Kermode & Mayo’s Take - Thelma Schoonmaker, Peeping Tom, Typist Artist Pirate King, Cat Person & Five Nights at Freddy’s

Episode Date: October 27, 2023

This week, certified film royalty is in the studio! Mark and Simon sit down with Martin Scorsese’s legendary film editor, Thelma Schoonmaker, who is here to discuss restoring her late husband director Michael Powell’s equally legendary body of work as part of the iconic filmmaking duo Powell and Pressburger. She also talks about her own work with Scorsese. A must listen! Mark reviews the restoration of the Powell and Pressburger classic ‘Peeping Tom’, a psychological horror about a filmmaker who murders women and records their dying moments; ‘Typist Artist Pirate King’, director Carol Morley’s warm and sympathetic fictionalised portrait of the late “avant-garde and misunderstood” artist Audrey Amiss; ‘Cat Person’, a darkly comic psychological thriller about a college student who goes on an awkward date with an older man who may be a murderer, based on Kristen Roupenian’s viral New Yorker short story of the same name; and ‘Five Nights at Freddy’s, a supernatural horror inspired by the indie video game of the same name, which sees a troubled security guard menaced by creepy, animatronic, funhouse animals. Plus, the duo takes us through the Box Office Top 10 and the film events worth catching in this week’s What’s On. Time Codes (relevant only for the Vanguard - who are ad-free!): 10:38 Typist Artist Pirate King Review 22:27 Box Office Top Ten 35:45 Thelma Schoonmaker Interview 53:32 Laughter Lift 58:06 Cat Person Review 01:04:56 Five Nights At Freddy’s Review 01:10:17 What's On You can contact the show by emailing [e-mail] or you can find us on social media, @KermodeandMayo EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To advertise on this show contact: [e-mail] Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hi, esteemed podcast listeners, Simon Mayer. A 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 Superstar and friend of the show Edith Bowman hosts this one.

Indeed, Edith will take you behind the scenes. You can also catch up with the stories so far by searching the Crown, the official podcast, wherever you behind the scenes. 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'll come back to it. You want to keep that far half time. In between take one and take two, you'll finish off your, well, in demo, they don't call them Danish.

They're Vin, they're Vinny's, something anyway. But it's a nice, yeah, that's weird. It's a pastry. That's what we're talking about. So yes, I'm fine. Thank you. I'm just, I'm just between being in Birgill and Trieste. Thanks for asking.

Can't, are you celebrating Liz Traste? I beg your pardon pardon. It's a as we speak, it's a year since Liz Trust realized that she was cataclysmically useless and and bowed out. So I didn't even know that was one yet. So it wow. Matt Jolie tweeted earlier saying happy Liz Trustey to those who celebrate. tweeted earlier saying, happy list trustee to those who celebrate. So I think I'm going to have a glass. Remind me because I kind of lost track of this. Is she still collecting the full Prime Minister's pension? Probably. I mean, you know, for the rest of her lives. And I'm looking forward to her, her honest list as well. Is that happening? Inevitably. Which would be great. It's also, I know you're marking this, 30 years to the day that I switched from breakfast

to mid-morning on Radio One. Well, it's quite a thing. Did that signal the improvement of your sleeping? It did. Although there was a jingle which Blur did for the show which went Simon Mayer in the morning is no longer yearning. Any more. It was really nice, it was really nice. What was it to the tune off? You know, he'd done his own thing. Oh right. So he was all behind his own. Jeff Smith who's producer, he got the jingle, he's still up there somewhere,

it's still so obviously blur and so obviously Damon. So they literally recorded it especially for you. I think they were doing a session in Made of Vale and then he said can you do a siging? Are they just knocked it off? As it were. It's also as far as this show is concerned. And I noticed this because it was on social media which you don't go into anymore. It's three years since Kip Freshwater did his Smelly Pants We shout. Apparently, according to his dad Ed was, I think there's an email from Ed later on about another thing. But it's three years. I did see a thing that somebody sent me that they were doing, you know, the t-shirts that I wear which have got band members, you know, like, you know, whatever

it is. And I did see once one which was smelly and pants and toilet and we that I think they must have done. I think they must have. Which looks majestic it does. So anyway, so they're the three anniversaries which we're marking with the gay show and we're marking them by Mark reviewing these films. Why are you talking about Treesk by the way? Because I'm not, so I was at the Bergen Film Festival. Oh yeah. Last week. I was a part of you looking very cold. We went up a field, how cold was it? It was cold, but you know,

I mean, it wasn't as cold as like leads. I mean, it was, you know, it was, and it wasn't raining, but it was the other thing. And of course, you know, because you've been to Norway. It was just, I have never been to Norway. That's what you went to Tromso. No. Ain't no party like a Tromso love party.

I remember us talking about that, but I've never been to Norway. Where was the museum of the penis? That's in Copenhagen. No, that's in Reykjavik. Reykjavik, I beg your pardon. I'm sorry, I thought you'd been to Norway. No, the penis museum, the gift shop is quite something.

Just, if you're just coming to this for the first time, I'm not making this up, this is a real thing, this is a real conversation that really happened about a real place. Anyway, they positioned, they've actually positioned the gift shop so you can't just turn up and go to the gift shop. You have to actually have to go through the museum

to get to the gift shop. The museum is a Mr. Happy. It's a bit like at an airport, you have to walk through two to three. You have, and museums, you have to hold your own, sir. Do they exist? You can't say you can't say that in the penis museum You say a large taboo and Yes, we have one over here from the 13th century

Yes, so anyway, triangular It's triangular chocolate from triangular trees and triangular honey with maybe by triangular bees and oh mr Confection of please that was a, anyway, that was a little diversion. It was, yeah, so I was on the Norwegian documentary strand jury of the Bergen Film Festival, having previously played at the Tromso Film Festival, so I've been to Norway four times now. And I'm about to go straight from this studio,

hot foot, to Trees, so by the time people are listening to this podcast, I shall be in Trees, watching science fiction fantasy films and in Fing Pino D'Nasho. Who, what's one then? What hasn't happened yet? Has it? Well, you probably decided.

No, I've watched, I've watched some, but that was the best thing you see. I can't tell you because I'm on the jury. That's not how it works. Just tell me. No, I'll go to the betting shop and say, what are the odds? This thing in Trees, they'll say, go away. Anyway, the Argentine Necrofo robot one was a particular eye opener. Right. Okay. Maybe we'll come to that as some say.

Anyway, on the show, on the show so far, what are we doing? We will be reviewing five nights at Freddy's, a typist artist's pirate king, cat person, and peeping Tom, which is reissued as part of the BFI's pal and press burger season, which brings us to our incredibly special guest and we are talking royalty. Yes, so this is Thomas Goomechus. So because obviously when she's here, yes, you will be a little bit embarrassing to talk about it in these terms. So just do a set of three sentences on why she is royalty and then when she's here then people will go wow. Probably the industry's greatest living director is responsible for for editing. Martin Scorsese's Body of Work also is a great champion of Powell and Pressburger

Also, is a great champion of Paul and Pressburger was married to now the late Michael Powell and has been a great champion of getting their movies back into the popular consciousness. And she is erudite, sorry, from an eloquent. Somebody who lives and breathes cinema and is also an unbelievably nice person and is genuine royalty. So we have some listless questions which so in take, so basically you'll hear a film in this take in take one and take two which has as you know landed adjacent

to this podcast. Oh, that was it landing list listless questions will be there along with other landing list list as questions will be there along with other stuff as it occurs the weekend watch list and the weekend not list bonus reviews yes bonus reviews of suitable flesh which is very scrungy in rubbery Dr. Jekyll which is the new version of Dr. Jekyll starring Eddie Isard and Beatle juice is back in St. Louis. And pretentious wise, currently Mark 20 versus Mark 19, big disappointment last week, obviously. No, I got one frame back. Hang on, did you actually not give me the point last week? In correct answer, so that was, that's not good. Because I didn't say chapter.

