# Behind the Mics: ATRM Patron Q&A (April 2025)

An episode of [All The Right Movies](https://invisiblenetwork.ai/podcast/1471502633), 11 Apr 2025, 1 h 12 min.

Audio: https://traffic.megaphone.fm/APO9324833806.mp3

In this special podcast from All The Right Movies, we're opening our mailbag to answer questions from our patrons. Connect with ATRM: To support what we do, access our archive and listen to exclusive episodes, become an ATRM patron: Listen on Patreon Listen on Apple Podcasts Listen on Spotify Listen on YouTube Twitter/X: @ATRightMovies YouTube: Subscribe to our channel Instagram: @allthe_rightmovies Threads: @allthe_rightmovies Facebook: Join our movie group Bluesky: @alltherightmovies.com TikTok: @alltherightmovies Website: alltherightmovies.com

## Transcript

[0:10] Hi everyone, welcome to this special edition of All the Right
[0:12] Movies. My name is Luke and with me
[0:14] answering your questions are Westie.
[0:16] Hello. And Matt.
[0:18] Hello. Hello.
[0:19] Yes, indeed. Now this is an extra special
[0:22] treat, isn't it? It is certainly just for us,
[0:25] though. Certainly hopes.
[0:26] Yeah, absolutely. Yeah, of course.
[0:28] What a what a privilege and a pleasure just to answer
[0:30] questions. Amazing.
[0:31] Yeah, well, you know, hold your horses, reserves, judgment do
[0:35] get away. From us now and again they do
[0:36] get away from. Last year, to commemorate our
[0:40] 100th Classic podcast, we did a special Q&A episode for our
[0:43] patrons. We enjoyed it, they enjoyed it,
[0:46] so now we're back. But we thought we'd spread the
[0:49] joy to all of our listeners. Absolutely brilliant.
[0:53] It is our patrons asking the questions, so thanks to all who
[0:56] submitted. Keep them coming and we will get
[0:58] to all of you eventually. Yes.
[0:59] Thank you so much guys. Yes, thank you very much for the
[1:02] question. So without further to do, let's
[1:05] delve into that mailbag and pull out some goodness.
[1:08] OK, mailbag. All right, Granddad.
[1:18] I love it when Matt gets really angry.
[1:20] That's the angriest I've ever seen.
[1:22] Granddad, that's so good. What a cutback.
[1:25] How many times have we said that on the show when somebody said
[1:28] something like archaic? All right, Granddad, All right.
[1:31] Granddad. All right, mate, Try again.
[1:34] Brilliant. I love it.
[1:36] Well, our first question comes from Nathan Lang.
[1:38] Hello, Nathan. Hello, Nathan.
[1:40] Nathan says. First off guys, I only listen to
[1:43] three film podcasts, the other two presented by comedians, but
[1:47] I always get the most laughs out of yours.
[1:49] Wow, what prayers. That's crazy.
[1:52] What a tribute. Yeah.
[1:54] Lovely. On this topic, Nathan says what
[1:56] makes a good comedy? Diamond.
[2:02] Just timing right, moving on. That's it next.
[2:06] But I said it quickly. You see that's that's the
[2:07] comedy. Brilliant.
[2:09] There's there's the humor, there's the.
[2:11] Humor. All right, Granddad.
[2:14] Well, it is a great question to start us off, Nathan, a great
[2:16] tribute. And Matt, would you like to go
[2:19] first? I would, I mean, we don't plan
[2:21] this, but Wesley is absolutely right.
[2:23] It is all about timing. When it comes to all about the
[2:25] timing, it really is both in the performances and what the
[2:27] director can bring. He can have a really great, a
[2:30] really funny script, but if the cast don't know how to deliver
[2:33] the lines and timing them perfectly, if the director
[2:36] doesn't know how to shoot it, it's pointless.
[2:38] You may as well not have that script.
[2:39] We've said now on a few podcasts like the comedic value of a well
[2:43] timed cut Last Crusade Indie Speech about Marcus.
[2:47] Cut to him in the market. Hilarious.
[2:49] But he is big English. Exactly with the push in as well
[2:53] in the camera, such a dramatic moment which then gets gets
[2:56] undercut. Big trouble in middle China.
[2:59] Jack Burton all fired up ready for battle against Lopan at the
[3:02] end. Shooters gone into the seal and
[3:04] knocks himself out because the battle cuts back to Jack to
[3:07] sprawled out missing it all brilliant I feel.
[3:10] Pretty good way, so. Hodney, is it just me?
[3:14] I feel pretty good. And then the last one, the one
[3:17] we always talk about, but Spinal Tap when they're on the Army
[3:19] base, Fred Willard's character, you know, make sure you play
[3:22] something for us. All these smash good straight in
[3:24] the sex farm. Working on a sex farm.
[3:29] Yep, timing. It's all about the timing of the
[3:31] cut. It's a.
[3:33] Timing for your being, for you, you.
[3:35] Can't stop once you start, can you?
[3:37] Text form woman. I'll break and hold you down.
[3:47] Thank you, Matt. What about you SDA?
[3:49] Good comedy. Yeah, it's a mixture of a lot of
[3:51] things for me, and I've got some examples with the bits that I
[3:55] want to talk about. The first one was time
[3:56] indefinitely, and the importance of the edit and how the edit
[3:59] needs to be sharp and tight, The direction needs to be very
[4:03] focused, but you need originality.
[4:04] I think if you look at the likes of Airplane, there was nothing
[4:07] before it really, and ever. It's been trying to be parodied
[4:10] since then, and that's so original.
[4:12] I think you need a bit of a spin on a serious tone where the
[4:15] actors take that seriously and then spins it where we find it
[4:18] funny and you kind of laughing at it.
[4:19] Very much like spine spinal taps, very straight down the
[4:22] line. These go to 11, you know, that's
[4:23] just hilarious. Don't look at it.
[4:25] Don't touch it. I love that you got a flame on
[4:27] that. Still got the old tiger on it.
[4:30] Don't, don't, don't even look at it.
[4:32] It's amazing. On top of that, you need some
[4:35] physical comedy. I think that really worked
[4:38] because it's a visual medium. So you need that.
[4:40] I think the likes of the Farrelly brothers with Dumb and
[4:41] Dumber, something about Mary, you know, them kind of visual
[4:44] gags that really work. And above all else, I think you
[4:47] need personality. You need to like who you're
[4:49] watching. You need to like that
[4:51] personality and that needs to come across.
[4:52] And I think the likes of Will Ferrell nails at every single
[4:55] time. And then if you watch Anchorman,
[4:57] every single part of that team is likeable and they all have a
[4:59] personality. And when they do that, that
[5:01] makes a great comedy. So it's it's the combination of
[5:03] all them I think. Very nice.
[5:05] Yeah. Yeah.
[5:05] I think it's obviously one of the most subjective things in
[5:08] movies, anything really, stand up sitcoms.
[5:10] It's just whether it's your brand of humor that tickles your
[5:13] funny bone or not. Yeah.
[5:14] So I don't think I can say definitively what makes a good
[5:17] comedy. All I can do is tell you what
[5:18] makes a good comedy for me. Yeah.
[5:20] And I think we we're, we're all on the same page, more or less
[5:23] comedy. Wise, yeah.
[5:25] I think there are a few elements.
[5:27] Obviously, very rarely do I see a new comedy movie that makes me
[5:30] go for It Takes a Lot. Yeah, exactly.
[5:33] And maybe I've been soured by old age, something which
[5:36] certainly plays a part because I'll enter a comedy like on the
[5:39] defensive immediately. If this is a comedy, well, you
[5:42] know I'll be the judge of that. Like someone tell the joke at
[5:46] the pub, Right? OK, Yeah.
[5:48] Yeah, go on then. Go on, We'll see.
[5:49] Let's see. Let's see you then all.
[5:53] Right, grab that. So the actors and the actresses
[5:58] are going to be right. Circumstances set and edit and
[6:01] direct and write and time and it's all got to come together to
[6:04] sing. For your particular comedy
[6:06] sensibilities, yeah, I think that the genre has been
[6:09] neglected and film makers think that thrown just wacky or stupid
[6:12] characters into a weird situation with loads of psych
[6:14] gags is enough to make a great comedy.
[6:16] And I disagree. I think the best ones for me are
[6:18] incredibly well written, obviously, but with an
[6:21] understanding of the subject matter.
[6:23] And they also have a great narrative as well.
[6:25] Yeah. That's the that's the eye of the
[6:26] duck for me. It is if you can make me belly
[6:29] laugh, but also make me care about the characters in the
[6:31] story. If you haven't seen it, we all
[6:33] three of us have individually mentioned that this is Spinal
[6:36] Tap. Yeah.
[6:36] One of the greatest. It's one of the.
[6:38] Yes. But it's got such a knowledge
[6:40] and affection for its subject matter and the breakdown of the
[6:43] bands. Devastating before Nigel comes
[6:45] back. And it's triumphant.
[6:46] Yeah. It's amazing.
[6:48] The Big Lebowski is gag after gag, hilarious situation one
[6:51] after the other, but it's such an intriguingly convoluted plot
[6:54] with a great debt of gratitude or the likes of Raymond
[6:56] Chandler. Yes, so.
[6:58] Thick. You don't know when to laugh in
[7:00] The Big Lebowski when you first see it, Yeah, You kind of find
[7:03] your own comedy. People laugh so much, so many
[7:05] different bits of that. It's like, and you quote it so
[7:08] much, even just when he's like, I'm just enjoying my coffee.
[7:11] I'd say that all the time and that's hilarious.
[7:14] But why is it so funny? Because it's time and it's
[7:16] personality and it's originality.
[7:18] That's that's the way it works. Great.
[7:19] I'm serious tone. He's talking about Vietnam.
[7:21] Exactly. He's talking about cutting
[7:22] somebody's toe off for goodness sake.
[7:25] With no Polish. Yeah, fucking amateurs.
[7:28] He can get you 1. Yeah.
[7:31] In the film we talked about at the end of last year, Trading
[7:33] Places hilarious moments. All right, the end and might let
[7:36] it down a bit, but it's still a one.
[7:39] It's wonderful roles reversal story that manages to say more
[7:42] about class and race than pretty much anything from the 80s.
[7:46] Yeah, great. Yeah.
[7:47] Incredible. So I think all the elements have
[7:49] got to come together. But the writing is key.
[7:51] And I don't just mean in the comedy moment.
[7:53] Yeah, yeah. Thank you very much for the
[7:55] question, Nathan. And that's comedy for you.
[7:58] Yeah, Yep. That's it I think.
[8:00] Quite a selfish one. This next one.
[8:02] This one comes from Dominic Bramley.
[8:04] Hello, Dominic. Hello, Dominic.
[8:06] Dominic asks how's the book coming along now?
[8:09] For those who don't know, we've signed with a publisher.
