Latest / All The Right Movies / Sicario (2015) | Ep. 58 - Part 1

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Sicario (2015) | Ep. 58 - Part 1 · All The Right Movies

• 0:04
  All their old movies. What's their objective?
• 0:08
  To dramatically overreact, Kate, you must volunteer for an
• 0:15
  interagency task force. Think very hard before you
• 0:19
  respond. You want to be a part of this.
• 0:24
  Do we get an opportunity of the men responsible for today?
• 0:28
  The men who are really responsible for today, yeah.
• 0:33
  I'll volunteer. Straight shooting FBI agent Kate
• 0:39
  Meser is dragged into a morally ambiguous cross country border
• 0:42
  battle, forming part of the US war on drugs.
• 0:45
  Her two mentors in the field opt for a little information,
• 0:48
  leaving Kate adrift in a foreign land.
• 0:51
  Sicario cemented Denis Villeneuve's place in Hollywood
• 0:54
  as the new Thinking Persons wunderkind director helped by
• 0:57
  three outstanding lead performances this cartel crime
• 1:00
  flick, 1 box office and critical plaudits.
• 1:03
  My name is Luke and the two wolves with me are Westie.
• 1:06
  You're asking me how a watch works.
• 1:08
  For now, let's keep an eye on the time.
• 1:10
  And Matt? No lawyers on this train.
• 1:13
  Just give me the girl. All the right movies are
• 1:16
  dramatically overreacting and making enough noise to be called
• 1:19
  back over to Mexico. Hi everyone, welcome to All the
• 1:40
  Right Movies, a tree shake and chaos creating podcast on
• 1:43
  classic and hit films. Very nice.
• 1:46
  This week we're in the Land of Wolves as we go behind the
• 1:49
  scenes on Dennyville nerves. Modern great Sicario.
• 1:52
  Lovely. A sun drenched nightmare of a
• 1:54
  film. But before we do that, it's that
• 1:59
  time of the show where we tell you being a patron of all the
• 2:02
  right movies. Absolutely the only cartel to be
• 2:04
  part of. Yeah, we won't put you in a VAT
• 2:08
  of acid if you piss us off. Well, maybe.
• 2:11
  Let's see what happens, Matt. Let's make no promises.
• 2:13
  Of course not, we can't. If you are a new listener, you
• 2:17
  know the warmest welcomes. Yes, come on in the Water is
• 2:20
  just fine. This is our classic podcast, and
• 2:22
  only the most recent 25 episodes are available for all to listen.
• 2:26
  The rest are available in our podcast archive now.
• 2:29
  This is episode 114, so there are 89 podcasts just like this
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  that you can listen to by becoming a patron of all the
• 2:37
  right movies. You can do that on Apple's
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  podcast, Spotify, and Patreon. OK.
• 2:41
  Also, if you spot us on Patreon, you can get access to two
• 2:44
  additional exclusive movie podcasts that me and the two
• 2:47
  fellas here create every month and they are double feature
• 2:50
  where we put two films against each other with a thematic
• 2:53
  thread. Yes.
• 2:55
  And then the watch list where we review new movie releases
• 2:58
  generally. Yeah, all fantastic.
• 3:00
  All fantastic, all brand new, all essential I would say.
• 3:04
  Absolutely. Yeah.
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  And there are countless of the benefits of becoming a Patreon
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  supporter of all the right movies.
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  So sign up at patreon.com/all the Right Movies.
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  Or alternatively, it's Apple Podcast and Spotify for the
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  If you can support us, that would be amazing.
• 3:19
  And whichever option you choose, you're in for a hell of a good
• 3:21
  time, no doubt. Yeah, OK, so it's back to the
• 3:26
  Chihuahua deserts and Sicario film that is basically Westy in
• 3:30
  visual form. Of course it was your pick,
• 3:35
  Westie. Yeah.
• 3:36
  Why do you want to talk about Sicario?
• 3:38
  I mean, we're talking about this on Double Feature, yes.
• 3:40
  And I feel like we need to kind of stick with the guns a little
• 3:43
  bit and actually follow through on the promise of putting it
• 3:46
  into a classic episode. Because it warned in that what
• 3:48
  happens is if it wins, it goes into contention for being a
• 3:51
  classic episode. Exactly.
• 3:52
  I should have explained that, but thanks.
• 3:54
  That's why you're here. That's why, Yeah.
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  You know, the creases of my crap logic, and it's absolutely one
• 4:00
  of them films that I keep coming back to.
• 4:01
  I think it's just absolutely fantastic.
• 4:03
  I love the way it just weaves the storyline.
• 4:06
  I love the way it's shot. Obviously it's something we feel
• 4:09
  we've seen a million times, but again, it's brand new.
• 4:11
  Yeah, you know, it's a film that explores things that we've seen
• 4:14
  and over and over again. But he makes it very personal.
• 4:17
  It's a very intelligent film. It's one of them films that I
• 4:20
  really like because it's it's a very slow burn, but you don't
• 4:22
  get it on the first watch. You've got to go back and you've
• 4:25
  got to go back and you've got to go back like 3, maybe 4 times
• 4:28
  until it clicks. I think Emily Blunt's fantastic
• 4:30
  in it, which we talked about in Double Feature.
• 4:32
  Del Toro is incredible in this film.
• 4:34
  Roland's incredible in this film.
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  I love every single thing about it, really, and it's just one of
• 4:39
  the films that I really want to talk about, get in depth with it
• 4:42
  and really explore it. So that's why I've put it up.
• 4:44
  Brilliant. Get in the grooves of it.
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  Yeah, absolutely. Yeah, I saw Where the Flicks
• 4:48
  when it first came out, purely because it was feeling nerf.
• 4:51
  I'd seen Prisoners and Enemy and I was excited about his next
• 4:54
  thing and this kind of review. So I was in there and I did
• 4:57
  leave the cinema feeling a bit let down, like you were saying
• 4:59
  where see demands rewatches. No, it is very intricate.
• 5:03
  Yes it is. Is that a call back to a joke
• 5:08
  from our double? Feature show, but you might have
• 5:10
  to say that they listen back to that one.
• 5:11
  But that's an in joke. It's a little call back.
• 5:15
  I think I was expecting something with a bit more
• 5:17
  action, maybe. Yeah.
• 5:19
  And like you said, we all came back to it a couple of years
• 5:21
  ago. In my opinion of it skyrocketed
• 5:23
  on the rewatch. I think I just needed a bit more
• 5:25
  time with it because on paper, it's just straight up my alley.
• 5:29
  Yeah. And like you said, Westie,
• 5:30
  cinematography is unbelievable. The music makes you feel ill at
• 5:34
  ease for at least two hours after watching the film.
• 5:37
  Yeah, yeah, yeah. And there's some real standout
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  moments. The three leads at first rate,
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  particularly del Toro, who embodies, like, silent terror
• 5:45
  incredibly well. Yeah.
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  I think it's the definition of a modern great.
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  So it deserves our attention, I think.
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  What about you, Matt? Very similar to what you've both
• 5:56
  said, yes. It is about time we kept a word
• 5:58
  about double feature winners actually getting the classic
• 6:01
  treatment. Yes and yeah.
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  For me, Sicario is a film I've done quite a big 180 on over the
• 6:06
  years because I also saw that the cinema and I just wasn't
• 6:08
  that taken with it for whatever reason.
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  I thought it was fine, but nothing remarkable.
• 6:13
  But then other people kept bringing it up in conversation.
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  I kept seeing it on people's lists of the best films of the
• 6:19
  20th century and whatever. And I thought, yeah, there
• 6:22
  probably is something there worth going back to because, you
• 6:24
  know, I didn't dislike it and you don't hear things in it, but
• 6:26
  just that was. Probably me, wasn't it?
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  You were definitely on that list, yes.
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  Keep talking about this one. So I did over time I've gone
• 6:36
  back to it a few times to the point where I started to get a
• 6:39
  lot more out of it and to the point where, you know, it was my
• 6:42
  choice to put it up as a double feature.
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  And when Emily blood episode a couple years ago.
• 6:45
  So just as happy to give her the full deep dive.
• 6:48
  Lovely Zakari was written by Taylor Sheridan, directed by
• 6:51
  Denis Villeneuve and Co produced by Basil Iwanak, Edwin McDonald,
• 6:55
  Molly Smith, FAD and Trent Look and Bill for Black Label Media
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  and Thunder Rd. Productions.
• 7:01
  Largely shot in Albuquerque, El Paso and Mexico City, it was
• 7:04
  distributed by Lionsgate in the theaters on the 18th of
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  September 2015. Emily Blunt stars as Kate Mesa,
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  Josh Brolin as Mcgraver, Benicio del Toro as Alejandro Gillick
• 7:15
  and Daniel Cluya as Reggie Win. OK, so we're on the Mexico US
• 7:19
  border where nothing will make sense to your ears and you'll
• 7:22
  doubt everything that we do, but by the end you will understand.
• 7:29
  The beginning. We open with the literal and
• 7:34
  metaphorical bang in Chandler, AZ were introduced to Kate and
• 7:38
  Reggie's world as the infiltrator drug ring and found
• 7:41
  a very nasty surprise hidden in the walls.
• 7:44
  Over to you to start us off, Westie.
• 7:47
  OK, well, I didn't mention Roger Dickens in the intro, and that's
• 7:50
  probably because I'm going to mention them all the way through
• 7:52
  everything. Else and I.
• 7:54
  Was like, no, I'm just going to kind of push it down.
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  I'm just going to repress that thought.
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  But this opening shot is like, you know, when you're on holiday
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  and you just sit in in the the apartment for a little while and
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  then you go outside and it's like.
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  Oh. How everything's just so like
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  viciously bright, you can kind of make make things out, but
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  it's not overexposed. And then you get them black
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  figures walking into the shot. It's just beautifully
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  contrasted. And I was just straight in.
• 8:19
  I was like, right, OK, this makes perfect sense.
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  It's not an overused color palette.
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  It's beautifully shot. Here we'll go and then we'll cut
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  it inside that vehicle, the SWAT vehicle.
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  I've heard deacons on the podcast say that they couldn't
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  really afford to get the SWAT vehicle and drive it through and
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  have these shafts of light coming through that.
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  I just saw Enigmatic and just so quite the angels on our
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  shoulders kind of thing, which is in the script.
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  So that was actually needed to do that.
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  So what they did is they build this, it's made out of cardboard
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  and they put these strips in the cardboard and there's people
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  rocking the set backwards and forwards, and then they're just
• 8:49
  moving the light through and it's just catching it with the
• 8:51
  haze. Just like they didn't Blue
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  valve. Yeah, it's just unbelievable.
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  But you can tell it's everybody firing on all cylinders here
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  with a budget that they're not necessarily used to.
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  I don't think they used to something this low, especially
• 9:02
  not deacons at this point. And I do think that this is the
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  only of going to him and saying I've seen no countries for old
• 9:07
  men. Can we just have a little bit of
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  that or you know 85% of that maybe do?
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  That. Just do that.
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  And it just goes from visually beautiful to just intense.
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  It's just so loud and just so vibrant and that just going
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  through the wall and you're thinking what's going on here?
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  Absolutely crazy. And it's just this score that's
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  just underneath like this, like the devil's heartbeat.
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  It's just pounding, but just so distant.
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  But it's just, it's awful and it's just, it's just reminding
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  you that there's just something not right before they even come
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  through. We get that great shot of dust.
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  And that's a recurring theme, which I think kind of reflects
• 9:43
  them. And they're ghosts and they're
• 9:45
  just turn up and vanish. And we've got that as a
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  recurring visual theme viability, which works really,
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  really well. But there's just this really
• 9:52
  great moment where it comes to the FBI.
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  He shoots first. You know, everyone's in the
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  right. There's only two guys there.
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  What's he shooting at? There's nobody here.
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  And then there's that moment where it's just then it's a
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  horror film, what is going on and open the wall.
• 10:05
  And then it's just how they're disgusted by the smell.
• 10:08
  And then when that happens and then we get that score again and
• 10:10
  there's just the camera matches that note.
• 10:12
  It just creeps forward. Just people are being sick
• 10:16
  outside. It creeps behind Emily, bloody
• 10:17
  creeps forward. It creeps towards the bodies.
• 10:20
  And you're like, I don't want to see that.
• 10:21
  It's like you're being pulled towards unconveyable.
• 10:23
  You just don't want to come anywhere near it.
• 10:25
  But it's like you're slowly getting pulled into this hell,
• 10:27
  and then we'll get everybody on the scene.
• 10:29
  Everybody's looking through it. Yeah, the guys in the hazmat
• 10:31
  suits are looking through. You get the forensic team in
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  there, which I definitely would have had Cate Blanchett in there
• 10:35
  to do another cameo. Looks like that first.
• 10:38
  Just just for the hell of it. It would have been great.
• 10:41
  But that's just me. Everything, everything wanted.
• 10:43
  Hello. It would have been wonderful
• 10:44
  just to break up the tension here.
• 10:45
  That would have been just for the explosion.
• 10:47
  But then you see they need the ball cutters, something else is
• 10:49
  going on, there's nothing over with.
• 10:51
  And then that explosion hits you like a tonne of bricks.
• 10:54
  Like the sound design on that volume just went, how loud can
• 10:57
  we make it? Well, that's about as loud as
• 10:59
  what we make before people go deaf, right?
• 11:01
  Just do that. Then we don't make anyone deaf,
• 11:03
  but just about there until they do, right?
• 11:05
  Great. It's just so powerfully done, so
• 11:08
  well played. If you don't want to watch the
• 11:10
  rest of this after the opening, you've got a serious problem.
• 11:13
  Without the dead bodies and without the explosion, it would
• 11:15
  still be a bloody good sequence. Oh, absolutely.
• 11:18
  Yeah, those two things under it, I love it when they we need the
• 11:21
  ball cutters and then it cuts to a close up of one of those
• 11:24
  bodies in the walls and you know, that's something really
• 11:27
  bad is. Going to.
• 11:27
  Happen, yeah. A lot of the background
• 11:29
  characters in this scene were taken up by actual SWAT, Navy
• 11:32
  SEAL, and DEA agent, so I think it gives it a certain amount of
• 11:36
  subconscious authenticity. Oh, it really does.
• 11:38
  Yeah. And then because this mission
• 11:39
  has gone so badly, Kate gets pulled in for what she thinks is
• 11:43
  going to be a debrief. And it's definitely got that
• 11:45
  waiting outside the teacher's office vibe, hasn't it?
• 11:48
  Because is this a good thing she's there?
• 11:50
  Is it a bad thing? Did Kate do anything wrong on
• 11:52
  that mission? And it doesn't seem like, but
• 11:55
  who knows for these people, how they take these operations look
• 11:57
  all like this, too. And it's interesting when they
• 11:59
  start talking about her suitability for the mission, how
• 12:02
  quickly Matt, which is Brolin's character, jumps to a positive
• 12:06
  opinion of her suitability. But he completely dismisses
• 12:09
  Reggie my often accord about no lawyers on this train because
• 12:12
  even though Reggie would get totally sooner 2 of Iraq, the
• 12:15
  fact that he has a law degree and that's a negative format
• 12:17
  that's extremely telling what Matt knows they're going to be
• 12:20
  doing once the cross the border. He Matt's body language changes
• 12:23
  when he hears that and he's shot from the back and he just goes,
• 12:26
  oh, that's, that's why. He can't see his face.
• 12:28
  Brilliant. Yeah.
• 12:29
  And then when kid goes into the office and starts talking,
• 12:31
  there's, there's such a definite Silence of the Lambs field of
• 12:34
  this as well. When she steps in that room and
• 12:36
  it's her POV and they're all looking at it.
• 12:38
  It's like that sort of Cleese going into the elevator, which
• 12:41
  is run by all the male FBI agents.
• 12:43
  And then those POV shots looking directly at her and it just
• 12:46
  continues to be disoriented and without no.
• 12:48
  And to see like all the information that gets thrown at
• 12:51
  all she can say is, well, I'm not Privy to that.
• 12:53
  And I'm not Privy to that either.
• 12:54
  I don't know, Yeah. I don't know.
• 12:56
  Yeah, Still has no idea why she's there.
• 12:58
  And then when Matt thoughts that question at it if she's married
• 13:00
  or has kids. And I think it's such an
• 13:02
  interesting question because she bristles at it immediately.
• 13:05
  But isn't that being casually sexist here?
• 13:07
  Also trying to work out what kind of leverage the cartels
• 13:10
  would have over if they got hold of her or even more sinister, if
• 13:14
  she does disappear, who would be asking questions about the
• 13:17
  implications? Yeah, What are the implications?
• 13:19
  Which is never answered throughout the film.
• 13:21
  So I. Think it's all of them things.
• 13:22
  To be honest, yeah, quite possibly.
• 13:24
  Fair. Yeah.
• 13:25
  I mean, would you ask if he did one Reggie Long?
• 13:27
  Would he have asked Reggie if he had a wife and kids?
• 13:29
  Maybe, maybe not. So it's left ambiguous, which I
• 13:32
  like a lot. And then it's just kids set up
• 13:34
  for the rest of the journey. She's on the journey.
• 13:36
  She doesn't know what the journey is kind of idealistic
• 13:39
  blue eyed approach to. I want to get the people who
• 13:42
  created this mess that I was in this morning.
• 13:44
  Yeah. No questions asked or no
• 13:46
  questions answered, which I think that's quite important.
• 13:49
  Yeah, yeah. I mean, just putting trust in
• 13:50
  the people higher above her. And I think that's a mistake.
• 13:53
  And that's what we all. Do you would do naturally.
• 13:55
  Wouldn't you put, you put trust in your government, don't you?
• 13:57
  That's what the whole, that's what the film is trying to say
• 13:59
  is you don't quite know what's going on and you take an oath to
• 14:01
  it. You go, okay, yeah, I'll trust
• 14:02
  you. But behind the scenes, it's a
• 14:04
  lot darker than you think. Very much.
• 14:06
  And then when she gets on the plane, I love that Matt, not
• 14:09
  this Matt. Matt Graver, played by Royal.
• 14:12
  But you do love me. Yeah, yeah, I love you as well,
• 14:14
  Matt. Yeah.
• 14:15
  Don't, don't get that wrong. I love that Gravey introduces
• 14:20
  Alejandro from afar to Katie said.
• 14:22
  That's my bird dog over there, Alejandro.
• 14:24
  But you don't know that it's del Toro until he comes on the
• 14:27
  plane. Yeah, there's nothing given by
• 14:29
  way of explanation from Graver, who just curls up and goes to
• 14:32
  sleep like a dog. And he leaves Kate in the
• 14:36
  presence of this stranger who tells her that they're going to
• 14:39
  Juarez, which basically means you're going into the war zone.
• 14:43
  Terrifying. Yeah, and very confusing from
• 14:45
  our point of view. Kate knows.
• 14:47
  As little as we do. And in this scene, Alejandro
• 14:50
  wakes up in a panic, but we never specifically find out why.
• 14:54
  But in the original screenplay, there was a nightmare sequence
• 14:56
  where Alejandro was tied to a chair by his wrist while his
• 14:59
  daughter was being put in a VAT of acid and his wife's head was
• 15:02
  cut off. DMA Yeah, yeah.
• 15:04
  I mean, if you listen closely, you can hear the screams of his
• 15:07
  wife and daughter underneath the sound of the engines of the
• 15:09
  plane, which I didn't really notice until maybe 4th of.
• 15:12
  It's very, very subtle, but it's there.
• 15:14
  Brilliant. It is so pleased they didn't
• 15:16
  have that though. I love the ambiguity of it all,
• 15:17
  the mystery of it. It's.
• 15:18
  Better left unsaid or unseen that yeah.
• 15:21
  Definitely, yeah. That sounds like a soul film or
• 15:24
  something that's too much too gross.
• 15:26
  Yeah, but I mean, the way then you would have done it, I don't
• 15:28
  know. I have absolutely no idea what
• 15:30
  that would have looked like. I think that the way that Taylor
• 15:32
  Sheridan wrote it though, would have been a little bit too on
• 15:35
  the nose. It would have been very, very
• 15:37
  much, yet very graphic. Yeah, When Alejandro wakes up, I
• 15:40
  love that he composes himself, Kate says, are you all right?
• 15:43
  And he takes a moment. He goes, yeah.
• 15:46
  Fine. Yeah, just completely
• 15:48
  unflappable. Yeah.
• 15:51
  When Kate asks if there's anything she should know, you're
• 15:54
  quote at the top. Westie, I on this is you're
• 15:56
  asking me how a watch works? For now, just let's keep an eye
• 15:58
  on the time. Yeah, it's a great line.
• 16:01
  It could have been a little bit cheesy had it not been for the
• 16:05
  tone that Phil Nerve brings to the whole film, because there's
• 16:07
  a couple of lines like that. I think, well, that's really
• 16:09
  good, but it could have been judged very badly.
• 16:12
  It could have been. It could have backfired.
• 16:13
  And when he says that to Kate, she's completely incredulous.
• 16:16
  She just looks at him in silence for a while and it's almost
• 16:19
  laughable how much little information she's she's being
• 16:21
  given. She's like, really?
• 16:24
  OK. Yeah, and this is what we're
• 16:27
  going to expect for that, Alejandro, For the rest of the
• 16:29
  film, you don't say much, but what he does say absolute
• 16:33
  zingers, every one of them. Fantastic.
• 16:35
  Story. So it's just immediate unease
• 16:38
  from the opening sequence. Something doesn't quite feel
• 16:40
  right and like it. We're completely in the dark,
• 16:47
  Matt and Alejandro touched down, and answers continue to be out
• 16:50
  of reach. Matt, you're picking up here.
• 16:52
  I am this mission brief in Texas.
• 16:55
  Blunt is so excellent in the scene it tipping us off to all
• 16:59
  the red flags that are going up for KT.
• 17:01
  Yet Alejandro in this scene pretty much just ignoring
• 17:04
  everything being said about the mission.
• 17:06
  Just checking his phone. Yeah, it's like main a work
• 17:08
  meeting like what like do. You want that on record.
• 17:14
  Maybe not. I do not.
• 17:17
  Like none of this is concerning to him and why?
