LOOK OUT! It’s only Films To Be Buried With!
Join your host Brett Goldstein as he talks life, death, love and the universe with the very hilarious comic GLENN MOORE!
A lovely gathering of Brett and Glenn as the two get into this whole mess of life and films, and extract some sense out of the whole situation. Glenn is game of course from the beginning, and you can expect a really great time on this one as they cover ground such as to credit or not to credit before a gig, putting the (almost) death in Death Valley (named for a reason), sad film criteria, post-trauma checks on actors, the inherent scariness of a fixed camera and misleading origin stories. But so much more! You will enjoy, absolutely.
Video and extra audio available on Brett's Patreon!
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THE SECOND BEST NIGHT OF YOUR LIFE
SUPERBOB (Brett's 2015 feature film)
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look out. Is there any films to be buried with? Hello,
and welcome to films to be buried with? My name
is Brett Goldstein. I'm a comedian, an actor, a writer,
a director aspect of dust, and I love films. As
(00:22):
Will Rogers once said, even if you're on the right track,
you'll get run over if you sit there, which is
why Coyote versus Acting finally got a release date. Every
week I invite a special guest over. I tell them
they've died. Then I get them to discuss their life
through the films that meant the most of them. Previous
guests include Barry Jenkins, Sharon A. Stone, Jamila Jamil and evens.
But this week we have writer, comedian, award winner and
(00:45):
broadcaster mister Glenn Moore. My comedy special, The Second Best
Night of Your Life is streaming now on HBO, Max
and Sky. Give it what You'll fucking love it. Hellover
to the Patriot of Patreon dot com forwards last Brett Goldstein,
where you get an extra twenty minutes with Glenn. We
talk secrets, we talk beginnings and endings. You'll also get
the whole episode uncart Adfrey and as a video check
it out a patrioon dot com forward, says Brett Goldstein.
(01:06):
So Glenn Moore, you might know glenmore from Mock the
Week or his brilliant fringe shows. He's going back to
the fringe with his first show in three years called Please, Sir, Glenn,
I have some more and another three hundred jokes. This
was my first time meeting Glenn. He's fucking brilliant. We
recorded this on Zoom last week. We had a lovely
time and I really think you're going to enjoy this one.
So that is it for now. I very much hope
(01:26):
you enjoy episode three hundred and sixty one of Films
to be Buried With. Hello, and welcome to Films to
be Buried With. It is I Brett Goldstein, and I
am joined today by a shortal Comedian of the Year
(01:50):
final list a Mock the Weaker, an absolute radio and
Mock the Weaker in America. He's a stand up sketcher.
He's an award nominee many many times. He has the
most brilliant titles of all time. He probably has the
most jokes per show of any comedian on the circuit,
(02:12):
except for maybe someone like Tim Vin. I don't know
the actual facts. He's an amazing writer, an amazing comedian,
he's a presenter. He's everything you could want in a man.
Here he is. Please run to the show. It's Clement.
Speaker 2 (02:26):
Oh, Brad, thank you so much. What an in depth
intro that was. That was really lovely and considered and
thought out. When you opened with your chortal student finalist
or whatever I was, I got nervous because I went
through a phase where, for some reason, anytime I did
like a gig where you got announced over like a speaker,
like a corps or whatever, for some reason, they only
(02:48):
had a biography of me that was from when I,
like very very first started, so it would be like,
instead of it being sort of like you've seen him
on Live at the Apollo, would be like he's studied
at the University of Sheffield. Wait for this.
Speaker 1 (03:04):
It's funny. I forget they do that with corporates because
you don't do that. Do we do that now in England?
Still don't. People still don't like to be introduced by credit.
Speaker 2 (03:12):
No credits before a gig. It's very terrible. I mean
obviously in America it's like, well that's what you lead
with you? Yeah, I think it is strange. I don't
know what I prefer. What do you prefer?
Speaker 1 (03:22):
Oh? I prefer nothing. But then it's because I'm English
and I think we hate people who've achieved anything.
Speaker 2 (03:27):
So it's like someone reading our CV. It feels like
like it's horrible.
Speaker 1 (03:32):
But also I think as an audience to go all right,
you fucking if it's a long list of you go
like fucking know, all right? Right In America, they make
you know you have to. They always go what credits
do you want? And you're like, yeah, I don't know.
But when I had to introduce Kevin Kneelin a gig
the other day, it was like a tag team gig
and I said, what do you want? What do you
want me to say? And I've written a list of
few stuff and he said, say, I gig in lots
(03:55):
of comedy clubs across the country.
Speaker 2 (04:00):
I like that, that's cool, that's great.
Speaker 1 (04:02):
Yeah. Yeah.
Speaker 2 (04:03):
I never knew what to do America wise, because obviously
you want sort of like a relevant credit that they'd
have heard of. And before Lockdown, I was meant to
do a slot on Conan. I was going to be
the Lockdown hit and then you quit the show. So
it never happened coincidence, but what it meant was, in
any sort of American gig, they're sort of like, what
credit do you want? And I sort of like you
(04:24):
could you say like would have been on because I
think that's the only thing people would recognize over there.
Speaker 1 (04:30):
The fuck. Oh man, that's horrible. I guess that was
the worst thing about COVID. Do you so you're hang
on listen? Wait, you're about to go to Edinburgh?
Speaker 2 (04:41):
Correct, about to go to Edinburgh at the time of recording.
I'm about to go up in a few days.
Speaker 1 (04:46):
Yeah, Now, if I do have any American listeners who
may not have seen Glenn Moore almost on Conan, He's
a brilliant comedian. He does incredible jokes per second within lines,
within lines that sort of hurt your head a bit.
And he also has the best show titles. What is
your title this year? Please?
Speaker 2 (05:03):
The show title is do you want me to go through?
Speaker 1 (05:04):
From?
Speaker 2 (05:04):
Chronologically it went Glen Garry, Glen Glenn, the very best
of Belinda Carlyle Glenn, Glen Glenn. How do you like it?
How do you like it? Love? Don't live here? Glennymore?
Will you still need me? Will you still feed me
Glenna and sixty more and this one is polis Sir Glenn.
I have some more I've and that has to be
the last one. There can't be any more verbs or
nouns I can use to switch Glenn and Moore out.
(05:26):
I can't. I can't think of any other ones. Okay,
I can think of like two more.
Speaker 1 (05:30):
And you can do two more shows? Okay, have you
done them like every year? No?
Speaker 2 (05:34):
I did like her four in a row up until
COVID and then the Frinch probably came back again in
twenty twenty two and that was the last one I did,
and then the last couple of years, I've just been
going up to try out, like, oh I can progress
for a couple of weeks, because it would have been like, oh,
I have a RADIOFOD stand up series, it's recording, it
would be nice to sort of try that out. So
I've only been going up very casually since then. So
(05:55):
this is the first time since twenty twenty two where
it's like, this is the four months proper ticketed show.
You know, I'm in going on tour straight afterwards, and
it it just makes me feel I know I should
be like positively plugging it.
Speaker 1 (06:07):
It makes feel It makes me feel sick thinking if
you do.
Speaker 2 (06:11):
Because if I was going straight on tour, I'd be like, yeah, great,
I'm really excited to go on tour. I've gone to tomorrow.
I'd be so excited. Just something about the end of
fringe that makes you go, well, obviously you're not excited.
Speaker 1 (06:19):
Yeah, Well, you're basically going like, I'm just gonna go
and talk to myself for a month and then I'll
have a really nice time on to it.
Speaker 2 (06:24):
Yeah, I'm reapplying for my job. I've got to reapply
for my job over the course of a month, and.
Speaker 1 (06:30):
To lose faith in everything I've ever done for a month.
Speaker 2 (06:33):
Lease faith in everything you've ever done. Obviously you can
stuff like that, you're doing your A levels where the
country can read your results. Yeah, it's just like it's
because you get to some point obviously it starts mattering.
It's just in those first couple of years, when you
you really have no profile or anything like that, that's
when it's absolutely terrifying. And I think that's sort of
there's a sort of residual hangover. I think like if
(06:53):
you still have to gig in your old school you'd
feel you'd feel really uncomfortable and nervous all the time.
And that's kind of what it is. It's because you
started out, Yeah, that peoplefore nervous. If I was going
there for the first time ever this year, I'd be
so confident and happy and really excited. But it's because
you know what it's like to performed to a room
of like twelve people that because of like the first
time you ever did it, that you go, what if
(07:14):
it happens again.
Speaker 1 (07:16):
I'm still scared of editor. I'm scared of editard. People
could go, now you're going to come back to Edward.
When was the last time you went?
Speaker 2 (07:21):
I remember the last time I'm revieawing the four months
was Burning Man? Was that your last show?
Speaker 1 (07:24):
That was my Yeah, because I was about to do
my new one. I was like ready to go back
and do my new one, and then I got the
Ted Lesso writing job.
Speaker 2 (07:34):
That's the dream. I think that's the most dream situation
anyone has ever had. I had this the first time
I ever went up as part of like a sketch
duo and I found it halfway through. There were like,
there's a TV show in America that wants you, but
you're gonna have to leave the fringe halfway through and
I was like, that is the dream scenario, what to
get to ascend into heaven in front of everyone? What
are you talking about? Of course? And then it just
(07:57):
like it fell apart like the next day and it
was like, oh, yeah, back to you know, yeah Venaman
fringe or there's always a slight element of feeling like
you're coming crawling back, even though that's not how it is,
but there's always that slight element.
Speaker 1 (08:07):
And so this show, which is your sixth or fifth
official I think, yeah, six six sixth show. Is there
a theme or is there a big idea? Is it
just funny shit?
Speaker 2 (08:17):
There's always a theme, there's always a story. But I
always reverse engineer mine because I go I write all
the jokes first. I think there's you know, I know
a lot of comedians who are sort of like point
driven or real life story driven, and obviously their jokes
then have to fit the framework of that real life
story that happened to them, and I would rather me personally,
I'm like, well, I'll spend the year writing any jokes
that come to mind, and then I'll spend a few
(08:38):
months sort of categorizing those into different Hey, I realized,
I've got a few jokes about dentists or whatever, and
our group both together, or like a few jokes about
a relationship and our group both together, and men just
sort of reverse engineer the story from there, And it's
usually sort of an understanding between me and the audience
of like, obviously what obviously this isn't true, but like
that's not why you guys are here anyway. But there's
always like one realistic thing. There's always one real thing,
(08:59):
which is usually the east realistic part. But I'm sort
of hinging the show on and that's that's what's happened
this year. This year is actually a real story, but
it spirals off into jokes and routines that are quite
clearly not is the idea. And so yeah, it's just
the way I've been doing it for the last few shows,
and I'm like, that's my thing now. So it's it's
just it's just it's just it just naturally comes. It's
(09:19):
just the way it sort of naturally comes to mind
always made me uncomfortable talking about real life stuff or
all that stuff that happened to me. Always made me
feel really uncomfortable for some reason.
Speaker 1 (09:25):
Yeah, where do you think that is? I don't know.
Speaker 2 (09:27):
I just just like, well, why would they be in?
Why would they be interested? I think because certainly when
I started, there was more of a focus on the
industry was moving away from most sort of DVD arena
comics that I'd sort of grown up watching, where it
was just like a funny person, and then it became
a bit more storyline based, backstory based, identity based, where
(09:47):
it was like, well, what's everyone's hook, what's your what
did you used to do for a living? What was
interesting about your upbringing? And that sort of thing. And
I thought, I'm such a generic guy, like I just
am and I'm from Crichton, but no one believes that
about me, so there's no point in addressing that. So
I'm just gonna have to pretend I went to private
(10:08):
school because that's what people assume I will do. And
I just thought, this already isn't going to be interesting
to people. I just had no faith in anything i'd
and I was just like, but the only thing I
know I was good at was sort of writing punchlines.
And I was like, well, I'm as we lean into that,
I guess. So yeah, So I didn't really talk about
real life stuck because I just thought, oh, who would
give a shit?
Speaker 1 (10:25):
So none of your shows have real because I think
I read about one of your shows.
Speaker 2 (10:30):
They do, but it's always the bit that people would
think is the least realistic bit. So in twenty eighteen
I did a show that was about having a breakup
and applying for the first civilian mission to Mars, which
is what I did in real life, but no one
really believed that. In twenty nineteen I did a show
about being a newsreader, having formerly been a newsreader like
on the radio, and that I had to be the
(10:52):
newsreader for Katie Hopkins and Nigel Farrage. No one believed that,
but that was like the one true bit and again
cannot stress enough a freelance news reader at LBC, and
at the time I was like juggling tho it was
not a decision. I was rarely in the same room
as them, but it was always sort of vose, sort
of elopment. It would always be like, what's the what's
the least applausible thing that that would be? That would
(11:15):
be the real bit.
Speaker 1 (11:15):
I think, can you tell me what the real thing
is in this show or is that.
Speaker 2 (11:19):
The real thing in general? Is? Do you know what?
Most of it's the real thing. I went away to
America years ago, to like Los Angeles, Las Vegas, and
San Francisco and drove through Death Valley. On the map
it says like Death Valley National Park, and in my
head I thought I sort of read that as like
a National Trust thing. I was like, we'll be like
part rangers, and it's like you just it's like going
(11:40):
through Yosemite. It's like you're you're almost in part of
a convoy, and you know you can step out when
you need to, but you just sort of drive through it.
I didn't realize it's where people go camping for like months,
and hadn't fully just thought I'd encounter a gas station
at least two hours before getting into Deathvlly and just didn't,
and then ended up running at a petrol like directly
in the middle of it, and knowing like what on
(12:01):
earth to do, and the engine was still going and
we're sort of like rolling downhill, but we were like,
we don't know when this car is gonna just cong out,
and we knew we were minimum twenty six miles away.
From the nearest town, and we couldn't admit to each
other that we we both thought like, it's my mistake,
and the other person was like that it was my mistake.
And because you don't want to admit to the other person,
(12:23):
how die You think the situation is you're both trying
to be really cheerful the whole time being sort of like, yeah,
I think there's a look I've had tree looks amazing.
We just carry them down this road. Well of the
whole time, think can be like we're gonna die. We're
literally gonna die. We're gonna die. We're gonna die, And
obviously did not, but I was like, oh, actually, based
on the jokes I'd written over the last couple of years,
I was like, thematically they all linked to this, so
(12:43):
that that's how that came about.
Speaker 1 (12:45):
Wow, what did happen? So I have to see this.
Speaker 2 (12:47):
Show We died nine years ago in sadly, yeah, I
know on this very away.
Speaker 1 (12:54):
The bit you think is the bit that isn't true, and.
Speaker 2 (12:56):
It's always a bit you think it isn't true. We
were we'd absolutely lost hope because we were it was
like pitch black and we were basically driving down the
side of a mountain. We turned the engine off just
to save any last bit of petrol. So we were
just rolling downhill and we were holding our phone torches
out the window to light the road, and it was
just like a steep drop basically on one of the sides. Yeah,
(13:18):
it then just like this road just turned like the
desert basically turned into just woodland, turned into a forest,
and then just emerged and we just suddenly saw a
sign for Denny's and we were like, oh holy and
we just couldn't believe it. And we like checked in
at like the most generic old school American motel and
we went to Denny's and then we went to like
(13:39):
a dive bar and just spent the whole evening there
just having the best most relieved even But at the
time it was really stupid, really stupid what we did.
Speaker 1 (13:49):
But when when did you get the petrel? I'm still
stressed about the petrel at Denny's.
Speaker 2 (13:53):
Well, we arrived into a town. We arrived into a
town out nowhere, So as soon as we got there,
we were like, first things first, we're filling up, and
then we just and then we just Since then, I've
been so vigilant about that sort of thing. I've never
come anywhere near to running out of petrol ever since
in my life.
