Look how it's only films to be buried with the resurrection. Hello, and welcome to films to be buried with the Resurrection. My name is Brett Goldstein. I'm a comedian, an actor, a writer, a director, a Cinnamon crunch, and I love films. As Madeline Miller once said, And perhaps it is the greater grief after all, to be left on earth when another is gone. But there is no greater flowing of tears than the ending of Big Fish. Yes, hard agree. Every week I invite a special guest over. I tell
them they've died. Then I get them to discuss their life through the films that meant the most of them.
But not this week. This week I.
Use my newly acquired shamanic powers to bring a beloved guest back from the dead. And this week it's the amazing writer and director mister Edgar Wright. Head over to the Patreon at patreon dot com forward slash Brett Goldstein, where you get an extra twenty minutes with Edgar. He tells me a secret. We discussed the best beginnings and endings.
There's a video you get the whole episode uncut and ad free, and all the other episodes as well, check it out over at patreon dot com forward slash Brett Goldstein. You can watch ted Lasso episodes one to nine of season three now on Apple TV Plus, and also all of Shrinking season one head over Apple's ev Plus.
Hope you enjoyed them.
So Edgar right, you know Edgar right, he did a two party back in the day, and now he's back to be resurrected. When we recorded the last one, he was about to make last night, and soho. So we get to talk about that, having had it made and I've seen it. We talk about all sorts of things. He's fucking brilliant. You know him, you love him. I think this is a brilliant when we recorded it the other day over zoom, and I really think you're gonna love it.
So that is it for now.
I very much hope you enjoy episode two hundred and forty seven of Films to be Buried with the Resurrection. Hello, and welcome to Films to be Buried with the Resurrection. It is I Brett Goldstein, and I am joined again by a actor, a writer, a podcaster, a panelist, a q and a a writer, an editor, a producer, a creator, and one of the all time great film directors and TV directors of all time. Please welcome back from the dead. It's only him here he is. Can you believe it?
I sulk, I'm looking at him. It's mister record right.
Thank you for having me. I always feel weird when you start with actor. It just feels wrong. Well, you know, I'm working up and working up. Yeah, these are all technically true. I'm carving out this weird side hustling doing animated voiceovers. I just did Andy Sandberg's Digman show, and he asked me to do it, and it's like, yeah, why not, right, But then that's funny thing where it's like on my credits it has like duct tails sing sing to dig Man.
That's a great fucking CV.
Now listen right, last time he did the show, it was a few years back, and we went for a walk and you were talking about last night and so, which you hadn't hadn't yet come out. I hadn't seen it. I've now seen it. It's fucking brilliant. You came to the premiere. I came to premier in la It was actually like one of the first sort of big outings after Lockdown, Like it was a proper. It felt like it was the first time. It felt like a big event in terms of people came, and you know, I mean.
It was the first premiere in the Academy Museum, which is a beautiful cinema at that museum, and ours was the first premiere in there, which.
Was kind of amazing. Yeah, it was a very it was a very great night.
It was a great night, and it was one of those nice premiers where the cast stuck around because usually when you're younger and you and me, when you go to a premiere party, the last people there would be the stars of the film and then it's like the stars of the film are nowhere to be seen. They're off somewhere else. And so it was really nice with the last night, second premier because thomasin and Anya you know,
kind of like shut the place down. And I was like, well, that's nice because that doesn't happen at premiere parties.
That's a good say.
We've talked about it privately, but I would like to talk about publicly. There's a set piece in it which I think is one of the all time great set pieces, and it's a long one shot goes down some stairs. She's kind of seeing and your tailored joy in the mirror. Then there's this musical dance sequence where they keep swapping and it's all done practical and real. I love it so much and I'm really interested in, like I have a thing about you know, one shots, long shots that
are done in one take. Sometimes they're amazing, and sometimes I'm like, I'm not quite sure why this is happening other than kind of it's kind of technically impressive and the filmmakers going, look what I can do. And I find that kind of often an audience doesn't notice that. You would if you said to them, you know, that was all one take, they'd be like, oh, I didn't notice.
I didn't care.
And sometimes I sometimes think is it an artistic choice or is it just a kind of showing off, look what I can do? And in that sequence in in your film, I think is like real proof of when it's fucking brilliant and when it's for all the right reasons and there's something about it.
This is my take on it, if you tell me if I'm wrong.
The fact that it's it's a real like high wire act, like it's a real, genuinely impressive like the choreography of the actors having to move in and out of shot, having to swap places mid dance, these the cinematographer having to move exactly at a moment to make sure he's not capturing the other person as they flip it from
a spin. There's something about the genuine jeopardy of that shot that I think translates into the watching of it, that there's something about that sequence that as an audience you're like.
Ohh, it's really like thrilling.
And I think it is partly that it's the energy of this is fucking risky and live, and everyone is so so focused on getting this exactly right. I think that that kind of comes off the screen, agree or disagree.
I think the reason we did it, and you asked the question, you know, what is it there for other than is it just showing off? But in the sake of that, because you're asking the viewer to buy into this idea that when thomasin McKenzie dreams that she's in
the past, she sees herself as Annie Taylor Joy. So very quickly we gravitated towards shots that were like optical illusions, things that you could actually see with the naked eye, although you can't necessarily figure out exactly how they're done. You know, just before the dance scene is the first mirror gag, where like thomasin scenes and you're in the mirror.
And that was we came up.
With this whole idea of rather than just using special effects, which is in a weird way, it's just it's not easy, but it's definitely a crutch for a lot of filmmakers. Is like, ah, the VFX people will figure it out.
We sort of designed the shots so we could do it in one which involved a sliding mirror and identical twins and double sets, and then that continued into the dance sequence, where I think what happened is that we it was always written in the script that and was going to turn into thomasin in the dance, and we had a VFX version of it. And then we didn't really know whether the VFX version was going to work because I did want to use motor control and I
didn't want it to be a green screen shot. So as a standby, our amazing choreographer Jen White, had worked out some other ideas and she showed me these other ideas, and because I was in the rehearsal room with a handicam. You just shoot them from a single point of view, and usually with those tricks they can only be shot from one angle. But then as you're doing them, you start to think, hey, what if we did all six of these? So there's like six texta switches in a row.
