September 25, 2019 • 56 mins
Imbibe Cinema crew discusses the casting, performances, editing, cinematography, and themes behind the 2013 Steven Knight drama LOCKE, starring Tom Hardy, Ruth Wilson, Olivia Coleman, Andrew Scott, Ben Daniels, and Tom Holland. The film tells the story of a dedicated family man and successful construction manager who receives a phone call on the eve of the biggest challenge of his career that sets in motion a series of events that threaten his carefully cultivated existence. In this episode, host Jonathan C. Legat is joined by Michael Noens (Executive Director of Blue Whiskey Independent Film Festival) and Tricia Legat (Program Director of Cinema Centennial).
MUSIC: "Woe Mountain" by Band Called Catch
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
BandCalledCatch (00:00):
♫Whoa is me, woe is me.
They have seen what I've seen.
Yes.
My mamma didn't let them makechange on me.
Put change on me.
Yeah, whoa is me, woe is me.
This is the product of A.D.D.
Apothecary, not for me, I dreamnaturally.
Yeah, woe is me.
Woe is me.
They have seen what I've seen.
♫
Jonathan (00:21):
Greetings and/or salutations and welcome back to
Imbibe Cinema.
I am your host Jonathan C.
Legat and I'm here along with...
Michael (00:31):
...Michael Noens...
Tricia (00:32):
...and Tricia Legat.
Jonathan (00:33):
In this episode we are going to be discussing Steven
Knight's LOCKE, which iscurrently available on Netflix
while imbibing"The Lock Pick,"uh, which is essentially a
bourbon sweet tea cocktail.
Um, if you want to find thatrecipe, it is on our website,
which is imbibecinema.com.
The Imbibe Cinema podcast isbrought to you by the Blue
(00:54):
Whiskey Independent FilmFestival, otherwise known as
BWiFF.
Uh, our festival seeksindependent character-driven
films of all lengths, styles,and genres.
To learn more, please visit usat bwiff.com.
That is B.W.I.F.F.
dot com.
So, LOCKE...
Wow.
What an incredibly intense, uh,80 minutes.
(01:15):
Really.
It's about an hour and a halffrom start to finish, but it's,
it's a guy in a car.
I mean like the, this film wasvisually stunning, um, for just
taking place in a car.
Beautifully edited; everybodybehind the scenes, um, did an
amazing job.
And while Tom Hardy is the onlyperson who has ever on screen,
(01:36):
um, it is an amazing cast ofcharacters.
Uh, you know, full of some bignames here.
So, um–.
Michael (01:42):
And big names that have started to break out.
Jonathan (01:45):
2013 is when this, this came out.
And so now you've got like, youknow, Tom Holland–.
Michael (01:49):
Who, yeah, who...
Jonathan (01:50):
Spiderman.
Michael (01:51):
Is Spiderman.
Jonathan (01:52):
Til now, but that's cool.
Michael (01:55):
[Game Over Tune]
Jonathan (01:55):
Womp, womp.
Michael (01:55):
You got Andrew Scott...
Jonathan (01:59):
Yup, Moriarty from, from SHERLOCK.
You've got Olivia Coleman who isnow the Queen on THE CROWN.
Michael (02:06):
Right.
And just, and just won, uh, herfirst Oscar.
Jonathan (02:09):
It's amazing given how they filmed this, um, you know
that for, for, for doing it, Ithink they just said six nights.
Uh, they did it from start tofinish.
Like it was a play, like, like atheatrical thing.
Um, and so Tom was just in a carfor six days while they did, uh,
(02:32):
you know, this over and over and, and the entire–.
Tricia (02:35):
Supporting cast...
Jonathan (02:35):
Supporting cast.
Yeah.
We're in a hotel conference roomjust waiting to call Tom and,
and do their bits like that.
It's just amazing to think thatyou'd have that many actors just
chilling out for, for that long.
Tricia (02:50):
But they did say there was wine, which is nice.
Jonathan (02:52):
Yeah.
Tricia (02:53):
If you're going to sign for that.
Michael (02:54):
At least you get to drink while you work, you know,
it's the dream.
Jonathan (02:57):
And depending on the character, there were a few of
them that really wanted to bedrinking, giving what's going on
with their characters.
And we will obviously bediscussing like the, the script
and the story and all thatlater.
Michael (03:07):
[Drink] Ahhh...
Jonathan (03:07):
Um, yeah, that is actually quite a tasty little
tea.
The pomegranate kind of gives itthis nice little like tartness
to it.
Tricia (03:13):
There will be a lot of lip smacking tonight.
Michael (03:16):
[Lip Smack]
Jonathan (03:16):
[Laughter] Oh God.
I think my ears are bleeding.
So...
Michael (03:22):
[Whisper] Sorry.
Tricia (03:22):
We just saw the, um, behind the scenes and I really
love how they were given propsso they could, you know, cause
you're just talking into amicrophone and you're, you're
acting all, uh, on, on the phoneand to have props to play with.
That's awesome.
Michael (03:38):
Well, it comes through, I feel in the movie, while you
can't see the props that they'rehandling, it seemed so, you
know, like every movie wherethere's a phone call or whatnot,
you're like, okay, yeah, thisis, you know, a recorded phone
call bit.
You know, it doesn'tnecessarily, it's"movie phone
call."
Jonathan (03:57):
Yeah.
Michael (03:57):
It's not, it doesn't sound so real.
And with this I felt it was, itwas very real.
Like when, when, you know, youcan't quite hear somebody and
there was like, wait, what wasthat?
Tricia (04:09):
There's background noise going on.
Michael (04:10):
There's all these, all this extra noise that's
happening, um, or mumblingthat's happening that you don't
typically get.
And it just, it, it felt–.
Tricia (04:19):
Exactly.
Michael (04:19):
I felt like it felt very natural.
Jonathan (04:20):
Yeah.
Olivia Coleman is, I, you reallycan't call her a mistress
because it's not necessarilylike she is, um, you know, his,
his girlfriend–
Tricia (04:31):
She's a stranger, practically.
Jonathan (04:31):
She's pretty much a stranger to him, but, uh, she's,
she's about to be his baby mama.
Um, you know, and so the, theobviously, uh, Tom's character's
life is, is, is taking aninteresting turn and it is
amazing to watch how well TomHardy does for being onscreen
with nobody else physically inthe car with him.
(04:57):
Um, to be able to be thatcompelling to, to, to, to have
that much of an emotional upsand downs and, and drive and
still be a character who'strying to be on his moral right.
You know?
Tricia (05:10):
Yes, especially when nobody's looking, I mean, you
think about how many people arenot their best selves when
nobody's looking and here youhave somebody who is trying to
be their best self.
Michael (05:19):
Well and he says, you know,"I haven't been myself
lately.""I haven't been actinglike myself." He says that a
lot.
When he took that right turninstead of the left, uh, at the
beginning of the movie, it waslike, now I need to find me
again.
I need to stop running away fromthis, this mistake that I made.
That is clearly, I mean, it'ssnowballed.
Jonathan (05:41):
Yeah.
Michael (05:41):
Up until, up to a night where he has no choice.
Well, he makes the choice.
He keeps saying that he doesn'thave a choice, but he has made
this choice and it's because of,you know what you're saying,
like, uh, nobody's watching him.
Well, we're watching him.
Jonathan (05:56):
Yeah.
Michael (05:56):
But nobody's watching him.
Tricia (05:57):
Voyer.
Michael (05:57):
He could, you know, start lying.
He could, you know, dig himselfinto a bigger hole.
But it's interesting to seesomebody who's running away from
a mistake.
It's eating him alive.
But now it's like, okay, no,I've committed to this.
Whether it's the end ofeverything for me or not, I'm
clearing the air.
Tricia (06:18):
And he does say in the beginning, he's like a year, you
know,"you're on a list." He'stalking to–.
Jonathan (06:23):
A list of things he's got to accomplish.
Tricia (06:24):
A woman in labor.
Wait a minute, I'm on the listof things to do tonight.
Yes.
You're on a list.
Michael (06:29):
"Tonight, tonight, you're on a list."
Jonathan (06:31):
Yes.
Tricia (06:31):
And uh, and the fact that he's going through that
list and he's going toaccomplish everything on that
list.
And as a, as a viewer trapped inthe car with him, basically,
it's like, I don't want to gothrough this list.
Why are we doing this?
I don't want to be here.
This is getting reallyuncomfortable for me.
And the fact that he doesn't waiver, it's like I'm just, I'm,
I'm g oing t o go through thisand t hen no matter how ugly it
(06:52):
gets, I've got to get all thesethings done and this is what I
need to do.
Jonathan (06:56):
Yeah.
Tricia (06:56):
Speaking of, uh, you know, uh, Tom Hardy, um, they
had said, uh, he was the onlyone they considered for the
role.
They didn't want anybody else.
They were, if he was going to doit, then they would make the
movie.
And I find that that interestingthat they, uh, I've heard that
before from writers anddirectors that like they just go
with the one person and they'repraying,"Oh my God, if we can
get this one person, that'll beit." And then the writer,
(07:18):
director of the film...
Michael (07:20):
Steven Knight.
Jonathan (07:21):
Steven Knight, yup.
Tricia (07:22):
Jon said that Steven, uh , has done a lot of writing
historically speaking, but notvery much in the way of
directing.
So I find it very interestingwhen a writer decides to step in
and direct.
In, in those cases, I kind ofthink it's probably, they have a
very specific vision and they'relike, this is the only way it's
gonna work is if, if it playsout the way I see it.
And it's really nice to see allthese other people come on
(07:44):
board.
Uh, we talk about how many bignames, uh, uh, maybe not at the
time, but now quite a lot ofgreat talent attached to this.
And you'd think, uh, producerside, uh, all those people that
came together, cinematographyand whatnot, and said,"I want to
be part of this." As unusualproject it is, and how much of
it is a very personal project ifthe writer and the director of
(08:07):
the same person to that seemsvery personal.
Michael (08:09):
Well in, uh, the the making of the movie itself, I
mean from a filmmaker'sstandpoint, the idea of shooting
over what was it like a week andevery night you're filming the
whole movie.
As a filmmaker, that's such acool opportunity to be able to
do that, I would think.
(08:29):
I mean, what's your take on it?
Um, from like an acting point ofview, would that attract you to
a project?
I mean, even if you're not onscreen–
Tricia (08:39):
Oh God, yeah.
Michael (08:39):
You get to do, is that something that's enticing?
Tricia (08:42):
Well, I mean, Jon's done more film work than I have, but
I would think that you've, youonly usually get, you know, two
or three takes, you know, uh, todo something and to be able to
do the same bit from beginning–And to do it in order.
How often you get to do it inorder where you can go through
the series of emotions, the waythey actually play out on screen
instead of starting from onepoint and having to backtrack.
(09:04):
Uh, but the fact that, uh, youget to go, okay, I did it
tonight and then tomorrow, youknow what, I'm going to play it
different today.
Jonathan (09:09):
Yeah.
Tricia (09:10):
We're able to do six rounds from beginning to end and
be able to play with it.
At that point, I think it'd bemore fun to go to work.
I mean not, not just because ofthe alcohol.
Jonathan (09:19):
Yeah.
Well, he wasn't drinking?
Tricia (09:21):
No, he wasn't driving either.
Jonathan (09:24):
Well that's true.
Yeah.
The thing, thankfully they dothose kinds of rigs cause I
swear there was, there's atleast a four, possibly five
instances where there is apolice car, uh, that either
drives past or, uh, that likethere's an accident on the road
and they're showing theaccident.
And I'm not gonna lie that bythe third or fourth accident or
(09:47):
police, you know, like emergencyvehicles, I started to think
that he might not make itthrough the film.
Like, I actually thought that hewas going to like, you know, get
sick or something like that orjust not be paying attention to
the road and get involved in anaccident.
And then, you know, that wouldbe the end of the movie.
Tricia (10:03):
There are always those scenes when you're watching a
movie or a TV show, anything onthe screen where you've got
people driving and they're,like, looking, and here you have
nobody–.
(10:12):
Staring longingly in the other person's eyes...
Tricia (10:13):
You have nobody in the passenger seats.
You have no excuse for somebodyto be just talking and having a
conversation.
You're like,"look at the road!Oh my God, you're going to die!"
Um, and in this instance, uh, orsituation, cause I try to put
the two words together.
Jonathan (10:25):
Insta-uation?
Tricia (10:28):
Yes.
[laughter] You have somebody whois alone in the car.
And yet there were times I waslike,"Oh my God, look at the
road! Why are you not looking at, you got a book out?
You're going to read a book?
What are you doing?
Jonathan (10:37):
He's trying to accomplish all the things on his
list.
Tricia (10:39):
I know, but it made me nervous.
Jonathan (10:41):
Yeah.
No.
And so we were just talkingabout the fact of, of, of how
this was, was shot and you know,as an actor, you're sitting
there going like, Oh, I'm, youknow, I'm going to do it a
little bit differently tonight.
And, and what, what they justhad explained was that they
roughly had 30 hours worth offootage.
They were editing a documentary.
(11:02):
And so Justine Wright, who was,uh, the editor, I mean, like,
just–.
