21):
I mean, that's probably why it's just so long to
come back and get eat.
Speaker 1 (47:24):
Wasn't it. Yeah, they were all very busy on that
ship all up to it in there.
Speaker 2 (47:29):
Yeah, at some point they take they're all sweaty, they
take a break and they're like, oh god, we better
pick up the old.
Speaker 3 (47:37):
I don't know how they do. I imagine they probably
just do it like the fingers just touching the nipple.
That's probably how they do making in that world.
Speaker 1 (47:48):
What is objectively the greatest film of all time?
Speaker 3 (47:53):
I was going to say The Truman Show. I love
the Truman Shows. It's just so yeah, nice, just so clever,
isn't it so clever? It's about reality, it's about people
playing roles in life. So yeah, I love the Truman Show.
That's mine. I think it's for me.
Speaker 2 (48:12):
What is the film you could or have watched the
most over and over again?
Speaker 3 (48:17):
Titanic? I'll just watch it over and over again. In fact,
recently I was in Awfuls in Denmark and after the
show doing a couple of shows, and after the show
I go back to the hotel and relax in the hotel,
and both times it was the last two hours of Titanic,
and I watched it both nights. But you can never
tire of it. It doesn't matter, it doesn't matter what
(48:39):
point you're picking up on it. It doesn't matter if
you have to switch off, if you can just watch
an hour and then you've got to go out. It's
the gift that gives on giving Titanic. I just love
it so much.
Speaker 1 (48:49):
You love James Cameron. Do you cry at the end
every time?
Speaker 3 (48:53):
Yes? Yes I do cry at the end. But I'll
tell you more about that later on in the podcast.
Speaker 1 (49:00):
What's the worst film You've ever seen?
Speaker 3 (49:03):
It's got to be Wimbledon because it's basically Wimbledon is
a film about Wimbledon tennis player and another test player
fall in love or something, and it's basically you can
see what happened. The screenwriters they based the whole film
around the line they really like this line he says
(49:26):
I'm in love with you or something she says, don't
you know love means nothing in tennis? And that's the line.
Speaker 1 (49:33):
That's good.
Speaker 3 (49:33):
They built the whole film ground And obviously they must
have had that or like the thing that they must
have got to get people to invest in the film.
And the people investing in the film must have thought, well,
if they've written that one great line, think how many
other great lines there could be the answer is zero,
And the answer is that the whole rest of the
film is just awful, and it's purely serves to serve
(49:58):
up like you have to watch an hour and forty
minutes of the film just to see that line. And
they say, if you're if you was writing a script,
I've read this in a book. They say that if
you've got a line you really like, they say, forget
the line, cross it out, write a film, and then
maybe at the end put it back in. We'll probably
(50:19):
find that you've written a better film. You don't need
that line anymore. Anyway, they didn't follow that advice, so
they wrote the film and it would have been better
if they hadn't bothered. And also that man Paul Bettany,
who was the star of the film. He was on
a flight with me once from New York or Los
Angeles to London, and all the cabin crew were fussing
(50:43):
over him and I was waiting for my suit.
Speaker 1 (50:46):
Did he say these are the best cabin crew in
the world.
Speaker 3 (50:48):
He didn't say that. I don't know. I don't know.
It probably did. I would have thought you would have done,
because they were great to him. But meanwhile I was
waiting for my salad and for.
Speaker 2 (51:01):
That reason, for that reason, what you're in comedy, you're
very funny. What's the film that made you laugh the most?
Speaker 1 (51:09):
Pulfit?
Speaker 3 (51:10):
It was actually Reservoir Dogs because I watched it and
when I was at university in a cinema, Yes, and
I found it's so awful that I kind of went
round and some sort of loop and I actually started
buying it really funny. And when never doing these awful
things like cussing about's ear off of those horrible things,
(51:32):
I was just laughing. And this caused a lot of
consternation in the cinema for people who were like, you're
not taking this film seriously. But I genuinely made me laugh.
I actually found it funny. I found it so awful.
I was actually just laughing. I found it hilarious.
Speaker 1 (51:51):
Did you have to watch the making up?
