January 24, 2024 • 37 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 wonderful actor and film-maker VINCENT D'ONOFRIO!
Vincent makes for a fascinating episode right here. He took the valiant step of going in on instinct, which often leads to late night cold sweats of "NO I forgot to mention Star Wars!!" after recording. But Vincent delivered above and beyond, and was a really enjoyable and witty presence all the way through. You'll know his work from early roles in Full Metal Jacket and Men In Black (and just so many more - glance the IMDB), and recent turns in Dumb Money, Echo and Hawkeye - and even if not, just trust that you'll dig this one. A warm and fun listen. 10-4, good buddy!
Video and extra audio available on Brett's Patreon!
SUPERBOB (Brett's 2015 feature film)
DISTRACTION PIECES NETWORK • FACEBOOK / INSTAGRAM
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 how it's only films to be varied with Hello
and welcome to films to be buried. Which My name
is Prett Goldswin. I'm a comedian, an actor, a writer,
(00:21):
a director, a Gallagher brother, and I love film. As
Paolo Quelo once said, don't waste your time with explanations.
People only hear what they want to hear. Someone could
take the time to explain Marlon Drive to you, but
you'd still insist it makes no sense. You have to
let it work. It's magic on you. Why do you
keep resisting it? Every week I invite a special guest.
I tell them they've died, and I get them to
(00:42):
discuss their life through the films that meant the most
of them. Previous guests include Barry Jenkins, Kevin Smith, Sharon
Stone and even Bled Dambles. But this week it's the
fantastic actor, writer and director mister Vincent Dinofrio. Get over
to the Patreon at patreon dot com forward slash Brett Goldstein,
where you get an extra fifteen minutes of chat with Vincent.
(01:04):
He tells me a secret. We talk about beginnings and endings.
There's all sorts of things going on. You also get
the whole episode, uncut, adfree, and does a video. Check
it out over at patreon dot com. Forward slash Brett
Goldstein so Vincent Ginofrio. So Vincent Ginofrio is an amazing actor.
You know him from Daredevil and Echo and Laura and
Order Criminal Intent, and from Full Metal Jacket and from
(01:26):
being very funny in the Breakup. We never met before.
We recorded this on Zoom a few days ago. He
didn't know the show, so he didn't know the format,
but my god, did he get it quick. He was
absolutely brilliant. He was so funny, and I really think
you're love this one. So that is it for now.
I very much hope you enjoy episode two hundred and
(01:47):
eighty three of Films to be Buried With. Hello, and
welcome to Films to be Buried With. It is I
Brett Goldstein, and I am joined today by an actor,
(02:07):
a writer, a producer, a director, a Full Metal Jacketer
and Ed Wooder, a man in Blacker, a Laura and Orderer,
a dead devil, a breakuper, a magician, a hero, a legend,
a drama, a comedy. The man. He's here. Can you
believe it? It's true? It's really here. Please welcome to
(02:27):
the show The Brilliant.
Speaker 2 (02:30):
Oh my gosh, oh my gosh. Okay, thank you, thank you.
It's so good to be here.
Speaker 1 (02:37):
Very nice to meet you, Vincent. Thank you for doing
the show. I appreciate it. Where are you and what
are you doing? And why?
Speaker 2 (02:44):
I'm in my apartment in Williamsburg, Brooklyn, New York.
Speaker 1 (02:49):
And are you working on something at the moment you
can tell us about that.
Speaker 2 (02:53):
I am in deep prep for the new Daredevil series
that we're about to start.
Speaker 1 (02:59):
Fantas can I ask what it is like to do
something I assume you have loved and then there's been
a very big gap, right, how do you feel about
going back to it? Is it like exciting and im
a weirdo or nostalgic or how does it feel.
Speaker 2 (03:13):
It's a character that I've played often now, so it's
this will be so is the original Daredevil and then
Hawkeye and then Echo. So this is the fourth, okay,
series I've done playing Fisk, which is it's a strange thing.
That's something that I've never done before in my career.
I've played the same character in the same series for
a long time, but I've never played the same character
(03:36):
in four different series for a long time, so it is,
it is odd. And with Marvel, you know, they have
so many creatives over there that it's like, you know,
it's always it's going to be a different writer, it's
going to be a different conceptual team and directors, and
so you know, even though it's under the same banner,
same umbrella, it's it's always slightly different. So it keeps
(03:58):
you on your toes for sure.
Speaker 1 (04:00):
Yeah. Do you feel you've changed, like how you play it?
Has it evolved for you yourself as actor or is
it in something you feel very comfortable even slip in?
Speaker 2 (04:10):
Yeah, I mean I think it evolves. First off, as
you know, my job as an actor is to service
the story, and so each each series has been a
different story. They're connected, but they're different for the reasons
I just said before, and so so yeah, so my
job is to service that the best I can, and
so I try and do that. And then personally, there's
(04:33):
certain projects that have a more comfortable tone where I
think my character fits better in and I think that
the last series I did Echo, my character really fits
in that kind of adult tone. And in the Daredevil
series that we're starting now, like the original Daredevil where
it all started. It also has an adult kind of
tone to it, which I think my character fits best.
Speaker 1 (04:55):
Yeah, because you also did you have played? You did
Laura and Order you did for like nine years, ten
years exactly.
Speaker 2 (05:00):
Yeah.
Speaker 1 (05:01):
Yeah, Wow, you're you're You're you commit, you really commit.
I also think that you are very underrated as a
comic performer, and I think you in The Breakup is
one of my favorite comedy performances. I think you're so
funny in that film. And I really love that film.
I think that's like a real gem and you're funny
(05:22):
in it, and you're so funny in such an unusual way,
like it's quite hard to work out. I just remember
being like, this guy's fucking funny. I really like doing
that thing.
Speaker 2 (05:30):
Yeah.
Speaker 1 (05:31):
Do you like doing comedy?
Speaker 2 (05:32):
I do? I do very much. I like physical comedy.
I had a blast doing The Breakup. I had a
blast doing them in black, like I do like that
kind of stuff.
Speaker 1 (05:41):
Yeah, yeah, well, I think that's what I think you
should be doing more with that. I'm gonna have a
word and I read that if I may, if I may,
and forgive me because this might not be true because
it's on Wikipedia. But that you're a magician or you.
Speaker 2 (05:54):
Or I was when I was a kid. Yeah, for sure?
Speaker 1 (05:57):
Really is that? Do you still have these skills?
Speaker 2 (05:59):
I have some skills, Yes, I did. They never work
on Zoom, though they work live much better.
Speaker 1 (06:10):
Okay, well if we.
Speaker 2 (06:11):
But yeah I do. I do. I know of some
really amazing card tricks that were taught to me by
other incredible magicians. And I know some Yeah, I know
how to do illusions and all of that stuff. I
started when I was thirteen. I started reading books. There
was a Cuban family that moved into our neighborhood and
down in Florida, and this little town that I lived
in at the time, it was a little town. Now
(06:32):
it's a big place called Highlia, Florida. And this this
Cuban couple moved into the next to the wind Dixie
shopping center and I met them the first day they
were open, and I didn't you know, we were poor,
so I didn't have the money to buy tricks. But
I befriended the couple and they used to give me
instructions and they would lend me the instruction so I
(06:55):
would go build this stuff on my own. And he
turned me onto some books and I read a Houdini
book that had the actual workings of the mail bag
escape that he did. And so my mother's dream was
to have this small, little kidney shaped pool in her backyard,
and she finally got it somehow by saving her waitress money.
(07:17):
And I practiced with my mom. I had a neighbor
who worked for a sailboat company made me the mail bag.
And then my mother was a waitress. And all the
cops and firemen used to go to the restaurant. So
I had them over and I had live at five
over and they handcuffed me and they pushed me into
the swimming pool in my backyard and I escaped successfully.
(07:41):
And I was a working magician, and I was like thirteen, Yeah.
Speaker 1 (07:46):
That's fucking serious.
Speaker 2 (07:48):
Yeah, I know, but it was my first time. It
was my first experience those experiences as a young boy.
You know, we're obviously the first time was around stage,
and yes, it was good for me.
Speaker 1 (08:02):
Now, so you've got a load of cops and fire
fighters around, and they watched the thirteen year old boy
he drowned.
Speaker 2 (08:09):
Yeah, just just cops. So just just the cops came
over and yeah, I forget if it was two or
three pairs of handcuffs on me and then put in
the mail bag. It pulled with the chain and locked
and then pushed me in. But I had, you know,
we had made sure that you know, they knew, they
understood that it was not it's not wasn't dangerous at all.
Speaker 1 (08:31):
That's pretty impressive, Vincent. I've forgotten to tell you something.
I know we've just met, and I should have probably
told you at the beginning, but uh oh yeah, I
just have to. I just have to say it. You've died.
You're dead dead sorry, okay, yeah, okay with that, Yeah,
how did you die?
Speaker 2 (08:51):
It's well, I was on stage and it's ten years
from now though, oh wow, okay, which is wild itself. Finally,
I was doing leir on stage and I screwed up
one of my lines. I couldn't recall a piece of
dialogue and it made me. At first, I just thought
(09:13):
I was going to cough, but it wasn't a cough.
I think that the idea of not knowing my line
for the first time in my career ten years from now,
I think I was too old and too baffled by it,
and I just couldn't. I just stopped breathing. Oh my god.