Tricia (11:06):
Amazing.
Jonathan (11:07):
Hats off to her because the, like, the unique
shots, they have all theseexteriors, all these moments
where there's not actuallydialogue.
I mean, she had 30 hours worthof footage to poll, you know,
anything she wanted to use inthese kinds of interlacing
shots.
But the, the movement and allthe, the–.
Michael (11:28):
Well, the dissolves.
Jonathan (11:29):
Yeah.
Michael (11:29):
That I thought was such a cool use of that, where, you
know, you have this negativespace that you fill with, uh,
you know, with an image asyou're kind of either passing
the time during these, likebetween calm moments.
But yeah, I though that was sobeautiful.
Jonathan (11:46):
Just seeing traffic...
Michael (11:46):
And just the, I mean the use of the lights and those,
uh, gotta be, I mean it's, to meit looks like it's just the of
the highway.
It's not, yeah, it's not–.
Tricia (11:55):
Right.
Michael (11:55):
You know, it's not like they're rigged the whole
highway.
Tricia (11:59):
It's basically, I mean, yeah, it's not one shot, but
it's very limited space.
And then to have to edit thattogether and you know, you've
done different nights and thelighting keeps changing and all
that.
How you do that, how you editthat together, where it
continuity wise, there isn'tthese weird jumps of light or
whatnot and just, it seems sosmooth.
Michael (12:21):
As an editor I would be like, it's an 80 minute movie of
a guy sitting in one spot.
Like he doesn't even movereally.
He's sitting the entire time.
How do you make thatinteresting?
I mean, as a cinematographer,that's a, that's obviously a
huge challenge.
But as an editor it's like,well, you know, they're looking
at all of these static shots.
(12:44):
Um, because I, I mean, I, I,unless I totally miss something
other than like the beginning ofthe movie, in the end of the
movie where we have these likecrane shots outside the vehicle,
when he's driving, there's nomoving camera.
I don't remember seeing a cameramove.
I feel like everything was verystationary for the most part.
(13:06):
I mean, yeah, we might tilt orpan a little bit.
Jonathan (13:08):
Yeah.
Michael (13:08):
But I mean, we don't have like, you know, uh...
Jonathan (13:12):
Dolly shots...
[laughter].
Michael (13:15):
Of course, there's no big like, like, like, uh, like
these, these moves across thehood or something like that.
No, they didn't do anything likethat.
It was more like, all right, we,we're, we're coming at him like
from, from directly ahead ofhim, like the cameras on the
hood and then we just have thispush in on him and just zoom,
you know.
When he's driving, the camera'sgot the shake, to it too.
Jonathan (13:36):
Oh, yeah.
Especially as, as the storyprogresses, the shake gets, you
know, more, more pronounced.
Michael (13:41):
Well, I can't remember all of the times where the,
cause you mentioned, you know,the police car going by.
Jonathan (13:48):
Yeah.
Michael (13:48):
I couldn't remember all–.
Jonathan (13:49):
I thought there might be some symbolism, but–.
Michael (13:51):
But I do remember with the first two, it's when he's
talking to Bethan and he'stalking about the traffic and I,
I can,"I have to go the speedlimit," I think was one of them.
And then you see, you know, thepolice car, like if only I could
go that fast.
Jonathan (14:04):
Okay.
Tricia (14:04):
And it's every time he's talking to a woman in labor that
you hear emergency sounds,whether it be a siren from a cop
or it be an emergency vehicle.
And I, uh, and that I noticed inthe beginning, but then I also
know, like, tried to payattention to it and it didn't
seem consistent, but I wonderedif it was deliberate in the
build of intensity, like whenthose, and during more dramatic
(14:26):
or intense moments, if that was,but I guess I, I also don't
think, I mean, is that post oris that, did we managed to catch
different sirens at differenttimes?
Jonathan (14:36):
It could also have been an editing situation where
the flash of lights, uh, is onthe take that they liked.
And so they have to then put inB-roll of, you know, police
going by.
So that way you can see it.
Tricia (14:50):
And I liked how it wasn't always the same.
Like, there were very, uh, ifyou did see sirens, sometimes
you saw the vehicle go past inthe background, but sometimes it
was just a reflection of thelights of a siren across the
windshield.
Michael (15:02):
Right.
Tricia (15:02):
And it was, it was muted, almost like it was just
distant.
And then, you know, like Jon'sthinking,"Oh my God, this
highway is a death trap."There's so many...
Michael (15:10):
There's all these distractions.
And they, they didn't shy awayfrom any distractions.
Even for the viewer.
Jonathan (15:16):
We were talking lighting and all of that.
And so, so, uh, HarrisZambarloukos...
I'm almost positive I'm sayingthat correct.
Uh, has actually done like a lotof, of of actually big name
films too.
He did, uh, JACK RYAN (15:31):
SHADOW RECRUIT.
He did MAMMA MIA.
He's the director of photographyfor MAMMA MIA.
A wide range and you know, lotsof, you know, titles.
So I think that this one to himwas, he was 100% on the
challenge of lighting a car for80 minutes.
Michael (15:49):
Right.
Jonathan (15:50):
And, and, and having it, you know, come out
beautifully.
Tricia (15:52):
And it was so beautiful, the light in itself, the lights
going by in the sea of trafficand how it reflects on the
person in the car and how itreflects across the car itself.
And that, uh, not only does itmake you feel like you're part
of it, but it also kind of islike this dance, this light
dance that goes on.
And I mean, that's what happenswhen you sit in traffic at
(16:13):
night.
Jonathan (16:13):
Andrew Scott, uh, so Moriarty plays–
Tricia (16:16):
Sorry, you got interrupted by me.
That's what happens.
Jonathan (16:18):
I think we were trying to finish two different thoughts
or I was starting an AndrewScott thought, but he–.
Tricia (16:23):
You're so nice.
Jonathan (16:23):
So he plays, he plays Donal, uh, and he is essentially
the second in command for, forLocke's job.
Michael (16:32):
Right.
Jonathan (16:33):
Um, and he's a drunk.
And it pisses off Tom Hardy'scharacter, Ivan, uh, quite a lot
to know that he is a drunk,especially on, you know, like
what ends up being the biggestnight of, uh, of his career.
Michael (16:47):
Sure.
Jonathan (16:49):
Um, and again, we'll, we'll get to the, the, uh, the
storyline per se later.
Michael (16:53):
But it's like, if he knows he's a drunk, you know,
you're going to put this kind ofpressure on this guy.
Jonathan (16:59):
Yeah.
Michael (17:00):
That's going to drive him to drink.
Jonathan (17:01):
To drink, yes.
Michael (17:02):
You know, like, I mean–.
Jonathan (17:03):
"How many ciders have you had?""Uh, what, how would
you, why would you, why wouldyou even–"
Tricia (17:09):
"I can hear it in your voice."
Jonathan (17:09):
Well, yeah, and–.
Michael (17:10):
I do love that it's ciders.
Jonathan (17:12):
Oh yeah.
Tricia (17:13):
Ciders.
It's not like he's, you know,it's not vodka.
Jonathan (17:14):
Hard ciders.
Yeah.
No, but, but even then AndrewScott in, in, in his–.
Tricia (17:20):
Oh, he's amazing.
Jonathan (17:21):
Just absolute amazingness can, can pull off
somebody who, who does not likebeing accused of drinking and
then immediately fesses up to itanyway.
Tricia (17:30):
Then goes into full run.
Jonathan (17:31):
Full run.
Tricia (17:32):
I'm going to go run now.
Jonathan (17:33):
Yeah, I'm going to go run.
[laughter] And then Ben Daniels,who was in ROGUE ONE, um, uh,
THE EXORCIST, he played Gareth,uh, which was the boss.
Um, yeah.
You've got your main guy who isnow decided he's not coming in
tomorrow.
Tricia (17:51):
Did it ever say like where we are, like where this
project is taking place, likewhere he lives, where he's
going?
Jonathan (17:58):
Well, he's going to London.
Tricia (17:59):
He's going to London.
But like where the project isactually taking place...
Jonathan (18:03):
It's an hour and a half outside of London.
Tricia (18:07):
Okay.
[laughter] Fair enough.
Michael (18:09):
That's all you need to know.
Tricia (18:10):
Right?
But it's a very big project.
And I think there, there,there's like one thing we've
learned about concrete and howimportant it is to foundations
to building.
Jonathan (18:20):
Yes.
Michael (18:21):
Yes.
Lots of detail there.
Jonathan (18:22):
So he is laying concrete.
That is his job.
He is the foreman to layconcrete and he is doing it for
what ends up being the largest,um, pour in, uh, in Britain
outside of military and...
Oh, shoot, other thing, but–.
Michael (18:42):
Military contracts and something else.
It's like a repeated likemultiple times...
Jonathan (18:45):
Couple of times and for some odd reason I can't
remember.
But, so the, the head companythat is, is, is building their
new headquarters or whatever in,in London, uh, is from Chicago.
And so are we.
So, um...
Tricia (18:58):
"Fuck Chicago." You know, people in Chicago were so
upset about everything.
Oh my God,
Michael (19:04):
Chicago's losing their shit.
Jonathan (19:04):
Yeah.
Mostly the taxes and, anyway,fuck Chicago.
Um...
Michael (19:09):
That's a whole other topic.
Jonathan (19:11):
Yeah.
Michael (19:11):
For this movie, the hook for me was you have this
construction site and it'salmost kind of silent in the
very beginning and then it justkind of creeps in this
construction noise, the vehiclesand whatnot and cause we're far
away.
And then, you know, we're seeinglike, you know, him walking to
the vehicle and we're hearinghis feet and, and you know, you
(19:33):
don't even see his face.
And then he gets in and I didenjoy the gratuitous BMW
steering wheel shot, which I waslike, Oh, is that a BMW you're
driving?
Jonathan (19:43):
Oh, he's clearly got some money.
Tricia (19:45):
Do you think that they, uh, they're a sponsor?
Michael (19:47):
Perhaps.
You really don't even, you know,you don't know what's going on
even when he makes the mostimportant decision of the movie,
which is to go right versusleft.
You don't know the significanceof that until way later, until
technically I would almost sayyou probably wouldn't even
forget about that moment untilyou were to maybe watch it again
and go,"Oh." There's a lot ofgravity.
(20:09):
There's a lot, there's a lotriding on that.
When you know the, the truckbehind him is laying on the
horn, like move.
Jonathan (20:15):
Yeah.
Michael (20:15):
Watching Tom Hardy internalize that moment.
I mean, he, he's the whole– Hehas the weight of the entire
movie on his shoulders in thatone moment.
And it's pretty cool.
Jonathan (20:28):
That's probably why 20 of the 39 nomination or award
wins were for best actor.
20 of them.
Michael (20:37):
That makes sense.
Jonathan (20:38):
Yeah.
Tricia (20:38):
He didn't even have a volleyball.
Jonathan (20:40):
No, no volleyball.
Tricia (20:41):
Nothing.
Jonathan (20:42):
He had an onboard dash, uh, you know, display.
Michael (20:45):
And the spirit of his father in the back seat, which
we will probably talk about morenext.
Tricia (20:50):
Oh, yes!
Jonathan (20:50):
At nauseum.
Yeah.
Um, so we're going to take a fewminutes here, uh, to, uh, get
some more of this, uh,pomegranate bourbon sweet tea,
uh, into my glass.
Y'all got sweet tea.
Tricia (21:02):
So we're just gonna leave you with the ghost we just
brought it up...
Jonathan (21:04):
And uh, we'll get ready to imbibe more after this.
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Jonathan (21:39):
You're listening to Imbibe Cinema.
Once again, I am Jonathan C.
Legat and I am here alongwith...
Michael (21:44):
...Michael Noens...
Tricia (21:45):
...Tricia Legat.
Jonathan (21:46):
And we are discussing LOCKE.
Are you enjoying this episode?
Please subscribe or follow us onyour favorite podcast provider
to get new episodes as soon asthey become available, which is
every fortnight.
Rate and leave us a review tohelp us reach that larger
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And uh, you can also follow uson the Facebook and Twitter.
(22:06):
Tricia wants me to call out thatthe, uh, the cocktail that we
are drinking, uh, is called TheLock Pick.
And, uh, it's a, it's a verygood decision, uh, to have gone
with The Lock Pick because theother option that I had
originally come up with for ourcocktail would've been a cement
mixer, which is just curdling,you know, dairy in hard alcohol.
And, uh, the two of them did notlook as amused as I was about
(22:30):
joking it.
Um, so, so this was a much, muchmore rational, uh, drink.
We like bourbon here obviously.
So...
Michael (22:38):
I mean, we could've just chugged it and then hit
record.
Jonathan (22:40):
And then...
[Laughter]...had the three of usthrowing, ralphing in the
background.
Michael (22:46):
Listeners, you're welcome.
Jonathan (22:47):
Yeah, we did this for you.
So, uh, we actually, uh,obviously waxed a lot of poetics
about the cast, the crew.
Um, but I think we really doneed to dive into the script
itself.
Tricia (22:57):
Yes.
Everything on this project was astellar from, uh, behind the
scenes to in front of thescenes, all that jazz.