Speaker 1 (14:12):
Yeare yes, I forgotten to tell you something.
Speaker 2 (14:16):
Oh was it a compliment?
Speaker 1 (14:18):
Yeah? Well I guess it was just sort of backing
up what you told us. You've died, you are dead? Yes, yes,
of course, yeah?
Speaker 2 (14:25):
Yeah?
Speaker 1 (14:26):
How did you die? Was it?
Speaker 2 (14:27):
It wasn't actually death Valley.
Speaker 1 (14:28):
No.
Speaker 2 (14:28):
I was on a ship much like the Titanic, and
I was that person who hit the propeller on the
way down.
Speaker 1 (14:33):
Oh wow, that guy?
Speaker 2 (14:35):
Yeah that was me.
Speaker 1 (14:36):
That was me.
Speaker 2 (14:38):
Yeah, I know, I know, I get I get this
all the time. People always ask me, like, you probably
get this all the timing. You're the guy I'm like, yeah,
did you tell from the massive dent in my spine?
Speaker 1 (14:49):
Wow? So yeah, right, that's a way to go. I mean, yeah,
he's the one you remember.
Speaker 2 (14:55):
Have you had that response load? So it would be
awful if you were like every fucking guest says this.
Speaker 1 (14:59):
Everyone gets skilled by the propeller and the Titanic. Now
you're the first death by the Titanic propeller. Okay, the
guy that falls off and bounces off, that's it.
Speaker 2 (15:07):
Absolutely clangs off, and it's such an embarrassing way to
go lost. Your grip died in front of everyone, span
off in a really comical way, and then you fell
into the freezing Atlantic. So like humiliating.
Speaker 1 (15:22):
I guess, yeah, in the film, you're the sort of bit,
the kind of comic relief. I suppose you go, okay.
Speaker 2 (15:29):
Yeah, everyone gave a rye chuckle in the cinema. I'm
assuming I couldn't get in because I was about seven
years old, so I couldn't see it.
Speaker 1 (15:37):
Do you worry about death?
Speaker 2 (15:39):
Not really, I'm just like I feel this way whenever
there's like the looming threat of a potential like nuclear war,
I'm like, there's just no point panicking because either will
be fine because it won't happen, or it will happen
and we won't know about it because we'll just be
instantly obliterate. So I'm like, just you just keep going
like it's not something I really panic about think about. No,
(16:00):
probably should, I probably should. I should probably start getting
affairs and order just in case, Just in case I'm
about to get an enormous cruise liner from from one
part of the UK to New York or a Big Drive.
Is this something you think about death?
Speaker 1 (16:11):
Yeah? I think about death. I mean one of the
reasons I do this podcast, I guess, yeah, I think
about death. Yeah.
Speaker 2 (16:16):
Do you know what? Yes, I'm sorry, I'm talking bust
One's holiday for you. This is literally a death based podcast.
You're absouly right.
Speaker 1 (16:23):
I think about death, but I think about I think
it changes my fear of death. I think what I've
now come to the conclusion of is that I do
think you're reincarnated a million times and you have to
get better and better at it. And I think I'm
the older I get, the more I'm annoyed that I'm
going to definitely have to come back because I didn't
sort of nail it. You know what I mean, You go,
oh I didn't get it?
Speaker 2 (16:44):
Oh really, I yeah, I would quite like it if
there is reincarnation and you're like we go again, and
you know, like especially if you were like reincarnating back
in the same body and you get to do the
same experience again. If you come back and you're like,
you know, a coyote, like obviously fucked up? How did
I do so badly that I've come back as a coyote?
(17:04):
That would be bad. I I was thinking, what would
you prefer as an afterlife you pass away? Your options
are you are just a free, roaming omnipresent just CCTV camera.
You're just a ball of being able to see. You
can float around everywhere you want. But your options are
you can either spend the rest of eternity exploring any
(17:25):
moments in history up until the moment you died, so
from the dawn of time to up until many died.
Or the option is you can explore the rest of
time from after you died, but you cannot switch over.
Speaker 1 (17:36):
Great question, I'm going future?
Speaker 2 (17:38):
Are you going a future? I'm going past what happened?
Because what if there was then a nuclear war literally
seconds after you died, and then it turns out the
world's just an radiated wastelands, you know, like shit, there's
nothing to watch, right.
Speaker 1 (17:50):
Well, I sort of thought, if there's a nuclear war,
then I'm like, I'm off, I'm off to the next level.
I think I chose the future because I was like,
I don't want to be stuck here forever.
Speaker 2 (17:59):
Fine, okay, right, yeah, yeah, no, But the whole thing
that this afterlife is just you spend the rest of
time just floating around watching whatever you want. You fast
forward and rewind whatever. Yeah, it's a tough one. I
don't know why.
Speaker 1 (18:10):
I don't know. If I hit you with that, I
might have to go past now. But it's too late,
isn't it. I'm stuck in a fucking nuclear waistlangers you because.
Speaker 2 (18:17):
I can find out, like what happened to Sugar? Do
you know what I mean?
Speaker 1 (18:20):
Yeah? And I can find out whose Sugar is.
Speaker 2 (18:23):
I can see if I was the second shooter on
the grassy.
Speaker 1 (18:25):
Now, yeah you could. Well, So what do you think
happens in the out like that? You think you become
an all seeing eye?
Speaker 2 (18:31):
Yeah, I think I quite like that. I think I
quite like that. I mean that is off my own invention,
so it probably isn't the case. Maybe, yeah, I like
my wife Katie. She suggested that maybe it's a staircase
that you can go down and basically, you while you
walk down the staircase, you hear everything everyone has ever
said about you ever, and it ends with the nice stuff,
(18:52):
but it starts with the worst stuff and it goes
so in order to get to the nice stuff, you've
you've got to go mile after mile of the worst
things anyone has ever said about you. That would be
I don't think i'd bother with the staircase.
Speaker 1 (19:01):
Yeah, I mean, just just check into social media and
have a little.
Speaker 2 (19:05):
Right and that the happiness a compliment gives me is
not as severe a feeling as how horrible I feel
if it's the opposite, do you know what I mean?
I'm like, it would be sort of like, oh no,
if you keep going down, there's this lovely thing your
parents said about you, and I'd be like, I'm still
hung up on what Becky said about me in year five. God,
that staircase is horrible. It's a horrible idea.
Speaker 1 (19:25):
Yeah, is this Katie from your show? This isn't the
woman that break up with you and you ended up on.
Speaker 2 (19:29):
Mers No, no, no, no, no, no no no. This is
this is Katie's story, the comedy writer. She's never been
named in any of my shows. It's always very separate. No,
it's in like because I've always usually had a joke
if there's been a breakup, there's always been a joke
about a different girl's name. Do you know what I mean?
I had a joke about the name Francesca, and I
was like, well, mayors will make that a girl I've
(19:50):
broken up with in my last show.
Speaker 1 (19:51):
Right, Yeah, Well, Glenmore, there's actually a heaven, I believe
it or not, and you're welcome there and it's filled
with your favorite thing. What's your favorite thing? Favorite thing?
Speaker 2 (20:00):
Oh man, ah shit, this wasn't on the brief aircon
coming on straight away when you need it.
Speaker 1 (20:09):
And it's just there. I'll tell you what it is. Breezy.
It's breezy in heaven. You ain't sweat breezy. You were
like perfectly temperature control. And everyone's very excited to see you.
They're all big fans, but they want to talk to
you about your life through film. And the first thing
they ask you, they say, Glenmore. What Glenmore? What's the
first film you remember seeing? Glenmore? Glenmore, Glenmore, Jurassic Park.
Speaker 2 (20:31):
Wow? And I believe I saw it at the cinema Wow.
Speaker 1 (20:35):
And I was like three wow in Croydon, the View Cinema, Croyded.
Speaker 2 (20:41):
It would have been Valley Park a time that was
a UCI cinema, and then it became a Warner Brothers
and then it became whatever it is now. Imagine it's
a you but Yeah, it was very uci heavy in
the Croydon and Wallington and Sun area. But I'm absolutely
saying that was the first thing I saw at cinema,
So not the first film I would have seen, but
certainly the first one I remember seeing. It feels intense
(21:02):
for a kid that young.
Speaker 1 (21:04):
Yeah, it's a great who were you seeing that with?
Speaker 2 (21:07):
Just it with my four families. My sister is two
years older than me, and my mum and my dad.
But I just think it's not that scary because dinosaurs
just aren't a day to day concerned I.
Speaker 1 (21:16):
Think you've got a very logical brain.
Speaker 2 (21:17):
So even at that age, I was aware that dinosaurs
weren't gonna be an issue in my life.
Speaker 1 (21:22):
So you're watching it and you were like, I'm not bothered.
I've seen very little amber knocking around Croydon. Yeah.
Speaker 2 (21:31):
In fact, I used to get more scared of, like
adult men, certain kinds of development. I just found a lot
of grown up men's face is scary, even when they
weren't deliberately meant to be scary. But so I imagine I
was probably more scared of Newman from Seinfeld in Jurassic
Park and his curly hair. I found I used to
find curly hair really scary, really that. I don't know why.
(21:52):
I don't know. I used to be terrified if Daniel
Sterning home alone the big frizzy hair. Yeah, Jim Wilder,
it was just it was just a curly hair. I
was just I don't know. I think I associated it
with really old people, and I was very scared of
old people when I.
Speaker 1 (22:05):
Was a kid. Wow.
Speaker 2 (22:06):
Interesting, I was worried they were going to rub their
hair on me for some reason.
Speaker 1 (22:09):
Have you ever seen the visit?
Speaker 2 (22:11):
And yeah, yeah that not. I mean, like, I think
it's a really really enjoyable film. But if yeah, if
I if I had been out when I was about
four years old, that would about it. I'd have been
like this, this is what I've been telling you all about.
Speaker 1 (22:26):
I warned you.
Speaker 2 (22:27):
Yeah, very evil.
Speaker 1 (22:29):
I spent a lot of time in that cinema that
you're talking about, a lot of time I went to
see the film. Was it might be look who's talking
now or something like that in the Croydon cinema and
a man and a boy and a couple had sex
in the seat next to me.
Speaker 2 (22:48):
She during that during the child film.
Speaker 1 (22:52):
Well, it's a dog fit it's more of an animal
film by that point, he's talking. Now it's now the
animals talk.
Speaker 2 (22:57):
Oh of course, sorry, And how was this? How did
that function just landed on him? Yeah, okay, ma'am.
Speaker 1 (23:08):
I respected it. I was like, good for you in
a way. Tell me, what is the film that scared
you the most? Is it got old people in it?
Speaker 2 (23:17):
Not really? Actually, yeah, I think it sort of does.
So I was always desperate to see and find films
that would scare me. I was really intrigued by the
idea of something terrifying you. And I think we watched
so many films growing up that I felt quite self assured.
I guess that I wouldn't truly be terrified. I could,
I'd be terrified during a film, but afterwards wouldn't then
(23:39):
struggle to sleep at night. And so it became a
real like fix that I was trying to get. And
my parents let me watch horror films, but quite mild
ones or ones where you'd be like, this isn't really
about anything current, so like sleepy Hollow or something like that,
where you go, yeah, well, firstly, it's a bit it's
a it's a bit popcorny and silly, but also just
that whole sort of very Victorianist sort of setting means
(24:01):
it's just it's not really relevant to anything. So it
had have been fine watching it if I was watching
like a sci fi or something like that. So I
mean in terms of like inevitably it's the Shining. And
I always find it odd when whenever there'd bebo sort
of countdowns on Channel four whatever, like the scariest moments
in movies of all time, and the Shining would always
feature so high. But it was always like the here'
Johnny bit, And it's like, I cannot fathom the idea
(24:23):
of anyone being scared of Jack Nicholson because it's Jack Nicholson.
And it's just not a scary bit of the film.
And the bits that I really found very scary were
my sister and I rented on DVD when I was
about twelve, and we watched the trailer for it that
was in the DVD. And the trailer is just the
theme tune with a still shot of the elevators and
or you know, filmed by Stanley Kubrick, starring Jack Nicholson,
(24:45):
Shelly do Vow. All the names are coming up, and
then at the end the elevator doors open and all
the blood rushes out, and we were like, well, this
is terrifying. And for me it was moments like the
lady in the bathtub obviously, and the guy in the
bear suit, because I think in horror, what I've learned
I'm scared by is a sort of fixed camera and
(25:06):
a sense of helplessness to that. I don't really get
scared by the idea of someone else being stuck. I've
never been scared by like someone in a saw trap
or a final destination situation where someone strapped to a
chair and something dreadful is going to happen, because there
is such inevitability to that. But I quite like the
idea of like you, you the camera are completely just
stuck in this situation, and so the woman in the bathtub,
that camera just sits itself down, having had a bit
(25:27):
of a first person journey through the hotel room, and
you're then just forced to let this thing happen to you.
So that really that really bothered me.
Speaker 1 (25:39):
As a kid.
Speaker 2 (25:40):
So I think that was the scariest tralot of my life.
And I remember being scared by moments in films. I
got scared watching the thing but it was only because
everyone was out and all the lights were off, and
that was more of the situation I was scared by,
rather than again, it's not a it's not a relatable situation.
The guys are that the thing are in and so
I wasn't really I don't really think looking back, I
(26:01):
was scared by that film. So I think for me,
scariest film of all time for me is probably It Follows,
because it really scratched that itch for me of like
what something is coming towards you? Like, yeah, and so
as you said, did it feature an old person? There
is an old lady in a hospital gown who's just
slowly walking across the football field, and so much of
(26:22):
it Follows features a very fixed camera angle and something
just coming towards that, you know, quick editing and stuff
like that never done it for me. And obviously horror
is effective when it's Jaws making you do not want
to go into the water, and night Mare on Elm
Street making you scared of going to sleep. But I
remember watching a midnight showing of it with a friend
of mine, Laura, and I was walking home from Finchley Road,
(26:44):
and every time I saw someone walking on the same
side of a street as me. I had to cross over,
and I was like, this is what I've been looking for.
This is what I've been looking for. Is ruined my life.
I've been looking for a horror film to grossly impact
my life, and I thought, it's just such a brilliant film.
I'm reluctant that there's a sequel. As much as I'm like,
I'd love to see more, I'm like, I just I
loved what it was and it just felt so this
(27:06):
one singular experience, and I liked how sort of anachronistic
it was in almost like a Napoleon Dynamite sort of
sense of it's really difficult to place when it's set,
and it's very hazy and eerie, and I love the
synth soundtrack. But just there are so many good not monsters,
but scary individually scary moments that are constantly just changing up.
It never gets tiring. Got to be that.
Speaker 1 (27:27):
Very smart, very good. I never thought about that, the
fixed camera thing, and now I'm thinking that my scariest
the scenes that have scared me the most, I think
are all fixed camera and things Okay towards smart. What's
the film that made you cry the most general do
you cry? You cry?
Speaker 2 (27:43):
I was very late to crying in films, and I
think there was a shame for me, an internal shame
that it came only from myself. I don't think my
family would have judged me if they'd see me crying
over a film or anything like that, but I used to.
I usually get really bummed out by films, like not
not sad bit, but I'd get really depressed when in
(28:04):
a film you saw something dreadful happen to someone and
then didn't hear anything about them afterwards. I'm fine seeing
someone suffer a horrific injury or trauma if they're then
in another scene, if I can just see them in
hospital afterwards. So like the ending of like Final Destination two,
the kid being blown up with the barbecue and just
dying in front of his parents, and then the film
ends on that hilarious note, and it was like, I
(28:27):
need to know that they had counseling after a lot,
I just need to not like can I talk? Can
I talk to them?
Speaker 1 (28:31):
Please?