[8:11] We're writing a book. Thematically, it's very ATRM.
[8:15] We're telling the making of stories behind some of the
[8:16] biggest movies that Hollywood has to offer.
[8:19] Yep, and it's coming along quite nicely.
[8:22] Dominic, thank you. We're busy in the background
[8:24] doing writing research, conducting interviews with
[8:27] various cast and crew members of said movies that we're going to
[8:30] be writing about. And that is about as much as I
[8:32] can give you so far. But it's, I mean, destined to be
[8:35] on the New York Times bestseller list, I'm sure.
[8:37] So absolutely on your radars, everyone.
[8:40] Very. Exciting stuff that's scheduled
[8:43] for release in Autumn 26 or, you know, Fall 26, depending on
[8:46] where you're from. Amazing.
[8:49] But thank you very much for asking, Dominic.
[8:50] Yeah. One of the books you can kind of
[8:51] hide in your house and if anyone talks about a film, you can kind
[8:53] of sneak off to the bathroom and read about it and then come back
[8:56] down with all the all the juicy well.
[9:00] Yeah, amazing. Like Brent when he goes away and
[9:04] stuff. Researchers.
[9:09] Really brilliant. And I'm sure everyone
[9:12] appreciates the irony of Luke, of all people, writing a book.
[9:16] Writing a book? Yeah, Amazing.
[9:20] Never read 1 before. Never read.
[9:22] Not since Catcher in the Rye when I was 18.
[9:25] Because he had to. He likes books though, so you
[9:30] know. I like the look of them West.
[9:33] Yeah, you appreciate the medium, but you're not going to you're
[9:35] not going to delve into it. Yeah.
[9:36] Guaranteed this one's going to look great.
[9:38] Yeah, might. You've been holding that in your
[9:40] whole stuff forever. You're shooting from the hip
[9:45] build. All these up, but don't forget.
[9:48] Our next question comes from Ewan Campbell.
[9:50] Hello, Ewan. Hello, Ewan.
[9:52] Hello, Ewan. Ewan says.
[9:54] Are you able to separate the art from the artist?
[9:56] If a director or a star has said or done some awful things
[10:00] outside of their films, Westie, that is a hot potato.
[10:04] It is a hot potato. I can, because to me, art is
[10:08] art, and characters should be characters.
[10:11] And if people are good at something, you should appreciate
[10:14] what they're good at irregardless of what happens
[10:16] behind the scenes. And I know what it takes to make
[10:19] a film. And it's hundreds and hundreds
[10:21] of people. There's lots of departments,
[10:24] it's lots of talent, it's lots of stuff that you don't see.
[10:27] And when it's a really good film, and it's all the films
[10:29] that we talk about, it's films that people care passionately
[10:32] about because you can't make something you don't care about.
[10:35] You can't make something good that you're not passionate
[10:37] about. And if one person let's down 300
[10:40] people, why should we hit the product that everyone else has
[10:44] worked so hard to produce and so hard to maintain because of one
[10:48] person's outlook or one person's decisions to do a certain thing?
[10:53] So no, I don't judge a particular film based, I'm not
[10:56] watching that because he did this.
[10:58] I don't know if I knew them personally, maybe I might have a
[11:01] problem, but I would have to be really engaged in that and know
[11:05] it personally and have to be very involved in something to be
[11:07] so damning of something to, to say I'm not watching something
[11:11] or I'm not appreciating something because of one person.
[11:14] Yeah. To turn around and say I'm not
[11:15] watching 7 again because of Spacey, that's outrageous.
[11:18] That is outrageous. Outrageous.
[11:20] I don't agree with what they've done, but watching what they
[11:23] produce does not mean that I approve of what they have done.
[11:27] Separate from the art, it's the respect for the finished
[11:31] collaborative work. And one or two people's outlooks
[11:34] or one or two people's behaviors should not impact on another 200
[11:38] people who've worked so hard to create something that people
[11:42] love. And if you love it, love the
[11:44] art, not bothered about the artist.
[11:46] Lovely, powerful words, Westie. Very nice, Nice point of view.
[11:50] It's very tricky, obviously. I mean, obviously it's a tricky
[11:53] question because there are artists that have just come
[11:55] under a lot of scrutiny whose work I've enjoyed a lot of art.
[11:58] It's not just movies, but music as well.
[12:00] Yeah, we've talked about some of those artists working in movies
[12:03] on the podcasts, and we always say the same thing.
[12:06] We're talking about the art, not the artists.
[12:08] Don't add us. We're not condoning any actions,
[12:10] you know, all that kind of stuff.
[12:12] And obviously we mean that for certain, but just from a
[12:15] personal point of view, my perception of these artists has
[12:18] altered maybe just slightly, maybe quite a lot.
[12:20] But I do sometimes view them differently, like there's a bit
[12:23] of a dark cloud over their body of work, right?
[12:26] And I think the reason for that is because experience in movies
[12:29] and music, it's obviously, and it's an emotional experience.
[12:33] You elicit strong positive emotions from this.
[12:36] So if you have any kind of moral fiber, how could that not have
[12:40] an impact on your enjoyment of the art from this particular
[12:43] artist from an emotional point of view?
[12:45] I. See what you mean?
[12:46] Yeah. And you know, you take away what
[12:48] you bring to an experience as well.
[12:50] So if you are in an emotionally fragile state, for example,
[12:54] beaches is going to tip you right over the edge.
[12:56] Yeah, right. OK.
[12:57] If you're morally skeptical of a particular artist, I think
[13:01] you're on the back foot straight away.
[13:03] And I don't think anything will truly take that away, OK?
[13:07] I think that's altered forever for me, just a personal
[13:09] experience. So I think critically, like you
[13:11] see in Westie, we are able to separate the art from the artist
[13:14] on the podcast because we're looking at from like an
[13:16] analytical point of view, yes. But personally and emotionally
[13:20] core, I think it's impossible for the Lions not to blur,
[13:23] right? OK.
[13:24] I just think it's all very tangled.
[13:25] It's a very strange tangled weather is to kind of get a new.
[13:29] It certainly is, yeah. And, and I don't want to get
[13:31] bogged down in that nest of Vipers.
[13:33] No, neither at all. Let's move on to Matt.
[13:36] OK for me into the nest instead. Yeah, you go down.
[13:40] We are perfectly comfortable up here.
[13:45] For the most part, I'd say yes, because the difficulty then
[13:49] becomes where do you draw the line with someone?
[13:52] Where do you say, well, I'm not going to get with this person's
[13:54] heart, right, but I will still listen to The Beatles because if
[13:59] you go back and look at some of the sort of John Lennon did is
[14:01] particularly nice, didn't treat his first wife particularly
[14:04] nice. A lot of accusations there.
[14:07] And also, this is where I agree with Wesley.
[14:09] Someone may be awful, but if we're talking about film in
[14:11] particular, it's not just about that one person, you know, not
[14:14] one of us. He was going to defend Roman
[14:16] Polanski, for example, as a person.
[14:18] Not at all. But if I've 8 or was me's baby
[14:21] is not really unfair and the tremendous work that me, if I
[14:23] will, does not feel absolutely and what John Cassavetes brings
[14:26] that film. Having said that, I've got no
[14:28] problem with people who can't separate them and they have to
[14:31] make that separation in the congregate where that's
[14:33] absolutely fine by me. I totally get that argument.
[14:35] I do understand I. Totally get it.
[14:36] Yeah. Yeah, and I think it will depend
[14:39] as well at some point on what is the art and the artists saw as
[14:43] an example, you know, Mel Gibson has said some pretty horrible
[14:45] things about Jewish people. If he said he was going to make
[14:48] a film about the Holocaust, I think I'm going nowhere near
[14:51] that. Yes.
[14:52] Yeah, that's fair enough. That's after the fact though,
[14:54] isn't it? Yeah, after the fact.
[14:55] Yeah, I think my point is that if it happens, you know, if if
[14:59] there's something that already exists that they've done and
[15:01] then something comes to light later on down the line, do you
[15:04] go back and judge them for something that didn't do at that
[15:07] point? I think that's where I'm coming
[15:08] from. I think if somebody makes
[15:10] something now and tries to repair that through art, I'm
[15:14] sorry I did something wrong. But isn't I'm isn't my
[15:16] performance great in this film? Can you forgive us now because
[15:18] of this? I don't think I could do that.
[15:21] And you really can't argue with anybody's point of view on this,
[15:24] quite frankly. No, exactly.
[15:26] Yeah. Thank you very much for the
[15:28] question, Ewan. Thank you, Ewan.
[15:30] It was a great question. Yeah, very nice.
[15:32] Shoot it in the comedy one second.
[15:34] Yeah, yeah. Timing.
[15:38] Yeah, it's all about that time and I've got a word on it.
[15:40] Yeah, we've got to. Work on it.
[15:43] Our 4th question comes from Uriah Young.
[15:45] Hello, Uriah. Hello.
[15:47] Uriah, Uriah, Uriah says. Ultimate question for the ATRM
[15:50] crew. OK, you get to have dinner with
[15:53] a film director, actor and actress from any era, past or
[15:57] present. Who are you sitting down with
[15:59] and what hot question would you ask each?
[16:02] OK. I'm going to take this first and
[16:04] Director. Please do.
[16:06] I'm inviting none other than Martin Scorsese to the party.
[16:10] It's an obvious choice, but it had to be the big man, OK?
[16:13] Are we talking alive or dead? By the way, it.
[16:15] Could be anybody. Love it.
[16:18] OK, great. And I've chosen Scorsese
[16:21] because, you know, he's probably got the best baton average of
[16:24] any director in history. I would say so, yeah.
[16:27] And he's got so much knowledge of movie history as well.
[16:30] I'd love to ask him about his upbringing in a little lately
[16:32] and how that has influenced the movies that he makes.
[16:36] I want to know if he was really going to kill that guy at the
[16:39] MPAA who threatened to slap an X on Taxi Driver because of the
[16:42] end. I would say yes.
[16:44] I wanted to be a yes. Now it's going to be.
[16:47] If you don't know that story, YouTube, Tarantino talking about
[16:50] it. It's an insane story.
[16:51] Yeah, it's wonderful. I'd also love to know more about
[16:53] his cocaine fuel days in the 70s and 80s, because I don't think
[16:57] there's enough of that out there at the moment.
[16:59] No. So I need to dig deeper into
[17:01] that. Yeah, I'm sure.
[17:02] I'm sure you'll love that This question about period in my life
[17:07] I don't want to talk about. It I don't want to talk about
[17:09] again. That's fine.
[17:10] Yeah, great. For actor, my first instinct was
[17:14] to invite Eddie Murphy, and I'm sticking with it.
[17:16] OK, OK. Obviously the humor, I think you
[17:19] get on with Marty, but his story in the early years is just so
[17:23] fascinating to me. Yeah.
