Latest / All The Right Movies / Shaun Of The Dead (2004) | Ep. 14 - Part 1

Transcript

Shaun Of The Dead (2004) | Ep. 14 - Part 1 · All The Right Movies

• 0:04
  All the right movies. You know what we should do
• 0:06
  tomorrow? Keep drinking.
• 0:09
  I'll have a Bloody Mary first thing.
• 0:11
  I'll bite the King's head. Couple of the little Princess.
• 0:14
  We'll stagger back in. We're back at the bar for shots.
• 0:18
  How's that for a slice of fried gold?
• 0:20
  Losers Shaun and Ed fight to save their lives and those
• 0:23
  around them. When faced with the zombie
• 0:25
  apocalypse, they hold up in the only place they know, the
• 0:27
  Winchester pub, using anything at their disposal to fight off
• 0:30
  the grown zombie horde. Edgar Wright's ROM Zomcom
• 0:33
  directorial debut established him and Simon Pegg as the
• 0:36
  hottest new talents of the new Millennium.
• 0:38
  Hilarious, scary and endlessly quotable, Shaun of the Dead is
• 0:41
  possibly the best British film of the last 20 years.
• 0:44
  My name is Luke and player One has entered the game Matt.
• 0:47
  Cornetto. And Player 2 has ended the game.
• 0:50
  Westie. Pi said live.
• 0:53
  Someone died and made all the right movies.
• 0:55
  Fucking king of the zombies. Fuck a doodle Doo.
• 1:17
  Hi everyone, thanks for tuning into All the Right Movies, A
• 1:24
  podcast stuff full of references to classic and hit films.
• 1:28
  Today we're talking about a film that we've been looking forward
• 1:31
  to do for quite a while. We've referenced it in a number
• 1:33
  of episodes in the past and it's finally here it is Shaun of the
• 1:36
  Dead. Lovely.
• 1:38
  And before we exacerbate things, it's time to talk about Patreon
• 1:41
  for a moment. What does that mean?
• 1:44
  To make things worse. West Oh, right.
• 1:46
  I thought I was just. I was trying to lead you in to
• 1:48
  explain it. Oh fuck, I'm not a.
• 1:51
  Memory. Of you on that one.
• 1:55
  Jesus. Great if you like All the Right
• 2:00
  Movies There are a lot of reasons why you should sign up
• 2:02
  to be an All the Right Movies Patreon supporter.
• 2:04
  Firstly, you get access to our podcast archive.
• 2:07
  The most recent 20 episodes, like the one that you're
• 2:09
  listening to right now, are available to everyone, and the
• 2:12
  rest are only available in our archive.
• 2:14
  So this is episode 66, which means there are 46 episodes that
• 2:19
  you can't get anywhere else if you signed up to be an ATRM
• 2:21
  Patreon supporter. Secondly, there are 41
• 2:24
  additional podcasts that we've created exclusively for Patreon,
• 2:28
  so there's 87 episodes there already and that builds every
• 2:31
  month. Yep.
• 2:32
  Wow. Big.
• 2:34
  Yeah, huge. Your support also keeps us
• 2:37
  going, allows us to bring you all this content, and on top of
• 2:39
  that, you can ask questions which will answer on the show,
• 2:42
  vote for which films that we cover and rate the films that we
• 2:45
  cover as well. How's that for a slice of fried
• 2:47
  gold? I knew that was coming in.
• 2:49
  I was wondering what it was going to be because I've been
• 2:50
  trying not to see it the. Same.
• 2:54
  I was like loose. I'm going to pass that up,
• 2:55
  truly. Yeah, yeah.
• 2:57
  So any support you can offer would be amazing.
• 2:59
  Guys and gals to go to patreon.com/all the right movies
• 3:03
  to support us. Thank you.
• 3:05
  Yes, please do. Any support is hugely, hugely
• 3:07
  appreciated. Yeah, it'd be amazing.
• 3:09
  Thank you. Back to it then.
• 3:11
  Today we're talking about a comedy quite rare for the
• 3:13
  podcast, so there's bound to be laughs aplenty.
• 3:16
  Wesley. Bound to be.
• 3:17
  Why do you want to talk about Shaun of the Dead?
• 3:19
  I went to see this at the cinema in 2004 when it came out and
• 3:23
  it's stayed with us ever since. It was one of them films that
• 3:25
  just kind of made sense to me. I just instantly got it.
• 3:28
  It was my kind of humour, it was my kind of tone.
• 3:31
  I understood the Romero zombie films, I understand.
• 3:33
  I understood what it was sending up, what it was trying to do.
• 3:36
  It's got really lovable characters.
• 3:38
  It's got really clever direction.
• 3:39
  It's it's arguably one of the most important British films of
• 3:42
  the last 20 years, I think. I mean, for the impact that it
• 3:44
  had and how we chose the culture and how we chose the culture
• 3:47
  read really well without it being, you know, miserable.
• 3:50
  It's not Trainspotting. It's not exploring that type of
• 3:52
  thing. It's like saying, you know, this
• 3:53
  is it. Yeah, it is quite boring.
• 3:55
  This is where we are. This is where we're from.
• 3:56
  This is a look at British culture.
• 3:57
  And it isn't Shane Meadows doing it, you know what I mean?
• 4:00
  And I found that really refreshing at the time.
• 4:02
  I thought it was great to see a British film that wasn't down
• 4:05
  and dour and just about this, like, miserable, overcast
• 4:08
  country that we live in. And it was all of a sudden one
• 4:11
  of them ones where you've obviously seen Jean of the Dead.
• 4:13
  Yeah, fucking get it. And then when you've seen it in
• 4:15
  your bits, have seen it. Like, how many times have we
• 4:18
  caught this film when we've been out?
• 4:19
  Every single fucking time. You'll find a line in this for
• 4:23
  any part of the night out. And that's what I absolutely
• 4:26
  love about it. It's becoming ingrained in the
• 4:27
  culture because it's from the culture.
• 4:29
  So yeah, it's a really good film.
• 4:31
  I really, really love it. It's loads and loads of fun and
• 4:34
  yeah, kind of wait to talk about it.
• 4:35
  Excellent. Thanks babe.
• 4:39
  Killed us off. There it is.
• 4:48
  Yeah, well, I mean, first of all, I'm just glad we're going
• 4:50
  to talk about Edgar Wright. I think he's a name that we
• 4:53
  needed to get around to, you know, sooner off and then so
• 4:56
  it's good to finally talk about him.
• 4:57
  But this one, it's an interesting one for me because I
• 5:00
  think I came at this probably the different way around to a
• 5:03
  lot of people. I've never seen an episode of
• 5:04
  Spaced before I saw the film. It had been recommended to me by
• 5:08
  friends, so I knew it was hardly thought of.
• 5:09
  But this is obviously back in the days before streaming.
• 5:12
  So if you missed it on TV when you were going to get to see it,
• 5:16
  so, and I'll be honest, I kind of had low expectations because
• 5:19
  of that. You know, I've seen the trailer.
• 5:21
  I think once I saw the title and it was one more films where I
• 5:24
  was off all day and I just needed a film to kill the
• 5:26
  afternoon. I thought, oh, well, that'll do.
• 5:28
  You know, it looks like it's a spoof.
• 5:30
  I'm sure there'll be a few trickles in there.
• 5:32
  And then it got to a certain point in the film where I
• 5:34
  thought, this is so much better than I thought it was going to
• 5:38
  be. And then it got to another point
• 5:40
  of the film later on. I thought, you know what, if I
• 5:42
  had like the slightest bit of filmmaking talent, this is
• 5:45
  exactly the type of film I want to make.
• 5:48
  So yeah, ever since then, it's been a real favorite of mine.
• 5:51
  It's want to go back to on a very regular basis.
• 5:54
  So yeah, very, very excited to get took into it.
• 5:57
  Well, I want to talk about this film because I loved it when it
• 5:59
  came out. It sounds the same as you guys
• 6:01
  love it on 1st watch, like funny, Smart.
• 6:04
  It knows the genre inside out and it's got great affection for
• 6:07
  it. We mentioned it before, but a
• 6:08
  horror comedy where I certainly think the horror comedy is a
• 6:10
  really tricky genre to pull off and I think this is up there
• 6:14
  with American Werewolf. We talked about that a few
• 6:16
  months ago. It pulls off that great balance
• 6:18
  of tones. I return to it a lot regularly.
• 6:22
  It's got huge rewatch ability and I always get something
• 6:24
  different from each and every time that I watched it.
• 6:27
  Yeah. There are loads of stand out
• 6:29
  elements but the the writing is outstanding.
• 6:32
  Performances and direction are top notch.
• 6:33
  And like you said Matt, it is about time that we talked about
• 6:37
  Edgar Wright. Yeah Sean the Dead was Co
• 6:39
  written by Edgar Wright and Simon Pegg, directed by Wright,
• 6:42
  produced by Nero Park for Big Talk Productions in Studio
• 6:45
  Canal, distributed by Universal Pictures and released on the
• 6:48
  29th of March 2004. Filmed on location in London and
• 6:52
  at Ealing Studios, it stars Simon Pegg, Nick Frost, Kate
• 6:56
  Ashfield, Lucy Davis, Dylan Moran, Penelope Wilton and Bill
• 6:59
  Nye. So the plan is we talk about the
• 7:02
  film, we go to Winchester, have a nice cold paint and wait for
• 7:05
  this thing to blow over. Beautiful.
• 7:07
  Let's do it. The beginning of Shaun of the
• 7:34
  Dead introduces us to our five principal characters.
• 7:37
  After the credit sequence, we see Shaun and his slobby best
• 7:40
  mate Ed at home. But we're starting our
• 7:42
  conversation with Shaun at work and ended it with his inevitable
• 7:45
  breakup with his girlfriend Liz. Yeah, this sequence, I love it
• 7:49
  really, because what you get when Shaun's at work, it's one
• 7:53
  of the key things I think Ed Great does really well here.
• 7:56
  And, and it's part of the writing as well.
• 7:57
  It's it's the background detail, the stuff that's going on that
• 8:00
  you're kind of oblivious to. All the characters who oblivious
• 8:03
  to. Like when Sean's demonstrating
• 8:05
  the TV's to the customers in the shops and he's flicking through
• 8:08
  all the news channels and each one of them has given like a
• 8:10
  little bit of the story. Saw this footage where you see
• 8:13
  people in hazmat suits and you see something's been cordoned
• 8:16
  off. You're like, oh, something's
• 8:17
  going on there. Then there's woman talking
• 8:20
  about, yeah, a bit of Trisha. There's a woman talking about
• 8:24
  the way a certain things are walking into sorts, doing the
• 8:26
  zombie impression. But then it's all timed really
• 8:29
  perfectly because just when you get a sense of what they're
• 8:31
  saying, he snaps through the channel and you kind of lose it.
• 8:34
  And you can understand why it isn't really falling into place
• 8:37
  for Sean yet. And I think it's a great
• 8:39
  technique if you do it well, which I think is doing well here
• 8:41
  because it doesn't tip it on too early.
• 8:44
  It's just building this unease in the background while all the
• 8:47
  jokes are in the foreground. And it's like when Sean's about
• 8:50
  to leave work and you see all the army talks to Zoom in past
• 8:53
  which, you know, it's kind of blinking moment that adds to it.
• 8:56
  The fact that bloke nearly sent some fly in because he's running
• 8:59
  away from something, you don't know what, he's clearly
• 9:01
  terrified. I love all that stuff and it
• 9:04
  builds up until when he bumps into a Vaughn is his friend from
• 9:06
  college because when they're talking, there's like a car
• 9:09
  accident in the background. And every time what sound like
• 9:11
  it's had something to do with it or is that just something
• 9:14
  different, something random? But there's all like the sirens
• 9:17
  going off and it's just building up your knees really nice in the
• 9:20
  background. And of course, here you get one
• 9:23
  of the first examples of which you get numerous in the film,
• 9:25
  where you get the same line of dialogue repeat three times out
• 9:29
  the field when he meets a fun, you know, glad somebody made it,
• 9:32
  surviving, which obviously will come back back to as the film
• 9:34
  goes on. So yeah, it's just building up
• 9:37
  the fact that something is going on that the characters are just
• 9:39
  an aware of. And I really like that about it.
• 9:42
  And while it's done that, it's already by this point it's
• 9:44
  established Sean who he is, his fault and relationship with Liz,
• 9:48
  his problematic friendship with Ed and the fact that he's got a
• 9:51
  difficult relationship with his moment of stepdad.
• 9:53
  So it's a great storytelling. Yeah, it really is.
• 9:56
  I absolutely love Riffs Ball as Noel.
• 9:59
  Yeah. He's great.
• 10:01
  Such a cocky little shit, but he's hilarious.
• 10:04
  Continue. Hello mine.
• 10:09
  Do that all the time. And he's the first one to say
• 10:13
  you've got red on you as well. Yeah, he is.
• 10:15
  Yeah. Great.
• 10:16
  I've never noticed until recently that noodle, the guy
• 10:19
  who calls Ed at home and he tells me he's only got an enry
• 10:23
  in. Yeah, that's that's normal.
• 10:25
  I didn't realize. Yeah.
• 10:26
  Connect the dots together. Yeah.
• 10:28
  Fantastic. I want to talk about the moment
• 10:30
  where Sean realizes just after that sequence when he sees a
• 10:33
  phone that he hasn't booked the table for his and Liz's
• 10:36
  anniversary, which was last week.
• 10:38
  Ridiculous. It's.
• 10:39
  Crap, isn't he? Shit, it's funny for a couple of
• 10:43
  reasons. He gets back home and Ed's still
• 10:46
  playing time splitters like he was this morning after Sean's
• 10:50
  been a full day at work. And he's tidied.
• 10:52
  Up. Yeah, that's not very tidy and
• 11:01
  he asked Sean if he wants his messages.
• 11:03
  Your mum called about going around tonight and then Liz
• 11:06
  called about eating out tonight and then you won't call back ask
• 11:09
  if I did her out tonight. What?
• 11:14
  He's like cheeky grin inside his glance because he knows he'll
• 11:17
  get this like outraged response from Sean.
• 11:19
  What? Can't be the good mum joke.
• 11:22
  Yeah, he's most intelligent. He's been all day.
• 11:24
  He's been working on that, like all.
• 11:26
  Day. And Sean, Speaking of the
• 11:30
  restaurant, they're so abrupt. He he calls up and he kind of he
• 11:34
  knows what's going to happen, but he asks, isn't I know it's
• 11:36
  short notice, but have you got a table for two at 8:00?
• 11:39
  And they're straight in there? No, sorry.
• 11:41
  We gave the last table away. Slam the phone down.
• 11:43
  And Sean's reaction, it's priceless.
• 11:46
  He's just blocked into a corner and he takes out his frustration
• 11:48
  by no one on that phone bites him down.
• 11:51
  So. Brilliant.
• 11:54
  Who hasn't been that frustrated where they've done that?
• 11:56
  And they're just like, and you just start that really like and
• 12:00
  it gives you all the blood rushes to your head and you feel
• 12:03
  faint afterwards, but you're still fucking furious.
• 12:05
  I just love it. I love the fact he looks it up
• 12:07
  and it says the place that does all the fish because that's what
• 12:10
  he describes it as. And that's what it's described
• 12:12
  itself as. It's.
• 12:13
  That's fantastic. Such a good gag.
• 12:15
  That isn't it? Yeah.
• 12:17
  It's so funny. There are 1000 references to
• 12:19
  horror films and other films throughout the film and you
• 12:21
  know, we'll talk about them here.
• 12:22
  But one of my favourites is here the the restaurants.
• 12:26
  It's called Full Cheese, which is a reference to Lucio Fulci,
• 12:29
  the quotes Godfather of Gore who directed things like Zombie,
• 12:32
  City of the Living Dead, Manhattan Baby, all classics.
• 12:35
  Yeah. For you.
• 12:38
  For me, yeah. For nobody else.
• 12:40
  People. There's a lot of other
• 12:43
  references in this stretches alone.
• 12:45
  Sean works at Forry Electric and Ken Forry starred in Dawn of the
• 12:49
  Dead. There's a character called Ash
• 12:51
  in the electrical store. Obviously Ash is the lead
• 12:53
  character in the Evil Dead series who also works in a
• 12:56
  similar kind of store, shop Smart Shop S Mart, and the
• 13:00
  supermarket is called Lander Supermarket.
• 13:03
  Obviously a reference to John Landis and almost certainly a
• 13:06
  play on words to the actual British Storchy and Londis.
• 13:09
  Yeah. Brilliant.
• 13:10
  Yeah, definitely. Very good.
• 13:12
  I just really like it when you see Sean and Ed's relationship
• 13:16
  here once he's been finished and it's in the pub and it's just
• 13:20
  you've, you've had them times with your mates where you've got
• 13:22
  to try and cheer one of them up and you don't quite know how to
• 13:24
  do it. But Ed really does like he's
• 13:27
  got, he's got his Clyde impression there.
• 13:29
  He pulls that out he's like, right, that's fine you've got
• 13:32
  your pint, you've got your pig snacks.
• 13:33
  What more do you fucking want that that's the world right
• 13:36
  there. That's like yeah, all right,
• 13:37
  I'll do the impression and then if you leave me now by Chicago
• 13:40
  comes on the. Duke Yeah, put this on.
• 13:43
  So fucking funny put this he's furious who put this on and it's
• 13:47
  it's on random. It's so fucking oh for.
• 13:51
  Fuck's sake John. Yes please mate.
• 13:55
  One of them classic Edgar Wright smash cuts.
• 13:57
  And then it's like, then he starts going right, well, what
• 14:00
  else can I do? And starts giving all the
• 14:01
  backstories of everybody in the pool, you know, snake hips.
• 14:04
  And he's like cockacidal maniac. Like he invented the mobile
• 14:07
  discord for whatever cockacidal maniac fucking.
• 14:13
  Brilliant. Peg is like she's what did you
• 14:24
  do that for? Because he got help, but it's
• 14:26
  just that delivery. That's what they were like when
• 14:28
  they live together. Absolutely, 100%.
• 14:31
  That is their like relationship and I love that you say it doing
• 14:34
  that. It's really funny that would
• 14:37
  pick anybody up and just look at that.
• 14:38
  It's like a lesson. That's how you do it.
• 14:40
  And then you have that really great monologue from him where
• 14:43
  he just says, look, I'm not the cleverest and I can do this.
• 14:45
  I'm not going to say that I'm not going to do anything but
• 14:47
  what I can say. So, the end of the world.
• 14:50
  And then bang on the door. It's so good.
• 14:54
  Because it kind of just like, shrugs it.
• 14:58
  So the end of the world. Boom.
• 15:01
  Because you expecting something really, really profound from it.
• 15:04
  What I will say is this. But actually it's genius.
• 15:12
  But then that hand comes on and then they'll go out and they do
• 15:15
  white lines in the street, which is arguably 1 of me favorite
• 15:18
  bits. With the double, double, double,
• 15:20
  it basically walks out. What's my United tea?
• 15:24
  And then his head falls off. Really, really good.
• 15:29
  Frost on fire in this scene. It's hilarious when he's talking
• 15:33
  about the owner of the pub, John, being in the Mafia.
• 15:36
  Big asses. He's connected.
• 15:37
  Yeah. Love that, he says.
• 15:39
  He says think about it, handy with a blade, and it's like
• 15:42
  zooms in on him cutting a piece of lemon.
• 15:44
  Yeah. Handy with a blade.
• 15:48
  Bernie the trophy wife in her pants across to Bernie, who is
• 15:51
  by no means trophy at. All.
• 15:53
  She's a ball and trophy, yeah. Well, for me, the character of
• 15:58
  Ed, he's responsible for one of the greatest things in the film.
• 16:01
  And it's that moment where he's trying to lift Shawn's spirits
• 16:04
  after the break up and Ed saying she'd keep drinking tomorrow.
• 16:07
  And he lays out his plans. And this foreshadows all of the
• 16:10
  events that take place in the actual film.
• 16:13
  Incredible. So he says Bloody Mary first
• 16:15
  thing, the zombie in the gardens, Mary, a bite of the
• 16:18
  King's head. Philip gets bitten a couple in
• 16:21
  the little Princess, Liz in her two flatmates.
• 16:24
  Yeah. Stagger back here, which they do
• 16:26
  back to the as zombies and then bang it's back to the bar for
• 16:29
  shots or shells. Yeah, yeah.
• 16:31
  Just. Incredible.
• 16:33
  Fantastic. Yeah.
• 16:34
  Yeah. Once you realize what he's
• 16:35
  doing. Like what?
• 16:36
  That line dialogue. Is so smart.
• 16:38
  Yeah, that is all based on, like, what Nick Frost, like
• 16:41
  Wesley says when he used to live for Simon Pegg, Peg says that's
• 16:45
  what Nick Frost would do. He would just make up back
• 16:47
  stories for people. He would invent characters on
• 16:49
  the spot. So that's what Wright and Peg
• 16:51
  put into the script for this moment.
• 16:53
  And you know who the the woman is who plays the Cocker cycle
• 16:55
  maniac? No, no.
• 16:59
  She. Actually.
• 17:00
  She's actually no. She's called Pamela Franklin and
• 17:04
  she was an actress who was in some of the Carry On films in
• 17:06
  the 60s and 70s. Her daughter is Charlotte
• 17:10
  Haverley, who was in the rock band Ash.
• 17:12
  The. Time.
• 17:14
  Yeah, yeah, yeah. So there's like all the kind of
• 17:18
  little links to like their life in there as well.
• 17:20
  Oh. Brilliant.
• 17:22
  Hello, Hello mate. No, I was totally mounted last
• 17:26
  night. After this sequence, Ed and Sean
• 17:29
  stumble home, oblivious to what's happening around them.
• 17:32
  They play some Electro and have another confrontation with Pete.
• 17:35
  Sean takes a familiar trip to the shop and we're picking up
• 17:38
  the action when our heroes find the suspicious looking girl in
• 17:41
  their garden. Matt of the you big balls.
• 17:48
  Thanks. Yeah, Bloody Mary.
• 17:53
  Like, if you've ever seen This Is England, the TV version, or
• 17:56
  you've seen Line of Duty, you know who Vicky McClure is.
• 17:58
  And Vicky McClure actually auditioned for this role.
• 18:01
  But the actress who did get it is someone called Nicole
• 18:03
  Cunningham. And Ed Grider said, like, he
• 18:05
  credits a lot of the success of the film on her because, as he
• 18:09
  says, she's the first zombie you see properly.
• 18:11
  And he just said, it's really important that people realized I
• 18:15
  was taking the zombie element seriously and I was going to
• 18:17
  spoof them. So she had to be scary, which to
• 18:19
  be fair, I think she is. I think she absolutely is so
• 18:22
  memorable at the bar. You know, Ed, Greg himself said.
