Films To Be Buried With with Brett GoldsteinTim Key (part 1 of 2) (The Ballad Of Wallis Island / No More Jockeys / Alan Partridge) • #344
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Join your host Brett Goldstein as he talks life, death, love and the universe with comic, actor, writer and poet TIM KEY! This is the first of a two parter...
As well as being a unique individual in his own right, Tim is also one of those 'six degrees' people who you can get to and from just about anyone involved in comedy and screen. It speaks well how much Tim is adored in the wider world but also Tim is just awesome in all roles. Whether you met him through one of the various Alan Partridge projects, or through Taskmaster / Alex Horne-iverse, or through appearances in all manner of manifestations, you'll get a ton from this episode (and the subsequent one!) as it's just good times and good vibes from the beginning. You'll hear about the process of short film to feature film (and how to get big stars in said film), the surrealness of Sundance festival, the flying man beginning with E, standing to the side of horror films, G Horne, baths on stage and dancers in bed, and a splinter/rival podcast called 'Speaking Of Films' (not a thing). Bottle it up and jump in!
Video and extra audio available on Brett's Patreon!
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It's only films to be buried with. Hello, and welcome to films to be buried with. My name is Brett Goldstein. I'm a comedian, an actor, a writer and director, a roundabout and I love films. As Taju Cole once said, cities are a collection of the stories we tell about them, which is why Gangs of New York could probably be a lot longer. Every week I invite a special guest. I tell them they've died, then I get them to discuss their life through the films that men the most of them. Previous guests include Barry Jenkins, Kevin Smith, Sharon Stone, and even Samples. But this week we have the brilliant actor, writer, poet, and award winning comedian and movie.
Star mister Tim Key.
All episodes of Shrinking season two are available on Apple TV. Get caught up on season one and season two. You will love it. Head over to the Patreon at patreon dot com, forward slash Brett Goldstein, where you get extra stuff with Tim, you get all sorts of other stuff, you get the whole episode adfree and does a video. Check it out over at patreon dot com forward slash Bret Gunstein so Tim Key. You might know him from Mid Morning Matters with Alan Partridge and other Alan Partridge shows. You might know him from his Skepco group Cowards, or from the film See How They Run. He is now in the film The Ballad of Wallace Island, which he co wrote with the other star of the film, Tom Basden. It's in cinemas March twenty eighth. I've seen it. It's fucking brilliant. You will love it. You should go see it. At a Lovely Time with Tim. We recorded this on Zoom a few weeks ago and I really think you're going to love this one.
So that is it for now. I very much hope you enjoy episode three hundred and forty four of Films to be Buried With.
Hello, and welcome to Films to be Buried With. It is I Brett Goldstein, and I'm joined today by a poet, a stand up a bather, an actor, a Alan partridga, a witch hunter.
A and Hathaway leader, a movie star, a fisherman, a singer, a.
A lover, voice over artist.
A voiceover artist, and a award winning comedian who is also a sun Dance sensation. Ah Yes Good and a writer, a screenwriter for God's sakes, and a skeet coo. We haven't even mentioned the skeet co and a cricketer.
Yeah.
Most of all very good, most of all good at ball, please show.
I can't believe he's here. It's been for Tim k.
It's great to be here. Thanks for having me. I thought maybe you'd run out of steam when he got to Comedian, but then some of the best stuff came after that. Yeah, Sun sund Dance was a bit of a highlight after that.
Yeah, Sensation. Now, typically, I've been trying to get you on the podcast for a long time, but obviously you've never wanted to do it because you don't like talking about your feelings and you know that I see through you. But you've now got a movie, an actually incredible movie that I in the full let's be let's be honest. I don't like to lie. I've seen one hour, one minute of because I only got and I can say this unequivocally unless it turns out there's a big twist at the end. I love this film. I think it's beautiful. I think it's beautifully written, beautifully performed. I think it plays to all of your strengths. You're incredibly charming in it, Tom Basin, very put upon cam manager, delightful and the direct Ah, it is class. It is so beautifully directed. It's like real masterclass, like good storytelling, very nice shots, very unobtrusive, but very lovely.
I love it.
Do you want to know the ending?
I would have finish it's.
What's going on at one hour, one minute.
I don't want to spoil it. It's all got.
It was like lovely, lovely, lovely, And now I don't want to spoil it for you too.
The wheels are coming off.
She's just revealed something we didn't know, and it's like, ah.
That's a great scene. You know, very lucky to have been involved in that film. You make your own luck. But yeah, tell us how?
Tell us how? Because it was a short, right, tell us the story of this film.
It was a short. I don't don't know whether you saw the short or how. How far? How far into the short you managed?
I saw three minutes, three seconds, and I got the gist and I thought, as long as it's not all I think, I love you.
Well, yeah I was. I was a Peter at the short as well. Yeah, we just fledged it out. No the short. Mayor Basden made the short. It is a good story. Actually, well, I don't know. I still a lot to tell with stories, isn't it. But Tom Basden, who I made the film with, he did a Barclays advert for Barclay Card.
Lovely fantastic.
I mean, this is two thousand and seven, so very envious because he suddenly had money. I was living with him. I imagine it is, I mean, decent campaign. And then the director of the advert.
Do you remember the campaign? Can you do it for me?
I'll tell you what. Some of your listeners might remember this one. Some of the u UK listeners there was at the end of it he I think he's got a golf machine, a putting machine, and I think the ball spits the golf ball out and it smashes the computer, something like that. And then he writes a letter of apology and then at the end doesn't know whether to put a kiss or not to his boss. I don't know whether they sold more more more Barclay Card accounts on the back of it. But the important thing for us, what's the messaging? No, no, no, no, just classic Barclays, just being a rock solid bank. But you can't go wrong with right.
So the point is, if you're with Berkeley, you've still got manners if you break something.
Okay, I'm now. I think I will submit to the idea that we won't talk about the film again. So I think if we're drilling down into this advert, maybe want to enjoy it. I don't know what I'm engaging.
I'm engaging, thank you.
This is my theory. I shouldn't have a theory about advert. But I think what it's maybe trying to say is maybe the campaign was for insurance, and so maybe at the end he's something, maybe he's messed something.
Do I have insurance? But also, yeah, I love you?
Yeah?
Oh maybe Yeah. I think the kiss was just satire on you know, we're all sending messages day and day out, an't we? And you never know exactly when to put a kiss. I mean you you said you were going to be five minutes late to this podcast? Yeah kiss? Maybe? Well, that was certainly what I was trying to get across.
It was because it's blow Well, yeah, you said.
You're going to be five minutes late, and I said kiss blowy kis blowy kiss blowy kiss blowry fine.
And that made me a Lloyd's master Care Barclay's MasterCard.
That's it.
Anyway.
The point being, Griff, who was the director of the advert, emailed Boston's agent and said, got to tell you I've just worked with your client. Lovely guy, very talented. We talked about stuff. Apparently he writes as well, I'd like to work with him again.
Wow.
So yeah, And so Baston was living with me at the time, so he told me this. We had an idea for a short film, and he said, why don't we, like, you know, bump it out into a little treatment, send it to him and see if he wants to make it. We did that and he said I can make this. And he had stock left over from the advert, and so they shot it on film with the stock that was left over from the Bard effort.
Wow.
