Latest / All The Right Movies / In Bruges | Ep. 33 - Part 1

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In Bruges | Ep. 33 - Part 1 · All The Right Movies

• 0:04
  All the movies. Well, the.
• 0:08
  Boy is suicidal, honey. He's a Walking Dead man.
• 0:13
  Keeps going on about hell and. When I found you yesterday, did
• 0:16
  I ask you, Ken, will you do me a favour and become race
• 0:19
  psychiatrist? Please, No.
• 0:21
  What I think I asked you was could you go blow his fucking
• 0:24
  head off for me? He's suicidal.
• 0:27
  I'm suicidal. You're suicidal.
• 0:30
  Everybody's fucking suicidal. We don't keep going on about it.
• 0:34
  Hitman Ray and Ken are ordered to hide out in Brugge after a
• 0:37
  job gone wrong in London. Ken is beguiled.
• 0:39
  Ray hates it, but the city brings with it the jewels
• 0:42
  reckoning as they face up to their misgivings and their
• 0:45
  lunatic boss Harry. In Bruges was the featured debut
• 0:49
  of celebrated playwright Martin McDonagh, who brought his
• 0:51
  inimitable dialogue and style to the big screen.
• 0:54
  He also brought together the acting talents of Colin Farrell
• 0:56
  and Brendan Gleeson. For the first time, the movie
• 0:58
  Going World rejoiced and critics swooned at this immediate modern
• 1:02
  cult classic. My name Is Luke and the two
• 1:04
  monkey hookers with me are Matt. And so my fucking kids, that's
• 1:08
  going overboard, mate. And Westy.
• 1:10
  What's a 50 year old lollipop man do?
• 1:11
  Known fucking karate? What is he, Chinese lollipop
• 1:13
  man? We're on a train out to Bruges.
• 1:16
  It's in Belgium. Do I have to?
• 1:18
  'Cause you don't fucking have. To.
• 1:37
  Hello everyone. Merry Christmas and welcome to
• 1:40
  the final episode of 2023. From all the right movies.
• 1:42
  Yes, a fucking fairy tale of a podcast on classic and his films
• 1:46
  it is. We're ending the year in style
• 1:48
  with this show. Podcast First Christmas, later
• 1:50
  it's in Brugge. Nice.
• 1:52
  No dual carriageway though. No, it wasn't there when I was
• 1:54
  there. Yeah, well, it's about it,
• 1:55
  wasn't it? Yeah, bowling alley, though,
• 1:57
  yeah. Medieval ball and.
• 2:01
  A Pizza Hut. Pizza Hut.
• 2:04
  It was it. All right.
• 2:04
  Yeah. You know Pizza Hut?
• 2:06
  Pizza Hut. It was in England.
• 2:07
  That's globalization isn't. It OK.
• 2:16
  Before we start the sightseeing, it's time to take a look around
• 2:19
  the ATRM Museum known as Patriot.
• 2:21
  Yes, which is not a shithole. It isn't a shithole at all.
• 2:25
  Reserve judgment until you've seen the fucking thing, all
• 2:27
  right? This is going to be a long, long
• 2:31
  afternoon. I'm sure you've heard of us
• 2:33
  talking about Patreon before, so once more shouldn't be a
• 2:36
  problem. And if you're a new listener,
• 2:38
  you're in for a treat. Absolutely.
• 2:39
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• 2:42
  their efforts, they get access to our entire podcast archive.
• 2:45
  That's almost 70 episodes of our classic show, the one you're
• 2:48
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• 2:52
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• 2:57
  those each month. Yes, yes you do.
• 2:59
  Besides that, you also get to vote on the films that we talk
• 3:01
  about out and ask us questions, which we'll answer live on the
• 3:04
  show. So if you're looking for any
• 3:05
  last minute gift ideas for yourself or your loved ones,
• 3:09
  look no further. I know it might be a
• 3:11
  proposition, feel like you're in a dream but you are awake.
• 3:14
  So get over to patreon.com/all the right movies to enjoy the
• 3:17
  sounds of all the right movies and make everyone's Christmas
• 3:21
  extra. Special.
• 3:21
  Beautiful. The gift that keeps on giving.
• 3:23
  Yes it is. Please do.
• 3:24
  You don't have to though. Because you don't have to.
• 3:27
  Don't have to. Actually, our classic podcast
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  archive is also available on Apple Podcasts, so you can hit
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  And you can buy them individually on our website as
• 3:39
  well. Three attractive options.
• 3:41
  If you could help us out and support us we would really
• 3:44
  appreciate. Yes, we really would guys.
• 3:46
  Thank you. Thanks very much.
• 3:47
  Cheers. Back to In Bruges, then, chaps.
• 3:50
  I was going to say I should front this up by apologizing,
• 3:53
  but we've already sworn more than enough.
• 3:57
  But apologies in advance for any profanities, of which there will
• 4:02
  be a lot of return. Because of this.
• 4:04
  Any film with AC bomb in it will do it.
• 4:06
  Matt seems to take that as carte blanche.
• 4:09
  Take it as a challenge. Talk without his usual silver
• 4:13
  tongued grace. Just try not to say anything too
• 4:18
  loud or crass, man or. Try.
• 4:20
  So this is your choice. Why do you want to talk about
• 4:22
  Imbrugmat apart from the obvious nepotism?
• 4:25
  We'll get on to that. I'm honestly surprised it's
• 4:29
  taken us this long to get around to it.
• 4:31
  We always talk about it. We always quote it.
• 4:34
  We love McDonough and everyone in this, but genuinely for me,
• 4:38
  when this came out of the cinema I gave it the big swerve and
• 4:41
  that was, yeah, entirely because of the poster.
• 4:43
  I think the poster is terrible and it made it look like a bad
• 4:48
  guy. Richie knock off and see.
• 4:50
  We're interested in that type of thing.
• 4:52
  So is that. When Farrell's like holding the
• 4:53
  ice cream cone. Holding the ice cream and it's
• 4:56
  what's the tagline? Shoot First I see you later.
• 4:58
  Yeah, really enough crap. And I did see it because I think
• 5:01
  this must have been in like the dying days of when he could
• 5:03
  physically rent a film from a shop.
• 5:05
  I just thought I've heard some good things so I'll give it a
• 5:07
  go. And I got to the end and I
• 5:09
  genuinely wanted to watch it again right from the beginning,
• 5:12
  because it just went nowhere where I was expecting.
• 5:15
  And I remember to sit in there going.
• 5:17
  I think that was brilliant but I'm so surprised I can't quite
• 5:20
  get me head around it. You can't keep up with it the
• 5:22
  first time. You can't.
• 5:23
  But ever since then it's become a firm favorite.
• 5:26
  Long term listeners might remember couple years ago we did
• 5:29
  an alternative rank and Christmas films list.
• 5:32
  Don't give way if you haven't listened up, but this one was
• 5:34
  featured quite highly by all of us.
• 5:36
  So I'm really looking forward to talking about it in depth, and
• 5:40
  I'm really looking forward to seeing how many times Luke's got
• 5:42
  to break out the Bleep because yes, it's going to be a Sweary
• 5:45
  1. Wow, Sorry.
• 5:47
  Sorry. Happy Christmas.
• 5:49
  May. Fucking Christmas.
• 5:52
  And we probably should explain for new listeners that nepotism
• 5:55
  comment Colin Farrell's your brother or something, Matt.
• 5:58
  Yeah, he's me brother. No, we are distant cousins,
• 6:01
  distantly related. Well, I'll say I said it before
• 6:04
  I say it again. Why isn't he here?
• 6:06
  I keep on sending him the Christmas card.
• 6:08
  He keeps on ignoring me. Have you got any contact with
• 6:13
  him at all? Just anything, Matt.
• 6:18
  No, because the kind of contact we had was dependent on my
• 6:21
  uncle, But he died a couple of years ago.
• 6:23
  Does he know who you are, man? Well, of course he does.
• 6:27
  Me. Who?
• 6:27
  Doesn't. Well, that's true enough.
• 6:29
  No, but seriously, does. He I wouldn't have thought.
• 6:32
  No, I absolutely wouldn't have thought so.
• 6:34
  He just doesn't like anymore. He just doesn't like me anymore.
• 6:37
  That's it. You like you like me yesterday?
• 6:45
  Fantastic. And Westie is in Bruce your
• 6:48
  thing. It's definitely my thing, and I
• 6:51
  agree with Matt, but I also kind of love that poster because it
• 6:54
  makes a lot of people who won't understand this film spend money
• 6:57
  and go and see it. Yeah, I want to see that guy
• 7:01
  Richie. Not often.
• 7:01
  They'll be so disappointed. I fucking love that secretly.
• 7:04
  Because it isn't that at all. No.
• 7:06
  It's very intelligent film, very theatrical film, very dialogue
• 7:10
  heavy, very good at addressing mental health without getting
• 7:13
  too bleak or too sad or too dark.
• 7:16
  It's very accessible, it's very watchable.
• 7:18
  One of me, very, very favorite films, and I remember this was
• 7:21
  the film that was saw before me, First child was born.
• 7:24
  It was like the last film that I saw, right?
• 7:26
  It's like. Like Momentous.
• 7:28
  Yeah, right. He will go, right.
• 7:29
  We'll go leave for the hospital and bruises on.
• 7:30
  And I was like kind of just finish this that day as well as
• 7:40
  I go watch it again. And I just remember I just have
• 7:43
  fond memories of it making us feel really safe and really
• 7:46
  comfortable and getting a lot of understanding from it.
• 7:48
  So it's one of the films that's always been there for me.
• 7:50
  I'll always introduce people to it.
• 7:52
  I'll always stand by it. And it has an incredible tone
• 7:55
  and an incredible comedy element to it.
• 7:57
  A great, great first double act from Gleason and Farrell and an
• 8:00
  amazing turn from Fine. So yeah, I'm looking forward to
• 8:02
  driving into this one. Yeah, very much.
• 8:04
  I think we're all the same. All of those things that you
• 8:06
  said, to be honest, fellas, you can get the comedy, tragedy and
• 8:09
  great performances from the first watch of In Bruges, I
• 8:12
  think. But I think repeat viewings are
• 8:14
  essential to really get to the bottom of Mcdonough's work here.
• 8:17
  Yeah, in a style that we've now become accustomed to,
• 8:20
  considering his filmography as well.
• 8:23
  It's a wonderful film. Obviously.
• 8:24
  You've got the Swans and the bridge, isn't that?
• 8:27
  All the old buildings that. All the old buildings in that,
• 8:32
  but it's got really nuanced performances, huge, huge, huge
• 8:36
  depth from Colin Farrell that we probably hadn't seen beforehand.
• 8:39
  No. And good busting humor.
• 8:41
  Probably one of the funniest films of the 21st century for
• 8:43
  me. It's up there.
• 8:45
  Definitely easy. It's so funny.
• 8:47
  Tim Bruges was written and directed by Martin McDonagh and
• 8:50
  produced by Graham Broadbent and Peter Chernin for Focus
• 8:52
  Features. Shot on location in Bruges and
• 8:55
  released on the 8th of February 2008, it stars Colin Farrell and
• 8:59
  Brendan Gleeson as mismatched hitman Ryan Ken Clemens, bossy
• 9:03
  stars as Chloe and Rear finds as the deranged criminal kingpin
• 9:07
  Harry Waters. Yep.
• 9:10
  We're delving deep into the alcoves of Imbruges, and we're
• 9:12
  starting with Ray and Ken arriving by train.
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  A Moody opening to the film highlights Bruges architecture,
• 9:38
  and Ray's voiceover half confirms the motivation for our
• 9:41
  two leads to be in this picturesque part of the world.
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  Matt is Bruges a shithole? Depends if your kind of fucking
• 9:47
  thing. I know, doesn't it?
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  I love the opening door because it's even better if you don't
• 9:53
  know where this film is going because it's full of intrigue.
• 9:55
  You know who has this guy killed and why does it mean that he's
• 9:58
  being sent to Bruges of all places?
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  Why there? And the fact that Ray doesn't
• 10:03
  know where Bruges is tells you a lot about him straight away.
• 10:05
  But also when he says that straight in with a great joke.
• 10:08
  It's in Belgium. Yeah, just really funny, really
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  funny, deadpan. In this opening.
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  It has all this melancholic music.
• 10:15
  It has the carvings on the buildings.
• 10:17
  That's all that, you know, the docky, the delcoves.
• 10:19
  So it's all quite threatening. And then when you see Ray and
• 10:22
  Kent for the first time, it's handheld.
• 10:24
  It all feels and looks very bleak.
• 10:26
  And this was the first clue for me that, oh, this isn't going to
• 10:29
  be what I thought it was. And Ray really surprises you in
• 10:32
  that opening sequence because he looks so sulky and he's
• 10:35
  extremely unimpressed that he has to share a room with Ken
• 10:38
  because it's Christmas so it's fully booked.
• 10:39
  So you think this guy is going to be a complete pain in the
• 10:43
  arse, just cause some trouble and complaining, you know when
• 10:45
  he's going for two weeks and fucking Rouge room like this
• 10:48
  with you? No way with.
• 10:50
  You. So yeah, you think he's this
• 10:53
  guy, but then when Ken alludes to him, well, you're the reason
• 10:55
  why we're here. He's straightened our bathroom
• 10:57
  and you can see practically sort of sobbing right away.
• 11:00
  So something has happened, something bad, something we are
• 11:03
  not Privy to. It's just a really extremely
• 11:06
  intriguing opening and a kind of wrong foot to you right from the
• 11:08
  start. I love Ken's little look towards
• 11:11
  rear when they're on the way to the hotel.
• 11:13
  He's so happy with himself when he sees the canal and he kind of
• 11:16
  nods and winks it's rear like told you.
• 11:19
  It's fantastic, isn't? It yeah, isn't it?
• 11:22
  It's like 9 Shit. It's the first line of dialogue
• 11:26
  in this film. Like when I killed him, I went
• 11:29
  to Burger King and washed remnants off my hands through
• 11:31
  the gun in the Times. It's like, who did you kill?
• 11:33
  Where is this going? And you kind of missed a.
• 11:35
  Lot of intrigue. Yeah, yeah.
• 11:36
  I'm going to go for the bit when it's just Ken wanted to just see
• 11:39
  more of the place, wanting to go in the tower.
• 11:42
  He's just so happy, isn't he? He's just such a lovable.
• 11:44
  The best. Time.
• 11:45
  The best hit man I've seen on film.
• 11:47
  Just the most lovable guy and it's when he's counting them
• 11:50
  coins out and he's just 4490 and he's and he's 5 year old and
• 11:56
  he's 5. This guy's a fucking Dick.
• 11:58
  But I see this and I've said this ever since.
• 12:01
  If I encounter anybody in Rihanna, know it's hard work
• 12:03
  working in retail. I'm not taking that away from
• 12:05
  you. I've done it.
• 12:05
  And I know it's hard work. Yeah, but turn around and going
• 12:08
  happy and your work is one of my favorite things to say to anyone
• 12:12
  who's having a bad time. But this guy responds in the
• 12:15
  most obnoxious way, Very happy. He obviously loves that job.
• 12:19
  This is just great foreshadowing, which I'll get
• 12:20
  into later on with the coins and they're not getting accepted,
• 12:23
  but obviously, but no way. That's great.
• 12:24
  And that's what's a wonderful thing in the mirror image.
• 12:26
  But another great thing that you don't really, really pick up on
• 12:29
  is when he gets to that tower and he looks down at the view
• 12:31
  and he sees Gray walking around and he points the finger at me
• 12:34
  if he's going to shoot him, which kind of foreshadows
• 12:36
  everything else. This film has a lot of it, asks
• 12:39
  a lot of questions, but gives a lot of answers.
• 12:41
  But you've really got to look for them because they're all so
• 12:44
  subtle and so nuanced. A lot of them are visual.
• 12:46
  It's just genius writing. Absolute genius.
• 12:49
  It's incredible stuff. I love the moment outside of
• 12:51
  that tower. Firstly, just before Ken goes up
• 12:54
  there. Ray doesn't want to go up.
• 12:55
  Yes, he was raised in Dublin. He loves Dublin.
• 12:58
  If he was raised on a farm and some other things, Rouge might
• 13:01
  impress him. But he didn't, So it doesn't.
• 13:03
  Diplomatic. I like that.
• 13:04
  Very well done. That line, although hilarious,
• 13:08
  it just outlines these characters.
• 13:10
  Just small mindedness and stubbornness.
• 13:12
  He'd rather sit on a bench by himself in the freezing cold
• 13:16
  than go up the tower with Ken, and that's more mindedness.
• 13:19
  Feeds right into the interaction he has with the American family.
• 13:22
  It's a thread in the film. It links the Canadians at the
• 13:24
  restaurant. And Jimmy, he doesn't just hate
• 13:26
  Bruges, he hits anywhere that isn't Dublin.
• 13:29
  He hits anything that he doesn't know about it.
• 13:33
  And there are two hilarious moments here, Of course, utterly
• 13:36
  offensive when he calls them a bunch of fucking elephants.
• 13:39
  I mean outrageous. It's just from nowhere.
• 13:43
  It's so small minded to any stereotype as well and you
• 13:46
  should hear these people. Yeah, but there's something very
• 13:49
  Monty Python, or even Benny Hill of him being chased around by
• 13:52
  the big. Isn't it?
• 13:55
  Yeah, yeah. It's a total slapstick moment.
• 13:57
  You know, you're just the rudest man.
• 14:01
  Yeah, well, when Ken comes back down and he's harangued by that
• 14:05
  woman, he asks Rhea what happens and he gives him this like
• 14:07
  innocent little shrug of the shoulders.
• 14:09
  Yeah, I don't agree at that. Yeah.
• 14:11
  Americans, isn't it? Yeah, yeah, Americans.
• 14:12
  Isn't it? But Ken knows he's been up to no
• 14:15
  good. Yeah.
• 14:15
  Yeah. So a hilarious opening to the
• 14:18
  film. We don't quite know the source
• 14:19
  of Rhea's pain, but we can certainly feel.
• 14:22
  It absolutely. Yes, definitely.
• 14:27
  Back to the hotel. Ray and Ken are settled for a
• 14:29
  quiet night in, awaiting a phone call.
• 14:31
  But Ray has other ideas. And this moment when they're in
• 14:34
  the room, Ray is looking out the window, and it's the most
• 14:38
  beautiful view you've ever seen in your life.
• 14:40
  He's got a window seat. He could stay there all night,
• 14:44
  but he's bored out of his brain and he manages to wrangle Ken
• 14:49
  out. And he does it because he spots
• 14:50
  a kind of a small weakness in Ken's defences.
