Latest / Cinema Yūgen / Cinema Yugen Unplugged: Shooting the Breeze with Paul Rowlands Part 1

Transcript

Cinema Yugen Unplugged: Shooting the Breeze with Paul Rowlands Part 1 · Cinema Yūgen

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G'day. That's right, it's that time again. Time for Cinema Yugen.
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Yes, welcome back Cinema Yugen. A little bit of a change of the pace here,
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ladies and gentlemen's normally i'm
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promoting a film interviewing the filmmakers in
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question but you know rarely do i get
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a chance on the show to just sit and shoot the
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cinematic breeze if you will so today
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i thought i'd treat myself so i invited to the show a learned man of the movies
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a good soldier of cinema paul roland's check the link in the description money
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into light he has some great interviews with some of Hollywood's best and brightest.
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Check it out. Link in the description, Money Into Light.
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And so for the first time on the show, I'm just going to talk about the movies
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with my learned mate of the movies, Paul Rowlands.
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Welcome him to the show, ladies and gentlemen.
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G'day, Paul. Thanks for inviting me. It's great to finally talk movies with
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someone who loves them as much as I do.
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And what a heck of a time to talk about movies. They're all over the place.
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And just like the state of the world, movies are all over the place.
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A pretty divisive summer we've had, Paul, with, you know, I mean,
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depending on who you, the news sources you look at.
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I was listening to the chaps on the Film Threat podcast this morning,
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reciting about the article about the box office bloodbath of the summer,
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how these big movies that used to bring in a billion dollars just aren't playing the game anymore.
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What do you think? Yeah, well, it looks to me like basically it looks like about
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half the people that used to go to the cinema go to the cinema now.
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Yeah. I think maybe because of COVID and because of the, because of the convenience
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of, of streaming and it takes a really big event movie,
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like a phenomenal event movie, like Maverick or, or, you know,
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these kids movies like Lyle and Stitch, they seem to be doing really well.
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People really need a lot of excuses. No, I mean the masses, the amount that
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used to go need an excuse to go. And yeah.
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You know when you think about they're sitting there thinking should i go out to the movie theater.
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They're going to be spending a lot of money car park and the tickets are high
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price and the concessions are high price and the back of the head they're thinking in five weeks,
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i could see this on streaming so yeah well
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like the chaps were saying this morning it is it is
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a bit of a roulette today because part of
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the problem to us i think is i mean because everything's being ripped up
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and rehashed yet again because they're
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terrified of anything that doesn't have a built-in audience
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because that would be extremely difficult to market
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something that doesn't have like a template or something existed before
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god knows how we got here but it
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seems that like personally believe i i saw the
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jurassic park movie i didn't pay
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for it i had someone send me a screener but it was yeah yeah i mean for the
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people involved like there's nothing wrong with the way it looks or the direction
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there's a lot of dynamic uh stuff there but i just can't believe david kept
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dropped the ball like that i mean it was pretty.
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Chalky oh and uh jurassic park refund people saying um actually i really enjoyed
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that film Oh, you did? Okay.
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Well, look, I'm not crapping all over it, but I mean, look, it is yet another Jurassic Park movie.
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I mean, it's a bunch of people that are going to an island where people really
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shouldn't go and they run into the same old...
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Well, it's interesting because, you see, I went back and I re-watched the entire franchise.
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Oh, okay. Yeah, I haven't done that for a while. It's interesting.
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The first three movies were essentially, you know, the same movie.
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Yeah. And it became a genre, what you just said, a group of people go to an
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island and they have to survive against dinosaurs.
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And then the Jurassic World series, the second and third one tried to shake
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it up a bit and they kind of became unstuck.
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I thought Fallen Kingdom was a really bold movie.
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Yeah, that was the last one I saw in the theater, that one. But Dominion didn't really follow it up.
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It kind of dropped the ball in the same way that Rise of Skywalker did with The Last Jedi.
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Yeah, yeah, yeah. And I think with the new film, with Rebirth,
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I think that Spielberg and co have just finally decided, this is what people want to see.
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Yeah. So I came up with that thinking, you know what? If every Jurassic Park
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film every three years is just this.
