Episode Transcript
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Speaker 1 (00:00):
Look out.
Speaker 2 (00:01):
It's only films to be Buried with It's rewind classic season. Hello,
(00:49):
dearest films to be buried with Crewe. My name is
Buddy Peace. I'm a producer and editor, a d J,
a music maker, a most valuable poet on the m
I C. And for intro and outro purposes, I'm temporarily
standing in for your regular host and proud creator of
this podcast, mister Brett Goldstein. Regular new episodes will return shortly,
I assure you, but for now, this is a really
(01:09):
cool chance to re up on some old magic. As
Sanda Sorry once said, if you are writing or making something,
it keeps you sane. So I have a project. It's
a dystopian story that I'm writing at the minute, so
I keep trying to carve out time to do it, Sanja.
A dystopian story is what I call my twenty twenty
five journal, So please feel free to cherry fit from
there if you so wish. Every week Brett invites a
(01:31):
guest on, he tells them they've died, and then he
talks to them about their life through the medium of film. However,
this week, we are revisiting an earlier episode of the
podcast while Brett recharges the podcast batteries and retreats to
the fortress of solitude for a moment or two in
this bridge between seasons. This rewinder is from April thirteenth
to twenty twenty three, originally episode two hundred and forty three,
(01:53):
featuring the fabulous actor Adam Scott. Those who know Adam's
work will not only know him from his more recent
work in Severance as My Yes, but his roles in Stepbrothers,
Parks and Recreation, and Party Down, not to mention his
extensive podcast history with Scott Aukaman, including comedy Bang Bang
You Talking You Two to Me You Talking r em
Ri E Me You Talking Talking Heads to My Talking
(02:14):
Head and so on, and yes, the last three are
all very real podcasts. In case you didn't know, Brett
has a Patreon page for the podcast, upon which you
get a whole new section for every episode, containing a
secret from each guest, more questions, and a video of
each episode which looks super nice and it's a lovely
visual companion for those who like to watch the podcasts
while they listen. So if you're of a supporting nature
(02:34):
and feel like some extras from this show, you'll find
them all there. Thank you very much. Anyway, that's it
for now. Let's get you settled in for a wonderful
episode with the brilliant Adam Scott. Catch you at the
end for a quick sign off, but for now, please
enjoy this flashback to episode two hundred and forty three
of Films to Be Buried With.
Speaker 3 (02:54):
Hello, and welcome to Films to be Buried With. It
is I Brett goldste I'm joined today by an actor,
a writer, a producer, a director, an award winner, a podcaster,
a party downer, a Parks and RecA, a step brother,
a hero, a legend, a Emmy multiple Emmy type severance.
(03:22):
He's a hero. He lives, He walks among us and
now here. He is live in person, but also pre recorded.
By the time you listen to it, I can't believe
he's here. Look him in the eye. You can't believe
this is still going on.
Speaker 1 (03:35):
He's here. He really is. It's Adam Scott.
Speaker 4 (03:38):
Oh my goodness, I really am.
Speaker 3 (03:40):
Here, Adam Scott. What a fucking pleasure. Thank you for doing.
Speaker 4 (03:45):
This, Brett, Thank you for having me. It's it is
strange when you listen to a podcast a lot and
you kind of get used to the beats and the
and the format and everything, and then you're there in
it on the show. It's weird. It's great. Thank you
for having me. I'm excited to do this podcast and
(04:07):
to talk to you.
Speaker 3 (04:08):
I'm delighted you're you're doing it, and we'll find out
if you really are. Someone who listens to the podcast,
someone who will remain nameless, came on and said they
were a fan, and then I told them they died,
and they said what and they shocked that that was
even part of it, and being like, why are we
talking about death so much? I was like a messive, Oh,
(04:30):
that's fantastic anyway. I mean, La, where are you?
Speaker 1 (04:34):
You're in LA?
Speaker 4 (04:35):
I'm in New York City.
Speaker 1 (04:36):
The Big Apple there he is. Have you heard that?
I've heard of the Big Apple? Yeah? Yeah, people call
it that. Why it's called that.
Speaker 4 (04:44):
I certainly I don't know, but you know what, I
love it and I love calling it that.
Speaker 1 (04:51):
I'm not I'm not.
Speaker 4 (04:51):
Going to act like this for the whole show. I'm
sorry why I was doing that.
Speaker 1 (04:58):
Do you live there normally or are you just there
because you're filming?
Speaker 4 (05:02):
I live in LA normally and I'm here shooting Severance,
and I am away from my family for enormous amounts
of time, and it's a total bummer. But it's super
fun making the show, so you know, to figure it out.
Speaker 1 (05:18):
It's a great, great, great show.
Speaker 3 (05:20):
I love Severance, and I wanted to talk to you
about it, only if you're not sick of talking about it,
because I'm sure you do lots of press. But I
think it's a great show. That class amazing, it's brilliantly clever,
it's interesting. I have watched it wondering if it is
depressing to make, purely because you're in a kind in
most of the sets have kind of nothing to look at.
(05:41):
You're in quite an enclosed space, often just a few
of you. I wonder if your daily life of it
Unless everyone's really fun, which I hope they are and
they seem to be.
Speaker 1 (05:49):
It's a show about a grind. Is it a grind
to make?
Speaker 4 (05:52):
Well, it's hard to make, And the way I kind
of think about it is it's hard to make, but
it should be. I mean, you know, just look at it.
Of course, it's hard to make, but it's hard in
a fun, challenging Let's try and climb the mountain sort
of way as far as that stuff goes. Yeah, because
(06:13):
we're under actual fluorescent lights for you know, fourteen hours
at a time, and we're in that desk kind of
pod in the middle of that big room. There's that
four pronged kind of desk thing, and so the four
of us are out kind of in this sea of
green carpet under fluorescent lights these long scenes, and yeah,
(06:36):
it can start to kind of drain you just those
lights and like you said, the sort of nothingness of
the space and the aggressive green carpet, it does sort
of drain your your energy after a while. But you know,
luckily everyone's super fun. Like you said, it's a great
group of people.
