August 8, 2024 • 44 mins
Today on the Daily Bespoke Podcast, Matt and Mashy catch up with New Zealand film royalty Ant Timpson ahead of the release of his brand-new film, Book Worm! This episode is a must-listen for all movie lovers, as the guys delve into modern issues in Hollywood, discuss kids’ movies that are actually terrifying, and recount a memorable incident between Matt and Ant during the launch tour of their film The Devil Dared Me Too! Tune in wherever you get your podcasts or by following the link in our bio. Bless!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:15):
Girl Berson. It is the ninth of August, in the
Year of Our Lord, twenty twenty four. Welcome all you
bespokey donkies to the Daily Bespoke Podcast. And we've got
(00:35):
a big one today. We've got my friend, friend of
the show, Friend of Me, and Timpson. He's coming in
in a little bit. He's a film director. His new film, Bookworm,
premiered as the opening film of the twenty twenty four
Fantasy International Film Festival. My film The Devil Dare Me
to open there as well, and actually has opened in Austin, Texas,
(00:58):
but then played at the Fantasy International Film Festival. And
Timpson was the producer of the film The Devil dem
Me two. He's since then gone on to make movies
such as he produced The Greasy Strangler. Oh yeah, I
know that with Elijah Wood. Ah. He's done a bunch
of bunch of stuff. He runs the He started the
(01:20):
the twenty forty eight Our Film Competition.
Speaker 2 (01:23):
Oh that was him. Yeah that I got my first
mooch on the forty oh Our Film Festival.
Speaker 1 (01:28):
Did you so?
Speaker 2 (01:29):
I got to thank for that person?
Speaker 1 (01:30):
Well, you were shooting one, Yeah, it was.
Speaker 2 (01:32):
It was kind of considered a bit of I mean
it's where the nerds would kind of hook up, because
you know, the media said his class would do one
all together.
Speaker 1 (01:38):
Yeah yeah, Hey.
Speaker 2 (01:39):
In regards to these film festivals, I've always wondered this.
I've never been to one. Yeah, what is the How
does the film festival work?
Speaker 3 (01:46):
Is it?
Speaker 2 (01:46):
Do they literally just play movies and people just sit
there and watch them?
Speaker 1 (01:50):
Yeah?
Speaker 3 (01:50):
They do.
Speaker 1 (01:51):
And then but also they'll fly over directors and producers
and actors to introduce some films. So when my movie
The Devil Demy two came out, we traveled all around
the world wow, doing and introducing the film and then
doing questian and answers afterwards.
Speaker 2 (02:06):
Oh classics. So you'd have to sit? Did you end
up sitting through the difficult in me too? What?
Speaker 1 (02:09):
Over a dozen times?
Speaker 2 (02:09):
Oh?
Speaker 3 (02:10):
Yeah?
Speaker 4 (02:10):
Yeah.
Speaker 1 (02:10):
I actually wrote about it in my book. I was
in Germany at one point and a film played and
I'd watched it so many times. So it started, we
introduced it, and then I'd got quite steamed on quite
strong German beer, and then I started bowing my own
film before it started. I was like, this iscking shot.
And then the security came over and said they tried
(02:30):
to remove me and my friend Chris, who was there
also made the film with and and they were like,
we're going to move them, and then the organizer of
the FIST was like, well, we can't really throw them
out because they're the producer and director and stars of
the film and they've got to do the Q and
A at the end. Yes, so they said, could you
just stop abusing the film because you know these people
are trying to enjoy it.
Speaker 2 (02:48):
So what did you do? They just say, okay, put
your back down.
Speaker 1 (02:51):
They moved us out to the bar, and then they
brought us out at the end, and then and then
when we were on stage at the end and Chris
dived into the front row as a demonstration of a
stunt from the movies. And then I don't really remember
getting back to my hotel, and we was that there
was colon that night and then was picked up because
we've been driven to another town. I think we're going
(03:11):
to book them the next night in Berlin and where
I did to play Hamburg played a lot of places
over there, so the Germans had a real white one
for it. Yeah, it went really well in Germany and
it went really well in Holland. In the Netherlands, I
did it strange places like that, and Canada it went well.
So we travel around to a lot of different little places.
Speaker 2 (03:34):
Spain, what's the What's what's the Germans into humor, Like,
it's pretty good.
Speaker 1 (03:38):
It's interesting because the film played over there in Germany.
Speaker 2 (03:43):
Like over dubbed or something like that. You heard people
voice it.
Speaker 1 (03:45):
Or was it just up to like subtitles with the
one I watched? But there's lots of different versions of it,
like this is a Japanese version. I should try and
track this down. Yeah, you can watch the film now.
It's on on Amazon Prime at the moment, and we've
just done a deal for it to be released in
some other places because it came out in two thousand
and seven. So and it's pretty rubbish film. So it's
because I still had a had a life so in
(04:09):
and was instrumental and and and getting it up and
going like he was. He was the main producer, you know,
the executive producer on it.
Speaker 2 (04:17):
So he made the phone calls.
Speaker 1 (04:18):
Yeah, he made the phone calls.
Speaker 2 (04:19):
Yeah, So how does it work with something like that?
So a film that was made how many years ago.
Speaker 1 (04:23):
Now, two thousand and seven.
Speaker 2 (04:26):
Oh, yes, it's almost almost a couple of decades ago
that movie was made. How does it work now if
someone's looking to stream your film? What kind of deals
get done?
Speaker 1 (04:34):
I don't know not.
Speaker 2 (04:35):
Oh Jesus, this is old.
Speaker 1 (04:36):
Oh Jesus, is that my copy? G Lane's just come
in with my copy of the Alternative Commentary Collective Almanac
by Matt Heath, Mike Lane and Matt Heath. What a
beautiful book.
Speaker 2 (04:47):
I mean, this is going to turn into the book
special or the media. It's pluck up behind the microphone there,
g Lane, we do it.
Speaker 1 (04:51):
We're going an interview coming through, but we might as
well talk about this before Antimson comes on.
Speaker 3 (04:54):
It's so hot off that that is hot off the god,
its smells good.
Speaker 4 (04:56):
It smells so great as it can smell it from here.
It's coming out and mid October it is three hundred
pages of our worst stories.
Speaker 1 (05:04):
Oh my god, what a beautiful second book for me
in a year's shit. It's beautiful.
Speaker 4 (05:09):
So basically it documents from the start teen years ago
in every sporting moment.
Speaker 1 (05:14):
And would you sign that for me?
Speaker 2 (05:16):
Of course I would, No, CNB please, I mean this
is amazing, It's what I mean it's the table book.
I'm signed by one of the authors, Ju Lane, sign
this and get out. You've got someone else coming through now, yeah, yeah,
you're got to move on. How that's something else to
sell as well. It's a it's a great book.
Speaker 1 (05:30):
So it's a hard cover almanac with all the stories
of the acc over the last ten years.
Speaker 3 (05:36):
It's some incriminating shit in there.
Speaker 1 (05:37):
It's terrible. I mean, when this drops it's going to be.
It's a great because you can follow out the cancelation.
Speaker 4 (05:42):
You can pick it up at any any point because
it just covers years. It's got our top ten crimes.
This haremented a lot of crimes.
Speaker 2 (05:51):
What a great coffee table book? Where you get in
the next week? Do you Lane actually a proper chat
about this?
Speaker 1 (05:54):
I think you get terrible lovers, that's a fact.
Speaker 4 (05:57):
It's one of the great It's going to be the
perfect present for the hard to buy and coming out Christmas.
Speaker 1 (06:03):
So you can pre order it now if you like
it smells good.
Speaker 3 (06:06):
Jump on the mind, man.
Speaker 1 (06:07):
It's a thing of beauty, so much in the air,
and it's actually got some of our best most important
moments of commentary written out, you know, and and reading
that written down.
Speaker 4 (06:20):
In the transcripts.
Speaker 1 (06:21):
The transcripts. That's weird.
Speaker 4 (06:22):
I was looking at oral The oral history is in
nex level as well. It's everyone's their versions of what happened.
Speaker 1 (06:27):
Jeu. Look you're there. You look like bloody Russell Crowe
or something. In that picture is a bit of there.
Speaker 3 (06:32):
Was shopping going on.
Speaker 1 (06:36):
It's got the complete rundown of the humiliation run out
of Jason Hort.
Speaker 3 (06:40):
It's great, all right.
Speaker 1 (06:41):
All right, all right, bring bring, bring, bring director and
Timson in.
Speaker 3 (06:54):
Yeah, yeah, one, holy shit windors.
Speaker 1 (07:03):
That's going to hit. It's going to hit the shelves
at a Christmas. We're on there by the way. Well, well,
well we're on podcast. We've got this new and we've
got this new format format where we just run the
podcast until people arrive and then we see the sea
behind the curtain of how we say hello.
Speaker 3 (07:22):
Usually I would have dropped my foot in it straight away.
So I'm quite happy.
Speaker 1 (07:25):
It was actually pretty good for you. Before you came in,
I was just talking about well actually not on air,
but I was talking about the scar that you gave
me in London in two thousand and.
Speaker 3 (07:33):
I wrote about your scar because they did a did
they get hold of those guys in London, the fright
fast people, because they rode a twentieth anniversary or anniversary,
and so now your hand is now part of law
in that festival. Yeah, we were, we were.
Speaker 1 (07:49):
We've been in Germany, so we were prousting up a
storm and we were in some kind of weird bar.
Speaker 3 (07:54):
Seemly it was a lot of Russians. It was Russians.
Speaker 1 (07:57):
It was underground. It was like it was like a basement.
Speaker 3 (08:00):
Yeah, yeah, it was filled. It was like a I mean,
there was a lot of liquid on the floor before
your liquid came out of your body, all over the floor. Yeah.
Speaker 1 (08:08):
So me and and Timson celebrated our film The Devil
did Me too with a prows with a clicking of
glasses together, and what exploded.
Speaker 3 (08:16):
They weren't clicking. It was like a full swing of pints,
full swing pints. And I came off second. You got
horribly done.
Speaker 1 (08:25):
I got horribly done. And I took my sock off
and wrapped it around my hand and kept partying. And
then I woke up the next morning in my hotel
room and the whole place was covered in blood and
there was like handprints down the wall. I tried to
ring my girlfriend, so the phone was covered in blood
and I was like, this is horrific. I can't be
here when the cleaners came, so I dropped a fifty
pound note on the table and left, Yeah for the cleanup,
(08:47):
but then I was out all day. And then when
I came back, that's when they were cleaning, and then
I just felt like such an asshole. They was scrubbing.
There was five cleaners in the room scrubbing off the wall.
Speaker 3 (08:54):
They thought there'd been a murder crime scene.
Speaker 1 (08:57):
And then my fifty pound note was just sitting there,
like the most asshole move if you just dropped a
fifty and got out.
Speaker 3 (09:02):
Fifty pounds for you back then, that was it was
a real gester from me. But yeah, yeah, that's like, yeah,
that was that was basically.
Speaker 1 (09:09):
My padaems for on the Devil tim Me Too tour.
But you've made a number of films since then, produced
and directed year Yeah.
Speaker 3 (09:21):
Yeah, yeah, a lot of usually more sort of culty
horror explotation kind of vibe. So yeah, this latest one
is a complete.
Speaker 1 (09:31):
Change the pace departure from Come to Daddy.
Speaker 3 (09:33):
Yeah, I've gone like you, mate, I've gone all soft.
Speaker 1 (09:34):
I've gone soft. Should we listen to the trailer really quickly?
For Yeah, let's blast it out.
Speaker 3 (09:38):
And I'm commonly referred to as a book class straight
as all the way.
Speaker 1 (09:45):
School is like hiveven from me academically and socially on
board aline obsess.
Speaker 4 (09:50):
To tell the truth.
Speaker 3 (09:53):
Hello, Bildred, it's me, your dad. I just feel halfway
across the world to be.
Speaker 1 (09:58):
With you, little ladie.
Speaker 2 (10:00):
Great.
Speaker 3 (10:02):
I'm sorry for the whole accent father thing. What's this this?
Speaker 1 (10:07):
Because we came to repent that no one's ever caught
to finish of proof I could take you.
Speaker 3 (10:13):
We leave it first night.
Speaker 1 (10:17):
So it's beginning Rave reviews. It's right up the right
up there and rotten tomatoes right up there with the.