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Right, yeah. They come up with like a MacGuffin where they've got to go to an
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island and they've got to survive against dinosaurs. I'm okay with that.
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Yeah. So I feel like it found its feet with this film. Yeah.
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Look, look, look, it's not, look, it's, it's not terrible, but I mean,
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it's the same as like, we won't get too deep into this because we could get
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very deep if we go too far into these marshes, but it's the same as James Bond.
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It's, it's a formula that, that if you don't tinker with it too much,
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it kind of is self-sustaining really.
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I mean, I know you saw No Time to Die more than any other man ever saw in the
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theater. What was it, 19 or something?
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But I really think- I think 16 in the end. 16, yeah. 16. I think it was a mistake killing him, though.
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I know it says James Bond will return, but I mean, James Bond's never died in a movie. Yeah.
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You know, I just. I think, I don't mind him dying.
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I think the actual way that he died could have worked a bit better.
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Because I always thought that maybe there was maybe a way in for like a future
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Bond would be the fact that James Bond was an identity you became.
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You know like they recruit guys to mi6 and
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they give up who they are and they go your name from now you're
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bombed right and you're 007 you
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know i think it's it's i did something to
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the franchise because not you know when they start doing
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the new movies and they start thinking about like
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well is the guy going to come back for a third movie and the
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back of your mind you'll well he did kill Daniel Craig off yeah
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so when there's that when you see for the first time the
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second or new movie whatever when there's an
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action scene towards the end of the movie you're thinking wow there's actually
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extra stakes here because he might die yeah you never had that before well that's
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yeah well I mean no we're not yeah you've got me there no because I mean yeah
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it's interesting now because if he is not if he's not like an immortal character
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that's just carrying on like you know Tarzan and and so on and so forth.
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But, yeah, I think... I mean, Ian Fleming killed James Bond off in the books.
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Oh, yeah. He killed him. When he killed him off at the end of...
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At the end of From Russia with Love, he killed him off. Oh, okay.
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And then all the readers... I've seen all the films. He kind of left it like
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a cliffhanger, but he was kind
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of... If I remember rightly, he was kind of like, well, maybe this is it.
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And then the readers were like... Yeah, the readers were like,
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oh, no, we want more books. And then he came out with Dr. No.
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And the books were different from Dr. No. a bit more lighter on the feet and a bit more fantastical.
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Yeah. So it was kind of like a reboot of, of the books, you know?
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I don't know why they asked Henry Cavill to be Bond. Don't you reckon?
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He's suave, he's sexy, looks good in a suit. Yeah.
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Yeah. Well, they're going to want somebody who's going to be around for like three or four films.
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Yeah, yeah, yeah. Yeah, I know. It's going to be an economical,
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like how many bongs can we get out of him?
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And he's already going to be the Highlander, right? Yeah, well,
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you know, that's the next big reboot.
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I wonder how that's going to go. And Russell Crowe is going to be the Spanish-Egyptian.
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And it's so funny because when I grew up I've always loved Highlander oh yeah,
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when I grew up it was not a critically acclaimed film you know no no and now
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not at all and now when this new film's getting made suddenly all these critics
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are saying I wonder if it's going to live up to the original.
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Yeah it's like you weren't saying that for the last 40 years no no you know
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that's exactly the same with a movie that was re-released prior to the pandemic
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was split second with Rutger Hauer and yeah,
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But MV did a beautiful Blu-ray release of it.
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And everyone was like, hey, this movie is so great. You know, it's a cult classic.
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But they weren't saying that back when it came out on video.
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You're like, oh, this is just like a Rutger Hauer straight-to-video movie.
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But, like, now they're realizing how it is.
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I was saying to my friend the other night, like, that basically every single
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film, you know, from the 80s, for example, is a cult film.
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Yeah, yeah. Because every single film could be released by vinegar syndrome,
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and sell out within three days. That's true. That's true.
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I mean, it was like Umbrellas doing some pretty good work too.
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Like that movie Freaked that they re-released. Now that came out on video and
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disappeared for the length of the Bible.