But to me, like the thing thatmakes this movie the backbone
and really sells it is thescript.
I mean, this story is veryintense and uh, there are so
many parts of it that I'm soexcited we get to discuss.
(23:18):
So, I'm sorry–.
Jonathan (23:19):
Yeah, I do love that, that they count this as a
thriller, uh, which, which to meseems a little off because it's,
while it is a suspense-thriller,there, there is obviously, you
know, you're, you're, you'rewatching this person's life
essentially just turn to theworst version of itself really.
(23:40):
Um, but I, I wouldn't count thisas a, uh, a thriller in the
sense that it's not like there'sscare, uh, you know, and it's
such a weird genre.
Tricia (23:48):
I think because the material is, uh, very heavy and
it is very intense and it buildsand builds and builds and the
longer you are as a viewerwatching this man in the car and
there's nowhere else there isthat feeling of being trapped.
Jonathan (24:04):
Yeah.
Tricia (24:04):
That feeling of claustrophobia in the car with
him.
And, uh, that, that idea of likeyou just, I know I tensed up as
I was watching it and I got moreand more tense watching it.
Jonathan (24:14):
So, uh, to, to give enough preface, obviously we've
discussed the fact that uh, heis married, has a child or
children who are pretty much–.
Michael (24:22):
Children.
Two boys, I think.
Tricia (24:23):
Two boys.
Jonathan (24:23):
Yeah, two boys who are old enough, at least one of them
is old enough to be watching thesoccer game and, and having a
grand old time.
The other sounds like they areyounger, uh, in the sense that
when stuff really turns south atthe home front, he is apparently
just off crying somewhere.
(24:43):
Um, and uh, Tom's character, uh,while he is away on business,
um, does not fall in love withthis person.
This is, this is just like amoment of alcoholic, uh,
weakness.
He, he takes pity, not pity onher, but he feels sorry for her
cause she is an older woman whois alone and seems so lonely.
Tricia (25:08):
They had a rapport going.
They were work people.
Jonathan (25:10):
Yeah, he was, she was the secretary.
Secretary and they had just donea successful pour.
He has a, a momentary lapse ofjudgment, a momentary weakness
due to alcohol.
And, and I think that the job isover.
He's never going to see thisperson again.
He probably is acting a littlebit more differently around his
(25:30):
wife, but to a degree, it's notlike he, this, this will always
haunt him.
Michael (25:36):
Yes.
Jonathan (25:37):
Irregardless, but it's not going to hunt like at least
for those first couple ofmonths, it's haunting him
internally, uh, that ithappened.
But you know, he doesn't have toworry about this ever– And then
all of a sudden he gets the callthat she is pregnant and that
she is intending on keeping thechild and immediately, like,
he's even more boned because hehimself is a child of...
Tricia (26:01):
A father who–.
Jonathan (26:02):
...apparently a loser father.
Tricia (26:03):
A father who disappeared, who wasn't there
and then showed up when he waslike 30.
Jonathan (26:07):
Yeah.
Tricia (26:08):
And it was just a sad, embarrassing person.
What is the word you used?
Pathetic.
Jonathan (26:12):
Yes.
Tricia (26:12):
Pathetic person.
And, uh, how him not having afather who would own him in a
way and uh, and then having theman show up thinking it was
better to show up once he was anadult and kind of be this...
Jonathan (26:27):
Mooch.
Tricia (26:27):
...person that, yeah, this awful person.
And so this haunts him that, youknow, part of our mot– Part of
the motivation, uh, for him isto not be like his father, to
not end up going down that road.
Cause it's so tempting to just,this is not my problem.
Jonathan (26:44):
Yeah.
Michael (26:44):
Right.
Tricia (26:45):
And just let it go at that.
Michael (26:46):
It's almost the easier route is the way that the movie
paints it to be like you couldjust– But because, and I think
from a writing standpoint and inestablishing the background of
this character, um, we talked alittle bit about, you know,
you're on a list tonight.
Jonathan (27:04):
Yup.
Michael (27:04):
They talk about how he's so good at his job and you
see that the way that heactually handles human beings in
this evening.
It's like, no, this is, this isthe decision I've made and I'm
sticking to it.
Jonathan (27:18):
Yes.
Michael (27:18):
And I'm going to see it through regardless.
And this is how he works too.
Jonathan (27:22):
His boss– So, again, the, the, the added bonus is not
only is this woman's water justbroken prematurely and now he's,
you know, but this is literallythe eve of the, the largest pour
, uh, of cement.
And he has to tell his second incommand.
Guess what?
You're now in charge of this.
And he also has to tell hisboss, yeah, I'm not going to be
(27:45):
there tonight when like allthis, all this stuff has to
happen.
And of course, Chicago and hisboss fire him and he still goes,
yes, I understand.
No, that's, that's fine.
You fire me.
You like that?
Tricia (27:57):
Makes sense.
Jonathan (27:57):
Yeah, I, I'm not gonna argue with you.
I'm still going to make surethis pour happens tomorrow.
And he's like, no, you're, you,you're fired.
He goes, look, this isn't aboutme trying to get my job back.
I am doing this because that,that, that cement needs to go
down correctly.
Michael (28:11):
It's a favor to the building.
Jonathan (28:12):
It's a favor to the building.
Yeah.
Tricia (28:13):
Well, and yeah, and this man is very passionate about
what he does.
Jonathan (28:16):
Very.
Tricia (28:16):
And you see it.
One of the things that's greatabout, uh, having all these
phone calls in different aspectsof his life, all being at a, uh,
uh, a very, an intense point isyou really get to see the kind
of person he is at his core.
You know, you see the realperson when, uh, when the shit
hits the fan, you see them, uh,how they gut instinct react.
(28:37):
And a lot of people run away.
A lot of people don't want todeal with it.
Uh, or you know, go into denial.
They go into shock or whatnot.
And how many people, even ifyour job is a very intense job,
even if you know, there are alot of people counting on you,
if you get fired, if you get letgo, if you know something,
something happens, they're like,you're done.
How many people are like, yeah,but I'm just going to make sure
(28:57):
the job still gets done right tomy standards.
No– There are so many who like,it's not my problem anymore.
I have enough problems.
I have enough problems rightnow.
This is not mine anymore.
And I'm going to move on toother things.
But no, he has to finish this.
He started it.
He's got to finish it and hedoesn't want to leave.
You can tell he cares about thepeople he works with.
(29:17):
Uh, and you know, especiallyDonal.
Jonathan (29:19):
Yes.
Tricia (29:20):
Um, and as much as he is annoyed by him, but he's like,
no, I'm going to get him throughthis.
I'm going to set him up forsuccess in a way.
I'm going to make sure that thisdoesn't go sideways.
And all the people that dependon me and have depended on me,
I'm not gonna leave everybody inthe lurch.
Jonathan (29:34):
Yeah, or this building cause if anything goes wrong
with the pour, the building cancollapse.
There's all sorts of otherthings–.
Tricia (29:40):
Yeah, it's long term...
Michael (29:41):
There was a point where they refer to like if things
don't go right–.
Jonathan (29:45):
Yeah.
Michael (29:45):
I mean, you're talking about like millions in losses.
Jonathan (29:48):
Yeah.
Michael (29:49):
Um, or hundreds of millions.
Jonathan (29:50):
Yeah.
Um, Donal's like, what about theC5?
And he's like, no, it's C6.
Well the, you know, the, the,the balance of this one is C5,
and he's like, no, it needs tobe C6.
Michael (30:00):
What does it say on everybody's piece of paper?
What does it say here?
Yeah, yeah.
Uh, the, the level of likeintegrity that he has.
Um, there's, there's this onemoment upon, um, you know, uh,
maybe a second or third viewingthat I heard.
I felt like I heard for thefirst time.
And it's almost like a throwawaymoment when he's on the phone
with Gareth and it's, I thinkit's right after.
Jonathan (30:24):
That's his boss.
Michael (30:24):
Yeah.
I think it's right after he'sfiring him and he, and he's
like, I'm sorry.
I know.
You know, I, I don't want to dothis on the phone.
Um, you know, all of a suddenit's like you see him be a
person, even though he's sofurious with him.
Jonathan (30:35):
Yeah.
Michael (30:36):
You know, there's this moment where he just says, where
Gareth says,"why couldn't youjust call you were sick?"
Jonathan (30:43):
Yeah.
Michael (30:44):
And he's like, I'm not.
Jonathan (30:46):
Yeah.
Michael (30:46):
You know, he, he could have, he could have lied from
the get go and said, I, I'm, youknow, I have the flu.
I, there's no way I can be thereand he could have saved his job.
I mean obviously wouldn't havesaved as you know what's going
on at home.
Jonathan (31:02):
Yeah, that's true.
Michael (31:02):
But at least he would have a job, uh, at that point.
But he didn't, you know, his,his level of integrity is so
high that it's like, no, I'm notgonna lie.
Tricia (31:13):
Right.
We've talked a bit about howthere's the, uh, the, the list
of the on the dash.
Well no, the phone–.
Jonathan (31:19):
Oh, you're talking about the screen display.
Tricia (31:20):
Right.
Michael (31:21):
Yeah.
Tricia (31:21):
And he's got one that's it's bastard.
Right.
Jonathan (31:24):
That's Gareth.
That's his boss.
Tricia (31:25):
His boss in his phone is bastard.
Jonathan (31:28):
Yep.
Tricia (31:28):
And yet he's very respectful on the phone.
Michael (31:31):
His is!
Tricia (31:31):
The way he, uh, other people talk about him.
And it's funny cause here he'sthe only one on screen.
Jonathan (31:36):
Yup.
Tricia (31:37):
Everybody has to go through him.
But there are points wherepeople talk about this is not
like you and you were, everybodyknows you're the guy that, that
we rely on.
Everybody knows you're the bestguy.
Jonathan (31:47):
Yeah.
Tricia (31:47):
This is, this is an odd out of character.
This is your mad.
You're crazy.
This is not you.
And, uh, it, it adds to thiselement of like, you're not just
seeing the person in front ofyou in this crisis moment.
You're getting this backgroundof the kind of person he is to
everybody else in his world andhow that affects them.
And one of the lines, uh, thelove is from his wife when she
(32:11):
talks about the concrete on thefloor and how like he comes home
and there's always concrete andthey are his footprints, how she
has to clean up.
Jonathan (32:20):
Chip it.
Tricia (32:20):
Chip the footprints, chip the footprints away.
The weight this man is in thehouse, the weight of him in her
life...
She remarks how it's– The jobalways came first.
Like, you love your job morethan, than us anyway.
But I think it's also the weightof the integrity, the weight of
the standards that this manobviously has and living up to
(32:41):
them.
And here he fell.
Jonathan (32:43):
Yeah.
Tricia (32:43):
Right?
Michael (32:43):
Yeah.
Tricia (32:43):
But that, that visual of the cement of his footprints,
the weight of this man in herhouse, and it's just like, Whoa,
that's awesome.
Jonathan (32:51):
It's is just amazingly well written from, from, from
start to finish because every,every piece of it is, is so
human.
Um, and, and so heartbreaking towatch because again, you know,
like his, his marriage is prettymuch ending in front of our
eyes.
He is, uh, trying to calm down ahysteric woman who is having a
(33:13):
child all alone.
And the reason that he hasturned right instead of left is
because he does not want her tobe alone at this particular
moment of her, of her life.
And he also does not want thischild to be alone.
He wants to give it the Lockename all at the same time that
literally he is trying to, uh,do business, uh, checking his
(33:38):
book because he accidentallybrought his book with him
instead of leaving it in thisdrawer.
And so now things are fallingapart around him.
Uh, there's a whole situationwith rebar where he, uh, has to
send Donal to run uh, you know,drunkenly run to, uh, go find,
uh, some, some, some workersthat he knows who will be
getting off of work in the next30 minutes.
(33:59):
And if he can't run there fastenough–.
Michael (34:02):
He's miss them.
Jonathan (34:02):
They won't be able to get the rebar done overnight
until the pour– Like, there's somany things that just keep going
wrong–
Michael (34:08):
And he keeps his cool really throughout the whole
thing.
And that shows, you know, a timeof crisis.
This is the kind of guy he is.
He's just this, he approaches acrisis situation with this calm
demeanor, even though the worldis, you know, might be falling
apart.
He's dealing with crisis, notonly professionally, he's
dealing with personal crisis atthe same time.
(34:30):
How many people have to dealwith that happening at the same
moment?
Jonathan (34:34):
And when they interlock, when he need to get–.
Tricia (34:37):
Oooo! No pun intended.
Michael (34:37):
Inter-LOCKE?
(34:37):
Oh! Wink, wink.
Yeah, no, he's got to get thephone number for, uh, somebody
who can approve a stop and go,police stop and it's judge or
somebody.
Um, but he has this person'snumber in his coat pocket at
home and he's already told hiswife.
(35:01):
Yeah, there's a woman who'shaving my baby tonight.
So he lets me, needless to say,he doesn't get that number, but
thankfully drunken Donald comesthrough on that one.
Surprise dude.
I was like, I did something allby myself.
Yeah.
Locked and Donald are bothsurprised in that situation.