Yeah yeah yeah, And then I had cardiac arrest on
(09:34):
the stage and I got a standing ovation because it
was the last act. Yeah yeah, yeah. But soon they
realized it wasn't part of the play, and several women
came on stage and carried me on.
Speaker 1 (09:48):
Wow, on there they carry you off on their shoulders. Yeah,
ham I was saying, oh god, that's beautiful.
Speaker 2 (09:54):
Well like a log. Yeah. I don't think haml was
carried off stage.
Speaker 1 (09:59):
But yeah, well in the film he is. And that's
the only the anything I've understood vaguely understood.
Speaker 2 (10:06):
This wasn't that romantic. This was basically yeah, there was
like several women. I think there was like seven of them.
I hear from other dead people.
Speaker 1 (10:15):
Were they in the play, these women or they were
just women from.
Speaker 2 (10:17):
They came up on stage. They were in the front row.
There were was some kind of women's league or something,
and yeah, yeah, yeah.
Speaker 1 (10:26):
That's beautiful. Where did they take you? They seem to
know where they were going, these women. Where did they
take their buddy?
Speaker 2 (10:31):
Just they took me right right down the block too,
to active studio. Wow, where the birth of my acting began.
And then and I'm still there. I'm still there.
Speaker 1 (10:45):
They buried you under it, or you're just rotting in
the middle of there.
Speaker 2 (10:49):
No, they never buried me. They just left me in
the garden. I'm in the garden.
Speaker 1 (10:52):
Right, right, So just sort of slowly getting sort of
rutting away in the garden of the actitute.
Speaker 2 (10:58):
Yeah, I'm next to the lie because the Strasbourg amazing.
A lot of people don't know that story. I mean,
it is ten years from now.
Speaker 1 (11:06):
No, but I tell you this, when it happens, people
will definitely talk about it for quite some time. And
I think a lot of what's also lovely, and I
think a real sort of gentleman gentlemanly thing about your
death is I think admissions to the actor studio, we'll
go through the roof. I think it'll be a real
uptick in applications, and that's because you're there, you know.
I think a lot of people be very excited to
(11:27):
be to learn at your feet.
Speaker 2 (11:30):
You mean literally at my feet.
Speaker 1 (11:32):
Yeah. I just think they'll be very like, wow, we're
so close to greatness, you know, and maybe some of
it will rub off on them, you know.
Speaker 2 (11:38):
Yeah. But what I'm confused about is that, well, I
do like the notion of people being at my feet,
but since I'm in the garden, yeah, yeah, you mean that,
that's well, they'll be literally at my feet in the garden.
Speaker 1 (11:53):
I think, like, I don't know the layout of the
actor studio, but I'm imagining people are going to class,
They're walking past the windows, They're looking at your rough
and corpse. They're constantly just their eyes are always drawn
to it. They're distracted in class sometimes because I just
want to look at you. And then in their breaks
and recess they go downstairs and they sort of just
hang around at your feet and just sort of sort
of try and breathe it in and hope to sort
of pick up some of the magic.
Speaker 2 (12:15):
You know. It's so touching. Yeah, it's so touching. I
actually started to get emotional just.
Speaker 1 (12:21):
I think it's it's a really I'll be honest. I've
done this show a while. That's one of my favorite desks.
I think that's very romantic and lovely.
Speaker 2 (12:28):
I just have to say that when you see me
in the garden, though, I still have the expression of
not being able to breathe on my face. So they
put a planter close by my face so you can't.
It's not a great look.
Speaker 1 (12:40):
So so there's a there's like foliage around your face.
Speaker 2 (12:44):
Yeah, yeah, but my feet were very clean.
Speaker 1 (12:46):
Oh, I know, which was strange. You played lea barefoot,
I remember, but your feet were just pristine. It was
a real interesting choice. He was going mad, but he
kept his feet clean. It was interesting. It was beautiful.
And see the best performance of lir I've ever seen,
and the best ending. I think I killed it. Yeah, yeah,
you fucking killed it. Do you do you worry about death? Vincent?
(13:09):
Is it a thing you concern yourself with?
Speaker 2 (13:11):
I worry about that particular death, but yeah, no other, no,
other particular death. I don't like the death of others.
Need too, that bothers me.
Speaker 1 (13:22):
Yeah, I think that.
Speaker 2 (13:24):
Yeah, it sucks other things, other people in that context,
death sucks as far as you know me. It's like,
you know, ten years from now, die on doing lyric.
It's like okay, like, okay, I get that, I get
it right. You'll be all right?
Speaker 1 (13:41):
Is there enough to life in your mind?
Speaker 2 (13:43):
There could be more ice cream?
Speaker 1 (13:45):
Mm hmm. Well I'll tell you what. I got a
surprise for you. There is a heaven and you'll go
into it. And it is filled with ice cream. It
is like one giant ice cream parlor. All the flavors,
Oh my god, favorite flavor, what's your favorite flavor?
Speaker 2 (14:02):
Rocky Road?
Speaker 1 (14:02):
Oh my god, you ain't seen this much Rocky road.
There's a man in the rocky road. You can eat
your way through it. It's rocky road everywhere, and other things,
flavors you never tried. Everything's there. Everyone's very excited to
see you, Vincent. They're very excited. As you arrive in Heaven,
they all give you a standing ovation for your leah
and they're like, we watched from up here that.
Speaker 2 (14:22):
Was in hand me, Like they hand your rose, isn't it?
Well I can't wait.
Speaker 1 (14:26):
Yeah, well you've got ten years so just you know,
made the most of it. But everyone in Heaven so
excited to see you. They want to talk to you
about your life, but they want to talk about your
life through film. And the first thing they ask is
what is the first film you remember seeing? Vincentinofria?
Speaker 2 (14:41):
So we're talking film, not TV show, right, correct? Yeah,
so it would have been to Tora.
Speaker 1 (14:49):
Oh shit, the driver never come up on this, but
the driving and the drive in Yeah, where was that?
Speaker 2 (14:56):
Flora? Nice Toro, Toro, Toro. I pronounced it wrong at first,
I said Torah, which is different, isn't it to Toro?
Maybe it's Tora. Anyway, let's talk about both of those
titles as if they're the same, dumb, so nobody is confused.
Speaker 1 (15:15):
You with Torah.
Speaker 2 (15:18):
In the car there was three people, Torah, Torah, and Toro.
Speaker 1 (15:24):
Right, yeah, great? Who was your favorite?
Speaker 2 (15:27):
Torah?
Speaker 1 (15:28):
Yeah? Good choice has to be hastivate some people. I think.
I also think that's like a thing that's changed with time,
because it used to be Tora that was everyone's favorite.
And I think that it's kind of like the changing
sort of political landscape, you know.
Speaker 2 (15:41):
I mean, well, you know how, you know how like
sometimes you make a choice too quickly and then you
realize that, you know what I felt rush, So initially
I was attracted to Torah, and then you know, I
realized that Torah was more interesting and that Torah the
other Torah had no significance whatsoever. So the Tora that
I liked was just a I think I was rushed
(16:03):
into it. I think Tora took over.
Speaker 1 (16:06):
Yeah, well the other the other tours. Sadly, it's like
no matter what age you are, that tour is not interesting,
you know what I mean, Like it does it like
the other two? It was? I think the first toy
you're like, yeah, sort of dazzled by, but as you
sort of revisit it, you realize there's more depth to
the other tourer. But the other tour is like sort
of dead, dead weight.
Speaker 2 (16:26):
Yeah. I don't even know whether there could be to Yeah,
it would have worked, It would have worked, would have.
Speaker 1 (16:32):
Worked, and it would have been tight, you know what
I mean, the whole thing, because because the film is
constantly trying to accommodate Tora, and you're like, we don't
need Tora.
Speaker 2 (16:41):
Yeah, I think they won't wait too far. And then
you know, there's Toro. Those three. I loved all three of.
Speaker 1 (16:47):
Those, flawless Toro, Toro and Toro. I defy anyone to
pick a favorite, because they're just wonderful in their own ways,
you know.
Speaker 2 (16:56):
Equally yeah and similar ways.
Speaker 1 (17:00):
Yeah, in their own, unique and identical ways.
Speaker 2 (17:03):
Yeah.
Speaker 1 (17:03):
So that's a good first film. Did it make you
want to be in films or just you just wanted
the case of the Tories.
Speaker 2 (17:09):
Well, it made me want to be Japanese and attack America. Right,
And I think that started my imagination really going. And
I think I just eventually saw Lawrence of Arabia and
I realized it's not all about being Japanese.
Speaker 1 (17:24):
Sometimes it's about being that.
Speaker 2 (17:25):
It's mostly about being English with blue eyes and belong hair.
Speaker 1 (17:29):
Yea, writing cameras.
Speaker 2 (17:31):
And even knowing that watching that film when I was
a young man, Lawrence of Arabia, the David Lean movie,
watching it, I knew that one day it wouldn't be
politically correct anymore. I used to think a lot about
that kind of stuff when I was an adolescent.
Speaker 1 (17:47):
Yeah, what is the film that scared you the most?
Do you like being scared? Vincent?
Speaker 2 (17:53):
I do like being scared? Yeah, the other? Do you
know that film? The Other?
Speaker 1 (17:57):
Not the the other singular?
Speaker 2 (18:00):
Now that confused me. Just then the other signies.
Speaker 1 (18:03):
Well I know the others, the others, which maybe is
the sequel to the other?
Speaker 2 (18:07):
No, no, no, no, no, the other.
