June 4, 2025 • 48 mins
LOOK OUT! It’s only Films To Be Buried With!
Join your host Brett Goldstein as he talks life, death, love and the universe with the pure twin-force of directing energy DANNY & MICHAEL PHILIPPOU!
In a rare one-off first for Films To Be Buried With, Brett is joined by two people at once (and on one computer mic!), who happen to be two of the most interesting horror film making prospects we've seen for a long time. Some may have become acquainted when Talk To Me came out, and some may go back to the Youtube RackaRacka days, but whatever the case, these two are just so lovable and energetic it is impossible to not become fast fans on that alone. Such a fun and funny episode, this one.
Producer Buddy note: They were using a single computer for both of them, and occasionally Zoom can work its own particular brand of magic where it makes some folks quieter, or silences them completely. In this case, the video often makes more sense as you can see them really enjoying the situation and doing a act-out or two, so if you feel like you're missing out on the odd occasion, it's a mix of crazy tech and these two being very visual people!
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THE SECOND BEST NIGHT OF YOUR LIFE
SUPERBOB (Brett's 2015 feature film)
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look out.
Speaker 2 (00:00):
It's only films to be buried with. Welcome back, Hello,
and welcome to Films to be Buried with. My name
is Brett Goldstein. I'm a comedian and actor, a writer,
(00:21):
director foam Finger, and I love film. As Amy kraus
Rosenthal once said, pay attention to what delights you.
Speaker 1 (00:27):
It's not random. I promise you.
Speaker 2 (00:29):
Every scene in Holy Motors really really means something. Every
week I'm 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
Barry Jenkins, Sharon Stone, Jamia Jamil and even Collet Lamborms.
But this week we're doing something different. For the first time,
we have not one, but two guests. This week we
have the incredible Australian twin filmmakers, Danny and Michael Philippower.
(00:53):
My comedy special, The Second Best Night of Your Life,
is streaming now on Max. Give it a watch your
fucking love it. Head over to the Patreon at patreon
dot com forward slash Brett Goldstein, where you get an
extra twenty minutes with Danny and Michael. We talk secrets, beginnings, endings.
You get the whole episode uncut ad free. You can
see them bouncing around on the screen. It's really great stuff.
Check it out over at patreon dot com. Forward slash
Bret Goldstein. So Danny and Michael Philip how You might
(01:16):
know them from their viral YouTube channel Raca Raca or
their first film Talk to Me from twenty twenty two.
Their new film Bring Her Back, came out on Friday.
Go to the cinema and see it. It's fucking brilliant.
This is my first time meeting Danny and Michael. I
liked them so much. We've recorded this on Zoom. They
were fucking brilliant. I really think you're gonna love this one.
Welcome back everyone. So that is it for now. I
(01:38):
very much hope you enjoy episode three hundred and fifty
three of Films to be Buried With. Hello, and welcome
to Films to be Buried With. It is I Brett Goldstein,
and I'm joined today for the very first time by
(02:00):
two people.
Speaker 1 (02:02):
They are twins. They are award winners. They're YouTubers. They're filmmakers.
Speaker 2 (02:08):
They're writers, their directors, their producers, they're editors, they are
masters of the horror genre. They're here, could you believe it?
They're here together. They're identical, but they're brilliant in their
own right. Please welcome to the show. It's the excellent
Danny and Michael Villabout.
Speaker 3 (02:32):
So many titles? If we have too many titles, Donny, No,
I like them all.
Speaker 4 (02:36):
I feel very I feel God to you.
Speaker 2 (02:40):
Very nice to meet you both. This is the first
time I've recorded with two people. We've got a lot
to get through. You can't both speak at once, but
can we start with this?
Speaker 1 (02:49):
Firstly? Where are you?
Speaker 3 (02:50):
I'm in my closet in South Australia.
Speaker 4 (02:53):
There's like renovations soft going around the house, so there's
just people everywhere.
Speaker 3 (02:56):
So we've tucked away.
Speaker 1 (02:58):
Do you live together or has to live together in.
Speaker 3 (03:01):
We do at the moment, very temporary.
Speaker 2 (03:05):
But you know that's secretly what we all wish is
that you do everything together and live together and share
a bed.
Speaker 3 (03:12):
We have share the past.
Speaker 4 (03:13):
We have a floor each and every now and then
we get why we we might jump between other's room and.
Speaker 3 (03:18):
We definitely don't do that. No, we we have a
floor each.
Speaker 2 (03:22):
Right, you two, let's talk about it. Right you made
the brilliant Talk to Me. It's an absolutely brilliant film.
It's really excellent. And there's the hand for those years
but that's fucking scary.
Speaker 3 (03:35):
That's you have to be on Patreon to see this.
Speaker 2 (03:38):
Yeah you do, don't don't hold it. There's the hand
from Talk to Me.
Speaker 3 (03:41):
You're not chipped, which is a bit devastating to me.
Speaker 4 (03:43):
It's okay, sorry, you chipped it online? Will film this
online thing. It's like this this prequel series.
Speaker 3 (03:51):
And then one of the one of the.
Speaker 4 (03:52):
Extras grabbed it and she was pretending to be possessed
that she threw out the floor and I was like, it.
Speaker 1 (04:00):
Was definitely a fucking possessed by give her a chance.
Speaker 2 (04:05):
Yeah, I love that film very very much, and that
film is deep and really scary and kind of fun.
It's fun as well. And then I saw Bring Her Back.
I was very lucky to see a proper screening of
it in a big cinema and Bring Her Back is excellent,
really excellent, and I felt it was like into I've
(04:26):
got so many questions for you, because it feels like
can I say this. I'm going to say it, and
if you don't like it, we'll cut it. I found
it a very sad film. I think it's really sad.
They're both sad, actually, but Talk to Me is slightly
more of a fun ride, whereas Bring Her Back is
very moving and actually, in the end, without spoiling anything,
(04:48):
a really tragic, sad story about loss, and for all
its kind of thrill ride scary bits, the end, I'd
left like very moved by it and thought, this is
this is a kind of felt like a much more
serious step forward from Talk to Me, which was already excellent.
And I wonder if that is okay with you to say,
(05:09):
do you agree with that?
Speaker 4 (05:11):
Was that the A I agree, Well, it was like
we were sad while making it because we lost somebody,
and then sadness just fell on with you, so.
Speaker 3 (05:18):
It changed the tone.
Speaker 4 (05:20):
But I think it's ultimately it was also to subvert expectations.
Speaker 3 (05:25):
Of what a horror film is in a way, or
what it can be. It can be many things, you know.
That's what's amazing about the genre.
Speaker 4 (05:31):
There's so many different categories and subgenres and tones.
Speaker 3 (05:34):
It's a beautiful genre.
Speaker 4 (05:37):
But and then also having it that all the characters
are human, even if they're doing things you don't agree with,
you can empathize with why they do you understand?
Speaker 3 (05:45):
You know?
Speaker 2 (05:46):
Can I ask you this? Then you lost someone? Did
you lose someone before Talk To Me as well? Or
was it between the two films because they're both about grief.
Speaker 4 (05:54):
Yeah, there was like a like a tragedy while writing it,
and then there was yeah, and we wrote Talk to
Me and Bring It Back pretty much at the same time. Interesting,
so they both got developed and whenever you hit a
word bock on one, we jump back to the other one.
Speaker 2 (06:08):
I also think you're very good at characters, and you're
very good at like the first scene where we meet
the main characters in Bring Her Back is a real
masterclass in writing and setting up who characters are and what.
So the scene at the bust up we meet them.
We meet a brother and sister step brother and sister,
and she's blind. She tries to make friends with these girls.
(06:31):
They're not outwardly mean to her, but they're subtly mean
to her and she can't see. The brother shows up.
The brother says she's with me. She makes a joke
that he's a pedophile, which tells you about her character,
and then they walk away and she goes were they
making fun? Of me, and he says no, and we
see that they were. It's such a very concise sketch
(06:53):
of these people and we know everything. It's really a
fucking excellent piece of writing and directing, and all the
performances amazing, but like that is such a good introduction
to these characters and we immediately fucking love them all
and care about them.
Speaker 1 (07:06):
It's really good stuff.
Speaker 4 (07:08):
Oh, thank you so much. And so many scenes that
are written around that initially. And you find out when
you're writing and when you're directing, when you're putting it together,
is that the smaller it is the stronger. And it's
like it's not about hitting the beats and over explaining
certain things, like there was initially some notes about their
code word grapefruit between each other, like we learn it,
(07:30):
but it's like like we, like the audience isn't arn
like we can. They can pick things up and put
things together.
Speaker 2 (07:35):
Yeah, and they're really it's really a very like adult
piece of work. It's very mature and smart about people
and very there's so much love in this one as well,
in both of them. I think you really care about
your characters, which is my favorite thing in writing, is
that you love your characters, and I think you love
Sally Hawkins, who I think is brilliant in this film. Yeah,
(07:58):
and she's she's nutcase, but you have sympathy for we
care about her. There's almost a part of you in
the film going, I hope she pulls this off. I'm glad, Yeah,
you go, I really want this for her.
Speaker 4 (08:15):
Yeah, I'm like, look, it's very sad, and you pipe
a very lovable Come on, Laura, you're almost there.
Speaker 3 (08:21):
Everyone's a victim in their own way, you know, in
the movie.
Speaker 4 (08:24):
And I think when you write characters that people can
relate to or feel real, it just helps those kind
of extraordinary beat hit more.
Speaker 3 (08:33):
And because you care more.
Speaker 4 (08:34):
Like I remember and talk to me, there's a scene
with the Riley and Jade and they're arguing she and
he goes, oh, you just want to suck Daniel's dick,
And then in front of Daniel and everyone.
Speaker 3 (08:46):
I remember, we're in the cinemaon and everyone's like, oh,
like it was a real thing. It's like if he's
reacting to that, wait till we smashing his face?
Speaker 2 (08:54):
Yeah, yeah, yeah, tell me. I'm sure you must have
talked about this. Forgive me for asking but I do
want to know how does it actually work? Because your
films are technically brilliant, but they're also both of them
have excellent performances, and in the second one you're working
with a very established, award winning actor. You know, I'm
wondering how it works on set. Do you divide the
(09:14):
labor of one of you technical one of your works
with the actors or is it both?
Speaker 1 (09:17):
How does it work with you too?
Speaker 4 (09:19):
I'm usually the main voice with the actors, but we
both have votes and everything. And then like the build
up to the characters is like I really really love
getting close with our actors and collaborating with them and
letting them put themselves into the character and allowing people
to change lines of dialogue, allowing them to pick their
costumes like Sally was tossing the set. We love playing
(09:40):
out scenes that aren't in the movie but are in
the character's history, and somehow about playing them out.
Speaker 3 (09:47):
Like you get a sense of history between them.
Speaker 1 (09:49):
When do you do that? Do you do that before shooting?
You do?
Speaker 4 (09:52):
Like reasals of yeah, like, so as long as we can,
like I remember probably this one was two three weeks,
I'd say, and we have the actors, So say Wendy
and Laura, who have a history, we went with them
and did activities with them in character, and so there's
this kind of there's a lived history even though it's
never actually seen on.
Speaker 3 (10:13):
Film, because it's been active for in some way, it
is really you know, yeah, And I.
Speaker 4 (10:18):
Say with the kids as well, taking Billy and soa
who aren't brother and sister to places as brother and sister,
like football games, and he guides her and it just
gives that that there's authenticity to it.
Speaker 1 (10:30):
Wow.
Speaker 2 (10:30):
And how was it working with the very very scary kid?
Speaker 1 (10:37):
Is he? In real life?
Speaker 3 (10:38):
He was eleven? Now we just kind of say that
the distance from him.
Speaker 2 (10:46):
Like, how do you he's brilliant? I mean, he's fucking brilliant.
He's terrifying. How was what are you telling him to do?
Speaker 4 (10:52):
It's sort of like keeping the set really lighthearted and
fun for him, and because he's going through he had
the toughest job of anyone. Likes an hours of opera
sthetics and you know, and having to come back multiple
times and like you know, keep executing these scenes. But
it's about keeping the set super upbeaten fine like it was.
It didn't feel like a party.
Speaker 3 (11:10):
Like if you look at them behind.
Speaker 4 (11:11):
The scenes, but it's like it doesn't feel like a
real set, which is beautiful. And then and both of
his parents are actors as well, so they helped him
fine and get into the character. We were able to
find that rhythm with them as well. Yeah, and it
was the thing like because there's a lot of prosthetics
came particularly towards the end, we gave the option for
him once it starts getting like the heaviest stuff, because
there's a few days of the real heavy stuff, we
(11:33):
can get another actor to do that, you know, because
it's churning into a monsterva. He wants to do everything himself.
He's so passionate little kid, you know, and he's so
it's so strange because he's so multi talented as well.
He's eleven and he's had three fights. He's a fighter,
like a multi fighter, and he's a good guitiist like
a musician, and he's been the lead of another film.
Speaker 1 (11:54):
He's eleven.
Speaker 4 (11:56):
He's literally about to have his first full contact headkick
fight in like Moth or.
Speaker 1 (12:00):
Something, which is crazy.
