July 16, 2025 • 56 mins
LOOK OUT! It’s only Films To Be Buried With!
Join your host Brett Goldstein as he talks life, death, love and the universe with the writer, actor, author and esteemed multi-hyphenate MARK GATISS!
Mark has had involvement on screens of all sizes, not to mention just about all media available, and is a beloved presence in the creative world. A quick listen to Brett's comprehensive intro will back this up easily. But it's not always the case that we get to hear from Mark, let alone his cinematic choices or indeed thoughts on transcending mortal existence! So enjoy this awesome check-in where we get to hear some genuinely lovely wisdom and fun moments from someone who's likely worked on one of your favourite shows or series - a fabulous episode with so much to get lost in. And Mark's definitely good for a tale or two. Have fun!
Video and extra audio available on Brett's Patreon!
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THE SECOND BEST NIGHT OF YOUR LIFE
SUPERBOB (Brett's 2015 feature film)
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look out. 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,
a director, a paper airplane, and I love films. As
(00:22):
Dorothy Parker once said, the cure for boredom is curiosity.
There is no cure for curiosity, which is why you
must book at least one film you've never heard of
when you're booking for the London Film Festival. Oh yeah,
it's a good idea, doth for Parker. Thank you. Every
week I invite a special guest over. I tell them
they've died. Then I get them to discuss their life
through the films. That meant that most of them. Previous
guests in Kaid, Barry Jenkins, Kevin Smith, Jamila Jamille and
(00:43):
even Clem Plamboles. But this week it's the brilliant actor, comedian, producer, director, screenwriter,
novelist and sket co It's mister Mark Gatis. My comedy special,
The Second Best Night of Your Life is streaming now
on Max and Skye. Give it a watch. You will
fucking love it. You will head over to the Patreon
at Patreon dot com forward slashtrek Go, where you get
extra twenty minutes with Mark we talk secret beginnings and endings.
You also get the whole episode uncart adfree and as
(01:05):
a video. Check it out over at patreon dot com.
Forward Slash Brett Goldstein So Mark Gatis. You might know
Mark Gatis from the League of Gentlemen, from Shirtlock, from
Everything You've Ever loved. His brand new TV project, book
Is starts Wednesday, July sixteenth. You must watch it. It
sounds amazing. This is my first time meeting Mark. I'm
a huge fan of his. We recorded this on Zoom
(01:27):
and we had such a lovely time. I really think
you're going to love this one. So that's it for now.
I very much hope you enjoy episode three hundred and
fifty nine of Films to be Buried With. Hello, and
(01:48):
welcome to Films to be Buried With. It is me
Brett Goldstein, and I am enjoined today by an actor,
a writer, a director, a novelist, a Desert Island disco,
a skep, a doctor who were a League of Gentlemen,
a Jacqueline Hyder, a Dracula, a Game of Thrones, an
(02:12):
award winning stage actor, a documentarian, a audio bookman, a
bookish coming soon. He is everything and more. He's one
of my heroes. He's here on the show. Please well
you welcome to the show. It's the amazing, it's marks.
Speaker 2 (02:31):
Thank you very much, Brett. What can I do? What
can I do for you?
Speaker 1 (02:36):
I want to know so many things before we get
into all this stuff. I'm such a big fan of
yours and I have the fears I think that you
are is what I'll say.
Speaker 2 (02:44):
You're dangerous.
Speaker 1 (02:47):
You're a danger and you're a menace, but you are
also for someone like me, and I'm sure for lots
of people, you are like the ultimate example of It
seems like you just fucking makes you like in whatever
form that is. If you want to write a book,
you write a book. You want to do something, do
some acting, you want to make a movie. You're making
(03:07):
like you consistently make incredible stuff. But it's all different
and in all different modes of expression for you, and
it feels like you just do what the fuck you want.
Speaker 2 (03:18):
It's very kind you. No, No, it's not like that
at all. I mean I do. I try very hard
to make the kind of thing i'd like to watch
that doesn't mean it's necessarily going to happen. I mean,
I think someone asked me the other day because I
missed Impossible and the Fantastic form. They said, it's said,
how did that come about it? So well, I was
asked to do it and he said it's not a plan.
(03:41):
Then I went, no, I don't know how. I'd be
very pleased to be asked, but no, it's so it's
somewhere between the two. You know, I'm doing a play
next year, which I've always wanted to do. I've sort
of forced that to happen because I wanted to do it.
But I can't tell you it's but otherwise, you know,
(04:05):
I get as to things or asked to audition for stuff.
And then Bookish was a long gest stating project which
after the pandemic I just did sort of all suddenly
came together. So you can never tell. I don't think
you can really have a plan. All I can say
is I just try and do things I would like
to watch or be in. As it were, it might
(04:26):
look very easy when it really isn't. One of my
favorite one of my favorite quotes that you know, Ian mcdeermrid,
the Emperor of the universe, replacing a class of course
originally Clive Revel who and the eyes of a Ba Boom.
That's true, isn't it? From Star Wars I deal with.
I was asked what advice you would give to the
(04:47):
sixteen year old version of himself, and he said that
one thing does not necessarily follow another, and it's so true.
Speaker 1 (04:57):
That is true. That is true. Can I tell you
one of my favorite things that you've done, and I
wish you'd do one hundred more was your history of
horror documentaries and your European horror. I loved watching you
talk about horror. I think I learned a lot and
it deep into my own appreciation of horror. But I
(05:18):
just fucking loved you walking around talking about horror. You
talk about horror like it's like it's love. It's so beautiful.
I really really enjoyed those shows.
Speaker 2 (05:26):
Thank you well. My favorite part of doing that it's
a long time ago, fifteen years ago. My favorite part
was just being able to infuse about it, you know,
and talk about it.
Speaker 1 (05:37):
Yeah.
Speaker 2 (05:37):
But I swear to god, it's a vanished world already.
That the idea that the BBC four, which now is
just a repeat channel, would email me and say would
you like to make it a three part history on horror,
for which I went, yes, I would. It's extraordinary. So
it's it's sadly and we did. We're always hopeful we
(05:59):
could do it one I suppose really probably about Asian horror,
but probably more just the sort of mopping up around
the world. But there wasn't the money, all the interests.
So the fact we got those three and then Horror
Europa as a sort of one off, I think was
semi miraculous even then, so very pleased with them. And
I got, you know, I mean talk about I do
(06:21):
everything for the eight year old version of myself. I
got to meet people that I used to read about
when I was tiny, just in time by the time
I remember going, remember going on holiday after which finished
filming and three people, three of them died before it transmission.
Speaker 1 (06:38):
And then the.
Speaker 2 (06:39):
Producer around me and said, John Carpenter's had a fucking stroke.
He is happily recovered and it's still with us and thriving.
But it was like, at one point I thought I
was going to get a reputations of the Grim Reaper.
He's actually quite appropriate to the subject.
Speaker 1 (06:54):
Yeah, what about one other thing. I'm interested in your collaborations.
You write alone, you write with people. Seems you work
well with others, And I'm curious, like do you have
with all your different parts Stephen Muffett and with your
League of Gentlemen guys and with like? Is it different
(07:15):
the way you work with each of them? Do you
have like a set way that you like to write
with someone or is each person that you've collaborated with
a completely different way of doing it.
Speaker 2 (07:25):
I think it's different, really. I mean, I haven't written
with Jeremy from the League for a long time, but
we've actually just done a radio play together which was
absolutely joyous, which is not a Secret'm sure I can
tell you about this. It's actually film related. It's so
bizarre and I can tell you in stages, but very quickly.
The character of Les McQueen, remember the failed musician in
(07:48):
the League Gentleman, It's based on Jeremy's uncle Ian, who
used to be an A and R man for Polydor Records.
So he had and then he left the business. It's
a ship business, he said, and he always and he
always regretted it, and he knew too much. He wasn't
a civilian. He knew thing, he knew jargon, and it
was Oh it killed him that he wasn't even on
(08:08):
the pathway. Anyway, long story short, Jeremy and I have
always had, for some reason, an ridiculous obsession with the
nineteen seventy eight film of the Water Babies, directed by
Lionel Jeffries, the live action bit of which is great,
and the animation bit is the worst kind of shitty
British seventies animation, which even as a child you remember,
(08:29):
used to make us feel physically sick. I don't remember,
because that's a horrible musical and there's a horrible song
of it called high Cockolorum. Anyway, A couple of years ago, accidentally,
Jeremy let slip that his uncle Ian model for Leslie Queen,
had had to drive James Mason around West Yorkshire to
promote the album of the Water Babies because he appears
(08:52):
in the film. And I went, what, but I know
I've never been told you for now, James Mason is
my favorite actor, and I said, you write it, I'll
do it. Incredibly he has and Radio four have made
it and I play Uncle Ian and James Mace being
driven around being driven around local radio stations in West Joke.
Speaker 1 (09:11):
It's absolutely insane. Did you do did you do them
one at a time or did you do one?
Speaker 2 (09:17):
Did you play I have to do one of the time. Yeah.
It was very, very, very tiring, but I have it
was so delightful. Of course I got to do all
of James's favorite bits. He's just been sent the script
for Salem's Lot, so he actually gets to save the
back of the car. You will enjoy, mister Barlow, and
you will enjoy you.
Speaker 1 (09:38):
Was great.
Speaker 2 (09:40):
So there we are. There's a film related story.
Speaker 1 (09:42):
Fantastic. Yes, your relationship with Rhys s Smith and Steve
Emerton do you ever you know, they always seem to
be together and sometimes you do stuff with them, sometimes
you don't. Do you ever get jealous of them being
too sime?
Speaker 2 (09:57):
No? I I I scarcely remember for their names, so
it's every now and then someone would show me a
photograph and I try and remember. No, no, God at all.
I think I'm thrilled for you know, I've just I
was in the documentary for the end of Inside of
the Ninth. I said it then, and I mean it,
as Hubby Green used to say, immediate mostceely. I think
(10:20):
that show is so good and their level of invention
is genuinely astonishing as resources they basically wrote fifty five
pilots and now they're just a brilliant stage show, which
I guessed today in a couple of months ago. And
you know, it's incredible, it's an incredible achievement. I'm very
glad that as it finally came to an end, people
(10:42):
did finally realize how good it was, because just in
time for it to go. You know, no, no, I
think I'm never jealous.
Speaker 1 (10:49):
It's just that's brilliant and is there and you probably
won't tell me if there is? Is there things on
your list? Like you've done Doctor Who, You've done Jacko,
you've done Dracula. Is there something you haven't done that
you want to do? Still have a long list?
Speaker 2 (11:06):
Yes, James Bond, but in what pasit? I mean? I
always you know, everybody says they'd like to be a
Bond villain, but it's obviously it's incredibly difficult to get
in that sort of stratosphere and I'm never going to
get there. The Living Daylight Timothy Dowtons. First one. There's
an act called Thomas Wheatley, who plays an agent called Saunders,
(11:27):
and he's one of those agents who begrudgingly earns Bonds
respect and then gets horribly killed. And I've always thought
that would be the such part, the man who says
he says, your bloody late Bond, you know that sort
of that'd be quite fun. But I love or you know,
to write one, but it's such a I don't know
where where it's going to go with with the new regime.
(11:50):
It's it's quite a shock for it not to be
the Broccoli. But I'm also quite excited just because it's
something's going to happen. My prediction is just what I
always I always say this. I predict it's from Edward.
I predict there will be men on Mars by nineteen seventeen.
(12:10):
My feeling is that'll probably do what Disney was Star Wars.
They'll do a new film quite swiftly and very well,
and then they'll totally fuck it up with too many
spin offs.
Speaker 1 (12:19):
Yeah, you're right. I think you're absolutely right. Who would
you cast as James Bond? You me, no, No.
Speaker 2 (12:27):
I'm an aging homosexual.
Speaker 3 (12:29):
But the world is not yet read. I can't even drive.
That would be interesting. It would be a radical your
radical reinvention.
Speaker 1 (12:39):
Well he doesn't, it'll be your self driving. You know,
it's one of them fucking James Boncas.
Speaker 2 (12:44):
Oh yeah, it's the future.
Speaker 1 (12:46):
Then yeah, yes, I think I agree with you. I
think they'll do one that's really good and then people
will complain about whatever tiny thing that was different about it,
and then they'll try and go back and retro change everything.
Speaker 2 (13:00):
I'm a bit I'm a little bit concerned about Dennis
Field Nerve being selected because it doesn't I genuinely feel
because of the state of the world, what people and
also not to just do Daniel Craig two point zero.
What we what the world wants is a bit more fun,
and that doesn't mean it has to be silly. Yeah,
I think though we could do with a bit more
(13:21):
Roger Moore at the moment, and I don't think Dennis
fil Nerve is going to be the man to do that.