Speaker 1 (18:09):
Okay, Okay, tell me about the other.
Speaker 2 (18:11):
It's about two blonde I think German boys or Austrian
boys on a farm. I don't know that film was
It was made in the early seventies. I believe that
was a very scary movie. Super scary. Yeah, what happens
in it? What did these boys do? Well, you you
never really know if there's one or two of them,
(18:31):
Like it's either one really fucked up kid or it's
too kind of screwed up gods. Right, So it's just
really scary. And you know, like there's one who's kind
of normal and then there's one who's like the bad seed.
And I remember him not liking I want to say
(18:52):
it was his mom. I hope it wasn't his mom.
Somebody He put a pitchfork in the bail of hay
in the aren't because he knew that she used to go,
like to go up there and pull around with some
guy and they would jump into the bail of hey
when they were done, after they finished their deal in
the loft space of the barn, and they jump into
(19:15):
So the pitchfork was propped up underneath the hay, so
that one yeah, sh yeah. And that was either done
by one or both of.
Speaker 1 (19:24):
Them, either one really fucked up kid or two slightly
fights up kids. Yeah, Jesus, really scary.
Speaker 2 (19:31):
Yeah, Yeah, I mean I don't know, like that that
had a huge effect on me.
Speaker 1 (19:36):
Ye, did it change the way you were in buns.
Speaker 2 (19:40):
Well changed the way I jump out of lofts into hey.
Speaker 1 (19:44):
For sure, Yeah, you don't forget that. Lesson, what about crying?
What's the film that made you cry?
Speaker 2 (19:49):
The mist Old Yell? You're right?
Speaker 1 (19:53):
In the human.
Speaker 2 (19:56):
Such a fucked up ending. Why would they end a
movie like that? I believe that they would end like that,
films like that.
Speaker 1 (20:03):
I did, Yeah, I go, who is this for?
Speaker 2 (20:05):
Yeah?
Speaker 1 (20:06):
What are you doing? Why does this have to happen?
Speaker 2 (20:08):
And you know, and to sell it to dog lovers,
do you know what I mean?
Speaker 1 (20:12):
Yeah?
Speaker 2 (20:12):
Yeah, yeah, that's right. Hey, it's a film about old Yeller.
You know, all you dog lovers. Yeah, you know. And
then fucking hell, the way it ends is so brutal,
it's just wow, okay, yeah, you know.
Speaker 1 (20:27):
Sometimes you read these things where they say like, oh,
but these things teach kids about death, and it's good
for them to learn about death. My friend said once
when her when her dad died, she said to me,
I realize now that Bambi and all these kids films
where the dad did in no way help me. Like,
at no point we're like, oh thank god, I saw
oh Yeller, I'm fine about my dog dying. These don't help.
Speaker 2 (20:50):
No, but it does make the point. Maybe they should
make more movies about dad's time.
Speaker 1 (20:55):
Yes, I feel like there's quite a few, though, I
feel like I've seen a lot, and I still don't
love the idea, you know what I mean?
Speaker 2 (21:01):
Trying to think of the last movie I saw where
the dad died.
Speaker 1 (21:05):
There's a dad dying genre, surely. Well, yeah, maybe you're right.
Maybe they've stopped. Maybe they've stopped killing dads in films.
Speaker 2 (21:12):
Well, I think that's probably why she was so effective.
Speaker 1 (21:14):
By her dad's Yeah, right, we need to sort of
get back to making dead dad films. Yeah, well, we've
got some work to do, that's for sure. What is
the film that you love unconditionally but critically it is
not acclaimed. Most people think it's shit, but you think
they're idiots.
Speaker 2 (21:34):
Wow, that's a really tough one. Well, I don't know.
Do people like Tremors?
Speaker 1 (21:40):
It's fucking great Tremors.
Speaker 2 (21:42):
Yeah, so that's that can't be wrong.
Speaker 1 (21:43):
I think people do like it. But I know why
you why you've picked it, and and if if you want,
I would allow it because it looks like a film
that's not good, but it's really good.
Speaker 2 (21:53):
But it's really good.
Speaker 1 (21:54):
Yeah, yeah, yeah, there's now three three hundred Tremors films
and a TV.
Speaker 2 (21:58):
Series and Kevin Bacons in it. Yeah, he's great. Yeah.
Speaker 1 (22:02):
What about the other side of it? A film that
you used to love but you've seen recently and you think,
I don't like this anymore.
Speaker 2 (22:08):
I hate when that happens. It does happen, though, you know,
some films just don't hold up. I saw Arthur, and
Arthur is still half of it is still really really funny,
and then it's you're just waiting for it to be over.
But it's really him Dudley Moore that keeps you going
(22:30):
for half of the movie.
Speaker 1 (22:31):
Yeah. Yeah, that's a good answer. I imagine that's very dated.
I haven't seen it in a long time. There's one
for you. What's the film that means the most to you?
The film itself might not be any good, but the
experience you had seeing the film will always make it
special to you. Eed a first date.
Speaker 2 (22:50):
Just hang on a second. So you got very excited
when you said that last thing you sat up, you
projected a little bit more. It's like tickets for all
of our you know, like you were, I mean selling
tickets on the West End or something. Tickets for all
of us, tickets for all of us. You know what's
what was the question?
Speaker 1 (23:09):
What you got distracted by the vibe?
Speaker 2 (23:13):
I was just so like, Wow, I got to get
a ticket for all of them?
Speaker 1 (23:16):
Yeah, right, right, right, Well, the question is what's the
film that means the vice to you because of the
experience you had seeing the film e g. First Date
with a loved one in.
Speaker 2 (23:28):
That Cowboy go On for what I had never seen
anything that honest and raw before. And there was all
this stuff where I was living in New York as
a young actor at the time, and even though it
was made by an English director British director, you could
smell New York in that movie. And I just I
(23:50):
was at the right age. I was in the right
place in New York, starving, you know, like like all
the other artists, like sleeping in Central Park with my
legs wrapped around my ten speeds so nobody would steal
it sometights, you know, like stuff like that. And and
then it had like these incredible performances, and it had
(24:10):
this kind of this world of forty Second Street, that
area of how it used to be back then. Now
it's sort of like a kind of dirty Disneyland, but
it's back then. It was like literally like it isn't
in My Cowboy, and the homosexuality in it was the
first time I had seen that in the movie, and
that was a big deal for me. Like I'm like,
oh my god, you can get this raw in a movie.
(24:32):
You can get this real in a movie. You can
be an actor and play parts like this. You know.
It's like that was That's why.
Speaker 1 (24:42):
That's a pretty great onset.
Speaker 2 (24:44):
Yeah.
Speaker 1 (24:44):
Perfect.
Speaker 2 (24:45):
I matched your excitement.
Speaker 1 (24:47):
Yeah, you did. You know what I was like, He's
selling tickets for forty second Street. I was like, oh shit,
here we go.
Speaker 2 (24:54):
Yeah, exactly, Yeah.
Speaker 1 (24:55):
I'm buying I'm buying one for the how the Women's
commit just in case he drops dead.
Speaker 3 (25:02):
And a row for the a row for the Women's League. Yeah,
the whole roll of them. They're very excited. What is
the film you must relate to? Is there a film
you relate to?
Speaker 2 (25:14):
Yeah? Of course, Wow, I think Sound of Music.
Speaker 1 (25:17):
Which which character Maria?
Speaker 2 (25:21):
Yeah?
Speaker 1 (25:21):
Right, because you're an inspiration.
Speaker 2 (25:25):
No, we just have the same octave in our voices.
And also, I don't know, you know, I want to
be surrounded by Austrians in little outfits like come on,
it does fun you know what I mean though, Like yeah,
and to have some guy in the house named barn
something Bonds, Stroker or something like that, like something bizarre,
(25:47):
something inviting though, but bizarre and just you know, running
around in the fucking green hills and yodal and ship
the little outfit with you know, the suspenders and stuff.
Speaker 1 (25:58):
Yeah, and you want to live with that, I guess
want to live with a guy who's like warm, but
he also has a whistle, you know what I mean. Yeah, Yeah,
it's all funny guys, but I do have a whistle
and I will use it and that's dinner time.
Speaker 2 (26:08):
Yeah, and you know, like me and that cowboy, I
can smell that at house.
Speaker 1 (26:13):
Yeah, it's the realism. If that film is astonishing, I think, yeah,
it does feel.
Speaker 2 (26:19):
Do you feel like you're you're there in the little outfits? Yeah,
and you're like just just singing your ass off in
the hills. You know, the hills are alive, by the.
Speaker 1 (26:29):
Way, Oh they're terrifying. But also every time you're saying
good night, you never say good night, you sing it.
You know it's time time for bed, time for song
that's felt. Well, it's like a documentary, isn't it. I
can see how you feel about that. It's a lovely answer.
Speaker 2 (26:44):
Yeah, and you don't have to be Look, I just
have one more thing to say about this.
Speaker 1 (26:49):
Please.
Speaker 2 (26:50):
There's no right in the context of the answer to
your question. So you don't have to be scared about
the hills being alive, because it looked like you were
scared for a moment. So let me look. Listen to
my words. The hills are alive with the sound of music.
Speaker 1 (27:04):
Oh okay. I thought they they had like cannibal creatures
in them. They were the eyes. The hills had eyes
and they were gonna like eat. But that's not what's
living in them.
Speaker 2 (27:15):
The hills are alive with the sound of music.
