# Hot Fuzz (2007) | Ep. 35 - Part 1

An episode of [All The Right Movies](https://invisiblenetwork.ai/podcast/1471502633), 26 Jan 2024, 1 h 15 min.

Audio: https://traffic.megaphone.fm/APO6174531420.mp3

Edgar Wright and Simon Pegg watched a frankly absurd number of action films as research, and you can feel every one of them in the result. Luke, Westy, and Matt begin the story. In Part 1 we cover the film's opening, director Edgar Wright, the cast, and the second act — including Pegg's by-the-book supercop exiled to a sleepy village, Nick Frost's Danny, and the murders that aren't accidents. The Neighbourhood Watch has secrets, and we're not telling yet. Part 2 blows it all open: crew, finale, reception, legacy. Out now. Connect with ATRM: To join our fantastic community of film fans, support what we do, access our archive, listen to exclusive episodes, and a whole lot more, become an ATRM patron: Join the ATRM Community We're available on any podcast platform: Listen on Apple Podcasts Listen on Spotify YouTube: Subscribe to our channelWe're across all major social channels too: Twitter: @ATRightMovies Instagram: @allthe_rightmovies Facebook: Join our movie group Bluesky: @alltherightmovies.com TikTok: @alltherightmovies Website: alltherightmovies.com

## Transcript

[0:04] All the movies you're saying this wasn't an accident?
[0:09] Leslie Tiller was fucking murdered.
[0:11] Just like Tim Messenger? Yes.
[0:13] George Merchant. Yes.
[0:14] Annie Drake. Yes.
[0:15] Mark Blower. No, actually, go say fucking
[0:18] one. Thank you, Danny.
[0:23] Change the fucking record. Thank you, Andy.
[0:29] Exceptional policeman Officer Nicholas Angel is given a
[0:32] promotion to Sergeant but has to move to the sleepy village of
[0:35] Sandford, Gloucestershire. Despite its idyllic exterior,
[0:38] Sandford holds many secrets and only Nicholas and his monkey can
[0:42] save the day. The second in Edgar Wright's
[0:44] Three Flavours Cornetto Trilogy, Hot Fuzz is a love letter to the
[0:47] glory days of Action Cinema. It affirmed the right Peg Frost
[0:51] Dream team by combining sizzling action sequences, elements of
[0:55] horror and laugh out loud humour.
[0:57] My name's Luke and I'm with two blocks and a fuck load of
[1:00] cutlery. Westy.
[1:01] It's all right, Andy. It's just Polonize.
[1:04] And Matt? Is it true that there's a point
[1:06] on a man's head where if you shoot it, it will blow up?
[1:10] All the right movies are ready to cook some fools.
[1:30] Hello and welcome to All the Right Movies, a podcast on
[1:33] classic and hit films full of proper action and shit.
[1:35] Oh, absolutely. We're up for our balls in
[1:38] jugglers this week as we go behind the scenes on Edgar
[1:41] Wright's action bonanza Hot Fuzz.
[1:44] Oh, yes. Before we get into it, it's that
[1:46] time again, we're talking about period.
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[3:23] OK, back to the film, and this was my pick.
[3:25] So I want to talk about Hot Fuzz because I've watched this film
[3:28] more than any other since it was released 17 years ago.
[3:31] Any other fact? Any other film that is a fact?
[3:34] Wow. Wow, I did not.
[3:36] I did not expect that. Yeah, this is going to be
[3:38] interesting. The.
[3:39] Noise. Yeah, it's.
[3:40] Off the chain. Every month.
[3:43] Every week. I would say more than every
[3:45] month. Wow, you watch this as often as
[3:48] I watch the shine And then. I know which is more accessible.
[3:52] Yeah, it's the shine. The shine.
[3:54] Do you watch it in black and white though?
[3:56] Yeah, put this on my laptop. And desaturated, I think
[4:02] Constant Sean's on IDV 2 have certainly helped that because
[4:05] it's always repeated on that Channel.
[4:07] If you're listening in the UK, I'm sure that will resonate,
[4:09] yeah. It is, yeah.
[4:10] But when it first came out, I love Shaun of the Dead, so I saw
[4:13] this at the cinema. And because I love Shaun so
[4:15] much, this was initially A disappointment.
[4:17] Slightly right. I thought it was very funny, but
[4:20] there was something lacking. Yeah, but like all of Edgar
[4:23] Wright's work, re watches are a must.
[4:25] And on Hot Fuzz they constantly reveal surprises in the
[4:28] dialogue, the performances, references to the genre, and I
[4:31] think it's a real treasure trove.
[4:33] I'm always rewarded with something new every time I watch
[4:35] it. OK?
[4:36] I certainly think it's one of the funniest films I've ever
[4:38] seen. And I still laugh at it, Right?
[4:41] And as certain that this episode's going to be a blast.
[4:44] Yeah, yeah, yeah. I mean already is.
[4:46] Yeah, Accord Fest, I believe. No doubt, no doubt.
[4:51] And Matt has the hand. Still bit stiff?
[4:54] It's. A bit TIFF.
[4:56] Thank you, Sir. Still a bit stiff, still a bit.
[5:00] Stiff. Not gonna hear that Sandra again
[5:02] tell you that much? Well, obviously I've not watched
[5:05] it as much as you have, Luke. No, who has?
[5:11] But yeah, I think doing this film was inevitable.
[5:13] It's a film that I think everybody just talked to as soon
[5:16] as it came out. And it felt very quickly that
[5:19] this got really absorbed into popular culture.
[5:23] Yeah, One was where if you, like you're at a party, you're
[5:25] talking to someone you you see, not for us.
[5:26] Ah, and you're aware you're in the conversation.
[5:30] And I remember going to see it. And I was sat there thinking,
[5:33] this has got a lot riding on it because I'd love Shaun of the
[5:35] Dead. And I was thinking, is that
[5:37] going to be a fluke though? Does this combination of guys,
[5:39] does it have anything else to offer?
[5:41] And I'll mention this a bit more later, but I think the fact that
[5:44] they ignored what was probably a very easy and probably quite a
[5:47] tempting offer to just do Shaun of the Dead 2.
[5:51] The fact that they didn't do that is to their credit.
[5:53] And they produce something which again is very British, very
[5:56] provincial, but it does have this wider scope to it.
[5:59] And it's a film that is just so packed.
[6:02] It's packed full of everything that they can think of to get in
[6:05] here. And it's a very easy watch.
[6:07] It's one where you think that was probably as much fun to make
[6:10] as it is to watch. Is it a step down from Sean?
[6:13] Does it have some issues? I think I'd say probably yes to
[6:16] both of those, but go into that as we go along, I would agree.
[6:19] But. It's and that cliche thing where
[6:22] if you turn the telly on to ITV two, obviously, and it's halfway
[6:25] through, you're just like, ah, go on then I'll sit down and
[6:28] I'll watch the rest of this. I mean, yeah.
[6:30] Definitely, yeah. And Westy, why do you want to
[6:32] talk about Hot Fuzz Fascist? Oh.
[6:35] Haag, I mean like, like Mike, Matt said.
[6:40] I've definitely not seen it as much as you and I want to say at
[6:43] the cinema because I I adore Shaun of the Dead.
[6:45] We've talked about that. This is the second out for Edgar
[6:47] right on the podcast, and rightly so.
[6:49] A very, very talented filmmaker. And I don't know what it is with
[6:53] this film, but I do have issues with it, OK?
[6:55] And I really want to kind of discuss it and go through weeks.
[6:58] I know you guys really, really enjoy it and I I enjoy it.
[7:01] But I think the reason that people love this film is the
[7:03] reason I kind of dislike it in certain areas, OK, which we'll
[7:06] get into. I'm not going to be all
[7:08] belligerent. And you know an asshole about it
[7:10] really just more and more about it all my.
[7:12] Seriousness of a lifetime. Exactly.
[7:13] All. Right, yeah, there's just it
[7:18] just left us wanting a little bit.
[7:19] OK. And I don't know if it was too
[7:21] familiar. I don't know if it's too
[7:22] British. I don't know if it's too
[7:24] obvious. I don't know if I'm if I relate
[7:26] too much with the films that they're trying to parody here.
[7:28] Yeah, I don't know. It worked for Shaun of the Dead,
[7:30] but can't lighten and strike twice.
[7:32] Let's find out, yeah? OK, OK.
[7:34] Wow. Mixed bag OK Hot Fuzz was
[7:37] directed by A Garite Co, written by A Wright and Simon Pegg and
[7:40] produced by Nero Park, Tim Bevan and Eric Fellner for Studio
[7:43] Canal and Working Titles films shot on location mainly in Wells
[7:48] and distributed by Universal Pictures on the 16th of February
[7:51] 2007. It stars Peg and the Leaders
[7:53] Sergeant Nicholas Angel, Nick Frosters, Constable Fanny
[7:57] Batterbaum. Wasn't expecting that.
[8:02] Brilliant. And the cream of British acting
[8:05] talent in the shape of Timothy Dalton, Jim Broadband, Olivia
[8:09] Coleman, Paddy Considine, Race Ball and many, many, many more.
[8:12] Stacked. Stacked.
[8:14] Stacked. OK, So what you think in
[8:17] Sanford, Gloucestershire? Yeah,
[8:41] we start off with a bang with a montage highlighting the skills
[8:43] of Sergeant Angel. Then it all goes horribly wrong.
[8:46] I'm starting the conversation off by talking about the scene
[8:48] where he gets his marching orders from his superiors.
[8:51] Yes, I think it's just a wonderful scene.
[8:54] Nicholas arrest record is 400% higher than any other officer,
[8:57] so he's being shipped out of the country, yeah.
[8:59] He's making everyone look bad. I think that's a great
[9:02] motivation. Nice.
[9:03] Great as well, yeah. You're too good at your job.
[9:06] Yeah. All the above have decided that
[9:10] instead of training their coppers to be like Nicholas to
[9:13] his standards, it's most easy just to get rid of the problem.
[9:16] Yeah, yeah, of course it is. Mirrors what's happening in
[9:18] Sanford as well. Making people disappear.
[9:20] Yeah, nice little satire, I think on certain sections of the
[9:23] UK population who may well be of the opinion that the Met Police
[9:26] are ineffectual and there's not enough presence on the streets.
[9:29] That kind of thing. Yeah, it's very over the moment
[9:32] all of a sudden isn't. It it is very much.
[9:34] Three lovely little cameos here as well.
[9:36] Just dropped in and only seen again briefly at the end.
[9:39] Martin Freeman, Steve Coogan, Bill Nighye, they're all leading
[9:42] actors in their own right. Yeah, yeah, yeah.
[9:44] And I think it just shows the ripple effect of showing the
[9:46] date and the quality of the material that they're working
[9:48] with here as well. Freeman's great.
[9:50] Isn't there any Sergeant's positions in London?
[9:52] Nor can I remain here as APC, nor do I have any choice in this
[9:56] new. That's kind of the bit where it
[10:01] falls for me on that whole sequence, really new.
[10:04] I'm like, I don't know, it's just a bit much.
[10:08] It's. I don't know, there's something
[10:09] about it where it's just a little bit too playful and I
[10:13] have that cast of stars in there.
[10:15] It's almost like this is his snatch, isn't it?
[10:18] Yeah, I get. I get what you mean.
[10:19] Everyone just wants to. Pile on.
[10:21] He's not getting in Brad Pitt. He's got Martin Freeman in and
[10:23] building. But yeah, of course.
[10:25] But I mean, that's like the cream of the crop from the
[10:26] British talent, isn't it? It's not that it's not what he's
[10:28] looking for, but it's just everybody's interested, is what
[10:30] I'm saying. Oh yeah, without doubt the.
[10:32] Spotlight and there was a lot of.
[10:33] Pressure A new voice very much. Yeah.
[10:36] I think it's very swift storytelling at the start.
[10:38] We learn all about Nicholas's professional rise in the police,
[10:40] his lack of skills in personal relationships, and that he's
[10:44] been moved out of Sanford and his journey down to Sanford all
[10:47] in there in 8 minutes. We don't need any more back
[10:49] story for Nicholas now. Completely understand what kind
[10:51] of person he is. Yes, and a great gag.
[10:54] To finish it off, Nicholas thinks he's got the backing of
[10:56] his colleagues, but they're already thrown a goodbye party
[10:58] for him. Yeah, he's that kind of guy that
[11:01] you work with that everybody's just desperate to see the back
[11:03] off, yeah. Yeah, yeah, brilliant shot as
[11:05] well. That's so well composing.
[11:06] They see everybody and it just comes back over.
[11:09] One party popper. Yeah, just one.
[11:11] Yeah, it's fantastic. Everybody signed that card
[11:13] really quickly, I bet, yeah. Yeah, yeah.
[11:16] Well, I'm going on a similar theme to what you've said there,
[11:19] Luke, about how the success of Shaun of the Dead got people in.
[11:23] Because I'm coming off the back of this scene, which is when he
[11:25] goes to see Janine, who he's just broken up with.
[11:28] And it's not enough that not only could get Peter Jackson in
[11:32] to do the cameo Santos and montage, you've got Cate
[11:35] Blanchett here, one of the world's greatest actresses, just
[11:40] doing 2, two or three minutes is Janine, Angel's girlfriend with
[11:43] the mask on. And I'll be honest, I didn't
[11:45] recognize the first time around. And if you've got Cate Blanchett
[11:48] in your film and you're the director, you kind of just do a
[11:51] mask drop just at the end to show everybody just to show off.
[11:54] But he doesn't do it. I think that's really
[11:55] restrained. Yeah.
[11:56] Very, very good. Yeah, and I think part of the
[11:58] reason I probably didn't get it is like, all due respect, like
[12:01] to Simon Peck. But he's punching above his
[12:03] weight there, let's be honest. Well, literally not a couple
[12:06] you'd put together, a little. Peck did say that acting with
[12:09] Blanchett was like reverse molestation.
[12:13] An odd, odd way to describe it. I would say very much I think of
[12:16] a better way to describe it. Very much enjoyable.
[12:22] But it is a very funny scene though.
[12:24] I love all the stuff when Angela's trying to work out who
[12:26] Janine is because they're all messed up and I love the
[12:28] difference between Bob, Hello there and then dear, hello
[12:32] there. I really love that.
[12:35] Does Bob look like the kind of person I'd go out with?
[12:38] And he saw Chris fall and Bob in the background.
[12:40] But you think, but everyone looks the same, like there's no
[12:43] difference to these people. That's great.
[12:44] Yeah. And then that trip from London
[12:46] to Sanford, I've just seen. That's quintessential Ed Grice,
[12:49] like those cuts, the way he transitions from day to night to
[12:52] Angel on the bench, and then he's falling asleep on the
[12:54] bench. Then he's on the tube on the
[12:55] train in the taxi into Sanford. Like, if someone said, well,
[12:58] give me an example of what Ed Grite is about as a filmmaker,
[13:01] that's probably one of the scenes I think of because it's
[13:04] so sharply cut together in just exposition.
[13:07] It's just done in like 15 seconds or something.
[13:10] Flashly done as well. Yeah, yeah, really flashy edit.
[13:13] And then I really like Billy Whitelaw in the same way.
[13:16] Checks in the hotel because she's unbelievable.
[13:18] She's great again, just so little to do, but makes the most
[13:21] of it. And it's just very
[13:21] quintessential, right. And Peggy, because it's the
[13:24] writing, it's the play on word stuff that they love setting up
[13:27] punch lines for like 90 minutes later.
[13:29] You know, fascist. Fascism.
[13:34] Wonderful. Yeah, this opening.
[13:38] You know whose hands you in with this opening.
[13:40] Yeah, yeah, that fashion. But it's like she doesn't even
[13:43] break. No trust.
[13:45] You had a pleasant trip. Fascist.
[13:46] Yeah. Hag.
[13:50] I beg your pardon? You've always been here.
[13:55] That's. Great.
[13:57] What? And I'll go from the moment he
[14:00] arrives at the hotel and he realizes that he's just sat
[14:04] alone and he needs to check out a little bit more of the town.
[14:07] So enter the pub, and we're kind of introduced to more characters
[14:10] in a very much an Edgar Wright and Simon Pegg way, where we'd
[14:14] meet Danny's. It's in the background.
[14:16] Pike Lager, please. Disappears.
[14:19] Lager please. Lager please, Mary.
[14:23] But what I want to talk about specifically in this sequence is
[14:25] the sound design and how overly elaborate this all is for what
[14:29] it is. And there's that brood and kind
[14:31] of build of this base where it's like, and he's just looking and
[14:35] seeing the kids. It's like we've been to, must
[14:39] have been like if you go to the Yorkshire Dales or if you go to
[14:40] the Lake District or if you go to somewhere, it's a little bit
[14:42] quieter, like a town like this. There's always underage kids in
[14:46] there because that's their excuses.
[14:47] Like we'll keep them in here because they're going to get
[14:49] into trouble out there. And I was one of them, you know
[14:51] what I mean? So it just kind of hit home and
[14:53] made sense. So for him to come and clear the
[14:55] pub out and get rid of like paying people and pissing people
[14:59] off immediately. Another cranberry juice.
[15:01] Yes, some of the best lines in this.
[15:03] And this is where I actually, when I was watching, I remember
[15:05] laughing out loud. When is that?
[15:07] When is your birthday? Is that in February?
[15:09] What year? Every year.
[15:10] Yeah. Get out.
[15:13] That's just really funny. But then he goes to the next
[15:15] one. He goes, you're 37.
[15:17] Yeah. Get out.
[15:19] Get out and. Then the last one, when's your
[15:21] birthday? And I just think it's really
[15:28] good. Just like when he brings the
[15:30] badge up, this is, this is all these whooshes and all this kind
[15:33] of content, and it's just packed for a scene that doesn't need to
[15:37] be so packed and so fast and so heavily cut.
[15:40] I think that's the problem with the film going all the way
[15:42] through. I want it just to take a breath,
[15:44] right? I want it just to calm down a
[15:46] little bit. It's never going to do and.
[15:47] It's never going to do that, no. If you're into it and this fast
[15:51] pace and the way it moves, great.
[15:54] But it kind of just puts me on edge a little bit and I kind of
[15:57] it's so fast that I get bored with it and I can't.
[16:00] I can't find time to engage. We'll get into it as we go.
[16:04] I'm not going to do it on the first scene that I'm talking
[16:05] about. Torpedo the whole film, the
[16:08] first time, the. Whole thing right now.
[16:10] I've got that, like, I've literally, I've got 5 pages of
[16:12] notes here and it's on page three that I'll get into it.
[16:15] So it's really funny. It's really great, that joke,
[16:18] you know, with it. Yeah.
[16:19] What year? Every year.
[16:20] Fantastic, lovely stuff. Let's continue.
[16:24] Frost acting pissed is quite a joy though.
[16:26] It's always great. He's doing a better zombie
[16:28] impression here and he didn't show you're.
[16:31] Not going to drive that you knew.
[16:35] There's a great outtake from the moment when they find the Ginger
[16:38] Head Kid urinate in the streets. Yeah, he turns around to them
[16:42] and in character, Frost says. Oh, colours match the cuffs.
[16:49] Brilliant. Wonderful.
[16:51] So a little smile Danny gives her.
[16:52] When that kid does turn around, yeah, he's like so amused by the
[16:57] fact he's having a piss on the screen.
[16:58] He says He. Just had a few times where he
[17:04] has a little giggle through himself.
[17:05] Yeah, he does, Yeah. Yeah, and I just want to mention
[17:07] there's a scene after this where Angela's porn over the paperwork
[17:10] and that's executed in the style of Tony Scott and Wright
[17:13] included this because he'd done the research with actual police
[17:16] officer and they had said, well, that's one element of the drop
[17:19] that takes up so much time, but you never see it happen in
[17:21] action films. Yeah, yeah, Nicholas even
[17:24] alludes to when they've just watched Point Break.
[17:26] He says. There's no way you could
[17:27] perpetrate that amount of carnage and mayhem and not incur
[17:29] A considerable amount of paperwork.
[17:31] Yeah, and you never see it in those films.
[17:33] No, you never do. And that sequence is scored by a
[17:36] song called Here Come the Fuzz by the John Spencer Blues
[17:39] Explosion. It's Edgar Wright's favorite
[17:41] band. Yes, I.
[17:42] Because when baby drive as well aren't not.
[17:44] Baby driver. Yeah, yeah.
[17:45] Probably the only person who has John Spencer Blues Explosion as
[17:48] their favorite band. Probably that makes to be fair,
[17:51] it makes perfect sense. It does.
[17:54] What a setup. Then plot and characters
[17:56] established immediately. Incredible stuff, unless you're
[17:59] West. Yes.
[18:04] With Nicholas established in Sanford, he meets his new
[18:06] colleagues on his first day on the job and gets acquainted with
[18:09] the locals. Bored on the beat, he swings by
[18:11] his local convenience store and things start to heat up.
[18:15] And I'm picking up here with Danny and Nicholas in
[18:17] Summerfield. Very nice, yes.
[18:20] Nicholas is checking out the Low Fat Greek Yoga while then he's
[18:22] drooling over the DVD bargain bin.
