Chris Addison • Films To Be Buried With with Brett Goldstein #148

You're right. Every week I invite a special guest over. I tell them they died, then I get them to discuss their life through the films that meant the most of them. Previous guests include Kevin Smith, Sharon Stone, Jamila, Jamil James, a caster, and even Ked Pambles. But this week it's the incredible mister Chris Addison. Head over to the Patreon at patron dot com forward slash Brett Goldstein, where you'll get an extra thirty minutes with Chris. We

chat about openings and closings. You get a secret from him, You get even more of the whole episode, uncut and ad free as a video. You get all sorts of stuff. Check it out over at patreon dot com. Forward Slash Brett Goldstein big news this week if you missed it last week. I will be doing a live Films to be Buried with at five o'clock on the third of July at the Underbelly Festival in London. That is the third of July, five in the afternoon. Is that early evening.

Call it what you like. It's a five. You're better be there. I'll be there with an amazing guest. We'll do a live show and then at the end we'll do a Q and A with the audience and you can tell me the films that meant the most of you. It will be cracking your two TV missions as always had to watch season one of ted Lasso on Apple TV plus app and season one of Soulmates on Amazon Prime. One will make you very happy, the other will make

you question your partner. So Chris Addison, Chris Addison is a stand up He's a writer, He's an act say, he's a producer. He's a Hollywood director. He's had the most amazing career. He's made the thick of It, He's made Veep. He's directed Anne Hathaway in Hollywood movies. He's done all the things you could dream of doing, and he's done them all excellently. This recording was our first conversation ever, and I've got to say he was a

fucking delight. I think you're gonna love this one. We recorded it over zoom and for once, both microphones were excellent. This is the best sounding podcast I've done in ages, so you'll enjoy that. That is it for now. I hope you are all well, and I very much hope you enjoy episode one hundred and forty eight of Films to be Buried With. Hello, and welcome to Films to

be Buried With. It is me Brett Goldstein, and I am joined today by an actor, a writer, a stand up comedian, a producer, a creator, a director, a hero, a legend, and a human being. Please welcome to this show, the incredible, the amazing. I can't believe it's here. Please own this show's Chris Addison. Thanks man. You know I also once worked in a sandwich shop. If you just want to update. I know, and I fucking kicking myself because I'd learned the list and I got to the end,

I called your name sandwich shop. Yeah. Sorry, I'm so sorry. These are the golden days? How are you, Chris Addison? Do you know what? I'm all right. Actually, it's been a really weird bitness bit because we're recording this now at the beginning of May, so it's the point where there's sort of light at the end of the tunnel, and I found that bit to be weirdly harder. I don't know how you have responded, but I found it to be harder than the other lockdowns because I don't

know why. I think it's that thing where you let yourself relac before you should relax, you know. But I've sort of come out the other side of that now and I'm just sort of feeling like it'll be what it will be. Yeah, yeah, but I'm all right, how are you? Yeah? I was like, yeah, man, this is cool. This is cool. We're going back to normal. This is cool. And then I got on the tube the other day and like fifty percent of people weren't wearing masks, and

I was so stressed. That's so stressed, And I thought, nah, I'm not quite as relaxed as I thought I would. Do you remember when them two thousand and five, right when the bombs went off in London and people were very kind of like, I think I can go on the tube, and everybody went on the tube and within two days we were absolutely fine with it. But now now it's completely different because then you were going, then you were going, right, hang on, who might be trying

to blow me up? And how can I approach this in a non racist way? And now you're just basically going, everyone's a fucker, like they're all like to kill me. It's much worse now for some reason, it's much more stressful, even though the danger is less dramatic. Yeah, that's very true. That is you have been currently. I believe you're right. You're in the writing. You're writing season two of Breeders.

Yeah three, season three. Season two of Breeders is that Yeah, Yeah, it's going out in the States at the moment on FX, and it's about to go out on Sky that later this month over here. Yeah, no, season three, so we just you have just another writer's meeting for that. It's all sort of underway. As the person who generally like, all, I didn't do it last season, normally, I've I've done them, I say, normally, How can you say something normal when you've done it once. It's but I was on the rag.

I was saying that, like the second block of filming. I was directing, so for people who don't know. Quite often, with long series of stuff, you would divide those into into blocks because it's too much for one person to direct and get done in time to deliver it all for the channels and still on. So I would do the back end of the block, which is where all the time's been spent and the money's gone and the

scripts aren't ready. And so it's sort of comforting to feel as we go into into our sort of third season rises the room, if we get picked up that, yeah, once again, it looks like the back end will be not as ready as the front end. But I like the back end. I like to pick up the back the back block, because that's where the juicy stuff happens, you know. Yeah, it's nice to work with a group of people who are simultaneously exhausted and in a mad panic. Yeah.

I sort of feel like that's that's what you train for as a stand up, you know, Like, I mean that's sort of what Edinburgh is, isn't it. If the Edinburgh Festival isn't is an annual really sas style training. In being so tired and with so much pressure on you, I sort of feel like, yeah, it's it's kind of I've got the loss in the final blocks, the block. Yeah, it is the final block. So you and you and Martin free Him created the show, correct me, Martin Freeman

and Simon Blackwell, who, Yeah, brilliant Simon Blackwell. Yeah, and he runs it. He's the showrunner. He is the show runner. Yeah, he's the sort of he's the mastermind because he's just the most astonishing writer, Simon. He's so insanely talented and he's got this very particular voice. This is so I love watching Back. I don't know if you've seen Back,

you know, which is Simon's show. And because it's just like and I listened to David Mitchell's character and Uncle Jeff played by Jeff mc given, it's just like listening to Simon. Basically, I just can hear everything that he's talking. He's great. So he's he's our kind of he's our showrunner. Oh dear god, you Phrasen, what do you want to do as a when when we freeze? Do you want to kind of roll back? So that you can edit it for filming purposes or do you want to something

This is the brain. This is the brain as someone he's done a lot of Edinburgh, How are we going to the brain of something else has done a lot of Edinburgh? Is basically self protection, I think, is what it gives you, don't you think like like you just learn over the years of doing Edinburgh how to do it in a less and less destructive way. As you get older on your body gets capable of taking less shires. I found every Edinburgh me me going insane happened slightly later.

That's all. Now, that's interesting. When did it happen? When did it tend to happen to you? First solo shows? Before I did solo shows didn't happen. I loved it, loved it, loved it. Then as as soon as I started solo shows, I'd say three days in, I was insane on the first, second, one, a week in, third one,

two weeks in, fourth one, three weeks. Here, that's interesting, I used to I used to sort of find that it was kind of it was the latter end, which I think is to do with just the amount of time that you're there and the sort of just what

your body and brain can cope with. I remember often giving the piece of advice to people who are going up to anyone for the first time, saying, you will go loopy, and you just have to accept that that's going to happen, so that when it happens, you know, oh yeah, yeah, yeah, this was always going to happen, and you can find someone to talk you out of your tree. But if you know it's going to happen, it's sort of better than if you if you think, oh my god, this is it. I'm not I'm not

made for this. Everybody gets it. It's all so mad and no one cares. And I remember I think one one time that I was I remember being in the in the Brooks Bar when the London riots were happening. There was there was a TV on somewhere and it was showing like literally London is on fire, and I remember looking at it and then someone going, I got a really bad review in sure till today, I don't think this matters. Maybe I don't know. Yeah, it's such

an incredible bubble, but there's that panic, isn't it. There's that sense that, oh God, if I don't go that's it. All momentum is loss. I'll forget about who I am. And I always think of there was a year that I didn't go two thousand and three. It was I didn't go to my God, that was eighteen years ago. My agent was going, you've got to go. Question, You've got to go. It's really importantly you go. If you

don't go, people go forget about you. All this effort you've put in over the last five years will be lost. Oh shit, I should go. And I didn't go. And I remember I went to I was at Lord's Cricket Ground watching England play South Africa, watching NASA Hussein's final test matches Captain and I had a copy of The Observer and it was a beautiful sunny day and I was there with my wife or about to be wife at that point, and we were having a brilliant time.

