March 8, 2024 • 48 mins
We delve into Kristen Stewart's much-anticipated return to A24 in "Love Lies Bleeding." Stewart takes on the role of Lou, a gym manager whose life takes an unexpected turn when she crosses paths with Jackie, a dedicated bodybuilder on her way to a competition in Las Vegas.
But that's not all – we had the opportunity to speak with Rose Glass, the co-writer and director, on the opening night of the Glasgow Film Festival and Glass shares insights into her sophomore feature with us.
But that's not all – we had the opportunity to speak with Rose Glass, the co-writer and director, on the opening night of the Glasgow Film Festival and Glass shares insights into her sophomore feature with us.
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Episode Transcript
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(00:03):
Welcome to the nerd Party. Hello, and welcome to the A twenty four
project here on the Nerd Party Network. On the podcast to take you through
the entire back catalog of A twentyfour reviews the latest releases and brings you
interviews with the people behind these moviesand TV shows and asking and with me
(00:26):
as always is my co host LeeHutchinson, how are you? Yeah,
I'm really really good. It feelslike I can't believe it that we're reviewing
a movie that, as of aboutright now as we talk and so on,
has just been released in America andLos Angeles. After all the delays
we've had in the UK, weare for once a little bit ahead of
something before we end up being behindas we wait again. I know,
(00:48):
because I mean, let's face it, if it wasn't for the Glasgow Film
Festival, we probably would have beenwaiting till me the third too, and
we'd be once again being oh,we're going to review a film which everyone's
already watched. Sorry, it wasalready already basically been everyone's already watched or
in the UK has downloaded off ofApple iTunes because it's already been released on
iTunes in America because everyone's got thoseaccounts, right, Yeah, no,
(01:11):
just that's probable. It's interesting.I had it the other day. I've
not I mentioned it. I'd notobviously seen the Civil War trailer, and
then I was in the cinema andthen it was just like the first few
seconds player, I was like,oh, this is the Civil War trailer,
Like, do I kind of holdoff? It's only maybe like a
month and a bit till it comesout here in the UK, so it's
we're not far behind America at allfor that one. And I was like,
(01:34):
you know what, I'm just goingto step out of the cinema here
as it's playing ahead of June andjust try and be as surprised as as
possible. So I just looked likea really odd person just hovering near the
door but not too far away.Yeah, well, I think it's potentially
I haven't seen the second. Ihaven't seen the full trailer. Actually that
one actually could have been the fulltrailer, so you might have got even
(01:56):
more, I guess, potential spotsif you want to go on as blind
as possible. But of course CivilWar will be coming up for on the
H two and four project in Aprilafter. It's about the south By Southwest
Festival this weekend. But first,you know, the view that we've been
skirting around is that today's episode isgoing to be all about rose glasses,
(02:19):
love lies Bleeding. But before westart our workout, of course, we
have time for some a twenty fourhour news. Big stories this week include
Emily Blunt is going to reteam withher Jungle Cruise co star Duane Johnson in
Benny Saftei's Smashing Machine, about UFCstar Mark Kerr. She's going to be
playing his wife in that one.Are you excited for this reteae following Jungle
(02:44):
Cruise? I imagine you're a hugeJungle Cruise fan. Are very excited about
this? Yes, I'd forgot thatthey were in Jungle Cruise together. I
have not seen Jungle Cruise. Andwhen you kind of mentioned that, you
can see why perhaps the Rock hasmade that sort of pivot maybe with this
film, maybe a bit more longterm to maybe doing more uttered driven films
and so on. He certainly hadthat run of just starring in some really
(03:07):
bad movies, to the point thathe was almost dragged back into the Fast
and Furious franchise that he kind ofswore off. Oh come on, he
did. You you must know that, you know, you know he delivered
on his promise and that the entirehierarchy of the DC universe was going to
change. You know, Black Adamdid actually better business than the likes of
(03:30):
Shazam and I think even Aquan do. But you know, by that point
it was basically decided that the OldGuard were out and James Gunn was being
given the keys to the Kingdom andwent in a completely different direction. So
you know, even to the factthat Dwaane Jones was able to get Henry
Cavill back in a Superman for essentiallynothing but cheeky post post credit cameo.
(03:57):
But I am excited by this.Yes, some the Rock has been accused
in the past of playing himself oryou know, there's the fun meme of
which film is he in he's wearinga gray shirt or T shirt. It's
very difficult to choose. It couldbe anything where he's in a jungle or
has a giant ape next to him. But you know, I having followed
(04:18):
the Rocks career for his entire careersince he debuted at Survived Series Night and
Next seven as Rocky My via hisacting career has he has shown glimpses of,
you know, he can deliver anylythe good performance when he wants to
win the materials right, be cool. You know a lot of people are
rediscovering the quirky delight that is Southfrom Tails. And of course I think
(04:42):
he was actually one of the bestthings in one of Michael Bay's best films,
Pain and Game. So hopefully thatis Dwayne Johnson that turns up for
Smashing Machine. And I mean thefact he's been I mean the Safti's have
got I think good. You know, this is just going to be Benny
Saftie directing this one. But youknow they managed to get you know,
Robert Pattinson, his career essentially changedOvernightfall and Good Time. You know,
(05:03):
people's perceptions of him changed, andcut Gems did a great job of,
you know, changing people's perceptions ofOh yeah, no, Adam Sander can
deliver you know, a non AdamSander performance when he's given the right thing,
just like Punch Runk Love. Soyeah, I'm very very excited and
hopeful for this one when that onecomes out. Other eight twenty four hour
(05:24):
News this week there was some howcould I say it spicy, that's what
the kids are saying spicy. Takessome controversial comments by one of the CEOs
of Neon, the other independent distributorin America, who when talking about his
upcoming slate and his vision for thecompany going forward, is that he would
(05:49):
be focusing on the films and onlythe films, and if they ever did
any merchandise, they certainly wouldn't beselling sixty dollars candles. I wonder who
he could have been talking about.Well, clearly he couldn't have been talking
about a twenty four because if hedid, he should have known that the
candles on the website it only costforty eight dollars. But as you said,
prior to the podcast league, maybehe was including the shipping on that
(06:12):
one. Yeah, it was interestingto see them, Like it's rare that
you kind of see I suppose studioheads and production kind of having a pop
like that each other and so on. It's I suppose we always think of
them as kind of good bedfellows,but like it felt like for a few
years when kind of Neon we're doingkind of the top business at the top
(06:32):
of the oscar pile that sort ofwhy were they being successful and someone like
A twenty four wasn't And then therewas that sort of pivot last year,
and it just sort of always seemsto be between there. They also ran
sometimes in the best respect compared tosome of the bigger studios for actually making
a dent in them. It's ashame to see that. But I wonder
(06:53):
what Anna Perner think, but thinksof the whole thing. Are they still
going? Means it's always difficult totruly tell the context of something when it's
in print. We don't know ifthere was you know, the how the
line was delivered. I mean,I feel that, you know, the
(07:15):
almost perhaps invented internet rivalry between Neonand A twenty four. It's it's surely
a good thing, you know,the fact that there are more distributors looking
to get these films into cinemas,especially in America, which is such a
huge, sort of crowded marketplace.I think it's good. I mean,
obviously there is going to be competitionbetween the two when it comes to certain
(07:38):
titles, when you know the onesthat debut can Sundance and whatever, and
you know, of course there areonce again you know we'll be going head
to head this weekend at the Oscars. A twenty four obviously have sort of
past lives and the tone of interestas their main front runners, and you
(07:59):
know, Neon how of anatomy ofa fall. I did hear just today
breaking news that Messi the Dog isnot going to be at the Oscars.
Apparently there was some jealousy from certainother publicists on the campaigns. Apparently the
Messi turning up to the nominees lunchand everyone making such a fuss over him
(08:20):
was unfair on the other films thatwe're trying to gain traction at the time.
But I think it's just pure jealousyin the fact that Messi probably did
give the best pointing performance of theyear in my opinion. So yeah,
it's kind of trump the what wasit Marvel had they was it cats or
something like that they had like theycould critics got the chance to meet,
(08:41):
like go to like a random catcafe in London or something like that.
It seems to be kind of moreand more things like that are happening when
there's a breakout pet. Yeah,it seems to Yeah, people have to
be slightly more creative than trying tojust basically bribe journalists with a load of
freeboot part of the screening in orderto get favorable reviews. But it was
(09:03):
interesting that you brought up just beforewe started recording that you'd read that A
twenty four have actually not really spentany money whatsoever above the line in terms
of their promotion of their Best Picturenominees this year. And yeah, an
interesting strategy from them. I wasjust word of mouth managed to get them
into a really good place. Orare they sort of saving their pot for
(09:26):
a future year. Perhaps maybe youcould argue they've spent the poll already getting
them to some of those nominations inparticularly like Zone of Interest and Past Lives
for example, like that's the success, like you could spend millions because I
think it said that Oppenheimer had spenttwenty five million for the Best Picture campaign,
(09:46):
which is pretty small fry for someonelike Universal, which its a hell
of that's twenty five moonlights for someonelike A twenty four, whereas you could
argue them being nominated. How youknow, there was that talk for a
while of like Zone of Interest washad the most limited slow release, and
I think me and you said andothers that actually they're just banking on it.
(10:09):
If they can get some good,decent wind. It's sort of the
Oscar nominations. They can go abit wider with it, and a film
that is basically a European film notin the English language will probably get a
bump off the back of that,like it's worked. Perhaps so it might.
It feels like they've maybe gone abit strategic this year. They've they've
not seen a window where they canactually compete perhaps you know, win it
(10:33):
as well. I think their besthope is something like Best International Film or
something that's I think that's the onlyhope for for a twenty four this year.
So why not just spend spend accordingly? Yeah, and I guess yeah,
the best achieved, Yeah, thebest one of them. It's it's
it's I think that is where ithas its best chance. I mean there's
a lot of there's some slight controversyaround Zone of Interest being in that category.
(10:58):
I know it caused a lot ofconfus usually that the Baths this year
when it was basically you know,nominated in one you know, best Film
not in the English language, butthen also one Best British Film and it's
like, well, what exactly.It's like the first time it's probably ever
happened with that. It's like,how does that work? It's like,
well, essentially, in order toclassify his best British film, basically the
(11:22):
money has to come from Britain andsome of the talent there's you know,
so you can have a film entirelyfilmed in a foreign language but still called
fire for British film. And yeah, but I mean yeah, it's its
main rival. Of of course,it's going to be in the Best Picture.