Speaker 2 (12:04):
If you can answer this, and maybe it's all instinctive,
I don't know your whole history. Forgive me for not
knowing all of your rapper racker stuff. You had this
YouTube channel, and I watched some of your sketches on that,
and they're fucking mental, and they're like hyper violent and
sort of extreme and outrageous and very well made, sort
(12:25):
of technically sort of special effects where it's very impressive
and choreography impressive. But from what I saw, they don't
have the depth and the character stuff that you have
in your films. And I'm wondering, like, what took you
from there to there? Was it just instinct? You just
tried it yourself, you figured it out, Like how did
you make that leap?
Speaker 3 (12:44):
What it was learning?
Speaker 4 (12:44):
All the YouTube videos was learning and you're practicing all
these different things, and you're meeting different people, you're traveling,
and you're just executing different like executing a certain stunt
for the first time or doing it the effect for
the first time, and you're just learning while doing it
and growing. And then it got to a point where
I felt like we hit the ceiling, like I couldn't
express myself deeply anymore, Like I'd done what YouTube was
(13:05):
there for, which was to build myself up to be
ready to make a film. So it was always the
main goal was to make a film, and the YouTube
stuff was like us at the gym. But I guess
also that the stuff that we liked watching was very
different to the stuff we're making, because we like foreign
dramas and and.
Speaker 3 (13:21):
Things like that.
Speaker 4 (13:21):
Those are the movies that we liked watching, But the
stuff we're making was Yeah, I just said, they're very circle.
Speaker 3 (13:26):
Very I guess that's one side of us that's.
Speaker 4 (13:29):
Ridiculous, and you don't really need to care too much
about you know, structure and character and things like that.
Speaker 3 (13:35):
And the video.
Speaker 4 (13:36):
So a lot of those smaller, just dumb ideas we
were able to get out and just make.
Speaker 3 (13:40):
But they were fun. It's instant, instant gratification, instant.
Speaker 2 (13:43):
Yeah, they're very like holy shit, immediately.
Speaker 3 (13:48):
Yeah, it's like the same DSLR.
Speaker 4 (13:51):
Like even if you have a budget for a video
from a brand like shoot, it make it feel home.
Speaker 3 (13:55):
Grow.
Speaker 4 (13:55):
So when that stunts something happened and I was like, wait, what,
how is this even possible?
Speaker 1 (14:00):
It's interesting all.
Speaker 4 (14:01):
Those little like a lot of those little ideas were
able to get out onto the screen, but the big ones,
the film ideas, the character stuff. There's a lifetime of
those as well that we now want to be pulling
into the movies.
Speaker 3 (14:12):
Yeah, okay, get.
Speaker 2 (14:14):
All right, don't hold it, Jesus, he's holding the hand
like it stops you.
Speaker 3 (14:19):
From feeling lonely, Like it feels like you're holding someone's hand.
Speaker 1 (14:22):
Yeah, what are you doing?
Speaker 3 (14:25):
Brother? You are?
Speaker 1 (14:26):
You said.
Speaker 2 (14:29):
Tell me this when you started, when you made Talk
to Me. So that's your first film. It's incredibly companies
and it's big. It feels very big. I don't imagine
it probably wasn't as big budget as it looks and feels.
Speaker 1 (14:41):
Were you sort of allowed to roam free?
Speaker 2 (14:43):
Or how much were you kind of interfered with along
the way, How much like fighting did you have to
do with the finances and the studio or whatever.
Speaker 3 (14:51):
Well, it was like.
Speaker 4 (14:51):
That initial the initial studios that we sort of went to,
like everyone initially said no, like we stopped it everywhere.
Speaker 3 (14:57):
Everybody turned us down to any room.
Speaker 4 (15:00):
And then eventually like a couple of places had said yes,
but they were wanting to change it and like like oh,
they should do the hand in a graveyard. That'd be
scary for them to do the hand in the graveyard,
like you've done it out of house already, the next
time needs to be bigger.
Speaker 3 (15:13):
And I'm like, I feel like a urban horror movie.
Speaker 4 (15:16):
So like there was like of a pool there. And
once we decided to not do that the studio round
and to make it independently, we our eight week shoot
started to get smaller and smaller, and then we wanted
to cast Sophie Wild as our lead, and just by
casting her, we lost a million dollars out of the budget.
She wasn't the George, wasn't the Navy yet, yes, And
then yeah, we ended up with like around four million
(15:38):
dollars four point five for the budget and our ones.
Speaker 3 (15:41):
Our eight week.
Speaker 4 (15:41):
Shoot turned into five weeks, five week shoot. Yeah, I
look back at it now and I don't know how
he actually don't know how he pulled.
Speaker 3 (15:49):
There wasn't so many locations. Is well, constantly under the
fucking pump, you know.
Speaker 1 (15:54):
Yeah, And so how long was your shot for Bring
Her Back?
Speaker 3 (15:57):
Oh so much better? It was like seven eight weeks
or something like that.
Speaker 1 (16:00):
Okay, great, Yeah, And like that was because.
Speaker 4 (16:03):
We really wanted like the prosthetics. It takes a lot
of time. You're working with a vision and paired girl
spent a time and like even like Rain exterior, there's.
Speaker 1 (16:12):
A lot of rain. There's a lot of rain.
Speaker 4 (16:14):
Yes, in a lot of ways, it's a smaller movie,
but then logistically complicated and it's other ways.
Speaker 1 (16:23):
You know, was it a real house or a set?
Speaker 4 (16:26):
So downstairs was a real house in location, and then
upstairs we built some sets.
Speaker 2 (16:31):
Okay, and sorry because you tell me you're you mainly
are the one that talks the actors, but you two,
like standard the monitor together, couldn't fair with each other
and then give notes like how often do you disagree?
Speaker 3 (16:43):
A lot?
Speaker 4 (16:45):
But I think it's like sometimes doing a thing where
and I think it's awesome.
Speaker 3 (16:50):
Like say, Sally was always down for it.
Speaker 4 (16:52):
She wanted to do as many takes as possible, so
she was open to if I had a different idea
of playing the beat a different way or the scenes
different waste and trying, say doing one like Danny's Wire something.
Oftentimes we'd be on the same page, but then there's
sometimes that's wow, I'm like, I think it's gonna be
so so then but she's open to she was so awesome,
(17:13):
Like there's the actor that we're like, can you come
with us at five am, and so we just go
to the house of no crew and just the camera first,
like build the natural life.
Speaker 3 (17:22):
I'd love that, Yes, And there.
Speaker 4 (17:24):
Was like a time where like that, all the camera
crew were taking like a while to set up, and
we got cloud cover and.
Speaker 3 (17:29):
I'm like, oh my god, oh my god, oh.
Speaker 4 (17:31):
My guys, we can shoot this thing in the rain,
like I'm setting up for this, and me and Sally
the camera guy, and Billy who plays the kid, we
just stole the car and we drove off fantastic back
of the water.
Speaker 1 (17:41):
Pop.
Speaker 3 (17:42):
I was out the window put in the rain, and
the Laura was driving and the camera out. It was
so so awesome.
Speaker 1 (17:46):
That's great.
Speaker 2 (17:48):
Danny and Michael, I've forgotten to tell you something I
should have said it. I should have said it at
the beginning is oh, fuck, you've died. You're both dead.
You're dead, Jesus, how did you die? How did you
do that?
Speaker 4 (18:08):
I think Michael killed me, to be honest, but there
was a disagreement in the edit, and he's physically stronger
than me.
Speaker 3 (18:13):
He beat me to death.
Speaker 1 (18:14):
Michael beat you to death. How did you day? Daniel?
Speaker 3 (18:17):
I beat Danny to death. And then I'm like, get
out of here. I've just got to go, and I
ran out and then I got hit by a boss. No,
my god, I think the guilt. No, no, I think
the guilt. Michael took us over. No, you don't know
you're dead. I was trying to get away. It was
fucking there and walks of you and Michael his own
life out of guilt.
Speaker 1 (18:35):
Murder. It was a murder. Seris, Well, we don't know.
The bus hit you.
Speaker 2 (18:39):
Whether you ran into the bus or the bus run
into you, will never really know.
Speaker 3 (18:43):
I don't know. But there was a guy named Brett
Goldstein that.
Speaker 2 (18:45):
Was driving, and I will never tell. Okay, okay, interesting,
So do you two? I mean, it's a crazy question.
I ask it every episode. But do you too worry
about death? Seems like you certainly think about it.
Speaker 3 (19:00):
I embrace it, sweet release.
Speaker 4 (19:02):
I'm scared more of losing people than I am of
me dying, Like that's so terrifying, like the idea of
losing everybody.
Speaker 1 (19:10):
There's an episode in Smallville.
Speaker 3 (19:12):
I love Smallville to death.
Speaker 1 (19:15):
Remember I was still Les Molle.
Speaker 3 (19:18):
There was a nightmare.
Speaker 4 (19:19):
There was this episode where there was a fortune teller
that was like holding up to people's hands and she
like holds lex Lupa's hands and see it like blood
raining on him, and he's like take over the world.
And then his clerk's feature and he's sitting in this
graveyard surrounded by the trimbstones of everyone that he loves,
and he's on everybody and they're all gonna die, and
(19:40):
it is fucking powerful.
Speaker 3 (19:45):
I think I used to not worry as much about it.
Speaker 4 (19:49):
So, like say, when we're flying and there's like a
bit of turbulence, I used to get excited, yes, whereas now.
Speaker 2 (19:55):
I'm like, yes, I get that. What what do you think
happens after your day?
Speaker 4 (20:05):
There has to be something behind d I mean that
just makes sense, is that we've got a different reality
that we're going We've got like a lived experience and
then we're like, oh, maybe I can try and fix
up this thing. Maybe or were going to the ground
and where fucking turned to maggots.
Speaker 3 (20:19):
I'll tell you what I hope happens actually before the
end to end. I don't know. I don't have a
big thing, but but I hope when you die you
get to almost have that kind of what's it called
the outer body experience.
Speaker 4 (20:34):
And see everyone that loved you, you say goodbye, Like
for some reason.
Speaker 1 (20:39):
You want to be at your funeral.
Speaker 4 (20:40):
Yeah, it's like a closure thing, like at least be
able to because because if you just die and you
never know, if you know, the soul remains.
Speaker 3 (20:49):
Yeah, no, if yeah, would be awesome.
Speaker 2 (20:52):
You want to see everyone kiss you on the lips
at your funeral?
Speaker 4 (20:55):
Yeah, I mean I have put that sublimately into my film.
Speaker 2 (21:01):
Yeah.
Speaker 3 (21:01):
I want to ask some open casket and.
Speaker 1 (21:07):
Kiss him on the lips.
Speaker 3 (21:08):
Come on, it's your father, Andy.
Speaker 2 (21:11):
So good that Well, I got news for you, Danny
and Michael. There's a heaven and guess what you're going?
Well done?
Speaker 3 (21:20):
Well are you God?
Speaker 1 (21:22):
Who you s not bort right now?
Speaker 2 (21:26):
There's a heaven you're going, and it's filled with your
favorite thing. What's your favorite thing? Films and you movies.
There are films and movies galore, and you're very well.
Everyone's excited to see you, but they want to talk
about your life through film and they want to ask
you as many questions they can in the time A looted.
And the first thing they want to know is what's
the first film that you remember seeing? Danny and Michael
(21:48):
and was it the same one? And were you together?
Speaker 3 (21:51):
It's Eva Stuart Little or a bugs Life?
Speaker 1 (21:54):
Both absolute but crackers.
Speaker 3 (21:57):
There was a bugs life to me. I remember bugs
or the like going to the movies life.
Speaker 2 (22:02):
Yeah, a bugs life. Where was this happening?
Speaker 4 (22:06):
After school hours care which is like during the holidays
of school, but you get dumped into this thing that's
like a holiday care and then every week they've got
every day they've got different activities, and then once a
week they take you to the cinema.
Speaker 1 (22:18):
Oh cool.
Speaker 4 (22:19):
Yeah, it's when your parents don't want you to get
watch your Bugs Life?
Speaker 3 (22:24):
Yeah, exactly right.
Speaker 1 (22:27):
Did you love it? Do you remember it being a
pivotal moment in your lives?
Speaker 3 (22:31):
Loved it? Loved it.
Speaker 4 (22:32):
It felt edgy, it felt scary, it felt grand like
you entered an entire of ale world.
Speaker 3 (22:38):
A bugs life. I'm all about it. Well, because you.
Speaker 4 (22:41):
Don't know about that, Like there's a making of a movie,
there's a behind the scenes, there's or whatever.
Speaker 3 (22:46):
You don't know that stuff. It's just a world in
front of your old face.
Speaker 4 (22:50):
You're like, the cool thing about childhood is it's you're
seeing things for the first time. You don't understand the
mechanics behind it and even your emotions. It's so pure
and genuine. It's it's it's reacted to what you're seeing.
There's no preconceived notions of anything. So that's the best
thing about, you know, watching movies.
Speaker 3 (23:08):
For the first time.
Speaker 2 (23:10):
What about crying? What's the film that made you cry
the most? Are you criers? Do you cry that new film?
Speaker 3 (23:15):
Close? I remember made me cry from A.
Speaker 1 (23:18):
Twenty four Oh yeah, yeah.
Speaker 4 (23:19):
That took me off guard because I thought I knew
what the plot was going to be for the trailers
and then thing happens at the midpoint where I'm like,
oh no, are you serious? And then I was next
to my friend Remy who loves Smallville as well great,
and I was like, oh.
Speaker 3 (23:35):
No, I fuck. Is like bawling in front of Rebby.