Speaker 3 (10:22):
Old rotten tomato. I mean it's been yeah, rewarding. We
had a great world premiere over in Fantasia. You know that.
Speaker 1 (10:30):
Yeah, you know that. That's that's in a number of places.
Is that the one not the gym?
Speaker 3 (10:36):
Was not the Montreal one?
Speaker 1 (10:37):
The Montreal one? Yeah, I've been to.
Speaker 3 (10:38):
I went to the Montreal There was a great times.
Crowds are yea bonkers mate? So they were.
Speaker 1 (10:43):
I remember when the devil did it to me played
there there was a queue around the block block and
then there was a bomb threat.
Speaker 3 (10:49):
That's right.
Speaker 1 (10:50):
So we were like, this is freaking excited. We've got
like a thousand people lining up for this and then
there was a bomb threat.
Speaker 3 (10:55):
Yeah no, no, we had no bomb threats for the
heightened exciting.
Speaker 1 (10:59):
You don't get bomb threat so the family films.
Speaker 3 (11:01):
But yeah, we had Elijah Wood there, which was great.
And now Fisher, who's now like, you know, we timed
it really well. She got announced on Stranger Things. Yeah,
so kind of like perfect timing for the film. But yeah,
it's just a man. The response has been awesome. Now
it's just you know, now it's out to the wild,
to the junior public and we see how it goes.
Speaker 1 (11:18):
Yeah, how good? And when did you actually film it?
Speaker 3 (11:20):
So we filmed it May April, May twenty three last year.
So and then did a bit of you know, early scouting.
The weird thing is like, you know the area down there,
I mean, it's so drastically changes. So when we were
scouting really early, like pre Christmas, I think I was
down there and then I just remember the locations guy saying,
you know, this is going to be a completely different
(11:41):
palette when you come back right, and I was like,
oh shit, that's right. So it was such a microclimate
in that whole area of like Castle Hill and Harden
Plane and Mount Cheeseman all that area. Yeah, it can
go from like one day it was thirty three degrees
like sweltering hot, and then the next two days later
than that was like dusting, like dusting happening. It's just
(12:04):
wild man. So we for filming it was pretty terrifying. Yeah.
Speaker 1 (12:08):
Yeah, yeah, well filming in New Zealand in general, it's
quite a challenging thing, isn't it. Always have those American
productions that come over and go, oh it rains, it
rains every second day. Yeah, it's I mean that's and
there's a lot of clouds. It's like we've got five minutes.
We've got in like about two minutes. We can film
for about thirty seconds.
Speaker 3 (12:25):
We'll fake it. We'll get in and get it in
the post. Yeah. No, I mean it's it's a bit
when you're doing a wilderness move because you don't really
have anywhere to escape to. Yes, so we don't have
the money that those guys have, yeah, packs and they go, oh,
let's just go let's go have some lunch for a
few days or whatever. So we didn't have that option.
We just had to roll with whatever punches were thrown,
and so we just got we got lucky. Man.
Speaker 1 (12:48):
When did you bond with Elijah Wood because he's been
a long time collaborator with you.
Speaker 3 (12:53):
Yeah, Elijah and I go. We met at this festival
called Fantastic Austin, and Austin's like, he's got a house there.
He's like a second home for him and he just
used to go to this festival as a fanboy. Yeah, basically,
and so we just met through a mutual friend of
mine who I've known for a long long time now
(13:15):
and just hanging out of his house, just talking movie
shit basically and just getting on really well. And then
it's you know, from that we I had a script
that no one wanted in the world wanted to make,
called The Greasy Strangler, and I thought, I'm just going
to send it to him on on the off chance
that he'd be into it. And then so like in
(13:35):
fifteen minutes later, he was like texting quotes back from
it to me, and I was like, oh, we've got him.
And so that was the start of sort of like
the professional thing. So, but we were sort of like
casual mates before that, and then from there we've just
sort of hung out a lot and our partners get
on really well, which helps a lot. And so and
he's now he's got he's a family man, he's got
(13:56):
a couple of kids, and yeah, it's just it's just
been really nice. And then Daddy was come to Daddy
was such a great experience for all of us. Yeah,
and made my life as a first time filmmakers so easy.
It would have, you know, with the wrong actor in
that role, who was you know, a bit of a
nightmare would I would have given up I think overnight.
(14:17):
But he he just made it just such a sweet ride.
Speaker 1 (14:20):
Yeah, because you were a film watcher, you made you
made that short film with the Crabs and then massive
film Watcher and Enthusiast and forty eight our film festival
you started that in New Zealand and still still still
keeps going. A very very successful thing and you know,
(14:40):
a very positive thing. There's hardly a person you run
into that didn't attempt to be a forty eight hour
film in one stage and include Meshi here got his
first passion of forty eight our film did.
Speaker 2 (14:49):
Yeah, I was just saying to meatic before you arrived
down as I've got you to thank for that is
because it was always us the first one. Yeah, the
first mooch I got was at a forty eight our
film festival, and it was.
Speaker 1 (14:58):
I was at the festival, not in the shooting.
Speaker 2 (15:00):
I was during the shooting side. So you know, how
you get together over the weekend.
Speaker 3 (15:03):
Order, it will probably be canceled for that behavior, you
would be.
Speaker 2 (15:06):
You're right, actually, and that's a good point. Maybe I
shouldn't be.
Speaker 3 (15:07):
Talking about it, but it was.
Speaker 2 (15:09):
It was exciting for me as a fourteen year old
to be able to be around some other people. It
was a god o good weekends.
Speaker 3 (15:13):
As for you, I mean, look, it's either addictive or
people just think like that's not for me. You know.
The ones that works for just can lead to really
good things.
Speaker 1 (15:21):
Yeah. Well, well the likes of the director of Megan
for example, exactly Meghan. Yeah, yeah, he came up out there.
Speaker 3 (15:29):
Yeah, it's been I mean everyone's kind of been involved
at some stage, whether they're just helping out or whatever.
But yeah, it's crazy how many people have been.
Speaker 1 (15:37):
In yeah mix, Yeah, and yeah, it's it's an interesting
one actually because actually I've hated being involved every time
I've been involved, yeah, you know, but also I've never
made a good one. I guess that's why I've always
just been roped into be an actor and it all
stay up all night or edit one or something.
Speaker 3 (15:56):
I totally get it. Yeah, well it's the reason why
I haven't taken part.
Speaker 2 (16:00):
Do you understand that when you set that up, that
the first twenty four hours was never going to be
used in the festival because there was always that that's
the brainstorming phase.
Speaker 3 (16:07):
And then you think people got savvy to like how
to break down those that period of time of what
they're supposed to be doing.
Speaker 1 (16:12):
But yeah, until then, I mean it really changed as
digital editing came much more. I mean there were people
like two VHS's you know you can do.
Speaker 2 (16:23):
Now than you used to be able to do it.
Speaker 3 (16:24):
We used to have there, you know, we used to
have people on motorcycles coming screaming and throwing the tapes
at us at the end, and now it's like you
can just upload it and yeah, yeah, it's a lot safer.
We don't have armed defender squads called out anymore. Yeah,
it's Yeah, the team I've got organizing now are not
as loose and cowboy as I was, so it feels
like it's a lot more sort of professional.
Speaker 1 (16:46):
We actually made an episode of a TV show May
called Bogan Family Films. That was an episode devoted to
making a forty eight hour film and really, yeah, yeah,
you were in it, mate, I was. You were in
the TV show. You were actually you're actually at the
drop off spot and that was the plot of them
of the she Wasn't that great TV show? Mine and
(17:07):
Chris Steps professional relationship was coming to an end at
that point, at the same time as children started coming
out of my messes. Uh so yeah, yeah, anyway, it's
not about me, it's about it's about this film. And
so you went family, which is that's that? I mean
people that don't know you, I mean, I've known you
for freaking ages, but but you your love of shocking
(17:28):
cinema on on actual film is legendary. But I guess
you've liked all films, haven't you. You've been a classic cinephile.
Speaker 3 (17:38):
Yeah, I mean, it's it's just that's the area that
it is like a comfort zone that I can lean
into that I know really well, but I mean, yeah,
all types of cinema, I'm a sucker for everything. Yeah,
but this, you know, the weirdest thing. It feels like
kind of transgressive to make a family film in this
in this day and age, or especially just from my background,
it just felt like, yeah, you can't do anything.
Speaker 1 (17:59):
I think about this the other day because I was
what was I watching? I was watching The Boys, right,
and you can do anything. Like the idea of being
offensive now is not. It's almost safe to be incredibly
offensive because there's no rules. So you know, as much
as I love the Boys, when I see them do
something like that, that's actually the bits of the show
that it kind of I judge the most because I'm like, Okay,
back in the day, doing that, you could have had
(18:20):
people protesting your movie. You'd have it was it was
a major risk to make a full on thing. Now
you get rewarded for it.
Speaker 3 (18:27):
It changed, Yeah, it happened slowly, but the the you know,
the studio system basically absorbed the underground and then they
just started making the same thing. So it's like you
can't compete, so what's the point. So yeah, in all way,
it's kind of like interesting to you do something that's
a PG family friendly film, but you still have your
own sort of weird sensibility in there. And that's why
(18:48):
because there is swims a bit, there is blood.
Speaker 1 (18:50):
There's blood in there.
Speaker 3 (18:51):
Yeah, it's weird to.
Speaker 1 (18:52):
See like scratches and stuffing.
Speaker 3 (18:53):
Yeah, which has been the best thing about talking to
parents who like I went down We did a tour
of the South just a few days back and just
talk to like families coming out and it was kind
of cool for those parents the same age as me
who were like, it's just there hasn't been anything that
they can take to where they don't feel like they're
being pat the kids patronized to or preached.
Speaker 1 (19:14):
But that's something that people don't understand about kids. Kids.
The things that kids love and the things that have
been the biggest success with kids are a little bit scary.
There has to be another edge to it. Absolutely that
the G film is made for the adult, you know,
but that's not what kids will always want to be
on the edge of edge of water.
Speaker 3 (19:31):
And most of the adult films that suck up the
oxygen or for arrested adults anyway, who are like these
manchild children who like buy toys and stuff at fifty
years old, like, so it feels like there is a
there's a huge gap where you can sort of play
in their areas. So yeah, no, I feel like, I mean,
I'm a little bit older than you, map, but those
are the films I grew up with that had those
(19:52):
moments that freaked me out as as a little kid,
and they burned into my brain. And I still remember
those films like really finally, and I remember having these
arguments when we're making this thing. It's like some there
was some outside noise saying, you know this, you got
to pull it back. It's too you know, too much,
it's you know, we've got to go for that, got
to go for that PG rating, and everything was hinging
(20:12):
on that, and I was just like, you got to
let kids like you can't just cotton will them. That's
the whole point of the film is like, don't cotton
wool kids up. Let them go explore, have their own adventures,
maybe get a little bit of scraped here and there. Yeah,
it's just part of growing up, man, You got to
have it.
Speaker 1 (20:26):
Yeah. Well that's interesting because when I think about kids
that I like films that I really like, you take
Gremlins for example, right, I mean, what was the rating
of that when it came out?
Speaker 3 (20:34):
I think it was the same thing as a PG,
was it?
Speaker 1 (20:36):
Because that is a freaking full on film and that's
why people love it.
Speaker 3 (20:39):
You've got you've got firstiv All, You've got there's Santa
story being ruined, like dying like alive in a chimney,
and then you've got like really horrific things of thinging blended. Yeah,
the Gremlins and but Jaws was PG when I was
a kid. Wow, you know that was a PG movie.
So like there was a whole series of films that
were tough that were PG. So this is kind of like, yeah,
an ode that type of film.
Speaker 1 (21:01):
Yeah, it is an interesting idea, isn't it?
Speaker 2 (21:03):
Because there is another one that I just thought of
as well that was also scary.
Speaker 3 (21:06):
I think that can be freaky. Yeah, yeah, they always.
Speaker 1 (21:09):
Freaking your your baby brother will be mine. It was freaky.
Speaker 3 (21:12):
It was in his tights, yea was that was the
never ending story for a generation, that horse drowning or whatever.
It is like a massive moment for kids.
Speaker 1 (21:21):
Great chain never randing star is that guy begins with
k Kamal Kamal. Yeah, probably the biggest Kamali ever had. Yeah,
And so like yeah, you this is your you get
this idea, I'm going to make this this PG film
and and and sort of and you know, well, no.
