Latest / All The Right Movies / Behind the Mics: ATRM Patron Q&A (October 2025)

Transcript

Behind the Mics: ATRM Patron Q&A (October 2025) · All The Right Movies

• 0:10
  Hi everyone, welcome to this extra special podcast from All
• 0:13
  the Right Movies. My name is Luke and delving into
• 0:15
  the ATRM mailbag with me are Matt.
• 0:18
  Hello. John.
• 0:19
  Hi, everybody. And Westie, hello, this is our
• 0:23
  half yearly time out from our regular podcast where we feel
• 0:26
  questions from our biggest fans, the glorious ATRM patrons.
• 0:30
  Big shout out to you guys. Yes, lovely stuff.
• 0:32
  Always, Yeah. Thank you to everyone who's
• 0:34
  contributed with a question. We do try and get round to
• 0:37
  everyone who chips in and try not answer questions from the
• 0:39
  same people all the time. We have a load to choose from
• 0:42
  this month. So Many thanks once again.
• 0:44
  Yeah, there was loads of good ones as well.
• 0:47
  Loads of great ones, so we have to be particular with them.
• 0:50
  We will get to you eventually though.
• 0:52
  Yeah, so let's just dive straight into it, shall we?
• 0:55
  Let's do it. Let's do it.
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  Our first question comes from Stuart Mcdean.
• 0:59
  Hi, Stuart. Hi, Stuart.
• 1:02
  Stewart says. What film gave you that first
• 1:05
  love of movies which has seen you end up on this podcast going
• 1:09
  all the way back? John, over to you first.
• 1:11
  Yeah, I mean, the easy answer for me would be Star Wars.
• 1:14
  Singing that as a kid was like having my brain rewired, to be
• 1:17
  honest. I think it was for a lot of
• 1:18
  people. Some of that 80s classics I saw
• 1:21
  as a kid, like Ghostbusters, Back to the Future, Indiana
• 1:24
  Jones. I mean, those kind of films,
• 1:26
  what seem to have a kind of magic to them as a kid.
• 1:28
  They're still doing it to me. I'm not sure if I've just
• 1:30
  nostalgia or not, but they had no influence.
• 1:33
  Definitely still there. It's still there for sure.
• 1:35
  There's no denying that. But honestly, what led me to
• 1:39
  what we do now, it wasn't just movies.
• 1:41
  I've always been drawn to like creativity in general since I
• 1:44
  was a kid, whether that's music or books or films, whatever.
• 1:47
  Always been fascinated by the whole like creative process and
• 1:50
  art in general. And most of my working life has
• 1:52
  been spent in creative industries in one way or
• 1:54
  another. So why we did this?
• 1:56
  I think movies all, it's like perfect combination of loads of
• 1:59
  different kinds of creativity. We like talking about writing,
• 2:02
  music, visuals, design Lords, more so how we do the podcast.
• 2:07
  It does feel like a kind of natural extension of what I've
• 2:09
  kind of always done. Plus I get to talk about stuff
• 2:12
  like Ghostbusters basically full time now, which year old me
• 2:16
  would have thought was pretty cool.
• 2:17
  I think yeah. Yeah.
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  Definitely, although not it's cool playing for Sunderland,
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  obviously that was never going to happen.
• 2:25
  Fantastic. And what about you, Matt?
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  I'll just go back to a film we covered a few episodes ago.
• 2:30
  Gross, point blank because I was a teenager.
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  As I said on that episode, it was the first time I went to the
• 2:36
  cinema by myself and thought, actually, this isn't social
• 2:40
  suicide, which if perhaps was seen as back then.
• 2:43
  Yeah, like I said then if I hadn't done that, I wouldn't
• 2:45
  have gone to see a whole raft of films that came after that, you
• 2:48
  know, So the likes of Magnolia, Being John Malkovich and
• 2:51
  probably Grosse Pointe Bank. It's probably the first film I
• 2:53
  can member thinking I want to talk about this film with
• 2:56
  people. Very nice.
• 2:57
  Yeah. And Westie first love of movies.
• 3:00
  First love of movie. I tried to go all the way back,
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  like the very, very first one I remember seeing and just being
• 3:04
  incredibly excited about, not quite knowing what it was.
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  And that ultimately was Jason and the Argonauts and just
• 3:10
  seeing Taylor's come around the corner.
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  Old are you Westie? I'm not telling you.
• 3:14
  I didn't watch it in the fucking cinema.
• 3:16
  I didn't watch it on the telly. It was fine.
• 3:20
  Remember Me dad pausing it because when I got the toilet,
• 3:22
  it was like right And he paused it on the video and I was like,
• 3:25
  oh, this right, OK. And we came back down.
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  I just don't remember vividly sit and watch.
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  That must have been about 5 I think.
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  And it was just incredible. Like what is this?
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  Why the the skeletons fighting this guy and the skeletons are
• 3:36
  still real. It's all fantastic.
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  You know, the hobby scene that looked like pension monument,
• 3:40
  like where we're from. Just pretend it was there and it
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  was like this kind of art imitating life type of thing.
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  That was incredible. And then I got a little bit
• 3:48
  older and I missed out on going to say Batman in 1989 because it
• 3:51
  was the first ever 12 and I was 11, so I didn't want to take the
• 3:55
  risk. They thought I would go to
• 3:56
  prison or something. I was like, just take the risk.
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  It's in one year like surely. And then I saw that and that had
• 4:01
  such an impact on me. Just the visuals of it, just the
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  whole feel of it just really made sense.
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  And then later on, films that I really wanted to talk about.
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  It was just before I went to uni, just as I met Matt when I
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  was working in the cinema, and just before that I saw the likes
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  of Seven. And that changed me completely
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  of just the craft of it that that just the technical ability
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  and just like leaving you with just such an empty feeling at
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  the end of it. Everything I thought films had
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  to have a happy ending. I saw that and I was just
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  completely changed by it. And then films with a happy end
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  like The Shawshank Redemption, I think has a massive impact on
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  anyone who sees it for the first time, no matter what age you
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  are. And I think that might be a bit
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  of a cliche now, but it is that good.
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  It's turned into a cliche. So from all of them moments and
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  all of them films where it was just this brand new thing that
• 4:43
  was that always came to us. And the people that I used to
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  talk about all these experiences with were predominantly You 3
• 4:49
  when I was growing. Up Do you know what?
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  I mean, so that makes. Perfect sense.
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  Yeah, of course you do. Impossible to forget just
• 4:56
  ramming it down your throat. Oh yes, Wesley, fucking brace
• 5:00
  yourself are. You glad?
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  Kind of get rid of us. So that's the whole point.
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  And I think I was coming together because we just, it's
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  just such a natural thing. We've just done it for so long
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  and we all seem to have very similar tastes and very similar
• 5:11
  irons in the fire. But we all kind of bring
• 5:13
  something different. So it was just, it was a no
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  brainer really. It's just something we all enjoy
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  doing, so might as well do it properly.
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  A natural step. Yeah, I think so.
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  I'll say I don't know about that.
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  It's a struggle for me if I'm honest.
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  I've said on a number of occasions that I grew up in the
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  VHS boom. We all did.
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  And very similar to you John, I watched all the ones that you
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  would expect of an 80s kids, Back to the Future,
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  Ghostbusters, Raider, The Reanimator, you know, all the
• 5:45
  classics. But there were two that I would
• 5:48
  say are classed as my favorite films when I was like in single
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  figures when I was really young. And the first was Mary Poppins.
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  I loved everything about it. It was a world that was
• 5:57
  familiar, but it also took me to this place of wonderments.
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  And those Penguins, I mean, I just can't get enough of them to
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  this day. Incredible.
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  Just covered, obviously, didn't we?
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  It's still magnificent. Oh yeah, yeah, It's a wonderful
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  thing. Yeah.
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  It's completely timeless. It's just, it's just something
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  of itself, isn't it really? There's not like it, really.
• 6:16
  Yeah, it's still great. Yeah.
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  And secondly, following a similar path of being taken into
• 6:21
  a magical world, it was the Wizard of Oz.
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  Just blew me away. Yeah, nice.
• 6:25
  Yeah, that Technicolor transition into Mario Land of Oz
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  is still breathtaking. Absolutely.
• 6:30
  Brilliant. Yeah, yeah.
• 6:32
  The lion is still one of my favorite characters of all time.
• 6:35
  Yeah. Hilarious, yeah.
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  Put them up. Put them up.
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  Put. Them up, dive through that
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  window at the end, Unbelievable. It's all good.
• 6:45
  And the Wicked Witch of the West is still better or fine she's.
• 6:48
  Great, Yeah. Brilliant.
• 6:49
  Yeah. Oliver, when she gets to the
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  water, thrown her at the end. And just like, what a world.
• 6:53
  What a world. Great.
• 6:56
  It's amazing. Yeah.
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  I saw shown of that at the sphere in Vegas and it was
• 7:01
  unlike anything I've ever seen. Wow, nice.
• 7:04
  The one with all the CGI added background stuff.
• 7:07
  Yes, that's right. And it kind of goes back
• 7:09
  throughout the the whole auditorium.
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  It's like a five day experience. It's magnificent.
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  Right. OK.
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  It's unbelievable. Yeah.
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  Yeah. So if you get the chance, I'd
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  recommended 100%. Great.
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  And then once you've got those two films under your belt,
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  you're away. And it LED us, it LED us to kind
• 7:26
  of meeting together because we all met a university doing
• 7:29
  something around films and that led us to the podcast.
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  It did. Like the yellow brick road?
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  Yeah, wonderful. But thanks for getting the ball
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  rolling, Stuart. Great question.
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  Yes, thank you mate. Which one of us is Dorothy
• 7:46
  though? Well, you obviously, you
• 7:50
  obviously. You've got a dog?
• 7:52
  Yeah, you've got the. Dog, that's the only reason.
• 7:56
  Next up, we've got a question from Kate Barofsky.
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  Hello, Kate. Hello Kate.
• 8:00
  Kate, a wordy question, she said.
• 8:03
  I found that after watching, discussing and rating Bridge
• 8:05
  Over the River Kwai, when it came time to do the same for
• 8:08
  Gross, Point Blank and especially The Fugitive, I found
• 8:10
  myself thinking too hard about whether I thought these were
• 8:13
  worthy and great movies. So I asked myself, how do I
• 8:17
  judge the quality or worthiness or importance of a film?
• 8:21
  Something that gets a little further in description than I
• 8:24
  really liked. It sounds silly, I know, and I
• 8:26
  came up with an answer that led me to the Fugitive is definitely
• 8:30
  A10. It definitely is.
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  Wow, nice. OK.
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  So long build up, Her question is how would you answer the
• 8:37
  question? What makes a movie great,
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  important. Worthy?
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  Three big words. Three big words and just to add
• 8:46
  a bit of context, Kate said she's got a grad degree in
• 8:48
  painting and wonder this every time she reads art critics or
• 8:52
  historians opinion. So why?
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  Was that OK? She knows her stuff then.
• 8:56
  She knows her stuff, Matt, do you know your stuff?
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  I think we've established by now, definitely.
• 9:05
  Wow, he's. Not in Kansas anymore.
• 9:07
  No cowardly line can take this one.
• 9:13
  I mean, I imagine an emotional conundrum that I'm certain you
• 9:16
  contemplated when you gave Gremlins A10, Matt, right?
