Kermode & Mayo’s Take - Emma Mackey, Frances O'Connor, Lyle, Lyle, Crocodile, Emily, Halloween Ends and All Quiet on the Western Front

Episode Date: October 14, 2022

This week Simon speaks to Emma Mackey about her role as Emily Bronte in ‘Emily’ and the writer and director of the film Francs O’Connor. Mark reviews new adaptation of the popular children's book ‘Lyle, Lyle, Crocodile’- starring Javier Bardem, and Shawn Mendes as the voice of Lyle, Netflix’s new German remake of ‘All Quiet on the Western Front, ‘Emily’ - about one of England’s most talented writers who tragically died at the age of 30, and ‘Halloween Ends’ where Michael Myers is back once again facing off Laurie Strode played by Jamie Lee Curtis Plus your correspondence, The World Cup Final of horror films draw, What’s On and the Box Office 10. 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 Somethin’ Else & Sony Music Entertainment production.   Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts   To bring your brand to life in this podcast, email [e-mail] Learn more about your ad choices. Visit podcastchoices.com/adchoices

Trying to escape the holiday playlist. Well, it's not gonna happen here. Jesus' season for a vacation Fa la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la With sunwing seasons of savings on now, why not ditch the cold and dive straight into sun? Visit your local travel agent or... Sunwing.ca Sunfibas Right, well, hello, it's us again. I'm Simon Mayo.

And I'm Mark Kermock. Halloween live show update. That's what people want to hear. They stop me in the street, Mark. What's the update? They haven't had an update on the Halloween live show. As you'll know by now, we're doing a Halloween spook tacular at the end to go at the O2 in London. You want to just do that pun again, because it's always worth it. A Halloween spooktacular. It's kind of been, it's never gets old. It's a 65.

It's at the Indigo Dio II in London on your actual Halloween, which this year falls on October 31st. Which is, it's every year it falls on October 31st. As well as the fancy dress, which you now call Cosplay, the film reviews and Elite Telly chat. If you're in the audience you'll be able to vote in the thrilling World Cup final of horror films. We did the draw for the round of 16 last week, those ties have now been played. Mark, we have the draw for the quarterfinals in just a moment. Excellent. There's just time to hear once more the

truly terrifying sweeper. I just need to point out, because it's not entirely clear. Yes. The voice says Donald Trump. Yes. But it does because it's so processed. It sounds like it's going, whew. Reason I love that is, as I think I probably mentioned before, I had a, when I was at university I had a sound effects record.

Oh yeah, yeah, yeah, yeah. The sound effects are death and horror. Yeah, yeah, yeah. And I used to play beheading sounds and screaming noises and all that kind of stuff. Oh yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah London on Halloween nights itself will have some very special guest mark will be announcing the least scary horror film of all time Which is your favorite so if you have a thought on that one please you can email correspondence at kerberna mayo dot com for your tickets You go to kermodon mayo dot com mark. Where do you go for your tickets? Kermodon mayo dot com. That's kermodon mayo dot com for your ticket. Can I just flag this up? I got a big box This is the shut up box a Halloween

This is this is what it sounds like when you drop it on the desk. Just you. Yeah. Well, no, it's for both of us. I don't think so. It's actually for you. It's not for both of us. So it's a big box from Shudder. Who is Shudder? You know, Shudder, the horror channel. So they say, we hope you enjoy your special Halloween gift from Shudder. And apparently Shudder is the home for Halloween. Just like to say, I believe Covid-19 is a live show, is the home for Halloween. Yes, that's right.

Can I just see what's in for your tickets? No, no, no, no, no. This is like, it's a very elaborate present. It appears to be a bought thing. What is it? All right, there's a big foldy out thing. And then there's, oh, just stuff. Candy corn. It's like candy version of popcorn.

It looks like a, I haven't got no idea what that is. Open that and see what that is. Oh there's chocolates, I don't know why those are Halloween chocolates. I had very nice chocolates at your house yesterday. Thank you very much. They were fab. They were from Chicoco, endorse it. Chicoco, no, she went over her own accord. Oh, this it's okay. So this is a light box, you think. Well, though this I'm keeping This is one of those light boxes that you That's a projector. Is it? That's some kind of I'm keeping this whole thing. It's a reed agro

A reed agro It is a reed agro. I have to say it's a very big box. It's a very big box. And it's all for you. I'm going to turn that into a sign that says something rude. Okay. Well, I think the home of Halloween is us at the O2 on the 31st, but I think the place that Halloween goes for a holiday would be Shutter. Kerberadamea.com, we will see you there. As soon as Mark's put everything away, he's gonna tell us what's coming up on the show.

Oh yes, okay, so coming up on the show, we're gonna review, oh, the final Halloween film, Halloween ends. When you say final, how do we know it's the final? Okay, we don't. Halloween ends, lie, lie, crocodile about singing crocodile in New York. A new adaptation of all quiet in the Western Front and Emily, a not biopic about Emily Bronte. Not a Bible, not really a not at all, without very, very special guests.

Yes, Emma Mackie, who is Emily Bronte and Francis O'Connor, who is the writer and director of that very film. And as if that wasn't enough. A Monday for the Vanguard will be going deeper into the world of film and film. I do that voice when you read that. With another extra take, which case you'll get a bonus review of what is it we're doing? We're doing in the core of the Crimson King, which is a documentary about King Crimson, your favorite prog band. Well, I don't know. What's your favorite King Crimson album?

I don't really have one. I really, sorry, I'm not very useful in that respect. I will also be expanding you reviewing in our feature one frame back, inspired by Emily, we've been asking you for your biographical movies about authors. Although if I can just say this again, it's not really a biographical movie about an author, it's an inventive imaginative film about an author. We'll get to that where we can, we will.

Oh yeah, and also take it, I'll leave it you decide, our word of mouth on a podcast feature. Mark will be talking about something called the author offer currently available to view on Paramount Plus, send your suggestions for elite streaming stuff we might have missed because everyone's got an opinion on stuff we should be reviewing, correspondence at cobanamau.com. If all that sounds right up your cinema aisle, then please do sign up at our premium value extra takes through Apple Podcasts or if one prefers a different platform, then one should head to extra takes.com. And if if one prefers a different platform then one should head to extratakes.com and if you're already a Vanguardista as always we salute you. But the only problem with it is that I say that, isn't it we who are about to die salute you?

I've got no idea. I think that's what it is. I don't understand. That's a big box. Also, which I haven't got. Is it okay to wear cords? Do you know what corduroy means? Yes, I do. Go on. Is the cord duper? Yes, which means? Which means? It's the thing of the king. It's the cloth of the king. So my answer would be yes, it's fine to wear corduroy if you're royal. Otherwise, no. I know. No. No. See, there are lots of people who can get away with it. Where's Anderson? Well, all women can get away with it. Some men can get away with it. But they do look like you keep trousers to me. And you keep trousers? Yes. And so I'm slightly unsure. So I'd be interested to that. Is that because there are channels

between each of the little chords. No. My favorite type of corduroy? Elephant chords. Remember they were the really big, really big channels. I just can't say. Because I need to winterize my wardrobe. And they're not gonna do that with corduroy. Do you not think so?

No. Okay. Javi's cocker. He used to rock corduroy, didn't he? Well, it's a hipster affectation, isn't it? Okay, well I'm sure we're here from corduroy whereas next week dear Largerfeld and Greg Straser is a salmon colored.

Dear Largerfeld and Gucci. I mean, I hesitate to read this out. So, here you go. In this adventure. Right. Heritage listener, second time emailer. Given the news, Jarred Leto had been cast as German fashion designer Karl Langeheldt.

Do you not think? Do you not think? Jarred Leto might think, I should probably... I've done the fashion designer. I shouldn't do that. I've done it. I'm a nominator for it. I know what I'm doing again.

You shouldn't do that because David says, could we please have an early dabble in what Mark feels Jared Leto's accent in this fourth coming by a pick will sound like David Myers. Thank you. So, um, okay. Carl Luggerfeld was born in September 1933. German German. Okay. Unic. Okay. Fairly soft spoken. Well, I don't know what the original

pala Gucci was fairly soft spoken by. I think whatever I say, you're just going to do. Right, this is, this is, so I imagine it's a list of things that the real Karl Lagerfeld has said. We've got a list of quotes from Karl Lagerfeld, which just so this is Gerard Leto being Karl Lagerfeld, if I'm going to close my eyes. Okay, you'll be there. Svet pants are a sign of defeat. You lost control of your life, so you bought some Svet pants.