So I remember that one. And the other one was
Click with Adam Sadler that always.
Speaker 2 (23:43):
Crying a click, Yes, yes, I always get a motion
click is devastated.
Speaker 3 (23:50):
I cry.
Speaker 4 (23:51):
I'm trying to think of the recent one was Lords
of Chaos Sin Lords.
Speaker 1 (23:55):
Of Chaos, No, I didn't see that.
Speaker 3 (23:57):
They're like, okay, is it?
Speaker 4 (23:59):
Norwegy death metal death metal band and then so there
and there's one guy that's like kind of likes pretending
to be like I like Death and the Devil in this,
but he's kind of it's like a facade of like say,
like you like horror movies, doesn't mean you're a real Satanist,
you know.
Speaker 3 (24:15):
He's putting on this front like I'm this crazy dude.
Speaker 4 (24:18):
And then through that he meets people that actually are
that thing, like they are like let's go burn down
some churches, and he's like, let's allow guys a little bit.
You're just going to lay alone from I know this
is what it's a basket murder. Someone's like, oh yeah,
but there's a scene that that yeah, yeah, under that
(24:39):
the thing of someone that's not this versing you know,
against someone that is, and that I find it tragic,
the character that just wants to be accepted in a
world that he doesn't doesn't belong in.
Speaker 1 (24:50):
Yeah. Are you two?
Speaker 2 (24:51):
Do you think of yourself as openly emotional or are
you repressed? Because both of your films are very I
think moving, But I don't know if that's your secret.
Speaker 4 (24:59):
I'm like always I crying in front of people, but
I don't get embarrassed when I do write.
Speaker 3 (25:02):
So like that's sat in the middle somewhere. Okay, Yeah,
I like the discussions of stuff.
Speaker 4 (25:09):
I'm not against being emotional or because there's always I
feel like if you close yourself off like that, it's
just going to come out in other ways. You have
to express those deep emotions that you can't bottle them
up your traumas. If you do that, they will explode
in different ways. They come out in ugly ways. So
it's kind of like just just verbalize it with somebody
(25:31):
having the couragey just speaking it out loud and so
powerful as a release.
Speaker 3 (25:35):
But I find the writing my way for releasing or
doing that. That's the way that I like.
Speaker 4 (25:39):
Yes, yeah, the emotions are so like anytime I'm feeling
sad or feeling any sort of emotion that's like normal
than like like outside a normal level, that's when I
feel the need to write.
Speaker 2 (25:49):
Can I ask you on that subject? How you write together?
Do you sort of take t as you talk about it?
And one of you writes like, are you next to
each other on the.
Speaker 3 (25:57):
We don't write together?
Speaker 4 (25:58):
Right, I've got a co write.
Speaker 1 (26:05):
It in Bill Hinsman, Yes, sorry forgive me?
Speaker 3 (26:08):
Yeah, him and I are co writing.
Speaker 4 (26:10):
I know we get it to already spot Michael reads
it and ships on with bad notes. But I think
in this next the next movie that we're doing is
a bit more structured in like finding the beats first
before just write because a.
Speaker 3 (26:21):
Lot of the time dorees a co writer. We both write,
and there's our co writer.
Speaker 4 (26:25):
Who's able to structure things, and so you normally you
just write pages and pages of pages ideas, moments.
Speaker 3 (26:31):
Characters with no structure now at all, and then we
give it to Hinsman. And Hinsman's really good at.
Speaker 4 (26:37):
Finding the through line. Oh this would work here. You know,
you say the moments that you want to put in
and he's good at mapping it out.
Speaker 1 (26:44):
Okay, well yeah.
Speaker 4 (26:45):
And it's like like someone was asking, like who's the
magic source there, like you and he would say it's
Danny's coming with these beats and these things. He's like,
that's the magic source. But then I would say there
would be nothing about Hindsman, like turn it actually into
some like we just work together.
Speaker 2 (27:02):
Well, okay, what I mean, this is the one we
want to know in this one? What's the film that
scared you the most?
Speaker 3 (27:07):
Stay out of the Basement Goosebumps episode Yeah, So he
said movie.
Speaker 2 (27:11):
Yeah, but I want to let me hear it, let
me hear the Goose.
Speaker 1 (27:21):
But we're in Goose.
Speaker 3 (27:23):
It's actually a TV movie.
Speaker 4 (27:25):
It's an episode that's but like you can buy it
as an actual like TV movie, so I would Beautiful
Stary Out of the Basement was horrifying. It was like
one of my first experiences of getting really scared. And
I thought I was brave enough because I used to
collect the Goosebump books.
Speaker 3 (27:41):
I'd read the Goosebump books. But when I sat down
and I.
Speaker 4 (27:43):
Saw it actually materialized, it was quite traumatic for me.
And I was like six or seven or something like that,
like really young when I watched it. And I think
that that still sticks with you, still get your still clause.
Speaker 1 (27:57):
What about you?
Speaker 4 (27:58):
Well, there's a two three that really scarred me, But
the main one was Texas changed some ASACA two thousand
and three because we weren't. We had our dad's friend
and he who loves horror movies and she used to
take us when we were kids to go watch all
the you know your b America's are our m A
fifteen plus, So like we went and watched all the
(28:20):
horror movies.
Speaker 3 (28:20):
In cinema and then that one, no, none of them really.
Speaker 1 (28:24):
With Jessica be Yeah, the Justici all one. Yeah. Yeah.
Speaker 3 (28:28):
I actually ran out of the cinema. It was the
first time I felt physically ill.
Speaker 4 (28:32):
I was so embarrassed because I was like journey where
we can handle where it came and Michael runs out
of the cinema crying, and I'm like, oh god, you.
Speaker 3 (28:39):
Know, I was scared because I ran out because I
felt six.
Speaker 4 (28:42):
So I'm like, they talk at the end of the
Beast on the True Story and they know this black
white foot. And then when I was watching the movie,
I'm like, this happened, like, oh my god, oh my god,
what like this? And I felt I got so scared
attle and then I ran out into the hallway. When
I ran out into the hallway, and then there was
a random man And I was out in the hallway
(29:02):
where you like, walkingto the cinemas by myself, and there was.
Speaker 3 (29:05):
This guy and like on the other side of the
hallway and he did this like he started running me.
I don't think the story happened at all, Yeah he did.
Speaker 4 (29:12):
He started running towards others and I ran back into
the cinema and it was like sounds of running.
Speaker 3 (29:17):
I'm like, I couldn't go anywhere.
Speaker 4 (29:18):
Michael's he doesn't. He's projective memories onto this that I'm real.
Speaker 2 (29:23):
For those of you only listening, Michael stood in the
corner and turned around, very scary, and then ran at
the camera. It was like coming out of Goosebumps. What
is the film that you love? People don't like it.
It is not critically acclaimed, but you love it unconditionally.
Speaker 3 (29:40):
Oh, mouse Hunt?
Speaker 4 (29:42):
Okay, he's obsessed with mouse Hunt, and I'm on a
second mouse hun Maybe mouse Hunt or Home Alone two?
You know scary movie too well, I'd say that's the
funniest scary movie. Two makes me laugh the most. But
I would say mouse Hunt is like a bit of
a masts, those things.
Speaker 3 (29:58):
You know, those movies that mean so much.
Speaker 4 (29:59):
She was a kid, and then when you you're old
enough to go what's the Rotten somatoes?
Speaker 3 (30:03):
You look at it. But it's not even about that.
Speaker 4 (30:06):
It's about the nostalgiato, but also the practical way that
they executed everything like it was pretty impressive.
Speaker 3 (30:11):
Feet.
Speaker 2 (30:12):
It's Gord Verbinski, right, mouse It's a very technically impressive film.
The whole thing is like Final Destination but with a mouse. Right,
it's a series of It's like Home Alone but with
a mouse.
Speaker 3 (30:23):
You like literally, Yeah, slapstick, it's awesome.
Speaker 1 (30:29):
That makes sense.
Speaker 2 (30:30):
What, on the other hand, is a film that you
used to love but you've watched it recently and you've gone,
I don't like this anymore, probably because you've changed.
Speaker 4 (30:38):
I think that Scarecrow Walks at Midnight, which is another
Goosebumps episode.
Speaker 3 (30:43):
You can't goose.
Speaker 2 (30:47):
If it's a double episode, it makes a TV Yeah, it's.
Speaker 3 (30:49):
A double episode.
Speaker 1 (30:52):
Yeah.
Speaker 4 (30:54):
Look, that was my answer, and I stand by it.
I don't I don't like this game by with Well, yeah,
I won't be dying of books. I didn't love it
as much as I thought I did.
Speaker 1 (31:04):
Okay, yeah, no, And what about you, Michael, that's.
Speaker 4 (31:08):
The one where in the questions that I couldn't think
of what, Well, you should probably think of it next time.
Speaker 1 (31:13):
Yeah, yeah, well I'm going to go with that.
Speaker 3 (31:16):
Or maybe I've got a Goose Someths episode to throw.
Speaker 4 (31:18):
I mean, Fever, Swamp stands Up, Haunted, mask stands Up.
I mean, these are pretty cinema changing pieces of art.
Speaker 2 (31:25):
I would say, Okay, what is the film that means
the most to you? Not necessarily the film itself is
any good, but the experience you had seeing the film
will always make it meaningful for you.
Speaker 1 (31:38):
Danny and Michael.
Speaker 4 (31:39):
I mean, I would always return to the Harry Potter films.
I like, there's such a nostalgic connection to those that
I grew up on those, and every time I rewatched them,
I feel there's like a comfortability to it.
Speaker 1 (31:51):
Nice.
Speaker 4 (31:51):
Yeah, mine would be three hundred go on, there's the
graphic novel because he exactly unimpressed us because because we're
our background is Greek and our cousins that are older.
Speaker 3 (32:04):
Because it was coming up, yes about the Greeks killing
the air.
Speaker 1 (32:08):
I was like, yeah, yeah, yeah, I.
Speaker 3 (32:11):
Want to go watch it. I want to go watch it.
Speaker 4 (32:12):
And I went to the cinema. I was fifteen, but
I went there and they didn't let us in. They
didn't let me in, and the guy was so rude,
the ticket guy.
Speaker 3 (32:21):
I'm like, but I'm fifteen. He's like, you have id
on you. I said no, like, well you look ten,
so you're not getting it.
Speaker 4 (32:27):
And then so they didn't let me in. And I
remember me and my friend who didn't get let in.
We climbed up the outside because you could get in
from the roof, and we climbed in the roof to like.
Speaker 3 (32:37):
Go and watch it. Well, I'm actually just looking at
the release date. I look at the release and see
how old you actually were? Was fifteen?
Speaker 1 (32:44):
H you were?
Speaker 2 (32:46):
You actually were fifteen? Okay, hey you were, but you
were technically you were both fifteen, so let's not argue.
Speaker 1 (32:52):
All right, Yeah, you look so un impressed.
Speaker 3 (32:56):
Three hunts and you're like, go on.
Speaker 4 (32:59):
Ware hundred Brett, Yeah you didn't get it.
Speaker 2 (33:03):
Yeah, I didn't do enough push outs between takes, you know,
the six packs tell me, so you snuck him through
the roof, and then you were like this is this
is fucking brilliant.
Speaker 4 (33:16):
Yeah, it was like sneaking through the roof. It was
kind of getting back at that the guy that didn't
let me in. And then we stole ice creams out
of this freeze, like were literally like behind the scenes
in the cinema, and then I can't say what cinema was,
but yeah, we like when I climbed the roof, got
in through the outside, stole ice creams and then watched
from the rafters.
Speaker 2 (33:35):
So just you know, we do have a deeper film
knowledge on this.
Speaker 3 (33:40):
This is very surface level, but these are films like.
Speaker 2 (33:43):
It doesn't sound like you in particular have ever seen
a film, but you have seen a lot of TV
in that respect.
Speaker 1 (33:49):
What is what? What is the sexiest film you've ever seen?
Speaker 4 (33:55):
You two with the first person that I was attracted
to every It may be TV again, but there's the
movies of it as well.
Speaker 3 (34:04):
Was probably I'd say Walma from Scooby Doo.
Speaker 1 (34:07):
Nice. Nice, she was looking for her glasses.
Speaker 4 (34:12):
She was a little bit quirky, So I would I
want to go with Scooby Doo. I asked these questions
like way back as opposed to yes, yeah, I'm thinking
of like like because I remember the one that had
the most effect on me was in learning to his
back and action the girl Bunny.
Speaker 2 (34:26):
Girl Bunny Yeah yeah, yeah, I get that too. It's
great choices. But we do have a sub category to
this question, troubling bonus worrying why dones a film you
found arousing that you weren't sure you should?
Speaker 1 (34:43):
What's that? Danny and Michael, you.
Speaker 3 (34:45):
Have so many evil jokes to answer this question.
Speaker 4 (34:47):
Well, be careful, like I would say, my my evil boner,
not like.
Speaker 1 (34:51):
Evil evil is your next horror film? Please?
Speaker 3 (34:59):
It's really just my confused boner.
Speaker 4 (35:02):
I think it was Bardoch, the father of Goku dragon
ball Z. Freezer was one of my other first crushes
for some reason. Do you remember the character?
Speaker 1 (35:10):
No, I have never seen Dragon ball Z. Forgive me.
Speaker 3 (35:12):
What's the same on you? I thought you were a cenophile.