Two thousand and seven. And that was the short which we made of this movie.
And it's a long short.
It's twenty three minutes, right, obviously we saw the first three minutes three seconds, So that's a lot of shock. Yeah, that's a lot's one take on this baking card that would do cut, that would do.
It did feel a bit thin. It didn't seem to have got many establishing shots. There was no shot of the bank, let's put it that way. The golf ball immediately fired by the advertising agency. But now we had this short film which would become a feature film sixteen years later.
Wow.
Yeah, So then that film was like, we were very proud of it. I think that film would have gone down as you know, when you do interviews. For example, if I'm doing this today and I haven't made this feature film and you'd said what you're most proud of, I probably would have said, weirdly, this short we made in two thousand and seven. Probably. Yeah. We loved making that. It took like three days just on the Welsh coast. And well, you've had the same sort of thing in your you know, your job, where you kind of you're just poodling around, aren't you. Then you get he gets a little part in something where you're like wide eyed and nervous and there's like a massive TV program of film being made and you're like a tiny little person and you're just trying not to fuck it up. And then you leave and then you go, wow, there you go a little insight into what happens out there. And so this was our first one where you're like, this is mad. We wrote this thing. We now have a crew tiny, like you know, twenty five people, but still in our minds that was like loads. It wasn't just me him and the director. It is like there was people doing makeup and stuff. And so we made it. We loved it, and then it did well, that went to festivals and things, and then we got the chance to develop it into a feature. We declined and decided to write a different film about about business in China. Don't know whether you've seen that one.
I don't think it was.
I don't think it's definitely was made.
We just.
No, not really certainly, not enough left over enthusia as from the production company. Eventually we decided that well that just ended. It sort of fizzled out. Some of it was fun. I guess we got a script. The script was pretty good. But anyway, the elephant in the room is we had the chance to make a feature of this short and all three of us decided that we should do something different and go a different angle because we didn't know what the feature would be. Then sixteen years later, me and Basden in twenty twenty had a look at it again and I think we'd had like maybe let's say, six different conversations in pubs across sixteen years saying we really should do that, and then we decided this could be how it would work as a feature. And the way that it worked in the short is just me and Basden and I get him to come to my island by paying him money. I sort of could wink him. And then in the feature he also is coming with the other member of his band. They used to play together, and they used to be lovers and they used to be in love. And then it's all about me nefariously bringing them back together as a band and also as a couple. That's my I don't know what I'm trying to do, but it all goes it all goes wrong.
You know, it's very charming. Here's a question I genuinely am curious about. In your shot the original short, are there any identical scenes that you redid sixteen years later?
Great question, great question. This is where you earn your money, bro. Honestly, I would say that is the perfect question, Thank you, beautiful. There are yeah, I'd say maybe there's two scenes which are kind of pretty much almost shot for shot.
Then here's the question as a performer. As an actor, did you find yourself like, forgive me for being sincere, just being present in the moment, or were you unconsciously trying to replicate exactly what you've done in the short having seen the short a million times and liking how that bit works.
Yeah, yeah, it was very, very weird. And I remember because also because of what I just said about how affection, how much affection we have for the short. We did see it a lot of times, and me and Bazan like used to do a double act a lot.
I know I saw it a lot, right, I'm like your character in the film.
With and not paying me a million pounds to do this.
Yeah, I don't know.
We haven't talked many I could come up with.
So the answer to your question is yes, but probably are like times one hundred where there's definitely one scene where there's an intonation that I use which is exactly the same, and it's not because I went back and looked deliberately, once we got green Lip to make the feature, I did not go back and look at the short again because I think that would have been made me go mad. Maybe, And you have such a complicated relationship. You don't want to drive this one by nostalgia for watching your own short film. But yeah, there's this moment where it's the same, it's not the same. We didn't shoot in the same location, so that sort of helped. But it's the same setup, the same guy directing it, it's the same sort of the same words pretty much. But then there's this one intonation which is exactly to the millimeter, exactly how I said it seventeen years before, sixteen years before. And yeah, I think we got a pretty good balance because I think if you do too much of that, then you are literally making the same thing and then adding scenes. So there's some which I think I think, if anything, we did it a little bit less than we could have done. I think we could have, but I think we were quite keen to make sure that this film had its own sort of identity, and it wasn't. Kind of I think it was like enriched by this short having existed, but I think you don't want it to be just sort of leaning on that, yeah script, Bearing in mind also we wrote that script when we were maybe like thirty yeah, yeah, twelve.
Yeah, and then this one when we were like in our.
Much more sort of well, let's be fair forties quite late forties.
Did you know carry melligan or did you just send her the script in a center? Agent? How did that happen?
This is another brilliant bit of luck where she had emailed my agent asking if I could do something for her about six or seven years ago. She wanted me to like host a charity event with a charity she's evolved with, And it was a flat eno from me. Obviously despise charity naturally, but I'm not, like, it's not really my scene to like, you have different comfort zones and one of mine isn't to host something. It would literally make me vomit, I'm afraid. And that was roughly what I replied to her with, But I said, like, I'm very grateful to be arsen all of this. Then we wrote the film. Then we had this additional main character who is going to be Basden's love interest. Then we wrote up, as you will have done in your movies, you just go. You just forget about whether they're too famous. It's a wishless you just daydream. You just go, well, who cares, Maybe we can get this person. I don't know anyway, then you're waiting for a bit of luck, which is anyway, at the top of our list was Carrie. And then I said to Griff and Tom, I mean, I've got her email, and you know, me and Basard have known her for a long time, so he's like very much in the camp of yeah, well done. Literally doesn't believe me. Would I have carry Mulligan's email, but I did have it from this incident with the charity thing, and so yeah, I just emailed her and I'd say, like, I'm pretty proud of like the writing of the film, but I think my best writing in the in this project was that email. It was very, very high quality. And then she wrote back immediately. So the bit of luck is that she wrote back saying, I mean I was just asked. I was just saying, can I send the script? Who should I send it to?
Yeah?
And then she said I'd love to read the script, and so she we were totally like on her radar. You never know who is watching what who you know who knows what you do, and it could have been you know, we reach out to Kerry Mulligan and that's Kerry Mulligan. Unobtainable Kerry Mulligan, who's just Carry Mulligan, and literally she can't be in your film because she's Carry Mulligan. Or you reach out and they go weirdly. There's another dimension to me, which is that I know who you are, and then you've got then you have a chance. And then of course if the script doesn't really her scene, then she'll just go, oh well look, you know, let me know if you do something else. This isn't quite for me, or more likely I'm busy whatever, but she did. She said, I'd love to do it. Let's try and make it work.
Very very long, if you will, if you will host this charity thing for me.
This was the thing.
This was.
This was well yeah, yeah, yeah, that is a line in the sound that we're not cross completely unpaid, completely unpaid.
Obviously obviously ridiculous.
Yeah.
How long was the shoot?
Twenty two days, twenty one days, whatever it was? It was not quite enough for anyone concerned. But the direct drove in particular was like, this is very very tight and it.
Felt very well directed. It's really beautiful.
Well that's good. I'm glad you said that's he's fantastic. Yeah, And all of that stuff is like quite difficult. You know, you make a short when you're young and then you know, we we were like we'd see each other and stuff in between. But I mean he was living in La for a bit, so you do sort of not drift but like me and baths and live in each other's pockets a bit. But we really wanted to get the you know, the original team to do it. And that's not really plain sailing always, particularly as other people getting get involved and there's more and more money or whatever.