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And now all of a sudden it's back. And there's people that, I mean,
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I got a hold of it because I was like, man, I haven't seen that in a long time.
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But there's people that have not seen anything like that before.
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And it's like, wow, you know, why don't they make movies like that anymore? Yeah.
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Or even like Mystery Men with Ben Stiller. Maybe like Waking Fright from your
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country. Yeah, yeah, yeah, totally. You know, which was lost.
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So what did you think of the whole Super Fantastic, Superman, Fantastic Four?
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It wasn't really Bob and Heimer, but what did you reckon?
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Oh, Superman and Fantastic Four? Yeah, yeah. I really liked both of them,
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actually. So I'll start with Fantastic Four.
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I don't really have any skin in the game with Fantastic Four.
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I mean, I enjoyed the Jessica Alba ones.
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Yeah, yeah. They were fun. They were just fluffy bits of fun.
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You know, you get sucked into all this negativity surrounding the film.
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And, and I just went to see the film and I thought it was thoroughly enjoyable and really well done.
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Yeah. I thought, I thought it was great.
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And, uh, it's, I'm on the opposite. Yeah.
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Oh yeah. Well, I was going to say like, we'll be enforced to,
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you know, how do you feel about Pedro Pascal?
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And I'm like, I like the guy. He's great in everything I've seen of it.
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Yeah. I mean, look, you've got to, you've got to seize your moment.
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If they're hiring you for movie after movie. I mean, inevitably,
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he's going to come to an end there somewhere.
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I mean, there'll be someone else that'll come along and steal the heat.
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It always happens. Like, remember back when Jude Law was, like, in everything?
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Yeah, yeah. You know, there was a run. It's funny, man.
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He'd remade Al Fede. He was in that movie Closer.
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My mate the other day watched Weapons. Yeah. And he said to me,
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he said, you know, I bet Pedro Pascal was meant to be. I was amazed that Pedro
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Pascal was not in Weapons.
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And I said to him, well, he originally was.
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He couldn't do the movie, so Josh Brolin did it. Yeah. Wow.
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Yeah, he was the original cast in that movie. It must be nice to be in demand, though.
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You know? I mean, think about it. There are so many people trying to get where
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some of these people are at.
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And look, I mean, it's like Timothy Chameleon and Austin Butler and,
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you know, they're the guys right now.
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They're the, you know, back when I was younger and better looking,
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it was, you know, it was De Niro and Pacino and, you know.
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Now they're the old grandfathers and even, you know, Brad Pitt's starting to
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look old, even though in F1, which I really enjoyed.
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You know, he's still got that, you know. Yeah. He's going to – I'm going to
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be interested to see – Maybe Pedro Pascal is easy to work with, you know.
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What's that? Maybe Pedro Pascal is easy to work with as well.
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No, mate, look. That's going to help, you know.
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Look, that's a big thing today, especially in the big leagues.
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Like, your on-set reputation is just as important as your, you know.
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Maybe his agent's not going in for big money all the time.
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If he's got an agent that's cooperative.
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Well, look, he's doing a mix. He's done little films. He's done the big films.
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He doesn't seem to be a snob as far as, I'll only do A-list hero,
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leading man, whatever roles. He's done little films.
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I didn't review it, but there was an indie film through, I remember, that he was in it.
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He was in that unbearable, what was it, The Unbearable Weight of a Massive Talent
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with the Nick Cage's Nick Cage movie.
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You know, look, he's got something. People like him. I mean, it's, you know.
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I watched Freaky Tales for the first time recently. Oh, that's it.
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That's it. Freaky Tales. Yeah, that one.
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Yeah. Yeah, he turned up in that and he was really good in that.
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He was kind of a really hard case and good.
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Yeah, that was the one. Yeah, that was what I was trying to think of.
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Freaky Tales. I was thinking of Freaky of Friday, but no, it's Freaky Tales.
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Oh, yeah, that's disturbing. Yeah, yeah.
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Oh, look, and Spaceballs 2 now, the search for more money.
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Crazy stuff, crazy times. You didn't like the Fantastic Four?
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Well, look, as someone who's been a lot of, like, Fantastic Four was one of
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the first comic books I read.
