Latest / All The Right Movies / Fargo (1996) | Ep. 15 - Part 1

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Fargo (1996) | Ep. 15 - Part 1 · All The Right Movies

• 0:04
  All the right movies. So we got a trooper pull someone
• 0:07
  over, we got a shooting. These folks drive by, there's a
• 0:12
  high speed pursuit ends here. And then this execution type
• 0:16
  deal. Yeah, I'd be very surprised if a
• 0:19
  suspect was from Brainerd. Yeah.
• 0:23
  And I tell you what, from his footprint, he looks like a big
• 0:26
  fella. To squeeze money out of his
• 0:31
  wealthy father-in-law, Jerry Lundegaard hires 2 criminals to
• 0:35
  kidnap his wife so he can pick up the ransom.
• 0:37
  It all starts to go horribly wrong and small town cop Marge
• 0:40
  Gunderson arrives on the scene to unpick the mystery.
• 0:43
  Fargo represented a turning point in the careers of Joel and
• 0:46
  Ethan Corn. After a run of box office bombs,
• 0:48
  it was a hit with audiences while retaining its appeal to
• 0:51
  critics and the award circuit. My name is Luke and the two
• 0:55
  funny looking fellas with me are Westie.
• 0:58
  I'm not sure I agree with you 100% on your police work there,
• 1:01
  Lou. And Matt?
• 1:02
  He says oh so I get it. So you think I'm some kind of
• 1:06
  jerk for asking? Only he don't use the word jerk.
• 1:09
  Three people embranded a dead and all the right movies.
• 1:12
  The smooth smoothies are on the case.
• 1:33
  Hello and welcome to All the Right Movies, a podcast on
• 1:35
  classic and hit films that is a fountain of conversation.
• 1:38
  It's a geyser or daddy. You don't.
• 1:45
  On today's episode, we're talking about the 6th Cohen
• 1:48
  Brothers film, and it's an important one in their career.
• 1:50
  The first Oscar winner, the one that really introduced them to
• 1:53
  mainstream audiences. It's Fargo.
• 1:56
  Oh, you betcha. Before we go into that, I'm
• 1:58
  going to tell you about a super proposition that we have for you
• 2:01
  over at Patreon. Oh yeah.
• 2:03
  If you like what we do on the show, our classic podcast, and
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  would like us to continue this, then your support on Patreon
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  would be much appreciated. Definitely.
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  Yeah, our patrons help us continue to put out five star
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  content all the time, including this show, our Patreon exclusive
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  and The Life in Movies. Yeah.
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  that we've produced so far. There are almost 90 covering
• 2:27
  some of the biggest Hollywood movies ever, and you can be a
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• 2:35
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  that, sign up at patreon.com/all the Right Movies and we'd be
• 2:42
  very happy if you did. Definitely would, and it
• 2:44
  wouldn't cost you 750 grand for the certainly.
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  Wouldn't a lot smaller than. That a lot smaller than that.
• 2:51
  So count yourself. That's a lot.
• 2:55
  It is a lot. It is a lot.
• 2:57
  I mean, it's a lot. It's a lot.
• 3:01
  The link for parenting is also in the description for this
• 3:04
  podcast as well, guys. So I mean, there's no excuses,
• 3:07
  no. Excuses.
• 3:07
  Just click away, subscribe, enjoy yourself.
• 3:10
  Or the excuse could be that I just don't want to pay you any
• 3:13
  money, yet I get this for free, that's why I wouldn't bother.
• 3:16
  That's a fact. Yeah, yeah.
• 3:18
  Free for a very short period. They don't want to sit down
• 3:21
  debate with us. No, I'm not going to debate you
• 3:24
  on this one. I'm working with you on this
• 3:27
  thing. I'm going to do a Patreon count
• 3:31
  now, geez. Yeah, work with us on this
• 3:36
  thing. Come on, guys.
• 3:40
  OK, so back to business. Matt, why do you want to talk
• 3:43
  about Fargo? Well, any excuse to talk about
• 3:45
  the corns is fine by me, but this one, this one, to me it was
• 3:49
  like the gateway drug to the corns, which I think probably
• 3:51
  was for a lot of people. I had seen reason I was on a few
• 3:55
  years earlier, but I didn't really know who they were then
• 3:57
  so didn't mean anything. Their name.
• 3:59
  When I saw this one I knew they were in name and there was going
• 4:02
  to be something about this film in the first few and I was so
• 4:05
  confused because nothing was playing out the way I was
• 4:08
  expecting it to. The plot was surprising.
• 4:11
  It had characters like of which I've never really seen before.
• 4:14
  It was this weird mixer of violence and comedy that I
• 4:16
  wasn't expecting. But that is the corns.
• 4:19
  And I think in its own way, it is the most accessible thing
• 4:21
  they've ever made because you watch it and you get drawn into
• 4:24
  it and you go, ah, right, that's what they're about.
• 4:27
  This is what they do. And I said that's why it was
• 4:30
  like a get me a drug for me into the corns.
• 4:32
  Because then everything you watch from them after this makes
• 4:35
  much more sense. So it's an important film, I
• 4:38
  think. And as well said, this is a
• 4:39
  whole bunch of great performances to talk about.
• 4:42
  We get to talk about Frances Mcdormand for the first time.
• 4:44
  That's exciting. Yeah, yeah, definitely.
• 4:46
  In the film itself, it's just so watchable, such a great film,
• 4:49
  and I'm never tired of watching it.
• 4:51
  Fantastic. Like you might.
• 4:53
  This is my entry to the Coen Brothers.
• 4:56
  It was the first film. I hadn't seen anything
• 4:57
  beforehand, right? I was at the time, I was an avid
• 5:01
  Empire magazine reader. I think I mentioned that before
• 5:03
  about some of the other films that we've covered and and it
• 5:06
  was right in that time Fargo got a clone five star review.
• 5:09
  So I was desperate to see it. Yeah, I think that's we all
• 5:11
  were. We're all like Empire, Total
• 5:13
  Film. You're getting bought.
• 5:14
  Totally, Yeah. When it came out on VHS, it was
• 5:17
  paired up with Blood Simple in this box set, the fourth of
• 5:20
  them. So I bought the box set.
• 5:22
  I was like 1516 at the time and that kind of seemed like a badge
• 5:26
  him on it to me. I kind of felt like I knew where
• 5:29
  it was at. The middle of your collection,
• 5:32
  Anyone will say no. This guy knows these films.
• 5:36
  Yeah. Yeah.
• 5:37
  Just leaves in the middle of the table.
• 5:38
  Oh, what's that doing there? Left that out again, still got.
• 5:42
  The rubber on it. I mean, I had like, I was like
• 5:51
  film. Madden had very little interest
• 5:52
  in the usual teen things, fashion, popular culture or
• 5:56
  trying to go to bars or anything like that.
• 5:58
  No, no, no, no. What's hot is a double pack VHS
• 6:01
  of Corn Brothers films. We're all guilty of that.
• 6:07
  That is cool. That's the new cool.
• 6:10
  That'll get me noticed. So yeah, Fargo.
• 6:13
  Fargo was the start of my love for Corn Brothers films and
• 6:15
  hasn't changed in 25 odd years. Still love the film, still love
• 6:19
  the corn. So I'm excited to talk about
• 6:20
  this. What about you, Westie?
• 6:22
  Yeah, I'm totally different. I came to this one super late.
• 6:26
  I'd seen Lebowski, I'd seen Hudsucker Proxy, I'd seen
• 6:29
  Miller's Crossing, that scene, Blood Simple.
• 6:32
  That's in Reason Arizona, before I came anywhere near this film.
• 6:35
  And then I I got it, watched it because obviously I love the
• 6:38
  corn brothers. I think it was after that old
• 6:40
  brother. Where are they?
• 6:40
  I saw this that late. Yeah, it was like early 2000s
• 6:45
  and I was like, oh, that makes sense.
• 6:46
  Now the films make complete sense because this is the first
• 6:50
  one where it's a pure Coen Brothers film.
• 6:54
  It's beautifully complicated. It's one of them films where
• 6:57
  it's just it takes you on a journey and it kind of holds
• 7:00
  your hand and you go, everything bad happens, but you don't feel
• 7:03
  bad because of it. You're kind of on that ride and
• 7:05
  you want to go on that ride. It's just beautifully written
• 7:08
  and it's so simple and it's timeless and it's so original
• 7:12
  and the acting and the characters are just so lovable
• 7:16
  but at the same time hateable. And it was one of them films.
• 7:19
  I'm like, as I was watching it every minute, the tick by, I
• 7:22
  thought to myself, I wish I'd have seen this earlier.
• 7:25
  That was one of the things where I just kind of went, I've
• 7:28
  totally missed the trick here. I've missed the boat and I know
• 7:31
  it, but I've got to try and claw my way back with the corns and
• 7:34
  I've watched it so many times since and I'm I'm excited to
• 7:38
  talk about. I think it's it's a really,
• 7:39
  really wonderful, really, really original, really excellent film.
• 7:43
  Yeah, I think we're all in agreement there, Yeah.
• 7:46
  Fargo was written by the Coen Brothers, directed by Jewel and
• 7:49
  produced by Ethan for Polygram Filmed Entertainment and Workman
• 7:52
  Title Films, distributed by Gramercy Pictures and released
• 7:55
  on the 8th of March 1996. Filmed at various locations in
• 7:59
  Minneapolis and North Dakota, it stars Frances Mcdormand, William
• 8:02
  H Macy, Steve Buscemi, Peter Stomar and Harve Presnell.
• 8:06
  Are you ready for a trip out of the snowy Midwest?
• 8:08
  Westie. Oh, you betcha.
• 8:11
  Blood has been shed, Matt. Oh yeah, yeah.
• 8:13
  Yeah, yeah. Oh yeah.
• 8:15
  Yeah, yeah. Yeah.
• 8:39
  The film opens proclaiming we're about to see a true story.
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  At the request of survivors, the names have been changed.
• 8:45
  The rest is told exactly as it occurred.
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  Exactly. Exactly.
• 8:52
  In our first sequence we're starting with the cold opening
• 8:55
  scene as Jerry Lundegaard meets a couple of funny looking fellas
• 8:58
  at the King of Clubs bar and ending it with Jerry at home
• 9:01
  with his family. Westie, do you want to start us
• 9:03
  off? Yeah, that introduction to
• 9:06
  William H Macy when he walks into that bar and then you see
• 9:08
  Buscemi, you can tell it's a really well written dialogue
• 9:13
  sequence and less act as it would have been quite wooden in
• 9:17
  just the delivery because you know, the lines are very
• 9:19
  specific and you can feel the lines are very specific.
• 9:22
  But it's the way H Macy delivers them, especially when he starts
• 9:24
  talking about his situation and he's like, oh, it's very
• 9:27
  personal. Kind of it's a it's a well, you
• 9:30
  know, you and that changes the subject.
• 9:32
  He's kind of like thinking halfway through and then he does
• 9:35
  that all the way through the film.
• 9:36
  But it's great. But you actually get some
• 9:38
  humanity from Buscemi here when he wants to understand the
• 9:40
  situation, he wants to understand what's going on.
• 9:43
  And he's like, well, it's your wife and you want to fucking.
• 9:44
  And the end of the scene he's like, do you want to oh,
• 9:46
  fucking, let's just check out that.
• 9:48
  You know, this chat of the car. It's just it's just brilliantly
• 9:51
  done. And even from the first scene,
• 9:54
  from the first moment you understand these characters,
• 9:56
  they've already fucked up. It's already a mistake.
• 9:59
  He's already an hour late, he's peed three times already.
• 10:02
  It's but it's just the delivery here, the introduction to the
• 10:06
  characters. You don't trust anyone, but you
• 10:09
  definitely want to go forward with them.
• 10:11
  And I think that's just testament to the coins.
• 10:13
  I think it's really, really brilliant introduction.
• 10:14
  Yeah, it's such an enticing opening, isn't it?
• 10:17
  The whole setup of the whole scene.
• 10:19
  I really want to know more about what's happening here and it's
• 10:22
  like in this 234 minute scene and I just want to talk about
• 10:25
  these two out of towners here for a moment.
• 10:28
  They've been here an hour already.
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  They've got 7 beers on the table.
• 10:33
  Christ knows what else they've done, drank shots or whatever.
• 10:37
  But firstly, Peter Stomach is Gay Grimsrud.
• 10:41
  He's absolutely amazed and he looks like he's asleep when we
• 10:45
  first see him. And he stays in that position
• 10:48
  for a good long while. The only two further moves that
• 10:52
  he does is lean into Jerry, into the table.
• 10:55
  And he looks really fucking intimidating.
• 10:57
  And he even smokes aggressively with that cigarette cupped in
• 11:00
  his hand, blowing smoke through his nose.
• 11:03
  And the only thing he says is, oh, your fucking wife.
• 11:06
  You know, when Carl's asking why Jerry does his father-in-law for
• 11:10
  the money? Yeah.
• 11:11
  And your fucking wife, Jerry. And, and Busemi is Carl,
• 11:19
  obviously. He's the mouthpiece of the
• 11:20
  outfit. And he makes out like he's the
• 11:22
  smart one. I'm not going to debate you on
• 11:24
  this, Jerry. But his opinion of himself as
• 11:28
  the brains of the operation are completely outweighed by his
• 11:30
  limited vocabulary. In the scene, he tries to come
• 11:32
  up with something smart to say. You're tasking us with this
• 11:35
  mission, but you won't. You won't Fuck it.
• 11:39
  Let's take a look at that here. And this happens again in the
• 11:45
  car when he's trying to say something about second hand
• 11:47
  smoke being carcinogenic. He just stumbles over his lines
• 11:49
  and he can't find the words. Love the characters that are
• 11:52
  built here just straight away in this tiny little scene.
• 11:55
  Yeah, and then you get further insight into Jerry in his
• 11:58
  predicament when he got that glimpse at his home life, don't
• 12:01
  you? Because straight away you
• 12:02
  realize weird. Such an asshole.
• 12:06
  Grumpy bastard. A grumpy bastard, archetypal big
• 12:09
  man in a very small town. And you can see he's so
• 12:12
  accustomed to having his own way when Jerry gets home because
• 12:15
  he's there on his couch watching some game on his TV, and he
• 12:19
  barely acknowledges Jerry's presence like anyone else would
• 12:21
  be. Oh, you know, Hi.
• 12:22
  Hi. How are you doing?
• 12:23
  Thanks for you know, just want to.
• 12:26
  Doesn't. Turn around just enraptured in
• 12:28
  the game and said. And even when Jerry asked Jean
• 12:31
  if we're to stay in for supper, she doesn't know she has to ask
• 12:34
  him. So he's clearly just arrived
• 12:36
  completely unannounced and just plugged himself out of the glass
• 12:39
  of whiskey at the expense of everyone else.
• 12:41
  And I think Weird is a large part of why for quite a bit of
• 12:45
  the film, I still have a little bit of sympathy for Joey because
• 12:48
  he saw a pattern item and he's so selfish.
• 12:51
  Like when that they're talking about the deal that Joey's
• 12:53
  really keen to do and Joey says, yeah, it's a lot.
• 12:56
  Weird just goes off on this story about having a couple of
• 12:58
  parking lots back in the 50s that he has done.
• 13:01
  Lost a lot of money. Lot of money, lot of money.
• 13:04
  Do you love the way that Jean says super though?
• 13:06
  Isn't that the cutest thing in the working dead?
• 13:09
  You staying for supper? Just really sweet.
• 13:14
  I love her make like. I hear that I.
• 13:17
  Love. Her so sickly sweet just.
• 13:21
  Lovely one. And the other thing about where
• 13:25
  he I'm always puzzled by his reaction to Scotty.
• 13:27
  You know, Scotty's you're asleep because he's a teenager.
• 13:30
  He doesn't want to hang out with his parents as.
• 13:31
  Grandpa McDonald's, obviously. And he wants to go to
• 13:33
  McDonald's. And where does They don't drink
• 13:34
  milkshakes, I assure you. Like, what does he think they do
• 13:37
  at McDonald's? Like, he's such a grumpy old
• 13:40
  granddad, isn't he? Thinks he knows everything about
• 13:43
  everyone. And lastly, you just get one of
• 13:46
  the best and one of the most telling lines in the film, which
• 13:48
  explains everything about Jerry. When Jerry is still trying to
• 13:51
  persuade about the deal, it's going to be real good for Jane
• 13:53
  and Scotty and me. It really just goes, Jane and
• 13:55
  Scotty never have to worry. Like, fucking hell yeah.
• 13:59
  Your son-in-law. Yeah.
• 14:01
  Yeah, you're kind of on his side.
• 14:02
  Immediately once that happens on you, you just think, oh God,
• 14:05
  what a full. Yeah, Ways played by half
• 14:08
  personal. It was his first film since
• 14:10
  Paint Your Wagon in 1969. Wow, wow, crazy.
• 14:14
  He's. Great.
• 14:15
  And Saving Private Ryan. Yeah, well, he got like a second
• 14:18
  career after this. He's in face Off and old school
• 14:21
  Saving Private Ryan. Yeah, he's great, but he's been
• 14:23
  working in theatre for 25 years and.
• 14:25
  You can kind of tell he's got this real bulgy demeanor.
• 14:27
  Like when he's on screen, he's like a big, like he's like a,
• 14:30
  like a baked potato. He's just like, oh, loads of
• 14:34
  butter. Really Moorish.
• 14:38
  Perfect for the corns. I'm surprised I didn't use them
• 14:39
  more than once. The buttery potato that is half
• 14:43
  pressing. Fantastic performance.
• 14:46
  Beautiful. Now her dad.
• 14:50
  He's real well off. So why don't you just ask him
• 14:53
  for the money? Well, your fucking wife, you
• 14:55
  know. Or your fucking wife, Jerry.
• 14:57
  OK, real good. So haven't made the deal.
• 15:00
  We find out a bit more about Jerry's work and family life.
• 15:03
  Wade thinks his parking lot proposal is pretty sweet.
• 15:06
  Carl and Gear find themselves some company and Brainerd before
• 15:09
  our next sequence where the kidnapped Gene before Jerry's
• 15:11
  deal with Wade falls apart. West.
• 15:14
  Are you going to take this one again?
• 15:16
  I'll take it again, the break in when she's just sat watching
• 15:20
  that terrible programme of like, well, we're going to make hassle
• 15:24
  death legs. Just just like, oh, if you got
• 15:27
  an empty chicken that's got empty eggs and serving.
• 15:29
  If you listen to that fucking dialogue from that show, it's
• 15:32
  just terrible. It's off when just just
• 15:34
  knitting, having a great time. And he just he walks up the
• 15:38
  steps and looks through the window and she doesn't she
• 15:42
  doesn't react at all. She's still just kind of like,
• 15:45
  what the fuck? Full face mask, crowbar, looking
• 15:49
  through the window, and she doesn't react until he actually
• 15:52
  smashes. He smashes it and then you just
• 15:55
  think, oh, Jesus Christ. But I mean, Kristen Rudd, who's
• 15:59
  who plays Gene is fantastic in this sequence.
• 16:01
  And she's just amazing because it's just when it starts to
• 16:04
  spiral out of control, you think, oh, you've just got to
• 16:07
  kidnap his wife. That sounds fairly
• 16:08
  straightforward, but she makes it, makes it anything but
• 16:11
  straightforward and just running, kicking like as you
• 16:14
  would do. And it's when the corn you kind
• 16:16
  of go, is this a true story? Did this actually happen?
• 16:19
  And they bring that reality to it?
• 16:20
  You know, it's like, would if you were sat down and someone
• 16:23
  was looking through your window, would you actually just freeze
• 16:25
  and just be like, what? What until they did something
• 16:28
  like you don't know D until you're in that situation.
• 16:31
  It seems outrageous, but at the same time, like really viable.
• 16:35
  Like you completely buy into that whole thing.
• 16:37
  And I think she's fantastic. I think when they just break in,
• 16:40
  you realize that they're not as good as to say they are.
• 16:42
  Jerry doesn't know what he's doing.
• 16:44
  She's kicking up a stink and like where it's an absolute
• 16:48
  asshole and you just think this is just going to get much worse
• 16:52
  and I cannot wait for how bad this is going to be.
• 16:54
  It's just great. What a great setup.
• 16:56
  It is amazing. I love the moment where she runs
• 16:58
  up into the bathroom. Yeah.
• 17:00
  I mean, she should have just ran out the front door instead.
• 17:02
  Of course. Yeah, it's open.
• 17:04
  Yeah, it's been busted open, but she's shrieking and she's trying
• 17:08
  to call the police and the phone gets yanked out of her hand.
• 17:10
  That's a great moment, that. It is a great moment, despite
• 17:13
  the comedy in this scene. It's quite terrifying.
• 17:15
  Yeah, it is. Yeah.
• 17:17
  And she makes a smart move, opens the window but hides
• 17:19
  behind the shower curtain. Classic, classic move.
• 17:22
  And it's quite tense. It puts me in mind of the shower
• 17:24
  scene in Psycho, and I'm sure there's a nod there.
• 17:26
  And it plays out like a scene from a horror movie.
• 17:29
  There's a silence. There's a slight hint of ominous
• 17:31
  score as Kia is looking in the mirror behind him.
• 17:35
  And then she bursts out and it is it's a jump scare.
• 17:38
  And I'm sure that the corns are playing with that horror movie
• 17:40
  motif when Gene runs off because she looks like a ghost because
• 17:43
  with the white shower curtain around her.
• 17:46
  But then obviously all the tension goes out.
• 17:47
  The scene when she starts bumping into things it's.
• 17:49
  Falling down the stairs. Falling down the stairs, yeah.
• 17:54
  But then, yeah, when she jumps out, it's great.
• 17:55
  But it leads to one of the best, one of the best visual moments.
• 17:58
  Like this film's got all the way through.
• 18:00
  When Jerry comes home and looks at the the hooks and they've
• 18:03
  just got them little rips on them from the shower curtain,
• 18:05
  you just go there It is. Visual, visual storytelling.
• 18:08
  Yeah. Great, Very good.
• 18:10
  Joe Cohen said that once Jean's kidnapped, she ceases to be a
• 18:13
  person. Jerry doesn't think of the
• 18:15
  consequences of his actions, and Carl doesn't even know her name
• 18:18
  when he's on the phone. Who the fuck is Jean?