There's money and.
You know, other people like to have like make decisions and things. But we were very lucky that everyone was kind of very supportive and wanted. I think also you have this sort of smoking gun of a short where people are like, I like that short. That'd be great if these people can make it. But yeah, we felt very lucky that we managed to all come through together and make it.
When was it? You shot this?
Shut it two summers ago? I think I love it?
Yeah, question for the group two more questions? If I make this is great. I'm loving answering these questions. Okay, good, well, actually, okay, let's finished on the film.
How was Sandouts? You won?
Suandos? Of course you won three awards at Sundouts. You went Best Beard, Best Film, and Best sort of Blake.
You went Best Blake at Sundouts. How was that.
Humbling? Humbling? No, we didn't actually to refer to you when anything, but it was really you.
Did get a fantastic reception. We've got an amazing reception, and you sold it.
You sold it there, Okay, pretty so. But yeah, it's very strange because you make the film and then I don't know exactly you know, all of the machinations of movie making and how it ends up in Sundance or whatever, but it arrived in Sundance, and for whatever reason, I hadn't seen it. So it's kind of quite as spicy first place as it. Obviously, we'd been in edits and stuff and seen different versions, and I'd say we've seen something really really close to the finished thing, like maybe like one percent off, but that's kind of makes quite a big difference. I think the very very final screwing in of the final bolts that can make the film makes it exactly.
It just suddenly makes it your movie.
So I've found sun Dance incredibly surreal, very very overwhelming. And you and I again we have a lot in common in terms of we do live stuff as well. And it's funny because you start a live thing and you're just trying to work out how to do it, and you might do it in a smaller room, and then you get you gradually work out what it is and it gets better and better, and then eventually nearer the end of its life, you might be playing in quite big rooms. For me, like not impossible to play in a room like about five hundred would seem okay when I know what my show is and at the start, but I build up to it. But it's kind of weird with a movie where the first time you see it was in like a massive movie, it was crazy and all of this stuff that I'm just not used to, like all of this stuff where you're doing interviews where I actually felt really overwhelming where people were like saying they like the film. That stuff is kind of I don't know. I think maybe as you get more experience and more experienced film someone being in a film who's a bit in loads, it would sort of wash over you a bit. It is weird the first time when you think made something and some people like it, you don't know how many or whatever, and also you don't know what's real and what's not real. But then it all builds up to this premiere and then you're on a red carpet and that is so crazy because again I've been on red carpets but felt like completely like a fraud and trying not to be on the red carpet because I've got like a tiny part in the film, I think, and I haven't written the film, so I think it's stupid. And then suddenly you're in a situation where they're saying, now this film. You know you've made this film, and you're like, wow, it is mad.
I guess we.
Thought weirdly did. And then we sit down in the cinema and then Griff the director, says some nice stuff about the film and things, and it's full and then it starts, and then you get like the first laugh and things and the first and you realize that people are into it and they're engaged in the movie. And it's honestly, I think it will stay with me pretty much forever because it was it was a crazy feeling where you just and at the end of it, people were, Yeah, they were into the movie, I think, and you know, yeah, it's so. I guess my answer is the old pit of saying oh yeah, that's all fine. Literally, it was mind blowing moment of that weekend crazy.
I'm glad to hear it.
Yeah, I couldn't believe it.
The thing about the red carpet stuff, it's so fucking intense, and when it's your film and you wrote it like we had it in Toronto with a film like I care so much about that film. It's the thing I'm most proud of all of you. I want you know, I want people to see it. I want to sell it. So I'm like, yes, I'll do whatever it is you tell me to do that will help this film exactly.
Weird.
So then you in the position normally I'm like, oh, can I do the least.
Amount, but in this case, I'm like, I'll do all of it.
But then you find yourself on a red carpet and you have some people who are like, tell us about the film, and tell us about image, and and and then and you're really like locked in and sincere okay, but they're still shouting and it's kind of chaos.
And then you get to the next person.
They're like, what's your favorite potato chip and you're like, what, what's happening here?
Yeah, there's a lot of that. It was. It was very interesting.
I mean, I suppose when you first start doing it, the first interview is like fresh and they can't really do anything wrong because I'm just ask him questions. It's like the fourth one where you go, oh, I see, like every single question would be more or less well done.
Who are you?
And then the next one, how the fun did you get carried Ulligan? Great? And then what would you do if you want the lottery? And you're like, oh, why have you asked me that? And then you think, oh, that's in the film. More and more throughout the weekend people are like, go on, then what would you do if you win the lottery?
I don't know, I don't know. Yeah. Yeah.
The reason the reason we made the film isn't because me and Tom Basman have like an interest in lottery, but not like like, if someone makes, you know, an important film where it's got themes and stuff, then it's totally legit. Say to the director, wow, these themes were your views on the themes? And they go, well, yeah, this theme's been in my head for a while, so I thought I'd make a movie where with this literally the guy wins the lottery at one point, and do you like? Okay, fine, I suppose if I'm going to do interviews, I should work out whether I'm going around the world or like buying a pub.
What's what's your answer? You've given it some thought? Now, No, I don't know.
I mean literally the answer would be. I always thought like maybe the answer would be actually making a movie. Yeah, But now I suppose once you've made the movie, you sort of think maybe there's a chance of like making another one without winning the lottery. Potentially, what would you do if you won the lottery?
I'd make Yeah, I'd make a movie. I mean I like that. Neither of us are giving the money to charity, obviously, but.
We'd give it back to Carry. I won't host it. Carry, but here's a million pounds a.
Million pounds to thank you for doing the film. Speaking of life.
I love your life stuff, love it and you the show that you won the Edinburgh Edinburgh Was it the if dot Comedy?
Where did you win the Do you know what it was?
The Edinburgh Comedy Award? It was unsponsored. Nice Nice only were artist?
I thought if it's not being sponsored, I'll make the effort this year.
Yeah.
And in that show, which was one of my all time favorites, you have a bath on stage and you you do poetry and you do jokes, and at some point you get you go into the bath. You get in the bath on stage and I'm going to say this to him. I found that. I think that was a very sexy show. It was a very sensual show. I loved that show and I thought it was I guess, how do you do it? How do you learn to hold your breath?
All right?
Yeah, well it isn't easy actually holding your breath, but I do remember. Well, actually, I know you're you do a podcast about films, don't you.
Yeah, at some point we'll probably get to the film part of it.
There's definitely a movie where someone's trying to escape from some prison and he has a cigarette and he puts the cigarette on the side of the bath and then goes underwater and he's trying to train to get the cigarette to go right down to the orange bed. And that's what it's doing doing in this hotel room or not be a hostel in a prison. But you know, you get the idea. I'm surprised to Scott a bath.
Maybe I'm uddling anyway, he's in the hot time.
Yeah, yeah, Well.
Look well I had to do two things. Had to learn how to hold my breath, so that was literally in the bath and just kind of what you have to do, weirdly is hyperventilate before you go under, so you breathe in and out really quickly, then take a huge breath in and then go under. And I had to go under I think for about maybe thirty seconds and then I think in the last bit maybe a minute. But crucially this changes the anadomee quite a lot. We also had like a oxygen cylinder in the bath.