[17:25] Because I'll never fail to be a standard that he was only 19
[17:28] when he joined SNL. It's absolutely outrageous.
[17:31] It's unbelievable. That means that he was 20 on 48.
[17:33] I was 22 and training places 23 on Beverly Hills Cop.
[17:36] His relationship with the Winds as well, that would be
[17:38] interesting. Together.
[17:39] Oh yeah, yeah, that'd be great. Yeah, Co written as well wasn't
[17:41] it Delirious and wrong? That's right.
[17:43] That's right. And for actress, I'm going for
[17:46] Frances Mcdormand. Oh, nice, I nearly did.
[17:49] And everyone for Frances Mcdorman.
[17:51] It was a tough call, but I just think she's just got such range.
[17:54] But she also doesn't suffer fools gladly at all, no.
[17:57] Not at all. I'd love to get her perspective
[17:59] on the movie industry and understand her journey through
[18:02] the pitfalls of Hollywood in her storied career.
[18:05] And there's also an amazing story in there about living with
[18:07] Holly Hunter in the early 80s and meeting her husband, Joe
[18:10] Cohen. Yeah, and talk about the coins
[18:13] as well. And their process will be
[18:14] exactly yeah. So there you go.
[18:16] It is. Marty Scorsese, Eddie Murphy,
[18:19] Francis Mcdormand all come around to mine.
[18:22] Meatloaf Paps Blue Ribbon. Let's go.
[18:25] Beautiful. What a night.
[18:26] That's going to be really loud. I don't even know who's going to
[18:28] say anything first. Amazing.
[18:30] Scorsese's eyebrows. That's what's going to say
[18:33] something. 1st. And Matt, your dinner party.
[18:38] Who's coming? What are you asking?
[18:40] OK, so for director inviting the big man himself, James Cameron,
[18:45] over Big JC. Big JC because he's such a laid
[18:50] back individual, he says. So I'd like to ask him, does he
[18:53] regret anything he ever did or said to someone in a past
[18:57] production? You know, he's told producers
[18:59] that if they wanted him off film, they'd have to kill him
[19:01] first. What he's famous, he said to
[19:04] various actors over the years, Does he regret throwing that tea
[19:07] ladies trolley into the wall when she tried to interrupt
[19:10] everyone on Aliens? I'd love to know if he kind of
[19:13] regrets any of that from his primary youth factor.
[19:16] I've gone James Cagney because I just want someone from that
[19:19] classic era of Hollywood. I'd love to kind of get an
[19:21] insight into the studio system back then.
[19:24] And then in particular, I'll ask him about the film Angels with
[19:26] Dirty Faces, because that's got a very, very ambiguous end and
[19:30] where he's gone to the electric chair and you don't know if he's
[19:33] genuinely terrified or if he's putting it on to just losing.
[19:36] These kids have been worship him through throughout the film.
[19:38] So I'd love to know what his process was on it because he
[19:41] never answered that. And then actress Faye Dunaway,
[19:44] just she was so like imperious to in the 70s.
[19:47] I'd want to know what it was like to be a woman during that
[19:50] period to have the film that she did.
[19:52] I think she'd have some amazing story about Chinatown in
[19:54] particular. I think she she didn't get on
[19:57] with Polanski doing that. I'd love to hear her perspective
[19:59] on that. No surprise.
[20:01] Yeah. And I'd also like, ask her about
[20:03] the whole moonlight La La Land mix up with the Oscars.
[20:05] Does she feel responsible for that, or was that Warren
[20:07] Beatty's fault? Brilliant dress and yeah.
[20:10] Excellent. Beatty's fault?
[20:11] How to Beatty? Definitely, Yeah.
[20:13] I've recently rewatched Network and my God, she she.
[20:17] You can see from the first scene why she got the Oscar for She's.
[20:20] Incredible. She's unbelievable in
[20:22] everything. Yeah, she is.
[20:23] She's insane. Yeah, excellent, Mats.
[20:25] And Westy, who's at your dinner party?
[20:27] Director David Lynch. Brilliant.
[20:31] Just want to know what Mulholland drives about man you.
[20:34] Won't tell you though. He's not going.
[20:35] To tell you because he's a couple of glasses of wine and
[20:38] you'll be fine. We'll just be at the back
[20:40] garden. I'll get him Westy.
[20:41] That'll be fine. You know, we'll talk about it in
[20:45] the classic. Westy will have a little bit of
[20:46] a chat about it and I do not. I just want, I'd love to just
[20:50] sit and talk to that guy for like 10 minutes and I think I'd
[20:53] get so much insight into just his view of life.
[20:56] I think would be incredible. I wouldn't even ask him many
[20:58] questions. I would just listen to him for,
[21:00] you know, as long as I possibly could absolutely in or of that
[21:03] guy and his talent and just the way that he looked at the world
[21:05] is so individual. Actor Jack Nicholson.
[21:08] Brilliant. Big Jack, he just sit there.
[21:11] He'd love getting on the Lynch as well.
[21:12] I'm trying to think of everybody getting on together and just
[21:14] told him about working with Kubrick, working with Hopper,
[21:17] working on Cuckoo's Nest, working on Chinatown.
[21:21] Just you realize how much of an influence he is, how good he is.
[21:24] Does he even say that? The Departed, How good was that?
[21:26] From where? The Scorsese?
[21:27] You know what, I have all these questions and I think you just
[21:30] answer them with just such cool. And I would learn a lot from
[21:32] Nicholson. That would be incredible.
[21:34] Famously self deprecating as well Nicholson, which
[21:37] considering his persona is unbelievable.
[21:39] It is and I'll just love to. I'd love to see that side.
[21:42] I'm just that chilled side where he's just talking honestly
[21:45] about, you know, what do you think The Shining is about?
[21:48] Now Here is out on the actress Julianne Muller.
[21:51] Oh, OK, I like that we're. Going to talk about Boogie
[21:54] Nights, we can talk about Lebowski, we can talk about
[21:56] Magnolia, we can talk about the Fugitive, we can talk about a
[22:00] decision to do Hannibal. Yep.
[22:02] She's worked with so many people and she's been so incredible and
[22:06] I think she's been a little bit forgotten.
[22:08] So I would just love to sit on her and just give her a lot more
[22:11] praise. To be like you are fucking
[22:13] excellent in everything I've seen.
[22:14] Ian, by the way, and I think she would be fucking wonderful, a
[22:17] wonderful guest to be there. And she would get on with Jack
[22:20] or since you get on with David Lynch, I think it would just be
[22:22] a wonderful trait to have around.
[22:23] So yeah, Julian will for me. That's excellent.
[22:25] Yeah, wonderful. Any invite in there for me and
[22:28] that? Absolutely.
[22:29] Yeah, of course. Brilliant.
[22:30] I mean, somebody cook the food. Somebody served drinks.
[22:34] Yeah, come on round, you know, I'll do all the cooking.
[22:36] You guys just sit and get, you just get the information that I
[22:38] want because you know, you've got more personality than I
[22:41] have. So that's absolutely fine.
[22:43] You can pull the answers out. You're nice.
[22:45] We'll get Lynch lubricated for you, and then you can start
[22:48] asking questions. Absolutely, yeah.
[22:50] Just emotionally, though not physically.
[22:51] Yeah. Thank you very much for the
[22:56] question, Uriah. Wonderful.
[22:57] A good one. Thank you.
[22:59] Question #5 comes from Michael O'Malley.
[23:02] Hi, Michael. Hi, Michael.
[23:03] Hello, Michael. Michael says thanks for all the
[23:05] time and effort creating your podcast gents.
[23:08] Brilliant listening. No, it's very kind, very much.
[23:10] Thank you. Michael's question What's the
[23:12] one film you wish you'd been around or appreciate on its
[23:15] original release? It's Alien for Michael.
[23:18] Right, that makes sense. Great choice.
[23:20] Yeah, great choice. What's your choice, man?
[23:22] So I'm assuming this means in this scenario I have no prior
[23:26] knowledge of what the film entails?
[23:28] That's what I've extrapolated from, yes.
[23:30] I've done the same. Like first reaction was to say
[23:34] the things that's an obvious fave to my but I thought
[23:36] actually that might be quite depressing because it bombed so
[23:39] badly and I think that would take the shine off a little bit
[23:42] to be like, did anyone else say this?
[23:43] Was it just me? My only one was everyone else
[23:45] watching ET. Apparently they were, so I've
[23:48] not gone for that. Actually, I've gone a bit
[23:49] further back and it would be a film that everyone was talking
[23:52] about, a film where the whole publicity was.
[23:54] If you're not here in the 1st 10 minutes, we're not letting you
[23:56] in. Brilliant Psycho.
[23:58] Yeah, nice. Just that film, it was on
[24:01] obviously well before kind of any social media could spread
[24:04] the word about it. So it's just pure word of mouth
[24:06] and how that film just captured the imagination and you have to
[24:09] see it. You weren't allowed to go in
[24:11] late in case you spoiled it for anyone.
[24:12] Yeah, has to be psycho. Nice.
[24:14] Yeah, I love that. Those promotional materials,
[24:16] like Hitchcock pointing at his watch, you can't go in unless
[24:20] you're there. What about USD?
[24:22] What are you going to see on original release?
[24:24] I'm basing this on an episode of that 70.
[24:27] Sure, if anybody's seen it with first time anyone sees Star Wars
[24:31] in the cinema. OK.
[24:33] They are absolutely blown away by seeing this massive Star
[24:37] Destroyer coming over on the screen, the music from Williams,
[24:41] this whole adventure, and people were going to see it again and
[24:44] again and again. If I could see anything on the
[24:46] big screen with an audience in 1977, Star Wars 100%.
[24:51] Yeah, I mean, that's the big boy, isn't it?
[24:53] Yeah. Yeah.
[24:54] And it's fits in here. I was thinking about this long
[24:57] and hard, and you've got to be talking about those big boys
[25:01] like Star Wars that made a huge splash at the box office with
[25:04] lines of people queuing around the block in freezing jaws.
[25:09] The Godfather. Yeah.
[25:10] The ones that really took audiences by surprise and
[25:12] thrived on word of mouth, like you were saying, Matt.
[25:15] Yeah. So with that, my my ultimate one
[25:18] would be The Exorcist. Match EXOR, I'll show up.
[25:21] Of course it does. I mean, that's classic Luke,
[25:23] yeah. Giving yourself a platform.
[25:27] So that's classic Luke, That's classic me.
[25:34] Love it. That's the next T-shirt
[25:36] appearance. Classic Luke.
[25:38] That's all getting on it. Oh, classic Westney.
[25:44] Yeah, but I didn't coin that myself.
[25:46] No, no you didn't. I just coined the classic
[25:48] Classic math. Classic math.
[25:50] Classic. That is classic.
