Kermode & Mayo’s Take - Celine Song, Past Lives, My Big Fat Greek Wedding 3 & The Nun 2

Episode Date: September 8, 2023

Mark and Simon are finally back on land, having abandoned their canalboat somewhere near Slough, and, more importantly, Celine Song is in the studio to discuss her soulful debut feature ‘Past Lives���. The film is her directorial debut, and sees two deeply connected childhood friends reunited for one fateful week as they confront destiny, love and the choices that make a life. Plus, Mark reviews two new sequels, ‘My Big Fat Greek Wedding 3’, the Portokalos gang’s latest outing directed by lead actress Nia Vardalos; and ‘The Nun 2’, which sees Sister Irene once again come face to face with the demonic force that plagued her four years ago. The Box Office Top 10 and What’s On are covered as always. Time Codes (relevant only for the Vanguard - who are ad-free!): 13:02 My Big Fat Greek Wedding 3 Review 22:33 Box Office Top Ten 40:54 Celine Song Interview 57:13 Past Lives Review 01:03:17 Laughter Lift 01:07:52 The Nun 2 01:14:32 What's On You can contact the show by emailing [e-mail] or you can find us on social media, @KermodeandMayo EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To advertise on this show contact: [e-mail] Learn more about your ad choices. Visit podcastchoices.com/adchoices

Metrolinx and cross links are reminding everyone to be careful as Eglinton Cross-town LRT train testing is in progress. Please be alert, as trains can pass at any time on the tracks. Remember to follow all traffic signals, be careful along our tracks and only make left turns where it's safe to do so. Be alert, be aware, and stay safe. You clap better than anyone. I know, but I once did... No one normally gets to hear your clap, but we always start each recording with a clap, so that's Mark doing a clap. and my clap is slightly more feeble. I once interviewed Mark Scorsese and it was about the release of reissue for a peeping tom and there was two cameras so it needed a clap and the person

who was directing the thing said can someone give us us a clap? And I went to do it in Mark's call, says he said, I've got this. It was like, okay. So, school says he's literally... You've actually been you, volunteer, the clap. I know, I just just... Because so, so, you know, remind me who you are.

And does he do clap? Did it, I mean, it was a school says he clap, notably. Not just, it's better. Here's what it was. He almost didn't, like, when I did it just then, I kind of quite theatrically raised my hands about my head, you know, hands in the air, like you just don't care.

What he did was he had his hands in his lap and he just went, and it was, it was like, okay, because he knew that the shot had his hands in them. So he just didn't have to do any theatrics at all. He just literally almost did it like that. It was like, yeah, just getting on with this. There are any other clap stories that you have?

No, that's pretty much it. There is a story about end-slating, which is that some directors don't do, you know, a clap-a-board thing. The old TV show. Yes. So there are people who make films now spinning and they're going, go and come, ohapperboard thing. The old TV show. Yes. There are people who make films, they're spinning and they're going, come on, that's not what it's called.

When you do the, there's some directors do it at the end of a scene, rather than the beginning of a scene. Because when you go action clap, it sort of, you know, everything springs into life. And some directors, I have heard say, I don't do that, I do it at the end of the scene because I want the thing to just kind of begin Organic the way this podcast does The way this book is basically hello. I have been here, but you've been away

So it's just one of those things where you've been when you've been here. I've been away I've only been away for three weeks, but because it didn't coincide with your sort of various World tour Important things that you were doing. It's just isn't true. How is your safari about that? Oh, it was fabulous. What was the greatest thing, the very best thing that you saw? On the very last night, this is going to sound so enough, on the very last night as the sun was going down,

we were driving back. And there was, there's a lioness that they hadn't seen for a long time. And this is Corn boy, yeah. This is cool boy, yeah. And as we were driving that thing, the lioness came out of the thing, and the three cubs, which they hadn't seen and which they thought might not have just trotted out.

I've got a video, of course I've got a video. Okay, you know the videos that you keep showing me of grandchild one? Yes, yeah. I now have the video of the three lion cubs, try to help me out. I've got so many new ones. It's really great, because it's been a long time.

So presumably grandchild one is now 12. And that's in South Africa, but you know, you know, you're... It was really... It's a wonderful place. It was... This is terrible because I don't generally do holidays. So it's the first time I've been in a very long time that I've just done,

because since then I've been to Shetland because we did the Shetland Film Festival. I'm just back from Shetland just now. And that was really great as well. But it was the first time in a living memory, I think, that it wasn't, I was going to a film festival so people came with, or Linda was doing a conference and some people came with, it was,

it was like, no, we went on the holiday. It's quite good holidays. Yeah, now that was pretty good. I was watching Telly Tubby's mainly. Hap, and you put a thing up that said that you've forgotten how great it is. A work of genius. It is without doubt a work of genius.

And now what I didn't realize is in the new versions, which is like five, six years ago, Jim Broadbent was one of the voices. No. Yeah. So they've re-visited. And they've re-visited. So they've re-voiced it. They've re-voiced it. Maybe Williams is a voice, Thern Cotton I think is a voice. But they still... Did you think you're bringing tingy tingy tingy tingy? Oh, La La Poe, Tinky Winky. No, they're the... It's still Tinky Winky, Dipsy, La La Poe.

Tery Tubby, Tery Tubby. And the thing that was really remarkable was the again-again thing because it was the again and again thing. Because it was the first. This is where they have a short little film of a family or some kids on the playground. And when it finishes, they all go, oh, again, again and again and then they show exactly the same film again.

And the grownups go, what are they doing? They're showing exactly the same film again and then the kids are because it is a scientific thing that they want to watch again and again. Okay, we could actually put that in take two and we could review teletubbers. I'm serious. What, you know, I think I'm going to suggest that. Am I right in thinking and I may be wrong that the person who played Poe then became a presenter on CBBC? I'm not sure. Okay, I'm not an expert. But anyway, to be discussed. CBBC is a great, great thing.

If we're not going to be reviewing that kind of thing, what are we going to be reviewing? The none two. The none two. The none two. Oh, then I'm doing it. Although well done for preempting the fact that there are going to be a number of where's that going.

And also my big fat Greek wedding three. So big my, so right. So big fat Greek wedding was in a way win. And past two. And also past three. And also past lives with our, I'm delighted to say our special guest, Celine Song, who is the writer and director of that much acclaimed films. Yes, well, you're here, how acclaimed it's going to be,

and many people talking about it as possibly one of the films of the year. I think it is, that's pretty much a done deal. It is one of the films of the year. It's fabulous. Okay. So you kind of reviewed it already. I have stuff to say about it, but at this point, there isn't any point in the end of it.

No, I think it's wonderful, and it'll be great to talk to her about it. Also, it should take more in the end of it. No, I think it's wonderful, and it'll be great to talk to her about it. Also, it actually takes more of this kind of rubbish. The weekend watch list and the weekend not list five, which are great and three, you'll hate. Bonus of Mr. Lee. Pretend just more, currently,

mark 18, mark 15. Is that right? I've forgotten all that. Let's just say that it is. And the one frame back is gonna be inspired by the None 2. We want to know top-none films. We've got a load of those. Also just a reminder, wherever you're listening to us,

we can send you our merch because we have drones, basically. We've developed a whole drone system. So it doesn't matter if you're in... Is that just us talking? We ship to the US and Australia. So you might be some wags have added. You might be in jerking creek, lower swell, scratch asswear, fanny bay, nether wallop, shittaton, clean skin knob or wet wang, we can still find you with our...

I have to ask, are those real place names? They are real place names. Or every single one of them. And I didn't do some of them. Because it is certainly true that there is a street, as I'm sure a lot of people will know, in the city of London, which refers to a practice that used to go on there and had to be renamed

a couple hundred years ago, because I'm not going to say it. Anyway, it's that kind of thing. Robin London, on a doctor's given Dr. Simon's personal connection to Mattis Danck, I wonder if the esteemed presenters and distinguished executive producer Simon have encountered the concept of, quote, getting to Denmark. This Denmark is a mythical place that is known to have good political and economic institutions. It is stable, democratic, peaceful, prosperous, inclusive, and has extremely low levels of political corruption." End quote.

I refer to a piece called Getting to Denmark in the New Republic. Sadly, it appears that the sources of this article is the History's Overguy, Francis Fouciamma. But I wonder, this is a very heavy opening to our welcome back. Welcome back. But I quite like the utopian social democracy goal. It's very unlikely to happen in the UK. I wonder if the Danes could use a recent mature Hums graduate with a proof reading qualification.

