February 7, 2024 • 66 mins
LOOK OUT! It’s only Films To Be Buried With!
Join your host Brett Goldstein as he talks life, death, love and the universe with comic and all round whirlwind talent LEO REICH!
A fabulous episode as Leo and Brett catch up to deliver gems and goodness upon all, with a fascinating look inside that mind of Leo's and a lovely intro to the human being if you are yet unfamiliar! It's a good time to catch Leo as his special dropped at the end of 2023 on HBO, so we find him in an interesting place of figuring out where to go from here exactly... It's also really interesting hearing about what it's like to perform simultaneously to not only comic heroes but also kids he went to school with. Also Instagram Stories. You know what it is - a lovely episode as usual and a ray of light if you need it!
Video and extra audio available on Brett's Patreon!
LITERALLY WHO CARES? (HBO special)
SUPERBOB (Brett's 2015 feature film)
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look you, it's only 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,
(00:20):
a director at Chocolate Malt, and I love films. As
Aristotle once said, knowing yourself is the beginning of all wisdom.
Knowing it's cool to go to the cinema on your
own is the beginning of all great movie trips.
Speaker 2 (00:32):
Smart man.
Speaker 1 (00:33):
Every week I'm invite a special guest over. I tell
them they've died. Then I get them to discuss their
life through the films that meant that most of them.
Previous guests include Kevin Smith, Barry Jenkins, Sharon Stone, and
even Ben Bambles. But this week it's the brilliant comedian
and award winner and star of his own HBO special mister,
Leo Reich. Get over to the Patreon at patreon dot
com forward slash Brett Goldstein, where you get an extra
(00:55):
twenty minutes of chat, secrets and videos with Leo. You
get the whole episode, uncut and ad free. Check it
out over at Patreon dot com forward slash Brett Goldstein.
So Lea Raik is an excellent comedian who took the
Edinburgh Festival by storm and then went on to record
his special for HBO. I saw his show live and
it was excellent, definitely worth seeking out, and you can
(01:15):
find it on now TV and HBO and lots of
other places. We recorded this on Zoom a little while ago.
I think it's a brilliant one and I think you're
really going to love it. So that is it for now.
I very much hope you enjoy episode two hundred and
eighty five of Films to be Buried With. Hello, and
(01:44):
good evening. It is Films to be Buried With. It
is I Brett Goldstein and I am joined today by
an actor, a writer, a performer, a singer, a dancer,
a model, a comedian, a groundbreaker, an award winner, a
(02:04):
gen Z, the voice of a generation, that generation being
the Z, a legend, a person that broke the.
Speaker 2 (02:18):
Mold and the Internet.
Speaker 1 (02:21):
He's bigger than that picture where Kim Kardashian had the
champagne on her bum from above. He's a legend and
a superhero and one of the greats.
Speaker 2 (02:35):
He's here. Can you believe it? Please?
Speaker 1 (02:37):
Welcome to the show. It's the wonderful is Lee all right.
Speaker 3 (02:41):
Oh my god, what can I say now? To live
up to that superhero?
Speaker 2 (02:46):
You said you are going to have to speak because
it is a podcast.
Speaker 3 (02:48):
So yeah, that's a shame, isn't it.
Speaker 1 (02:50):
Hopefully we'll come up with some stuff at fill the time.
It's lovely to see you. Thank you for doing this.
You're in London, I am in New York.
Speaker 2 (02:58):
Thank you for having me. My god, thank you for
doing this.
Speaker 1 (03:01):
We haven't really hung out before, but I did see
your show, which is now on HBO of all places
I know.
Speaker 3 (03:08):
Can you believe it?
Speaker 1 (03:10):
I can't believe. It's fucking amazing, What a cool thing.
I saw your show at the Soho Theater theater and
it was brilliant.
Speaker 2 (03:19):
It was fucking brilliant.
Speaker 3 (03:20):
Thanks. It was so nice for you to come. That
was That show was the biggest out of body experience
because it was half like comedians like yourself that I admire,
and a nervous perform in front of and then half
everyone I went to primary school with.
Speaker 1 (03:33):
Oh my god, what a night there show, A fucking
night there show. It was really weird, which is worse,
which is worse? Doing it in front of comedians are
doing it? In front of people who went to school with.
Speaker 3 (03:45):
If you had to pick, I think they're bad in
like exactly opposite ways. Yeah, well, like the comedians, you
really really want them to like it and think that
you're cool and interesting, and the primary school people you
kind of almost want to not like it and want
to be like, if you don't know me, I'm not
just a little kid anymore. I'm crazy. Do you know
(04:06):
what I mean? I don't know. But it felt like
a dream, you know when someone from your primary school
turns up in your dream.
Speaker 1 (04:10):
Yeah, did you have this that the primary school people
would sort of heckl like this isn't you?
Speaker 3 (04:16):
Yeah? Kind of what. It's also like they didn't say
that they were if you ever had that thing where
someone doesn't say that they're coming, but then does sit
in the second row. So it's like the first five
minutes of the show with me walking on to the
stage and being like, oh my god, I haven't seen
you since year four, and now I'm going to deliver
an hour of jokes about anal to you what. It's
(04:40):
very true we have a very strange relationship at this point.
Speaker 2 (04:43):
Oh my god.
Speaker 1 (04:44):
Also, people that you don't know well or people you
haven't seen for many of the years are always the
people that say, hey, we'll come to your show in Heckel.
Speaker 2 (04:54):
I know you always go.
Speaker 1 (04:55):
Like, why why do you? Hey, why do you say that?
B why do you think that a fun thing to say?
Speaker 2 (05:01):
And see? Why have you said that?
Speaker 3 (05:03):
They also always turn up to the worst ones, Like
it's always like your first work in progress of new
material and there are four people there and you know
all of their mothers. It's like so strange, Yeah, why
are you telling us this stuff? And I guess I shouldn't.
I mean wish I'm very grateful and I hope they.
Speaker 2 (05:24):
Oh yeah, yeah, yeah, yeah, yeah yeah.
Speaker 1 (05:29):
But isn't the fear of having a bad gig in
front of anyone? You know the thing that I had.
I had a bad gig a while ago, and it
was like the first bad gig I'd had in fucking ages.
And it's such a like profound thing because there's no
way when an audience doesn't like you, there's no way
of sort of explaining to them that you're good at this,
(05:52):
Like it's such a weird thing where you sort of
go you can't say, oh no, I'm I'm funny because
they're going but we don't. There's no evident. It's the
most terrifying. I can't prove it because you seem to.
Speaker 3 (06:05):
You want to get to want to get up the
reviews on your phone and be like this is good.
You do realize this is good, right, this is good.
Speaker 1 (06:12):
Honestly, there are other people, but it's such a mad
sort of existential feeling where you're sort of like, well,
I guess you're right, I guess this.
Speaker 3 (06:20):
Is I know you're so numbered as well. You're so
outnumbered by them, all of them and their little seats,
crossing their arms and frowning, thinking that are so clever,
And yet you just want to go like, I'm replacing
you with all new people tomorrow and I love it.
Why not be more like them?
Speaker 2 (06:36):
That's so funny to shout an audience. Tomorrow's people are
going to fucking love this. Well.
Speaker 1 (06:42):
Also with your show, listen, and I say this genuinely,
I can't imagine you ever having a bad show for
a number of reasons. And it's very high energy. You're show,
and it has music, and it has dancing and has singing,
and it has it's kind of so forceful that I
can't imagine an audience not getting on board of it.
Speaker 2 (07:00):
But do you ever have like a oh my god,
bad show.
Speaker 3 (07:03):
Yeah, that's very sweeting to say it, but that is
not that's not my lived experience of performing the show.
I wouldn't say it was. It's usually fun. It usually
got fined by the end, But especially when I did
it in the States, there was a real thing of
like because it's all like kind of ironic, and it
kind of it really relies. The whole thing relies on
(07:26):
the audience knowing that I'm joking right and not thinking
this is a sort of earnest like confessional show about
my real life and I especially in the States, it
would sometimes take a good forty minute for people to
start going, oh he does maybe he's not like this,
(07:47):
fucking yeah, it's crazy. Sometimes they would clap after after
There's like a lot of things where I like, there
are earnest setups of like there should be more more
diversity on Love Island or whatever, and the full round
of applause, people going yes, what.
Speaker 1 (08:05):
Anyway, Yeah, Because I think the more I think about
this a lot, like I know they are like comedians
who like a real sort of low energy deadpan, sort
of throw it all away. And I always think when
you're like that, it's like, well, it's easier to have
a bad gig when you're like that, because you can
sort of pretend you're not doing anything and be like, well,
you're menta laugh, I'm not doing anything, whereas and then
(08:27):
there's middle version. Then there's your version, which is like,
it's so full on that if they're not laughing, fuck,
you've really commit really comfort it. There's no way you're
going I am doing something here, You're definitely doing something.
Speaker 3 (08:41):
Yeah, totally. In Edinburgh, there were a couple because you know,
that classic thing happened where I got a couple of
good reviews really early, and then the late show, the
latest shows in the month got like booked up by
like and I say this with so much love of
my heart old people who in general don't like to
show so much. And there's something so devastating about by
(09:02):
the end of that show, because I was in a
little box. I was drenched with sweat and like panting,
having run around for an hour and for the lights
to go down and then come up for the applause,
and it's just like a light smattering with like very
confused faces. Meanwhile, there's like eyelineer running down my face.
(09:23):
I've given that, I've given them everything, and they're going,
oh god, it seems unwell, it's really just humiliating.
Speaker 1 (09:31):
Oh god, oh that makes me stressed. Can I say
something serious about your show?
Speaker 2 (09:38):
Yeah?
Speaker 1 (09:38):
And we can, and we can cut it if it
makes me uncomfortable. I thought about your show a lot after.
It's very, very funny, and it's very like it's it's
just like a wild ride and it's really fun. But
actually we thought actually that it was like sad as
in that there's a kind of howl. If I may
(09:58):
be so serious, it's sort of a howl in that
it's so ironic, and it's layers of irony and only
and it's kind of seems like a scream into the void,
like what what can we do?
Speaker 2 (10:12):
Like what matters?
Speaker 1 (10:14):
Because it's so hard to make sense of it all
that there's layers upon layers of layers. Now that it's
very hard to be sincere and to be emotional because
everything's become so.
Speaker 2 (10:28):
Diluted. I don't know what the word is, layer layer, layer, dilute.
Speaker 1 (10:33):
At taking that context moved into things that what what
are we is? What it's sort of like. It actually
like was quite sad. Ye, like a statement of the
times is that that's so?
Speaker 3 (10:47):
That's yes, I mean it always makes it sound so unfunny,
but I think it's it's hopefully meant to be that.
Speaker 2 (10:56):
I I okay.
Speaker 3 (10:57):
I've wanted it to be sad.
Speaker 2 (10:59):
Definitely, Okay, Yeah, it really depressed me.
Speaker 3 (11:01):
Yeah, okay, yeah, great, okay, great, great because sometimes people
if the other weird thing about doing it like so
many times is that people have really weird reactions to it.
People would go like, oh, it was so great because
I have a son your age and he's gay, and
that made me feel way better about that. And I
was like, what that made you feel better about it? Okay,
(11:22):
it didn't make me feel better about it. I'm scared
for your son.
Speaker 2 (11:26):
No.
Speaker 3 (11:27):
It was definitely like like a kind that I guess
that the core of it is, like you said, like
a kind of inability to be to say anything that
feels authentic or to speak about the very like real
material problems that we all know are going on, is
that it's just impossible to find any language that feels
(11:47):
like it can deal with those problems we'll talk about
those problems in a way that's affecting or interesting or
doesn't feel kind of shallow or kind of like an
ad that I so much of. It was so much
of like right, it was like watching loads and loads
of ads and taking all this stuff out of ads
and being like, this is hysterical. This is an ad
for like, I don't know, like a bank, and it's
(12:09):
talking about kind of diversity and inclusion, which simultaneously doesn't
advertise the bank and also sort of debases like the
language of diversity inclusion and makes it meaningless. And it's
just like watching that stuff, it was especially over Lockdown,
just made me feel insane. So I felt like I
had to run around on stage from Aaron screen.
Speaker 2 (12:27):
Yeah, well it's fucking great. Yeah, I mean it really did.
It was like a really really really fun ride, really entertaining,
and then at the end I was very sad.
Speaker 3 (12:38):
Yeah that's my favorite reaction.
Speaker 2 (12:40):
Yeah.
Speaker 1 (12:40):
It was depressed for a week. So thank you very
five starts. So you comedy depressed for a week. No,
it's brilliant. Are you starting.
Speaker 2 (12:49):
A new one? Are you made a new one? Do
you feel incredible pressure of a new one? Given the
massive success of the first one.
Speaker 3 (12:56):
I haven't started a new one, but I think I
don't know. I've been talking to other comics. I want
to how how do you feel about it? I feel
like I want to make it really different to the
first one, and that might take a really long time.
Speaker 1 (13:06):
Interesting, Yes, I think, well, do you know what if
I may serious answer, I think that's brilliant, and do
exactly what you want, and you're an artist, and continue
to be an artist and follow whatever thing you want.
I think there is a strange reality oft them with critics.
I think where basically, if you do something different, some
(13:28):
of them will be like, well I liked the other thing.
They're just going to compare it to the other thing.
That's it. Just basically ignore whatever anyone says, because then
if you also do the same but more, they'll say
it's the same but more.
Speaker 3 (13:42):
Yeah, it's weird. Comedy reviews are so strange. That's a
whole that's another podcast. But that's what way up to
what are they doing it? Every single one has something
baffling in it. I've never read a single review of
the comedy show where I haven't been sort of baffled
at at least one point by what they've chosen to say.
Speaker 1 (14:03):
Yeah, it's like with anyone, anyone who talks about comedy.
Speaker 2 (14:06):
I will not name the person. There is someone in
comedy that I know lots of people that like slag
this comedian enough and they go he's rubbish, and they go.
Speaker 1 (14:13):
Well, he's not. Like he takes the roof off. He
does exactly the job of a comedy. I've been in
the room. He's an amazing comedy. You might not like it,
but he is a good There's no how can you
you can't look at the roof covered off?
Speaker 3 (14:26):
When it's like when people I always get really annoyed
when people are like, that's not comedy, like the reviews like,
that's not actually comedy, Well well it is. It might
be like you can say it's bad, but we are
all watching it and it's comedy.
Speaker 2 (14:46):
Yeah.
Speaker 3 (14:47):
It feels like a kind of like I know, it
feels like people think they're doing something really clever by
going actually, actually, if you really think about it, that's
not comedy. It's like, well, actually I did think about it,
and it.
Speaker 1 (14:57):
Is h It was currently and I love Yeah, so
you haven't started a new thing, like it's a big deal.
You obviously built that show, you did for a long
time and it has been a huge thing. Have you
let go of it? You've done with that show. It
was a joy to let go of having done it.
Speaker 3 (15:16):
Right, to be honest, Well, also because I was because
it's first show. It's like classic first show thing where
pretty much every joke you've ever written isn't it? Or
everything that you thought was good enough to say on
stage isn't it? And I think that there's at least
one joke in the show that I think I probably
weren't right when I was eighteen, and I'm just like,
that is enough. We can't be saying that I'm an
(15:37):
adult man now. I don't want to be said. I
don't want to be saying the words that an eighteen
year old boy came up with professionally. That's so strange.
Also it's helpful because the special came out on this
like sixteenth of December. So I think something about the
year ending, and it's like new Year, I'm done being comedian,
(16:00):
What next teacher?
