Latest / All The Right Movies / Road To Perdition (2002) | Ep. 64 - Part 1

Transcript

Road To Perdition (2002) | Ep. 64 - Part 1 · All The Right Movies

• 0:04
  All the right movies. Michael, are you hurt?
• 0:11
  You saw everything. You are not to speak of this to
• 0:15
  anyone, you understand Not to anyone.
• 0:20
  Who's this? It's one of yours.
• 0:25
  He must have been hiding in the car.
• 0:28
  Or can he keep a secret? He's my son.
• 0:35
  Bob enforcer Michael Sullivan finds his world torn apart when
• 0:38
  his son is witness to a gangland slaying.
• 0:40
  With his family in tatters, Michael and his son hit the road
• 0:43
  in search of vengeance and a journey that will test the bonds
• 0:46
  between them. Sam Mendez's multilayered
• 0:48
  generational saga transformed Tom Hanks into an unlikely anti
• 0:52
  hero and gave Paul Newman a poignant farewell performance.
• 0:55
  Shot by one of the great cinematographers, wrote to
• 0:57
  Perdition is a poetic tale of violence and loyal in depression
• 1:00
  to Euro America. My name is Luke, and the two
• 1:02
  fellas with me who rule this town as God rules the earth are
• 1:06
  Matt. You're a big baby who doesn't
• 1:08
  know his thumb for this Dick. And Westie.
• 1:10
  Let's drink him to God. Let's hope he gets to heaven at
• 1:13
  least an hour before the devil finds out he's dead.
• 1:16
  All the right movies are on the road to perdition, and there's
• 1:18
  only one guarantee none of us will see heaven.
• 1:40
  Hi everyone, welcome to All the Right Movies, a podcast on
• 1:42
  classic and hit films that's also fucking hysterical.
• 1:46
  It sure is frequently, yeah. Very good.
• 1:49
  Very. Good manner of taste, I suppose.
• 1:51
  Obviously, yeah. On the show we tell the story of
• 1:54
  Hollywood one film at a time and this week we're travelling down
• 1:57
  a rain soaked Rd. through depression era America as we
• 2:00
  uncover the incredible behind the scenes story of Sam Mendes's
• 2:03
  haunting masterpiece. Oh, huge.
• 2:07
  Big one. Before we step into the darkness
• 2:09
  in 1931, though, he is some information about becoming an
• 2:12
  ATRM patron. Lovely.
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• 3:09
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  Yeah, Lords to check out. Thank you very much, everyone.
• 3:32
  And now it's back to 1931 and this was your pick, Westie.
• 3:35
  Need I see anymore? A film that you've raved about
• 3:39
  since it came out. It was only a matter of time.
• 3:41
  It was only a matter of time. Yeah.
• 3:43
  It's been one that I've been waiting to put up, one I've been
• 3:45
  really, really excited to talk about and one that really
• 3:48
  changed the landscape for me in in cinema in general, in visuals
• 3:52
  in general, in inspiration, in general.
• 3:55
  I'd seen, but the films if this ilk had obviously I'd seen the
• 3:58
  Godfather had seen, but you would deem to be classic taxi
• 4:01
  driver over this point. But this for me just seemed to
• 4:04
  just take all of the right boxes technically, visually.
• 4:07
  I mean, I've watched it in black and white.
• 4:08
  Obviously, I don't know if you guys have, but I would check
• 4:10
  that out. And I've frequently just paused
• 4:13
  it to make notes as I do on any film.
• 4:16
  And every time I've looked up, I've been like, what a shot that
• 4:18
  is. And no matter, no matter when
• 4:20
  I've paused it literally like. Frame.
• 4:22
  Look at that. This is it's just, it's just
• 4:24
  outrageously good. Yeah.
• 4:26
  I think it's Conrad Hall's absolute magnum Orbis.
• 4:28
  And to me, I mean, I don't know whether I've got more admiration
• 4:32
  for this. And I do have love.
• 4:33
  I don't know if it's more of a technical thing or.
• 4:35
  Technically, it's beautiful. Now we'll dive into it.
• 4:38
  Is it really as good as I think it is or was it just the
• 4:41
  impression it made on me in 2002?
• 4:43
  And you know, I've, I've LED from this and turned into a
• 4:46
  photographer because of this. This is why I bought a camera.
• 4:49
  That's why I started taking pictures, why I do what I've
• 4:51
  done for the last 17 years. So it it really, really made an
• 4:54
  impact on me. But it's not just the
• 4:56
  cinematography. I think the editing is
• 4:57
  fantastic. I think the scores fantastic.
• 4:59
  I think the lead performances are fantastic and I think
• 5:02
  there's a lot to get into. Is it all strong all the way
• 5:06
  through? I don't know.
• 5:07
  Let's have a chat about it. Let's see where it peaks and
• 5:09
  troughs. Let's do it.
• 5:11
  Yeah. Yeah.
• 5:12
  Well, I pushed against this film when it came out.
• 5:16
  Unlike you, Wesley, I was just. I was put off by what I
• 5:19
  perceived was just what looked like a miserable film.
• 5:22
  The darkness of the film. Yeah, it's kind of what
• 5:24
  attracted me, though. I know, I know.
• 5:28
  That's why we're so close. Opposites attract, don't they?
• 5:30
  Yeah, it's. Attractive that poster that just
• 5:33
  didn't appeal to me. Shadows and rain perdition.
• 5:37
  It just looked miserable. Yeah, fair enough.
• 5:40
  And it is. Yeah, of course it is.
• 5:42
  It's not lying here. It's not lying.
• 5:44
  No, no. So I didn't watch it for a
• 5:47
  number of years, and I was surprised when I did get around
• 5:49
  with that. It really isn't as bleak as I
• 5:52
  anticipated. Of course it is.
• 5:54
  But there is a likeness of touch that Mendez brings to the
• 5:57
  material, which I think is crucial to make it work.
• 6:00
  And, you know, what can you say about that cast, the
• 6:03
  cinematography, the set and costume designer?
• 6:05
  Amazing. And we're talking about the last
• 6:08
  film for Conrad Hall, the last live action film for Paul
• 6:11
  Newman. I mean, he appeared in a billion
• 6:13
  animated films after this. You said cars wasn't, I think.
• 6:17
  Cars Cars 3 did some documentaries, but what a way to
• 6:21
  go out for both of them. Paul Newman, The man was 77.
• 6:24
  He's still commanding the screen like the legend that he always
• 6:26
  was. Effortlessly as well, I think.
• 6:29
  Incredible here. An important film in a number of
• 6:32
  ways. Conrad Hall, Paul Newman, Tom
• 6:34
  Hanks turning bad guy, Sam Mendes, a sophomore effort.
• 6:38
  Just loads going on here. Yes, it's about time.
• 6:41
  Definitely. What about you, Matt?
• 6:43
  It's a film I'm almost nostalgic for because I don't want to be
• 6:46
  that guy, but I just don't think this is the kind of film that
• 6:49
  gets made anymore. All right, Granddad.
• 6:52
  Yeah, I know, I'm yelling at. Clouds.
• 6:59
  But you know, this is something that's just very mature.
• 7:01
  It's very somber. It's definitely aimed at adults,
• 7:05
  but all the same, it's got a huge box office saw attached and
• 7:07
  it was released a pretty decent financial success.
• 7:10
  And I'm just saying, does that happen with something like this
• 7:13
  anymore? I don't know.
• 7:14
  I just feel like this would be dumped straight on the stream in
• 7:17
  these days. That's where these kind of
• 7:19
  prestige pictures go. So it does feel like a bit of a
• 7:22
  relic in that sense. And I don't actually watch it
• 7:25
  that often. But that's got nothing to do
• 7:26
  with the quality of it. It's because it's such like a
• 7:29
  delicate film. Personally, I think you could
• 7:31
  Overwatch this and spoil it. It's you know it, there's
• 7:34
  something quite rich about it. I wanted to savor it and kind of
• 7:37
  only have it on special occasions, like a really good
• 7:38
  cheese so. Yeah, I know what you mean.
• 7:41
  Yeah, it's like a pencil sketch, isn't that you're scared of
• 7:43
  rubbing it out? Yeah, yeah, yeah.
• 7:45
  Kind of like to it. Yeah, yeah.
• 7:46
  But no, it's a great film and I'm just so glad it exists.
• 7:49
  Yes, very much. I think we all are.
• 7:51
  We all are, wrote. The Partition was written by
• 7:53
  David Self, based on the graphic novel of the same name, directed
• 7:57
  by Sam Mendes and produced by Dean and Richard D Zanuck for
• 8:00
  the Zanuck Company, and distributed by DreamWorks
• 8:02
  Pictures in the theaters on the 12th of July 2002.
• 8:05
  Shot mainly on location and sets in and around the Chicago area,
• 8:08
  it stars Tom Hanks is Michael Sullivan.
• 8:10
  Tyler Heckman is Michael Sullivan.
• 8:12
  No, the other one. Some relation.
• 8:19
  Paul Newman is John Rooney, and there's a superb supporting
• 8:22
  cast, including Jude Law, Daniel Craig, Jennifer Jason Lee and
• 8:26
  Stanley Tucci. Yes, let's get on the road with
• 8:28
  Michael Sullivan. Some say he was a decent man,
• 8:31
  some say there was no good in him at all.
• 8:33
  But we're going to spend six weeks with him in the winter of
• 8:35
  1931. This is our story.
• 8:41
  The beginning. We're catapulted in the 1930s
• 8:46
  America in the opening titles as Michael Junior cycles home
• 8:49
  through the bustling streets and punishing winter.
• 8:51
  We'll be meeting as real and adopted family soon, but first
• 8:55
  hopefully you might with that opening.
• 8:56
  Yeah, I mean, this opening, the titles so evocative with that
• 9:00
  music behind it. And you can see already just how
• 9:03
  rich this is in terms of the production design, the costumes,
• 9:06
  the cars. You just sit and you think,
• 9:08
  yeah, they've made this one for grown-ups, haven't they?
• 9:11
  You know, this is this is its own thing, and it's going to
• 9:13
  take its time. And it does take its time.
• 9:15
  But Even so, it's still one of the fastest pace scenes in the
• 9:18
  film, the way that it shows Michael Junior making his way
• 9:20
  home. So thinking ourselves, yeah, OK,
• 9:22
  just sadly. And this is the pace we're going
• 9:24
  out. And I think it just sums up the
• 9:26
  idea that back in those days, you did become an adult very,
• 9:29
  very quickly because Michael Junior, he is a child, but he's
• 9:32
  earned enough money for the household.
• 9:33
  He's smoking a pipe. And that just has that wonderful
• 9:36
  contrast when he gets home and all of a sudden wiped out by a
• 9:39
  snowball from Peter, who's hiding behind a tree.
• 9:41
  And then it's this childish fun and games, which it should be
• 9:44
  for him at that age. And his contrast.
• 9:46
  Yeah, it is. And it's the quiet tragedy of
• 9:48
  the film that everything about his childhood is going to be
• 9:51
  quickly and brutally stripped away from him.
• 9:53
  And then it just stands, you know, his father's back home.
• 9:56
  This man, he's been setting up in that opening voice over.
• 9:58
  He approaches him with absolute caution and fear in that
• 10:02
  bedroom. Tell him that dinner's ready.
• 10:04
  Yeah. So I'll go from there and then
• 10:05
  we're into this great setup where we're introduced to the
• 10:08
  cover image of the Rooneys. This isn't actually who they
• 10:11
  are. I think it's just a very nice,
• 10:14
  very nice cover up, very nice guys.
• 10:15
  And Newman here is fantastic. There's some wonderful moments
• 10:19
  where I don't want to see them dice.
• 10:21
  And then the playing with it, you just see he's just very
• 10:23
  playful and he's just got them both there and it's just them
• 10:26
  shots of Daniel Craig Smorgan in that room.
• 10:28
  The way he's introduced, just out of focus and the hold it,
• 10:32
  yeah, it's wonderful. And then it goes back to
• 10:33
  Michael's point of view. And that light is just
• 10:35
  incredible. And it goes back again out of
• 10:38
  focus and then it cuts into focus.
• 10:39
  So you kind of think in this guy's unhinged.
• 10:41
  He's he's unstable. The techniques used in this by
• 10:44
  Mendez are just second and none, especially which shots he uses
• 10:48
  for the edit in which he doesn't.
• 10:49
  And the thing I love about this is you can see the Conrad Halls
• 10:51
  give him a lot to. Play with and.
• 10:53
  Everything he's got in that toolbox looks fucking amazing.
• 10:56
  He's just, he doesn't have a clue which shots to use and then
• 10:59
  really has to get his head around it because everything
• 11:01
  could look amazing. I mean, I've heard of an
• 11:03
  interview with Mendez, I've heard the the commentary and he
• 11:05
  says to the opening of the film was meant to just be putting
• 11:07
  together that Tommy Gunn from the the top point of view from
• 11:10
  the end. As he said, it was just too
• 11:12
  dark. It's like how you just open it
• 11:13
  with just him putting together a Tommy gun and then it just cuts.
• 11:16
  They get, it's like it's not going to work, but it would have
• 11:18
  been fantastic. It would have just been an
• 11:19
  amazing opening, but it just doesn't work.
• 11:21
  There's too much here to play with.
• 11:23
  And then we'll go to, oh, look, it's Paul Newman.
• 11:25
  And then he has to give a Paul Newman performance and he does
• 11:27
  the speeches at the wake. And it's just if anyone could
• 11:30
  have spoke at my wake would be Paul Newman in this character
• 11:34
  because it's just it has such eloquence.
• 11:36
  It had such poetry. It had such depth in the lines
• 11:39
  are just absolutely fantastic. When he says, you know, I'm a
• 11:42
  dear and trusted friend, you fucking believe him.
• 11:45
  But he's full of shit at the same time.
• 11:47
  And he's, you know, his words are where you have more poetry
• 11:49
  in the mine. That in itself.
• 11:52
  That's poetic. It's beautifully poetic and such
• 11:55
  an uplift for someone who's going to speak after you.
• 11:57
  But then he does the come over here and shows him that he's in
• 12:00
  charge. And it's just a great
• 12:01
  introduction to Mike and his role because when Finn starts
• 12:04
  going over and over and over, you can see just looking all
• 12:07
  they looks over at Daniel Craig Carrot and he looks back.
• 12:10
  Is that right? And he has to go in and he cuts
• 12:12
  in and absolutely just takes control of the situation.
• 12:15
  It's very, very subtly done, but incredibly effective filming.
• 12:19
  Yeah, that's the thing that keeps you at arm's length,
• 12:21
  doesn't it? It's very subtly done, so you
• 12:23
  don't really know what the setup is with the dynamic quite yet.
• 12:29
  No, not at all. So following those speeches,
• 12:31
  Finn McGovern is ejected from his own brother's wake.
• 12:34
  A terrible state of affairs, but his behavior just hints at the
• 12:38
  insidious nature of this family and that something's just not as
• 12:42
  it seems underneath. Yeah.
• 12:44
  And in a drunken stupor outside, Finn threatens that he's going
• 12:47
  to deal with Connor after he's buried his brother.
• 12:49
  So I suppose in a way, Connor's hand has been forced, We find
• 12:53
  out later on, and Connor's living in the shadow of his
• 12:56
  father's power and his relationship with Michael.
• 12:59
  He wants to be as powerful as his dad.
• 13:01
  He wants that relationship and that his dad has with Michael.
• 13:03
  And that. Beautifully reinforced when we
• 13:06
  go back inside. Firstly there's a wonderful jig
• 13:08
  being danced that Hawks back to the old country.
• 13:11
  Is this really awake? Yeah, but it is in more ways
• 13:15
  than one with this two way piano piece that Michael and John
• 13:18
  share. Simple lines intertwine and
• 13:21
  harmoniously. There's a complete simpatico
• 13:24
  between Michael and John, a mournful piece reflective of the
• 13:27
  film's themes. I'm pretty sure it's called Lick
• 13:30
  My Lab Pump. It's quite pretty.
• 13:36
  Very good. You couldn't get that out fast
• 13:38
  enough. Very good.
• 13:40
  It's quite pretty. But the piano tuet in the scene,
• 13:45
  which is just called Petition, was actually written by
• 13:47
  legendary composer John Williams because he came on board as a
• 13:50
  special guest because he has deep ties with Zanuck Hank San
• 13:53
  Spielberg. Nice.
• 13:55
  So it's not called like my little pump?
• 13:56
  I don't think so. Shame.
• 13:59
  Shame. Yeah.
• 14:00
  Unless that bit was in commas, maybe at the end, yeah.
• 14:03
  Petition. Lick my love.
• 14:08
  Yeah, that works very good. There it is.
• 14:11
  I mean, you can see it on the screen as well.
• 14:12
  Well. And Hanks and Human spent weeks
• 14:14
  practicing the piece together to make their on screen dynamic
• 14:16
  reflected in their telepathic piano play.
• 14:18
  And I mean, I just love the way the camera just sits on them and
• 14:21
  goes. You want to see them playing it?
• 14:22
  There you go. And sounds fantastic.
• 14:25
  Yeah. It really comes across in that
• 14:26
  scene that they are playing it and Connor can only watch on
• 14:30
  behind that pin it. Smiley's bubbling under with
• 14:32
  jealousy and. Rage and furious.
• 14:35
  But of course, it's also fucking hysterical.
• 14:38
  A great line. He comes down into that light as
• 14:41
  well, and that light just hits his face.
• 14:42
  It's just incredibly. Well done.
• 14:43
  It's excellent, Very reminiscent of the wedding scene in the D
• 14:47
  Hunter for example, Our Godfather families coming
• 14:50
  together with loads of pockets of dialogue and dynamism and
• 14:54
  friendships going on. I really love it.
• 14:56
  It's great. Yeah.
• 14:56
  And the fact that it's awake instead of a celebration.
• 14:58
  Really. Yes.
• 14:59
  More of a, you know, reflective time.
• 15:01
  And they've learned that together on that piano, thinking
• 15:03
  we're going to get more chance to play this than we are.
• 15:05
  Something has. Going to be a lot of dead
• 15:07
  bodies. Yeah, yeah, yeah.
• 15:08
  So a wonderful setup of the father son dynamics are playing
• 15:11
  the film in the opening scenes. Yeah, fantastic.
• 15:16
  Taking his father's request, Connor and Michael pay a visit
• 15:19
  to Finn McGovern. But they didn't anticipate 1/3
• 15:21
  wheel coming along for the ride, did they, Westy?
• 15:24
  They really didn't, no, And I think this whole sequence is
• 15:27
  fantastic. The shots in the back of the car
• 15:29
  aren't cheesy or overdone. When you just find him
• 15:31
  underneath that case and he lifts it up and the light comes
• 15:33
  in just enough to see who it is, it's not played out too much.
• 15:36
  This his point of view from the back of the car, which I think
• 15:39
  you know, it just really reflects the scene, reflects
• 15:41
  your point of view. You're going to see all of this
• 15:42
  through Michael's vision. You're going to see from his
• 15:44
  experiences, You're going to experience it as he does.
• 15:46
  You're going to kind of see what his dad does, but still don't
• 15:48
  know exactly what his dad does. So many great shots in this.
• 15:52
  And it's the first time that we get the water theme that runs
• 15:56
  all the way through this, which is synonymous with death.
• 15:59
  And you've got the rain coming out.
• 16:00
  You've obviously got the ice on the body.
• 16:02
  We've got the ocean sounds at the start, which then then
• 16:04
  played again at the end. So much rain in this just
• 16:07
  basically means, you know, death's coming.
• 16:09
  Yes, And that's how they do it and that's how they highlight
• 16:11
  it. And I think that's absolutely
• 16:12
  fantastic because you don't quite know that yet.
• 16:14
  And you get that lovely shot, what he's looking through.
• 16:17
  And there's a back and forth between Connor, even though this
• 16:19
  is all shot wide. Daniel Craig's fantastic here.
• 16:23
  He's just electric in the background.
• 16:25
  He's just so volatile. You don't know what he's going
• 16:27
  to do or when he's going to spin or when he's going to turn.
• 16:29
  And the fact you say I'm sorry your brother was such a fucking
• 16:31
  liar and he's pushing the buttons.
• 16:33
  And what did you do that for? Why did it have to go that far
• 16:35
  from Michael Junior's point of view when his dad stands in that
• 16:38
  frame and he's just that Sergio, the only shot.
• 16:40
  And his legs are there and he's singing through that.
• 16:42
  You don't really get the chance to see it until that trigger is
• 16:46
  pulled. And I absolutely love that shot.
• 16:49
  That could have been cheese on toast with that being slow
• 16:52
  motion, but it's the sound design and that it's it's so
• 16:55
  jarring what you're listening to and you're in shock.
• 16:58
  I think it's just really, really well played out.
• 16:59
  It's a fantastic stunt. It looks great, all the
• 17:02
  movements perfect. There's not too much blood.
• 17:04
  So it's shotgun. It's from a child's point of
• 17:06
  view when Finn hits that ground and that Tommy gun goes off.
• 17:10
  I remember in the cinema thinking that is loud because
• 17:13
  that's where the kids going to hear.
• 17:14
  And if he doesn't cover easy is at that point reflecting on that
• 17:17
  sound design. You think that's a mistake
• 17:19
  that's being mixed too loud, but you have to get his reaction.
• 17:21
  It's like the opposite of Nolan dialogue, a little bit too
• 17:26
  heavy, and then he runs out. And you can always think of
• 17:29
  Forrest Gump, though when he comes out of the door and he
• 17:31
  runs towards the game, it's a really Forrest Gump.
• 17:34
  Run. With the Tommy gun.
• 17:39
  Yeah, exactly. So that then hits home.
• 17:42
  But when he realizes that it's Michael Junior and he knows that
• 17:45
  that's it, but don't know what's going to happen.
• 17:48
  Connor so volatile, it's not going to work.
• 17:50
  He doesn't really try to comfort his son at all.
• 17:53
  You don't speak a word of this. It's not like pick him up and
• 17:55
  try to ignore him from the situation.