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  Still bringing that up by you. Yes, he is.
• 9:21
  Right, okay. That'll never lie.
• 9:24
  No. Do you know what?
• 9:25
  That's a great example to bring up because I think what I've
• 9:28
  learned on this is to not get too caught up about what the
• 9:32
  eventual score is going to be because sometimes the score can
• 9:36
  it really can differ on the mood I'm in.
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  Sometimes the film doesn't quite connect because of other
• 9:40
  reasons. And I think it's probably a bit
• 9:43
  lower than I might give it up on another day.
• 9:45
  So don't worry about it as much as he used to because I think
• 9:48
  there's different types of 10s, you know, I mean, you mentioned
• 9:51
  Gremlinsburg, another one cross Pointe blank.
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  I gave that a 10 because that's got a deep, deep personal
• 9:56
  connection. A different type of 10 is the 10
• 9:59
  that I gave, for example, Godfather Part 2.
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  I don't have a particular connection to that on a personal
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  level, but it's placed in cinematic history and the craft
• 10:07
  behind it simply can't be denied.
• 10:08
  And against it has to be a 10. That's just the way I look at
• 10:12
  it. It just has to come from the gut
• 10:13
  now rather than kind of obsessing about it too much.
• 10:17
  So yeah, I just think there's different types of 10's and
• 10:19
  that's just the way I look at it now.
• 10:21
  Where's your thought process on that one, Wesley?
• 10:23
  I mean, it's very much the same, if I'm honest.
• 10:25
  I mean, we've gone through it and I have had these moments of
• 10:27
  like waking up at 6:00 in the morning, just being, ah, right,
• 10:30
  OK, I've got to get up anyway, but ah, what does that do that
• 10:33
  for? That doesn't reflect what I
• 10:35
  really kind of think of it, but it really does.
• 10:37
  But it's not what people wanted to hear or expected to hear.
• 10:39
  And I've got friends who listen to the podcast and they say, I
• 10:41
  can't believe you give such and such this.
• 10:42
  I can't believe it's not that. It's not this, it's not an 8,
• 10:45
  it's not a nine, it's a 10. What's the matter with you?
• 10:48
  And this is like people are forgetting me and that's just
• 10:52
  math. But this is this is this is not
• 10:54
  a science. It's an art form and it's
• 10:56
  subjective. And there's lots of things that
• 10:58
  you could look at. I mean, I look especially at the
• 11:00
  confidence in the filmmaking, the technical prowess that's in
• 11:02
  there, the performances. I also look at the piercing of
• 11:05
  it. I look at the legacy behind it,
• 11:06
  look at the direction, look at the cinematography.
• 11:08
  All of these things kind of tick boxes for me, put down for other
• 11:11
  people. So I think obviously it's
• 11:14
  something that speaks to you. That's the most important thing.
• 11:17
  If you find something in there that you, that resonates with
• 11:20
  you, that moves you, that takes you somewhere else, then to me,
• 11:24
  that's a really positive thing. That's then you're on A5 and you
• 11:27
  just go above that. You're just kind of wondering
• 11:29
  how much is it affecting you? How much does it touch you?
• 11:31
  How much does this resonate with what you're going through or
• 11:34
  what you have been through? There's an incredible discussion
• 11:37
  with Ethan Holt that's online if you want to listen to it, and
• 11:39
  he's just talking about poetry and how important that is and
• 11:41
  how important songs are and how important art is.
• 11:43
  And it's not until you're going through hell do you realize that
• 11:45
  you actually need that. You actually need that with you
• 11:48
  to say people have gone through this and you put films on for
• 11:51
  different reasons. You'll come home from the pub
• 11:53
  and you'll stick something on to feel a certain way.
• 11:55
  And you'll be feeling melancholic and you'll be
• 11:57
  feeling lonely. And you want to just watch
• 11:58
  something that has that similar feel so you know, you're not
• 12:01
  alone in the world. And I think a lot of that is
• 12:03
  really personal. And to turn around and say,
• 12:06
  well, yes, this is definitely A10.
• 12:08
  A lot of that for me is based on legacy, and a lot of that is
• 12:10
  based on the longevity of it. Like Matt said, Godfather Part
• 12:13
  2, Taxi Driver, I had to have the conversation where Raiders
• 12:17
  for all days a 10, but people turn around and say, well, no,
• 12:20
  it's night second eight. It's all had been done before.
• 12:22
  It's what it's when you see it, it's how it resonates.
• 12:26
  And that's the thing. I think Kate's getting out.
• 12:27
  I don't think she needs to worry so much about what she's paying.
• 12:30
  And I think what she needs to worry about is how much of
• 12:32
  herself she's putting into it and not worry about how
• 12:35
  critically that's received. Much like film, you put yourself
• 12:38
  out there. If people resonate with it and
• 12:40
  get it, great. If they don't, you've still lost
• 12:43
  nothing. You've put something out there
• 12:44
  and that's what people are going to remember you by.
• 12:45
  So that's the most important thing.
• 12:47
  What I cannot stand is a cash grab.
• 12:49
  Something getting put out there just purely to make money with
• 12:52
  no, no resonance, no emotion, no point behind it, just out there
• 12:56
  just for the pure fact of making money.
• 12:59
  I cannot get behind that. But if something's got heart, if
• 13:01
  something's got soul, if something's got mean, and if
• 13:03
  something's got a reason to exist, it starts at A5 and works
• 13:06
  its way up for me. Somebody earlier point there,
• 13:09
  Westie, I was at yours yesterday and you were watching The Matrix
• 13:12
  Revolutions. I know I was.
• 13:16
  Lovely choice, yeah. How did you find it?
• 13:19
  3. Of course.
• 13:24
  Did you have Zulu on in black and white?
• 13:27
  Yeah, I was upstairs on the laptop on black and white, and
• 13:30
  as I was going downstairs to make a brew, right, And the
• 13:32
  matrix is on. So it was a different kind of
• 13:34
  vibe. No, I had it on the other night
• 13:35
  and I thought, I've really got to give this a try.
• 13:37
  It can't be as bad as I remember, and it really is.
• 13:39
  So, I mean, the first matrix is my speech.
• 13:42
  We're not going to get into that.
• 13:42
  That's not what we're talking about.
• 13:43
  But anyway, that's my point. Yes, and a great point it was
• 13:47
  Westie. Thank you, Luke.
• 13:48
  Yeah, I think I've certainly, you know, films that are easy
• 13:53
  10's and then films where people are surprised that I've given a
• 13:56
  10. I've grappled with given like
• 13:57
  The Godfather and Midnight Run a 10 on some levels at least two
• 14:02
  very different films. But for me they're both
• 14:04
  undeniably A10, but for different reasons.
• 14:06
  And I think a distinction needs to be made about certainly my
• 14:10
  rate and tactics. I don't know if it's the same
• 14:12
  for you fellas, but I largely rate based on other movies in
• 14:15
  that genre. So The Godfather.
• 14:17
  I'm stacking it up against the big boys and girls in the crime
• 14:19
  drama category for example. Right?
• 14:22
  Midnight Run anything in the buddy cop action genre and
• 14:25
  they're both best in class for me.
• 14:27
  Yes, Anything else directed by Martin Breast, basically.
• 14:29
  Anything by breast. Which are both 10s.
• 14:32
  Let's be. Honest.
• 14:32
  Meet Joe Black. Anything like that?
• 14:36
  Everything got to be all right. OK, it's question.
• 14:42
  I think it's a combination of a lot of things.
• 14:44
  What a film means to you personally, what impact it had
• 14:46
  on cinema, Did it breakthrough into popular culture in general?
• 14:49
  Is it still relevant? I think a lot of those things
• 14:52
  are quite obvious, but some not so much.
• 14:55
  I'm not a massive fan of The Sixth Sense, but I'm well aware
• 14:57
  it's of its cultural impacts and it's absolute place at the table
• 15:01
  of our classic podcast. Something like 28 Days Later may
• 15:06
  seem like a fairly innocuous zombie movie, a bloody good one,
• 15:09
  yes, but its influence is absolutely massive and largely
• 15:12
  unsung. We likely wouldn't have trained
• 15:14
  Person and The Walking Dead without it.
• 15:16
  Exactly. Yeah.
• 15:17
  So it's a lot of different factors and a combination of all
• 15:20
  those things from me, kid, I think.
• 15:22
  What about you, John? Yeah, I think it's a good
• 15:24
  question. I think probably shown by the
• 15:25
  fact we've all answered it slightly differently.
• 15:28
  Yeah. I think it kind of ties into our
• 15:30
  titling for the podcast, The Story of Hollywood, one film at
• 15:33
  a time, because a word we often use when talking about films to
• 15:36
  talk about is significant, which can probably mean a lot of
• 15:39
  things. I mean, a film could be
• 15:40
  significant because it was massively influential.
• 15:43
  Even if it's not that well known, it could have been an
• 15:45
  influence on the bigger films. It could be significant because
• 15:48
  it was very successful, like box office wise, and had an impact
• 15:51
  on Hollywood as a business or how things are marketed in
• 15:54
  Hollywood. Or it could just be significant
• 15:56
  because we love it. All of the story of how it was
• 15:58
  made. So we're doing it personal as
• 16:00
  well. Yeah, I mean, for me, from doing
• 16:02
  the podcast, I think what makes a movie really significant is
• 16:05
  when it hits a few of those marks, ideally all of them, say
• 16:08
  Jaws, which we won't stop banging on about, made a
• 16:11
  portion, invent the summer blockbuster, influenced
• 16:15
  countless film makers, the making of stories outrageous.
• 16:18
  And I still love it. So that's how I describe a film
• 16:21
  can be significant or worthy, but it's hard trying to explain
• 16:24
  what makes a film significant or worthy.
• 16:26
  I think. I mean, it's like trying to
• 16:28
  explain why Cadbury's chocolate tastes good.
• 16:30
  I think it's like really difficult.
• 16:32
  I tried that and it's really hard.
• 16:34
  Take it out of the freezer. That's what you need to.
• 16:39
  Do step one, yeah. Great points, all four of us,
• 16:44
  and a great question, Kate. Thank you.
• 16:46
  Yes, thank you, Kate. Good luck with the painting, by
• 16:49
  the way. Absolutely.
• 16:50
  Yeah, good luck with the pain. Again, the moment period.
• 16:51
  Let's see. Absolutely.
• 16:53
  We'd love to see you. I'd love.
• 16:53
  To keep up the doodling. Yeah, yeah, yeah.
• 16:56
  Always keep. Up the doodling.
• 16:57
  Always. And next we have another great
• 17:01
  one from Damien Lennox. Hi, Damien.
• 17:04
  Hi, Damo. Hello, Damien.
• 17:05
  Hello, Damien. Damien says all right, top lads
• 17:08
  well, he knows us well. There he is.
• 17:10
  Thanks. He says individually, what would
• 17:12
  be a film you would love to cover which wouldn't have a
• 17:15
  chance on the pole now? Westie, Yeah.
• 17:20
  You know what mine is? I can only guess Highlander.
• 17:22
  No, we've done that one. One that wouldn't even be
• 17:25
  touched on. Even double feature just
• 17:27
  wouldn't get looked at. There's a few different kind of
• 17:30
  branches for me, one that I'll go down there.