And so it is that it is a high wire act because by falling the eye and falling the audience, you're also getting them to buy into the magic trick that's in the movie is that these these two actors are going to become interchangeable. But weirdly, there was something that happened where I made a decision the night before which I think made the sequence, and if I had stuck with my original idea, I think it would have
ruined it. Because originally, in the conception of that scene when they start dancing and it's Anya and Matt Smith dancing and then suddenly thomasin is dancing as well instead of Anya, originally she was going to be in Anya's dress and Anya's hair and makeup and hair had done Thomas McKenzie in the dress and in the blonde hair.
But then I realized, I remember I had shown my girlfriend a rehearsal video that we'd done with some dance doubles, you know, because you have dance that wasn't We'd done a rehearsal of the shop and the dance doubles were a blonde and brunette. And I remember when I was showing this, Oh, apple Watch has decided to chip in them.
And what I said, you know the other day secret Apple Watch.
I was in like one room of the house and I shouted out to my girlfriend in the other room thebe and the apple Watch said this is all I could find out, and it had the synopsis for Babe, the Big film. But all I said was, Babe, question mark, it's a masterface.
Thank you Apple. It didn't do it now.
So what happened though, is because I remember I'd shown this test footage to my girlfriend and when the first time they did a transition and it went from.
Blonde to brunette and back again, she was.
Like, whoa, whoa, whoa, whoa, whoa, whoa whoa Show me that again, Show me that again. What just happened there? I don't understand. And then you explain it. And when we did, I think we did one like rehearsal, and when I saw Thomasin, I thought, if they're both blonde, this is going to be so slick that people won't
even notice what's happening. Yeah, and so the only tough call about that was to tell hair and makeup and costume that they're hard work getting the dress for Thomasin and their hair for Thomasin was not going to be on camera. And I was like, guys, you're gonna hate me, but I think Thomasin should have her brown hair and her pajamas and not be in this dress. And if I had gone the other way as I originally attended, I think it would be a far, far lesser shot.
I think you're right. That's fascinating. Wow, that's so cool. Well, I love it. Oh, No, one question. One more question about that sequence. How how many takes? How many takes was it and which take is in the film.
I don't think it was too many takes on that one. I think it was probably about ten takes. I mean, we rehearsed it on a Saturday. And the key thing is, like the heroes of that sequence, apart from Matt Smith and you, Taylor joined Thomasin. McKenzie is not just a choreographer gen White, but also and you mentioned the director of photography Chunk Jong Hun is a master, a genius. But then the other man of the match, the MVP,
is the camera operator. And Chris Baines, who was the steadycam operator, he had to be there at every rehearsal because without him having the muscle memory to know where to be and when and memorize the dance as much as the actors are. Without him being able to do that, you're fucked because the whole the whole thing succeeds or fails on him being on the right mark at the
right time. And that's always a thing that's like usually if you do dance sequences, and I'd learned this from the days of low budget music videos, that if you come up with a great dance sequence, but the operator is seeing it on the day for the first time, you've like you've.
Lost so much kind of time.
And so it was always the thing of like Chris Bain's the steadycam operator has to be their in rehearsals, and so he was. He was working as intensively on it as the actors were.
You know, how if you could for this, I'm just curious. It's such an impressive sequence in every way. How many days was it to make in terms of rehearsing the actors, rising the camera appropriate and then filming Those ten takes were one day? Right, you did the whole thing in one day.
Yeah, I think we did more than that in that day. Actually, I think we actually we actually kind of got very unusually for me, got ahead of ourselves. I think the baby the take, the scene that there's lot of baby driver when Ansel walks to the coffee shop and back all in one take. That was twenty eight takes. And the thing is we had to take twenty one, which was good except Bill Pope, the DP had one issue with it, and he said, get one more for safety,
and then takes twenty two to twenty eight. It got progressively worse to a point where by take twenty eight then you're saying, do you think we can say take twenty one, and he goes, yeah, I can probably fix it in the grade. Like I think the exposure Poul was late by like a split second, and that's the take this in the movie. He was able to fix his problem with it, and that's the take this in
the movie. I think this was like ten takes and then we actually got something else done that day as well, Like but so how much prep was there?
You know?
And the thing is also is that it's like you you just like the workshop stuff is stuff.
That you, you know, kind of do before the actors get there.
And then I think Annie was still shooting Emma right up until I think she wrapped Emma, and then two days later she's shooting that scene. I think it was something crazy like that, or she was at least rehearsing that scene. I remember that we had to We had to rehearse with her on a Saturday while she was still shooting Emma, which is obviously a big strain for her, but there was no other way of doing it.
We didn't We didn't have any other time.
So God bless her for pulling a seven day week or whatever it was that week.
Sad question, Are you emotionally good the st within that story You've told you had to like let down the hair and make up and costume people who've been working really hard. Are you good at that side of it or does that upset? Are you like, oh God, I feel so shit about this, or you like films the film baby.
No. I mean, if I was bad at it, I wouldn't even talk to them at all. You get one of your underlings to do it, or you say, you'd be a complete coward. You'd be a complete coward and say tell them, tell them, you know. So, I think hopefully the key to being a good director is that
you're kind of open and transparent and communicative. I'm sure like other people would like just like get somebody else to tell them, and they'd be like, wait, we're not doing the blonde hair and the dress, what's going on? Like so at least I think I told them what we were doing and why and tried to break it to them easily, gently, gently good man.
And one last thing is the nything you can tell us about what you're cooking up next, if anything, maybe or another day, maybe you're retired. I don't know, it's none of my business.