Speaker 3 (21:41):
Actually we just came up with the idea of like
Toby and Either Rider, we just wanted a film sit
in wilderness. We wanted to masculate Elijah again. So it
was kind of like our biggest fears parents are like
shitting the beard in front of them, Like that was
our singular fears, Like, can we make a movie based
on that fear, which is like not stepping up in
the time of crisis in front of your kids. Yeah,
(22:01):
the singular moment is like looking at your kids and
when the ship hits the fan, looking at your kids
and then seeing fear in your eyes. That was which
happened to me on this weird little vaca that we
did on Rackino Island with the family. That's and heally,
you know, and he was like, oh, yeah, you can
just walk around the tip of the island at low
tides really easy. Yeah, it's beautiful, beautiful. So we started off,
(22:21):
we got maybe the timing a little bit wrong, and
so the water started coming in and the kids were
quite young at the stage, and we were carrying backpacks
and all the stuff, and and I was like, oh,
this is getting quite tough. And then there's like, oh,
we're running out of land. What do we do? We
can't climb up. It's a vertical cliff. See started coming up,
started coming up to our chests. Like the kids were like,
oh dude, okay, I keep holding on. It's like holy smoke.
(22:44):
So I went for a moment. This is the moment, man,
And I was like, and I was just like, I
wasn't their hero from those movies. Man, I was like
freaking out. I had to do like an emergency call
out to get to get rescued because it was like
and there were scraped up, there was blood everywhere, and
it was yeah, dude, it was horrible.
Speaker 1 (23:00):
It's funny. I've always had this nightmare that something goes
down and I step up for my kids and I
get that ship beaten out of me, like on the
street when my kids are watching. Yeah, and then you'd
I know it's been in my head in my hole.
Speaker 3 (23:13):
I think, kid, it's a big male insecurity. Man.
Speaker 1 (23:18):
You mentioned driving home and you've been beaten up. Your
kids have been crying as they see your ass being
handed to you, and you're driving home and there in
the back seat going, dad's a puss.
Speaker 3 (23:25):
Yeah. I can't even look at him in thee what's
he going to do? So yeah, hopefully they've got over that.
Maybe this film is a way to bridge down.
Speaker 1 (23:33):
I had some other thing when I was in Fiji
and I took my two kids out in the kayak
and it was it was the resort kayak, but it
had a hole in it, so we were miles out
at seat and then the kayak just sunk, It just went,
It was down, and we were left with a paddle
and two kids. And at that point they were three
and five, and I was I was going, I fucking
(23:57):
hated myself for doing it because I've been all brava, Bravardo,
take the kids out, and then I was left holding
them in the water and I was on my back
doing that.
Speaker 3 (24:05):
And you need your arms right usually to keep above water.
Speaker 1 (24:09):
Yes, like doing that weird thing on my back, kicking
to try and bring them in there, going man, daddy, daddy,
you know jackets they had life jackets on. I did it, Yeah,
but yeah, it was that they survived. Yeah, that Yeah,
I was thinking. I was at the point thinking, holy shit,
I'm that fucking idiot that's.
Speaker 3 (24:25):
Drowned as kids headline in the Herald.
Speaker 1 (24:27):
Yeah, fucking more on at the Hilton Resort dinner old kids.
Speaker 3 (24:33):
Yeah no, I mean that's that dude. That's I think
that's a fair of orbit is like, yeah, we just yeah,
I don't know, it's it's it's scary. So the film
came from that, that fair.
Speaker 1 (24:43):
Yeah, it's the film's made from a moment. Ah, that's
that those those emotional moments say, it's a it's something
that people can obviously relate to.
Speaker 3 (24:52):
Well, you know how long they take a long time
to make right, So you have to have a personal
connection otherwise you'll just get if you're just doing it
for a work for hire or gig, I can't imagine
doing it now. Like that's hard, man, Like you have
to there has to be You've got to find something
that the reason why you're doing this.
Speaker 1 (25:08):
Yeah, you know, I always think of this thing that
George Clooney said once, and he goes, you can have
the best script, the best director, the best actors and
still make a terrible movie because it's so freaking hard
to make a movie, the biggest budget, all those kind
of things. Making a film is I mean, I've only
made one and and and that's it's freaking It's just
(25:31):
such an intense amount of work and then it then
it's got to be finished, the post all of it.
It's just I mean, how long is the whole process
for this fear with book whim It's like.
Speaker 3 (25:39):
I mean, the the actual making is like a year probably,
you know, like and then and then it's the whole
script and how long all that stuff takes. And then
it's like raising the money and that side of it.
So and then the release and then you've got to
follow it through. And yeah, it's a.
Speaker 1 (25:53):
Huge getting the amount of time getting it into theaters.
Speaker 3 (25:55):
I think until people go through, I have an understanding
of it now. Just you can never understand like the
prota think, how that's crazy, why do you go spend
with their line on it? But it's yeah, it's just
pains taking lead slow is there?
Speaker 1 (26:08):
Because I was actually just talking about this the other
day about how there used to be a DVD market
so you can make a film and if it went
well in the cinemas, that's great, but otherwise it could
have a whole life on DVD. Has that come back
at all with the streamers? Is there is there another
long lot.
Speaker 3 (26:24):
For a while when they first came, when the streaming
market was massive and the money was really good. Now no, no, no,
it's the Hollywood's eating snakes in its tail, and it's
the whole industry is in the toilet. So it's it's
a terrible time. Everyone's saying it's the worst. It's it's
ever ever been, and no one knows where there's no
(26:46):
sort of like light at the end of control.
Speaker 1 (26:48):
Like it's yeah, this is question, and there's probably an
obvious answer to it, right, But why is Hollywood making
one two hundred million dollar film instead of ten twenty
ten million dollar films.
Speaker 3 (27:00):
It's this. It's the same reason why I look at Borderlands.
This new thing is just open and everyone's it's got
zero percent on Tomorrow's what it was like. It's being
torn apart.
Speaker 1 (27:10):
And they made by a guy that made a terrible
adoption of a video game just before that?
Speaker 3 (27:13):
Oh did he?
Speaker 2 (27:14):
Ye?
Speaker 1 (27:14):
Didn't he make Uncharted as well?
Speaker 3 (27:16):
No? No, this is elo Roth he did. Yeah.
Speaker 1 (27:20):
Sorry, now I'm thinking of a totally different thing, of
a different video game I'm thinking.
Speaker 3 (27:23):
But yeah, I mean there's a lot of them, right,
So that's that's why they do these things. It's like
the IP has got in Hollywood, so they realize that
there's a built in base that's going. So it's all
risk management. So these everything, of these massive budgets, it's
all been planned out. The only thing that they can't
predict is how good the film's going to be at
the end of it, right, yes, and so and now
(27:43):
things are instantaneous. You don't have times for films to
find their audience or build. It's like you have one
shot and it's like it's craps, it's rolling dice aid
Vegas man. That's that's kind of how it is. And
so they just feel more comfortable in these secure projects
that they own the IP because of it, they can
spin out all these ancillaries, they can make merch up
(28:03):
the wazoo fast food time. There's just an inbuilt sort
of big infrastructure around these things when they work, and
they to them that feels less risky spending two hundred
million than spending twenty at ten. Right, But look, there's
been such a big shake up now that I think
that kind of logic is starne to creep back in
and when you have films that sort of break out,
(28:25):
Like there's a recent horror film called Long Legs, which was, oh, yes,
super low budget. These guys, I know, Neon released it.
They did a phenomenal marketing campaign. It's you know, it's
blown away, furiosa, it's taken, it's done more money than
Furious saw that the other day. Yeah, yeah, which was
you've got to.
Speaker 1 (28:41):
Say, bold make a Mad Max film without Mad Max
in it?
Speaker 3 (28:44):
Just it was weird. Nothing made sense to that film.
Speaker 1 (28:47):
It's a huge decision.
Speaker 3 (28:48):
Yeah yeah, I mean, look, Male's still around, bring them out,
to bring them out, but yeah, no, so look they
just it seems easy. But you know, there's a lot
of smart people, and it's easy to say, ah, these
guys are idiots and they don't know what they're doing,
but they do know what they're doing. It's just like,
I feel like the landscape is changing so quickly all
the time, and most of the time we're playing catch ups.
(29:11):
You know, the streaming was going to be the answer
to solve all the problems of the industry, and it
was for a while everyone made boatloads of money, everyone
was happy, and then there's now there's a crash and
everyone's pulling out and the investment that used to be
in there, they're all gone to TI tech again or
property or whatever is working, but they're not investing in
film as much as they were.
Speaker 1 (29:31):
So yah, it's tough, but I guess you know, so
like the Blomhouse model kind of works, doesn't it.
Speaker 3 (29:36):
So you know it works, but you never hear about
the ones that don't work. So there's a lot of
there's a lot of dead skeletons in the closet for
all these companies, right, they spend so much money on
things that you never hear about or never come to
the light of day. And they're very smart. They picked
the you know, they'll back the ones that work and
then they'll go for it. But yeah, that's a very
I mean that model of like keeping it low, give
(29:56):
back into the some of the casts of their names,
and yeah, it's it's a smart one. It's worked really
well for them, but it's also others have sort of
imitated it, and now there's like it's yeah, it's not
so special anymore.
Speaker 1 (30:08):
Not so special? What kind of director are you Are
you an actor's director or you are you a vision director.
Speaker 3 (30:17):
I think my strength is that I have a really
clear idea of the type of film I'm going to make,
in the tone of it, and that kind of the
knowledge of the genre, the knowledge of, yeah, the type
of film it's going to be, in the audience that
will like it, whether it's you know, a niche or
a wide one. I've got a good, good sense, and
it kind of like everything connects to that.
Speaker 1 (30:38):
You're kind of You're kind of like herkle Proo. He
knows what's wrong in the balance of things. He's like this,
he doesn't know why the crime, but he knows that
something's not equal. So you go, something's wrong within the
genre if that happens.
Speaker 3 (30:51):
Yeah, And also it's got to be something that you like.
You know, at the end of the day, it's like,
I can't imagine anything worse than you. You just make
something that it's not even you. Yeah. But also you know,
I think all those directors who were actors or study
acting and understand other really good ones, I wish I
had that background of like either taking acting lessons classes
(31:13):
or understand that because that language of being able to
speak to actors is a very specialized skill. Yeah, you
can sort of you can sort of fumble through like
I do, and you know, just be myself and say
this is what I'm trying to yeah and stuff. But
the really great ones. So that's why there's so many
great actors who have switched to directing. Yeah, there's a
(31:34):
really good There's not many the other way. Yeah, So
it's yeah, if anything, that's you know what I'm going
to focus on. If I get another shots, it's like, yeah, yeah,
drilling down on that because we got really lucky, you know,
working with people like Elijah they just y, they come
fully prepped. You know, we talk about the character, he
gets it straight away. And then someone like now Fisher
(31:56):
who's just like a you know, a star on the
Rise of Sponge and just just brought so much confidence
to it. She was that character. So that, yeah, it
made my life so much easier.
Speaker 1 (32:08):
Yeah, it's interesting. So to go back to a film
that you and me worked on that you executive produced,
Devil Dear Me Too. Yeah, the director of that film
fucking hated actors. So his opening line is I fucking
hate actors, which you can some of the acting from
that movie is representative of that attitude. But it's kind
of a it's a sort of an interesting way, and
(32:29):
I remember coming up, I guess we're kind of like
that thinking about it. But actors are the film you know,
like if you get someone, I mean this movies, that
would be an absolute disaster if an actor hadn't stepped
up and brought you know, and you can't even tell
now you know, everyone's a genius if someone does an
incredible performance. But but yeah.
Speaker 3 (32:49):
It's the it's the ones who commit when even though
some they might get a sense of materials not up
to par, but they fully commit and then they they're
the ones who stand out in a mediocre film. It's
like everone will be like no other films, but that
that that actor was incredible.
Speaker 1 (33:04):
You can get performances are too good, like we have.
You know, Philip Seymour Hoffman could from time to time
peer in a film and just be too good, and
as a result, the main actors were starting to look average.