• 18:25
  You know, in his opinion, he would put her up with Bob from
• 18:28
  Day of the Dead in terms of memorable zombies.
• 18:30
  Brilliant. And apparently in her audition,
• 18:32
  she really went for a checks like properly lunged it right in
• 18:35
  the camera. You know, she really got in
• 18:37
  which she was like right, brilliant having her but the
• 18:40
  same self. I just love the reaction that
• 18:42
  you get from Sean Ed when they first see it.
• 18:44
  Oh my God, she's so drunk. Because like, part of the
• 18:50
  greatness and the humor of the film is how long it takes them
• 18:53
  to realize something has gone wrong.
• 18:55
  And it is like chiming in. How much have you had love?
• 19:00
  Like even when she's attacking Sean and you realize like
• 19:03
  something's going on, his first reaction, Go and get a
• 19:06
  disposable camera so you can take a picture because it's just
• 19:08
  funny. I mean that it does date the
• 19:11
  film because it's a disposable camera.
• 19:13
  You know, in the camera on. Yeah, but did it well, like say
• 19:18
  wine in the camera on it's one of the great gags in the film
• 19:20
  after just. Being.
• 19:21
  Yeah. And she pulls herself up.
• 19:23
  There's that stunned silence. And then you just get that,
• 19:27
  yeah. So good.
• 19:29
  What's great by that like it previews that wasn't getting the
• 19:32
  laugh because they didn't have the sound effect and right
• 19:35
  realize we need to put the sound effect office that did and
• 19:38
  that's what made it funny. Probably that's when everyone
• 19:39
  started laughing. Before that, they weren't going
• 19:41
  to single effort. So yeah, one of the funniest
• 19:44
  bits in the film. And just that incredible visual
• 19:47
  where she's pulling herself off and you get Sean and Ed framed
• 19:50
  through the hole in the stomach. That was like, you know what?
• 19:53
  By now, you know, this film isn't going to be some lazy
• 19:55
  spoof. It's got jokes, but it's also
• 19:58
  got ideas and it's got some real talent going on behind it.
• 20:00
  It's great stuff. Yeah, I mean, Peg said the same
• 20:02
  about her. It didn't he as an actress, And
• 20:04
  she's one of his favorite zombies of all time.
• 20:07
  Yeah, she's absolutely unbelievable.
• 20:08
  And then when she was like, when Ed said, look, I think she just
• 20:10
  needs a hug, and he said maybe she does because you don't know
• 20:13
  where she's coming from. You don't know her back story.
• 20:15
  You know, you can see her at the opening credits.
• 20:17
  Yeah. On the.
• 20:18
  Supermarket brilliant, great touch.
• 20:21
  It's just been when Sean's about what do you fuck off?
• 20:25
  Fuck off man. It's reaction when she gets
• 20:28
  impaled. I love her when well before she
• 20:35
  gets impaled, she's coming towards them and Ed saying I
• 20:38
  think she fancies you and they're all having a bit of a
• 20:41
  laugh about it. And Sean says, no, seriously,
• 20:43
  I've just come out of a relationship.
• 20:48
  She. Lands on them.
• 20:51
  No, seriously. Brilliant.
• 20:55
  I want to talk about the moment when Ed and Sean go back in the
• 20:57
  house. Sean asks are they still at the
• 21:00
  window and the blinds are pulled and they're doing these over the
• 21:03
  top zombie noises, scratching and trying to eat through the
• 21:06
  windows. Great.
• 21:08
  But this bit that I want to talk about, it's very short, but it's
• 21:11
  pivotal I think. I want to mention the the one
• 21:13
  armed groom who comes in the house the door thing set up
• 21:17
  because Pete's absolutely furious about the door being
• 21:20
  opened again. Again and.
• 21:22
  The man on the TV says, and she were all doors and windows are
• 21:25
  locked, which triggers Sean and Ed.
• 21:27
  And there's that amazing reaction when they see the
• 21:30
  zombie big screeches Sean and goes fucking hell.
• 21:39
  And they're like jumping up and down on the spot, not know what
• 21:41
  to do, throwing cans off it. Yeah.
• 21:45
  He was in the corner shot. Was he on the previous?
• 21:48
  He was in. The background, yeah.
• 21:50
  And Shawn just, oh, he's got an arm off.
• 21:53
  And. What?
• 21:57
  But Ed finally manages to smash his head in with the ashtray,
• 22:00
  and he says, Did you see his head go?
• 22:03
  And I haven't got this confirmed, but that's got to be
• 22:05
  a reference to Kevin Dillon in Platoon.
• 22:08
  Yeah, it's got to be, hasn't it? Fucking head break.
• 22:10
  Apart like that, man, Yeah. The original line was going to
• 22:14
  be he's got a fucking arm off, but the realized really early on
• 22:16
  the one that he used this bit in the trailer, so that'll put the
• 22:19
  swearing out. All right, OK, funnier for it.
• 22:22
  It is funny for. It it is a.
• 22:24
  Home off. It's got an arm off just.
• 22:26
  Absolutely. Panic, isn't it?
• 22:30
  And there's some great dialogue after this as well, Ed, things
• 22:32
  that you can take Bloody Mary and the Hulk outside and Sean
• 22:36
  says the man says we should say indoors.
• 22:38
  And Ed, fuck the man Lovely. Yeah, like straighten his
• 22:42
  element now. It just gets better from there
• 22:46
  when they get in the garden and they just bring out this shit
• 22:49
  box of crap, just it's just like the rolling pin and it just like
• 22:54
  absolutely cheese grate or something that kind of just
• 22:58
  throw the people. It just makes no sense.
• 23:00
  And then they realize that the electoral records out there that
• 23:03
  Pete's thrown out the window the night before and he picks it in
• 23:05
  and actually makes an impact and the goal, yes, great.
• 23:08
  And it's just them to go on through the record collection,
• 23:10
  decide what to throw and whatnot.
• 23:12
  I absolutely love that when they're going through like
• 23:15
  Purple rain, No sign of the times, absolutely not Batman
• 23:18
  soundtrack. Fucking throw it.
• 23:22
  That's basically prints in a nutshell for anyone, but that's
• 23:27
  great. I love the fact that the arguing
• 23:28
  about second coming. I like this.
• 23:31
  It's such a such a Muzo gag that.
• 23:33
  It is because it's such a divisive album.
• 23:35
  It was just like, is it good? Is it not?
• 23:37
  Nobody knows and it's still there.
• 23:39
  That's Soddy. It's Liz's.
• 23:43
  But she did dump you. Yeah, that's just fantastic.
• 23:47
  Just to that point when they just go that this is useless.
• 23:49
  And I think Sean says it's useless because you didn't want
• 23:51
  to get rid of any more of these records.
• 23:53
  Yeah. So that was the first press in
• 23:54
  Jesus Christ. Yeah, I'm going to the shed.
• 23:59
  And I love. That I'm going to the shed
• 24:00
  doesn't just go with the shed, He just runs out the shed and
• 24:03
  just puts himself through the door.
• 24:06
  So dramatic. Peg and Ray contacted a lot of
• 24:08
  different artists, like the artists that I mentioned in this
• 24:11
  scene when deciding which records to throw in.
• 24:13
  The only got clearance from Shardy and New Order.
• 24:16
  Good Sports. Oh, really?
• 24:18
  That's why you can see the the front covers of those two only.
• 24:21
  Yeah, yeah, yeah, Enough said No, didn't he for Dire Straits?
• 24:25
  No for Dire Straits, Prince didn't return the calls.
• 24:28
  No, and instead of Prince albums it was originally going to be
• 24:31
  Bowie. Hunky Dory knows Ziggy Stardust.
• 24:33
  Definitely not the Labyrinth soundtrack.
• 24:37
  You just get the sense of like, can you handle where this film's
• 24:40
  gone by? How fucking much they're hitting
• 24:44
  them on the. Ground, it's just Bang, Bang,
• 24:46
  smash, smash. Like Ed's not hesitating.
• 24:49
  He's just going, no, you see, like Sean hesitates at one point
• 24:51
  and kind of looks over and goes, should I keep?
• 24:53
  Yeah, I'll keep. It's that lovely little more
• 24:57
  where he's just like, I'm just going to hold off a night in
• 24:59
  Africa and then it's bang, bang, bang.
• 25:01
  Then it's not cut to the corner door, just like in that.
• 25:04
  Brilliant. Fucking.
• 25:05
  Funny. OK, this scene leads us into our
• 25:08
  first Patreon question. OK.
• 25:11
  I mentioned when I was talking about period at the start that
• 25:14
  if you become an older 8 movie's period supporter, you can ask us
• 25:17
  questions for the films that we're covering.
• 25:19
  And our first one is from Kenny Morrison.
• 25:22
  Hello, Kenny. Kenny, Kenny, Kenny.
• 25:23
  Kenny yeah, Specifically regarding this scene, what are
• 25:27
  the first and last albums in your collection that you used to
• 25:30
  throw at a zombie? Great question.
• 25:33
  It is a great question. Can I get some clarity on the
• 25:35
  question? As per usual, there's always a
• 25:37
  fucking. Do.
• 25:39
  You realize I've got no GCSE because I kept putting your hand
• 25:42
  up just being like, you see this one here.
• 25:44
  Does this stipulate that X is actually the library?
• 25:48
  Is it like because you're going to throw them at Zombie?
• 25:51
  It's records you want to get rid of, right?
• 25:52
  Well, yeah, yeah. Which one would you?
• 25:54
  Well, which one would you be happy to get rid of, I suppose.
• 25:57
  Right. OK, well, I just went A-Z
• 25:59
  because it's like what's the first and last record that you
• 26:01
  would throw? And I've went a little bit more
• 26:02
  on topic. So the first one would be
• 26:05
  Anthrax among the living. So I think that's quite so.
• 26:08
  You've gone alphabetically, Rob Gordon.
• 26:11
  It's Anthrax is the first one. That's me a that's my first one.
• 26:15
  The Zulu soundtrack is the. Last one, it's not throwing,
• 26:19
  it's the zombies. Greatest hits, obviously.
• 26:22
  Genius. Very good, right.
• 26:27
  OK. Well, Matt, have you got any
• 26:30
  kind of alphabetized or is it autobiographical?
• 26:35
  No fucking way. This is like quite a bad
• 26:40
  confession really, but I have to be honest, I don't actually own
• 26:43
  music, but I'll just stream stuff.
• 26:45
  So you're so 21st century. You are.
• 26:49
  Which laptop would you throw at a zombie?
• 26:52
  I've got Spotify in YouTube and that's it.
• 26:54
  So I have to throw like 2. IPads playing Spotify, what
• 26:57
  would they be playing as you threw them at zombies?
• 27:01
  The only thing I thought of would be like to do tactically
• 27:03
  and I guess if I had something like the White Album on vinyl
• 27:07
  that would give me 4 things to throw rather than just one.
• 27:10
  So I would go for like something like the White Album to be the
• 27:14
  first, just because it gives me more ammunition.
• 27:16
  But that's how I mean, that's going to take a lot of money to
• 27:19
  replace my. Lords, you only want to get rid
• 27:21
  of this too as well. Everything else is fantastic.
• 27:25
  You want to you want to throw 90s dance compilation at them?
• 27:28
  The shit loads of records in there.
• 27:30
  Whatever. If you got any Christmas albums,
• 27:32
  throw them. Fuck us out of the way.
• 27:34
  Yeah, yeah. What's the last album that you
• 27:37
  would want to throw at a zombie? Oh God, probably zombie by the
• 27:42
  cranberries. Nice.
• 27:45
  Great. OK, well for me, I'm I'm
• 27:49
  sticking with just movie soundtracks here.
• 27:51
  It was a tough call, but if it came to it, I would throw Cobra
• 27:56
  soundtrack. That's zombie in the backyard.
• 28:00
  Throw some 80 shit at a zombie and I've got the Fred the 13th
• 28:05
  soundtrack. I paid a lot of money for it and
• 28:07
  it's out of print now, so I'm not throwing that at them.
• 28:09
  No way, no way. But if I was extending it to my
• 28:14
  actual music collection, I would definitely be throwing Time,
• 28:17
  Love and Tenderness by Michael Bolton.
• 28:19
  The selfies. I don't know why I've got that
• 28:22
  in there. May throw that at anyone.
• 28:27
  Doesn't have to be any kind of pandemic going on.
• 28:30
  Just throw that out the window now.
• 28:33
  OK, good question. Yeah.
• 28:36
  Thanks, Kelly. Thanks very much, Kelly.
• 28:39
  OK, well, it's slowly beginning to dawn on Sean what he and Ed
• 28:42
  are up against, but he needs a plan.
• 28:48
  The director. The story of the screenplay and
• 28:52
  director have shown that it is intertwined because Edgar Wright
• 28:55
  has got a Co writing credit as well, but we're going to focus
• 28:57
  solely on Edgar Wright as the director here.
• 29:00
  Matt, what do you think of Edgar Wright's work as director on
• 29:03
  Shaun of the Dead? Right as director, I think
• 29:06
  what's interesting is that you know, people call this his debut
• 29:09
  film and I think that's ambiguous because he did get
• 29:13
  together enough money to do a spoof western a few years before
• 29:16
  A face Full of Fingers, which I think got one Sean at one cinema
• 29:20
  so that. Possibly saw.
• 29:22
  Which nobody saw. And even by Ed Great's own
• 29:24
  admission, it's a terrible, terrible film.
• 29:27
  So I think what you have with Shaun of the Dead is you get a
• 29:30
  film directed with the energy of a man who knows he's pretty much
• 29:33
  in the last chance saloon. And if he doesn't get this
• 29:36
  right, he's quite possibly never going to get to direct a film
• 29:39
  again. And that is why I think you can
• 29:41
  tell he has thought through every single shot in this film
• 29:45
  because he wants to make the most of it.
• 29:47
  And there's nothing in Shaun of the Dead that feels throwaway or
• 29:50
  has a, oh, you know, that'll do attitude.
• 29:53
  And I know what he did find it difficult because he had this
• 29:56
  film so completely mapped out in his head.
• 29:58
  And I know he struggled to communicate it to a lot of the
• 30:00
  crew who were all veterans of TV.
• 30:03
  Is DP was like 20 years older than him who'd worked with the
• 30:06
  corns and Scorsese. And he found it difficult to get
• 30:09
  across what he wanted. So when he was doing all these
• 30:11
  close-ups of things like Sean taking his name tag off the
• 30:15
  toilet, bean flush jam being spread on tours, as long as why,
• 30:19
  why are we doing this? Why why do you want that kind of
• 30:21
  coverage? But then when you see the way he
• 30:23
  puts it together that like, rapid fire editing where he's
• 30:26
  made it a montage and it's, you know, you could see that's what
• 30:29
  he wants to do. He wants to do these everyday
• 30:31
  tasks like someone giving up for bad.
• 30:33
  Like in an action film. It all starts to make sense.
• 30:36
  And that's the level of detail and invention that he brings to
• 30:40
  this film. And there was another day when
• 30:41
  he was going through his prep on location, and he just happened
• 30:44
  to be standing next to an extra who didn't recognize him.
• 30:47
  We thought he was just a runner because he was so young.
• 30:49
  And apparently this extra Nordstrom, rent this film
• 30:52
  straight. A video for this one.
• 30:54
  So that's the kind of like, yeah, that's the kind of
• 30:57
  attitude he had to deal with and win people off.
• 30:59
  And that's why the first thing he shot, first day of shooting
• 31:03
  was those two walks to the newsagents that Sean does.
• 31:06
  The first one where to show. Yeah, basically to show, right,
• 31:11
  this is what I'm capable of doing.
• 31:13
  And this is the kind of element that I'm going to bring to this
• 31:15
  film. And I think that takes real good
• 31:17
  to do that because he was basically telling people, this
• 31:19
  is how much effort I've put into this and this is what I can do.
• 31:22
  And I think the whole film is just packed full of invention
• 31:25
  like that. As I said earlier, loads of
• 31:27
  background details, like when Sean and Ed drive away from the
• 31:30
  flat, insurance was looking out the car window and you see
• 31:33
  things like there's that twitching corpse and the body
• 31:36
  back on the ambulance Gurney. There's there's someone's house
• 31:38
  and they're just being dragged screaming back into the house.
• 31:41
  Like if you watch those secrets, there's an isolation.
• 31:43
  You'd think, oh, this is just just a pure horror film, this
• 31:47
  genuine intensity to that. And as well as that, I think he
• 31:49
  handles the transition from horrid comedy so well, and he
• 31:53
  can just switch between the two. I mean, we'll go on with more
• 31:55
  detail later, obviously, but by the time you get to that final
• 31:59
  seat in the Winchester, that is so incredibly dramatic, like for
• 32:03
  what's been a knockabout comedy. So, yeah, in terms of Torn, he
• 32:08
  knocks out the park. And just in general, I think
• 32:10
  it's the work of a young director who's just brimming
• 32:12
  with energy, invention, flair. But most of all, he just has a
• 32:17
  point to prove, and I think he just proves it so well in this
• 32:19
  film. Yep, agreed.
• 32:22
  I think there's just so much excitement and freshness and
• 32:25
  originality about Wright's work here.
• 32:27
  Although when I say originality, there's there are more
• 32:29
  references to pop culture in this film than I think any of
• 32:32
  Tarantino's work. Yeah.
• 32:34
  It's stuffed. It's stuffed to the brim.
• 32:37
  And it always feels as though this is his big chance to put
• 32:40
  his stamp on the cinematic landscape.
• 32:42
  And he thought, well, I'm just going to use everything I can
• 32:45
  from my my favorite films, all the symbolism references here,
• 32:49
  there and everywhere and put them into this.
• 32:50
  And that sounds like it could have been a complete disaster, a
• 32:53
  hot pot of different ideas. But he's a smart director and he
• 32:56
  knows where to put things, how to strategically place them to
• 32:59
  stick out, or where to place them in the background to be
• 33:02
  picked up by idiots like us who absolutely love this sort of
• 33:05
  thing. But I'm not taking anything away
• 33:09
  from Edgar right by saying that. Far from it.
• 33:11
  I think he's got such a unique style and vision and a really
• 33:14
  exciting way of making movies and a real distinct voice in the
• 33:17
  last 20 years, one of one of the most distinct voices that movie
• 33:21
  direct in the last 20 years. And like you said, man balancing
• 33:24
  a number of different tones like superbly well.
• 33:27
  And and I'm sure we'll we'll get into that later.
• 33:31
  You, like you said, there's so much going on in the background
• 33:33
  of this film. That's none more so than those
• 33:35
  two tracking shots to the shop. The amount of people that are in
• 33:38
  there and the first one that then turn into zombies and the
• 33:41
  second one are great as the camera tracks shown.
• 33:44
  There's people in the gardens with their heads off, smashed
• 33:46
  cars, alarms going off. One person's running for his
• 33:49
  life, whereas before he was jogging on the 1st.
• 33:52
  Trip to the shop? Yeah.
• 33:54
  That's slipped by Peg as well in the shop when he slips.
• 33:56
  On the board, Fantastic. And I do like the idea that the
• 34:01
  film uses radio and TV broadcaster explaining what's
• 34:04
  happening, very much like Texas Chainsaw Massacre.
• 34:08
  But this one is a bit more tantalizing because when we're
• 34:10
  finally going to get to the nitty gritty, it's turned off,
• 34:13
  switched over to a different channel.
• 34:15
  Yeah. And there are so many visual
• 34:16
  gags crammed in there. I mean, the right and super
• 34:19
  smart, but visually, it's just incredible as well.
• 34:22
  Favorites. There'll there'll be more that I
• 34:24
  bring up, but a favorite of mine is when Sean goes to the shop
• 34:26
  for the second time and Nelson, the shopkeeper isn't there.
• 34:29
  Sean shouts out, I owe you about 15 P.
• 34:32
  And then when all shit broken loose and then they're trying to
• 34:36
  get into Pete's car, there's the zombie fired Nelson with his
• 34:39
  hand out, palm facing up as if he's asking for that.
• 34:43
  So like, visually, that's laugh out loud funny for me.
• 34:46
  That's just so, so good. Yeah, I've got nothing but
• 34:49
  prayers for Edgar Wright on this.
• 34:51
  It's amazing. It's a fantastic job.
• 34:53
  Yeah, what a love about that second trip, though, when he's
• 34:56
  home over in the background, if you notice, you'll see the one
• 34:59
  on groom approaching him, but he's quite fond the background.
• 35:01
  Yeah. So he's already setting up the
• 35:03
  fact that he's going to come in the house.
• 35:05
  Yeah, so he's just followed him home, hasn't he?
• 35:07
  Yeah, just just brilliant thinking the thing a little
• 35:09
  details like that. What?
• 35:10
  About you, Westie Edgar Wright. I might be bringing, I might be
• 35:14
  bringing a shitty stick to the party because you guys.
• 35:17
  I'll throw it away, cheer somebody around the garden with
• 35:20
  us. I find Edgar Right to be quite
• 35:26
  divisive in my mind as a director, and I don't want to
• 35:29
  sound like a Dick about it. I just find that a lot of these
• 35:33
  influences and a lot of things that he puts into the film, to
• 35:36
  me personally, are too familiar. It's a bit too obvious.
• 35:41
  Unlike Tarantino. But Tarantino isn't obvious.
• 35:43
  It's not because it's not familiar, because you just
• 35:46
  thought, well, what was this? Oh, yeah, this was made in 1956
• 35:48
  and you've never seen it, so are a fair enough.
• 35:50
  Whereas a lot of Edgar writes influences and love what he puts
• 35:53
  in these films where I believe he thinks it's really clever and
• 35:57
  everyone else goes, oh, that's really clever to me.
• 36:00
  Doesn't seem so clever. It kind of like, oh, well, yeah,
• 36:03
  I mean, that's pretty much what I would have done.
• 36:05
  Not like saying Edgar Wright, which I'm definitely not, but
• 36:09
  like, I can see where he's like, that would work there.
• 36:12
  That would work there. And it's like he's trying to
• 36:14
  impress and knows it's going to work.
• 36:16
  Do you know what I mean? He knows it's going to work
• 36:18
  because he knows what that influence is going to do for
• 36:22
  people because it's familiar. Does this make any sense?
• 36:25
  And it's just yeah, yeah. Yeah, there's no, there's no
• 36:27
  mystery to Edgar Wright's work. There's no like, oh, I'm going
• 36:31
  to see what happens in the third act.
• 36:32
  Everything, even the expositions laid out here, like we've said,
• 36:36
  it is brilliant and it really works in this film, but I don't
• 36:39
  think it works in these other films.