And I read the Reviewsmadim and I read a review for my friend John Oliver and it said the review said reminds me in some ways of Chris Addison's show. And I thought, see, I didn't need to go, like I didn't need to go, right, Yeah, it was so perfect. I just did. And then the next year. When I went and I did go back in two thousand and four, people go, yeah, that show you did last year, meaning the one two years. They don't care. You can take the time off, It's fine. It's a scam. It's a scam.

Oh the money, I mean the money. You can make it anywhere. There are people I can remember friends of mine like having such bad years in Edinburgh that by the time the next Edinburgh came around, they haven't paid off the previous one. Yeah, if you stopped stand up, do you do you still do stand up? With you? I certainly haven't decided that I've stopped stand up, right, I've just not done it for quite a while now because other things have sort of gotten away. For quite

some time. I used to think the next thing I do will be all right, show or whatever. And it's only in the last three years or so that I've come to accept that that's probably not going to be the next thing that I do at any given moment. But I do feel like it's something that I want

to go back to do at some point. A couple of weeks ago, I did Andy Sultzman's podcast The Bugle for the first time, and it's the first time for me, like I don't know, eight years or something that I've written something that was for me to deliver and I loved it. It was I was probably in my element and it reminded me of on the sort of rare occasions that I ever get on stage to do anything. How you just sort of suddenly go, oh, this is what this, this feels right, this is home. This is

what I'm supposed to be. No so um, yeah, I don't know when it will be, but I fully intended to do it again. Well, I'm glad to hear it. Oh, oh, you're right. What's happened, Chris, I've forgotten to tell you something. What's happened? No, no, no, no, what an idiot? It doesn't sound good. I should have probably said it in the initial email. Yeah, or at least when we connected on the zoom. I'll just say it you. Oh God,

you've died. You're dead? Oh shit? Oh that's oh. I have no idea where any of the paperwork is for stuff is not my problem with it. It's not your point. You can. I feel bad for the for the cleanup that's gonna have to happen. But how did you die? Well? I mean, I suppose if I had my way as to how I would die, I would die like most people who aren't vikings. I would want to die, you know, comfortably warm, surrounded by people I love gently, and you know,

with with a sense of contentment. However, I suspect that the truth is that I will die and in a pickle based explosion that would be my It seems inevitable, to be fair. I eat an awful lot of pickled food, like a huge amount of pickles and chilies and pickle chilies as often as not. And I do feel on many afternoons that the way I'm going to go is some sort of over indulgence, vinegar based over indulgence. That's what will kill me. You will explode from the inside out, Yeah,

I will from the inside out. I will be killed by a combination of chilies, some of which and pickles, some of which I have made myself. You know, It's a lovely way to go. The more disturbing part of the set up to this was the death that you wished for, which was surrounded by people that you love gently. Yeah, not people that you love hard. So you don't want your favorites. You want the people. Yeah, you don't want

to upset your favorites, do you. You want people you sort of who are comforting to you, right, but you know it would be upsetting to look into the face of your your nearest and dearest as you as you die, and you know that you are leaving them with a hole in their lives. Yeah, that's so thoughtful. Yes, like Simon Blackwall would be there. I'm getting Simon would be there. Yea, yeah, he'd be there. I guess a couple of a couple of pets that I've had over the years would probably

be there. The gentle lovers, any lovers you had. You wouldn't want any ex partners that, I don't think, would you. That would be a hell of a way to go, just surrounded by your ex Fine, well, let me see when your wife's not going to be there? Well, no shit, I love her too much. Doesn't make the cut, does she? So I wouldn't actually have the people who are most important to me in my life around me at the time.

They would be I don't know where they'd be. They're probably you just in the next room, just getting why can't we come in? He's been very specific. He loves you too hard. Yeah, it's too much for me that you're in the overflow watching on a TV. What he has asked is if you could start working on the paperwork, well, that would be great. In fact, they're going to be there'll be there'll be a big screen in Trafalgar Square and they the overflow, so they'll go there with many

of the other people from the nation. That seems fair. Do you worry about death massively all the time? Increasingly? And I say increasingly, and that started from a baseline of quite a lot. Yeah, I think about death all the time and it's not healthy. It's like you're thinking about aging all the time. It's really really unhealthy to

think to think about it. Having dinner with my best mate well before the pandemic, obviously, and he was going, this is we're just getting too old, Chris, we're getting told and that's OK. But like this is as young as we'll ever be again, right right now, it's as young as we'll ever be again. So you have to approach it from that point of view. But it is really hard to tell yourself that stuff. You can just sort of intellectualize it, but on a visceral level, the

fear of dying, kind of getting old. And that's hard, isn't it. That's hard. I'm properly kind of at the point in my life where I'm right for a midlife crisis about now. So have you got any particular plans for it? I think I might be already like I'm such a boringly wholesome person. My friend Rebecca described me as that she's the other most wholesome person I've mat and I was thinking, you know, you know, within me, I've got the same dark thoughts as every as everybody else,

just possibly not brave enough to act on them. So I would probably I'll just I'll take something up, I'll stop learning something I'm probably already doing. I'm trying to learn German. I expect it. You know that's like a function of the midlife crisis, isn't it, Like in a really mild way. That's so funny. I mean that is so I don't even know you, and I know that you learning German is the exact right answer to what would Chris Addison's below crisis look like. There you go, listen.

It's good to stay consistent with your brand, And totally I didn't lie about any of the things about myself. I didn't make up this kind of milk toast persona. I think this is what people enjoy. I'm just going to put all of my bravery and raw sexuality in a box over there and be this kind of willowy foot for business purposes. That didn't happen. Breat all from me. That's wonderful. Tell me this, what do you think happens

when you die? Do you think there's an afterlife of some I do not think this enough to life of some kind. I'm very sorry to have to report, but I did, for a very long time imagine that there was such a thing. And it came quite late to the notion that do you know what, there really isn't anything else other than other than what we've got. Was there a thing that happened that made that decision for you? It was a very long joy. So I brought myself

up religious sort of. That sounds like an odd thing to say, but I chose to go to church and and do things like that. And that was largely attached to friends of mine who we go, who were going

from school, who were going and also music. I was always like I sang a lot when I was a kid, and that was a place you could do, and I just sort of it like your You know, there's a there's a series of fantastic detective novels set in like fifteenth century Spain, The Captain Our Treestain Novels, and in it the narrator says this that the only thing I ever remember about this line a man's drew home is

his childhood, right. And I think of it all the time because I sort of didn't lose religion for a long time, because it was comforting to me as an item of nostalgia as much as anything else. You know. The things that I did that were important to me as a kid, some of them not by any means all of them, but some of them had had religion

at the heart of them. And so I sort of, as I got older and it became more and more obvious to me slowly that there was nothing in it, I kind of I just held onto it as long as I possibly could. I was sort of intellectually an atheist long before I admitted to myself, and that's what I was. And then I was in my mid thirties, I was I was right at the end of that process.