Speaker 2 (28:32):
And I would feel really or like the Storian Gremlins
about the Dad dress de Santa or Morgan Freeman, Morgan
Freeman tells a story in seven about some jogger who
was like stabbed in both eyes by a guy once
he was unconscious, like in the park, and You're like,
don't just fuck it. Why have you told me that
it's not even in the film. Why did you tell
me this? Now? I just feel rubbish. And so I'd
feel really intensely sad about films, but not in a
(28:55):
crying way. But I think the moments where I had
to hold back tears the most because I was embarrassed
about the idea of Crime Ghost when I was probably
about six years old, Green Mile when I was about ten,
and the end of Lord of the Rings, Return of
the King, but because it was a culmination of nine
hours worth of films that I'd been spending one year
at a time waiting to be released. The first film
I ever cried at was during my GCSS revising and
(29:19):
I was procrastinating and I was the only one in
the house and I watched for like the fourth time
Tom Cruise in The Last Samurai, and for some reason
that just really made me burst into tears at the
end when Ken what's an Harvey died and it's udd
because it's not even like it's played for like action
movie sadness. It's not even played for like this is
how you should be feeling right now. So embarrassing, But
(29:40):
that's just for some reason. I was the first film
I ever cried at, But it was also probably because
of like what it's because I had German the next day,
do you know what I mean? It's like it was
probably like a culmination of stress and other worries. So
that and then as an adult, really really truly sobbed
at Philadelphia because and again I'm like, is it the
content of the film or is it spoiler alert that
(30:01):
has been out for like thirty years? Is it spoiler alert?
Just I don't want to see Tom Hanks dying. And
so I have really investment. You've got you have investments.
I really really wept at Philadelphia. The most recent one
that I well up at was all of us strangers.
Speaker 1 (30:17):
Oh fuck, yeah, that killed me.
Speaker 2 (30:19):
But nothing rolled down my face. I was very open
to that. I'm very open to, very open to a
film making me cry. But I'm you're not ashamed anymore.
I'm not ashamed anymore. But I think as well, I
feel because I have a love for horror films, I
feel a bit guarded going into horror films because I'm like,
I know the tricks are gonna pull. Do not respect
a jump scale whatsoever. I just know where you know.
(30:40):
I can just sense a lot of those tropes coming,
and so I sort of go into those sorts of
films with a similar sense of guard up of I
know what you do it For a start, stop playing
the mus because I shouldn't be relevant. You should be
able to do. You should be able to make me
cry on your terms, not the music's terms. And so
it doesn't really happen a lot for me because I
think I find my I almost find myself getting defensive,
being like I can see what you're trying to fucking
do to me. I shouldn't. I shouldn't be this hostile
(31:04):
towards cinema, so.
Speaker 1 (31:05):
Angry at it. What's the film that you like? It
is not critically acclaimed, most people think it's shit, but
you love it unconditionally.
Speaker 2 (31:13):
I think The Majestic, Oh, with Jim Carrey, Jim Kerry, Yeah,
and it's yeah, and it's like, well, I love a
Frank Darabont film anyway, Yes, And I love Jim Carrey,
And I was reluctant because I was at the prime
childhood age when he did like mask dumb and Dumb
and Dumber as Adventurer and Lilai, and it was he
(31:33):
was just the funniest man in the world and was
just the go to funny person, And so was reluctant when,
after what felt like a very short comedy movie career,
then went headfirst into, you know, into drama. But I
think we were a real film watching family when I
was growing up, and Sunday night was always movie night.
And again, I don't know if it's about the content
(31:54):
of the film, but I really appreciated length in films.
If I found out a film was going to be
below two hours, it like, is it even a film?
Like I just heard? Really I wanted it to be
longer because I think it just meant the weekends longer.
It's makes you know, like the longerest last, the longer
we still have weekend. And it's like two and a
half hours. It does not need to be whatsoever. It's
such a meandering film that if anyone hasn't seen, he's
(32:17):
sort of a blacklisted writer in Hollywood during the sort
of you know, Communist witch hunts and ends up drink driving,
ends up with amnesia, being rescued into a small town
where he has recognized as the missing son of the
guy who went to war, and helps open a cinema.
It's so event free. Yeah, but I liked how sanguine
it was, and I just liked small town America in
(32:39):
the fifties, just stakes being as low as they were,
of just opening a cinema and going on for two
and a half hours and just living living that sort
of fifty sixties life. I think it for me, it's
either that or Nicholas Cage in Family Man, the absolute.
Speaker 1 (32:51):
I love the Family Man. It's not but it's mental,
oh yeah yeah.
Speaker 2 (32:58):
And not just what happens to him, but Nicholas Cage's
behavior is psychotic, and when he tries to get his
old job back in this parallel It's a Wonderful life
universe and tries to get his banking job back by
just simply describing the boss's life to him and being like,
you're drink scarch, but you prefer a risky you know,
and you go. But if you were the boss, you'd
(33:20):
be like, arrest this fucking guy. I'm being stalked. He's
obviously stalked me, but instead the boss is like, wow,
how do you know my character? And at the end
when he goes back to his now original lonely life
as a banker, and he wants to be back with Teleoni,
and so he meets her at the airport and the
way he gets back with her as he says like,
we have two children, and he starts like explaining what
the kids are. But I'm like, but that's not what's
(33:42):
gonna happen. You have a whole different batch of sperm
to what you did ten years like, those won't be
like You've you've had a you've had a catastrophe in
your head, you've suffered some severe brain trauma, and you've
been living in apparel universe. It's so preposterous and it
has all the beats of a comedy and no laughs.
But for some reason, even if you remove the Christmas
(34:04):
aspect of it, it's such a fundamentally cozy film. I
think I'm very led in by just small town, suburban America,
upper working class, lower middle class sort of environments, and
I just I there's there's something about them. I could
just watch for hours and hours and hours.
Speaker 1 (34:19):
That's a lovely film.
Speaker 2 (34:21):
But you love Family Man.
Speaker 1 (34:22):
I love Family Man. It's right on my street, that
sort of thing. Yeah, it's lovely. What is the film
you used to like but you've watched it recently and
you've thought, I don't like this anymore, Glenmore? What is it?
I don't like this any any Glenmore.
Speaker 2 (34:34):
I'll take that, Glennymore. You don't like this, Clenymore. There's
a there's a couple which I refuse to watch. I
would dread to watch The Nutty Professor again. Yeah, I understood.
I cannot ever. I feel like Erna Hertzogen, you must
never watch this film. I'd also hate to watch Dodgeball again.
(34:58):
I think I think just because of stuff I found
funny when I was thirteen is obviously gonna be so
fundamentally different tow I find funny now. The biggest mistake
I think I made in recent years was rewatching one
of my favorite films from when I was about nine
years old or eight years old, was Mars Attacks, because
I think I finally saw it for what it was
meant to be, and I felt stupid for the way
(35:20):
I'd watched it as a child, because as a kid,
I thought it was outright horror, and this is meant
to be on the scariest films all time. And I
felt like such a such a big boy at the
age of like eight or seven or whatever, watching Mars
Attacks and being like, I'm not remotely scared. I feel,
despite the fact that Tom Jones is an old man
with frizzy hair, I'm not remotely scared. And I felt
so brave. And then I watched it and was like
(35:41):
I watched it again a few years ago. I was like, Oh,
it's a comedy. It's a comedy, and it's silly and
it's meant to look ridiculous, and I felt really jooped.
And I don't think that's necessarily connected to the film
standing up, but it was certainly.
Speaker 1 (35:52):
That's the biggest.
Speaker 2 (35:54):
Change between There's still effective moments in those films. I
think in that film, I think is absolutely fantastic. I
think these farmers coming out of their house and there's
just a light on the horizon and then you see
these sort of on fire shapes running towards them, and
it's just hundreds of cows on fire just stampeding past them,
(36:15):
and mean they look over and see the CUFO fly
up but it's eerie and unnerving because you don't know
what it is until it starts to get closer and closer.
And I remember being scared as a kid when Martin
Short gets his finger bitten off by the alien disguised
as a pretty lady. I still think the way Jack
Black's parents react to his death is one of the
most horrifying reactions to a death I've ever seen in
a film, despite the fact I think it is meant
(36:37):
to be played for last but they're watching it on
TV and they're just trying to change the channel and
rewind it to be like no, no, no, this isn't that
can't be, and you go, that's a horrible traumatized response
that is really really unpleasant. And again, that was the
sort of thing that screwed me up as a kid,
because I was like, I need to see more of
the parents police. I need to make sure that they
get over it at some point. Yeah, got to be
that got to be that really really.
Speaker 1 (36:56):
Good answer, Glenmore, I'm going to give you ten points,
and I ready did points. What is the film that
means the most to you? Not necessarily the film is good,
but the experience you had around seeing it will always
make it meaningful to you.
Speaker 2 (37:09):
Glenn Moore, there are some that I enjoy looking back
at the moment in my life, but wouldn't necessarily be
relevant to me now. I remember my second year of
UNI going out with a girl I was just deeply
in love with, and she was doing I think a
history module and it was about Vietnam, and so she
was gonna be watching The Deer Hunter, and we sat
(37:30):
and watching The Deer Hunt together and the moment that
Robert DeNiro returns to his old town and he's walking
arm in arm with Meryl Street, and he's being greeted
by everyone and just treated as this sort of hero,
which was quite unlike most betrayals of Vietnam you see,
and which I usually see people being chastised in that
sort of rambo sort of way. But the music in
that film was just gorgeous, and the music in that
(37:51):
scene in particular. But we were just watching this film
on her bed and we were going on a night
out straight after that, and we could hear some of
the guests arriving like downstairs, and in that moment was
just like perfect for me. But again, it's not really
about the film and I think, and these are two
examples of films I wouldn't really rewatch and aren't really
my sort of film. But I saw Rock of Ages
at the cinema when I was a year basically, I'd
(38:15):
gone to UNI and my first job was working as
like a roving reporter at a radio station in Sheffield,
and being like a newsreader had been like my main
career ambition up to that point. And I got this
job like straight out of UNI and realized instantly this
isn't what This isn't what I want to do, and
it's hard and it's scary, and it seems quite thankless,
(38:36):
and I don't think I'm particularly good at it. And
I at the time as well, had done a couple
of like open mic gigs and a couple of like
well aforementioned chort or student comedy competition, and a couple
of like agents had approached me a couple of gigs
in to be like, would you consider moving to London?
We represent you, and that just it felt silly to
(38:57):
be like to abandon this career. I spent my entire
life up to point trying to get suddenly getting into
that job for a few months and then being like, well,
let's quit it all and move to London. And I
saw Rock of Ages at the cinema the day after
a friend stag do, and it was when I'd made
the decision I was going to move to London and
just quit my job fully and just see if I
could give comedy a bit of a go. And that
film specifically is you know, and it starts with someone
(39:18):
you know sort of moving to La or whatever and
trying to make it in their own sort of creative field.
And that film just really resonated with me, even though
it's it's cheesy as hell, and so many of the
cast members have been canceled in retrospect, but like, just
that film in its moment was one for me a minute.
And then I felt a similar refresh of that sensation
beginning of twenty seventeen when I saw La La Land,
which was again exactly the same sort of con seat
(39:39):
and it was quite nice that I've been in London
for a few years and was still trying to sort
of become a professional comic, I guess, and I saw
that film where and then a few months later, I
think that was when I first got booked for like
not the week and got a job or just started
to sort of start to be like, Okay, my god,
I can actually make this as a job, hopefully. And
so those those films, even though were about something on
(39:59):
a much lone scale of people making it and Hollywood
movies and stuff, it was just sort of like the
there was a paralle of it really sort of resonated
with me. But I was like, Oh, this feels nice,
this feels that. This is like, it was nice to
watch films of people taking stupid career risks and their
creative industry and that felt really really lovely.
Speaker 1 (40:14):
I like that, and give you another ten points. What
is the film you most relate to?
Speaker 2 (40:19):
Probably not now, but the one the character it's specifically
a character that I'm most related to ever was when
I was seventeen years old, Evan, who is Michael Sierr's
character and super Bad, is the most I'd ever related
to any character ever. And he had exactly my mannerisms.
He had exactly the same speech patterns as me, and
(40:41):
we dressed the same and I was exactly just as Meek.
And my best friend at the time was this real
gross Jonah Hill in between a s esque guy, and
it was potentially an affectation, but I was just sort
of more on the sort of sensitive emotion all side
of like a relationship and really wants to be in
love with someone and find the right part and stuff
like that. And it was just before university as well,
(41:03):
so obviously everyone was absolutely DINTI lose their virgency as well.
So it was just like and I remember going to
the cinema my then girlfriend and her saying to me
on the way there, she was like, I've just can
I just relay a concern to you? And I was
like absolutely, and she was like, I've just heard this
getting traction that a lot of guys date girls just
before we go to university, just so they can lose
(41:23):
a virginity and get good at sex and then go
to university. And I was like, that couldn't be further
from the truth. And we were on the way to
see super Bad and we just left the film just
ashen and I was like, imise, I promise I'm the
other guy in that film. I promise I'm the other guy,
And I really do promise I'm not the Jonahill guy.
And the other guy did you have sex? We did?
And then so that's an exclusive right there. We did,
(41:46):
and then we went to respective university. She was an Exeter,
and then we broke up like a few months into UNI, inevitably,
but it was a few months into UNI. And then
when I got home, loads of our sort of mutual
friends were like, so apparently you and Tony had sex
men you just broke up with her, And I was like, right,
but those two sentences are true, but there are months
between those sentences, like that's really unfair, that's really unffair exactly.
(42:11):
It's like like it's it's a bit like the Queen
passing away and people being like shortly after the vaccine
and no, no, no, no, no, no no no.
Speaker 1 (42:23):
Speaking of speaking of the Queen, what's the sexiest film
you've ever seen? Again?
Speaker 2 (42:28):
Probably wouldn't find it sexy now, but at the time,
sexiest film I ever saw with specifically with the I
don't know why, but me and my school friend Luke
went of a cinema specifically to see this film, Charlie's
Angel's Full Throttle. You believe it's a second Charlie's Angels film.
Speaker 1 (42:43):
Yeah, you know what, themo it's never come up and
I'm going to give you twenty points for that it's
a sexy film.
Speaker 2 (42:51):
I fancied all three of them to equal extent, but
I don't know what me and my friend Luke were
hoping would happen, like if the film was a twelve
hour and so there was obviously not and obviously it
was like, well there never. They don't need to do it.
I don't know how extremist films could possibly get. It's
still like driven as an action film, and it was like,
(43:12):
did we just want to go to the cinema to
just have bonus next to each other? I don't know,
I don't like, I don't know what the motivation. I
remember even telling my parents going to see Charlie's Angels
and they were like why, And I remember even being
sort of relatively cand of being like, because, A fancy
all three of them, and they're a bit like, yes, why.
(43:32):
So I think that is the sexiest like female led
film I've ever seen, and a couple of years previously,
the sexiest male film led film I've ever seen was
Ocean's Eleven, and I think both films are equally sexy,
but that was it for sure was Charlie. That was
the only time I went to the cinema specifically to
be like this is for leering purposes.
Speaker 1 (43:52):
I'm in full throttle, and there's a subcategory traveling. Boner
is worrying. Why Dones? It's a film you found arousing,
you weren't sure you should. Glenn Moore, I was.
Speaker 2 (44:01):
Debating with Katie about whether or not to tell this
because for so many people listening to this podcast, this
is I'm still making a first impression, and it feels
insane to say this, but I go it. Oh my god, Okay, right,
I watched A Cold Mountain. Yeah, and there is a
(44:22):
romance scene towards the end between Nicole Kibman and Jude Law.