Speaker 1 (16:02):
Something could be not saying no, well there is something
I forgot to tell you actually go on And I
was thinking this when I first, well, M when we
first loved John and I we were setting up. I
probably should have told you then, because I did make
(16:23):
a note of it as well, Oh you've died, you're dead.
Speaker 3 (16:30):
You're kidding.
Speaker 2 (16:31):
No, I'm actually not. You're dead, fully bark just a
lot of my plans. How did you die?
Speaker 3 (16:40):
I walked off something because I was on my phone,
like a peer or yeah, off a peer, because I
was on my phone doing so. I was sort of
engrossed and looking at the names of the people who
viewed my story. I think probably, Well, so.
Speaker 1 (17:00):
You're like, you're in Worthing. You're in Worthing, peer in you.
They left a little gate open and you were like,
looking down. Your friend just walked off the end of it.
Speaker 3 (17:10):
Yeah, but at least now I get to have on
my gravestone he died as he lived walking along Worthing.
Speaker 2 (17:15):
Peer looking at looking at.
Speaker 3 (17:22):
It's own story, I would say, actually I would. I'm
going to come out of saying that, by far, the
person whose Instagram stories I view the most during the
day is my own. I'm perstantly tucking back in at
my own Instagram story. So I think they're trying and
do that thing. Did you ever do this way, you're like, what,
like you try and almost forget that you've posted it,
(17:43):
and and try and look at it with the fresh
eyes of a stranger, being like, what would I think
of me?
Speaker 2 (17:53):
How often do you chuckle to yourself looking at your
own in the story and say wistfully, that's brilliant?
Speaker 3 (18:02):
All the time, all the time. I'm also also sometimes
if I'm having a sort of like crisis of personality,
I'll just scroll through my own Instagram page to sort
of remind myself sort of what I'm like your successes.
Speaker 1 (18:20):
So you fell off worthing pier was the tide out?
You just smashed into some ruck.
Speaker 3 (18:25):
Was out yees?
Speaker 2 (18:25):
So I hit rot, Yeah didn't.
Speaker 3 (18:28):
It wasn't even a dramatic splash situation.
Speaker 2 (18:31):
It was just full like thud.
Speaker 1 (18:32):
I think it was more dramatic because of the rocks,
to be honest, but yeah, I don't.
Speaker 2 (18:36):
The sound was different. People didn't notice for a while. Yeah.
Speaker 3 (18:39):
You know, when like a ball hits wet sand, that
kind of like horrible. I know, it's so humiliating to
die with a thwack as well, It's.
Speaker 1 (18:48):
Like wow, God, that's tragic, But I mean it really
helps the sales of your special.
Speaker 3 (18:57):
Yeah, and really is the point of being alive away?
Speaker 2 (19:00):
Yeah? Do you do? You do you worry about death? No?
Speaker 3 (19:06):
I actually don't. I worry about.
Speaker 2 (19:09):
And this is going to be so profound, goat.
Speaker 3 (19:13):
I worry about being alive more than I stitch that
on a T shirt. Scared of death, honey, I'm scared
of being alive.
Speaker 2 (19:25):
Totally fair, very scary the death.
Speaker 3 (19:28):
Death will be a huge relief to us, I mean,
to me, and do I imagine many members of my
family and close friends. Just get it done, you know
what I mean. I'm so I'm so anxious. It'll be
like heaven. It will be literally like heaven. It will
be literally like heaven. Yeah, that's it. That's a heart take.
(19:49):
It is scary being alive, it's scary being life. But
that's just so your your view of death is not
gonna be scary, and that's nice. Yeah, I don't think
it's gonna be that scary. But also, like, the thing
about life is famously I don't know if you've heard this,
it's finite. So every day it's like, better make sure
fill it with stuff, better make sure it's worth my time.
Speaker 2 (20:07):
Whereas death it's like.
Speaker 3 (20:11):
That all day.
Speaker 2 (20:12):
There's more than Yeah, that's true.
Speaker 3 (20:15):
Don't you worry about don't worry about a thing.
Speaker 1 (20:17):
Death has a real kickback quality, like just have a strap,
Like you know you can walk around.
Speaker 2 (20:23):
You don't need to take your phone yet You've.
Speaker 3 (20:25):
Got to tell exactly, I don't think i'd use my
phone even I think the whole I think.
Speaker 2 (20:29):
I think I only use my phone.
Speaker 3 (20:32):
Because I'm trying to maximize my time on earth in
some way.
Speaker 1 (20:35):
So when people ever say stop looking at your phone,
your answer is life is finite.
Speaker 3 (20:39):
Yeah, yeah, I often say that to my mum. But dinner,
life is finite number of chances to look at my
own Instagram story. This is brilliant tomorrow, yeah, brilliant.
Speaker 1 (20:56):
So you do think there is enough to life? That's
pretty chill? After life, I don't know.
Speaker 3 (21:01):
Well again, I feel like because I feel I'm sort
of in this relaxed space in general, I would genuinely
say I don't get the kind of why is everyone
so hysterical about whether there's an afterlife or not? I
don't care about that. I've never I'm like, yeah, maybe,
but guess what, I'll be dead and everything will be endless.
(21:21):
It doesn't matter anymore.
Speaker 1 (21:22):
That's interesting because I guess when people like people like God,
I hope there is, those are the people that probably
want more life.
Speaker 2 (21:30):
They just want to be like, let's not worry about
that exactly.
Speaker 3 (21:36):
And it feels like they're forgetting when they're talking about
an afterlife, they're getting the crucial element of the afterlife,
which is that you're dead.
Speaker 2 (21:43):
Yes, well, you don't like the word life afterlife. I
don't like the word life after life. You're hoping for
life after death. You don't want this stress. The fundamental
quality of it is that you're not alive. Yeah, yeah, yeah,
that's interesting.
Speaker 3 (22:00):
It feels like a case of misssold, you know, but
I'm really miss selling that.
Speaker 2 (22:04):
Yeah, it's just afters. You just wanted to be an afters.
Speaker 3 (22:07):
It's a it's an end afters.
Speaker 1 (22:11):
Just everyone fucking mumbling on pills. But yeah, well good news.
I suppose in a way it depends. There is a heaven,
but it's like an afters and the good bit, and
it's filled with your favorite thing.
Speaker 2 (22:27):
What's your favorite thing?
Speaker 3 (22:29):
Food?
Speaker 2 (22:30):
Right? Oh, it's food.
Speaker 1 (22:31):
It's like a it's like a giant buffet, but like
COVID free, just a huge buffet. It's like a mule,
you know, those like around the world buffets. But it's
good ship.
Speaker 3 (22:44):
I love that. That's a real like childhood holiday thing
to me, of like being let loose on around the
world buffet.
Speaker 2 (22:54):
That's what it's like.
Speaker 3 (22:55):
The individual cuisine is like butchered in a way that
you couldn't possibly imagine.
Speaker 1 (23:00):
Yeah, no area accurately represents the country it's supposed to
be rapping. Yeah, that's what That's what it's like in
him and yeah, yeah, and you'll love it. And everyone's
very excited to see you big fans. They love your
instant stories. When you arrive in Heaven, they're chuckling. They're
looking at it chuckling again. That is brilliant. And then
(23:20):
you walk in and go, my god, it's here, and
they all want to talk to you about your life,
but they wanted to talk about your life through film.
The first thing they ask you is, what's the first
film you remember seeing?
Speaker 2 (23:31):
Leo Rai. The first one I remember seeing is Finding
Nemo Shit the Bed. Yeah, that is a hardcore first film.
Speaker 3 (23:39):
It's a hardcore first film, and I remember it. I'm
not it can't be the first time I saw so
I think I must have been like four or five,
but I went to the cinema to see it, and
we were on holiday and it was disney Land, Florida,
and they did one of those like five D experience
whatever things where they're like spray and stuff. And I
(24:02):
don't know if you remember the beginning of Finding Nemo.
What happens is a huge barracuda comes and like mass
murders the eggs and the wife of the main fish
fish one, and then swims off into the darkness of
(24:22):
the depths of the terrifying ocean. And as this is happening,
my five year old's face is being like the seats
like moving around, and I'm being sprayed with water. I lose
my fucking shit and leave. I'm like, I have to
get out of it. I'm like, sobbing, let's go. I've
had enough. So I don't watch any a single one
(24:44):
more frame of the film Finding nemos so to me
for many years, Finding Nemo was a very short, quite
formally experimental animated art film about death right from the jump.
I mean, really they do just like land you in it.
Speaker 1 (25:02):
It's a devastating film. It's fucking heartbreaking. For most of it.
Sure there's a couple of jokes here and there, and
there's some lovely side characters, but it's a devastating film
about a father trying to raise a child.
Speaker 2 (25:17):
Heartbreaking.
Speaker 3 (25:19):
I mean, it's also, of course one of the best
films in the world. Yeah, because it's at the same
time absolutely fucking hilarious. It's so funny. Batfish cannot remember
a thing. That's hysterical, that fucking idiot, your audience are
going Dory love write it.
Speaker 1 (25:40):
Down, Dory, babe, listen, thank you.
Speaker 3 (25:44):
For this thne you've forgotten something you're pitying, but.
Speaker 1 (25:52):
Then fucking Dory makes you cryet just when you think
you're saving it. Always safe with Dory.
Speaker 3 (25:58):
Some brilliant voice acting from Ellen, I think, and also
ingrained in my memory, which is actually a very clever
meta element of the film. P Sherman forces you waller
we waye s didnety, We'll never get it amazing.
Speaker 2 (26:12):
So what is the film that made you cry the most?
And how? You a crier?
Speaker 3 (26:17):
A huge crier, huge crier to the extent where I
feel like, as a connoiseur of crying in films, which
is maybe my favorite thing to do, in the world.
I feel like there's two answers to this question, because
they're happy cry and there's sad cry. There's like kind
of oh my god, the joy of being alive. It's
also moving and beautiful, and to me that is it's
(26:37):
wonderful life. Of course, is that the quintessential on my
hands and knees, just balling my eyes out from minute one?
And then sad cry? I think probably Grave of the Fireflies,
fuck it now, which is just like, what are you
doing to me? Just what could live? These children are
(26:59):
contender with the harrowing magnitude of war and they're animated.
Isn't mad?
Speaker 1 (27:07):
It is a cruel trick of animation where you're like,
I don't know why at any point we assume we're
going to be all right with a cartoon, given that
all of the cartoons are absolutely devastating.
Speaker 3 (27:18):
I know, I don't know. There's something, there's something in
my brain that sees a cartoon and goes, this can't
hurt me. And then cut to an hour and a
half later, and two children are mourning the loss of
their hometown being destroyed in a nuclear war.
Speaker 1 (27:34):
Have you ever seen when the wind blows, when the
wind Blows is a film by the man who made
The Snowman, and it is a British film about a lovely,
very sweet, lovely couple living in their house and a
nuclear bomb goes off in the distance and very slowly
off the course of the film, they die of nuclear
poisoning and its fucking horrendous and it's just them going like.
Speaker 2 (28:00):
I would just make a nice cup of tea.
Speaker 1 (28:02):
And when there's they started sort of coughing and.
Speaker 2 (28:05):
I feel quite I feel quite tired. It's fucking but.
Speaker 3 (28:12):
You do think, I mean, that is the kind of
stuff you're getting pitched at an afters someone is off
and going, yeah, I just wanted I just want it
to be about the mundane decay. And it's a metaphor
for how life, in a way is just slowly dying.
Speaker 2 (28:29):
And you're like, God, who are you do? I meet
you at the club and he goes, I made this
snow Man. That was a hit? Okay, yeah, what were you?
Why then? Aren't you old? What is the film that
made you cry? No?
Speaker 1 (28:45):
What, we don't know. What is the film that scared
you the most?
Speaker 3 (28:49):
Do you like being scared? I love being scared? Do
you like being scared. I love being scared in films. Yeah,
and films I love it. I don't know why, I
guess a little. I don't know. But the thing that
I think there was like a moment you know when
you start watching scary films and it is genuinely gutturally
terrifying because you haven't like learnt the tricks yet, so
(29:11):
every single one gets you. And weirdly, the thing that
got me the most was the opening sequence of Scream,
which is of course an absolutely probably my top ten
favorite films in general, definitely top five horror films, probably
top five comedies. It's so funny, but that first scene
is like really scary, with Drew Barrymore been chased around
(29:32):
her house by the ghost face man.
Speaker 1 (29:34):
It's psychotic, fucking great set piece. I was again recently
holds up that is like a masterpiece ten minutes days
so good.
Speaker 2 (29:43):
So when her boyfriend's on to watch, oh my god, yeah,
I remember watching it.
Speaker 3 (29:47):
I also had to add to it, I watched it
on a plane, which is terrible in general, but.
Speaker 2 (29:52):
Also the fact that it scared me so much and.
Speaker 3 (29:54):
I was on a plane and I was watching it
in a tiny screen on the back of someone's seat.
It still I was like, oh my god, someone turned
the lights on on this plane. It's too dark.
Speaker 2 (30:06):
Everyone.
Speaker 1 (30:09):
Genuinely, it's a great good answer. What is the film
that you love? People don't like it, critics don't like it,
but you love it unconditionally.
Speaker 2 (30:21):
What is that film? Right?
Speaker 3 (30:23):
It is the film and its sequel starring Steve Martin
and Genreno, The Pink Panther.
Speaker 2 (30:32):
Huge.
Speaker 1 (30:33):
It's don't think it's ever come up on this show.
Please tell me everything. I am steamer in Fanty. I
die love him so much, Please talk to me.
Speaker 3 (30:45):
I think we have memory holds it as a as
a culture. What I will say about the first Pink
Panther film, and I've actually spoken out about this previously
because I feel very passionate about it, is that Beyonce
is in that film and performs an original track right
that is not available anywhere online, but is so good
(31:06):
called a woman like me. It's the production value is
so high. Steve Martin is doing. It's just giving his
all to every second of offending French people, both in
France and across the globe. Gen Reno is there for
god knows what reason and also signed on for a sequel.
It's crazy. It's a crazy little film. Every joke is
(31:28):
like kind of the worst joke you've ever heard, but
in a way where you're like, oh my god, I
can't believe they put that in. You know, when you
like at the fringe, you go and see like a
student sketch show, and you're like, this, this is objectively
this is the worst thing that's ever happened, like on
a quality level, but in terms of how much joy
I'm feeling from the top of my head to the
bottom of my body, this is the best piece of
(31:48):
art that's ever been created.
Speaker 2 (31:49):
Because you're having a laugh. I'm having a laugh.
Speaker 3 (31:52):
The materials so about that it circled back to being
kind of boundary to make fel to honestly, to make
Beyonce stand there while while Steve Martin go sit you up.
There's a bit where where Beyonce has to react to
Steve Martin going into like a recording studio that he
thinks is soundproof and then farts really loudly and then
(32:14):
comes back out and she has to like act like
she hasn't heard it. And if you just look at
like just sort of see that from the third person
a tiny bit and go. That is Beyonce from That's
Funny Being Famous Fame. Yeah, and she's doing that smell
the fart acting.
Speaker 2 (32:32):
Wait.
Speaker 1 (32:33):
Listen, a man going into what he thinks is a
sound proof booth's objectively a very funny idea.
Speaker 2 (32:40):
That's brilliant. Cool, that's brilliant. Listen. Also, people were like,
how dare he do pink Panther?
Speaker 1 (32:49):
The Great Peter said it, I may be so bold
as to say the original pink Panthers ain't that great?
Dare I say it? We're not talking about flawless man,
They're quite boring.