I won't hold my breath. So it's interesting. So we're starting off, that's the first email out at the pile, saying what a great place then Mark is, and it could we do better. Interesting, the first email is neither about films, nor streaming services. No, that's just, it's about the weekends, do better than Denmark.

But here's the thing, as we're going in, with this kind of heavy thing, a number of the social democratic countries, as part of the trade-off because they have very active and very successful far-right parties in there. The trade-off is they have to have very strong anti-immigration policies. So that's the trade-off. And so they met all those comments about Democrat, absolutely, right? But they have a very strong far-right party, far stronger than any of the ones in this country, Just mentioning it, just saying, same in Sweden.

It's an education. Thanks. Anyway, so that was a whimsical start. Well, you did, you did have a preface it by wet wang street or whatever it is. That's true, that's true. Well, in the spirit of wet wang, Netherwallop and Shittleton, they can't really be a place called Shittleton. With many, many apologies to Sufyan Karzi, Simon and Mark, big fan of you both, also polite and slightly ironical fan of the Redactor, but definitely a major fan of all the supporting team.

Having listened to this show for many years, I am finally motivated to send in an emergency mail. As a person with a specific surname, Karzi, I have had the odd fun conversation slash taunt over the years about it. In recent weeks, I was therefore surprised at the casual use of that surname when you were discussing reading material in the toilet.

Quotes, Graham farther would take a copy of the daily mirror to the outside Kasi, probably followed by the French rule of three. I was probably one of the few who noticed the Kasi remark, but I haven't heard it used in public media like that for a while. However, the toilet topic didn't quite go away. I heard before your extended break, Dr. Karen Raj, of the excellent The Referral podcast, talking about bowel movements. So here I am prompted to email to arrest this diarrhea of bottom biology dialogue. Carsey, at least in my surname, is an Arabic word.

My family got the name from what I believe because of my great, great grandfather. Great, great, great grandfather. As the local wise elder in a village in India, he was often sought out to make decisions on important matters by the local Muslim community. In fact, he became such a go-to person that he earned the title,

Carzi Sahib, an Arabic Carzi, meaning judge. Years later, my great-grandparents moved from India and settled in South Africa. Where you have just been. And here's the twist. As a kid growing up, many years later in Birmingham, I remember reading an article in the Daily Mirror about the British soldiers who fought in the Boer War. The British troops stationed there would often need to take

a number two trying hard, as it was. The best place to do this, their campsite, was the Carzi mountain range. Hence the phrase, in English slang, I'm going to the Carzi. Actually, I actually, I very rarely hear the use of the word Carzi on TV and radio, except on carry-on films. So this was a pleasant-ish surprise. Keep up the good work down with the Nazis and wingnuts. Suffian Carzi. Wow. And if I can just add on the subject of that,

a black mark and brick bats to the production team all round. Really? Yes. Because in one of the weeks when we weren't here and it was being left in the lesser hands, there were only a couple of those weeks. Robby Collin and what's his name? James King, James King who we invented, who we grew from a plant pot.

He's still a childy. Yes, he's, you know, fun. James King used the phrase, Komodenmeow. He never did. He did. You left it in deliberately. Just pouring myself a stiff drink from my van guadis to first. Firstly, Camoden Mayo, James King, James King. Things you can't mispronounce James King.

Can you really? James Nob. Things you can't mispronounce James King. Can you really? James Nob. So we're keeping with the playground theme, which Mr. Carsey has introduced us to. Did you have a tryhard in the Carsey Mountains? As far as you were aware of what James King has demonstrated. He denied it. He said, no I didn't. I said, you did. And now I discovered that, yeah, of course there's evidence. It's called a podcast.

You can't have, this is a very Trumpian thing. You say something. It's on record. There's a tape of you doing it. And he said, I didn't do that. Yes, she did. Anyway, that's very, so you're over it anyway. We're finished. I mean, we are, he, as I, to quote, whatever it is in Four Weddings of Fiend, he is no longer my brother, he's just some guy I met. Speak your weddings. Yes. Oh, well done!

Thank you. Well, I thought we ought to have at least some film reference. Big fit. At least one. My big fat Greek wedding three is out. Now, I confess, so 2002, the NeoVard loss had a breakout here with Big fat Greek wedding three is out. Now, I confessed, so 2002, and Neavard lost, had a breakout hit with Big Fat Greek wedding, which began life as a one woman play,

and it's Big Hit, Tom Hanks is a company behind it. In 2016, there was Big Fat Greek wedding two, and I confessed that I had completely forgotten about Big Fat Greek wedding two, so much so that I had to go back and look up my review of it to remind myself what it was. This is what I said, I am gonna do thing about quoting myself, but because,

actually, because everyone else that I asked, I'm screening them, I'm sure, they couldn't remember either. So here's what I said, this time, it's the elders who have to tie the knot, providing the poorest of plot excuses

for a rehash of the originals crazy family riffs with added mother-daughter separation anxieties. not providing the poorest of plot excuses for a rehash of the original's crazy family riffs with added mother-daughter separation anxieties. Q, a carry-on carnival of broad racial ticks in which no shoulder is left unshugged, no hairstyle left un teased, no eyeball unrolled or popular national dish uneaten. I chuckled once, but that one laugh was sadly

neither big nor fat. Now, and that's it, beyond that, I have no memory of it. Now we have Big Fat Wedding 3, which in time on a fashion, sends the portgolo family abroad to Greece, to the village of Tula's now deceased father. Shall we hear a… Yeah, shall we? Shall we click this? This isn't a clip, this is the trailer.

Okay. This should set the whole thing up for this. Here we go. A lot has happened since my big fat Greek wedding. Like a never left. My father passed away, and his last wish was for us to visit his childhood village and reconnect with our roots. So, we're having a reunion.

We're called Greeks. Oh yeah. Two, three, four. And by lea, I mean, the whole family. Oh, I'm so lucky. Beijing Soohlarky. Anybody by the name of Soohlarky on this flight. Alright, there we are.

So that's so, we're doing a big promo for this film on great sits radio. I think it's great. Excellent. Have you seen it? No, no. And I'm fully supportive of him. So apparently she promised to take the father's journal back to the village to give to the to the friends of whom she has a photograph. I mean, this is this is just like it was a short plot meeting. You know, we're going to do it. Oh, yeah, he was the we require a one-tillers I think that they said that. So, joining her on the trip is the daughter, who the family is trying to match make with

Aristotle. There is Aristotle. You're not that Aristotle, another Aristotle. There is, although actually, you would have been a more interesting, I thought it was going to maybe one of those Indiana Jones endings, where they go back and there. This is Greek philosophers turning up. I thought it was going to maybe one of those Indiana Jones endings where they go back and there. Greg Floss was turning up. And then there's the brother, he's got something about head of the family.

There's something that he needs to do, which is not very secret. And then there are various arons and cousins and people that are all delivering the pithy life messages. And of course, as you saw from the thing, there was the no popular national dish, unflanted. The camera begins, going all over food. When they get to the village, they find it is deserted. Everyone has left. But the mayor is, get this, a blue-haired feminist. Literally, with blue in her hair, because she is alternative, so she has a blue streak.

So it's like they were calling out across it to, you know, to... Do you smoke a pipe? No. And so, you know, people often say, well, oh, and on that show, they judge a film on its politics. You know, they judge a film on its politics. They talk like that when they say it as well. Yeah. So this has PC themes about tolerance and harmony and alternative lifestyles and about accepting, you know,

fluid sexuality and gender embracing refugees and immigrants. And it has all those things what it doesn't have is laughs or credibility. The tone of it is like a gurning TV soap in which the gag, you know, you have a catchphrase or you have several catchphrases and they just say the catchphrase is over and over again. So that's a Greek word, that's a Greek word, that's a Greek word, that's bad luck, that's bad luck, that's bad luck. You know, somebody's shaving their nose hairs at the dinner table, which appears to go on forever and ever and ever. And then, because they're in a village, there are humorous encounters with goats. And the sum of the performances are so bad that I've been rewatching Twin Peaks recently. I know with your member, in particularly the second series of Twin Peaks,

there are these very kind of rewatched the whole of the first series and then you were in particular, the second series of Twin Peaks, there are these very kind of, you rewatch the whole of the first series and then you were rewatching the second series. Yeah, the first series isn't very long. Okay. It really isn't very long too. That there's these kind of almost theatrically odd performances, but because it's David Lynch and it's Twin Peaks, you go, okay, well, it's meant to be theatrically odd.