I'm talking myself out.
Speaker 1 (13:27):
Came you were just about to play a guy that
tell me one last thing, if you if you wouldn't
mind when you were young, when you were a child, did.
Speaker 2 (13:43):
You were young and your home was an omen it's all.
It's all linked.
Speaker 1 (13:49):
Yeah, did you just know this is what you were
going to?
Speaker 2 (13:52):
Like?
Speaker 1 (13:52):
How did you get into it all? I guess it's
and I don't. I just mean, like, did you always
like I'm just going to do this? Or was it alone?
How did you get in to any of this? From
being a baby? You know what I mean?
Speaker 2 (14:03):
Yeah? You know in Rosemary's Baby where John Cave gets
that part because of the other actor goes blind and
it's actually black magic. Okay, That's how I did it.
Speaker 1 (14:14):
Mark, I've forgotten to tell you. And it's mad, mad
that I forgot to tell you this, given everything, given
everything we've been through together in these last eighteen minutes.
But I'll say it. You've died. You're dead? Oh yeah, yeah,
yeah yeah, national treasure gone, that national trinket. How did
(14:39):
you die?
Speaker 2 (14:40):
How did I die?
Speaker 1 (14:42):
Oh?
Speaker 2 (14:42):
Oh god, I'm not horribly.
Speaker 1 (14:45):
I hope it's up to you. You get to choose.
Speaker 2 (14:48):
Oh yeah, peace, Yeah, suddenly at home in the papers? Yeah,
but so I'm dead? What happened this this list? Has
this list been found on my body?
Speaker 1 (15:01):
Well, firstly, you have to tell me if you worry
about that.
Speaker 2 (15:05):
Oh not like I used to. I used to be
absolutely petrified and dying, and was therefore morbidly fascinated by
it and have been all my life. But I'm less
terrified now because you become I've seen a lot of it,
and it changes your attitude towards it and also your
own mortality. But you know, I was talking to someone
(15:27):
that I was I went to a funeral last week,
actually of an old friend. It was ninety but it
was a Prompton cemetery and it's an amazing place. But
I was saying to someone I went to the tour
of cemeteries when I was nineteen. That's the sort of
thing I used to do as a long fringed, vaguely
gothy teenager. And I don't do that anymore because I
(15:49):
don't want to be anywhere. Of course, so your your
attitude changes now, But I'm not afraid. I just it's
just the only thing I occurred to me, are is
dying too soon? I'm dying painfully. That's otherwise what you know.
It's going to happen, so you might as well embrace it.
Speaker 1 (16:09):
So suddenly at home, let's say, trip down the stairs, instantly,
break your neck dead.
Speaker 2 (16:14):
I don't know, I don't know that that's but it
was instant, you know. And if if I was a ghost,
you know, I might be in my pajamas for the
rest of time or something. It could be instant. Yeah, yeah,
suddenly shot in the suddenly shot in the back of
the neck.
Speaker 1 (16:30):
Okay, good, do you know who it was?
Speaker 2 (16:32):
It was a professional assassin. Okay, it was any red made.
Speaker 1 (16:39):
Do you think anything happens after your die?
Speaker 2 (16:43):
No? Nothing, well but except podcasts. Maybe.
Speaker 1 (16:46):
Well. I got news for you, buddy boy. There's a
heaven and you're going to it, and it's filled with
your favorite thing. What's your favorite thing.
Speaker 2 (16:55):
I've got a lot of favorite things, like Julie Andrews.
It's not Julie andrew She's lovely. She's in here, she'll
be in Yeah. I would say crystallized ginger and chocolate
maybe my favorite thing.
Speaker 1 (17:11):
Okay, Well, heaven is filmed. We crystallized ginger and chocolate,
and everyone is very excited to see you. They want
to talk to you about your life, but they want
to talk about your life through film. In the first Yeah,
they're weird his ginger and chocolate and they want to know,
what's the first film you remember seeing?
Speaker 2 (17:29):
Mark Gatis, I know what it was good because it's
never left me and has had a profound effect on
me in my entire life. I was three. I still
remember the film that was on before it because it
was a double bill in those days, and it was Bank,
which is still a very special film to me and
(17:53):
petrified me like nothing else. But I absolutely loved it.
It's an interesting thing. I remember talking to Ben Wishaw
when he was filming. I was working with him when
he was making Mary Poppins Returns, and he said that
Mary Poppins was such a special film to him because
when he was younger just came back on video of
the first time. So it was magical and it occurred
(18:14):
to Mary Poppins. I don't have that relationship with because
it wasn't available. It was on Disney Time for two minutes.
But I Chitty Bank, Chitty is my Poppins because it
was my first film, and also I've seen him thousands
of times and I love it and it's a very
special film to me.
Speaker 1 (18:36):
Was that at the cinema that?
Speaker 2 (18:37):
Yeah? So it was the film before it was a
sort of half hour travelogue about a couple driving through France.
I'd love to I would love to find out what
that was, because I genuinely I can remember it so
vividly because it was so boring. And then Andy Bang
Bang is about nine hours long, so it was it
was a London but we had nothing to do in
(18:58):
those days, so we just used to live in the cinema.
Speaker 1 (19:00):
Who did you see that with? Do you remember that.
Speaker 2 (19:02):
With my Yes, with the whole family, with my mom
and dad and my brother and sister sixty nine.
Speaker 1 (19:08):
Wow, it's a terrifying film. Yes, very strange, terrifying film.
Speaker 2 (19:12):
Written by Roald Dahl, of course, written by Roald Dahl,
and not really very like The Inflamming, but it's pure Doll.
In fact that I would say, The Childcatcher is the
purest of all Dahl creations, and it's not in one
of his stories as it were.
Speaker 1 (19:27):
Yeah, what is the film that made you cry the most?
Are you a crier?
Speaker 2 (19:31):
Yes? Oh, we're doing out of order. This is going
to throw me.
Speaker 1 (19:35):
Oh sometimes that makes it up. Keep your tight.
Speaker 2 (19:38):
Well, I'm increasingly a crier, of course, because I am
middle aged and therefore everything affects me. This may be
if weichee, but it's almost always top of my list. Anyway.
It's a wonderful life makes me weep. I don't watch
every year because I think it's good to have a
break and then you can watch it again. I hadn't
(20:00):
seen it for a while and I watched it in
the cinema last year. It was really great to see
it on the big screen. But every time I cried
earlier every time, just I mean, it's just just the
start now when I'm off. And then, to be slightly
less obvious, it's probably a beautiful film called The Ghost
of Missus Muirk. Do you know that with Rex Harrison
(20:20):
and Gene Tierney.
Speaker 1 (20:22):
Yeah, I've never seen that, but I know what it
is yet.
Speaker 2 (20:25):
It's a beautiful film. It's the perfect Sunday afternoon film.
I remember watching it with my mom and it's very
funny and it's lovely, but it's terribly and it's it's
always kind of got me in a strange kind of way.
Those are probably my weepiest film.
Speaker 1 (20:39):
That's nice, the one I'm really excited about. What's the
film that scared you the most? If you had to
pick wine? Oh wow, there's a lot of many.
Speaker 2 (20:46):
Can the water but I can I know what it
is because it's I talked about it in that documentary
it's The Haunting nineteen sixty three, Robert Wise. It's a
superb film, of course it is. But the reason it
scared me more than anything is I watched it with
my dad and he was scared. Ship And to see
(21:08):
to see your dad scared meant it sort of doubled
it up. I can I can see, and I remember
his hands gripping the arms of the chair because it
was so frightenly. It's so brilliantly made. It's so you know,
that banging noise and incredible bit where Julie Harris is
lying in bed, she can hear it. She's staring that
piece of the wallpaper and she could hear this sort
(21:29):
of strange mumbling sound. And then she asks Claire Bloom
to hold her hand, and then she starts to hold
her hand too tight and it becomes painful. And then
suddenly the light goes on and Claire blooms over there
in the doorway, and she looked, I got going cold.
She looked at the head and says, whose hand? Whose
hand was that holding? It's absolutely terrified. She can't see.
Speaker 1 (21:51):
I love it. You've said this in your dogmentaries. But
I get people who write because we talk about how
a lot in this podcast, and you are, I believe,
an expert in this and a lot of people that
don't like horror always goes to me like why would
you want? Like? What is it like? I don't want
to be scared, I don't want like why would anyone
put themselves through it? What is your theory on why?
(22:13):
Why horror? Why love? What is the point of it
for you?
Speaker 2 (22:18):
I suppose it's maybe a cliche to say it, but
it's a bit like a fair ground, right. I mean,
although I don't actually like roller coasters very much, but
I think it makes it's that, isn't it. It's it's
a safe form of thrills. It gets your heart racing,
it's it's suspense, It's it's not it's a lot about gore.
And there are certain things I'm really not interested in.
(22:38):
I could become terribly screamish as I get older. And
also I have no interest in house invasion kind of
movies or torture all that sort of stuff. I just
can't bear it. It has to be supernatural for me.
But I don't understand people who and there's a lot
of them about yeah, who are just going to I know,
I can't watch that, and I just think, well, I
think you're missing out on a big thing. It's psychologically
(23:02):
intriguing because there are often people who, in other walks
of life of their life are totally fierce. Yeah, and
yet suddenly, you know, something vaguely scary comes on they
can't look at it. I felt extraordinary or in fact,
in fact, I would say contemptible.
Speaker 1 (23:24):
I had so many comedians do this podcast, and I
would say the majority of them hate horror, don't like
to be scared, and I think it's a control thing.
Maybe I don't know.
Speaker 2 (23:34):
That's very interesting, isn't it.
Speaker 1 (23:36):
Yeah? But I but have you had, because I've had
the experience where I compare it to like when I
saw Hereditary. Hereditary fucked me up, scared me so much
that I almost regretted seeing it, as in it sort
of stayed with me for a week, and I was
genuinely scared in my house. I've gone too far, you know,
(23:56):
I mean, like that wasn't fun anymore now I have Indeed.
Speaker 2 (23:59):
Yes, I can imagine that. I mean I remember watching
Hostel and thinking, I don't know, I've got no pleasure
for watching that that's just upset me and I don't
want to see it ever again. Off, But then I think, well,
maybe that's not really a horror film. That's a sort
of extreme film that is funny game. Funny Games is
another one. It's a very admirable film, but I absolutely
(24:21):
never born to see it again. It's upset me. So
it's not it's a different feeling. The strange thing about
Hereditary is, well, you probably know what this feeling is like.
Everyone is always saying to me, Oh, this is the one,
this is the new and it's not just becoming jaded,
but I'm always disappointed because it never quite is. But
(24:42):
some of them really get very close, and that was
one of them. I thought it was wonderfully weird and inventive,
but then it got just got very silly, and to me,
the stuff that was really genuinely extraordinary was that incredible,
but the little girl gets her heads knocked off and
the consequences that would and then that amazing thing that
(25:04):
was fucking scary, But suddenly it was like a kind
of ghost train of shock on shock on shock, and
I just thought it just got a bit daft. Really, Yeah,
that's my favorite word. These days. I think everything, almost
everything is just daft. It doesn't Clint do it for me,
but it does contain There's something I'm still very scared of,
(25:24):
which is naked elderly Satanists. And at the end when
he's surrounded by them, it's very Rosemary's Baby that and
it still frightens me. The idea of sort of withered,
withered people with.
Speaker 1 (25:38):
Clothes nakedly satanist is such a scary. That's very true.
What is the film that you love? It is not
critically acclaimed, most people don't like it. You love it unconditionally.
Speaker 2 (25:51):
Michael Winner's bulls are with Roger Moore, Roger Moore and
Michael Kane.
Speaker 1 (25:56):
Is it where they played twins? Someone's playing twins? Is it?
Speaker 2 (25:59):
Yeah? It's a career worst for both of them and
for Michael Caine, for Michael Kaine. That's saying a lot.
But it's a load. It's an absolute load of horseship.
But it's so bad it is glorious. There are parts
of it where it's so not them in the stunt
fights that I don't think they were even on the
same hemisphere when they were shot. As with most Michael
(26:23):
Wild films, it's absolutely a technical disaster. It's just it's
an extrology. A lot of people talk about party shots.
This last film with Chris Rehea suddenly only the not
the first of a series of Chris Rear vehicles. But
I think Bullseye gets the prior, It gets the bulls eye.
It's absolutely extraordinary, and it's so bad that in the
(26:46):
end when they end up in a desert island, an
island with John Cleves, Michael Caine's voice over is still
trying to explain the plot out of the credits. Yeah,
it's absolutely rubbish, but.
Speaker 1 (26:57):
I love it. He made death with Mega.