[25:52] Look, if I'm honest, yeah. I mean, you would have had a
[25:54] great time. There's stories of people
[25:56] passing out in the aisles, having to leave the theater
[25:59] early, not sleeping for weeks afterwards, palpitations in the
[26:02] four year. It just makes me wish that I
[26:04] could have experienced the time. And you know, this is the early
[26:07] 70s where audiences have just never experienced this kind of
[26:10] thing before. At the cinema, I think we've
[26:12] obviously become a little more desensitized now, but that
[26:15] film's got such an unshakable force.
[26:17] It's still incredibly shocking and can get under my skin like
[26:20] very few films can. Oh yeah, every time.
[26:23] It's incredible. I've really got to prepare
[26:25] myself to watch that every. Time.
[26:26] Yeah, Fantastic. OK, so moving on, Dane to Josie.
[26:31] How you doing Dane? Hello, Dane.
[26:33] Hello, Dane. And says, howdy gents.
[26:35] Simply put, if each of you had your own way, what would each of
[26:39] you choose as your first foreign language film on classic?
[26:43] Yeah. I mean, it's one that I've been
[26:45] pushing for, for a while and I'll put a few in.
[26:49] It is a difficult one because it's one that we want to do
[26:52] right and one that will have to balance it with what is popular,
[26:57] what people want to listen to, what people have seen and not be
[26:59] selfish and be like I'm, you know, I'd love to do the right
[27:01] Meister harmonies by Bellator, right?
[27:03] But getting you guys to watch it, it's.
[27:05] Just not going to happen. It's not going to happen in a
[27:08] million. Who's going to listen to that?
[27:10] Yeah. Well, exactly me, probably.
[27:12] Yeah, you obviously. I'll listen back to it and go.
[27:14] That was fantastic. Anyone else and just
[27:16] Tumbleweeds? But there are certain films that
[27:19] I think are really important than ones that have stuck with
[27:22] me and ones that I would love to cover.
[27:23] And I've got a few here here and I've put up a couple of times.
[27:27] Yes, that's recently been on the pole.
[27:29] It's recently been on the pole and I think I'd love to cover
[27:31] that because I think that's an excellent, excellent film.
[27:33] Emily was one of the very excellent, one of the first ones
[27:36] I'd seen in the cinema, foreign language film.
[27:39] I think that's a wonderful, wonderful film.
[27:40] The lives of others, if you haven't seen that.
[27:42] Oh yeah, that's amazing. The one that I'd really like to
[27:45] do is the Samurai, because that's the coolest films of all
[27:48] time. It's so cool.
[27:49] It's just and there's not that much dialogue, I don't think.
[27:53] So I think it's it's very visual.
[27:54] It's very much on the nose. It's very much what we want to
[27:56] talk about. It's influenced so many films
[27:58] that we've already spoken about. So I think going back to that
[28:02] and combining a real classic with a foreign language would be
[28:05] the way to go. Absolute Westie.
[28:07] OK, let's do it now. There are a few I'd love to
[28:13] start off with, like Lead Diabolique.
[28:16] Yeah. Oh yeah.
[28:18] Incredible film, obviously ignoring the horrific remake.
[28:21] Oh well, you know, we could talk about that.
[28:22] That would be fun at the end. Oh, yeah.
[28:23] Yeah, yeah, yeah, yeah, yeah. Good.
[28:25] I'd love to have a go on hard boiled John Woo.
[28:28] Yeah, that'd be great. It's.
[28:30] Influenced so much that. Film It has incredible Bong Joon
[28:34] whore film before he was parasite.
[28:36] Memories of murder. Brilliant film app.
[28:39] That's magnificent. Yeah, really scary.
[28:43] Oh, it's really scary. I mean, I mean, I'm an easy mark
[28:46] because it's like Zodiac. Yeah, but it's it's terrifying
[28:49] film. Yeah.
[28:49] Yeah. But if I had my way, I'd start
[28:51] off with it's 2 for two, Westie. I'd start off with less samurai.
[28:55] Nice. Nice.
[28:56] I mean that performance alone by Alan and Alan, oh man, that that
[29:00] Mac alone, that would be beautiful.
[29:02] To talk about the Mac that has boom.
[29:04] Incredible. So I mean, there's two for two.
[29:07] Let's put it on the next poll. See how it does dead last.
[29:09] Dead last. Dead last, Yeah.
[29:11] Not with Toy Story 2. Fuck sake, all the samurai.
[29:14] Put on the block number dear. See what happens.
[29:18] No votes. No, votes don't.
[29:20] Want anything this one to add? What about you?
[29:25] My first instinct when I saw this question was to go to
[29:28] Japan, because you talk foreign directors.
[29:31] I think Kurosawa is probably the biggest name, brilliant, the
[29:34] biggest influence on the kind of films we got.
[29:36] Well, that's the thing. I don't know of steaming in with
[29:38] the three hour epic like 7 Samurai.
[29:40] It's a big one. I mean, that's very you.
[29:42] That's classic it. Is it is very mean?
[29:43] I'm probably aware of that now in a foreign language as well.
[29:47] I don't know. In the butcher, the blade.
[29:50] Similar reason I'd be slightly reluctant to put Das Boot up
[29:52] anytime soon, as amazing as it is.
[29:54] Try never end your story. Never end story.
[29:59] I'd rather do that than nothing. I'd rather do than nothing.
[30:04] The relevance of Never an In Story for our listeners is
[30:07] because that was the film that Wolfgang Peterson followed up
[30:11] Das Boot with. Yeah.
[30:12] Obviously, I'm sure everyone realize that.
[30:15] Yeah. So I think it'd have to be a bit
[30:17] more modern, a bit more manageable.
[30:19] So you mentioned Bong Jin Ho Luke, I would like to really
[30:22] like to talk about Parasite. Yeah.
[30:25] I think I've put Pan's Labyrinth up before Mexican film William
[30:29] del Toro. That would be great to cover.
[30:31] And also let the right one in the Swedish.
[30:35] And the holes as well, isn't it? That has been our fault, yeah.
[30:37] So that's. Something I think 22 back or
[30:40] something. So we're not ignoring foreign
[30:42] language. Well, they are there, they are
[30:44] available. But it's, you know, well, maybe
[30:45] we should just do a poll with we've got the Samurai, we've
[30:48] got. Let the right one in.
[30:50] Just let Samurai just do samurai for the.
[30:52] Samurai and then let the right one in.
[30:54] Yeah, and then never end a story in Spanish.
[31:03] Dubbed. Dubbed Yeah, good version.
[31:08] Great. Thank you very much for the
[31:10] question, Dan. Thank you, Dan.
[31:12] And moving on, we've got a question from Mike Dale.
[31:15] Hi, Mike. Hi, Mike.
[31:16] Hello MM says hello lads, which movie does each of the ATRM crew
[31:20] wish they could live out or in for a day and which character
[31:24] would they be? He also says sorry if I'm
[31:26] stealing his Thunder, but I've got one eye on Westie turning up
[31:29] his Connor McLeod. Just the one eye.
[31:34] I'm going to take artistic license here, and I'm going to
[31:36] expand this out not the day, but the whole film.
[31:38] I thought about films that play out in real time.
[31:41] We've had different conversations about that in
[31:43] previous episodes across Patreon and Classic.
[31:46] Yeah, the one I kept on coming back to for some reason was math
[31:49] How in taking a pedal 123. But that's probably the least
[31:53] sexy thing you could do. Just sit behind a desk all day
[31:55] and wait for Robert Shaw's instructions over the radio.
[31:57] It's. Right of your street.
[32:00] And he's in Manhattan. Yeah, you love it.
[32:03] Look out the window. So I'm going with the full film,
[32:08] the full timeline. Ruffalo, Dave.
[32:11] Toski, Zodiac. Zodiac, obviously.
[32:14] Of course I am. Yeah.
[32:16] Both Bullet and Dirty Harry were modelled after me Him.
[32:19] But me as tusky as obviously prancing around in late 60s,
[32:24] early 70s San Fran in that Mac, that bow tie and those tight
[32:27] checkies. Beautiful.
[32:29] You could pull that off as well. I know you can.
[32:31] I don't know. Checkies.
[32:33] You absolutely can. Maybe not the checkies.
[32:35] Maybe we're still. Yeah, yeah, just shoot us from
[32:38] the waist, yeah. We'll get you in the mid shot,
[32:39] we'll be fine. Eating everybody else's food,
[32:43] solving crimes, getting up to my neck in Zodiac case.
[32:46] Thank you for breakfast. Beautiful love that.
[32:49] Yeah, Matt, What film? What character go?
[32:53] The one I want to live in, and I've wanted to live in this film
[32:56] since about the age of 7 or 8 from when I first sought the
[32:59] burbs. Nice.
[33:01] That just like the most fun place to live adults are just
[33:05] big kids running around trying to catch a murderer sneaking in
[33:08] the neighbors houses. What a joyous experience it
[33:10] looks to be living there it. Looks amazing, no timeline.
[33:13] No timeline. Looks nice.
[33:15] Well, nice. Looks nice.
[33:16] Get next door to meatball Meatball Matt to Meatball
[33:18] Meatball Matt. Well, no, no, see if which
[33:21] character are you. I'm going to be Rumsfeld.
[33:23] Oh nice, of course you are. Rumsfeld, Yeah.
[33:26] He's got. Lunatic.
[33:27] Red Rover, Red Rover, Let Matt go on over.
[33:32] It fits, it fits. It's got all the cool equipment,
[33:35] guns and night scope and a hot younger wife.
[33:38] What's not love? Brilliant.
[33:39] Exactly. Hey man, piss off.
[33:42] The Labor Christian. Anderson.
[33:48] Came with the frame. Came with the frame.
[33:52] Just writ wallpaper off people's walls and gets real.
[33:55] Does what he's. Amazing.
[33:57] It's so funny. That's magic.
[33:59] How about a little face to face a what room?
[34:05] They got the goddamn brownies. Yeah, I love that.
[34:10] What about you, Westie? What film?
[34:12] What character? I mean, I could have gone for a
[34:14] million different ones, but I'm just, I don't want to be like in
[34:17] a, in a, in something that's too big for us to handle.
[34:22] I look at this fantasy you're putting restrictions on.
[34:24] It kind of be like Indiana Jones.
[34:27] I kind of just, I kind of be doing that shit I'd love.
[34:30] It in Ocean's 11. Yeah, exactly.
[34:32] You know, it's like eating tacos in Vegas.
[34:34] I mean, I've done that and I was nowhere near as cool, so it kind
[34:38] of brings everything back down. But there's two that really
[34:41] stuck with me and to me, very, very favorites.
[34:43] And I know it's two of you guys favorite, so hopefully this
[34:45] works. I would work in championship
[34:47] final and I'll be in High fidelity.
[34:50] I wouldn't be any of the characters.
[34:52] I would just work there with the characters.
[34:54] Right, OK. And because that would just be,
[34:57] you know, you're hires for three days a week now just turn up
[34:59] every fucking day. That was six years ago.