• 14:53
  First, he says, let's go out. Ken's eyes widen.
• 14:56
  Go out where? To the pub?
• 14:57
  No, but because of this flicker of encouragement was there.
• 15:01
  Rear changes his approach. He takes his time about it as
• 15:04
  well, and you can see the cogs going as he's assessing his
• 15:06
  delivery and suggests going out to see all the old buildings and
• 15:09
  that. Yeah, great.
• 15:11
  Lovely. Like seeing that side of Real?
• 15:12
  Yeah, yeah. He's not completely stupid, but
• 15:16
  presumably he wants to go at the pub and get drunk all the time
• 15:19
  in the film to numb the guilt of that he's carrying around his
• 15:22
  neck. Yeah, yeah.
• 15:23
  So, although hilarious, all of it is tinged with this sadness.
• 15:26
  Yeah, but his reaction when Ken says yes.
• 15:28
  Yes, come on. All the old buildings and shit.
• 15:36
  I really love about this section of the film is when they're
• 15:38
  actually out and about and Ray gets so excited and the film on
• 15:42
  something, the film images and it's like, yeah, it's so funny,
• 15:46
  but at the same time quite offensive, very offensive, at
• 15:49
  the same time quite surreal. And far all you can tell is just
• 15:53
  it's got this kind of innocence, it's an ignorance, it's a real
• 15:57
  innocence. And when he goes up to Chloe,
• 15:58
  that's my favorite bit of anything, trying to talk to
• 16:01
  somebody or trying to chat somebody up.
• 16:03
  And I'm like if that's all you have to do, I might give this a
• 16:05
  bash at some point because I've always.
• 16:07
  Just talked about Time Ban, yeah.
• 16:09
  Midgets. A lot of midgets kill
• 16:11
  themselves. A disproportionate emotionate.
• 16:13
  Amount actually. But they are disproportionate,
• 16:15
  it's kind of all it's really got 2.
• 16:18
  Examples disproportionate. And he only knows the name of
• 16:21
  one of them, the R2D fella. No, he's still.
• 16:24
  He's still still he just he's on the set.
• 16:29
  He's got in there somehow you can tell he's obviously got the
• 16:31
  way of just moving around so he's broken through securities
• 16:34
  on there and fills our coffee. I'll be like hello just like
• 16:38
  spilling it around and and she turns in and and has this
• 16:42
  incredible dials like a pastiche of don't look now and you're
• 16:45
  like wow, OK, right. I understand that.
• 16:46
  Yeah. And he hasn't got a fucking clue
• 16:48
  what you're talking about. Fucking.
• 16:51
  He's not seen it, does he? And it's really, really good and
• 16:53
  really funny, as I'll tell you what I do tomorrow with dinner.
• 16:55
  And she loves that because you can just see through this guy
• 16:58
  and just see how innocent he is, not how ignorant he is.
• 17:00
  And I think it's a really lovely moment from Farrell and it's so
• 17:03
  brave for him to play this role at this point in his career when
• 17:06
  he's really trying to prove something.
• 17:07
  I mean, this is after like Minority Report, right?
• 17:09
  And everything's kind of gone a little bit downhill for him and
• 17:12
  he needs to get he's just being himself.
• 17:13
  He's like, look, this is what I'm like.
• 17:15
  And he shows that innocence and he shows that like it's got a
• 17:17
  real integrity to the role. And this is what shows it for
• 17:19
  makes it's just so nuanced. But it's so cool when she throws
• 17:22
  that card and he. Says it.
• 17:24
  Nice move. Yeah.
• 17:25
  It's really, really good. She's cool as ice pops in this
• 17:28
  film as well and he just picks up like so fucking cool.
• 17:31
  And I'm like yeah, that is pretty cool.
• 17:33
  I would be terrified to ring that number if she did that to
• 17:35
  me. I'd be like that's it done.
• 17:37
  That's all I can do. Just give us a number.
• 17:39
  I'm just going to tell everyone about that moment.
• 17:41
  I'll never ring and because I'm going to fuck this up.
• 17:43
  I think it's a great character reveal of getting to know more
• 17:47
  of Ryan realizing that he isn't this big shot.
• 17:50
  He isn't clever. He's just innocent and.
• 17:52
  Ignorant. Yeah.
• 17:53
  Very innocent. Not very chair like.
• 17:54
  Yeah. Very much so.
• 17:55
  Very, very much so. Yeah, and that's Clemens Palsy
• 17:58
  playing Chloe in the scene. And she said reading the script
• 18:00
  was like infant Martin's universe with things you've
• 18:03
  never heard or seen. And I just wanted to be a tiny
• 18:05
  part of it. I thought I want to say those
• 18:08
  lines. Yeah.
• 18:09
  And she is wonderful. And she's got a classically kind
• 18:12
  of European quality tour, yeah. So I'm going to follow this up
• 18:16
  with Ken obviously going back to the hotel by himself, because
• 18:19
  Ray's out. Jason.
• 18:21
  Chloe. And there's that lovely bit of
• 18:23
  comedy when Marie, who's the the one of the hotel now.
• 18:27
  Mr. Blakely. Yes No.
• 18:29
  Mr. Cranham, no. Yes, Mr. Blakely.
• 18:31
  Yes, Yes. Doesn't know who he is, doesn't
• 18:33
  know who he's pretending to be here, so farcical, doing a
• 18:36
  terrible job of keeping a low profile.
• 18:39
  And then of course, it's the message that he's got from
• 18:41
  Harry, who is absolutely curious, and it's one of the
• 18:44
  best bits of swearing you'll ever hear.
• 18:47
  I'm only going to say the last bit, but you better fucking be
• 18:49
  in tomorrow night when I fucking call again.
• 18:51
  I'll be fucking hell to pay. I'm fucking telling you, Harry.
• 18:53
  Harry. Harry, this thing is like, once
• 18:59
  you've seen this film and you meet Harry.
• 19:01
  Like, now whenever I watched, I'll just get this image in my
• 19:03
  head of the scene of Marie having to take down this
• 19:06
  message, this torrent of profanity.
• 19:08
  Yeah, OK. Yes, right.
• 19:11
  And actually writing it out, Like, not, not certainly writing
• 19:15
  it down, but her handwriting is so beautiful next to that type
• 19:18
  note. Yeah, usually it's just so good.
• 19:20
  You can see her, her personality and her character.
• 19:22
  She's such a caring person. It's so well done.
• 19:25
  Well, it's great. Isn't that underneath what she's
• 19:27
  written there? I'm not the receptionist
• 19:29
  actually won the hotel with my husband, I think just tells you
• 19:31
  so much about her. She's not intimidated by anyone.
• 19:33
  So that's right. This is who I am.
• 19:36
  It's brilliant. And there's something else in
• 19:37
  Reston, hey, which it's such a small detail, but I don't think
• 19:40
  McDonough is the kind, right, who lets anything in this film.
• 19:43
  So I'm really thinking it too. Oh, absolutely.
• 19:44
  And. It's the fact he sent Ken and
• 19:46
  Rea all the way to Bruce to wait for him to contact them, but he
• 19:50
  hasn't given them a mobile phone.
• 19:51
  And I think there's two ways of looking at this.
• 19:53
  I think one, it's his way of controlling them because if they
• 19:56
  have a mobile, they can go anywhere because they don't have
• 19:59
  to stay in the hotel. And that's him just exercising a
• 20:01
  bit of control. But for me, the second bit, it
• 20:05
  just fits into this whole setting of Bruges where I think
• 20:07
  throughout the film that has this slight sense of being
• 20:09
  disconnected from the rest of the world.
• 20:11
  Like I think it's very deliberate that it gets called a
• 20:14
  fairy tale place because. The fact they don't have mobile
• 20:17
  phones, it's almost like they've gone back in time to some kind
• 20:21
  of old fairy tale. It's all the whole film for me
• 20:24
  is just ever so slightly like to touch from reality.
• 20:26
  You know the film that Jimmy is making, it's full of these weird
• 20:29
  surreal dream sequences and so this thing of like they don't
• 20:33
  even have a mobile phone and the avenue is like old dial ups and
• 20:37
  rotaries. That's just another one of those
• 20:39
  little touches that take the film away from normality.
• 20:41
  Bit really like that. Yeah.
• 20:42
  It's a great point. Yeah.
• 20:43
  Yeah. But then I just love that lovely
• 20:45
  scene of Ray coming back who's so happy with himself because
• 20:48
  he's meant Chloe and he's not even pissed because.
• 20:51
  Yeah. We've all been there.
• 20:52
  We've all had the night where we'll get back in like I've
• 20:55
  drunk a lot. I'm not even pissed.
• 20:57
  And I'm. 6 pints of even 7 bottles.
• 20:59
  Yeah, And the next one, you wake up, you go.
• 21:01
  Actually, yeah, definitely was. I was just in the zone.
• 21:03
  He's just in the zone, isn't he? Yeah.
• 21:07
  So Reyes found a distraction from his misery in Chloe.
• 21:10
  But there's going to be hell to be when Harry gets on.
• 21:13
  Oh yeah. The director.
• 21:20
  The man at the helm is first time director Martin McDonagh, a
• 21:24
  celebrated playwright since the mid 90s, but it was always his
• 21:27
  goal to get into features. A first time appearance from
• 21:29
  McDonough on the show. It'll likely not be his last.
• 21:32
  I thought so. Westie, What do you think of his
• 21:34
  work on in Bruges? I think his work on In Bruges is
• 21:36
  impeccably well done. I think it shows such a
• 21:39
  confidence. You can tell the way he blocks
• 21:40
  here, the way he moves the camera reminds me a lot of Sam
• 21:43
  Mendes who came from the same background.
• 21:46
  Yeah, he's got very Sam Mendes kind of vibe to it, where you
• 21:49
  can see this, this space where the know where people are going
• 21:52
  to move in the frame. And I think them two directors
• 21:55
  especially show that really well.
• 21:56
  But I love how much control he's got in that space.
• 21:59
  He knows exactly what he wants you to look at.
• 22:01
  But what he does from the theater background is gives
• 22:03
  space to the actors to move in, gives them room to perform and
• 22:08
  he likes, he loves the performance.
• 22:09
  For me, he's very much an actor as director.
• 22:11
  Any actor wants to work with them.
• 22:13
  I can't see cinematographers lining up to do the next
• 22:16
  McDonough film like they would want to do the next Nolan film.
• 22:19
  But I see actors lining around the block going, I'll do
• 22:21
  anything, he writes down I. Want to see those lines?
• 22:24
  Exactly I want I want. To just like Clemens Posey.
• 22:26
  Exactly. I want to embody that character
• 22:29
  that he's envisioned for anyone to turn around and go.
• 22:32
  This is a debut film. It's up there with Boogie
• 22:34
  Nights. For me, it's like a debut.
• 22:35
  It's up there with Reservoir Dogs.
• 22:37
  It's one of the best debut films that I can confidently watch.
• 22:40
  I can't find anything wrong with it.
• 22:42
  It's exactly what he wants to see.
• 22:43
  And that's what I love about a filmmaker and really, really
• 22:47
  stands up. It's fantastic stuff.
• 22:49
  Yeah, I mean, I want to pick up on what Wesley's saying about
• 22:51
  him being a debut filmmaker, but because straight away, you know
• 22:55
  what kind of a filmmaker he is, he's already got a very distinct
• 22:59
  vision and personality. The knee was comparison I could
• 23:01
  make. Wesley's went with Mendes out
• 23:03
  here, the Coen brothers for me, because it's that broad humor
• 23:06
  with uneasy laughs and dark humor and bloody violence all
• 23:10
  written at the same time. And the same composer.
• 23:12
  Obviously that helps. Same composer.
• 23:14
  Same composer, yeah, Massive. But the way he twists the pot
• 23:17
  and the characters is very Corn Esque.
• 23:19
  But at the same time, I think he makes his characters slightly
• 23:21
  more relatable. He gives them slightly bigger
• 23:24
  emotional arcs, which is easy to buy into.
• 23:27
  And that's very McDonagh. He does that in three
• 23:29
  billboards. It's what he doesn't fancies him
• 23:30
  in a show and he takes characters where you go.
• 23:33
  I'm not sure if I like them or I'm not sure how much I like
• 23:35
  them, but I'm really interested in where they're going in this
• 23:38
  film and where this journey is going to take me.
• 23:41
  Because one thing about McDonough is he never takes you
• 23:43
  anywhere predictable. Like you can't guess in the open
• 23:46
  in 15 minutes what's going to happen to Ray and Ken when Harry
• 23:49
  turns up. There's no way you'd guess what
• 23:50
  he's going to end up doing at the end of the film.
• 23:53
  And I think I mentioned this when we did our YouTube analysis
• 23:57
  on Banshees, but it's really notable to me that out of three
• 24:00
  was 4 films, he's got the location in the title.
• 24:03
  It's something that's clearly very important to him in a
• 24:05
  Sharon that's a character in its own right every in Missouri.
• 24:09
  It's that kind of small town forgotten place in America where
• 24:12
  those kind of events could happen and bruises and just
• 24:15
  picked at random. Because it does have that
• 24:17
  beauty. It does have that fairy tale
• 24:19
  aspect which really appeals to Ken and Harry, which bores the
• 24:22
  arse off rape. But the beauty of that place
• 24:24
  contrast to the violence that unfolds within it in the
• 24:27
  darkness of this story. And again, that's just pure
• 24:30
  McDonough you get at the end of the film, you go.
• 24:32
  Somehow he's told me exactly who he is as a filmmaker, and I
• 24:35
  think that's pretty remarkable for a pretty small.
• 24:37
  Scale debut McDonough Like the Setna Bruges, he paints this
• 24:42
  rich tapestry of the absurd, the vile, the hilarious, the
• 24:46
  beautiful that's all in there. There's more on PC comedy in
• 24:50
  here than in any film I can think of reading.
• 24:52
  Some great sight gags, some very funny word player, but he sits
• 24:56
  that right next to melodrama and despair and the arts.
• 25:01
  It's so lit and the most striking thing for me is the
• 25:04
  juxtaposition of of comedy and tragedy. 2 classic themes, Ones
• 25:08
  that I'm sure from his time in the theatre he's very, very
• 25:11
  aware of, very fond of who knows how to play them against each
• 25:14
  other. But I never experienced such
• 25:17
  laugh out loud moments right next to the crushing pain that
• 25:20
  rain is going through. And I can really feel that in
• 25:22
  the film. And it's not something that's
• 25:25
  just one scene is pain and the next scene is humor.
• 25:28
  It's all contained within one scene at a time.
• 25:30
  Yeah, like when Ken's talking about killing people leading to
• 25:34
  Rear talking about killing the little boy.
• 25:36
  I mean, the worst of the worst kind of guilt to reckon with.
• 25:39
  Yeah, but then sandwich routine that is really losing the shit
• 25:43
  about lollipop men on karate. Your quote at the start.
• 25:46
  What was he your Chinese? But then you think this is
• 25:52
  throwaway dialogue. Then later on someone comes up
• 25:54
  with a bottle and he goes a bottle, a bottle, and then you
• 25:56
  piss yourself. You're like, oh, that's why that
• 25:58
  was there. It's such a setup.
• 25:59
  And pay off the whole thing. It's.
• 26:00
  Great. And that's just one example.
• 26:02
  The film stuffed full of them, which we'll get to as we
• 26:05
  progress through the film. Yeah, I just can't speak highly
• 26:07
  enough of Mcdonough's work here. Like Bruges, it constantly
• 26:11
  reveals newer, darker things with eatery.
• 26:14
  Watch. It's incredible.
• 26:15
  Yeah, it's fantastic stuff. I mean, the way that you shoot
• 26:17
  to the town as well is very claustrophobic.
• 26:19
  It's all very much close-ups. There's no drone shots going
• 26:22
  over the top sweeping landscapes.
• 26:24
  It's just there's a close up on that.
• 26:26
  There's a close up on that, yeah.
• 26:27
  It's the biggest one's. The one from the top of the
• 26:28
  tower at the beginning isn't. It, yeah, that's it.
• 26:30
  That's it. That's it.
• 26:31
  But. It zooms in.
• 26:32
  Yeah. And that's for a reason.
• 26:33
  That's for Ken to do the. The point and shooting thing,
• 26:36
  Yeah, yeah, yeah. Just then.
• 26:38
  Then that plays off later on. So everything's got a reason.
• 26:41
  You've seen it for a reason. It's brilliant, mind.
• 26:43
  Blown. McDonough did draw inspiration
• 26:46
  from 2 Nicholas Rogue films, So the crime elements he took from
• 26:49
  performance, which is the Mick Jagger film and obviously, I
• 26:52
  mean it's mentioned within the film, but don't look now,
• 26:54
  obviously, yeah, because that one Venice is a character in
• 26:58
  that film and plays an important part in the narrative like Bruce
• 27:00
  does he. Yeah, Chloe references don't
• 27:02
  look now. And she says yeah, she's the
• 27:04
  film. She's super, is a tip of the hat
• 27:05
  to it, not an homage. She's too strong.
• 27:08
  She's too strong, so you're in this great, McDonough said.
• 27:13
  From the moment I saw the town, I thought this place is just so
• 27:16
  cinematic. As the film progresses, Bruges
• 27:18
  becomes darker and it's gothic qualities come to the fore,
• 27:21
  which definitely does. The film does get darker, but
• 27:24
  the thing that strikes me is like, you know when Ken's
• 27:25
  walking over the bridge to get the gun, it's just a close up of
• 27:29
  the you don't see anything else. It's just a bridge in focus and
• 27:31
  Ken walking over it. That could be in a beautiful
• 27:34
  wide shot and show all the Rouge.
• 27:35
  It's not about that. It's about him and his journey.
• 27:37
  The film set obviously during Christmas, but was shot in
• 27:40
  February. March officials from Bruges gave
• 27:42
  McDonough a license to hang Christmas decorations all over
• 27:44
  the city and an official communication was sent out to
• 27:47
  locals explaining the health of season merriment.
• 27:50
  In 2012, the Mayor of Bruges put a stop to film in the city after
• 27:54
  being flooded with requests from movie productions.
• 27:56
  This and he was quite unhappy with how Bruges is portrayed in
• 27:59
  the film, which I need to get a guest post look at the big.
• 28:02
  Understandable, because real all races is how much of a shit all
• 28:06
  you. Still want to go?
• 28:07
  Like, I still want to go. Of course you do.
• 28:08
  I think it's improved tourism like everyone else.
• 28:13
  I didn't even know it existed before this film, and that's why
• 28:17
  it's such a wonderful thing. It's in Belgium, all right.
• 28:18
  It's in Belgium. But before they got burnt, the
• 28:20
  city of Bruges gave McDonough the keys to the city, and there
• 28:24
  were only been a few films set in Bruges beforehand.