Speaker 3 (33:17):
Well, I love I love all those character actors, not
not that he was, I mean, but like those ones
who steal scenes like there's just there's a there's a
whole posse of these amazing guys who have been working
for thirty years or so that can can come into
any scene and just take it from the A lister
to just eat their lunch. And you want those guys
man in your films. You know, That's why I went
(33:38):
to like in book, when we've got great people like
Millan Beard, you know, yeah, yeah, you just you know
is going to be delivered.
Speaker 1 (33:46):
I mean so much fun his one line and Megan
just was just a sensation.
Speaker 3 (33:52):
About the ear.
Speaker 1 (33:52):
Yeah, what was the movie watching?
Speaker 2 (33:54):
It was? I was Black Adam, that rough DC movie
and PRIs Bros And Rocks off.
Speaker 1 (33:59):
At one point, there's an ample of Pears wasn't being
too good for the movie. You've got the Rock who
basically can't act and is sort of floating around looks
fucking mupp it. And then you've got Pierce Bronson, who's
not the greatest actor in the world, but he's just
so much better than everyone else in the film that
it's like one of the wheels is wabbling the whole film.
(34:19):
I mean that that that film was a disaster.
Speaker 3 (34:22):
I mean just remember when it was like, you know,
suddenly it was Kenneth Branagg was getting involved in like
four movies and stuff and bringing all this shakespeare in
quality to it, or.
Speaker 1 (34:31):
Anthony Hopkins as well.
Speaker 3 (34:33):
Yeah, I mean, but yeah, I never saw Black Adam,
but you don't. I don't think.
Speaker 1 (34:38):
I don't know if even the Rock was on that film.
He seemed to be floating around. He was never on
the ground. I think he was sort of just.
Speaker 3 (34:46):
He's probably in the background arguing about it.
Speaker 1 (34:48):
Don't get me started on the Rock. I've got the
story about it. He squandered the opportunity every you know,
actors like Arnold Schwarznigrin's time and sylvest Alone, they tried
to push things and make make movies that were worth
while in amongst what they were doing, you know. And
obviously Silver Sister Sloan wrote Rocky and stuff, so he
was more of a filmmaker. But The Rock has never
attempted to make it.
Speaker 3 (35:09):
I've got to pull you up he because he's doing
this one called The Smashing Machine, which is based on
Mark Kerr, the UFC fighter. That story is Andreile just
could be his wrestler, right, So, yeah, I agree with you.
He's he's really coasted on charm and done really safe.
I mean rampage. I mean, come on, he's done really
(35:29):
those just like you know, focus on the box office,
focus on success, which is fine that he's a star,
you got to do that. But yeah, he hasn't taken
those risks that Will call Will Smith took risks? You know, absolutely? Yeah, yeah,
I do. I love that film of Smith's even what
the hell was it? The one where he's a dad
trying to support his curd.
Speaker 1 (35:47):
Oh yeah, the pursuit of happiness.
Speaker 3 (35:49):
Oh yeah, dude, that kills me, that film.
Speaker 1 (35:51):
Yeah, I mean, maybe he's got he had more chops
and maybe that you know, as tough as the rock
as it's funny thing for us to be getting laying
into here. You know, he's a gym guy. Not that
Arnie wasn't, but but maybe that is. It takes a
lot to go I'm going to actually try and freaking
act in a film.
Speaker 3 (36:09):
Yeah, well, I mean you don't get much time to
train when you i mean on the acting, when you're
doing eight hours of the day of the gas.
Speaker 1 (36:18):
Also, I'm pretty sure he's royed it up. There's a
particular vein that's going right down the side of his
face that he never seems to turn to the camera
for but I love the rock forever. I thought he
was great. You know, I was a big wrestling fan,
and then for some reason, I've just it just struck
me when you.
Speaker 3 (36:31):
Think about the Logan Paul Here regime. Yeah, w W.
Speaker 1 (36:37):
Yeah I'm not a fan really yeah. Yeah, but everyone's
trying to sort of fight for relevance, even even the
biggest friend, all the biggest things like wrestling. Now, yeahs
lasted as long as as long as he did. Yeah,
so what does it mean now? So the movie's out
and then and what's the rollout like for you?
Speaker 3 (36:59):
So we're rolling out now, it's out this weekend nationwide. Yeah,
they've gone all in. So New Zealand's kind of done. Really,
and now we go to I go to myth Melbourne
Film Fest and we do a little bit of hoopla
over there, and yeah, see how it goes there. And
then it's already pre sold to you know, it's got
a US release in October and in Canada and then
(37:22):
the UK and France, Russia. I mean, it's yeah, it's done,
it's got it's going out everywhere. But yeah, theatrically, who knows,
you know, it's so hard to get these theatrical dates
in these other countries. Yeah, yeah, but I just wanted
to work here because it's made it was made for
Kiwis and so, and it's.
Speaker 1 (37:39):
And it's based on a you know, a tale that
I know in commercial radio. We've talked about a lot. Absolutely,
we've been we've talked about that a lot.
Speaker 3 (37:48):
We had some great encounters with people who eyewitness accounts
down there. It was really juiced up the production when
you meet these guys.
Speaker 1 (37:55):
Yeah, we've probably interviewed a few of them.
Speaker 3 (37:57):
Ye yeah, yeah, these ones. Know, these guys were I mean,
I know there's a some who have done all the
media and stuff, but these these were they didn't want
to be named. They were very Yeah, there's quiet locals.
But then I saw some shot people had some photos
of the ones they had shot, and they were big
fearers man monsters. Yeah. So I'm a believer.
Speaker 1 (38:18):
Yeah, you're a believer.
Speaker 3 (38:20):
Absolutely.
Speaker 2 (38:21):
I mean making greats as well, these reviews that I'm
just looking at here, you.
Speaker 3 (38:24):
Must yeah, absolutely, yeah, yeah they are.
Speaker 2 (38:29):
Is it a scary time is it for a director
of a film to this time time?
Speaker 3 (38:33):
Right now? Yeah? I mean it's all I mean, yeah,
look you. The reviews are great, but it's at the
end of the day, it's the audiences of the counts,
you know. So you can have a film that isn't
a critical smash, but the audiences love it, and then
vice versa and everything. But at the end of the day,
it's just you just want as many people to enjoy it, right,
(38:53):
So the reviews absolutely help.
Speaker 1 (38:57):
Yeah, cheers, But what's the deal with Rotten Tomatoes? And
me think about this a lot because I noticed the
school and ebit started that, you know, the thumb thumbs down,
So there.
Speaker 3 (39:07):
Was the beautiful, beautiful views as.
Speaker 1 (39:10):
Well, so there was there was a binary aspect to it,
but it was well well outlined.
Speaker 3 (39:14):
It wasn't just the thumbs yeah. Yeah, like so no,
I'm look, I've got a real issue with that. That
whole the way that it's been integrated into every platform
as well. Now it's very well you can little die
by it like a chain. It really affects everything because
if you come out of the gate first reviews and
they're all negative and you haven't sold your film to
(39:36):
certain territories, it'll kill it. It'll just kill it overnight. Man.
So there's a lot of game playing. There's a lot
of you know, there's a lot of sort of shenanigans
going on about how to not cook the box but
try to make it work. Yeah, it's really I find
it just I find that I just don't want the
public to rely on this binary system of like yeah,
(39:58):
it's like latatorial right, yeah, yeah, like colisseum.
Speaker 1 (40:01):
Yeah, it's horrible.
Speaker 3 (40:02):
Do they live or do they die? Yeah, you know,
and that there's way more nuanced, so much.
Speaker 1 (40:06):
More nuance, and especially like you know, you have the
the reviewers and it's not it's not like it's sort
of sold as being a one hundred percent accurate representation.
Speaker 3 (40:18):
It's not.
Speaker 1 (40:19):
It's some reviewers. Some of them are access reviewers, some
of them have got a genders. There's there's a whole
lot going on.
Speaker 3 (40:24):
And it's weird because it used to be, like you
when the reviews first came out, like years ago, they
were all like major when the media had like meant something, yeah,
and they were like legacy media, and you'd have all
these institutional papers and everyone reviewed it. And now the
first review is like you know, I pecked my nose
dot com. But the public just see a positive thing. Yeah,
(40:45):
it's like, oh, it's great, but it's a kid in
Ohio who's like twelve. Yeah, like with the blog with
a blog site. Yeah, so it's kind of crazy that
the industry is so reliant on it now. Yeah, when
it's kind of just like it's all, what's that guy?
What's Matthew? And Wolf say.
Speaker 1 (41:05):
Yeah yeah, because I'm like some of my favorite films,
like I like really bad comedies, you know, like mcgruber
for example, and and Hot Rod. My writers look to
be honest, it stole Devild because it was it was
a fantastic film with incredible act incredible appearance of performances
(41:25):
from amazing human beings.
Speaker 3 (41:27):
But that that but that's my kids do. When they
were a lot of younger, I showed them that they
just they were hysterics.
Speaker 1 (41:33):
Yeah, I love that. I love that film, and you know, and.
Speaker 3 (41:37):
Like step Brothers, but they're smart. They look dumb, but
they're not. They're they're actually the way that they put
those things together. When you see I saw a bit
of making of how like how much freedom they had
in terms of the improv on that film. Yeah, it's
like wild. Yeah, and Adam Scott had never done any
improv like he just said, he found it so intimidating
when those guys will fail and just were cutting loose
(41:59):
and came into that max of never having done that style. Yeah,
you know, mister script, mister script.
Speaker 1 (42:04):
Yeah, yeah, Well, all the best with your film with Bookworm.
You're you're a great New Zealander and it's great to
catch up with you. And we should catch up and
like smash beers together again and see if we can
get another another hospital at the hospital and cover another hotel.
Speaker 3 (42:20):
We've got to do a we've got to do a
Devil de Me two reunion screen some style.
Speaker 1 (42:24):
Yeah, now we're talking.
Speaker 3 (42:26):
It's it's how long has it been? Two thousand and six?
Speaker 1 (42:29):
Two thousand and seven? I think it came out or
six or something like that.
Speaker 3 (42:32):
I think it's twentieth year next year. Man, oh god,
look out.
Speaker 1 (42:36):
I wrote in my book recently about me and and
Chris Bowing our movie and Germany come on, because we
were so over it. So I wonder if I'll build
it again. Yeah, I'll bud again.
Speaker 2 (42:46):
Yeah.
Speaker 3 (42:47):
Yeah. Thumbs down, Rot Tomatoes, thumbs down.
Speaker 1 (42:50):
And Timson, thank you for coming into the Daily Bespoke Podcast.
Thanks for all right, Okay, all right, all right, and
Simpson and Timpson sorry is out the door. He's out
the door. He's out the door. Good wide raging chat.
Speaker 2 (43:07):
I'll tell you what I could fucking I'm so sorry
for the bespokeing dockies that don't like films, but I
could talk about films for about the next.
Speaker 1 (43:12):
He's probably New Zealand's leading film mix but he's got
the largest collection of thirty five millimeter films in Australasia.
So he's got the actual solid films that they put
on projectors and he collects heaps of them. He's got
like a quite a spectacular a theater that he plays
them in. An yeah, yeah, fuck here what a great guy.
Speaker 2 (43:32):
Yeah, I love that chat. I'm all in on that.
And now I'm just thinking about going home and watching
The Labrenth and The Steep Brothers and a couple of
other films.
Speaker 1 (43:38):
Maybe they didn't and you know, so if you do
get a chance to go and see Book Women this weekend,
go go see it. Support a great New Zealander and
and by all counts a fantastic film. I'm going to
take my little my little kids. When I say little,
they're both tall on them now along to this family film.
But it does it does it? You know, it's about
the Cannabar panther, and it's got a lot about the
(43:58):
caneby cat. That's got a lot. It's you know, it's
one of those movies that works for for children and
adults alike.
Speaker 2 (44:05):
I understand, got long potty forty five minutes of this
shut up as bespoke. You don't you give them a
taste of kei we okay, all right.
Speaker 1 (44:13):
But hello, I'm Matt Heath. You have been listening to
the Matt and Jerry Daily Bespoke podcast. Right now you
can listen to our Radio Highlights podcast, which you will
absolutely get barred up about anyway. Set to download, like, subscribe, writer,
review all those great things. It really helps myself and
Jerry and to a lesser extent, mess and Ruder. If
(44:33):
you want to discuss anything raised in this pod, check
out the Conclave, a Matt and Jerry Facebook discussion group.