Speaker 2 (27:02):
He did he did? Yes, Yeah, Yeah. It's one of
the excuse people who had been a lot of quite
interesting films in the sixties. Is very interesting film called
The Jokers with Michael Crawford and Oliver Reed, and then
he sort of doesn't seem to be It's like he's
forgotten how to make film. They just become really so ropey.
I think, just an excuse to go to a restaurant
with some friends and be rude to the staff and
(27:23):
smoke a cigar. That was rais on debt.
Speaker 1 (27:27):
What is the film that you used to love but
you've watched recently and you thought, I don't like this
anymore because you've now changed.
Speaker 2 (27:34):
Oh gosh, well, you know this is a two parter
for me, great one of them horror related. But I'll
start with and think I think that the eighties is
a really, really bad decade for films. I know that's
controversial because if you grew up with them, A lot
of the big films of the eighties are unwatchable. You know,
(27:55):
obviously the Goonies, which is unbearable I think is rubbish.
It's just not very good. And if you sort of
stuck along these things and go, oh wow, this is
oh god, this is not what I remember it, it
seems to happen a lot, and yet contained within it
there are some amazing gems and they're not just things
(28:16):
like aliens or you know, there's a lot of beautiful
little films. I was just thinking of the day because
I haven't seen it for years, and I hope it
stands up. A film called Things Change with Donna Meatsche,
the Tiny Little Film, And there were a lot of
stuff around the time of Trading Places. That's a lot
of quite interesting. That's my thesis about the eighties is
that a lot of them just don't stand up. But
(28:38):
for horror. In horror terms, the film I love the
most as a kid was Dracula Has Risen from the Grave,
which is the third Christopher Lee Dracula film nineteen sixty eight, hammer,
so one where it ends up impaled on across at
the end, and in hammer terms, a lot of the
ones I liked the most when I was a kid,
I now like the I'm much more interested in their
(29:03):
really beautiful early ones, and they're absolutely batshit late one
and in the middle when they were very successful, and
famously they were presented with the Queen's Award for Industry
while this film was being made, and a man actually
came to the set to give it to them as
Christopher Lee was being paled for the Cross, and he
(29:23):
was overheard pristically overheard him say to his wife back then,
a member of my club, you know, but I think
those middle films are quite stodgy. Now. I mean there's
stuff to recommend, you know, but I find them quite
dull and yet early on when they were just finding
their way, and then later on when they were sort
of slightly desperate and they made films like Doctor jeff
(29:46):
Win's Sister Hide and Twins of Evil because they didn't
they didn't know what to do. They were just throwing
stuff and at the wall. I find those much more interesting, So, yeah,
those are my that's my twin answer.
Speaker 1 (29:58):
Well, do you have a theory on why do you
think that particular sort of batch of eighties films doesn't
hold up in the way that other decades do. What
do you think the reason is for that?
Speaker 2 (30:09):
I don't know. I mean, it might just be a
personal thing, and it's very hard. I mean, I'm a
child at the seventies, but I I came of age
in the eighties, so I saw a lot of these
things and then but if you're slightly younger, your formatively
experiences therefore they become your thing. So it might be
just I've got a slightly different few of them. But
I suppose it's something to do with I think maybe
(30:32):
something to do with the kind of flashiness of them,
the eighties and them, whereas the seventies is full of
really well constructed thrillers, and then obviously with Jaws, the
Big End, Star Wars, the beginning of the summer blockbuster.
But maybe by ten years later, they're just a bit formulated.
Those kinds I think of things like, you know, like
(30:52):
batteries not included, or there's loads of those kind of
films which had really good posters, but if you watch
them now, they make you slightly wins. However, Back to
the Future is an absolute.
Speaker 1 (31:04):
Master uls up. What is the film that means the
most to you? Not necessarily the film is good, but
the experience you had seeing the film will always make
to you.
Speaker 2 (31:16):
Well, we've got to go back to bond here, Brett,
because so I can tell this, I've probably bought other
people this, but I can tell you the first half
dozen films I ever saw in cinema, and they have
had a profound effect on me. All the aspects of
them have stayed with me forever. Chilly Bang Bang, the
Albert Finny Scrooge.
Speaker 1 (31:37):
When Dinosaur Too, I love that scoot, When.
Speaker 2 (31:40):
Dinosaurs Ruled the Earth, Diamonds Are Forever, Fiddler on the
Roof and benk Nobs and broomsticks the film and indeed
the Disney Robin Hood you can have it, but they
just blew my mind. And so my first bond was
Diamonds Are Forever. And then I saw they re released.
(32:01):
I think Thunderball and From Russia with Love and a
Double Bill. So I saw three conneries in rapid succession
before Live and Let Die. So my Bond horoscope is
Connery with more Right. But we used to go and
see James Bond as you know, every two years. We'd
go as a family, and over the years that that trank,
(32:24):
you know, it's my system didn't want to watch it
all when to see it with someone else, and my
brother was too cool to watch it or whatever, and
eventually it was just me and my dad. I think
the last maybe two three Roger More's it was just
me and my dad. And the reason I have this
very special memory about a View to a Kill, a
film I'm immensely fond of because it's so mad. Roger
(32:46):
was too old, all the team are too well. When
they go to the races, it's like a sort of
Darby and Joan thing, and yet he's pitted against the
face of cinematic modernity, Christopher Walken and the absolutely terrifying
Grace Jones. It's such a weird thing. Anyway. The reason
I remember it's so vividly is there's a bit where
(33:07):
Patrick McNee who's also in it. And it's far the
world as Sir Godfrey Tibbett and Roger Roger Moore creeping
around Christopher Walk and stud Farm dressed thirty years too
young for themselves. And my dad leant over and said,
if the Secret Service is in the hands of these
buggers sort of god Old.
Speaker 4 (33:28):
And I've never forgot there, And it's it was the
it was the writing was on the wall for Roger
will but also for James Bond as a family experience.
Speaker 1 (33:40):
That's fucking great breed.
Speaker 2 (33:42):
Yeah, terrifying.
Speaker 1 (33:43):
I was absolutely terrified. Yeah good, I love it. And
also it seems a film that might be my answer.
Like I've read, it's not a critically loved film, which
I find.
Speaker 2 (33:54):
No obviously it wants to be Oliver. But the songs
are pretty forget but apart from Thank You very Much,
which is a master But it's beautifully made and it's
probably quite moving and really scary that the Ghost to
Christmas yet to come, but probably is the scariest one
next to the Muppets.
Speaker 1 (34:13):
Yes, I agreed, and it's yes, it's my second best.
Screw it's fucking good. What is the film you most related?
Speaker 2 (34:23):
Oh? Yeah, and it's funny because you said, e G. keV.
Well it's keV, It's I'm from the Northeast and I
on Monday last I was in Durham University Durham Cathedral
getting an honorary doctorate from Niversity. I am in my
third I am I am now doctor, doctor, doctor, which
(34:46):
is great.
Speaker 1 (34:46):
Doctor.
Speaker 2 (34:48):
Yeah. I feel like a parent curtain. But and my, my,
my English teacher, mister Pleesdale was there to see it,
and I was talking to him about the fact that
he is. They used to show us, you know, films
at school and I remember when they showed us Kaz thinking,
why are you just showing us a live feed of
our life? I mean it wasn't quite as brutal as that,
(35:14):
but so much of it, And that's one of the
reasons it's still so brilliant that obviously Brian Glover is
the hateful pe teacher was just just iconic but also
terribly familiar. But just that whole, the whole atmosphere of
that school. Do you remember the headmaster's called mister Gryce
brilliantly and he was a real I think he was
a real teacher and he canes them on their hands.
(35:38):
Remember for real, that's why. But I just thought it's
a beautiful piece of work of Coss what you said,
But it was so it wasn't like watching some sort
of escapist said today, but it was just like it
was just like life.
Speaker 1 (35:49):
I've talked about it on this podcast, but I am
obsessed with kaz as A as a children's film that
it's like the message of Kez is kill yourself. It's
so depressed that it ends with the bird. The bird
is in the bin. Yeah, it's not just dead, it's
(36:10):
in the bin, dream crushed.
Speaker 2 (36:15):
Yeah, in the bin. Yeah, that's tell. It was strange
story as well. David the Great David Bradley, not Die Bradley,
but David Bradley, the actor was doing a play once
and he got a bone stage door from David Bradley
from Kes, who he said obviously had his manager next
to him saying you've got to change your name, and
(36:37):
David David and then he became Die Bradley. So that's
that story. Yeah. Maybe maybe ken Loach is a sleeper agent,
and it was it was an attempt to make the
working classes commit suicide to lower numbers. Maybe he's not what.
Speaker 1 (36:57):
That's a depressing such pressure. What is the sexiest film
you've ever seen? What is your sexiest film?
Speaker 2 (37:07):
I've said, I would say in the Mood for Love,
which I didn't know, and then my friend Julian Ryan
Tuck it was absolutely exquisite, isn't it. I think I love.
I'm a great stucker for anything where it's just about
longing and that that seems to me very much sexier
than you know, the last time going Paris or Yes,
(37:29):
it's just it's full of unspoken designs that I find that.
It's a difficult to say though, because I mean, but
I can tell you that this I'll shave into your
inappropriate boner question.
Speaker 1 (37:39):
Okay, traveling, but.
Speaker 2 (37:41):
In a way, you see, I had, you know, everyone
everyone has unusual sexual awakenings from films and stuff like
TV program but I had a very specific thing, which
was again horror related, which was that where I'm from
the northeast of Saying, the tiny Ty television used to
have a Friday night horror film Appointment with Fear it
was called, and I was mostly left on my own
(38:05):
to watch between probably about the ages of ten and fourteen,
just left on my own, and when I was about
twelve or thirteen, the horror The Appointment with Fear was
off for the summer, but I just still stayed up
and it said in the Northern Echo it was Linday
Anderson's If five Stars Don't Miss, So I stayed up
and watched it. And the film starts with these public
(38:27):
school boys coming back from their holidays and this extraordinarily
beautiful young man with long blonde hair is sort of
mincing down the corridor and one of the prefects cracks
him across the back with his cane and says, stop
tarting film, and my heart just started pounding. And there's
a vague gay subplot through the film. But I remember
(38:50):
I watched it in a kind of panic that someone
would come downstairs and somehow see it, you know. But
it was so exciting. It was so exciting. It was
like accidentally being a portal opening onto the adult world.
So that's probably it. I suppose how old were you then,
Do you remember forty eight? I was. I was about
(39:14):
about twelve twelve, Yes, So probably in a way that's
the sexiest film because it meant it was just it's
amazing sensory overload that film. Anyways, it's still I think
it's very of its time and it's still got some
real power. But that for me was the thing was
it's just like it was just thrilling. The idea was
(39:34):
just on the telly like that.
Speaker 1 (39:35):
Yeah, also ends with a school shooting, weirdly like as in.
Speaker 2 (39:39):
He does Peter Jeffreys shot in the head by by
Marco Madowell in.
Speaker 1 (39:45):
The Move for Love is also a sexy film. It
is all longing and it is all no one taxing.
But they're also really fit. Really, they're two very fit.
Speaker 2 (39:56):
I don't think that's a bad thing.
Speaker 1 (39:58):
I'm saying it's a classy answer, but it's also it's
a very sexy looking people yearning. Yes, it's a sexy
ast film. What is objectively the greatest film of all
time might not be your favorite, but if aliens came
and said what is cinema? You would show them this
(40:19):
as the best.
Speaker 2 (40:20):
I thought a lot about this because it's difficult. I
think every now and then Citizen Kane has knocked off
the top because people are sick of saying it. But
then that's stupid because it's obviously brilliant as is to go.
But I think for me it's probably The Adventures of
Robin Hood Michael Kurtiz.
Speaker 1 (40:41):
That got knocked off the list, that was on the list,
that was on the list forever, and then it's not
on the Listen.
Speaker 2 (40:47):
You know, it's too popular. It's brilliant, It's what. It's
the most wonderful piece of escapist fun. It's absolutely beautifully made.
Everyone's at the top of their game. All Flynn, Needy James,
can you believe I couldn't be better? Buzza rough but
amazing clod Rains, Olivia de Havlund, technicolor, beautiful thing, brilliant
(41:09):
score like corn gold. It's called The Lots. I watched
about twelve times a year.
Speaker 1 (41:16):
And this is Isn't it also a lot of the
Disney Robinhood that we all had our sexual awakening. Yeah, yeah,
it's from that.
Speaker 2 (41:23):
I want to drill down into this Disney section. Wait
was it was it a hiss or was it Madam
Clock or whatever?
Speaker 1 (41:30):
It's made. It's it's fox Foxy made, Mary, Foxy Marion.
But also I mean they're they're both very sexy foxes.
Speaker 2 (41:39):
Yeah, yeah, you can't be denied. The thing that's really
missing is you never see them going through the Bins
that would be really good, probably properly vulpine behavior.