• 17:19
  Why is no one paying attention to him at the same time or Oscar
• 17:22
  name his opinions? It's like, it's like no one else
• 17:25
  can see him in the room. Possible, isn't he?
• 17:27
  He is because. Like when everyone gets up at
• 17:29
  the end of it, he just stays in the seat and she tries to
• 17:32
  question him and gets the bare minimum out of him before he
• 17:35
  essentially tells us. That.
• 17:36
  Kind of your quote from earlier, Luke.
• 17:37
  You won't understand anything anyway.
• 17:39
  And then he just walks out. Yeah.
• 17:41
  But before that, there's just this moment where Vein left just
• 17:44
  holds the camera on her face. And Emily Blunt, she doesn't
• 17:48
  blink, she just slightly inclines ahead, taking it all
• 17:51
  in, but without any dialogue. You know all the.
• 17:53
  Thoughts were went through her mind at that moment, Yes, making
• 17:57
  jokes of the fact that once the bullets start flying, they'll
• 18:00
  behind behind the Deltas. What has she got herself into
• 18:03
  here? And she has never looked more
• 18:06
  out of place than when that Delta guy who was sat next to
• 18:08
  her just moves past her and like, she's got obviously got
• 18:11
  this slender frame and he is like a man mountain next to it.
• 18:15
  So there's a lot of questions, not many answers.
• 18:18
  And either the ones she does get the not particularly satisfying.
• 18:21
  But yeah, this for me, it's one of Blunt's finest moments.
• 18:24
  Just from, from what she doesn't say being, you know what she's
• 18:26
  thinking anyway. Yeah, mix mismatch of the team
• 18:29
  as well. It's that picking mix of people,
• 18:31
  isn't it? Yeah, and those guys, I mean, if
• 18:33
  they need to do a like a Predator remake, then just cast
• 18:36
  those guys because they're all just massive.
• 18:40
  But nonetheless, she hasn't got answers.
• 18:41
  She continues down to Juarez. And this car journey is is just
• 18:46
  it's a stand out for the film for me.
• 18:48
  It's absolutely stunning. A2 de force a filmmaking, huge
• 18:52
  wide vistas in those overhead shots, almost like we're looking
• 18:55
  down on Mexico judging it. That big long tracking shot over
• 18:59
  the border is magnificent. It just highlights just how huge
• 19:02
  the operation is to keep everything at Bay on that border
• 19:06
  crossing. Then when we get down to Mexico,
• 19:08
  that image of the hanging, dead naked bodies is just chilling.
• 19:13
  Yeah, it really is. Yeah.
• 19:14
  There's a banner above them. One of the things it says is
• 19:17
  we're watching you. I don't doubt it.
• 19:19
  For a second. Yeah, it's not down the guy.
• 19:22
  He's just so in awe of it. It's great what they do.
• 19:24
  Yeah. Wow, terrifying make they make
• 19:28
  you think they've done something wrong, but that probably haven't
• 19:30
  and they're just random people, but it makes you scared like
• 19:34
  just it's. Terrifying.
• 19:35
  It's really it's like a scene from a horror movie.
• 19:37
  It is. The intensity of this sequence
• 19:39
  is almost unparalleled, certainly from what is basically
• 19:42
  just a car ride with very little dialogue and no apparent threat.
• 19:46
  Yeah, yeah. Apart from the dead naked
• 19:49
  bodies, of course. Yeah, apart from that, yeah,
• 19:50
  when they are moving, it's fine. It's when they stop and you're
• 19:53
  like, what the stop for? Alejandro here when he's in the
• 19:55
  car with Kate. Another zinger.
• 19:57
  Keep an eye out for the state police.
• 19:58
  They're not always the good guys.
• 20:00
  So who the fuck is then? Are.
• 20:03
  We the good guys and then when they pick up Guillermo and then
• 20:06
  they leave Juarez, there's some incredible long distance wide
• 20:09
  shots of the motorcade and these provide such a huge sense of
• 20:13
  full boarding. That banner earlier is right.
• 20:16
  They are watching us. It's as if these cars are being
• 20:18
  tracked by the binoculars. It's incredible.
• 20:21
  Filming in Juarez would have been obviously far too risky for
• 20:24
  the cast and crew considering drug cartels that are active in
• 20:27
  the city. Making a film about the war on
• 20:29
  drugs in this hotbed cartel land probably isn't the smartest
• 20:32
  idea. So instead the shots 1100 miles
• 20:36
  away on the outskirts of Mexico City, where it was much safer.
• 20:39
  But film and location was essential for the film, Deacon
• 20:42
  said. This has to be another world.
• 20:45
  It's key to the character of Kit.
• 20:46
  It's got to be totally alien to her experience.
• 20:49
  Bill, you said the Scouts found this place in Mexico City.
• 20:52
  It was really close to the reality of Juarez, the wide
• 20:54
  streets, those shopping centers, the architecture, the poverty.
• 20:57
  Mexico City is like an urban monster.
• 20:59
  It certainly looks like it. It's huge, it's intricate, it
• 21:02
  dominates the screen. It's full of decay.
• 21:05
  It's terrifying. It's not a great advert for
• 21:07
  tourism or for Mexico City, is it?
• 21:09
  It isn't. For that.
• 21:12
  Matter. There's a message in the hill
• 21:14
  surrounded Juarez and it translates to the Bible is the
• 21:18
  truth read. It Yeah, Yeah.
• 21:20
  Great. So now we've already felt a
• 21:22
  little bit of tension. We can see that there's a car
• 21:24
  tracking them. Everyone leaves them to kind of
• 21:27
  go towards the border. They think that they've got a
• 21:29
  lane open, but they don't. Yes.
• 21:31
  So now they're just trying to get through as quickly as
• 21:32
  possible. And you hear over the radio as
• 21:34
  the portal would stop. It's a fuck up what we're going
• 21:37
  to do now. And the great thing about this
• 21:40
  scene, the great thing about this sequence is it should be
• 21:42
  studied in film school. And I think it probably is
• 21:44
  because I haven't been for a while.
• 21:46
  But it's just the way that this is set up, the way that it's
• 21:49
  blocked, the way that the acting works, the shot choices and the
• 21:52
  sound design and everything the film you've puts in there to
• 21:55
  accentuate this build of tension.
• 21:59
  Because everything that we need to hear that's important is on a
• 22:02
  radio that can say we'll unclear.
• 22:04
  Now it's you're like, what? What did he say?
• 22:06
  Shit. But we are so in this
• 22:08
  environment that's hard to hear and it's hard to focus and it's
• 22:12
  hard to know where we're looking.
• 22:13
  And Emily Blunt is us in this situation.
• 22:15
  Get out of the car. No, she doesn't.
• 22:17
  She just moves over the other side.
• 22:19
  Like, what the fuck's going on? It makes perfect sense.
• 22:21
  You know that dog bargain that doesn't need to happen, but it's
• 22:25
  wonderful that it does because you moved over and there's
• 22:27
  nothing worse than something that you can't stop immediately.
• 22:29
  You can't just go over that dog and say, oh, come on, like give
• 22:33
  it a break. You know, it's not like 5 easy
• 22:35
  pieces waiting to go over the top, bark in its face.
• 22:38
  But it's just then you hear like, OK, red Impala, 2 lanes
• 22:41
  over my 10, right? And I'm thinking fucking always
• 22:44
  10:00 there's 12 right already. I'm dead, so I'll be rubbish.
• 22:48
  And then it's the green civic, 2 lanes over.
• 22:51
  And then 100 just puts his gun behind Kate and says, just put
• 22:53
  your window down. And there's this really great
• 22:55
  moment in the cinematography as that window comes down.
• 22:57
  You hear the sound. It just illuminates his face a
• 22:59
  little bit, a tiny, tiny bit. If you watch it again, like he's
• 23:03
  starting to realize what's going on on.
• 23:04
  We're starting to realize what's going on.
• 23:06
  And then over the radio, they actually say they can see our
• 23:09
  lane clear and if it's coming, it's coming now.
• 23:12
  Wow. Which if we actually heard that
• 23:14
  and somebody said that, it would remove all the tension
• 23:17
  completely because you're like, right, OK, I know what to
• 23:19
  expect, but puts it over the radio and keeps it on the sound
• 23:21
  design. And then the no, if you know, if
• 23:24
  they move, you move. If they engage, you engage.
• 23:26
  That's all of the information that's been given over the
• 23:28
  radio. Like everything's there for me
• 23:30
  to make you feel calm. But it's all kept at arm's
• 23:32
  length. And as soon as they open that
• 23:34
  door, they are out the car. They are out of that.
• 23:37
  If they leave, you leave. So as soon as that, just keep an
• 23:40
  eye on the handles. As soon as the handles turn,
• 23:42
  they're there and they're just surround these cars and they
• 23:44
  know exactly what they're doing and it's just bang, bang, bang,
• 23:46
  put them down. They actually want to kill them.
• 23:48
  They want them out of there. It's just so precisely done.
• 23:51
  And then my kid sees that the state police in the mirror.
• 23:54
  And then you get that flashback of what Halohanno said is
• 23:56
  they're known always the good guys.
• 23:58
  She spins around, she shoots him, but it's only when she sees
• 24:00
  them in the mirror and the reflection and what we see from
• 24:02
  her point of view. I think it's just absolutely
• 24:04
  wonderfully done, wonderfully executed.
• 24:06
  And them jumping in the boot as well to cover them from the back
• 24:09
  as they leave. And you know that the safety.
• 24:12
  And then when they drive into the compound and you get that
• 24:14
  incredible wide shot where they're arguing about it when
• 24:16
  they've got Gleam on the car and they know they're going to have
• 24:18
  to try and get them over the border from that moment to when
• 24:20
  they arrive back. That is an absolute lesson in
• 24:24
  how you create tension and how you deliver and how the audience
• 24:26
  can't really recover from it for the rest of the film.
• 24:29
  It's incredible. It's an unbelievable sequence,
• 24:31
  so tense. And there's that wonderful last
• 24:34
  line as well. This is going to be on every
• 24:36
  front page of every newspaper in America.
• 24:38
  Won't even make the papers in El Paso.
• 24:40
  Yeah, this happens all the time. You've just seen it and nobody
• 24:44
  cares. Yeah, it's striking that they
• 24:46
  just leave, what, 810 dead bodies and just get.
• 24:49
  The hell out of there. Yeah, it's so good.
• 24:52
  It's so, so well done. And just like not filming in
• 24:55
  Juarez, shooting at the Mexico USA border crossing would have
• 24:59
  paused far too many problems. It would have holded traffic
• 25:02
  considerably and posted a significant security threat.
• 25:05
  So a recreation of the Bridge of America's was constructed in the
• 25:08
  parking lot in Albuquerque. Nice.
• 25:11
  I mean, it scans, it looks, it looks legit, it looks genuine.
• 25:14
  Really does it. Really does design, yeah.
• 25:17
  So an intense hair is and hop across the border and back again
• 25:21
  and an outstanding first act in security.
• 25:24
  Unbelievable. The director.
• 25:31
  The man who's gone from strength to strength since making this
• 25:33
  film, but he also had been making movies for 15 years
• 25:36
  before it. Denny Villeneuve is the man
• 25:38
  directing, and Matt is the man to talk about it first.
• 25:41
  Take it away, Matt. I think ruthless is the word
• 25:44
  that comes to mind when I think of his work here, because
• 25:47
  everything's very paired back. Everything is stripped to the
• 25:50
  most basic of essentials. There's no scene that has
• 25:53
  anything that it doesn't need in it.
• 25:55
  And as a result of that, there's this level of tension that runs
• 25:58
  through the film and it pretty much doesn't relent from first
• 26:01
  scene to the last. Like even in the scenes of
• 26:03
  dialogue, the tensions in the background because our main
• 26:06
  characters in a foreign country where she doesn't understand any
• 26:08
  of the customs or to be honest, anything that's going on.
• 26:12
  And I think V Love deserves immense credit for sustaining
• 26:15
  that tension. Every scene feels clipped.
• 26:18
  There's no fat here. He doesn't let any scene
• 26:20
  outstairs welcome. Nothing drags because that's the
• 26:23
  pace the film needs. If the film had a slower pace, I
• 26:26
  think it might be a bit pretentious, a bit self
• 26:28
  indulgent, but feeling love never lets it get there.
• 26:30
  And all the set pieces that we've talked about, and we'll
• 26:33
  talk about the half this energy to them.
• 26:35
  Like when you've twanged a guitar string, but you're still
• 26:37
  holding the note down and you're getting as much out of it as you
• 26:40
  can. So yes, the infants from the
• 26:43
  likes of Traffic, French Connection, they are very clear
• 26:45
  here. But all the same, it's got a
• 26:47
  level of control from feeling of where he rings every last drop
• 26:51
  of tension that he can out of it making food and you squeeze in a
• 26:53
  lemon because you need some lemon juice.
• 26:55
  That lemon is absolutely born dry by the end of the.
• 26:58
  Yeah, yeah. I've mentioned in the previous
• 27:01
  sequence that the shot choice and the camera coverage feel
• 27:04
  like Matt, Kate and the rest of the motorcade that they're in
• 27:06
  are being tracked in Juarez, and there's nothing that confirms
• 27:09
  confirms that other than just the visuals.
• 27:11
  And this is Denis Villeneuve all the way through.
• 27:14
  He doesn't spoon feed us with exposition.
• 27:16
  There's very, very little of it. And when we do get it, it's
• 27:19
  gradual and reluctantly provided generally by Matt.
• 27:22
  Not this Matt, of course. We don't need to know about
• 27:25
  Kate's back story or a divorce. It's right there in her face, in
• 27:28
  her performance, in her physicality, the way she's
• 27:30
  framed. Phil Nerf frames Alejandro in a
• 27:32
  way that makes him a formidable killer not to be messed with,
• 27:35
  but also a man of sensitivity and values and own.
• 27:39
  Get that from the visuals and the physical performance.
• 27:42
  The only dialogue that I pick up in this film are those zingers
• 27:45
  that we talked about that Alejandro and Matt have.
• 27:47
  Otherwise, it may as well be a silent film.
• 27:51
  Turn down the volume and you'll see just how visual Villeneuve
• 27:54
  is. And yeah, there are those
• 27:56
  incredible shots of the landscape we'll talk about more
• 27:58
  than when we get to Deacons, but Villeneuve strips away all the
• 28:01
  unnecessary dialogue and takes you through this film and tells
• 28:04
  you what's going on by sight alone.
• 28:06
  It's it's an incredible skill. Also, the costume design tells
• 28:10
  its own visual story. Kate is clad in blue at the
• 28:12
  start, the blue of the law, the good guys.
• 28:15
  But then her T-shirt choices grow increasingly lighter as the
• 28:19
  film progresses, and by the end she's wearing a white shirt, as
• 28:22
  if the Do the Right Thing attitude has been completely
• 28:24
  washed away. Yeah, Reggie mentions that as
• 28:27
  well. It's like 1 shirt a week.
• 28:28
  Yes, he does. Yeah, brilliant.
• 28:30
  Yeah, she needs a new bra though.
• 28:31
  She do it? Well, that's a lazy number,
• 28:33
  yeah. A lazy number.
• 28:37
  And considering we're talking about feeling those visuals, it
• 28:39
  seems appropriate that we introduce our first Patreon
• 28:42
  question. OK.
• 28:43
  We mentioned at the top there are many benefits of becoming an
• 28:45
  ACRM patron, and this is one of them.
• 28:47
  You get the chance to ask a question for the film that we're
• 28:49
  talking about. Our first question is from
• 28:52
  Andrew Walton. Hello, Andrew.
• 28:53
  Hello, Andrew. Andrew says I think Denis
• 28:55
  Villeneuve has the best eye in cinema right now.
• 28:58
  What are the directors do you think offer the most
• 29:00
  jaw-dropping shots? He also says love the pod.
• 29:03
  Thanks for all the great episodes.
• 29:06
  Thanks man. No problem.
• 29:07
  Thank you, Andrew. Thank you, Andrew.
• 29:09
  Westie, other directors and jaw-dropping shots.
• 29:13
  I mean, how long have you got this question, isn't it?
• 29:16
  I mean, it's the reason I started, you know, really
• 29:19
  watching films, getting into films because of the visual
• 29:21
  medium of it. And then I started to appreciate
• 29:23
  the sound design and how that all tied together, then
• 29:25
  soundtracks on top of it and how that ties together the visuals.
• 29:27
  It is a visual medium. It's how it started.
• 29:30
  So I'm not going to get all, you know, pretentious and be all,
• 29:32
  well, it needs to be there. So it needs to be that.
• 29:34
  So I've got a few, and I think a few that if people don't know
• 29:37
  listening to them, then they can check them out.
• 29:39
  But for me, these are just my personal kind of five that I
• 29:42
  just think I always come back to.
• 29:44
  And I always say if it wasn't for these guys, then I just
• 29:47
  wouldn't be interested in watching films.
• 29:49
  I mean, the first one to me is Kubrick.
• 29:51
  You talk about the shine in 2001, Barry Lyndon.
• 29:54
  Even if it's not a film for everybody, but visually it's
• 29:56
  absolutely stunning. Paul Thomas Anderson for me, I
• 29:59
  think is overlooked for his visuals and to look at There
• 30:01
  Will Be Blood is so influential and Boogie Nights as a debut is
• 30:05
  ridiculous. How visual?
• 30:07
  For me a big influence is Terrence Malik.
• 30:09
  I think Days of Heaven, Tree of Life, Badlands, any of them for
• 30:14
  Vista is always going to Live. But two that are really I think
• 30:17
  influential to the directors that I've just mentioned and
• 30:20
  especially the only of as well as Kurosara.
• 30:22
  I think if you look at Ron, you look at 7 Samurai, look the way
• 30:25
  frame shots wasn't a lot of moving camera.
• 30:27
  There wasn't a lot of technology around where they could move the
• 30:30
  camera. So everything's it does have
• 30:32
  this kind of really epic feel. And Tarkovsky for me, if you
• 30:35
  look at the Sacrifice Solaris stalk.
• 30:38
  Solaris, yeah. Just beautiful, absolutely
• 30:40
  beautiful visual filmmaking. So I'll go with them five and
• 30:43
  I'll stop there. OK, well, very restrained again,
• 30:46
  Wes. Thank you.
• 30:47
  I could have gone on. That's fine.
• 30:51
  You know, it doesn't pain me to say it, but I'm going to say it
• 30:54
  pains me to say it. From a visual point of view, you
• 30:56
  can't go too far wrong with Chris Nolan.
• 30:59
  I'm not maybe the biggest fan of his work, but I think his
• 31:02
  composition work is outstanding and I kind of had in mind people
• 31:06
  working now, and I know obviously Scorsese is working
• 31:09
  now. I try to give it a bit more of a
• 31:11
  more contemporary edge. However, I have thrown in Ridley
• 31:14
  Scott as well because I just instantly think visuals.
• 31:17
  I mean, he just doesn't he sleep now, doesn't he?
• 31:19
  Glad you get it too. Yeah, just whatever.
• 31:20
  Yeah, I do. That's fine, you just dropped
• 31:22
  now 3 hour epic because I think there's three. 100 years old.
• 31:25
  I'll just do Gladiator 3. That's fine.
• 31:27
  I'm bothered forever. That's ridiculous.
• 31:31
  I think Guillermo del Toro is such a unique eye, particularly
• 31:34
  from a fantastical point of view, and to break from the
• 31:37
  pack, I'm going to throw in a young filmmaker who I'm excited
• 31:41
  to see more of. She's called Akasha Stephenson.
• 31:44
  She directed the first Omen. Not.
• 31:46
  The original Omen from 1976. The first Omen, which was the
• 31:49
  prequel which came out a couple of years ago.
• 31:51
  Yeah, Goodfell. That could have gone down a more
• 31:54
  familiar route of throwaway legacy horror sequels, but I
• 31:56
  think she brings something unique to the table.
• 31:58
  I think her visuals were a standout and stayed in my head
• 32:00
  for four weeks after, so I'm expecting big things from her in
• 32:03
  the future. Brilliant for you to be
• 32:05
  impressed with that as well. I mean, you're a man to
• 32:07
  impressed with that because you're immediately going in
• 32:09
  there wanting to hate it. Yeah, yeah.
• 32:11
  Come on. Come on.
• 32:12
  Come on, let's see what you've got.
• 32:13
  OK, go on. Actually, that's quite good.
• 32:14
  Yeah, that's good then. Actually, that's amazing.
• 32:16
  If you. Yes.
• 32:20
  So yeah, Cash Stevenson. And if you haven't seen the
• 32:22
  first omen, go for it. Don't.
• 32:24
  Be put off, It's good. And Matt, what about you?
• 32:26
  jaw-dropping visuals? Who do you like?
• 32:28
  I've also tried to keep it more contemporary and a thought about
• 32:32
  people who maybe don't get as much attention as some of the
• 32:34
  big names, but who I wanted to kind of give a bit of a shout
• 32:37
  out to. I think Chad Teleski, who's made
• 32:40
  all the John Wick films. Obviously you think of those and
• 32:44
  you think the action sequences in the choreography book, the
• 32:46
  way it's filmed, the way it's lit.
• 32:48
  He has created such a distinct visual sense in, I mean, one
• 32:52
  genre, one sub genre, really one franchise, which I think is
• 32:55
  pretty incredible. I think.
• 32:57
  I mean, Wesley will definitely agree with me on this, but
• 32:59
  Robert Eggers as well. Just his.
• 33:02
  Films look like nothing else at the moment.
• 33:04
  Again, just so completely unique in his world, somebody who
• 33:08
  hasn't made a film for a while but he's still around.
• 33:10
  Hopefully he'll make something soon.
• 33:11
  Is there one call Y who's made films like In the Mood for Love
• 33:15
  2046? Tracking Express doesn't mean
• 33:17
  very small scale in the Edmund films.
• 33:20
  Absolutely beautiful. Done.
• 33:22
  Beautiful. Beautiful stuff.
• 33:23
  I want to give a shout out to George Miller as well.
• 33:26
  Just the way he can action big GM the best.
• 33:29
  George Best shot like George Miller.
