July 10, 2024 • 58 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 writer, producer, comic, podcaster and more GARRETT MILLERICK!
A lovely episode of the 'fireside chat' variety with the friendly and fun Garrett, in which we get to find out a lot about the person behind a TON of Edinburgh Fringe shows, and podcasts and productions of all kinds, but also a good amount about what floats Garrett's cinematic boat, theatre vs comedy, Airfix modelcraft, space and the space race, searing hot takes on Star Wars (some of which might surprise you), and so much more. Lovely stuff - and for those not yet familiar, take a chance to get to know Garrett!
Video and extra audio available on Brett's Patreon!
SUPERBOB (Brett's 2015 feature film)
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look here is shu only films to be buried with. Hello,
and welcome to Films to be buried with. My name
is Brett Goldstein. I'm a comedian and actor, a writer
director at a quiet place, and I love films. As
(00:22):
Andy Warhol once said, Land really is the best art
except for films and novels. Man, I shouldn't really be competitive.
Land is great, but I love films. Oh, I shouldn't
have started this. I've confused myself. Yeah, it is tricky, Andy,
It is tricky. Every week I invite a special guest over.
I tell them they've died. Then I get them to
discuss their life through the films that meant the most
(00:43):
of them. Previous guests include Barry Jenkins, Amber Ruffi, Mark Frost,
Sharon Stone, and even Dead Bambles. But this week it
is the excellent comic mister Garrett Millrick. Head over to
the Patreontpatreon dot com forward slash Brett Goldstein, where you
get about twenty minutes extra stuff with Garrett, including a secret.
You also get the whole episode, uncut, ad free and
as a video. Check it out over at patreon dot
com forward slash Brett Goldstein Garrett Millrick is a brilliant comedian.
(01:06):
He's about to head to Edinburgh with his six thousandth show.
Garrett Millrick needs more space. He's a prolific and brilliant comic.
He also has his own sitcom Do good As coming
out in audible soon. Check him out in Edinburgh in August.
We recorded this on Zoom a couple of weeks ago.
It was lovely to catch up with him and I
think you're really going to enjoy it. So that is
it for now. I very much hope you enjoy this
(01:27):
episode three hundred and seven of this Films to be
Buried with. Hello, and welcome to Films to be Buried with.
It is I Brett Goldstein and I am joined today
(01:48):
by an actor, a radio star, a TV star, a podcaster,
a writer, an Edinburgh fringe smash hit year after year,
a husband, a no not a husband, and good that
we checked, a man about town and a father and
(02:12):
a very lovely man and one of the great comedians.
He's here. Can you believe it? I can. I'm looking
at him and if you are on the video you'll
be seeing into Please welcme to the show. He's alive
and well, and he's here. It's Gary Millery.
Speaker 2 (02:27):
Hey, thanks for having.
Speaker 1 (02:28):
Brett, thanks for being here. How are you.
Speaker 2 (02:31):
That's all right, that's all I am. We were just
saying we haven't seen each other very long time. I
was married the last time we saw each other.
Speaker 1 (02:37):
It's really it has been a while since I saw you.
You've had a baby and and a divorce. Divorce, yeah,
one would guess, piece together. Yeah, mate, how's all that?
If I may ask? Obviously, don't tell me anything too
personal unless you want to.
Speaker 2 (02:59):
Yeah, I've got so Yeah, I've got three year old daughter.
She's she is excellent. So I pick her up from
nursery in a bit.
Speaker 1 (03:06):
So that's so nice. Yeah, nice that you have a baby. Now,
for those of you listening, Garrett is a very very
good comedian. And I first met Garrett. You're one of
the few people I know who like I knew you
from when you started and you had this gig? Is
this right? And you invited me to come to your gig.
Yeah yeah, And you were like I'm seeing it was
like a gig for you and other actsp butts. It
(03:28):
was clearly for you to like.
Speaker 2 (03:29):
Get that's the one. Yeah, it was. Yeah, the shod
and for Decabaret in North Yeah.
Speaker 1 (03:35):
And it was a fucking great gig. It was a
great gig, and you were really great and now you're
a big star and I'm very happy to see it. Yeah.
Speaker 2 (03:43):
I mean, you know, we met each other in basements
in London and you are an Emmy winner for a
legit movie star.
Speaker 1 (03:55):
Now, enough about me and all and all the bloody ellies,
tell me about I'm just taking this Andy stuff. Excuse me?
You're doing a new Edinburgh show? Is this correct?
Speaker 2 (04:06):
I am doing a new Edinburgh show? Yeah, once more
under the breach.
Speaker 1 (04:09):
What number is this?
Speaker 2 (04:10):
Well? I've actually been going to the Edinburgh Fringe for
twenty two years because I I think you and I
had a sort of similar entry into Edinburgh. I started
doing plays up there and I listened to your podcast
with William H. Macy and you were like David Mammett
and I too.
Speaker 1 (04:26):
Yeah.
Speaker 2 (04:27):
I did a load of mammet stuff.
Speaker 1 (04:28):
Did you Which else did you do?
Speaker 2 (04:30):
A Life in the Theater and Oliana? I directed both
of those in Edinburgh years before I was.
Speaker 1 (04:35):
A stand up wow, and you were in them or
you did director?
Speaker 2 (04:38):
I directed them. Yeah, So I did a little bit
of acting at university and then the plan was to
be a theater director and I've got to stand up
by accident. So how did that happen? Well, basically, I
was I got to a point probably just before we met,
where I had been directing lots of weird stuff that
was very much away from what I wanted to be doing,
and the idea was like doing a bit of stand
(04:59):
up and perform was just to kind of re engage
with an audience because you know, to make plays and
things you have to marshal resources and apply for funding
and stuff. So I'd been doing all that, but then
I ended up doing lots of weird stuff like directing
music videos for city traders who were using their bonuses
to try and make hip hop albums, and documentaries about
(05:21):
things I wasn't interested in, but anything that would just
you know, pay a little bit of money. So I yeah,
I started doing stand up just as an experiment because
there was it was very cheap. You don't have to
marshal any resources any stand up You can literally just
write something and go on and do it. So that
was that would have been probably about a year before
before we met.
Speaker 1 (05:40):
But where did it come from if you've been so
in the world of plays and stuff and corporate hip
hop videos, were you like secretly really into comedy, Like I've.
Speaker 2 (05:51):
Always been really into comedy, So yeah, that was kind
of one of the mainly interesting things. And when I
was at the Fringe, Oldoras watch a lot of stand
up and I was very into sketch and sit comms
and things as so I was growing up. So yeah,
it was kind of a it was there, and then
it just it was Actually it was Stuart Lee's book
that I was reading when I was directing a plane
in Edinburgh and he's talking. He was talking in the
(06:11):
book about the frustrations of commercial directing and and then
there's a point where he goes back to stand up
after a break and he said, with stand up, it's
just you and a microphone and the possibilities at infinite
And I thought, oh, that's a good idea. And had
I had a friend who she was just out of
drama school, so I didn't really know what you do.
But coming from the theater, well, I just book the
Hending Chickens for two nights and called Michelle up on
(06:32):
was like, I booked just an hour to do so we.
Speaker 1 (06:35):
He went straight through, it went straight straight to an hour.
Speaker 2 (06:38):
Yeah, well we did sort of twenty minutes solo each
twenty minutes together. What to make up there? It was
your together, so we did, we did sketches. Yeah, and
all of it wasn't stand up that I was doing.
It was it was kind of character stuff. So I
then got into stand up having done character stuff for
about a year and a half, I went into stand
up just through MCing, like because that night I ran,
(06:59):
if you remember, it was a variety night, so it
had stand up in music and sketch and all that
sort of stuff, because that's kind of stuff I like.
So yeah, it was all kind of a happy accident.
Speaker 1 (07:08):
Really. Two things. One is, there's the thing strictly says
in that book which I think about often, where he
talks about that most plays and theater practitioners are trying
to do that, often trying to do a thing like
pierce the fourth wall and go straight to a connection
with the audience. And he says that, like he realized
(07:29):
even the most hacky of stand ups are doing the
thing in a much more direct way than everyone's trying
to do in plays.
Speaker 2 (07:37):
Yeah, that's really interesting. I always thought there's such a
kind of great relationship between stand up and film and
theater and all this, because they're just different toolkits for
doing the same thing. You've got a group of people
and you're trying to entertain them, so the objective is
the same, but like the tools that you've got to
do it in your box are different, and stand ups
quite a you know, direct, because it's it's just you.
Speaker 1 (07:59):
Yeah, I wonder with stand up sometimes I don't know
if this is true, but I think I've definitely done it.
I've done a couple of shows, like Edinburgh stand up shows,
where like in my second show, I did a kind
of thing where the very end of the show, which
felt like a very happy ending, was this bit at
the very end, but if you've been following the sort
(08:19):
of chronology of what I was telling you, it was
actually a really sad ending. But what I had told
you was the middle right. So people kind of left
happy like, oh that was nice, and then if they
thought about it, they were like, oh, hang on a minute.
But I don't think anyone ever figured that out, because
I think people watch stand up in a different way.
They don't watch it like they would watch a player
of film stand ups like present Present, Present Present, and.
Speaker 2 (08:41):
It's a confidence trick. It's just look at the card,
Look at the card, Look at the card, Look at
the card. Yeah, all the time. So you can try
to pull that off without people necessarily spotting what you're
putting in, whereas sometimes in theater, like you erect a
neon sign over it to go. This is the point.
Speaker 1 (08:57):
Yeah, that's very interesting. Oh and then the other thing
I was going to ask you, given that you started
and you were making variety shows, do you only do
straight stand up now?
Speaker 2 (09:08):
I do only do this straight stand up, and I've
only done straight stand up since twenty twelve, So yeah,
I starting sketch things in like twenty ten, and yeah
I haven't gone back. I still like during that time
there was an amazing sketch and alternative scene in London
that had like a bit of crossover because of Edinburgh.
(09:29):
You have that that whole scene that was quite at
that time sketch and character heavy. There's no real money
in sketching character stuff, so there's this kind of great
scene we had like mcneiland, Pamphlon and Pappy's and all
these people. But like I met Ashlyn at a mcnealand
Pamphlon gig, which was like there were a couple of
stand ups on it and then sketch. There were lots
(09:50):
of gigs like that that was just kind of everything.
Where was that like the Orbany Yeah, No, that was
Wilmington Arms, The Deer Departed Wilmington Arms. But there was
a lot of kind of crossover at that time, and
now it seems to be a bit more. Everything's kind
of stand up focused and there isn't that kind of
sketch scene, which is a shame. And I do think
gigs in the main, like my experience of gigs like that,
(10:12):
with the audiences really go for it because if they're
not liking something, you're going to get something completely different,
like coming on afterwards. And it gives people quite a
lot of freedom to do what they want, Whereas when
you get into that thing where it's four stand ups
and an mc there's kind of one expectation from the thing,
and that can be great, which it all can be
quite restricting.
Speaker 1 (10:32):
Yeah. Yeah, there's not a lot of variety units and
sketched live. I think a lot of sketches happening on it.
It's all moved to TikTok and stuff. Yeah, but it's
fun live, isn't it. It's fine when it's good.
Speaker 2 (10:44):
Well, when it's good.
Speaker 1 (10:45):
Yeah. So you've done your stand up hour? You've done
every year or every other year?
Speaker 2 (10:54):
No, every year. I missed one for COVID obviously, but
I did go and do the Fringe when they brought
things back in twenty twenty one.
Speaker 1 (11:01):
The so what number solo show is this? Ten eleven
to sight? I think it might be ten ten? Yeah,
And do you have a system given your work rate?
Do you is it different every year or do you
have like a discipline where it's like September I start
writing themes, like do you have a way of doing it?
Speaker 2 (11:20):
No? So the last one, which is coming out in
the next couple of weeks as a special sorry, that
was the one before last, So that were that took
three years because of COVID. So the first preview of
that was February twenty twenty, right, and then we filmed
it end of June twenty twenty three. So by the
(11:40):
time I was done with that, I was like, but
because of that kind of space, the next one I
wrote and previewed it in three weeks, so.
Speaker 1 (11:50):
I mean, it was great.
Speaker 2 (11:53):
It was it was quite a specific thing because I
did so the last year I did was about Edinburgh,
and it was specifically like answering the quest like why
would an audience be in those basements and why are
we doing because there was all this kind of narrative
around post COVID, like it's really expensive and people are
being boxed out of it, and it is you know,
you can go on a holiday to the Caribbean for
less money than four days being a puncher at the
(12:15):
end of Fringe, so it's like a question worth answering.
So it became this sort of meta thing all about
like why are we in this room which to do
something that's quite specific like that about a thing where
you and the audience are coming to the table with
a huge amount of shared understanding. So there's not a
lot for you as a comic to have to construct
within there because you've all just been outside in the
(12:36):
cobble streets, you've all just been flyed. You are in
this thing, you're going to be up till five o'clock,
you're going to go to lateon Liveler, so everyone knows
the stuff. So landing punchlines is never the trick with comedy.
The comedy is the trick is the setup, isn't it.
It's taking one hundred to a thousand people and unifying
them in forty five seconds so they have all the
information that they require to get that punchline. But I
(12:59):
did need to do any of that last year because
we all knew everything that I was talking about, so
you could do it. It could be quite a rapid
process to put that together, so it.
Speaker 1 (13:07):
Was like a school review.
Speaker 2 (13:09):
It was like, yeah, are you doing so ho, Like, no,
it wouldn't.
Speaker 1 (13:16):
It wouldn't working about it till this show is called
bad for business.
Speaker 2 (13:22):
Yeah, yeah it was. My agent was very annoyed. But
it was quite I mean I've been recommending it to people,
people saying it's like it was an insane thing to do,
which it was, and it was dictated by circumstance rather
than a plan. But I have been saying to people like,
it's quite a good exercise. I probably don't do it
for something as big as Edinburgh, but like a smaller
festival or something. Give yourself two to three weeks, blank
piece of paper and run run for the first preview.
(13:45):
Because it throws up loads of stuff. Because you can't
question yourself, and you end up writing and surprising yourself
and writing in styles and ways you wouldn't necessarily do,
and it's a really interesting exercise to do it.
Speaker 1 (13:58):
Then that's how I do screen. That's my secret is right,
really really fast, first.
Speaker 2 (14:03):
Time dive in, I'm exactly the same.