[35:01] That would just be me 100%. But if I was going.
[35:03] To be that one. Yeah, Westie.
[35:05] Exactly, because I'm just Dick to you on and I'll just say,
[35:08] well, I've heard this album. Do you like it?
[35:11] Yeah, yeah, yeah, I'll check that out.
[35:14] No problem. I'll just take it for you.
[35:16] Yeah. Yeah.
[35:17] OK. I have no idea what he's fucking
[35:18] talking about. Just crack on my sleep.
[35:19] Nobody but I would be if I had to be a character.
[35:23] This is the second one. I'll be Russell in Stillwater
[35:25] from Almost Famous. Nice.
[35:27] Oh wow. Just that walk on when he's like
[35:29] just stand over there and he goes on and he's just giving it
[35:32] takes now. I just, yeah, what a band to be
[35:34] in. What a time.
[35:35] I'm only the lead fucking singer.
[35:38] Stillwater for me. Huge band.
[35:40] Want to be very, very, very favorite bands of all time, to
[35:42] be fair. So I'd love to be in there.
[35:45] Yeah, wonderful. OK.
[35:49] Well, moving on, we have a question from just Joe.
[35:52] Hi, Joe. Hi, Joe.
[35:53] Hello, Joe. Joe asks what are some movie
[35:56] tropes that you don't mind, and which ones are most likely to
[35:59] make your eyes roll? Right.
[36:02] She's also says thank you all for your unwaver and dedication
[36:05] to what you do and who you are. Don't ever change.
[36:09] And she's even left a little kiss as well.
[36:12] Thank you, Joe. You've been around, you know,
[36:14] since. Since the start.
[36:15] Since the start. Yeah, Matt, your answer to Joe's
[36:19] question. There are more that I roll my
[36:22] eyes out, to be honest, and the ones I actually like.
[36:25] But the ones who do like or the ones who certainly don't mind.
[36:28] I'm a sucker for an inspirational speech in the
[36:29] sports film. The final round, the final game.
[36:32] Yeah, every single one is great. Get it in there.
[36:34] A cowardly character finally plucking up the courage to sound
[36:37] for themselves. You know, probably John McFly is
[36:40] probably the ultimate example of that.
[36:41] But anything like that gets the goosebumps going.
[36:44] Or a morally ambiguous cow do comes around gradually to do the
[36:48] right thing. I also think Billy Bob Thornton
[36:50] and Bat Santa is a great example of that.
[36:53] Just risking it all to get that stuffed help and back for the
[36:55] kid. That's amazing.
[36:56] Gets me every time. And then close an argument in
[36:59] the courtroom drama. Just absolute catnip love.
[37:03] Don't think I've seen one that I've not liked.
[37:05] I've not gone like, yes, that's a brilliant argument.
[37:07] Yeah, and kill, that's up there for me.
[37:10] Yeah, it's amazing. Jesus, yeah.
[37:12] Ones I don't like though is characters sitting in the back
[37:16] of an ambulance with a blanket around the shoulders drinking a
[37:18] cup of coffee after some horrific event.
[37:20] Usually scream. Usually.
[37:22] Where do they get the coffee from?
[37:23] Don't be a let's just come with coffee machines in America.
[37:26] They've always got one. I'll get back to the earlier
[37:28] question. Like the burbs got it right.
[37:30] Just putting the bed in the line on it.
[37:32] Yeah, exactly. The hospital, Carol.
[37:33] I'm sick. I'm sick.
[37:36] Yeah, exactly. Be more like the burst.
[37:38] Always, I think. The geeky girl turning up at the
[37:41] prom of the big party without her glasses on and the hairs
[37:44] turn up a bit and everyone realizes how beautiful she's
[37:46] been all along. Yeah, rubbish.
[37:48] Unless it's carry, obviously. Unless it's carry, obviously.
[37:51] Yeah, yeah, yeah. Don't mess with that.
[37:54] Don't. Mess with that.
[37:55] Spare keys to a car being kept on the visor.
[37:57] I've never understood why anyone would do that with the spare
[38:00] keys. Seems in laboratories or in
[38:03] front of a computer screen where someone realises something and
[38:06] shouts. Guys, you're going to want to
[38:08] take a look at this. Yeah.
[38:10] That's so overused as lying films in Mexico just all shot
[38:15] with that yellow filter. Like yeah, Mexico looked
[38:17] different at some point. Doesn't that yellow sort of bird
[38:20] doing traffic though isn't it? Just went off?
[38:22] It's all his fault, but he's separating 3 stories isn't he?
[38:25] With three different colour palettes, That was.
[38:26] Oh, that's just Max no. Excuse for everyone else then is
[38:29] there no and then last one computer hackers being fat nerds
[38:32] who all stuff in the faces with junk food and the nervous around
[38:35] women. Brilliant, yeah.
[38:37] Could live without all those. Yeah, everybody.
[38:40] I mean Hollywood, are you listening?
[38:42] Yeah, exactly. Strike.
[38:43] This all tired of them, Yeah. Yeah, what about you, Westie?
[38:46] Have you got any good and bad movie tropes?
[38:48] Yeah, there's two that I really enjoy and three that I really
[38:51] don't very much like. Matt, I love revenge as a
[38:54] motivator. I'm always a sucker for that.
[38:57] I agree. John Wick, Gladiator, Kill Bill,
[38:59] That's just, it just has that drive.
[39:01] And if they do it right, it's so powerful.
[39:03] It really works. And I also love the one man army
[39:06] trope, right? This guy can do anything.
[39:09] He's probably ex military, he's probably a comp.
[39:12] It's die hard. It's commando.
[39:14] It's that one man army kind of thing.
[39:16] And I absolutely love that as well.
[39:18] But the ones that I really can't stand are just kind of the way
[39:21] I'm like micromanaging and a little bit.
[39:22] I can't fucking stand when people go into someone's room
[39:27] and they've got a USB and they plug it in and it all downloads
[39:31] slowly and there's somebody coming up the stairs and it's
[39:34] we're going to get this soon. As you put the USB in right this
[39:37] fucking first time and you connect to the Internet straight
[39:39] away and you've got a good fucking signal.
[39:41] It's never going to happen. Every time I see somebody at a
[39:44] computer trying to download information, I just think that's
[39:47] bollocks because you put the USB in right for the first time.
[39:50] That's never happens. You've got a connection, it's
[39:53] just downloaded just in time, and then there's like a curtain
[39:56] blown and an open window. Yeah.
[39:58] People not eating can't stand it.
[40:03] What do you mean? Right.
[40:04] So somebody comes downstairs and they've had an argument the
[40:07] night before. She goes, I've made you
[40:09] breakfast and they go, I'm going to appetite.
[40:11] I'm not hungry, of course you are.
[40:13] And it's a lovely breakfast and it's been prepared lovely.
[40:16] Or they're sitting in a in a restaurant and they get a meal
[40:19] put in front of them and have a disagreement with somebody.
[40:21] You have an argument with somebody opposite them and they
[40:23] go, you just get it a take or take away because it's food.
[40:27] Don't just leave it like it's decent food.
[40:29] And that really pisses me off. And the other thing is people
[40:32] just day drinking without any consequences whatsoever,
[40:36] especially like whiskey. Yeah, like training day, just
[40:39] like bang. And you just get on with your
[40:40] day. Like, no.
[40:42] Have you ever had a whiskey at 12:00 absolutely done for by
[40:49] like 2 o'clock? You kind of see, You kind of you
[40:52] don't know whether you shouldn't be going to sleep.
[40:53] You don't know whether you should be dancing.
[40:55] You don't know whether they'll be sick.
[40:56] You don't know whether you're hungry.
[40:57] But these guys are just like, just just.
[40:59] Knocking them back. Do you want a quick one?
[41:00] And yeah, we'll have one here and I'll have a whiskey and I'll
[41:02] have a beer and I'll have a chaser with that.
[41:04] And then the next scene, they're absolutely fine.
[41:07] So I think that for me is just a little bit too much as that.
[41:10] And there's like somebody has a joint and then the sound.
[41:13] That's not the purpose of having that.
[41:15] Like you're going to be affected by that.
[41:17] Don't do anything in the middle of the day and pretend that it's
[41:20] all right to carry on your day because that's really, really
[41:23] dangerous. And it's just cowboy foams as
[41:26] well, just down in the whiskey and then shooting somebody.
[41:29] I mean, I could do that, but I'd only shoot like one person and
[41:32] then I have to go to bed, throw. And then I would think, is that
[41:35] the right person? I'm sure I've got no idea.
[41:36] There's just no consequences with that.
[41:38] So, you know, there's a lot of it.
[41:40] Eat and drink and yeah, real basics of being alive.
[41:45] I don't like that. But yeah, one man army and
[41:48] revenge is motivated fine for me.
[41:50] Brilliant. Well, I'm starting off with the
[41:52] ones that I dislike because, like you fellas, there's more of
[41:55] them. Yeah.
[41:56] And then I'd like to end on a positive as well.
[41:59] This is obviously not going to shock anybody.
[42:01] I'm a big horror fan, obviously. But nothing will make me groan
[42:04] in despair quicker than the couple with, say, two kids and a
[42:09] dog and buy a house in another state, which turns out to be
[42:13] infested by spirits. The couple's relationships
[42:15] probably strained. He's a writer.
[42:17] She's struggling to get a teaching gig.
[42:19] One of the daughters is getting bullied at school.
[42:21] But she meets a reclusive boy across the street and it's found
[42:24] footage. Say The Amityville Horror all
[42:29] over again. You've got the full set.
[42:31] It's like, guess who? That trope couldn't be more
[42:34] tired if it was snoring. I was sick of seeing that.
[42:38] Fair enough. Staying in horror movies, cheap
[42:40] jump scares replace an actual tension building is just lazy
[42:43] writing. I don't know how that cat finds
[42:46] its way into the closet of the cupboard every single time.
[42:49] Extended chase or fight scenes will always piss me off.
[42:52] Even if it's the most exhilarating chase in the entire
[42:55] world, it'll go beyond the point.
[42:56] And I think, well, do you me. This is just torturous.
[43:00] But it's the again, it's lazy writing.
[43:01] Don't have anything in there 15 minutes.
[43:03] You see? Get it in there.
[43:05] Yeah, a character who goes into a bar and asks for bourbon and
[43:08] leaves it up to the strange barman who he's never met before
[43:11] to decide what kind of bourbon he should be drinking.
[43:14] He's absolutely mental. Nobody goes into a pub and say
[43:16] I'll have a pint, mate, I'll leave it up to you to decide
[43:18] which one. Yeah, it's insane.
[43:21] That's always, that's always bothered me that.
[43:24] Somebody's desperate isn't. I don't care.
[43:26] I just need a fix. Like bourbon, please.
[43:28] There's so many to. Choose from there is hundreds.