• 33:31
  Exactly. And then the last one, I suppose
• 33:37
  like your last choice, Luke, somebody who kind of I'm hoping
• 33:39
  will go on to bigger and even better things.
• 33:42
  But Rose Glass, who's made See It, Mod and then Love Lies
• 33:46
  Bleeding, very different films, but both have got such a unique
• 33:50
  visual sense to both them. So I'm very excited to see what
• 33:53
  Rose Glass will do in the future.
• 33:54
  Very much, yeah. I like those two films a lot.
• 33:57
  Yeah. Wonderful.
• 33:58
  OK. Well, thank you very much for
• 34:00
  the question, Andrew. I hope you.
• 34:01
  Like. Our answers.
• 34:02
  Bringing it back to Denny Villeneuve, Westie, your
• 34:05
  thoughts on him as director on Sicario?
• 34:07
  I mean, I really rate him as a director.
• 34:09
  I think he's just a very honest human being.
• 34:11
  And I think his films are very honest.
• 34:13
  I mean, if you read the screenplay, he's gone through
• 34:16
  that screenplay and said, I'm not doing that, I'm not doing
• 34:18
  that, I'm not doing that. He loves mystery.
• 34:20
  And I think real life is about mystery.
• 34:23
  You don't know everything that's going on.
• 34:25
  And the more that you interpret in your mind, the more crazy you
• 34:29
  get by just trying to get your version of the story and your
• 34:32
  version of what's going on. And I don't, you don't see
• 34:34
  everything that's laid down. And I think he loves that,
• 34:38
  especially in this film. He loves mystery and he loves
• 34:40
  illusion and he loves allusion. And he loves to say, well, is
• 34:44
  that what I'm talking about or is it not?
• 34:46
  That's up to you. That's up to the audience.
• 34:48
  And he definitely has a vision for this.
• 34:50
  And the vision that I get from this is that he's going to hold
• 34:52
  these cards close to his chest and play what he wants to.
• 34:56
  And what I respect mostly from watching this film again and
• 34:58
  again and again, is that he never shows his full hand.
• 35:01
  He's got 5 cards and he always shows you 3.
• 35:04
  Every time you go back the film, you see a different set of
• 35:06
  three. You never see the full 5.
• 35:08
  It's got so much confidence and so much, I don't care what you
• 35:12
  think about this. This is the film I'm making kind
• 35:14
  of vibe to it. I just really love that.
• 35:17
  I really, really love it. I love the fact that he's pulled
• 35:19
  influences from, You know There Will Be Blood.
• 35:21
  He's pulled in massive influences from the corns with
• 35:23
  this, you know, especially in the right.
• 35:25
  And he just, he's taking the Taylor Chariton script and just
• 35:28
  went and turned that no cover of the script by deleting about
• 35:30
  your 30% of it, just getting rid of that.
• 35:32
  And we're going to make it mysterious and it is what it is.
• 35:34
  It ends like No Country for Old Men and exactly the same.
• 35:37
  It's just got this real ambiguity to it and I love that.
• 35:39
  I think he's an incredible director.
• 35:41
  I'll always stand with him. Yes, he does get a little bit
• 35:43
  above his station sometimes, but everything he produces is really
• 35:46
  interesting. It's really engaging, it's
• 35:48
  really powerful and it's really necessary cinema.
• 35:51
  Great work. You can tell how much you
• 35:52
  control he's got of the whole thing.
• 35:54
  Yeah, he just knows what it's going to be, but he knows what
• 35:56
  it's not going to be. Which is more important?
• 35:59
  Very much. And it's not going to be Taylor
• 36:00
  Sheridan script. No, that's what it's not going
• 36:02
  to be. No, it's not in.
• 36:04
  His previous film was Prisoners, which as we said, also shot by
• 36:07
  Roger Deakins, and Deakin said both films belong to the same
• 36:11
  cinematic alphabet. As he described it, both the
• 36:14
  movies wanted to embrace nature and he switched the dog to
• 36:17
  pressing fall light for the harsh light of the Chihuahua
• 36:19
  desert, he said. It was very harsh, very cruel
• 36:22
  sunlight. Cinematic alphabet.
• 36:24
  I'm stealing that, and going forward, if we cut that bit out
• 36:26
  and then I'm just going to read yeah, in future episodes.
• 36:29
  People don't know that Deakins have the annotator.
• 36:32
  That's great. It is great Phil Nerf was
• 36:35
  motivated to direct Sicario as a geopolitical commentary, the
• 36:39
  impact of politics and international affairs on
• 36:42
  geography. He took particular inspiration
• 36:44
  from the likes of Zero Dark 30 and The Hurt Locker with I think
• 36:47
  you can see that in the colour palette.
• 36:48
  On the Hurt Locker, definitely. He just cooks to a wide shot for
• 36:51
  seemingly no reason. Yeah, OK.
• 36:53
  Yeah. That's right.
• 36:55
  That's. Yeah.
• 36:56
  So Phil Nerf proven that he's got the goods to pack up his
• 36:59
  burgeoning reputation with Sicario.
• 37:01
  Expertly played. Absolutely.
• 37:06
  The cast. A real strong three horse race
• 37:11
  in the cast. The morally questionable father
• 37:14
  figures are coming up. But sat right between them is
• 37:17
  the idealistic FBI agent Kate Mesa.
• 37:20
  And we've got just the man to talk about her incredible
• 37:22
  performance. Matt, over to you.
• 37:24
  Yes, excellent. Like she always is.
• 37:27
  Of the bad Emily Blunt films, probably not that many, but
• 37:30
  some. But of the bad Emily Blunt
• 37:32
  performances? Never.
• 37:34
  Never. I mean, if anyone isn't a paid
• 37:36
  1, sign up and you can hear us talk about this and A Quiet
• 37:40
  Place, where we go into both of her performances, but this is
• 37:44
  one of her very best. And the interesting thing about
• 37:46
  Kid as a character is she spent so much of this film as a
• 37:49
  reactive character. She's not driving the narrative.
• 37:52
  She's long for the ride because she is the audience.
• 37:55
  She's representing us. And if she's confused about
• 37:57
  something and in the dark, we should be in the dark and
• 38:00
  confused at the same time a lot of the times.
• 38:02
  We don't see things until she sees things, right?
• 38:04
  Exactly. Yeah.
• 38:05
  Exactly. And if she gets disturbed by it,
• 38:08
  that tells us, well, we need to be disturbed by it because if
• 38:10
  it's freaking her out, it should definitely freak us out as well.
• 38:13
  I mean, we've talked about the drive over the border in New
• 38:16
  Mexico. So much of that is just down to
• 38:18
  her facial reactions, again, with no dialogue, not seeing,
• 38:22
  but every thought again, what am I doing here?
• 38:24
  What's going on? Who's this guy?
• 38:26
  Why am I involved? And the other interesting thing
• 38:29
  is the fact that she's leading this film as a female character
• 38:32
  because they in the wrong hands with the wrong bit of casting,
• 38:35
  with the wrong bit of direction, the wrong bit of writing.
• 38:38
  Kate could come across as weak or stupid or naive and just
• 38:41
  anything but. She is maybe a bit naive, but
• 38:44
  that's the point, you know? And her unease at everything
• 38:47
  going on around her, that's what fuels the tension in the film.
• 38:50
  So when you put a character like her who is definitely smart,
• 38:53
  definitely capable of stepping up interaction when the woman
• 38:56
  calls for it, you know she has no problem pulling a gun on Tell
• 38:59
  Toro. She gets into it with Matt at
• 39:01
  the end as well when she realizes how shaded they are.
• 39:04
  Put a character like her in a situation like this that just
• 39:07
  elevates the story and the tension to a massive degree, and
• 39:10
  Blunt just sells every little bit of kit as a character
• 39:13
  brilliantly. It's just a wonderful, wonderful
• 39:16
  performance. It's like, tell me you're Clary
• 39:18
  Stalin without telling me you're.
• 39:20
  Yeah, yeah. And without seeming like an
• 39:22
  inferior copy of Clary Star. It's like a sister or something.
• 39:26
  Yeah, yeah, totally is. Yeah.
• 39:27
  I think the fact that I'm not thinking about Clary Stalin when
• 39:30
  I'm watching this is credit to her performance that she makes
• 39:32
  it around. Because it is basically on
• 39:34
  paper. I love that moment, right The
• 39:36
  star, when she's asked by the guy what she wants him to say to
• 39:39
  the US Attorney and she replies the truth.
• 39:41
  The truth. Yeah.
• 39:42
  Yeah, that may as well be Kate's middle name.
• 39:44
  Yeah, you know where you are, don't you?
• 39:45
  Straight away. Yeah, yeah, absolutely love.
• 39:47
  But don't you ever seen Blunt in the young Victoria and was
• 39:50
  convinced that she was the person for this rule?
• 39:52
  She took the rule despite giving birth to her daughter only four
• 39:55
  months prior to filming Sicario. Wow.
• 39:58
  I mean, that's incredible. Yeah.
• 40:00
  The writer of Sicario, Taylor Sheridan, based Kate on an
• 40:03
  actual person that he spoke to when doing his research.
• 40:05
  She remains nameless, but she had the equivalent job in real
• 40:08
  life that Matt Brolin's character has in this film.
• 40:12
  Oh, really? Right, OK.
• 40:13
  He said she was 5 foot 405 lbs, but you couldn't tell that she
• 40:17
  worked at it and you could see the tour.
• 40:19
  He thought it was like a fascinating combination of this
• 40:22
  kind of small looking individual in this position of absolute
• 40:25
  power. Yeah, like a Jack Russell.
• 40:29
  Furious Jack Russell. Not the comparison I was
• 40:39
  expecting. No.
• 40:41
  And Blunt's research included spending time with a handful of
• 40:43
  FBI agents. The shy Lorna characteristics
• 40:47
  she saw in all of the woman she spoke to made their way into the
• 40:49
  character of Kate. Pretty You can tell that she's
• 40:51
  done her research. In the original script, there
• 40:54
  was a nude scene between Kate and Hal Andro.
• 40:56
  She refused to do it, and del Toro backed that decision.
• 40:59
  He said that having worked together on the Wolfman a few
• 41:02
  years earlier, they've grown close.
• 41:04
  Like brother and sister and and you'd around each other would
• 41:06
  have been very uncomfortable. Well, that and the fact that the
• 41:09
  scene would have been completely unnecessary considering.
• 41:12
  What we've got absolutely out of place, yeah.
• 41:14
  It's a different film that's a different.
• 41:16
  Film, really, if that's an 80s film.
• 41:20
  So perfect casting for the role of Kate.
• 41:22
  This is a highlight from Emily Bunt in a career of highlight.
• 41:26
  Yeah. Our second cast member is the
• 41:30
  man shaking the tree and not giving much information away at
• 41:33
  all. It is Josh Brolin, unfamiliar
• 41:35
  ground on the Mexico US border as Matt Graver.
• 41:39
  And I see unfamiliar ground because this film and this
• 41:41
  performance feels like a distant cousin of No Country for Old
• 41:44
  Men. We've talked about it already.
• 41:47
  Yeah. Both set on the border, both
• 41:48
  about drugs, both Stalin, Brolin, both shot by deacons.
• 41:52
  There's certainly something familiar about all this,
• 41:55
  something which I think Villeneuve knows by casting
• 41:57
  Brolin and to an extent del Toro, considering his part in
• 42:00
  Soderbergh's traffic, which covers some of the things like
• 42:03
  you said, Westie. Yeah, yeah, yeah, yeah.
• 42:04
  I love the moral ambiguity of Matt.
• 42:07
  He's clearly a bastard. Yeah, Massive.
• 42:09
  Yeah. Who doesn't care about anybody
• 42:12
  else, really, but he's got that big picture approach and you can
• 42:15
  understand that this mission needs somebody like him.
• 42:19
  And. At the heart of it, he's doing
• 42:20
  good, but a lot of his actions point to the country to get him
• 42:24
  to that good place. Yeah.
• 42:26
  I suppose really, Brolin doesn't have to do too much at all.
• 42:29
  He's got no back story, no arc. He's there to stand in front of
• 42:33
  Kate and Reggie, give a bit of exposition, but not much.
• 42:36
  Had a splash of tough talk. And then the rest of the film,
• 42:38
  he's behaving overly smug, like he knows more than anybody else
• 42:42
  in the room, which, of course, he does.
• 42:44
  But he leaves the lasting impression because of this
• 42:47
  overwhelming screen presence that he has.
• 42:51
  He doesn't show any aggression in the film.
• 42:53
  The furthest he goes is with Kate at the end.
• 42:54
  And that could be argued as, you know, self-defense.
• 42:57
  Yeah. Subduing.
• 42:58
  Isn't it? But I've got no doubt that he's
• 43:01
  a mean cat and that is because it's the visual language which
• 43:05
  is executed perfectly to give me this impression by Villeneuve
• 43:08
  and also because of Brolin's presence.
• 43:12
  All this despite the casual dress and flip flops which I
• 43:14
  mean do undermine and tough exterior generally.
• 43:18
  But he's absolutely not to be messed with.
• 43:20
  He's also probably the most humorous character in the film.
• 43:24
  The side maybe from Reggie. Yeah, Yeah.
• 43:27
  So there are like various Shades of Grey in the character of
• 43:30
  Mass. And Brolin pulls that off just
• 43:32
  expertly, not really working with too much from a character
• 43:36
  point of view, which I think is very impressive.
• 43:39
  Yeah, yeah. He seems like to be about four
• 43:41
  different characters in one character that you don't quite
• 43:44
  know who you're going to get each scene.
• 43:46
  And I think there's a lot of physical presence from them,
• 43:48
  like you're saying. But he smacks his hands together
• 43:51
  a lot. Like, come on.
• 43:52
  And you saw this slap in motion. And I think the flip flops that
• 43:55
  you mentioned are very, very important.
• 43:56
  He just does not care about rules.
• 43:59
  It doesn't feel like there's anybody that he answers to.
• 44:02
  I think the fact that he is wearing flip flops and he's
• 44:05
  wearing like a casual open short sleeve shirt T-shirt in that
• 44:09
  official meeting where everybody's got a suit and tie
• 44:11
  on. Yeah, and he's just leaning
• 44:12
  back. He's not giving shit.
• 44:13
  He's just like, yeah, whatever. The only person who could pull
• 44:16
  that off is the only person who doesn't answer to anyone.
• 44:19
  Exactly, Yeah. Brilliant look and Brolin who
• 44:22
  just worked on Everest. The film, not the mountain
• 44:24
  itself obviously. And the shoot had been a bit of
• 44:26
  a slog. So as such, he turned down the
• 44:29
  role of Matt Graver just because he wanted some recuperation time
• 44:32
  but haven't worked with him in the past.
• 44:34
  Roger Deakins reached out personally for him to reconsider
• 44:37
  because Brolin was the only man in the frame for the role, and
• 44:40
  Brolin was so moved by Deakins Cheshire that he did take the
• 44:43
  gig. Nice reach out for the big man
• 44:45
  Wes. Do you do that?
• 44:46
  Wouldn't. You obviously a cup of tea.
• 44:51
  I'd go and do that. So with enough screen presence
• 44:56
  to fill the whole frame, Brolin does a great job of reinforcing
• 44:59
  the central themes of Sicario. Yeah, definitely.
• 45:04
  Finally, it's over to the Lone Wolf, the menacing mystery of
• 45:07
  Alejandro Gillick and Westie are the man to talk about him.
• 45:10
  Absolutely. I mean, what a performance.
• 45:12
  This is unbelievable. How much misery, how much pain,
• 45:16
  how much menace and how great is Del Toro with doing all of those
• 45:20
  things at once? It's just so I'm just his
• 45:23
  eyebrows. Just when, you know, we're
• 45:25
  talking about that bit on the plane when he wakes up, it's
• 45:27
  like, yeah, I'm OK. And it's just the car tells
• 45:29
  that's your thing. They say, yeah.
• 45:31
  And just looking out the window and just.
• 45:33
  And he's just, there's nothing else to do.
• 45:35
  He's just locked in that shot. And it is just, it is pretty
• 45:37
  much a head and shoulders. It's a close up.
• 45:40
  But the pain that's on his face, the realization that his
• 45:43
  character has so much behind him that he's so nasty as well.
• 45:47
  But we don't see how nasty. He's so focused, but we don't
• 45:50
  see how focused. And then you always, in the back
• 45:53
  of my mind, it always freaks me out that he was a lawyer and now
• 45:58
  he's this assassin. He is the sicario.
• 46:01
  I mean, he is the antagonist of the film.
• 46:03
  It is his film. It is about his story, it's his
• 46:06
  arc. It's about him getting revenge
• 46:09
  for what's happened to him and his family.
• 46:11
  It's him getting closure on it, which he never actually gets.
• 46:13
  So it's not Kate's story. It's got nothing to do with her.
• 46:16
  It's got everything to do with viewing his story but seeing the
• 46:20
  arc from the side, like would normally see the arc and we'll
• 46:22
  be going through it with them over the bridge.
• 46:24
  This is like sitting on a boat watching people watching him go
• 46:27
  over the bridge and watch his arc from the from the stream and
• 46:30
  be, Oh yeah, it's about him now. Let's join him for the last 10
• 46:33
  minutes. And that's how it plays out.
• 46:36
  And there's no exposition in this film whatsoever until the
• 46:39
  last 15 minutes. And then it's just explanation.
• 46:42
  It's not exposition which is going to tell you what's coming.
• 46:44
  It's going to be like something's coming.
• 46:46
  You don't know what? And then it's explanation.
• 46:48
  Even when he's got sunglasses on, you can tell what his eyes
• 46:50
  are doing. It's it's massive.
• 46:53
  It's I don't know how it works. I don't know how he does it, but
• 46:55
  he's got such a presence here that doesn't, and I've said this
• 46:59
  before about many, many actors, but I think del Toro here
• 47:01
  absolutely nails it and that he's got such a presence that
• 47:04
  doesn't take away from anyone else in the scene.
• 47:06
  It really just adds to it. And you know, you can tell.
• 47:10
  You know what? Bernthal looks up.
• 47:11
  He just goes and he just makes that noise.
• 47:14
  There would have been a line of dialogue there just being like,
• 47:16
  hey motherfucker, that was something or whatever.
• 47:18
  Sheridan's right there will just be now.
• 47:20
  He's just went on Switch and that's it.
• 47:22
  It's that little bit there that you just go, wow, you just kind
• 47:27
  of sink down and go. I actually believe Felicio Del
• 47:29
  Toro is capable of doing this in real life.
• 47:32
  Yes. I don't know where where he
• 47:35
  draws the line with like, but if he turned up with a gun and it
• 47:38
  would be like, I wouldn't go. I hate Felicio Del Toro.
• 47:40
  How you doing? I'd be like oh fuck.
• 47:42
  What about doing? What about doing which phone did
• 47:46
  I give a six to? Like, I can't remember.
• 47:49
  That's that's how I'd feel if you turn about.
• 47:51
  It's so believable, it's so nuanced, it's so emotional.
• 47:55
  It's got such weight. It's so heavy, but he carries it
• 47:59
  with such panache and style. But yeah, just stay miles away
• 48:03
  from me, please. It's certainly personified this
• 48:06
  performance. You scared of the dog?
• 48:08
  Just that line. Everyone could say that line,
• 48:10
  but him saying it you're like, actually now I am, yes.
• 48:15
  Thanks for that. Yeah, cheers.
• 48:16
  Have you think about it to that level?
• 48:18
  But yeah, now I am. As we've been alluding to, in
• 48:21
  the original screenplay, Alejandro had much more
• 48:24
  dialogue. The character explained his
• 48:26
  background to Kate a number of times, which allowed del Toro to
• 48:29
  get in the mind of the character, but he also said it.
• 48:32
  Felt a little. Stiff to have someone you met 15
• 48:34
  minutes ago suddenly telling you what happened to him and who he
• 48:37
  is. Yeah, yeah.
• 48:39
  So Feel Love then worked with del Toro to take away the
• 48:41
  majority of his lines, which was actually around 90% of his
• 48:45
  dialogue. And VLF said movies are about
• 48:48
  movement, character and presence.
• 48:50
  Beneath you had all that. Absolutely, yeah.
• 48:52
  Absolutely. Fair enough.
• 48:53
  Yeah. Actually the lines he's got you
• 48:54
  could you probably take away another 20% just.
• 48:58
  A silent performance. You could.
• 49:00
  You actually could. Yeah, it's an incredible
• 49:02
  performance. Less is more as we're talking
• 49:07
  about the big Beneath Co BDT. We've got our second Patreon
• 49:11
  question, and this one comes from Catherine Price.
• 49:14
  Hello, Catherine. Hello, Catherine.
• 49:15
  Hello, Catherine. Catherine says hi lads, Exciting
• 49:18
  to see one of the double feature wins getting the classic
• 49:20
  treatment. Well, you know, we're all.
• 49:21
  Last time, yeah. Sorry you welcome so long.
• 49:25
  I'll I'll stick with me guns this.
• 49:27
  Is #3 though, isn't it has been Carly does wear Cuckoo's Nest
• 49:30
  and now this Yes, yes. So it's it's about a 7% hit rate
• 49:34
  so far. And.
• 49:38
  It can't be a recent one, obviously.
• 49:40
  Yes, exactly. We've got a less than dust
• 49:42
  settle a little bit. Yeah.
• 49:43
  Yeah. But anyhow, Catherine says
• 49:45
  Benicio del Toro may not always be in the best movies, but more
• 49:48
  often than not, he's the best part of whatever he's in.
• 49:51
  And yet, after his banner year of traffic and Snack in 2000,
• 49:54
  Benicio's notable mainstream roles are being few and far
• 49:57
  between, with Sakai Royo arguably at the top of the list.
• 50:00
  Now, 10 years later, he's leading the next Wes Anderson
• 50:03
  film and Co starring with Luckily or in the next PTA film.
• 50:08
  Catherine says what you'll make of the gaps in his mainstream
• 50:11
  career. Is Benicio being selective or
• 50:13
  being overlooked? She also wants to know what our
• 50:16
  underrated Benicio performances are.