So you're just your German accent, isn't it? No, it is. Okay, I'll, I'll, I'll ger it. I am a fashion person. In fashion is not only about the clothes, it's also about of change. Sheik is a kind of mayonnaise. Oh, I'm just going to tell you again, is it? Sheik is a kind of mayonnaise in a German accent.

It's a German accent. Mownase. Sheik is a kind of mayonnaise. Is it taste or it doesn't? Oh, hang on, he's my answer. I am like a caricature of myself, and I like a dad. It is not dad, I like that, I think. I like that.

This is like L.O.L.O. is it? I like a mask. And I like that. It's like a mask, and for me, is a carnival of Venice, lasts all your law. Okay, that's probably enough. I can't like a felt as we top that Jared. As we wait with baited breath for Jared Leto's carLugger felt.

Steven Sidney, Australia, dear man and best friend. Yeah. Sadly, this weekend, my family and I had to make the incredibly difficult decision to have our beautiful dog Austin, who was a big glier which I think is a cross between a big one a harrier. Anyway, a harrier jumped it. No, it's been a harrier dog. It's been part of our family for more than 11 years. We had Austin euthanized after a very sudden battle with cancer. As we say goodbye to him peacefully and very gratefully, while he lay in his spot on

the couch, wrapped in his favourite blanket, I realise something, I have watched more films with Austin at my side than with anyone else by considerable margin. Whether curled up between my wife and I to admittedly largely ignore Mad Max, inception all the latest Marvel hit or miss, to give a slightly judgeal eyebrow raise while tolerating some too strange for my wife, releases like Titan, sex with a car, mid-summer or the lobster after everyone else had gone to bed, or to share the happy magic of my two young girls discovering toy story, the Wizard of Oz or ET for the first time. He's been there observing the code and breathing softly. By my count,

with at least two films a week for the last 11 years, we're at well over a thousand films together. So just a quick message to recognise dogs everywhere, as the perfect cinematic companion, and to say thank you to Austin, we'll save your spot on the couch. Do you watch movies with the dog? You got a new puppy? Well, I mean, this is kind of quite close to home because we lost our dog and lose our dog past. It's the thing. About just under a year ago, and we've been having a conservatory built, so we haven't been able to get a new dog because you know, anyway, so we have now just got a puppy which is why I'm so tired. And so at the moment no the new puppy doesn't watch anything. If you sat on the sofa with

the puppy and put the television on she just eat the television. So no at the moment she's on that absolutely constant one because she's a colleague we had a colleague before and then we had a lab or two lab or two. But we haven't had a puppy in 12 years. And I didn't realize that when you're 12 years older, the constantly being down on your knees and then getting back up again, we're very, very tired. We're very, very, very tired.

That can be a grand child. But it's a dog. But with Martha, there was this whole thing with Martha, Martha, the dog that we lost not so long ago. He was just lovely. But she used to watch movies with us, but she would be on the sofa and I would be on the floor. Because we phrased, Martha wasn't meant to go on the sofa.

And then after a while, it was just, I'd come down in the morning and Martha would be on the sofa and she'd look at me just like, well, you don't run the house, I'm not, you know. So it would end up, it would be the good lady professor, her endos, and Martha on the sofa, and I would be on the floor because I wasn't allowed on the furniture, but Martha was. Dogs you watch movies with who sits where correspondents occur in a man.com. So review time, tell us something that's out and interesting. Lion Lion crocodile, live action animation, hybrid adaptation of the children's books. The

thing, this desperately wants to have the charm, the wit, the zing, the jouederville of Paddington. And it doesn't. Javier Bardem is a wannabe stage superstar, Hector Pivalenti, who keeps gate crashing and flunking auditions for a talent show, you know what, they show us what you've got talent shows. He fails to impress the judges

by pulling a bunch of pigeons out of his coat. He then stumbles into an exotic pet store and says, I need an exotic pet for my act. He says it in an accent, which I'm not going to do, particularly after the Jared letter. And he finds in the basement of thing a cage with a baby crocodile in it who is singing along to a pop track of the radio. He thinks this will change my fortunes, but it won't because when he gets the baby crocodile, the baby crocodile will not sing on cue. The crocodile doesn't talk. The crocodile only sings, won't sing on cue, won't sing in front of an audience, has stage fright. They both wind up complicated. They wind up at the home of the prims who is constant wound, scoop and airy and a young

kid, and scoop and airy's dad is not entirely impressed that there is a large crocodile as a clip. There's a clip. 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, 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, still isn't speak together, the two of them learn life lessons. Meanwhile, the downstairs neighbor thinks there's too much noise and wants to get the family evicted. Meanwhile, meanwhile, Hector is still of the opinion they can get the crocodile to sing on stage and then maybe if the crocodile sings on stage, people will realise that he's a crocodile, but he's safe because he's a singing crocodile. So this is directed by Josh Gordon and Will Speck, who are better known for more adult orientated fair like office Christmas party and blades of glory. And who on this evidence, I think, should stick to that because I think they have absolute tin-air

for kid-friendly family fair. I mean, the thing that this did most of the time was it reminded me just how good Paddington is. You watch this and you go, wow, Paul King is a genius. Paddington, Paddington 2, and the forthcoming Paddington in Peru. Is that the new year? Yeah, yeah, yeah. I mean, so I kind of saw my way through La La Crocodile by thinking, look, in a while Paddington in Peru will arrive. And that's good. You remember

when I had, when Clifford the big red dog came out, I had the problem was that the Clifford was too big. I do remember that. Fine. Okay. Well, I don't remember that. Fine. Well, I didn't have that problem with this. It's just standing up crocodile, you know, wearing a scarf. My problem was I didn't even have a problem with that. I just, at least with Clifford, I was interested enough to be troubled that Clifford was too big. In the case of this, it's just like, you know, okay, thank you.

And every now and then, a heavy--bar dem seems to be enjoying himself, which is nice, but it's just that's it, it's a mess. Still to come. I'll be reviewing Halloween ends, the new version of all quite in the Western Front, and Emily, which is about Emily Bronte, which brings us to our special guest. Yes, Emma Mackie, who plays Emily Bronte,

Francis Socona, who wrote and directed the movie, time for the ads, unless you're in the vanguard, which you don't have to wait for anything. Don't have to wait for anything. Don't have to wait for anything. And we'll be back before you can say Neil Warlock. 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 on the safe side you can use a VPN to ensure that all data coming to and from your device is encrypted. Even if you're using an unsafe Wi-Fi you'll still be able to shop securely with a VPN.

And you can access Christmas films only available overseas by using streaming services not available in the UK. To take our huge discount of your NordVPN plan, go to NordVPN.com slash take. Our link will also give you four extra months for free on the two-year plan. There's no risk with Nord's 30-day money back guarantee. The link is in the podcast episode description box. Highest in podcast listeners, Simon Mayo. And 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 Crown's Queen Elizabeth in Melda Stanton. Other guests on the new series include the Crowns research team, the directors, executive producers Suzanne Mackie and specialists such as voice coach William Connaker and propsmaster Owen Harrison. Cast members including Jonathan Price, Selene Doar, Khalid Abdullah, Dominic West and Elizabeth Tabiki.

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. 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 oturs, 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 at Cannes, that's in cinemas at the moment.

And if you see that and think I want to know more about Aki Karri's Mackey, 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 a couple of films, 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.com slash Kermit and Mayo for a whole month of great cinema for free. And we're back unless you're a van Godh East in which case we're nowhere away. No. Do you think it makes a difference if they're black cords?

Could I wear black cords? Okay, well, so when I was younger, I did wear cords. And one thing I remember is I had a pair of black cords that I liked. But here's the thing, I don't know where this happens to everybody, on the tight bit, you know, on your thigh, right? If you're wearing a pair of trousers, when you sit down, the fabric over your thigh, sorry, this is an exciting discussion,

I become slightly tight. And on both my thighs, the corduroy is developed to bold patch. So I'm just asking you about the color. I don't really need to think about your thighs. No, no, but does that always happen with chords? No idea. I have a... The bold patches. Look into the control room. Does that always happen with chords? Do you get bold patches on? Anyone paying any attention? No. Oh, he's doing a poll on chord heroic.