It rubbed off a little bit.
Yeah.
Just, it'll be all in my own.
(35:22):
Good.
Good for you.
I have another side that thehandling of a kid gloves that
supportive, uh, I've got yourback, I can walk you through
this.
And he's not just noon.
There's, you know, severalpeople.
He's walking through things onthe phone.
And one
Speaker 4 (35:38):
of the things it's very interesting to me is like
when one plan goes to hell, it'snot like a, Oh crap.
You know, it's okay.
Okay, fine.
That's fine.
That's awful.
Right?
But we're going to go to this,but this is what we're going to
do now.
And I've made the decision andthis is how we proceed.
And that's the kind of personthat you know in crisis that's
good to have.
But uh, the toll it takes onthem.
(35:58):
And then of course you havesomebody who's dealing with
their professional and theirpersonal life going to hell, but
now they have their demonshaunting them the same time.
Yes, to the ghost.
I know a lot of people talk inthe car to themselves or they
sing a, or all kinds of stuff.
I, I have, I had met, I've hadconversations with people in the
car that it's like, I never gotto have this conversation and I
(36:20):
really want to say what I mean.
I want to say what I feel, eventhough I know in the moment I
probably won't or didn't, youknow, that moment on the stairs
and what you should've said andyou just want it, you know, just
have that conversation.
Right.
I've had that moment in the carwhere I'd, I'll do it in the
car, I'll just, I'll, I'll,I'll, I'll tell somebody how I
really feel.
I'll do that.
That's a little equate forwhatever reason.
(36:41):
Get it off my chest, get it outand uh, so I can get Y you know,
he's talking to his dad and, butI think it's very interesting
they gave that, uh, I spoke hisfather has a specific place in
the car.
Yes.
Which is I think is helpful forthe viewer but also kind of
disturbing cause I don't think Itreat anybody like they're in
(37:02):
the car with me one night in thebeginning I look at it as the
backseat.
The more and more think about itand the more and more it comes
back, you really don't see it asthe backseat.
It's, it's the rear view mirror.
It's the reflection.
So it's like this reflection ofwhatever's behind him is what's
haunting him and cause he looksup, uh, up at it with like,
(37:26):
like, like the reflection iswatching him.
Yeah.
And uh, I dunno.
Yeah.
I just, I, I, it's, it's almostmore that rear view mirror as
the viewer.
You see the back seat, you seethat specific viewpoint where I
see him looking at the rear viewmirror and I wondering why, uh,
you know, if you see, if youwere to have the camera view be
(37:46):
of him looking in the rear viewmirror, but of course you'd have
to have a camera in the backseat.
That's true.
To see his eyes looking at it.
And then people maybe might getthe, some misunderstanding there
on who he's talking to to giveit a focal point.
Thankfully it doesn't talk backto them.
Right.
Or doesn't watch the film.
(38:08):
Also listen for the fantasticmusical break at the end of the
movie where everyone breaks outin song.
It's like LA LA LA night.
Yeah.
Um, but at night, so no.
Okay.
So here's the thing that Ireally, really, really my
favorite part, I'm gonna say oneof my favorite parts, but the,
him being all alone in the car,uh, that intensity of that, to
(38:33):
me it was like when have to gothrough these moments where
you're dealing with things andnobody else really sees your
point of view.
It's, it's being in the car byhimself.
It's almost like being insidehis head that here we can
communicate with all thesepeople.
You can, you can talk toeverybody on the phone, you can
get ahold of everybody here tosolve this problem remotely on
(38:54):
the road.
Sort of on a level.
Right.
How far we've come in the last20 years.
Yeah.
But the same time, even thoughwe can reach each other, we
really, there's so much lost intranslation.
There's so much you watch himtrying to communicate that he,
you know, they're only gettingthis little bit and how
(39:14):
frustrating that is.
How he has to tell his wife onthe phone what he did and how,
you know, I, it's not me.
This isn't something, you know,me and this is, and how do we
get past, how do we get how wemove forward?
How do we,
Speaker 3 (39:29):
what does the statement he says it's the, I I
want to find a way that we can wwhat, what's the practical next
step or practical next step.
Yes.
Yeah.
And uh, and, and then how hetries to talk to his son over
the phone and he can't, Oh yeah.
When his son doesn't hear himsay, I love you.
And then he's like, what wasthat?
And he's like, ah, not,nevermind.
I just, uh, just having mybrother call me whenever it
(39:53):
comes down.
Yeah.
We'll, we'll tell him he can'tlet us son.
Yeah.
He's trained
Speaker 4 (39:57):
all that and how isolated we all feel all the
time.
Uh, when we have these momentswhere we just can't connect,
where we feel like thatconnection isn't, is just, is
just a phone line.
It's not a real strongconnection.
Right.
There's so much lost and, and,and it's heartbreaking to watch
and yet it's so, um, relatable.
(40:21):
It's so I get this and I feelthis and it, it is such a
beautiful idea to put in filmand I think that's one of the
things that got me was how youfeel like you really in one
person's head and how they'retrying to communicate with the
rest of the world.
And how, uh, so much is, uh,just a fight.
Speaker 3 (40:41):
He is so morally up.
Yeah.
That even though he is literallybeing kicked from like every
angle, um, he, he manages tomake the project work.
He doesn't make his mirrorswork, but he is doing everything
he can to try.
(41:02):
He'll find a way to, I don'twant to say make amends because
you can't make it run.
Really knows he can't make it.
Right.
But he has to be there for thischild that's coming into the
world.
He's not going to abandon hischildren and he's not going to
abandon his wife either.
Yeah.
Even if his wife doesn't want tobe his wife anymore, which is
very likely.
(41:23):
Yeah.
I don't think he could walk awayfrom that still.
And thankfully his sons want toignore the entire thing.
They, they, you know, they evencall him in.
They're like, you know, we wantwhatever it is that you know is
going on.
We, you know, we, we, we could,we could find a way to just be
normal again.
Just let everything, we'll justignore the campus.
(41:44):
[inaudible] I like to say that alot in the behind the scenes,
this man is the every man, youknow, Ivan, essentially every
man, and I must be a cynicbecause I did not see in every
man I see somebody we all aspireto be typical says.
I mean there, I just don't thinkthere are that many people with
that much integrity in the worldthat you could consider him and
every man.
(42:05):
I think everybody, everybodylikes to think that that is,
that they are, they are notmorally bankrupt.
Maybe.
Maybe the thought is because Itotally agree.
You know, the way that hehandles this, I don't know, a
single individual that wouldhandle crisis like that.
Every, um, safe place iscollapsing around it, around you
(42:30):
and so learn truly on your own.
Like you, like you were sayingchurch before he decides that
left or right.
That's where it's like, Oh, he'sjust, he's just an every man.
This is a different level ofreacting wall in a crisis.
This is, I'm the safe place.
Yeah.
I'm, I'm going to help youthrough this.
It's okay.
(42:51):
Call though.
He even, it's fine.
It's going to be fine.
It's going to those that whenhe's on the phone with people
and as soon as he is hung up, hestarts wigging out in his car
because he's wealthy losing iton anybody that's his dead
father.
There's at least one, possiblytwo instances where he probably
should turn around a way.
(43:12):
He realizes that the binder thathas everything, uh, that Donald
needs to get this done right issitting next to him in the car.
You can see the fight in himselfwhere he's going this like, I
can't, he can't go without this,but I'm already like, you know,
(43:33):
40 minutes into the drive.
I can't, I can't, I can't turnaround.
Right.
There are moments, so manymoments in this movie where it
could so easily becomeoverdramatic.
Yeah.
So easily and they were able toharness this just a very real
(43:55):
emotion, this very real reaction, uh, without, without going
over it over the top I thinkespecially between LOC and
Katrina.
Sorry, Ivan and Katrina.
Technically through both lock.
Um, so for now my heart brokefor her the entire time.
(44:18):
Ruth Wilson?
Yeah, it was the second phonecall I think that she has with
him where she has to get off thephone and she's like, I got to
go throw up again.
Yeah.
Yeah.
And when she hangs up on him atthat moment I was like, ah.
And then, and then puttingmyself in his shoes, what I
thought was interesting.
This is kind of taking anotherstep back though on that first
(44:39):
phone call with her when shehangs up on him.
Yeah.
We don't hear from her for like10, 15 minutes.
Yeah.
I mean she wouldn't be able tothink about anything but her.
Oh yeah.
She's going through and for himhe has this, she hung up on me.
Okay.
I mean obviously not going tocall her back, but it's like,
(45:00):
okay, I'm going to deal with allthese other problems and I have
a clear head.
It almost is the way that heapproaches it.
And that's remarkable.
I mean, well, and I mean, whenyou can't do anything at all to
find a place, call her back.
I'm going to find a place to beproductive to just distract
yourself from what you've done.
The gravity of what you've done,it might not have actually hit
(45:23):
yet.
There's that shock level.
Then his next thing is, okay,what's the next practical step
with where do we go from here?
What's the next step?
Because that's how he works,right?
It's like, but also, am I readyfor this all along and Whoa,
Whoa, Whoa.
I just got dropped thisknowledge right now.
Right.
She's not ready for thatprocess.
I have to process that.
Yeah, he's had, he's had time toprocess that.
(45:43):
Right.
And she has not[inaudible] my,uh, my favorite line in the
movie is actually, um, one ofearth Wilson's lines and, um,
you know, he keeps saying, youknow, it was only once, it was
only one available the one time,uh, repeats it multiple times in
VR in a variety of differentways.
(46:05):
My favorite in line in the movieby her and the way that she
delivers it is so fantastic.
The difference between never andonce is the whole world.
The difference between never inonce is the difference between
good and bad.
Fantastic line.
Yeah.
And you watch this guy that, youknow, uh, that, you know, it
(46:27):
seems like as, as we're evendiscussing where like he's, he's
a good guy.
Like we sold the good everythinghe can to P good.
This line was no, he's the badguy in this.
[inaudible] so remember that,you know, so it's like this
teetering between good and badthroughout the whole movie.
And it's like how you feel aboutthis protagonist.
(46:50):
Yeah.
This foam got a 90%, uh, rankingon rotten tomatoes.
So it is, it is pretty wellliked.
Yes.
So a cinema mall, sorry, let'stry that again.
Cinema all, Oh no.
Should have been more, right.
I'm thinking Cinnabon, I'malready at the mall.
What does sit in the buttondoing rating films?
(47:12):
Uh, here.
Here was the, the rotten, uh,review summary.
What should be a grippingnarrative is uninteresting to
the point of tedium.
Wow.
Well maybe they don't care abouttheir job or their wife, so it's
just not relevant.
Yeah, they work at Cinnabon andthey don't really, um, they
(47:32):
don't commute so they don't havean hour and a half commute.
examiner.com said, despite afantastic performance from Tom
Hardy, lock makes for a ratherflat single location flick due
to its suffering from a lack ofexplosions and engaging
(47:53):
material.
Wow.
I'm sorry.
They liked Michael Bay.
You can totally tell.
He'll like have explosions.
I need nine cameras at alltimes.
Does that mean?
So now granted, maybe, maybethis is the nuance of
independent film and I, you knowwhat, I don't think we've
necessarily waxed enough poeticson this per se, but you know,
(48:14):
you've, you've got major motionpictures that producers and
writers and directors, they havecertain thing they're trying to
accomplish, which is why these,you know, these are released
into a theater where they needto get butts in the seats.
Independent films are writers,directors, actors, right of
(48:36):
passage.
They're there ways for people toexplore things that you can't do
in a mainstream theatricalrelease.
And so this is a nuanced villain, robotic guy in a car.
I'm sorry that the singlelocation upset you, but it's a
single location.
(48:57):
No, no, no.
We just recommend them with thatphone booth movie.
They could watch that after thisalone.
So, um, uh, the final one, Imean, it wouldn't be an imbibed
cinema episode if I didn't reada Chicago reader.
Trashy Sysco, what is going on?
Chicago radio.
They were going to quote this.
Um, exactly.
(49:17):
The conceit is riveting at firstbecause in Knight forgoes any
backstory or exposition, thoughas the foreman's plight becomes
clear, the tension quicklydissipates, dissipates.
I mean, don't get me wrong, we,we even pointed out the fact
that there is no exposition.
(49:38):
We, we literally just see leftturn right turn that that is as
much information as we getbefore this entire drive starts.
What does she mean?
The conceit is riveting or isthe concept is riveting?
I think it's snooty.
People are funny.
(49:59):
So that's the episode.
There you go.
Here's, uh, so, uh, you know, uh, once again, we, we greatly
appreciate it,
Speaker 1 (50:05):
all of our listeners for choosing this podcast and
hopefully also for supporting,uh, independent films, uh, and
independent film festivals.
Uh, keep your eye out for ournext episode when we will be
discussing Olivia Wilde'sbook-smart, which is starring,
uh, Caitlin Devore and beanieFeldstein.
Uh, so, uh, uh, check out ourshow notes or drop us a note,
(50:26):
uh, and uh, visit us home in biocinema.com once again, when
Jonathan C like it.
And thanks for him bobbing withus.
Cheers.
Cheers.