• 50:18
  And she says as we end there, what I hope is Benicio was
• 50:21
  leading Manny. What roles or collaborations
• 50:23
  would you like to see? Me Who?
• 50:25
  She says thanks for all you do. Now go ahead and finish your
• 50:27
  meal. That's cool Now, Captain.
• 50:30
  Thanks. Very.
• 50:32
  Much she actually her question in her passage was much bigger
• 50:36
  than that, but she gave us car plans to edit around that so.
• 50:39
  Well, I've been. Still talking?
• 50:40
  She's obviously a huge fan so. Yeah, that's it.
• 50:43
  OK, let's answer these three questions.
• 50:45
  Yeah. Let's do it.
• 50:46
  Yeah. So, Matt, go for it.
• 50:48
  Three questions from Catherine Shoot.
• 50:50
  Okay, so I think he just has to be selective because there's not
• 50:54
  a director working today who wouldn't want him in a film.
• 50:58
  He just has that presence that he just only does what he's
• 51:01
  going to enjoy. And if that means he takes a
• 51:02
  couple years off, he'll take a couple years off.
• 51:05
  Underrated. I'm going to go with Sin City
• 51:07
  because I don't think that film gets really viewed as an actor's
• 51:10
  film. It kind of gets viewed.
• 51:12
  I think Rodriguez does on screen, you know, and then doing
• 51:15
  a whole thing with like a magazine stuck in his head.
• 51:19
  That's. Basically, it's not time out is
• 51:21
  it either, Matt, it's. Like a good magazine that's just
• 51:23
  specified? Definitely.
• 51:25
  That would have been really, really odd.
• 51:34
  Rules are collaboration to main T bonds.
• 51:35
  I just want them to constantly be working with anyone.
• 51:38
  So anyone good to be honest. I mean, we've kind of talked
• 51:41
  about Wes Anderson in the past. I'm more interested in Wes
• 51:44
  Anderson's new from because of Del Toro than anything else.
• 51:47
  I'll be honestly. Agree with that.
• 51:49
  A particular role. I mean, honestly, anything but.
• 51:52
  He'd be a surprise pick as the next James Bond, but I'd be
• 51:55
  there for us, yeah. At the end of Sicario for two
• 51:59
  hours. He's been in there.
• 52:01
  What was he licensed? Licensed to kill Yeah, yeah.
• 52:03
  Give a nice nice. Honeymoon.
• 52:06
  Yeah. Ridiculous.
• 52:07
  Performance. I'd love that.
• 52:08
  Really fun. I'd love that, actually.
• 52:09
  Yeah, yeah. Yeah, that would be good.
• 52:11
  Yeah. And Westie Catherines questions.
• 52:14
  Yeah. OK.
• 52:14
  So being selective, I think when he did cheer Part 1 and Part 2
• 52:18
  was Soderbergh, I think that took a lot of wind out of his
• 52:21
  sails. I think they thought that was
• 52:22
  going to be massive and I think it kind of bombed a little bit
• 52:25
  unnecessarily. So it was very ambitious
• 52:28
  project. It's all in Spanish as well,
• 52:30
  isn't it? And it is all in Spanish.
• 52:31
  I mean, yeah, come on guys. You know, it's a two-part that
• 52:35
  was kind of all filmed at the same time.
• 52:37
  Did the Wolf Man came back two years later again, You know, not
• 52:41
  massive and he's just kind of dipping his toe a little bit.
• 52:43
  Inherent vice, not massive in 2014.
• 52:46
  And then he comes back with Sicario, which I think he's
• 52:48
  ready in 2015 to come back again.
• 52:51
  Underrated performance of The Way of the Gun for me every
• 52:53
  single time. Yes, you love that one, don't
• 52:55
  you? Wonderful enough.
• 52:56
  Really, really understated. Really, really brilliant.
• 52:58
  Underrated film. It was a Mcquarrel, really.
• 53:00
  Yeah, yeah. Usual suspects like he's
• 53:03
  wonderful in that he's very, very minimal role, but how do
• 53:05
  the keys and guys like what the fuck?
• 53:06
  He's absolutely fucking brilliant.
• 53:08
  He's got a fucking track. It's fucking great.
• 53:10
  Hear me in the back. Hello.
• 53:12
  Hello, it's. Absolutely brilliant in Fear
• 53:16
  Lothan. I think he's wonderful in that.
• 53:18
  Really, really great and for future collaborations.
• 53:21
  And I mean, I'm really excited like you might have seen when
• 53:23
  Wes Anderson film to be honest. I'm really excited to see when
• 53:26
  Paul Thomas Anderson film To be Honest again after her advice,
• 53:30
  but I'd love to see him back with the only of in June.
• 53:32
  Part 3 is like a really baddy role.
• 53:34
  All right, great. I think del Toro would really
• 53:36
  get his teeth into something like that, so I think that'd be
• 53:38
  great. Yeah, Great.
• 53:40
  I don't think he's been overlooked, to be honest.
• 53:42
  I think he's just a bit choosy. Yeah.
• 53:44
  It may not have that, like, permanent physical presence, but
• 53:46
  he'll never be out of mind because he's just too damn good.
• 53:50
  He is. Yeah.
• 53:50
  And I do agree with Catherine. He elevates anything that he's
• 53:53
  in. He's he's he's a standout in
• 53:55
  anything. Yeah, underrated performance.
• 53:58
  Like you, Matt, I'm not too sure if it's underrated, but I think
• 54:01
  he's the best performer in Sin City.
• 54:03
  Yeah, we talked about that in Double Feature, but one that I
• 54:05
  really like that came and went was the film Basquiat about the
• 54:10
  artist Jean Michel Basquiat. Oh yeah, yeah.
• 54:13
  Wow. OK, Yeah.
• 54:15
  That's a deep cut. Jeffrey Wright plays the lead,
• 54:18
  plays basket. Obviously Del Toro plays his
• 54:20
  best friend and it's a great performance and it's an
• 54:23
  outstanding supporting cast. If you've not seen it have just
• 54:26
  have a look at the cast, you'll be blown away.
• 54:28
  It's a hidden Gen. of the film as well.
• 54:30
  For a while now I'm going to check that out.
• 54:32
  It's great. And roles, you know, we all know
• 54:35
  he can play the Ruden menace. He loves that one.
• 54:39
  But I'd like to see him play a bit more for laughs.
• 54:41
  We know he can do it in Snatch, yes.
• 54:44
  So yeah, playing a bit more for laughs.
• 54:47
  A Soda Berg knockabout comedy caper, maybe with Del Toro in
• 54:50
  the lead. That's what I'm hoping for.
• 54:52
  I really like him in Soderbergh films.
• 54:53
  He was good in No Sudden Move a few years back.
• 54:56
  Yeah, yeah, yeah, right. He'd be good in like an Ocean's
• 54:58
  reboot with like. That's what I've got to be my
• 55:00
  investing. Yeah, in an ocean, that'd be.
• 55:02
  Fantastic. Yeah, OK, great.
• 55:04
  Thanks very much for the question, Catherine.
• 55:07
  Thank you. Appreciate it.
• 55:07
  Thank you, guys. Thank you for the three
• 55:09
  questions. For the effort you put into.
• 55:10
  It yeah, that was that was our. Effort as being just as good for
• 55:13
  you. Yeah, and with that we're at the
• 55:15
  end of our discussion on the cast.
• 55:17
  Not forgetting Daniel Kaluya, of course, but in blunt brawling
• 55:20
  and Del Toro, Sicario has got one of the best three-way leads
• 55:23
  of any film since the turn of the century.
• 55:25
  No, that was shadow of A. Doubt.
• 55:34
  All right, movies, We'll be right back.
• 55:36
  Thank you for supporting us by listening to the sponsors for
• 55:38
  this episode. Thank you for listening to our
• 55:43
  sponsors. And now it's back to the show.
• 55:48
  The middle. The second act of the film
• 55:53
  brings literal and metaphorical fireworks, and we're starting
• 55:56
  with the less than scrupulous interrogation tactics on
• 55:58
  Guillermo. Graver starts us off in his
• 56:02
  typical language style, Nuablo English.
• 56:05
  He's so smug when he says that he's got an old buddy on his
• 56:08
  way. And that old buddy obviously is
• 56:10
  Alejandro, who's outside of the water cooler, you know, just
• 56:13
  wetting his whistle. And go back with what we said
• 56:16
  about Alejandro in the previous scene.
• 56:18
  This dialogue between him and his whole buddy is very, very
• 56:21
  talent. The guy says, I'm sorry about
• 56:23
  what happened on your return. I can control only what I can.
• 56:27
  Now, if he's talking about the beheading of his wife and his
• 56:29
  child being dropped in acid and this is a very casual approach,
• 56:34
  then he's going to talk about his own family.
• 56:36
  And Alejandro's unmoved. Despite how much rage is
• 56:39
  bubbling under the surface. It's powerful restraint from del
• 56:42
  Toro and really plays well on repeat viewings.
• 56:45
  He's clearly a sensitive man and at his heart a nice guy, I
• 56:49
  think. But all that changes when he
• 56:51
  gets into that interrogation room and I love when he gets in
• 56:55
  there. Guillermo's reaction.
• 56:56
  Alejandro comes through the door and he even looks to Matt for
• 57:00
  solace, who he's been given to the all the way flowing place.
• 57:06
  I've never seen anybody threatened by a bottle of water
• 57:08
  before. This scene is just so effective
• 57:10
  because it's it's what you don't see who you just hear a couple
• 57:14
  of grunts, a bit of movement. What could he possibly be doing
• 57:17
  to him? Obviously when that video camera
• 57:19
  is switched off, we know we're morally all over the place.
• 57:23
  Let's go outside. And Kate knows what's going on
• 57:26
  here as well. Later, when Graver tells her
• 57:28
  that Guillermo told them about the tunnels, she says, oh
• 57:31
  really? He just gave you that
• 57:32
  information, did he? This scene hasn't shown us
• 57:36
  anything we haven't seen before in movies, but it really stands
• 57:39
  out because of the performances. And that terrifying water bottle
• 57:43
  that is just slapped on the floor.
• 57:45
  No, it's a great sequence it. Is a great sequence, but I do
• 57:50
  have a theory about this, that how he was going about and how
• 57:52
  people have been talking about it.
• 57:54
  And the more I've watched it, the more this kind of rings with
• 57:56
  me about how dark some of this is that you don't see.
• 58:00
  Now. I think this is a rape sequence
• 58:04
  in that that's what happened to him when he came back.
• 58:07
  He's not talking about his wife dying and his daughter died.
• 58:09
  And I think he was abused by these guys to keep him quiet and
• 58:12
  it was to dehumanize him. And he walks into the room.
• 58:16
  Just hear us out. So he walks into the room, he's
• 58:18
  crotches in this guy's face. It's very sexually demand, very
• 58:21
  much forceful on this guy. And if he wants to dehumanize
• 58:25
  him, what's the best way to do it?
• 58:27
  No, I don't think Alejandro sodomized him personally.
• 58:30
  I think he maybe uses a chair leg, uses something else.
• 58:33
  Something. Why would a delic I leave the
• 58:35
  room. We've just seen him wipe out
• 58:36
  four people in cold blood without thinking twice.
• 58:39
  He loves what they do. He's singing, bodies hanging
• 58:40
  from the bridge. He's seen it all before.
• 58:42
  He's turning off the video camera.
• 58:44
  Why do they need to turn that off?
• 58:45
  If he's walking past everybody with a water bottle, he puts the
• 58:48
  water bottle down and it's just a little bit of a decoy to show
• 58:51
  people are this is actually what I'm going to do.
• 58:53
  But what I might actually do is far worse than that.
• 58:56
  And that's why Matt's there. Give him a hand with it, what
• 58:58
  you're looking at me for. And you can tell he's Matt is
• 59:00
  such a bastard that he'll do anything to dehumanize these
• 59:04
  people. He'll do anything to make them
• 59:05
  feel bad. And the thing that got me was
• 59:08
  that we see that drain and the water isn't opened and the start
• 59:12
  on them and you hear the grunting, you hear them.
• 59:14
  You know this. It's it's rhythmic.
• 59:16
  It's already there. And being Vilniu, what he does
• 59:20
  is he cuts to that drain, and you know who else cuts to a
• 59:22
  circular window with water involved is Hitchcock and Money,
• 59:27
  and that's that famous rape sequence.
• 59:29
  And he cuts to the same circle and the water is not going down
• 59:32
  there. So we're showing that it's not
• 59:33
  water torture. We're showing that it's got
• 59:35
  nothing to do with the water. It's something completely
• 59:37
  different, it's something darker, it's something worse.
• 59:40
  Brilliant. Good argument, good theory.
• 59:42
  Very grim, very grim. And whatever happens to
• 59:45
  Guillermo, I'm sure is. Countless for the grim.
• 59:49
  Classic Westie. And then you get a scene after
• 59:54
  this and it's a very quick scene to be honest, but it doesn't
• 59:56
  need talking about. And it's when Kate goes on the
• 59:58
  roof of the facility. Because she's already so
• 1:00:01
  disoriented by everything, you know, she's out there.
• 1:00:04
  She's started smoking again. It's the only thing that calms
• 1:00:06
  it down now. So when that guy comes up to it,
• 1:00:09
  do you like fireworks? I mean, yes, doesn't everyone
• 1:00:12
  is, is this a pick up line? Am I getting like hit on here by
• 1:00:16
  a guy? But then like after everything
• 1:00:18
  she's been through and he says, do you want to see something
• 1:00:20
  cool? It's like yes definitely.
• 1:00:22
  Please something that's just cool.
• 1:00:24
  Would be great to see at this. Point Do you want to see me feed
• 1:00:27
  a mouse to my snake? Yes.
• 1:00:32
  You don't see No, the headless corpse hanging off a bitch not.
• 1:00:34
  Really. Not really.
• 1:00:36
  And the first thing you know, it's just going to be the
• 1:00:38
  amazing Vista that you can see from that vantage top.
• 1:00:40
  And you know, the clouds are obviously incredible, but no,
• 1:00:42
  it's this sporadic gunfight. This is what happens when you
• 1:00:45
  chop the head off a chicken. And so for the gunfight and
• 1:00:48
  explosions to be happened openly in such a small town just being
• 1:00:51
  so dorm how wide control this whole scenario is.
• 1:00:54
  Incredible visuals. So after that, we see Reggie
• 1:00:57
  turn up. He's offered them a ride.
• 1:00:59
  They're going to Tucson and he's going to have to drive for 100
• 1:01:02
  miles. It's going to take two hours.
• 1:01:04
  And we don't quite know why, but we need to find out where the
• 1:01:07
  tunnel is. We need to find out.
• 1:01:08
  People who have been through it need to find out what's going on
• 1:01:11
  so they can pinpoint the location, which after you know,
• 1:01:14
  many, many viewings, it becomes very, very obvious.
• 1:01:17
  But on your first view, when you think what we're doing here,
• 1:01:19
  what's the point? Is this another red Heron?
• 1:01:21
  Is this thrown K off again? Is this thrown Reggie off again?
• 1:01:24
  What are they actually doing here?
• 1:01:25
  Are they looking for somebody? Is somebody in here?
• 1:01:27
  But I think what film of does is he shows a real human touch
• 1:01:31
  here. These people aren't dangerous.
• 1:01:34
  These people are scared. They're not dirty, they're not
• 1:01:36
  violent. They're not like clutching the
• 1:01:39
  people. They're not making a, you know,
• 1:01:40
  a big scene that is trying to get away from this hell and go
• 1:01:44
  to something that's got a bit more of a promise to it.
• 1:01:47
  And it's just this real hot. It's a heart wrenching scene for
• 1:01:49
  me because you can just see it in all of the faces of just like
• 1:01:53
  and nearly got there and I've had to come back.
• 1:01:55
  And it's the humanity that's also played by Del Toro in this.
• 1:01:58
  He's like, let's see your hands. So you know, it's how hard the
• 1:02:01
  word, if you've got any tattoos, are you part of a cartel?
• 1:02:04
  Are you part of something else? No.
• 1:02:06
  And he's just got this real humility and this real calm and
• 1:02:09
  this real sense of patience and understanding with everybody.
• 1:02:12
  And I just find that really, really wonderful.
• 1:02:14
  And that's just from what we've seen previously from a torture
• 1:02:17
  sequence, however you interpret that torture sequence.
• 1:02:20
  And he's gone to this real sense of humility and humanity, which
• 1:02:24
  he does with Kate as well when he finds out what she's been
• 1:02:27
  through her neck, you know, And he's kind of just there.
• 1:02:29
  And he's constantly just, I'm OK, how are you?
• 1:02:31
  You know, he's got this real back and forth, but Kaluya here
• 1:02:34
  really stands out and she's like, I've asked all these
• 1:02:37
  questions that you can do any better.
• 1:02:38
  He's like, yeah, should go on the mat.
• 1:02:40
  And he's like, straight away, absolutely brilliant.
• 1:02:44
  Like you've come to about. It's like there's keeping us in
• 1:02:45
  the dark, then there's the way you're treating us.
• 1:02:47
  But then when Brolin comes over and he's got that whole, like,
• 1:02:49
  bravado, oh, you look so. Yeah.
• 1:02:52
  And he's a chew in the gums around.
• 1:02:53
  What do you want to know? But he's always looking the hell
• 1:02:56
  as Alejandro. And he's like, how much can I
• 1:02:58
  say? How far can I go with this?
• 1:03:00
  And you can tell he's kind of just given him the eye just
• 1:03:02
  going. Yeah.
• 1:03:02
  Tell him about the tunnel. Yeah, that's fine.
• 1:03:04
  Yeah. Just go that far.
• 1:03:05
  Yeah. And he's our OK.
• 1:03:06
  Is that enough? Is that will that do for you?
• 1:03:08
  You know, it's brilliant. And then you just get that
• 1:03:10
  whole, you know, right. OK.
• 1:03:11
  We're great. Yeah, That's fine.
• 1:03:13
  Yeah, that's that's OK. But don't keep us in the dark.
• 1:03:15
  And then you get that he's scared at the dark.
• 1:03:17
  Just that line, just that delivering the walkway.
• 1:03:20
  Just get yourself back. We'll get their own ride.
• 1:03:22
  It's fine. We don't actually need you.
• 1:03:23
  You're just here as a necessity. You're just a tool.
• 1:03:26
  You're just you're. A pawn in the game.
• 1:03:28
  Yeah, you're just the chalk on the hand so I can lift the
• 1:03:30
  weights up. It's also got an amazing payoff
• 1:03:33
  line to end the scene as well. When Reggie and Kate are walking
• 1:03:36
  away, Reggie says Who the fuck is Guillermo?
• 1:03:44
  I'd say that in typical Phil Nerve fashion, the film is short
• 1:03:47
  on laughs, but that is a really it's a really good line.
• 1:03:51
  Yeah, that's a really good one, yeah.
• 1:03:53
  So Kate and Reggie have been given a bit more information,
• 1:03:55
  but Reggie is probably more in the dark than Kate at this
• 1:03:58
  point, Yeah. Unfortunately.
• 1:04:02
  The next day sees Matt shake and more trees with Kate not fully
• 1:04:06
  up to speed with his methods, and we're starting at Kate's
• 1:04:09
  place. Yeah.
• 1:04:11
  I mean, I just want to pick up from West East Point really
• 1:04:13
  about Kaluya, because his performance really needs to be
• 1:04:16
  talked about. Definitely.
• 1:04:18
  I mean, probably the one that really put him on the Hollywood
• 1:04:20
  map, I think. Yeah, he's probably just a lot
• 1:04:22
  of British TV before this. It was, yeah.
• 1:04:25
  He's also good and I think he and Blunt have such an implicit
• 1:04:28
  bond in this film. Totally get each other's backs.
• 1:04:31
  The fact that she will walk away if he walks away, Despite that,
• 1:04:34
  Matt doesn't care. You know, I didn't ask you here,
• 1:04:37
  but backs them all the way. I love the fact there's no force
• 1:04:40
  romantic subplot between the two of them or and he's so
• 1:04:44
  dependable. He's always there for whether
• 1:04:46
  it's the meeting at the beginning or when he drives it
• 1:04:48
  to the base where he's not allowed in.
• 1:04:50
  But he doesn't kick off. He doesn't make a big stink.
• 1:04:52
  He takes his ego out the situation right.
• 1:04:54
  I've dropped it off. I'll drive back.
• 1:04:55
  And then you get this scene, that case space, which you know,
• 1:04:58
  we've said not a lot of laughs, see, but it is probably one of
• 1:05:01
  the best bits of light relief in the film.
• 1:05:03
  I mean, I see a light relief. Kids looked at loads of pictures
• 1:05:06
  of dead bodies here but. At least we're not seeing them.
• 1:05:10
  At least it's a picture of it. Yeah, yeah.
• 1:05:12
  And her reactions. But it's light relief because
• 1:05:15
  Reggie knows how to take a mind off it.
• 1:05:17
  You know, we've referenced the the line a couple of Times Now,
• 1:05:20
  but it's the fact that she's often dressed and walking
• 1:05:22
  around. And when he says got to get you
• 1:05:23
  a new royal woman. Yeah.
• 1:05:25
  Because he, someone makes it not sleazy.
• 1:05:27
  That could be such a sleazy line because there's this friendship
• 1:05:31
  between them. It's not.
• 1:05:32
  And for the first time in the film, she genuinely laughs at
• 1:05:34
  something. Like the list of things I need.
• 1:05:37
  And, you know, I'm just saying some nice, lazy something.
• 1:05:39
  It's just such a little break for the character that she
• 1:05:41
  needs. And it's just this very quick
• 1:05:43
  but very effective insight into Kate's life, into their
• 1:05:46
  partnership. As she says, it's been a long
• 1:05:49
  time since anyone but Reggie saw her in a bra, which I think
• 1:05:52
  speaks volumes about those two. It's heartbreaking for her as
• 1:05:55
  well, and it's like this, this real brother and sister kind of
• 1:05:58
  relationship. Isn't that's what it's like?
• 1:06:00
  It is, It's, it is, brother. Just because there's a line and
• 1:06:03
  you know Reggie's not going to go anywhere near that line.
• 1:06:06
  With her, she's not interested whatsoever.