Speaker 1 (27:17):
Okay, Okay, I feel better about it. Sorry, I freaked out.
That's on me. What's the sexiest film you've ever seen? Vincaid,
the sexiest film I've ever seen? That's a really good question. Thanks. Thanks.
Speaker 2 (27:30):
I mean, I know a lot of people think this,
but Paddington there too.
Speaker 1 (27:35):
Oh too. I mean I knew everyone felt that way
about the first one. No, no, what about the sequel? Well,
I mean, you either know or you don't know, I guess,
but yeah, I do. You know what. I think it's
because I was so spent after the first one. I
didn't I didn't think it could get sexier. But you're
probably right. Yeah, it's one of the few sexy sequels
that's more sexy.
Speaker 2 (27:56):
Well, if you ever do it, if you ever watch
both of them again, hydrate.
Speaker 1 (28:00):
After the first one. Yeah, you really have to be prepared.
That's a slug if you're doing that, if you're going
in a double bit.
Speaker 2 (28:07):
You know, there's also sea moss. You know that, right,
you can get jars of sea moss. Right, it comes
in like a gel in the jar, just so that
you you're not spent for the second one.
Speaker 1 (28:18):
Oh right, you just you just put it on there,
put it on you.
Speaker 2 (28:22):
No no, no you no no no no no no
no no no you you put it in your morning drink.
Oh you just mix it in with a tea spirit, Okay,
and it stays. It's it's really good to not I
don't know, without getting too specific, to not be spent.
Speaker 1 (28:38):
I'm order Someoneline. Now there's a sub category to this question.
I don't know how you take it, because I feel
like you've gone hard on the first. The subcategory is
troubling bonds worrying why dones. It's a film you found
arousing that you weren't sure that you should have. But
I don't know how how you feel about that, because
you're you know, proud of pasiging too, as you should be.
So I don't know what you're shamedful.
Speaker 2 (28:58):
One is oh, shameful one. That's tough. It's tough to
get shamed by a film.
Speaker 1 (29:05):
I mean if you don't, if all your bonus are proud,
I respect that, you know. Not everyone can answer this question.
Some people don't have troubling bonus. They're all good, you know.
Speaker 2 (29:15):
Yeah, yeah, I'm not ashamed of Yeah, I'm not ashamed
of my favorite movie being Sound of Music or my
success movie being Patting to Bear Too. Respect Like, I'm
not ashamed at all.
Speaker 1 (29:27):
Shouldn't. I think that's great? What is the film that
you could or have? What's the most? Over and over again,
I gave you a bit too much energy. I don't
know if you listened, because forward you did.
Speaker 2 (29:40):
Every time you do that, yeah, yeah, it gets me
a little overwhelmed. I watch Patting to Be Too way
too often. I watch it way too often. I watched
Paddington Bear too, way too often.
Speaker 1 (29:57):
Yeah, it's a this is a fucking perfect film. You know,
I can't argue with it. What about the worst film?
What's the worst film you've ever seen?
Speaker 2 (30:06):
Oh, my gosh, like from the Gecko from the first
time I saw it. Yeah, there was one I can't
I can't remember the title, but it was about citizen
band radios and trucks in like big eighteen wheelers. It
was called like, you know, some name that had to
do with talking in one of those things when you
(30:28):
said goodbye or something like ten four, not ten four,
but like good buddy, yeah, good buddy, you know, like something.
I don't think that was the man of the film.
But it would be a good title. That's a good buddy,
just good buddy. That would be a good title.
Speaker 1 (30:44):
Good buddy. Could be one about dead dad films that
we make, Yeah, because it's sort of it misleads you
in the same way like oh yeah, like oh yeah,
that'd be fine, and we're good buddy, that'd be fine.
Night that dad dies, right, it's not so good, yeah,
not so good buddy buddy. At the end, Yeah, we
tricked you.
Speaker 2 (31:01):
Yeah, I tried to tell you, good buddy.
Speaker 1 (31:04):
I tried to warn you good buddy. Good buddy means
over and out.
Speaker 2 (31:09):
Now, yeah, I'm not shrip does, but yeah, I think
it does. Over and out would be yeah, what happened
to Dad? Over and out? Yeah?
Speaker 1 (31:17):
Yeah, good buddy, buddy.
Speaker 2 (31:21):
There is something sweet about it though. You have to admit,
like you could just say buddy, but instead you'd like
put the good in front of there. Yeah, it's smart,
it's smart writing, Thank you.
Speaker 1 (31:32):
What is the funniest what's the film that made you
laugh the most?
Speaker 2 (31:37):
The first half of Barth?
Speaker 1 (31:38):
Yeah, I remember in the second half, does it get
does does he? It's not a film where he learns
not to drink? Right? Is he doesn't learn that he's
an alcoholic and he has to stop drinking and he.
Speaker 2 (31:49):
Never learns anything. And yeah, the funniest thing about the
movie is that he never learns a thing. Yeah, yeah,
good and that Yeah, that money is everything. That's the
funniest thing about the actually says that, Yeah, having Liza
Manilla Manelli not Manella. Yeah, yeah, Manila is like a poisoning, right,
(32:15):
Manella poisoning or something like?
Speaker 1 (32:17):
I think it's just an envelope, isn't it. It's a
type of envulape.
Speaker 2 (32:20):
Like a Manila envelope. I think I'm saying it wrong. Anyway.
None of what we just said has anything to do
with Liza Minelli.
Speaker 1 (32:27):
No, who is it?
Speaker 2 (32:29):
So if you have Liza Minelli in your life and
you have a lot of money, that's the moral to
that story. Life is good, buddy.
Speaker 1 (32:37):
Yeah, life is good, buddy. Life's good, buddy. Life is good, buddy. Vincent, sir,
you know what a time, what a time we've had.
You've been wonderful, and you wouldn't know for a second
that you had no idea what this what this show was. However,
in ten years time, when you play king Lear Bearefoot,
you're on stage. I was sat behind the seven women
(33:01):
the Women's League who were in the front row, and
they were they were like this the whole the whole play.
They were they were wrapped, really wrapped. They're just really
in it. But there was a sense in them. I
sensed that there was like a something was about to happen.
They were ready, like they were ready to stand, you
know what I mean, Like they it felt like they
knew they knew. I don't know how and basically you
(33:22):
were like, what's my life? In your head, you're like,
what's my life? What's my life? What's my line? And
it was very powerful. What it looked like was lear
is confused. You know, it's really confused. And then your
heart started racing it and then it exploded and you
collapsed onto the stage. Everyone stood up, everyone like, wow,
that was what a choice. They thought, what a choice
(33:42):
because it wasn't the end. What a choice. That is
a bold choice. And then the clapping sort of died
down a bit and you didn't move, and then that
sort of whispering around like is he is he dead?
Is he dead? And then the Women's League were like,
that's so cute, and they stood up as one. It
was very very beautiful, like almost felt choreographs, and they
(34:03):
stepped on the stage and they lifted you onto their
shoulders and they just walked off stage and people clapped
and I followed behind because it's so beautiful. And we
walked through the night and it was snowing. It was beautiful,
and they walked through the active studio. Everyone, oh, bloody,
there's Vincent's corpse. And then they just put you in
the garden and there you lay to this day, rotting away,
(34:25):
and students come from far away just to stand near
your clean, rotted feet. And I came to visit one day,
as you know, paying my respects, and I realized, Oh,
if you're rotting here, we have to put we have
to give you a DVD to take across to the
other side. Because on the other side it's movie night
every night. So what film are you going to take
to show the Rocky Ride ice Creams in Heaven when
(34:48):
it is your movie night? Vincentinofria ten for a good Buddy,
for good Buddy, whatever that film was called. Okay, Vincent,
is there anything you'd like to tell people to watch,
what to look out for with you, what to listen to?
Speaker 2 (35:07):
Well, Daredevil's coming out. We'll we got to shoot it
first and it'll come out.
Speaker 1 (35:12):
Okay.
Speaker 2 (35:13):
Yeah, there's lots of things that I can't talk about,
but yeah, there's things coming Okay, cool stuff.
Speaker 1 (35:20):
Vincent, You've been in absolute joy and a delight. Thank
you for your time. I thank you enjoyed this as
much as I have. I have thoroughly enjoyed it thoroughly.
Thank you, Vincent, have a wonderful life. I look forward
to your leah.
Speaker 2 (35:35):
Good day to you, sir, Thank you very much.
Speaker 1 (35:40):
So that was episode two hundred and eighty three. Head
over to the Patreon at patreon dot com, Forward and
slash Brett Goldstein for the extra fifteen minutes of chat,
secrets and video with Vincent. If you're in America, I
have a look up my stand up dates. So I'm
still doing a tour goes on for a few more
months and probably coming to your city. If you live
in the city, come and see the show. We'll have
a right old time. Go to podcasts and give us
(36:01):
a five star review, but don't give us a review.
I don't know what you think of the podcast. I
want to read what film means the most to you
and why it's a lovely thing to read it. My
neighbor Maureen loves it and it always makes her cry
and she always says, you got to read this one.
Thanks so much to Vincentinofrio. He was so good. Watch
all his shows, watch all his films. Thanks to Scribby's
pip and distrack some pieces of network. Thanks to Buddy
(36:21):
Peace for producing it. Thanks to iHeartMedia and Will Ferrell's
Big Money Players Network for hosting it. Thanks to Adam
Richardson for the graphics that leads Ali them for the photography.
Come and join me next week for another cracking guest.