• 18:22
  My wife. My wife.
• 18:23
  Yeah, yeah, she's fine. And on top of that, the
• 18:27
  character was no longer played by Christian Rd.
• 18:29
  Rd. A double studying for her when
• 18:30
  she's got the bag overhead. Christian Rd.
• 18:32
  Rd. Unfortunately, yes.
• 18:34
  Rd. Rd.
• 18:35
  So good the name that twice. A couscous the foods are nice
• 18:39
  and in the twice. Then you go from this and you
• 18:44
  pick up again with Jerry and Wade again falling through on
• 18:47
  that deal. And it's a scene I find it very
• 18:49
  uncomfortable to watch because it just falls apart for Jerry so
• 18:52
  badly. But it's also very, very funny.
• 18:55
  And you see as soon as he walks in that office, they've got no
• 18:58
  interest whatsoever in him as a person, let alone investing in
• 19:02
  him. They just want the deal.
• 19:03
  And again, it's another scene tells you how little respect
• 19:06
  Wade house for Sunlab because if you watch again, the don't even
• 19:08
  pull out a chair for him. The noise coming, the no,
• 19:11
  they've got this meeting with him and they don't even have a
• 19:13
  seat at the desk forum, which is quite symbolic.
• 19:15
  They're all facing away on the the chair.
• 19:16
  He has to sit on the arm of the chair, Yeah.
• 19:18
  That's it exactly. It's it's really awkward.
• 19:20
  He's just looking around awkwardly.
• 19:22
  He doesn't even like pull the chair out for himself.
• 19:24
  He just purchase on the end like really awkwardly.
• 19:27
  And even though we've already seen so far what he said,
• 19:30
  emotion still got a lot of sympathy for Jerry here.
• 19:33
  But having said that, he's also an idiot because thinking they
• 19:36
  would actually give him that huge amount of money for like
• 19:39
  very little payback for them. And even when he realizes he's
• 19:42
  been ambushed by them and he's just going to get find his face,
• 19:44
  He just doesn't have any kind of whip or ability to think on his
• 19:47
  feet and bargain with them. The best he can do is he stands
• 19:50
  and he looks down and he goes. I guarantee you you're only back
• 19:53
  with interest. Which?
• 19:55
  I. Want to talk about your fucking
• 19:57
  word? Not a bad Jerry.
• 19:59
  We're not a bad Jerry, not a bad Jerry.
• 20:02
  You know, no actual figure, no bargaining power, nothing to say
• 20:06
  for himself. He's just an absolute whipping
• 20:08
  boy. The.
• 20:09
  Tragedy though of this scene is that he has it, he gets the
• 20:12
  finders for you at the start and then as the scene plays out he
• 20:16
  ends up with fuck all that, just take it off.
• 20:19
  I'll just take it off then. We're just going to run on with
• 20:21
  this instead of the view. Is that OK?
• 20:23
  Yeah, so self, I mean, he enters that room so happy, so confident
• 20:27
  in himself, and he just slings out a broken man.
• 20:29
  And that leads up to what is one of my very, very favorite shots
• 20:33
  probably of all time. And it's that off head crane
• 20:35
  shot where he's a Trojan through that icy car park back to his
• 20:39
  car. It's the only car there.
• 20:41
  And the shot is just loneliness in an image, isn't it?
• 20:44
  Just defeat in the image and he can't even win against the
• 20:47
  elements trying to like chip the ice off his windshield.
• 20:49
  He can't even do that, Jerry. He's just belittled by everyone
• 20:53
  from his father-in-law to the weather.
• 20:54
  Just everyone is beaten Jerry in this film.
• 20:56
  Yeah, the weather is kicking his ass.
• 20:58
  It is. There were supposed to be much
• 21:01
  more cars in the parking lot in that overhead shop, Matt, But
• 21:04
  deacons took one look down and said to Joel, it's such a great
• 21:08
  graphic without the cars, just the snow.
• 21:10
  And it's a really, I mean, it's a really striking image.
• 21:12
  I think it's quite disoriented. And when you see Jerry come into
• 21:15
  view, it's unexpected. It doesn't look real.
• 21:18
  It looks like a picture of some sort, Yeah.
• 21:21
  There's like them plant pots on, there's up, but they are plant
• 21:23
  pots and you've got them. Looks like.
• 21:25
  Around and they're all dead anyway and they're just
• 21:27
  pointless but they're all kind of regimented and it makes sense
• 21:30
  and he walks up the bottom left of the frame comes in that's.
• 21:34
  Just so good. Yeah, it's, it's just.
• 21:37
  Sort of like insignificant against everything isn't.
• 21:39
  Yeah, exactly. It's significant, like
• 21:42
  everything is. The building for the office
• 21:44
  scene. He was chosen because of the big
• 21:46
  windows and the view through them.
• 21:48
  When it came to shooting the scene, it was the one day that
• 21:50
  there was a Blizzard in Minnesota, which is why you can
• 21:53
  pretty much see nothing but whiteness.
• 21:55
  Yeah, we'll talk about the weather as we as we get into the
• 21:58
  conversation. That played havoc with the
• 22:00
  production. So it's all looking real good
• 22:03
  for Jerry. So far.
• 22:05
  His master plan seems to be working, despite his parking lot
• 22:08
  plans being canned by Weird. That's a lot, the director.
• 22:17
  Despite Joe being credited as director on the film, we're
• 22:20
  talking about the corns as a collective here, really.
• 22:22
  They both direct and produce the film.
• 22:25
  Yeah, it's the third outing on the show.
• 22:27
  We've already talked about No Country in The Big Lebowski,
• 22:31
  Matt, as it's your first time talking about them when you take
• 22:34
  us away first. Oh yeah.
• 22:40
  Oh yeah. Really good.
• 22:42
  Firstly I just love the visuals here, the atmosphere the get
• 22:44
  from this unrelent and bleak wintry landscape.
• 22:48
  I think it's fantastic. I love that opening, Joey's car,
• 22:50
  just sneaking through that snore, that one bit of colour,
• 22:53
  just find incredible thing. Oh, that's fantastic.
• 22:56
  Looks amazing. But overall I find the direction
• 22:59
  very, very comforting because I think the corns, they've always
• 23:02
  known what works for them and they've also been happy to make
• 23:05
  films by their rules. They're not really wary if other
• 23:07
  people get it or not, They just want to make stuff that makes
• 23:10
  them happy. So if that amuses them, but this
• 23:12
  is the film, it feels like they've cracked it and the half
• 23:15
  taken it to the next level where they've made a film that still
• 23:18
  works just for them, but actually they've made it really
• 23:20
  accessible for everyone else. And that's because they're just
• 23:23
  so confident with everything that the Dewey saw, everything
• 23:26
  that this film does from that disclaimer at the beginning that
• 23:30
  this is a true story and it isn't.
• 23:32
  But I think they just find that amusing to put that in there.
• 23:35
  Yeah, of course. The fact that our main
• 23:37
  protagonist doesn't turn up until half an hour into it.
• 23:40
  The fact that the money, the Mcguffin, just gets completely
• 23:43
  forgotten about. It's never discovered, no one
• 23:45
  actually really cares about it. The way it goes from violence to
• 23:48
  comedy and back against, so now it's within the same scene.
• 23:50
  The way it just switches tones, it's all just handled with this
• 23:53
  real assurance that the know what every single scene is
• 23:56
  designed to do in the know absolutely where they're taking
• 23:59
  this film. And I actually found it quite
• 24:03
  difficult to pin down what's great about the direction
• 24:05
  because it's not a visually inventive or particularly
• 24:09
  amazing film to look at in a lot of ways.
• 24:11
  But it's just that everything else about it is so unique.
• 24:15
  It's just them and this is their world that they create.
• 24:18
  And it's one way, I think Wesley said the beginning.
• 24:19
  It's like the hold your hand in the guide you into this world
• 24:22
  very carefully, like it's going to be OK and it's going to work
• 24:25
  out fine here. And it's got the one thing in
• 24:28
  this film that they do get criticized for is lacking in
• 24:30
  other films, which is heart. You know, I do read criticism
• 24:34
  where people say the very unsympathetic to the characters
• 24:37
  in other films, which absolutely isn't the case here.
• 24:39
  It's not sentimental, it's not a film that's going to make anyone
• 24:42
  cry, it's not Spielberg. But it's got genuine warmth and
• 24:46
  affection for March and innocent characters in here, which just
• 24:50
  brings a lot to it. And I think the last thing I'd
• 24:53
  say about them directing this is that the corns are now their own
• 24:56
  adjective on the. Because how many times have you
• 24:58
  seen the film described as corn esque?
• 25:01
  Yeah. And every time I see your film
• 25:02
  described as that, I know instantly what I'm going to get.
• 25:04
  Right. OK.
• 25:05
  It's going to be offbeat. It's going to be a mixture of
• 25:07
  violence, crime, black comedy, strange characters, quirky
• 25:10
  names, all this. And I think that description
• 25:12
  comes from this film in particular being this one
• 25:15
  cemented what corn esque is. And The thing is, you watch one
• 25:18
  of those other films, it's never as good as Fargo because it
• 25:21
  doesn't have the corns behind it.
• 25:23
  This is them. This is everything that they
• 25:25
  are. And I think it's them at their
• 25:26
  most accessible. Yeah, it like you might.
• 25:29
  I was thinking like, I don't really know what to say about
• 25:31
  the direction from the corns big other than like, yeah, it's
• 25:35
  amazing because it always is from.
• 25:36
  So simple as well. There's no fields to it, it
• 25:39
  doesn't need them. That may be as a result of,
• 25:42
  like, you come to expect a certain level from the corns and
• 25:44
  you always get that. But if this was any other
• 25:47
  double, the majority of any other directors will be going
• 25:49
  banging on about how amazing it is.
• 25:51
  Yeah. I don't think I've ever seen a
• 25:53
  more blinding theme of darkness and light in a film.
• 25:56
  Even in the most like, remote and unassuming small town in
• 25:59
  America, there's a bleak darkness to this place which is
• 26:02
  offset by that pure white of the snow.
• 26:04
  And that, for me, reflects Marge.
• 26:06
  It's kind of her theme almost in and around the film.
• 26:09
  And Despite that deep darkness of the core of the film, it's
• 26:12
  often hilarious. And they've got such an acute
• 26:15
  understanding of tone and where to insert these blackly comic
• 26:18
  moments in a film where everyone dies or goes to jail.
• 26:24
  Funny. Doesn't sound like it should be
• 26:25
  on the agenda, but it is a hilarious film.
• 26:29
  And I also think they've got such an uncanny act of capturing
• 26:31
  the nuances of individuals, no matter how small a part they
• 26:35
  play in the overall story. The hookers are really
• 26:37
  memorable, as is Mike. Yeah, Mike's brilliant.
• 26:41
  Mike's absolutely amazing. They're incredible, like really,
• 26:45
  really adapted getting to the heart of the minutiae of small
• 26:49
  town America, the people who live on like the outskirts of
• 26:51
  society or acceptability, and they do that in all their films.
• 26:55
  Fargo is no different. Margin norms relationship
• 26:57
  doesn't appear to be a usual 2.4 children type family, but it
• 27:01
  works for them and it's the centre point of the film.
• 27:04
  And stylistically and thematically it's amazing as
• 27:07
  well. They place Jerry in his office
• 27:09
  with a window behind him for a couple of reasons.
• 27:11
  The blind server is a metaphor for him being behind bars.
• 27:14
  His fate's already been decided before he even starts.
• 27:19
  But also to show the cars going back and forth.
• 27:20
  They want to impose in the audience the various cars coming
• 27:23
  in and out of town and what secrets could be held within
• 27:26
  those cars like they are in Carl and Gears.
• 27:29
  Yeah, yeah. Which you get really
• 27:31
  subconsciously as well. It really works on that level.
• 27:34
  Definitely does. Yeah.
• 27:36
  I think that the direction itself, which I might go into a
• 27:38
  little bit more on the cinematography because of the
• 27:41
  way it's framed, the framing in this film, the way this is shot,
• 27:44
  the way you use A2 shot against a single, the way you use a
• 27:47
  close up against a mid, the way the camera doesn't really move
• 27:50
  unless it absolutely has to. I think that's all testament to
• 27:53
  them. And I think you can see that
• 27:55
  they wanted to make this film. I mean, if you watch any of the
• 27:57
  films are quite similar to this. I mean, if you watch like The
• 28:00
  Pledge directed by Sean Penn, John John Nicholson, and if you
• 28:03
  watch Insomnia or if you watch anything based in that kind of
• 28:06
  desolate landscape, that can't help but get lost in that.
• 28:09
  The film makers just get lost in that gloom and that grimness.
• 28:13
  Whereas the corns, like you said, like add this element of
• 28:16
  humor, which shouldn't really work, but it definitely does.
• 28:20
  And it keeps you on that level where you like it's accessible
• 28:23
  and it works and you keep moving along with the story.
• 28:26
  And it is a road movie essentially.
• 28:28
  It's a kidnap movie. It's what they've done, they've
• 28:30
  done before. But it just is so original in
• 28:34
  the writing, in the way that North Dakota's, you know,
• 28:37
  depicted the way it's just as houses overtly niceness that
• 28:41
  they take the piss out of, but also.
• 28:44
  Yeah. There's a lot of perfection with
• 28:46
  that. Celebrate it.
• 28:47
  They don't, it's funny, but it's it is celebrated and it is
• 28:51
  wonderful. It's kind of a place where even
• 28:53
  if you finish watching it and you've seen somebody get shot in
• 28:56
  the head and then put in a wood chipper, it's still a place you
• 28:58
  want to go to. And that's a testament of the
• 29:01
  coins, I think, and a testament of their direction and their
• 29:04
  short choice. And I think they're the way they
• 29:06
  work with deacons here is is unbelievable.
• 29:09
  And I think just the way that they work with actors, every
• 29:12
  single performance in this film is memorable.
• 29:16
  It is even the guy getting the true court when he's like,
• 29:18
  you're a, you're a liar. You're a fucking liar.
• 29:23
  He hates swearing, doesn't he? He hates swearing.
• 29:26
  He's so. Angry, but you just remember
• 29:28
  that guy. You remember the guy, you know
• 29:30
  the the parking attendant, you kind of remember all of these
• 29:32
  people that just should be throw away.
• 29:34
  In any of the film, there'll be throw it, but they've have this
• 29:37
  kind of like almost like a monument.
• 29:39
  When you see them on the screen, they're kind of like chiseled
• 29:41
  into the screen and you remember the faces, you remember the
• 29:43
  performances. And that's testament to how good
• 29:47
  the Coen brothers are directing films.
• 29:49
  It's fucking brilliant. It's like the two prostitutes.
• 29:51
  I've never seen prostitutes in this film like this.
• 29:54
  Like normally the scene is like like CD individuals or like
• 29:58
  they're just really happy and wasn't circumcised.
• 30:03
  Go bears. Yeah, yeah.
• 30:06
  Excited. The go bears thing, just the the
• 30:08
  so happy and just normal people. I think that's great.
• 30:11
  Yeah, yeah, yeah, yeah, yeah, yeah.
• 30:14
  Full of back and forth. Yeah, yeah.
• 30:19
  Yeah, when they're nodding in unison, yeah.
• 30:21
  She's not like she's not judging them for what they do.
• 30:24
  She's just no. She's not totally.
• 30:26
  On the level like it's fine, What you do is fine.
• 30:28
  I just want you go, yeah, yeah, yeah.
• 30:32
  Fantastic to claim that the film was based on a true story, while
• 30:36
  almost 100% fabricated, does kind of put you in position of
• 30:39
  the feat firmly placed in the real world kind of thing as
• 30:42
  opposed to the The Flights of Fantasy and some of the other
• 30:45
  films like Hudsucker Proxy and The Big Lebowski as well.
• 30:49
  There are a few inspirations for the true story thing.
• 30:51
  One was the story of a lawyer called Eugene Thompson who hired
• 30:55
  a hitman to kill his wife, and that hitman hired another hitman
• 30:59
  to do the deed right And after she got shot, she got away and
• 31:03
  everybody involved got their comeuppance.
• 31:05
  Another inspiration was the murder of a flight attendant
• 31:08
  named Hella Crafts whose estranged husband murdered her
• 31:11
  and fed her through a wood chipper.
• 31:13
  So it is certain the seeds of truth in the.
• 31:16
  Yeah, the the kind of piece stuff together.
• 31:19
  Joel said in its general structure, the film is based on
• 31:23
  a real event, but the details of the story and the characters are
• 31:25
  fictional. We're not interested in making a
• 31:27
  documentary film and we did no research about the nature of the
• 31:30
  murders, of the events that connected them.
• 31:32
  But in Warren View is that we had found our inspiration from a
• 31:35
  real story. We were preparing them not to
• 31:37
  view the film like an ordinary thriller.
• 31:40
  Yeah, yeah, I suppose it just. If you see that, I'll read that.
• 31:43
  You kind of approach a film in a different way, don't you, if you
• 31:46
  see a disclaimer like that at the start?
• 31:47
  I take Texas Chainsaw Massacre as well.
• 31:49
  It's. Kind of, yeah, Yeah.
• 31:51
  Exactly. Has that impact?
• 31:52
  Yeah. All of the cast were under the
• 31:55
  impression that the story was real until three weeks into the
• 31:58
  shoot of the light of them all. Just for three weeks.
• 32:04
  We mentioned it in our new Country for Old Men podcast.
• 32:06
  The corns like to insert references to the work of
• 32:09
  Stanley Kubrick in their films, and there are a few here as
• 32:12
  well. Carl mentions the old in and out
• 32:16
  and not the Kirk Orange, and mentions that when he's watching
• 32:18
  José Feliciano with another prostitute, the song These boots
• 32:24
  are made for walk and players on the radio.
• 32:26
  That's another Full Metal Jacket, and also the shining
• 32:30
  gears framed like kind of like Jack Nicholson when he breaks
• 32:33
  the bathroom door down. Yes, yeah.
• 32:35
  And she goes to get out the window, which is how Wendy gets
• 32:37
  out. Exactly.
• 32:39
  Yeah, but she. Goes behind the shower curtain
• 32:40
  so it's kind of the Shining and Psycho in the same.
• 32:43
  Kind of breath, which is great. Amazing.
• 32:45
  So yeah, Fargo, another home run by Joel and Ethan.
• 32:49
  No. No doubt we're talking about the
• 32:57
  three leads in the cast of Fargo, starting, of course, with
• 33:00
  Frances Mcdorm. But as Marge Gunderson, Westie,
• 33:03
  what are your thoughts on Mcdormand's performances?
• 33:05
  Marge. She is adorable.
• 33:09
  She's a dream board. She is wonderful and just one of
• 33:13
  my favorite characters I think I've ever seen, but I don't want
• 33:17
  to see any more of her. I think the coins give you
• 33:19
  exactly the right amount anymore and it would kind of spill over.
• 33:24
  It's just the perfect performance.
• 33:28
  It's just so lovable, which is so intelligent.
• 33:31
  She's got the higher ground all of the time.
• 33:33
  She wears the pants in the relationship.
• 33:35
  She's just the most intelligent person in the film and I love
• 33:37
  that. And she's just the funniest and
• 33:40
  the most like open hearted and really caring person at the same
• 33:44
  time. And you don't really get that
• 33:45
  with characters nowadays. You don't get someone who's
• 33:47
  really open because they normally get punished for that.
• 33:50
  You don't get people who are normally like really emotional
• 33:52
  and open to people and just have time for people that at the same
• 33:54
  time be intelligent because they've got to be one or the
• 33:56
  other, you know, weathered by the job.
• 33:59
  And this is who I am and I'm a police officer and fuck you,
• 34:03
  Norm, you know what I mean? But she's not like that.
• 34:05
  Just like, you know, probably need to jump.
• 34:06
  It's fucking so adorable. And he's great.
• 34:10
  And their relationships just so wonderful.
• 34:12
  It's one of the best relationships I think I've ever
• 34:14
  seen captured on film. Just that's just what you want,
• 34:17
  even though it's in a tiny little house and they haven't
• 34:19
  got much, but they just love each other.
• 34:21
  They're happy and. They're so content that it's
• 34:25
  just beautifully realized and beautifully shot because every
• 34:28
  single scene with them two and it's a two shot.
• 34:30
  They don't ever get singles and Norm never gets a single.
• 34:33
  They always get two shots. They're always together.
• 34:37
  I think there's just little beautiful nuances by McDonald
• 34:40
  all the way through this film that make just really, really
• 34:43
  accessible as a character and really, really lovable as a
• 34:46
  character. And I can't imagine anyone else
• 34:48
  doing this or pulling this off to this degree where it's just
• 34:51
  so intricately done but looks so simple and it's just brilliant.
• 34:55
  It's just brilliant, just amazing.
• 34:57
  Am I just such a striking character in the Dormant?
• 34:59
  I think is just in her element here.
• 35:01
  I mean she uses her exterior advantage as well.
• 35:05
  She's all cutesy poo when she first talks to Jerry, makes out
• 35:08
  like she buys his story, shoots him a little wink and says I'll
• 35:11
  let you get back to your paperwork.
• 35:13
  Fantastic. Lovely.
• 35:16
  He's fleeing the interview. He's fleeing the interview.
• 35:20
  And this likely puts Jerry at ease and and you think probably
• 35:24
  thinks that he fooled the cops because he thinks he's a master
• 35:26
  operator. But she's a lot smarter than she
• 35:28
  makes out to be. Yeah.
• 35:29
  And throughout all the darkness in the film, all the lies, all
• 35:32
  the deceit by pretty much all of the other characters in the
• 35:34
  film, there's a lot on Mcdormand shoulders to be the only real
• 35:37
  force of good in the main cast. Yeah.
• 35:41
  She's the moral conscience of the film and I love that moment
• 35:43
  at the end when she's got gear in the in the back of the car
• 35:46
  and she just can't fathom his actions.
• 35:48
  It's. Amazing.
• 35:49
  Oh, she says. There's more to life than a bit
• 35:51
  of money. Don't you know that?
• 35:52
  Yeah, yeah. It's plain and simple, right and
• 35:55
  wrong. He, he doesn't know that and she
• 35:57
  doesn't understand what will motivate somebody to do all the
• 35:59
  bad deeds that he's done. And it's that.