And while I'm plugging stuff, my book A Life is
Punishing Thirteen Ways to Love the Life You've Got is
out now get it wherever you get your books, or
just google the bastard anyway you've seem busy, I'll let
you go. Bless blessed, blessed. Give them a taste of
keyw from me.
Girl Berson. It is the ninth of August, in the
Year of Our Lord, twenty twenty four. Welcome all you
bespokey donkies to the Daily Bespoke Podcast. And we've got
(00:35):
a big one today. We've got my friend, friend of
the show, Friend of Me, and Timpson. He's coming in
in a little bit. He's a film director. His new film, Bookworm,
premiered as the opening film of the twenty twenty four
Fantasy International Film Festival. My film The Devil Dare Me
to open there as well, and actually has opened in Austin, Texas,
(00:58):
but then played at the Fantasy International Film Festival. And
Timpson was the producer of the film The Devil dem
Me two. He's since then gone on to make movies
such as he produced The Greasy Strangler. Oh yeah, I
know that with Elijah Wood. Ah. He's done a bunch
of bunch of stuff. He runs the He started the
(01:20):
the twenty forty eight Our Film Competition.
Speaker 2 (01:23):
Oh that was him. Yeah that I got my first
mooch on the forty oh Our Film Festival.
Speaker 1 (01:28):
Did you so?
Speaker 2 (01:29):
I got to thank for that person?
Speaker 1 (01:30):
Well, you were shooting one, Yeah, it was.
Speaker 2 (01:32):
It was kind of considered a bit of I mean
it's where the nerds would kind of hook up, because
you know, the media said his class would do one
all together.
Speaker 1 (01:38):
Yeah yeah, Hey.
Speaker 2 (01:39):
In regards to these film festivals, I've always wondered this.
I've never been to one. Yeah, what is the How
does the film festival work?
Speaker 3 (01:46):
Is it?
Speaker 2 (01:46):
Do they literally just play movies and people just sit
there and watch them?
Speaker 1 (01:50):
Yeah?
Speaker 3 (01:50):
They do.
Speaker 1 (01:51):
And then but also they'll fly over directors and producers
and actors to introduce some films. So when my movie
The Devil Demy two came out, we traveled all around
the world wow, doing and introducing the film and then
doing questian and answers afterwards.
Speaker 2 (02:06):
Oh classics. So you'd have to sit? Did you end
up sitting through the difficult in me too? What?
Speaker 1 (02:09):
Over a dozen times?
Speaker 2 (02:09):
Oh?
Speaker 3 (02:10):
Yeah?
Speaker 4 (02:10):
Yeah.
Speaker 1 (02:10):
I actually wrote about it in my book. I was
in Germany at one point and a film played and
I'd watched it so many times. So it started, we
introduced it, and then I'd got quite steamed on quite
strong German beer, and then I started bowing my own
film before it started. I was like, this iscking shot.
And then the security came over and said they tried
(02:30):
to remove me and my friend Chris, who was there
also made the film with and and they were like,
we're going to move them, and then the organizer of
the FIST was like, well, we can't really throw them
out because they're the producer and director and stars of
the film and they've got to do the Q and
A at the end. Yes, so they said, could you
just stop abusing the film because you know these people
are trying to enjoy it.
Speaker 2 (02:48):
So what did you do? They just say, okay, put
your back down.
Speaker 1 (02:51):
They moved us out to the bar, and then they
brought us out at the end, and then and then
when we were on stage at the end and Chris
dived into the front row as a demonstration of a
stunt from the movies. And then I don't really remember
getting back to my hotel, and we was that there
was colon that night and then was picked up because
we've been driven to another town. I think we're going
(03:11):
to book them the next night in Berlin and where
I did to play Hamburg played a lot of places
over there, so the Germans had a real white one
for it. Yeah, it went really well in Germany and
it went really well in Holland. In the Netherlands, I
did it strange places like that, and Canada it went well.
So we travel around to a lot of different little places.
Speaker 2 (03:34):
Spain, what's the What's what's the Germans into humor, Like,
it's pretty good.
Speaker 1 (03:38):
It's interesting because the film played over there in Germany.
Speaker 2 (03:43):
Like over dubbed or something like that. You heard people
voice it.
Speaker 1 (03:45):
Or was it just up to like subtitles with the
one I watched? But there's lots of different versions of it,
like this is a Japanese version. I should try and
track this down. Yeah, you can watch the film now.
It's on on Amazon Prime at the moment, and we've
just done a deal for it to be released in
some other places because it came out in two thousand
and seven. So and it's pretty rubbish film. So it's
because I still had a had a life so in
(04:09):
and was instrumental and and and getting it up and
going like he was. He was the main producer, you know,
the executive producer on it.
Speaker 2 (04:17):
So he made the phone calls.
Speaker 1 (04:18):
Yeah, he made the phone calls.
Speaker 2 (04:19):
Yeah, So how does it work with something like that?
So a film that was made how many years ago.
Speaker 1 (04:23):
Now, two thousand and seven.
Speaker 2 (04:26):
Oh, yes, it's almost almost a couple of decades ago
that movie was made. How does it work now if
someone's looking to stream your film? What kind of deals
get done?
Speaker 1 (04:34):
I don't know not.
Speaker 2 (04:35):
Oh Jesus, this is old.
Speaker 1 (04:36):
Oh Jesus, is that my copy? G Lane's just come
in with my copy of the Alternative Commentary Collective Almanac
by Matt Heath, Mike Lane and Matt Heath. What a
beautiful book.
Speaker 2 (04:47):
I mean, this is going to turn into the book
special or the media. It's pluck up behind the microphone there,
g Lane, we do it.
Speaker 1 (04:51):
We're going an interview coming through, but we might as
well talk about this before Antimson comes on.
Speaker 3 (04:54):
It's so hot off that that is hot off the god,
its smells good.
Speaker 4 (04:56):
It smells so great as it can smell it from here.
It's coming out and mid October it is three hundred
pages of our worst stories.
Speaker 1 (05:04):
Oh my god, what a beautiful second book for me
in a year's shit. It's beautiful.
Speaker 4 (05:09):
So basically it documents from the start teen years ago
in every sporting moment.
Speaker 1 (05:14):
And would you sign that for me?
Speaker 2 (05:16):
Of course I would, No, CNB please, I mean this
is amazing, It's what I mean it's the table book.
I'm signed by one of the authors, Ju Lane, sign
this and get out. You've got someone else coming through now, yeah, yeah,
you're got to move on. How that's something else to
sell as well. It's a it's a great book.
Speaker 1 (05:30):
So it's a hard cover almanac with all the stories
of the acc over the last ten years.
Speaker 3 (05:36):
It's some incriminating shit in there.
Speaker 1 (05:37):
It's terrible. I mean, when this drops it's going to be.
It's a great because you can follow out the cancelation.
Speaker 4 (05:42):
You can pick it up at any any point because
it just covers years. It's got our top ten crimes.
This haremented a lot of crimes.
Speaker 2 (05:51):
What a great coffee table book? Where you get in
the next week? Do you Lane actually a proper chat
about this?
Speaker 1 (05:54):
I think you get terrible lovers, that's a fact.
Speaker 4 (05:57):
It's one of the great It's going to be the
perfect present for the hard to buy and coming out Christmas.
Speaker 1 (06:03):
So you can pre order it now if you like
it smells good.
Speaker 3 (06:06):
Jump on the mind, man.
Speaker 1 (06:07):
It's a thing of beauty, so much in the air,
and it's actually got some of our best most important
moments of commentary written out, you know, and and reading
that written down.
Speaker 4 (06:20):
In the transcripts.
Speaker 1 (06:21):
The transcripts. That's weird.
Speaker 4 (06:22):
I was looking at oral The oral history is in
nex level as well. It's everyone's their versions of what happened.
Speaker 1 (06:27):
Jeu. Look you're there. You look like bloody Russell Crowe
or something. In that picture is a bit of there.
Speaker 3 (06:32):
Was shopping going on.
Speaker 1 (06:36):
It's got the complete rundown of the humiliation run out
of Jason Hort.
Speaker 3 (06:40):
It's great, all right.
Speaker 1 (06:41):
All right, all right, bring bring, bring, bring director and
Timson in.
Speaker 3 (06:54):
Yeah, yeah, one, holy shit windors.
Speaker 1 (07:03):
That's going to hit. It's going to hit the shelves
at a Christmas. We're on there by the way. Well, well,
well we're on podcast. We've got this new and we've
got this new format format where we just run the
podcast until people arrive and then we see the sea
behind the curtain of how we say hello.
Speaker 3 (07:22):
Usually I would have dropped my foot in it straight away.
So I'm quite happy.
Speaker 1 (07:25):
It was actually pretty good for you. Before you came in,
I was just talking about well actually not on air,
but I was talking about the scar that you gave
me in London in two thousand and.
Speaker 3 (07:33):
I wrote about your scar because they did a did
they get hold of those guys in London, the fright
fast people, because they rode a twentieth anniversary or anniversary,
and so now your hand is now part of law
in that festival. Yeah, we were, we were.
Speaker 1 (07:49):
We've been in Germany, so we were prousting up a
storm and we were in some kind of weird bar.
Speaker 3 (07:54):
Seemly it was a lot of Russians. It was Russians.
Speaker 1 (07:57):
It was underground. It was like it was like a basement.
Speaker 3 (08:00):
Yeah, yeah, it was filled. It was like a I mean,
there was a lot of liquid on the floor before
your liquid came out of your body, all over the floor. Yeah.
Speaker 1 (08:08):
So me and and Timson celebrated our film The Devil
did Me too with a prows with a clicking of
glasses together, and what exploded.
Speaker 3 (08:16):
They weren't clicking. It was like a full swing of pints,
full swing pints. And I came off second. You got
horribly done.
Speaker 1 (08:25):
I got horribly done. And I took my sock off
and wrapped it around my hand and kept partying. And
then I woke up the next morning in my hotel
room and the whole place was covered in blood and
there was like handprints down the wall. I tried to
ring my girlfriend, so the phone was covered in blood
and I was like, this is horrific. I can't be
here when the cleaners came, so I dropped a fifty
pound note on the table and left, Yeah for the cleanup,
(08:47):
but then I was out all day. And then when
I came back, that's when they were cleaning, and then
I just felt like such an asshole. They was scrubbing.
There was five cleaners in the room scrubbing off the wall.
Speaker 3 (08:54):
They thought there'd been a murder crime scene.
Speaker 1 (08:57):
And then my fifty pound note was just sitting there,
like the most asshole move if you just dropped a
fifty and got out.
Speaker 3 (09:02):
Fifty pounds for you back then, that was it was
a real gester from me. But yeah, yeah, that's like, yeah,
that was that was basically.
Speaker 1 (09:09):
My padaems for on the Devil tim Me Too tour.
But you've made a number of films since then, produced
and directed year Yeah.
Speaker 3 (09:21):
Yeah, yeah, a lot of usually more sort of culty
horror explotation kind of vibe. So yeah, this latest one
is a complete.
Speaker 1 (09:31):
Change the pace departure from Come to Daddy.
Speaker 3 (09:33):
Yeah, I've gone like you, mate, I've gone all soft.
Speaker 1 (09:34):
I've gone soft. Should we listen to the trailer really quickly?
For Yeah, let's blast it out.
Speaker 3 (09:38):
And I'm commonly referred to as a book class straight
as all the way.
Speaker 1 (09:45):
School is like hiveven from me academically and socially on
board aline obsess.
Speaker 4 (09:50):
To tell the truth.
Speaker 3 (09:53):
Hello, Bildred, it's me, your dad. I just feel halfway
across the world to be.
Speaker 1 (09:58):
With you, little ladie.
Speaker 2 (10:00):
Great.
Speaker 3 (10:02):
I'm sorry for the whole accent father thing. What's this this?
Speaker 1 (10:07):
Because we came to repent that no one's ever caught
to finish of proof I could take you.
Speaker 3 (10:13):
We leave it first night.
Speaker 1 (10:17):
So it's beginning Rave reviews. It's right up the right
up there and rotten tomatoes right up there with the.
Speaker 3 (10:22):
Old rotten tomato. I mean it's been yeah, rewarding. We
had a great world premiere over in Fantasia. You know that.
Speaker 1 (10:30):
Yeah, you know that. That's that's in a number of places.
Is that the one not the gym?