Speaker 1 (41:57):
What is the film you could or have what's the
most over and over again? And is it?
Speaker 2 (42:03):
It's probably yeah, or it's probably Theater of Blood, which
is one of my absolute favorite horror films, obviously as
a comedy horror as well. It's that rare thing because
it is very, very funny and it's very scary and
properly special. But I think probably the film I've seen
the most is Billy Wilder's The Private Life of Sherlock Holmes,
(42:25):
which I think is probably overall my favorite film of
all time. I could watch that till the Cows Come Home,
and I have many, many times, and it's so long.
Answer it is half the length it was supposed to
be the version which everyone knows is a masterpiece, but
it was twice as long. And the footage of one
(42:46):
of the other cases exists but no sound, and the
sound but no footage for the other one. So it's
kind of perfect because it will always be magically incomplete.
Speaker 1 (42:56):
Have you seen these Seen and Heard?
Speaker 2 (43:00):
Which is an incredible thing because it's like it's like
seeing it, like suddenly getting an extra half hour of
you know Godfather too. Just I can't believe it. But weirdly,
although Wilder was forced to make these cuts, and he
never talked about the film after it came out because
it was so painful to him. But it really it's
probably the bright idea because it's it focuses that the
(43:21):
whole thing is that it's a beautiful thing. You've never
seen it, then do. It was a huge influence on Sherlock.
The tone of it is absolutely marvelous, completely gets Sherlock homes.
But also it's very playful and funny at the same time,
and very very melancholy. But I screened it a good while,
a long time ago, now the height of Sherlock's fain.
I screened it at a little literary festival and I
(43:43):
did a big speech beforehand about how sad it was,
and then Stephen Lies sat down to watch it, and
the whole room was falling about, and I thought, oh, gosh,
I've slightly forgotten how funny it is, you know, convinced
because it's such a good film. Yeah, yeah, it's really
really marvelous.
Speaker 1 (43:58):
I have not seen that to my shy And now
I wonder, what's the worst film you've ever seen. Let's
not be too negative, but what's the worst film you've
ever seen?
Speaker 2 (44:06):
Is hard? Is it? Because there's some of this libelist.
I've just left a blank because I didn't know what
to say, because I know what I'd like to say,
but we could say it and then we could coat
it out. But what can we do about that? Because
then you would have an answer.
Speaker 1 (44:19):
I'll tell you what a lot when we get to
the to the Patreon and you have to tell a secret.
If you don't have a secret, you can tell us
what the worst film was.
Speaker 2 (44:26):
Then Patreons will leak and then I'll be had up
for criminal libel.
Speaker 1 (44:31):
Well, you know what, Listen, you're a creator and a
creative and I respect it, and you don't have to
answer this way, but you can tell me and we'll
cut it out. We'll tell me at the end.
Speaker 2 (44:41):
I'll tell you the end.
Speaker 1 (44:43):
Okay, you're in comedy, you're very funny. What's the film
you're an award winning comedian, for god's sakes, what is
the film that made you laugh the most? Actually laugh
out loud.
Speaker 2 (44:57):
I can't say because it's airplane, it's obvious, but I
can say that I think the most I've ever laughed.
Actually was watching Police Squad on a plane, so it's
airplane related to it's the Beginning's air plan, yes, but
the steward has had to come over and ask me
to be quiet because I was like, I couldn't stop laughing.
(45:17):
I just watched the whole you know, it's only about
six then. I just watched them back to back and
I hadn't seen them for years, and I just it
was just marvelous. I mean, sometimes it's oxygen deprivation, isn't
It makes you be a bit funny up there, But
I remember very really. I think probably I think the
funniest and cleverest and best comedy is Life Brian Are.
I think it's not only their masterpiece. It's just and
(45:41):
everything comes together, but it's really about something, and I
think it where no one ever seems to talk about
that part that the People's Front of Judea sched, which
is about seventies leftist politics, is exactly the world we
live in now. It absolutely is about splitters and you know,
and people getting acronyms wrong and being afraid to say
(46:04):
the wrong thing. It's incredibly foresighted. It's all there. It's brilliant,
and then there's a bit I always love when Brian
Green says I'm not the Messiah. I'm not, and Please
says yes you and I should know. I followed a
few and there's such because it's John Please. There's such
actual genuine fury, and I don't know. I remember it
(46:24):
was seeing that as a fourteen year old, thinking, you know,
there's something deep in all this.
Speaker 1 (46:29):
It's very, very clever. It's really deep. And I have
a thing I talk about, like Holy Grail. I get
upset at the end of the Holy Grail that it
all kind of falls apart, and it's like, you know,
because it makes me feel stupid because I've invested emotionally,
I've invested in the story and I actually sort of
care about this story resolving, and it doesn't. It just
(46:53):
still falls about ha ha ha, And I go, oh, well,
now I feel dumb because I care, you know what
I mean? Interesting and with life, Brian, it's such a
complete I think it is profound and that ending is deep.
Not only is it fucking sad, but then they always
live on the bright side of life. All jokes aside.
That is a fucking profound ending.
Speaker 2 (47:14):
I think absolutely, that's exactly the word to use. It's
a profound film and also as glorious as to Gray is.
It's like they'd all worked out what to do. It
is a complete experience. It's absolutely brilliant.
Speaker 1 (47:28):
It's brilliant and so well made and looks and it's fantastic.
Oh but wait, one last thing on Police Squad. I
think I laughed the most when I was younger. I
remember pausing it, rewinding it, pausing it, rewinding it. Maybe
my favorite, most I've ever loved maybe is it's an
end credits of Police Squad. The last scene of the episode.
He goes he's pouring him a coffin and he goes
(47:50):
great case clothes and he goes say when Frank, and
he goes wet and then he goes in them.
Speaker 2 (47:58):
I love so And now Liam Neeson's doing it going
to be like strange, strange. I understand the logic because
he is. He is this sort of granite faced straight man.
But Leslie Nilsen is just so particular. He played that
for real for years and that's why he's so perfect.
Speaker 1 (48:22):
We'll see Mark Gatis, you have been beyond the delight. However,
you're in your house, minding your own business. I was
dead well, hear me out, and the professor of assassin
he's in the apartment opposite and he's ad a snopra
on you for three days now. But you're quite nimble.
(48:42):
You've been moving about quite quickly, quite quickly. Then he
stopped to look at one of your awards you picked up,
and you were just admiring it as you do. And
as he turned, he shot you in the neck, back
instant dead. Suddenly at home, dead in the neck. I'm
working with the coffin, you know what. I'm like, I'm
not going to do this market and said, yeah, it's
(49:03):
just upset that I did hear a bang. I come upstairs.
Oh god, you're absolutely dead. Blood everywhere, all sorts of stuff.
I'm not fucking know. I'm having to sort of get
your stuff. You in the coffin. There's more of you
than I was expecting. Coffin is absolutely full. There's only
enough room in this coffin for me to slip one
DVD into the side for you to take across to
the other side. And on the other side it's movie
(49:23):
night every night. What film are you taking to show
while you eat crystallizes ginger and chocolate in heaven when
it is your movie night, mister Mark Gatis.
Speaker 2 (49:31):
First of all, don't they have Blu rays there? Because
why do? I? Okay, just DVD?
Speaker 1 (49:37):
Yeah, well, okay, to be honest, the rule actually is
you take the DVD, it goes out there and then
God converts it into thirty five million. It's it's projected.
Speaker 2 (49:46):
Well, we're fine. I would probably, yes, I would probably
take Billy Wilder's The Private Life of Sherlock Holmes, which
I see probably more than anything else and is a sore,
endless delight to me. It's kind of got everything I think.
So I don't think I'll ever get sick about even
in eternity, and I can then hut you know them
(50:07):
a little an interview with Robert Stevens and Colin Blakeley. Yeah,
special podcast with Billy Wilder.
Speaker 1 (50:13):
It's got great. Yeah, so great. Mark. Would you please
tell everyone about Bookish and other things that you have
coming up?
Speaker 2 (50:21):
Oh? So I have written created my own detective series.
It's called Bookish, which is set in London in nineteen
forty six, and I play an anti quarian book dealer
called book who solves crimes on the side, but he
is also a gay man in a lavender marriage with
his childhood best friend played by Pollie Walker Bridgeson, and
(50:43):
we solve crimes together. I've always loved murder, mysteries and detectives,
and I always wanted to play the detective. So this
is a really dream come true and we've had a
brilliant time doing it. Shot it last year and amazingly
it's been recommissioned before it goes out. I started shooting
the second series next month between August and something.
Speaker 1 (51:05):
Can you write all of them?
Speaker 2 (51:07):
So I wrote the first I created it. I wrote
the first one, and then I co wrote the other
two stories with Matthew Sweet and then and then the
second series sort of similar arrangement. First one and then
the second one is written by me and Matthew, and
then the third one by me and my partner Ian.
So that's our and if we carry on, I shall
(51:29):
work my way slowly through the nineteen forties because it's
it's the best decade for British film, but also fantastically
under examined period. It's very interesting. We're all obsessed with
the war, but after the basically athletes Britain radical, the
most radical government we ever had, foundations of the welfare state,
the NHS, but also the world was completely upside down.
(51:52):
It's full of displaced people who didn't know what to
do with themselves, and it's a fantastic breeding ground for crime.
So it's a very un very unusual setting and it's
lovely to sort of play in that playground.
Speaker 1 (52:04):
And you're on the cover of the Radio Times and
the TV Times like you are Christmas.
Speaker 2 (52:09):
Yeah, I am well in a way, Yes, Albert Finnie
has come back to hot I know it's amazing. That
is genuinely a childhood dream come true. I can't believe it.
And buy some weird quirk if you see it, if
you can find the TV the TV Times for some
really weird reason, because you know, there are always two
packs now with different special offers and things. For some reason,
(52:32):
this week's is quite uncluttered and therefore looks like it's
a TV Time from about nineteen seventy three, and that
couldn't be more. It's on You and Alibi, which is
available through Virgin Sky and now TV, and then once
it's on I think it becomes a kind of streamable
(52:52):
box set and then you know.
Speaker 1 (52:55):
Was it the first time you've written with your partner?
Have you written before it is.
Speaker 2 (52:59):
The first time. Yes. Ian's always been my kind of
unofficial script editor, and especially with murder mysteries, we always
just if people could overhear us walking the dog. It's
like under the Christie where people overhear ways of violently
killing people and thinking someone is going to get knocked off.
It was great, it was great. Yeah, it's it's but
(53:20):
they're very they're difficult mysteries. They are fiendishly difficult to
crack because you want to be you want to be novel.
But equally, the furniture of the thing is why a
lot of people watch it because it's like it's comfortable,
isn't it. But I didn't want it to be cozy.
I wanted to have a bit of bite to it,
you know, so hopefully people like it.
Speaker 1 (53:40):
Do you work backwards? I have no idea.
Speaker 2 (53:44):
Yes and no. I mean the true yes, you can.
You can work out a murder and then try and
cover it up. But the biggest challenges, genuinely are trying
to make the clues. You have to play fair with
the audience this year, trying to make the clues present,
but not too obvious and not too obscure and genuinely.
A big one which people talk about is motive. You know,
(54:05):
why would anyone bother killing someone when you could actually
just not reply to their letters or you know. It's
a big one, and some part of it is contained
in the rules of the genre. You well, it has
to be slightly heightened because people don't get murdered in
that way. It never happened for very very very rare.
(54:25):
But at the same time, you do want to feel
like there is a there is sufficient motive to do it.
That's interesting, very interesting problem to try and crack and
to constantly you revise and reinvent.
Speaker 1 (54:38):
I'm very excited to see it Wednesday sixteenth, it comes
out and then it will be available you and Alibi Sky,
Virgin Sky, TV, Now TV.
Speaker 2 (54:47):
Yes and everywhere and everywhere.
Speaker 1 (54:50):
I like you very much. Thank you for doing this.
Speaker 2 (54:52):
Thank you real I think, I think I may love you.
I may love you.
Speaker 1 (54:57):
I love That's good a thank you very much. Goodbye.
So that was episode three hundred and fifty nine. Head
over to the Patreon at patreon dot com Forward last
Great Gold's team for the extra twenty minutes. Of Chat,
Supers and Video with Mark Guy Chapple Podcast, give us
five star rating and write about the film. That means
a bos to you and wy it's a lovely thing
to read it ols with Domberson was really appreciate it.
Thank you very much. I hope you're all well. Thank
(55:19):
you for listening. Thank you to Mark for giving me
his time. Thanks to scrubys pivoting the Distraction Pieces Network,
Thanks the Buddy Peace for producing it. Thanks to iHeartMedia
and Will Ferreo's Big Money Players Network first to get. Thanks
to Adam Rigon for the graphics and he's laing for
the photography. Come and join me next week for another
incredible guest. But that's it for now. I hope you're
all well. Thank you all for listening. In the meantime,
have a lovely week, and please now more than ever,
(55:40):
be excellent to each other.