Oscar is going to be an atameFall, which is is Neon sort
of a big hope here. Soyeah, no, there's going to be
some everyone's film twitters eyes will beon that particular rivalry, but I think
(11:48):
all of them will be blown outthe water in the end by the juggernaut
that is Oppenheimer. I don't thinkI don't think there's anything that can really
stop it at this stage. Isn'tit even the dreaded prefential ballot. I
think Oppenheimer is still going to takethe biggest prize on the night. Are
you going to stay up and watch? I know you're a bit of an
Oscar correspondent for these sort of things. Will you be watching it through the
(12:09):
night on Sunday and to Monday,it depends, I can't remember. I
think it might be on ITV thisyear. I think it might be on
terrestrial television. I think it willall depend on whether on what the punditry
is like in whatever studio, becausenormally the UK punditree is horrendous and I'd
(12:30):
probably just prefer to watch a livefeed if I can, of the actual
ceremony from America, like I dowith the Super Bowl, where you get
all the great American ads and wonderif anyone's going to drop any big trailers
during the Oscars. It always seemslike a really good time to do it.
You know, you've got people wholike film watching that. I guess
we'll have to see, but whoknows. We'll find out soon enough,
and then it's all. But we'realready onto the next year's Oscar campaigns,
(12:54):
doing Part two, which I knowthat you were were not a fan of,
but I really liked after a secondview. But yes, no,
it's the Oscars haven't even arrived yetand people are already talking about next year,
so we'll have to start figuring outwhat's going to be nominated from A
twenty four next year? Will itbe this one? I guess we'll find
out after discussing it. So LoveLies Bleeding is Rose glasses second film following
(13:15):
twenty nineteen's Well I Say twenty nineteenSaint Maud. It debuted at film festivals
in twenty nineteen, but then didn'tactually manage to get a cinematic release until
about May twenty twenty one due toCOVID, but it is also her second
film with A twenty four, andit stars Christen Stewart, Katie O'Brien,
Dave Franco, Jenna Malone and EdHarris. Reclusive gym manager Lou falls hard
(13:37):
for Jackie, an ambitious bodybuilder headedthrough town on our way to Vegas in
pursuit for dreams, but their loveignites violence, pulling them deeper into a
web and lose criminal family. Filmis out now in New York and LA
this week, before a wider releasein the US on Friday, the fifteenth
of March, and we out inthe UK on the May third. It's
received strong buzz from the Sundance Filmheading over to Germany for the Berlin Festival
(14:03):
before opening the Glasgow Film Festival lastweek. Now, before we dive into
our review, Lee and I werevery lucky enough to chat with Rose Glass
on the red carpet at the GlasgowFilm Festival prior to it's sold out opening
gala. So let's hear what shehad to say about the film. So
your film was done Sundance and thenBerlin and now Glasgow. How important are
(14:24):
film festivals to a film like youall? This? I think very important
because there's this sort of thing whichI think is going to rely on the
mouth, I guess, so Isuld hope to get those focus more like
films cinepal Cana's going to see TheQuest and hopefully they get excited and tell
a lot of price, but whenit actually comes out of feel similar to
Saint Martin Away. We saw itlike twenty nineteen in London and it was
(14:45):
one of those one she's like,oh my god, I need to tell
people. Maybe on paper, Ithink, particularly saying more like it's sort
of it's bit of like a seriousor lot of fear kind of anyway,
maybe the pitch on paper doesn't it'stoo racculate. So I'm not sure if
this is the film one an't Thisis obviously you're kind of second film,
but it's your second one with Atwenty for What do you see in them?
And what do they see in you? I mean they so they just
(15:05):
distributed single and they thought they cofinanced this one along with film for both
A twenty four one films for aredis very I guess they're up for taking
risks, which is likely for mebecause they I don't know. I think
it was a bit of a weirdsell at first, but they they just
let us do whatever we wanted prettymuch, which was which is very exciting.
And I think it's probably not thatmany production not asius be doing.
(15:26):
Yeah yeah, and I mean Christmassure one of our joint favorite actresses.
You know, started off sort ofwell known for Twilight, but they clearly
sort of decided to take a rightturn into doing films that she wanted to
do more. What was it abouther that drew you to her for this
role as an actress? In general? Of this, I think I just
instinctively felt she'd be a really goodfit for it. I kind of liked
(15:48):
the idea of her playing like akind of moody, helpful vandy hero kind
of person then, you know,with a healthy dollop of neural seas and
self loathing and stuff, which Ithink she portrays very charismatically and interestingly.
I've been keeping myself spoiler free forfor this film, and so I've not
even watched the trailers yet, butmuch I know, as we're not definitely
in like Eastbourne and stuff that wewere, we say more where you kind
(16:10):
of it was a conscious thing tokind of go as far away as possible
from the English coast to America.We did. We toyed a little bit
between whether to set it in theUK or not, so I think I
was a bit daunted by the ideaof setting in America, so briefly before
we wrote a draft, I waslike thinking about even setting it in Scotland.
I kind of still like, canimagine the Scottish versions of these characters
quite clearly, but I'm still maybeI'm a bit nostalgia point, but I'm
(16:30):
America just seemed to see all theguns start again. Why would you have
to have done differently to make outScottish. Well, I guess there would
have been like fewer gun ranges,sort of like colder, but I feel
like a little bit more of transferredpretty well to you. And it's not
something that you as a director.I've always had that kind of pool between
UK film and American and all thatsort of stuff. Have you always believe
I mean, I guess, well, probably anyone who makes films anywhere.
(16:52):
I guess like Hollywood's such as sortof like omnipresent, kind of has such
an any present influence on so muchpopular culture that it's kind of, you
know, it's like a weirdol.I guess one that's one for these homeportant
is the cinematic experience being to youknow, experiences, because I remember seeing
the same board and I nearly sortof wrote you and the nearly build you
(17:15):
for a new set of trousers duringthe jump scale because it wasn't a particularly
it's not a jump scary film.But then that was so well, it
just came home. I mean,how important do you think it is for
people to be back in cinemas andexperiencing something together, because I think it
almost heightens experience to be we allshare that same moment at the same time.
Yeah, I think there's definitely likea layer of enjoyment that's different.
I mean, I hope it's thesort of thing that watching it by yourself
(17:37):
in the dark might be kind ofexciting as well. But yeah, I
love being in a room with otherpeople. From everybody it's being made to
make involuntary it's noises and then gasto the enjoyment. So and that was
very much the sort of experience thatI was hopeful when when I was required
to mess with. And my finalquestion obviously, like casting for Same Mode
was incredible, and it looks likeit's gonna be the same again for this
(17:59):
film. How involved are you incasting and picking out these amazing faces background
characters that obviously informed same Maud's so, well, what do you look for
in very involved? Like I sortof work closer we die casting directors Betty
May, and then we had aseparate casting director just for your background and
stuff. Yeah, you want toyour places to feel like they're in the
same sort of world. I don'tknow, there's there was a mixture,
like you know, Kristin, Iwas picturing really early on when I was
(18:22):
writing it, so we just wentstraight to the n offer and then the
others. You're kind of like,I guess it was quite we had to
cast a family in this like Kristin'scharacter and Harri's place, her dad general
and place my sister, the Clausbrother in law, who are kind of
casting your family. WHI thank youso much. Good. How was it
getting to speak to Rose Glass,because I know I think we both missed
out when she came up to Glasgowactually for Saint Maude all the way back
(18:48):
in twenty twenty. I think itwas so Yeah, it was great to
get a chance to speak to her, especially as everyone else was really focused
on Glaswegian pubs and favorite place toeat in Glasgow and we were like,
we'll ask you questions about filmed atwork. Yeah, it was. It
was great to interview her, LikeI really enjoyed Saint Maude. It was
I think we got both the chanceto obviously tell her we saw it in
(19:11):
cinemas and so one of the luckyfew during a pretty crazy time, and
that last few minutes was just oneof my favorite experiences within the cinema just
in terms of just audience reaction,especially for her packed festival screening as well.
So it was an absolute pleasure totalk with her. And you know,
as much as I tried to stayin a bubble with love Lives Bleeding.
(19:33):
I knew just enough to kind ofhave that kind of conversation with her,
and it was impossible not to thinkafter her revelation that this was originally
maybe going to be set in Scotland. I would have been very, very
curious to see that one. AsI think she highlighted, I don't think
you could have done a gun rangein Scotland, so curious to see how
that would have gone. Yeah,there's an alternate world out there, like
(19:56):
everything everywhere, all at once.There was a version of this film where
it is set in Scotland and probablystars Karen Gillen and another female bodybuilder who
knows. But so, I mean, you said that you didn't know much
about it going You knew enough toget through through the interview, but I
know you always try to avoid trailerswhere possible and stuff like that. So
(20:18):
what were your sort of expectations goingin and what were your first impressions when
the credits rolled. I expected somethingto be to be very gay and have
really good sound and visuals and soon, and both of those those delivered.
It was more of the rolling Stonething that perhaps influenced me of what
to expect. I'd obviously seen thepictures of Katy O'Brien and Christian Stewart as
(20:41):
well, so it kind of gaveme an indication that it would be sort
of a a kind of lesbian stylestory or queer story, So that was
kind of what I was expecting.But I didn't expect this sort of family
drama to really be at the heartof it. And actually I don't think
I expected it. You know,SAT had humor in it, and it
(21:02):
was humor that I quite like.That type of things are a bit insane
and mad, but actually there's somereally good funny moments in it that really
either bring up the tension a littlebit or just make you realize what a
wild trip you're on. I didn'texpect it to be as funny as it
was, and Glass Region audiences aren'talways my favorite. I think they can
(21:22):
overegg things a little bit, butit was one that clearly went down well
with an audience on the comedy frontas well, and it's one where I
was quite surprised by a lot ofit in a really positive sense. But
I really want to be able towatch that one again. It just I
really found it quite quite surprising inthat respect, how comedic it was.
(21:47):
Yeah, no, I mean Ireally enjoyed the first screen. Yeah,
I know what you say about festivalcrowds, they're always slightly more enthusiastic,
and I think this Glasgow especially,they are probably more on the vocal side,
almost tending more towards sort of anAmerican crowd. They were very vocal,
(22:11):
especially like funny moments and even somemoments which maybe weren't meant to be
overly funny, but that was thereaction that we got from some people.
So I know what you mean aboutwanting to watch it again, potentially with
a sort of more sedate Friday nightcrowd. But I really really enjoyed this.
I think say I was also ahuge fan of Saint Maude, and
(22:34):
I was really looking forward to seewhat she was going to do next.