[18:25] Yeah. Just Silent Ridge, yeah.
[18:29] Super Cop company stopped. And 699 as well Park, yeah.
[18:35] When he scampers off to follow Nicholas, he throws the DVD back
[18:38] and it lands on a copy of Sean of the.
[18:40] Dead. Yeah, but.
[18:41] The title for the film is Zombies Party Yeah, which was
[18:45] the Spanish and Portuguese title translate the title for Sean.
[18:48] All right. OK.
[18:49] Right, and Nicholas has called in for another delicious
[18:52] encounter with Simon Skinner. I love that he takes great
[18:55] pleasure out of the Sergeant angle bit.
[18:57] Everybody finds that absolutely hilarious 1 angle.
[19:01] The initial interaction between Skinner and Angel was shot over
[19:03] a two day period. The first day covered the
[19:06] conversation from Simon Skinner's perspective.
[19:08] Dalton wasn't expected on set the next day, but showed up to
[19:12] set off camera so Peg could work off him, which is great.
[19:14] Peg loved that scene. He was a true professional
[19:16] 'cause he is class. Yeah.
[19:18] What would you expect from Dalton?
[19:19] Exactly. And then this moment with
[19:21] Nicholas in Hot pursuit. I mean, it's a comedy, and there
[19:24] are comic beats all over this sequence alone.
[19:26] New mothers being a personal fear for us.
[19:29] Amazing. But it plays like a bloody good
[19:33] action chase scene. It's like Point Break right?
[19:37] With the camera right in the faces of Nicholas and the
[19:39] perpetrator. Like like the Pogo Cam in the
[19:41] foot chase on Point Break. Yes, yeah.
[19:43] Yeah. And that alleyway that the
[19:44] rundown, the Angel runs down, That's the one that Ed Grade
[19:47] used to take to get to school. And even more momentous than
[19:50] that, it's also where he had his first kiss back in the day.
[19:53] Oh, nice. Tits.
[19:57] Cocks, Cock. There's been a number of
[20:03] suggestions that the number 9 is relevant throughout the film.
[20:07] The code for the weapons room is 999, obviously, because that's
[20:09] the emergency number in the UK. There's nothing strange there.
[20:12] It's a nice sight gag, but it takes on extra relevance when
[20:15] you notice that the hoodies are graffiti and the number all over
[20:17] town as well. Like the fountain outside the
[20:19] pub. Yeah, yeah.
[20:21] Or The Wall, when in this scene Nicholas is Jason, Auntie
[20:24] Jackie's sister's brother's boy. You.
[20:26] Couldn't see his face. Could I'm not made of eyes?
[20:30] And the suggestion here is that this is the the hoodie's way of
[20:33] covertly appealing for help without getting bumped off by
[20:36] the N.W.A, right? Is Danny's cousin in on this
[20:39] covert up because he's only stolen a packet of biscuits to
[20:42] draw Angel's attention? I mean, it's a pretty strange
[20:45] thing to be stealing and he later gets killed and dumped
[20:47] below the streets. Is that the reason for that?
[20:50] Oh, yeah. Yeah.
[20:50] Yeah. So.
[20:51] I think it's something a little bit deeper going on under the
[20:54] surface and that that isn't really explained.
[20:57] Yeah. The bit that I want to talk
[20:59] about is one of my very favorite bits where Frank Buderman gets
[21:04] Nicholas and Danny to go on behalf of the Police Department
[21:07] to go see the local Amdram production of Romeo and Juliet.
[21:10] Beautiful because like, oh God. That's the thing.
[21:15] Like, if you come from any kind of provincial village like that
[21:18] and you've seen Amdram, or you've seen it at school, this
[21:21] version of Romeo and Juliet hits so perfectly, it's so
[21:25] recognizable. Martin Blower is far too old to
[21:29] be playing Romeo. He's a guy must be cracking on
[21:31] late 40 Shulie, and he's trying to be like the young teenage
[21:35] Romeo. And Avis is terrible as Juliet.
[21:38] I mean, the whole thing is so bad, Martin literally has to
[21:41] nudge Eve and go now to give you.
[21:43] To sit up. Really funny.
[21:46] But you know what? He gives that key.
[21:48] And then you wish that he didn't because she's so bad Oil.
[21:51] Kiss thy lips. Some.
[21:53] Poison, don't you? Hang on him.
[21:55] Like just so. Bad, but the whole thing is so
[21:59] pretentious, the way it ends. And then, like Romeo and Juliet
[22:07] is one of the great literary tragedies and they ended like
[22:10] this, this ridiculous song and dancing number.
[22:13] Yeah, doing the pan can or something.
[22:16] But I love the debrief you get afterwards in the pub as well.
[22:19] Like obviously going to talk about Dalton, but he's great.
[22:22] He's not even hiding the fact he's the villain.
[22:24] Like when? He's talking to Eve.
[22:26] I'm sure if he bust your head in, all sorts of secrets would
[22:29] come tumbling out. Right in a face, right?
[22:34] In a face, he's so good. He's like RR kind of bit of a
[22:39] Romeo. Oh, he's so pretentious, isn't
[22:44] he? He's so pretentious.
[22:45] It's great. And then you also get this,
[22:47] like, great moment where you think Danny's proved himself
[22:49] useful. He says to Angel.
[22:51] I also know, you know Eve drapers into the older
[22:53] gentleman. Marcus, Carter's Big Brother,
[22:55] said he'd fingered rub the duck pond.
[22:59] Great spit take, isn't it? That's a great spit take from
[23:01] Peg. So yeah, it's really funny.
[23:04] But I think it's also really important because this is when
[23:06] you get that first plot element where you've not been sure where
[23:10] this is going. Is this is going to be fish out
[23:11] of water? No, because now you get the
[23:13] first murders of Martin and Eve in his perfect place, because
[23:17] you just need that little twist of the plot at this point.
[23:19] Yes. I see you're talking about that
[23:21] Spit guard day and this whole sequence.
[23:23] It's where it moves away from the action film for me.
[23:25] And I think Edgar Wright is really paying homage to like
[23:28] American Werewolf here. And he did in the in the pub
[23:31] sequence with the kids there and he's just like kind of fish out
[23:33] war and that Spit Gang Rick mail does the same kind of thing,
[23:38] similar vibe do it. So I didn't get a lot from
[23:40] American Werewolf in here as well.
[23:42] Yeah, I agree with that. Yeah, I love Skinner's review of
[23:46] Romeo and Juliet, where he slams his hand on his back and he's an
[23:51] absolute tosh, wasn't it? His name right this time, won't
[23:59] you? They've talked about Tim
[24:03] Messenger. I love his outrageous
[24:04] suggestions to Nicholas, who angrily rejects them and times
[24:09] kind of positive outlook before and as seen before.
[24:12] How about you put the teacher in handcuffs?
[24:14] I don't think that sends the right message.
[24:15] Too cheesy pie. Got you.
[24:17] Too cheesy pie? Cop enjoys watching young
[24:20] lovers? I don't think so.
[24:21] Local Bobby gives thumbs up to teen suicide.
[24:23] That's just grossly inappropriate.
[24:28] And alcohol for the aftermath of all this, which gets really
[24:31] gruesome. Let's be honest, it's just not
[24:34] that bit when The Walking away and he's like drive safe.
[24:36] Do you know that was the guy who stopped us being there?
[24:37] Yeah, yeah, yeah. I don't know that.
[24:41] But I'm going for the the scene of the accident where it's all
[24:43] covered up and it's just classic, isn't it?
[24:45] It's like you've either love it. I hate it when he wakes up in
[24:47] bed. He's like decaffeinated.
[24:49] Yeah, now that as a joke is funny, but it's really risky
[24:53] because. I.
[24:55] Shouldn't really work. And I think that's the whole
[24:58] point of the film, is that they're making it for
[24:59] themselves. I don't think they're making
[25:00] this for a particular audience, kind of like they did with Sean,
[25:03] really. But this bit when Dalton shows
[25:06] up? Oh fuck me.
[25:09] That is So There was never a story with Marwa within Juliet
[25:13] and her Romeo and Dire Straits is playing on.
[25:16] There, it's so. Fucking funny.
[25:20] No stroke, Romeo. It's just absolutely brilliant.
[25:26] And then you get the introduction as well to the
[25:28] other members of the force that are there like a family.
[25:30] Talk off this nearby before it's.
[25:34] Doris's laugh. And it's the start of the whole
[25:39] what he said exposition, which goes on and on and then pays off
[25:42] at the end when we'll talk about the shootout, which is
[25:45] brilliant, and the traffic collision exposition that starts
[25:48] here. And then it's really heartfelt.
[25:49] When Danny's talking to Nicholas in the pub later on, we'll find
[25:52] out what happened to his mom. He actually says conclusion.
[25:55] It's that's really heartfelt. Yeah, it is brilliant.
[25:58] But this moment is just fantastic.
[25:59] You find out that Angels bang on the money.
[26:01] He knows what's happening, but it's just the way Dalton turns
[26:04] that screw and just makes it wonderful.
[26:06] It's sinister and weird and there's heads on the ground and
[26:09] he turns up and Skinner on his license plate in the Jaguar and
[26:12] just, you know, news travels fast, a little awake, and then
[26:16] just minces off. What's a Dick?
[26:19] It's. Just a fantastic piece of work.
[26:21] Even if he if he was in this film, just for that bit, yeah, I
[26:24] would still be talking about it, yeah.
[26:26] It's just, it's just a wonderful performance and really he's
[26:29] loving it. So great opening act and I'm
[26:31] sure that everyone will get there.
[26:32] Just dessert. I'll make sure the director.
[26:42] Edgar Wright at the helm as director Following up on the
[26:44] runaway success of Shaun of the Dead Westy, what do you think of
[26:48] his work here as director? I mean, it's Edgar Wright, isn't
[26:51] it? So it's a very recognizable
[26:53] style. It's very broad strokes.
[26:56] It's very much what he wants to say.
[26:58] I don't know if I agree with this style.
[26:59] I don't know if it's up my street at all.
[27:01] I prefer, you know, slow burners, as you know.
[27:04] Of course, 47 shots per film. Exactly.
[27:07] Bellator anytime. But it's just that it's not pace
[27:12] to it. It's very music video for me and
[27:14] it's styling and it's pace and it's editing and it doesn't
[27:17] really let up. But that does lend itself to the
[27:20] action genre. Well, of course it does.
[27:21] Yeah. I mean, that's the whole point I
[27:23] think, But it's the same amount of edits.
[27:24] And Shaun of the Dead. But I cannot pick fault with
[27:26] Shaun of the Dead at all. I don't know.
[27:29] I think this is slightly overconfident in a direction,
[27:31] point of view. I think he thinks every single
[27:34] thing he puts on the screen is going to work, and it comes
[27:36] across slightly pretentious. Does it sacrifice the emotion
[27:41] for what they think is cool or funny?
[27:43] And I think it kind of does. Everything's just played very,
[27:46] very lightly and very nice and stick it on an A.
[27:49] But does that make it meaningful?
[27:51] Does that something you're going to come back to?
[27:52] Was it something you're just going to stick on and be
[27:55] familiar with? There is room for that in
[27:57] cinema, Of course there is. But when you're making your
[27:59] second film and you've got such a spotlight on you, is that the
[28:02] right thing to do? Should he have gone and pushed a
[28:04] little bit harder? Is he an emotional director or
[28:06] am I just looking for something that isn't there?
[28:08] So there's the I think that's the theme I get from his
[28:10] direction. It's it's very, very confident,
[28:12] it's very self assured and in my mind when I'm watching it, I
[28:15] just think it's slightly, slightly too pretentious in that
[28:19] fact. And the problem with his
[28:20] direction, and I'll talk about with the editing as well, as you
[28:22] can see the technique, it takes us out the film.
[28:25] When a camera moves, you can see a camera moving, when it's cut
[28:28] that you can see cuts, you can see edits, you can see the pace.
[28:31] And it kind of takes me out a little bit.
[28:33] So I think the technique overrides the emotion and for me
[28:36] that's always a no goal. So Edgar Wright's direction is
[28:40] being consistent, always being the same.
[28:42] I don't know if I like the style of it.
[28:43] That's OK. It's my view really.
[28:45] Yeah, I think, I think I remember you throw on a slight
[28:48] amount of shade on a great as director on Shaun of the Dead
[28:51] as. Well, yeah, I mean it's not
[28:52] shade, it's just it's it's a wonderful thing that he's got
[28:55] and I really appreciate the the craft that he has.
[28:58] Yeah, yeah, it just doesn't connect with you.
[29:00] Yeah, exactly. It's there.
[29:01] And and he's consistent with it. And I I respect that he's
[29:04] consistent with it, but I don't know if it it just doesn't click
[29:07] with me. Yeah, yeah.
[29:08] Well, I mean, I'm just going to pick up what Wesley saying about
[29:11] the edits because yeah, it's very classic.
[29:13] Edgar Wright to have some of the edits and this.
[29:16] You ready for this, Wesley? There's 5500 edits in this that
[29:21] was used to create this fast-paced style.
[29:23] Gardner editor Chris Dickens. Chris Dickens, I feel so sorry
[29:27] for that. He's not having it, He's.
[29:29] Just 5500 edits. Oh, come on, it's like just
[29:34] under 2 hours as well. For nearly 46 edits per minute.
[29:39] 46 cuts a minute. Bloody hell.
[29:41] So maybe like one every 1 1/2 seconds?
[29:48] Wow, yeah. Well, what I think you're always
[29:50] guaranteed with Edgar Wright is minute attention to detail.
[29:54] I said at the start that you only get really rewarded in this
[29:58] film with repeat viewings, and it's the detail that keeps me
[30:01] coming back time and again. I mean, we'll never touch the
[30:03] surface here, but the number of set ups and pay offs throughout
[30:06] the film, it's just countless. The hag fascist bit in the
[30:09] hotel, the style that's repeated in the shootout at the end,
[30:13] There's that moment when they're on the beat and Nicholas asks
[30:15] why Mr. Treacher is wearing an extra layer when they're in the
[30:18] car. Maybe he's hiding something.
[30:20] Then he's wearing the same get up and pulls out his rifle at
[30:22] the end. Yeah, yeah, one of the Andy says
[30:24] to Nicholas in the pool book. But you can't wait to jump into
[30:27] Serge of Pop Wells Grave. Yeah, that's what the town want
[30:29] to happen, and that's literally what happens at the end.
[30:33] Yeah, only one school child allowed at any time and one of
[30:36] them run in and that's how it's a downfall.
[30:38] Yeah, there's so many every scenes.
[30:40] Got one. Every.
[30:41] I mean, every scene set up and to pay off, Yeah.
[30:43] From something that came before, Yeah, even the names of the
[30:46] townspeople indicate who they are.
[30:47] Simon Skinner, he's the killer. George Merchant, the
[30:50] businessman. Tim Messenger journalist.
[30:52] Robin Hatcher is a doctor, which is I think that is very funny,
[30:55] that one. That one.
[30:58] Deal with it, yeah. Well, yeah, that that even comes
[31:02] up twice. Yeah, Doctor.
[31:03] Yeah, motherfucker. Motherfucker.
[31:06] And every single carrot in the village have old British worker
[31:10] surnames. Tiller, Blower, Draper,
[31:12] Wainwright, Car Ride, Cooper, Thatcher, Fisher, Hatcher.
[31:15] And the only exceptions are Angel and Popwell, who were both
[31:17] outsiders. Yeah.
[31:19] Love it and then you've got the swear box, which has got the
[31:22] loveliest detail. Oh, that's great.
[31:24] All the swear words are asterisks to stop any offence
[31:28] apart from the C bomb, which is written down in full.
[31:30] Yeah, I love that. That's brilliant.
[31:32] Yeah. 2 LB Two pound for a C bomb, Matt, You'd be.
[31:35] Broke I'd be. Skinned.
[31:36] You'd be skinned. I'd be skinned.
[31:37] You. Have to write a check?
[31:39] Yeah, I. Don't have a.
[31:41] Massive night out on my on my dime.
[31:44] Fucking standing order. Monthly payment.
[31:50] To direct debit. And I like that all the proceeds
[31:54] from the swear box go to the restoration of the church roof.
[31:57] Then we see how much work that needs when Tim Messenger gets
[31:59] killed. Yeah.
[32:00] Yeah. And in the background, near the
[32:02] end, there's a poster visible of Romeo and Juliet looking for a
[32:04] replacement of the two leads. Very swift and.
[32:08] And a headline in the newspaper which is the greatest kind of
[32:11] And. And if you're not from the UK,
[32:13] we make a habit of our tabloid newspapers being pun related.
[32:17] The headlines. Yeah.
[32:18] Horrible. This one, a fate worse than
[32:20] death, is wonder fate, as in FET.
[32:23] Wonderful church fate. Yeah, fantastic.
[32:25] And not how behind the times the village folk are.
[32:28] And Frank in particular is the helmet he's wearing at the end,
[32:31] which have like a VR on it for Queen Victoria, whose reign
[32:34] ended in 19 O one. Great.
[32:38] Really behind the times? He's got muskets in that scene
[32:41] as well. Yeah.
[32:44] In the shop scene as well, when Danny's Arsenal signed with them
[32:47] Killers, then behind Nicholas, is a poster for the album Hot
[32:50] Force by The Killers. Yeah, yeah.
[32:52] Yeah, yeah. Yeah, all of that going on.
[32:54] And that's got nothing to do with the fact that it's.
[32:56] I think it's a pretty amazing who done it, yeah.
[32:59] Yeah, the central mystery is really good.
[33:00] Yeah, it is. Well, what's impressive to me
[33:03] about rights directors is that he's two films into his career,
[33:06] you know, kind of ignore their self funded kind of Lord Butcher
[33:09] debut he did put together. But he already does have a very
[33:12] identifiable style that added in the way he transitions between
[33:16] scenes, the way he will have a character move and he cuts on
[33:19] the movement and in the next scene a different character is
[33:22] carrying on that move. So like when George Merchant
[33:25] gets clubbed over the head and collapses.
[33:27] In that cut. To Angel sitting down on Danny's
[33:30] couch. So it's really distinctive and
[33:31] he gives hot for such a sense of energy and he does have this
[33:34] very personal stamp on it. But I do have an issue with it,
[33:37] and it's one of the simple approaches he brings, which is
[33:40] that the film ultimately ends up being, well, what if Michael
[33:42] Beer directed an episode of something like Midsomer Murders?
[33:46] And to me, that's just too easy to rip off Michael Beer style.
[33:50] Who wants to? Well, exactly.
[33:51] Who wants to? Michael Bay.
[33:53] Yeah, but you know, Michael Bay is quite shit, you know, maybe
[33:57] two or three films that are watchable and that's it.
[34:00] It doesn't take much to copy him.
[34:02] I'm Going Down, said. It was our take.
[34:04] My God. I mean, obviously it's very
[34:07] personal thing, but I don't, I just don't think putting Michael
[34:10] Bay's style in this setting is that funny to me.
[34:13] I'm going to basically copy what Wesley said.
[34:15] I think Ed Great is better than that.
[34:17] I think he's short on trying the dead.
[34:18] He's better than that kind of guy.
[34:20] Like, because we've talked about the Con Edo trilogy in general
[34:23] on the Sean episode. I don't know.
[34:24] You 2 have issues with The World's End.
[34:26] But what I would say is that look at the action sequences in
[34:29] that. And they are Ed Gray action
[34:31] sequences. Yeah, baby.
[34:33] Driver has Ed Gray action sequences.
[34:35] Yeah. Agree.
[34:36] This is Ed Gray playing it. Being someone else.
[34:38] Yeah. And I'm not that impressed with
[34:40] that. And if you look at Shaun of the
[34:41] Dead, he went, I'm going to take George Romero's vision and I'm
[34:44] going to channel out through this British perspective in a
[34:47] British vision that's averted, but it honours it at the same
[34:50] time. And that's much harder to do.
[34:52] And that was much more impressive because Romero's a
[34:54] great filmmaker. Michael Bay isn't.
[34:56] So I know it sounds like, I mean, like, really critical of
[34:59] him. And I'm not really like, it's
[35:02] clearly excellently directed because it's so sharp.
[35:05] It looks great and moves like a bullet.
[35:06] There's not one scene that doesn't have something going on,
[35:09] but I always feel with this, the 1st 2/3, that's Ned great film
[35:13] and that's where the real gold is for me in this film, right?
[35:16] That last third, it's a bit like what I said on Tarantino on the
[35:19] last episode, on Inglorious Bastards or PTA when we did Bugy
[35:22] Nights. It's a bit juvenile.
[35:24] And if I criticize them for that, I've got to criticize
[35:26] right for it as well. Like, part of the issue is Shaun
[35:28] the Dead just set that bar so high for him, yeah?
[35:32] I think that's the problem. Yeah, I do think that it is
[35:34] imbalanced. Yeah, it is this, that bit of
[35:37] imbalance. And for the most part, yeah, he
[35:39] gets that bar again. But when he doesn't, it's just
[35:41] notable and it does feel disappoint when it doesn't get
[35:44] there. There's so much more emotional
[35:46] depth to Shaun of the Dead as well.