Ah right, okay, so I would sometimes use that and sometimes not, but the longer breath hold later in the show that would generally involve holding that, although there was one or two times where it was forgotten to put it in and and at that point my training came in.
But also on the screen in that show, when I go into the bath, on the screen, there's like an underwater world where I kind of appear in this on screen swimming down into the bath, and that was like, that was absolutely horrific. We shot that in a in a water tank in Basingstoke. I mean, basing Stoke isn't the obviously isn't horrific, but but going on and going to this underwater tank was like, but I think one of the most hard the hardest thing I've done in my life. It's horrific with these two divers. So a diver would obviously I'm I'm in a suit, yeah, shirt and tie, and so I'd be with one of the divers with the thing in my mouth, just breathing, and then when we've said action, he would like push me out, and then I would swim across this water tank about maybe twenty feet underwater and looking for this other diver who's waving this torch which you couldn't see until you get quite close. So there's a bit where you're just like, oh, fantastic, I mean, fair player, I am going to drowne now. And then it grabbed me and then plunged the string into my mouth. Yeah, yeah, I suppose it is kind of real old school suffering for your art.
It's great love it. Are you going to do a new sur.
Looks like, yeah, yeah, I'm doing it in May. Great in the Soviet theater. Yeah, do you have a new stunt for it?
No, I had a bath in that one, and then the next show, I had a bed with a dancer coming up the steps.
That was great, yeh in bed. Yeah, it is funny, isn't. You do?
Have to keep on going and making new stuff. But like it's very dangerous to look back and sort of go I love doing that. But I really did, like I had a great time doing that show just and but I guess what I'm trying to do now is each show had like one of these things. I guess it's like a Kuda tiatra. And this one I'm really really being strict to try and have nothing on stage, no screens, no nothing, and just do it with just use your words. So that's that's what I'm trying to do, right, And I think the show is now pretty much finished.
I've done it quite a lot.
Yeah, I think this one, this one definitely I did achieve the target of no props and no other stuff. Still music, oh, still music, and still like still poems.
And things playing cards, playing.
Cards, Yeah, but nothing else. I guess nothing interesting that's I've lost.
Yeah, yeah, thank god him that all the stuff that you were saying you just liked. Yeah, this one's for the fans. Last question on all of this stuff. You're very excellent in the Alan Partridge stuff, Morning Matters, This Time, et cetera. I was, I think I was thinking about the other day. Keeps popping up on my reels, lots of clips of you being very funny, very subtle, very very good. I imagine that was incredibly intimidating to join that and to start with a kind of legendary figure such as Alan Partridge. How was And it seems very clear from I have no idea, but it certainly plays as if he massively respects you and thinks you're brilliant, particularly the fact that you're still part of it. I wonder how it was joining that world and how difficult it was to do in the beginning. I'm interested in the beginning of that because I imagine that scary to start.
Yeah, it was. The thing is, well, watching Partridge was like very very formative. I think it's like it's sort of next level. I mean, the fact is, again you've got like almost a direct same experience in that you've worked a lot with Ricky Gierbet's and I'm sure without like putting words into your mouth, it's probably similar because it would have been crazy to have got a job where I'm working with French and Saunders or like like any amount of amazing people, Sasha Baron Cohen or something like that. But this was like the direct hit of the thing that I was watching when I was like starting to you know, just love comedy and also watching not stuff just with my family. This is like stuff where you're going to school and quoting this stuff and all of that, and so I remember when I was like, I think this stuff was coming out around the mid to early to mid nineties.
This character.
I mean like I used to listen to the tapes driving around Cambridgeshire with my friend Greens, and it would be like quoting these tapes of Mame knowing you, and then you sort of really were spoilt because suddenly after that you would then get the TV show would come out around about that time as well. You had the day to day and you had you know, all of those guys making this stuff and a lot of Alan Partridge stuff and then all leading up to I'm Alan Partridge, which for me, that's my favorite incomfirmation of it. So if you were to, like, you know, ask me who my favorite person is, look, I guess influential or my favorite comedian, it would be probably him and all those people around him as well, you know, you know, Doom mckeekon and Patrick Marburn, Chris Morris or all those people. So so what the question you're asking is, The answer is, yeah, it was absolutely insane. I do remember meeting him for the first time and just thinking this is completely overwhelming and sort of impossible. And that was doing a tiny part on Saxondale, and then they offered me yeah, and then they offered me this, and so you're kind of like, wow, that is this is kind of almost impossible to kind of process. And so I then obviously said yes, I'll do that, and then I went and did it for the first time. And it was shot in this tiny little radio recording studio, and the way they shoot it is just two fixed cameras, so you go in. I mean there's really no hiding because he's literally dressed as Alan Partridge and you know where you go. And so weirdly, the part in playing is kind of like a little uncomfortable, and he's been sort of dragged out of the pub to host this thing with him, and he's trying not to let the guy down, and then meanwhile, that's what's happening in my head, where I'm just like, this is crazy. I've been sort of plucked from obscurity to just be in this room with this guy. And so both my character and me are just like I've got massive, very very big, don't funck this up energy, and so it kind of made it kind of weirdly easy to perform. As in most people who say, oh, I like that you do this, I'm like, yeah, that's that's not that's not that's me, and then kind of like trying to remember that as it goes on. So like the TV one, I remember there's bits where he's walking over to me in this time and it's slightly too far and his shoes are slightly too heavy and it takes a long time, and I know what I'm doing. I'm like playing the guy who's like, fuck, I'm about to be on camera, but also that I haven't completely got rid of fuck come up out to be on camera has me, so.
It's very pure before that's great.
So I bet it's like you know, I would imagine that it's like what you have when you when you first started working with Ricky Gervas, where you're like very flattered to be asked and very I don't know whether you were kind of quite you know, shy, or like worried that you're.
Going to.
It's also like it doesn't I remember walking into Ricky's office for the first time for the audition and he was just sat at his desk and it's sort of impossible, surreal thing that this person that you have watched so much. I've watched the office a million times and there he is and he's he looks like him.
It's very weird.
Yeah, exactly Weirdly Steve Coogan doesn't look like Alan Partridge, right, but he was dressed as Alan Partridge because he was playing him.
But but I think you're right.
I think that's you get that full on as well with Ricky Gervas, because he really does look Ricky Gervays. He looks like David Brent. I mean, because David Brent isn't a sort of grotesque a wig makeup job. It's like roughly Ricky Gervas's look.
Yeah, so weird lucky boys.
Where we are Lucky Boys are it's really interesting to be I have found that thing. Like obviously both of us we liked too our own stuff, but to have that as a kind of thing where you it's an interesting I mean, I like the way that it's written and stuff. I love the Gibbons brothers who write it. But it is also just really interesting to kind of it's like sort of doing evening classes. That's quite and he's really interesting to work with. I think we're very different, I think in terms of how we work, probably, But when I'm watching him work, it's like it's kind of fascinating how kind of what a perfectionist he is and how he just does it again and again and again and again, and some of it's crazy where it's like making mistakes and like false starting and stuff like that. Then he'll get the take and you're like looking at him thinking, yeah, Okay, finally you've got to take. That's world class. It's really interesting.
And how is it different from how you like to work.