And I have to say that Iwas actually very surprised. I mean,
it's very different in sort of toneand visuals to Saint Maude, but I
could still see that this was workfrom the same director, if you know
(22:57):
what I mean. There was links, there was sort of subtle moments,
There was sort of moments where sortof there was changes to the body that
you weren't really sure if they werehappening or not. And there was a
bit of that in Saint Maud.But also the sort of through line I
think of all of our film sofar as it features women going through an
(23:19):
immense period of change. Obviously SaintMaude was going through a huge crisis of
faith. Here Lou goes through anemotional reawakening, while Jackie's transformation is obviously
much more sort of physical. Andso I kind of like that. What
I was really impressed with is theredoes in terms of like the queer sort
(23:41):
of cinema thing that it's becoming.It's not as sort of in your face
per se, but it's just more. Also, it was just presenting a
love story as opposed to this isa gay love story. It's like,
yeah, this is a love storybetween the gay two people. But it
wasn't like over the top about that. It was like, this was just
(24:02):
two people who happened to fall inlove. And that's what I really enjoyed.
This almost the sort of matter offactness about it. And but I
mean, this is clearly like astory where it is you know, I
think she talked in the post filmQ and A about the fact that you
know, she hadn't actually seen afilm like you know, Thelm and Louise
(24:25):
before and having watched it since shefinished filming. She was glad that she
hadn't because she might have been worriedabout referencing it more. But I did
appreciate the sort of the nods tothe sort of Americana and these sort of
Midwestern thrillers. I mean to me, it kind of felt a bit like
sort of Coen Brothers sort of blood, simple meats, pumping iron. The
(24:45):
Schwarzenegger documentary. It's you know,trashy, it's lurid, it's sweaty,
it's steamy, but all in thebest sort of possible way, if you
know what I mean. It's veryeighties in that respect, isn't it.
I agree with you. It feelslike representation has taken a very good,
good turn. That we went throughlong periods where it was incredibly rare or
(25:08):
hard to find this type of representationin you know, in our local cinemas
or multiplexes, et cetera. Andthen there was probably the period of sort
of just compensating for that and soon, and people rightly embracing it.
But kind of being a bit moreon the nose with it about these sorts
of things like when it might cometo like Oscar campaigning or sort of talking
(25:33):
about what these stories are like.And now it's hopefully a sign of our
times. And by mean, byno means is it perfect for the society
with that we we live in attimes for a lot of people, but
it's now we accept these as theNorman so one. A lot of us
have gay or queer friends, forexample, and these stories are kind of
(25:56):
that they're they're there now. It'sjust kind of as normal as you would
expect for our kind of heterosexual relationship. And I think this one does it
quite well in the respect that thereis the odd nod to it of hey,
it's the eighties, some people arepretty off base with their language or
how they maybe view kind of lesbiancharacters. But equally among it, there
(26:18):
were still some good people there aswell. I think of the bit with
like and does your dad care,and it's like, yeah, he doesn't
care. But there's perhaps the oddjimbro or something like that that's a bit
more on the homophobic side with theirlanguage as well. So I felt like
it it threaded it really well,but like it was just a simple love
story at the end of the daybetween two women, and I think that's
(26:41):
sometimes what A twenty four has tendedto do do incredibly well. Yeah,
and I'm just sort of thinking justnow, just thought of a film and
it's like it's like the polar oppositealmost of what we watched there in the
way that Rose Glass has sort ofshot this relationship, and in particular,
there's a sort of it's like amontage sequence where it's like they're getting to
(27:03):
know each other and you know,they're you know, the relationship is becoming
physical and stuff like that, andhow that was shot almost like in you
know, in a way way solike a straight sex scene as opposed to
a film like Blue is the WarmestColor, which was shot by a man,
and like the sex scenes there betweentwo women and it where it becomes
(27:25):
almost graphically titillating to the point whereit's not even about these characters. It's
about someone's almost gratification at watching tolesbians having sex, whereas this felt more
just like your standard sort of sexscene. And so I think a lot
of it is down also, youknow, to the the way that rose
(27:48):
that it shot it that way,but also down to the chemistry I think
between the two actors. Yeah,and I love that. Like I wasn't
familiar really with with Katie O'Brien,I think did I think she mentioned she
had been in The Mandalorian or somethingpreviously, which, yeah, I'm a
Star Trek. I don't really watchStar Wars for the most part, so
so if she'd been in a StarTrek, you would have known. Oh
(28:11):
god, yeah, I would havebeen that little kind of I'd have been
that Leonardo DiCaprio from like Once upona Time in Hollywood. I have,
I definitely have an eye for noticingpeople with I've been in Trek. But
yeah, it was one of thoseones. I thought she was one of
those performances like I go back tothinking about something like Saint Maud and you
were just like, oh, thiscould be a potential star in the making
(28:34):
performance. I think we all knowthat and take that maybe a bit for
granted now with Kristen Stuart, butwith Katie O'Brien, it was like,
oh, wow, like, Iwho is she and all that sort of
stuff, and you just immediately canjust start to see a mixture of yeah,
there's action rules perhaps out there forher as well, but some really
great drama rules as well. Itwas just one of those ones. It
(28:56):
was just it's only been two films, but you can really argue that Rose
Glass has an incredible eye for casting, which it was great that we got
a little bit of an insight fromher on that kind of process for her.
Yeah, no, I mean itwas it was quite a gradible to
hear the story that they've been castingall across America and just weren't able to
find the right person. And thenbasically I think it was like almost like
(29:21):
one of the producers is expressing theirfrustration on Twitter and someone tagged Katie O'Brien
on and going, they're looking forsomeone who's like a female bodybuilder who can
also act, and it's like thissounds up your street, and she's like,
it does send up my street.Yes, I'm going to send up
a video right now. So,I mean, yeah, this was a
real sort of breakout role for her. I mean, seen her in The
Mandalorian, but it was quite asort of small part that didn't really allow
(29:44):
her to flex, so to speak, her acting chops and stuff like that.
But this was really sort of likea star making turn here, and
I think I was speaking to youafterwards and sort of thinking about how the
fact that it was, you know, we've just seen recently last couple of
years the She Hulk TV series whereTyana Mesley was you know, she was
(30:07):
playing the human character, but thenthere was a CGI version of her as
She Hulk, and it's like therewas scenes here where I'm like, why
was Katy O'Brien not caster she Hulksort of almost before and after because she
could probably have done both, uhand it But I guess I think the
world and sadly, the Marvel Studioscinematic universe has moved on sadly from the
eighties and Loufrigno just just you know, put green paint on them and it'll
(30:33):
be fine, because she could havedone it all practically. I think I
thought it was just there was timeswhen I was just watching, it's like,
this is going to be a star. And I mean there were some
people I know in the run upto this film talking about how this was
apparently Christian Stewart's first A twenty fourfilm, which clearly they have not watched
Equals, which is no one haswatched Equals Dallas. Actually, if you
(30:56):
ask Christian Stewart in an interview,would she say this was her first day
twenty four film, would she rememberthat she'd done another one? It'll be
like same modern not the same modMadam Webb, a completely different film where
people were like, oh, yeah, I'm loving starring in these kind of
Marvel's Cinematic Universe movies. And it'slike, actually, you know, you
kind of are of a kind ofarn and so on, and you can
(31:18):
imagine people like that sometimes maybe justactually forget the logistics of some of these
films that they star and yeah,so I mean we're obviously you know,
we've done a whole episode on onon the Wonderful World of Christmas Tour.
I mean, do you think thatshe was a good fit for Rose Glass?
Because I think Rose Glass, whenshe was talking about the film here
in Glasgow, she was basically sayingthat Christian Stewart was pretty much on the
(31:42):
top of her list of who sheenvisions for this part, just you know,
as a character, but also asan actress that she wanted to work
with. And do you think thatthis is you know, the perfect sort
of vehicle for her, Yeah,definitely, and go back to that that
comedy side of it, like I'veoften always found and even go back to
Twilight particularly that kind of first oneis she does comedy really really well.
(32:06):
Like I think that Charlie's Angels film, it wasn't great, but she was
hysterical and she and she really reallygot the tone of it and was very
comedic in it. And I reallyliked that with this because like you watch
this in perhaps with another performer,it's played quite seriously, it's not actually
(32:29):
doesn't embrace the absurd or the kindof the dry wit that someone like Christian
Stewart has. And I think sheabsolutely kind of nailed it as well.
And just even you know, Ijust think she was really well cast and
so on she I think people aregoing to continue to you know, we
you know it, and a lotof people know how great an actress she
(32:50):
is, and I think just peoplenow get an idea of actually she is
incredibly funny, and for so manytimes people were so dismissive of her acting
talent when often she was you werelike, she is being actually just quite
ironic and dry and quite witty ina unique way. And I think that's
cot To Johnson effect, that's exactly, and she would write down on it.
(33:10):
Yeah, I mean, yeah,just so you're sort of saying,
that brings to mind, there's acouple of moments where she has to sell
something completely just with her facial expressionson the absurdity of how bad things get
for this couple, and it just, yeah, it just brought me into
hysterics for that because i mean thingsyou know, bestly plans and all that.
(33:34):
You know, the these two peopleare in love, they're stargross lovers.
Yet you know, they are pulledinto a situation I'm not going to
say beyond their control because you know, it is technically one of theirs fault
the way that things go. Butit's just so happens that everything that they
try to do to try and rectifythat situation almost kind of makes it worse.
(33:55):
Because you know, that's that's whatgood filmmaking is. You know,
you've got to you know, you'vegot to have trials and hurdles for these
people to overcome in order to getout the other side. And yeah,
there's some there's always a few wrinkles, including one which is the ex of
Christian Shop's character Daisy, who probablyhad with that was a sort of scene
stealing turn I think by that actressin this and how she gets involved in
(34:21):
stuff like that. But I meanin terms of the other sort of cast
of characters, you know, youhad the sleazy, horrible Dave Franco,
and I mean we have to probablytalk about Ed Harris's hair extensions. Correct.