We did all this, we did all this last week. You didn't get the point. If you don't get the title right, you don't get the point. What I didn't say, John Wick chapter for. I said John Wick for. Also, one frame back is inspired by film and scoomaker and we're looking at something that's really Liz Trustey is seeming all the more relevant. Paul and Pressburger.

You can access all of this fun via the Apple Podcast so you can go to extrataste.com for all non-fruit related devices. If you are already a Vanguardista, as always, Mark isn't going to say it because he's in a grump. We salute you. Guilty pleasures has been something which has been discussed over the years. A lot. Steve Boniface in Kent. Oh, Boniface is a great name. There was a Pope body face. Pope body face was the person who commissioned, which ever artist it was, and he commissioned them after saying, draw a circle. He saw them draw a perfect circle. Somebody very famous. Anyway, carrying on. Very good. A little paper, a paper trip. There's not a lot of paper

trip here. Except for the fact that people, uh, in, I'm said, paper, in fidelity, people in fallibility only works during the issuing of papal decrees. It doesn't mean that the Pope can't do anything wrong. It just means that the Pope is infallible when issuing decrees, which are rare. Right. Anything else on the paper? No, carry on. Oh, yes, another thing.

Yeah. Um, hiccuping is considered to be a sign of demonic possession because a Pope wants hiccuped to death. Steve Boniface, incent, dear guilty and pleasure, just a quick note in support of last week's emergency mailer who said guilty pleasure should be renamed heart over brain movies or whims. If for no other reason, this would allow us to call those who belittle our choices as Hobbs snobbs, which is very, very good.

Tangany the Tonga and hangs for everything. Hannah in Lemmington Spa, Hannah D. Klin's Psych Ethics Committee member, Lit and Vanguard, hanging out in the Cancer Psychology corner of the church. I very much agree with Simon on this, where this makes me angrier than a sex in the city to entourage joint film venture is the people that start to tell you what they think you should be embarrassed ashamed or guilty about watching listening to and reading and so on. For example, and Mark's annoying whining voice he does may be helpful here. Ten minutes to finish. I would like to respond to that.

Unless I'm going to tie you to a chair and make you listen or watch it, shut up. In these times of dark news and hard mental health challenges, why would you waste your time and breath being mean about something that brings someone else joy? What kind of person does that make you? On a good day, I might ask, are they okay? On a bad day, it might be on your bike, Melan farmer. As someone who is trying to make things psychologically easier for people as a professional and hopefully as a

human, this makes me very ranty. And if I want to watch the summer, I turn pretty unrepent because I like it. And most of the soundtrack is the tremendous Taylor. I will keep keep it up and I'll tie you to a chair and make you watch it too. Up with peace, tolerance and people simply going, I'm glad you like it. Good for you and down with people who impose their options on everyone else, especially if they're orange. Love the show. Look how I did my own redacting. Hashtag Simon Pool taught me all I know. There you go. That's how it gets, including. That isn't the proper hashtag either. I you go. That's how it gets included. That isn't the proper hashtag either.

I don't think that's a trending thing. As I have a correspondence at Kowna Mane.com, I do like the idea of a Hobbsnob. I do like maybe Hobbsnob. Hobbsnob is very good. Yeah. Anyway, there's something out. There is a movie which is out, which I think you might tell us about. Okay, so this is a really fascinating case.

Typist artist, Pirate King, which is a new film by Carol Morley, who is the British director behind The Falling, which everyone loved, including me, an out of blue, which I seem to be singly alone in loving as much as I did. Typist artist pirate king is inspired by the real life story of Audrey Amos, although it has a central road movie conceit, which is fiction. She was a British artist who spent large parts of her life in psychiatric institutions. And after she died, I think 2013, her quote, avant-garde and misunderstood work was donated to the Welcom collection, and Carol Morley had a welcome screenwriting fellowship. She found fell in love with the work, started extensively cataloging it whilst working on a script for the film. The film takes its title from her job

description on her passport, typist artist pirate king. Can you put down a podcast? Oh, I'm a part of that. Apparently you can, or at least you could. I know. So Monica Dolan, who's great, is Audrey, living by herself, making collage art from sweet rappers and food packets, and railing at Kelly McDonald's Sandra, who is the psychiatric nurse who comes to visit her. One day, Audrey shows Sandra, clipping in the paper about an art competition, a local art competition. She says, you have to take me to this gallery because this is my chance to, you know, to have my art exhibited. And she, you know, she had a past in art. And Sandra agrees, you know, she doesn't want to, she says, okay, I will

do it. It's only when they're en route that she discovers that local means local to where Audrey used to live, which is Sunderland. So through a great dramatic contrivance, she agrees that she will drive her to Sunderland with her artwork to go and enter this competition. And en route, the pair Bicker and argue and fall in and out of love with each other and with the world. Here is a short version of the trailer. I'll be writing a letter of complaint about your late arrival. Yeah, you too. The Queen. That's more like it. Any changes we should be aware of?

Your appearance has slipped to an old-time law. This stuff. That's my art. I used to be in the kitchen sink school of realism, but now I'm avant-garde and misunderstood. Now. You need to drive myself and my heart to this gallery before the deadline.

Must be close by now. It is 280 miles precisely. Sundland. You said it was local. It is to me. Well, let's get a move on, Heathhaw. It is a good joke, isn't it? You said it was local. It is to me. Well, let's get a move on, heave-ho! It is a good joke, isn't it? You said it was local, it is to me. I think that is an example of a trailer, which makes you want to see the film. It is. And probably doesn't have the best bits in it.

Well, here's the really interesting thing. So, the journey is interspersed with frames of Audrey's artwork, which is discovered through Carol Mollies' research. And as they do the journey, they meet a number of people that she thinks are people from her past because she is seeing people not as they are, but as she perceives the world to be. When I first saw this a while ago now, I saw it on a screener link and I thought it was fine I mean a huge fan of Carol Mollies, but it didn't particularly move me then I saw it again at the Shetland Film Festival which the good lady professor her indoors and I Curator's now finished but we had it the most recent one and

It was like watching a different film. It absolutely took the roof off. It was like one of the standout hits of the festival. And it was that the weird experience, I mean, I've talked about this before, sometimes you see a film twice and it is like watching a different movie. What had previously seemed kind of performative and actively about Monica Dolan's performance

suddenly seemed to me to be like an expression of Audrey's projected personality, which is contrasted very, very starkly with Sandra's more kind of retiring clinical approach. There were scenes in which when I was watching it on my own on a laptop, I completely missed the humor. And then being in an audience when people will, you know how that thing

when you don't get a joke, and then you suddenly see it when people start laughing at the right places. And because the subject matter is quite dark sometimes, the humor is really, really important so that you've got this interplay between dark and light. More importantly, I thought that what initially seemed to me like a fairly kind of broad strokes portrait of the central characters mental health struggles, in the, seeing it in an auditorium with an audience, actually suddenly became like, no, this is really smart and insightful and sympathetic

and is touching people and is making people laugh and cry and everyone in the room is falling in love with that central character. The other thing, of course, is in the room, the music drops, the needle drops are particularly effective in one song, just before we did the show. I just played you this song. It's a boy George song from around that period of 2013, where everybody was. And it's called King of Everything. I had never heard it before. And hearing it in the room, I suddenly thought, this is one of the best pop songs I have ever heard. And it is brilliantly deployed. I mean, Carol Mollies always had a really sharp ear

for how to deploy a well-chosen tune. And I think the soundtrack, so for me, out of blue, one of the reasons I love out of blue is because the Clint Manson soundtrack is so fantastic. So for me, the effect of seeing it twice was, it was almost as profound as the transition from the first time I saw AI. And the second time I saw AI, although that was divided by a period of years and this

was just divided by a period of months. So my my advice would be this firstly, do go see it because it's a really really interesting film. But secondly, go see it in a cinema. Don't wait for it to to be on a streaming service. Don't wait to watch it at home. Go see it in a cinema with an audience because I can guarantee you and there is nothing more delightful than seeing a film which you kind of, you hadn't really got the first time round and then that brilliant communal experience of sitting in a full cinema and the audience go with it and you go, I get it. It's like, you know, that thing about if you have a really lovely whiskey and the idea is go with it and you go, I get it. It's like, you know that thing about

if you have a really lovely whiskey and the idea is that you drop at one drop of water into it and it opens up the flavor of the whiskey. I've read that kind of thing. It's like that. Right. And the audience is the drop of water.