• 1:06:08
  Not. Interested whatsoever it's you
• 1:06:10
  know, it's the type of conversation you can only have
• 1:06:12
  in this job with someone you completely trust in the respects
• 1:06:15
  boundaries. You know she knows he won't take
• 1:06:17
  advantage of how lonely she isn't a personal life.
• 1:06:19
  So it's a really important thing.
• 1:06:21
  It's like when he says, do you want us to stay?
• 1:06:23
  You know, after, after the whole incident, She's like, no, it's
• 1:06:25
  OK. But you know for a fact if he
• 1:06:26
  stayed, it wouldn't be anything to do with that.
• 1:06:28
  Yeah, no, yeah, it's a real great character.
• 1:06:31
  Scene between the two of them. Yeah, yeah.
• 1:06:33
  So from there. But we need to know what's going
• 1:06:35
  on. I think Reggie's got a little
• 1:06:36
  bit more fire in his belly, and he needs to kind of really get
• 1:06:39
  the grips of this. He's getting a bit pissed off,
• 1:06:41
  isn't he? He's like, come on, What?
• 1:06:42
  What is going on? And we get to go to the motel
• 1:06:45
  room where the Mexicans are telling, you know, the guys
• 1:06:48
  exactly what they need to know, exactly where they need to be,
• 1:06:51
  exactly where the tunnel is. But it's just so funny.
• 1:06:54
  What's the password, moron? You know, that's just so funny.
• 1:06:58
  And then we're already in and it's been a little bit bad.
• 1:07:00
  But then, you know, Matt just kind of pushes her away and
• 1:07:02
  says, no, you can't go any further than this.
• 1:07:04
  Yeah, it's about as far as you can go.
• 1:07:06
  She turns around and as all of this is getting spilled, getting
• 1:07:09
  all this exposition, she turns to Reggie.
• 1:07:11
  She's like, are you getting this?
• 1:07:12
  He said, yeah, yeah. And, you know, he's getting, I
• 1:07:13
  love that, you know, he's getting all of it and say, yeah,
• 1:07:15
  I'm getting it. I'm paying attention because
• 1:07:17
  this matters. And it's the Mexican guys
• 1:07:19
  reaction. So this is our spot.
• 1:07:21
  Boo. Yeah, they're.
• 1:07:23
  Like no chance man. It's like this is ridiculous,
• 1:07:27
  it's going to be dangerous. We know it's going to be
• 1:07:29
  dangerous but know it's going to be powerful.
• 1:07:30
  We know like he's telling the truth.
• 1:07:32
  It's going to be a great day, you know it's going to be a good
• 1:07:34
  day that's excited about it and he's up for it and Alejandro's
• 1:07:38
  up for it. I think at that point we'll have
• 1:07:40
  this real sense of relief and humour.
• 1:07:43
  But then it shrouded in one of the darkest moments of the whole
• 1:07:46
  film, was like, this is where we need to go and it's going to be
• 1:07:48
  really, really dangerous. And we found it and they're
• 1:07:51
  excited about it. And two characters who were
• 1:07:53
  following don't have any idea how dangerous it's going to be.
• 1:07:57
  And all the Mexicans are going don't go there.
• 1:07:59
  No way. That's ridiculous.
• 1:08:02
  And can you point it out on the map?
• 1:08:03
  Right. We know where we're going, we
• 1:08:04
  know where it needs to be. We know it's going to be
• 1:08:06
  dangerous. Are we going to go?
• 1:08:07
  Well, I have to. Yeah, great little exposition
• 1:08:10
  scene at the moment. I like follows this.
• 1:08:13
  It's the bank. Matt says that he's going to
• 1:08:15
  fuck with Manuel Diaz's wallet and he asked Kate to enlist his
• 1:08:19
  her pals in Phoenix SWAT. Great.
• 1:08:22
  And this goes back to what he said to Kate earlier.
• 1:08:24
  He's shaking the tree again to make chaos.
• 1:08:27
  This is the noise that will send Diaz back over to Mexico for a
• 1:08:29
  dressing down from his boss. It's dirty tactics, but it's
• 1:08:33
  effective. Oh yeah, and Kate isn't quite up
• 1:08:37
  to speed with what's going on here, not really.
• 1:08:39
  Even though her intentions are very good and her training is
• 1:08:42
  kicked in, she thinks it's something they can actually
• 1:08:44
  build a case on. She cannot see the bigger
• 1:08:46
  picture and the point of Matt's actions.
• 1:08:49
  If they get to Diaz's boss, then Diaz doesn't exist.
• 1:08:52
  She doesn't understand that you have to cut it off at source
• 1:08:55
  because she thinks, you know, build a case and you know, we've
• 1:08:57
  got a genuine case, we can put them behind bars.
• 1:09:00
  God knows how many times that's been tried, yeah.
• 1:09:02
  Exactly. And somebody will just replace
• 1:09:04
  the ass. Yeah, it reinforces her
• 1:09:06
  idealistic nature, her naivety and her willingness to do what's
• 1:09:09
  right. And what that gets her is in
• 1:09:12
  deep shit with the ass. Because now she's on camera in
• 1:09:15
  the bank, in the black and white security, and Ted will be sent
• 1:09:18
  in to take advantage later. Horrific stuff.
• 1:09:21
  Don't go in the bank. There she is going in the bank.
• 1:09:23
  Don't go in the bank. Don't go in the bank.
• 1:09:25
  And he, she will not listen to him.
• 1:09:27
  But that's Matt, isn't it? He doesn't stop her from going
• 1:09:29
  and he's thinking how can I take advantage of this moment?
• 1:09:31
  Yes. What will I get from this?
• 1:09:32
  Yeah, I've told you. I told you not to go in.
• 1:09:35
  So things are becoming a bit more clear.
• 1:09:37
  And unbeknownst to Kate, she's used herself as bait.
• 1:09:40
  The. Crew.
• 1:09:48
  The crew on Sicario is a misk of frequent Ville nerve
• 1:09:50
  collaborators and first time screenwriter Taylor Sheridan.
• 1:09:53
  And that's where we're starting. Sheridan had been in acting
• 1:09:57
  since the 90s, most notably in Sons of Anarchy on TV.
• 1:10:01
  Yeah, so his first screenplay kind of came out of the blue.
• 1:10:04
  Westie, what do you think of the right non Sicario?
• 1:10:07
  I mean, it doesn't feel like it's come out of the blue.
• 1:10:09
  It doesn't. And I think from the screenplay,
• 1:10:12
  it does seem like it's very generic from the start of like,
• 1:10:16
  you get our handle back story, you get a lot of dialogue, you
• 1:10:18
  get a lot of explanation, but you don't get a lot of
• 1:10:20
  exposition. And I think what Taylor Sheridan
• 1:10:22
  has done with this script is that I think because of his TV
• 1:10:25
  background, he was kind of allergic to exposition, which is
• 1:10:27
  what he said in interviews, that you wanted to do something from
• 1:10:30
  a different angle. And that's what I would approach
• 1:10:32
  this with. I think it is the story we've
• 1:10:34
  seen a million times. Yes, it is a revenge story.
• 1:10:38
  It is John Wick. But from Kate's point of view,
• 1:10:40
  yeah, I think there's some really good dialogue.
• 1:10:42
  I think it is very well researched.
• 1:10:44
  Look, if you finish an acting career, right, which isn't
• 1:10:47
  massively successful and in your 40s and you write a screenplay
• 1:10:50
  and it's picked up by Denny's veneer, yeah, you were like,
• 1:10:53
  well, that's all right, isn't it?
• 1:10:54
  Yeah, that's pretty good. Jackpot.
• 1:10:56
  I mean, that that's that's not too bad because there's a lot in
• 1:10:59
  this screenplay that really, really works.
• 1:11:01
  And it's taken Dennis filling you to come and go.
• 1:11:03
  I'm leaving this out, by the way.
• 1:11:04
  And it makes it more interesting.
• 1:11:06
  But being his first screenplay, he didn't know that.
• 1:11:09
  He wouldn't know that. And he's learned so many lessons
• 1:11:11
  since writing this. If you look at how much he
• 1:11:13
  leaves out of Yellowstone, how much he leaves out of them
• 1:11:15
  stories, and how much you have to fill in yourself, the whole
• 1:11:18
  process has made him a better writer.
• 1:11:20
  But from the offset, it's a very, very strong script that I
• 1:11:22
  think could have been made by anybody, but it was made by a
• 1:11:25
  different director, would have been a very, very different
• 1:11:27
  approach and a very, very different story.
• 1:11:29
  Very lucky, very lucky with the he's the director that he's
• 1:11:33
  landed on, but the source material is as good as anything
• 1:11:36
  else you would have seen in the last, what, 30 years.
• 1:11:38
  I think it's really, really strong.
• 1:11:39
  Yeah, it is strong. Yeah.
• 1:11:41
  And he's, he struck gold with the director as well.
• 1:11:43
  Yeah, a great marriage. What do you think of the writing
• 1:11:45
  matter? I think I'd be interested to
• 1:11:46
  know what the reaction to this film in Mexico itself was
• 1:11:51
  because there's a lot of tropes at play here that I think like
• 1:11:53
  if I was Mexican I think I'd be sick of seeing them, like the
• 1:11:56
  smarter than poverty and violent drug cartels.
• 1:12:01
  I said at the top that I wasn't that fussed on this film when it
• 1:12:04
  first came out, but I've done the 180 on it and I think the
• 1:12:07
  writing is the main part of the film that I still can't quite
• 1:12:09
  change my opinion on. And it's it's similar path to
• 1:12:12
  SU-80. It's the fact that it is very
• 1:12:14
  reliant on tropes and ultimately it doesn't really take me on a
• 1:12:17
  journey I haven't been on before.
• 1:12:19
  So the CIA are up to some shady stuff in other countries.
• 1:12:23
  I've seen that the drug smuggling business is morally
• 1:12:26
  complex and ambiguous. Yes, I've seen that people you
• 1:12:30
  think you can trust will pull a gun on you at a moment to
• 1:12:32
  notice. I've seen that, and that's the
• 1:12:34
  issue for me. It's certainly not badly
• 1:12:36
  written, mean. The dialogue absolutely sings.
• 1:12:39
  It's got a very strong arc to it, a very strong narrative
• 1:12:41
  backbone. It's just in terms of plot,
• 1:12:43
  narrative, there's no real like emotional journey for me to
• 1:12:47
  really kind of hang on to here. But that's a good point, yeah.
• 1:12:51
  But but the positive way I want to spin it though, is that
• 1:12:54
  because I've done a 180 once, I kind of really sat and thought
• 1:12:56
  about this film, thought, yeah, it's the right.
• 1:12:58
  Not just that's down a bit for me.
• 1:13:00
  That's when I was really able to appreciate everything else in
• 1:13:04
  this film a lot more. Those performances are doing a
• 1:13:07
  lot of fill in the blanks of the right, and that's how they're so
• 1:13:09
  good. Deakins makes this film look
• 1:13:11
  1000 times more unique than the right and makes it seem feel
• 1:13:15
  nerve elevates this way above what it could have been, which
• 1:13:18
  could have been just something dumped on Netflix that no one
• 1:13:22
  would ever go back to. Some people might watch it, but
• 1:13:24
  most people wouldn't hear it. I.
• 1:13:25
  Think five years later if it was made in 2020 would just be
• 1:13:28
  dumped on Netflix. Exactly.
• 1:13:30
  That's absolutely a series, which is what really good at
• 1:13:33
  doing, yeah. Yeah, yeah.
• 1:13:34
  I mean, that might be strength. So for me, that's where the
• 1:13:37
  level of the rightness, it's fine up to a point, but everyone
• 1:13:40
  else involved gets to that point and then ensures that their work
• 1:13:44
  is elevated above it. Yeah, I take your points for
• 1:13:48
  certain. I think what sets it apart is
• 1:13:51
  probably what you were saying, Wesley, a different spin on a
• 1:13:53
  conventional story. Yes, we've it's very familiar
• 1:13:57
  Matt and there's nothing too much new from like a narrative
• 1:14:00
  point of view, but it is taken a view from like a 90° angle.
• 1:14:06
  Kid is the blue eyed law enforcer who wants to do the job
• 1:14:09
  well and write Reggie's on her side to the rest of the
• 1:14:13
  characters are drawn completely differently.
• 1:14:15
  So I really like the ambiguity in the characters.
• 1:14:18
  Nothing new, but I'd like the way that it's written here.
• 1:14:22
  I don't know, like the other characters, is it because
• 1:14:24
  they're older with more experience?
• 1:14:25
  They've been battle hardened by the job and have worked out the
• 1:14:28
  only way to survive in this world.
• 1:14:30
  Arcade and Reggie too wet behind the ears to understand this.
• 1:14:33
  It certainly takes them a good long while to get up to speed.
• 1:14:37
  And then Alejandro and Matt are morally ambiguous.
• 1:14:40
  They're on the perceived right side and their main objective
• 1:14:43
  seems to be a +1. But to be able to achieve this
• 1:14:47
  objective, they have to do terrible things like kidnap,
• 1:14:49
  torture and murder. So how can those three things
• 1:14:52
  equate to the good guys? But with all the information
• 1:14:55
  presented in the film, I think we'd all argue that we are on
• 1:14:59
  their side. Oh yeah, yeah.
• 1:15:01
  And by the end, Kate is so ground down and backed into a
• 1:15:04
  corner by this apparent law enforcement system that she
• 1:15:07
  signed something that she doesn't believe in, making her
• 1:15:09
  complicit in The Dirty dealings. She's now on the other side of
• 1:15:12
  the fence and changed forever. So I think the right and asks
• 1:15:15
  you questions about your moral fibre.
• 1:15:17
  What would you do? Can anybody be as idealistic as
• 1:15:20
  Kate and survive in this world? Everyone's got Shades of Grey
• 1:15:23
  and the right and really brings that out for me.
• 1:15:26
  Yeah, exactly. It does question your morals.
• 1:15:27
  And it does say at the end, you know, you can't survive here.
• 1:15:30
  This is a world of wolves, and you're not wolves.
• 1:15:32
  And you're not Wolf, Exactly. Yeah.
• 1:15:33
  Which again, good dialogue. That's a really good line.
• 1:15:36
  It could have been. It could have been a little
• 1:15:37
  cheesy. Yeah, it could have been, but.
• 1:15:39
  Because it's coming from del Toro.
• 1:15:42
  Yeah. So as we.
• 1:15:43
  Said Sheridan was working on Sons of Anarchy when he started
• 1:15:46
  to get the itch to write a screenplay.
• 1:15:48
  He started to get interested in character development and
• 1:15:50
  motivations and how that had an impact on the whole narrative.
• 1:15:53
  Yeah, he took a good to move of Quitney's TV gig and writing
• 1:15:56
  this screenplay. He heavily researched the
• 1:15:58
  controversial subject matter, starting off reading online
• 1:16:01
  articles and blogs. He later travelled down to
• 1:16:03
  Mexico to conduct interviews. However, he does remain tight
• 1:16:06
  lipped about some of his research.
• 1:16:07
  Which I'm not fucking surprised. No, it's going.
• 1:16:10
  To be hanging naked in Warriors, Yeah, it knows it's subject
• 1:16:14
  matter. I love the confidence of the
• 1:16:16
  writing there. Oh, massively.
• 1:16:17
  Yeah. Even the the dialogue between
• 1:16:19
  the Delta Force is just like, you know, my turn is this, this
• 1:16:21
  gun here, there's this. And so it totally makes sense.
• 1:16:24
  Yeah, it does. And he also said there's a
• 1:16:26
  certain amount of how I did some research that I'm not sharing
• 1:16:29
  with anyone. People who are in Mexico, who I
• 1:16:31
  spoke with for clear reasons, I'm just leaving all that out.
• 1:16:35
  Of course, I think protecting himself and others as well,
• 1:16:38
  Yeah, but. He didn't have an agent.
• 1:16:40
  Once it was written, he sent it to an attorney who had
• 1:16:42
  negotiated a few deals from in the past.
• 1:16:44
  He read it and gave it to some agents that he knew and it grew
• 1:16:47
  from there. Massive.
• 1:16:48
  Yeah, I know, oldie move. And initially nobody wanted to
• 1:16:52
  touch it because of its subject and he said it was toxic to
• 1:16:55
  finances. Sheridan also came under
• 1:16:57
  pressure to change the character of care to a man because a lot
• 1:17:00
  of meetings he took insisted on that change.
• 1:17:02
  But he was adamant that the character should be female based
• 1:17:04
  on what we said earlier, that she is based on an actual
• 1:17:07
  person. Yeah, that's crazy that.
• 1:17:09
  That changes the game. That changes the whole.
• 1:17:12
  Thing. For the worse.
• 1:17:14
  It finally landed on the desk of Basil Iwanik, who sent it to
• 1:17:17
  producer Molly Smith, who sent it to Denive Nerf, who loved it.
• 1:17:21
  And that was that. And by the time Sicario went
• 1:17:25
  into production, Sheridan had already sold another half a
• 1:17:27
  dozen scripts banging them out. For Sheridan, Sicario is the
• 1:17:32
  first part of his American Frontier thematic trilogy.
• 1:17:35
  The second is, as we've talked about, Hella high Water.
• 1:17:37
  And the third is Wind River, which he also dreaded.
• 1:17:40
  Yeah, all great films. Yeah, all great films.
• 1:17:43
  And in the last 10 years, he's probably been the most prolific
• 1:17:46
  creator in movies and TV. His writing credits include
• 1:17:49
  Without Remorse, the Sicario sequel, as well as those two
• 1:17:52
  that you've just mentioned. Westie on TV was the creator,
• 1:17:55
  director, writer of Yellowstone and its spin offs, Tulsa King,
• 1:17:58
  Landman, Mira, Kingstown, among others.
• 1:18:01
  Prolific doesn't come into it. Oh, really great as well.
• 1:18:04
  Yeah, but for his writing debut, he does solid work, adding a new
• 1:18:08
  spin to very familiar ground. Definitely, yeah.
• 1:18:14
  Next is Icelandic music maestro Johann Johansson, the composer
• 1:18:17
  so nice they named him twice. This was his.
• 1:18:21
  Second of three collaborations with Villeneuve, following
• 1:18:24
  Prisoners and proceeding Blade Runner 2049.
• 1:18:27
  However, his work wasn't used for that film.
• 1:18:29
  No. But it was on Sicario to
• 1:18:31
  devastate an effect. That opening with that title
• 1:18:35
  card and the explanation of the word Sicario.
• 1:18:38
  You mentioned the top Westie. The score comes in quietly and
• 1:18:42
  then thunders to a pulsing crescendo, immediately putting
• 1:18:47
  you on edge. And I don't think it lets up for
• 1:18:49
  the next two hours. The tenseness that I feel inside
• 1:18:52
  my chest doesn't leave until the credits roll.
• 1:18:55
  Yeah, I think it's a troubling score.
• 1:18:57
  As in it gives such a huge sense of danger, like something bad is
• 1:19:01
  permanently happening in this world that we're living in for
• 1:19:05
  these two hours. Constant, isn't it?
• 1:19:07
  It will not let up. It plays over those incredible
• 1:19:10
  Deacon frames and adds so much powerful menace to everything.
• 1:19:14
  And, you know, it's not really a score, is it?
• 1:19:17
  It's it's more like it's woven into the tapestry of that.
• 1:19:19
  It's like an an atmosphere, like it's all part of the sound
• 1:19:23
  design. There's nothing in the way of a
• 1:19:26
  narrative or character theme, nor jaunty little music cues
• 1:19:29
  here and there. Obviously not.
• 1:19:31
  It just gives the film an unholy, nasty edge and just a
• 1:19:36
  sense of relief when it finishes is palpable.
• 1:19:39
  But it's it's so effective. I mean, I completely agree.
• 1:19:42
  I'd hesitate to even call it a score because it's more.
• 1:19:46
  Sound, isn't it? It is.
• 1:19:47
  It's more subliminal than that. And like you 2, I will just
• 1:19:50
  mention the way it starts with that production logo and the
• 1:19:53
  repetitive drum sounds like a heartbeat.
• 1:19:55
  And it is the lifeblood of the film in a lot of ways.
• 1:19:58
  And no, not the type of score that's been written with the
• 1:20:01
  idea of eworms in mind. You're not humming this stuff
• 1:20:04
  afterwards, but I think that's the point.
• 1:20:06
  It it lies at a level in the mix in the film where it's about
• 1:20:09
  adding to the tension of the scene.
• 1:20:11
  You don't listen to the music here, you experience it.
• 1:20:15
  But one thing about Sicario is people come out of it really
• 1:20:18
  talking about the score, and when it's so eternal as it is, I
• 1:20:22
  think that's quite remarkable how it comes across.
• 1:20:25
  Yeah. Very much because there isn't
• 1:20:27
  anything to hang on to like from like any E worms or anything
• 1:20:31
  like that. All I've got is just a sound of
• 1:20:33
  dread in me. E is getting back to what it
• 1:20:35
  sounds like. Yeah.
• 1:20:37
  Busty, your thoughts on the score?
• 1:20:39
  Yeah, I mean, we've talked about Johansson before, me might have.
• 1:20:42
  We talked about with John when we did the Arrival episode and
• 1:20:46
  we already explained then how subconscious that score felt,
• 1:20:50
  how he invented the language and intertwined that language with
• 1:20:54
  something that was just completely new.
• 1:20:56
  And I think he does the same here, even though he's got
• 1:20:58
  something that can but would be quite generic that you would
• 1:21:01
  expect to have. It's Mexico.
• 1:21:03
  What do you think the soundtrack should be?
• 1:21:05
  OK, right? It should be that, you know,
• 1:21:07
  like what Robert Rodriguez does with Dustal Dawn.
• 1:21:10
  Yeah. Yeah, yeah, the Lost Law boss is
• 1:21:12
  not here. No, exactly.
• 1:21:15
  I mean, there's, there's none of that.
• 1:21:16
  Like, you know, we'll need to reinforce anything.
• 1:21:19
  It's not reinforcing the visual, it's reinforcing the emotion.