Okay. All right. So I liked that pair of black chords. That's how I got there But I didn't like the fact that they had gray bald patches on them And that was the point in which I decided that all cords were rubbish. I feel troubled anyway We'll discuss this later And streamer from last week the bear which you were talking about. Yes, which is a series which I've started watching Oh, yeah, have you and well, let me read others first. Okay, fungiboo on our YouTube channel I quit my job in a restaurant kitchen after absolutely unloading all my bottled up stress and anger at the owner. It was one of the most cathartic moments of my life.

Episode seven of the bear gave me flashbacks of that. As a cook, you literally live in the restaurant and it becomes your whole world. I think the show portrayed that aspect quite well. It's a good show. Harry Rose says, the bear almost gives me a heart attack every episode. If I sit up too quickly after it, I'm done for.

I'm done for. Harry Stowe's started the bear and didn't stop until the end of the series. Wow. After years in kitchens, it was even more enjoyable. They aren't, here's the thing. They aren't as tame as that in reality though, and are often more violent. Yeah, well, of course, if you've seen boiling point, I mean, I thought boiling point was like

a panic attack of a movie, but it's a similar sort of feel to that. Box office top, and did you know, sorry, I believe this is true. I believe that the Metropolitan Police have a special division related to kitchen crime. I think this is true. I think it was a policeman that told me this because obviously, kitchens are not only pressure cooker environments, they're pressure cooker environments with

sharp implementers and pressure cookers and pressure cookers. I think I'm right in saying that there is a special department in the police and Metropolitan Police for kitchen related crime. Do they have separate departments of police for different rooms in the house, like bedroom crime, lounge crime, sitting room crime? No, that would be silly. Dinner table. No, that's a board game. That's Cludo.

Oh, okay, fine. Box office, top 10, number 21, Vengeance. Jack Henderson said, I thought it was pretty awful. Overwritten, overacted, so much speechifying. No vac, that'll be BJ, no vac. It was obviously very convinced this was a work of genius and lent into those instincts in ways that made it completely pretentious. Magic Ball, I really liked this film, it's a real role of coaster of being sympathetic

to it or not, and that's the real problem. It's original, and I think it's in the end about being a psychopath or at least a very cold-hearted person or maybe a neilist. That's interesting. Made like that by your surroundings, but that's a very personal reading of the story. Okay, well I thought, I think that's a more interesting take than the film deserves.

I thought it was okay, but just okay. Number 10, see how they run, which is really good fun, great performance by Sarsharon and really well written script. I mean, I just, just delight, one of the few films about which the word delightful is absolutely right. Do you hear Lady Madonna when someone says see how they run?

Do you hear how they run? No, I don't, but now I will. Okay, nothing else. Many in's rise have grew at nine. Still funny. Number eight is Pony in Selvan. One. Doing really, really well.

Latest from Mani Ratman, who Mani Ratnam, I always say that wrong. Doing terrifically well follows the life of Emperor, Raja Raja from 9, 7, 10, 14. Currently the second highest grossing Tamil movie of the year, and I think it looks like it's on course to continue its winning streak. Sarah Nia says, Marketsiamant, first time correspondent, Long Time Listener. Scratch that, my partner has just told me I'm actually a medium-term listener

as I've only been listening for three years. Anyway, I'm getting in contact as I just burst into tears when you mentioned Pony and Selvin. As it made me so happy for you to be talking about a Tamil film. I know you talk about Bollywood, but Tamil films aren't mentioned very much. And so it made my heart very happy. I haven't actually watched it yet,

but this is one of the few cases where the fact that Sauraniya hasn't seen the film is still a decent point. I actually haven't watched it yet, but my mum watched it last week and said it was amazing. I tried to dig deeper into what was amazing and she said it was spot on. Thanks mum for the detailed review.

It doesn't really get you any further. It sounds like her excitement for the film as well as from other family members, is that more films are being made about Tamil history. Fun fact for you, Tamil cinema is technically called Hollywood, but not many people know this or use it. Okay, which is, there you go. So thank you for that.

My favorite Tamil film growing up was M. Kumaran, son of Mahalakshimi, which I hope I got roughly right, which is a wonderful heartwarming film about family, would recommend it for some happy crying and excellent songs. Loving the podcast. Happy crying is a great phrase. That's very good. Loving the podcast. Look forward to the day when I transition into actually being an L.T.L. whenever that, whenever that moment. It's entirely in the line of it. I think you can decide for yourself. You can self-identify.

It's in the state of mind. If you want to be an LTL, you are an LTL. So you're no longer there. Then consider yourself an LTL. Don't let anyone else tell you that you're only an LTL. OK, thanks very much, Correspondence. I'm going to use it spot on as my shorthand now. What do you mean it spot on? it's it's spot on that's it

Number seven in the UK nowhere in America the lost king John West says Do you pick the salmon? I forget it because it's the it's a salmon that John was rejects that make make John West salmon the best if John West salmon still exists would like to advertise Of this space get in touch. I'm not done for him, I'm sorry. John West says, I enjoyed the Lost King, which I saw in Dublin yesterday,

Richard III had a very bad press, and that's it. And that's it, but Lost King is it number seven. I mean, I think we both think the same way about it. I think Sally Hawkins is really terrific, and I think it's the perfect role for her. The film does take dramatic liberties as far as I can tell from the stuff that I've read. The portrayal of Lester University is not entirely fair. But the film needs a villain. There

is a kind of irony in the fact that the film is about the villainisation of Richard III and it tells the story of correcting that wrong by villainising Lester University. But it's, you know, it's an entertaining film and Sally Hawkins is really good. I received some insight recently from Lester Academia. Oh, tell me, tell me, tell me. I can't, I'm afraid. Well, you're absolutely right, but it was just a very interesting, well, I don't want to compromise their position in any way, but you're, I'm saying Mark, you're entirely right. That, and your opinion is a very informed opinion.

Thank you. Thank you. Thank you. So last week, when you said, I'm less bothered about that stuff than you, you've now changed your mind on that. That's very good. Number six in the UK, Mrs Harris goes to Paris. Denise Oscar. From Brunees. No, just Denise Oscar. From Brooklyn in New York. Oh, well. Dear Ampersand and Hashtag, first off,

the Paul Gallicos sauce is a short story, not a book. And second, I haven't seen the movie, but I bristle at this story being dismissed as, quote, fluff. Hang on, I dismissed the movie as fluff, not the story. Can we be in? Absolutely clear about this. I dismissed the movie. I haven't read the source as I said.

In the story, Mrs. Harris has been a house cleaner for decades, scrimping and saving her clients, her creatives and professionals, having busy lives in London. And Mrs. H is a coveted trusted bargain. Yes. At a certain age, she finally treats herself to a trip to Paris to buy a curture dress in the 1950s. In the Atelier, the saleswoman and the stitches treasure Mrs. H and craft her

dress with love. And then in London, well, spoilers and so on. Okay. What you begrudgingly referred to as fluff, I remember as a poignant story of craft art and the value of undervaluing of women and women's work. True, I haven't seen the movie. I hope I get to, but please stop dismissing the topic as fluff. If I can just leave you have clarified. If I can just read this, Mrs. Harris goes to Paris. It is a novel written by Paul Gallicot and published in 1958. In the UK, it was published as flowers from Mrs. Harris. It was the first in a series of four books about the adventures of a London child woman,

as the phrase that they use here. So it is described by its publishers as a novel, it may be a short novel, but that is how it is described and the first of four books, and I was reviewing the film. Other than that, carry on. Number five in the UK, number three in the US Amsterdam, William Wood on YouTube.

My partner, Fellas Leap, during this planet boring. I like parts of it. Felt there were some pointless storylines that could have been cut. Tent or agree with Mark. Tim Han says, Taylor Swift is in it. She's a jinx. Oh, she was, of course, in cats, I think that's the... Oh, fine, fine, fine, didn't get that, okay. Oli Owen, Amsterdam was so good. It's so heartwarming to see the scenes showcasing their friendship, so colourful, and it really just lovely. The first six minutes of the film really had me captivated and so happy with everything I was seeing, but as someone who knows a little about history, who knows a little

about history, the unfolding of the story was both a bit confusing and also a shame it took away from the aspect that I quickly attached myself to. But just like the theme of repeating itself, the story managed to loop back into our characters together and I was really pleased by the ending. And many of the moments on the way, a beautiful and inspiring film, everyone was so good looking, it hurts. And Agnietailer Joy's character was perfect.

