Kermode & Mayo’s Take - Pam Grier, Moonage Daydream, Ticket to Paradise, Pinocchio, and Jackie Brown

Episode Date: September 16, 2022

This week Simon speaks to the iconic American actress Pam Grier about the 25th anniversary of ‘Jackie Brown’. Mark reviews Disney+ live action ‘Pinocchio’, Brett Morgan’s new documentary about David Bowie - ‘Moonage Daydream’, Quentin Tarantino’s seminal film ‘Jackie Brown’ and romantic comedy ‘Ticket to Paradise’ starring Julia Roberts and George Clooney.  Plus a huge amount of correspondence, 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

Get holiday ready at Real Canadian Superstore. Will you find more legendary ways to save than any other major grocery? Until December 13th, you'll get a free PC turkey when you spend $300 or more. That's right, free only at your Super Holiday Store. Conditions apply to fly for details. Something that's... Yeah Mark. Oh that's good. Yes, I'm. You're complaining that I was too loud. It was lower down than I expected you to go. I haven't gone that low for a while. How low. Actually, can you go? That's a song there.

We're on down. It wasn't Elvis, I was thinking of. I can't remember who that guy is. How low can you go? No, the guy who goes really low at the end of way on down. Yes. He's like a gospel singer. That's right.

And he does go very low. The drummer from Shawadiwadi, Romeo Challenger, used to have a very low voice. Is it Romeo Challenger? One of the car ads that we did. This, yeah, the new Romeo Challenger. It's got it up to the minute six-speed gear, but lots of room in the estate version.

That is a car name. Sorry, Shawadiwadi, yes. No, I was just saying because he used to do all the low talking bits, remember? And in Darts, Den Heggity, who was then replaced, because he went off and had a solo career, didn't he? Yeah. Well, there we go. This week, 70s pop trivia bit.

Baso Profondo. Yes. Is that the lowest voice? It's a film by Dario Agento from the 70s, and it's a little bus I performed it was then remade with Tilda Swinton. Tilda Swinton could be a car as well. I'm going to be a car.

Have you got the latest Tilda Swinton 6.5? Autoelectric capacity. Rumpier children inside. Okay, that's what is it. A Tilda Swinton would be an electric car, but a Romeo challenge, it would be a V8 with a 5.6 diesel chugging engine. From 1976.

Exactly, yeah. Definitely. Anyway, it's us again. And I'm just gonna interrupt this bonnet me to remind you Mark that tickets are on sale for our Halloween special. I can only know this, because I got an email from myself, alerting me. I can't say what?

Alerting me to the fact. Does it not occur to the one the thing that we know we're going to be there? Yeah, so anyway, it said, Join Mark Kermod and Simon Mayer's biggest ever live show for an evening of things that go bump in the night at Indigo at the O2 in London Monday 31st of October for a hollow Halloween special. Throughout the evening, Kermode and Mayer is a little bit public school at that point because it goes all surnamey.

Anyway, we'll record their podcast live with some very special guests. The audience will also be treated to a whole host of spooky special features. Yes, it says, whoo, key special features. Including the final of the World Cup of horror films in which the winner of the online knockout will be announced alongside the least scary horror film of all time. I do like that as an idea. That was your feature, I do. A whole host of Ghoulish Games to make Halloween 2022, one to remember. I mean, I wish that as the email suggested, I could indeed buy tickets and be in the audience to watch.

That would be a lonely experience, because then there would just be me on stage and wondering where you were. Yeah. But anyway, if anyone else liked to be in the audience, we would love to see you there. You go to kermadomeo.com, tickets are on sale now and selling, like tickets to a really good podcast show. Boom. And indeed, boom again. That's kermedomeo.com. We will see you at the O2. Hopefully, otherwise it'll just be Mark and me. We're sitting in the audience. Mark and me. You won't be sitting in the audience.

Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris. Eating Chris, saying when. This is just good. There is a story, it's an apocryphal story. I'm sure about an actor being in a theatre, half cut in the audience waiting for somebody to come on stage and then realizing that it was him, but it can't be true. It must be one of those, you know, all those, you know, Peter O'Toole, Richard Harris,

you know, when there were all those stories of riotous behavior in lush in Later on yes, what's coming up as far as you're aware a new George Clooney and Julie Robbers film ticket to paradise Tom Hanks in Robert's and X is live action Pinocchio the bowie documentary minnage daydream, which I have loads of things to say. And Quentin Tarantino's best film, as I have been saying for many years. Many decades, many a year. 25 years. Jackie Brown, which brings us to our very special guest.

Yes, and that's Pam Grilla, star of Jackie Brown. She is indeed Jackie Brown. She is. She is Jackie Brown of the Jackie Brown movie, as opposed to the Jackie Brown who is head of casting for the challenge, which does come up in the conversation. It does. of the Jackie Brown movie as opposed to the Jackie Brown who is head of casting for which does come up in the conversation. It does.

And as if that wasn't enough silence. On Monday for the Vanguard, going deeper into the world of films and film adjacent television with another extra take in which you'll get a bonus review, which this week mark is Clurks 3. Also, there'll be more with Pam Grier, who as you'll hear on this take and the other take is an unstoppable machine which it gets going. It is not possible to actually stop it. Also, we'll discuss the Emmy Awards, expanding your viewing in our feature one frame back, inspired by Jackie Brown,

we've been asking you for your Elmore Leonard adaptations on our social channels, lots to choose from Mark, I would imagine. Yes, and it says, Mark, responds to which the answer is, yes, there are lots to choose from. And in Take It All Leave It, Mark, I would imagine. Yes, and it says, Mark, Respondons, to which the answer is, yes, there are lots to choose from. And in Take It All Leave It, you decide I would have mouth on a podcast feature. Mark's going to be talking about the Sandman, currently available to watch on Netflix, send your suggestions for great streaming stuff we might have missed,

to correspondents at kermanemoa.com. And if all that sounds right up to your street, please do sign up for our premium value extra takes. This is through Apple Podcasts, or if one prefers a different platform, sounds right up to your street. Please do sign up for our premium value extra takes. This is through Apple Podcasts, or if one prefers a different platform, then you should head to extra takes.com. And if you're already a Vanguardista, as always,

we salute you, we do indeed. Here is a very interesting email. In fact, we've got some very, very interesting. In fact, there's fantastic email sequences in this particular take and all our takes, but it's from Lizzy Wands. So, I'm a mark, me and my husband, Mike, are LTLs and FTEs. Long term listeners, first time emailists. We recently got married. Why did you do have to gloss that? People know. I know it was just a kind of a mystery voice. got married. If you do have to gloss that, people know. I know it was just a kind of a mystery voice. It wasn't a mystery voice. It was your voice. I was just getting Satovo, Jay.

It was still your voice. We really got married in Manchester on August the 6th after 22 years of knowing each other. That's a great thing. It makes it sound. I mean, I know what you're saying is you've known each other for 20. If you say, I've known this person for 22 years, okay, that's fine. But for 22 years, we've been knowing each other. That sounds... But that's like the phrase, unnecessary. They knew each other in the biblical sense. I was wondering, what is that actually referred to to know each other in the biblical sense? I think it's the King James Bible. Is it? Yes, he then knew. He's why. He knew his... Something like that.

It's like there's a reference to in the Old Testament there's something the King James Bible where I think King David goes to the cave and covers his feet, which basically means he goes to the cave and has a poo. But it's translated as he covers his feet. He could have said he tries hard, but they don't. When I was at Mount University, I did the Bible in translation as one of my subsidiary studies. And there is a... I remember being told, that there's in one of the gospels, Jesus rides into Jerusalem on two donkeys, because it's a mis-translation of the original word for one donkey

and two donkeys is the same. And the person who was teaching us said, you have to think about that. Brody introduced him on two donkeys, he's like a circus trick. It would be. And so the fact that they made the mis-translation issue is whoever was doing it just literally wasn't thinking as they did the mistranslation So in Jesus Christ's Hupstar when the when the crowd are going hey Zanna ho Zanna Zanna Zanna Hey Supstar they're going wow two donkeys. That's anyway. Sorry Lizzy Wands. I got distracted So they just got married in Manchester August 6th after 20 years of knowing each other Film has always been an important part of our relationship. Our first date was to see the film Signs.