And in this, it's just going, I'm not sure if that's theatrically odd or just bad. The plot is contrived to the point of parody. Nothing rings true, nothing makes any sense. Even as the voiceover attempts to make everything ring true and attempts to make everything make sense. There was one chuckle that I had in which one of the characters says, that's not how we do things in this

family, we yell, we scream, we find solutions together using threats and guilt. That's good, that do things in this family. We yell, we scream, we find solutions together using threats and guilt That's good. That's a good line. That's not enough to fill a feature It's it's very not good. It's very very very good very not good. Did the Elgin Marbles get around the Elgin Margles Are they in there? No, Miriam Margles. Is she in it? You've met Mir and Margles. I have.

Have you ever heard Mary and Margles doing a audio book of Charles Dickens? I feel it. She does all the characters. Ah. I'm quite jealous of people who can do that. Yeah. She does all the characters. Anyway.

Yes. Big fact, Greek wedding three, I don't think it should be troubling cinemas for very long. I'm fully insubortive of it. I think it's very good. I think it should be troubling cinemas for very long. I'm fully in support of it. You're completely in support of it. I think it's excellent. And fully, you know, I'm just trying to not get to trouble. We do our own stuff lucky. Excellent.

So my big fact, Greek wedding three, there you go. Movie number one, still to come, Mark. What else are we going to do? Still to come, we will none. None to the none to and past lives with our special guests. Right, and director, Cillin's song. We'll be back before you can say, there are two things a person should never be angry at.

What they can help and what they cannot play to. MUSIC Happy Nord Christmas. Protect yourself whilst Christmas shopping online and access all the Christmas films from around the globe! Plus, when you shop online you'll have to give websites your card details and other sensitive data like your personal addresses. Those websites should already have their own encryption built into their payment systems, but to be

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two-year plan. There's no risk with Nord's 30-day money back guarantee. The link is in the podcast episode description box. Hi, esteemed podcast listeners, Simon Mayo. I'm Mark Kermot here. I'm excited to let you know that the new season of the Crown and the Crown, the official podcast, returns on 16th of November to accompany the sixth and final season of the Netflix epic Royal Drama series. Very exciting, especially because SuperSub and Friend of the Show Edith Bowman hosts this one.

Indeed, Edith will take you behind the scenes, dive into conversation with the talented cast and crew from writer and creator Peter Morgan to the crowns Queen Elizabeth in Mel Distant. Other guests on the new series include the crown's research team, the directors, executive producers Suzanne Mackie and specialists such as voice coach William Connaker and props master Owen Harrison. cast members including Jonathan Price, Selene Daw, Khalid Abdullah, Dominic West and Elizabeth Tabicki.

You can also catch up with the story so far by searching the Crown, the official podcast, wherever you get your podcast. Subscribe now and get the new series of the Crown, the official podcast first on November 16th. Available wherever you get your podcasts. Can I just say, by the way, that any listeners in Scandinavian countries who like to correct me are my very broad brush approach to social democratic politics and government, you know, that's really based on a skimming the economist kind of knowledge. Really, it didn't sound like it was a thorough deep dive.

Thank you. Thank you very much, Deed. So please feel free to correct me if I've got any of that wrong about what's really happening in Denmark, Sweden, and other countries which make up Scandinavia like Holland, for example, and also Belgium. If somebody just started listening to this podcast out of nowhere, they would wonder, WTF was going on. They would, and to which the easy answer just for that one, is that Mark was convinced that Holland was part of Scandinavia. Convinced is a strong word. I just thought it.

But there are many things. I just thought it. But there are many things that I just think. Yes, but there's, crucially, I used to think that cats were female dogs. Crucially, the thought was verbalized. Yes. And it was a thought that should have stayed a thought. Yes.

And that is the lesson that I have learned increasingly doing this show. When things come into your head, you don't need to say them out loud. Yes, that's true. There's a different scene breaking wind and trying hard. Does that work? Scott Thomas says, I'm not sure if Robbie and James suggested feature of who? James? Who?

Let's mispronounce his name. Jammy's Kung. I'm not sure if Robbie and James is suggested feature of film titles your parents have mangled will take off. Did they suggest this parent-in-voted? But my mother once told me she'd enjoyed what we did on our connolly, starring Billy Holiday. Well, you can understand how that might have actually happened.

Scott, there you go, you're giving more oxygen to Robbie and James's idea. And Maddie says, following James and Robbie talking about films, piss pronounced. I interrupt. I'm going to say that was deliberate. I interrupt my grocery shopping to message you, because my mum could potentially win this round with Florence of Alabia. because my mum could potentially win this round with Florence of Alabia. This is now firmly in the family of Anaculac. That has to be a porn movie. There has to be a porn movie called that.

There will be now. This is now firmly in the family of Anaculac, along with her multitude of other spoonerisms and malapropositive. Old Box Cardinary Box, which we deciphered as ordinary cardboard box, but she said, old box, cardinary box, Girex paint, and spaghetti, bollog naked. Now I don't believe that last one, because those two could be porn movies. Who would star in spaghetti, bollog naked? James King. Anyway Maddie, thank you very much indeed. Correspondence at curbadamand.com. Box office top 10 at 16 passages. Yes, which is the Irish X film. Irish X made Love is Strange. This is a really interesting film,

certain Paris about a married couple, same sex couple, one of whom starts having a fling with a woman. And they think it's fine because they've got a sort of, you know, a certain openness in their relationship. But then everything starts to become complicated. This got into a big problem in America where it got slapped with an NC17 rating, because it's got, it's one of the few films in which the intimate scenes really move the story forward. You find out about the relationship between the characters in the way in which

they interact physically. And in America it got an NC17 certificate, which is the kind of commercial kiss of death, so it went out and unrated. This had prompted a discussion that I had about the fact that America has an infantile rating system, which is everyone can see everything except the films that have for grownups in which case, if it's not pornography, there isn't a place for it to go.

There was a very good interview with Iris Axe on the show in your absence, which people should check out. I found that hard to believe. What? The Iris Axe was on the show? No. It was very good. Rachel in Reading, I saw passages at Berlin-Arle in February with an Iris Axe live Q&A. And I've been waiting since then to see it again. I love this film, and it has remained in my top three of the year all year.

I remember thinking how refreshing it was to see actual sex scenes after what feels like years of cinema playing it safe. Rihanna rightly brings this up in her interview with Sachs. It was also mentioned in the Q&A I attended in Berlin. I too struggled to feel much empathy for Thomas instead. I felt for Martin throughout the film in what was possibly one of Ben Wischor's best performances. As Sean says, the film is a study of the destructive nature of narcissism. If Killian Murphy deserves an Oscar nomination for Oppenheimer, then Ben Wischor deserves to be nominated twice for his performance. Ben Wischor is fantastic in the film. I thought it was really good and it was really good to see a film,

as I said, in which those intimate scenes are absolutely moving the plot forward, they are part of the narrative. Number 10 in the UK is Cobb Webb? Which is? No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, I insist. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,

no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no's a drum and a lace score, a Sophia Holtkiss, which I've been playing on Skala, which is very, very fine. Sorry, carry on. So you interrupted just to plug your radiation? No, I interrupted the second. Yes. Thank you. Dear hosting contributor says, uh, Andrew Miller, Esquire, 500 meter backstroke certificate, Prince 2 practitioner.

What's Prince 2? What's that? Is that like number 2? Is that like, if you like substitute Prince? Prince 2 practitioner. Anyway, whatever one is... Whatever it is. That's Andrew Miller. Well done. If that's what you think you need in your life, Andrew Miller is the person for you.

I've just got home from seeing cobweb, and I, a lifelong horror fan, was extremely impressed. The slow menacing creep of this movie was a terrifying sorbet to the quiet quiet... I suppose, yes, like a... Teaster. And a parrot. And a Moose Boosh. Maybe.

I think that's the correct use of the term. To the quiet, quiet, bang nonsense I've endured recently. Lizzy Kappen and Anthony Star are delightful as unhinged parents, but the real star is the house. It's a movie that isn't shy about letting creepy wallpaper take the lion's share of the screen while our protagonist cow is in the corner or allows your eyes to adjust as the camera slowly zooms towards a terrifying hole in the wall. The third act gets crunchy in a delightful way.