Speaker 3 (10:36):
Was not the Montreal one?
Speaker 1 (10:37):
The Montreal one? Yeah, I've been to.
Speaker 3 (10:38):
I went to the Montreal There was a great times.
Crowds are yea bonkers mate? So they were.
Speaker 1 (10:43):
I remember when the devil did it to me played
there there was a queue around the block block and
then there was a bomb threat.
Speaker 3 (10:49):
That's right.
Speaker 1 (10:50):
So we were like, this is freaking excited. We've got
like a thousand people lining up for this and then
there was a bomb threat.
Speaker 3 (10:55):
Yeah no, no, we had no bomb threats for the
heightened exciting.
Speaker 1 (10:59):
You don't get bomb threat so the family films.
Speaker 3 (11:01):
But yeah, we had Elijah Wood there, which was great.
And now Fisher, who's now like, you know, we timed
it really well. She got announced on Stranger Things. Yeah,
so kind of like perfect timing for the film. But yeah,
it's just a man. The response has been awesome. Now
it's just you know, now it's out to the wild,
to the junior public and we see how it goes.
Speaker 1 (11:18):
Yeah, how good? And when did you actually film it?
Speaker 3 (11:20):
So we filmed it May April, May twenty three last year.
So and then did a bit of you know, early scouting.
The weird thing is like, you know the area down there,
I mean, it's so drastically changes. So when we were
scouting really early, like pre Christmas, I think I was
down there and then I just remember the locations guy saying,
you know, this is going to be a completely different
(11:41):
palette when you come back right, and I was like,
oh shit, that's right. So it was such a microclimate
in that whole area of like Castle Hill and Harden
Plane and Mount Cheeseman all that area. Yeah, it can
go from like one day it was thirty three degrees
like sweltering hot, and then the next two days later
than that was like dusting, like dusting happening. It's just
(12:04):
wild man. So we for filming it was pretty terrifying. Yeah.
Speaker 1 (12:08):
Yeah, yeah, well filming in New Zealand in general, it's
quite a challenging thing, isn't it. Always have those American
productions that come over and go, oh it rains, it
rains every second day. Yeah, it's I mean that's and
there's a lot of clouds. It's like we've got five minutes.
We've got in like about two minutes. We can film
for about thirty seconds.
Speaker 3 (12:25):
We'll fake it. We'll get in and get it in
the post. Yeah. No, I mean it's it's a bit
when you're doing a wilderness move because you don't really
have anywhere to escape to. Yes, so we don't have
the money that those guys have, yeah, packs and they go, oh,
let's just go let's go have some lunch for a
few days or whatever. So we didn't have that option.
We just had to roll with whatever punches were thrown,
and so we just got we got lucky. Man.
Speaker 1 (12:48):
When did you bond with Elijah Wood because he's been
a long time collaborator with you.
Speaker 3 (12:53):
Yeah, Elijah and I go. We met at this festival
called Fantastic Austin, and Austin's like, he's got a house there.
He's like a second home for him and he just
used to go to this festival as a fanboy. Yeah, basically,
and so we just met through a mutual friend of
mine who I've known for a long long time now
(13:15):
and just hanging out of his house, just talking movie
shit basically and just getting on really well. And then
it's you know, from that we I had a script
that no one wanted in the world wanted to make,
called The Greasy Strangler, and I thought, I'm just going
to send it to him on on the off chance
that he'd be into it. And then so like in
(13:35):
fifteen minutes later, he was like texting quotes back from
it to me, and I was like, oh, we've got him.
And so that was the start of sort of like
the professional thing. So, but we were sort of like
casual mates before that, and then from there we've just
sort of hung out a lot and our partners get
on really well, which helps a lot. And so and
he's now he's got he's a family man, he's got
(13:56):
a couple of kids, and yeah, it's just it's just
been really nice. And then Daddy was come to Daddy
was such a great experience for all of us. Yeah,
and made my life as a first time filmmakers so easy.
It would have, you know, with the wrong actor in
that role, who was you know, a bit of a
nightmare would I would have given up I think overnight.
(14:17):
But he he just made it just such a sweet ride.
Speaker 1 (14:20):
Yeah, because you were a film watcher, you made you
made that short film with the Crabs and then massive
film Watcher and Enthusiast and forty eight our film festival
you started that in New Zealand and still still still
keeps going. A very very successful thing and you know,
(14:40):
a very positive thing. There's hardly a person you run
into that didn't attempt to be a forty eight hour
film in one stage and include Meshi here got his
first passion of forty eight our film did.
Speaker 2 (14:49):
Yeah, I was just saying to meatic before you arrived
down as I've got you to thank for that is
because it was always us the first one. Yeah, the
first mooch I got was at a forty eight our
film festival, and it was.
Speaker 1 (14:58):
I was at the festival, not in the shooting.
Speaker 2 (15:00):
I was during the shooting side. So you know, how
you get together over the weekend.
Speaker 3 (15:03):
Order, it will probably be canceled for that behavior, you
would be.
Speaker 2 (15:06):
You're right, actually, and that's a good point. Maybe I
shouldn't be.
Speaker 3 (15:07):
Talking about it, but it was.
Speaker 2 (15:09):
It was exciting for me as a fourteen year old
to be able to be around some other people. It
was a god o good weekends.
Speaker 3 (15:13):
As for you, I mean, look, it's either addictive or
people just think like that's not for me. You know.
The ones that works for just can lead to really
good things.
Speaker 1 (15:21):
Yeah. Well, well the likes of the director of Megan
for example, exactly Meghan. Yeah, yeah, he came up out there.
Speaker 3 (15:29):
Yeah, it's been I mean everyone's kind of been involved
at some stage, whether they're just helping out or whatever.
But yeah, it's crazy how many people have been.
Speaker 1 (15:37):
In yeah mix, Yeah, and yeah, it's it's an interesting
one actually because actually I've hated being involved every time
I've been involved, yeah, you know, but also I've never
made a good one. I guess that's why I've always
just been roped into be an actor and it all
stay up all night or edit one or something.
Speaker 3 (15:56):
I totally get it. Yeah, well it's the reason why
I haven't taken part.
Speaker 2 (16:00):
Do you understand that when you set that up, that
the first twenty four hours was never going to be
used in the festival because there was always that that's
the brainstorming phase.
Speaker 3 (16:07):
And then you think people got savvy to like how
to break down those that period of time of what
they're supposed to be doing.
Speaker 1 (16:12):
But yeah, until then, I mean it really changed as
digital editing came much more. I mean there were people
like two VHS's you know you can do.
Speaker 2 (16:23):
Now than you used to be able to do it.
Speaker 3 (16:24):
We used to have there, you know, we used to
have people on motorcycles coming screaming and throwing the tapes
at us at the end, and now it's like you
can just upload it and yeah, yeah, it's a lot safer.
We don't have armed defender squads called out anymore. Yeah,
it's Yeah, the team I've got organizing now are not
as loose and cowboy as I was, so it feels
like it's a lot more sort of professional.
Speaker 1 (16:46):
We actually made an episode of a TV show May
called Bogan Family Films. That was an episode devoted to
making a forty eight hour film and really, yeah, yeah,
you were in it, mate, I was. You were in
the TV show. You were actually you're actually at the
drop off spot and that was the plot of them
of the she Wasn't that great TV show? Mine and
(17:07):
Chris Steps professional relationship was coming to an end at
that point, at the same time as children started coming
out of my messes. Uh so yeah, yeah, anyway, it's
not about me, it's about it's about this film. And
so you went family, which is that's that? I mean
people that don't know you, I mean, I've known you
for freaking ages, but but you your love of shocking
(17:28):
cinema on on actual film is legendary. But I guess
you've liked all films, haven't you. You've been a classic cinephile.
Speaker 3 (17:38):
Yeah, I mean, it's it's just that's the area that
it is like a comfort zone that I can lean
into that I know really well, but I mean, yeah,
all types of cinema, I'm a sucker for everything. Yeah,
but this, you know, the weirdest thing. It feels like
kind of transgressive to make a family film in this
in this day and age, or especially just from my background,
it just felt like, yeah, you can't do anything.
Speaker 1 (17:59):
I think about this the other day because I was
what was I watching? I was watching The Boys, right,
and you can do anything. Like the idea of being
offensive now is not. It's almost safe to be incredibly
offensive because there's no rules. So you know, as much
as I love the Boys, when I see them do
something like that, that's actually the bits of the show
that it kind of I judge the most because I'm like, Okay,
back in the day, doing that, you could have had
(18:20):
people protesting your movie. You'd have it was it was
a major risk to make a full on thing. Now
you get rewarded for it.
Speaker 3 (18:27):
It changed, Yeah, it happened slowly, but the the you know,
the studio system basically absorbed the underground and then they
just started making the same thing. So it's like you
can't compete, so what's the point. So yeah, in all way,
it's kind of like interesting to you do something that's
a PG family friendly film, but you still have your
own sort of weird sensibility in there. And that's why
(18:48):
because there is swims a bit, there is blood.
Speaker 1 (18:50):
There's blood in there.
Speaker 3 (18:51):
Yeah, it's weird to.
Speaker 1 (18:52):
See like scratches and stuffing.
Speaker 3 (18:53):
Yeah, which has been the best thing about talking to
parents who like I went down We did a tour
of the South just a few days back and just
talk to like families coming out and it was kind
of cool for those parents the same age as me
who were like, it's just there hasn't been anything that
they can take to where they don't feel like they're
being pat the kids patronized to or preached.
Speaker 1 (19:14):
But that's something that people don't understand about kids. Kids.
The things that kids love and the things that have
been the biggest success with kids are a little bit scary.
There has to be another edge to it. Absolutely that
the G film is made for the adult, you know,
but that's not what kids will always want to be
on the edge of edge of water.
Speaker 3 (19:31):
And most of the adult films that suck up the
oxygen or for arrested adults anyway, who are like these
manchild children who like buy toys and stuff at fifty
years old, like, so it feels like there is a
there's a huge gap where you can sort of play
in their areas. So yeah, no, I feel like, I mean,
I'm a little bit older than you, map, but those
are the films I grew up with that had those
(19:52):
moments that freaked me out as as a little kid,
and they burned into my brain. And I still remember
those films like really finally, and I remember having these
arguments when we're making this thing. It's like some there
was some outside noise saying, you know this, you got
to pull it back. It's too you know, too much,
it's you know, we've got to go for that, got
to go for that PG rating, and everything was hinging
(20:12):
on that, and I was just like, you got to
let kids like you can't just cotton will them. That's
the whole point of the film is like, don't cotton
wool kids up. Let them go explore, have their own adventures,
maybe get a little bit of scraped here and there. Yeah,
it's just part of growing up, man, You got to
have it.
Speaker 1 (20:26):
Yeah. Well that's interesting because when I think about kids
that I like films that I really like, you take
Gremlins for example, right, I mean, what was the rating
of that when it came out?
Speaker 3 (20:34):
I think it was the same thing as a PG,
was it?
Speaker 1 (20:36):
Because that is a freaking full on film and that's
why people love it.
Speaker 3 (20:39):
You've got you've got firstiv All, You've got there's Santa
story being ruined, like dying like alive in a chimney,
and then you've got like really horrific things of thinging blended. Yeah,
the Gremlins and but Jaws was PG when I was
a kid. Wow, you know that was a PG movie.
So like there was a whole series of films that
were tough that were PG. So this is kind of like, yeah,
an ode that type of film.
Speaker 1 (21:01):
Yeah, it is an interesting idea, isn't it?
Speaker 2 (21:03):
Because there is another one that I just thought of
as well that was also scary.
Speaker 3 (21:06):
I think that can be freaky. Yeah, yeah, they always.
Speaker 1 (21:09):
Freaking your your baby brother will be mine. It was freaky.
Speaker 3 (21:12):
It was in his tights, yea was that was the
never ending story for a generation, that horse drowning or whatever.
It is like a massive moment for kids.
Speaker 1 (21:21):
Great chain never randing star is that guy begins with
k Kamal Kamal. Yeah, probably the biggest Kamali ever had. Yeah,
And so like yeah, you this is your you get
this idea, I'm going to make this this PG film
and and and sort of and you know, well, no.