• 17:56
  He just does not know how to deal with it.
• 17:58
  But the back and forth between Hanks and Craig here is
• 18:00
  absolutely wonderful. You can just say there's no
• 18:03
  trust between them. There's no love between them.
• 18:05
  They're actually fucking hate each other.
• 18:07
  And when you know, because John's actually said they would
• 18:09
  take Mike with you, Oh God, right.
• 18:13
  Because you're not going to be able to do properly.
• 18:15
  And that's the point here. Connor's got the upper hand on
• 18:18
  him. He's better than Mike now
• 18:19
  because Mike's made a mistake with that kid there and he is
• 18:22
  loving it. There's so much Glee on this.
• 18:25
  And when his walk away and that little wave just reminds me of
• 18:28
  he's Ledger in the Joker, just that little moment.
• 18:31
  And I think he's just really hamming it up and it's perfectly
• 18:33
  done. Nice night for a stroll of one
• 18:35
  you've lost. Let's see what happens.
• 18:37
  It's a brilliant, brilliant setup for a brilliant scene.
• 18:39
  Yeah, he slams his way out of that scene.
• 18:41
  He's great. I think some perspective needed
• 18:44
  as well, because this is Daniel Craig.
• 18:45
  Before he was Daniel Craig, before he was Bond, before he
• 18:49
  was in Layer Cake. He was a relative nobody.
• 18:52
  So he puts in quite a performance.
• 18:54
  Oh, he's amazing. So after the hit, the rock sets
• 18:57
  in, in both families, I suppose we think that Connor is slippery
• 19:02
  as an eel, and that's confirmed during the next scene, where he
• 19:04
  gives Michael a reminder to give to Tony Carvino, who's light
• 19:08
  again on his payment. Wonderful scene.
• 19:12
  The music pulses with menace intermittently, just hinting at
• 19:15
  the danger in the background, taking the jeopardy just up a
• 19:18
  notch. And there's a really understated
• 19:20
  one shot as they walk through that jazz club, the Lightnings.
• 19:24
  Wonderful, deep, joyous Blues in the club, and then a dangerous
• 19:28
  red in the back, where all manner of unspeakable acts take
• 19:31
  place. Lovely, lovely.
• 19:33
  And then we're in Carvino's office.
• 19:35
  Mike hands him the letter and his whole cocky demeanor
• 19:38
  changes. It's a really good silent
• 19:41
  performance from Doug's Bonooza. I haven't seen him anything
• 19:44
  else. He's great.
• 19:46
  He doesn't even have a wiki page, that's how hard the radar
• 19:48
  is. Wow.
• 19:50
  Completely baffled at what he's reading.
• 19:52
  On that note. And the dread just seeps into
• 19:54
  his body and you can see that on screens.
• 19:56
  Great. Yeah, it's the active players.
• 19:58
  When Mike walks in, he's like, hey.
• 20:00
  Yo, what am I like again? Yeah, exactly.
• 20:03
  It's fantastic. Great.
• 20:04
  He is great, but Michael can see danger on my love, and he can
• 20:07
  see that gun poorly concealed under the magazine as well.
• 20:11
  Yeah, and Calvino and his goon wiped out ruthlessly without
• 20:15
  hesitation. If we didn't know the menace
• 20:17
  that Michael packs, or we kind of were unsure about it because
• 20:20
  it's Tom Hanks we know now, but there's always that sense of
• 20:24
  reluctancy with Michael and his work, particularly now that the
• 20:27
  cat is out of the bag with his son.
• 20:30
  He's bearing that shame and that weight, but without it being
• 20:33
  explicit, I think you can tell that he feels bad for taking the
• 20:37
  goon out just on account of their nice little back and forth
• 20:40
  in direction on the way to Calvino's office.
• 20:42
  That's great. So on the surface level, it's a
• 20:44
  great scene. Technically excellent.
• 20:47
  Great storytelling as well, with very, very little dialogue.
• 20:51
  Love it. And then after this, you get the
• 20:53
  whole turning point of the entire film, which is obviously
• 20:57
  the killing of Annie and Peter. And I will say 11 flaw in the
• 21:01
  film is that Jennifer Jason Lee is just so underused in this.
• 21:04
  Yeah, yeah, I think so. I mean, I know obviously Annie
• 21:06
  can't have much of a story yourself, and she's there to
• 21:09
  sort of Michael's revenge arc, but all the same, it's Jennifer
• 21:12
  Jason Lee. It's Jennifer Jason Lee.
• 21:13
  Yeah. She's always awesome and you do
• 21:14
  one more. But the fact is, she is so good
• 21:18
  with so little. And that makes it all the more
• 21:20
  shocking when this scene comes along because it is ripe with
• 21:23
  tension. That cut from Michael
• 21:26
  frantically hitting the phone in the office to make the
• 21:28
  connection to that shot of the Sullivan's phone just dangling
• 21:32
  out of its cradle. Or it just makes you feel so
• 21:35
  sick because you know, he's late.
• 21:37
  He's way too late. I mean, that is visual
• 21:40
  storytelling at its finest. And it's the realism of it.
• 21:43
  Like when he appears at the bathroom door and his first
• 21:45
  reaction isn't to beg for mercy or even try to fight back, throw
• 21:49
  something upon it. It's the motherly protection
• 21:51
  Shields. Peter straight away turns back
• 21:53
  Eve. No, it's going to do no good
• 21:55
  realistically. But it's the double scream that
• 21:57
  she does. Like the first one is just this
• 21:59
  one of pure shock and horror and then no.
• 22:01
  And it really hits home hard. Just got this realism to it, and
• 22:06
  the moment that really gets me in this moment is pure
• 22:09
  Hitchcock, is when Michael Ceney gets there and he thinks Connor
• 22:12
  has seen him on the porch, which is why he's pulled the scarf
• 22:14
  down from his face. Yeah, it's really.
• 22:16
  Hitchcock, yeah. But then that could shows he's
• 22:18
  just looking at his own reflection instead.
• 22:20
  In the glass. Oh, that's great.
• 22:22
  Oh. It's so good and the tension of
• 22:24
  Michael and silhouette on the porch barely able to breathe in
• 22:27
  case Connor nordicism. I mean that is drawn out so
• 22:30
  effectively because Connor only takes a few seconds to compose
• 22:33
  himself. Black feels like 2 minutes,
• 22:35
  Yeah, it feels like he stood there for ages with Michael just
• 22:38
  like 2 foot away from him. It's a very tough scene to
• 22:40
  watch, but it's massively put together.
• 22:43
  Oh, it's absolutely amazing. And we have a possible Mendez
• 22:46
  shot in story order. Chronologically, that's the
• 22:48
  better track the characters emotional arcs.
• 22:50
  The murder of Annie and Peter Sullivan took place in Week 2,
• 22:53
  allowing Hanks to explore the full weight of his characters,
• 22:55
  despair and fury. So you that was hanging over
• 22:58
  like the performance for the rest of the shoot.
• 23:00
  Yeah, amazed and stuff, just seeing Tom Hanks cry and it's
• 23:04
  just a good punch, yeah. It's when it's the reaction with
• 23:07
  it, no and just hearing it. But this is where you see that
• 23:11
  fake nose and that's when it's really obvious.
• 23:14
  It's like Dick dastardly. You just need one of them
• 23:16
  tashes. It's got exactly the same nose,
• 23:20
  which is quite weird. It kind of pulls me out with the
• 23:21
  scene a little bit because it doesn't quite look like it is a
• 23:24
  strange choice, but that that despair of that shout might look
• 23:27
  upstairs and it's just the the speed within which he snaps out
• 23:31
  of that and and knows what he has to do.
• 23:34
  Yeah, it's pure revenge from the.
• 23:36
  It is. It is.
• 23:36
  It's great. Great setup.
• 23:38
  Yeah. So the Sullivan family are
• 23:40
  ripped apart and the ruin your family aren't far behind.
• 23:43
  A devastating first act. Yeah, the director.
• 23:52
  The man in the director's chair was Samuel Alexander Mendez, a
• 23:56
  theatre director who was coming off the back of the roaring
• 23:59
  success of his debut feature, American Beauty.
• 24:02
  Indeed. So his work on his sophomore
• 24:03
  efforts and what I think he shines is in his cast and
• 24:06
  choices. OK.
• 24:08
  The obvious thing to note here, First off, is that it's Tom
• 24:11
  Hanks playing hugely against type.
• 24:13
  It is cold blooded killer, but it's all right because, you
• 24:16
  know, tanks. He can get away with anything.
• 24:19
  But then if you look at the rest of the cast, Newman's playing
• 24:21
  against type as well. He's done morally ambiguous in
• 24:24
  the past, of course, but he's never played the likes of a
• 24:26
  gangland boss. And then look at the actors that
• 24:30
  in 2002 we weren't that familiar with.
• 24:33
  Daniel Craig and Jude Law, Alfie and James Bond, their roles in
• 24:37
  this film are certainly not the blueprint for what was to come
• 24:40
  in their career. No.
• 24:42
  And they both put in terrifying performances.
• 24:44
  Very believable considering what we couldn't expect from them
• 24:47
  down the line. Yeah.
• 24:48
  And even Stanley Tucci's playing Chicago's most Fiat Mafia head.
• 24:52
  Yeah. Yeah.
• 24:54
  Struggle to believe that one slightly.
• 24:55
  He's. A little bit of a stretch.
• 24:59
  But I think Mendez does great work in corks and these
• 25:01
  loathsome performances out of Craig and out of Law as well,
• 25:05
  who are largely affable actors. Yeah.
• 25:09
  Craig and Law don't come out with any redeeming qualities.
• 25:11
  They're just pure evil. But Hanks and Newman, he adds in
• 25:14
  just many more layers of ambiguity.
• 25:16
  We can see the good in Michael and in John, despite all of
• 25:19
  their, you know, mad killings and stuff.
• 25:22
  Yeah. And none of that is on the page.
• 25:24
  Mendez often held shots for a beat or two longer than was
• 25:27
  expected and just allow an emotion to hang in the scene
• 25:30
  that little bit longer. And I think you can feel that.
• 25:33
  Yeah, I think the genius comes from Caston 2 actors who we have
• 25:37
  such affection for, which gives them an instant emotional
• 25:39
  vulnerability, making it difficult to root against either
• 25:43
  of them. No matter who wins, we lose one
• 25:45
  way or another because we, these two actors are beloved.
• 25:49
  Yeah. And so we bring that emotional
• 25:51
  baggage already because we're already in love with these two
• 25:53
  actors. I think it's the classic case of
• 25:56
  show don't tell. And I think the film is all the
• 25:58
  better for. It's just subvert and
• 25:59
  expectations all the way along. Yeah.
• 26:01
  I think it's a real step up from American Beauty.
• 26:04
  As we've said, he comes from a theatre background for that in
• 26:07
  Spielberg. Ham picked him for American
• 26:09
  Beauty, and I think if you go back and look at that film, you
• 26:12
  can see his theatrical background.
• 26:14
  This is all over that film. It's very interior.
• 26:17
  That famous scene across the dining table with Spacey and
• 26:20
  Annette Benin of the scenes are just in bedrooms and bathrooms
• 26:23
  and offices. It's very kind of closeted and
• 26:25
  the performance is quite theatrical.
• 26:26
  It wouldn't take much to put that film on stage with minimal
• 26:30
  changes. So to then move to something
• 26:32
  like this and just a second film which has such a scope to it is
• 26:35
  something where I don't even know how you could put this on
• 26:37
  stage would be entirely changed. I think it's hugely impressive
• 26:41
  how Mendez makes that step up, but doesn't really miss any kind
• 26:44
  of beat. And doing so, he turns the
• 26:46
  performances down, he moves that camera a lot more.
• 26:49
  He opens up the scale of it. He sets so many of the scenes
• 26:52
  are outdoors and out on the open road.
• 26:54
  And it really feels like he's been doing it his entire career
• 26:57
  at this point, not for the first time on only his second film.
• 27:01
  And yes, granted he surrounded himself with the likes of Conrad
• 27:04
  Hall, Thomas Newman, but all the same, I don't ever feel like
• 27:07
  they are carrying him through this.
• 27:09
  I think he has that vision in the augmented and deliver it for
• 27:12
  him. The not see him in the day for
• 27:14
  him ever at any point. I think this film disputes he's
• 27:16
  got a real cinematic eye. Yeah, I think he is the one
• 27:19
  who's responsible for getting the best out of the cast and
• 27:21
  crew. Yeah, definitely.
• 27:23
  Yeah, I think for me it is the theatre background here and I
• 27:26
  think it's the use of block and the use of frame and it's so
• 27:28
  important and it puts you in that room or in that space.
• 27:31
  It's the use of sets as well. I think the set design is
• 27:33
  incredible because you can't really tell what to set isn't.
• 27:36
  No, you can't. And like Matt was talking about
• 27:38
  the American Beauty to me feels like a small town theatre.
• 27:41
  And this feels like Broadway. He's just got, he's got a
• 27:44
  bigger, he's got a bigger rig to play with his lightnings a
• 27:46
  little bit better. He's got a bigger stage that can
• 27:48
  be, you know, you can rotate it round.
• 27:51
  And I think what Conrad Hall brings to this is that it's a
• 27:53
  bigger audience and he moves the camera as an audience would
• 27:56
  move, keeps it still when it needs to be still frames
• 27:59
  everything impeccably. There's nothing in that frame
• 28:01
  that shouldn't be there. The miss on sense, absolutely
• 28:04
  spot on. Everything about this is so
• 28:06
  assured and so well thought through.
• 28:08
  When I compare this to American Beauty, I don't think it's
• 28:10
  concise or it's considered in its edit or the way it flows.
• 28:13
  I think a lot of this was done in the edit.
• 28:15
  A lot of these, a lot of these decisions were made later on
• 28:17
  based on how is this going to work?
• 28:18
  How is this going to flow? So it doesn't have such a tight
• 28:21
  knit structure for me, this film actually, I do feel like it goes
• 28:24
  open, it goes down. Mendez was very, very sure about
• 28:27
  some parts. But I think when you watch this
• 28:29
  in its entirety, you can see the bits where he's not too sure.
• 28:32
  And he's it'd be, you can see it's his second film because I
• 28:35
  think there's a lot of confidence in where it needs to
• 28:37
  go a little bit darker. There's a lack of confidence
• 28:39
  where the light moments are. And I think they're a bit too
• 28:41
  late just in case people didn't get it.
• 28:43
  Then there's some themes running through this that he really,
• 28:46
  really reinforces. And if you watch it a good
• 28:48
  couple of times, it's just to me, a little bit hard hitting
• 28:51
  and a little bit over the head when he's like, Michael Junior
• 28:54
  is not going to be like his dad. That's the theme with the film.
• 28:57
  It's like, I know and it's constantly reinforced,
• 29:00
  constantly bang, bang to the last one of the last lines of
• 29:03
  the film. It's like, I fucking get it.
• 29:05
  Don't be so scared of the audience not getting it.
• 29:07
  Because I think he thinks, well, if you get that, then you get
• 29:10
  the film. I can make on the mistakes, but
• 29:11
  that theme has to go all the way through it and really has to
• 29:13
  work. It does kind of shave the edges
• 29:15
  a little bit and take some of the sharpness out of some of the
• 29:18
  scenes. I'll never tell you of seeing
• 29:20
  that. I think it's an incredible
• 29:20
  achievement for a second film, but without Conrad Hall I don't
• 29:23
  think this has worked at all. Well, he certainly brings
• 29:25
  something unique to it doesn't. Right.
• 29:27
  Yeah, 100. Percent.
• 29:28
  We'll be talking about him later, certainly.
• 29:30
  Yeah, yeah. In Mendez encouraged this cast
• 29:32
  to walk through their blocking without dialogue, allowing their
• 29:34
  faces and body language to tell the story.
• 29:36
  And that's tricky, picked up from his Theta days in this
• 29:39
  approach, to pay a dividends in the scenes between Sullivan and
• 29:41
  the Sun, because they often unfold through glances and
• 29:44
  gestures as much as words. Yeah, it's a very.
• 29:47
  Visual film, Yeah, 100% yeah. And drawing on his theatre
• 29:51
  background, Mendez, along with Conrad Hall and the production
• 29:54
  designer Dennis Gassner, spent seven months planning every
• 29:57
  aspect of Rd. Editions visual design before a
• 29:59
  single frame was shot. Yeah, incredible.
• 30:02
  Gassner designed sets that would reinforce the visuals of the
• 30:05
  film. The Rooney mansion was built on
• 30:07
  a sound stage entirely out of grey and Blackstone, with
• 30:10
  strategic pops of brown and green to avoid total
• 30:12
  monochromia. Which is a shame.
• 30:16
  Cheerful. Yeah, colored lenses were used
• 30:19
  to further to saturate the woodwork, fabrics and props.
• 30:22
  Even the car seen on screen were carefully chosen, repainted to
• 30:25
  match the films visual scheme, which really works for me.
• 30:27
  It's. Beautiful.
• 30:28
  Yeah, You can tell the detail and time that's gone into this.
• 30:32
  Yeah, and Gastner sets were constructed to exacting
• 30:34
  specifications inside the massive Armory building in
• 30:38
  Chicago, and it was a former National Guard training facility
• 30:41
  repurposed into a sprawling soundstage.
• 30:43
  The Covenant space, loud haul, complete control of the light,
• 30:46
  and which he kept intentionally oppressive and dank throughout.
• 30:49
  Production did have to move on from the site later on though,
• 30:51
  as the fire damaged it beyond repair.
• 30:53
  Well. Make the Shiner.
• 30:55
  Yeah, hello, Shiner. Despite extensive use of those
• 30:58
  sets, the plan was always to make use of as many practical
• 31:01
  locations as as possible. Chicago's faded Art Deco glamour
• 31:06
  and factories scarred grittiness.
• 31:08
  Pullman in particular. A neighborhood about 30 miles
• 31:10
  South of Chicago, has a wealth of period accurate exteriors
• 31:13
  that required very few changes. And production took over entire
• 31:17
  city blocks, restoring buildings and street cars to their former
• 31:21
  1930s glory. Nice.
• 31:23
  It just feels legitimate. It feels like in the 30s, yeah.
• 31:26
  Yeah, it's very, very authentic. It is.
• 31:29
  So Water Petition was based on a graphic novel of the same name
• 31:32
  by Max Allen Collins, and we'll talk about that more later.
• 31:35
  And after his published, Colin's literary agent sent a copy of it
• 31:38
  to Dean Sanok, who was then a junior development executive
• 31:41
  working for his legendary producer father, Richard D
• 31:44
  Sannic. And obviously we know him for
• 31:46
  producing the likes of Jaws, Cocoon, Dr. Miss Daisy, Yes,
• 31:49
  yes, all the classics. All the classics straight Miss
• 31:52
  Daisy, you know that's. Not an export.
• 31:55
  It's pretty much all this film, isn't it?
• 31:59
  Michael Sullivan, junior, around Chicago.
• 32:03
  Hasn't got quite the same ring to it as well, I mean.
• 32:05
  You can tell I've never seen drive Miss Daisy.
• 32:10
  Dean Zannick loved the book, showed his dad a copy who also
• 32:13
  loved it, and bought the rights. Xanax Senior sent it to Steven
• 32:16
  Spielberg, whose DreamWorks studio had a first look deal
• 32:19
  with Xanax production company. And obviously Spielberg loved it
• 32:23
  as well. Of course he did.
• 32:26
  Of course he did get it in there.
• 32:27
  Love. This.
• 32:30
  Lone wolf and cub. I fancy this one.
• 32:34
  The word is that Spielberg was interested in directing, but he
• 32:37
  already had his hands full with other projects.
• 32:39
  And this is where Sam Mendez comes in.
• 32:42
  OK, so in the spring of 2000, he was hot stuff on the back of his
• 32:46
  Oscar win and featured filmmaking debut American
• 32:49
  Beauty. Like we've discussed.
• 32:50
  And because he was the hottest sticker in town, he had a number
• 32:53
  of screenplays drawn his way, including A Beautiful Mind, K
• 32:56
  Pax and The Ship and News K Pax, Not So Much Music in.
• 33:02
  I think he's he's chose wisely here.
• 33:04
  He did. He has.
• 33:05
  Chosen wisely. He says.
• 33:07
  I was looking for a story that was different from American
• 33:09
  Beauty in almost everywhere. I didn't want to wake up and
• 33:11
  find that I'd made the same film twice.
• 33:13
  Yeah, and he was drawn to the contrast in dialogue to American
• 33:16
  beauty, he said. It has a sparseness, A leanness
• 33:19
  to it. It speaks in images rather than
• 33:21
  words. It really does.
• 33:22
  Yeah. Yeah.
• 33:23
  He was inspired by the nonverbal simplicity of things like Once
• 33:26
  Upon a Time in America, Pat Garrett and Billy the Kid,
• 33:29
  Kurosawa's all of Kurosawa's films.
• 33:32
  All of them, yeah. Yeah, and he also loved the
• 33:34
  father son dynamic and the family element of the story, but
• 33:37
  not the mafia family in it. And he said on the surface it's
• 33:40
  a very simple story of a father and son's journey, but actually
• 33:43
  it's a film about a father who's trying to turn the son into
• 33:46
  something other than himself. It's about the battle for the
• 33:49
  boys soul. Yes, a point that you've made, W
• 33:52
  Ian. Yeah, the film makes many times.
• 33:54
  Many times when Mendez met with Richard D Zanuck, he said
• 33:59
  something that was music to Xanax is he said, I don't want
• 34:02
  to make a film about guns. I want to make a film about
• 34:05
  fathers and sons. Wow.
• 34:08
  Very nice sons and roses love it.
• 34:15
  The Sons of Navarone, So an important step in the career of
• 34:21
  Sam Mendez, who made possibly his best film so far.
• 34:25
  Definitely the cast. A cast full of talent.
