- il y a 3 heures
Edgar Wright, c’est un peu le couteau suisse du cinéma britannique. Dans son Vidéo Club, réalisé à l'occasion de la sortie au cinéma de "Running Man", le 19 novembre, le réalisateur retrace les chefs d'oeuvre du 7ᵉ art qui ont marqué sa vie pour tenter de décrire sa personnalité aussi satirique que lucide.
De "Piège de Cristal" à "Boulevard de la Mort", en passant par "À toute Épreuve", Wright déroule une trajectoire façonnée par l’écran, celle d’un gamin dans sa petite salle de visionnage universitaire devenu l’une des signatures les plus singulières du cinéma contemporain.
It's only on Konbini !
De "Piège de Cristal" à "Boulevard de la Mort", en passant par "À toute Épreuve", Wright déroule une trajectoire façonnée par l’écran, celle d’un gamin dans sa petite salle de visionnage universitaire devenu l’une des signatures les plus singulières du cinéma contemporain.
It's only on Konbini !
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Court métrageTranscription
00:00Je pense que c'est l'un d'une de la meilleure action films de l'époque.
00:02P.H. de Crystal.
00:04Ça a été très arty.
00:05Je pense que Tom Cruise a donné le même conseil.
00:08Il était comme, film yourself running.
00:10Je suis absolument aimé Delicatessen et je ne pense pas encore plus de crédit.
00:14La nuit des morts vivantes.
00:16Est-ce que c'est ok?
00:17Oui, absolument.
00:18Vous êtes très convaincée.
00:20Oui, oui.
00:39Je suis toujours ici, tu shit-eaters.
00:43So, hello Edgar, et bienvenue ici.
00:46Merci d'avoir regardé moi.
00:47Je me sens à la maison.
00:49Oh, wow.
00:51Ok, ici, c'est un bon à commencer.
00:53Brazil.
00:54Je pense que c'est une de mes préférées films.
00:56Every time I watch it, I'm more and more impressed.
01:00I mean, I loved it when I watched it as a teenager, on TV, the first time.
01:09As I become a filmmaker, now when I watch it, I'm just bowled over by how difficult it seems.
01:16As in, how difficult it would have been to make.
01:19And if you've read anything about the production of Brazil, it was quite a tumultuous production and release.
01:24But it's such an incredible film.
01:26So imaginative.
01:27And I just love that it has every single possible effect within the movie.
01:33It's just like a staggering piece of work.
01:35I really, really love it.
01:36And it had some influence on The Running Man in the sense that I love in this film, it's like a 1985, but it's styled like the 40s.
01:45It's almost as if Terry Gilliam took the idea that this is almost like George Orwell's idea of the future.
01:51So it's got the same stylings as when that book was published in 1948.
01:55And The Running Man that we just made, Stephen King, published the book in 1982.
02:01So we sort of thought, well, what is a 1982 version of 2025?
02:05The book was set in 2025 and the film is coming out in the same year.
02:10So I took some inspiration from Terry, T. Gill's, an amazing film.
02:17We can pick both of these up in a little double whammy.
02:21Starship Troopers will be around here somewhere as well.
02:23Paul Verhoeven and with Starship Troopers as well, like an amazing trilogy of sort of satirical sci-fi action, especially Robocop, actually.
02:34I mean, I love this too.
02:35I'd probably say that this actually has more influence on my film than the original Arnold Schwarzenegger Running Man.
02:43But this film is somewhat miraculous, like when you watch it now, it's such kind of like a savage satire of like 80s America made by a crazy Dutchman.
03:07So, I mean, there's a really good documentary that came up, if you haven't seen that documentary called Robo-Doc, which goes into the making of Robocop in granular detail.
03:18And it's really impressive to see how that film was made, but also how they managed to, I guess, sneak it out.
03:26Like sometimes films, how they get made and when they get released, I feel like this is one of those like moments in time where somebody couldn't make a film like this now.
03:38It certainly seems like it's something this savage would probably not get released by an American studio in this day and age.
03:44Although we tried.
03:46Don't you have the same feeling for your film?
03:48I do a little bit.
03:50I do have a feeling with my film that we're kind of like very fortunate to have got it released in the way that it has.