• 1:21:22
  Like you've both said, it's reinforcing, but it's really
• 1:21:24
  subliminal the way it's done. It's in your subconscious, like
• 1:21:27
  it's just behind your eyes. It's really reinforcing things
• 1:21:31
  and you don't hear it. There's no, there's no real
• 1:21:33
  theme. He never has.
• 1:21:34
  He never had written a theme, sorry.
• 1:21:36
  And I don't think he that was his way of approaching work.
• 1:21:39
  I think his way of approaching work was very textual, was very
• 1:21:43
  thoughtful, was very emotional, and in doing that was very
• 1:21:47
  understated, but at the same time very powerful.
• 1:21:51
  If you listen to this away from the film, it's terrifying.
• 1:21:56
  You can, if you listen to this, I listen to this driving back
• 1:21:58
  from work today and I thought everyone was out to get us like
• 1:22:01
  seriously. And I'll go through the time
• 1:22:04
  tunnel, which feels like, you know, the Mexican border
• 1:22:06
  sometimes because you're backed up in traffic, you have to go
• 1:22:08
  through the tunnel. And it was just this dumb, dumb.
• 1:22:10
  I was like, should I be listening to this?
• 1:22:11
  Because I'm looking over my shoulder and I'm just thinking
• 1:22:13
  like, Jesus Christ, what's going on?
• 1:22:15
  But it just, it just builds and it just bubbles in the back of
• 1:22:18
  your head. But the score for Sicario is
• 1:22:20
  probably one of the best in the way that it's intertwined.
• 1:22:24
  It reminds us of very much of, you know, like we've said,
• 1:22:27
  horror films. It reminds very much of
• 1:22:29
  Nightmare on Elm Street. It reminds me very much of
• 1:22:31
  Hellraiser. It reminds me very much of just
• 1:22:33
  setting that tone and that unease.
• 1:22:35
  He did it with such an ease. It seems that it was just just
• 1:22:39
  so easy for him just to plug into the visual and make it so
• 1:22:43
  much darker than it seems. I mean, we open in Arizona, but
• 1:22:46
  it feels like you're in hell. It does.
• 1:22:49
  Yeah, it's incredible. It's just incredible.
• 1:22:50
  It is. And feeling.
• 1:22:52
  I've told Johansen that he wanted the score to feel like a
• 1:22:55
  threat coming from under your feet, deep under the surface of
• 1:22:58
  the scorched earth of the Chihuahua desert.
• 1:23:01
  And he actually used the Jaws score as an example and played
• 1:23:04
  that as temp music when editing the film.
• 1:23:06
  Check and see where can you know for that.
• 1:23:08
  Definitely, yeah. Seeing our work.
• 1:23:09
  Just just thinking like the Arizona landscape, and then as
• 1:23:12
  soon as the guys walk in, it's like, yeah, totally, yeah, OK,
• 1:23:16
  I've got it. So to get the desired effect,
• 1:23:18
  Johansson use a 65 piece orchestra, all on the low end of
• 1:23:22
  the musical register, all in the bass.
• 1:23:24
  And Johansson said it's almost the sound of the drug tunnels
• 1:23:27
  are featured in the story. You can hear them, you can feel
• 1:23:31
  them. It's the resonation, it's the
• 1:23:33
  reverb, it's everything that's brought into the sound design.
• 1:23:35
  It just totally works. It reinforces the visuals.
• 1:23:38
  Yeah, massively. Johansen said that his score is
• 1:23:41
  like the throbbing heart of a beast charging at you.
• 1:23:44
  He and Villeneuve agreed that the music needed to be
• 1:23:46
  relentless and evoke a sense of insistent violence.
• 1:23:50
  Which means. Charge Are you in slow motion
• 1:23:52
  and you can hear his heartbeat and you know it's going to tear
• 1:23:54
  your face off and there's nothing you can do about it?
• 1:23:57
  That's terrifying. Sadly, Johansson died well
• 1:24:01
  before his years in 2018, but with his Oscar nominated score
• 1:24:05
  for Sicario and his other works, he's left behind an incredible
• 1:24:08
  legacy. Finally, the cinematographer
• 1:24:13
  we've probably talked about the most on the podcast, Yours and
• 1:24:17
  everybody's. Roger Deegan's probably the
• 1:24:19
  greatest living cinematographer who picked up the obligatory
• 1:24:22
  Best Cinematography Oscar nomination for his efforts here.
• 1:24:26
  Yeah. Villeneuve said he has the
• 1:24:28
  pressure of being Roger Deakins on every shot, which I thought
• 1:24:31
  was a fantastic quote. Yeah.
• 1:24:34
  Yeah, nails up. So how does he manage that?
• 1:24:37
  Matt, your thoughts on Deakins work here the.
• 1:24:39
  Thing for me is I don't think this would seem particularly
• 1:24:43
  visually interesting on the page.
• 1:24:46
  If anything likes it, maybe bit cliche.
• 1:24:47
  We've seen plenty of films in Mexico, plenty of shootouts,
• 1:24:50
  plenty of CIA rates on houses. But what Deakins does is make it
• 1:24:55
  seem like we've not seen any of this before.
• 1:24:57
  Really interesting when he shoots whites for characters
• 1:25:00
  having conversations. Such an unusual choice, like
• 1:25:03
  when Kate and Matt do it, when they get across the board and
• 1:25:05
  she's kicking off at him. The shooting of the landscape,
• 1:25:08
  the shooting of the natural light caught in this film, in
• 1:25:10
  this darkness. The shot that will always,
• 1:25:13
  forever live in my mind comes towards the end when we get into
• 1:25:16
  what's the total thing, which we'll talk about.
• 1:25:17
  But the soldiers are walking down an incline, but it looks
• 1:25:20
  like they've been swallowed up into the earth because it's in
• 1:25:23
  silhouette. Like I said, in terms of the
• 1:25:26
  writing, there's nothing really special in there for me, but
• 1:25:30
  everything around it is special and so.
• 1:25:32
  And that's never more true than what Deakins brings here.
• 1:25:35
  Yeah, incredible work, Westie. I mean, obviously you're a fan.
• 1:25:39
  Thoughts on Deakins here? I mean, look, this this work
• 1:25:53
  that he's done and it's incredible and this work is
• 1:25:55
  incredible and it's absolutely fantastic.
• 1:25:57
  And we can say that there was this shot here and he did this
• 1:26:00
  shot and he did this out and then you've done this.
• 1:26:02
  It's this isn't true collaboration between two
• 1:26:05
  visionary artists. And they worked so well together
• 1:26:09
  on prisoners. And every time we listen to
• 1:26:11
  Deacons, if you listen to his podcast, which I would highly
• 1:26:13
  recommend. And what I get from these
• 1:26:15
  visuals is just so heartwarming because it's two people who
• 1:26:18
  really want to impress each other, and it's two people are
• 1:26:21
  working so close together. But it's also every single
• 1:26:24
  member of Deacon's team. It's his focus puller, it's his
• 1:26:27
  gaffer, it's everyone who he's worked with all through his
• 1:26:30
  career making this work so well. You know, Alejandro putting the
• 1:26:34
  gun behind Kate's head and there's a focus pull on that,
• 1:26:36
  which is Oscar wordy. It's so clean, it's so crisp.
• 1:26:41
  It's just bang, he's in, bang, he's out.
• 1:26:43
  And we know where we are. And everyone always talks about
• 1:26:46
  Matt's just mentioned it there. You know, that shot, that
• 1:26:48
  silhouetted shot of them disappear.
• 1:26:49
  It's not difficult to shoot a silhouette like that when you
• 1:26:52
  have a sunset like that. It's not difficult because you
• 1:26:55
  know your exposure and you know that you're going to just knock
• 1:26:58
  it down a couple of stops. You know you're going to have
• 1:27:00
  shadows in front of you. What is difficult is the pace of
• 1:27:04
  moving the camera, of blocking the scene, of having people move
• 1:27:07
  and move the camera, making sure you understand their motivations
• 1:27:10
  as they're moving through the scene.
• 1:27:12
  And that's what people don't give Deacons enough credit for,
• 1:27:15
  is his motivation in character development.
• 1:27:18
  Deacons always used 1 camera on every film, refused to use more
• 1:27:22
  than one camera. So if you think of that shootout
• 1:27:24
  sequence at the border, that's one camera.
• 1:27:27
  So we'll figure out where it's going to be and what it's going
• 1:27:28
  to do. Watch it again.
• 1:27:30
  It's so well thought out, it's so well played.
• 1:27:32
  It's so technically perfect. The little moments as well that
• 1:27:36
  really play out on top of them. Massive technical moments.
• 1:27:38
  When Reggie finds out the Ted's an asshole and he's working for
• 1:27:42
  the cartel and he's fucking really upset.
• 1:27:45
  Look at the lighting on that. Kaluya is just behind his back
• 1:27:48
  and there's just this light next one and he's just half lit and
• 1:27:52
  it's fucking beautiful as a shot.
• 1:27:54
  It's. Beautiful.
• 1:27:56
  And it doesn't need to be. But before that, you've got this
• 1:27:58
  wide of the sirens, you've got everything else, and it's just
• 1:28:01
  this darkness. And you push into the darkness
• 1:28:03
  and he is this glimmer of hope for Kate.
• 1:28:05
  He's this slice of light in all of the darkness.
• 1:28:08
  And he can't bring himself to be any more like because he doesn't
• 1:28:11
  know what's going on Now that that one shot there, that one
• 1:28:15
  thing, I'm going to light it like this.
• 1:28:17
  What? Because it looks cool?
• 1:28:18
  No, because that guy's suffering and he can't bring any more
• 1:28:21
  light to kids life. And he can't be any more present
• 1:28:24
  than my life. And he is a shadow of who he
• 1:28:26
  used to be and go on for hours and hours and hours about
• 1:28:29
  everything that Deacon shoots. But it's just that what he puts
• 1:28:32
  into it from an emotional point of view, from a character point
• 1:28:35
  of view, I don't think is celebrated enough.
• 1:28:38
  Fantastic could easily go unnoticed.
• 1:28:41
  Without a shadow of doubt, yeah. But I mentioned about the visual
• 1:28:44
  language that film of communicates with this film, and
• 1:28:47
  he wouldn't be able to connect so strongly if it weren't for
• 1:28:50
  the Grand Master, Sir Rog. Of course, the complexities of
• 1:28:54
  those overhead shots, the complexities of the terrain,
• 1:28:57
  they all represent the complexities of this whole
• 1:28:59
  operation. The term that gets bandied
• 1:29:01
  about, it's quite a cliche, every frame of painting.
• 1:29:04
  But I think here Deacon should try and trademark the term every
• 1:29:08
  frame an ordinance survey map. Because.
• 1:29:13
  There's probably a bit more of a mouthful than the first one.
• 1:29:18
  And less flattering as well. But all these incredible
• 1:29:24
  overhead shots are so detailed and they've all got an identity.
• 1:29:29
  Despite containing very little other than just the desert and
• 1:29:33
  an odd smattering of green. They all look the same, but
• 1:29:36
  they've all got an identity, and this palette has been
• 1:29:39
  sandblasted and it's breathtakingly bleak, the kind
• 1:29:42
  of place where only wolves thrive.
• 1:29:45
  The visuals reinforce the narrative spectacularly.
• 1:29:48
  And the majority of the sets, the majority of the costumes,
• 1:29:51
  they're all like sandy beige, as if the Mexican desert has made
• 1:29:55
  its way over the border and infiltrated the very people who
• 1:29:58
  are fighting against it, blurring the lines between right
• 1:30:00
  and wrong once again. I mean, it's just stunning work
• 1:30:04
  from Roger Deakins. Unbelievable.
• 1:30:06
  Diggins took particular inspiration from the photography
• 1:30:09
  of Alex Webb, whose Crossings book depicted scenes on the
• 1:30:12
  Mexico US border, and he also used his background as a
• 1:30:16
  documentarian in war zones as a source of inspiration, he said.
• 1:30:19
  I think being in those war zones helped me give the shots Are
• 1:30:22
  grounded in reality, you can see that.
• 1:30:25
  Then you've said that using the RE Alexa brings a sensibility of
• 1:30:28
  35 mil film doesn't have. But with Roger he approached
• 1:30:31
  digital like 35mm. It means everything is done in
• 1:30:34
  camera and on set. Colour timing for Roger is a
• 1:30:37
  very small process. It's something more crude in
• 1:30:39
  some ways and that everything's pretty much finished, as you
• 1:30:42
  say, on the daily. Yeah, everything's done in
• 1:30:44
  camera. Incredible.
• 1:30:44
  That's incredible. Yeah.
• 1:30:47
  We've also said, and how about this for 1/4?
• 1:30:51
  At the end of the day, it's not about the camera, it's who's
• 1:30:53
  behind the camera. And there's Roger Deakins, who
• 1:30:56
  could shoot with the shoe and it would look great.
• 1:31:00
  Yeah, yeah. Yeah, what?
• 1:31:03
  Of course. You would though.
• 1:31:07
  So feeling of surrounding himself with some of the best in
• 1:31:09
  their field with his crew all add an essential texture and
• 1:31:13
  layers to Scario. Definitely.
• 1:31:18
  The end. Before the deal goes down, Kate
• 1:31:23
  is exhausted and is in desperate need of some RNR.
• 1:31:27
  Her and Reggie head over to the Wild Pony for a few cowboy
• 1:31:30
  brewskies, but things go very, very bad.
• 1:31:33
  Yeah, of course. You know, we're talking about
• 1:31:34
  Sicario here of. Course it goes back, yeah.
• 1:31:37
  Of course it does, yeah. Bit of karaoke, then early
• 1:31:39
  night. Yeah.
• 1:31:42
  No, no, no, no. I really feel for Kate at the
• 1:31:45
  Wild Pony here. Her head's spinning, She doesn't
• 1:31:48
  know which way is up, where her allegiances lie.
• 1:31:51
  She's taking them smoking again and all she wants to do is have
• 1:31:54
  a drink to let her hair down. I've read she's skipping out in
• 1:31:56
  the first round as well. I get the table.
• 1:32:01
  Dick move. Real brother and sister, that.
• 1:32:04
  Yeah, it is. It is.
• 1:32:05
  Yeah. Well, that's, it's like to build
• 1:32:06
  on what you were saying, Matt, they've got such great chemistry
• 1:32:09
  in this scene. And it's clearly not sexual.
• 1:32:13
  Yeah. Oh, definitely.
• 1:32:13
  Yeah. His dialogue is great, he says.
• 1:32:15
  The bra situation, that's the least of your problems because
• 1:32:19
  you look like shit. He lays it on.
• 1:32:25
  Really. Thick one T-shirt a week.
• 1:32:27
  Where's your personal hygiene? Your eyebrows look like
• 1:32:29
  caterpillars. I mean, quite unkind.
• 1:32:32
  Because, you know, we're talking about Emily Blunt here.
• 1:32:36
  Yeah, well, yeah, exactly. But it does work.
• 1:32:38
  It does. She takes in good humour as
• 1:32:39
  well. Which?
• 1:32:40
  Is a nice dynamic. She only had a baby four months
• 1:32:42
  ago for fuck's sake. And then when the talk and she
• 1:32:48
  likes the look of old Teddy Boy at the bar and after a few beers
• 1:32:52
  she starts to relax and she's actually.
• 1:32:53
  Laughing and having a good time, something which seemed
• 1:32:56
  impossible. For this character beforehand,
• 1:32:59
  yeah, but you feel. Worried when you say that, don't
• 1:33:00
  you? Very much, very much.
• 1:33:02
  See, that's terrific, because this character is allowed to
• 1:33:05
  have a good time. But look what?
• 1:33:07
  Happens as a result. Yeah, we're not.
• 1:33:09
  Yeah. And she deserves this.
• 1:33:12
  It's been all work more play so far.
• 1:33:14
  Yeah, and there's a great match cut as Ted lifts her up on the
• 1:33:17
  dance floor and it cuts to the same move back at her apartment.
• 1:33:20
  Fantastic. Love it.
• 1:33:21
  Yeah. But things go South very, very
• 1:33:23
  quickly. Don't they matter?
• 1:33:25
  They certainly do. This scene, it's so well acted.
• 1:33:28
  It's so tense, like the brutality of the violence is
• 1:33:33
  shocking, and it's so visceral as well.
• 1:33:35
  It's really in your face. And John Bernthal is really,
• 1:33:38
  really good in this scene. I mean, he's really good in the
• 1:33:40
  film, but the issue for me is he's almost too good because
• 1:33:45
  he's John Bernthal. And I don't think I've ever seen
• 1:33:47
  a film with him in where he plays a good guy or somebody who
• 1:33:50
  can be trusted. You know, he's bad news in Fury,
• 1:33:53
  He's bad news in Wolf of Wall Street, he's bad news in The
• 1:33:56
  Walking Dead. So that flip where KFC is the
• 1:33:59
  rubber band and realizes who he is and he goes to killer.
• 1:34:02
  That doesn't have the impact for me because I'm thinking it's
• 1:34:05
  John Bernthal. Of course he's bad news.
• 1:34:07
  You know, this is going to be a scene when this is about, you
• 1:34:10
  know, kid getting the rocks off and it's certainly not burnt out
• 1:34:13
  his fault because he's that good.
• 1:34:14
  It's just one of those things where I think, like, Can you
• 1:34:16
  imagine if that flipped the burnt out and clue your casting
• 1:34:19
  in this? Would that have been more of a
• 1:34:21
  surprise? Wow.
• 1:34:23
  That's really. Interesting.
• 1:34:24
  Yeah. So as a plot point it works
• 1:34:28
  great and it sets the rest of it up really well.
• 1:34:30
  And no one is like letting the side down here.
• 1:34:32
  And as I say, as a piece of like visual, visceral cinema, it
• 1:34:36
  works. But I think for something that
• 1:34:38
  should be an absolute shocker, this should be expected.
• 1:34:41
  It's expected. This should be like the Rolo
• 1:34:43
  Tomasi scene from LA Confidential.
• 1:34:45
  Yeah, right. It's.
• 1:34:46
  Just not yeah, because I just from the get go, I think it's
• 1:34:48
  burnt out. Of course he's a wrong one.
• 1:34:51
  Yeah, fair enough. Yeah, he plays it well, very
• 1:34:54
  well. I say it's a really, really
• 1:34:55
  well. Yeah, and I mean, talking about
• 1:34:57
  the being obvious, he's in the back of the police car and he's
• 1:35:00
  with the two worst guys or the two best guys that you want him
• 1:35:04
  to be with at this point after you've seen what is what's
• 1:35:06
  happened to Kate. And it's just Brolin's carrot
• 1:35:09
  and, you know, Matt just gone when he brought him back here.
• 1:35:11
  That was smart. Just put that in your report.
• 1:35:12
  Come on. You know, it's positive.
• 1:35:13
  Let's go. Yeah.
• 1:35:14
  Brilliant. He's just like, yeah, come on,
• 1:35:16
  you know, let's let's do this. And he's got him in the back of
• 1:35:18
  the car. And then you just see Alejandro
• 1:35:20
  just with the door open. He's not committing yet because
• 1:35:23
  he doesn't really want to commit.
• 1:35:24
  He's just on the sidelines. And it.
• 1:35:27
  Is this an interrogation? Because it's.
• 1:35:30
  It's really painful, but at the same time treats him like a
• 1:35:33
  child and really big little him tweaks his eyebrow, yes and
• 1:35:38
  pulls his fucking stop fucking with this.
• 1:35:39
  I do something. I don't do something, you know,
• 1:35:42
  And then it's like the most violent wet Willy I've ever seen
• 1:35:45
  in my life. Like he's going straight and
• 1:35:47
  he's going for you're going to live, you're going to be fine,
• 1:35:51
  but your ex-wife and your daughter aren't going to be.
• 1:35:54
  And that's where they're hitting.
• 1:35:55
  And that's the whole point. And it's Matt who does that
• 1:35:58
  through the mirror. And he doesn't actually turn to
• 1:36:00
  face him as a human being, just as a reflection of himself, as a
• 1:36:03
  reflection of who he thinks he is.
• 1:36:04
  Like he's nasty aside of him. Like you can't actually turn and
• 1:36:07
  face him as a person. He has to do it through the
• 1:36:09
  mirror. So it's your choice.
• 1:36:11
  And I think that's what you get from this whole interrogation
• 1:36:13
  sequence is just like how callous, how dark, and how much
• 1:36:17
  they're willing to just be so nasty to somebody, but in a
• 1:36:21
  childlike way for the audience. It's a really great scene.
• 1:36:24
  And again, really well played out because it leaves you the
• 1:36:27
  imagination of like, does he get away with it?
• 1:36:29
  Does he not? Oh, yeah.
• 1:36:30
  Once this scene finishes, I completely forget about Ted's
• 1:36:33
  character. Yeah, yeah, it's.
• 1:36:35
  Gone. Absolutely.
• 1:36:36
  When we get to the end of it, it might be one of the detriments
• 1:36:40
  of this film is that you keep looking to the next scene so you
• 1:36:42
  don't appreciate the one you're in, which is why we have to keep
• 1:36:45
  moving and maybe why we don't get on the 1st watch.
• 1:36:48
  So we'll see when we get at the end, see if that actually works.
• 1:36:50
  A. Little bit of tension there.
• 1:36:52
  Knife edge. Lovely.
• 1:36:54
  It's not that bad, is it? A Wet Willy.
• 1:36:59
  So, a harrowing sequence of events for kids with Alejandro
• 1:37:02
  proven that nothing will draw information out of a corrupt
• 1:37:05
  copper quicker than a wet Willy. We've ended the business end of
• 1:37:11
  Sicario, which plays out like 4th of July on steroids,
• 1:37:15
  starting with the aforementioned descent into the tunnel.
• 1:37:19
  Yeah. Yeah.
• 1:37:20
  I mean, this sort of scene, it harks back to the beginning of
• 1:37:23
  the film when the first crossed the border and brought on looks
• 1:37:26
  across the town and called to the beast.
• 1:37:27
  And this is going into the belly of the beast.