• 28:26
  As Chloe points out, there's never been a classic film set in
• 28:29
  Bruges, Yeah. So apparently they got the all
• 28:31
  clear to film in just about every stunning location that
• 28:34
  McDonough wanted aside from one church.
• 28:37
  And that says a lot about how helpful the people were from
• 28:39
  which I think is great. You can tell as well, kind of
• 28:41
  the run of the. Place Don't usually get carte
• 28:43
  blanche to shoot anywhere you want in a city.
• 28:46
  No, not at all. Well, the producer, Graham
• 28:48
  Broadband, He said it's almost unheard of for a movie shoot to
• 28:51
  be able to film in real galleries with so many valuable
• 28:54
  pictures. We had to take out hundreds of
• 28:56
  millions of dollars worth of insurance policies to the
• 28:59
  possibility of any damage. Yeah, it's unreal.
• 29:02
  And massive close-ups are then massive close.
• 29:04
  Ups as well, like, yeah. At the time of release,
• 29:06
  McDonough said. I actually can't wait to go back
• 29:08
  to Bruges, but I think I'd better go back before the film
• 29:11
  comes out there because they're probably going to kill me.
• 29:13
  Get the keys back. And we're going to end on
• 29:17
  McDonough with a question from one of our Patreon supporters.
• 29:20
  I mentioned at the start that you can submit your questions
• 29:22
  for the show if you're a patron. The first one comes from Jacob
• 29:26
  Perry. Hello, Jacob.
• 29:27
  Hello, Jacob. Hello, Jacob.
• 29:29
  Jacob says plot location seems to play a very important part in
• 29:32
  Mcdonough's films considering the quarantino style film making
• 29:36
  McDonough brings to the table. Not taking anything away from
• 29:40
  McDonough as his style is uniquely his own.
• 29:43
  What unique locations would the ATRM crew like to see McDonough
• 29:46
  next film take place? In that's interesting question
• 29:49
  it. Is yes, yes.
• 29:51
  Matt, do you want to take that I?
• 29:53
  Mean, I would trust McDonough to pick anywhere and make it
• 29:55
  interesting, quite honestly. But I think it's films, the kind
• 29:59
  of commonality is all the places tend to be very remote and I
• 30:02
  think he just gets the idea of how you put character somewhere
• 30:05
  remote. It's going to be more dramatic
• 30:06
  because they can't escape. There's no easy route.
• 30:08
  So I would say like anywhere, just really extreme.
• 30:11
  Like Antarctica put foul and Gleason on the top of Everest
• 30:14
  together 90 minutes McDonough filming that, That would be
• 30:17
  amazing. Constantly just coming back to
• 30:19
  the thing you like with fucking everything I know.
• 30:24
  I know I would love McDonough to do the thing.
• 30:26
  It'd be incredible. Put them in like the Mariana
• 30:29
  Trench. You could set it in a submarine
• 30:31
  at the bottom of the ocean, and I think McDonough would find
• 30:33
  something interesting about that.
• 30:35
  Yeah, Yeah. So somewhere like that.
• 30:38
  Yeah, I had exactly the same thing.
• 30:40
  I had Antarctica with the thing in mind.
• 30:43
  Because we've been on home. Yeah.
• 30:44
  Yeah, it did. Yeah, because we've been on home
• 30:46
  soil with Banshees. Well, using artistic license in
• 30:49
  home soil, but you know what I mean?
• 30:50
  Yeah, yeah, Europe for in Bruges, American for three
• 30:52
  billboards. So yeah, Antarctica or or that
• 30:55
  on Newcastle, one of the two. When was the last time you saw
• 30:59
  our hometown on the big screen? Well, that's funny.
• 31:02
  You should say for my answer to it, it needs to be a place that
• 31:06
  has isn't actually a character. The more of a character the
• 31:08
  place is, I think the more it suffers. 7 psychopaths being
• 31:11
  based in LA really makes that suffer because you expect
• 31:14
  something from the place and they start to invent places.
• 31:17
  Now, like initially invented. Yeah, yeah, to make it a
• 31:20
  character in itself. So really you need you need a
• 31:22
  place that's quite a dull character that has a lot of
• 31:25
  tradition and it has a lot of quirks, and I would say that
• 31:27
  would be socials for him. We do a film in South Shields
• 31:32
  just to pull all of the quirks out of it and the tradition out
• 31:34
  of it. It's a fucking shit hole.
• 31:36
  And I can see that because I'm from there, right?
• 31:38
  So if you're from Shields, I'm really sorry, but N Shields,
• 31:40
  South Shields, Time out, Newcastle, whatever.
• 31:42
  But I've known anything since. Get Carter, so get McDonough in
• 31:45
  here. Either that or the moon.
• 31:49
  Brilliant. So there's a thread going
• 31:51
  between all of our answers. Yeah.
• 31:53
  Thank you very much for your question, Jake.
• 31:55
  Yeah, thanks. Jake answers it.
• 31:56
  Yeah, satisfactorily. A blinder of A directorial debut
• 32:01
  from McDonagh. One of the best in recent
• 32:03
  memory? Definitely.
• 32:04
  Absolutely the cast. We're talking about the two
• 32:12
  leads in this section, starting with your boy, Matt.
• 32:15
  Colin Farrell, Yes, take her away.
• 32:16
  Yes indeed, Cousin Colin. CC The thing with Foul in this
• 32:20
  film, I feel this is where he's announced himself properly as an
• 32:23
  actor. Because I think before this, I
• 32:25
  don't think Hollywood knew what to do with him.
• 32:26
  He had this reputation, He was a hellraiser, he was a womanizer
• 32:30
  and I think Hollywood tried to pigeonhole him and put him in
• 32:33
  like rubbish action films of the thought maybe he's going to be
• 32:36
  the next Russell Cross, we'll put him in Alexander.
• 32:38
  But that was an awful film and none of it really worked until
• 32:41
  you get this and you realize, no, he's what he is.
• 32:44
  He's a great actor and he's great at portraying complexity
• 32:47
  and ambiguity because as a character, Ray is an absolute
• 32:51
  mass of contradictions. Like when you first made him,
• 32:55
  he's sulky, He's sullen, like kicking the chair around in that
• 32:58
  church because he's so. Bored, shuffling across the
• 33:02
  floor. Amazing.
• 33:03
  Five year old has lost his sweets.
• 33:05
  Oh my God, he's an absolute nightmare.
• 33:08
  But it's like what you used to be insane.
• 33:09
  Also, he's just a big kid. Like he's so excited to see
• 33:12
  Jimmy on the film, set the film and midgets, and he's straight
• 33:16
  over there. Literally runs to it.
• 33:18
  So he's this like big ball of chaotic energy, like in barely
• 33:21
  controlled. But then you dig a little deeper
• 33:23
  and you see what's really going on underneath the surface and
• 33:26
  you get those moments where you see the truth of the character
• 33:29
  and what he's going through. Like there's like great moan
• 33:31
  ways on the date with Chloe and it's foul on like full beam
• 33:34
  charisma. He's got the jokes, he's got the
• 33:36
  charm. Makes a joke of his issues by
• 33:38
  saying he only kills priests and kids and then Chloe jokes back.
• 33:41
  Yeah, you look like you kill kids and he just makes that
• 33:44
  noise. Like like trying to laugh it
• 33:47
  off. But you can.
• 33:48
  See. He has to be a contradiction for
• 33:50
  this film to work because he says unforgivable things and he
• 33:54
  did kill the kids, so you should hate them.
• 33:56
  But if I was so good at portraying that genuine anguish,
• 33:59
  like you're caught between hitting them and wanting to
• 34:01
  forgive him and more importantly, wanting him to
• 34:04
  forgive himself, Like, yeah, absolutely.
• 34:06
  The bit where Ken stops from killing himself in the park and
• 34:09
  he just breaks down on those sobs.
• 34:10
  Yeah, heartbreak and stuff it is.
• 34:13
  And I love that touch where in a suicide note, he says I've gone
• 34:16
  to the park because I didn't want her to see the mess,
• 34:18
  meaning Marie because obviously she's heavily pregnant.
• 34:21
  So there's that thing of because he's killed a little boy, he's
• 34:25
  doing everything he can for Marie and that unborn child as
• 34:27
  penance. So I think if this had been
• 34:29
  anybody else, I honestly don't know if they could have made all
• 34:31
  those contradictory elements make sense.
• 34:34
  It's like one whole character, but foul does, you know.
• 34:36
  So yeah, he's excellent. Great actor, great performance.
• 34:40
  Family. I do think though one of our I
• 34:44
  do think that this is more of a comment from Farrell about his
• 34:46
  career than it is about who he is like playing this role.
• 34:50
  I think it's very personal thing for him.
• 34:52
  A lot of it's around drinking and drugs.
• 34:54
  And he acts it perfectly as if it's kind of just getting
• 34:57
  through the demons that he used to be and going from like, Phone
• 35:01
  Booth. Tigerland.
• 35:02
  Yeah, Minority Report Alexander, It's like you almost turns up
• 35:05
  the chemicals. You know, I've done 6, No, 7
• 35:08
  films, and I wasn't even pissed, but you was, you know, you tell
• 35:11
  you wasn't having a good time through all that.
• 35:13
  And you get that from the character.
• 35:14
  There's this real sense that he's Lee, Let's go of a lot of
• 35:18
  the weight that was on his shoulders.
• 35:19
  Anything could just be himself and he can act like he wants to
• 35:22
  act. And that's why I love this
• 35:24
  performance. It's really genuine.
• 35:25
  It is. Yeah, when we truly get to the
• 35:28
  source of raised pain, it's almost unbearable.
• 35:30
  And I think the worst of it is that note that the little boys
• 35:33
  holding the timely shot? Devastating.
• 35:36
  Presumably he's repenting his sins, which are being Moody,
• 35:40
  being bad at maths and being sad.
• 35:42
  That's so deeply affecting on a level I just can't quite
• 35:46
  explain. That would be my note.
• 35:47
  I write that every day. Good.
• 35:53
  The tension there was wonderful. That's my that's my three things
• 35:57
  I regret. But yeah, I mean Farrell.
• 35:58
  A revelation is rare considering what he's done in his career
• 36:01
  beforehand. This was never even hinted at,
• 36:03
  no. So, Farrell said, pound for
• 36:05
  pound, it was the best, best thing I've ever read.
• 36:07
  Martin's got some brain on him. It's just brilliant.
• 36:10
  The characters and the situations are unique and with
• 36:13
  amazing dialogue. Yeah, yeah.
• 36:16
  Before they started rolling the cameras, McDonagh, Gleeson and
• 36:18
  Farrell spent three weeks in a Bruges hotel room together,
• 36:21
  going through the script with a fine tooth comb.
• 36:23
  Yeah, because McDonagh said. We analyse the script, talking
• 36:27
  and reading it through and after now little scenes talking about
• 36:29
  the histories of the characters, so how they met, where they're
• 36:32
  related. And it was a pretty intense
• 36:34
  amount of work, which meant by the first day of shooting, there
• 36:37
  weren't any questions we needed to ask of each other.
• 36:39
  We just went and filmed everything we'd learned.
• 36:41
  Yeah, there's such a you can tell there's such a trust
• 36:43
  between everybody, totally, Gleason said.
• 36:45
  That time was a great gift. At times it felt I should have
• 36:48
  bought a ticket at the door, given the quality of Colin's
• 36:51
  work. They've got such an appreciation
• 36:53
  for each other, the. Relation for each other.
• 36:55
  There's such a love there. It is quite deeper in seeing.
• 36:57
  Yeah, it's amazing. Farrell was initially unsure
• 37:00
  about being cast as rare because the script, he said, was too
• 37:02
  good for him and that audiences would expect something different
• 37:05
  from a Colin Farrell film. Yeah.
• 37:07
  He's reinvented it. That's what he did.
• 37:08
  So a true career define and role for Colin Farrell, giving him
• 37:12
  the praise he very much deserved?
• 37:14
  Absolutely, yeah. Ed Westie, it's over to you to
• 37:18
  talk about a man very much treasured by us at all the right
• 37:22
  movies. Yes, I'm going to go for Brendan
• 37:24
  Gleeson, who for me is always. Great.
• 37:26
  Yes, and whatever reason. So strong as a character actor,
• 37:32
  he's got so much range and so much depth that you never, ever
• 37:36
  doubt the performance. He makes Troy watchable here.
• 37:39
  That's how good he is. He's just one of them actors
• 37:41
  where he just ignores and he wants to understand everyone
• 37:44
  that he's working with and he wants to give them everything
• 37:48
  that can do. I have not got anything but
• 37:50
  absolute praise for Brendan Gleeson because everything I've
• 37:52
  seen him in, I just think he's wonderful.
• 37:55
  Yeah, like Banshees. Gleeson I think is overshadowed
• 37:58
  by Farrell on the surface of it. Yeah, Farrell's got the funniest
• 38:02
  lines. The most obvious tragedy is
• 38:04
  Ray's storyline. He's got the most eye-catching
• 38:06
  character, but a closer look really uncovers something truly
• 38:09
  magical in Gleeson's performance.
• 38:11
  Yeah, it's there under the surface and it's left unsaid for
• 38:14
  the most part, but he eeks it out with his physical
• 38:17
  performance. Just these Such so many lovely
• 38:20
  little nuances. Just these little looks.
• 38:22
  Yeah, he is amazing. Bruges may be purgatory for
• 38:25
  Rare, but it also is for Ken. He's gone to Bruges to die.
• 38:28
  We just don't know it until the final rare.
• 38:30
  Yeah. Ken's got this hugely tragic
• 38:33
  pass where he's lost his wife and he'll forever be indebted to
• 38:35
  Harry because of the choices he made as a result, and it's
• 38:39
  written all over his face. What does he have to live for,
• 38:41
  aside from mentoring Rain giving him the opportunity to get away?
• 38:44
  Yeah. He's still wearing his wedding
• 38:46
  ring as well, isn't he? He is, yeah.
• 38:47
  Very much, yeah. That that hangs heavy on him,
• 38:50
  yeah. And hangs heavy as well.
• 38:51
  When he gets to the gun, he goes, are you going to do it?
• 38:53
  Of course I'm going to do it. It's what I do.
• 38:54
  It's what I'm going to kill somebody.
• 38:56
  But it's not going to be Ray. Yeah and on the funny side of
• 38:59
  things, his exasperation and infuriation at Ray when he made
• 39:04
  three girl around the city. So he can go on his days and and
• 39:07
  he does that thing with the chairs mat that you said he said
• 39:09
  did we or did we not agree that if I let you go on your day
• 39:12
  tonight you do the things that I wouldn't do today and you would
• 39:15
  do them without throwing a fucking Moody like the five year
• 39:18
  old who dropped all his sweets. Brilliant.
• 39:26
  All that bits when he asked to go and see the file of blood
• 39:30
  after. Of course you don't fucking have
• 39:32
  to. Of course you don't fucking have
• 39:34
  to. Yeah, it's the bit before that
• 39:36
  when he explains it all in the whisper he.
• 39:39
  Was so excited. He brought back the Crusades,
• 39:41
  right? And it touched, you know.
• 39:42
  What it said to contain and. It was.
• 39:44
  It was dry blood. Went to fucking liquid from dry
• 39:46
  blood. And it's just, it's so
• 39:48
  beautiful. It's so beautifully done.
• 39:50
  He doesn't have to do that to that level because all he's
• 39:52
  doing is accentuating Barrel's performance.
• 39:55
  Yeah, not his own. It's so selfless.
• 39:58
  It's great, yeah. He's because rear is doing all
• 40:00
  the like the rear sidebars. Oh really?
• 40:02
  Really. That's so interesting.
• 40:05
  Don't. Care No.
• 40:07
  He just goes away to the queue and just stands there so
• 40:11
  defiant, then talking about Gleeson, McDonough said.
• 40:14
  One of Brendan's strengths is a nightmare is that he makes
• 40:17
  everything sound and seems so naturalistic, which is what
• 40:20
  we're making that anyway. Like he's just making it up on
• 40:22
  the spot, which feels exactly right.
• 40:25
  Also his natural warmth and humanity and his joy of life
• 40:28
  shine through in most everything he does.
• 40:30
  Yeah, without doubt. He likes the screen up.
• 40:33
  Yeah, hold on. And on the flip side of that,
• 40:34
  Gleason said there is a soul to Martin's work.
• 40:37
  It's robust yet delicate. You have this combination of the
• 40:40
  worst of humanity speaking, the most conscious, free language,
• 40:44
  and yet you leave with a feeling of connection to these people.
• 40:47
  Yeah. Gleason and Farrell, obviously
• 40:48
  we've talked about it, have built up quite the friendship
• 40:51
  since in Bruges. It's a wonderful thing to see.
• 40:53
  It was further cemented by their work on Banshees, yeah.
• 40:56
  And there's this amazing story Colin Farrell told where he said
• 41:00
  the moment he first met Brendan Gleeson was at the Chelsea Hotel
• 41:03
  in Manhattan. And Farrell was really anxious
• 41:05
  because he knew that Brendan liked to drink.
• 41:08
  And at this point Farrell had been 18 months sober.
• 41:11
  And Farrell said a friend and said, will you have a drink?
• 41:13
  And then Fowled's words. He went with a mini bar and he
• 41:16
  pulled out 2 bottles of water and said, I have still a
• 41:19
  sparkling. And in that moment the
• 41:21
  simplicity of the Jessie told me There's a man that will look
• 41:24
  after you. There's a man that considers
• 41:26
  people. Yeah, absolutely.
• 41:27
  Wonderful. I mean, that's just class.
• 41:29
  That isn't it. It.
• 41:30
  Is what a classic, classic pure is.
• 41:32
  It is, yeah. Great story.
• 41:34
  Yeah. And with that, we're rounding
• 41:36
  off the cast with our second Patreon question.
• 41:39
  This one comes from Liam Savage. Hello, Liam.
• 41:41
  Hello, Liam. Hello, Liam.
• 41:43
  Liam says fantastic podcast. Well, thank you very much.
• 41:46
  That's very kind. Go on.
• 41:51
  See it again? He says one of my favourites, so
• 41:53
  thank you very much. And as a man from the Northeast,
• 41:56
  it's weirdly confident that he's some proper accents in a
• 41:59
  podcast. All right.
• 42:00
  OK. Why I'm with the lads, man.
• 42:03
  Some would disagree. We're trying to tone it down
• 42:07
  later. We're.
• 42:08
  Trying We're trying this thing called diction now and again.
• 42:12
  Glean's question is this. Brendan Gleason and Colin
• 42:15
  Farrell can now be classed as one of the greatest double acts
• 42:17
  in movie history, in my opinion. All right.