Yes, I know the analogy doesn't quite work, but I thought it was part of the whiskey. And everyone else is a little drunk in the jar. Yes, exactly. That is, I am the analogy doesn't quite work, but I thought it was part of the whiskey. And everyone else is a little drunk in the jar, right? Yes, exactly. That is, I am the whiskey, and the audience is a little drop of water. And that tells you everything you need to know both about the film and more importantly, about me. Tyapist artist pirate king.

And Carol Mollie got everyone to chant the title because I kept getting the order the wrong way. It's Tyapist artist. I mean, even on our script, it came up as Pirate King, artist, typist artist, typist artist, pirate king. Still to come, Mark is going to be reviewing these movies. I have to go back to the earlier part of my script. I'm going to be reviewing five nights at Freddy's and something else and

cap person and keeping Tom with our special guest, young Thelma That's what I'm gonna call that very good thing We'll be back before you can say yesterday's history tomorrow a mystery and today is a gift That's why we call it the present 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-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 bank guarantee. The link is in the podcast episode description box.

Highest team podcast listeners, Simon Mayo. I'm Mark Kermot here. I'm excited to let you know that the new season of the crown and the crown the official podcast returns on 16th of November to accompany the 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 a talented cast and crew from writer and creator Peter Morgan to the crowns Queen Elizabeth in Mel Distant. Other guests on the new series include the 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, Selene Dor, Khalid Abdullah, Dominic West and Elizabeth DeBickey. 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. And here we go with an email from someone who sounds as though he was caught up in the Watergate scandal. Okay. Well, in real life. Well, his name is David Lickty.

Okay. Yes. It's probably 10 years. And he is also an Indianapolis, although he says, W. David Lickty, Indiana, Indiana, the US and all that. And he's put it phonetically. Yes. Dear chapter and Indiana, when I helped, this is about content warnings.

Okay. Which is very interesting because we've had light-hearted emails about whether they're really necessary. And then last week someone was saying, well, actually, sometimes they are and they look at the content warning. They don't mind if they're a little bit spoilery because it helps them make an informed one. And as we said, you can always close your eyes when the certificate is on.

So what do you call W. David? Should you call him W? W. No, it's like F. Scott Fitzgerald, you would call Scott, wouldn't you? You wouldn't say hello F. F Murray Abraham, would you call him Murray? You could call him Sir. Yes, I think.

We just, you and I this morning watched his acceptance speech. His Oscar acceptance speech for... Drama, yes. I was supposed to be at a live showing of the film plus orchestra and choir. And why were you not there? Because there was a confusion over dates. Yes, but what were you doing instead? I was prepping this show.

Prepping this show and keeping a burning for me. So you could remember where I lived. Yes. Anyway, David says, when I helped run a little art theatre, we had a very advanced screening of Boys Don't Cry, which Hillary Swatk deserved her first Oscar win. When a character is found to have been only masquerading as a man, her then closest friends abuse and rape her. The impactful scene is not only not graphic,

but it is in no way exploitative. The brutality is shown by lingering on her pained face, giving the audience the exact right high levels of both empathy and revulsion. As the scene progressed, at least six women calmly got up and walked out of the theatre. This was not done angrily and I verified that no one had complained to my employees. I guess this, to be due to its successfully conveying exactly and only the horror of that barbarism. Reasoning that people either already did know the basic plot of this true life story and wouldn't be spoiled or didn't and shouldn't be ambushed.

I insisted that we put a little note taped down to the counter at the box office. To the effect of, and this is what was on the note, please be aware that Boys Don't Cry contains a non-graphic but very effective scene of rape. Actually the note was much longer but I can't remember everything in many years of past. We received no complaints about that note in the two months that we played the film, and on the first weekend, 17 thank yous. The most grateful sounding of which ended with a lady returning to her car and doing something else with her evening. And I thought, okay, interesting because what David is touched on there is precisely the reason for people saying, this is the kind of thing that we're representing here and no one thought it was a spoiler and

Yeah, people made wise and informed decisions on the basis of it. Yeah, and then he signs off ups and downs Hello to fairport convention. I've been mentioned for a while and that one guy and everyone else you like Thanks for keeping this going at 18 years isn't yet enough W David Lickty. Thanks W Great name in should be a novelist. He should. Or in prison with all the liquefied guys. And certainly, we're calling this on Wednesday. At the moment, most of the co-defendants

in the Trump fixing the elections, are they all appear to be copying a bargain? Do you think one sentence on this, because they've got the box I was talking about. And we got a Thelma. One sentence, is Giuliani gonna take a deal? I don't know whether they'll offer him one. That'd be funny if he did.

So box I've his top 10. Box I've his top 10. At number 11. No, 15. Oh yeah, number 15. At number 15, not in America, however, so F-O-E, which is very good up until the moment that he decent, so it is two thirds of a good film and one third of it.

Really? Number 14, it lives inside. Oh, you throw it in that voice. Yeah. Is it? Is that round the back of your bins? I know where you live. All that.

I liked it lives inside. I thought it was a very, you know, interesting, creepy, thoughtful horror movie. What is the it, by the way? What is it that lives inside? It is a dark spirit that was spoken of in childhood stories and may or may not be real. Okay. I'd say probably not. Anyway, Saul 10 is at 10. Yeah. I mean, it's one of the better Saul movies and it

does what it says on the 10. The creator is at number nine, number seven in the states. I think both you and I were very pleasantly surprised by how ambitious it is. If you can go back and hear our interview with the director, I would see. Yeah, in which I think he gave very good account of himself. And I'm just delighted to see him do a he's to he talked himself about that sweet spot between monsters, which was his independent film. And the Star Wars franchise, and this is right in that suite, but and it looks, I mean, for what they actually paid for it,

it looks astonishing, which is an incredible skill. If you've got that skill of making it look like a very expensive movie, exactly. Exactly, costing half. Number eight is the greatest caper. Very charming. Michael Cain has now said that he has retired, although obviously, since he did say that to us three years ago, how many years ago?

But Glenda Jackson and Michael Cain in this film are really, really well cast and lovely performances. Glenda Jackson's final performance is so moving. Although I do accept that it was partly because she reminded me so much of my mom. UK number seven, nothing in the States is some other hood. So the interesting thing with some other hood is it has on the one hand this kind of, you know, Sparky Energy, which the, you know, another hood, you expect from the another hood movies, and it found its audience, I think, in its first week. It wasn't for me but I do appreciate the kind of the

just the like I said just the sheer energy of the filmmaking even if even if a lot of the gags fell flat for me and some of them I think are you know awkwardly ill judged but you know it's it there are things about it that are energetic and hey you know There are things about it that are energetic and hey, you know, I'm not the target audience. Number six, number three in the states, the exorcist believer. Number five is Paw Patrol, the mighty movie. Which is much better than one might have expected. I mean, it's nothing. The exorcist. Oh, way better.

Yeah, way, way better. Yeah, no Paw Patrol mighty movie is actually, I mean, if you're a parent taking young kid, I mean, everyone knows about, everyone who's got young kids will know about Paw Patrol. If you're taking young kids to see this, I mean, it's got a very good score, rumping score, bright, candy colored visuals, you know, it does what it does on the big screen and it's got, yeah, I mean, it it's poor patrol, the mighty movie and it is much better than I thought it was going to be. Number four is Leo, which I haven't seen because it wasn't

press screen. It is a 2023 Indian Tamil language action thriller. Apparently it is inspired by David Kronenberg's history of violence, which is itself, of course, adapted from a graphic novel. So if anyone's seen it, please let me know. Because that sounds like a fascinating reworking. I mean, I love history of violence. It's one of my favorite chrono book films. This email that has seen it. Oh, you have, okay, cool.