03:57It like, you know, if it feels subversive, then I'm happy.
04:04I've got a grenade!
04:07Back at you.
04:08This is the film that I probably watched the most at the cinema.
04:18I don't know when the last time I watched it at home was.
04:21It's probably a bad advert for the store because this is probably the one film that I would never watch at home anymore.
04:27Like whenever it's on at the cinema, I'll go.
04:29It's become the film I've seen the most because I, every time it's on a big screen, I'll go.
04:38Why don't you want to watch it at home?
04:40I think sort of, the first time I ever saw it was on TV actually.
04:45But it's, this is a big screen experience for me.
04:48So, I mean, I would watch it at home, I'm not going to say no to it, but it's definitely that been my most frequent film that I've seen at the cinema.
04:58I did not know that the title for Die Hard was P.H. De Crystal.
05:05Sounds very arty.
05:07I like that.
05:08I think it's kind of like a masterclass in action.
05:10It's so brilliantly constructed and brilliantly shot and directed.
05:23Like it's a sort of, I think for anybody wanting to make films, Die Hard is a good one to watch with the sound turned off.
05:30I think you can learn a lot about visual storytelling when you watch a film that you really like with the volume down.
05:36And this is a really good one.
05:37I think sort of, it's so beautifully made.
05:40And I think it's just a masterclass.
05:44I think sort of like really, I don't feel as strongly about any of the sequels.
05:49But the first one is just a classic.
05:51This is a film.
05:53I remember when I saw this at the cinema, probably in 1999, I was so inspired and sort of envious at the same time.
06:07I remember seeing this at the cinema and coming out of the theater, just like fizzing with like energy of like, oh my God, I have to make a movie.
06:17I'd actually already made my first movie when I was 20 and Shaun of the Dead was not till 2004.
06:25And so seeing a movie like this just made, I think it's one of those movies that just makes you want to pick up a camera and go.
06:36And I just rewatched it recently when they re-released it at the cinema and it really holds up.
06:41And I think sort of Tom Twyka's film is just fantastic.
06:44This is a great 90 minutes of cinema right here.
06:47Always good to have a little list of films that are under 90 minutes, when you're in a rush.
06:53This is a good one.
07:04How difficult it is to shoot a scene where your character is constantly running?
07:09Well, I heard the story that Fanka Patenta said to Matt Damon when they were making The Bourne Identity.
07:17She said, have you ever videoed yourself running?
07:22And he said, no, why?
07:24And she says, you don't look as cool as you think you do.
07:27And I told this story to Glenn and it was one of the things that I think, I think Tom Cruise had given him the same advice.
07:32It's like, film yourself running.
07:34And because, you know, there are people who run really great on screen.
07:38I think the worst runner in the history of cinema is Steven Seagal.
07:42And if you've ever looked at the supercut of Steven Seagal running on YouTube, like, don't do it like he does.
07:50I mean, I think I would probably be a bad runner, but Steven Seagal is really bad.
07:53So check that out.
07:54Not a recommended watch, but funny.
07:58Talking about Glenn Powell, I put Itman.
08:01Yes.
08:02Well, we sort of owe it to this film for getting Glenn cast in the movie.
08:06And it's actually really sweet.
08:07I just literally on the way over here got an email from Richard Linklater because he watched The Running Man yesterday.
08:13And he completely flipped over it and I emailed him back and I said, well, we have you to thank for Glenn's casting because I had seen this at the London Film Festival and it was during the actor's strike.
08:25So Glenn wasn't present, but I texted him and he said, oh, I'm so sad I'm not there.
08:29And then he texted me, said, consider this my audition tape.
08:32And then actually later when, like, Glenn was in the mix for The Running Man, Stephen King had casting approval for Ben Richards for some of the major parts and he wasn't too aware of Glenn's work.
08:45So I said, watch this.
08:47So Stephen King watched Hitman and then the next day he said, oh, yeah, he's great.
08:51You can't blame someone for taking the law in their own hands.
08:55You know, there's a thing I really believe in.
08:57Okay.
08:57It's personal justice.
08:59Right.
08:59For when our pussified justice system fails.
09:02Because when we do this, when we do it right.
09:04Right.