• 1:37:29
  Yes. You have no idea what you're
• 1:37:32
  going to find here. And this is one of the best
• 1:37:35
  scenes of putting you in the perspective of Kid and Reggie by
• 1:37:38
  this point. Do it at the back, no
• 1:37:40
  instructions. Just don't kill anyone on the
• 1:37:41
  same team, and that's it. And everything else is going to
• 1:37:45
  be handled by everyone else. And that constant coding from
• 1:37:48
  regular perspective, you know, through the night vision goggles
• 1:37:51
  to the thermal shots, to the bird's eye shots from above, how
• 1:37:55
  that's cut together, done so perfectly and so precisely,
• 1:37:59
  There's a real sense of paranoia to the sequence.
• 1:38:02
  Obviously your Silence of the Lambs influenced in this scene
• 1:38:05
  as well, with the clues going in the basement through the night
• 1:38:07
  vision. Seagull Dog 30 has a very
• 1:38:09
  similar sequence to the end of that.
• 1:38:11
  Film. Which I think is the infancy as
• 1:38:13
  well, but all the same, the visuals with the music couldn't
• 1:38:16
  the silence on the ground combined with Howard of their
• 1:38:19
  depth, Kate and Red Yard. It's one of the most tense
• 1:38:21
  sequences in the film. And when one of them asked what
• 1:38:24
  the rules of engagement are involved in replies weapons free
• 1:38:27
  my friend, weapons free. That's one of the best lines of
• 1:38:30
  dialogue in the film. And because he does not batch,
• 1:38:32
  it's going to happen now. He's not going to see a note to
• 1:38:35
  anything anyone wants to do. And then even when it bursts
• 1:38:38
  into like the shooter, because it starts off like a horror
• 1:38:41
  film, creep into the tunnel using the knife on people.
• 1:38:44
  And then it's like heat all of a sudden with the good fire in the
• 1:38:47
  shootout. And at one point you get kids.
• 1:38:49
  She looks nervously behind her. And you think like a lot of
• 1:38:52
  people when they talk about this film, they'll talk about the
• 1:38:54
  scarf scene. People talk about it with Del
• 1:38:56
  Toro's performance, the like and sicario to a horror film.
• 1:38:59
  And this for me is the sequence most like a horror film
• 1:39:02
  sequence. You're 100% expecting something
• 1:39:06
  to jump out of her from the. Tunnel.
• 1:39:07
  Oh, you definitely are. Oh yeah.
• 1:39:09
  Yeah, even if it's Buffalo Bill, you wouldn't be surprised.
• 1:39:12
  Some mums flying around, yeah. Incredious.
• 1:39:20
  Would you fuck me? I'd fuck you.
• 1:39:29
  Just the sincerity in which you said it, like it wasn't.
• 1:39:31
  I thought you were talking to me.
• 1:39:36
  I was like no. As mentioned, Deacon shot with
• 1:39:42
  the Ari Alexa to get the effect of the night vision and thermal
• 1:39:45
  views in the scene. There was no effects added in
• 1:39:47
  post. Deacons used two different
• 1:39:49
  attachments often used by the military.
• 1:39:51
  Unbelievable. Yeah, well.
• 1:39:53
  The soles of shoes were also heated up before rolling so that
• 1:39:56
  it came over a lot more on screen more clearly.
• 1:39:58
  Yeah, see. That we see the footprints.
• 1:40:00
  Yeah, brilliant. The reason that there were two
• 1:40:03
  different views it's to differentiate between two
• 1:40:06
  different points of view. So clear.
• 1:40:08
  Yeah, it works. And Dakin said it was almost
• 1:40:10
  ridiculous how little light I was using, but I didn't want to
• 1:40:13
  go too far and make the image look too good because not
• 1:40:16
  realistically, it just wouldn't work.
• 1:40:18
  Wow. There's a moment in the tunnel
• 1:40:20
  where Kid hits her head on the top, and that wasn't planned.
• 1:40:25
  But real nerve. Kept it in for an added sense of
• 1:40:27
  realism. It's only subtle.
• 1:40:30
  It doesn't. It's not like the Star Wars.
• 1:40:33
  Yeah. And yeah, once they're in there,
• 1:40:36
  it's amazing, that tunnel. But we start to get a bit more
• 1:40:40
  clarity when those packages of narcotics are being unloaded
• 1:40:43
  from the car. The pieces are kind of finally
• 1:40:45
  coming together about who this family who we've been seeing in
• 1:40:49
  Nogales are. The policeman, Silvio and his
• 1:40:51
  son who just desperate to play football.
• 1:40:53
  That little fella, he's a mule for the cartels.
• 1:40:56
  No wonder he's getting a frosty reception from his wife.
• 1:41:00
  And he's clearly in well over his head.
• 1:41:03
  And just a little side note on his breakfasts that he keeps on
• 1:41:06
  getting served up, they look incredible, brilliant.
• 1:41:10
  The Filipino. Yeah.
• 1:41:12
  Obviously fantastic. Now there's a disagreement
• 1:41:15
  between him and another guy who swiftly gets a bullet in the
• 1:41:17
  head when Alejandro shows up. The guy says Medellin to him,
• 1:41:21
  thrown his allegiances into question and completely baffling
• 1:41:25
  kid who remains Alejandro of his past life and his daughter,
• 1:41:28
  which we found out later, which makes it all the more heartbreak
• 1:41:31
  and that he has to take her down when she shows up.
• 1:41:33
  Bang Bang, just like that. He can't get his revenge any
• 1:41:37
  other way. He puts two in a bulletproof
• 1:41:40
  vest without remorse and just leaves a gasping for breath.
• 1:41:43
  And we still don't have any real answers.
• 1:41:45
  We as rattled as kid, were as confused as kids.
• 1:41:49
  And then when Kate emerges from that tunnel, Matt gets what
• 1:41:51
  coming room? A smack right in the kisser.
• 1:41:54
  Yeah, and as we're talking about that smack in the kisser, in the
• 1:41:57
  moment where Kate punches Matt, he restraining, he restrains
• 1:42:00
  there. He takes a beat or two in
• 1:42:01
  between his dialogue. And this wasn't scripted.
• 1:42:03
  Brolin had forgotten his lines in it the thing for a second.
• 1:42:07
  It works well though. Yeah, scans it doesn't look too.
• 1:42:10
  Obvious. I told you it's taking a little
• 1:42:12
  bit of time to get back to it, but not too long.
• 1:42:14
  No, no. When Matt finally does come
• 1:42:17
  clean, it all becomes very clear what the whole thing is being
• 1:42:20
  about. Alejandro is on a mission of
• 1:42:21
  vengeance. He gets what he wants and
• 1:42:23
  ultimately it helps Matt and his crew get what they want.
• 1:42:27
  It doesn't matter whose side is on.
• 1:42:29
  And we get the exposition about his family.
• 1:42:31
  That would have just been too far heavy-handed in that
• 1:42:33
  original dream sequence. It would have been, yeah.
• 1:42:36
  These are the kind of people that we're dealing with.
• 1:42:38
  Yeah. Love it.
• 1:42:39
  So the whole thing has been leading up to Alejandro tracking
• 1:42:42
  down Fausto Ala Khan, and you're taking that right away, Westie.
• 1:42:46
  I'll take that right away and I'll begin by talking about
• 1:42:49
  Sylvia, I think because we see his journey peppered through
• 1:42:53
  him. Haven't really spoke about him
• 1:42:55
  yet, but his family dynamic is obviously falling apart.
• 1:42:58
  His wife knows what he's doing or doesn't know what he's doing
• 1:43:01
  or a shifty and he hasn't really explained that he's drinking at
• 1:43:04
  breakfast. He's trying to please his son.
• 1:43:06
  He's trying to, you know, just be part of what he needs to be
• 1:43:08
  part of. But again, he's he's brought in
• 1:43:10
  something that he can't control. So for me, he is mirror image of
• 1:43:14
  Kate on the other side of the border.
• 1:43:16
  And it's how they were and how that works and that same.
• 1:43:19
  Cigarettes as well don't. They smoke the same cigarettes,
• 1:43:22
  Indian Creek, which look fantastic, let's be honest.
• 1:43:24
  And it's just heartbreaking when Alejandro gets in that and then
• 1:43:28
  you know, it's Silvio and you know that what he's doing.
• 1:43:30
  And you just think, oh, no, when he drives into that thunderstorm
• 1:43:34
  and you know that, oh God, his son just wants to play football
• 1:43:37
  with me. Just like he just wants to have
• 1:43:39
  a family unit. But he's just, it's so out of
• 1:43:41
  his control. There's just this incredible
• 1:43:44
  moment where he pulls up and he's got Diaz pulled over and he
• 1:43:47
  says the Sylvio, it's time to get out of the car.
• 1:43:50
  You know what Alejandro is like? You know that he's got no kind
• 1:43:52
  of remorse whatsoever for these people, but we have remorse for
• 1:43:55
  Sylvio as an audience. But that moment where there's
• 1:43:59
  just that shot of Sylvio and there's just the lights behind
• 1:44:01
  him cuts back Diaz. He's trying to figure out who he
• 1:44:04
  is, and it's just bang, bang, bang, down, down, down, down.
• 1:44:07
  Just it's a heartbreak when it comes back down to his body just
• 1:44:09
  lying there. He's just another number.
• 1:44:12
  He's not a person anymore. And there's just this real
• 1:44:15
  precision now from Hal Andro. And he's talking to Diaz, gets
• 1:44:19
  through the first one. He passes them.
• 1:44:20
  It's Diaz. Let them go back.
• 1:44:21
  Done. Yeah.
• 1:44:23
  It's like a far more mature version of True Lies.
• 1:44:25
  Like, here's my invitation. You.
• 1:44:30
  Know. It's a nice piece, but the
• 1:44:32
  surveillance there, so, you know, he's backed up, yes.
• 1:44:34
  And then one more time they say we're going blind.
• 1:44:37
  They turn the cameras off again, so anything that's personal to
• 1:44:40
  Alejandro that turn the cameras off so there's no evidence of.
• 1:44:43
  And when we actually find him in that house, when he approaches
• 1:44:46
  that family, I think this is Sicario for me.
• 1:44:49
  This is the most powerful scene in the whole film.
• 1:44:52
  It's based on you experiencing his emotions through absolute
• 1:44:56
  silence. And there's that moment where
• 1:44:59
  you know for a fact it's all going to go down, but you don't
• 1:45:03
  know how it's going to go down. What he says not in front of me,
• 1:45:05
  kids. So he basically says, well, I'm
• 1:45:07
  going to have to kill them first.
• 1:45:08
  Thanks. You don't make kill you in front
• 1:45:09
  of them, so I'm going to kill them first.
• 1:45:12
  And there's that moment. You what would your wife be
• 1:45:13
  proud of who you've become? And there's that pause and it's
• 1:45:18
  so fucking beautiful. It's just so beautifully done by
• 1:45:21
  Deltori. He's just don't forget about me
• 1:45:23
  daughter. And then it cuts to the wife
• 1:45:26
  because she knows how how important that is.
• 1:45:28
  And she's like, oh, we're all dead.
• 1:45:31
  And then we're just there's that cut to the wide, which is
• 1:45:33
  beautiful. Just that side shot.
• 1:45:35
  It was just lying on the ground to finish your meal.
• 1:45:38
  Bang. And then there's just that other
• 1:45:39
  bang. And then there's that cut to
• 1:45:41
  black. And the last thing he has to do
• 1:45:42
  was go to kids. And then we cut to that
• 1:45:44
  beautiful shot again, if the dust coming through, she's on
• 1:45:47
  the balcony. And he says, I wouldn't stand on
• 1:45:49
  any balconies in the future or, you know, anytime soon goes back
• 1:45:53
  through. And he just expects that to sign
• 1:45:54
  it. But there's this real muteness
• 1:45:57
  from Del Toro when she's crying and he just wipes the tears
• 1:46:00
  away. And there's this moment where
• 1:46:02
  it's just you're going to be committing suicide because no
• 1:46:05
  one's going to believe I was here.
• 1:46:06
  No one's going to know I was here.
• 1:46:07
  Everyone's going to believe you've shot yourself because of
• 1:46:09
  what you've been through. You know for a fact that I've
• 1:46:11
  won. This is a world of wolves.
• 1:46:13
  And you're not a wolf. Yes, you're out of your depth.
• 1:46:15
  Let it go. Strips the gun, throws it away.
• 1:46:18
  And then she has that incredible moment, which is very corns for
• 1:46:21
  me, very No country for old men. And you get that incredible
• 1:46:24
  moment again, talking about Deacon's, talking about his
• 1:46:26
  crew. Del Toro leaves the frame.
• 1:46:27
  And then we push focus on Emily Blunt in the background as her
• 1:46:31
  head comes down, as she hangs her head, and that's it.
• 1:46:35
  And then we'll finish on the football match, which is
• 1:46:37
  naturally bordered. You've got you.
• 1:46:39
  You know, the game. That's where you play it, inside
• 1:46:42
  of these borders. As soon as the kid kicks the
• 1:46:44
  ball over the goal, over the borders, the guns go off.
• 1:46:46
  Yeah, but Silvio's kid doing it, and it's the wife.
• 1:46:51
  There's no way we can avoid this.
• 1:46:52
  It's always going to happen. There's always going to be
• 1:46:54
  fireworks. It's an incredible ending.
• 1:46:56
  It is amazing. And from an incredible ending to
• 1:47:00
  an incredible final question. OK.
• 1:47:02
  From one of our patrons. Our final one comes from Emily.
• 1:47:05
  Hello, Emily. Hello, Emily.
• 1:47:07
  Hello, Emily. The Emily.
• 1:47:08
  Emily B. Is it Emily Blair?
• 1:47:10
  Who knows? Maybe that's why she's only
• 1:47:12
  given her first name. She remains Incognito.
• 1:47:15
  Mat Wonderful. All right.
• 1:47:17
  Emily says the family dinner at the end of Sakari was certainly
• 1:47:20
  one of the most shocking that I've seen on screen, But meal
• 1:47:23
  times and movies feel like a great opportunity to trap
• 1:47:26
  characters together for a hot woman moment, tense
• 1:47:28
  confrontation or some other pivotal events.
• 1:47:31
  What are your favorite or most iconic movie scenes around the
• 1:47:34
  dining table? The Untouchables baseball bat
• 1:47:36
  scene comes to mind for me. That's what Emily says.
• 1:47:39
  She also says big thanks from Toronto.
• 1:47:42
  My dad Chris got me hooked on the pod and we love breaking
• 1:47:45
  down your breakdowns together, which is.
• 1:47:47
  Very nice. Oh, lovely.
• 1:47:50
  Hello Chris as well then. Yeah, hello, Chris.
• 1:47:52
  So, Emily. Yeah, yeah, Yeah.
• 1:47:53
  OK. I think the dinner table scene
• 1:47:55
  in Goodfellas obviously is the one that comes to mind first.
• 1:47:58
  Oh, yeah. Do you see my painting?
• 1:48:00
  It's delicious. Who puts ketchup on like that?
• 1:48:03
  That's too much ketchup. But who would ketchup?
• 1:48:05
  You got no control. No control whatsoever.
• 1:48:08
  It's all over the place. Another one that leaps to mind
• 1:48:10
  is the horrific end into Texas Chainsaw Massacre.
• 1:48:14
  Yes. One of the most grueling scenes
• 1:48:16
  in history, not least because of what went on behind the scenes.
• 1:48:20
  And if you don't know, that's in our archive.
• 1:48:23
  Yeah. And yes, my final one, I'm going
• 1:48:26
  to come at you left field. It's from Shrek 2 when they have
• 1:48:34
  dinner at Princess Fiona's parents, players, Harold Shrek,
• 1:48:39
  Fiona, Donkey. That's amazing.
• 1:48:43
  It's. Brilliant.
• 1:48:44
  That's really funny, yeah. It's I've went for really heroin
• 1:48:52
  ones but that's brilliant. I love that.
• 1:48:54
  Well, all the ones I was thinking about were miserable,
• 1:48:57
  so I've needed some like, but there's still a big argument
• 1:49:00
  going on in that scene, yeah. Yeah, absolutely.
• 1:49:02
  Yeah. Matt, what about you?
• 1:49:04
  Dinner table scenes. I'm going for three First one,
• 1:49:07
  I'm going for Hereditary. Tony Collett's meltdown at the
• 1:49:12
  family, which is so uncomfortable and difficult to
• 1:49:17
  sit through. She is.
• 1:49:19
  I mean, we've always sang her praises.
• 1:49:21
  She is magnificent in. That film that would say with
• 1:49:25
  that fucking face on your face. Completely totally different
• 1:49:31
  because this one has absolutely played flaps, but Beetlejuice.
• 1:49:35
  Oh. Brilliant.
• 1:49:37
  Yeah, I love it. And the last one, I'm pulling
• 1:49:39
  out one of the big guns, Citizen Kane.
• 1:49:42
  The scene of. Kane and his wife with the
• 1:49:44
  dinner table and it keeps going forward a few years as the
• 1:49:47
  marriage. Disintegrates.
• 1:49:48
  It's also lovey dovey and by then they're just hurling
• 1:49:51
  daggers at each other across the table store.
• 1:49:54
  Yep, going to end on Citizen Kane.
• 1:49:56
  Fantastic. Highbrow, highbrow mass.
• 1:49:58
  That's me as usual. And what about you STI?
• 1:50:02
  Had a couple that I had a red tree, obviously, I had Texas
• 1:50:04
  Chainsaw, obviously, but the three others that you guys
• 1:50:07
  didn't come up with, I mean, it's dinner with Andrea Cheat.
• 1:50:13
  Can I do that? Of course you can.
• 1:50:16
  Course I can. So I'm doing that one and I'm
• 1:50:18
  doing a Temple of Doom. Shields monkey brains.
• 1:50:21
  Yeah, just stuck with my heart, you know?
• 1:50:23
  Yeah, Snake surprise was every single bit of that just freaked
• 1:50:28
  me out and really entertained as a kid.
• 1:50:30
  But one that stuck with me recently is the end of Don't
• 1:50:32
  Look Up where things just crashing down and they're just
• 1:50:37
  trying to have one last family dinner and trying to make
• 1:50:39
  everything normal again. Excellent.
• 1:50:41
  Some great meals to be had in those scenes.
• 1:50:44
  Absolutely. Yeah.
• 1:50:46
  And thank you very much for the question, Emily.
• 1:50:48
  Much appreciated. Yes, Thank you, Chris.
• 1:50:51
  Hope you guys enjoys discussing that one a bit.
• 1:50:52
  More yes, very much, and without a hand row pin, a little visit
• 1:50:56
  to Key to get it a sign that everything was on the open up.
• 1:50:59
  It's the most fit and end to oblique and morally ambiguous
• 1:51:02
  film, and an outstanding one as well.
• 1:51:05
  Generally is. Reception and awards.
• 1:51:12
  Sakari will open at the Cannes Film Festival in May 2015,
• 1:51:15
  competing for The Palm Door before being released in
• 1:51:18
  September. The film was met with some
• 1:51:20
  controversy upon release, with scrutiny coming from the mayor
• 1:51:23
  of Juarez, who implored people to boycott the film.
• 1:51:26
  He was of the opinion that the film reflected the city
• 1:51:29
  negatively and incorrectly as it did the scene.
• 1:51:32
  Steady decline in violence since 2010 I.
• 1:51:35
  Could say that, yeah. Understandable.
• 1:51:39
  But despite the Upper or Sicario was a big hit at the box office,
• 1:51:42
  and on a $30 million budget, it returned 85,000,000 worldwide.
• 1:51:46
  It was never going to ruffle the feathers of the 2 billion that
• 1:51:49
  The Force Awakens earned, but for this film, it's still pretty
• 1:51:53
  impressive. Yeah.
• 1:51:55
  It was also a hit with critics, wasn't it, Westie?
• 1:51:58
  It was, Mark Hamoud said. What makes this work is that
• 1:52:01
  Emily Blunt is terrific and Benicio Del Toro has this
• 1:52:04
  eye-catching appearance as a Riddle and an enigma.
• 1:52:07
  Yes, indeed, Which is? Very true.
• 1:52:10
  It is an Empire gave it the full 5 out of five and they said a
• 1:52:14
  beautifully murky, hard edged thriller.
• 1:52:16
  Quite simply, one of the best films of the year.
• 1:52:19
  No arguing there. But what about our man in the
• 1:52:22
  field, Big Roger Dodger Ebert? What do you think he gave him
• 1:52:25
  out of four? I'm.
• 1:52:27
  Gonna go 3 1/2. 3.5 Sure, Matt. I'll go three.
• 1:52:31
  I don't think you gave the full 4.
• 1:52:33
  Matt, you nailed it. Three out of four.
• 1:52:37
  Nice, nice. Rog said a Time Sicario is
• 1:52:40
  deeply satisfying, intense examination of a war with no
• 1:52:43
  rules of engagement, driven by a spectacular performance by
• 1:52:46
  Benicio del Toro. Other times, especially in its
• 1:52:50
  middle act, Sicario can be frustratingly self indulgent,
• 1:52:53
  filled with overhead helicopter shots of the Mexican border and
• 1:52:56
  a thump and pretentious score. That's unfair.
• 1:53:01
  That is unfair because those two things, I think, elevate the.
• 1:53:04
  Work really well together. Imagine not having them in.
• 1:53:10
  And now it has 7.7 out of 10 on IMDb and 92% on Rotten Tomatoes.
• 1:53:16
  And finally, Sicario was also well received on the award
• 1:53:20
  circuit. It's list of nominations were As
• 1:53:22
  long as my Arm tiny arms. Which was as long as something
• 1:53:26
  else. It received over 70 nominations,
• 1:53:32
  winning a smattering at the lower key ceremonies.
• 1:53:36
  And of the high profile award ceremonies, it was nominated for
• 1:53:40
  Best Cinematography, Original Score and Sound Editing at the
• 1:53:43
  Oscars. Yeah, Emmanuel Lubensky won
• 1:53:46
  cinematography for The Revenant. Yeah, anyone.
• 1:53:50
  Morricone won score for The Hateful 8 and Mad Max won for
• 1:53:53
  sound edit and can't really complain about.
• 1:53:56
  The tougher on that, I mean the revenant outrageous.
• 1:53:59
  Yeah, yeah, competition there. Morricone winning his only
• 1:54:02
  competitive Oscar. Yeah, that's fair enough.