• 36:41
  I don't think you can take that style and see it over and over
• 36:43
  again to see the smash cuts of somebody getting ready to go to
• 36:46
  work, right? OK, you know, great, it works,
• 36:49
  but then it happens again and then there's lots of smash cuts
• 36:51
  here and then there's a lot, a lot of that, you know, camera
• 36:54
  panning and that whip pan to a code or someone walking past the
• 36:57
  camera and it's a transition. I find that quite music video.
• 37:01
  I find that quite painful. Or what It takes us out of the
• 37:04
  cinematic landscape. I want it to be a little bit
• 37:07
  more weighted and steady. And you know, let's shoot a
• 37:11
  scene where it's him and him because he gets it from the get
• 37:14
  go from the start. You've got Sean taunt the Liz,
• 37:16
  then he introduces Ed, then he introduces her friends.
• 37:20
  It's like going around and using and he breaks the line and he's
• 37:22
  going lit. This is how clever I am as a
• 37:24
  filmmaker. This is how you do it here,
• 37:25
  here, here. But then if you watch Buffalo
• 37:27
  66, it does exactly the same and that, but it's just surprisingly
• 37:31
  good and it keeps it on a wide angle and spins you around and
• 37:34
  it's got a more of a Japanese kind of influence.
• 37:37
  So it's not on its sleeve going. This is how clever I am.
• 37:39
  This is what I want to do. It's like it works for the
• 37:41
  story. I'm not denying or I'm not
• 37:43
  taking anything away. That is an incredibly
• 37:45
  intelligent filmmaker and he understands cinema very, very
• 37:48
  well. But then again, I've watched
• 37:50
  films for 40 years and I know them.
• 37:52
  I know them as well, Edgar. I don't need them spat back in
• 37:55
  me face. I want to watch your film, not
• 37:57
  someone else's. But I know what they have done
• 38:00
  and I know how much that's an influence and that's absolutely
• 38:02
  fine. But like, it just feels a little
• 38:05
  bit too safe and a little bit too obvious and a little bit too
• 38:07
  easy. And from that, I don't get the
• 38:10
  weight from his films that I should.
• 38:12
  He's fantastic and he's a wonderful man.
• 38:14
  I will watch whatever he does, but every time I do watch it,
• 38:16
  I'm slightly disappointed because this is so good and he
• 38:19
  didn't. He just had to go somewhere else
• 38:21
  with it and he never really did for me.
• 38:23
  Wow, controversial views and you fucked our chances again.
• 38:27
  They're great on the show, Westie.
• 38:33
  I was hopeful we would get sight of this and maybe listen TuneIn
• 38:36
  straight off now, controversial views.
• 38:42
  And hey, you're your opinion, Westie.
• 38:45
  Absolutely. Yeah, yeah.
• 38:47
  Just what I think. Right and Paid got some interest
• 38:49
  from Film 4 when pitching the idea the studios would Film 4
• 38:53
  reduce their overall movie budget, leaving Shaun of the
• 38:56
  Dead in limbo, determined to get Sean to the big screen, right
• 39:00
  Put off taking TV gigs to pursue financing for the film.
• 39:03
  And he said for me to take ATV job meant that I was pushing the
• 39:06
  film back. So I was going rapidly broke and
• 39:09
  I was majorly in the red. I mean, he was on the bones of
• 39:11
  his ass and he borrowed money to live from friends, including
• 39:14
  Simon Pegg, who still hasn't allowed to pay him back the
• 39:17
  money. Thanks man.
• 39:20
  There's the obvious Giorgio Romero Dead film series that
• 39:23
  served as an influence for the film.
• 39:25
  Dawn of the Dead being the most obvious.
• 39:27
  Obviously Dawn Shawn, But Wright also drew inspiration from An
• 39:30
  American Werewolf in London and the 1978 version of Invasion of
• 39:34
  the Body Snatches. Specifically, the use of
• 39:36
  background action to point to the narrative that can go
• 39:39
  overlook like we've been talking about.
• 39:41
  Yeah. He also claimed that the style
• 39:43
  of Shaun of the Dead was directly influenced by John
• 39:45
  Carpenter, joking that I haven't got any ideas of my own,
• 39:48
  something I imagine Wester you would agree with.
• 39:51
  I would agree with. His ideas are great, I've just
• 39:56
  seen them before. That's the only thing is we
• 39:59
  probably love the same fucking films.
• 40:01
  That's the problem. Definitely, yeah.
• 40:03
  I want to see from a different angle, but I think Edgar
• 40:06
  Wright's kind of my angle, which pisses us off a little bit
• 40:08
  because I'm not doing it. Very good, very good.
• 40:14
  Got. In.
• 40:16
  Someone, someone drop a penny. Is still listening to that.
• 40:22
  So do I. At least you had friends like
• 40:23
  Simon Pegg. You guys give me fuck off.
• 40:27
  And the bones of me also were you?
• 40:30
  As we've alluded to, Wright and Peg work together on British TV
• 40:33
  show Space before Shaun of the Dead.
• 40:35
  It shares themes and actors with the film.
• 40:38
  It's well worth a look if you haven't watched it already.
• 40:40
  To keep costs down, Edgar Wright put out a cast and call on
• 40:43
  Spaced fans forums for background zombie artists and
• 40:46
  the recruited about 200 Spaced fans.
• 40:49
  And I can't believe this, but they literally paid them 1 LB
• 40:53
  per day. Yeah.
• 40:54
  Wow, really? That's not enough.
• 40:58
  That's an insult if anything. No wonder they're giving them
• 41:01
  shit saying it's going straight to video how much you have
• 41:03
  pound. A day.
• 41:06
  Well, that may have come out in some of their actions.
• 41:09
  Space fans with the zombies. And when he wanted to go out and
• 41:12
  get some zombie sounds, Edgar Wright went out, stood in the
• 41:15
  middle of them and asked them to attack.
• 41:17
  One took the instructions literally and started biting
• 41:20
  down on his leg. He said that they'd went for
• 41:22
  all. So despite being a rookie
• 41:26
  director, Right hit the ground running with Shaun of the Dead
• 41:29
  and 18 years later, it's a peak that he's yet to come down from.
• 41:35
  The cast. First member of the cast that
• 41:40
  we're talking about is obviously the Simon Pegg as Shaun of the
• 41:44
  Dead Westie. What do you think of Peg as
• 41:46
  Shaun? I love Pegg as Shaun.
• 41:49
  Obviously written well. There you go.
• 41:50
  Right? I do like this film.
• 41:52
  I was just talking about the Edgar Wright thing in the Edgar
• 41:54
  Wright section where we're supposed to talk about it.
• 41:57
  I do love Simon Pegg in this. I think he's fantastic as the
• 42:01
  character. You can tell it was kind of
• 42:03
  written for him, as him. It's very, very personal
• 42:07
  character, I think something that he wanted to explore and
• 42:10
  does really, really well. And I think a lot of people can
• 42:12
  can relate to that character. There's a lot of people have
• 42:16
  been or will be that character at some point in your life.
• 42:19
  You have to go through that, whatever it is.
• 42:22
  Echoes of Rob Gordon for me. This character, yeah, it's it's
• 42:25
  very, very similar. It's just got that kind of lost.
• 42:28
  Where do I go? What am I doing?
• 42:29
  Is everything over with? I'm 29, I'm 30.
• 42:31
  Whatever age you are, you get to that little time and you just
• 42:34
  kind of go, I'm completely lost here and I don't know what to
• 42:36
  do. I don't want any
• 42:37
  responsibilities, but I need to have some.
• 42:39
  So what do I do, you know? And I think he plays that
• 42:41
  really, really well. He's a very lovable character.
• 42:44
  I think you're on his side 100% all the way through the film.
• 42:47
  I think he brings some incredible comedy beats and some
• 42:50
  brilliantly emotional beats as well when he needs to really,
• 42:54
  really hits that hard unfold. I would like to have seen him in
• 42:56
  more leading roles, but I just don't think the material was
• 43:00
  there from the duet. I know he's forged a great
• 43:02
  career now, especially with the possible stuff, and he was great
• 43:05
  in Star Trek. But yeah, I know I love him in
• 43:08
  this and he's the perfect character.
• 43:09
  Obviously it was written for him, but I think he plays it
• 43:11
  really, really well and gives everyone else room to shine as
• 43:14
  well, which is which is fantastic.
• 43:16
  Yeah, I'm a big fan of Simon Pegg and it it certainly stems
• 43:19
  from this. The same with Nick Rust.
• 43:21
  It's no surprise to me that haven't really watched this film
• 43:24
  quite a bit in the last few weeks that he's gone on to
• 43:26
  become a big movie star despite him not being in the traditional
• 43:30
  mould. I see a big movie star, but you
• 43:32
  know what I mean? He's in a lot of big films,
• 43:33
  like. Yeah, yeah, of course.
• 43:35
  Because in this film I think he shows really great range.
• 43:38
  Drama, comedy, despair, action. It's all in this role of Sean,
• 43:41
  the unlikely hero. And the fact that he turns from
• 43:44
  a complete no hoper to a zombie killing badass is believable.
• 43:48
  But he plays it like all the good ones do.
• 43:50
  He's not Sly or Arnold. He gets most things wrong.
• 43:54
  Yeah, yeah, yeah. He.
• 43:55
  Tries to be those guys, but ends up getting a dart in the head.
• 44:01
  His ineptitude is highlighted, right?
• 44:02
  The stuff from me in that section that you talked about,
• 44:05
  man, when he's at work, when Noel shows him up completely
• 44:09
  confirming his complete lack of authority, maturity, ambition, I
• 44:12
  suppose. And he's stepping up because Mr.
• 44:15
  Sloman's off. But he's absolutely no idea how
• 44:17
  to manage Noel, who's a child and who makes him a fool at
• 44:21
  every turn. The.
• 44:22
  Oldest Yeah, I love that there is no I in team, but there is an
• 44:26
  I in pie and meet. Pie meets the nanogram of team.
• 44:29
  I don't know what he's talking about.
• 44:35
  I think it's very understandable why Liz is at the end of the
• 44:37
  game with Sean and I think that's really good writing.
• 44:40
  Oh yeah. There are loads of stand out
• 44:42
  Sean Peg moments which we'll talk about as we go on, but I
• 44:46
  love the dual bathroom scene with Pete.
• 44:48
  Yeah, yeah. Great.
• 44:50
  The first one where he moves the bathroom mirror and Pete's
• 44:52
  behind him. A great like a mirror of the
• 44:54
  mirror scene in American Werewolf.
• 44:57
  Yeah, and then a mirror of this mirror scene happens again when
• 45:00
  Pete turns out to be a zombie and I can see nods to Psycho in
• 45:04
  the shower, nod to Evil Dead where Sean says join us.
• 45:08
  But. That scene really gives me
• 45:10
  chills, the idea of the unknown look and behind you, terrifying
• 45:13
  stuff. And I think Peg plays that,
• 45:15
  plays that really well. Yeah, yeah, brilliant.
• 45:17
  And after that, I love egg downstairs when Sean comes
• 45:21
  flying down the stairs and heads twirl in the keys.
• 45:24
  Pissed me. So pissed off.
• 45:25
  If he knew I was driving his car, wouldn't he?
• 45:27
  I don't think so. It's what they realize that the
• 45:31
  look up, say anyone's been bitten, then just keep them
• 45:33
  isolated and the look up the stairs and then it just cuts to
• 45:36
  them like on the sofa looking up and then it's that high shot and
• 45:40
  they're looking down. He's not in, he's.
• 45:48
  Not in I'm. Just going to go for a wee
• 45:50
  first. You ready?
• 45:53
  Yeah, yeah, yeah, yeah. It's going to do a wee first.
• 46:00
  Peg was offered a part in Neil Marshall's Dog Soldiers werewolf
• 46:04
  comedy from 2002, but he turned it down and held out for the
• 46:07
  finance and the secure play. And Sean, I would have liked to
• 46:10
  seen him in that. It would have been good.
• 46:12
  I mean, it's a great film. It's a great film, yeah.
• 46:15
  I would rather have this and that the way it is than Simon
• 46:18
  Pegg and that and not have this, yeah.
• 46:19
  Yeah. Of course, yeah.
• 46:21
  Matt, what do you think of Peg as Sean?
• 46:24
  I think it's very impressive work.
• 46:26
  I think it's a massive step up from really, because before this
• 46:30
  couple of little roles, even then films, but other than that,
• 46:33
  a sitcom, some stand up, some sketch shows.
• 46:36
  And now he's got a shoulder, an entire film, and he does that.
• 46:41
  And also, yeah, it helps that he's the writer.
• 46:42
  So he's going to write his strength.
• 46:44
  He's not going to give himself something to do that's
• 46:45
  completely out of his range. But for me, I am a big fan of
• 46:49
  the guy. I think he is very funny.
• 46:51
  I think he's got great comic timing and delivery,
• 46:54
  particularly with the simplest of lines, like when the first
• 46:56
  see the zombies in the garden and that says, well, what should
• 46:59
  we do? And he just goes have a sit down
• 47:02
  like who he live aside. Have.
• 47:08
  A sit down that's. Brilliant.
• 47:12
  Another absolutely favorite nuanced performance from Peg is
• 47:15
  when David's taught him when he's in the flat trying to speak
• 47:18
  to Liz and David Lynn pipes up. And then he just shuts his eyes
• 47:21
  and he's just like, get stuck for us.
• 47:27
  Why didn't you go out with if you love her so much?
• 47:29
  Yeah, but just he's like, he doesn't say anything, but just
• 47:32
  his reaction because he's right in the middle of the lens.
• 47:34
  He's just like, get fucked. Absolutely fucking.
• 47:41
  Fantastic, yes, it's great, but he's both said it the smart to a
• 47:45
  thought. Then his comic trops because as
• 47:48
  he totally sums up that type of lazy late 20s guy who knows he
• 47:52
  needs to do something with his life, but he can't be asked to
• 47:56
  do it or even figure out what it is.
• 47:57
  And you can see he's pulled in so many directions in this film,
• 48:01
  his attachment ad his relationship with Liz, his mom
• 48:04
  and Philip, and he just makes Sean so recognizable.
• 48:07
  So even when he is taking trials, like you say Luke,
• 48:09
  you're trying to save everyone. Everything he does still feels
• 48:12
  plausible and still feels believable because he's not
• 48:14
  great at it, but he's just trying to do his best and
• 48:17
  bumbles his way through most of it.
• 48:19
  And then when you get to the end, I think that's when Peg
• 48:21
  really steps up. When you know, he's got to shoot
• 48:23
  his mum and then he's got to deal with Ed getting bitten,
• 48:25
  he's got to say goodbye to his best friend and he thinks he's
• 48:28
  mucked it up for everyone. That's like proper emotional and
• 48:31
  dramatic stuff for Peg to do, and I think he does a really
• 48:34
  good job handling that. Definitely not the Batman sound.
• 48:40
  So we're going to move over to our next member of the cast.
• 48:43
  We're talking about Nick Frost, who plays Good for Nothing weed
• 48:46
  selling Ed, the third part of the right Pig Frost dream team.
• 48:51
  I'm going to go first with Ed. I'm going to talk about that
• 48:54
  opening scene. Perfect introduction to the
• 48:56
  character because Sean's trying to defend him by saying that he
• 48:58
  hasn't got many friends, blah blah blah.
• 49:01
  And maybe the first time viewers thinking, I wonder why that is.
• 49:05
  And then his line comes over straight away.
• 49:08
  Can I get any of you to drink right?
• 49:11
  I understand now what a Dick but.
• 49:15
  It's it's, it's the timing of his delivery.
• 49:18
  Can I get any of you Sir, drink? Who says that?
• 49:25
  Give a fuck. Is it?
• 49:27
  He hardly knows anyone either. But I think it's one of those
• 49:30
  lovable characters that, despite his many feelings, I'm rooting
• 49:33
  for. Yeah.
• 49:34
  I mean, he's lazy, he's crude, he's cowardly.
• 49:37
  He's got no idea of what's happening around him but yet I
• 49:41
  still feel sorry for him when he when Sean and Peter having a go
• 49:44
  at him even though it's fully justified because he is
• 49:48
  infuriating. He does fuck all and I think we
• 49:51
  all know in it someone who's so frustratingly crap, but we just
• 49:55
  can't shake them loose or we still feel sorry for them.
• 49:58
  And Frost plays that brilliantly.
• 50:01
  And maybe he hasn't got the range of Peg.
• 50:03
  You can see that in his future roles.
• 50:06
  He kind of does a variation on this and has done for the last
• 50:09
  18 years or so. There's nothing wrong with that,
• 50:12
  but if his name is in the credits of any film, it will
• 50:15
  interest me. He's a big draw to this film.
• 50:17
  Just physically he gets a lot of the best lines.
• 50:20
  I think he's great. Yeah, I think a lot of the lines
• 50:23
  that come, like you say, he gets a lot of the best lines, but I
• 50:25
  think a lot of them were actually just who he is.
• 50:28
  And this is actually kind of who he was when they lived together,
• 50:30
  as Matt said earlier. And I think if you have years
• 50:33
  and years and years of, of living with people and, you
• 50:35
  know, having that kind of relationship, you will
• 50:38
  automatically have funny things to write down that you can
• 50:40
  remember. Remember when you said that?
• 50:42
  Yeah, I remember that. Remember.
• 50:43
  And this film, to me, their dialogue feels like when you
• 50:46
  meet someone in the pub and they try to introduce you to a new
• 50:49
  friend who's coming in an hour, and they'll tell you he did this
• 50:53
  and he did this. And there was that time that we
• 50:54
  did this and he did this and he said this.
• 50:57
  It was fucking hilarious. And you're like, yeah, I like
• 50:59
  this guy. And that to me is like the story
• 51:02
  that you're getting from Ed. It's like somebody just trying
• 51:04
  to justify him, but it's unnecessary because he justifies
• 51:07
  himself by the end of the film. It's brilliant.
• 51:10
  Just like this guy who did just. Sean just has to try and explain
• 51:14
  why he's there and just give him some kind of purpose, but he
• 51:18
  gets purpose all on his own. He's fucking hilarious when he's
• 51:21
  just like, where's the car was supposed to be parked and he's
• 51:24
  totaled it. Yeah, I'll use the honk.
• 51:31
  The amount of times he's just got a joint as well that nobody
• 51:34
  notices. Like first thing in the morning,
• 51:35
  he's just on the joint. He's comes back down.
• 51:37
  He's like, haven't you got work? Obviously doesn't want him
• 51:40
  there. He's not.
• 51:41
  It's not his like he's not looking out for sure.
• 51:44
  Is he going like, you've got work mate, you need to get the
• 51:46
  money and he's like, are you going to fuck off some in the
• 51:47
  middle of this game? And I'm enjoying it.
• 51:49
  You've got work. Head fuck.
• 51:51
  And he's that kind of person. But again, when like the shit
• 51:55
  hits the fan and you get like that Mexican standoff later in
• 51:57
  the film, he's the first one there.
• 51:59
  You can tell they are really close friends.
• 52:02
  You can tell everyone in this film knows each other and gives
• 52:05
  each other that room to really perform.
• 52:07
  And I think Nick Frost in this is fucking pretty good.
• 52:10
  He must have read that script going are you put Peg?
• 52:13
  Are you putting that in there? I'm sure one time you would have
• 52:18
  said I'm sorry, Simon, he said that's fine.
• 52:21
  No, I'm really sorry. Ivan, you know what I mean.
• 52:24
  That would definitely. Have happened when you don't
• 52:26
  laugh. You can see it's that that type
• 52:31
  of thing that you just you can't just write that you can't just
• 52:33
  get it. It has you have to live through
• 52:35
  it. And that's that's the beauty of
• 52:37
  this film. And I think that's why it's
• 52:39
  it's, it's quite a romantic film and, and it's exploration of
• 52:43
  relationships and that's all very accessible and very like
• 52:47
  familiar. And that's great.
• 52:49
  And Nick Frost is probably the most familiar character, like
• 52:51
  you said. Look, we all know one.
• 52:53
  Yeah, he's the amount of times that he says something crap or
• 52:59
  offensive or does something completely fucking outrageous
• 53:02
  and the amount of time Shawn winces or puts his hand head in
• 53:05
  his hands and like embarrassment, like, oh, what
• 53:08
  the fuck, Ed? Just let him get on with it.
• 53:11
  Brilliant. I don't know, like when they
• 53:14
  were trying to get the fund and Frost was the one casting
• 53:16
  concern all the investors had because they looked at Simon
• 53:19
  Pegg and they were going, OK, yeah, two seats of space, he's
• 53:22
  going to be fine. Kate Ashfield?
• 53:24
  Yep, fine. Probably trained actress.
• 53:25
  But they kept on saying we don't know about Frost, though.
• 53:28
  He only had a small role in space.
• 53:30
  He's not a trained actor. And they kept saying, you know,
• 53:32
  you should recast the best friend, ideally with an
• 53:35
  American. The Wanted a name in there, but
• 53:37
  obviously the stuck to the guns and I think the film is just
• 53:39
  infinitely for the better because of it.
• 53:41
  Because I can't imagine anyone that would have been horrible
• 53:43
  there. It would have been, you know,
• 53:45
  someone like Seth Rogen. That just wouldn't make sense.
• 53:47
  No, no, someone heals someone like that.
• 53:49
  Jesus. And again, you know, it's
• 53:51
  tailored to him, so obviously it's wrote about him and what he
• 53:54
  was like as a person. So it would be pretty bad state
• 53:56
  of affairs if he couldn't then do it on screen.
• 53:58
  But I think he does deliver and I think the role still does have
• 54:02
  challenges from the overcome because throughout the film and
• 54:05
  is far more of a hindrance than a help.
• 54:07
  As you guys are saying, he's pretty offensive to everyone.
• 54:10
  Lords elude comments about trans mum.
• 54:12
  I mean, which would control funny to be fair, but Frost just
• 54:16
  got to judge that so well because, like, he's a sin.
• 54:19
  We've got to like him, or we've got to at least understand why
• 54:22
  Sean tolerates him otherwise at the end and will not work at
• 54:25
  all. And I think he does that.
• 54:27
  I think he's a very funny guy. I love how basically everything
• 54:30
  that happens in this film right up until, yeah, he basically
• 54:33
  just pushes it all off when Liz is not Ordentine.
• 54:36
  It's not that we don't like you, Ed.
• 54:37
  He just goes, yeah, OK, it's fine, OK.
• 54:41
  He scores Fruit Machine. That's all he that's all he
• 54:43
  cares about, you know, when they're doing, going through the
• 54:47
  plan where they're going to go, you know, he refuses to go to
• 54:49
  lizards because, you know, it's obviously been established.
• 54:51
  He's gone there before and he's not allowed to smoke there.