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I used to love the cartoons back in the day.
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As far as Fantastic Four films goes, it had the look. It had everything.
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Like, they finally made Galactus Galactus instead of a giant fart cloud in space. Yeah.
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That was cool. I mean, look, it did all the visual things right.
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You know, look, the thing, I mean, Marvel has certainly lost its way because,
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again, they abandoned their formula as far as the interconnectedness of the,
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the first iteration up to the infinity war was strength because it was,
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it wasn't this just pastiche where everyone has a go.
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And the problem, like I really wish that this movie sort of had to come out,
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you know, if they, they, I know that they, they couldn't because the sale hadn't
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gone through, but this was the kind of movie that should have happened.
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Like when Eternals happened, you know,
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and set up this path that leads into Doomsday because this is kind of like the
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rush, like, okay, here's the new platform and then Doomsday,
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which is going to have more cameos than Sharknado.
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Then all of the Sharknado films combined. And, you know, it's just going to
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be a roll call of here's all the heroes you love and remember.
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And hopefully during this time we'll be able to restructure our business model
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back to probably what it used to be and then re-attack it from there.
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We'll recast all the X-Men.
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We've got the Fantastic Four now, so, you know, there'll be a redirection there somewhere.
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But, look, it wasn't disappointing. I didn't walk out going,
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well, I wasted, you know, two hours or whatever.
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Superman was equally great as i said in a post online i was still a projectionist
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when superman returns came out and that day i know i know some people how some
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people feel about superman returns,
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but that day it was the greatest thing
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now i got the same feeling watched the james gunn
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one the first time so that's why i actually went back to see if
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it wasn't because like with superman returns that doesn't
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hold up to repeated viewings well
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there's some there's some really good bits uh robert
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my burnett who covered it with his documentaries he was there he said that there
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is a much better version of that film which will more than likely never be seen
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because as you know there's there's a like a friends and family sort of screening
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like once the movie's finished and yeah,
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he said that that particular version of, of Superman Returns should have been
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the one that they, they put out. Oh really?
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Structurally it made a bit more sense and was not as like he said,
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there's some, there's some narrative pieces that were cut out,
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which sort of added to the clunkiness, you know?
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I mean, cause there's some characters, as you know, they just stand there and
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they have no, they're literally cutouts in the background. They don't talk.
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Yeah. You know, and not, not to any great effect, Like, not to the great effect, like in,
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as we were talking on the chat the other day about Terrence Stamp movies,
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like the way they use Ferdinando Ray in the hit,
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like he doesn't have hardly any lines except, he says some stuff right at the
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end, but most of the time it's just, you know, he's there and he's doing his
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thing and it's just like, well, you know, he's like the ticking clock.
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There's this guy coming up behind them and it adds sort of an urgency to,
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you know, what's going on.
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Film and you know getting on to that point you
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know we've lost a couple of good ones and like stamp was it
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was a huge one we've lost recently and david argue and
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david lynch this year as well yeah i've been on a bit of a terrence stump deep
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dive yeah yeah i actually after you said the hit i was like that's a good idea
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and i actually watched it i did a little double fee i did that with the limey
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which was it was a good oh the limey's great yeah love that movie oh yeah.
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Yeah well the hit's great because it's almost like terence stamps playing himself
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yeah yeah yeah that was kind of his comeback movie i mean he'd been in superman
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but that was like the movie that really got him back into you know into regular
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kind of acting in mainstream movies,
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And his image, my image of him is pretty much what he is in that movie.
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He's a guy who's slightly, just spiritually above everybody else and he's following his own path.
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Except right up to the end when he realizes, he's like, no, you've got to get me to Paris.
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Yeah, well, that film is so rich in the ways that you can kind of decode it.
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Yeah. Because everybody's got their own, every character's got their own way
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of looking at life and when the characters start off in the movie,
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you think they're one thing.
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And as the movie progresses, they just kind of subvert what you think about them.
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Like Tim Roth starts off as like, he's almost like an SS, you know,
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like an Auschwitz attendant. You know what I mean? He's just a completely evil guy.
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By the end of it, he's like, do we have to kill the girl?