Yeah, I loved it. Whereone of the great stories that Rose
Glass shared at the Q and Aafterwards was that kind of he had this
idea of like this kind of maybehair for example, and he I think
(34:43):
it was his wife's hairdresser. Themen and Christian Shirt saw him is like,
he looks exactly like my dad did. And I think there was a
great bit where I remember just sortof picking up on it where you see
sort of like an old picture ofthis family on the wall and so on,
and you know Ed Harris is isthere, and actually what they did
(35:05):
is they just put Ed Harris's faceon this long haired mister Stewart, which
it definitely adds to the aspect ofI want to see this one again in
May. Yeah. No, Ithought he did a great job because it's
it is a very sort of trickyperformance. You know, in some ways
a bad guy, but you know, he does have layers being you know,
(35:27):
the father of christmas suits character.He does have some sort of paternal
protectiveness of the over her even thoughshe is potentially trying to screw them over
and stuff like that. So there'sthis conflict there, which I've always got
to have some conflict in there,which is great. But I mean some
of the best sort of stuff betweenthe two of them is these really sort
(35:49):
of vivid flashbacks as Christmas begins toopen up about her past and how she
might not be all that she seems, and the way that I mean Rose
Class said this on the Q andA and we talk about this mythical Q
and A that we were able toattend and you weren't, But she talked
about how, I mean, oneof the most striking visual aspects of it
(36:10):
with these flashbacks which were basically blackand then with the characters just bathed in
really dark red light, and therevelation that apparently those were basically done in
reshoots and pickups. They were needingsomething to kind of illustrate the backstory.
And I mean, I thought itwas one of the sort of strongest elements
of it. I really liked thelook of that, And I mean,
(36:30):
what did you make of the sortof whole look and feel of the film
overall, and the soundtrack, becauseyou know, it's a contemporary, contemporary
film, but it you know,just it really sort of had that sort
of gritty eighties field. Yeah.I really like Clint Mantell's score for this.
I got very excited when I sawthat one at the credits. Yeah,
(36:53):
but I really loved the look ofit. And yeah, it was
one of those ones. I think, those those scenes that kind of and
red light and you know, whetherits subtle or not, that use of
it of it, it was oneof those ones that added to kind of
the ambiguity about this character. Isshe is the kind of you know,
this great you know, oh,she's free from the family, doing her
(37:15):
own thing. You know, shehas a past as well and so on.
And I thought that lend itself reallywell to it. Just the whole
film just looked and felt like agreat tribute to it to the eighties,
and you know, even the soundtrackavoided a lot of the pitfalls of of
you know, period pieces as well. And sometimes I think these more indie
films, they have to be abit more innovative with their soundtrack choices for
(37:38):
dating the film as opposed to kindof some of these bigger ones which tend
to go for the hits of thetime that people all automatically automatically recognize.
And I think it was I thinkRose Glass mentioned it. It was like
her partner that created like a soundtrackplaylist and so on, and that,
for me, is the dream jobif you're like the plus one of a
(37:58):
director of like I could do thesoundtrack film for you if you wanted and
stuff, which certainly made me chuckle, you know, I mean, I
think you're right in this. Andby avoiding the sort of big obvious choices
for eighties hits and whatever, andby going for more sort of niche sort
(38:19):
of lesser well known phil songs,it avoids sort of dating it. Yet
I mean, yet it wants tobe set in the eighties, but you
know there is because it is setin this sort of small town which potentially
hasn't maybe really age. I mean, they talked about it again, but
the fact that they find this locationwhere they didn't have to do much to
it to make it look like itwas set in the eighties, it hadn't
(38:42):
really moved on in about forty years, so there is there is this sort
of timelessness to the story and thefilm that is done by not dating it
horrendously with you know, really bigspecific songs from the eighties. And I
think Clint Mansell score does that greatjob a bit of referencing the eighties and
the use of synth and stuff likethat, but still sort of propelling and
(39:07):
moving the drama forward through the scoreas well. I think, yeah,
it was just it was all expertlydone and so on. And that's two
for two on the soundtrack front aswell for her, which I just yeah,
it's one of those ones you're certainlygetting an impression of what a Rose
Glass film can be as well.And just that use of lights I think
(39:28):
of it with Saint Maude as aswell, just all those kind of beach
side lights as well that had.It's just these films really really popping her
are so visually interesting in a waythat sometimes these types of indie movies can
sometimes they follow a little short andI think she's really set a nice standard
for what we expect from her.Yeah, and sort of another thing that
(39:51):
sort of is a follow through fromSaint Maude. Is the very delicate tightrope
blook between the sort of the realand the surreal. I guess they were
in Saint Maude some moments of incrediblesort of violence and shock, but there
(40:13):
was also some elements where you werelike, is this happening? Is this
not? And it kind of workedin that story because it was to dealing
with a woman who is struggling withher faith, so is it all in
a head and whatever? And it'sfair to say that this film, I'm
not going to go into any spoilersper se, but I mean the ending
could potentially be quite divisive between somepeople. I personally felt that the way
(40:38):
it went was in keeping with whathad gone so far, in the fact
that this character is becoming increasingly relianton steroids and so therefore the sort of
roid rage, the sort of feverthat comes from that drug addiction. Can
you know, cause your mind toplay tricks on you and stuff, and
(41:00):
you might not know exactly what isreally and what was not. And I
thought it did a great job ofbalancing the two. There are some left
field moments per se. One thattakes place during a bodybuilding competition and one
in the final climbactic act. Buthow did you feel they went towards because
(41:22):
I can see some people, certainly, if Heaven forbid, they're ever you
know, once the film's released ondigital and are shown out of context,
Yeah it could be bad. Butyeah, I mean, how did you
feel that she managed to balance thosetwo sort of things. I was surprised,
but it made sense. It wasone of those ones that was part
(41:45):
of like by thinking of like,oh, I really like to watch this
again. And you know, becauseI'm you're watching these types of films,
like especially with a twenty four ssay, I try and go in these as
you know, knowing as little aspossible, and you know, you're letting
these sorts of things sometimes just washover you. But you've got your critical
eye on it as well. Youknow, this has been a filmmaker.
I've been looking forward to seeing whather new film is going to be for
(42:07):
a couple of years and just thinking, oh, I wasn't necessarily expecting this,
and you're just sort of thinking aboutit, and you know those types
of comments you just made, thoseare kind of going through my head of
like, yeah, this makes reallyinteresting sense and so on, and it's
one of those ones I'm almost lookingforward to being able to just watch it
and just let it kind of washover me as just a bit of an
(42:29):
audience member. There's often a pressurethat comes with these films for the first
time. But I really liked itbecause it was one of those ones.
I was sitting there thinking, Wow, I'm never going to forget this opening
night at Glasgow Film Festival, Likeit was just such an interesting choice,
and it really builds upon imagery thatwe see earlier in the film as well,
Like I remember just sort of whenit first kind of happens, like
(42:52):
when she kind of get Kato O'Brien'scharacter gets into a bit of a kind
of a bit of a bit ofa domestic situation for the first time with
Lou's brother, and just thinking,oh, wow, they've made her look
really big and tall in this sortof size room. And I was like,
Oh, that's a really interesting perspectiveand what's planting into my mind?
(43:12):
And it just felt like a naturalevolution of that. And it's just it's
nice sometimes to be shocked and surprisedand to let those types of feelings kind
of happen when they do and think, oh, this is interesting. Oh
I didn't expect it to go thisway, And sometimes it takes a few
seconds when a scene is maybe justa few seconds in itself, for the
brain to catch up with what's goingon on screen. But I think it
(43:34):
went down particularly well, and asI say, it certainly got quite the
I think positive support in terms ofaudience reaction. Anyway. Yeah, it
definitely went down the storm at ourscreening, so interesting to see how that
plays out wider. I think itworked totally with the rest of the film,
but there was I think it wasI was watching an interview with Christen
(43:55):
Stewart about I think it was atthe La premiere in a basically said that
they were trying to make a filmthat felt like a fever dream you didn't
want to wake up from. AndI think that was a very very accurate
description of this film, especially howit plays out towards the end as well.
So I mean, no spoilers fromus. We're not even going to
do a spoiler section because you know, the film is technically just out and
(44:20):
I think I wouldn't even want tospoil it. I think it's something which
really has to be experienced in thecinema as well. Otherwise, you know,
you'd accuse us of digging up thismoment and they're not delivering. So
we've teased you just enough. ButI think hopefully you've got a sense that
this is definitely a film that younot only want to see, but you
should definitely try and catch on thebig screen if possible and with an audience,
(44:43):
because yeah, this is definitely somethingthat I think goes down very well
with sort of Friday Saturday night crowd. Yeah, only a few months to
wait until we get it. Hey, outside of New York and LA people
are really going to get it inthe coming coming weeks. But I know
it's in line London. Today theyhad an international women's kind of almost media
(45:04):
style screening in the morning at Cameonot a cameo. That picture is Central,
So that was quite an interesting onealready. It's yeah, I didn't
expect that. Hey, I thinkthat is It's a great choice. It's
certainly better than the other lesbian crimedrama that involves that played at Glasgow Film
(45:24):
Festival, which is Driveaway Dolls,which I had the mispleasure to watch as
a surprise that was a special Itwas a surprise film, and I was
shocked at how utterly horrendously bad itwas. It was like Bottoms bad in
terms of being painfully unfunnily. So, yeah, if you are given the
(45:45):
choice of watching one lesbian crime dramain twenty twenty four, make sure that
it's Love Lies Bleeding And isn't ita good sign that you have a choice
of lesbian crime dress great to havea choice. It's just a shame that
one of the most terrible. Buthey, that's just my own personal opinion,
so you know, believe it upto you. But that's it for
(46:06):
the end of this review. However, you've been quite busy or your rolodex
has been quite busy, as you'venot only recorded, but have lined up
a few more upcoming interviews for usto listen to over the next few weeks.
Absolutely. Yeah, our next episodeis going to be an interview with
Ric Flair himself, one of ourone and you say himself, yes,
(46:30):
he played Rick Flair and one ofour most really interesting reviews and so on.
The the guy has a lot tosay about sort of the performance actually
reaction from from wrestling fans, whichI knew nothing about until till our conversation
and was quite surprised. Yeah,so I'll tell you this, just like
(46:50):
Rick Flair himself, he can hecan. He can create a really good
shoot and cut a good promo aswell. So look forward to quite a
bumper interview on that one. Andwe've got a couple of potent of Curse
interviews that we're going to be recordingin the coming weeks. So as you
start to make your way through theTV show, I'm desperate to talk about
it with the people and involved,so we'll have a couple of interviews hopefully
(47:14):
by the end of the month toshare with you as well. So yeah,
we'll keep taking over until until CivilWar comes out. Absolutely, it's
great that while I catch up onthe Curse, finally you've able you've been
able to find other people to talkto about it and they happened to be
in the show, which is great. So what's it called? Showing Up
is now in DVD as well,so you know it's it's we'll have something
(47:35):
else lately my past UK cinemas,but it's finally available, so yes,
I have no more excuses. Iwill need to get a copy of that
and watch it soon. But yes, our next big new release review will
be Civil War in a few weeksin April, once it comes out here
in the UK. Yes, it'sgoing to be interesting to see where that
one lands. I imagine that withus both be speaking in the UK,
(48:00):
we're going to have slightly different opinionson it than some of the US critics,
but we'll have to see. Butyes, until then, get jacked
up, go do some pumps,and we'll see you in the next one.