Speaker 1 (14:05):
Yet it's so quickly done so that your subconscious takes
over and you bring out a load of stuff that
you weren't planning that may be useful.
Speaker 2 (14:12):
And you switch off that thing in your brain, don't
you that you going back and kind of redrafting on
the fly is like you don't know, just just get
in and.
Speaker 1 (14:21):
Yeah, get to the end of the end and then
you're clean up. Yeah, absolutely, Yeah.
Speaker 2 (14:25):
But it's that forward momentum that you have that throws
up stuff and I think being able to trust yourself
that you've got other drafts, Like you just finished writing
a series and someone was asking how many drafts did
a do of each script? It is like probably about
I think the lowest number was six, nighest numbers nine.
But the initial scripts were all written in two days,
like first draft, to push them out in two days
(14:45):
and then just go back and tink your like line
by line, but just getting that thrust of the characters
and everything down. Yeah, it's a yeah, it's a good exercise.
Speaker 1 (14:54):
And what's this new show?
Speaker 2 (14:56):
It is a sitcom for People Radio four. We just
recorded it a couple of weeks ago. It's coming out
in the twenty third of July.
Speaker 1 (15:03):
For six weeks.
Speaker 2 (15:04):
And that's my first sitcom. Thanks man. I was first
pitching it around the time we first met. I think
from the first pitch to the commission was ten years
in a week.
Speaker 1 (15:17):
That's pretty quick. Yeah.
Speaker 2 (15:19):
Yeah, yeah, it's not bad, is it?
Speaker 1 (15:21):
That's not bad? And what's your new Edinburgh aw about?
Garrett Miller? It needs space?
Speaker 2 (15:25):
This one is cooled needs more space. Yeah, so I'm
very interested in the space race. I don't know if
we start talking about films now. I saw Apollo thirteen
when I was twelve, and I absolutely loved it. And
that's one of those films that I can watch again
and again and again. But I love the film, but
it just I knew nothing about this whole world and
the moon race and stuff. And I went home to
(15:45):
talk to my dad about it, and it transpired that
he had been a big space geek when he was
my age, so when he was twelve when they were
actually landing on the Moon and doing all that stuff.
So like he took me up to the Science Museum
thing and that's kind of been a lifelong passion. Actually
have a Lego Satin five on my desk just right.
So I was scrambing around this year because I was
(16:06):
working on the series and I didn't quite know what
the show was going to be about. And Piano Velli,
our mutual friend, turned around to me. I was like, hey, man,
when are you going to do your fucking space show?
And I was like okay. So I was like, yeah, fine,
because in twenty nineteen we were up there and that
was the anniversary of the moon landings. And I think
(16:27):
when the twenty fifth anniversary had been around, I had
an airfix lunar module, and then I could I couldn't
afford the command module. So during Edinburgh and for the
fifty anniversary, I bought the command module I couldn't afford
for the twenty fifth anniversary, and I used to go
back after my show and I was like, I was
making Apollo eleven model if very therapeutic. If anyone's going
(16:48):
to do a long festival. Airfix models are really good
and yeah, and it takes you when people are asking you,
you know, all those cyclical questions about festivals, like how's
it going? Just talk about your airfix model. Yeah, it's great,
it's finished painting the engine bell and yeah, yeah.
Speaker 1 (17:05):
I fuck, Garrett, I've just I've just checked my notes.
I forgot to tell you something. Oh fuck ah ship
Uh I don't know. We have to go back to
be an inn but uh fuck I forgot Well, I
forgot tell you. But I just say it as just
say you've died. Oh that's that's a blow. I had
things to do this evening, right, any idea how it happened? No,
(17:27):
I was going to ask you, do you know?
Speaker 2 (17:29):
I could guess I'd say that there's yeah, there's some
there's some truculent wiring in the kitchen at the moment
I've been meaning to sort out. And if you are lazy,
then these things will will get you.
Speaker 1 (17:39):
So you think you plugged something in and it electricated
you to death.
Speaker 2 (17:42):
I think it probably did.
Speaker 1 (17:43):
Yeah, shame. Do you do you worry about death? I
don't worry about death.
Speaker 2 (17:49):
I quit. I've been ever since lockdown. I've been trading
off vices, so I don't have any I don't have.
I don't drink anymore, and I don't smoke. I quit
smoking when my door was born, and I used to
drink a lot and he'd be fairly unhealthy in terms
of what I ate. And then in this mini person arrived,
it's like I've I've got still that.
Speaker 1 (18:11):
Yeah. Yeah.
Speaker 2 (18:11):
But also I'd never really consider myself as being particularly
old until she was born, and then I was like, oh, yeah,
I'm thirty eight. That's not young, that's very firmly in
middle age. I actually made some jokes about being middle
aged on stage about eighteen months ago in a show,
and it was the most controversial thing that I have
ever said, because people would come up to me after
the show and be like, I'm forty one and I'm
(18:33):
not middle age, and like, no you are. You are
slapbod of the bell curve. It really upset. We well
agreed to disagree, but yeah, I've actually not thought about
death as much as I possibly should have done in
terms of approaching my lifestyle in my twenties and my thirties.
(18:54):
So you know, I've definitely got points on my license.
Speaker 1 (19:00):
What do you What do you think happens when you die?
Speaker 2 (19:03):
I'm not sure about that. I go through periods of
being very spiritual and they're not very spiritual at all.
But actually I'm touching on this in the new show
because all of our atoms remain in the universe, so
there is a there's there's a point of immortality there.
But in terms of what form your conscience takes, I
don't know. You kind of live through your children, don't you.
Speaker 1 (19:22):
You. Oh, so you think when you die you possess
your child.
Speaker 2 (19:26):
No, I think that your your children and the people
you knew and everything that's kind of what you leave behind.
Speaker 1 (19:32):
No, it sounds like what you're saying is you will
you possess your child and you will stay within there
unless we perform an exorcism.
Speaker 2 (19:40):
Well it's entirely possible, but I don't know. I mean,
let's put it down as a maybe. Well, it seems
pretty firm to me. Pretty I actually haven't got any
horror movies on my list.
Speaker 1 (19:50):
Well, we'll be making a documentary about your daughter. Well,
I've got news for you. Actually, aside from the possessed,
there's also heaven and you get to go to it
because you've been a good boy, grand and it's filled
with your favorite things. What's your favorite thing?
Speaker 2 (20:07):
I'm something really smalty, hanging out with my daughter. So
if when.
Speaker 1 (20:12):
She's well, listen, she's going to be in heaven. There's
multiple versions of her, but there's also the versions that
have been possessed by you, so you don't know which
one is your daughter and which ones you.
Speaker 2 (20:23):
In terms of activity, I love sitting down and watching films.
Speaker 1 (20:26):
So if there's also that, well, listen, your daughter is
very happen seeing in heaven and all the versions of very,
including the ones it's possessed by you. And they won't
know about your life, but they won't know about your
life through film. And the first thing that they ask
is what what is the first film you remember seeing?
Speaker 2 (20:40):
Garrett Millery, it's not a good one, Brett, But my
first cinema memory is going being taken to see Star
Trek five.
Speaker 1 (20:49):
Star Trek five, the one with the punk on the bus.
Speaker 2 (20:52):
No, No, that's one of the good ones. That's Star
Trek four.
Speaker 1 (20:55):
That's the one.
Speaker 2 (20:56):
Yeah, it's the whale one.
Speaker 1 (20:57):
No.
Speaker 2 (20:58):
Five is the one that Shatner directed, because he basically
had a contract that said he had to be given
whatever Lendard Nimoy got, and Lendar Nimoy had done quite
a good job directing the other two, so it was
like Shatner's turn and it's a mess?
Speaker 1 (21:12):
Is that the one? Is it called the Final Friend?
Is that the one where they sort of going to
see God or something? Yeah?
Speaker 2 (21:16):
Yeah, that's the one where they're going to see God? Yeah,
and what does God say? I can't remember. I have
got like two flashes. I saw it in Lockdown. I
watched all of the Star Trek films. I don't think
I made it all the way through five because it
is it is a turgid mess.
Speaker 1 (21:32):
It's the Final Frontier because it's death. I mean, I
like the idea of it. I don't remember.
Speaker 2 (21:37):
There's a there's a vulcan in it. Who I think
we're going to get in trouble now because Star Trek
people are like, they're really on it on the internet,
and this is going out on the internet, so they'll
be like emailing you and me being like, you got
it wrong. It's this but it's like a cousin of
Spark or something who thinks he's God.
Speaker 1 (21:51):
Oh yeah, So they don't actually meet God.
Speaker 2 (21:56):
Yeah, yeah, so that was that was the film I'm
remember sing the Cinema, the first film I remember my
mum's friend Anna used to work at the local video shop,
which was the most exciting thing, and she bought me
and I still have it the very first video everyone
is that is a good one, Ghostbusters. I still have
the vhs that I remember Anna bringing it round the
(22:17):
house and being like this thing and I would I
would be really young watching that, and it's still one
of my favorite films. But you know, you go through
kind of phases where you rewatch films and you realize
how much of it you didn't get.
Speaker 1 (22:28):
Yeah, are you an only child? No?
Speaker 2 (22:31):
No, I'm not. No, I've got one sisters two years
on it.
Speaker 1 (22:34):
Did you watch these things together?
Speaker 2 (22:35):
Not really? No. We don't have any shared interests and
never really have.
Speaker 1 (22:39):
So do you like each other?
Speaker 2 (22:42):
Yeah, we we like each other perverctly well, but we
just we're just radically different people, Like we look different.
We've got if you put us in a room with
our parents, you can be like, oh yeah, yeah yeah,
but we're sort of combinations of different things of both
of our parents. But you wouldn't put us in a
room either to look at or to speak to and
be like, those people are related.
Speaker 1 (23:02):
Interesting? Yeah, what's the film that made you cry? The Monster?
You a crier?
Speaker 2 (23:06):
I'm not a crier.
Speaker 1 (23:07):
No.
Speaker 2 (23:08):
I was thinking about this because I have listened to
your podcast before, So what the thing? I definitely more
so since I've been a parent. There are a couple
of films that I noticed a kind of mark difference
in my reaction to them, and I don't know what
that is. Well, the reason for that is but yeah,
I have you ever seen Bobby, the film about Bobby Kennedy.
Speaker 1 (23:29):
In the Yeah, like the sort of.
Speaker 2 (23:32):
Thing in the Ambassada. I really, that's right. Yeah, it's
going and William H. Macy and Christian Slater. It's a
really really good film, so following all these people, and
obviously Bobby Kennedy is not a character in it, but
they play his like at the end of the film.
I cried at that because it's just really well done.
(23:53):
When they haven't being assassinated and as they're taking him
on the gurney out into the ambulance, they play the
speech that he made a few months before when Martin
Luther King was assassinated and it's a speech about violence
and murder and what murder does and how it kind
of impacts people and what happens when you take a
(24:13):
man's life, and just like that speech kind of laid
over the reality of this this real guy who have
quite a lot of admiration for and that really got
me really.
Speaker 1 (24:24):
Powerful directed that he did. Yeah, yeah, that's a good film.
Speaker 2 (24:29):
He's a good film, and it's one of those things
where they it's quite hard. I've got it on DVD,
but it's quite hard to find it on streaming services, which
I've actually I don't know if I'm going to upset
any of your sponsors are indeed you as you have
a very successful program on a streaming service, but I've
recently canceled all of my streaming services because yeah, well
(24:50):
I've got a lot of DVDs and Blu rays and
things because they're very busy, and I realized a lot
of my life now is spent on menus going I
don't know, I don't know. And there's something about the
relationship you have with a film when you when you
go and actually purchase it and you kind of make
the choice, you know, right, I'm going to make that
so like example, like a couple of weeks ago, I
(25:11):
bought Black Hat Michael Mann's the Chris Hemsworth film, which
is not the greatest film in the world, but I'm
a big Michael Man fan, and I wanted to rewatch it.
And there's like a there's a director's cut on there
that's only available in the new Blu ray. So I
was in town and I bought that, and I didn't
have the time to watch it, but I kind of
knew when I have time to watch a film, I've
already made that decision, so I can kind of take
(25:32):
it's a player like, watch it and there would be
no menu nonsense beforehand.
Speaker 1 (25:38):
Yeah, there's a thing. It was in the Empire celebration
of something and they asked a load of people to
talk about the importance of cinema, and Daniel Craig said
this really beautiful thing about sometimes fucking I'm slightly misquoting it,
I'm sure, but he said, for the magic of film
to happen, sometimes you need the ritual to set up
the magic. Are you going to the cinema buying the
(26:00):
sitting down, the curtains open, there's the trailers, there's the
thing there's all this build up and then you're in
the magic. And I think that's true of the like
it is this thing of just click, click, click, you're in.
That's why it's very hard to kind of get lust
in these films, because you go, i'll give it five minutes.
Speaker 2 (26:16):
Yeah, and you're on your phone when you're doing it.
I love this. I love the cinema. And actually, my
daughter there's an every man do this thing called the
Toddler Club where you can take a toddle wrong and
they play like classics at ten o'clock in the morning,
like Toy Story or classic Disney things. You take the
kids along. And she won't at home sit down and
watch a film. She doesn't have the attention span for it.
(26:37):
But she loves going to the cinema with me, so
we go along and she likes the whole thing about it,
Like she she'll get chocolate buttons and have an apple juice,
and she likes sitting in the chair and she's like
she got excited about like the second time we went,
she got excited about the trailers and the adverts, and
I was like, I had a girl is great, yeah, yeah,
and I'm really I was reading a load of articles
(26:58):
recently about the death of cinema, and I watched a
couple of YouTube videos about people talking about the decline
of movie theaters in the States. And I haven't been
to the cinema for a couple of months because I
was working quite a lot, and normally, if I'm on
the road, I go to cinema all the time because
it's a great way of killing an afternoon in Bradford
or whatever. And I went to see the new Mad
Max film on a Saturday night. So I just delivered
(27:22):
some work and I was like, right, OK, I'm got
the cinema mad Maxson, I'll go down there. And it
was the first weekend it was out. I have a
five hundred seater on a Saturday night, and it's a
legit good movie with good stars, and there were three
people in the cinema, and it scared the shit out
of me because I was like, if this goes under,
like if there aren't cinemas anymore, Like that's been such
(27:43):
a huge part of my life and it's such a
thing that I really really love that. You know, when
there was a break in COVID and the cinemas were
just showing old films. It was the first thing I
did was even though I had been watching Telly like
everyone else, I was like, no, I need to go
to the cinema. And that idea of not having that
collective experience to go and watch films with other people,
as you say, in that ritualistic way, I think it
(28:03):
would be absolutely tragedy if that went away.