I'm revealing basically, a love scene in a fairly romantic
film is perfectly legitimate, but the troubling Boner is going
to be revealed shortly. My family had it on DVD
and I did slow frame by frame in the house
on my own when I was like thirteen, fourteen years old,
(44:43):
and there was a certain angle that Nicole. I could
see a part of Nicole Kibvan I've never seen before,
and that's fine. But I rewatched that specific scene a
few years ago and realized that when I was third
because I could see the image a bit more clearly
(45:03):
now that I realized that when I was thirteen, fourteen
years old, I had jacked off over Jude Law's wrist.
I just misinterpreted the image on the screen. Yeah, but yeah,
you saw a crease. It was yeah, yeah, yeah, yeah,
(45:24):
I think I don't know, it was just years ago.
Speaker 1 (45:25):
But it's an innocent it's an innocent mistake. And also,
Judo's got a love He's got a lovely risk.
Speaker 2 (45:31):
But it's like, and Jude Law is such a handsome man,
but I don't think anyone has ever had like a
wrist based fixation or to lovely risks.
Speaker 1 (45:39):
Thank you for sharing that. I appreciate that. Oh man, I'm.
Speaker 2 (45:42):
So I feel for words all.
Speaker 1 (45:46):
I thought you were going to say it was a
it was a fox or something, but it.
Speaker 2 (45:50):
Was no, no, no, no, no no no no no no. That
came much later.
Speaker 1 (45:54):
What is objectively the greatest film of all time might
not be your favorite, but it's the best of cinema ever.
Speaker 2 (46:01):
Glen, Please, I'm going to say planes, trains, and Automobiles.
Speaker 1 (46:05):
That's a really good answer.
Speaker 2 (46:06):
It's a film that I really love and I find
incredibly sad. I don't know if John Candy was ever
alive in my lifetime, but I think I've only ever
I've only ever known him as the late John Candy,
And as a result, the entire film is twinged with
complete sadness because that's all I'd ever sort of known
(46:26):
him as. In the same way that like, well, The
Dark Knight has made so much more eerie because no
one ever saw that film within alive Heath ledger in
you know it was. It was sinister and off from
the start. So I just feel an intense sadness watching
that film. It is incredibly heartwarming and it's incredibly touching.
And Roger Ebert did an amazing re review of it
(46:47):
years later in which he was like, it's great because
it is them. Is like John hughstually got to the
heart of what made Steve Martins Steve martst and what
made John Candy John Candy. And he talks about encountering
John Candy in a bar, I think a few months
before John Canny's death and saying that everyone loved him,
but John Canny was just really depressed and everyone loved him,
but either he didn't know it or it wasn't enough,
and it just makes me endlessly sad to read, and
(47:10):
it is. It is an achingly sad film, and I
the ending is sweet and really horrible in many ways,
but I think it's such a perfect movie up to
a point. I love an adventure in a film anyway.
It covers all those small towns of America aspects that
I loved. It is so so funny. It is so
perfectly characterized. They're not just playing themselves, but John Hu's
(47:32):
just had them absolutely down to a tea of them
what made them funny? I could watch it over and
over again. It's so so brilliant, but it really it
really makes me very sad.
Speaker 1 (47:39):
Indeed, Yeah, the end makes me cry. I can watch
ten seconds at the end and I'll cry.
Speaker 2 (47:44):
Do you know what. I had a moment about a
year ago where I was having a couple of drinks
with a friend and a pub and then we needed
to both needed to go and we said oh goodbyes,
and I realized as I got down the road, I
was like, oh my god, my phone's on like five
percent and I had a phone charger on me. So
after said by to Hi, actually back to the pub
and I was kind to charge my phone behind the bar,
and I just got another pint because I was gonna
(48:05):
be there for like, you know, twenty minutes or whatever.
And it turned that my friend had left his scarf
and he came back in, and I realized I looked
like John Candy at the end of Planes Trains, because
he was like, what are you doing? Hi? I have
a heart, I do have a home.
Speaker 1 (48:22):
What is the film you could or have watched the
most over and over again?
Speaker 2 (48:27):
That would be Lord of the Rings of Fellowship of the.
Speaker 1 (48:29):
Ring Jesus Christ Man, is that I'm taking away some points?
Speaker 2 (48:34):
But God no, no, no, no, no, no, no, no, because
it is the one I've seen the most, not the
one I could see the most. Is the one I
have seen the most. Okay, Like if I just I
want to give a different answer, Well, this is it.
This is it. When I was growing up, you were
sort of allowed when you got home from school an
hour of designated like fun, you know, whatever you wanted
to do. Go on the PlayStation, go on the computer,
(48:56):
watch TV for one hour, but didn't. But then later
as a family after dinner, we watch TV. We do
something fun after that, But that was separate to that,
but you had your own solo era of fun basically,
so you know, you could go on the PlayStation, you
can jack off Overrge of Laws Wrist, you can do
whatever you want to do. And I when Lord of
the Rings Fellowship with the Ring came out, bear in mind,
I was like eleven years old, and it was that Weirdly,
(49:16):
there aren't that many Dungeons and Dragons esque fantasy films
that a really really nerdy kid could really watch, and
especially not of that budget and especially not in that era.
And there were a few. There was a crap Dungeons
and Dragons film, there was the Christian Belle Dragons film
over London or whatever. There was just a bad Sean
Comery Dragon film was almost it was all quite dull
and all felt low budget, all fell a bit Channel
(49:37):
five afternoon movie. And Lord of the Rings was just
absolutely incredible. I wasn't familiar with the book before I
saw the film, and I loved it. And again it
was just the length of the film that really excited me,
and just going from location to location to location. And
so in the build up to The Two Towers coming out,
I would use my designated hour to watch one hour
of the Fellowship of the Ring and it would take
me three days to watch it. I mean, as soon
(49:57):
as it was finished, I would just start again. And
I did this for like maybe weeks, just watched it
over and over again because I was so keen. It
was such a nerd and I was so keen for
the Two Towers to come out that it was. I
just kept rewatching it in the hope that like somehow
it would unlock a new scene or something, do you
know what I mean, just like knew would happen, and
it never did.
Speaker 1 (50:14):
Glenn, I'm giving you your points. I'm giving it your points.
Speaker 2 (50:17):
Has it been justified? Okay? Yeah, I'd probably struggle to
watch the film again now because I do just know
it off by heart. I just know it so so well.
And it's weird because Two Towers are probably seen like
three times and Return of the King have probably only
seen like twice, considering they were like my favorite film
series ever. But the fullast of the Room, I just
could just watch it over and over again. It was
just endlessly spectacular to me.
Speaker 1 (50:38):
Well, I lovely answer. I'm sorry that I two points away. No, no, no,
you know what, Glen, that was me bringing my own
ship to this and that was bad. That was bad.
Speaker 2 (50:46):
Well what was your own ship? What's your own ship?
Speaker 1 (50:48):
Did you not for it's just not for me?
Speaker 2 (50:51):
Did you miss out on the HBO series? Is that
what happened on? It's so tricky with this because I
think I've once gone this podcast for quite some time,
I'll be honest. And the thing is, you sort of
end up sort of wondering what would you say, Like
anytime you listen, you sort of wonder what your own
answer would be in those sort of situations, and you
wish you could use it as a showcase of your
cinematic knowledge and be able to mention a film that
(51:13):
you go, I've never heard of that, And I'm like, mate,
isn't even IMDb? You know, something really undergradab. But the
problem is, there's a reason, there is a reason that
these films are as good as you like. All these
films are just so broad like every most people listening,
I've seen all of these films, but it's like there's
a reason why. It's because they're so good.
Speaker 1 (51:30):
I love that. I love that answer for you, not
for me, but I love that answer for you. Is
what is the worst film you've ever seen. Let's not
be too negative, Glen More, please.
Speaker 2 (51:41):
I wonder if you've even heard of this film, Talos
the Mummy. No No, it's also known as Tale of
the Mummy. This came out in I think nineteen ninety eight,
and I watched it asleepover a few months later and
a friend of mine was like, you need to watch
Talos the Mummy and you'll be surprised actually considering you've
never heard of this film. If I read out the
cast to you that the main lead is Jason Scott
Lee who played Mowgli in the Disney early nineties one,
(52:03):
Sean Pertweet, Jack Davenport on a Blackman, Christopher Lee, Shelley
du Val. There's a decent amount of people in this
in this horror film. But the idea is it's basically
a bit like the Brendan Fraser The Mummy film in
which a curse is unleashed across Egypt or whatever. And
the film followed this exact same pattern. Every single scene
would be these two police detectives man and a woman
(52:26):
investigating a series of deaths across I don't know, New York.
That would be scene A, and then scene B would
be a bit like the beginning of Casualty or er
or whatever. Oh, nameless victims one we haven't seen yet,
saying that's going to happen to them, And there'd always
be a slight flickering of lights, and my friend would
whisper to me that means, tell us the Mummy's going
to come. And then what would happen is these bandages
(52:46):
that look like basically parcel tape would fly out of
like if person was in a bathroom. These bandages would
fly out of like a hand dryer of a sink
or whatever, and would I don't know, strangle the person
or wrap them up. And I think a bit like
in The Mummy, tell us the Mummy was trying to
gain various organs, you know, and become a whole, so
that'd be seen bee, and then it would flip back
to scene A again, officers investigating the desk, flip back
(53:08):
to scene B. Random husting gets killed by tal us.
The Mummy goes on for like an hour and a half,
and then at the end of the film, as far
as I remember, the cops say goodbye for the night,
and they say bye to each other, and the male
cop walks up some stairs towards I don't know, the
Capitol building or whatever, and you think it's the end
of the film, and then he turns back around to
face the camera and bears his teeth and he's got fangs,
and the film ends and you go, is that a
(53:30):
mummy trait? Sorry? Is he? Is he a snake?
Speaker 1 (53:33):
Now?
Speaker 2 (53:33):
Does that mean he's the mummy?
Speaker 1 (53:35):
He's a mummy? Christopher Lee?
Speaker 2 (53:39):
Wasn't it? Sarah Man from the Fellowship of the Ring.
It was just crazy, even as a even as a
kid that age where you're like you just accept any
film as being good because it's been made, it exists.
I remember just thinking this is crap. It was just crap.
Speaker 1 (53:58):
Bad.
Speaker 2 (53:58):
Yeah, it was bizarre.
Speaker 1 (54:00):
You are in comedy, you're very successful in comedy, You're
very funny. What's the film that made you laugh the most? Glen?
Speaker 2 (54:06):
Unintentionally? Apollo thirteen? I remember, for some reason my family
and I just had a giggling fit one evening while
watching for otherwise very sincere Apollo thirteen, And it's the
hardest we'd all laughed during a film. And it wasn't
really about the film. But sometimes Tom Hanks would just
say a sentence and we just die and we just couldn't.
It was like an ill. It was like we got
carbon monoxide or something. So that's the hardest I've ever
(54:28):
laughed during a film, But it wasn't really about the film.
I think Napoleon Dynamite is a runner up because of
just how endlessly giddy it made me feel, because it's
such an insane film and it's throwing so many things
at you, but it's not overbearing, it's not thrusting these
things into your face. It's just if you look carefully,
everything's crazy in that film, and it was just utterly
(54:49):
bananas and it felt like it had come from nowhere,
and it was like a lot of Napoleon Dynamite was
making me laugh because I was thinking, why are you
telling me this? Why are you showing us? Why are
you showing us this? And that was wonderful, I think though,
as just mainstream pound for pound, hardest I have ever
laughed at a film, and this was with my family
growing up as a teenager. Probably Both Finger.
Speaker 1 (55:10):
I love Both Finger. That's a great.
Speaker 2 (55:13):
Chubby Rain is such a funny film within the film,
and then the end of the film, whether in a
movie called like fake person ninjas and Eddie Murphy's very
reluctant brother is like tapping Ninjas, but the stunt fighters
are incredible and they're flying backwards. It was just it's
so so funny. There's so many just great jokes, great
one liners, really good physical stuff. And I think for me,
(55:36):
there was nothing funnier than just a crap film, like
the idea of a crap film. So like, I think
I saw it roughly the same time as I saw like,
I don't know, Darth Mauringe's Dark Place at the same time,
and I just thought, what a brilliant idea to just
show us something bad.
Speaker 1 (55:48):
Yeah, I love both finger then more. Yeah, you've been
a delight. However, when you were on the Titanic and
it was sort of a tipped over a bit, and
you were like, if I balance on top of this thing,
I might make it out of here, and everyone was
really stressed and scared. They looked up and you fell
off the bar and banged into a propeller and died,
(56:09):
and everyone everyone sort of felt a bit better. Everyone
was like, well, that was fun. I guess. I guess
there's always humor no matter what. And and I was
floating past with a coffin. You know what I'm like,
And I'm like, theyone's seeing Glenmore and I go seeing him,
he just fell off the titon and hit the propeller.
He's that guy, I went, he's that guy. He's a legend.
They went, yeah, yeah, yeah. Anyway, I find you floating
in the sea. You're all swallowing from the from the sea.
(56:32):
I get you in the coffin. I go, anyone got
a fire access, So yeah, they come over. We start
chopping you up, chopping you up into pieces. I get
stuff you in the coffin. It's fucking waterever a fish.
You swallow some fish, so you got a little jellyfish
wraps around you. There's half a shark in you. Anyway,
I get you in the coffin. It's absolutely round in there.
There's only enough room in there for you to take
one DVD or put in the side and you take
(56:53):
it across to the other side. And on the other side,
it's movie night every night. What film are you taking
to show the people of heaven whether you conditioning is
perfect when it is your movie night.
Speaker 2 (57:02):
Glenmore go in one of them in I think my
most generic answer. Yeah, I'm going for readers of lost
Ark beautiful. What a perfect film, What a perfect joyful,
action packed, funny, touching, silly, tense, scary, genre spanning film
readers of lost Ark? Is it bothers me? But it's
(57:23):
meant to be a kind of parody because I'm like,
but it's excellent. Ye, it's excellent.
Speaker 1 (57:28):
Ye, it is excellent. Lenny Moore for Glennymore?
Speaker 2 (57:34):
What is in room for another DVD?
Speaker 1 (57:37):
No?
Speaker 2 (57:37):
You just saying that for the same you're saying that
as a suggestion of my next title, Lennymore. I would take.
I would happily take Lenny Moore for Glennymore. I'm a
big fan of Glenmore. Thank you so much for doing this.
Speaker 1 (57:50):
Tell everyone where to see you, what to look out for,
plug yourself. Go on.
Speaker 2 (57:55):
You can see me at the Edinburgh Festival and then
on a UK tour starting in September with a called
Pleis Sir Glenn. I have some More in which there's
about three hundred punchlines and it's very fast paced. It's
very one linery, but all the one line is linked
together into a big, satisfying story and I really hope
it's your thing. It's incredibly stupid. It's really really stupid.
(58:16):
You will leave less intelligent, but hopefully with your with
your heart and mind, absolutely full of punchlines.
Speaker 1 (58:22):
But the story is real. The story's real stories. Rob
was time and they did. He did die nine years ago,
Glenn will what a pleasure. Thank you so much for
doing this, Thank you for your time, thank you for
your time, good luck in Edinburgh, and thank you. I
wish you were a lovely life. That'ds so love. Thank you.
So that was episode three hundred and sixty one. Head
(58:42):
over to the Patreon at patreon dot com. Force That's
great Girl's teme for the extra twenty minutes of Chat
Secrets video with Glen Moore. Go to Apple Podcast, give
us a five style rating and write about the film
that means the most of you and why it's a
lovely thing to read. It helps with numbers and I
really appreciate it. That is my neighbor, Maureen. Thank you
all for listening. I hope you're well. Thank you to
Glenn for giving me his time. Thanks to Scruby's pip
in the distraction, Pieces of Network. Thanks to Buddy Peace
for producing it. Thanks to iHeartMedia and Wilfare's Big Money
(59:04):
Blazers Network for host. Thanks. Adam Rich is in for
the graphics and least the light them for the photography.