Welcome to the nerd Party. Hello, and welcome to the A twenty four
project here on the Nerd Party Network. On the podcast to take you through
the entire back catalog of A twentyfour reviews the latest releases and brings you
interviews with the people behind these moviesand TV shows and asking and with me
(00:26):
as always is my co host LeeHutchinson, how are you? Yeah,
I'm really really good. It feelslike I can't believe it that we're reviewing
a movie that, as of aboutright now as we talk and so on,
has just been released in America andLos Angeles. After all the delays
we've had in the UK, weare for once a little bit ahead of
something before we end up being behindas we wait again. I know,
(00:48):
because I mean, let's face it, if it wasn't for the Glasgow Film
Festival, we probably would have beenwaiting till me the third too, and
we'd be once again being oh,we're going to review a film which everyone's
already watched. Sorry, it wasalready already basically been everyone's already watched or
in the UK has downloaded off ofApple iTunes because it's already been released on
iTunes in America because everyone's got thoseaccounts, right, Yeah, no,
(01:11):
just that's probable. It's interesting.I had it the other day. I've
not I mentioned it. I'd notobviously seen the Civil War trailer, and
then I was in the cinema andthen it was just like the first few
seconds player, I was like,oh, this is the Civil War trailer,
Like, do I kind of holdoff? It's only maybe like a
month and a bit till it comesout here in the UK, so it's
we're not far behind America at allfor that one. And I was like,
(01:34):
you know what, I'm just goingto step out of the cinema here
as it's playing ahead of June andjust try and be as surprised as as
possible. So I just looked likea really odd person just hovering near the
door but not too far away.Yeah, well, I think it's potentially
I haven't seen the second. Ihaven't seen the full trailer. Actually that
one actually could have been the fulltrailer, so you might have got even
(01:56):
more, I guess, potential spotsif you want to go on as blind
as possible. But of course CivilWar will be coming up for on the
H two and four project in Aprilafter. It's about the south By Southwest
Festival this weekend. But first,you know, the view that we've been
skirting around is that today's episode isgoing to be all about rose glasses,
(02:19):
love lies Bleeding. But before westart our workout, of course, we
have time for some a twenty fourhour news. Big stories this week include
Emily Blunt is going to reteam withher Jungle Cruise co star Duane Johnson in
Benny Saftei's Smashing Machine, about UFCstar Mark Kerr. She's going to be
playing his wife in that one.Are you excited for this reteae following Jungle
(02:44):
Cruise? I imagine you're a hugeJungle Cruise fan. Are very excited about
this? Yes, I'd forgot thatthey were in Jungle Cruise together. I
have not seen Jungle Cruise. Andwhen you kind of mentioned that, you
can see why perhaps the Rock hasmade that sort of pivot maybe with this
film, maybe a bit more longterm to maybe doing more uttered driven films
and so on. He certainly hadthat run of just starring in some really
(03:07):
bad movies, to the point thathe was almost dragged back into the Fast
and Furious franchise that he kind ofswore off. Oh come on, he
did. You you must know that, you know, you know he delivered
on his promise and that the entirehierarchy of the DC universe was going to
change. You know, Black Adamdid actually better business than the likes of
(03:30):
Shazam and I think even Aquan do. But you know, by that point
it was basically decided that the OldGuard were out and James Gunn was being
given the keys to the Kingdom andwent in a completely different direction. So
you know, even to the factthat Dwaane Jones was able to get Henry
Cavill back in a Superman for essentiallynothing but cheeky post post credit cameo.
(03:57):
But I am excited by this.Yes, some the Rock has been accused
in the past of playing himself oryou know, there's the fun meme of
which film is he in he's wearinga gray shirt or T shirt. It's
very difficult to choose. It couldbe anything where he's in a jungle or
has a giant ape next to him. But you know, I having followed
(04:18):
the Rocks career for his entire careersince he debuted at Survived Series Night and
Next seven as Rocky My via hisacting career has he has shown glimpses of,
you know, he can deliver anylythe good performance when he wants to
win the materials right, be cool. You know a lot of people are
rediscovering the quirky delight that is Southfrom Tails. And of course I think
(04:42):
he was actually one of the bestthings in one of Michael Bay's best films,
Pain and Game. So hopefully thatis Dwayne Johnson that turns up for
Smashing Machine. And I mean thefact he's been I mean the Safti's have
got I think good. You know, this is just going to be Benny
Saftie directing this one. But youknow they managed to get you know,
Robert Pattinson, his career essentially changedOvernightfall and Good Time. You know,
(05:03):
people's perceptions of him changed, andcut Gems did a great job of,
you know, changing people's perceptions ofOh yeah, no, Adam Sander can
deliver you know, a non AdamSander performance when he's given the right thing,
just like Punch Runk Love. Soyeah, I'm very very excited and
hopeful for this one when that onecomes out. Other eight twenty four hour
(05:24):
News this week there was some howcould I say it spicy, that's what
the kids are saying spicy. Takessome controversial comments by one of the CEOs
of Neon, the other independent distributorin America, who when talking about his
upcoming slate and his vision for thecompany going forward, is that he would
(05:49):
be focusing on the films and onlythe films, and if they ever did
any merchandise, they certainly wouldn't beselling sixty dollars candles. I wonder who
he could have been talking about.Well, clearly he couldn't have been talking
about a twenty four because if hedid, he should have known that the
candles on the website it only costforty eight dollars. But as you said,
prior to the podcast league, maybehe was including the shipping on that
(06:12):
one. Yeah, it was interestingto see them, Like it's rare that
you kind of see I suppose studioheads and production kind of having a pop
like that each other and so on. It's I suppose we always think of
them as kind of good bedfellows,but like it felt like for a few
years when kind of Neon we're doingkind of the top business at the top
(06:32):
of the oscar pile that sort ofwhy were they being successful and someone like
A twenty four wasn't And then therewas that sort of pivot last year,
and it just sort of always seemsto be between there. They also ran
sometimes in the best respect compared tosome of the bigger studios for actually making
a dent in them. It's ashame to see that. But I wonder
(06:53):
what Anna Perner think, but thinksof the whole thing. Are they still
going? Means it's always difficult totruly tell the context of something when it's
in print. We don't know ifthere was you know, the how the
line was delivered. I mean,I feel that, you know, the
(07:15):
almost perhaps invented internet rivalry between Neonand A twenty four. It's it's surely
a good thing, you know,the fact that there are more distributors looking
to get these films into cinemas,especially in America, which is such a
huge, sort of crowded marketplace.I think it's good. I mean,
obviously there is going to be competitionbetween the two when it comes to certain
(07:38):
titles, when you know the onesthat debut can Sundance and whatever, and
you know, of course there areonce again you know we'll be going head
to head this weekend at the Oscars. A twenty four obviously have sort of
past lives and the tone of interestas their main front runners, and you
(07:59):
know, Neon how of anatomy ofa fall. I did hear just today
breaking news that Messi the Dog isnot going to be at the Oscars.
Apparently there was some jealousy from certainother publicists on the campaigns. Apparently the
Messi turning up to the nominees lunchand everyone making such a fuss over him
(08:20):
was unfair on the other films thatwe're trying to gain traction at the time.
But I think it's just pure jealousyin the fact that Messi probably did
give the best pointing performance of theyear in my opinion. So yeah,
it's kind of trump the what wasit Marvel had they was it cats or
something like that they had like theycould critics got the chance to meet,
(08:41):
like go to like a random catcafe in London or something like that.
It seems to be kind of moreand more things like that are happening when
there's a breakout pet. Yeah,it seems to Yeah, people have to
be slightly more creative than trying tojust basically bribe journalists with a load of
freeboot part of the screening in orderto get favorable reviews. But it was
(09:03):
interesting that you brought up just beforewe started recording that you'd read that A
twenty four have actually not really spentany money whatsoever above the line in terms
of their promotion of their Best Picturenominees this year. And yeah, an
interesting strategy from them. I wasjust word of mouth managed to get them
into a really good place. Orare they sort of saving their pot for
(09:26):
a future year. Perhaps maybe youcould argue they've spent the poll already getting
them to some of those nominations inparticularly like Zone of Interest and Past Lives
for example, like that's the success, like you could spend millions because I
think it said that Oppenheimer had spenttwenty five million for the Best Picture campaign,
(09:46):
which is pretty small fry for someonelike Universal, which its a hell
of that's twenty five moonlights for someonelike A twenty four, whereas you could
argue them being nominated. How youknow, there was that talk for a
while of like Zone of Interest washad the most limited slow release, and
I think me and you said andothers that actually they're just banking on it.
(10:09):
If they can get some good,decent wind. It's sort of the
Oscar nominations. They can go abit wider with it, and a film
that is basically a European film notin the English language will probably get a
bump off the back of that,like it's worked. Perhaps so it might.
It feels like they've maybe gone abit strategic this year. They've they've
not seen a window where they canactually compete perhaps you know, win it
(10:33):
as well. I think their besthope is something like Best International Film or
something that's I think that's the onlyhope for for a twenty four this year.
So why not just spend spend accordingly? Yeah, and I guess yeah,
the best achieved, Yeah, thebest one of them. It's it's
it's I think that is where ithas its best chance. I mean there's
a lot of there's some slight controversyaround Zone of Interest being in that category.
(10:58):
I know it caused a lot ofconfus usually that the Baths this year
when it was basically you know,nominated in one you know, best Film
not in the English language, butthen also one Best British Film and it's
like, well, what exactly.It's like the first time it's probably ever
happened with that. It's like,how does that work? It's like,
well, essentially, in order toclassify his best British film, basically the
(11:22):
money has to come from Britain andsome of the talent there's you know,
so you can have a film entirelyfilmed in a foreign language but still called
fire for British film. And yeah, but I mean yeah, it's its
main rival. Of of course,it's going to be in the Best Picture.
