Edgar Wright (part 2 of 2) • Films To Be Buried With with Brett Goldstein #127

Gonzo good shout. 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. Previous guests include Kevin Smith, Sharon Stone, Ricky Gervais, Jamila Jamille, James McNicholas, and even Bed Bambles. But this week it's part two with the brilliant filmmaker and dream guests,

mister Edgar Wright. This week, as a Christmas present to you all, I've included all of the Patriot section except for Edgar's secret, which I've kept safe only for the Patriots. If you want to find special bonus features, extra questions, videos and secrets for all the episodes, head over to patreon dot com. Forward slash Brett Goldstein And if you've not seen it yet, lovely time to watch it would be Christmas. You can watch the whole of season one

of Ted Lasso on the Apple TV Plus app. Watch it, you'll laugh, you'll cry, you'll feel good. So last week or we left part one on a huge cliffhanger, so here we are to pick up exactly where we left off. That is if for now, I very much hope you enjoy episode one hundred and twenty seven, Part two of Edgar Wright's Films, to be Buried with the film that you used to love, really loved it, and you've watched it recently you don't love it anymore. It might not

be because the film's bad. You just feel differently. You've changed, not the film. Well, there's to be heresy to some people, but these people need to hear it. The Goonies is maybe not a great movie. And I say that, let me say, Goonies when you're twelve years old is the best. Yeah, And when I saw that at the cinema in nineteen eighty six, so maybe it's ninety five. That's probably eleven

or twelve. And I thought The Goonies was the best. Yeah, But then like you know, and it's that weird thing is obviously you come back to something like that with such nostalgia, and like you get the DVD And I remember once I tried to watch The Goonies with the cast commentary and having all of the Goonies talk, and in the movie, the Goonies are all talking at the same time, So anybody who's not twelve is going to

get an immediate headache. Now imagine watching The Goonies with all of the casts talking and all of the carts talking on the cast commentary. I defy anybody to get through that without having to reach for the neurofen at the end. So I'll say this is The Goonies is the perfect movie for twelve. But sometimes when I see people who are any person over thirty five that has The Goonies in their top ten of all time needs to see a psychiatrist. Right, you're specifically talking about Matt Forward,

who has done this podcast. Matt four, Please love Scoonies more than anything else. Please Matt forward more than you. For your kids, yes, but not for yourself. Pick an adult movie. Wow. Wow, that's the pool quote, Edgar. What is the film that means the most to you? Not necessarily the film special, but because of the experience you had around seeing the film that will always make it special to you. Well, I've already talked about Rumbling the Bronx. Yes,

there's two quick answers to this. One of them, well, we'd lean up to follow immediately on from the Goonies, Let's talk about a film that I watch I was ten that does hold up. Gremlins Now, that film holds up, and that film I watched it the other day. That film holds up because it's so like especially now, especially if you watch it now that that movie got made, that movie would never get made in the same way. Now.

It's so savage and it's so gleefully shooting down kids movies and Christmas movies and even like Amblin movies themselves, even though it is an Amblin movie. But when I saw Gremlins when I was ten years old, and it was a fifteen in nineteen eighty four, the Wells Regal, which is where I lived from eleven to eighteen in Somerset. So Gremlins, like because it's coming hot on the heels of et, Like there's toys for Gremlins, there's stickers for Gremlins.

There's like a picture book for Gremlins. There's the novelization of Gremlins, and then Gremlin's in the US was a PG. And there were so many complaints about Gremlins and Indiana Jones and the Temple of Doom that they created the PG thirteen with Spielberg's blessing. I think Spielberg was involved in this decision, is like we have to have a new rating because there were so many complaints about Gremlins

and Temple of Doom. They created the PG thirteen. Pot guys was before that, but that was a PG thirteen but then got rerated right anyway, So so part guys, Yeah, it was a PG was crazy, Yeah, fifteen in the UK. In the UK they until nine eighty nine with Batman, when they finally created the twelve. There was no interim thing. So Gremlins was a fifteen. Now this was after all of these like the one of those things that Panini stickers. Yeah, they had the kind of they they had the euro

eighty six ones. So it was like Panini Gremlins stickers. I had like the stickers, I had read the novelization, I had the picture book. I didn't have any of the toys. But then it's like the film is a fifteen and this just seems like me and my brother were like personally affronted by this. It was like, how

dare they? So we used to go to our like Saturday morning film club at the World's Evil and we went up to the manager with the novelization of Gremlin Gremlins in hand, and we went to the manager and said, please, can we come and see Gremlins today because we know it's the fifteen but we've read the novelization and we know what happens, so we won't be scared. And then amazingly, this manager says, come back at two o'clock, so he and then was then the tickets were like a pound,

so we came back like for the matinee. The manager like turn a blind eye, we you know. And then the one the one bit of the one bit of like the charade we had to go through was hey, you had to go up to the ticket lady and say, like how old are you? And we go fifteen? That was enough? Back then later later maybe thirteen, trying to get into fifteens. I had this crazy idea trying to get into the Lost Boys. But did you ever have that thing where you put hair gel into your hair

to make you look older. Yeah, And my mum had told me for some reason that fifteen years had one hand in their pocket, one hand in my pockets. So I saw Gremlin's ten years Old and like, oh my god, the most exciting screening of all time, not only because the film was great, yeah, but also I felt like I was going to get thrown out at any minute, so it made it so ridiculously exciting. The one other

one I want to mention very quickly. A couple of years ago, I was at the TCM Festival in Hollywood, where they show a lot of like old movies, And it was the fiftieth anniversary screening of In the Heat of the Night with Sydney Poitier and fiftieth anniversary screening, and Norman Jewison was there, the director and Lee Grant, and they were on stage for a Q and A, and Sidney Poitier was also present, but not on stage, and I think maybe because I maybe he has Tomenture

or something, or he was able to attend but did not want to do a Q and A. Okay, so he was there, and of course at the start and they say, ladies, a gentleman, Sydney Potier is in the house. So Sydney Potier is not on stage for a Sydney Potier classic, which one best picture in its day. But so he gets up and gets a standing Oh. But then during the movie, I'm like on the next block to him, and it's aid the Chinese theater, and at one point I go, I want to go to the toilet.