Speaker 2 (35:14):
Yeah, oh no, God, all right, I'm gonna I'm gonna
have to catch up on your tastes.
Speaker 3 (35:23):
Mate.
Speaker 2 (35:24):
Yeah, that is that a movie? I don't think that's
a movie, though, is it?
Speaker 3 (35:29):
It's a movie? Block Farmer is the last second animated?
It's another TV movie.
Speaker 1 (35:33):
It's a TV movie.
Speaker 3 (35:35):
How many films I'm telling you, I've seen so many films?
Speaker 2 (35:38):
Probably you've named zero. But go, yeah, go and say
dragon ball Z. Some creature in dragon ball Z that's
your evil boner? What about you, Michael?
Speaker 3 (35:56):
Yeah, it would have been like another No, it's the same.
Speaker 4 (36:00):
It's the same as that. It's that looney to scene,
that character I always put Michael.
Speaker 3 (36:05):
Always be watching it. That's those same scenes.
Speaker 1 (36:10):
I'm just enjoying the cartoons again.
Speaker 2 (36:12):
Okay, what is objectively the greatest film of all time?
Speaker 3 (36:21):
Memories of Murder? Oh, yes, I would say Memories of
Murder as well from Juno.
Speaker 4 (36:25):
Yeah, that's a perfect blend of dark humor, drama, comedy, and.
Speaker 3 (36:32):
A thriller, serial killer thriller.
Speaker 4 (36:34):
So that that's the one bid When I watch I'm like,
this movie is so perfect, I'm not going to watch
it again because it's not going to live up to
this how I remember it.
Speaker 3 (36:41):
And then I watched it a second.
Speaker 4 (36:43):
Time a few years later, and it's still it was
better than the first time viewing it.
Speaker 3 (36:47):
That was the most incredible film of all time?
Speaker 5 (36:50):
I thought.
Speaker 4 (36:50):
I remember like something that's always stuck with me. I
think it's incredible. It's a film called The Return Ye
Russian film. I think that's a fucking awesome film. I
always find something when I revisit that film and then
are like the same. So like the fact I obsessed
on certain films, I'm writing different months, so like another
one that I obsessed, there's whatever Happened to Baby Jane?
Speaker 3 (37:09):
Is like that makes Yeah, the super incredible character actors
that are like just.
Speaker 4 (37:18):
Able to perform out of ten like they usually have
to like keep a sub duty and keep it on
a drama level, but like Benny Davis is hitting this
fucking extreme level, which is amazing. If you spaking about
those old movies, the older ones as well, say something
like throwing a blood Kirosa, What how is something that's
I don't know even remember your fifties or sixties still
feel creepy today. As a ghost story, there's like a
(37:41):
scene where they're planning to murder this king and then
they know that he's dead and he's not going to
show up to this dinner and they're all sitting at
the dinner noise not going to show up, and they
look sober, and then the guys there like the ghost
of him sitting there painted even though he's dead.
Speaker 3 (37:55):
It was the most like even now like makes me
feel uneasy. They got the vanishing. Have you seen the vanishing?
Speaker 1 (38:01):
Fucking yes, I've seen the vanity. That is a great set.
Speaker 4 (38:04):
Yeah, one of those declinents where you're like they seem
to be making every wrong decision and the audience is like,
what the fuck If I was in his shoes, I
would be doing the exact same thing that like I
would not be able to resist, like I would need
to know the answers now where it let me that
can walk in the house Gooseums episode, it's a good one.
Speaker 3 (38:23):
Walking the Dead House was anod one.
Speaker 2 (38:25):
Michael. I'm really impressed, Danny. You've gone, You've gone. No,
I've seen I was goob Smallville, Goosebat Smooville. And then
you're like Russian film the Return. You're like, Okay, alright, alright,
I guess he is serious. What is the film that
(38:47):
you could or have watched the most over and over again?
Speaker 4 (38:51):
There's one that's our recent I'm going to like recent things,
like I'm obsessed with this film called Chime at the Moment,
which is like a Japanese short film, just like forty
five minutes and Sour the same guy that did Cure
and he did Yeah, he did this fucking awesome short
film called Chime, which I'm obsessed with, and like there's
this really big emphasis on the sound design. There's this
(39:14):
guy in his class that's he's like, can you hear
that chime? I'm hearing this chime and it's like he
really really awkward. This kid ends up killing himself in
the guy's class, and then the teacher starts to hear
the chime. You can't you can't fake it.
Speaker 3 (39:31):
It's it's like that. That's my current obsession is.
Speaker 1 (39:34):
That movie What about What About You Michael?
Speaker 4 (39:37):
Probably my My Hollow Hand Drive, Hollow Hand Hand, My
holodaan Dan Drive, just that one, because there's just moments
in it that's I feel like work on multiple levels
and I'm trying trying to figure out what it means.
Speaker 3 (39:56):
So there's something about watching it.
Speaker 4 (39:58):
You watch it again, like trying to if there's things
earlier that mean something that leads to later on, because
there's so many moments that that I find so strange
and I just.
Speaker 3 (40:07):
Want to know what it is that it's what is?
What is it saying?
Speaker 4 (40:12):
That's the same thing like if everyone obsesses over and
they go down the signing rabbit hole when they were
trying to cope and everyone's like trying to theorize like, oh,
it means this or it's about this.
Speaker 3 (40:21):
It's like, actually, just read the script he gave you
all the answers.
Speaker 4 (40:24):
There's like a whole Wendy describes everything and read the
book as so much context in.
Speaker 3 (40:28):
The book as well.
Speaker 4 (40:29):
I get the same feeling with like that, like watching
that say The Sopranos, the TV show, and there's many
little nuance things in and say the Nightmare Sequences and
that because they hint supernatural in that show that they
you know, it's like it's so the afterlife is real.
Speaker 3 (40:45):
All naturally.
Speaker 4 (40:46):
Yeah, yeah, yeah, because there's a certain moments in it
that it's just working on multiple layers. Like the writing
is so fucking good. You watch that up and but
you pick up something you every time you do.
Speaker 2 (40:58):
Yeah, I want to talk about leads, about the we've
only got this much? Okay, what is the we won't
be too negative. What's the worst film you've ever seen?
What's your least favorite?
Speaker 3 (41:06):
Have you guys seen super Bop? I'm joking that I'm
not seeing that.
Speaker 1 (41:13):
That was a total joke, you bustards.
Speaker 3 (41:20):
I was like, oh, you wrote that he's a writer
as well, and I was like, I'm gonna bring it
up as a joke. I'm gonna watch that. I'm excited.
Speaker 1 (41:27):
It's a fucking masterpiece. Go on, tell me, Yeah that's it.
Speaker 4 (41:30):
Yeah, yeah, yeah, it's a hard one. I'm not entirely
sure of the worst. Is your fucking your ship new
one back?
Speaker 1 (41:36):
Take you?
Speaker 4 (41:38):
I'd say bring it back might be upper. It's like
I can only really think of like I feel.
Speaker 3 (41:44):
Bad sanging out loud. That's it was to.
Speaker 2 (41:46):
Say one you know, yeah, I'm not going to make
you do because your filmmakers and it's really hard.
Speaker 3 (41:57):
I was choking, Bret. Bret said, tell jokes.
Speaker 2 (42:03):
What speaking of jokes, what's the film that made you
to laugh the most?
Speaker 4 (42:07):
Like I really do think it's scary movie too, like
Home Home on on two as well.
Speaker 3 (42:13):
I don't.
Speaker 4 (42:13):
Yeah, there's a nostalgic thing, said as a friend of
ours called Tamani.
Speaker 3 (42:18):
We used to find it so funny.
Speaker 4 (42:19):
It's just a childish thing, like ever since we kids,
we found funny and superhero movies when the hero gets
his ass kicked.
Speaker 3 (42:26):
So we used to watch the original Spider Man sam
Remi when Spider the Green Goblin.
Speaker 4 (42:31):
We would watch it over and over again and watch
it in slow motion, like Peter Parker getting his face
punch and the noises that he'd make and the faces
and we just cry like literally all night, literally for
hours hours like laugh Peter, and then they would just lose.
Speaker 3 (42:47):
Like when he's starting to get up and then he
just go like shut down. We just find that. So
every time we get if there's a superhero movie, we
used to go to cinemas and watch and just laugh
at this.
Speaker 4 (42:59):
I don't know what's fun recently, actually, so we had
a movie with Fede Alvarez.
Speaker 1 (43:07):
Exact, and we watched a movie.
Speaker 3 (43:10):
I can't say what movie it is because it's but
there's a.
Speaker 4 (43:13):
Sequence in that that I've not laughed so hard at
in a long time. It was really as a movie
coming out this year that is like, this sequence was
so fucking funny. I was in tears laughing. It's to
the point where they were like, look at.
Speaker 3 (43:27):
Me, A bit awkward. Yeah, it was embarrassing for all
of us. Yeah. Like the film that I actually sorry
like laughed at that.
Speaker 4 (43:36):
And we were drunk while doing it is we watched
that extreme film that a Serbian film, and I found
it every extreme beat. I found it so funny. It
might have been the people that I was with, but
it was a very enjoyable, funny experience where I was
like what what what and then like we discussed like
(43:59):
anything anything he hit.
Speaker 3 (44:00):
Like an extreme.
Speaker 4 (44:00):
It's like like, yeah, that was the last time I
cried laughing watching something.
Speaker 2 (44:05):
Okay, thank you listen you two now listen. You two
have been excellent, a joy, a delight. I have enjoyed
this immensely. However, when you were in the closet together
and Michael, frustrated, decided to beat Danny to death and
he did it and it took a while. I'm not
going to lie. It took a while. Not easy to
kill him. He's a strong boy. But he hit him
(44:27):
and he hit him and he hit him until he
caved his head in. And then he thought, oh, I'm
going to miss him. I did love him, actually, and
he and he walks outside and there's Brett Golsen driving
a bus. His career went a bit different and he thought,
you know what he was researching. You know, it was like,
you know, I just want to drive buses now. And
(44:47):
he drives a bus and he sees Michael playing his
ants and he goes, what's that? And Michael steps into
the road and I see he sees something in his
eyes and he goes, you know what, I'm not going
to break. I'm going to accelerate and he hits him.
It runs him open. It's a big it was a
big bus, squeezes tool. It gets how it goes anyone's
seen Michael and Danny, and I've got two coffins with me.
Speaker 1 (45:09):
You know what I'm like.
Speaker 2 (45:10):
People go, yeah, one of them's under your bus. The
other one's in the closet. I go, oh, dear, what
a shame. Seems like there was a bit of an
accident between these two. I'm going to drown you in
the pool now, love, And then he gets yes, get pope,
and I get the people on the bus and go
help me out with this. There's more than I was
expected that these two. They're different sizes. Stuff you both
(45:31):
in the coffins. It's rammed in there. There's no room.
There's only enough room for me to slide one DVD
into the side for both of you to take across
to the other side. And on the other side, it's
movie night every night. What film are you taking to
show the people of heaven when it is your night?
Speaker 1 (45:46):
Movie night?
Speaker 2 (45:46):
Danny and Michael go kept scared nooning at the movie night?
Speaker 1 (45:52):
Thank you? And what about you? What about you? Michael?
Speaker 4 (45:59):
Oh?
Speaker 3 (45:59):
Yeah, what for the rest?
Speaker 2 (46:02):
Okay, no one else brought it?
Speaker 3 (46:05):
Yeah, exactly, I'm getting one that no one else. You're
going to die forever. That's the only one. You haven't there.
I mean, look, I love the midpoint. Yeah, well yeah,
it's a good midpoint, but it's now camp scarce.
Speaker 1 (46:17):
Guys, you've been brilliant. I love your films.
Speaker 2 (46:19):
Is there anything you would like to tell people to
do other than go and see Bring Her Back at
the cinema?
Speaker 4 (46:25):
Just to accept our apology, I have to promise we
have a deeper film knowledge than we appear to be.
I'm sorry one of your podcasts are like these guys
seem like what I apologize.
Speaker 3 (46:35):
I've got a cold.
Speaker 4 (46:36):
My voice might be a little bit more annoying. Well,
I think a lot a lot of these questions they
made me. They take me back, they take me back,
they take me back. You took me back to the beginning.
Thank you very very much for doing this. I appreciate
you both. Your films are really, really excellent. I really
was genuinely very moved I Bring Her Back and I
hope people see it, and I think you've made a
wonderful thing there.
Speaker 1 (46:57):
And one day in.
Speaker 3 (46:58):
The future, Bru, we might work together. That might be cool.
You may absolutely not not want to do that at all.
Speaker 1 (47:04):
Are you kidding me?
Speaker 3 (47:05):
We've got to You're a good guy.
Speaker 2 (47:09):
We'd love to please let's do something you can you
can you know, stab me in the head or whatever
where were you into? Thank you very much, guys, it
was a real pleasure well done. So that was Episode
three hundred and fifty three. Head over to the Patreon
the Patreon dot com forward last Brett gold scene for
the extra fifty minutes of chat, secrets and videos with
(47:30):
Danny and Michael.
Speaker 1 (47:31):
Go to Apple Podcasts give us a back start.
Speaker 2 (47:32):
Writing, but right back the film that means the most
to you and why it's a lovely thing to read
and it helps numbers, Etceteraly really appreciated. Thank you so
much to Danny and Michael for giving me their time.
Thanks to Groupy's pipp and the Distraction Pieces of Network.