Speaker 1 (28:05):
Ah, yeah, it would be dreadful. I have no escape,
hing nothing. What is the film that scared you the most?
Do you like being scared?
Speaker 2 (28:18):
I do quite like being scared. I really liked The
Quiet Place, so I actually I got horror films when
I was a teenager. I got really into eighties horror sequels,
but that was more for the comedy of them. I
think there's there's something really great about Psycho three that's
just better than Psycho. But this is actually one of
(28:39):
the films I was talking about the like since becoming
a parent, I rewatched The wicker Man recently, and I'd
seen that many times as a teenager, but it never
scared me. And it scared me like I had this
sense of dread at the end that I'd never had before,
when they're like marking him up and dragging him off
to put him in the wicker Man, and they're all
just so like singing are in their focus and purpose.
(29:02):
I'd always approach that, and I guess quite a detached,
matter of fact way, like they're going to burn him now,
And I just I had a real connection with it.
I had not seen it for about fifteen years, and
I had a real connection with it, and it really
shited me up. I was afterwards to be like, h
So that was.
Speaker 1 (29:22):
Yeah, that was quite scary. That's a good one. I
fucking love a quiet place as well, a brilliant idea.
Speaker 2 (29:27):
It was great. It had everything in it. It had
the jump scares and then also you know, eerie, dread
and really good character start. I just thought that was fantastic.
Speaker 1 (29:36):
Yeah. What is the film that people don't like? Critics
definitely don't like, but you like it very very much
no matter what anyone says to you about it.
Speaker 2 (29:47):
Okay, Yeah, Well the film that most people when I
tell them I'm a huge fan of it, people go, really,
it's beavers and butt heead do America is one of
my favorite films. Good film, It's a cracker. But I
think there's a whole generation of people who don't know
how good Beabs and butt Head is and because it's
kind of entry point, it is, you know, the two
guys in the laughing and whatnot that they didn't see,
(30:09):
like Mike Judge is the greatest social commentator, that he's
so fantastic. And I remember going to see that in
the cinema and I don't think I've ever laughed so much,
like i'd like proper like couldn't breathe laughing, like right
from the right from the get go, and I just
I love, I love that film so much. And they
brought they brought people and buttead back recently.
Speaker 1 (30:31):
And yeah, it was that I didn't see that one.
Speaker 2 (30:33):
Incredible, absolutely incredible. So they did a movie which is
all on his on Paramount Plus. So they did a
movie basically to explain why Beabs and butt Head aren't
in the nineties anymore and they're in twenty twenty four.
And it's great. And again, like I've not laughed. There
are pieces of that movie Beabs and but had walk
on to a college campus in the middle and have
white privilege explained to them, and it's one of the
(30:55):
funniest things I've ever seen. And then he did a series.
I think he did two series. And obviously in the
nineties they used to commentate on music videos, but now
they commentate on tiktoks and Instagram reels and it's so good.
But I know, I just I'm such a huge fan
of Mike Judge. I love all of his stuff, Like
(31:15):
Office Space is an incredible movie. King of the Hill
is my favorite sitcom of all time.
Speaker 1 (31:20):
Just is it?
Speaker 2 (31:21):
And nobody writes ensembles quite like Mike Judge, Like all
his stuff is really good ensemble, like King of the
Hill is an absolute masterpiece, and Silicon Valley was a
brilliant ensemble. Office Space is really good. I really like extracts.
I just really like the way he writes, and Beavers
and butt Head is the original. I saw a podcast
(31:42):
interview when we were saying for years he wanted to
do more because it was his favorite thing. But it
was the first thing that he did, but he didn't
control the rights to it because he had to sign
them away in his twenties and whatnot. And they kept
coming back to him saying make more, and he was like, no,
I can't, because you know, I'm a stage in my
career now. I'm not working under those terms and events.
They were like, okay, you can have all the rights back.
So now it comes up and it's Mike Judges Beavers
(32:04):
and butt Head, not MTV's Bevers and butt Head, and
so he was like, cool and make a movie and
two series and so it's just like that little barrier
was gone so he could get back to it and
just go, yeah, this is fantastic. It's really really great.
Speaker 1 (32:18):
What do you think, as someone who does a lot
of comedy and understands how it works, how is it
that he and I haven't seen it, has avoided the
pitfalls of a classic show coming back and not being shit.
What's he done with Mudern, Beabs and butt Head that
makes it? As?
Speaker 2 (32:34):
I think he's looked at all of the things. I
mean that example of the music videos now being tiktoks
and MTV programs. He's actually looked at kind of what
kids like Beavers and butt Head look at in America now,
and he's not he's taking what was good about it
in the nineties was that commentary aspect, and they're dynamic
and everything, and he's not trying to make a nineties show.
(32:56):
He's just taken those characters even the film, like they
literally have they go through all wormhole from the nineties
to twenty twenty two or whatever it is, and they're like, bang,
they're here now, and then they're just reacting to what's
around us now, so in a way, and they were
doing that in the nineties about nineties America and now
they're doing it in twenty twenty four about today, and
it's yeah, he's not trying to It doesn't feel like
(33:19):
a nostalgia thing.
Speaker 1 (33:20):
Great, Great, what is the film that you used to love?
You loved it, but then you've watched it recently and
you've got out, No, I don't like this anymore. Perhaps
you've changed, or perhaps the film has Okay, this is
it's quite.
Speaker 2 (33:33):
This is a lot to be doing this on a podcast,
And I realized I could get canceled for it, because
I am this is actually not one of the films
written on my list. But it's a specific question you've asked,
So we're going to get into this bread. At Christmas,
I was talking to my nephew who's nine, and he
was saying that all of the kids in his class
have seen Star Wars and he hasn't seen Star Wars.
(33:55):
So I was like, I'm going to show you Star
Wars because it's not something my sister would have access
to or be interested in showing him. So I was like,
don't worry, uncle, Garrett's gonna shay Star Wars. So we
sat down to watch Star Wars and he so wasn't
into it and got bored about an hour into it
and walked out. And I text a friend of mine
and was like, I'm watching it now with this disinterested
(34:18):
kid and like, tell me this mate, is it bollocks though?
And he got so upset and he was like, what
are you talking about it? I was like, well, no,
you know it is. It's pretty ropie. You know, it's
a nineteen seventies kids film, and there's like like Alec
Guinness is clearly quite bored. Mark Hamill can't really act like.
(34:41):
There's stuff about the Droids and the Aliens, which you
could say is a little like on the nose homophobic,
and I was just looking at going, I know, this
has been ubictuous part of everyone's life and culture for
so long, but actually stepping back from it with the
raw disinterest of a nine year old being presented it
for the first time, like, is it actually shit?
Speaker 1 (35:01):
What I do know is there's definitely a boring bit
where they're walking in the desert phrases.
Speaker 2 (35:06):
Yeah, there's lots of it. That's particularly the Yeah, the
first one. You sort of go, is this just something
that because I'm not a big fan of the new
Star Wars, like I watched them up to a point,
but I find it very difficult to muster any enthusiasm
because it's just too much now, Like there's just too much.
And Star Wars used to be like quite a special thing,
Like I remember being shown it as a kid by
(35:28):
an older cousin at Christmas and there were three of
them and that was enough, and then whatever, twenty years
later you got another three, quite spaced out, and now
it's a new series every single week and it's not
special anymore.
Speaker 1 (35:42):
But yeah, I was just.
Speaker 2 (35:45):
I looked at the first one again and I thought,
maybe I've been wrong about this, maybe this is rubbish.
But the reaction I got on WhatsApp from friends when
I positive this theory was extreme, Like my mate was
just like this isn't He was like, are you doing
a bit? I was like, no, I'm not, and he
was like this isn't funny. It's like, it's like, it's Christmas,
I'm with my family.
Speaker 1 (36:05):
What are you doing really funny? That's really funny? Yeah,
well i'd like to see that. What's happened? Furiated man,
absolutely furious.
Speaker 2 (36:15):
I did it a couple of years ago at the
Alternative Comedy Memorial Society at Christmas, just after Episode seven
came out, and I showed it to their Christmas show.
And this was I think four or five days after
episode seven come out, and someone said, what are you
going to do? So, just for the listeners, ACMs is
the Alternative Comedy Memorial Society and you do kind of
a left field set, usually something you kind of make
(36:38):
up that's not like stand up whatever. So I was
trying to come up with an idea of what to do,
and I thought I've got it because there was a
brass band on stage because it was Christmas. So I
got them up. And ACMs has permitted heckles that the
audience are allowed to say. There are certain heckles that
are allowed to so I said during my set, there
are only two permitted heckles, and I told them that
what I was going to do to the sound of
a brass band playing the Star Wars theme. I was
(36:59):
going to ruin in the plot of episode seven, and
the two permitted heckles were don't ruin Star Wars and
naw fuck them, and the place went nuts. People were screaming,
walking out, like don't run stars not staying there.
Speaker 1 (37:12):
So what happens?
Speaker 2 (37:13):
I got about three minutes through it, and I was
going to cause a riot, and then I was a
meeting the next day. I can't remember. It was a
hat trick or something, and this guy came into the
conference room was like, I was at acums last night.
That wasn't cool.
Speaker 1 (37:32):
Wow, you're an agent of chaos. Yeah.
Speaker 2 (37:36):
I just thought it was quite a silly thing. But
and I thought, well, it's been a week. Most people
who want to see it would have seen it. But
people can't.
Speaker 1 (37:43):
No, what is the film that means the most to you?
Not necessarily the film itself is any good, but the
experience you had around seeing it will always make it
special to you.
Speaker 2 (37:55):
Garrett Melyric Stone cold classic. There's nothing particularly left field
about this choice. The Godfather. I watched The Godfather again
with a friend of mine who had last weekend. He
just got out of hospital because he was recovering from
appendicitis and his wife was away, so I went around
to look after him and he just got The Godfather
in four K. So we're like, and I've not seen
it for ages, and it's just so amazing. But I
(38:19):
saw that film for the first time. I would have
been about eleven, and I was sick off school. I
had a cold, and so did my dad and he
was off work and he had taped it off the
telly a couple of nights before, so we sat down
for an afternoon and we watched it. And I can
still remember where the ad breaks were in it, this
ICV like four x three fuzzy thing, The Godfather, and
(38:41):
it was when the film finished, I felt like nourished
in a like it was really meaty and satisfying. And
I had not seen a film like that before, and
I had not sort of experienced that, because I was
still quite young, that you just sit down for sort
of three hours and just be completely sucked into something.
And I always, yeah, I always remember that experience, and
now I really like films like that, like films that
(39:02):
will kind of grab you and you can chew on
them a bit.
Speaker 1 (39:05):
It's very nice, Garrett, that's very nice. What's the film
it most relate to.
Speaker 2 (39:10):
That's a tough one. I like Twenty four Hour Party People,
which again I watched recently. Is that you I don't
know a bit of I think I'd like it to
be me. I'd like to be more like Tony Wilson
than I am. But I really like music and I
like going to gigs, and I don't think that the
excitement of live music has ever been captured quite as
(39:32):
well as Michael Winterbotten captured it in that film. And
it's really it's really like, it's a great story and
it's really funny, and it's not a film that enough
people have seen.
Speaker 1 (39:43):
That's a really good chat. You know what. I would
say it, and I stand by it. I think A
Star is Born Bradley goovis Star is Born does live
concert really well impressively. Well, I think have you seen it?
Speaker 2 (39:56):
I have not seen it.
Speaker 1 (39:57):
It's very hard to do live music and make it
feel electric like it does when you're there. I really
think he pulls it off in A Star is Born.
It's really impressive. Have a look at that. Tell me
what you think.
Speaker 2 (40:07):
Okay, I'll have a look at that I just realized
the thing that wind SPOTSM does and you get like
lots of kind of different formats in the gig, So
you've got kind of black and white like scrumming around
in the crowd and then very kind of frenetic on stage,
and it does that kind of energy of people like
throwing pints and stuff, and you kind of feel like
you're there in those little punk clubs. Yeah, I think
he did it really well because, as you point out,
(40:28):
in most films when they like go clubbing or go
to fair live music, it's terrible. It's it's really really
bad when they do it in things like Neighbors and
there's like four extras in a nightclub. This is awful,
And you go, most Hollywood films with a budget don't
do any better than this and.
Speaker 1 (40:45):
Communicating it's true. It's so hard to pull off the
I think it's hard to pull off the sound of it.
And I don't know, it's very hard to do it,
and you do need a lot of extras. What is
objectively the greatest film of all time, maybe not your favorite,
but the best one. Oh sorry, that's very easy.
Speaker 2 (41:03):
I've done a routine about this top Gun because Top
Gun knows exactly what it is, and it executes it perfectly.
It sets it still out at the beginning and says
this is what I am, and then all the way
through just nails it on every single beat. It's like,
this is what you told you we were going to get,
This is what we set out to make, this is
what we're delivering. There's no point where Tony Scott deviates
(41:27):
at any point from that. It's perfect. There's a really
good story about Val Kilmer having an argument with him
on an aircraft carrier about doing that final like you
can be my wingman any time, like bullshit, you can
be mine, and having this huge conversation with him that
character and guy, I don't think my character would say this,
and whatnot, and Tony's gott just looking him dead in
the eye and saying values seem to be utterly confused
(41:49):
about the type of film we're making here. Oh wow, no, no, no,
do what I.
Speaker 1 (41:57):
Trust me is gonna be? Yeah? Yeah, What do you
make of topbout Marrick? I think that's even more.
Speaker 2 (42:04):
I loved it. I thought it was absolutely like that
that sort of made up when you're talking about how
do you bring things back and get that nostalgia thing
without Yeah, they've done so many examples of that being
done badly. And Tom Cruisers came out and went, yep,
this is how you do it.
Speaker 1 (42:21):
And it was.
Speaker 2 (42:21):
It was so good and it was all of the
aerial combat scenes. And I saw it once in the
cinema and my friend he was with me, said it
was really enjoyable watching it with me because when they
started the original music at the beginning and then Don
Simpson's credit came up, I just punched the air and
it's Yeah, it delivered it. That really really delivered. I
(42:45):
thought it was fantastic. And then I went back to
see it like three days later on the Imax.