So thank you, Oli, for that. Amsterdam number three in America. Mrs. Harris goes to Paris Fire. Paperback was 157 pages long. So I'm sorry, I'm just picking up on that. for that Amsterdam number three in America. Mrs. Harris goes to Paris Fiberback. It was 157 pages long, so I'm sorry, I'm just picking up on that. Well, I think as we discussed, the problem with Amsterdam is that there are 12 films

going on in it of which I only liked three. The three that I like, I like, the film has tanked. It has absolutely tanked. Number three, is that tanking? Yes, it's making, I mean, this is internationally. It is making headlines as a tanking. As a tanking.

Cost 80 million and in the US did very, very badly. He's actually got much worse reviews than I thought. I hadn't read any of the American reviews before we spoke about the film. So I'm confused. So it's number three in the US. In the US. In the US. In the US box office, it's three, UK is five. Is that as tanking? It is. Yes, it is not. It has not done well. It's not going to make

its money back. So yeah, it's, and I think the reason that that's going to happen is because it is all over the place. I mean, it is genuinely properly all over the place. So this says, as of October the 11th, Amsterdam has grossed 7.2 million in the US and Canada, 3.5 in other territories against a budget of 80. So yeah, it's not going to wash its face. Now before here, in America, it lessso, take it to paradise, which I, you know, it's from. Number four here in America, it less so. Take it to paradise, which I, you know, it's fluff and I enjoyed the fluff. UK number three, five in the states, don't worry darling. Well, it's a long, it's a much longer movie than it needs to be. It's basically the

Stefford Wives. They've got good production design. It's got a terrific central performance by Florence Pugh. Harry Styles is... But it's just... I've had some people now come to me and say, I saw it wasn't anything like as bad as I expected. And I think that the negative expectation has made it better than it... I mean, child one, for example, went to see it, went, it was fine. Yeah, it's fine. It's fine. It's no more than fine.

And number two here, number four in the states, is the woman king, Elisha Tanya. It's incredibly entertaining. Watch, especially in IMAX for the cinematography and full scale of choreography and battles. It's amazing. The power of film right there. Fred H. and battles, it's amazing the power of film right there. Fred H. A heads up for racists slash sexists who think that appropriating historical inaccuracy as your reason for hating this instead of the real reason, you're not fooling anyone. Oh, that's very interesting.

Ranged out. That's very interesting. For those interested in the history, the Smithsonian channel did a really interesting documentary with Lupita Nyongo, who was originally cast as the lead on these warriors in 2019. It was simply called Warrior Women with Lupita Nyongo. It's available on YouTube, depending on your region. The trip clearly affected her. The whole history is a horror show, not Hollywood at all. It's a proper documentary without any reconstructions or dramatic scenes. It follows Lapita on a trip to Benin, whether Dahomi were, and she visits sites, talks to experts

and meets descendants of both the warrior women and their victims. Thematically, it's all about the difference between heroic stories and real history, about the legacy of both stories in history, and how we should think about that. You can watch it on all four in the UK. Anyway, that's the woman king at number two. I mean, I like the woman king. I think that an interesting thing happened on our YouTube channel, which was suddenly and quite suspiciously, a whole bunch of very, very similar messages started appearing, complaining that Warrior King was whitewashing the history of slavery. One of the accusations leveled against it, but often my people who hadn't seen it was that

it doesn't accept the Dahomey's role in the slave trade. Yes, it does. That's one of the major plot points of the film. Interestingly, when I saw it, a colleague of mine and I saw it and thought one of the things that it maybe problematic is because it does that, so it was very weird, therefore, to see this kind of backlash, which was, well, it doesn't. No, it does. You may not see that in the trailer, but it does in the film. The film obviously takes liberties with history, in exactly the same way as the best picture winner Braveheart did. And I mentioned the best picture thing because looking at variety now, varieties

predictions for the 2023 Oscars, which came out around about the same time that the film came out, has woman king as a front runner for best picture, best director, best actress, best soundtrack for Terence Blanchard. In fact, in all the major categories, it's a big hitter. What does this tell us? It tells us that whenever a film is in the Academy Awards race, suddenly, and often quite suspiciously, a bunch of oddly informed articles against it start appearing. Now, I'm not saying for one moment that anybody who has a problem with the liberties that the film takes with history shouldn't have that problem, it's perfectly fine.

I mean, I took issue with Braveheart. I mean, in my main issue with Braveheart wasn't with me, it was a historical, it was just a load of old rubbish. His history or otherwise, I just thought that film was absolutely breast beating nonsense of the highest order. But I think you need to see a lot of the more virulent stuff that's been leveled against the woman king, like in America, the American right are outraged by the portrayal of black women in the film killing white men.

I think this is just absolutely beyond the pale. And so I just, do you remember when a beautiful mind was out and suddenly there was all this stuff about, oh, you can't, you could, that, because that film's, you know, about a bloke, who's actually a Nazi? This is what happens around Oscar race time. So it's, I thought it was very interesting, Fred H saying, I head up for the racist sexist who think that appropriating historical accuracy is your reason for hating this instead of the real reason you're not fooling anyone is the response that gets my vote. I enjoyed the film

very much. I think Viola Davis is terrific in it and I think she absolutely should be in with a shout for best actress. I think the Terence Banshal score is terrific. It looks great. It's got muscular action and it does approach. I mean, yes, of course it takes liberties with history, but it also doesn't, as it's less informed accusers say, whitewash it. That's just simply not true.

Coming up when we discuss historical inaccuracy in the new Emily Bronte movie, it's not her that has it off with the Virger. It's her sister. So that's the level of the... So, standby, I mean, that's gonna outrage a lot of people. Yeah, anyway. The number one here and in America is smile.

James in, James in basing stoke. I'm curious as to how some people insist the film is about mental illness, trauma and suicide. And how others are insisting it's simply about a curse. Why can it only be one and not both? In truth, George is a blockbuster about a shark, as per the poster and advertising, but also about other things under the surface.

Similarly, Smile is a other things under the surface, similarly. Smile is a horror film about a curse, but also about trauma and suicide. The curse in the film is clearly an allegory for the burden of trauma, and quite a heavy-handed one at that. Unlike nope where the audience had to work hard to attach meaning, I feel that it's barely subtext, more just text. From its opening moments to its final scene, we are steeped in this world and these themes. The protagonist is suffering from PTSD from events at the start of the film,

and as we found out later, something further back in her past. Suicide is very taboo subject, but, quote, evidence suggests that people who are bereaved by suicide can themselves be at higher risk citation the Samaritans website. In the film, people who died from the curse have passed it on. This again feels like a very heavy-handed metaphor.

At the risk of giving Stephen Fry something to Lam Poon, I think the best stories work on two levels. The actual and the metaphorical, and there are many great examples, St. Mord, the Babaduk under the shadow, and John Carpenters, they lived to name but a few and then as a spoilery kind of final icon. Down with the Nazis and so on. Thank you James for the email. I thought Smile was an enjoyable, quiet, quiet, bang horror film that I think works almost well very, very largely on the surface level. Sometimes a cigar is just a cigar. Of course, you can read all horror metaphorically I wrote a PhD on this subject. I'm not saying I know better than you. I'm saying, you know, believe me

I remember writing about the Omen and how the Omen was really about pedophobia in post-Nixonian America. So yeah, I mean I've walked those paths and I absolutely can't, you know, can't deny any of those readings because I've spent a lot of my life doing them. I actually don't think that smile is very deep, but however one cares to take it, that's fine. My problem was the accusation being leveled against smile that what it was doing was being irresponsible with issues of mental health, which I don't think it was. I think it's a fantasy horror movie. If you care to read further than that, then that's fine. And I would refer this incidentally back to the previous conversation about the woman king, which is, of course, it is fine to take issue with any movie on a level below the surface,

below the surface, in the case of woman king that it's entertainment or belief of surface in this that it's a horror film. The problem is when that becomes the defining narrative. And that's the number one movie. So smiley's number one here and number one in the States. That's quite an achievement. Our guest today are actress Emma Mackey, who you almost certainly noticed. Playing Maeve Wiley in Sex Education, an actress, director, Francis O'Connor. Her movie is Emily about Emily Bronte.