Oscar is going to be an atameFall, which is is Neon sort
of a big hope here. Soyeah, no, there's going to be
some everyone's film twitters eyes will beon that particular rivalry, but I think
(11:48):
all of them will be blown outthe water in the end by the juggernaut
that is Oppenheimer. I don't thinkI don't think there's anything that can really
stop it at this stage. Isn'tit even the dreaded prefential ballot. I
think Oppenheimer is still going to takethe biggest prize on the night. Are
you going to stay up and watch? I know you're a bit of an
Oscar correspondent for these sort of things. Will you be watching it through the
(12:09):
night on Sunday and to Monday,it depends, I can't remember. I
think it might be on ITV thisyear. I think it might be on
terrestrial television. I think it willall depend on whether on what the punditry
is like in whatever studio, becausenormally the UK punditree is horrendous and I'd
(12:30):
probably just prefer to watch a livefeed if I can, of the actual
ceremony from America, like I dowith the Super Bowl, where you get
all the great American ads and wonderif anyone's going to drop any big trailers
during the Oscars. It always seemslike a really good time to do it.
You know, you've got people wholike film watching that. I guess
we'll have to see, but whoknows. We'll find out soon enough,
and then it's all. But we'realready onto the next year's Oscar campaigns,
(12:54):
doing Part two, which I knowthat you were were not a fan of,
but I really liked after a secondview. But yes, no,
it's the Oscars haven't even arrived yetand people are already talking about next year,
so we'll have to start figuring outwhat's going to be nominated from A
twenty four next year? Will itbe this one? I guess we'll find
out after discussing it. So LoveLies Bleeding is Rose glasses second film following
(13:15):
twenty nineteen's Well I Say twenty nineteenSaint Maud. It debuted at film festivals
in twenty nineteen, but then didn'tactually manage to get a cinematic release until
about May twenty twenty one due toCOVID, but it is also her second
film with A twenty four, andit stars Christen Stewart, Katie O'Brien,
Dave Franco, Jenna Malone and EdHarris. Reclusive gym manager Lou falls hard
(13:37):
for Jackie, an ambitious bodybuilder headedthrough town on our way to Vegas in
pursuit for dreams, but their loveignites violence, pulling them deeper into a
web and lose criminal family. Filmis out now in New York and LA
this week, before a wider releasein the US on Friday, the fifteenth
of March, and we out inthe UK on the May third. It's
received strong buzz from the Sundance Filmheading over to Germany for the Berlin Festival
(14:03):
before opening the Glasgow Film Festival lastweek. Now, before we dive into
our review, Lee and I werevery lucky enough to chat with Rose Glass
on the red carpet at the GlasgowFilm Festival prior to it's sold out opening
gala. So let's hear what shehad to say about the film. So
your film was done Sundance and thenBerlin and now Glasgow. How important are
(14:24):
film festivals to a film like youall? This? I think very important
because there's this sort of thing whichI think is going to rely on the
mouth, I guess, so Isuld hope to get those focus more like
films cinepal Cana's going to see TheQuest and hopefully they get excited and tell
a lot of price, but whenit actually comes out of feel similar to
Saint Martin Away. We saw itlike twenty nineteen in London and it was
(14:45):
one of those one she's like,oh my god, I need to tell
people. Maybe on paper, Ithink, particularly saying more like it's sort
of it's bit of like a seriousor lot of fear kind of anyway,
maybe the pitch on paper doesn't it'stoo racculate. So I'm not sure if
this is the film one an't Thisis obviously you're kind of second film,
but it's your second one with Atwenty for What do you see in them?
And what do they see in you? I mean they so they just
(15:05):
distributed single and they thought they cofinanced this one along with film for both
A twenty four one films for aredis very I guess they're up for taking
risks, which is likely for mebecause they I don't know. I think
it was a bit of a weirdsell at first, but they they just
let us do whatever we wanted prettymuch, which was which is very exciting.
And I think it's probably not thatmany production not asius be doing.
(15:26):
Yeah yeah, and I mean Christmassure one of our joint favorite actresses.
You know, started off sort ofwell known for Twilight, but they clearly
sort of decided to take a rightturn into doing films that she wanted to
do more. What was it abouther that drew you to her for this
role as an actress? In general? Of this, I think I just
instinctively felt she'd be a really goodfit for it. I kind of liked
(15:48):
the idea of her playing like akind of moody, helpful vandy hero kind
of person then, you know,with a healthy dollop of neural seas and
self loathing and stuff, which Ithink she portrays very charismatically and interestingly.
I've been keeping myself spoiler free forfor this film, and so I've not
even watched the trailers yet, butmuch I know, as we're not definitely
in like Eastbourne and stuff that wewere, we say more where you kind
(16:10):
of it was a conscious thing tokind of go as far away as possible
from the English coast to America.We did. We toyed a little bit
between whether to set it in theUK or not, so I think I
was a bit daunted by the ideaof setting in America, so briefly before
we wrote a draft, I waslike thinking about even setting it in Scotland.
I kind of still like, canimagine the Scottish versions of these characters
quite clearly, but I'm still maybeI'm a bit nostalgia point, but I'm
(16:30):
America just seemed to see all theguns start again. Why would you have
to have done differently to make outScottish. Well, I guess there would
have been like fewer gun ranges,sort of like colder, but I feel
like a little bit more of transferredpretty well to you. And it's not
something that you as a director.I've always had that kind of pool between
UK film and American and all thatsort of stuff. Have you always believe
I mean, I guess, well, probably anyone who makes films anywhere.
(16:52):
I guess like Hollywood's such as sortof like omnipresent, kind of has such
an any present influence on so muchpopular culture that it's kind of, you
know, it's like a weirdol.I guess one that's one for these homeportant
is the cinematic experience being to youknow, experiences, because I remember seeing
the same board and I nearly sortof wrote you and the nearly build you
(17:15):
for a new set of trousers duringthe jump scale because it wasn't a particularly
it's not a jump scary film.But then that was so well, it
just came home. I mean,how important do you think it is for
people to be back in cinemas andexperiencing something together, because I think it
almost heightens experience to be we allshare that same moment at the same time.
Yeah, I think there's definitely likea layer of enjoyment that's different.
I mean, I hope it's thesort of thing that watching it by yourself
(17:37):
in the dark might be kind ofexciting as well. But yeah, I
love being in a room with otherpeople. From everybody it's being made to
make involuntary it's noises and then gasto the enjoyment. So and that was
very much the sort of experience thatI was hopeful when when I was required
to mess with. And my finalquestion obviously, like casting for Same Mode
was incredible, and it looks likeit's gonna be the same again for this
(17:59):
film. How involved are you incasting and picking out these amazing faces background
characters that obviously informed same Maud's so, well, what do you look for
in very involved? Like I sortof work closer we die casting directors Betty
May, and then we had aseparate casting director just for your background and
stuff. Yeah, you want toyour places to feel like they're in the
same sort of world. I don'tknow, there's there was a mixture,
like you know, Kristin, Iwas picturing really early on when I was
(18:22):
writing it, so we just wentstraight to the n offer and then the
others. You're kind of like,I guess it was quite we had to
cast a family in this like Kristin'scharacter and Harri's place, her dad general
and place my sister, the Clausbrother in law, who are kind of
casting your family. WHI thank youso much. Good. How was it
getting to speak to Rose Glass,because I know I think we both missed
out when she came up to Glasgowactually for Saint Maude all the way back
(18:48):
in twenty twenty. I think itwas so Yeah, it was great to
get a chance to speak to her, especially as everyone else was really focused
on Glaswegian pubs and favorite place toeat in Glasgow and we were like,
we'll ask you questions about filmed atwork. Yeah, it was. It
was great to interview her, LikeI really enjoyed Saint Maude. It was
I think we got both the chanceto obviously tell her we saw it in
(19:11):
cinemas and so one of the luckyfew during a pretty crazy time, and
that last few minutes was just oneof my favorite experiences within the cinema just
in terms of just audience reaction,especially for her packed festival screening as well.
So it was an absolute pleasure totalk with her. And you know,
as much as I tried to stayin a bubble with love Lives Bleeding.
(19:33):
I knew just enough to kind ofhave that kind of conversation with her,
and it was impossible not to thinkafter her revelation that this was originally
maybe going to be set in Scotland. I would have been very, very
curious to see that one. AsI think she highlighted, I don't think
you could have done a gun rangein Scotland, so curious to see how
that would have gone. Yeah,there's an alternate world out there, like
(19:56):
everything everywhere, all at once.There was a version of this film where
it is set in Scotland and probablystars Karen Gillen and another female bodybuilder who
knows. But so, I mean, you said that you didn't know much
about it going You knew enough toget through through the interview, but I
know you always try to avoid trailerswhere possible and stuff like that. So
(20:18):
what were your sort of expectations goingin and what were your first impressions when
the credits rolled. I expected somethingto be to be very gay and have
really good sound and visuals and soon, and both of those those delivered.
It was more of the rolling Stonething that perhaps influenced me of what
to expect. I'd obviously seen thepictures of Katy O'Brien and Christian Stewart as
(20:41):
well, so it kind of gaveme an indication that it would be sort
of a a kind of lesbian stylestory or queer story, So that was
kind of what I was expecting.But I didn't expect this sort of family
drama to really be at the heartof it. And actually I don't think
I expected it. You know,SAT had humor in it, and it
(21:02):
was humor that I quite like.That type of things are a bit insane
and mad, but actually there's somereally good funny moments in it that really
either bring up the tension a littlebit or just make you realize what a
wild trip you're on. I didn'texpect it to be as funny as it
was, and Glass Region audiences aren'talways my favorite. I think they can
(21:22):
overegg things a little bit, butit was one that clearly went down well
with an audience on the comedy frontas well, and it's one where I
was quite surprised by a lot ofit in a really positive sense. But
I really want to be able towatch that one again. It just I
really found it quite quite surprising inthat respect, how comedic it was.
(21:47):
Yeah, no, I mean Ireally enjoyed the first screen. Yeah,
I know what you say about festivalcrowds, they're always slightly more enthusiastic,
and I think this Glasgow especially,they are probably more on the vocal side,
almost tending more towards sort of anAmerican crowd. They were very vocal,
(22:11):
especially like funny moments and even somemoments which maybe weren't meant to be
overly funny, but that was thereaction that we got from some people.
So I know what you mean aboutwanting to watch it again, potentially with
a sort of more sedate Friday nightcrowd. But I really really enjoyed this.
I think say I was also ahuge fan of Saint Maude, and
(22:34):
I was really looking forward to seewhat she was going to do next.