Speaker 5 (56:00):
Face bass Back Products that colls a sad products, a
safe product that costs produce bats Back Prod thats a
sad products.
Speaker 2 (56:14):
Bass Back
Look out. 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,
a director, a paper airplane, and I love films. As
(00:22):
Dorothy Parker once said, the cure for boredom is curiosity.
There is no cure for curiosity, which is why you
must book at least one film you've never heard of
when you're booking for the London Film Festival. Oh yeah,
it's a good idea, doth for Parker. Thank you. Every
week I invite a special guest over. I tell them
they've died. Then I get them to discuss their life
through the films. That meant that most of them. Previous
guests in Kaid, Barry Jenkins, Kevin Smith, Jamila Jamille and
(00:43):
even Clem Plamboles. But this week it's the brilliant actor, comedian, producer, director, screenwriter,
novelist and sket co It's mister Mark Gatis. My comedy special,
The Second Best Night of Your Life is streaming now
on Max and Skye. Give it a watch. You will
fucking love it. You will head over to the Patreon
at Patreon dot com forward slashtrek Go, where you get
extra twenty minutes with Mark we talk secret beginnings and endings.
You also get the whole episode uncart adfree and as
(01:05):
a video. Check it out over at patreon dot com.
Forward Slash Brett Goldstein So Mark Gatis. You might know
Mark Gatis from the League of Gentlemen, from Shirtlock, from
Everything You've Ever loved. His brand new TV project, book
Is starts Wednesday, July sixteenth. You must watch it. It
sounds amazing. This is my first time meeting Mark. I'm
a huge fan of his. We recorded this on Zoom
(01:27):
and we had such a lovely time. I really think
you're going to love this one. So that's it for now.
I very much hope you enjoy episode three hundred and
fifty nine of Films to be Buried With. Hello, and
(01:48):
welcome to Films to be Buried With. It is me
Brett Goldstein, and I am enjoined today by an actor,
a writer, a director, a novelist, a Desert Island disco,
a skep, a doctor who were a League of Gentlemen,
a Jacqueline Hyder, a Dracula, a Game of Thrones, an
(02:12):
award winning stage actor, a documentarian, a audio bookman, a
bookish coming soon. He is everything and more. He's one
of my heroes. He's here on the show. Please well
you welcome to the show. It's the amazing, it's marks.
Speaker 2 (02:31):
Thank you very much, Brett. What can I do? What
can I do for you?
Speaker 1 (02:36):
I want to know so many things before we get
into all this stuff. I'm such a big fan of
yours and I have the fears I think that you
are is what I'll say.
Speaker 2 (02:44):
You're dangerous.
Speaker 1 (02:47):
You're a danger and you're a menace, but you are
also for someone like me, and I'm sure for lots
of people, you are like the ultimate example of It
seems like you just fucking makes you like in whatever
form that is. If you want to write a book,
you write a book. You want to do something, do
some acting, you want to make a movie. You're making
(03:07):
like you consistently make incredible stuff. But it's all different
and in all different modes of expression for you, and
it feels like you just do what the fuck you want.
Speaker 2 (03:18):
It's very kind you. No, No, it's not like that
at all. I mean I do. I try very hard
to make the kind of thing i'd like to watch
that doesn't mean it's necessarily going to happen. I mean,
I think someone asked me the other day because I
missed Impossible and the Fantastic form. They said, it's said,
how did that come about it? So well, I was
asked to do it and he said it's not a plan.
(03:41):
Then I went, no, I don't know how. I'd be
very pleased to be asked, but no, it's so it's
somewhere between the two. You know, I'm doing a play
next year, which I've always wanted to do. I've sort
of forced that to happen because I wanted to do it.
But I can't tell you it's but otherwise, you know,
(04:05):
I get as to things or asked to audition for stuff.
And then Bookish was a long gest stating project which
after the pandemic I just did sort of all suddenly
came together. So you can never tell. I don't think
you can really have a plan. All I can say
is I just try and do things I would like
to watch or be in. As it were, it might
(04:26):
look very easy when it really isn't. One of my
favorite one of my favorite quotes that you know, Ian mcdeermrid,
the Emperor of the universe, replacing a class of course
originally Clive Revel who and the eyes of a Ba Boom.
That's true, isn't it? From Star Wars I deal with.
I was asked what advice you would give to the
(04:47):
sixteen year old version of himself, and he said that
one thing does not necessarily follow another, and it's so true.
Speaker 1 (04:57):
That is true. That is true. Can I tell you
one of my favorite things that you've done, and I
wish you'd do one hundred more was your history of
horror documentaries and your European horror. I loved watching you
talk about horror. I think I learned a lot and
it deep into my own appreciation of horror. But I
(05:18):
just fucking loved you walking around talking about horror. You
talk about horror like it's like it's love. It's so beautiful.
I really really enjoyed those shows.
Speaker 2 (05:26):
Thank you well. My favorite part of doing that it's
a long time ago, fifteen years ago. My favorite part
was just being able to infuse about it, you know,
and talk about it.
Speaker 1 (05:37):
Yeah.
Speaker 2 (05:37):
But I swear to god, it's a vanished world already.
That the idea that the BBC four, which now is
just a repeat channel, would email me and say would
you like to make it a three part history on horror,
for which I went, yes, I would. It's extraordinary. So
it's it's sadly and we did. We're always hopeful we
(05:59):
could do it one I suppose really probably about Asian horror,
but probably more just the sort of mopping up around
the world. But there wasn't the money, all the interests.
So the fact we got those three and then Horror
Europa as a sort of one off, I think was
semi miraculous even then, so very pleased with them. And
I got, you know, I mean talk about I do
(06:21):
everything for the eight year old version of myself. I
got to meet people that I used to read about
when I was tiny, just in time by the time
I remember going, remember going on holiday after which finished
filming and three people, three of them died before it transmission.
Speaker 1 (06:38):
And then the.
Speaker 2 (06:39):
Producer around me and said, John Carpenter's had a fucking stroke.
He is happily recovered and it's still with us and thriving.
But it was like, at one point I thought I
was going to get a reputations of the Grim Reaper.
He's actually quite appropriate to the subject.
Speaker 1 (06:54):
Yeah, what about one other thing. I'm interested in your collaborations.
You write alone, you write with people. Seems you work
well with others, And I'm curious, like do you have
with all your different parts Stephen Muffett and with your
League of Gentlemen guys and with like? Is it different
(07:15):
the way you work with each of them? Do you
have like a set way that you like to write
with someone or is each person that you've collaborated with
a completely different way of doing it.
Speaker 2 (07:25):
I think it's different, really. I mean, I haven't written
with Jeremy from the League for a long time, but
we've actually just done a radio play together which was
absolutely joyous, which is not a Secret'm sure I can
tell you about this. It's actually film related. It's so
bizarre and I can tell you in stages, but very quickly.
The character of Les McQueen, remember the failed musician in
(07:48):
the League Gentleman, It's based on Jeremy's uncle Ian, who
used to be an A and R man for Polydor Records.
So he had and then he left the business. It's
a ship business, he said, and he always and he
always regretted it, and he knew too much. He wasn't
a civilian. He knew thing, he knew jargon, and it
was Oh it killed him that he wasn't even on
(08:08):
the pathway. Anyway, long story short, Jeremy and I have
always had, for some reason, an ridiculous obsession with the
nineteen seventy eight film of the Water Babies, directed by
Lionel Jeffries, the live action bit of which is great,
and the animation bit is the worst kind of shitty
British seventies animation, which even as a child you remember,
(08:29):
used to make us feel physically sick. I don't remember,
because that's a horrible musical and there's a horrible song
of it called high Cockolorum. Anyway, A couple of years ago, accidentally,
Jeremy let slip that his uncle Ian model for Leslie Queen,
had had to drive James Mason around West Yorkshire to
promote the album of the Water Babies because he appears
(08:52):
in the film. And I went, what, but I know
I've never been told you for now, James Mason is
my favorite actor, and I said, you write it, I'll
do it. Incredibly he has and Radio four have made
it and I play Uncle Ian and James Mace being
driven around being driven around local radio stations in West Joke.
Speaker 1 (09:11):
It's absolutely insane. Did you do did you do them
one at a time or did you do one?
Speaker 2 (09:17):
Did you play I have to do one of the time. Yeah.
It was very, very, very tiring, but I have it
was so delightful. Of course I got to do all
of James's favorite bits. He's just been sent the script
for Salem's Lot, so he actually gets to save the
back of the car. You will enjoy, mister Barlow, and
you will enjoy you.
Speaker 1 (09:38):
Was great.
Speaker 2 (09:40):
So there we are. There's a film related story.
Speaker 1 (09:42):
Fantastic. Yes, your relationship with Rhys s Smith and Steve
Emerton do you ever you know, they always seem to
be together and sometimes you do stuff with them, sometimes
you don't. Do you ever get jealous of them being
too sime?
Speaker 2 (09:57):
No? I I I scarcely remember for their names, so
it's every now and then someone would show me a
photograph and I try and remember. No, no, God at all.
I think I'm thrilled for you know, I've just I
was in the documentary for the end of Inside of
the Ninth. I said it then, and I mean it,
as Hubby Green used to say, immediate mostceely. I think
(10:20):
that show is so good and their level of invention
is genuinely astonishing as resources they basically wrote fifty five
pilots and now they're just a brilliant stage show, which
I guessed today in a couple of months ago. And
you know, it's incredible, it's an incredible achievement. I'm very
glad that as it finally came to an end, people
(10:42):
did finally realize how good it was, because just in
time for it to go. You know, no, no, I
think I'm never jealous.
Speaker 1 (10:49):
It's just that's brilliant and is there and you probably
won't tell me if there is? Is there things on
your list? Like you've done Doctor Who, You've done Jacko,
you've done Dracula. Is there something you haven't done that
you want to do? Still have a long list?
Speaker 2 (11:06):
Yes, James Bond, but in what pasit? I mean? I
always you know, everybody says they'd like to be a
Bond villain, but it's obviously it's incredibly difficult to get
in that sort of stratosphere and I'm never going to
get there. The Living Daylight Timothy Dowtons. First one. There's
an act called Thomas Wheatley, who plays an agent called Saunders,
(11:27):
and he's one of those agents who begrudgingly earns Bonds
respect and then gets horribly killed. And I've always thought
that would be the such part, the man who says
he says, your bloody late Bond, you know that sort
of that'd be quite fun. But I love or you know,
to write one, but it's such a I don't know
where where it's going to go with with the new regime.
(11:50):
It's it's quite a shock for it not to be
the Broccoli. But I'm also quite excited just because it's
something's going to happen. My prediction is just what I
always I always say this. I predict it's from Edward.
I predict there will be men on Mars by nineteen seventeen.
(12:10):
My feeling is that'll probably do what Disney was Star Wars.
They'll do a new film quite swiftly and very well,
and then they'll totally fuck it up with too many
spin offs.
Speaker 1 (12:19):
Yeah, you're right. I think you're absolutely right. Who would
you cast as James Bond? You me, no, No.
Speaker 2 (12:27):
I'm an aging homosexual.
Speaker 3 (12:29):
But the world is not yet read. I can't even drive.
That would be interesting. It would be a radical your
radical reinvention.
Speaker 1 (12:39):
Well he doesn't, it'll be your self driving. You know,
it's one of them fucking James Boncas.
Speaker 2 (12:44):
Oh yeah, it's the future.
Speaker 1 (12:46):
Then yeah, yes, I think I agree with you. I
think they'll do one that's really good and then people
will complain about whatever tiny thing that was different about it,
and then they'll try and go back and retro change everything.
Speaker 2 (13:00):
I'm a bit I'm a little bit concerned about Dennis
Field Nerve being selected because it doesn't I genuinely feel
because of the state of the world, what people and
also not to just do Daniel Craig two point zero.
What we what the world wants is a bit more fun,
and that doesn't mean it has to be silly. Yeah,
I think though we could do with a bit more
(13:21):
Roger Moore at the moment, and I don't think Dennis
fil Nerve is going to be the man to do that.
I'm talking myself out.
Speaker 1 (13:27):
Came you were just about to play a guy that
tell me one last thing, if you if you wouldn't
mind when you were young, when you were a child, did.
Speaker 2 (13:43):
You were young and your home was an omen it's all.
It's all linked.
Speaker 1 (13:49):
Yeah, did you just know this is what you were
going to?
Speaker 2 (13:52):
Like?
Speaker 1 (13:52):
How did you get into it all? I guess it's
and I don't. I just mean, like, did you always
like I'm just going to do this? Or was it alone?