• 1:54:05
  Yeah, Yeah. And at the Baftas, it was also
• 1:54:07
  nominated for Cinematography and score, along with del Toro for
• 1:54:10
  Best Support Network. Yes, but to no avail
• 1:54:13
  unfortunately. Very shame, shame.
• 1:54:16
  However, Sicario was a triumph for all involved, pulling off
• 1:54:19
  the coveted 1-2 punch of critical and commercial success.
• 1:54:23
  Definitely. Sequels and influence.
• 1:54:30
  The success of Sicario led to a fast track sequel, Sicario de of
• 1:54:34
  the Soldado, which came out three years later in 2018, also
• 1:54:38
  written by Taylor Sheridan, with Italian director Stefano Salima
• 1:54:42
  replacing Denny Villeneuve in the hot seat.
• 1:54:45
  Matt, your thoughts on that sequel?
• 1:54:47
  Seen it once, it didn't really stick in the mind too long and
• 1:54:51
  unlike the original I've not really felt the need to go back
• 1:54:54
  to it. I think my main take away from
• 1:54:56
  it is it actually kind of reinforced why I wanted to come
• 1:54:58
  back to this, because the sequel didn't have Emily Blunt and it
• 1:55:04
  made me realize there's someone she brought to the original and
• 1:55:06
  it doesn't have to need real life.
• 1:55:08
  And that made me appreciate what he did with the original because
• 1:55:11
  I just thought it had not of the tension of this one.
• 1:55:13
  So I might give it another go at some points if it's on and
• 1:55:17
  there's nothing else to watch, but it didn't really leave much.
• 1:55:19
  There's always something else. You know I'm lying.
• 1:55:23
  To be honest, I'll never watch it again.
• 1:55:24
  Yeah. Yeah.
• 1:55:25
  Something else I want to watch. Yeah.
• 1:55:26
  Very much the same. I mean when I first saw it, that
• 1:55:29
  opening sequence, I mean that is that is hard hitting.
• 1:55:32
  Yes, it is. But I think the person who's
• 1:55:34
  learned the most from the sequel is Taylor Sheridan, in that, you
• 1:55:38
  know, you can't just write whatever you want and it works.
• 1:55:40
  I think you need somebody who's going to trim your work.
• 1:55:42
  You need somebody who's going to kind of oversee it.
• 1:55:44
  And I think he learned a lot from the second one.
• 1:55:46
  And that is so there's so much fat on the bone where the first
• 1:55:50
  one is so thin. It's so lean, it's so precise,
• 1:55:53
  so to the point. It's a difficult second album,
• 1:55:56
  isn't it? For Taylor Sheridan, it's
• 1:55:57
  everything into the first one and he's trying to reclaim the
• 1:56:00
  same from the 2nd and it just doesn't work because I think all
• 1:56:03
  the characters that you see in the second one, we've seen
• 1:56:06
  enough of them in the first one. We've seen the arcs complete and
• 1:56:08
  we don't need really need to see anymore because it's just tired.
• 1:56:11
  It's got a few stand out scenes. It's.
• 1:56:13
  All right, Yeah, the opening signature is amazing.
• 1:56:15
  I thought about here we go, we're back.
• 1:56:16
  But the border crossing with the kidnapped cartel daughter is is
• 1:56:21
  a good sequence. Tense.
• 1:56:22
  I was always surprised that it just slipped out without much
• 1:56:25
  fanfare, and I was also surprised that it retained the
• 1:56:27
  talents of brawling and Del Toro, and that it was written by
• 1:56:30
  Sheridan. Hilda Goodnight Ortea does a
• 1:56:34
  good job of imitating Johansson's work on the score,
• 1:56:37
  but it doesn't have the visual language that Villeneuve brought
• 1:56:39
  to it. Salima tries to do a good job of
• 1:56:42
  maintaining consistency, but I just don't think he's good
• 1:56:44
  enough directed to pull off what they needed.
• 1:56:46
  No, no. And very similar to you, man.
• 1:56:49
  I don't think it's got the emotional core of the first
• 1:56:50
  film. The reason for that is Emily
• 1:56:52
  Blunt, isn't it? Oh.
• 1:56:53
  Absolutely. Yeah, of course.
• 1:56:55
  Not taking too much worth in the film because it's, you know,
• 1:56:57
  it's a solid thriller. It just doesn't have the magic
• 1:56:59
  of the original film and, and it feels a little unnecessary.
• 1:57:02
  Yeah. Sheridan said that there was no
• 1:57:04
  room for Emily Blunt and the character of Case.
• 1:57:06
  He said that her act was complete and he couldn't figure
• 1:57:08
  out a way to write her into the story, which is fair enough.
• 1:57:12
  Yeah, totally fair enough. Del Toro likened the sequel to
• 1:57:15
  the Doors second album, Strange Days.
• 1:57:18
  He said it might not be as tight as the first one, but it has a
• 1:57:21
  mood and I tend to play the second album more than the first
• 1:57:24
  one, even though the first one's got all the great hits.
• 1:57:27
  No. Fair enough.
• 1:57:28
  I might give it another try then.
• 1:57:29
  To be honest, don't bother. Well, tell that Benicio.
• 1:57:34
  I won't. No, no, no.
• 1:57:35
  I'll give it a try. That's the case.
• 1:57:37
  A third film in the Sicario universe was announced before
• 1:57:40
  the second one even came out, entitled Sicario Capos.
• 1:57:43
  However, things have gone quiet on the Sicario front.
• 1:57:46
  He is hoping that if they do resurrect it, they find a spot
• 1:57:49
  for Emily Blunt in the story. Yeah, I think so.
• 1:57:51
  I think it'd be a really good series.
• 1:57:53
  And what about the original films Legacy and influence?
• 1:57:56
  Westie, where have you seen that in movies since?
• 1:57:59
  Pretty much in everything that's come since with that kind of
• 1:58:04
  realistic vibe to it, that realistic element to it.
• 1:58:07
  But the thing that I've seen most is Taylor Sheridans career
• 1:58:11
  very much because I think without the help of in a, I
• 1:58:14
  think without the help of, you know, the editing of that
• 1:58:17
  script, the taking away of all of this shit, the taking away of
• 1:58:20
  all of the exposition that he didn't want in there, but he
• 1:58:22
  didn't realize was in there anyway.
• 1:58:24
  I think he's learned so much from what is being put into the
• 1:58:28
  finished version of Sicario. And I think he's watched Sicario
• 1:58:31
  and thought, I've got a career because I need to just keep
• 1:58:35
  doing what I'm doing, but not as much maybe.
• 1:58:37
  And what if I did that with something that I'm really
• 1:58:40
  interested in, like a Western? But I bring it up to date and I
• 1:58:43
  make it now, but I keep the same kind of parameters on it.
• 1:58:46
  So for me, I think it's everything that Taylor
• 1:58:49
  Sheridan's done. I mean hella high water.
• 1:58:50
  It's a good film. There's probably a plethora of
• 1:58:53
  films that I go through and tell about this is influenced by the
• 1:58:55
  Carry off this, but it's just going to be obvious.
• 1:58:57
  I think the best thing to see from this is Taylor Sheridan's
• 1:59:00
  career and what he's learned from this.
• 1:59:03
  And I think that's to the news. Absolute testament to go, yeah,
• 1:59:08
  write everything down, but you don't need to because this is
• 1:59:11
  how it works. Yeah, look how successful
• 1:59:13
  Sheridan's been since this. And I think that's the the main
• 1:59:16
  take away from Sicario and its main kind of influence.
• 1:59:19
  Yeah, absolutely. Yeah.
• 1:59:20
  When I looked it up, I was really surprised because it's a
• 1:59:22
  huge coincidence that Narcos, the drama scene, we started the
• 1:59:25
  same year as this. Yes, that could this morning
• 1:59:27
  came a couple years after. Yeah, and.
• 1:59:29
  That was like 2018 or something. Yeah, I was sure it was going to
• 1:59:34
  be that and that would be my opening thing.
• 1:59:36
  Well, obviously Narcos wouldn't exist.
• 1:59:38
  So yeah, it's kind of amazing that came out the same year for
• 1:59:41
  me. Yes, absolutely.
• 1:59:42
  Put Taylor shouting on the map. I think it just stands up as the
• 1:59:45
  kind of film which goes into that murky morality that a lot
• 1:59:49
  of other films want to do, but they probably don't do it quite
• 1:59:51
  as well. I think also just the fact I
• 1:59:53
  think this is the one that I really think made feel love in
• 1:59:56
  mainstream director. Everyone else was a bit more art
• 1:59:59
  house. I think.
• 2:00:01
  I don't know if he would be on the list to get like the Blade
• 2:00:04
  Runner gig for example, if he hadn't shown he can do
• 2:00:07
  blockbuster stuff in kind of inverted commas like this.
• 2:00:11
  And then really, I mean, just enough on for me, probably the
• 2:00:14
  main take away. I think this was just such a
• 2:00:16
  huge rug on the ladder for Emily Blunt to prove this is just one
• 2:00:19
  of the best actresses working today.
• 2:00:21
  You know, it's still absolutely probably like top three, top
• 2:00:24
  five performances for her. Yeah, I'm not going to labour
• 2:00:26
  the point. I agree with everything that you
• 2:00:28
  fellas have said. Yeah, I do think it's been
• 2:00:31
  equally influential on the small and big screen with works like
• 2:00:34
  Eastwood's The Mule, that American made film with Cruise.
• 2:00:39
  Yeah, yeah. Yeah, a lot in there, yeah.
• 2:00:42
  And countless Netflix drug trade docs all sprout and after this
• 2:00:46
  as well. Yeah.
• 2:00:48
  And yeah, Sheridan's career wouldn't have happened or
• 2:00:52
  certainly would look very different.
• 2:00:54
  Exactly the same with Denis Villeneuve's career.
• 2:00:57
  I just don't think he's he's directing the sequel to Blade
• 2:00:59
  Runner or the Dunes that you films without this.
• 2:01:02
  Yeah, this and arrival, I think. This and arrival, Yeah,
• 2:01:04
  absolutely. Hand in hand, it's like I can do
• 2:01:06
  sci-fi, I can do grounded. Yes, exactly.
• 2:01:08
  Well, you can do Blade Runner. You can do, yeah.
• 2:01:10
  Yeah, exactly. And yeah, Emily Blunt the same,
• 2:01:13
  this and The Edge of Tomorrow and the Year before.
• 2:01:17
  I mean, that just put her up into like the elite level of
• 2:01:20
  performance and, and it's a perch she hasn't come down from.
• 2:01:23
  Yeah, definitely. Yeah, amazing.
• 2:01:24
  So a decent sequel, possibly another one on the way, but the
• 2:01:27
  original had huge implications on the trajectory of Taylor
• 2:01:30
  Sheridan, Emily Blunt and Geneva, North Korea, and for
• 2:01:33
  that we must be very thankful. Indeed.
• 2:01:36
  Yeah. All the right movies ranking.
• 2:01:43
  The final part of our show is to summarize and score Sicario out
• 2:01:46
  of 10. Westie, what do you have for us?
• 2:01:49
  Normally I'm like, oh, well, I've said everything in the
• 2:01:51
  episode. I don't really feel like I've
• 2:01:52
  said everything that I wanted to say in the episode, bizarrely,
• 2:01:55
  you know? Stop in everyone.
• 2:01:57
  Here we go. No, no, no, no, I'm not going to
• 2:01:59
  go down that route. I just think because that is the
• 2:02:02
  kind of film that this is, you can't get it on the first watch.
• 2:02:05
  You're not going to get everything we said on the first
• 2:02:06
  listen because you need to go back and watch it again.
• 2:02:09
  And what were they talking about there and what did that mean
• 2:02:11
  there and how was that done? And I think that's how this is
• 2:02:14
  constructed. I think it's on purpose.
• 2:02:16
  It's purposefully made so that it's not easily absorbed, so
• 2:02:21
  that you have to go back and you have to experience it again and
• 2:02:23
  again and again. And then when it clicks, it
• 2:02:25
  becomes a masterpiece. But it takes a long time for
• 2:02:27
  that to happen. Yes, it is a masterpiece in what
• 2:02:31
  it does and what it says. And the 30 million budget.
• 2:02:33
  I can't think of another film that ticks all these boxes.
• 2:02:36
  For how beautiful it is, for the sound design, for the
• 2:02:38
  soundtrack, for the acting, for the direction, absolutely
• 2:02:41
  everything works, but it's still lacking.
• 2:02:44
  It still leaves something. You still have to come back
• 2:02:47
  again and again and again and find something.
• 2:02:50
  And I think that's the point of the film, and I think that's to
• 2:02:54
  its detriment and to its credit. So it's one of them ones where
• 2:02:58
  I'm really, really confused about whether what kind of mark
• 2:03:01
  I should give it. I would probably go perfect
• 2:03:04
  because I've seen it that many times that I know that I can't
• 2:03:07
  give it that, but that's not going to be very fair.
• 2:03:10
  So I would not recommend this someone to go.
• 2:03:12
  You're going to love this film because I know you're not the
• 2:03:14
  first time you see it, but come back in a couple of years and
• 2:03:17
  tell us what you think is Corey, when you've seen a four or five
• 2:03:18
  times. And to me, that's not a film
• 2:03:20
  that can give a perfect 10 score to because that's not the whole
• 2:03:23
  point of it. The whole point of this film is
• 2:03:24
  to be a nine, I think, is to leave that little bit of
• 2:03:27
  ambiguity, to leave that little bit of mystery, and to get to
• 2:03:30
  that 10 yourself. So I'm going to give it a nine
• 2:03:33
  and I'm going to let everyone else get to that 10 in the wrong
• 2:03:35
  time. Lovely.
• 2:03:36
  I said at the top, like you, Matt, that I did a 180 on this
• 2:03:39
  film and I always knew that I I would.
• 2:03:42
  I just needed a bit more time and space.
• 2:03:44
  Like saying Westie, it's ripping viewings.
• 2:03:46
  Yeah, if you do that, I think you'll be ritually rewarded with
• 2:03:49
  Sicario. It's a gem of a film with all
• 2:03:52
  parts of the filmmaking process per and specifically Del Toro
• 2:03:55
  and Blunt's performances, wonderful Deacon's visuals,
• 2:03:58
  Johansson's Thunder and score. It feels like it should be at
• 2:04:02
  least a 2 1/2 hour film, and incredibly, Ville nervous packed
• 2:04:07
  it into two hours. I'm always pleasantly relieved,
• 2:04:10
  so that's all obviously a positive for me, but it's not
• 2:04:14
  enough of a positive to get top marks purely because it's not
• 2:04:17
  one that I returned back to again and again and I had to
• 2:04:20
  really fight to like the film. I know what you.
• 2:04:23
  Mean so I'm also giving it a nine out of 10 and math.
• 2:04:27
  What about you? It's both easy and difficult to
• 2:04:29
  rate this one for me. On the one added, It's easy to
• 2:04:32
  split this up into the things that really work for me here and
• 2:04:35
  the things that don't work that well.
• 2:04:37
  And the ratio is far more in favor of the things that do
• 2:04:40
  work. But where it's difficult is that
• 2:04:42
  the things that don't work aren't inconsequential.
• 2:04:45
  So it's not a case of me saying, oh, that scene run a little too
• 2:04:48
  long or that line delivery was a bit weak, things I could
• 2:04:51
  overlook. But the positives, Blunt
• 2:04:52
  Brawlin, Del Toro, Coluia, still a work from all of them, still a
• 2:04:56
  work from Deakins and Johansson and Vale of Harnesses, all that
• 2:05:00
  together. And what he does is he provides
• 2:05:02
  his canvas for them to do their best work.
• 2:05:04
  And the best thing about him is he pulls that canvas really
• 2:05:07
  tightly. There's no like limp edges to
• 2:05:10
  this film whatsoever. But the writing is still a bit
• 2:05:12
  of a sticking point for me. As I said earlier, for the film
• 2:05:15
  to take like 2 hours to have Kate make this realization, I
• 2:05:18
  think as an audience we know from the first minute just
• 2:05:21
  strikes me as a bit, maybe heavy-handed is the best way to
• 2:05:24
  describe it. And like I say, the Bernthal
• 2:05:26
  scene doesn't have the shock value that it should have
• 2:05:29
  because I can kind of see where that's going even on my first
• 2:05:31
  view. And I kind of realized where
• 2:05:33
  that was going to go. So it's very good.
• 2:05:35
  And I've done the 180 on it. It's just that little bit of
• 2:05:38
  style over substance from my taste.
• 2:05:40
  And like you, I kind of know why I don't come back to it that
• 2:05:43
  afternoon. So for me it's an 8.5. 8.5 still
• 2:05:47
  a good score. Yep, with the scores for the
• 2:05:49
  car, you don't end there. Our 4th and final score comes
• 2:05:52
  from our incredible patrons who've been scoring the film
• 2:05:55
  whilst also contributing immeasurably to our Patreon
• 2:05:58
  community. Thank you all for your inputs
• 2:06:00
  guys and gals. Thank you so much guys.
• 2:06:02
  You forward to this one. Before I give you their score,
• 2:06:05
  I've picked out some very nice comments.
• 2:06:08
  Firstly from Shaza. She said a full 10 straight off
• 2:06:11
  the bat said I thoroughly enjoyed this movie.
• 2:06:14
  Blunt being sort of a Patsy metaphorically held over the
• 2:06:17
  barrel at the end signing the form.
• 2:06:19
  Brolin cool AF in sandals and Del Toro's calm patience at the
• 2:06:23
  dinner scene. Also one of the best opening
• 2:06:26
  shockers. Loved it.
• 2:06:28
  Nice one. Classic shadow classic.
• 2:06:30
  Don't promote flip flops or that's that's bad news.
• 2:06:34
  Don't do that. No, Kareem, Helliwell said.
• 2:06:37
  Amazing characters, score, cinematography in Climax 10 and
• 2:06:40
  one of my favorite films from the 21st century.
• 2:06:43
  Wow, Big 10. And finally, Kay, Borovsky said.
• 2:06:46
  I could tell this wasn't the average shoot him up from the
• 2:06:49
  first scenes. Ville Nerve composes the images
• 2:06:51
  on the screen in a way that doesn't show anything that is
• 2:06:53
  superfluous or cluttered. Also, for a movie with guns and
• 2:06:56
  violence, the film was quiet rather than loud.
• 2:06:59
  The only other Ville Nerve movies I've seen at June and
• 2:07:02
  Arrival, they all seem to have a quiet that is strong and they
• 2:07:05
  also have strong female characters that go against
• 2:07:08
  stereotypes and have an inner strength that enables them to
• 2:07:10
  stand alone for their beliefs. Yeah, wow.
• 2:07:13
  Nailed it. Fantastic.
• 2:07:15
  Well done, Kate. Yeah, definitely, yeah.
• 2:07:17
  Thanks for your comments everyone.
• 2:07:19
  So what do you think Sicario averaged out of 10 from our
• 2:07:21
  parents, fellas? I'm I'm, I'm totally in eight
• 2:07:25
  and the 9:00, but I'm going to go higher.
• 2:07:26
  I think I'm going to go 9. I agree, I'll go 9 as well.
• 2:07:29
  You're. Going to go 9 when it got a very
• 2:07:31
  high 9.5 out of 10. Oh wow.
• 2:07:34
  OK. Very big, meaning that Sicario's
• 2:07:37
  overall score is 36 out of 40, messing with the big boys.
• 2:07:42
  Oh yeah, it's up there. Coming up for ATRM, we've got
• 2:07:45
  brand new episodes of the Watch List and Double Feature coming
• 2:07:47
  out this month for our Patreon supporters.
• 2:07:50
  So if you want to hear them, and I'd be surprised if you didn't,
• 2:07:54
  patreon.com/all their own movies.
• 2:07:57
  Definitely. We are taking a small break from
• 2:08:00
  this show, so in two weeks we'll be putting out an episode from
• 2:08:02
  our classic podcast archive, A hidden gem, so don't forget to
• 2:08:06
  tune in for that. Then two weeks after that, John,
• 2:08:09
  Westie and Matt will be back as they occupied the bridge on the
• 2:08:11
  River Kwai. A massive film and no doubt a
• 2:08:14
  massive podcast. Well.
• 2:08:16
  It'll be huge, that one, yeah. Bigger than a sweat box tell you
• 2:08:19
  that much? What have you done?
• 2:08:20
  What have you done? And if you haven't gotten round
• 2:08:24
  to it yet, please put aside a few seconds of your time to give
• 2:08:28
  us a positive rating on Apple Podcast, Spotify, Pod Chaser, or
• 2:08:31
  wherever you listen to podcasts. Just raise us if you don't mind,
• 2:08:34
  and positively please. You don't have to write
• 2:08:37
  anything, just click five stars 5.
• 2:08:39
  Stars will do. Beautiful.
• 2:08:40
  Easy peasy. And don't forget that we are on
• 2:08:42
  social media all the time on X. We are at AT Right Movies where
• 2:08:46
  our movie threads are jam packed with movie making insight.
• 2:08:50
  Just like our podcast, all the behind the scenes stories we
• 2:08:53
  tell come from the cast and crew or is verified by at least three
• 2:08:56
  sources. They're amazing reads, so check
• 2:08:58
  them out if you don't already. Yes, please do guys.
• 2:09:02
  You can also read them on Blue Sky, where we are at All right,
• 2:09:04
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• 2:09:07
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• 2:09:09
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• 2:09:14
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• 2:09:16
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• 2:09:19
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• 2:09:21
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• 2:09:24
  That's youtube.com/all the right movies and our website is all
• 2:09:28
  the right movies.com. Yes, it is.
• 2:09:30
  Oh, and that is a wrap, everyone.
• 2:09:33
  We're after a small town where the rules of the law still
• 2:09:35
  exist. Hopefully.
• 2:09:37
  No, I'm going to get out of here.
• 2:09:38
  I'm no wolf. Thank you very much for.
• 2:09:40
  Listening everyone, we'll see you soon.
• 2:09:43
  Yes. Thank you so much guys.
• 2:10:06
  What's the password? Moron.