And I remember listening to it's fantastic American comedian called Julia Sweeney, who did these terrific one woman shows, including one called Letting Go of God. And I listened to Letting Go of God and at the end and she describes her journey from died in the world Catholic to complete atheist, and it's a really interesting journey where she's trying to reconcile her spirituality and find some sort of

meaning and all of those kinds of things. And at the end of it, she she sort of she tried everything, and she goes, Okay, well, let's just imagine, imagine for a second. Just there's there's some spectacles you can put on, and that way you see the world, and through that there's no God, right, that's the version of the world that you look at. Was So it's just a thought experiment, she said. And I put the spectacles on, and I remember thinking to myself, oh my god, there is no good.

And I can remember where I was when I was listening to that. I was walking down Saint Martin's Lane next to that old it's not there anymore, but that film memorabilia shop there used to be on Saint Martin's they you know, And I was exactly there when I heard her say those words, and I did the exact same thing in that moment, And that was the moment where I went And it was really strange for the following that was it was peculiar, It felt very raw.

Was it that you were grieving? Well, one of the things she says, it's really interesting, she says, when you decide there's no God and there's no Heaven and there's no hell, it means that all those people that you said goodbye to you have to say goodbye to again because all the people that you said that they've gone on to a better place. I'll see them again. You accept at that point, I know that's not going to happen,

like they're gone. And I'm a very fortunate person and I haven't thus far in my life been you know, struck with a great deal of personal tragedy or anything. But you know, she she certainly had, and you know, her brother had died. She felt like she had to let go of him again and I sort of so there is a grieving aspect to it, but it's also like, what do you do if this is if you always at some on some level thought, there's there's something beyond this. It's fine, this is just a bridge to the to

the better world or whatever. What do you do when you decide, oh, no, this is this? Is it? Every decision that you make has to be sort of made on a slightly different basis. This is very heavy, isn't it. I didn't mean it gets to heaven. This is exactly the good This is the good ship. Okay, what is your answer to that? I think and there's nothing terribly profound that I can say about it, not least because I'm not a thoughtful enough person to be that profound.

But I think it's it's just you've just got to you've just got to be as good a person as you possibly can, and you've and you've got to you've got to accept that you get one one goal at this and you're not doing it for somebody else or for some other purpose. You're doing it for you. And that could be by the way you want to live your life is for the sake of others or whatever. But there isn't a set of rules that's going to

get you into a better place. And you should you know, there's nothing that you should be dealing with right now on that basis, that should be informing your decisions about what you do and how you behave to other people. Chris Addison, I find that fascinating. I found that very moving. I find that really interesting. But I got news for your kid that you are rung. I'm wrong. You be honest with heaven. Yeah, that's a massive relief. Yeah, ute relief because that whole bit is real down there, and

this gift is every year. It was such a downer because, like if you just turn this on because you just want to hear some chitch out about some movies you might like, and some fucker is telling you there's nothing else that is not his land. He's lying. He's lying. Guys, don't worry. I got this such a relief. There's a heaven man, and it's great. And they've got the you know where that film memory bili a shop used to like is there, Helen. They got screening rooms, they've got

all your favorite things. What's your other favorite things? Pickles? Pickles? Everyone, They ain't gonna kill you. It's nons and everyone is delighted to see you. They're very forgiving as well that you thought they weren't there there. They think it's fun. They're like, that's delightful. Come on, and you're like, it's beautiful. And they won't know about your life, but they won't know about your life through film, okay. And the first thing they want to ask you is, what is the

first film you remember seeing? Chris Hadison, the first film I remember seeing Brick Goldstein is well, the first film I remember seeing seeing on the TV. I can't tell you what that was. I could tell you what the experience of it was. I remember beat visiting somebody's house and I was with them in the same room as their gran they granted a little room, and she was

watching something on the telly. It was a Western, I think, And I can remember as a tiny child it was on ITV this thing and so that, just constantly having commercial breaks, and I could remember thinking as a kid, when is this going to end? So long? Why is this TV show so long? And Barie, oh my god, why would anybody make anything this long? As a kid is used to like five minute episodes of The Wombles or whatever. At this point it seemed impossibly indulgent. That

paper went this is pretentious. The fuck is this just shooting. Yeah, so that's that's the first experience of what film I remember. The first film I remember seeing in the cinema. I saw back in the days when them Disney used to re release their films on a fairly regular basis, So this probably would have been in the must have been in the seventies. But Cinderella. I saw Disney Cinderella my grant with I did not. I grew up in Manchester, but my but my grand Omar as I called her,

she lived in them. She lived in Stevenage, in a little block of flats there. So yeah, so we went to see. Me and my brother and sister and her went to see Cinderella. Where are you and your brother and sister? I am the oldest, and then my sister, then my brother, but we're all within I'm two and a half years older than my brother, so that like, yeah, my mum was busy. Man. It's only when I became a parent that I went Jesus God, I mean that

must have been brutal. Three number three boy, that's insane. It's a lot. I'm surprised I wasn't in the cinema all the time. Just go in there, just go in for an hour and a half. The other two take the did you love it? Did you love the cinema? Did you love Cindemarella? Do you remember? I remember? I mean I really loved the cinema when I was when I was a kid. It's just it was such an event. It was so extraordinary just to just to go, even

to watch adverts on the big screen. Was I remember really loving the Westler's hot Dog adverts because it just seemed like it seemed so exotic because it was big. It was big. It was all bigger than there and in front of you. And I used to go to it used to be a little cinema called Unit four in Walkton, near where I grew up. And you know what I realized now were like like shoe box cinemas, you know, those tiny tiny things where I went and saw like Convoy and Hooper and all of those sorts

of movies. Yeah, yeah, I saw Hooper. I'm Convoy in a double bill my friend Chris's birthday. I used to love that. It was great. Away was wanting to be a stunt man, did you Yeah? Until still my dream job? Until nothing. I still want to be. It's just it's a real closed door. Those guys have it also, so who you know, Yeah, what's the film that scared you the most? Do you like being scared? Do you know what? I absolutely hate being scared. Hate it. I cannot bear horror.

I don't understand the point of it. I don't want it to exist. I wish you would go away. I just don't think it's a good I remember going to see get Out, which is a brilliant movie. It's a brilliant movie with my friend Tess Morris, and we went, we were it was very lovely. We went to my favorite screen in the world, which sounds it sounds very pretentious,

but fuck it. There's a there's a cinema in Los Angeles called the Cinerama Dome, which they announced two weeks ago is closing down because it's not going to reopen after the pandemic, to my great regret. But anyway, we went and saw get Out there and I just just as we walked here, I was thinking, what am I doing? Why am I Here's fucking stupid. I'm going to soil myself in public and it's going to be awful. Just clinging onto Tessa's going The fuck is wrong with you.