Oh yeah, Mel Gibson. The Shimonlin. Well that's funny, you went from Mel Gibson, I went for Shimonlin, but yeah, okay. Where I was amused to see Mike was hiding behind his hands during the tense moments. Film was also integral to our wedding. I walked down the aisle to Hans Zimmer's first step

from Interstellar. Wow. And we walked back down the aisle together to the Indiana Jones theme tune while I was playing along with Kazoo's. I wish I was at this wedding. That's great. We also had all manner of film and TV themes played during the meal. We are going on our honeymoon to the USA, New York City, New Orleans, Memphis and Nashville. What a great choice. That's the full, yeah. Saturday, the 17th of September, and I would love it if you could say hello to Mike. I know Mike will have your podcast downloaded for the flight.

He is a subscriber to your extra takes. By definition, Lizzie, that sounds as though you're not. That's so true. So you're just piggybacking on his extra take. Oh, well, that's marriage for you. Please could you tell him how much I love him, you might know that now. And how happy I am to be his wife after all these years. After all these years, he's working very hard in that sentence.

We are both sufferers of Arles. Mike once melted down on a plane to the Muppets and I cry at everything on land as well though. so I'm hoping this message will have the desired effect. Thank you very much of course, hello to Jason. Lizzy born's Neh Hutchinson. So good. It's very good. So congratulations and I hope you enjoy your honeymoon. Hello to Mike and also to Lizzy. Yeah. And Kate, your own subscription. We need the money.

Yeah, exactly. And here is a brilliant email from media. It's not just a brilliant email, it's a job opportunity and possibly a life-changing offer being made to one of our listeners. Okay. Mark and Simon, greetings from a colonial commoner and condolences. As a legacy listener, I have come to faith. I have come to have faith not only that I will often chortle on my morning run when listening to your ever entertaining

wittering, but also that you have a remarkable fan base. I realize it's a slim chance that maybe a congregant out there has always dreamed, now listen up folks, has always dreamed of moving to a charming coastal town and running a small independent movie theater. The owners of the colonial theater in Belfast, Maine, so not Northern Ireland Belfast, but Belfast Maine in the north-eastern corner of the United States, are retiring. And Sunday, September the 18th is the last day of operation. They are looking for a buyer for this historic theater, which is 110 years old, beautifully restored and modernised, and sport in America, a building being 110 years old. That's like medieval.

It is medieval. Is it pre-medieval? It's like the Dark Ages. More of which later. And it sports an endearing elephant on its roof. Of course, I mean, there you go. There's no guy who does it. And you could do worse than to relocate to Belfast main. Despite a population of less than 7,000, so 7,000, that is small. We have two independent bookshops, five art galleries, an art center, several community theater groups, delicious restaurants, a food co-op, a cheese shop, an olive oil shop,

a thriving shipyard, two year, two year round farmers markets, a town-specific radio station, WBFY, and even a town-specific community TV station called Bell TV. Although the potato processing plant burnt down earlier this year, very mysterious, they are planning to rebuild it. Oh, that's OK then. I work at the local Yarn shop and not infrequently field questions from out of town as about moving here. If the idea of running a movie theatre in the hub of a thriving creative community perched on the coast of Maine appeals to you, I have to say at this point of the email, I thought, I'm going. It doesn't appeal to me. The colonial theatre owners are friendly and would love to talk. Get in touch via their website, colonialtheatre.com. For their final 10 days, they are running 36 of their favorite titles for free, including

Toy Story, The Last Picture Show, Alien Love Actually, and The Princess Bride. I don't think my kids are ready for Alien, almost certainly right, but they are looking forward to seeing Toy Story and Princess Bride on the big screen. And my completely non-busy but ardent streaming recommendation is for the OA on Netflix, both haunting and compelling, packed with ideas, well-acted, moving and contains loads of opportunities to wave hello to Jason Isaacs. It's the weird, weird show. Tegally Tonkin, down with independent cinemas closing from Midia.

So Midia from Maine, thank you very much. And if that does appeal to you, it does sound fascinating. It does. It does. It does. It does. Amazing. Depending on what's the lifeline you're in, the email address again is all the doings, you get colonialtheatre.com if that's of interest to you. Bellfast main sounds like heaven. It does.

And they've got an olive oil shop. I mean, and a cheese shop. Why can't, how interesting can olive oil be? I mean, I like some olive oil. I imagine there might be a choice of three or four. And the writer works in a yarn shop. Yes. Selling yarn or telling yarns. And telling yarns. Not certainly not selling olive oil because that would be the way the olive oil shop. So anyway, that's very good. Midia, thank you very much indeed. Co-entastic. Right. So why don't you review something Mark, while you're here? Okay, Pinocchio, which is the latest instalment in Disney's ongoing mission to remake their

animated back catalog in, you know, largely perfunctory live action version. So, this goes back to, so we had Tim Burton's Alice in Wonderland, Dombo, Kenneth Branagh's Cinderella, which I actually quite like to beauty in the Beast, Guy Richie's Aladdin, Mulan, John Favreau's Lion King, which of course wasn't live action anyway. It was in fact photo realist animation, so it was really an animated remake of an animated classic. So now this, which is a remake of the classic Disney animation, 40s Pinocchio, this project apparently dates back to 2015 at which point Sam Mendes was in talks to direct a script by Chris Whites then passed Paul King, who of course, you know, best name for Paddington, at which point Tom Hanks came on, although he then left Paul King, you know, left the project, and then he came back when Robert Zamekis came in because of course

he made you know for us gumcast away Polar Express with Robert Zamekis. Then son on to the right script went through umpteen different writers including at one point your friend Jack Thorne had a go at it. Although it is now credited as far as I can tell to white sins of Mechis. Benjamin Evernainsworth is the voice of Pinocchio. Joseph Gordon Levitt is Jimmie Cricket, nobody needs to be told the plot again, here is a familiar scene from Pinocchio. Locked solid. Well, no, I guess this isn't what you signed up for when you decided to be a famous actor, is it? It's not my fault, I never wanted to be famous.

Sorry kiddo, that's not the way I remember it. But I didn't want to be famous. I wanted to go to school. Hey! It's true. All of those people cheering at a plotting. I hated it. What's happening, Jiminy? Looks like some sort of fairy magic. Kind of on the nose if he asked me. But the point is, a lie can really change a person, Penokes.

Which is why I'm telling you, the 110%, most honestly honest, truthiest, truthiest ever. Believe me! Oops. So it's the... When you hear the creeks, that means his nose is extending by a meter every time. Yes, and that's kind of, mythology of political websites with how many panochios

for the last Trump speech, for example. So other cast members, Cynthia Riveau, the Blue Fairy, Luke Evans, the coachman, Keegan Michael Key, is the voice of the Fox honest John. Panochio is a weird one because people keep coming back to it. We had the live action version by Mateo Garoni just a couple of years ago. We've got the new stop motion animation by Guillermo del Toro, which is going to play at the London Film Festival. I think that's its world premiere at the London Film Festival. I'm really looking forward to it. As I said, I did actually speak to Guillermo just a few weeks ago. I said, you know, what's your version about? He said, it's about death, which is exactly what I want from Pinocchio.

And then of course, there's Steven Spielberg's AI, which is probably the most inventive adaptation of Pinocchio. All of those are interesting propositions. This is just the opposite of that. I think it's possibly the most pointless live action, although again, I use that in inverted commas. I did. The little clip that you just played is, I saw the actual clip from the movie in this G-S.