• 17:32
  It's not incredibly popular kind of cinema or or really
• 17:35
  accessible. It it's probably seen as being
• 17:38
  overly pretentious, I would imagine, but I love anything
• 17:41
  like that. I would literally say anything
• 17:43
  by Bellator, the Recmaster, Harmonies is not going to
• 17:46
  happen. And I think Damien has asked
• 17:48
  that question, so I would give that answer because he looks at
• 17:50
  that film as well, and I know that very well.
• 17:52
  And also littler films that I really like that I don't think
• 17:55
  have, like John's just said, the significance of it.
• 17:58
  I mean, I'd love to do Strange Days by Catherine Bigelow.
• 18:00
  Oh yeah. Yeah, yeah, yeah.
• 18:02
  Don't know if that's just, is that too small?
• 18:04
  Will that make an impact? Do people want to hear about
• 18:06
  that film? Little things like that and and
• 18:08
  little ones that I kind of grew up with that I really love
• 18:11
  talking about. But again, the significance
• 18:12
  isn't really there. Like Lethal Weapon three,
• 18:15
  Predator 2, you know, they're not, it's not bothers it because
• 18:20
  we've already done better that we've already done Lethal
• 18:22
  Weapon. But Lethal Weapon three.
• 18:23
  I've I've, I've watched that so many times.
• 18:25
  I love it. It's such good, great fun.
• 18:27
  But like, good stuff, yeah. Cop killers.
• 18:31
  It's it's never going to hit a classic episode and we're never,
• 18:33
  ever going to be able to talk about that for longer than 30
• 18:36
  minutes and 4 pints, you know, so it's one of them things.
• 18:39
  But yeah, I think my real kind of love is that, you know,
• 18:43
  really long, pretentious, black and white cinema, especially the
• 18:47
  work of Bella Todd's just, you know, took Offski, anything like
• 18:49
  that. But I don't really think there's
• 18:51
  room for that at the moment. I might have to branch off on
• 18:53
  pairing and do like a little Westies.
• 18:56
  Westies special miserable. Corner Westie under the under
• 19:01
  the stairs or something like that.
• 19:03
  We'll figure something out. Wesley Potter in black and
• 19:07
  white. Great.
• 19:11
  Well, I mean, I don't think we have enough time on the show for
• 19:14
  me reel off all the shit that I'd love to talk about that
• 19:17
  would embarrass itself on the pole, but one that just stands
• 19:21
  above every other one head and shoulders.
• 19:23
  I mentioned it before, it's been on a few double feature poles
• 19:25
  and came up short. It's blow out.
• 19:28
  Yeah, of course. Yeah.
• 19:29
  And dress to kill. And dress to kill.
• 19:31
  Yeah, double picture. I mean that that is the best
• 19:34
  double feature offering anybody could get.
• 19:36
  Nobody likes. It you've ever loaned me, ever.
• 19:39
  And then you kept asking for them back after 2 have their
• 19:41
  back please. Have you watched them?
• 19:43
  Have them back? Yeah.
• 19:45
  Well, and, and the 9/10 of the law, if you have it for any
• 19:49
  length of time, then it's yours. So I wanted to avoid that
• 19:51
  situation completely. That's that.
• 19:54
  Yeah, so blow out to Palmer's best, Travolta's best, maybe
• 19:58
  it's one perfect film for me. I can't get enough of it.
• 20:01
  And I revisit it regularly more and more as I get older.
• 20:04
  So I'm I'm just good to go when the time arrives.
• 20:07
  So whenever you're ready, everybody who's voting,
• 20:09
  listening, you know I'll pay for.
• 20:11
  Oh, you'll pay for votes. What about you, John?
• 20:18
  Yeah, I think this musicals tend to not do well on poles, which
• 20:22
  is a shame because I'd love to do some of them like grease,
• 20:24
  mainly because. It would be grease.
• 20:25
  Sign me up. Yeah, it's singing in the rain.
• 20:28
  I mean, talking about worthy films.
• 20:30
  So they don't come much more significant than that.
• 20:32
  I don't think huge Old Hollywood generally doesn't do great on
• 20:34
  poles either. No, I'd love to do a Psycho or
• 20:37
  mentioned it. The Wizard of Oz, the making of
• 20:39
  story for the Wizard of Oz is one of the very best there is.
• 20:42
  It's absolute madness. That would be great.
• 20:45
  So if I'm picking one I'd like to do, I might go network the
• 20:50
  wild behind the scenes story, if some of those maybe, though it's
• 20:52
  still good. But as a piece of drama,
• 20:54
  especially a piece of writing, it's just extraordinary.
• 20:58
  I'm pretty sure Paddy Shyevsky had a crystal ball when he wrote
• 21:00
  that film. And the cast on massive, great
• 21:03
  performances. Oscars Records coming out of its
• 21:06
  backside, so yeah, Network might be the one.
• 21:10
  Yeah, that's really good for you to replace your Amadeus.
• 21:13
  It really is the next. Yeah, that's the next.
• 21:15
  One steps right into that hole, that Amadeus.
• 21:18
  Shape hole perfectly a shape tool is like network and you
• 21:21
  just keep putting it on poles. I'm not going to take any more
• 21:23
  of this shit. That's.
• 21:25
  Perfect. What about you, Matt?
• 21:28
  What film do you want to talk about?
• 21:30
  Well, I'm a bit like John and that I'd like to really push
• 21:33
  through more like classic Hollywood pre 1970s films.
• 21:37
  So a big one from that pay. It's been in a few pulse now.
• 21:40
  It never comes close, but I think Wesley and John would be
• 21:43
  all over the searches if that came, John for John Wayne.
• 21:47
  We don't do enough westerners as this.
• 21:49
  Definitely that one. But then at the opposite end of
• 21:52
  the scale, I'd also like to do much more recent films, you
• 21:55
  know, films just from the last few years that have really got
• 21:57
  through and made an instant impact.
• 21:59
  Like, I mean, I'm sure we'll put up films from these decades, but
• 22:02
  I generally look at the 70s, eighties, 90s and think I'm kind
• 22:06
  of done with most of those. There's not many from those
• 22:09
  decades that I'd like to do now. It's before or after.
• 22:13
  And I'm also like, a big fan of the smaller films, you know, the
• 22:17
  ones which are much of a kind of character based and dialogue
• 22:21
  based, not so much action. So something like Lady Bird to
• 22:25
  me would be a great choice. Yeah, great.
• 22:27
  It's a great film. Is critically clear anything?
• 22:30
  Gerwig's really important director for our times.
• 22:32
  Social and it's one of the the best actresses working today.
• 22:35
  But if I can have to, it would be The Searchers and Ladybird.
• 22:38
  Yeah, I mean, there's quite a few in that hill, isn't that?
• 22:40
  I mean, like Little Miss Sunshine, Our Captain Fantastic,
• 22:42
  and they're all sideways and films.
• 22:44
  Yeah. Sideways would be great, yeah.
• 22:46
  I mean, the only way that any of those films are going to win is
• 22:50
  if they're on a pole with similar films with.
• 22:52
  Some. Yeah, we have to box clever, I
• 22:54
  think. Yeah.
• 22:54
  Well, exactly. Yeah.
• 22:55
  Which I think, to be honest, I think we're going to end up
• 22:57
  doing because these films need to be covered.
• 22:59
  Yeah, I think the last what we put up was for black and white
• 23:01
  films, wasn't it? And.
• 23:04
  Yeah, exactly. Yeah, brilliant.
• 23:06
  Have to start doing that, yeah. Yeah, theme poles.
• 23:08
  Maybe that's the way they go. Yeah.
• 23:10
  Well, thank you very much for the question, Damien.
• 23:12
  Yes, thanks mate. Yes, Thanks, Damon.
• 23:14
  Wonderful. Next on our list is a question
• 23:17
  from Andrew Hunter. Hi, Andrew.
• 23:18
  Hello, Andrew. Hi, Andrew.
• 23:20
  Good eye. Good eye.
• 23:22
  Yes, indeed. Austria.
• 23:27
  Well then. Andrew, if you if you couldn't
• 23:32
  already guess, Andrew used to be from Australia.
• 23:36
  Just because the questions Australian based it wasn't
• 23:38
  anything to do with Andrew. Andrew says greetings, ATRM from
• 23:43
  the Antipodes. Parochial question.
• 23:46
  What's your favorite and least favorite Australian film?
• 23:49
  Does Paul Hogan star in both of them?
• 23:52
  Cheers. Wow, wow.
• 23:54
  Very specific. When I think of Australian
• 23:58
  cinema, I instantly think of Brian Brown and Mad Max.
• 24:01
  Yes, you do. Yeah, yeah, yeah, yeah.
• 24:03
  Imagine if Brian Brown was Mad Max.
• 24:06
  Oh, now I love that. But if you do think about it for
• 24:11
  a moment or two further. There's just been so many great
• 24:14
  Australian films. Walkabout Week and Fried,
• 24:17
  Crocodile Dundee, Strictly Ballroom, Talk To Me, The Dry,
• 24:19
  The Proposition, Animal Kingdom, You could go on and on and on.
• 24:23
  The truth is, I haven't seen a bad Australian film up to now.
• 24:26
  Right. OK, Yeah.
• 24:28
  So I'm taking this opportunity to talk about two Australian
• 24:30
  horror films that I really like and neither of them star Paul
• 24:33
  Hogan, unfortunately. Right.
• 24:35
  Why are they both both Greek? And the first one is Wolf Creek
• 24:42
  2. Wolf Creek.
• 24:46
  It's not. Yeah, it's Wolf Creek.
• 24:48
  Lovely. Yeah.
• 24:49
  A very nasty little horror movie written, directed by Greg
• 24:52
  McLean, 2005. If you don't know it, it's about
• 24:56
  British backpackers who come a crop when they encounter the
• 24:58
  antithesis of Hogan's Mcdundee, John Jarrett's Mick Taylor.
• 25:03
  Not that one. Not the one from the Stones,
• 25:06
  it's certainly not for the faint hearted and maybe hits a little
• 25:08
  too close to real life considering when it was
• 25:11
  released, but it is relentless and chilling and we'll stay with
• 25:14
  you for days. The other one is a bit of a
• 25:16
  cheat because it has AUS cast in the shape of Stacy Keach and the
• 25:20
  one and only Jamie Lee Curtis. ATRM favorite.
• 25:23
  Very nice, right? Well look favorite.
• 25:25
  Yes. Well, just like John.
• 25:28
  Just let him have it, man. I.
• 25:30
  Think it's everyone? John as well.
• 25:33
  Good. The film is Rd.
• 25:36
  Games, directed by Aussie native Richard Franklin.
• 25:39
  Keach and JLC spark up an unlikely relationship in the
• 25:42
  desolate Australian Outback as they track down a serial killer.
• 25:45
  It's a bit of a forgotten film now, not perfect, but it's a
• 25:49
  sleazy gem. Very nice if you like that kind
• 25:52
  of thing. Just like me.
• 25:57
  What about you John? Aussie cinema.
• 25:59
  Yeah, I'm sure that you look the first one that springs to mind.
• 26:02
  It was always Mad Max. Yeah, I think one of the like,
• 26:04
  most raw, visceral pieces of filmmaking you could ever see.
• 26:08
  And George Miller made it for what, about $12.00 or something?
• 26:11
  Something like that. Easy.