I'm terrible, terrible, terrible, So I avoid scary movies by and large. I think the film that made me most tense, which is probably as close as I get too scared in things really is probably it's Gravity. That's the most tense I've ever been watching a movie, because because I mean, I know everybody says uncut gems. I've still not seen uncoot gems. I know it's supposed to be just just you know, if you held if you held coal in your hands whilst watching it, you'd end up with diamonds

at the end of it. Like it is that, but gravity, I can My wife and I went to sit. We were like, it was really indulgent. We did it at like ten o'clock in the morning. Is nobody else in the cinema. It's a big cinema, three D screening and stuff, And that's a great film to watching three D because of everything just coming at you. Oh my god, until she puts her foot on the on the floor at the end, you just I just terrified all the way through it. It's great. I don't mind that, but but horror,

scary stuff that can revisit you on your dreams. Fuck that shit. Well, you live in a godless word. It is scary. You don't need anymore. Amen, Brother, I go out, I mean, and I can't. I really try with those sorts of things to go. Okay, well, let's let's watch this from a filmmaking perspective. So have they've done this? What shots are you using? Up? And I absolutely I can keep that up for seventeen seconds? And then after that are they doing that? Yeah? Right? Not to me?

What about crying? What's the film made you cry the most? And do you cry? It's just a real shooting fish in a barrel job? Though, to be on this with you because I cry all all the time. I mean I cried all the time before I had kids, and once you've got kids, it's just it's like non it's NonStop. Do you have to put oh yeah, it just put the right music under something, and you've got me. So I had to think quite carefully about what this was.

What I give like an honorable mention Tom, It's a Wonderful Life, which is such a sort of weepy movie. It's were happy weepy. I think I remember going to see it with a friend of mine at the Cursin in Soho, which is one of my favorite cinemas in

the world. This is a lovely place and they've they've sort of reissued a print about I don't know, fifteen years ago or something like that, and we went and we went and watched it one want Tomber and remember get the loud straight outside the screen afterwards, and it was full of men going and just really holding everything back into the ARCon that you knew that they just belted out away I'll be I'll be right with you, dear, just not join themselves with their girlfriends and their wife

and their daughters before coming back and their friends. Yeah. So it's a wonderful life. Always gets me. But I think the one I really fell apart was about in two thousand and three. I think I went to Australia to do the Melbourne International Comedy Festival, God's Own Comedy Festival,

good Lord Water Place, and we did that. I did the road show, which which happens after the festival you tour around a gang shown around Australia, and I was with Adam Hills and Carl Wilson, and I remember Carl being a good keywi insisting that we go and Mutch Well rider and oh man, I nearly died. I mean yeah, I was kind of like, it's like a corn flake at the end, dehydrated, there's no liquid left. And yeah, I don't know if it would do that again. I mean,

you know, it was late, we were drunk. It was very emotional cry together. Oh yeah, yeah, yeah. I mean, you know, Adam Hill's very sensitive, lovely dude. Cal you know it was right in her wheelhouse. Yeah. Yeah, we were a wreck, pathetic wreck. Well. I quite like that though given given us, there are some aspects of you know, there are some comedians who are a bit kind of who would not be who would not be there for that at all? But we're definitely the softer end. What

is the film that people don't generally like. It's not critically acclaimed, but you love it unconditionally. I had to think quite hard about this. I really like still like so I married an axe murderer. I love that. Yeah, it's a great film. There are things that come back to me if I think often of woman whoaman? Whoa man? I think of that all the time, and I think of He'd all the time. Those two things just stay

with there, and I know it's sort of flawed. I think this was in my head because this this weekend I showed my kids Austin Powers for the Yeah yeah you do it just made you God, this is you can make this now. It wouldn't make this now. But did they like it? Yeah? They did, They did like it. I sort of felt like I wonder if they got enough of the sort of cultural spoofing that was that was going on. But but you know, there were there were lots of things that they did really like about it.

My kids sort of they sort of sit there and they talk back at the jokes often, why would you do that? They go like they're laughing, but they go, why has he done that now? Then? Because that's how this stuff worked. It's really well they're older than than that makes them, that makes them sound where they are, but they're both film directors in their forties. But but they really like they sort of I don't know whether it's me picking jokes apart that has made them do it.

I don't know whether like I have infected them somehow with my kind of you know, the you know, the boring way that you can be about comedy when you're in comedy. I hope it's not. I hope I'm ruined it for them. But anyway, I wonder whether that's why so I married an X members. In my head, I also thought maybe corn Air, which well, it's a great film.

I mean, it's you know, it's ridiculous. It's an entirely ridiculous film, and it's got all of the it's got all of the things that make a film like The Rock great and just doesn't do them as well, you know, I mean, it just doesn't quite do them as well.

And there are things that you sort of feel like, like that thing where is giant rabbit that he wants to wants to take him Yeah, yeah, yeah, all of that, and you know like it just feels like something out of a film writing manual that give him the thing he's got he's got to be he's got to focus on some little thing, got to get him a thing to focus on, and it's this ridiculous and it sort of feels like it sort of feels like they watched a lot of die Hard and then they watched you know,

but it is. It's got Markovitch at his absolute campus, which is always great fun. I can watch John Cusack do pretty much anything you've got You've got Cusack vibes. You know, it's interesting there is. That's not the first time that's been said, and in fact, there was a there's a scene in The Sure Thing. I can't believe I haven't got the Short Thing on this list somewhere, which is an amazing John Qusack's first movie, produced by Roger Burnbaum, who I worked with it and as an

extraordinary man. And anyway, but there's a scene where they are they're trying to get into a caravan and his rain is just straight and he turns round to snarl something at Allison and he looked and there was I remember watching it about twenty years ago and fucky hell, because he looked exactly like me. It was It's like I was genuinely shocked in that moment. He a young Cusack very much looked like a young man. We've got all of separate ways since then. I've had quite a

lot of work. But otherwise I'm sure I'm going to give you some next weed because I love that. I really really loved that film. Yeah, it's got a very funny one I've seen with Michael Richards in it. It's a really good, really funny game that is played stuff. Yeah, what is the film on the other hand that you used to love but you've watched recently and you've gone, I don't like this anymore for whatever reason that may be. Honestly, I can give you a sort of a mini category

really and then I'll give you the biggest example. But I think it's basically late period Roger Moore James Bond, like I loved it. So the first Bond I ever saw was The Spy. No, no, it wasn't Spy Loved Me. It was Feras Only, which I saw the unit for in walk and another friend's birthday and hearing another shoe box. Yeah, and I absolutely loved it, loved loved, loved it, and it sort of started a proper kind of lifelong love of James Bond, which is not an unusual thing. Many

people love James Bond. It's a big cultural phenomenon, etcetera, etcetera. And so you know, Roger Moore was my first James Bond and I would watch on bank holidays. After that, I remember sort of mainly watching his stuff that was on. It was it was The Spy who Loved Me, and it was Moon Raker and all those kinds of things. But the truth is that you can sort of go, oh, they're they're good, though they're tremendous, sort of high camp. You have to think of them as different to Sean

Connery and different to Daniel Craigan. Yeah, that's true to a point. And then there's e g. Octopussy, which is just dogshit. I mean, you know, like it's badly made. As much as it's massively offensive on so many levels, it is incredibly badly made. I remember years ago, my friend Will you know Will Smith? You know, not Will Smith, but you know you know Will lovely Will Smith, brilliant comedy writer, former stand up years ago did a document.