Speaker 1 (42:49):
Oh fuck, it's great at the IX.
Speaker 2 (42:51):
Yeah, incredible. Yeah, Tom Cruise knows what he's doing.
Speaker 1 (42:55):
He really does. He really does seem to know what
he's doing. But I guess the next question is, and
the one really we're all here for, what's the sexiest
film you've ever seen?
Speaker 2 (43:04):
Well, it would be twenty four hour party people, wouldn't
it to all those gigs?
Speaker 1 (43:09):
I don't know.
Speaker 2 (43:10):
I've not really watched it, not really watched that many
blue movies.
Speaker 1 (43:13):
I find that very hard to believe. And that's not
an indication of what I think of you, just as
it's just as a human on this planet, I find
out hard to believe.
Speaker 2 (43:22):
Have you ever seen The Secretary with James Spader and
Maddie Gillel Hall. Yes, yeah, Yeah, that was a great
film that came out when I was when I was
at university and everyone was very very keen on that.
There's a lot of sex in that.
Speaker 1 (43:37):
Yeah, that's a very sexy film. Yeah, Garrett, if you
struggled with that question, you're going to fucking hate the
Selb category. Traveling boner is worrying. Why don't a film
about arousing that you weren't sure you should sounds like
any film.
Speaker 2 (43:53):
Apollo thirteen, I've got a that's a good answer. It's
all about the rockets, mate, Yeah, definitely. And come and
see my new show about the Space.
Speaker 1 (44:03):
Race and the Space Race and my traveling bonut. Yeah, okay, okay, great.
What is the film you could or have watched the
most over and over again.
Speaker 2 (44:14):
I've got into the last couple of years watching The Martian.
Oh yeah, because it's one of those things I travel
a lot, and it's a film that's just I downloaded
it on my iPad whenever it came out, and it's
just there, and it's one of film I just don't
delete it. And if I'm in a in a shit
hotel somewhere and I just want to watch something, I
(44:35):
will just go back to The Martian. And it has
never bored me. So I think I've probably seen that
about twenty times. I really like space Travel, and I
really like Matt Damon, and it's beautifully maybe it shot
quite cool little story. There's nothing particularly taxing about it. Yeah,
you know, it's this is not is not to do
the movie down. But I can enjoy it without having
(44:57):
to pay a huge amount of attention to it.
Speaker 1 (44:59):
Yeah. It's a very easy watch. It's easy entertainment. Yeah,
and it is about it's quite satisfic. It's all problem
solving in it. It's just problem solving on Mars. Yeah,
it's great. Two hours of problems solving on Mars. Yeah.
Speaker 2 (45:11):
There's a couple of years ago down at the Greenwich
Observatory there was a photo exhibition of photos from space
exploration and they had a one of the pictures from
the Mars Lander, like a panorama, but they've blown it
up to a life sized panorama and there was just
a bench that you could just sit on and look
at this high definition panorama of Mars and I sat
in it for fucking hours. It's just like, this is great.
Speaker 1 (45:35):
Have you been to that Tom Hank's Moon thing.
Speaker 2 (45:39):
I have been to the Tom Hanks Moon thing.
Speaker 1 (45:41):
Yeah, was it amazing?
Speaker 2 (45:42):
It was okay, but there was a lot of kind
of documentary stuff in there that was really sort of
light source. And then you got to the end where
they showed you the panoramic pictures, but there wasn't enough
of that, but I understand why. But it was like
forty minutes of a story I already knew, with some
stuff I'd already seen in the format, already seen it
in and then a couple of couple of minutes at
(46:03):
the end with some really mind blowing stuff, and as advertised,
I was like, oh, I wanted a whole Well, there
are better films about the moon landings, Like there's al
Reinhartz film for All Mankind and if you've ever seen that,
that's a phenomenal film came out in nineteen eighty nine.
I think it was definitely nominator. I can't remember it
won the Oscar, but he went and interviewed all of
(46:26):
the astronauts who did the trip to the Moon, and
because of budget constraints and people weren't interested at the time, particularly,
he couldn't raise the money to film them while interviewing them,
so they just audio interviews. And then he went back
to and scanned all of the footage that they brought
back from the NASA vaults, and he made like a
collage of all of the missions, so it's not like
(46:47):
one mission at a time, it's a collage of all
of them together at the various stages of the mission,
and it's Brian Eno wrote a soundtrack for it, and
then he cuts up all the interviews as an audio
thing over the top. You've just got the asterists narrating
about different experiences and it doesn't tell you who's speaking
or whatever. It's just so it's kind of all of
them together with all of the footage presented as one film,
(47:11):
and it's utterly mesmerizing. It's really something else, and if
you wanted to do like that would be a really
good film to go and watch. But because they had
the full surround thing in that in the Tom Hanks one,
I was expecting them to utilize it a bit more,
where they utilized it a bit at the end, but
the rest of it was kind of a quiet secondary
school documentary about going to the Moon, and there were
(47:34):
way better documentaries about going to the moon.
Speaker 1 (47:36):
Wow. So objectively, the best film you've ever seen? What?
What's the worst film you've ever seen?
Speaker 2 (47:43):
So when I first moved to London when I left university,
I moved in with my friend Oscar, who big film enthusiastic.
Oscar and him and his friend Ed were on a
mission but this is back in two thousand and four,
to get hold of the hundred worst films on the
one hundred films on IMDb, which was quite a challenge.
(48:04):
And Ed used to come round to our flat with
DVDs of the latest one he had found and we
would watch them. And the worst film I've ever seen
is a Turkish remake of Star Wars. So's you can
find us online is search of Turkish Star Wars. It
is absolutely insane. I got a bit motion sick because
(48:27):
the editing is so bad. So you'll like have a
fight scene where a guy swings a punch, so it's
like swing the punch and then it'll cut to the
close up and then the punch will swing again in
the close up. So it does that a lot and
it makes you feel ill after a while. But the
whole thing is it's just got pirated special effects footage
from Star Wars. So you'll have these two guys sat
(48:49):
on a chair holding like an Atari controller, wearing spray
painted American football helmets, and they'll go that was a
very good battle. Yes we prevailed aha, And then behind them,
projected on the wall will be like a Star Destroyer
and then it'll just cut to an X Wing and
it was just predicted. And then for no reason during
the during the fight scenes, just random bits of the
(49:10):
soundtrack from Indiana Jones plays right, and it's quite fantastically awful.
But there are I mean, there's such a wealth. I mean,
presume you've been to the can Film Festival, right, I have,
many many years ago. Yes, Yeah, when you go into
that market thing down in the bottom, Yeah, where everyone's
selling their wares and you realize just how many films
(49:30):
are made that you will never see.
Speaker 1 (49:32):
It's fascinating. Yeah, there's there's like I remember seeing a
poster for like Centipede eight and the other seven really
pass me by. That's fascinating. It's that big a franchise.
Speaker 2 (49:44):
Yeah, there will be so many bad films in the world,
but Turkey Star Wars has got has got to be
up there. But I remember back then it was quite
difficult for them to get hold of these movies that
weren't rips from that program Mystery Science Theater where the
three guys watching, like you could get the bad movies
with them comsaying over but actually like a raw thing
in the movie was quite difficult to track down. But yeah,
(50:04):
you had this hateful case logic of DVDs of the
worst films of all time used to bring soul Plane
I think was another one that was particularly awful. But
you know, it's just like, let's watch the worst films
ever made. Yeah, that'll be fun. And you get to
a couple of them and you're like, ah, is Ed
coming around again? I want to feel.
Speaker 1 (50:24):
You have to be friends with Ed? Yeah? That friendships waning,
isn't it. You may not say about I say you're
in comedy, you're very funny. What's the film that made
you laugh the most? Have you ever heard a film
called Series seven? The Contenders? Yes?
Speaker 2 (50:39):
Yeah, it's like a reality TV spoof and it came out.
It's got the lead actress in it is the same
woman from who is the victim in Silence of the Lambs.
The woman who's in the in the the Rubbed Slosh
Night Skin's her and she's great in it. I actually
haven't seen it since I saw it the first time,
but it came out in the same day as Pearl
(51:01):
Harbor back in two thousand and one, and I went
with some mates to watch Pearl Harbor, which is obviously
a dreadful film, and I had read an article about
Series seven in Empire, I think, and I convinced everyone
after Pearl Harbor that we should go and see another film,
and we went to see that, and like right from
the get go, it's a reality TV spoof where basically
(51:24):
a reality TV show where there's seven people in America
in two thousand and one who will have a gun
and they have to kill the other six to win
the series and then the prizes they get into like
the next series. So it starts off with just a
guide buying groceries in a grocery shop and a pregnant
woman just walks in and shoots him. In the head
(51:46):
and like nobody because everyone's like, oh, it's The Contenders,
And then it comes in this massive it's a it's
a satire on reality TV, but the whole thing comes
in and goes next up on series seven, The Contenderers,
and it's all like that all the way through, And
from about two minutes in. I was howling all the
way through that film. I just thought it was so funny.
And I don't know, I haven't you know, as a
(52:07):
forty year old man gone back and reappraised it. That
might have been the fact that I was a nihilistic
seventeen year old and it really appealed.
Speaker 1 (52:13):
To me, or I might have you just got through
Pearl Harbor. Yeah, I got through Pearl.
Speaker 2 (52:18):
Harbor and was dragging all the people who dragged me
to see Pearl Harbor to see this thing and that
a field. But yeah, god, it made me laugh. It
was It was very, very funny. I don't remember laughing
that much in anything in the cinema since.
Speaker 1 (52:31):
Was a surprising answer that's never come up before.
Speaker 2 (52:34):
Well, I've gone with really sort of boring, like what's
an important film? The Godfather?
Speaker 1 (52:38):
I excite your listeners. Yeah, oh, Garrett Millrick, you've been
a brilliant guest. I'm very grateful for you for doing
this podcast.
Speaker 2 (52:49):
However, however, when.
Speaker 1 (52:51):
You went to plug something in, you wanted to recharge
your phone, and you've got some bad wirring in that kitchen.
Then you know you, yeah, you know you have. But
you've been lazy, haven't you. You've been distracted and you
should have looked at it. Anyway, you plugged, you plug
it in, you get electrocuted by three billion vaults because
(53:13):
under the because you also had damp, and under it
there was an electric heel and as you plugged it in,
the electric heel bumped up the electricity and you were
hit by three billion vaults and your brain exploded, and
your hair stood up on end, and your skin was charred,
and you fell to the floor, and your spirit jumped
(53:35):
out of your body and went and found your daughter
and then possessed her. Now she's on her way to
Edinburgh to do Garrett needs needs more space. Anyway, I'm
walking around with a coff and you know what I'm like,
And I knock on the door like I Garret, you
in mate, no san, and i I'll go fuck. I
didn't what about that wiring And I can smell smoke anyway,
(53:57):
smashed out the door I get in there. You're a messmate.
You're fucking like charcoal. I'm like, I can use him
for a barbecue, iven bury him, so crack you up
into lots of pieces. The stuff you in the coffin.
There's more of you than I thought. There's no room
in this coffin with order charcot. There's only enough room
in the charcoal for me to slip one DVD into
the side for you to take across to the other side.
And on the other side it's movie night every night.
(54:18):
What film are you taking to the people of heaven,
who are mostly made up of versions of your daughter,
including you possessed by your daughter, to show them when
it is your movie night.
Speaker 2 (54:27):
It would have to be Casablanca, because I have owned
probably three copies of Casablanca over the course of the
last twenty years, on varying formats, and have yet to
watch it. I've heard, I've heard, I just never. You know,
you just haven't got to the point to get around
to it in heaven. So now it's become a thing
that I'll leave it till I die.
Speaker 1 (54:48):
That's a great idea. They'll love it. That's great, They'll
fucking love it. That's a great idea, Garrett. What are
people to look out for and to listen to you
in the coming months?
Speaker 2 (54:58):
So you can find me on Instagram and x formerly
Twitter at Milleric Comedy. I've got a radio sitcom about
the charity industry with fantastic casts called do Gooders that's
coming out the end of July for six weeks and
I think it will be on BBC, Sounds and all
of those platforms. I've got a new special coming out
(55:19):
from the Great People at eight hundred pound Gorilla Records
in July August, and then Yeah, Needs More Space will
be at the end of Refringe all of August and
then on a national tour afterwards and then the Leicester
Square Theater in London next February, and then I'll be
writing something else.
Speaker 1 (55:35):
Will you have pictures in your Needs More Space show?
Or is it just you?
Speaker 2 (55:38):
It's just me and Mike. Oh, it'll just have to
be a bit described. Yeah, describing you know, budget, you know,
budget constraint. So no, I'm not I don't like projectors
and things in stand up shows. I think you have
to kind of go like Dave Gorman esque. It has
to be really kind of built into the DNA of it.
And that's not that's not kind of what I do.
So it's just me and and words. But you know,
(55:59):
there are great there's so many great Instagram accounts you
can follow for beautiful space pictures. And I recommend that
you do good for the.
Speaker 1 (56:07):
Song sounds like you should see your show and then
go and look up a lot of stuff.
Speaker 2 (56:10):
Oh, there'll be I might. Maybe that's why I should do.
I should put a QR code on the way out
for like you can go and like go and get
a drink and just get this on your phone and
stick it in your face after the show's that's all right.
Speaker 1 (56:23):
It's a good idea. Garrett, you are a joy. Thank
you so much for doing this. Good luck in Edinburgh. Oh,
thank you very much. Man.
Speaker 2 (56:31):
I'm a big fan of the podcast and yeah, an
incredible illustrious list of guests to uh to be a
part of.
Speaker 1 (56:38):
So thank you very much for having me on.
Speaker 2 (56:39):
It's been a real treat.
Speaker 1 (56:40):
Thank you very much. Have a very nice death. Good night.
So that was episode three hundred and seven. Head over
to the Patreon at Patreon dot com. Forward slash Brett
Goldstein for the extra secret chat and videos with mister
Garrett Millerck. Go to Apple Podcasts give us a five
style rating. But right about the film that means the
most to you and why my name? He loves reading it.