[35:48] There is, yeah. So Albany.
[35:50] And it does sound like I've kind of piled in on him, but it's not
[35:53] that. It's just I expect so much of
[35:54] him after Shaun of the Dead. And for the most part he he does
[35:57] brilliantly, but when he doesn't it's just really notable.
[36:00] Yeah, yeah. You don't have to pile on them.
[36:01] I'll do that. No.
[36:02] No, Wesley's got that. I've got that.
[36:04] He's got that. Yeah, no, I'd.
[36:06] I'd take your points, both of you and I do agree with you,
[36:09] even though the final third is a lot of fun.
[36:11] Oh, it's a lot of fun, yeah. It is a bit of a let down
[36:14] considering what went before it in the 1st 2/3.
[36:16] I mean, think we'll get him a balloons or something in the
[36:18] final third. For me, yes.
[36:20] And to build on that point about his style, we've got our first
[36:23] question from an ATRM, Peter. All right.
[36:26] OK, that's another benefit. If you sign up, you can put us
[36:28] under the microscope and ask a question for the film.
[36:31] This one comes from Dannon Hennessy.
[36:33] Hello, Dannon. Hello, Dannon.
[36:35] Hello, Dannon. Well, I think contrary to the
[36:37] opinion here, Dannon likes Akorai's visual style, he says.
[36:41] It's pretty distinctive, but it's certainly distinctively.
[36:44] Distinctive, yeah. He says the only other director
[36:47] I think, that can utilize camera movement to the same degree he
[36:50] does is Sam Raimi and Robert Rodriguez.
[36:53] Oh, nice. Are there any other directors
[36:55] who are this playful with their camera direction?
[36:58] I'll take this first. I think that DNN is right, You
[37:01] know, I think it comes down to whether you just, whether you
[37:03] buy into it or not, whether it takes your boxes or not.
[37:06] Yeah, I think his transitions, though, rights, transitions are
[37:09] great. He loves a matte cut, like you
[37:10] said, Matt, like the one at the end of Angel's first night in
[37:13] town. He's doing his hand exercises.
[37:15] Yeah. The old wrist extender, yeah.
[37:17] And then a matte cut to the next day, an empty bed.
[37:20] King's playing. Great moment.
[37:21] Yeah. Yeah, I like those.
[37:22] And I think that's identifiable visual style.
[37:25] I think Tarantino is an obvious one.
[37:27] I think the Cohen's the same. Not necessarily in the same
[37:30] style, but kind of a similar inventive approach to
[37:32] filmmaking. But I'm going to throw in an
[37:35] unusual 1 here in keeping with what we're talking about.
[37:39] I'm don't talk about Shane Black and specifically Kiss, Kiss Bang
[37:41] Bang Bark, OK? Nice.
[37:44] I think visually it is very similar, very inventive,
[37:46] playful, makes the runtime zip along, and certainly someone
[37:51] that influenced right in this film alone with the action
[37:53] references. Yeah, yeah.
[37:55] Well, I am going to talk about the Corn brothers actually.
[37:57] Sure. Just because they're the first,
[38:00] Kim and I, because I think they kind of get overlooked in terms
[38:02] of what they do with the camera because they do some really
[38:05] clever stuff. So for example, in Blood Simple,
[38:08] you get that tracking shot of the camera moving along the bar
[38:11] and then it goes up and over the drunk lying on the bar and then
[38:14] back down again, Stuff like that.
[38:16] The son and Fell. Isn't it the Early?
[38:18] Son and fell early. DP for them.
[38:20] Yeah. The camera in the ball and ball
[38:22] in Big Lebowski, I was thinking that.
[38:24] The other one I wanted to mention is when Nick Cage runs
[38:27] that convenience store and race and I was on it and he goes on
[38:29] the run the way that camera follows.
[38:31] His eyes, Yeah. Brilliant.
[38:33] Brilliant stuff. So yeah, the corns, I think, do
[38:35] some really interesting stuff with their camera movements.
[38:38] I mean, this is right on my street, isn't it?
[38:39] Camera moves. You want to know about camera
[38:42] moves? I'm your fucking boy.
[38:44] This is all the page two, half Page 3, the ones that have
[38:49] really stood out for me. He's talking about, you know,
[38:50] moving the camera and having that as kind of a character in
[38:53] the film is when it's moved. But you you are moved by it.
[38:56] It is part of what you're watching, which I think Edgar
[38:59] Wright's got a very distinctive style.
[39:00] But I don't think it's a lot about the camera movement.
[39:02] I think it's a lot about the editing and the pace.
[39:03] Yeah. So people who move the camera,
[39:05] for me, where you don't necessarily know it's moving, is
[39:07] someone like Paul Greengrass. Like he does that incredibly
[39:10] well. Where the car it's, it's almost
[39:12] a character in itself. Bellator, we've touched on that,
[39:14] but his films are absolutely fucking incredible.
[39:16] He's only got 47 shots and three hours to do it.
[39:18] So that camera's got to go places and it does, but you kind
[39:21] of don't really realize it the how really technical it is.
[39:25] But you don't see the technique, which I love and I would hate to
[39:27] see it, but you've got to see it because Michael Bay does move
[39:31] that camera more than anyone else and it makes sense.
[39:35] And he has. Whether you like it or not, he's
[39:37] made a massive impact on the action genre.
[39:39] And he has to. And he pushed it up and made
[39:42] people who didn't really want to think about anything go in and
[39:45] enjoy something for a couple of hours.
[39:46] And he has his place in cinema and he has his place in history.
[39:49] I wish Edgar Wright had seen that and refined it instead of
[39:52] copying it in this films For me, all of them directors, if
[39:55] there's some that you're not aware of, they know how to move
[39:58] the camera and they know how to make you immersed into that film
[40:02] for me personally. Brilliant.
[40:04] Including Michael B, which I am. I'm honestly stunned that
[40:08] Michael B has been referenced any more than passing as opposed
[40:12] to 10 times. And I'll say this, and I don't
[40:15] want to retort from USD, this film is better than anything
[40:18] Michael Bay has ever done. They're done.
[40:20] Yeah, right, right. OK.
[40:22] I don't think it's better than Bad Boys 2.
[40:26] You ain't seen bad boys. Two.
[40:29] Well, thank you very much for the question, Danan.
[40:31] A great one. Got us Talk and keep them
[40:33] coming. Yes.
[40:34] Yes. Thank you.
[40:34] Thanks, Dan. That was a really good one.
[40:36] Yeah. And Hot Fuzz is set in the
[40:37] fictional town of Sanford, which is actually set in Wells,
[40:41] Somerset, at the Wright's hometown.
[40:43] Wright loved shooting in the town that he grew up in, but he
[40:46] also wanted to, in his words, trash it.
[40:48] Yeah, yeah, you would do, wouldn't you?
[40:50] And Wright actually worked as a shelf stacker at that particular
[40:53] branch of Summerfield. As a kid.
[40:55] Oh really? As a work in supermarket and he
[40:58] loosely bears Simon Skinner on his boss Mike Stockwell.
[41:01] They didn't use the surname Stockwell because it sounded too
[41:04] much like an obvious pun. Yeah, yeah.
[41:06] Right. Yes.
[41:07] Yes, it does. Yeah.
[41:08] I would have expected it to be fair in this film.
[41:12] Surprised he didn't. That's too far, is it?
[41:14] That one's too far. Fuck off.
[41:17] Every mic will be a reference. Getting 3047 cuts of someone
[41:21] going through a window stop? Well, that's too obvious.
[41:25] Yeah, and Wright actually has two cameos in the film.
[41:27] He's a voice on the supermarket intercom and you do see him as a
[41:30] shelf stacker, just very quickly in the background at one point.
[41:34] And then before deciding on the actual supermarket chain Summer
[41:36] fields, which if you're not in the UK, it is a genuine company,
[41:40] as a plan was to call it Summer Isles, which is obviously a
[41:42] Wicker Man reference. Oh lovely.
[41:44] Yeah, bubble buds in there as well only.
[41:46] Yes, yes, yeah. A wonderful full circle.
[41:48] And Wright did make an amateur film in his youth called Dead
[41:51] Right, which he described as Lethal Weapon in Somerset.
[41:54] Need to say that? Yeah, the Somerset supermarket
[41:57] made an appearance in that film as well.
[41:59] Yeah, yeah, well, Peg said. We're both from the West
[42:01] Country, so it just seemed like it was perfect and logical thing
[42:04] to drag those kind of ideas and those genres and those cliches
[42:07] back to where we grew up. And there is a cathedral in
[42:10] Wells, and I had it digitally removed that for some shots of
[42:12] the film because obviously Sanford is a village and in the
[42:16] UK cities have cathedrals, but towns and villages do not.
[42:19] So they need to digitally erase it.
[42:21] And you know, that's just a general rule, but there are
[42:23] other criteria, apparently. Yeah, yeah.
[42:26] There's a lot of red tape, isn't it?
[42:28] Too much towns? And see, that's the images.
[42:30] Yeah. Yeah.
[42:31] PEG disagrees that it's a spoof of action films, he said.
[42:33] It's an action film. It just happens to be funny as
[42:36] well, I think because the genre in itself is very overblown.
[42:39] It doesn't take that much to push it into the comic realm,
[42:42] yeah, Which is, yeah. Yeah, I think it's very much
[42:45] like This is Spinal Tap in that it's obviously having fun with
[42:48] the genre. Yeah.
[42:49] But it's not spiteful, no. Or thinks that it's better.
[42:52] Than these. Affections, I think.
[42:53] Definitely, yeah. A huge amount of affection for
[42:55] the genre. That does happen with action
[42:56] films as they have sequels though.
[42:59] There's more and more, especially Lethal Weapon.
[43:01] There's more and more light heart Comic just gets more
[43:03] comic. Die hard it gets a little bit
[43:05] more light hearted. So it does happen.
[43:07] I've got a great quote from Edgar right here, he said.
[43:10] Some interview once asked me do you steal all your montages from
[43:14] Snatch? And he said no.
[43:17] I stole them from Martin Scorsese like Guy Ritchie did.
[43:20] Yeah, brilliant. So right.
[43:24] Making a worthy action film to add to the action genre cannon.
[43:28] Definitely not perfect by any stretch, but a worthy follow up
[43:32] to Shaun of the Dead, Yes. Yeah.
[43:34] New the. Cast.
[43:43] A huge cast of notable actors and actresses on showing Hot
[43:45] Fuzz. We'll be talking about some of
[43:47] the secondary cast later on, but for now it's the Peg Frost Dream
[43:51] Team. Yes, Matt, are you talking about
[43:53] Crockett or Toby? Constable batter bomb.
[43:59] Nicholas Ass wipe. Nicholas Ass wipe I am.
[44:05] I'm going to talk about Simon Pegg and it's going to be a bit
[44:08] similar to what I said about him on Shaun of the Dead, I think,
[44:10] which is that because he's Co writer, he obviously knows what
[44:13] material he can give himself. He knows how far he can push
[44:17] himself as an actor. So Evan is very comfortable for
[44:20] him here. And I think because he's
[44:22] comfortable, everyone is comfortable around him and we're
[44:26] comfortable watching him. And there's a good amount of
[44:28] distance he's given himself as writer.
[44:31] Because I don't think you could see Angela by any stretch of the
[44:34] imagination, has the funniest lines or the funniest moments in
[44:38] the film. I think they're they're all
[44:39] given a Nick Frost or to Timothy Dalton or Levy Coleman.
[44:43] Yeah, he sets a lot up. He sets a lot, yeah.
[44:46] Yeah, I mean, he's playing the straight man basically, and and
[44:49] I think he deserves a lot of credit for that.
[44:51] Like as a writer, he's put the story in the counter first
[44:54] rather than going, oh, that's a good line.
[44:55] I'm going to, I want that line. I want that line.
[44:58] It doesn't do that about Hoffman as well on the double feature
[45:01] episode. It's just very much ego out the
[45:03] way. Selfless.
[45:04] Yeah, very much so. Yeah, very much so.
[45:06] And I think he does do that straight man role very
[45:08] effectively. He does the uptight, by the book
[45:11] stern disciplinarian really well to love that.
[45:15] Same way he doesn't give a single shit that he's cleared
[45:17] the pub of all the customers because he's just done the right
[45:20] thing and he's very happy to sit there in this uncomfortable
[45:23] silence with 1 cranberry juice all night.
[45:27] Like reading their paper, reading their paper.
[45:28] They've probably made a profit of a quid from him and that's
[45:31] about it. And that's who he is and Peg's
[45:33] really good at that. He is very convincing as well as
[45:36] the smartest person in this film and I think that's a nice
[45:39] contrast to what he did. And Sean, where our Sean, he
[45:42] kind of just he crumbled through that film a little bit and he's
[45:44] making it up as he goes along and he gets as many things wrong
[45:48] as he gets things right. And I like the contrast that he
[45:50] brings here. And I think his performance just
[45:53] in general, it contrasts really well to how like ridiculous
[45:56] everyone else is in that PlayStation.
[45:58] Like when he's being shown around and he can't understand,
[46:01] Sir, why he's everyone eating chocolate cake and then we give
[46:04] him that slice and he just goes, no thanks, that's great.
[46:07] Chocolate cake. Just really unimpressed and
[46:11] yeah, and then the eventual transformation that Angel goes
[46:14] through, I think he sells that as well, you know, slowly
[46:16] realising there's more life than his job, that growing affection
[46:19] he has for Danny. So by the end, when he's romping
[46:22] around the place like an action hero, you buy it, you know, I
[46:25] mean, it's a joke. It's a joke in itself that
[46:28] someone is straight laced and unlikely the Simon Pegg as an
[46:31] action hero, but it's a joke that works.
[46:33] So yeah, I think it's another very good performance from him.
[46:36] Yeah, I think he pulls that action star off.
[46:38] I mean, looking at him you wouldn't believe for a moment
[46:41] that Simon Pigg. Yeah, the fellow from space.
[46:44] Yeah, wouldn't have thought so. Yeah, but physically I think he
[46:47] pulls it off. The look on Westies face tells a
[46:50] completely different story. Just raise an eyebrows left,
[46:55] right and centre. Yeah, I mean fine.
[46:57] Yeah, fine. Fine.
[47:00] And the character of Nicholas Angel is named after Nick Angel,
[47:03] who's the music supervisor for Hot Furs.
[47:06] And he did actually all the conet or trilogy and the
[47:08] misspelling in the film of Angel to angle throughout.
[47:10] That's based on the fact that this had happened to the real
[47:12] Angel many times in the past. Nice, right?
[47:15] More an angle. Yeah, more an angle.
[47:17] PEG prepared for his role by doing weapons training
[47:19] amazingly, and learned how to skid on the bike, which looks
[47:22] fucking great because you don't expect that guy's coming
[47:25] straight from the driving straight into the bicycle stuff.
[47:27] Face as well, really. Funny that massive close up and
[47:30] he lost 28 lbs as well doing the role.
[47:33] It's a lot it didn't. Did he have that much to lose
[47:35] it? Doesn't look like fairly trim
[47:37] block anyway, isn't? It yeah.
[47:38] Good Nick. He's doing good, Nick, for it.
[47:40] And to capture Angel's passion for police.
[47:41] And Peg doesn't smile in the film for the 1st 45 minutes.
[47:45] Yeah, he said that he's the perfect policeman.
[47:47] He just doesn't know how to switch off.
[47:48] I think that's reinforced a lot throughout the film.
[47:50] Yeah. So Simon Pegg providing that he
[47:53] isn't A1 trick Pony as Sergeant Nicholas Ass Wife.
[47:57] Nicholas. OK, westie, over to you.
[48:03] Who have you picked out in the cast?
[48:05] I'm going to go for Nick Frost as Danny Butterman.
[48:08] What a fucking sweetheart this guy is.
[48:11] He's just a puppy, isn't he? He's just.
[48:13] So lovable and so naive and so childish.
[48:16] And he's just the absolute embodiment of someone who's it's
[48:20] been brought up in a small town doing the job that his dad says
[48:23] he has to do. Wrapped in cotton.
[48:25] He's wrapped in cotton wool and his only escape is watching
[48:28] films. And that to me just hits home
[48:31] when he opens that door and you just see all them films And for
[48:33] the path, the power of grade school.
[48:35] Yeah, just incredible. You just see that collection and
[48:38] I'm like, yeah, well that was kind of my only escape as well
[48:41] because well, they are. I mean, I'm not I'm nowhere near
[48:45] as sweet as Danny Butterman. But I don't know if he's a bit
[48:49] more of a, say, bomb then that's that's like he's just, I think
[48:53] Frost is having, like I said before, he's having great fun
[48:56] and there's no ego at this and he knows exactly where the humor
[49:01] lands and he knows where his lines are and it's his timing in
[49:05] this whole film, not necessarily the action performance, but he
[49:08] knows how funny he is. Yeah, yes.
[49:10] And I think a lot of this is just Nick Frost being Nick
[49:12] Frost, but he's just talking. So what's it like being stabbed?
[49:18] It's just second most painful. And he just said the way he just
[49:21] goes, bends his head a little bit and he's just so kind of
[49:24] like. Shuffles.
[49:27] Yeah. And he said yeah it's it's
[49:29] absolutely great and I'm not going to be sure a chunky monkey
[49:32] for for the foreseeable oh dad and this is that bit.
[49:37] You know it's same if you watch him and Shaun of the Dead and
[49:41] how much you stripped that dickheadness away.
[49:43] If there's a wonder of a better phrase, it's just like he was an
[49:46] absolute asshole. And Sean of the day, he seems
[49:49] just to lay about, and he's a he kind of annoys us a little bit
[49:52] in short of the day, because he's supposed to, that character
[49:54] supposed to. Yeah, yeah, yeah.
[49:55] Yeah. But this guy, he just wants to
[49:58] better himself. But he just know how to, Yeah.
[50:01] And I think Frost brings that just beautifully to the whole
[50:04] thing. And it's like just from that
[50:06] moment, from the very first moment when they open the cell
[50:08] in the morning, he's gone. Oh, and he just appears for
[50:11] about. Why he addressed as a policeman?
[50:16] Because I am one. Yeah.
[50:19] Love that. Love that.
[50:20] Line at the end, everything's a question.
[50:22] Yeah, I think he really, really shines in this for the wealth of
[50:25] talent that's on show in this film.
[50:27] Nick Frost for me absolutely steals it.
[50:30] Yeah, he does. Yeah, he's fantastic.
[50:31] He's got so many funny lines. I love it when they're talking
[50:34] about Lurch when they're on the beat, he says.
[50:37] Lives up Summer St. with his mum and his sister.
[50:39] And are they as big as he is? Who the mum and the sister?
[50:42] Same person. Caught out with her because he's
[50:45] fuck ugly. And when and when when Nicholas
[50:53] has pulled together his evidence with Danny, he's going through
[50:56] the list of victims. George Merchant, Tim Messenger
[50:58] to get to Eve Draper, Nicholas says.
[51:01] Blowers leading, Lady Nicholas says, Favorite.
[51:05] All the men fingered, fingered. That is wonderful.
[51:15] Just even like the stuff you don't see in the back stories
[51:18] that his dad said, like you misplaced his helmet.
[51:20] You can totally understand. I don't know where it is, Dad.
[51:23] Turn the station upside down. Nick Frost said that he would
[51:28] only take the part if he was able to name his character and
[51:31] he chose Danny Butterman. Right?
[51:33] And he was also asked to watch 20 action films in preparation.
[51:37] He only watched One Bad Boys, Two Bad Boys 2.
[51:41] Yeah, and as much as obviously the the famously like best
[51:44] friends off screen. There was a point when they were
[51:46] filmed the speed check scene when Peg and Frost got in a
[51:49] quite a heated argument by all accounts because Peg thought
[51:52] that Frost was getting too big for his boots, because Frost was
[51:55] asking the AD to get him coffee and the scene itself took four
[51:58] hours to shoot. And apparently they just didn't
[52:00] speak to each other at all, apart from the dialogue they had
[52:02] to deliver. I mean, it's needed for the
[52:04] scene, but Peggy is particularly frosty in that scene.
[52:09] Yeah, yeah, yeah. Yeah, I suppose if you didn't
[52:11] know that they had an argue, but you really wouldn't say that
[52:13] looks a bit out of place. Asking the AD for coffee,
[52:16] though. I mean, it's assistant director.
[52:18] That's not his job at all. He's got all that shit to do.
[52:21] Well in that scene, one of the way Stanley Idol's away his time
[52:23] is by drawing graphic flip animation.
[52:26] And in that scene, the one that you're talking about there Matt,
[52:29] they were created by Oscar Wright, Edgar's brother who's a
[52:32] comic book illustrator. Yeah, definitely great.
[52:34] So obviously not as much range coming from Frost, but he is a
[52:37] stand out as the lovable Fanny Batter bomb.
[52:39] Nice. Great.
[52:43] I'm going to talk about the two main antagonists, I suppose
[52:46] Timothy Dalton and Jim Broadbent.