• 36:02
  Innocence is played amazingly well by Mcdormand, but repeat
• 36:05
  viewings I think show there's a lot more to the surface than
• 36:08
  March. Yeah.
• 36:10
  It's such a such a great performance and also her and
• 36:13
  Norm are either always eating or lying down, sometimes doing both
• 36:17
  at the same time of. Course.
• 36:19
  You've got hobbies all over me. When she confronts gear at the
• 36:24
  end, which is like police, and then points at a star and a hat,
• 36:28
  that little moment where she's just like dickhead, like the
• 36:33
  whole uniform on which is like pointing at the start, just that
• 36:35
  little moment. Absolutely love it.
• 36:38
  Yeah, it's great. Matt, what do you think about
• 36:40
  Mcdormand here? Well, she's such a super lady,
• 36:42
  isn't she? And I'm so lonely.
• 36:46
  Super so lonely. Incredible performance is
• 36:54
  particularly considering you're 30 minutes in the film for you
• 36:57
  even made her. Yeah, but she's got such a warm,
• 36:59
  motherly presence to it. Like obviously helped by the
• 37:02
  fact that she's heavily pregnant.
• 37:03
  But you look at it and 1st you think she should be like running
• 37:07
  a bakery and like making treat to everyone.
• 37:09
  She shouldn't be a police officer caught up in this like
• 37:12
  brutal crime. Yeah, the great thing is as well
• 37:14
  as that, that pregnancies never played upon.
• 37:16
  It's never this dark, somber tone of like, she could lose the
• 37:20
  child, do you know what I mean? They never think about it.
• 37:22
  Anyone else would have done that, would have like kind of
• 37:24
  capitalized on that emotion, but it just builds the character.
• 37:27
  Yeah, it's great church. And like I said, it's never like
• 37:30
  exploitative and watch has got issues.
• 37:33
  Got this like super sunny, super polite disposition, always
• 37:38
  looking to believe the best in people.
• 37:39
  But she's so good at dealing with everyone who she comes into
• 37:43
  contact with because she's so clever, which is very deceptive.
• 37:47
  So when she questioned Shep, she goes a little bit easy on him
• 37:50
  because she knows he's had trouble with the law before.
• 37:52
  So she just uses that easy going charm to win him over.
• 37:56
  And then you get that hugely awkward dinner with Mike
• 37:59
  Yanagita when he tries to sit next to it and she just goes,
• 38:02
  no, why don't you sit over that? I prefer that.
• 38:05
  But then she can say. That she says Why?
• 38:08
  Yeah. It's just like someone have to
• 38:09
  turn me neck. Yeah.
• 38:10
  Just an excuse for it, yeah. Don't have to turn my neck.
• 38:14
  She's super nice about that. Or I love how this film ends
• 38:17
  with her and Norman bed together.
• 38:19
  And he's disappointed that that picture he's been doing, it's
• 38:22
  only been used on the three cent stamp.
• 38:23
  And even then, she's like, whenever they raise the postage,
• 38:26
  people need the little stamps. She just knows what to say in
• 38:30
  every given situation to everyone.
• 38:33
  But Despite that good nature, she's nobody's fool.
• 38:36
  You see that second interview with Cherry when he snaps it
• 38:38
  there and you see the light just goes on behind dry and she gets
• 38:41
  that steely, torn voice. Sir, you have no call to get
• 38:44
  snippy with me. Yeah, she knows then and there.
• 38:47
  I do my job something. Yeah, my job.
• 38:50
  And she's also really funny in that scene when Cherry flees and
• 38:54
  drives away. Like her reaction is bringing it
• 38:56
  off for Pete's sake. He's fleeing the interview.
• 38:58
  He's fleeing the interview like. I only got an outside line on
• 39:01
  this. Still so polite in her
• 39:04
  exasperation. Even then she doesn't swear.
• 39:07
  She's just a fantastic character and I honestly think the hands
• 39:10
  of another actress, she could have been a bit too quirky.
• 39:13
  She could have come across not quite as smart as Mcdormand
• 39:16
  makes her. She could have come across
• 39:18
  somebody who just stumbles through the film on look.
• 39:20
  But Mcdormand, I think it's just just amazed and she makes it so
• 39:24
  real, gives us so much death and it's just such an enjoyable,
• 39:29
  funny, effective performance. I just absolutely love it a bits
• 39:32
  and this. When starting out as an actress,
• 39:34
  Mcdormand lived in New York and was roommates with Holly Hunter,
• 39:37
  who told her that there were two weird guys in town casting for
• 39:40
  the debut film. Mcdormand went along and wound
• 39:43
  up being cast in Blood Simple, and obviously she would marry
• 39:45
  Joel Corn soon afterwards as well.
• 39:48
  She was the actress that the Corns wanted for Marge.
• 39:50
  Obviously. Joel asked her and John Carroll
• 39:52
  Lynch, who plays Norm, her husband, to come up with a back
• 39:55
  story for their characters. They decided that Marge and Norm
• 39:59
  met and fell in love while they were working on the police force
• 40:02
  together, and when they got married, they decided that one
• 40:04
  of them should quit. Marge was better at her job, so
• 40:07
  Norm took a paint and as a hobby, which is, I mean,
• 40:10
  obviously going to be better at her job than Norm.
• 40:13
  Norm's great, I'll fix you some eggs.
• 40:16
  McDonald wasn't pregnant at the time.
• 40:17
  Instead, she wore a pregnancy pillow.
• 40:20
  It was filled with bird seed to give weight and silicone breasts
• 40:24
  as well. She left the suit in a trailer
• 40:26
  overnight and it froze, and when she was shooting the next day,
• 40:29
  one of the breasts exploded. Should.
• 40:34
  Have left that in. To prepare for the part, she
• 40:38
  spent time with a pregnant copper in Saint Paul, a city in
• 40:41
  Minnesota. She learned how to shoot a gun
• 40:43
  and based the characterisation of Marge on her sister, who was
• 40:46
  a Christian minister, and about Marge, Macdorman said.
• 40:50
  When I started working on it, I realised it was one of the best
• 40:52
  gifts that I've ever been given. Very nice.
• 40:56
  Yeah, yeah, but she does she gifts back from getting a.
• 41:00
  Gift. Oh, lovely, very nice.
• 41:02
  It's a gift within a gift. It's fantastic. 2 Gifts A gift
• 41:05
  that keeps on giving the. Gift that gives on given Yeah.
• 41:07
  Take Inception. So we're now moving into our
• 41:12
  first question from one of our Patreon supporters I mentioned
• 41:15
  at the top that will answer questions on the shore.
• 41:18
  So he comes our first one from George Anderson.
• 41:21
  Hello, George. Hello, George.
• 41:22
  Hi, George. He's back.
• 41:25
  George asks where does ATRM rank Marge Gunderson amongst the
• 41:29
  badass female roles in cinema? And he's got a secondary
• 41:33
  question. Secondary question on this one.
• 41:35
  Sub question. Sub question, he said wouldn't
• 41:41
  pair in her with Clarice Stalin to solve a crime.
• 41:43
  Made for an awesome film. So Wes, did you want to take
• 41:48
  that first? In my opinion of badass female
• 41:53
  characters, I would put a definitely up there.
• 41:55
  I'll put Marge Gunnison up there, I'll put Ellen Ripley up
• 41:57
  there. Clarice has got to be up there
• 42:00
  and I'd put the Bride up there from Kill Bill one and two and
• 42:04
  Mildred Hayes from Three Billboards, which is again
• 42:08
  Mcdormand. So she's she's got 2 spots in
• 42:10
  the top five. They are fucking badass
• 42:12
  performances, which is great. She's great and almost famous as
• 42:15
  well. It's really badass and that
• 42:16
  don't do drugs. Really brilliant performance in
• 42:21
  that. I mean, just which has opened
• 42:22
  the door and it is wide open now for people just to walk through,
• 42:25
  especially younger actresses to just grapple on to that
• 42:28
  confidence and use it and walk with it.
• 42:31
  And I think she's just laid the path and more people need to
• 42:33
  walk. Well for the first part of
• 42:36
  George's question, I never really would consider March this
• 42:39
  way because she is quite unassuming in a certain respect
• 42:43
  and that's down to the right and location which influences the
• 42:46
  personality of mine. To be honest, I don't think I
• 42:48
  would put her up there as bad ass roles, female or male.
• 42:53
  I instantly think of aliens and there are two in there that you
• 42:55
  mentioned. Ripley's one of them.
• 42:56
  Vasquez. The next mean cat.
• 43:00
  Vasquez, let's rock. Harder than any of the blokes on
• 43:03
  that. 100% I would have Vasquez with me over any of them fucking
• 43:08
  people. No, no doubt.
• 43:09
  Definitely. I mean, both Ripley and Vasquez
• 43:13
  handle heavy artillery. They're up against this
• 43:15
  seemingly unbeatable, unknowable force.
• 43:18
  Marge is up to that in a certain degree, but it's still human.
• 43:21
  It's still known, and she can still use that smart.
• 43:25
  I would throw people like, you know, Sarah Connor from, well,
• 43:27
  T1 and T2 and the Bride, like you said, Westie, but I wouldn't
• 43:32
  throw Marge in there. She's good at her job, at a job
• 43:35
  that's more commonly viewed in movies as a man's role or a male
• 43:40
  role. And I do also think that to say
• 43:43
  that Marge is a badass is to undercut the character, the
• 43:46
  performance by Mcdormand and the right and by the corns.
• 43:48
  I think she's more than that. It's a string to a ball.
• 43:51
  She can't be a. String to a ball?
• 43:52
  Absolutely, and she must be a bad more for to single handedly
• 43:56
  take care of Guerre at the end, yeah?
• 43:58
  Yeah, get him out of the car, Yeah.
• 44:00
  Yeah, exactly. Matt, what about you?
• 44:03
  Yeah, very much in agreement, obviously.
• 44:04
  Yeah, you've got the likes of Ripley, Sarah Connor, Fury, also
• 44:07
  Clarice, but they are all very different to March made for
• 44:12
  sort. None of them do what they do
• 44:13
  while seven months pregnant, you know.
• 44:15
  I mean, that's to say, you know, she's she's she's carried a huge
• 44:18
  load there. She's going to wait.
• 44:20
  And carrying quite a load there. Carrying quite a load there.
• 44:24
  Take a seat. And what I like about March is
• 44:28
  that she really retains all that femininity throughout the film,
• 44:31
  but in a very realistic way. She doesn't have to do, you
• 44:35
  know, like if you think Ripley in the first Alien, you know,
• 44:38
  she has to strip down to, you know, basically kind of like
• 44:40
  underwear at the end to get into the suit, which is a bit of
• 44:42
  urgent. Doesn't really look great at
• 44:44
  that scene these days. Same as Sarah Connor and
• 44:47
  somebody just has to beef up to look like a man in terms of
• 44:50
  Marge doesn't have to do any of that.
• 44:52
  Marge is just a woman and that's good enough, which is kind of
• 44:56
  what you guys are saying. So, yeah, in terms of what
• 44:59
  you're just saying, yeah, I would have up there.
• 45:00
  But I think just to call a badass, I don't think it gets to
• 45:03
  the heart of what Marge is as a character, really.
• 45:05
  I think she is more than that, as you're saying, Luke.
• 45:08
  And then the sub question, wouldn't it be great to see it
• 45:10
  teamed with with Chris? I think it would be really good
• 45:13
  for Clarice. You know, Clarice is a very,
• 45:15
  very intense woman in those films.
• 45:17
  And I think she would benefit from spending some time with
• 45:19
  Marge. Just, you know, someone who has
• 45:21
  something other than the job going on in life.
• 45:24
  Yeah, very nice. It'd be lovely if she turns
• 45:26
  around. It's just like at the end of the
• 45:28
  film, she's like, have the lamb stopped screaming yet?
• 45:30
  She's like, yeah, yeah, yeah. Fix it.
• 45:35
  Pairing her up with Clarice, Interesting idea.
• 45:38
  I mean that would be amazing. I often have these these
• 45:41
  thoughts of like it would be amazing if this character and
• 45:43
  this character would got together and that certainly
• 45:45
  would be one of them. But in an alternative reality.
• 45:48
  This got me thinking. I'd love to see Marge in the
• 45:51
  place of Ed Tom Bell in No Country for All Men she make of
• 45:55
  and Don't you Go. That would be amazing.
• 45:57
  Yeah, that'd be great. Although it'd be fair that both
• 46:00
  of these films end pretty much exactly the same, just with them
• 46:04
  kind of like that together back at home.
• 46:07
  Here we'll go. Left.
• 46:09
  To win, it kind of just cuts out.
• 46:10
  But yeah, I think I think she would have been magic.
• 46:13
  I'd love to see a ball and with the guys and Lebowski.
• 46:16
  Fucking amazing. Just walking in, like still
• 46:19
  pregnant. Hey guys, how's it going?
• 46:22
  This isn't a bowling ball in here, you know.
• 46:29
  Great. Talking to Jesus.
• 46:30
  I should have been amazed. Put her in any Coen Brothers
• 46:32
  film and she works. Yeah.
• 46:34
  Just fucking brilliant. Fantastic.
• 46:37
  Great question, George. Thank you very much.
• 46:39
  Yes, thank you man. Thanks, George.
• 46:40
  We stop at Pancakes house. What?
• 46:43
  Are you nuts? We have pancakes for breakfast.
• 46:46
  I kind of go to a place where I can get a shot and a beer and
• 46:48
  steak. Maybe not more fucking pancakes.
• 46:50
  Come on. We're moving over to our second
• 46:53
  character now, Jerry Lundergaard, played by the ever
• 46:56
  dependable William H Macy. Ah, geez.
• 46:59
  Ah, geez, Max, what do you think about H Macy as Jerry
• 47:02
  Lundergaard? The heck do you mean?
• 47:06
  Heck, do you mean? Macy in this man, I mean, it's a
• 47:11
  bit of custom where the look of the character, even for you,
• 47:14
  there's a line of dialogue. You know everything you need to
• 47:16
  know about Jerry. You look at him and you go,
• 47:19
  there is a born loser. There is a man who was going to
• 47:23
  achieve nothing in life. You know, look up defeat in the
• 47:26
  dictionary and you'll find a picture of Jerry Linda Guard and
• 47:28
  it will probably be that really awesome photo he's got hanging
• 47:31
  up on the wall in the car dealership.
• 47:33
  Hands over. Yeah, it's probably going to be
• 47:36
  that photo I'm. Taking photos like that,
• 47:38
  honestly, it's painful. Fantastic, amazing photo.
• 47:42
  And we've already mentioned it. Right from the opening scene,
• 47:44
  he's getting it wrong. He's an hour late and he does
• 47:47
  not do a single thing right from then on in.
• 47:49
  He is a really sniveling, inept excuse of a man.
• 47:53
  But Despite that, and this is all down to mercy for a large
• 47:57
  part of the film, I've still got a sliver sympathy for Jerry.
• 47:59
  I mean, he has blood in his hands.
• 48:01
  Blood has been shed and he's responsible for about half a
• 48:03
  dozen deaths. Macy still gets me occasionally
• 48:07
  on his side like I am good at from the way it's deems in there
• 48:10
  takes that deal off his hands completely shares frustration.
• 48:14
  But it's all just in that fantastic performance.
• 48:16
  He gives really pathetic that look of self pity on his face
• 48:21
  when that first customers given him a hell about the true court.
• 48:24
  And he does look so sorry for himself.
• 48:26
  And I love the Byway tries to look at the wife and he like
• 48:29
  flashes at this like apologetic grin, but then just look
• 48:32
  straight down again. Yeah, sorry, but it's the fact
• 48:38
  that he sets this plot emotion, yet as soon as something
• 48:42
  unplanned happens, he completely falls apart and he can't deal
• 48:46
  with anything that comes his way when he thinks he's actually
• 48:48
  going to get this deal. So he goes to Shep to say you
• 48:51
  need to get in contact with Carl and Shep completely fobs him off
• 48:54
  and Joey just goes OK then it just walks where achieves
• 48:58
  nothing. Yeah.
• 48:59
  And obviously, the funniest bits of the film is when he goes
• 49:01
  completely to pieces under the slightest bit of questioning
• 49:04
  from March. But first interview, Aces
• 49:06
  rocking back and forth in this chair, not speaking, just that
• 49:09
  screen on his face, sweating because he doesn't know what to
• 49:12
  say. Absolutely hilariously.
• 49:13
  Yeah. I think it's phenomenal work for
• 49:15
  me. I see.
• 49:16
  And I know that he wanted the part so much.
• 49:18
  He told the corns if they didn't custom he would shoot their
• 49:20
  dogs. Really Jerry thing to say that?
• 49:28
  Yeah, fantastic, babe. The Blue Axe, I mean, what a
• 49:35
  performance from H Macy. He's outstanding.
• 49:39
  Jerry makes out like he's this nice guy, but he's stiffen
• 49:42
  people all over town for that true court thing.
• 49:46
  And deep down, he's just not the person he's projecting himself
• 49:49
  to be. And that guy calls him out on
• 49:51
  it. He's a bald faced liar.
• 49:53
  And this is later confirmed with the scene, the serial numbers
• 49:55
  conversation. Yeah, he's stiffen them.
• 49:58
  How many other people has he stiffed throughout the years?
• 50:00
  I'll fax it. I'll I'll send it.
• 50:02
  Oh, I'll. Shoot it right over.
• 50:06
  And I think again, it's repeat viewings that confirms that
• 50:08
  Jerry has been making bad decision after bad decision for
• 50:11
  years. And This is why he's he's got
• 50:13
  himself in far, far too deep. And he probably was once a good
• 50:17
  person, and now he's kind of doing, I think he's kind of
• 50:20
  doing an act of trying to be a good person from what he can
• 50:23
  remember from years gone by. Probably why he's so over the
• 50:27
  top Nice. Yeah.
• 50:28
  Yeah. To kind of hide his misgivings.
• 50:29
  He's so sickly sweet with it. I can see what you're saying
• 50:32
  about the deal with Weird Matt, but I don't I don't feel sorry
• 50:36
  for Jerry in the slightest. Yeah, yeah, it's fair enough.
• 50:38
  It's, it's borderline, isn't it? It is borderline.
• 50:40
  Totally get what? People don't, yeah, yeah, like
• 50:42
  say it's, I don't feel from at the end at all.
• 50:45
  No, just when it gets. A little heavy now and I'm like,
• 50:47
  ah yeah, that's quite get there. Could he?
• 50:50
  But he does. I mean he gets absolutely what
• 50:52
  he deserves. It's his lame ass deal and he
• 50:55
  doesn't stop once to think of the consequences or a
• 50:58
  contingency. Hell of the scene where Marge
• 51:03
  goes back to see him and and both actors are amazing here but
• 51:07
  the cracks are all over jury in this scene and Macy plays it
• 51:10
  amazing Marge is asking him again about the missing car and
• 51:13
  he says I would know I'm the executive sales manager.
• 51:17
  His voice begins to break all over the place, but he's still
• 51:22
  trying to maintain that veneer of honesty I'm cooperating.
• 51:25
  We're doing, we're doing all we can here.
• 51:27
  I'm working with you on this thing, but he's not been working
• 51:31
  with Marge at all on. This.
• 51:33
  It's just great because he's obviously flustered, he's been
• 51:35
  caught on the hop and seeing things that just don't make
• 51:38
  sense, that had just come into his head to try and be nice.
• 51:41
  Yeah. But what performance is great?
• 51:43
  Yeah, Wesley, what about you? See like see that true code like
• 51:49
  I really feel for the guy because I don't know why I
• 51:53
  shouldn't but I do. Yeah, yeah.
• 51:56
  Is that something to do with because it is H messy?
• 51:58
  Because it's messy. If it was anyone else, I could
• 52:01
  not buy into it. But he's just got this really
• 52:03
  likable quality and you just kind of want to sit with him and
• 52:07
  just like shake him a little bit and just be like wake up.
• 52:10
  What you do when he just gets further and further into this
• 52:14
  nightmare, and that's what the corns do so well is that just,
• 52:17
  it starts off simple and then it just explodes into a nightmare
• 52:21
  in the lines that he's got unpleasant, but the way he
• 52:24
  delivers them are it's accessible and you feel sorry
• 52:28
  for me, that stupid massive core to these stupid heart.
• 52:31
  And he's just crap. And everyone who speaks to him,
• 52:35
  he's got the back to him or the off screen.
• 52:37
  He's always in a single shot. He's always isolated, he's
• 52:40
  always by himself. You don't find out what he's
• 52:42
  been doing, but because of the license plates and because of
• 52:45
  where he works, obviously he's been embellishing cars and
• 52:48
  they're getting the money for them and then just letting them
• 52:49
  go and whatever else because you can get them.
• 52:52
  That Sierra, it's brand new and he's just taught it out.
• 52:54
  So that's one of the other cars which is basically been stealing
• 52:57
  cars and Wade owns that garage. So he's like he's he's in a debt
• 53:02
  of weird and we got that money back.
• 53:03
  And if it works, it will work. And at some point you think that
• 53:07
  when he goes back to talk to Shep at the start of the film
• 53:09
  where Wade's like bag up for the deal, he's like, come and talk
• 53:12
  about it, it's going to be fine. And he's like walking across and
• 53:16
  he speak to them guys, it's fine now.
• 53:18
  So I don't vouch for him. I don't vote.
• 53:20
  And you just think, oh, shit, this is this is out of torn.
• 53:23
  This is out of kilter. This is this feels like a stage
• 53:26
  actor who's just really, really knows what he's doing.
• 53:29
  Anyone else but Mercy, this film would have failed.
• 53:32
  I'm putting it out there. Anyone else with him, it would
• 53:35
  have. I can't imagine anyone else
• 53:37
  apart from Mercy being so despicable and so lovable at the
• 53:42
  same time, where you just kind of like, feel sorry for him, but
• 53:44
  you're like, oh, God, I don't want anything to do with him.
• 53:46
  I don't know anyone else who could have done that.
• 53:47
  He's great. Yeah.
• 53:48
  How funny is that saying where you realize he's rehearsing the
• 53:51
  speech to wait about Jeez, jeez, it's jeez.
• 53:55
  Wait, it's. It's my wife.
• 53:58
  It's Gene. Wait, it's Gene.
• 54:01
  And it's like normally, oh, wait.
• 54:03
  And then when he finally rings up, he gets to the reception.
