Kermode & Mayo’s Take - Jerry Bruckheimer, Nocebo, The Silent Twins, Rimini, & Anonymous Club

Episode Date: December 9, 2022

What is it like to work with Tom Cruise? The legendary Hollywood producer, Jerry Bruckheimer, pays us a visit to tell all and to speak to Simon about the making of ‘Top Gun: Maverick’. Mark reviews ‘Nocebo’ - a new mystery/psychological thriller starring Eva Green and Chai Fonacier, ‘Anonymous Club,’ a documentary that gives an intimate portrayal at the life of beloved singer Courtney Barnett, ‘The Silent Twins’ - a biographical drama about the twin sisters June and Jennifer Gibbons, who were institutionalized following years of silence as teenagers, and ‘Rimini’ - The latest drama by Ulrich Seidl about a once famous Austrian pop singer who returns home after the death of his Mother. 12:53 Rimini Review 24:05 Box Office Top 10 38:37 Jerry Bruckheimer Interview 54:11 Anonymous Club Review 58:28 Laughter Lift 01:03:48 Nocebo Review 01:07:41 What’s On 01:08:46 Silent Twins Review Plus your correspondence, the Box office Top 10, What’s On, the Laughter Lift and much more! TIME CODES FOR THE VANGUARD (apologies we can’t put out time codes for those who don’t subscribe as the ad times fluctuate) 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 and follow us @sonypodcasts 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 It's come out and mayoms take, it's come out and mayoms take, take one take too, it's up to you, it's come out and mayoms take, hey they told us it would be alright and this was not the end, but like a Phoenix they would rise we couldn't tap her head, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm not going to be a good man, I'm us it would be alright and this was not the end And like a Phoenix they would rise we couldn't have her head Somewhere devastated, some took to the streets

Others hit themselves away and cried into their tweets It's come out and mayors take, it's come out and mayoms take, take one take too, it's up to you, it's come out and mayoms take. Hey, Simon's been adapted, TV is so much more, Mark has had his hair near off the reason why he saw, he's in his red hair jump on the one that he was off the wife I signals very good but I've been out his law It's come out and mayors take it's come out and mayors take take one take two it's up to you It's come out and mayors take it's fair to say that Kenohara's Do you it's come out and now you're staying? It's fair to say that Kenohara's Whasaling jingles are getting longer.

They are, but also better and... That's very good. Bigger. Thank you, Ken. And you know what that is, that you, what we just heard. Free music. That's what, because we can't play music.

Oh, that's right, because it's... If you write it and then send it to us, then we can play it. If you write it, we will play it. Yes. And I did know the minute he said Rans, I thought pants is coming, isn't it? That is gonna work.

Anyway, Ken says, this is Kenahara who has sent us a, Wast-sailing songs for many, many decades. Many decades, I think. I didn't, I didn't read his email, I just remember, it was great last week when I said the Wasail thing. And you said, we haven't done that for a while.

I go listening back, that sounds stupid and it sounded in my head when I said it. So Ken says, once again, the Wasailers have put together a wee round up of the year and indeed the new format, which is no less supercalifragilistic XBL adotias. The Wasailers look forward to the festive treats you have in store and hope that you can find a couple of minutes of airtime to play out later. Diddy, we're all preparing for our annual festive favorites here in the O'Hara House. We just want to hear Simon Scottish accent. I don't know that. I mean, that, just saying who? I was just saying nobody wants to hear your

Scottish accent. Also, just saying who's, it's actually, that's Lord rocking him's 11. But there's a moose loose about this who's? Yeah, anyway, that our rare exports, Crampus, and of course, it's actually, that's Lord Rockingham's 11. But there's a moose looser about this hoose. Yeah, anyway, that a rare exports crampus, and of course it's a wonderful life. If I need to marvel at the Oscar-winning snow created by Russell Shearman, the special effects guy, who I didn't know until I looked up, died when he was attacked by a shark whilst filming underwater scenes for a movie called The Shark Fighters. Did you know that? I didn't. No. There you go. That's Russell Sherman. Could you please give a shout out for the

Prestwick Friends of Broadway who are having a pop-up cinema also showing it's a wonderful life. The group are being funded by the Scottish government to restore the Broadway cinema and bring it back to life once again after it darkened in 1976. Take the Tonkendam withordro wearing blue-haired Nazis and up with world peace. I mean, that's not what that controversial is. Merry Christmas to your bad selves and all the team.

Thank you, Ken, and thanks for composing and recording another song for us. Thank you very much. And how brilliant to hear that on the morning that Herschel Walker lost, and the Trump organization was found extremely guilty at all charges. The only thing, as you always think, I'm a New Yorker, is how come Herschewacher was even there, how come he was even in the contest, how come he didn't lose by more because he was so inept and utterly hopeless on every single measure. But anyway, to be discussed in take seven.

Yes, exactly. Anyway, because we're counting down to Christmas, what we're gonna send in a wastailing tune as well, we're gonna have something for you every single day over Christmas. I didn't wanna make that sound like a threat. This is a promise, this is a delicious thing to treasure. Take one, 23rd December, Ryan Johnson and Daniel Craig are gonna be on the show as a major thing.

Take two subs only. Christmas Eve special, including Mark's views on the most under watched Christmas films, also discussion around the best films of the year. Christmas morning. This is Christmas. Christmas morning. You can sneak off and listen to a special Christmas edition of questions, schmessions, and it's also the start of the 12 takes of Christmas.

This obviously is just for the subscribers. Boxing day to accompany the bubble in squeak and turkey sandwiches Mark will run through the worst films of the year. December 30th highlights of the year show alongside a tribute to the work of those we have lost in 2022. And an exclusive interview with a top Hollywood star. Take two for subscribers will include a preview of all the big events from the world of film and film adjacent television in 2023.

Do you think that's enough? I think that's more than enough. I think that's, it's like more Turkey. No, no, I've had more than enough. What do you have instead of, do you have Turkey? I have Turkey. Do you have all the stuff? Because, trimming to the best bit.

Yeah, exactly. That's what we hear. We basically have trimmings. Bread, sauce, past necks, sprouts, peas, roast potatoes, all that kind of stuff. And then we have a little, a horse radish, horse radish I love. And we have a vegan thing that comes in a tube

that sort of looks like it might be vaguely meaty. It isn't really but you pour gravy all over it. That sounds like a treat. Vegan thing that comes in a tube that looks vaguely like me. Happy Christmas family. My word. Because we know how to enjoy ourselves. Anyway, I should apologize before we go any further about the state of my voice But it's been bad. It's been bad for a week. And I did one of those innocent social postings on the social channel that you don't use anymore, in which I just said, are there any coffemates that actually work? And it got like 500 responses.

Well, a few people would say, yes, you should definitely try this. A lot of pharmacists and GP said, no, nothing. Nothing happens. You can take things to soothe your throat. No one disputes that honey and lemon and those kind of things will just soothe your throat. Isn't there something in an expectorant? Doesn't an expectorant? What's herable word? I know, but doesn't it actually help because it does bring up,

is that always that rubbish as well? I think I'm not medically qualified, but in general, I've got all these years thinking you were. I have come to the conclusion that all cough syrups are rubbish. Okay, and they just don't do anything. They might make you feel okay, but you know, right, yeah, momentarily.

Anyway, so I apologize to the state of my voice. But you do like to, momentarily anyway, so I apologize to the step my voice, but you do like to That what's the lozange? Oh focus on who's still who still haven't been We wear focus on t-shirts. It's gonna need something drastic I think to okay. I've got some and need some fairly shortly I suspect but anyway when you hear the piercing of the tin foil that'll be me Going should also point out to listeners that after you heroically recorded the show last week, you went off to do great hits radio and your voice died. It did. It did. It just came up the ghost. It tipped over that point where people go, okay, that sounds quite sexy to go home. Nobody wants to be in the same place. And then you were

off sick probably. So well done for doing take. I am here, but it's his early days. You know, we're just like 10 minutes in. So who knows where we're gonna be by the end? No, I meant last week. Oh, I was doing it last week, because obviously it was, we had spoken for so long that by the time you got to greatest hits radio,

your throat was going, I'm sorry. Also later, there is the longest email I've ever had to read out, which has been shortened from last week. And I still don't know if I'm gonna get, I'm gonna have to do it like in serial mode. Okay. I have to do one paragraph every week for the next six months.