It's her directorial debut. You'll hear my interview with both of them after this clip. Look, it does look like rain. I think you look a little bit. It smells like rain. It smells like rain. From now on, we shall call her Miss TV Amelia. I'm thinking of it. This is not what I'm thinking. This is not what I'm thinking of. From now on, we shall call him Miss Celia Amelia. I'm a soul.

No, you're not. Because it'd rather be a soul than not live at all. You're an embarrassment to us. Do you know what they call you in the village? Stop it, Sean. No. They call you the strange one. And you are.

Well, it would be a shame to see you, you become. Every time I come home, I see more and more what you have become me. I won't let you drag me down, I won't. I'm going to make something of this stuff. And that's a clip from Emily. I'm delighted to say I've been joined by Emma Machi, star of Francis O'Connor, it's writer and director.

Hello. Welcome. Hello. Thank you. How are you? Why are we speaking in the choir? I don't know. It's a quiet dark room. writer and director. Hello, welcome. Hello. Hello, Simon. How are you? Why are we speaking in the choir? I don't know. It's a quiet dark room. You're in the dark room. It's an acoustic thing. Okay. You like it. I actually want to talk to you about the sound of your movie,

The Sound of Time, because it's amazing. Before we get to that point, it's not a traditional biopic that you've come up with here. How would you describe it? Francis, is your movie so? I didn't really think of it as a biopic. I really thought about it as his journey of a young woman trying to find herself, and she can't really see herself reflected back from anywhere. And how do you find your voice in that kind of situation? So, and that person just happens to be Emily Bronti.

The approach towards it was really to try and create a world that felt very real and very evocative and a world that was kind of very pleasurable also for the audience to be in. So I mentioned you, the E-Roting director, how long has this been your project? I mean, I kind of came up with the idea about 10 years ago, I just worked on it in between acting gigs

until about five years ago. I thought, oh God, I really need to get my it together on this. So it's not going to happen. And who in your mind was the kind of person you were after to play? Someone like Emma McEy. That's right. That's really.

Well, it was interesting. Emma came in to read for the part and kind of early on in the process. And the casting director and I just kind of looked at each other after Emma's first take and I thought, oh my god, I think we've already found her. And then we kind of met a few other people but we just kept coming back to Emma and I think I don't know how you feel but I think you really had something to say in this role and

I think that really kind of translates in your performance. That's very nice. What do you remember of going for the role? In Treg does the word that comes to mind, I was just very intrigued by it, and intrigued to find out more about this world and this universe and the tone, I found the tone really pleasing

from what I had read. What was the tone? Well, again, it just kind of sparked curiosity. I found it quite haunting, and it didn't feel still. It didn't feel stuck in something, or or in a structure or anything that I'd seen or read before. So it sparked my curiosity and that was already quite a good starting point. And what did you know of the world of the Brontes before this?

I knew of them and I studied English so I had read a few of the books and I was quite fascinated by them, but I'd never really read any biographies or I didn't really know anything about their day-to-day life, so to speak, and watched documentaries and I'd watched things, you know, it was all to play for in a way, I had everything to explore, so it was... Francis, what do we actually know about the Brontese? I mean, clearly this is based on fact, but you have lots of have lots of room for speculation on your canvas, if you can speculate on a canvas anyway. How much do you know for fact? We actually know quite a lot, I think. There's a lot of letters. There was this biography written by Mrs. Gaskell, which is also a very interesting thing in itself. The biography

that Mrs. Gaskell wrote was really like a PR exercise after the bronchies had released these first three novels I think they think that people don't realize is that when weathering heights was published It was quite a controversial novel and it was very damned as a novel And I think we've forgotten that it wasn't she didn't get her first good review till 50 years after she was dead and I think there's something in that novel that really upset people, I think. It could have told explicitly right at the beginning of your film, where is it Charlotte? Yeah. It comes in and says, which is like the starting point of the movie, how did you write this? Yeah. Where did it come from? Which is basically what your movie is saying. But why was it so shocking?

The bronchies in themselves were quite isolated people, and I don't think they really understood the reaction that the books would get. And they just wrote from their heart, and their imagination, they lived in this fantastic landscape. They read the most amazing books. They listened to Beethoven, they read Gothic novels. So they're all these different influences, and then they just wrote exactly what they wanted,

in a way that perhaps a woman who'd grown up in the middle of London in a very polite society Wouldn't have the guts to do because she would know the consequences of that I guess with this film I wanted to kind of reflect that spirit as well I think in in terms of you know like young women speaking from their true voice rather than something that's edited I think I went completely off topic there It's your movie, you wrote and go. You're a lamb.

And my right answer is your first lead. Yeah, yes, it is. Yeah, sorry, I had a little... Did you just scroll through your back? I saw the movie. Yes. All of my movies. My millions of movies.

What did that feel like? Did it feel like a burden? Or was it just a thrill? Oh no, it wasn't a burden at all. No, it wasn't a hardship. No, it was completely thrilling. And because we had such a short amount of time to do it, we had six weeks, is that right?

Yes, it's a huge thing. So there was a kind of an urgency to what we were doing. Remember you sending me emails when you were wrecking and going on a location scouting, and you were saying the wind is burning my cheeks. I'm so excited for you to be up here, you can feel this you know it's true and actually once you're up there you are just yeah involved immediately because it is so powerful and and it just yeah felt right if I like everything had aligned quite nicely really and

just excited to get my teeth stuck into this part. Yeah. There's a lot to do, which was great. Can you both talk a bit about the cinematographer and what difference having Nanu Seger on it? And in terms of the way it was filmed and the way you acted? I mean, I think, I don't know how you feel, but I always feel like whoever's behind the camera, it changes what you do. Emma, I don't know how you felt about Nanu,

but I really felt like she had such, she's got such a beautiful energy cinematographer and it was just a nice environment for everyone to be in and to know that she was looking through the lens Yeah, you must have, I don't know. Yeah, there was a sensitivity there that worked really nicely with with you two on that side of the camera And and I was asked earlier or told that there is so many close-ups of you in this film. And I was like, I don't really remember being like, oh, this is my close-up now, because it felt very fluid and I just have this image of Nannu, kind of almost leaning on her over the shoulder camera,

and it was just felt very fluid. There was never a moment. So do you not have Mark walk into this room, stand here, do the line, then turn? Actually, don't remember. I don't think we did. I think Mark's going for this very gentle, handheld kind of camera work that was going to be very empathetic to where the actor was going. So it was his dance between the camera and the actors.

Even if they were sitting, the camera was always kind of alive to kind of create this feeling for the actors as well as for the audience that, oh, you're really here. We're just documenting this moment and we try to keep it like that on set kind of as much as we could with the time but you know relaxed and never-oddy feeling like they can just beat themselves and just be their real selves and we're just doing a scene. And natural lighting, that's no hiding and I like that I like that there's no sort of

artificial to it it all felt very yeah, I felt like you were really up for that too. Like, we all kind of knew what we were trying to create. Can I ask you about the mask? I'm not sure what you were prepared to tell me about the mask, but when the mask appears, I was thinking, oh, it's almost like a horror movie that we're moving into here. What can you tell us about that?