(57:00):
It makes her cry and it's a lovely thing. Thank
you very much. Thank you everyone for listening. Thank you
to Garrett for giving me his time. Thanks to Scruby's
pipping the distraction pieces of Network. Thanks to Buddy Peace
for producing it. Thanks to iHeartMedia and Will Faraoh's Big
money players Network reaching them for the graphics at least
a light them for the photography. Come and join me
next week for another excellent guest. But in the meantime,
I hope you're all well, have a lovely week, and
(57:22):
please now more than ever, be excellent to each other.
(58:02):
Six
Look here is shu only films to be buried with. Hello,
and welcome to Films to be buried with. My name
is Brett Goldstein. I'm a comedian and actor, a writer
director at a quiet place, and I love films. As
(00:22):
Andy Warhol once said, Land really is the best art
except for films and novels. Man, I shouldn't really be competitive.
Land is great, but I love films. Oh, I shouldn't
have started this. I've confused myself. Yeah, it is tricky, Andy,
It is tricky. Every week I invite a special guest over.
I tell them they've died. Then I get them to
discuss their life through the films that meant the most
(00:43):
of them. Previous guests include Barry Jenkins, Amber Ruffi, Mark Frost,
Sharon Stone, and even Dead Bambles. But this week it
is the excellent comic mister Garrett Millrick. Head over to
the Patreontpatreon dot com forward slash Brett Goldstein, where you
get about twenty minutes extra stuff with Garrett, including a secret.
You also get the whole episode, uncut, ad free and
as a video. Check it out over at patreon dot
com forward slash Brett Goldstein Garrett Millrick is a brilliant comedian.
(01:06):
He's about to head to Edinburgh with his six thousandth show.
Garrett Millrick needs more space. He's a prolific and brilliant comic.
He also has his own sitcom Do good As coming
out in audible soon. Check him out in Edinburgh in August.
We recorded this on Zoom a couple of weeks ago.
It was lovely to catch up with him and I
think you're really going to enjoy it. So that is
it for now. I very much hope you enjoy this
(01:27):
episode three hundred and seven of this Films to be
Buried with. Hello, and welcome to Films to be Buried with.
It is I Brett Goldstein and I am joined today
(01:48):
by an actor, a radio star, a TV star, a podcaster,
a writer, an Edinburgh fringe smash hit year after year,
a husband, a no not a husband, and good that
we checked, a man about town and a father and
(02:12):
a very lovely man and one of the great comedians.
He's here. Can you believe it? I can. I'm looking
at him and if you are on the video you'll
be seeing into Please welcme to the show. He's alive
and well, and he's here. It's Gary Millery.
Speaker 2 (02:27):
Hey, thanks for having.
Speaker 1 (02:28):
Brett, thanks for being here. How are you.
Speaker 2 (02:31):
That's all right, that's all I am. We were just
saying we haven't seen each other very long time. I
was married the last time we saw each other.
Speaker 1 (02:37):
It's really it has been a while since I saw you.
You've had a baby and and a divorce. Divorce, yeah,
one would guess, piece together. Yeah, mate, how's all that?
If I may ask? Obviously, don't tell me anything too
personal unless you want to.
Speaker 2 (02:59):
Yeah, I've got so Yeah, I've got three year old daughter.
She's she is excellent. So I pick her up from
nursery in a bit.
Speaker 1 (03:06):
So that's so nice. Yeah, nice that you have a baby. Now,
for those of you listening, Garrett is a very very
good comedian. And I first met Garrett. You're one of
the few people I know who like I knew you
from when you started and you had this gig? Is
this right? And you invited me to come to your gig.
Yeah yeah, And you were like I'm seeing it was
like a gig for you and other actsp butts. It
(03:28):
was clearly for you to like.
Speaker 2 (03:29):
Get that's the one. Yeah, it was. Yeah, the shod
and for Decabaret in North Yeah.
Speaker 1 (03:35):
And it was a fucking great gig. It was a
great gig, and you were really great and now you're
a big star and I'm very happy to see it. Yeah.
Speaker 2 (03:43):
I mean, you know, we met each other in basements
in London and you are an Emmy winner for a
legit movie star.
Speaker 1 (03:55):
Now, enough about me and all and all the bloody ellies,
tell me about I'm just taking this Andy stuff. Excuse me?
You're doing a new Edinburgh show? Is this correct?
Speaker 2 (04:06):
I am doing a new Edinburgh show? Yeah, once more
under the breach.
Speaker 1 (04:09):
What number is this?
Speaker 2 (04:10):
Well? I've actually been going to the Edinburgh Fringe for
twenty two years because I I think you and I
had a sort of similar entry into Edinburgh. I started
doing plays up there and I listened to your podcast
with William H. Macy and you were like David Mammett
and I too.
Speaker 1 (04:26):
Yeah.
Speaker 2 (04:27):
I did a load of mammet stuff.
Speaker 1 (04:28):
Did you Which else did you do?
Speaker 2 (04:30):
A Life in the Theater and Oliana? I directed both
of those in Edinburgh years before I was.
Speaker 1 (04:35):
A stand up wow, and you were in them or
you did director?
Speaker 2 (04:38):
I directed them. Yeah, So I did a little bit
of acting at university and then the plan was to
be a theater director and I've got to stand up
by accident. So how did that happen? Well, basically, I
was I got to a point probably just before we met,
where I had been directing lots of weird stuff that
was very much away from what I wanted to be doing,
and the idea was like doing a bit of stand
(04:59):
up and perform was just to kind of re engage
with an audience because you know, to make plays and
things you have to marshal resources and apply for funding
and stuff. So I'd been doing all that, but then
I ended up doing lots of weird stuff like directing
music videos for city traders who were using their bonuses
to try and make hip hop albums, and documentaries about
(05:21):
things I wasn't interested in, but anything that would just
you know, pay a little bit of money. So I yeah,
I started doing stand up just as an experiment because
there was it was very cheap. You don't have to
marshal any resources any stand up You can literally just
write something and go on and do it. So that
was that would have been probably about a year before
before we met.
Speaker 1 (05:40):
But where did it come from if you've been so
in the world of plays and stuff and corporate hip
hop videos, were you like secretly really into comedy, Like I've.
Speaker 2 (05:51):
Always been really into comedy, So yeah, that was kind
of one of the mainly interesting things. And when I
was at the Fringe, Oldoras watch a lot of stand
up and I was very into sketch and sit comms
and things as so I was growing up. So yeah,
it was kind of a it was there, and then
it just it was Actually it was Stuart Lee's book
that I was reading when I was directing a plane
in Edinburgh and he's talking. He was talking in the
(06:11):
book about the frustrations of commercial directing and and then
there's a point where he goes back to stand up
after a break and he said, with stand up, it's
just you and a microphone and the possibilities at infinite
And I thought, oh, that's a good idea. And had
I had a friend who she was just out of
drama school, so I didn't really know what you do.
But coming from the theater, well, I just book the
Hending Chickens for two nights and called Michelle up on
(06:32):
was like, I booked just an hour to do so we.
Speaker 1 (06:35):
He went straight through, it went straight straight to an hour.
Speaker 2 (06:38):
Yeah, well we did sort of twenty minutes solo each
twenty minutes together. What to make up there? It was
your together, so we did, we did sketches. Yeah, and
all of it wasn't stand up that I was doing.
It was it was kind of character stuff. So I
then got into stand up having done character stuff for
about a year and a half, I went into stand
up just through MCing, like because that night I ran,
(06:59):
if you remember, it was a variety night, so it
had stand up in music and sketch and all that
sort of stuff, because that's kind of stuff I like.
So yeah, it was all kind of a happy accident.
Speaker 1 (07:08):
Really. Two things. One is, there's the thing strictly says
in that book which I think about often, where he
talks about that most plays and theater practitioners are trying
to do that, often trying to do a thing like
pierce the fourth wall and go straight to a connection
with the audience. And he says that, like he realized
(07:29):
even the most hacky of stand ups are doing the
thing in a much more direct way than everyone's trying
to do in plays.
Speaker 2 (07:37):
Yeah, that's really interesting. I always thought there's such a
kind of great relationship between stand up and film and
theater and all this, because they're just different toolkits for
doing the same thing. You've got a group of people
and you're trying to entertain them, so the objective is
the same, but like the tools that you've got to
do it in your box are different, and stand ups
quite a you know, direct, because it's it's just you.
Speaker 1 (07:59):
Yeah, I wonder with stand up sometimes I don't know
if this is true, but I think I've definitely done it.
I've done a couple of shows, like Edinburgh stand up shows,
where like in my second show, I did a kind
of thing where the very end of the show, which
felt like a very happy ending, was this bit at
the very end, but if you've been following the sort
(08:19):
of chronology of what I was telling you, it was
actually a really sad ending. But what I had told
you was the middle right. So people kind of left
happy like, oh that was nice, and then if they
thought about it, they were like, oh, hang on a minute.
But I don't think anyone ever figured that out, because
I think people watch stand up in a different way.
They don't watch it like they would watch a player
of film stand ups like present Present, Present Present, and.
Speaker 2 (08:41):
It's a confidence trick. It's just look at the card,
Look at the card, Look at the card, Look at
the card. Yeah, all the time. So you can try
to pull that off without people necessarily spotting what you're
putting in, whereas sometimes in theater, like you erect a
neon sign over it to go. This is the point.
Speaker 1 (08:57):
Yeah, that's very interesting. Oh and then the other thing
I was going to ask you, given that you started
and you were making variety shows, do you only do
straight stand up now?
Speaker 2 (09:08):
I do only do this straight stand up, and I've
only done straight stand up since twenty twelve, So yeah,
I starting sketch things in like twenty ten, and yeah
I haven't gone back. I still like during that time
there was an amazing sketch and alternative scene in London
that had like a bit of crossover because of Edinburgh.
(09:29):
You have that that whole scene that was quite at
that time sketch and character heavy. There's no real money
in sketching character stuff, so there's this kind of great
scene we had like mcneiland, Pamphlon and Pappy's and all
these people. But like I met Ashlyn at a mcnealand
Pamphlon gig, which was like there were a couple of
stand ups on it and then sketch. There were lots
(09:50):
of gigs like that that was just kind of everything.
Where was that like the Orbany Yeah, No, that was
Wilmington Arms, The Deer Departed Wilmington Arms. But there was
a lot of kind of crossover at that time, and
now it seems to be a bit more. Everything's kind
of stand up focused and there isn't that kind of
sketch scene, which is a shame. And I do think
gigs in the main, like my experience of gigs like that,
(10:12):
with the audiences really go for it because if they're
not liking something, you're going to get something completely different,
like coming on afterwards. And it gives people quite a
lot of freedom to do what they want, Whereas when
you get into that thing where it's four stand ups
and an mc there's kind of one expectation from the thing,
and that can be great, which it all can be
quite restricting.
Speaker 1 (10:32):
Yeah. Yeah, there's not a lot of variety units and
sketched live. I think a lot of sketches happening on it.
It's all moved to TikTok and stuff. Yeah, but it's
fun live, isn't it. It's fine when it's good.
Speaker 2 (10:44):
Well, when it's good.
Speaker 1 (10:45):
Yeah. So you've done your stand up hour? You've done
every year or every other year?
Speaker 2 (10:54):
No, every year. I missed one for COVID obviously, but
I did go and do the Fringe when they brought
things back in twenty twenty one.
Speaker 1 (11:01):
The so what number solo show is this? Ten eleven
to sight? I think it might be ten ten? Yeah,
And do you have a system given your work rate?
Do you is it different every year or do you
have like a discipline where it's like September I start
writing themes, like do you have a way of doing it?
Speaker 2 (11:20):
No? So the last one, which is coming out in
the next couple of weeks as a special sorry, that
was the one before last, So that were that took
three years because of COVID. So the first preview of
that was February twenty twenty, right, and then we filmed
it end of June twenty twenty three. So by the
(11:40):
time I was done with that, I was like, but
because of that kind of space, the next one I
wrote and previewed it in three weeks, so.
Speaker 1 (11:50):
I mean, it was great.
Speaker 2 (11:53):
It was it was quite a specific thing because I
did so the last year I did was about Edinburgh,
and it was specifically like answering the quest like why
would an audience be in those basements and why are
we doing because there was all this kind of narrative
around post COVID, like it's really expensive and people are
being boxed out of it, and it is you know,
you can go on a holiday to the Caribbean for
less money than four days being a puncher at the
(12:15):
end of Fringe, so it's like a question worth answering.
So it became this sort of meta thing all about
like why are we in this room which to do
something that's quite specific like that about a thing where
you and the audience are coming to the table with
a huge amount of shared understanding. So there's not a
lot for you as a comic to have to construct
within there because you've all just been outside in the
(12:36):
cobble streets, you've all just been flyed. You are in
this thing, you're going to be up till five o'clock,
you're going to go to lateon Liveler, so everyone knows
the stuff. So landing punchlines is never the trick with comedy.
The comedy is the trick is the setup, isn't it.
It's taking one hundred to a thousand people and unifying
them in forty five seconds so they have all the
information that they require to get that punchline. But I
(12:59):
did need to do any of that last year because
we all knew everything that I was talking about, so
you could do it. It could be quite a rapid
process to put that together, so it.
Speaker 1 (13:07):
Was like a school review.
Speaker 2 (13:09):
It was like, yeah, are you doing so ho, Like, no,
it wouldn't.
Speaker 1 (13:16):
It wouldn't working about it till this show is called
bad for business.
Speaker 2 (13:22):
Yeah, yeah it was. My agent was very annoyed. But
it was quite I mean I've been recommending it to people,
people saying it's like it was an insane thing to do,
which it was, and it was dictated by circumstance rather
than a plan. But I have been saying to people like,
it's quite a good exercise. I probably don't do it
for something as big as Edinburgh, but like a smaller
festival or something. Give yourself two to three weeks, blank
piece of paper and run run for the first preview.
(13:45):
Because it throws up loads of stuff. Because you can't
question yourself, and you end up writing and surprising yourself
and writing in styles and ways you wouldn't necessarily do,
and it's a really interesting exercise to do it.
Speaker 1 (13:58):
Then that's how I do screen. That's my secret is right,
really really fast, first.
Speaker 2 (14:03):
Time dive in, I'm exactly the same.
Speaker 1 (14:05):
Yet it's so quickly done so that your subconscious takes
over and you bring out a load of stuff that
you weren't planning that may be useful.
Speaker 2 (14:12):
And you switch off that thing in your brain, don't
you that you going back and kind of redrafting on
the fly is like you don't know, just just get
in and.
Speaker 1 (14:21):
Yeah, get to the end of the end and then
you're clean up. Yeah, absolutely, Yeah.