Yes. And there's no name attached to it. Okay, it's an anonymous. MTL, fourth time email, about a year ago, I was introduced by my friend, who is from Tamil Nadu in the south of India. Okay. To the wonders of Tamil language cinema, aka Kollywood. What he has exposed me to is a world of wonderful film I feel I must evangelise about. Kollywood mainly produces fun, immersive and

incredibly well-made action movies of a caliber that is very rare in Hollywood nowadays. These movies are fast, intricate, with wonderfully choreographed fights and spans subject matter from medical corruption to football coaching. Leo, directed by Lockech Kanagaraj, the third film is a one-director cinematic universe of crime movies, promises to be as exciting as the previous entries. It stars Vijay, Tamil Nadu's answer to Tom Cruise. I believe it will have a limited cinema release in the UK, so I highly encourage Mark to see it. Well, it's gone straight in at number four, and so it is done pretty solidly. And as

I said, it's not not press screen. So, I mean, I'm just intrigued because of this thing, this connection with, with a history of violence, which I, which I think just intrigued because of this connection with history of violence, which I think is a terrific film. Number three in this country, number one in the state's Taylor Swift, the Eerahs tour, the concert, Hambot on our YouTube channel. I love this review from Mark, because he did a review last week. Yeah, because it was in the number one in the child's life. I'd been to see it at the cinema.

I didn't expect you to cover it, but I'm so happy that you acknowledge Taylor's talent and genius outside of how the movie was filmed and edited I'm so excited to see the movie now and I cannot wait to see how Beyonce's renaissance will look to I don't make it. I mean does anybody doubt Taylor Swift's talent? I don't think so I mean, she isn't she isn't she kind of now now I'm sorry forgive me for my very arcane Old pop references isn't she now in the place that Madonna was in the 90s? You know the conqueror of all universes and respect you know somebody who started out people thought oh this is pop But by the time you get to this isn't she now in that kind of Madonna queen of Queen of all that she surveys role. I don't think anybody

thinks that she's not brilliant. Do they? Do they? If you go looking below the line, you'll find lots of people. Yeah. Exactly. Okay. No, no, but the respectable opinion. Well, in as much as pretty much the verdict, you know, the verdict on Ed Sheeran is that he's an incredibly successful and good songwriter. And so you know, you might not like it, but that's the considered opinion. And I think most people go, it might be for me, it might not be for me, it tell us with disingenious. So I think that's pretty much what everyone is. And clearly the film has been made as a film and not just a televised concert. Oh yeah, no, I mean, it is a cinematic swirling cinematic experience.

And of course, it made headlines because of the fact that after the big studios went, and not really they went direct to the cinemas and then suddenly took a ton of money. So it's up there with Abba the Movies, what you're saying. Abba the movie is not a good movie. I mean, that's the weird thing about Abba the movie is despite the fact that it's Abba, that whole rubbish conceit of the journalist following them round so that he can get to interview them and failing and therefore having to go and when he finally doesn't get to ask is it's not

a good movie. Number two is Killers of the Flower Moon. A couple of emails here. Yes, go ahead. Mark Thompson, but not the former chairman of the BBC. And then the head of New York Times and CNN. Anyway, I was interested in your take. I've got a few words to say to him.

Thanks a lot. I was interested in your take on Elizabeth Flamune runtime. And how a story should take the time it takes and the demands of streaming. Yes. Plus there seem to be this notion, two hours 20 being the limit for a theatrical runtime. It's interesting you used the word theatrical, hamlet or king lid,

take four hours to play out in a theater. There's also been a longer film, such as Lawrence of Arabia, plus audiences were clearly happy to sit through Oppenheimer and Avatar 2. I think the media and critics banging on about it being three and a half hours long suggest that that's a bad thing. This will put audiences off. Have you considered that Scorsese might be kicking back at the notion that audiences have lost their attention span?

Cinema will weaned itself off intervals, the break in the action for toilet trips and snack refills, but now audiences actively avoid cinema because of streaming. I love the film and so did my 16 year old daughter who has no issue with long films, she preferred Oppenheimer to Barbie although love both, and treated her friends to a trip to see Oppenheimer and IMAX. The day came out. It didn't feel that long, but then time isn't an issue for me. The cost of cinema these days means I don't go as often,

so a three hour plus Scorsese film sounds great, and value for money too. Thank you, Mark Thompson, for not that one. And David and Sheffield, I'm a little baffled if one can be a little baffled, because you have that baffled one. At the five star reviews, the film seems to be receiving. The narrative thread running through the film was flimsy at best, with most of the plot having been outlined in the various three, I'm getting this out of the way before Thelma

joins us. Yeah, of course. Three minute trailers seen over the last six months. The Nero's Bill Hale is a one-dimensional villain and decapriotes earnest flocks between dim-witted and street-smart depending on what the plot needs at any given moment. Given the title and scope of the book that the film is based on Jesse Plemons' arrival comes far too late, and there's a little more than a Deus Ex-Machina device to bring everything to a close. There is very little jeopardy to the scheming and investigation, basically everything proceeds as Hail Wishes until it just doesn't. Similarly, little is made of the conflict that Ernest must feel as he

is pulled in two directions. Ultimately, this is a three-star film that happens to be directed by a beloved filmmaker, so people seem unable to see very obvious shortcomings. Still, at least it was better than the Irishman. If I can say a couple of things, I think Lily Gladstone is absolutely terrific in the film. I think it's important and clearly heartfelt story as film schoolmaker will doubt was tell you it did become a real labor of love for Scorsese. I think that the soundtrack, the Robbie Robertson soundtrack, with that kind of pulsing almost sort of bluesy thing going on underneath works really well. One thing I do want to say on the subject of the length is that I talked about the fact

that we have to have a conversation about the relationship between length as demanded by streaming services. This has Apple behind it and as demanded by theatrical. There was a couple of things on the video of some people saying, Mark, can I just went on about the length? I stopped watch this. The review that you did, the review is 10 minutes and six seconds long, and in total, every single word that has anything to do with the length of the film all added together come to two minutes, 56.8 seconds, so that is 72% of the review was not about the running

time and 28% of it was. Told you not to read those. Get a life. Why do you read those comments? You know, I was on a train. I could have read a newspaper. Anyway, also Mark Scanlon, the killers of the Flamune is beautifully shot, brilliantly acted,

tells an important story. Yes, it is slow in places, but I think it needed to be. I love how it's sometimes lingered on aspects of the Osage tribeses tradition and culture, rather than rush to the next movement in the story. Anyway, number one, the number one movie, this week, not out in America, is Troll's Band Together. Mike, who's a bass player and alumnus of the University of Manchester. Is it me? No, it's Mike, but anyway, he's clearly saying that for a reason. Long-term list of many times email her once read out by Super Subbed Belly Smith.

In case you need one, here's my review of Trolls Band Together. As Mark says, it is a brash in your face assault on the auditory and visual senses. It is fast paced with zippy dialogue, as colourful as an explosion in a paint factory and full of thumping pop songs. We went as a family, my daughter enjoyed it, as much as she enjoyed the previous film, my wife enjoyed all the boy band references, and I enjoyed it because they did, and it's good fun. Let's be honest, if you're going to see a trolls movie, you must have a good idea what it's going to be like right now. Thanks for all the years of entertainment for you and the excellent production team. There you go. When I was in

in Bergen at the film festival, they said, and so what are you looking forward to seeing whilst you're here in Bergen? And I said, well, I just walked past the cinema and I was delighted to see that the trolls movie is playing and they went, because apparently trolls jokes don't go down

that well in Bergen. Oh, you just thought it was, no, they've got, they've landed it. Yeah, it is heartland. You make trolls jokes at your peril. Okay. There are correct trolls jokes. When we were on, we did the trip on the field. The guy said, and if you see up in the mountains, the things that look like electric pylons, they're not. They are... He's French, the guy.

He's French, yeah. They are. He was the one who hurts us. They are electric fences to keep in the trolls. Uh-huh. Very good. So, that's the number one movie. So, Trot, but obviously, if you're in Norway, don't make trolls jokes, that's the less than that. Or you have to make Norwegian or Norwegian jokes.