No, there's lots of writing going on at the moment. I think there's a couple of things that are in a good shape. And you know, I think it's the way of the business at the moment is like sands are shifting very kind of quickly and stuff, so you tend to kind of like look at things in terms of schedule and practicalities and what you could get kind of like, you know, kind of made you know. So
there's a few things. I'm always superstitious about talking about it because I think I've, you know, in the past, been foolish enough to give interviews about films that then I didn't end up making, and I've always regretted it until you're actually there on the day. And then obviously in this day and age, you could you could make a whole movie and then a studio and not just decided not to release it. So I feel like I just very superstitious about that. So hopefully there'll be some
news soon, but no breaking news on this episode. I will say I did since the last episode, I sort of had my tail between my legs because me saying that The Goonies was the film that I am as an adult I didn't like so much anymore came back to haunt me in two forms.
Number One, I went to dinner with Key K Kwon.
I was terrified, who of courses the nicest guy ever? And I mean, I absolutely love Temple of Doom. I was very happy to hear Adam Scott singing the praises of Temple of Doom because I agree, and so you know, I had an amazing dinner with him, and then you know, I feel, oh God, I hope he hasn't heard Bread's podcast. Although I want to qualify what I was saying is that would be the objectively the greatest film of all time. If you're if this is your right to replay, if
you're eleven, like not at forty nine, you know. Then also, I ran into Matt Ford on a radio show and apologize to him as well.
Well go, I don't know if he got over it. I hope he's all right.
But I stand by though, if you're over, if you're over forty and you're watching that film and a cinema on your own, you should be wearing an ankle bracelet.
I mean, you've just apologized and then doubled down.
Let me said, if I was like showing that to my kids, I think it's the thing. It's like it is a thing with kind of like kids films. It's like there's a number of things here. Is like if you're introducing it, if you have kids and you're introducing it to them, it's a lot more of a question of like, why why are you watching?
I don't know.
Maybe let me stop talking about it. No, I apologize. You're allowed to watch gooonies whenever you.
Like, Matt enjoy your life, Edgar right. I have brought you back to life because I like you. You get a second chance. But what point in your life will you come back to. What will you change? What will you keep the same?
I have a recurring fantasy about being back in school and having a bit more sense of what I should be listening to. I think I had a thing where I didn't wear glasses at school because I didn't know that I had bad eyesight and I never had my eyes tested as a child. And years and years later, when I realized I had glasses, it suddenly came back to me that I couldn't read the blackboard at school, and as such, I used to tune out of lessons a lot, and I sort of wish I could go
back and sort of pay attention a bit more. I mean, I have that fantasy is that if you had if you had the time all over again, it would just be that it would be just extensions of what you're already doing. But like read more like listen, like this stuff is important, and I have a particular thing that I think I did really well in my GCSEs. And then when I was in my A levels, when I'd started to make amateur films, my interest in my studies
like really dropped off. And there was like a massive like because I was already like starting to think about making like movies and fucking around with a super eight camera and a video camera. But as such as like you know, English literature, my grades like nosedived, and I just, you know, wish I could go back and you know, be a better student.
And then do all of this again.
You'd you'd make all these films, all these things, but they'd be clever.
Here's the problem with time travel. You only want to do again the things you did badly. You do not want to have to do again the things you did well. So that's that's that's the problem. It's such a problem.
You'd have to pretend, you'd have to act a lot, you'd have to try and remember what you said. I think you'd cause all kinds of problem, especially you're going back as a kid with all this knowledge and you're the one whose things it's uncomfortable to watch the goonies. I mean, the whole thing's a mess.
Well, I think the thing is also if you were doing a back to the future too thing and then you could kind of win lots of things at the bookies.
I would be terrible.
At anything sports wise, like the Grand National or like the FA Cup or anything. I could remember the Christmas number one every year, so that would be my thing. If I went back in time, it would be like, oh, yes, of course this was number one in like nineteen ninety two, and put an enormous amount of pocket money on it.
But any sports thing.
I'd be terrible at that, you know, or even like trying to avert disasters, you know, apart from a couple of obvious ones. That would be the curse of going back in time. God, yeah, that would be really stressful. But I could win money on the Christmas number ones. Also, if you're a kid for people, don't do this. No one's going to believe you. Yeah, go and tell us
about Christmas number words. I was just gonna say, Christmas number one is not really a thing in the States for your American listeners, but it is a thing in the UK.
Big thing, The biggest is bigger than the coronation.
Although I guess maybe like the kind of betting on the Christmas number one has dropped off since lad Baby have got the Christmas number one for the last ten years with some sausage roll song. Edgar right, Welcome back the Living, Please to see you. But they want to discuss films. Their first thing they ask is what was the last film you saw?
Edgar Right? You watched a lat of films.
I watched with my girlfriend who had never seen it, and I think maybe like had thought she wouldn't really like this kind of thing, and then really did like this kind of thing is We watched the nineteen eighty seven version of RoboCop. I hadn't watched for a long time, and she had never seen it, and she loved it. And I had a fucking blast watching that.
Again, that's great one hundred and two minutes. One hundred and two minutes long.
RoboCop think about everything and it packs into that running time.
It really freaked me out when I was litteral and I saw that the romano from When He Gets Acid?
Did that really upset me? I think it really traumatized me that bit.
What's funny is you say Romano from Er, but whenever I see him in something else, they say, oh, it's a meal from Robocod, like when he's in Alan Parker's Fame.
I'm like, hey, it's a meal. Who do you think should play you in the film of your life?
I'm going to give you a little choice here, and I'm not sure if I can share a photo or not.
Maybe I don't know how to do that. Maybe it won't work. I'd like you to.
Can you see that? Maybe you can put it up? Who is that?
That's me?
That's you, that's me, aged like seventeen of it. Yeah, get out of it. That's not you, shut up, that's not you. It is me on BBC's Going Live. Wow. So answer your question, he would play me from my life? I'll tell you about a couple of people over the years. The first time ever that somebody at school said I looked like somebody And this might be before your time, Britt.
Do you remember a show called Press.