Because that's a very striking moment where you think, okay, this is not your standard biopin. Yeah, and we kind of have that happen in the, after the first 20 minutes, we kind of set it up like a period movie in a way. You get to know everybody, you feel very comfortable with everybody, and then hopefully we kind of take the floor out and drop the audience down into something different, which is emotional and a little bit frightening. And the idea was that it's kind of got this gothic feel rather than horror. Some people have said horror, which is fine, you know. But it's connected to that gothic emotional kind of presence

that's also in weathering heights. And it's part of, you know, Emily as well, I think, too. And kind of an expression of imagination. So why do you put it on? What's the reason for you putting the mask on? Oh, God. You can remember that part. imagination. So why do you put it on? What's the reason for you putting the mask on? Oh God, we kind of all had our own interpretations I think. I was very clear in my head about what mine was, but actually watching it back and because we did it over a couple of days if I remember correctly and so there were lots of different versions and I love that oscillation between fabrication i'n gweithio'r gweithio'r gweithio'r gweithio'r gweithio'r gweithio'r gweithio'r gweithio'r

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gweithio'r gweithio'r to play in order to talk about grief and to talk about very real things that are extremely traumatic and that they, this pain that they carry with them and the mask in a way as a vehicle or a vector, at least to be able to express those feelings. Emily has, has an affair with the curate, and some of my favourite scenes, there's a lot of it in French where basically you're quite cold about him, but then you have your French lessons and you start speaking French. Now you are how French? Yes. And you were born in Le Monde, your dad is French. And so did you have to sort of speak French badly? Yes, I did. It was great for me. I loved the exercise, but I had to do a sort of a Yorkshire Lilt-speaking French, as if I don't speak French. So it was a'r ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol,ol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol, ysgol,ol, ysg a real confrontation in those moments, but it happens in another language, which I think is amazing. And I think it's so interesting to use that as an instrument and to craft

wakemen and Emily's dynamic through the French lessons. I think it's a great tool. Another reason why Emma was the perfect. Well, I would have cast her if she spoke French on Mark, because her audition was just so brilliant. But it was just so wonderful that there was this double thing that she also spoke French on the market because of her audition was just so brilliant, but it was just so wonderful that there was this double thing that she also spoke French and that, you know, she could kind of craft when she wasn't speaking so good to the point where then she's just like, it's firing and it's excellent, you know. I mentioned the sound, right, at the very beginning of the conversation. It just struck me a number of times that the sound design was fantastic.

From the epic of the incredible amount of hail and rain that happens through the movie, to right at the end, the kind of bronchial wheezing of Emily, which I found as an asthmatic, quite disturbing. But I thought the sound of the movie was terrific. Yeah, I mean, I think sound is the kind of hidden other kind of element of film that, you know, as an audience member, you don't really notice, but it's probably over 50% of any film is how you feel it's an audience member.

And we really tried to play with dynamic a lot. Nivadiri did the sound design for it, and he just did the most brilliant job in terms of, like, when we really wanted to kind of push the sound at the audience, and when we kind of actually took the sound completely away, and how that can be so effective to kind of push the sound at the audience and when we kind of actually took the sound completely away and how that can be so effective to kind of being like Emily's world so that you really feel what she feels. And I know things like breath is so important in a film so we really tried to in those moments and it helps you connect to the actors' emotion I think as well. But then it seems like bird song, there's beautiful birds on up there so we really kind of layer that into the film as well.

Have you actually seen the movie? Yes. Because sometimes I do these interviews and... Like I can't imagine seeing myself just by the way. No, I have seen it, yes. How recently have you seen it? We saw it, I saw it for the second time at TIFF with an audience for the first time. What did you think?

I was so happy, and actually I was pleasantly surprised that we got a few laughs because the film is, I mean, it represents so much and it's quite painful. There's quite a lot of pain in the film. And it said, very kind of emotionally rich, but I was quite happy that there were sort of light-hearted moments. And yeah, unexpected, surprising moments of comedy. Which the funniest must be when is it Charlotte who comes in having read. He's very high and says, oh I see you read it. Yeah, yeah. It's great. It's good. I think too because we do kind of go into some dark places. So I think humour, humour kind of helps kind of like just let put the pressure off the valve for the audience. The audifies thing, isn't it? Yeah.

Yeah. And having written and directed your first film, did it make you never want to do it again, or immediately jump back and do another one? Immediately jump back. I just love it. I mean, it's the hardest thing I've done, but it's just like, it's so expansive to work in all these different ways. It feels like a great kind of next thing to do

as an actor to kind of help the story in a way that's kind of all encompassing. It's all on your shoulders and can you do it? Can you not do it? It's like it's really fun. What do we get next from you Emma? Barbie. Can you get it? Barbie. Yeah, yeah, yeah, yeah, exactly. So that's the next one coming out.

That'll be very different. Very different. And the sex education have you done that already? Oh, filming that currently, yes. Fonding that. Emma Mackie, Frances O'Connor, thank you very much indeed. Thank you, appreciate your time. Thank you so much.

Let's talk to you soon. Emma Mackie and Frances O'Connor, and of course, when you look at the stuff for the Barbie film, Margot Robbie and Emma Mackie, next to each other, as sisters, is perfect. Yeah, astonishing similarities. Absolutely, absolutely astonishing similarities. Anyway, that's to come, but as sisters is perfect. Yeah, astonishing similarity. Absolutely, absolutely astonishing similarity. Anyway, that's to come, but Emily, you like.

I was really impressed by Emily. So the first thing to say about it is, as was made clear in that it is not a biopic. I mean, it is not a biopic in the same way that Andrew Dominic's blonde is not a biopic. It's a film about a search for identity that happens to be based around the real life character of Emily Bronte, but it's not a biopic. It's a film about a search for identity that happens to be based around the real-life character of Emily Bronti, but it's not a biopic. It's an invention. It's an imagined film.

And what I really liked about it was, I mean, it starts by laying out its table pretty clearly with Charlotte saying, how did you write Wuthering Heights? And then the film then kind of goes back into kind of to create an emotional atmosphere, which somehow would seem to be the soup from which Wuthering Heights comes. I think the film has a kind of fever dream fairy tale, which is a word that was actually used by Francis O'Connor. Gothic, I know it was funny where Francis O'Connor said, some people said horror, but yeah, it's okay.

I heard the hesitancy in that, but I'm sorry, I'm gonna say it, there are elements of horror in it. It is a big sort of, you know, fable-like fever dream about creativity, which takes certain details that we know to be correct and then invent the rest of them. I think it's really, it's, the blood courses through the veins of the film. I mean, you see very early on, you know, Emily romping, I keep wanting to say, you know, rolling, rolling, falling green

because it's the, the, the, the cake bush thing. But the early scenes of her and Bramwell experimenting with, uh, with his, uh, his vices, his, his, his, his pupil dilating vices, when suddenly the palette of the film goes into these oversaturated hues. There's an early scene in which she's running the engine, she's rushing her hands against the trees and the moss and the brickwork, which I think it's very tactile. I thought the point that you made about the sound design

was really on the money. The sound design really reminded me of Lady Macbeth, which was a film that was very much about indoor and outdoor, the silence of the indoor in which you can hear breath, and the outdoor in which what you hear is the sound of the wind. Of course, the thing that I loved is the scene that you referred to of the mask,

which for me is absolutely, reminds me of, you know, Connecticut as Olli Barbar, which is one of the scariest films ever made. Because William Freakin said it was a big influence on the exorcist, which is a film about you put on a mask and it sort of becomes a possessing entity. But during that sequence in which it's a parlor game that turns into a sails, that then seems to turn into a ghostly apparition, but then, as you yourself said, later on we're told, no, it was just invention. I think that is a really wonderful scene for explaining how the power of somebody's creative imagination can create a world that becomes real

in the physical world, although it is an imagined world. And in a way, I think that's kind of a way of describing what the film is doing with its mix of history and invention. You mentioned Nanosegler, who shot it, who of course shot Hope Dixson Leach's wonderful film The Leveling and brings such a great sensibility of this wide screen, handheld. It was very interesting hearing about not hitting marks, and bring such a great sensibility to this, you know, wide-screen, hand-held. It was very interesting hearing about, you know, not hitting marks, not blocking in that way. The whole thing felt very, very organic. I thought Emma Mackie was terrific.

I mean, I'm not familiar with sex education. I know everybody else is, but I just thought she was terrific in this. I absolutely bought into it. I was reading an interview in which the character was described as being, you know, almost like a goth. And I like the fact that what it does is it takes someone who we've always thought of historically as being shy and reclusive and introverted and kind of turn that, no, it's a sort of goth thing. It's the fact that I don't fit in. It's a

strength. It's not a weakness. It's not willing to fit in. I don't want to be part of this. The one thing that I do think is really important for me is that there is a sort of, as you talked about this, there's the whole thing about the romance and inverted commas with the new character, who is a real-life character who's the wayp-man who walks in the rain and commutes with God like that. And you've said that historically, he's been kind of connected more with Anne. My feeling about him always was that he's a piece of furniture. It's not to do with him, it's to do with the landscape.