I just wrote a document trying to unpick Octopusy, and it's one of the funniest things that I've ever read. Every few years ago, Well, have you still got like easter re Send me that thing because it because I defy anybody to sit and make sense of the plot. It has absolutely no through line whatsoever. And it's also just just from a filmmaking perspective, unbelievably but you just said,

where was the director during this? It is so shit as well as being wildly racist and just it's the it's the kind of peak of that when James Bond went a bit ross myers ishs of its sexism. That's like octopasly the absolute anything of that. So I think that's the one that I would use. But that's very much a part that tells a whole. Really, I still love lots of James Bond, but that is terrible. I think that's a very good answer. What is the film

that means the most to you? Not necessarily the film itself is any good, but the experience you had around seeing the film will always make it important to you. Yeah. Well,

I'm going to choose between two here. One would be Yellow Submarine because when I was a kid, it blew my tiny mind that I could not believe, like it was so exciting as the Beatles, and it's so colorful and it's really appealing, and I loved the little fluffy nowhere man Jeremy, and I even loved the Blue Meanies like it was so and I found it sort of

terrifying as a little kid. And I can remember getting the video for it a few years later when I would have been in my teens, I suppose, and watching it every day one Easter Holidays, watching like every single day. I loved it. Many years later I introduced it to

my own children, who sort of loved it equally. I like it for being a film that I loved so much as a child that my own I was able to introduce to my own children and for them to love like I love it that it's a it's a through line the other one that I would choose for a similar reason, and I think you might appreciate even more. Something tells me is a Muppet Christmas Carol, which I think,

I mean, it is an astonishing movie. I'm up at Christmas Carol like on every level, it's it's incredibly well done. A friend of mine, who is a big Dickens fan, says it's the most faithful adaptation of a Christmas Carol, and yet it's completely a Muppet movie. At the same time, it's the best Muppet movie, and that's quite as quite a high bar. There's a lot of great the original Muppet movie, and James Bobin's amazing the Muppets, and so there's a lot there that's great, But a Muppet Christmas

Carol is like it's now our family tradition. I remember going to see it when it came out in the cinema. I was at college at the time, university, and remember seeing that with friends then where you didn't see them up as much in those days, like they weren't around everywhere, and there wasn't YouTube to see everything on, and they weren't on the TV anymore, and they were a big part of my childhood. And then suddenly this phenomenal movie came out and now it's a massive part of my

own family life. So each year, like that's the official start of Christmas for us, is we put the Muppet movie on. And then a few years ago my kids their school, their school choir for their their Christmas show, they did songs from from that movie. They did a Christmas caron and they did songs from that movie in various other ones song. So it's kind of woven into the fabric of my family life. So I think of the two, I would probably end up choosing Muppet Christmas Carol.

I'm only holding myself back with people who'd listened to this podcast to have heard me talk about now because so much really is true. No no, no, I love what you said. I mean, I'll say it again I genuinely stand by top three greatest films of all time. It is one of them. In every it's aside from everything that is wonderful and perfect about it, it's a fucking amazing piece of filmmaking. It's from that very from the opening shot, that extraordinary opening shot over over London.

They pull that off so well that you don't you know, you sort of you do see as you come, as you come down that it's a change. But to have a model, which is what it was, then a model that big for it to go for so long over those rules and then and then come down, it's magnificent. The trick of having I know, I love that what the mupp is. I'm sure you've talked about this, but I love that one of the one of the things

that Jim Henson. Of course Jim Henson wasn't involved in in that film by that point, but one of the things that that the Henson organization love to do is in a and find a new exciting way, so that in the original Muppet movie I think it was the original one, wasn't it, where they where they're on the bikes. Yeah, yeah, that's one. And that's kind of how have they done that? Even the opening of the first Muppet movie where he's in the swamp singing rainbow connection, It's like, how have

you done that with puppets? And with them? With Muppy Christmas Carol, there's that wonderful, very simple but brilliantly effective rolling road barrel where where Kermit and Kermit and Tiny Tamer coming home singing and it's yeah, it's it's a superb piece of filmmaking. And now let me ask you this, what are your views on the revisionism towards Muppet Christmas Carol where bias an entire song has been cut out

of it? Oh? Yeah, I think the song should be there, you do, And I think it's and I believe it is going to be put back in class. I believe that they've There was a whole issue with them having lost the original, but now they found it and it's going to go back in. And I read a whole piece about how none of them wanted to cut it.

It was an executive who was like, it's too depressing, it's too depressing, and they fought and fought and fought, and basically I think the exact eventually said, look, I've let you do everything you want to do, just cut that song, and so they cut it, but it shouldn't have been cut. I mean, the crazy part is it was ins It was on the VHS, but not the British cut. I remember seeing it. It's like, it's not

a song I enjoy massively. I do think it's important that it's there because it makes total sense of the end of the movie when they start singing love the love you found that, you like, you need that, that's a that's a reprise. You can't have a reprise when you didn't have a prise, so you know, so you have to put it in. But it sort of reminds me of there's a similar song in Chitty Chitty Bang Bang truly scrumptuous sings lovely Lonely Man and it is

ghastly like it's just you God, damn it. You just think it's good that we live in a world where we can fast forward and to an extent, Bell's song in them in Up Christmas Carol always sort of made me feel like that, so I could see why they cut it out. But you absolutely have to put it in, and it affects the rhythm as well. It affects the rhythm of that, so that so that last section is very truncated as a result. One of the things that I love about is how terrifying they're prepared to make it.

So the ghost of Christmas yet to Come is genuinely terrifying to children, and the ghost to put Christmas past is very speaky and sort of it's such a great idea. Always reminds me of the Angels as they first come out of the arc at the end of Raiders of the Lost Arc. I think it's filmed with a similar

I'm pretty sure they filmed those things under water. The way that they're the way that the material is flowing, that's what it sort of feels like, and so they so that The Ghost of Christmas Past always makes me think of that in Christmas Carol. But it is I know, I think top three greatest films of all time totally. I'm totally in your corner with that. Fantastic, fantastic. I'll tell you one other thing on this subject that you may not know. I'm sorry if I've said this before,

but I definitely have went to you. There is a deleted scene. I think about this a lot in Austin Powers three gold Member. There's a deleted scene which is the song What's It All About? Alfie, But it's What's it all About Austin, And it's a monetize of everyone singing What's it all About? Austin? And I swear down it is genuinely moving. It is such an amazing secret.

It's beautiful and it's funny and it's like one of the I basically think it's the best thing that was ever made of us in Powers and it's not in the film. And the reason it's not in the film is because when they did test screenings of it, people were so moved by this song bit that they never laughed again, so they just cut it. And it's so interesting that they were just like the film, the film

never recovers from that song. That's extraordinary. I mean, you do you know, you find out big things when you're when you're tested screening. I find it absolutely staggering having made a film. I find it amazing that, like where you and I come from, right, our stand up shows are tested and tested and tested an inch of their lives.

You know, it's the cheapest possible art form, the thing that we do and we put everything into making sure that that is as bulletproof, I mean, nothing's bulletproof in the world of company, but as bulletproof as it can be.