Speaker 3 (21:41):
Actually we just came up with the idea of like
Toby and Either Rider, we just wanted a film sit
in wilderness. We wanted to masculate Elijah again. So it
was kind of like our biggest fears parents are like
shitting the beard in front of them, Like that was
our singular fears, Like, can we make a movie based
on that fear, which is like not stepping up in
the time of crisis in front of your kids. Yeah,
(22:01):
the singular moment is like looking at your kids and
when the ship hits the fan, looking at your kids
and then seeing fear in your eyes. That was which
happened to me on this weird little vaca that we
did on Rackino Island with the family. That's and heally,
you know, and he was like, oh, yeah, you can
just walk around the tip of the island at low
tides really easy. Yeah, it's beautiful, beautiful. So we started off,
(22:21):
we got maybe the timing a little bit wrong, and
so the water started coming in and the kids were
quite young at the stage, and we were carrying backpacks
and all the stuff, and and I was like, oh,
this is getting quite tough. And then there's like, oh,
we're running out of land. What do we do? We
can't climb up. It's a vertical cliff. See started coming up,
started coming up to our chests. Like the kids were like,
oh dude, okay, I keep holding on. It's like holy smoke.
(22:44):
So I went for a moment. This is the moment, man,
And I was like, and I was just like, I
wasn't their hero from those movies. Man, I was like
freaking out. I had to do like an emergency call
out to get to get rescued because it was like
and there were scraped up, there was blood everywhere, and
it was yeah, dude, it was horrible.
Speaker 1 (23:00):
It's funny. I've always had this nightmare that something goes
down and I step up for my kids and I
get that ship beaten out of me, like on the
street when my kids are watching. Yeah, and then you'd
I know it's been in my head in my hole.
Speaker 3 (23:13):
I think, kid, it's a big male insecurity. Man.
Speaker 1 (23:18):
You mentioned driving home and you've been beaten up. Your
kids have been crying as they see your ass being
handed to you, and you're driving home and there in
the back seat going, dad's a puss.
Speaker 3 (23:25):
Yeah. I can't even look at him in thee what's
he going to do? So yeah, hopefully they've got over that.
Maybe this film is a way to bridge down.
Speaker 1 (23:33):
I had some other thing when I was in Fiji
and I took my two kids out in the kayak
and it was it was the resort kayak, but it
had a hole in it, so we were miles out
at seat and then the kayak just sunk, It just went,
It was down, and we were left with a paddle
and two kids. And at that point they were three
and five, and I was I was going, I fucking
(23:57):
hated myself for doing it because I've been all brava, Bravardo,
take the kids out, and then I was left holding
them in the water and I was on my back
doing that.
Speaker 3 (24:05):
And you need your arms right usually to keep above water.
Speaker 1 (24:09):
Yes, like doing that weird thing on my back, kicking
to try and bring them in there, going man, daddy, daddy,
you know jackets they had life jackets on. I did it, Yeah,
but yeah, it was that they survived. Yeah, that Yeah,
I was thinking. I was at the point thinking, holy shit,
I'm that fucking idiot that's.
Speaker 3 (24:25):
Drowned as kids headline in the Herald.
Speaker 1 (24:27):
Yeah, fucking more on at the Hilton Resort dinner old kids.
Speaker 3 (24:33):
Yeah no, I mean that's that dude. That's I think
that's a fair of orbit is like, yeah, we just yeah,
I don't know, it's it's it's scary. So the film
came from that, that fair.
Speaker 1 (24:43):
Yeah, it's the film's made from a moment. Ah, that's
that those those emotional moments say, it's a it's something
that people can obviously relate to.
Speaker 3 (24:52):
Well, you know how long they take a long time
to make right, So you have to have a personal
connection otherwise you'll just get if you're just doing it
for a work for hire or gig, I can't imagine
doing it now. Like that's hard, man, Like you have
to there has to be You've got to find something
that the reason why you're doing this.
Speaker 1 (25:08):
Yeah, you know, I always think of this thing that
George Clooney said once, and he goes, you can have
the best script, the best director, the best actors and
still make a terrible movie because it's so freaking hard
to make a movie, the biggest budget, all those kind
of things. Making a film is I mean, I've only
made one and and and that's it's freaking It's just
(25:31):
such an intense amount of work and then it then
it's got to be finished, the post all of it.
It's just I mean, how long is the whole process
for this fear with book whim It's like.
Speaker 3 (25:39):
I mean, the the actual making is like a year probably,
you know, like and then and then it's the whole
script and how long all that stuff takes. And then
it's like raising the money and that side of it.
So and then the release and then you've got to
follow it through. And yeah, it's a.
Speaker 1 (25:53):
Huge getting the amount of time getting it into theaters.
Speaker 3 (25:55):
I think until people go through, I have an understanding
of it now. Just you can never understand like the
prota think, how that's crazy, why do you go spend
with their line on it? But it's yeah, it's just
pains taking lead slow is there?
Speaker 1 (26:08):
Because I was actually just talking about this the other
day about how there used to be a DVD market
so you can make a film and if it went
well in the cinemas, that's great, but otherwise it could
have a whole life on DVD. Has that come back
at all with the streamers? Is there is there another
long lot.
Speaker 3 (26:24):
For a while when they first came, when the streaming
market was massive and the money was really good. Now no, no, no,
it's the Hollywood's eating snakes in its tail, and it's
the whole industry is in the toilet. So it's it's
a terrible time. Everyone's saying it's the worst. It's it's
ever ever been, and no one knows where there's no
(26:46):
sort of like light at the end of control.
Speaker 1 (26:48):
Like it's yeah, this is question, and there's probably an
obvious answer to it, right, But why is Hollywood making
one two hundred million dollar film instead of ten twenty
ten million dollar films.
Speaker 3 (27:00):
It's this. It's the same reason why I look at Borderlands.
This new thing is just open and everyone's it's got
zero percent on Tomorrow's what it was like. It's being
torn apart.
Speaker 1 (27:10):
And they made by a guy that made a terrible
adoption of a video game just before that?
Speaker 3 (27:13):
Oh did he?
Speaker 2 (27:14):
Ye?
Speaker 1 (27:14):
Didn't he make Uncharted as well?
Speaker 3 (27:16):
No? No, this is elo Roth he did. Yeah.
Speaker 1 (27:20):
Sorry, now I'm thinking of a totally different thing, of
a different video game I'm thinking.
Speaker 3 (27:23):
But yeah, I mean there's a lot of them, right,
So that's that's why they do these things. It's like
the IP has got in Hollywood, so they realize that
there's a built in base that's going. So it's all
risk management. So these everything, of these massive budgets, it's
all been planned out. The only thing that they can't
predict is how good the film's going to be at
the end of it, right, yes, and so and now
(27:43):
things are instantaneous. You don't have times for films to
find their audience or build. It's like you have one
shot and it's like it's craps, it's rolling dice aid
Vegas man. That's that's kind of how it is. And
so they just feel more comfortable in these secure projects
that they own the IP because of it, they can
spin out all these ancillaries, they can make merch up
(28:03):
the wazoo fast food time. There's just an inbuilt sort
of big infrastructure around these things when they work, and
they to them that feels less risky spending two hundred
million than spending twenty at ten. Right, But look, there's
been such a big shake up now that I think
that kind of logic is starne to creep back in
and when you have films that sort of break out,
(28:25):
Like there's a recent horror film called Long Legs, which was, oh, yes,
super low budget. These guys, I know, Neon released it.
They did a phenomenal marketing campaign. It's you know, it's
blown away, furiosa, it's taken, it's done more money than
Furious saw that the other day. Yeah, yeah, which was
you've got to.
Speaker 1 (28:41):
Say, bold make a Mad Max film without Mad Max
in it?
Speaker 3 (28:44):
Just it was weird. Nothing made sense to that film.
Speaker 1 (28:47):
It's a huge decision.
Speaker 3 (28:48):
Yeah yeah, I mean, look, Male's still around, bring them out,
to bring them out, but yeah, no, so look they
just it seems easy. But you know, there's a lot
of smart people, and it's easy to say, ah, these
guys are idiots and they don't know what they're doing,
but they do know what they're doing. It's just like,
I feel like the landscape is changing so quickly all
the time, and most of the time we're playing catch ups.
(29:11):
You know, the streaming was going to be the answer
to solve all the problems of the industry, and it
was for a while everyone made boatloads of money, everyone
was happy, and then there's now there's a crash and
everyone's pulling out and the investment that used to be
in there, they're all gone to TI tech again or
property or whatever is working, but they're not investing in
film as much as they were.
Speaker 1 (29:31):
So yah, it's tough, but I guess you know, so
like the Blomhouse model kind of works, doesn't it.
Speaker 3 (29:36):
So you know it works, but you never hear about
the ones that don't work. So there's a lot of
there's a lot of dead skeletons in the closet for
all these companies, right, they spend so much money on
things that you never hear about or never come to
the light of day. And they're very smart. They picked
the you know, they'll back the ones that work and
then they'll go for it. But yeah, that's a very
I mean that model of like keeping it low, give
(29:56):
back into the some of the casts of their names,
and yeah, it's it's a smart one. It's worked really
well for them, but it's also others have sort of
imitated it, and now there's like it's yeah, it's not
so special anymore.
Speaker 1 (30:08):
Not so special? What kind of director are you Are
you an actor's director or you are you a vision director.
Speaker 3 (30:17):
I think my strength is that I have a really
clear idea of the type of film I'm going to make,
in the tone of it, and that kind of the
knowledge of the genre, the knowledge of, yeah, the type
of film it's going to be, in the audience that
will like it, whether it's you know, a niche or
a wide one. I've got a good, good sense, and
it kind of like everything connects to that.
Speaker 1 (30:38):
You're kind of You're kind of like herkle Proo. He
knows what's wrong in the balance of things. He's like this,
he doesn't know why the crime, but he knows that
something's not equal. So you go, something's wrong within the
genre if that happens.
Speaker 3 (30:51):
Yeah, And also it's got to be something that you like.
You know, at the end of the day, it's like,
I can't imagine anything worse than you. You just make
something that it's not even you. Yeah. But also you know,
I think all those directors who were actors or study
acting and understand other really good ones, I wish I
had that background of like either taking acting lessons classes
(31:13):
or understand that because that language of being able to
speak to actors is a very specialized skill. Yeah, you
can sort of you can sort of fumble through like
I do, and you know, just be myself and say
this is what I'm trying to yeah and stuff. But
the really great ones. So that's why there's so many
great actors who have switched to directing. Yeah, there's a
(31:34):
really good There's not many the other way. Yeah, So
it's yeah, if anything, that's you know what I'm going
to focus on. If I get another shots, it's like, yeah, yeah,
drilling down on that because we got really lucky, you know,
working with people like Elijah they just y, they come
fully prepped. You know, we talk about the character, he
gets it straight away. And then someone like now Fisher
(31:56):
who's just like a you know, a star on the
Rise of Sponge and just just brought so much confidence
to it. She was that character. So that, yeah, it
made my life so much easier.
Speaker 1 (32:08):
Yeah, it's interesting. So to go back to a film
that you and me worked on that you executive produced,
Devil Dear Me Too. Yeah, the director of that film
fucking hated actors. So his opening line is I fucking
hate actors, which you can some of the acting from
that movie is representative of that attitude. But it's kind
of a it's a sort of an interesting way, and
(32:29):
I remember coming up, I guess we're kind of like
that thinking about it. But actors are the film you know,
like if you get someone, I mean this movies, that
would be an absolute disaster if an actor hadn't stepped
up and brought you know, and you can't even tell
now you know, everyone's a genius if someone does an
incredible performance. But but yeah.
Speaker 3 (32:49):
It's the it's the ones who commit when even though
some they might get a sense of materials not up
to par, but they fully commit and then they they're
the ones who stand out in a mediocre film. It's
like everone will be like no other films, but that
that that actor was incredible.
Speaker 1 (33:04):
You can get performances are too good, like we have.
You know, Philip Seymour Hoffman could from time to time
peer in a film and just be too good, and
as a result, the main actors were starting to look average.
Speaker 3 (33:17):
Well, I love I love all those character actors, not
not that he was, I mean, but like those ones
who steal scenes like there's just there's a there's a
whole posse of these amazing guys who have been working
for thirty years or so that can can come into
any scene and just take it from the A lister
to just eat their lunch. And you want those guys
man in your films. You know, That's why I went
(33:38):
to like in book, when we've got great people like
Millan Beard, you know, yeah, yeah, you just you know
is going to be delivered.