Gang, Oh, with Dexter Fletcher and Safik Yes, exactly, but they're not Dexter Fletcher. There was an actor in it called Paul Reynolds who played Colin. And I remember this girl that I fancied from school said you look like Colin from pres Gang. So I think then to impress her, I started dressing like Colin from Press Gang to really like just try and see all the deal. So I don't know that that's a very specific reference for Brits
of a certain age, but Colin from Press Gang. And then the photo that you just saw, which is me ongoing live age seventeen. I remember I showed this to John Hamm and he said, you.
Look like Rebecca Hall. Oh my god, I mean I don't look like Rebecca.
Rebecca All is an absolutely wonderful actor, a beautiful, wonderful actor. Okay, that's a wonderful choice.
More recently, and this this is bollocks, but sometimes on Instagram when I post on thinking usually if I got longer hair and I'm wearing like a dark suit and a dark shirt, invariably somebody in the comments saying, is that John Wick? Now? The thing is, so I'd love to believe that Keanu Reeves could play me. And I actually met him recently and he looked exactly like John
Wick when I saw him, which was very funny. But he's like, you know, several feet taller and with you know, kind of ten years on me, a lot lot fitter and a lot lot more handsome. So in my dreams, Keanu Reeves are playing me, but he'd have to be squashed and put on some way.
I mean, I would vote for Rebecca absolutely. She's just a phenomenal actor and a brilliant I think that you'd be very great.
I know Rebecca, and if I tried to even paraphrase what we've been talking about, I think she'd be very disturbed.
What is the most romantic thing we've ever seen? My vote for this and some other things I might have mentioned have been mentioned on the podcast already.
I think somebody recently talked about out of Sight, So I'm not going to pick that. But let's go back to the forties. My vote for most romantic film is Alfred Hitchcock's Notorious with Carry Grant and Ingrid Bergmann.
Very classy choice, young man, What a classy little choice.
It's a really sexy film, romantic film because to some
extent it's it's not like it's unrequited. But the premise of that movie is that Carry Grant is a government agent who has enlisted Ingrid Bergmann to spy on a group of Nazis in Brazil, and they're falling in love during the mission, but then the mission is complicated by the fact that Ingrid Bergmann's character is asked to proposed to by one of the Nazis and to go under cover she has to marry him, So carry Grant and Ingrid Bergmann's you know, growing affection for each other is
then complicated by what she has to become in her undercover mission to spy on the Nazis. So when Carrie Grant and Ingrid Bergman do get together, it's great because it's like a double whammy of that they're already in this espionage drama where if either of them get found out, they're going to get killed, but also she's on paper
married to Claude Raines. And also because it's a forties film, it's not explicit in any way, and it suggests things happening off screen that you don't see, but that just makes it more romantic. I think it's like and I think they're sort of charisma and that chemistry, whatever the reality of it was, is just like burning up the screen. So I always think Notorious is a really romantic movie.
The excellent right, what is the best film you ever saw that you never want to see again.
Well, I can't say Irreversible, because I have watched it twice, because I did see I did, I did see it.
And then then my girlfriend really wanted to watch it, and I kept warning her that it was one of the most hardcore films of all time, and she goes, no, I want to see it, and then you know, and then we watched it, and then she she kept doing that thing where she sort of was walking out of the room and coming back because she was terrified of the of the big central centerpiece scene, which is rightly
notorious and really hard to watch. But we did watch the whole thing, and actually, when it got to a certain point, and you know what that film is like, I said, we have to watch it to the end. Now we have to watch it to the end. Bizarre Bizarrely, this film has a happy ending.
The second the second half is quite beautiful. But I don't have any even made it to that.
Well that's that's that is the heinous element of that film is that it actually, obviously because it's going backwards, it ends on the most romantic, sweet scene.
So I can't say you're reversible.
I can't say Funny Games because I think I have seen that more than once, and I watched the the original one and the remake. So yeah, I don't think that I'd be watching a film like Snowtown again anytime soon, although maybe if somebody said let's watch Snowtown, I wouldn't say no. So my answer to this is Pasolini's Sallow or the One hundred and twenty Days of Sodom, which I watched and I appreciated, but I would not be in a rush to see it ever again.
Now.
I have read many things about that film and I have never watched it, and every time I read about it, I'm like, I just don't see it happening in my lifetime. Can you tell us what it is that makes that it's a considered a classic people, you know, it's always on a list, But whenever I read like what it is, I'm like, I don't know if I need to sit through this.
I mean, it's it's very powerful, and it's it's setting fascist Italy in World War Two, and it's basically these powerful, wealthy, horrible aristocrats torturing these young people in various levels of sexual degradation, and I I guess the entire thing is like both something that happened in reality and also just a metaphor for corruption itself. But the thing that's tough for watching it is actually the thing that made me the most kind of queasy was not the actual sort
of sexual deprivation on show. Now, the thing that haunts me about that film, and anybody who's seen this film I know exactly what I'm talking about, is the cutaways of the dirty old men enjoying it is somehow worse than the acts themselves. And I remember when I watched it. I watched it and didn't see it at the cinema, and in fact, name drop a look. Quentin Tarantina said to me, he said, if you didn't watch Sallo in
the cinema, you haven't seen it at all. So he said that to me, So maybe I have to do that to finally be at peace with Sallow, actually watching the cinema and see people walking out. But I watched it at home and it was one of the only films where I was watching it during the day and I had like blackout curtains and everything that I stopped it halfway through and went for a walk in the sunshine.
I think I.
Walked around the block and before I continued watching it to finish it. I still have the DVD, but like, I can't imagine watching that again in a rush unless my girlfriend, absolutely, for some bizarre reasons, said I must watch Sallow it's for work.
Or I don't know.
I would say, I would say watch it once. I would say it's one of those films that you got to watch once. And according to Quentina, here's the thing. Okay, next time it's on the cinema, we're in the same city. You're going to break your Sallow cherry. And I'm going to do what Tarantina said and watch it in a cinema because apparently I haven't seen it because I watch it at home.