Speaker 3 (06:56):
I remember an interview with you very long time ago.
This isn't I'm not about to like ruin your life.
I remember a very racist thing you said. No, it
was you you were talking about years ago. You did
an HBO show before you were kind of very well established,
and it was like a sex show and it was
very dramatic, and you you felt like, fuck, I don't
(07:18):
think this is what I want to be doing. And
luckily it didn't carry on, and then you got into
comedy and you felt like this was your place, right,
I'm not missing.
Speaker 4 (07:28):
Well, no, yeah, I think you're remembering it correctly. It
was a really good show. It was called tell Me
You Love Me, and it was really kind of beautifully
made and it wasn't exploitive. It was very kind of
graphic sexually for sure. And the person I had all
(07:48):
my scenes was Sonya Walker. It was this brilliant actor
and we became good friends and stuff. She's so great
and the people that created are great and stuff. I
think it was just really super super heavy. And when
I went and did like Step Brothers, I think we
had done the first season of Telling Me You Love
(08:09):
Me and then on hiatus before we were going to
start season two.
Speaker 1 (08:13):
I did Step Brothers.
Speaker 4 (08:14):
And I didn't really had an opportunity to really like
be in a comedy like that before. It was pre
party down, pre parks and rec and so. But driving
to work at Step Brothers, it was like, Wow, this
is this is very different. This is really fun and
you know, just trying driving to work trying to figure
(08:36):
out how you're not going to laugh and Ruin takes
that day rather than driving to work trying to figure
out how you're going to cry all day.
Speaker 1 (08:46):
It just was a it was a sort of a.
Speaker 4 (08:49):
Weight off, and it kind of got me sort of,
you know, addicted to to comedy, and really, I don't know,
I guess I felt like it gave me a new lead,
so because I wasn't sure. You know, every like five
or seven years, I don't know if you do this,
but every five or seven years, you kind of stop
and wonder if you want to be doing this? Yeah,
(09:12):
does that happen to you?
Speaker 3 (09:14):
It's a weird question adian that I always know I
want to be doing some area of this tom stuff.
But in terms of the lane you're in, I suppose
it depends on your choices though as well.
Speaker 4 (09:27):
Yeah, no, you're right, because I'm talking specifically about acting,
but then there's writing and doing all these other things.
I think with acting, because that's what I started out
doing when I was like twenty I'm now in twenty
twenty three, in my thirtieth year of trying to do
this professionally, I think that I was going after it.
(09:50):
I was just a kid and going after it so hard,
and I think at a certain point I've realized I
was like twelve years in and I had never stopped
to consu or if I even wanted to still be
doing this. It was just like trying to achieve something.
So anyway, it's a long cul de sac away from
just trying to say like the step Brothers and party
(10:12):
down in Parks or this sort of triumvirent of jobs.
That kind of gave me a new lease on it
and on the profession and made me really kind of
really realize how much I wanted to be doing this
at a time that I had been doubting it.
Speaker 3 (10:29):
So then I guess my question is with severance, which
is funny but it's definitely a drama, I would say
it's very funny but definitely drama.
Speaker 1 (10:38):
Yeah.
Speaker 3 (10:38):
Was it just fucking out this is really good, I
want to do this, or was part of it I'd
like to head back into that dramay place. Was it
more conscious on that way?
Speaker 4 (10:47):
Yeah?
Speaker 1 (10:48):
I think it was.
Speaker 4 (10:48):
I think when Partson rec ended, I wanted to find
something just different, and then you know, found that trying
to find things that weren't comedy or try and get
jobs that weren't comedy was challenging, And so I went
and auditioned for Big Little Lies and got a part
on that and that kind of helped. And then Ben
(11:10):
Stiller sent me Severn and it was just sort of
the exact exactly the sort of thing that I've always been,
you know, wanting to do.
Speaker 1 (11:19):
And because as a kid.
Speaker 4 (11:20):
I was really in the you know, the Twilight Zone
and stuff like that, and so, you know, I mean,
my first instinct when I first read it was I
will never get this job, you know, just because I've
been in this business long enough to know that when
you read something that's kind of that's great, I'm not
going to end up doing it. And so but I
(11:42):
had to think about it in a way that I've
been spending all these years earning the chance at something
like this. So luckily I ended up doing it, and
it was exactly what I wanted to try and do.
Speaker 3 (11:55):
Like you said, you're phenomenon in it. You're very very
very good in it. And season two are you know, like, man,
I want to get back to comedy.
Speaker 4 (12:04):
Yeah, it's uh, you know, it is fine. As you know,
it has a really unique tone and there's a lot
of funny stuff in it, but a lot of it
is Yeah, it's it's heavy. It would be fun to
go and do something a little later on its feet,
for sure.
Speaker 3 (12:20):
Well, let's wet. That's not a problem. I I have
forgotten to tell you something, what's going on. No, it's
silly because I think I mentioned earlier talking about someone else,
but then I forgot. That should have sort of sparked
it for me. But it's been a busy week. It's
been a lot going on, and that's that's on me.
(12:40):
That's actually on me, and so I'm sorry. It's not
your problem. I just think I've been a bit distracted.
But that's all right. No, Well, you're very kind to
taking the time to do this, and I should have
just said it.
Speaker 1 (12:51):
You you are, say you're dead? You died? Oh yeah?
Oh yeah, god did he die?
Speaker 4 (13:02):
Well, now that I am kind of thinking back on it,
because when you said that, it was a surprise, obviously
because you could hear how I reacted. But now that
I'm really thinking about it, I think you're right. I
think I died.
Speaker 1 (13:16):
I wouldn't I.
Speaker 4 (13:17):
Oh my god, No, you you're telling the truth. By God,
you're right. Yeah, No, I I died. I Oh god.
It's it's actually embarrassing. It's embarrassing.
Speaker 1 (13:31):
Yeah, it's not it.