Didn't that live action talk? No, exactly. Because firstly, the live action, obviously the Pinocchio is an animated CG. There is just some live action in it because there are some live, like for example, Tom Hanks as Jupiter, although he's exists in a world which is completely siege I mean as with all Robert Zamekis films it's kind of you know it's it's CG

Tastic I mean even Forest Gump has a lot of CG in it and a lot that sort of stuff in though it's a live action film. Question is why are you doing this? It looks like someone has just taken the cartoon I mean you saw the Pinocchio there that's the cartoon Pinocchio. It's like somebody just did a 3D CG animation of the cartoon of Pinocchio, not reinventing the character at all, but doing it exactly as in the Disney version. Tom Hanks can twinkle all he likes. He cannot breathe any life into this new version.

All the best bits of it are lifted directly from the original, whether it's songs that you recognize or whether it's the shadow of the boy transforming into the donkey, those are all bits that you can call them nods to the original or you can say they are the bits from the original that you remember. All the new stuff, like a bit more backstory motive

and just some other kind of investment are completely irrelevant. It really felt like disheartening, accountancy driven fare, a project which has spent a long time coming to the screen and I think the only thing that was driving it forward was we need to remake this part of the back cutter and the worst thing about it is if you put it in context of the fact that it's bookended by the guroni on the one hand and the Guillermo del Toro which of course I haven't seen yet but it's a Guillermo del Toro stop motion animation if you've seen the trailer it looks like there's gonna be some really interesting stuff going on in there and the guroni was kind of fascinating and weird it's just so perfactory and it breaks my heart to say this but

hanks for nothing Tom. I mean really this is beneath you and this is not what we expect. I'm not even blamed. You can't blame Tom for this. Not blaming him. I think you just did. I'm not angry. I'm just very disappointed. Still to come on this fabulous take, take one. What else are you going to be doing? Moon Age Daydream, which is a documentary about David Bowie, Antigua de Paradise, which is Julia Roberts and George Clooney. And of course you are going to be talking to our fabulous special guest. Start of Jackie Brown, who is Pam Greer, that's coming up in just a moment. Time for the ads, unless you're in the Vanguard, in which case you don't need to be bothered with that kind of thing.

Hi, esteemed podcast listeners, Simon Mayo. I'm Mark Kermot here. I'm excited to let you know that the new season of the Crown and the Crown, the official podcast, returns on 16th November to accompany the sixth and final season of the Netflix epic Royal Drama series. Very exciting, especially because SuperSub and Friend of the Show, Edith Bowman hosts this one. Indeed, Edith will take you behind the scenes, dive into conversation with the talented cast and crew from writer and creator Peter Morgan to the Crowns Queen Elizabeth in Melda 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 props master Owen Harrison. Cast members including Jonathan Price, Selim Dor, Khalid Abdullah, Dominic West and Elizabeth Tabicki. You can also catch up with the story so far by searching the Crown, the official podcast, wherever you get your podcast. Subscribe now and get the new series of the Crown, the official podcast, first on November 16th.

Available wherever you get your podcasts. 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-Karri's Mackey film Fallen Leaves, which won the jury prize at CAN. That's in cinemas at the moment. If you see that and think I want to know more about Aki Karri's Mackey, you can go to movie The Streaming Service and there is a retrospective of his films called How to Be a Human. They are also going to be theatrically releasing In January Priscilla, which is a new Sophia Coppola film, which I am really looking forward to since I have an Elvis obsession. which is new Sophia couple of film, which I am really looking forward to since I have an Elvis obsession.

You could try Mooby free for 30 days at Mooby.com slash Kermit and Mayo. That's M-U-B-I dot com slash Kermit and Mayo for a whole month of great cinema for free. And welcome back, box office time. We're looking at the top 10 mark. You ready to go on the top 10? You're ready to go on the top 10 ready to go on the top 10 at 33 But curiously not charted in the US at all is blackbird. Okay, so this is the flatly film. Okay, um, do you want an update on where we are?

Why don't why don't I go first with correspondence? Okay, and then you give me an update an update So first up Le Davein Polo Canin. I hope I've got your name about right At least with Blackbird we got the director's cut and not a version butchered by a meddling studio Down with all two talitarian regimes and resumes. That's an interesting positive way of looking at that. James Griffith says, dear lady Grace and Prince Rainier, one of my favourite old jokes. Hello from Hong Kong, I'm a heritage listener, two-time emailer.

We previously corresponded about developments in Turkey related to the film Stray. I write with regard to the Monaco streaming festival and Michael Flatley. Yes. While I have no information on this specific event, I do point you to this article by the China Media Project at the University of Hong Kong. A number of utterly dire Chinese propaganda films

released in recent years have nevertheless won various awards at festivals around the world, this regarding spring in Hong Kong. According to a press release published on June 1st, the audience applauded for three minutes after the screening. Some, it said, were stunned and their impressions of Hong Kong were refreshed. It added that the film had also recently won the Best Documentary Award at the Prague Film Festival, where according to another article, it had to be shown again to accommodate the throngs of people who wanted to see it.

As reporters at China Media Project explain, this is entirely false. There is no Prague Film Festival nor were there any laudatory crowds at screenings of spring in Hong Kong. Other films have won awards at festivals which do, which do seem to take place, but under dubious circumstances, such as the International Documentary Festival of Iéra Petra, which is in the southeast coast of Crete, which I looked it up. Have you heard of the International Documentary Festival of Iéra Petra? I haven't. According to the 2019 Hollywood Reporter article, the emergence of online platforms,

such as Film Freeway, where filmmakers can submit their work to festivals around the world, has spawned thousands of festivals that run the gamut from minor, per genuine events, to downright scams that are out for the submission fees of aspiring filmmakers. The Prague Film Festival where, spring, seeing Hong Kong again was supposedly shown to great acclaim, does not exist. But it does have a page on film freeway and a website. Its domain, registration history shows, was linked to someone who filled out Nanjing

as their location, second largest city in eastern China. Okay. Maybe Mr. Flatley will turn out to have been in a far more competitive festival and have beaten worthy opponents to his gong says James Griffiths intriguingly what is our latest update. So on the subject of that on Monday I emailed the Monaco streaming film festival which does exist. It does definitely exist. It's happened twice last year and 2022 to say I haven't yet received the information about who else was eligible for the best actor award. Could

you please provide me with it, which they said they would do. A reply came back, sorry for the delay in Amsterdam at the moment. I'll be back in Monaco from tomorrow and we'll reply this week. And I know that the Monaco streaming film festival exists because there's video stuff of it. Also, I found out that its company name, MC Streaming Film Festival Limited, is based in Cork. So, I'm waiting to hear about the... Excellent, well here we go with the rest of the top 10 then at 19, Crimes of the Future. Denmark and Simon, relatively new listener and first time correspondent here, says Josh from Muswell Hill. On Monday evening, I attended a screening of Crimes of the Future, my first foray into

Croninburg Territory. I'm not particularly familiar with Body Horror as a genre, but the word of mouth intrigued me, and I booked out of a sense of curiosity. I ended up rather enjoying the film, although I was slightly perplexed by some of it, and I thought it was rather uneven. Firstly, the Body Horror was no a near-sherifique as I was expecting, and I found the use of CGI really dampened the impact. The sequences that really made me squirm were those that used physical effects instead. I also felt that the tone of the movie didn't settle down until about half way through.

In the first half, the eroticism was teetering on the verge of comedy, and the script didn't seem to take itself seriously enough. The first utterance of the phrase, inner beauty pageant actually generated a wave of chuckles among my fellow audience members. However, when we reached the meat of the plot, about a half way through and the film settled into a darker tone, I found myself more strongly engaged. The political tension was definitely the film's strong point for me. I found the questioning of what a new form of evolution means for humanity and the idea that someone could be naturally unnatural, very arresting. Upon reflection, I realized that much of what I really enjoyed about this film has a spiritual connection with Blade Runner and its sequel, even down to some of the plot points.