[43:32] But on the positive side, and staying on horror movies, I love
[43:35] it when we as the audience, we can see something looking in the
[43:39] background. The more subtle the better,
[43:42] Something that the character can't see.
[43:43] Maybe it's just an outline, maybe you don't know if you saw
[43:45] something or not. That'll get me going.
[43:47] I love that. Yeah.
[43:49] I love a film that's unashamedly uncomplicated.
[43:53] There's something very pure about having like 1 central
[43:55] plot, no subplot, doesn't get bogged down with anything else.
[43:58] No political messages or metaphor or anything like that
[44:01] to get from A to B like you see in West Are You Good Revenge
[44:04] flick like John Wick? Yeah.
[44:06] Or something like the Warriors. Boom boom A to B Great action
[44:09] along the way. Southern Comfort, another Walter
[44:11] Hill film, I mean. Well, most of all films.
[44:13] Let's be honest. Just just Walter.
[44:15] Hills. Are the final girls.
[44:20] And finally, I love any film that has a getting the band back
[44:23] together scene, like a film showing the mechanics of
[44:26] rounding up a crew. The Blues Brothers, Ocean's 11.
[44:29] Yeah, Major League. Yes.
[44:31] Magic movie tropes, good and bad.
[44:34] Thank you very much, Joe. Yeah, nice one.
[44:36] And our next question comes from Shaza, the one and only.
[44:39] How are you doing, Shaza? How are you doing?
[44:42] Shaza says. Which movies do you know are
[44:44] total tosh but you absolutely love them?
[44:47] Right. Well, by St. this one.
[44:49] Hers would be Doug Mcconaire and always, to name a few, Westie.
[44:54] No more than four, please, she says.
[44:56] She said 4. No more than 4.
[44:58] I thought you said 14. I've got 13.
[45:03] I've actually got 13. I don't.
[45:06] I don't doubt it. No, I've got 10.
[45:10] Shaza also says absolutely love listen to you guys, especially
[45:14] poor softly spoken Matt trying to get a word in edgeways around
[45:17] Westie. Classic Westie.
[45:21] Well, welcome to my world. That's all I'm saying.
[45:23] It's been like this. It's been like this for 25
[45:25] years. I'm used to it.
[45:26] Well, no, no. No, no, it's really it.
[45:31] No, I think all right. Fair enough.
[45:33] Wesley, lay them down for Shazza.
[45:35] What's your 10 if anyone? Asked me.
[45:37] It did. Should be like you're going to
[45:38] have to limit your shit. I'm sorry, Shaz, but I'm going
[45:41] to have to go straight in with the ten that I've got.
[45:43] I did. I was going to go for 13.
[45:45] But yeah, I mean, Space Hunter, we all know that one.
[45:48] Love it. Fucking amazing.
[45:49] Gleaming the Cube, One of the best revenge films of all time.
[45:52] Christian Slater. Get that in there.
[45:54] Crocodile Done Day 2. Nobody talks about it enough
[45:57] because 2 fucking matches the 13th Warrior.
[45:59] Absolutely brilliant film. Dark Angel.
[46:02] Or as it was rebranded I come in Peace with Dolph Lundgren.
[46:05] I'll see. He loved that film, throwing CDs
[46:07] and cut brilliant heads off Love it.
[46:09] Run away. Tom Selleck, Gene Simmons Is the
[46:11] body brilliant? Robots yes.
[46:13] What a dead or alive. Ruth Kahawa.
[46:15] Love that film, absolutely brilliant.
[46:18] Teenagent, now that was. That was.
[46:21] Really, that was my Richard Gretwell and it was rebranded as
[46:25] if looks could kill, right? He's basically a teen on like a
[46:30] summer trip with the school and he gets his identity gets mixed
[46:34] up with this secret agent and then they think that he's the
[46:36] secret agent. So he has to become the agent.
[46:38] Read Sonya, love it. Brilliant film.
[46:41] Look on the barbarian. Absolutely love Schwarzenegger
[46:44] on that. And final one is Navy Seals.
[46:46] Never get tired of that. Great film, great cast.
[46:49] Let's be 10. Seals.
[46:52] Navy Seals, great fun. All of them are so bad.
[46:55] The great ad I love every single one of.
[46:57] Them brilliant. Yeah, excellent.
[46:59] Well, there you go, Chaz. See.
[47:01] I mean, you, you said no more than 4.
[47:03] You got 10. You got 10 Westy.
[47:05] Yeah, it's weird. It's what it is.
[47:08] I think I mentioned a lot of these in the past for some
[47:10] reason. I could rattle off a list as
[47:12] long as my arm of shit films that I love, just like you,
[47:14] Westy. Yeah, I'm going to avoid the
[47:16] usual ones and that I've talked about over the many episodes,
[47:21] podcasts, we've talked about this.
[47:22] So that would be Cobra Cocktail, Tango and Cash Adventures in
[47:25] Babysitting. Not going to mention them
[47:27] although I've mentioned them. Yeah.
[47:31] First one I thought was Men At Work, Emilio Estevez, Chuck
[47:34] Sheen, the player binman who found a dead body on their
[47:37] garbage route and are in the frame for the killing.
[47:40] So that was written and directed by Emilio Estevez, right?
[47:44] I believe. I believe so.
[47:45] Yeah. Yeah, triple duties.
[47:50] Really hard for her to pull that one up.
[47:52] Yeah. Men At Work, his brother in.
[47:54] I loved it as a kid. I'll always go back there for
[47:56] some reason. There are some moments of
[47:57] cringe, but some really, really funny bits.
[47:59] And it stars Keith David, who's an over the top joy in that
[48:03] film. He makes me come back again and
[48:05] again. Matt, have you seen that one?
[48:06] No fancy it. No.
[48:11] Written and dreaded by me, I suppose.
[48:13] That's why it's a no no. He prefers judgment night.
[48:17] That's fair enough. Second one is a familiar one to
[48:21] you fellas and to some of our Patreon supporters as well.
[48:24] It is, and I'm surprised this wasn't on your list, although
[48:26] you just obviously think it's a straight up Stonewall classic.
[48:29] Westie, it is Ireland. But yeah, it's a classic.
[48:33] That's not that's not a shit film.
[48:35] I mean, we're told it's a crap film and that's madness because.
[48:38] I'm mad. I can't get enough of it.
[48:42] I watched it from a young age. I left it behind for about 10
[48:44] years in my 20s and then I came back to it expecting it to be
[48:47] terrible. Turns out it's bloody
[48:49] masterpiece. That's what it is.
[48:50] Absolute masterpiece. Yeah, it is do.
[48:52] You want to repeat your claim about the battle scenes being
[48:54] better than those and brave hearts.
[48:55] Better than Braveheart Math Better than Brave?
[48:58] Right. Just want it out there.
[48:59] Or a precursor, at least an influence.
[49:02] Yeah, definitely an influence. I'll, I'll stand by that 100%,
[49:05] yeah. Not Spartacus or anything like
[49:07] that. Highlander No.
[49:09] No, no, no. Spartacus.
[49:12] What? Kubrick Now get me Russell.
[49:16] Russell. Mulkai in there and the big
[49:19] Russell. And finally, it is the one, the
[49:25] only Roadhouse, not the remake. Yeah, of course.
[49:29] How could you not be crazy for Swayze as Dalton, the best
[49:31] cooler in the business, brought into time to take out the trash
[49:34] in the Double Deuce and deal with the most ludicrous of all
[49:37] bad guys, Brad Wesley, played terribly by Ben Gazzara,
[49:41] Terribly and brilliantly. He's horrible in that brilliant,
[49:45] awful film, but it's also two hours of pure joy.
[49:49] And then it. Is pure joy, yeah.
[49:51] Best we can hope for, and that is double feature on the
[49:53] podcast, to be quite honest. Oh.
[49:54] Yeah, I mean, that's not all of going to see the light day for a
[49:57] classic. I'm not holding out any hope for
[49:59] Men At Work on any of our podcasts, to be honest.
[50:01] I don't think Gleaming the cube is going to be a three hour
[50:03] epic. You've been waiting patiently.
[50:10] What crap films do you have that you love?
[50:13] I bet you they're all men as. Well, you know, no, they're not.
[50:16] Oh, they'll be all masterpieces, no doubt.
[50:19] You have such a high standard. Well, I mean, you mentioned
[50:22] Highlander, which was on the double feet with Flash Gordon,
[50:25] and I'll defend that film and of course you will as much as
[50:27] you'll defend Highlanders. You know, I'm not claiming moral
[50:30] superiority on that one. In all honesty, I've mentioned
[50:33] before I really enjoy deep blue sea giant sharks, LL Cool J love
[50:36] that one. Brilliant.
[50:38] Great. Mentioned the very obscure but
[50:39] probably quite rubbish UHF the weed are Yankovic comedy which
[50:42] understood as a kid we'll always come back that and.
[50:45] When was the last time you saw that, Matt?
[50:47] Yesterday. About a year ago.
[50:49] Yeah, last night. All right, so you constantly
[50:51] watch it. Yeah, I watch on a regular
[50:52] basis, yeah. I've never seen it, Yeah.
[50:56] Amazing. You would.
[50:57] Have to check it out. Picks me up every time.
[50:59] It's wonderful. What's it called?
[51:01] UHF. UHF.
[51:03] What does that sound for? Pretty good time.
[51:09] And then any final destination for.
[51:13] Oh, you love them. I do love those.
[51:15] I love the first one. I totally shook me that I didn't
[51:18] get the shower for about 3 weeks.
[51:20] Oh really? Don't know.
[51:21] Obviously no I just need to have a bath.
[51:23] Like I'm not going to shower. Anything has happened.
[51:28] Well, thank you very much for the question, Shaza.
[51:30] Wonderful. Thank you, Shaza.
[51:32] Thank you. And that leads us to our final
[51:34] question and it's a lot to chew on.
[51:37] This one is from Dan Roberts. How you doing, Dan?
[51:40] How you doing, Dan? Dan.
[51:41] Dan says you're going to a desert island.
[51:43] You're only allowed to take one film from each of the following
[51:46] directors. The rest of the work will be
[51:48] lost forever. What films are you taking?
[51:50] And the directors in question are Christopher Nolan, Martin
[51:53] Scorsese, Quentin Tarantino, Wes Anderson, the Coens, Paul Thomas
[51:57] Anderson. OK.
[51:59] Dan says PS Love the work, my dad Gareth Clay Bertrand.
[52:09] Every time I love him. So yeah, Dan and his dad Gareth
[52:16] have calls every time we put out a new podcast, which is quite
[52:20] not really. Here OK.
[52:22] That's lovely that Yeah, I love that.
[52:24] That's great. It's wonderful.
[52:26] So yes, this one's for you, Dan. We had a few questions about
[52:29] desert island movie choices, and I don't know what we've done to
[52:32] be cast aside for all eternity, but here we are.
[52:35] And we have a film each from these modern greats.