Thanks to Buddy Peace for producing it. Thanks to iHeartMedia
and Wilfarell's Big Money Players Network for hosting it. Thanks Adam
Richardson for the graphics and Least Lading for the photography.
Come join me next week for something else. That's it
for now. I really hope you're all well. Thank you
(47:54):
all for listening. But in the meantime, have a lovely
week and please now more than ever, be excellent to
each others.
Speaker 5 (48:20):
Back back, bass back back back back back back back
back back
Speaker 4 (48:39):
Sh
Look out.
Speaker 2 (00:00):
It's only films to be buried with. Welcome back, Hello,
and welcome to Films to be Buried with. My name
is Brett Goldstein. I'm a comedian and actor, a writer,
(00:21):
director foam Finger, and I love film. As Amy kraus
Rosenthal once said, pay attention to what delights you.
Speaker 1 (00:27):
It's not random. I promise you.
Speaker 2 (00:29):
Every scene in Holy Motors really really means something. Every
week I'm 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
Barry Jenkins, Sharon Stone, Jamia Jamil and even Collet Lamborms.
But this week we're doing something different. For the first time,
we have not one, but two guests. This week we
have the incredible Australian twin filmmakers, Danny and Michael Philippower.
(00:53):
My comedy special, The Second Best Night of Your Life,
is streaming now on Max. Give it a watch your
fucking love it. Head over to the Patreon at patreon
dot com forward slash Brett Goldstein, where you get an
extra twenty minutes with Danny and Michael. We talk secrets, beginnings, endings.
You get the whole episode uncut ad free. You can
see them bouncing around on the screen. It's really great stuff.
Check it out over at patreon dot com. Forward slash
Bret Goldstein. So Danny and Michael Philip how You might
(01:16):
know them from their viral YouTube channel Raca Raca or
their first film Talk to Me from twenty twenty two.
Their new film Bring Her Back, came out on Friday.
Go to the cinema and see it. It's fucking brilliant.
This is my first time meeting Danny and Michael. I
liked them so much. We've recorded this on Zoom. They
were fucking brilliant. I really think you're gonna love this one.
Welcome back everyone. So that is it for now. I
(01:38):
very much hope you enjoy episode three hundred and fifty
three of Films to be Buried With. Hello, and welcome
to Films to be Buried With. It is I Brett Goldstein,
and I'm joined today for the very first time by
(02:00):
two people.
Speaker 1 (02:02):
They are twins. They are award winners. They're YouTubers. They're filmmakers.
Speaker 2 (02:08):
They're writers, their directors, their producers, they're editors, they are
masters of the horror genre. They're here, could you believe it?
They're here together. They're identical, but they're brilliant in their
own right. Please welcome to the show. It's the excellent
Danny and Michael Villabout.
Speaker 3 (02:32):
So many titles? If we have too many titles, Donny, No,
I like them all.
Speaker 4 (02:36):
I feel very I feel God to you.
Speaker 2 (02:40):
Very nice to meet you both. This is the first
time I've recorded with two people. We've got a lot
to get through. You can't both speak at once, but
can we start with this?
Speaker 1 (02:49):
Firstly? Where are you?
Speaker 3 (02:50):
I'm in my closet in South Australia.
Speaker 4 (02:53):
There's like renovations soft going around the house, so there's
just people everywhere.
Speaker 3 (02:56):
So we've tucked away.
Speaker 1 (02:58):
Do you live together or has to live together in.
Speaker 3 (03:01):
We do at the moment, very temporary.
Speaker 2 (03:05):
But you know that's secretly what we all wish is
that you do everything together and live together and share
a bed.
Speaker 3 (03:12):
We have share the past.
Speaker 4 (03:13):
We have a floor each and every now and then
we get why we we might jump between other's room and.
Speaker 3 (03:18):
We definitely don't do that. No, we we have a
floor each.
Speaker 2 (03:22):
Right, you two, let's talk about it. Right you made
the brilliant Talk to Me. It's an absolutely brilliant film.
It's really excellent. And there's the hand for those years
but that's fucking scary.
Speaker 3 (03:35):
That's you have to be on Patreon to see this.
Speaker 2 (03:38):
Yeah you do, don't don't hold it. There's the hand
from Talk to Me.
Speaker 3 (03:41):
You're not chipped, which is a bit devastating to me.
Speaker 4 (03:43):
It's okay, sorry, you chipped it online? Will film this
online thing. It's like this this prequel series.
Speaker 3 (03:51):
And then one of the one of the.
Speaker 4 (03:52):
Extras grabbed it and she was pretending to be possessed
that she threw out the floor and I was like, it.
Speaker 1 (04:00):
Was definitely a fucking possessed by give her a chance.
Speaker 2 (04:05):
Yeah, I love that film very very much, and that
film is deep and really scary and kind of fun.
It's fun as well. And then I saw Bring Her Back.
I was very lucky to see a proper screening of
it in a big cinema and Bring Her Back is excellent,
really excellent, and I felt it was like into I've
(04:26):
got so many questions for you, because it feels like
can I say this. I'm going to say it, and
if you don't like it, we'll cut it. I found
it a very sad film. I think it's really sad.
They're both sad, actually, but Talk to Me is slightly
more of a fun ride, whereas Bring Her Back is
very moving and actually, in the end, without spoiling anything,
(04:48):
a really tragic, sad story about loss, and for all
its kind of thrill ride scary bits, the end, I'd
left like very moved by it and thought, this is
this is a kind of felt like a much more
serious step forward from Talk to Me, which was already excellent.
And I wonder if that is okay with you to say,
(05:09):
do you agree with that?
Speaker 4 (05:11):
Was that the A I agree, Well, it was like
we were sad while making it because we lost somebody,
and then sadness just fell on with you, so.
Speaker 3 (05:18):
It changed the tone.
Speaker 4 (05:20):
But I think it's ultimately it was also to subvert expectations.
Speaker 3 (05:25):
Of what a horror film is in a way, or
what it can be. It can be many things, you know.
That's what's amazing about the genre.
Speaker 4 (05:31):
There's so many different categories and subgenres and tones.
Speaker 3 (05:34):
It's a beautiful genre.
Speaker 4 (05:37):
But and then also having it that all the characters
are human, even if they're doing things you don't agree with,
you can empathize with why they do you understand?
Speaker 3 (05:45):
You know?
Speaker 2 (05:46):
Can I ask you this? Then you lost someone? Did
you lose someone before Talk To Me as well? Or
was it between the two films because they're both about grief.
Speaker 4 (05:54):
Yeah, there was like a like a tragedy while writing it,
and then there was yeah, and we wrote Talk to
Me and Bring It Back pretty much at the same time. Interesting,
so they both got developed and whenever you hit a
word bock on one, we jump back to the other one.
Speaker 2 (06:08):
I also think you're very good at characters, and you're
very good at like the first scene where we meet
the main characters in Bring Her Back is a real
masterclass in writing and setting up who characters are and what.
So the scene at the bust up we meet them.
We meet a brother and sister step brother and sister,
and she's blind. She tries to make friends with these girls.
(06:31):
They're not outwardly mean to her, but they're subtly mean
to her and she can't see. The brother shows up.
The brother says she's with me. She makes a joke
that he's a pedophile, which tells you about her character,
and then they walk away and she goes were they
making fun? Of me, and he says no, and we
see that they were. It's such a very concise sketch
(06:53):
of these people and we know everything. It's really a
fucking excellent piece of writing and directing, and all the
performances amazing, but like that is such a good introduction
to these characters and we immediately fucking love them all
and care about them.
Speaker 1 (07:06):
It's really good stuff.
Speaker 4 (07:08):
Oh, thank you so much. And so many scenes that
are written around that initially. And you find out when
you're writing and when you're directing, when you're putting it together,
is that the smaller it is the stronger. And it's
like it's not about hitting the beats and over explaining
certain things, like there was initially some notes about their
code word grapefruit between each other, like we learn it,
(07:30):
but it's like like we, like the audience isn't arn
like we can. They can pick things up and put
things together.
Speaker 2 (07:35):
Yeah, and they're really it's really a very like adult
piece of work. It's very mature and smart about people
and very there's so much love in this one as well,
in both of them. I think you really care about
your characters, which is my favorite thing in writing, is
that you love your characters, and I think you love
Sally Hawkins, who I think is brilliant in this film. Yeah,
(07:58):
and she's she's nutcase, but you have sympathy for we
care about her. There's almost a part of you in
the film going, I hope she pulls this off. I'm glad, Yeah,
you go, I really want this for her.
Speaker 4 (08:15):
Yeah, I'm like, look, it's very sad, and you pipe
a very lovable Come on, Laura, you're almost there.
Speaker 3 (08:21):
Everyone's a victim in their own way, you know, in
the movie.
Speaker 4 (08:24):
And I think when you write characters that people can
relate to or feel real, it just helps those kind
of extraordinary beat hit more.
Speaker 3 (08:33):
And because you care more.
Speaker 4 (08:34):
Like I remember and talk to me, there's a scene
with the Riley and Jade and they're arguing she and
he goes, oh, you just want to suck Daniel's dick,
And then in front of Daniel and everyone.
Speaker 3 (08:46):
I remember, we're in the cinemaon and everyone's like, oh,
like it was a real thing. It's like if he's
reacting to that, wait till we smashing his face?
Speaker 2 (08:54):
Yeah, yeah, yeah, tell me. I'm sure you must have
talked about this. Forgive me for asking but I do
want to know how does it actually work? Because your
films are technically brilliant, but they're also both of them
have excellent performances, and in the second one you're working
with a very established, award winning actor. You know, I'm
wondering how it works on set. Do you divide the
(09:14):
labor of one of you technical one of your works
with the actors or is it both?
Speaker 1 (09:17):
How does it work with you too?
Speaker 4 (09:19):
I'm usually the main voice with the actors, but we
both have votes and everything. And then like the build
up to the characters is like I really really love
getting close with our actors and collaborating with them and
letting them put themselves into the character and allowing people
to change lines of dialogue, allowing them to pick their
costumes like Sally was tossing the set. We love playing
(09:40):
out scenes that aren't in the movie but are in
the character's history, and somehow about playing them out.
Speaker 3 (09:47):
Like you get a sense of history between them.
Speaker 1 (09:49):
When do you do that? Do you do that before shooting?
You do?
Speaker 4 (09:52):
Like reasals of yeah, like, so as long as we can,
like I remember probably this one was two three weeks,
I'd say, and we have the actors, So say Wendy
and Laura, who have a history, we went with them
and did activities with them in character, and so there's
this kind of there's a lived history even though it's
never actually seen on.
Speaker 3 (10:13):
Film, because it's been active for in some way, it
is really you know, yeah, And I.
Speaker 4 (10:18):
Say with the kids as well, taking Billy and soa
who aren't brother and sister to places as brother and sister,
like football games, and he guides her and it just
gives that that there's authenticity to it.
Speaker 1 (10:30):
Wow.
Speaker 2 (10:30):
And how was it working with the very very scary kid?
Speaker 1 (10:37):
Is he? In real life?
Speaker 3 (10:38):
He was eleven? Now we just kind of say that
the distance from him.
Speaker 2 (10:46):
Like, how do you he's brilliant? I mean, he's fucking brilliant.
He's terrifying. How was what are you telling him to do?
Speaker 4 (10:52):
It's sort of like keeping the set really lighthearted and
fun for him, and because he's going through he had
the toughest job of anyone. Likes an hours of opera
sthetics and you know, and having to come back multiple
times and like you know, keep executing these scenes. But
it's about keeping the set super upbeaten fine like it was.
It didn't feel like a party.
Speaker 3 (11:10):
Like if you look at them behind.
Speaker 4 (11:11):
The scenes, but it's like it doesn't feel like a
real set, which is beautiful. And then and both of
his parents are actors as well, so they helped him
fine and get into the character. We were able to
find that rhythm with them as well. Yeah, and it
was the thing like because there's a lot of prosthetics
came particularly towards the end, we gave the option for
him once it starts getting like the heaviest stuff, because
there's a few days of the real heavy stuff, we
(11:33):
can get another actor to do that, you know, because
it's churning into a monsterva. He wants to do everything himself.
He's so passionate little kid, you know, and he's so
it's so strange because he's so multi talented as well.
He's eleven and he's had three fights. He's a fighter,
like a multi fighter, and he's a good guitiist like
a musician, and he's been the lead of another film.
Speaker 1 (11:54):
He's eleven.
Speaker 4 (11:56):
He's literally about to have his first full contact headkick
fight in like Moth or.
Speaker 1 (12:00):
Something, which is crazy.
Speaker 2 (12:04):
If you can answer this, and maybe it's all instinctive,
I don't know your whole history. Forgive me for not
knowing all of your rapper racker stuff. You had this
YouTube channel, and I watched some of your sketches on that,
and they're fucking mental, and they're like hyper violent and
sort of extreme and outrageous and very well made, sort
(12:25):
of technically sort of special effects where it's very impressive
and choreography impressive. But from what I saw, they don't
have the depth and the character stuff that you have
in your films. And I'm wondering, like, what took you
from there to there? Was it just instinct? You just
tried it yourself, you figured it out, Like how did
you make that leap?
Speaker 3 (12:44):
What it was learning?