Speaker 3 (33:03):
And it's also like you've made the pink Panther look
like a joke. It's like, yeah, yeah, of course that's
the whole concept of the pink Panther. Is that stupid
stuff happens all the time? Are we going mad?
Speaker 1 (33:21):
What is the film that you used to love but
you've watched recently and you've gone, I don't like this anymore,
Thank you very much.
Speaker 3 (33:30):
This is hard because it's not happened to that many things.
I think there's two sections. Half of them are like,
oh no, I found something out about the production and
now it's creepy to watch this like Blue is almost color,
like Manhattan, like that kind of thing where you watch
it and you're like, oh, no, I wish I didn't
(33:51):
know all the information about this, And then the only
other ones I can think of, like really really teenage
boy films where that are made for teenage boys, and
there's a period of being a teenage boy where watching
like Reservoir Dogs is actually the like you feel endorphins
that have yet to be described by science, or like
you're watching Batman Begins and your drawers on the floor
(34:13):
because you can't believe the genius concept of I think
they're putting poison in the water in that film or
something doesn't make any sense. But at the time you're like, WHOA,
that's so clever. And then you go back and it's
not that I don't like Reservoir Dogs now, I still
think it's good.
Speaker 2 (34:29):
It's not that it doesn't hold up.
Speaker 3 (34:30):
It's just that it's like it's not hitting my nervous
system in the way that it did when I was
fifteen years old, or watching like Django Unchained, being like
this guy is the cleverest man who's ever lived. He's
taken a story about history and he's changed parts of it.
(34:53):
Whoa and he says, everyone so rude.
Speaker 2 (35:00):
Everyone is very rude, very rude.
Speaker 3 (35:03):
Yeah, I remember, I really remember going into school the
day after I watched Pulp Fiction and being like, guys,
you will never guess what I discovered a really hidden
gem last night. It's basically this art house classic about
how violenceism is really fun to watch.
Speaker 2 (35:25):
That is it fuck interesting?
Speaker 1 (35:28):
Tell me this, Leo right, what is the film that
means the most to you? Not the film itself could
be ship, but the experience you had around seeing the
film will always make it meaningful to you.
Speaker 3 (35:40):
Leo right, Well, this is my first repeat answer because
it's it is.
Speaker 2 (35:45):
It's wonderful life and I can't watching.
Speaker 3 (35:48):
The pick Bath again. It's a Wonderful Life, which I
watched every Christmas Eve with my family m and grandparents
who come from Wales. And there's a thing in it.
There's a specific moment in it where he goes where
George Bailey goes to the school dance and you've seen
(36:10):
him as a kid, and you've seen Mary, his love interest,
also as a child in the candy store and she
whispers in his ear. George Bailey I love you till
I die because he's got a trick ear and I
can't hear she's saying. This is four minutes into the film.
I'm already just shed so many tears that it could
flood a country. I'm barely listening to the dialogue anymore.
I'm just heave sobbing. But there's a moment where in
(36:31):
the flash forward where he goes to the school dance
and this guy comes up to him and he's like.
Speaker 4 (36:36):
Ah, George, would you dance with my kid's sister. He'll
get out of the thrill of a life like that
kind of thing. And then the camera and he's like,
I don't want to dance with her, And then he
stops in a sentence because he's seen her across the
dance floor and there's this shot of her face and
it's the first time Donna Reed appears in the movie,
and she is a lit like she's an angel, and
it's like just the strings swell and she's smile and.
Speaker 3 (37:00):
She stops talking to the person. She's talking to you,
and it's like incredible. And every time that happens, my
granddad makes this noise and it's just like the most
beautiful thing in the world.
Speaker 2 (37:11):
Shit, man, yeah, shit, you make me cys.
Speaker 3 (37:16):
It's like, all right on, cue my Grandda goes.
Speaker 2 (37:19):
That's so sweet because he's.
Speaker 3 (37:22):
So overwhelmed by her beauty and the romance of the moment.
Speaker 1 (37:29):
Okay, well you've got that answer, correct, Well done, great.
Speaker 3 (37:32):
Thank you.
Speaker 2 (37:34):
Next, what is the film that you most relate to? Oh?
Speaker 3 (37:38):
This is this is any film where you know, one
of those films where the reviewer is like, yeah, this
is okay, but at a certain point you just feel
like the main character is so unlikable that that is
why are we following? Why should we care about this
entitled brat wandering around doing nothing? Yeah, and I'm like,
(38:00):
it's me. It's me. Oh my god, it's me. It's
me in the worst person in the world. It's me,
furniture Frances, It's all me. Film. Also, another one was
anything I really like watching a film where you're like,
that is the perfect representation of everything I hate about myself.
(38:21):
So like Rushmore was a huge one for me, watching
Rushmore as like a fifteen year old and going, oh
my god, that's what I'm like, just unbearable. Am I
sort of oocious, like nerdy? But like entitled and like
(38:42):
I don't know, just irritating, kind of like self aggrandizing,
delusions of grandeur. Thinks you're thinks he's an adult. Is
like writing a play always? I was so many at
the time, just always sort of like telling people that
I'm writing a play.
Speaker 2 (39:00):
Have you written a play?
Speaker 3 (39:02):
I have written a play.
Speaker 2 (39:03):
Are you going to put in a play? Now? Is
that what's next? Ruling it out? Are you gonna put Yeah,
I'm putting a place, put a play. Putting a play.
You just have to make it not boring. And that
is the real challenge of a play. I'm sorry.
Speaker 3 (39:22):
If we're gonna put on a play, we're gonna put
on a play. We're gonna make it boring.
Speaker 2 (39:25):
Okay, we're doing a proper play.
Speaker 3 (39:27):
I want to do it right. If I'm if I'm
taking it up to the theater, I want to. I
want to. I want to honor the art form and
make it extremely boring. Okay that everyone hysterically laughs up
supplot Wise, nothing's going to happen.
Speaker 1 (39:40):
If you would summarize it would be like one night
in a two old friends reunite and nothing happens.
Speaker 3 (39:48):
Yes, and it's about the death of the American Empire.
Speaker 2 (39:51):
Yeah, okay, we can bang that.
Speaker 1 (39:55):
Yeah, it could easily be an hour, but it's going
to be four hours, and with no change to the addition, no,
no more incidents happen over the next three hours.
Speaker 2 (40:10):
Yeah.
Speaker 1 (40:10):
Perfect, And at the end the sun rises very slowly
in the background in real time.
Speaker 3 (40:18):
I think it should be in blank verse as well.
It should be fully Shakespearean.
Speaker 2 (40:22):
Fuck it, hell, God, even listen, I'm a yes ander,
And when you said that, it made me sick. It
made me sick and go, I don't know if I
even yes.
Speaker 3 (40:33):
And I wanted I wanted to have that that if
I ever do a player, I wanted to have. You know,
when you see a Shakespeare play and they do the
kind of they try and make it funny, and they
do the sort of cheeky Shakespeare voice to the audience
where they like and do me a set for a
for a wondle of sticks or whatever, and you're like, what,
(40:53):
don't say that to me, like I meant to know
what that means, because I don't, because that's old language.
Stop trying to bring me into this. I'm not in it.
Speaker 1 (41:03):
Stop trying to pretend that this is fun all right,
looks fun for it? The fool is this fucking handley?
Stop trying to pretend this is fun. I'm not an idiot.
Speaker 3 (41:16):
Yeah, exactly.
Speaker 2 (41:17):
Oh, what's the sexiest film we've ever seen?
Speaker 3 (41:20):
Sexy films so few? This was really I was thinking
about this and I was like, there are so few
actually sexy films.
Speaker 1 (41:25):
Sexy films, really there's I can't agree, but I can't agree.
I find it fascinating. There's not many people in podcasts.
It comes up occasionally when people go like, I don't
know films are sexy.
Speaker 2 (41:37):
I'm like, am I a sick pervert? Or are you mad?
One of us is mad?
Speaker 3 (41:43):
Wait, what's what's your answer for this?
Speaker 2 (41:45):
What do you say? Any film?
Speaker 3 (41:46):
Any film? I find it sexy when people are speaking Spanish.
So a sex scene in Eating Mama Tambien, I think
it's really sexy.
Speaker 2 (41:59):
That's at you get it.
Speaker 3 (42:02):
And also law of desire. I really like that. I'm
mode of our film.
Speaker 2 (42:06):
Ah yeah, yeah, yeah, you get its sexy bits in that.
I think that.
Speaker 3 (42:09):
I like that maybe more because there are sexy bits
in that where people aren't having sex, but it's still
there's a bit where she gets drenched with a hose
and it's like fully pornographic and she's not, she doesn't,
No one's naked, No sexual stuff is going on, but
it's still somehow like the hottest thing I've ever seen
in my life.
Speaker 2 (42:28):
Yeah, she's getting drinks with a hose. I can a minute.
Speaker 1 (42:31):
It does sound yea, as I said, it sort there's
nothing about it.
Speaker 3 (42:36):
I was like, this isn't the sort of mundane situation
that I'm billying it?
Speaker 1 (42:42):
What about traveling bone is worrying? Why I don't a film?
You found it rousing? You weren't sure you should? Maybe
that's any film for you?
Speaker 3 (42:51):
Yeah, I mean Frozen maybe? What?
Speaker 2 (42:55):
What? What?
Speaker 1 (42:57):
What the fact this sort of incest element is that
what's traveling?
Speaker 3 (43:01):
Little there during those people very nice, I would say,
very nice, very nice, that big, the big reindeer man,
the princess, it's all, it's all working. The other thing.
Speaker 2 (43:16):
Well, this is all. This is just a weird crush.
Speaker 3 (43:18):
That I have at the moment on someone I watched
Are you there, God, it's me Margaret?
Speaker 2 (43:22):
Great film.
Speaker 3 (43:23):
Loved it, absolutely, loved it so good. Every film should
be like that, in my opinion. But I weirdly had
a real crush on Benny Safety in that nice choice.
I think I said it to my out loud, to
my family, thinking everyone's going to agree with me, and
everyone said, that's one of the weirdest things I've heard
in my life, because I think they've intentionally dressed him ugly.
Speaker 1 (43:44):
But then he's a good dad in this sweet man.
He's kind and he's trying. You know, he's gentle and
he's rugged. He's doing stuff in the garden. You know,
he's trying garden.
Speaker 3 (43:57):
He's getting a little muddy in the garden.
Speaker 2 (43:59):
Yeah, he's getting dan. That's your thing.
Speaker 1 (44:04):
Well, I think for somebody who doesn't think films are sexy,
you've really got this correct.
Speaker 3 (44:09):
I don't.
Speaker 2 (44:09):
I don't think that. I don't think films aren't sex.
Speaker 3 (44:11):
I just think it's like really hard to get it,
to do it right. Like there's there's rarely a film
where I'm like, this is genuinely they've nailed the sex.
Speaker 2 (44:21):
Have you seen Out of Sight? And George Cloy.
Speaker 3 (44:27):
I'm going to get on it. Well, this is the
other thing. The other thing that I think ruined sex
in movies for me is when people are too hot,
If the actors are too hot, like, if you look
at this is where the Marvel dies whenever like Marvel.
And it's why I can't really I haven't seen that,
Sidney Sweeney.
Speaker 2 (44:44):
Yeah, anyone thing, anyone but you.
Speaker 3 (44:49):
But you, Because I'm like, if I saw either of
these people in real life, I turned to dust. It's
not real. It doesn't make sense to me that you'll
also with them with like that male physique.
Speaker 2 (45:02):
You go.
Speaker 3 (45:03):
Some part of my brain goes, I can't see with
this person. This person spends all their day in the gym.
They don't have time to something with me.
Speaker 1 (45:10):
Yeah, yeah, I've wondered that about. That is a fair concern.
Speaker 3 (45:15):
Yeah, it's like a really big timetabling issue. I think
involves there's a scheduling conflict. Every day you're having a
scheduling conflict, and that's not a healthy relationship. Oh I
can't come to dinner tonight because I'm doing an ab
workout and having athletic greens.
Speaker 1 (45:32):
Yeah.
Speaker 3 (45:33):
No, I want to eat something with loads of butter
in it with someone a good four notches more ugly
than that.
Speaker 1 (45:41):
I don't think Glenn Powell is the one for you.
I think Benny Safety is a saber choice.
Speaker 2 (45:46):
I think so can you break it to Glen Powell?
Speaker 1 (45:49):
I will, and he's going to be fucking furious, but
I'll let him know it's important not to lead him
on anymore. No, Yeah, sorry, what is object actively the
greatest film of all time?
Speaker 3 (46:02):
This is also so hard, obviously the hardest question in
the world. You say, singing in the Rain, right, that's
the that's the house answer. Yeah, that's I think that's
pretty good. I think that's like the that's probably the
best answer in the mix. I would say all about
Eve maybe nice, very nice, but the anything about that
is like, there's it's I feel like the best film
ever has to look pretty sexy. You have to be
(46:25):
able to like draw to mind like a classic image.
And all about Evil though it's like I think, probably
the best acted and maybe one of the best written
films ever, and it's also very hollywoody, which feels right
for this question. I'm not conjuring a frame. I can't
see I can't see the meet on send Brett.
Speaker 2 (46:48):
Any frame from it on your World.
Speaker 3 (46:51):
No, yeah, exactly. And whereas something like Bridge on the
River Kwai or Lawrence of Arabia beautiful you got you
could have every single frame there's a dream.
Speaker 1 (47:03):
Lawrence of Arabia is burging. Great, Yeah, go on, there's
no joke.
Speaker 3 (47:06):
I want at least one joke. Probably.
Speaker 1 (47:09):
I think there is one joke in Lawrence of Arabia,
and I can't put my finger on it. I'm sure
there's like an early bit where he's being charming, where
he says something vaguely humorous.
Speaker 2 (47:22):
Yeah, I'll go with that.
Speaker 3 (47:23):
Then I'll say Lawrence of Arabia, even though it's sort
of I'm sure deeply problematic in a myriad ways. But
the bit where that one transition where they have the
match and it turns into the sun.
Speaker 2 (47:33):
Yeah, guess what.
Speaker 3 (47:34):
I'm sobbing again because that's that's incredible.
Speaker 2 (47:39):
The fire of the match stands into.
Speaker 3 (47:40):
The far of the sun.
Speaker 2 (47:42):
Are you kidding me?
Speaker 3 (47:42):
Imagine coming up with that. They must have been jumping
for joy.
Speaker 1 (47:46):
By the way, in our play, that's what is at
the end one of his lights of match, and then
the background is a real time sunrise, real time and
it takes an hour and we sit in silence.
Speaker 3 (47:56):
That's genius. If we can pull that off, will have
done a fine play.
Speaker 2 (48:02):
We'll have done an actual play.
Speaker 3 (48:04):
Yeah, which is kind of a ceiling doing a player.
I think that's pretty much. We did a play. It's
pretty much even all you can say about doing a play.
Speaker 2 (48:10):
Yeah, they really did a play. I was very bored.
What is the film that you could or have? What's
the most over and over again? This is a repeat.
Speaker 3 (48:24):
That's okay, it's well, it is probably it's a wonderful
lifecause I watch it every year. But what the one
that I'm always like, oh, stick it on is for
Weddings in the Funeral.
Speaker 1 (48:33):
That is a fucking great film for Weddings in the Funeral.
It's so good. It's so in and structured and directed
and acting. It's fucking funny. It's really good and kind of.
Speaker 2 (48:49):
Valued. Yeah, because of everything that came after it.