You just make it right now, you make a film for tens of millions of dollars and you, I mean you do test it, but like you don't have an awful lot of wiggle room, not really like you might have to in fact, well unless you are prepared to spend millions and reshoot, which is what we ended up doing, and I know lots of films end up doing, But like that seems crazy to me that you don't go into filming thinking, okay, all right, so that thirty million

dollars is are buddie. Why don't we say we're going to make this movie as a twenty million dollar movie and then we'll leave ten million dollars to allow us to test and reshoot and rejig. That to me seems sensible, because there's no other creative process where you have less kind of ability to change the body of the work that you're that you're doing. Does that make sense completely? And I've never heard it put like that, And that's so interesting, And how did you were test screenings for

you when it's your phone difficult and ego destroying. It's like a wire brush to the soul. I mean really, they're really hard. You know what It's like, Right, you've done, Okay, I'm going to go and do a preview. Right, Okay, I'm going to do a preview. And that was fucking humiliating. You know, it's an hour whereas oh, well probably less because there's no laughing. So there's forty five minutes where I was on stage and they just weren't going with anything,

and I think I've just this. I'm not going to sleep tonight. That was ashes. You know, there's like we're used to it. It's it's a thing, but nonetheless like it's a private thing to some degree where where we then take it away and do what we want to do to it. But once you get to a stage with a film that you're testing things, there are an awful lot of kind of voices in the room at that at that point and it's not yours anymore, and you're to blame when things are when when things don't

go well. So it's it is hard, and you know, if you think about where the testing process comes so you've had your ten weeks or whatever it is, you and the director and the editor have had their time to do their cut, and that's the first thing that's tested, so you're really invested in it. By that point, you've gone, you've done an awful lot of fine tuning to this thing, and then you put it in front in front of people. And it's an amazingly brutal process because well for all

sorts of reasons. One of the things there are two things they do that make you go, oh Jesus. One is they've film the audience right with a like heat camera. They film the audience, and then they give you a file afterwards that is you get the audience, you get what they've filmed at the audience, and in the corner is your movie, so you can see exactly how they're responding to what moments. So you are watching people going and then you watch them going right, and I mean,

it's it's horrific. It's incredibly useful, like it's exactly what you need, but it is Jesus guy. And then the next thing they do is they're given everybody in the test screening, three or four hundred people, whatever it is they've given them a bunch of cards with questionnaires on them,

and they give you those. The next deck, they give you like a breakdown of how it went, and then they give you the cards and they break the cards down into sort of into demographics, so that foot four demographics women of younger women, older women, younger men, and older men or whatever. And then you start to read them.

And me and my and Anthony, my editor, were sitting in the like in a lobby in a cheap hotel in La the day after we've done screw at the first screening, and they send these things, so okay, I'll open it and I'll read them. And the first ones are going, this is fucking brilliant. This is the most fun movie I've ever seen. I love this movie. This is an amazing movie. And you go, oh, I go

and golden, we are golden. This is great, right, But what they haven't told you is that they give them an order of enthusiasm, So as you go through the cards, they get less and less enthusiastic, until by the end of it you're cogging. This is a piece of shit. Who allowed this act? Is the worst movie? And you know, and you're just you're just weeping. It's absolutely extraordinary. It's an extraordinary process. Do you have any how do you

survive it emotionally? And like how I do? What's your any? I think you just have to You just gotta fucking toughen up, man. I mean, like, there's nothing, there's nothing that you can make that everyone will love. Like there are it doesn't matter how popular or successful something. There are people who don't like Taylor Swift. There are people who didn't buy a Dell's album, or some people have

bought Adele's album Moment. So I suppose that like, there's no way that you can you can get out of that. I have a cartoon that I often sent to people. It's on my desktop actually, and it's of you'll appreciate it.

It's it's two panels, right. The first panel is the view from the stage when the comedian's on, and it's the mic in the stand and beyond that, like there's just everybody laughing and there's crying and laughing and they're just they're hugging themselves and they're having the best time. And then the second panel is what the comedian sees, and it's the mic and everything else is blacked out, except there's one dude's got fucking furious right now, you

know this? So this is and the amazing thing I mean this cartoon is it's in exactly the same place that that fucker is always sitting, which is always as just as you're looking from the stage, on the left. Yeah, down on the left, always right, always that's where they see it. Yes, that's amazing, extremely always on the left, always about three rows. Yeah, what the fuck? Every time is that? Yeah, that's the seat. That's the fuck a seat,

like like they got the county on question time. There's there's clearly well are you really not going to do? You look like you're not going to enjoy this. I'm going to sell you C six C six, C six anyway. Yeah, there's a good lesson in that cartoon, which is that you're always going to fixate on the negative responses, So you just have to not do that. And I think, you know, it depends on what you're trying to do. I suppose if what you're making is great art, then

you probably don't want to test it anywhere. You just want to put your vision out into the world and see how that goes. But if you're making something that is intended to be a commercial success. Then you have to understand that, well, that's the game that you're involved in, and you need to try and do everything that you can to make it that So it's useful to have people tell you shipmates, so long as as long as it's clear enough. What they're saying is clear enough and

absolute enough, you know what I mean. There's nothing worse than I don't know what this note means. I don't know what that is, and tell me tell me this. Are there things in the film that like that tested badly, but you one hundred percent believed in him, the sort of thought for him, like, no, they're wrong, this audience

is wrong. I'm sorry. This bit needs to stay. No, not not really, like, in fact, there's one that's the opposite, because there was something that I absolutely fought to do that is not in the film, like I thought so hard for it to happen, and we because we reshot the beginning of the movie. The film is people for people listening to a film called The Hustle that I directed, and so the opening of that movie we had to read not quite the opening because but the sort of

the first thing that happens post titles. The first time me and Hathaway's character, we had to reshoot it because we'd done this thing that I absolutely loved. But in it, she scams this kind of sweet but super rich nerd played brilliantly by Tim Blake Nelson, who was so good and I just loved him. I thought it was wonderful. But when we showed it to people, they've sympathized with him, and she came across as a horror and her character

just never recovered as as a result of that. So we had to kind of re okay, we'll read it where there's somebody who deserves to be to be ripped off, which you know, so that's but but but the whole section. Because he's a nerd, it had involved her as this kind of superspy character where she she gone out onto the veranda of this casino and she's doing all these kind of like she's like a glam Jason Bourne is the is the part she played. She can't remember anything,

she's just washed up. She's got this scar and she does all these incredible kind of acrobatic tumbles as a bit of gun play with the with the the police inspector who's who's secretly on her side and all of this, and it took us three days to do it. It costs god knows like a million dollars or whatever it was.

I missed some very good friend's wedding because it overran and it never made it into the into the movie because it was part of this sequence that actually reflect you know, when you on reflection, it made total sense, of course, that that was the wrong opening. The things that I can't enjoy now that I understand how things have made are things like battle scenes in Brave Heart, for example, where I just go, how the fuck did you reset? You know, how the fuck did you reset

a hundred horses and spears and run? What do you mean? There was a take two of that, like, yeah, how does that happen? I don't cannot get my head around it. What's the film? Is it a Bridge Too Far? Was that the rich? Is that the Richard Attenborough one? There's one of one of those big war movies of that of that era that Richard Attenborough directed. I think it

is a Bridge too Far? And it's like there is the one scene where where it's that they're trying to take the bridge and you know, the parachutes are coming down all that, and they had, like I think I'm probably misremembering this wildly, and that speaks most likely to my own fear as somebody who has sometimes to make

things that like. I think he they had one chance at the entire thing, and I think it was his mond me and yeah, yeah, I mean some of that stuff is incredibly high stakes, and it's the whole It's the whole game, isn't it. Like you, if you don't get that, it doesn't matter what else you shot, you haven't got anything terrifying. Anyway, this is all fascinating. Tell me this a little change of pace, Addison, what's the sexiest film ever made? I think it's out of sight? Correct?