• 42:19
  That's fair enough. What other double acts can match
• 42:22
  or beat the Gleason Farrell? Irish axes of brilliance?
• 42:26
  Right, Westy? Do you want to hear that?
• 42:27
  I. Mean I've got a few that always
• 42:29
  shine for me, but what I've tried to go for are the ones
• 42:32
  that were a little bit mismatched.
• 42:34
  It's a classic. De Niro and Gordon in Midnight
• 42:37
  Run. Yes.
• 42:38
  Travolta. Samuel Jackson.
• 42:40
  Pulp Fiction. I think they're beautiful
• 42:41
  together on the screen. Arnold and DeVito and Twins.
• 42:44
  I think that's just wonderful. Back and forth and what I really
• 42:48
  enjoyed. And I watched it again with the
• 42:49
  kids and I forgotten how good their chemistry was.
• 42:51
  Is Will Smith and Tommy Lee Jones and the first Men in
• 42:54
  Black. Oh.
• 42:54
  Incredible. Oh yeah.
• 42:56
  Really, really brilliant. It's the straight man and the
• 42:58
  comedy foil, I think, for me, then them for us.
• 43:01
  It's up there for me. And then I'll put Gleason and
• 43:03
  Farrell in that as well. Very nice.
• 43:05
  Yeah, I looked at this from a bit more of like a historical
• 43:08
  perspective and I thought Laurel and Hardy.
• 43:11
  Well yeah, Lauren Hardy, the start of the whole thing.
• 43:14
  Still one of the absolute very best.
• 43:16
  The nail dynamic straight out. And you know so many people were
• 43:19
  in their shadow and that gives you Aberdeen Costello and Bob
• 43:22
  and Bing Crosby, personal favourites Thor Lemon and Matt
• 43:25
  Owl together. It is gold every time.
• 43:28
  Redford and Newman, yeah, but you have seen the Sting.
• 43:31
  Love those guys And then I don't think you can talk double act
• 43:34
  without getting around to Shane Black because that's what he
• 43:36
  does. He does the best two favourites
• 43:38
  of ours Falconer, Robert Downey, Junior in Kiss, Kiss Bang Bang
• 43:42
  and obviously Gosselin and Crowe in the Nice guys.
• 43:45
  Sensational. Incredible.
• 43:47
  Yeah. No rigs and Matar for you, man.
• 43:49
  Well, I want to do you know, not go the obvious route.
• 43:52
  I didn't hear Gene Wilder and Richard Pryor.
• 43:56
  Which I would. No, we're leaving that for you.
• 43:57
  That's why. Yeah.
• 43:59
  That's yeah. And the other ones I had grodden
• 44:03
  and De Niro, Glover and Gibson, obviously Gibson.
• 44:07
  We don't talk about them these days, but there's magic in those
• 44:10
  performances, certainly in the first in the first film.
• 44:13
  Yeah, definitely the first one. Yeah, but I can't get enough of
• 44:16
  Gleason and Farrell. I want these to star in Martin
• 44:18
  McDonough films until I die. Oh.
• 44:20
  Absolutely, absolutely. So thank you very much for your
• 44:23
  question, Liam. I hope that satisfies it, yes.
• 44:25
  Thanks Liam. Thank you mate.
• 44:27
  So we haven't forgotten about the other cast members.
• 44:29
  We will be talking about RAF finds as Ari later.
• 44:32
  Yes, we will. We've talked about Clemens
• 44:34
  Palsy, she's wonderful. We'll talk a little bit about
• 44:36
  Jordan Prentice as well as Jimmy.
• 44:38
  Yes, both deserve a shout out for their great work.
• 44:41
  Brilliant. But in Bruges is all about one
• 44:43
  of the ATR Ms. favorite double acts, Colin Farrell and Brendan
• 44:46
  Glees. Yeah, absolutely.
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• 46:09
  The middle. The second act brings with it
• 46:13
  Rey's disastrous date with Chloe and a devastating phone call
• 46:17
  from Harry. Yeah, it's a wild night full of
• 46:20
  extreme violence and hilarity, and I'm starting off with the
• 46:23
  date. Very good, yes.
• 46:25
  Yeah, if you would write this down, it's the worst date ever,
• 46:29
  but perfect for a character like Rey.
• 46:32
  Rey beats up a couple in a swish restaurant, realizes that his
• 46:36
  date is a criminal, she has a boyfriend, and he blinds
• 46:38
  somebody. I mean, you couldn't you.
• 46:40
  I mean, you have wrote it. McDonough did right there.
• 46:42
  But it's it's crazy. Night balances out.
• 46:47
  On Chloe for a moment, I think she's representative of
• 46:49
  Mcdonough's vision overall and the themes of the film.
• 46:52
  If she's alluring and an inviting.
• 46:55
  But then she slowly reveals the darker side.
• 46:57
  In this restaurant scene, she clearly has a twisted sense of
• 47:00
  humour. And then we find out that she
• 47:02
  does sell drugs and that she robs tourists at gunpoint using
• 47:05
  the very thing that made her appealing in the 1st place.
• 47:08
  And that's is what Bruce does. It invites you in with his
• 47:10
  beauty, then shoots you in the alcoves.
• 47:12
  And I mean, how could Chloe be attracted to somebody who says
• 47:15
  these kinds of jokes about her hometown and about children?
• 47:19
  There's obviously something very dark about her soul, but the
• 47:21
  smoke and bit the guy is an utter prick.
• 47:27
  Regardless, if you don't like smoking, he's got a valid point,
• 47:29
  yeah, but you can't complain if you're in the smoking section.
• 47:32
  No, exactly. Yeah.
• 47:34
  And Ray just can't help himself. There's no way with his hair
• 47:38
  trigger that he wouldn't let this go away.
• 47:41
  His line of question and completely baffles the as we
• 47:44
  find out later, Canadian is that what the Vietnamese would say?
• 47:47
  What is he talking? The Vietnamese, The Vietnamese?
• 47:51
  The. Fact The Vietnamese.
• 47:53
  Got to do with it. You know exactly what he's
• 47:54
  talking about. It's so.
• 47:56
  Broad strokes. It's ridiculous.
• 47:59
  This whole xenophobia he has is clearly from his sheltered
• 48:02
  upbringing. Yeah, I think he's only been to
• 48:04
  Dublin in his life before going to London as a hit man.
• 48:06
  Yeah, and that's for John Lennon is such an off the wall comment.
• 48:10
  It's so funny though, if he blames America, All of America,
• 48:16
  all of America. And then when he says later on
• 48:18
  he was Canadian, well, they didn't kill John Lennon today.
• 48:24
  God. I mean, he doesn't need much
• 48:26
  encouragement to hate other nationalities.
• 48:28
  And that's spores. He's he's been a Beatles fan
• 48:30
  since he was a kid and he's harbored this hatred around for
• 48:33
  the Americans killed John Lennon.
• 48:34
  Yeah, right. First one I meet that crosses
• 48:37
  me. Which comes out of nowhere on
• 48:42
  both of them. I mean, she hits the table with
• 48:44
  some force. Yeah.
• 48:45
  Bang a bottle. Yeah.
• 48:47
  No, don't bother. Bang.
• 48:48
  Yeah. And this is what the film is all
• 48:49
  about. Makes you laugh 1st and then
• 48:51
  consider your actions afterwards.
• 48:53
  Yes, we shouldn't be laughing at this kind of violence.
• 48:55
  No. And raise brand of humor either.
• 48:57
  But it's very funny, yeah. He walks out of that restaurant
• 49:00
  saying I've never hit a woman, haven't just hit a woman 5
• 49:03
  seconds earlier, yeah. I heard a woman just coming at
• 49:06
  us with a bow. Yeah, and then when they're back
• 49:09
  at her place again, it's comedy and tragedy.
• 49:12
  The farce around him being held at gunpoint and shooting a guy
• 49:15
  in the face with a blank? Shockingly hilarious.
• 49:17
  Yeah. What I love though, is the
• 49:19
  contrast of that scene to what's going on with Ken when he gets
• 49:22
  that call from Harry. Because the film's done a great
• 49:26
  job of building up Harry even though he's been off screen.
• 49:28
  And it's interesting that I think until the very end he only
• 49:31
  ever interacts with Ken and the interactions with Ken build up.
• 49:34
  It goes from a letter to a telephone conversation or two to
• 49:37
  the eventual face to face meet. But I just love this first phone
• 49:41
  conversation because it starts off and it's so confusing, you
• 49:44
  know? Ken is obviously covering for
• 49:45
  Ray being out with Chloe, so he says he's in the toilet.
• 49:48
  And Harry's response? Is he doing a wee or a poo?
• 49:52
  That's horrible. Like was that manner, what do
• 49:55
  we? Think that's really childish as
• 49:57
  well? He's really childish, but you
• 50:00
  get the sense that there is history between Ken and Harry,
• 50:02
  and they do go back away. But Even so, Ken still doesn't
• 50:05
  know how Harry will take certain things.
• 50:07
  So when he casually mentions that he's enjoying Bruce but
• 50:10
  Ray, isn't that silence for Harry?
• 50:12
  Discourse. What?
• 50:14
  The tension is that the. Tension.
• 50:17
  Ken knows his face drops. Oh yeah, because he knows he
• 50:20
  this isn't even something he should try to laugh off.
• 50:23
  Harry is so volatile. And so what's going on, you
• 50:25
  know, how can fucking Swanson fucking be somebody's fucking
• 50:28
  thing? Like, it's terrifying but
• 50:30
  hilarious at the same time. Not someone who gets so angry
• 50:33
  about that. But the bit that I think is the
• 50:35
  funniest in this scene is when Ken gets some calm down by
• 50:38
  spinning them that absolute bullshit.
• 50:41
  Do you know what he said to me? Ken?
• 50:44
  I know I'm awake, but I feel like I'm in a dream.
• 50:46
  And Gleason, he's incredible. Just lying.
• 50:49
  Back on the is this going? To.
• 50:52
  Work. I think I got away with that 1,
• 50:55
  so it's really, really funny. But then it absolutely turns in
• 50:59
  its head when Harry just goes because he wasn't a bad kid, was
• 51:01
  he? And also he's some Bahrain the
• 51:04
  past tense. Past tense, yeah.
• 51:06
  And Ken knows immediately what Harry means.
• 51:08
  He now knows why he's there, what he's got to do and he can
• 51:11
  see the devastation on his face. So it's a brilliant scene and I
• 51:14
  just don't know if Gleason's ever been better than this scene
• 51:17
  because it's all him on the phone.
• 51:18
  It is, yeah. And the great thing about that
• 51:20
  scene, as well as when they're on set as Mcdonough's reading
• 51:22
  back Harry's lines. So fantastic.
• 51:25
  Is reacting to like McDonagh talk and Donna like knows
• 51:28
  exactly what that timing is going to be in the way that
• 51:30
  that's much to find is doing it just over the phone is
• 51:33
  incredible. There's a nice little northern
• 51:35
  this scene to Touch of Evil, the awesome World Series.
• 51:37
  Watching the TV, isn't it? Yeah, it's one of the most
• 51:39
  famous long takes in cinema history, that openness.
• 51:42
  And then this in itself is one day.
• 51:44
  And this one is, yeah, 6 minutes long to technically brilliant
• 51:47
  stuff. Impressive.
• 51:48
  Incredibly impressive from. So, so easy to miss that it's
• 51:51
  one day. That is, yeah, very much.
• 51:54
  I would go for the highly controversial moment where
• 51:57
  they're at the bar, they were introduced that they've got
• 51:59
  cocaine and they go back to the hotel room and this focus,
• 52:04
  they're a racist dwarf and they start getting these
• 52:06
  conversations. Now, for me, that would make a
• 52:10
  good film and it does make a good film.
• 52:14
  I imagine Colin Farrell is very, very comfortable in this
• 52:17
  situation. I think he's been there many,
• 52:20
  many times in somebody's kitchen at like 5:00 in the morning off
• 52:24
  his face talking about shit like this.
• 52:26
  And it's the way that Farrell's performance, and this really
• 52:29
  pulls off when he's that cigarette is the only thing in
• 52:32
  his life. Yeah.
• 52:36
  I'm definitely fighting with the Vietnamese, gasping for it.
• 52:39
  And you always have these elements and these different
• 52:41
  elements that are brought into it where it's such a ridiculous
• 52:44
  thing to talk about. And I think it's just the way
• 52:45
  the whole thing is personified and made into it.
• 52:48
  It's almost funny, but at the same time it's really relatable.
• 52:52
  Where we've had these conversations where you've had a
• 52:54
  little bit too much, you've gone back to someone's house and
• 52:56
  someone. 'S Ridiculous.
• 52:57
  Someone said something ridiculous, but you kind of have
• 52:59
  to back it up because it's such a ridiculous thing to talk about
• 53:02
  the blacks versus the whites and all the black midgets going to
• 53:05
  fight all the white midgets. Oh, that'd be a good film.
• 53:07
  All right, great. And so you don't decide this
• 53:09
  shit, man, but it's just Gleason's interjection because
• 53:11
  it's so ridiculous. And then he turns around and you
• 53:14
  find out that his wife was black and was killed by a white man.
• 53:18
  And where do I stand in all this blood and carnage?
• 53:20
  Yeah. And he said, well, you're gonna
• 53:22
  have to make your own decision of this.
• 53:23
  And it's just, again, such a ridiculous thing that could have
• 53:26
  been spun out of control. Gleason comes in and just really
• 53:30
  anchors it down and locks it down.
• 53:32
  It's so busy immediately when you're watching the whole thing
• 53:35
  and you're sober to it and you're like, Oh my God.
• 53:37
  And then the brilliant thing about this whole conversation is
• 53:40
  that what is set up to know that Harry killed him, that Harry
• 53:44
  killed the person who killed his wife.
• 53:46
  Yeah, And he had his back. And that's how important Harry
• 53:49
  is to him in this setting. Which could have been sore
• 53:53
  throwaway, but it isn't. And and Ray knows that.
• 53:56
  Yeah, and then it finishes quite funnily with that karate chop.
• 54:01
  It's just like, I don't know, you don't know karate.
• 54:03
  Back then they both say, don't say you didn't have a common
• 54:07
  Yeah. And Gleason says it first, sure.
• 54:09
  And then he's like he finishes with short ass.
• 54:10
  But if he'd finished with what Gleason had said, don't say he
• 54:13
  didn't have it coming, which is a fairly straight, you know,
• 54:15
  grown up thing to say is like, this is too much for me.
• 54:18
  Two monkey who was on a racist warfare.
• 54:20
  I'm fucking out here. It could be really offensive.
• 54:23
  It should be really offensive, but all of a sudden it's really
• 54:26
  heartfelt and I think that's just starting.
• 54:28
  Mcdonough's right in his direction and the performances.
• 54:30
  I think it's just a wonderful scene.
• 54:32
  Great. Yeah.
• 54:33
  I just don't think there's a funnier line in this film than
• 54:36
  Jimmy saying you don't know how much shit I've had to take off
• 54:39
  black midgets, man. That's understandable.
• 54:43
  Or something. He's like, yeah, it's really
• 54:44
  understandable what everything. It's just, that's hilarious.
• 54:50
  That's hilarious. It builds and builds and builds
• 54:52
  where you're just like in a comfortable state of being like,
• 54:55
  oh, I'm in this conversation now.
• 54:57
  And then Gleason goes back. Sledgehammer.
• 54:59
  Yeah, yeah, great. There's a number of deleted
• 55:01
  scenes from the film. Most of them build on Reyes,
• 55:03
  boredom and Ken's enchantment with Bruges.
• 55:05
  There's one flashback to Harry as a child in Bruges, and a
• 55:09
  hilarious one with Harry on the train making his way into the
• 55:11
  city. Yeah, the one that stands out
• 55:13
  the most, I think is the one that gives a back story to Ken
• 55:15
  and Harry's relationship because it depicts a young Harry, played
• 55:19
  by Matt Smith. Actually, eventually, the death
• 55:21
  of Ken's wife, it's pretty shocking as well, That brutal,
• 55:24
  that one. Yeah.
• 55:25
  Yeah, we get more of Ken's past in this scene in particularly,
• 55:28
  But the one that you're talking about, man, is really bizarre.
• 55:30
  Harry waltzes into a police station and decapitates A
• 55:33
  policeman. Yeah.
• 55:34
  Who was responsible for killing Ken's wife?
• 55:36
  Yeah, it's very crudely done in the lead scene.
• 55:39
  And I suppose it throws up the question, how the hell did Harry
• 55:42
  think he could get away with something like that?
• 55:43
  Yeah, just waltzing into a police station and beheading the
• 55:46
  policeman. Yeah.
• 55:47
  I mean, he's crazy enough to do it, but how?
• 55:49
  Didn't he go down for it? No.
• 55:50
  Yeah, I think the only reason they left it out was because the
• 55:52
  CGI didn't look good enough for the effect.
• 55:54
  Wasn't it? Wasn't good?
• 55:55
  It's very rough, isn't it? Yeah.
• 55:57
  Yeah, very much so. But I think it's really, it's a
• 55:59
  really important plot point. And all they leave it to is
• 56:01
  this, like, did they get him? Yeah.
• 56:03
  Harry. Harry, What has gone?
• 56:05
  Yeah. Jordan Prentice plays Jimmy in
• 56:07
  the film, he said of his character.
• 56:08
  Jimmy only adds to the unavoidable surreal nature of
• 56:12
  the whole place and experience. Buchanan, especially Ray, yeah,
• 56:15
  he's very disgruntled, angry soul.
• 56:17
  And as an actor, I love playing the scenes where Jimmy voices
• 56:19
  his bizarre theories. He's great as well.
• 56:22
  Me. Yes, he's very good.
• 56:24
  McDonagh said though about writing a little person in the
• 56:26
  script. He said that because the
• 56:28
  character is an actor, it allows you to explore Docker themes.
• 56:31
  And he said, because obviously all they ever get to play is an
• 56:33
  L4A Munchkin or something like that.
• 56:35
  So I kind of want to explore how does that affect you?
• 56:38
  If you are a good actor, how do you live?
• 56:40
  What do you turn to, how to make you feel?
• 56:42
  In this case, he turns to cook and hookers.
• 56:44
  And I mean Mcdonough's outlook. He might just be on to something
• 56:48
  and like don't be offended immediately.
• 56:50
  Explore it immediately and find out what is upsetting you, what
• 56:54
  is the stereotype and address it and make it stupid.
• 56:57
  Yeah, yeah, make it stupid. So the people go, well, I'm not
• 57:00
  going to do that anymore. Yeah, it's maybe.