Speaker 4 (13:33):
No, It's not one of those deaths that just sort
of projects dignity. It's no, it's a real bummer. I
was on a train, an Amtrak train. This is one
of those really long trips on it. Sometimes you can take,
like if you go from Arizona to to northern California,
it's like a thirty six hour am track, right, Yeah,
(13:56):
it takes a long time. So I was on the train,
it was it was a long trip, and so I
had to use the restroom. I had to just kind
of fresh and go in there and kind of brush
my teeth and do all the.
Speaker 3 (14:08):
Things to do before bed. How many hours were you
into the trip.
Speaker 4 (14:12):
It was about sixteen hours in and I decided to
go to bed. I'd gotten one of the first class
cabins that you spend money on thinking it's going to
be a luxurious thing, but it's basically a metal box
with beds that full down from the wall, and it's
uncomfortable and incredibly loud. And I went into the bathroom
(14:36):
to brush my teeth and do all that stuff, and
I needed to change into my pajamas.
Speaker 3 (14:40):
And as I was.
Speaker 4 (14:42):
Changing, I was taking my shirt off. I had no
bottoms on because I was going to put on pajama
bottoms and I was taking the shirt off, and the
shirt got caught on a hook on the wall. I
guess a hook for a towel or something, and so
it was caught up over my head. And as I
(15:03):
stepped around to try and kind of free myself from
the hook, I stepped into the toilet. Yeah, and then
I lost my balance, and it's a very small bathroom.
I fell sideways and hit my head on the side
of the sink, ejected my foot from the toilet, and
(15:25):
then fell face first into the toilet.
Speaker 1 (15:28):
Your head was still stuck in this wet head, still
stuck in the sweater.
Speaker 4 (15:32):
But now it's all in the toilet, and my sweater
plugs up the toilet and it fills with that that
blue liquid. And I drowned in blue turd liquid. Other
than that sweater caught around my face that I drowned in,
(15:55):
I was completely nude.
Speaker 1 (15:59):
Jesus, so sorry. That is. Yeah.
Speaker 3 (16:01):
The problem with dying like that is, unfortunately, you've done
so much work in your life.
Speaker 1 (16:06):
You've done so much great, great work.
Speaker 3 (16:08):
You've done classic series and made excellent films, and that's
what you're going to be remembered for Yeah, one hundred percent.
Speaker 4 (16:15):
That's That's the only thing I'll be remembered for you,
which is why I'm so bummed.
Speaker 3 (16:19):
Out about it.
Speaker 1 (16:20):
That a bummer. Oh well do you do? You do
you worry about that? I do.
Speaker 4 (16:27):
It's been a preoccupation of mine since I was like
fourteen years old.
Speaker 1 (16:32):
I think, right, that's what I like to hear. What
do you That's the bread and butter of this show,
isn't it.
Speaker 3 (16:41):
I don't trust people who don't think about it what
I mean with it. I hope this isn't a dark answer.
It may be, and that's fine. Did something happen when
you're fourteen? Or did it it was when you started
thinking about it.
Speaker 4 (16:52):
I remember I was homesick. I had like a flu
or something, and so I was just home by myself,
and I started thinking about what if I got cancer.
It's not unheard of for a fourteen year old to
get cancer. It totally happens. Maybe that's what's going on
with me now, and it's maybe it's not a flu.
Maybe I have cancer. What would happen if I had cancer?
(17:15):
There's a chance I would die. I could die. And
I just started going down that rabbit hole of this
being a distinct possibility, never having really considered that before
as a kid, and from then on. I remember, for
the first few years after this revelation that i'd sort
of privately made when I saw some I remember going
(17:37):
to see young guns in the theater and seeing people
get shot and just being like, Oh my god, every
single one of them died. They died dead. Forever, those
people are all dead. And so death was just very
much at the forefront of my mind for years and years,
and I guess it still is. It's just more kind
(17:59):
of did it, but it still freaks me out.
Speaker 3 (18:03):
What do you think happens when you die? Do you
think there's anything beyond this life?
Speaker 4 (18:08):
I don't at all think there's anything, But there's also
that thing in the back of anyone's mind that you
have this kind of ongoing fantasy of what it would
be if it did. It was almost like this denial.
Even though I do not believe in ghosts or spirits
or anything like that, and in fact, I'm always surprised
(18:30):
at how many people do. Not that I completely respect
anyone's belief in that, but I always am so surprised
when people grown ups believe in ghosts and stuff. It
always is weird, but I think people legitimately have these
experiences that leads them to that, which totally makes sense.
Speaker 1 (18:52):
I guess what's your fantasy vision then, just.
Speaker 4 (18:55):
This sort of thing where you're just sort of forever
around and looking down on everything and kind of all
knowing and I don't know. I guess it's sort of
ill defined. It's just sort of this this sort of.
Speaker 1 (19:10):
A cloud.
Speaker 4 (19:12):
Yeah, yeah, not a cloud as much as just sort
of the upper corner of a room, just sort of that's.
Speaker 3 (19:21):
Awful, Just hanging out in the corner of the room
watching with an erection.
Speaker 1 (19:25):
That's awful.
Speaker 4 (19:27):
Yeah, still nude from the waist down, sweater over my head.
Speaker 1 (19:31):
Just trying to get through the city water in the
other corner.
Speaker 4 (19:38):
I'm gonna move over to the other corner and watch
from there.
Speaker 3 (19:42):
What about you, Oh, well, you know exactly what happens, Jordan.
Speaker 5 (19:47):
Yeah, well there's a heaven, buddy, boy, there is Okay,
there is guy and you guy there for a bit
until you want to, you know, have another guy on
the out on the ride.
Speaker 3 (19:58):
It's like it's like so it is like the Pixel
film So in which they know exactly what's going on. Wow, anyway,
you're welcoming heaven. They're actually one of the things we
had a chat about in heaven. We were like, will
we talk to him about anything else other than the
way he died? And we all just say, no, this
is heaven. We should, we should, we should.
Speaker 1 (20:15):
Not make a void subject.
Speaker 3 (20:17):
Yeah, he gets a lot of that when he's up
in the corner watching people in the world's talking about.
So you're very very welcome there, and heaven is filled
with your favorite thing. What's your favorite thing?