Am I right? I think it is? Oh good, that's good. I do really think it's an unbelievably sexy movie. I mean, and you know, there is some sex in it, but not in a way that it's not remotely pornographic. I think there's only want sex scene possibly in it. But yeah, there's don't look now sex scene in it in terms of time going back and forwards. And they are both

fit as fuck. They are both fit as fuck, and there is that and that, my friends, is chemistry like it is so it is so extraordinary chemistry, and being really disappointed with what happened to Jennifer Lopez's career after that, because she I just thought, because that was the first film, wasn't it. And I remember thinking, God, you've got that's brilliant, what a talent. And then and then she did, I

speak of somebody who's favorite genre. I make no apologies for this, although the fact that I said I make no apologies for this is sort of an apology. But I don't make any apologies. My favorite genre is not apologizing for it. It's wrong comes from many company fucking love for man toy companies, leave me alone. But she was in like her choices were terrible, made in Manhattan

and all of those sorts of things. But in that first movie that it's so good, and I think Soderbergh is interesting, isn't it, Because like he'd made sex Lies and Videotape, which I don't think is a very sexy film. It's not at all a sexy film. It's sort of the opposite of a sexy film, met in many ways. And then he made Out of Sight and it is

just like, the tension is extraordinary. It's extraordinary. That more time out scene is is amazing because it's sort of where where he's at the top of the stairs and he and she's done, she's done, and that kind of Yeah, it's beautiful because all of the steaks are in that scene and it's a it's an I love you scene, and it's a we can't get over our jobs scene, and there's also still that tension there. It's it's a remarkable piece of filmmaking. Love it. Love the soundtrack, Yes,

David Holmes, there's an incredible soundtrack. There's a subcategory to this question, Traveling Bone is worrying why I don't Well, what's the film you've found arousing that you thought maybe you shouldn't have. Well, I've got I've got two. I've got two to choose, right, I thought you were going to tell me I kind of answer that I've got two to choose from for slightly different they just you

shouldn't be One of them is Betty Blue? Right now, Betty Blue is undoubtedly a sexy film starring Beatrice Doll. If you're a man of my specific age, she was absolutely she was the heart phone, particularly for kind of you know, for sort of indie boys of my of my age. She was on all kind of university hall walls, right, she was stunning, bitter. But that character is so damaged, so damaged that it sort of feels wrong, like it

feels really wrong. It's it's really not you shouldn't be finding that person sexually, because that's her sexiness is an expression of how badly damaged she is. That is why that's a troubling movie. And the other one, which is also you shouldn't be that common man is x Mackina. Oh mate, I mean it is the sexiest yeah, yeah, yeah,

and it is so wrong, like it's completely wrong. It's about you know, because it's because the movie, although it's sort of framed as being about our relationship technology the technology, it's not at all. It's really about men and women and the way that men view women. And that's what really you're responding to. So you just as they as they sort of progressively make the the android more and more human, it's you sort of feel your stuff complete.

Please don't go any further with this because this is I don't I don't feel good about myself. And then it gets gets worse and worse and worse, I think, and at the end you think, well, I probably would have deserved to be trapped in there as well. To be absolutely honest, it's a bit like Vertigo, I think in that it sort of goes, yeah, you're full in love with it because you're an idiot. Yeah, because this is because you're all idiots. Yeah, and you will have

you are you a heterosexual man with a dick? Well, here's a film that's going to make you the fool that you actually are. It really is. Come on, please don't do this to me. Oh he did it. I know I did it to myself. But yeah, yeah, it's fairy. Very troubling, I mean really troubling. I felt bad about myself after that movie. We put that to put that into context for you, Brett. I feel bad about myself most of the time for a range of different things. Sometimes a movie can be on and I'm not even

watching it, I'll still be feeling better about myself. Yeah, what's the objectively the greatest film of all time? Objectively the greatest might not be your favorite? Well, I think it might be The Rock. I think it might be The Rock. I think The Rock is arguably the best made movie. I mean, it's just an astonishing piece of filmmaking because it treads such a brilliant line between utter high camp. I mean, just it's so so camp. It's so camp they would turn it away at the Vauxhall

Tavern for being a bit much. Right, it is that camp a movie, and yet it is also this extraordinarily kind of macho thing where every the characters are so appealing in it, every cartory is right. You know that they're all the right version of that kind of person. Sean Connery is exactly the right version of the cynical, wise cracking old lag Nicholas Cage somehow convinces you again that he's a puts when he's clearly like, he's clearly not.

One of the first thing you see, seemed too, is that you know he's got this beautiful girl that he's making love to, and you go, okay, so this guy like so we's the must to think of this on a motorcycle, and so this is a nerd scientist. But anyway, somehow he's cool and that's brilliant, and Harris is a fantastic villain. He's got a point as well, which is using Yeah, yeah, absolutely, it includes the most over the

top climax. It's just at that end with Nicholas Cage on his knees, with with with the flares, you know, and those those jets have had time to get to Liverpool, but the time they actually hit the rock it is so come on, come on, guys. But yeah, I mean it's just an astonishing piece in the same way that people I know people are from saying on this on this podcast, you know, in the same way that Die Hard or the or Back to the Future or whatever

are really incredibly well put together. I would also actually I would put in those categories My Cousin Vinny because I think, I mean, it's a masterclass in how to write a movie. That's It was Dale Lorna who wrote Dirty Rotten Scoundrels who wrote My Cousin Vinnie, and it is I really recommend it. As I know, Back to the Future is the one that people always saying you should definitely look at that if you're interested in how to write a script that everything ties up in. But

My Cousin Vinnie, nothing is wasted in that movie. Every single piece of information that you're given comes back and serves the payoff. It is just great. It's a great and with some phenomenal performances at the center of it. So I would, I think, I mean, I would put that up there, you know, do you know what I mean? Like The Groundhog Day as well, those ones, Pirates of the Caribbean. Just everything fits. Yeah, I'm going to go with the rock. You're very good at this. Actually you're

regular at this podcast. What's the what's the film you could or have? What's the most over and over again? Well, it's a dead heat. I mean, I can't I'm not sure which of these I have watched most, but these are the two films that I've watched most. And you know when I said, my friend Rebeca said, I'm the most wholesome person. Yeah. Yeah, Well these two films are When Harry Met Sally, which I can do it karaoke for you, I mean again, another astonishing script. Yeah, I

can do that entire film. And the other one here you go. The other one is A Room with a View. I've seen a Room with a View. I would think thirty times. I reckon, I've seen that film. Probably the person who's watched that film most out of everybody who probably watched it more than Merchant dan Ivery. Yeah, I don't think during the editing James Ivory saw it as as as much. Yeah, No, I loved loved that well.

I saw it at film club at my school sort of when it came out in eighty five something like that. Entirely fell in love with Helen and Bonham Carter like that was a big thing in my life at that point, and really subsequently it's so incredibly charming, it's very very funny.

It's a proper like I love a coming of age movie, and it's a coming of age movie really and a romcom as well as you know, obviously you sort of think of it as being an Edwardian period piece or whatever, which it is, but it is those other things as well, And I like, I love, I love coming of age movies. That's sort of my Gregory's Girl, you know. That's that's that's in there in my top tens and anything that is somebody fully becoming themselves, that's I'm into that. And

Rumor of the View is sort of that. But it's utterly charming. Yeah, I don't like to be negative. If I don't know about you. We've talked about it's very hard to make a film, but yeah, it's too quickly. What's the worst film you evers? Well, I'll give you an answer in private, but for now for put putting my professionally courteous hat on. Well, there are two movies actually that I'm going to I'm gonna put up here for it. I mean, it's really hard to make something

at all. Obviously, However, I do recommend if you can find it, that you go and look at the nineteen ninety version of Captain America. Is that a trauma film? Now, I don't think it's true. I think it's actually like it's some it's a proper studio. What do done it?