• 57:03
  It's a really great outlook. Yeah, I I agree with you.
• 57:06
  So a wild night for certain. And with mourning comes the day
• 57:10
  of reckoning. Next up, Ken stops Ray killing
• 57:15
  himself in the park, packs him off on a train, and calls Harry
• 57:19
  with the very bad news. Yeah, and I'm starting with the
• 57:21
  scene in the park. It's so incredibly complex, this
• 57:24
  scene. Ken doesn't want to kill Ray,
• 57:26
  but he has to. But when he knees, Ray pulls a
• 57:29
  gun out on himself and Ken stops him.
• 57:31
  Now, as Harry quite rightly points out later in the film,
• 57:34
  not only have you refused to kill the boy, you've stopped the
• 57:37
  boy from killing himself. Which was solved my problem.
• 57:39
  Which would have solved your problem, Which sounds like it
• 57:41
  would have solved the boy's problem.
• 57:42
  Yeah, it really is that simple. Yeah, But McDonough weaves this
• 57:46
  complex web of human emotion and compassion into proceedings.
• 57:49
  I think this is the moment where Ken suddenly realizes his colon.
• 57:53
  Yeah, he's been a lost soul for years after the death of his
• 57:56
  wife. And now this time in this place
• 57:58
  with a soul to save, he knows what his purpose is.
• 58:01
  It's a beautifully realized bit of writing.
• 58:04
  And on top of that you've got heart wrenching performance from
• 58:08
  Colin Farrell. We can all feel his pain.
• 58:10
  There's real emotion. But the fact that he's chosen a
• 58:13
  child's playground has his suicide spot is darkly comic.
• 58:16
  Yeah, I suppose in his heart this is the obvious choice to do
• 58:19
  it, to repent his sins. But I mean, have a day off, Ray.
• 58:23
  These kids don't want to see your brain splattered all over
• 58:25
  the swings. I think the main thing is, is
• 58:27
  you see a child playing with the mother and he does see children
• 58:30
  in the film and it goes into slow motion when that happens.
• 58:33
  But I think what he wants to do is just witness a child being
• 58:36
  alive before he takes himself out and he sees see them happy
• 58:41
  and see them enjoy live. And that's why he goes to a kids
• 58:43
  park and seeing them play and seeing them happy, Yeah, which
• 58:46
  is why. Then go go go around to the
• 58:47
  alcoves afterwards. Well, maybe he's going to put
• 58:49
  the kids left at that point. There's nobody there.
• 58:51
  All he does is watch the kid when the kids left.
• 58:53
  He pulls the gun out. Yeah, no, but there'll be kids
• 58:55
  coming later. Well, maybe.
• 58:57
  But that's not his problem then, is it?
• 59:00
  Doesn't mind if they see the mess.
• 59:01
  I mean, it just confirms Rey's naivety and that he is a child
• 59:05
  at heart. Yeah, yeah, and there are two
• 59:07
  standout moments of humour. When Ray asked Ken what the fuck
• 59:10
  he was doing, he says nothing as he hastily shuffles the gun
• 59:13
  behind his back, Just behind the great timer.
• 59:15
  Yeah, yeah. But the laugh outline for me is
• 59:19
  in the aftermath of this scene, the two fellas are sitting on
• 59:21
  some kind of child's apparatus and Ken takes Ray's gun and Ray
• 59:26
  says a great day This has turned out to be.
• 59:28
  I'm suicidal. You May tries to kill me.
• 59:30
  Me gun gets nicked and we're still in fucking bruise,
• 59:33
  slapping his eyes, so angry. He really hates the place.
• 59:41
  So that balance that we've been talking about all the way
• 59:43
  through, It's there in this scene and it's magnificent
• 59:46
  stuff. Yeah, after this.
• 59:48
  This is when we finally get to meet Harry when Ken rings him.
• 59:53
  And this is the scene that sealed the deal for me with this
• 59:55
  film. This was just, this is magic.
• 59:58
  This is amazing. I love Ken on the other end of
• 1:00:01
  the phone, just thrown his words back at him quite like Bruce.
• 1:00:04
  It's like a fucking fairy tale or something that just hangs up.
• 1:00:08
  And then that cut defines the first time you've seen him.
• 1:00:12
  It's a perfectly timed amount of silent rage in disbelief, and
• 1:00:18
  he's just taking in what Ken's done.
• 1:00:19
  So he's looking out the window before he starts laying into
• 1:00:22
  that foreign handset, and he's so angry he smashes it onto the
• 1:00:26
  floor but picks it up to put it back on the desk just so we can
• 1:00:29
  keep on smashing it. And then this leads to the line
• 1:00:33
  of the film for me, You know, his wife comes in Harry.
• 1:00:36
  It's an inanimate fucking object.
• 1:00:38
  You're an inanimate fucking object, yeah.
• 1:00:42
  Unreal. Amazing.
• 1:00:44
  Amazing because we've all been so annoyed at someone or
• 1:00:48
  something. We've said something ridiculous
• 1:00:50
  because it's the first thing you can think of.
• 1:00:53
  Yeah, it's her reaction when she walks back into the sitting
• 1:00:55
  room, just like we're shrugging. He's had it again.
• 1:00:59
  Like he does this every week. Yeah, own inanimate fucking
• 1:01:03
  object. It's just being burned into my
• 1:01:06
  brain from the first view. And it's amazing.
• 1:01:09
  It's just a great introduction to him because, yeah, he's
• 1:01:12
  terrified. He's violent, but look at him
• 1:01:14
  with his kids. He's great with his kids, you
• 1:01:16
  know. Softly spoiled be.
• 1:01:17
  Good for mommy and in a motto and continuously.
• 1:01:20
  He doesn't have like a trophy wife or like a gangster small on
• 1:01:23
  his arm. He's he's got this vibe of,
• 1:01:25
  like, he's more like a successful businessman, but he's
• 1:01:28
  got this flip side to it, yeah. And he's great with her as well.
• 1:01:31
  Like, I'm sorry for calling you an inanimate object.
• 1:01:34
  Like, genuinely sorrowful. I was upset.
• 1:01:36
  I was. Upset, Yeah.
• 1:01:37
  When he's talking to the kids, I've got to go to Bruges and
• 1:01:43
  then he's talking about Ken. He's looking at his kids.
• 1:01:45
  When he's talking about Ken. Yeah, you know the kids, They
• 1:01:48
  know who we are. Yeah.
• 1:01:49
  It's so much depth to it. It's amazing.
• 1:01:51
  It is and then it sets up. The other thing which obviously
• 1:01:53
  comes really important is underneath it all, he's a man of
• 1:01:56
  principle, you know, He says survive.
• 1:01:57
  It's a matter of honor. And that's why he's going by
• 1:01:59
  himself. He's not sending the boys.
• 1:02:01
  He says that to his kids. Yeah, matter of.
• 1:02:04
  Honor. It's a matter of honor.
• 1:02:05
  It sums the character up. Yeah, great.
• 1:02:07
  Pretty. I love that scene so much.
• 1:02:09
  It's. Incredible.
• 1:02:10
  I'll go for the bit after that. They get Ray on the train.
• 1:02:13
  He says he's going to kill himself in a couple of weeks
• 1:02:15
  anyway, You know you're right. And then the door.
• 1:02:18
  That's shrunk. But that's short.
• 1:02:19
  Watch it again. It starts like in front of
• 1:02:22
  Gleason. He's looking into the camera.
• 1:02:24
  Camera pans round, comes around and reveals Gleason stand on the
• 1:02:28
  platform as it goes away. That's really powerful.
• 1:02:31
  And he's just sat there, see the guy come on and you just think
• 1:02:34
  this film's going somewhere else.
• 1:02:35
  It's meant to be in Bruges all the time.
• 1:02:37
  He's on a train now. He's gone somewhere else, as he
• 1:02:40
  would normally think, and it's a great call.
• 1:02:42
  But like I've said, there's so many mirrors in this film, so
• 1:02:45
  many plot mirrors that start and then end and you go away.
• 1:02:49
  Is this one going to come from? And he said that's him, that's
• 1:02:52
  the motherfucker. And you're like, oh.
• 1:02:54
  Shit. But before that, it's Farrell's
• 1:02:58
  performance for me in this sequence because he's like, he's
• 1:03:01
  had enough of the script. He's had enough of trying to fit
• 1:03:05
  in. You heat the could I heat the
• 1:03:08
  Canadian and he's eyebrows just come into this like, I don't
• 1:03:13
  know what you're talking about. It's so funny.
• 1:03:16
  Every time I hear him say you heat the Canadian, we're taking
• 1:03:19
  you back to Bruges. Brilliant, brilliant, brilliant.
• 1:03:23
  And then he this, when he's got the realization as well as it's
• 1:03:25
  could, he's a Canadian. Oh shit, yeah, he knows that.
• 1:03:29
  Yet he's trying to get away from it and he's getting pulled back.
• 1:03:32
  And that's incredible for me from a writing point of view,
• 1:03:36
  from a direction point of view, from a performance point of
• 1:03:39
  view, where you think this film's going somewhere else and
• 1:03:41
  it pulls you back, Yeah. So with all the aggressors
• 1:03:44
  conversion on Bruges, we're headed for a bloody showdown.
• 1:03:48
  The. Crew.
• 1:03:55
  The crew on In Bruges brings with it a whip smart screenplay
• 1:03:58
  from Martin McDonagh, music from a legend in his field, and
• 1:04:02
  incredible cinematography from a relative unknown.
• 1:04:05
  Starting off with the screenplay, I'm going to talk
• 1:04:07
  about the probably the main theme in the writing, and that
• 1:04:10
  is of Bruges being representative Purgadori for
• 1:04:13
  Rear. Oh, nice.
• 1:04:14
  Yeah. He's been sent there by Harry
• 1:04:16
  before his fate is sealed. This is visualized in the
• 1:04:19
  Hieronymus Bosch paint and the Last Judgement, which they see
• 1:04:22
  in the museum. Yeah, it's probably the only
• 1:04:24
  thing in Bruges that Rear takes a mild interest in, apart from
• 1:04:27
  women and beer and drugs. I like this one.
• 1:04:30
  Yeah, what is it about? And these are the layers that
• 1:04:35
  the film has under the surface. It's a very funny film, very
• 1:04:38
  violent film full of soul crushing despair and uniquely
• 1:04:41
  optimistic. And under all of that is we've
• 1:04:43
  this classical art and literature narrative.
• 1:04:46
  When is this kind of thing ever sat next to a string of
• 1:04:49
  prejudice jokes towards anyone that everyone sees is different
• 1:04:53
  to it? It's pretty remarkable thing
• 1:04:56
  that McDonough achieves in his writing here and we'll talk
• 1:04:59
  about the purgatory again at the end of the film, but also in
• 1:05:02
  that museum moment. Ray gives his understanding of
• 1:05:04
  the concept, he says. You weren't really shit, but you
• 1:05:07
  weren't all that great either. Like Tottenham as a Tottenham
• 1:05:12
  support myself. For you.
• 1:05:14
  I was going to ask what does this mean?
• 1:05:17
  Because it doesn't mean the place surely?
• 1:05:19
  Is it their placement on the table or something?
• 1:05:23
  We've talked about it as if it's an alien concept.
• 1:05:26
  Yeah. Play something on the table.
• 1:05:28
  The Premier League of other like second or something?
• 1:05:31
  No, they are usually shit. Right, OK.
• 1:05:35
  Usually kind of mid table. We've been doing better in the
• 1:05:38
  last, say 10 years, but we're never won anything for you, OK?
• 1:05:41
  So that's what that's what Ray is talking about here, and it's
• 1:05:45
  a fair cop, really. McDonough said that this line is
• 1:05:47
  a constant source of anxiety in his life.
• 1:05:50
  If Tottenham do turn a corner and start to pick up trophies,
• 1:05:53
  this will render the line obsolete.
• 1:05:55
  I think McDonough is safe on that one though.
• 1:05:57
  And as a side note on the dialogue in the film, I think it
• 1:06:00
  just bristles with energy, offbeat humor delivered by
• 1:06:03
  offbeat characters like Yuri, the local heavy, giving guns out
• 1:06:07
  like there's no tomorrow when he's talking about the alcohol
• 1:06:09
  and he says he used this word. Alcove, yes.
• 1:06:13
  Or nooks and crannies. Nooks and crannies, Yes.
• 1:06:17
  How uncool is his house as well though?
• 1:06:20
  That looks amazing. It's like a Museum of shit.
• 1:06:22
  It's fantastic. There's no way you could be
• 1:06:24
  comfortable there. You want some dim Dimms.
• 1:06:26
  I don't know why that's so irresistible, but it is nooks
• 1:06:29
  and crannies. I absolutely love the Rhea guy.
• 1:06:32
  I love them. Fantastic.
• 1:06:34
  What? I want to focus on the use of
• 1:06:36
  language. Not so much the profanity, but
• 1:06:37
  the insults, which are like 90% of Rhea's dialogue.
• 1:06:41
  Yes, because I do know people who've sat down to watch this
• 1:06:44
  and said I had to turn it off. I couldn't cope with the
• 1:06:47
  language. Right, and I'm understandable.
• 1:06:50
  Good. Yes, it is good judge character
• 1:06:55
  there. Classic Westy.
• 1:06:56
  Classic Westy. And I do get that because it can
• 1:06:59
  be tough to listen to when certainly some of the things Ray
• 1:07:01
  comes out or hair raising to say the least.
• 1:07:04
  But I think it's worth pointing out if you ever read or listen
• 1:07:07
  to an interview with Mark McDonough, he's clearly a very
• 1:07:09
  intelligent and erudite man. He doesn't litter his own speech
• 1:07:13
  or interviews with the torrent of sea bombs.
• 1:07:16
  And I think it's a really good example of realizing that just
• 1:07:19
  because a writer writes a character a certain way, it
• 1:07:22
  doesn't mean that the writer agrees with either what they say
• 1:07:25
  or how they say it. It's just about how that
• 1:07:27
  character is. And with three of those insults
• 1:07:29
  that constantly come out of his mouth, like we say, he's
• 1:07:31
  obviously had a very sheltered life and he just doesn't
• 1:07:33
  understand the world really outside of Dublin.
• 1:07:36
  At all and. It tells he has no filter.
• 1:07:39
  And for me it's a way to make you unsure how much should you
• 1:07:42
  like this guy? Because on one hand you've got
• 1:07:43
  Farrell with this really charismatic, funny performance,
• 1:07:46
  putting on the other hand, he killed a kid and then yeah, I
• 1:07:49
  didn't do that. The language that he uses and it
• 1:07:52
  keeps your fancy get at the end of the film and you think I
• 1:07:54
  don't know if he's going to live or die here.
• 1:07:56
  And I also don't know how I feel about that, like have I forgiven
• 1:08:00
  him or is? This is a remarkable thing.
• 1:08:02
  Yeah. Or is he irredeemable?
• 1:08:03
  And this is fair enough, what's happened to him.
• 1:08:05
  And that, to me, is why McDonough puts that language in
• 1:08:08
  Ray's mouth. He doesn't put in Ken's mouth.
• 1:08:10
  Ken never says anything like that.
• 1:08:12
  Harry does occasionally, but again, with Harry, you, you're
• 1:08:15
  not supposed to really like Harry.
• 1:08:16
  He's funny but not likable. And I think it's the sign of
• 1:08:19
  someone quite brave to write lines of dialogue where he's
• 1:08:22
  essentially saying I'm going to make you laugh at something you
• 1:08:24
  shouldn't be laughing at. And it's the shocking nature of
• 1:08:28
  it which makes you laugh. And The thing is, he's not doing
• 1:08:31
  it just for shock value. Personally, there's nothing I
• 1:08:34
  dislike more than shock comedians because I find that
• 1:08:36
  quite boring. Like, anyone could say something
• 1:08:38
  defensive. You get up on stage crap, yeah,
• 1:08:41
  and it takes more thought of it, but it takes real intelligence
• 1:08:44
  to say This is why my character is saying these particular
• 1:08:47
  words. And yes, it's horrible, but
• 1:08:49
  that's the point and I think with Donna's right and treat his
• 1:08:52
  audience with a huge amount of intelligence to understand that.
• 1:08:56
  Yeah, yeah, very much, he said. The word is more about the
• 1:08:59
  rhythm, he said. I listened to a character talk
• 1:09:01
  in my head and that's what they say and that's what I hear.
• 1:09:04
  And he said. But as a person, I don't swear.
• 1:09:07
  Yeah, yeah, he never does. I've never heard him swear on an
• 1:09:09
  interview or anything. But doing research into this,
• 1:09:11
  there are 126 uses of the F bomb in the film, around 1.18 per
• 1:09:18
  minute. Rabbit Firewell, I mean, you
• 1:09:20
  could top that if we just let you go for 107 minutes.
• 1:09:22
  Absolutely, yeah. All the shit you got to cut out.
• 1:09:26
  Cheesy swears a lot. It's the same as Tarantino not
• 1:09:31
  sitting there just doing the end bomb every minute.
• 1:09:34
  But he knows that his characters need to see it, and he's not
• 1:09:36
  afraid to understand that. His characters understand that
• 1:09:39
  language, but he doesn't necessarily understand that
• 1:09:42
  language. And it's really brave to be able
• 1:09:45
  to put that down and think that people don't judge you for it.
• 1:09:49
  You don't think that that's me personally.
• 1:09:51
  I'll be terrified to write that down in the screenplay and all
• 1:09:53
  this kind of sort. Of happen to come from
• 1:09:55
  somewhere, yeah. Of course it does.
• 1:09:57
  So I think he just understands that.
• 1:09:59
  And I think that comes down to the way that he balances it with
• 1:10:03
  an introduction and then a resolution with a lot of what he
• 1:10:06
  says makes sense later on. And it has a reason and it has a
• 1:10:09
  purpose. And it's not just said to be
• 1:10:11
  offensive. He says it for his characters to
• 1:10:13
  see it and for his characters to have an arc and for them to come
• 1:10:16
  from 1 route to another route. And he's done it time and time
• 1:10:20
  again. To me, she was like a real
• 1:10:22
  intelligence. Like Matt said always, I'll
• 1:10:24
  always say Tarantino's fearless. I always will.
• 1:10:27
  And Mcdonough's the same. Is is one of them real artists.
• 1:10:32
  I'm not even going to call him a writer.
• 1:10:33
  I'm not even going to call him a director.
• 1:10:35
  I'm just going to call him an artist.