• 54:59
  And I just think underneath all the laziness and like the
• 55:02
  offensive comments, there is basically like a kind hearted
• 55:05
  guy in there deep down, but he's just never grown up.
• 55:07
  And I think Frost brings that out really well.
• 55:10
  And I think for a non trained actor to do that is, you know,
• 55:13
  quite an accomplishment. And what's funny though, is that
• 55:17
  he showed real commitment to the role.
• 55:19
  And what he did was he shaved his own pubic hair off
• 55:21
  throughout filming. So he constantly scratching
• 55:23
  himself the whole time. You know, that's commitment.
• 55:26
  Last, a method. See the thing about Frost as
• 55:32
  well is that like that character has basically turns everything
• 55:36
  over at the end of act 2 to start act 3 which is outside the
• 55:40
  Winchester and his phone rings and he's just says give us 2
• 55:44
  minutes. You're not angry with them, are
• 55:46
  you? You should be the.
• 55:48
  Stand what's happening? Season.
• 55:50
  With him, but when he's like just give us 2 minutes, you're
• 55:52
  kind of like you're totally Sean.
• 55:54
  The whole audience is Sean just being like, yeah, give him 2
• 55:56
  minutes. He's got he's got answer that.
• 55:59
  That must be something important.
• 56:00
  Now I've got nothing right? It's Noodle again if he's got
• 56:03
  anything, and he says it's like, it's mental what's happening,
• 56:06
  isn't it? Yeah.
• 56:08
  Yeah, I'll be back. But you should be furious at
• 56:10
  that point. But you're not.
• 56:11
  I think that's all down to Frost.
• 56:12
  We go. You've got that moment just
• 56:14
  before act three. If people hate you at that
• 56:16
  point, this film is completely falling out.
• 56:19
  And you don't. You love him.
• 56:20
  You love. Him you kind of feel from when
• 56:22
  like Sean knocks the phone out of his hand because he just goes
• 56:25
  oy like, like in a really. Child like way, Yeah, yeah,
• 56:28
  yeah. And he looks down, all sad.
• 56:30
  And what's? Going on.
• 56:35
  And like we mentioned, Peg and Nick Frost were friends.
• 56:38
  Frost was a waiter at a local restaurant and Peg's then
• 56:41
  girlfriend worked with him and he introduced and they said
• 56:43
  there's this really funny guy at work, you should meet him.
• 56:46
  And Peg and Frost hit it off. Peg's obviously now not with the
• 56:49
  same girl. And he said I got Nick in the
• 56:51
  separation, which is a nice touch I think.
• 56:54
  Very nice. Because he thought he was
• 56:56
  hilarious, Peg convinced Frost to quit his job and appear as
• 56:59
  Gun Mike in TV shows. Based The best part of Space for
• 57:03
  me. Yeah, you may have noticed that
• 57:05
  Ed has got a chunk of hair missing from the right side of
• 57:08
  his head and the back. Yeah, he does, yeah.
• 57:11
  Frost thought that it would be some kind of drunken prank that
• 57:13
  Ed and his mates get up to shaving parts of their own hair
• 57:16
  off. Just just decided it on a whim
• 57:18
  on set. Great.
• 57:20
  And the Clyde impression, that's been a party piece of frosts for
• 57:25
  years. And he would often tell, right,
• 57:27
  that he wasn't a performing monkey when he asked him to do
• 57:29
  it at parties. Brilliant.
• 57:32
  You can tell though, he's so. Good, so good.
• 57:36
  Edgar Wright's brother created Ed's iconic I Got Wood T-shirt.
• 57:41
  Yeah, it wasn't the only option that they had for this T-shirt
• 57:44
  logo. One had a logo that said bumping
• 57:46
  Donuts in the Dunkin' Donuts style.
• 57:49
  Right. And there was another one that
• 57:51
  simply stated, I heart pussy. And you can see that T-shirt.
• 58:00
  It's worn by Matt Lucas, who plays the equivalent head role.
• 58:04
  In a yeah. Right.
• 58:05
  Yeah. Right, right.
• 58:08
  Right. Brilliant.
• 58:12
  Go to Mum's, kill Phil, sorry, grab Liz, go to the Winchester,
• 58:17
  have a nice cold pint and wait for all this to blow over.
• 58:20
  The final piece of our cast jigsaw.
• 58:22
  We're talking about the long-suffering Ying to Sean's
• 58:24
  Yang. It's Kate Ashfield as Liz.
• 58:27
  Matt, what do you think about Ashfield as Liz?
• 58:31
  I think Ashfield has a really, really vital part to play in
• 58:34
  this film because are everyone like the three main leads?
• 58:37
  She is the one who was a properly trained actress.
• 58:40
  You know, she had the qualifications basically.
• 58:42
  And I think what she does is she brings a really grounded element
• 58:46
  to the film which it needs. And I think to be honest, she
• 58:49
  makes Peg and Frost be better because they've got to be better
• 58:52
  around it because she knows what she's doing and they don't want
• 58:55
  to embarrass themselves around her.
• 58:56
  And I know at one point Peg and Wright had talks with Kid
• 59:00
  Winslet about this role, which I think could have been really
• 59:03
  cool. But yeah, I do really like
• 59:05
  Ashfield. I wouldn't have swapped her out
• 59:06
  from Winston, to be honest, because I think what she does
• 59:08
  well is she avoids making Liz and nag, which would have been a
• 59:11
  very easy trap to fall into, the annoying girlfriend just on
• 59:15
  Sean's case all the time. But I don't think she ever isn't
• 59:17
  said. I think you look and you go, you
• 59:19
  know what? Sean does need a clean up his
• 59:21
  act and sort himself out definitely and free himself from
• 59:24
  Ed because because you know, look outpatient Liz is, you
• 59:27
  know, she she is offering a proper grown up adult future for
• 59:31
  Sean if he is just smart enough to take it.
• 59:34
  And I think Ashfield is really good at couldn't do all of
• 59:37
  Sean's crap in this film. All those little digs.
• 59:40
  She answered him for not meeting his mom yet.
• 59:41
  They're really funny. And I think when the film gets
• 59:44
  really dramatic at the end, I think she's just steps up to the
• 59:47
  part so well when it's all kicking off and it's the Mexican
• 59:50
  standoff and she goes, please, can we all just calm the fuck
• 59:56
  down? That's brilliant.
• 59:58
  Fantastic. It's great delivery.
• 1:00:00
  And like I say, she makes Simon Pegg be better in that part,
• 1:00:03
  particularly when they're having a conversation about how he's
• 1:00:05
  going to have to kill Barbara. And it's really heartfelt.
• 1:00:08
  Just saying, you know, can't begin to understand what what
• 1:00:10
  you're going through, which probably mentioned stuff.
• 1:00:12
  And I think she absolutely makes or seen so.
• 1:00:15
  Yeah, of all she may not get as many laughs as Peg or Frost
• 1:00:18
  does, but I think she's just as important the film as they are.
• 1:00:21
  Yeah, exactly the same. I mean, she's not playing it for
• 1:00:23
  laughs, she's playing it for complete believability and you
• 1:00:26
  absolutely buy 100%. And the fact that she leaves a
• 1:00:29
  message for him in the morning and then says I'll try you at
• 1:00:31
  work because knows how shit he is just to make sure he is.
• 1:00:37
  Hello. Hello.
• 1:00:38
  Hello. Bye, bye, bye.
• 1:00:41
  Just live from head office, nothing to worry about.
• 1:00:44
  Nothing to worry about. Which again, is quite brilliant
• 1:00:48
  because that is Liz from his as I hit his head office, isn't it?
• 1:00:51
  It's like that's his boss who basically telling him like, can
• 1:00:55
  you do that in his life? That is Liz from head office.
• 1:00:58
  But like to everyone else, he's trying to fit in.
• 1:01:00
  He doesn't know where to be. He's not his own person.
• 1:01:02
  But I think Kate Ashfield in this film is wonderful.
• 1:01:05
  She's absolutely wonderful. She just plays the part so well.
• 1:01:09
  Like Matt said, she has just such patience, such
• 1:01:13
  understanding, such maturity, and she kind of guides everyone
• 1:01:17
  through it. And you've just has this real
• 1:01:19
  kind of presence and it really works.
• 1:01:22
  And the bit at the end when she gives him the rundown like Ed
• 1:01:24
  used to, it's just, it's so heartwarming for me.
• 1:01:27
  It's just wonderful. The Sundays we're going to go to
• 1:01:29
  the pool, we're going to listen and well, I'll get the, I'll get
• 1:01:32
  the kettle on. Shall I take Andy pop out the
• 1:01:34
  garden? Just like, all right then.
• 1:01:37
  Just like, it's just, it's just wonderful because like he
• 1:01:40
  stepped up and knows what he needs to be.
• 1:01:42
  But she's got that real patience and that belief in that person.
• 1:01:45
  And it's so nice to see because in so many films, you'll have
• 1:01:49
  the, you know, the female lead be the person who's the pain in
• 1:01:53
  the ass, who's screaming, who doesn't know what to do, who's
• 1:01:56
  who doesn't have that element. And here you have the guys who
• 1:02:00
  are shit, whereas the female characters and this are the ones
• 1:02:03
  that have the most common sense, who just bear do this and do
• 1:02:08
  shut the fuck up, calm the fuck down.
• 1:02:10
  Let's do this, which is very, very careful actress and very,
• 1:02:13
  very impressive in this. Yeah, yeah, I think it's a great
• 1:02:16
  performance. You can see that she is the only
• 1:02:19
  person keeping her, her relationship with Sean above
• 1:02:22
  all. Yeah, football, you haven't
• 1:02:23
  booked. It have you?
• 1:02:26
  What's the plan then? The Winchester.
• 1:02:29
  Yeah, and then when she gets the flowers and says to a dear mum
• 1:02:33
  or something and say to it. Was a.
• 1:02:34
  George, how super? Super mom first one.
• 1:02:41
  And she's the only one keeping Shawn above water for that
• 1:02:44
  matter as well. As soon as she dumps him he's
• 1:02:46
  out getting pissed with Ed on a school mate.
• 1:02:49
  But I think she's got some really great character moments.
• 1:02:51
  I like when she calls Sean Flash when he goes to rescue her.
• 1:02:55
  Grace, What's the plan then? Flash.
• 1:02:57
  And then there's that really, really nice moment where Sean
• 1:02:59
  quotes Bertrand Russell and she asked if that was from a BMR and
• 1:03:02
  he says, yeah, Guinness extra calls.
• 1:03:05
  I won't tell anyone. Thanks.
• 1:03:06
  It's just one of those really nice, kind of like secret
• 1:03:09
  moments that couple share. She's got his back.
• 1:03:12
  I love that. Yeah.
• 1:03:13
  Yeah. Really reassuring and although
• 1:03:16
  it's never mentioned that they're back together, in fact
• 1:03:18
  it's probably mentioned, well it's mentioned a few times in
• 1:03:20
  the pub that they aren't together specifically.
• 1:03:23
  It's a relief to see them together at the end and Ashfield
• 1:03:26
  very much plays her part in that because she generates a lot of
• 1:03:28
  love for these characters. Very good.
• 1:03:33
  So great cast overall and she will be speaking about one or
• 1:03:36
  two others later, but the three leads keep everything stitched
• 1:03:39
  together perfectly with their love triangle stuff.
• 1:03:41
  Full of on screen chemistry. Lovely.
• 1:03:51
  This episode of All the Right Movies is sponsored by Just
• 1:03:53
  Watch, the ultimate movie and TV show streaming guide.
• 1:03:57
  Just Watch recommends movies based on your preferences,
• 1:03:59
  keeping track of what you've watched, what you liked, and
• 1:04:02
  what you didn't. To serve up the best movies and
• 1:04:04
  shows on your streaming services, simply install the app
• 1:04:07
  on your Android or iOS device. Choose your favorite streaming
• 1:04:10
  services, and the app will tell you what's available and where
• 1:04:12
  to watch it. It's a great way to consolidate
• 1:04:15
  all of your streaming services in one easy to navigate app
• 1:04:19
  Personally, I am always trying to find out where all movies are
• 1:04:21
  available to stream, so stuff that you can't get quite so
• 1:04:24
  easily, so this is perfect for me.
• 1:04:26
  It just saves so much time. With the Just Watch app, you can
• 1:04:30
  check out new movie releases and shows, and it's updated daily.
• 1:04:33
  So whether it's the hot new Netflix movie or epic Amazon
• 1:04:37
  Prime TV show, you'll find it on Just Watch.
• 1:04:41
  And the app's got loads of great features, including the Watch
• 1:04:43
  list, which lets you save movies and shows to watch in the
• 1:04:46
  future. Also, if you've heard about an
• 1:04:48
  interesting new movie or sure, you can check out the popular
• 1:04:50
  feed to find out more and where you can watch it 100% legally.
• 1:04:55
  So what are you waiting for? Get the ultimate streaming
• 1:04:57
  guide. Install the Just Watch app on
• 1:04:59
  your iOS or Android device today and you can click the link in
• 1:05:02
  the podcast description of this show to download the app now.
• 1:05:06
  That's nice. It is good.
• 1:05:07
  I've downloaded. It.
• 1:05:08
  Yeah, great. This podcast of all the right
• 1:05:11
  movies is also sponsored by Better Help.
• 1:05:14
  Without a healthy mind, being truly happy and at peace is very
• 1:05:17
  hard. The good news is, therapy works.
• 1:05:20
  But what is therapy, exactly? It's whatever you want it to be,
• 1:05:23
  really. Maybe you're not feeling
• 1:05:25
  motivated right now, or would like some tools to help.
• 1:05:28
  Or maybe you're feeling insecure and relationships are at work,
• 1:05:31
  not dealing very well with stress.
• 1:05:33
  Whatever you need, it's time to stop being ashamed of normal
• 1:05:36
  human struggles and start feeling better.
• 1:05:38
  Because you deserve to be happy and now you don't have to worry
• 1:05:41
  about finding an in person therapist near you to help.
• 1:05:44
  Better Help is customized online therapy that offers video,
• 1:05:47
  phone, and even live chat sessions with your therapist so
• 1:05:50
  you don't have to see anyone on camera if you don't want to.
• 1:05:53
  It's much more affordable than in person therapy and you can
• 1:05:56
  start communicating with your therapist in under 48 hours.
• 1:05:59
  So join the millions of people who are seeing what online
• 1:06:02
  therapy is really about. It's always a good time to
• 1:06:04
  invest in yourself because you are your greatest asset.
• 1:06:08
  And a special offer to all the Right Movies listeners, you can
• 1:06:11
  get 10% off your first month of professional
• 1:06:14
  help@bethelp.com/ATRM. That's Better Help
• 1:06:19
  help.com/ATRM. Thanks again to Better Help for
• 1:06:24
  sponsoring this podcast. The middle.
• 1:06:32
  After Sean and Ed have made their first kills, Sean puts
• 1:06:35
  together a fried gold plan to collect his mother and his
• 1:06:38
  ex-girlfriend and hold them up somewhere safe.
• 1:06:41
  We're talking about the plan in theory and in practice and I'm
• 1:06:45
  going to take us off. Firstly, the plan.
• 1:06:47
  It's a great sequence but it's completely flawed because Liz's
• 1:06:51
  is surely the best place to go. It's above ground, loads more
• 1:06:54
  chance to survive and they only go at the Winchester because
• 1:06:57
  they can smoke and drink. Idiots and the how's that for a
• 1:07:04
  slice of fried gold? That line was something that
• 1:07:06
  started on the set of Space when a good suggestion was made of
• 1:07:08
  some funny dialogue or something like that.
• 1:07:10
  So there's a lot of overspill from that TV show.
• 1:07:12
  Yeah. What I want to talk about is
• 1:07:14
  Sean and Ed's first port of call.
• 1:07:16
  Barbara, we're coming to get you Barbara.
• 1:07:20
  Firstly, I love 2 threads that are continued here.
• 1:07:24
  One is that Ed was so desperate to drive Pete's car, but as soon
• 1:07:27
  as he sees Phil's Jag, he's like a panting dog.
• 1:07:32
  Oh hello, he's a pretty boy. He's gorgeous.
• 1:07:38
  In the midst of all this shit, it's all he's thinking about.
• 1:07:42
  And the other thread that is continued here is Ed.
• 1:07:45
  See, an outrageous double entendre is about and towards
• 1:07:48
  Sean's mother. Hello, Edward.
• 1:07:51
  My how you've grown. Yeah, you'd better believe it.
• 1:07:52
  Outrageous. Yeah, outrageous.
• 1:07:54
  And when he's driving, Phil says you do realize this is a 20 mile
• 1:07:58
  an hour zone. And he replies, Oh yeah, and
• 1:08:01
  winks and Barbara. He's.
• 1:08:03
  Just smiling away. Yeah.
• 1:08:06
  Oh yeah. Fantastic.
• 1:08:13
  But one of my favorite parts comes in this scene at Barbara
• 1:08:16
  and Phil's place, specifically when Sean's trying to get
• 1:08:18
  Barbara out of there by throwing some outlandish accusations.
• 1:08:22
  Phil's, Where is that? So how much do you love Philip?
• 1:08:25
  We're not going to go through all that again, are you?
• 1:08:27
  Like poor Barbara? Because she must have.
• 1:08:29
  She's trying to brush it off because she's obviously
• 1:08:31
  something that she's had to deal with since Sean was a kid. 16
• 1:08:34
  years, I think she says 16. Seven years, yeah.
• 1:08:37
  But it's the setup and the dialogue and the execution from
• 1:08:40
  both really stand out. What would you say if I told you
• 1:08:43
  that over the years, Phillip's been quite unkind to me?
• 1:08:46
  Well, you weren't the easiest person to live with yourself,
• 1:08:48
  Sean. Mom.
• 1:08:49
  He chased me around the garden with a bit of wood.
• 1:08:51
  Well, you did call him. You know what?
• 1:08:53
  Oh, he told you that, Did he? Yes, he did.
• 1:08:55
  And it's this part. He told you that.
• 1:08:57
  Yes, he did. Motherfucker.
• 1:08:58
  Sean. Sorry, Mother.
• 1:09:00
  Mom, so funny, so really, really like equal parts like really
• 1:09:07
  rude, but like really smart writing.
• 1:09:09
  One of my favorite lines in the film.
• 1:09:11
  Yeah, you see where his head's AT and he tries to change his
• 1:09:14
  own mind of like the head out. That's me.
• 1:09:17
  Yeah, exactly. Yeah, brilliant.
• 1:09:20
  But then desperate Sean Stoops, lawyer accusing Philip of abuse.
• 1:09:23
  Did you know that on several occasions he touched me that
• 1:09:27
  wasn't true? Sorry, shouldn't have said that.
• 1:09:33
  That. Wasn't true.
• 1:09:36
  I said that I love that I fucking love.
• 1:09:39
  That it was brilliant. And the moment where Philip
• 1:09:41
  comes in the kitchen. Yeah.
• 1:09:44
  And the. The big sound design boom, Yeah.
• 1:09:46
  When Edgar Wright's direction to Bill Nye was act like Clint
• 1:09:49
  Eastwood on Benalon. Brilliant, he really does.
• 1:09:55
  And this idea that Sean and Phil don't get on that suggested that
• 1:09:58
  Sean's work isn't just for this scene.
• 1:10:00
  It serves as a really poignant plot point later on.
• 1:10:03
  And I think it's just, I mean, there's some really base gags
• 1:10:06
  and some, you know, you know, crude jokes, but there's some
• 1:10:08
  really, really smart, right and going on.
• 1:10:10
  Yeah, Bill Nyes, when he turns around, when he said it's Sean's
• 1:10:14
  work and he's just stand with his back to him and then at that
• 1:10:16
  turn. Yeah.
• 1:10:18
  Sean. And it just does that like
• 1:10:20
  spirit, this is really theatrical, but at the same time
• 1:10:23
  it's almost like zombie esque when he's kind of just stood
• 1:10:25
  there doing nothing and then he just like turned fantastic.
• 1:10:28
  He's running under a cold tap. A lot of drug nuts running wild
• 1:10:34
  around. Yeah.
• 1:10:37
  There's another thing about the scene.
• 1:10:39
  Or like if you watch it again when Sean is talking to Bob in
• 1:10:42
  the kitchen, if you listen carefully you can hear Ed
• 1:10:45
  revving up the car outside and smashing it into the pool.
• 1:10:47
  Oh really? I never noticed.
• 1:10:50
  Oh fantastic. I only noticed that because the
• 1:10:52
  other night when I was watching again, I had to watch it with
• 1:10:54
  headphones on just because it was something else going on in
• 1:10:56
  the house and I was like, Oh my God, that's such a brilliant
• 1:10:59
  touch because you don't need it. But the fact that it's in this
• 1:11:01
  here watch again, you can hear Ed Red from the carp and
• 1:11:03
  smashing it, it's fantastic. Oh yes.
• 1:11:06
  And I also know that before the got Penelope Wilton, the send
• 1:11:09
  the script to Helen Mirren to play Barbara, and Helen Mirren
• 1:11:13
  replied saying yeah, I'll do it if I can play Ed because he's
• 1:11:16
  clearly the funniest character. That would have been amazing.
• 1:11:20
  Imagine Helen. Mirren saying I'm sorry, Sean.
• 1:11:25
  But Penelope Wilton is really, really funny.
• 1:11:28
  It's a grip fun to talk about later in the scene, later on.
• 1:11:31
  But she she is very, very funny. And I mean, I like Mirren.
• 1:11:36
  She's like butter, but I wouldn't swap her out for
• 1:11:43
  Penelope Wilton. No, I would.
• 1:11:44
  Certainly not. Just wonderful.
• 1:11:46
  It's fucking great when I'd like you're saying there and then the
• 1:11:49
  turn up the lizards, which is the next stage of the plan and
• 1:11:52
  he kind of goes through everybody and he said, yeah,
• 1:11:54
  I'll use the horn, whatever. He's happy that he's just with.
• 1:11:57
  I'll do the honks. I'll do the honks, yeah.
• 1:11:59
  I'll do the honks, yeah, whatever.
• 1:12:01
  And he's kind of driving around and you're just getting like
• 1:12:04
  climbing up, gets into Liz's flat.
• 1:12:06
  And it's just that whole brilliant moment between the two
• 1:12:10
  of them where he's like, I've come to take you somewhere safe,
• 1:12:12
  as if he's like the hero of the piece.