It is? It's just baffling, especially now when you watch you know, we're so used to seeing Marvel movies and how much money is spent on them and how wildly professional they are on every level, when you go back and watch something that is so cheap that they're not really able to do any of the things that you're supposed to do in a scenario movie. So like it's like, I mean, it's it's genuinely bad and that's the story is awful. It's like it's only an hour and a

half or whatever, which is really pretty good. I think more superhero movies should be an hour and a half. I would be I'd be there for that. But it is, yeah, like it's clear in lots of places that they're having to point the camera in a certain direction because you can't we can't look at what's behind us. So just if you could just all do that in that one direction, that would be fantastic, thank you very much. It is extraordinary, So you should definitely definitely seek that out. But and

this is another superhero movie. This is objectively the worst movie I ever made. It isn't my opinion, it is plainly it's there for you to see on the screen, the worst made movie of all time. And it's called it has two names. It's either called Iron Hero or Metal Man. Now, I really would recommend that you try and to track down a DVD of this. Somebody with about two hundred and fifty dollars has tried to make

an Iron Man ripple. And they've done that, not only I mean and in some regards you want to go, well, good for them. That is incredibly brave, brilliant that you're going to back yourself, you know, talent will out. Storytelling is the most important thing. But the story is dog shit. The acting is genuinely appalling, but you're really watching something that someone has made in the flats of their mate, like what what rooms are available to them? I can't

really describe it. Well. I can remember I saw it and my sister and her husband. I was staying with them whilst I was doing a gig and then come back, come back after and we'll watch this this movie. And I don't think I've laughed as much in many many years. Do Iron Hero or Metal Man look it up? It is so because they said, yeah, they knew that it was going to be absolute dog shit. Yeah, yeah, and it is genuinely terrible. Nobody involved in it is at

all talented. And that sounds so harsh until you watch. Somebody should have taken everybody to one side and gun guys. You just there's just got to know there's no good outcome here for you, but you were entertained. That's absolutely true. That cannot be tonight. So in fact, it might be the greatest movie I've ever seen. Yeah, I totally reverse my position. It's a working fucking genius. I do recommend

watching it. Okay, you're in comedy, you're very funny. What's the film that made you laugh the most other than Metal Men? Other than Metal Men or Iron Hero. Yeah, well, I think like the film that's made me made me laugh most cumulatively over the years is The Naked Gun.

Because one of my bonding moments with my best mate when we first met at university in the early nineties was that our student union was showing the first two Naked Gun movies and we went and watched and we both knew them so well that we were laughing, you know, when you're laughing an anticipation to joke, which is one of my favorite when you're when you're enjoying something so much despite having seen it eighty four Tory that you're you're really looking forward to them the funny thing that's

coming up. We were clutching each other and giggling watching that, and I've been firm friends obviously, So yeah, the Naked Gun. I think it's it's hard to pound for pound, it's hard to think you can totally have that. Thanks man, Chris Addison, You've been astonishing. You know, you're very kind. I've loved this. However, when you you were eating a lot of pickles, right, you're eating a lot of chili pickles,

and you've got a little rumbling and your temming. You and your wife said to you, I don't think you should eat that last pickle, and you said, I listen, I'm gonna eat it, and I'm going to eat it. So my suggestion is you pop in the next room, start looking for the paperwork you're gonna have to do. I'm gonna just put a quick call in for the people that I love gently. I'd like them to gather around.

So Simon black Well, some old friends from school, not your best friend was cool, but the second tier people, second tier coming you look over Twitter, I love these people gently. They pop over Trafaga Square. I send a note out that hey, guys, I think it's coming. So then a big gathering of people you cared about or didn't care about or in trivagor square. His wife and kids are there now because you love them too hard

to be near you. And you find a couple of enemies, people from the test screening that said how dare you be alive? Whatever? They gather strategically in the room. Anyway, you eat this final pickle and you explode and your blubber connects with the people that you don't like, and it's good it hits them in the face. But the

people you love, generally, they're spared. Anyway, I was walking by your house and I hear this horrific noise which then was followed by the loud, long fart, and then I chuckled to myself, that's what this must be, Chris Addison's house. That popping. I've got a coffin with me, you know what I'm like. Anyway, I'm clearing through the people you love generally, there's loads of them. Actually a very loving man, but generally, and there I find you.

You're an absolute fucking mess, the state of it. I'm having to peel bits of you off people you didn't like. There's stuff in the curtains, having to take down the whole curtains can't get it off, so everything's pickled. Anyway, stuff all the bits of you into the coffin. But there's far more of you than I was expecting, what with all the soft furnishings that's come with you. Stuff. You're all in the coffin right. There's barely any room

in there. There's only enough room in there to put one DVD that I can slide in the side with you if you just take across to the other side. And when you get to Heaven, it's movie night every night, and one night it's your movie night. What film are you taking to show the people of Heaven when it is your movie night, mister Chris Addison, it's moving out

every night. I think this would be an interesting movie for us to watch, and I rewatched this at the weekend to test whether I still loved it as much, and I do. We would watch Night on Earth, you know, Night on Earth, Jim, the taxis film. Yeah, the Taxi film. If you have not seen Night on Earth, it is the most enter It's so perfect. It's an incredibly entertaining movie.

It's about it's about one night, one night, as Harry Oish do one night on one night on Earth with five taxi drivers at the same sort of period of twenty minutes and their their stories. So it starts in la and then New York, Paris, Rome, Helsinki, and it is just, you know, five completely unconnected stories other than the fact that they take place in taxis. And it's really, really lovely, really lovely and funny and sort of soulful

and bittersweet, all the good Jim Joe Mouse stuff. And it's a really good example of that sort of early nineties arthouse stuff that I quite liked, really really, Now, Chris Addison, before we say goodbye, is there anything you would like people to watch forward, lookout for, listen to anything. Breeders I believe it's on its way. Breeders tea yeah, Breeders yeah, so so that would be your Breeders Season two is currently every Monday night on FX in America.

You can also catch up on the FX on Hulu and you can also see season one there in this country, the United Kingdom of Great Britain and for now Northern Ireland. Then you can see that on Sky starting on May the twenty seventh, and it's will also be on Now or as now a TV is now called, and you can catch up on Sky and Now on the previous season already brilliant. Also, have you seen Teds? Not your

sort of thing? Was it not not for me? But I appreciate the thinking behind it, Chris Addison, I did, like, thanks man, God bless you have a lovely death and see you soon. Good day to you, sir, Good day to you. So that was episode one hundred and forty eight. Head over to patreon dot com forward slash Brett Goldstein for the extra thirty minutes of chat, secrets and video

with Chris. Head to Apple Podcasts. Give us a five star rating, but don't write about the show, right about the film that means the most to you and why it's a lovely thing to read. It does help numbers, etc. And it is really appreciated by my neighbor Maureen. Thank you very much for listening. Thank you to Chris for doing the show. Thanks to Scrubus pipping the distraction pieces of network. Thanks to Buddy Peace for producing it, Thanks to ACAS for hosting it. Thanks to Adam Richardson for

the graphics at least allowing for the photography. Come and join me next week for another incredible blinder of a guest. So that is it for now. In the meantime, have a lovely week and please be excellent to each others uncuste uncusts ustens acust