[52:48] Double Wally. Yes, Timothy Dalton as Simon
[52:51] Skinner and Jim Broadbent as Frank Butterman Dalton.
[52:54] First of all, it's clearly he's he's having the time of his
[52:57] life. Yeah, like the you said, W he's
[52:59] shown up at various crime scenes, scored by Dire Straits,
[53:03] which means. Still fucking hilarious.
[53:06] Hilarious. And then you've got Fire by
[53:09] Arthur Brown in the house. Fire amazed fire.
[53:14] But I think there's loads of nods going on in these two
[53:16] scenes. And surely a nod to the likes of
[53:19] Tango and Cash, where Jack Palinson's character just
[53:21] happens to be driving past the scene of the crime at the start
[53:25] of the front, even though it's in the middle of nowhere.
[53:27] Good show. What's he doing there?
[53:28] Great show. Yeah.
[53:29] And also that explosion at George Mertens.
[53:32] It's got to be a nod to the explosion from Lethal Weapon
[53:34] Two. Yeah, with the toilet.
[53:36] Yeah, and his opening scene. It's a career best for me.
[53:38] I'm a slasher of prices. Catch me later.
[53:42] That's fucking. Great.
[53:46] Responding to the general criticism of action films where
[53:49] the villain is so obvious that he might have well be standing
[53:52] next to a neon sign, Wright wanted a scene where Dalton
[53:55] stands next to a sign saying bad guy.
[53:58] Yeah, but obviously nixed it because he couldn't find a right
[54:00] way of getting it into the film. Yeah, of course you couldn't
[54:03] know. That's ludicrous.
[54:04] But it's so obvious that he's the bad guy that he couldn't
[54:07] possibly be. And I think that's a that's a
[54:08] great move because, well, it can't be him, but then because
[54:12] it can't be him, it has to be him.
[54:13] Yeah. Great eye, that, Yeah.
[54:15] Yeah, and Skinner was written specifically with Dalton in
[54:17] mind, and Dalton himself has said that Hot Fuzz was the most
[54:20] fun he'd ever had working on a film.
[54:22] And you know, we've all said you can totally tell that.
[54:24] You can tell he loves living it, yeah.
[54:26] And he actually conceived the Tash himself because he said it
[54:29] would add another additional leave of Sleazeves to the
[54:31] character, which it definitely does.
[54:34] You've got a mustache, I know. And another master stroke was to
[54:40] get in Jim Broadbent as Inspector Frank Butterman.
[54:43] Overseas audiences might not be as familiar with these workers,
[54:46] Timothy Dalton, but he's a stalwart of the British small
[54:49] screen. He's a great presence on screen
[54:51] as well. Yes, fantastic.
[54:53] I love the sequence when bottom and Sean Angel around the
[54:56] station. Riot room Evidence room.
[55:01] Right. It's 11:30 so.
[55:03] Much, he says. Sergeant Popwell was an
[55:07] exceptional officer, and he had one thing that you haven't got
[55:10] Nicholas. What's that?
[55:11] A great big bushy beard. All these lines are delivered so
[55:19] well because they have to be because they're going to come
[55:21] back later on. Yeah, yeah, just voice over
[55:23] somewhere. So they have to be this like
[55:25] memorable delivery and it's it's wonderful.
[55:28] It's so weird, yeah. Great big bushy beard.
[55:35] He's playing like kind of like the dim witted country type to
[55:37] hide his sinister side. Yeah, I think that's great.
[55:40] And I also like that the character has got an outrageous
[55:43] sweet tooth. Yes, constantly nice cream
[55:46] desserts. He's not judged Judy in
[55:49] execution, I think. I love broadband.
[55:53] So Jim Bobram was a huge fan of Shaun of the Dead.
[55:55] He got in touch with Peg and right afterwards to ask if they
[55:57] would consider him for his next film.
[56:00] Yeah, that would be enough for me.
[56:01] How does I'm just going to do a film based around Jim Broadband.
[56:04] Yeah. Wonderful.
[56:06] So as a result the role bottom in forum like specifically forum
[56:08] but. Yeah, it feels like it's a
[56:10] natural fit, doesn't it, for that character, that actor.
[56:12] As mentioned, the superb cast. There are a number of Blink and
[56:15] you miss some cameos Might You mentioned that the top Peter
[56:17] Jackson is the aggressive Santa Claus who stabs Angel.
[56:20] Yeah, Cate Blanchett is Janine. Director Joe Cornish plays
[56:24] Janine's new boyfriend Bob, Lou, Lou and director Garth Jennings,
[56:29] who did son around and sing Stranger You Know Hunting, too.
[56:32] He plays a crack addict in the open in montage.
[56:34] Oh yeah, yeah, he does. And not as famous as the others
[56:37] mentioned, but Wright and Peg's mother play the Village of the
[56:39] year. Judicate is near the end.
[56:41] Oh, nice. Alongside Wright School drama
[56:43] teacher. Right.
[56:43] Is that when the sign falls down behind?
[56:45] Yeah, that's right. Yeah.
[56:46] Great. Yeah.
[56:47] So in the cast, Peg and Frost lead the way, but they're
[56:49] supported by one of the best British casts ever assembled.
[56:53] Certainly up there, Yeah, definitely.
[56:54] Definitely this century. A little bit of qualifying
[56:57] criteria from that. I'm not going to agree with that
[56:59] wholeheartedly. It's a bold claim it.
[57:01] Is a bold claim. I'll I'll make sure I cover me
[57:03] tracks by 100 years. Right.
[57:10] Well, as that's 1130, I'd say that's lunch.
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[58:28] better help for sponsoring this episode of All the right movies.
[58:34] The middle. In the second act, Nicholas's
[58:39] theory about something sinister going on continues to intensify,
[58:43] and they find John Matrix's arsenal at Arthur Webley's farm.
[58:46] Did the do right Wrong. Yes, I suppose our next sequence
[58:55] sees the two leads bonding over a few pints while accidents
[58:58] happen to the undesirables of the village.
[59:01] Starting off with you, with the scene with Nicholas and Danny in
[59:03] the pub. Yeah, Roy, I like that.
[59:09] All of the coppers are in the pub.
[59:12] Yes, police in the streets. Everyone's off Bill Bailey and
[59:15] his brother. Yeah, that's it.
[59:17] No one tells me nothing great. But it's a nice moment where
[59:23] Nicholas starts to open up about his desire to be in the force
[59:26] and Danny's lapping it up. Yeah.
[59:28] And he reveals something about his family life and his mother
[59:31] Traffic collision that there is an the semblance of an emotional
[59:34] beat there, which is quickly pivot over.
[59:36] Yeah, I mean, it's exposition, but I think it's done in a great
[59:40] way. It doesn't overstay.
[59:41] It's welcome. Nicholas is talking about his
[59:43] uncle Derek. Sounds like a good block.
[59:44] Actually. He's the rest of selling drugs
[59:46] to students. What?
[59:51] It's amazing. Now quickly, that changes.
[59:54] George Merchants just having a piss up the fruit machine in
[59:58] front of everybody. No, no wonder he's wanted for
[1:00:00] dead. Absolute arsehole.
[1:00:04] Yeah, there's that lovely exchange when they take them
[1:00:06] home. How much do I owe you £20?
[1:00:08] There you go and there's a change, God bless you.
[1:00:14] But I mentioned about the horror influences.
[1:00:16] This mass figure stock and the shadows is is kind of
[1:00:18] nightmarish which is heightened by the score and the sound
[1:00:21] design and amongst all the comedy and action I think it's
[1:00:24] really impressive to blend these horror elements and not
[1:00:27] imbalance things. Yeah.
[1:00:29] Tell you what I love, though. Just before this is when Danny
[1:00:31] suggests the go to the Pope. Because it's just that shot of a
[1:00:34] topless Nick Frost with the deodorant.
[1:00:38] Unless you've got to warn your peace, Lily.
[1:00:41] Like, if you go online. There's so many outtakes of that
[1:00:43] scene, Simon Pegg just couldn't keep a straight face.
[1:00:47] I mean, you wouldn't be able to, would you?
[1:00:49] Like a topless Nick Frost Pope? So funny.
[1:00:55] Love when they go back at Danny's and he just reveals this
[1:00:58] collection of DVD's and this is how you turn your mind off.
[1:01:02] And to me, I'm like, yeah, that's so true.
[1:01:04] Point Breaking Bad, Boys 2. Which one do you think I'll
[1:01:07] enjoy? Which one do you want to watch
[1:01:08] first? Yeah, we're fucking watching
[1:01:12] both of them. It's like every time that I'll
[1:01:14] come about yours, Luke, it's like, which one we're going to
[1:01:15] watch first. Dress to kill or blow out, yeah.
[1:01:23] It will always had two lined up. Like, yeah, what was it last
[1:01:25] time? What was goodwill hunt and then
[1:01:27] Major League? I think last time, yeah.
[1:01:28] What a combination? Should be, yeah, it was.
[1:01:32] It just rains true and it's the transitions here that I really
[1:01:36] enjoy. I think this is really a great
[1:01:38] having a lot of fun between singing the action that he wants
[1:01:41] to emulate and the cuts between them, and it really works for
[1:01:45] me. I think the transitions here are
[1:01:46] really, really great. Danny with them, controls on
[1:01:49] that bit on point break when he's shooting.
[1:01:51] In the end he just hasn't. He's like, and the sound
[1:01:55] design's amazing, Just drop somebody's like, I feel like
[1:01:59] that every single time. I just can't do that.
[1:02:02] Go off. I really want to do that, but I
[1:02:04] can't do it. And it's just, it's great
[1:02:07] because that is just a love of film.
[1:02:09] Yeah. And I think it's a little film
[1:02:10] that we all have and it's a real comfort blanket.
[1:02:13] But there's so many nods to both of them films and it is quite
[1:02:16] literal in what he does with Point Break.
[1:02:19] It is quite literal voice to yeah, But I know for a fact that
[1:02:22] that had to really clear everything with Keanu Reeves,
[1:02:25] Patrick Swayze, Martin Lawrence, Will Smith and each of their
[1:02:28] stunt tables to feature it in the film.
[1:02:31] And then PEG said they wanted to include Lethal Weapon, but he
[1:02:34] said that Mel Gibson wouldn't have a sense of humor, which is.
[1:02:39] Fair enough, abuse I. Probably, yeah.
[1:02:42] I like both M films, to be fair, and that is a good night for me.
[1:02:45] So if I'm coming back from the pub, I'm going to watch them
[1:02:47] too. Yeah, I'm totally up for it.
[1:02:49] I think he may not have been able to get actual scenes from
[1:02:52] Lethal Weapon films in this film, but they're more than make
[1:02:55] up for it in the references there, of course.
[1:02:58] Yeah, absolutely tons, yeah. Yeah.
[1:03:00] And that the DVDs that we see this kind of big Holy Grail
[1:03:04] film, yeah. It's wonderful.
[1:03:09] That was actually made-up of the combined hall from the DVD
[1:03:11] libraries of Edgar Wright, as you'd expect his brother Oscar,
[1:03:14] who've already mentioned, and Joe Cornish, the director who.
[1:03:18] Drew Cornish. Yeah, he's got cameo on.
[1:03:20] Brilliant, I. Would have just thought it was
[1:03:22] Edgar Wright's collection. I would have thought his was
[1:03:24] more than an office. Just loads of Giallo films.
[1:03:27] Yeah, yeah, I love it. Danny's DVD collection got their
[1:03:31] own room. That's.
[1:03:33] Amazing. And the rest of the house is
[1:03:34] fucked. Yeah.
[1:03:36] How long you lived here? About five years.
[1:03:39] It's got spotlights and everything.
[1:03:40] Amazing. The explosion at George
[1:03:42] Merchant's house was a a big practical effect.
[1:03:45] There were gas mortars put in front of the house to create
[1:03:47] those fireballs and to get the effect of the fire engulfing the
[1:03:51] camera. More gas canisters were used to
[1:03:54] fire upwards towards a black ceiling that was sloped
[1:03:57] downwards towards the camera right at high speed it gives
[1:03:59] that fireball. Effect.
[1:04:01] Yeah, it. Looks great.
[1:04:02] Though it does. It does.
[1:04:03] I want to talk about one of the scenes that's definitely one of
[1:04:06] the most horror inflected ones and it's when Tim gets killed,
[1:04:11] which I mean, I love Adam Buxton and this, he's so funny.
[1:04:13] Hi. Hi.
[1:04:16] Just such a perky guy, loves his job and when he gets killed it's
[1:04:20] really funny. But it's also like I say as a
[1:04:22] horror scene, it works really well.
[1:04:23] I like the music. He was very effective because
[1:04:26] that mix in with the feedback from the mic, the whirring of
[1:04:29] that tombola, than the fact that Angel doesn't want to be there
[1:04:32] in the 1st place. But now he knows Tim's got
[1:04:34] something important to tell him. It's all the worse and you can
[1:04:38] feel is like discomfort having to stand there and suffer
[1:04:41] through all those like crap jokes, like why Skinner isn't
[1:04:44] around. Oh, too much of Joyce's
[1:04:45] lemonade, perhaps? That's hilarious.
[1:04:48] Everybody loves it. They're like, yeah, yeah, so
[1:04:51] yeah, it's building up the tension really well because now
[1:04:53] we know there's a killer on the loose.
[1:04:55] But it is one of those scenes where, again, I think that
[1:04:56] Andy's just come in and they just steal it from everyone.
[1:05:00] Like when he's in use some stage, you just say prick,
[1:05:03] wanker, wanker, just to jump back a bit as well because we've
[1:05:08] got to mention the double take Considine does after the
[1:05:11] Amazing. I mean, obviously it's a visual
[1:05:13] gag, but it's so funny. It's so funny.
[1:05:16] Yeah. Brilliant stuff.
[1:05:18] But then, yeah, the killing itself.
[1:05:20] I mean, it's very, very The Omen is not.
[1:05:22] It's very omen. Patrick Troughton in the great
[1:05:25] crowd with the Spire. And I do love those cuts here
[1:05:28] between the tomball spinning, the killer running up the stairs
[1:05:31] dressed as death, everyone in the crowd laughing.
[1:05:33] That makes me slowly being, like, pushed off and the speed
[1:05:36] it comes down, that's brilliant. And I think Wright holds that
[1:05:40] shot just long enough that masonry stuck into Tim's torso
[1:05:45] like the head's just gone very off.
[1:05:48] Walk and just tottering around. Just just.
[1:05:51] Enough. Yeah.
[1:05:51] Just. Enough.
[1:05:52] And I know it was done with the dummy against the green screen
[1:05:54] and the head was filled with explosives and the designated
[1:05:57] that the point of impact. And you know, classic, right?
[1:06:00] And Peg, just loads of foreshadowing before this
[1:06:02] because you look at Skinner. What's he doing?
[1:06:04] He's in charge to splat the rat, which is obviously what?
[1:06:07] Splat the rat. Splat the.
[1:06:09] Screaming it. Screaming it really violently.
[1:06:13] You know when Tim's name gets pulled out?
[1:06:15] The Forget Tim, your number's up.
[1:06:17] Brilliant. So lots of foreshadowing, but
[1:06:19] it's just one. They seem to sums up how
[1:06:20] ridiculous this police force is. Frank dressed as a cowboy
[1:06:23] straight away. Oh, it's an accident.
[1:06:24] It's an accident. It's being terrible accident.
[1:06:26] But it's Fisher for me, just wandering around like with his
[1:06:29] face. Painted a spider man with this
[1:06:33] little kid. Also painted the spider man.
[1:06:35] Like, what a bunch of clowns. Really funny saying.
[1:06:38] But yeah, convenience. For the Andy's as well, it's
[1:06:40] like, can you question people or can you lock the scene off?
[1:06:43] They're like, oh. Yeah, no one wants to do the job
[1:06:46] at. All that's great.
[1:06:48] So with bodies piling up like Midsummer murders, the accident
[1:06:51] excuse can't last for too much longer.
[1:06:53] No, after Tim is killed, Nicholas has a run in with Danny
[1:06:59] but continues to build his case. They very, very quickly make up,
[1:07:03] and by way of a peace offering, Nicholas pops out to buy him a
[1:07:06] birthday present. And Wesley, you're picking it up
[1:07:08] from here. Yeah, when they go to Leslie's,
[1:07:11] this is Page 3. Here we go.
[1:07:13] And there's foreshadowing that Matt mentioned.
[1:07:15] I was just about to pop off actually.
[1:07:17] Yeah, Brilliant. Great.
[1:07:19] You know that whole monologue, that whole delivery?
[1:07:25] God rest him good, Rest good, Rest him good, Rest him good,
[1:07:28] rest his soul. And it does that slow push.
[1:07:31] Yeah. It's just at this point where I
[1:07:34] go, this is too much, really. Just too much.
[1:07:38] There's ten. I've counted it.
[1:07:40] There's ten coats of Angel coming through the window and
[1:07:43] lying on the floor and getting up. 10 coats.
[1:07:46] Stop in the name of the law. Bang.
[1:07:48] Right, So it's on the. It's just literally on the
[1:07:51] floor. And then I know this whole
[1:07:52] sequence is supposed to be like, annoyed, the point Break of
[1:07:55] running through the gardens. He's mentioned it before.
[1:07:57] And yes, OK, I get that that's absolutely fine.
[1:08:00] But it's nowhere near as refined as it should be.
[1:08:03] It's nowhere near as clever as it wants to be and it's too long
[1:08:07] and the only thing that really sears this scene is the scene
[1:08:10] after it where they're like, so this wasn't an accident.
[1:08:15] Was the fucking was. Goes for it.
[1:08:18] And they're just like, thank you.
[1:08:19] Going completely mad. Yeah, it's just that whole run
[1:08:22] that he does. It totally makes up for this.
[1:08:24] I mean, that dialogue sequence is incredible, yeah.
[1:08:27] As far as I'm concerned, cousins, this you can go for.
[1:08:30] Just one minute, yeah. And then he put he would find
[1:08:33] out the identity of Cousins. Sissy, then?
[1:08:35] Yeah. One for himself or herself,
[1:08:37] Yeah, because he thinks it's a female character, obviously.
[1:08:39] Yeah. So you would have found that
[1:08:40] out. And that's clever, that's great.
[1:08:42] But it just, it's just too many cuts.
[1:08:45] It's great, but it should have just been done a lot quicker and
[1:08:48] just with a little bit more thought.
[1:08:50] I think they're just given. They're just throwing too much
[1:08:52] in there, I think. Right.
[1:08:53] Yeah. Yeah.
[1:08:54] I think it goes back to your fundamental issue that you have
[1:08:57] with the film, Yeah, and maybe with this style of directing
[1:08:59] from from a great. Yeah, because this is very much
[1:09:02] on the nose from that style. It's just too much.
[1:09:05] In this moment, Angel talks about the virtue of keeping his
[1:09:08] notebook with him at all times. It's the most important piece of
[1:09:10] equipment you ever lawn. And the one time he leaves it in
[1:09:13] his car, this is when Leslie buys it, yeah.
[1:09:15] Yeah, he goes back for like that.
[1:09:17] Yeah, after this thought, there's there's two scenes that
[1:09:20] are definitely two of my favorite scenes.
[1:09:22] And first of all, it's when Angel gets back to the police
[1:09:25] station and he lays out his theory and he gets nothing but
[1:09:28] like rebuff from everyone. Because there's a couple of
[1:09:31] small moments here that I've just thought about pretty much
[1:09:34] ever since. Like, first of all, Olivia
[1:09:37] Coleman is Doris when she says accidents happen all the time.
[1:09:40] What makes you think of as murder?
[1:09:42] Like. Brilliant.
[1:09:44] That just makes me laugh. So much like the facial
[1:09:47] expression murder. She's wonderful in this film.
[1:09:50] She's amazing. She's so.
[1:09:51] Good. She makes every line count.
[1:09:53] And then it's Paddy Considine, because like the first time I
[1:09:56] showed this to my son, he nearly died laughing at the bit when
[1:09:59] and he goes, oh murder, murder, murder.
[1:10:03] Genuinely, for ages afterwards, any conversation one of us would
[1:10:07] just go, oh murder, murder, murder.
[1:10:09] Out of nowhere. I guess this is one of those
[1:10:11] Monty you know and it. Just resonates.
[1:10:13] Yeah. Yeah, I.
[1:10:14] Fucking love that scene, it really makes me laugh so much.
[1:10:17] Yeah, brilliant. And then it leads to another
[1:10:19] favorite of mine, which is that confrontation with Skinner at
[1:10:22] some of fields where accuses him have been the murderer because
[1:10:25] there's another great performance knee which doesn't
[1:10:26] get talked about enough and that's Alice Law as Tina.
[1:10:29] Like, I love the fact she does nothing all day but just hang
[1:10:33] about. Skinner's office drapes herself
[1:10:35] all the way from like a gangster small or has a feed up on the
[1:10:38] desk, just doing any ills. Brilliant.
[1:10:41] I'm sure we've all done that type of kind of retail job and
[1:10:44] there's been someone who is like Tina, you just think they don't
[1:10:48] do anything all day. Yeah, How do they get away with?