Thank you all for listening. I really hope you're all well.
That is it for now, have a lovely week, and
in the meantime, please now more than ever, be excellent
to each other. The first bass basbody that as a
(37:03):
Simon
Speaker 2 (37:04):
Bodys at body that as outcasts bat back body that
its outcast body bat back
Look how it's only films to be varied with Hello
and welcome to films to be buried. Which My name
is Prett Goldswin. I'm a comedian, an actor, a writer,
(00:21):
a director, a Gallagher brother, and I love film. As
Paolo Quelo once said, don't waste your time with explanations.
People only hear what they want to hear. Someone could
take the time to explain Marlon Drive to you, but
you'd still insist it makes no sense. You have to
let it work. It's magic on you. Why do you
keep resisting it? Every week I invite a special guest.
I tell them they've died, and I get them to
(00:42):
discuss their life through the films that meant the most
of them. Previous guests include Barry Jenkins, Kevin Smith, Sharon
Stone and even Bled Dambles. But this week it's the
fantastic actor, writer and director mister Vincent Dinofrio. Get over
to the Patreon at patreon dot com forward slash Brett Goldstein,
where you get an extra fifteen minutes of chat with Vincent.
(01:04):
He tells me a secret. We talk about beginnings and endings.
There's all sorts of things going on. You also get
the whole episode, uncut, adfree, and does a video. Check
it out over at patreon dot com. Forward slash Brett
Goldstein so Vincent Ginofrio. So Vincent Ginofrio is an amazing actor.
You know him from Daredevil and Echo and Laura and
Order Criminal Intent, and from Full Metal Jacket and from
(01:26):
being very funny in the Breakup. We never met before.
We recorded this on Zoom a few days ago. He
didn't know the show, so he didn't know the format,
but my god, did he get it quick. He was
absolutely brilliant. He was so funny, and I really think
you're love this one. So that is it for now.
I very much hope you enjoy episode two hundred and
(01:47):
eighty three of Films to be Buried With. Hello, and
welcome to Films to be Buried With. It is I
Brett Goldstein, and I am joined today by an actor,
(02:07):
a writer, a producer, a director, a Full Metal Jacketer
and Ed Wooder, a man in Blacker, a Laura and Orderer,
a dead devil, a breakuper, a magician, a hero, a legend,
a drama, a comedy. The man. He's here. Can you
believe it? It's true? It's really here. Please welcome to
(02:27):
the show The Brilliant.
Speaker 2 (02:30):
Oh my gosh, oh my gosh. Okay, thank you, thank you.
It's so good to be here.
Speaker 1 (02:37):
Very nice to meet you, Vincent. Thank you for doing
the show. I appreciate it. Where are you and what
are you doing? And why?
Speaker 2 (02:44):
I'm in my apartment in Williamsburg, Brooklyn, New York.
Speaker 1 (02:49):
And are you working on something at the moment you
can tell us about that.
Speaker 2 (02:53):
I am in deep prep for the new Daredevil series
that we're about to start.
Speaker 1 (02:59):
Fantas can I ask what it is like to do
something I assume you have loved and then there's been
a very big gap, right, how do you feel about
going back to it? Is it like exciting and im
a weirdo or nostalgic or how does it feel.
Speaker 2 (03:13):
It's a character that I've played often now, so it's
this will be so is the original Daredevil and then
Hawkeye and then Echo. So this is the fourth, okay,
series I've done playing Fisk, which is it's a strange thing.
That's something that I've never done before in my career.
I've played the same character in the same series for
a long time, but I've never played the same character
(03:36):
in four different series for a long time, so it is,
it is odd. And with Marvel, you know, they have
so many creatives over there that it's like, you know,
it's always it's going to be a different writer, it's
going to be a different conceptual team and directors, and
so you know, even though it's under the same banner,
same umbrella, it's it's always slightly different. So it keeps
(03:58):
you on your toes for sure.
Speaker 1 (04:00):
Yeah. Do you feel you've changed, like how you play it?
Has it evolved for you yourself as actor or is
it in something you feel very comfortable even slip in?
Speaker 2 (04:10):
Yeah, I mean I think it evolves. First off, as
you know, my job as an actor is to service
the story, and so each each series has been a
different story. They're connected, but they're different for the reasons
I just said before, and so so yeah, so my
job is to service that the best I can, and
so I try and do that. And then personally, there's
(04:33):
certain projects that have a more comfortable tone where I
think my character fits better in and I think that
the last series I did Echo, my character really fits
in that kind of adult tone. And in the Daredevil
series that we're starting now, like the original Daredevil where
it all started. It also has an adult kind of
tone to it, which I think my character fits best.
Speaker 1 (04:55):
Yeah, because you also did you have played? You did
Laura and Order you did for like nine years, ten
years exactly.
Speaker 2 (05:00):
Yeah.
Speaker 1 (05:01):
Yeah, Wow, you're you're You're you commit, you really commit.
I also think that you are very underrated as a
comic performer, and I think you in The Breakup is
one of my favorite comedy performances. I think you're so
funny in that film. And I really love that film.
I think that's like a real gem and you're funny
(05:22):
in it, and you're so funny in such an unusual way,
like it's quite hard to work out. I just remember
being like, this guy's fucking funny. I really like doing
that thing.
Speaker 2 (05:30):
Yeah.
Speaker 1 (05:31):
Do you like doing comedy?
Speaker 2 (05:32):
I do? I do very much. I like physical comedy.
I had a blast doing The Breakup. I had a
blast doing them in black, like I do like that
kind of stuff.
Speaker 1 (05:41):
Yeah, yeah, well, I think that's what I think you
should be doing more with that. I'm gonna have a
word and I read that if I may, if I may,
and forgive me because this might not be true because
it's on Wikipedia. But that you're a magician or you.
Speaker 2 (05:54):
Or I was when I was a kid. Yeah, for sure?
Speaker 1 (05:57):
Really is that? Do you still have these skills?
Speaker 2 (05:59):
I have some skills, Yes, I did. They never work
on Zoom, though they work live much better.
Speaker 1 (06:10):
Okay, well if we.
Speaker 2 (06:11):
But yeah I do. I do. I know of some
really amazing card tricks that were taught to me by
other incredible magicians. And I know some Yeah, I know
how to do illusions and all of that stuff. I
started when I was thirteen. I started reading books. There
was a Cuban family that moved into our neighborhood and
down in Florida, and this little town that I lived
in at the time, it was a little town. Now
(06:32):
it's a big place called Highlia, Florida. And this this
Cuban couple moved into the next to the wind Dixie
shopping center and I met them the first day they
were open, and I didn't you know, we were poor,
so I didn't have the money to buy tricks. But
I befriended the couple and they used to give me
instructions and they would lend me the instruction so I
(06:55):
would go build this stuff on my own. And he
turned me onto some books and I read a Houdini
book that had the actual workings of the mail bag
escape that he did. And so my mother's dream was
to have this small, little kidney shaped pool in her backyard,
and she finally got it somehow by saving her waitress money.
(07:17):
And I practiced with my mom. I had a neighbor
who worked for a sailboat company made me the mail bag.
And then my mother was a waitress. And all the
cops and firemen used to go to the restaurant. So
I had them over and I had live at five
over and they handcuffed me and they pushed me into
the swimming pool in my backyard and I escaped successfully.
(07:41):
And I was a working magician, and I was like thirteen, Yeah.
Speaker 1 (07:46):
That's fucking serious.
Speaker 2 (07:48):
Yeah, I know, but it was my first time. It
was my first experience those experiences as a young boy.
You know, we're obviously the first time was around stage,
and yes, it was good for me.
Speaker 1 (08:02):
Now, so you've got a load of cops and fire
fighters around, and they watched the thirteen year old boy
he drowned.
Speaker 2 (08:09):
Yeah, just just cops. So just just the cops came
over and yeah, I forget if it was two or
three pairs of handcuffs on me and then put in
the mail bag. It pulled with the chain and locked
and then pushed me in. But I had, you know,
we had made sure that you know, they knew, they
understood that it was not it's not wasn't dangerous at all.
Speaker 1 (08:31):
That's pretty impressive, Vincent. I've forgotten to tell you something.
I know we've just met, and I should have probably
told you at the beginning, but uh oh yeah, I
just have to. I just have to say it. You've died.
You're dead dead sorry, okay, yeah, okay with that, Yeah,
how did you die?
Speaker 2 (08:51):
It's well, I was on stage and it's ten years
from now though, oh wow, okay, which is wild itself. Finally,
I was doing leir on stage and I screwed up
one of my lines. I couldn't recall a piece of
dialogue and it made me. At first, I just thought
(09:13):
I was going to cough, but it wasn't a cough.
I think that the idea of not knowing my line
for the first time in my career ten years from now,
I think I was too old and too baffled by it,
and I just couldn't. I just stopped breathing. Oh my god.
Yeah yeah yeah, And then I had cardiac arrest on
(09:34):
the stage and I got a standing ovation because it
was the last act. Yeah yeah, yeah. But soon they
realized it wasn't part of the play, and several women
came on stage and carried me on.
Speaker 1 (09:48):
Wow, on there they carry you off on their shoulders. Yeah,
ham I was saying, oh god, that's beautiful.
Speaker 2 (09:54):
Well like a log. Yeah. I don't think haml was
carried off stage.
Speaker 1 (09:59):
But yeah, well in the film he is. And that's
the only the anything I've understood vaguely understood.