Trots jokes, don't do what I did. Tell it in Norwegian. And we'll be back after the break with Selma Schumäker. Thelma Scoomaker. 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 AkiKarri's Mackey film Fallen Leaves,

which won the jury prize at CAN, that's in cinemas at the moment. And if you see that and think I want to know more about AkiKarri's Mackey film Fall and Leaves, which won the jury prize it can. That's in cinemas at the moment, and if you see that and think I want to know more about Aki Karri's Mackey, you can go to Mooby the streaming service, and there is a retrospective of his films called How to Be a Human. They are also going to be theatrically releasing In January Priscilla, which is a new Sophia couple of film, 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 Kermit and Mayo for a whole month of great cinema for free. Your business has grown fast from opening your first location to planning an expansion in no time.

And with your business platinum card from American Express, you can access spending power and payment flexibility to fuel your growth. Sarah, the contractor's here with the plans. American Express, don't do business without it. Terms and conditions apply visit mx.ca slash business platinum. the A-slash business platinum. Now I guess today has worked alongside Martin Scorsese since his debut feature film,

Who's That Knockin' at My Door in 1967, has edited all of his films since Raging Bull in 1980. It is of course, film a scoomaker, she's here to discuss her part in the BFI's Restoration and Celebration of Her Late Husband, director Michael Powell's iconic body of work as part of the legendary British filmmaking duo, Powell and Pressburger. Have you also come in sides with a release of her latest cinematic collaboration with Scorsese, Killers of the Flower Moon and Powell's most... What's the right word, Mark?

Missunderstood work, Peeping Tom? Yes, I think Missunder's here. Missunder's actually the right word Mark? Misunderstood work, Peeping Tom? Yes, I think Misunder's in the right word. Yes, exactly the right word. Okay, you'll hear our conversation with Filma Scoomaker after this clip from Peeping Tom. Look out for Carl Bern as the Peeping Tom. Thea, he- But pity him also.

It's so good. Watch out for Mairashira as the loveless Dan-in, who innocently dances into danger. Imagine. Someone coming towards you who wants to kill you. Regardless of consequences. A magnet. Yes.

And that's a clip from Wow. Peeping Tom, Thelma Scoomaker. Welcome. What did you, what did you think of that? Then watching that because you were reacting as it went through. Yes, well, I've never seen it. First of all, it's very high quality. I don't know where they got that element, but no, I thought it was very good, actually. It's the precision of the voiceover, you know, if you fear him, but also pity him. It's the kind of trailer you don't make anymore. And that's out today. Yes, it's back in

cinemas now. And if you haven't seen peeping Tom, go and see it on a big screen. If you have seen it, go and see it again, and definitely on a big screen, because it's in a beautiful restoration. And there's a film in which the vivid colours and the way it looks in a room as opposed to on your television is really, really well worth seeing. And it's still to this day every bit as vividly alarming as it was when it first came out. It was the first micro-power film I ever saw. No. I saw it at university. It was being shown by Warwick University's film society, and I went to sit and not anything about it, and thought it was fantastic. So I sort of came in at the end of the story.

Yes, that's right. Why was the reaction to that film so problematic? I think really what it was is that the critics were feeling sympathy for and compassion for the character played by Carl Broom and they couldn't handle it. They thought it was wrong for them to feel that way so they felt the film should be destroyed. Actually the trade reviews, Ian Christie, who's the great Palette Pressbroker scholar, says that the trade reviews, Ian Christie, who's the great pal press worker scholar, says that the trade reviews were actually not bad at all.

And there's an internal document that I've read from Anglo-Amalgamated, who made the movie, saying it was a good movie. So I think it triggered in the critics a wrong response, which is they could not handle their feelings of sympathy with him. Michael Powell said to the company, look, don't yank it from the theater, let the public see it, and they will make a judgment on it. And he was right, because now that's what's happening. But unfortunately, they didn't listen to him and yanked it from the theater. The trade reviews appreciated the film craft. the review review, so the daily worker called

it a polingly masochistic and depraved and holy evil. The tribute, the tribute said, it should shovel it up and flush it swiftly down the nearest sewer. And I interviewed Martin Scorsese. That would create me. So you corrected my pronunciation. Sassy. Sassy.

Yeah. Okay. Everybody says Scorsese. I know. And thatie. Sessie. Yeah. Okay. Everybody says Scorsese. I know. And a tronon. They're all right. So now that we are correct, the correct pronunciation is Martin Scorsese. Yes.

So I interviewed Martin Scorsese about the film when it was playing at the BFI some years ago, and I had asked him a similar question, and he said, well, the point is it is a film about the dangers of looking, and it is impossible to look at it without experiencing the dangers of looking, and that's why look at it without experiencing the dangers of looking and that's why it upset people. And I thought that was a perfect... Brilliant. Now that's a brilliant summary. Michael says, you know, he's handsome, charming and completely mad is the way he described him. And I really, you know, Michael, it did not totally destroy his career. He actually made some films after that. But it certainly had a blunting effect.

But the British film industry was in a bad way then, too. It was hard to raise funds for money for films. And he felt that if you're going to be daring as an artist, which he always wanted to be, you're out on a limb and you can easily be sought off. But I would rather be sought off than be conventional. So he stood by it, it was bitter, but Karl Brum would come and have dinner with us in London, and he just could never get over it. He kept saying, why? Why did it fail? What was wrong with it? Of course, his performance is wonderful, but Michael accepted. he had seen so many great artists destroyed, for example,

Raxingham was destroyed by Louis B. Mayer because instead of putting Metro-Goldwyn mayor on the films, he would drop the mayor. Not a good idea. So Louis B. Mayer destroyed him. And when Michael went to see Rax, who had been so important teaching him about how to direct and the whole American crew teaching him about editing. They were so welcoming to him in the south of France. And he went to see Rex in Hollywood and Rex couldn't make movies anymore. It was very painful for Michael. Black Narcissus had just won a couple of Oscars.

And it broke his heart to see this great genius stripped of his ability to make films. And so he had a history. He knew what it was like to be daring. How long did it take for the re-evaluation of peeping Tom before the tide began to take? Oddly enough, of Marty's generation when they were in their 20s There was one print floating around America somewhere. He said it was like a film modie He said it was like a forbidden or a disappeared film that you literally had to track down. That's right There was one guy who had it or something and they all somehow had seen it You know Coppola de Palma Lucas. They had all seen it somehow, but it wasn't available So what Marty did after he along with the in Christy and and Kevin Goffyates found Michael and brought him back and

Emoryk He got it in entered into the New York film festival in 1980 and it was stunning. I mean people just really went mad for it and you can see Steven Soderbergh was deeply influenced by it and he got it actually released in America very briefly and then again it vanished. We should say we have mentioned this early but the whole season is called Cinema Unbound the Creative Worlds of Powell and Pressburger, October 16th to December 31st at the BFI South Bank, UK-wide Cinemar re-releases of the Red Shoes, and I know where I'm going, a major free exhibition of unseen material from the BFI National Archives, new restorations, new 35mm prints, and

the whole nine yards. Yes, this is a passion project. This must have been going on for a long time. How long have you been involved with this? Well, the BFI always honors a director each year. And for a while, it was, you know, Spielberg, Scorsese, Kurosawa, Fellini. And it took a while before they got around to Palemprezburger, but I'm so glad they have. And I've been involved with pushing for it for a very long time. Ever since Michael died, and along with Scorsese, I mean, no one has done more for Michael Powell than Martin Scorsese.

He has raised the money to restore already eight of his films from the original negative, which is incredible, and he has always done anything he could to support and get people to look at the movies. I mean, for example, if he's working with a nude actor sometimes on a movie, he'll start educating them about the films, giving them tapes or most tapes not anymore, to take home and look at.