[1:10:50] Each other they get away with. Just listening with the manager.
[1:10:53] Well, yeah, going to get into that.
[1:10:55] His view on that is amazing, That smile Brilliant.
[1:10:59] He's brilliant and like again, she's somebody like Olivia
[1:11:02] Coleman. Just every line is brilliant.
[1:11:04] Mr. Skinner to the manager's office.
[1:11:07] Manager's office. Mr. Skinner Mr. Skinner.
[1:11:12] And again, got to talk about Dalton.
[1:11:14] Amazingly, you saw Smoke acting the innocent, and the funniest
[1:11:18] thing is Angel has this incredibly convoluted theory
[1:11:21] that in any other murder mystery of this kind, that would be
[1:11:24] what's been going on. It's all about the property deal
[1:11:27] and The funny thing. Is his last sodium it?
[1:11:29] Is, yeah. That's what's funny about it.
[1:11:32] It's got nothing to do with that.
[1:11:33] And there's just lots of lovely character moments.
[1:11:36] Frank's face when he realises Angel has just embarrassed
[1:11:39] himself here, he's doing all the Winston in the background
[1:11:42] where's he's mentioned. But when Skinner says Tina has
[1:11:44] another job as a table dancer and you could Constantine look
[1:11:47] and really sleazy out there until small clocks him and then
[1:11:51] he gets to see his face back on again.
[1:11:53] It's so good. It's brilliant.
[1:11:55] So the yeah, two scenes. I really love these scenes.
[1:11:58] And can you remember the name of the table danza place that Tina
[1:12:01] works at? I.
[1:12:02] Said flappers or something. It's Flappers, Flappers of.
[1:12:07] Course it is. Comes and says that yeah, she
[1:12:11] does. Great weds Killers say it's very
[1:12:16] entertained and Nicholas, but I think maybe you've been watching
[1:12:18] too many films and Danny butts in from the background.
[1:12:21] He hasn't. He hasn't.
[1:12:23] No, he hasn't. And that shot of Skinner smiling
[1:12:28] next to his own picture? Surely not Deloitte Bridges.
[1:12:31] Oh. Yeah, definitely Got.
[1:12:33] Absolutely, yeah. Well, after many failed attempts
[1:12:36] to get the bottom of the mystery, including the one
[1:12:38] you've just gone through, there might I'm picking up where the
[1:12:41] penny finally drops. They're all in on it at the
[1:12:44] N.W.A Castle meeting. Yeah, funny.
[1:12:47] When Skinner is trying to justify that he killed Martin
[1:12:49] Blow because he was a terrible actor.
[1:12:51] I murdered him because, well, he murdered Bill Shakespeare.
[1:12:54] And Nicholas says what? Oh, yeah.
[1:12:59] And Frank's transformation from oblivious inspectors to satanic
[1:13:04] ringleader is totally believable when he enters in, like, the
[1:13:07] spectre of death, actually about his wife's demise.
[1:13:10] Yeah. Really works.
[1:13:12] And Nicholas is devastated when Danny shows up.
[1:13:14] Yeah. Yeah, the pain on his face and
[1:13:17] there's absolutely nowhere for him.
[1:13:19] And after turn, he's being done it like a kipper.
[1:13:21] Which does beg the question, I suppose.
[1:13:22] Why would Sanford accept a big city cup to join their force,
[1:13:26] particularly after Sergeant Popwell, if they're just going
[1:13:28] to have to bump them off anywhere?
[1:13:29] Yeah. Because I'm not bothered about
[1:13:30] bumping them off, I. Think I know, but we've everyone
[1:13:33] not killing everyone that. Comes in.
[1:13:37] But don't accept any outsiders then?
[1:13:39] Well. Yeah, but it has to happen just
[1:13:42] to maintain that status quo, doesn't it?
[1:13:43] Of course. Got the living statue?
[1:13:45] Kill him, yeah. 12:00 one o'clock o'clock 2:00.
[1:13:53] That's really funny. But nevertheless, it's great
[1:13:57] when Nicholas makes a run for it and he uncovers all The Dirty
[1:14:00] secrets looking below, I think it's quite spine tingling
[1:14:02] sequence in amongst all the filth and the rats and the
[1:14:05] cobwebs of the crusty jugglers, dogs, kids, travellers and the
[1:14:08] great big bushy beard of Sergeant Popwell.
[1:14:11] Yeah, but there's a great reveal at the end of this sequence when
[1:14:14] Danny Knives, Nicholas and we later found out that it's tomato
[1:14:17] ketchup, which is expertly set up in the pub earlier.
[1:14:19] But not only that, Nicholas is Danny's equivalent of body from
[1:14:22] Point Break. He'd never kill him because he
[1:14:25] loves him. Yeah, he loves him so much.
[1:14:30] So much. So much.
[1:14:33] And he knows in his heart that Nicholas is right, really.
[1:14:35] But he just can't quite go over the edge with it because the
[1:14:38] town is all he knows. Like you said, Wesley, being
[1:14:40] wrapped in cotton wool. And it's really difficult to
[1:14:42] pull yourself away from that. Yeah.
[1:14:44] Which is the great irony because he's been thirsting for this
[1:14:47] kind of action all along. Yes, absolutely.
[1:14:48] He's been desperate to be a big city cop.
[1:14:50] Yeah. But now he's got the
[1:14:51] opportunity. He doesn't want to hear it.
[1:14:53] Yeah. Not yet.
[1:14:54] Anywhere. No.
[1:14:56] Yeah, it's coming up. So with Nicholas packed up and
[1:14:58] on his way to London, the village can go back to
[1:15:01] concentrating on winning the Village of the Year award.
[1:15:05] Go back to London. The crew.
[1:15:15] Wright and Pegg hold the pen on Hot Fuzz.
[1:15:17] Matt, What do you think of their work here as writers?
[1:15:20] It's fascinating me because I'd just love to know how that
[1:15:23] relationship between them as writers precisely works.
[1:15:27] I imagine with Wright, you know, he's coming up with all the
[1:15:30] visual gags. So I do wonder how much input
[1:15:33] did peg half into that kind of last 15 or 20 minutes, because
[1:15:37] you know, I can well imagine to try to, it's going to be a car
[1:15:39] chase, it's going to be an action sequence.
[1:15:40] I'm going to handle that. I'll.
[1:15:43] Take care. Of that, I'll take care of that.
[1:15:45] That's my arena. And I think that's probably
[1:15:47] quite telling why that's my least favorite part of the film,
[1:15:50] because it kind of you lose the character.
[1:15:52] So when you lose some of the jokes, I think, I think when
[1:15:55] they're clearly working together, it's great.
[1:15:57] And there's no scene written, this fella or something that
[1:16:01] just connects 2 bigger scenes together.
[1:16:03] Everything is so thoroughly thought through.
[1:16:05] What joke can we get in here? What observation can we make
[1:16:08] about village life? What character name can we make
[1:16:11] a play on? What?
[1:16:12] What seed can we lay in the scene that we're going to pay
[1:16:14] off 90 minutes later? It's like the effort itself.
[1:16:18] You've just got to applaud just the sheer effort that they've
[1:16:21] put into that. And at the end of the day we're
[1:16:23] talking about hot food. So it's not a script where you
[1:16:26] can sit and you can talk about what themes are going on, what
[1:16:29] themes you can pull out, Recon, pull it apart like that.
[1:16:31] It's it's a straight up comedy film with nothing else really on
[1:16:34] its mind. You've got to look at it and go,
[1:16:36] you know what, in that sense it's really well written because
[1:16:39] it is really funny and it's funny from beginning to end.
[1:16:42] And I'm also a big fan. Just the detail to bring into
[1:16:45] the support and characters. Again, no one has written as a
[1:16:47] fella. Obviously the casting is
[1:16:50] brilliant, which helps, but you can watch this and go, oh, the
[1:16:53] best code isn't this, it's the Andes or Skinner, because he's a
[1:16:56] great villain. You know, the likes of Kevin
[1:16:58] Eldon and David Bradley don't get a huge amount to do because
[1:17:00] there's not time. But what time they do have in
[1:17:03] the script, they've got to kill a line to deliver or they've got
[1:17:06] to laugh. They can get by themselves.
[1:17:07] Everyone's got something up. There, everyone's got something.
[1:17:09] I mean, we've been laugh, but even PC Walker just going to
[1:17:12] hurts in the background to cocks.
[1:17:14] Cocks. It's his little thing, but that
[1:17:17] works. It works really well.
[1:17:19] What do we need the dog for? We don't need the dog.
[1:17:21] Yeah, brilliant Saxon. Yeah, Wolf.
[1:17:25] Even Saxon. Gets to lie.
[1:17:27] He gets to laugh with it and you know, mentioned already, but you
[1:17:30] know Olivia Coleman in there, you know, years before she was
[1:17:33] the huge Oscar winning star that she is.
[1:17:35] Amazing. And I do know, actually she's
[1:17:37] called Doris because that's what female police officers were
[1:17:40] referred to back in the Dark Ages.
[1:17:41] When they were taken like. Particularly seriously in the
[1:17:44] job, yeah. She's a Doris.
[1:17:46] Yeah, she's a Doris, yeah. Female police officers.
[1:17:48] She's not a female police officer.
[1:17:49] Yes, he is. I've seen her bra.
[1:17:50] I've seen her bra. Yeah.
[1:17:54] He's such a giant, isn't he? Also I.
[1:17:57] Mean Coleman. She needs a big shout out here
[1:18:00] because she's got some of the most outrageous lines.
[1:18:03] I've been around the station a few times.
[1:18:06] Yeah, yeah, the doctor. You shouldn't eat later night.
[1:18:09] Don't know, quite like a little midnight gobble.
[1:18:13] Outrageous stuff. Just that bit of the fair as
[1:18:16] well. And she's like, there's a spit
[1:18:17] roast. I'll be me after a corner pint
[1:18:24] so fast it's. Fucking great.
[1:18:30] Wonderful. When is Denny's birthday and she
[1:18:34] comes out with a pair of comedy boobs?
[1:18:39] Unbelievable. And the Andes.
[1:18:42] Yes, outrageous hard ass police stereotypes.
[1:18:45] Just throwing shade all over Nicholas for absolutely no
[1:18:48] reason. Yeah, there's always this rival
[1:18:50] police partnership that are loggerheads with the leads.
[1:18:52] Like in Beverly Hills Cop. Yeah, there's always a rival
[1:18:55] partnership. Great.
[1:18:57] Skid marks. Now he's been.
[1:18:59] Childish. Now he's been childish.
[1:19:02] Yeah, it's the way the work of each other was like constantly
[1:19:05] doing their whole Kalashnikov, yeah.
[1:19:07] And then? Sport doing their headache.
[1:19:09] Yeah, it's, it's great. And we've mentioned the
[1:19:11] hilariously titled N.W.A, the Neighborhood Watch Alliance.
[1:19:16] Brilliant. Which, I mean, obviously N.W.A,
[1:19:20] It's a rap group. If you don't know.
[1:19:22] Yeah, couldn't possibly say what the N.W.A stands for there.
[1:19:25] Something with attitude. Just straight out of cotton,
[1:19:27] that's, Yeah, straight out of cotton.
[1:19:28] That's all you know. But the group is lit with old
[1:19:30] school British acting talent, a lot of which have had notable
[1:19:33] villain roles in other films you mentioned.
[1:19:36] Billy Whitelaw plays Joyce Cooper, the owner of the B&B
[1:19:40] where Nicholas stays. She plays Missus Baylock in the
[1:19:42] Omen, amazingly. Yeah, yeah, she really does.
[1:19:45] And there's loads of references to the Omen in this film.
[1:19:47] Paul Freeman plays Reverend Phillip Shooter.
[1:19:50] He was Bellock in Beloch and this one is unbelievable to me.
[1:19:59] When I was doing the research, Stuart Wilson plays Doctor Robin
[1:20:02] Hatcher and I just never made the connection.
[1:20:05] But this guy played Jack Travis in Lethal Weapon 3.
[1:20:08] Yeah, Lethal Weapon Three. Of course.
[1:20:10] The good stuff. Jesus, the good stuff.
[1:20:13] We can put our initials in there.
[1:20:14] Yeah, he's great in Weapon Three as well.
[1:20:17] And as the film was partly inspired by The Wicker Man, it
[1:20:20] only seems right that Edward Woodward is cast as Tom Weaver,
[1:20:22] the CCTV obsessive. Yes.
[1:20:25] Yeah. Just an amazing cast.
[1:20:26] Yeah. Well, I wanted to talk about the
[1:20:29] action side of things. In the screenplay.
[1:20:31] It's crammed with references to the genre with huge affection.
[1:20:34] Maybe not to West E tastes, or maybe not even to Matt's tastes.
[1:20:39] The film itself was a play on the classic two word titles of
[1:20:42] various action films that have come before it, most of which
[1:20:45] generally have very little to do with the film.
[1:20:47] Black Rain, Lethal Weapon, Hard Target, Law Deal, et cetera.
[1:20:51] Right. Initially wanted to call it Hot
[1:20:53] Fuzz Hot with two T's to mirror his observation that a lot of
[1:20:56] these films have the same number of letters in each word.
[1:20:59] Lethal Weapon Point, Breakthrough Lies.
[1:21:01] All right, yeah, But this ID was thrown out by Simon Pegg, who
[1:21:04] didn't want to have to answer the question about the double T
[1:21:07] in every single interview he did for the film.
[1:21:09] That's. A good point You would be,
[1:21:10] wouldn't you? Yeah, Pegg commented that a lot
[1:21:13] of action films seem to be generated from 2 hats filled
[1:21:16] with adjectives and nouns, and then you just pull one out each
[1:21:19] and say, yeah, that works. And then in a note to The Dirty
[1:21:23] Harry films, the police officer who proceeded Nicholas Angel,
[1:21:26] we've already talked about Sergeant Popwell.
[1:21:29] Albert Popwell was an actor who appeared in four of The Dirty
[1:21:32] Harry films, but is a different character each time.
[1:21:35] But probably his most notable one is he's the bank robber at
[1:21:38] the side of the original Dirty Harry.
[1:21:40] Hey, I've got to know. Hey man, I've got to know.
[1:21:47] Angels lists of impressive feats are listed in the open and
[1:21:49] montage. As we've seen, Yeah received 9
[1:21:53] special accommodations, among which for Operation Shakedown,
[1:21:56] Crackdown, Showdown and Take, which is fucking great.
[1:22:02] It's a not the Pete Seeger song Shakedown for Beverly Hills Cup
[1:22:05] 2, which is wonderful. What a song.
[1:22:07] Take down, shake down. You're busty, yeah.
[1:22:12] And. Then another not lethal weapon
[1:22:14] we get is when the N.W.A meet in the castle and Joyce makes the
[1:22:18] announcement that Janice Barker has decided to name her twins
[1:22:21] Roger and Martin, which is obviously more talking rigs.
[1:22:24] Love that? Yeah, right, Said with Hot Fuzz.
[1:22:26] It's not so much that there are that many specific film
[1:22:29] references. Disagree.
[1:22:35] Disagree. But he he said there are some
[1:22:37] like Point Breaking Bad boys too.
[1:22:38] But then overall it feels like being dipped in genre chocolate.
[1:22:42] We put so many genre cliches into the pop, you can't
[1:22:45] necessarily pick out which films they're from.
[1:22:47] Maybe not your average film fan, but I think we've uncovered a
[1:22:49] few specifics. Yeah, yeah.
[1:22:50] I think we'll have, Yeah. I'll touch on the dialogue that
[1:22:54] that's used, which is is great and it's really relatable and
[1:22:59] it's very good. It's very British.
[1:23:00] It's very much, you know, not trying to pander for a different
[1:23:03] audience. Everyone needs to just buy into
[1:23:05] it or don't. I think there's some wonderful
[1:23:07] moments where we don't even know what's being said and has to be
[1:23:10] translated for us. And I think that's really good.
[1:23:12] And it's also the references that they do to the earlier
[1:23:15] films. I mean, especially Shaun of the
[1:23:16] Dead. And there's some bits of space
[1:23:18] as well, but there's the whole sequence.
[1:23:20] You know, the jumping over the fence sequence, which I think is
[1:23:23] just an absolute shameless call back to Sean of the Dead.
[1:23:26] Oh, it's outrageous. Shameless.
[1:23:28] And you're just like you never taken a shortcut before.
[1:23:31] And he does. But in this time the The
[1:23:32] Fenchant was necklace is much better than fault than Sean was.
[1:23:36] Yeah, obviously Sean's. Crap.
[1:23:39] Yeah, he did all the jumps himself apart from the last one,
[1:23:41] which was completed by stunt double, right?
[1:23:43] It was weird and out of short and you can see him, I think you
[1:23:46] can see him kind of pop up. I've always thought like, which
[1:23:48] one is the stunt double popping up?
[1:23:50] And it's the last one. So when Frost was doing his
[1:23:53] fence to attempt, he later joked he purposely looked back at the
[1:23:55] camera to prove it was him and not a stunt double doing it.
[1:23:59] Actually crashed through the fence and that makes sense.
[1:24:02] The thing you can see from the rightness their personalities
[1:24:04] are in this writing, absolutely, 100% yeah, they.
[1:24:08] Love of action. Films, yeah, their love of
[1:24:10] cinema, even just any cinema, even some of the dialogue in
[1:24:13] this film relate to the camera shots because they know they're
[1:24:16] going to say something in a certain way and they know how
[1:24:18] the camera is going to act. They know that it's going to be
[1:24:20] a fast push, they know that it's going to be a transition to
[1:24:23] this. So I think the work beautifully
[1:24:25] together and the work brilliantly together.
[1:24:27] I would just love to see them do something a little bit more
[1:24:30] serious. It's wonderful, but at the same
[1:24:33] time a little bit of a let down because.
[1:24:34] You want a bit more depth. Yeah, it just seems easy.
[1:24:37] Yeah, you've got all the crew, you've got all the cast, you've
[1:24:40] got everything to play with. And did they do enough with it?
[1:24:43] I'm not sure they did. Wow, Damon, any old opportunity
[1:24:47] to get? I just said I'm not sure the
[1:24:49] date. I wouldn't.
[1:24:51] Say it was Damon, like fairly. Measured.
[1:24:54] No. That you saying?
[1:24:56] I'm not sure means in my opinion, they didn't.
[1:24:59] Well, yeah, they fucked it up. That's that's what you mean.
[1:25:04] You mentioned Shaun of the Dead there.
[1:25:05] There's obviously references left and right.
[1:25:07] Yeah, Bill Nye, Martin Freeman, Julia Deacon and Rave Spall
[1:25:10] appear in all the Con Edo films. Yes, yes.
[1:25:13] Danny shoots the duck in the leg just like he did to his sister
[1:25:16] in Shaun of the Dead. Yeah, yeah, one of the Andes
[1:25:19] calls Danny a monkey. But as he tells us in Shaun of
[1:25:21] the Dead, he's not a performing monkey.
[1:25:24] Yeah, nice little touches. Just the Clyde clap as well,
[1:25:26] doesn't he? When it's when the What's the
[1:25:29] arm drum thing? Yeah, he does that, Yeah.
[1:25:31] And also when Angela's first introduced to Tom Weaver, who
[1:25:34] we've talked about, that's Edward Woodward in the
[1:25:36] surveillance room. You can see in the background
[1:25:38] the cricket bat from Shaun of the Dead is propped upon Against
[1:25:41] the Wall. Yeah, Nice little Easter egg.
[1:25:43] Ewa wua. It's really wua.
[1:25:45] Yeah. Well, I think it's only right
[1:25:46] that we break proceedings and go to our second Patreon question.
[1:25:50] Okay. As we're talking about a
[1:25:53] absolute favorite of one of our longest ever, Yeah, we on
[1:25:57] support is just. Joe.
[1:25:58] Hello, Joe. Hello Joe, we know you love this
[1:26:00] one. Yeah, great to have you back.
[1:26:02] Yeah, OK, so Joe says one of the things I love about this film, I
[1:26:06] think it Florida State, blends multiple types of comedy.
[1:26:08] You've got physical comedy moments, Danny crashing into the
[1:26:11] fence, humor in the dialogue, and then really sort of things
[1:26:14] that are there just for the audiences to know and enjoy The
[1:26:17] finds listed on the swear box, for example.
[1:26:19] Yeah, love it, she says. Are there any other comedies
[1:26:22] that you think achieve this blend so well?
[1:26:24] Right. And finally, she says thanks so
[1:26:26] much for putting Hot Fuzz on the pole.
[1:26:28] She loves it. She loves us.
[1:26:30] She does. It's reciprocated.
[1:26:31] Joe, thank you. Absolutely our pleasure.
[1:26:33] Thank you for pleasure, Joe. Yeah.
[1:26:35] So, westy, you got anything? There's two for me that really
[1:26:37] stand out and the first one to Big Lebowski, and I think this
[1:26:40] is real physical comedy in there that's really funny.
[1:26:43] Yeah, just when the cop throws that cup at him.