What are you going to be doing? When I'm not talking, what are you going to do? You know, I'm on the page. I've actually got the script in the right incredible. I'm going to review Rimini, the Silent Twins, an anonymous club and the C-boy. On the subject of, can I just ask you quickly, an anonymous club, are you a Courtney Barnett fan?

No. No, I just don't have an opinion. Okay. Why? I'm a huge Courtney Barnett fan. In our fan, Courtney Barnett walks on water. Who does he play for? She. There you go, I'm just showing you.

That's okay, fine. That's it. I was just trying to think of something which would indicate how little I'm now. You're an animal and well done well done you do it brilliantly. Special guest is Jerry Brookheimer. I mean, what can I say? There's nothing else that you can say. It's, you know, that name that's been on all those movies over all this period of time. You know, every film you've seen in the cinema at the beginning, it's a Jerry Brookheimer production.

Him. Yes. So we will talk about the year of Top Gun Maverick. Top Gun Maverick. And he tells us about creating some of the biggest films of all time. I'll be Jerry Bruchheimer later. And as if that wasn't enough. On Monday for the Vanguard, we'll be going deeper into the world of film. And that film adjacent television. Now they're actually taking a bonus review of... Er...

A Muppet Christmas Carol, which is now back in cinemas with the missing song put back in. Why was it missing in the first place? It was taken out originally for the original cinematic release and then it had obviously you have been able to see it on home video but they lost the stuff. Anyway, it's now been restored and now it's back in the, you know. Okay, and there'll be more with Jerry Bruchama. Also expanding your viewing in our feature one frame back inspired by Nosebo, we're going to be discussing and recommending mysterious illness movies. And in taking the leave of you decide I would have mouth on a podcast feature, Mark will

be talking about the animation My Father's Dragon, which is the new noratumi animation. You can send your suggestions for any elite streaming stuff we might have missed to correspondence at www.commonamer.com and given how much stuff there is out there, obviously we're gonna miss an awful lot of it. Please do sign up for our premium value extra takes through Apple podcasts, or if one prefers a different platform, you should go to extratakes.com,

and if you're already a Vanguardista, as always, Mark will say, we salute you. All I went all basically then, we salute you. Mark Nerd bassy then. We salute you. Mark Nerdin. Simon Mark, you may recall a few months ago, I dropped you an email casually referring to the existence of the 1980s TV movie based on Barry Manlowe's earworm of a hit that is Copacabana. Yes, which I have a copy of.

I haven't reviewed it yet. Copacabana which rhymes with Indiana. Indian. I recall Mark being particularly excited about this. Yes. A couple of weeks ago, I was visiting the newly designed musical theatre wing of the V&A. All very interesting and not at all surprising. As I was making my way at, I passed the display titled Duke Box Musicals.

I sent you a photo of what I saw nestled at eye level within these other genuine artefacts. Oh, boom! Do you want to say what that is? So that is Copicabana. That is the original, does it say the original motion picture soundtrack album? Oh, that's the album. That's the album of Copicabana. Okay.

That is the soundtrack album of the musical Copicabana. Copicabana. Shall I truly this film has entered a new stratosphere of recognition for a museum with a reputation of solid as the V&A to consider it important enough to be displayed alongside the likes of Mamma Mia? Shall I just ask you, because Christmas is coming and the goose is getting fat?

Shall I review Copicabana for a Christmas treat? Because I was sent it. I was sent it. And I now have it. I was sent it. And I now have it. I think you should put it. We should be. We should be. We should do it in the Christmas because coming up in the Christmas edition, there's Avatar the Way of Water. Yeah. World of Water, new music. That was good. Well, well, so why don't we do should we do Copacabana for the Christmas? I'm looking to Simon. Fine, brilliant. Fantastic. Yeah, great. Okay, so somewhere in, I mean, basically your

podcast playing device will be humming with the amount of stuff that's coming down from your friends at Kermit and May. Yeah, at the take. There'll be take so many Christmas takes. It'll be really... I was thinking that we could do it in next week's show because I mean, it's not over stuff with releases because next week out there is Avatar way of water. And then we can do Copic Abandum. Okay. Very good. In that silence, you can add your own comment, by the way, if that ever happens again. I can't say anything about it because it's embargoed, but I've seen Avatar way of water. Also reviewed this week, something of interest, Rhymini, tell us about Rhymini. Where do you stand on Ulrich's

title? What? Okay. Ask him these questions that I don't quite get. Austrian director Ulrich von Uli's side who won a Venice grand jury prize for dog days in 2001, which I have introduced more than once, I think on film four and on the channel four, I think on actually on channel four, he went on to make films like Import Export, which offer a particularly grim view of human life. He's somebody whose films are to describe them

as dyspeptic would be to be incredibly kind. So this new movie kind of has its roots in import Xbox, why they were making that. So I also saw Michael Thomas who's appeared in his films singing a Sinatra song at a restaurant and he thought, oh, I'll create a character around the fact that I didn't know that he could sing. So into the character of Richie Bravo who is a a washed-up singer who looks like an aging Elvis impersonator from the Las Vegas Pantsuit period. Now doing the circuit off-season in a series of restaurants and hotels, basically singing karaoke to his former triumphs. And he sells himself in more ways than one.

He performs to the aging audience who once loved him. And then afterwards, he sells his services to some of the aging clients who loved him and want to have a little bit more of Richie Bravo in their life. His father played by Hansmacher Rayberg in his final film role, is wasting away in a grim care home. His mother has just died and he is about to be confronted by his estranged daughter who he hasn't seen for ages and when he first sees her, he hits on her because he just thinks she's yet another person come along to worship at the Temple of Richie Bravo. I'll play you a clip because one of the interesting things about the film is that it does have a particularly, I think,

poignant and on the money portrait of a washed up singer still struggling their way der anderen Seite. Hier geht's. Ich freu mich ganz riesig, meine sehr verehrten Damen und Herren, dass ich heute am Tier sein darf. Främlich war es nicht, dass ich alle sozialreicher Schienen als ob zu guter Fortkopf war zu Boden. Eine bittiesem schönen Wetter, anderes jetzt, man kann sich ja auch auch an einen anderen Kuscheln. Habt ihr wusste, 60 Prozent aller Page ausgefallteren Sex haben.

Ja, die praktizierende, ne? Montor rausgefahren, die enttogausgefahren, mit vorausgefahren. Das ist ja um den Schuhen. Ich sehe den, das haben, irgendwie Frau. Naja gut, damit uns sowas nicht passiert. Und ich glaube, wenn ich sie so anschaue, kann uns das wirklich nicht passieren. Deswegen müssen wir immer bei der Liebe bleiben,

bei der Amore, für die Italien berühmt. So, ob wir es nicht sagen, wenn du die Lange nicht understand, was du tun hast, war es, dass du das kräuerst, dass du es so wunderschöne sehen kannst, und es ist seit 18. Und dann sehr schön, dass du es abends noch Sex hast. Und ich will ja, dass du es noch so sagen, It's so wonderful to see you all here, and there's about 18. And then various jokes about having sex.

And jokes about, yes, I'm going to sing a song about love and sex because when you get to a certain age, sex is miraculous. Monday to miracle, Tuesday to miracle, and everyone laughs, and then he goes into this song. But you saw what I meant about the suit. So here's the thing. Physically, you might not have seen it so much from that clip.