• 54:07
  He's just like, wait, gonna please, doesn't get straight
• 54:13
  through. Unlike the rest of the cast,
• 54:16
  William H Macy wasn't the actor wanted for the role of Jerry
• 54:18
  Lundergaard. Bill Pullman turned down the
• 54:21
  role, and Richard Jenkins was being lined up for it.
• 54:24
  That is, until H Macy went to the extreme lengths to lobby for
• 54:27
  it that you mentioned. Matt.
• 54:29
  Yeah, Prior to this, he was cast to play in the part of the state
• 54:33
  trooper who Paul, Carl and gear over.
• 54:36
  And he read for Jerry twice and was certain that he was the
• 54:38
  right man for it. But the corns didn't, and they
• 54:40
  shoot out to New York to do auditions for the role.
• 54:43
  And H Macy followed them out there, crashed the auditions and
• 54:47
  told them that casting someone else would be a big mistake.
• 54:49
  It would screw up the whole film.
• 54:51
  True. And the clincher was I'll even
• 54:54
  kill your dog because Ethan had just got a new puppy.
• 54:57
  I'll kill that little fucker as well.
• 54:59
  Like John Wick? The character of Jerry was named
• 55:04
  after Minneapolis movie critic Bob Lundergaard.
• 55:07
  He was at an early screening of the film with the corns in
• 55:09
  attendance, and he approached them and told them that they'd
• 55:11
  be hearing from his lawyers in the morning.
• 55:14
  Nice H Macy brought a lot to the character.
• 55:17
  Unusual for a corn script because that is very much
• 55:20
  written and finished without any changes made during filming.
• 55:24
  It was his suggestion to have Jerry practice his speech to
• 55:26
  Wade before calling him like we just mentioned.
• 55:28
  And Jerry's doodling on his I Love Golf notepad, which is
• 55:33
  amazing. That came as a result of H Macy
• 55:38
  doodling in between takes. The corns thought it'd fit the
• 55:41
  character perfectly. But.
• 55:43
  What was scripted was Jerry's homes and ours.
• 55:45
  Throughout his sentences. His stutter and false starts
• 55:48
  were all written down pretty much word for word and sound for
• 55:52
  sound. Which is unbelievable,
• 55:54
  especially that opening sequence at the bottom.
• 55:56
  And he said, well, I, you know, this is personal.
• 55:58
  This is, you know, and he said carries on.
• 56:00
  Or something else brilliant. Great, because he tried to
• 56:03
  deviate, didn't he? But the corns were like no, no.
• 56:06
  You've got it wrong, yeah. Yeah.
• 56:08
  And it's. Yeah, yeah, I can help, really.
• 56:14
  The car dealership that Jerry works at was a difficult
• 56:16
  location to scout because the Corns wanted the players to look
• 56:19
  as bland as possible, and they dismissed a lot of locations for
• 56:22
  being too interesting. And that true court scene near
• 56:25
  the start was based on an experience Ethan had at a car
• 56:27
  dealership. He said it was.
• 56:29
  He'd written it almost verbatim. Wow.
• 56:32
  Stiffed on the true court, you. Fucking liar.
• 56:38
  On the character, Macy said. I like Jerry.
• 56:40
  He sets the plan, he's sure it'll work, and despite all the
• 56:43
  information of the country, he never deviates from it.
• 56:46
  Gotta love somebody that has that kind of faith.
• 56:48
  Or on the other hand, he's as dumb as a pile of rocks.
• 56:52
  I'll go with the other hand, yeah.
• 56:54
  Yeah, you've done this right. Yeah.
• 56:56
  It was the role that pretty much made H Macy in the industry,
• 56:59
  been a kind of invisible actor since the early 80s, and this
• 57:01
  catapulted his career, making him a hugely respected character
• 57:05
  actor. So on that, we've got our second
• 57:06
  question from one of our patrons.
• 57:09
  This time it is Brian Dolan on the mic.
• 57:11
  Hello, Brian. Hello, Brian.
• 57:13
  He says William H Macy is known as a fantastic character actor,
• 57:17
  performing crucial second tier memorable roles in all time
• 57:20
  classics. Who were some of the crew's top
• 57:23
  three favorite character actors? In no particular order, Westie,
• 57:28
  you go first on this one. My three favorite character
• 57:31
  actors, Gary Oldman, based on True Romance, Leon and even
• 57:37
  Hannibal. Terrible film.
• 57:38
  Incredible performance from old. Yeah, I don't think he's, I
• 57:41
  don't think he's, he's ever brought anything bad to the
• 57:43
  table. Paul Giamatti, who are really,
• 57:46
  really like Sideways is fantastic.
• 57:49
  It's kind of a secondary performance, but the, you know,
• 57:52
  man on the moon, that's definitely a secondary
• 57:54
  performance. He's wonderful in that and he's
• 57:56
  great in Planet the Apes, even though it's a terrible film.
• 57:58
  But like, he's very recognizable and it really, really brings
• 58:01
  everything to the role. Yeah, you're right.
• 58:04
  And John Casal, who is basically not the finest.
• 58:07
  He is the the character actors character, very actor of all.
• 58:11
  Time. He's only been in five films.
• 58:13
  Imagine that you've been in five films and five films.
• 58:16
  A Godfather One, Godfather Two, Dog Day Afternoon, The Deer
• 58:20
  Hunter and The Conversation. I don't need to say anything
• 58:23
  else. All Best pitcher nominated as
• 58:25
  well, Yeah. Fantastic, fantastic out there.
• 58:29
  Yeah, he was brilliant. Them three for me are really,
• 58:31
  really top draw. Great shouts.
• 58:34
  What about you, Matt? Yep.
• 58:35
  I've gone for three that never really you never really see them
• 58:39
  headline anything that that's kind of how when Turbulent saw
• 58:42
  first one is Patricia Clarkson, who she is Elliot Ness's wife in
• 58:47
  the Untouchables. That was a date.
• 58:49
  She's also the woman who eyes out in The Cave and shutter
• 58:52
  island. She's only got 1 scene there.
• 58:53
  That's an incredible scene there with DiCaprio.
• 58:55
  She's and stuff like Dog veil, Far from Heaven, Good night and
• 58:58
  good luck. Gloss and real girl easier.
• 59:00
  Just a great, great actress. She's in everything, isn't.
• 59:02
  She's in everything. I'm always really happy to see
• 59:04
  Patricia Clarkson turn up so her.
• 59:06
  Secondly, I'm going for Stephen Root, who's in a lot of Corn
• 59:09
  Brothers films. Actually was a great no brother.
• 59:13
  He's the guy who hires Woody Harrelson.
• 59:15
  You know, country Ford man. Yeah, yeah, yeah.
• 59:17
  Also, the blind artisan get out. The guy who bids for Daniel
• 59:21
  Kalu. Yeah, Grand Dodge.
• 59:22
  Ball. Great and.
• 59:24
  Dodge ball. Great and office space.
• 59:27
  Yeah, he's great. And office space, Yeah.
• 59:28
  As as Milton office space, hilariously, yeah.
• 59:30
  I love Stephen Root also to see him have.
• 59:32
  You ever seen the TV show Barry with Bill Haider?
• 59:34
  He's fantastic. Oh, not seen that.
• 59:36
  Oh, not seen. That.
• 59:39
  Check it out. And then third one, I think this
• 59:41
  this free is the ultimate one because if you don't know who
• 59:45
  this is, Google him. And I guarantee when you see his
• 59:48
  picture, you'll go, Oh yeah. That guy, yeah.
• 59:51
  That guy, he is the definitive that guy, and it's Philip Baker
• 59:54
  Hall. Yeah, yeah, yeah.
• 59:55
  Because here's a list of credits.
• 59:57
  Swordiac, Orwell, Boogie Nights, Magnolia, Truman, Troll, The
• 1:00:00
  Insider, The Rock, Ghostbusters to Midnight Run.
• 1:00:03
  Just an astonishing career. And he is that guy.
• 1:00:06
  Oh, him. And he's always fantastic.
• 1:00:08
  Yeah. Totally agree.
• 1:00:10
  Yeah. These questions right up my
• 1:00:12
  alley. I've probably been formulating
• 1:00:14
  an answer to it for the last 10 years. 10 years.
• 1:00:20
  Well, before we started ATRM, maybe the this whole thing's
• 1:00:23
  being built to put us in a situation where somebody's maybe
• 1:00:26
  semi interested in my answer to this question.
• 1:00:28
  I've orchestrated the whole thing.
• 1:00:32
  Who's this question from? This is from Brian Dolan.
• 1:00:35
  Brian, did you get an e-mail from Luke asking you to ask this
• 1:00:40
  question? Because I think this shit all
• 1:00:42
  the time. Like if I could, if I could make
• 1:00:43
  a film, I'd bring all of these guys back.
• 1:00:45
  Yeah, yeah. I think about it all the time
• 1:00:47
  and I probably mentioned a lot of the over the last few years
• 1:00:50
  and I've got a short list, but I've narrowed it down to three.
• 1:00:53
  Thank God, OK. You'll know the first one.
• 1:00:55
  OK. Guzman.
• 1:00:57
  Guzman, Louise Guzman. Louise Yes, yeah.
• 1:00:59
  Amazing. I just can't get enough of them.
• 1:01:02
  Carly does wear the Limey traffic, the hardware.
• 1:01:04
  I love them in that guy needs to come back.
• 1:01:07
  He. Does.
• 1:01:07
  Yep, he does. Second one, Keith David,
• 1:01:10
  obviously. Keith David.
• 1:01:11
  Great. Thing.
• 1:01:13
  But he's a platoon. They live really funny and
• 1:01:16
  something about Mary. I love them in Men At Work.
• 1:01:18
  How to get the Franks about the beans, The beans about the
• 1:01:21
  frank? Is it the Franks are the beans?
• 1:01:24
  Just fucking. You, Ted.
• 1:01:27
  Fucking you, Ted. Brilliant.
• 1:01:29
  Yeah, he's great. And the third one is Michael
• 1:01:33
  Imperioli. Love him, Spider and Goodfellas.
• 1:01:37
  He's amazing as Christopher and The Sopranos, obviously, but if
• 1:01:40
  his name pops up in any credits, I'm happy with that.
• 1:01:42
  He's in Trees Lounge, got a really small but really
• 1:01:45
  memorable role. Like it's a sleazy porn owner in
• 1:01:48
  Summer of Sam, and he's recently in one night in Miami as well.
• 1:01:52
  Oh. He wants to.
• 1:01:53
  Great in trees lounge. Yeah.
• 1:01:56
  Totally forgot about that. He's brilliant now.
• 1:01:58
  It's grateful. So there's the three and I think
• 1:02:01
  3 strong choices from all of us. Yeah, yeah.
• 1:02:03
  Yes, yeah, I thought you're going to sit and three strong
• 1:02:05
  choices from me. I was told you I thought you was
• 1:02:09
  going well. Matt, I'm totally bought that.
• 1:02:11
  Yeah. And three really strong choices
• 1:02:15
  from me. Which is why I went last last.
• 1:02:17
  Oh geez. Or just just keep it still back
• 1:02:23
  there, lady. You're also going to have to,
• 1:02:25
  you know, to shoot you. OK.
• 1:02:28
  OK, right. OK, OK, OK.
• 1:02:30
  OK. So our final cast member, we're
• 1:02:33
  moving over to Steve Buscemi as Carl Shawalter.
• 1:02:37
  I'm going to go first with Buscemi.
• 1:02:38
  Here we go. Here we go.
• 1:02:41
  There's no doubt in my mind that Carl is doomed from the gecko.
• 1:02:44
  Yeah. The coins tell you as much.
• 1:02:46
  When Shep says that he doesn't voucher him, Don't know him,
• 1:02:48
  don't voucher. Don't vouch for.
• 1:02:50
  Him and I. Love that he tries to play it
• 1:02:52
  all cool, very professional, but increasingly loses his cool
• 1:02:56
  after the roadside shooting and he gets louder and louder and
• 1:02:59
  more aggressive, more sweary, and when he goes to the car park
• 1:03:03
  at the airport and loses his mind when he has to pay a four
• 1:03:05
  pound $4.00 to get out. Yeah.
• 1:03:08
  Absolutely loses his mind, but he's nowhere near as smart as he
• 1:03:11
  makes out. Why didn't he just come up with
• 1:03:13
  an excuse for not using the parking lot?
• 1:03:15
  Fucking clip on tie. Yeah.
• 1:03:20
  Fucking big man, huh? Instead, he says that he's
• 1:03:23
  decided not to park now he's decided not to take the trip
• 1:03:26
  instead. It turns out, after mumbling
• 1:03:28
  through his words. Why didn't you just say I've had
• 1:03:30
  an important phone call, I have to go or something, anything of
• 1:03:33
  that nature. But just not coming up with
• 1:03:35
  anything just shows how stupid he is.
• 1:03:37
  Yeah, I mean, he's just got this really just semi generally, he's
• 1:03:39
  just got this really expressive face and he can tell a million
• 1:03:43
  stories through not seeing anything.
• 1:03:45
  And he's pretty much amazing at anything he's in.
• 1:03:47
  And. Two scenes that really stand out
• 1:03:49
  for me and the first is well, I'm going to say it.
• 1:03:52
  It's the where is pancakes house scene.
• 1:03:55
  Brilliant. It's amazing.
• 1:03:58
  Yeah. Ask where where's pancakes house
• 1:04:00
  and Carl is dumbfounded. Yeah, so we we had kitchen
• 1:04:03
  breakfast, pancakes for breakfast when it goes somewhere
• 1:04:06
  where we get a shot of be and maybe a steak.
• 1:04:08
  No more fucking pancakes. Can't believe it.
• 1:04:14
  I just think it's hilarious that Gay wants to have pancakes 2
• 1:04:17
  meals in a row. It's insane and he can't believe
• 1:04:20
  it. Carl's mind is blown.
• 1:04:22
  Yeah. And I'm sure we can all relate
• 1:04:24
  to this situation in the car a little later.
• 1:04:26
  We're in a position where we're trying to drum a conversation
• 1:04:29
  with somebody that we don't particularly know the person
• 1:04:32
  that well. And there's nothing coming back.
• 1:04:33
  And it's excruciating. And he tries to play it nice
• 1:04:36
  About the Sears building. You ever been to Minneapolis?
• 1:04:39
  But then he's just had enough say, whoa, Daddy, stand back,
• 1:04:44
  man, that's a geyser. And then he's still trying to be
• 1:04:50
  quiet. What continues talking.
• 1:04:52
  See how you like it. Just total fucking.
• 1:04:54
  Silence. Fucking silence.
• 1:04:56
  Do you like? That game smart guy.
• 1:04:58
  Total fucking silence. It's the bit where it's got too
• 1:05:03
  much from and he just goes would it kill you to say something
• 1:05:06
  like you can just you can feel the frustration it's been
• 1:05:09
  building and building. Would it kill you to say
• 1:05:12
  something? I did, and I love the scene when
• 1:05:18
  he opens up the briefcase. For a moment you think it's
• 1:05:20
  going to maybe be a ringer, like Big Lebowski stuff for the
• 1:05:23
  newspaper or the Whites. The whites.
• 1:05:26
  And then we find out that it is the $1 million when Carl was
• 1:05:30
  only expecting 80 grand. He can't believe his eyes.
• 1:05:33
  It's amazing with these, with that amazing wound on his face.
• 1:05:37
  Yeah, great. Brilliant.
• 1:05:39
  Love it. Matt, what do you think about
• 1:05:41
  Buscemi as Carl? One of those performances where
• 1:05:44
  you can tell a role is written specifically for certain actor,
• 1:05:47
  which this was because he just gives you everything you need
• 1:05:49
  from Carl. And I think it's written
• 1:05:51
  specifically for Buscemi because he does have that mortar mouth
• 1:05:54
  to him. He does have that ability to
• 1:05:56
  deliver dialogue really rapidly. And I think it's just a typical
• 1:06:00
  cornstroke to take him and stick him with another character who
• 1:06:03
  barely says a word. Because the other funny thing
• 1:06:06
  about Buscemi is great it being frustrated and funny at the same
• 1:06:10
  time. And call on a short fuse
• 1:06:12
  throughout this whole film. Frustrated to Joey for being
• 1:06:15
  late, frustrated at gear for not seeing anything.
• 1:06:18
  Frustrated that the TV doesn't work in the cabin.
• 1:06:20
  Gets really angry at that. Give me some ozone.
• 1:06:23
  Give me a fucking signal. The big device is the film after
• 1:06:26
  this and he constantly gets told to shut the fuck up.
• 1:06:28
  Yeah, lovely not. Yeah, fantastic stuff.
• 1:06:33
  Frustrated that parking lot attendant Princess and he pays
• 1:06:35
  the $4.00. Frustrated that way it turns up
• 1:06:37
  later and said a Joey with the money.
• 1:06:39
  Frustrated again with gear that he insists that the split the
• 1:06:42
  Sierra as well as the money. And the more frustrated he gets
• 1:06:45
  the funnier he gets. And he's also an active app for
• 1:06:49
  me. It's a weird thing, but the more
• 1:06:51
  physical punishment he gets. It's also funny like when when
• 1:06:55
  chef barges in on him and the prostitute having sex and starts
• 1:06:57
  whipping them all over without belt.
• 1:07:00
  Hilarious stuff like especially goes hey, smoke a fucking peace
• 1:07:03
  by like every time absolutely addicted that by and it's the
• 1:07:17
  same when you get shot in the face because that happens like
• 1:07:20
  not really near the end. See you're watching like quite a
• 1:07:23
  bit of the film after that trying to complete the deal,
• 1:07:25
  give gear his off the money and get the hell out of there.
• 1:07:28
  Although I deal with this like big spurt and wounds coming out
• 1:07:31
  of his jaw and it never you should.
• 1:07:33
  See the other guy. Brilliant.
• 1:07:36
  The other guy. Never stops being funny, as does
• 1:07:40
  the fact that he's constantly referred to as being funny
• 1:07:43
  looking, but in a really generic way.
• 1:07:45
  Nor can really decide what's funny looking about him.
• 1:07:47
  Yeah, I think he's he's fantastic.
• 1:07:49
  Like you say, look nowhere near as clever as he thinks he is.
• 1:07:52
  There's no need for him to try and bribe that state trooper,
• 1:07:55
  which kicks off the the killing spree, which gets the cops on
• 1:07:58
  the tail. And no need to have that
• 1:08:01
  argument with the parking lot attendant.
• 1:08:02
  That just makes him stand out even more.
• 1:08:05
  And then you find out later he's gone up to random people in bars
• 1:08:08
  asking where he can find a prostitute because he's going
• 1:08:10
  crazy up at the lake. So he's given away where he's
• 1:08:12
  hiding out, he's. Exactly.
• 1:08:14
  Going crazy up at the lake. Crazy, crazy up at the lake.
• 1:08:18
  And he when he gets somebody hanging out at the celeb lounge
• 1:08:20
  watching José Feliciano, he's an absolute idiot.
• 1:08:24
  That's so good. It's so funny.
• 1:08:26
  Hero business? What kind of business totally
• 1:08:28
  bodies with that question? Yeah.
• 1:08:30
  In and out, in and out. Yeah.
• 1:08:33
  He's amazing in this, though. What?
• 1:08:35
  Do you think of a Westie? What do I think of Buscemi?
• 1:08:38
  Name a bad Steve Buscemi performance.
• 1:08:41
  I'll wait. It can't impossible.
• 1:08:43
  He's been in some terrible films, but he's never been
• 1:08:46
  terrible. I've never, ever seen him bad.
• 1:08:49
  It's just the perfect rule for him, and he knows exactly what
• 1:08:52
  he's doing. He nails the comedy, he nails
• 1:08:54
  the velocity of the character. He nails the there's a real
• 1:08:57
  tension there. He nails that.
• 1:08:59
  You want to be involved in what he's doing and you shouldn't
• 1:09:02
  want to. He's a very likeable character,
• 1:09:04
  even though he's quite despicable, and I think that's
• 1:09:07
  his kind of genius in in the way that he brings that to every
• 1:09:11
  single role. He's a very natural actor for me
• 1:09:14
  and I think he really adds so much more than he should.
• 1:09:18
  And even when he's shot, he should be.
• 1:09:20
  When you see people shot, they're out the film.
• 1:09:23
  Normally that's it, they're done, they're out the film, he's
• 1:09:25
  in the film. When he's been shot, he's even
• 1:09:27
  better. When he's wounded and he pulls
• 1:09:29
  that thing off and he puts another bit on, it's like paper
• 1:09:32
  and like goes on there and he's like just open the fucking bar.
• 1:09:35
  It's just OK. Buscemi is up there with
• 1:09:39
  Mcdormand of let's just like brilliant.
• 1:09:42
  Absolute brilliance and absolute watchability.
• 1:09:45
  Fantastic performance. Yeah, incredible stuff.
• 1:09:49
  His character has got more than 150 lines of dialogue, in
• 1:09:53
  contrast to his near silent partner.
• 1:09:55
  Yeah, do you know how many lines he has?
• 1:09:58
  17. Oh Matthew 1 off 16 I think 10
• 1:10:02
  times more lines than she just still there Fury.
• 1:10:07
  Is 15. I said you said, you said 17.
• 1:10:09
  All right. Yeah.
• 1:10:10
  Oh, Matt, you're one off. Oh, Wesley, you can fuck off.
• 1:10:12
  All right. Cheers.
• 1:10:14
  Wesley Yoga was shit. I didn't hear you were seen.
• 1:10:17
  To bounce yourself there, didn't you?
• 1:10:18
  You were both one off. OK, thanks very much.
• 1:10:23
  Another reference to other corn films.
• 1:10:26
  You mentioned Donnie been told to shut the fuck up in Big
• 1:10:28
  Lebowski. Brilliant.
• 1:10:30
  And we mentioned I have a No Country episode but the hard
• 1:10:32
  shell suitcase that he buries the money in.
• 1:10:35
  It's the same bag used for the ill gotten gains in No Country
• 1:10:38
  for All Men. Yeah.
• 1:10:39
  Yeah, all right. Lovely.
• 1:10:41
  Very nice. And on Peter Snowmare, he later
• 1:10:44
  formed a band called Blonde from Fargo.
• 1:10:47
  Nice, great, great. Name.
• 1:10:53
  So as usual for a corn film, the actors were perfectly cast, with
• 1:10:57
  the majority of performances career highs for all involved.