Speaker 2 (10:06):
This wasn't that romantic. This was basically yeah, there was
like several women. I think there was like seven of them.
I hear from other dead people.
Speaker 1 (10:15):
Were they in the play, these women or they were
just women from.
Speaker 2 (10:17):
They came up on stage. They were in the front row.
There were was some kind of women's league or something,
and yeah, yeah, yeah.
Speaker 1 (10:26):
That's beautiful. Where did they take you? They seem to
know where they were going, these women. Where did they
take their buddy?
Speaker 2 (10:31):
Just they took me right right down the block too,
to active studio. Wow, where the birth of my acting began.
And then and I'm still there. I'm still there.
Speaker 1 (10:45):
They buried you under it, or you're just rotting in
the middle of there.
Speaker 2 (10:49):
No, they never buried me. They just left me in
the garden. I'm in the garden.
Speaker 1 (10:52):
Right, right, So just sort of slowly getting sort of
rutting away in the garden of the actitute.
Speaker 2 (10:58):
Yeah, I'm next to the lie because the Strasbourg amazing.
A lot of people don't know that story. I mean,
it is ten years from now.
Speaker 1 (11:06):
No, but I tell you this, when it happens, people
will definitely talk about it for quite some time. And
I think a lot of what's also lovely, and I
think a real sort of gentleman gentlemanly thing about your
death is I think admissions to the actor studio, we'll
go through the roof. I think it'll be a real
uptick in applications, and that's because you're there, you know.
I think a lot of people be very excited to
(11:27):
be to learn at your feet.
Speaker 2 (11:30):
You mean literally at my feet.
Speaker 1 (11:32):
Yeah. I just think they'll be very like, wow, we're
so close to greatness, you know, and maybe some of
it will rub off on them, you know.
Speaker 2 (11:38):
Yeah. But what I'm confused about is that, well, I
do like the notion of people being at my feet,
but since I'm in the garden, yeah, yeah, you mean that,
that's well, they'll be literally at my feet in the garden.
Speaker 1 (11:53):
I think, like, I don't know the layout of the
actor studio, but I'm imagining people are going to class,
They're walking past the windows, They're looking at your rough
and corpse. They're constantly just their eyes are always drawn
to it. They're distracted in class sometimes because I just
want to look at you. And then in their breaks
and recess they go downstairs and they sort of just
hang around at your feet and just sort of sort
of try and breathe it in and hope to sort
of pick up some of the magic.
Speaker 2 (12:15):
You know. It's so touching. Yeah, it's so touching. I
actually started to get emotional just.
Speaker 1 (12:21):
I think it's it's a really I'll be honest. I've
done this show a while. That's one of my favorite desks.
I think that's very romantic and lovely.
Speaker 2 (12:28):
I just have to say that when you see me
in the garden, though, I still have the expression of
not being able to breathe on my face. So they
put a planter close by my face so you can't.
It's not a great look.
Speaker 1 (12:40):
So so there's a there's like foliage around your face.
Speaker 2 (12:44):
Yeah, yeah, but my feet were very clean.
Speaker 1 (12:46):
Oh, I know, which was strange. You played lea barefoot,
I remember, but your feet were just pristine. It was
a real interesting choice. He was going mad, but he
kept his feet clean. It was interesting. It was beautiful.
And see the best performance of lir I've ever seen,
and the best ending. I think I killed it. Yeah, yeah,
you fucking killed it. Do you do you worry about death? Vincent?
(13:09):
Is it a thing you concern yourself with?
Speaker 2 (13:11):
I worry about that particular death, but yeah, no other, no,
other particular death. I don't like the death of others.
Need too, that bothers me.
Speaker 1 (13:22):
Yeah, I think that.
Speaker 2 (13:24):
Yeah, it sucks other things, other people in that context,
death sucks as far as you know me. It's like,
you know, ten years from now, die on doing lyric.
It's like okay, like, okay, I get that, I get
it right. You'll be all right?
Speaker 1 (13:41):
Is there enough to life in your mind?
Speaker 2 (13:43):
There could be more ice cream?
Speaker 1 (13:45):
Mm hmm. Well I'll tell you what. I got a
surprise for you. There is a heaven and you'll go
into it. And it is filled with ice cream. It
is like one giant ice cream parlor. All the flavors,
Oh my god, favorite flavor, what's your favorite flavor?
Speaker 2 (14:02):
Rocky Road?
Speaker 1 (14:02):
Oh my god, you ain't seen this much Rocky road.
There's a man in the rocky road. You can eat
your way through it. It's rocky road everywhere, and other things,
flavors you never tried. Everything's there. Everyone's very excited to
see you, Vincent. They're very excited. As you arrive in Heaven,
they all give you a standing ovation for your leah
and they're like, we watched from up here that.
Speaker 2 (14:22):
Was in hand me, Like they hand your rose, isn't it?
Well I can't wait.
Speaker 1 (14:26):
Yeah, well you've got ten years so just you know,
made the most of it. But everyone in Heaven so
excited to see you. They want to talk to you
about your life, but they want to talk about your
life through film. And the first thing they ask is
what is the first film you remember seeing? Vincentinofria?
Speaker 2 (14:41):
So we're talking film, not TV show, right, correct? Yeah,
so it would have been to Tora.
Speaker 1 (14:49):
Oh shit, the driver never come up on this, but
the driving and the drive in Yeah, where was that?
Speaker 2 (14:56):
Flora? Nice Toro, Toro, Toro. I pronounced it wrong at first,
I said Torah, which is different, isn't it to Toro?
Maybe it's Tora. Anyway, let's talk about both of those
titles as if they're the same, dumb, so nobody is confused.
Speaker 1 (15:15):
You with Torah.
Speaker 2 (15:18):
In the car there was three people, Torah, Torah, and Toro.
Speaker 1 (15:24):
Right, yeah, great? Who was your favorite?
Speaker 2 (15:27):
Torah?
Speaker 1 (15:28):
Yeah? Good choice has to be hastivate some people. I think.
I also think that's like a thing that's changed with time,
because it used to be Tora that was everyone's favorite.
And I think that it's kind of like the changing
sort of political landscape, you know.
Speaker 2 (15:41):
I mean, well, you know how, you know how like
sometimes you make a choice too quickly and then you
realize that, you know what I felt rush, So initially
I was attracted to Torah, and then you know, I
realized that Torah was more interesting and that Torah the
other Torah had no significance whatsoever. So the Tora that
I liked was just a I think I was rushed
(16:03):
into it. I think Tora took over.
Speaker 1 (16:06):
Yeah, well the other the other tours. Sadly, it's like
no matter what age you are, that tour is not interesting,
you know what I mean, Like it does it like
the other two? It was? I think the first toy
you're like, yeah, sort of dazzled by, but as you
sort of revisit it, you realize there's more depth to
the other tourer. But the other tour is like sort
of dead, dead weight.
Speaker 2 (16:26):
Yeah. I don't even know whether there could be to Yeah,
it would have worked, It would have worked, would have.
Speaker 1 (16:32):
Worked, and it would have been tight, you know what
I mean, the whole thing, because because the film is
constantly trying to accommodate Tora, and you're like, we don't
need Tora.
Speaker 2 (16:41):
Yeah, I think they won't wait too far. And then
you know, there's Toro. Those three. I loved all three of.
Speaker 1 (16:47):
Those, flawless Toro, Toro and Toro. I defy anyone to
pick a favorite, because they're just wonderful in their own ways,
you know.
Speaker 2 (16:56):
Equally yeah and similar ways.
Speaker 1 (17:00):
Yeah, in their own, unique and identical ways.
Speaker 2 (17:03):
Yeah.
Speaker 1 (17:03):
So that's a good first film. Did it make you
want to be in films or just you just wanted
the case of the Tories.
Speaker 2 (17:09):
Well, it made me want to be Japanese and attack America. Right,
And I think that started my imagination really going. And
I think I just eventually saw Lawrence of Arabia and
I realized it's not all about being Japanese.
Speaker 1 (17:24):
Sometimes it's about being that.
Speaker 2 (17:25):
It's mostly about being English with blue eyes and belong hair.
Speaker 1 (17:29):
Yea, writing cameras.
Speaker 2 (17:31):
And even knowing that watching that film when I was
a young man, Lawrence of Arabia, the David Lean movie,
watching it, I knew that one day it wouldn't be
politically correct anymore. I used to think a lot about
that kind of stuff when I was an adolescent.
Speaker 1 (17:47):
Yeah, what is the film that scared you the most?
Do you like being scared? Vincent?
Speaker 2 (17:53):
I do like being scared? Yeah, the other? Do you
know that film? The Other?
Speaker 1 (17:57):
Not the the other singular?
Speaker 2 (18:00):
Now that confused me. Just then the other signies.
Speaker 1 (18:03):
Well I know the others, the others, which maybe is
the sequel to the other?
Speaker 2 (18:07):
No, no, no, no, no, the other.
Speaker 1 (18:09):
Okay, Okay, tell me about the other.
Speaker 2 (18:11):
It's about two blonde I think German boys or Austrian
boys on a farm. I don't know that film was
It was made in the early seventies. I believe that
was a very scary movie. Super scary. Yeah, what happens
in it? What did these boys do? Well, you you
never really know if there's one or two of them,
(18:31):
Like it's either one really fucked up kid or it's
too kind of screwed up gods. Right, So it's just
really scary. And you know, like there's one who's kind
of normal and then there's one who's like the bad seed.