• 34:34
  We're talking about Hanks, Newman, and child prodigy Tyler
• 34:37
  Heckman. In the words of the great man
• 34:39
  himself, we're firstly talking about Don Mustache with a hat
• 34:42
  on. Tom Hanks as Michael Sullivan
• 34:44
  senior. Indeed, at this point in his
• 34:46
  career, Hanks was probably the biggest actor on the planet. 2O
• 34:49
  wins under his belt. The nicest man on the planet.
• 34:51
  Everybody loves Hanks. Yeah.
• 34:53
  Yes, What about you? Wesley Hanks is Michael
• 34:55
  Sullivan, senior. Big fan.
• 34:57
  I mean, I was a big fan, Hanks, at this point, because we've had
• 35:00
  Saving Private Ryan up and now that thing you do now, you know
• 35:05
  which I absolutely love that this performance is wonderful.
• 35:08
  It's against tape. Is Hank scared to go a little
• 35:11
  bit too far into the role? Is he skirting on the outskirts
• 35:14
  and doesn't want to be a complete badass?
• 35:15
  Are you threatened by him or is it still Tom Hanks?
• 35:18
  Does it actually work? Is it that deep?
• 35:20
  It's on the cost. A lot of questions.
• 35:21
  I think it's on the line. I think there's some elements
• 35:24
  where if it wasn't mentioned that he was a war hero, I think
• 35:27
  would lose all that dynamic where he has that regret and
• 35:30
  that pain about killing people. He kills people out of love for
• 35:34
  John Rooney and that's that's why he does it, because he feels
• 35:36
  like he owes and. Yeah, debt of gratitude isn't.
• 35:39
  It Yeah. And he's good at killing people
• 35:40
  and he doesn't want to be. He wants to be a better father
• 35:42
  and he doesn't know how to be. So I think there's all of that
• 35:45
  conflict which really comes across.
• 35:47
  But I think the way that the film sold, and I think why it's
• 35:50
  so divisive, I think is because of Hank's performance.
• 35:53
  So I think it's very conflicted with how you think this
• 35:56
  character behaves. I think he's very conflicted
• 35:58
  character. And I think that's what Hanks
• 35:59
  was trying to get across, that it isn't just A1 dimensional.
• 36:02
  I'm a gangster who kills people. No, there's a lot of levels
• 36:05
  here. Is the film long enough to
• 36:06
  explore all those levels? Is there enough that happens in
• 36:09
  the film where he gets to really pursue that and really push
• 36:12
  that? I don't know if it does.
• 36:13
  I think it might just be a bit fast for the amount of depth
• 36:16
  that he tries to bring to the character does work Expect that
• 36:19
  dynasty, and that works for me, absolutely.
• 36:21
  The death of Fanny and Peter, that really works for me.
• 36:23
  That strikes home. Even when he's just telling them
• 36:26
  which churches to go to. That really strikes home and he
• 36:28
  reaches over the bloods on his hand.
• 36:30
  He's all these little nuanced bits and all them bits really
• 36:32
  work, but those are the bits where it feels like it was a bit
• 36:35
  of a missed opportunity. And he just kind of turns into
• 36:37
  Tom Hanks and he just kind of pulls the parachute a little
• 36:39
  bit. And you know, there's a safety
• 36:41
  if you just have Tom Hanks. So I think it's down to Mendez
• 36:44
  as well as Hanks being like, at which point can I go?
• 36:47
  At which point am I going to be reined back in a little bit?
• 36:49
  At which point am I going to fall back in just the Tom Hanks
• 36:52
  that everybody knows to make the film safe?
• 36:54
  And I think there's there is that element of him stepping
• 36:55
  forward and stepping back. But I think a lot of people are
• 36:58
  conflicted with that. If you just accept that and
• 37:00
  realize you're not going to get all the answers from this
• 37:02
  character to realize they're not spoiler alert, but he's going to
• 37:05
  die with questions that need to be asked about who he was and
• 37:08
  what his motivations were and how confused his life was.
• 37:11
  If you can handle that and you're OK with that, you'll
• 37:13
  really enjoy this film. And I can handle that and I'm OK
• 37:15
  with that. But I think there's a lot of
• 37:16
  people who aren't. And if Hanks had played this any
• 37:18
  straight without all them elements of depth, I don't think
• 37:21
  we'd still be talking about the film now.
• 37:22
  I think it really, really works. But another half an hour on it,
• 37:25
  he might just the nailed it completely.
• 37:27
  Possibly. I just think that it's Tom Hanks
• 37:29
  and he never stops being Tom Hanks in the film.
• 37:32
  Well, the story is that. Yeah.
• 37:33
  What, does he kill at least 15 people in the film?
• 37:37
  Yeah. In cold blood, yeah.
• 37:39
  But he doesn't disappear, Andrew.
• 37:40
  What he's the most believable as the character is when you don't
• 37:43
  see it's Tom Hanks doing the shooting, you just see the
• 37:45
  effects of it. Yeah, that's right.
• 37:47
  That's perfect. Yeah.
• 37:48
  That's the character. That's Michael Sullivan.
• 37:49
  I think unfortunately he just keeps you at arms length because
• 37:52
  it is Hanks. Yeah, I understand that, Yeah.
• 37:54
  I mean, still brilliant and he still plays the new ones of the
• 37:56
  character great, I think, yeah. And Hanks was Mendez's first
• 37:59
  choice for the role of Michael Senior, and he said he saw in
• 38:01
  Hanks's innate likeability the chance to craft an anti hero
• 38:05
  whose gradual humanization might sneak up on audiences.
• 38:08
  He said I wanted to slowly reveal his character rather than
• 38:11
  pushing her to the foreground. Hanks wasn't looking for a bad
• 38:14
  guy role, but he responded favorably to the scripts.
• 38:17
  Father son themes, of course. Yeah, at the time, he was a
• 38:20
  father of four, including a young son not much older than
• 38:23
  the character of Michael Junior. So the idea of struggling to
• 38:26
  keep his son from following in his father's dark footsteps
• 38:29
  struck chord. Yeah, not that he's got dark
• 38:32
  footsteps. It's Tom Hanks for goodness,
• 38:34
  Yeah. Yeah, and Hanks also loved the
• 38:35
  idea of the strong silent type amount of actions, not words.
• 38:39
  Almost like a western style gunslinger.
• 38:41
  Mendez saw Hanks casting as an opportunity to subvert his *
• 38:44
  persona and audiences expectations of his character.
• 38:47
  Mendez said. You see him as an anonymous
• 38:49
  silhouette before you see him as Tom Hanks.
• 38:51
  It's like he's coming out of an old myth or a forgotten dream.
• 38:55
  I mean, a very romanticized version of the film that it's
• 38:57
  there if you really want to look for it.
• 38:59
  But I mean, yeah, I mean, but you'll be searching a while 10th
• 39:04
  page of Google if you're searching for that.
• 39:07
  Mendez keeps Sullivan at arm's length from the audience at the
• 39:11
  start of the film, never really shown his face fully in frame.
• 39:14
  It's only gradually, as his relationship with the sun
• 39:17
  becomes stronger, do we see more fangs behind the shadows.
• 39:20
  A specific choice, and I think that's effective for the film.
• 39:23
  To further distance the character from his movie star
• 39:25
  charisma, Mendez asked Hanks to adopt A period appropriate
• 39:28
  pencil moustache and slick his hair.
• 39:30
  Back contact lenses turned the act as blue eyes brown, further
• 39:34
  muddy in his appearance. Yes.
• 39:36
  And of course, you've mentioned the prosthetic nose, which,
• 39:39
  yeah, feels like an indulgence to be quite honest.
• 39:42
  Yeah, an unnecessary indulgence. Yeah, yeah.
• 39:46
  So a very surprising role for Hanks in 2002, or any time for
• 39:49
  that matter. It's certainly the darkest role
• 39:52
  in his career, a career which is all the better for it.
• 39:55
  Yeah. Oh yeah.
• 39:56
  Really is. Next up, bonafide Hollywood
• 40:01
  royalty, the legend that was and always will be Paul Newman as
• 40:05
  John Rooney. Another top of the list cast and
• 40:08
  choice, the legendary Paul Newman, 77 years old at the
• 40:11
  time. This was his beautiful swan
• 40:13
  song. Matt, it's over to you.
• 40:15
  I mean, what you're doing when you cast Newman in this is you
• 40:18
  bring in the weird of an iconic 50 year career to this role.
• 40:22
  You're bringing in someone who's already head and shoulders above
• 40:24
  everyone else on screen, even Tom Hanks at this point, I would
• 40:26
  say. And there's an ingrained respect
• 40:29
  to that. And that's what Newman brings
• 40:30
  when he starts talking, everyone should show up and pays
• 40:33
  attention instantly. And there's no question that
• 40:36
  John is a man to be feared underneath that kind of unclear
• 40:39
  image that he has. Like when they have not sit down
• 40:42
  at the table and he thumps that table in.
• 40:44
  Angrid Connor, you would like to apologise?
• 40:48
  Try again. You can see everyone around that
• 40:52
  table holding their breath. Yeah, so do we because we don't
• 40:54
  know where this is going. And we know John is steeped in
• 40:57
  blood to hold the position that he does.
• 40:59
  That was an ad Lib from Newman as well, wasn't it?
• 41:01
  Was it? He just said the Mendez.
• 41:03
  He said I'm going to do something.
• 41:04
  He's like, well, what you say I'm just going to do something.
• 41:06
  Then again, when you hit that table, you can see every because
• 41:08
  just the stuff lives off. Oh yeah, properly, everybody
• 41:11
  surprised. Yeah.
• 41:13
  And I think the the take of Daniel Craig to standing up and
• 41:15
  being gentlemen, my apologies, was straight after that, which,
• 41:19
  yeah, excellent, real. No, it's incredible scene.
• 41:21
  But at the same time, as we've been saying, this is guy who
• 41:23
  played Butch Cassidy and Cool Hand Luke.
• 41:26
  He's played so many good guys and he's got so much movie
• 41:29
  charisma and he's still got that twinkle in his eye here, like
• 41:32
  when he's playing dice for Michael's boys and he's just
• 41:35
  been the lovable uncle of the lovable granddad.
• 41:37
  It's not an act. That's also who he is and that
• 41:40
  makes him much more interesting than just being an out and out
• 41:43
  cold blooded murderer. And ultimately you're talking
• 41:45
  about a character not in it that much really, but he's got to
• 41:48
  leave an indelible impression. If everything I've talked about
• 41:51
  there, all those different elements that constitute this
• 41:54
  man who strikes the fear of God and the people one minute and
• 41:57
  then he just makes kids laugh the next, Yes, you can only have
• 42:01
  very few actors who can do that instantly.
• 42:03
  And Paul Newman was one of them. And yes, as we've been saying,
• 42:06
  he would go on and do voices for the Pixel movies, cars and the
• 42:09
  sequels, but this is his last on screen performance.
• 42:13
  And I can't think of any other actor who obviously unknowingly
• 42:16
  took their leave with one of their very best performances.
• 42:20
  You know, I mean, what an actor he was, what a career he had and
• 42:23
  what a way to sign off. Yeah, well said.
• 42:25
  It's some end chapter, isn't it? Oh, really?
• 42:28
  Is, Yeah. And for an old man, he still
• 42:30
  packs some wallop. Doesn't.
• 42:32
  He he's posture, you can just see he's like Atlas.
• 42:35
  He's just holding up the whole world.
• 42:37
  But if you believe he could do it, it's like it's fantastic.
• 42:40
  And he's final words in the film as well.
• 42:41
  When we get into that scene. I'm glad it's You are kidding.
• 42:44
  Yes, man. Yeah.
• 42:46
  Yeah, those are his last on screen words as well.
• 42:50
  Wow. Yeah.
• 42:51
  Mendez saw Newmans weathered face and world weary eyes, the
• 42:55
  embodiment of his character John Rooney, most powerful man in
• 42:58
  town, now reduced to petty in family squabbling as his empire
• 43:02
  disintegrates along with his relationships with his
• 43:04
  biological and adopted sons. I love that setup, that dynamic.
• 43:08
  Yeah, that layering of the the sons, biological adopted sons.
• 43:12
  Fantastic stuff, yeah. Newman was intrigued by the
• 43:14
  script, finding echoes of his own portrayal of pool hall
• 43:17
  hustler Fast Eddie Felson in The Hustler and in The Color of
• 43:21
  Money. Certainly got the ambiguity.
• 43:23
  He's not. He's not straight up and down,
• 43:25
  is he? As Eddie Felson.
• 43:27
  No, and then to help capture Rooneys Irish accent, Newman
• 43:31
  drafted in Angeles Ashes author and Irish native Frank McCourt.
• 43:34
  Newman had record record all of his lines so he could study the
• 43:38
  cadences and rhythm of a native speaker.
• 43:40
  Nice. Yeah, he would go into his
• 43:42
  trailer and listen back to the tapes kind of systematically to
• 43:45
  make sure he wasn't fever and off course.
• 43:47
  Yeah. Right.
• 43:48
  Nice. Any intimidation Hanks may have
• 43:50
  felt acting opposite a screen legend such as Newman quickly
• 43:53
  eased as Newman and he fell into a deep, loving relationship
• 43:57
  friendship. Yeah, nice, Yeah.
• 44:00
  And they were 25 years apart. But they bonded over shared
• 44:03
  affinity with race car driving and games of badminton.
• 44:07
  Hanks called Newman Pop and Newman reciprocated with son.
• 44:12
  Oh, very nice, you have. Beautiful, isn't it?
• 44:14
  Yeah, I'm just going to have to brush up with me badminton and
• 44:17
  race car drivers in case I meet somebody I need to be very good
• 44:21
  friends with because I would be fucked in that scenario.
• 44:26
  Imagine you get the meat. Who would be your ultimate?
• 44:29
  It would be someone like Bobby Duvall for me.
• 44:32
  Oh yeah. Well, Wesley, I mean, I think
• 44:35
  he's, he's more like 50 years you're saying.
• 44:39
  And if he's still doing badminton, I think.
• 44:42
  Yeah, still in good nick. Great Nick.
• 44:45
  Great, Nick. That's how he got in a great
• 44:46
  neck for Apocalypse Now. The original Great Nick.
• 44:50
  It's playing playing badminton on the beach one day during
• 44:55
  film, and cinematographer Conrad Hall was setting up a shot of
• 44:58
  Paul Newman through his viewfinder.
• 45:00
  He broke down in tears. When asked what was wrong, Hall
• 45:02
  said. He was so beautiful.
• 45:04
  He was so beautiful. Wow.
• 45:06
  Wow. Incredibly, and this has taken
• 45:10
  on extra poignancy because Wrote a Petition was the final film
• 45:13
  that worked on together, having collaborated on four others
• 45:17
  including Cool Hand Luke and which casting this.
• 45:20
  Incredible stuff. So a top performance, one of
• 45:24
  Newman's best, and a fit and weird to end such an illustrious
• 45:27
  career. Live action, at least.
• 45:29
  Really. Was.
• 45:32
  Next, a child actor, an unknown in a cast of huge names.
• 45:36
  But Tyler Heckling more than held his own as Michael Junior.
• 45:40
  Now, I wasn't expecting much from Heckling on the 1st watch.
• 45:43
  To be honest, I kind of already made me mind up that it was a
• 45:46
  child actor's performance. He's just going to get swallowed
• 45:49
  by this huge cast. But I was happily blown away by
• 45:52
  him. For a 14 year old kid to hold
• 45:54
  his own against Hanks and Newman is remarkable enough, but he he
• 45:58
  does more than just keep up. Those eyes of his are doing some
• 46:02
  incredible work throughout the film.
• 46:04
  You can see in process and everything the violence, the
• 46:07
  revelation about his father, the loss of his mother and brother.
• 46:10
  He can fears all of that confusion and fear without ever
• 46:13
  overplaying it or overstating it.
• 46:16
  And what I love most is how he shows Michael Junior gradually
• 46:20
  harden as the film progresses. At the beginning, he's obviously
• 46:23
  this innocent kid playing with his brother.
• 46:25
  By the end of the point that you made, Matt, there's something
• 46:27
  different behind those eyes. Not quite adult, but no longer a
• 46:32
  child either. And he charts that
• 46:34
  transformation just fantastically well.
• 46:37
  The moment where he drives away with his dad's shot, he's
• 46:40
  processing what's just happened, his face gradually crumpling as
• 46:43
  the reality hits. It's heartbreaking to watch a
• 46:46
  child with this kind of cherubic face.
• 46:49
  I think most adult actors would struggle with that level of
• 46:52
  emotional complexity, but he nails it.
• 46:54
  And he doesn't ever feel like a typical movie kid.
• 46:57
  There's no kind of like smart ass cautious dialogue or forced
• 47:01
  wisdom beyond his years. Yeah, exactly.
• 47:04
  I mean, from this part, 2002. Imagine if this was like Hayley
• 47:07
  Joel Osmond of the back of the 6th century.
• 47:09
  Like, what on earth? It'd just be far too much.
• 47:12
  It just feels very, very natural.
• 47:14
  He just feels like a real boy trying to understand an
• 47:17
  incomprehensible situation. And the chemistry between him
• 47:20
  and Hanks that feels genuinely paternal.
• 47:23
  You believe that these two are father and son, which is
• 47:25
  essential for the film to work. Mendez asked Hanks and Heckland
• 47:29
  to improvise dialogue for the scenes of bonding on the road.
• 47:32
  And that conversation beside the fire about nature of good and
• 47:35
  evil was largely the result of this improvised approach.
• 47:39
  Right. It just works fantastically.
• 47:40
  It does. Yeah.
• 47:41
  I think he's just made for the big screen.
• 47:43
  He's just got that look. And he reminds me a little bit
• 47:47
  of Christopher Cerrone, who plays the young Henry Hill and
• 47:49
  Goodfellas. Oh.
• 47:50
  He does. Yeah, similar look.
• 47:53
  Kind of like almost like cherubic, those piece and eyes.
• 47:56
  Yeah, amazing. The voice overs are quite
• 47:58
  similar as well. Yeah, they are.
• 47:59
  I think it's one of the most underrated child performances,
• 48:02
  one which definitely gets lost under the weight of Newman
• 48:04
  Hanks, Conrad Hall, Sam Mendez, all of that.
• 48:08
  Yeah, Buddy, Scrape. And the search for the right
• 48:10
  child to play Michael Sylvan Junior was epic and scope.
• 48:13
  Over 2000 young actors from across the US and Canada
• 48:16
  audition for the role and this was eventually narrowed down to
• 48:19
  200 contenders and each submitted a screen test opposite
• 48:22
  Hanks. Yeah, and these were whittled
• 48:23
  down to 20 semi finalists flown out of Chicago for in personal
• 48:27
  auditions from this group. 13 year old Tyler Heckman was can't
• 48:30
  pick by Mendez and knocking his reading out of the park.
• 48:33
  Yeah, I mean, that's a lot for Tom Hanks to contend with, isn't
• 48:36
  it? 20 semi finalists.
• 48:38
  Yeah. The little shit I've got us
• 48:41
  alongside. But to help build their natural
• 48:45
  father son dynamic further, Mendez had Hanks and Heckland
• 48:49
  spend loads of weeks off camera. They played catch.
• 48:52
  They worked on improving Heckland's driving skills, and
• 48:55
  by the time the cameras were ready to roll, their
• 48:57
  relationship just felt lived in. Felt really.
• 49:00
  Yeah. Yeah.
• 49:01
  They play badminton. No badminton, and that was
• 49:03
  reserved just for Newman. Just for Newman, fair enough.
• 49:05
  Yes, fair enough. Yeah.
• 49:07
  Heckler went on to find success in television, landed major
• 49:09
  roles in family drama 7th Heaven and the supernatural teen spin
• 49:13
  off series Teen Wolf, but he was eventually cast as Clark Kent in
• 49:16
  Supergirl and the spin off Superman and Lewis.
• 49:19
  So he's done well for himself if he hasn't been a presence really
• 49:22
  in film after this. So a superb cast on a road
• 49:26
  edition. We've talked about Daniel Craig,
• 49:28
  we briefly mentioned Jennifer, Jason Lee and there are more to
• 49:30
  come. But in Hanks and Newman you've
• 49:32
  got 2 screen legends, and in Heckland we've got a
• 49:35
  considerably underrated child performance.
• 49:37
  Three of the best. Yes, very good.
• 49:42
  The middle. We've seen the initial
• 49:46
  devastation of Connor's actions, and now we get the ripple
• 49:49
  effect, starting with the Rooneys Westie.
• 49:52
  Yeah, I mean, their reaction is quite a reaction, isn't it?
• 49:54
  The only reaction is quite a fucking thing.
• 49:58
  So yeah, this is just an it's a very, very short scene, but one
• 50:01
  that I always remembered when I left the cinema.
• 50:04
  It's one that's always stuck with this.
• 50:05
  And I think it's just the way that Newman just owns this and
• 50:08
  attacks it and the way that it's lit in the way that it's shot.
• 50:11
  He has that strip of light on his face where you see just
• 50:13
  enough emotion, but it's almost like he hasn't got the energy
• 50:16
  left. And this is just one thing.
• 50:18
  Just don't get anything else wrong and I'll live the rest of
• 50:21
  my life doing things right. And you've fucked it now.
• 50:23
  You've fucked everything. And just the lines are amazing.
• 50:25
  It's just the delivery of these lines.
• 50:27
  Yes, I curse the fucking day you were born.
• 50:31
  And he's like Rippy. I fucking curse it.
• 50:33
  It's like he really means it. Craig's reaction here where he's
• 50:36
  just, he's just a wimp. He's just a whimpering mess.
• 50:39
  He doesn't stand up for anything.
• 50:41
  He doesn't say what he's done is right.
• 50:42
  He knows what he's done is wrong.
• 50:43
  His dad knows that this is what he's going to be like when he's
• 50:45
  gone. This is what he's Empire's left.
• 50:47
  This is his legacy left to this guy.