He resembles... Oh, I don't even. Yes, but physically, yes, you wouldn't hear his physicality. Physically, he resembles Mickey Rook in the wrestler. And there's an interesting thing that happens in the film is that the camera falls into. Do you remember the opening of the wrestler? It's about five or six minutes

when the camera just follows Mickey Rook, big kind of, you know, chunked up body with that straggly hair tied, you know, back. And the camera just follows Mickey Rook, big chunked up body with that straggly hair tied back. The camera is following him through all these really grim settings. A lot of that in this, the camera following this central camera, it's like a kind of wounded bear still prowling around the territory that once was here, through dingy corridors, through kitchens, through toilets, and ending up on cramped stages performing to rather sort of poultry audiences. That part of the film I thought was kind of interesting

and I thought that portrayal of you know faded, not even faded glamour completely now putrid glamour was something that touched me. The problem is that Siles' view of humanity is so wretched, so frank, that it kind of quite often sort of tips over into something which I think is prurience. There's a constant feeling that the film is about to turn nastier than it needs to. There's also a weird thing going on, which is that he meets his brother at one point, and there is a film about his brother, which is a companion piece to this,

which is called Sparta, which was made alongside it. Originally, the two stories were gonna be told simultaneously. After this came out, Sparta was then going to play the Toronto Film Festival, and then was pulled because there were all these scandalous stories about the stuff that had happened on set and the fact that the film dealt with the subject of child abuse which is no surprise because the director is drawn to those

things and the whole thing had a kind of scandal air about it which seems to have gone away now and I haven't seen Sparta. But it's just like, I'm what I want is, I want an 80 minute movie which is just him on stage doing the wash-dup thing of stuff. I just don't know that I need any of the other stuff. Now obviously that's what Sada does. He makes these films about the very darkest corners of human existence and people being wretched and foul in ways because magic Christmas round in his house Precisely so and I was thinking this is his Christmas present to you. Oh great a portrait of a guy who who is so desperately Attempting to make things right with his estranged, that he ends up blackmailing the clients with whom he is having sex after doing it. Anyway, if you would like to put your head down

the toilet of life, few people do it as convincingly with that recommendation, ringing in our ears. We're gonna have a break in just a second, but Mark, just tell us something else that you're gonna review and we can look forward to that. We're also going to have a break in just a second, but Mark, just tell us something else that you're going to review and we can look forward to that. We're also going to have fantastic reviews of Anonymous Club, which is what I asked you whether you like Courtney Barnett of Nosebo and the Silent Twins. Also, you can hear my conversation, part one of the chat with Jerry Bruchama.

It's time for the ads, unless you're in the van guard in which case we'll be back before you can say Peter Shrieves. Hi, esteemed podcast listeners, Simon Mayow. 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 Imelda Staunton. 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 in Melda Staunton. 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, Selim Dor, Khalid Abdullah, Dominic West and Elizabeth DeBicki. 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 podcast, subscribe now and get the new series of the crown, the official podcast first on November 16th. Available wherever you get your podcasts. 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. 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 Karazaki film Fallen Leaves, which won the jury prize at CAN, that in cinemas at the moment, and if you see that and think I want to know more

about Aki Karazaki, 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 new so for a couple of films, which I am really looking forward to since I have an Elvis obsession. You can try Mooby free for 30 days at Mooby.com slash Kermit and Mayo. That's M-U-B-I dot com slash Kermed and Mayo for a whole month of great cinema for free. And we're back. We're gonna do the box office top 10,

but some of the streamers from last week, a bunch of amateurs first of all. Yeah, which I love. And at this point, I've been told I have to open this which is an envelope which is to the the editor of the show Why are you opening you're not the editor? Because he told me to right and inside. Oh, there you go This is from Dave Marshall. Yes, honoring membership of the Bradford movie makers. Oh, no really?

Mark Kermode Promoting Bradford movie makers one for me for promoting Bradford movie makerers, one for me, for promoting Bradford Movie Makers. Oh, that's fantastic. Oh, that's really nice. That's a really nice thing. I was just looking to see if there's any money or anything there. You haven't seen the film, have you? That's kind of the whole thing with the film, is there?

There's no money. Have you seen the film? I thought they could have sent us a tenor. Go something. You know, just so that we could go out and buy a bag of the crisps or something. Have you seen it yet? I've seen half of it. Did you love it? I have loved it so far.

Oh, they're just great characters. And I'm very proud to be in Onerie Mem. Very good. Now, I'm going to frame that. So thank you very much. Appreciate that. Any other gifts that you want to send us? correspondence at kermanamer.com.

Dear Pickle and Beggio, this is about white noise, by the way. Oh, yes. OK. Which I described as about white noise by the way. Oh yes, okay. Which I described as what was insufferable. Maria from Bucharest. I like this email. Okay. Legacy listener, second term emailer from Romania writing in, marks review of white noise.

He humorously and accurately designated out of context dancing as quotes, one of the key things about Up Itself American cinema. Close quotes. I would love to hear from you as well as other listeners about other key things of Up Itself cinema, which may be less experienced or foreign views may not pick up on, given that the resulting memes and jokes are one of the few things that help us get through such movies. And here's the insight. Okay. This is what we want.

Okay. So from wherever you are, this is the paragraph. And it may be that whether this is just a regional thing in the UK or whether you're in Ireland or Canada, Australia, France, whatever. Maria says, for one, I can name the never-ending broth eating scenes in Romanian films. Whilst it may seem like social realism to some, you can bet every time there's a long the never-ending broth eating scenes in Romanian films. Whilst it may seem like social realism to some, you can bet every time there's a long take

of a person slurping broth in silence at their kitchen, table all Romanians in the audience roll their eyes and start to tap their feet in frustration. So I think that's great. So it's kind of if you're in the know, if you're Icelandic, what are these? Oh, that is so predictable. If you're Norwegian, if you're in the know, if you're Icelandic, what are the, oh, that is so predictable. If you're Norwegian, if you're a Kiwi,

what is the one, oh, you can tell it's a Kiwi cinema for a some Kiwi film because they're doing that. Someone stopped me in the, in Leicester Square yesterday. Yes. And they said, Mark, hello, this is my mother. She, the mother was with them. They weren't just gesturing to Leicester Square, I know, in general. Charlie Chape, Charlie Chape, but yeah, they said, this is my mother. The mother was with them. They weren't just gesturing to Leicester Square, in general. Charlie Chapman. Charlie Chapman, yeah. They said, this is my mother. She was not allowing a mother to speak for herself. So this is my mother. She's Irish, and she hates

the banshees of Endsharean, because she thinks it's just cliched, and there was a pause, and she went, donkeys. And I said, well, look, you know, my family's from the art of man. So I do understand. But the whole point is a small audience. You went, yeah, but donkeys. And I'm sure there are people who take against what they might see as cliches, you know, if you're watching a film in Scotland or if you're watching a film in East Anglia or if you're watching a film in Cornwall, there may be cliches to avoid.

But from wherever you are in the world, we would like to hear about those cliches that are local to your cinema that we would probably not comment on. Exactly. But for you, they are really annoying. And can I just say to all American or Australian filmmakers making films about Scotland,

having a shot of a thistle and a lock over the sound of bagpipes, doesn't tell us you filmed it in Scotland. It tells us you filmed it in Ireland and made it up. Where it's an interesting thing plus there's also the obligatory, let's go into a pub and sing. That's right. Yeah, sequence.

Anyway, box office top 10 at 44, Lynch Oz. Which Lynch hyphen Oz. Yeah, an interesting documentary suggesting that all of David Lynch's movies are profoundly influenced by the Wizard of Oz, which they are. I mentioned last week that I have a seven or five second cameo in it, in which I ask David Lynch a much longer question that is in the film, and there's a huge comic pause, and then he goes,

no, which is, I think, one of Lynch's great comedy moments. And number 22, Tori and Lequita. I think this is a really interesting film. I think that the performances of the two young leads who are a young boy and a teenage girl who are in Belgium and they are basically fighting for asylum and it's about the various ways in which they're exploited and yet they're bond between them because they they're trying to prove to the authorities that they are brother and sister. It's about their friendship and it's about what brings them together and the Doddend brothers have said

that's the key the key thing about the film. It's about their friendship and everything else around it. The fact that actually it's very timely in terms of its, it's some, you know, depiction of the treatment of refugees and migrants is very astute, but it is primarily about friendship first. Living is at number 10 Bill Naifilm. I was just with Steve Wolley and just the other night on stage and he was talking about, you know, how living it come about. Did you know that it all sort of happened because of their finest? That was kind of the beginning of the process

that then led him to have the conversations with Kazoo Ishiguru who wrote the screenplay for it and how they ended up with Bill Nye doing things that were very fascinating. And Amy Leewood was there as well and she said to say hello to you. So hello Simon. That's very nice.