Speaker 2 (50:34):
Let them make change all[inaudible]
Speaker 1 (50:50):
this is me.
Woe is me.
They have seen what I've seen.
Speaker 5 (53:06):
[inaudible]
Speaker 6 (55:48):
[inaudible] [inaudible]
Speaker 5 (56:16):
[inaudible] [inaudible]
Speaker 7 (56:24):
[inaudible].
♫Whoa is me, woe is me.
They have seen what I've seen.
Yes.
My mamma didn't let them makechange on me.
Put change on me.
Yeah, whoa is me, woe is me.
This is the product of A.D.D.
Apothecary, not for me, I dreamnaturally.
Yeah, woe is me.
Woe is me.
They have seen what I've seen.
♫
Jonathan (00:21):
Greetings and/or salutations and welcome back to
Imbibe Cinema.
I am your host Jonathan C.
Legat and I'm here along with...
Michael (00:31):
...Michael Noens...
Tricia (00:32):
...and Tricia Legat.
Jonathan (00:33):
In this episode we are going to be discussing Steven
Knight's LOCKE, which iscurrently available on Netflix
while imbibing"The Lock Pick,"uh, which is essentially a
bourbon sweet tea cocktail.
Um, if you want to find thatrecipe, it is on our website,
which is imbibecinema.com.
The Imbibe Cinema podcast isbrought to you by the Blue
(00:54):
Whiskey Independent FilmFestival, otherwise known as
BWiFF.
Uh, our festival seeksindependent character-driven
films of all lengths, styles,and genres.
To learn more, please visit usat bwiff.com.
That is B.W.I.F.F.
dot com.
So, LOCKE...
Wow.
What an incredibly intense, uh,80 minutes.
(01:15):
Really.
It's about an hour and a halffrom start to finish, but it's,
it's a guy in a car.
I mean like the, this film wasvisually stunning, um, for just
taking place in a car.
Beautifully edited; everybodybehind the scenes, um, did an
amazing job.
And while Tom Hardy is the onlyperson who has ever on screen,
(01:36):
um, it is an amazing cast ofcharacters.
Uh, you know, full of some bignames here.
So, um–.
Michael (01:42):
And big names that have started to break out.
Jonathan (01:45):
2013 is when this, this came out.
And so now you've got like, youknow, Tom Holland–.
Michael (01:49):
Who, yeah, who...
Jonathan (01:50):
Spiderman.
Michael (01:51):
Is Spiderman.
Jonathan (01:52):
Til now, but that's cool.
Michael (01:55):
[Game Over Tune]
Jonathan (01:55):
Womp, womp.
Michael (01:55):
You got Andrew Scott...
Jonathan (01:59):
Yup, Moriarty from, from SHERLOCK.
You've got Olivia Coleman who isnow the Queen on THE CROWN.
Michael (02:06):
Right.
And just, and just won, uh, herfirst Oscar.
Jonathan (02:09):
It's amazing given how they filmed this, um, you know
that for, for, for doing it, Ithink they just said six nights.
Uh, they did it from start tofinish.
Like it was a play, like, like atheatrical thing.
Um, and so Tom was just in a carfor six days while they did, uh,
(02:32):
you know, this over and over and, and the entire–.
Tricia (02:35):
Supporting cast...
Jonathan (02:35):
Supporting cast.
Yeah.
We're in a hotel conference roomjust waiting to call Tom and,
and do their bits like that.
It's just amazing to think thatyou'd have that many actors just
chilling out for, for that long.
Tricia (02:50):
But they did say there was wine, which is nice.
Jonathan (02:52):
Yeah.
Tricia (02:53):
If you're going to sign for that.
Michael (02:54):
At least you get to drink while you work, you know,
it's the dream.
Jonathan (02:57):
And depending on the character, there were a few of
them that really wanted to bedrinking, giving what's going on
with their characters.
And we will obviously bediscussing like the, the script
and the story and all thatlater.
Michael (03:07):
[Drink] Ahhh...
Jonathan (03:07):
Um, yeah, that is actually quite a tasty little
tea.
The pomegranate kind of gives itthis nice little like tartness
to it.
Tricia (03:13):
There will be a lot of lip smacking tonight.
Michael (03:16):
[Lip Smack]
Jonathan (03:16):
[Laughter] Oh God.
I think my ears are bleeding.
So...
Michael (03:22):
[Whisper] Sorry.
Tricia (03:22):
We just saw the, um, behind the scenes and I really
love how they were given propsso they could, you know, cause
you're just talking into amicrophone and you're, you're
acting all, uh, on, on the phoneand to have props to play with.
That's awesome.
Michael (03:38):
Well, it comes through, I feel in the movie, while you
can't see the props that they'rehandling, it seemed so, you
know, like every movie wherethere's a phone call or whatnot,
you're like, okay, yeah, thisis, you know, a recorded phone
call bit.
You know, it doesn'tnecessarily, it's"movie phone
call."
Jonathan (03:57):
Yeah.
Michael (03:57):
It's not, it doesn't sound so real.
And with this I felt it was, itwas very real.
Like when, when, you know, youcan't quite hear somebody and
there was like, wait, what wasthat?
Tricia (04:09):
There's background noise going on.
Michael (04:10):
There's all these, all this extra noise that's
happening, um, or mumblingthat's happening that you don't
typically get.
And it just, it, it felt–.
Tricia (04:19):
Exactly.
Michael (04:19):
I felt like it felt very natural.
Jonathan (04:20):
Yeah.
Olivia Coleman is, I, you reallycan't call her a mistress
because it's not necessarilylike she is, um, you know, his,
his girlfriend–
Tricia (04:31):
She's a stranger, practically.
Jonathan (04:31):
She's pretty much a stranger to him, but, uh, she's,
she's about to be his baby mama.
Um, you know, and so the, theobviously, uh, Tom's character's
life is, is, is taking aninteresting turn and it is
amazing to watch how well TomHardy does for being onscreen
with nobody else physically inthe car with him.
(04:57):
Um, to be able to be thatcompelling to, to, to, to have
that much of an emotional upsand downs and, and drive and
still be a character who'strying to be on his moral right.
You know?
Tricia (05:10):
Yes, especially when nobody's looking, I mean, you
think about how many people arenot their best selves when
nobody's looking and here youhave somebody who is trying to
be their best self.
Michael (05:19):
Well and he says, you know,"I haven't been myself
lately.""I haven't been actinglike myself." He says that a
lot.
When he took that right turninstead of the left, uh, at the
beginning of the movie, it waslike, now I need to find me
again.
I need to stop running away fromthis, this mistake that I made.
That is clearly, I mean, it'ssnowballed.
Jonathan (05:41):
Yeah.
Michael (05:41):
Up until, up to a night where he has no choice.
Well, he makes the choice.
He keeps saying that he doesn'thave a choice, but he has made
this choice and it's because of,you know what you're saying,
like, uh, nobody's watching him.
Well, we're watching him.
Jonathan (05:56):
Yeah.
Michael (05:56):
But nobody's watching him.
Tricia (05:57):
Voyer.
Michael (05:57):
He could, you know, start lying.
He could, you know, dig himselfinto a bigger hole.
But it's interesting to seesomebody who's running away from
a mistake.
It's eating him alive.
But now it's like, okay, no,I've committed to this.
Whether it's the end ofeverything for me or not, I'm
clearing the air.
Tricia (06:18):
And he does say in the beginning, he's like a year, you
know,"you're on a list." He'stalking to–.
Jonathan (06:23):
A list of things he's got to accomplish.
Tricia (06:24):
A woman in labor.
Wait a minute, I'm on the listof things to do tonight.
Yes.
You're on a list.
Michael (06:29):
"Tonight, tonight, you're on a list."
Jonathan (06:31):
Yes.
Tricia (06:31):
And uh, and the fact that he's going through that
list and he's going toaccomplish everything on that
list.
And as a, as a viewer trapped inthe car with him, basically,
it's like, I don't want to gothrough this list.
Why are we doing this?
I don't want to be here.
This is getting reallyuncomfortable for me.
And the fact that he doesn't waiver, it's like I'm just, I'm,
I'm g oing t o go through thisand t hen no matter how ugly it
(06:52):
gets, I've got to get all thesethings done and this is what I
need to do.
Jonathan (06:56):
Yeah.
Tricia (06:56):
Speaking of, uh, you know, uh, Tom Hardy, um, they
had said, uh, he was the onlyone they considered for the
role.
They didn't want anybody else.
They were, if he was going to doit, then they would make the
movie.
And I find that that interestingthat they, uh, I've heard that
before from writers anddirectors that like they just go
with the one person and they'repraying,"Oh my God, if we can
get this one person, that'll beit." And then the writer,
(07:18):
director of the film...
Michael (07:20):
Steven Knight.
Jonathan (07:21):
Steven Knight, yup.
Tricia (07:22):
Jon said that Steven, uh , has done a lot of writing
historically speaking, but notvery much in the way of
directing.
So I find it very interestingwhen a writer decides to step in
and direct.
In, in those cases, I kind ofthink it's probably, they have a
very specific vision and they'relike, this is the only way it's
gonna work is if, if it playsout the way I see it.
And it's really nice to see allthese other people come on
(07:44):
board.
Uh, we talk about how many bignames, uh, uh, maybe not at the
time, but now quite a lot ofgreat talent attached to this.
And you'd think, uh, producerside, uh, all those people that
came together, cinematographyand whatnot, and said,"I want to
be part of this." As unusualproject it is, and how much of
it is a very personal project ifthe writer and the director of
(08:07):
the same person to that seemsvery personal.
Michael (08:09):
Well in, uh, the the making of the movie itself, I
mean from a filmmaker'sstandpoint, the idea of shooting
over what was it like a week andevery night you're filming the
whole movie.
As a filmmaker, that's such acool opportunity to be able to
do that, I would think.
(08:29):
I mean, what's your take on it?
Um, from like an acting point ofview, would that attract you to
a project?
I mean, even if you're not onscreen–
Tricia (08:39):
Oh God, yeah.
Michael (08:39):
You get to do, is that something that's enticing?
Tricia (08:42):
Well, I mean, Jon's done more film work than I have, but
I would think that you've, youonly usually get, you know, two
or three takes, you know, uh, todo something and to be able to
do the same bit from beginning–And to do it in order.
How often you get to do it inorder where you can go through
the series of emotions, the waythey actually play out on screen
instead of starting from onepoint and having to backtrack.
(09:04):
Uh, but the fact that, uh, youget to go, okay, I did it
tonight and then tomorrow, youknow what, I'm going to play it
different today.
Jonathan (09:09):
Yeah.
Tricia (09:10):
We're able to do six rounds from beginning to end and
be able to play with it.
At that point, I think it'd bemore fun to go to work.
I mean not, not just because ofthe alcohol.
Jonathan (09:19):
Yeah.
Well, he wasn't drinking?
Tricia (09:21):
No, he wasn't driving either.
Jonathan (09:24):
Well that's true.
Yeah.
The thing, thankfully they dothose kinds of rigs cause I
swear there was, there's atleast a four, possibly five
instances where there is apolice car, uh, that either
drives past or, uh, that likethere's an accident on the road
and they're showing theaccident.
And I'm not gonna lie that bythe third or fourth accident or
(09:47):
police, you know, like emergencyvehicles, I started to think
that he might not make itthrough the film.
Like, I actually thought that hewas going to like, you know, get
sick or something like that orjust not be paying attention to
the road and get involved in anaccident.
And then, you know, that wouldbe the end of the movie.
Tricia (10:03):
There are always those scenes when you're watching a
movie or a TV show, anything onthe screen where you've got
people driving and they're,like, looking, and here you have
nobody–.
(10:12):
Staring longingly in the other person's eyes...
Tricia (10:13):
You have nobody in the passenger seats.
You have no excuse for somebodyto be just talking and having a
conversation.
You're like,"look at the road!Oh my God, you're going to die!"
Um, and in this instance, uh, orsituation, cause I try to put
the two words together.
Jonathan (10:25):
Insta-uation?
Tricia (10:28):
Yes.
[laughter] You have somebody whois alone in the car.
And yet there were times I waslike,"Oh my God, look at the
road! Why are you not looking at, you got a book out?
You're going to read a book?
What are you doing?
Jonathan (10:37):
He's trying to accomplish all the things on his
list.
Tricia (10:39):
I know, but it made me nervous.
Jonathan (10:41):
Yeah.
No.
And so we were just talkingabout the fact of, of, of how
this was, was shot and you know,as an actor, you're sitting
there going like, Oh, I'm, youknow, I'm going to do it a
little bit differently tonight.
And, and what, what they justhad explained was that they
roughly had 30 hours worth offootage.
They were editing a documentary.
(11:02):
And so Justine Wright, who was,uh, the editor, I mean, like,
just–.
Tricia (11:06):
Amazing.
Jonathan (11:07):
Hats off to her because the, like, the unique
shots, they have all theseexteriors, all these moments
where there's not actuallydialogue.
I mean, she had 30 hours worthof footage to poll, you know,
anything she wanted to use inthese kinds of interlacing
shots.
But the, the movement and allthe, the–.
Michael (11:28):
Well, the dissolves.