• 26:12
  I love it. And the sequel, which goes
• 26:14
  absolutely crazy, But another one that we've not mentioned is
• 26:17
  Picnic and Hanging Rock. Yeah, yeah, I knew of it
• 26:20
  obviously, but I only watched it for the first time when we
• 26:22
  covered Master and Commander. Yeah, it's piece of weird, isn't
• 26:25
  it? Yeah, exactly.
• 26:26
  And I loved it. I mean, it's not like Mad Max,
• 26:28
  but it's a mystery and I guess a lot of people haven't seen it.
• 26:31
  So a quick synopsis I think should get people in.
• 26:34
  Set in 1900, a girl's boarding school goes in the picnic, The
• 26:37
  Hanging Rock, hence the name, probably.
• 26:38
  But four of the girls go off exploring.
• 26:40
  Only one of them comes back, and she's too traumatized to explain
• 26:44
  what happened. I mean, that sounds pretty good.
• 26:45
  Right. Brilliant.
• 26:47
  Yeah, it's adapted from a novel from the 60s, I think, so it has
• 26:50
  a great narrative, but it's so cinematic.
• 26:53
  It's got this like really dreamy, surreal feel to it,
• 26:56
  which I really like. So if anyone's going to watch
• 26:58
  it, I think you should. But I warn you that the end
• 27:00
  might drive you mad. But it is brilliant.
• 27:03
  Yeah, right. It's got a very David Lean look
• 27:05
  to it, hasn't it? Yeah, yeah, yeah.
• 27:08
  And least favorite Australian film?
• 27:10
  John, do you have one? No, it's not.
• 27:11
  I've got one to be honest. Not there's nothing I think
• 27:13
  similar. I've not really seen anything
• 27:15
  Australian that I've thought. I don't like that very much.
• 27:18
  I see a toughest to watch was definitely the proposition which
• 27:20
  Wesley forced upon us. Yeah, Christmas.
• 27:23
  I asked you politely to watch it festive season.
• 27:26
  What's wrong with that? Yeah.
• 27:29
  So it was good, yeah. Christmas Day whippings so.
• 27:32
  Yeah, yeah, lovely stuff. What about you, Matt?
• 27:35
  Australian films where you're at?
• 27:37
  Yeah, very similar. The obvious one was Mad Max Vivi
• 27:40
  Ward, but I've mentioned that so many times I thought so.
• 27:42
  It's a cheap mention that again and it kind of skipped the end
• 27:44
  again. I've not seen enough Australian
• 27:46
  films to think of a really bad one, one that I would say I just
• 27:49
  liked. I did think about Picnic at
• 27:51
  Hanging Rock, but the other one I'll go for is a film from 2001
• 27:55
  called The Dish. I think 2002.
• 27:59
  Very nice. Which I mentioned this one, we
• 28:00
  covered Apollo 30, and I'm really fascinated by the whole
• 28:03
  era of NASA and the London on the moon.
• 28:05
  And this is a true story about a radar dish in Australia that was
• 28:09
  pivotal to getting the signal from the moon and transmitting
• 28:12
  it around the rest of the world. And it's just in this really
• 28:15
  small farm town in Australia. And it was famous for that one
• 28:17
  thing and it stars some nail. And it's just a proper
• 28:20
  heartwarming. It's very, very funny.
• 28:22
  It's a great story. Yeah.
• 28:24
  The dish is 1 I want to mention. It's really, really great.
• 28:26
  Beautiful. It is very good and some Neil
• 28:28
  can't really go wrong with him. Family was brilliant.
• 28:31
  Yeah, yeah. Yeah, a dish recommend in the
• 28:33
  dish, which is very nice. There we are, a couple of dish
• 28:36
  we'll. Be Matt the dish bottle.
• 28:39
  I'll take that. He's stacking up the nicknames,
• 28:42
  isn't? He's got too many now.
• 28:43
  I can't. The dish too many?
• 28:44
  Yeah, the Butcher. Yeah, we're just going around
• 28:47
  the kitchen over really the place, the butcher, the dish.
• 28:50
  The whisk. Matt the whisk.
• 28:55
  Love that. Westie, Australian Films.
• 28:59
  Yeah, I love them and wasn't until this question that I
• 29:02
  started looking at we're going actually I really love
• 29:04
  Australian cinema because it does have this fearlessness to
• 29:07
  it, this independence to it. There's like a Bigfoot.
• 29:10
  You do, you know, there's no big studios going out there and you
• 29:13
  need to pile this into it. One I've seen recently that I
• 29:15
  really enjoyed is The Roar, if you've seen that on the IPS.
• 29:21
  Very, very good film. Really enjoyed that.
• 29:23
  And then going back to the ones I've seen before, I mean, I love
• 29:25
  Chopper. I think that's an incredible,
• 29:27
  yeah, probably one of the best debuts of recent years for
• 29:30
  Andrew Dominic. I think that's an incredible
• 29:31
  film. Wig and Fright I love.
• 29:33
  I thought that was really, really good.
• 29:35
  Really tough watch, but brilliant.
• 29:38
  Gallipolis. Fantastic.
• 29:39
  You've seen that? That's really underrated war
• 29:42
  film. It's like, it's absolutely
• 29:43
  fantastic. And that ending of John's talk
• 29:45
  about endings, it will drive you mad.
• 29:46
  That one will just completely destroy it.
• 29:48
  But it's fantastic stuff. Yeah, Beam Expanded, which is
• 29:51
  probably one of the greatest Australian films ever made.
• 29:54
  And I've got the DVD and it says the Citizen Kane of BMX movies
• 29:57
  in it, which is up from a reveal.
• 29:59
  I cannot deny. I can't deny that.
• 30:01
  That's absolute gospel truth because it is, isn't it?
• 30:06
  Not debut. It's great fun.
• 30:08
  The kids absolutely love it. It's great fun.
• 30:11
  Back when BMX used to be, like, really kind of cool.
• 30:13
  And it still is, I guess, but not in that way.
• 30:16
  Yeah. And I mean, trying to think of
• 30:18
  ones that were bad, but not necessarily for the right
• 30:21
  reasons. I think they're just poorly
• 30:22
  constructed, are very quickly made.
• 30:24
  And the one that's brought to mind was the 1 from 1970 with
• 30:26
  the Ned Kelly biopic with Mick Chair in it.
• 30:31
  And I just felt very rushed and very like, well, it's got Mick
• 30:34
  Jagger in it, you know what I mean?
• 30:35
  It's not free Jack. So thank goodness, thank
• 30:38
  goodness. It's kind of, it's kind of on a
• 30:41
  par. It's the Australian free Jack.
• 30:43
  And then you'd say maybe Beyond Thunderdome, but that's because
• 30:46
  you're comparing it to one and two and they're incredible.
• 30:48
  So you can't really go wrong with Australian cinema.
• 30:50
  I think there's some incredible, incredible films to check out.
• 30:53
  And if you're not savvy on it, then get on it because it's just
• 30:56
  constantly rewarding, I think. Fantastic.
• 30:58
  Turner in that one, so just. Turner.
• 31:00
  He's pop star for winning all these Australian films.
• 31:02
  Exactly. Yeah, that's the problem.
• 31:04
  Was Rod Stewart in in the proposition that we missed that
• 31:07
  delete scene? So a lot of favourites, not many
• 31:13
  least favourites, and no Paul Hogan.
• 31:16
  No, no, I love Crocodile Dundee though, but that's just.
• 31:18
  Too. You love too, don't you?
• 31:19
  I love. Too.
• 31:19
  I think it's one of the best sequels ever made.
• 31:24
  Very specific question, Andrew, but a great one nonetheless.
• 31:27
  Thank you very. Much great stuff.
• 31:29
  And next on the mic is Philip Beattie.
• 31:31
  Hi, Philip. Hi, Philip.
• 31:33
  Hi, Philip. Philip says What movie images or
• 31:36
  scenes are you constantly reminded of in everyday life?
• 31:38
  Philip says Some of my ones. If the moon is out during the
• 31:41
  day, I'll always think of the Death Star hanging over Scariff
• 31:44
  in Rogue One. If anyone ever says.
• 31:47
  The whole time I have to try hard not to respond with a bad
• 31:51
  impression of Sally Field shouting those words at the end
• 31:54
  of yeah, yeah yeah Yeah and see in a packet of Juicy Fruits
• 31:59
  chewing gum. Always reminds me of one flu of
• 32:01
  the Coos nest. Of course.
• 32:02
  Yeah, Juicy. Yeah.
• 32:05
  John, what about you? Yeah, I've got a couple.
• 32:07
  Whenever I'm driving and see someone doing a three-point
• 32:10
  turn, it always reminds me of awesome powers.
• 32:13
  Powers in the corridor. Ridiculous.
• 32:16
  When you're doing it yourself, you're like Austin Powers.
• 32:18
  It's like Austin Powers knows what.
• 32:19
  You're talking about? Yeah, there's.
• 32:21
  Like 4-3 films, isn't it? You know exactly what they're
• 32:24
  talking. About yeah, it's great.
• 32:25
  Yeah, whenever I'm in Morrison's and see someone buying apples,
• 32:27
  I've always wanted to say to them, how would you like them
• 32:29
  apples? I never have.
• 32:31
  Yeah, make a glass in the Morrison's Argo.
• 32:32
  Yeah, I was going to, Yeah, do that round here, yeah.
• 32:35
  And getting in a lift for years. I used to always think, imagine
• 32:39
  if like T1000 arm dagger, things started shooting down through
• 32:43
  the ceiling. Yeah, yeah.
• 32:44
  When he's done the chance, yeah. But I'm a little over that one
• 32:47
  now, thankfully, yeah. Thank goodness.
• 32:49
  Just through the door now, is it not the route?
• 32:51
  Yeah, close the door. Quick.
• 32:54
  Over to you, Matt. Whenever I make a cup of tea,
• 32:57
  I'll circle the spoon around the rim like Catherine Keener and
• 32:59
  get out. No.
• 33:01
  Try and hypnotize myself into the sunken place.
• 33:03
  Thanks. Listen.
• 33:04
  The work do. Do 1 chink sink do that?
• 33:08
  That if you're making a proof or someone.
• 33:10
  Yeah, yeah. I only do when it's only mean
• 33:12
  that was obviously. Random mats.
• 33:14
  Do you want a cup of tea? Definitely.
• 33:15
  Not really, yeah. Excellent.
• 33:18
  What about USD? Few, a fair few and I wasn't, I
• 33:22
  didn't know how many until I started thinking about it once
• 33:24
  I've read this question and I'm like, oh God, I need to stop.
• 33:27
  But every time I get out of the car, you know when you put your
• 33:29
  foot down, you know that low angle that every every film has
• 33:32
  like you see the shoe and then it comes up make kind of like
• 33:35
  cranes up with the guy and then you shut the door.
• 33:37
  I imagine that every single time I step out of the car, put 1
• 33:40
  foot down, wait for the camera to start going up and then I
• 33:42
  kind of just picture it in me head every single time.
• 33:45
  When he used to shoot weddings used to have disposable cameras
• 33:47
  that used to to give to people and we used to go around like
• 33:49
  just take the shots, kind of throw away stuff.
• 33:52
  And every time I press the shutter on that and round it on
• 33:54
  was just Shaun of the Dead. Every time I wind film on, it's
• 33:59
  just that really slow and every I kind of get away from it.
• 34:02
  Just the noise of it just brings home a couple of things I see
• 34:06
  all the time is this is a bummer man from Big Lebowski.