The thing that she's in love with is the landscape. The thing to do with your acting, by the way, when you describe there as a piece of furniture. No, it's not like it's not in the Julian Sands way, or no, I mean, it's that as the character is just, she has this sort of life force, this lust, this joua de vivre, which is absolutely projected onto the landscape.

And he just happens to be in the way of it. He just happens to be the vessel, at least that's how I read it. But I mean, what I really enjoyed was how just lusty and vibrant it felt. And I want to say this as well. Francis O'Connor's performance in AI is astonishingly good. And I, you know, as I've said, when I first saw AI, I just didn't get it at all. And I was sniffy about it. And then years later, I went back and revisited it. And I ended up apologizing to Spielberg. I actually think it's one of his best films. And I was sniffy about it. And then years later, I went back and revisited it and I ended up apologizing to Spielberg.

I actually think it's one of his best films and I was completely wrong about it. One of the stuff that works best in AI is the 40 or whatever it is minutes in which David is with Monica. Her performance as Monica is just breathtaking. And I think that she understands directing actors because she has that in her. And I thought it was great. I really enjoyed it. And in much the same way as I really enjoyed

Andrew Dominic's blonde, which I know is not a comparison that everyone will welcome, but they both felt to me like inventive takes on subjects that we thought we knew about. Excellent, so that's Emily and that's out in cinemas this week. It's the ads in a minute Mark, but first it's time, once again, I think to step inside our rather fabulous and much loved laughter lift. Do we have to? So hey Mark, we continue on a horror theme this week. Could you please do your remember last week I tried to strike up a conversation with a vampire. It went quite well so I invited him home for a nice cup of hot, you know what, but the

smell mug, the smell he absolutely re reaked. He must have had severe gastrointestinal problems. What was his name, are you asking? What was his name? Count Flacziler. He wasn't pleased when I told him I'd bought 51% of a vampire hunting company. That's right, Mark, I'm the main stakeholder. He was a real narcissist to mark completely incapable of self-reflection. I was going to do some more jokes about the house. You're about to roll, go on this week, but they really said, and if you'd like the opportunity to groan at jokes as high quality as this come and join us for our Halloween special do it live which this year mark falls on the 31st of October anyway that's absolutely true what's

still to come still to come we're going to be reviewing the new version of all quiet on the Western Front and in take two we talked about the TV series the offer and Halloween ends and Halloween ends I'll be doing that as well we'll'll be back after you're working from the script. I'm making it up. I think that was obvious. We'll be back after this, unless you're a Vanguardista, in which case your service will not be interrupted.

Trying to escape the holiday playlist. Well, it's not going to happen here. This is a season for a vacation. playlist. Well, it's not gonna happen here. seasons of savings on now. Why not ditch the cold and dive straight into sun? Visit your local travel agent or... Okay time for the horror tron to do its evil work. Eight numbered balls have been placed. I will extract a random ball then another one and Flynn and Hannah will make a note of the ties which will post on our social channels. Mark you can give us a little line on each. A rolling commentary. Thing, actually.

That's what I do. Generally that's my role. Okay, the first film out is film number six, Alien. Oh, okay. Big hitter. Okay. Second ball out, Alien will play the exorcist. No. Okay, well, exorcist needs to win,

but that's okay for any. Okay. Okay, we've got two balls out. I have to say that when Ridley Scott was making alien, he went back and watched exorcist for inspiration. So number five, jaws will play number two, get out. Jaws will win that. Okay, next one is already out.

Okay, here we go. Next match up. Number three, the shining will play number four, the omen. Well, that will be the shining, and that will rightly so, because the omen is, it's not in the same league as the shining, although I think the shining is overrated. But, okay. And I'll last two, the last two left.

Number one, psycho against number seven, the thing. Well, that will be psycho. But that's only eight. I thought you had 10. No, it's eight. It's eight. Okay, fine, so. It's a quarter final. had 10. No, it's eight. It's eight. Okay, fine. So, what a final. So, in that case, it's going to be exorcist versus jaws,

versus, we don't know who's gonna play who in the next round. No, no, but I'm saying that the four that are going to win out of that are exorcist, jaws, jaws, psycho, and the shining. So that's what we're gonna be down to.

But it's not down to Mark, of course. It does complete the draw for the quarter finals of the 2022 World Cup of Horror films. Ties will be played on Twitter on the 17th of October. That's October the 17th. Semifinals on the 24th of October. That's October the 17th. Semifinals on the 24th and then the final live during our show at the end of the go, you know you need to get some tickets. Thank you very much.

Correspondence at Kerberna Mare.com. Next all quiet on the Western Front. So this is technically a remake of the 1930 film by Lewis Marston of which variety wrote of the original. The League of Nations could make no better investment than to buy out the master print, reproduce it in every language to be shown to all nations until the word war is taken out of the dictionaries. It was also incidentally the first best picture winner that was adapted from a novel, that novel being the 1929 book being the 1929 book by German novelist Eric Marie Marker, which sold 2.5 million copies, was translated into 22 languages in its first two years of publication. The story of young German soldiers in the trenches on the Western Front was re-filmed in 79, it was a TV movie adaptation

that kind of largely forgotten about. So this new production is a Netflix-backed German-based film directed by German filmmaker Edward Berger from a script, and I hope I'm saying that right, in German, B-E-R-G-E-R, which is a Berger or Berger. Berger. But from a script by Ian Stokle and Leslie Patterson. The director says, quote, it is a physical, visceral and very modern film

that has never been told from my country's perspective. It's never been made into a German language film. We now have the chance to make an anti-war film that will truly touch our audience and the film that they've made is Germany's entry for the best international feature Oscar. So in cinemas now it's on Netflix from the 28th. Although I would say there is a very good reason to go and see it in cinemas because it is visually very, very impressive and overwhelming and utterly grueling. The story, as always, is, you know, we see a group of young men filled with the desire to, you know, fight heroically for their

country, they have dreams of how it's going to be. They have no idea that the uniforms that they're given are uniforms that we have recently been patched up from the bullet holes because they're from people who have already died in the watch. The film begins with this quite horrific depiction of exactly that. They arrive at the Western Front, which is, as anybody who knows their history,

as pretty much as close to hell on earth as you can get, mud, blood, rain, pestilence. Millions died in a conflict in which almost, you know, nothing was achieved. As everyone always says, you know, I mean, if you, this relates to Blackadder and everybody knows this as the kind of depiction of the Blackadder view of history has been challenged. No, I understand, but, you know, but it's, I don't think anybody would say that that wasn't anything other than utter hell. Like 1917 to which it bears some similarities, it uses the techniques of modern cinema

to put us right there in the middle of what's going on, to see the conflict through the eyes of a fresh-faced youngster who is surrounded by this absolute, you know, astonishing set of horrors and catastrophes. Meanwhile, from the safety of their dinner tables and railway carts, leaders make decisions that have life and death implications for the cannon for the troops, even as the hour of the armistice draws near. Here is a clip, if you're regular this, you'll know that we are, dass wir eine Besitzung, dass wir die Klip-Schnitte,

wenn es auch in den Langehüsten nicht in Englisch war. Hier ist ein Klip, der neue German-Version von Allquart in den Westenfront. Vielleicht sollten wir zurück nach Sparmen und mit dem Generalstab zu beraten. Und was versprechen Sie sich davon? Selbst wenn wir doch noch entgültig verlieren,

stehen wir auch nicht schlechter dar, als bei dieser Unterwerfen. Die Sofin paar 100.000 Totem wäre das Lotringbesetzung des Reins, Kanon, Lokomotiven, Waggons. Das ist die totale Kapitulation. 250.000 Amerikaner langt ein jeden Monat in Europa. Marn, Kantinier, Kambri, alles von Ohren. Was uns jetzt noch von einem Waffenstil stand,

ist nun auf falscher Stolz. Wir werden nun die Super auslevelnisi und ihre Feldhörn uns eingebrockt haben. Aber wenn sie lieber abreisen würden, bitte schön. are dying every minute and yet somehow they're not managing to come to a conclusion about the piece. I think the reason the film worked is that actually it's the stuff in the trenches, it's the the kind of the ground level view of war is really, really well realized. There are a couple of moments of utter horror. There's a sequence involving tanks which is just quite breathtaking and I think does need to be seen on a big screen. There's a fantastic score by Vulcan Bethelman which I think is really affecting and really