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Yeah, yeah. You know? Even John Hurt. Even John Hurt is like Terrence Stamp.
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I don't want to kill you actually, but I kind of have to.
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I'll tell you another movie it reminded me of too that I watched after it was
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Sexy Beast, especially the bits between Ray Winston and Ian McShane.
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You know, where he's like, what happened to that phone call, girl?
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That phone call that's on there? You know? And he's just got that piercing.
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Like, with John Hurt, it's the glasses and the silence.
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But with, like, McShane, it's that piercing stare. And he's looking at him like,
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you know, he didn't call, did he?
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Did he? I saw an interview with, with Ray Winstone and he said,
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you know, Ben Kingsley turned up later, you know, in the shoot.
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And Ray Winstone was like, they're hiring Gandhi to be the bad guy.
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And he's like, you know, I don't think this is going to work.
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It was a great script and everything, but you know, he's a great actor, but maybe he could do it.
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And then, and then Ben Kingsley turns up and he's in character the whole time. Yeah.
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So he turns up on the set on the house and he's just like throwing his way around like he's Don Logan.
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And immediately Ray Redstone was like, oh, okay.
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I just love it when he loses his crap after he says no. He's like,
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no, no, no, no, no, no, no, no, no, no, no, no. No, no, no, no,
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no, no, no, no, no, no, no.
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The more times you watch the movie, you realize that the really scary guy is
20:54
Ian McShane. Yeah, yeah, totally.
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Totally. Especially at the end, especially at the end where he drops that line
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and goes like, Spain, eh?
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I'll have to stop by and pay my respects and he just puts his finger in the
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air and he goes if I cared and just leaves it hanging yeah.
21:11
Basically like you know if I gave you know get the fuck out but yeah the sequel
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would be Ian McShane's just sending another lunatic to get him to do a job yeah
21:22
yeah did you see that movie that was written by the same written by the same
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screenwriter called 44 inch chest yeah,
21:29
Yes, all that, yeah. Yeah, what'd you think of that one? You liked that one?
21:32
I thought it was a good film.
21:33
It wasn't as good as... It wasn't as good as Sexy Beast, but...
21:38
Jonathan Glazer's a visual, you know, amazing visual stylist, right?
21:43
Yeah, yeah. So... But no, I thought that was good too.
21:47
I mean, that was more sort of theatrical because it's all sort of just like
21:50
in the one room. Yeah, felt like a play.
21:53
Yeah. I mean, I think Jonathan Glazer perhaps opened the movie up a bit with
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all the psychedelic sequences and stuff sexy beast could have easily been a
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play like a howl interplay or something yeah yeah sure sure but there's another
22:06
term stamp on that's interesting called teo rama.
22:09
By uh pasolini you know he did salo yeah i
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haven't seen that for a while but i know the one i know i'm talking about yeah
22:16
he did a movie called teo rama and uh most of the
22:18
actors it's in italian yeah and someone some there's
22:22
some of the actors are like greek i think or whatever but basically
22:25
it's a really freaky movie it's kind of you
22:28
know what it's like it's like a yorgos lanthimos movie
22:31
oh okay yeah yeah yeah yeah so basically this
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there's this bourgeoisie this bourgeoisie family in italy yeah and there's the
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the mother the father and the two kids and terence stamp just turns up he's
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like a he's like a divine force but he's dubbed Yeah. Okay. Yeah.
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He turns up and he basically gives each character what they need.
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So like the, the mother's sexually oppressed. So he just basically gives her
23:01
orgasms and he has like a sexual life after that.
23:04
And then the, the father, he's like, you know, he's like a complete capitalist.
23:09
Yeah. And at the end of the movie, the end of the movie, he gives his factory
23:13
away, takes his clothes off and goes roaming in the mountain,
23:16
in the volcanoes of Mount Etna.
23:19
And the son is a closet gay and he basically gets him to come out as a gay,
23:26
and The Maid as well it's just a mad movie I'll have to go back and re-watch
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that one it's just freaky because Terrence Stamp is in it.