And I have to say that Iwas actually very surprised. I mean,
it's very different in sort of toneand visuals to Saint Maude, but I
could still see that this was workfrom the same director, if you know
(22:57):
what I mean. There was links, there was sort of subtle moments,
There was sort of moments where sortof there was changes to the body that
you weren't really sure if they werehappening or not. And there was a
bit of that in Saint Maud.But also the sort of through line I
think of all of our film sofar as it features women going through an
(23:19):
immense period of change. Obviously SaintMaude was going through a huge crisis of
faith. Here Lou goes through anemotional reawakening, while Jackie's transformation is obviously
much more sort of physical. Andso I kind of like that. What
I was really impressed with is theredoes in terms of like the queer sort
(23:41):
of cinema thing that it's becoming.It's not as sort of in your face
per se, but it's just more. Also, it was just presenting a
love story as opposed to this isa gay love story. It's like,
yeah, this is a love storybetween the gay two people. But it
wasn't like over the top about that. It was like, this was just
(24:02):
two people who happened to fall inlove. And that's what I really enjoyed.
This almost the sort of matter offactness about it. And but I
mean, this is clearly like astory where it is you know, I
think she talked in the post filmQ and A about the fact that you
know, she hadn't actually seen afilm like you know, Thelm and Louise
(24:25):
before and having watched it since shefinished filming. She was glad that she
hadn't because she might have been worriedabout referencing it more. But I did
appreciate the sort of the nods tothe sort of Americana and these sort of
Midwestern thrillers. I mean to me, it kind of felt a bit like
sort of Coen Brothers sort of blood, simple meats, pumping iron. The
(24:45):
Schwarzenegger documentary. It's you know,trashy, it's lurid, it's sweaty,
it's steamy, but all in thebest sort of possible way, if you
know what I mean. It's veryeighties in that respect, isn't it.
I agree with you. It feelslike representation has taken a very good,
good turn. That we went throughlong periods where it was incredibly rare or
(25:08):
hard to find this type of representationin you know, in our local cinemas
or multiplexes, et cetera. Andthen there was probably the period of sort
of just compensating for that and soon, and people rightly embracing it.
But kind of being a bit moreon the nose with it about these sorts
of things like when it might cometo like Oscar campaigning or sort of talking
(25:33):
about what these stories are like.And now it's hopefully a sign of our
times. And by mean, byno means is it perfect for the society
with that we we live in attimes for a lot of people, but
it's now we accept these as theNorman so one. A lot of us
have gay or queer friends, forexample, and these stories are kind of
(25:56):
that they're they're there now. It'sjust kind of as normal as you would
expect for our kind of heterosexual relationship. And I think this one does it
quite well in the respect that thereis the odd nod to it of hey,
it's the eighties, some people arepretty off base with their language or
how they maybe view kind of lesbiancharacters. But equally among it, there
(26:18):
were still some good people there aswell. I think of the bit with
like and does your dad care,and it's like, yeah, he doesn't
care. But there's perhaps the oddjimbro or something like that that's a bit
more on the homophobic side with theirlanguage as well. So I felt like
it it threaded it really well,but like it was just a simple love
story at the end of the daybetween two women, and I think that's
(26:41):
sometimes what A twenty four has tendedto do do incredibly well. Yeah,
and I'm just sort of thinking justnow, just thought of a film and
it's like it's like the polar oppositealmost of what we watched there in the
way that Rose Glass has sort ofshot this relationship, and in particular,
there's a sort of it's like amontage sequence where it's like they're getting to
(27:03):
know each other and you know,they're you know, the relationship is becoming
physical and stuff like that, andhow that was shot almost like in you
know, in a way way solike a straight sex scene as opposed to
a film like Blue is the WarmestColor, which was shot by a man,
and like the sex scenes there betweentwo women and it where it becomes
(27:25):
almost graphically titillating to the point whereit's not even about these characters. It's
about someone's almost gratification at watching tolesbians having sex, whereas this felt more
just like your standard sort of sexscene. And so I think a lot
of it is down also, youknow, to the the way that rose
(27:48):
that it shot it that way,but also down to the chemistry I think
between the two actors. Yeah,and I love that. Like I wasn't
familiar really with with Katie O'Brien,I think did I think she mentioned she
had been in The Mandalorian or somethingpreviously, which, yeah, I'm a
Star Trek. I don't really watchStar Wars for the most part, so
so if she'd been in a StarTrek, you would have known. Oh
(28:11):
god, yeah, I would havebeen that little kind of I'd have been
that Leonardo DiCaprio from like Once upona Time in Hollywood. I have,
I definitely have an eye for noticingpeople with I've been in Trek. But
yeah, it was one of thoseones. I thought she was one of
those performances like I go back tothinking about something like Saint Maud and you
were just like, oh, thiscould be a potential star in the making
(28:34):
performance. I think we all knowthat and take that maybe a bit for
granted now with Kristen Stuart, butwith Katie O'Brien, it was like,
oh, wow, like, Iwho is she and all that sort of
stuff, and you just immediately canjust start to see a mixture of yeah,
there's action rules perhaps out there forher as well, but some really
great drama rules as well. Itwas just one of those ones. It
(28:56):
was just it's only been two films, but you can really argue that Rose
Glass has an incredible eye for casting, which it was great that we got
a little bit of an insight fromher on that kind of process for her.
Yeah, no, I mean itwas it was quite a gradible to
hear the story that they've been castingall across America and just weren't able to
find the right person. And thenbasically I think it was like almost like
(29:21):
one of the producers is expressing theirfrustration on Twitter and someone tagged Katie O'Brien
on and going, they're looking forsomeone who's like a female bodybuilder who can
also act, and it's like thissounds up your street, and she's like,
it does send up my street.Yes, I'm going to send up
a video right now. So,I mean, yeah, this was a
real sort of breakout role for her. I mean, seen her in The
Mandalorian, but it was quite asort of small part that didn't really allow
(29:44):
her to flex, so to speak, her acting chops and stuff like that.
But this was really sort of likea star making turn here, and
I think I was speaking to youafterwards and sort of thinking about how the
fact that it was, you know, we've just seen recently last couple of
years the She Hulk TV series whereTyana Mesley was you know, she was
(30:07):
playing the human character, but thenthere was a CGI version of her as
She Hulk, and it's like therewas scenes here where I'm like, why
was Katy O'Brien not caster she Hulksort of almost before and after because she
could probably have done both, uhand it But I guess I think the
world and sadly, the Marvel Studioscinematic universe has moved on sadly from the
eighties and Loufrigno just just you know, put green paint on them and it'll
(30:33):
be fine, because she could havedone it all practically. I think I
thought it was just there was timeswhen I was just watching, it's like,
this is going to be a star. And I mean there were some
people I know in the run upto this film talking about how this was
apparently Christian Stewart's first A twenty fourfilm, which clearly they have not watched
Equals, which is no one haswatched Equals Dallas. Actually, if you
(30:56):
ask Christian Stewart in an interview,would she say this was her first day
twenty four film, would she rememberthat she'd done another one? It'll be
like same modern not the same modMadam Webb, a completely different film where
people were like, oh, yeah, I'm loving starring in these kind of
Marvel's Cinematic Universe movies. And it'slike, actually, you know, you
kind of are of a kind ofarn and so on, and you can
(31:18):
imagine people like that sometimes maybe justactually forget the logistics of some of these
films that they star and yeah,so I mean we're obviously you know,
we've done a whole episode on onon the Wonderful World of Christmas Tour.
I mean, do you think thatshe was a good fit for Rose Glass?
Because I think Rose Glass, whenshe was talking about the film here
in Glasgow, she was basically sayingthat Christian Stewart was pretty much on the
(31:42):
top of her list of who sheenvisions for this part, just you know,
as a character, but also asan actress that she wanted to work
with. And do you think thatthis is you know, the perfect sort
of vehicle for her, Yeah,definitely, and go back to that that
comedy side of it, like I'veoften always found and even go back to
Twilight particularly that kind of first oneis she does comedy really really well.
(32:06):
Like I think that Charlie's Angels film, it wasn't great, but she was
hysterical and she and she really reallygot the tone of it and was very
comedic in it. And I reallyliked that with this because like you watch
this in perhaps with another performer,it's played quite seriously, it's not actually
(32:29):
doesn't embrace the absurd or the kindof the dry wit that someone like Christian
Stewart has. And I think sheabsolutely kind of nailed it as well.
And just even you know, Ijust think she was really well cast and
so on she I think people aregoing to continue to you know, we
you know it, and a lotof people know how great an actress she
(32:50):
is, and I think just peoplenow get an idea of actually she is
incredibly funny, and for so manytimes people were so dismissive of her acting
talent when often she was you werelike, she is being actually just quite
ironic and dry and quite witty ina unique way. And I think that's
cot To Johnson effect, that's exactly, and she would write down on it.
(33:10):
Yeah, I mean, yeah,just so you're sort of saying,
that brings to mind, there's acouple of moments where she has to sell
something completely just with her facial expressionson the absurdity of how bad things get
for this couple, and it just, yeah, it just brought me into
hysterics for that because i mean thingsyou know, bestly plans and all that.
(33:34):
You know, the these two peopleare in love, they're stargross lovers.
Yet you know, they are pulledinto a situation I'm not going to
say beyond their control because you know, it is technically one of theirs fault
the way that things go. Butit's just so happens that everything that they
try to do to try and rectifythat situation almost kind of makes it worse.
(33:55):
Because you know, that's that's whatgood filmmaking is. You know,
you've got to you know, you'vegot to have trials and hurdles for these
people to overcome in order to getout the other side. And yeah,
there's some there's always a few wrinkles, including one which is the ex of
Christian Shop's character Daisy, who probablyhad with that was a sort of scene
stealing turn I think by that actressin this and how she gets involved in
(34:21):
stuff like that. But I meanin terms of the other sort of cast
of characters, you know, youhad the sleazy, horrible Dave Franco,
and I mean we have to probablytalk about Ed Harris's hair extensions. Correct.
Yeah, I loved it. Whereone of the great stories that Rose
Glass shared at the Q and Aafterwards was that kind of he had this
idea of like this kind of maybehair for example, and he I think
(34:43):
it was his wife's hairdresser. Themen and Christian Shirt saw him is like,
he looks exactly like my dad did. And I think there was a
great bit where I remember just sortof picking up on it where you see
sort of like an old picture ofthis family on the wall and so on,
and you know Ed Harris is isthere, and actually what they did
(35:05):
is they just put Ed Harris's faceon this long haired mister Stewart, which
it definitely adds to the aspect ofI want to see this one again in
May. Yeah. No, Ithought he did a great job because it's
it is a very sort of trickyperformance. You know, in some ways
a bad guy, but you know, he does have layers being you know,
(35:27):
the father of christmas suits character.He does have some sort of paternal
protectiveness of the over her even thoughshe is potentially trying to screw them over
and stuff like that. So there'sthis conflict there, which I've always got
to have some conflict in there,which is great. But I mean some
of the best sort of stuff betweenthe two of them is these really sort
(35:49):
of vivid flashbacks as Christmas begins toopen up about her past and how she
might not be all that she seems, and the way that I mean Rose
Class said this on the Q andA and we talk about this mythical Q
and A that we were able toattend and you weren't, But she talked
about how, I mean, oneof the most striking visual aspects of it
(36:10):
with these flashbacks which were basically blackand then with the characters just bathed in
really dark red light, and therevelation that apparently those were basically done in
reshoots and pickups. They were needingsomething to kind of illustrate the backstory.