In the middle of it, the bass rooms say Sydnesday and for the American. So I got up and I stopped dead because then I was looking at Sydney Quoitier looking at himself on the screen, and so Sydney Poier

was massive on the screen. And then it was one of those things where you know in this day and age where like everybody takes a photo of everything, and that's just one of the things where you're stony, thinking, I guess I'm just going to have to remember this mental picture forever of Sydney Quoitier sitting forward in his seat with a silver screen like like eliminating his face, looking at a massive close up of himself and fifty years ago, and I just I was like, I had

just stopped in the aisle for about thirty seconds because I just thought, I just have to soak this in, this magical moment. So that was very memorable to me. That's pretty great. What Edgar right is the film you most relate to? This is a This is a tricky one because I think I think when you're younger, you have films that you want to you want to believe that you're that person, but you're not. I'm sure when I was like twelve, I thought maybe I was fairrespueler,

but of course not faerrespueler. I've never done anything that wild. I was maybe, if not a mischief maker at school. Definitely a bit of an entrepreneur in terms of I used to make like movies, when as soon as I was like fourteen, I was started making movies and stuff. So it's definitely a bit of an entrepreneur. But I wasn't like a trouble maker like and then also as you get older, you realize that first Bula is like

a sociopath, as well, So there's people like that. When there's people in that regard like Max Fisher and Rushmore or Faerresbueler, you sort of like think you want to be that person, and then you get older you're thinking a or not that person, and maybe you shouldn't be that person. So I think it's probably like people like and like Gregory and Gregory's girl or something is like a day dreamer, hopeless romantic, like can't see the wood

for the trees. I guess that you gravitate towards those people.

But but honestly, to be perfectly honest, please, I think that some of the movies I've done, specifically Sean of the Dead and The World's End, you're writing films where you're you are putting yourself on screen because you've never seen specifically that person, right, So I think, But Shaun of the Dead there are like lines that both Sean says and Liz played by Kate Ashfield is sort of vocalizing things that I've literally said, right, And then in

the World's End, I think that like the different characters are all amalgams of like me and Simon, like Gary King is an amalgam of me, and Simon. Like Nick's character Andy Knightley is amalgam of me and Simon. It's that thing where you know, there's a certain I think with Shaun of the Dead there was an element of making that film not to talk about myself, there was an element of like making that film where we hadn't seen people like that that were quite like ourselves on

screen in the British movie. Maybe like a Mike Lean movie gets closest where there's like I wouldn't say like any of the characters in Life is Sweet, But when you see something like that at the cinema, are you thinking, oh, this is a bit more close to you know, but my dad is a bit like Jim Broadbent in Life is Sweet in terms of my dad and Jim Broadbent share the same thing of like claiming that their diy

experts and they're never finishing anything. But I feel like if if I was I feel if you'd asked me when I was like fifteen years old and said, oh, yeah, I'm not first Bueler, but of course I'm not. Yes, or specifically, Kate Ashfield has dialogue in the opening of Shaun of the Dead that is literally me speaking because Simon and Nick used to be obsessed by this part. It's now called the Boogaloo, but it used to be called the Shepherds and news Flash. I didn't think the

Shepherds was all that they thought. It was like they talked about it. They talked about it like they talked about the Winchester ensuring the dead right. And the thing is, in that period around the time of Space to hang out with Simon and Nick, you had to go to them. They would never dream of coming to me. They would never come to Anthington, They would very rarely come into town. It would be this period of it felt like a

couple of years maybe more. Where'st like to see Simon and Nick you would have to go to Highgate and go to the Shepherds and then they would you know, and that that's where you would hang out. So when Kate Ashfield is talking at the start of the movie saying like, do we always have to come to the Winchester,

you know? Is me talking to them? So I think that's probably it is that like you you went and they're thinking a way other like you make other movies in a similar way that I'm not first Bieler, You make movies like like you can live vicariously through other characters. Yes, so like I'm not a getaway driver, but you know, making baby Drivers as close to being a getting away

drivers I could get. I like, I can never time travel to the sixties in London, but I can make Last Night in Soho and that is as close as I'm going to get, you know, And so you end up like I feel a big part of that and making movies is me actually getting to sort of like a bit of wish fulfillment in terms of like what the characters are actually doing. I love it. Hot Fuzz is like me causing complete that is shot in my hometown. Yeah,

so it is me. It's like literally like a love hate letter to my hometown in terms of it's both I love that place and also there's part of me that wants to just kind of cause absolute mayhem, which is exactly what we did while shooting the Movie's great, right, what's the sexiest film ever made? For the record, one

of my answers will be American Wealth in London. Well, I felt again American World of London was too on brand for me because I feel, like I said, I can answer it for every movie American Ralph London was definitely a thing, and so I got like, a here's one thing that's funny. It's like and I'm gonna really embarance my brother. Now, my brother Oscar, he's two years older. But you know, sometimes when do you ever have I don't. Do you have siblings? Yeah, I've got a sister two

years older. I have a thing like with a sibling or a friend where they have done something. You're thinking, I can't believe that I didn't think of that first, right. My brother's two years older. We didn't really get a VHS in the house until we were like fifteen. I think actually I ended up paying for the VHS from radio rentals. My brother had made a video tapes of all the sexy bits from films onto one compilation thing, and snooping around in his bedroom, like the little accounts

I am. I found his super curt I found it super curls. This is before super cuts existed now, and I found it. I felt like it was this thing. It was almost like it was so we obviously have the same sort of taste, because it was like it was like it was like finding something. It's a bit like lost highway something thing and the way did I make this or dream it? He did it? How did

I not do this first? And he had made this tape and it is I mean, I think he's even I think I remember it more fundly than he does. I'm not sure my brothers ever thought about this tape for like decades, but I do. He had made this tape and it was like bits of movies, and they're all the bits like when you're young and kind of like adolescent and horny all the time. They're like not usually like sex sex movies, but like the sexy bits in movies like American Wealth in London is the perfect example.