Speaker 1 (20:28):
Movies? Well, then you've come to the right place. Oh great.
Speaker 3 (20:32):
Everyone wants to talk to you about your life, but
they won't talk about it through the medium of film.
And the first thing they want to know is what
is Adam Scott. The first film you remember seeing?
Speaker 4 (20:44):
Well, the first film I have of clear memory of
seeing in a movie theater. I remember people telling me
I had seen Snow White, but I don't remember that.
The first one I have a clear memory of seeing
was High Anxiety, the mel Brooks.
Speaker 1 (21:02):
Film Oh Wicked, I love him.
Speaker 4 (21:05):
Yeah, And it's not one of the like mel Brooks
movies that he's really known for. That's really kind of
you know, in the culture as much as like Blazing
Saddles and history of the world and stuff, and it's
really funny and really well like it's really but as
like a four or five year old or whatever I was,
(21:26):
it scared the shit out of me because the whole
movie is him kind of replicating Hitchcock films and different
scenes from Hitchcock movies and a little like James Bond
is like Jaws, isn't it the guy with the Silver Teeth?
But I didn't know any of that. I didn't know
Hitchcock or any of those references. So to me, it
(21:47):
was just insanely scary, so much so that I found
it on Amazon a couple of years ago, having not
seen it since then, and put it on it and
found those two scenes that I remembered so well, And
I remember in the movie theater losing my mind and
just screaming and freaking out and my dad having to
(22:09):
pick me up and carry me. My dad's a terrific dad,
and I think that he thought we're going to go
see a hilarious Smellbrooks and it happened to be the
one where there where it's you know, essentially a Hitchcock
movie for all intents.
Speaker 1 (22:25):
I need no.
Speaker 4 (22:26):
I have an older brother and older sister, and they
were there and were embarrassed and bummed out that I
was ruining their Saturday afternoon.
Speaker 1 (22:35):
So your dad took you out, But they stated.
Speaker 4 (22:38):
I guess so as far as I remember, Yes, they
were like, get him out of here, let's we want
to watch this smooth.
Speaker 1 (22:47):
I love how exactly.
Speaker 3 (22:48):
I really really loved the song he sings in the land,
the song that is the name of the film. It's
like one of my favorite secrets.
Speaker 4 (22:56):
See I don't I don't remember that.
Speaker 1 (22:58):
We didn't get that far. Is that?
Speaker 4 (23:00):
Is it mel Brooks that sings it?
Speaker 1 (23:02):
Is it?
Speaker 4 (23:02):
In the lobby of the hotel.
Speaker 3 (23:04):
It's like alloungs like he's like a lounge singer. It's
like the setup. It's like you have to sing and
he doesn't want and it's all embarrassing and then he's
like an incredible.
Speaker 1 (23:14):
And it's very time. Remember that.
Speaker 3 (23:16):
Look up the song. It will make you happy now
other than high anxiety. What's the film that scared you
the most, Adam Scott? Do you like being scared?
Speaker 1 (23:24):
Yes? And I love horror movies? Yes?
Speaker 3 (23:27):
Do you love him. Yeah, amazing. How many people don't
on this podcast.
Speaker 4 (23:31):
No, I love horror move like good horror move. I mean,
you know, of course, good horror movies. But I think
Hereditary is the most recent movie that's genuinely terrifying.
Speaker 1 (23:41):
Terrifying. Ye, scared shit out of me? Oh my god? Yes?
Speaker 4 (23:46):
How long have it been?
Speaker 1 (23:47):
Sense of movie really fun?
Speaker 4 (23:48):
I mean, I guess The Strangers is that the one
from like ten twelve years ago?
Speaker 1 (23:52):
With that one fucked me up to Yes? Yeah, yeah,
yeah horrible.
Speaker 4 (23:56):
That was scary too, But Hereditary was really fucked up.
But I think I remember as a kid it was
a TV mini series that doesn't really count, does it?
Speaker 1 (24:06):
Can do? I might low it, let me hear it.
Speaker 4 (24:08):
The Atlanta Child Murders. It was a mini series on
primetime television. Okay, it scared the shit out of me
because I guess there were these things called the Atlanta
child Murders and it was based on a real thing
that happened. And I just remember watching it and seeing
a car pull up above a ravine that went down
(24:30):
into a creek and someone just tossing like a burlap
sack out of the car and it just rolled down
the hill and landed in the creek, the insinuation being
that there was a child in that burlap sack, and
I was a child, and it scared the shit. I
was up till one in the morning for years worrying
(24:51):
about the Atlanta child murders after that.
Speaker 3 (24:54):
You know, Hereditary is the film where there are people
in the corners of this.
Speaker 4 (25:00):
That's right, Tony Collett's in the corner.
Speaker 1 (25:03):
Which is how you think death is. That's right. Maybe
you're on something.
Speaker 4 (25:07):
Yeah, isn't she like sawing her own head off when
she's up in the corner.
Speaker 1 (25:12):
God, it's scary. It's really, it's so scary. It's terrific.
It's really good. What is the film that makes you
cry the most? Do you like crying? You cry? Yeah?
Speaker 4 (25:23):
And I do cry quite a bit watching movies. It's
real easy to get me to cry. Yeah, I have kids,
so ever since we had our first kid, which is
like sixteen years ago. Now, anything with like kids, I cry.
But I remember in the movie theater really having a
solid good cry at the movie in her shoes.
Speaker 1 (25:46):
Oh my god? What the Kurt's Handsome film.
Speaker 4 (25:49):
With Yes, Yes, Yes, and Tony Collette. Yeah, have you
seen that?
Speaker 3 (25:53):
I have seen that and their sisters, their sisters, and
it was yet another hands the film.
Speaker 1 (25:58):
It's completely completely different from the last.
Speaker 4 (26:00):
Yes, completely different, and equally.
Speaker 1 (26:03):
Like the Wild or something did the River Confidential and
then he did In Her.
Speaker 4 (26:08):
Shoes, And I think it's just as masterful as La Confidential.