Comes home me next week for another brilliant episode. Thank
you all for listening. I really do hope everything is
good in your world. But that is it for now.
In the meantime, have a lovely week and please be
excellent to each other.
Look out. Is there any films to be buried with? Hello,
and welcome to films to be buried with? My name
is Brett Goldstein. I'm a comedian, an actor, a writer,
a director aspect of dust, and I love films. As
(00:22):
Will Rogers once said, even if you're on the right track,
you'll get run over if you sit there, which is
why Coyote versus Acting finally got a release date. Every
week I invite a special guest over. I tell them
they've died. Then I get them to discuss their life
through the films that meant the most of them. Previous
guests include Barry Jenkins, Sharon A. Stone, Jamila Jamil and evens.
But this week we have writer, comedian, award winner and
(00:45):
broadcaster mister Glenn Moore. My comedy special, The Second Best
Night of Your Life is streaming now on HBO, Max
and Sky. Give it what You'll fucking love it. Hellover
to the Patriot of Patreon dot com forwards last Brett Goldstein,
where you get an extra twenty minutes with Glenn. We
talk secrets, we talk beginnings and endings. You'll also get
the whole episode uncart Adfrey and as a video check
it out a patrioon dot com forward, says Brett Goldstein.
(01:06):
So Glenn Moore, you might know glenmore from Mock the
Week or his brilliant fringe shows. He's going back to
the fringe with his first show in three years called Please, Sir, Glenn,
I have some more and another three hundred jokes. This
was my first time meeting Glenn. He's fucking brilliant. We
recorded this on Zoom last week. We had a lovely
time and I really think you're going to enjoy this one.
So that is it for now. I very much hope
(01:26):
you enjoy episode three hundred and sixty one of Films
to be Buried With. Hello, and welcome to Films to
be Buried With. It is I Brett Goldstein, and I
am joined today by a shortal Comedian of the Year
(01:50):
final list a Mock the Weaker, an absolute radio and
Mock the Weaker in America. He's a stand up sketcher.
He's an award nominee many many times. He has the
most brilliant titles of all time. He probably has the
most jokes per show of any comedian on the circuit,
(02:12):
except for maybe someone like Tim Vin. I don't know
the actual facts. He's an amazing writer, an amazing comedian,
he's a presenter. He's everything you could want in a man.
Here he is. Please run to the show. It's Clement.
Speaker 2 (02:26):
Oh, Brad, thank you so much. What an in depth
intro that was. That was really lovely and considered and
thought out. When you opened with your chortal student finalist
or whatever I was, I got nervous because I went
through a phase where, for some reason, anytime I did
like a gig where you got announced over like a speaker,
like a corps or whatever, for some reason, they only
(02:48):
had a biography of me that was from when I,
like very very first started, so it would be like,
instead of it being sort of like you've seen him
on Live at the Apollo, would be like he's studied
at the University of Sheffield. Wait for this.
Speaker 1 (03:04):
It's funny. I forget they do that with corporates because
you don't do that. Do we do that now in England?
Still don't. People still don't like to be introduced by credit.
Speaker 2 (03:12):
No credits before a gig. It's very terrible. I mean
obviously in America it's like, well that's what you lead
with you? Yeah, I think it is strange. I don't
know what I prefer. What do you prefer?
Speaker 1 (03:22):
Oh? I prefer nothing. But then it's because I'm English
and I think we hate people who've achieved anything.
Speaker 2 (03:27):
So it's like someone reading our CV. It feels like
like it's horrible.
Speaker 1 (03:32):
But also I think as an audience to go all right,
you fucking if it's a long list of you go
like fucking know, all right? Right In America, they make
you know you have to. They always go what credits
do you want? And you're like, yeah, I don't know.
But when I had to introduce Kevin Kneelin a gig
the other day, it was like a tag team gig
and I said, what do you want? What do you
want me to say? And I've written a list of
few stuff and he said, say, I gig in lots
(03:55):
of comedy clubs across the country.
Speaker 2 (04:00):
I like that, that's cool, that's great.
Speaker 1 (04:02):
Yeah. Yeah.
Speaker 2 (04:03):
I never knew what to do America wise, because obviously
you want sort of like a relevant credit that they'd
have heard of. And before Lockdown, I was meant to
do a slot on Conan. I was going to be
the Lockdown hit and then you quit the show. So
it never happened coincidence, but what it meant was, in
any sort of American gig, they're sort of like, what
credit do you want? And I sort of like you
(04:24):
could you say like would have been on because I
think that's the only thing people would recognize over there.
Speaker 1 (04:30):
The fuck. Oh man, that's horrible. I guess that was
the worst thing about COVID. Do you so you're hang
on listen? Wait, you're about to go to Edinburgh?
Speaker 2 (04:41):
Correct, about to go to Edinburgh at the time of recording.
I'm about to go up in a few days.
Speaker 1 (04:46):
Yeah, Now, if I do have any American listeners who
may not have seen Glenn Moore almost on Conan, He's
a brilliant comedian. He does incredible jokes per second within lines,
within lines that sort of hurt your head a bit.
And he also has the best show titles. What is
your title this year? Please?
Speaker 2 (05:03):
The show title is do you want me to go through?
Speaker 1 (05:04):
From?
Speaker 2 (05:04):
Chronologically it went Glen Garry, Glen Glenn, the very best
of Belinda Carlyle Glenn, Glen Glenn. How do you like it?
How do you like it? Love? Don't live here? Glennymore?
Will you still need me? Will you still feed me
Glenna and sixty more and this one is polis Sir Glenn.
I have some more I've and that has to be
the last one. There can't be any more verbs or
nouns I can use to switch Glenn and Moore out.
(05:26):
I can't. I can't think of any other ones. Okay,
I can think of like two more.
Speaker 1 (05:30):
And you can do two more shows? Okay, have you
done them like every year? No?
Speaker 2 (05:34):
I did like her four in a row up until
COVID and then the Frinch probably came back again in
twenty twenty two and that was the last one I did,
and then the last couple of years, I've just been
going up to try out, like, oh I can progress
for a couple of weeks, because it would have been like, oh,
I have a RADIOFOD stand up series, it's recording, it
would be nice to sort of try that out. So
I've only been going up very casually since then. So
(05:55):
this is the first time since twenty twenty two where
it's like, this is the four months proper ticketed show.
You know, I'm in going on tour straight afterwards, and
it it just makes me feel I know I should
be like positively plugging it.
Speaker 1 (06:07):
It makes feel It makes me feel sick thinking if
you do.
Speaker 2 (06:11):
Because if I was going straight on tour, I'd be like, yeah, great,
I'm really excited to go on tour. I've gone to tomorrow.
I'd be so excited. Just something about the end of
fringe that makes you go, well, obviously you're not excited.
Speaker 1 (06:19):
Yeah, Well, you're basically going like, I'm just gonna go
and talk to myself for a month and then I'll
have a really nice time on to it.
Speaker 2 (06:24):
Yeah, I'm reapplying for my job. I've got to reapply
for my job over the course of a month, and.
Speaker 1 (06:30):
To lose faith in everything I've ever done for a month.
Speaker 2 (06:33):
Lease faith in everything you've ever done. Obviously you can
stuff like that, you're doing your A levels where the
country can read your results. Yeah, it's just like it's
because you get to some point obviously it starts mattering.
It's just in those first couple of years, when you
you really have no profile or anything like that, that's
when it's absolutely terrifying. And I think that's sort of
there's a sort of residual hangover. I think like if
(06:53):
you still have to gig in your old school you'd
feel you'd feel really uncomfortable and nervous all the time.
And that's kind of what it is. It's because you
started out, Yeah, that peoplefore nervous. If I was going
there for the first time ever this year, I'd be
so confident and happy and really excited. But it's because
you know what it's like to performed to a room
of like twelve people that because of like the first
time you ever did it, that you go, what if
(07:14):
it happens again.
Speaker 1 (07:16):
I'm still scared of editor. I'm scared of editard. People
could go, now you're going to come back to Edward.
When was the last time you went?
Speaker 2 (07:21):
I remember the last time I'm revieawing the four months
was Burning Man? Was that your last show?
Speaker 1 (07:24):
That was my Yeah, because I was about to do
my new one. I was like ready to go back
and do my new one, and then I got the
Ted Lesso writing job.
Speaker 2 (07:34):
That's the dream. I think that's the most dream situation
anyone has ever had. I had this the first time
I ever went up as part of like a sketch
duo and I found it halfway through. There were like,
there's a TV show in America that wants you, but
you're gonna have to leave the fringe halfway through and
I was like, that is the dream scenario, what to
get to ascend into heaven in front of everyone? What
are you talking about? Of course? And then it just
(07:57):
like it fell apart like the next day and it
was like, oh, yeah, back to you know, yeah Venaman
fringe or there's always a slight element of feeling like
you're coming crawling back, even though that's not how it is,
but there's always that slight element.
Speaker 1 (08:07):
And so this show, which is your sixth or fifth
official I think, yeah, six six sixth show. Is there
a theme or is there a big idea? Is it
just funny shit?
Speaker 2 (08:17):
There's always a theme, there's always a story. But I
always reverse engineer mine because I go I write all
the jokes first. I think there's you know, I know
a lot of comedians who are sort of like point
driven or real life story driven, and obviously their jokes
then have to fit the framework of that real life
story that happened to them, and I would rather me personally,
I'm like, well, I'll spend the year writing any jokes
that come to mind, and then I'll spend a few
(08:38):
months sort of categorizing those into different Hey, I realized,
I've got a few jokes about dentists or whatever, and
our group both together, or like a few jokes about
a relationship and our group both together, and men just
sort of reverse engineer the story from there, And it's
usually sort of an understanding between me and the audience
of like, obviously what obviously this isn't true, but like
that's not why you guys are here anyway. But there's
always like one realistic thing. There's always one real thing,
(08:59):
which is usually the east realistic part. But I'm sort
of hinging the show on and that's that's what's happened
this year. This year is actually a real story, but
it spirals off into jokes and routines that are quite
clearly not is the idea. And so yeah, it's just
the way I've been doing it for the last few shows,
and I'm like, that's my thing now. So it's it's
just it's just it's just it just naturally comes. It's
(09:19):
just the way it sort of naturally comes to mind
always made me uncomfortable talking about real life stuff or
all that stuff that happened to me. Always made me
feel really uncomfortable for some reason.
Speaker 1 (09:25):
Yeah, where do you think that is? I don't know.
Speaker 2 (09:27):
I just just like, well, why would they be in?
Why would they be interested? I think because certainly when
I started, there was more of a focus on the
industry was moving away from most sort of DVD arena
comics that I'd sort of grown up watching, where it
was just like a funny person, and then it became
a bit more storyline based, backstory based, identity based, where
(09:47):
it was like, well, what's everyone's hook, what's your what
did you used to do for a living? What was
interesting about your upbringing? And that sort of thing. And
I thought, I'm such a generic guy, like I just
am and I'm from Crichton, but no one believes that
about me, so there's no point in addressing that. So
I'm just gonna have to pretend I went to private
(10:08):
school because that's what people assume I will do. And
I just thought, this already isn't going to be interesting
to people. I just had no faith in anything i'd
and I was just like, but the only thing I
know I was good at was sort of writing punchlines.
And I was like, well, I'm as we lean into that,
I guess. So yeah, So I didn't really talk about
real life stuck because I just thought, oh, who would
give a shit?
Speaker 1 (10:25):
So none of your shows have real because I think
I read about one of your shows.
Speaker 2 (10:30):
They do, but it's always the bit that people would
think is the least realistic bit. So in twenty eighteen
I did a show that was about having a breakup
and applying for the first civilian mission to Mars, which
is what I did in real life, but no one
really believed that. In twenty nineteen I did a show
about being a newsreader, having formerly been a newsreader like
on the radio, and that I had to be the
(10:52):
newsreader for Katie Hopkins and Nigel Farrage. No one believed that,
but that was like the one true bit and again
cannot stress enough a freelance news reader at LBC, and
at the time I was like juggling tho it was
not a decision. I was rarely in the same room
as them, but it was always sort of vose, sort
of elopment. It would always be like, what's the what's
the least applausible thing that that would be? That would
(11:15):
be the real bit.
Speaker 1 (11:15):
I think, can you tell me what the real thing
is in this show or is that.
Speaker 2 (11:19):
The real thing in general? Is? Do you know what?
Most of it's the real thing. I went away to
America years ago, to like Los Angeles, Las Vegas, and
San Francisco and drove through Death Valley. On the map
it says like Death Valley National Park, and in my
head I thought I sort of read that as like
a National Trust thing. I was like, we'll be like
part rangers, and it's like you just it's like going
(11:40):
through Yosemite. It's like you're you're almost in part of
a convoy, and you know you can step out when
you need to, but you just sort of drive through it.
I didn't realize it's where people go camping for like months,
and hadn't fully just thought I'd encounter a gas station
at least two hours before getting into Deathvlly and just didn't,
and then ended up running at a petrol like directly
in the middle of it, and knowing like what on
(12:01):
earth to do, and the engine was still going and
we're sort of like rolling downhill, but we were like,
we don't know when this car is gonna just cong out,
and we knew we were minimum twenty six miles away.
From the nearest town, and we couldn't admit to each
other that we we both thought like, it's my mistake,
and the other person was like that it was my mistake.
And because you don't want to admit to the other person,
(12:23):
how die You think the situation is you're both trying
to be really cheerful the whole time being sort of like, yeah,
I think there's a look I've had tree looks amazing.
We just carry them down this road. Well of the
whole time, think can be like we're gonna die. We're
literally gonna die. We're gonna die. We're gonna die, And
obviously did not, but I was like, oh, actually, based
on the jokes I'd written over the last couple of years,
I was like, thematically they all linked to this, so
(12:43):
that that's how that came about.
Speaker 1 (12:45):
Wow, what did happen? So I have to see this.
Speaker 2 (12:47):
Show We died nine years ago in sadly, yeah, I
know on this very away.
Speaker 1 (12:54):
The bit you think is the bit that isn't true, and.
Speaker 2 (12:56):
It's always a bit you think it isn't true. We
were we'd absolutely lost hope because we were it was
like pitch black and we were basically driving down the
side of a mountain. We turned the engine off just
to save any last bit of petrol. So we were
just rolling downhill and we were holding our phone torches
out the window to light the road, and it was
just like a steep drop basically on one of the sides. Yeah,
(13:18):
it then just like this road just turned like the
desert basically turned into just woodland, turned into a forest,
and then just emerged and we just suddenly saw a
sign for Denny's and we were like, oh holy and
we just couldn't believe it. And we like checked in
at like the most generic old school American motel and
we went to Denny's and then we went to like
(13:39):
a dive bar and just spent the whole evening there
just having the best most relieved even But at the
time it was really stupid, really stupid what we did.
Speaker 1 (13:49):
But when when did you get the petrel? I'm still
stressed about the petrel at Denny's.
Speaker 2 (13:53):
Well, we arrived into a town. We arrived into a
town out nowhere, So as soon as we got there,
we were like, first things first, we're filling up, and
then we just and then we just Since then, I've
been so vigilant about that sort of thing. I've never
come anywhere near to running out of petrol ever since
in my life.
Speaker 1 (14:12):
Yeare yes, I forgotten to tell you something.
Speaker 2 (14:16):
Oh was it a compliment?
Speaker 1 (14:18):
Yeah? Well I guess it was just sort of backing
up what you told us. You've died, you are dead? Yes, yes,
of course, yeah?
Speaker 2 (14:25):
Yeah?
Speaker 1 (14:26):
How did you die? Was it?