• 1:10:37
  But someone didn't get something and make it accessible, make it
• 1:10:41
  funny, make it sad. And how many times you sat next
• 1:10:45
  to someone ago, You know, I know you're a sea bomb and you're
• 1:10:49
  this and you want to just express yourself in that way
• 1:10:52
  where it's so blunt and it's so matter of fact, but it's not
• 1:10:56
  offensive. There's love in it, and he
• 1:10:59
  understands it. And I think that's what he is as
• 1:11:01
  a writer. And I think that's why it takes
• 1:11:02
  him so long between films. Yeah, because there's so much
• 1:11:06
  emotion and he wants to get it right every time.
• 1:11:08
  And I really appreciate that. I agree.
• 1:11:10
  Yeah, everything's perfectly placed in a McDonough film.
• 1:11:12
  It is nothing out of place. Everything is has a purpose.
• 1:11:15
  Yeah, for me it does. Yeah, definitely.
• 1:11:17
  I don't know that McDonough conceived the idea for in Bruce
• 1:11:21
  after day trip to the place itself and he'd actually went
• 1:11:23
  there on a date, but the date cancelled on him.
• 1:11:26
  So he was left alone in the city trying to keep himself
• 1:11:28
  entertained and he said he was initially enchanted by the
• 1:11:31
  architecture and the history, but he soon became bored because
• 1:11:34
  he said there wasn't much to do apart from go to Art gallows.
• 1:11:36
  He just wound up getting drunk instead and he said that kind of
• 1:11:40
  became 2 characters in my head. The cultural loving geek and the
• 1:11:43
  drunken slut, yeah. You can totally see that though.
• 1:11:46
  Like if you go there on a date and you get turned down, you
• 1:11:49
  can. I want to appreciate this place,
• 1:11:51
  how quickly that's going to be worn out.
• 1:11:52
  It's going to be pretty instantaneous, yeah.
• 1:11:55
  Yeah, he said. So I just let those characters
• 1:11:57
  speak in my head, and I thought, why would these two people be in
• 1:12:00
  a town like Bruges when they don't want to be here?
• 1:12:03
  And that's when the whole idea of them being hit men came up
• 1:12:06
  and their escape and a horrific job that went wrong.
• 1:12:08
  Yeah, he actually stayed in the same hotel room that the boys
• 1:12:12
  did. Yeah, on his original visit to
• 1:12:14
  the city. You can tell it's his
• 1:12:16
  experiences going to these places, want to get something
• 1:12:18
  from it and just being like, I'm not getting anything from it,
• 1:12:21
  what would I do? No, I don't.
• 1:12:22
  Do I have to go and touch it? No, I don't have to.
• 1:12:24
  You can see him talking to himself.
• 1:12:25
  You. Don't have to.
• 1:12:27
  In his original script, the two hit men were from London, but
• 1:12:30
  this was changed when Gleason and Farrell came on board.
• 1:12:33
  I thought it was ridiculous to make them put on London accents.
• 1:12:36
  It's such an easy change to make them Irish gunmen working out of
• 1:12:39
  London and I think it kind of adds an extra friction to the
• 1:12:42
  whole thing of having British boss with two Irish good men.
• 1:12:46
  It is kind of like Island as well, isn't it Bruges?
• 1:12:48
  Yeah, but it's got that history. Do it?
• 1:12:51
  Yeah. Yeah, that would have been the
• 1:12:52
  Guy Ritchie spin off that were hated from the poster.
• 1:12:55
  Would have, yeah. There have been similarities
• 1:12:57
  drawn between Harold Pinter's play The Dumb Waiter about two
• 1:13:00
  hitmen waiting for a job and shooting.
• 1:13:02
  The breeze. That was a big influence on it.
• 1:13:04
  And the two aliases that are given at the hotel are Crannum
• 1:13:07
  and Blakely. The actors Kenneth Crannum and
• 1:13:09
  Colin Blakely starred in the TV adaptation of The Dumb Waiter.
• 1:13:12
  All right. Nice.
• 1:13:13
  Nice tie. Yeah, lovely.
• 1:13:15
  So despite some clear influences, I think we all agree
• 1:13:18
  an incredible piece of writing from Martin McDonagh.
• 1:13:20
  Yep. Next up we're talking about the
• 1:13:24
  score for In Bruges, composed by Cohen favorite Carter Burwell.
• 1:13:28
  Yes, Matt, the music in the film.
• 1:13:30
  What are your thoughts? I think the music was one of the
• 1:13:33
  first giveaways that this wasn't going to be the film I was
• 1:13:36
  worried it might be because I think, yeah, definitely.
• 1:13:39
  Apart from that guitar at the end, which kicks in when Harry's
• 1:13:41
  chasing Ray, everything else I think feels very timeless, like
• 1:13:45
  just lots of these very like melancholic piano melodies.
• 1:13:49
  Just very subtle, just layered over the top.
• 1:13:51
  And you know, there's no, like edgy indie songs slapped over
• 1:13:55
  the top of scenes to like, Oh yeah, this will give it a kick
• 1:13:58
  up the ass. This will make it seem cool.
• 1:13:59
  The film's not about that. It's not investing that.
• 1:14:02
  It's one of those cases where, you know, the music is always
• 1:14:04
  about serving the scene. It's the only song you get is
• 1:14:07
  Ragman Rode at the end, which does work really well with Ken's
• 1:14:10
  death and it is the only song there.
• 1:14:12
  So you know, I I really appreciate how it is removed
• 1:14:14
  from the whole kind of Britpop Guy Ritchie Edgar Wright type of
• 1:14:18
  soundtrack, a song every 10 minutes to jazz it up a bit.
• 1:14:22
  Don't get me wrong, they have their place and they work in
• 1:14:24
  their films. Oh yeah.
• 1:14:26
  That wouldn't work for this film.
• 1:14:27
  Yeah, there's certainly the otherworldliness field of the
• 1:14:30
  music, like it's from a bygone era.
• 1:14:32
  I really feel it does evoke that fairy tale that we keep hearing
• 1:14:35
  about, but there's a sinister side to it that never is too far
• 1:14:39
  away from the surface. Just bubble in London.
• 1:14:41
  So no matter how funny the film gets, we can never get too
• 1:14:44
  comfortable because we can feel that there's something sinister
• 1:14:47
  lurking around the corner with the music brood.
• 1:14:49
  Yeah, yeah, it's full of melancholy and sadness.
• 1:14:52
  Burwell said that it was very important that sitting next to
• 1:14:55
  the comedy in the film, the music had to be polka straight
• 1:14:57
  and take itself very seriously, He said The more serious the
• 1:15:00
  music is, the sillier the goings on in the film will appear.
• 1:15:03
  Yeah, and I agree with that. It puts me in mind of those, you
• 1:15:06
  know, slightly different tone, but it puts me in mind of those
• 1:15:08
  great Elmer Bernstein scores for Animal House and Ghostbusters,
• 1:15:11
  which is straight as a die. Yeah.
• 1:15:13
  Yeah, this absurd comedy, yeah. Yeah, like Harry's thing.
• 1:15:16
  Like the music that accompanies Harry.
• 1:15:18
  It's like, really that boom and dramatic.
• 1:15:20
  Yeah, yeah, it is. That's he's walking over the
• 1:15:22
  bridge. Yeah, yeah, yeah.
• 1:15:24
  But then that Congress. How ridiculous the scene is when
• 1:15:26
  he meets Ken. Yeah.
• 1:15:28
  Yeah, it's like it's like Fargo. It is.
• 1:15:30
  It's very. It is.
• 1:15:31
  Yeah, very similar, yeah. Wesley, what about you?
• 1:15:34
  The music in the film. I find it just very, very
• 1:15:37
  unselfish and very refrained. He's very much a visual composer
• 1:15:41
  because you don't notice it. You don't want to turn around
• 1:15:43
  and buy a Carter Bill well score separately to the film.
• 1:15:47
  I think it's a perfect marriage between visual and audio, and it
• 1:15:52
  impacts on every single thing that you see.
• 1:15:54
  The way that he can support a voice over it just sits
• 1:15:58
  underneath it and swims. It's like the the audio, like if
• 1:16:01
  you're watching Ken walk over a bridge, the audio's underneath
• 1:16:03
  it and that's how it feels when I'm watching this film.
• 1:16:06
  Like the audio is just in the alcoves, it's in the shadows and
• 1:16:09
  you're watching when the sun hits, and that's the visual, but
• 1:16:12
  you're getting everything else from from the shadows.
• 1:16:14
  And that's, I think that's what Carter Bill does really, really
• 1:16:16
  well in this. Yeah, a great score, reflecting
• 1:16:19
  the subdued elegance of the city.
• 1:16:22
  Yes. Definitely.
• 1:16:25
  Finally, a man we've not talked about on the shore, I girl
• 1:16:28
  brilled. I would have said we're unlikely
• 1:16:30
  to talk about him again, but he's recently shot Alexander
• 1:16:33
  Payne's the hold overs which he's cutting it for us, so
• 1:16:36
  there's a chance. Beautiful looking film up but.
• 1:16:39
  What about his work on In Bruges Westie?
• 1:16:41
  Yeah, I think what Brill does with this is really support
• 1:16:45
  Mcdonough's view and his stylistic vision, but doesn't
• 1:16:49
  lock it down in any real time or moment.
• 1:16:54
  I'm astonished that this film is as old as it is.
• 1:16:57
  Every time I watch it I go, oh, Colin Farrell, it's really old
• 1:17:00
  now. But this came out last year,
• 1:17:01
  surely, and Bruce came out. It's so fresh. 15 years.
• 1:17:05
  Ago. Yeah, exactly.
• 1:17:06
  Look at my daughter. I'm like, this is older than you
• 1:17:08
  are and I just don't get it because it's just shot in such a
• 1:17:12
  way that's so classical, that's so selfless in the same way that
• 1:17:16
  got to be able to the music. I think that what Brill brings
• 1:17:19
  to this is just exactly what McDonald wanted him to do, and
• 1:17:23
  he does it so well. I don't really feel that there's
• 1:17:25
  an argument they're going we should shoot Bruges in like wide
• 1:17:28
  angles and we need a drawn shot over the church as Ken falls out
• 1:17:33
  of it. And then it sweeps down and does
• 1:17:34
  this now, and you see the point of view shot from there, that
• 1:17:37
  from there, that from there. And it's one of the first films
• 1:17:39
  where I really don't overanalyze what it's shot on, what lenses
• 1:17:44
  they used. I don't really care because it
• 1:17:46
  all just blends into the narrative.
• 1:17:49
  It all blends into the performance.
• 1:17:50
  Everything's just such a complete thing.
• 1:17:52
  I know that I'll never be able to replicate it, so I don't
• 1:17:55
  really care what it's shot on, even if I knew.
• 1:17:57
  And even if I got that camera, I couldn't do this.
• 1:17:59
  So that's how good his work is on it, to be fair.
• 1:18:02
  Great. Yeah.
• 1:18:03
  I really like his two shot frame and other characters.
• 1:18:05
  When they're talking side by side, they seem oddly out of
• 1:18:08
  place in the frame, which I guess is a reflection of their
• 1:18:10
  misplace. Yeah, I mean, not just in
• 1:18:12
  Bruges, but in the world, considering their line of work.
• 1:18:15
  And Brill focuses on the imposing nature of the city in
• 1:18:18
  those two shots. And overall, really, it feels
• 1:18:21
  like the city's almost oppressive in the way that it
• 1:18:23
  dominates the fame. Yeah, further emphasizing like
• 1:18:26
  that purgatory theme, like it's Jujun, Ken and Rea.
• 1:18:29
  It's all very intimate and the camera lingers on faces, not
• 1:18:33
  least Ken where we're able to see what's going through his
• 1:18:35
  head without any dialogue to confirm it.
• 1:18:37
  Yeah. The key thing for me is I think
• 1:18:40
  how the look of the film slowly changes.
• 1:18:42
  Like I said in the opening scenes, it's it seems very
• 1:18:45
  bleak. There's a real coordinates to it
• 1:18:46
  and you do kind of understand why Rey isn't impressed by any
• 1:18:50
  of it. But I think as it progresses and
• 1:18:52
  he finds more and more there to enjoy and more of a reason to
• 1:18:55
  think about still being alive, I think the look of the film does
• 1:18:58
  slightly soften. And again, this for me is
• 1:19:00
  evidence of why McDonagh doesn't even word a dialogue in here
• 1:19:03
  without really thinking about it.
• 1:19:04
  Because by the time you get the final third, that freezing fog
• 1:19:07
  that Ken was lying about earlier does actually roll in.
• 1:19:11
  It is in that scene and all the street lamps are lit, the
• 1:19:14
  Christmas trees, the Christmas sites have been put on as well.
• 1:19:17
  So it does again have that fairy tale aspect to it.
• 1:19:20
  It does have just that slight divorce from reality.
• 1:19:23
  Look to it, It has a glow to it and that again it comes to all
• 1:19:27
  the violence that's happening. So just everything while you two
• 1:19:30
  guys have said really it's just supports the story in
• 1:19:32
  Mcdonough's vision, so. Well, yeah, it does, yeah.
• 1:19:35
  It really captures Mcdonough's vision.
• 1:19:37
  A superb crew on In Bruges production designed by Michael
• 1:19:40
  Carlin is incredible. Yes, Yuri's apartment is
• 1:19:43
  something else, but the standouts are the outstanding
• 1:19:45
  screenplay by McDonagh, Carter Burwell's haunt and music and
• 1:19:49
  Eigel brilled eye for the pain and beauty in the story.
• 1:19:52
  Yes. Definitely the end.
• 1:19:59
  The final act. It's all happening on the
• 1:20:01
  cobbled streets of Bruges. I'm sure this is the moment that
• 1:20:04
  you've been waiting for, Matt, your entire life.
• 1:20:07
  I have the Bleeper on standby. You're going to need it here.
• 1:20:11
  We'll go. I mean, I'll say this how he
• 1:20:14
  gets to bruise very quickly, doesn't he?
• 1:20:17
  Very quickly indeed. He gets to bruise quicker than
• 1:20:20
  he gets down off the tower. He really doesn't make you
• 1:20:25
  think. Like, has Ken just been sat
• 1:20:27
  there in that bar all day just getting pissed waiting for him.
• 1:20:30
  I mean, I don't blame him. Every beer in this film looks
• 1:20:33
  amazing. I get really thirsty.
• 1:20:36
  But watching this? Girl, it does as well.
• 1:20:38
  Like, doesn't it? Yeah.
• 1:20:39
  Four in 20 minutes? Yeah, I'm going to bed.
• 1:20:41
  No chance. No chance.
• 1:20:43
  So you've had this build up, You know Harry is the threat.
• 1:20:45
  You know what he wants to do to rear and almost certainly what
• 1:20:48
  he wants to do to Ken now as well.
• 1:20:50
  But the whole scene just plays out as absolute farce.
• 1:20:54
  And the thing a lot of that is because Ken and Harry have known
• 1:20:57
  each other for so long, they've just got these lingering
• 1:21:00
  resentments towards each other. So when Harry says, excuse me,
• 1:21:04
  Ken, I have the capacity to change.
• 1:21:06
  Yeah, you have the capacity to get fucking worse.
• 1:21:09
  Oh, now we're getting down to it.
• 1:21:11
  Now we're down to it. He relaxes and he seats it's.
• 1:21:14
  Really funny, the whole thing to me, it's like a really bad
• 1:21:18
  appraisal with your manager at work, you know, You know the
• 1:21:21
  kind of people like, why didn't you do your paperwork?
• 1:21:23
  Why hasn't that been filed? Why?
• 1:21:26
  Where's that gone? It has that whole vibe to it,
• 1:21:28
  and it's Harry's increasing display for the situation.
• 1:21:32
  You know, Ken thinks he's explaining it, but the boy is
• 1:21:35
  suicidal, Harry. He's suicidal.
• 1:21:37
  You're suicidal. I'm suicidal.
• 1:21:40
  I'm suicidal. We don't all keep going on about
• 1:21:43
  it. Really.
• 1:21:45
  Funny and it's really harsh. But at the same time, McDonald's
• 1:21:49
  has told you how the film's going to end, and there's no way
• 1:21:53
  you would guess that these characters are going to kill
• 1:21:55
  themselves because you think, well, how and why it's so clever
• 1:21:58
  how he signed posted it, but not in an obvious way at all.
• 1:22:01
  But Harry just gets funnier and funnier when Ken tells him he
• 1:22:05
  actually stopped Ray from shooting himself.
• 1:22:06
  The look on how his face what This just gets fucking worse.
• 1:22:13
  When you were down the park, let me get this you were down the
• 1:22:15
  park. Just.
• 1:22:19
  So fast. Complete disbelief, what these
• 1:22:21
  two idiots have been doing on this sporty, simple job.
• 1:22:25
  And it's all brilliantly written, because when Harry
• 1:22:28
  makes a big deal about how if it had been him that had killed a
• 1:22:31
  kid, accidentally or otherwise, he'd have killed himself on the
• 1:22:34
  fucking spot. On the fucking spot, mate.
• 1:22:36
  Which you think is all bluster. But no, as it turns out, this is
• 1:22:39
  what's going to happen to Harry at the end.
• 1:22:41
  It's set the end up absolutely beautifully.
• 1:22:44
  It's right under your nose and you don't realize for 2nd.
• 1:22:47
  And I've not even mentioned Ken calling Howie's kids.
• 1:22:54
  Your quote from the top. It's not my fucking kids going
• 1:22:57
  over. What's going overboard, mate?
• 1:22:58
  He's. Really insulted by you.
• 1:23:00
  He's furious. Do you know what to be favorite
• 1:23:03
  bit about the whole bit? It's like when he talks about
• 1:23:07
  the alcoves and they're so much good friends.
• 1:23:10
  Yeah, he's supposed to you about the alcoves.
• 1:23:12
  That's what I mean. Yeah, that's.
• 1:23:13
  History. They've got this history and
• 1:23:15
  they've got this like and it it stops and it pauses and then
• 1:23:18
  they're like, right, we've got to get back to this again.
• 1:23:20
  Yeah. And then he's talking about the
• 1:23:21
  kids and he he insults them and and it's when.
• 1:23:24
  Yeah, I fucking got that. Find schools.
• 1:23:27
  Like, what have they done? Yeah, that line really hits me.
• 1:23:31
  So what have they done? Yeah, because he knows he's like
• 1:23:38
  a man of principle. He's like, actually, what about,
• 1:23:40
  I know what I've done. Yes, I know I am.
• 1:23:42
  Yes. Right.
• 1:23:42
  What have they done? Nothing.
• 1:23:44
  So we'll retract it now, because that doesn't.
• 1:23:46
  Justify that, yeah. Well, I love the scene when they
• 1:23:49
  go up to the bell tower, yeah. McDonough establishes location
• 1:23:53
  impeccably. In one shot, the camera circles
• 1:23:56
  Chloe and Ray kissing as Ken and Harry Walker.