It's just he's zeroing in on a period the life
of these two sisters who are super different and do
everything they can to hurt each other as much as
they can and just can't connect, and so they decide
(26:29):
to stop speaking for a period of time. And then
at the end, Tony Collett's getting married and Cameron Diaz
reads a poem at her wedding, and this whole relationship
sort of, you know, before the wedding, they kind of
come back together, and she spends all of this time
with Shirley McLean at an old folks home in Florida.
(26:49):
That's where she kind of finds her humanity again in
a way. And then the sisters come back together and
at the wedding she reads this Ee Cummings poem and
I just lost it. It was so beautiful and I
love that movie. It's a great movie. I never loved
the title I always thought the title kind of gave
the movie short shrift. It makes it sound silly or something.
Speaker 3 (27:12):
Yeah, it makes it sound that they're swapping swapping jobs.
Speaker 4 (27:15):
But it's a it's a terrific movie in it. Every
time I see it, I lose it at the end.
Speaker 3 (27:21):
That's so great. Out of that film has not come
up at all. Yeah it what he is doing this,
that's great. What is the film that you love? Not
critically acclaimed, most people don't like it, but you love
it whatever anyone says.
Speaker 4 (27:35):
Well, I kind of feel like people generally like this
movie or everyone knows it super super well. But I
feel like it's frowned upon and people turn their noses
up at this movie, particularly when compared with the one
that came before and the one that came after. It's
always sort of looked down upon. And that's Indiana Jones
(27:56):
and the Temple of Doom.
Speaker 1 (27:58):
Right.
Speaker 4 (27:58):
So my friend Jake Tapper, the newscaster, can't believe Yeah, okay,
I can't believe how Sorry serious I think, excusing out
for tap. Jake Tapper, let's see if it happens again.
Can't believe how much? Because I, for me, it's my
favorite movie it's not you know what, I think is
(28:20):
the greatest movie ever made, But I may as well
because it's my favorite movie because I was eleven when
it came out and I still can't believe how incredible
it is watching it. It's from that first crazy musical number.
The movie does not stop. I mean, there are things
in it that have not aged as well as other
things in it, and I think that's all. You know,
(28:44):
you got to just roll with that. But I love
it so much. It's my favorite Indiana Jones movie and
maybe my favorite movie.
Speaker 1 (28:51):
Wow.
Speaker 4 (28:52):
Yeah, I can't get enough of it.
Speaker 1 (28:54):
That's cool.
Speaker 4 (28:55):
Do you like that movie?
Speaker 1 (28:57):
I do.
Speaker 3 (28:57):
I mean I haven't watched that one in a while.
I see there's some kinds of problematic things in it.
I definitely remember that. It's a proper fucking brilliant action
sequence after action.
Speaker 4 (29:10):
It's it's crazy how these sequences. I still can't believe.
I don't know how they did it.
Speaker 3 (29:16):
Yeah, I think I have big stuff spot for The
Last Crusade because I like this.
Speaker 1 (29:21):
I like them.
Speaker 3 (29:22):
I like them together very much, and the ending makes
me cry when.
Speaker 4 (29:26):
He tells them to let go, because they they have
that really tough relationship. And you know, now knowing more
about Spielberg and seeing the relationships with his parents and Fableman's,
that relationship makes a lot more sense. I mean it
always made sense, but it makes sense in the context
(29:48):
of Spielberg. And I remember him apologizing for Temple of
Doom when Last Crusade was coming out, and that hurting
my feelings.
Speaker 3 (29:58):
Oh listen, if you've ever I heard this podcast, my
feelings are hurt. Whatever Spielberg says, Hook isn't very good.
I made a mistake with Hook. I'm like talking about
it's a fucking masterpiece, right, what are you there?
Speaker 1 (30:09):
Right? The other thing?
Speaker 5 (30:11):
Right?
Speaker 1 (30:11):
Look's the best, right.
Speaker 4 (30:13):
And that's what it's It's about what it means to
whoever watches it.
Speaker 1 (30:17):
Yeah, I think that's so beautiful.
Speaker 3 (30:19):
It's beautiful that in her Shoes means that much too,
because it is not a film that I don't think
anyone's talked about it in ten years, and this film
was really that has stuck with you.
Speaker 1 (30:28):
I love that. That's cue.
Speaker 4 (30:29):
Yeah, yeah, I really like it.
Speaker 3 (30:32):
What is the film, on the other hand that you
used to love but you've watched it recently and you thought,
I don't like this anymore.
Speaker 1 (30:38):
It might be just because you've changed.
Speaker 4 (30:40):
I whiled it down to three, and I'm just going
to pick one of them right now. I think it's
Red Dawn the nineteen eighties one. Obviously, when I was,
you know, thirteen or whatever, when it came out, I
went to see it over and over again because it
(31:01):
was so frightening, because that was at the height of
the Cold War and we were all scared of the
Soviet Union and stuff. But I remember trying to watch
it a couple of years ago, and it you know,
when you watch a movie that just clearly isn't holding up,
and you're not even sure it still qualifies as a movie.
Like it's just so haphazard and doesn't seem to really
(31:23):
hold together in any real way, which doesn't mean it's
bad or anything. I just also I didn't really remember
anything from it, and I remember going to see it
over and over again. Also, it's just so jingoistic and
that kind of raw, raw America thing right in the
middle of the Ronald Reagan eighties and stuff. I now
find it deeply offensive, whereas then I just thought it
(31:46):
was kick ass.
Speaker 1 (31:47):
It's weird that.
Speaker 3 (31:48):
Stuff, because you saw it so many times. There are films,
particularly from the eighties, where you go, oh, I was
obsessed with this film, and then you watched it, now
you go, it's barely coherent. Yeah, so how come we
didn't notice that? And is it like just the hype
of it and getting caught up in It's weird that
you didn't know when you watched it a million times.
Speaker 1 (32:04):
This doesn't even make sense.