The meat was mildly let down by the final minute, but then the same thing. Feel free to redact all of that. Anyway, I don't think that's fine to say. If you're a fan of genuinely creepy cinema, it's a hard recommendation from me, if that means anything. So, as Andrew Miller, the practitioner of the Prince 2's. And bear in mind that on the subject of the quite, quite bang, we are going to be reviewing

the none 2, which is textbook quite, quite bang. Okay, apparently it is a, so that again, please production. It's a project management qualification. Is it? Yes. So Andrew Miller is one of those. Very good. If you want a... If you want your project managed, I can't think of anyone better. No. Andrew, thank you.

Corresponders at codeamay.com. You should give me a jingle if you want your project managed. Andrew Miller. Number nine in the UK 12 in America haunted mansion. Yeah. Eight here, three in America blue beetle. Well, I appear to like this more than anyone else that's been on this show recently.

I thought it was, I don't care about anyone else. No, but I, well, okay. But I did think it was one of the more enjoyable superhero movies, larger because I think it genuinely is about family. And I had gone into it with fairly low expectations and I came out very, very pleasantly surprised. Number seven in the UK. Number eight in the States is the Meg too. And again, Robbie Collin said, he said it should have been called Meg Poo the stench.

Okay. It was so raising the bar. I think it's, well, I enjoyed it. Okay, it starts so slow, then it goes a bit mad, and then at the end it goes absolutely full, woolly-copter versus tentacular thing coming out to see bonkers, and I enjoyed it, and I stand by that. I had fun in the cinema watching it.

Number six is elemental. There was a conversation in your absence when Robbie Collin asked me if somebody wrote in to say had an interview ever changed your mind about a film. And I said, well, actually, I think in the case of elemental it did. Robbie said that he doesn't believe that his opinion about a film has ever been changed by an interview,

in which case he is a tougher man than I. I remember very clearly that your interview with the director of Elemental Peter's song, that's correct, I think, yes, so, did make me like the film more, partly because it was evident that it meant so much to him that it made me kind of rethink my... I still have problems with the element stuff, with the fire water howling lifting it, but I thought that was a case in which I was affected by it interview. And interestingly, the South Korean immigrant experience will be coming up later in the program. It will. It's a very different film, but it's the same subject.

Absolutely. Number five in the UK, number six in the state's teenage mutant ninja turtles, mutant mayhem. Yeah, fine. I mean, kind of fun. And arguably the best of the teenage mutant ninja turtles. I still, I mean, the first one was, it may have been rubbish, but I'll say it again, you know, was the most, it was biggest selling indie movie the time And I remember being in Hollywood when it came out and just being astonished at what was happening And number four in the UK number 17 in the state is sound of freedom. Yeah, so you know unremarkable child sex trafficking exploitation thriller in which

Jim Caviesel outspoken QAn in which Jim Caviesel, outspoken, QAnon advocate, Jim Caviesel, plays the real life figure of Tim Ballard, who makes it his mission to save children from international pedophile rings. The film has been endorsed by the likes of Donald Trump, who did a screening of it at his Bedminster golf club. Of course he did because,

when this was reviewed on the show, people wrote in the first few people you wrote in the show, why haven't you reviewed Sound of Freedom? You're scared to review Sound of Freedom. Well, it wasn't out. And then when it was out, it got reviewed. And Anabond the Sky talks about it in context because you have to talk about it in context.

The film would not be troubling the charts or this program. If it hadn't been involved in, if Trump hadn't done screenings of it, if a bunch of Nutbull right wingers hadn't come out and said, oh, yes, such an important film, such an important film. Just brief primer on this. Trump has spent a lot of his time dogwistling to the QAnon, Nutbull right wing lunatic fringe, who believe in inverted commas that he is involved in a fight against a cabal

of satanic pedophiles. But there's a very fine podcast series which you and I both listen to the coming storm. But if you don't make, you know, if you have any sympathy or a QAnon, I'm not interested in anything you have to say. But if you want to find out about it, do listen to that series. And so obviously Trump doing a screening of the movie was important because he's dogwistling

to the QAnon lot. He'll never say, oh yes, I need their support, but he's dogwistling to them. Yes, I am involved in a fight against this stuff. The director is complained that there are people that are too close to the film that are in politics. Because the film itself doesn't discuss any of that stuff. It's just a, as I said, completely unremarkable and not very good, nuts and bolts exploitation thriller. But the movie wouldn't be here on the show if it wasn't for the fact that it had been involved in all this stuff.

And when Trump is doing screenings, and when your leading man is Jim Caviesel, Jim Caviesal played Jesus in the Passion of the Christ, it seems to become convinced that he really is the Messiah. He has said Donald Trump is the new Moses. And it tells us everything. He's an idiot. He's also a very bad actor because when I look at him,

I can't see anything other than an idiot. It's just, you know, when somebody's personal behavior is so rampagingly stupid, if you have a moment, Google Jim Cavizel's behavior on the set of personal interest. So it's, like I said, there's nothing else to say other than, if in any other world,

this either wouldn't have been really, so it would have gone straight to video because it's been picked up by the right wing and the director complaining about that shut up. Nobody would have seen this film if it hadn't been picked up by these lunatics. It's now being used as a kind of, you know, rally and cry, just shut up and live with it. For example, these are both from our social media. Someone called Love Light, piece 587. I've never known anybody normal, put a number. There we go. Turning a blind eye to child and human trafficking,

you are part of the problem. When someone is trying to show the world what's going on behind the scenes, can't stop the truth, sound of freedom. Yeah, yeah, whatever. Yep. And someone called so many taken names. If the film's rabid fan base

weren't so set on thrusting this film into the culture war at every opportunity, then't so set on thrusting this film into the culture war at every opportunity, then there wouldn't be any need to talk about the politics surrounding it. Criticism of the film or its creators isn't an endorsement of child trafficking. If you're one of these people, I hate to break it to you, but liking this film doesn't make you some sort of moral crusader being against child trafficking makes you normal. Yes. Anyway, hopefully this will disappear very, very quickly. And, you know, I come back to the thing about,

you don't want to give it the oxygen and publicity, or indeed the oxygen and oxygen. Number three is Oppenheimer. Oppenheimer has a number two is Barbie. Yes, I don't know if you want to. Well, no, no, but that's just significant because Barbie is now off the top spot for the first time because it's been knocked off by E. Quyser 3,

which we'll come to. It is the success of Oppenheimer is extraordinary. The success of Barbie, we all know about now, but the fact that a movie that is three hours long, that is large parts of it are people talking in rooms, and it is quite a challenging film. That it has done, as well as it has done, is I have to say, I mean, a real industrial surprise.

It's incredible that it's done as well as it's done. Barbie is great fun and I really, really like Barbie. But I am, as a Christopher Nolan fan, when I came out of the screening of Oppenheimer, I would have put, you know, pounds or penny that it will get great reviews, but it wouldn't be a runaway financial success. And it is.

One of the many, many reasons I'm disappointed that because of various contractual, diary clashes, we, the Cristinolein conversation never happened. But his casting is astonishing. We all know that he likes to work with with certain people. So there was a conversation about whether he should have employed a Jewish actor to play Oppenheimer. But okay, so that's one thing. Then Oppenheimer's wife is Emily Blunt. The first fling he has is Florence Pugh. So, okay, and then Einstein, oh, it's Tom Conti.

The president of America. Oh, he's from London, because it's Gary Olmellos. And all the way through, there must have been some Americans thinking, hang on a minute. This film's directed by Alignment. Have I missed something? Anyway, Oppenheimer 3, Barbie 2, and as he said, equalizer 3 at one. So, you know, reteaming Danza Washington and Anton Fouqois, which is a partnership that in the past, abagged Washington, the best actor, Oscar for training day.

So this time, he's facing retirement, he goes to Italy, Sicily, Yamora stuff happens. It's business as usual. I enjoy it because I think it's, you know, it is absolutely what it is. Here is a lovely BBFC quote, okay. The violence is bloody and brutal, but typically it occurs in sudden brief bursts.