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• 1:13:36
  The middle. Up to this point in the film,
• 1:13:40
  Jerry comes home to find Gene kidnapped and he makes a fake
• 1:13:44
  emotional phone called weird. The first thing that we're
• 1:13:47
  looking at here is a big one, an execution type deal involving a
• 1:13:50
  state trooper and some unfortunate passers by.
• 1:13:53
  And I want to start by talking about the opening of the scene
• 1:13:57
  with a cop car appearing in the rear view right at the start of
• 1:14:00
  the scene. It's absolutely hilarious when
• 1:14:02
  Gene's whimpering in the back and Gears had enough.
• 1:14:07
  It just shouts shut the fuck up, I'll throw him back in the
• 1:14:10
  trunk. You know he's absolutely fucking
• 1:14:13
  Fury. Shut the fuck up.
• 1:14:15
  He is the only person who'll be shoot should be saying those
• 1:14:18
  words that that actor. It's amazing.
• 1:14:21
  So much menace behind it. And Carl Carl's just having a
• 1:14:25
  will of a time since more than he's said all week and he's a
• 1:14:30
  nihilist. He's.
• 1:14:30
  A nihilist he loves. It when Carl tries to play it
• 1:14:37
  all cool, the tags, he's got to put the tags on the car and
• 1:14:40
  there's that line which is it's all in semis delivery where he
• 1:14:43
  says to Jean in the back, just keep it still back there, lady,
• 1:14:48
  or else we're going to have to, you know, shoot.
• 1:14:50
  You shoot. Yeah.
• 1:15:01
  His expression here is a joy, really good physical act on the
• 1:15:04
  way that he moves his face around, like I was saying in the
• 1:15:07
  last segment. And he says to Gear that he'll
• 1:15:10
  take care of it, and he does. And Gear doesn't believe one
• 1:15:13
  word of what he's saying, but he doesn't utter a word himself
• 1:15:17
  about that. It's all in the physical act in
• 1:15:19
  between the two. I think it's fantastic.
• 1:15:21
  Stuff, Yeah. I love it when they're finally
• 1:15:25
  pulled over and Basham, he's like, leave it to me, I'll sort
• 1:15:27
  this out. And the cop comes up.
• 1:15:30
  He does that really like license registration, just new cars,
• 1:15:33
  like, yeah, it's still got that smell and he just the whole
• 1:15:35
  sniff up. Brilliant.
• 1:15:42
  And it's just that brilliant the way you don't see the identity
• 1:15:45
  of the cop as well. I think it's fantastic.
• 1:15:47
  And that flashlight going on gear and it's just that he's
• 1:15:49
  just looking straight ahead, but you got that light on the side
• 1:15:53
  of his face where you should be turned into it.
• 1:15:54
  But he doesn't. He's just completely fixed in
• 1:15:57
  what he wants to do. And he knows you know exactly
• 1:15:59
  where this is going. You kind of as an audience go
• 1:16:02
  shit from that point. And then when he gives him the
• 1:16:05
  wallet license of registrations there and he's got like that
• 1:16:07
  fifty poke and I open it and said, what's this, Sir?
• 1:16:09
  It's my license registration. We've got that note popping out
• 1:16:12
  and he's just take that, forget about it.
• 1:16:15
  And you just think that's a brilliant piece of rice and put
• 1:16:17
  that back in your pocket. And it's just, it just ramps up
• 1:16:22
  this tension between them. And it's just so well played and
• 1:16:25
  so well shot because it's all kind of like single shots, but
• 1:16:28
  it builds and builds and builds and builds.
• 1:16:31
  And then when he actually gets shot, when gear gets that gun
• 1:16:34
  out of the glove box and he's like, bang and the blood spurts,
• 1:16:38
  you just go, what, what, what, what film is this?
• 1:16:42
  This is brutal. I didn't see this coming.
• 1:16:45
  And it's just, it's so unrelenting and it's so in your
• 1:16:48
  face. You kind of like stop a second,
• 1:16:50
  you kind of go, this could go anywhere, this phone could go
• 1:16:53
  anywhere and you're like, what? You're about what, 40 minutes
• 1:16:56
  in? The corns know exactly what
• 1:16:59
  they're doing and how impactful that is and how stupid that is
• 1:17:03
  from gear to have the blood all over the car.
• 1:17:07
  It's just it's stupidity. It's all stupidity, but he sits
• 1:17:10
  back in the seat as if he's just like solved the problem and then
• 1:17:14
  he tends to bruschem. He's like, you'll deal with
• 1:17:16
  this, but he's dealt with it worse than Bruschem.
• 1:17:19
  He did. This is brilliant.
• 1:17:21
  This is brilliantly played between the two actors.
• 1:17:23
  I think it's really brilliantly done.
• 1:17:25
  Buscemi is great, full compliance.
• 1:17:28
  Maybe we can take care of it here and bring it.
• 1:17:37
  Whoa, whoa, daddy. Daddy.
• 1:17:43
  Life imitating Artie. Yeah, well, to a certain degree
• 1:17:46
  anyway. After shooting this scene, the
• 1:17:48
  cast and crew decided to get some early morning pancakes.
• 1:17:50
  Whereas pancakes house, obviously.
• 1:17:52
  Obviously. And Busemi drove to the Pancakes
• 1:17:54
  House with Storm Airs as a passenger.
• 1:17:56
  He missed the turn for the restaurant, performed an illegal
• 1:17:58
  U-turn and wound up going the wrong way down a one way St. and
• 1:18:01
  was pulled over by the coppers. Like the film, Buscemi couldn't
• 1:18:05
  provide the car's registration because it was a rental, but
• 1:18:09
  that's where the similarities end.
• 1:18:10
  He managed to sweet talk his way out of getting a ticket, which
• 1:18:13
  just almost surprised he didn't know how we got out of it.
• 1:18:17
  DLR Players. I think the Cubs were just
• 1:18:21
  baffled by the whole story that Buscemi laid down for them, but
• 1:18:23
  both still Mayor and Buscemi were certain that it was a prank
• 1:18:27
  set up by the Corns. But it wasn't right.
• 1:18:29
  Imagine. Yeah, I think the change in torn
• 1:18:33
  he had so nimbly done because everything up to now was being
• 1:18:36
  just quite funny. It still got a little bit of
• 1:18:38
  seriousness underneath all, but it's been funny.
• 1:18:41
  But now once he kills that cop, it's very, very serious, and
• 1:18:45
  even more so when he goes after that unlucky couple who just
• 1:18:48
  happened to drive by in the expression.
• 1:18:50
  On that, he's driving. Yeah, but you're just look at
• 1:18:57
  Guerre and so far he's being this weird guy, barely says
• 1:19:00
  anything. So you don't know what he's
• 1:19:02
  about. You don't know why he's even
• 1:19:03
  involved in this because he's he's not bringing anything to
• 1:19:05
  it, really. But you see, actually he's so
• 1:19:08
  quick just being an action now, killing the cop, turning that
• 1:19:11
  car around and hunting them down.
• 1:19:13
  I think the camera works fantastic.
• 1:19:14
  All those slow down shots to show the car speeding along.
• 1:19:18
  Fantastic. It's in the dead of night, so
• 1:19:20
  there's no St. lights which are lit by the headlights in the
• 1:19:22
  car. And I love that shot where yeah,
• 1:19:26
  just pulls past the car. So it's all for turned and he
• 1:19:28
  because he he doesn't quite work out what's happened because the
• 1:19:31
  lights just go off. But then he pulls past and he
• 1:19:33
  sees us upturned, and it's in that.
• 1:19:35
  Field the red light. The red, well, the red light, I
• 1:19:38
  mean, this is where he realized that this guy is really bad news
• 1:19:41
  and he isn't the Comic Relief that you maybe thought he was
• 1:19:43
  because the red light. And it just gives him this real
• 1:19:47
  demonic look and he takes that guy running a way out just for
• 1:19:50
  one shot. But the bit that always gets me
• 1:19:52
  that I think is the most horrible bit in the film.
• 1:19:55
  So when he just looks in the Uptown car and you see the
• 1:19:57
  female passenger stuck in her seat and she can't get out and
• 1:20:00
  just. Calm as Anthony just kind of
• 1:20:02
  steps back and just takes one shot, takes her out and then.
• 1:20:06
  Cuts to black. Cut to black and that gunshot
• 1:20:10
  echoes for ages. That gunshot echoes because the
• 1:20:13
  whole film changes from here on in and all that read from the
• 1:20:18
  headlights, the fact that the male victim, he's ran a red
• 1:20:20
  cord, all contrasting to the snow round.
• 1:20:22
  Really. Chill and stuff, but do you know
• 1:20:24
  who plays the male victim or the guy who tries to run away?
• 1:20:28
  No. It's a guy called Jay Todd
• 1:20:29
  Anderson, who he was. He's a storyboard artist for the
• 1:20:32
  Corns and just got him in to do this role.
• 1:20:35
  But if you watch the credits, it's really strange because he's
• 1:20:37
  credited not as his name. He's credited, as you know, when
• 1:20:40
  Prince turned his name into a symbol.
• 1:20:42
  He's credited as that in the credits.
• 1:20:45
  It's really bizarre. Yeah.
• 1:20:47
  Well, he's a storyboard artist to just draw your name, yeah.
• 1:20:50
  The only link is is perhaps the fact that Prince was born in
• 1:20:54
  Minnesota like the corns were. Yeah, that Prince thing, it had
• 1:20:58
  certain pockets of people wondering if this actually was
• 1:21:01
  Prince who played the game. Which is.
• 1:21:05
  Pockets of people. Morons.
• 1:21:08
  People who don't like. Prince looks like yeah.
• 1:21:11
  But it is rumoured that Prince did want to play a small part in
• 1:21:14
  the film because he's from Minneapolis, but it didn't work
• 1:21:17
  out for whatever. Reason.
• 1:21:18
  Fucking great if he got shot in the back running in a bit of
• 1:21:22
  purple pocket. Would have to be purple, not red
• 1:21:25
  eye. Pardon my hand.
• 1:21:33
  You'd be wearing a Raspberry RIN or Doubt.
• 1:21:36
  Yeah, yeah, crushed in a little red Corvette.
• 1:21:41
  Got them in there. So José Feliciano.
• 1:21:43
  That would have been brilliant. That would have been perfect
• 1:21:45
  that. Would have been great, yeah.
• 1:21:47
  When Guerre speeds off to catch the onlookers, he says something
• 1:21:52
  in Swedish. The character is Swedish, he
• 1:21:54
  says. Yavlafita.
• 1:21:57
  Any idea what that translates to?
• 1:21:59
  Nope. Don't have a clue?
• 1:22:00
  It translates to and I can't really see it.
• 1:22:04
  FNC. All right.
• 1:22:06
  OK, yes, that one. Wow, yes, we'll beat that out.
• 1:22:14
  The word that you've never let me see yet on any episode.
• 1:22:17
  Keep putting it out. That's that's because you can't
• 1:22:20
  drop C bombs. It's not accepted.
• 1:22:26
  Halo, do you hear the one about the guy couldn't afford
• 1:22:29
  personalized plate, so he went and changed his name to J3L24-O
• 1:22:33
  Four. Yeah, that's a good one.
• 1:22:36
  For the next scene, we'll focus on our attention on the
• 1:22:38
  introduction of a heavily pregnant small town cop, Marge,
• 1:22:42
  son of a Gunderson. It was called the crime scene of
• 1:22:45
  the roadside shooting. Matt, do you want to start us
• 1:22:47
  off? Yeah, I'd love to, because what
• 1:22:49
  an amazing introduction March gets here.
• 1:22:51
  This heavily pregnant police officer really thick accent but
• 1:22:55
  not perturbed for second by watch his face with her and I
• 1:22:58
  think it's really interesting she gets to the crime scene Lou
• 1:23:00
  is already there he's gone nowhere near the corpses he
• 1:23:04
  doesn't want anything to do the by March straight in there
• 1:23:06
  here's. The second one.
• 1:23:08
  Yeah, she's thrilled to see that he's got a cup of coffee for her
• 1:23:11
  as well. Yeah, she's.
• 1:23:14
  Yeah, straight in there. And it's so it's this instant
• 1:23:17
  look at a character and you realize underneath this kind of
• 1:23:20
  vaguely comical exterior, smart as a whip, because as soon as
• 1:23:23
  she's there, she works out what's happened instantly.
• 1:23:25
  You know, the two corpses they related to the killing of the
• 1:23:27
  state trooper identifies the fact that there's two different
• 1:23:30
  killers because of the shoe sizes.
• 1:23:32
  So one of them stayed behind, the other one took off in the
• 1:23:34
  car, then came back to the other guy.
• 1:23:36
  Just fantastic. And the job just gets it like
• 1:23:38
  that straight away. Incredible.
• 1:23:39
  But in amongst that, you've got that really funny, very folksy
• 1:23:43
  dialogue, you know, calling it an execution type deal.
• 1:23:47
  Execution type deal and a sip of coffee.
• 1:23:50
  Brilliant. Looking at the shoe size and say
• 1:23:52
  and he looks like a big fella. He's a really, really like on
• 1:23:58
  cynical take and all the bloodshed and and not and even
• 1:24:01
  nature that just got never stop shining through.
• 1:24:03
  I love when she checks out the state troopers body and she's
• 1:24:06
  like, oh, he looks a nice enough guy to real shame.
• 1:24:10
  Just you know, that's his Marge all over.
• 1:24:12
  Just generally sorry for the guy.
• 1:24:14
  Yeah, so I've never seen a cop like March before in the film
• 1:24:17
  having morning sickness while looking at the bloody cops.
• 1:24:20
  You see something down there, Budgie Barf.
• 1:24:29
  Just a great introduction to the character.
• 1:24:31
  And the other thing I like about the scene is one of the very few
• 1:24:34
  times the corn slit and odd Lipstein, because when she
• 1:24:37
  supports the car, she kind of takes a stumble and a foot goes
• 1:24:40
  down in a hall Snow's covered. I love that she looks back in
• 1:24:42
  surprise. That was a genuine stumble by
• 1:24:45
  Mcdormand one which is why she looks back and the guy playing
• 1:24:48
  new goes. Watch your step, Margie.
• 1:24:50
  Yeah, I was improvised and the course left to dance I thought
• 1:24:52
  was really funny. Great.
• 1:24:54
  Yeah, that's a great piece of. Well, maybe not acting, but she
• 1:24:57
  looks around to see if Lou has actually seen a trip over.
• 1:25:00
  Yeah. Brilliant.
• 1:25:01
  Yeah, watch your step, Audrey. I love that Marge knows what
• 1:25:06
  happened by the the side of the road as soon as she gets there.
• 1:25:10
  This happened, this happened, then this happened shows just
• 1:25:12
  how smart she is and she obviously very good at her job.
• 1:25:15
  Like Jerry, she's not really what she seems, but on a
• 1:25:18
  different level. She appears a little simple and
• 1:25:21
  a little homely, which you know, she is.
• 1:25:24
  But she's got a smart brain and she's nobody's fool.
• 1:25:26
  Yeah, love that. Yeah.
• 1:25:27
  And that ties in with the moment in the car with Lou, who gets it
• 1:25:31
  all wrong with the dealer plates.
• 1:25:33
  DLR I'm not sure I agree 100% with your police work there Lou.
• 1:25:39
  Fantastic. Fucking brilliant.
• 1:25:41
  Yeah, 100% with your police work there, Lou.
• 1:25:43
  Oh, Lou. Oh yeah.
• 1:25:46
  Oh yeah, Lou's fucking crap, isn't he?
• 1:25:48
  He's terrible. Say, Lou, did you hear about the
• 1:25:51
  one about the guy who couldn't avoid personalized plates, so he
• 1:25:54
  went and changed his name to J3L24-O?
• 1:25:56
  Four. Yeah, that's a good one.
• 1:26:00
  That's a good one. Still doesn't get it.
• 1:26:06
  So not only is she the smartest out of her and norm, she's
• 1:26:09
  probably the best cop that they have on the force if lose
• 1:26:11
  anything to go by. Obviously.
• 1:26:13
  And it's just a nice little character moment, which gives us
• 1:26:16
  further insight into her as a person because she's she's
• 1:26:20
  saying Lou hasn't done the right thing.
• 1:26:21
  He isn't. He's not doing his job well, but
• 1:26:23
  she's kind of cushioned the blow with the job.
• 1:26:24
  Doesn't want him to feel bad about it.
• 1:26:26
  Exactly. Yeah.
• 1:26:28
  And also gives further insight into her as a copper of how
• 1:26:31
  smart that she really is. And she's on the ball.
• 1:26:33
  Love it. Yeah, brilliant.
• 1:26:35
  Fantastic. It goes from this incredible
• 1:26:37
  scene to another incredible scene where they're in the diner
• 1:26:40
  and you've got Macy sitting there with Weird and the lawyer,
• 1:26:43
  and they're all trying to, like, figure out what's going on,
• 1:26:46
  what's going to happen, what's going with the drop?
• 1:26:48
  Can this guy be trusted? And for me, this is Macy's best
• 1:26:53
  performance in the whole film. Just this sequence.
• 1:26:56
  It's very, very short, but it's very, very good.
• 1:27:00
  The way he's just, you know exactly what he's doing as an
• 1:27:03
  audience and you're watching it and you're just kind of like
• 1:27:06
  rubbing your temples, just being like, oh Jesus Christ, stop
• 1:27:09
  saying stuff. And then the the lawyers on his
• 1:27:12
  side. So he's kind of got this fire in
• 1:27:15
  his personality, but he's like, as long as this guy knows what
• 1:27:18
  I'm on about, then that's fine. But yeah, and he's like, oh, no
• 1:27:21
  way, Wade. Oh no way.
• 1:27:22
  He's like, we're going to bubble off of them.
• 1:27:24
  Like we'll give them like half a million.
• 1:27:26
  Oh, no way. Oh, oh, Oh no.
• 1:27:27
  But there we go. We've got to do this.
• 1:27:29
  We're playing the ball and we've got to do that and just step
• 1:27:32
  back and forth between them and he's right in the middle of the
• 1:27:34
  frame kind of cutting them all in is that way.
• 1:27:36
  You know, these guys, you know, like you said, they they're
• 1:27:39
  calling the shots. Yeah, I love.
• 1:27:41
  This horrible, like going on with it.
• 1:27:45
  He's got nothing to say for himself.
• 1:27:46
  He's just playing the role and you see him playing the role and
• 1:27:50
  you know exactly what's going on and Macy still sells it.
• 1:27:52
  It's so well performed where he's right in the middle of
• 1:27:55
  these two guys, but he's kind of like, no, no, no, you think he
• 1:27:59
  might get away with it. It's just.
• 1:28:01
  Wonderful. Definitely.
• 1:28:02
  At this point you just think, right, OK, he might have got the
• 1:28:04
  higher ground here. This might be working.
• 1:28:07
  Messy is just so intoxicatingly good, it being really cringe
• 1:28:12
  worthy, but like you kind of buy it, but you don't.
• 1:28:15
  You're on his side. That's what you would do if you
• 1:28:17
  were in that situation. Whether you like it or not,
• 1:28:19
  whether you admit it or not, if you were in that situation,
• 1:28:22
  that's how you would act. It's it's just a brilliant
• 1:28:25
  sequence. I love it.
• 1:28:26
  He kind of gets his first break, like you were saying, Wester.
• 1:28:29
  You think he might get away with it with Dan?
• 1:28:31
  Wade's lawyer says they're holding all the cards here, and
• 1:28:34
  then Jerry's all over that. And then he uses his words right
• 1:28:38
  back at him to strengthen his argument.
• 1:28:40
  Like you said, Jerry, they're calling the shots.
• 1:28:42
  Even says the Scotty later on, like a Stan he knows.
• 1:28:45
  Yeah, yeah, yeah. That's great.
• 1:28:48
  The point? It's not.
• 1:28:51
  It's hilarious when Wade's just grumbling and grunting at all
• 1:28:53
  the things that Jerry's saying. So with the kidnappers holding
• 1:29:00
  all the cards, Jerry's plan seems to be going smoothly, but
• 1:29:04
  the circumstances have changed. You Don to the crew.
• 1:29:13
  We're talking about the usual suspects in the crew when it
• 1:29:15
  comes to a corn film. Firstly, the brothers themselves
• 1:29:18
  and the writers of the film. Matt, the Corns screenplay for
• 1:29:22
  five or what do you think? I mean, just put this in every
• 1:29:26
  film skill ever. Just read it and that's all you
• 1:29:29
  need. Just.
• 1:29:31
  Learn from the control. There like Screenplay, Cohens,
• 1:29:36
  Fargo. No, I think for me it really
• 1:29:44
  sings in two ways. First of all, it's the setting
• 1:29:46
  and the characters. And I'm actually going to be
• 1:29:48
  really interested to see what our American listeners have to
• 1:29:51
  say about it because apparently there is this thing called
• 1:29:54
  Minnesota and ICE, which is where people from that state are
• 1:29:57
  super polite and famously helpful and easy gone and always
• 1:30:02
  try and look at the bright side of everything.
• 1:30:03
  And I think it just really tickled the corns to set this
• 1:30:06
  murderous plot against that setting.
• 1:30:08
  And it's fundamentally funny and it makes it fundamentally
• 1:30:11
  interesting. And also, we're kind of
• 1:30:13
  mentioned it already, but just great character writing.
• 1:30:17
  March is fantastic. Jerry is so memorable.
• 1:30:20
  Karl and Gere, this odd couple weird, the all standouts.
• 1:30:24
  And they give the film this real sense of character because the
• 1:30:27
  plot itself, yeah, you could argue we've seen it before and,
• 1:30:31
  you know, in a fair few different films.
• 1:30:32
  But just never like this. Never with this twist, never in
• 1:30:35
  this second release. Characters that the corns give
• 1:30:37
  us. And the second rate is the
• 1:30:39
  language. You can just tell that the corns
• 1:30:42
  love language so much, and they've got such a good ear for
• 1:30:45
  an accent, and they've got such a good ear for the way that
• 1:30:48
  people talk. That really makes you laugh,
• 1:30:51
  even though on the page it's not the joke written down, it's just
• 1:30:55
  how it comes across in the language.
• 1:30:57
  And they do this all the time. You see it with George Clooney
• 1:30:59
  and or brother with them just gone.