Speaker 4 (32:06):
I think the and I love John Millius too, and
I'm pretty sure he directed that. I just remember the
teacher walking at because during English class, a bunch of
air troopers parachute down onto like the football field at
the high school, and the teacher goes out to ask
him what's going on, and they shoot him with a
machine gun, and his shirt sleeves with his tie just
(32:28):
burst into all the squibs go and he just gets
shot and just scared the shit out of me. And
seeing the teacher get murdered in front of the kids
and then them all running out into a truck, and
it just like the day after was another thing that
scared everybody, all the kids growing up at that time.
(32:49):
So I think it was more the emotional charge of
the Soviet Union. Yeah, yeah, yeah, because and you know,
when you're eleven or twelve years old, you're not at
discerning or demanding an audience member.
Speaker 3 (33:04):
What is the film that means the most to you?
Not necessarily the film itself is great, but the experience
you had seeing it will always make it special to you.
Speaker 4 (33:14):
When I was in junior high school and elementary school,
I told my mom I wanted to be a film
critic when I grew up, and she was like, well,
you should. You should write movie reviews. And so I
started writing movie reviews for the school paper in junior high.
And I would do them sometimes in high school, but
junior high, when I was like thirteen twelve thirteen, I
(33:36):
really started doing that and they didn't ask for them.
I would just write movie reviews and give them to
them and they would just put them in because no
one else was doing. But my mom would bring me
to movies so I could write the reviews. And I
remember Good Morning Vietnam in particular being one from that
period that was really fun and it was it was
(33:59):
Robin Williams really breaking out in sort of a somewhat
dramatic movie. It was it was pre Dead Poet Society.
It was his first sort of. It was kind of
his his crossover movie into like Oscar, you know, prestigee
material or whatever. And it's a really great Barry Levinson movie.
(34:19):
But I just but it's also super super funny Robin
Williams kind of improvising as a radio DJ. And I
just remember the that that period of time with my
mom was really special because she would she would take
me to all these movies Mosquito Coast and Platoon and
all these movies from that from that period.
Speaker 3 (34:36):
That's nice, nice story. What is the film that you
must relate to?
Speaker 4 (34:45):
You know? I remember when I saw Defending Your Life
feeling like, oh, that's how I feel about everything real,
you know. Yeah, And I was I think I was
seventeen years old, and I had seen Lost in America
and I had seen Modern Romance, but that was the
one that just hit me at the right time and
(35:06):
I was like, oh, wow, this is my guy. Yeah,
that was a big deal. That was a big deal,
and it had to do with death and life after
death and his clearly his anxiety about all of that,
and he kind of put it into this kind of
perfect movie. I would imagine that movie comes up quite
a bit on the show. I've heard it once or twice.
Speaker 3 (35:25):
So you were like about the people Albert Brooks, you
were like, this is my ride.
Speaker 4 (35:30):
Yeah, I mean I had grown up really loving and
connecting with like Steve Martin and Letterman particularly, and those
were like my guys. But Albert Brooks was this new gear.
And Woody Allen as well was one that I had
always loved as a kid, but then Albert Brooks was
(35:51):
sort of this new gear. And then going back and
watching Lost in America and being like, oh, I get
this now. I wasn't quite connecting with this when I was,
you know, nine, or whenever I saw it. And Albert Brooks,
you know, obviously is one of the great comedy minds ever.
Defending your Life will always be sort of my favorite.
Speaker 3 (36:12):
I think forgive me for not knowing this, but I
also don't live in America, but that's no excuse. Have
you ever done did you ever do Letterman? Having been
a huge van of it.
Speaker 1 (36:20):
Yeah, I did. I got to do it twice. Oh great,
How was that?
Speaker 4 (36:24):
It was really amazing. I couldn't believe it was happening
and really, and I didn't say it on the show
because I figured it kind of goes against everything, like
you don't want Letterman to react to you saying one
of the reasons I'm doing this in the first place
is so I could sit here with you, you know.
So I didn't say anything like that. I didn't, but
(36:45):
I I used to sit on my bed fashion it
make it like a couch and pretend I was talking
to David Letterman as a kid.
Speaker 1 (36:54):
It was, And so yeah, I did.
Speaker 4 (36:56):
I finally I got my brother to come out to
New York so he be there because we were in
The Letterman together. And so was Letterman a big deal
for you growing up on the UK.
Speaker 3 (37:07):
I knew he was, yeah, because I was always sort
of into American stuff. But it wasn't like we had it.
Yeah you didn't. You didn't have access to it. Yeah, yeah,
but I'm aware of what it means. That's very cool.
What is are we doing this now?
Speaker 1 (37:20):
Yeah?
Speaker 3 (37:21):
Well not it's the one people, it's the any reason
people to what's the sexiest film you've ever seen?
Speaker 1 (37:26):
Others?
Speaker 4 (37:26):
Goot, I think it's sex Lives and Videotape. Good answer, Yeah,
good film, great, great movie. Good god. It's one of
my favorite movies. And I think also just hitting me
at a particular time, and the fact that the main
character is impotent and poor, Yeah, that that's just my
(37:51):
that's absolutely my way in I mean, I am you
know you you had me impotent? Excuse me? Did someone
say impotent? I'll take two tickets. So that just sort
(38:12):
of as a starting place, the main character being impotent,
and it then proceeding to be this sexually charged, super
intellectually erotic movie. Just the relationship and the sort of
chemistry between I hate the word chemistry because I think
it's overused people talking about chemistry between actors, and I
(38:34):
think usually people don't know what they're talking about. But
whatever it was that was happening between he and Andy McDowell,
it was really special. And then also what was happening
between Laura Sangiacomo and Peter Gallagher. Peter Gallagher and James
Spader had a really weird, electric, aggressive former friendship. You
(38:58):
could tell it was already dead, but there's this kind
of violence to the way they spoke to each other.
And then Lauris Angiocomo and Anime all those four there's
just all this really interesting energy flying around and there's
nari a sex scene to be I guess there's sort
of is but no nudity or anything.
Speaker 1 (39:19):
It's just I remember, yeah, Yeah, what's your issue with
people saying chemistry between next?