[1:26:46] I don't like your jerk off name. I don't like your jerk off face.
[1:26:49] I'm like the. Malibu Jerk.
[1:26:52] I'm sorry. I wasn't really listening.
[1:26:53] Bang. That's brilliant.
[1:26:55] Physical comedy, great lines, Wonderful.
[1:26:57] And the other one for me is Doctor Strangelove, which I
[1:27:00] don't think gets enough love as a comedy film, which is really
[1:27:03] what it is, physical comedy in there.
[1:27:06] There's so many funny lines in there and it's similar to this
[1:27:09] and that. If you don't really pay
[1:27:11] attention to the lines, that kind of disappear.
[1:27:13] So I would say for me, without skirting around the obvious, I
[1:27:16] would say Big Lebowski and Doctor Strangelove.
[1:27:18] Strangelove Sellers is amazing when he's kicking off, when he's
[1:27:21] trying to put a call into the president.
[1:27:27] And what about you, Matt? You got any examples for Joe?
[1:27:30] The first ones that came to mind was obviously the Zaz combo.
[1:27:34] Yeah. Top secret which being a lot of
[1:27:36] people have kind of still sleep on top secret that's very good.
[1:27:39] That's worth. Checking that's great in that.
[1:27:41] Yeah, comes brilliant and I've doing the whole Elvis thing.
[1:27:43] I think Mel Brooks is also a good shout.
[1:27:45] You know, obviously his films tend to be quite scattergun, but
[1:27:48] when something like Young Frankenstein or and he's
[1:27:51] focused, that's got everything loads of psychics in the
[1:27:54] background and art. But also I thought actually I
[1:27:57] ended up thinking about TV as well because I think right And
[1:28:00] Peg, like people of our age, they would have grown up when
[1:28:03] The Simpsons was amazing, like the golden age of The Simpsons.
[1:28:06] Not what it is now. It's just poor shadow of itself.
[1:28:10] But you know those golden years when you would have episodes
[1:28:12] like The Cape for your episode? Yeah, it's just packed for the
[1:28:16] psychics in great dialogue. So yeah, I think The Simpsons is
[1:28:20] actually probably a big influence on how they do their
[1:28:22] comedy as well, Yeah. But I think it's a great
[1:28:25] question and I think that one film that came to mind straight
[1:28:27] away, it's it's obvious one, it's This is Spinal Tap.
[1:28:30] Yeah, because we're talking about top level.
[1:28:32] Yeah, comedy here with tap. And I think it's a fair shout.
[1:28:35] It's not as good as tap, but it's a fair shout to put was in
[1:28:39] there. I mean, it seems outrageous to
[1:28:41] put it in there with tap. But as Joe puts it, there are
[1:28:42] multiple levels of comedy going on, which is very rare.
[1:28:45] Yeah, It needs to be very well written.
[1:28:47] And this clearly was. So thank you very much for the
[1:28:50] question, Joe. I hope we satisfactorily
[1:28:52] answered it for you. Yeah.
[1:28:54] So back to the screenplay, following their breakthrough,
[1:28:56] Shaun of the Dead. Obviously Peg and Wright were
[1:28:58] essentially given carte blanche to make any film that they
[1:29:00] wanted. Yeah, Wright said.
[1:29:02] We wanted to make a cop film in the UK because there isn't
[1:29:04] really any traditional cop films in our country.
[1:29:07] We've got a lot of TV cop shows, but we wanted to make a cop
[1:29:10] film. And we felt that every other
[1:29:12] country in the world had its own tradition of great cop action
[1:29:14] films, and we had none then. That's a fair comment.
[1:29:16] Yeah. Yeah.
[1:29:17] The script itself took 1718 months to write, during which
[1:29:20] time Peg and Wright watched 138 cop movies.
[1:29:25] Amateurs, which is a lot. Should run 140.
[1:29:30] In the original draft, Nicholas I had a love interest called
[1:29:33] Victoria, and following rewrites, Victoria was removed
[1:29:36] from the story, but a lot of her dialogue wasn't.
[1:29:39] It was just repurposed as Danny's dialogue, often with no
[1:29:42] alteration. But I've got that vibe though
[1:29:44] they're sitting talking to each other when they come back to the
[1:29:47] pub. Was like I can show you how to
[1:29:48] switch I. Can show you how to switch off
[1:29:51] that melon. I love that.
[1:29:52] That's great. It's just so subtle.
[1:29:54] It's wonderful. Yeah.
[1:29:55] And some of the dialogue from the film came directly from the
[1:29:58] interviews that you talked about Matt earlier with real coppers.
[1:30:00] Like, I prefer to think my office is out on the streets.
[1:30:03] Yeah, that came directly from one of the guys who they
[1:30:06] interviewed. And during the research, they
[1:30:08] observed that a large percentage of police officers were called
[1:30:11] Nick or Andy. So we get Nicholas, Angel and
[1:30:13] the Andy's. But when they went to Brixton
[1:30:16] police station, they were given the cold shoulder because the
[1:30:18] police liaison officer mistakenly told the coppers that
[1:30:21] Peck and write with journalists and they said nothing.
[1:30:24] Right. An essential part of their
[1:30:25] writing process was to use of Roger Ebert's Bigger Little
[1:30:29] Movie glossary, right, which DL common cliches in the action
[1:30:32] genre. Peg and Wright wanted to pay
[1:30:34] homage to the genre, obviously, yeah, while also adding to its
[1:30:38] Canon. So crammed in as many of these
[1:30:40] cliches as they could. Notably walking into a dark room
[1:30:42] and finding the light switch straight away, straddling 2
[1:30:45] lanes while driving that never ending magazine of bullets and
[1:30:49] firing at someone and not coming close to hitting them.
[1:30:51] Which is all evident in the film, yeah.
[1:30:53] Yeah, it is, yeah. That light switch thing is
[1:30:55] amazing. How many times have you fumble
[1:30:57] around and you're almost at the bottom of the wall and you can't
[1:31:00] find the fucking light? Switch every time.
[1:31:03] Yeah, and, Wright said about the dynamic between himself, Peg and
[1:31:06] Frost. When Simon and I write the
[1:31:08] script together, we already know that he's going to have one of
[1:31:11] the main parts. And both of us are very anal
[1:31:13] about the dialogue, mainly because so much of it involves
[1:31:16] very specific setups for things that will come later in the
[1:31:18] films. And then Nick comes in and just
[1:31:21] sprinkles the funny on top in little pieces.
[1:31:23] Yeah, he came up with the line when he says that he didn't see
[1:31:26] his cousin's face. I'm not made of eyes yet.
[1:31:28] He came up with that. 1. Yet so.
[1:31:31] Another winner from Peg and Wright.
[1:31:33] Writing layer upon layer of humour and omage.
[1:31:37] But is it too much? All right, pipe down.
[1:31:39] Begin. The music in the film was
[1:31:47] provided by David Arnold showing up again after you fellas talked
[1:31:50] about him on Casino Royale. Yes, and there are some notable
[1:31:53] songs in the soundtrack. So the music and the film,
[1:31:55] fellas. Westy, do you want to go first?
[1:31:57] Yeah, I think the music's really, really good.
[1:31:59] I think the main thing that I've written down is I would, I would
[1:32:02] have loved a theme. The music's great, but you can't
[1:32:08] quite engage with it. I think if the as much thought
[1:32:10] into it is the hard with the visuals and all these guards and
[1:32:15] all the foresight and all of the this is going to happen later on
[1:32:17] and whatever else. If that had more musical cues
[1:32:20] instead of dialogue, I think it might have been just a little
[1:32:22] bit more intelligent in the way that it was delivered.
[1:32:25] Because Sean the Dead, I love that soundtrack.
[1:32:27] I think there's some stuff on there where out of score, yeah,
[1:32:29] that really makes sense. The action sequences, the the
[1:32:32] music is very, very in keeping with what they're trying to do
[1:32:35] visually. It's very much like an AD, these
[1:32:37] action kind of vibe, and it drills up, but it never has the
[1:32:42] foreground. There's so much going on with
[1:32:44] the dialogue. There's so much going on with
[1:32:46] the visuals, and I think it's edited so heavily.
[1:32:49] It's impossible to have a consistent soundtrack because
[1:32:52] everything's just switching so fast.
[1:32:54] The only time that the soundtrack really stands out for
[1:32:56] me is over the final shootout. I needed more musical cues and
[1:33:01] then they I needed more to push the emotion hand on heart.
[1:33:04] I don't think that's what they were looking for.
[1:33:05] I don't think the music was really important.
[1:33:07] I think the music was there just to be like I'll put that over
[1:33:10] woman. But I haven't got any dialogue
[1:33:11] and there's very limited moments for that in the film.
[1:33:14] So that's why we get very limited moments of music and
[1:33:17] that's why it is unfortunately quite forgettable and doesn't
[1:33:20] really slam home for me. Well, more shade and Wesley.
[1:33:24] Canal, I'm sorry. I'm trying to be as it's like
[1:33:29] polite as possible with it. I think the the soundtrack is a
[1:33:33] bit of an improvement on Shaun of the Dead to be honest.
[1:33:36] It's must have something to do with the budget, but I think it
[1:33:38] works thematically. Goody 2 shoes in the opening,
[1:33:42] perfect for Nicholas, Perfect beat for that upbeat montage As
[1:33:45] well there's two kink songs which are Grace Village, Green
[1:33:49] Preservation Society, Fantastic. Not a massive fan.
[1:33:52] It's just wrong choices for me. Even in the soundtrack, there
[1:33:55] are nods to the action genre. The Arms Hall at Elroy Farm, the
[1:33:58] musics taken straight from the trailer for Lethal Weapon?
[1:34:01] Well, it's the same music used in the trailer for the first
[1:34:04] three Lethal Weapon films. I think this one was lifted from
[1:34:06] Lethal 3, complete with that outrageous guitar piece.
[1:34:09] But not just the music, It's matched as well.
[1:34:12] The run from the farm and the jump over the hedges when the
[1:34:14] sea Mine is ticking is straight out of the opening scene from
[1:34:17] Lethal 3. Grab the cat.
[1:34:18] Yeah, right. And I think Arnold's score does
[1:34:20] what every comedic score should do and be as serious as
[1:34:24] possible. It's loud and overblown and
[1:34:27] dramatic, and I think that's perfect for the material.
[1:34:29] We talked about it on in Bruges as well.
[1:34:32] Dead straight down the line. Score to contrast the comedy.
[1:34:35] Totally the opposite from what you get from the music here.
[1:34:39] Crazy. I literally don't hear it.
[1:34:41] Well, he will go, Matt. What do you think?
[1:34:44] Well, I mean, I think if you watch this like every month like
[1:34:46] Luke does, it's going to like soak into you by a small.
[1:34:49] Point in music. My overall take on the music,
[1:34:53] the soundtrack, the score is it's very like best of Indie
[1:34:56] Disco 2007. That's kind of my taking it.
[1:35:00] I'm not in general like a huge soundtrack guy.
[1:35:02] Anyway, it's very rare. No, I know you're not.
[1:35:04] I'll sit and listen to a soundtrack and and hot for
[1:35:07] certainly wouldn't tempt me into doing so like.
[1:35:09] No, I agree with that. Before I put this on for me
[1:35:12] first rewatch, I knew you would be talking about the soundtracks
[1:35:15] or something thought well what what are the stand out songs?
[1:35:18] And this too, to me, the the Super grass over the end
[1:35:20] credits. That's great.
[1:35:21] I like super grass. It's fine.
[1:35:23] Yeah, the kinks. I do like the Kinks.
[1:35:25] Look, if I'm going to listen to either of those bands, I'll just
[1:35:28] listen to Supergrass or The Kinks.
[1:35:29] I won't go through the hot first soundtrack to listen to them.
[1:35:33] No, of course you would. And I'll happily go to the grave
[1:35:35] if I never have to listen to the Fratellis again in my life.
[1:35:38] Gladly. Gladly.
[1:35:39] Yeah, not a fan. Go to be grave.
[1:35:42] Yeah. Dramatic.
[1:35:45] I'm sorry. Fucking hit the fratellis, man.
[1:35:50] If you think about Shaun of the Dead, what was the scene that
[1:35:53] everybody talked about? Kill the Queen?
[1:35:55] Don't stop me now. Yeah, it would have been so easy
[1:35:59] for them to just repeat that. And I think it's to the credit
[1:36:01] that actually they don't do that.
[1:36:02] They're back away from that guy. I'm sure it would have crossed
[1:36:04] the mind at some point, but they don't.
[1:36:06] Yeah, the soundtrack, it's great songs, but they're not great
[1:36:09] because they're in Hot Fuzz. You know what I.
[1:36:12] Mean. I agree with that, yeah.
[1:36:13] I don't think it's like a stand out soundtrack.
[1:36:16] I just think thematically it works a bit better, yeah.
[1:36:18] So director Robert Rodriguez contributed to the score by
[1:36:21] doing the music for two scenes. OK one where Nicholas is in the
[1:36:24] shop haven't left Sanford one when he tools up in the big
[1:36:28] showroom. Rodriguez only saw these scenes
[1:36:31] from the film and nothing else. Wow.
[1:36:34] Right, said Rodriguez got the soundtrack the gun fetish
[1:36:37] sequence, and he was loving that.
[1:36:39] It's how I'll soundtrack the gun fetish.
[1:36:42] Straight up a line for me. If you want somebody to
[1:36:43] soundtrack a gun fetish sequence, yeah, get the big one
[1:36:46] in there, yeah. Well, of course.
[1:36:47] He probably only saw two scenes, much like USD probably has the
[1:36:51] same opinion of the film as you. Rodriguez saying that is.
[1:37:01] So a mixed bag on the score and soundtrack front, but I think
[1:37:05] overall thematically it works. You know it thematically,
[1:37:08] they're all fit in. Finally, we have cinematography
[1:37:13] from a relative unknown, Jess Hall.
[1:37:16] Matt Thoughts on Jess Hall's work here.
[1:37:18] Well, I think the film looks great for start.
[1:37:20] I think it looks very, very Edgar Wright.
[1:37:23] The main point I wanted to make about the cinematography is that
[1:37:26] you go back to Shaun of the Dead and he was working with David
[1:37:28] Dunlap and we talked about this. They had a pretty colossal
[1:37:31] falling out, you know, practically when speaking to
[1:37:34] each other, didn't get on personally, you know, right.
[1:37:37] Fairly wasn't respected. So the overriding feeling I get
[1:37:39] here, I don't think there's any shot he had to fight over.
[1:37:43] I don't think there's any moment he had to justify to Jess Hall.
[1:37:46] I think Jess Hall like all DP should do probably is just
[1:37:50] produce work that feels extremely harmonious with the
[1:37:52] director's vision. And I think all it's a film
[1:37:55] where I think I can see every penny spent on this.
[1:37:58] Because I think the key thing about hot foods that I imagine
[1:38:01] right wanted to avoid and it is a potential pitfall, is that it
[1:38:05] just looks like ATV episode but a two hour 1 and it never does.
[1:38:09] It does feel and look cinematic and I think all has to take the
[1:38:13] credit for that. Maybe.
[1:38:14] We've talked about mixing genres in this film, comedy, action,
[1:38:16] horror, and I think that it's a credit to the likes of David
[1:38:20] Arnold and Jess Hall that they were even able to keep up with
[1:38:23] Wright because he's flying at 1,000,000 miles an hour.
[1:38:26] Yeah, I think the biggest comment I can give Jess Hall is
[1:38:28] that he matches Wright's vision like you were seeing Matt.
[1:38:31] The horror movie scenes are framed like black Christmas.
[1:38:33] The action scenes are straight out of the Jewel Silver
[1:38:35] Handbook. There never seems to be an
[1:38:37] imbalance with the visual style and the way the camera captures
[1:38:40] this. Sounds like I'm playing it down,
[1:38:42] but it's incredibly competent work from Hall, Yeah.
[1:38:45] And that's exactly what Edgar I would have wanted, I imagine,
[1:38:47] yeah. Yeah, I feel exactly the same
[1:38:49] way. I mean the amount of cuts that
[1:38:50] are in this film and a cut from left to right, front and back
[1:38:54] and have everything matched light and wise, have everything
[1:38:57] match to the way the camera movements to everything else.
[1:39:01] It's it really is a headache. Yeah, that's all they do is like
[1:39:05] what the fuck? We're going to cover this from
[1:39:07] what, 9 angles with like what, 1 camera.
[1:39:10] OK, fine. And I think he does really,
[1:39:13] really good work, really competent work.
[1:39:14] And I think he does ground Edgar Wright in the cinematography of
[1:39:18] this. There's some elements of this
[1:39:20] where he's like he's really appreciating the frame.
[1:39:23] Yeah. And he works with it and he
[1:39:25] works with the camera and he didn't do that as much on Shaun
[1:39:28] of the Dead. I think it's all about what was
[1:39:30] happening in the frame. This uses the frame a little bit
[1:39:33] more as opposed to the action inside of it.
[1:39:35] And I think a lot of that is down in Jess Hall and to have
[1:39:38] this many cuts and I know it gives me a migraine, but it
[1:39:42] works. It does work.
[1:39:43] It really does work and if you're into that, he's done an
[1:39:47] incredible job by matching, you know, a back coat to a front
[1:39:50] coat to all the light and everything that needs to be done
[1:39:52] on that set at that time with, I would imagine with the budget,
[1:39:56] probably about 2-3 cameras at that point.
[1:39:58] He does a wonderful job. I don't envy him at all with no.
[1:40:02] Not at all. Well, it's quite telling that he
[1:40:05] never worked with Edgar Wright again.
[1:40:06] There you go. It's not a big lie down
[1:40:09] afterwards. Yeah.
[1:40:11] He still hasn't done anything else.
[1:40:13] Hasn't gone up yet, still having a lie down.
[1:40:17] So, great crew helping ride capture his vision.
[1:40:19] Good soundtrack choices with Arnold and Jess Hall doing their
[1:40:22] bit to keep all the plates spinner.
[1:40:24] Yes. Yeah.
[1:40:28] The end. Ignoring Danny's advice and the
[1:40:33] threat of the entire village, Nicholas returns to the scene of
[1:40:36] the crime, takes out a farmer and his mum, and tools up, ready
[1:40:39] for action. There's no doubt that Sergeant
[1:40:42] Angel is back. Check out his horse.
[1:40:48] Not exactly. This is a great sequence.
[1:40:52] Like you guys say it. It does turn into a little bit
[1:40:54] of a different film and at this at this point and it it goes
[1:40:59] into full action mode and it goes into Edgar.
[1:41:02] I go and I know exactly what I'm doing here and it's kind of like
[1:41:04] he's he's just taking a breath and going right.
[1:41:07] I know this is it. It's a shootout.
[1:41:09] It's fine. And he turns up the ice.
[1:41:12] He's got the toothpick cobra. Very much so.
[1:41:15] You know into the town on a heart.
[1:41:17] Didn't know had a mounted unit. Where's the horse come from?
[1:41:19] Fuck, yeah. You know it makes no sense.
[1:41:22] No. He's gone in on a bicycle that
[1:41:24] would have been a lot of funnier because you've got the bicycle
[1:41:26] guy get the start doesn't quite pay off, but you know, it's a
[1:41:29] homage to all the westerns of the guy you know, riding in the
[1:41:32] town. It's fine.
[1:41:33] Yeah, you mentioned there the bit about the amount of
[1:41:35] division. Bill Bailey obviously plays two
[1:41:37] parts in the film. Sergeants Turner, Twin brothers.
[1:41:41] A great gag reveal near the end of.
[1:41:42] The film. It is a great gag reveal, yeah.
[1:41:44] You can distinguish between the two, apart from their general
[1:41:47] demeanor, by casting a watchful eye over their reading habits.
[1:41:50] Yes, one reads Ian Banks and the other reads Ian M Banks,
[1:41:55] although both Ian and Ian M are one and the same person.
[1:41:59] It's so confusing. Yeah, it really is.
[1:42:01] Ian M is Ian Pseudonym for sci-fi novels, I believe.
[1:42:05] Right. Yeah.
[1:42:05] And then it all kicks off morning.
[1:42:08] Yeah. All right, great.
[1:42:10] But I just, I'm left feeling a little bit hollow by it all.
[1:42:15] You see it building, you see what's going to happen.
[1:42:17] It leaves me feeling a little bit like when I used to watch
[1:42:19] the A-Team and nobody dies, you know what I mean?
[1:42:23] They all get. Superficial injuries.
[1:42:25] Exactly. Somebody throws their hand grain
[1:42:27] and you see them get up again or you're going to shoot a tire and
[1:42:29] then the barrels will come down and knock somebody over.
[1:42:31] Yeah, it's great. And it's like just watching
[1:42:34] people have a great time, make a film because the can.
[1:42:37] But what am I getting from it? I don't think I'm getting
[1:42:40] anything from it. Selfish but.
[1:42:43] What do you what you're filming for?
[1:42:44] To get something from it, you need to be moved by it you.
[1:42:47] It needs to change you as a person.
[1:42:49] That's the whole point of cinema.