And I remember him not liking I want to say
(18:52):
it was his mom. I hope it wasn't his mom.
Somebody He put a pitchfork in the bail of hay
in the aren't because he knew that she used to go,
like to go up there and pull around with some
guy and they would jump into the bail of hey
when they were done, after they finished their deal in
the loft space of the barn, and they jump into
(19:15):
So the pitchfork was propped up underneath the hay, so
that one yeah, sh yeah. And that was either done
by one or both of.
Speaker 1 (19:24):
Them, either one really fucked up kid or two slightly
fights up kids. Yeah, Jesus, really scary.
Speaker 2 (19:31):
Yeah, Yeah, I mean I don't know, like that that
had a huge effect on me.
Speaker 1 (19:36):
Ye, did it change the way you were in buns.
Speaker 2 (19:40):
Well changed the way I jump out of lofts into hey.
Speaker 1 (19:44):
For sure, Yeah, you don't forget that. Lesson, what about crying?
What's the film that made you cry?
Speaker 2 (19:49):
The mist Old Yell? You're right?
Speaker 1 (19:53):
In the human.
Speaker 2 (19:56):
Such a fucked up ending. Why would they end a
movie like that? I believe that they would end like that,
films like that.
Speaker 1 (20:03):
I did, Yeah, I go, who is this for?
Speaker 2 (20:05):
Yeah?
Speaker 1 (20:06):
What are you doing? Why does this have to happen?
Speaker 2 (20:08):
And you know, and to sell it to dog lovers,
do you know what I mean?
Speaker 1 (20:12):
Yeah?
Speaker 2 (20:12):
Yeah, yeah, that's right. Hey, it's a film about old Yeller.
You know, all you dog lovers. Yeah, you know. And
then fucking hell, the way it ends is so brutal,
it's just wow, okay, yeah, you know.
Speaker 1 (20:27):
Sometimes you read these things where they say like, oh,
but these things teach kids about death, and it's good
for them to learn about death. My friend said once
when her when her dad died, she said to me,
I realize now that Bambi and all these kids films
where the dad did in no way help me. Like,
at no point we're like, oh thank god, I saw
oh Yeller, I'm fine about my dog dying. These don't help.
Speaker 2 (20:50):
No, but it does make the point. Maybe they should
make more movies about dad's time.
Speaker 1 (20:55):
Yes, I feel like there's quite a few, though, I
feel like I've seen a lot, and I still don't
love the idea, you know what I mean?
Speaker 2 (21:01):
Trying to think of the last movie I saw where
the dad died.
Speaker 1 (21:05):
There's a dad dying genre, surely. Well, yeah, maybe you're right.
Maybe they've stopped. Maybe they've stopped killing dads in films.
Speaker 2 (21:12):
Well, I think that's probably why she was so effective.
Speaker 1 (21:14):
By her dad's Yeah, right, we need to sort of
get back to making dead dad films. Yeah, well, we've
got some work to do, that's for sure. What is
the film that you love unconditionally but critically it is
not acclaimed. Most people think it's shit, but you think
they're idiots.
Speaker 2 (21:34):
Wow, that's a really tough one. Well, I don't know.
Do people like Tremors?
Speaker 1 (21:40):
It's fucking great Tremors.
Speaker 2 (21:42):
Yeah, so that's that can't be wrong.
Speaker 1 (21:43):
I think people do like it. But I know why
you why you've picked it, and and if if you want,
I would allow it because it looks like a film
that's not good, but it's really good.
Speaker 2 (21:53):
But it's really good.
Speaker 1 (21:54):
Yeah, yeah, yeah, there's now three three hundred Tremors films
and a TV.
Speaker 2 (21:58):
Series and Kevin Bacons in it. Yeah, he's great. Yeah.
Speaker 1 (22:02):
What about the other side of it? A film that
you used to love but you've seen recently and you think,
I don't like this anymore.
Speaker 2 (22:08):
I hate when that happens. It does happen, though, you know,
some films just don't hold up. I saw Arthur, and
Arthur is still half of it is still really really funny,
and then it's you're just waiting for it to be over.
But it's really him Dudley Moore that keeps you going
(22:30):
for half of the movie.
Speaker 1 (22:31):
Yeah. Yeah, that's a good answer. I imagine that's very dated.
I haven't seen it in a long time. There's one
for you. What's the film that means the most to you?
The film itself might not be any good, but the
experience you had seeing the film will always make it
special to you. Eed a first date.
Speaker 2 (22:50):
Just hang on a second. So you got very excited
when you said that last thing you sat up, you
projected a little bit more. It's like tickets for all
of our you know, like you were, I mean selling
tickets on the West End or something. Tickets for all
of us, tickets for all of us. You know what's
what was the question?
Speaker 1 (23:09):
What you got distracted by the vibe?
Speaker 2 (23:13):
I was just so like, Wow, I got to get
a ticket for all of them?
Speaker 1 (23:16):
Yeah, right, right, right, Well, the question is what's the
film that means the vice to you because of the
experience you had seeing the film e g. First Date
with a loved one in.
Speaker 2 (23:28):
That Cowboy go On for what I had never seen
anything that honest and raw before. And there was all
this stuff where I was living in New York as
a young actor at the time, and even though it
was made by an English director British director, you could
smell New York in that movie. And I just I
(23:50):
was at the right age. I was in the right
place in New York, starving, you know, like like all
the other artists, like sleeping in Central Park with my
legs wrapped around my ten speeds so nobody would steal
it sometights, you know, like stuff like that. And and
then it had like these incredible performances, and it had
(24:10):
this kind of this world of forty Second Street, that
area of how it used to be back then. Now
it's sort of like a kind of dirty Disneyland, but
it's back then. It was like literally like it isn't
in My Cowboy, and the homosexuality in it was the
first time I had seen that in the movie, and
that was a big deal for me. Like I'm like,
oh my god, you can get this raw in a movie.
(24:32):
You can get this real in a movie. You can
be an actor and play parts like this. You know.
It's like that was That's why.
Speaker 1 (24:42):
That's a pretty great onset.
Speaker 2 (24:44):
Yeah.
Speaker 1 (24:44):
Perfect.
Speaker 2 (24:45):
I matched your excitement.
Speaker 1 (24:47):
Yeah, you did. You know what I was like, He's
selling tickets for forty second Street. I was like, oh shit,
here we go.
Speaker 2 (24:54):
Yeah, exactly, Yeah.
Speaker 1 (24:55):
I'm buying I'm buying one for the how the Women's
commit just in case he drops dead.
Speaker 3 (25:02):
And a row for the a row for the Women's League. Yeah,
the whole roll of them. They're very excited. What is
the film you must relate to? Is there a film
you relate to?
Speaker 2 (25:14):
Yeah? Of course, Wow, I think Sound of Music.
Speaker 1 (25:17):
Which which character Maria?
Speaker 2 (25:21):
Yeah?
Speaker 1 (25:21):
Right, because you're an inspiration.
Speaker 2 (25:25):
No, we just have the same octave in our voices.
And also, I don't know, you know, I want to
be surrounded by Austrians in little outfits like come on,
it does fun you know what I mean though, Like yeah,
and to have some guy in the house named barn
something Bonds, Stroker or something like that, like something bizarre,
(25:47):
something inviting though, but bizarre and just you know, running
around in the fucking green hills and yodal and ship
the little outfit with you know, the suspenders and stuff.
Speaker 1 (25:58):
Yeah, and you want to live with that, I guess
want to live with a guy who's like warm, but
he also has a whistle, you know what I mean. Yeah, Yeah,
it's all funny guys, but I do have a whistle
and I will use it and that's dinner time.
Speaker 2 (26:08):
Yeah, and you know, like me and that cowboy, I
can smell that at house.
Speaker 1 (26:13):
Yeah, it's the realism. If that film is astonishing, I think, yeah,
it does feel.
Speaker 2 (26:19):
Do you feel like you're you're there in the little outfits? Yeah,
and you're like just just singing your ass off in
the hills. You know, the hills are alive, by the.
Speaker 1 (26:29):
Way, Oh they're terrifying. But also every time you're saying
good night, you never say good night, you sing it.
You know it's time time for bed, time for song
that's felt. Well, it's like a documentary, isn't it. I
can see how you feel about that. It's a lovely answer.
Speaker 2 (26:44):
Yeah, and you don't have to be Look, I just
have one more thing to say about this.
Speaker 1 (26:49):
Please.
Speaker 2 (26:50):
There's no right in the context of the answer to
your question. So you don't have to be scared about
the hills being alive, because it looked like you were
scared for a moment. So let me look. Listen to
my words. The hills are alive with the sound of music.
Speaker 1 (27:04):
Oh okay. I thought they they had like cannibal creatures
in them. They were the eyes. The hills had eyes
and they were gonna like eat. But that's not what's
living in them.
Speaker 2 (27:15):
The hills are alive with the sound of music.
Speaker 1 (27:17):
Okay, Okay, I feel better about it. Sorry, I freaked out.
That's on me. What's the sexiest film you've ever seen? Vincaid,
the sexiest film I've ever seen? That's a really good question. Thanks. Thanks.
Speaker 2 (27:30):
I mean, I know a lot of people think this,
but Paddington there too.