Speaker 4 (39:26):
Oh? I just feel like I feel like sometimes I
and I guess it's more sort of entertainment press talking
about or or critics sometimes I guess talking about the
chemistry between actors or lack thereof. And sometimes I feel
like it's not fair and it's completely subjective, like how
do you know that there was no chemistry between these people?
(39:49):
And what does that even mean? I think that And
sometimes there is chemistry on screen and there's something going on,
but off screen there's not an advice versa. I think
it's more subjective then. I think sometimes it's talked about,
particularly by press and stuff I talked about as being
something more tangible than it actually is. I think it's
(40:12):
more subjective.
Speaker 1 (40:13):
Yeah.
Speaker 3 (40:13):
Sometimes the actor isn't even in the same room. It's
very good at it, exactly.
Speaker 1 (40:18):
Yes.
Speaker 4 (40:19):
Yeah, so that's why I think, like, you don't know
what you're doing.
Speaker 3 (40:22):
Yeah, there's a sub category troubling bone is worrying why
I don't film? He found a rousing You weren't sure
that you should Adam Scott. What was it?
Speaker 4 (40:31):
I guess it was because I was a little kid,
but nine to five really got me going. Lily Tomlin,
Dom Parton and Jane Fonda.
Speaker 3 (40:41):
Not predominantly sex film. What was what was throwing you
off about that?
Speaker 1 (40:46):
Was it? Women working? Women having a job? Yeah? Women,
I should be into this.
Speaker 4 (40:51):
Women working and like tying up, like getting the guy
like Dabney Klemen, they take him hostage or something. I mean,
I don't think i've seen it since, but I remember
looking at the ad in the newspaper and seeing the
three of them with glasses and pads of paper surrounding
Dabney Coleman, and they're all so cute and they have
these cool outfit like business suits on and stuff, and
(41:15):
just staring at it and not understanding the feelings it
was giving me. And I think if you find that
original movie poster you'll understand exactly what I mean.
Speaker 3 (41:28):
I'll tell you it wasn't impotent between nine and five.
This guy what is objectively the greatest film of all time?
Obviously not Template Dam? What's the greatest? No your favorite?
We're not talking Template Dame unless you also think Template
Dam is the greatest.
Speaker 4 (41:47):
Well, I don't want to say that Godfather or Goodfellas
because I feel like you probably get that or have
gotten that a lot, and it's sort of.
Speaker 1 (41:55):
Like, I don't think I get good Fellaws enough.
Speaker 3 (41:58):
Oh really, if that's your if that's what was your
answer going to be, you must speak your truth at him.
Speaker 4 (42:04):
My truth. It changes for me right now. I think
it might be the verdict.
Speaker 1 (42:10):
Oh wow, Right, so I think that's been picked.
Speaker 4 (42:14):
It's a great, really great movie, and it's sort of
out of time. It doesn't feel like it's of a period.
Speaker 1 (42:22):
Really.
Speaker 4 (42:22):
The filmmaking is so so sort of.
Speaker 1 (42:25):
Staid and still.
Speaker 4 (42:27):
I don't even know if there's much music in it.
It's a really quiet, great movie with maybe the best
performance that's ever been on film. I don't know. It's
a pretty perfect movie. The other one that I was
maybe going to say is Reds, because I think Reds
is believable. But I think the verdict maybe for me, I.
Speaker 1 (42:47):
Love that other you just think it's perfect, just perfectly done.
Speaker 4 (42:51):
Yeah, and it's not, as you know, it's not the
as wide in scope and everything as some of the big,
grand and greatest movies of all time that I usually
think of when I try and think, but I think
the scale doesn't really matter. It's it's what you're trying
to do and what you're attacking and how well you
do that. And I don't think they take a wrong
(43:14):
step anywhere. And the David Mannett script is there isn't
a syllable out of place.
Speaker 1 (43:21):
It's perfect.
Speaker 4 (43:22):
And like I said, that lead performance in Jack Warden's performance,
it's all perfect, right, right, what is the film? You
could or have what's demized over and over again? Maybe
Midnight Run?
Speaker 3 (43:36):
Right right, though I'm actually running a long time? How's
that right?
Speaker 1 (43:40):
Yeah?
Speaker 4 (43:41):
Yeah, it's great. It also doesn't feel of a time.
I think the music is really for whatever reason, it's
a Danny Elfman score, and it's it feels a little
out of time. It doesn't sound eighties. It's I mean
there's some like saxophone and some like bluesy guitar, but
not in an eighties so you know how like some movies, yeah,
(44:03):
like The Tutsie is a perfect movie, but it has
that montage in the middle with like a Christopher Cross
song or something. It's just so weird or now it's weird.
But Midnight Run has this super like cartoony action comedy score.
And I love that movie. I think, you know, I
(44:23):
figured that was one you might get a lot too,
but it is. It's a pretty perfect movie as well.
Speaker 3 (44:28):
Tilight to be negative, Adam, So do it quick. What's
the worst film you ever seen?
Speaker 4 (44:32):
I remember as a kid going to see Jewel of
the Nile, Yeah, the sequel to Romancing the Stone. Yeah,
and having loved Romancing the Stone so much, and being
so excited for Jewel of the Nile. And I remember
I couldn't have been older than twelve years old. I
walked out. No, I walked out of Jewel of the Nile.
(44:56):
Maybe it's not that bad, Like I said, I went
and saw a Temple of Doom the probably nineteen times.
Speaker 1 (45:02):
I sample of Dame promouncing this time exactly.
Speaker 4 (45:07):
I couldn't take it that And I love bad movies.
I love bad movie so trying to figure out what
the worst movie is Everest is tough because I seek
them out, I enjoy them. But I think that's the
one that I remember being so excited for in and
just immediately feeling like I was getting ripped off. Do
(45:28):
you remember that being a fun movie or a good movie.
Speaker 3 (45:30):
I haven't seen in years, but I saw it as
a kid and I and I loved it. And it's
got when the guy and gets tough, tough, get guy, Billy.
Speaker 4 (45:36):
You're right, it does have that. I think that's right.
Remember the music video moted because I'd seen that music
video so many times, was so charged up to see
this movie because of the Billy Ocean.