• 50:49
  And he's just all of that frustration and what, like 3
• 50:52
  minutes. And it's the way that he turns
• 50:54
  from the beaten to the God help us to the Father, embrace full,
• 50:59
  God help us, God help us. And he's like, that's it.
• 51:02
  Now I just don't know what to do.
• 51:03
  It is just really, really powerful because their
• 51:05
  performance reinforces Michael Sullivan's character.
• 51:09
  Yeah. They're now scared, he's now
• 51:11
  scared, really scared, and you think, oh shit, what is he
• 51:14
  capable of? What we're going to see from
• 51:15
  now? And it really sets up the second
• 51:17
  act and really starts the film rolling.
• 51:20
  That God help us line. That's the line he repeats
• 51:22
  later. Yeah, yeah.
• 51:24
  With Nitty, isn't it? Yeah.
• 51:25
  Yes, with Nitty, yeah, that reinforces what you're seeing.
• 51:28
  Like what is Michael capable of? But it reinforces the religious
• 51:32
  imagery which is just coursing through the film as.
• 51:34
  Well, it is, yeah, 100%. But in the next scene, we see
• 51:37
  that Mike Senior has ice running through his veins.
• 51:40
  This house is not our home anymore.
• 51:42
  It's just an empty building. He leaves behind the broken
• 51:45
  dreams of half of his family in a heartbeat.
• 51:48
  He knows that if he shows any weakness, it'll be Michael
• 51:50
  Junior who suffers. Great.
• 51:52
  That symbolism of the bike as well, just leaving his childhood
• 51:54
  in the snow. Yeah, yeah, that's great.
• 51:57
  Great shot. And then after that, an
• 52:00
  incredibly swift scene. Mike visits Jack Kelly to find
• 52:03
  out where Connor is. Kelly plays it as cool as a
• 52:06
  cucumber because he doesn't think he's in any danger.
• 52:08
  And neither do we, because this is Tom Hanks.
• 52:11
  Yeah. And that's the great trick that
• 52:12
  Mendez pulls throughout the film.
• 52:14
  It's Tom Hanks. He's not a cold blooded killer.
• 52:16
  But. Oh, I beg to differ.
• 52:20
  He is you. Give John a message.
• 52:22
  What is it? Bang.
• 52:23
  Cold blooded execution from Joshua Baskin.
• 52:26
  Unbelievable. Now anything's possible.
• 52:30
  Yeah, that camera pushing as well is just beyond genius.
• 52:33
  Who? Really.
• 52:34
  Is it? Is that moment?
• 52:35
  Yeah. Quick zoom?
• 52:35
  Yeah, great. Yeah, and then the same that I'm
• 52:38
  going for comes after this, and it's slightly longer.
• 52:40
  And, you know, I picked this one for the obvious reason, which is
• 52:43
  my deep Biden for the Untouchables, of which Frank
• 52:45
  Niddy, played by Billy Drago, was a huge part.
• 52:48
  And I know what you said earlier about Stanley Tucci, isn't it?
• 52:51
  He doesn't quite work. But actually I really like this
• 52:53
  custom because for me, it's the contrast.
• 52:56
  You know, this isn't the horrible assassin you got with
• 52:58
  the Palmer. That's true.
• 53:00
  You know, I mean, tips, he's always excellent.
• 53:02
  But I think Nitty shows the reason why Capone got away with
• 53:06
  so much is because he put on the front of being a businessman and
• 53:09
  he ran his empire like it was a business.
• 53:11
  So Nitty, he's like a HR manager here.
• 53:14
  He's got a secretary, He's got a whole line of people with a
• 53:17
  whole host of grievances that the one pass him say, right,
• 53:21
  I'll see him first, then get that guy in.
• 53:23
  And like, if anyone's ever held any position of management,
• 53:26
  you're part of the job is having difficult conversations with
• 53:28
  someone, which is obviously ramped up by what the
• 53:31
  conversations are about. You know, and there's so much
• 53:34
  great dialogue here. You know, will one more body
• 53:36
  make a difference? That's great.
• 53:38
  The whole scene where Laser Michael, what the ramifications
• 53:41
  will be if he goes through this door.
• 53:43
  All that loyalty and all that trust will no longer exist for
• 53:46
  you. Just really well spoken black
• 53:49
  and white. But it's not a threat.
• 53:51
  It's so rationally and calmly explained to him.
• 53:54
  And as he says, he's not protecting Connor, who were
• 53:56
  protecting our interests, Mike. So it really lets you know where
• 53:59
  everyone stands in this film going forward.
• 54:01
  Yeah, yeah, Really. It gives you the hierarchy of
• 54:04
  this organization. Yeah, there's that amazing shot
• 54:07
  when they come into Chicago. They labeled the Dorothy
• 54:11
  arriving in Hall's shot where Michael Junior first sees the
• 54:15
  Chicago skyline. They used a complex 3 camera rig
• 54:18
  to capture a 180° background place and the cameras were set
• 54:23
  up in an overlap and a rear and the resultant footage was
• 54:25
  stitched together to create a a wrap around environment that
• 54:29
  could be mapped onto the car windows in perspective as the
• 54:32
  main camera moved around with the vehicle.
• 54:35
  Unbelievable stuff. Yeah, it's fantastic.
• 54:37
  A really complex shot. That's how you see Ji as well,
• 54:40
  to reinforce the story. Yeah.
• 54:42
  Incredible stuff. And Tucci was hesitant to take
• 54:45
  on the role at first, as he generally avoided playing
• 54:47
  gangster parts to sidesteps, stereotype and of Italian
• 54:50
  Americans. However, the chance to work with
• 54:52
  director Sam Mendez oddly convinced Tucci to accept the
• 54:54
  part. And there's a deleted scene from
• 54:56
  the film with Anthony La Paglia is Al Capone.
• 54:59
  But it was good because Mendez thought that Capone was far more
• 55:02
  menacing is an unseen presence and Alfred Molina was originally
• 55:05
  in the frame for the world. But he could make it because the
• 55:07
  scheduling conflicts you. Would have been good.
• 55:09
  He would have been great. Lopaglia.
• 55:12
  Wow. Yeah, yeah, he's great.
• 55:15
  So with the rejection from Nitty, the Sullivans are out on
• 55:17
  their own and losing friends fast.
• 55:23
  The walls are closing in on the Sullivans and there's someone
• 55:25
  else they need to worry about. And that man is Weasel.
• 55:28
  Fierce sneak. Harlan McGuire.
• 55:33
  Good description. There's a wonderful kind of
• 55:38
  reverse Dolly shot of him walking under the train tracks
• 55:41
  in the opening shot. Yeah, Almost like we're being
• 55:44
  forced into an introduction we don't want.
• 55:46
  It's really, really good. Yeah, it's really great.
• 55:49
  And with that music as well, it's really unsettling.
• 55:51
  It is Harlan, such a nasty piece of work, who takes pictures of
• 55:54
  dead bodies, even finishing the job of some of them if they
• 55:58
  haven't quite popped off. This scene where he first
• 56:01
  suffocates that guy with a knife in him kind of reminds me a
• 56:04
  little bit of Holy Grail, Monty Python bring out your dead.
• 56:10
  I feel happy but he's such an odd character.
• 56:17
  Really seedy pictures of actual dead people hanging up in his
• 56:21
  house. Yeah, yeah.
• 56:24
  So we know he's not to be trifled with.
• 56:25
  It's a really great character intro.
• 56:28
  Jude Law was obviously piping hot when he was cast in the
• 56:31
  film. A heartthrob, you might even
• 56:33
  say. So a credit to him that he was
• 56:35
  willing to push against this persona for the role of Alan
• 56:38
  McGuire. He needed to be immoral and
• 56:41
  repulsive, Law said. There's something stinky about
• 56:44
  him. He's like a bad smell.
• 56:46
  Yeah, he is awful. Yeah, to achieve the desired
• 56:50
  rodent like quality, Law parked on a few extra pounds, makeup
• 56:53
  artist Fern Butchner give him Park Market skin, rotten teeth
• 56:58
  and greasy comb over. I mean, he's here is ludicrous.
• 57:00
  And I think that was down to to Jude Law as well.
• 57:02
  Just wanting to have that kind of vibe.
• 57:04
  Yeah, he really. Yeah, that heartthrob persona
• 57:07
  that you had the contact lenses turned his eyes and that ice
• 57:10
  blue, Mendez said. We wanted to have ACD
• 57:13
  countenance. And you got that?
• 57:17
  And as mentioned, the walls of his rented room and dark room
• 57:20
  were decorated with the sieves of graphic real life crime scene
• 57:22
  photographs in 1930 Chicago. The black and white images were
• 57:26
  carefully chosen to evoke the work of famed Tab like
• 57:28
  photographer author Weegee Fellig because he was a
• 57:31
  freelance photographer from the era whom Holland was based on.
• 57:34
  Yes, yeah, Ouija got his name. A riff on the term Ouija because
• 57:39
  he eerily managed to reach crime scenes before the authorities.
• 57:43
  Somebody suspect that he had an almost clairvoyant sense for
• 57:46
  when and where crimes would happen, but in reality he paid
• 57:49
  for tip offs through the emergency services and sold his
• 57:52
  pictures to the press. OK, he was a bastard.
• 57:56
  Yeah. I mean, I'll just continue
• 57:59
  talking about Jude Law because when everyone mentions this, for
• 58:02
  me it's the dynasty I think of first and foremost.
• 58:05
  Outstanding, yeah. Outstanding.
• 58:06
  Believable. Because when Water Petition
• 58:08
  wants to really wind up the tension, it really does it
• 58:12
  effectively. And I think this seems the best
• 58:14
  example of that because I think there's this ambiguity of Harlan
• 58:18
  and Michael in the scene. What do they know about each
• 58:20
  other? You know, I don't know.
• 58:22
  Has McGuire underestimated Michael here?
• 58:24
  Or is he simply enjoying the thrill of the chase?
• 58:27
  And he likes the fact that, you know, maybe Michael recognizes
• 58:29
  him because Michael straight away sees the red flags
• 58:32
  everywhere. Soon as he sits down, it's like
• 58:34
  his ears prick up, the yellow teeth, that false trollery he
• 58:38
  has with the waitress, which is completely insincere.
• 58:41
  And that same in sincerity, carries into the conversation
• 58:45
  that they have because we know McGuire knows who Michael is,
• 58:49
  but we're not sure if Michael knows who McGuire is.
• 58:52
  And if he does, does McGuire in turn know that?
• 58:55
  So you're not quite sure who has the upper hand here?
• 58:57
  That's great. Yeah.
• 58:59
  Because if he does, then this whole conversation, they have to
• 59:02
  be paid to do what you love. And that the dream, it's got a
• 59:05
  whole different context to it. And the way McGuire goes machine
• 59:09
  parts, that's wonderful. Can barely keep the sarcasm out
• 59:15
  of his voice. I say I think he's enjoying the
• 59:17
  thrill of the chase. I don't think he cares if he's
• 59:19
  giving himself away. I think I get from the character
• 59:21
  as well as like, I'm going to use that.
• 59:23
  That's fucking brilliant. Yeah, that's excellent.
• 59:26
  That as well, and I love the simplicity that Mendez shoots
• 59:29
  this with. Just that simple back and forth,
• 59:31
  nothing elaborate, nothing Troy, just very simple shots.
• 59:34
  Until bam that revelation. I shoot the dead, Dead bodies,
• 59:38
  that is, and then you get just that single bead of sweat so
• 59:42
  slowly trickling down Michael's face, because every question
• 59:45
  from McGuire now was so loaded with menace and double mean.
• 59:48
  And you know when he saw him about the dead bodies, You never
• 59:51
  seen one terrible thing. But the cheer makes you feel
• 59:53
  alive, don't it? So this whole thing, it just
• 59:56
  dances that line of ambiguity of what does one counter know about
• 59:59
  the other, and does the other counter in turn realise that
• 1:00:02
  they've been made by the other? Because McGuire was certainly
• 1:00:05
  caught up by Michael subtly swiping that knife away.
• 1:00:08
  And I think Mendez just draws the scene out magnificently.
• 1:00:11
  Yeah, sound design and the scenes unbelief.
• 1:00:14
  I just love the introduction of the carrot.
• 1:00:15
  He's loading that camera like he's loading a gun and puts it
• 1:00:18
  on the table. He's right in front of him.
• 1:00:19
  Yeah. Hanks does a real good job of
• 1:00:21
  playing dumb. Yeah Yeah.
• 1:00:23
  And not alerting him that he's under love it, Yeah.
• 1:00:27
  Mendez encouraged Jude Law to find some dark humour in McGuire
• 1:00:31
  and he effectively played him as the Wiley Coyote to Hanks's
• 1:00:35
  Roadrunner. Nice, that's.
• 1:00:37
  Great. That's great.
• 1:00:39
  The deal of the boat, that whole diner online as well that is
• 1:00:41
  found. It right?
• 1:00:42
  Yeah, it's great. I might look into that. 2020
• 1:00:46
  grand, isn't it? Yeah, that's right.
• 1:00:47
  Yeah, Unbelievable. It's a great set.
• 1:00:50
  It is amazing. Yeah.
• 1:00:52
  So we'll go from that scene. Is it the last?
• 1:00:54
  We're going to see if McGuire. I'm not too sure.
• 1:00:56
  But we still have to wait. And we're going to the Robin
• 1:00:59
  Banks. This is what we need to do next.
• 1:01:01
  You know, even Rocky had a montage, so we kind of need to
• 1:01:06
  put that in there somewhere. This is where it slightly comes
• 1:01:09
  off the boil for me. It feels like it's a little bit
• 1:01:13
  too light hearted. It feels like it's a little bit
• 1:01:15
  too much of A breath of fresh air.
• 1:01:17
  I'd know that it might be needed and that's OK, but is it a
• 1:01:21
  little bit over long? Is it just pulling the car up
• 1:01:23
  really slowly? Is that just a little bit too
• 1:01:26
  funny for what we're trying? To do a bit like, oh brother,
• 1:01:28
  isn't it? A little bit, yeah.
• 1:01:30
  But I mean, oh, brother had that tone and it did not want to dip
• 1:01:33
  in and out of it. And it doesn't go too far to
• 1:01:35
  kind of say, you know, did you get that?
• 1:01:37
  It's light hearted now. You can relax for a bit.
• 1:01:39
  You know, you there's always there elements where it could
• 1:01:41
  snap back in here. I don't feel like it's ever
• 1:01:43
  going to snap back here. You feel like you've got a good
• 1:01:46
  1520 minutes to kind of get your breath back, right.
• 1:01:49
  We've been through, and I don't know if I like that or not.
• 1:01:53
  I think the first time I saw it maybe.
• 1:01:55
  But I've seen a lot of films that have been a lot heavier
• 1:01:57
  than this and have been just, you know, the pace of it and
• 1:01:59
  putting you through it all to some kind of conclusion.
• 1:02:02
  And I feel like it's just a bit too much of A light touch for
• 1:02:05
  me. There's a level of threat and
• 1:02:07
  the lack of threat just completely disappears at this
• 1:02:09
  point. Yeah, you don't feel like
• 1:02:11
  anything bad is going to happen. So for me, it kind of dips here.
• 1:02:14
  I lose attention a little bit, and that might be because it's
• 1:02:17
  kind of broad daylight, the lightness.
• 1:02:18
  It's not a strike and it's not as atmospheric, It's not as
• 1:02:21
  emotional. Just a little.
• 1:02:22
  Just to keep that sense of threat just behind the scenes
• 1:02:24
  would have been good for me. Yeah, I think it does serve a
• 1:02:28
  good purpose in that it's building up the relationship
• 1:02:31
  between the two Michaels. Yeah.
• 1:02:33
  Yeah, I do like that. However, I think that that's
• 1:02:35
  kind of blunted with the scene later on that I'm going to talk
• 1:02:38
  about, but we'll talk about that later on.
• 1:02:39
  OK, OK. And one of the first scenes
• 1:02:41
  filmed was this montage of Sullivan and his son Robin
• 1:02:45
  Banks, cross cut with newsreel footage of Herbert Hoover's
• 1:02:48
  inauguration speech. And this were quite seamless,
• 1:02:51
  indicating between colour and monochrome footage re screen
• 1:02:54
  projection in hidden camera cars.
• 1:02:56
  Yeah, it's one of the most complex scenes in the film.
• 1:02:58
  It's certainly the most joyous, whether you like it or not.
• 1:03:02
  Fair enough. Yeah.
• 1:03:03
  I think it adds some much needed levity to the film, but if you
• 1:03:08
  like it, then make the most of it because that won't last long.
• 1:03:11
  Yeah, no, it's not a lot. No, no.
• 1:03:16
  The crew, a very talented, classy crew on Road Edition.
• 1:03:23
  The cinematography and music are coming, but first, it's the
• 1:03:26
  screenplay by David Self, adapted from the 1998 graphic
• 1:03:30
  novel of the same name. Matt, your thoughts on the
• 1:03:33
  screenplay? I think it feels very surprising
• 1:03:35
  that this comes from a graphic novel.
• 1:03:37
  It's not something like Sin City, for example, where you're
• 1:03:40
  watching it go, yes, I see that working visually on a page or
• 1:03:44
  something else physically holding me hand and turn over.
• 1:03:46
  Yeah, 300. Yeah. 300, yeah.
• 1:03:51
  This, I've done so much and you know, I have gone and looked at
• 1:03:54
  it online and read a bit and again, it doesn't strike me as
• 1:03:56
  something you'd immediately go, yes, put this into a script now
• 1:04:00
  it's going to work. So I think probably the most
• 1:04:02
  impressive thing is how they've identified the elements that
• 1:04:04
  won't just translate visually but also translate into theme
• 1:04:08
  and plot and structure. I mean, we've said already so
• 1:04:10
  much in here about fathers and sons carrying the sins of the
• 1:04:14
  fathers, the ramifications of violence, all intertrined with a
• 1:04:18
  lot of great dialogue as well. I think the dialogue really
• 1:04:20
  stands out and I think like much of the film, it's just about the
• 1:04:23
  simplicity of it. It's very stripped back.
• 1:04:25
  It's very down the line, which is maybe the one element where
• 1:04:28
  more seeds root in the graphic novel because that format, I
• 1:04:31
  think it tends to be quite simple because of the nature of
• 1:04:34
  it. So I think for self to pick up
• 1:04:36
  on all of that and then expand on it the way he has done.
• 1:04:39
  But then that's Mendez and Hall expand on it even further in a
• 1:04:42
  visual sense. It's very good job indeed.
• 1:04:45
  Yeah, I think for me, it's these elements of dialogue that is
• 1:04:49
  kind of grounded in the authenticity, but it's also the
• 1:04:52
  exploration of like the family dynamic with a really dark tone,
• 1:04:56
  a really shadow tone. You know, it's not showing the
• 1:04:58
  the positive side of the family dynamic.
• 1:05:00
  It's shown the grief and the pain and the heartbreak that you
• 1:05:03
  have to go through and hold a family together through it sort
• 1:05:05
  issue on that other side of it. And what I get from this, I
• 1:05:08
  mean, I've got the graphic novel, but I've not read all the
• 1:05:11
  way through it because to me it's just so different.
• 1:05:13
  So it's it's really different in tone.
• 1:05:16
  It was harder. It's a lot harder of a story.
• 1:05:18
  It's a lot more harsh in its tone.
• 1:05:20
  And I think that's what Self was trying to get at.
• 1:05:22
  I think he did have that dark tone on the page.
• 1:05:25
  And I think that works visually when it's gone over the Conrad
• 1:05:28
  Hall and it's gone to Sam Mendes.
• 1:05:29
  But I do think that it has been softened quite a bit.
• 1:05:32
  I think this sort of been great on paper because you would
• 1:05:34
  imagine it, right? OK, You know, father and son go
• 1:05:36
  and start robbing the banks and start taking away all the
• 1:05:38
  gangland's money, and they're just trying to disrupt
• 1:05:40
  everything. And you just think, right,
• 1:05:42
  that's going to be strong, That's going to work.
• 1:05:43
  And then for that to be then turned into a montage.
• 1:05:46
  And visually, I don't know if that kind of takes it away.
• 1:05:48
  I think it's all there. There's some incredible dialogue
• 1:05:51
  and there's some really great things and really great themes
• 1:05:54
  that are being explored. And I don't really think this is
• 1:05:56
  a screenplay where people have gone.
• 1:05:57
  Anyone could be in this film and it works.
• 1:06:00
  I think if you if you read the screenplay and you have two
• 1:06:03
  people that are cast wrong and you don't have Conrad Hall
• 1:06:06
  shooting it, you don't have Thomas Newman doing the score
• 1:06:08
  and you don't have Mendez sitting on the edit as much as
• 1:06:10
  he did. And you know, being very
• 1:06:12
  meticulous about what works where.
• 1:06:13
  I think this works because it's a complex jigsaw.
• 1:06:16
  Self has all the pieces, but I think his jigsaw looked very,
• 1:06:19
  very different to what Mendez does with the pieces.
• 1:06:22
  Yeah, we've talked about it's a very visual film and I think the
• 1:06:25
  screenplay gives the framework for Mendez's visuals and I'm
• 1:06:29
  just a big fan of the layers in the writing and the double mean
• 1:06:32
  into everything underpinning this incredible multi layered
• 1:06:35
  father son narrative. Like we talked about the
• 1:06:38
  position of the title is literal and metaphorical.
• 1:06:41
  It's the place where Michael's aunt lives and it's going to be
• 1:06:43
  their literal safe haven. But the word petition means hell
• 1:06:47
  or damnation. So when they get there, the
• 1:06:49
  devil metaphorically comes for his Jew and Michael Senior
• 1:06:52
  doesn't make it. Of course, again, I mean that's
• 1:06:55
  a beautiful thing when you look at the right and having that as
• 1:06:57
  the place at the go on, but it's only mentioned once and it's not
• 1:06:59
  done subtly. No, no it's not.
• 1:07:01
  It's like slam down your throat, like the ideas great sort of
• 1:07:04
  when right, let's have them see it.