He did that with me when I came back to work with him on Raging Bull. He started educating me. And finally, he said at a certain point when they had brought Michael over to the Museum of Modern Art retrospective, would you like to meet Michael? And I said, oh, yes. So I was working on Raging Bull with Marty and we had dinner with Michael and he just struck me immediately as someone I'd never expected

to meet it ever. He didn't say much, but when he said something, it was powerful. And so I've been seduced by Grassassi into the Michael Powell and Emmerick Pressberger work. I sort of quote, Thelma, would you give recently? I think it was recently, anyway, you said, Michael left a little furnace burning inside me. Yes, when I lost him, it was pretty devastating. But I knew Marty had wonderfully allowed me to take Michael back to England.

I didn't want him to die in New York. If I break down, I'll recover immediately, so don't forget. So he shut down the editing of Goodfellas. Can you imagine that? So I could take Michael home and he died two months later. And I knew that I wanted to, and I knew it was necessary for me to go back to finish good fellows, because Michael had actually gotten good fellows made.

Because one day, Michael and I used to work on his diaries on Sunday and do edit them, and he was recording them on tape, and I would transcribe them and then read them back to him. And I was telling him how upset Marty was. He couldn't sell good fellows because they said, you have to take the drugs out. And he said, I can't take the drugs out. That's the story. So he had tried and tried gotten nowhere.

And so Michael was very upset that Marty was upset because he fought always for his artistic integrity. And so he said to me, read me the script. So I read him the script because he had macular degeneration. He could see, but he couldn't read very well. And after I read him the script, he said, get Marty on the phone. So I did. And he said, Marty, you have to make this movie.

This is the best script I've read in 20 years. And so Marty went in one more time time and he sold it. And then Michael didn't live to see it. So it was very important for me to go back and finish the film with him, and it saved my life, really. You know, it forced me back into my world. And but what happened is that when I say that Michael left a little furnace burning inside of me, it's that I've wanted to devote as much time as I can to his legacy. And Marty and I do it all together and it's a joy. You mentioned restoration.

You mentioned it a couple of times, Tellama. Excuse the ignorance of a question. Can you explain what that involves? I imagine it's related to and similar to maybe the art of editing. I don't know. Could you just explain how you go about restoring one of these films that we're talking about? Well, it's very interesting that Technicolor films, particularly because there are three strips for Technicolor, different colors. And over the time, they tend to shrink a bit. So when digital came along, we were able to pull those three

strips together so that you don't get any blurring. And it looks beautiful. Plus, there was mold on a lot of the negatives, scratches, dirt. That can all be removed with digital. It's not editing in the sense that we're changing anything. Our motto always is to restore the film exactly the way the director wanted it. But we are able to make it look gorgeous again. And in the case of Blimp, the entire middle of Blimp had been cut out for two. I think it was done in America to save time because the film was 245. That was very long in those days.

It's magnificent. But one day in the BFI archive, Carolyn opened a can and there was the middle section. And so we put it back in. And it's a wonderful section of the movie. So we're sometimes restoring scenes that have been dropped. But basically we're trying very hard, particularly with the Technicolor films, to make them look as much like Technicolor as we can,

clean them up. And as you can see from the Peeping Tom, which is Eastman Color, not Technicolor, what it looks like when you can bring back the color and the vividness of these films. Do you think that a new audience coming to Palemprezburger and seeing the films, hopefully, on the big screen, do you think they'll have the same response as the films first?

Because I mean, obviously, I think one of the first I saw was Matthew of Life and Death, which is my partner's favorite movie of all time and I remember her showing it to me at a very important part of our relationship. She went, this is my favorite film you have to watch this and it was like okay and now I need to see everything else by those. If you hadn't liked that film would she have got rid of you? Oh yeah, she would have shown me the door like that would have been it. It would have been absolutely, bye bye, moving on to the next.

But I wonder what it'd be like now for a new audience coming to Palin Presbyter, because I think they are very modern. They're not old films. What's happened is they're sustaining in a way that some other films are not, maybe the Kitchen Synch School isn't sustaining as well, because it's about very specific

period. Whereas Michael and Emmerk were making films about humanity around the world. I was once with Michael when somebody said, what do you think about the terrible shape of the British film industry, which was in bad shape, that he said, why should there be a British film industry? We should make films for the world. And that's the way he and Emmerich always thought about it. Of course, Emmerich being European. But Michael having spent a great deal of time in France, speaking fluent French, with a terrible British accent. And he said he was sorry when sound came in in a way because in the silent days, which is what he was introduced to by Rex Ingram, you could put a card in telling the audience what's going

on, right, because there's no sound. And you could send it to Japan. They would take out the British, put in the Japanese. It was the same movie. And Michael said, we had a world cinema then. And as soon as sound came in, then you had start subtitling, dubbing, all those things. And the world cinema went away. Of course, it's back now, but I think they're sustaining

in a remarkable way. I think after the war, when there was a big political change, people threw the films out, the baby, the bathwater, saying they were colonial, which, of course, they were not. And so there was a long, long period before people would start looking at them again. But Marty and his fellow directors, they knew them from films that were shown on TV in New York and all of America because the American companies were not giving their films to

TV, but the Brits did. And that's how Marty saw these films, which is a miracle. And they were on this program called Million Dollar Movie. They would run the same movie nine times in one week. And he would try and watch all-mine until his mother said, if you watch that movie one more time, I'm not going to give you dinner. And I saw Blimp, my favorite, accidentally as a 15-year-old and on TV and I never forgot it.

Never thinking I would ever meet the director who made it or marry. So when I started working with Marty, he had begun educating me about these films right away. And for some reason, I think because of TV, they survived amongst this generation of directors who are so deeply influenced by them. My world has always been radio-thirma and and in radio there are many, many producers of a certain age who miss the physicality of editing on tape. They would be editing a conversation, they would take out a breath, they would put the breath around their neck so they could put it back in, and they'd have the chineograph,

and they'd have the splicing tape, and they loved the phrase of blade and the chineograph. Do you miss the physicality of editing, Celi Lloyd? I did, you know, and when I was being trained by my fellow editor who I was a terrible student, I would say, oh, this is ridiculous. I could do this much easier on film, right? I was a very bad student. And about two weeks in, I sort of clicked over,

this happened on Casino, and because all the producers were saying at that point, you have to switch to digital, you have to switch to digital. And George Lucas was pushing it very hard. I suddenly clicked in. And now what happens on a film like Killers of the Flower Moon is we are doing things we could never have done on film. I loved editing on film.

I loved it. However, now we can create our own visual effects. Even before we go to the big visual effect house, which will do the big work. But if Marty wants to try something very interesting, my visual effects editor can do it digitally. We can change the color. We can mix with 24 soundtracks, whereas we used to have two on film, and we'd have to go to another sound studio in order to mix something even for

an initial screening. And that cost a lot of money. We can dissolve, we can change the speed. So digital has brought incredible tools to us. It doesn't mean that the films are any better. Great masterpieces were made in the silent era where they didn't need to have any machines. They would measure the length of a close-up. They would put their arms out, three feet and say, well, this is a good length for a close-up. The only time they saw the movie together was when they projected it.

They had no machines at all. So, and great masterpieces were made. So, we have better tools, but it doesn't mean that the films that were made before are not as good. There's going to be more conversation with Thelma in take two, but for the moment, Thelma Scoomaker, thank you so much. Thank you. Thank you.

Hey, Mark. Hey. The good ladies from Amosisteir and those called me self-centred this week. Anyway, that's enough about her. After. He's good, didn't he? After that egregious abuse I needed to relax. I went for a session of Ashtanga Yoga.

I went to one of the 15 Yoga Studios within walking distance of my house. It was awful. The instructor was Rolling Drunk Mark. He put me in a very awkward position. Rolling Drunk, put me in a very... I. You're growing drunk, put me in a hurry. I say yes, I got it yet. Okay, okay.

You know it yet. The other one was funnier. The Mayo's are a very health conscious family. As you know, Mark. Child 3's been on the Dolly Parton diet. Okay. Very affected. It made Jo-Leen, Jo-Leen, Jo-Leen, Jo-Leen.