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It's just so well cast it's coming off the heat he just looks like some kind
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of god it's freaky because his voice and there's not much talking in the movie
23:48
either. There's not much dialogue.
23:50
Yeah, yeah. And he disappears halfway through the movie. He's a ghost.
23:53
And the whole movie becomes about how they deal with his disappearance.
23:57
Yeah, I'll definitely have to go back and, yeah, I know the movie you talk about.
24:00
It's been a long time though.
24:02
But, no, I love how the fact that when he passed, a lot of the first things
24:07
that were coming out was Priscilla, Queen of the Desert. I will never forget that.
24:12
Being in the cinema with my friends, and the camera panning around at the funeral.
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And my friend sitting next to you goes, holy shit, that's General Zod in drag.
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Yeah. Which was... How about Alienation, where he played the...
24:23
That's right, he plays the bad, the evil guy, who gets stabbed with the stuff
24:27
and becomes a mega evil guy at the end.
24:30
Yeah. Yeah. It must have been like that. Did you hear the story about him making
24:36
episode one in Australia?
24:38
No, no. Where he's chasing the war. This is a great anecdote.
24:43
I'll try and make it quick. Yeah.
24:46
So actually I think he was in Australia, right? And he was, I think he'd just
24:48
done Priscilla. No, maybe he was on vacation or something or looking for the work.
24:53
And his agent said, do you want to be in star Wars?
24:56
And he's like, star Wars, star Wars. I mean, I dunno, you know,
25:00
I mean, I'm in Australia.
25:01
I mean, he goes, no, the film in it, in Australia, or was it Australia?
25:04
No, the second one was Australia, wasn't it? Okay. So it must've been London.
25:08
So, and they said to him, Natalie Portman's in it. And he went,
25:11
Natalie Portman? Oh, I love doing Leon.
25:14
Do I have a scene with her? And he went, yeah.
25:17
So he said, okay, I'll do it. So he goes to the studio and he walks in and it's
25:21
all green screen, right? Yeah.
25:24
And he says to Judge Lucas, where's Natalie Portman? And he goes,
25:27
oh, I gave her the day off. He goes, you gave her the day off?
25:30
I thought I was in a scene with her?
25:32
Where is she? And he goes, so apparently he was talking to a tennis ball or something. Yeah, yeah.
25:38
So he was just like, what the hell? is this and he had no idea what the team
25:43
was so then fast forward fast forward his agent says they want you to go do reshoots,
25:49
so he's like I don't want to do reshoots man and he said no you know it's good
25:54
look it's Star Wars it'll do your career good and they're going to pay money.
25:58
And so he goes there and he does the reshoots. And one of the assistants says, oh, you know what?
26:03
You always get a gift when you do something special for George.
26:07
He always gives you a gift. So Terrence is thinking, oh, yeah,
26:10
what am I going to get? Like a car or something?
26:12
So he does the scenes. This is hilarious. So he does the scenes and he's in
26:17
his dressing room and there's a Star Wars stencil book.
26:21
Oh, shit. That was the gift.
26:25
He said, what the hell am I supposed to do with this? I haven't even got kids.
26:31
I thought you might have going to say he sent him his action figure after the fact,
26:38
that's terrible he was such a waste it was like having,
26:43
Max von Sydow it was like having Max von Sydow in that one bit at the start
26:49
of was it The Force Awakens what a waste,
26:55
will you defer your motion until we can have a look at this other statement?
27:00
Well, you know the guy who voiced Darth Maul, Peter Serafinnerix? Yeah, yeah.
27:06
He said something quite blasphemous about her at Stab.
27:09
He said, oh, because he said to that guy, I don't know whether you heard the
27:13
story or whatever, but he said, oh, I quite fancy that Natalie Portman.
27:16
I'm really bummed out I couldn't work with her.
27:18
She's like, even when she made W.
27:22
So I don't know. No, it's a shame that we have to
27:27
We have to go, because there's really no one else that's coming along that can
27:33
replace guys like them, because he was just very elemental in many ways.
27:38
I mean, even when he pops up for a minute in like, oh, I'm terrible this morning.
27:43
It's terrible. Money talks. Wall Street, you know, when he plays.