• 1:12:14
  And it keeps getting questioned and keeps getting put down and
• 1:12:17
  keep being like, well, fucking hell, this is clearly the best
• 1:12:20
  place to be. Obviously there's food here,
• 1:12:21
  there's water here. Like Luke said, that is
• 1:12:23
  definitely just stay there, get everyone in there and stay there
• 1:12:25
  and wait it out. You've got everything to your
• 1:12:28
  advantage. And again, there's some lovely
• 1:12:30
  bits of writing here where Diane says to David where you don't
• 1:12:33
  want to be torn to pieces there, which is obviously what's going
• 1:12:36
  to happen to him at the end of the film.
• 1:12:37
  And all these little bits that are just kind of like put in.
• 1:12:40
  She's great as well in this. She's yes, Lucy so fucking funny
• 1:12:46
  in this when it's like it's getting a bit cramped.
• 1:12:48
  So as anyone got any transport, she's like, yes.
• 1:12:51
  And he's like, yeah, but what have you got said?
• 1:12:52
  No, no, no, I've passed the test.
• 1:12:56
  That's. Brilliant.
• 1:13:00
  Absolutely love that because it's just like it's just so no,
• 1:13:04
  that's exactly what we would experience in that situation.
• 1:13:07
  She's so. Excited.
• 1:13:09
  I've got something. I've got.
• 1:13:10
  What have you got? I've passed your test.
• 1:13:11
  That's all you need. Doesn't help.
• 1:13:13
  Doesn't help. And then you get the final
• 1:13:16
  reveal of where they're going after they've just had that
• 1:13:19
  backwards, back and forwards. And Liz is like, right, OK,
• 1:13:21
  Flash, but what's the what's going on here?
• 1:13:23
  I trust you. OK, I'll take it on board.
• 1:13:25
  That fucking brilliant wide angle push into him and it's
• 1:13:28
  that hero shot and he's like, we're going to the Winchester.
• 1:13:34
  Oh God. And then the bit when they leave
• 1:13:37
  that they leave a flat in the running towards the car.
• 1:13:39
  Simon Pegg was the only person he had a padded cricket bat
• 1:13:42
  who's the only person that would hit the zombies.
• 1:13:44
  And obviously they couldn't afford to pad everything out and
• 1:13:46
  make it look realistic, so they just picked stuff about the
• 1:13:48
  flowers, a couple of hockey sticks and an umbrella.
• 1:13:50
  Brilliant. So if you actually hit the
• 1:13:52
  extras, you're going to hurt them because they're real
• 1:13:53
  things. That's why Simon Pegg's the only
• 1:13:56
  person kind of knocking everyone out of the way, which also works
• 1:13:59
  for the characters. Like, yes, I'm in control of
• 1:14:00
  this. I'm leading out of here.
• 1:14:02
  It was stuffed car with someone who's going to die on the way to
• 1:14:06
  somewhere that he can't get you. This is how you make the middle
• 1:14:09
  of a film. So.
• 1:14:11
  Funny. Brilliant.
• 1:14:13
  Love it. I think after this all, you get
• 1:14:14
  that sequence where they are leaving toward the Winchester.
• 1:14:17
  And I think it's a really important sequence for me in the
• 1:14:20
  film because I think it demonstrates so well how this
• 1:14:22
  film can shift to only. And it shifts those tonal gears
• 1:14:26
  effortlessly because you've got Edge driving the Jack at high
• 1:14:29
  speed, using the opportunity basically to barrel into every
• 1:14:33
  zombie he can. He's aiming for them, isn't he?
• 1:14:35
  Yeah. Just like you know, he's playing
• 1:14:37
  Grand Theft Auto or something things it's hilarious.
• 1:14:40
  You know, you got Philip in the back seat complained about the
• 1:14:42
  music being too loud, which that's meltdown by Ash, which
• 1:14:46
  again, Charlotte Hadley was an Ash at the time.
• 1:14:48
  So that's it's going to get his girlfriend on the soundtrack
• 1:14:50
  there. Then the conversation about Big
• 1:14:52
  Galaxy and Dogs condo look up. That gets brought back up again.
• 1:14:55
  Diane's amazed by that. Yeah.
• 1:14:59
  Really. That's hilarious.
• 1:15:00
  But then in the middle of all that, you realize, shit, Phillip
• 1:15:03
  is going to die here. Yeah.
• 1:15:04
  And all of a sudden you get that really heartfelt dialogue scene
• 1:15:08
  between him and Sean and Phillips, tell them, look, I
• 1:15:10
  know it wasn't easy for you, and I just wanted to be someone that
• 1:15:14
  you could look up to. And I thought I could be that
• 1:15:16
  person. And Sean, all of a sudden,
• 1:15:17
  despite the being like this real animosity between them so far,
• 1:15:21
  he's in bits about it. And then Phillips gone and he's
• 1:15:24
  out of there. And it works so well when it
• 1:15:26
  potentially could have been out of place, but it fits perfectly.
• 1:15:28
  And I think it's partly because this was based on Simon Peck's
• 1:15:32
  relationship with his actual stepfather, which was very
• 1:15:34
  difficult when he was going up. So it's like, you know, the
• 1:15:37
  scene is kind of him working all that out with the character
• 1:15:40
  Sean. And again, it just flipped
• 1:15:42
  stones again because, you know, he finally gets Ed to stop and
• 1:15:45
  it's it's one of those things where it's funny because he's so
• 1:15:47
  frustrated, but when like it tells him to chill out and Sean
• 1:15:52
  does not re in the back of the concerts up to.
• 1:15:54
  Fucking child. Ed looks so wounded by it like.
• 1:15:58
  Yeah, he really does right. Another one of those moments,
• 1:16:02
  yeah. It's really funny.
• 1:16:04
  And then you get Sean, like the get out of the car and they've
• 1:16:06
  locked Philippine. And it's like that really
• 1:16:08
  dramatic moment where Sean is like just getting it home to
• 1:16:12
  Barbie. You know, there's nothing left
• 1:16:13
  in there of that man you once loved, only for zombie folk to
• 1:16:17
  reach forward and accidentally turn the music off.
• 1:16:19
  Finally. Brilliant, brilliant.
• 1:16:21
  Great. Timing.
• 1:16:22
  Another lovely moment in that just before where Sean says to
• 1:16:26
  his mom was like, he's dead and she says no, he's not.
• 1:16:30
  And you get that like a like a denial of like he's not.
• 1:16:33
  Of course he's not. He can't be, but he actually
• 1:16:35
  isn't. Yeah.
• 1:16:37
  Great. Yeah.
• 1:16:37
  I mean very good. Lovely, brilliant touch that
• 1:16:40
  Really. Yeah, flipping between genres
• 1:16:42
  and like a heartbeat. Yeah, between tones.
• 1:16:45
  Very, very good. What is that?
• 1:16:49
  What about yours? Hey, who died?
• 1:16:51
  My chief fucking team of the zombies.
• 1:16:53
  Well, now we're looking at the sequences that directly follow
• 1:16:55
  this, where Sean and his crew find a shortcut to the
• 1:16:58
  Winchester. Yeah, this is great.
• 1:17:00
  They don't know where they're going.
• 1:17:02
  The kind of following Sean's lead.
• 1:17:03
  I love that bit where you see the shoes or the cowboy boots
• 1:17:07
  from snake hips from the bar and ask how close they are.
• 1:17:11
  Yeah, yeah, we're pretty close. Obviously he's never, he's never
• 1:17:13
  far from the Winchester. This guy, he's.
• 1:17:15
  Always. He's one of.
• 1:17:17
  Those guys, yeah. And that little bit on the
• 1:17:18
  soundtrack where you get that and he's being eaten, that's
• 1:17:20
  love that. But it's it's great.
• 1:17:22
  And I just love when they get to the back alley and they kind of
• 1:17:25
  realized where the Winchester is and the meet up with Yvonne, She
• 1:17:29
  comes by Sean, but then you get every character from her life
• 1:17:37
  and every character in his life and they all mirror each other.
• 1:17:41
  And it's such, it's such a good moment, especially if you've
• 1:17:44
  watched like comedy in the UK at that point and you get so many
• 1:17:49
  good duels coming back together. So you've got like Simon Pegg
• 1:17:52
  and Jess high into a Tim and Daisy in space.
• 1:17:55
  You've got Martin Freeman and Lucy Davies who were Tim and
• 1:17:57
  Dawn in the office. You've got Dylan Moran and
• 1:18:00
  Thomas and Greg who were Bernard and Fran and Black Books.
• 1:18:03
  And you've got this great like Julius coming back together and
• 1:18:06
  they were all in each other's shit.
• 1:18:07
  And it just makes perfect sense. And I just love it.
• 1:18:10
  Have you say that no matter who you are or your group of friends
• 1:18:12
  that you're in and you think you're kind of unique.
• 1:18:14
  Everyone's got the same bunch of friends people.
• 1:18:19
  And he just goes, right. Sean's taken the lead here.
• 1:18:22
  He knows exactly what's going on and it's just when he turns to
• 1:18:24
  round he goes. What's the matter?
• 1:18:25
  David never taken a shortcut before.
• 1:18:28
  And then just that kind of tongue and his lip.
• 1:18:31
  Yeah, yeah. Because you never, never take a
• 1:18:35
  short and then just totally bails on that.
• 1:18:38
  Fence. That is hilarious.
• 1:18:42
  I love Vaughn's reaction when like she asked him where they go
• 1:18:45
  and he says the Winchester introduced like take the puppy
• 1:18:47
  for him and he goes. Good luck, good luck, you're
• 1:18:50
  fucked. It's the worst case he could go
• 1:18:53
  do. The the.
• 1:18:53
  Pub. What this goes into was when
• 1:18:57
  Sean does have that one-on-one fight with the zombie and I
• 1:19:01
  don't know if it's supposed to be like a sudden burst of
• 1:19:03
  strength from Sean or that pole is made of pure steel or that
• 1:19:07
  tree is like completely rotten. But it's kind of amazing how he
• 1:19:11
  completely impales that zombie to that tree.
• 1:19:14
  But to me this is what Sean the Dead is all about because in
• 1:19:17
  this one-on-one fight with the zombie, he is pretty rubbish for
• 1:19:20
  the most part. Like if this is an American
• 1:19:22
  film, he'd have a gun, I'd have a machete here.
• 1:19:25
  Reduce using garden furniture, kids toys.
• 1:19:28
  It's a very swimming. Ball.
• 1:19:30
  It's. Rubbish and he says.
• 1:19:32
  Brilliant when he gets it. Yeah, it's brilliant.
• 1:19:35
  You know, it's not brilliant. It absolutely isn't.
• 1:19:37
  It's a very British fight scene, but all the characters just get
• 1:19:41
  their individual little moments to shine here.
• 1:19:43
  Ed and David just watching, refusing to get involved to see,
• 1:19:48
  assholes to see as well. Doesn't.
• 1:19:49
  He. Doing free.
• 1:19:52
  To step. In any point.
• 1:19:55
  Listen, Diane given giving him the ID to stop the zombie.
• 1:19:58
  That's cool. And there's that lovely bit of
• 1:20:00
  comic business where it's all about the time and it's all
• 1:20:03
  about how right frames the shot where Sean climbs of the kids
• 1:20:07
  slide to take a look over the fence.
• 1:20:10
  All you see is feed going off comic beat come back down.
• 1:20:18
  Fantastic stuff. And I think it's also Diane's
• 1:20:20
  best moment in the film because this is like her moment to
• 1:20:23
  shine. She brilliant in charge.
• 1:20:24
  She had when the. Blend in which, on one hand,
• 1:20:27
  that's a really ridiculous plan. But like a lot of film, it's got
• 1:20:30
  just enough logic that you buy it because, like, one thing I
• 1:20:33
  hate in films is when you get characters doing stupid things
• 1:20:36
  just because the plot needs them to us for the sake of a joke.
• 1:20:39
  He I think this plant is just sensible enough that you would
• 1:20:43
  probably give it a try. And all those impressions are
• 1:20:45
  great. Barbara miles away, but Diana's
• 1:20:48
  still really impressed by you. That's so funny.
• 1:20:50
  That's such a great gag. It's class and I think.
• 1:20:55
  You also get just a great bit between Ed and Shawnee because
• 1:20:58
  all that bickering throughout the film, it's really realistic
• 1:21:01
  and it's it's a line we've already mentioned.
• 1:21:03
  But when Ed is like, oh dude on the night and he starts arguing
• 1:21:06
  with Sean, it is the night. It's good night.
• 1:21:08
  That is the night. Because oh, who?
• 1:21:10
  Died. He made you fucking king of the
• 1:21:12
  zombies. Love it.
• 1:21:15
  It's. Fantastic for all the countries
• 1:21:17
  that he is. Very he is.
• 1:21:18
  Good, Sean. Yeah, he's good.
• 1:21:20
  We haven't talked about David and.
• 1:21:23
  And we'll, I'm sure. We'll be talking about him
• 1:21:24
  later, but I mean, an absolute prick.
• 1:21:29
  He's a slimy prick in the world. Really well played by Moran.
• 1:21:33
  Like, because Moran is anything but.
• 1:21:35
  Moran is fucking. Hilarious.
• 1:21:36
  Oh, he is, he is. But he has got a great line
• 1:21:39
  here. Where he says he didn't want to
• 1:21:41
  come to, followed Sean, blah blah blah because because
• 1:21:45
  because of captain Wow. It's like he's struggling to
• 1:21:52
  think of something to call him like.
• 1:21:54
  Captain. Wow.
• 1:21:57
  That's a. Brilliant.
• 1:21:57
  Put down, yeah. It is fantastic.
• 1:22:04
  But I want to talk about them. Putting another plan into
• 1:22:07
  action. It starts off with a great match
• 1:22:09
  cut from that moment that you're talking about Matt Diane's
• 1:22:12
  looking at them 123 and then bang, they cut the zombies
• 1:22:16
  headed towards the crowd. Great.
• 1:22:18
  I mean, I know I have no idea how this getting away with this
• 1:22:21
  other thing to get them with the do kind of to a point.
• 1:22:23
  All the zombies have pasty faces, weird eyes and blood
• 1:22:26
  dribbling from their mouths. These guys, none of that, none
• 1:22:29
  of that. It's clearly obvious that
• 1:22:32
  they're not zombies, but it's really funny to see them like
• 1:22:34
  hurriedly shuffle their way through the crowd, full of fear
• 1:22:37
  as they run that last few meters to the pub.
• 1:22:40
  Great. We see Tires, the character from
• 1:22:43
  space. There's a zombie, which is a
• 1:22:44
  nice touch, and they're all freaking out at the entrance.
• 1:22:48
  Diane. 'S pleading with David.
• 1:22:49
  To stay in character, that's brilliant.
• 1:22:54
  And I do like a few moments. He is firstly as Sean.
• 1:22:57
  Does. His running Buffy act when he
• 1:22:59
  jumps up and he realizes how dangerous it is and he goes, he
• 1:23:02
  says oh bollocks, he's terrified.
• 1:23:07
  Really good. And there's a nice moment with
• 1:23:11
  David tipping the. Bin out in the street to smash
• 1:23:13
  the. Window and Barbara seized a
• 1:23:15
  bunch of flowers from Sean. I think that's a nice touch,
• 1:23:17
  yeah. And when they get into the pub,
• 1:23:19
  David puts himself forward. As leader in Sean.
• 1:23:21
  'S absence but makes the most unconvincing case for it and
• 1:23:25
  it's swiftly dismissed by everybody.
• 1:23:27
  And then he goes on this rant about Sean.
• 1:23:29
  He's got this great line. He says how can you put your
• 1:23:31
  faith in a man whose idea are a romantic nightspot and an
• 1:23:34
  impenetrable fortress are the same thing.
• 1:23:37
  Great line. Yeah, really funny line.
• 1:23:40
  He's going to set the peanuts in the dark.
• 1:23:42
  That's actually. What happens?
• 1:23:45
  Anyone. Like a.
• 1:23:46
  Peanut. Peanut.
• 1:23:49
  So our gang hold up safe and. Secure, but there's.
• 1:23:52
  More than one secret being kept between the five of them.
• 1:23:58
  The crew. Our first.
• 1:24:01
  Stop On the crew list is Edgar Wright and Simon Pegg.
• 1:24:04
  Who are the Co writers of the film?
• 1:24:06
  And I'm going to go first with the writing.
• 1:24:08
  And it is one of the most, if not the most impressive thing
• 1:24:12
  about the film for me. Yeah, it's stuff full of
• 1:24:15
  references. Things going on in the
• 1:24:17
  background. Multiple layers.
• 1:24:19
  They only revealed themselves after rewatch and rewatch and
• 1:24:22
  rewatch, which is the main reason that I'll come back to
• 1:24:24
  this time and again. Yeah, I think it's one of the
• 1:24:26
  best scripts the last 20 years for me is really.
• 1:24:28
  Really. Really.
• 1:24:28
  Smart writing and I've thought that from the get go and I think
• 1:24:32
  you can see it's a call right from the director because his
• 1:24:35
  visual style matches perfectly with the dialogue and the beats
• 1:24:38
  of the film as I think, and I think it's got a lot more depth
• 1:24:41
  than 99. Percent of films.
• 1:24:43
  In the comedy genre, the romantic comedy genre, the
• 1:24:46
  zombie genre, especially around this time, Yeah, definitely the.
• 1:24:50
  Zom ROM com or how? Which however you wherever you
• 1:24:53
  place those those words. So all those elements have to be
• 1:24:55
  really strong. But it's not straight as
• 1:24:57
  straightforward as girl dumps boyfriend who spends the rest of
• 1:25:00
  the film trying to get back together.
• 1:25:02
  There are much more complications in there,
• 1:25:05
  specifically with the inclusion of David and Die and how their
• 1:25:08
  dynamic influences Sean and Liz's relationship.
• 1:25:11
  Yeah, great stuff. There's so much set up and pay
• 1:25:15
  off all the way through. It takes, I feel as though it
• 1:25:17
  takes genuine talent to be able to execute that.
• 1:25:19
  And I think Peg and right, you can't get better in recent
• 1:25:22
  years. And we've mentioned pop culture
• 1:25:25
  references, whether you love them or hate them, that it's
• 1:25:27
  stuffed all the way through. And some of the ones that we
• 1:25:28
  might not get to or haven't mentioned yet Character as snake
• 1:25:32
  hips. He's introduced by Ed and the
• 1:25:35
  bars always been surrounded by women and later on it's a gang
• 1:25:38
  of female zombies that are feasting on him.
• 1:25:40
  Yeah yeah. Great touch yeah yeah.
• 1:25:42
  Next time I. See him?
• 1:25:43
  He's dead. Ed says that about Pete, and the
• 1:25:45
  next time he does, he is, what do you know, kid in the street
• 1:25:48
  as well. And the kid in the street?
• 1:25:49
  Yeah, exactly. You're dead.
• 1:25:50
  Yeah. Brilliant.
• 1:25:53
  Ed's line. We're coming to get you,
• 1:25:54
  Barbara. That's lifted from night to the
• 1:25:57
  living dead. They're coming to get you,
• 1:25:58
  Barbara. Yeah, there's a point made about
• 1:26:01
  the use of the word. Zombie the Zed words.
• 1:26:03
  What meant we're not mentioning the Zed word?
• 1:26:07
  This is a reference, obviously the.
• 1:26:08
  Classic zombie films that don't. Really.
• 1:26:10
  Ever use that? Word.
• 1:26:11
  And finally, Pete screaming and Ed that if he wants to live like
• 1:26:14
  an animal, go and live in the shed, you thick fuck.
• 1:26:16
  By the end of the film, that's exactly where he is.
• 1:26:19
  Genius. Yeah.
• 1:26:20
  Brilliant. Yeah.
• 1:26:21
  Complete agreement, really. And he can tell this film was a
• 1:26:23
  success. Because of all the RIP offs that
• 1:26:25
  quickly followed. And I've seen a few, you know,
• 1:26:27
  stuff like companies versus zombies or that one James Corden
• 1:26:31
  did, lesbian vampire killers I think.
• 1:26:33
  And they're all ridiculous. The ridiculous and the reason
• 1:26:35
  the awful is because the made by people who either understand
• 1:26:38
  horror, it can do that reasonably well, but they're
• 1:26:41
  just not funny. And the gags on land or the made
• 1:26:44
  by people who understand comedy a bit and they've got a few
• 1:26:47
  decent jokes in there, but they don't understand horror and all
• 1:26:50
  the horror elements don't work. And that comes from the right.
• 1:26:52
  And I think what you have with Shaun of the Dead is 2 writers
• 1:26:55
  who understand both genres perfectly and don't know how to
• 1:26:58
  balance those taunts. You can tell watching this
• 1:27:00
  reason I was on it is one of Ed Great's favorite films.
• 1:27:03
  Just so you can tell the group watching Evil Dead 2 and Dawn of
• 1:27:06
  the Dead, obviously. And it's the range of jokes that
• 1:27:09
  they get there is incredible. The slapstick, there's really
• 1:27:12
  great visual gags. I love it when Shaun is channel
• 1:27:15
  hopping at home and all the brief snippets or programs tell
• 1:27:18
  you what's going on. You get that clip of The Smiths
• 1:27:20
  playing panic, you know this panic on the street to London
• 1:27:23
  that is just fantastic. Really smart stuff.
• 1:27:27
  And then just funny lines. I love it when Sean and Liz are
• 1:27:30
  arguing in in her flat and he brings up Diane and David and
• 1:27:34
  Liz goes what a field actress in a twat your words.
• 1:27:37
  And Sean goes I did not call Diana field actress.
• 1:27:40
  Great joke. Great joke.
• 1:27:43
  Yeah, but like you. Look, for me it's only payouts.
• 1:27:46
  This film has. And how cleverly it seeds.
• 1:27:48
  Future events were mentioned briefly, but how Like the
• 1:27:51
  flowers in this? He buys the flowers to give to
• 1:27:53
  Barbara, tries to pawn them off to Liz instead to make amends,
• 1:27:57
  jumps him in the bin outside the Winchester when he gets jumped,
• 1:28:00
  which is where he would go severe there when David empties
• 1:28:03
  have been a thought to the window.
• 1:28:04
  So Barbara finally gets them before she dies.
• 1:28:06
  It's very simple stuff, but it's so well done.
• 1:28:09
  And as you mentioned, we get all the lines that get repeated
• 1:28:12
  three times, but each time with more intensity, you know, leave
• 1:28:15
  him alone. That gets more and more intense
• 1:28:17
  each time Sean delivers that line to Pete.
• 1:28:20
  And yeah, that great scene in the Winchester where aired
• 1:28:23
  basically foreshadows the entire plot the rest of the film.
• 1:28:25
  And like I say, it's only when you go back to this film third
• 1:28:27
  or fourth time, like, shit, he's telling us what's going to
• 1:28:30
  happen. It's it's fantastic stuff.