How did you get in to any of this? From
being a baby? You know what I mean?
Speaker 2 (14:03):
Yeah? You know in Rosemary's Baby where John Cave gets
that part because of the other actor goes blind and
it's actually black magic. Okay, That's how I did it.
Speaker 1 (14:14):
Mark, I've forgotten to tell you. And it's mad, mad
that I forgot to tell you this, given everything, given
everything we've been through together in these last eighteen minutes.
But I'll say it. You've died. You're dead? Oh yeah, yeah,
yeah yeah, national treasure gone, that national trinket. How did
(14:39):
you die?
Speaker 2 (14:40):
How did I die?
Speaker 1 (14:42):
Oh?
Speaker 2 (14:42):
Oh god, I'm not horribly.
Speaker 1 (14:45):
I hope it's up to you. You get to choose.
Speaker 2 (14:48):
Oh yeah, peace, Yeah, suddenly at home in the papers? Yeah,
but so I'm dead? What happened this this list? Has
this list been found on my body?
Speaker 1 (15:01):
Well, firstly, you have to tell me if you worry
about that.
Speaker 2 (15:05):
Oh not like I used to. I used to be
absolutely petrified and dying, and was therefore morbidly fascinated by
it and have been all my life. But I'm less
terrified now because you become I've seen a lot of it,
and it changes your attitude towards it and also your
own mortality. But you know, I was talking to someone
(15:27):
that I was I went to a funeral last week,
actually of an old friend. It was ninety but it
was a Prompton cemetery and it's an amazing place. But
I was saying to someone I went to the tour
of cemeteries when I was nineteen. That's the sort of
thing I used to do as a long fringed, vaguely
gothy teenager. And I don't do that anymore because I
(15:49):
don't want to be anywhere. Of course, so your your
attitude changes now, But I'm not afraid. I just it's
just the only thing I occurred to me, are is
dying too soon? I'm dying painfully. That's otherwise what you know.
It's going to happen, so you might as well embrace it.
Speaker 1 (16:09):
So suddenly at home, let's say, trip down the stairs, instantly,
break your neck dead.
Speaker 2 (16:14):
I don't know, I don't know that that's but it
was instant, you know. And if if I was a ghost,
you know, I might be in my pajamas for the
rest of time or something. It could be instant. Yeah, yeah,
suddenly shot in the suddenly shot in the back of
the neck.
Speaker 1 (16:30):
Okay, good, do you know who it was?
Speaker 2 (16:32):
It was a professional assassin. Okay, it was any red made.
Speaker 1 (16:39):
Do you think anything happens after your die?
Speaker 2 (16:43):
No? Nothing, well but except podcasts. Maybe.
Speaker 1 (16:46):
Well. I got news for you, buddy boy. There's a
heaven and you're going to it, and it's filled with
your favorite thing. What's your favorite thing.
Speaker 2 (16:55):
I've got a lot of favorite things, like Julie Andrews.
It's not Julie andrew She's lovely. She's in here, she'll
be in Yeah. I would say crystallized ginger and chocolate
maybe my favorite thing.
Speaker 1 (17:11):
Okay, Well, heaven is filmed. We crystallized ginger and chocolate,
and everyone is very excited to see you. They want
to talk to you about your life, but they want
to talk about your life through film. In the first Yeah,
they're weird his ginger and chocolate and they want to know,
what's the first film you remember seeing?
Speaker 2 (17:29):
Mark Gatis, I know what it was good because it's
never left me and has had a profound effect on
me in my entire life. I was three. I still
remember the film that was on before it because it
was a double bill in those days, and it was Bank,
which is still a very special film to me and
(17:53):
petrified me like nothing else. But I absolutely loved it.
It's an interesting thing. I remember talking to Ben Wishaw
when he was filming. I was working with him when
he was making Mary Poppins Returns, and he said that
Mary Poppins was such a special film to him because
when he was younger just came back on video of
the first time. So it was magical and it occurred
(18:14):
to Mary Poppins. I don't have that relationship with because
it wasn't available. It was on Disney Time for two minutes.
But I Chitty Bank, Chitty is my Poppins because it
was my first film, and also I've seen him thousands
of times and I love it and it's a very
special film to me.
Speaker 1 (18:36):
Was that at the cinema that?
Speaker 2 (18:37):
Yeah? So it was the film before it was a
sort of half hour travelogue about a couple driving through France.
I'd love to I would love to find out what
that was, because I genuinely I can remember it so
vividly because it was so boring. And then Andy Bang
Bang is about nine hours long, so it was it
was a London but we had nothing to do in
(18:58):
those days, so we just used to live in the cinema.
Speaker 1 (19:00):
Who did you see that with? Do you remember that.
Speaker 2 (19:02):
With my Yes, with the whole family, with my mom
and dad and my brother and sister sixty nine.
Speaker 1 (19:08):
Wow, it's a terrifying film. Yes, very strange, terrifying film.
Speaker 2 (19:12):
Written by Roald Dahl, of course, written by Roald Dahl,
and not really very like The Inflamming, but it's pure Doll.
In fact that I would say, The Childcatcher is the
purest of all Dahl creations, and it's not in one
of his stories as it were.
Speaker 1 (19:27):
Yeah, what is the film that made you cry the most?
Are you a crier?
Speaker 2 (19:31):
Yes? Oh, we're doing out of order. This is going
to throw me.
Speaker 1 (19:35):
Oh sometimes that makes it up. Keep your tight.
Speaker 2 (19:38):
Well, I'm increasingly a crier, of course, because I am
middle aged and therefore everything affects me. This may be
if weichee, but it's almost always top of my list. Anyway.
It's a wonderful life makes me weep. I don't watch
every year because I think it's good to have a
break and then you can watch it again. I hadn't
(20:00):
seen it for a while and I watched it in
the cinema last year. It was really great to see
it on the big screen. But every time I cried
earlier every time, just I mean, it's just just the
start now when I'm off. And then, to be slightly
less obvious, it's probably a beautiful film called The Ghost
of Missus Muirk. Do you know that with Rex Harrison
(20:20):
and Gene Tierney.
Speaker 1 (20:22):
Yeah, I've never seen that, but I know what it
is yet.
Speaker 2 (20:25):
It's a beautiful film. It's the perfect Sunday afternoon film.
I remember watching it with my mom and it's very
funny and it's lovely, but it's terribly and it's it's
always kind of got me in a strange kind of way.
Those are probably my weepiest film.
Speaker 1 (20:39):
That's nice, the one I'm really excited about. What's the
film that scared you the most? If you had to
pick wine? Oh wow, there's a lot of many.
Speaker 2 (20:46):
Can the water but I can I know what it
is because it's I talked about it in that documentary
it's The Haunting nineteen sixty three, Robert Wise. It's a
superb film, of course it is. But the reason it
scared me more than anything is I watched it with
my dad and he was scared. Ship And to see
(21:08):
to see your dad scared meant it sort of doubled
it up. I can I can see, and I remember
his hands gripping the arms of the chair because it
was so frightenly. It's so brilliantly made. It's so you know,
that banging noise and incredible bit where Julie Harris is
lying in bed, she can hear it. She's staring that
piece of the wallpaper and she could hear this sort
(21:29):
of strange mumbling sound. And then she asks Claire Bloom
to hold her hand, and then she starts to hold
her hand too tight and it becomes painful. And then
suddenly the light goes on and Claire blooms over there
in the doorway, and she looked, I got going cold.
She looked at the head and says, whose hand? Whose
hand was that holding? It's absolutely terrified. She can't see.
Speaker 1 (21:51):
I love it. You've said this in your dogmentaries. But
I get people who write because we talk about how
a lot in this podcast, and you are, I believe,
an expert in this and a lot of people that
don't like horror always goes to me like why would
you want? Like? What is it like? I don't want
to be scared, I don't want like why would anyone
put themselves through it? What is your theory on why?
(22:13):
Why horror? Why love? What is the point of it
for you?
Speaker 2 (22:18):
I suppose it's maybe a cliche to say it, but
it's a bit like a fair ground, right. I mean,
although I don't actually like roller coasters very much, but
I think it makes it's that, isn't it. It's it's
a safe form of thrills. It gets your heart racing,
it's it's suspense, It's it's not it's a lot about gore.
And there are certain things I'm really not interested in.
(22:38):
I could become terribly screamish as I get older. And
also I have no interest in house invasion kind of
movies or torture all that sort of stuff. I just
can't bear it. It has to be supernatural for me.
But I don't understand people who and there's a lot
of them about yeah, who are just going to I know,
I can't watch that, and I just think, well, I
think you're missing out on a big thing. It's psychologically
(23:02):
intriguing because there are often people who, in other walks
of life of their life are totally fierce. Yeah, and
yet suddenly, you know, something vaguely scary comes on they
can't look at it. I felt extraordinary or in fact,
in fact, I would say contemptible.
Speaker 1 (23:24):
I had so many comedians do this podcast, and I
would say the majority of them hate horror, don't like
to be scared, and I think it's a control thing.
Maybe I don't know.
Speaker 2 (23:34):
That's very interesting, isn't it.
Speaker 1 (23:36):
Yeah? But I but have you had, because I've had
the experience where I compare it to like when I
saw Hereditary. Hereditary fucked me up, scared me so much
that I almost regretted seeing it, as in it sort
of stayed with me for a week, and I was
genuinely scared in my house. I've gone too far, you know,
(23:56):
I mean, like that wasn't fun anymore now I have Indeed.
Speaker 2 (23:59):
Yes, I can imagine that. I mean I remember watching
Hostel and thinking, I don't know, I've got no pleasure
for watching that that's just upset me and I don't
want to see it ever again. Off, But then I think, well,
maybe that's not really a horror film. That's a sort
of extreme film that is funny game. Funny Games is
another one. It's a very admirable film, but I absolutely
(24:21):
never born to see it again. It's upset me. So
it's not it's a different feeling. The strange thing about
Hereditary is, well, you probably know what this feeling is like.
Everyone is always saying to me, Oh, this is the one,
this is the new and it's not just becoming jaded,
but I'm always disappointed because it never quite is. But
(24:42):
some of them really get very close, and that was
one of them. I thought it was wonderfully weird and inventive,
but then it got just got very silly, and to me,
the stuff that was really genuinely extraordinary was that incredible,
but the little girl gets her heads knocked off and
the consequences that would and then that amazing thing that
(25:04):
was fucking scary, But suddenly it was like a kind
of ghost train of shock on shock on shock, and
I just thought it just got a bit daft. Really, Yeah,
that's my favorite word. These days. I think everything, almost
everything is just daft. It doesn't Clint do it for me,
but it does contain There's something I'm still very scared of,
(25:24):
which is naked elderly Satanists. And at the end when
he's surrounded by them, it's very Rosemary's Baby that and
it still frightens me. The idea of sort of withered,
withered people with.
Speaker 1 (25:38):
Clothes nakedly satanist is such a scary. That's very true.
What is the film that you love? It is not
critically acclaimed, most people don't like it. You love it unconditionally.
Speaker 2 (25:51):
Michael Winner's bulls are with Roger Moore, Roger Moore and
Michael Kane.
Speaker 1 (25:56):
Is it where they played twins? Someone's playing twins? Is it?
Speaker 2 (25:59):
Yeah? It's a career worst for both of them and
for Michael Caine, for Michael Kaine. That's saying a lot.
But it's a load. It's an absolute load of horseship.
But it's so bad it is glorious. There are parts
of it where it's so not them in the stunt
fights that I don't think they were even on the
same hemisphere when they were shot. As with most Michael
(26:23):
Wild films, it's absolutely a technical disaster. It's just it's
an extrology. A lot of people talk about party shots.
This last film with Chris Rehea suddenly only the not
the first of a series of Chris Rear vehicles. But
I think Bullseye gets the prior, It gets the bulls eye.
It's absolutely extraordinary, and it's so bad that in the
(26:46):
end when they end up in a desert island, an
island with John Cleves, Michael Caine's voice over is still
trying to explain the plot out of the credits. Yeah,
it's absolutely rubbish, but.
Speaker 1 (26:57):
I love it. He made death with Mega.
Speaker 2 (27:02):
He did he did? Yes, Yeah, Yeah. It's one of
the excuse people who had been a lot of quite
interesting films in the sixties. Is very interesting film called
The Jokers with Michael Crawford and Oliver Reed, and then
he sort of doesn't seem to be It's like he's
forgotten how to make film. They just become really so ropey.
I think, just an excuse to go to a restaurant
with some friends and be rude to the staff and
(27:23):
smoke a cigar. That was rais on debt.
Speaker 1 (27:27):
What is the film that you used to love but
you've watched recently and you thought, I don't like this
anymore because you've now changed.