Vigor Mortensen and Leia Sadoog give excellent performances as does Leigh-Econovsky as the child's mother. Overall, it's an enjoyable, if uneven, sci-fi experience. As a footnote, I'm happy to report that the Heisenberg joke in last week's episode, he lists a small chuckle from me as I was commuting on the Northern line here in London. I must confess, though, that having done my master's project in quantum chemistry and now approaching the end of a PhD in quantum physics, I am perhaps more closely acquainted with Mr Heisenberg and his principal than the average listener. Now the Nazis up with being naturally natural,

Josh from Us will hail 27 on the day this episode is released. There are more highfalutin jokes in a highfalutin love to lift in a few minutes. Can I just add to that? It's worth saying that as the emailer says at the beginning, not a well-versed-in-body horror and discovering this, if you haven't seen the Chronoberg Back Catalog, there are indeed interesting ideas in this, but they're all in the horror and sort of discovering this. If you haven't seen the Cronenburg Back Catalog, there are indeed interesting ideas in this,

but they're all in the Cronenburg Back Catalog. The idea of beauty pageants for insides is taken from dead ringers. Many of the other concepts about viruses and evolution, they come from the brood, from rabbit, from scanners, from video drone. So my advice to you would be, if you found those ideas interesting,

go back to the canon of classic Cronenburg, because that's where they're most excitingly explored. I do think also, instantly, that thing about the comedic elements, I think you've correctly identified them and they don't work. They work against the film, which is really, really odd. And they reminded me bizarrely of the comedy sequences

in Wes Craven's last house on the left, which the director said he put in there to make the film less intense, to which the answer is, but they're not funny, Wes. It just weird. Stuart Iverson, possibly Iverson, partway through the scene involving a zip, someone sitting in front of me walked out of the cinema never to return, and honestly, fair enough. However, as someone who has watched a fair bit of horror over the years, this is the stuff that has me still gleefully hiding behind the seat.

No one can make me squirm and shut of the way Cronenburg does, and I hope he never stops. A zip sequence refers very specifically to a sequence from video drum, and indeed to a sequence from what was effectively a remake of video drum existence. Number 18 here. number 16 in America, 3,000 years of longing here is Dr. Kate Stor in Melbourne. Three thousand years of longing. Hmm, George Miller, Idris Elba, Tilda Swinton. What could go wrong?

It turns out pretty much everything. The only gripping tale about this movie is the question of how it turned out so awful. That's Dr. Kate Stewart. Jacob Simmons in South London, dear DeGinn and Tonic, as it was three-pound cinema day recently, I treated myself and my partner

to a trip to our local picture house, the fabulous Ritzie in Brixton in London to see George Miller's 3,000 years of longing. Unfortunately, three pounds is all the film was worth. I found the story to be incredibly slow, the narrative threads to be loosened and connected, and that there was a rather worrying undertone to the picture. The idea that a successful career woman couldn't be happy unless she was loved by a man. Tilda Swinton and Idris Helber were great, of course,

but all in all, I wish I had spent my three3 on the screening of ET at the Ritzi. Yeah, I mean, that would have been money better spent. It doesn't work. It's a shame that it doesn't, but it doesn't. And as I said when I reviewed it, you just felt that you should be reading it or even listening to it as an audio book. But watching, if you're seeing it visualise up on screen, it's just a mess. Number 10 here, 13 in America is nope.

Which I, you know, I am very divided about. I know some people absolutely love it. I think it's Jordan Peel's weakest film, although I still think it has lots of interesting stuff in it and one should see it. Number nine here, four in America, Top Gun Maverick. Top Gun Maverick. Eight here, three in America, bullet drain.

It's, yeah, unfortunately, sounds exciting, thrilling title, boring film. Seven here, bodies, bodies, bodies. Which I thought was surprisingly entertaining, not least because the incredibly annoying people, all of whom end up playing a kind of game of murder who done it. What's really, what the film is really about is the fact that their nastiness to each other

is more lethal than anyone running ground in, you know, as a murderer. UK number six, five in America, DC League of Superpens. Rubbish. Five here, minions, the rise of groups, which I really enjoyed, despite being told by one of our emailers that it wasn't any good, yes it is. Number four here, two in America, Bra Mastra Part One, Shiva. Yeah, which is kind of Hindi answer to the Marvel Cinematic Universe, Origins, Movies.

Actually, really good fun directed by I'm Mukaji, starring Rambeke Poor, and Ali Abhattu, of course, was so fabulous in Ganga by Katya Vadi. So yeah, a crowd, please. And number three here is Jaws. Great shame that it's a 3D conversion, because there was a lovely thing in film stories. They said, if you're gonna do George in 3D,

why don't you do George 3D cowards? So what is a very Simon bro? So this is George? Yes, it's George, the original George, up on IMAX screens for the first time, but they have also done a 3D conversion. And if a film never needed a 3D conversion, it's yours. Number two here, nothing in America

tat the lost explorer in the curse of the mummy. Third in the series of the kind of mid-range Spanish animation, I have to confess, I've never really understood the appeal of the tat the explorer films. And the box office number one in the UK, not charted in America see how they run Which is really good fun

Mark McDonald says Dear in the drawing room and with the lead pipe I have just seen See how they run at the views in a marine sterling and I listened to Mark's review while driving there And it made me feel like I was definitely making the right choice This is a big buck coming in this. I'm glad to say that the film confirmed it. I had worried that all of the funniest moments would be in the trailer, as is so often the case with these comedies. But not only did it sail past the six laugh test,

it had me laughing out loud on several occasions. Something I don't think I've done in the cinema for a long time. Sertra Rowan continues to demonstrate that she is incapable of giving anything less. They need brilliant performance. It isn't just her comic timing that is superb, it's the facial expressions and gestures which rounded all out. The only minor criticism I could have is that some of the supporting cast, in particular the amazing Ruth Wilson, are not giving as much screen time as one would like, but given

all that is happening in the world right now, this was a most welcome and joyous piece of escapist confectionery. I have to say that when the only criticism you can level at it is that there, even the supporting roles are filled by really good actors you'd like to see more of. Yes. I think that's a solid thumbs up. Yep. Okay, so that is number one in the UK. Now our guest today on the program was described

by Quentin Tarantino as cinema's first female action star. She achieved fame for her roles in a string of 70s action and black exploitation films such as The Seminole Foxy Brown and Coffee, going on to be the star of Jackie Brown in 1997. It is, of course, Pam Grier, and you'll hear some of my conversation with Pam after this clip from Jackie Brown. Would you mind if we just took a look in that bag?

Who are mine? Do I have a choice? You have the right to say no? No. And I have the right to make you wait here with Ray while I go get a warrant. I don't want to go to all that trouble and just take you and that's a special right now. A special enough what? Uh, could I see something? He just wants to peek all the trouble and just take you on that suspicion right now. Suspension of what? Uh, could have seen something. He just wants to peek inside the bag for a minute.

I'll keep my eye on him so it doesn't take anything. And that's Clip, of course, from Jackie Brown. I'm delighted to say that it's style Pam Greer is in our studio, Hello Pam, how are you? I'm better now. I'm here with you, and it's an honor to be here and be invited. We are speaking the day after the death of the Queen and you were just saying to me that I think you were at the Silver Jew Belize, that was.

Yes, yes, for the Queen Mom. The Queen Elizabeth was away, I understand. But I didn't miss it. I was greeting the Queen Mom with John Cleese on my left and Michael Cain on my right. And I had on a George Eau Armani dress, sparkling with rhinestones. And then as the Queen Mom was ascending the stairs with the group of the end, here's and all these people and here's his Miss Gruey. She's a wonderful, spirited, fighting for women in America. And she says, oh, he can't greet to meet her.

And I said to John Cleese, who was, he was trying not to snicker. I said, John, does the Queen wear rhinestones? Because it was her dress was coated with these sparkling, you know, stones and they were all diamonds. And he says, I don't believe she does. And we were just like trying not to crack up because she was moving them.

So we're all looking at her dress. It are those diamonds goodness, you know, and I looked at mine and I was like, no, mine's glass. So we were laughing and just observing this gracious woman monarch and her diamonds and her jewels. She had more bling than you. Mine wasn't bling.

Mine was just like Dustio, a lot of the closet of rhinestones, but she was so elegant and the fact that you know what I did ask about that the her diamonds that they're removed and stored and applied to a new design. And so she was into recycling then and I thought that was very impressive. Exactly in the diamonds. Okay, so don't you? Doesn't everybody? Always. You know, I just, like, throw my diamonds over in the drawer and just leave them there, you know.