Speaker 2 (14:25):
But it's that forward momentum that you have that throws
up stuff and I think being able to trust yourself
that you've got other drafts, Like you just finished writing
a series and someone was asking how many drafts did
a do of each script? It is like probably about
I think the lowest number was six, nighest numbers nine.
But the initial scripts were all written in two days,
like first draft, to push them out in two days
(14:45):
and then just go back and tink your like line
by line, but just getting that thrust of the characters
and everything down. Yeah, it's a yeah, it's a good exercise.
Speaker 1 (14:54):
And what's this new show?
Speaker 2 (14:56):
It is a sitcom for People Radio four. We just
recorded it a couple of weeks ago. It's coming out
in the twenty third of July.
Speaker 1 (15:03):
For six weeks.
Speaker 2 (15:04):
And that's my first sitcom. Thanks man. I was first
pitching it around the time we first met. I think
from the first pitch to the commission was ten years
in a week.
Speaker 1 (15:17):
That's pretty quick. Yeah.
Speaker 2 (15:19):
Yeah, yeah, it's not bad, is it?
Speaker 1 (15:21):
That's not bad? And what's your new Edinburgh aw about?
Garrett Miller? It needs space?
Speaker 2 (15:25):
This one is cooled needs more space. Yeah, so I'm
very interested in the space race. I don't know if
we start talking about films now. I saw Apollo thirteen
when I was twelve, and I absolutely loved it. And
that's one of those films that I can watch again
and again and again. But I love the film, but
it just I knew nothing about this whole world and
the moon race and stuff. And I went home to
(15:45):
talk to my dad about it, and it transpired that
he had been a big space geek when he was
my age, so when he was twelve when they were
actually landing on the Moon and doing all that stuff.
So like he took me up to the Science Museum
thing and that's kind of been a lifelong passion. Actually
have a Lego Satin five on my desk just right.
So I was scrambing around this year because I was
(16:06):
working on the series and I didn't quite know what
the show was going to be about. And Piano Velli,
our mutual friend, turned around to me. I was like, hey, man,
when are you going to do your fucking space show?
And I was like okay. So I was like, yeah, fine,
because in twenty nineteen we were up there and that
was the anniversary of the moon landings. And I think
(16:27):
when the twenty fifth anniversary had been around, I had
an airfix lunar module, and then I could I couldn't
afford the command module. So during Edinburgh and for the
fifty anniversary, I bought the command module I couldn't afford
for the twenty fifth anniversary, and I used to go
back after my show and I was like, I was
making Apollo eleven model if very therapeutic. If anyone's going
(16:48):
to do a long festival. Airfix models are really good
and yeah, and it takes you when people are asking you,
you know, all those cyclical questions about festivals, like how's
it going? Just talk about your airfix model. Yeah, it's great,
it's finished painting the engine bell and yeah, yeah.
Speaker 1 (17:05):
I fuck, Garrett, I've just I've just checked my notes.
I forgot to tell you something. Oh fuck ah ship
Uh I don't know. We have to go back to
be an inn but uh fuck I forgot Well, I
forgot tell you. But I just say it as just
say you've died. Oh that's that's a blow. I had
things to do this evening, right, any idea how it happened? No,
(17:27):
I was going to ask you, do you know?
Speaker 2 (17:29):
I could guess I'd say that there's yeah, there's some
there's some truculent wiring in the kitchen at the moment
I've been meaning to sort out. And if you are lazy,
then these things will will get you.
Speaker 1 (17:39):
So you think you plugged something in and it electricated
you to death.
Speaker 2 (17:42):
I think it probably did.
Speaker 1 (17:43):
Yeah, shame. Do you do you worry about death? I
don't worry about death.
Speaker 2 (17:49):
I quit. I've been ever since lockdown. I've been trading
off vices, so I don't have any I don't have.
I don't drink anymore, and I don't smoke. I quit
smoking when my door was born, and I used to
drink a lot and he'd be fairly unhealthy in terms
of what I ate. And then in this mini person arrived,
it's like I've I've got still that.
Speaker 1 (18:11):
Yeah. Yeah.
Speaker 2 (18:11):
But also I'd never really consider myself as being particularly
old until she was born, and then I was like, oh, yeah,
I'm thirty eight. That's not young, that's very firmly in
middle age. I actually made some jokes about being middle
aged on stage about eighteen months ago in a show,
and it was the most controversial thing that I have
ever said, because people would come up to me after
the show and be like, I'm forty one and I'm
(18:33):
not middle age, and like, no you are. You are
slapbod of the bell curve. It really upset. We well
agreed to disagree, but yeah, I've actually not thought about
death as much as I possibly should have done in
terms of approaching my lifestyle in my twenties and my thirties.
(18:54):
So you know, I've definitely got points on my license.
Speaker 1 (19:00):
What do you What do you think happens when you die?
Speaker 2 (19:03):
I'm not sure about that. I go through periods of
being very spiritual and they're not very spiritual at all.
But actually I'm touching on this in the new show
because all of our atoms remain in the universe, so
there is a there's there's a point of immortality there.
But in terms of what form your conscience takes, I
don't know. You kind of live through your children, don't you.
Speaker 1 (19:22):
You. Oh, so you think when you die you possess
your child.
Speaker 2 (19:26):
No, I think that your your children and the people
you knew and everything that's kind of what you leave behind.
Speaker 1 (19:32):
No, it sounds like what you're saying is you will
you possess your child and you will stay within there
unless we perform an exorcism.
Speaker 2 (19:40):
Well it's entirely possible, but I don't know. I mean,
let's put it down as a maybe. Well, it seems
pretty firm to me. Pretty I actually haven't got any
horror movies on my list.
Speaker 1 (19:50):
Well, we'll be making a documentary about your daughter. Well,
I've got news for you. Actually, aside from the possessed,
there's also heaven and you get to go to it
because you've been a good boy, grand and it's filled
with your favorite things. What's your favorite thing?
Speaker 2 (20:07):
I'm something really smalty, hanging out with my daughter. So
if when.
Speaker 1 (20:12):
She's well, listen, she's going to be in heaven. There's
multiple versions of her, but there's also the versions that
have been possessed by you, so you don't know which
one is your daughter and which ones you.
Speaker 2 (20:23):
In terms of activity, I love sitting down and watching films.
Speaker 1 (20:26):
So if there's also that, well, listen, your daughter is
very happen seeing in heaven and all the versions of very,
including the ones it's possessed by you. And they won't
know about your life, but they won't know about your
life through film. And the first thing that they ask
is what what is the first film you remember seeing?
Speaker 2 (20:40):
Garrett Millery, it's not a good one, Brett, But my
first cinema memory is going being taken to see Star
Trek five.
Speaker 1 (20:49):
Star Trek five, the one with the punk on the bus.
Speaker 2 (20:52):
No, No, that's one of the good ones. That's Star
Trek four.
Speaker 1 (20:55):
That's the one.
Speaker 2 (20:56):
Yeah, it's the whale one.
Speaker 1 (20:57):
No.
Speaker 2 (20:58):
Five is the one that Shatner directed, because he basically
had a contract that said he had to be given
whatever Lendard Nimoy got, and Lendar Nimoy had done quite
a good job directing the other two, so it was
like Shatner's turn and it's a mess?
Speaker 1 (21:12):
Is that the one? Is it called the Final Friend?
Is that the one where they sort of going to
see God or something? Yeah?
Speaker 2 (21:16):
Yeah, that's the one where they're going to see God? Yeah,
and what does God say? I can't remember. I have
got like two flashes. I saw it in Lockdown. I
watched all of the Star Trek films. I don't think
I made it all the way through five because it
is it is a turgid mess.
Speaker 1 (21:32):
It's the Final Frontier because it's death. I mean, I
like the idea of it. I don't remember.
Speaker 2 (21:37):
There's a there's a vulcan in it. Who I think
we're going to get in trouble now because Star Trek
people are like, they're really on it on the internet,
and this is going out on the internet, so they'll
be like emailing you and me being like, you got
it wrong. It's this but it's like a cousin of
Spark or something who thinks he's God.
Speaker 1 (21:51):
Oh yeah, So they don't actually meet God.
Speaker 2 (21:56):
Yeah, yeah, so that was that was the film I'm
remember sing the Cinema, the first film I remember my
mum's friend Anna used to work at the local video shop,
which was the most exciting thing, and she bought me
and I still have it the very first video everyone
is that is a good one, Ghostbusters. I still have
the vhs that I remember Anna bringing it round the
(22:17):
house and being like this thing and I would I
would be really young watching that, and it's still one
of my favorite films. But you know, you go through
kind of phases where you rewatch films and you realize
how much of it you didn't get.
Speaker 1 (22:28):
Yeah, are you an only child? No?
Speaker 2 (22:31):
No, I'm not. No, I've got one sisters two years
on it.
Speaker 1 (22:34):
Did you watch these things together?
Speaker 2 (22:35):
Not really? No. We don't have any shared interests and
never really have.
Speaker 1 (22:39):
So do you like each other?
Speaker 2 (22:42):
Yeah, we we like each other perverctly well, but we
just we're just radically different people, Like we look different.
We've got if you put us in a room with
our parents, you can be like, oh yeah, yeah yeah,
but we're sort of combinations of different things of both
of our parents. But you wouldn't put us in a
room either to look at or to speak to and
be like, those people are related.
Speaker 1 (23:02):
Interesting? Yeah, what's the film that made you cry? The Monster?
You a crier?
Speaker 2 (23:06):
I'm not a crier.
Speaker 1 (23:07):
No.
Speaker 2 (23:08):
I was thinking about this because I have listened to
your podcast before, So what the thing? I definitely more
so since I've been a parent. There are a couple
of films that I noticed a kind of mark difference
in my reaction to them, and I don't know what
that is. Well, the reason for that is but yeah,
I have you ever seen Bobby, the film about Bobby Kennedy.
Speaker 1 (23:29):
In the Yeah, like the sort of.
Speaker 2 (23:32):
Thing in the Ambassada. I really, that's right. Yeah, it's
going and William H. Macy and Christian Slater. It's a
really really good film, so following all these people, and
obviously Bobby Kennedy is not a character in it, but
they play his like at the end of the film.
I cried at that because it's just really well done.
(23:53):
When they haven't being assassinated and as they're taking him
on the gurney out into the ambulance, they play the
speech that he made a few months before when Martin
Luther King was assassinated and it's a speech about violence
and murder and what murder does and how it kind
of impacts people and what happens when you take a
(24:13):
man's life, and just like that speech kind of laid
over the reality of this this real guy who have
quite a lot of admiration for and that really got
me really.
Speaker 1 (24:24):
Powerful directed that he did. Yeah, yeah, that's a good film.
Speaker 2 (24:29):
He's a good film, and it's one of those things
where they it's quite hard. I've got it on DVD,
but it's quite hard to find it on streaming services, which
I've actually I don't know if I'm going to upset
any of your sponsors are indeed you as you have
a very successful program on a streaming service, but I've
recently canceled all of my streaming services because yeah, well
(24:50):
I've got a lot of DVDs and Blu rays and
things because they're very busy, and I realized a lot
of my life now is spent on menus going I
don't know, I don't know. And there's something about the
relationship you have with a film when you when you
go and actually purchase it and you kind of make
the choice, you know, right, I'm going to make that
so like example, like a couple of weeks ago, I
(25:11):
bought Black Hat Michael Mann's the Chris Hemsworth film, which
is not the greatest film in the world, but I'm
a big Michael Man fan, and I wanted to rewatch it.
And there's like a there's a director's cut on there
that's only available in the new Blu ray. So I
was in town and I bought that, and I didn't
have the time to watch it, but I kind of
knew when I have time to watch a film, I've
already made that decision, so I can kind of take
(25:32):
it's a player like, watch it and there would be
no menu nonsense beforehand.
Speaker 1 (25:38):
Yeah, there's a thing. It was in the Empire celebration
of something and they asked a load of people to
talk about the importance of cinema, and Daniel Craig said
this really beautiful thing about sometimes fucking I'm slightly misquoting it,
I'm sure, but he said, for the magic of film
to happen, sometimes you need the ritual to set up
the magic. Are you going to the cinema buying the
(26:00):
sitting down, the curtains open, there's the trailers, there's the
thing there's all this build up and then you're in
the magic. And I think that's true of the like
it is this thing of just click, click, click, you're in.
That's why it's very hard to kind of get lust
in these films, because you go, i'll give it five minutes.
Speaker 2 (26:16):
Yeah, and you're on your phone when you're doing it.
I love this. I love the cinema. And actually, my
daughter there's an every man do this thing called the
Toddler Club where you can take a toddle wrong and
they play like classics at ten o'clock in the morning,
like Toy Story or classic Disney things. You take the
kids along. And she won't at home sit down and
watch a film. She doesn't have the attention span for it.
(26:37):
But she loves going to the cinema with me, so
we go along and she likes the whole thing about it,
Like she she'll get chocolate buttons and have an apple juice,
and she likes sitting in the chair and she's like
she got excited about like the second time we went,
she got excited about the trailers and the adverts, and
I was like, I had a girl is great, yeah, yeah,
and I'm really I was reading a load of articles
(26:58):
recently about the death of cinema, and I watched a
couple of YouTube videos about people talking about the decline
of movie theaters in the States. And I haven't been
to the cinema for a couple of months because I
was working quite a lot, and normally, if I'm on
the road, I go to cinema all the time because
it's a great way of killing an afternoon in Bradford
or whatever. And I went to see the new Mad
Max film on a Saturday night. So I just delivered
(27:22):
some work and I was like, right, OK, I'm got
the cinema mad Maxson, I'll go down there. And it
was the first weekend it was out. I have a
five hundred seater on a Saturday night, and it's a
legit good movie with good stars, and there were three
people in the cinema, and it scared the shit out
of me because I was like, if this goes under,
like if there aren't cinemas anymore, Like that's been such
(27:43):
a huge part of my life and it's such a
thing that I really really love that. You know, when
there was a break in COVID and the cinemas were
just showing old films. It was the first thing I
did was even though I had been watching Telly like
everyone else, I was like, no, I need to go
to the cinema. And that idea of not having that
collective experience to go and watch films with other people,
as you say, in that ritualistic way, I think it
(28:03):
would be absolutely tragedy if that went away.