• 1:07:06
  It's in petition and then the whole it's almost like the stop
• 1:07:08
  a minute and look at the audience go.
• 1:07:09
  Do you know what petition is? Are you understand what that is
• 1:07:11
  right, let's move on yes, there's no some reason that
• 1:07:14
  direction. Did you get it?
• 1:07:15
  And I think that there's a lot of that all the way through this
• 1:07:17
  film. Yeah, there is.
• 1:07:18
  There's a bit of heavy handedness, I would say.
• 1:07:20
  Yeah, yeah, yeah. But it's the sins of his past
• 1:07:23
  catch matching up with him, Michael, since the past that he
• 1:07:26
  doesn't want to pass on to his son.
• 1:07:27
  They've travelled on this road to hell together.
• 1:07:30
  And Michael Senior is trying to protect his son from falling
• 1:07:32
  into this world that is hammered hole.
• 1:07:36
  Yes, Yeah. And ultimately, you know,
• 1:07:38
  Michael Senior had to die. It's in the title of the film.
• 1:07:41
  But he can die a happy man that the chain has been broken and
• 1:07:44
  his son is not on the same path as him.
• 1:07:47
  But I also love the complexities in the father son narrative that
• 1:07:50
  are taken one step further when looking at John Rooney.
• 1:07:53
  Michael isn't his son, but he's got a better relationship with
• 1:07:55
  him than his actual son Connor. But ultimately blood is thicker
• 1:07:59
  than water and bad decisions are made despite how destructive
• 1:08:02
  they are. I think John knows he's going to
• 1:08:04
  die, but he can't turn his back on his son, no matter how
• 1:08:07
  horrifically he's behaved. So it's the ties that bind us
• 1:08:11
  together. And it all tapped into that
• 1:08:12
  quote from the film. Sons were put on this earth to
• 1:08:15
  trouble their fathers. Yeah, in one way or another,
• 1:08:17
  that's exactly what the film's about.
• 1:08:19
  Rooney is damned by his son. Sullivan is saved by his.
• 1:08:22
  Yeah. So I do like the right in there,
• 1:08:24
  particularly from unlikely source material.
• 1:08:27
  There's some real depth to the right in here for me, yes.
• 1:08:30
  As mentioned, Wrote a Petition is based on the graphic novel of
• 1:08:33
  the same name written by Max Allen Collins in 1998,
• 1:08:36
  illustrated by Richard Pierce Reyna Collins drew inspiration
• 1:08:40
  from a number of sources. One was the 70s manga series
• 1:08:43
  Lone Wolf and Cub. There you go.
• 1:08:45
  That tells a story of a disgraced 17th century assassin
• 1:08:48
  who travels the country seeking revenge with his infant son and
• 1:08:51
  tour. I mean, it's the Mandalone.
• 1:08:53
  It's been coming. It's coming around again and
• 1:08:55
  again and again, isn't it? It's always there.
• 1:08:57
  Another inspiration was the trials and tribulations of real
• 1:09:00
  life Midwestern gangsters John Patrick Looney and his Doom son
• 1:09:04
  Connor. John Looney.
• 1:09:06
  John Rooney. I see what they did there.
• 1:09:08
  I get Yes. Connor was murdered by his
• 1:09:11
  rivals, supposedly in an attempt to assassinate his father.
• 1:09:14
  John Looney managed to survive the attack, but his criminal
• 1:09:17
  organization crumbled in the aftermath.
• 1:09:19
  Yeah. So Spielberg drafted in
• 1:09:21
  screenwriter Dave itself to adapt it for the screen because
• 1:09:24
  he'd been impressed by his work on 13 Days, which is a really
• 1:09:27
  great film, by the way. It is great.
• 1:09:28
  He later commissioned him to write the screenplay for the
• 1:09:31
  remake of The Horton. Less said about that one the
• 1:09:33
  better though, because there were significant rewrites on
• 1:09:36
  that. That's right.
• 1:09:37
  Yeah. So really self can't be blamed
• 1:09:40
  as such. So individually, yes, Self was a
• 1:09:44
  lifelong comic book fan who had once interned at Marvel Comics,
• 1:09:47
  were under the legendary right artist Frank Miller, and through
• 1:09:51
  various rewrite Self screenplay moved away from the source
• 1:09:54
  material. The nuts and bolts remained, but
• 1:09:56
  there was some big changes. So Newman's character kept the
• 1:10:00
  surname of the mobster he was based on, John Looney.
• 1:10:02
  And you've lost character Harlem McGuire.
• 1:10:05
  He's little more than a footnote in the novel.
• 1:10:07
  There's a big difference in the depiction of violence.
• 1:10:09
  It was significantly toned down for the film with some scenes
• 1:10:12
  being removed completely. And Collins novel Michael Junior
• 1:10:15
  kills someone whereas he does not in the film.
• 1:10:17
  Yeah, well, I mean, that's what this entire film is built on.
• 1:10:20
  Yeah, and I think at the end he turns into a preacher, isn't he?
• 1:10:22
  That's right, Yes, he does. He has a confession and that's
• 1:10:26
  how it ends. That's correct, yes.
• 1:10:28
  And that was a scene that was shot for the film but didn't
• 1:10:30
  make it. That's a bit too far, and it's.
• 1:10:32
  Yes, it is. Iconography, I think.
• 1:10:35
  It is definitely. Yeah, we get it.
• 1:10:37
  Yes, I understand that. I'm fucking surprised it's not
• 1:10:39
  in there to be honest. Yeah, so I think the change is
• 1:10:43
  mostly served to kind of move away from the pulpy crime saga
• 1:10:48
  that the novel is and give it a more of a pristine Sheen.
• 1:10:51
  That's what Mendez wanted to do. Yeah, it's more of that deaf
• 1:10:54
  touch, isn't it? Definitely.
• 1:10:56
  Well, with that we have our first question from an ATRM
• 1:11:00
  patron. OK.
• 1:11:02
  And then we mentioned at the top, become an ATRM Patreon
• 1:11:05
  supporter. You can ask the questions of the
• 1:11:06
  film that we're talking about. And this first one comes from
• 1:11:09
  Ryan Douglas. Hello, Ryan.
• 1:11:11
  Hello, Ryan. Ryan Says wrote Petition has one
• 1:11:14
  of the great underrated film quotes in his opinion.
• 1:11:17
  So this is the life we chose, the life we lead.
• 1:11:20
  There is only one guarantee. None of us will see Heaven with
• 1:11:23
  Sullivan Reply and Michael could fantastic.
• 1:11:26
  Yeah, yeah, wonderful. What underrated film quotes are
• 1:11:29
  your favorite? So I'll pick this straight away.
• 1:11:31
  Yep, up your street, this one. Yeah, yeah, straight.
• 1:11:35
  Away Everyone that we do together is probably underrated.
• 1:11:40
  Yeah, That is a great line that you've picked out there, Ryan,
• 1:11:43
  as well. Very nice.
• 1:11:44
  Great writing. I'm getting straight in there
• 1:11:47
  with the familiar one, Zodiac. Dave Toski, thank you.
• 1:11:51
  Thank you for breakfast. That's my second one on me.
• 1:11:53
  List. Oh, really?
• 1:11:54
  Yeah. Yeah.
• 1:11:58
  We've said it before, but it's just stuffed with me that of
• 1:12:01
  course he is obviously thanking Christmas for breakfast, but
• 1:12:03
  he's also thanking him for solving the mystery, for giving
• 1:12:05
  him freedom, for breaking his shackles.
• 1:12:08
  I use it a lot, but in situations which probably isn't
• 1:12:11
  quite as meaningful as Dave Toski, the.
• 1:12:15
  But the intention's still. There.
• 1:12:16
  Yeah, mine's just literal. Yeah, he still don't pay for it,
• 1:12:23
  which he does. And from score says he's the
• 1:12:27
  king of comedy. After Rupert poker and stand up
• 1:12:29
  bit, he wraps it up by saying better be king for night and
• 1:12:32
  then schmuck for a lifetime. And he really believes that.
• 1:12:35
  I mean, he's going to jail for a long time, but it's a great way
• 1:12:38
  to sum up the reverence and thirst for celebrity, no matter
• 1:12:41
  the cost. I think it's an underrated line.
• 1:12:44
  I really like that. And on a different note, in that
• 1:12:46
  same film, that picture of his pride and joy, I can't get
• 1:12:48
  enough of that. You want to see a picture of my
• 1:12:50
  pride and joy? That's.
• 1:12:52
  But I think I'd love that. It's great.
• 1:12:56
  Westy, what about you? Leave the gun, take the cannoli.
• 1:12:58
  Oh. Nice.
• 1:13:00
  I think that just really kind of sums up most of the film without
• 1:13:03
  getting too deep or too far into it.
• 1:13:05
  It's kind of like, you know, leave the violence, take the
• 1:13:07
  heritage, but you look after the heritage with the violence.
• 1:13:10
  I think it's just really great. Could be throw away, but again,
• 1:13:12
  really works. Everyone mentions the tears and
• 1:13:14
  rain speech from Blade Runner. I've got, I think, a far more
• 1:13:17
  important line. It's too bad she won't live, but
• 1:13:19
  then again, who does? The delivery on that,
• 1:13:21
  incredible. And it just when it comes back
• 1:13:24
  as well and the director's Courtney and he, he hears it and
• 1:13:26
  he just goes right. Well, you need to live your life
• 1:13:27
  now, then. Yeah, you could die at any time.
• 1:13:30
  That's not the point. It's not the point.
• 1:13:31
  She's a replicant. It's about living your life.
• 1:13:33
  It's about you to live with her again.
• 1:13:34
  Who does exactly? I absolutely love that.
• 1:13:37
  And one of the funniest ones. And I mentioned this on a few
• 1:13:41
  episodes ago, OK? And it absolutely smashes me in
• 1:13:45
  every single time. And it's the delivery on this as
• 1:13:47
  well. I think it's one of the funniest
• 1:13:48
  lines in any film. And it's from the Blues
• 1:13:50
  Brothers. And when when he says you're
• 1:13:53
  going to look pretty funny trying to eat caught on the Cobb
• 1:13:55
  No far country. I think that's one of the best
• 1:13:59
  lines. And I remember first time
• 1:14:01
  hearing that. And just a bit real behind that
• 1:14:03
  delivery. It is just so brilliantly done.
• 1:14:06
  And I laugh every time I hear it.
• 1:14:08
  And not enough people, not enough people know about it.
• 1:14:10
  It's just great. No fucking truth.
• 1:14:13
  Absolutely. Yeah.
• 1:14:16
  I love that line. That is so funny.
• 1:14:18
  I remember watching that when we did that video analysis for The
• 1:14:21
  Blues Brothers a few years back, and I hadn't seen The Blues
• 1:14:24
  Brothers for a few years, and it came to that scene and it just
• 1:14:27
  took me completely off guard and I was on, I was decked.
• 1:14:31
  Yeah, it's. Great, hilarious.
• 1:14:34
  What about you mass Underrated lines?
• 1:14:37
  I've gone from one CV Swan to comic wands.
• 1:14:39
  The CV Swan is Paddy Considine's voice over and dead man shoes.
• 1:14:45
  God will forgive them. He will give them and allow them
• 1:14:47
  into heaven. I can't live with that.
• 1:14:49
  Yeah. That's amazing.
• 1:14:51
  That sets you up brilliantly. That is an underrated film, an
• 1:14:55
  underrated film, an underrated line.
• 1:14:57
  Everybody should see that film. Everybody needs to see dead
• 1:15:00
  punch shoes. Yeah, and then in comic ones, I
• 1:15:03
  mean, it's a Tom Hanks line, and it's from the burps.
• 1:15:05
  And it just from the very first time I saw this, made me laugh.
• 1:15:08
  And it's when Hanks's son and that is explaining how he's got
• 1:15:12
  that theory about what the Club X were up to.
• 1:15:15
  And he says it's because Ricky Butler told him.
• 1:15:17
  And Hanks just says really sarcastically, Oh, Ricky Butler
• 1:15:20
  said. And that's whenever I hear
• 1:15:24
  someone, like see someone just speak absolute bullshit on TV,
• 1:15:27
  like a politician or football manager making excuses, I'll
• 1:15:30
  just go, oh, Ricky Butler said. Just the.
• 1:15:33
  She is disdain Hanks puts into that he's.
• 1:15:36
  Amazing towards his son as well. Oh, Ricky, Butler said.
• 1:15:41
  Ricky Butler says yeah. You just know from that moment
• 1:15:44
  on, don't believe anything. Ricky Butler.
• 1:15:45
  Says yeah, he's full of shit, yeah.
• 1:15:47
  There's so many great lines in the burbs.
• 1:15:49
  I mean. That wrote the petition.
• 1:15:51
  That's amazing. Yeah, those are beauties.
• 1:15:53
  Going to build something with those.
• 1:15:59
  And the other one from one of our all time favorites, and we
• 1:16:02
  do say this quite a lot and it's from in Bruges and it's when Ken
• 1:16:07
  is on the phone a hurry trying to make an excuse for rare not
• 1:16:09
  being there. And he says he went to pizza's
• 1:16:12
  and he says, how was it? And he just goes, well, you
• 1:16:14
  know, Pizza Hut pizza. You know, there's something
• 1:16:18
  about a line. It's so funny.
• 1:16:19
  And again, it's one where like I tried bring that into
• 1:16:22
  conversation if someone that something was where it's really
• 1:16:24
  obvious what it would be like. Well, you know Pizza Hut.
• 1:16:29
  It is what it is. Yeah, it is what it is.
• 1:16:31
  Yeah. Matt, you've shown a lot of
• 1:16:34
  restraint by not saying I like from the Bruce that I may have
• 1:16:37
  thought you said. Well, just go back, listen to
• 1:16:40
  the In Bruges episode to hear that one in it's.
• 1:16:42
  In there all the old buildings and that.
• 1:16:45
  You use this word and various other quotes.
• 1:16:52
  Yes, we could be here all day to.
• 1:16:54
  Be honest. Yeah.
• 1:16:55
  So there you go, Ryan. Thank you for the question.
• 1:16:58
  We liked our lines. Yep, not ours.
• 1:17:00
  You know, we pulled them from films, but delivery is
• 1:17:03
  impeccable. Indeed.
• 1:17:05
  So impressive writing from David Self, adding a Sheen of class to
• 1:17:10
  a pulpy gravic novel. Yeah.
• 1:17:12
  Yeah. Next up, we have the music in
• 1:17:17
  the film composed by Thomas Newman.
• 1:17:20
  Our thoughts on the music. I think it's quite somber, but
• 1:17:24
  it gets under your skin in in a very, very beautiful way.
• 1:17:27
  There's this horn and piano theme that just breaks my heart
• 1:17:31
  every time I hear it. It's so simple, but it carries
• 1:17:34
  all the weight of Sullivan's guilt and love for his son.
• 1:17:38
  I think the Irish influences Newman weaves in give this whole
• 1:17:43
  kind of folkloric, almost mythic quality.
• 1:17:46
  Like when you're in an ancient tragic ballad, there's pipes and
• 1:17:50
  penny whistles if they don't feel forced or obvious.
• 1:17:53
  It's not like we're we're in Boston, so we have to hear
• 1:17:56
  those. Those kind of like Irish
• 1:17:57
  flavours. Dropkick Murphy's Dropkick
• 1:18:00
  Murphy's, yeah. But they just add a layer of
• 1:18:04
  melancholy that makes everything feel just a just a bit more
• 1:18:08
  timeless. And what I love is Newman's
• 1:18:10
  restraint. He knows when when to pull back
• 1:18:12
  and let the silence do the work. In those quiet moments between
• 1:18:16
  Michael and his son, the absence of music becomes just as
• 1:18:18
  powerful as the presence of it. It never oversells the emotion,
• 1:18:23
  and it captures the film's tone just great.
• 1:18:25
  It's mournful without being manipulative.
• 1:18:27
  You must feel like this. Yeah.
• 1:18:30
  Yeah. Beautiful without being
• 1:18:31
  sentimental. I think it enhances the visual
• 1:18:34
  poetry of whole cinematography without competing with it, But
• 1:18:38
  it does a bloody good job of enhancing it.
• 1:18:40
  It really does. It's not sure we are memorable
• 1:18:43
  in where some scores are, but it's deeply affected.
• 1:18:47
  It's very subtle. I think he understands that the
• 1:18:49
  stories about love and loss, not guns and violence, and his music
• 1:18:51
  reflects that. One of those scores that you
• 1:18:53
  don't really notice until you try to imagine the film without
• 1:18:56
  it. Then you realize that it's
• 1:18:58
  absolutely essential for the whole experience.
• 1:19:00
  Yeah. Yeah.
• 1:19:01
  Absolutely beautiful stuff. What about USD?
• 1:19:05
  Yeah, I bought this score the day after I saw the film Stray
• 1:19:08
  on CD because I kind of just wanted to experience it more.
• 1:19:12
  And you can see this music, you can see the textures.
• 1:19:16
  It's. Visual.
• 1:19:16
  Yeah, you. Can see the color palette, you
• 1:19:18
  can see how it all works. It's not too sentimental, like
• 1:19:21
  you said, Luke, and it's a great use of atmosphere.
• 1:19:23
  On some moments. There's final shootout with
• 1:19:25
  Rudy, and that's just pure atmosphere that's got nothing to
• 1:19:28
  it. Then the strings come in and you
• 1:19:29
  start to get this melody that seems familiar, but then it's
• 1:19:32
  just lost on the wind. I think a lot of this is just
• 1:19:35
  feels like it's coming past year and you experience it as it
• 1:19:37
  happens, but you can't stick it in your head.
• 1:19:40
  So every time I listen to this soundtrack, and I listen to it
• 1:19:42
  quite a few times just independently of the film, and
• 1:19:46
  it does evoke all of this emotion, but it's just like a
• 1:19:48
  fleeting moment. It doesn't stay with you.
• 1:19:50
  It doesn't kind of hammer itself home.
• 1:19:52
  And you go, well, you know where you just go, but you know the
• 1:19:54
  end of wrote the position. What does it go like?
• 1:19:57
  And you just go, oh, I know what it feels like.
• 1:19:59
  I can't tell you what. I can't really tell you what it
• 1:20:01
  sounds like, but I know exactly how it feels.
• 1:20:03
  And I think that's the point. I think it's really, really hard
• 1:20:05
  to do. And Thomas Newman is made a
• 1:20:06
  career off that. So yeah, it's emotional without
• 1:20:09
  being cheesy, without hammering it down your throat.
• 1:20:11
  And to be able to support them. Visuals, he doesn't really need
• 1:20:14
  to do much. And I think he does more than is
• 1:20:16
  absolutely necessary to bring that to life.
• 1:20:18
  And he really does a good job. Yes, he does great job.
• 1:20:20
  What about UMass? Thoughts on the music?
• 1:20:22
  Just complete agreement really. It's very gentle for the most
• 1:20:25
  part. It is very subtle.
• 1:20:26
  It mixes and elements of folk music, but also elements of noir
• 1:20:30
  when the mood of the film darkens.
• 1:20:33
  And yeah, it's one way. It is tricky to talk about it
• 1:20:35
  because it's not, you know, overflowing with eworms, which
• 1:20:39
  this one isn't. But it serves the film.
• 1:20:41
  You know. If the scene is melancholic,
• 1:20:43
  Newman nails it. If the scene is tense, Newman
• 1:20:45
  nails it. If the scene is light hearted,
• 1:20:46
  Newman nails it. And it's over the film in a very
• 1:20:50
  subtle manner where it doesn't grab your attention.
• 1:20:51
  But if it wasn't there, you would miss it.
• 1:20:53
  You know, even the most memorable ones like Raw to
• 1:20:55
  Chicago, which is just that simple piano riff.
• 1:20:58
  It's simple, It's not massively overact, but it really works.
• 1:21:02
  I mean, Mcguire's theme, all it is are those like dissonant
• 1:21:05
  strings sound a bit off. Nothing huge and booming, but it
• 1:21:08
  really works. Yeah, it really does.
• 1:21:10
  Mcguire's theme sounds like what Williams did, with whom alone
• 1:21:13
  that diddle in. Yeah, it really is.
• 1:21:18
  And that makes you really off, off center, yeah.
• 1:21:20
  Yeah, it does. Thomas Newman came on board
• 1:21:23
  after Mendez drafted him in for American Beauty.
• 1:21:25
  So they built up that sympathical relationship.
• 1:21:29
  Yeah. And that's why he wanted them
• 1:21:30
  for this. To evoke Rd. to petitions, 1930s
• 1:21:32
  Prohibition era Chicago setting, Newman incorporated subtle Irish
• 1:21:36
  sounds like we're talking about in the fabric of his score.
• 1:21:39
  Hypes, penny whistles and mandolins are often woven
• 1:21:41
  through the film, making a marriage of the old country with
• 1:21:44
  the new country, Ireland and America.
• 1:21:46
  Yeah, it really works Well, Yeah, Newman wrote almost two
• 1:21:50
  hours of music for the film. Somewhat overkill for me,
• 1:21:54
  considering this is just under 2 hours.
• 1:21:56
  You can't have all music. Yeah, exactly.
• 1:21:59
  Yeah. But Mendez only wound up using
• 1:22:02
  about 30 minutes of it sparingly and perfectly.
• 1:22:05
  Yes, I think so, yeah. So Thomas Newman doesn't flex
• 1:22:09
  his muscles or outstairs welcome with his music, but he certainly
• 1:22:13
  adds to the texture of the film. Yes.
• 1:22:18
  Finally on our crew list, a legendary cinematographer, one
• 1:22:23
  of the greatest in his field. It is Conrad Hall bowing out
• 1:22:27
  beautifully. Yeah.
• 1:22:29
  Wesley, over to you. Conrad Hall, Cinematography.
• 1:22:32
  I mean, this is the culmination of a full career and a very,
• 1:22:35
  very, very talented man who had everything, who did everything
• 1:22:39
  and had everything in his locker.