It made Jo-Leen, oh very good, very good. Anyway, back off to this, unless you're having a feast, in which case we have just one question. What did China use more of between 2011 and 2013 than the US did in the entire 20th century? 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. With banking packages from Scotia Bank, you can put money back in your pocket. That's how Marcus was able to invest in everything he needed to launch his podcast.

About his pets. Welcome back to PetGast. Visit scoShabank.com slash welcome offer, scoShabank conditions apply. And the answer is of course cement. Really? Yeah, I know that's what no one was shouting at their podcast player machine. It was cement, cement cement or phone as I believe it's yes. According to estimates from the US Geological Survey, America used 4.5 gigatons of cement between 1901 and 2000. Compare that with 6.6 gigatons of cement China used between 2011 and 2013.

According to the International Cement Review, have you been following that? No, it's an absolute page turn of the. I reckon probably someone listening to this podcast writes for instrumental in running Internet International Cement Review. That's got to be an exciting publication. Can I just say in relation to the previous joke that you made about my wife said, your self-sense is really enough about her. Maybe think of two things, which is enough about me.

Let's talk about you. What do you think of me? And that brilliant line in the lemonhead song, which is enough about us. Let's talk about me. An email here from Kevin Watson, Dr. Kevin Watson, head of center for academic development. Okay. Mark and Simon greetings from the Unitarian concession stand. Actually, this is a good joke here. She hadn't heard before. Okay. So is the Unitarian Concession stand. Actually, this is a good joke here.

So I hadn't heard before. Okay. So is the Unitarian. The name doesn't alliterate, but we Unitarians do make concessions. We're so liberal, I've heard it said that we have, we have the Ten Commandments down to three suggestions. That's pretty good.

That's a, but there's also a very good cartoon from some American thing, which is him coming down from the mountain with the tablets and going, okay, the good news is I got in down to 10. The bad news, adultery is still in there. Very good. That's still very good. But I like the idea of, well, three suggestions. Back in the 70s, when I was a child, says Kevin Watson, I recall my mother asking different visitors who came to our house, whether they dreamed in black and white or colour. The memory came back to me when I was

putting a sermon together, based on the 1939 film version of the Wizard of Oz, which of course, memorably, moves from black and white, actually more like brown and white, to colour, in a few minutes. I wondered whether this whole area could be false memories, so I did a little digging, and sure enough, it does seem that back in the days where most of us were consuming entertainment in black and white, and we had photo albums in black and white, commonly reported that they dreamt in black and white too. My assumption, and there is a, she references an academic publication, it's not cement review. This is not academic. Dream quarterly. Maya's assumption is that as black and white photography and film became the exception to

the rule, our dreams got colorized, and now almost no one is dreaming in black and white anymore. However, I clearly remember as a child about six or seven scary dreams were usually in black and white As color was reserved for nice dreams Do you recall any dreams in black and white or remember this as a topic of conversation way back when well? I do remember Bill Nelson recording a song called do you dream in color? Do you dream in color and thinking yeah, doesn't everybody? I mean, I don't I don't recall having ever dreamt in black and white. No, so the art, yes, I agree.

I can't remember dreaming in black and white. And we didn't have a color telly till the mid 70s. So a good portion of my childhood was black and white telly, but then I went to the cinema a lot. And that was, you know, Ben Hur and Technicolor. And I mean, not when Ben Hur first came out, obviously, really, I saw, I saw color films from an early age, Mary Poppins, you know, was, you know, Ben Hur and Technicolor. And I mean, not when Ben Hur first came out, obviously, reissue myself. I saw, I saw color films from an early age, Mary Poppins,

you know, was, I mean, in May, so Kevin Syte's a survey and a questionnaire from the 1942 perceptual and motor skills, volume 96. Okay, fine. Well, I mean, that's, but life is in color. So that if you have horrific memories about your school, for example, the fact that entertainment might have been in black and white your school was in color. So you remember you remember your class mates and your horrible teacher in color. Yes, I remember being bullied in color. Yes. So Kevin, we appreciate your contribution, but I don't think we're not going along. We're not going along with it, even though you are the head of center for academic development. I thought I'd a unitarian with his three suggestions. This has gone to the... Thank you so much for your suggestion.

But very interesting, if Kevin is right, and you're saying, yes, I do, and I always used to, and maybe I still do, dream in black and white, let us know correspondentsacodemand.com. We've been wrong on a regular basis. What else is out? Cat Person.

This is a new film from Susanna Fogel, who is best known as the Courage of Booksmart, which I really, really loved. This is based on a 2017 short story by Kristen Rupinion, which first appeared in the New York Times, and then apparently went viral online as a parable of modern dating. The script is by Michelle Ashford who was Emmy nominated for her work on the miniseries The Pacific, who developed Masters of Sex and who more recently wrote the script for Operation MintzMeat, which you will remember we talked about on the show. So this

starts out looking like a storyboard title. It is, but you know, this starts out looking like a quirky indie romcom, um, Millie Jones English actress who played Ruby in Coda is America, this is another case of British actor taking core American actors. Yeah, well. He's American sophomore Margo, who serves popcorn at the local rep cinema,

and which plays like old reruns to cineasts. Nicholas Braun, who is best known as Greg from Succession. Oh, Greg, Greg. Go, tall, great. Go useless. Yeah, useless tall, Greg is Robert, who comes in one day to see a film by the strange choice of snack,

and she sort of tries to flirt with him. Here's a clip. Um, I'll do a large popcorn and breadbunch. And then use unusual choice. Thank you. I don't think I've actually ever seen someone buy red buns. Okay. I guess you're wondering why we sell them then.

If nobody buys them. So, he then goes into the movie. Doesn't speak to her on the way out, comes back next week, says that she insulted his snap choice, and then they sort of start tentatively maybe having a conversation, then they start texting. Then she tells her friends about him, you know, about who he, how tall he is, about the he's older, and you know, he's a little bit awkward, and they start joking where he's got something of the serial killer about him. Is he basically Norman Bates? Then she goes home to see her mom,

and so they're separated for a while, and then they start texting, and they text like morning, noon, and night, and it's like they're dating, but it's completely online. It's all going well, but at a distance. What happens when she comes back and picks up in person? The film starts with the Margaret Atwood quote which we've mentioned here before which

is men are afraid that women are going to laugh at them, women are afraid that men are going to kill them. And the rest of the film basically tests that premise. Is he a dokey star wars fan? Is he somebody who's just got a thing about Harrison Ford or is he actually Norman Bates? He says he love cats? So surely he's nice But no one's actually seen his cat. So is he making it up? Now here's the thing. Do you remember promising young woman? I do okay Tonally this reminded me slightly of promising young woman although I have to say for my money. This is the smarter film

the way in which the confused battleground of sex can change from funny to threatening to terrifying to complete the incidental, you know, on a dime is really brilliantly observed. The performances are great, the music choices and the needle drops are very, very smart. And there is one scene, which is a scene which takes place in a bedroom, which dramatizes an internal, sort of dialogue that somebody is having with themself. And it reminded me of, there was a drama by Patricia Rosmo in 2018 called Mouthpiece, in which one character is played by two people. And it is a brilliant dramatization of an internal psychological struggle that is actually playing out in real time

while something else is happening and somebody else is in the room. The ambiguity of it is really sustained. I mean, like Margo, you just don't know how seriously or not to take any situation. One minute, you're laughing, one minute, you're awkward, one minute. I mean, I thought it was really, really good. And I knew nothing about it when I went in at all, but I thought it did a fantastic job of dramatizing that, that strange danger zone of modern relationships

in which, you know, one minute things seem okay, the next minute things don't seem okay. Can you, are you misreading people's signals? Are you getting yourself involved in situations that you shouldn't be? And as I said, the whole thing begins with that Margaret Atwood quote. And it then does a brilliant dramatization of discussing that idea, that men are afraid that women will laugh at them, and women are afraid that men will kill them. How long does it take before you stop thinking of him as Greg?