Speaker 3 (48:52):
It's got a little bit of everything. Yeah, yes, like
I really I'm a huge fan. The bit where Christmas
got Thomas is wearing a black satin slip dress in
she's in a room in a Scottish castle. She's wearing
a gold bangle for some reason on her like bicep
(49:13):
in a fashion that I've never seen before since and
she tells h Grant that she's always been in love
with him is just the most amazing, painful, powerful, like
earnest scene also in the middle of a rom com
to do such an earnest No jokes in that scene,
it's just it's just this kind of side character being like,
(49:33):
by the way, I'll always agree to press because I'm
deeply in love with you and I know you don't
love me back. It's like, oh fuck yeah.
Speaker 1 (49:40):
In their honey, Yeah, it's like Chloe in Smallville. Yeah,
it's about fours and funeral and I think it's Mike Neil.
There's something about it's like this is a fucking classy
film as well, like it feels like something about the
way it's shot and it feels and not cheesy. There's
(50:02):
something very like it's quite cool. That's a great film.
Speaker 3 (50:06):
Like the style of it, the kind of clothes and
the haircuts, it's all like shabby enough, feel like they're
real people in a way that later, which are Curtes films,
you're like, you've done shot like shabby is the point,
but you've paid a billion pounds for that turtle neck jumper,
whereas in Four Weddings it's like you truly picked that
up in a vintage shop and you look like like
(50:29):
a guy I know you, Grant weirdly looks like a
guy I know in that it's a hot guy that
I know for sure.
Speaker 5 (50:37):
Sure looks yeah wrong, a fuckable guy. Yeah, that's its right. Yeah,
it's not glossy.
Speaker 3 (50:51):
And people's hair is bad, like their hair is like
fully bad as some of those characters. And they felt
were stuff that doesn't really fit. And the weddings are
like nice, but they're not clean. It's like they're in
a big marquee and you can see like bits flapping
off the marquee. It's still really nice wedding, but it's
not like, oh my god, they clearly have a production
team making sure that that bit doesn't flap.
Speaker 1 (51:13):
Yes, I mean it's got flappy bits. That's what makes it.
It's the flappy bits.
Speaker 3 (51:19):
And then at the end she says, is it raining,
I haven't noticed? Great job done, incredible film, and he
reads trouple the clocks in the middle.
Speaker 1 (51:27):
Yeah fuck, and that was huge And now that's the
very thing that happens a lot.
Speaker 2 (51:33):
That's a w h Jordan on the map. No one
cared before.
Speaker 1 (51:37):
And also she's so in love because it's really raining. Yeah,
like it's not it's not like a drizzle. It's not
spitting like it is a torrential downpole and she has
a nice like that's love. That's really raining, brave, like
(51:57):
you know what I mean.
Speaker 3 (51:59):
That's that's for Weddings of the Funeral too.
Speaker 1 (52:03):
What is the worst film I've ever seen? Let's not
be too negative, please, but what's the worst?
Speaker 3 (52:09):
Not be too negative? I have such real hate. Well
I thought that. Well, again, there's kind of two ways
of film can be bad. It can be bad because
it's like this is badly made. That acting is bad,
the script's bad, you know, the room style or like
Highlander two whatever, and you kind of have a laugh
watching it, but it's not. It's not super serious. It's like,
(52:29):
oh my god, these people made a bad movie because
they're not really good at making a movie. And then
other films are bad because they're like evils or like
they have like a spirit of like satanic darkness deep
within the logic of the film, where you just left
haunted for days by the memory of watching, for example,
Bohemian Rhapsody and you just can't get over it, or
(52:51):
like The Iron Lady really did that for me for
some reason, I was like, this is keeping me up
at night that they've.
Speaker 2 (52:58):
Made this.
Speaker 3 (53:00):
One film that really is the pinnacle of both bad
and both ways. To me is I don't know if
you caught the film's sucker punch when it came.
Speaker 1 (53:10):
Out, the Zack Snyder dreamskate Girls in This Island being
very hard in fighting.
Speaker 2 (53:18):
I haven't actually seen psycher Print.
Speaker 3 (53:20):
Truly, and my experience was probably the best cinema experience
I could have had because it was after school. I
was maybe fourteen, and I was having this like weird,
sort of psycho sexual relationship with a boy in my school,
and we were sitting next to each other and he
was fully feeling me up through the whole film. So
I should have loved it. I should loved it, And yeah,
(53:40):
I was so turned off by the character development on screen.
Then it made the whole experience really just traumatic.
Speaker 1 (53:53):
Were you like whispering? I'm so sorry. These backstories are
making me flescid.
Speaker 3 (53:57):
The one thing I will say about Soccer Bunch, which
I I sometimes go back to just sort of make
myself feel more. I guess karma in this job is
I watch it. I'll watch the trailer and I'll remind
myself they let him make another film off this. Someone
let him do that many films, many many films after
he made Truth. I really recommend it. It's absolutely insane.
(54:23):
Every sequence is somehow bad in like seven different ways,
but like ranging genuinely from like morally reprehensible to just
like looks ugly and everything in between. And you just
can't believe it. And they really pack a lot in
as well that there's like a lot in there. There's
a World War One sequence, there's a samurai sequence.
Speaker 6 (54:44):
There's a bit where they all do a lap dance
that is so hypnotic that they manage to escape the
prison kind of sex dungeon that they're all enslaved in.
It's sort of the hints that it's feminist at certain points,
but everyone is in pure leabra.
Speaker 3 (55:05):
It's just nuts.
Speaker 2 (55:06):
Are you sure this isn't the greatest film ever made?
Speaker 3 (55:11):
It actually walks that line sometimes sometimes you're like, wait,
is this genius? And then one of the characters will
say one of the lines that they've written and you go, no, no.
Speaker 1 (55:24):
It's well, you're in comedy, you're very funny, you're a
bloody award winner.
Speaker 2 (55:29):
What's the film that made you love the most? Right?
Speaker 3 (55:33):
This is really like. This is a basic answer. But unfortunately,
I do think that it is just true that the
funniest film in the world is Brian's Maid.
Speaker 1 (55:41):
For me, it is it's so fat. It hasn't been
beat since. I don't think I don't think so.
Speaker 2 (55:48):
I think so.
Speaker 3 (55:49):
I just really and I've seen that film maybe twenty times,
and every single time I'm like, and it's really entered
my vocabulary in such a big way that I will
do the intonation of oh Helen does the owner just
every day of my life.
Speaker 2 (56:03):
The rhythm of it in me.
Speaker 3 (56:06):
It's so great. Yeah, there's one thing that annoys me
Aboutriseemas I speak on that. You can speak to this?
Can I speak to this? I speak to this issue.
There's one thing that annoys me about Risemans, it's the
only floor in an otherwise perfect film, is that when
she is leaving John Hamm's house and she gets stuck
on the gates, they use birds song in the background,
(56:30):
and the bird song they use is chaffinch, which is
a European bird and the film is set in America.
Speaker 1 (56:37):
Wowy, guys, you were so close. That is that is interesting.
Someone who has occasionally been lucky enough to make stuff.
When you go into the sound mix, always the first
thing that they play you is so much bird.
Speaker 2 (56:55):
Song that you're like, where is where is.
Speaker 1 (56:58):
This scene taking place in a sanctuary? There's so many birds,
too many birds.
Speaker 3 (57:03):
It really takes me out of it because I'm like,
I was a massive obsessive bird watcher when I was
like in which sort of explains quite a lot.
Speaker 1 (57:12):
How does that start? And what are you doing all day?
I've never quite understood it.
Speaker 3 (57:19):
How does it start? I don't know.
Speaker 2 (57:20):
It just sort of long walks in the countryside.
Speaker 3 (57:22):
You'll see a bird, You'll be like, You'll go, what's that?
Speaker 2 (57:25):
Then right, and one thing leads to another.
Speaker 3 (57:28):
Suddenly you're you're watching Bridesmaids and you can't invest in
the characters because there's a chaffide in the background. It's
a very slippery slate.
Speaker 1 (57:35):
So you're like collecting seeing a bird, a different type
of bird, birds, and then you're like, I wonder where
that bird's going.
Speaker 3 (57:44):
That kind of stuff. You're kind of constantly going, oh
my god. Well, one thing I do think is really
underrated about birds. This isn't the theme of the podcast.
I do you realize that, but about birds is that
they can fly.
Speaker 2 (57:58):
Yeah, it is amazing. Do you really take it for granted?
Speaker 3 (58:01):
I'm sorry.
Speaker 2 (58:01):
That is like that standing as well, from a standing start.
Speaker 3 (58:05):
From a standing start, they are suddenly flying through the
sky and we're all just like sort of walking around
the park pretending not to see it.
Speaker 2 (58:15):
It's fucked. Look at the bird. So do you still
bird watch?
Speaker 3 (58:20):
Occasionally? Got my binoculars. I'll have a peep out of
the window, see what's up.
Speaker 1 (58:25):
Because to be like, you know, there's like observing the world.
There's a bird, lovely, But to be a bird watcher,
is there like is it sort of like a thing
of like can you see this rare bird that's very
hard to see?
Speaker 2 (58:38):
Is that the buzz that thing?
Speaker 3 (58:40):
Right, there's a thrill of the unexpected. So if you're
like in a place and you're like, this guy should
not necessarily be here, but then here here is because
nature is magic.
Speaker 2 (58:54):
Yeah, So basically it's like big on acid.
Speaker 1 (58:57):
It's exactly, I think, right, And do you have to
take a picture of the bird or is it just
for here, just for the head? It's not like it's
not like pokemon, right, It's about being present and enjoying.
Speaker 3 (59:08):
But being present at the moment, although it's so hard
to take a picture of a bird because as we
mentioned before, they're often like flying around.
Speaker 2 (59:14):
That's what and such? Do you have bird watching?
Speaker 1 (59:20):
Is there a community that you you will write to
I just saw this bird and they go wow.
Speaker 3 (59:26):
There is, of course the London Birds wiki page for
later sirings that you can add your sightings to do.
Also I follow Pembrokeshire birds because that's where my grandparents live,
West Wales. No good bird movies though, not really a
single good bird movie.
Speaker 1 (59:42):
There's a new film called Migration coming. Okay maybe now
it's an animated film. I suspect everyone dies in it's tragic.
Maybe no, it's illumination might be more fun.
Speaker 3 (59:51):
Yeah, there was rio. I couldn't really get on board
of that.
Speaker 1 (59:55):
What about the fucking Flight of the Things? The documentary
of the Things? The documentary much hungrings?
Speaker 2 (01:00:04):
Yeah, the penguins do they.
Speaker 3 (01:00:06):
Con I mean you're picking the one bird that doesn't
fly way to miss the trick.
Speaker 1 (01:00:13):
Yeah, you're right, But there is there is a film
that follows the birds migrating and they put like sort
of mini balloons on the birds. They had like cameras
on the birds for their migrating I think.
Speaker 3 (01:00:26):
Yeah, that kind of doesn't gel with my my appreciation
of birds very much like leave them leave.
Speaker 2 (01:00:33):
Right, right.
Speaker 1 (01:00:34):
Okay, So it's a very peaceful thing to do, this
bird watching.
Speaker 3 (01:00:41):
Yeah, it's really good because it's also it's been you
feel very you have to kind of give up your
sense of control. I'm quite like a controlling control freak,
and so when you're watching a bird, you're like, that
is not to do with me.
Speaker 2 (01:00:55):
Wow.
Speaker 1 (01:00:56):
So do you sometimes set aside the day I'm going
bird watching and stuff?
Speaker 2 (01:01:00):
Yeah?
Speaker 3 (01:01:00):
Big time interesting. Yeah, so that's what I think a bridesmaid.
Speaker 1 (01:01:06):
Lee, right, you have been an absolute delight. However, when
you was walking along weording Pierre looking at your your
inster stories and you were.
Speaker 2 (01:01:16):
Doing a little game with yourself.
Speaker 1 (01:01:17):
You looked away for a bit and you and you thought, imagine,
you thought to yourself, imagine, I'm just a guy, whereas
I'm just a normal person and I know nothing. And
you look back down at your instant stories and you
shoot your head wistfully, and you said, this is fucking brilliant,
and you chuckled and your chuckle. You're looking at it,
and you walked straight off the pier. They'd left the
gate up because they were fixing something. The tide was out,
(01:01:40):
and like a bull landing on wet sand, your face
went straight through a rock. Was it was dark, and
I was walking around the beach with a coffin, you know,
I'm like I was on the holidays, and I go,
what that's a mess?
Speaker 2 (01:01:53):
What's that? And I go, oh, no, that's not Oh
was that voice of a generation? Lea right? Who was?
Who will speak for that generation? Oh? My god? And
I turn around.
Speaker 1 (01:02:06):
There's people wailing, people wailing because they don't know who
will speak for them. And I I'm sorry, guys, I
saw it. And I go, but remember that special was
so good. He never has to follow it up now.
And they went, oh, you're right, and they all started clapping.
They felt better. And I said, and remember now, he'll
never write a play. And everyone went, oh, this is
(01:02:27):
great news, this is great news. And I said, help me,
help me with this, and we have to sort of
get you off the rocks. But you were like stuck
in some rocks. Some of the rocks coming with you
and the like smash up bits of your boy. Anyway,
get all of you in the coffin. It's rammed. I'm sorry,
it's very busy in there. There's only really enough room
for me to slip one DVD in the side for
(01:02:49):
you to take across to the other side.
Speaker 2 (01:02:51):
And on the other side.
Speaker 1 (01:02:52):
It's movie night every night in the around the World
buffet made by the man at the beginning of Eat,
Drinking Man, Women and one night it's You're me. You
know what film are you taking to show the food
people in the food court When it's your movie night, lear.
Speaker 3 (01:03:06):
Right, people in the food court will be treated to
a beautiful, potentially depending on the time of year, anachronistic
showing of its wonderful life. I think it's got to
be done.
Speaker 2 (01:03:19):
When read appears.
Speaker 1 (01:03:21):
Yeah, Leah right, what delight? Is there anything you would
like to tell people to listen to watch out for,
or any such thing with you coming up? Uh?
Speaker 3 (01:03:33):
Not really, just a special it's still It's the kind
of endless hell of releasing something silently to streaming is
that it's still much available to watch. Do you watch it?
Speaker 2 (01:03:45):
It's a laugh, it's very good.
Speaker 3 (01:03:48):
It's on HBO Max in America the United States of America.
It's on Sky and now TV in the United Kingdom,
and it's also in Australia, but I can never remember
kind of why or how.
Speaker 2 (01:04:08):
It is.
Speaker 3 (01:04:11):
If that's kind of your thing in Australia, if.
Speaker 2 (01:04:14):
Your thing is being Australian and living in that country.
Speaker 3 (01:04:17):
It's also I think I think it's available in I
want to say Norway, because I'm getting a lot of
Instagram dms in Norwegian. Unless that's something else, but I
don't know what it would be, haven't done.
Speaker 1 (01:04:32):
I think you should look into that, Leo. I've enjoyed
this immensely, me too. Thank you for your time, Thank you,
thank you so much. I have a wonderful death. Good
day to you, sir. That was episode two hundred and
eighty five. Head over to the Patreon at patreon dot com.
Forward slash Britt Gunstein for the extra twenty minutes of chat,
(01:04:54):
secrets and video with Leo. Go to Apple Podcast. Give
us a five star rating. But right about the film
that means the most you and why. It's a lovely
thing to read. It helps numbers, etc. And it's very
much appreciated. Thank you so much the Leo for doing
the show. Thanks to Scribby's pip and distraction pieces of
Network Thanks to Buddy Peace for producing it. Thanks to
IHEARTMETERA and Will Ferrell's Big Money Players Network for hosting it.