• 1:28:31
  So yeah, in terms of writing a horror comedy, kneeling the
• 1:28:35
  Torn, really understanding how you switch between those two
• 1:28:39
  torn, and then putting into that genuine character Ox and proper
• 1:28:42
  motion, I think it's just a perfect lesson how you write
• 1:28:46
  stuff like that, quite frankly, put a foot wrong.
• 1:28:50
  That foreshadowing, though? It's not in your face.
• 1:28:52
  It's not straight. You don't.
• 1:28:53
  I mean, it took me a lot more than 3 or 4 rewatches.
• 1:28:57
  Because it's coded on top of like, it being hidden, it's
• 1:29:02
  coded as well. So if you don't really know,
• 1:29:04
  you're not thinking about it, then it would just pass you by.
• 1:29:07
  Yeah, because it's not like Sean calls Liz the little Princess or
• 1:29:09
  anything. Exactly.
• 1:29:10
  Yeah, he doesn't call Philip the king, no.
• 1:29:13
  Brilliant stuff, Westie. What do you think of the right?
• 1:29:17
  I'm gonna have to keep your stance on the Edgar Wright.
• 1:29:19
  Angle as I have to. I'm not going to back down from
• 1:29:22
  it, but I do really, really appreciate the writing here.
• 1:29:26
  But from a point of it being incredibly clever and incredibly
• 1:29:30
  intelligent, to me, it strikes me as two guys who fucking love
• 1:29:36
  cinema. But I don't think this script
• 1:29:38
  was written for anyone else but themselves.
• 1:29:40
  I don't think this film was necessarily written as a
• 1:29:42
  necessity to be like, we need to make this and make a statement
• 1:29:46
  about this and make this film as clever as possible.
• 1:29:49
  They were just like, this is what we've done in space for the
• 1:29:51
  last however many years. We've referenced films so many
• 1:29:54
  times and we've ripped them off so many times.
• 1:29:57
  Let's do it with a zombie genre and let's see how it works.
• 1:30:00
  This is basically a lesson in what Edgar Wright and Simon Pegg
• 1:30:03
  know about the horror genre and about, you know, a romantic
• 1:30:06
  comedy and a British made film. And that's why they've got Bill
• 1:30:10
  Nighy in there. That's why they've got all
• 1:30:12
  these. They know what they're doing
• 1:30:14
  because they've spent the whole lives preparing to make this
• 1:30:18
  film. It's not like someone's handed
• 1:30:21
  them like, oh you need to make a ROM zom com, it's a zombie film
• 1:30:24
  that's also a comedy. Can you do that?
• 1:30:26
  They've done this off the run back on £4 million.
• 1:30:29
  Let's not, let's not look at that in any kind of derogatory
• 1:30:33
  way, £4 million to make a film is fuck all.
• 1:30:35
  It's absolutely nothing. And what they get from that is
• 1:30:40
  everything that they've experienced their whole lives.
• 1:30:43
  They've watched so many films and they have understood the
• 1:30:46
  language of cinema so well that they can write this as Edgar
• 1:30:50
  Wright's debut film on £4 million and absolutely fucking
• 1:30:54
  nail it. But it's just a bit thin.
• 1:30:59
  It hasn't got, it's not. They haven't created a universe,
• 1:31:02
  they haven't created something where you just go this world,
• 1:31:05
  let's make, let's make a bunch of films out of this world.
• 1:31:08
  It's just based in that, in their world, and it's a glimpse
• 1:31:11
  into their world. And I love that.
• 1:31:12
  And I do think it's clever, I do think it's intelligent, but at
• 1:31:15
  the same time I think it's easy for them to do.
• 1:31:19
  And I'm not taking anything away from the film from that point
• 1:31:21
  because I think they've spent so long researching by just
• 1:31:25
  watching films and being into films and this is their chance
• 1:31:28
  to just go, there you go, there's some money, just write a
• 1:31:31
  script about zombies and they've had a whale of a time doing it
• 1:31:35
  and it fucking works. That's it.
• 1:31:38
  That's all there is to it. There's no more, there's no
• 1:31:40
  less. It's just them having a great
• 1:31:42
  time. And that's why I love this film.
• 1:31:44
  You've got to live something like this.
• 1:31:47
  I'll be mates with somebody and experience something.
• 1:31:49
  To be able to put stuff like this in a script and for it to
• 1:31:52
  work and for everyone to understand it.
• 1:31:54
  Right about what you know, it's exactly that is exactly.
• 1:31:58
  It this is their. Whole lives watching zombie
• 1:32:01
  films. Yeah, very good.
• 1:32:04
  Well, the writing team. Peg and Edgar Wright bonded over
• 1:32:07
  the love of Dawn of the Dead when they first met on British
• 1:32:09
  TV show Asylum. They worked together on Space,
• 1:32:12
  and the idea for the film came when Peg and Wright were
• 1:32:15
  shooting an episode of Space called Art, where Peg's
• 1:32:18
  character stays up all night playing Resident Evil 2 after
• 1:32:21
  taking a bad dose of speed. Yeah, that will do it.
• 1:32:27
  After they. Wrapped they were.
• 1:32:28
  In a taxi on the. Way to the wrap party.
• 1:32:30
  And wrap Wright suggested doing a film about zombies.
• 1:32:32
  There are conflict and reports of this with Edgar Wright being
• 1:32:35
  quoted as saying that he was round pig and frost flat for
• 1:32:37
  drinks and suggested it. But either way, the original
• 1:32:40
  title of the film was Tea Time of the Dead, which not
• 1:32:44
  necessarily as memorable. No, or makes no sense.
• 1:32:51
  Right, like the. Idea of these two buffoons.
• 1:32:53
  Who were completely. Oblivious to what was going on
• 1:32:55
  around them after a heavy night on the source.
• 1:32:58
  And it was inspired by a couple of things.
• 1:33:00
  Firstly, the foot and mouth disease outbreak that happened
• 1:33:03
  in the UK in 2001. Right was oblivious to this
• 1:33:07
  because he hadn't checked the news for weeks and when he
• 1:33:08
  finally did, he couldn't quite believe what he was seeing.
• 1:33:13
  And another inspiration was after.
• 1:33:14
  Playing Resident Evil all. Night he went to a local shop
• 1:33:17
  for some milk at about 5:00 AM and the streets were deserted in
• 1:33:20
  eerie and he thought what would a British person do if there was
• 1:33:23
  a zombie apocalypse? He said quotes in American
• 1:33:25
  movies, everyone had high-powered weapons.
• 1:33:28
  What would somebody do without all of that Kind of what you
• 1:33:30
  were saying about the stuff in the garden mat with the zombie,
• 1:33:34
  Peg said. We didn't want a parody zombie
• 1:33:36
  films, we wanted a parody the ROM com.
• 1:33:39
  And he makes excuses. He says Richard Curtis is a
• 1:33:41
  lovely man, but we pitched it as Richard Curtis shot through the
• 1:33:45
  head. It's often.
• 1:33:50
  Hinted at, but never. Confirmed the source of the.
• 1:33:52
  Zombie outbreak. In a radio broadcast, when
• 1:33:54
  Sean's walking to the shops, we hear that a space probe re enter
• 1:33:57
  in the Earth's atmosphere broke up over England, blah blah blah.
• 1:34:00
  And this is a similar to a suspected cause of the outbreak
• 1:34:03
  and night of the Living dead. Yeah, I fucking knew it.
• 1:34:07
  What did I tell you Big Out was? Right.
• 1:34:09
  OK. But dogs can look up.
• 1:34:17
  Next up, we're going to be talking about the.
• 1:34:18
  Music in the film Westie. What do you think of the score
• 1:34:21
  and soundtrack for Shaun of the Dead?
• 1:34:23
  This is the part of the film that really.
• 1:34:26
  Lets it down for me. Wow, I know there's stuff on
• 1:34:30
  here I just don't like I wouldn't listen to.
• 1:34:33
  I agree. Is 2 on the nose coming straight
• 1:34:36
  off the back? Of what I've done.
• 1:34:38
  Casino, the Matrix and then this.
• 1:34:40
  So I've done, you know, casino soundtrack The Matrix
• 1:34:42
  soundtracks to me favorites and then this.
• 1:34:44
  This is not top five. I'm breaking the air my.
• 1:34:49
  God, but no, I know. I'd say that.
• 1:34:53
  The score, when you need it to be, it's there.
• 1:34:57
  Notably the end when everything gets swamped and it's all very
• 1:35:00
  much like a beat and it's it drives the action and it works
• 1:35:04
  when it gets when it gets more brutal and it gets a little bit
• 1:35:06
  more dark and it's got that real 80s nineties, kind of like
• 1:35:09
  Carpenter, a synth that's in there if you really need less,
• 1:35:15
  it's got that the thing. Kind of drive.
• 1:35:17
  To it. But the songs I'm sorry, like I
• 1:35:21
  know Edgar Wright is into his music, but he's not into the
• 1:35:24
  same music that I am. Tarantino soundtrack I buy all
• 1:35:27
  day and I can write soundtrack. I find a little bit even Baby
• 1:35:31
  Driver didn't work for me soundtrack wise.
• 1:35:34
  And I think you know all them with Ghost Town by the specials.
• 1:35:38
  Great. I've heard it a million times
• 1:35:39
  and it's just a little bit too easy.
• 1:35:42
  You know, we're suddenly Casino episode, like Scorsese put songs
• 1:35:45
  in there that really accentuate the scene and make the scene
• 1:35:48
  something else, even though it's on the nose and you just go, oh
• 1:35:52
  fuck, that's hand in hand. This is.
• 1:35:55
  Almost like an arm. Around the shoulder and getting
• 1:35:56
  in a headlock and just be like, it's ghost town by the specials.
• 1:36:00
  Do you get it? Yeah, I get it.
• 1:36:01
  I get it. Stop rubbing me fucking hair.
• 1:36:03
  And it's just the use of queen in this film.
• 1:36:07
  Highlander, One of my favorite films of all time.
• 1:36:10
  Highland. The soundtrack five kind of.
• 1:36:13
  Magic top five. Easy.
• 1:36:16
  But. Don't stop me now and you're my.
• 1:36:20
  Best friend. By Queen of two of my most hated
• 1:36:22
  fucking songs in the history of my life.
• 1:36:25
  I can't listen to them again. Don't stop me Now coming on
• 1:36:28
  really, really pushes the film down for me because it's like,
• 1:36:31
  oh God, that's just so obvious. The soundtrack really let's the
• 1:36:35
  film down and I wish it had a much smarter soundtrack where it
• 1:36:39
  was just a little bit more off killed.
• 1:36:42
  I would rather have heard the Batman soundtrack over Don't
• 1:36:44
  Stop me now. I'll be perfectly honest, if
• 1:36:47
  they'd play party man at that point when the one at the
• 1:36:49
  destroy that our many way, that would have been hilarious
• 1:36:53
  because they said well, we've got to beat him up to a song.
• 1:36:54
  The fucking hit. But Queen kicks in and it
• 1:36:56
  doesn't really work for me on them levels.
• 1:36:59
  I think the score and the soundtrack are the only things
• 1:37:01
  that are 1. Ignorable and then when you do
• 1:37:03
  realize what they are, they are quite annoying.
• 1:37:06
  Wow, how do you like that Matt? A retort.
• 1:37:10
  It takes a very, very special score and sound like to really
• 1:37:13
  resonate. With me and this one is maybe
• 1:37:16
  one where you think, yeah, this is because they only have £4
• 1:37:20
  million to play again. And it's kind of the the bit
• 1:37:25
  where you have to cut corners, I guess.
• 1:37:27
  I do like the original bit, like Wesley says, that stab and synth
• 1:37:30
  music when the zombies attack and that's good.
• 1:37:33
  That's fine. Rest of it, Yeah, I get it.
• 1:37:36
  It's all for a purpose. It works for a purpose.
• 1:37:39
  But yeah, it's it's just fine. You know, it's Yeah.
• 1:37:43
  I can't really get enthused about it, I would say, like I do
• 1:37:46
  with either part of the film. Yeah.
• 1:37:48
  I mean, it is forgettable. It's certainly not top. 5 Westie
• 1:37:52
  by any stretch. By any stretch.
• 1:37:54
  The songs. Majority of the songs I'm not a
• 1:37:56
  fan of. But.
• 1:37:59
  You know, I mean it doesn't, it's not catering to me, is it?
• 1:38:01
  No, you mentioned ghost Town. I like that it goes from non
• 1:38:04
  diegetic to diegetic. Energetic at the start.
• 1:38:07
  Although the the choice of the song is dead on the nose.
• 1:38:11
  I like that choice. The opening bars at the start of
• 1:38:13
  the film, then it's on the jukebox in the Winchester.
• 1:38:16
  I think it's very easy to lose the music in the film because
• 1:38:18
  it's not in your face. Yeah.
• 1:38:20
  There's so much dialogue on the top as well.
• 1:38:23
  There's a lot of yeah. But there is a real stand out
• 1:38:26
  for me. Well, there are two, actually.
• 1:38:28
  I speak about one later, But there's a standout moment where
• 1:38:30
  the score really ramps up. It's where Sean A, Diane and
• 1:38:33
  David appointing the Corkscrew and things of each other and the
• 1:38:37
  tension rises to fever pitch. Yeah, the Mexican stand up.
• 1:38:40
  And for me, a lot of that down is to the crescendo of noise
• 1:38:42
  that's in the score. It turns things off into a
• 1:38:45
  frenzy, really does really does add to the drama in that moment.
• 1:38:49
  But there are some smart things going on.
• 1:38:51
  Well, I might call them smart. You might call them smart, Matt,
• 1:38:54
  but Wesley, you might not. The and I'll go.
• 1:38:57
  I'll go over them. Just based on what?
• 1:39:00
  You've said just based on previous.
• 1:39:02
  Comments. Absolutely.
• 1:39:03
  Fair enough. The soundtrack and score.
• 1:39:06
  There are a few. Cues from Dawn of the Dead that.
• 1:39:08
  Make the way into the score, notably the one that plays at
• 1:39:11
  the start over the Universal logo.
• 1:39:19
  And the music that plays when Sean is going through his fried
• 1:39:21
  gold plans. That that's in Dawn of the Dead
• 1:39:26
  as well, right? Yeah, there's that reference to
• 1:39:29
  Morricone is called from the thing that you mentioned.
• 1:39:31
  Westie. When Sean walks into the shop at
• 1:39:33
  the start, originally they wanted something in the air by
• 1:39:36
  Thunder Clap Newman or we've got to get it out to this place by
• 1:39:38
  the animals again, very very on the north, but they were too
• 1:39:42
  expensive. So they're settled upon
• 1:39:43
  Bollywood style music that's playing and the lyrics translate
• 1:39:46
  to the dead of comeback to life. This is not a prank.
• 1:39:53
  And yeah, they wanted. Nothing compares.
• 1:39:55
  To you by Sinead O'Connor instead of if.
• 1:39:57
  You leave me now on in the in the Winchester, but that was
• 1:40:01
  going to be too expensive. 20 grand they paid for if you leave
• 1:40:03
  me now and we'll talk about Queen I'm sure in the next
• 1:40:08
  segment. Some great crew.
• 1:40:13
  Work with the screenplay and music.
• 1:40:15
  Vital elements, of course. But we haven't mentioned David
• 1:40:17
  Dunlap, cinematography and makeup effects artist Stuart
• 1:40:20
  Conrad, who do some great work in the film as well.
• 1:40:23
  Yeah, definitely. The.
• 1:40:28
  End the end. Is neither for Sean and.
• 1:40:32
  His crew, whose public house shelter can't hold.
• 1:40:35
  For too much longer. We start by talking about the
• 1:40:37
  zombified pub landlord being taken care of to the strains of
• 1:40:41
  Queen and then with last orders being called on three members of
• 1:40:44
  the team. Matt, do you want to kick us
• 1:40:46
  off? Yeah, I'd love to because once
• 1:40:49
  you get into the Winchester and they've barricaded.
• 1:40:51
  Themselves in this is what it's all about yeah it you get one of
• 1:40:55
  my favorite. Shots in the film and it's when.
• 1:40:57
  Diane is stood up and just switching up through all the
• 1:40:59
  channels on the TV and it's all reflecting on fears because
• 1:41:02
  they're all are fair. I love that chart.
• 1:41:04
  Just saying it's really easy. It's really well done.
• 1:41:07
  And I think, though, you've got to bring it back to what Wesley
• 1:41:10
  is, you know, being building to water, which is the use of Queen
• 1:41:13
  in this sequence, especially withdrawn because building the
• 1:41:17
  water well, you know, I didn't know you were going to be.
• 1:41:20
  Clearly. Well, he's saying like, I don't
• 1:41:25
  disagree man. Like in general, I just don't.
• 1:41:27
  Like Queen at all, just absolutely far, far from the
• 1:41:31
  type music I would listen to. Sorry to all you Queen fans out
• 1:41:34
  there. Yeah, sorry.
• 1:41:36
  You know, I know I'm in the. Minority, apparently.
• 1:41:38
  I don't understand why. Apparently, yeah.
• 1:41:40
  I mean, don't believe that. But the thing.
• 1:41:43
  Is. I think it's worth remembering.
• 1:41:45
  Don't stop me now if you. Leave me now.
• 1:41:47
  They are exactly the kind of crap songs you'd get on a pub
• 1:41:50
  jukebox, definitely. So it makes absolute sense that
• 1:41:53
  it's this song that starts. And I have to say, if I could go
• 1:41:57
  back in time and rewatch any scene from cinema, this would be
• 1:42:00
  in the conversation. I just thought it was so well
• 1:42:03
  done. It's so perfectly choreographed
• 1:42:05
  how everyone is In Sync when the Lane and the John with the pill
• 1:42:09
  cues. And the funniest bit is when
• 1:42:11
  Wright cuts back to Barbara and Diane watching, who were
• 1:42:13
  horrified but they can't help Bob and Malong.
• 1:42:15
  But the time to music, you know, perfectly In Sync dance.
• 1:42:19
  It's so funny, that bit. And obviously you've got Diane
• 1:42:22
  pitching in trying to help with the darts, but that just gets
• 1:42:25
  Sean in the head instead. Just hilarious.
• 1:42:27
  So if I absolutely love the sequence, and I think, no, it's
• 1:42:30
  not like the first example of a pop song being used in this kind
• 1:42:34
  of comic manner of an action sequence.
• 1:42:36
  But what I do find is that so many films I came after this try
• 1:42:40
  to do the same thing. I remember I watched Kick Ass
• 1:42:43
  not too long after Short of the Dead came out.
• 1:42:46
  I tried to do the same thing with American Trilogy by Elvis,
• 1:42:51
  Mary Elvis, Yeah, Yeah. Which I didn't think worked at.
• 1:42:54
  All. And I think.
• 1:42:56
  What's interesting, though, is that it all happens because Ed
• 1:42:59
  has decided to throw a couple of quid into the fruit machine.
• 1:43:02
  Unbelievably stupid, but completely.
• 1:43:05
  In. Character form and I love this
• 1:43:07
  reaction when Liz grabs him and. Pulled some weight so you'll get
• 1:43:10
  off. He's really annoyed at that, you
• 1:43:13
  know, he's still looking at. What?
• 1:43:14
  He's won as well, hasn't he? If.
• 1:43:15
  You want. He's won on the fruity and he's
• 1:43:18
  absolutely delighted. By that.
• 1:43:22
  And it just gets that balance between.
• 1:43:24
  Humor and horror. So well done.
• 1:43:26
  Because, you know, we'll mention him again.
• 1:43:27
  Dylan Moran for anyone outside the UK more commonly known for
• 1:43:31
  doing stand up. And we all think he's really
• 1:43:34
  good, but I love the bit where he's run through the back to try
• 1:43:36
  and turn the fuses off and he's just panicking.
• 1:43:39
  And then he sees how many zombies are bursting through the
• 1:43:41
  back door. I think that's a really great
• 1:43:43
  bit of acting from him there, like his reaction rate.
• 1:43:45
  So shaking and he's just backing away.
• 1:43:48
  Yeah, I do really love this sequence.
• 1:43:50
  I'm a big, big fan of it. Yeah.
• 1:43:52
  I mean, I'm, I'm. I am a Queen fan.
• 1:43:54
  I'm not. The biggest Don't Stop Me now
• 1:43:56
  fan because it is like you said, it's everywhere.
• 1:43:59
  It's always played at parties and any function you've ever
• 1:44:03
  been to all the throughout the years, it's always on.
• 1:44:06
  The reason that it's choreographed so well is because
• 1:44:08
  all the actors had earbuds in listening to the song at the
• 1:44:11
  same time. Yeah.
• 1:44:12
  A really risky move that could have backfired because they
• 1:44:14
  didn't have clearance for the song, and they basically wrote a
• 1:44:16
  begging letter to Brian May from Queen, who apparently was a
• 1:44:19
  sweetheart by all accounts. Yeah.
• 1:44:21
  Do you know what the backup song was?
• 1:44:23
  No Rasputin. By Boney M Oh, I would have
• 1:44:27
  preferred. That.
• 1:44:29
  Much better Russia. 'S greatest love machine.
• 1:44:31
  Get it in there. Yeah, a bit to the Russian
• 1:44:34
  Queen. I think I.
• 1:44:36
  Think this moment. Is really funny.
• 1:44:38
  A few things. Like while it's all going on,
• 1:44:40
  kill the Queen. Great line.
• 1:44:42
  And when David does come back from trying to check the fuses,
• 1:44:46
  Sean screaming, why is Queen still on?
• 1:44:51
  Yeah, but there's a really, Really.
• 1:44:53
  Funny gag just before the song kicks.
• 1:44:54
  In the zombies are. All around the camera circles
• 1:44:57
  the group, similar to the shot at the start of Evil Dead 2, and
• 1:45:00
  Sean puts his hand on Liz's shoulder.
• 1:45:02
  The camera goes round, Ed does the same to Barbara, and then
• 1:45:05
  out of nowhere, Zombie John pops up and puts his hand on David's
• 1:45:08
  shoulder. It makes this overtop grown
• 1:45:10
  really funny. It's hilarious.
• 1:45:13
  And John is played by Steve Emerson.
• 1:45:16
  He's like an actor, an old school stuntman who whose work
• 1:45:19
  dates back to Doctor No. He worked on Doctor No, and Peg
• 1:45:22
  said that he worked on the 1975 film Brannigan, where his
• 1:45:26
  character was thrown into a jukebox by John Wayne.
• 1:45:29
  So he was an old hand at it and he encouraged them to hit him
• 1:45:32
  really hard and they did well. Emerson also said he got.
• 1:45:38
  To his last day on set. And you?
• 1:45:40
  Know he's of an age he just want to do things want to go home and
• 1:45:43
  one of the ADS came up to him was like I'll save the need to
• 1:45:45
  get you back in the need to do the need to get I line for a
• 1:45:49
  reaction trot from Simon Pegg. He's like, for fuck's sake.