She's saying, have yourself a merry little Christmas. That's nice. Yes, she's got lovely voice. Number nine here. Number nine in the state's bones and all. Alex Panum Cope, via our YouTube channel. I agree about the pacing issues, bones and all. But in my opinion, it was wildly better, more nuanced,

and more affecting than call me by your name. The comparison to Twilight just because it's a mythological young romance film is a bit unfair. The depth of acting is vastly better, cinematography genuinely stunning. If you want a beautiful, disturbing drama film with horror elements, I'd really recommend it. It's much less pretentious, and more emotionally honest than I'd assumed. I mean, I just say, I'm sorry, I think the snotiness about Twilight isn't, you know, I don't buy into it.

I don't think it's way better active than Twilight. It isn't. I mean, it is Twilight with cannibals and that's not a criticism. I just wish people would get over complaining about Twilight. The very popular banshees of Inesheran, well, with most people. Donkeys. Number eight here, number seven. Well, one of my favourite films of the year, despite the donkeys. I mean, I just think it's heartbreaking and funny and I think it's a movie about death that really confronts the subject of what our own, what facing our own death means. And you know, whether that can make you a good or a bad person. And donkeys.

And donkeys. Afterson, is it seven? You know, right at the top of the tree, best movies of 2022, just absolutely stormed it at the bifurs, walked away with a huge number of awards after having a huge number of nominations, a brilliant new talent, Charlotte Wells, and Paul Meiskel was on the program if you get a chance to go back and listen to that interview because it was a really good interview. And he spoke, I thought the thing he said was most interesting was he talked about reading the script and I look at that film, I think I can't

imagine what the script for this looked like because it's so visual. She said, is it number six, number 14 in America. So it is finding an audience and it appears to be doing better here than it did in America. We talked before about why it was that it did poorly in America. I think it's really to do with simple industrial thing that they open it wider than they should have done because it's no longer possible to do the kind of platform release that you used to be able to do. To good solid drama, I think the Weinstein lawyer's response to its box office failure in America just goes to prove that he really is an absolutely venal obscenity of a human being.

So that is at number six. The menu is at number five. Number four in the states. A kind of, it's a weird companion piece to glass onion, which I know we're going to talk about in, is it next week or is it the week? Next week, next week. In as much as a group of people are gathered on a very, very posh island and then Beth Stolz to happen.

It's kind of fun. It's done really well. It's found a far bigger audience than I expected it to and Ray finds is clearly enjoying himself. Number four in the UK, number three in the States is Strange World. Here's an email, it says Eden, age nine. Hello Eden. He went to the cinema and wanted to

tell you about Strange World. Attached is his email. Okay, cool. Eden, age nine in Luton. Dear Mark and Simon, yesterday my mum and I went to see Strange World at the cinema. I thought it was a great movie and it was funny and of course, strange. I think it reflects really well. I'm sorry, he is often my job. He strange. I think it reflects really well. I'm sorry, he is often my job. He is. I think it reflects really well on the fact that if we don't stop burning oil and gas, the life we depend on will die.

I very much enjoyed the characters, and especially Splat, the luminescent blue animal, I would definitely recommend this movie that is full of weird and wonderful plants and animals. Eden, age night. Thank you, Eden. I mean, I think a lot of it is to do with the design. I didn't enjoy it as much as Eden did,

but then Eden seems to have found more in it than I did. Again, in America, it's had a very, very rough ride in terms of how much money it's taken after, how much it cost. And it is on course to be one of the biggest losses of the year. So there we go. And number three here, and number two in the states is violent night. So Ed goes first. Dear Dasha and Dancer, I decided to drive the good lady therapist her indoors to her work

Christmas function on Friday night, so she could safely enjoy a few glasses of mild wine. And then he adds all wine ised wine if you think about it. Is it? No, it's not because mulling is sweetening something and spicing it up. And then, and warming it, and then... I don't, I don't, it doesn't have to be warmed, but I don't think all wine is mulled. Okay. If you mull something over, what does that, is that the same?

No, it's different. Because I look at it, so... If you mull of can, what does that, is that the same? No, it's different. Because I look at it. So if you mull of can tire, is it possible? Mull is if you, to mull something is to sweeten and to spice it. And then mulling something over, I think, is completely different. Okay. And do you know where toasting comes in very quickly? If you toast somebody, you lift your glass, you toast them.

Yeah, you had some toast in your goblet of wine. Exactly. To soak up the sediment and also to make it sweeter, because you don't have like, you had some toast in your goblet of wine. Exactly. To soak up the sediment and also to make it sweeter, because you don't have like some cinnamon toast. Something like that. Anyway, Ed continues, because we've been interrupting him. Anyway. I assured her I would pass the time seeing something at the cinema

while she indulged, while she indulged, and I'd meet her afterwards. As it turned out, the only thing that lined up in the schedules was violent night. I don't know, I'd dimmer'd. My commute wasn't long enough for Mark and Simon to get that far on the podcast yet. But this was the year I fully re-embraced the cinema post-pandemic, so I thought what the bird song and I went along.

It can't be as bad as uncharted or the lost city. What did Mark think of those, by the way? The film reminded me of nothing more than the fake movies they used to make clips of in 30 Rock. Although, like Mark, by the time the more grungy violence kicked in, I think that maybe I was almost on board. The home alone riff raised a smile and it certainly seemed to pass the three laugh test for my fellow Cinemargoers. I went into the cinema, not sure at all what to expect, and yet as Mark's review noted, the movie was somehow utterly predictable. I genuinely don't know if I enjoyed it on it.

Anyway, thanks for the years of guidance. Take the tongue down with skyscrapers, suddenly peppering the Bristol skyline. Oh, right. And also, PS, I can't remember if this is take one or take two business, but I'm 33 and immediately understood what was meant by Klaftias and grown yet.

Very good. That's very good. I mean, yeah, I, that thing about I still don't know whether I like it. I kind of understand that entirely because I came out of violent night and thought, okay, I mean, I wonder what, what there is to say about it other than just describe what it is and go, you know, what's that phrase that Miranda said? It's all right if you like that sort of thing. It's found in audience, anyway. Sax Bend says, is on our YouTube channel, I'm so happy that rather than come up with a concept, pat themselves on the back and churn out the simplest execution possible,

they actually put some thought into this film and did it and did a lot with the idea. I went in cold, didn't know what I was getting, didn't know that I was going to get a know that I was gonna get a die-hard film with lots of home-alone references, and 90-style action and Christmas cheese, and family themed sentiment, and made using technology available in the 90s,

and even some really creative music. Maybe I was just in the right mood for it, brain-frazzled after a long day, but I had such a good time. And that's Violet Night, which is new at number three. It's kind of fun. And number two here, number one, in America, Black Panther or Candre forever.

Which you've never finished. No, still not finished. It's child one, not, child one has not returned, but we're going to try and, when he returns, we're going to try and see the second half. If that were probably what's the whole thing. Well, the only thing I'd say about it is that, you know, wet, wet smurfs, right? Okay. And I said, you know, it's the only thing I'd say about it is that, you know, wet, wet

smurfs, right? Okay. And I said, you know, it's like, Navi, we have a Navi, here we are on Pandora, we ordered, here comes the bad, what is he? Mark is still talking about Avatar. Yeah, well, guess what happens in Avatar Way of Water? Do they end up in Wakanda? Wretz Moves. Wretz Moves, okay. Number one is role dials Matilda at the musical. Joel Rivelin from Madison, Wisconsin. Thank you, thank you, thank you. We take you the time to preface the one-frameback feature on role-dial films with a thoughtful discussion of the more worrying parts of Dahl's personal story and whether it should affect any appreciation of his work. The Dahl story is one that hits home

as my late grandfather was a friend of role-dials. They fell out in 1983 after Dahl was apparently quoted as ridiculously saying among other things that Jews did not fight in World War Two My grandfather is a Jew who Dahl knew volunteered to fight in the US Army after being stranded on a 1939 leads school trip to Canada It's a long story Apparently confronted Dahl and their friendship didn't survive Isn't that an incredible insight from Joel? Joel, thank you for even though we all knew this story growing up, it didn't stop the Dahl

books being read in our house or me introducing them to my own kids a generation later, although punctuated with conversations about the difference between an artist and their art. May I suggest, corning the phrase, the Dahl dilemma for that feeling that we face when consuming art created by problematic people? Over the last few phrase, the Dahl dilemma, for that feeling that we face when consuming art created by problematic people? Over the last few years, the Dahl dilemma has seemed to come up more and more. I'm interested to know how you both approach things like the urge to switch the station when Michael Jackson's song comes on the radio, or you realise that watching Glen Gary Glen Ross or usual suspects would entail mixed emotions as you admire the performance of Kevin

Spacey. It seems that the worst solution is to let money or quality of the art dictate how blind and eye you are willing to take. It does seem easier to castigate the mediocre works of flawed artists than great works of those with similar failings and a cynic may also question the choreography of the timing of the dial family's apology relative to the sale of rights to his books to Netflix the same year. No easy solution. I just wanted to thank you for taking the time to raise the issue and hope you'll continue to do some other context. Can I just say as someone who plays Michael Jackson records on a great estates where we play a lot of Michael Jackson?