Now, the thing that I love about that phrase is, firstly, that's true of if anyone has ever seen fights in pubs, violence and brutal, but in very brief bursts. I mean, pub fights last about four seconds and they're horrible and nasty and nothing glamorous about them, but it is like, yeah, that's pretty much right. So, you know, they list the shooting stabbing, scurrotting, use of improvised weapons. It's all the stuff that you expect from that kind of, that kind of thriller. And it's well done. It's efficiently done. You

know, it's done with a certain, a certain flayer and the performances are, you know, I like the first two, which I've seen in wrong order. And then you will like, I will do. They were like number three, because you'll be pleased to know it's not breaking any rules. Excellent, that's a very good thing. We're going to be talking to Celine Song very shortly and talking about her extraordinary debut film. Before we get there, podcast to bring to your attention

coincidentally, coincidentally. Made in this very building. Really? Yes, so it is just a co-... It's not coincidences. Made by the very nice people at Sony Music Entertainment with Kathy Burke, it's called Where There's a Will, There's a Wake, and it's a show that invites guests to talk about their perfectly planned funeral

and laugh in the face of death mark. This week's episode is with one of the finest directors to come out of the UK. He is Steve McQueen. You'll hear Kathy and Steve talk about the upcoming film Blitz that Kathy is appearing in. He discusses his new dog, Occupied City, an appointed moment with his father that appeared in one of his films. I actually helped dress my father. Oh, did you? Yes, I went to the undertakers and because my uncle, he was, he wasn't bad, he said, Steve, you should come along, you should help dress your father.

You see how my dad's dead and I'm not holding his hand. But then I realized, you know what, something not elegant about him not having gloves on. Oh, okay. So I thought to myself, you know what, I'm gonna go and get him some white gloves. It's like the idea of him having these beautiful white gloves. So I remember lifting his hand up

and then putting the gloves on his hand. I remember he had an accident at work a long, long time ago, when I saw him, I think I had a phone, and his family was a little scar, and he's fun. I remember holding his hand, I said, oh, that's that scar there. And then I put the gloves on his hand, but it was interesting to touch him when he was dressed.

And yeah, and I put that scene in widows. The seating widows when Viala Davis is putting on gloves on her son. I want to mark that moment with that. It's a very cheap, she broke down during it. It was just extraordinary, but she portrayed it in that movie. But I want to mark it with that visual. Sustit McQueen talking to Kathy Burke and that episode of Where There's a Will, There's a Wake is available now. Worth saying as well, if you go into the back catalogue of our show, there's a program in which Gary Oldman came on and he talked about, because it was the re-release of Nill by Mouth, for which Kathy Burke won the award at Cannes. Kathy Burke's performance in that film is astonishing.

I mean, it is a really, really astonishing performance. If you get a chance to go back and listen to Gary Alden talking about it, it's a really fantastic film, which is very much about fathers and things. He was talking about that. He also came in to talk about slow horses, the TV show which he was filming. And he said in that conversation, I went to America for a day to do up and high. He did. He did. Because Christopher Donald Trump.

I just want to go. I need another Brit. I mean, this is all fine, but I need another... But he did that in a day. I mean, I know he's just got a few lines, but it's still quite an important scene. No, it's a very important scene. It's a very important scene, yeah. He's played an American president, Harry Truman, and he's played Winston Churchill.

I mean, this is an astonishing act that we're talking about anyway. In fact, I might go back and listen again to some of our greatest hits. Yes. Good name for a TV. I just think you're an radio station. Anyway, more in a TV. I was just thinking. And a radio station. Anyway, more in a moment.

This episode is brought to you by Mooby, a curated streaming service dedicated to elevating great cinema from around the globe. From myConnect directors to emerging otters, there's always something new to discover, for example. Well, for example, the new Aki Karri's Mackey film, Fallen Leaves, which won the jury prize it can, that's in cinemas at the moment. And if you see that and think I want to know more about Aki Karri's Macchi, you can go to Mooby the streaming service,

and there is a retrospective of his films called How to Be a Human. They are also going to be theatrically releasing In January Priscilla, which is a new Sophia couple of film, which I am really looking forward to since I have an Elvis obsession. You could try Mooby free for 30 days at Mooby.com slash Kermit and Mayo. That's M-U-B-I dot com slash Kermit and Mayo for a whole month of great cinema for free. Your business has grown fast, from opening your first location to planning an expansion in no time. And with your business platinum card from American Express, you can access spending power and payment flexibility to fuel your growth.

Sarah, the contractor is here with the plans. American Express, don't do business without it. Terms and conditions apply as at mx.ca slash business platinum. Are you attracted to him? I don't think so. I don't know, I mean, I don't think so. He was just his kid in my head for such a long time. And then he was just this image on my laptop. And now, he is a physical person.

It's really intense, but I don't think that that's attraction. I think I just missed him a lot. And I think I miss so. And that is a clip from Past Lives. It's writer and director is Celine Song. I'm delighted to say that Celine is in our studio. Hello, Celine. Hi. I'm going to spoil the interview just a little bit by saying that we both love the film. Okay, in fact, slightly more than that, but anyway,

I think you're understating the affection for the film. We think it's one of the best of the year and we just knocked out by it. Thank you, that means so much. That's it. So you're amongst friends, so. In fact, that's kind of the end of the interview. You don't know, do you really need to solve the none too?

Yeah. So in your words, describe the movie. So the idea for the movie really started when I actually found myself sitting in this bar in East Village in New York City, sitting between my child sweetheart who had come to visit me from who's not a friend and my husband who I live with in New York City. And I was translating between these two men both in language and culture. And eventually though at one point it occurred to me that I was translating between these two men both in language and culture. And eventually though at one point, it occurred to me that I was translating between two parts of my own self and that these two

men know very different sides of me and more than, you know, it occurred to me to make the movie. And I think the movie I think ultimately is about, it's a love story that spans decades and continents. is about, it's a love story that spans decades and continents, and it is about the way that this kind of ephemeral connection that we have with each other, the people have with other people, that endures through so much time and space, you know, against a lot. And that's seen that you're talking about, which is the starting point for this story. That is also the starting point of the film. So you reproduce that, you reproduce that scene. Translating language, I understand, how do you translate cultures in a three-way conversation?

Well, I think some of it is about codes or like how your language works even. I think it's beyond just the actual words themselves. Sometimes it's the level of politeness or what is a thing that's considered rude and what's not. Some of it is a little bit of, you know, the things that I'm sure that you guys can also relate to about like what you grow up with. There's an inside joke that is built into every culture. You know, growing up and growing up in Canada, there's some jokes or a language or culture thing that I'm sure you guys will see and then you guys will be lost, you know, if I'm laughing about it. There is a line after the meeting in which she says, he's so Korean.

I feel so not Korean when I'm with him that that kind of described what you're talking about about the sort of two parts of somebody being amplified by being in the company of that person. When I watch the film and this is it must be terrible when you're a filmmaker that people say well these are the films that it made me think of but I thought you're gonna do it anyway. I'm gonna do it anyway because you can tell me whether you hate any of these. I thought on the one hand I thought you're going to do it anyway. I'm going to do it anyway, because you can tell me whether you hate any of these. I thought on the one hand, I thought it was like, it reminded me of the longing of one car-wise in the mood for love.

I had, there were twinges of the link later before trilogy. I think it's like David Chow's return to soul somehow welded onto Sleeper Sincere Atlet, and I think there's some of Ozu's Tokyo story in there and I also think it's completely its own movie and I was breathtaking by how good it is. Thank you so much. Do you hate any of those? No, I really don't. That wasn't a question really. No, it's more of a... Well the thing is, it's very hard when you see... I mean, I spent half the movie

thinking, I can't believe this is your first feature. And then I spent the end of the movie thinking, don't mess it up, don't mess it up, don't mess it up, don't mess it up, and then you didn't. We were just discussing which we weren't... We weren't discussing it. But the final three minutes of the film, and that's the bit. We were both thinking, is that...

Is that what, anyway, it was perfect? I think that the film was meant to be a knife when it has to finish the gesture. Yeah. So I feel like the ending is the thing that you're driving to. So there are some, a lot of things that, even after I shot everything I was in the editing room, there are things that I was letting go of just so that the sharpness of the ending would work.

So I think to me, it's like, if, if you, I mean, when we were shooting the final three minutes, I think there's so much of that was very's like if you I mean when we were shooting the final three minutes I think that so much of that was very much like you know me running around set being like it's like if you if you met the best of the whole movie is gone we have this right you know just mainly to myself is that what you were doing it's funny because I feel like what I learned in the first film and this to me, making the first movie and I'm sure this is true for most directors, but it really was a self-discovery or a revelation for myself.

It was such a deep and personal thing. I think it was a discovery that I am a filmmaker and then it feels like I... Because you have been a playwright. Yeah, I've been a playwright for 10 years. So I think that I remember a second week into shooting, I remember really going home and feeling like I think that I love that the love of my life. And then you're like, I just know what I'm going to be doing when I'm 90. But if we do this thing again about this isn't a question, this is a statement. It is astonishing to see the level of confidence in a first film.