Thanks to Adam Richardson for the graphics that leads Ali
(01:05:15):
Them for the photography. Come and join me next week
for another cracking guest. Thank you all for listening. I
really hope you're all well. That is it for now,
have a lovely week, and in the meantime, please, now
more than ever, be excellent to each other.
Speaker 2 (01:06:00):
A sixty back
Speaker 1 (01:06:02):
Tack, last pass back
Look you, it's only 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,
(00:20):
a director at Chocolate Malt, and I love films. As
Aristotle once said, knowing yourself is the beginning of all wisdom.
Knowing it's cool to go to the cinema on your
own is the beginning of all great movie trips.
Speaker 2 (00:32):
Smart man.
Speaker 1 (00:33):
Every week I'm invite a special guest over. I tell
them they've died. Then I get them to discuss their
life through the films that meant that most of them.
Previous guests include Kevin Smith, Barry Jenkins, Sharon Stone, and
even Ben Bambles. But this week it's the brilliant comedian
and award winner and star of his own HBO special mister,
Leo Reich. Get over to the Patreon at patreon dot
com forward slash Brett Goldstein, where you get an extra
(00:55):
twenty minutes of chat, secrets and videos with Leo. You
get the whole episode, uncut and ad free. Check it
out over at Patreon dot com forward slash Brett Goldstein.
So Lea Raik is an excellent comedian who took the
Edinburgh Festival by storm and then went on to record
his special for HBO. I saw his show live and
it was excellent, definitely worth seeking out, and you can
(01:15):
find it on now TV and HBO and lots of
other places. We recorded this on Zoom a little while ago.
I think it's a brilliant one and I think you're
really going to love it. So that is it for now.
I very much hope you enjoy episode two hundred and
eighty five of Films to be Buried With. Hello, and
(01:44):
good evening. It is Films to be Buried With. It
is I Brett Goldstein and I am joined today by
an actor, a writer, a performer, a singer, a dancer,
a model, a comedian, a groundbreaker, an award winner, a
(02:04):
gen Z, the voice of a generation, that generation being
the Z, a legend, a person that broke the.
Speaker 2 (02:18):
Mold and the Internet.
Speaker 1 (02:21):
He's bigger than that picture where Kim Kardashian had the
champagne on her bum from above. He's a legend and
a superhero and one of the greats.
Speaker 2 (02:35):
He's here. Can you believe it? Please?
Speaker 1 (02:37):
Welcome to the show. It's the wonderful is Lee all right.
Speaker 3 (02:41):
Oh my god, what can I say now? To live
up to that superhero?
Speaker 2 (02:46):
You said you are going to have to speak because
it is a podcast.
Speaker 3 (02:48):
So yeah, that's a shame, isn't it.
Speaker 1 (02:50):
Hopefully we'll come up with some stuff at fill the time.
It's lovely to see you. Thank you for doing this.
You're in London, I am in New York.
Speaker 2 (02:58):
Thank you for having me. My god, thank you for
doing this.
Speaker 1 (03:01):
We haven't really hung out before, but I did see
your show, which is now on HBO of all places
I know.
Speaker 3 (03:08):
Can you believe it?
Speaker 1 (03:10):
I can't believe. It's fucking amazing, What a cool thing.
I saw your show at the Soho Theater theater and
it was brilliant.
Speaker 2 (03:19):
It was fucking brilliant.
Speaker 3 (03:20):
Thanks. It was so nice for you to come. That
was That show was the biggest out of body experience
because it was half like comedians like yourself that I admire,
and a nervous perform in front of and then half
everyone I went to primary school with.
Speaker 1 (03:33):
Oh my god, what a night there show, A fucking
night there show. It was really weird, which is worse,
which is worse? Doing it in front of comedians are
doing it? In front of people who went to school with.
Speaker 3 (03:45):
If you had to pick, I think they're bad in
like exactly opposite ways. Yeah, well, like the comedians, you
really really want them to like it and think that
you're cool and interesting, and the primary school people you
kind of almost want to not like it and want
to be like, if you don't know me, I'm not
just a little kid anymore. I'm crazy. Do you know
(04:06):
what I mean? I don't know. But it felt like
a dream, you know when someone from your primary school
turns up in your dream.
Speaker 1 (04:10):
Yeah, did you have this that the primary school people
would sort of heckl like this isn't you?
Speaker 3 (04:16):
Yeah? Kind of what. It's also like they didn't say
that they were if you ever had that thing where
someone doesn't say that they're coming, but then does sit
in the second row. So it's like the first five
minutes of the show with me walking on to the
stage and being like, oh my god, I haven't seen
you since year four, and now I'm going to deliver
an hour of jokes about anal to you what. It's
(04:40):
very true we have a very strange relationship at this point.
Speaker 2 (04:43):
Oh my god.
Speaker 1 (04:44):
Also, people that you don't know well or people you
haven't seen for many of the years are always the
people that say, hey, we'll come to your show in Heckel.
Speaker 2 (04:54):
I know you always go.
Speaker 1 (04:55):
Like, why why do you? Hey, why do you say that?
B why do you think that a fun thing to say?
Speaker 2 (05:01):
And see? Why have you said that?
Speaker 3 (05:03):
They also always turn up to the worst ones, Like
it's always like your first work in progress of new
material and there are four people there and you know
all of their mothers. It's like so strange, Yeah, why
are you telling us this stuff? And I guess I shouldn't.
I mean wish I'm very grateful and I hope they.
Speaker 2 (05:24):
Oh yeah, yeah, yeah, yeah, yeah yeah.
Speaker 1 (05:29):
But isn't the fear of having a bad gig in
front of anyone? You know the thing that I had.
I had a bad gig a while ago, and it
was like the first bad gig I'd had in fucking ages.
And it's such a like profound thing because there's no
way when an audience doesn't like you, there's no way
of sort of explaining to them that you're good at this,
(05:52):
Like it's such a weird thing where you sort of
go you can't say, oh no, I'm I'm funny because
they're going but we don't. There's no evident. It's the
most terrifying. I can't prove it because you seem to.
Speaker 3 (06:05):
You want to get to want to get up the
reviews on your phone and be like this is good.
You do realize this is good, right, this is good.
Speaker 1 (06:12):
Honestly, there are other people, but it's such a mad
sort of existential feeling where you're sort of like, well,
I guess you're right, I guess this.
Speaker 3 (06:20):
Is I know you're so numbered as well. You're so
outnumbered by them, all of them and their little seats,
crossing their arms and frowning, thinking that are so clever,
And yet you just want to go like, I'm replacing
you with all new people tomorrow and I love it.
Why not be more like them?
Speaker 2 (06:36):
That's so funny to shout an audience. Tomorrow's people are
going to fucking love this. Well.
Speaker 1 (06:42):
Also with your show, listen, and I say this genuinely,
I can't imagine you ever having a bad show for
a number of reasons. And it's very high energy. You're show,
and it has music, and it has dancing and has singing,
and it has it's kind of so forceful that I
can't imagine an audience not getting on board of it.
Speaker 2 (07:00):
But do you ever have like a oh my god,
bad show.
Speaker 3 (07:03):
Yeah, that's very sweeting to say it, but that is
not that's not my lived experience of performing the show.
I wouldn't say it was. It's usually fun. It usually
got fined by the end, But especially when I did
it in the States, there was a real thing of
like because it's all like kind of ironic, and it
kind of it really relies. The whole thing relies on
(07:26):
the audience knowing that I'm joking right and not thinking
this is a sort of earnest like confessional show about
my real life and I especially in the States, it
would sometimes take a good forty minute for people to
start going, oh he does maybe he's not like this,
(07:47):
fucking yeah, it's crazy. Sometimes they would clap after after
There's like a lot of things where I like, there
are earnest setups of like there should be more more
diversity on Love Island or whatever, and the full round
of applause, people going yes, what.
Speaker 1 (08:05):
Anyway, Yeah, Because I think the more I think about
this a lot, like I know they are like comedians
who like a real sort of low energy deadpan, sort
of throw it all away. And I always think when
you're like that, it's like, well, it's easier to have
a bad gig when you're like that, because you can
sort of pretend you're not doing anything and be like, well,
you're menta laugh, I'm not doing anything, whereas and then
(08:27):
there's middle version. Then there's your version, which is like,
it's so full on that if they're not laughing, fuck,
you've really commit really comfort it. There's no way you're
going I am doing something here, You're definitely doing something.
Speaker 3 (08:41):
Yeah, totally. In Edinburgh, there were a couple because you know,
that classic thing happened where I got a couple of
good reviews really early, and then the late show, the
latest shows in the month got like booked up by
like and I say this with so much love of
my heart old people who in general don't like to
show so much. And there's something so devastating about by
(09:02):
the end of that show, because I was in a
little box. I was drenched with sweat and like panting,
having run around for an hour and for the lights
to go down and then come up for the applause,
and it's just like a light smattering with like very
confused faces. Meanwhile, there's like eyelineer running down my face.
(09:23):
I've given that, I've given them everything, and they're going,
oh god, it seems unwell, it's really just humiliating.
Speaker 1 (09:31):
Oh god, oh that makes me stressed. Can I say
something serious about your show?
Speaker 2 (09:38):
Yeah?
Speaker 1 (09:38):
And we can, and we can cut it if it
makes me uncomfortable. I thought about your show a lot after.
It's very, very funny, and it's very like it's it's
just like a wild ride and it's really fun. But
actually we thought actually that it was like sad as
in that there's a kind of howl. If I may
(09:58):
be so serious, it's sort of a howl in that
it's so ironic, and it's layers of irony and only
and it's kind of seems like a scream into the void,
like what what can we do?
Speaker 2 (10:12):
Like what matters?
Speaker 1 (10:14):
Because it's so hard to make sense of it all
that there's layers upon layers of layers. Now that it's
very hard to be sincere and to be emotional because
everything's become so.
Speaker 2 (10:28):
Diluted. I don't know what the word is, layer layer, layer, dilute.
Speaker 1 (10:33):
At taking that context moved into things that what what
are we is? What it's sort of like. It actually
like was quite sad. Ye, like a statement of the
times is that that's so?
Speaker 3 (10:47):
That's yes, I mean it always makes it sound so unfunny,
but I think it's it's hopefully meant to be that.
Speaker 2 (10:56):
I I okay.
Speaker 3 (10:57):
I've wanted it to be sad.
Speaker 2 (10:59):
Definitely, Okay, Yeah, it really depressed me.
Speaker 3 (11:01):
Yeah, okay, yeah, great, okay, great, great because sometimes people
if the other weird thing about doing it like so
many times is that people have really weird reactions to it.
People would go like, oh, it was so great because
I have a son your age and he's gay, and
that made me feel way better about that. And I
was like, what that made you feel better about it? Okay,
(11:22):
it didn't make me feel better about it. I'm scared
for your son.
Speaker 2 (11:26):
No.
Speaker 3 (11:27):
It was definitely like like a kind that I guess
that the core of it is, like you said, like
a kind of inability to be to say anything that
feels authentic or to speak about the very like real
material problems that we all know are going on, is
that it's just impossible to find any language that feels
(11:47):
like it can deal with those problems we'll talk about
those problems in a way that's affecting or interesting or
doesn't feel kind of shallow or kind of like an
ad that I so much of. It was so much
of like right, it was like watching loads and loads
of ads and taking all this stuff out of ads
and being like, this is hysterical. This is an ad
for like, I don't know, like a bank, and it's
(12:09):
talking about kind of diversity and inclusion, which simultaneously doesn't
advertise the bank and also sort of debases like the
language of diversity inclusion and makes it meaningless. And it's
just like watching that stuff, it was especially over Lockdown,
just made me feel insane. So I felt like I
had to run around on stage from Aaron screen.
Speaker 2 (12:27):
Yeah, well it's fucking great. Yeah, I mean it really did.
It was like a really really really fun ride, really entertaining,
and then at the end I was very sad.
Speaker 3 (12:38):
Yeah that's my favorite reaction.
Speaker 2 (12:40):
Yeah.
Speaker 1 (12:40):
It was depressed for a week. So thank you very
five starts. So you comedy depressed for a week. No,
it's brilliant. Are you starting.
Speaker 2 (12:49):
A new one? Are you made a new one? Do
you feel incredible pressure of a new one? Given the
massive success of the first one.
Speaker 3 (12:56):
I haven't started a new one, but I think I
don't know. I've been talking to other comics. I want
to how how do you feel about it? I feel
like I want to make it really different to the
first one, and that might take a really long time.
Speaker 1 (13:06):
Interesting, Yes, I think, well, do you know what if
I may serious answer, I think that's brilliant, and do
exactly what you want, and you're an artist, and continue
to be an artist and follow whatever thing you want.
I think there is a strange reality oft them with critics.
I think where basically, if you do something different, some
(13:28):
of them will be like, well I liked the other thing.
They're just going to compare it to the other thing.
That's it. Just basically ignore whatever anyone says, because then
if you also do the same but more, they'll say
it's the same but more.
Speaker 3 (13:42):
Yeah, it's weird. Comedy reviews are so strange. That's a
whole that's another podcast. But that's what way up to
what are they doing it? Every single one has something
baffling in it. I've never read a single review of
the comedy show where I haven't been sort of baffled
at at least one point by what they've chosen to say.
Speaker 1 (14:03):
Yeah, it's like with anyone, anyone who talks about comedy.
Speaker 2 (14:06):
I will not name the person. There is someone in
comedy that I know lots of people that like slag
this comedian enough and they go he's rubbish, and they go.
Speaker 1 (14:13):
Well, he's not. Like he takes the roof off. He
does exactly the job of a comedy. I've been in
the room. He's an amazing comedy. You might not like it,
but he is a good There's no how can you
you can't look at the roof covered off?
Speaker 3 (14:26):
When it's like when people I always get really annoyed
when people are like, that's not comedy, like the reviews like,
that's not actually comedy, Well well it is. It might
be like you can say it's bad, but we are
all watching it and it's comedy.
Speaker 2 (14:46):
Yeah.
Speaker 3 (14:47):
It feels like a kind of like I know, it
feels like people think they're doing something really clever by
going actually, actually, if you really think about it, that's
not comedy. It's like, well, actually I did think about it,
and it.
Speaker 1 (14:57):
Is h It was currently and I love Yeah, so
you haven't started a new thing, like it's a big deal.
You obviously built that show, you did for a long
time and it has been a huge thing. Have you
let go of it? You've done with that show. It
was a joy to let go of having done it.
Speaker 3 (15:16):
Right, to be honest, Well, also because I was because
it's first show. It's like classic first show thing where
pretty much every joke you've ever written isn't it? Or
everything that you thought was good enough to say on
stage isn't it? And I think that there's at least
one joke in the show that I think I probably
weren't right when I was eighteen, and I'm just like,
that is enough. We can't be saying that I'm an
(15:37):
adult man now. I don't want to be said. I
don't want to be saying the words that an eighteen
year old boy came up with professionally. That's so strange.
Also it's helpful because the special came out on this
like sixteenth of December. So I think something about the
year ending, and it's like new Year, I'm done being comedian,
(16:00):
What next teacher?
Speaker 1 (16:02):
Something could be not saying no, well there is something
I forgot to tell you actually go on And I
was thinking this when I first, well, M when we
first loved John and I we were setting up. I
probably should have told you then, because I did make
(16:23):
a note of it as well, Oh you've died, you're dead.
Speaker 3 (16:30):
You're kidding.
Speaker 2 (16:31):
No, I'm actually not. You're dead, fully bark just a
lot of my plans. How did you die?