Speaker 1 (33:46):
I mean so much fun his one line and Megan
just was just a sensation.
Speaker 3 (33:52):
About the ear.
Speaker 1 (33:52):
Yeah, what was the movie watching?
Speaker 2 (33:54):
It was? I was Black Adam, that rough DC movie
and PRIs Bros And Rocks off.
Speaker 1 (33:59):
At one point, there's an ample of Pears wasn't being
too good for the movie. You've got the Rock who
basically can't act and is sort of floating around looks
fucking mupp it. And then you've got Pierce Bronson, who's
not the greatest actor in the world, but he's just
so much better than everyone else in the film that
it's like one of the wheels is wabbling the whole film.
(34:19):
I mean that that that film was a disaster.
Speaker 3 (34:22):
I mean just remember when it was like, you know,
suddenly it was Kenneth Branagg was getting involved in like
four movies and stuff and bringing all this shakespeare in
quality to it, or.
Speaker 1 (34:31):
Anthony Hopkins as well.
Speaker 3 (34:33):
Yeah, I mean, but yeah, I never saw Black Adam,
but you don't. I don't think.
Speaker 1 (34:38):
I don't know if even the Rock was on that film.
He seemed to be floating around. He was never on
the ground. I think he was sort of just.
Speaker 3 (34:46):
He's probably in the background arguing about it.
Speaker 1 (34:48):
Don't get me started on the Rock. I've got the
story about it. He squandered the opportunity every you know,
actors like Arnold Schwarznigrin's time and sylvest Alone, they tried
to push things and make make movies that were worth
while in amongst what they were doing, you know. And
obviously Silver Sister Sloan wrote Rocky and stuff, so he
was more of a filmmaker. But The Rock has never
attempted to make it.
Speaker 3 (35:09):
I've got to pull you up he because he's doing
this one called The Smashing Machine, which is based on
Mark Kerr, the UFC fighter. That story is Andreile just
could be his wrestler, right, So, yeah, I agree with you.
He's he's really coasted on charm and done really safe.
I mean rampage. I mean, come on, he's done really
(35:29):
those just like you know, focus on the box office,
focus on success, which is fine that he's a star,
you got to do that. But yeah, he hasn't taken
those risks that Will call Will Smith took risks? You know, absolutely? Yeah, yeah,
I do. I love that film of Smith's even what
the hell was it? The one where he's a dad
trying to support his curd.
Speaker 1 (35:47):
Oh yeah, the pursuit of happiness.
Speaker 3 (35:49):
Oh yeah, dude, that kills me, that film.
Speaker 1 (35:51):
Yeah, I mean, maybe he's got he had more chops
and maybe that you know, as tough as the rock
as it's funny thing for us to be getting laying
into here. You know, he's a gym guy. Not that
Arnie wasn't, but but maybe that is. It takes a
lot to go I'm going to actually try and freaking
act in a film.
Speaker 3 (36:09):
Yeah, well, I mean you don't get much time to
train when you i mean on the acting, when you're
doing eight hours of the day of the gas.
Speaker 1 (36:18):
Also, I'm pretty sure he's royed it up. There's a
particular vein that's going right down the side of his
face that he never seems to turn to the camera
for but I love the rock forever. I thought he
was great. You know, I was a big wrestling fan,
and then for some reason, I've just it just struck
me when you.
Speaker 3 (36:31):
Think about the Logan Paul Here regime. Yeah, w W.
Speaker 1 (36:37):
Yeah I'm not a fan really yeah. Yeah, but everyone's
trying to sort of fight for relevance, even even the
biggest friend, all the biggest things like wrestling. Now, yeahs
lasted as long as as long as he did. Yeah,
so what does it mean now? So the movie's out
and then and what's the rollout like for you?
Speaker 3 (36:59):
So we're rolling out now, it's out this weekend nationwide. Yeah,
they've gone all in. So New Zealand's kind of done. Really,
and now we go to I go to myth Melbourne
Film Fest and we do a little bit of hoopla
over there, and yeah, see how it goes there. And
then it's already pre sold to you know, it's got
a US release in October and in Canada and then
(37:22):
the UK and France, Russia. I mean, it's yeah, it's done,
it's got it's going out everywhere. But yeah, theatrically, who knows,
you know, it's so hard to get these theatrical dates
in these other countries. Yeah, yeah, but I just wanted
to work here because it's made it was made for
Kiwis and so, and it's.
Speaker 1 (37:39):
And it's based on a you know, a tale that
I know in commercial radio. We've talked about a lot. Absolutely,
we've been we've talked about that a lot.
Speaker 3 (37:48):
We had some great encounters with people who eyewitness accounts
down there. It was really juiced up the production when
you meet these guys.
Speaker 1 (37:55):
Yeah, we've probably interviewed a few of them.
Speaker 3 (37:57):
Ye yeah, yeah, these ones. Know, these guys were I mean,
I know there's a some who have done all the
media and stuff, but these these were they didn't want
to be named. They were very Yeah, there's quiet locals.
But then I saw some shot people had some photos
of the ones they had shot, and they were big
fearers man monsters. Yeah. So I'm a believer.
Speaker 1 (38:18):
Yeah, you're a believer.
Speaker 3 (38:20):
Absolutely.
Speaker 2 (38:21):
I mean making greats as well, these reviews that I'm
just looking at here, you.
Speaker 3 (38:24):
Must yeah, absolutely, yeah, yeah they are.
Speaker 2 (38:29):
Is it a scary time is it for a director
of a film to this time time?
Speaker 3 (38:33):
Right now? Yeah? I mean it's all I mean, yeah,
look you. The reviews are great, but it's at the
end of the day, it's the audiences of the counts,
you know. So you can have a film that isn't
a critical smash, but the audiences love it, and then
vice versa and everything. But at the end of the day,
it's just you just want as many people to enjoy it, right,
(38:53):
So the reviews absolutely help.
Speaker 1 (38:57):
Yeah, cheers, But what's the deal with Rotten Tomatoes? And
me think about this a lot because I noticed the
school and ebit started that, you know, the thumb thumbs down,
So there.
Speaker 3 (39:07):
Was the beautiful, beautiful views as.
Speaker 1 (39:10):
Well, so there was there was a binary aspect to it,
but it was well well outlined.
Speaker 3 (39:14):
It wasn't just the thumbs yeah. Yeah, like so no,
I'm look, I've got a real issue with that. That
whole the way that it's been integrated into every platform
as well. Now it's very well you can little die
by it like a chain. It really affects everything because
if you come out of the gate first reviews and
they're all negative and you haven't sold your film to
(39:36):
certain territories, it'll kill it. It'll just kill it overnight. Man.
So there's a lot of game playing. There's a lot
of you know, there's a lot of sort of shenanigans
going on about how to not cook the box but
try to make it work. Yeah, it's really I find
it just I find that I just don't want the
public to rely on this binary system of like yeah,
(39:58):
it's like latatorial right, yeah, yeah, like colisseum.
Speaker 1 (40:01):
Yeah, it's horrible.
Speaker 3 (40:02):
Do they live or do they die? Yeah, you know,
and that there's way more nuanced, so much.
Speaker 1 (40:06):
More nuance, and especially like you know, you have the
the reviewers and it's not it's not like it's sort
of sold as being a one hundred percent accurate representation.
Speaker 3 (40:18):
It's not.
Speaker 1 (40:19):
It's some reviewers. Some of them are access reviewers, some
of them have got a genders. There's there's a whole
lot going on.
Speaker 3 (40:24):
And it's weird because it used to be, like you
when the reviews first came out, like years ago, they
were all like major when the media had like meant something, yeah,
and they were like legacy media, and you'd have all
these institutional papers and everyone reviewed it. And now the
first review is like you know, I pecked my nose
dot com. But the public just see a positive thing. Yeah,
(40:45):
it's like, oh, it's great, but it's a kid in
Ohio who's like twelve. Yeah, like with the blog with
a blog site. Yeah, so it's kind of crazy that
the industry is so reliant on it now. Yeah, when
it's kind of just like it's all, what's that guy?
What's Matthew? And Wolf say.
Speaker 1 (41:05):
Yeah yeah, because I'm like some of my favorite films,
like I like really bad comedies, you know, like mcgruber
for example, and and Hot Rod. My writers look to
be honest, it stole Devild because it was it was
a fantastic film with incredible act incredible appearance of performances
(41:25):
from amazing human beings.
Speaker 3 (41:27):
But that that but that's my kids do. When they
were a lot of younger, I showed them that they
just they were hysterics.
Speaker 1 (41:33):
Yeah, I love that. I love that film, and you know, and.
Speaker 3 (41:37):
Like step Brothers, but they're smart. They look dumb, but
they're not. They're they're actually the way that they put
those things together. When you see I saw a bit
of making of how like how much freedom they had
in terms of the improv on that film. Yeah, it's
like wild. Yeah, and Adam Scott had never done any
improv like he just said, he found it so intimidating
when those guys will fail and just were cutting loose
(41:59):
and came into that max of never having done that style. Yeah,
you know, mister script, mister script.
Speaker 1 (42:04):
Yeah, yeah, Well, all the best with your film with Bookworm.
You're you're a great New Zealander and it's great to
catch up with you. And we should catch up and
like smash beers together again and see if we can
get another another hospital at the hospital and cover another hotel.
Speaker 3 (42:20):
We've got to do a we've got to do a
Devil de Me two reunion screen some style.
Speaker 1 (42:24):
Yeah, now we're talking.
Speaker 3 (42:26):
It's it's how long has it been? Two thousand and six?
Speaker 1 (42:29):
Two thousand and seven? I think it came out or
six or something like that.
Speaker 3 (42:32):
I think it's twentieth year next year. Man, oh god,
look out.
Speaker 1 (42:36):
I wrote in my book recently about me and and
Chris Bowing our movie and Germany come on, because we
were so over it. So I wonder if I'll build
it again. Yeah, I'll bud again.
Speaker 2 (42:46):
Yeah.
Speaker 3 (42:47):
Yeah. Thumbs down, Rot Tomatoes, thumbs down.
Speaker 1 (42:50):
And Timson, thank you for coming into the Daily Bespoke Podcast.
Thanks for all right, Okay, all right, all right, and
Simpson and Timpson sorry is out the door. He's out
the door. He's out the door. Good wide raging chat.
Speaker 2 (43:07):
I'll tell you what I could fucking I'm so sorry
for the bespokeing dockies that don't like films, but I
could talk about films for about the next.
Speaker 1 (43:12):
He's probably New Zealand's leading film mix but he's got
the largest collection of thirty five millimeter films in Australasia.
So he's got the actual solid films that they put
on projectors and he collects heaps of them. He's got
like a quite a spectacular a theater that he plays
them in. An yeah, yeah, fuck here what a great guy.
Speaker 2 (43:32):
Yeah, I love that chat. I'm all in on that.
And now I'm just thinking about going home and watching
The Labrenth and The Steep Brothers and a couple of
other films.
Speaker 1 (43:38):
Maybe they didn't and you know, so if you do
get a chance to go and see Book Women this weekend,
go go see it. Support a great New Zealander and
and by all counts a fantastic film. I'm going to
take my little my little kids. When I say little,
they're both tall on them now along to this family film.
But it does it does it? You know, it's about
the Cannabar panther, and it's got a lot about the
(43:58):
caneby cat. That's got a lot. It's you know, it's
one of those movies that works for for children and
adults alike.
Speaker 2 (44:05):
I understand, got long potty forty five minutes of this
shut up as bespoke. You don't you give them a
taste of kei we okay, all right.
Speaker 1 (44:13):
But hello, I'm Matt Heath. You have been listening to
the Matt and Jerry Daily Bespoke podcast. Right now you
can listen to our Radio Highlights podcast, which you will
absolutely get barred up about anyway. Set to download, like, subscribe, writer,
review all those great things. It really helps myself and
Jerry and to a lesser extent, mess and Ruder. If
(44:33):
you want to discuss anything raised in this pod, check
out the Conclave, a Matt and Jerry Facebook discussion group.
And while I'm plugging stuff, my book A Life is
Punishing Thirteen Ways to Love the Life You've Got is
out now get it wherever you get your books, or
just google the bastard anyway you've seem busy, I'll let
you go. Bless blessed, blessed. Give them a taste of
keyw from me.
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