I mean, I really amazed that somebody making their first feature does it, manages to be as boldly in touch with the medium as you are. And it's lovely to hear you say, I discovered that I was a filmmaker, because we're all sitting there going, yeah, you are, evidently, a filmmaker. Does the coming from the playwright background affected, I mean, the fact that you're obviously right, as that affected the way that you're

a filmmaker? I think without question. And you don't have as many equipment or as many tools at your disposal, but you're just dealing with character story, dialogue blocking, just the most fundamental parts of dramatic storytelling. And then I think that those skillsets and those experiences just came with me. The real challenge in that situation really to me was, you know, theater is a figurative medium.

So time and space moves in a figurative way. And in film, it moves literally. So the thing that I usually talk about when it comes to like what that means to me is if you want to set a story on Mars, in theater, all you need is a room of any size with an audience. And the actor just has to say, we're on Mars, you know, and maybe you want to do a little light change and it's a little red or something. And then you're like, yeah, on Mars today. And that's all you need to do to take the audience to Mars. In film, if you want to set a story on Mars, you have to build Mars or you have to go to

Mars, right? So I think to me, that really was the hardest transition. So, but I think that one of the things that I learned, and this is again, this is the part where it's a little bit of discovery, that I have so much more faith in the audience's patience in silence, for example, or their openness to listen to a conversation. I think that that faith really does come from my work in theatre, because I've been in a hushed room where people are just quietly waiting for the next word to come. I think we heard in that in the clip that we played, there are big gap, I mean,

in comparison with the rest of the film, that was pasty dialogue. Yes, but there is a lot of space that have two theatre-based questions. Martin Donor came on the show to talk about banshees of Inesherrin and he made it very clear as he has done over the years that nobody touches the words that he has written. There's no ad-libbing. And he said in this interview, I am the best writer on set. These are my words and these are the words you're going to stick to. Is that any way the way you were on set? It is totally hard work. Because I remember in when I was first talking to the actors in the film, they were asking about like, you know, how open are you to like ad live and at the time, and

I didn't realize that I was lying. But I was like, yeah, let's see. We'll try things. And then when we were on set, I was like, no, we're going to put you guys in the line. So you and Martin don't know the same. I don't know. You know, yes. And did you pick actors with a theatrical background?

Oh, all three of them have a theatrical background, but I think... This relates to, and I've mentioned this in previous interview, Sean Penn was talking about a movie and he directed Mark Reilens. The movie wasn't a great movie, but Sean Penn said in this interview, you can always tell if you're working with someone who's come up through the theatre. So I just wondered if that was something that you would go along with. I think definitely. I do think that film acting is just so so different. Obviously. You know, the metaphor that I use is that theatre acting is like Buddhism and film acting is like Christianity. So this is going to be cool.

This is going to be cool. So theatre acting. I don't know, I mean, this is gonna be good. This is gonna be good. So, so theater acting, I don't know, I don't know how, well, you guys know Buddhism, but theater acting is, it's a matter of going to temple every day. So, it don't have to go to the temple in a specific way, but part of Buddhism is that you have to go to a temple every day for a month for you to get one of those

wooden beads, right? So, the idea is, it's like, it doesn't, you can walk in, angry, you can walk in, happy, you can walk in, thinking, you know, awful thoughts. But as long as you show up to the temple every day, you're a good Buddhist. So that's really the way that I think theater works. So your performance every day in every moment doesn't have to be the best performance you've ever done. But what does matter is that you do show up every day and that you're able to run a show every day.

And in New York, you have to, if you're doing theater, you have to sometimes do like eight shows a week. And eight shows a week, let's say you have to die in the show. You have to die like it's the first time you've ever died, you know, in the show. So in that way, it's really about the consistency and a kind of way that you can live through it and then be resurrected and live it again, right? You know, film acting is like Christianity in that you can drown all week and then on Sunday, you can go to church. And as long as you go to church on Sunday and you apologize for everything and you just show up and you kill it there

You really show up for that and then you're a great Christian And I think that I think that's true about film acting and that you can have 10 takes right and nine takes could be Unusable but as long as you have the final take where it is Transcendent work then you're an amazing film actor. That's the most original person that I've got. That's going in the end of the year. Mom Taj, can I ask you some nerdy things? Okay, so 35 millimeter.

Yes. And then the film looks beautiful. When the concept of In-Yun, and you mentioned, you know, there's a sort of discussion about what In-Yun means. Am I saying that correctly? Yes. Thank you. And in a traditional movie this idea that souls are somehow been bounty over thousands and thousands of times, what you think is that the film is telling us, ah, well there's a there's a there's an obvious

classic story here and there's an interruption to it. And what the film then does is it presents you with a concept which it then plays with in ways that you don't expect. And they have a discussion about, well, maybe the two men have in you. And I, so I love the fact that all the way through, there is the tension between those two things. And the final part of the nerdy question is, the score is my favourite score album of the year. And it reminded me, and I say this is the highest compliment, it reminded me of, there's one theme in it, when over the montage that happens when they're on Skype, which reminds me of, there's a brilliant composer

called Ako Ishbashi who did the music for Drive My Car. And the score for your movie has some of the, the, it's like music discovering itself and sort of tentatively edging towards something. Can you tell me something about the school? Because I love the school. It's Christopher Bear and... Den Ross.

Yeah. Tell me about the music. Yeah, well, I feel like there's a guy from Grizzly Bear. When I was thinking about composers, I think that I wanted somebody who could have a conversation about slances in the film as much as the score. Because there's so much of the story that happens over the sound of the city itself. And the thought is always that it cannot come any sooner than the very last minute that it's meant to come in, the piece of music. And then I think that the other part of it is, I think this

does reveal my theater background where I just know that there is such room for the audience, there has to be room for the audience to get to the emotional place themselves without music dragging them there. You always want the audience to feel the longing for the music half a second before the music comes. So I think so much of it has to do with the timing itself. And the reason why I wanted to work with Chris and Dan is that because they understand emotional music or music that is very deep and felt in a way that's intelligent and not just the massive wall of feelings.

The 35 millimeter question. Yes, you shot in 35 and it just, the film glows. Yeah, I mean, that was something that me and my DP and I were starting to talk about. And I don't think it, because it's a big headache to work in film nowadays. And it's very expensive. So I think that the decision really did come down to, is it philosophically aligned with the film. And the movie is time made tangible, right?

It's so much of it is about this ephemeral thing made into something that is physical. And in that sort of is the moment, there's a moment where the two characters meet each other for the first time in 24 years. And I think that those are the things that sort of felt right for it to be made shot on film. And your D.P. Shabia Kirchner. Shabia Kirchner. There is a moment where the two men in your movie meet for the first time. And from what I understand, that is the first time that they actually met. Yeah, the actors themselves met each other for the first time

when the characters meet for the first time. And we were rolling and that first take is in the film. And I felt that with the actors that that was so invaluable to do that. Because again, I don't have VFX or fireworks to make the scene work in different ways. It's just all going to have to live on the actor's faces. So we thought it would be worth the extra effort for that. And the thing is, it's really one of these actors who are meaningful the first time. It's because they have been building their own chemistry with Greta, that is outside of each others, and also they had a lot of expectation

that I built for meeting each other. So you're going to see the way that the expectation, the image and the idea of another person, become physical and become tangible. And how are you going to deal with that? And I think that really was the thought behind it. And this really is my very final question. Have you been amazed by the response to this movie? Because people are talking about as markers already made, you know, maybe one of the

films of the year, almost certainly one of the... Oh, certainly, yeah, maybe the film of the year, you know, awards, all that kind of stuff. Are you stunned by that? Or did you think I'm making something really special here? Well, then I'm finished. I think when I was waiting for this movie to have a world premiere at Sundance and I was in the backstage waiting to go on so that it can be shared with the world for the first time, I remember the feeling I had of like and I think it's always nothing but fear because that's the moment where you just don't have any control.

Like making the movie you have so much, you have control of every frame, every sound, literally everything is something, even the title, you know, like everything is something that I can do something about. But then when it comes to it coming out into the world, there's nothing I can do about that, right? And you hope for the best. And you think that you set it up for success. But you don't know, right? So I think, but then I think after that moment, one's, it was shown at the Sundance and it had the response that it did immediately. And I think that from then, I think that everything else has been just like, oh, it's awesome. It's just an amazing thing. And you're doing a Star Wars next year. Yeah. You know. Celine Song, thank you very much, Deva, coming in.