So I don't have diamonds. So Jackie Brown is 25 years old, extraordinary to watch it. And so many films that 25 years ago feel dated. And apart from the tech side, you know, with pages and phone, the size of the phones and the type of the phones, it feels incredibly fresh. Have you rewatched it recently or not? Yes, I do. I watch it. I am directing. We'll be directing a World War Two movie that I have written. And I have been a student since day one. And anyone I work with, I am a student of. And I watch, and to be a part of Quentin Tarantino's process,

artisan, artistry, his memory, everything, I absorbed his filmmaking techniques on a budget. And Jackie Brown was on a budget and his, the people that get to work with him, must rehearse. If you are not into the rehearsal process and many actors are not, they will not work with him. He will not, he doesn't want to work with you. Do you have a two-week rehearsal for this movie? Absolutely. And it's extraordinary. When you have a Robert J. Neural, Michael Keaton and Samuel Jackson and Bridget Fonda,

we're all working like our lives depend on it. And we do. We can't afford to drop a line, a word. He had, I would literally stay in my apartment and he would paint it six times to have the right look and feel and vibe for the uniform, what's the scenes that are going on, where he's gonna plant a camera, a light. It took him three days to light the scene

when Ordale comes to Jackie's apartment after she comes back from jail and he's extracting information out of her. And she, Quentin says, this is a 15-minute scene. I don't want you to drop a line. It's one all the way through. You could probably do it in one take, and I want you off book, and I went, okay.

So my theater training had prepared me for his work, his dynamics and directing, producing and to not squander time and money and everyone's age and energy. And so I see something different every time. I see Jackie Brown and I see something that at the time I wasn't aware of the importance. So when you say when you rewatch it and you you you understand the importance of the movie what do you the importance meaning the importance of the scene when I walk out of the jail how do I walk out what has been stripped of me what have I recognized about myself and humanity and how desperate people do desperate things and people become so accustomed to going to jail. They look for it as they need a place to sleep that night when Jackie Brown by Sid Higg is go sense into jail. She's sitting

on a slab of concrete and it doesn't show at herself, but she's going to be in this holding cell all night long, sleeping on the floor, and how what's going to be stripped of her? What is she going to recognize? Were you able to refine the character with Quentin Tarantina? Were you able to discuss it with him to change it anyway? Yes, I, I annoy everybody. So why did he do that?

Why did he turn off her light? You know, you know, there's, there's, there's issues. Did she buy the car? So I always had those questions. He says, well, you, we write it in their new lip. I, you know, you're, you're, your question and it may not be answered. But Quentin said, but I did get her this hoopty, this raggedy white car,

and it became symbolic of, she doesn't want to be in this car anymore. And then the fact that she rides off in Ordeals Mercedes at the end, tells a whole lot, oh, you start with the end result of a movie. And then you go, why, why did this happen? Why did this happen?

Why did, so the fact that she went from the white raggedy stewardess card to or Dale's Mercedes says a lot of, you know, now who is she and where is she going or what she's going to do, but she's she survived. And it's this payback. It's wonderful. And on that on that basic fact, the central part of you being Jackie Brown based on the book is based on El Norlenna's run fact, the central part of you being Jackie Brown based on, so the book is based on El Norlenna's Rumpunch, where the central character is a white woman. So Quentin Tarantino rewrites this for you, rewriting in that way seems amazing. Now, at the time that must have felt extraordinary. Yes.

It was very extraordinary and surprising and why? Why would you write that for me? I read, okay. He was a fan. Yeah, he was a big fan. But he was a cinematic fan. I think he saw my cinematic drive as a student. And I knew because of him writing me in reservoir dogs

as a Foxy Brown. And some of the guys said, you know, this woman, she's just this great woman. She's like, she's got guns, she's power, she's strong. And I said, why would he throw me under the bus? Why would he wrote it? He was very impressed by my rawness. And included me in the development of this story

of being courageous and very flawed. But what I found watching it again, Pam, was it's a movie in which everyone is smart, but no one is smarter than you. No one can stay ahead of Jackie Brown for very long. You're ahead of the curve all the time. Without a gun. Most of the time.

Most of the time. Without, all she has are her wits, the loss of her husband that she believed in, who set her up. She went to jail before, lost everything, lost her job. So now she's basically, not as she's not a bottom feeder by choice. This is just her circumstance. And she's always starting over it at 49 years old. And where does she go? You know, what does she do? How does she helm her own life? There's lots more to talk about with Pam Grie, which we'll do in take two.

Oh, no, there's a take two. Oh my gosh, I'm sorry. But for the moment, for the moment, don't go anywhere. For the moment, Pam Grie, thank you very much. Okay, I run out the door. There goes Pam running down the street. No, stop her. Stop her. Simon grabs her feet. She falls to the floor.

They wrestle. He hangs onto her feet and her hair and the hat comes off. Park two, Pam. Come on. Okay. I'll stay. All right. That's what Quentin did. He wouldn't let me run out of the rehearsal. He made sure I stay. This is a very ventful interview, and there will do more intake too with Pam Grier. ["Pam Grier"] It took a slightly surreal turn at the end there. Wow.

That's someone who, she said in that interview, she's directing a movie. And that bit at the end, I think, indicates someone who's immersed in that interview, she's directing a movie. And that bit at the end, I think, indicates someone who's immersed in scripting, in scripting play, because then she sees everything as in terms of a script. You know, it's funny, because I've heard you interview a lot of people,

and sometimes you can have interviews who are reticent or don't particularly have anything that they want to say about that. Wow, I mean, it was just like, just stand back while Pam Grier tells you what she wants to tell you. I could just have said, tell me about the film and that would have been enough. And there is lots more Pam Grier and if you are a van Goddys to you'll hear all of that and take it. Do you find out what happens after being wrestled to the floor? Yeah, that's right.

I wrestle her to the floor. That's what I had to do anyway. So she's a force of nature. She's Pam Grier. And this is all happening because Jackie Brown is 25 years old. Yes. So, I mean, look, I go back to what I said when the film first came out, 25 years ago, which was, you know, Tarantino had done reservoir dogs and pulp fiction, both of which I had liked very much. But Jackie Brown felt like a step up. It felt like a step in a different direction. It felt like, okay, I've done my first two albums in which I've demonstrated what I can do with this kind of,

this sort of stick of, you know, recycling certain riffs. And I like both those films very much, I really do. But Jackie Brown felt like the first Tarantino film in which all the characters don't speak like Tarantino. And forgive me if I'm repeating myself, but I went back and watched my review again, and I still agree with what I said, which is not always the case. It has at its center, this character, as you said,

in the novel Jackie Burke, reconfigured as Jackie Brown, paying homage to Foxy Brown and casting a screen legend who Tarantino sees as, okay, this is the person that I want to use. And famously was worried about whether or not Elmore Leonard would approve of the change that he made to his original story and Leonard famously loved the script for Jackie Brown. He said it was not only the best adaptation of

one of his novels but one of the best screenplays he'd seen. And when you look at the film again now there are things in it that are that are very Tarantino-esque, that whole thing about the way in which you see something happen from several different perspectives, and it doesn't make sense until you've seen all the different perspectives. This is something that we've kind of grown accustomed to, to some extent, from pulp fiction and the way in which pulp fiction tells its story in a non-linear way, and it's very pleasing. There's something really wonderful about it. It's at the point in his career when the cast is star-studded,

so Samuel L. Jackson, Bridget Farner, Robert De Niro, Michael Keaton, but mainly Pam Greer and Robert Forster, both of whose careers it reinvigorated, they both had very impressive careers already, but it kind of breed new life into them. I'm sure for many people, introduced them to audiences for the first time. Again, Tarantino's use of needle drops for many people introduced them to audiences for the first time.