You have Jenny Agata as the sexy nurse. You've also got the two like sort of like bits of like fictitious porn films. See You Next Wednesday with Lindsay Drew, and I think there's somebody else as well, But like you just think about when you watch that now, it's thinking like John Landis was obviously having the way of a time in these fake pornos. Anyway, So it had America Wolf London. It also had clips of Bernadette Peters from The Jerk. Also, I was very impressed by this

because I had maybe thought this one. I was watching it, but never thought to actually just clip these bits out. There's a Hammer movie called The Curse of the Werewolf where the only fifteen minutes which was this actress called I think her name is Yvonne Remain and like she's very like all Hammer, like all Hammer actresses, very voluptuous and like like all Hammer movies, there's a lot of

cleavage in those clips. So this is a werewolf movie with Oliver Reed, and my brother had clipped out, you know, the kind of the key five minutes from that movie. On top of that clips of No Sex Please, We're British with Ronnie Corbett where there's like a scene with Valerie Leon and Margaret Nolan playing like escorts. Margaret Nolan who is in Last Night in Soho and sadly her final screen role, she's only does a tiny cameo in it. I didn't mention to her about the tape what else

was on there. It was mostly those anyway, So I was so it was I think as I found this VHS and I was like, I can't believe that he has done this. It was like I'd done it and found had Anneza and found it. That's so funny, But that's not my answer, right. My answer is like a five minute bit and it's not even the star of the movie. But in the Bob Fossey musical Sweet Charity with Hirnie McClean, there was an amazing dance number called the rich Man's Frog, and the lead dancer in it

I remember watching this particular. If you've ever seen that movie, you'll know exactly which seen I'm talking about as an incredible dance number in this Nightclub. I think it's called Vesuvius the Nightclub and it's the rich Man's Frog, and it's just like five solid minutes of dance. It's amazing. And the lead dancer, who I looked on IMDb and there was Susanne Charnie. I just remember watching it thinking, I think that the sexiest woman they've ever seen on screen.

And so it's just this think of just like you know, like when somebody's just like the confidence of like you know, like an amazing like Broadway dancer, like he's like, oh my good God. So I kind of get weirdly fixated with like bits in other films, And that would be

my answer. That will go in your super cap Yes, what did your brother say when you found Did you have a chat with your brother about finding the super I think I told him years later at the time, No, I just stole it from his room sometimes and then replaced it exactly where I left it. Then wait, wait, wait, wait, you know what thinking about it, and we didn't discuss

until way later. I think he must have realized that I'd found it, because mysteriously it vanished forever, and I think he realized that I had found it, and then he put it in a new hiding place of which I could never find it. So at some point, after maybe me stealing it six or seven times, it then mysteriously vanished forever. But Oscar I apologized with ten in that story. But I'm just impressed that you did it. Listen, Oscar sounds like a real he was he was, he

was the inventor of the super Cup. Yeah, he's way ahead of his time. Now. There is um a subcategory to this question, traveling bone is worrying. Why don't what film did you find a rousing but you thought perhaps you shouldn't. This is a tricky one, and we have most of the answers to this had probably been done because like I'm sure like every animated thing ever, like people have talked about and stuff. Yeah, can I mention the real if we were getting real slide back? Can

I mentioned it a bit from a TV show? No, we're a wrong Heaven you've crossed the streams, Okay, I shouldn't. You could mention it. There was an episode of Mark and Mindy Well, like, um, it's an episode with Raquel Welsh and Mark is like I'm tortured in inverted commas by his strapped to this kind of slab and disembodied female hands. Come. This isn't even like, to be honest, this isn't even a strange one. It's just like a

weird something that I've always remembered. And I think if I developed later in life any kink about having disembodied alien hands fondling me, it would be because of more I mean, to be fair, that's a good answer. But have you got a film work. I feel all of the things that I could think of, the filmmaker is obviously intending them to be sexy. Yeah, yeah, there's like sort of I didn't think there's anything I'm not sure that anybody puts anything in a film that they're not

intending to be sexy in somewhere. I don't know. All of the things I think of are all things that people that go, well, yeah, of course, like dead dead Barbara Steel in Black Sunday. Is they're sexier than living Barbara Steele. I mean that's obvious. I guess it's like sex like people who are sexier with their zombie makeup on than off. Yeah, me, the troubling one because then you're getting into neck afhiliar territory. Yeah, that's a very

good shout. Okay, I believe you've answered it right. What's the greatest film ever made? Objectively? Objectively made? Correct? I mean, I mean I could. I mean I've actually said this on Twitter before and I said subject, you know, because there's a big thing. It's like if you ever you

and I've come under five for this a lot. I've put lists on the Internet of my favorite films, and people don't seem to understand the use of the word favorite whenever whenever you put a list up of favorite films, you'll immediately get And I put up a list of a thousand favorite films yea, and still got people saying no, Predator. I say, I'm sorry, it's not one of my favorite films,

you know, Like so people never understand that favorite is subjective. Yes, so with all that said, objectively, the best film of all time is a miracle. I'm so glad that your answer. If I had to go for so that's the light talk about that everyone always says, God London is well listen.

I mean. Also, it's the film that like grade at ten, grade at forty six, like scary, funny, male and female, need to tea sort of like moving, heartwarming, like great soundtrack, great used the location deva staying at the end small path of Rick Male He and the Godfather. No he isn't. I mean I fear if I was going for like if if if I was you know alone. I mean,

that's the thing is that the BF. I do those lists, which I've been lucky to contribute to twice of like the top ten, and I do feel that when people get asked that question of like the best films of all times, they always go for that kind of like I said, the coffee Table, and there was there was a couple of movies that I watched over lockdown that we're in the BF I took my handred Now, I was like me, there was one. He's long, long dead, so I'm not sure I can catch too much fire.