This is, I mean, this is obviously, if we've discussed this many times before, but many people would think I don't, they might think I don't want to hear Michael Jackson and turn the radio off. Equally, you have to be able to hold both views at the same time, which is he was an, I just don't know if this is about Jackson, an iconic music artist and his musical contribution, you can't really ignore. And if he was allowed today, he would be in prison. So I think you can, but this dilemma that he's talking about has been true for many years of Roman Polanski films, for example. Yep.

Anyway, no, absolutely. And this is the thing about, you know, trust the tale, not the teller. But obviously we don't have an answer to this because we are not grand philosophers. But thank you for that. Even that story is extraordinary. Yes. So two you for that. That story is extraordinary. Yes, and so two things about that. First of all, to have that particular, I haven't read that story anywhere, Joel, but the fact that your dad fell out with rolled dial, even though

Dahl knew that his father had fought as a Jew in the US Army is incredible and really highlights the gasliness of of Del's views. But also just the fact I was thinking, here is a separate movie. I know it's the fact that he volunteered to fight the US Army after being stranded on a 1939 leads school trip to Canada. And then he says, it's a long story.

And I kind of think, pitch me the long story. Yes. I'll pay to see that. And I can imagine already the final confrontation with him, you know, and darling, which he says you know this to be the case. Joel, you need to do something with that story. Because having put it on the podcast, you can guarantee that a few screenwriters are going to hang on a second. It's all Parker listening. All you can't have it.

Head Thomas, just saw the film, this is Roll Diles Matilda, on the super screen at my local cine world. I'm not usually fan of musicals, but I absolutely love this. I went for the Tim Mention songs, but stayed for the amazing performance of Alicia Weir in the title role, and the oversaturated colors that give it an almost Wes Anderson quality, like Mark and I want to go and see it live on stage. Anyway, number one movie here is Roll Dars Matilda, The Musical. Sorry, stupid question.

Is it still playing on stage? Yes. Okay, well, in that case, I think I will go and see it on stage because I do love those songs. Our guest today on the program is Jerry Brookheimer. Who? He does not need an introduction, so I'm not going to give him one. You can hear my chat after this clip from Top Gun, Maverick. Fuck, God, Maverick!

Right on, let's turn him back. Fanboy, you see him? You not be on the way to half the head. He must be somewhere behind us. Get out! We don't get fooled again! He's Maverick. Let's find out to get fired on the first day. And that of course is a clip from Top Gun Maverick.

I'm delighted to say that Jerry Brookheimer is here. One of Holly was most prolific and successful producers. Jerry, how are you, sir? Thank you. Thanks for having me, please. Well, it's very nice to have you on the program. And the stats, obviously, they're your stats, you know, you know how successful this movie has been here. I think it's been in the top 15 since it came out, top 10 in America for four months, staggering box office success. Are you surprised not that it was a successful movie, but quite how big a movie it's been?

Always surprised, always hoping for the best, expecting the worst. So this one was really a juggernaut from the time that we showed it to the press and to an audience. I don't think we had any idea. We knew we made a good movie, but not a clue that it would have the global reach that it's had. And why do you think it has had that global reach?

I think it's a storytelling. It's the characters. It's the plot, the the craftsmanship of the movie, the way Jokuzinsky directed it. Tom Cruise is a force and accepts nothing but excellence. So it's just something that you work really hard to make these movies. And you labor over the script, you labor over every decision. And we worked for, I guess, two years making a movie, and then was on the shelf for another two years. Yes, because of COVID. That's right.

Which I do want to ask you about. But there was a lot of conversation as we were coming out of lockdown as to which would be the movie that would bring people back to the cinema. I don't think there's any doubt about which movie that was. It's your movie, isn't it? Well, I'll tell you, not Spider-Man did very well too, but I think we brought an older audience back. What we found is the majority of the people who went to see it were over 40 initially, and a lot of them hadn't been in a theater in two years. And the fact that

they felt that that experience that they had reminded them of how wonderful it is to go and see a movie on a big screen with an audience and hear people cheer and laugh together, that communal feeling that you get on a movie that you can react to and emotionally move with you. And that's what Top Gun Maverick did. It emotionally moved you. It made you feel something different when you walked out. What we try to do is entertain audiences, take away their lives for two hours

and just take a ride with us, come with us, become our characters. And it's an experience going to a really good movie. So initially then that was fans of the first movie going because they wanted to see what you'd done with the second one, because they've been waiting a long time for it. But then clearly given the success,

you've got new people going and you've got a younger audience who found it. Yes. Oh, yeah, it went from eight to 88, five year olds were seeing it. The mother said, oh, it's safe. And the kids were drifted during the emotional love scenes, but they loved all the rest of it because you're following these characters that are unique and special and different and really well cast and

Dialogue's great stories great You wrapped if I've got this or you wrapped in the summer of 2019, right? And obviously the timing here is crucial because then COVID comes and lockdown Happens can you just take us through your decision making process in terms of what you were thinking about When it should be released and whether there was some full-starred, so when you knew that it was the right time. I think we had three release dates, and we kept pushing it, and for good reason. We wanted to wait until we felt the audience was ready to go out of their homes and go

to a theatre, see a communal experience. And we picked the right date. It was summertime. It's a summer movie. First one came out in the summer. You know what's interesting is audiences walked into the theater with their arms crossed. Because they said, oh, I know they're going to screw this up. You know. So they were so delighted when they walked out. I mean, our audience scores on Rod and Tomatoes was 99. I mean, that's unbelievable. And for the critics, we had a 96% of the critics.

I mean, that's, I've never had anything like this in my career. I made some really big movies. Yes, you have, which I want to talk about later. But knowing what you were sitting on, that must have been an impossibly difficult weight, not just for you, but for everybody involved in this. We have Miles Teller in telling us about his side of the story. From your point of view as the producer, sitting on that must have been tough. Of course, it's tough, but we knew we had a good movie.

We didn't know the extent of how good it would reach an audience, which it did. That was hard, but we all moved on to other things. Tom started to do admission impossible. I made some other movies, so we kind of put it aside and said, when the world is ready for this, we will release it. And Paramount was, and Tom and everybody made the correct decision. Were there any moments just more broadly during COVID and lockdown when a lot of people,

everyone listening to this would have been thinking, when will life come back? Will life come back for you? Were there any moments when you thought more bleakly that maybe the cinema won't come back? Never. I knew we'd get past this. It would go away. Most pandemics too, you look at 1918

and where we had didn't have the medical expertise we have today and they got past it. Tell us about working with Tom Cruise at 21 and working with Tom Cruise at 60. I mean, what an incredible specimen of a man. Well, what's interesting is when we work with him when he was 20, he was like a student. He wanted to learn everything. He wanted to learn about marketing, distribution, filmmaking, everything.

I just remember one time when we first started filming and Tom said, I want to see the daisies. I want to see every day's work. Tony Scott said, we can't do that. We can't do that. And I said, sure, show it to him. You just get a better performance. And that's exactly what happened.

So he was a progisa back then, really. With small P. Yeah, he's somebody that kind of wants to learn from everybody. And you take his career up to now. Look who he's worked with, all these great directors, great actors. Paul knew, there's a list that goes on and on and on. And every time he worked with somebody, he would ask questions.