Speaker 3 (45:48):
Video Emily in White Saints doing a synchronized Yeah. Absolutely, Douglas,
that's right.
Speaker 4 (45:55):
That was in the same period as Dancing on the
Ceiling too, Yeah, and Running Scared where they have the
Michael McDonald's song where they're in the Tropics. It was
kind of the milieu of the time.
Speaker 3 (46:06):
Good time for that stuff. You're in comedy, you're very funny,
you're a professional. What's the film that made you love
the most?
Speaker 4 (46:13):
The aforementioned Defending Your Life was deeply, deeply funny, the
Past Life's Pavilion. I remember my friend and I going
to see it twice the first day we saw it
because we had to see that scene again. But I
think since I've already mentioned that movie, I think as
a kid, like a little kid, like seven eight years old,
my mom brought me to Holy Grail Monty Python's Holy
(46:35):
Grail and.
Speaker 1 (46:37):
At a revival theater.
Speaker 4 (46:38):
I remember falling out of my chair during the it's
only a fleshruan scene, and just of course, you know,
that's a great movie for kids. I mean it's disgusting
and bloody, but any kid would love because you feel
like you're breaking a rule of some sort watching this
movie and it's so so funny and just great. The filmmaking, too,
(47:01):
is really really good filmmaking, really good. All of their films,
like The Mine is fucking must in every absolutely absolutely,
like that is a great film. Forget the comedy, forget everything.
I'm like, that is such a well made film. I
totally agree. They were doing like handheld stuff out in
the forest. It's so fun so good.
Speaker 3 (47:22):
Adam Scott, you have been an absolute pleasure and a joy. However,
when you were on your thirty six hour train journey
Amtrak and you're sixteen hours in and you fought probably
time for bed, pulled down your slab of a bed
off the wall, you went to pull your jumper off, sweater, sorry,
(47:42):
you put your foot at the toilet, You got your head,
caught your bangs your head, you fell, got your foot
out of the toilet, fell forward headfirst in is a toilet,
got your head stuck in the toilet and as the
blue liquid often used to denote a period in a advert.
Speaker 4 (47:56):
For that's so, that's the same exact liquid. I mean,
you know, so it's Sandra Das. I do know the difference.
Speaker 1 (48:02):
Thank you.
Speaker 3 (48:03):
The blue liquid filled. It's quite a cashmere sweater, wasn't
it really?
Speaker 1 (48:11):
Yeah?
Speaker 3 (48:11):
Thanks you you were sort of It was a lovely
sweater and it blocks out waterboard lovely. You're basically water
boarded yourself in the in the shizzy water. Anyway, took
ages for you to die. I was waiting to pick
you up when you arrived. So this was got sixteen
hours later. I think everyone gets off the train. I'm like,
(48:32):
I don't think Adam got off the train. I've got
a coffin with me, you know what I'm like, say,
can I just pop in check on my check on Adam,
knock on your thing anyway, find you. You have swelled
up to the size of four Adam Scott's just filled
with blue.
Speaker 1 (48:48):
Blue, all blue. Yeah yeah, and you're completely blue.
Speaker 3 (48:51):
You look like a violet by regard in the end
of Johnny in the profectory and anyway, so me and
the guy, I say, you've got one of them sort
of fire axes, you know, is yeah cool?
Speaker 1 (49:00):
So coming we start chopping into.
Speaker 3 (49:03):
Your shit and blue is guy everywhere anyway, turds just
hitting the guy in the fir Sorry about my friend
that keeps saying, anyway, chop you up, get all the
bits of blood. But it's basically blubber now and putting
you all in the in the coffin. But there's so
much more of you than I was expecting. You just
have to really jam it all in. Yeah, there's no
room in this coffin. There's enough room to slip one
(49:23):
DVD into the side for you to take across to
the other side. And on the other side this movie
night every night. What film are you taking to show
when it's your turn, Adam Scott?
Speaker 4 (49:32):
I think that movie that would go and it's gonna
go well because it has sort of a blue theme.
Color wise, the palette of the movie is predominantly blue.
I think I might bring heat with me. Great, yeah,
all right, that's a fun movie.
Speaker 1 (49:49):
Watch it. Great movie. You've got to it as well.
Speaker 3 (49:52):
It's long, it's long, three hours you're dead, you heaven
you got time?
Speaker 4 (49:56):
Yeah, watch it over and over again.
Speaker 1 (49:59):
Adam Scott, what's a delight. Thank you so much for doing.
Speaker 3 (50:02):
This, Brad, thank you for having me. Ah, I'm so
greatful you did it. Man, is there anything you would
like to tell people to watch, listen to look out
for coming up?
Speaker 4 (50:11):
Just keep listening to this terrific podcast. How about that?
Speaker 3 (50:14):
God bless you. Thank you, Adam Scott. God bless you
have a wonderful death. Thanks man, Thank you for your tone.
I never thought dying would be so extraordinary and rewarding,
lovely thing to say, good night, good night.
Speaker 2 (50:34):
So that was a rewind classic with Adam Scott. Be
sure to check out the Patreon page at patreon dot
com slash Brett Goldstein where you get extra chat and
video and otherwise. If you're fancy leaving a note on
Apple podcasts, that would be lovely too. But make it
a review of your favorite film. Why not? Much more fun,
more interesting to read it for everyone involved. Thank you
so much to Adam for greatness and presence on the podcast.
(50:54):
Thanks to Screbious Pip and the Distraction Pieces Network. Thanks
to feels Weird but okay me for podcast mixing and editing.
Thanks to iHeartMedia and Will Ferrell's Big Money Players Network
for hosting it. Thanks to Adam Richardson for the graphics
and Lisadam for the photography. Season nine is in the
labs as you hear this, as we continue on a
little bridge between seasons. But that is it for now.
Brett and I and all of us have films to
(51:15):
be buried with. Hope you're all very well in the meantime,
have a lovely week, take some deep breaths, and now
more than ever, be excellent to each other.
Speaker 4 (52:00):
Backs Bands bust As POSBA product