So then it's a it's a win win for us. It's a win win for us.
Whenever it cuts to the people enjoying it, I'm going to look across at you and Grid.
What we should do is we should we should do like one of those penn Andella things, whereas audience participation is every time it cuts to one of the old gentlemen enjoying it, we should stand up and clas or shout, shout, Sallow at the screen like it's a touchdown, Sallow.
What is the best action film you've ever seen? Right?
So okay, here's honorable mentions before we get to the ultimate pic, Mad Max two, Mad Max Fury Road, Hard Boiled, John Wu a Better Tomorrow too, that's a more deep cut John WI one. But if you haven't seen that film, oh my good god. That's the film they're watching in True Romance, which has an incredible ending, die Hard Aliens Raiders of the Lost Dark, which is mentioned too many times on this podcast, but it is classic the Driver.
Walter Hills film.
But the actual answer is like, because I've seen it with an audience and I love this film and it's
never not fun to watch. This is the Crowd is Jackie Chan's police story, the first one from nineteen eighty five, which has the climax to beat all climaxes, which is like twenty five minute beat them up sequence in a shopping mall with more broken glass than you can possibly imagine, more henchmen being thrown through broken glass and more Jackie Chan getting the shit picked out of him, and people being thrown down escalators and motorcycles in malls and then
climaxing in the famous you know, sliding down an electrified pole like at the end of it, like Police Story all the way through. Also, Police Story starts like most films end. It has that opening sequence with the kind of car chase through the shantytown, which kind of Michael bay rips off in My Bad Boys too, but like that opening sequence, and then it turns into the chase with the double decker bus. That's all in the first five minutes. So that movie just keeps kind of upping
the ante. And I think it was because Jackie Chan had been to Hollywood and not quite succeeded with Cannibal Run one and two in the film called The Protector, and The Protector I think was particularly like a bruising Hollywood experience for him. So when he then made Police Story, he kind of like just goes for it, and it's just I mean, that film with an audience is extraordinary and I would happily watch that any time. So that's my pick for the greatest action film all time. Very
nice of all the films. If you had to, which film do you think you could have made? And why this is a tough one for me to answer because I am a film director, so I don't want to.
I don't and I don't.
Want to answer this in the sense of that I could have made these films better, because I couldn't. So I can think of three that when in my younger days, when I wasn't a film director, or I hadn't made Sean of the Dead yet, like when films that made me so envious that I thought like, I want to make I want to be making movies like that, probably like a big one, when as a teenager it would have been something like Evil Dead too, where you just like, my eyes are popping out of my sockets, like what
is this? How can I be a part of this? I want to do that. Whatever this is, I want to do it. And then later when I was I'd already made a film, a very low budget film starring your lasso buddy James Lance, who I ran into in the street the other day.
Did you know that he's in my first movie? I did not know that. I didn't remember that. No. I loved that man, What a wonderful man.
He is the only member of the cast of a Fisciler Fingers nineteen ninety five to have been in a White House press briefing.
It's less. It's less that, do you think.
The next one with I think when I saw Wes Craven's Scream at the cinema in like nineteen ninety six or maybe it was early ninety seven, that was another film that just made me like envious because I it was before it was after I'd done Fisical Fingers, but way before A Space or Short of the Dead, and I just watching that film just kind of like clawing at the seats like, oh God, I want to make
a film like that. And then the other one, the big one as well, which was after Space and before She the Dead, was the German film Run Lola Run, the Tom Twiper movie. It just it just like had me literally frothing over at this point, done, Oh my god, they're going to make a movie. So the thing is, I would say one of those, but then I couldn't better them, you know, So what's the answer.
I don't know, but you tell me.
I think I think run, Loan and Run is your answer, because I can see I could see you making that.
Well, make I'll make a British one and it'll be the title be go on, girl, God, that's great and it's a fucking great film.
I forgot about that film.
Oh eighty two minutes long, Yes, as it should be. What is the film you have pretended to like to impress people?
I would like to think that I haven't done too much of that in the sense of press somebody. I don't know whether I've ever done that, because usually, especially recently, I'm pretty kind of open about what I like or not or don't like, or.
What I haven't seen.
When I was I think the first girlfriend I ever had when I was a teenager, I definitely pretended to like films that she liked in a way of like just you know, kind of trying to ingratiate myself, I guess, And she was like totally besotted with Patrick Swayze, and so I think I watched Dirty Dancing with her more than once and definitely pretended to like it.
More than I did, because.
You know, you don't want to be a complete I can say this isn't for me, So you know that thing where you kind of just you just kind of like you open yourself way up to you know, you're pretending, and it's not like I didn't like it. It's how it's a very amazing but I but I didn't love I didn't love it. It's not it's it's not for me, and I didn't love it. But I definitely I definitely pretended that I loved it, so just to kind of like, you know, play off that I did like Roadhouse and
I do love Point Break. So it's okay. I've got nothing against ways. You've got a good score.
H What is the film you've never seen that you think it's mad you've never seen it?
Brett.
I come prepared for this because I'm now going to embarrass myself as somebody who's very open about what they've seen haven't seen. I'm going to give you a whole list of films, and I've done this very scientifically.
I'm going to give you a list of films.
And then you're going to tell me what the maddest one is that I haven't seen, and I'll explain why. So I have like different lists than the first list I have here. This is the box Office Mojo list of the highest grossing films of all time adjusted for inflation.
You know what that means.
That means that gone with the wind is number one because it's adjusted for inflation, So I have to go all the way down to thirty five, and they're going to rattle these off. At thirty five, I have not seen Sleeping Beauty of forty one, I have not seen I've seen Love Story fifty two. I've not seen the Robe, but I don't think you've seen the robe either, fifty five. I've not seen Bambi at fifty eight. I've not seen the Bells of Saint Mary seventy. I've never seen the
Passion of the Christ ninety six. I've never seen Swiss Family. Robinson and now, okay, this is just list number one. Brett, get ready and I have you're making notes. Yeah, so we'll double back on what you think is the most egregious one. Now, this is not adjusted for inflation, so this is the current like box office top one hundred at nineteen, I've never seen Frozen two.