Again, Tarantino's use of needle drops is second to none, cross-110th Street, just kind of kicks off the subject. Running through my head all the time now, we're talking. And it really is a perfect example of a well-chosen song that then becomes wedded to that film and you won't hear it again without thinking of that film and you won't think of that film again without hearing it because the rest of the soundtrack. I mean, at the time, I remember when Tarantina was kind of at the height of those early powers, people would buy the reservoir dog soundtrack. you know, suddenly everyone was a fan of stuck in the middle with you, and they would have dialogue sections between tracks and the dialogue sections

were almost like pop tracks in themselves, so people would recite whole chunks of dialogue from pulp fiction, whole chunks of dialogue from reservoir dogs, and so it seemed like the soundtrack artifact was always a part of the package, but most importantly, it seemed like the soundtrack artifact was always a, you know, part of the package. But most importantly, it seemed to me to indicate a change in Tarantino's career direction. Now, one can argue about how this actually played out because script that he then later on went to work on, you know, had their origins earlier on. But I think that what happened was that when Jackie Brown wasn't a big box office smashed in the way that they had wanted it to be, he took what I think was a somewhat retrograde step and went back to doing more of what he had been doing before. And I always thought that that

was a kind of a lack of nerve on his part. I wonder whether over the years I have been too wedded to that idea. I still always have a problem with the fact that I think Tarantino is a really talented filmmaker and you look at Jackie Brown, you can see it. And when you look at, once upon a time in Hollywood, there are segments in that film that are so good that you wonder why the bits in it that are baggy are there. But it was just really lovely to be able to go back and watch Jackie Brown. I mean, yes, there are things now that kind of seem weirdly of their time and things now that seem kind of oddly jarring. But it's a very, very well made film. It's got very good performances in it, I mean, predominantly, as I said,

those two Pamgrey and Robert Foster, who were just great, but it's like the pace of it. It's like he found the perfect pacing. I think Reservoir Dogs and Pulp F pulp fictional like this, I think some of his later films are like this and I think Jackie Brown is like it's like it's like it's like it's a there's a jazz moment between between am I rushing or am I dragging and I think weirdly enough the thing that I really thought watching it this time was, he really got the pacing of Jackie Brown's spot. It's like he hit the groove. He's like, you know, he suddenly hit the groove and he got it just right. And I don't think that's happened

quite as well since. And Pam Griery's just the whole screen glows, you know, she's yeah. And I mean, I thought it was how great to hear that interview. She's every bit as much of a force of nature as she always was. And there'll be more with her, which you really do need to hear. Plus also, when you do watch the movie, you will be downloading, downloading tracks left right and sending, including the Delphonics. Yeah, yeah, yeah. And I can call it a clean, you probably won't make.

Anyway, so more with Pangrier later on, what we do take two. It's the ads in a minute, Mark. But first, it's time to step again into our laughter lift. Do we have to? Few more high-falutin jokes after the low-falutin ones return. Next. Go for the mid-falutin ones. No, no, we're high-falutin.

Here we go. OK. So last week, we were somewhat swamped with high-falutin jokes that could appear in the pages of the economist. Yes, that's right, yes. Okay. In particular, a joke which ended like this. Do you know how fast you were driving, replied the police officer rather sternly, no says Heisenberg, but I know where I am. So we asked you if you laughed at it. The overwhelming response was yes.

Amazingly. People did laugh at it. Wow, we've got very small list. Well, speaking of which, this email, Dear one conjugate variable and the other conjugate variable. I laughed out loud, this is from Oliver Morton. Okay. I laughed out loud. If the man walking down point-hilling Greenwich, as I was walking up at this morning, as a member of the church, he can corroborate this man. That said, I think the joke works slightly better. If Heisenberg says, no, but I know exactly where I was, rather than where I am. The point is that you

cannot know the momentum and the location simultaneously so the tenses need to match. I liked the French Constitution joke too but then I would. So what do you think Oliver Morton does? Here is the answer. He's the senior editor, essays, briefings and technology quarterlies at the economist. Of course he is. Of course he is. I like the fact that we got a high-falutin joke that was corrected by Oliver Morton. Here's Alex. The Heisenberg joke in this week's take gave not only myself a good chuckle but also my friend who is a doctor of accelerator physics to provide another joke in a similar vein. Two cats are sitting on a sloping roof, which one falls off first? I won't even bother asking you,

because the answer is the one with the smallest mu. The Greek letter mu stands for the coefficient of friction. The cat with the smallest mu, the least friction, will fall off the roof first, also cat say mu. Yeah, well, yeah. This isn't quite work, is it? And Dr. Andy Jackson, I have a PhD in physics. I understood the joke.

Upon perceiving the completion of the fictional Heisenberg anecdote, I involuntarily emitted a brief nasal gust. I estimate MIRTH magnitude to be roughly five senti sniggers. No chuckles were registered. I love the idea. If we've got MIRTH magnitude, there is something called a senti sticker. Thank you Andy. And another Andy Bradshaw, Dear Simon and Mark, and glorious Puppeteer Simon. I don't know whether you'll be doing a show or

wanting jokes due to the ongoing sadness about how I've managed this passing, but I think jokes are perfectly fine. And the music is finished, so that means it's okay. However, if you are, I would start here, again, never mind. If you are, may I submit one of my late father's jokes, the research physicist, him in the big lab in the sky's favorites? Why is particle physics like constipation? I don't know why is particle physics like constipation? You need to work it out with a pencil. Regardless. Can I just say Andy, I mean, respect to your dad and everything but we had that joke in the playground of St. John's Church of England primary school because the alternative was wise It was like wise maths like constipation you work it out with a pencil or because you have to work it out in logs

So they were they were the two versions that we that we had so that is a high-faluten joke for a search physicist but also playground Yeah So that is a high-falutin joke for a search physicist, but also playground. Okay. Yeah. Anyway, so we'll go low for gluten for next week, unless of course you work for the economy go high and you want to send in some more. So just send in more stuff. Any more? And incidentally, if you're working in the economist ad department, yes, you do still need to pay for the ad business.

Yes. Come on. I haven't said. Anyway, what's still to come up? Oh, Moonage Daydream, which is a documentary about David Bowie, and ticket to Paradise, which is a rom-com, scribble rom-com with Julia Roberts and George Wobblyhead Cleaning. Back after this, unless you're a Vanguard Easter,

in which case you don't need to bother with any event. MUSIC Metro links and cross links are reminding everyone to be careful as Eglinton Crosstown LRT train testing is in progress. Please be alert, as trains can pass at any time on the tracks. Remember to follow all traffic signals. Be careful along our tracks and only make left turns where it's safe to do so. Be alert, be aware, and stay safe. There are over 5 million podcasts in the world,

covering topics from pen enthusiasts to beefbacks, a podcast for every person, 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. Dear takers says, Carl, a long time listener, loyal subscriber, later receiver of WTF Relief.

Which is... Well, I think... Did we solve one of his... I think we probably did. Yes, is it from? Carl, you know Carl. Oh, Carl, yeah. Your discussion of Nazis,

nuns and the sound of music can help me to ask you to call on the hive mind for more examples of films with this specific mix. Believe it or not, there is something I've given much thought to over the years. And so far have only come up with one other in the Blues Brothers. This further leads me to the conclusion

that all films combining the habit and the jack boot are very good indeed, despite Mark's misplace, misgivings about the adventures of Jake and Elwood. So, movies with nuns and Nazis. They are right, the Tom, please, brothers, does have nuns and Nazis. Yes, an interesting mix. Layton says, Dearest Doctors, as someone who once suffered seasickness on dry land, long-boring story involving a reservoir and some ice.

I can safely say that the only advice I've been given, because we were talking about how terrible sea sickness is, I've been given is that it's worth remembering is to eat a number of oranges prior to setting sail. Really? Why is that? Well, they don't stop you actually being sick, but they taste the same coming back up as they do on the way down. Apparently so. Would you be grateful for I would think as the cabbage comes up again. Anyway, he lane says up with the usual down with all that lot and and then he also says God save the king which is the first time I'll see anyone's put that in an email and it did. Sorry, but just QCs immediately became KCs. Yes. And I'm afraid the top 40 merchants inside me went KC

and the Sunshine Band. Definitely, but that's what they, you're right, they are KCs. And there was, I was listening to, there's a podcast which Jonathan Friedland and you need Levy to called Unholy. And Jonathan Friedland is such a fantastic observer and understander of where we are.