Thank you. Thank you so much. Okay. Well, Celine has now left her studio. I have to say she embraced us both. Well, she offered you with a hug, and I thought, well, I'm not letting you have the director. Oscar-winning director, probably in the future, without Messling in on that. I have to say that was, I mean, not any is it fascinating

film and I think there was a, I hope people agree that was a fascinating conversation but that's the most original thing I've ever heard in any of our conversations that we have ever done when she was likening theatre and cinema to Buddhism and Christianity. Yeah, in terms of the acting. I was right, I was right here, doesn't it? I was just saying it's a very Catholic, very Catholic, pure Christianity, I think. Do whatever you want, but then turn up and do a good performance on the Sunday. Anyway, I think you're fine.

Martin Luther might have described it anyway, but I think you've already gathered that that we both love the film. I mean, you've kind of said a lot of what you want to say. Yeah, I mean, just to sort of to contextualize. So the story plays out over 24 years and it begins with the voice of somebody looking at three people in a bar.

And the voice says, who do you think they are to each other? And they're trying to figure out what the relationship between these people is because one of them is Korean, one of them is Korean, Canadian, immigrant, one of them is Jewish, American, you know, you, anyway. And then the film goes back 24 years. We meet two of the characters, Hey Sung and Na Young, as she is at that point,

if then becomes Nora. When they're childhood friends, and there's clearly a connection between them, but they are about to be separated because her parents are moving to Canada. 12 years later, they meet on Skype Skype and they have, they start, I mean, the conversations on Skype, which are those Skype conversations, the opposite ends of the world, opposite ends of the day, about everything and nothing, but they are separated by thousands of miles.

And then we meet them again, twelve years later, by which point that takes us back to the bar. And so we've sort of seen this journey from several different ways. And clearly what the film is about is several things, one of them being, as I think was so perfectly expressed by selling song, that you are different things. Any person contains a number of different things and the contact with the different parts of your life and the contact with different people in your life actually brings out different people in you. And I go back to that phrase, but he's so Korean when I'm with him, I feel so not Korean

and yet more Korean, which in a way kind of sums up the whole, the beauty of the film. And I think that watching it, you just, you, she said, I discovered that I was a filmmaker, I fell in love with being a filmmaker. There are some people who are, I think, naturally attuned to cinema. And if that isn't one of them, then I don't know what is. Because it's not just the confidence, and it was very interesting what she was saying about silence in theatre. I was having this conversation

weirdly last night, I did an onstage thing with Brian Cox, and there was a discussion afterwards about how silence in theatre is earned. You earn the space between things, and I think the same is true of film, that you earn the right to have those kind of the moments in which you're not having to talk to the audience. And I've the same is true of film that you earn the right to have those kind of the moments in which you're not having to talk to the audience. And I've always said the thing about show don't tell. I think there's so much show don't tell going on in this film. There is one scene, we won't spoil, but there's one scene in which two people don't say anything at all. And the scene seems to go on for an unfeasibly long period of time. But actually, I think you would have picked out

from the conversations about the space. There's a lot of space in this movie, the space between the characters. And it was a COVID film, but that's not the reason. But they are standing a long way apart from each other. And when the Korean friend and Greta meet for the first time, they are standing a long way away from each other

for a long time. And that sort of is almost like a physical manifestation of what you're talking about in terms of the silences that we have. And I think that that, I mean, it was lovely again, I mean, so in a way, so all the one stuff I'm saying is stuff that we've already been told by the director, but when I said I love the score

and I love the score in the same way that I love the, I go, is she about, she's a score for Drive My car. The phrase that she uses is that the audience have to want the music to come in for half a second before it comes in. And that sense of, it's the longing that you need, it's the yearning, it's the, it's the audience wanting something. Didn't you feel that you spent an awful lot of the movie wanting things to, you know, to be manifested. Well, I knew that you would be talking about, I'm sorry.

I'm talking about the music, but I did, it was interesting that she didn't want to use the music to take you to a place. She wanted the acting and the story there. Yeah, to take you there. Yeah, so that the film was kind of, the school was kind of filling in behind the story rather than actually leading the story. And that reminds me of something that, youawcife has said, as I said, I've just backed from Shetland and Bill Fawcife said this thing once that every time I told him that I love the score for local hero, a little part of him, was heartbroken because he had this feeling that you use music when the film isn't doing the job that you put the music

on. But actually what was being described there is the perfect use of cinema music, is that it's not dragging you to a place, but when you're at the place, it's amplifying what's happening, but it's amplifying it in such an understated way. Seriously, this is a major filmmaking talent who seems to have arrived fully formed after an apprenticeship in theatre, and you are going to be hearing a lot more

about something song in future. One final thing, so in nine months into the year, maybe it's the film of the year, but also sit on a big screen if you can. Don't wait for it to come on. I mean I actually did watch it on my laptop because that was the only way I could get to see it. You saw it in a cinema. Sit on the big screen. Make it take up all of your eyesight. Don't allow your, you know, don't be, it is an utterly immersive experience. And it is, yeah. It's fabulous, it's just fabulous. So it's the ads in a minute, Mark. But first it's time to step once again, and I know you've missed this so much into our

laughter lift. Please. The lift of laughter. Here we go. We're a laugh-score to die. Wow, that was a big ping. That was very loud. That's loud as ping.

Mark, we know you had a lovely break. I had a very relaxing one. High point was perhaps when I had a drink with my top 80s Chums musical youth over the break. Do you know why there's such big fans of the A388 Northbound and Cornwall? I do. Yes, obviously, because you passed the Dutchie on the left hand side. Is that my real-life story interviewing the chance of the Dutchive Lancaster is better than that? Anyway, things are not going very well with a good lady, ceramicist, her indoors.

In between top vessel making, she's been spending every waking hour inventing a two-seater anti-gravity vehicle that can work in vertical surfaces. A two-seater anti-gravity vehicle that can work on vertical surfaces. She's driving me up the wall. I thought I'd try and patch things up with a slap-up meal in showbiz North London. It didn't go very well. The food arrived and I said, let's eat. But at home said the good lady, you always pray before eating. That's at home I said, here, the chef knows what he's doing.

That, and that's, there we are. Well done, is that the joke that Charles three likes? That's very good. What's still to come? With the none too. I mean, that kind of is enough to keep everybody... That's right. That's all, is there on the stuff in there? No, it's none too.

And we're back after this unless you're a Vanguardista, in which case we have just one question. A cowboy rode into town on Friday. He stayed for three nights and he rode out on Friday. How is this possible? The horse was called Friday. We do that after the... I mean, I know that's like...

I know that's obviously what it is. Obviously what it is. The whole idea is to leave it as a... One of the only times I've ever I know that's obviously what it is. I know it's obviously what it is. All right, leave this in. It's to leave it as a one of the only times I've ever actually got that. It's a tease to drag people through. With the emphasis on drag. I know, because drag people are just about accessing that fast forward 30 second button.

Okay. And now then, you know, so the idea is to like, to tease them into the next bit. And now you've sort of supported that. All right, so the horse isn't called Friday. Okay. Not until we restart. It might be renamed in the next bit. And now you've sort of spoilt that. All right, so the horse isn't called Friday. Okay. Not until we restart. It might be renamed in a couple of minutes. All right. After this. December 13th, you'll get a free PC turkey when you spend $300 or more. That's right, free only at your super holiday store. Conditions apply, so fly every details.

And of course, the horse's name was Shergar. Oh, Friday, you just broke all the thing. Yeah. And set up and there Is there another joke when he he loses his horse and then he finds his horse and he says, thank God it's Friday or something like that. No, my favorite horse joke and I, if it's Chris Rock, I don't know somebody. It was an American comic who said talking about the song, the America song, being through the desert with the horse. I don't know. You'd think that after being with a horse in the desert for that long, you'd have thought of a name for a horse. This is from Oli. In the last take, Mark asked about

the status of Barnett FC. Oh, yes, I did. The bees and their history. Barnett are, at the time of writing. Top of the National League, the Fifth Division, this is the same league Barnett played in when Mark was growing up in the borough, although the league had a different name then. Who's this email from? I just said it's from Oli. Okay, fine, go. Barnett have had three spells in the football league and three subsequent relegations back to non-league. The highest position was in the 93-94 season when they reached what is now called League 1, obviously the third division. Unfortunately, that summer they effectively went bankrupt under the ownership of notorious ticket-to-out Stan Flashman.

