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Behind the Mics: ATRM Patron Q&A (April 2025) · All The Right Movies

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