But gen Renoir's unfinished Day at the Country, Day in the Country rather forty minutes long, an unfinished movie, which is utterly charming and beautiful, but it's still like an unfinished movie. And you think, wait, that's better than The America Wealth in London or Rosary's Baby. It's maybe better than Predators, so sorry Predator fans. It's definitely better than the Goonies as a forty six year old. Is it better than the Goonies when you're twelve years old? No,

my class. The answer to that, yeah is two thousand and one A Space Odyssey, which I do has now become the film that I have probably seen that the cinema is the most. That film comes under a lot of trouble on this podcast. I think it's great. I think it's a work of art. I think it's like it's like sort of where I mean, And the further you get away from it, the more astounding it is. Because it would never be made now, and if it was, it would never be made by a studio and a

big budget. It's just absolutely confounding that that was like in the top ten of its year, because the further you get away from it, the more and more arty it feels. And it's almost like when whenever that movie is on, I go and see it on the big screen because it feels like going to like the opera or to see classical music being played, and it's like that really is that thing of like, Okay, this this is art and we just have to sit here and

be an awe of the spectacle. What's the film you can or have watched the most over and over again? There's a number of them. I'm gonna say, because I watch it quite regularly. I'm gonna say, Brian the Parma's Carry Oh Where. But I've watched many, many, many times, and I think part of not any do I love it. But it's also a movie where there's a point in that movie where just before everything goes terribly wrong, when the bucket of blood falls on Carrie falls first on

Tommy's head and then splatters carry of blood. I always feel the same thing when I watched that movie is I think, in maybe this time it will turn out all right? Yeah, which I always feel if you've seen the maybe many times, it's quite a profound feeling to watch it because it's not to choose your own adventure book. Yeah, you can't sort of say, flick to the ending where everything's okay. But that's the thing is I watched that movie and I always have that little hope that there

might be a happy ending this time. That's interesting, Yeah, because you know what. I watched the Brand to Fun film the other day, the documentary. Oh no, I love that, But I watched Sisters, which I've never I love Sisters and I love Brand Department. And then sometimes, depending on my mood, sometimes I watches some of those films and I go, it's a shame like sometimes they feel some of them are like sort of fun exercises and sort of tricks and like rides, but that they lack a

kind of emotional core and carry it is incredibly emotional. No, it's it's also are very rare and not a controversial statement for me, But people always say, what's the best Stephen King film? Everybody says a shining but it's not. It's Carrie Harry is the best Stephen King film? Because you really, I feel like the great thing about Carrie is that you it's an unusual horror film in the a you don't want anything bad to happen to the lead, but also be you really want to see her take revenge,

So you're egging on. You're egging on the revenge that will also end her life, because it's like, I don't want anything bad to happen to her, but I also like her. I want everybody to die except for Betty Buckley, the pe teacher who is gets killed in friendly Fire. She thinks that everybody she's got her mum's words in

her head, they're all going to laugh at you. That's one of the great That's the thing in that movie that really like makes it is that she's so angry she kills everybody, even the people that don't deserve it. That's interesting. So bear in mind everything we've said, what's the worst film you've ever seen? Well, again, I have the answer, but I also have a complicated it's gonna

make us feel bad. It made me feel bad. So in the Wake of the Room, Tommy WIZO's film, Yeah, I'm not going to mention that film because I think there was a weird thing that happened there. Is. It felt like everybody was looking for the new room. And the thing with the Room that I find a bit difficult to get my head round is that it's obviously very entertainingly bad. But then when Tommy Wizo himself leans into the joke and says, oh, I meant it to be funny. You know that a he's lying yea, and

be that he's trying to make the best of a disaster. Yeah. Yeah, but it makes me feel uncomfortable because I think like it makes me feel uncomfortable and I can't even though I actually went to one of those screenings at the Sunset five when that cult was really taking off. Yeah, I remember going to see that with like Paul Rudd and Jonah Hill and Michael Sarah and Kristen Bell, Like he went to see the Room and it was fun,

but then it made me feel a bit uneasy. And then after my conversation about Ricky O and Toronto, that made me, like forever feel bad for laughing at films. Yeah. Then there was this place in the Los Angeles called the Cini Family, which doesn't exist anymore, and I feel there was like after the Room, everybody was looking to claim DIBs on the New Room and being the cinema that would show the New Room. Like contenders include that film Burdenic. And then there's this other director called Neil

Breen I think his name is. Yes, I've seen trailers of Neil Breens well, like against my better judgment, given my feelings after the Rickio incident. Yeah, I went to see one of his film's Faithful Findings, Yes at the Cini family and because they had been so talked up by the people introducing it. And there's that something that kind of slightly thing that makes me fun easy, that slightly browy thing with film programmers going, oh my god, you guys, wait do you see this? Oh my god,

this is the most insane. I mean, if you thought you'd if you thought the rumors in zane do you see anyway, So it was that kind of intro leading up to this movie. And then there's an annoying saying I think it's a particularly hipster thing where people are are laughing because they think they ought to, or there are people who are sort of having a competition in the crowd of who can laugh the hardest at anything. Yeah.

Now the film is terrible objectively, it's a terrible movie, so there was that was the one thing that made me feel like comfortable was that the way that it was introduced as like sort of like inviting scorn. I mean, I knew I should have gone there. I shouldn't gone there in the first place, when they're saying it could be the new room findings, and I remember I went with my girlfriend at the time. And and then the other thing that complicated it. We were sitting on the

back row. I thought. I decided to sit on the back row because I felt like if I didn't like it, I wanted to get the fuck out of there. But I couldn't immediately get out of there because Neil Breen himself I had turned up and was sitting on the end of our row. And then during the movie, yeah,

I was looking between the movie and everybody like laughing. Also, that thing is like when something's like something's genuinely funny or just in it, and it just felt like people were like, yes, it's bad, but people were like trying way too hard to sort of like be the crowd

that found the new room, you know. Anyway, I could not stop looking at Neil Breen's face and Neil Breen was sitting on the end of my row, and I could see the conflict in his face, because on one hand, the film is getting an uproarious reaction, and also it's a sellout, it's absolutely packed. On the flip side, they're all laughing at it, and like I think, then he did a Q and A afterwards, and I just couldn't stomach it, and I said, I said let's go, and