[52:38] Yeah. And I think what we'll do is
[52:39] we'll go director by director on this one, so we can do some kind
[52:43] of immediate comparisons between the three of us.
[52:45] OK. So first up, we have Christopher
[52:47] Nolan. Now, I'm not the biggest fan of
[52:50] Christopher Nolan, to be honest. Not since Tennant, anyway.
[52:54] It was a bad time, wasn't it? Well, it was one of the worst
[52:58] times I've ever had. I know and it was lovely seeing
[53:00] you mate after it was. Great, it was lovely to see
[53:02] there. Was that like rebirth after
[53:04] Corford, wasn't it? Wester?
[53:05] You. Me, you.
[53:06] John, you and Jonathan. Cinema to see it and you're.
[53:10] Curiously, you would. There was no talking to you.
[53:12] Nope. So yeah, sorry about.
[53:15] That, I mean, I know that I'm probably in the minority, but I
[53:18] feel as though it's been a bit of a series of diminished
[53:21] returns as his films get bigger and bigger.
[53:24] Yeah. It's a cliche to say I prefer
[53:26] his early stuff, but I do, so I'm going for following.
[53:30] Not really, obviously. I want that back.
[53:34] If you're going for that, you're not taking that to a desert
[53:36] island like it's still not yours.
[53:38] I still want it back. Yeah, the story is that Westie
[53:42] in the late 90s gave me. Yeah.
[53:46] Oh, maybe the early 2000s gave me following on VHS.
[53:50] Hasn't got it back. No really hard to get as well.
[53:54] I got that was an important. 1st and then you.
[53:57] That's right. It was a Canadian.
[53:59] I gave it back, Westy. I know you did me because I love
[54:02] you and because you know what you're doing.
[54:04] But he just takes something and kind of keeps it and goes.
[54:07] If I've had a longer than you, then it's mine.
[54:08] And I really disagree with that rule.
[54:11] Well, that medium is obsolete now, Westy.
[54:13] No, it's theft. Well.
[54:14] I don't care if it's obsolete, I want it back, so I want to stick
[54:16] the thing on me. Well, don't tell.
[54:18] Where it is. You don't know where it is,
[54:20] Jesus Christ, right? OK, that's fine.
[54:23] Yeah, no, no, no, I'm gonna go with The Dark Knight, a film
[54:27] that completely took me by surprise because I'm not a comic
[54:30] book fan and I went to see the film under duress.
[54:33] But I was blown away by the sweeping scale and menace of the
[54:35] film. You said that in the episode you
[54:37] were so impressed. By it.
[54:39] Yeah, I was. I never even considered that a
[54:41] comic book film could look and feel like that.
[54:44] And I still love it. It's great.
[54:46] What about you, Matt? I'm going for The Prestige
[54:49] because I think that's his most rewatchable film.
[54:52] The theories as to what's going on in that film, really engaging
[54:56] in a means. You can watch it so many times
[54:57] and just get a different viewpoint on it each and every
[54:59] time. He was telling the truth in that
[55:01] film who isn't just the machine work does not work.
[55:04] And I think I said it when we covered the episode, it's it's
[55:06] just my favorite Nolan films or it'll be The Prestige for me.
[55:09] Simple as that. Yeah, makes sense.
[55:11] Brilliant film. That is a brilliant film.
[55:13] Really like that. What about USD?
[55:15] Now, I've taken a completely different approach for this
[55:17] whole question because I thought we're going to have so many
[55:19] crossovers because we all like very similar things.
[55:22] So what I've done is I've went for the film from each director
[55:26] that is critically acclaimed. It is loaded.
[55:29] A lot of people like it, but I'm not as familiar with because of
[55:31] it. I'm on a desert island.
[55:33] I want to be able to watch something and try and get into
[55:35] it. Brilliant.
[55:37] So it's the ones that I'm not as familiar with that I'm going
[55:40] for. Are we together on this desert
[55:42] island or is it just us in isolation on separate ones?
[55:44] I. Think it's isolation really.
[55:47] If not, then it's it's fine because I'll if let's just
[55:51] imagine we're all together. That makes my choices better.
[55:54] It makes us feel better that you got that, you've got the.
[55:56] Dykes there and the prestige. Definitely, right.
[55:58] So yeah, I would take Tenet because I really need to break
[56:01] it down and I have time to do it and I would watch it.
[56:04] Can you break it down into a million pieces and then discard
[56:07] it? Because I would prefer that.
[56:12] Just throw it off the Cliff, like classed away.
[56:14] Like no, I would take tennis because it's the one that I
[56:18] didn't quite get and the one that I haven't given enough
[56:20] time. And if I'm on a desert island,
[56:21] I've got loads of time, so I would take that one with us.
[56:23] Right. OK.
[56:24] I love your process, Wesley. Yeah, it's going to happen with
[56:26] all the other ones as well. So prepare to be disappointed as
[56:29] we go down the line. OK, OK.
[56:31] Then Scorsese, Matt, you go first.
[56:34] OK, I've gone Wolf of Wall Street because a lot of timely
[56:37] hands and need long films. I don't need something that's
[56:41] two hours and 8 something that's at least I was also something
[56:44] that's just consistently hilarious because I'm going to
[56:46] need to take me mind off. Yeah, being stranded on the
[56:49] desert island. So.
[56:50] The only problem with Wolf of Wall Street is that it's three
[56:52] and like 3 1/2 hours and it feels like about an hour and a
[56:54] half. Yeah, Yeah, that's the only
[56:56] problem, yeah. Westie Scorsese.
[56:59] Again, staying with me, theme, one that I haven't seen that
[57:02] much, one that everybody kind of raves about, one that I really
[57:05] need to understand, that would be silence for me and that you
[57:08] get that one back in there. Again, it might be painful, but
[57:11] you know, if it worse comes to worst, it shows you how to
[57:13] crucify yourself in the ocean. So if we get to get too
[57:17] depressed, we'll just do that. Just do that.
[57:20] Wow. I mean, that is a ball choice.
[57:22] Yeah. And then what's, what's yours
[57:24] going to be good fellas, obviously.
[57:25] It's a lot to chew. No, no, no, no.
[57:27] As I said, you're talking about possibly the greatest career of
[57:30] of any director. He's in the same conversation.
[57:33] He's right up there in the elite group, Hitchcock, Kubrick,
[57:36] Wilder, and there are so many that I love, including the likes
[57:39] of After Hours, which doesn't get as much love as it should
[57:42] do. No, it's great for him.
[57:43] I love it, yeah, but I'm going with Taxi Driver simply because
[57:46] it's my favorite Scorsese film. Yeah, it's amazing.
[57:49] The invention and originality that Scorsese brings, that film
[57:53] just it's dizzy in. And the fact that John G
[57:57] Avildsen won best director for Rocky stirs absolute fury in me
[58:02] that I'll still take to the grave.
[58:04] Yeah, it's that is insane. And get that Rocky wins best
[58:08] picture and get that. And I like Rocky, but best
[58:11] director is insane. That is insane.
[58:13] Yeah, yeah. Doesn't make any sense.
[58:15] That doesn't make sense. That is unfathomability.
[58:17] That is undefendable. It is.
[58:19] You're absolutely right. Taxi driver for me is up there.
[58:22] It's in my top five of all time. I think it's my.
[58:24] Isn't that a little honey? Yes, wonderful.
[58:30] OK, now moving on to the big man, Quentin Tarantino.
[58:34] So it's only right that the big man answers 1st, Westie.
[58:37] Yeah, well, again, the one I'm not going to go for Death Proof
[58:40] because I have tried and there's no point.
[58:43] That's just why it's filmed by a country mile.
[58:45] But I will go for The Hateful 8 because I think that needs a
[58:48] little bit more time and we need to kind of experience that a
[58:52] little bit more. I think it'd be good.
[58:53] You know, a cold night, it'll work.
[58:56] And I just need a little bit more time with that film.
[58:57] And I'm not going to go Pulp Fiction.
[58:59] I've seen a billion times anyway, so that's already
[59:01] ingrained, so it's fine. Hopefully I'm not as familiar
[59:03] with. So I would definitely go with
[59:05] that. One.
[59:05] OK, yeah, that checks out. This for me, and maybe
[59:09] controversial, is another director where I feel has
[59:11] suffered from diminished returns, although I do love Once
[59:14] Upon a Time in Hollywood. But it's back where it's all
[59:17] started for me. For me, not necessarily
[59:20] Tarantino. I heard such a hype and Ferrari
[59:22] about Reservoir Dogs. We all did.
[59:24] It was banned at the time in the UK and by the time that Pulp
[59:28] Fiction came out, I was like a rabid dog, desperate to see it.
[59:31] I would have been about 14 when I did see it and it felt like
[59:34] one of the first adult films that I'd watched.
[59:37] Not XXX. Seen plenty of them, yeah, but
[59:43] there was something magical about Pulp Fiction.
[59:45] That is that it stayed with me. Yeah, so your identity, not your
[59:48] parents allowing you to watch it.
[59:49] It was your thing. Yeah, yes, exactly.
[59:51] Yeah. So yeah, I loved it.
[59:53] Still do. Although probably like you
[59:56] saying, Westie, I've seen it that many times.
[59:57] I really haven't seen Pulp Fiction since we covered it on
[1:00:00] the podcast. Right in five.
[1:00:02] Years ago and before that it was probably at least 5.
[1:00:05] Yeah, yeah. It just lives in your head
[1:00:07] though, doesn't it? It definitely does look
[1:00:09] familiar. Yeah, it is.
[1:00:10] And that's fine for me. Tarantino for you, Matt.
[1:00:13] It's just going to bookend really nicely with yours looking
[1:00:15] and there might be better recency bias here because we did
[1:00:18] just cover it. But I will go Once Upon a Time
[1:00:20] in Hollywood, lovely because it's.
[1:00:22] Never going to be killed, Bill, is it?
[1:00:24] It's. Definitely not going to be
[1:00:25] killed. Bill 2 even 2 phones for the
[1:00:26] price of 1. Still not bothered?
[1:00:28] No. No.
[1:00:30] No, this one, because if I'm alone on this desert island, I
[1:00:34] need company. And that's one of my favorite
[1:00:36] things about that film is you feel like you you really live
[1:00:39] with those characters because it's a hangout film, which we
[1:00:41] said a lot about on the pod, and I just love those characters so
[1:00:44] much. So it will feel like I'm hanging
[1:00:46] out with Cliff, which will be just an absolute delight.
[1:00:49] Yeah, excellent. Yeah, can't argue with that.
[1:00:52] And Next up, there's been no crossover at all so far in these
[1:00:57] questions. This is where it changes.
[1:01:00] Yep. Next one is where's Anderson?