Speaker 2 (14:27):
It wasn't actually death Valley.
Speaker 1 (14:28):
No.
Speaker 2 (14:28):
I was on a ship much like the Titanic, and
I was that person who hit the propeller on the
way down.
Speaker 1 (14:33):
Oh wow, that guy?
Speaker 2 (14:35):
Yeah that was me.
Speaker 1 (14:36):
That was me.
Speaker 2 (14:38):
Yeah, I know, I know, I get I get this
all the time. People always ask me, like, you probably
get this all the timing. You're the guy I'm like, yeah,
did you tell from the massive dent in my spine?
Speaker 1 (14:49):
Wow? So yeah, right, that's a way to go. I mean, yeah,
he's the one you remember.
Speaker 2 (14:55):
Have you had that response load? So it would be
awful if you were like every fucking guest says this.
Speaker 1 (14:59):
Everyone gets skilled by the propeller and the Titanic. Now
you're the first death by the Titanic propeller. Okay, the
guy that falls off and bounces off, that's it.
Speaker 2 (15:07):
Absolutely clangs off, and it's such an embarrassing way to
go lost. Your grip died in front of everyone, span
off in a really comical way, and then you fell
into the freezing Atlantic. So like humiliating.
Speaker 1 (15:22):
I guess, yeah, in the film, you're the sort of bit,
the kind of comic relief. I suppose you go, okay.
Speaker 2 (15:29):
Yeah, everyone gave a rye chuckle in the cinema. I'm
assuming I couldn't get in because I was about seven
years old, so I couldn't see it.
Speaker 1 (15:37):
Do you worry about death?
Speaker 2 (15:39):
Not really, I'm just like I feel this way whenever
there's like the looming threat of a potential like nuclear war,
I'm like, there's just no point panicking because either will
be fine because it won't happen, or it will happen
and we won't know about it because we'll just be
instantly obliterate. So I'm like, just you just keep going
like it's not something I really panic about think about. No,
(16:00):
probably should, I probably should. I should probably start getting
affairs and order just in case, Just in case I'm
about to get an enormous cruise liner from from one
part of the UK to New York or a Big Drive.
Is this something you think about death?
Speaker 1 (16:11):
Yeah? I think about death. I mean one of the
reasons I do this podcast, I guess, yeah, I think
about death. Yeah.
Speaker 2 (16:16):
Do you know what? Yes, I'm sorry, I'm talking bust
One's holiday for you. This is literally a death based podcast.
You're absouly right.
Speaker 1 (16:23):
I think about death, but I think about I think
it changes my fear of death. I think what I've
now come to the conclusion of is that I do
think you're reincarnated a million times and you have to
get better and better at it. And I think I'm
the older I get, the more I'm annoyed that I'm
going to definitely have to come back because I didn't
sort of nail it. You know what I mean, You go,
oh I didn't get it?
Speaker 2 (16:44):
Oh really, I yeah, I would quite like it if
there is reincarnation and you're like we go again, and
you know, like especially if you were like reincarnating back
in the same body and you get to do the
same experience again. If you come back and you're like,
you know, a coyote, like obviously fucked up? How did
I do so badly that I've come back as a coyote?
(17:04):
That would be bad. I I was thinking, what would
you prefer as an afterlife you pass away? Your options
are you are just a free, roaming omnipresent just CCTV camera.
You're just a ball of being able to see. You
can float around everywhere you want. But your options are
you can either spend the rest of eternity exploring any
(17:25):
moments in history up until the moment you died, so
from the dawn of time to up until many died.
Or the option is you can explore the rest of
time from after you died, but you cannot switch over.
Speaker 1 (17:36):
Great question, I'm going future?
Speaker 2 (17:38):
Are you going a future? I'm going past what happened?
Because what if there was then a nuclear war literally
seconds after you died, and then it turns out the
world's just an radiated wastelands, you know, like shit, there's
nothing to watch, right.
Speaker 1 (17:50):
Well, I sort of thought, if there's a nuclear war,
then I'm like, I'm off, I'm off to the next level.
I think I chose the future because I was like,
I don't want to be stuck here forever.
Speaker 2 (17:59):
Fine, okay, right, yeah, yeah, no, But the whole thing
that this afterlife is just you spend the rest of
time just floating around watching whatever you want. You fast
forward and rewind whatever. Yeah, it's a tough one. I
don't know why.
Speaker 1 (18:10):
I don't know. If I hit you with that, I
might have to go past now. But it's too late,
isn't it. I'm stuck in a fucking nuclear waistlangers you because.
Speaker 2 (18:17):
I can find out, like what happened to Sugar? Do
you know what I mean?
Speaker 1 (18:20):
Yeah? And I can find out whose Sugar is.
Speaker 2 (18:23):
I can see if I was the second shooter on
the grassy.
Speaker 1 (18:25):
Now, yeah you could. Well, So what do you think
happens in the out like that? You think you become
an all seeing eye?
Speaker 2 (18:31):
Yeah, I think I quite like that. I think I
quite like that. I mean that is off my own invention,
so it probably isn't the case. Maybe, yeah, I like
my wife Katie. She suggested that maybe it's a staircase
that you can go down and basically, you while you
walk down the staircase, you hear everything everyone has ever
said about you ever, and it ends with the nice stuff,
(18:52):
but it starts with the worst stuff and it goes
so in order to get to the nice stuff, you've
you've got to go mile after mile of the worst
things anyone has ever said about you. That would be
I don't think i'd bother with the staircase.
Speaker 1 (19:01):
Yeah, I mean, just just check into social media and
have a little.
Speaker 2 (19:05):
Right and that the happiness a compliment gives me is
not as severe a feeling as how horrible I feel
if it's the opposite, do you know what I mean?
I'm like, it would be sort of like, oh no,
if you keep going down, there's this lovely thing your
parents said about you, and I'd be like, I'm still
hung up on what Becky said about me in year five. God,
that staircase is horrible. It's a horrible idea.
Speaker 1 (19:25):
Yeah, is this Katie from your show? This isn't the
woman that break up with you and you ended up on.
Speaker 2 (19:29):
Mers No, no, no, no, no, no no no. This is
this is Katie's story, the comedy writer. She's never been
named in any of my shows. It's always very separate. No,
it's in like because I've always usually had a joke
if there's been a breakup, there's always been a joke
about a different girl's name. Do you know what I mean?
I had a joke about the name Francesca, and I
was like, well, mayors will make that a girl I've
(19:50):
broken up with in my last show.
Speaker 1 (19:51):
Right, Yeah, Well, Glenmore, there's actually a heaven, I believe
it or not, and you're welcome there and it's filled
with your favorite thing. What's your favorite thing? Favorite thing?
Speaker 2 (20:00):
Oh man, ah shit, this wasn't on the brief aircon
coming on straight away when you need it.
Speaker 1 (20:09):
And it's just there. I'll tell you what it is. Breezy.
It's breezy in heaven. You ain't sweat breezy. You were
like perfectly temperature control. And everyone's very excited to see you.
They're all big fans, but they want to talk to
you about your life through film. And the first thing
they ask you, they say, Glenmore. What Glenmore? What's the
first film you remember seeing? Glenmore? Glenmore, Glenmore, Jurassic Park.
Speaker 2 (20:31):
Wow? And I believe I saw it at the cinema Wow.
Speaker 1 (20:35):
And I was like three wow in Croydon, the View Cinema, Croyded.
Speaker 2 (20:41):
It would have been Valley Park a time that was
a UCI cinema, and then it became a Warner Brothers
and then it became whatever it is now. Imagine it's
a you but Yeah, it was very uci heavy in
the Croydon and Wallington and Sun area. But I'm absolutely
saying that was the first thing I saw at cinema,
So not the first film I would have seen, but
certainly the first one I remember seeing. It feels intense
(21:02):
for a kid that young.
Speaker 1 (21:04):
Yeah, it's a great who were you seeing that with?
Speaker 2 (21:07):
Just it with my four families. My sister is two
years older than me, and my mum and my dad.
But I just think it's not that scary because dinosaurs
just aren't a day to day concerned I.
Speaker 1 (21:16):
Think you've got a very logical brain.
Speaker 2 (21:17):
So even at that age, I was aware that dinosaurs
weren't gonna be an issue in my life.
Speaker 1 (21:22):
So you're watching it and you were like, I'm not bothered.
I've seen very little amber knocking around Croydon. Yeah.
Speaker 2 (21:31):
In fact, I used to get more scared of, like
adult men, certain kinds of development. I just found a lot
of grown up men's face is scary, even when they
weren't deliberately meant to be scary. But so I imagine I
was probably more scared of Newman from Seinfeld in Jurassic
Park and his curly hair. I found I used to
find curly hair really scary, really that. I don't know why.
(21:52):
I don't know. I used to be terrified if Daniel
Sterning home alone the big frizzy hair. Yeah, Jim Wilder,
it was just it was just a curly hair. I
was just I don't know. I think I associated it
with really old people, and I was very scared of
old people when I.
Speaker 1 (22:05):
Was a kid. Wow.
Speaker 2 (22:06):
Interesting, I was worried they were going to rub their
hair on me for some reason.
Speaker 1 (22:09):
Have you ever seen the visit?
Speaker 2 (22:11):
And yeah, yeah that not. I mean, like, I think
it's a really really enjoyable film. But if yeah, if
I if I had been out when I was about
four years old, that would about it. I'd have been
like this, this is what I've been telling you all about.
Speaker 1 (22:26):
I warned you.
Speaker 2 (22:27):
Yeah, very evil.
Speaker 1 (22:29):
I spent a lot of time in that cinema that
you're talking about, a lot of time I went to
see the film. Was it might be look who's talking
now or something like that in the Croydon cinema and
a man and a boy and a couple had sex
in the seat next to me.
Speaker 2 (22:48):
She during that during the child film.
Speaker 1 (22:52):
Well, it's a dog fit it's more of an animal
film by that point, he's talking. Now it's now the
animals talk.
Speaker 2 (22:57):
Oh of course, sorry, And how was this? How did
that function just landed on him? Yeah, okay, ma'am.
Speaker 1 (23:08):
I respected it. I was like, good for you in
a way. Tell me, what is the film that scared
you the most? Is it got old people in it?
Speaker 2 (23:17):
Not really? Actually, yeah, I think it sort of does.
So I was always desperate to see and find films
that would scare me. I was really intrigued by the
idea of something terrifying you. And I think we watched
so many films growing up that I felt quite self assured.
I guess that I wouldn't truly be terrified. I could,
I'd be terrified during a film, but afterwards wouldn't then
(23:39):
struggle to sleep at night. And so it became a
real like fix that I was trying to get. And
my parents let me watch horror films, but quite mild
ones or ones where you'd be like, this isn't really
about anything current, so like sleepy Hollow or something like that,
where you go, yeah, well, firstly, it's a bit it's
a it's a bit popcorny and silly, but also just
that whole sort of very Victorianist sort of setting means
(24:01):
it's just it's not really relevant to anything. So it
had have been fine watching it if I was watching
like a sci fi or something like that. So I
mean in terms of like inevitably it's the Shining. And
I always find it odd when whenever there'd bebo sort
of countdowns on Channel four whatever, like the scariest moments
in movies of all time, and the Shining would always
feature so high. But it was always like the here'
Johnny bit, And it's like, I cannot fathom the idea
(24:23):
of anyone being scared of Jack Nicholson because it's Jack Nicholson.
And it's just not a scary bit of the film.
And the bits that I really found very scary were
my sister and I rented on DVD when I was
about twelve, and we watched the trailer for it that
was in the DVD. And the trailer is just the
theme tune with a still shot of the elevators and
or you know, filmed by Stanley Kubrick, starring Jack Nicholson,
(24:45):
Shelly do Vow. All the names are coming up, and
then at the end the elevator doors open and all
the blood rushes out, and we were like, well, this
is terrifying. And for me it was moments like the
lady in the bathtub obviously, and the guy in the
bear suit, because I think in horror, what I've learned
I'm scared by is a sort of fixed camera and
(25:06):
a sense of helplessness to that. I don't really get
scared by the idea of someone else being stuck. I've
never been scared by like someone in a saw trap
or a final destination situation where someone strapped to a
chair and something dreadful is going to happen, because there
is such inevitability to that. But I quite like the
idea of like you, you the camera are completely just
stuck in this situation, and so the woman in the bathtub,
that camera just sits itself down, having had a bit
(25:27):
of a first person journey through the hotel room, and
you're then just forced to let this thing happen to you.
So that really that really bothered me.
Speaker 1 (25:39):
As a kid.
Speaker 2 (25:40):
So I think that was the scariest tralot of my life.
And I remember being scared by moments in films. I
got scared watching the thing but it was only because
everyone was out and all the lights were off, and
that was more of the situation I was scared by,
rather than again, it's not a it's not a relatable situation.
The guys are that the thing are in and so
I wasn't really I don't really think looking back, I
(26:01):
was scared by that film. So I think for me,
scariest film of all time for me is probably It Follows,
because it really scratched that itch for me of like
what something is coming towards you? Like, yeah, and so
as you said, did it feature an old person? There
is an old lady in a hospital gown who's just
slowly walking across the football field, and so much of
(26:22):
it Follows features a very fixed camera angle and something
just coming towards that, you know, quick editing and stuff
like that never done it for me. And obviously horror
is effective when it's Jaws making you do not want
to go into the water, and night Mare on Elm
Street making you scared of going to sleep. But I
remember watching a midnight showing of it with a friend
of mine, Laura, and I was walking home from Finchley Road,
(26:44):
and every time I saw someone walking on the same
side of a street as me. I had to cross over,
and I was like, this is what I've been looking for.
This is what I've been looking for. Is ruined my life.
I've been looking for a horror film to grossly impact
my life, and I thought, it's just such a brilliant film.
I'm reluctant that there's a sequel. As much as I'm like,
I'd love to see more, I'm like, I just I
loved what it was and it just felt so this
(27:06):
one singular experience, and I liked how sort of anachronistic
it was in almost like a Napoleon Dynamite sort of
sense of it's really difficult to place when it's set,
and it's very hazy and eerie, and I love the
synth soundtrack. But just there are so many good not monsters,
but scary individually scary moments that are constantly just changing up.
It never gets tiring. Got to be that.
Speaker 1 (27:27):
Very smart, very good. I never thought about that, the
fixed camera thing, and now I'm thinking that my scariest
the scenes that have scared me the most, I think
are all fixed camera and things Okay towards smart. What's
the film that made you cry the most general do
you cry? You cry?
Speaker 2 (27:43):
I was very late to crying in films, and I
think there was a shame for me, an internal shame
that it came only from myself. I don't think my
family would have judged me if they'd see me crying
over a film or anything like that, but I used to.
I usually get really bummed out by films, like not
not sad bit, but I'd get really depressed when in
(28:04):
a film you saw something dreadful happen to someone and
then didn't hear anything about them afterwards. I'm fine seeing
someone suffer a horrific injury or trauma if they're then
in another scene, if I can just see them in
hospital afterwards. So like the ending of like Final Destination two,
the kid being blown up with the barbecue and just
dying in front of his parents, and then the film
ends on that hilarious note, and it was like, I
(28:27):
need to know that they had counseling after a lot,
I just need to not like can I talk? Can
I talk to them?
Speaker 1 (28:31):
Please?