Speaker 3 (16:40):
I walked off something because I was on my phone,
like a peer or yeah, off a peer, because I
was on my phone doing so. I was sort of
engrossed and looking at the names of the people who
viewed my story. I think probably, Well, so.
Speaker 1 (17:00):
You're like, you're in Worthing. You're in Worthing, peer in you.
They left a little gate open and you were like,
looking down. Your friend just walked off the end of it.
Speaker 3 (17:10):
Yeah, but at least now I get to have on
my gravestone he died as he lived walking along Worthing.
Speaker 2 (17:15):
Peer looking at looking at.
Speaker 3 (17:22):
It's own story, I would say, actually I would. I'm
going to come out of saying that, by far, the
person whose Instagram stories I view the most during the
day is my own. I'm perstantly tucking back in at
my own Instagram story. So I think they're trying and
do that thing. Did you ever do this way, you're like, what,
like you try and almost forget that you've posted it,
(17:43):
and and try and look at it with the fresh
eyes of a stranger, being like, what would I think
of me?
Speaker 2 (17:53):
How often do you chuckle to yourself looking at your
own in the story and say wistfully, that's brilliant?
Speaker 3 (18:02):
All the time, all the time. I'm also also sometimes
if I'm having a sort of like crisis of personality,
I'll just scroll through my own Instagram page to sort
of remind myself sort of what I'm like your successes.
Speaker 1 (18:20):
So you fell off worthing pier was the tide out?
You just smashed into some ruck.
Speaker 3 (18:25):
Was out yees?
Speaker 2 (18:25):
So I hit rot, Yeah didn't.
Speaker 3 (18:28):
It wasn't even a dramatic splash situation.
Speaker 2 (18:31):
It was just full like thud.
Speaker 1 (18:32):
I think it was more dramatic because of the rocks,
to be honest, but yeah, I don't.
Speaker 2 (18:36):
The sound was different. People didn't notice for a while. Yeah.
Speaker 3 (18:39):
You know, when like a ball hits wet sand, that
kind of like horrible. I know, it's so humiliating to
die with a thwack as well, It's.
Speaker 1 (18:48):
Like wow, God, that's tragic, But I mean it really
helps the sales of your special.
Speaker 3 (18:57):
Yeah, and really is the point of being alive away?
Speaker 2 (19:00):
Yeah? Do you do? You do you worry about death? No?
Speaker 3 (19:06):
I actually don't. I worry about.
Speaker 2 (19:09):
And this is going to be so profound, goat.
Speaker 3 (19:13):
I worry about being alive more than I stitch that
on a T shirt. Scared of death, honey, I'm scared
of being alive.
Speaker 2 (19:25):
Totally fair, very scary the death.
Speaker 3 (19:28):
Death will be a huge relief to us, I mean,
to me, and do I imagine many members of my
family and close friends. Just get it done, you know
what I mean. I'm so I'm so anxious. It'll be
like heaven. It will be literally like heaven. It will
be literally like heaven. Yeah, that's it. That's a heart take.
(19:49):
It is scary being alive, it's scary being life. But
that's just so your your view of death is not
gonna be scary, and that's nice. Yeah, I don't think
it's gonna be that scary. But also, like, the thing
about life is famously I don't know if you've heard this,
it's finite. So every day it's like, better make sure
fill it with stuff, better make sure it's worth my time.
Speaker 2 (20:07):
Whereas death it's like.
Speaker 3 (20:11):
That all day.
Speaker 2 (20:12):
There's more than Yeah, that's true.
Speaker 3 (20:15):
Don't you worry about don't worry about a thing.
Speaker 1 (20:17):
Death has a real kickback quality, like just have a strap,
Like you know you can walk around.
Speaker 2 (20:23):
You don't need to take your phone yet You've.
Speaker 3 (20:25):
Got to tell exactly, I don't think i'd use my
phone even I think the whole I think.
Speaker 2 (20:29):
I think I only use my phone.
Speaker 3 (20:32):
Because I'm trying to maximize my time on earth in
some way.
Speaker 1 (20:35):
So when people ever say stop looking at your phone,
your answer is life is finite.
Speaker 3 (20:39):
Yeah, yeah, I often say that to my mum. But dinner,
life is finite number of chances to look at my
own Instagram story. This is brilliant tomorrow, yeah, brilliant.
Speaker 1 (20:56):
So you do think there is enough to life? That's
pretty chill? After life, I don't know.
Speaker 3 (21:01):
Well again, I feel like because I feel I'm sort
of in this relaxed space in general, I would genuinely
say I don't get the kind of why is everyone
so hysterical about whether there's an afterlife or not? I
don't care about that. I've never I'm like, yeah, maybe,
but guess what, I'll be dead and everything will be endless.
(21:21):
It doesn't matter anymore.
Speaker 1 (21:22):
That's interesting because I guess when people like people like God,
I hope there is, those are the people that probably
want more life.
Speaker 2 (21:30):
They just want to be like, let's not worry about
that exactly.
Speaker 3 (21:36):
And it feels like they're forgetting when they're talking about
an afterlife, they're getting the crucial element of the afterlife,
which is that you're dead.
Speaker 2 (21:43):
Yes, well, you don't like the word life afterlife. I
don't like the word life after life. You're hoping for
life after death. You don't want this stress. The fundamental
quality of it is that you're not alive. Yeah, yeah, yeah,
that's interesting.
Speaker 3 (22:00):
It feels like a case of misssold, you know, but
I'm really miss selling that.
Speaker 2 (22:04):
Yeah, it's just afters. You just wanted to be an afters.
Speaker 3 (22:07):
It's a it's an end afters.
Speaker 1 (22:11):
Just everyone fucking mumbling on pills. But yeah, well good news.
I suppose in a way it depends. There is a heaven,
but it's like an afters and the good bit, and
it's filled with your favorite thing.
Speaker 2 (22:27):
What's your favorite thing?
Speaker 3 (22:29):
Food?
Speaker 2 (22:30):
Right? Oh, it's food.
Speaker 1 (22:31):
It's like a it's like a giant buffet, but like
COVID free, just a huge buffet. It's like a mule,
you know, those like around the world buffets. But it's
good ship.
Speaker 3 (22:44):
I love that. That's a real like childhood holiday thing
to me, of like being let loose on around the
world buffet.
Speaker 2 (22:54):
That's what it's like.
Speaker 3 (22:55):
The individual cuisine is like butchered in a way that
you couldn't possibly imagine.
Speaker 1 (23:00):
Yeah, no area accurately represents the country it's supposed to
be rapping. Yeah, that's what That's what it's like in
him and yeah, yeah, and you'll love it. And everyone's
very excited to see you big fans. They love your
instant stories. When you arrive in Heaven, they're chuckling. They're
looking at it chuckling again. That is brilliant. And then
(23:20):
you walk in and go, my god, it's here, and
they all want to talk to you about your life,
but they wanted to talk about your life through film.
The first thing they ask you is, what's the first
film you remember seeing?
Speaker 2 (23:31):
Leo Rai. The first one I remember seeing is Finding
Nemo Shit the Bed. Yeah, that is a hardcore first film.
Speaker 3 (23:39):
It's a hardcore first film, and I remember it. I'm
not it can't be the first time I saw so
I think I must have been like four or five,
but I went to the cinema to see it, and
we were on holiday and it was disney Land, Florida,
and they did one of those like five D experience
whatever things where they're like spray and stuff. And I
(24:02):
don't know if you remember the beginning of Finding Nemo.
What happens is a huge barracuda comes and like mass
murders the eggs and the wife of the main fish
fish one, and then swims off into the darkness of
(24:22):
the depths of the terrifying ocean. And as this is happening,
my five year old's face is being like the seats
like moving around, and I'm being sprayed with water. I lose
my fucking shit and leave. I'm like, I have to
get out of it. I'm like, sobbing, let's go. I've
had enough. So I don't watch any a single one
(24:44):
more frame of the film Finding nemos so to me
for many years, Finding Nemo was a very short, quite
formally experimental animated art film about death right from the jump.
I mean, really they do just like land you in it.
Speaker 1 (25:02):
It's a devastating film. It's fucking heartbreaking. For most of it.
Sure there's a couple of jokes here and there, and
there's some lovely side characters, but it's a devastating film
about a father trying to raise a child.
Speaker 2 (25:17):
Heartbreaking.
Speaker 3 (25:19):
I mean, it's also, of course one of the best
films in the world. Yeah, because it's at the same
time absolutely fucking hilarious. It's so funny. Batfish cannot remember
a thing. That's hysterical, that fucking idiot, your audience are
going Dory love write it.
Speaker 1 (25:40):
Down, Dory, babe, listen, thank you.
Speaker 3 (25:44):
For this thne you've forgotten something you're pitying, but.
Speaker 1 (25:52):
Then fucking Dory makes you cryet just when you think
you're saving it. Always safe with Dory.
Speaker 3 (25:58):
Some brilliant voice acting from Ellen, I think, and also
ingrained in my memory, which is actually a very clever
meta element of the film. P Sherman forces you waller
we waye s didnety, We'll never get it amazing.
Speaker 2 (26:12):
So what is the film that made you cry the most?
And how? You a crier?
Speaker 3 (26:17):
A huge crier, huge crier to the extent where I
feel like, as a connoiseur of crying in films, which
is maybe my favorite thing to do, in the world.
I feel like there's two answers to this question, because
they're happy cry and there's sad cry. There's like kind
of oh my god, the joy of being alive. It's
also moving and beautiful, and to me that is it's
(26:37):
wonderful life. Of course, is that the quintessential on my
hands and knees, just balling my eyes out from minute one?
And then sad cry? I think probably Grave of the Fireflies,
fuck it now, which is just like, what are you
doing to me? Just what could live? These children are
(26:59):
contender with the harrowing magnitude of war and they're animated.
Isn't mad?
Speaker 1 (27:07):
It is a cruel trick of animation where you're like,
I don't know why at any point we assume we're
going to be all right with a cartoon, given that
all of the cartoons are absolutely devastating.
Speaker 3 (27:18):
I know, I don't know. There's something, there's something in
my brain that sees a cartoon and goes, this can't
hurt me. And then cut to an hour and a
half later, and two children are mourning the loss of
their hometown being destroyed in a nuclear war.
Speaker 1 (27:34):
Have you ever seen when the wind blows, when the
wind Blows is a film by the man who made
The Snowman, and it is a British film about a lovely,
very sweet, lovely couple living in their house and a
nuclear bomb goes off in the distance and very slowly
off the course of the film, they die of nuclear
poisoning and its fucking horrendous and it's just them going like.
Speaker 2 (28:00):
I would just make a nice cup of tea.
Speaker 1 (28:02):
And when there's they started sort of coughing and.
Speaker 2 (28:05):
I feel quite I feel quite tired. It's fucking but.
Speaker 3 (28:12):
You do think, I mean, that is the kind of
stuff you're getting pitched at an afters someone is off
and going, yeah, I just wanted I just want it
to be about the mundane decay. And it's a metaphor
for how life, in a way is just slowly dying.
Speaker 2 (28:29):
And you're like, God, who are you do? I meet
you at the club and he goes, I made this
snow Man. That was a hit? Okay, yeah, what were you?
Why then? Aren't you old? What is the film that
made you cry? No?
Speaker 1 (28:45):
What, we don't know. What is the film that scared
you the most?
Speaker 3 (28:49):
Do you like being scared? I love being scared? Do
you like being scared. I love being scared in films. Yeah,
and films I love it. I don't know why, I
guess a little. I don't know. But the thing that
I think there was like a moment you know when
you start watching scary films and it is genuinely gutturally
terrifying because you haven't like learnt the tricks yet, so
(29:11):
every single one gets you. And weirdly, the thing that
got me the most was the opening sequence of Scream,
which is of course an absolutely probably my top ten
favorite films in general, definitely top five horror films, probably
top five comedies. It's so funny, but that first scene
is like really scary, with Drew Barrymore been chased around
(29:32):
her house by the ghost face man.
Speaker 1 (29:34):
It's psychotic, fucking great set piece. I was again recently
holds up that is like a masterpiece ten minutes days
so good.
Speaker 2 (29:43):
So when her boyfriend's on to watch, oh my god, yeah,
I remember watching it.
Speaker 3 (29:47):
I also had to add to it, I watched it
on a plane, which is terrible in general, but.
Speaker 2 (29:52):
Also the fact that it scared me so much and.
Speaker 3 (29:54):
I was on a plane and I was watching it
in a tiny screen on the back of someone's seat.
It still I was like, oh my god, someone turned
the lights on on this plane. It's too dark.
Speaker 2 (30:06):
Everyone.
Speaker 1 (30:09):
Genuinely, it's a great good answer. What is the film
that you love? People don't like it, critics don't like it,
but you love it unconditionally.
Speaker 2 (30:21):
What is that film? Right?
Speaker 3 (30:23):
It is the film and its sequel starring Steve Martin
and Genreno, The Pink Panther.
Speaker 2 (30:32):
Huge.
Speaker 1 (30:33):
It's don't think it's ever come up on this show.
Please tell me everything. I am steamer in Fanty. I
die love him so much, Please talk to me.
Speaker 3 (30:45):
I think we have memory holds it as a as
a culture. What I will say about the first Pink
Panther film, and I've actually spoken out about this previously
because I feel very passionate about it, is that Beyonce
is in that film and performs an original track right
that is not available anywhere online, but is so good
(31:06):
called a woman like me. It's the production value is
so high. Steve Martin is doing. It's just giving his
all to every second of offending French people, both in
France and across the globe. Gen Reno is there for
god knows what reason and also signed on for a sequel.
It's crazy. It's a crazy little film. Every joke is
(31:28):
like kind of the worst joke you've ever heard, but
in a way where you're like, oh my god, I
can't believe they put that in. You know, when you
like at the fringe, you go and see like a
student sketch show, and you're like, this, this is objectively
this is the worst thing that's ever happened, like on
a quality level, but in terms of how much joy
I'm feeling from the top of my head to the
bottom of my body, this is the best piece of
(31:48):
art that's ever been created.
Speaker 2 (31:49):
Because you're having a laugh. I'm having a laugh.
Speaker 3 (31:52):
The materials so about that it circled back to being
kind of boundary to make fel to honestly, to make
Beyonce stand there while while Steve Martin go sit you up.
There's a bit where where Beyonce has to react to
Steve Martin going into like a recording studio that he
thinks is soundproof and then farts really loudly and then
(32:14):
comes back out and she has to like act like
she hasn't heard it. And if you just look at
like just sort of see that from the third person
a tiny bit and go. That is Beyonce from That's
Funny Being Famous Fame. Yeah, and she's doing that smell
the fart acting.
Speaker 2 (32:32):
Wait.
Speaker 1 (32:33):
Listen, a man going into what he thinks is a
sound proof booth's objectively a very funny idea.
Speaker 2 (32:40):
That's brilliant. Cool, that's brilliant. Listen. Also, people were like,
how dare he do pink Panther?
Speaker 1 (32:49):
The Great Peter said it, I may be so bold
as to say the original pink Panthers ain't that great?
Dare I say it? We're not talking about flawless man,
They're quite boring.
Speaker 3 (33:03):
And it's also like you've made the pink Panther look
like a joke. It's like, yeah, yeah, of course that's
the whole concept of the pink Panther. Is that stupid
stuff happens all the time? Are we going mad?
Speaker 1 (33:21):
What is the film that you used to love but
you've watched recently and you've gone, I don't like this anymore,
Thank you very much.
Speaker 3 (33:30):
This is hard because it's not happened to that many things.