[1:01:04] Moving on from Chris Nolan and Tarantino, There is a theme
[1:01:08] here. When I first cottoned on to
[1:01:10] Where's Anderson when Tenebaums came out, I loved him, went back
[1:01:14] and watched Rushmore at least said about Bottle Rock at the
[1:01:17] better and I was very excited for what he did next.
[1:01:21] And I think I've just been gradually let down since.
[1:01:24] Very slowly, like the rung of a ladder.
[1:01:26] Very, very slow. Very slow A.
[1:01:28] Slow, painful death left down. OK.
[1:01:35] So much so that I forgot how much I love Tenenbaums, which
[1:01:37] was only rekindled in the last six months or so when we talked
[1:01:40] about it on Double Feature. Yes.
[1:01:42] I fell back head over heels in love with it.
[1:01:46] A beautiful film, one which I can hope we do on classic soon,
[1:01:49] and one which is the only correct answer when talking
[1:01:51] about Anderson and a desert island for me.
[1:01:54] OK. Yeah, I mean the names on the
[1:01:57] list where's Anderson is me least fear for just because the
[1:02:00] consistency isn't there, which is a shame because when he's
[1:02:02] brilliant, he he's the equal of anyone else on this list really.
[1:02:05] But yeah, it will be Tenenbaums. Just it gives you evident, it's
[1:02:09] hilarious, it's heartbreaking, wonderful, wonderful hackman
[1:02:11] performance, which I'll never tell you off.
[1:02:13] So yeah, 10 times, obviously. Of course, now considering your
[1:02:16] theme, Westie, I'm very interested to know what what
[1:02:19] you're taking. I'm.
[1:02:20] Going to go for the Life Aquatic with Steve Zazu.
[1:02:22] OK, nice. Which is not The Grand Budapest,
[1:02:26] which I'm quite familiar with, but I did love The Life Aquatic
[1:02:30] when I first watched. I haven't seen it much since,
[1:02:32] but I love that that Bill Murray being front and center in a W
[1:02:35] Amazon film, he's often off to the side like he's in 10 and
[1:02:38] bounds like he is in pretty much all of them, to be honest.
[1:02:41] But when he's front and cent in here, he's he's amazing to force
[1:02:43] amazing in this. Everyone's amazing in this and
[1:02:46] it's just quirky enough for it to be similar to Tenenbaums.
[1:02:51] That would be in to Wes Anderson and being too pretentious.
[1:02:54] I think it has that kind of vibe to it and if you're on a desert
[1:02:57] island, you want to try and go swimming in the ocean or
[1:02:59] whatever you want to do. This might have some influence,
[1:03:02] so I'll go Life Aquatic. Brilliant.
[1:03:04] And oh, getting into the big boys now the coins.
[1:03:10] Yeah. Jewel and Ethan, Matt, what are
[1:03:12] you taking? This was the toughest one,
[1:03:15] probably my favorites on the list of the six.
[1:03:18] The Cohens double go for something which is just pure
[1:03:21] enjoyment and just loudly throughout to cheer me up.
[1:03:24] Like Lebowski maybe, or recent. I was on it.
[1:03:27] Maybe to go for something a bit more esoteric, a kind of a
[1:03:30] puzzle box of films, something like Bart and Think.
[1:03:33] What I've decided to do though is just think about a genre that
[1:03:36] I really, really, really love, one of me favourites, and I need
[1:03:39] something to represent that. And I do think it's one of their
[1:03:41] best, so I'm going to take True Grit.
[1:03:44] Wow, Wowzer. I didn't see that one coming.
[1:03:47] Yeah. Near the Me neither, yeah.
[1:03:48] Hell of a film. Yeah, brilliant.
[1:03:50] Fantastic. Hell of a film I think, one that
[1:03:52] gets forgotten about when people talk about great remix.
[1:03:55] It does. Oh, really?
[1:03:55] Doesn't. Yeah.
[1:03:56] Hailee Steinfeld. Holy Jesus.
[1:03:59] Yeah, she's a. Film debut Insanely good.
[1:04:01] It's incredible. What about USD Coen brothers?
[1:04:04] What do you like or what do you want to get more into I suppose?
[1:04:07] Yeah, I mean, I've mentioned it already on the podcast, but I'm
[1:04:09] going to go for the man who wasn't there.
[1:04:11] Brilliant. I think it's the most, the most
[1:04:13] ignored or not necessarily ignore, the most misunderstood
[1:04:15] Coen Brothers film. I think they really tried
[1:04:18] something and really achieved something with that film.
[1:04:21] And I think it's just a lot for people because it's very slow.
[1:04:23] Obviously it's black and white. It's a great performance from
[1:04:27] Billy Bob Thornton. It's an incredible performance,
[1:04:29] incredible script. The voice over, it's just
[1:04:31] incredible. Mcderm It's incredible than
[1:04:33] that. To me it's that's the Cohen
[1:04:34] brothers out there most quiet but not their most influential.
[1:04:38] So I would definitely go for that because a quiet night
[1:04:42] sitting, watching that the stars are out, beautiful.
[1:04:45] It's going to be a wonderful thing.
[1:04:47] Very nice, I love that in this desert islands.
[1:04:50] There's a massive cinema screen. We've got a surround sound.
[1:04:53] Yeah. How?
[1:04:54] Else we're going to watch it almost phones.
[1:04:57] Yeah. It needs to be specified.
[1:04:59] I'm thinking just on the beach we'll find this old cinema and
[1:05:02] it's got like all of these like 35 mil prints and we can choose
[1:05:05] which 35 mil Prince we can play. Right.
[1:05:08] Excellent. And this is the way it goes,
[1:05:11] otherwise I won't give you that. Much like you Matt, this is
[1:05:17] possibly the toughest one out of the lot for me because the coins
[1:05:20] made consistently outstanding work for what, like 2530 years?
[1:05:24] There are a lot in the discussion.
[1:05:26] Blood Simple, Fargo, Lebowski, Oh Brother, No Country, I mean
[1:05:31] to name a few. To name a few.
[1:05:34] It probably has to be Lebowski because it's one of the funniest
[1:05:36] films I've ever seen. And it's so late and you get so
[1:05:39] much from it. But I've seen it so many times
[1:05:41] that I might have squeezed all of the juice out of it.
[1:05:43] But I am going to. Go with Lebowski.
[1:05:51] But I definitely AM. But I might switch it out for
[1:05:55] blood symbol before we set off. Nice.
[1:05:57] Right. Fair enough.
[1:05:58] Yes. I would like to think we're
[1:05:59] crushed there. I don't think we're headed off
[1:06:01] like. Yeah, I know.
[1:06:04] Yeah, we right. We're going to go to this desert
[1:06:06] island and live there for eternity or what?
[1:06:08] Yeah, which one do you think? Fucking hell, really?
[1:06:13] We're leaving our families behind and everything willingly.
[1:06:19] Bye. Go on a desert island and watch
[1:06:23] a film by one. Single film by film.
[1:06:26] An important filmmaker per night.
[1:06:28] I'll be honest with you, I wouldn't mind it.
[1:06:34] Well, here we go. Roundness up.
[1:06:36] We have Paul Thomas Anderson. Yeah, Westie PT And you, What
[1:06:40] are you taking? I'm going to have to go for
[1:06:42] Magnolia, if I'm honest with you, it's one.
[1:06:45] A lot to reckon with. It's a it's a huge film, it's a
[1:06:47] huge undertaking and I think it's one that's really slipped
[1:06:50] under the radar and one that people don't talk about enough.
[1:06:52] I mean, he's done probably one of the greatest songs of all
[1:06:55] time and there will be blood, but that's always going to live
[1:06:58] my head. Magnolia not as much this bits
[1:07:00] and pieces that I can't put together.
[1:07:02] I think every performance is absolutely exceptional.
[1:07:05] From what I remember anyway. It's just it just Cruise hasn't
[1:07:08] been better. Seem Seymour Hoffman incredible
[1:07:10] and that just a wonderful storyline and just making a
[1:07:14] family drama into this epic like giant.
[1:07:18] There's only Paul Thomas Anderson can do.
[1:07:20] That would be the one for me because I'd love for us all to
[1:07:22] sit and watch Magnolia at some point.
[1:07:24] And what a better place than the desert island, let's be honest.
[1:07:28] Can't get away from it, exactly. Yeah, fantastic.
[1:07:31] And then and then it's going to rain frog.
[1:07:33] Rain frog. Yeah, brilliant.
[1:07:34] Somebody eat frogs. Like be fine.
[1:07:37] Well, yeah, I mean, PTA, an incredible body of work
[1:07:41] contenders here for me are buggy nights.
[1:07:43] Yeah, there will be blood. You know, almost certainly his
[1:07:48] magnum opus and Buggy Nights was the first one that made everyone
[1:07:51] stand up and notice. I also have a huge affection for
[1:07:54] that one after we covered it on Classic.
[1:07:55] Yeah. Definitely.
[1:07:56] Yeah, but I'm going to go with Licorice Pizza because it is
[1:08:02] such a joyous experience. It is, yeah.
[1:08:05] And it captures the period amazingly.
[1:08:06] It's got a banger of a soundtrack and it's just an
[1:08:09] absolute pleasure from start to finish.
[1:08:11] Great performances that. It's wonderful.
[1:08:14] Yeah, it's brilliant. What about you, Matt?
[1:08:16] Yeah, much like the Qantas was very, very, very difficult.
[1:08:20] Not a bad film in his bunch, to be honest.
[1:08:22] But I will go back to the Sod with Boogie Nights.
[1:08:26] I think with the soundtrack, that soundtrack's amazing.
[1:08:29] So you get a bit of the music to accompany those long, lonely
[1:08:31] nights as well. Yeah, yeah.
[1:08:33] And I do just love to see the beginning of a filmmaker, like
[1:08:36] we said on the part, 27 years old, making that.
[1:08:40] That's ridiculous. Yeah.
[1:08:42] And it it might not be as best, I'm not saying it's best, but I
[1:08:45] just think there's something so impressive about that.
[1:08:48] There is. I always enjoy coming back to
[1:08:50] Boogie Nights, so I'll take that one.
[1:08:52] The scale of it from a 27 year old is insane.
[1:08:55] It's it's wonderful. The ambition.
[1:08:57] Yeah. Fantastic.
[1:08:58] Well, that brings to the end a magnum opus of an episode with a
[1:09:03] magnum opus of a question. Thank you very much, Dan.
[1:09:05] Thank you, Dan. And that is the end.
[1:09:07] Our bag is empty. It is.
[1:09:10] Like we said at the top, thanks to all of our Patreon supporters
[1:09:12] for your questions. We couldn't get to them all,
[1:09:15] unfortunately, but we've noted them down and I'm sure we'll be
[1:09:17] coming back for another Q&A in the future.
[1:09:19] Definitely. And if you would like to be part
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[1:10:04] Is. Very nice, fantastic, legendary
[1:10:08] film. That's one iconic film.
[1:10:10] Yeah, yeah. Also this month, the three of
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