Jonathan (11:29):
Yeah.
Michael (11:29):
That I thought was such a cool use of that, where, you
know, you have this negativespace that you fill with, uh,
you know, with an image asyou're kind of either passing
the time during these, likebetween calm moments.
But yeah, I though that was sobeautiful.
Jonathan (11:46):
Just seeing traffic...
Michael (11:46):
And just the, I mean the use of the lights and those,
uh, gotta be, I mean it's, to meit looks like it's just the of
the highway.
It's not, yeah, it's not–.
Tricia (11:55):
Right.
Michael (11:55):
You know, it's not like they're rigged the whole
highway.
Tricia (11:59):
It's basically, I mean, yeah, it's not one shot, but
it's very limited space.
And then to have to edit thattogether and you know, you've
done different nights and thelighting keeps changing and all
that.
How you do that, how you editthat together, where it
continuity wise, there isn'tthese weird jumps of light or
whatnot and just, it seems sosmooth.
Michael (12:21):
As an editor I would be like, it's an 80 minute movie of
a guy sitting in one spot.
Like he doesn't even movereally.
He's sitting the entire time.
How do you make thatinteresting?
I mean, as a cinematographer,that's a, that's obviously a
huge challenge.
But as an editor it's like,well, you know, they're looking
at all of these static shots.
(12:44):
Um, because I, I mean, I, I,unless I totally miss something
other than like the beginning ofthe movie, in the end of the
movie where we have these likecrane shots outside the vehicle,
when he's driving, there's nomoving camera.
I don't remember seeing a cameramove.
I feel like everything was verystationary for the most part.
(13:06):
I mean, yeah, we might tilt orpan a little bit.
Jonathan (13:08):
Yeah.
Michael (13:08):
But I mean, we don't have like, you know, uh...
Jonathan (13:12):
Dolly shots...
[laughter].
Michael (13:15):
Of course, there's no big like, like, like, uh, like
these, these moves across thehood or something like that.
No, they didn't do anything likethat.
It was more like, all right, we,we're, we're coming at him like
from, from directly ahead ofhim, like the cameras on the
hood and then we just have thispush in on him and just zoom,
you know.
When he's driving, the camera'sgot the shake, to it too.
Jonathan (13:36):
Oh, yeah.
Especially as, as the storyprogresses, the shake gets, you
know, more, more pronounced.
Michael (13:41):
Well, I can't remember all of the times where the,
cause you mentioned, you know,the police car going by.
Jonathan (13:48):
Yeah.
Michael (13:48):
I couldn't remember all–.
Jonathan (13:49):
I thought there might be some symbolism, but–.
Michael (13:51):
But I do remember with the first two, it's when he's
talking to Bethan and he'stalking about the traffic and I,
I can,"I have to go the speedlimit," I think was one of them.
And then you see, you know, thepolice car, like if only I could
go that fast.
Jonathan (14:04):
Okay.
Tricia (14:04):
And it's every time he's talking to a woman in labor that
you hear emergency sounds,whether it be a siren from a cop
or it be an emergency vehicle.
And I, uh, and that I noticed inthe beginning, but then I also
know, like, tried to payattention to it and it didn't
seem consistent, but I wonderedif it was deliberate in the
build of intensity, like whenthose, and during more dramatic
(14:26):
or intense moments, if that was,but I guess I, I also don't
think, I mean, is that post oris that, did we managed to catch
different sirens at differenttimes?
Jonathan (14:36):
It could also have been an editing situation where
the flash of lights, uh, is onthe take that they liked.
And so they have to then put inB-roll of, you know, police
going by.
So that way you can see it.
Tricia (14:50):
And I liked how it wasn't always the same.
Like, there were very, uh, ifyou did see sirens, sometimes
you saw the vehicle go past inthe background, but sometimes it
was just a reflection of thelights of a siren across the
windshield.
Michael (15:02):
Right.
Tricia (15:02):
And it was, it was muted, almost like it was just
distant.
And then, you know, like Jon'sthinking,"Oh my God, this
highway is a death trap."There's so many...
Michael (15:10):
There's all these distractions.
And they, they didn't shy awayfrom any distractions.
Even for the viewer.
Jonathan (15:16):
We were talking lighting and all of that.
And so, so, uh, HarrisZambarloukos...
I'm almost positive I'm sayingthat correct.
Uh, has actually done like a lotof, of of actually big name
films too.
He did, uh, JACK RYAN (15:31):
SHADOW RECRUIT.
He did MAMMA MIA.
He's the director of photographyfor MAMMA MIA.
A wide range and you know, lotsof, you know, titles.
So I think that this one to himwas, he was 100% on the
challenge of lighting a car for80 minutes.
Michael (15:49):
Right.
Jonathan (15:50):
And, and, and having it, you know, come out
beautifully.
Tricia (15:52):
And it was so beautiful, the light in itself, the lights
going by in the sea of trafficand how it reflects on the
person in the car and how itreflects across the car itself.
And that, uh, not only does itmake you feel like you're part
of it, but it also kind of islike this dance, this light
dance that goes on.
And I mean, that's what happenswhen you sit in traffic at
(16:13):
night.
Jonathan (16:13):
Andrew Scott, uh, so Moriarty plays–
Tricia (16:16):
Sorry, you got interrupted by me.
That's what happens.
Jonathan (16:18):
I think we were trying to finish two different thoughts
or I was starting an AndrewScott thought, but he–.
Tricia (16:23):
You're so nice.
Jonathan (16:23):
So he plays, he plays Donal, uh, and he is essentially
the second in command for, forLocke's job.
Michael (16:32):
Right.
Jonathan (16:33):
Um, and he's a drunk.
And it pisses off Tom Hardy'scharacter, Ivan, uh, quite a lot
to know that he is a drunk,especially on, you know, like
what ends up being the biggestnight of, uh, of his career.
Michael (16:47):
Sure.
Jonathan (16:49):
Um, and again, we'll, we'll get to the, the, uh, the
storyline per se later.
Michael (16:53):
But it's like, if he knows he's a drunk, you know,
you're going to put this kind ofpressure on this guy.
Jonathan (16:59):
Yeah.
Michael (17:00):
That's going to drive him to drink.
Jonathan (17:01):
To drink, yes.
Michael (17:02):
You know, like, I mean–.
Jonathan (17:03):
"How many ciders have you had?""Uh, what, how would
you, why would you, why wouldyou even–"
Tricia (17:09):
"I can hear it in your voice."
Jonathan (17:09):
Well, yeah, and–.
Michael (17:10):
I do love that it's ciders.
Jonathan (17:12):
Oh yeah.
Tricia (17:13):
Ciders.
It's not like he's, you know,it's not vodka.
Jonathan (17:14):
Hard ciders.
Yeah.
No, but, but even then AndrewScott in, in, in his–.
Tricia (17:20):
Oh, he's amazing.
Jonathan (17:21):
Just absolute amazingness can, can pull off
somebody who, who does not likebeing accused of drinking and
then immediately fesses up to itanyway.
Tricia (17:30):
Then goes into full run.
Jonathan (17:31):
Full run.
Tricia (17:32):
I'm going to go run now.
Jonathan (17:33):
Yeah, I'm going to go run.
[laughter] And then Ben Daniels,who was in ROGUE ONE, um, uh,
THE EXORCIST, he played Gareth,uh, which was the boss.
Um, yeah.
You've got your main guy who isnow decided he's not coming in
tomorrow.
Tricia (17:51):
Did it ever say like where we are, like where this
project is taking place, likewhere he lives, where he's
going?
Jonathan (17:58):
Well, he's going to London.
Tricia (17:59):
He's going to London.
But like where the project isactually taking place...
Jonathan (18:03):
It's an hour and a half outside of London.
Tricia (18:07):
Okay.
[laughter] Fair enough.
Michael (18:09):
That's all you need to know.
Tricia (18:10):
Right?
But it's a very big project.
And I think there, there,there's like one thing we've
learned about concrete and howimportant it is to foundations
to building.
Jonathan (18:20):
Yes.
Michael (18:21):
Yes.
Lots of detail there.
Jonathan (18:22):
So he is laying concrete.
That is his job.
He is the foreman to layconcrete and he is doing it for
what ends up being the largest,um, pour in, uh, in Britain
outside of military and...
Oh, shoot, other thing, but–.
Michael (18:42):
Military contracts and something else.
It's like a repeated likemultiple times...
Jonathan (18:45):
Couple of times and for some odd reason I can't
remember.
But, so the, the head companythat is, is, is building their
new headquarters or whatever in,in London, uh, is from Chicago.
And so are we.
So, um...
Tricia (18:58):
"Fuck Chicago." You know, people in Chicago were so
upset about everything.
Oh my God,
Michael (19:04):
Chicago's losing their shit.
Jonathan (19:04):
Yeah.
Mostly the taxes and, anyway,fuck Chicago.
Um...
Michael (19:09):
That's a whole other topic.
Jonathan (19:11):
Yeah.
Michael (19:11):
For this movie, the hook for me was you have this
construction site and it'salmost kind of silent in the
very beginning and then it justkind of creeps in this
construction noise, the vehiclesand whatnot and cause we're far
away.
And then, you know, we're seeinglike, you know, him walking to
the vehicle and we're hearinghis feet and, and you know, you
(19:33):
don't even see his face.
And then he gets in and I didenjoy the gratuitous BMW
steering wheel shot, which I waslike, Oh, is that a BMW you're
driving?
Jonathan (19:43):
Oh, he's clearly got some money.
Tricia (19:45):
Do you think that they, uh, they're a sponsor?
Michael (19:47):
Perhaps.
You really don't even, you know,you don't know what's going on
even when he makes the mostimportant decision of the movie,
which is to go right versusleft.
You don't know the significanceof that until way later, until
technically I would almost sayyou probably wouldn't even
forget about that moment untilyou were to maybe watch it again
and go,"Oh." There's a lot ofgravity.
(20:09):
There's a lot, there's a lotriding on that.
When you know the, the truckbehind him is laying on the
horn, like move.
Jonathan (20:15):
Yeah.
Michael (20:15):
Watching Tom Hardy internalize that moment.
I mean, he, he's the whole– Hehas the weight of the entire
movie on his shoulders in thatone moment.
And it's pretty cool.
Jonathan (20:28):
That's probably why 20 of the 39 nomination or award
wins were for best actor.
20 of them.
Michael (20:37):
That makes sense.
Jonathan (20:38):
Yeah.
Tricia (20:38):
He didn't even have a volleyball.
Jonathan (20:40):
No, no volleyball.
Tricia (20:41):
Nothing.
Jonathan (20:42):
He had an onboard dash, uh, you know, display.
Michael (20:45):
And the spirit of his father in the back seat, which
we will probably talk about morenext.
Tricia (20:50):
Oh, yes!
Jonathan (20:50):
At nauseum.
Yeah.
Um, so we're going to take a fewminutes here, uh, to, uh, get
some more of this, uh,pomegranate bourbon sweet tea,
uh, into my glass.
Y'all got sweet tea.
Tricia (21:02):
So we're just gonna leave you with the ghost we just
brought it up...
Jonathan (21:04):
And uh, we'll get ready to imbibe more after this.
Michael (21:08):
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Jonathan (21:39):
You're listening to Imbibe Cinema.
Once again, I am Jonathan C.
Legat and I am here alongwith...
Michael (21:44):
...Michael Noens...
Tricia (21:45):
...Tricia Legat.
Jonathan (21:46):
And we are discussing LOCKE.
Are you enjoying this episode?
Please subscribe or follow us onyour favorite podcast provider
to get new episodes as soon asthey become available, which is
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Rate and leave us a review tohelp us reach that larger
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And uh, you can also follow uson the Facebook and Twitter.
(22:06):
Tricia wants me to call out thatthe, uh, the cocktail that we
are drinking, uh, is called TheLock Pick.
And, uh, it's a, it's a verygood decision, uh, to have gone
with The Lock Pick because theother option that I had
originally come up with for ourcocktail would've been a cement
mixer, which is just curdling,you know, dairy in hard alcohol.
And, uh, the two of them did notlook as amused as I was about
(22:30):
joking it.
Um, so, so this was a much, muchmore rational, uh, drink.
We like bourbon here obviously.
So...
Michael (22:38):
I mean, we could've just chugged it and then hit
record.
Jonathan (22:40):
And then...
[Laughter]...had the three of usthrowing, ralphing in the
background.
Michael (22:46):
Listeners, you're welcome.
Jonathan (22:47):
Yeah, we did this for you.
So, uh, we actually, uh,obviously waxed a lot of poetics
about the cast, the crew.
Um, but I think we really doneed to dive into the script
itself.
Tricia (22:57):
Yes.
Everything on this project was astellar from, uh, behind the
scenes to in front of thescenes, all that jazz.
But to me, like the thing thatmakes this movie the backbone
and really sells it is thescript.
I mean, this story is veryintense and uh, there are so
many parts of it that I'm soexcited we get to discuss.
(23:18):
So, I'm sorry–.
Jonathan (23:19):
Yeah, I do love that, that they count this as a
thriller, uh, which, which to meseems a little off because it's,
while it is a suspense-thriller,there, there is obviously, you
know, you're, you're, you'rewatching this person's life
essentially just turn to theworst version of itself really.