Speaker 4 (12:44):
All the YouTube videos was learning and you're practicing all
these different things, and you're meeting different people, you're traveling,
and you're just executing different like executing a certain stunt
for the first time or doing it the effect for
the first time, and you're just learning while doing it
and growing. And then it got to a point where
I felt like we hit the ceiling, like I couldn't
express myself deeply anymore, Like I'd done what YouTube was
(13:05):
there for, which was to build myself up to be
ready to make a film. So it was always the
main goal was to make a film, and the YouTube
stuff was like us at the gym. But I guess
also that the stuff that we liked watching was very
different to the stuff we're making, because we like foreign
dramas and and.
Speaker 3 (13:21):
Things like that.
Speaker 4 (13:21):
Those are the movies that we liked watching, But the
stuff we're making was Yeah, I just said, they're very circle.
Speaker 3 (13:26):
Very I guess that's one side of us that's.
Speaker 4 (13:29):
Ridiculous, and you don't really need to care too much
about you know, structure and character and things like that.
Speaker 3 (13:35):
And the video.
Speaker 4 (13:36):
So a lot of those smaller, just dumb ideas we
were able to get out and just make.
Speaker 3 (13:40):
But they were fun. It's instant, instant gratification, instant.
Speaker 2 (13:43):
Yeah, they're very like holy shit, immediately.
Speaker 3 (13:48):
Yeah, it's like the same DSLR.
Speaker 4 (13:51):
Like even if you have a budget for a video
from a brand like shoot, it make it feel home.
Speaker 3 (13:55):
Grow.
Speaker 4 (13:55):
So when that stunts something happened and I was like, wait, what,
how is this even possible?
Speaker 1 (14:00):
It's interesting all.
Speaker 4 (14:01):
Those little like a lot of those little ideas were
able to get out onto the screen, but the big ones,
the film ideas, the character stuff. There's a lifetime of
those as well that we now want to be pulling
into the movies.
Speaker 3 (14:12):
Yeah, okay, get.
Speaker 2 (14:14):
All right, don't hold it, Jesus, he's holding the hand
like it stops you.
Speaker 3 (14:19):
From feeling lonely, Like it feels like you're holding someone's hand.
Speaker 1 (14:22):
Yeah, what are you doing?
Speaker 3 (14:25):
Brother? You are?
Speaker 1 (14:26):
You said.
Speaker 2 (14:29):
Tell me this when you started, when you made Talk
to Me. So that's your first film. It's incredibly companies
and it's big. It feels very big. I don't imagine
it probably wasn't as big budget as it looks and feels.
Speaker 1 (14:41):
Were you sort of allowed to roam free?
Speaker 2 (14:43):
Or how much were you kind of interfered with along
the way, How much like fighting did you have to
do with the finances and the studio or whatever.
Speaker 3 (14:51):
Well, it was like.
Speaker 4 (14:51):
That initial the initial studios that we sort of went to,
like everyone initially said no, like we stopped it everywhere.
Speaker 3 (14:57):
Everybody turned us down to any room.
Speaker 4 (15:00):
And then eventually like a couple of places had said yes,
but they were wanting to change it and like like oh,
they should do the hand in a graveyard. That'd be
scary for them to do the hand in the graveyard,
like you've done it out of house already, the next
time needs to be bigger.
Speaker 3 (15:13):
And I'm like, I feel like a urban horror movie.
Speaker 4 (15:16):
So like there was like of a pool there. And
once we decided to not do that the studio round
and to make it independently, we our eight week shoot
started to get smaller and smaller, and then we wanted
to cast Sophie Wild as our lead, and just by
casting her, we lost a million dollars out of the budget.
She wasn't the George, wasn't the Navy yet, yes, And
then yeah, we ended up with like around four million
(15:38):
dollars four point five for the budget and our ones.
Speaker 3 (15:41):
Our eight week.
Speaker 4 (15:41):
Shoot turned into five weeks, five week shoot. Yeah, I
look back at it now and I don't know how
he actually don't know how he pulled.
Speaker 3 (15:49):
There wasn't so many locations. Is well, constantly under the
fucking pump, you know.
Speaker 1 (15:54):
Yeah, And so how long was your shot for Bring
Her Back?
Speaker 3 (15:57):
Oh so much better? It was like seven eight weeks
or something like that.
Speaker 1 (16:00):
Okay, great, Yeah, And like that was because.
Speaker 4 (16:03):
We really wanted like the prosthetics. It takes a lot
of time. You're working with a vision and paired girl
spent a time and like even like Rain exterior, there's.
Speaker 1 (16:12):
A lot of rain. There's a lot of rain.
Speaker 4 (16:14):
Yes, in a lot of ways, it's a smaller movie,
but then logistically complicated and it's other ways.
Speaker 1 (16:23):
You know, was it a real house or a set?
Speaker 4 (16:26):
So downstairs was a real house in location, and then
upstairs we built some sets.
Speaker 2 (16:31):
Okay, and sorry because you tell me you're you mainly
are the one that talks the actors, but you two,
like standard the monitor together, couldn't fair with each other
and then give notes like how often do you disagree?
Speaker 3 (16:43):
A lot?
Speaker 4 (16:45):
But I think it's like sometimes doing a thing where
and I think it's awesome.
Speaker 3 (16:50):
Like say, Sally was always down for it.
Speaker 4 (16:52):
She wanted to do as many takes as possible, so
she was open to if I had a different idea
of playing the beat a different way or the scenes
different waste and trying, say doing one like Danny's Wire something.
Oftentimes we'd be on the same page, but then there's
sometimes that's wow, I'm like, I think it's gonna be
so so then but she's open to she was so awesome,
(17:13):
Like there's the actor that we're like, can you come
with us at five am, and so we just go
to the house of no crew and just the camera first,
like build the natural life.
Speaker 3 (17:22):
I'd love that, Yes, And there.
Speaker 4 (17:24):
Was like a time where like that, all the camera
crew were taking like a while to set up, and
we got cloud cover and.
Speaker 3 (17:29):
I'm like, oh my god, oh my god, oh.
Speaker 4 (17:31):
My guys, we can shoot this thing in the rain,
like I'm setting up for this, and me and Sally
the camera guy, and Billy who plays the kid, we
just stole the car and we drove off fantastic back
of the water.
Speaker 1 (17:41):
Pop.
Speaker 3 (17:42):
I was out the window put in the rain, and
the Laura was driving and the camera out. It was
so so awesome.
Speaker 1 (17:46):
That's great.
Speaker 2 (17:48):
Danny and Michael, I've forgotten to tell you something I
should have said it. I should have said it at
the beginning is oh, fuck, you've died. You're both dead.
You're dead, Jesus, how did you die? How did you
do that?
Speaker 4 (18:08):
I think Michael killed me, to be honest, but there
was a disagreement in the edit, and he's physically stronger
than me.
Speaker 3 (18:13):
He beat me to death.
Speaker 1 (18:14):
Michael beat you to death. How did you day? Daniel?
Speaker 3 (18:17):
I beat Danny to death. And then I'm like, get
out of here. I've just got to go, and I
ran out and then I got hit by a boss. No,
my god, I think the guilt. No, no, I think
the guilt. Michael took us over. No, you don't know
you're dead. I was trying to get away. It was
fucking there and walks of you and Michael his own
life out of guilt.
Speaker 1 (18:35):
Murder. It was a murder. Seris, Well, we don't know.
The bus hit you.
Speaker 2 (18:39):
Whether you ran into the bus or the bus run
into you, will never really know.
Speaker 3 (18:43):
I don't know. But there was a guy named Brett
Goldstein that.
Speaker 2 (18:45):
Was driving, and I will never tell. Okay, okay, interesting,
So do you two? I mean, it's a crazy question.
I ask it every episode. But do you too worry
about death? Seems like you certainly think about it.
Speaker 3 (19:00):
I embrace it, sweet release.
Speaker 4 (19:02):
I'm scared more of losing people than I am of
me dying, Like that's so terrifying, like the idea of
losing everybody.
Speaker 1 (19:10):
There's an episode in Smallville.
Speaker 3 (19:12):
I love Smallville to death.
Speaker 1 (19:15):
Remember I was still Les Molle.
Speaker 3 (19:18):
There was a nightmare.
Speaker 4 (19:19):
There was this episode where there was a fortune teller
that was like holding up to people's hands and she
like holds lex Lupa's hands and see it like blood
raining on him, and he's like take over the world.
And then his clerk's feature and he's sitting in this
graveyard surrounded by the trimbstones of everyone that he loves,
and he's on everybody and they're all gonna die, and
(19:40):
it is fucking powerful.
Speaker 3 (19:45):
I think I used to not worry as much about it.
Speaker 4 (19:49):
So, like say, when we're flying and there's like a
bit of turbulence, I used to get excited, yes, whereas now.
Speaker 2 (19:55):
I'm like, yes, I get that. What what do you think
happens after your day?
Speaker 4 (20:05):
There has to be something behind d I mean that
just makes sense, is that we've got a different reality
that we're going We've got like a lived experience and
then we're like, oh, maybe I can try and fix
up this thing. Maybe or were going to the ground
and where fucking turned to maggots.
Speaker 3 (20:19):
I'll tell you what I hope happens actually before the
end to end. I don't know. I don't have a
big thing, but but I hope when you die you
get to almost have that kind of what's it called
the outer body experience.
Speaker 4 (20:34):
And see everyone that loved you, you say goodbye, Like
for some reason.
Speaker 1 (20:39):
You want to be at your funeral.
Speaker 4 (20:40):
Yeah, it's like a closure thing, like at least be
able to because because if you just die and you
never know, if you know, the soul remains.
Speaker 3 (20:49):
Yeah, no, if yeah, would be awesome.
Speaker 2 (20:52):
You want to see everyone kiss you on the lips
at your funeral?
Speaker 4 (20:55):
Yeah, I mean I have put that sublimately into my film.
Speaker 2 (21:01):
Yeah.
Speaker 3 (21:01):
I want to ask some open casket and.
Speaker 1 (21:07):
Kiss him on the lips.
Speaker 3 (21:08):
Come on, it's your father, Andy.
Speaker 2 (21:11):
So good that Well, I got news for you, Danny
and Michael. There's a heaven and guess what you're going?
Well done?
Speaker 3 (21:20):
Well are you God?
Speaker 1 (21:22):
Who you s not bort right now?
Speaker 2 (21:26):
There's a heaven you're going, and it's filled with your
favorite thing. What's your favorite thing? Films and you movies.
There are films and movies galore, and you're very well.
Everyone's excited to see you, but they want to talk
about your life through film and they want to ask
you as many questions they can in the time A looted.
And the first thing they want to know is what's
the first film that you remember seeing? Danny and Michael
(21:48):
and was it the same one? And were you together?
Speaker 3 (21:51):
It's Eva Stuart Little or a bugs Life?
Speaker 1 (21:54):
Both absolute but crackers.
Speaker 3 (21:57):
There was a bugs life to me. I remember bugs
or the like going to the movies life.
Speaker 2 (22:02):
Yeah, a bugs life. Where was this happening?
Speaker 4 (22:06):
After school hours care which is like during the holidays
of school, but you get dumped into this thing that's
like a holiday care and then every week they've got
every day they've got different activities, and then once a
week they take you to the cinema.
Speaker 1 (22:18):
Oh cool.
Speaker 4 (22:19):
Yeah, it's when your parents don't want you to get
watch your Bugs Life?
Speaker 3 (22:24):
Yeah, exactly right.
Speaker 1 (22:27):
Did you love it? Do you remember it being a
pivotal moment in your lives?
Speaker 3 (22:31):
Loved it? Loved it.
Speaker 4 (22:32):
It felt edgy, it felt scary, it felt grand like
you entered an entire of ale world.
Speaker 3 (22:38):
A bugs life. I'm all about it. Well, because you.
Speaker 4 (22:41):
Don't know about that, Like there's a making of a movie,
there's a behind the scenes, there's or whatever.
Speaker 3 (22:46):
You don't know that stuff. It's just a world in
front of your old face.
Speaker 4 (22:50):
You're like, the cool thing about childhood is it's you're
seeing things for the first time. You don't understand the
mechanics behind it and even your emotions. It's so pure
and genuine. It's it's it's reacted to what you're seeing.
There's no preconceived notions of anything. So that's the best
thing about, you know, watching movies.
Speaker 3 (23:08):
For the first time.
Speaker 2 (23:10):
What about crying? What's the film that made you cry
the most? Are you criers? Do you cry that new film?
Speaker 3 (23:15):
Close? I remember made me cry from A.
Speaker 1 (23:18):
Twenty four Oh yeah, yeah.
Speaker 4 (23:19):
That took me off guard because I thought I knew
what the plot was going to be for the trailers
and then thing happens at the midpoint where I'm like,
oh no, are you serious? And then I was next
to my friend Remy who loves Smallville as well great,
and I was like, oh.
Speaker 3 (23:35):
No, I fuck. Is like bawling in front of Rebby.
So I remember that one. And the other one was
Click with Adam Sadler that always.
Speaker 2 (23:43):
Crying a click, Yes, yes, I always get a motion
click is devastated.
Speaker 3 (23:50):
I cry.
Speaker 4 (23:51):
I'm trying to think of the recent one was Lords
of Chaos Sin Lords.
Speaker 1 (23:55):
Of Chaos, No, I didn't see that.
Speaker 3 (23:57):
They're like, okay, is it?