• 1:22:41
  And I don't think there's anything in this film that he
• 1:22:43
  didn't use that he's learned in his long career.
• 1:22:45
  He's not left anything out. And at the same time, he doesn't
• 1:22:48
  overuse anything. It's a portfolio of work in two
• 1:22:51
  hours. It's a portfolio of his life, of
• 1:22:53
  what he's learned. One of the moments I paused was
• 1:22:56
  one that you'll easily miss. And it's after John and Connor
• 1:22:59
  have that bit where the he's beating them down and cursed the
• 1:23:02
  day you were born, right? And then it cuts to the doorway.
• 1:23:05
  It's that searcher shot and it cuts the doorway.
• 1:23:07
  And Michael Junior is just standing in the yard and he's
• 1:23:11
  got the suitcase and just pause that moment because he's framed
• 1:23:14
  in the doorway. He's lit from the side the way
• 1:23:16
  that Michael's lit without knowing where the lights coming
• 1:23:18
  from. Then he moves the camera.
• 1:23:20
  Then he puts Sullivan in the frame.
• 1:23:22
  Then he pushes forward and actually moves with it.
• 1:23:24
  It doesn't need to be that good. The shot doesn't need to be that
• 1:23:27
  well thought through or that well executed.
• 1:23:29
  There's not a frame in this that isn't absolutely impeccable.
• 1:23:33
  I don't really know what else to say about it, because you watch
• 1:23:37
  it in black and white and it works.
• 1:23:39
  Watch it without dialogue and it works it for me.
• 1:23:41
  The dialogue is getting in the way of this film most of the
• 1:23:43
  time because it is just so visually stunning and so
• 1:23:46
  beautifully executed. I mean, to put the Vertigo shot
• 1:23:49
  in the halfway section of a film to introduce a villain
• 1:23:51
  character, Yeah, that's what do it in a way that people haven't
• 1:23:54
  really seen it before. And you don't look at that and
• 1:23:56
  go, that's Jaws or it's Vertigo. You look at that and go, fuck,
• 1:23:59
  I've never seen that before. That was his version of it.
• 1:24:02
  That's what he's learned. There's such a varnish over this
• 1:24:04
  whole film, such a meticulous attention to detail.
• 1:24:07
  It's hard not to love this in the way that it celebrates
• 1:24:10
  cinema as a visual medium. It pulled me in more than any
• 1:24:14
  other film had at that time, and I'd seen a lot of films up to
• 1:24:17
  that point. 2002, this really pulled me.
• 1:24:19
  And it just said, this is like walking around a museum and
• 1:24:22
  every painting that you look at is one that resonates with you
• 1:24:25
  and one that you want to see. And each one gets better as you
• 1:24:27
  move through the museum. And then you leave and you go
• 1:24:29
  out in the daylight. You think I just want to go back
• 1:24:31
  in? Wow, the same interview.
• 1:24:33
  He was so humble. And if I was produced in a film
• 1:24:36
  like this, even if it was my last film, I would be an
• 1:24:38
  absolute Dick until I died. I.
• 1:24:46
  Love that honesty, West. How can you help?
• 1:24:49
  You want to put a masterpiece? Yeah, yeah, one of the best to
• 1:24:52
  ever do it. What do you think?
• 1:24:54
  My Conrad Holtz work. I just want to contrast it to
• 1:24:57
  American Beauty really, because that film, it's so vibrant.
• 1:25:01
  That red in particular really pops off the screen.
• 1:25:03
  The way he uses that. And then this, which is so
• 1:25:06
  muted, it's so elegant. It's like the music and that.
• 1:25:08
  It's all about serving the atmosphere, surfing the sorry,
• 1:25:11
  not overwhelming it when the camera moves and moves in a very
• 1:25:14
  measured wave. And if it ever moves quickly,
• 1:25:16
  it's startling, but then it should be startling.
• 1:25:18
  It provokes an emotional response in you.
• 1:25:20
  It's got this wintry, melancholic feel to it, the
• 1:25:24
  subdued Browns and blacks that this entire film has filled it
• 1:25:27
  to the use of shadow. Even when it's light, it's not
• 1:25:30
  broad daylight like say, it's that wintry light instead.
• 1:25:33
  It's just so integral to what this film should feel like, and
• 1:25:36
  it's what we said about the music.
• 1:25:37
  It's texture. Condor to Holt gives this film
• 1:25:40
  the texture and I think the look of this film.
• 1:25:43
  It is the one thing that I take away from this more than
• 1:25:45
  anything else. Yes, yeah.
• 1:25:47
  I mean, it's artwork, this. That is.
• 1:25:50
  Visual storytelling that it's most beautiful, most elegant,
• 1:25:54
  the way you use the shadow and light.
• 1:25:56
  Obviously masterful characters are constantly emerging from
• 1:25:59
  darkness or disappearing into it, which perfectly mirrors the
• 1:26:02
  ambiguity of the story. The colour palettes desaturated.
• 1:26:07
  That works brilliant because everything feels just drained of
• 1:26:10
  life, bereft of hope, which reflects Sullivan's emotional
• 1:26:14
  state. And when you do get the
• 1:26:15
  occasional splashes of colour, it's usually blurred.
• 1:26:17
  They hit like a gut punch. Yeah.
• 1:26:20
  And it's a composition work. He frames characters and
• 1:26:22
  doorways and windows, empty spaces around them.
• 1:26:25
  Like you were saying, that searches shot Westie, which just
• 1:26:29
  creates a sense of isolation even when people are in the same
• 1:26:32
  room, the few miles apart. Completely different to that on
• 1:26:36
  the other side of the scale, those Chicago skyline shots make
• 1:26:39
  the city feel magnificent and oppressive at the same time as a
• 1:26:42
  concrete jungle where violence echoes through the streets.
• 1:26:45
  He does that with one shot without any dialogue.
• 1:26:48
  Incredible. And there's not a single
• 1:26:51
  throwaway shot. He may be very modest and say,
• 1:26:54
  oh, that was just a happy accident or something like that.
• 1:26:57
  Nothing was just right. OK, cut, Prince.
• 1:26:59
  Let's move on. Everything's measured.
• 1:27:01
  Everything's considered. Everything's important.
• 1:27:03
  Everything means something. Yeah.
• 1:27:05
  I mean whole at the peak of his powers when he was an old man,
• 1:27:09
  Yeah, but one of the finest examples of his work.
• 1:27:12
  Yeah, it's a master at work. Mendez, as you said, Matt, he'd
• 1:27:15
  built a relationship with Conrad Hall, who shot American Beauty.
• 1:27:18
  He managed to get him on board with this film by sending them
• 1:27:21
  the script with a note that said a man lives his life in black
• 1:27:24
  and white but dreams in color. You love that straight in there.
• 1:27:27
  Yeah. Trying to steal that.
• 1:27:32
  What was that again man? Just.
• 1:27:36
  Put chiseled on me gravestone. And Mendez and Hall traveled to
• 1:27:42
  each prospective Illinois shooting location that we spent
• 1:27:45
  hours walking around with the viewfinder discussing how each
• 1:27:48
  building or street corner might be used to maximize dramatic
• 1:27:51
  effect. For Rota Petitions color
• 1:27:52
  palette, Hall proposed a stark, nearly monochromatic scheme of
• 1:27:55
  desaturated earth tones, shadow St. blacks and washed out Grays.
• 1:27:59
  Reds and oranges would be sparingly, like you said, look
• 1:28:01
  with the blood that really works and only the signal danger.
• 1:28:04
  Like you said, bloodshed. Yeah.
• 1:28:06
  And then that really works because when you see that it
• 1:28:08
  really impact. And costume designer Albert
• 1:28:12
  Wolsky and his team were encouraged to keep the costumes
• 1:28:14
  within a grim spectrum of charcoal Grey's, mossy greens
• 1:28:18
  and sepia toward Browns. The various pinstripe and three
• 1:28:21
  piece gangster suits retailed from fabric specially woven and
• 1:28:25
  dyed to maintain the intendants of dude look.
• 1:28:27
  The costumes of the film were specifically created.
• 1:28:30
  None of them are from the period, right?
• 1:28:32
  Yeah, there's legitimacy in that work.
• 1:28:34
  It looks amazing. Mendez and Hall studied, as
• 1:28:37
  we've talked about, The Godfather, Miller's Crossing,
• 1:28:39
  and Once Upon a Time in America. It deconstruct how those films
• 1:28:42
  use shadow and negative space to generate unease and dread.
• 1:28:45
  Yeah, I love that even though Conrad Hall was one of the first
• 1:28:49
  names in cinematography, he's still looking at things that
• 1:28:52
  came after him to inform what he does.
• 1:28:55
  Love that. And he also drew heavily from
• 1:28:59
  the work of artist Edward Hopper to establish the film's sombre,
• 1:29:02
  shadowy aesthetic. Mendez was particularly
• 1:29:05
  influenced by Hopper's use of light and shadow to convey
• 1:29:08
  characters in emotional States, and that's the technique he
• 1:29:11
  applied to the character of Michael Sullivan.
• 1:29:12
  So yeah, the 1939 Hopper Pain in New York movie Depends.
• 1:29:16
  In a pensive usher, shrouded in darkness was a key visual
• 1:29:19
  touchstone for Mendez and suggesting Sullivan's hidden
• 1:29:22
  emotional journey. Mendez said.
• 1:29:25
  In that one image, you begin to imagine what's on the other side
• 1:29:27
  of the frame. You know the words.
• 1:29:29
  What's important is what's off camera.
• 1:29:32
  Yeah. Seeking to create a palpable
• 1:29:34
  sense of danger and corruption through visual means, Hall
• 1:29:37
  employed his trademark dirty light and techniques.
• 1:29:39
  The aimed lamps directly into the lens causing light to flare
• 1:29:42
  across actors faces and reflect off rain St. windows and puddle
• 1:29:45
  strewn streets. That creates so much atmosphere.
• 1:29:49
  Oh, it really does. Yeah, yeah.
• 1:29:50
  Well, Conrad Hall's legendary work brings with it a legendary
• 1:29:54
  question from a patron. This is our second of the day.
• 1:29:58
  This one is from Daniel Holland. Hello, Daniel.
• 1:30:00
  Hello, Daniel. Daniel said.
• 1:30:02
  Hi, fellas. Longtime listener, first time
• 1:30:04
  caller. Great.
• 1:30:05
  Nice. Oh nice.
• 1:30:06
  Conrad Hall cinematography often let's scenes play out in shadow
• 1:30:09
  or soft light. How does this visual approach
• 1:30:11
  shape your emotional response to the story?
• 1:30:14
  And do you think the Edward Hobbit influence is the right
• 1:30:16
  look for the film? Great to have your question,
• 1:30:19
  Daniel. Thank you.
• 1:30:20
  And a cracking one that it is, absolutely.
• 1:30:22
  What are your thoughts on Daniels question?
• 1:30:24
  I mean, yeah, I think it's absolutely the right look for
• 1:30:26
  the film because this, this isn't a bombastic film.
• 1:30:29
  So it can't look as bombastic as something like the Untouchable
• 1:30:32
  Stores, even though it's obviously the same time period.
• 1:30:35
  It shouldn't look as epic as something like Once Upon a Time
• 1:30:38
  in America because this is a much more intimate film.
• 1:30:41
  You know, it is very wide screen, but it's also about
• 1:30:44
  huddled conversations on church pews and then diners in the
• 1:30:49
  middle of the night. You know, it's melancholic.
• 1:30:51
  And I think that's where you get in this work.
• 1:30:53
  And I think what Hall does is he keeps me slightly removed from
• 1:30:56
  it in that emotional sense. I think that's how he shapes my
• 1:30:59
  emotional response to the story because this isn't a film that
• 1:31:02
  makes you want to cry. It makes you want to feel
• 1:31:04
  somber. And the thing that Hall does?
• 1:31:07
  Yeah, I think what's brilliant about it is how it mirrors the
• 1:31:09
  moral ambiguity of the story. When characters are literally
• 1:31:12
  shrouded in darkness, we're never quite sure what they're
• 1:31:15
  thinking or feeling. Tell that thing where Sullivan
• 1:31:17
  sits in his car outside the Church of his face is in shadow,
• 1:31:20
  half in light. Visual storytelling.
• 1:31:22
  We've been talking about it, a man torn between his violent
• 1:31:25
  nature and his desire for redemption.
• 1:31:28
  And the soft lighting creates this kind of dream, like, almost
• 1:31:31
  memory like quality to the scenes.
• 1:31:32
  It makes everything feel slightly unreal, which is, I
• 1:31:36
  think, perfect because it's a story being told in retrospect
• 1:31:39
  by Michael Junior as an adult. Yeah.
• 1:31:42
  We're seeing these events through the filter of time and
• 1:31:44
  trauma, so that ethereal quality feels emotionally honest.
• 1:31:48
  I like that. And yeah, I mean, I'm not know
• 1:31:50
  much about the artsy, but I'm aware of Hopper's work.
• 1:31:53
  It appeals to me, and it fits very nicely for the film.
• 1:31:57
  He generally depicts Late Night Lawn as an empty streets, a
• 1:32:00
  perfect visual to carry the narrative of the film.
• 1:32:03
  That kind of existential loneliness, despite Michael
• 1:32:06
  being surrounded by his family, he's emotionally cut off from
• 1:32:08
  him, and I think that is emphasized by the visuals and
• 1:32:11
  the influence of Hopper as well. That's great.
• 1:32:14
  Yeah, I mean it's just has that in messy to it.
• 1:32:16
  I think a lot of Hopper's pants do have that intimacy to them,
• 1:32:18
  even if they are wide shots. You kind of diving into what's
• 1:32:21
  that character thinking, what's their motivations?
• 1:32:23
  And it's hop as use of shadow as well, I think really works and
• 1:32:26
  it's really translated here. Light and shadow does kind of
• 1:32:29
  bounce off each other. There's a duality to the
• 1:32:31
  cinematography, there's a duality to the whole film.
• 1:32:33
  There's a, you know, a light and dog up and down.
• 1:32:35
  There's a charity which really, really works.
• 1:32:37
  And I think how that buys into that 100%.
• 1:32:40
  The most I get from the cinematography in this and the
• 1:32:43
  look and the shape of the emotion is that it's a character
• 1:32:46
  in itself that creates this own world that has an authenticity
• 1:32:49
  to it. But you don't care if that
• 1:32:51
  authenticity is carried further in by the characters.
• 1:32:55
  And what I mean by that, I'll give you an example in this.
• 1:32:58
  In this time period, every single man who walked into a
• 1:33:00
  room, bought into a house, bought into a building, would
• 1:33:03
  remove the hat. It's suspicious if you don't
• 1:33:05
  you. We don't care about that because
• 1:33:07
  it looks better. It works better for the film.
• 1:33:09
  It's through the child's eyes. We're not bothered about that
• 1:33:12
  level of authenticity because you're getting such a level of
• 1:33:14
  authenticity through the cinematography, through the
• 1:33:16
  light and through the feel of the period.
• 1:33:18
  You don't want it to be too real.
• 1:33:20
  Try and do this again, it's impossible.
• 1:33:22
  Yeah, it is. Yeah, it's striking, absolutely
• 1:33:24
  striking work. So an outstanding crew.
• 1:33:28
  Great, right? The understated beauty of the
• 1:33:30
  music, but it's all overshadowed, naturally, by
• 1:33:33
  Conrad Hall's outstanding cinematography.
• 1:33:35
  Yet again, another Fitness One song.
• 1:33:38
  Yes, yeah. The end.
• 1:33:46
  The Sullivan Bank Robbins spree doesn't last long with the
• 1:33:48
  accountant pulling the plug on Chicago's money.
• 1:33:51
  I guess we should pay a visit to this Mr. Rance Westie.
• 1:33:54
  We should, yes, Mr. Rance, he is great.
• 1:33:58
  He's fantastic. Really comic performance.
• 1:34:00
  I would like an egg. I could run it.
• 1:34:04
  What is this? It's just, you know, it's very,
• 1:34:07
  very good. I love that performance.
• 1:34:09
  It is brilliant. And here there's a great build
• 1:34:11
  attention, some great setup, some some great payouts.
• 1:34:14
  And this is where I was talking about the sound design.
• 1:34:16
  You know that teletype machine starts going.
• 1:34:19
  You know that Mcguire's coming over the road.
• 1:34:21
  You get disguised from the sound of the hornies and coming up the
• 1:34:24
  stairs, you can hear the horn still going outside.
• 1:34:26
  You don't quite know what's going to happen.
• 1:34:27
  When's he going to come in? Branch then just runs into that
• 1:34:30
  other room. Gunshots go off before that.
• 1:34:32
  Even McGuire doesn't notice because the car's painted.
• 1:34:35
  And then he's obviously paying the woman in the hotel room, so
• 1:34:37
  he's distracted, and that's when Michael goes in.
• 1:34:39
  So everything's got a moment. Everything kind of makes perfect
• 1:34:41
  sense. Really welcome, really well
• 1:34:45
  staged. And then the gunshots going
• 1:34:46
  through the wall, you say, well, how to grant style.
• 1:34:48
  Oh, yeah, obviously the damn gunshots going through the wall.
• 1:34:50
  That makes sense. But this is the kind of the
• 1:34:52
  beginning of the end for Michael Sullivan.
• 1:34:54
  I think because McGuire is still hired at this point, he still
• 1:34:59
  has a job to do and this is where it gets personal because
• 1:35:02
  you forget about McGuire at the after the sequence.
• 1:35:05
  You do. You look at these hands, you
• 1:35:07
  just don't see what's going on. It's not really hit home enough.
• 1:35:09
  You're focused on some of them getting shot and him getting
• 1:35:12
  better. Then there's one last thing to
• 1:35:13
  do. There's two huge scenes coming
• 1:35:15
  up and then it comes back. This one kind of skips past them
• 1:35:19
  two scenes and has a real kind of Arc and a real moral arc.
• 1:35:23
  Regrettable 1. And it's great because this is
• 1:35:26
  set up in such a way where it feels like a finale where you
• 1:35:29
  have films where they're just to get shot and then the bad guy
• 1:35:31
  disappears. And I think it's great that the
• 1:35:34
  play on that and that comes back later on the horn.
• 1:35:37
  And it's one of their moments where I don't even think he
• 1:35:39
  meant he just wanted them out the way.
• 1:35:40
  He just wants the files. You know, if they could have
• 1:35:42
  just had a conversation. McGuire it's been like, look,
• 1:35:44
  I'm going to kill Rooney. This is all going to be over
• 1:35:47
  with. I get the files.
• 1:35:48
  You can just leave. I'll pay you the money.
• 1:35:49
  I've got the money here. That's what you want.
• 1:35:51
  So it becomes a real personal vendetta because of what Michael
• 1:35:55
  does. And it's heartbreaking when you
• 1:35:57
  see the scene with the second time, third time you watch it,
• 1:35:59
  known for a fact that it is setting something up that is
• 1:36:02
  unavoidable. Yeah, yeah.
• 1:36:03
  I really like that, that the scenes after this, like you
• 1:36:06
  said, are larger than life, bigger than this scene, even
• 1:36:09
  though this scene is huge. Yeah.
• 1:36:11
  So this character, you forget about him.
• 1:36:13
  He slides into the shadows and then that's it.
• 1:36:16
  Exactly. And then and then.
• 1:36:17
  Yeah, of course. Yeah.
• 1:36:19
  Only forget about this guy. Yeah, exactly.
• 1:36:21
  And in the scene where McGuire is stalking up to the Geneva
• 1:36:25
  Hotel across the ward with the shotgun under his court, there's
• 1:36:28
  a store that looks like it's been done out to look like from
• 1:36:30
  the period, but in actual fact, it's actually a Starbucks.
• 1:36:33
  Oh. Really.
• 1:36:34
  Yeah, yeah, production took it over for four days, shut it
• 1:36:37
  down, ran the Kraft Food Services out of it for the cast
• 1:36:39
  and crew, and retained all the Starbucks staff to make coffees
• 1:36:43
  for every everybody. On that.
• 1:36:46
  Yeah, Andy me know Starbucks, Yeah.
• 1:36:48
  Starbucks Now Michael gets out of there alive, but he is badly
• 1:36:54
  injured shot and this sequence afterwards feels a little
• 1:36:58
  contrived and by the numbers for me, I love it.
• 1:37:02
  But I also have a quite a few problems with this scene.
• 1:37:05
  As soon as he passes out, they're very fortuitously find a
• 1:37:08
  farm with some very friendly residents and one of them can
• 1:37:13
  remove bullets, which all is all very pleasant.
• 1:37:15
  Isn't this how handy we've seen this nursing back to health
• 1:37:20
  scene a million times. It feels paid by number.
• 1:37:23
  It's it's like witness. We've seen them many times.
• 1:37:26
  But what doesn't feel like paid by number is an absolutely
• 1:37:29
  stunning scene. Father and son around the table
• 1:37:32
  finally acting like father and son.
• 1:37:35
  I absolutely adore it. But it's almost as if that
• 1:37:38
  montage scene that I said before Westie didn't happen because of
• 1:37:42
  the way that Michael Senior treats Michael Junior in this
• 1:37:45
  thing. Yeah, it's like he doesn't know
• 1:37:47
  him. Exactly.
• 1:37:48
  It starts off very formal. Michael Junior's had a bad
• 1:37:51
  dream. Take a seat if you want.
• 1:37:53
  He sees that his dad is doing math.
• 1:37:54
  He says that he hates it. And what follows The
• 1:37:57
  conversation that just appears to be between two strangers.
• 1:38:01
  Yes. So what do you like?
• 1:38:03
  It's Google. What did you like?
• 1:38:05
  I mean, why doesn't he know this?
• 1:38:07
  He has been on and they have been up to some form of
• 1:38:10
  joviality when he's been teaching them how to drive and
• 1:38:13
  Robin Banks and all that kind of stuff.
• 1:38:16
  It's a beautiful scene. It's heartbreaking because
• 1:38:19
  Michael Junior, he says he likes Bible reading at school because
• 1:38:22
  he likes the stories. Just very childlike.