And he's talking about this moment in history in which we are. And he's talking about Britain's founding myth, being starting in, and of course, as we know, myths have truth truth in them, starting in 1940 when the UK stood alone against the Nazis. And how the king at the end of the war stands on the balcony and he has Princess Elizabeth right next to it. And he's talking about the king's speech, the movie.

King's speech. When Colin Firth has just completed the speech, finally, the first person to run up and greet him and give him a hug, his Princess Elizabeth played by Frey Wilson. And he said, that's how I'm kind of founding myth right there. Anyway, it was a brilliant exposition. And then on Friday, when, so I'm doing drive time, and we're told, when we knew it was coming, we were going to take the King's speech, the original version. And I have to write, and I write my own Q. And I'm thinking, when I say this, I just don't want to be thinking of the King's speech. So I had to write this Q,

which said, it's six o'clock. We now go over to Buckingham Palace for an address by King Charles III and then I opened the fader and thankfully it was there because I was thinking if that's not there then this is going to be that anyway. But I was just thinking it's just like that scene, you know, where they have the continuity announced then they have Colin Firth. So anyway, so it was quite a moment. Anyway, I just went off on the phone. You handled it as always with grace and elegance. Well, that's...

You know, you try to get that right because you don't want to be the person that gets it wrong. And I think it's a nice place to go to. That's a good idea. Yeah, perfect. Laten, thank you very much, D for the email. So we do have what's on by the way, which is when you send us the voice notes which will come to in just a moment. First of all, another review.

Yeah, so ticket to Paradise, which is the new feature from Old Parker, who, good old, yeah, who did, you know, remember me here we go again, and who we believe is probably responsible for, it will all be all right in the end. You know, yes, exactly, from a best exotic Marigold hotel, but as you know, we've also traced it back to...

John Lennon. Julian the... Julian the Third. Julian the Norwich. Julian of Norwich. Julian of Norwich. Julian of Norwich certainly. So, anyway, so this is like a kind of later date,

sort of scruable romance. Redeems George Clooney and Julia Roberts, who have appeared on screen together many times. They are a divorced couple who hate each other, but they are brought together for the graduation of their daughter Lily, played by a Kevin Devin from Booksmart. After graduating, she's gonna become a lawyer.

She goes on holiday to Bali with her best friend, because you know, she's well done, she's done well in her exams, go off and have a holiday. Whilst there, she meets and falls in love with a local played by Maxine Boutier. She tells her parents that, A, she's staying in Bali and B,

she's gonna marry Gade, who is the person that she's met and fallen in love with. They immediately jump on a plane, going out under the pretense of, you know, going to congratulate her, but decide, look, let's just bury the hatchet, let's, you know, put our differences aside and let's team up to stop this marriage from happening

because we both know that this is a terrible mistake, you know, this is not what our daughter is going to do. And although we can't agree on anything and we absolutely hate each other, let's just agree to work together to destroy the possibility of this marriage. But even on the journey to meet them, it is evident that presenting United Front

is not going to be easy. Here's a clip. Oh, Dad, this is Gidey. Oh, so I see you, stupid. Oh, so I see you, stupid. Oh, so I see you, Gidey. You learned thatias tu me. Oh, suhastias tu, good day. You learned that to make me look bad. You don't need my help there. Uh, Mr. Mrs. Cotton.

I welcome you to my country and soon to my home. Mrs. Cotton, Mrs. Mather, you can just call me Georgia. Oh, that's your wish, Georgia. Yeah, I'm good with Mr. Cotton. Uh, Georgia, perhaps I can give you a lift? Ah, let's do it. Hi. See. Hi. Hi.

Is he there? Ah, it's an ear raising. Oh, maybe it drops here. Go on. Let's go. So, they are so beautiful. I mean, I know it's been said before, but you're looking at that, you know, but it's like Cabaret, isn't it?

You know, it's a crowd, these beautiful girls are beautiful. Even the orchestra is beautiful. So if this is kind of, they've gone off to the beautiful island in which everyone says, wow, this is beautiful. And they are George Clooney and Julia Roberts and everyone's beautiful. And there's a certain amount of Oh park oh park it's quite beautiful as well. Yes precisely and there's a certain amount of that

kind of you know why do we go to the cinema because outside it's the world and inside there is this bubble in which you're including it. Robots have to agree to get on with each other I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I'm pleading, I pleading, I'm pleading, I'm pleading, right down to the very final freeze frame. It is a film which is reassuringly unsurprising. You know, there is nothing. I can imagine a large market for that. Precisely. There are moments when reassuringly unsurprising is precisely what you want. So, it's nonsensical fluff in which Julia Roberts reminds us that she has the widest smile in the history of cinema and George Clooney does that head wobbly thing so much that you fear that his head might actually fall off because it's so wobbly.

The question isn't whether or not, I mean, this isn't a film that exists in the real world. It's a film that exists in the world of cinematic convention and genre convention. Fine. I mean, you know, I did the whole secrets of cinema series about how much we embrace and enjoy genre conventions. You go to see thrillers and heist movies and romcoms because they're a certain rules. This isn't gonna win, you know, an answer to which what is not Nora Efron, but it passed the six laugh test quite easily and quite often because of just sort of slightly, there is fun to be had in watching George Clooney and Julia Roberts bicker with each other because they've, you know, it's like they've played in this band before. They know the rhythms. I'm doing a lot of this in this particular show, but percussion on the show today. But you know what I mean when it's like they understand the beats of each other's comedy.

It's also, I mean, the whole thing looks, there's a slight sort of, you know, midlife, melancholia, missed opportunities that may perhaps, that may perhaps be being able to be revisited. You know, there's a thing about, well, is it the oldies or the youngies who are actually going to learn the lessons? Incidentally, this is not a quiz. It's okay. You don't need to send in your answers. It's fine. We all know what the answers are.

So it's fluff, but it's perfectly acceptable fluff that I watched and I laughed and I smiled and I thought, yeah, yeah, you know, yep, that's the movie that it is. If you wanted to, you could dismantle it, but why would you want to? If you go and see tickets to Paradise, which has got the poster that it has, it's that film. And I enjoyed it in a, and it's weird, particularly at the moment, it was like, like you just said, yeah, that'll do. A lot of that. And of course, one of the many people have said about crime fiction, particularly, or some types of crime fiction, is it's very, very popular because in that kind of PD James, in fact, Anthony

Horowitz about his, it was talking about his new book, Twister the Note, Twister the Note, and that people love this kind of because there is resolution, there is a format, there is a puzzle, there is entertainment to be had, and then there is resolution. And when things are particularly uncertain out there, if this movie ticket paradise is reassuringly and surprising, I'm in the queue. Yeah, and can I also say, I should say because sometimes if you talk about a film like that, it gives the impression that making something that's fine is easy. No, it isn't. No, no, no, it really isn't because we've all, I mean, heaven knows, you know, I have a tinny of a comedy and we all know how many times I've got off my bike about romcoms being savagely disappointing

and this is not in the savagely disappointing camp. So let's do a quick bit of what's on a re, this is where you email us a voice note about your festival or special screening from wherever you are in the world. It goes to correspondence at kermedameo.com this week we start with Anna in Helsinki. Hey Simon and Mark, love the new show Anna Muttbelahir from Helsinki International Film Festival Love and Anarchy, the coolest film festival in the Northern Hemisphere. Our 35th edition runs from the 15th until the 25th of September, with a simply dazzling program of films from around the world. We have special screenings, think alien in a fried elevator, panel discussions and filmmaker guests. Your bad selves and all church members warmly welcome. Head on over to hif.fi to learn more. Hello Simon Amart, this is Sam Wilson,

Festival Director of the Into Film Festival, a UK-wide free film festival for schools and young people running from the 8th to 25th of November. We'll have two and a half thousand free screenings and events taking place across hundreds of cinemas this November and we're now live for bookings. So if you are an educator and would like to see what's on near you, just visit intofilm.org forward slash festival.