• 34:10
  This is a bummer man. And it's like it kind of takes
• 34:12
  the edge off some things, but people don't quite know what it
• 34:14
  is yet. And then it's like I'm enjoying
• 34:16
  my coffee. No matter what I'm having.
• 34:18
  If I'm having a fight and someone's leaving, I'm staying
• 34:19
  here. I'm enjoying my coffee.
• 34:21
  I do that all the time. And then every single hotel
• 34:24
  corridor. I don't care how long it is,
• 34:26
  it's The Shining. Yeah.
• 34:28
  No matter where I am in the world, it's just if it's a long
• 34:31
  hotel corridor, that is it. It's the Shiner.
• 34:34
  Inception. There.
• 34:37
  Upside down, just if it's a long creepy corridor, no matter what
• 34:41
  it is, it's just like, that's always smack to The Shining for
• 34:44
  me. Yeah, yeah, great zoom effect in
• 34:46
  your head. Yeah, always.
• 34:47
  Yeah. Yeah.
• 34:48
  I mean, love this question because my ideas are filled with
• 34:51
  affectations from movies and TV shows.
• 34:53
  Yeah. Some of the ones that came to
• 34:55
  mind. Whenever I make a sandwich I
• 34:57
  always tap the on top of the bread like a young Henry Hill
• 34:59
  and Goodfellas for some reason. Don't know why, don't know why,
• 35:03
  just do it. I always give a gun sign to a
• 35:06
  hand dryer when I turn it on like Mr. Orange and Reservoir
• 35:09
  Dogs. And a strange one.
• 35:11
  Whenever anyone mentions an ATM I always pause for a second and
• 35:15
  then say an ATM like Anton should go in no country for some
• 35:21
  reason. I don't know why it's in there,
• 35:22
  it's really weird. You'll be getting confused going
• 35:25
  are they talking about us? Is it ATR?
• 35:28
  Lots of fun on that question, Philip.
• 35:30
  Very nice. Thank you.
• 35:31
  Thank you, Philip. Thank you.
• 35:33
  And next we have a question from Lou Pellegrino.
• 35:36
  Hi, Lou. Hi, Lou.
• 35:37
  Hello, Lou. The greatest name of any ATRM
• 35:40
  patron ever? Yeah, this guy is.
• 35:42
  I love it. Yeah, Lou says.
• 35:45
  What is your favorite movie in which the main character does
• 35:47
  what you do for a living or something close to it when you
• 35:49
  are on podcast, Right, he says. I'm a public school teacher in
• 35:53
  the US and I find that most movies about teachers are pretty
• 35:56
  bad, but I really enjoy Hoosiers and Children of a Lesser God.
• 36:00
  Thanks for a great podcast. It's inspired me to watch a lot
• 36:03
  of movies I wouldn't have otherwise.
• 36:05
  It's an absolute pleasure, Lou. You're welcome.
• 36:07
  Yes, thank you, Miss, very kindly.
• 36:09
  Yes, Matt, over to you. I've just got a very nice drop,
• 36:13
  so this is a difficult question. It is, yeah.
• 36:16
  Well, involves watching a lot of TV, put it that way.
• 36:19
  Fair enough. Brilliant.
• 36:20
  Maybe the Truman Show, just the idea of watching that 24 hours.
• 36:23
  I think OK, lovely. Yeah, but.
• 36:26
  Like I say, it's a nice job. So it's it's not been
• 36:29
  represented accurately on film ever, as far as I can tell.
• 36:32
  Well, there's there's a niche that you need to exploit then.
• 36:35
  Well, you know, we've got got a question coming up about what
• 36:37
  film would we make? I'm going to make a film about
• 36:39
  my job. Brilliant.
• 36:41
  Excellent bums on seat for that one.
• 36:45
  Rivet and stuff, let me tell you.
• 36:46
  Sequel. The Videodrome, Yeah.
• 36:50
  What about you, Westie? Your job.
• 36:53
  Well, I'm a photographer. There was, there's quite a few
• 36:55
  to choose from and I like to keep myself to myself.
• 36:57
  So I want to say one hour photo, it's kind of top of the list.
• 37:02
  And I really enjoyed Civil War because that's what I think I
• 37:05
  do. You know what that means?
• 37:06
  When it's like what your parents think you do, what you think you
• 37:08
  do, It's kind of civil war. Yeah.
• 37:09
  The White House has fallen. And I would shoot film like
• 37:12
  that's not going to happen, is it?
• 37:13
  Not a million years. And every time I'm editing,
• 37:16
  because there is an element of retouch, there is an element of
• 37:19
  post processing that you have to go into.
• 37:21
  Would normally be in a dark room.
• 37:22
  Now everything's digital as they know it has been for years.
• 37:25
  But every time I try to enhance something or I take something
• 37:28
  out, or it's like you take a light switch out the background
• 37:30
  or something, I always zoom into it.
• 37:31
  And every single time I just say enhance 224 to 176 like a
• 37:35
  massive nerd from Blade Runner. Every time I zoom into
• 37:38
  something, it's either in my head or I say it out loud.
• 37:40
  And some people sat next to us going, what?
• 37:42
  What did you say? I was that doesn't matter,
• 37:43
  doesn't matter. Hands 220-4176 every single
• 37:46
  time. So yeah, that reminds us of
• 37:48
  that. Great.
• 37:49
  The one that came to my mind was Scorsese's After Hours.
• 37:52
  Griffin, don't play as Paul Hackett, a data entry clerk.
• 37:55
  Now, this isn't what I'd do for a living, but I've certainly
• 37:58
  done jobs as mundane as this in my time.
• 38:00
  Right? Paul's life mirrors.
• 38:02
  His job is dull and bore and just another face in the crowd.
• 38:05
  No action, no excitement. And then he goes on the wildest
• 38:08
  of rides downtown New York, filled with thoughts of weird,
• 38:11
  sexy and threatening in situations, and all he wants to
• 38:14
  do is get back to his boring world but keeps on getting
• 38:16
  thwarted. And there were many times doing
• 38:18
  a similar job that I wish I could have been whisked away to
• 38:21
  downtown New York for a few sexy rides.
• 38:23
  Sexy. Rides.
• 38:27
  It would be kind. We have a great way to put it.
• 38:29
  What about you, John? Yeah.
• 38:31
  Well, I mentioned before, but I worked in the creative digital
• 38:34
  industry for a few years, so I think the social network is a
• 38:37
  pretty obvious one. Less lawsuits and depositions
• 38:40
  for me, thankfully. But of course late night coding
• 38:43
  sessions and building something as a team.
• 38:45
  That's all very familiar. And I've worked with a couple of
• 38:47
  pretentious douchebags and fuck you flip flops as well.
• 38:51
  I bet you don't have you? Yeah.
• 38:56
  I've also been a designer, and the film that I didn't love but
• 38:59
  thought nailed parts of that kind of design industry
• 39:02
  experience was The Devil Wears Prada.
• 39:04
  Yeah. Fashion design but impossible
• 39:07
  deadlines, the crazy boss who's never happy getting feedback
• 39:10
  which makes no sense, and people who have no eye for like design
• 39:13
  or anything thinking that they're experts.
• 39:15
  All that stuff really rings true.
• 39:17
  And also it's not a film but Mad Men.
• 39:20
  I love the scenes. Now we're doing great.
• 39:22
  Pictures to the clients. Absolutely brilliant.
• 39:25
  Yeah, excellent. Thank you very much for the
• 39:27
  question, Lou. Yes, thank you, Lou.
• 39:29
  Thanks a lot, Lou. Our next question comes from
• 39:31
  Catherine Price. Hi, Catherine.
• 39:33
  Hi, Catherine. Hello, Catherine.
• 39:35
  Catherine says. What 2 movies would you say
• 39:37
  you've seen the most times in your life?
• 39:39
  Not necessarily your favorite movies, but the two movies
• 39:41
  you've rewatched the most. You can exclude Christmas movies
• 39:44
  if you want. Westie will be very happy to
• 39:46
  hear that, Catherine. I'm over the moon for that.
• 39:48
  Thank you, Catherine. Because, I mean, none of them
• 39:50
  would be in contention anyway, let's be honest.
• 39:53
  What would be Westie? There's a few that are kind of
• 39:56
  tired, but I've had to pick one that just, yeah, that kind of
• 39:59
  pipped it. Highlander.
• 40:00
  Brilliant. Probably watched that more than
• 40:02
  any other film. I just think because it was one
• 40:04
  of the very first films I got in VHS and I just kept watching it
• 40:08
  and just the artwork on the front of it, just it was like it
• 40:12
  felt like my film. Nobody else has seen it knew
• 40:14
  what nobody else knew what it was.
• 40:15
  My mom was annoyed with me dad because he got us in for
• 40:17
  Christmas and he said, oh, you know, they have to kill them.
• 40:19
  I've cut the heads off. So it felt like I was kind of
• 40:21
  naughty anyway. So I just watched it and watched
• 40:23
  it and watched it and I love it. I still absolutely adore that
• 40:26
  film and from the age of about 17 onwards, I think every single
• 40:31
  month I watch The Shining. So it'll be The Shining for me
• 40:34
  to just constantly, if it's not on physically, it's playing in
• 40:37
  me head somewhere. So yeah, them two films for me
• 40:40
  in a. Hotel room corridor.
• 40:42
  In a hotel room car. That's why I keep thinking of
• 40:44
  it. I mean, all the answers could
• 40:45
  probably relate to The Shining, if I'm honest.
• 40:47
  Yeah, I've seen that countless times.
• 40:49
  I know. Inside out.
• 40:50
  Yeah, well, I've mentioned one of them already.
• 40:52
  It's Midnight Run, the film I've seen hands down, more than any
• 40:55
  other. Yeah, well, two hours of the
• 40:58
  most beautiful character writing, situations, comedy,
• 41:00
  action and locations to die for all of them.
• 41:03
  The other one I think is the burbs.
• 41:06
  Right. Nice, Yeah.
• 41:08
  I saw when it first came out late 80s, have watched it
• 41:10
  regularly since. That's well over 35 years of RE
• 41:13
  watches. I really wouldn't be surprised
• 41:15
  if it's at least once a year on average.
• 41:19
  Never gets old, never gets tired.
• 41:20
  It's. A wonderful thing.
• 41:21
  I do like to sometimes look out the window, spend some of my
• 41:24
  days looking out at my neighbors, just hoping that one
• 41:27
  of them is the Club X. Just just a little.
• 41:30
  Just a little. Daydream of myself.
• 41:33
  Missus comes out, you're in the garden just trying to get some
• 41:35
  goddamn sleepy. Smoke a few cigars outside
• 41:39
  outside the house. Yeah, Outside, obviously all
• 41:41
  those are beauties. You got to mix men with those.
• 41:44
  And over to you, John. Most watched.
• 41:46
  Yeah, well, there's loads I've seen many times, obviously the
• 41:49
  original Indiana Jones and Star Wars trilogy from when I was a
• 41:52
  kid. As a teenager.
• 41:54
  I had The Matrix on repeat for a good while, yeah.
• 41:57
  Brilliant. Not revolutions, obviously.
• 41:59
  No, no, no better than. That.
• 42:02
  But Catherine asked for two, and there's two, I'm going to say,
• 42:05
  because the only films I remember watching as an adult
• 42:08
  and as soon as they were finished, put the screen back on
• 42:10
  again. Oh yeah.