I got out. I just couldn't. So it was terribly bad. What was like being asked a Q? I honestly, I just couldn't. I couldn't. I feel. I watched a little. I know he was there for the intro. He'd made a surprise appearance. He wasn't Bill to be there, right, he'd just shown up. But in his intro to the movie, you could tell that he was not necessary at peace with the idea of this being fantastic. So I was already feeling uneaty, and then watching his face, his contorted

face during the movie. Yeah, I did not stay for the Q and A. I had to get out of here. Oh man, that breaks my heart. I feel. Yeah, that whole room thing and all of that is we're all one degree away. No, no, and you make a room. You can all make a room. And I'll say, you don't know. You think you know when you make a something, or you your instincts of this, you think you've got good instincts and good taste. You said, no, oh, God breaks my heart. The reality is it's the same amount

of work like a good film in a bad film. No. I mean I think like the worst films, And I don't want to like to mention any because like I

probably had to be worked on them. But like I think the worst films, like I said, of boring ones or completely cynical ones, like sometimes they are like Part five or something or like something like you know, like some franchises where every like two years they say, you know, like um, they've hired somebody new to do something to like I know, the Transformers franchise, And I'm like, guys, please, I mean again, I say that, like I shouldn't be

going to see a Transformers movie in my forties. Like if I was ten years old, maybe I would Transformers movies amazing and they would be like the gooneys Worth

for me at the time. But there's that thing where I feel, that's that thing is that I have a sort of complicated relationships, those things where there's like sometimes there's movies that I think it was a movie I saw at the cinema and I felt like I should have had a son like that be sitting I think there's something like the Lego Batman movie, which is a

good movie. Movie. It's a good movie, but I still felt at the end of it, I was in my like fourties, and I sat there and thinking like, where are you, Like I'm watching this, I should have kids or something. I just felt like it's that thing. Sometimes it's like going to see like kids films as an adult without any real reason to be that, or watching them as an owl is like a weird thing. Sometimes something shifted. Yeah, I believe you feel like this would

be a great movie. Like if I was sat there on my own at age forty six watching the Guineas at the cinema and you feel like I'd need like an ankle bracelet or something. It's just like, no, I mean, yes, if you were taking your ten year old nephew and saying, oh my god, you're gonna love this film. But if you're watching one name, please no, Matt Ford, stop don't do it. This is Matt Food. I'm so sorry that this is what what happened. You are funny, you have

lots of comedies. A little side note, I think as we talked about this off podcast, but I think it's interesting, so I'd like to say it again and have you say it again if you don't mind. But in a really natural way is that we're talking about Space, which I love with all my heart. I've seen Space a billion times. When I had a weird job in Spain. We used to work notes and we had the DVD of Space, and when we come home at six in the morning we get stolen watch Space over and over

and over and over and over. What was the weird job? I ran a strip club for my dash. Wow, I like this, this is the next sitcom? Yeah that yeah. But every night me and Beans the DJ, we'd come home like six in the morning and watch it. Space was the only DVD we had and we watched I

mean a million times, we've seen it. Anyway, what we were talking about, and what I hadn't really thought about is Space is incredibly unusual as a sitcom, particularly British sitcom, in that it was a out sweet people who were nice, and it had a real sort of it was crazy and it was wild and it was inventive, and it was filmed in a way that hadn't been done before. But aside from all of that stuff, it was remarkably uncynical. I was suddenly like, what other British sitcom did that?

That seems so that's kind of revolutionary and hasn't really been done since. No. I mean, we were talking earlier about I said that Lesso was like really genuine to serious, something that like really for a show that's set in Britain at least, just like like Anglo American show, but

like it's unusual, I mean, anyway makes praise. I'm not sure how much of that was a concerted effort, but it definitely stands out because most of the big shows at the time, like classic shows, The Office, Alan Partridge, you know, Black Books, like sort of other like you know and go methic things that influence us. Even like The Young Ones, most of the characters are like grotesques

and like kind of like assholes. Yeah, so I think it was maybe because Simon and Jess were essentially playing extentsis themselves that then they were so warm towards all of their creations. Let you get the occasional bad guy character like Dwayne Benzi, but most of the time, like everybody in it is nice, and even people who like Um, even people like reach As Smith's character like um, you know that he gets kind of folded in becomes one

of the nice guys by the end. So I think that's just like Simon and Jess are inherently like very warm writers. And yeah, I don't remember that every being a discussion, but it is something that really marks it out, and you know, you just really want to spend time with those characters. Yeah, it's so unusual. Yeah, and again, hasn't shows that I believe is still a massive cult

success hasn't really been emulated, like no has it? You know, with the way The Office sparked a lot of shows like The Office, I don't think there are a lot of shade like space. Are there? Am stupid? I guess. I guess sometimes you see things where there's elements of the style creep into other things, But you know, it's difficult to kind of claim any ownership of that when you see things like I don't know, like thirty Rock or Arrest of Development or even some of that fresh

Meat that kind of have elements of space. But then we ourselves were like I mean I receee like bits of space that we were riffing on doing like a live action version of The Simpsons or like I used to really like Reggie Perrine, which had like all cutaways and like, and then you go back into cinema and it's like, oh, that stuff itself is like goes back

to like Philly Liar or like. So it's not like and either things that people sort of do a rip off of space, you know, like we ourselves were influenced by other things, so you can't really kind of say, hey, you know, you ripped us off because like never quite the same thing and that, you know. And I mentioned two of those shows, thirty Rock and Arrested Development, and my absolute things I love those shows are blood. I

mean they're very good. Oh my god. Thirty Rock is just like the sort of getting close to like Marks Brothers Speed, you know, yeah, yeah, like how many jokes can you cram into like twenty two minutes? It's quite incredible. I get I watched at thirty Rock too quick thick, and I felt disrespectful because I thought, there's so much amazing stuff in this and I'm just watching them one after the other, and it should be stopping after every

twenty minutes and you know, paying paying respects, singling out jokes. Anyway, what is the reason I bring all of this up is what's the film that made you laughter most? Well? I could. There's several films that I've seen many many times, and I think most of them are going to be one of the people who mentioned before, like Spinal Tap or Airplanes. So I'm going to go for a slightly

deeper cut in the same direction. I'm gonna say nine eighty four's Top Secret, which is a film where that film sort of was a flop at the time, partly because, like ands they analyze themselves zach At Abraham Zacha. The reason that they thought it didn't like completely land, it's