• 1:45:52
  And I line anyone could do that. So he stomped in really, really
• 1:45:55
  grumpy. But it was all a setup and Ed
• 1:45:57
  Gride, the sub secretary have round of applause, at least for
• 1:45:59
  Steve Emson, because he was not like much of A legend in
• 1:46:02
  fantastic. So Steve Emson said.
• 1:46:04
  Like I literally cried because I've got this round.
• 1:46:06
  Of applause and they. Didn't need me for this eyeline
• 1:46:08
  shot. Oh, what a touching moment.
• 1:46:10
  Yeah. Very nice.
• 1:46:11
  Yeah, lovely. And I want to talk about the
• 1:46:13
  events that directly follow this when they work out that Big Owl
• 1:46:17
  was right and that the Winchester can shoot bullets in
• 1:46:20
  more ways than one. Sean, look at increasingly like
• 1:46:22
  Mike Bronski from the D Hunter with his tie around his head.
• 1:46:26
  Yeah, yeah, establishing the credentials of his.
• 1:46:30
  Would be marksman or? Markswoman, whatever marks
• 1:46:33
  people. Ed's so confident when Sean asks
• 1:46:35
  if anybody's shot a gun before he does, he does it again.
• 1:46:38
  Oh yeah, and his experience being that he won't shut his
• 1:46:41
  sister with an air rifle in the leg.
• 1:46:43
  Truly, that's the last person you want behind the.
• 1:46:46
  Trigger and. Insisting on calling the bullet.
• 1:46:48
  Shells because it sounds cooler, which it does, but not the time
• 1:46:51
  or place for that. No, a great callback to play in
• 1:46:55
  time splitters at the start. Top left.
• 1:46:57
  Reload cock it yeah fantastic yeah and I love again that Shawn
• 1:47:02
  is not a crack shot he. Misses about 80%.
• 1:47:05
  Of them a really nice touch with the character and actually the
• 1:47:08
  good. From which the pub?
• 1:47:10
  Takes its name. The Winchester is the same model
• 1:47:12
  that was used in Night of the Living Dead.
• 1:47:14
  Yeah, it was. Yeah.
• 1:47:15
  Winchester 66. Yeah, yeah.
• 1:47:18
  And. Going from emotional.
• 1:47:19
  Scenes to more. Emotional scenes like the end.
• 1:47:21
  Of this film totally makes this film what it is.
• 1:47:24
  It's just so beautifully impactful.
• 1:47:28
  It just switches, like we've said all the way through, but it
• 1:47:30
  just switches this dynamic. When Sean's mom, you find out
• 1:47:34
  she's been bitten and she's sitting with Liz and they have
• 1:47:36
  that really close relationship that you know isn't going to
• 1:47:38
  last. That's heartbreaking in itself.
• 1:47:41
  Sean comes to find out what's wrong with her.
• 1:47:43
  That's heartbreaking in itself. Ed comes over to find out what's
• 1:47:46
  wrong with her. That's heartbreaking and it's
• 1:47:47
  everyone who cares about everybody, and it really comes
• 1:47:50
  together in this and it's just a dialogue and it's like
• 1:47:54
  everyone's mom. It's just the universal British
• 1:47:58
  mom right here. If you want to know what a
• 1:48:00
  British mom sounds like, it's this.
• 1:48:02
  I didn't want to be a bother. Yeah, I thought you'd be
• 1:48:05
  obsessed. I was the man in the vaginal.
• 1:48:07
  And our last? Line of like it's been a funny
• 1:48:09
  sort of day. Hasn't it?
• 1:48:10
  You know they're. All trying to play it down.
• 1:48:13
  Still not trying. Don't worry about it.
• 1:48:15
  It's fine. Don't you worry about it.
• 1:48:16
  Everything's all right. When I love Edgar Wright is when
• 1:48:19
  he's clever and when he's trying not to be clever.
• 1:48:22
  That's when I love him. It's when he's trying to be
• 1:48:23
  clever and I go Nah, But when he's not trying to be clever,
• 1:48:26
  which is David's death, which is an absolute fucking joy, Joy.
• 1:48:33
  Behold, you've. Been putting up with this.
• 1:48:35
  Guy this wanker. For an hour and 20 minutes.
• 1:48:39
  And he's just tried to shoot Sean because there's no, there's
• 1:48:42
  no shells left. So he can't.
• 1:48:44
  Yeah, That's the only thing that stops it as well.
• 1:48:47
  Yeah. Yeah.
• 1:48:47
  Really drama. That and it's brilliant.
• 1:48:49
  It's like, oh, and you see that realization in his face and put,
• 1:48:52
  you know. How that feels to be on the
• 1:48:53
  wrong side of everyone in the pub and you're like I want to
• 1:48:56
  leave. I'm going to go none of his
• 1:48:58
  fucking get my shit. And everyone's kind of been in
• 1:49:00
  there. So you kind of relate to that.
• 1:49:02
  Moves away from the door, away from danger, and you just get
• 1:49:05
  this. I'm just tapping on the window
• 1:49:07
  and he apologizes to Diane and then she says I'm not the one
• 1:49:09
  you should be apologizing to. And just before he gets a chance
• 1:49:13
  to apologize to Sean, he's pulled out.
• 1:49:15
  You should feel some remorse there, but you don't.
• 1:49:17
  As an audience. You're like, yes, great.
• 1:49:20
  And then you have basically because you've got Sean's mom's
• 1:49:23
  death and you've got David's death.
• 1:49:24
  That's the two classic zombie trope deaths.
• 1:49:28
  Somebody that I love, I've got to kill because they've turned,
• 1:49:30
  or somebody that's part of the group has been pulled in and has
• 1:49:34
  everything ripped out with them. That was Romero like to go to
• 1:49:38
  death, of course. Like that's in every single
• 1:49:40
  zombie film. And he does.
• 1:49:41
  It so well with the two characters that you want to see
• 1:49:44
  in them rules. That's how well I'm I'm sure
• 1:49:46
  Peg's got something to do with that as well and how well it's
• 1:49:48
  written. But when that he starts pulling
• 1:49:50
  all the innards out of David, you kind of like, that's pretty
• 1:49:54
  cool. Yeah.
• 1:49:55
  Yeah, it is great joy, great effect, but.
• 1:49:58
  Doesn't enjoy in this. This really works and then his
• 1:50:01
  head comes off. And then downs like, I'm coming
• 1:50:03
  for you, David, even though, like she.
• 1:50:05
  And then, you know, in that moment, she really loved him.
• 1:50:09
  And it's heartbreaking because she just like goes into the
• 1:50:11
  crowd and you're like, Jesus Christ.
• 1:50:13
  I think what right does amazingly is we've been
• 1:50:16
  mentioned a balance. In those tones, not only comedy
• 1:50:18
  and horror, but real drama as Barbara goes, stirs up real
• 1:50:22
  emotion, so much so that Peg and Frost cut the scene and were
• 1:50:26
  crying and if effectively think and it was their real mother
• 1:50:29
  that was dying. Great performance from Peg.
• 1:50:32
  Yeah, yeah. And added to the comedy drama,
• 1:50:34
  the horror, we've got real Neil Bank and tension in that
• 1:50:36
  standoff, the Mexican standoff. And then the layers go much
• 1:50:40
  deeper when Diane reveals that she knows that David is in love
• 1:50:43
  with Liz. And after all of this, as it's
• 1:50:46
  getting the fever pitch, a gag. You're the one who's gone from
• 1:50:49
  being chartered accountant to Charlton Heston.
• 1:50:51
  I'm not a chartered accountant. Well, you look like one.
• 1:50:53
  Yeah, I'm a lecturer. You're a twat.
• 1:50:56
  Yeah. Over the space, about two
• 1:50:59
  minutes. It's.
• 1:51:00
  Unbelievable. Really well executed.
• 1:51:03
  Kudos are all involved, but Edgar Wright handles that
• 1:51:05
  amazingly well. Yeah.
• 1:51:07
  So the other thing is Luke, like you mentioned there like the
• 1:51:09
  date get genuinely. Upset.
• 1:51:10
  And that's because. At this point in the schedule,
• 1:51:13
  it was starting to run behind. So the work like 16 hour days,
• 1:51:17
  right? Simon Pegg was asleep and on set
• 1:51:19
  because he didn't have time to go home, get some sleep and come
• 1:51:21
  back. And it was the height of summer,
• 1:51:22
  so everyone was really hot. It was really sticky.
• 1:51:24
  And apparently Penelope Wilton is just as lovely in real life
• 1:51:27
  as he thinks he is. So that's why the day that got
• 1:51:30
  genuinely cut up in time, Peg like also it just happened like
• 1:51:34
  his mom had come to see some of the film and so she was there
• 1:51:37
  and he he said he had like this weird one.
• 1:51:39
  I thought, actually, she really looks like Penelope Wilton.
• 1:51:42
  So that's why they got so caught up in it.
• 1:51:43
  So yeah, there were a lot of tease after us.
• 1:51:45
  But what's funny about Dylan Randall was he did act like a
• 1:51:48
  bit of a diva at this point. Like he genuinely hated this
• 1:51:51
  death scene. Like when he's getting dragged
• 1:51:53
  through that window that's made of sugar glass.
• 1:51:56
  But he went up to Neera Park is obviously the producer and he
• 1:51:58
  got in a full blown argument with her like EQ self put him in
• 1:52:01
  a life threatening position and she was like, mate, sugar glass,
• 1:52:05
  you're going to be fine. Yeah.
• 1:52:08
  Oh really? Yeah, yeah, there's something
• 1:52:10
  that I've. Always thought that, David.
• 1:52:12
  Is kind of a mirror image. Of of David Sumner, Dustin
• 1:52:15
  Hoffman's character from Straw Dogs, particularly when he's on
• 1:52:17
  the ground with that gun looking upwards.
• 1:52:20
  He's got the glasses, he looks a bit like Hoffman and he's been,
• 1:52:24
  he's been pushed to that point as well.
• 1:52:26
  But I do want to talk about Penelope Wilton just a little
• 1:52:29
  bit, because at first sight, it seems that Barbara hasn't really
• 1:52:32
  got a clue what's going on. She's just smiling her way
• 1:52:34
  through the whole thing, which is quite funny in itself.
• 1:52:38
  But then we find out that she's been bitten and realized that
• 1:52:40
  because she's faced with this like, unknowable, unthinkable,
• 1:52:44
  she's got no idea how to react. So she puts a brave face on
• 1:52:47
  things, just like she does when trying to keep things amicable
• 1:52:50
  with Sean and Phil. And I think that's superb
• 1:52:53
  writing for me, executed amazingly well by Penelope
• 1:52:56
  Wilton, who deserves her time in the limelight.
• 1:52:59
  I think that's a Oh yeah, she is just fantastic, Really good do.
• 1:53:03
  You know. I don't think I've got.
• 1:53:05
  It in me to shoot my flatmate, my mum and my.
• 1:53:07
  Girlfriend all in the. Same evening, so with Diane and
• 1:53:10
  David Piven, the way for the crowd of zombies to flood.
• 1:53:12
  The. Winchester, Sean, Liz and Ed are
• 1:53:14
  outnumbered. We're talking about this moment,
• 1:53:17
  which leads to our satisfactory conclusion.
• 1:53:20
  I'm going to kick us off with the last stand as the zombie
• 1:53:22
  hold make the way through the barricade and all hell breaks
• 1:53:25
  loose. Yeah, it starts off with a
• 1:53:27
  Molotov cocktail, but it gets completely.
• 1:53:29
  Sidetracked. When he sees a reanimated Pete
• 1:53:32
  Shawnee, look who it is and Shawn screams fuck a doodle Doo,
• 1:53:40
  it's great. It's on ineptitude.
• 1:53:42
  Lack of a win as of what's going on around.
• 1:53:44
  Him as he's undoing because he sees Pete and he's got a Molotov
• 1:53:48
  cocktail, but that goes out the window because he's Pete.
• 1:53:51
  But it's great when Sean shoots Peace Pete.
• 1:53:54
  I said leave him alone. You're I can't I can't match
• 1:53:57
  you. She a power source from the
• 1:53:59
  start of the episode where Steve.
• 1:54:00
  But yeah, it really is satisfying.
• 1:54:02
  Well. Nick Frost screaming as well.
• 1:54:04
  That's really good. Oh yeah, like when he's one.
• 1:54:07
  In the arm and one in his neck. Yeah, yeah, that's really good.
• 1:54:09
  And this. Bar scene reminds me of
• 1:54:11
  Desperado. A little bit, maybe I'm
• 1:54:13
  stretching. The references a little too far
• 1:54:14
  but it always reminds me of it. The bar scene is Desperado.
• 1:54:20
  But the music here? Is the. 2nd standout I talked.
• 1:54:23
  About when we talked about the soundtrack, they're all trapped
• 1:54:25
  behind the bar, surrounded by flames and zombies.
• 1:54:28
  The shells are out of bounds. They've got nowhere to go.
• 1:54:30
  And the music really adds to this frantic feeling that
• 1:54:33
  they're totally fucked. There's no way out there,
• 1:54:35
  really. It really kind of like the walls
• 1:54:37
  are closing in. And that music really helps
• 1:54:39
  that. It does.
• 1:54:40
  Yeah, it does. Yeah.
• 1:54:41
  I mean, I don't know how many horror films I've seen.
• 1:54:45
  With a kind of basic similar scenario to this that don't have
• 1:54:49
  as intense and ending is this like when the zombies have
• 1:54:52
  finally burst through and they get no found.
• 1:54:54
  It's just so engaging. There's so much tension here
• 1:54:57
  because they're just outnumbered so badly.
• 1:54:59
  And I just think, you know, this is still a horror comedy.
• 1:55:03
  This is a film where I've been laughing my head off at it and
• 1:55:05
  all of a sudden I'm just so caught up in the emotion of it
• 1:55:09
  and so caught up in the characters.
• 1:55:11
  And I think that's such an achievement that they've spun it
• 1:55:14
  on a dime like that and just got so invested at this point.
• 1:55:17
  And like I say, when it comes to genuine emotion, then you've got
• 1:55:21
  that goodbye to Ed and the seller.
• 1:55:22
  Because that's right up there. Because this whole thing with
• 1:55:25
  Ed, for me, it passes the Hudson test.
• 1:55:27
  Which is. For me, you know when you watch
• 1:55:29
  Aliens and it gets the bit with the xenomorphs are coming
• 1:55:31
  through the ceiling, they're coming up on the floor and the
• 1:55:33
  crab hoods and that's race get killed.
• 1:55:35
  I always go, oh man, oh, that guy.
• 1:55:38
  He wanted him to get out of there.
• 1:55:39
  Really wanted him to live. It's like when you watch Dog
• 1:55:41
  Soldiers. And.
• 1:55:42
  Spoon gets killed. It's the similar action.
• 1:55:45
  I'm that guy, but you know he has to go, but you know he has
• 1:55:49
  to go because you know that gives you.
• 1:55:50
  The emotion and it's the same with.
• 1:55:52
  At every single time I was like, oh man, can't believe he's been
• 1:55:55
  bitten. I know even though he's an off
• 1:55:58
  and he's so like so. Offensive, and he's been.
• 1:56:00
  More of a hindrance than help. It's still really good to see no
• 1:56:03
  make it and I think it's just played so well between Peg and
• 1:56:07
  Frost when they're saying goodbye because that real life
• 1:56:09
  friendship is obviously really feeding into it.
• 1:56:12
  I think the lighting in the cellar without smoke come down
• 1:56:15
  from stairs and that sound of the zombies just getting through
• 1:56:18
  that cellar door looks fantastic.
• 1:56:20
  Sounds fantastic. The short weather, just like
• 1:56:22
  touch heads. And he gives them the cigarette
• 1:56:24
  and their rifle And you do think, shit, what would I do in
• 1:56:27
  that situation? Like it's such a fucking
• 1:56:30
  quandary like his best friend. And like say it's just all of a
• 1:56:33
  sudden it's just boiled down to the emotion and it's played so
• 1:56:36
  perfect tornly. It's not hammy, it's not OTT,
• 1:56:40
  it's just right. And you've got one more example
• 1:56:43
  of a line which Hawks back to earlier where he gets one last
• 1:56:48
  fart in. You know, he says, I'll stop
• 1:56:51
  doing them when you stop laughing.
• 1:56:52
  And. Oh, yeah, pegs delivery.
• 1:56:54
  I'm not laughing. Oh, yeah, yeah, the delivery.
• 1:56:57
  Yeah. It really is brilliant.
• 1:56:59
  And it's it's. It's edge kind of allowance for.
• 1:57:02
  Shawn to move on away from him, like I think you guys should go.
• 1:57:05
  Yeah, yeah, yeah, yeah. Double bowled, really striking.
• 1:57:08
  Yeah, yeah. I like when they're discussing
• 1:57:10
  how many shells they've got. I've only got 2 shells and you
• 1:57:12
  can just hit head in the background.
• 1:57:14
  I don't mind being eaten. Yeah, I'll just.
• 1:57:19
  Stay. Yeah.
• 1:57:21
  I mean, it's just. From that point.
• 1:57:23
  When they come out of the. Cellar.
• 1:57:25
  And you've got them against all odds, right?
• 1:57:29
  You will go. Everyone's gone.
• 1:57:30
  What's going to happen now when it's a classic zombie movie
• 1:57:34
  trope, it's this classic horror movie trope where you get to
• 1:57:37
  that point where it's like what's going to happen?
• 1:57:40
  You know, it's almost like the T Rex in in Jurassic Park moment.
• 1:57:43
  It's like, yeah, yeah, yeah. And then that rescue and with it
• 1:57:47
  being. Yvonne who comes back.
• 1:57:49
  And the army come back. It's very reminiscent to me like
• 1:57:52
  28 days later when the army show up and there's Edgar Wright has
• 1:57:56
  not had any more fun than he has at this moment in directing this
• 1:58:02
  film. There's the army, They've got
• 1:58:04
  massive guns. It's going to be absolute
• 1:58:06
  carnage, right? What we're going to do?
• 1:58:08
  Crash, zoom, crash, zoom, crash, zoom.
• 1:58:12
  And then blood everywhere. Crash room, crash room, blood,
• 1:58:15
  blood, blood, crash for about 20 minutes.
• 1:58:18
  It's fucking ages. He's having a lovely.
• 1:58:22
  Time. Here with the army turning up,
• 1:58:24
  but then. When you see Yvonne, it's like
• 1:58:26
  shit, yeah, Sean, Sean, she's got a lovely, it's got a Golf
• 1:58:30
  Club. It's just the only one left and
• 1:58:33
  it's heartbreaking for me. They are you.
• 1:58:36
  It's just you 2 and just like. Glad.
• 1:58:39
  Somebody made it, which is what you're saying about their
• 1:58:41
  relationship at the start of the film.
• 1:58:42
  Yeah, exactly. Which is beautiful because the
• 1:58:44
  way she delivers the line at. The end of the.
• 1:58:47
  Film is like, it's so much more nuanced, or it's got such.
• 1:58:51
  It's got a lot more impact, but at the same time it's a lot
• 1:58:54
  slower. She's been through with, hasn't
• 1:58:57
  she? Yeah, like she has had her own
• 1:58:59
  film. Somewhere else, Yeah, yeah,
• 1:59:00
  absolutely. But it's one of them zombies,
• 1:59:02
  not Edgar Wright like in the. Middle getting shot up I'm.
• 1:59:05
  Sure, one of them's him. He's one of the ones on the news
• 1:59:09
  report. Yeah, walking through a field,
• 1:59:11
  who drops? Drops down one of them in.
• 1:59:13
  Who's in the scenes? Chris Martin.
• 1:59:15
  Yeah. Often Coldplay.
• 1:59:17
  Yes. That's why it's all satisfying.
• 1:59:19
  Yeah. He's doesn't he?
• 1:59:21
  He does, Yes, yes. And then he shows up.
• 1:59:22
  Again as Chris Martin supporting.
• 1:59:24
  Zombie. Zombie.
• 1:59:25
  Yeah, two camos. Just I think the end of this
• 1:59:28
  film totally makes this film what it is and this.
• 1:59:31
  This as an ending of a zombie film, it's exactly what you want
• 1:59:34
  to see. There was something that Ed Greg
• 1:59:36
  like had trouble with Thor when he got.
• 1:59:38
  To this, because he wanted to end this shot actually with a
• 1:59:40
  huge crane shot, you wanted to saw the extent of like the
• 1:59:43
  zombie horror on them. But throughout the film he had a
• 1:59:47
  very, very fractious relationship with the DP who
• 1:59:50
  were mentioned different Dunlap, Dunlap, etcetera.
• 1:59:52
  This is a time suck to sustain that shot for as long as it was
• 1:59:56
  intended. It would just die on screen.
• 1:59:58
  It'd become a pretty big action movie.
• 2:00:00
  Didn't seem like the one to slow it down.
• 2:00:02
  Because like I said, they've been getting into like real
• 2:00:04
  arguments throughout and by this is the barely speaking right,
• 2:00:07
  just like Doug his heels and got really stubborn about it and he
• 2:00:11
  got the shot only if it'd be the first thing he cut out.
• 2:00:14
  And like he said afterwards, yeah, you know what?
• 2:00:15
  Don't laugh. Absolutely right mistake.
• 2:00:19
  If you've got 8 hours of shooting or less, don't do a
• 2:00:21
  fucking creating shot. Good advice to everybody
• 2:00:25
  listening to this fire and film makers.
• 2:00:27
  And right at the end, there's that great moment in the shed
• 2:00:29
  because you think that because Liz has moved in, Sean's been
• 2:00:33
  banished to the shed to play video games.
• 2:00:35
  That's the only place he can do. And then Ed isn't in shot yet.
• 2:00:39
  And then the computer voice overseas Player 2 is end of the
• 2:00:41
  game. I've never been happier to see a
• 2:00:43
  zombie. So.
• 2:00:50
  Consistent. With the rest of the film.
• 2:00:52
  Sean of the Dead ends on the joke.
• 2:00:54
  With the Queen classic, You're My Best friend and it's opening
• 2:00:56
  line, Oh, you make me live. Reception and awards.
• 2:01:07
  Prior to the release of the. Film.
• 2:01:08
  Simon Pegg and Edgar I thought it was only fair to send.
• 2:01:11
  A copy to Georgie Romero for his blessing, Right?
• 2:01:13
  Said we got a call from him later that night, and he
• 2:01:16
  couldn't have been sweeter about it.
• 2:01:18
  And he liked it so much that he invited Pagan writer Peter
• 2:01:21
  Zombies in Land of the Dead. They're credited as photo booth
• 2:01:25
  zombies. Yeah, nice.