• 42:11
  So one's Back to the Future. It is pretty much perfect, I
• 42:15
  think. Yeah.
• 42:16
  And the other is Amadeus, which is obviously a weird choice. 3
• 42:21
  hours of classical music and F Marie Abraham being furious.
• 42:24
  But get those on back-to-back and you've got films about one
• 42:27
  of history's biggest musical geniuses and then Mozart.
• 42:30
  So a great combo. We finally do Amadeus and I'm
• 42:34
  still going on about it. As if we haven't.
• 42:36
  I know, I know. I thought it would have put that
• 42:39
  to bed. Yeah.
• 42:40
  No, no. We'll bring that work in there
• 42:42
  that can replace it that replace it that's.
• 42:44
  Fine, and what about you, Matthew?
• 42:45
  Most watched. Well, the burbs would be 1 for
• 42:48
  me as well because I like you. I'll watch when it came out.
• 42:51
  Just remember it. To me it's a summer holiday
• 42:53
  film. So I remember as a kid summer
• 42:55
  holidays. I literally would rent it to
• 42:57
  take it back and rent it again so I could watch it two or three
• 42:59
  more times during the week. And I would do that for about 3
• 43:01
  or 4 summers right as a kid now, obviously grew up a little bit,
• 43:04
  but even now it's it's one of those other two yearly rotation
• 43:07
  every summer, of course, like the burps goes on.
• 43:10
  So that would definitely be up there.
• 43:11
  And the other one would probably be the thing just really pivotal
• 43:14
  film for me, one where I really like pleaded with me parents,
• 43:19
  like will you buy it for us? Like it's not going to give us
• 43:21
  nightmares. It's just brilliant.
• 43:22
  And I remember for some reason it was all something I would
• 43:25
  watch last thing on a Sunday before going back to school on
• 43:27
  the Monday. It would just put in the right
• 43:29
  frame of mind to to get in. The right frame of mind.
• 43:32
  Yeah, yeah, yeah, yeah. But it's got to be better than
• 43:34
  the the bleakness of this. End Yeah, the Sunday's scary.
• 43:38
  Sunday Blues, Yeah. So you're walking into school on
• 43:40
  the Monday with that massive hat on.
• 43:42
  Yeah, yeah, yeah, yeah. Choppering yourself in, yeah.
• 43:46
  J&B straight down the neck. Nobody trusts anybody anymore.
• 43:51
  We're all very tired and it's Monday morning.
• 43:53
  Great. Thank you very much, Catherine.
• 43:55
  Yes, Thank you, Catherine. Thank you, Catherine.
• 43:57
  Our next question is from Tim Bruce Alert.
• 43:59
  Hi, Tim. Hi, Tim.
• 44:01
  Hello, Tim. Tim, great question.
• 44:02
  In all of world history, who would you pick as the 5th member
• 44:06
  of ATRM to talk movies with on your show?
• 44:08
  Wow. OK, all of world history.
• 44:11
  What a question, Tim. You know, it'd have to be
• 44:14
  somebody we all get along with, who would get our sense of
• 44:17
  humour, who would add a different dimension.
• 44:20
  I had a number of contenders to the Crown, Gandhi or Nelson
• 44:24
  Mandela. You know, it's a tough choice,
• 44:27
  of course. Yeah, but I'm keeping it fairly
• 44:29
  modern. Well, very modern actually.
• 44:31
  I'm going with Natasha Lyon. I've mentioned mine with her in
• 44:34
  the past. She's in Russian Doll, Poker
• 44:36
  face, Orange is the New Black, his three daughters, Lords more.
• 44:39
  She. I just think she would be a
• 44:41
  perfect. And this is a shout out if she's
• 44:42
  interested, because she would. She would get all the pop
• 44:46
  culture references. She'll add a load of her own.
• 44:49
  She's incredibly funny, smart, articulate, magnetic, engaging.
• 44:53
  It's a no brainer. Very nice.
• 44:55
  It's not her then. Eric Morgan if she's not
• 44:58
  available. Oh, lovely.
• 45:00
  Yeah. Very nice funny bones.
• 45:01
  Yeah, brilliant. What about you, John?
• 45:04
  5th member of the 80 RM crew. Yeah, I mean, the first name
• 45:07
  that spring to mind, probably because we're talking about them
• 45:09
  so much, was Roger. You bet.
• 45:11
  Roger the Dodger. Lovely.
• 45:12
  Yeah, nice. So.
• 45:13
  What did big ROG think? Group asking for real.
• 45:16
  Yeah, I mean. If you were still with us, he'd
• 45:17
  surely have a podcast, so thank God he's not.
• 45:21
  We'd be done for. But in terms of film makers, I'd
• 45:25
  love to pick the brain to Billy Wilder.
• 45:26
  Great one liners from him obviously, and Stanley Kubrick
• 45:29
  as well, get him to explain himself once and for all.
• 45:33
  But I'm going with a very left field choice in Dorothy Parker.
• 45:37
  So she was this legendary writer and critic from like the 1920s
• 45:41
  onwards, I think The New Yorker, she was a screenwriter as well
• 45:45
  and she was on the Hollywood blacklist in the 50s.
• 45:47
  But she's so great. If you've not read writing I'd
• 45:50
  highly recommend it. She's hilarious and never pulled
• 45:53
  any punches when writing Hollywood.
• 45:55
  Biking. Yeah, Which is?
• 45:56
  Basically what got a blacklisted so should fit me in nicely.
• 45:59
  I would achieve 100% have a podcast as well if she was still
• 46:02
  around the day. Yeah, definitely be listening to
• 46:04
  it. So brilliant.
• 46:05
  Either Park or EBIT together at last.
• 46:08
  Nice. Excellent.
• 46:10
  What about you, Matt? On a similar vein to EBIT
• 46:13
  really, but I'd have a big Baz Norman.
• 46:16
  Oh yeah, lovely. I love it.
• 46:18
  I mean somehow we've never mentioned him like his opinions
• 46:21
  on films when we really should have.
• 46:22
  Because for listeners outside the UK for a while he was like
• 46:27
  the pre eminent British film critic.
• 46:29
  It was what's Barry Norman think?
• 46:32
  You know, film 9293, whatever it's called obviously changed.
• 46:35
  If you was like a staple for me, you've watched it because when
• 46:39
  the film came out, I wanted to know what does Barry Norman
• 46:41
  think of it? He was like the deal.
• 46:43
  So obviously sadly no longer with us.
• 46:45
  But if he was, I'd love to get Barry Norman on.
• 46:47
  There was a time I would say all of the 90s, like if you used to
• 46:50
  talk about films would be like Ari, Barry Norman, every single.
• 46:53
  Time you would Yeah, yeah, yeah, yeah.
• 46:55
  And that was an insult, apparently.
• 46:57
  Apparently I. Like talking about films?
• 47:00
  Yeah. Westie 5th member of the ATRM
• 47:04
  crew. Genghis Khan?
• 47:08
  No, I would go, I mean, I'd have to go direct as I kind of looked
• 47:12
  further, but I don't quite know where they would, where other
• 47:14
  people would sit. Hitchcock, I would love to have
• 47:17
  involved. He'd have the answer to
• 47:18
  everything, but he would just have so much intellect in.
• 47:21
  Them I thought well. Just a massive cigar in there.
• 47:24
  Just plume of smoke being incredible on the video.
• 47:30
  Scorsese, I mean, who's better living now, knows more about
• 47:34
  film, really Easter. But just be an encyclopedia and
• 47:37
  it's really engaging, really funny, and I think you would
• 47:39
  like literally know everything, but at the same time be really
• 47:43
  interested. Know what everyone else's
• 47:44
  thoughts were on things. I think he's just a very
• 47:46
  accessible guy. And finally, just selfishly, I
• 47:50
  don't know how well it would do, but just to kind of get somebody
• 47:53
  else's view on visuals and how they've changed and how
• 47:56
  important that is and how it looks now.
• 47:58
  I would like right back at someone like Edward Hopper and
• 48:01
  just say like what? Yeah, brilliant.
• 48:03
  What do you think of how this looks?
• 48:04
  So like I'd get Caravaggio and then show him, wrote the
• 48:07
  petition. Just be like, what are you
• 48:08
  getting from Godfather? Be like, look at that.
• 48:11
  I'd be like, wow. It's just moving imagery.
• 48:13
  It just it. Just copied me.
• 48:16
  Just be the cherish hero of it, the light and dark it just I
• 48:19
  would just even just one episode just to go over like
• 48:22
  cinematography with. Of course he looks Caravaggio,
• 48:25
  doesn't he? Yeah.
• 48:26
  Yeah, just something like that would be incredibly interesting.
• 48:28
  But I can't, I can't give a definitive answer apart from
• 48:31
  Martin Scorsese. So that's that's my shout.
• 48:33
  Out if you brilliant. Good one, Marty.
• 48:35
  Yeah, 4 great choices and thank you Tim.
• 48:38
  Lovely stuff. Yes, Thank you, Tim.
• 48:40
  Thanks, Tim. Our penultimate question comes
• 48:42
  from Kim Jackson. Hello, Kim.
• 48:44
  Hi, Kim. Hello, Kim.
• 48:46
  Kim says. Has your amazing ATRM journey
• 48:48
  unfolded the way you thought when you recorded your first
• 48:51
  podcast? What outlandish dreams do you
• 48:53
  have for the future? Can you tell us about the book?
• 48:55
  Thanks for inviting us to be part of the ATRM family.
• 48:58
  I'll tell you what beautiful words.
• 49:00
  Thanks for being part of it, Kim.
• 49:01
  Thanks, Kim. Thanks a lot for being there
• 49:03
  from the start. Yes, indeed, John, do you want
• 49:06
  to take that first? Yeah.
• 49:07
  I mean, has that unfolded how I thought?
• 49:10
  I would say not really, because I mean, what we do is still such
• 49:13
  a young thing. Like digital content creation is
• 49:16
  still evolving all the time. So it's really hard to know
• 49:18
  where we'll be from kind of one year to the next.
• 49:21
  You can have an educated guess, but also you've got to roll with
• 49:24
  it. It's a great thing one sang.
• 49:26
  I've just gone full time with ATRM about six weeks ago, which
• 49:29
  is exciting and terrifying at the same time.
• 49:31
  So looking forward to seeing where we can go in the coming
• 49:33
  months. And As for Outlandish Dreams, I
• 49:35
  mean, I'd love to have an ATRM office, full Time Team of like
• 49:40
  great people helping us out on various things, making stuff
• 49:42
  that we love. Not sure if it's possible, but
• 49:44
  we're going to try. So I guess time will tell.
• 49:47
  Yeah. And the book, yeah, it's coming
• 49:49
  along, came. Thanks.
• 49:50
  We have to submit the manuscript next month or the month after
• 49:54
  November to our publisher. And the publisher is like 2026,
• 49:57
  although that's not confirmed and takes a while to go through
• 50:00
  all the editing processes and stuff, so.
• 50:02
  Watch this space, please. Yes.
• 50:04
  Exciting stuff and. We'll keep you updated.
• 50:06
  What about you Matt? Your ATRM journey.
• 50:09
  Similar to John, No, I didn't think it would.
• 50:11
  Who would be anything like it has been like?
• 50:13
  John No, No, no, no. You know, when I first jumped on
• 50:19
  to do that rank and cubic, I thought, oh this will be a laugh
• 50:22
  and it might be 1. You were wrong.
