Latest / All The Right Movies / Hot Fuzz (2007) | Ep. 35 - Part 1

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Hot Fuzz (2007) | Ep. 35 - Part 1 · All The Right Movies

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