Speaker 4 (23:59):
Norwegy death metal death metal band and then so there
and there's one guy that's like kind of likes pretending
to be like I like Death and the Devil in this,
but he's kind of it's like a facade of like say,
like you like horror movies, doesn't mean you're a real Satanist,
you know.
Speaker 3 (24:15):
He's putting on this front like I'm this crazy dude.
Speaker 4 (24:18):
And then through that he meets people that actually are
that thing, like they are like let's go burn down
some churches, and he's like, let's allow guys a little bit.
You're just going to lay alone from I know this
is what it's a basket murder. Someone's like, oh yeah,
but there's a scene that that yeah, yeah, under that
(24:39):
the thing of someone that's not this versing you know,
against someone that is, and that I find it tragic,
the character that just wants to be accepted in a
world that he doesn't doesn't belong in.
Speaker 1 (24:50):
Yeah. Are you two?
Speaker 2 (24:51):
Do you think of yourself as openly emotional or are
you repressed? Because both of your films are very I
think moving, But I don't know if that's your secret.
Speaker 4 (24:59):
I'm like always I crying in front of people, but
I don't get embarrassed when I do write.
Speaker 3 (25:02):
So like that's sat in the middle somewhere. Okay, Yeah,
I like the discussions of stuff.
Speaker 4 (25:09):
I'm not against being emotional or because there's always I
feel like if you close yourself off like that, it's
just going to come out in other ways. You have
to express those deep emotions that you can't bottle them
up your traumas. If you do that, they will explode
in different ways. They come out in ugly ways. So
it's kind of like just just verbalize it with somebody
(25:31):
having the couragey just speaking it out loud and so
powerful as a release.
Speaker 3 (25:35):
But I find the writing my way for releasing or
doing that. That's the way that I like.
Speaker 4 (25:39):
Yes, yeah, the emotions are so like anytime I'm feeling
sad or feeling any sort of emotion that's like normal
than like like outside a normal level, that's when I
feel the need to write.
Speaker 2 (25:49):
Can I ask you on that subject? How you write together?
Do you sort of take t as you talk about it?
And one of you writes like, are you next to
each other on the.
Speaker 3 (25:57):
We don't write together?
Speaker 4 (25:58):
Right, I've got a co write.
Speaker 1 (26:05):
It in Bill Hinsman, Yes, sorry forgive me?
Speaker 3 (26:08):
Yeah, him and I are co writing.
Speaker 4 (26:10):
I know we get it to already spot Michael reads
it and ships on with bad notes. But I think
in this next the next movie that we're doing is
a bit more structured in like finding the beats first
before just write because a.
Speaker 3 (26:21):
Lot of the time dorees a co writer. We both write,
and there's our co writer.
Speaker 4 (26:25):
Who's able to structure things, and so you normally you
just write pages and pages of pages ideas, moments.
Speaker 3 (26:31):
Characters with no structure now at all, and then we
give it to Hinsman. And Hinsman's really good at.
Speaker 4 (26:37):
Finding the through line. Oh this would work here. You know,
you say the moments that you want to put in
and he's good at mapping it out.
Speaker 1 (26:44):
Okay, well yeah.
Speaker 4 (26:45):
And it's like like someone was asking, like who's the
magic source there, like you and he would say it's
Danny's coming with these beats and these things. He's like,
that's the magic source. But then I would say there
would be nothing about Hindsman, like turn it actually into
some like we just work together.
Speaker 2 (27:02):
Well, okay, what I mean, this is the one we
want to know in this one? What's the film that
scared you the most?
Speaker 3 (27:07):
Stay out of the Basement Goosebumps episode Yeah, So he
said movie.
Speaker 2 (27:11):
Yeah, but I want to let me hear it, let
me hear the Goose.
Speaker 1 (27:21):
But we're in Goose.
Speaker 3 (27:23):
It's actually a TV movie.
Speaker 4 (27:25):
It's an episode that's but like you can buy it
as an actual like TV movie, so I would Beautiful
Stary Out of the Basement was horrifying. It was like
one of my first experiences of getting really scared. And
I thought I was brave enough because I used to
collect the Goosebump books.
Speaker 3 (27:41):
I'd read the Goosebump books. But when I sat down
and I.
Speaker 4 (27:43):
Saw it actually materialized, it was quite traumatic for me.
And I was like six or seven or something like that,
like really young when I watched it. And I think
that that still sticks with you, still get your still clause.
Speaker 1 (27:57):
What about you?
Speaker 4 (27:58):
Well, there's a two three that really scarred me, But
the main one was Texas changed some ASACA two thousand
and three because we weren't. We had our dad's friend
and he who loves horror movies and she used to
take us when we were kids to go watch all
the you know your b America's are our m A
fifteen plus, So like we went and watched all the
(28:20):
horror movies.
Speaker 3 (28:20):
In cinema and then that one, no, none of them really.
Speaker 1 (28:24):
With Jessica be Yeah, the Justici all one. Yeah. Yeah.
Speaker 3 (28:28):
I actually ran out of the cinema. It was the
first time I felt physically ill.
Speaker 4 (28:32):
I was so embarrassed because I was like journey where
we can handle where it came and Michael runs out
of the cinema crying, and I'm like, oh god, you.
Speaker 3 (28:39):
Know, I was scared because I ran out because I
felt six.
Speaker 4 (28:42):
So I'm like, they talk at the end of the
Beast on the True Story and they know this black
white foot. And then when I was watching the movie,
I'm like, this happened, like, oh my god, oh my god,
what like this? And I felt I got so scared
attle and then I ran out into the hallway. When
I ran out into the hallway, and then there was
a random man And I was out in the hallway
(29:02):
where you like, walkingto the cinemas by myself, and there was.
Speaker 3 (29:05):
This guy and like on the other side of the
hallway and he did this like he started running me.
I don't think the story happened at all, Yeah he did.
Speaker 4 (29:12):
He started running towards others and I ran back into
the cinema and it was like sounds of running.
Speaker 3 (29:17):
I'm like, I couldn't go anywhere.
Speaker 4 (29:18):
Michael's he doesn't. He's projective memories onto this that I'm real.
Speaker 2 (29:23):
For those of you only listening, Michael stood in the
corner and turned around, very scary, and then ran at
the camera. It was like coming out of Goosebumps. What
is the film that you love? People don't like it.
It is not critically acclaimed, but you love it unconditionally.
Speaker 3 (29:40):
Oh, mouse Hunt?
Speaker 4 (29:42):
Okay, he's obsessed with mouse Hunt, and I'm on a
second mouse hun Maybe mouse Hunt or Home Alone two?
You know scary movie too well, I'd say that's the
funniest scary movie. Two makes me laugh the most. But
I would say mouse Hunt is like a bit of
a masts, those things.
Speaker 3 (29:58):
You know, those movies that mean so much.
Speaker 4 (29:59):
She was a kid, and then when you you're old
enough to go what's the Rotten somatoes?
Speaker 3 (30:03):
You look at it. But it's not even about that.
Speaker 4 (30:06):
It's about the nostalgiato, but also the practical way that
they executed everything like it was pretty impressive.
Speaker 3 (30:11):
Feet.
Speaker 2 (30:12):
It's Gord Verbinski, right, mouse It's a very technically impressive film.
The whole thing is like Final Destination but with a mouse. Right,
it's a series of It's like Home Alone but with
a mouse.
Speaker 3 (30:23):
You like literally, Yeah, slapstick, it's awesome.
Speaker 1 (30:29):
That makes sense.
Speaker 2 (30:30):
What, on the other hand, is a film that you
used to love but you've watched it recently and you've gone,
I don't like this anymore, probably because you've changed.
Speaker 4 (30:38):
I think that Scarecrow Walks at Midnight, which is another
Goosebumps episode.
Speaker 3 (30:43):
You can't goose.
Speaker 2 (30:47):
If it's a double episode, it makes a TV Yeah, it's.
Speaker 3 (30:49):
A double episode.
Speaker 1 (30:52):
Yeah.
Speaker 4 (30:54):
Look, that was my answer, and I stand by it.
I don't I don't like this game by with Well, yeah,
I won't be dying of books. I didn't love it
as much as I thought I did.
Speaker 1 (31:04):
Okay, yeah, no, And what about you, Michael, that's.
Speaker 4 (31:08):
The one where in the questions that I couldn't think
of what, Well, you should probably think of it next time.
Speaker 1 (31:13):
Yeah, yeah, well I'm going to go with that.
Speaker 3 (31:16):
Or maybe I've got a Goose Someths episode to throw.
Speaker 4 (31:18):
I mean, Fever, Swamp stands Up, Haunted, mask stands Up.
I mean, these are pretty cinema changing pieces of art.
Speaker 2 (31:25):
I would say, Okay, what is the film that means
the most to you? Not necessarily the film itself is
any good, but the experience you had seeing the film
will always make it meaningful for you.
Speaker 1 (31:38):
Danny and Michael.
Speaker 4 (31:39):
I mean, I would always return to the Harry Potter films.
I like, there's such a nostalgic connection to those that
I grew up on those, and every time I rewatched them,
I feel there's like a comfortability to it.
Speaker 1 (31:51):
Nice.
Speaker 4 (31:51):
Yeah, mine would be three hundred go on, there's the
graphic novel because he exactly unimpressed us because because we're
our background is Greek and our cousins that are older.
Speaker 3 (32:04):
Because it was coming up, yes about the Greeks killing
the air.
Speaker 1 (32:08):
I was like, yeah, yeah, yeah, I.
Speaker 3 (32:11):
Want to go watch it. I want to go watch it.
Speaker 4 (32:12):
And I went to the cinema. I was fifteen, but
I went there and they didn't let us in. They
didn't let me in, and the guy was so rude,
the ticket guy.
Speaker 3 (32:21):
I'm like, but I'm fifteen. He's like, you have id
on you. I said no, like, well you look ten,
so you're not getting it.
Speaker 4 (32:27):
And then so they didn't let me in. And I
remember me and my friend who didn't get let in.
We climbed up the outside because you could get in
from the roof, and we climbed in the roof to like.
Speaker 3 (32:37):
Go and watch it. Well, I'm actually just looking at
the release date. I look at the release and see
how old you actually were? Was fifteen?
Speaker 1 (32:44):
H you were?
Speaker 2 (32:46):
You actually were fifteen? Okay, hey you were, but you
were technically you were both fifteen, so let's not argue.
Speaker 1 (32:52):
All right, Yeah, you look so un impressed.
Speaker 3 (32:56):
Three hunts and you're like, go on.
Speaker 4 (32:59):
Ware hundred Brett, Yeah you didn't get it.
Speaker 2 (33:03):
Yeah, I didn't do enough push outs between takes, you know,
the six packs tell me, so you snuck him through
the roof, and then you were like this is this
is fucking brilliant.
Speaker 4 (33:16):
Yeah, it was like sneaking through the roof. It was
kind of getting back at that the guy that didn't
let me in. And then we stole ice creams out
of this freeze, like were literally like behind the scenes
in the cinema, and then I can't say what cinema was,
but yeah, we like when I climbed the roof, got
in through the outside, stole ice creams and then watched
from the rafters.
Speaker 2 (33:35):
So just you know, we do have a deeper film
knowledge on this.
Speaker 3 (33:40):
This is very surface level, but these are films like.
Speaker 2 (33:43):
It doesn't sound like you in particular have ever seen
a film, but you have seen a lot of TV
in that respect.
Speaker 1 (33:49):
What is what? What is the sexiest film you've ever seen?
Speaker 4 (33:55):
You two with the first person that I was attracted
to every It may be TV again, but there's the
movies of it as well.
Speaker 3 (34:04):
Was probably I'd say Walma from Scooby Doo.
Speaker 1 (34:07):
Nice. Nice, she was looking for her glasses.
Speaker 4 (34:12):
She was a little bit quirky, So I would I
want to go with Scooby Doo. I asked these questions
like way back as opposed to yes, yeah, I'm thinking
of like like because I remember the one that had
the most effect on me was in learning to his
back and action the girl Bunny.
Speaker 2 (34:26):
Girl Bunny Yeah yeah, yeah, I get that too. It's
great choices. But we do have a sub category to
this question, troubling bonus worrying why dones a film you
found arousing that you weren't sure you should?
Speaker 1 (34:43):
What's that? Danny and Michael, you.
Speaker 3 (34:45):
Have so many evil jokes to answer this question.
Speaker 4 (34:47):
Well, be careful, like I would say, my my evil boner,
not like.
Speaker 1 (34:51):
Evil evil is your next horror film? Please?
Speaker 3 (34:59):
It's really just my confused boner.
Speaker 4 (35:02):
I think it was Bardoch, the father of Goku dragon
ball Z. Freezer was one of my other first crushes
for some reason. Do you remember the character?
Speaker 1 (35:10):
No, I have never seen Dragon ball Z. Forgive me.
Speaker 3 (35:12):
What's the same on you? I thought you were a cenophile.
Speaker 2 (35:14):
Yeah, oh no, God, all right, I'm gonna I'm gonna
have to catch up on your tastes.
Speaker 3 (35:23):
Mate.
Speaker 2 (35:24):
Yeah, that is that a movie? I don't think that's
a movie, though, is it?
Speaker 3 (35:29):
It's a movie? Block Farmer is the last second animated?
It's another TV movie.
Speaker 1 (35:33):
It's a TV movie.
Speaker 3 (35:35):
How many films I'm telling you, I've seen so many films?