And lost most of their best players on free transfers and were subsequently second best in most games that season and relegated. We Barnett fans have high hopes for a return to the football league under Dean Brennan, but despite our good start, we remain far from favourites with the bookies. Best wishes, Oli. Okay, well I got this from Nick Kennedy, who was the person that I mentioned was the fan. Is he in that band that you were talking about, called Home? No, he's not in that. No, that's Dave Comin, and he wasn't in the band, he just had the album.

Hi Mark, just heard your podcast mentioning Bona FC and my undying support for them. In answer to your query, they're not in the league anymore, but they were a few years ago. I still watch them and support them whenever I can. I wish it was Nick Candy. But they are top of the national league, which is the fifth division. There we go. So, thank you. Glad to be up to speed with them, with Barnett, and also, if you have any more to tell us about Barnett,

then we're very happy to take it. Correspondence at codamayon.com, which is also the email where you can send your what's on, which we'll be getting to after we've talked about the clergy or the female clergy in habits. The nun, too. What happened in the nun one? Quite, quite, quite.

None. I see. Quite, quite, quite. No, that's what happened. Or as somebody, and this wasn't my joke, it was somebody else's joke, somebody wrote in and said they missed a trick. We're not calling it the nongering because it was from the, from the conjuring. It was, you know, the nong was one of the that's good, the things that came out of them. So then they've been studied. It's a whole thing. So,

2018 was the nongering. This is more of the same. There's a bit of the, in the opening, which tells us that we're in France in 1956. That was pretty much as much of the plot as I understood or cared about. After that, there is... Well, should we hear a clip that kind of explains how it is that the action of the none two plays out? Can I eat a pastry during the clip? You can. Okay, go ahead. Sister Irwin? Your Eminence. can I eat a pastry during the clip? You can. Okay. Go ahead. Sister Arryn.

Your Eminence. There has been an incident. A series of them. It's moving west across Europe. But it's origins point to Romania. It can't be. The demon lives. Have you spoken to Father Burke?

Father Burke is dead. How? Color her. You were the only person alive who was dealt with something like this. The church would like you to investigate. Find out what it wants and where it's going next. Now. I'm sorry.

I can't do it. Can't hold on. You don't know what happened at St. Carden. I was lucky to make it out of that. I was lucky I made it out of the none awake. So, pretty much how much more scary could it be? None more scary. That was indeed one of the puns in the review.

So, well done for remembering that. How's the pastry doing incidentally? It's doing rather well. Is it good? Okay, carry on then. So, same as before, Marilyn Manson is hiding in a bunch of shadows waiting to jump out at you. And there's lots of people standing around with their backs turned towards you and then

the people talk to them go, hello, hello, hello, hello, and then they tell me how to go, ah! So, the first half is all... I just like being back at radio too. The first half is dark. Quiet, dark, quiet, dark, quiet, dark. None! Quiet.

I quite like that trailer. That was quite exciting. None too! And then it was the Lispy Bishop. With the Lispy Bishop, there should be no Sherry's of Intrigence. I wonder if you could... And I bet it wasn't color of the ship. Definitely not color. Anyway, so then there's a bit, we'd go a bit non on the run as are two habit tea to. Yes, two non in search of the bad thing,

a search of Marilyn Manson hiding in a corner and then jumping out and sharing none. And then in the final act, if anyone's ever seen Exorcist III, the final act of Exorcist III is stuck in by the studio because it takes place in a cell and it's meant to be a conversation, but it's meant to be a scene in which Detective Kingdom and walks into the cell and shoots the reanimated body of Father Carous. But the studio said, no, no, we need an exorcism. So what happens is a priest, played by Nicole Williamson, turns up and he gets stuck against the wall and then he gets flayed against the ceiling

and then the floor opens up and then a massive pair of rowing oars in the shape of a crucifix come out with a thing of father carous, and then flames shoot and somebody once said that the studio wouldn't have been happy unless Madonna came out and sang a song. Oh no, it was George G. Scott said that. Anyway, so the last act of

the nondering two is basically that. It's just like huge people cat people fly and people catch fire and there's a bit in which there are these vats of of holy wine and they but they turn into water cannons and you know, really, and that will happen. There's also a demonic goat. but they turn into water cannons, and that will happen. There's also a demonic goat. It's had a first in your experience? No, no, there's a very scary billy goat in the Vavich.

But in this, there's a very unscary silly goat. Goats always, as we've discussed before on this program, always very significant when you see a goat. In a film? Yes. Well, yes, it's the thing. There's one scene when they have to find where a thing is, it's a stained glass window with a goat. They have to shine a torch because the goat's eye is light up and it creates

a laser beam, laser beam to point to where the bad thing is buried. At least with the Pope's exorcist, when it went all end of Exorcist III, it was funny and it was kind of entertaining. This, this isn't, this isn't funny, this is, this is, this is, this is nanny. Incidentally, I did an onstage introduction to the 50th anniversary of the exorcist and somebody wrote afterwards that, because I have now become the film's emissary on Earth,

it's not so much the Pope's exorcist as the exorcist Pope, which I thought was a very fine line, I'm going to use that. So, I'm watching the film, I was sitting next to Alan Judd, I was so bored, I was so bored, it was so so boring. And so I just ended up doing non jokes to keep myself awake. Okay, so here they are, non two. I was non two scared, I was non two interested. In fact, I kept nodding off because there was none to see. Thank you very much. I thought it might

be a good popcorn film, but the movie was too boring for snacks. there was none to see. Thank you very much. I thought it might be a good popcorn film, but the movie was too boring for snacks. There was none eaten. The best way to see it would be on one of those loyalty cards, you know, that give you free access to the cinema, you know, when there's none to pay. Although even then you'd want your money back. And I tried to get a joke about to pay

and somebody not having here, but that didn't work out. I arrived early though when I got to the screening. They were doing the sound check. None, none two, none, none two. Okay, actually I went with Alan Jones and he had exactly the same experience as I did. When I asked him how many times he jumped, he went none to complete that game How many more of these do I want none? What the chance is that this is the end of it none two Here all week tip you waitress is that it you actually finished now That's not make a habit of it And there you that's Yeah, okay, shut up

That's, yeah, okay, shut up. The redactor is coming up with non-toothch. Which are of the, they're the kind of jokes that we've got rejected from the laughter lift. Yes. That's where they are. So the review in brief is Pish. Thank you. Correspondence at CurvenaMayah.com.

Let's check in with our what's on team because this is where we basically say, hey, if you have a cinematic thing that's going on that you're connected to, will you know about wherever you are in the universe? Let us know. It's pointless. Yeah, why not? It's greetings on Pluto. Let's expand. Let's not be prejudiced against people who might be, you know, other people on other species who are living elsewhere. The way you said that was very John the Richmond. I tell you that it's come.

I love New England best. I might be prejudiced. Correspondents of Kevin and Amanda come. For example, we have these correspondents. Hello Simon and Mark. It's Jack here from White Screen Weekend in Bradford, a festival of big films, big screens and rare formats. This September, we're screening films like The Hateful 8 and Roma on 70 Mill, The Hidden

Fortress and The Young Girls of Rushmore on 35 Mill, and we're currently the only place in the world where you can still see three projectors in our armour. Search White Scume Weekend for more details and for tickets or passes. This is Dirt and the Gate Movies, and our annual 35mm grindfest is back in September at the Regents Centre in Christchurch, Dorset, where we'll be screening prints of the Terminator repo man house dead and drive in the thing, servant the rainbow street trashed life force, Friday the 13th, 3 in 3D and more. Check out Regents Centre.co.uk for details. At a cinema near here, so that's exactly what we're talking about. Jack telling us

about the widescreen weekend festival in Bradford. Dan plugging in the annual Grindfest Festival in Christchurch. If you have something to pass on, let us know and send your 22nd audio trailer. Or thereabouts really. They were pretty good. Wherever you are. They were pretty good. Correspondents at codermayod.com.

That is... Oh, sorry, bang'm paying the microphone. I was so excited. That is the end of Take One. It has been a Sony music entertainment production. The team behind this extraordinary podcast. Why have you gone into this voice? Lily Hamley, Ryan Amiragulli,

T'Kell, Beth Perkin, Mickey Moves, Hanator, but Simon Paul, who is the red actor? Three. Mark, what is your film of the week? Well, you will be none too surprised. None too. For its past lives. Of course it is. Thank you very much, D for listening. Take two, we'll be with you. Well, take two is already with you. It's already with you. It has landed alongside this podcast. Take three on Wednesday. has landed alongside this podcast. Take three on Wednesday.