So there we had Anna from the Helsinki International Film Festival. I definitely want to go to Helsinki just as a fantastic place. And the Film Festival sounds terrific, Anna, thank you very much. Sam Wilson from the Into Film Festival. I definitely want to go to Helsinki just as a fantastic place. And the Film Festival sounds terrific and a thank you very much. Sam Wilson from the Interfilm Festival, send your 20 second audio trailer, please about your event anywhere in the world to correspondentscerminamo.com, a couple of weeks up front and we'll give you a shout-out or of course, as we say every week, you give yourselves a shout-out. I say every week, this feature, that feature we just did, puts a smile on my face every week. Yes, because you hear people really putting a lot of passion and clearly they're not thinking they're going to get incredibly wealthy through this,

but they're just doing what they do because they love it. And they want you to go to. So you can go to anything to do the into film festival, a hellsinki, hellsinki international film festival, then go ahead and let us know what you think correspondents at carbonabay.com. Okay, David Bowie time. So, Moon Age Day Dream, I mean, I sort of hesitate in a way to call it a documentary because people have talked about it being a set of my experience and a visual experience and the best way of describing it is that it is a kaleidoscopic collage taken from the life and works of David Bowie, which uses concert footage, recorded audio interview footage that kind of creates something approaching, an erration, painting, dance, mime, dismantled songs with using sort of musical stems all put together in a collage that attempts

to capture something of the magic of David Bowie. Now, the first thing to say is that this is authorised by the Bowie Estate, meaning that it has access to the material that films like, for example, Stottust did not have. Well, I mean, you know, and you can understand why. I mean, the Bowie estate have been very protective of Bowie's. I mean, going right back to Todd Haynes and Velvet Goldmine, which of course is a film which takes its name from a Bowie song, but doesn't have any Bowie material in it, because, you know, because they've been rightly protected.

So this does, and it has an extraordinary archive of material. Some of it familiar, some of it revelatory, all put together in, as I said, this great big two-and-a-quarter hour cinematic experience that is Bowie. Here he is, I think it's the trailer, but this will give you a sense of the film. Are you there, David?

BEEP. You're aware of the deeper existence. Are you there, David? Are you there, David? Maybe a temporary reassurance that indeed there is no beginning knowing. And you find yourself struggling to comprehend a deep mystery. This is bound control to major tongue So, me and Carl's on the table, I'm a big Bowie fan. I saw Bowie at Ells Court in 1978 and this was a really sort of major event for me. I remember very clearly when I was a kid, my friend Chris Dry bought me Changes One Bowie and he said, and I'm not going to buy this for myself because I'm going to buy every album

that these songs are on and I thought that's a bit of a big ask and then of course I found myself going exactly the same way, never listening to changes one, Bowie, because you just end up buying all the records that it's from. What the film does is, there's no such thing as a definitive Bowie movie. They just isn't. In two and a quarter hours,

you cannot definitively encapsulate that career. But what you can do is attempt to give a cinema audience something of the adventurous spirit of, I mean, Bowie worked across a number of genres, not just of music, but he also, you know, been painting and in acting, whether it's stage acting or screen acting, we see a little clip from Manifold from Manifold from Manifold

from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifold from Manifel to Worth, Juck to Pose alongside the documentary CrackTactor, which is the thing that gave Nick Rogue the sense that, okay, that's the guy that we need for Manifel to Worth. There is, I mean, just in the period of the 1970s, the unbelievable evolution between Ziggy Stardust, and then what he's doing by the time he gets to the Berlin trilogy. I mean, you know, that's, and people always talk about how incredible it was that the Beatles went from, you know, love me due to Sergeant Pepper in such a small period of time. Well, Bowie is arguably one of the people who was on a similar kind of

reinventory trajectory. So everyone ends up using the words chameleon like everyone says kaleidoscopy, everyone's because there isn't any way, I mean, encapsulating it. So I went into this and when I was watching it at the beginning, I was thinking, okay, that footage, yes, seen that haven't heard that, where does that come from? That's from you, that's from the thing about the sacred sculpture and that's. But what works about Moon Age Day Dream is that whether or not you are a bowie, fan or obsessive or just, you know, partly interested. About 20 minutes in, you realize that what you're doing is being swept up in this kind of whirlwind experience

of, you know, a kind of, it is a multimedia thing. I know it's a cinematic experience, but it is a multimedia experience. And I wanted to go back and see it again on the bigger screen. I saw it at Universal, which is great screening, but I want to see I'm X screen and wanted to hear it turned up to 20. And there are very to focus on in a detail. There are some very intelligent musical mashups in which the stems from songs are used and put together in a way, which the director, Ben Brett Morgan, who's previous, if he did, kids stays in the picture and he did

Kirk Bain montage of heck, but I think that this is in a kind of slightly different league in which he takes the songs apart and reconstructs them, Tony Visconti over saw the soundscape in a way that really suggests that he understands what the way in which the music is working with the images. Yes, there's lots of film clips.

Yes, the film was a debt to Julian Temple, who's kind of used that cultural car crash language with his, in the way in which he will take clips from films and stuff and put them all together. I'll give you a look at the Doctor Feel Good documentary. You can, there's a whole section of that in which it is basically clips from movies that are completely acron logical in terms of Doctor Feel Goodgum and illustrating the way in which they were outsiders,

they were gangsters, they were raggum muffins, that sort of thing. And sorry, you can hear from even the way I'm talking about it, even talking about it is really exciting. And I came by state at your house last night, again, sorry, thank you, you aren't going to get rid of me. But we immediately started talking about, you know, Moon Age Day Dream, because I've been thinking and talking about it ever since I saw it. And I think that the thing that really impressed me about it,

I mean, yes, of course there are remissions. There's space for a host of other documentary filmmakers to make other films about Bowie, because you could make, you could make, I mean, people already have, you could make, I mean, people already have. You can make really extensive document that Bowie five years, Bowie the last five years, all that stuff. Almost every single project that he was involved in would support a feature length film. But what this manages to do is to suggest that the director has tried to apply a mindset to Bowie's back catalogue that understands the adventurousness and the reinvention and the cut up and the, you know, the William Borrows and all

the rest of it that made Bowie who he was. And yes, there's the period when it's everything's incredibly successful, but you know, I'm not so commercially, not so, you know, artistically inventive. You and I had a conversation about whether or not you should see Let's Dance as a Bowie album or a Nile Rogers album. Well, it's both. It is both in yet at the same time. It's not that I said, I remember queuing

to get tickets for Earl's court and then ignoring the glass spider tool, which I could hear down the road and thinking on the one hand, what a smart kid I was to understand that and on the other hand, what a tweet I was not to do it and you said rather pointedly, well maybe he will both things at the same time. And that I think is the joy of both, you know, the Androgyny of Bowie, the thing that he was what you brought to him and still is, am I indicating to you

that this really worked for me? You are. It really worked for me, it really worked for Mark. And once you've seen it, you can let us know correspondentsacobodermau.com. That's the end of take one production management in general, all round stuff. Lily Hamley, cameras, Teddy Riley, videos on our tip top, YouTube channel, Ryan Amir, Johnny Socials, is Jonathan Imiere, studio engineer, Josh Gibbs,

who wears a hat indoors. Finn Rodham is the assistant producer, guest research is Sophie Ivan, Hannah Tulbad is the producer, and the red actor, as ever Simon Pull, who arrived on time. Mark, what is your film of the week, as if we don't know?

Moon Age Day Dream. Next week, we have Charlotte Rambling on the program. Wow. We're talking about her new film, Juniper. Thank you for listening. Extra takes with the Emmys Chat, more with Pam Greer, a bunch of recommendations, and a bonus review available on Monday. Thank you for listening. Extra takes with the M is chat more with Pam Greer, a bunch of recommendations and a bonus review

available on Monday, thank you for listening.