because it's all jokes and no story. However, the jokes are so I just said, sort of, I guess the film I'm sort of obsessed with because I was so in awe of the execution of some of the jokes and the level of like production, and it's like, so there's so many like big jokes, little jokes, very silly jokes. So I feel like, maybe because that film is like less loved than Airplane and Naked Gun, I feel more ownership over a Top Secret. And I've watched it many, many,

many times. And I actually I did a Q and A. I used to program at the New Beverly in Los Angeles, the cinema that Tarantino now owns, and I did a double bill of I think it was a Top Secret in Bananas and Top Secret. We were trying to get like Jim Abrahams and David Zucker to come down and do the Q and A, and Jim Abrahams said yes because he said him and his son really loves the dead. And David Zucker said, no, I'm not going to come

for the top secret. If you show Airplane or Naked Gun, I'll come the Top Secret as a flop and I've never seen it since. Oh wow. So I was like wow, and I sort of like go and touch them. And I said, well, listen, I said, if you come, you're going to have the most partisan crowd for Top Secret ever, and I swear everybody there will know every line and you might surprise yourself. So he changed his tune and he came. Now, Jim Abrahams, I met him before the

movie started. That was great. And then David Zucker said, I can't be there at the start. I'll be there for the Q and A. But then David Zucker sort of turned up, and then I was sitting in the room in front of him, and I could hear Jim Abrahams and David Zucker howling all the way through it. And then the nice time the first time I met David Zucker because I went up to him as the crowds were rolling and he looked at me and he goes,

he goes, that's a funny movie. I said, I know, I told you it was, but that movie is like that movie. It's like sort of petchy, and you could see why it wasn't a hit at the time. But oh my god, the Highs are so funny. I love it so much. My favorite joke in it is a really dumb joke when Val Kilmer's been sent to prison and it cuts to like a scene where he stay, um, you know, writing up on the all the sort of chork marks on the wall like that, what do you

call the five? I'm already murdering this joke, but twenty five like choke marks up on the wall or like there's you know, and he says like, oh, thank you, and then his lawyer comes in. I've already completely murdered this joke. Let me trying to explain. It's a vision joke. Let listen, I just imagine that I didn't try and explain it. Basically, the punchline is the lawyer comes in and he says, thank god you're here. I've been here twenty minutes already. Now listen, it is so much funnier

in the movie. And I don't want you to think the movie is not always watching because I completely as much as I screwed up the like my shark joke earlier. Anyway, top secret is my answer, right, do do do do? Do Do? Do do do do? Welcome Ah to the Patriot sex Ah, look out look where you are. You're in the fantasy bit stressing at this point when we get into the you know the Patreon yes you know, is that it's also gone completely dark and spark. This is quite magical

this part for you Know subscribers. This is the the the magical dusk magic hour. Whenever I hear the word Patren It always makes me think of like tequila or something. Yeah, some of them, some of them do. Patrone, patron. That's why my mind always goes to Patrone. Well, so that's the first thing you're acknowledging to the patrons as you have a drink problem. It's something you'd like to say to the PA. To be honest, when anybody says anything I think of portraying you're right now. You tell me

you had you'd really thought about this one. What's the film that changed your perspective on something? Well, I guess during lockdown, I've actually been watching with everything that's happening in the world right now, especially with the rise of fashism again. Yeah, I guess there's a sort of part

of me where you start. I started watching films that were like kind of World War two films or documentaries, like sort of out of genuine interest, but also in that way that when people say this is happening again, you know, don't like sort of like, let's learn from

the lessons of the past, which people seeming did. I guess I started watching a lot of World War two films, like in terms of trying to understand you know, when you when you think about World War Two, you think the Holocaust from you know kind of like eighty years on, eighty years on, seventeen eighty years on. You know, you have to try and understand how did we get here?

So I did watch a lot of World War two movies over like The Lockdown as particularly, like some really great ones that I'd already seen when I was young, and I watched them again, like the Roberto Russelini War trilogy, Rome, Open City, Paysan, and Germany Year Zero, the last one in which I'd never seen, but those are all like watching them as an adult were like really striking in terms of just seeing I guess that's that just that seeing like these these cities like still like what is

like Rome like in nineteen forty five? What is Berlin like inety five? Like real like sort of just um incredible time capsules of like not just the time, but also how does how does the city come back from that?

It's sort of incredible to watch. And I also watched again like one of those movies that like is uh, I watch Shower, which is obviously like documentary, an hour documentary about the Holocaust, And that was a sort of shattering thing because I think like when you actually watch those things as to see people talking about it in such a matter of fact way, it's all talking, yeah,

and there's no archive in it at all. It's all people talking talking survivors, not just survivors, but also Nazi guards, like so of the interview Nazis in it as well. And also they interview people who were bystanders, people who were in the towns, who weren't in the camps, who were like wow, you know, in the kind of the Polish village of the village and stuff. So that was like, I mean a real eye know in terms of where you want to try and understand something from the perspective

of the people who were there. That's the non fun answer. But it's like I actually actually talked to David Badel afterwards because I watched David Bedel's documentary about Holocaust denial right, which was incredible, and I told him my watch show, and David Bill says, I've never actually watched the whole ten hours. You actually did it, So he admitted that he you know, he said that, like I didn't think that.

I think people say they've done that, you know, but yeah, I get the gist so there was an I did it quite a lot of that ever, a lockdown, and there was some other like great. There's two great French movies by Jean Pierre Melville, who is in the French

resistance himself. And there's his first film called A Silence de Lamaire, which is about a a Nazi officer who stays with the French family during the occupation and they basically do not talk to him for the entirety of his state, so he's talking to himself for the entire movie. And it's it's actually really like great, like World War two film that has no battle scenes in it at all, it's just about they're like um rebellion of complete silence.