27:47
Oh, Wall Street, yeah. Yeah, when he's like, you know.
27:51
He's like the moral center of that movie, right? Yeah. Lord.
27:54
Him and Martin Sheen. Yeah.
27:57
Will you have a drink? No, nothing. You know? Yeah, it's fictitious.
28:01
No, but it was great watching the hit again. That was such a – I forgot how good that movie was.
28:07
You know, like how sure Terrence – I love that scene where they're – you know
28:12
that scene at night where they're like standing just looking up at the moon
28:15
for a minute and he's like, you know – Yeah.
28:18
He's like, aren't you afraid of dying? And he's like, no.
28:20
And he's like, we all have to do it. You know, it's just like one minute you're
28:24
here, next minute you're gone, next minute you're somewhere else.
28:28
Maybe you know really like well what
28:31
i found interesting about his perspective was he could deal with
28:34
dying on his terms yes when the terms were changed he was just like everyone
28:40
else yeah but it's almost like he had a religion you know where people have
28:45
religion and when it doesn't yeah and like you said that was kind of a reflection
28:49
of how he was in real life because i,
28:52
in the in the wake of him passing there's all these clips of
28:55
course now on youtube of little bits of of terence
28:58
stamp interviews and he there was one i i saw
29:01
yesterday morning that was you know
29:04
they they asked him flat out you know on one interview
29:07
you said uh you know you're not afraid of you know you're practicing you're
29:12
practicing to die or something and he just said oh i like i like to say those
29:17
sort of things in interviews but he said no in a fact he says you know look if you see it as, look,
29:24
it's something inevitable, something you're going to have to face and it's,
29:28
you know, you don't really have to worry about it.
29:31
It's something that you'll go through because we all go through it.
29:34
Yeah. You know, if you live your whole life waiting to die, you're really going to waste your life.
29:40
Yeah. Counting the minutes till you drop. I mean, we're both getting older sitting here.
29:44
Yeah. But if you're a glass is half empty kind of person, that's how you see
29:49
it. But if you're like, well, you know, today's a new day, tomorrow will be something different.
29:54
Who knows? I think he was also quite mischievous guy as well.
29:58
One of his directors said that he was complaining the whole movie.
30:02
And then towards the end of the shoot, he realized that he was just kind of
30:06
winding the director up.
30:07
It's just the way he is. He turns out, he's like, oh, we got to do this.
30:10
But it's just his way of having fun, you know. Yeah.
30:15
It's a sad thing. But the great thing about it is he's still around because we can still watch him.
30:21
The thing as well is he really threw down the gauntlet. You know,
30:24
you get all these big actors now who are like, I'm fearless,
30:27
I'm going to do any kind of movie, blah, blah, blah.
30:30
But this is a guy who went off and made films with Fellini and Pasolini at the height of his fame.
30:36
Films that were art house films that massive audiences wouldn't see.
30:40
Yeah, yeah. I mean, have you seen the movie Spirits of the Dead?
30:45
Yes, yes. Yeah, I mean, his performance in that is, in Toby Dummett,
30:50
is the alcoholic movie stars. Yeah. I mean. Sure.
30:54
Fantastic. I mean, you know, I mean, the problem, like, people talk about,
31:01
you know, as we were saying earlier about the box office problem.
31:05
It's it it's not just
31:08
that the trends are waning it's like movies just
31:11
aren't the same because movies just
31:14
aren't the big thing anymore like we you they
31:18
can yeah the movie screen competes against so many screens so many little screens
31:22
and they've all got content and user-generated content is the flavor now uh
31:29
you know who knows i mean the movies will have to as as they've had to do in
31:35
the past when television came along,
31:37
when all this other, they're going to have to rise and it's going to have to
31:41
be a movie, as you say, that's going to warrant your, like, I will go in, I will pay the parking.
31:49
Do you think it might also be that there's no longer a zeitgeist?
31:54
Probably not. You know, because what the internet did, because David Bowie talked
31:59
about this when the internet started. Yeah, I remember that.