Speaker 1 (28:05):
Ah, yeah, it would be dreadful. I have no escape,
hing nothing. What is the film that scared you the most?
Do you like being scared?
Speaker 2 (28:18):
I do quite like being scared. I really liked The
Quiet Place, so I actually I got horror films when
I was a teenager. I got really into eighties horror sequels,
but that was more for the comedy of them. I
think there's there's something really great about Psycho three that's
just better than Psycho. But this is actually one of
(28:39):
the films I was talking about the like since becoming
a parent, I rewatched The wicker Man recently, and I'd
seen that many times as a teenager, but it never
scared me. And it scared me like I had this
sense of dread at the end that I'd never had before,
when they're like marking him up and dragging him off
to put him in the wicker Man, and they're all
just so like singing are in their focus and purpose.
(29:02):
I'd always approach that, and I guess quite a detached,
matter of fact way, like they're going to burn him now,
And I just I had a real connection with it.
I had not seen it for about fifteen years, and
I had a real connection with it, and it really
shited me up. I was afterwards to be like, h
So that was.
Speaker 1 (29:22):
Yeah, that was quite scary. That's a good one. I
fucking love a quiet place as well, a brilliant idea.
Speaker 2 (29:27):
It was great. It had everything in it. It had
the jump scares and then also you know, eerie, dread
and really good character start. I just thought that was fantastic.
Speaker 1 (29:36):
Yeah. What is the film that people don't like? Critics
definitely don't like, but you like it very very much
no matter what anyone says to you about it.
Speaker 2 (29:47):
Okay, Yeah, Well the film that most people when I
tell them I'm a huge fan of it, people go, really,
it's beavers and butt heead do America is one of
my favorite films. Good film, It's a cracker. But I
think there's a whole generation of people who don't know
how good Beabs and butt Head is and because it's
kind of entry point, it is, you know, the two
guys in the laughing and whatnot that they didn't see,
(30:09):
like Mike Judge is the greatest social commentator, that he's
so fantastic. And I remember going to see that in
the cinema and I don't think I've ever laughed so much,
like i'd like proper like couldn't breathe laughing, like right
from the right from the get go, and I just
I love, I love that film so much. And they
brought they brought people and buttead back recently.
Speaker 1 (30:31):
And yeah, it was that I didn't see that one.
Speaker 2 (30:33):
Incredible, absolutely incredible. So they did a movie which is
all on his on Paramount Plus. So they did a
movie basically to explain why Beabs and butt Head aren't
in the nineties anymore and they're in twenty twenty four.
And it's great. And again, like I've not laughed. There
are pieces of that movie Beabs and but had walk
on to a college campus in the middle and have
white privilege explained to them, and it's one of the
(30:55):
funniest things I've ever seen. And then he did a series.
I think he did two series. And obviously in the
nineties they used to commentate on music videos, but now
they commentate on tiktoks and Instagram reels and it's so good.
But I know, I just I'm such a huge fan
of Mike Judge. I love all of his stuff, Like
(31:15):
Office Space is an incredible movie. King of the Hill
is my favorite sitcom of all time.
Speaker 1 (31:20):
Just is it?
Speaker 2 (31:21):
And nobody writes ensembles quite like Mike Judge, Like all
his stuff is really good ensemble, like King of the
Hill is an absolute masterpiece, and Silicon Valley was a
brilliant ensemble. Office Space is really good. I really like extracts.
I just really like the way he writes, and Beavers
and butt Head is the original. I saw a podcast
(31:42):
interview when we were saying for years he wanted to
do more because it was his favorite thing. But it
was the first thing that he did, but he didn't
control the rights to it because he had to sign
them away in his twenties and whatnot. And they kept
coming back to him saying make more, and he was like, no,
I can't, because you know, I'm a stage in my
career now. I'm not working under those terms and events.
They were like, okay, you can have all the rights back.
So now it comes up and it's Mike Judges Beavers
(32:04):
and butt Head, not MTV's Bevers and butt Head, and
so he was like, cool and make a movie and
two series and so it's just like that little barrier
was gone so he could get back to it and
just go, yeah, this is fantastic. It's really really great.
Speaker 1 (32:18):
What do you think, as someone who does a lot
of comedy and understands how it works, how is it
that he and I haven't seen it, has avoided the
pitfalls of a classic show coming back and not being shit.
What's he done with Mudern, Beabs and butt Head that
makes it? As?
Speaker 2 (32:34):
I think he's looked at all of the things. I
mean that example of the music videos now being tiktoks
and MTV programs. He's actually looked at kind of what
kids like Beavers and butt Head look at in America now,
and he's not he's taking what was good about it
in the nineties was that commentary aspect, and they're dynamic
and everything, and he's not trying to make a nineties show.
(32:56):
He's just taken those characters even the film, like they
literally have they go through all wormhole from the nineties
to twenty twenty two or whatever it is, and they're like, bang,
they're here now, and then they're just reacting to what's
around us now, so in a way, and they were
doing that in the nineties about nineties America and now
they're doing it in twenty twenty four about today, and
it's yeah, he's not trying to It doesn't feel like
(33:19):
a nostalgia thing.
Speaker 1 (33:20):
Great, Great, what is the film that you used to love?
You loved it, but then you've watched it recently and
you've got out, No, I don't like this anymore. Perhaps
you've changed, or perhaps the film has Okay, this is
it's quite.
Speaker 2 (33:33):
This is a lot to be doing this on a podcast,
And I realized I could get canceled for it, because
I am this is actually not one of the films
written on my list. But it's a specific question you've asked,
So we're going to get into this bread. At Christmas,
I was talking to my nephew who's nine, and he
was saying that all of the kids in his class
have seen Star Wars and he hasn't seen Star Wars.
(33:55):
So I was like, I'm going to show you Star
Wars because it's not something my sister would have access
to or be interested in showing him. So I was like,
don't worry, uncle, Garrett's gonna shay Star Wars. So we
sat down to watch Star Wars and he so wasn't
into it and got bored about an hour into it
and walked out. And I text a friend of mine
and was like, I'm watching it now with this disinterested
(34:18):
kid and like, tell me this mate, is it bollocks though?
And he got so upset and he was like, what
are you talking about it? I was like, well, no,
you know it is. It's pretty ropie. You know, it's
a nineteen seventies kids film, and there's like like Alec
Guinness is clearly quite bored. Mark Hamill can't really act like.
(34:41):
There's stuff about the Droids and the Aliens, which you
could say is a little like on the nose homophobic,
and I was just looking at going, I know, this
has been ubictuous part of everyone's life and culture for
so long, but actually stepping back from it with the
raw disinterest of a nine year old being presented it
for the first time, like, is it actually shit?
Speaker 1 (35:01):
What I do know is there's definitely a boring bit
where they're walking in the desert phrases.
Speaker 2 (35:06):
Yeah, there's lots of it. That's particularly the Yeah, the
first one. You sort of go, is this just something
that because I'm not a big fan of the new
Star Wars, like I watched them up to a point,
but I find it very difficult to muster any enthusiasm
because it's just too much now, Like there's just too much.
And Star Wars used to be like quite a special thing,
Like I remember being shown it as a kid by
(35:28):
an older cousin at Christmas and there were three of
them and that was enough, and then whatever, twenty years
later you got another three, quite spaced out, and now
it's a new series every single week and it's not
special anymore.
Speaker 1 (35:42):
But yeah, I was just.
Speaker 2 (35:45):
I looked at the first one again and I thought,
maybe I've been wrong about this, maybe this is rubbish.
But the reaction I got on WhatsApp from friends when
I positive this theory was extreme, Like my mate was
just like this isn't He was like, are you doing
a bit? I was like, no, I'm not, and he
was like this isn't funny. It's like, it's like, it's Christmas,
I'm with my family.
Speaker 1 (36:05):
What are you doing really funny? That's really funny? Yeah,
well i'd like to see that. What's happened? Furiated man,
absolutely furious.
Speaker 2 (36:15):
I did it a couple of years ago at the
Alternative Comedy Memorial Society at Christmas, just after Episode seven
came out, and I showed it to their Christmas show.
And this was I think four or five days after
episode seven come out, and someone said, what are you
going to do? So, just for the listeners, ACMs is
the Alternative Comedy Memorial Society and you do kind of
a left field set, usually something you kind of make
(36:38):
up that's not like stand up whatever. So I was
trying to come up with an idea of what to do,
and I thought I've got it because there was a
brass band on stage because it was Christmas. So I
got them up. And ACMs has permitted heckles that the
audience are allowed to say. There are certain heckles that
are allowed to so I said during my set, there
are only two permitted heckles, and I told them that
what I was going to do to the sound of
a brass band playing the Star Wars theme. I was
(36:59):
going to ruin in the plot of episode seven, and
the two permitted heckles were don't ruin Star Wars and
naw fuck them, and the place went nuts. People were screaming,
walking out, like don't run stars not staying there.
Speaker 1 (37:12):
So what happens?
Speaker 2 (37:13):
I got about three minutes through it, and I was
going to cause a riot, and then I was a
meeting the next day. I can't remember. It was a
hat trick or something, and this guy came into the
conference room was like, I was at acums last night.
That wasn't cool.
Speaker 1 (37:32):
Wow, you're an agent of chaos. Yeah.
Speaker 2 (37:36):
I just thought it was quite a silly thing. But
and I thought, well, it's been a week. Most people
who want to see it would have seen it. But
people can't.
Speaker 1 (37:43):
No, what is the film that means the most to you?
Not necessarily the film itself is any good, but the
experience you had around seeing it will always make it
special to you.
Speaker 2 (37:55):
Garrett Melyric Stone cold classic. There's nothing particularly left field
about this choice. The Godfather. I watched The Godfather again
with a friend of mine who had last weekend. He
just got out of hospital because he was recovering from
appendicitis and his wife was away, so I went around
to look after him and he just got The Godfather
in four K. So we're like, and I've not seen
it for ages, and it's just so amazing. But I
(38:19):
saw that film for the first time. I would have
been about eleven, and I was sick off school. I
had a cold, and so did my dad and he
was off work and he had taped it off the
telly a couple of nights before, so we sat down
for an afternoon and we watched it. And I can
still remember where the ad breaks were in it, this
ICV like four x three fuzzy thing, The Godfather, and
(38:41):
it was when the film finished, I felt like nourished
in a like it was really meaty and satisfying. And
I had not seen a film like that before, and
I had not sort of experienced that, because I was
still quite young, that you just sit down for sort
of three hours and just be completely sucked into something.
And I always, yeah, I always remember that experience, and
now I really like films like that, like films that
(39:02):
will kind of grab you and you can chew on
them a bit.
Speaker 1 (39:05):
It's very nice, Garrett, that's very nice. What's the film
it most relate to.
Speaker 2 (39:10):
That's a tough one. I like Twenty four Hour Party People,
which again I watched recently. Is that you I don't
know a bit of I think I'd like it to
be me. I'd like to be more like Tony Wilson
than I am. But I really like music and I
like going to gigs, and I don't think that the
excitement of live music has ever been captured quite as
(39:32):
well as Michael Winterbotten captured it in that film. And
it's really it's really like, it's a great story and
it's really funny, and it's not a film that enough
people have seen.
Speaker 1 (39:43):
That's a really good chat. You know what. I would
say it, and I stand by it. I think A
Star is Born Bradley goovis Star is Born does live
concert really well impressively. Well, I think have you seen it?
Speaker 2 (39:56):
I have not seen it.
Speaker 1 (39:57):
It's very hard to do live music and make it
feel electric like it does when you're there. I really
think he pulls it off in A Star is Born.
It's really impressive. Have a look at that. Tell me
what you think.
Speaker 2 (40:07):
Okay, I'll have a look at that I just realized
the thing that wind SPOTSM does and you get like
lots of kind of different formats in the gig, So
you've got kind of black and white like scrumming around
in the crowd and then very kind of frenetic on stage,
and it does that kind of energy of people like
throwing pints and stuff, and you kind of feel like
you're there in those little punk clubs. Yeah, I think
he did it really well because, as you point out,
(40:28):
in most films when they like go clubbing or go
to fair live music, it's terrible. It's it's really really
bad when they do it in things like Neighbors and
there's like four extras in a nightclub. This is awful,
And you go, most Hollywood films with a budget don't
do any better than this and.
Speaker 1 (40:45):
Communicating it's true. It's so hard to pull off the
I think it's hard to pull off the sound of it.
And I don't know, it's very hard to do it,
and you do need a lot of extras. What is
objectively the greatest film of all time, maybe not your favorite,
but the best one. Oh sorry, that's very easy.
Speaker 2 (41:03):
I've done a routine about this top Gun because Top
Gun knows exactly what it is, and it executes it perfectly.
It sets it still out at the beginning and says
this is what I am, and then all the way
through just nails it on every single beat. It's like,
this is what you told you we were going to get,
This is what we set out to make, this is
what we're delivering. There's no point where Tony Scott deviates
(41:27):
at any point from that. It's perfect. There's a really
good story about Val Kilmer having an argument with him
on an aircraft carrier about doing that final like you
can be my wingman any time, like bullshit, you can
be mine, and having this huge conversation with him that
character and guy, I don't think my character would say this,
and whatnot, and Tony's gott just looking him dead in
the eye and saying values seem to be utterly confused
(41:49):
about the type of film we're making here. Oh wow, no, no, no,
do what I.
Speaker 1 (41:57):
Trust me is gonna be? Yeah? Yeah, What do you
make of topbout Marrick? I think that's even more.
Speaker 2 (42:04):
I loved it. I thought it was absolutely like that
that sort of made up when you're talking about how
do you bring things back and get that nostalgia thing
without Yeah, they've done so many examples of that being
done badly. And Tom Cruisers came out and went, yep,
this is how you do it.
Speaker 1 (42:21):
And it was.
Speaker 2 (42:21):
It was so good and it was all of the
aerial combat scenes. And I saw it once in the
cinema and my friend he was with me, said it
was really enjoyable watching it with me because when they
started the original music at the beginning and then Don
Simpson's credit came up, I just punched the air and
it's Yeah, it delivered it. That really really delivered. I
(42:45):
thought it was fantastic. And then I went back to
see it like three days later on the Imax.
Speaker 1 (42:49):
Oh fuck, it's great at the IX.
Speaker 2 (42:51):
Yeah, incredible. Yeah, Tom Cruise knows what he's doing.