He wanted to know everything. So when you work with him now, he can do anybody's job on the set. He knows everything. He's a much better producer and algorithm. He's so good at how he organizes things and how he sets up what he wants to do, how he does his publicity, how he engages with marketing. It's all those things that he has learned and it's the benefit to the movie because he instructs them on how he wants his movies to be released, be perceived.

And he's right. He's right most of the time, or right all of the time. I haven't seen him make a mistake yet. I wonder if we forget, given the success of the first movie and the incredible success of the second movie, the first movie, I don't know, did it feel like a gamble at the time? Tom Cruise was a star, but he wasn't a mega star. Tony Scott, I don't know, did it feel like a gamble at the time? You know, Tom Cruise was a star, but he wasn't a mega star. Tony Scott, I think it had one successful movie. Can you

explain a little bit about why you put those together? Well, Tony had done The Hunger with Catherine Dedeve, which was an art film, basically, it did well, but he's an artist and he has this adventurous quality to him. He's a mountain climber. He's a real guy's guy. And Tom, you can just see he was going to be a movie star because he was so committed to what he was doing. He his decisions that he made. It was very careful what everything he did, how, who we worked with, who we wanted to

work with. He wanted to work with us because he felt he could learn a lot about producing it, about how we market our films and how we work with the studios. So that was a calculated decision on his part that he wanted to be around people that he could gain more knowledge. And that's when he's been doing his whole career. Did you and Tony Scott, I think you shared a sort of past in advertising? Yes. I don't want it if there was something there that you spotted

someone who thought, yes, he's going to be perfect. Because I know the way you're thinking. I know the way you look at the world. Well, I always look for directors who have a visual style that is unique, because it's not radio, it's film. You want something that when you see a commercial or watch a trailer, it looks different, it looks unique. And that's what Tony brought.

He had a visual style that was unbelievable. Am I right in thinking that the first idea that when Top Gun as a movie came to you, it was in a magazine article? Yes, I think it was called New West Magazine. It was about these Top Gun school and these fighter pilots. And I looked at the cover and I said, this is Star Wars on Earth. And we got the rights to it and developed

with a few screenwriters and it came together and we sent it to Tom and Tom said, I don't know, I'm not sure. So I arranged a flight for him with the Blue Angels. And it was an old central California. And they took him up and they just gave him a ride because he had real long hair. He just finished a movie with Ridley Scott.

And he said, we're gonna give this hip your ride. But Tom loved it. He walked over to a pain phone and called me and he says, I'm doing the movie. There you go. Although he tells me now that he always wanted to do the movie, but he wouldn't tell us. It's not quite true. That's the real story. Can I ask you about, what's about the music? I played Furlins Take Your Breath Away on the radio just a couple of weeks ago.

And the story that went with that as I understand it is that you had asked Georgie and Marauda to work on some music. There is no one to mention it is that, according to this version, which is online, and obviously, as you know, a lot of stuff online isn't true. He wrote, having found out that some of his writing partners were busy, he wrote with a guy called Tonguewitlock,

who was actually a mechanic who had fixed the breaks on his Ferrari. And while the guy was fixing his breaks, he said, by the way, I'm a lyricist, which must happen to John Schem, right? Really, by the way, all the time. And the musical came from there. Is that true?

And can you just explain a bit about the musical sound that you wanted the movie to have? It's a true story. George O's an amazing artist and writer and producer. And he said so many hits. I wanted to work with him for a long time. Ever since I saw a movie he did early on, how talented he was. So I went to the music department at Paramount. This was for American Jiggle. I said, please introduce me to George and Marauder,

and he wrote, call me for us, American Jiggle. When we got top gun, I sent him the script and he started working on something. And his engineer and keyboard player, who he worked with a lot, was Harold Faltemire. And I sent Harold the script. And he sent me that great theme long before we were filming the movie. And I said, oh my God, we got a great theme. And I played it for everybody. Everybody got excited hearing that thing. So do you know quite early on how you want the movie to sound? And I'm talking specifically about the music here.

I think it's for me, it's a search. You search for it. What you do is you lay in, as far as songs, you lay in contemporary music. We use those of Bruce Springsting song in our temp. And we usually play that for the composer or the writers or the producers and say, this is the feel we want to see what you can do. And that's how we got our songs.

We're heading towards a world season. Is it time for those who hand out the awards to acknowledge what you've achieved here? That's up to them. I don't know. I just love entertaining audiences. That's what I do. And sometimes I don't quite get it right, but most of the time we do pretty well. We get movies that people want to go see and want to go see again. What's interesting about Top Gun Maverick is I've never had a movie where people come to me and say, I've seen it three times because I think a majority audience has seen it at least twice. And when you have the grossers like we've had without a third of the world. Just think about that. And with the dollar being so strong, and we're at a billion, 480 million now, they have to go see it more than once. Also,

of course you can watch it on your phone, but who would want to? That's right. And even when we came out in video and demand, it was the number one on video in demand, and it was number one stone-the-box office. We were number one on Memorial Day and number one on Labor Day in the States, which is unheard of. And it's still in the theaters. When you've got statistics like that, Jerry, come on, you want to do another one, do you? Look, it took me 35 years to get Tom to say, yeah, I think we should do another one.

So I don't think I'll be around. But, you know, we always, if we come up with a good story, it's always about, can we come up with something that's unique and fresh and propels the character even further? When Mars Teller was here, he seemed quite keen. Oh, I'm sure you, he is. Want to talk to you more about casting and talent and the job of the producer, which we'll do in the second part of this conversation which you'll hear in Our take-to when that when that lands, but for the moment for now, Joey Brookhamer. Thank you. Thank you

Nice to you Joey Brookhamer. Nice to hear my voice standing slightly more healthy. Yeah, we did that you did thank good a couple of months ago And I was just saying the way he says, X-Shalnge. We look for X-Shalnge. These, his CVs just, oh I know. Filmography is quite amazing. And I do think he, it is, you know, Topgar Maverick does deserve to win something

because it was one of the best films of the year, wasn't it? Yeah, yeah. We loved it. I mean, it was a runaway hit. I mean, it was funny when he was just citing a number one in VOD at the same time at your number one in Cinemars. And you go, yeah, that's probably the point

in which you go, that worked. Yes, I think it did. And the second part of the conversation is absolutely fascinating. You're just going back over a whole bunch of other films. Plus, he talks about a new movie that he's working on, which sounds very interesting. So more with Jerry Brookheimer for the Vanguard Easter.

Anyway, tell us something that's new and exciting. A non-amorous club, which is a documentary, a documentary is probably the wrong word, video diary about Courtney Barnett. And I asked you at the beginning of the show, if you heard any of us stuff at all, any opinion, anything, no opinion at all. Bueller, Bueller, anyone, Bueller.

Okay, so Courtney Barnett is a singer songwriter who is an institution in our house. albums are sometimes I think and sit. Sometimes I sometimes I think and sit and sometimes I just sit. I always get that the wrong way around. It's sometimes I always get that title wrong. I'm just gonna look it up now.

It's sometimes I sit and think and sometimes I just sit. Are there any albums that you do that with that you cannot ever get the order of the words right? No, no, no, that's pretty good. Okay, fine. Tell me how you really feel and things take time, take time. So I started listening to, I think I imagine it must have been, you know, child one or child two, started playing Courtney Barnett's records, loved them, played them in the car. She played at latitude and it was, she was fantastic and anyway, so really great. I don't think that I had seen her interviewed before and this doc kind of shows why.

She says early on, it's like a video diary thing. She says that she got a message from a fan which said, I absolutely love your music. Please stop doing interviews. And she says some slightly hurt about it, but she could kind of understand why because she finds it hard to express herself in interviews and she's not great at doing them. So instead, what this is, it's like an audio video diary shot while playing with her band, writing, touring, both with the band and solo. And it also has her talking openly, if falteringly,

about dealing with depression and anxiety even in the middle of apparent success. Here's a clip. Okay. I know it's not completely bad because I'm looking forward to the next day. You know, I have hope for the next day to fix whatever was right, the day before. See, I love her music. I love her songs. And for me, it's the music that matters.