And then the other one, which you if you've ever seen his Army of Shadows, which is the great French resistance film. It's amazing and so like brutal. Anyway, that's the non fair answer, Okay, I mean, I guess not the more fantaser. But who do you say like about a film that change your perspective on it in terms

of you couldn't think the same way about the subject. Yeah, I'd say like Boogie Nights by Paul Thomas Anson, which is a one of my favorite films, would beg you could never think about Pawn in the same way again after seeing that movie, because that so brilliantly showed you the unglamorous and disturbing behind the scenes that like, you

could never think of it in the same regard. I mean, obviously, since then, there's been like a ton of like documentaries that have like a you know, exposed the sort of the you know, everything from Louis Throux to like that documentary Hot Girls Wanted All that horribly disturbing documentary and Channel four called I think it's called Felicious Journey. I

was like, oh my god. Anyway, but before that, I remember saying Boogie Nights and it was that thing where some thing that you maybe like you want to believe that people are having fun and you realize that ninety percent of the time they are not. And like, I just thought that film was just I just did it. That's one of those things where like nobody else could have made that. You would have Paul Summer sense and

lived in that area. He'd grown up around it. It was like an obsession for him since he was like

eleven and he'd just been in those places. So I feel like, I mean, I love Paul's work so much, but it's still my favorite film appears just because it feels so lived in and it feels that this amazing thing of having something to say on a subject that everybody's curious about, and like you can never think of like it, like Pup seen the same way after having seen that film, I love being you know, it's a film,

but I always think it's a film that family. Yes, like all these films are that family, I think, and that one is entirely but it's a family, but in a sad way, and there's a thing of like they've only got each other, Yes, only they would understand what, Yeah, they're going through. I realized, oh, I know where we are in the dark Greece, slightly going around the circles, but we're going this way, I promise the detail that's where we're heard live in Regent's Block because we really are.

What is the greatest opening sequence? Okay um, and I'll tell you what Baby Driver would be on a list somewhere. That's very nice, thank you. And I definitely thought of it in that regard of like I would say those two films like I think i'll straight off the top of my head. I mean, all of the ones that people mentioned, I'm not going to mention. So I'm gonna go for I hopefully two films that nobody's ever mentioned.

Number one, nineteen seventy seven Suspiria, Ary Argenti's film. Right, that film starts like most films end, and the poster but I haven't the US poster for Spiria right in my place in la And the tagline for Suspiria is the only thing scarier than the only thing scarier than the last ten minutes of this film are the first eighty. That's great. Now, the thing is about that, Actually it's not quite that. It's actually something like sort of. The only thing scarier than the last ten minutes of this

film are the first like ninety two. That's what it is, right, So two things about that tagline. One is you're admitting the end is not as good as the rest of it, and that would be correct. And I love that film, it's amazing, But the opening of that movie nothing really tops it. Maybe the bit where the lady lands in the razor wire, that's an amazing sequence, But the opening of Suspiria it starts like most movies in and it's

extraordinary the first ten minutes of that movie. The other thing about the tagline of Suspiria is that the running time is wrong on the tagline because the running time of the movie is like ninety two minutes, and they say it's like you know, like a d so like there's ten minutes, like not account it for. It's very strange.

But anyway, the opening of that movie is extraordinary, and it's something like it's an interesting thing to do, is like to sort of like hit a high of like hysteria and terror and shock that you can't quite like get to that point again in the movie they almost do. I mean, I love that movie. My other answer John Wou's Hard Boiled, which opens with an action scene that again is like better than the climax of like ninety

five percent of other action movies. Now in the Hard Boil case, they do top it like it just goes further and further. But the opening like ten minutes of that movie is extraordinary. And once I was programming Brown Simmer Hot Fuzz, I was programming in Los Angeles and I programmed this triple bill. Yeah, I think it was a Hot Fuzz point break and Hard Boiled, and we

did a Q and A for Hot Fuzz. I introduced a point break and then and then I was sticking around to introduce Hard Boiled, and I remember and by this time Simon Nick had long gone. It was just me introducing Hard Boiled. And then was about maybe a third of the crowd left for hard Board, the third movie. This is maybe a like starting at midnight, and I did this intro. I probably had a couple of g and ts by this point. I did this intro to hard Board, where I was really digging it up, saying

like hands up, who's never seen this movie before? Like eighty percent of the hand about and saying, oh my god, you're in for such a ride. This is the greatest actually movie of all time, Like you're not going to regret having stuck around for this one. It is extraordinary and like sort so I really really really bigged it up. And then I went to leave because I was just introducing, and as always leaving a couple I walked out and

I stopped them. I said wait, I said, you waited for my intro and you're not going to watch the movie, And they said, ah, we really wanted. But we're saying, just watched the first ten minutes. I'll come back in with you. So I frog marked this couple back into the cinema and I sat with them, holding them down. Such a kind of film Nazi. I sat with them to make sure they watched it, and but I basically like walked them back in and sat down and watched the only sinks from just to say, come on, isn't

that the greatest opening ever? Which it really is, and that I run into that person since and they did. They did stay and watch the whole thing. That's right, But that still gives you the idea of how sort of like, um, you know, kind of annoying I am to watch film. Well, that's why I wanted to check. I mean, that's good. I mean, I think I I mean, I absolutely respect that. What's the greatest ending to a film?

The good, the band, the ugly like? Because that I just actually that was I went to see that in lockdown at the cinema because the NFT reopened and they were showing a morricone season and I took three people who had never seen the movie, and we all actually that cinema. They took out every other seats, so we're

all like sitting separately from each other. But it's that movie where like it's already great and then the last fifteen minutes just like sort of like pushes it over the edge into sort of like you know, eternal status. It's like the final duel with like um like to Cony cues in a row, the Ecstasy of Gold and then the que called the Trio like you're already in like just like it's just like like Nirvana. It's just

a so extraordinary and also it's so simple. It's just three people standing in a triangle in a circle, but it's like the greatest scene ever. Yeah, two people just really hard. Three people. Three people were doing hard stairs. Yeah. And it relates to Baby Driver because any America Cone wrote the music before they started shooting the movie, so Sergione could play that music and on set, so when Lee van Cleef and Eli Wallack and Plantswood is standing there,

they are they are hearing that music. Because if they weren't hearing that music, they probably would have said, are we standing here too long? Are you sure this is going to work? But in fact music is playing, you feel like, oh I could stand here for ninety seconds and just stand here, and it's the most thrilling thing ever. People standing still, their hands very slowly moving towards the hostess that what's your favorite film? My favorite film, Raising