(23:40):
Um, but I, I wouldn't count thisas a, uh, a thriller in the
sense that it's not like there'sscare, uh, you know, and it's
such a weird genre.
Tricia (23:48):
I think because the material is, uh, very heavy and
it is very intense and it buildsand builds and builds and the
longer you are as a viewerwatching this man in the car and
there's nowhere else there isthat feeling of being trapped.
Jonathan (24:04):
Yeah.
Tricia (24:04):
That feeling of claustrophobia in the car with
him.
And, uh, that, that idea of likeyou just, I know I tensed up as
I was watching it and I got moreand more tense watching it.
Jonathan (24:14):
So, uh, to, to give enough preface, obviously we've
discussed the fact that uh, heis married, has a child or
children who are pretty much–.
Michael (24:22):
Children.
Two boys, I think.
Tricia (24:23):
Two boys.
Jonathan (24:23):
Yeah, two boys who are old enough, at least one of them
is old enough to be watching thesoccer game and, and having a
grand old time.
The other sounds like they areyounger, uh, in the sense that
when stuff really turns south atthe home front, he is apparently
just off crying somewhere.
(24:43):
Um, and uh, Tom's character, uh,while he is away on business,
um, does not fall in love withthis person.
This is, this is just like amoment of alcoholic, uh,
weakness.
He, he takes pity, not pity onher, but he feels sorry for her
cause she is an older woman whois alone and seems so lonely.
Tricia (25:08):
They had a rapport going.
They were work people.
Jonathan (25:10):
Yeah, he was, she was the secretary.
Secretary and they had just donea successful pour.
He has a, a momentary lapse ofjudgment, a momentary weakness
due to alcohol.
And, and I think that the job isover.
He's never going to see thisperson again.
He probably is acting a littlebit more differently around his
(25:30):
wife, but to a degree, it's notlike he, this, this will always
haunt him.
Michael (25:36):
Yes.
Jonathan (25:37):
Irregardless, but it's not going to hunt like at least
for those first couple ofmonths, it's haunting him
internally, uh, that ithappened.
But you know, he doesn't have toworry about this ever– And then
all of a sudden he gets the callthat she is pregnant and that
she is intending on keeping thechild and immediately, like,
he's even more boned because hehimself is a child of...
Tricia (26:01):
A father who–.
Jonathan (26:02):
...apparently a loser father.
Tricia (26:03):
A father who disappeared, who wasn't there
and then showed up when he waslike 30.
Jonathan (26:07):
Yeah.
Tricia (26:08):
And it was just a sad, embarrassing person.
What is the word you used?
Pathetic.
Jonathan (26:12):
Yes.
Tricia (26:12):
Pathetic person.
And, uh, how him not having afather who would own him in a
way and uh, and then having theman show up thinking it was
better to show up once he was anadult and kind of be this...
Jonathan (26:27):
Mooch.
Tricia (26:27):
...person that, yeah, this awful person.
And so this haunts him that, youknow, part of our mot– Part of
the motivation, uh, for him isto not be like his father, to
not end up going down that road.
Cause it's so tempting to just,this is not my problem.
Jonathan (26:44):
Yeah.
Michael (26:44):
Right.
Tricia (26:45):
And just let it go at that.
Michael (26:46):
It's almost the easier route is the way that the movie
paints it to be like you couldjust– But because, and I think
from a writing standpoint and inestablishing the background of
this character, um, we talked alittle bit about, you know,
you're on a list tonight.
Jonathan (27:04):
Yup.
Michael (27:04):
They talk about how he's so good at his job and you
see that the way that heactually handles human beings in
this evening.
It's like, no, this is, this isthe decision I've made and I'm
sticking to it.
Jonathan (27:18):
Yes.
Michael (27:18):
And I'm going to see it through regardless.
And this is how he works too.
Jonathan (27:22):
His boss– So, again, the, the, the added bonus is not
only is this woman's water justbroken prematurely and now he's,
you know, but this is literallythe eve of the, the largest pour
, uh, of cement.
And he has to tell his second incommand.
Guess what?
You're now in charge of this.
And he also has to tell hisboss, yeah, I'm not going to be
(27:45):
there tonight when like allthis, all this stuff has to
happen.
And of course, Chicago and hisboss fire him and he still goes,
yes, I understand.
No, that's, that's fine.
You fire me.
You like that?
Tricia (27:57):
Makes sense.
Jonathan (27:57):
Yeah, I, I'm not gonna argue with you.
I'm still going to make surethis pour happens tomorrow.
And he's like, no, you're, you,you're fired.
He goes, look, this isn't aboutme trying to get my job back.
I am doing this because that,that, that cement needs to go
down correctly.
Michael (28:11):
It's a favor to the building.
Jonathan (28:12):
It's a favor to the building.
Yeah.
Tricia (28:13):
Well, and yeah, and this man is very passionate about
what he does.
Jonathan (28:16):
Very.
Tricia (28:16):
And you see it.
One of the things that's greatabout, uh, having all these
phone calls in different aspectsof his life, all being at a, uh,
uh, a very, an intense point isyou really get to see the kind
of person he is at his core.
You know, you see the realperson when, uh, when the shit
hits the fan, you see them, uh,how they gut instinct react.
(28:37):
And a lot of people run away.
A lot of people don't want todeal with it.
Uh, or you know, go into denial.
They go into shock or whatnot.
And how many people, even ifyour job is a very intense job,
even if you know, there are alot of people counting on you,
if you get fired, if you get letgo, if you know something,
something happens, they're like,you're done.
How many people are like, yeah,but I'm just going to make sure
(28:57):
the job still gets done right tomy standards.
No– There are so many who like,it's not my problem anymore.
I have enough problems.
I have enough problems rightnow.
This is not mine anymore.
And I'm going to move on toother things.
But no, he has to finish this.
He started it.
He's got to finish it and hedoesn't want to leave.
You can tell he cares about thepeople he works with.
(29:17):
Uh, and you know, especiallyDonal.
Jonathan (29:19):
Yes.
Tricia (29:20):
Um, and as much as he is annoyed by him, but he's like,
no, I'm going to get him throughthis.
I'm going to set him up forsuccess in a way.
I'm going to make sure that thisdoesn't go sideways.
And all the people that dependon me and have depended on me,
I'm not gonna leave everybody inthe lurch.
Jonathan (29:34):
Yeah, or this building cause if anything goes wrong
with the pour, the building cancollapse.
There's all sorts of otherthings–.
Tricia (29:40):
Yeah, it's long term...
Michael (29:41):
There was a point where they refer to like if things
don't go right–.
Jonathan (29:45):
Yeah.
Michael (29:45):
I mean, you're talking about like millions in losses.
Jonathan (29:48):
Yeah.
Michael (29:49):
Um, or hundreds of millions.
Jonathan (29:50):
Yeah.
Um, Donal's like, what about theC5?
And he's like, no, it's C6.
Well the, you know, the, the,the balance of this one is C5,
and he's like, no, it needs tobe C6.
Michael (30:00):
What does it say on everybody's piece of paper?
What does it say here?
Yeah, yeah.
Uh, the, the level of likeintegrity that he has.
Um, there's, there's this onemoment upon, um, you know, uh,
maybe a second or third viewingthat I heard.
I felt like I heard for thefirst time.
And it's almost like a throwawaymoment when he's on the phone
with Gareth and it's, I thinkit's right after.
Jonathan (30:24):
That's his boss.
Michael (30:24):
Yeah.
I think it's right after he'sfiring him and he, and he's
like, I'm sorry.
I know.
You know, I, I don't want to dothis on the phone.
Um, you know, all of a suddenit's like you see him be a
person, even though he's sofurious with him.
Jonathan (30:35):
Yeah.
Michael (30:36):
You know, there's this moment where he just says, where
Gareth says,"why couldn't youjust call you were sick?"
Jonathan (30:43):
Yeah.
Michael (30:44):
And he's like, I'm not.
Jonathan (30:46):
Yeah.
Michael (30:46):
You know, he, he could have, he could have lied from
the get go and said, I, I'm, youknow, I have the flu.
I, there's no way I can be thereand he could have saved his job.
I mean obviously wouldn't havesaved as you know what's going
on at home.
Jonathan (31:02):
Yeah, that's true.
Michael (31:02):
But at least he would have a job, uh, at that point.
But he didn't, you know, his,his level of integrity is so
high that it's like, no, I'm notgonna lie.
Tricia (31:13):
Right.
We've talked a bit about howthere's the, uh, the, the list
of the on the dash.
Well no, the phone–.
Jonathan (31:19):
Oh, you're talking about the screen display.
Tricia (31:20):
Right.
Michael (31:21):
Yeah.
Tricia (31:21):
And he's got one that's it's bastard.
Right.
Jonathan (31:24):
That's Gareth.
That's his boss.
Tricia (31:25):
His boss in his phone is bastard.
Jonathan (31:28):
Yep.
Tricia (31:28):
And yet he's very respectful on the phone.
Michael (31:31):
His is!
Tricia (31:31):
The way he, uh, other people talk about him.
And it's funny cause here he'sthe only one on screen.
Jonathan (31:36):
Yup.
Tricia (31:37):
Everybody has to go through him.
But there are points wherepeople talk about this is not
like you and you were, everybodyknows you're the guy that, that
we rely on.
Everybody knows you're the bestguy.
Jonathan (31:47):
Yeah.
Tricia (31:47):
This is, this is an odd out of character.
This is your mad.
You're crazy.
This is not you.
And, uh, it, it adds to thiselement of like, you're not just
seeing the person in front ofyou in this crisis moment.
You're getting this backgroundof the kind of person he is to
everybody else in his world andhow that affects them.
And one of the lines, uh, thelove is from his wife when she
(32:11):
talks about the concrete on thefloor and how like he comes home
and there's always concrete andthey are his footprints, how she
has to clean up.
Jonathan (32:20):
Chip it.
Tricia (32:20):
Chip the footprints, chip the footprints away.
The weight this man is in thehouse, the weight of him in her
life...
She remarks how it's– The jobalways came first.
Like, you love your job morethan, than us anyway.
But I think it's also the weightof the integrity, the weight of
the standards that this manobviously has and living up to
(32:41):
them.
And here he fell.
Jonathan (32:43):
Yeah.
Tricia (32:43):
Right?
Michael (32:43):
Yeah.
Tricia (32:43):
But that, that visual of the cement of his footprints,
the weight of this man in herhouse, and it's just like, Whoa,
that's awesome.
Jonathan (32:51):
It's is just amazingly well written from, from, from
start to finish because every,every piece of it is, is so
human.
Um, and, and so heartbreaking towatch because again, you know,
like his, his marriage is prettymuch ending in front of our
eyes.
He is, uh, trying to calm down ahysteric woman who is having a
(33:13):
child all alone.
And the reason that he hasturned right instead of left is
because he does not want her tobe alone at this particular
moment of her, of her life.
And he also does not want thischild to be alone.
He wants to give it the Lockename all at the same time that
literally he is trying to, uh,do business, uh, checking his
(33:38):
book because he accidentallybrought his book with him
instead of leaving it in thisdrawer.
And so now things are fallingapart around him.
Uh, there's a whole situationwith rebar where he, uh, has to
send Donal to run uh, you know,drunkenly run to, uh, go find,
uh, some, some, some workersthat he knows who will be
getting off of work in the next30 minutes.
(33:59):
And if he can't run there fastenough–.
Michael (34:02):
He's miss them.
Jonathan (34:02):
They won't be able to get the rebar done overnight
until the pour– Like, there's somany things that just keep going
wrong–
Michael (34:08):
And he keeps his cool really throughout the whole
thing.
And that shows, you know, a timeof crisis.
This is the kind of guy he is.
He's just this, he approaches acrisis situation with this calm
demeanor, even though the worldis, you know, might be falling
apart.
He's dealing with crisis, notonly professionally, he's
dealing with personal crisis atthe same time.
(34:30):
How many people have to dealwith that happening at the same
moment?
Jonathan (34:34):
And when they interlock, when he need to get–.
Tricia (34:37):
Oooo! No pun intended.
Michael (34:37):
Inter-LOCKE?
(34:37):
Oh! Wink, wink.
Yeah, no, he's got to get thephone number for, uh, somebody
who can approve a stop and go,police stop and it's judge or
somebody.
Um, but he has this person'snumber in his coat pocket at
home and he's already told hiswife.
(35:01):
Yeah, there's a woman who'shaving my baby tonight.
So he lets me, needless to say,he doesn't get that number, but
thankfully drunken Donald comesthrough on that one.
Surprise dude.
I was like, I did something allby myself.
Yeah.
Locked and Donald are bothsurprised in that situation.
It rubbed off a little bit.
Yeah.
Just, it'll be all in my own.
(35:22):
Good.
Good for you.
I have another side that thehandling of a kid gloves that
supportive, uh, I've got yourback, I can walk you through
this.
And he's not just noon.
There's, you know, severalpeople.
He's walking through things onthe phone.