• 1:31:01
  George Clooney with that accent, right.
• 1:31:03
  OK, yeah, let's do it. Let's do it.
• 1:31:05
  It's going to be a mask for pomade all the time, and that's
• 1:31:08
  going to be really funny. And it is.
• 1:31:09
  Goddamn paedophilia. Exactly.
• 1:31:12
  Yeah, on the pace, that's not funny.
• 1:31:14
  But Clooney, that accent, it's hilarious.
• 1:31:16
  Yeah. And the reliance in this script
• 1:31:19
  that hilarious like that. You know the the quote that I
• 1:31:22
  opened with, I love that whole scene where that guy goes on
• 1:31:25
  about how he's seen Carl and he goes and then he calls me a jerk
• 1:31:28
  and says up the last guy who thought he was a jerk is dead
• 1:31:31
  now, so don't say nothing. And he says, what do you think
• 1:31:33
  about that? So I says, well, that don't
• 1:31:36
  sound like too good a deal for him then.
• 1:31:38
  And it's all in that accent. It's all in the rhythm.
• 1:31:42
  It's. All in the down of the lake.
• 1:31:46
  It's just such an understanding of how language sounds and how
• 1:31:50
  they can use that. And then like see the plot
• 1:31:53
  itself quite standard in a lot of ways, but the twist to give
• 1:31:56
  it the characters to setting everything else, you know, you,
• 1:31:59
  you just look at the script and you just learn from it.
• 1:32:01
  It's that good at. The heart of this film is
• 1:32:04
  there's something that's the heart of a lot of Cohen's work
• 1:32:06
  is that kind of idea of crime doesn't pay or money is the root
• 1:32:10
  of all evil kind of thing. March layers that out in a
• 1:32:13
  humbling speech to gear at the end in the car, another Cohen
• 1:32:18
  stable kidnapping. It's a plot point that crops
• 1:32:20
  have been a lot of their films, usually an unusual high amount,
• 1:32:24
  something that Joel said fascinates them.
• 1:32:27
  And I think there are a lot of elements that we are kept in the
• 1:32:29
  dark with in the writing. We never know what kind of
• 1:32:32
  trouble Jerry is in really. And we don't know how Guerre and
• 1:32:35
  Carl are associated. Ship vouchers for Guerre but not
• 1:32:38
  Carl. But this doesn't really matter
• 1:32:40
  because it's written so strongly that me personally, I have fill
• 1:32:44
  in the blanks. I assume that Carl and him don't
• 1:32:47
  know each other too well, and I assume that jury because he's
• 1:32:50
  such a close that he's made a number of bad business deals
• 1:32:53
  presumably to show weird that he's as smart as him.
• 1:32:56
  And it's all just gone badly wrong and it's all accumulated
• 1:32:59
  to this point. And the deal that we're watching
• 1:33:02
  in this film is just the most recent in a long line of fuck
• 1:33:05
  ups by Jerry. But the main thing in the
• 1:33:07
  screenplay that I want to talk about it is, is regarding the
• 1:33:10
  scene with Mike Yanagita, Marge's old school friend she
• 1:33:14
  meets for a drink in Twin Cities.
• 1:33:16
  I just love it. Just I mean, it was captive
• 1:33:19
  Vern. I rewatched this for the first
• 1:33:20
  time in a fair few years. This scene really stood out for
• 1:33:23
  me. And it's odd because it
• 1:33:25
  shouldn't, it shouldn't work and it shouldn't fit Steve Park.
• 1:33:29
  He's amazed in his mic. He's absolutely incredible,
• 1:33:33
  totally bought into his sadness and pain and feel sorry for him
• 1:33:37
  all the way through. And that is until the phone call
• 1:33:40
  that Marge gets where a friend confirms this kind of sinister
• 1:33:43
  little underbelly to Mike's cuddly exterior.
• 1:33:46
  And on 1st watch, it appears that the scene a total
• 1:33:49
  departure. Completely unnecessary, but it's
• 1:33:51
  kind of the trigger for Marge to think what if Mike was lying?
• 1:33:54
  Maybe Jerry's lying, he's telling some porpy pies as well,
• 1:33:57
  because she's going back from coming back home from Twin
• 1:34:01
  Cities. She's in the car, she does that
• 1:34:02
  expression, her face changes and then it cuts and she's in
• 1:34:05
  Jerry's office. Brilliant.
• 1:34:09
  And and that's the film for me, peeled back the surface of
• 1:34:11
  middle America, or middle anywhere for that matter.
• 1:34:14
  And things aren't necessarily as they're presented.
• 1:34:17
  And I think that's important. Presented not not as they seem,
• 1:34:21
  but as they're presented. People will only let you know
• 1:34:23
  what they want you to know. The same goes for Jerry, Carl,
• 1:34:26
  Shep and March, to a certain extent, that their exterior lies
• 1:34:30
  their real self. Yeah, definitely.
• 1:34:32
  But, yeah, just just amazing writing.
• 1:34:34
  Just, I mean, I can't fault it. Westie, what about you?
• 1:34:37
  Beautifully complicated, like I said at the start, as all Cohen
• 1:34:40
  brothers films are, take you somewhere, but you never feel
• 1:34:43
  confused by the end of it. It doesn't spin you out.
• 1:34:46
  It takes you that through that place, but you feel like
• 1:34:48
  rewarded at the end of it. And there was a great quote from
• 1:34:52
  Peter Stormy and I've watched a few behind the scenes
• 1:34:55
  featurettes and the whole pancakes house sequence.
• 1:34:59
  He basically said in the first take, let's go to the pancakes
• 1:35:03
  house, let's go to the pancakes house.
• 1:35:05
  And then Ethan had the headphones on.
• 1:35:07
  He was like Peter, what are you saying?
• 1:35:09
  He's like, we're going to the pancakes house.
• 1:35:10
  He's pancakes house. It's just pancakes house.
• 1:35:15
  It's not the pancake house, it's not the pancakes house, it's
• 1:35:18
  pancakes house. And he's like, I thought that
• 1:35:21
  was a table. And then Ethan said there's no
• 1:35:23
  tables in our scripts, which is fucking brilliant.
• 1:35:30
  Which sums up the writing. That's great.
• 1:35:33
  It's fucking excellent. He's like, he was like on the
• 1:35:35
  monitor and he's like, what you're saying is like the
• 1:35:37
  pancakes house. Nah, Nah.
• 1:35:38
  There's no tables in our scripts.
• 1:35:40
  Fucking excellent. And that is the Coen brothers.
• 1:35:42
  Everything is to the letter, to the number and done and
• 1:35:45
  delivered. They don't really live by anyone
• 1:35:48
  else's precursor. They live by their own
• 1:35:51
  precursor. And that's why I love the Coen
• 1:35:53
  brothers. And that's why I love this film
• 1:35:56
  specifically because this was the first one that did without
• 1:35:59
  giving a about what anyone else thought.
• 1:36:02
  They're just like, well, what sort of proxy is fucked?
• 1:36:04
  But it doesn't matter. Let's just let's just do this.
• 1:36:06
  And it was a massive success. That's a real message to anyone
• 1:36:11
  out there who's listening to this, who is a creative and just
• 1:36:14
  get out there and make what you want to make because it will
• 1:36:18
  work. If you do it with your.
• 1:36:19
  Heart and soul in the right place.
• 1:36:22
  Don't give a fuck when anyone thinks.
• 1:36:23
  Just get it done and get it made.
• 1:36:25
  And maybe, just maybe, it'll be as good as Fargo.
• 1:36:30
  Doubtful. Well, I was trying to big people
• 1:36:34
  up there. You're like, oh, but all
• 1:36:35
  yourself, it's going to be shit. Maybe I said maybe, and then
• 1:36:38
  just maybe it'll be as good as it might be.
• 1:36:41
  You never might be. You don't know what's coming.
• 1:36:43
  Yeah, real original voices to be celebrated.
• 1:36:47
  And that's just from the right. Years.
• 1:36:49
  That's just from the right, yeah.
• 1:36:50
  Exactly. The coins have the habit of
• 1:36:52
  working on a few scripts at a time, putting one down, coming
• 1:36:54
  back to it months later, and Fargo was no different.
• 1:36:57
  They got to a point where they didn't really know where to go
• 1:36:59
  with it, and Joel said it was put in a drawer.
• 1:37:02
  It sat there for probably four or five months.
• 1:37:04
  We didn't think about it and then we came back and finished
• 1:37:06
  it just like that. No problem, yeah.
• 1:37:10
  At the time it was finished, they had also finished the Big
• 1:37:13
  Lebowski script, and they were planning to go with Lebowski
• 1:37:15
  first. They wanted Jeff Bridges for the
• 1:37:17
  Dude, but he was busy, so they went with Fargo instead.
• 1:37:20
  And I think that's a really kind of interesting sliding doors
• 1:37:24
  moments for me because if Lebowski was not a hit, I mean,
• 1:37:27
  it's it's massive now. It's a big cult classic at the
• 1:37:30
  time. It bombed at the at the box
• 1:37:32
  office. All of the stuff did.
• 1:37:34
  Yeah, well, yeah. Well, they had they had a string
• 1:37:36
  of it raising Arizona made money and then then this.
• 1:37:41
  And I just wonder how their career would have panned out if
• 1:37:43
  they'd reverse the release of those films.
• 1:37:45
  I don't would we even would they have even been able to get
• 1:37:48
  financing for Fargo? I just don't know.
• 1:37:50
  I. Don't think so.
• 1:37:51
  But I mean, this gave them license to do whatever they want
• 1:37:53
  for the rest of their careers. Exactly.
• 1:37:55
  You mentioned it, Matt. One of the most striking things
• 1:37:57
  about the dialogue is in the film is the accent of the locals
• 1:38:01
  of Brain IT and the surrounding areas.
• 1:38:03
  Having grown up in Minnesota, Joel and Ethan were very
• 1:38:05
  familiar with that Minnesota nice accent that you mentioned.
• 1:38:09
  They described it as seeming exotic to other Americans, and
• 1:38:12
  other people around the world for that matter.
• 1:38:15
  And Joel said the story could have just as well taken place on
• 1:38:17
  the moon. New Yorkers have the general
• 1:38:20
  conception of Midwesterners, but they know nothing about the
• 1:38:23
  cultural pockets and these micro societies with their
• 1:38:25
  idiosyncrasies and peculiarities.
• 1:38:28
  It did seem completely fresh and it seemed as though it's it's
• 1:38:31
  made-up. When I first watched it, I
• 1:38:33
  thought you can't be this exaggerated, but it is.
• 1:38:37
  Some of the cast members were not aware of the idiosyncrasies
• 1:38:40
  of the accent and worked with the dialect coach Larissa.
• 1:38:43
  Now pronunciation. I don't know if I've got this
• 1:38:46
  right, but it's spelled K OK ERNOT Coconut.
• 1:38:54
  Is it coconut? Can you do it in a North Dakota
• 1:38:57
  accent? Coconut.
• 1:39:00
  Hey, this Miss Coconut, you doing OK?
• 1:39:03
  OK, great coconut. Coconut.
• 1:39:05
  I mean, that's unfortunate. She.
• 1:39:07
  For you. She stars as one of the
• 1:39:11
  prostitutes that Marge interviews in the bar as well.
• 1:39:14
  And she said this accent comes from a place of wanting people
• 1:39:16
  to agree with each other and get along.
• 1:39:18
  And Roger Deakins thought that the two girls in that scene were
• 1:39:21
  putting the accent on, but they obviously actually spoke by
• 1:39:24
  that. And that is so over the top,
• 1:39:26
  that accent, it does failures or to put that on because of the
• 1:39:30
  accent thing. The film received a bit of a
• 1:39:31
  backlash from people in the area.
• 1:39:33
  Jewel compounded this by saying Minnesota is like Siberia, but
• 1:39:37
  with family restaurants just like that.
• 1:39:43
  It's like the northeast of England, isn't it?
• 1:39:44
  It's exactly the same up here. If anyone's trying to do that,
• 1:39:47
  our accents, it's just like, oh, they're taking the piss.
• 1:39:50
  We're not. We're not.
• 1:39:52
  We really are that nice. We dumb it down for this as
• 1:39:54
  well. Yeah, we do.
• 1:39:55
  I you have no call to get snippy with me.
• 1:39:58
  I'm just doing my job here. I'm.
• 1:40:02
  I'm not, I'm not arguing here. I'm cooperating and there's no
• 1:40:08
  we're doing all we can. Next on our crew list is one of
• 1:40:11
  the best DPS still working today, The Master, Roger
• 1:40:15
  Deakins, Westie. Yes, over to you.
• 1:40:18
  The man isn't he? He's just.
• 1:40:20
  The great man. The great man.
• 1:40:22
  I mean, I've watched so many documentaries on this, well, so
• 1:40:26
  many as but a handful on YouTube, which are really great.
• 1:40:29
  And he did the podcast on the the Deacons podcast, if you want
• 1:40:34
  to check that out. You did a whole episode on this,
• 1:40:37
  on this film, which is fantastic.
• 1:40:38
  But again, I just think that this is one of them things where
• 1:40:42
  you have to portray a place where you're not from.
• 1:40:46
  And I think that's the best way to do it is have somebody from
• 1:40:49
  the outside come in and look at it and you get a completely
• 1:40:52
  fresh and completely new look. And I think the only thing you
• 1:40:56
  can compare that there was like Wim Wenders and Robbie Mueller
• 1:40:58
  when they made Paris, TX. And you get that view of America
• 1:41:02
  from people who aren't from America.
• 1:41:04
  But it's very it's very familiar and it works.
• 1:41:07
  And I think Deakins did exactly the same and wanted to make it
• 1:41:11
  very observational, which he does.
• 1:41:12
  And I think the cinematography in this film is a supporting
• 1:41:15
  actor. It is part of the plot and it
• 1:41:19
  works. And the stuff that's lit so
• 1:41:21
  beautifully that shouldn't really, it shouldn't weren't
• 1:41:24
  looking that good. Like when the they get pulled
• 1:41:26
  over and the the policeman's walking towards the common
• 1:41:29
  buscemi is just lit with that strip of light across.
• 1:41:32
  Oh yes, incredible. That's just.
• 1:41:33
  Why? But why not?
• 1:41:37
  It's just fantastic because you're getting that reflection
• 1:41:38
  from the mirror and he's always in the mirror and it works.
• 1:41:41
  And it's just the staging of this.
• 1:41:43
  It's the framing of this. The camera doesn't move.
• 1:41:46
  It's nothing. You can't really say that this
• 1:41:48
  is one of those really exuberant films cinematography wise.
• 1:41:53
  You kind of just go over this is just classic Deacons.
• 1:41:55
  Everything is just almost like a still photograph and everything
• 1:41:58
  happens within the frame and the stage.
• 1:42:01
  And it's really, really important if you look at how it
• 1:42:03
  builds the characters. I mean, like I said earlier,
• 1:42:05
  Jerry is always ignored and he's always in a single shot.
• 1:42:09
  There's he's always behind people or even when he's talking
• 1:42:12
  to Scott, he's got he's out of shot and he's by himself.
• 1:42:15
  He's always isolated, he's always lonely, doesn't know
• 1:42:18
  where he's going. But if you look at Marge, she's
• 1:42:21
  always together, you know, with Norm, she's always got that
• 1:42:25
  relationship. She's always in A2 shot when
• 1:42:27
  she's talking to someone, she's always with them and like the
• 1:42:30
  prostitutes are framed, they're framed in A2, she's framed in
• 1:42:32
  A1. And then you've got that kind of
• 1:42:34
  back and forth, even the over the shoulders of involved Marge.
• 1:42:37
  And it's just so beautifully done and so beautifully
• 1:42:40
  realised. And I think what a lot of people
• 1:42:42
  won't know about this is like Dickens had like 3 lights.
• 1:42:46
  He had three cinema or what he called cinema lights to light
• 1:42:50
  this whole film and used one of them.
• 1:42:52
  And the only scene that's lit is the break in sequence.
• 1:42:56
  And that was that was on a set. So he had to light that, but
• 1:42:59
  most of it was just practicals. But everything else is natural
• 1:43:02
  light. Watch this film again, knowing
• 1:43:04
  that it's all natural light. And then when they get the crime
• 1:43:08
  scene or when they get to the first murder scene, and you can
• 1:43:11
  see the exposure changing throughout the whole scene
• 1:43:14
  because it's just shot with what's there and the bounce from
• 1:43:17
  the snow. And it just uses it so well.
• 1:43:19
  And this was shot on film as well.
• 1:43:20
  This wasn't shot digital, so he knows what he's doing.
• 1:43:23
  He's judging the exposure through the eyepiece, and it
• 1:43:25
  really is an absolute lesson in like, just how to tell a story
• 1:43:31
  through visual narrative. There's a lot that he does here
• 1:43:34
  without any dialogue, and I think Deakins adds a lot more
• 1:43:37
  dialogue to this film than the Coens do.
• 1:43:40
  It's just beautifully done. Wow.
• 1:43:44
  Yeah, Well, well, beautiful. What?
• 1:43:46
  What Wesley said. Oh, you.
• 1:43:50
  Shit head, I knew you were going to do that.
• 1:43:52
  I knew you were going to let Wesley go 1st and then set me
• 1:43:55
  up. Oh well, what do I think about
• 1:43:56
  it? Look really good.
• 1:43:59
  You don't. Have to do that that noise.
• 1:44:04
  It's what I feel like. You're like such a fool.
• 1:44:10
  I mean, it is what was she said to me.
• 1:44:13
  I'm not supposed to add to that. I will read what I've put down
• 1:44:20
  and then it will be Audrey and Luke as to how bad it sounds in
• 1:44:24
  contrast. So what I think deacons is
• 1:44:27
  doing? Sorry mate, I'm so sorry.
• 1:44:29
  No, don't be. Luke should be sorry, no, I
• 1:44:38
  think what deacons of Sunni is very clever because this is a no
• 1:44:42
  country for man and it isn't true great where he basically
• 1:44:45
  had like free license to make those films as epic in this
• 1:44:49
  glorious in his wide screen as he can.
• 1:44:51
  The point that Fargo was that everything is happening in this
• 1:44:54
  really mundane, really humdrum, drab little town.
• 1:44:58
  And that must be a really difficult thing to say to a
• 1:45:00
  cinematographer. Don't make this look good, to be
• 1:45:03
  honest. Don't make this cinematic.
• 1:45:06
  Yeah. And yet it still works.
• 1:45:08
  Despite the fact you never lose a sense of how small and
• 1:45:11
  essentially boring this place is.
• 1:45:13
  The film itself never feels like it should just be ATV movie, you
• 1:45:17
  know, it's absolutely if only you should go and see in the big
• 1:45:19
  screen if you can. And I think Deakins deserves a
• 1:45:21
  lot of credit for that because he's taken something that is
• 1:45:24
  fundamentally quite small and somehow just really opened it
• 1:45:28
  up. Yeah, yeah.
• 1:45:30
  I mean the snore plays such a vital part in in the overall
• 1:45:33
  landscape and the feel of the film.
• 1:45:35
  And when you find out that it was largely fake, snore.
• 1:45:38
  And that makes Deakins job so much harder.
• 1:45:41
  Yeah. And there were loads of
• 1:45:43
  incredible shots in the film. We mentioned that overhead one
• 1:45:46
  in the parking lot. It's incredible.
• 1:45:48
  The shots of Carl Bury in the suitcase is another for me.
• 1:45:52
  He looks just like this little dot in his vast landscape.
• 1:45:56
  And there's a huge contrast between the whiteness of the
• 1:45:58
  snore next to his actions and his deep red bloodied face.
• 1:46:02
  Yeah, and that scene as well, He looks left and right and you see
• 1:46:04
  the fence posts of the same, just continuous, credible, like
• 1:46:10
  Vista of nothing. It's just brilliant.
• 1:46:12
  So what does he mark his territory with?
• 1:46:14
  Is it with the scraper? Yeah, yeah, that's just going to
• 1:46:20
  go. You're never going to get.
• 1:46:22
  It something around the pole in front of you.
• 1:46:24
  Like grab something and tie it on, yeah.
• 1:46:27
  It just seems to be a match made in heaven between the Corns and
• 1:46:30
  Deacon. He captures their vision like,
• 1:46:32
  obviously amazingly well. They've built up this incredible
• 1:46:35
  partnership together. The Corn said that they hardly
• 1:46:38
  ever looked through the viewfinder during film, and they
• 1:46:41
  put complete trust in Deakins's DP.
• 1:46:43
  Haven't worked with him twice before, and the film's just got
• 1:46:46
  such a unique and distinct look. It's just amazing stuff, and we
• 1:46:50
  mentioned it briefly at the start.
• 1:46:52
  The production complicated by a lack of snow.
• 1:46:54
  The expected the usual harsh winter in Minnesota, but it was
• 1:46:57
  the warmest and sunniest on record, bringing the lowest snow
• 1:47:01
  ever. What a bummer, and they kept on
• 1:47:04
  moving further north and further north to catch some snow to no
• 1:47:07
  avail. Macy said that they often had to
• 1:47:10
  drink tea before takes or his breath could be seen on camera.
• 1:47:13
  Right. And they got around this by
• 1:47:15
  trucking in snow from elsewhere or using fakes?
• 1:47:17
  No, on the corns. Deacon said that they're so In
• 1:47:19
  Sync that you could ask either one of them a question and you'd
• 1:47:22
  get the same answer from both. Amazing, I love that.
• 1:47:28
  And they're so economical, they're always bringing a film
• 1:47:31
  in on budget because the script's done beforehand.
• 1:47:33
  It's storyboard to death. And as a result, they only had
• 1:47:36
  to do 1 reshoot in the entire film, and that was the exterior
• 1:47:40
  of the bar at the start because they didn't think they'd look
• 1:47:43
  bleak enough for the first time. That's the only reason there's
• 1:47:48
  only one deleted scene from Fargo, a scene where Norm goes
• 1:47:51
  ice fishing. Everything else that they shot,
• 1:47:53
  they used in the final cut. Crazy.
• 1:47:56
  As we've come to expect from the coins, a water type script
• 1:47:59
  matched with some incredible visuals from frequent
• 1:48:01
  collaborator Roger Deakins. And not to dismiss the music
• 1:48:04
  Carter Burwell composed, the music in the film take an
• 1:48:07
  inspiration from Norwegian folk music, which thematically ties
• 1:48:11
  in perfectly with the history and the culture of the set.