Well, let's say with the film, it's kind of a different thing where me and Tom have like worked together on stage and on radio and on screen. I guess for maybe two thousand and four, so I'd say twenty years, twenty one years, and it's always been like a kind of a shorthand that we have where we're able to kind of I guess it's much more even than me working with Steve. That's like like obviously like you're working with Steve, you're like playing in the same football team as Pele. And so the answer isn't to sort of go, well, I'll tell you what, I'll have a shot here, yea, you give it? Yeah, Whereas me and Basden are much more to sort of work a day midfielders who can just pass it to each other, we're like Shabby and Iniesta. I mean, you know, I'd take it, said it, but.
But it's more of that shorthand and I've taken it.
Yeah, So we we have like this kind of Yeah, it's it's much more of a kind of single organism with where we sort of come as a pair, and also the other big differences. We've written this stuff, so we have a definite idea of how it should be delivered, and we we're I mean, I think as people were like quite similar but obviously similarities and differences. I think as like a kind of sense of how things should be on set. We're about the same. I think you know. We would like to be really we're trying to be precise. Also, yeah, has to be now. We like to have like we like to know exactly what we're doing. We like to know what the script doesn't. Work really hard on the script, and then we like to be able to get that down and then have some freedom in a subsequent take.
Oh, Tim, I've forgotten to tell you something.
Fuck great, here we go.
What is it? Well?
I should have told you sooner probably, But I've really been enjoying this chat. I really loved this. But I do have to Oh God, should I just tell you?
Oh? I think I know? Do I? I hope it? Well? Well, what is it? You're dead?
They can't be that. Ye got to be dead guy?
Dead guy, yeah, dead guy. Very enough. You've had a great life, but you are dead.
I'd bite your hand off to die now at this point, I've had a good inn. Okay, Oh well, how old were you thinking I was when I died?
Am I older? That's up to you. Okay, how did you die in what age? Oh?
Well I did think about this? Oh good, Well I died at Oh I don't think my math is going to work. Tell you what put me down for eighty eighty? Okay, yeahray, how did you die at eighty? I actually do think I want to take a bullet.
For I just want to get shot in the back of the head.
I don't that's not taking a bullet.
It's very much taking a bullet right the back of head. It is taking a bullet.
It's not giving a bullet. Wow, you want to get shot on the back of the.
Head, get it done while in the shower by fielded lover.
I don't mind. Really could be a mistaken identity.
Mistake of identity would be nice. It's nice to have a little bit of, you know, mystery in the old papers. You'll be in the papers when you don't. Don't worry about that.
Sure, we don't know. I'm not sure.
You'd have to go pretty cool. You have to go pretty quiet for about thirty years.
I think.
Okay, if you if you keep this up for thirty years and then you're shot in the back of the head, I think you've got a chance.
This podcast, this.
Podcast, if you if you could not be acting on the head, just keep doing this for thirty years.
Podcast Shut in the back of the head in a shower. Yeah, I like being in anyway. That's enough about me. How you've died taking a bullet for someone? It wasn't even why not? Why not in the face wherever you're taking it. It's funny that you should immediately think in the face. It's because my face is on your screen.
Possibly, I think, well, how about this in the chest in the left why not? Why not?
Well, the heart is the phrase you're after. Are you still calling the left chest still.
The heart of the left chest? Yeah? Question for the group.
Yes, practically a bullet for Carroen mallaghan because of them.
No, No, I've got.
I've got two options, but the one I don't think my math is going to work. But it's good for your podcast because it brings him back to film. A certain g Horn, g Horn, g Horn, Garry Horn, huge, huge movie star.
G Horn.
Honestly one of my favorites.
This is a very.
Interesting version of a cryptic question crossword, isn't it. But the person we're looking for is g Horn. She's she's world famous. I would imagine she's one of your favorites. I would be staggered if not, only is she like one of your favorite actors. She's probably you probably were in love with her.
G Horn, g Horn, Jean triple Horn.
I'll give you it Goldie Horn. Oh, so I was spelling it wrong in my head. I was thinking of the old Horn. You mustn't blame yourself. You mustn't blame yourself.
Doesn't I'll take that bullet back ahead right now.
Well, I mean if we were in the same country, have you met have.
You met Goldie? I have not met Goldie. I have worked with her daughter.
In law is an amazing, amazing Yeah, Meredith Hagner, No, No.
Never met either. I don't know what I do if I met Goldie. Actually I probably do. Yeah, I would exactly. I'd make sure I make sure I came with an assassin. But also she didn't worry because I'm taking my left.
Wow, that's a lovely way.
To Actually, I don't I mean, is it worth? I mean you don't want to sort of you don't want to set it up really this far out? But would you would you find the bullet.
If if I have not been taken out? Yeah, you said, I got thirty years of podcasting before I'm dead, So I don't think the maths works out. I'm gonna have to hang on a bit longer. Question, Yes, has Goldie seen me? Or am I hiding in like the in a bush?
I think you're I think you're doing the classic company. I think you're hiding in the bush.
Right, So I don't get to me Goldie. I could have. I could reveal myself after after you've taken mine in the left chair.
Yeah, I don't think.
Is she difficult? I've never heard.
It's such a bad starting point, though, isn't it where you've you've tried to take her out?
Well?
Oh it is, Brett.
Yeah, you're right, it's not ideal. And I think her husband Cut also has guns, and I'm worried that he might shoot me. I probably got to stay hidden in the bush.
I think so.
I think probably for the rest of your life.
Same.
Okay, Oh you know what fucking circle of life is in't it? I shoot you in the bush? Russell seeks me in the back of the head. Not mistaken, I don't. There we go perfect. That is almost the definition of circle of life. You could look that up at a dictionary. That's what it would say.
Do you worry about death? No?
I used to think as a kid. I think I might have been obsessed with it. I think I was worried when I went to bed when I was a kid that I wouldn't wake up.
Wow.
There was a bit where I couldn't work out how I would know to breathe if I'm asleep.
Oh my god, you put that in my head.
Yeah, I don't know, but a lot of people are managing it. It's the numbers going really.
Wow. So what stopped too worried about you? For worth?
Statistically, I must be breathing in asleep. I must have said it. I must have said it to someone and they must have said, well done, you will care. I'm reading when you go to sleep? And then I think a fear of mortality. I think that that sort of once I sort of became, you know, a little older, I don't know that.
Do you know anyone?
Do you have anyone on your books who worries about death?
Yes?
Do you care? Absolutely? Filled with death anxiety brought her on this show for five times now. I just talked about it. She's got death anxiety.
That must be hard to deal with, because if you look at the world through that prison, there's plenty going on where you think you could, you could go.
Oh yeah, I mean mad that we were just walking around.
I do find it really surprising that there's not more death, I really do. There's so much chaos going on in life, but everyone sort of seems to I guess because everyone takes control of their own destiny and is trying to stay alive. I suppose that's what's happening.
Weird? Did you stop worrying about it?
You grow out of these things asthma as.
A childre no, far from it. How do you cure that?
I think it is one of those it's a grow out of. Really, I think it can be a growout of just that pull yourself together, stop having That's my father again, that's doing his parenting.
And it worked. He's good.
He's very good. Or mental health? What do you think happens? Please tell me about it? Yeah, I will just tell you what his catchphrases, bottle it up. You'd never know that from hanging out with you.