• 1:23:59
  Are you, in a way, fantastic? Yeah, wonderful.
• 1:24:01
  All the pieces come together beautifully the moment when
• 1:24:03
  Harry and Ken get to the entrance.
• 1:24:05
  It's been amazingly set up in the first act.
• 1:24:08
  This guy behind the desk is a total hard on.
• 1:24:10
  Yeah, he's a peel on the arse. Yeah, and he's in for much more
• 1:24:14
  than he bargained for with Harry.
• 1:24:18
  I mean, he is, he is very aggressive pork and Harry in the
• 1:24:21
  foyer, English man and Ken's reaction's.
• 1:24:25
  Amazing when? He starts to do that.
• 1:24:27
  He's like. Yeah, he just walks away.
• 1:24:29
  He walks off, yeah, but with that little bit of thinking, he
• 1:24:33
  deserves it. To be fair, he was a Dick to me
• 1:24:35
  earlier. You get what's coming to you
• 1:24:37
  here? But.
• 1:24:39
  When they get to the top, it's just magnificently funny and
• 1:24:42
  tragic and life affirming and everything in between.
• 1:24:45
  Ken puts his gun down, he's not fighting anymore, Harry says.
• 1:24:49
  Don't come over all Gandy on me. But then goes into this
• 1:24:58
  heartfelt place of real affection for Harry and what
• 1:25:01
  he's done for him. Really emotional, and Harry
• 1:25:03
  can't believe it. And he lets out this kind of,
• 1:25:05
  like, hilarious, exasperated noise.
• 1:25:08
  When he says I love you unreservedly, he goes, what?
• 1:25:15
  And because of this outpouring of emotion, Harry is close to
• 1:25:18
  tears himself, and he can't shoot Ken.
• 1:25:20
  But because he's going to Bruges on a mission to kill Ken, he's
• 1:25:24
  got to get his pound of flesh somewhere.
• 1:25:25
  So out of frustration, he shoots him in the leg, says, like, I'm
• 1:25:29
  not going to do nothing to you just because you're standing
• 1:25:31
  about like, rubber fucking Powell.
• 1:25:35
  Like who? Like rubber fucking power.
• 1:25:37
  Jesus fucking Nazareth. I heard that.
• 1:25:43
  I fucking boggled. It was me.
• 1:25:46
  Nana's favorite performance of Jesus.
• 1:25:49
  Robert Powell, like Robert Powell's, like the ultimate
• 1:25:52
  Jesus portrayal. And I was wet myself.
• 1:25:56
  No one's rubber pedals and rubber.
• 1:25:58
  Fucking now. Nobody knows who Robert.
• 1:25:59
  Powell is even. Ken doesn't.
• 1:26:04
  It's wonderful. And after this he even helps him
• 1:26:07
  downstairs like a brother. But all that changes when Eric
• 1:26:10
  comes on the scene. One of these fellas has to take
• 1:26:13
  the bullet. Ken must have to have a go at
• 1:26:16
  Harry to prevent him from getting to rear, and as a result
• 1:26:18
  Harry has to defend himself. It's beautifully constructed, it
• 1:26:22
  is on cast and finds, McDonough said.
• 1:26:23
  I wanted to cast completely against Type Go for someone
• 1:26:26
  who'd bring in intensity and darkness and danger to it.
• 1:26:30
  He also brought something I hadn't seen in him before, which
• 1:26:32
  was his brilliant comic time. Yeah, which?
• 1:26:35
  Yeah, absolutely. So, so good.
• 1:26:37
  In finds himself he took inspiration from a real favorite
• 1:26:40
  of ours. We all love this one.
• 1:26:42
  The Long Good Friday. Oh nice Hoskins.
• 1:26:44
  Incredible performances. Harold Shand in Find said that
• 1:26:48
  Shand is this savage gangland madman.
• 1:26:50
  But he also has a sensitive side.
• 1:26:52
  He's a family man with a strict moral cord.
• 1:26:54
  Yeah, he said. You get that.
• 1:26:55
  The a sense of that world with the Bob Hoskins character where
• 1:26:58
  he has a girlfriend and he has friends.
• 1:27:00
  Yeah. And then there's this tough
• 1:27:01
  business side and you do get that scene.
• 1:27:03
  And that's why that scene, the inanimate object scene, is very
• 1:27:07
  important. It's not just good busting the
• 1:27:08
  hilarious. We need to see him at home.
• 1:27:10
  Yeah, yeah, definitely. Yeah.
• 1:27:12
  To show his layers. Yeah.
• 1:27:13
  And I think it's appropriate now to introduce our third and final
• 1:27:16
  Pierre Young question. This one comes from DG Barkles.
• 1:27:19
  Hello, DJ. Hello, DJ.
• 1:27:21
  He said. First time I saw this at the
• 1:27:22
  cinema, I was thoroughly blown away while simultaneously
• 1:27:25
  laughing my ass off at its ultra blackest of black comic tone.
• 1:27:31
  He said I was not expecting the introduction of RAF, the legend
• 1:27:34
  finds at all, but he's come. He was one of the most hilarious
• 1:27:37
  and perfect that I've ever seen. My question is, are there any
• 1:27:40
  better or more enjoyable come of yours that you could name?
• 1:27:43
  PS Keep up the great work you massive legends.
• 1:27:45
  You brighten up a lot of soul crushing commutes.
• 1:27:48
  Oh, wow. Nice.
• 1:27:49
  Our pleasure. Yeah, our pleasure.
• 1:27:51
  Hopefully it's not a commute to Bruges, yes.
• 1:27:53
  No, no, Matt, come of yours. What do you like?
• 1:27:57
  A cameo for me is someone who's an absolute surprise and sure
• 1:28:01
  something maybe just one same. So I really love Samuel Royal
• 1:28:05
  Jackson at the end of Out of Sight.
• 1:28:06
  That's a brilliant one. Nice.
• 1:28:09
  Yes. Dan Aykroyd always puts a smile
• 1:28:11
  on my face in Temple of Doom, the guy Sean, Indy and Willie
• 1:28:14
  onto the plane to. Make this game.
• 1:28:16
  I thought. You were going to say Casper
• 1:28:17
  there? Well, don't drum into me #3
• 1:28:21
  here. And also Harrison Ford and ET.
• 1:28:26
  He's the voice of the science teacher.
• 1:28:27
  I like that one as well. That one's good.
• 1:28:29
  Scorsese does great ones. He's really chilling in Taxi
• 1:28:32
  Driver. That's right.
• 1:28:35
  I really liked his cameo in there.
• 1:28:36
  Killers of the Flower Moon, Bill Murray.
• 1:28:39
  Zombieland. That's a really funny one.
• 1:28:41
  Another one that really made me laugh.
• 1:28:43
  It was Channing Tatum. And this is the End, right?
• 1:28:48
  Yeah. OK.
• 1:28:48
  Yeah. Yeah, yeah.
• 1:28:50
  That's very strange. It is very, very funny, yeah.
• 1:28:54
  Yeah, yeah. I kind of take your point, Matt,
• 1:28:57
  that it's one scene and it's from somebody you wouldn't
• 1:28:59
  expect. Yeah, yeah.
• 1:29:00
  It's kind of against type, isn't it?
• 1:29:02
  It is, yeah. But I suppose the obvious ones.
• 1:29:04
  Alec Baldwin and Glengarry Glen Ross.
• 1:29:06
  Oh yeah, yeah. It's great, yeah.
• 1:29:07
  The leads? Bit of shit.
• 1:29:08
  Your shit. Brilliant.
• 1:29:11
  I'm a big fan of one we talked about a few months back on our
• 1:29:13
  double feature show Gene Hackman in Young Frankenstein.
• 1:29:16
  Oh yeah. Great.
• 1:29:17
  Wonderful. Great.
• 1:29:18
  Yeah. Yeah.
• 1:29:20
  What is he doing in that film, Billy Crystal in This Is Spinal
• 1:29:24
  Tap? I'm Is money always a joy?
• 1:29:26
  Princess Bride. And Princess Bride?
• 1:29:28
  Yeah, very much. And I've got to throw in the
• 1:29:31
  Boss, Springsteen and High Fidelity.
• 1:29:33
  Nice. Goodbye.
• 1:29:33
  Yeah. Yeah, yeah.
• 1:29:34
  Fantastic. What about you, Westie?
• 1:29:36
  I'm just trying to figure out what's not already been said and
• 1:29:41
  Tom Cruise in Tropic Thunder. Oh yeah, yeah, yeah.
• 1:29:44
  You talk about someone against type.
• 1:29:45
  He's an absolutely fucking marvel in that That's really
• 1:29:48
  brilliant and I love Tarantino and Desperado I.
• 1:29:51
  Thought you were going to see Django and she.
• 1:29:54
  No, because that's his own film, so he's allowed to be in that.
• 1:29:57
  But every every single Tarantino performance is a cabrio, let's
• 1:30:01
  be honest. Yeah, it is.
• 1:30:02
  He's funny and desperado. For me, scores easy in taxi
• 1:30:04
  drivers. Probably the ultimate cameo in
• 1:30:07
  its way of like, who is this guy and how good is he?
• 1:30:10
  He's brilliant. Yeah, So Wester, you're going to
• 1:30:13
  wrap us up on this scene you talk?
• 1:30:16
  About. Ken's fault?
• 1:30:18
  Yeah, devastating. I wanted to talk about the scene
• 1:30:20
  because this is the only scene that really puts us off watching
• 1:30:23
  the film because I always want to see the film, but it's so sad
• 1:30:27
  and it's so well done and it's so real that I kind of always
• 1:30:33
  imagined this scene. I have to deal with it mentally
• 1:30:36
  and then put the film on right? Because once you've seen it is
• 1:30:39
  right, you've got to prepare yourself for this moment.
• 1:30:42
  And if I'm ready for that moment, then I can watch
• 1:30:44
  everything that's come before it and ready for that.
• 1:30:47
  I mean, I'm not a massive fan of local music, give this and that
• 1:30:51
  and whatever else, but I think The Dubliners on Raglan Road in
• 1:30:54
  this sequence is so beautifully played out.
• 1:30:56
  I. Think it's incredible spine
• 1:30:58
  tingling on Raglan Road of an autumn day?
• 1:31:08
  I. Saw her first and the new.
• 1:31:14
  With McDonagh, it could be something that was really upbeat
• 1:31:18
  just to counteract the visual, and you listen to almost the
• 1:31:21
  whole song. It's just all the way through
• 1:31:25
  and the way that this reflects to what I was talking about with
• 1:31:27
  the Happy and your work scene, if you had to pay that money and
• 1:31:31
  got rid of these coins, he wouldn't be able to scatter them
• 1:31:33
  and he wouldn't be able to clear people and he wouldn't be able
• 1:31:35
  to jump and this would never have happened.
• 1:31:37
  Yeah. Yeah.
• 1:31:37
  So again, one of the perfect mirrors in writing, in hitting
• 1:31:42
  at home. But to see such a beloved
• 1:31:44
  character fall, do what he needs to do, realise that that's his
• 1:31:48
  purpose, and explode on the ground and see bits of them
• 1:31:53
  lying around. My God.
• 1:31:54
  Where's my gun? His guns?
• 1:31:56
  Not there. And go straight into an action
• 1:31:57
  sequence straight after it. It's a beautifully realized
• 1:32:01
  piece of cinema that you can watch just by itself without
• 1:32:04
  knowing before or after what happens or even who this person
• 1:32:07
  is. Yeah, it's just a beautifully
• 1:32:09
  realized, just an experience really.
• 1:32:11
  And I've got to prepare myself. Think I'm going to die now.
• 1:32:14
  Yeah. Oh God.
• 1:32:15
  And that line, Yeah, I mean, that could have been on a
• 1:32:19
  million films that I've seen, but it's never really hit home
• 1:32:22
  like it did on this one. Yeah, and it's Farrell's
• 1:32:24
  performance. He's absolutely gutted.
• 1:32:27
  He's heartbroken because Ken was potentially his salvation.
• 1:32:30
  Yeah, he was absolutely. And Ken's done this to save him,
• 1:32:33
  and there's just them close-ups of just Harry's here.
• 1:32:36
  He's absolutely flared apart, yeah, and all he wants to do is
• 1:32:39
  tell him he's Harry's here, Get out there.
• 1:32:41
  He still wants to save him. The life that drains out of his
• 1:32:43
  face. Yeah, it's just.
• 1:32:44
  Also. Poor.
• 1:32:46
  There's two things that stand out for me here.
• 1:32:49
  First is it tells you so much about Ken that he thoughts the
• 1:32:52
  coins over to get people out the way.
• 1:32:53
  Yeah, he doesn't have to do that, he.
• 1:32:54
  Doesn't want to hurt anybody. He doesn't.
• 1:32:56
  No, he doesn't. Doesn't have to do that as well.
• 1:32:57
  And the other thing is that what can tell by what he's gone to
• 1:33:01
  see and bruise prior to this, that he's probably Catholics,
• 1:33:04
  he's probably quite religious. And in Catholicism, if you kill
• 1:33:08
  yourself, that's a mortal sin. So he will know that.
• 1:33:11
  So he will know in Catholicism this is going to send him to
• 1:33:14
  hell. So it's like, is he doing that
• 1:33:16
  because he thinks that's why I deserve to go up?
• 1:33:17
  Because I've killed people. So that's fine.
• 1:33:19
  Yeah. Or is he doing, Hopefully the
• 1:33:22
  fact that I'm doing this to save Ray, that will be my penance
• 1:33:25
  that will Get Me Out of it and, you know, send me to maybe just
• 1:33:27
  purgatory, but not to hell. I think it's really interesting
• 1:33:31
  thing for this character to do. Or at least it's worth to see.
• 1:33:35
  To save Ray, Yeah, yeah. Yeah, and I think the other
• 1:33:37
  thing I got from as well is that is this isn't the full amount of
• 1:33:40
  money you need to get there. He's not paying these full
• 1:33:43
  penance. No, he's $0.10 short.
• 1:33:45
  Yeah. And what he has to do is save
• 1:33:46
  Ray to get his $0.10 back. Yeah.
• 1:33:48
  So he's he's spilling what he has and paying the rest with his
• 1:33:51
  life. Yeah.
• 1:33:52
  Yeah, great. So heartbreaking to see Ken go
• 1:33:55
  the way he does, but he's a complete peace with himself
• 1:33:58
  rounding off an incredible performance from Gleason.
• 1:34:01
  Yeah, Unbelievable. In the final sequence, Harry
• 1:34:06
  clocks Ray, who makes a run for it, and we're picking up the
• 1:34:09
  scene in the hotel. I love the scene, this
• 1:34:11
  confrontation in the hotel for a lot of reasons, but part of it
• 1:34:14
  for me is how important Marie has become in the film because
• 1:34:18
  she is the symbol of hope and I think forgiveness in particular.
• 1:34:23
  As we've said throughout the film, Ray kind of latches Andre
• 1:34:26
  because the fact he killed a kid so he's going to do have them
• 1:34:30
  for this unborn kid is his kind of tenants 40 stone.
• 1:34:33
  And it reminds me of Fargo. Like when we talked about that
• 1:34:37
  episode, we talked about March being pregnant.
• 1:34:39
  In that I think it was Westie made the point that at no point
• 1:34:41
  you ever feel they've only written it as a pregnant
• 1:34:43
  character to put her in peril. To add to the, make it as part
• 1:34:47
  of the narrative. She's not vulnerable at all.
• 1:34:49
  Yeah, not vulnerable at all because I think that would be a
• 1:34:52
  really cheap ploy and I would quite nasty do that.
• 1:34:55
  And it's the same here. She's there just as this
• 1:34:57
  alternate good future. If things had gone down a
• 1:35:00
  different path for it, you know that could have been his future
• 1:35:02
  to someone like Marie. She's wonderful as well.
• 1:35:04
  Oh. She's fantastic.
• 1:35:06
  It's wonderful. She's great.
• 1:35:07
  Every single scene I think she's called up.
• 1:35:08
  I really love this performance. Thinks she's really.
• 1:35:11
  Nails it. Yeah, absolutely nails it
• 1:35:12
  because. She just completely cuts through
• 1:35:14
  the bullshit. If these two guys like race at
• 1:35:16
  the top the stairs with his gun, how he's at the bottom with his
• 1:35:19
  and the way she just plonks herself in the middle of the
• 1:35:22
  stairs. I was such defined in for a very
• 1:35:25
  sweary film. She gets one of the best ones
• 1:35:27
  where she was This is my hotel so you can fuck off.
• 1:35:32
  It's brilliant what she does. I think she brings in focus all
• 1:35:35
  these themes of honour and weird messed up principles.
• 1:35:38
  Because Harry at one point testra, well, I'm not going to
• 1:35:41
  shoot you because I'm a nice person And yeah, I I don't
• 1:35:44
  believe for a second he he would shoot it but.
• 1:35:46
  There's no way he would, yeah. No way.
• 1:35:47
  No way he would. And he would never hold a
• 1:35:49
  hostage with the kid there or any of that.
• 1:35:51
  No, no, he would. Having said that, that doesn't
• 1:35:54
  make him nice. That just makes him normal.
• 1:35:56
  Like, you know what I mean? Like, I think the best level of
• 1:35:59
  humanity should be, I wouldn't hurt a pregnant woman.
• 1:36:02
  I don't think you need plaudits for that.
• 1:36:05
  So it really brings that in focus and you get that really
• 1:36:09
  like fascicle level to this. Again, if these guys are just
• 1:36:12
  Dicks like underneath it all, like when Harry wants
• 1:36:16
  clarification of where the canal is and he's like, will you go,
• 1:36:19
  Right. It's a big fucking canal.
• 1:36:21
  And it's Harry's response. He goes, all right, Jesus,
• 1:36:24
  Ronnie just got here, haven't I? He's so touchy about it, but,
• 1:36:28
  like, but you're trying to kill him, so I think he's entitled to
• 1:36:30
  be a bit annoyed, aren't you? Yeah.
• 1:36:32
  So yeah, I love the scene. It just sums up a lot of the
• 1:36:35
  themes. But it's really funny.
• 1:36:36
  The same language. I mean, that's just, in version
• 1:36:38
  a nutshell, really, isn't it? It is, yes.
• 1:36:40
  With that whole sequence, it's just the way that it plays out
• 1:36:43
  between they've got the shootout rules and they're laying it
• 1:36:46
  down. But it's principle again.
• 1:36:48
  The whole film is about principle.