It doesn't really matter to me whether or not somebody, you know, can do an interview in which they absolutely, you know, they're full of brilliant things to say. I mean, heaven knows they're enough pop stars who can talk a good interview but then can't record a good album. And they're enough. I always remember people talking about the fact that Robert De Niro is such a brilliant actor, but just in interviews, it was like, why would you do this? Because it's just, you know, it's not going to work. I think the thing with this is, I've always said that a great documentary will make you interested in the subject,

even if you're not interested in it. I don't think this would. I think if you're a fan, which I am, it's kind of lovely to see this foot of her on stage, and she is brilliant on stage. I mean, she's a real performer. She's really, you know, she, she, she, the way she treats a guitar is just remarkable.

It's one brilliant, with a banging of the guitar on the drums. It's just it's really, really exciting. And then a lot of it is somebody wrestling with insecurity and we only get flashes of the songs which are where she expresses herself best. And I kind of wanted more of the songs. I got it happily have just watched the entire solo concert live performance

if that were there. So it is definitely only for the fans. If you're not a Courtney Barnett fan, this isn't going to convert you. If you're not a Courtney Barnett fan, the thing that might convert you is actually listening to her albums. But, you know, I am a fan, so I watch the whole thing thinking, well, I just think you're a genius and I, you know, and I actually, I doesn't bother me that you're not the world's greatest interview because you're just such a fantastic singer songwriter. And, uh, but it's not going to, it's not going to convert any new fans at all. Is that a cinema thing?

I imagine it's largely going to be on a small screen. Okay. It's the ads in a minute, Mark. Um, but first it's time once again to step into our laughter lift. I'll take the stairs Someone told you to say that they did Well hey mark I've been looking forward to playing with grandchild one over the festive period Although I have to be quite cautious when playing peekaboo with him Okay, and when I visited him in Denmark, I overdid it a bit.

I ended up in hospital, or as they say in Danish, hospital. The triage doctor sent me straight to, I see you. Now, you see? I think that works. I'll be done with Christopher shopping here. I haven't. I have. I bought the Good Lady's ceramic sister indoors a set of miniature abacuses. It's the only Christmas shopping here. I haven't. I have. I bought the good lady's pharmacist there indoors a set of miniature abacuses.

It's the little things that count. Oh, I see if I'm going to go get it. Yeah, I'll get it. Yeah, I'll get it. Yes, I'll get it. Yes, instead of a laugh. Yeah, I'll get it. Hopefully it's going to be a better Christmas than last year.

All she wanted was a rubber selfie stick. But it was stolen from the... Rubber selfie stick. Yeah. It was stolen from the boot of the car on the way from the shops so this is to whoever stole it okay you want me to set it up again? It was stolen from it was stolen from

the boot of the car. All she wanted was a rubber selfie stick but it was stolen from the boot of the car on the way back from the shops. Okay to whoever stole it you need to take a long hard look at yourself. Why the rubber thing? Why is it rubber? Well, it doesn't have to be a rubber.

Just a selfie stick. Why is it rubber? It's getting me heck in it. Because it's hard to take a picture. I see. Some people literally just explain the joke in my headphones. I think you're analyzing it too much. I think the key phrase is long-hauling itself.

That's the thing. Okay. Because the selfie stick was stolen. Yeah, but Simon Paul just explained that the rubber thing was important as well. The crackers at your house will be great. Oh, it's just a... You don't know the half of it.

Advent calendar's marked. No one's going to be using them for much longer, you know? They're days are numbered. That's better, that's much better. What is still to come as far as you can say? I'm going to be reviewing the silent twins and the seaboke. Okay, back after this, unless you're a vanguardist, in which case you're case? In which case you're case?

And your service will not be interrupted. Thank you, Vicar. Trying to escape the holiday playlist. Well, it's not gonna happen here. Jesus, a season for a vacation. Fa-la-la-la-la-la-la-la-la-la-la-la-la. Leave the code for a sunny location. 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- Lalalala lalalala Ditch the mittens, grab the lotion Lalalala lalalala lalalala 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 There are over 5 million podcasts in the world covering topics from pen enthusiasts to beat facts A podcast for every person every every interest in every lifestyle, no matter how unique. So if anyone knows the importance of choice, it's podcast listeners, like you, and the brand with over 20 million electrified vehicles sold globally. Toyota, from compact sedan to full-size pickup,

Toyota has spent over 20 years developing the most complete range of electrified vehicles. Hybrid electric, plug-in hybrid electric, battery electric, or hydrogen fuel cell electric. There's an electrified vehicle option for every type of driver. Find out which electrified vehicle is right for you at toyota.ca-electrified. That's toyota.ca-electrified. Because everyone gets to come on this journey. Even toaster reviewers. And we're back. Here we've got an email. Obviously, for a van God Easter, we never went away, but...

Yes. But you'd like to say we're back just in case. Dear Lieutenant Steve and Frenzy. Is it Lieutenant Steve and Frenzy? We say Lieutenant. We say, we say Lieutenant, American salute. Wow, okay, my brain's been poisoned. I must look that up as used to why here we say Lieutenant, when it's written the same way, but the Americans say Lieutenant. Anyway, Heritage, LTL, Vanguard Easter, and so on. Okay. Having come back to the fold and become a Vanguard Easter again, welcome back we salute you. I was trawling through your second takes when I came upon you talking about Jeff Goldblum

films. Yes. And suddenly a great epiphany occurred. For many months I had been toying with the idea of writing to you in order to refresh my memory of a film long forgotten but I had little to go on. I had searched for the film online for many months. However the details of the film long forgotten that I had little to go on. I'd searched for the film online for many months. However, the details of the film were extremely scant. Is it going to be the Mad Monkey? I thought the film was called Spanking the Monkey.

And the only scene that I could remember was the opening one of a young woman, erroneously believing this to be Charlotte Coleman, shot from the shoulders up, giving this to be Charlotte Coleman, shot from the shoulders up, either well enjoying her own company or someone else was there as well. I've rephrased that slightly. So imagine my surprise when I hear Mark discussing this film and finding out it was indeed mad monkey,

I can now rest in peace. Having read the synopsis of the film, hardly anything rings a bell and I'm on the search for a copy somewhere, I think. So thank you once again. These, I haven't got an email, I haven't got a name on the scene. No, but the thing is, okay,

there is a film called Spanking the Monkey. And the scene that you've just described is not the opening of Mad Monkey. Mad Monkey begins with Jeff Goldblum in voiceover, and he goes, I can do it perfectly, he goes, last year, they made a movie that you're never going to see. They should never have made it. Are you, I'm pretty sure there wasn't a woman. LaGron should never have produced it. I should never have written it. My wife should never have left me, but she did. That's how that film begins.

I'm glad we had that. But there is a film called Spanking the Monkey, which is a different film. Thank you very much. And for the black coffee that flange is broken. Thank you very much. So I think, I think that that scene that you're talking about is not one, is not in the Mad Monkey. Anyways, from Simon Barker is the email and but the Mad Monkey is a really, really strange and twisted film, which in America is called Twisted Obsession. Now, whenever I see Nasebo being written about,

to me, it's like us doing Toby Jones and Nobie Jones. No, he Jones, it just sounds like one of those. So tell us about Nasebo. Okay, so Nasebo, which kind of sounds like, you know, made up word, but this is a psychological horror thriller written and directed by Garrett Shanley and law Confident now. You will remember those names because they were the team behind the very. And Jesse Eisenberg came on the show to talk about the very. And I think that that might have been the last show before lockdown, because he was

in person, wasn't he? He was, yeah. But I think the very, I mean, I may be misremembering this because I don't know whether you feel the same, but everything, the whole chronology of the last few years gets really confused. Anyway, this is actually quite similar in terms of its twilight zone feel. So Eva Green is Christine, she's a fashion designer. She's suffering from an illness that may or may not have been brought on by being bitten by a tick that may or may not have been from her dream. It's a mystery, but it has laid her low.

It is left to unable to work and unable to care for her daughter. One day, Chavina C.D to care for her daughter. One day, trying to guess she's Diana arrives at her daughter, she's a Filipino woman who says that Christine had hired her to help. Christine doesn't remember doing this, but then her memory has become very faulty recently because she's not been well. Then her husband Felix, played by Mark Strong. Excellent. All right, Mark.