Speaker 2 (27:34):
Oh gosh, well, you know this is a two parter
for me, great one of them horror related. But I'll
start with and think I think that the eighties is
a really, really bad decade for films. I know that's
controversial because if you grew up with them, A lot
of the big films of the eighties are unwatchable. You know,
(27:55):
obviously the Goonies, which is unbearable I think is rubbish.
It's just not very good. And if you sort of
stuck along these things and go, oh wow, this is
oh god, this is not what I remember it, it
seems to happen a lot, and yet contained within it
there are some amazing gems and they're not just things
(28:16):
like aliens or you know, there's a lot of beautiful
little films. I was just thinking of the day because
I haven't seen it for years, and I hope it
stands up. A film called Things Change with Donna Meatsche,
the Tiny Little Film, And there were a lot of
stuff around the time of Trading Places. That's a lot
of quite interesting. That's my thesis about the eighties is
that a lot of them just don't stand up. But
(28:38):
for horror. In horror terms, the film I love the
most as a kid was Dracula Has Risen from the Grave,
which is the third Christopher Lee Dracula film nineteen sixty eight, hammer,
so one where it ends up impaled on across at
the end, and in hammer terms, a lot of the
ones I liked the most when I was a kid,
I now like the I'm much more interested in their
(29:03):
really beautiful early ones, and they're absolutely batshit late one
and in the middle when they were very successful, and
famously they were presented with the Queen's Award for Industry
while this film was being made, and a man actually
came to the set to give it to them as
Christopher Lee was being paled for the Cross, and he
(29:23):
was overheard pristically overheard him say to his wife back then,
a member of my club, you know, but I think
those middle films are quite stodgy. Now. I mean there's
stuff to recommend, you know, but I find them quite
dull and yet early on when they were just finding
their way, and then later on when they were sort
of slightly desperate and they made films like Doctor jeff
(29:46):
Win's Sister Hide and Twins of Evil because they didn't
they didn't know what to do. They were just throwing
stuff and at the wall. I find those much more interesting, So, yeah,
those are my that's my twin answer.
Speaker 1 (29:58):
Well, do you have a theory on why do you
think that particular sort of batch of eighties films doesn't
hold up in the way that other decades do. What
do you think the reason is for that?
Speaker 2 (30:09):
I don't know. I mean, it might just be a
personal thing, and it's very hard. I mean, I'm a
child at the seventies, but I I came of age
in the eighties, so I saw a lot of these
things and then but if you're slightly younger, your formatively
experiences therefore they become your thing. So it might be
just I've got a slightly different few of them. But
I suppose it's something to do with I think maybe
(30:32):
something to do with the kind of flashiness of them,
the eighties and them, whereas the seventies is full of
really well constructed thrillers, and then obviously with Jaws, the
Big End, Star Wars, the beginning of the summer blockbuster.
But maybe by ten years later, they're just a bit formulated.
Those kinds I think of things like, you know, like
(30:52):
batteries not included, or there's loads of those kind of
films which had really good posters, but if you watch
them now, they make you slightly wins. However, Back to
the Future is an absolute.
Speaker 1 (31:04):
Master uls up. What is the film that means the
most to you? Not necessarily the film is good, but
the experience you had seeing the film will always make
to you.
Speaker 2 (31:16):
Well, we've got to go back to bond here, Brett,
because so I can tell this, I've probably bought other
people this, but I can tell you the first half
dozen films I ever saw in cinema, and they have
had a profound effect on me. All the aspects of
them have stayed with me forever. Chilly Bang Bang, the
Albert Finny Scrooge.
Speaker 1 (31:37):
When Dinosaur Too, I love that scoot, When.
Speaker 2 (31:40):
Dinosaurs Ruled the Earth, Diamonds Are Forever, Fiddler on the
Roof and benk Nobs and broomsticks the film and indeed
the Disney Robin Hood you can have it, but they
just blew my mind. And so my first bond was
Diamonds Are Forever. And then I saw they re released.
(32:01):
I think Thunderball and From Russia with Love and a
Double Bill. So I saw three conneries in rapid succession
before Live and Let Die. So my Bond horoscope is
Connery with more Right. But we used to go and
see James Bond as you know, every two years. We'd
go as a family, and over the years that that trank,
(32:24):
you know, it's my system didn't want to watch it
all when to see it with someone else, and my
brother was too cool to watch it or whatever, and
eventually it was just me and my dad. I think
the last maybe two three Roger More's it was just
me and my dad. And the reason I have this
very special memory about a View to a Kill, a
film I'm immensely fond of because it's so mad. Roger
(32:46):
was too old, all the team are too well. When
they go to the races, it's like a sort of
Darby and Joan thing, and yet he's pitted against the
face of cinematic modernity, Christopher Walken and the absolutely terrifying
Grace Jones. It's such a weird thing. Anyway. The reason
I remember it's so vividly is there's a bit where
(33:07):
Patrick McNee who's also in it. And it's far the
world as Sir Godfrey Tibbett and Roger Roger Moore creeping
around Christopher Walk and stud Farm dressed thirty years too
young for themselves. And my dad leant over and said,
if the Secret Service is in the hands of these
buggers sort of god Old.
Speaker 4 (33:28):
And I've never forgot there, And it's it was the
it was the writing was on the wall for Roger
will but also for James Bond as a family experience.
Speaker 1 (33:40):
That's fucking great breed.
Speaker 2 (33:42):
Yeah, terrifying.
Speaker 1 (33:43):
I was absolutely terrified. Yeah good, I love it. And
also it seems a film that might be my answer.
Like I've read, it's not a critically loved film, which
I find.
Speaker 2 (33:54):
No obviously it wants to be Oliver. But the songs
are pretty forget but apart from Thank You very Much,
which is a master But it's beautifully made and it's
probably quite moving and really scary that the Ghost to
Christmas yet to come, but probably is the scariest one
next to the Muppets.
Speaker 1 (34:13):
Yes, I agreed, and it's yes, it's my second best.
Screw it's fucking good. What is the film you most related?
Speaker 2 (34:23):
Oh? Yeah, and it's funny because you said, e G. keV.
Well it's keV, It's I'm from the Northeast and I
on Monday last I was in Durham University Durham Cathedral
getting an honorary doctorate from Niversity. I am in my
third I am I am now doctor, doctor, doctor, which
(34:46):
is great.
Speaker 1 (34:46):
Doctor.
Speaker 2 (34:48):
Yeah. I feel like a parent curtain. But and my, my,
my English teacher, mister Pleesdale was there to see it,
and I was talking to him about the fact that
he is. They used to show us, you know, films
at school and I remember when they showed us Kaz thinking,
why are you just showing us a live feed of
our life? I mean it wasn't quite as brutal as that,
(35:14):
but so much of it, And that's one of the
reasons it's still so brilliant that obviously Brian Glover is
the hateful pe teacher was just just iconic but also
terribly familiar. But just that whole, the whole atmosphere of
that school. Do you remember the headmaster's called mister Gryce
brilliantly and he was a real I think he was
a real teacher and he canes them on their hands.
(35:38):
Remember for real, that's why. But I just thought it's
a beautiful piece of work of Coss what you said,
But it was so it wasn't like watching some sort
of escapist said today, but it was just like it
was just like life.
Speaker 1 (35:49):
I've talked about it on this podcast, but I am
obsessed with kaz as A as a children's film that
it's like the message of Kez is kill yourself. It's
so depressed that it ends with the bird. The bird
is in the bin. Yeah, it's not just dead, it's
(36:10):
in the bin, dream crushed.
Speaker 2 (36:15):
Yeah, in the bin. Yeah, that's tell. It was strange
story as well. David the Great David Bradley, not Die Bradley,
but David Bradley, the actor was doing a play once
and he got a bone stage door from David Bradley
from Kes, who he said obviously had his manager next
to him saying you've got to change your name, and
(36:37):
David David and then he became Die Bradley. So that's
that story. Yeah. Maybe maybe ken Loach is a sleeper agent,
and it was it was an attempt to make the
working classes commit suicide to lower numbers. Maybe he's not what.
Speaker 1 (36:57):
That's a depressing such pressure. What is the sexiest film
you've ever seen? What is your sexiest film?
Speaker 2 (37:07):
I've said, I would say in the Mood for Love,
which I didn't know, and then my friend Julian Ryan
Tuck it was absolutely exquisite, isn't it. I think I love.
I'm a great stucker for anything where it's just about
longing and that that seems to me very much sexier
than you know, the last time going Paris or Yes,
(37:29):
it's just it's full of unspoken designs that I find that.
It's a difficult to say though, because I mean, but
I can tell you that this I'll shave into your
inappropriate boner question.
Speaker 1 (37:39):
Okay, traveling, but.
Speaker 2 (37:41):
In a way, you see, I had, you know, everyone
everyone has unusual sexual awakenings from films and stuff like
TV program but I had a very specific thing, which
was again horror related, which was that where I'm from
the northeast of Saying, the tiny Ty television used to
have a Friday night horror film Appointment with Fear it
was called, and I was mostly left on my own
(38:05):
to watch between probably about the ages of ten and fourteen,
just left on my own, and when I was about
twelve or thirteen, the horror The Appointment with Fear was
off for the summer, but I just still stayed up
and it said in the Northern Echo it was Linday
Anderson's If five Stars Don't Miss, So I stayed up
and watched it. And the film starts with these public
(38:27):
school boys coming back from their holidays and this extraordinarily
beautiful young man with long blonde hair is sort of
mincing down the corridor and one of the prefects cracks
him across the back with his cane and says, stop
tarting film, and my heart just started pounding. And there's
a vague gay subplot through the film. But I remember
(38:50):
I watched it in a kind of panic that someone
would come downstairs and somehow see it, you know. But
it was so exciting. It was so exciting. It was
like accidentally being a portal opening onto the adult world.
So that's probably it. I suppose how old were you then,
Do you remember forty eight? I was. I was about
(39:14):
about twelve twelve, Yes, So probably in a way that's
the sexiest film because it meant it was just it's
amazing sensory overload that film. Anyways, it's still I think
it's very of its time and it's still got some
real power. But that for me was the thing was
it's just like it was just thrilling. The idea was
(39:34):
just on the telly like that.
Speaker 1 (39:35):
Yeah, also ends with a school shooting, weirdly like as in.
Speaker 2 (39:39):
He does Peter Jeffreys shot in the head by by
Marco Madowell in.
Speaker 1 (39:45):
The Move for Love is also a sexy film. It
is all longing and it is all no one taxing.
But they're also really fit. Really, they're two very fit.
Speaker 2 (39:56):
I don't think that's a bad thing.
Speaker 1 (39:58):
I'm saying it's a classy answer, but it's also it's
a very sexy looking people yearning. Yes, it's a sexy
ast film. What is objectively the greatest film of all
time might not be your favorite, but if aliens came
and said what is cinema? You would show them this
(40:19):
as the best.
Speaker 2 (40:20):
I thought a lot about this because it's difficult. I
think every now and then Citizen Kane has knocked off
the top because people are sick of saying it. But
then that's stupid because it's obviously brilliant as is to go.
But I think for me it's probably The Adventures of
Robin Hood Michael Kurtiz.
Speaker 1 (40:41):
That got knocked off the list, that was on the list,
that was on the list forever, and then it's not
on the Listen.
Speaker 2 (40:47):
You know, it's too popular. It's brilliant, It's what. It's
the most wonderful piece of escapist fun. It's absolutely beautifully made.
Everyone's at the top of their game. All Flynn, Needy James,
can you believe I couldn't be better? Buzza rough but
amazing clod Rains, Olivia de Havlund, technicolor, beautiful thing, brilliant
(41:09):
score like corn gold. It's called The Lots. I watched
about twelve times a year.
Speaker 1 (41:16):
And this is Isn't it also a lot of the
Disney Robinhood that we all had our sexual awakening. Yeah, yeah,
it's from that.
Speaker 2 (41:23):
I want to drill down into this Disney section. Wait
was it was it a hiss or was it Madam
Clock or whatever?
Speaker 1 (41:30):
It's made. It's it's fox Foxy made, Mary, Foxy Marion.
But also I mean they're they're both very sexy foxes.
Speaker 2 (41:39):
Yeah, yeah, you can't be denied. The thing that's really
missing is you never see them going through the Bins
that would be really good, probably properly vulpine behavior.
Speaker 1 (41:57):
What is the film you could or have what's the
most over and over again? And is it?
Speaker 2 (42:03):
It's probably yeah, or it's probably Theater of Blood, which
is one of my absolute favorite horror films, obviously as
a comedy horror as well. It's that rare thing because
it is very, very funny and it's very scary and
properly special. But I think probably the film I've seen
the most is Billy Wilder's The Private Life of Sherlock Holmes,
(42:25):
which I think is probably overall my favorite film of
all time. I could watch that till the Cows Come Home,
and I have many, many times, and it's so long.