And one
Speaker 4 (35:38):
of the things it's very interesting to me is like
when one plan goes to hell, it'snot like a, Oh crap.
You know, it's okay.
Okay, fine.
That's fine.
That's awful.
Right?
But we're going to go to this,but this is what we're going to
do now.
And I've made the decision andthis is how we proceed.
And that's the kind of personthat you know in crisis that's
good to have.
But uh, the toll it takes onthem.
(35:58):
And then of course you havesomebody who's dealing with
their professional and theirpersonal life going to hell, but
now they have their demonshaunting them the same time.
Yes, to the ghost.
I know a lot of people talk inthe car to themselves or they
sing a, or all kinds of stuff.
I, I have, I had met, I've hadconversations with people in the
car that it's like, I never gotto have this conversation and I
(36:20):
really want to say what I mean.
I want to say what I feel, eventhough I know in the moment I
probably won't or didn't, youknow, that moment on the stairs
and what you should've said andyou just want it, you know, just
have that conversation.
Right.
I've had that moment in the carwhere I'd, I'll do it in the
car, I'll just, I'll, I'll,I'll, I'll tell somebody how I
really feel.
I'll do that.
That's a little equate forwhatever reason.
(36:41):
Get it off my chest, get it outand uh, so I can get Y you know,
he's talking to his dad and, butI think it's very interesting
they gave that, uh, I spoke hisfather has a specific place in
the car.
Yes.
Which is I think is helpful forthe viewer but also kind of
disturbing cause I don't think Itreat anybody like they're in
(37:02):
the car with me one night in thebeginning I look at it as the
backseat.
The more and more think about itand the more and more it comes
back, you really don't see it asthe backseat.
It's, it's the rear view mirror.
It's the reflection.
So it's like this reflection ofwhatever's behind him is what's
haunting him and cause he looksup, uh, up at it with like,
(37:26):
like, like the reflection iswatching him.
Yeah.
And uh, I dunno.
Yeah.
I just, I, I, it's, it's almostmore that rear view mirror as
the viewer.
You see the back seat, you seethat specific viewpoint where I
see him looking at the rear viewmirror and I wondering why, uh,
you know, if you see, if youwere to have the camera view be
(37:46):
of him looking in the rear viewmirror, but of course you'd have
to have a camera in the backseat.
That's true.
To see his eyes looking at it.
And then people maybe might getthe, some misunderstanding there
on who he's talking to to giveit a focal point.
Thankfully it doesn't talk backto them.
Right.
Or doesn't watch the film.
(38:08):
Also listen for the fantasticmusical break at the end of the
movie where everyone breaks outin song.
It's like LA LA LA night.
Yeah.
Um, but at night, so no.
Okay.
So here's the thing that Ireally, really, really my
favorite part, I'm gonna say oneof my favorite parts, but the,
him being all alone in the car,uh, that intensity of that, to
(38:33):
me it was like when have to gothrough these moments where
you're dealing with things andnobody else really sees your
point of view.
It's, it's being in the car byhimself.
It's almost like being insidehis head that here we can
communicate with all thesepeople.
You can, you can talk toeverybody on the phone, you can
get ahold of everybody here tosolve this problem remotely on
(38:54):
the road.
Sort of on a level.
Right.
How far we've come in the last20 years.
Yeah.
But the same time, even thoughwe can reach each other, we
really, there's so much lost intranslation.
There's so much you watch himtrying to communicate that he,
you know, they're only gettingthis little bit and how
(39:14):
frustrating that is.
How he has to tell his wife onthe phone what he did and how,
you know, I, it's not me.
This isn't something, you know,me and this is, and how do we
get past, how do we get how wemove forward?
How do we,
Speaker 3 (39:29):
what does the statement he says it's the, I I
want to find a way that we can wwhat, what's the practical next
step or practical next step.
Yes.
Yeah.
And uh, and, and then how hetries to talk to his son over
the phone and he can't, Oh yeah.
When his son doesn't hear himsay, I love you.
And then he's like, what wasthat?
And he's like, ah, not,nevermind.
I just, uh, just having mybrother call me whenever it
(39:53):
comes down.
Yeah.
We'll, we'll tell him he can'tlet us son.
Yeah.
He's trained
Speaker 4 (39:57):
all that and how isolated we all feel all the
time.
Uh, when we have these momentswhere we just can't connect,
where we feel like thatconnection isn't, is just, is
just a phone line.
It's not a real strongconnection.
Right.
There's so much lost and, and,and it's heartbreaking to watch
and yet it's so, um, relatable.
(40:21):
It's so I get this and I feelthis and it, it is such a
beautiful idea to put in filmand I think that's one of the
things that got me was how youfeel like you really in one
person's head and how they'retrying to communicate with the
rest of the world.
And how, uh, so much is, uh,just a fight.
Speaker 3 (40:41):
He is so morally up.
Yeah.
That even though he is literallybeing kicked from like every
angle, um, he, he manages tomake the project work.
He doesn't make his mirrorswork, but he is doing everything
he can to try.
(41:02):
He'll find a way to, I don'twant to say make amends because
you can't make it run.
Really knows he can't make it.
Right.
But he has to be there for thischild that's coming into the
world.
He's not going to abandon hischildren and he's not going to
abandon his wife either.
Yeah.
Even if his wife doesn't want tobe his wife anymore, which is
very likely.
(41:23):
Yeah.
I don't think he could walk awayfrom that still.
And thankfully his sons want toignore the entire thing.
They, they, you know, they evencall him in.
They're like, you know, we wantwhatever it is that you know is
going on.
We, you know, we, we, we could,we could find a way to just be
normal again.
Just let everything, we'll justignore the campus.
(41:44):
[inaudible] I like to say that alot in the behind the scenes,
this man is the every man, youknow, Ivan, essentially every
man, and I must be a cynicbecause I did not see in every
man I see somebody we all aspireto be typical says.
I mean there, I just don't thinkthere are that many people with
that much integrity in the worldthat you could consider him and
every man.
(42:05):
I think everybody, everybodylikes to think that that is,
that they are, they are notmorally bankrupt.
Maybe.
Maybe the thought is because Itotally agree.
You know, the way that hehandles this, I don't know, a
single individual that wouldhandle crisis like that.
Every, um, safe place iscollapsing around it, around you
(42:30):
and so learn truly on your own.
Like you, like you were sayingchurch before he decides that
left or right.
That's where it's like, Oh, he'sjust, he's just an every man.
This is a different level ofreacting wall in a crisis.
This is, I'm the safe place.
Yeah.
I'm, I'm going to help youthrough this.
It's okay.
(42:51):
Call though.
He even, it's fine.
It's going to be fine.
It's going to those that whenhe's on the phone with people
and as soon as he is hung up, hestarts wigging out in his car
because he's wealthy losing iton anybody that's his dead
father.
There's at least one, possiblytwo instances where he probably
should turn around a way.
(43:12):
He realizes that the binder thathas everything, uh, that Donald
needs to get this done right issitting next to him in the car.
You can see the fight in himselfwhere he's going this like, I
can't, he can't go without this,but I'm already like, you know,
(43:33):
40 minutes into the drive.
I can't, I can't, I can't turnaround.
Right.
There are moments, so manymoments in this movie where it
could so easily becomeoverdramatic.
Yeah.
So easily and they were able toharness this just a very real
(43:55):
emotion, this very real reaction, uh, without, without going
over it over the top I thinkespecially between LOC and
Katrina.
Sorry, Ivan and Katrina.
Technically through both lock.
Um, so for now my heart brokefor her the entire time.
(44:18):
Ruth Wilson?
Yeah, it was the second phonecall I think that she has with
him where she has to get off thephone and she's like, I got to
go throw up again.
Yeah.
Yeah.
And when she hangs up on him atthat moment I was like, ah.
And then, and then puttingmyself in his shoes, what I
thought was interesting.
This is kind of taking anotherstep back though on that first
(44:39):
phone call with her when shehangs up on him.
Yeah.
We don't hear from her for like10, 15 minutes.
Yeah.
I mean she wouldn't be able tothink about anything but her.
Oh yeah.
She's going through and for himhe has this, she hung up on me.
Okay.
I mean obviously not going tocall her back, but it's like,
(45:00):
okay, I'm going to deal with allthese other problems and I have
a clear head.
It almost is the way that heapproaches it.
And that's remarkable.
I mean, well, and I mean, whenyou can't do anything at all to
find a place, call her back.
I'm going to find a place to beproductive to just distract
yourself from what you've done.
The gravity of what you've done,it might not have actually hit
(45:23):
yet.
There's that shock level.
Then his next thing is, okay,what's the next practical step
with where do we go from here?
What's the next step?
Because that's how he works,right?
It's like, but also, am I readyfor this all along and Whoa,
Whoa, Whoa.
I just got dropped thisknowledge right now.
Right.
She's not ready for thatprocess.
I have to process that.
Yeah, he's had, he's had time toprocess that.
(45:43):
Right.
And she has not[inaudible] my,uh, my favorite line in the
movie is actually, um, one ofearth Wilson's lines and, um,
you know, he keeps saying, youknow, it was only once, it was
only one available the one time,uh, repeats it multiple times in
VR in a variety of differentways.
(46:05):
My favorite in line in the movieby her and the way that she
delivers it is so fantastic.
The difference between never andonce is the whole world.
The difference between never inonce is the difference between
good and bad.
Fantastic line.
Yeah.
And you watch this guy that, youknow, uh, that, you know, it
(46:27):
seems like as, as we're evendiscussing where like he's, he's
a good guy.
Like we sold the good everythinghe can to P good.
This line was no, he's the badguy in this.
[inaudible] so remember that,you know, so it's like this
teetering between good and badthroughout the whole movie.
And it's like how you feel aboutthis protagonist.
(46:50):
Yeah.
This foam got a 90%, uh, rankingon rotten tomatoes.
So it is, it is pretty wellliked.
Yes.
So a cinema mall, sorry, let'stry that again.
Cinema all, Oh no.
Should have been more, right.
I'm thinking Cinnabon, I'malready at the mall.
What does sit in the buttondoing rating films?
(47:12):
Uh, here.
Here was the, the rotten, uh,review summary.
What should be a grippingnarrative is uninteresting to
the point of tedium.
Wow.
Well maybe they don't care abouttheir job or their wife, so it's
just not relevant.
Yeah, they work at Cinnabon andthey don't really, um, they
(47:32):
don't commute so they don't havean hour and a half commute.
examiner.com said, despite afantastic performance from Tom
Hardy, lock makes for a ratherflat single location flick due
to its suffering from a lack ofexplosions and engaging
(47:53):
material.
Wow.
I'm sorry.
They liked Michael Bay.
You can totally tell.
He'll like have explosions.
I need nine cameras at alltimes.
Does that mean?
So now granted, maybe, maybethis is the nuance of
independent film and I, you knowwhat, I don't think we've
necessarily waxed enough poeticson this per se, but you know,
(48:14):
you've, you've got major motionpictures that producers and
writers and directors, they havecertain thing they're trying to
accomplish, which is why these,you know, these are released
into a theater where they needto get butts in the seats.
Independent films are writers,directors, actors, right of
(48:36):
passage.
They're there ways for people toexplore things that you can't do
in a mainstream theatricalrelease.
And so this is a nuanced villain, robotic guy in a car.
I'm sorry that the singlelocation upset you, but it's a
single location.
(48:57):
No, no, no.
We just recommend them with thatphone booth movie.
They could watch that after thisalone.
So, um, uh, the final one, Imean, it wouldn't be an imbibed
cinema episode if I didn't reada Chicago reader.
Trashy Sysco, what is going on?
Chicago radio.
They were going to quote this.
Um, exactly.
(49:17):
The conceit is riveting at firstbecause in Knight forgoes any
backstory or exposition, thoughas the foreman's plight becomes
clear, the tension quicklydissipates, dissipates.
I mean, don't get me wrong, we,we even pointed out the fact
that there is no exposition.
(49:38):
We, we literally just see leftturn right turn that that is as
much information as we getbefore this entire drive starts.
What does she mean?
The conceit is riveting or isthe concept is riveting?
I think it's snooty.
People are funny.
(49:59):
So that's the episode.
There you go.
Here's, uh, so, uh, you know, uh, once again, we, we greatly
appreciate it,
Speaker 1 (50:05):
all of our listeners for choosing this podcast and
hopefully also for supporting,uh, independent films, uh, and
independent film festivals.
Uh, keep your eye out for ournext episode when we will be
discussing Olivia Wilde'sbook-smart, which is starring,
uh, Caitlin Devore and beanieFeldstein.
Uh, so, uh, uh, check out ourshow notes or drop us a note,
(50:26):
uh, and uh, visit us home in biocinema.com once again, when
Jonathan C like it.
And thanks for him bobbing withus.
Cheers.
Cheers.
Speaker 2 (50:34):
Let them make change all[inaudible]
Speaker 1 (50:50):
this is me.
Woe is me.
They have seen what I've seen.
Speaker 5 (53:06):
[inaudible]
Speaker 6 (55:48):
[inaudible] [inaudible]
Speaker 5 (56:16):
[inaudible] [inaudible]
Speaker 7 (56:24):
[inaudible].
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