09:05So thank you, Glenn and Richard Linklater for that.
09:08Let's go right here with this one.
09:12I also like the escape from New York in France.
09:15It's called New York 1997.
09:17Now, interesting enough, like, I love this film.
09:21Okay, now.
09:22John Compton is a big inspiration for me and I just think it's really imaginative, this movie.
09:37The premise is great, but then they don't have a huge budget, but they do amazing things with the production design and miniatures.
09:46Amazing.
09:47I don't know if you've ever seen the making of this.
09:49This is incredible shot of Manhattan seen through kind of like night vision.
09:54And it's basically a model, I think partly built by James Cameron, who worked on miniatures on this film, that there's no actual kind of like, it's pre-CGI.
10:04It's not graphics.
10:04It's just Scotch tape and they've just lit it.
10:07So if you look on, if you look on the internet, you can find the photo of them shooting the night vision of Manhattan.
10:14It's extraordinary.
10:15It was, it was also an inspiration for the production because when we were making The Running Man, we had to find locations that we could make look like a future dystopia.
10:23And their version of Manhattan in this movie, which is like a, become a prison island.
10:27And they shot in St. Louis and partly, I think there's one shot on Ellis Island by the Statue of Liberty.
10:34And there's also some scenes in the LA river and they somehow make this all kind of blend together in a very masterful way.
10:42There's an amazing shot where it goes from Ellis Island and behind the sign and then onto the sort of the LA riverbed.
10:48But I, I really, really, really enjoy this film.
10:52This, I've never seen this cover before.
10:55This is George Romero's Night of the Living Dead.
10:57La Nuit des Morts Vivantes.
10:59Is that okay?
11:00Yeah, absolutely.
11:01The humans are very convinced.
11:03Yeah, yeah, yeah.
11:04It's perfect.
11:04La Nuit des Morts Vivantes.
11:11I mean, this is a big one for me, both this and Dawn and Day of the Dead.
11:16But this is, you know, one of the most influential independent films of all time.
11:23I think, you know, me and Simon Pegg got to know George Romero a little bit after Shaun of the Dead came out.
11:28And he was an extremely nice guy and he was very generous to us and very supportive of everything we did.
11:35So I feel very fondly about him and the movie is just incredible.
11:40Because both of you were in the Land of the Dead after.
11:44Yeah, we did a cameo in the Land of the Dead.
11:52I remember something that he said to me that's always really stayed with me.
11:55Is that we were having coffee and he asked us what we were doing next.
11:59And we said, oh, we're writing this cop movie.
12:02And George said, oh, so not a horror film?
12:04And we said, no.
12:04And he goes, oh, so you're getting out.
12:07And that really stuck with me.
12:09But I was very sort of like, you know, friendly with George.
12:13And even though I didn't see him that often, we would see each other when we were in the same city.
12:18We used to email a lot.
12:19And very sad he's gone.
12:22But what a legacy he leaves behind.
12:24I think neither of these, this is Grindhouse split into two.
12:31Planet Terror.
12:37And Boulevard d'Alemort.
12:39That's a cool title.
12:40That might be a better title than Death Proof, actually.
12:43You really need to be sitting in my seat.
12:46I remember, I was actually at the Cannes screening of this with Quentin.
12:53And I think, I seem to remember that he was really taken with the French title.
12:58It sounds cool.
12:59Boulevard d'Alemort.
13:01I don't, I don't know if either of these have my trailer on them.
13:03Because in Europe, Grindhouse was split up into two movies.
13:07And my trailer, Don't, I think is only on the full American version.
13:13Talking about your trailer, some of the other trailers were adapted in future films.
13:19Yes.
13:19Can we hope for an adaptation in future films of Don't?
13:23I'm going to say no.
13:25And the reason is, I think the best version of Don't is 90 seconds long.
13:30I think it's one of those films, this is the thing is, I think you can't give in to sort of like,
13:34like fan fiction.
13:37It's people say, when are we going to see a film of Don't?
13:39And I was like, you've already seen the best version, believe me.
13:42I'm not sure that that, I'm not sure that that premise stretches to 90 minutes.
13:47So I think the 90 second version is, is, is the best version of Don't.
13:51So please be happy with that.