Tell me this. What do you think happens when.
You got I was very open with you once on a train back from Luton. What do you think happens when you die? You?
We're very open with me on a train for Luton, and then I think you felt so sick about it you said, if you ever bring that up again, I'll kill you.
I'll cut you.
Yeah, that sort of thing. I also think, to be completely fair to you, you said on that train, I'm thinking of starting a podcast. Would you come on it?
Yeah? Really?
And you said absolutely not. I don't like talking about my feelings. There's no chances that's not going to happen. Yeah, but flattered to be asked. Here we are twenty five years later.
Well, I said, if you get incredibly famous, let's talk.
Wake me up, Wake me up.
When you've got an Emmy, it's totally worth. What happens when you die? I think nothing. I mean I do think nothing. That's the thing.
I don't really think about it anymore. I think when you're scared of dying, When I was scared of dying, then I'm thinking, wells, there must be something afterwards, or you don't know you've died and you just sort of carry on, and all sorts of things will going around my head about what would happen, all of them positive. And now I think maybe when you die, I think that might be potentially that not in a bad way. I judge from your facial expression, you think there might be more to it.
Well, young man, let me tell you something. You're wrong. There's a heaven and you're going.
Oh, fantastic, that's good news.
And it's filled with your favorite thing. What's your favorite thing? Films? Right then you'll love it there. It's all lame.
It's like a blockbuster video, but with reels on actual film.
Thirty five meal? Everyone wow?
And is there like a shambling figure who you point to your film and they shamble over and pull it down.
Yeah, carry down the reels and they've got like a trolley. They pussed the reels and they load them up and they always coffing and they cigarette in the booth.
This is very interesting because I used to work at cinema and I can picture the yeah, big game, I am your perfect guest.
Tell me everything. What cinema.
It's called the Cambridge Picture House, an art house cinema.
What did you do there?
I was, you know, I don't want to sort of blow smoke up my own ass, but I was selling tickets and I was working behind the bar. I could do them both.
Ever worked the projecting. No, But the guy I.
Just described just just described shambling around. I think I roughly described him. He had a very long white beard. He was kind of like I would say, if anyone can be, this guy looked quite mythical. And he he was the projectionist. I don't think you could have like a twenty five year old projectionist. I'm sure there are some. I'm sure you'll have people emailing you.
And saying, well well done.
I am one, But I think that it felt very right that this projectionist was. I mean, basically, this guy could only really have been either a projectionist or an egged.
Well, he chose the right path. I think that's.
Wonder when he chose it, because you know these people, they sort of they look like they've been doing it forever as well, So those two things don't quite match up, do they.
He must he was a twenty five year old projectionist, I guess, or maybe he wasn't good for a bit.
Yeah.
I suppose The thing that can be your through line though, is that they smoke rollies or something, and they've always done that.
Do you think he was as old as film? Do you think he like was there at the beginning and followed it through well?
Let's let's say I don't know how old he was, but let's say I mean he looked so mythical.
Even if he was like seventy.
This was two thousand and maybe four, so that would have been nineteen thirty four, early thirties. I'm sure there was films in like the twenties.
One.
Now you could probably tell me.
Yeah, I think film is about one hundred by then, right by two thousand and four, Yeah, I think.
Yeah.
Do you think we'll talk about any films? What do you think is the oldest film we'll talk about? From you? Do you know what I was thinking about? Tom Basden? You know your your good friend Tom Basin love that film. I'm the godfather to his daughter.
Carry on you? Wow, what have you done about that?
Nothing so far? But she's only eleven?
When are you going to start kicking in? Maybe? Like I guess it's got to be soon, isn't it?
By her like a laptop or something?
Right? Right?
No, she's I don't know how old she is, probably should. I think she's probably about two or something like that. And I did buy her a pink hippo and then she left it here And then the following Christmas. I gave her that again, so she's forgotten. So it was basically a case of giving her a hippo the same hip Hoover.
Well, that seems like an absolute sort of dereliction of your duties, but I appreciate it, so anyway, he and I say this with respect. So many people come on this podcast and they always go, oh, I don't know anything really about film, worried I'm too stupid, I don't know anything about film, And I go, are you talking about all films?
Film?
And then they'll talk about School of Rock, and they talk about just masterpiece after masterpiece. But everyone thinks that they're supposed to come on and talk about sort of French black and white, you know, impossible to get hold of films, and no one's done that except for Tom Bastard.
Entirely.
You must get you cook in the books. It must have had a few classics and then thrown in the odd Italian film.
I think it was the most the most where I was going and thinking I haven't seen that.
Did you release the film? Did you release the podcast? Yeah?
Yeah, it's out there with my with my nodding lies. Yeah, yeah, of course I love.
Did you educate yourself.
I did. Afterwards, I looked up half of him.
You know.
Yeah, I'm busy. I'm busy to him.
He once brought his girlfriend to the Cambridge Picture House when I was working there.
Yeah.
Yeah, they watched the Taiwanese film, of course they did.
Did Did you two become friends at Uni?
Is that where you met? You need to have forever.
I was living in Cambridge and he was. He was studying there and I met him. I was I was directing him in something, a sketch show.
Yeah, but you weren't.
No, I was not in it. I was directing it. And then after that I identified his talent. I was an opportunist. I thought, I need I need to get involved with this guy. I need this man in my circle. And so then we started doing our sketch show shortly after that.
Yeah cowards. Yeah the name of the sketch show. If you've not heard of.
It, Yeah, yeah, yeah, I thought, I thought, I thought, you meant you're making movies.
Wards.
He's very good. He's a very good actor.
That really good.
He's brilliant.
You both are really good.
I'll tell you what is the scene the scene of the movie so far there's a scene at the kitchen table, dinner table. You are watching Carrie and Tom sing to each other. It's beautifully framed, the beautiful shot. And then there is a long shot of you just listening. Really beautiful performance too. It's a really lovely bit of acting more than watching an actor listen. You don't say anything, You're just watching in this thing and it's really beautiful.
Well that's very kind. Yeah, it was interesting. That is a scene where I'm like, it is sort of again a bit like the party thing. Not much acting really, I'm just like thinking this is mad. But yeah, but they were doing it right. They were there, you were they were there. They were there, So that's and I hadn't heard them sing together before. So there was a lot of me thinking, well, two levels really, me think me and my characters are thinking fantastic, I've got the band back together and are singing. But also there's a little tranche as well of it's wild that we're making this film. Yeah, and that's mad that Boston singing with Kerry Mulligan. Yeah, there's a little bit of that in my eyes.
Yeah, and directing wise, if I may, there's a shot you on this side of the screen, the two of them on the other, lit almost by candles and circles at the side of the frame.
Beautiful, really, really good.
I am going to forward this podcast to my director. He's going to love this.
It's a real I've got a real interesting directors who like as in, he's not getting in the way of it. He's not going to look at me, look at me. But nonetheless he is doing a beautiful job and just telling the story in a very beautiful, unobtrusive way.
It's great.