[1:42:50] It needs to deliver a message and tell you a story that you
[1:42:53] are not familiar with or something that you're very
[1:42:55] familiar with that makes you feel necessary and alive.
[1:42:59] And to me, this is just kind of Edgar Wright and Simon Pegg and
[1:43:03] Nick Frost and everyone else going, yeah, we're going to do a
[1:43:05] shoot out in the town square. Great, But what do I get from
[1:43:08] that? Nothing.
[1:43:09] I don't know. I'm looking for too much out of
[1:43:11] this. You're looking for far too far.
[1:43:13] Too much and. It's just a knock about comedy
[1:43:16] with a nice action sequence. Exactly not enough for me.
[1:43:19] OK, well I do take some sick satisfaction from old people
[1:43:22] being beaten up in film. That's what I'm talking about.
[1:43:30] South Fair play to the cast here.
[1:43:32] The farmer and his mum and all the kind of old British
[1:43:34] stalwarts who were pretty game to get involved in.
[1:43:37] I think they pull it off well. There's nothing better than
[1:43:40] seeing like, old people have their toes blown off.
[1:43:43] Love it. Right.
[1:43:47] OK, well, we're moving action. So what?
[1:43:49] We're thinking pub. And we're going to talk about
[1:43:53] the pub shootout. A comparatively short sequence,
[1:43:56] but I like it on almost everything.
[1:43:58] To the bar Shootout scene from Desperado.
[1:44:01] Yes, unloading an unholy amount of ammo with nobody getting a
[1:44:05] scratch? That's action movie 101.
[1:44:07] Jumping through the air, shooting guns.
[1:44:09] Danny's finally got his wish. In fact, everything that Danny
[1:44:12] asked Nicholas if he's been involved in from the start.
[1:44:16] Danny experiences firing two guns while flying through the
[1:44:18] air, being in a high speed pursuit, firing a gun while
[1:44:21] being an iron high speed pursuit.
[1:44:23] Love it, they breakthrough the door with a sign that says come
[1:44:26] on in, which I think is a nice touch.
[1:44:28] And this is where Nicholas gets the coppers to finally
[1:44:31] understand what he's been saying them all along.
[1:44:33] They've been brainwashed and I think Frank's argument that
[1:44:36] Nicholas is not even from round here is a very British thing to
[1:44:40] say. Yeah, yeah, definitely.
[1:44:42] I've heard that a million times in my life.
[1:44:43] In small towns, which we're kind of from.
[1:44:46] Yeah. It's almost like a badge of
[1:44:48] honour to say you were born and bred here and outsiders are
[1:44:50] often frowned upon. Yeah, yeah.
[1:44:52] And there's another nice khaki with the chalkboard behind the
[1:44:56] pop owners doing the shootout. And that reads 2 shooters for
[1:44:58] the price of one. Yeah, lovely.
[1:45:00] And isn't that the same pop machine from Shaun of the Dead?
[1:45:02] Isn't it? Makes the same noise.
[1:45:04] Oh, yeah, yeah, right, the. Fruit machine, Yeah, the one
[1:45:07] that brilliant, yeah. Yeah.
[1:45:11] See money. I'm pretty sure they get it in
[1:45:12] The World's End as well. And I'm going to go for the
[1:45:14] scene straight after this, which is the Summer Field Shootout.
[1:45:17] And Oh yes, well, I said I do have some issues at this point.
[1:45:21] In general, it's all a bit hectic, It's a bit too loud, It
[1:45:24] loses itself a little bit. But I do think the Summer Field
[1:45:27] Shootout is great for on, you know, it's what we've been
[1:45:29] seeing along. Everyone's having so much fun
[1:45:31] here and it really feeds into it and it is this big action
[1:45:34] sequence. But you do have these little
[1:45:35] character moments like Fisher finally doing something right
[1:45:39] and taking charge and coming up with the plan to get it, which
[1:45:41] completely takes inch by surprise.
[1:45:44] I love the cut to Skinner, just watching it all on the CCTV.
[1:45:47] My my, here come the 1st, just really looking for like getting
[1:45:52] stuck into it and a fine pig. Surprisingly convincing here
[1:45:56] when he's having that brawl with Lurch, considering that's Rory
[1:45:59] McCann, who would go on to be in Game of Thrones playing one of
[1:46:02] the hardest characters in TV. He's.
[1:46:04] The Hound, he's. The Hound.
[1:46:06] Yeah. See Peg?
[1:46:08] Surprisingly convincing. Frost is having a wheel over
[1:46:10] time. I think Constantine in Spall a
[1:46:13] great here as well, you know, Like everyone's into it.
[1:46:17] You know the Andes are riffing on that cliche if someone's
[1:46:19] partner nearly getting taken out.
[1:46:20] But it's OK. It's both knees.
[1:46:23] His. Bottom is Angel sliding down the
[1:46:25] aisle to get next to Danny, but it's maybe about two or three
[1:46:28] feet that he slid. It's really not that impressive.
[1:46:31] But everyone's in action film mode now, and as you've said,
[1:46:34] Luke, this is just Danny in dream scenario mode.
[1:46:36] Now, you know this is everything that he's wanted, and it's even
[1:46:40] better for him because the Angel is getting into it as well.
[1:46:42] You know when he says he didn't tell Lurch to cool off?
[1:46:46] Oh, shame. Shame, but.
[1:46:49] Genuinely delighted by the story where previously he had lurched
[1:46:53] with a cuddly monkey and said play time is over, you're off
[1:46:56] the fucking chain. Just this is everything he's
[1:46:59] wanted a copper to be about. And there's lots of little
[1:47:02] details going on. Like the fact there's far too
[1:47:04] many sound effects of shotguns being cocked when known as
[1:47:07] actually cocking any shotguns, because that's where you get in
[1:47:09] action films. You know when Doris hits Tina
[1:47:12] with the kind of careful to slippery fall sign that should
[1:47:16] just bounce off her face? It shouldn't send us skidding
[1:47:18] across the floor, unconscious. Bit of girl on girl.
[1:47:21] Nothing like a bit of girl on girl, but that's the.
[1:47:23] Point and you know, I like the way it leans into the cheesy
[1:47:27] dialogue here. That scene between Angel and
[1:47:28] Andy, you know, Angel don't go being a twat now wouldn't give
[1:47:31] you the satisfaction. It's just like, oh, so cringe,
[1:47:35] but deliberately so, so it knows exactly what it's doing, right?
[1:47:38] And Peg know how to play this scene out and everyone is just
[1:47:41] really plugged into it. Find the sequence really fun.
[1:47:44] Yeah, that's a load of fun. There's loads of quotable lines.
[1:47:48] It's just a ball, the dummy or things amazing.
[1:47:51] The glass at the delicatessen, right, wanted to shatter, but it
[1:47:55] was too expensive to replace because it was curved glass.
[1:47:58] Then the sound design. He added in the sound of
[1:47:59] ricochet and bullets to suggest that Skinner has reinforced his
[1:48:02] store, anticipating a raid from the fuzz.
[1:48:06] But when they came to the Trolley Ram raid, the glass did
[1:48:08] actually shatter for real, right?
[1:48:10] It looks the bit. Yeah, it does, Yeah.
[1:48:12] On the subject of gun violence in movies, Peg got this to say.
[1:48:16] Men can't do that thing which is the greatest achievement of
[1:48:19] humankind, which is to make another human.
[1:48:21] So we make metal versions of our own penises.
[1:48:24] Here we go. Yes, and fire more bits of metal
[1:48:27] out of the end into people's heads.
[1:48:30] And we're looking at it. Yeah, the.
[1:48:32] Difference between men and women?
[1:48:35] Yeah, that's so strange. So 3 shootouts for the price of
[1:48:39] one. Now that is a criminal discount.
[1:48:42] Absolutely. With Skinner making a run for
[1:48:46] it, Danny and Nicholas are close behind in hot pursuit to head
[1:48:49] him off and I'm starting with the car chase.
[1:48:52] Danny and Nicholas are on Skinner and Frank's ass.
[1:48:55] Another thing that Danny manages to take off his list, he's so
[1:48:58] into it that he's even making his own sound effect.
[1:49:01] Bang, bang, when he's shooting the gun, it's already doing
[1:49:05] that. And this one subplot is finally
[1:49:08] resolved. And I think this is emblematic
[1:49:11] of the whole film. I mean, this was set up when an
[1:49:13] hour and a half ago this one was a symbol of how kind of
[1:49:17] meaningless belief life was like in the Village.
[1:49:19] And this is the main source of action for Danny, but becomes a
[1:49:22] really important beat here and in the model village scene with
[1:49:25] frankly at Ron, I love it. Earlier on when they're trying
[1:49:28] to find the swan in the montage, we'll see it on the village
[1:49:31] green and Andy gets his nightstick out and extends it.
[1:49:34] He's so eager to get involved, he's going to batter this one to
[1:49:37] death. But this kind of swan thing was
[1:49:40] inspired by a real life story of a swan get loose in the
[1:49:42] community and terrorizing the locals, and the police had to be
[1:49:45] called out to rescue it. And it's happened a number of
[1:49:48] times since, with hot foods often referenced when this is
[1:49:51] reported in the press. Right.
[1:49:52] Classic English journalistic reporting here.
[1:49:55] Yeah, a swan being loose. Oh, Jesus Christ.
[1:49:57] It's a big story. Yeah, yeah.
[1:49:59] The police are swarming around town.
[1:50:00] Yeah. Bullshit.
[1:50:02] Classic, yeah. Yeah, I mean, it's all kicking
[1:50:05] off now and every scene is just like crashing into the next one.
[1:50:08] So I'm going to go for the fight the Model Village.
[1:50:10] And again, just another example of how Right and Peg set up a
[1:50:13] joke. We're at the beginning of the
[1:50:15] film, only to pay it off later because Angel now is the big cop
[1:50:19] in a small town because he is up in the Model Village.
[1:50:22] And it's like the fight will urge, like Peg having a punch up
[1:50:24] with Timothy Dalton should feel like it's, well, it's a complete
[1:50:27] mismatch and yet somehow it's not.
[1:50:29] It's somehow we're just convincing.
[1:50:31] But as ever for me, it's the details, you know, Really love
[1:50:34] Skinner just yelling at that kid when he bites him, you little
[1:50:36] fucker. Like.
[1:50:39] You said the thing about like old people getting beaten up are
[1:50:41] like kids getting sworn at is always funny to me.
[1:50:45] I just find that really funny. Brilliant.
[1:50:47] Yeah. And the fact that that kid is
[1:50:49] RNA Aronson which again said earlier and you know the only
[1:50:53] closer if you get is something being smashed in is the replica
[1:50:56] summer field shop. You know so the nor this stuff
[1:50:59] inside out, which is why it works.
[1:51:00] And with that shot of Skinner flying through the air before he
[1:51:04] even peeled some self on that Spire like we were talking about
[1:51:08] cinematic injuries on one of our parents a couple of months ago
[1:51:12] and I don't know how I forgot to include this one completely
[1:51:15] passed me by to include this because that looks so painful.
[1:51:19] I could live without though. Danny shooting the gun in the
[1:51:22] air while yelling are because I think.
[1:51:24] It's too much, isn't it's? Too on the nose.
[1:51:26] I've got that, that's. Too much guys?
[1:51:29] Yeah, this is my point. This is my point.
[1:51:31] This. Is, yeah, yeah.
[1:51:32] This is my point. You know the joke's being told I
[1:51:35] don't need to see Danny doing it.
[1:51:36] I know. The point is, Danny gets to do
[1:51:38] everything by the end of the film.
[1:51:40] Yeah. And it's consistent I suppose.
[1:51:42] It is. It's just too one of those.
[1:51:43] This one for me. I think it would have been funny
[1:51:45] if he goes to do it, but he's out of bullets.
[1:51:47] Yeah. And yes, he.
[1:51:48] But he still does the yelling thing anywhere.
[1:51:50] Yeah, yeah, because he just wants to do it.
[1:51:52] So that will work. Yeah, a couple of elements don't
[1:51:54] land here for me, but overall a pretty good wrap up to all the
[1:51:56] action I. Think it's like the fight scene
[1:51:58] between Joshua and Riggs and Lethal Weapon.
[1:52:00] The rain coming down brutal blows.
[1:52:03] Stay back or the ginger nut gets it?
[1:52:05] Yeah. Yeah, I'll go for the bit after
[1:52:08] this. Obviously the scene, the
[1:52:10] helicopter appear over them. We've got the bad boys shot,
[1:52:13] which is, you know, apparently in the shootout.
[1:52:15] We're going to go to the pool. Again, 2 on the nose.
[1:52:17] And really on the nose, motherfucker.
[1:52:21] Brilliant. But it's when you think
[1:52:23] everything's fine, as you normally do in action films, and
[1:52:26] there's one last push and it's Edward Woodward coming out with
[1:52:30] a blunderbuss, one last explosion.
[1:52:34] And you know for a fact when you see that mine or that you know
[1:52:37] something's going to happen with him and it's it's a great payoff
[1:52:41] and it's just a little bit more than you need it's it is good.
[1:52:45] It is good. I mean I know for a fact that to
[1:52:48] get the effect the police station exploding they made a
[1:52:50] scale model and that was that's quite apparent when you watch it
[1:52:53] again and the blue would open. It was all like on fire.
[1:52:56] And that's what we do. And it's just one, it's just one
[1:52:59] push. I think 1 push too far, a little
[1:53:02] bit too far of like, oh this I was supposed to end action film.
[1:53:05] You know, we're going to end it this way.
[1:53:06] And we're going to end every action film in four different
[1:53:09] ways. It's like it's just a little bit
[1:53:11] too much for me. I think it's a classic cliche.
[1:53:13] When suggested that Danny's dead.
[1:53:15] Yeah. And then he shows up at the end.
[1:53:17] Yeah, it's just like Riggs visiting his wife's.
[1:53:19] Grave. Are these all right?
[1:53:20] Yeah, they're great. Yeah.
[1:53:21] Yeah. Yeah, yeah, yeah.
[1:53:23] But you can't beat the arc that Nicholas has now completed when
[1:53:27] he says to Doris You don't mind a bit of manpower, do you?
[1:53:29] No, that's great. Yeah.
[1:53:31] Yeah, you cheeky bastard. Yeah.
[1:53:37] So about 5 different endings for hot fools.
[1:53:39] Cramming in as many action cliches as possible seems like
[1:53:43] an entirely fitting end, and considering what's gone before
[1:53:45] it. Yeah.
[1:53:49] Reception and awards. As mentioned throughout the
[1:53:54] show, Edgar Wright worked hard in the editing room, obviously
[1:53:57] much to westy chagrin, and there was a lot riding on it after the
[1:54:00] success of Sean. Yeah, so Wright got panicky when
[1:54:03] doing the editing. I'm not fucking surprised the
[1:54:08] film would end up with an 18 certificate, which would bring
[1:54:10] pressure from the studio to make cuts.
[1:54:12] It ended up with a 15 in the UK. And Wright says from my money,
[1:54:16] for a film that features 2 uses of the C word, somebody's head
[1:54:20] getting curse splattered. His words, not mine.
[1:54:22] Somebody else getting impaled, somebody else getting stabbed.
[1:54:26] Multiple nasty blows and stuff. I think it's pretty good going.
[1:54:30] The censors are going easy for once.
[1:54:32] Yeah, they've been lenient, I think, considering.
[1:54:34] Yeah, and there was a long 2 repressed with the film in the
[1:54:37] US and when they were at the Austin Alamo Draft House, they
[1:54:40] had two Q&A sessions set up, and Tarantino was in attendance for
[1:54:45] the first one, and Wright got him to introduce Wright, Pegg,
[1:54:48] and everyone else to the stage. But during the break between
[1:54:51] these two Q&A S, Wright got talking to Jack Black and Eli
[1:54:54] Roth. So for the second Q&A, the
[1:54:57] announcer introduced Roth, who introduced Jack Black, who
[1:55:00] introduced QT to introduce the Hot Force crew.
[1:55:02] Nice. Brilliant lads.
[1:55:04] Lads. On tour?
[1:55:05] Yeah, well before that they'd had a screen in at the Creative
[1:55:08] Arts Agency where there were these goodie bags being handed
[1:55:11] out, including DVD copies of Point Break and Bad Boys 2.
[1:55:15] All the Point Break DVDs had gone and they were left with
[1:55:17] around 50 copies of our boys too of course, and they took them to
[1:55:23] Austin where Eli Roth and QT were handing them out to people.
[1:55:26] At the end there will be an ushered out because there was a
[1:55:29] screening of another film coming on and they had about 5 copies
[1:55:31] left and Tarantino said we're not fucking going anywhere until
[1:55:34] we get rid of these bad Boy 2 DVDs and you've got to ask a
[1:55:37] good question. If you don't ask a good
[1:55:38] question, you don't get your fucking DVD and the next person
[1:55:42] stands up and he says hi, I'm an aspiring director, QT says.
[1:55:45] Sit the fuck down, harangued. Amazing.
[1:55:51] At advance screenings of the film on the 14th of February in
[1:55:53] the UK, motorbike police escorts were used and the carpet was
[1:55:57] blue, not red, right and the hard work paid off.
[1:56:00] Hot Fuzz was hotly anticipated, and it fared very well in most
[1:56:03] departments on a $16 million budget and returned a healthy
[1:56:07] $80 million worldwide, more than Dublin.
[1:56:10] Sean's take at the box office, yeah, from a critical point of
[1:56:13] view, was very well received. Empire praised the chemistry
[1:56:16] between Peg and Frost, saying after almost a decade together,
[1:56:19] they're clearly so comfortable in each other's presence that
[1:56:22] they feel no need to fight for punch lines, making them
[1:56:25] terrific company for two hours. I agree with that.
[1:56:27] Yeah, definitely. The AV Club said everything in
[1:56:29] action comedy should be it achieves through parody what
[1:56:32] most films in the genre can't accomplish.
[1:56:34] Straight variety. Prayers, Broadbent and Dalton,
[1:56:38] they said. Especially good as Angels Hail
[1:56:41] Fellow, well Met superior and oily #1 suspect.
[1:56:45] Yes, very much. Yeah, but the Daily Mirror only
[1:56:48] gave the film two out of five, saying that most of the jokes
[1:56:51] didn't land. But you know, it's the Daily
[1:56:53] Mirror. So who gets right?
[1:56:55] There's no jokes in the Daily Mirror, is there?
[1:56:57] No, that is the joke. Yeah, and now Hot Fuzz is a
[1:57:00] Rotten Tomatoes rating of 91% and a score of 7.8 out of 10 on
[1:57:04] IMDb. No messing with those kind of
[1:57:06] numbers, no. No big numbers.
[1:57:08] Obviously there were no major awards to speak of, but Hot Fuzz
[1:57:12] did scoop the best comedy film at the Empire Awards that year.
[1:57:16] Yes. So impressive stuff on all
[1:57:17] fronts for Hot Fuzz and a reputation that has grown bigger
[1:57:20] over time, I think, yeah. Sequels and influence.
[1:57:28] As discussed on our Shaun of the Dead podcast, Hot Fuzz is the
[1:57:31] second part of Edgar Wright's Cornetto Trilogy, starting with
[1:57:35] Sean and ending with World's End.
[1:57:36] The films are unrelated but share some cast members, writes
[1:57:40] inevitable Style, some visual gags, and also a different
[1:57:43] flavor of cornado ice cream. Strawberry for Sean, Original
[1:57:47] for Hot Fuzz, and Minty for The World's End.
[1:57:50] We got asked the Sean episode for our rankings on those three
[1:57:52] films, so go back and listen to that for those magnificent
[1:57:55] insights. You have to be a period
[1:57:56] supporter or sign up for Apple Podcast for that one, though.
[1:57:59] But there's the incentive. Yes, of course.
[1:58:02] We were never going to get a direct sequel because Wright and
[1:58:05] Pegg just don't do that. The Don't put on Following
[1:58:07] release of the film, Shane Black declared his love for it and
[1:58:10] issued a press release in On behalf of the Nation.
[1:58:13] I demand a sequel. You can't have a grand of them.
[1:58:17] On the sequel, Peg said we already joked about having a
[1:58:19] Crocodile Dundee reversal of it being Danny in the city, and we
[1:58:23] also had an idea of a spin off with the Andes, with Paddy
[1:58:26] Considine and Reyes Spall. But all of those films, they
[1:58:29] have an arc. The ones in the Corner or
[1:58:31] trilogy, they have an arc and they feel finished.
[1:58:33] We made Sean and the sequel to that is Hot 1st, and the sequel
[1:58:36] to that is The World's End Dramatic Trilogy rather than
[1:58:39] direct sequels. I would love to play Nicholas
[1:58:41] Angel again, but I'm probably too old now.
[1:58:43] Yeah, I would say so. Yeah, fair enough.
[1:58:46] And Andy's spin off would be a male I'd.
[1:58:48] Love to have all the Andy's like, that'd be great, Yeah.
[1:58:50] Frosted, unless right and pegged to trick fans on social media
[1:58:53] and to believe in a sequel. Had been greenlit when they
[1:58:56] reunited from meal in 2018, before later revealing that
[1:58:59] they've just been having lunch together.