Twenty eight.
I've never seen Hunger Games Catching Fire forty three. I've never seen Spider Man Far from Home, which is strange because I saw the first one and the third one, but not the middle one. I think it was ino y. That was the summer that I was making last night
in Soho. So that's my excuse there. Total okay fifty three, The Secret Life of Pets fifty four, Despicable Me Too fifty eight, Guy Richie's Aladdin sixty four, Hunger Games, Mocking j Part one sixty six, Minions sixty seven, Minions, Rise of Grew seventy one, Alice in Wonderland, The Tim Burton one, seventy eight, Shrek the Third eighty nine, Pirates of the Caribbean at World's End, which I think is the third one.
Right ninety six.
Yes, the Twilight Saga Eclipse. We'll double back on that one because there's more to that. Now, this is where it gets even. This is maybe more embarrassing.
Now.
These are the IMDb Top movies, the IMDb Top one hundred of all time and the first one. My girlfriend goes, you haven't seen that thirty three. I have not seen Roman Polanski's The Pianist forty four, I have not seen the French film Untouchable forty five. I've never seen Harry kiriy forty six. This will drive some of your listeners, mad. I have not seen Graver of the Fireflies. I do have it on Blu Ray. So it's by the time this comes out, I might have seen it. Said, I'm
really embarrassed about this one. Seventy seven, I've never seen Death Boot, seventy nine, I've never seen Princess Minoke, Monoke still on anime, I've never seen eighty three Your Name, And then this one, this one is called Three Idiots. I have not seen that film, but it is at
eighty seven in the IDB Top one hundred. And then finally, finally, this is short the top two hundred and fifty most popular on letterboxed, Perks of being a Wallflower, Black Widow, House Moving Castle, and finally at Man, at which I am credited as a writer and executive producer. So out of all of those ones, I just threw it at the wall. And I'm sure some of your listeners are screaming, like, how have you not seen House Moving Castle?
Yeah? What do you think is the craziest one?
The one I'm most surprised about is Passion of the Christ, only because it was huge, and you you have mentioned quite a lot of horrific films which are like torture point. Passion of the Christ is just two hours of a man being tortured. I feel like you'd probably love it, and it surprised me you haven't seen it.
My reasoning there, you know why it came out the same week as Shaw of the Dead and so bizarrely, or.
Maybe it came out a couple of weekends.
The weekend that Sean and Dead came out, which was just before Easter, Sean of the Dead was at number three and we had knocked Passion of the Christ down to number four. So there was that thing when Sean and the Dad came out and we were at number three, it was like we beat Jesus.
But the real shocker is Bambi. Well I have I have a good point about that.
So there's quite a few Disney ones on here, and I'll explain why. So Disney ones, what did I have like Sleeping Beauty, Sleeping Beauty, Frozen two? Well, Frozen two is that's we're in matt Ford Territory there As a forty nine year old man, I can't really go and see Frozen two at the cinema unless I have kids.
Agreed, agreed to disagree. But what was it? Bambie?
And then also there was another one as well, right, Sleeping.
Sleeping Beauty Bambi's the one though.
So I'm of the age where I saw some of the Disney films at the cinema, and quite a few of them. In fact, I saw like snow White, I saw or Dumbo, I saw Pinocchio, I saw The Fox and the Hound, I saw The Black Cauldron. But I'm of the age that by the time they started releasing him on VHS, which was in the late eighties, I had sort of aged out of it, like I've never seen the Little Mermaid, and people say, you've never seen a Little Mermaid.
And I was.
But you know what, when The Little Mermaid came out, I was fifteen and I was watching Taxi Driver on VHS. The Little Mermaid was of no concern to me. But also there used to be a TV show on the BBC and maybe this is before your time, breat called Disney Time, which would be on every Bank holiday, and it would have clips from the Disney films. And in those clips you'd see like Bamby Lady in the Tramp,
you know, the Aristocrats. You'd see all those clips. So in my head I feel like I have seen them, And then when I stopped to think about it, I think, oh, maybe i'd never seen the whole film, but I.
Agree with you.
Probably Bambi is the one. I think, like, it's amazing that I've never seen Baby Yeah, because it's it's like reference.
It's like a sort of ultimate reference. So the sad thing that people will always go on it's like Bambi. I feel like you should see Bamby I will.
I mean this says everything about me.
I've never seen Bambie, but I did see the Black Caldron at the cinema four times.
That really does that really does explain. I just I just I just missed.
I just missed out that re release because remember, like the Disney films in the days before Disney Plus, before DVDs, before the VHS is, they would go into the Disney vaults and they would only be re released every like five years. So if you missed that re release slot, it wasn't going to be on TV and like tough shit. So and then, like I said, by the time they came out on VHS, I was too old to really be watching Bambi.
But you know what, I'll watch bamb before. Yeah. Okay, that is mad.
What is the film you love that you don't expect anyone else to like.
I've been scientific about this as well, because, as you probably know, I made a list of my top one thousand favorite movies, and I looked at it on at a box.
Somebody had done this list.
I changed the setting so it said lowest rating first. So the three the four lowest rated movies. Actually one of them you have to give a pass to Glenn l. Glender was the lowest rated one, but Glenn or Glender by ed Wood is a very enjoyable movie. The next three I would stick up for, but if somebody didn't like them, I wouldn't be mad at them for not liking them. Number one is a Disney film, The black Hole.
Disney's The black Hole, and so I am quite a few people I know, including my brother Joe Cornish and name Dropp alert Christopher Nolan, are all somewhat obsessed with The black Hole because The black Hole is It's not a perfect film. It's got flaws, but there's enough things in it that make it a very intriguing prospect. And
there's a lot of great things about it. Amazing John Barry score, incredible matte paintings and miniature effects, and a decidedly trippy Heaven or Hell ending, which when I was five years old and saw at the cinema, scared the fucking shit out of me, Like.