Speaker 1 (42:55):
He really does. He really does seem to know what
he's doing. But I guess the next question is, and
the one really we're all here for, what's the sexiest
film you've ever seen?
Speaker 2 (43:04):
Well, it would be twenty four hour party people, wouldn't
it to all those gigs?
Speaker 1 (43:09):
I don't know.
Speaker 2 (43:10):
I've not really watched it, not really watched that many
blue movies.
Speaker 1 (43:13):
I find that very hard to believe. And that's not
an indication of what I think of you, just as
it's just as a human on this planet, I find
out hard to believe.
Speaker 2 (43:22):
Have you ever seen The Secretary with James Spader and
Maddie Gillel Hall. Yes, yeah, Yeah, that was a great
film that came out when I was when I was
at university and everyone was very very keen on that.
There's a lot of sex in that.
Speaker 1 (43:37):
Yeah, that's a very sexy film. Yeah, Garrett, if you
struggled with that question, you're going to fucking hate the
Selb category. Traveling boner is worrying. Why don't a film
about arousing that you weren't sure you should sounds like
any film.
Speaker 2 (43:53):
Apollo thirteen, I've got a that's a good answer. It's
all about the rockets, mate, Yeah, definitely. And come and
see my new show about the Space.
Speaker 1 (44:03):
Race and the Space Race and my traveling bonut. Yeah, okay, okay, great.
What is the film you could or have watched the
most over and over again.
Speaker 2 (44:14):
I've got into the last couple of years watching The Martian.
Oh yeah, because it's one of those things I travel
a lot, and it's a film that's just I downloaded
it on my iPad whenever it came out, and it's
just there, and it's one of film I just don't
delete it. And if I'm in a in a shit
hotel somewhere and I just want to watch something, I
(44:35):
will just go back to The Martian. And it has
never bored me. So I think I've probably seen that
about twenty times. I really like space Travel, and I
really like Matt Damon, and it's beautifully maybe it shot
quite cool little story. There's nothing particularly taxing about it. Yeah,
you know, it's this is not is not to do
the movie down. But I can enjoy it without having
(44:57):
to pay a huge amount of attention to it.
Speaker 1 (44:59):
Yeah. It's a very easy watch. It's easy entertainment. Yeah,
and it is about it's quite satisfic. It's all problem
solving in it. It's just problem solving on Mars. Yeah,
it's great. Two hours of problems solving on Mars. Yeah.
Speaker 2 (45:11):
There's a couple of years ago down at the Greenwich
Observatory there was a photo exhibition of photos from space
exploration and they had a one of the pictures from
the Mars Lander, like a panorama, but they've blown it
up to a life sized panorama and there was just
a bench that you could just sit on and look
at this high definition panorama of Mars and I sat
in it for fucking hours. It's just like, this is great.
Speaker 1 (45:35):
Have you been to that Tom Hank's Moon thing.
Speaker 2 (45:39):
I have been to the Tom Hanks Moon thing.
Speaker 1 (45:41):
Yeah, was it amazing?
Speaker 2 (45:42):
It was okay, but there was a lot of kind
of documentary stuff in there that was really sort of
light source. And then you got to the end where
they showed you the panoramic pictures, but there wasn't enough
of that, but I understand why. But it was like
forty minutes of a story I already knew, with some
stuff I'd already seen in the format, already seen it
in and then a couple of couple of minutes at
(46:03):
the end with some really mind blowing stuff, and as advertised,
I was like, oh, I wanted a whole Well, there
are better films about the moon landings, Like there's al
Reinhartz film for All Mankind and if you've ever seen that,
that's a phenomenal film came out in nineteen eighty nine.
I think it was definitely nominator. I can't remember it
won the Oscar, but he went and interviewed all of
(46:26):
the astronauts who did the trip to the Moon, and
because of budget constraints and people weren't interested at the time, particularly,
he couldn't raise the money to film them while interviewing them,
so they just audio interviews. And then he went back
to and scanned all of the footage that they brought
back from the NASA vaults, and he made like a
collage of all of the missions, so it's not like
(46:47):
one mission at a time, it's a collage of all
of them together at the various stages of the mission,
and it's Brian Eno wrote a soundtrack for it, and
then he cuts up all the interviews as an audio
thing over the top. You've just got the asterists narrating
about different experiences and it doesn't tell you who's speaking
or whatever. It's just so it's kind of all of
them together with all of the footage presented as one film,
(47:11):
and it's utterly mesmerizing. It's really something else, and if
you wanted to do like that would be a really
good film to go and watch. But because they had
the full surround thing in that in the Tom Hanks one,
I was expecting them to utilize it a bit more,
where they utilized it a bit at the end, but
the rest of it was kind of a quiet secondary
school documentary about going to the Moon, and there were
(47:34):
way better documentaries about going to the moon.
Speaker 1 (47:36):
Wow. So objectively, the best film you've ever seen? What?
What's the worst film you've ever seen?
Speaker 2 (47:43):
So when I first moved to London when I left university,
I moved in with my friend Oscar, who big film enthusiastic.
Oscar and him and his friend Ed were on a
mission but this is back in two thousand and four,
to get hold of the hundred worst films on the
one hundred films on IMDb, which was quite a challenge.
(48:04):
And Ed used to come round to our flat with
DVDs of the latest one he had found and we
would watch them. And the worst film I've ever seen
is a Turkish remake of Star Wars. So's you can
find us online is search of Turkish Star Wars. It
is absolutely insane. I got a bit motion sick because
(48:27):
the editing is so bad. So you'll like have a
fight scene where a guy swings a punch, so it's
like swing the punch and then it'll cut to the
close up and then the punch will swing again in
the close up. So it does that a lot and
it makes you feel ill after a while. But the
whole thing is it's just got pirated special effects footage
from Star Wars. So you'll have these two guys sat
(48:49):
on a chair holding like an Atari controller, wearing spray
painted American football helmets, and they'll go that was a
very good battle. Yes we prevailed aha, And then behind them,
projected on the wall will be like a Star Destroyer
and then it'll just cut to an X Wing and
it was just predicted. And then for no reason during
the during the fight scenes, just random bits of the
(49:10):
soundtrack from Indiana Jones plays right, and it's quite fantastically awful.
But there are I mean, there's such a wealth. I mean,
presume you've been to the can Film Festival, right, I have,
many many years ago. Yes, Yeah, when you go into
that market thing down in the bottom, Yeah, where everyone's
selling their wares and you realize just how many films
(49:30):
are made that you will never see.
Speaker 1 (49:32):
It's fascinating. Yeah, there's there's like I remember seeing a
poster for like Centipede eight and the other seven really
pass me by. That's fascinating. It's that big a franchise.
Speaker 2 (49:44):
Yeah, there will be so many bad films in the world,
but Turkey Star Wars has got has got to be
up there. But I remember back then it was quite
difficult for them to get hold of these movies that
weren't rips from that program Mystery Science Theater where the
three guys watching, like you could get the bad movies
with them comsaying over but actually like a raw thing
in the movie was quite difficult to track down. But yeah,
(50:04):
you had this hateful case logic of DVDs of the
worst films of all time used to bring soul Plane
I think was another one that was particularly awful. But
you know, it's just like, let's watch the worst films
ever made. Yeah, that'll be fun. And you get to
a couple of them and you're like, ah, is Ed
coming around again? I want to feel.
Speaker 1 (50:24):
You have to be friends with Ed? Yeah? That friendships waning,
isn't it. You may not say about I say you're
in comedy, you're very funny. What's the film that made
you laugh the most? Have you ever heard a film
called Series seven? The Contenders? Yes?
Speaker 2 (50:39):
Yeah, it's like a reality TV spoof and it came out.
It's got the lead actress in it is the same
woman from who is the victim in Silence of the Lambs.
The woman who's in the in the the Rubbed Slosh
Night Skin's her and she's great in it. I actually
haven't seen it since I saw it the first time,
but it came out in the same day as Pearl
(51:01):
Harbor back in two thousand and one, and I went
with some mates to watch Pearl Harbor, which is obviously
a dreadful film, and I had read an article about
Series seven in Empire, I think, and I convinced everyone
after Pearl Harbor that we should go and see another film,
and we went to see that, and like right from
the get go, it's a reality TV spoof where basically
(51:24):
a reality TV show where there's seven people in America
in two thousand and one who will have a gun
and they have to kill the other six to win
the series and then the prizes they get into like
the next series. So it starts off with just a
guide buying groceries in a grocery shop and a pregnant
woman just walks in and shoots him. In the head
(51:46):
and like nobody because everyone's like, oh, it's The Contenders,
And then it comes in this massive it's a it's
a satire on reality TV, but the whole thing comes
in and goes next up on series seven, The Contenderers,
and it's all like that all the way through, And
from about two minutes in. I was howling all the
way through that film. I just thought it was so funny.
And I don't know, I haven't you know, as a
(52:07):
forty year old man gone back and reappraised it. That
might have been the fact that I was a nihilistic
seventeen year old and it really appealed.
Speaker 1 (52:13):
To me, or I might have you just got through
Pearl Harbor. Yeah, I got through Pearl.
Speaker 2 (52:18):
Harbor and was dragging all the people who dragged me
to see Pearl Harbor to see this thing and that
a field. But yeah, god, it made me laugh. It
was It was very, very funny. I don't remember laughing
that much in anything in the cinema since.
Speaker 1 (52:31):
Was a surprising answer that's never come up before.
Speaker 2 (52:34):
Well, I've gone with really sort of boring, like what's
an important film? The Godfather?
Speaker 1 (52:38):
I excite your listeners. Yeah, oh, Garrett Millrick, you've been
a brilliant guest. I'm very grateful for you for doing
this podcast.
Speaker 2 (52:49):
However, however, when.
Speaker 1 (52:51):
You went to plug something in, you wanted to recharge
your phone, and you've got some bad wirring in that kitchen.
Then you know you, yeah, you know you have. But
you've been lazy, haven't you. You've been distracted and you
should have looked at it. Anyway, you plugged, you plug
it in, you get electrocuted by three billion vaults because
(53:13):
under the because you also had damp, and under it
there was an electric heel and as you plugged it in,
the electric heel bumped up the electricity and you were
hit by three billion vaults and your brain exploded, and
your hair stood up on end, and your skin was charred,
and you fell to the floor, and your spirit jumped
(53:35):
out of your body and went and found your daughter
and then possessed her. Now she's on her way to
Edinburgh to do Garrett needs needs more space. Anyway, I'm
walking around with a coff and you know what I'm like,
And I knock on the door like I Garret, you
in mate, no san, and i I'll go fuck. I
didn't what about that wiring And I can smell smoke anyway,
(53:57):
smashed out the door I get in there. You're a messmate.
You're fucking like charcoal. I'm like, I can use him
for a barbecue, iven bury him, so crack you up
into lots of pieces. The stuff you in the coffin.
There's more of you than I thought. There's no room
in this coffin with order charcot. There's only enough room
in the charcoal for me to slip one DVD into
the side for you to take across to the other side.
And on the other side it's movie night every night.
(54:18):
What film are you taking to the people of heaven,
who are mostly made up of versions of your daughter,
including you possessed by your daughter, to show them when
it is your movie night.
Speaker 2 (54:27):
It would have to be Casablanca, because I have owned
probably three copies of Casablanca over the course of the
last twenty years, on varying formats, and have yet to
watch it. I've heard, I've heard, I just never. You know,
you just haven't got to the point to get around
to it in heaven. So now it's become a thing
that I'll leave it till I die.
Speaker 1 (54:48):
That's a great idea. They'll love it. That's great, They'll
fucking love it. That's a great idea, Garrett. What are
people to look out for and to listen to you
in the coming months?
Speaker 2 (54:58):
So you can find me on Instagram and x formerly
Twitter at Milleric Comedy. I've got a radio sitcom about
the charity industry with fantastic casts called do Gooders that's
coming out the end of July for six weeks and
I think it will be on BBC, Sounds and all
of those platforms. I've got a new special coming out
(55:19):
from the Great People at eight hundred pound Gorilla Records
in July August, and then Yeah, Needs More Space will
be at the end of Refringe all of August and
then on a national tour afterwards and then the Leicester
Square Theater in London next February, and then I'll be
writing something else.
Speaker 1 (55:35):
Will you have pictures in your Needs More Space show?
Or is it just you?
Speaker 2 (55:38):
It's just me and Mike. Oh, it'll just have to
be a bit described. Yeah, describing you know, budget, you know,
budget constraint. So no, I'm not I don't like projectors
and things in stand up shows. I think you have
to kind of go like Dave Gorman esque. It has
to be really kind of built into the DNA of it.
And that's not that's not kind of what I do.
So it's just me and and words. But you know,
(55:59):
there are great there's so many great Instagram accounts you
can follow for beautiful space pictures. And I recommend that
you do good for the.
Speaker 1 (56:07):
Song sounds like you should see your show and then
go and look up a lot of stuff.
Speaker 2 (56:10):
Oh, there'll be I might. Maybe that's why I should do.
I should put a QR code on the way out
for like you can go and like go and get
a drink and just get this on your phone and
stick it in your face after the show's that's all right.
Speaker 1 (56:23):
It's a good idea. Garrett, you are a joy. Thank
you so much for doing this. Good luck in Edinburgh. Oh,
thank you very much. Man.
Speaker 2 (56:31):
I'm a big fan of the podcast and yeah, an
incredible illustrious list of guests to uh to be a
part of.
Speaker 1 (56:38):
So thank you very much for having me on.
Speaker 2 (56:39):
It's been a real treat.
Speaker 1 (56:40):
Thank you very much. Have a very nice death. Good night.
So that was episode three hundred and seven. Head over
to the Patreon at Patreon dot com. Forward slash Brett
Goldstein for the extra secret chat and videos with mister
Garrett Millerck. Go to Apple Podcasts give us a five
style rating. But right about the film that means the
most to you and why my name? He loves reading it.
(57:00):
It makes her cry and it's a lovely thing. Thank
you very much. Thank you everyone for listening. Thank you
to Garrett for giving me his time. Thanks to Scruby's
pipping the distraction pieces of Network. Thanks to Buddy Peace
for producing it. Thanks to iHeartMedia and Will Faraoh's Big
money players Network reaching them for the graphics at least
a light them for the photography. Come and join me
next week for another excellent guest. But in the meantime,
I hope you're all well, have a lovely week, and
(57:22):
please now more than ever, be excellent to each other.
(58:02):
Six
Host
Brett Goldstein
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