Speaker 2 (28:32):
And I would feel really or like the Storian Gremlins
about the Dad dress de Santa or Morgan Freeman, Morgan
Freeman tells a story in seven about some jogger who
was like stabbed in both eyes by a guy once
he was unconscious, like in the park, and You're like,
don't just fuck it. Why have you told me that
it's not even in the film. Why did you tell
me this? Now? I just feel rubbish. And so I'd
feel really intensely sad about films, but not in a
(28:55):
crying way. But I think the moments where I had
to hold back tears the most because I was embarrassed
about the idea of Crime Ghost when I was probably
about six years old, Green Mile when I was about ten,
and the end of Lord of the Rings, Return of
the King, but because it was a culmination of nine
hours worth of films that I'd been spending one year
at a time waiting to be released. The first film
I ever cried at was during my GCSS revising and
(29:19):
I was procrastinating and I was the only one in
the house and I watched for like the fourth time
Tom Cruise in The Last Samurai, and for some reason
that just really made me burst into tears at the
end when Ken what's an Harvey died and it's udd
because it's not even like it's played for like action
movie sadness. It's not even played for like this is
how you should be feeling right now. So embarrassing, But
(29:40):
that's just for some reason. I was the first film
I ever cried at, But it was also probably because
of like what it's because I had German the next day,
do you know what I mean? It's like it was
probably like a culmination of stress and other worries. So
that and then as an adult, really really truly sobbed
at Philadelphia because and again I'm like, is it the
content of the film or is it spoiler alert that
(30:01):
has been out for like thirty years? Is it spoiler alert?
Just I don't want to see Tom Hanks dying. And
so I have really investment. You've got you have investments.
I really really wept at Philadelphia. The most recent one
that I well up at was all of us strangers.
Speaker 1 (30:17):
Oh fuck, yeah, that killed me.
Speaker 2 (30:19):
But nothing rolled down my face. I was very open
to that. I'm very open to, very open to a
film making me cry. But I'm you're not ashamed anymore.
I'm not ashamed anymore. But I think as well, I
feel because I have a love for horror films, I
feel a bit guarded going into horror films because I'm like,
I know the tricks are gonna pull. Do not respect
a jump scale whatsoever. I just know where you know.
(30:40):
I can just sense a lot of those tropes coming,
and so I sort of go into those sorts of
films with a similar sense of guard up of I
know what you do it For a start, stop playing
the mus because I shouldn't be relevant. You should be
able to do. You should be able to make me
cry on your terms, not the music's terms. And so
it doesn't really happen a lot for me because I
think I find my I almost find myself getting defensive,
being like I can see what you're trying to fucking
do to me. I shouldn't. I shouldn't be this hostile
(31:04):
towards cinema, so.
Speaker 1 (31:05):
Angry at it. What's the film that you like? It
is not critically acclaimed, most people think it's shit, but
you love it unconditionally.
Speaker 2 (31:13):
I think The Majestic, Oh, with Jim Carrey, Jim Kerry, Yeah,
and it's yeah, and it's like, well, I love a
Frank Darabont film anyway, Yes, And I love Jim Carrey,
And I was reluctant because I was at the prime
childhood age when he did like mask dumb and Dumb
and Dumber as Adventurer and Lilai, and it was he
(31:33):
was just the funniest man in the world and was
just the go to funny person, And so was reluctant when,
after what felt like a very short comedy movie career,
then went headfirst into, you know, into drama. But I
think we were a real film watching family when I
was growing up, and Sunday night was always movie night.
And again, I don't know if it's about the content
(31:54):
of the film, but I really appreciated length in films.
If I found out a film was going to be
below two hours, it like, is it even a film?
Like I just heard? Really I wanted it to be
longer because I think it just meant the weekends longer.
It's makes you know, like the longerest last, the longer
we still have weekend. And it's like two and a
half hours. It does not need to be whatsoever. It's
such a meandering film that if anyone hasn't seen, he's
(32:17):
sort of a blacklisted writer in Hollywood during the sort
of you know, Communist witch hunts and ends up drink driving,
ends up with amnesia, being rescued into a small town
where he has recognized as the missing son of the
guy who went to war, and helps open a cinema.
It's so event free. Yeah, but I liked how sanguine
it was, and I just liked small town America in
(32:39):
the fifties, just stakes being as low as they were,
of just opening a cinema and going on for two
and a half hours and just living living that sort
of fifty sixties life. I think it for me, it's
either that or Nicholas Cage in Family Man, the absolute.
Speaker 1 (32:51):
I love the Family Man. It's not but it's mental,
oh yeah yeah.
Speaker 2 (32:58):
And not just what happens to him, but Nicholas Cage's
behavior is psychotic, and when he tries to get his
old job back in this parallel It's a Wonderful life
universe and tries to get his banking job back by
just simply describing the boss's life to him and being like,
you're drink scarch, but you prefer a risky you know,
and you go. But if you were the boss, you'd
(33:20):
be like, arrest this fucking guy. I'm being stalked. He's
obviously stalked me, but instead the boss is like, wow,
how do you know my character? And at the end
when he goes back to his now original lonely life
as a banker, and he wants to be back with Teleoni,
and so he meets her at the airport and the
way he gets back with her as he says like,
we have two children, and he starts like explaining what
the kids are. But I'm like, but that's not what's
(33:42):
gonna happen. You have a whole different batch of sperm
to what you did ten years like, those won't be
like You've you've had a you've had a catastrophe in
your head, you've suffered some severe brain trauma, and you've
been living in apparel universe. It's so preposterous and it
has all the beats of a comedy and no laughs.
But for some reason, even if you remove the Christmas
(34:04):
aspect of it, it's such a fundamentally cozy film. I
think I'm very led in by just small town, suburban America,
upper working class, lower middle class sort of environments, and
I just I there's there's something about them. I could
just watch for hours and hours and hours.
Speaker 1 (34:19):
That's a lovely film.
Speaker 2 (34:21):
But you love Family Man.
Speaker 1 (34:22):
I love Family Man. It's right on my street, that
sort of thing. Yeah, it's lovely. What is the film
you used to like but you've watched it recently and
you've thought, I don't like this anymore, Glenmore? What is it?
I don't like this any any Glenmore.
Speaker 2 (34:34):
I'll take that, Glennymore. You don't like this, Clenymore. There's
a there's a couple which I refuse to watch. I
would dread to watch The Nutty Professor again. Yeah, I understood.
I cannot ever. I feel like Erna Hertzogen, you must
never watch this film. I'd also hate to watch Dodgeball again.
(34:58):
I think I think just because of stuff I found
funny when I was thirteen is obviously gonna be so
fundamentally different tow I find funny now. The biggest mistake
I think I made in recent years was rewatching one
of my favorite films from when I was about nine
years old or eight years old, was Mars Attacks, because
I think I finally saw it for what it was
meant to be, and I felt stupid for the way
(35:20):
I'd watched it as a child, because as a kid,
I thought it was outright horror, and this is meant
to be on the scariest films all time. And I
felt like such a such a big boy at the
age of like eight or seven or whatever, watching Mars
Attacks and being like, I'm not remotely scared. I feel,
despite the fact that Tom Jones is an old man
with frizzy hair, I'm not remotely scared. And I felt
so brave. And then I watched it and was like
(35:41):
I watched it again a few years ago. I was like, Oh,
it's a comedy. It's a comedy, and it's silly and
it's meant to look ridiculous, and I felt really jooped.
And I don't think that's necessarily connected to the film
standing up, but it was certainly.
Speaker 1 (35:52):
That's the biggest.
Speaker 2 (35:54):
Change between There's still effective moments in those films. I
think in that film, I think is absolutely fantastic. I
think these farmers coming out of their house and there's
just a light on the horizon and then you see
these sort of on fire shapes running towards them, and
it's just hundreds of cows on fire just stampeding past them,
(36:15):
and mean they look over and see the CUFO fly
up but it's eerie and unnerving because you don't know
what it is until it starts to get closer and closer.
And I remember being scared as a kid when Martin
Short gets his finger bitten off by the alien disguised
as a pretty lady. I still think the way Jack
Black's parents react to his death is one of the
most horrifying reactions to a death I've ever seen in
a film, despite the fact I think it is meant
(36:37):
to be played for last but they're watching it on
TV and they're just trying to change the channel and
rewind it to be like no, no, no, this isn't that
can't be, and you go, that's a horrible traumatized response
that is really really unpleasant. And again, that was the
sort of thing that screwed me up as a kid,
because I was like, I need to see more of
the parents police. I need to make sure that they
get over it at some point. Yeah, got to be
that got to be that really really.
Speaker 1 (36:56):
Good answer, Glenmore, I'm going to give you ten points,
and I ready did points. What is the film that
means the most to you? Not necessarily the film is good,
but the experience you had around seeing it will always
make it meaningful to you.
Speaker 2 (37:09):
Glenn Moore, there are some that I enjoy looking back
at the moment in my life, but wouldn't necessarily be
relevant to me now. I remember my second year of
UNI going out with a girl I was just deeply
in love with, and she was doing I think a
history module and it was about Vietnam, and so she
was gonna be watching The Deer Hunter, and we sat
(37:30):
and watching The Deer Hunt together and the moment that
Robert DeNiro returns to his old town and he's walking
arm in arm with Meryl Street, and he's being greeted
by everyone and just treated as this sort of hero,
which was quite unlike most betrayals of Vietnam you see,
and which I usually see people being chastised in that
sort of rambo sort of way. But the music in
that film was just gorgeous, and the music in that
(37:51):
scene in particular. But we were just watching this film
on her bed and we were going on a night
out straight after that, and we could hear some of
the guests arriving like downstairs, and in that moment was
just like perfect for me. But again, it's not really
about the film and I think, and these are two
examples of films I wouldn't really rewatch and aren't really
my sort of film. But I saw Rock of Ages
at the cinema when I was a year basically, I'd
(38:15):
gone to UNI and my first job was working as
like a roving reporter at a radio station in Sheffield,
and being like a newsreader had been like my main
career ambition up to that point. And I got this
job like straight out of UNI and realized instantly this
isn't what This isn't what I want to do, and
it's hard and it's scary, and it seems quite thankless,
(38:36):
and I don't think I'm particularly good at it. And
I at the time as well, had done a couple
of like open mic gigs and a couple of like
well aforementioned chort or student comedy competition, and a couple
of like agents had approached me a couple of gigs
in to be like, would you consider moving to London?
We represent you, and that just it felt silly to
(38:57):
be like to abandon this career. I spent my entire
life up to point trying to get suddenly getting into
that job for a few months and then being like, well,
let's quit it all and move to London. And I
saw Rock of Ages at the cinema the day after
a friend stag do, and it was when I'd made
the decision I was going to move to London and
just quit my job fully and just see if I
could give comedy a bit of a go. And that
film specifically is you know, and it starts with someone
(39:18):
you know sort of moving to La or whatever and
trying to make it in their own sort of creative field.
And that film just really resonated with me, even though
it's it's cheesy as hell, and so many of the
cast members have been canceled in retrospect, but like, just
that film in its moment was one for me a minute.
And then I felt a similar refresh of that sensation
beginning of twenty seventeen when I saw La La Land,
which was again exactly the same sort of con seat
(39:39):
and it was quite nice that I've been in London
for a few years and was still trying to sort
of become a professional comic, I guess, and I saw
that film where and then a few months later, I
think that was when I first got booked for like
not the week and got a job or just started
to sort of start to be like, Okay, my god,
I can actually make this as a job, hopefully. And
so those those films, even though were about something on
(39:59):
a much lone scale of people making it and Hollywood
movies and stuff, it was just sort of like the
there was a paralle of it really sort of resonated
with me. But I was like, Oh, this feels nice,
this feels that. This is like, it was nice to
watch films of people taking stupid career risks and their
creative industry and that felt really really lovely.
Speaker 1 (40:14):
I like that, and give you another ten points. What
is the film you most relate to?
Speaker 2 (40:19):
Probably not now, but the one the character it's specifically
a character that I'm most related to ever was when
I was seventeen years old, Evan, who is Michael Sierr's
character and super Bad, is the most I'd ever related
to any character ever. And he had exactly my mannerisms.
He had exactly the same speech patterns as me, and
(40:41):
we dressed the same and I was exactly just as Meek.
And my best friend at the time was this real
gross Jonah Hill in between a s esque guy, and
it was potentially an affectation, but I was just sort
of more on the sort of sensitive emotion all side
of like a relationship and really wants to be in
love with someone and find the right part and stuff
like that. And it was just before university as well,
(41:03):
so obviously everyone was absolutely DINTI lose their virgency as well.
So it was just like and I remember going to
the cinema my then girlfriend and her saying to me
on the way there, she was like, I've just can
I just relay a concern to you? And I was
like absolutely, and she was like, I've just heard this
getting traction that a lot of guys date girls just
before we go to university, just so they can lose
(41:23):
a virginity and get good at sex and then go
to university. And I was like, that couldn't be further
from the truth. And we were on the way to
see super Bad and we just left the film just
ashen and I was like, imise, I promise I'm the
other guy in that film. I promise I'm the other guy,
And I really do promise I'm not the Jonahill guy.
And the other guy did you have sex? We did?
And then so that's an exclusive right there. We did,
(41:46):
and then we went to respective university. She was an Exeter,
and then we broke up like a few months into UNI, inevitably,
but it was a few months into UNI. And then
when I got home, loads of our sort of mutual
friends were like, so apparently you and Tony had sex
men you just broke up with her, And I was like, right,
but those two sentences are true, but there are months
between those sentences, like that's really unfair, that's really unffair exactly.
(42:11):
It's like like it's it's a bit like the Queen
passing away and people being like shortly after the vaccine
and no, no, no, no, no, no no no.
Speaker 1 (42:23):
Speaking of speaking of the Queen, what's the sexiest film
you've ever seen? Again?
Speaker 2 (42:28):
Probably wouldn't find it sexy now, but at the time,
sexiest film I ever saw with specifically with the I
don't know why, but me and my school friend Luke
went of a cinema specifically to see this film, Charlie's
Angel's Full Throttle. You believe it's a second Charlie's Angels film.
Speaker 1 (42:43):
Yeah, you know what, themo it's never come up and
I'm going to give you twenty points for that it's
a sexy film.
Speaker 2 (42:51):
I fancied all three of them to equal extent, but
I don't know what me and my friend Luke were
hoping would happen, like if the film was a twelve
hour and so there was obviously not and obviously it
was like, well there never. They don't need to do it.
I don't know how extremist films could possibly get. It's
still like driven as an action film, and it was like,
(43:12):
did we just want to go to the cinema to
just have bonus next to each other? I don't know,
I don't like, I don't know what the motivation. I
remember even telling my parents going to see Charlie's Angels
and they were like why, And I remember even being
sort of relatively cand of being like, because, A fancy
all three of them, and they're a bit like, yes, why.
(43:32):
So I think that is the sexiest like female led
film I've ever seen, and a couple of years previously,
the sexiest male film led film I've ever seen was
Ocean's Eleven, and I think both films are equally sexy,
but that was it for sure was Charlie. That was
the only time I went to the cinema specifically to
be like this is for leering purposes.
Speaker 1 (43:52):
I'm in full throttle, and there's a subcategory traveling. Boner
is worrying. Why Dones? It's a film you found arousing,
you weren't sure you should. Glenn Moore, I was.
Speaker 2 (44:01):
Debating with Katie about whether or not to tell this
because for so many people listening to this podcast, this
is I'm still making a first impression, and it feels
insane to say this, but I go it. Oh my god, Okay, right,
I watched A Cold Mountain. Yeah, and there is a
(44:22):
romance scene towards the end between Nicole Kibman and Jude Law.
I'm revealing basically, a love scene in a fairly romantic
film is perfectly legitimate, but the troubling Boner is going
to be revealed shortly. My family had it on DVD
and I did slow frame by frame in the house
on my own when I was like thirteen, fourteen years old,
(44:43):
and there was a certain angle that Nicole. I could
see a part of Nicole Kibvan I've never seen before,
and that's fine. But I rewatched that specific scene a
few years ago and realized that when I was third
because I could see the image a bit more clearly
(45:03):
now that I realized that when I was thirteen, fourteen
years old, I had jacked off over Jude Law's wrist.