• 1:48:13
  Yeah. It's a beautiful score, it's
• 1:48:15
  fantastic. Fantastic.
• 1:48:20
  The end. Before the third act, Marge gets
• 1:48:26
  information from the hookers that spend time with Carl and
• 1:48:28
  gear. Jerry gets a call from Carl
• 1:48:30
  saying that blood has been shed and the deal has changed.
• 1:48:33
  Marge travels down to Twin Cities, pays a visit to Jerry,
• 1:48:36
  and meets her old school buddy Mike.
• 1:48:38
  Shep takes out his anger on Carl and we're looking at the scene
• 1:48:42
  directly after that where weird makes the drop.
• 1:48:44
  Yeah, And I'm going to start us off here with Carl's phone
• 1:48:47
  called the jury. I mentioned earlier that Carl
• 1:48:50
  gets increasingly angry as the film goes on.
• 1:48:52
  And and that is exemplified by this phone call.
• 1:48:55
  And the reason that he gets more and more angry is that things
• 1:48:58
  just go from bad to worse from it just it just never goes
• 1:49:02
  right. He's not equipped to deal with
• 1:49:03
  contingency like Jerry. And the thing that tips him over
• 1:49:07
  the edge here is that he's been whipped about the place by Shep,
• 1:49:12
  just beaten to death and Shep, who before this seemed like a
• 1:49:17
  mild mannered man. Marge runs through his rap sheet
• 1:49:21
  earlier and it's kind of hard to believe that he could be capable
• 1:49:23
  of those things. But in this scene he shows just
• 1:49:26
  how much of A mean cat that he is, smashing everybody up, even
• 1:49:30
  kicks the hooker in the ass on our way out.
• 1:49:34
  Heavy foot. Slamming that guy back and forth
• 1:49:39
  again against the wall like one wall and the other.
• 1:49:42
  Incredible. And and you know, kind of what
• 1:49:45
  I've been saying here to be a broken record, but that's the a
• 1:49:47
  theme of the film for me crops up again appearances.
• 1:49:50
  A deceptive ship did not display this behavior in the scenes
• 1:49:53
  beforehand and didn't think he was capable of it.
• 1:49:55
  Yeah, but the phone called the Jerry.
• 1:49:57
  Carl's enraged and through fucking around, he's furious.
• 1:50:02
  Jerry tries to butt in and Carl says, don't you fucking butt me,
• 1:50:05
  Jerry. Some really nice word play going
• 1:50:07
  on in that sentence, if you maybe mix the words around a
• 1:50:10
  little bit. And the final thing that I want
• 1:50:13
  to mention here is that Carl says 30 minutes.
• 1:50:16
  We're going to wrap this thing up.
• 1:50:17
  From that point on, it's exactly 30 minutes to the end of the
• 1:50:20
  film. Brilliant.
• 1:50:21
  Amazing. Unnecessarily.
• 1:50:25
  Brilliant. Doesn't need to be in there.
• 1:50:28
  No. And you've got the running theme
• 1:50:30
  through this film as well, don't you?
• 1:50:31
  That apart from March, no one is as smart as a thing they are,
• 1:50:35
  and that includes Weird. You know, Weird is yet another
• 1:50:38
  idiot who doesn't realize that just because he's got the run of
• 1:50:41
  Brainerd, it doesn't make him equipped to deal with anything
• 1:50:44
  outside if town. Basically, he thinks he can take
• 1:50:47
  charge this whole situation because he can shout Jerry down.
• 1:50:51
  He lets his ego take over, doesn't he?
• 1:50:52
  Because he's always ruled the roost wherever he's gone, and he
• 1:50:55
  thinks he can do the same. He's going to take ridiculous
• 1:50:58
  pep talk he's given himself in the car when he says I'm going
• 1:51:01
  to make the drop. He takes the money.
• 1:51:02
  OK, Easy damn money. Where's my daddy?
• 1:51:04
  A God damn punk while he's checking the bullets in the gun.
• 1:51:08
  Absolutely ludicrous. You know, he has no idea what
• 1:51:11
  he's letting himself in for because he's this big man in a
• 1:51:14
  small town. He thinks everyone will bend do
• 1:51:17
  as well. And it's a scene.
• 1:51:18
  It's got this real like feeling of impending doom.
• 1:51:21
  You know this isn't going to work out well for Weird.
• 1:51:24
  That's heightened by the music as well, isn't it?
• 1:51:26
  Well, that's. It I was just going to say, the
• 1:51:28
  music we just mentioned, it's absolutely brilliant here in the
• 1:51:31
  sea. So it ends up being one of those
• 1:51:38
  scenes where it just treads that line between tragedy and comedy
• 1:51:41
  really well. Because I do understand where
• 1:51:44
  call is coming from to some extent.
• 1:51:46
  Because I'm so frustrated by the stupidity of these people.
• 1:51:50
  You know, I gave simple fucking instructions, what with you
• 1:51:54
  people, you're fucking imbeciles.
• 1:51:57
  And then you just had enough to shoot weird just out of pure
• 1:52:00
  frustration, which he doesn't need to do once.
• 1:52:03
  He could just wound him. Get the money.
• 1:52:05
  But not just out of frustration, just kill some.
• 1:52:07
  It's horrible, but that level of frustration does make it that
• 1:52:11
  little bit funny as well. He just can't believe his eyes
• 1:52:14
  when weird comes out of that. Yeah, who the fuck are you?
• 1:52:18
  What else can go wrong? Fantastic when he goes up to the
• 1:52:25
  the security guy and get me over the.
• 1:52:27
  Fucking girk. Amazing all the snow at the top
• 1:52:33
  of this park and that was digitally added.
• 1:52:35
  If you look close enough, you can see that there's no visible
• 1:52:37
  snow beyond the parking lot on any of the surrounding areas.
• 1:52:41
  Right. The bit in this whole sequence
• 1:52:44
  is Jerry turning up thinking he's going to save the day and
• 1:52:48
  realize he's too late and sees Weird dead on the floor.
• 1:52:53
  But again, this Hawks back the cinematography that was talking
• 1:52:55
  about this is how you do it without dialogue.
• 1:52:58
  That's how you stage a visual narrative without anyone saying
• 1:53:01
  anything. And you get that incredible shot
• 1:53:03
  of Jerry just pulling up the card, stops the sound kind of
• 1:53:08
  drains from it. And he looks, he sees the
• 1:53:10
  situation, and he just pops the boot and you say, like the trunk
• 1:53:14
  or whatever, You see the boots come up.
• 1:53:16
  And then he comes, He sees the barrier has been broken.
• 1:53:20
  Yeah. Oh, OK.
• 1:53:22
  And then as he drives past really slowly, the ticket, the
• 1:53:24
  guy gives out the tickets like he's dead.
• 1:53:26
  His foots in there. He say, oh, geez.
• 1:53:28
  And that's the only thing that's spoken is that, oh, geez.
• 1:53:31
  But you just kind of get that whole thing from that moment and
• 1:53:35
  just how well that's told visually and just how well
• 1:53:38
  that's just, it's almost like European cinema in a way.
• 1:53:41
  It's almost like it's miles away from Hollywood because it would
• 1:53:45
  normally have to say, Oh my God, wait and run over the body and
• 1:53:48
  try and get them. And then it's just this really
• 1:53:50
  slow, really subtle, really brilliantly played out sequence
• 1:53:55
  that I think is really ballsy from the corns to do.
• 1:53:57
  But at the same time, this highlights that this is the film
• 1:54:01
  that they just wanted to make for themselves and buy into it
• 1:54:04
  and you get it and it works. Oh, it works all right, you.
• 1:54:10
  Could have my truck I'm checking Sierra.
• 1:54:14
  We split that. How the fuck do you split a
• 1:54:17
  fucking car you gummy? What a fucking train floor.
• 1:54:21
  Following this scene, Carl buries the suitcase and Marge
• 1:54:24
  finds out the truth about Mike, which puts her back on the trail
• 1:54:27
  of Jerry, who gives her the slip.
• 1:54:29
  We're looking at the sequence that starts with calming and it
• 1:54:32
  back to the lake house and ends with the truth finally catching
• 1:54:35
  up with Jerry. And I'm going to set us off here
• 1:54:39
  talking about when Carl comes back to the cabin, it just
• 1:54:42
  bursts in. You should see the other guy
• 1:54:46
  talking, talking through his teeth.
• 1:54:49
  Hilarious. He sees Jean dead on the floor.
• 1:54:53
  Like what happened to her? He says.
• 1:54:54
  Gear says, ah, she started shrieking, you know.
• 1:54:57
  All right, all right, fine. No.
• 1:54:59
  As if that's a good enough answer.
• 1:55:01
  Yeah, but most children of all he's just left her there to rot
• 1:55:04
  while he watches TV and eats TV dinners.
• 1:55:07
  Doesn't even bother. Shit picture as well on the TV,
• 1:55:09
  shit picture and shit shit thing.
• 1:55:12
  He's watching. I got you.
• 1:55:14
  I'm pregnant with your baby. It's like really small.
• 1:55:17
  It's a big thing, and that's the type of person that we've been
• 1:55:23
  dealing with all along. He couldn't give a shit about
• 1:55:25
  his surroundings, human life. Which is why Carl has been
• 1:55:29
  doomed from the start. I have the sense that throughout
• 1:55:31
  all his silences, he has been thinking, I can't wait to get
• 1:55:34
  the money so I can just shut Carl up permanently.
• 1:55:37
  Yeah, but Carm, I'd have gotten a way if he wasn't determined to
• 1:55:40
  keep the Sierra. He could have bought 100 Sierras
• 1:55:43
  with the money he's got. Why didn't he just let him just
• 1:55:45
  take the truck? There are two vehicles that TV
• 1:55:48
  show that's playing on in the the TV there.
• 1:55:51
  It's a soap soap opera called Generations.
• 1:55:53
  It's an actual soap opera from the early 80s.
• 1:55:57
  Look closely. That actor in there is none
• 1:55:59
  other than Bruce Campbell of Evil Dead Frame.
• 1:56:01
  Oh. Really nice.
• 1:56:04
  He and Sam Raimi have been friends with the corn since the
• 1:56:07
  early 80s. I think they I think the corns
• 1:56:09
  helped edit the Evil Dead. Yes.
• 1:56:12
  Oh, really? He did, Yes.
• 1:56:12
  Yeah, and Sam Raimi was the reason or the inspiration for
• 1:56:16
  the investor trailer that they made for Blood Simple.
• 1:56:19
  Nice. It's it's it's shot like Evil
• 1:56:21
  Dead. Yeah, Incredible.
• 1:56:24
  If you haven't seen that, that's an amazing trailer.
• 1:56:26
  Yeah, it is. Yeah, it's really good.
• 1:56:28
  One thing I love about that bit though, Luke is when he puts the
• 1:56:31
  money down for Guerre and he just prods it with his fork, he
• 1:56:34
  just like moves it around. He said this TV dinner with,
• 1:56:37
  like, what's that? He's just cleavy.
• 1:56:40
  Just not by that point, yeah. Yeah, and he's just been sat
• 1:56:45
  there mindlessly while Carl's been out getting shot at, doing
• 1:56:49
  deals, getting busted up, going to see José Feliciano.
• 1:56:52
  He's just been stuck where? What's he been doing?
• 1:56:55
  Going crazy up at the lake, obviously.
• 1:56:58
  I remember the first time I watched the film, though, I was
• 1:57:01
  very confused by what comes after, which is when March sees
• 1:57:04
  the the ton, Sierra so approaches the cabin because as
• 1:57:08
  he's seen airport. I was trying to wake up.
• 1:57:09
  What's that sound? What am I heaving?
• 1:57:11
  What's that noise? And then you get that little
• 1:57:14
  glimpse in the cameras pushing in.
• 1:57:15
  I was like, what? What is that?
• 1:57:17
  Is that blood? Where's that blood coming from?
• 1:57:19
  That's like, all right, that right, OK.
• 1:57:22
  Carl is being fed into the wood chipper, right?
• 1:57:24
  OK. It's massed by the trees a
• 1:57:26
  little. Isn't it is massed by the trees
• 1:57:27
  and I was not expecting to see that, but okay, there we go.
• 1:57:30
  That's what's happening and. Just that foot with the sock
• 1:57:33
  off. It's ridiculous.
• 1:57:35
  I was going to say, is there a funniest side gag in a corns
• 1:57:38
  film than just the little foot bobbing away?
• 1:57:41
  Because it doesn't mean pushed down into the woodchuck yet.
• 1:57:44
  He's working on it. He's.
• 1:57:45
  Working on it. He's down there shotgun, but
• 1:57:49
  really funny. But it also gets really tense.
• 1:57:51
  And it seems I would have mentioned Chloe Stalin on
• 1:57:54
  George's question because this scene, and it's partly the
• 1:57:57
  music, it's partly the intensity that Mcdormand brings.
• 1:58:00
  So you put it does remind me if Clarice gone in a Buffalo Bill's
• 1:58:03
  basement, just that one female cop against this mad, brutal
• 1:58:07
  killer. And even though I know
• 1:58:09
  fundamentally I'm watching the film where nothing bad is going
• 1:58:12
  to happen to a pregnant woman, it's still really tense until
• 1:58:15
  she takes him down that that one shot.
• 1:58:17
  And I love how brave Marge is he.
• 1:58:19
  It doesn't wait for the backup, just sets a draw straight, takes
• 1:58:23
  him out. Fantastic.
• 1:58:25
  And the way it finishes this whole thing, that amazing speech
• 1:58:28
  gives in the car to gear, which you mentioned already, Luke, you
• 1:58:31
  know, here you are. And it's a beautiful day.
• 1:58:34
  I just don't understand it. I think that's amazing.
• 1:58:37
  Just a wonderful thing. It's like being told off by your
• 1:58:39
  mom, isn't it? I'm not angry, I'm just
• 1:58:43
  disappointed. It just sums up what I mean when
• 1:58:47
  I say this film has heart. Because despite evidence she's
• 1:58:49
  just seen, March is still this optimistic, positive person, you
• 1:58:53
  know, taken joy in the fact that it's a nice day.
• 1:58:56
  And it's such a contrast with the films you get in the genre
• 1:58:58
  where time and time again you see that the detective has to
• 1:59:02
  get underneath the skin of the killer and he has to think like
• 1:59:05
  them. And it ruins the life and it
• 1:59:06
  makes them cynical and it it destroys the home life.
• 1:59:09
  But not here, not not with March as such as disappointed, which
• 1:59:13
  is still March is still going to go home to Norm and they're
• 1:59:15
  going to have a nice evening in front of the box.
• 1:59:17
  It's really beautifully done. It is great.
• 1:59:21
  Puts me in mind kind of what you see there about Marge's words,
• 1:59:24
  like she just doesn't get it. Puts me in mind.
• 1:59:27
  I've had Tom Bell echoes of him in No Country for All Men.
• 1:59:30
  He didn't understand sugar at all.
• 1:59:32
  Yeah. Gear uses a piece of wood to jam
• 1:59:35
  Carl's leg into the wood chipper.
• 1:59:37
  It was suggested by Storm as a weapon to distract Marge when
• 1:59:41
  she pulls a gun. Quite, quite a smart move, but
• 1:59:43
  the main reason he suggested it was because he didn't want to
• 1:59:46
  lose his fingers in the blades, so he wanted some distance
• 1:59:48
  between. Makes sense?
• 1:59:52
  And for any Budden film makers out there, the ones that Westie
• 1:59:55
  talked about with the ideas, just do your own ideas.
• 1:59:58
  If you want to create your own movie.
• 2:00:00
  The corns recipe for fake blood is one large jug of antifreeze,
• 2:00:05
  2 packs of red Kool-aid, 1 box of strawberry flavored jello,
• 2:00:09
  and 1:00. Entire garbage bag of butcher
• 2:00:11
  shop leftovers. There you go.
• 2:00:14
  Actually, just have the butcher shop leftovers.
• 2:00:16
  Yeah, just blitz that up. You'd be fine.
• 2:00:22
  Despite the film dividing opinion among Fargo natives,
• 2:00:25
  many of the props from the film are held in the Fargo Morehead
• 2:00:28
  Visitor Center. One of the premium props is the
• 2:00:30
  wood chipper that's in there. If you pay a visit, they'll also
• 2:00:33
  provide you with a fake leg and a bomber hat for photo
• 2:00:36
  opportunities. Oh, beautiful.
• 2:00:37
  Very nice. Let's go, let's go.
• 2:00:40
  Yeah, I love that. The sequence where the police
• 2:00:43
  turn up at Jerry's hotel room and he's just, it's just so
• 2:00:50
  fucking painful. Like any sequence that in any
• 2:00:53
  Cohen brothers film that has a hotel room immediately engaged,
• 2:00:57
  like no, he's fantastic in the hotel room here.
• 2:01:00
  And you decide you say, Yep, Yep, OK, good, fine.
• 2:01:04
  So you are break in. OK, we're getting.
• 2:01:05
  And it's just the definition of the character, isn't it?
• 2:01:08
  It just sums them up perfectly. How else can you paint this
• 2:01:11
  character out of the film in such a way where you when you
• 2:01:14
  want to get these commitments, but you just think, well, how
• 2:01:16
  can it be done in such a way where it's really belittling for
• 2:01:18
  the character but quite rewarding for the audience where
• 2:01:21
  you don't feel sorry for him because he's.
• 2:01:23
  Underpants. He's yeah, he's stripped almost
• 2:01:26
  bare and he's trying to climb out the window, much like Jean
• 2:01:29
  was when she was going to get kidnapped.
• 2:01:31
  You know, it was like her escape that's going to be try to be
• 2:01:34
  his. He's trying to just weasel his
• 2:01:35
  way out of it. And the way that he's caught in,
• 2:01:38
  the way that he just shrieks when he's brought back in, it's
• 2:01:40
  just. Embarrassing.
• 2:01:41
  It is embarrassing, but at the same time you kind of this that
• 2:01:44
  really dark thought in your head where you go, yeah, it's exactly
• 2:01:48
  what he fucking deserves. And the corns do it really,
• 2:01:51
  really well where you don't really celebrate it, but you do
• 2:01:54
  personally like in your subconsciously, like really
• 2:01:56
  celebrate that moment. And I think that's a great
• 2:01:59
  scene, really well shot, really well executed and a perfect
• 2:02:03
  commitments for that character. Yeah, very much.
• 2:02:06
  I also like the just absolute lack of thought and ingenuity.
• 2:02:10
  He's changed his name from Gunderson to Anderson.
• 2:02:15
  You can just tell. He's like on a flight.
• 2:02:16
  You can see that moment. Can't you wait?
• 2:02:17
  He's at the reception. He's like, it's Jerry Anderson.
• 2:02:22
  It seems just like just freewheeling it.
• 2:02:25
  You can see it. Great, so the film ends with
• 2:02:29
  Marge back in the bosom of a family and in bed with Norm 2
• 2:02:33
  moments. Two moments, 2 moments.
• 2:02:38
  Reception under wards. Fargo received its first
• 2:02:43
  official screening in the 1996 Cannes Film Festival.
• 2:02:46
  It was nominated for The Palm Door but lost out to Secrets and
• 2:02:49
  Lies. Mike Lee Joel did win Best
• 2:02:53
  director, though. Good.
• 2:02:54
  Finally, audiences got on board The Corn Brothers, Wavelength,
• 2:02:58
  and Fargo was a commercial hit on a budget of $7,000,000 that
• 2:03:02
  returned 60 million worldwide. Not in the hundreds of millions
• 2:03:06
  that Independence Day, Twister and Mission Impossible earned
• 2:03:09
  that year, but still pretty bloody good for a small budget R
• 2:03:12
  rated indie flick. Yeah, yeah, absolutely.
• 2:03:14
  That no one expected to do anything.
• 2:03:16
  Exactly. Passive success for The Coins at
• 2:03:18
  Last, who had a run of three films that lost money at the box
• 2:03:21
  office. Yeah.
• 2:03:23
  Oh yeah, real good. Real good.
• 2:03:25
  Real good. Oh, yeah, real good.
• 2:03:28
  Naturally, it opened to rave reviews as well.
• 2:03:30
  Empire, 5 out of five. I mentioned it at the top.
• 2:03:33
  They said, put simply, fog with blood symbol with laughs and a
• 2:03:36
  heck of a lot of snow. It maintains the Corns Place
• 2:03:38
  among America's most important film makers.
• 2:03:41
  Excellent. Yeah.
• 2:03:43
  Nice. Entertainment Weekly said
• 2:03:46
  dizzyingly rich, witty and satisfying.
• 2:03:48
  On the negative side, Richard Callas from Time magazine said
• 2:03:52
  that after some superb Mannerist films, the Cohens are back in
• 2:03:56
  the deadpan realist territory of Blood Symbol, but without the
• 2:03:59
  cinematic a long. A long.
• 2:04:02
  A long. What's that mean?
• 2:04:04
  Like style. Just say style then.
• 2:04:07
  Well, yeah, use Ponzi words like that, you're going to get called
• 2:04:09
  out. Exactly.
• 2:04:14
  And finally, Roger Ebert. What do you think he thought
• 2:04:17
  about Fargo, fellas? 3 1/2.
• 2:04:20
  Isn't it one of his favorite films?
• 2:04:22
  I'm sure I've read that some. It's like one of his favorite
• 2:04:24
  every film, so I think you have the full 4.
• 2:04:26
  The Big Four. Matches Son of a Gunderson it
• 2:04:28
  is. It's four out of four.
• 2:04:30
  Yeah, lovely. Point .5 off for you Wester you
• 2:04:33
  that's. All right, that's all right.
• 2:04:34
  I'm not clutching for likes. He said that Fargo is one of the
• 2:04:39
  best films I've ever seen. You were right, man.
• 2:04:42
  In fact, his partner in crime, Gene Siskel, said that he But at
• 2:04:45
  the first screen in a Fargo leaned over and whispered.
• 2:04:48
  This is why we love movies. Yeah.
• 2:04:51
  Nice. Nice, Very nice.
• 2:04:53
  On the awards, get on top of the best director at the Cannes Film
• 2:04:56
  Festival, Fargo, one best director of Bafta's best actress
• 2:05:00
  and best original screen pray at the Oscars.