About five seconds. Really? Yeah, I'm really. That's interesting. So when he comes in, you go Greg, and then almost immediately it stops. And I think actually that's one of the great triumphs of the movie. Somebody else said to me,

it's a smart bit of casting because you bring the Greg Baggage in. And I thought, no, you don't. No, you don't. It's a very different character. Gabriel Bern is going to be on the show. The great Gabriel Bern. Very soon, talking about a movie called Dance First, where he plays Samuel Beckett.

And the reason I mention it is, because I've seen the film, is that it's the same thing with that, is that within, because there's a young, there's a younger actor who plays a younger Samuel Beckett. And then Gabriel Bern is there. And to start with, you go, oh, it's Gabriel Bern, but then he brings that. And then it's not. And then he's Samuel Beckett, which is the mark I think of clearly that this film that you'll talk about, Cap person has worked. Yes, I think you can forget that Greg is Greg in five seconds. Yeah, I mean, literally,

what happens is he walks up to the counter and I went oh Greg and then and then I never thought about it again Cat person is Another movie that's at this week. What else can we go and see five nights at Freddy's? This is the latest Blumhouse production 15 rated slasher fantasy based on the video game franchise with which I am sure you are totally familiar And I have to say not okay Scott Corthon who was created the video game, co-wrote the scripts also producer and it started by Emmett Tammy. So in the game, the setup of the

game is you're a night watchman in Freddie Fasbahes Pizza, which is named after an animatronic bear mascot and then the player will be menaced by animatronic creatures and characters and traps, that sort of thing. So in the film, Josh Hutchison, his young man, living with his very young sister, he's haunted by the fact that as a child, he had a brother. And the brother was taken after... He was meant to be looking after him,

but he looked away for a moment, and then the brother was gone. Now he's racked with guilt. He spends his nights trying to dream himself back into the moment when his young brother was abducted and remember the details of the car that he saw pulling away. Matthew Lillard, who of course really came to people's attention through scream, but those also in hackers, gets him a job as a security guard in the closed-down pizza parlor. The hours are terrible, he doesn't want to work nights because he wants to dream his way back into his past He says but on the plus side the hours aren't as terrible as the money so

On the first night he is there he falls asleep on the job things don't go so well We very there's a thing very very early on and I'm not giving anything away This is not a plot spoiler because you know know, everybody knows what Five Nights at Freddy's is. There is a line that basically what we're dealing with is ghost children possessing robot animals. Just say that again. Ghost children possessing robot animals. So, okay.

The next time he goes back, he goes back with his daughter because he thinks that she might be able to help him find his way back to his lost brother. And there is a police woman who has her own skin in the game anyway take a look The idea of a film of this dates back to 2015, Warner Bros. had it. Blumhouse picked up in 2017 at At one point Chris Columbus was attached. You know Chris Columbus. So I think that would have been a very, very different film. In 2021, I reviewed Willie's Wonderland. Do you remember this? No, okay. Well, this was a film that was basically ripped off of the five nights at Freddy's

thing. It was Nick Cage, he's a Drifter. He doesn't say anything, doesn't speak. He's in a car. Car needs doing. He doesn't have any money. So they say, okay, spend a night being a janitor in Willie's Wondaland. And he ends up worthlessly fighting a bunch of animatronic, possessed creatures. Yes. Okay, but he doesn't say anything. And I said at the time, I think he probably took the role, he didn't have any lines to learn. The thing is that, that film wasn't good.

The trailer was actually better than the film. In fact, we had correspondence from the person who would cut the trailer for Willie's Wondaland. But it was knowingly culty trash. It cost a fifth of what? This movie now costs. So on the plus side, creepy animatronic funhouse amusement are creepy. I mean, you know, if you look at everything from, you know, the ventriloquist dummies

in, you know, magic or, or, or, or, or, ormies in magic or dead of night, or you look at the Toby Hooper's fun house, we all know that the idea of those things, they are creepy, they can be creepy. Plus, I like Josh Hutchison, and the Newton Brothers score has an 80s throwback charm, and I like Matthew Lillard on the downside. The script, the plot is way too involved

and convoluted for its own good. It's got stuff about hidden family secrets, hidden past. They don't add to the charm they just get in the way because in the end it is a story about being terrorised by possessed animatronic animals. At least in Willie's Wonderland he just got straight into Nick Cage beating up things with a stick and that was kind of what it was. This aims for that poltergeist like sweet spot between horror, satire, young adult adventure, but it ends up being just too messy for its own good. I mean, I, every now and then, one of the possessed animatronic creatures comes out of the shadows and you go, oh, okay,

you know, that, yeah, scary fox. But it's every now and then. Other than that, it's pretty disappointing. I mean, particularly considering the massive following that the game had, and the fact that we've already had Willie's Wonderland, which did everything that this did for a fifth of the price. If you've seen it, if you've seen any of these films, we'd love to hear what you think correspondentsacerminabair.com. Time for this week's listener correspondence.

Here's our What's on Guide. Hi, Mark and Simon. This is Alice from CreateSpace Visual Design, part of Black Friday's settlement charity. I'd like to invite listeners to join us for a movie night. On the 2nd of November, we will celebrate never-ending Halloween together with 1991 Adams family. If you would like to help raise funds to support mental health recovery in creative community, don't wait.

Go to our website, createspace.org.uk and secure your ticket by donating to our studio. You can expect not only cult classic 1991 Adams Family movie, but also bottomless snacks, and my introduction to a pop cultural phenomenon of Adams Family. Don't miss this Halloween celebration. November the 2nd, Black Friday settlement, London, Dors London, Dors open at 7pm, start at 7.30. See you there! Hi Simon and Mark, this is Matthew Tongasson, composer from Oregion, just to let you know we're doing a live score screening of the film Long Way Back at the Horthour Cornwall on November 7th. I'll be performing the piano score live along with the film,

and I'll be joined by Luke Toms, who's gonna be performing songs from the film. Our tickets are available on the Hall for Cornwall website. Cheers. Hi, my name's Harriet. I would love to tell you about my vintage poster market. It's happening on the 3rd to the 5th of November at the Copeland Gallery in Peckham.

There will be thousands of original mid-century film posters, including the most exquisite version of a Black and R-Sis as poster you'll ever see. That one's for you Mark. Do you think they've earmarked it for me? Yeah, I love it. Has it been put aside for me? I'm not sure whether she meant I'm mentioning that because of you or... No, I took it as it is for me, yes, it's in the post. So, as Harriet from vintage poster market in Peckham, Matthew composer from O region. And I have to say, I bumped into Matthew at a Bowie Lounge gig recently and they said they were doing this a long way back, it's a very touching film and the music is really,

really good. So, you know, what is O region? Well, I believe he probably means Cornwall. Anyway, doing a live-score screening of a long way back at the Hall for Cornwall. But why was it, why would O region people know? Hey, will they know about O region? No, okay, very good. Matthew, thank you anyway. And Alice, first of all, evolunteer, creates space visual design, promoting a fundraiser movie night on the 2nd of November. By the way, Alice's partner is a long time premium listener who's star Sean Bright when his question was asked in our interview with Gary Oldman back in the day. So anyway, so he's been living off that for a while. I can answer your question. Oregion makes film and theatre in Cornwall.

Right, there we go. Matthew. So he's from O region, as opposed to he's writing in from a place called O region. And it sounded like he was like from another planet. He's like a science fiction. I am Matthew. I come from O region. Anyway, if you've got an audio trail, if you want to send us a voice note or something to advertise, whatever it is that you've got to, which is vaguely something to do with movies send it to correspondence at code

or mail dot com that's it for take one this has been a Sony music and 10 production the team was Lily Vicki Zachi Michael Tedi Gully Matiasi, Bethi, Hannery and Simon E. Pooley. Mark what is your film of the week? Well it's a double header. I am going for two films of the week, which are Cat Person, Typher's Artist Pirate King. Cat Person. Actually, do it the other way.

Typher's Artist Pirate King, Cat Person. Two movies, and not one, or four. Take two is also landed with loads of extra stuff, recommendations, bonus reviews. Take three will be with you on Wednesday. Thank you for listening. Oh, and more with Thelma.

The list of questions will be in take-to. That's where you go.