[1:59:00] Classic, classic Frost. Classic Frost.
[1:59:04] What a bastard. Which brings us to our third and
[1:59:07] final period question. This one is brought to us by
[1:59:10] Gareth Binmore. Howdy, Gareth?
[1:59:11] Hello Gareth? Gareth asks.
[1:59:13] We've had a zomcom action and sci-fi.
[1:59:16] If there was to be another peg right for us.
[1:59:18] Collaboration, what do you think the genre could be?
[1:59:20] And the story of the film? Right.
[1:59:21] And also Andy Rutherford. Hi, Andy.
[1:59:23] Hello, Andy. Hello Andy, one of the Andy's.
[1:59:28] And he asked a similar question. He said seeing that there are
[1:59:30] more flavours of Cornet or Peg and Frost could add more films
[1:59:33] to the list. What genre?
[1:59:34] So same question, yeah, genre fellas.
[1:59:37] Matt, have you got a favorite? I think you got to take into
[1:59:40] account the age. For one thing, all these guys
[1:59:42] now get into the 50s purely from Edgar Wright's perspective.
[1:59:45] I'm convinced he has a musical in him.
[1:59:47] The amount of music, videos, study shots, one that really
[1:59:50] stands out of me. I don't know if you know the
[1:59:52] song, but Colours by Beck. Yeah, which?
[1:59:55] Has a lot of choreography and that's what I really think.
[1:59:58] Wright could do a musical, but can Pagan Frost hold a tune or
[2:00:02] hoof it around at their age? Probably, I would imagine frost.
[2:00:06] He worked with Sparks as well. I think they could be involved.
[2:00:08] That's true, yeah. Yeah, he did the sparks.
[2:00:10] Very. Good.
[2:00:10] Yeah, maybe musical, but I think probably more comfortable for
[2:00:13] the three of them is something where I would reflect the age
[2:00:16] and I think the kind of spy film, but the spy film where
[2:00:19] someone gets mistaken for the spy or someone ends up with the
[2:00:22] bit of information by Northwest. Northwest.
[2:00:25] Yeah, Brilliant. 3 days of the Condor something.
[2:00:27] Like that. Yeah.
[2:00:27] Three days. Something like that.
[2:00:29] Three days of the Cornetto just do that.
[2:00:31] There we go. Brilliant.
[2:00:34] Brilliant. Just do that again and listen to
[2:00:36] the rest of the two hours for westies recommendation.
[2:00:39] Fast forward to that bin. Love you, Edgar.
[2:00:43] Yeah. See, I think something like
[2:00:46] that. Lovely.
[2:00:47] Yeah. Well, I was thinking the obvious
[2:00:48] choice is a western, because Wrights first film was a Fistful
[2:00:53] of Fingers kind of unofficial official first film.
[2:00:55] Yeah. So he's clearly got a love for
[2:00:56] the genre, but I think it be tricky to pull off because you'd
[2:00:59] have to base it in the UK. Sean, Hot Furs, World's End.
[2:01:02] They've got transferable stories so you can base them in the UK,
[2:01:05] not so much with the Western, I don't think.
[2:01:07] What I was thinking was is maybe a sport movie and I was
[2:01:10] considering their age as well. Hagan Frost being rival football
[2:01:13] managers, maybe. Right, OK.
[2:01:15] I don't. I mean, that's as far as I've
[2:01:17] got, I haven't fleshed out right.
[2:01:18] I haven't got a treatment for anything like that.
[2:01:20] So if you listen to Edgar, yeah, you know, get in touch.
[2:01:24] We'll flesh it out. Yeah, we'll flesh it out
[2:01:26] together. We'll thrash.
[2:01:27] It out what makes them egg work? What about you, Wesley?
[2:01:30] I was the same as you. Look, I would the obvious choice
[2:01:32] is a western. Yeah, which the touched on with
[2:01:35] them riding into town on a horse and you know, that's all there.
[2:01:39] And I think it might just be a bit of a cliche, but what I'd
[2:01:41] love love to see by these guys is something that hasn't been
[2:01:46] touched on for a long time and just a good old fashioned
[2:01:51] disaster movie like an Owen Allen.
[2:01:53] Oh yes, Tower Inferno or a Poseidon Adventure.
[2:01:57] Something that what is this lacking and it's that depth and
[2:02:00] that emotion, but a big set pieces and these guys really be
[2:02:05] in the actors that they are And the cast that he could bring in
[2:02:08] will be similar to Lake Tower Inferno for now or The Poseidon
[2:02:12] Adventure for now. And have a lot of you see the
[2:02:14] poster, just everyone's face on it and you don't know who's
[2:02:17] going to die or when they're going to die and bring it back.
[2:02:21] Age doesn't really make a difference in that everyone
[2:02:24] involved. I think a real old schooler when
[2:02:25] all like disaster movie would be great.
[2:02:27] Brilliant. Yeah, wonderful.
[2:02:29] So a mistaken identity spy film, a disaster movie and a sports
[2:02:33] manager real movie. I mean, take your pick.
[2:02:37] But just singing somebody die, like, say frost die in a like a
[2:02:40] disaster movie and drop in the cornet or it's the end.
[2:02:43] It's all done. Yeah, it'll be great.
[2:02:45] It'll be wonderful. And 17 years since the Dust has
[2:02:48] settled on Hot Fuzz. In the years since its release,
[2:02:50] where have you seen if any, influence Hot Fuzz has in
[2:02:53] popular culture? In popular culture, I think just
[2:02:56] how it's embedded itself into it, the amount of lines that
[2:03:00] people will quote from this film.
[2:03:02] This film gets quoted quoting Bad boys Two and Point Break
[2:03:06] more than Bad Boys Two or Point Break get quoted themselves.
[2:03:11] I'd imagine a substantial amount of people, nor those two films
[2:03:14] from this more than the actual films themselves exist and
[2:03:17] that's how big I think it is in in popular culture.
[2:03:21] So because of that, because I think it's kind of sunk in more
[2:03:24] than Shaun of the Dead. I'm not saying it's their best
[2:03:26] film, but for its influence in popular culture, I think this
[2:03:30] might be their definitive film. I think if you say people, Edgar
[2:03:34] Simon Pegg, Nick Frost, what do you think?
[2:03:36] Them? Oh yeah, Hot was guys brilliant?
[2:03:39] That's how I see it. Yeah, I don't disagree.
[2:03:41] What about you, Wesley? I think it's like was said
[2:03:43] before. I think when we're talking about
[2:03:45] Inglourious Basterds and and what that influence was, it's an
[2:03:48] influence on Edgar Wright's for the films.
[2:03:51] I think the the way that this is caught and the way that this is
[2:03:54] shot, I think you've got a lot of confidence for how popular
[2:03:56] this film became because like I've said, I think this is a
[2:03:59] film that they made for themselves.
[2:04:00] I don't really think there's an audience necessarily where you
[2:04:03] go, this is definitely made for this demographic.
[2:04:05] It's made for them and if you buy into it then great.
[2:04:07] Yeah, if you like it. Exactly.
[2:04:09] And I think he got a lot of confidence from this film.
[2:04:12] So I think that the influence in this is you can see it more in
[2:04:15] Edgar Wright's work and the more the confidence that he's built
[2:04:18] from this. You know, there's a lot of
[2:04:19] British films that came off the back of this where they've said
[2:04:22] actually we can just do it and pare it down and it actually
[2:04:24] makes sense that people are going to hate money to say
[2:04:26] something that is quintessentially British.
[2:04:29] Yeah, and have a British sense of humour.
[2:04:30] And there was a lot of films that came off the back of this
[2:04:32] that had a British sense of humour and weren't scared to
[2:04:35] hide behind accents and and anything else.
[2:04:37] So I think it did open a lot of doors, but I think the most
[2:04:40] doors that regional, Yeah, exactly.
[2:04:41] I think the most doors that he did open, though, was for Edgar
[2:04:44] Wright to move forward and make the likes of Baby Driver.
[2:04:48] Well, I'll tell you where I haven't seen its influence, and
[2:04:51] that's in the action genre. The amount of trash that's been
[2:04:54] carted out of Hollywood in the genre that have completely
[2:04:56] turned a blind eye to Hot Fuzz online.
[2:04:58] All the expendable films, for example, have nowhere near as
[2:05:01] competent an action film than Hot Fuzz is.
[2:05:05] I think I see the legacy of the film kind of in social media.
[2:05:08] There's a huge amount of affection for this one,
[2:05:10] particularly over X Slash Twitter.
[2:05:12] It's an endless well of funny memes, just like the one where
[2:05:15] Concert Down does that double T great stuff.
[2:05:17] And I just think it's reputation has grown since its release and
[2:05:21] that's very, very visible. It's got a very visible online
[2:05:24] presence. It really does, yeah.
[2:05:26] Yeah, yeah. I mean, you can't say that you
[2:05:28] hear this online because you will be carted out of town,
[2:05:31] tarred and feathered westing. Yeah.
[2:05:32] So just watch what you see. On here it's fine, I'll just
[2:05:35] disappear. So no direct sequel to Hot Fuzz,
[2:05:38] but I think we're all living in hope, maybe 66% of us, that the
[2:05:43] PEG Right Frost Dream Team will have its fourth outing at the
[2:05:46] cinema sooner rather than later, yes?
[2:05:48] Yes. All the right movies ranking.
[2:05:55] I'm sure you won't argue that this has been a no holds barred,
[2:05:58] adrenaline fueled thrill ride. Absolutely.
[2:06:00] And to wrap us up, we're bringing the noise by
[2:06:02] summarizing a rain Hot Fuzz out of 10 Westy.
[2:06:05] Yeah, with some trepidation. The floor is yours.
[2:06:08] Straight in there with me. I've thought about this long and
[2:06:12] hard all week really of like how I'm going to rate this and I
[2:06:16] don't quite know because it's it leaves me wanting still, even
[2:06:20] though I finish it and I'll watch it again and like you
[2:06:23] said, look, it's it's a rewatch and you you feel satisfied by
[2:06:26] it. I don't necessarily feel
[2:06:29] satisfied when I've seen it overnight.
[2:06:31] I think it just leaves me wanting because I know that
[2:06:33] Edgar Wright is capable of so much more and at this point I
[2:06:36] think Simon Pegg is capable of so much more.
[2:06:38] I think the cast, wonderful. I think the film is, is
[2:06:41] enjoyable, but it's not something that I'm going to come
[2:06:43] back to. It's not something that I'd
[2:06:44] stick on and go. I can't wait to watch this again
[2:06:47] and after watching it so much for this, I don't think I'll go
[2:06:50] back with for a very long time. Loads and loads of people love
[2:06:54] this film and I appreciate that and I appreciate the craft
[2:06:57] that's gone into this. I appreciate I got right to
[2:07:00] touch and how it is light. So for that reason, I'll give
[2:07:03] hot foes very, very kind 8 out of 10.
[2:07:09] Very kind of you, Wesley. You were kind with the score,
[2:07:12] considering your comments. So that's that's good.
[2:07:14] Yeah, I've watched the film too many times to count, so I've
[2:07:18] obviously got a soft spot for it.
[2:07:20] It's just a great way to spend 2 hours with actors that I'm fond
[2:07:22] of and dialogue that makes me roll around laughing.
[2:07:25] I think Edgar Wright has got an irresistible style all right.
[2:07:28] He's no Bellator, but he makes fantastic popcorn, good time
[2:07:31] movies, and sometimes that's all you need.
[2:07:34] For a kick in the balls that was, that's me.
[2:07:37] But the film comes with loads of delicious layers to unpeel.
[2:07:40] I will say that the film feels a little imbalance with the final
[2:07:43] third, although it's still grace and the the there is a lack of
[2:07:46] emotion which does prevent a lack of depth and emotional
[2:07:50] involvement. From a watching perspective,
[2:07:52] it's a big one for me, but I do prefer Sean, so I'm going to
[2:07:55] give it a big time, 9 out of 10. OK, OK.
[2:07:58] One point more than you, and I think I was a lot more positive.
[2:08:04] We are more positive. And Matt, what is your summary
[2:08:08] in score for Hot Fuzz? So Hot Fuzz, it's a film where
[2:08:11] it depends on how I'm going to rate it and what I'm going to
[2:08:14] rate it against. You know, I often do kind of
[2:08:16] give different films different criteria and if I'm rating this
[2:08:20] as a comedy film, it's absolutely top drawer.
[2:08:22] There's been very few films since that I'll find as funny as
[2:08:26] this with jokes. I've run the whole gamut from
[2:08:28] visual humor to 1 liners to character humor, as Joe said in
[2:08:32] her question, to the typical right and peg jokes that only
[2:08:35] reveal themselves on further viewings.
[2:08:37] If I'm reading it as a British film, again, it's top draw
[2:08:40] because it has this Sheen, It has this Pierce.
[2:08:43] It has this real sense of being made by a director and a writer
[2:08:47] who loves cinema, who loves genre, who know how to mix them,
[2:08:50] who do this from a country where generally we just don't do this
[2:08:53] kind of film at all and certainly not as well.
[2:08:55] It's a faultless cast. There's not anyone here where
[2:08:58] they wish the recast them. Everyone is great.
[2:09:01] Everyone delivers and some of the people here I think are
[2:09:03] given their best work in the cast.
[2:09:05] But I think because Ed Greit is so distinctive, he is in that
[2:09:08] group for me where I have to rate it against his other films.
[2:09:11] So Sean of the Dead has so many jokes, but it's got heart and
[2:09:15] emotion as well. You know, I'll always say about
[2:09:18] Sean that last 20 minutes, it just knocks me out how, like
[2:09:21] emotionally invested I am with those characters in, you know,
[2:09:24] genuinely gutted when Barbara was shot.
[2:09:26] Ed gets bitten and it's genuinely scary.
[2:09:29] Intense as well. Hot Furs are so many jokes, but
[2:09:32] that's it. It's just jokes.
[2:09:34] And that's obviously fine because that's what they wanted
[2:09:36] to do and just want the pull off brilliantly for the most part.
[2:09:39] But if I gave Shaun of the Dead top marks for giving me the
[2:09:42] unexpected along with the expected, I can't do that with
[2:09:45] Hot Furs because it doesn't give me anything unexpected.
[2:09:48] So I'm also giving it a nine. Yes, Fair scores, I think.
[2:09:53] Fair comments, yeah. And for our final score for Hot
[2:09:56] Fuzz, it's over to those crazy cats at X slash Twitter.
[2:09:59] To bring it home. I've picked out some comments
[2:10:01] before I give you the big reveal.
[2:10:03] Firstly, Jenny Davidoff, cook at Jenny D450, said favorite movie
[2:10:10] tied with Shaun of the Dead. I've watched it over and over.
[2:10:12] Love the comic timings and the editing.
[2:10:15] Listen to this, Wesley. The editing is brilliant.
[2:10:18] Fancy that real Ludgate at Ludgate?
[2:10:25] Rear says. It's hilarious.
[2:10:27] Endlessly rewatchable to one of the most quotable movies of all
[2:10:30] time, it's consistent in tone, stays true to its own internal
[2:10:33] logic, and peers off everything it sets up.
[2:10:36] The brilliant cast seem to be enjoying themselves.
[2:10:38] Bring the noise 10 out of 10. Does that Dave Gear Sherwood at
[2:10:43] Dave Gear, Sherwood said. With respect.
[2:10:46] Can I just make Hot Fuzz A10? Yes, I can.
[2:10:49] I'm the Chief Inspector and it's hilarious.
[2:10:52] Very nice. Nice.
[2:10:52] Yes. And on the slightly more
[2:10:55] negative side, Scarver, Shawcross at Scarver, Shawcraw
[2:10:59] One said. I'll give it A2.
[2:11:01] I'd rather watch real action films.
[2:11:03] Wow. Hey, you can do both, Scarver.
[2:11:06] Of course you can't. So I'll tell you what do you
[2:11:09] think hot food's got on X? I'm going to say 9.
[2:11:12] Yeah, people have a trouble on it back myself and say it's 9.
[2:11:16] Nine. Yeah, you're both right out of
[2:11:18] the park. Off the fucking chain.
[2:11:20] It is a nine out of 10. We've got a lot of votes on that
[2:11:23] one. There's clearly a great love for
[2:11:26] Hot Furs online. Yeah.
[2:11:27] Which means that overall, Hot Furs scored a very nice 35 out
[2:11:32] of 40. Respectable.
[2:11:34] Strong. Yeah, you can see where Hot Fuzz
[2:11:37] ranks amongst all the other films that we've talked about on
[2:11:39] our classic podcast. Go to
[2:11:41] alltherightmovies.com/leaderboard. We are taking a very short break
[2:11:46] in our podcast schedule, so in two weeks we'll be pulling
[2:11:48] something wonderful out of our archive for a limited time only.
[2:11:52] So keep your eyes open for that in two weeks, then we'll be back
[2:11:55] with a bang. Two weeks afterwards, John, Matt
[2:11:57] and Westie will be plunging into the behind the scenes story of
[2:12:00] Alex Garland's Ex Machina. A great film to get into.
[2:12:04] Bound to be another classic classic, that one, yeah?
[2:12:07] Yeah. Should be really interesting
[2:12:09] film that. Very interesting film, yeah.
[2:12:11] Right up John Street. That one, Yeah.
[2:12:13] Yes, he's lapping it up. We're not going to say much.
[2:12:16] No, we're just going to let him go.
[2:12:18] You. Just get some kind of like
[2:12:19] Ferris Gula Dictaphone and just have that.
[2:12:23] Bueller. Bueller.
[2:12:26] Bueller. For our directors chair to your
[2:12:30] patrons, the three of us here you talked about two of the best
[2:12:32] from Dustin Hoffman, Marathon Man and Tootsie.
[2:12:34] Yes, that came out last week. So to sign up to be a director's
[2:12:38] chair to your patron and get your hands on that one, you will
[2:12:41] not be disappointed. Yes, loads of fun.
[2:12:43] Yeah, it was great fun. Great stuff.
[2:12:45] As mentioned at the top, patrons get access to all of those
[2:12:47] podcasts mentioned and more. You get to see in what films
[2:12:51] that we cover in the scores they get.
[2:12:53] You're missing out on hundreds of hours of atrm Classics and
[2:12:57] Patreon episodes. So that is patreon.com/all the
[2:13:00] Right movies. And you can also buy our podcast
[2:13:02] individually on our website alltherightmovies.com.
[2:13:05] And also you can subscribe to us on Apple Podcasts for the
[2:13:09] classic podcast archive. Yes, a lot of choices.
[2:13:12] Absolutely. And keep up to date with us on
[2:13:15] social media. On X slash Twitter we are at AT
[2:13:18] Right Movies. We post all day, every day, and
[2:13:21] we've always got loads of behind the scenes stuff, Photos, clips,
[2:13:24] interviews. We've got our amazing making of
[2:13:27] movie threads. And like our podcast, our info
[2:13:30] comes directly from cast and crew or is corroborated by at
[2:13:33] least three sources, so keep checking back regularly for
[2:13:36] more. They're going up all the time,
[2:13:38] Definitely on Instagram and threads.
[2:13:40] We are at all the under score, Right Movies, TikTok it is at
[2:13:43] all the right movies. We've got our Facebook group
[2:13:46] which is gaining a lot of traction and there's a lot of
[2:13:48] very nice conversations to be had there about movies and
[2:13:51] nothing else. Absolutely.
[2:13:52] There's nobody doing it better than we are right now.
[2:13:55] So can we? Yeah, there's a song there
[2:13:57] somewhere. Where?
[2:13:57] I think so. It might be a fun.
[2:13:59] I don't. Maybe.
[2:14:01] And also don't forget YouTube. We've got our videos on there.
[2:14:04] If you could like the videos, subscribe to us and put some
[2:14:07] comments on there. Let other people know about our
[2:14:10] YouTube channel YouTube videos, we would appreciate it.
[2:14:12] Absolutely. Appreciate it.
[2:14:13] Yes. Thank you so much.
[2:14:15] And if you love what we do in the podcast, please spare a bit
[2:14:17] of time to give us a rating on Apple podcast and Spotify.
[2:14:20] As I'm sure you all agree it's a five star podcast. 5 would be
[2:14:24] the logical rating. So go for it.
[2:14:27] Yeah, why not. And our website is all the
[2:14:29] right. movies.com Loads of atrm stuff to get into.
[2:14:33] Yeah, and that is a wrap on Hot Fuzz.
[2:14:35] Woo. Hell of a day.
[2:14:36] Yeah, maybe we should celebrate. Unless you've got to water your
[2:14:40] peace Lily. Pub.
[2:14:45] Come back in two weeks for a classic from the archive and
[2:14:48] thank you very much for listening everyone.
[2:14:50] You will be hearing from us very soon.
[2:14:51] Yes, you are. Thanks guys.
[2:14:52] Yes, you will. Thanks guys.
[2:14:53] Thanks for listening. Appreciate loads.
[2:14:55] Bye, bye, bye, bye. A great big bushy beard.

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