Speaker 2 (35:38):
Probably you've named zero. But go, yeah, go and say
dragon ball Z. Some creature in dragon ball Z that's
your evil boner? What about you, Michael?
Speaker 3 (35:56):
Yeah, it would have been like another No, it's the same.
Speaker 4 (36:00):
It's the same as that. It's that looney to scene,
that character I always put Michael.
Speaker 3 (36:05):
Always be watching it. That's those same scenes.
Speaker 1 (36:10):
I'm just enjoying the cartoons again.
Speaker 2 (36:12):
Okay, what is objectively the greatest film of all time?
Speaker 3 (36:21):
Memories of Murder? Oh, yes, I would say Memories of
Murder as well from Juno.
Speaker 4 (36:25):
Yeah, that's a perfect blend of dark humor, drama, comedy, and.
Speaker 3 (36:32):
A thriller, serial killer thriller.
Speaker 4 (36:34):
So that that's the one bid When I watch I'm like,
this movie is so perfect, I'm not going to watch
it again because it's not going to live up to
this how I remember it.
Speaker 3 (36:41):
And then I watched it a second.
Speaker 4 (36:43):
Time a few years later, and it's still it was
better than the first time viewing it.
Speaker 3 (36:47):
That was the most incredible film of all time?
Speaker 5 (36:50):
I thought.
Speaker 4 (36:50):
I remember like something that's always stuck with me. I
think it's incredible. It's a film called The Return Ye
Russian film. I think that's a fucking awesome film. I
always find something when I revisit that film and then
are like the same. So like the fact I obsessed
on certain films, I'm writing different months, so like another
one that I obsessed, there's whatever Happened to Baby Jane?
Speaker 3 (37:09):
Is like that makes Yeah, the super incredible character actors
that are like just.
Speaker 4 (37:18):
Able to perform out of ten like they usually have
to like keep a sub duty and keep it on
a drama level, but like Benny Davis is hitting this
fucking extreme level, which is amazing. If you spaking about
those old movies, the older ones as well, say something
like throwing a blood Kirosa, What how is something that's
I don't know even remember your fifties or sixties still
feel creepy today. As a ghost story, there's like a
(37:41):
scene where they're planning to murder this king and then
they know that he's dead and he's not going to
show up to this dinner and they're all sitting at
the dinner noise not going to show up, and they
look sober, and then the guys there like the ghost
of him sitting there painted even though he's dead.
Speaker 3 (37:55):
It was the most like even now like makes me
feel uneasy. They got the vanishing. Have you seen the vanishing?
Speaker 1 (38:01):
Fucking yes, I've seen the vanity. That is a great set.
Speaker 4 (38:04):
Yeah, one of those declinents where you're like they seem
to be making every wrong decision and the audience is like,
what the fuck If I was in his shoes, I
would be doing the exact same thing that like I
would not be able to resist, like I would need
to know the answers now where it let me that
can walk in the house Gooseums episode, it's a good one.
Speaker 3 (38:23):
Walking the Dead House was anod one.
Speaker 2 (38:25):
Michael. I'm really impressed, Danny. You've gone, You've gone. No,
I've seen I was goob Smallville, Goosebat Smooville. And then
you're like Russian film the Return. You're like, Okay, alright, alright,
I guess he is serious. What is the film that
(38:47):
you could or have watched the most over and over again?
Speaker 4 (38:51):
There's one that's our recent I'm going to like recent things,
like I'm obsessed with this film called Chime at the Moment,
which is like a Japanese short film, just like forty
five minutes and Sour the same guy that did Cure
and he did Yeah, he did this fucking awesome short
film called Chime, which I'm obsessed with, and like there's
this really big emphasis on the sound design. There's this
(39:14):
guy in his class that's he's like, can you hear
that chime? I'm hearing this chime and it's like he
really really awkward. This kid ends up killing himself in
the guy's class, and then the teacher starts to hear
the chime. You can't you can't fake it.
Speaker 3 (39:31):
It's it's like that. That's my current obsession is.
Speaker 1 (39:34):
That movie What about What About You Michael?
Speaker 4 (39:37):
Probably my My Hollow Hand Drive, Hollow Hand Hand, My
holodaan Dan Drive, just that one, because there's just moments
in it that's I feel like work on multiple levels
and I'm trying trying to figure out what it means.
Speaker 3 (39:56):
So there's something about watching it.
Speaker 4 (39:58):
You watch it again, like trying to if there's things
earlier that mean something that leads to later on, because
there's so many moments that that I find so strange
and I just.
Speaker 3 (40:07):
Want to know what it is that it's what is?
What is it saying?
Speaker 4 (40:12):
That's the same thing like if everyone obsesses over and
they go down the signing rabbit hole when they were
trying to cope and everyone's like trying to theorize like, oh,
it means this or it's about this.
Speaker 3 (40:21):
It's like, actually, just read the script he gave you
all the answers.
Speaker 4 (40:24):
There's like a whole Wendy describes everything and read the
book as so much context in.
Speaker 3 (40:28):
The book as well.
Speaker 4 (40:29):
I get the same feeling with like that, like watching
that say The Sopranos, the TV show, and there's many
little nuance things in and say the Nightmare Sequences and
that because they hint supernatural in that show that they
you know, it's like it's so the afterlife is real.
Speaker 3 (40:45):
All naturally.
Speaker 4 (40:46):
Yeah, yeah, yeah, because there's a certain moments in it
that it's just working on multiple layers. Like the writing
is so fucking good. You watch that up and but
you pick up something you every time you do.
Speaker 2 (40:58):
Yeah, I want to talk about leads, about the we've
only got this much? Okay, what is the we won't
be too negative. What's the worst film you've ever seen?
What's your least favorite?
Speaker 3 (41:06):
Have you guys seen super Bop? I'm joking that I'm
not seeing that.
Speaker 1 (41:13):
That was a total joke, you bustards.
Speaker 3 (41:20):
I was like, oh, you wrote that he's a writer
as well, and I was like, I'm gonna bring it
up as a joke. I'm gonna watch that. I'm excited.
Speaker 1 (41:27):
It's a fucking masterpiece. Go on, tell me, Yeah that's it.
Speaker 4 (41:30):
Yeah, yeah, yeah, it's a hard one. I'm not entirely
sure of the worst. Is your fucking your ship new
one back?
Speaker 1 (41:36):
Take you?
Speaker 4 (41:38):
I'd say bring it back might be upper. It's like
I can only really think of like I feel.
Speaker 3 (41:44):
Bad sanging out loud. That's it was to.
Speaker 2 (41:46):
Say one you know, yeah, I'm not going to make
you do because your filmmakers and it's really hard.
Speaker 3 (41:57):
I was choking, Bret. Bret said, tell jokes.
Speaker 2 (42:03):
What speaking of jokes, what's the film that made you
to laugh the most?
Speaker 4 (42:07):
Like I really do think it's scary movie too, like
Home Home on on two as well.
Speaker 3 (42:13):
I don't.
Speaker 4 (42:13):
Yeah, there's a nostalgic thing, said as a friend of
ours called Tamani.
Speaker 3 (42:18):
We used to find it so funny.
Speaker 4 (42:19):
It's just a childish thing, like ever since we kids,
we found funny and superhero movies when the hero gets
his ass kicked.
Speaker 3 (42:26):
So we used to watch the original Spider Man sam
Remi when Spider the Green Goblin.
Speaker 4 (42:31):
We would watch it over and over again and watch
it in slow motion, like Peter Parker getting his face
punch and the noises that he'd make and the faces
and we just cry like literally all night, literally for
hours hours like laugh Peter, and then they would just lose.
Speaker 3 (42:47):
Like when he's starting to get up and then he
just go like shut down. We just find that. So
every time we get if there's a superhero movie, we
used to go to cinemas and watch and just laugh
at this.
Speaker 4 (42:59):
I don't know what's fun recently, actually, so we had
a movie with Fede Alvarez.
Speaker 1 (43:07):
Exact, and we watched a movie.
Speaker 3 (43:10):
I can't say what movie it is because it's but
there's a.
Speaker 4 (43:13):
Sequence in that that I've not laughed so hard at
in a long time. It was really as a movie
coming out this year that is like, this sequence was
so fucking funny. I was in tears laughing. It's to
the point where they were like, look at.
Speaker 3 (43:27):
Me, A bit awkward. Yeah, it was embarrassing for all
of us. Yeah. Like the film that I actually sorry
like laughed at that.
Speaker 4 (43:36):
And we were drunk while doing it is we watched
that extreme film that a Serbian film, and I found
it every extreme beat. I found it so funny. It
might have been the people that I was with, but
it was a very enjoyable, funny experience where I was
like what what what and then like we discussed like
(43:59):
anything anything he hit.
Speaker 3 (44:00):
Like an extreme.
Speaker 4 (44:00):
It's like like, yeah, that was the last time I
cried laughing watching something.
Speaker 2 (44:05):
Okay, thank you listen you two now listen. You two
have been excellent, a joy, a delight. I have enjoyed
this immensely. However, when you were in the closet together
and Michael, frustrated, decided to beat Danny to death and
he did it and it took a while. I'm not
going to lie. It took a while. Not easy to
kill him. He's a strong boy. But he hit him
(44:27):
and he hit him and he hit him until he
caved his head in. And then he thought, oh, I'm
going to miss him. I did love him, actually, and
he and he walks outside and there's Brett Golsen driving
a bus. His career went a bit different and he thought,
you know what he was researching. You know, it was like,
you know, I just want to drive buses now. And
(44:47):
he drives a bus and he sees Michael playing his
ants and he goes, what's that? And Michael steps into
the road and I see he sees something in his
eyes and he goes, you know what, I'm not going
to break. I'm going to accelerate and he hits him.
It runs him open. It's a big it was a
big bus, squeezes tool. It gets how it goes anyone's
seen Michael and Danny, and I've got two coffins with me.
Speaker 1 (45:09):
You know what I'm like.
Speaker 2 (45:10):
People go, yeah, one of them's under your bus. The
other one's in the closet. I go, oh, dear, what
a shame. Seems like there was a bit of an
accident between these two. I'm going to drown you in
the pool now, love, And then he gets yes, get pope,
and I get the people on the bus and go
help me out with this. There's more than I was
expected that these two. They're different sizes. Stuff you both
(45:31):
in the coffins. It's rammed in there. There's no room.
There's only enough room for me to slide one DVD
into the side for both of you to take across
to the other side. And on the other side, it's
movie night every night. What film are you taking to
show the people of heaven when it is your night?
Speaker 1 (45:46):
Movie night?
Speaker 2 (45:46):
Danny and Michael go kept scared nooning at the movie night?
Speaker 1 (45:52):
Thank you? And what about you? What about you? Michael?
Speaker 4 (45:59):
Oh?
Speaker 3 (45:59):
Yeah, what for the rest?
Speaker 2 (46:02):
Okay, no one else brought it?
Speaker 3 (46:05):
Yeah, exactly, I'm getting one that no one else. You're
going to die forever. That's the only one. You haven't there.
I mean, look, I love the midpoint. Yeah, well yeah,
it's a good midpoint, but it's now camp scarce.
Speaker 1 (46:17):
Guys, you've been brilliant. I love your films.
Speaker 2 (46:19):
Is there anything you would like to tell people to
do other than go and see Bring Her Back at
the cinema?
Speaker 4 (46:25):
Just to accept our apology, I have to promise we
have a deeper film knowledge than we appear to be.
I'm sorry one of your podcasts are like these guys
seem like what I apologize.
Speaker 3 (46:35):
I've got a cold.
Speaker 4 (46:36):
My voice might be a little bit more annoying. Well,
I think a lot a lot of these questions they
made me. They take me back, they take me back,
they take me back. You took me back to the beginning.
Thank you very very much for doing this. I appreciate
you both. Your films are really, really excellent. I really
was genuinely very moved I Bring Her Back and I
hope people see it, and I think you've made a
wonderful thing there.
Speaker 1 (46:57):
And one day in.
Speaker 3 (46:58):
The future, Bru, we might work together. That might be cool.
You may absolutely not not want to do that at all.
Speaker 1 (47:04):
Are you kidding me?
Speaker 3 (47:05):
We've got to You're a good guy.
Speaker 2 (47:09):
We'd love to please let's do something you can you
can you know, stab me in the head or whatever
where were you into? Thank you very much, guys, it
was a real pleasure well done. So that was Episode
three hundred and fifty three. Head over to the Patreon
the Patreon dot com forward last Brett gold scene for
the extra fifty minutes of chat, secrets and videos with
(47:30):
Danny and Michael.
Speaker 1 (47:31):
Go to Apple Podcasts give us a back start.
Speaker 2 (47:32):
Writing, but right back the film that means the most
to you and why it's a lovely thing to read
and it helps numbers, Etceteraly really appreciated. Thank you so
much to Danny and Michael for giving me their time.
Thanks to Groupy's pipp and the Distraction Pieces of Network.
Thanks to Buddy Peace for producing it. Thanks to iHeartMedia
and Wilfarell's Big Money Players Network for hosting it. Thanks Adam
Richardson for the graphics and Least Lading for the photography.
Come join me next week for something else. That's it
for now. I really hope you're all well. Thank you
(47:54):
all for listening. But in the meantime, have a lovely
week and please now more than ever, be excellent to
each others.
Speaker 5 (48:20):
Back back, bass back back back back back back back
back back
Speaker 4 (48:39):
Sh
Host
Brett Goldstein
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