And do you know what I would like to say about directors before we move on. Yeah, I think they've got a very interesting skill set personally where they also are the beating heart of the other whole movie when you're making it, and you really do notice that when you get a really good one, where I think it counts for a lot when all of the different departments are like they really love the director. And it was a really nice vibe on set and also stressful because you know, we don't have much time, so there are lots of kind of by it points where it could be quite difficult. But through it all he had a very good vibe where he's very good at creating the cliched, you know, family atmosphere on set. It's very interesting and you and you really notice it when it's not happening where you're like, huh, it's not good. It just doesn't work if someone knows what shots they want. But of course there's like loads of really famous directors, so people are like there and you're like, oh, well done, that's my favorite film. So actually I take it back. It really doesn't matter.
Basically one could do it.
Yeah. And also the shot you were talking about was a complete fluke. Anyway, carry on.
On, all of you. The film that we took to Toronto.
The director of that, Will Bridges, who I'd worked with forever, like in a way that we sort of joke about, he doesn't like talking about his feelings, let's say, you know what I mean. He's not a feeling openly like to talk about the stuff. And there was one day on set we were doing this scene, me and imaging, and he took it. Before we did the scene, he said, you two come for a walk with me. And this was very unusual, we didn't normally do this. And we went for a walk and he told us an incredibly personal, intimate story about him and his kids, and it was such a beautiful like and I know exactly why he did it. He did it because he wanted to put us in a certain headspace for this scene. But it was such an amazing like wow, he really read. It was like he knew for this moment he had to divulge something of himself, which he does don't like to do, and he did it, you know what I mean. It was almost like a sacrifice, Like it's a very lovely thing.
It's very interesting and how one did that once or twice two. He's probably more open than the one you're than your one that you're describing, but still it's like it's very you don't want to do that lightly and you don't want to just be like a big old splurge person. It's just like a sort of emotional chaos, just just trying to get anyone to do stuff throughout if you, if you if it's sort of it's sort of occasional. I do remember the times on that shoot where he said something about his life where you're like hmm, interesting, yeah, and you can like, yeah, that was a useful bit of information and it was something that you shared for like a good reason.
Yeah, all right, well you've got to have an It's filled with films and a scary old man who could be an egghead, but he's not.
He's definite. The film.
Very excited to see you, and he wants to talk to you about your life, but he wants to talk about it through film.
Of course he does. And the first thing he asked you is, what's the first film you remember? Seeing? Timothy Keys.
It's very interesting. I had a will have a mother and she she phoned, she phoned right before this, and also I got like a heads up some notes about the podcast, and one of them was like, don't mention these films because everyone does.
And then it's been so long since people have mentioned the things on the list.
Well I have to, because she she said, I said, what is the first film I saw? And she said, hmmm, I think it's the one about the Flying Man begins with E and I said, right at.
The famous your Believer man could play.
Yes, So the first film I saw was et the.
Flying Man with Wow.
Did you see that at the cinema?
Yeah?
The dates check out when we was that eighty three something like that round about the Yeah, I was I would have been like maybe I did. I think genuinely, I do think I saw Bambi before that.
Jesus Christ, what double headed?
Oh no, but yeah, that wasn't It wasn't a double bill. I was like Bambi was not. Bambi was released years ago. I think it was like a re release. But I think I did go and see that in the cinema. But Et is the first one I can totally remember. How were you and I would have been six, probably being totally beguiled by it, And I think I it must have been a massive movie, right. I think I remember stick stickers and like they used to have transfers and things in cereal boxes, and I think ET might have got the full might've got the full push on that.
Sure, even had like a Michael Jackson audio tape? Did it? Yeah? With it where Michael Jackson telling the story of the Flying Man Et? No? Yeah, I think I had it. Wow? Yeah? Do you have brothers and sisters? Oh? God?
Got a brother older, younger older and a half years Yeah.
Well, I'd say, well, how do you define close? We got on very well, and we see each other.
And I like the guy.
Recently we've called each other a few times.
Did he go to et with you? Oh? Great question, he's nine.
Well, yeah, what we would have to do is do a bit of finding out when it was in the cinemas in the UK.
Do we call your mom? Would you remember? I mean she she remembers the Flying the Playing Man.
He remembers the Flying Man, beginning with E E T A. I would say probably we did. The only way we didn't is if he's in school and I'm not. But I'm thinking I'm in school at that point, an't I. So I'm saying this was after school or most likely someer holidays. I bet that was released in the summer. That's got to be a big summer film.
Yeah, it's a big movie for.
All the kids to go to in the summer holidays.
Yeah, you and your brother? You and your brother open weeping in this film?
I don't. Yeah, my dad wasn't this I probably would grow. I would say, well, I've watched it again since, you know, as an adult, and definitely there was some ow in that one. It's a very touching film, hopefully weeping.
Yeah.
Did you watch that film and think I want to fly? I want to be able to fly like that man?
Oh?
I think when you watch that film at six, you are I want to fly like the man beginning with the Eto, and you're also thinking I want to find an alien like the Boys, beginning with the Elliott.
Yeah. Yeah.
Also, of course you must have mentioned this on your podcast, the audition tape for Elliott.
Yeah, yeah, I'm sure that's come up extraordinary myself.
That's crazy.
That is absolutely insane.
When I see.
Something like that, that is where you go, okay, absolutely understand that there are literally with acting, there's two types of acting. I'm not the same type of actor as the lad in that. Yeah, and I know that he's not like the usual go to example of what an amazing actor is.
I know what you mean. Though, I watched.
Movies and like people are like crying, people are like you know, inhabiting a character. People are doing some absolutely crazy stuff. Yeah. I think I'm I have a different sort of approach or I'm in a different path when I do acting, where it's much more trying to say, roughly roughly playing a version of myself and trying to do it where you think, yeah, roughly that's how a person would be maybe, And then you watch that audition and you're like, oh, okay, well I don't even know what he did after that.
He's in some haunted hill. Great, okay, that's great. Keep up your acting, always keep he's kept it out. Yeah awful.
I mean I have talked about this on the podcast too much, but I'll do it again for you. I can't bear eat. And what I mean by that is I'm not strong enough for it. The Flying Man is so upsetting to me. I remember on Trauma. It's I just remember crying so much watching it, and my dad had taken us and I think I said, why have you broadtested this? Like I was so sad. I was like, what are you doing?
You must have been tiny.
Well I think it was a re release.
They re released right because my dad had loved it and he was like, we're gonna we're gonna go see this, and I was like, what are you doing?
Why are you making us watch it? Is?
There are some films that unfortunately just need to sort of work it out a bit, because that one doesn't hold back, and they could have held back a bit more and still had a lovely film, but without absolutely breaking everyone's hearts. I don't go I don't go to the cinema. My heart broken. I get enough of that down the Boozer. Really really good film. I can't argue with it when he's hiding amongst the cudly toys. Come on, relaxed. There's some levity in the film. You must you must admit that.
There's a lovely bit.
And there's a bit I always remember when when you think he's dead and then he's not dead and the taller brother jumps in the air and bangs his head on the ceiling. I remember thinking, well, thank god, something something fun's happened in this.
Oh well, I once went to the doctor as someone and he banged his head and lose that bit.
Carry on, carry on.
I once went to the doctor, walked out. The doctors stabbed a window into my head. I had to walk straight back in and getst it.
Yeah, that's annoying. That's a decent anecdote. That means my bit staysy.
The day I went to see the Witches. Speaking of films anyway, speaking of scary.
Films, Speaking of films, when a bad name for the podcasts?
Would you be fed up if I started one of those, I'd come on, would you come on? I'd come on? Speaking speaking of films.