I think there's two sections. Half of them are like,
oh no, I found something out about the production and
now it's creepy to watch this like Blue is almost color,
like Manhattan, like that kind of thing where you watch
it and you're like, oh, no, I wish I didn't
(33:51):
know all the information about this, And then the only
other ones I can think of, like really really teenage
boy films where that are made for teenage boys, and
there's a period of being a teenage boy where watching
like Reservoir Dogs is actually the like you feel endorphins
that have yet to be described by science, or like
you're watching Batman Begins and your drawers on the floor
(34:13):
because you can't believe the genius concept of I think
they're putting poison in the water in that film or
something doesn't make any sense. But at the time you're like, WHOA,
that's so clever. And then you go back and it's
not that I don't like Reservoir Dogs now, I still
think it's good.
Speaker 2 (34:29):
It's not that it doesn't hold up.
Speaker 3 (34:30):
It's just that it's like it's not hitting my nervous
system in the way that it did when I was
fifteen years old, or watching like Django Unchained, being like
this guy is the cleverest man who's ever lived. He's
taken a story about history and he's changed parts of it.
(34:53):
Whoa and he says, everyone so rude.
Speaker 2 (35:00):
Everyone is very rude, very rude.
Speaker 3 (35:03):
Yeah, I remember, I really remember going into school the
day after I watched Pulp Fiction and being like, guys,
you will never guess what I discovered a really hidden
gem last night. It's basically this art house classic about
how violenceism is really fun to watch.
Speaker 2 (35:25):
That is it fuck interesting?
Speaker 1 (35:28):
Tell me this, Leo right, what is the film that
means the most to you? Not the film itself could
be ship, but the experience you had around seeing the
film will always make it meaningful to you.
Speaker 3 (35:40):
Leo right, Well, this is my first repeat answer because
it's it is.
Speaker 2 (35:45):
It's wonderful life and I can't watching.
Speaker 3 (35:48):
The pick Bath again. It's a Wonderful Life, which I
watched every Christmas Eve with my family m and grandparents
who come from Wales. And there's a thing in it.
There's a specific moment in it where he goes where
George Bailey goes to the school dance and you've seen
(36:10):
him as a kid, and you've seen Mary, his love interest,
also as a child in the candy store and she
whispers in his ear. George Bailey I love you till
I die because he's got a trick ear and I
can't hear she's saying. This is four minutes into the film.
I'm already just shed so many tears that it could
flood a country. I'm barely listening to the dialogue anymore.
I'm just heave sobbing. But there's a moment where in
(36:31):
the flash forward where he goes to the school dance
and this guy comes up to him and he's like.
Speaker 4 (36:36):
Ah, George, would you dance with my kid's sister. He'll
get out of the thrill of a life like that
kind of thing. And then the camera and he's like,
I don't want to dance with her, And then he
stops in a sentence because he's seen her across the
dance floor and there's this shot of her face and
it's the first time Donna Reed appears in the movie,
and she is a lit like she's an angel, and
it's like just the strings swell and she's smile and.
Speaker 3 (37:00):
She stops talking to the person. She's talking to you,
and it's like incredible. And every time that happens, my
granddad makes this noise and it's just like the most
beautiful thing in the world.
Speaker 2 (37:11):
Shit, man, yeah, shit, you make me cys.
Speaker 3 (37:16):
It's like, all right on, cue my Grandda goes.
Speaker 2 (37:19):
That's so sweet because he's.
Speaker 3 (37:22):
So overwhelmed by her beauty and the romance of the moment.
Speaker 1 (37:29):
Okay, well you've got that answer, correct, Well done, great.
Speaker 3 (37:32):
Thank you.
Speaker 2 (37:34):
Next, what is the film that you most relate to? Oh?
Speaker 3 (37:38):
This is this is any film where you know, one
of those films where the reviewer is like, yeah, this
is okay, but at a certain point you just feel
like the main character is so unlikable that that is
why are we following? Why should we care about this
entitled brat wandering around doing nothing? Yeah, and I'm like,
(38:00):
it's me. It's me. Oh my god, it's me. It's
me in the worst person in the world. It's me,
furniture Frances, It's all me. Film. Also, another one was
anything I really like watching a film where you're like,
that is the perfect representation of everything I hate about myself.
(38:21):
So like Rushmore was a huge one for me, watching
Rushmore as like a fifteen year old and going, oh
my god, that's what I'm like, just unbearable. Am I
sort of oocious, like nerdy? But like entitled and like
(38:42):
I don't know, just irritating, kind of like self aggrandizing,
delusions of grandeur. Thinks you're thinks he's an adult. Is
like writing a play always? I was so many at
the time, just always sort of like telling people that
I'm writing a play.
Speaker 2 (39:00):
Have you written a play?
Speaker 3 (39:02):
I have written a play.
Speaker 2 (39:03):
Are you going to put in a play? Now? Is
that what's next? Ruling it out? Are you gonna put Yeah,
I'm putting a place, put a play. Putting a play.
You just have to make it not boring. And that
is the real challenge of a play. I'm sorry.
Speaker 3 (39:22):
If we're gonna put on a play, we're gonna put
on a play. We're gonna make it boring.
Speaker 2 (39:25):
Okay, we're doing a proper play.
Speaker 3 (39:27):
I want to do it right. If I'm if I'm
taking it up to the theater, I want to. I
want to. I want to honor the art form and
make it extremely boring. Okay that everyone hysterically laughs up
supplot Wise, nothing's going to happen.
Speaker 1 (39:40):
If you would summarize it would be like one night
in a two old friends reunite and nothing happens.
Speaker 3 (39:48):
Yes, and it's about the death of the American Empire.
Speaker 2 (39:51):
Yeah, okay, we can bang that.
Speaker 1 (39:55):
Yeah, it could easily be an hour, but it's going
to be four hours, and with no change to the addition, no,
no more incidents happen over the next three hours.
Speaker 2 (40:10):
Yeah.
Speaker 1 (40:10):
Perfect, And at the end the sun rises very slowly
in the background in real time.
Speaker 3 (40:18):
I think it should be in blank verse as well.
It should be fully Shakespearean.
Speaker 2 (40:22):
Fuck it, hell, God, even listen, I'm a yes ander,
And when you said that, it made me sick. It
made me sick and go, I don't know if I
even yes.
Speaker 3 (40:33):
And I wanted I wanted to have that that if
I ever do a player, I wanted to have. You know,
when you see a Shakespeare play and they do the
kind of they try and make it funny, and they
do the sort of cheeky Shakespeare voice to the audience
where they like and do me a set for a
for a wondle of sticks or whatever, and you're like, what,
(40:53):
don't say that to me, like I meant to know
what that means, because I don't, because that's old language.
Stop trying to bring me into this. I'm not in it.
Speaker 1 (41:03):
Stop trying to pretend that this is fun all right,
looks fun for it? The fool is this fucking handley?
Stop trying to pretend this is fun. I'm not an idiot.
Speaker 3 (41:16):
Yeah, exactly.
Speaker 2 (41:17):
Oh, what's the sexiest film we've ever seen?
Speaker 3 (41:20):
Sexy films so few? This was really I was thinking
about this and I was like, there are so few
actually sexy films.
Speaker 1 (41:25):
Sexy films, really there's I can't agree, but I can't agree.
I find it fascinating. There's not many people in podcasts.
It comes up occasionally when people go like, I don't
know films are sexy.
Speaker 2 (41:37):
I'm like, am I a sick pervert? Or are you mad?
One of us is mad?
Speaker 3 (41:43):
Wait, what's what's your answer for this?
Speaker 2 (41:45):
What do you say? Any film?
Speaker 3 (41:46):
Any film? I find it sexy when people are speaking Spanish.
So a sex scene in Eating Mama Tambien, I think
it's really sexy.
Speaker 2 (41:59):
That's at you get it.
Speaker 3 (42:02):
And also law of desire. I really like that. I'm
mode of our film.
Speaker 2 (42:06):
Ah yeah, yeah, yeah, you get its sexy bits in that.
I think that.
Speaker 3 (42:09):
I like that maybe more because there are sexy bits
in that where people aren't having sex, but it's still
there's a bit where she gets drenched with a hose
and it's like fully pornographic and she's not, she doesn't,
No one's naked, No sexual stuff is going on, but
it's still somehow like the hottest thing I've ever seen
in my life.
Speaker 2 (42:28):
Yeah, she's getting drinks with a hose. I can a minute.
Speaker 1 (42:31):
It does sound yea, as I said, it sort there's
nothing about it.
Speaker 3 (42:36):
I was like, this isn't the sort of mundane situation
that I'm billying it?
Speaker 1 (42:42):
What about traveling bone is worrying? Why I don't a film?
You found it rousing? You weren't sure you should? Maybe
that's any film for you?
Speaker 3 (42:51):
Yeah, I mean Frozen maybe? What?
Speaker 2 (42:55):
What? What?
Speaker 1 (42:57):
What the fact this sort of incest element is that
what's traveling?
Speaker 3 (43:01):
Little there during those people very nice, I would say,
very nice, very nice, that big, the big reindeer man,
the princess, it's all, it's all working. The other thing.
Speaker 2 (43:16):
Well, this is all. This is just a weird crush.
Speaker 3 (43:18):
That I have at the moment on someone I watched
Are you there, God, it's me Margaret?
Speaker 2 (43:22):
Great film.
Speaker 3 (43:23):
Loved it, absolutely, loved it so good. Every film should
be like that, in my opinion. But I weirdly had
a real crush on Benny Safety in that nice choice.
I think I said it to my out loud, to
my family, thinking everyone's going to agree with me, and
everyone said, that's one of the weirdest things I've heard
in my life, because I think they've intentionally dressed him ugly.
Speaker 1 (43:44):
But then he's a good dad in this sweet man.
He's kind and he's trying. You know, he's gentle and
he's rugged. He's doing stuff in the garden. You know,
he's trying garden.
Speaker 3 (43:57):
He's getting a little muddy in the garden.
Speaker 2 (43:59):
Yeah, he's getting dan. That's your thing.
Speaker 1 (44:04):
Well, I think for somebody who doesn't think films are sexy,
you've really got this correct.
Speaker 3 (44:09):
I don't.
Speaker 2 (44:09):
I don't think that. I don't think films aren't sex.
Speaker 3 (44:11):
I just think it's like really hard to get it,
to do it right. Like there's there's rarely a film
where I'm like, this is genuinely they've nailed the sex.
Speaker 2 (44:21):
Have you seen Out of Sight? And George Cloy.
Speaker 3 (44:27):
I'm going to get on it. Well, this is the
other thing. The other thing that I think ruined sex
in movies for me is when people are too hot,
If the actors are too hot, like, if you look
at this is where the Marvel dies whenever like Marvel.
And it's why I can't really I haven't seen that,
Sidney Sweeney.
Speaker 2 (44:44):
Yeah, anyone thing, anyone but you.
Speaker 3 (44:49):
But you, Because I'm like, if I saw either of
these people in real life, I turned to dust. It's
not real. It doesn't make sense to me that you'll
also with them with like that male physique.
Speaker 2 (45:02):
You go.
Speaker 3 (45:03):
Some part of my brain goes, I can't see with
this person. This person spends all their day in the gym.
They don't have time to something with me.
Speaker 1 (45:10):
Yeah, yeah, I've wondered that about. That is a fair concern.
Speaker 3 (45:15):
Yeah, it's like a really big timetabling issue. I think
involves there's a scheduling conflict. Every day you're having a
scheduling conflict, and that's not a healthy relationship. Oh I
can't come to dinner tonight because I'm doing an ab
workout and having athletic greens.
Speaker 1 (45:32):
Yeah.
Speaker 3 (45:33):
No, I want to eat something with loads of butter
in it with someone a good four notches more ugly
than that.
Speaker 1 (45:41):
I don't think Glenn Powell is the one for you.
I think Benny Safety is a saber choice.
Speaker 2 (45:46):
I think so can you break it to Glen Powell?
Speaker 1 (45:49):
I will, and he's going to be fucking furious, but
I'll let him know it's important not to lead him
on anymore. No, Yeah, sorry, what is object actively the
greatest film of all time?
Speaker 3 (46:02):
This is also so hard, obviously the hardest question in
the world. You say, singing in the Rain, right, that's
the that's the house answer. Yeah, that's I think that's
pretty good. I think that's like the that's probably the
best answer in the mix. I would say all about
Eve maybe nice, very nice, but the anything about that
is like, there's it's I feel like the best film
ever has to look pretty sexy. You have to be
(46:25):
able to like draw to mind like a classic image.
And all about Evil though it's like I think, probably
the best acted and maybe one of the best written
films ever, and it's also very hollywoody, which feels right
for this question. I'm not conjuring a frame. I can't
see I can't see the meet on send Brett.
Speaker 2 (46:48):
Any frame from it on your World.
Speaker 3 (46:51):
No, yeah, exactly. And whereas something like Bridge on the
River Kwai or Lawrence of Arabia beautiful you got you
could have every single frame there's a dream.
Speaker 1 (47:03):
Lawrence of Arabia is burging. Great, Yeah, go on, there's
no joke.
Speaker 3 (47:06):
I want at least one joke. Probably.
Speaker 1 (47:09):
I think there is one joke in Lawrence of Arabia,
and I can't put my finger on it. I'm sure
there's like an early bit where he's being charming, where
he says something vaguely humorous.
Speaker 2 (47:22):
Yeah, I'll go with that.
Speaker 3 (47:23):
Then I'll say Lawrence of Arabia, even though it's sort
of I'm sure deeply problematic in a myriad ways. But
the bit where that one transition where they have the
match and it turns into the sun.
Speaker 2 (47:33):
Yeah, guess what.
Speaker 3 (47:34):
I'm sobbing again because that's that's incredible.
Speaker 2 (47:39):
The fire of the match stands into.
Speaker 3 (47:40):
The far of the sun.
Speaker 2 (47:42):
Are you kidding me?
Speaker 3 (47:42):
Imagine coming up with that. They must have been jumping
for joy.
Speaker 1 (47:46):
By the way, in our play, that's what is at
the end one of his lights of match, and then
the background is a real time sunrise, real time and
it takes an hour and we sit in silence.
Speaker 3 (47:56):
That's genius. If we can pull that off, will have
done a fine play.
Speaker 2 (48:02):
We'll have done an actual play.
Speaker 3 (48:04):
Yeah, which is kind of a ceiling doing a player.
I think that's pretty much. We did a play. It's
pretty much even all you can say about doing a play.
Speaker 2 (48:10):
Yeah, they really did a play. I was very bored.
What is the film that you could or have? What's
the most over and over again? This is a repeat.
Speaker 3 (48:24):
That's okay, it's well, it is probably it's a wonderful
lifecause I watch it every year. But what the one
that I'm always like, oh, stick it on is for
Weddings in the Funeral.
Speaker 1 (48:33):
That is a fucking great film for Weddings in the Funeral.
It's so good. It's so in and structured and directed
and acting. It's fucking funny. It's really good and kind of.
Speaker 2 (48:49):
Valued. Yeah, because of everything that came after it.
Speaker 3 (48:52):
It's got a little bit of everything. Yeah, yes, like
I really I'm a huge fan. The bit where Christmas
got Thomas is wearing a black satin slip dress in
she's in a room in a Scottish castle. She's wearing
a gold bangle for some reason on her like bicep
(49:13):
in a fashion that I've never seen before since and
she tells h Grant that she's always been in love
with him is just the most amazing, painful, powerful, like
earnest scene also in the middle of a rom com
to do such an earnest No jokes in that scene,
it's just it's just this kind of side character being like,
(49:33):
by the way, I'll always agree to press because I'm
deeply in love with you and I know you don't
love me back. It's like, oh fuck yeah.