Speaker 1 (27:35):
Oh too. I mean I knew everyone felt that way
about the first one. No, no, what about the sequel? Well,
I mean, you either know or you don't know, I guess,
but yeah, I do. You know what. I think it's
because I was so spent after the first one. I
didn't I didn't think it could get sexier. But you're
probably right. Yeah, it's one of the few sexy sequels
that's more sexy.
Speaker 2 (27:56):
Well, if you ever do it, if you ever watch
both of them again, hydrate.
Speaker 1 (28:00):
After the first one. Yeah, you really have to be prepared.
That's a slug if you're doing that, if you're going
in a double bit.
Speaker 2 (28:07):
You know, there's also sea moss. You know that, right,
you can get jars of sea moss. Right, it comes
in like a gel in the jar, just so that
you you're not spent for the second one.
Speaker 1 (28:18):
Oh right, you just you just put it on there,
put it on you.
Speaker 2 (28:22):
No no, no you no no no no no no
no no no you you put it in your morning drink.
Oh you just mix it in with a tea spirit, Okay,
and it stays. It's it's really good to not I
don't know, without getting too specific, to not be spent.
Speaker 1 (28:38):
I'm order Someoneline. Now there's a sub category to this question.
I don't know how you take it, because I feel
like you've gone hard on the first. The subcategory is
troubling bonds worrying why dones. It's a film you found
arousing that you weren't sure that you should have. But
I don't know how how you feel about that, because
you're you know, proud of pasiging too, as you should be.
So I don't know what you're shamedful.
Speaker 2 (28:58):
One is oh, shameful one. That's tough. It's tough to
get shamed by a film.
Speaker 1 (29:05):
I mean if you don't, if all your bonus are proud,
I respect that, you know. Not everyone can answer this question.
Some people don't have troubling bonus. They're all good, you know.
Speaker 2 (29:15):
Yeah, yeah, I'm not ashamed of Yeah, I'm not ashamed
of my favorite movie being Sound of Music or my
success movie being Patting to Bear Too. Respect Like, I'm
not ashamed at all.
Speaker 1 (29:27):
Shouldn't. I think that's great? What is the film that
you could or have? What's the most? Over and over again,
I gave you a bit too much energy. I don't
know if you listened, because forward you did.
Speaker 2 (29:40):
Every time you do that, yeah, yeah, it gets me
a little overwhelmed. I watch Patting to Be Too way
too often. I watch it way too often. I watched
Paddington Bear too, way too often.
Speaker 1 (29:57):
Yeah, it's a this is a fucking perfect film. You know,
I can't argue with it. What about the worst film?
What's the worst film you've ever seen?
Speaker 2 (30:06):
Oh, my gosh, like from the Gecko from the first
time I saw it. Yeah, there was one I can't
I can't remember the title, but it was about citizen
band radios and trucks in like big eighteen wheelers. It
was called like, you know, some name that had to
do with talking in one of those things when you
(30:28):
said goodbye or something like ten four, not ten four,
but like good buddy, yeah, good buddy, you know, like something.
I don't think that was the man of the film.
But it would be a good title. That's a good buddy,
just good buddy. That would be a good title.
Speaker 1 (30:44):
Good buddy. Could be one about dead dad films that
we make, Yeah, because it's sort of it misleads you
in the same way like oh yeah, like oh yeah,
that'd be fine, and we're good buddy, that'd be fine.
Night that dad dies, right, it's not so good, yeah,
not so good buddy buddy. At the end, Yeah, we
tricked you.
Speaker 2 (31:01):
Yeah, I tried to tell you, good buddy.
Speaker 1 (31:04):
I tried to warn you good buddy. Good buddy means
over and out.
Speaker 2 (31:09):
Now, yeah, I'm not shrip does, but yeah, I think
it does. Over and out would be yeah, what happened
to Dad? Over and out? Yeah?
Speaker 1 (31:17):
Yeah, good buddy, buddy.
Speaker 2 (31:21):
There is something sweet about it though. You have to admit,
like you could just say buddy, but instead you'd like
put the good in front of there. Yeah, it's smart,
it's smart writing, Thank you.
Speaker 1 (31:32):
What is the funniest what's the film that made you
laugh the most?
Speaker 2 (31:37):
The first half of Barth?
Speaker 1 (31:38):
Yeah, I remember in the second half, does it get
does does he? It's not a film where he learns
not to drink? Right? Is he doesn't learn that he's
an alcoholic and he has to stop drinking and he.
Speaker 2 (31:49):
Never learns anything. And yeah, the funniest thing about the
movie is that he never learns a thing. Yeah, yeah,
good and that Yeah, that money is everything. That's the
funniest thing about the actually says that, Yeah, having Liza
Manilla Manelli not Manella. Yeah, yeah, Manila is like a poisoning, right,
(32:15):
Manella poisoning or something like?
Speaker 1 (32:17):
I think it's just an envelope, isn't it. It's a
type of envulape.
Speaker 2 (32:20):
Like a Manila envelope. I think I'm saying it wrong. Anyway.
None of what we just said has anything to do
with Liza Minelli.
Speaker 1 (32:27):
No, who is it?
Speaker 2 (32:29):
So if you have Liza Minelli in your life and
you have a lot of money, that's the moral to
that story. Life is good, buddy.
Speaker 1 (32:37):
Yeah, life is good, buddy. Life's good, buddy. Life is good, buddy. Vincent, sir,
you know what a time, what a time we've had.
You've been wonderful, and you wouldn't know for a second
that you had no idea what this what this show was. However,
in ten years time, when you play king Lear Bearefoot,
you're on stage. I was sat behind the seven women
(33:01):
the Women's League who were in the front row, and
they were they were like this the whole the whole play.
They were they were wrapped, really wrapped. They're just really
in it. But there was a sense in them. I
sensed that there was like a something was about to happen.
They were ready, like they were ready to stand, you
know what I mean, Like they it felt like they
knew they knew. I don't know how and basically you
(33:22):
were like, what's my life? In your head, you're like,
what's my life? What's my life? What's my line? And
it was very powerful. What it looked like was lear
is confused. You know, it's really confused. And then your
heart started racing it and then it exploded and you
collapsed onto the stage. Everyone stood up, everyone like, wow,
that was what a choice. They thought, what a choice
(33:42):
because it wasn't the end. What a choice. That is
a bold choice. And then the clapping sort of died
down a bit and you didn't move, and then that
sort of whispering around like is he is he dead?
Is he dead? And then the Women's League were like,
that's so cute, and they stood up as one. It
was very very beautiful, like almost felt choreographs, and they
(34:03):
stepped on the stage and they lifted you onto their
shoulders and they just walked off stage and people clapped
and I followed behind because it's so beautiful. And we
walked through the night and it was snowing. It was beautiful,
and they walked through the active studio. Everyone, oh, bloody,
there's Vincent's corpse. And then they just put you in
the garden and there you lay to this day, rotting away,
(34:25):
and students come from far away just to stand near
your clean, rotted feet. And I came to visit one day,
as you know, paying my respects, and I realized, Oh,
if you're rotting here, we have to put we have
to give you a DVD to take across to the
other side. Because on the other side it's movie night
every night. So what film are you going to take
to show the Rocky Ride ice Creams in Heaven when
(34:48):
it is your movie night? Vincentinofria ten for a good Buddy,
for good Buddy, whatever that film was called. Okay, Vincent,
is there anything you'd like to tell people to watch,
what to look out for with you, what to listen to?
Speaker 2 (35:07):
Well, Daredevil's coming out. We'll we got to shoot it
first and it'll come out.
Speaker 1 (35:12):
Okay.
Speaker 2 (35:13):
Yeah, there's lots of things that I can't talk about,
but yeah, there's things coming Okay, cool stuff.
Speaker 1 (35:20):
Vincent, You've been in absolute joy and a delight. Thank
you for your time. I thank you enjoyed this as
much as I have. I have thoroughly enjoyed it thoroughly.
Thank you, Vincent, have a wonderful life. I look forward
to your leah.
Speaker 2 (35:35):
Good day to you, sir, Thank you very much.
Speaker 1 (35:40):
So that was episode two hundred and eighty three. Head
over to the Patreon at patreon dot com, Forward and
slash Brett Goldstein for the extra fifteen minutes of chat,
secrets and video with Vincent. If you're in America, I
have a look up my stand up dates. So I'm
still doing a tour goes on for a few more
months and probably coming to your city. If you live
in the city, come and see the show. We'll have
a right old time. Go to podcasts and give us
(36:01):
a five star review, but don't give us a review.
I don't know what you think of the podcast. I
want to read what film means the most to you
and why it's a lovely thing to read it. My
neighbor Maureen loves it and it always makes her cry
and she always says, you got to read this one.
Thanks so much to Vincentinofrio. He was so good. Watch
all his shows, watch all his films. Thanks to Scribby's
pip and distrack some pieces of network. Thanks to Buddy
(36:21):
Peace for producing it. Thanks to iHeartMedia and Will Ferrell's
Big Money Players Network for hosting it. Thanks to Adam
Richardson for the graphics that leads Ali them for the photography.
Come and join me next week for another cracking guest.
Thank you all for listening. I really hope you're all well.
That is it for now, have a lovely week, and
in the meantime, please now more than ever, be excellent
to each other. The first bass basbody that as a
(37:03):
Simon
Speaker 2 (37:04):
Bodys at body that as outcasts bat back body that
its outcast body bat back
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
The Nikki Glaser Podcast
Every week comedian and infamous roaster Nikki Glaser provides a fun, fast-paced, and brutally honest look into current pop-culture and her own personal life.