It would mean a lot to me because that would mean you're endorsing it. I'd love to come on, speaking of films, what about being scared?
Tim Key? Do you like being scared? This is very good. Yeah.
I used to get scared. Are you talking about being scared.
Of the movies?
No?
Not yet. We'll get to that.
Yeah, Well, hang on, where else can it be scared?
Yeah?
Am I going to Am I going to breathe in my sleep? Is there someone in my house? Is there a ghost at the end of my bed? Am I safe in the woods? We're filming in a remote location. Does that mean it's haunted? What happens if you know?
Yeah?
Got it, I've got it.
No, I would never would never get scared, right, but in films? Do you like it? I'll tell you what. In films?
I think the period where I would like it was so so slim. I think I was so scared by films when I was small, so I couldn't really watch them because they're too scary, and then tip over into not being scared so I can watch them but then bored. You need to have the perfect Goldilocks amount of fear where you're scared, but you are still able to good to watch it.
So you're not scared. You can watch a scary film there and not be scared.
I think, I think, unfortunately for your podcast and for films in general, I think I do have the capacity to just move myself out of the scene by six feet and be amongst the sort of crew and the people sort of like knowing that just out of screen there's a there's a boom, so that I'm not really scared that that that that thing that has been done in post production is going to eat that lady.
Yeah, I can understand that. So what is the film that's scared you? Okay?
So there was a film that I watched in Yugoslavia at the former yugoslav which was in a hotel. I think it might be the first time I went to a hotel. My brother was there definitely, and they had like.
A video room.
What were you doing in Yugoslavia holiday holiday.
For us globing Montenegro? I think it became and then and then they had like a video room and they were showing a film called April Fall's Day.
Have you seen a classic? Have you seen that? Of the slasher genre? Right?
Is it because I'm like, I remember watching that being so completely petrified. Bearing in mind i'm probably well probably twelve. Do you remember the plot of April fourth Day? No tell me it, please, I mean, I genuinely think. I mean, I'm ever so sorry if I've misremembered this to anyone involved in April Fall's Day. But I think it's like you're right, Slasher type film. I think they one by one they get.
Picked off on April the first.
Yeah, and if I'm not wrong, it turns out that no one died and it was the April Four's park.
I think, yeah, I think you're I think you're right. So it's like it's come Halloween was made. They're like, we need something else. What other holidays are there? April Fall's Day? We're doing April Four's Day. One final twist, it's April Falls just like we said.
Yeah, yeah, exactly. That's not a bad lift pitch. Also, always nice to have final twist in any lift pitch. I think, look, let's be fair. When you say it like that, it sounds like a decent movie.
I mean, but did the twist then? Go oh, I didn't need to be scared. Everyone's fain.
That's what I mean.
That's what I mean. It shouldn't be you have nightmares. It should be when you go to sleep, you go ah. But none of it happened. But I think I was ready for horror films to scare me at that point.
I don't know.
I kind of stayed scared, probably for another few years. I think when I got a little older, Yeah, snapped out of it. I mean I sometimes have seen a horror movie and thought that's fantastic. I think, like the Blair Witch Project is insanely good, but in my opinion, but it didn't well, it's difficult not to be scared by Blair Witch Project. Just the final final twist. The final twist of the blow Witch Project is kind of crazy. It's just a moment, isn't it. Yeah, which does everything crazy. I then I think The Shining. I think I watched The Shining I was very, very scared by. So I think maybe that was that would be the one film I watched in the zone I was scared by movies and was able to sit just about watch it.
So this thing of stepping six foot to the sides downing with the crew, thinking about the boom that keeps you protected from fear. Do you use that same technique with all things? It's a sad film, I don't want to cry. There's a boom over there. Oh, a funny film. I get what they're doing. There's a boom over there? Or is it? Does it only apply to horror films?
Yeah? Good point.
If I'm watching a comedy, do I think, oh god, I shouldn't be laughing this much? This is a film?
No? I think.
The thing is, when you're sad in a film, you just think great, you throw the kitchen sink at it. It means you're alive. When you're laughing at the film, you just think, okay, well that's good stuff, you know, as I'm happy scared, this is something where you're like, it's not your instinct when you're scared is to stop being scared, I think. But then, I don't really know what horror film I've seen recently where oh I'll tell you what I did see. It follows that's a horror film, isn't it that? But I don't think it's a hollow film. There's nothing in it pointless decent Final finals twist. I don't remember the final finals twist A bit follows I think fellows some else. I like it for those very much. It follows someone else probably is that a sequel?
No, good for it?
Yeah, I really like that film and I really really did absolutely harvest the soundtrack to use.
My own shows.
Oh did Yeah, really good soundtrack.
Is that what you're listening to? Underwater?
No, it would have been like a few years later. In the Bed, yeah, one of those. It's a brilliant soundtrack, very evocative, beautiful.
The dancer in the bed in that show, she's there the whole show, just hiding in the bed.
Yeah. Wow, what is most impressive?
She doesn't like go when she gets up, she's been lined out for an hour.
I went in that bed. Yeah, it's really really difficult to be in that bed. I mean there might be people on your who's listen to the podcast who hasn't even seen that live show. But basically it's a the way we did it. It's a mattress and we've carved out the shape of a person in the mattress, and they go into that little like coffee and I suppose yeah, and then the douvet goes over the top so it looks like a bed with no one in it, and then she just appears magically. But I went into that hollow bit and I could last in there for about maybe ninety seconds because it's so hot and with the with the theater lights as well and the douve, and she would go in there when the audience were coming in, so she would be in there before she comes out for the first time. She'd have been in there for about thirty five minutes, two minutes, and then there'd be a lighting change and she'd come out, and I would just be like staggered.
Every time she was like.
There would not be a pearl of sweat on her whole body. Just she'd come out this elegant, serene figure and dance and then go back in. It's crazy. She never fell asleep in there, never fell asleep. One time she came out, danced and then walked away, walked past me and out of the auditory, and I'm like, oh, okay, my dances, my dances slept she should end up back in the bed, And I'm like, off he goes. What well, I carried on doing the show, and then the next time she's supposed to appear from the bed, she just appeared at the top of the steps and then danced and went back into the bed and I was like, welln't there just had to throw up. Oh no, genuinely lying in the bed, just ill, just thinking. Okay, I guess my technique is when I come out, obviously do the dance and then if I go.
Fuck game, well I here, yeah you did do what a cliffhanger. Come back next week for part two. But in the meantime, that was episode three hundred and forty four. Head over to the Patreon at patreon dot com forwards. Last Brett Goldstein for the extra video secrets and chat with Tim go chat Apple podcast. Give us a five star rating, but right about the film that means the best to you and why it's a love and think to read it.
We really appreciate it. Thank you very much.
Thank you to Tim for giving me his time. Thanks to Scruby's pipping the distraction, Pieces of Network. Thanks to Buddy Peace for producing it. Thanks to iHeartMedia and Wilfaw with Big Money Players Network posting it. Thanks for the graphics and needs Aladdin for the photography. Come and join me next week for part two with the brilliant Tim Key. Thank you for listening, but that is it for now.
In the meantime, have a lovely week and please be excellent to each others.
Back back back, backs and tacks and back by the bat, back flos and backs back back by the bass, back flos and tax by back back, back back