I just misinterpreted the image on the screen. Yeah, but yeah,
you saw a crease. It was yeah, yeah, yeah, yeah,
(45:24):
I think I don't know, it was just years ago.
Speaker 1 (45:25):
But it's an innocent it's an innocent mistake. And also,
Judo's got a love He's got a lovely risk.
Speaker 2 (45:31):
But it's like, and Jude Law is such a handsome man,
but I don't think anyone has ever had like a
wrist based fixation or to lovely risks.
Speaker 1 (45:39):
Thank you for sharing that. I appreciate that. Oh man, I'm.
Speaker 2 (45:42):
So I feel for words all.
Speaker 1 (45:46):
I thought you were going to say it was a
it was a fox or something, but it.
Speaker 2 (45:50):
Was no, no, no, no, no no no no no no. That
came much later.
Speaker 1 (45:54):
What is objectively the greatest film of all time might
not be your favorite, but it's the best of cinema ever.
Speaker 2 (46:01):
Glen, Please, I'm going to say planes, trains, and Automobiles.
Speaker 1 (46:05):
That's a really good answer.
Speaker 2 (46:06):
It's a film that I really love and I find
incredibly sad. I don't know if John Candy was ever
alive in my lifetime, but I think I've only ever
I've only ever known him as the late John Candy,
And as a result, the entire film is twinged with
complete sadness because that's all I'd ever sort of known
(46:26):
him as. In the same way that like, well, The
Dark Knight has made so much more eerie because no
one ever saw that film within alive Heath ledger in
you know it was. It was sinister and off from
the start. So I just feel an intense sadness watching
that film. It is incredibly heartwarming and it's incredibly touching.
And Roger Ebert did an amazing re review of it
(46:47):
years later in which he was like, it's great because
it is them. Is like John hughstually got to the
heart of what made Steve Martins Steve martst and what
made John Candy John Candy. And he talks about encountering
John Candy in a bar, I think a few months
before John Canny's death and saying that everyone loved him,
but John Canny was just really depressed and everyone loved him,
but either he didn't know it or it wasn't enough,
and it just makes me endlessly sad to read, and
(47:10):
it is. It is an achingly sad film, and I
the ending is sweet and really horrible in many ways,
but I think it's such a perfect movie up to
a point. I love an adventure in a film anyway.
It covers all those small towns of America aspects that
I loved. It is so so funny. It is so
perfectly characterized. They're not just playing themselves, but John Hu's
(47:32):
just had them absolutely down to a tea of them
what made them funny? I could watch it over and
over again. It's so so brilliant, but it really it
really makes me very sad.
Speaker 1 (47:39):
Indeed, Yeah, the end makes me cry. I can watch
ten seconds at the end and I'll cry.
Speaker 2 (47:44):
Do you know what. I had a moment about a
year ago where I was having a couple of drinks
with a friend and a pub and then we needed
to both needed to go and we said oh goodbyes,
and I realized as I got down the road, I
was like, oh my god, my phone's on like five
percent and I had a phone charger on me. So
after said by to Hi, actually back to the pub
and I was kind to charge my phone behind the bar,
and I just got another pint because I was gonna
(48:05):
be there for like, you know, twenty minutes or whatever.
And it turned that my friend had left his scarf
and he came back in, and I realized I looked
like John Candy at the end of Planes Trains, because
he was like, what are you doing? Hi? I have
a heart, I do have a home.
Speaker 1 (48:22):
What is the film you could or have watched the
most over and over again?
Speaker 2 (48:27):
That would be Lord of the Rings of Fellowship of the.
Speaker 1 (48:29):
Ring Jesus Christ Man, is that I'm taking away some points?
Speaker 2 (48:34):
But God no, no, no, no, no, no, no, no, because
it is the one I've seen the most, not the
one I could see the most. Is the one I
have seen the most. Okay, Like if I just I
want to give a different answer, Well, this is it.
This is it. When I was growing up, you were
sort of allowed when you got home from school an
hour of designated like fun, you know, whatever you wanted
to do. Go on the PlayStation, go on the computer,
(48:56):
watch TV for one hour, but didn't. But then later
as a family after dinner, we watch TV. We do
something fun after that, But that was separate to that,
but you had your own solo era of fun basically,
so you know, you could go on the PlayStation, you
can jack off Overrge of Laws Wrist, you can do
whatever you want to do. And I when Lord of
the Rings Fellowship with the Ring came out, bear in mind,
I was like eleven years old, and it was that Weirdly,
(49:16):
there aren't that many Dungeons and Dragons esque fantasy films
that a really really nerdy kid could really watch, and
especially not of that budget and especially not in that era.
And there were a few. There was a crap Dungeons
and Dragons film, there was the Christian Belle Dragons film
over London or whatever. There was just a bad Sean
Comery Dragon film was almost it was all quite dull
and all felt low budget, all fell a bit Channel
(49:37):
five afternoon movie. And Lord of the Rings was just
absolutely incredible. I wasn't familiar with the book before I
saw the film, and I loved it. And again it
was just the length of the film that really excited me,
and just going from location to location to location. And
so in the build up to The Two Towers coming out,
I would use my designated hour to watch one hour
of the Fellowship of the Ring and it would take
me three days to watch it. I mean, as soon
(49:57):
as it was finished, I would just start again. And
I did this for like maybe weeks, just watched it
over and over again because I was so keen. It
was such a nerd and I was so keen for
the Two Towers to come out that it was. I
just kept rewatching it in the hope that like somehow
it would unlock a new scene or something, do you
know what I mean, just like knew would happen, and
it never did.
Speaker 1 (50:14):
Glenn, I'm giving you your points. I'm giving it your points.
Speaker 2 (50:17):
Has it been justified? Okay? Yeah, I'd probably struggle to
watch the film again now because I do just know
it off by heart. I just know it so so well.
And it's weird because Two Towers are probably seen like
three times and Return of the King have probably only
seen like twice, considering they were like my favorite film
series ever. But the fullast of the Room, I just
could just watch it over and over again. It was
just endlessly spectacular to me.
Speaker 1 (50:38):
Well, I lovely answer. I'm sorry that I two points away. No, no, no,
you know what, Glen, that was me bringing my own
ship to this and that was bad. That was bad.
Speaker 2 (50:46):
Well what was your own ship? What's your own ship?
Speaker 1 (50:48):
Did you not for it's just not for me?
Speaker 2 (50:51):
Did you miss out on the HBO series? Is that
what happened on? It's so tricky with this because I
think I've once gone this podcast for quite some time,
I'll be honest. And the thing is, you sort of
end up sort of wondering what would you say, Like
anytime you listen, you sort of wonder what your own
answer would be in those sort of situations, and you
wish you could use it as a showcase of your
cinematic knowledge and be able to mention a film that
(51:13):
you go, I've never heard of that, And I'm like, mate,
isn't even IMDb? You know, something really undergradab. But the
problem is, there's a reason, there is a reason that
these films are as good as you like. All these
films are just so broad like every most people listening,
I've seen all of these films, but it's like there's
a reason why. It's because they're so good.
Speaker 1 (51:30):
I love that. I love that answer for you, not
for me, but I love that answer for you. Is
what is the worst film you've ever seen. Let's not
be too negative, Glen More, please.
Speaker 2 (51:41):
I wonder if you've even heard of this film, Talos
the Mummy. No No, it's also known as Tale of
the Mummy. This came out in I think nineteen ninety eight,
and I watched it asleepover a few months later and
a friend of mine was like, you need to watch
Talos the Mummy and you'll be surprised actually considering you've
never heard of this film. If I read out the
cast to you that the main lead is Jason Scott
Lee who played Mowgli in the Disney early nineties one,
(52:03):
Sean Pertweet, Jack Davenport on a Blackman, Christopher Lee, Shelley
du Val. There's a decent amount of people in this
in this horror film. But the idea is it's basically
a bit like the Brendan Fraser The Mummy film in
which a curse is unleashed across Egypt or whatever. And
the film followed this exact same pattern. Every single scene
would be these two police detectives man and a woman
(52:26):
investigating a series of deaths across I don't know, New York.
That would be scene A, and then scene B would
be a bit like the beginning of Casualty or er
or whatever. Oh, nameless victims one we haven't seen yet,
saying that's going to happen to them, And there'd always
be a slight flickering of lights, and my friend would
whisper to me that means, tell us the Mummy's going
to come. And then what would happen is these bandages
(52:46):
that look like basically parcel tape would fly out of
like if person was in a bathroom. These bandages would
fly out of like a hand dryer of a sink
or whatever, and would I don't know, strangle the person
or wrap them up. And I think a bit like
in The Mummy, tell us the Mummy was trying to
gain various organs, you know, and become a whole, so
that'd be seen bee, and then it would flip back
to scene A again, officers investigating the desk, flip back
(53:08):
to scene B. Random husting gets killed by tal us.
The Mummy goes on for like an hour and a half,
and then at the end of the film, as far
as I remember, the cops say goodbye for the night,
and they say bye to each other, and the male
cop walks up some stairs towards I don't know, the
Capitol building or whatever, and you think it's the end
of the film, and then he turns back around to
face the camera and bears his teeth and he's got fangs,
and the film ends and you go, is that a
(53:30):
mummy trait? Sorry? Is he? Is he a snake?
Speaker 1 (53:33):
Now?
Speaker 2 (53:33):
Does that mean he's the mummy?
Speaker 1 (53:35):
He's a mummy? Christopher Lee?
Speaker 2 (53:39):
Wasn't it? Sarah Man from the Fellowship of the Ring.
It was just crazy, even as a even as a
kid that age where you're like you just accept any
film as being good because it's been made, it exists.
I remember just thinking this is crap. It was just crap.
Speaker 1 (53:58):
Bad.
Speaker 2 (53:58):
Yeah, it was bizarre.
Speaker 1 (54:00):
You are in comedy, you're very successful in comedy, You're
very funny. What's the film that made you laugh the most? Glen?
Speaker 2 (54:06):
Unintentionally? Apollo thirteen? I remember, for some reason my family
and I just had a giggling fit one evening while
watching for otherwise very sincere Apollo thirteen, And it's the
hardest we'd all laughed during a film. And it wasn't
really about the film. But sometimes Tom Hanks would just
say a sentence and we just die and we just couldn't.
It was like an ill. It was like we got
carbon monoxide or something. So that's the hardest I've ever
(54:28):
laughed during a film, But it wasn't really about the film.
I think Napoleon Dynamite is a runner up because of
just how endlessly giddy it made me feel, because it's
such an insane film and it's throwing so many things
at you, but it's not overbearing, it's not thrusting these
things into your face. It's just if you look carefully,
everything's crazy in that film, and it was just utterly
(54:49):
bananas and it felt like it had come from nowhere,
and it was like a lot of Napoleon Dynamite was
making me laugh because I was thinking, why are you
telling me this? Why are you showing us? Why are
you showing us this? And that was wonderful, I think though,
as just mainstream pound for pound, hardest I have ever
laughed at a film, and this was with my family
growing up as a teenager. Probably Both Finger.
Speaker 1 (55:10):
I love Both Finger. That's a great.
Speaker 2 (55:13):
Chubby Rain is such a funny film within the film,
and then the end of the film, whether in a
movie called like fake person ninjas and Eddie Murphy's very
reluctant brother is like tapping Ninjas, but the stunt fighters
are incredible and they're flying backwards. It was just it's
so so funny. There's so many just great jokes, great
one liners, really good physical stuff. And I think for me,
(55:36):
there was nothing funnier than just a crap film, like
the idea of a crap film. So like, I think
I saw it roughly the same time as I saw like,
I don't know, Darth Mauringe's Dark Place at the same time,
and I just thought, what a brilliant idea to just
show us something bad.
Speaker 1 (55:48):
Yeah, I love both finger then more. Yeah, you've been
a delight. However, when you were on the Titanic and
it was sort of a tipped over a bit, and
you were like, if I balance on top of this thing,
I might make it out of here, and everyone was
really stressed and scared. They looked up and you fell
off the bar and banged into a propeller and died,
(56:09):
and everyone everyone sort of felt a bit better. Everyone
was like, well, that was fun. I guess. I guess
there's always humor no matter what. And and I was
floating past with a coffin. You know what I'm like,
And I'm like, theyone's seeing Glenmore and I go seeing him,
he just fell off the titon and hit the propeller.
He's that guy, I went, he's that guy. He's a legend.
They went, yeah, yeah, yeah. Anyway, I find you floating
in the sea. You're all swallowing from the from the sea.
(56:32):
I get you in the coffin. I go, anyone got
a fire access, So yeah, they come over. We start
chopping you up, chopping you up into pieces. I get
stuff you in the coffin. It's fucking waterever a fish.
You swallow some fish, so you got a little jellyfish
wraps around you. There's half a shark in you. Anyway,
I get you in the coffin. It's absolutely round in there.
There's only enough room in there for you to take
one DVD or put in the side and you take
(56:53):
it across to the other side. And on the other side,
it's movie night every night. What film are you taking
to show the people of heaven whether you conditioning is
perfect when it is your movie night.
Speaker 2 (57:02):
Glenmore go in one of them in I think my
most generic answer. Yeah, I'm going for readers of lost
Ark beautiful. What a perfect film, What a perfect joyful,
action packed, funny, touching, silly, tense, scary, genre spanning film
readers of lost Ark? Is it bothers me? But it's
(57:23):
meant to be a kind of parody because I'm like,
but it's excellent. Ye, it's excellent.
Speaker 1 (57:28):
Ye, it is excellent. Lenny Moore for Glennymore?
Speaker 2 (57:34):
What is in room for another DVD?
Speaker 1 (57:37):
No?
Speaker 2 (57:37):
You just saying that for the same you're saying that
as a suggestion of my next title, Lennymore. I would take.
I would happily take Lenny Moore for Glennymore. I'm a
big fan of Glenmore. Thank you so much for doing this.
Speaker 1 (57:50):
Tell everyone where to see you, what to look out for,
plug yourself. Go on.
Speaker 2 (57:55):
You can see me at the Edinburgh Festival and then
on a UK tour starting in September with a called
Pleis Sir Glenn. I have some More in which there's
about three hundred punchlines and it's very fast paced. It's
very one linery, but all the one line is linked
together into a big, satisfying story and I really hope
it's your thing. It's incredibly stupid. It's really really stupid.
(58:16):
You will leave less intelligent, but hopefully with your with
your heart and mind, absolutely full of punchlines.
Speaker 1 (58:22):
But the story is real. The story's real stories. Rob
was time and they did. He did die nine years ago,
Glenn will what a pleasure. Thank you so much for
doing this, Thank you for your time, thank you for
your time, good luck in Edinburgh, and thank you. I
wish you were a lovely life. That'ds so love. Thank you.
So that was episode three hundred and sixty one. Head
(58:42):
over to the Patreon at patreon dot com. Force That's
great Girl's teme for the extra twenty minutes of Chat
Secrets video with Glen Moore. Go to Apple Podcast, give
us a five style rating and write about the film
that means the most of you and why it's a
lovely thing to read. It helps with numbers and I
really appreciate it. That is my neighbor, Maureen. Thank you
all for listening. I hope you're well. Thank you to
Glenn for giving me his time. Thanks to Scruby's pip
in the distraction, Pieces of Network. Thanks to Buddy Peace
for producing it. Thanks to iHeartMedia and Wilfare's Big Money
(59:04):
Blazers Network for host. Thanks. Adam Rich is in for
the graphics and least the light them for the photography.
Comes home me next week for another brilliant episode. Thank
you all for listening. I really do hope everything is
good in your world. But that is it for now.
In the meantime, have a lovely week and please be
excellent to each other.
Host
Brett Goldstein
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