• 50:25
  Yeah, I'm wrong. It was.
• 50:28
  Like say if I was going to be 1 and done, Nope.
• 50:29
  In it for the long haul. Trap.
• 50:32
  Yeah, Trap forever now. I just think of some of the
• 50:35
  mental thing, not necessarily me that's done that, but some of
• 50:38
  the crazy things that's happened with us.
• 50:40
  Like if you'd said we'll do a podcast with Curtis, Steiger has
• 50:43
  talked about his favorite movies.
• 50:45
  Well, no, that's not going to happen, obviously.
• 50:47
  What bizarrely that was. I think some of the interactions
• 50:50
  were far. Like, do you remember the the
• 50:53
  kind of mild panic we all had when we put up the the Hot Fuzz
• 50:57
  tweet thread and Edgar Wright started fact checking it one by
• 51:00
  one? Yeah.
• 51:01
  All right. Edgar Wright's actually fact
• 51:03
  checking it. This is all right.
• 51:06
  Fine. Exactly.
• 51:07
  He went well. He.
• 51:08
  Said it was 98.5% correct, so we'll.
• 51:11
  Take that. I think he also said why let the
• 51:14
  truth get in the way of a good story, which I love that quote
• 51:17
  exactly. That's great.
• 51:18
  Yeah. So if you're said that to me at
• 51:20
  the side, I said no, that truly can't happen.
• 51:23
  That's just really outlandish. So yeah, it's just been
• 51:26
  constantly surprising and I imagine there'll be many more
• 51:29
  surprises still to come. Yeah, no doubt.
• 51:31
  I mean, the directors have been in touch.
• 51:32
  Christopher Macquarie got in touch.
• 51:33
  Yeah, yeah, It's to say we love what we did.
• 51:36
  Yes, yeah, yeah, it's very nice. Popular.
• 51:39
  Popular in more ways than one. Nice.
• 51:41
  Yeah, it's lovely, It's lovely. What about USD or ATRM journey?
• 51:45
  I mean, yeah, I don't, I don't really tend to stop to reflect
• 51:48
  much because I think we're just, we're going at a pace where it's
• 51:51
  just it's very enjoyable and there's always something to talk
• 51:54
  about. There's always something new
• 51:55
  coming up. So we don't really get the
• 51:57
  chance to sit and go. Wasn't that lovely because we're
• 51:59
  right in the middle of it. So it's just, you know, it's is
• 52:01
  part of the journey and it keeps going.
• 52:03
  I mean, it's gotten a lot more streamlined than it has.
• 52:05
  I think it's gotten a lot more professional.
• 52:07
  I think we've trimmed a lot of the fat off from where we've
• 52:09
  come from, but I think the beautiful thing is that you can
• 52:11
  see where we've come from. If you sound repatrion, you can
• 52:14
  go back to them earlier episodes and you can kind of see how
• 52:16
  we've actually shaped the the episodes and everything that we
• 52:19
  put in here. I think it's a real commitment
• 52:21
  from everybody and a real commitment, our friendship as
• 52:24
  well, that we're still here doing it and still, you know,
• 52:26
  entertained by each other, which is really nice and really kind.
• 52:29
  But I think it works because we've all got the roles and we
• 52:34
  all have respect for each other's roles and respect for
• 52:36
  each other. And I think we all bring
• 52:37
  something new to the party. Even when it's a film that we've
• 52:40
  all spoke about 400 times, you know, we'll get to focus on it
• 52:44
  and say like, well, you know, we're talking about RoboCop,
• 52:47
  We'll talk about Lord of the Rings again.
• 52:48
  It's like, yeah, but we're, you know, we're really going to talk
• 52:50
  about it this time, you know, so there's, there's different
• 52:52
  elements of it. But yeah, I mean, it's just such
• 52:55
  an enjoyable ride. You know, I'm, I'm not looking
• 52:57
  at the the second drop of the roller coaster because I'm still
• 52:59
  on it. So I'm just having a good time
• 53:01
  with my hands in the air. To be perfectly honest with you,
• 53:02
  I'm not, I don't remember queuing for the ride.
• 53:05
  I just remember being on it and it's good and I'm enjoying it
• 53:07
  and we all are. So on what?
• 53:09
  Not what I say. Too right?
• 53:10
  Absolutely. We told Lord of the Rings the
• 53:12
  episode, not before. When we don't wait for that,
• 53:15
  it's going to be hilarious. I reckon it'd be absolutely
• 53:18
  epic. So.
• 53:19
  There's lots of things that I'm looking forward to talking about
• 53:22
  where, you know, if we're sitting in the pub, we wouldn't
• 53:24
  actually get to it and I'd come home and be like, oh shit, I
• 53:26
  should have mentioned that. Where is this?
• 53:27
  We'll get the chance to write it all down, to guess we're talking
• 53:29
  about it all. We'll know we're fitted all in.
• 53:32
  So it's nice to have a structure to put at the same time, have
• 53:34
  that relaxed vibe where we can bring what we need to bring to
• 53:37
  it. Yeah, yeah, absolutely.
• 53:38
  Stirring a lot of unique into the pot.
• 53:41
  Yes, yeah, it works. It it certainly does, and when
• 53:45
  John Wesley and I went to see his Golden Messenger live in
• 53:48
  Leeds, I didn't expect a slightly drunken conversation to
• 53:52
  have morphed into what we've created.
• 53:55
  Or a pizza restaurant. Sorry.
• 53:57
  Yeah, that's right. Yeah.
• 53:58
  Yeah. Incredible.
• 53:59
  Went back and recorded aliens on me phone. 17 minutes of aliens.
• 54:03
  We we sat and talked about aliens for with no structure
• 54:06
  whatsoever, and I must have that somewhere and I don't know where
• 54:08
  it is we. Do have it.
• 54:09
  It's somewhere. We'll have it somewhere, but I
• 54:11
  mean you'll. Never hear it?
• 54:12
  Nonsensical, absolute garbage, but that was the birth of
• 54:17
  something. It was a good idea.
• 54:18
  And, and me, I think me and Luke drove back because John was, had
• 54:21
  lived in the Leeds at the time, drove back and we listened to it
• 54:23
  in the car on the way back and actually went, you know what?
• 54:26
  This isn't bad. Too bad too.
• 54:27
  Bad. I think I was still drunk.
• 54:29
  You weren't. Because you were driving.
• 54:31
  I think I went a little bit crazy into the early hours.
• 54:34
  So I was like, this is great. And you're like, well, you know,
• 54:36
  some of it's all right as you do now.
• 54:42
  Supposed to be shell like that's amazing.
• 54:44
  Like Westie, let's just, you know, Yeah.
• 54:45
  Well. It's done that it's.
• 54:47
  Immediate find. That's fine.
• 54:48
  Yeah, that will make the. End I would love you 3 just to
• 54:50
  walk around every day with us and just be like just.
• 54:54
  Snip beside. Just through the fat of all the
• 54:56
  bullshit as I go through. That'll be perfect.
• 54:59
  Live editing. I don't think we expected too
• 55:04
  much from those first few episodes and and we didn't get
• 55:07
  loads, but considering we were absolute nobodies, I think we
• 55:10
  did very well and we've grown well beyond our expectations
• 55:14
  since that opening day. Yeah.
• 55:16
  And what I will say is that yeah, we've created this, of
• 55:19
  course, but one of the things that makes us who we are is our
• 55:22
  listeners, the engagement we get from you guys, the wonderful
• 55:25
  words we get, particularly from our incredible Patreon community
• 55:28
  as well. So yeah, again, thank you.
• 55:31
  Future plans. I mean, you know, Sky's the
• 55:32
  limit for us. I think we're not just limited
• 55:34
  to podcasting, although that is our first love.
• 55:37
  I think my ultimate goal would be movie producing.
• 55:40
  That would be now with the hey, you know, I'm going to hear a
• 55:43
  few sneakers in the back there. But you know what, just go.
• 55:46
  Let's do it. ATRM Productions.
• 55:50
  Let's get it in there. So yes, my little snapshot of
• 55:54
  the Future, Past and present there, Kim.
• 55:57
  Very nice. Thank you for the.
• 55:58
  Question And our final question comes from Ryan Chippo, another
• 56:03
  long time listener. Hi, Ryan.
• 56:05
  Hello, Ryan. Hello, Ryan.
• 56:06
  Ryan a big one here, he said. I'd be interested to hear what
• 56:09
  film each of you would make. What's the plot?
• 56:11
  What's the title of the film? Who's direct and who's starring?
• 56:14
  You've got an unlimited budget from the studio in brackets.
• 56:17
  Westie will probably include ADP as well.
• 56:19
  You're absolutely right, Ryan. Correct.
• 56:22
  But Matt, it's over to you first.
• 56:24
  What's your magnum opus? There's a Stephen King novel
• 56:28
  called The Dark Half and it didn't make a version of it, I
• 56:31
  think early 90s, but it's pretty bad.
• 56:33
  If anyone hasn't read it, basically it's about obviously
• 56:35
  because it's Stephen King. It's about a writer who has like
• 56:38
  issues but he's created a pseudonym to write some of the
• 56:41
  most successful novels. But he he kills the pseudonym
• 56:44
  off and he does a fake burial for it.
• 56:47
  But the pseudonym character actually comes to life and so
• 56:50
  it's going on a rampage. Tries to get the original author
• 56:53
  and try Spacey take all his life.
• 56:56
  Like King killing Batman. Yes, that's exactly what it is.
• 56:59
  It's king kill enough back when but comes back for revenge.
• 57:03
  It's really it's really underrated novel and I think it
• 57:06
  would do really well as a film of someone who could do it just
• 57:09
  to saw. I would make that I would have
• 57:11
  Rose Glass director because she made St.
• 57:13
  Maude. So she's got horror trophies.
• 57:15
  Excellent. And then she made Love Lice
• 57:17
  bleeding. So she had the ability to go
• 57:19
  from a very provincial British horror to this American film so
• 57:22
  she could do the the American aspect of the justice.
• 57:25
  I would have Oscar Isaac as the author and then as is kind of
• 57:29
  sinister pseudonym come to life. Tom Hardy.
• 57:32
  Right. Wonderful stuff.
• 57:35
  Excellent. Yeah.
• 57:37
  What about you, Westie? Here it comes.
• 57:41
  The one everyone's waiting for. Well, I've already it's already
• 57:43
  been written. It's fine.
• 57:45
  I've had this in my mind for a while.
• 57:46
  You know from the day, day dot really that right.
• 57:49
  OK, It's it's Stanley Kubrick's Western.
• 57:52
  Kubrick is made of perfect film on every genre, I think, and
• 57:56
  never got to make a western. So that's your first pitch.
• 57:59
  This is Stanley Kubrick's Western.
• 58:01
  Obviously he's not around anymore to direct it.
• 58:03
  So it's called A Town Called Redemption.
• 58:06
  Brilliant. All right, so there's a retired
• 58:09
  hired gun settles down. So think like kind of unforgiven
• 58:12
  territory, All right? But this guy is played by Daniel
• 58:16
  Day Lewis. Of course.
• 58:18
  It. Is I mean that he settles down,
• 58:20
  he gets some land only to find the residents of the closest
• 58:23
  town and not what they've seen because he goes into town to get
• 58:25
  supplies. Everything's just a bit weird,
• 58:28
  so. Nice.