32:03
What's happening now is it's brilliant I mean I remember for example a band like Duran Duran,
32:09
Duran Duran was suffering because they could not reach the
32:12
mainstream anymore but once the internet started they found that they could
32:16
access the people that wanted to listen to music and once it accessed them they
32:22
could sell directly to them and sell the concert tickets directly to them and
32:28
they didn't need to worry about radio playing and all that so what it is now it's like,
32:32
For example, Madonna in the 80s, or Queen, everybody knew their music.
32:38
So everybody had an opinion on it.
32:40
Yes. It's like, what do you think? You know, like Tarantino's first scene in
32:44
Reservoir Dogs is talking about Madonna. Yes.
32:47
There's all these middle-aged guys around the table, and they have got strong
32:52
opinions about Madonna.
32:53
Yes. Now, you could not do that scene nowadays. Like, you remade that film.
32:58
You couldn't do that by Taylor Swift.
33:00
No. Because most of the people on the table would be like, I don't listen to
33:04
Taylor Swift. Because if you want to listen to it, you've got to seek it out.
33:07
Yeah. Whereas before, it was in the ether, it was all around. Yeah.
33:12
Definitely demographic. There's certainly way more demographics now than there were.
33:18
Because you have so many. Everybody knew about Maverick. Everybody knew about
33:21
Maverick. And that's why everybody went.
33:23
They felt they had to go. But there's people I speak to who are like,
33:26
oh, there's a new Mission Impossible movie?
33:28
And I'm like, really? How can you not know? Oh, okay. Yeah. I didn't know.
33:34
So that's what it is. There's no zeitgeist anymore.
33:38
Well, as I always cite to people, they talk about the movies dying.
33:44
There was a Dick Cavett show that had
33:46
Frank Capra on it with a couple of contemporary filmmakers at the time.
33:50
Yeah. And they asked him the question. He said that every 10 years or so,
33:54
they say the movies are dying and Hollywood's finished. This is Frank Capra.
33:58
And he said i think hollywood as the place like oh this is where all the movies
34:04
come from and the dream factory so that might die but he said i think the movies
34:08
will last forever yeah because you know we keep talking about you know the people
34:15
like you and me we're aficionados,
34:17
we we never tire of we
34:20
never have a problem finding good movie storage oh look i've
34:22
got too many i've got i've got a heat review by the
34:25
weekend yeah when people
34:28
tell me oh there's no good movies being made it's like oh okay i
34:33
don't have a problem you know no it might be it might be true that the you know
34:39
like a movie like chinatown would probably be you know an indie movie nowadays
34:44
yeah yeah yeah movies that some of
34:48
the great movies that we love now were blockbusters in the 70s, you know.
34:51
That's true. That's definitely changed. That's true. But they've moved to streaming.
34:56
Like Chinatown would probably be a limited series, no?
34:58
Yeah. Yeah, definitely. You know, that sort of...
35:03
Yeah, I mean, in the seeking of the universal audience, they alienated a big part of it.
35:10
And it's okay making things universal. There's nothing wrong with that.
35:14
But you risk like, okay, well, you can't make everything like that though.
35:20
And yet the movie that started the blockbuster thing, Jaws, is not a typical
35:25
blockbuster at all. Not at all. It's really scary.
35:28
Yeah. It's about six different genres. Yeah.
35:31
It's an adventure movie. political drama it's it's
35:35
this it's this that's not the way you that's not the template
35:37
for blockbuster nowadays and that's what
35:40
the sequels you know the sequels are just like we're gonna have a shot
35:43
killing people and that'll be it yes that's the end
35:46
of part one ladies and gentlemen if you
35:49
want to hear part two well you're just gonna have to wait
35:52
a little bit but not as long as the gap between
35:55
top gun and top gun maverick it's coming
35:58
soon but while you're waiting please check the
36:01
links in the description check out all of
36:05
paul's fantastic writing about films
36:09
and filmmakers you love we love cinema yugen loves stay tuned for part two and
36:18
as always my little yugenites thank you for listening to us on spotify or wherever
36:25
you choose to listen to your favorite podcasts.
36:27
I'm Kent Hill, and until next time, you've been listening to.
36:32
Cinema Zero Gas.
36:35
Music.