Answer it is half the length it was supposed to
be the version which everyone knows is a masterpiece, but
it was twice as long. And the footage of one
(42:46):
of the other cases exists but no sound, and the
sound but no footage for the other one. So it's
kind of perfect because it will always be magically incomplete.
Speaker 1 (42:56):
Have you seen these Seen and Heard?
Speaker 2 (43:00):
Which is an incredible thing because it's like it's like
seeing it, like suddenly getting an extra half hour of
you know Godfather too. Just I can't believe it. But weirdly,
although Wilder was forced to make these cuts, and he
never talked about the film after it came out because
it was so painful to him. But it really it's
probably the bright idea because it's it focuses that the
(43:21):
whole thing is that it's a beautiful thing. You've never
seen it, then do. It was a huge influence on Sherlock.
The tone of it is absolutely marvelous, completely gets Sherlock homes.
But also it's very playful and funny at the same time,
and very very melancholy. But I screened it a good while,
a long time ago, now the height of Sherlock's fain.
I screened it at a little literary festival and I
(43:43):
did a big speech beforehand about how sad it was,
and then Stephen Lies sat down to watch it, and
the whole room was falling about, and I thought, oh, gosh,
I've slightly forgotten how funny it is, you know, convinced
because it's such a good film. Yeah, yeah, it's really
really marvelous.
Speaker 1 (43:58):
I have not seen that to my shy And now
I wonder, what's the worst film you've ever seen. Let's
not be too negative, but what's the worst film you've
ever seen?
Speaker 2 (44:06):
Is hard? Is it? Because there's some of this libelist.
I've just left a blank because I didn't know what
to say, because I know what I'd like to say,
but we could say it and then we could coat
it out. But what can we do about that? Because
then you would have an answer.
Speaker 1 (44:19):
I'll tell you what a lot when we get to
the to the Patreon and you have to tell a secret.
If you don't have a secret, you can tell us
what the worst film was.
Speaker 2 (44:26):
Then Patreons will leak and then I'll be had up
for criminal libel.
Speaker 1 (44:31):
Well, you know what, Listen, you're a creator and a
creative and I respect it, and you don't have to
answer this way, but you can tell me and we'll
cut it out. We'll tell me at the end.
Speaker 2 (44:41):
I'll tell you the end.
Speaker 1 (44:43):
Okay, you're in comedy, you're very funny. What's the film
you're an award winning comedian, for god's sakes, what is
the film that made you laugh the most? Actually laugh
out loud.
Speaker 2 (44:57):
I can't say because it's airplane, it's obvious, but I
can say that I think the most I've ever laughed.
Actually was watching Police Squad on a plane, so it's
airplane related to it's the Beginning's air plan, yes, but
the steward has had to come over and ask me
to be quiet because I was like, I couldn't stop laughing.
(45:17):
I just watched the whole you know, it's only about
six then. I just watched them back to back and
I hadn't seen them for years, and I just it
was just marvelous. I mean, sometimes it's oxygen deprivation, isn't
It makes you be a bit funny up there, But
I remember very really. I think probably I think the
funniest and cleverest and best comedy is Life Brian Are.
I think it's not only their masterpiece. It's just and
(45:41):
everything comes together, but it's really about something, and I
think it where no one ever seems to talk about
that part that the People's Front of Judea sched, which
is about seventies leftist politics, is exactly the world we
live in now. It absolutely is about splitters and you know,
and people getting acronyms wrong and being afraid to say
(46:04):
the wrong thing. It's incredibly foresighted. It's all there. It's brilliant,
and then there's a bit I always love when Brian
Green says I'm not the Messiah. I'm not, and Please
says yes you and I should know. I followed a
few and there's such because it's John Please. There's such
actual genuine fury, and I don't know. I remember it
(46:24):
was seeing that as a fourteen year old, thinking, you know,
there's something deep in all this.
Speaker 1 (46:29):
It's very, very clever. It's really deep. And I have
a thing I talk about, like Holy Grail. I get
upset at the end of the Holy Grail that it
all kind of falls apart, and it's like, you know,
because it makes me feel stupid because I've invested emotionally,
I've invested in the story and I actually sort of
care about this story resolving, and it doesn't. It just
(46:53):
still falls about ha ha ha, And I go, oh, well,
now I feel dumb because I care, you know what
I mean? Interesting and with life, Brian, it's such a
complete I think it is profound and that ending is deep.
Not only is it fucking sad, but then they always
live on the bright side of life. All jokes aside.
That is a fucking profound ending.
Speaker 2 (47:14):
I think absolutely, that's exactly the word to use. It's
a profound film and also as glorious as to Gray is.
It's like they'd all worked out what to do. It
is a complete experience. It's absolutely brilliant.
Speaker 1 (47:28):
It's brilliant and so well made and looks and it's fantastic.
Oh but wait, one last thing on Police Squad. I
think I laughed the most when I was younger. I
remember pausing it, rewinding it, pausing it, rewinding it. Maybe
my favorite, most I've ever loved maybe is it's an
end credits of Police Squad. The last scene of the episode.
He goes he's pouring him a coffin and he goes
(47:50):
great case clothes and he goes say when Frank, and
he goes wet and then he goes in them.
Speaker 2 (47:58):
I love so And now Liam Neeson's doing it going
to be like strange, strange. I understand the logic because
he is. He is this sort of granite faced straight man.
But Leslie Nilsen is just so particular. He played that
for real for years and that's why he's so perfect.
Speaker 1 (48:22):
We'll see Mark Gatis, you have been beyond the delight. However,
you're in your house, minding your own business. I was
dead well, hear me out, and the professor of assassin
he's in the apartment opposite and he's ad a snopra
on you for three days now. But you're quite nimble.
(48:42):
You've been moving about quite quickly, quite quickly. Then he
stopped to look at one of your awards you picked up,
and you were just admiring it as you do. And
as he turned, he shot you in the neck, back
instant dead. Suddenly at home, dead in the neck. I'm
working with the coffin, you know what. I'm like, I'm
not going to do this market and said, yeah, it's
(49:03):
just upset that I did hear a bang. I come upstairs.
Oh god, you're absolutely dead. Blood everywhere, all sorts of stuff.
I'm not fucking know. I'm having to sort of get
your stuff. You in the coffin. There's more of you
than I was expecting. Coffin is absolutely full. There's only
enough room in this coffin for me to slip one
DVD into the side for you to take across to
the other side. And on the other side it's movie
(49:23):
night every night. What film are you taking to show
while you eat crystallizes ginger and chocolate in heaven when
it is your movie night, mister Mark Gatis.
Speaker 2 (49:31):
First of all, don't they have Blu rays there? Because
why do? I? Okay, just DVD?
Speaker 1 (49:37):
Yeah, well, okay, to be honest, the rule actually is
you take the DVD, it goes out there and then
God converts it into thirty five million. It's it's projected.
Speaker 2 (49:46):
Well, we're fine. I would probably, yes, I would probably
take Billy Wilder's The Private Life of Sherlock Holmes, which
I see probably more than anything else and is a sore,
endless delight to me. It's kind of got everything I think.
So I don't think I'll ever get sick about even
in eternity, and I can then hut you know them
(50:07):
a little an interview with Robert Stevens and Colin Blakeley. Yeah,
special podcast with Billy Wilder.
Speaker 1 (50:13):
It's got great. Yeah, so great. Mark. Would you please
tell everyone about Bookish and other things that you have
coming up?
Speaker 2 (50:21):
Oh? So I have written created my own detective series.
It's called Bookish, which is set in London in nineteen
forty six, and I play an anti quarian book dealer
called book who solves crimes on the side, but he
is also a gay man in a lavender marriage with
his childhood best friend played by Pollie Walker Bridgeson, and
(50:43):
we solve crimes together. I've always loved murder, mysteries and detectives,
and I always wanted to play the detective. So this
is a really dream come true and we've had a
brilliant time doing it. Shot it last year and amazingly
it's been recommissioned before it goes out. I started shooting
the second series next month between August and something.
Speaker 1 (51:05):
Can you write all of them?
Speaker 2 (51:07):
So I wrote the first I created it. I wrote
the first one, and then I co wrote the other
two stories with Matthew Sweet and then and then the
second series sort of similar arrangement. First one and then
the second one is written by me and Matthew, and
then the third one by me and my partner Ian.
So that's our and if we carry on, I shall
(51:29):
work my way slowly through the nineteen forties because it's
it's the best decade for British film, but also fantastically
under examined period. It's very interesting. We're all obsessed with
the war, but after the basically athletes Britain radical, the
most radical government we ever had, foundations of the welfare state,
the NHS, but also the world was completely upside down.
(51:52):
It's full of displaced people who didn't know what to
do with themselves, and it's a fantastic breeding ground for crime.
So it's a very un very unusual setting and it's
lovely to sort of play in that playground.
Speaker 1 (52:04):
And you're on the cover of the Radio Times and
the TV Times like you are Christmas.
Speaker 2 (52:09):
Yeah, I am well in a way, Yes, Albert Finnie
has come back to hot I know it's amazing. That
is genuinely a childhood dream come true. I can't believe it.
And buy some weird quirk if you see it, if
you can find the TV the TV Times for some
really weird reason, because you know, there are always two
packs now with different special offers and things. For some reason,
(52:32):
this week's is quite uncluttered and therefore looks like it's
a TV Time from about nineteen seventy three, and that
couldn't be more. It's on You and Alibi, which is
available through Virgin Sky and now TV, and then once
it's on I think it becomes a kind of streamable
(52:52):
box set and then you know.
Speaker 1 (52:55):
Was it the first time you've written with your partner?
Have you written before it is.
Speaker 2 (52:59):
The first time. Yes. Ian's always been my kind of
unofficial script editor, and especially with murder mysteries, we always
just if people could overhear us walking the dog. It's
like under the Christie where people overhear ways of violently
killing people and thinking someone is going to get knocked off.
It was great, it was great. Yeah, it's it's but
(53:20):
they're very they're difficult mysteries. They are fiendishly difficult to
crack because you want to be you want to be novel.
But equally, the furniture of the thing is why a
lot of people watch it because it's like it's comfortable,
isn't it. But I didn't want it to be cozy.
I wanted to have a bit of bite to it,
you know, so hopefully people like it.
Speaker 1 (53:40):
Do you work backwards? I have no idea.
Speaker 2 (53:44):
Yes and no. I mean the true yes, you can.
You can work out a murder and then try and
cover it up. But the biggest challenges, genuinely are trying
to make the clues. You have to play fair with
the audience this year, trying to make the clues present,
but not too obvious and not too obscure and genuinely.
A big one which people talk about is motive. You know,
(54:05):
why would anyone bother killing someone when you could actually
just not reply to their letters or you know. It's
a big one, and some part of it is contained
in the rules of the genre. You well, it has
to be slightly heightened because people don't get murdered in
that way. It never happened for very very very rare.
(54:25):
But at the same time, you do want to feel
like there is a there is sufficient motive to do it.
That's interesting, very interesting problem to try and crack and
to constantly you revise and reinvent.
Speaker 1 (54:38):
I'm very excited to see it Wednesday sixteenth, it comes
out and then it will be available you and Alibi Sky,
Virgin Sky, TV, Now TV.
Speaker 2 (54:47):
Yes and everywhere and everywhere.
Speaker 1 (54:50):
I like you very much. Thank you for doing this.
Speaker 2 (54:52):
Thank you real I think, I think I may love you.
I may love you.
Speaker 1 (54:57):
I love That's good a thank you very much. Goodbye.
So that was episode three hundred and fifty nine. Head
over to the Patreon at patreon dot com Forward last
Great Gold's team for the extra twenty minutes. Of Chat,
Supers and Video with Mark Guy Chapple Podcast, give us
five star rating and write about the film. That means
a bos to you and wy it's a lovely thing
to read it ols with Domberson was really appreciate it.
Thank you very much. I hope you're all well. Thank
(55:19):
you for listening. Thank you to Mark for giving me
his time. Thanks to scrubys pivoting the Distraction Pieces Network,
Thanks the Buddy Peace for producing it. Thanks to iHeartMedia
and Will Ferreo's Big Money Players Network first to get. Thanks
to Adam Rigon for the graphics and he's laing for
the photography. Come and join me next week for another
incredible guest. But that's it for now. I hope you're
all well. Thank you all for listening. In the meantime,
have a lovely week, and please now more than ever,
(55:40):
be excellent to each other.
Speaker 5 (56:00):
Face bass Back Products that colls a sad products, a
safe product that costs produce bats Back Prod thats a
sad products.
Speaker 2 (56:14):
Bass Back
Host
Brett Goldstein
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