All right, Mark arrives home and he's none too pleased about the fact that he's come back and suddenly there's a live in help that he didn't know anything about. But soon, Christine is becoming reliant on her because she thinks that this new arrival has some kind of healing power. So she asks, here are my symptoms. Can you help me with them?

Here's a clip. I get rushes, hair loss, but headaches, nerve pain. I shake, I get DC and absent-minded. And sometimes I don't know where I am. I smell things that are not there. My symptoms come and go and the one issue when I visit the doctor. Sometimes I think I have lost my mind. It's easier to have you read it than for me to say it.

She said the opening of that, a notice being passed. Yes, that's what she's reading it out. Yeah, exactly. So she then starts to help and Christine does indeed seem to be recovering, but she's also haunted by dreams or visions or delusions. And Felix thinks that this new arrival is a charlatan. Meanwhile, there are flashbacks to Chis own past that reveal traumas that appear to be coming to the service again.

So on the one hand, this is a psychological horror about guilt. On the other hand, it's a kind of pointedly political piece about exploitation, about colonialism and imperialism and the exploitation of the workforce, about rich people and poor people and the way in which life is not fair. Some commentators have said, oh, it's got a twist that you see coming. And the weird thing is, it's like, I didn't even think it was a twist. I thought it was like the best of those reveals is, it's not a reveal.

It's you sort of always knew that that was what it was about. And there's something quite satisfying when you realize that that that is what the drama was about. Like the Viverium, it does have that twilight zone single idea stretched over a feature film length. There's some genuinely creepy moments. I mean, it does help that Eva Green has got away of smiling in a way that goes,

there's something completely amiss. I mean, it's no wonder that she's, you know, worked with Tim Burton, because she's got one of those sort of, she's got the ability to go, nothing is right here. It doesn't completely work. Bits of it, some people will find it, you know, like I said, I saw the twist coming, all finally it's like the exhaust rating. I liked it. I thought it had some strong ideas. There are some moments in it that are genuinely like,

oh, that's properly creepy. And although it's not overly surprising, I said it is like an extended version of the Twilight Zone, I quite like the fact that that kind of movie can still get made. 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 listening to this. You can email it to correspondentsacerminamayon.com.

Here's this week's. Hi Simon and Mark, this is Phil Clap from the UK Cinema Association. Wanting to let you know about the UK Cinema Heroes competition, being launched with search-like pictures to mark the release on the 9th of January of the new San Mendes film, Empire of Light. The film's set in a small local cinema,

and we want to recognize all those hardworking people who've kept the big screen experience alive by asking everyone to nominate their own local cinema heroes. If your listeners want to find it more, they should go to our website at cinemauk.org.uk-hero. The deadline for nominations is Monday the 9th of January. I'm grateful to that Sam Enders film. Yeah. Then that was Phil Clap from the UK Cinemarization. Hello Phil. Hello Phil. About the UK Cinemar heroes competition. That's exactly what you can use it for. Send your trailer please.

To correspondents at codeonamer.com.com. A couple of weeks at the front will be very nice. But if it arrives the day before you never know, you might sneak in. Yeah. Anyway, what else we got going on? Silent Twins, which is a film about, do you know the story of June and Jennifer Gibbons? I do not. Okay. Well, it has been told many times before, both in documentaries and in dramas and in stage productions and famously in a book. So the recap would be that they were their twins born in 1963, Barbadian, British children in Wales, who were ostracized at school and bullied at school

and found themselves talking only to each other increasingly in these kind of whispered tones in almost in a language that nobody else really understood. They let a very, very insular life. And they retreat into their own private, well, they in real life, they retreated into their own private world, well, they retreated into their own private world. Before being dragged into the spotlight after they were arrested as adolescents as teenagers, because of acts of vandalism and theft and arson. And they ended up in Broadmoor, and they were in Broadmoor for over a decade. Whilst they were there, they were interviewed by the Sunday Times journalist, Marjorie Wallace,

who wrote the book upon which this is based, I think also the stage editor's play was based on her book as well. And uncovered this tranche of writing that they had done because it turned out that when they were on their own together, they dreamed of being authors, they dreamed of they rope poems, they wrote plays, they did puppet shows, and they had this incredible creative, private world. Here is a scene from the film, which stars Tamara Lawrence and Latisha Wright, who both

won Best Joint Lead at the Biffers. This is of the two twins receiving a package in the post, which includes the typewriter on which they are going to write their masterpiece. Here we go. Look, old duties outside. Spine and us again. Yeah, I can see you see me.

Keep walking. Love your life as her, Jenny. First man. As you go, I break it. Jenny! No! Did I run? Yeah.

Hey. You're a heart of conversation. Okay. Okay. How'd you open it? Push. Lift. Oh. How do you open it? Push. Lift.

Right is now. Right is now. So that's a typewriter. That's a typewriter. That's a typewriter. That's a typewriter. That's a typewriter. That's a typewriter.

That's a typewriter. That's a typewriter. That's a typewriter. That's a typewriter. That's a typewriter. That's a typewriter. That's a typewriter. That's a typewriter. That is a Polish filmmaker, this is a British Polish coproduction and please forgive my terrible pronunciations. He will have heard her name before

because she directed a film in 2015 called The Lure, which was described recently when it turned up in the BFI Horase season, that which is called In Dreams of Monsters, which is a very good Horase season. It was described as a Polish new wave, mermaid horror musical, which is one of the best descriptions of a film, Eves.

And what they do here is that they take the writings and the creations that the girls made, and they use these to inform a series of dream and fantasy sequences that cut in and out with an inverted commas reality. And in order to dramatize them, they use animation, they use musical sequences and songs, they use dance. It's the whole thing is a kind of like a very inventive

surreal collage. And I think that is a very adventurous way to go with this story because if you think of Peter Jackson's Heavenly Creatures, in which you have, you know, those two young women who had this rich fantasy world, which Jackson then puts on screen, you know, these large characters and this fantastical, you know, goings on, but it seems as real and as physical as everything that's happening in their real world. And I think there is a connection to that. I also think at times this put me in mind of, do you remember that film notes on blindness,

which was, I talked about it, but it was a kind of docu-dramarine which what they did was they used lip-synced recordings, real often, but they dramatized them. And it did this weird thing about drawing attention to the performance, but in a way that was oddly kind of immersive. And then again, I was also thinking about dead ringers, the David Kronenberg movie in which Jeremy Irons plays both Beverly and Elliott Mantle. And yet the characters are differentiated,

even though they are actually both played by the same actor and they look exactly the same, but they don't because it's the way in which their physicality is slightly different. I think that the Tisha right into Maraline are really brilliant in this. I think they have great performances because they are mirror images, but they're also distinct. I think the way in which the film sort of vacillates between what really happened and what's happening in their imaginative worlds is really well done.

I think the film is slightly impenetrable and I don't think it's going to find a very wide audience, although there is an argument that because the relationship that the twins had was so insular and they was often described by people as impenetrable, people could not get into their world. It's kind of almost inevitable and perhaps appropriate that the film itself might be slightly impenetrable.

But I've said it before and I'll say it again, I would always rather a film aimed higher and faltered than just played it straight. And I think this story, if you're going to tell it again, it needs to be done in a way that is extraordinary. And I think this story, if you're going to tell it again, it needs to be done in a way that is extraordinary. And I think it is extraordinary. I think it's flawed. I think it doesn't entirely work. But I think that when it does, the things that work about it are all to do with its adventurousness. And as I said, British independent film awards best jointly

performs for tomorrow's Lawrence and the T Tisha right and that is exactly right. And that's the end of take one production management and general all-round stuff, Lily Hamley, cameras, Teddy Riley, videos. On our mighty fun YouTube channel, Ryan O'Meara, studio engineer Josh Gibbs, Flynn Rodham is the assistant producer, guest researcher, is Sophie Ivane-Hannertal, but is the producer, Simon Pulle is the redacta mark. What is your film of the week? Well, I think it is definitely the silent twins. Thank you for listening. Our extra takes with a bonus review, a bunch of

recommendations, more with Jerry Brookheimer, all coming up, and that's going to be available on Monday. you