Speaker 3 (51:52):
I've never watched the making of it. I'd probably find
it quite traumatic. So yeah, that made me laugh. It's
just I've never reacted like that tournam before like that,
but I just found it so awful. I was literally
stoical laughter that just how you coach way to escape
the just the horror of it.
Speaker 1 (52:15):
Did you laugh in hostel.
Speaker 3 (52:17):
No, I didn't in hospital. I just found castle. That's
probably why I had to get over it.
Speaker 2 (52:27):
When you were booked, when you were booked to do
amused moose, and you were booked three years in advance,
and you said, all right, I'll do it in three years.
And then you got very busy and you called up
with amused moose three years la you said, you know what,
I'm too busy to do it, and the amused moose
got so angry that the amused mouse chased you through
the streets and you were like, wait, wait, all right,
(52:47):
I'll do it. I'll do a five minute tryout. And
the amused moods said no, you rejected me. And then
the amused moose, gorgeous and it's antlers, went right into
your stomach and pulled apart your stomach and your intestine
came out like someone in hostel. And I'm walking past
with a coffin, you know what I'm like, And I'm like, Jesus,
Paulfoot's been good by a moose. And everyone said, yeah,
(53:08):
I read it on chortill and I'm like, oh God,
and I go, everyone help me. We pick up all
your bits, we stuff it in the coffin. But there's
more of you than I was expecting. We having to
chop you up anyway, we put you in the coffin.
There's only enough room in this coffin. De slide one
DVD into the side for you to take across to
the other side. And on the other side's movie night
every night. What film are you taking to show the
people in heaven when it's your movie night, mister Pulfoot.
Speaker 3 (53:30):
Grand, Hot Day, fantastic. But it's such a brilliant film,
and obviously it'd be good. It really would be grand
because we'd be watching the Spin tvd over and over again,
and it's just such a there's screenwriters must have had
such fun film working out how to do that, so
that initially, obviously nothing much happens, and then it starts
to repeat and it's more and more. I love it.
(53:52):
I love my favorite bits that bit when he just
like remembers some fact. He says, because I know that
you like condensed milk and your gold field or something,
and she just says, that is not love. That is
not what love is. You're idiots. I love.
Speaker 2 (54:10):
It's been so wonderful to see you when you tell
people what to watch with you coming.
Speaker 3 (54:14):
Up soon on on stages doing my show Dissolve. So
I've got my show Dissolve, which is all around on
tour all around the UK at the moment, and possibly
other places. It may be going to which I don't
think I'm officially allowed to say. It may be going
to other territories, other sovereign territories around the globe. And
(54:37):
also it may even don't you're supposed to say this either,
it may even possibly have been filmed and that may
possibly come out onto other streaming platforms and other methods
of watching the show Dissolve. That's what they can see.
Speaker 1 (54:52):
Mostly, I love you, Thank you for your time.
Speaker 3 (54:56):
Thanks Prett Goldstein.
Speaker 1 (54:58):
Goodbye. So that was episode three hundred and twenty seven.
Speaker 2 (55:03):
Head over to the Patreon at Patreon dot com, Forts
Last brit Ghosteam for the extra chat, secrets and videos
with all foot Happy.
Speaker 1 (55:09):
Thanksgiving to everyone in America who listens.
Speaker 2 (55:11):
Goes to Apple Podcast, give us a five star rating
and write about the film that means the most to
you and why it's a lovely thing to read.
Speaker 1 (55:17):
Helps numbers, It's very much appreciated. I hope you're all well.
Thank you for listening. Thanks to Paul forgiving me his time.
Go see him.
Speaker 2 (55:23):
Monteur and his live show dissolved thanks to Scruby's PIP
and the distraction piece of network. Thanks Buddy Peace for
producing it. Thanks to iHeartMedia and wil Farrow's Big Money
Players Network facting it. Thanks to Adamchison for the graphics
and leads a loading for the photography.
Speaker 1 (55:34):
Come join me next week for another brilliant guest. That
is it for now.
Speaker 6 (55:38):
In the meantime, have a lovely week and please, now
more than ever, be excellent to each others.
Speaker 3 (56:03):
Bass back by the bat back, colors out says backs
out bas bass back bas backs a ba ba back
Host
Brett Goldstein
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