• 1:38:25
  Yeah. And then the emotion starts to
• 1:38:27
  tumble into the scene because he asked his dad if you like Peter
• 1:38:30
  more than him, and he said he was different with him.
• 1:38:34
  And he is the big emotional pole.
• 1:38:36
  Peter was such a sweet boy, but you were more like me and I
• 1:38:39
  didn't want you to be. Yeah.
• 1:38:41
  He's been called an approachable Michael senior towards the sun
• 1:38:44
  because he didn't want to follow the same path.
• 1:38:46
  And now we understand. I don't think that Michael
• 1:38:49
  Junior quite understands the reasoning, but he understands
• 1:38:52
  that his father has just opened up to him emotionally, probably
• 1:38:54
  for the first time in his life. And then a completely arresting
• 1:39:00
  moment. Devastating.
• 1:39:01
  Michael Junior gives his dad a hug.
• 1:39:04
  Something that should feel like the most natural thing in the
• 1:39:06
  world takes Michael Senior completely off guard.
• 1:39:09
  My heart drops. It's such a beautiful moment.
• 1:39:13
  Yeah. That is a perfect cap on that
• 1:39:16
  scene. It was a great scene without it,
• 1:39:17
  But that is just a beautifully judged moment.
• 1:39:20
  Poignant. Someone's chopping onions here.
• 1:39:24
  Incredible stuff. It's.
• 1:39:25
  A beautiful. Thing it really is.
• 1:39:27
  And then after this, you get the scene was built up to probably
• 1:39:30
  the most quoted scene in the film as well, which is really in
• 1:39:33
  the church and then the basement.
• 1:39:35
  And I think there's always something really evocative about
• 1:39:38
  people like Rooney who've built an empire on bloodshed, lived a
• 1:39:41
  brutal life, but they also take their religion and faith very
• 1:39:45
  seriously. He's not there at the church to
• 1:39:48
  play lip service. His faith is real.
• 1:39:51
  And if his faith is real and he's a very conflicted man
• 1:39:54
  because he knows what he's done and he can pray all he likes for
• 1:39:57
  forgiveness, but as much as the Catholic doctrines, God will
• 1:40:01
  always forgive. What if he makes an exception?
• 1:40:03
  Because if he's going to make an exception, it's going to be for
• 1:40:06
  someone like John Rooney. And I think that subtle fear and
• 1:40:09
  conflict is very, very palpable in nuance performance and in the
• 1:40:13
  same because. He's not sat there head bowed
• 1:40:16
  and pray. And it looks more to me like
• 1:40:18
  he's lost in his own thoughts, like what he's done is beyond
• 1:40:21
  redemption, so what's the point in prayer?
• 1:40:23
  And he knows the end is coming from soon because he's an old
• 1:40:25
  man of Lee. And then after Michael reveals
• 1:40:28
  he sat behind them, you get the scene in the basement and it's
• 1:40:31
  the same way. Really, I just want to quote
• 1:40:32
  every single line of dialogue because it's scintillating
• 1:40:36
  stuff. Not great.
• 1:40:38
  He murdered Annie and Peter. There were only murderers in
• 1:40:41
  this room. It's mind blown how good the
• 1:40:44
  dialogue is. You know, the line we've come
• 1:40:46
  back to again again, because, you know, we have the question
• 1:40:48
  about, you know, this is the life we choose, the life we
• 1:40:50
  lead. Just wonderful stuff.
• 1:40:52
  And you know, it's and again, this point is being made over
• 1:40:55
  and over again. It's not about revenge.
• 1:40:56
  It's about saving Michael Junior from going down the same mode of
• 1:40:59
  his father. But just when you watch Newman
• 1:41:02
  and Hanks going head to head here, you can almost see Hanks
• 1:41:05
  having to elevate his game just to keep up with Newman.
• 1:41:09
  I mean, I mean, Hanks is generally a better actor than
• 1:41:11
  everyone else in the film. So I kind of feel sometimes he
• 1:41:14
  doesn't have to try that hard to be great, accepting the same
• 1:41:18
  because he's not quite as good as Paul Newman, but he's going
• 1:41:20
  to raise his game to try and keep up with them as much as he
• 1:41:22
  can. And it ends up the two of them
• 1:41:24
  at their very best. Yeah.
• 1:41:26
  Peak Hanks. Peak Newman.
• 1:41:28
  Absolutely, it is amazing. I love that notion of blood is
• 1:41:31
  thicker than water and that's completely evident.
• 1:41:33
  And they say no matter how how bad Connor behaves, no matter
• 1:41:37
  what he does to damage his reputation, to damage his life,
• 1:41:40
  he'll always stick with him because his blood.
• 1:41:42
  Yeah. Love that.
• 1:41:44
  It's just, you know, I'm on the son that I've lost.
• 1:41:48
  Yeah, fantastic. Wow.
• 1:41:52
  Yeah, that's great. So with Michael's final olive
• 1:41:55
  branch snapped off, he has no alternative than to turn into an
• 1:41:58
  Angel of vengeance. Michael does stuff, is all
• 1:42:04
  faithful, and prepares to do battle one last time, one last
• 1:42:07
  thing, and then it's done. Yeah.
• 1:42:10
  Oh, and what a one last thing it is.
• 1:42:12
  Yeah, John Rooney and all of his men enter the rain drenched
• 1:42:16
  streets, the rain beaten down on the road so hard it looks like
• 1:42:20
  they're lost at sea, which of course they are.
• 1:42:23
  A blanket of blackness surrounds their existence in glorious slow
• 1:42:27
  more. Mendez has turned into John Woo
• 1:42:29
  as it's revealed the driver has been plugged and they're all
• 1:42:33
  sitting ducks. John knows what's happening
• 1:42:36
  immediately and you can see that he's accepted his face.
• 1:42:39
  He knows it's coming and the music is almost like a costly
• 1:42:43
  lullaby as the flash of light from the gun slashes through the
• 1:42:46
  darkness, cutting Rooney's men ribbons.
• 1:42:49
  It's poetic violence, no blood. The strings swell as Michael
• 1:42:52
  conference John 1 resigned look. And then I'm glad it's you.
• 1:42:58
  Oh dear me, this is poetry in motion.
• 1:43:00
  Yeah, yeah, it's amazing. And the pain on Michael's face.
• 1:43:03
  He knows what he has to do, but it's killing him.
• 1:43:07
  Yeah, But by doing this, he does sever the ties between the old
• 1:43:11
  and the new world, which offers a better life for his son.
• 1:43:13
  Obviously thematically relevant. We've talked about it, the shots
• 1:43:17
  of people looking out of their windows as well as if they're
• 1:43:19
  cast in judgement over Michael. He's truly going to hell now.
• 1:43:24
  But it was worth it for his family.
• 1:43:25
  Yeah. Yeah.
• 1:43:26
  A stunning scene. Oh, it's astonishing.
• 1:43:29
  If you listen to Mendez on the commentary, he said he just
• 1:43:31
  couldn't get this right. He couldn't cut it right.
• 1:43:33
  It wasn't working. He didn't know why it wasn't
• 1:43:35
  working. He came back to it a few days
• 1:43:37
  later and it was when he cut all of the sound out on the dub,
• 1:43:39
  which was a bit of an accident because they played it back
• 1:43:41
  without the sound. Oh, wow.
• 1:43:43
  And the thought, oh, shit, right, That totally works.
• 1:43:45
  Now, then let's just put the score over it.
• 1:43:47
  The way that that score is silenced by the Tommy gun and it
• 1:43:51
  just cuts above it. And the way the tanks looks
• 1:43:53
  down, you know, he's falling. Yeah, it's back up.
• 1:43:55
  It's an incredible piece of work, This.
• 1:43:57
  It's just unbelievably good. Outstanding it is.
• 1:44:00
  It is. And originally the scene was
• 1:44:02
  scripted to be set in an empty Chapel and it was actually shot,
• 1:44:05
  but Mendez felt that something was missing.
• 1:44:07
  So this then motivated the scene to be shot on the rain drenched
• 1:44:10
  streets. And Mendez said he was able to
• 1:44:12
  take advantage of the blurry Halos of St. lamps and, as he
• 1:44:16
  said, the inky void of the night sky to create a more ominous
• 1:44:19
  existential mood. Gray line, inky void of the
• 1:44:22
  night sky. Very nice.
• 1:44:24
  And yes, the whole scene was shot over 4 nights.
• 1:44:26
  It required 32 times squib detonations, a techno Korean
• 1:44:29
  cable of Verizon 6 stories and half a dozen rain machines
• 1:44:33
  working at full blast. Wow.
• 1:44:35
  And it's still. The one the most beautifully
• 1:44:37
  relaxed and heartbreak and meditations I've ever seen in
• 1:44:39
  cinema. It's just captivating.
• 1:44:41
  It's like watching a bride cry. Got much experience of that
• 1:44:50
  Westie? Wow.
• 1:44:53
  I've seen it. Get that on the poster.
• 1:44:58
  It's like watching a bride cry, Westie.
• 1:45:09
  So then after this, there's one more person Michael's got to
• 1:45:12
  take care of and we know this has been coming.
• 1:45:14
  And what's been interesting is throughout this before said
• 1:45:17
  there's like 1 scene in the film we have a slight issue with and
• 1:45:20
  this one's mine because I think it's set up brilliantly.
• 1:45:23
  That phone call with Nitty given up Connor is going to end the
• 1:45:26
  feud. And I love the look on the faces
• 1:45:29
  of the bodyguards is that just let Michael through the hotel
• 1:45:31
  know what he's going to do Because it's like, yeah, you
• 1:45:34
  know what kind of deserves it? He's been an absolute asshole
• 1:45:37
  back there. So, you know, I'm quite glad.
• 1:45:39
  He's got a backstage pass, hasn't he?
• 1:45:41
  It's great. Exactly.
• 1:45:41
  Yeah, it's great. But the issue I have is it's the
• 1:45:44
  one part where I think Mendez has been too restrained and too
• 1:45:48
  artful for his own good. It looks incredible the way that
• 1:45:52
  the door swings back to short Connors reflection in the Mirror
• 1:45:55
  Now that Michael shot him and he uses in the bath.
• 1:45:57
  But it's the one bit where I want an emotional release.
• 1:46:00
  Don't get it. You know, this guy murdered
• 1:46:02
  Michael's wife and youngest boy. You want the moment of revenge?
• 1:46:06
  You just don't get it. It's very dispassionate.
• 1:46:08
  And I know there's an argument for that.
• 1:46:11
  The Michael's just like whatever I've had to kill his father.
• 1:46:14
  This guy means nothing to me. But all the same, that's his
• 1:46:16
  personal choice. And that's fine.
• 1:46:18
  But my reaction is personal in my reaction is this feels like
• 1:46:21
  an afterthought. And I'm not saying he has to be
• 1:46:23
  like slugging him around the hotel room or anything like
• 1:46:25
  that. But if you go back to the
• 1:46:27
  graphic novel, in this scene when Michael has Connor at
• 1:46:30
  gunpoint, Connor says I'll see you in hell.
• 1:46:32
  And Michael's reply is hell will be heaven if I can spend
• 1:46:35
  eternity making you pay for what you did to her.
• 1:46:38
  Now that's magnificent line. That's one-on-one from this
• 1:46:41
  scene. Why is that line not here?
• 1:46:42
  Yeah. I can't fathom why that line's
• 1:46:45
  not there. It's amazing line dialogue.
• 1:46:47
  Yeah, that makes the scene. It does, yeah.
• 1:46:49
  So from there to, it's a happy ending, isn't it?
• 1:46:51
  We're absolutely fine. Yeah, they've even got a dog.
• 1:46:54
  Yeah, they've got a dog there. The actor told you there was a
• 1:46:57
  dog and Zach driving. He's he's heads out the window.
• 1:46:59
  Mike Sullivan has completely let his guard down, his collars
• 1:47:02
  open. He's grown his hair a little bit
• 1:47:04
  more. He's just, you know, he's shirts
• 1:47:05
  on, tucked his waist coats not fast.
• 1:47:07
  And he's ready to just call it a day.
• 1:47:08
  And that's it. He's ready to settle down.
• 1:47:10
  And we're all ready to settle down with him.
• 1:47:12
  And I love that moment where The Walking across the beach and
• 1:47:15
  it's beautiful. But then he says, is that the
• 1:47:17
  house? So I fucking hope so, because
• 1:47:19
  there's nothing else. Why we otherwise?
• 1:47:23
  Absolutely. Miles is like, no, there's three
• 1:47:25
  more down the bottom, which would normally be quite
• 1:47:27
  realistic. No, that's not the house.
• 1:47:29
  It's that little one that we can afford down there.
• 1:47:32
  But yeah, it's great. I'll just love that.
• 1:47:33
  The way it's it's set up and it's it's done in such a joyful
• 1:47:36
  way because we are at once in probably the most brightest
• 1:47:39
  scene in the film and it is just feel almost overexposed after
• 1:47:43
  everything else we've seen. It's like Michael Mann, isn't
• 1:47:45
  it? Yeah.
• 1:47:46
  And once, you know, a false sense security and you know,
• 1:47:49
  it's a beach scene, but we're forgetting.
• 1:47:50
  We've seen Sullivan junior on the beach at the very start
• 1:47:53
  looking at the water. We've forgotten about that.
• 1:47:55
  We forgot about a lot of things which are going to come back to
• 1:47:57
  home in a minute. And there's that tracking
• 1:47:59
  through the house and he shouts, we're here, Sarah.
• 1:48:02
  And there's just that amazing reflected shot where my son was
• 1:48:07
  looking out and then you see him waving and it's just that pang,
• 1:48:11
  that pang. And it's just, it's just so
• 1:48:13
  heartbreakingly, beautifully played out.
• 1:48:16
  I think it's Hanks just trying to hang on and not not fall to
• 1:48:20
  the floor. And then when he does, you just
• 1:48:22
  see that reveal of that shadowy figure and just the camera
• 1:48:25
  getting picked up and you think, oh, for folks think, why did I
• 1:48:30
  forget about that? Why did I let me guard down?
• 1:48:33
  And it does it to the audience because you let your guard down
• 1:48:35
  as soon as he does, and as soon as he does, he's punished for
• 1:48:38
  it. And then when you see that smile
• 1:48:40
  and he takes the picture, he's just the most loathsome.
• 1:48:43
  Character. Yeah, he is horrific.
• 1:48:45
  And you think you're benefiting from this moment and you just
• 1:48:47
  invested in the Sullivan's at this point.
• 1:48:49
  You just think, yes, we're going to get there.
• 1:48:51
  And now we have this sledgehammer from Mendez
• 1:48:54
  Juniors. Got a gun, Mike Sullivan.
• 1:48:55
  Don't do it, don't do it. Go on and give us a gun back.
• 1:48:58
  It was a gun back. And there's probably the this is
• 1:49:00
  the one shot that I really dislike in the film and it kind
• 1:49:02
  of pulls as I was when that triggers pulled in, the gun goes
• 1:49:05
  off and you get that shot of why you get that chart.
• 1:49:07
  Jude Law just it's slow motion, but it's like a strange kind of
• 1:49:12
  slow motion doesn't really feel like it fits.
• 1:49:14
  And I think if you've got Conrad Hall there, there's there's a
• 1:49:16
  couple of ways to shoot that. So it has an ambiguity, but who
• 1:49:19
  pulled the trigger and what happened?
• 1:49:20
  And I think that just happens a little bit fast, falls to the
• 1:49:23
  floor, and you know for a fact that Michael's pulled the
• 1:49:25
  trigger. In the end, you get that line.
• 1:49:27
  I couldn't do it. I know, yeah.
• 1:49:29
  And it's almost said, I know, I know where, you know, everyone
• 1:49:33
  fucking knows that I couldn't do it.
• 1:49:34
  Yeah, OK. Did really have to put that in
• 1:49:36
  so you could have shot that. You don't know who pulled the
• 1:49:39
  trigger. Yeah, yeah.
• 1:49:40
  But it's just so quickly swept away, like, don't worry, guys, I
• 1:49:43
  couldn't do it at all. Yeah.
• 1:49:44
  It's fine. It's tied up in a nice little
• 1:49:46
  ball, isn't? It it is tied up in a little
• 1:49:48
  bit. It is nice and it's fine.
• 1:49:49
  I think that's in 2002. That's what audiences needed.
• 1:49:52
  And I think someone like Spielberg's going, you know, you
• 1:49:54
  need the kind of just make sure that's emphasized.
• 1:49:56
  But we could lose some money here if you don't make that a
• 1:50:01
  little bit more obvious. And it made its money back and
• 1:50:03
  it really hits home and that's absolutely fine.
• 1:50:05
  But it's that return to the farm for me.
• 1:50:07
  And that voice over. Yeah, beautiful.
• 1:50:09
  I do love the reveal of the scarred face of Harlem Aguire
• 1:50:13
  smile. It's shocking.
• 1:50:15
  Yeah, it is. And Mendez instructed Jude Law
• 1:50:18
  to play Mcguire's death as if he were the Wicked Witch of the
• 1:50:21
  West from The Wizard of Oz, slowly sinking out of existence
• 1:50:24
  rather than expiring suddenly. Fantastic.
• 1:50:27
  Yeah, it's a great fall to the floor.
• 1:50:28
  I love that that reverse shot. Yes, a fit and ending.
• 1:50:32
  And he's another fit and ending. Our third and final period on
• 1:50:36
  QUESTION. OK, this comes from Rob Ball.
• 1:50:39
  Hello, Rob. Hello, Rob.
• 1:50:40
  Rob says. Is there a movie that makes you
• 1:50:43
  feel more hollow and sad at the end of it?
• 1:50:45
  The sun is safe and perhaps we'll have a new family.
• 1:50:48
  But the most important people in his life are gone, and he has a
• 1:50:51
  terrible secret at the center of his life.
• 1:50:54
  Yes, Rob. Yes, indeed.
• 1:50:56
  A good punch, Westie, I'm certain you've got a number of
• 1:51:01
  good punches in your holster. A plethora.
• 1:51:04
  A plethora. Why do you say I have a
• 1:51:07
  plethora? Brilliant.
• 1:51:14
  Yes, El Vapo, this I mean, there's there's too many to
• 1:51:19
  really mention, but I've gone for the top three hard hitters.
• 1:51:21
  OK, one that's not as hard because it's one of my favorite
• 1:51:25
  films of all time. But I also find it quite hollow
• 1:51:27
  and quite reward. I mean, it's a really rewarding
• 1:51:29
  film and you know that that's going to happen.
• 1:51:31
  But the end of the Assassination of Jesse James by the covered
• 1:51:33
  Robert Ford, there we go, is hollow.
• 1:51:36
  It's sad, it's reflective in start voice over.
• 1:51:40
  It's just incredibly poignant. You know, they're not going to
• 1:51:42
  pay $0.15 a stand in the rooms he grew up in.
• 1:51:44
  He's nothing. It's failure and that was it.
• 1:51:47
  And then just the way you get shot in the way that stage is
• 1:51:49
  beautifully done shot by taking nothing else to say about that
• 1:51:52
  apart from it finishes and I go back and watch it again.
• 1:51:58
  One that I can never what? Well, there's two I can never
• 1:52:00
  watch again. Actually the the first one that
• 1:52:02
  I was on the floor in a ball in foetal position sobbing was
• 1:52:06
  Dancer in the Dark. Oh wow.
• 1:52:08
  Lost one trio. Can't.
• 1:52:11
  I can't revisit that. I can't go back to that.
• 1:52:13
  I can't think about that very much.
• 1:52:15
  Absolutely shattering. But then again, it's a large
• 1:52:17
  frontier film. What?
• 1:52:18
  Exactly what you. Expect.
• 1:52:20
  But you know, Bjork's in it, there's a bit of dance and I
• 1:52:22
  thought he might have just mellowed slightly, but no way
• 1:52:25
  was I wrong. And the last one for me that was
• 1:52:28
  so, so hard to bear was the Mist.
• 1:52:31
  That ended. Yeah, that ending is, come on,
• 1:52:34
  shattering. But again, I mean, it's
• 1:52:36
  brilliantly executed. All these are brilliantly
• 1:52:37
  executed and brilliant films, two of which I'll never see
• 1:52:39
  again and one that I'll watch, you know, as often as I can,
• 1:52:42
  really. But yeah, if you haven't seen
• 1:52:44
  them, I mean, just prepare yourself.
• 1:52:45
  Yeah, yeah. What about you, Matt?
• 1:52:49
  Yeah, I've got 3 as well. First one, I'm going to say The
• 1:52:51
  Fly, because that's the way that I always forget.
• 1:52:56
  Like whenever I go watch that again, it ends with Veronica,
• 1:53:00
  the Geena Davis character, obviously killing Seth, Jeff
• 1:53:04
  Goldblum's character to put him out of his misery.
• 1:53:06
  And Goldblum is brilliant in that film.
• 1:53:09
  Like you never ever doubt that. Still Seth underneath all the
• 1:53:13
  you know, the disgusting special effects and it's got that thing
• 1:53:16
  where the monster is tragic and you feel sorry for throughout
• 1:53:20
  and this is thing she kills him and then cut to credits.
• 1:53:23
  It's like. Well, yeah, there you go.
• 1:53:24
  Deal with that. Deal with that.
• 1:53:27
  Wow. So yeah, that one, a film I've
• 1:53:29
  already mentioned, went on about favorite quotes, but Dead Man
• 1:53:32
  Shoes again, that that mission of revenge, he goes on, he gets
• 1:53:36
  it, but at what cost? At what cost to him?
• 1:53:39
  You know, you get that feeling at the end.
• 1:53:42
  And one that I've mentioned on a paper on episode recently, I
• 1:53:46
  won't go into it too much because it's still quite recent.
• 1:53:48
  So OK worry about spoilers but after some that has got.