Arizona great. It's one of those movies that, like that, along with Evil Dead two, the movies I saw when I was like maybe like fifteen that really like just jump started I was already interested in being a director or like, but those are the movies that really made me like pick up the cameras, like I have to do this, and like Raising Arizonas were like such a confounding movie, is like a comedy fan because it's so well short and put together, and I feel that that

maybe more than anything just like inspired, like you know, kind of trying to spots at that level execution. It's like I think it's something that I'm not even sure the Comb brothers know how good it is. Yeah, they never like, they never like. It's like it's such an extraordinary movie and so well put together and so like dense in terms of like dialogue, camera shots, the way

it's edited. Just like it's just incredible that movie and sort of all in the service of like what is that thing of like elevating material that in anybody else's hands would end up being like a release, like silly throwaway movie. But they somehow take like these kind of like you know, trailer park rednecks and make it into something like like they give van It's amazing, Right, you've been phenomenal as expected. I appreciate all your time have

for taking me around. Reasons part however, when you had been bad mouthing yours and the sharks right, but you forgot you've done that, but they were listening. Sharks never forget, famously, and you decided to face your fears and go and swim deep sea in Italy, the famous famous of Italy. He went to Italy, had a swim, thinking nothing could

happen here, it's Italy. And then two of the sharks from Georgia Events who had been watching you and waiting, and they followed you all the way to Italy, and one of them took the front end, one of them to the back end. We're doing half like a Christmas cracker. And there jokes inside, yeah, yeah, one one joke about lines on the prison wall, and one about being eaten by sharks like a Russian doll. Yeah, my death. My death was your cracker jacks. The joke inside was what

what's yellow? What's yellow? And deadly shark infested cut did right? Yes? That was the Christmas Yeah. So I've been looking for you. I went to Italy because let's call it stalking whatever, and I've gone to Italy to see you. You're there, do you know where to be fun? Maybe I'll give up,

just enjoy the weather. So I'm on the beach and washed up to the beach is your beloated see swollen carcass in various bits mashed up in the sand, the other bits from the Jaws ball game, like the others, you know, fish, fish bones maybe yeah, a wheel, a ship's wheel, yes, and a mouth organ yes. And anyway, I'm like fuck it, ohgar, oh mate. Anyway, I've been going to goffin with me as elf and Dick and

it was the right size for you. But I didn't expect you to have swollen in the see there's a ship. I was just like, this ain't gonna fit. So I have to get end up actually getting one of your own bones and smashing it into you, trying to carve you up into smaller bits. I managed to get you down too, smaller bits. Press it all into this coffin, but I could probably go for a child's coffin save some money. Said, I wish you'd said that. I wish you said that before I invested in this one. And

it's very heavy. Anyway, I've got you all in there. Stuff to you all in. There's no room in this coffin now. There's only enough room that I could slide one DVD into the side, and you can take that DVD to the other side, and on the other side. It's movie night every night. One night, it's your movie night. What movie are you showing everyone? When it's your movie night? In heaven? I'm going to cheat slightly, but it's just still one light package. There's a Warner Brothers box set, Yeah,

Buzzby Berkeley Movies. It's like four movies, so it's not that big. You could probably fit it in the coffin, especially if like my if I've been bitten in two, you could literally have my top half my bottom half and this box set would fit. Okay, well, I'll pick one. I can do that, Okay, I'll say the box set features are forty seconds straight Footlight Parade, Gold Diggers of nineteen thirty three and Dames. So if I'm only allowed one, I'm gonna go for Dames and taken Dames to the

other side. Yes, And it also feels a little bit like like almost like being buried with a Buzzby Berkeley DVD. He feels like sort of some kind of like very late period coming out, you know, like sort of like you know, just like like if you're buried with a liber Archie album or something. It's like, oh, I didn't know. Anyway.

I love Buzzby Berkeley. They they are like movies that like, just like those movies, his sequences in those movies could not be made today, Like you would never be able to like have those big sets, that many dances, that level of like execution. I always confounded when you watch old movies and you think nobody would let you do that today, and then Buzzby Berkeley always like blows my mind.

And my favorite sequence from Dames is the I Only Have Eyes for You sequence, which is just extraordinary if you've never seen it, just like like treat yourself. It's just so extraordinary. Like that sequence features like Ruby Keeler and like fifty other dancers, dresses, Ruby Keeler, and then every shot in that sequence is something that you've seen

ripped off in another movie or another commercial. And so when you actually get to the kind of like the headstream, thinking oh, this is where this comes from, Like he's just one of those people who was just so late, so like light years ahead of his time, that you always stunned when you actually watched the sauce and it's like, Wow, this movie from Many thirty four could not be equal today.

So that would be my pick. Is there only you'd like to tell people to look out for in the graveyard somewhere a copies of Footlight Parade, Gold Diggers of ninety six three and forty seconds three that he wasn't allowed to put it into yet, So if you if you get down there fast enough, they might still be there by the gravestone and adam end of your own stuff. So what's the next two things coming out for people to look out for? Last Night in Soho coming to cinemas.

I've called him one Night in Soho at the beginning of this podcast and it's been haunting me ever since last night. So sticking with last Night and also a documentary about Sparks Yea which is coming next year as well, called The Sparks Brothers Enjoy egg Right. Thank you for doing this, have a lovely time on the opisode Happy death Day. Thank you so so. That was episode one

hundred and twenty seven. Head over to the Patroon section for his shocking absolutely I mean he's disgusting secret and all kinds of treats for all the other episodes at patron dot com. Forward to least Brett Goldstein. Go to Apple Podcast, give us a five star rating and tell us about the film that means the most to you. So that Mauren can have a lovely Christmas and all of you, I want to say, have a wonderful Christmas. I hope you will have a lovely time together or

a part on zooms however you're doing it. Thank you also to Edgar for doing such a long walk with me. Thanks for Scrubious Pipper the Distraction Pieces Network. Thanks to Buddy Piece for producing it. Thanks to ACAS for hosting it. Thanks to Adam Richardson for the graphics, at least Aliden for the photography. Come and join me next week. It'll be New Year's Eve, I think I'll put out something good. Don't you worry about it. So that is it for now.

All of you have a wonderful Christmas, and please, as always, be excellent to each other. Mary Christmas, Merry Christmas everyone, God bless us one and all. As was as back back