• 1:36:50
  And what is principle and what do you stand by and what's the
• 1:36:53
  point of being alive and what are you doing to make a
• 1:36:56
  difference? I think that's what this whole
• 1:36:57
  film is trying to say. Yeah, how he literally dies by
• 1:37:00
  his principles. Absolutely.
• 1:37:02
  Bizarrely enough, this film like, really reassures me about
• 1:37:05
  being a better person because I know what not to do.
• 1:37:09
  And it's really strangely done in that way by McDonough.
• 1:37:11
  I think it's absolutely fantastic.
• 1:37:14
  I don't want to come back and find you hiding in a fucking
• 1:37:16
  cupboard. That's brilliant.
• 1:37:21
  I don't know that. Then come back, find your
• 1:37:22
  fucking cupboard. Because you know that he might
• 1:37:25
  do that. And that's what's funny, the
• 1:37:26
  audience, because, like, yeah, he actually might do that, but
• 1:37:28
  now he's got to stick to his friends.
• 1:37:30
  He said, shit, I can't do that. Yeah.
• 1:37:32
  And I've got to swim across the canal and I'm going to get away.
• 1:37:34
  Harry knows that he's not going to.
• 1:37:36
  And he jumps out and it's kind of like the worst opening to any
• 1:37:39
  Bond field ever. Yeah, yeah, the door.
• 1:37:42
  Then there's a boat coming along, jumps, lands it.
• 1:37:45
  It's kind of raised penance as well.
• 1:37:47
  He sits up and he should hide, but he doesn't feel.
• 1:37:49
  He should hide. He feels he should die.
• 1:37:51
  Yeah. Yeah.
• 1:37:51
  And he just sits up straight and goes, no, it's too far away.
• 1:37:54
  If that hits me, then that's what's meant to happen.
• 1:37:56
  Yeah. He actually feel like this
• 1:37:58
  character needs to do this. He needs that, that feeling of
• 1:38:01
  just feeling like it's not in my hands anymore and it's just
• 1:38:05
  Harry's Glee on his face when he hits him, yeah.
• 1:38:09
  Got it. Still got it.
• 1:38:10
  Yeah. Yeah, I can.
• 1:38:10
  Still do it? Yeah, that was miles away.
• 1:38:12
  That's good. I'll catch up with that.
• 1:38:14
  That whole sequence where it should be, this whole big
• 1:38:17
  actions shoot out and it isn't. Again, it's really emotional.
• 1:38:21
  It's really down to earth. It really makes sense and it
• 1:38:24
  really just like makes you stop and think and ground you.
• 1:38:27
  I think it's just incredible where to add the film.
• 1:38:29
  Yeah, and for the scene, Colin Fraud stunt double was a guy
• 1:38:32
  called James Embry and he said that in this scene there
• 1:38:35
  originally wasn't going to be a board for it to jump onto, he
• 1:38:37
  was just going to plummet into the water.
• 1:38:39
  But after seeing how shallow that water actually is, which is
• 1:38:43
  surprising because he think would be deep, McDonough
• 1:38:45
  introduced that he of the passing board instead.
• 1:38:47
  And they said actually at the time there were big crowds all
• 1:38:50
  around the place that gather to watch this scene unfold.
• 1:38:53
  They're probably all exclaiming the film and Irish fellas and go
• 1:38:56
  run. Yeah, Farrell did the interior
• 1:39:00
  shots and cut outside, which is where Embry makes his play.
• 1:39:03
  Well, I'm going to round things off by talking about the the
• 1:39:07
  notion of Bruges purgatory being fully realized in these final
• 1:39:11
  moments. Much like the imagery in the
• 1:39:13
  Bosch paint and this movie said, that Ray stumbles upon is his
• 1:39:17
  judgment. The costumes are the same or
• 1:39:20
  very similar to the painting. You've got Jimmy dressed as the
• 1:39:22
  schoolboy. That's rays reckoning.
• 1:39:24
  Yeah, it's uniquely complex, this film.
• 1:39:27
  In this moment, Harry shoots himself.
• 1:39:29
  As for taught by himself earlier, if he killed a child,
• 1:39:32
  he doesn't realize that Jimmy is a little person and what's
• 1:39:35
  beautiful is that rare. Even after being pumped full of
• 1:39:37
  lead by Harry still tries to dissuade him from killing
• 1:39:40
  themselves. Yeah yeah, the beauty of human
• 1:39:42
  compassion in the face of ultimate adversity.
• 1:39:45
  And in the end, Bruges is not only kin and Rea's last
• 1:39:49
  judgement, it's Harry's last judgement as well.
• 1:39:51
  Yeah, whoever thinks this is a beautiful city wants to have a
• 1:39:54
  word with themselves. It's a trained killer.
• 1:39:57
  Got to stick to your principles. Yeah, so, McDonough said.
• 1:40:00
  I'm interested in the strange, skewed attitudes of violent men.
• 1:40:04
  You don't cause the death of an innocent.
• 1:40:06
  You can't overcome it if you do. That was Harry's code.
• 1:40:10
  The film's characters are immoral, and that's a line you
• 1:40:13
  don't cross. Yeah, they've got a code of
• 1:40:16
  ethics, haven't they? Yeah, everything's a principle,
• 1:40:18
  yeah. Everything's code.
• 1:40:19
  Everything's a principle, yeah. And finally, what I think is, is
• 1:40:22
  quite beautiful is the final voice over from Maria.
• 1:40:25
  The dialogue right at the end is I really hoped I wouldn't die.
• 1:40:29
  I really hoped I wouldn't die. Yeah.
• 1:40:31
  Rey is capable of change and Kane hasn't died in vain.
• 1:40:35
  It's a very subtle arc for Rey, but it's a seismic revelation,
• 1:40:39
  which is just whispered very much in keeping with the way
• 1:40:42
  Macdonough has balanced everything throughout the film.
• 1:40:44
  Yeah, it's so complex. It's incredible.
• 1:40:47
  Yeah. Yeah.
• 1:40:48
  It's wonderful. So extreme bloodshed in the
• 1:40:50
  chaotic final reel of Imbrugge combined with heartbreak and
• 1:40:54
  beauty, all the hallmarks of a modern comedy classic.
• 1:40:58
  Absolutely. Reception and awards.
• 1:41:05
  In Bruges premiered at the Sundance Film Festival and
• 1:41:07
  Sneaked Out Unlimited release a month later in the US.
• 1:41:11
  Despite the star in the lead, it returned a very conservative
• 1:41:13
  34.5 million from a $15 million budget.
• 1:41:17
  In contrast to its lukewarm box office receipts, it was
• 1:41:20
  overwhelmingly praised by critics, Rolling Stone said in
• 1:41:24
  Bruges about wounds inflicted on the human heart.
• 1:41:28
  The actors are spectacular, and Mcdonough's gift for language
• 1:41:31
  makes this film uniquely tasty. No, nice.
• 1:41:34
  Yes, a particularly positive review from the Minneapolis Star
• 1:41:38
  Tribune exclaimed. If you could hoist a film on
• 1:41:41
  your shoulders and parade it through the theatre for
• 1:41:43
  adulation and Hoorays in Bruges would be the 10.
• 1:41:47
  Wonderful. It's nice.
• 1:41:49
  That's what you want to hear. Like if you're McDonough and
• 1:41:52
  you've used the language you've used in this film, to hear
• 1:41:55
  people say that, that must be amazing.
• 1:41:57
  And the big man, Roger Ebert? What did he give it out of four
• 1:42:00
  fellas? Three.
• 1:42:01
  I'll go 4I reckon he loved it. Oh, Matt on the money.
• 1:42:05
  Four out of four, he said. This film debut by Martin
• 1:42:08
  McDonagh is an endlessly surprising, very dark, human
• 1:42:11
  comedy with a plot that cannot be foreseen but only relished.
• 1:42:15
  Yes. Nailed it.
• 1:42:17
  Nailed it for once, yeah. For once well done, watch more
• 1:42:20
  like that, please. And now, 15 years later, In
• 1:42:23
  Bruges has 85% on Rotten Tomatoes and an IMDb score of
• 1:42:27
  7.9 out of 10. Pretty good going.
• 1:42:30
  Not surprised at all. Not at all.
• 1:42:32
  And with that kind of positive language being bandied about,
• 1:42:34
  it's unsurprising that it got recognized at award season.
• 1:42:37
  It was nominated in four categories of the Baftas, with
• 1:42:40
  McDonough picking up the best Screenplay award.
• 1:42:43
  Nice. Three noms at the Golden Globes
• 1:42:46
  with Colin Farrell picking up Best Actor.
• 1:42:47
  Yeah, yeah. And it was nominated at the
• 1:42:50
  Oscars for Best Screenplay. Alas, it didn't win.
• 1:42:52
  It lost to Milk. Unsurprising.
• 1:42:54
  Yeah, OK, considering the Academy.
• 1:42:56
  Come on, Matt. Yeah, the language is going to
• 1:42:58
  put a fair few of the older folders off, I would have
• 1:43:01
  thought. Further awards glory would
• 1:43:03
  follow Mcdonough's later films. The critical responses remained
• 1:43:06
  the same, and the grown cult status of Imbruges has brought
• 1:43:09
  an art and fan base to Mcdonough's work.
• 1:43:11
  Yeah, pretty good going for your feature debut.
• 1:43:13
  Absolutely, yeah. All the right movies ranking.
• 1:43:21
  And now for our last judgement, the much loved ATRM ranking.
• 1:43:25
  Matt, would you like to summarize and rate Imbruges out
• 1:43:27
  of 10, please? Yes, I'd love to because the
• 1:43:30
  benefit of this film being a very snappy 100 minutes or so,
• 1:43:34
  like, I really feel we've covered everything.
• 1:43:36
  We've not missed anything out. So in a lot of ways I'm just
• 1:43:39
  going to repeat myself. I think the fact that this is a
• 1:43:41
  debut is extraordinary. Those three main performances
• 1:43:45
  are pitch perfect, and what really stands out is I think
• 1:43:48
  people think of in Bruges and the thing of the big laughs and
• 1:43:50
  the thing of the swearing and the thing of the language, which
• 1:43:53
  is totally understandable, but that's just the surface stuff,
• 1:43:57
  and what keeps bringing me back is how clever it is.
• 1:43:59
  Underneath all of that, there's this real melancholy, there's
• 1:44:03
  this real tragic undercurrents rather than and it's a really
• 1:44:06
  interesting exploration of morality and ethics.
• 1:44:10
  And what does it mean to have a court that you profess to live
• 1:44:13
  by and can you live by in the most extremist circumstances,
• 1:44:17
  which is what this film is for these characters?
• 1:44:19
  And the last thing I want to see is that whenever we do an
• 1:44:21
  episode, I'm always slightly wary of how many times I'll
• 1:44:25
  watch the film beforehand. Because if I watch it too many
• 1:44:28
  times I'll get a little bit bored of it and I think I don't
• 1:44:31
  want to talk about it now. I've watched it too many times.
• 1:44:33
  I've not thought about anything else but this.
• 1:44:36
  I've watched it four times in the last couple of weeks and I'd
• 1:44:38
  happily watch it again tonight. You know, I don't think I'll
• 1:44:41
  ever tire if this it is a wonderful alternative Christmas
• 1:44:45
  watch. It's one that has catapulted its
• 1:44:47
  way right up into my list of personal favourites.
• 1:44:50
  I simply can't give it anything other than the full whack, the
• 1:44:52
  big old 10. Oh, a Christmas 10 Christmas.
• 1:44:57
  What about you, Wester? You're a big Christmas guy.
• 1:45:00
  Massive fun at Christmas. I love all that shit.
• 1:45:05
  It's one of them films I'll always come back to, One of them
• 1:45:07
  films I'll always recommend. One of them Films that
• 1:45:09
  constantly surprises us is how well written it was, how well
• 1:45:12
  directed it is, how well acted it is, how much it's given
• 1:45:16
  everyone in the cast. The room to shine.
• 1:45:19
  Farrell wouldn't be where he is now if it wasn't for this.
• 1:45:22
  Agreed. And Mcdonough's career has just
• 1:45:24
  gone from shining light to shining light.
• 1:45:27
  Got no ears and graces about what I'm going to say.
• 1:45:30
  And it's a 10. Fantastic.
• 1:45:33
  Perfect scores so far. For me, this is an almost
• 1:45:36
  perfect film. I'm on board with a comedy, the
• 1:45:39
  nuanced characters, the dialogue and acting at first rate,
• 1:45:43
  naturally. I'm so pleased that there is
• 1:45:45
  someone working in the industry like Martin McDonagh, a real
• 1:45:48
  breath of fresh air, making idiosyncratic films full of
• 1:45:51
  heart and humour and nuance. We've talked at length about the
• 1:45:55
  film, how much we love it. It's technically perfect.
• 1:45:58
  Yeah. I wasn't going to give it full
• 1:46:02
  marks because I measured it up against the other McDonough
• 1:46:05
  films that I love. And for me, this I think I
• 1:46:08
  prefer banshees. Just that shade.
• 1:46:11
  Just that shade. My niece's first goal.
• 1:46:15
  However, I haven't been able to get it out of my head since I've
• 1:46:18
  I've written this summary and I've watched it again since it's
• 1:46:24
  following me around. It's haunting me.
• 1:46:26
  It's an amazing film. So it is 10 out of.
• 1:46:28
  Yes. Unbelievable.
• 1:46:31
  Yes, absolutely there is. 1/4 score there is.
• 1:46:33
  Who cares? That comes from our ever grown
• 1:46:39
  followers on X, formerly Twitter.
• 1:46:41
  We often get a lively response and in Bruges was no exception.
• 1:46:44
  Before I reveal the score, I've picked out some of the best
• 1:46:48
  comments. Well, the ones that I want to
• 1:46:50
  read out, not necessarily best. And here they are from Robert.
• 1:46:56
  I had Robert Miniucci, he said great actors, great story, great
• 1:47:00
  piece. Ralph F turns it up to 11.
• 1:47:03
  Yes, he does. True.
• 1:47:04
  Brilliant. Next.
• 1:47:05
  Next is Mark Pearson at The Chef Insider.
• 1:47:10
  He said 9 would be higher but for the anti spurs joke that
• 1:47:15
  gets a point deducted. I'm feeling your pain Mark.
• 1:47:17
  I'm right there with you. Don't know what that means?
• 1:47:19
  Move on. Luke If you actually deducted a
• 1:47:22
  mark from your score for that, I'd have been.
• 1:47:25
  Doing another episode of it's. Going overboard, mate.
• 1:47:31
  Deduct a point for Spurs, and on the negative side of things,
• 1:47:36
  wine ass at Totter, Willis said. Shit and overrated.
• 1:47:41
  It doesn't matter. Leave it.
• 1:47:44
  But rounded things are very smartly, is RFA at under score,
• 1:47:48
  Royal FA, under score. And they said, I mean no
• 1:47:51
  disrespect, but in Bruges is a cult movie.
• 1:47:55
  Yeah, it's a cult now. And it's always been a cult.
• 1:47:58
  And the only thing that's going to change it is that it's going
• 1:48:01
  to become an even bigger cult. Yeah, very smart.
• 1:48:03
  Very. I.
• 1:48:04
  Love it. Very, very.
• 1:48:05
  Good. I know.
• 1:48:07
  Good. I'm so annoyed yourself.
• 1:48:09
  So out of 10, what do you think improves average out of 10 on X
• 1:48:12
  formally? Hope it would be full marks, but
• 1:48:14
  I'm feeling it's going to be like 8 or 9, maybe an 8.5.
• 1:48:19
  Go 9.5 maybe just missed out. Split the difference.
• 1:48:24
  It ended up with a solid 9. Out of 10, OK.
• 1:48:26
  Fair enough, fish. I think so.
• 1:48:28
  Doing well for itself, yeah. I wouldn't say it's got mass,
• 1:48:31
  mass appeal, so I can understand the detractors.
• 1:48:34
  Considering what it's about and how small it is, yes.
• 1:48:37
  Fair enough. And I Yeah.
• 1:48:38
  Yeah, it is fair enough. A lot of people are just, you
• 1:48:40
  know, don't really appreciate really good farms.
• 1:48:42
  They don't understand. They don't they.
• 1:48:44
  Don't get it though. It's not about you.
• 1:48:46
  No. Which means that overall,
• 1:48:48
  Imbruge scored 39 out of 40 hell of a score.
• 1:48:52
  Yeah, that is impressive. Messing with it's.
• 1:48:54
  Really impressive, Yeah. It's worth it though, yeah.
• 1:48:56
  It's totally worth it 'cause it is.
• 1:48:58
  You can see where In Brugge fares, alongside all the other
• 1:49:01
  films that we've talked about on our classic podcast.
• 1:49:03
  Go to alltherightmovies.com/leaderboard.
• 1:49:06
  Join us next time. In all the right movies, you'll
• 1:49:08
  be hearing the music and the voices of John Westie and Matt
• 1:49:12
  as they go behind enemy lines on Tarantino's Inglorious Bastards.
• 1:49:16
  Looking forward to that one fellas.
• 1:49:18
  Yeah, a glass of milk right here.
• 1:49:20
  Yeah, don't forget the. Cream.
• 1:49:22
  Wait for the cream. Fantastic.
• 1:49:26
  Yeah. In Bruges inglorious.
• 1:49:29
  Ah, lovely. Very nice.
• 1:49:31
  There it. Is Germany.
• 1:49:34
  Inconsistent history. Fantastic.
• 1:49:43
  For our Directors Chair, Patreon supporters, we have a seasonal
• 1:49:46
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• 1:49:48
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• 1:49:51
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• 1:49:53
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• 1:49:55
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• 1:50:00
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• 1:50:02
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• 1:50:07
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• 1:50:10
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• 1:50:11
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• 1:50:12
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• 1:50:42
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• 1:52:15
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• 1:52:16
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• 1:52:24
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  Lots to enjoy over the festive period and that is a wrap on in
• 1:52:54
  Bruges. Thank you everybody for
• 1:52:56
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• 1:53:01
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• 1:53:04
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• 1:53:07
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  We just really love doing this. So thank you for listening.
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• 1:53:15
  And we're now off to hide out over the Christmas period.
• 1:53:19
  Hopefully a place where it isn't all just fucking chocolates.
• 1:53:21
  Nah, alcoves, nooks and crannies.
• 1:53:24
  Yeah. Compliments of the season, Thank
• 1:53:26
  you for listening. We'll be back in 2024.
• 1:53:28
  Yes. Thank you guys.
• 1:53:29
  Yeah. Thanks guys, have a.
• 1:53:30
  Good one. Thanks guys.
• 1:53:31
  Have a new year. It's an inanimate fucking.
• 1:53:55
  Object. You're an inanimate fucking
• 1:53:57
  object.