Yeah, don't they all die in a black hole at the end of the black Hole?
No, Well, what it seems to be saying, although it's never really clear, is that the goodies go to Heaven and the baddies go to Hell because Maximilian Shell gets trapped inside his own robot also called Maximilian just to could be confusing. And then the final image of him is he's in this hieronymous bosh hellscape, trapped in his own robot with like the fires of Hell beneath him. And it's an extraordinary way to end a movie, is
like the baddies have gone to Hell through the black hole. Yeah, the other two ones that were down at the bottom. And this is a film I do love and like I always like, it's a film you either go with it or you don't. But the horror film The Ruins about the deadly super intelligent plants at the Mayan Temple. Have you ever seen that movie?
No, I've never seen that movie. I recommend it.
It has a plot point in it where you could tell in the cinema that people are either with the movie or not with the movie. A similar film is that film Splic which also when I saw that, when the audience you could tell that the audience was about to riot.
And the Ruins has a thing where there's a plot point in it where basically it's about these tourists that go to Mexico and they go to this Mayan temple and the locals are sort of like shouting them not to step on the temple, and they get scared and
they end up running up the temple. And what they've done is that they as soon as they're on the temple, they have kind of walked into sort of a cursed earth because the plants, the vines that surround the Ruins are alive and they're like super intelligent, deadly, flesh eating plants.
I don't know if I want to spoil.
Should I spoil the big plot point, which is either where you're with the Mavie or not.
Yes, little spoiler.
There's a thing where they're trying to find their friend who has falling down the temple and they can hear her cell phone and then they they get down into the temple into the dark, and it's creepy as hell to find their friend because they can hear her cell phone. And when they get down, you see that the plants are mimicking the noise of the cell phone, so the plant to basically toying with them to the plants have learned how to kind of bleep and are basically impersonating
the cell phone ring. And like, I was just when that happened in the movie, I was like, I love this fucking movie.
I love this movie The Ruins. It goes for it.
It's like big crazy ideas and like I'm in so I like that film a lot, and I always think it's praising. If I find a fellow Ruins fan, I'm like, yes, we are together. But if somebody said to me that film is shit, I wouldn't say you're wrong, it's I think you would like it. And the one other film that was on this list, I'm going to pick The Ruins, but is Michael Crichton's Looker from nineteen eighty one.
I don't know if you've ever seen that movie. No, I haven't even heard of that movie.
It is a bonkers movie starring Albert Finney, and it is like my Michael crit thing's way ahead of its time because it is about their scanning fashion models at their peak in inverted commas of like I Know, twenty four, and then they're killing them so they can keep their
digital avatars forever. So the plot of the movie is fashion models are being scanned to appear in advertising and then being killed so they can exploit their likeness forever, which weirdly sounds like we're not too far away from that.
Yeah.
And it also involves Albert Finney. He's a plastic surgeon in Beverly Hills. And there's also these baddies who have this gun, this light gun that can make you jump forward in time. So there's a lot of crazy stuff going on in that movie. But I highly it's bonkers, and I wouldn't say it's subjectively great, but my god, is it a great watch and way ahead.
Of its time. I love Albert Vinnie as well, love him under three points on a letterbox?
What is I mean? This is past?
What is the film you would show a lover as a test to see if you should be together?
And fuck me? Was it irreversible?
No?
But I think if I watched Raising Arizona with somebody and they really hate it, I'm not sure that we have that much of a future. But you could say that about most favorite films. It's like if they really really hated it, or like, I mean, listen, it's a weird thing to do because I think it sounds quite browie to be like sort.
Of like watch good films and if you don't like it, you're out.
But it's more like this kind of sense of humor stuff or something that's like life and funny is if they find no joy in it, then it's like, oh, I don't know whether I can be with this person. So I probably say raising Arizona is a good litmus test because I love that movie and if somebody I'm not expecting them to love it as much as I do, how could you? But if they found it completely without it, if it held no interest, then whatsoever? I had the question the relationship.
I think that's right.
I think if it's I think you're right, it's either a sense of humor or emotion. I think if I said someone in a film I found very moving and they were completely like it did nothing to them, then I'd be like, oh, maybe there's something off here.
I mean it should be called the singing The Singing in the Rain test is if somebody watched Singing.
In the Rain, it's shit. It's like, get get out, now, get out.
What is the film that made you the most uncomfortable? Edgar right, I mean you've you've gone pretty.
Hard for well, there's lots of answers of things that I've watched on my own, but this was a very particular situation with people that I knew that I was at the premiere is at the premiere. It was the kind of BFI premier, maybe the UK premier of Paddy
Constein's Taranosaur. And Paddy directed the movie a very tough movie, and Olivia Coleman stars in it, and Paddy and Olivia met on the set of Hot Fuzz and almost like her kind of transition into being a drama actress on top of being like a national treasurer in comedy was the film Taranasaur. And I always thought it was amazing that Paddy was the person who met Olivia on Hot Fuzz and saw something in her beyond just.
The comedy that she'd done.
So it's a credit to Paddy and Olivia always said this that is like he's the person who saw something in me that I didn't necessarily know that I had. So all of that's amazing. But then the actual film and Eddie Marsan, who I didn't know so well at that point, but I do know now because I work with him afterwards, watching the scenes with Olivia and her abusive husband played by Eddie Marsann, knowing Olivia and what a lovely person was.
It's a very powerful film.
And I remember sitting in the screening like with my hands over my faith because even though I knew it was make believe, I just kind of couldn't help get wrapped up in you know, I know these people, I know the director. I know that it's a film, but it's so powerful and so uncomfortable a watch, and you know, a devastating movie that I found myself just breaking out
in hives watching it. And then that was the immediately like kind of solved by getting to have a drink with him all afterwards, you know, But the watching of that movie, the intensity of it, knowing that they were all in the room, was just like off the charts to me. I mean, I think it's a really great movie, and I hope Paddy directs more as well, because I think it's incredible that film, but it was tough to watch.