• 2:05:02
  It was also nominated for best editing of the Oscars.
• 2:05:04
  And we mentioned this. The editing was we mentioned
• 2:05:06
  this on previous episodes. The editing was credited to
• 2:05:09
  Roderick James, which is a pseudonym for the Brothers Corn
• 2:05:12
  themselves. Had Roderick won the film for
• 2:05:16
  editing, Albert Finney was going to pick up the award in disguise
• 2:05:19
  as quotes. A fusty old British cutter from
• 2:05:22
  Haywards Heath. Incredible.
• 2:05:26
  Unfortunately they lost out to Walt Walter Murch for the
• 2:05:29
  English Patient. Merch is a big name, but the
• 2:05:33
  English. Patient.
• 2:05:34
  It's not a big film. That's shit.
• 2:05:36
  Disappeared, hasn't it? I have to chew that one.
• 2:05:39
  Best picture it. Did.
• 2:05:41
  Since its release, there has been some negativity in 1997,
• 2:05:44
  Branded Mayer Bonnie Cumberland said about Fargo.
• 2:05:47
  It's a movie that people who don't have a seem to enjoy, but
• 2:05:50
  for us, it's a little bit of an embarrassment, really.
• 2:05:55
  And in his 2006 book Stand for Something, The Battle for
• 2:05:59
  America's Seoul, Ohio Governor John Kish spends a whole 3 pages
• 2:06:04
  seeing how much he hates the film.
• 2:06:06
  He was recommended it by an employee of Blockbuster, and he
• 2:06:10
  hated it so much that he went on a crusade to have Blockbuster
• 2:06:13
  remove it from their shelves. He failed.
• 2:06:17
  Yeah. Why he felt so passionately
• 2:06:19
  about it. I think he when he saw the wood
• 2:06:21
  chipper scene, he turned to his wife, apparently, and said, what
• 2:06:24
  the fuck are we watching here? I'm sure he just said what the
• 2:06:26
  heck are we watching here? What, He lasted that far?
• 2:06:29
  Yeah. Yeah.
• 2:06:30
  It's only them decided this wasn't for him.
• 2:06:32
  Yeah. Well, an idiot.
• 2:06:35
  Failed. Failed.
• 2:06:36
  Failing in life. That's what he's failing in
• 2:06:38
  Terrible. No wonder he was never
• 2:06:40
  president. Despite a few negatives, Fargo
• 2:06:44
  became one of only 5 films to be inducted in the National Film
• 2:06:48
  Registry's collection of films on the first year it was
• 2:06:50
  eligible. Films inducted are deemed
• 2:06:52
  culturally and historically valuable.
• 2:06:55
  The other four films are Rageable, Do the Right Thing,
• 2:06:57
  Goodfellas, and a favorite of yours, Matt, Toy Story.
• 2:07:01
  Oh lovely, what company to be in?
• 2:07:04
  Yeah, beautiful company. So aside from a few badly judged
• 2:07:09
  opinions, Fargo was a big hit with audiences, critics and on
• 2:07:12
  the award circuit, and paved the way for the coins to do whatever
• 2:07:15
  they liked in the years that followed.
• 2:07:17
  Yeah. Sequels and influence.
• 2:07:24
  No sequels for Fargo, no sequels for any COIN film, and that's
• 2:07:28
  unlikely to change. But the film's influence can be
• 2:07:30
  found across cinema in the years that followed, and in a couple
• 2:07:33
  of unusual places as well. In 2014, the documentary Kamiko
• 2:07:39
  the Treasure Hunter tells the story of Tokako Kanishi, who was
• 2:07:42
  found dead in a field in Minnesota.
• 2:07:44
  The legend went that she'd travelled from Japan to search
• 2:07:47
  for Carl's buried suitcase full of money, believing that the
• 2:07:49
  film was in fact a true story. The true story itself is more
• 2:07:53
  tragic. She travelled to Fargo to commit
• 2:07:55
  suicide in the hometown of her ex lover.
• 2:07:58
  Wow, right? Yes, tragic story.
• 2:08:00
  It's a fantastic documentary. Right, OK.
• 2:08:03
  ATV adaptation was made of Fargo in 1997, directed by Kathy Bates
• 2:08:08
  and starring a pre Sopranos fame, Edie Falco.
• 2:08:12
  A. Pilot episode was made with the
• 2:08:14
  executive back end of the corns, but it was not picked up.
• 2:08:17
  Undeterred, a second adaptation was made in 2014 and was much
• 2:08:22
  better received. It got rid of reviews, continues
• 2:08:25
  to do so with the fifth season on its way.
• 2:08:28
  Each season is self-contained, set in a different time period
• 2:08:31
  with different actors in and around the Minnesota area.
• 2:08:35
  Different actors include Billy Bob Thornton, Ewen McGregor,
• 2:08:38
  Kirsten Dunst, Chris Rock, Carrie Coon.
• 2:08:40
  A nice tie into the film sees Bruce Campbell star as Ronald
• 2:08:43
  Reagan in the second season. Yeah.
• 2:08:45
  It's a hit with audiences. Is it a hit with us?
• 2:08:48
  I've only seen half of the first season and some of the McGregor
• 2:08:52
  1 and I really enjoyed it but never went back to it.
• 2:08:54
  Not a reflection on the show itself, more maybe a comment on
• 2:08:57
  my attention span. So could you enlighten us
• 2:09:01
  fellas? Matt, have you seen the TV show?
• 2:09:03
  What do you think? Yeah, I have.
• 2:09:04
  I've seen all Four Seasons and I've enjoyed them all to to
• 2:09:08
  different degrees. It's not a consistent series.
• 2:09:11
  I would say I think the first is easily the best, but I think
• 2:09:15
  what it does, it just captures the feel of the film despite the
• 2:09:17
  fact it is like it's set in different times and set around
• 2:09:20
  different areas. It just gets the feel of what
• 2:09:24
  Foggo is, just the kind of offbeat nature of the characters
• 2:09:27
  and the bizarre nature of the crimes, which always spiral out
• 2:09:31
  of control. So yeah, if you haven't seen
• 2:09:33
  them, I'll say they're all definitely worth checking out.
• 2:09:35
  First is definitely the best. I once with Billy Bob Thornton
• 2:09:38
  and Martin, yeah. But yeah, they're all really
• 2:09:41
  good. I'm excited to see what they
• 2:09:42
  lose, the fifth one. Very nice.
• 2:09:44
  What about you, Westie? Yeah, I've only seen the first
• 2:09:46
  two seasons. I think I kind of checked out
• 2:09:48
  when McGregor turned up. I couldn't keep up with that.
• 2:09:51
  I think the Billy Bob Thornton, like you said, Matt, the Big Bob
• 2:09:54
  Thornton and the Martin Freeman ones are really, really
• 2:09:56
  excellent. Martin Freeman players that that
• 2:09:59
  rule very similar to Mercy. He's got that kind of vibe and
• 2:10:02
  he's got that family and he's got that, you know, want to do
• 2:10:05
  the right thing, but I'm a fuck up.
• 2:10:07
  Then it really, it does work. It does.
• 2:10:09
  It does capture the tone, especially that.
• 2:10:11
  I mean, I really, really enjoyed the first season, but I'm not
• 2:10:14
  one for TV shows really to kind of go through season after
• 2:10:18
  season after season and stick with it.
• 2:10:19
  I'd rather just the film on, to be honest.
• 2:10:23
  So for me, that that one was was good.
• 2:10:25
  It was the sequel that I needed to Fargo.
• 2:10:27
  It felt like. It felt like it carried on,
• 2:10:30
  especially over the first season.
• 2:10:32
  So it sounds as though worthy of the name and the reputation.
• 2:10:35
  Definitely the first season, definitely, Definitely.
• 2:10:38
  Yeah, it's fantastic. So after a false start, the TV
• 2:10:41
  adaptation proved just as popular with audiences, critics
• 2:10:44
  and the award circuit. Yeah.
• 2:10:49
  All the right movies ranking. The final act of the podcast is
• 2:10:54
  to summarise our thoughts and score it out of 10.
• 2:10:57
  I'll go first. I think the film is, I mean,
• 2:11:01
  we've talked about it, it's outstanding performances, right?
• 2:11:04
  And direction, cinematography, the whole 9 yards, it's pretty
• 2:11:07
  much flawless. So it's tricky one for me
• 2:11:10
  personally, I prefer quite a few other films from the corns than
• 2:11:13
  this one. Maybe about five others, you
• 2:11:16
  know, give or take. And what I've been trying to do
• 2:11:19
  is score the films that we cover in context of other films, say
• 2:11:21
  for example, in the genre. But because there are not many
• 2:11:25
  films like Fargo, I'm comparing it against other films from the
• 2:11:28
  coins. So in that respect, even though
• 2:11:32
  it's pretty much flawless and I've got no complaints about it
• 2:11:35
  at all, it has to be a nine out of 10 because I prefer No
• 2:11:39
  Country, I prefer Big Lebowski, I prefer or Brother even blood
• 2:11:44
  symbol. So there you go.
• 2:11:46
  Stick that in your wood chipper, Wesley, what about you?
• 2:11:53
  Yeah. I mean, OK.
• 2:11:57
  Come to terms with that. For me, like you said, as as a
• 2:12:01
  flawless film and I came into this one late and when I did
• 2:12:04
  come into it, I thought that I'd completely missed a trick and I
• 2:12:08
  missed this masterpiece that was put together because they really
• 2:12:12
  needed to make something. I really wanted to make some.
• 2:12:15
  There's a real energy behind this film and it really makes
• 2:12:19
  sense to me and I will watch it at any point.
• 2:12:22
  If it's on, it's watched. If it's even watch.
• 2:12:25
  We'll put on. You stuck for something Fargo
• 2:12:28
  Brilliant from start to finish, engaging from start to finish.
• 2:12:31
  As as a film of character actors, it's flawless.
• 2:12:36
  As a film from a cinematography point of view, it's flawless.
• 2:12:39
  As a film from a writing point of view, it's flawless.
• 2:12:42
  Direction point of view, flawless.
• 2:12:44
  Roger Ebert was right and This is why I love movies.
• 2:12:49
  This film is up there with anything else that I will sit
• 2:12:53
  down and completely trust. It's very rare that I get a film
• 2:12:57
  that I can just go. I don't have to worry about how
• 2:13:00
  I'm going to feel. I'm going to feel good after
• 2:13:01
  watching this. And this is one of them films.
• 2:13:04
  And that's the way I'm ranking my kind of views from now on.
• 2:13:07
  It's like it's a very personal thing.
• 2:13:09
  It's like, how does it make you feel?
• 2:13:10
  Will you watch it at any time? Is it really consistently
• 2:13:13
  brilliant across the board of everything?
• 2:13:16
  Yeah, it is. And yeah, This is why I love
• 2:13:18
  movies. It's a 10 for me.
• 2:13:20
  Powerful. Very nice, Matt.
• 2:13:24
  Yeah, over to you. Oh yeah, It just slips down.
• 2:13:29
  So easy to watch this film. And I think, I think if you
• 2:13:33
  watch the corns corn films in order, you get this one and you
• 2:13:37
  just think, God, they've nailed it now it's their world.
• 2:13:41
  But maybe for the first time they've taken me completely into
• 2:13:45
  their world. It doesn't have the the weird
• 2:13:48
  abrasive edge or something like Blood Simple House or raise.
• 2:13:51
  And I was on and I do love those films, but there's also
• 2:13:53
  something in those that leaves me a little bit remote from
• 2:13:56
  what's going in. This one pulls me into the story
• 2:14:00
  and they've just judged everything so well.
• 2:14:03
  The nor not to push the violence too far to make it off Putin.
• 2:14:07
  The know how to make the violence shocking but also
• 2:14:09
  funny, but the also not don't restrain ourselves with the
• 2:14:13
  accents here. Really push that.
• 2:14:15
  Really push the nice angle here for once, because that's going
• 2:14:18
  to work. And for me, a great film isn't
• 2:14:21
  necessarily about reinventing a genre of being the most stylish
• 2:14:25
  film you'll ever see. It's about getting every
• 2:14:27
  decision right. And everything in Fargo is just
• 2:14:30
  right. Performances they get from
• 2:14:32
  everyone, the characters, the way the plot plays out, the
• 2:14:35
  dialogue. It might feel small scale on 1st
• 2:14:38
  watch, but it's a film that just makes you come back to it again
• 2:14:41
  and again and again. And I think that's quite a trick
• 2:14:43
  in for me. Luke, I kind of take what you're
• 2:14:45
  saying in how you judged against the corn films.
• 2:14:48
  For me, this would be up there with their very best.
• 2:14:50
  It would be in that conversation.
• 2:14:52
  So for me, I think to masterpiece and it is a tent for
• 2:14:54
  me as well, yeah. Very nice, wonderful.
• 2:14:59
  OK, big scores so far. Our 4th and final score comes
• 2:15:03
  from our very own patrons. Another benefit you get if you
• 2:15:07
  sign up to support us. I've got some comments first
• 2:15:10
  before I give you the big score, Kim Jackson said.
• 2:15:14
  Well, I've never looked at a wood chipper the same way since
• 2:15:17
  10 out of 10. I've never seen one anyway,
• 2:15:20
  yeah. I've ever seen.
• 2:15:23
  Well, Kim's, Kim's American, I'm sure they are 10 Penny, Sandra
• 2:15:28
  Tang said. Wonderfully cast and stand out
• 2:15:30
  career performances from Macy, Mcdormand and Stormy.
• 2:15:33
  One of the corns finest. Agreed.
• 2:15:36
  Yeah, finally, Kelly Binash said.
• 2:15:39
  Well this film is a masterpiece and one of my all time
• 2:15:41
  favourites. It's the first movie I can
• 2:15:44
  remember watching where the pregnant lady did not go into
• 2:15:47
  labour. Yeah, yeah.
• 2:15:49
  That's a great point. Yeah, great point.
• 2:15:51
  She said it was lovely to have Marge be an excellent cop who
• 2:15:54
  happens to be expecting 11 out of 10.
• 2:15:57
  Oh, nice. It makes it more a number.
• 2:15:59
  It makes it more powerful than she's pregnant.
• 2:16:01
  Yeah. So with the Patreon scores
• 2:16:04
  combined, Fargo came out with a what do you think out of 10
• 2:16:08
  chaps out? Of ten 9.5.
• 2:16:12
  Very few people have anything against Fargo so I'd go 9.5 as
• 2:16:15
  well. 9.50 You missed out, fellas.
• 2:16:19
  It got an unexpected 10 out of 10, Yeah.
• 2:16:22
  Beautiful. Wonderful, wonderful people.
• 2:16:25
  Want to take yours back now for? Because that's mine.
• 2:16:31
  Oh, I don't like it as much as I like Blood Simple or or Brother.
• 2:16:34
  It's as good as that films. It's not better 9. 9 I mean,
• 2:16:39
  thank you for telling us what I should be rank in the film and
• 2:16:42
  using personal preference. Anytime.
• 2:16:48
  Big What's your personal preference on Fargo?
• 2:16:51
  Hang on, I'll just phone Wester. He'll tell you.
• 2:16:55
  I'll e-mail you. So with hours in the period
• 2:16:58
  scores combined, that gives Fargo a huge 39 out of 40.
• 2:17:02
  Beautiful. Superb stuff.
• 2:17:05
  Go to alltherightmovies.com/leaderboard
• 2:17:07
  to see where Fargo is on our leaderboard.
• 2:17:10
  It's certainly near the top messing with the big boys.
• 2:17:13
  Too right? So what should?
• 2:17:15
  What did Lebowski in our country get?
• 2:17:17
  Do you know off the top of your head?
• 2:17:19
  I can check. What did you give them on the
• 2:17:22
  top of your head? Was it less than a nine?
• 2:17:23
  Because then it goes back everything you've said.
• 2:17:27
  Well, I definitely give Lebowski A10.
• 2:17:29
  Oscars I listened about not so long ago.
• 2:17:31
  I think he's all gave a 10, didn't you?
• 2:17:34
  Pretty sure you did for No Country as well like you have.
• 2:17:36
  To. Yeah, I think I did.
• 2:17:38
  Yeah, Big Lebowski got a nine. No country got a nine as well.
• 2:17:45
  Yeah, surprising. And and that I'm not well,
• 2:17:48
  actually it's not surprising because I know that Fargo is
• 2:17:51
  beloved. Everybody loves it.
• 2:17:53
  It's it's it's a proper gateway to coins.
• 2:17:57
  As mentioned, you can sign up to be in All the Right Movies
• 2:17:59
  Patreon supported by visiting patreon.com/all the Right
• 2:18:03
  Movies. You get access to all of the
• 2:18:05
  podcasts that we produced, have a same what films that we cover
• 2:18:07
  in the score that they get financial support for Five star
• 2:18:10
  content. Sounds like a sweet deal to me.
• 2:18:13
  Oh yeah, sweet. Do it.
• 2:18:15
  Real sweet. Join us next time on all the
• 2:18:18
  right movies in two weeks. We're not messing around.
• 2:18:20
  We've been waiting for it for a while.
• 2:18:22
  We thought it was a million to one shot.
• 2:18:24
  It's rocky. Finally.
• 2:18:29
  Finally it's been on Paul after Paul after Paul and it
• 2:18:32
  embarrassed itself and now it's the heavyweight champion.
• 2:18:35
  Cleaned out the opposition the. Classic Rocky story.
• 2:18:41
  That's Matt Pi and myself on that one.
• 2:18:44
  About bloody time, Matt, right? Who really is the weirded all
• 2:18:48
  the 15th round? Picked himself up off the floor,
• 2:18:51
  finally got it in there. Lovely.
• 2:18:55
  Should be great that one to do. Can't wait for that actually.
• 2:18:57
  I mean, I mean, it's a miserable film, so I'm sure the.
• 2:19:00
  First one, Yeah, yeah. Yeah, really fucking miserable,
• 2:19:03
  but I'm sure we can inject some light into it.
• 2:19:05
  Yeah. Our next Patreon exclusive
• 2:19:08
  podcast is out next Friday. Join W, DPI and myself as we
• 2:19:12
  talk about the York Schwarzenegger as we cover
• 2:19:15
  Commando and True Lies. Bound to be another great
• 2:19:17
  podcast. Do you think we can go near 2
• 2:19:20
  hours without doing an ANI impression Westley?
• 2:19:22
  Absolutely not. We can't go 2 minutes without
• 2:19:24
  doing this. This is the first one.
• 2:19:29
  If this is the first ever double feature though, that I've got to
• 2:19:31
  say I'm not worried about because I don't have to watch
• 2:19:34
  the films. I've seen them that don't even
• 2:19:37
  have to watch them. Yeah, we'll be recording that
• 2:19:39
  soon and that is bound to be a winner.
• 2:19:40
  So if you like the sound of that and all the others that we've
• 2:19:43
  created over the last 2 1/2 near three years, then Patreon is
• 2:19:48
  where it's at. Get to the chopper.
• 2:19:52
  As mentioned on the last episode, we've got YouTube
• 2:19:54
  videos going up all the time. I talked to Curtis Stagers about
• 2:19:57
  five of his favorite films on A Life in Movies, so you can check
• 2:20:00
  that out now. It's available straight away.
• 2:20:02
  Some great choices from stagers. Yeah, great guy.
• 2:20:05
  And on the Cutting Room, another of our new YouTube videos, John,
• 2:20:10
  Westie and Matt have done a deep dive into The Batman.
• 2:20:12
  If you haven't seen that already, check it out and look
• 2:20:15
  out for the next episode on The Cutting Room where the three
• 2:20:17
  fellas, Matt, John and Westy themselves are talking about Ty
• 2:20:20
  West's brand new 70 set horror movie X.
• 2:20:24
  That's due out the day that this episode was released, 18th of
• 2:20:27
  March. So I expect that to go up on
• 2:20:29
  YouTube in a few days. I'm very jealous that you're
• 2:20:32
  doing that. That's straight up my alley.
• 2:20:35
  I've only seen the trailer once. I say OK, that looks
• 2:20:37
  interesting. I don't think I've seen a Ty W
• 2:20:39
  film before, so I don't know what to expect.
• 2:20:41
  And I think it's going to be interesting actually,
• 2:20:42
  considering I think we all knew what to expect from The Batman
• 2:20:46
  because you all knew Pattinson, we knew that Reeves, you, you
• 2:20:49
  know, all the different actors here.
• 2:20:51
  I don't know anything about it so.
• 2:20:53
  Yeah, a lot of going in blind here.
• 2:20:55
  You're. Going in blind.
• 2:20:56
  So from that sense I'm excited about.
• 2:20:58
  But yeah, it could turn out to be a big old dude.
• 2:21:00
  But we'll, we'll have fun with it if it is anyway.
• 2:21:03
  Yeah, that's the point of the cutting room, so.
• 2:21:05
  Exactly. Exactly.
• 2:21:06
  Yeah. Yeah, so TuneIn to that, it'll
• 2:21:08
  be out in a few days time as soon as we can get it up.
• 2:21:11
  Yeah, so very busy. And between all of that, we're
• 2:21:15
  on social media daily. You can check us out on Twitter
• 2:21:18
  where we are at, AT right movies, on Instagram where we
• 2:21:22
  are at all the under score, right movies, on our Facebook
• 2:21:25
  group, on TikTok. We're at all the right movies
• 2:21:28
  and our website, as always, is all the right movies.com ticking
• 2:21:33
  boxes left, right and centre can't get rid of us.
• 2:21:35
  We're everywhere. Everywhere.
• 2:21:38
  Don't know if that's good or bad thing.
• 2:21:39
  That's a great. Thing it's not for us to say, is
• 2:21:41
  it? What?
• 2:21:43
  Kind of this. Right.
• 2:21:48
  OK. Well, that is it.
• 2:21:49
  That is a wrap everybody. We're headed out for a shot of
• 2:21:52
  beer and maybe a stay. We'll see you in two weeks.
• 2:21:55
  Oh yeah, you want to smoke a pigs pipe?
• 2:22:01
  Thanks for listening guys. Leo.
• 2:22:03
  Thanks guys. Yeah, yeah, yeah.
• 2:22:26
  Oh yeah, yeah. Oh yeah, yeah.
• 2:22:29
  Oh yeah. Yeah, yeah, yeah.
• 2:22:31
  Oh yeah, betcha yeah. Yeah.