Speaker 1 (49:40):
In their honey, Yeah, it's like Chloe in Smallville. Yeah,
it's about fours and funeral and I think it's Mike Neil.
There's something about it's like this is a fucking classy
film as well, like it feels like something about the
way it's shot and it feels and not cheesy. There's
(50:02):
something very like it's quite cool. That's a great film.
Speaker 3 (50:06):
Like the style of it, the kind of clothes and
the haircuts, it's all like shabby enough, feel like they're
real people in a way that later, which are Curtes films,
you're like, you've done shot like shabby is the point,
but you've paid a billion pounds for that turtle neck jumper,
whereas in Four Weddings it's like you truly picked that
up in a vintage shop and you look like like
(50:29):
a guy I know you, Grant weirdly looks like a
guy I know in that it's a hot guy that
I know for sure.
Speaker 5 (50:37):
Sure looks yeah wrong, a fuckable guy. Yeah, that's its right. Yeah,
it's not glossy.
Speaker 3 (50:51):
And people's hair is bad, like their hair is like
fully bad as some of those characters. And they felt
were stuff that doesn't really fit. And the weddings are
like nice, but they're not clean. It's like they're in
a big marquee and you can see like bits flapping
off the marquee. It's still really nice wedding, but it's
not like, oh my god, they clearly have a production
team making sure that that bit doesn't flap.
Speaker 1 (51:13):
Yes, I mean it's got flappy bits. That's what makes it.
It's the flappy bits.
Speaker 3 (51:19):
And then at the end she says, is it raining,
I haven't noticed? Great job done, incredible film, and he
reads trouple the clocks in the middle.
Speaker 1 (51:27):
Yeah fuck, and that was huge And now that's the
very thing that happens a lot.
Speaker 2 (51:33):
That's a w h Jordan on the map. No one
cared before.
Speaker 1 (51:37):
And also she's so in love because it's really raining. Yeah,
like it's not it's not like a drizzle. It's not
spitting like it is a torrential downpole and she has
a nice like that's love. That's really raining, brave, like
(51:57):
you know what I mean.
Speaker 3 (51:59):
That's that's for Weddings of the Funeral too.
Speaker 1 (52:03):
What is the worst film I've ever seen? Let's not
be too negative, please, but what's the worst?
Speaker 3 (52:09):
Not be too negative? I have such real hate. Well
I thought that. Well, again, there's kind of two ways
of film can be bad. It can be bad because
it's like this is badly made. That acting is bad,
the script's bad, you know, the room style or like
Highlander two whatever, and you kind of have a laugh
watching it, but it's not. It's not super serious. It's like,
(52:29):
oh my god, these people made a bad movie because
they're not really good at making a movie. And then
other films are bad because they're like evils or like
they have like a spirit of like satanic darkness deep
within the logic of the film, where you just left
haunted for days by the memory of watching, for example,
Bohemian Rhapsody and you just can't get over it, or
(52:51):
like The Iron Lady really did that for me for
some reason, I was like, this is keeping me up
at night that they've.
Speaker 2 (52:58):
Made this.
Speaker 3 (53:00):
One film that really is the pinnacle of both bad
and both ways. To me is I don't know if
you caught the film's sucker punch when it came.
Speaker 1 (53:10):
Out, the Zack Snyder dreamskate Girls in This Island being
very hard in fighting.
Speaker 2 (53:18):
I haven't actually seen psycher Print.
Speaker 3 (53:20):
Truly, and my experience was probably the best cinema experience
I could have had because it was after school. I
was maybe fourteen, and I was having this like weird,
sort of psycho sexual relationship with a boy in my school,
and we were sitting next to each other and he
was fully feeling me up through the whole film. So
I should have loved it. I should loved it, And yeah,
(53:40):
I was so turned off by the character development on screen.
Then it made the whole experience really just traumatic.
Speaker 1 (53:53):
Were you like whispering? I'm so sorry. These backstories are
making me flescid.
Speaker 3 (53:57):
The one thing I will say about Soccer Bunch, which
I I sometimes go back to just sort of make
myself feel more. I guess karma in this job is
I watch it. I'll watch the trailer and I'll remind
myself they let him make another film off this. Someone
let him do that many films, many many films after
he made Truth. I really recommend it. It's absolutely insane.
(54:23):
Every sequence is somehow bad in like seven different ways,
but like ranging genuinely from like morally reprehensible to just
like looks ugly and everything in between. And you just
can't believe it. And they really pack a lot in
as well that there's like a lot in there. There's
a World War One sequence, there's a samurai sequence.
Speaker 6 (54:44):
There's a bit where they all do a lap dance
that is so hypnotic that they manage to escape the
prison kind of sex dungeon that they're all enslaved in.
It's sort of the hints that it's feminist at certain points,
but everyone is in pure leabra.
Speaker 3 (55:05):
It's just nuts.
Speaker 2 (55:06):
Are you sure this isn't the greatest film ever made?
Speaker 3 (55:11):
It actually walks that line sometimes sometimes you're like, wait,
is this genius? And then one of the characters will
say one of the lines that they've written and you go, no, no.
Speaker 1 (55:24):
It's well, you're in comedy, you're very funny, you're a
bloody award winner.
Speaker 2 (55:29):
What's the film that made you love the most? Right?
Speaker 3 (55:33):
This is really like. This is a basic answer. But unfortunately,
I do think that it is just true that the
funniest film in the world is Brian's Maid.
Speaker 1 (55:41):
For me, it is it's so fat. It hasn't been
beat since. I don't think I don't think so.
Speaker 2 (55:48):
I think so.
Speaker 3 (55:49):
I just really and I've seen that film maybe twenty times,
and every single time I'm like, and it's really entered
my vocabulary in such a big way that I will
do the intonation of oh Helen does the owner just
every day of my life.
Speaker 2 (56:03):
The rhythm of it in me.
Speaker 3 (56:06):
It's so great. Yeah, there's one thing that annoys me
Aboutriseemas I speak on that. You can speak to this?
Can I speak to this? I speak to this issue.
There's one thing that annoys me about Risemans, it's the
only floor in an otherwise perfect film, is that when
she is leaving John Hamm's house and she gets stuck
on the gates, they use birds song in the background,
(56:30):
and the bird song they use is chaffinch, which is
a European bird and the film is set in America.
Speaker 1 (56:37):
Wowy, guys, you were so close. That is that is interesting.
Someone who has occasionally been lucky enough to make stuff.
When you go into the sound mix, always the first
thing that they play you is so much bird.
Speaker 2 (56:55):
Song that you're like, where is where is.
Speaker 1 (56:58):
This scene taking place in a sanctuary? There's so many birds,
too many birds.
Speaker 3 (57:03):
It really takes me out of it because I'm like,
I was a massive obsessive bird watcher when I was
like in which sort of explains quite a lot.
Speaker 1 (57:12):
How does that start? And what are you doing all day?
I've never quite understood it.
Speaker 3 (57:19):
How does it start? I don't know.
Speaker 2 (57:20):
It just sort of long walks in the countryside.
Speaker 3 (57:22):
You'll see a bird, You'll be like, You'll go, what's that?
Speaker 2 (57:25):
Then right, and one thing leads to another.
Speaker 3 (57:28):
Suddenly you're you're watching Bridesmaids and you can't invest in
the characters because there's a chaffide in the background. It's
a very slippery slate.
Speaker 1 (57:35):
So you're like collecting seeing a bird, a different type
of bird, birds, and then you're like, I wonder where
that bird's going.
Speaker 3 (57:44):
That kind of stuff. You're kind of constantly going, oh
my god. Well, one thing I do think is really
underrated about birds. This isn't the theme of the podcast.
I do you realize that, but about birds is that
they can fly.
Speaker 2 (57:58):
Yeah, it is amazing. Do you really take it for granted?
Speaker 3 (58:01):
I'm sorry.
Speaker 2 (58:01):
That is like that standing as well, from a standing start.
Speaker 3 (58:05):
From a standing start, they are suddenly flying through the
sky and we're all just like sort of walking around
the park pretending not to see it.
Speaker 2 (58:15):
It's fucked. Look at the bird. So do you still
bird watch?
Speaker 3 (58:20):
Occasionally? Got my binoculars. I'll have a peep out of
the window, see what's up.
Speaker 1 (58:25):
Because to be like, you know, there's like observing the world.
There's a bird, lovely, But to be a bird watcher,
is there like is it sort of like a thing
of like can you see this rare bird that's very
hard to see?
Speaker 2 (58:38):
Is that the buzz that thing?
Speaker 3 (58:40):
Right, there's a thrill of the unexpected. So if you're
like in a place and you're like, this guy should
not necessarily be here, but then here here is because
nature is magic.
Speaker 2 (58:54):
Yeah, So basically it's like big on acid.
Speaker 1 (58:57):
It's exactly, I think, right, And do you have to
take a picture of the bird or is it just
for here, just for the head? It's not like it's
not like pokemon, right, It's about being present and enjoying.
Speaker 3 (59:08):
But being present at the moment, although it's so hard
to take a picture of a bird because as we
mentioned before, they're often like flying around.
Speaker 2 (59:14):
That's what and such? Do you have bird watching?
Speaker 1 (59:20):
Is there a community that you you will write to
I just saw this bird and they go wow.
Speaker 3 (59:26):
There is, of course the London Birds wiki page for
later sirings that you can add your sightings to do.
Also I follow Pembrokeshire birds because that's where my grandparents live,
West Wales. No good bird movies though, not really a
single good bird movie.
Speaker 1 (59:42):
There's a new film called Migration coming. Okay maybe now
it's an animated film. I suspect everyone dies in it's tragic.
Maybe no, it's illumination might be more fun.
Speaker 3 (59:51):
Yeah, there was rio. I couldn't really get on board
of that.
Speaker 1 (59:55):
What about the fucking Flight of the Things? The documentary
of the Things? The documentary much hungrings?
Speaker 2 (01:00:04):
Yeah, the penguins do they.
Speaker 3 (01:00:06):
Con I mean you're picking the one bird that doesn't
fly way to miss the trick.
Speaker 1 (01:00:13):
Yeah, you're right, But there is there is a film
that follows the birds migrating and they put like sort
of mini balloons on the birds. They had like cameras
on the birds for their migrating I think.
Speaker 3 (01:00:26):
Yeah, that kind of doesn't gel with my my appreciation
of birds very much like leave them leave.
Speaker 2 (01:00:33):
Right, right.
Speaker 1 (01:00:34):
Okay, So it's a very peaceful thing to do, this
bird watching.
Speaker 3 (01:00:41):
Yeah, it's really good because it's also it's been you
feel very you have to kind of give up your
sense of control. I'm quite like a controlling control freak,
and so when you're watching a bird, you're like, that
is not to do with me.
Speaker 2 (01:00:55):
Wow.
Speaker 1 (01:00:56):
So do you sometimes set aside the day I'm going
bird watching and stuff?
Speaker 2 (01:01:00):
Yeah?
Speaker 3 (01:01:00):
Big time interesting. Yeah, so that's what I think a bridesmaid.
Speaker 1 (01:01:06):
Lee, right, you have been an absolute delight. However, when
you was walking along weording Pierre looking at your your
inster stories and you were.
Speaker 2 (01:01:16):
Doing a little game with yourself.
Speaker 1 (01:01:17):
You looked away for a bit and you and you thought, imagine,
you thought to yourself, imagine, I'm just a guy, whereas
I'm just a normal person and I know nothing. And
you look back down at your instant stories and you
shoot your head wistfully, and you said, this is fucking brilliant,
and you chuckled and your chuckle. You're looking at it,
and you walked straight off the pier. They'd left the
gate up because they were fixing something. The tide was out,
(01:01:40):
and like a bull landing on wet sand, your face
went straight through a rock. Was it was dark, and
I was walking around the beach with a coffin, you know,
I'm like I was on the holidays, and I go,
what that's a mess?
Speaker 2 (01:01:53):
What's that? And I go, oh, no, that's not Oh
was that voice of a generation? Lea right? Who was?
Who will speak for that generation? Oh? My god? And
I turn around.
Speaker 1 (01:02:06):
There's people wailing, people wailing because they don't know who
will speak for them. And I I'm sorry, guys, I
saw it. And I go, but remember that special was
so good. He never has to follow it up now.
And they went, oh, you're right, and they all started clapping.
They felt better. And I said, and remember now, he'll
never write a play. And everyone went, oh, this is
(01:02:27):
great news, this is great news. And I said, help me,
help me with this, and we have to sort of
get you off the rocks. But you were like stuck
in some rocks. Some of the rocks coming with you
and the like smash up bits of your boy. Anyway,
get all of you in the coffin. It's rammed. I'm sorry,
it's very busy in there. There's only really enough room
for me to slip one DVD in the side for
(01:02:49):
you to take across to the other side.
Speaker 2 (01:02:51):
And on the other side.
Speaker 1 (01:02:52):
It's movie night every night in the around the World
buffet made by the man at the beginning of Eat,
Drinking Man, Women and one night it's You're me. You
know what film are you taking to show the food
people in the food court When it's your movie night, lear.
Speaker 3 (01:03:06):
Right, people in the food court will be treated to
a beautiful, potentially depending on the time of year, anachronistic
showing of its wonderful life. I think it's got to
be done.
Speaker 2 (01:03:19):
When read appears.
Speaker 1 (01:03:21):
Yeah, Leah right, what delight? Is there anything you would
like to tell people to listen to watch out for,
or any such thing with you coming up? Uh?
Speaker 3 (01:03:33):
Not really, just a special it's still It's the kind
of endless hell of releasing something silently to streaming is
that it's still much available to watch. Do you watch it?
Speaker 2 (01:03:45):
It's a laugh, it's very good.
Speaker 3 (01:03:48):
It's on HBO Max in America the United States of America.
It's on Sky and now TV in the United Kingdom,
and it's also in Australia, but I can never remember
kind of why or how.
Speaker 2 (01:04:08):
It is.
Speaker 3 (01:04:11):
If that's kind of your thing in Australia, if.
Speaker 2 (01:04:14):
Your thing is being Australian and living in that country.
Speaker 3 (01:04:17):
It's also I think I think it's available in I
want to say Norway, because I'm getting a lot of
Instagram dms in Norwegian. Unless that's something else, but I
don't know what it would be, haven't done.
Speaker 1 (01:04:32):
I think you should look into that, Leo. I've enjoyed
this immensely, me too. Thank you for your time, Thank you,
thank you so much. I have a wonderful death. Good
day to you, sir. That was episode two hundred and
eighty five. Head over to the Patreon at patreon dot com.
Forward slash Britt Gunstein for the extra twenty minutes of chat,
(01:04:54):
secrets and video with Leo. Go to Apple Podcast. Give
us a five star rating. But right about the film
that means the most you and why. It's a lovely
thing to read. It helps numbers, etc. And it's very
much appreciated. Thank you so much the Leo for doing
the show. Thanks to Scribby's pip and distraction pieces of
Network Thanks to Buddy Peace for producing it. Thanks to
IHEARTMETERA and Will Ferrell's Big Money Players Network for hosting it.
Thanks to Adam Richardson for the graphics that leads Ali
(01:05:15):
Them for the photography. Come and join me next week
for another cracking guest. Thank you all for listening. I
really hope you're all well. That is it for now,
have a lovely week, and in the meantime, please, now
more than ever, be excellent to each other.
Speaker 2 (01:06:00):
A sixty back
Speaker 1 (01:06:02):
Tack, last pass back
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