It's tough to watch with the.
People in the room, which which should make it easier knowing that it's all make believe and they're all here and Eddie mas Eddie mars Ann is not a terrible abuser and it is actually a really nice guy. He actually said something in The Q and A which made me cast him in the World's End. You know, like the Q and A, somebody said, Eddie, you've done some really You've played some really dark characters in your time, and he said he says, yeah, I'm ashamed to say
I've never had a consensual sex scene. And I just and then in the World's End he plays the nicest one of the group, and I was like, I've got a puffy. I want you to play a really nice guy in the next one.
Oh my god, what a thing for the CV.
If you could show a child here we go, this is your area. If you could show a child one film, what would.
It as a sup to Matt Forward if they were eleven, I've showed them the Goonies. But here's my real answer, because This is a movie that I saw when I was a kid, and I think it's a film when you show it to kids, there's no kid watching it that doesn't want to be in the movie. And that's Alan Parker's Bugs Him Alone, Like, because any kid watching that who's of the age of the actors, they're like, I want to do that. I want to be in that movie. I want to have a splurge gun. I
want to have a pedal car chase. I want to be in that pie fight. I want to be singing and dancing at Batsam's. And like, I just think it's one of those movies that like for kids of a certain age that they're seeing themselves on the screen. And you know, there's things about that movie is he probably wouldn't get away with it today because it's like kids with guns now fair enough, they're not shooting bullets, but
they still have guns. You know, like Jody Foster playing like, you know, Tallula like a sort of a good time girl. As a way of saying it in vert commas ironically, I know that Jodi Fosters shot tach d only two weeks after rapping and sorry, she shot Bugs Him Alone only two weeks after wrapping Taxi Driver. So imagine that she plays Iris in Taxi Driver flies to London and she's buggs him Alone, which is that's whiplatch. It's gotta
be Yeah, but that would be my answer. I think it's one of those films it's just like for as a thing of like getting kids interested in acting.
I think I had that experience when I saw it. I was just like, put me in coach. I want to be in that movie. And I did it at school. I did do it at school when I was twelve.
It was a school production of Bugs Him Alone, and I got to be in Fat Sam's Gang and sing bad Guys. And then way way later in Baby Driver, Paul Williams is in the movie.
You know, the composer of all of those songs.
Paul Williams, who also composed My Christmas Carol is in Baby Driver.
Of course, yeah, he plays He plays the butcher, he plays the arms dealer. In the scene in the warehouse, he's wearing a little white suit and he's like, that's Williams. And in fact, when we were shooting that scene, I said to Jamie Fox, I said, you know who Paul Williams is right, and Jamie Fox just answered by saying.
Why are there so many songs rainbows?
And then and then Jamie sang Rainbow Connection in Kermit's voice in front of Paul Williams, which was something I wish I had on video, but I don't.
Oh man, oh boy, Edgar Wright, you have been great, and so you know what.
I've decided to let you live for the time being.
However, before we go, you must pick one DVD you will leave in the will.
For when you die again, and that day could be soon, young man.
I'm gonna pick it for this is tough for me, but I'm going to pick a film that I think I didn't talk about on the last podcast because I felt like I always talk about it and so I didn't make any of my picks. And I know it's on your list of like don't mention this, everybody mentioned this, but I'm just gonna leave it there. Why not let future generations enjoy John Lannis's American Wealth in London.
Yeah, it's a fucking it is such a great film. You can have it.
It's a belt.
It's a belt ninety two minutes long.
Two It's that film's perfect in it. That's a perfect film.
It is a perfect film. It's also perfect even in its abruptness. Like I remember reading the Leonard Moulton review which gave it like three stars, and it said like dynamite horror comedy, only marred by abrupt ending. And I was thinking, amazing, the ending is amazing, and it's like the abruptness of it, the tragicness of it. And that cut to the song blooming by the Marcels is just like doing the Chef's Kiss.
It's perfect, perfect film, perfect perfection. Edgar right, thank you so much for doing this again. I was going to ask what do people look out for? But you're superstitious, so it mustn't. You mustn't say no.
I mean something soon, I mean like later in the year. And I'm only like an executive producer on it, but I have been enjoying it as it's coming together.
But there'll be the anime animal.
I'm not an anime version of Scott Pilgrim. The Scott Pilgrim anime series, which is neither neither like a straight adaptation of the books or a straight adaptation of the film, but something else that you will enjoy with the entire original cast back. So that is not something that I am writing or directing, but I am an executive producer
on it. So I've sort of been watching it come together and get to enjoy it as a punter, and I know other people are going to like, especially if you're a Scott Pilgrim or an anime fan.
It's going to flip your lid.
And then whatever my next film is, you'll be the first to hear about it.
Brett, Yeah, right, what's it? Absolute pleasure. Thank you so much for doing this. I'm glad we found the time. Have a wonderful life, and I will speak to you soon. Good day, Speak to you soon. Apologies to mat Forward. So that was episode two hundred and forty seven. Head over to the Patreon at patreon dot com. Forward slash Brett Goldstein for the extra video chat and secrets with Edgar. Head over to Apple Podcasts. Give us a five star review, but don't write about the show.
No one cares about that.
Just write about the film that means the most to you and why it's a lovely thing to read.
People like reading it.
I like reading it, therefore make me cry, and it's very much appreciated.
Thank you.
Head over to Apple tv Plus and What's ted LASSA Season three, episodes one to nine and all of Shrinking season one. I hope you're all well. Thank you very much for listening. Thank you so much to Edgar for doing the show. Thanks to Scruby's pipp and the Distraction Pieces of Network. Thanks to Buddy Peace for producing it. Thanks to iHeartMedia and Will Ferrell's Big Money Players Network for hosting it. Thanks to Adam Richardson for the graphics
and leads alay Them for the photography. Come and join me next week for another brilliant guest. So that is it for now. In the meantime, have a good week and please be excellent to each others.
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