And I mean, I thought itwas one of the sort of strongest elements
of it. I really liked thelook of that, And I mean,
(36:30):
what did you make of the sortof whole look and feel of the film
overall, and the soundtrack, becauseyou know, it's a contemporary, contemporary
film, but it you know,just it really sort of had that sort
of gritty eighties field. Yeah.I really like Clint Mantell's score for this.
I got very excited when I sawthat one at the credits. Yeah,
(36:53):
but I really loved the look ofit. And yeah, it was
one of those ones. I think, those those scenes that kind of and
red light and you know, whetherits subtle or not, that use of
it of it, it was oneof those ones that added to kind of
the ambiguity about this character. Isshe is the kind of you know,
this great you know, oh,she's free from the family, doing her
(37:15):
own thing. You know, shehas a past as well and so on.
And I thought that lend itself reallywell to it. Just the whole
film just looked and felt like agreat tribute to it to the eighties,
and you know, even the soundtrackavoided a lot of the pitfalls of of
you know, period pieces as well. And sometimes I think these more indie
films, they have to be abit more innovative with their soundtrack choices for
(37:38):
dating the film as opposed to kindof some of these bigger ones which tend
to go for the hits of thetime that people all automatically automatically recognize.
And I think it was I thinkRose Glass mentioned it. It was like
her partner that created like a soundtrackplaylist and so on, and that,
for me, is the dream jobif you're like the plus one of a
(37:58):
director of like I could do thesoundtrack film for you if you wanted and
stuff, which certainly made me chuckle, you know, I mean, I
think you're right in this. Andby avoiding the sort of big obvious choices
for eighties hits and whatever, andby going for more sort of niche sort
(38:19):
of lesser well known phil songs,it avoids sort of dating it. Yet
I mean, yet it wants tobe set in the eighties, but you
know there is because it is setin this sort of small town which potentially
hasn't maybe really age. I mean, they talked about it again, but
the fact that they find this locationwhere they didn't have to do much to
it to make it look like itwas set in the eighties, it hadn't
(38:42):
really moved on in about forty years, so there is there is this sort
of timelessness to the story and thefilm that is done by not dating it
horrendously with you know, really bigspecific songs from the eighties. And I
think Clint Mansell score does that greatjob a bit of referencing the eighties and
the use of synth and stuff likethat, but still sort of propelling and
(39:07):
moving the drama forward through the scoreas well. I think, yeah,
it was just it was all expertlydone and so on. And that's two
for two on the soundtrack front aswell for her, which I just yeah,
it's one of those ones you're certainlygetting an impression of what a Rose
Glass film can be as well.And just that use of lights I think
(39:28):
of it with Saint Maude as aswell, just all those kind of beach
side lights as well that had.It's just these films really really popping her
are so visually interesting in a waythat sometimes these types of indie movies can
sometimes they follow a little short andI think she's really set a nice standard
for what we expect from her.Yeah, and sort of another thing that
(39:51):
sort of is a follow through fromSaint Maude. Is the very delicate tightrope
blook between the sort of the realand the surreal. I guess they were
in Saint Maude some moments of incrediblesort of violence and shock, but there
(40:13):
was also some elements where you werelike, is this happening? Is this
not? And it kind of workedin that story because it was to dealing
with a woman who is struggling withher faith, so is it all in
a head and whatever? And it'sfair to say that this film, I'm
not going to go into any spoilersper se, but I mean the ending
could potentially be quite divisive between somepeople. I personally felt that the way
(40:38):
it went was in keeping with whathad gone so far, in the fact
that this character is becoming increasingly relianton steroids and so therefore the sort of
roid rage, the sort of feverthat comes from that drug addiction. Can
you know, cause your mind toplay tricks on you and stuff, and
(41:00):
you might not know exactly what isreally and what was not. And I
thought it did a great job ofbalancing the two. There are some left
field moments per se. One thattakes place during a bodybuilding competition and one
in the final climbactic act. Buthow did you feel they went towards because
(41:22):
I can see some people, certainly, if Heaven forbid, they're ever you
know, once the film's released ondigital and are shown out of context,
Yeah it could be bad. Butyeah, I mean, how did you
feel that she managed to balance thosetwo sort of things. I was surprised,
but it made sense. It wasone of those ones that was part
(41:45):
of like by thinking of like,oh, I really like to watch this
again. And you know, becauseI'm you're watching these types of films,
like especially with a twenty four ssay, I try and go in these as
you know, knowing as little aspossible, and you know, you're letting
these sorts of things sometimes just washover you. But you've got your critical
eye on it as well. Youknow, this has been a filmmaker.
I've been looking forward to seeing whather new film is going to be for
(42:07):
a couple of years and just thinking, oh, I wasn't necessarily expecting this,
and you're just sort of thinking aboutit, and you know those types
of comments you just made, thoseare kind of going through my head of
like, yeah, this makes reallyinteresting sense and so on, and it's
one of those ones I'm almost lookingforward to being able to just watch it
and just let it kind of washover me as just a bit of an
(42:29):
audience member. There's often a pressurethat comes with these films for the first
time. But I really liked itbecause it was one of those ones.
I was sitting there thinking, Wow, I'm never going to forget this opening
night at Glasgow Film Festival, Likeit was just such an interesting choice,
and it really builds upon imagery thatwe see earlier in the film as well,
Like I remember just sort of whenit first kind of happens, like
(42:52):
when she kind of get Kato O'Brien'scharacter gets into a bit of a kind
of a bit of a bit ofa domestic situation for the first time with
Lou's brother, and just thinking,oh, wow, they've made her look
really big and tall in this sortof size room. And I was like,
Oh, that's a really interesting perspectiveand what's planting into my mind?
(43:12):
And it just felt like a naturalevolution of that. And it's just it's
nice sometimes to be shocked and surprisedand to let those types of feelings kind
of happen when they do and think, oh, this is interesting. Oh
I didn't expect it to go thisway, And sometimes it takes a few
seconds when a scene is maybe justa few seconds in itself, for the
brain to catch up with what's goingon on screen. But I think it
(43:34):
went down particularly well, and asI say, it certainly got quite the
I think positive support in terms ofaudience reaction. Anyway. Yeah, it
definitely went down the storm at ourscreening, so interesting to see how that
plays out wider. I think itworked totally with the rest of the film,
but there was I think it wasI was watching an interview with Christen
(43:55):
Stewart about I think it was atthe La premiere in a basically said that
they were trying to make a filmthat felt like a fever dream you didn't
want to wake up from. AndI think that was a very very accurate
description of this film, especially howit plays out towards the end as well.
So I mean, no spoilers fromus. We're not even going to
do a spoiler section because you know, the film is technically just out and
(44:20):
I think I wouldn't even want tospoil it. I think it's something which
really has to be experienced in thecinema as well. Otherwise, you know,
you'd accuse us of digging up thismoment and they're not delivering. So
we've teased you just enough. ButI think hopefully you've got a sense that
this is definitely a film that younot only want to see, but you
should definitely try and catch on thebig screen if possible and with an audience,
(44:43):
because yeah, this is definitely somethingthat I think goes down very well
with sort of Friday Saturday night crowd. Yeah, only a few months to
wait until we get it. Hey, outside of New York and LA people
are really going to get it inthe coming coming weeks. But I know
it's in line London. Today theyhad an international women's kind of almost media
(45:04):
style screening in the morning at Cameonot a cameo. That picture is Central,
So that was quite an interesting onealready. It's yeah, I didn't
expect that. Hey, I thinkthat is It's a great choice. It's
certainly better than the other lesbian crimedrama that involves that played at Glasgow Film
(45:24):
Festival, which is Driveaway Dolls,which I had the mispleasure to watch as
a surprise that was a special Itwas a surprise film, and I was
shocked at how utterly horrendously bad itwas. It was like Bottoms bad in
terms of being painfully unfunnily. So, yeah, if you are given the
(45:45):
choice of watching one lesbian crime dramain twenty twenty four, make sure that
it's Love Lies Bleeding And isn't ita good sign that you have a choice
of lesbian crime dress great to havea choice. It's just a shame that
one of the most terrible. Buthey, that's just my own personal opinion,
so you know, believe it upto you. But that's it for
(46:06):
the end of this review. However, you've been quite busy or your rolodex
has been quite busy, as you'venot only recorded, but have lined up
a few more upcoming interviews for usto listen to over the next few weeks.
Absolutely. Yeah, our next episodeis going to be an interview with
Ric Flair himself, one of ourone and you say himself, yes,
(46:30):
he played Rick Flair and one ofour most really interesting reviews and so on.
The the guy has a lot tosay about sort of the performance actually
reaction from from wrestling fans, whichI knew nothing about until till our conversation
and was quite surprised. Yeah,so I'll tell you this, just like
(46:50):
Rick Flair himself, he can hecan. He can create a really good
shoot and cut a good promo aswell. So look forward to quite a
bumper interview on that one. Andwe've got a couple of potent of Curse
interviews that we're going to be recordingin the coming weeks. So as you
start to make your way through theTV show, I'm desperate to talk about
it with the people and involved,so we'll have a couple of interviews hopefully
(47:14):
by the end of the month toshare with you as well. So yeah,
we'll keep taking over until until CivilWar comes out. Absolutely, it's
great that while I catch up onthe Curse, finally you've able you've been
able to find other people to talkto about it and they happened to be
in the show, which is great. So what's it called? Showing Up
is now in DVD as well,so you know it's it's we'll have something
(47:35):
else lately my past UK cinemas,but it's finally available, so yes,
I have no more excuses. Iwill need to get a copy of that
and watch it soon. But yes, our next big new release review will
be Civil War in a few weeksin April, once it comes out here
in the UK. Yes, it'sgoing to be interesting to see where that
one lands. I imagine that withus both be speaking in the UK,
(48:00):
we're going to have slightly different opinionson it than some of the US critics,
but we'll have to see. Butyes, until then, get jacked
up, go do some pumps,and we'll see you in the next one.
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