• 58:29
  Directed by Scorsese. Lovely.
• 58:31
  OK, Yeah. So we've got a little bit of
• 58:33
  pull. Not Kubrick.
• 58:34
  No, this is Kubrick's West and Kubrick's dead.
• 58:36
  This is actually going to happen, all right.
• 58:38
  So like if Kubrick was going to direct the Weston, it's shot
• 58:40
  like Kubrick would shoot is. It like, yeah, Is it like AI in
• 58:44
  the hands of Spielberg? This is in the hands of
• 58:46
  Scorsese, that kind of. Deal.
• 58:47
  That kind of thing. Yeah, of course he's just going
• 58:49
  to, you know, Emmanuel Labeski is going to shoot it.
• 58:51
  Or height, fan, height toy, whoever is whoever's available.
• 58:53
  So it's going to look fan. Whoever's available, it's your
• 58:56
  fantasy you can choose over. Your well Leweski then, so he's
• 58:59
  going to shoot. It's going to look fantastic
• 59:01
  stuff Timecore Redemption, unlimited budget lovely.
• 59:03
  So they're not what they seem in the town, right?
• 59:07
  But right, here we go. Here's the twist, vampires.
• 59:11
  Brilliant. But moonlight kills them, not
• 59:14
  sunlight. Kind of a reverse vampire, so.
• 59:17
  Everybody, the mythology. I love it.
• 59:18
  Exactly. So we're messing with the
• 59:20
  thought. So the only thing that can kill
• 59:21
  them is silver. So he finds the silver bullets.
• 59:24
  Now, down here there, Lewis's character has built his
• 59:26
  homestead and he finds a silver mine underneath it, so he's the
• 59:29
  only one of them take these fuckers out.
• 59:30
  All right? So it's kind of quick in the
• 59:31
  dead kind of thing, where there's this whole kind of quick
• 59:34
  draw thing where they always win.
• 59:36
  I'm working on it. I'm working.
• 59:37
  On OK. Lewis is in there.
• 59:39
  Anthony Hopkins plays his neighbor.
• 59:41
  That's going to be good. He tells them the story of these
• 59:43
  reverse vampires and he's like what you're talking about, then
• 59:45
  goes and finds out and the bad guys.
• 59:47
  Al Pacino plays the oldest one who's like, you know, grizzled
• 59:51
  old vampire dude. And Gary, old man's in there
• 59:53
  with him. Brilliant.
• 59:55
  So that's the build, the squad around that.
• 59:57
  That's a town called Redemption. It's going to it would be good
• 59:59
  reverse vampires. But I love it.
• 1:00:00
  Kubrick. I love it.
• 1:00:02
  Lovely. Oh, brilliant.
• 1:00:04
  Of course, All in Spanish. Yellow titles on the Mexican
• 1:00:09
  border on the Mexican. Border yellow titles.
• 1:00:11
  Sure, you're going to end with Hopkins saying only thing about
• 1:00:13
  redemption. All the damn vampires.
• 1:00:15
  Brilliant. Maybe.
• 1:00:17
  Yeah, I'll put that in the first draft.
• 1:00:18
  I'll see. Yeah.
• 1:00:19
  You might eat someone's liver. We'll start.
• 1:00:21
  Lovely. Lovely.
• 1:00:22
  Excellent. And well, I've always had in
• 1:00:25
  mind a sweeping crime epic set in New York.
• 1:00:28
  I mean, obviously, obviously about the 80s crack epidemic
• 1:00:31
  that hit the shores, covering all the five boroughs from the
• 1:00:34
  decaying Bronx to the upper 5 Wall Street.
• 1:00:37
  It's cultural. It's societal impact, looking at
• 1:00:40
  all walks of life. I genuinely do think that would
• 1:00:42
  be a great story. I think it's an untapped
• 1:00:44
  narrative. The only thing that comes close
• 1:00:46
  to it is New Jack City. But this would blow Van Peebles
• 1:00:49
  out of the water. Yeah.
• 1:00:50
  Of course. I'm having Spike Lee in the
• 1:00:52
  directors chair and the film is just going to be stuffed with
• 1:00:55
  all my favorite character actors.
• 1:00:58
  So it's going to have John Leguizamo, Louise Guzman, Keith
• 1:01:01
  David, Michael Imperioli, Bobby Canavali, will even AI Dennis
• 1:01:04
  Serena in there as a tough nose cop.
• 1:01:06
  Love it. Get it all in there.
• 1:01:08
  Love it and we're calling it solid rock.
• 1:01:10
  Oh that's bad. There it is.
• 1:01:12
  There it is. Yeah.
• 1:01:13
  And that's on wax now it's still just in case anybody steals the
• 1:01:16
  idea our episode at a time stamped.
• 1:01:18
  So if solid rock comes out in three years time I'll be
• 1:01:20
  furious. Doubtful.
• 1:01:22
  Doubtful. That's.
• 1:01:23
  Why? It's your own productions,
• 1:01:25
  obviously. Yeah, there you go.
• 1:01:26
  Lovely. Yeah.
• 1:01:28
  And John, you're going to bring up the rear.
• 1:01:30
  Bring it home. Yeah, well, this kind of goes
• 1:01:33
  back to what I said earlier. When I was younger, I loved
• 1:01:35
  writing stories. Like, we wrote loads as a kid,
• 1:01:37
  and then later on I actually wrote a couple of pretty
• 1:01:40
  detailed treatments that will flesh out enough that could have
• 1:01:42
  been turned into screenplays if I'd been so.
• 1:01:45
  Oh yes. Happy to bore you with what the
• 1:01:47
  main one was about if you'd like.
• 1:01:49
  Go for it. Go for.
• 1:01:49
  It everybody's bated breath. So I describe it as a bit like
• 1:01:54
  Blade Runner, a bit like Escape from New York.
• 1:01:57
  Brilliant, right? Although probably as good as
• 1:01:59
  Escape from LA. Right.
• 1:02:02
  Don't put yourself down. Don't don't stop your picture.
• 1:02:04
  Some people like that, yeah. It was cold when a city falls,
• 1:02:09
  certainly dystopian future, obviously, where the US
• 1:02:11
  government has created all these man made islands off the coast
• 1:02:14
  to combat overpopulation. And the main in the biggest
• 1:02:17
  island has turned into very much the rich on one part of the
• 1:02:19
  island, they're not rich on the other.
• 1:02:21
  So it was an action adventure thing set on that one island.
• 1:02:25
  Massive. It would have cost $400 million
• 1:02:27
  to make it, but Christopher Nolan style action, but with big
• 1:02:31
  themes about like society and class, capitalism, identity, you
• 1:02:35
  know, like all the light stuff that students would like
• 1:02:37
  spending lots of money on. So yeah, I reckon $40 million to
• 1:02:41
  make it, probably 300 million to market it because no one's heard
• 1:02:44
  of it or me from the writer who brought you nothing.
• 1:02:48
  So yeah, I'll be sticking to the podcast, I think.
• 1:02:51
  But that was all fleshed out into an entire story, end to
• 1:02:54
  end. Nice.
• 1:02:55
  That'd be a good series for Netflix.
• 1:02:57
  Yeah, it. Could work as a series, yeah.
• 1:02:58
  In terms of who was going to do it, I had when I was writing it,
• 1:03:01
  I had Ryan Gosling in my mind as the lead, I remember, and
• 1:03:05
  directing it Westy, obviously. Oh, there.
• 1:03:08
  You go. I mean, I might be busy with a
• 1:03:10
  sound called redemption, but we'll see What the.
• 1:03:13
  Blows out. I might be busy, I might, I
• 1:03:17
  might be doing whatever it's called.
• 1:03:20
  Sorry mate, I've got a lot on. Loads on I'm not doing a massive
• 1:03:24
  Netflix series. Wonderful stuff.
• 1:03:28
  Well, thank you very much for the question, Ryan.
• 1:03:30
  Our final question. Yes, thank you.
• 1:03:32
  It was excellent. It was a good one.
• 1:03:34
  And that's the end of it. Thanks to Stuart, Kate, Damien,
• 1:03:37
  Andrew, Phillip, Blue, Catherine, Tim, Kim and Ryan for
• 1:03:40
  your contributions, and thanks to everyone else who submitted a
• 1:03:43
  question. We will get to you eventually.
• 1:03:45
  Yes. Thank you so much guys.
• 1:03:46
  Keep. Me, everybody on them.
• 1:03:47
  Yeah, Much appreciated. And if you'd like to submit a
• 1:03:49
  question for the next Q&A episode, you can sign up to
• 1:03:52
  become a an ATR mpatron@patreon.com/all the
• 1:03:55
  right movies. Becoming a patron will also give
• 1:03:57
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• 1:04:01
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• 1:04:04
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• 1:04:08
  It is. You might also become a patron
• 1:04:09
  of the month. A couple of our question askers
• 1:04:12
  there were Patron of the Month, I believe.
• 1:04:13
  All right. Nice.
• 1:04:14
  Yeah. Yes, that's right.
• 1:04:15
  Yeah, Yeah. So that's you get yourself in
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  the running for that if you can sign up to be a patron and
• 1:04:20
  untold riches. Yeah.
• 1:04:21
  Untold. We can't promise you that, but
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  no. No, just a.
• 1:04:24
  Shout. That's why they're untold.
• 1:04:26
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  please consider taking a couple of minutes out of your time to
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  And a nice write up would also wouldn't go amiss of.
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• 1:04:57
  Coming next for all the right movies, King Kong and got shit
• 1:04:59
  on Westie Madden as we hit the earlier mean streets with
• 1:05:02
  Detective Alonzo Harris. It's Denzel at his best in
• 1:05:05
  training day a one. I'm very excited about you.
• 1:05:07
  You 2 guys are as well. King Kong copycat.
• 1:05:11
  Bloody pathetic. I'm still on trouble.
• 1:05:15
  Is that the first Denzel on the on the podcast?
• 1:05:18
  I believe it is. I think it is, you know.
• 1:05:20
  That is crazy that. Is I mean what a weirdest start
• 1:05:24
  us off it's a good. One, yeah, it's a big start at
• 1:05:26
  the back. Then two weeks after that, if he
• 1:05:29
  didn't think could get any bigger, it bloody well can.
• 1:05:32
  You know, John, Matt and Wesley are at the start of a
• 1:05:36
  magnificent journey as they go behind the scenes on the
• 1:05:38
  enormous, the gargantuan, The Lord of the Rings, the
• 1:05:42
  Fellowship of the Ring. Yes.
• 1:05:44
  They went back again. Going to be super sized isn't it
• 1:05:48
  John? The biggest, the biggest hello
• 1:05:53
  to look forward to this month, not to mention as well brand new
• 1:05:55
  episodes of our peer and exclusive podcast Double Feature
• 1:05:58
  and the watch List. So loads going on indeed.
• 1:06:01
  And as ever, we are active all day, all night on social media.
• 1:06:04
  You can catch us on X blue sky, Instagram threads, TikTok, our
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  Facebook group and our website, which is all the right
• 1:06:10
  movies.com. And that is a wrap everyone.
• 1:06:14
  Thanks once again to our patrons for your questions.
• 1:06:16
  And if you want to be in the hot seat, sign up to support us on
• 1:06:19
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• 1:06:22
  Thanks for listening guys. Like love you all.