• 2:01:27
  At the premiere of the film, the fictitious brand Hog Lumps.
• 2:01:30
  Were distributed. To all attendees, Wright's
• 2:01:32
  brother designed the packaging. The description of the package
• 2:01:35
  in red hairy pork rinds. Romero as well didn't get that.
• 2:01:41
  Reference to we're coming to get you Barbara did he until.
• 2:01:44
  Wright explained to him later on the telephone call.
• 2:01:46
  Right. Fucking hell.
• 2:01:47
  The film was a huge success. On a very.
• 2:01:50
  Small budget of. £4 million, or around $6 million.
• 2:01:54
  It returned $30 million worldwide.
• 2:01:57
  It may not sound like much, but from a cast and crew of nobodies
• 2:02:00
  and a British film, The Boot, it did very well for itself.
• 2:02:03
  Hugely. It also did very well
• 2:02:05
  critically. Roger Ebert gave.
• 2:02:07
  The film what? Do you think out of four fellas,
• 2:02:09
  here comes 33 both on the money? Fantastic, Roger.
• 2:02:13
  Said instead. Of focusing on the undead and
• 2:02:15
  trying to get the laps there. It treats the living characters
• 2:02:18
  as sitcom regulars whose conflicts and arguments keep
• 2:02:21
  getting interrupted by annoying flesh eaters.
• 2:02:23
  That's what we've said. But we've said about Yeah at
• 2:02:27
  more. Length he has been, maybe.
• 2:02:29
  More succinct, but you. Know we said it better.
• 2:02:32
  Only more succinct. One thing we are not.
• 2:02:34
  It's succinct. The Associated Press said the.
• 2:02:38
  Pasty scruffy peg shows a. Surprising amount of range for
• 2:02:42
  the unlikely hero of a zombie flick.
• 2:02:44
  Wow. Pasty scruffy Peg?
• 2:02:46
  I don't think that's surely pasty scruffy Sean.
• 2:02:49
  Maybe, but yeah. I mean, not Peg.
• 2:02:52
  That's not him. Personal.
• 2:02:54
  No documentary. BBC said.
• 2:02:58
  Side splitting head. Smashing.
• 2:03:00
  Gloriously gory. Horror, comedy, and now the film
• 2:03:03
  has a score of 7.9 out of 10 on IMDb and a big 92% on Rotten
• 2:03:07
  Tomatoes. Big on top of all this Prayers.
• 2:03:10
  Quentin Tarantino himself put it in his top 20 movies made since
• 2:03:14
  1992 list. He and Wright have built quite
• 2:03:18
  the friendship since, and I'm sure that's a crew that we can
• 2:03:20
  worm our way into if we play our cards right, fellas.
• 2:03:23
  Oh, totally. Predictably, Shawn of the Dead
• 2:03:25
  didn't make any waves at the. Oscars or Golden Globes that
• 2:03:28
  year? But it did get 2 BAFTA
• 2:03:29
  nominations, one of which was Best British Film.
• 2:03:32
  It got more success in the lower key award ceremonies, won Best
• 2:03:35
  Screenplay at the British Independent Film Awards and Best
• 2:03:38
  Horror Film of the Saturn Awards.
• 2:03:40
  Right. And with much praise being
• 2:03:42
  heaped on the film, Wright sent name tags.
• 2:03:44
  Like Sean's? To all the people who said nice
• 2:03:46
  things, among them, Stephen King emailed right back saying that
• 2:03:49
  he was wearing his and when Peg met Giorgio Romero, he had his
• 2:03:54
  own. No way.
• 2:03:55
  This is the next classy guy. Classy guy he had.
• 2:03:58
  Red on him, so a. Debut is fresh and.
• 2:04:03
  Exciting as any in recent memory.
• 2:04:05
  With audiences and critics unanimous in their praise.
• 2:04:08
  Oh yeah. Sequels and.
• 2:04:13
  Influence. The success of Shaun of the
• 2:04:17
  Dead. Saw 4 issue comic book
• 2:04:19
  miniseries based. On the film, released in 2005.
• 2:04:22
  Prior to this, Pagan Wright had written a comic strip for 2000
• 2:04:25
  AD called There's Something About Mary, focusing on
• 2:04:28
  supermarket girl Mary, Your Girl Matt, the dear pride of the
• 2:04:31
  zombie outbreak. Peg and Wright did play around
• 2:04:33
  with the idea of a genuine sequel called From Dusk Till
• 2:04:36
  Shown, but they were never really that serious about it.
• 2:04:40
  However, this idea was immortalised in Spider Man Into
• 2:04:43
  the Spider verse from 2018, where a billboard advertising
• 2:04:46
  the film can be seen in Times Square.
• 2:04:49
  There were movies released in the here's that followed that
• 2:04:51
  took direct inspiration from the movie's title and the plots.
• 2:04:55
  Matt, you mentioned a few of them earlier.
• 2:04:57
  There were others as well, the Spanish Cuban film Juan of the
• 2:05:01
  Dead, which is a nice play on that.
• 2:05:05
  And then the Singapore film. Xian of the dead and then also
• 2:05:09
  shed of the dead, but that is from Britain.
• 2:05:13
  All of them panned apart from one of the.
• 2:05:15
  Dead, which is. Apparently got very.
• 2:05:17
  Good reviews, it is the best one.
• 2:05:22
  Oh. It's the only one that's any
• 2:05:23
  good. In the wake.
• 2:05:28
  Of the COVID pandemic, Peg and Frost got back together for a
• 2:05:30
  short. A play on the plan scene from
• 2:05:33
  Shaun of the Dead, where Shaun gives Ed advice on how to stay
• 2:05:35
  safe during the pandemic. Yeah, so no direct sequels to
• 2:05:39
  Shaun of the Dead, but it does form part of what would later be
• 2:05:41
  called the Three Flavours. Cornet or trilogy.
• 2:05:44
  Hot Fuzz followed Sean, The World's End followed that.
• 2:05:48
  All notable for their colour scheme Mirror and the flavours
• 2:05:50
  of Cornetto ice cream, strawberry or red for Shaun of
• 2:05:53
  the Dead original or blue for Hot Fuzz and minty or green for
• 2:05:56
  The World's End. Right, got the idea for the
• 2:06:00
  Cornetto and Sean after he. Woke up one morning with a.
• 2:06:02
  Stinking hangover. He had a cornetto which cured
• 2:06:05
  his ills and is still his hangover cure of choice.
• 2:06:07
  Well, try that. Wright sees these films.
• 2:06:11
  As an homage to the Dollars trilogy films.
• 2:06:14
  That share similar themes and actors without being
• 2:06:16
  specifically connected. The Cornetto in question only
• 2:06:20
  made an appearance in Hot Fuzz after they were given free
• 2:06:22
  Strawberry Cornettos for the show on premiere.
• 2:06:24
  Expecting the same on Hot Fuzz. They didn't get them and in an
• 2:06:31
  interview. After Hot Fuzz, Wright was asked
• 2:06:32
  if he was going to make a trilogy.
• 2:06:34
  And he joked that he would like the Three Colours trilogy by
• 2:06:37
  Christoph Koslovsky. Yeah, it was a silly joke that
• 2:06:40
  stuck, he explained. So this leads us to our third
• 2:06:43
  Patreon question, and this one is from Robert Potwin.
• 2:06:47
  Hello, Robert. Hello, Robert.
• 2:06:49
  He asked very simply. How would you rank the three
• 2:06:51
  films in the? Corner or trilogy?
• 2:06:53
  Westie, it's very, very easy for me, It's The World's End will be
• 2:06:57
  third. That's the one that I've visit
• 2:07:00
  the least, the one that I enjoyed the least.
• 2:07:02
  It's a good film, but again, all the issues that I've raised with
• 2:07:07
  that guy, right? That's the one that's just too
• 2:07:09
  much and you don't get enough relief from it.
• 2:07:11
  Hot Fuzz, it'll be second. I enjoyed it, but again, the
• 2:07:15
  references were far too familiar for me to enjoy.
• 2:07:17
  And Shaun of the Dead be definitely the best of the
• 2:07:20
  three. Matt, do you see it differently?
• 2:07:22
  Slightly differently, yeah, because.
• 2:07:24
  I get different things from. All three of them really.
• 2:07:27
  I think Shard of the Dead is just the most complete out of
• 2:07:31
  the three. I think it's the most horned.
• 2:07:33
  I think it's just so perfectly structured and it's really
• 2:07:35
  tight, which don't really get from the other two.
• 2:07:38
  I think Hot Fuzz is the funniest and it's got Timothy Dalton in
• 2:07:41
  there as well, which is a big plus for me and I'm a slasher
• 2:07:44
  and I must be stopped prices he's.
• 2:07:49
  Fantastic, he's so good. And then The World's End, which
• 2:07:52
  is the one. I kind of needed to watch the
• 2:07:54
  most really get around to, but I think it's the one that's their
• 2:07:58
  most ambitious film in terms of what they wanted to be about.
• 2:08:01
  You know, it's got, you know, some pretty hefty themes in
• 2:08:04
  there about addiction and grown up and or not growing up.
• 2:08:09
  And I think that's the one where you're watching you think from a
• 2:08:12
  purely like visual perspective, right?
• 2:08:15
  Has really grown as a director. Like the action in this is value
• 2:08:18
  superior too the action in the other two.
• 2:08:21
  So it does depend on what kind of mood I'm in.
• 2:08:23
  But I would go from 3 to one. Generally speaking, I'd go Hot
• 2:08:28
  Fuzz, World's End, Sean, Hot Fuzz last.
• 2:08:31
  Yeah, right. But there's really not much
• 2:08:33
  between. Them right, OK, I would rank
• 2:08:36
  them. Like Westie as they were
• 2:08:37
  released. A much preferred Sean above them
• 2:08:39
  all, but constant RE watches has brought Hot Fuzz right up there
• 2:08:43
  for me and it is neck and neck with Sean just a little bit
• 2:08:45
  behind it for me. Yeah, I think it's great.
• 2:08:49
  I think that The World's End has the same rewatch ability as
• 2:08:51
  both. I just wish, I really, really,
• 2:08:54
  really wish that they didn't turn into aliens halfway through
• 2:08:57
  the film. Yeah, exactly.
• 2:08:58
  Yeah, right. That really.
• 2:09:00
  And that's just a personal. Thing that just doesn't appeal
• 2:09:02
  to. Me because the first half of the
• 2:09:04
  film is great and like you said there's some really interesting
• 2:09:08
  themes in there Matt and you know relatable themes talking
• 2:09:11
  about moving in the middle age and ambitions and not fulfilling
• 2:09:14
  your potential and and being stuck in the past I love all
• 2:09:18
  that but the alien thing just doesn't do it for me right OK
• 2:09:21
  turns me right off so I think we're all in agreement 3 great
• 2:09:25
  films all worthy of us covering them at some point on the
• 2:09:28
  podcast maybe not in the immediate future, but certainly
• 2:09:31
  in the distant and if recent reports that would be believed
• 2:09:35
  we may be getting the. Right pig.
• 2:09:36
  Frost Dream team back together sometime in the near future
• 2:09:39
  which would be fantastic. Very welcome, love to say that.
• 2:09:46
  All the right. Movies Ranking.
• 2:09:50
  Now to the final act of our podcast.
• 2:09:52
  It's the talked about. All the right movies rank.
• 2:09:56
  This is where we summarize and score the film out of 10 and I'm
• 2:09:58
  going to take the. First shot.
• 2:10:00
  And short and sweet for me here. You heard me banging on about
• 2:10:03
  the film for the last two hours plus and I haven't said one
• 2:10:06
  negative thing about it. It's not a grow of this film.
• 2:10:08
  I loved it immediately. But as I said, there's so much
• 2:10:11
  to pick up that RE watches are a must.
• 2:10:13
  It's consistently hilarious, really smart writing,
• 2:10:15
  performances and direction. It's an easy 10 just like that.
• 2:10:20
  Well, Westie, what about you? I'm going to go.
• 2:10:23
  With the. Outlook I've got over the whole.
• 2:10:26
  Film it's, I have this thing with Edgar Wright and I have
• 2:10:29
  this thing with Edgar Wright's films and I am invested in them,
• 2:10:32
  but I just don't feel like I have enough to be invested in.
• 2:10:34
  And that it does feel very familiar and it does feel very
• 2:10:37
  light in tone. But that came after this.
• 2:10:40
  This was where I went to the cinema and I went, yeah, fucking
• 2:10:44
  hell. Someone's making films that I
• 2:10:45
  understand, someone's making films that I get, and someone's
• 2:10:48
  making films that I want to make.
• 2:10:50
  This makes perfect sense. And I've watched it very, very
• 2:10:53
  regularly ever since I saw it at the cinema for 18 years.
• 2:10:58
  And you can't really turn your nose up or something like that.
• 2:11:01
  It's always a film I'd recommend to people.
• 2:11:03
  It's always a film. I'd say if you haven't seen it,
• 2:11:05
  please watch it. I don't like horror.
• 2:11:07
  It isn't, I don't really like British comedy.
• 2:11:09
  It's not really that it's, it's something completely different.
• 2:11:12
  If you love cinema and if you love really good films that are
• 2:11:15
  on for, you know, a good hour and 40 minutes and you'll be
• 2:11:18
  entertained and the performances are right.
• 2:11:21
  And it was made at the right time, and they had enough
• 2:11:23
  experience in the industry to create something like this on £4
• 2:11:27
  million. Yeah.
• 2:11:29
  And we're still talking about it.
• 2:11:30
  Now Tarantino to Tarantino will turn around and say it's one of
• 2:11:33
  the best films made in the last 20 years.
• 2:11:35
  And you know what? He's not wrong.
• 2:11:37
  So on this film alone, it is that good.
• 2:11:40
  And it is worth anyone checking out.
• 2:11:42
  And in 18 years that I've been watching it, I've never heard
• 2:11:46
  anyone say that it's shit because it isn't.
• 2:11:48
  It's a 10. Yes.
• 2:11:51
  Wonderful. Bang Bang.
• 2:11:53
  Two 10s, Matt. Have you got 1/3?
• 2:11:55
  Where you'll find out, won't you?
• 2:11:56
  Here we go. Tender hooks.
• 2:12:00
  So try to give the giveaway, yeah?
• 2:12:03
  This film loved. It from the get go and I think
• 2:12:06
  it's just so far elevated above what it could have been.
• 2:12:09
  Like say, I was expecting a lazy spoof and I've got so much more.
• 2:12:12
  I've got a film where the jokes is so well refined and so horned
• 2:12:17
  to position, the horror sequences work so well, and the
• 2:12:22
  ability to blend them both together and to go from 1:00 to
• 2:12:24
  the other freak frequently, it just never feels like impressed
• 2:12:29
  me so much. And we've mentioned already, but
• 2:12:31
  by the time you get that third act in the Winchester, I'm so
• 2:12:34
  caught up. I'm so involved in these
• 2:12:36
  characters in a way that I just never thought it would.
• 2:12:39
  And the whole film, despite the fact that it's obviously quite
• 2:12:42
  grim in intensive parts, I just find it's just filled with joy,
• 2:12:47
  the joy of making a film. And I read great, didn't have
• 2:12:50
  the best of experience in some respect, like, so he fell out
• 2:12:53
  with his DP quite badly over it. But still, I just get the sense
• 2:12:57
  of a joy of a guy going, this is my film, I got to make it my
• 2:13:01
  way. I got to put in all the drugs
• 2:13:03
  that I want. I have the material to do that.
• 2:13:06
  And ultimately the film, for me, it's like I got to hang out with
• 2:13:10
  a best friend every time I get to watch it.
• 2:13:12
  Lovely. So for me, yes, it's a very easy
• 2:13:15
  10 as well. Lovely.
• 2:13:17
  Three 10s. You're my best friend.
• 2:13:18
  I love it. 9.5. Our 4th and final score for
• 2:13:29
  Shaun of the Dead comes from our trusted.
• 2:13:31
  Patreon supporters and I have the big score right here.
• 2:13:34
  But first, some choice comments. Dean Jones says it's easy to
• 2:13:39
  forget. How original?
• 2:13:40
  It was at the. Time and it put a lot of young
• 2:13:43
  British talent on the global map, he said.
• 2:13:46
  I would give it a 9.5, but as our pool can only take round
• 2:13:49
  numbers, he's given it a nine. OK, wow, went down sort of a
• 2:13:53
  right. Fair enough.
• 2:13:54
  Kim Jackson called it a completely joyful romp.
• 2:13:58
  And gave it 10 out of 10. Lovely, lovely stuff, sure, but
• 2:14:01
  sweet action Jackson. And finally, Adam Yates said, I
• 2:14:08
  love this film and. Although it doesn't have the
• 2:14:10
  wow. Factor of many other of my
• 2:14:11
  personal faves. It does exactly what it wants to
• 2:14:14
  do brilliantly. It may be the greatest comedy
• 2:14:16
  horror of all time. 10 Nice, brilliant so gathering all of
• 2:14:22
  our Patreon. Scores together and.
• 2:14:23
  Getting an average out of 10. What do you think?
• 2:14:25
  Shaun of the Dead scored fellas 9.5.
• 2:14:29
  I know it's only round Number. I'd say 10.
• 2:14:31
  Fuck it, but we may not be able to take point fives on the pole,
• 2:14:35
  but we'd certainly. Take point fives when we do our
• 2:14:38
  average scores. So this could be a .5, right?
• 2:14:40
  So it's a 9.5, Yeah, I'll go along with that.
• 2:14:42
  I reckon 9.5 as well. Not quite a full 10.
• 2:14:45
  OK, well, it's good. A rather disappointing 8 point.
• 2:14:49
  58.5 Really. Yes.
• 2:14:51
  Wow, I was surprised. I was expecting a higher.
• 2:14:54
  Score if I'm on a. Champion.
• 2:14:56
  Yeah, that's fine. But you know, that's their
• 2:15:00
  opinion. Opinions.
• 2:15:01
  Vary. So, with hours on the Patreon
• 2:15:07
  scores combined, that leaves Shaun of the Dead.
• 2:15:10
  With a score of 38.5 out of 40, still a big in in Norway by our
• 2:15:16
  3/10. You can go to
• 2:15:19
  alltherightmovies.com/leaderboard. To see where Shaun.
• 2:15:22
  Of the dead fares against all the other films that were
• 2:15:24
  covered so far on the podcast in the last 2 1/2 years.
• 2:15:27
  Ticking along nicely now, fellas?
• 2:15:29
  Been established now, yeah. Established.
• 2:15:31
  Yeah, as mentioned, you can sign up to be.
• 2:15:34
  An ATR and Patreon supporter by visiting.
• 2:15:36
  Patreon.com/all the right movies you get access to all of those
• 2:15:40
  podcasts mentioned at the top have a say in what films that we
• 2:15:43
  cover and the score that they get, and we'd be very happy if
• 2:15:45
  you did that. Yes, pass over the moon, over
• 2:15:48
  the moon. Join us again on all the.
• 2:15:50
  Right movies. Staying on a horror tip in two
• 2:15:52
  weeks time. Matt Pi and myself will be
• 2:15:55
  talking about a film that revived the horror genre in the
• 2:15:57
  90s It's Scream. Brilliant.
• 2:16:00
  I'm happy that it won the Paul Matthew I am You can tell you
• 2:16:04
  are the one doing all the podcast.
• 2:16:05
  Episodes now because it's this horrors made the occasional
• 2:16:08
  gritty 70s film in New York will be thrown in there Yep, I'm.
• 2:16:15
  Looking forward to that one though, that's going to be
• 2:16:16
  great. What a fucking film.
• 2:16:17
  Fantastic, it'll. Be great to get in there.
• 2:16:19
  Loads of stuff to talk about, a whole heap.
• 2:16:21
  Of fun. A lot more references in that
• 2:16:23
  film as well. Yes, huge.
• 2:16:27
  Wes right. We've got the finger on the.
• 2:16:32
  Pulse. It's relevant because the recent
• 2:16:34
  5th installment. The franchise just released will
• 2:16:37
  be perfect time to do it. It is.
• 2:16:38
  Yeah, absolutely. We've tried that with.
• 2:16:40
  The matrix, but the new matrix is.
• 2:16:42
  Fucking dog shit. So it's.
• 2:16:47
  This will be better our most recent.
• 2:16:50
  Patreon exclusive podcast is on big.
• 2:16:52
  Trouble in little. China and Tombstone, the three
• 2:16:55
  of us here recorded that a couple of weeks ago.
• 2:16:57
  It was last week, and we had some big laughs.
• 2:16:59
  So if you aren't already signed up to be an ATRM Patreon
• 2:17:03
  supporter to listen to that and all the episodes instantly.
• 2:17:06
  Great episode, that one. Just worth it just for that one.
• 2:17:08
  I mean, two very similar movies. Yeah, yeah.
• 2:17:10
  Identical. Yeah, it's the same thing.
• 2:17:13
  We'll talk about the same thing twice.
• 2:17:16
  Substitute Chinatown for the old Western United film.
• 2:17:19
  Exactly. Exactly.
• 2:17:20
  On top of all that, we've got another episode of ATRM.
• 2:17:23
  Meets. Out next week, Brendan Benson is
• 2:17:25
  on the show to talk about five of his favorite films.
• 2:17:28
  I'm sure you know Brendan. He's solo artist.
• 2:17:30
  He's part of the rock group The Raconteurs with Jack White.
• 2:17:34
  OK, brilliant, fantastic. So tune in for that in a week's
• 2:17:37
  time. And in between all of that, you
• 2:17:39
  can check out our daily content across social media on Twitter,
• 2:17:42
  we are at AT right movies. Instagram, we are at all the
• 2:17:45
  under score right movies. Search all the right movies in
• 2:17:48
  Facebook for our Facebook group, TikTok.
• 2:17:51
  We are at all the right movies. Subscribe to our YouTube
• 2:17:53
  channel. We've got loads of videos going
• 2:17:55
  up there and they're going up regularly as well.
• 2:17:58
  And our website is all the right movies.com.
• 2:18:01
  So we are off now for a cold pint.
• 2:18:03
  Hopefully there aren't a lot of drug nuts out there running
• 2:18:06
  wild. If not, we'll just wait for it
• 2:18:08
  all blow over. How far we'll just want.
• 2:18:11
  To do a cold tap, yeah, it'll be fine.
• 2:18:15
  We had our interactions. When we went to the Isle of
• 2:18:17
  Wight Barber. Fantastic there.
• 2:18:23
  You go. Thanks everyone, hope you
• 2:18:25
  enjoyed it. Thanks.
• 2:18:27
  Guys. Take care, Bye bye bye.