• 1:53:52
  All right. The last five minutes that will
• 1:53:54
  just knock you off your feet. Yeah, if you haven't seen it,
• 1:53:58
  check it out, but be prepared. Bleak bleak bleak bleak On this
• 1:54:03
  question I thought about Mystic River because we've talked about
• 1:54:06
  recently on Double feature yeah it's just a devastating film
• 1:54:10
  that just shows that it will affect when something life
• 1:54:12
  changing happens in the community in the impact poor
• 1:54:15
  Celeste, played by Marsha Gearhart she's left with nothing
• 1:54:18
  by the by the end or. It's a lot of exhale in here.
• 1:54:23
  Hope. You're happy, Rob.
• 1:54:26
  He's the biggest exhale of them all.
• 1:54:30
  One that came to mind immediately.
• 1:54:32
  It left me bereft. Absolutely bereft.
• 1:54:35
  Hollowed out. I was not Luke anymore.
• 1:54:38
  It is Manchester by the Sea. Yeah, the title sounds quite
• 1:54:43
  playful. Fun seaside town.
• 1:54:46
  Oh no, there was an emotional dread, like just all over, just
• 1:54:51
  imposing itself on the film. Casey Affleck's character
• 1:54:55
  carries this unbearable secret and guilt, and the film holds
• 1:54:59
  back for so long that you're desperate to find out the source
• 1:55:01
  of his pain. But then it's revealed and you
• 1:55:04
  wish it wasn't absolutely horrific.
• 1:55:08
  It'll have to be a good reason to revisit that film again for
• 1:55:12
  me. Fantastic film and all of that,
• 1:55:14
  but fuck me. Not going on a classic anytime
• 1:55:18
  soon, is it? I'm.
• 1:55:19
  Not watching that now. But thank you very much for the
• 1:55:23
  question, Rob. Fitting ending.
• 1:55:26
  Yes, yeah, we're going to sleep well tonight.
• 1:55:27
  Yes. So we've lived a lifetime on the
• 1:55:30
  road. In the winter of 1931, was
• 1:55:33
  Michael Sullivan a good man, or was there no good in him at all?
• 1:55:36
  One thing is for certain, he was a father.
• 1:55:39
  Yes. Deception and awards.
• 1:55:46
  After a 72 days shoot, Mendez and his editing team were left
• 1:55:49
  with a mammoth seven months in the cutting room, 12 hours a
• 1:55:52
  day, seven days a week. Of the scenes that didn't make
• 1:55:55
  the code were the home one that was mentioned earlier.
• 1:55:58
  And there was also a deeper back story with Jennifer Jason Lee's
• 1:56:01
  character Annie, in particular, her role in protecting the boys
• 1:56:04
  from the life of crime that their father leads.
• 1:56:07
  But that got good because Mendez felt it slowed the pace too
• 1:56:09
  much. Just a shame.
• 1:56:11
  Like I say, we need. More JGL.
• 1:56:13
  We need more Jennifer. Yes, absolutely.
• 1:56:15
  And finally, a scene that Mendez agonized over was one that had
• 1:56:18
  Michael Junior confessing his dad's sins to a priest.
• 1:56:21
  Yes. That played just before senior
• 1:56:23
  dies. Mendez felt it blunted the end,
• 1:56:25
  its impact. As discussed, probably a little
• 1:56:28
  too on the nose. Yeah, I think so, yeah.
• 1:56:31
  Wrote a Position was originally slated to be released in the
• 1:56:33
  winter of 2001, but Mendez requested more time and set his
• 1:56:38
  sights on a July 2002 release. An odd choice for a film of this
• 1:56:42
  nature to go up against the likes of Men in Black 2 Minority
• 1:56:45
  Report Gold Member. I know which one I'm watching
• 1:56:50
  first, which one scroll on afterwards.
• 1:56:53
  Gold member Yeah, men there saw it as an opportunity to separate
• 1:56:56
  from the pack, a move which proved successful on a big time
• 1:56:59
  $80 million budget, which is big broader petition returned a
• 1:57:03
  healthy 296,000,000 ended up as the 16th highest grossing film
• 1:57:07
  of the which is just not happening.
• 1:57:10
  No, in this day and age, definitely not.
• 1:57:12
  And it wasn't just box office figures that were impressive.
• 1:57:14
  Review is largely waxed lyrical about the film.
• 1:57:17
  Richard Corliss in Time magazine said.
• 1:57:19
  Brilliantly photographed, meticulously directed and acted
• 1:57:22
  with utter confidence, it's a movie in which every note seems
• 1:57:25
  perfectly pitched. High praise.
• 1:57:28
  Yeah, Yeah. And Empire gave it 4 out of five
• 1:57:31
  saying this is supremely crafted grown up movie making that never
• 1:57:35
  escapes its pulp origins. The themes are well worn and the
• 1:57:38
  structure predictable, but these are gangster cliches is gift
• 1:57:41
  wrap by Fortnum and Mason in the grandeur of the film slips down
• 1:57:44
  like fine caviar. Ah, fantastic.
• 1:57:48
  Don't disagree with that. And I will triumph the big man
• 1:57:52
  himself, Big Roger Rebus. What do you think?
• 1:57:54
  He gave it out of four. 3. 33 third time's a charm.
• 1:57:59
  You got it all right. He healed it as a masterful and
• 1:58:02
  eloquent film by a director who understands that action is the
• 1:58:05
  character, but also said that he felt emotionally detached from
• 1:58:08
  the characters at times. And I knew I admired it, but I
• 1:58:11
  didn't know if I liked it. Yeah, it is cold and holds us
• 1:58:15
  outside. Right, that's.
• 1:58:16
  What I think you said at the top, Westie?
• 1:58:18
  Not a love and admiration, I think.
• 1:58:20
  Yeah, very much. And now Rd.
• 1:58:23
  Petition has 82% on Rotten Tomatoes, and an IMDb score of
• 1:58:26
  7.6 out of 10. Sadly, Conrad Hall died around
• 1:58:30
  seven months after the release of the film, his final work of
• 1:58:33
  art. A fitting way to go out.
• 1:58:35
  He posthumously was awarded the Best Cinematography Oscar.
• 1:58:38
  Mendez picked it up on his path. And choking back the TS in the
• 1:58:41
  speech, he paid tribute to a career that began in black and
• 1:58:45
  white and ended in a blaze of colour.
• 1:58:47
  And if you watch it on YouTube, you can see in the audience
• 1:58:50
  Hanks and humans to watch on very tearfully.
• 1:58:52
  No surprise. Yeah, beautiful.
• 1:58:55
  No surprise. The Road to Position was
• 1:58:56
  nominated in five of the categories of the Oscars, Sound
• 1:58:59
  editing, Sound, original Score, Art Direction and supporting
• 1:59:03
  actor Paul Newman. Lovely callback that.
• 1:59:11
  Love it. But alas, it missed out on all
• 1:59:18
  of them. The winners that year?
• 1:59:19
  It was well balanced. Can you remember what won Best
• 1:59:22
  Picture? Chicago.
• 1:59:26
  Oh, yes. Well done, Matt.
• 1:59:29
  Yeah, that won best picture. Polanski won for best out for
• 1:59:32
  the pianist. I mean, those two decisions, I'm
• 1:59:35
  certain if we had a redo there would be made different.
• 1:59:39
  There would be something different.
• 1:59:41
  Yeah, come on. So in the busy summer months of
• 1:59:45
  2002, Wrote Up Edition stood head and shoulders above most of
• 1:59:48
  its contemporaries and even got some justified awards
• 1:59:50
  recognition despite being released six or seven months
• 1:59:53
  before award season, A testament to the stay and power of the
• 1:59:56
  film. Yeah.
• 1:59:57
  Yes, sequels and influence. Despite the graphic novel having
• 2:00:05
  many follow-ups, nothing has materialized on the big screen
• 2:00:09
  in the shape of a sequel. So what of the film's influence
• 2:00:12
  and legacy in the years since it's released?
• 2:00:14
  Westie, where do you stand on that?
• 2:00:16
  I think we saw a few very similar types of films, Gangster
• 2:00:20
  Squad and failed and Enemies came out and and didn't do as
• 2:00:28
  well. And I honestly think of Conrad
• 2:00:30
  Hall had lived longer and he was maybe 5 years younger and he did
• 2:00:34
  this film. I think he would have just been
• 2:00:35
  right when he do a Conrad Hall film, much like you know what
• 2:00:38
  happened with Deakins once he got recognized after the Coen
• 2:00:41
  brothers stuff and he's doing Blade Runner and Blade Runners
• 2:00:43
  like a feeling of Deakins joint. Do you know what I mean?
• 2:00:46
  It's safe because of Deakins. It has an identity now and
• 2:00:50
  Mendez took that and who was the best person to go to after this
• 2:00:53
  Deakins? So that's the short jaw head
• 2:00:56
  with him and try to keep to maintain that.
• 2:00:58
  So I think the influences, especially on some Mendez was,
• 2:01:02
  you know, the confidence to move forward, but also the importance
• 2:01:05
  of cinematography. And I think we've seen a leap
• 2:01:07
  massively since the death of Conrad Hall in much improved,
• 2:01:10
  much more thought through cinematography throughout
• 2:01:12
  cinema. I think especially moving into
• 2:01:13
  the digital age, I think people appreciate it now when they look
• 2:01:16
  at it differently. And I think this was the film
• 2:01:18
  that made people wake up. Yeah, fantastic.
• 2:01:21
  What about you, Matt? I'm going to go TV for the first
• 2:01:23
  influence. I think Boardwalk Empire, just
• 2:01:26
  the look of that series. I mean, obviously petition can't
• 2:01:29
  claim credit fraud being set in that particular time period.
• 2:01:32
  It's a fascinating period all the same.
• 2:01:35
  But Even so, I think Boardwalk and by just shares a lot of this
• 2:01:38
  film's DNAI think the casting of Hanks, I think that's had an
• 2:01:41
  influence because that short that sometimes you don't always
• 2:01:44
  have to cast the obvious choices for Stone Cold killers and men
• 2:01:47
  of violence. So I think even though it's
• 2:01:49
  completely, totally different, you get something like Bob
• 2:01:52
  Odenkirk and nobody similar kind of thing.
• 2:01:54
  Like I wouldn't expect him to be that.
• 2:01:56
  I think that comes down Hanks. I find myself saying this quite
• 2:01:59
  a lot, but quite a lot of these films, it's about the influence
• 2:02:01
  on the director himself. And I think Mendez doing this,
• 2:02:04
  as I said, the top, so completely different to American
• 2:02:06
  Beauty and it work. And for the most part, I just
• 2:02:09
  think it gave him the confidence to keep doing that.
• 2:02:12
  Because I think looking at his career, the interesting thing
• 2:02:14
  about him is apart from when he came back to do a second Bond
• 2:02:16
  film, when he did Spectre, he's never revisited the same genre.
• 2:02:20
  He's always moved on to something different, which is
• 2:02:22
  what I really like about Mendez. So I think this one work and as
• 2:02:25
  much as it did probably had a lot to do with that.
• 2:02:27
  Yeah, I think going to repeat quite a few things that you
• 2:02:30
  fellas have said. The visual influence, Conrad
• 2:02:32
  Hall, cinematography that's become a a template for how to
• 2:02:35
  shoot morally ambiguous crime dramas.
• 2:02:37
  You can see it all over the likes of The Dark Knight, Blade
• 2:02:40
  Runner, Deacons, like you said, Westie acknowledged studying Rd.
• 2:02:44
  of additions, use of light and shadow for that.
• 2:02:46
  Yeah. And Tom Hanks, he was kind of
• 2:02:49
  like an everyman up until this point, but this opened the door
• 2:02:52
  to be a little bit more morally ambiguous with his choices.
• 2:02:56
  Not over the top, but he certainly made a few more
• 2:02:59
  different choices than he was making in the 90s.
• 2:03:01
  Yeah. Significantly, though, I think
• 2:03:04
  wrote the edition helped prove that comic book adaptations
• 2:03:06
  don't have to be about superheroes.
• 2:03:08
  No, yeah. Sure, Hollywood, that graphic
• 2:03:10
  novels could be source material for serious adult dramas.
• 2:03:14
  Things like History of Violence for example.
• 2:03:16
  Yeah, yeah, yeah. Spielberg called it a permanent
• 2:03:19
  masterpiece, and I think that's been proven as well.
• 2:03:23
  All of these years on, it's still the gold standard for how
• 2:03:25
  to make a beautiful, melancholic crime film that doesn't
• 2:03:28
  glamorize violence but examines its true cost.
• 2:03:32
  So no sequels, but a wonderful legacy and, as discussed at
• 2:03:35
  length, a beautiful way to go out for 2 Legends of the Silver
• 2:03:39
  Screen. Yeah, yes, absolutely.
• 2:03:44
  All the right movies ranking. We've reached the end of our
• 2:03:48
  road and there's only one guarantee none of us will escape
• 2:03:51
  without giving our final verdict.
• 2:03:53
  This is the world famous ATRM ranking math.
• 2:03:56
  Could you summarize and give you score out of 10 for Rd. of
• 2:03:59
  edition please? It's a really, really beautiful
• 2:04:02
  film. It's stunning in so many ways,
• 2:04:04
  as we've said, so much that comes down to Conrad Hall.
• 2:04:07
  I think there's a lot of confidence in a lot of ways from
• 2:04:09
  NSA to do something very different to what he'd
• 2:04:11
  previously done. And and Newman, as I said, he
• 2:04:14
  just signs off with one of his greatest roles.
• 2:04:16
  But when I was thinking about this, I was asking myself the
• 2:04:18
  question, why don't I watch it more often than I do?
• 2:04:22
  And I think, you know, there are some scenes I don't quite work
• 2:04:24
  tonally like the one I mentioned.
• 2:04:26
  I don't get the release at the end when he kills Connor that I
• 2:04:28
  think I should get. Yeah.
• 2:04:30
  I kind agree with Wesley about the montage scene.
• 2:04:33
  It feels a little out of place. I mean, Hank Hanks is great, but
• 2:04:36
  could that have been pushed a little further?
• 2:04:38
  I think maybe. And I think it does come down to
• 2:04:42
  what Rod Riebert said in his. I think this is a film to really
• 2:04:45
  admire rather than love nothing. That's where I am with it.
• 2:04:49
  And we've talked about Edward Hopper a lot.
• 2:04:50
  And I think if I had like an Edward Hopper downstairs, I'll
• 2:04:53
  just be really glad to know that I have it and it's down there.
• 2:04:56
  I wouldn't look at it every day. It would be something where it
• 2:04:59
  catches my eye when I'm not expecting that I'll go, fuck,
• 2:05:02
  that's a beautiful, beautiful picture.
• 2:05:03
  And that's what it wrote to petition for me.
• 2:05:06
  It's not want to watch a lot because like I say, it's just a
• 2:05:08
  little emotionally distant for me for large parts of it, but
• 2:05:12
  it's a beautiful thing nonetheless.
• 2:05:14
  So it's an 8.5 for me. Still a thoroughly decent score.
• 2:05:18
  Yeah. What about you, Westie?
• 2:05:20
  Really tough one for me this, to be honest, because there is so
• 2:05:24
  much admiration from it that I don't know whether that
• 2:05:27
  overshadows parts of what a film should be and what we'd look at
• 2:05:31
  the other films that are on the on the board and films that I've
• 2:05:34
  give top marks to. And they are just perfect films
• 2:05:38
  for me all the way through. And I would find it quite hard
• 2:05:41
  to argue with somebody over the montage sequence.
• 2:05:44
  I found it quite hard when Matt was saying about the Lexington
• 2:05:47
  Hotel. I'm like, yeah, yeah, you know,
• 2:05:50
  that's, that's right. Yeah, you're all right.
• 2:05:52
  It does have flaws. I mean, if I was going on
• 2:05:55
  cinematography, this would be 20 out of 10 of.
• 2:05:57
  Course. It's it's easily it's easily one
• 2:06:00
  of the best films I've ever seen visually and watch it in black
• 2:06:04
  and white as well, if you haven't.
• 2:06:05
  And I'll keep banging about that, but it's a completely
• 2:06:07
  different experience and it's a wonderful thing.
• 2:06:09
  So I'm not going to tell people how to do it.
• 2:06:10
  I've got methods of, you know, change and saturation on my
• 2:06:12
  television. All televisions are different.
• 2:06:15
  So I don't want people getting in touch with we're going me
• 2:06:18
  Telly's now fucked and I'm watching everything in Spanish
• 2:06:20
  or something. So that's up to you if you want
• 2:06:23
  to do that. But again, it just has that
• 2:06:25
  layer and that layer, unfortunately, is visual and
• 2:06:28
  it's not content wise. And I love the sentiment.
• 2:06:30
  I love that. I love the way that's played
• 2:06:31
  out. Are you not always cheer up at
• 2:06:33
  the end? Because I have a son's nine
• 2:06:34
  years old and I have that kind of relationship and it really
• 2:06:38
  works, that father son dynamic. And it's really well addressed
• 2:06:41
  in the film. But again, it feels like
• 2:06:42
  Spielberg's kind of tapping him on the shoulder.
• 2:06:44
  Don't go there, do this, be safe on here, go that far there, go
• 2:06:48
  there. It's a beautiful thing.
• 2:06:50
  I'd ask anyone to watch it but I find it really hard to defend
• 2:06:52
  because it does have its flaws but it's still a nine out of 10
• 2:06:54
  for me. Nine.
• 2:06:56
  Yeah, very nice. A great score.
• 2:06:58
  Well, I think this film does get better with every viewing for
• 2:07:01
  me. And what struck me most this
• 2:07:03
  time around was how restrained it is.
• 2:07:05
  I think the less capable of hands.
• 2:07:07
  It could have been just a flashy gangster film.
• 2:07:09
  It could have maintained its poppy roots.
• 2:07:11
  But Mendez shows incredible discipline and letting the
• 2:07:14
  emotion breathe between the violets.
• 2:07:17
  Hanks gives a great performance. He subverts his screen persona.
• 2:07:21
  It doesn't feel forced, but it doesn't feel a 100% believable.
• 2:07:26
  Yeah, yeah, yeah. But Paul Newman, I mean, bloody
• 2:07:29
  hell, yeah. What are we to bow out?
• 2:07:32
  Every scene he's in crackles with decades of accumulated
• 2:07:35
  screen presence. Visually, I mean, Connie Hall
• 2:07:38
  moving through a series of Hopper paintings given depth in
• 2:07:41
  more ways than one of the visuals.
• 2:07:43
  Yeah, I mean, just artwork. And I really do like the
• 2:07:47
  writing. I've had a couple of criticisms,
• 2:07:50
  but it is very stylized. I don't think it's possible to
• 2:07:53
  absolutely shake its comic book roots.
• 2:07:56
  And that's a personal choice just because I'm sure that
• 2:07:58
  appeals to a lot of people. It doesn't necessarily appeal to
• 2:08:01
  me. Yeah, of course.
• 2:08:02
  And because it's got that veneer of Sheen that prevents me from
• 2:08:05
  becoming that emotionally attached to the story.
• 2:08:08
  It should be heartbreaking. And I'm an easy mark, but it's
• 2:08:11
  never been that emotionally effective to me.
• 2:08:14
  Right. Yeah.
• 2:08:14
  A stunning film nonetheless. Great to look at.
• 2:08:17
  Great work overall, it's an 8.5 out of 10 from me.
• 2:08:21
  Right, OK. So a little bit of consistency
• 2:08:24
  there with three scores. The final score for Rd. of
• 2:08:27
  Edition comes from our incredible period supporters
• 2:08:30
  who've been written the film whilst coming to our amazing
• 2:08:33
  community. Thank you guys.
• 2:08:35
  Yes. Thank you so much guys.
• 2:08:36
  Before I reveal the score, let me pick out some wonderful
• 2:08:39
  comments, Jamie Beckett said. A beautifully rendered film with
• 2:08:42
  lovely cinematography and framing.
• 2:08:44
  Always felt a bit emotionally shallow.
• 2:08:47
  That said, it seems to get better with repeated viewings.
• 2:08:49
  Some superb performances as well.
• 2:08:52
  Yeah, well said Jamie. Lou Noon said Tom Hanks with an
• 2:08:56
  unbelievable performance and really shows his acting chops
• 2:08:58
  throughout. Newman's incredible and due laws
• 2:09:01
  performance is one that stays with you.
• 2:09:03
  What an under appreciated movie in a tremendous piece of cinema.
• 2:09:07
  As Billy Bob once said so eloquently in Varsity Blues 10,
• 2:09:12
  I give it a ten. Wow.
• 2:09:14
  Deep cut Blues, deep cut. Love it.
• 2:09:18
  I didn't know where he was going without.
• 2:09:21
  And finally, from Ian Joyner. Ian said staggeringly beautiful
• 2:09:24
  at times, but there are a better written takes on the Prohibition
• 2:09:27
  era. Jude Law's character Jazz at
• 2:09:29
  times with the otherwise serious and somber tone.
• 2:09:31
  And as fantastic as Hanks is, we never see or understand exactly
• 2:09:35
  why he's such a fear enforcer that can't be just taken out
• 2:09:38
  with the strength of force available to the likes of Capone
• 2:09:41
  and maybe. Yeah, 8.
• 2:09:43
  Right. OK, so a mixed bag.
• 2:09:45
  A lot of positives there. Yeah.
• 2:09:47
  Thank you for joining in, everyone.
• 2:09:49
  What do you think Road to petition averaged from our
• 2:09:52
  parents, fellas? I'm.
• 2:09:54
  Gonna say probably 8.5. Yeah, I'll go 8.5. 8.50 just
• 2:09:59
  missed out nine out of 10. Oh, OK, nice.
• 2:10:02
  I'm happy with that to be honest.
• 2:10:04
  Of course. Yeah.
• 2:10:06
  So that means that road to positions.
• 2:10:07
  Overall ATRM score is 35 out of 40, not quite reaching the
• 2:10:12
  summit, but mixing it with some elite company for certain.
• 2:10:15
  Yep. Yeah.
• 2:10:16
  Join us again on all the right movies.
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• 2:10:27
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