kind of gets it's, you know, it's under its fingernails in terms of the grit of the drama. Some of the scenes are, you know, genuinely judging. This, I should say, it is harrowing. I mean, it, of course it is and, and it should be. Um, but it's, I thought it was very well made and I think it, you know, it, it is a story that has been retold over the years because it is, it is probably the definitive story of, you know, War is Hell. And, uh, and I thought this is a very visceral adaptation. I think it is worth seeing in the cinema because I think visually it deserves the big screen. Okay, let's do what's on now. This is where you email us a voice note about your festival

or special screening from wherever you are in the world. Send it to correspondents at kermetermayo.com. We're starting in Canada. Hi, Mark and Simon. It's David Abuse, the director of the 8th Annual International Event, Cooper Abad, as Film Festival and script competition. Live events going October in Canada. Magic and Snake Burlesque for an experience that you can't download. Information at vbaff.com. Tickets at RioTheatre.ca. Hi Simon and Mark, this is Danny Stack, the co-director of FutureTX, the new sci-fi family film that's coming to Odin Cinemas on the 21st of October. It's about two kids who get their first mobile phones, but they receive a call from someone who claims to be from the future. And he needs the kids help if the world is going to survive.

So please check it out. It's Stars, Griffrey's Jones and a couple of new young stars. Thank you. All right. Thank you, Danny Stack. And before that, David Abousafi, I quite like the sound of the international badass film festival. I know.

Yeah, yeah, absolutely. Let's go to Vancouver. I quite like that idea about getting a call from someone from the future. That's very good. Yeah. Send claims to be from the future. Exactly. You send us your 20 second audio trailer please about an event or a special screening wherever you are in the world and send it to correspondence at curbadamoe.com and you can give yourself a shout out. A shout out. A shout out.

Now, there's nothing more depressing than a bus going past with, instead of us, instead of our happy faces, a little poster declaring that Halloween ends is about to open. And I just thought, as soon as you see the word ends and that you go, probably not, it's probably the beginning again. Anyway, what do you, so, I can tell from your body language that this is not going to be a rip-roaring success. Okay, well let's just do the background. So obviously, you know, John Carpenter's Halloween is the

thing that kicks off the slasher cycle that then gives you Friday the 13th. Obviously it refers back to, I know this thing's like Bay of Blood and Mary above beforehand, but it creates that, you know, to, I know this thing's like Bay of Blood and Mary above before. But it creates that, you know, end of 70s, beginning of the 80s, big slasher hit cycle. It's incredibly important. It has a string of sequels, which are, you know, increasingly not important. Halloween II, which, in which carbon to is involved in script writer,

so there are arguments for that. Halloween III season of the witch, which is completely standalone, then a whole bunch of other stuff, return of Michael Myers, blah, blah, blah, blah, nobody cares. Then we get things like these weird reboots, we get Halloween H2O, which kind of overrode four to six,

and then you had the new versions, which was the David Gordon Green one, which when that happened, Jamie Lee Curtis was interviewed by you and we spoke about how surprisingly what had happened was that they had reinvented the Halloween franchise quite interestingly and turned it into a film about PTSD.

Yeah, and Jamie Lee Curtis was now very much at the sort of, you know that the helm of it She was very essentially involved the production hooray hooray hooray Then it turns out oh well, it's the first of a trilogy and as you said no, no it ended trilogy the trilogy of his American trilogy, okay, you said no it ended Halloween ended did yeah, and then I said no there's gonna be two more and so then There was Halloween kills which effectively undid all the good work of the original Halloween, Jamie Lee Curse was in hospital,

Michael Myers not dead, so all going off again blah, blah, blah, blah, blah, blah, nothing scary, nothing interesting, nothing made any sense. So it was like one of those return of Michael Myers movies. Now Halloween ends, okay, so we start, well, there is a very interesting opening sequence, baby sitter in Haddonfield, having to look after an annoying kid who won't go to bed, wants to watch very interesting opening sequence, baby sitter in Haddonfield having to look after

an annoying kid who won't go to bed, wants to watch the thing on television, think John Carpenter, blah blah blah, horror tron. Opening sequence, something happens that I didn't expect. And wow, okay, I'm there, boom, let's do it. And then 10 minutes in, it's just back to the usual stuff. You know, Laurie's no longer in the bunker. She's now living in a house writing about overcoming trauma,

kind of got whiplash from the ways in which she adjusts to all this stuff. Michael is still around, because he really is completely impossible to kill. The strips said very clearly, don't give away any spoilers. So I won't, what I'll say is this time, they invoke the Nietzsche, you know, he who fights

monsters should see to it. This is not going to become monstrous. And when you look long into the mystery, this looks into you. Yeah, right. So there's some half-hearted attempts to kind of add another layer of meaning to, you know, just before you get back to the stuff with a bloke with a knife running around cutting people up in odd ways. And there's a sort of thing about, you know, monsters are made by being badly treated. And there's a sort of thing about monsters are made by being badly treated. And there's a sort of thing about Carrie and Carrie's mum going on in the background, which feels very, very derivative.

Here's the most important thing. Some of it is gory. The opening is good. None of it is scary. Worse, none of it has any tension whatsoever. And the key thing with the original film was this. It, you know, all the stuff with the panaglide and the, you know, the opening sequence

that were going around the house and looking in the one, all that thing in the first reveal, the first reveal of the young Michael. Wow, you know, it's so, and it's not to do with the amount of gore that's on screen, it's all to do with tension, it's all to do with hitchcock, it's all to do with, you know, let's make it well like this. This has nothing, nothing, nothing, nothing of that at all. It's got a little short film at the

beginning, which is an opening sequence, which is like, hooray, and then it's just plod, plod, plod, plod, plod, explain, explain, explain, explain, plod, plod, explain, explain, more stuff, more stuff, more stuff. Oh, that's interesting, bit involving tongue, joke about record, blah, blah, blah, blah, blah, kill, kill, bang, and I was so, so, so, so bored. It's just, ploddingly tedious, and there is also the whole kind of Halloween ends. Does it, does it though? Does it? He's, you know, I haven't seen it.

No, it doesn't. Here's the worst thing. David Gordon Green is now, even as we speak, working on a new version of the exorcist, an exorcist recall, a sequel which reboots the same way as Halloween, for which Ellen Burston has already shot her part and reshotted, I believe. Burston did it because she wanted to fund

a scholarship program for the actor studio, and she said, I'll do it if you pay me that amount of money. So she didn't do it for love of the thing. And they've already announced that this new version of the X-Tis is going to be the first part of a trilogy, a new trial, and it's like, what the, what is it with the three, you did it once, you got away with it, you did it well with Halloween, okay?

It's possible, and this is a treat for people who are watching rather than listening. It's possible that the new exorcist will be interesting It's possible that they'll find new ways of breathing life into the story It's possible that it might actually be good But three no no no no no no, no, and this really felt like, okay, you got away with it once. The second time it was dissonant, now I'm, you know, I'm not angry, I'm just fed up. I'm just fed up and I'm so tired.

I'm so, so tired. We have only a few seconds away from the reveal of film of the week. I think Halloween ends still stands a chance. I've got a lot of money on that, so we'll see what happens. Stand by. That's the end of take one. Production management general, all-round stuff, Lily Hambley, cameras, Teddy Riley, videos on our tip-top YouTube channel, Ryan O'Meara, and Sancha Panzer. Studio engineer

was Josh Gibbs. Flynn Rodham is the assistant producer, guest research is Sophie Ivan, Hannah Tulbot is the producer and the red actor is Simon Paul. Mark, what is your film of the week? Shall we say it together? On three, one, two, three, Halloween ends. Emily. Oh, Emily. Emily, Emily. Emily, Emily. Good old hot chocolate. Next week, Martin, Matt Donner is on the show, talking about about his new film The Banshees of Inner Sharon. Thank you for listening. Our extra takes with more reviews and a whole bunch of extra groovy stuff.

There's great stuff this week incidentally. There's a quarter of the crew in Crimson King and the offer. Available on Monday. Thank you for listening. you