13:55Um, okay.
13:56I want to talk about another one.
13:57Oh, this is another good one.
13:58Cube.
13:58I don't think this gets enough credit.
14:02Stop!
14:03In front of you!
14:04This is like, I think sort of like, is a real, um, great lesson of how to make a low budget
14:13sci-fi movie.
14:14Make one amazing set and then use it all the way through the movie.
14:19Change the lighting, change the sort of the, the, um, the blocking, um, change the kind
14:25of things that happened within the set.
14:26But I always thought this was like a genius idea for a low budget film.
14:31And, um, I've liked some of his other films.
14:34I like Splice as well, but I saw this at the cinema where it came out and it really stuck
14:38with me as an ingenious, um, low budget film.
14:41What do you think about the end?
14:43Because there's this kind of urban legend about, um, an alternative ending that Vincenzo
14:51Natali destroyed.
14:52Oh, I didn't, I didn't know about that actually.
14:55I would like to sort of see this again.
14:57I, I saw it when it first came out of the cinema and have not seen it since.
15:01One hour 26.
15:02That's good as well.
15:03Put that on the run, like the run pile.
15:05This movie, The Getaway, um, actually, usually when I make a film, I watch some kind of good
15:13luck film before starting shooting.
15:16And in this case, I watched a film with, uh, Glenn Powell.
15:19There's The Getaway, here's the, the police coming to get us.
15:31So this film has some connection to The Running Man in the sense that usually when I start
15:37making a movie, I watch some kind of good luck movie to get us all in the mood.
15:41Myself and Glenn Powell and Michael Bacall watched The Getaway because Glenn had actually
15:45never seen this.
15:46And I just thought, oh, this is a really good movie to watch.
15:48Um, not only is it a great action crime movie based on a Jim Thompson book with a script
15:53by Walter Hill, no less, another one of my heroes, but also just for watching McQueen,
15:57the movie star, like command the screen, sometimes saying very little.
16:03And aside from it being a great kind of like thriller, it's just sort of just a masterclass
16:08in movie star acting.
16:09Like the way that McQueen kind of like holds the frame is really sort of astonishing.
16:15So I, I love this movie.
16:17I, I have never seen this movie.
16:21But I did direct one shot in this movie.
16:24Um, about, it's about 18 frames.
16:27But when, when I saw it at the cinema, I nudged my friend when it came up.
16:34Let's talk about, let's talk about this film.
16:36I think this is like super, I think this is very underrated, this film.
16:40This is Michael Crichton's film Looker from 1981.
16:43And much like Stephen King is a bit of a Nostradamus with The Running Man,
16:56Michael Crichton with several of his books and films kind of predicted the future.
17:01And the premise of this movie is that models are being scanned into a computer
17:08and then this evil media corporation are killing the models, um, to keep their kind of digital rights
17:16rather than pay them anything sort of further.
17:20And only plastic surgeon Albert Finney realizes that these like sort of beautiful models are being
17:27sort of killed after they've been scanned into the computer.
17:30So it's alarming.
17:32I remember when the SAG strike happened and most of it was about the rights of actors
17:36and whether once they've been digitally scanned using their likenesses,
17:41whether that was, um, was ethical.
17:44And this is a movie entirely about it from 1981.
17:48So once again, Michael Crichton predicts the future.
17:50I do, I do find this film super entertaining.
17:53And, uh, definitely if you haven't seen it, it's well worth a look.
17:57I think this is one of the greatest action movies of all time.
18:00I think it seems like the making of it seems borderline unsafe.
18:13So a lot of squibs going off by actors' heads, but it is an incredible piece of work.
18:18And I saw this when it first came out at the cinema.
18:21And, uh, there's one shot in particular that, uh, is something that continues to inspire me
18:28is the amazing, uh, steadicam shot, which takes place over two floors of the hospital.
18:33And I think I'd seen this shot and was kind of in awe of it.
18:36And then I realized that actually, so the Tony Leung and Chow Young-Fat are like sort of
18:43having this ongoing gun battle through this hospital.
18:46And then they get in an elevator and then they talk and then they come out of the elevator
18:51on a different floor and they go back the other way and capable of firing.
18:55And it took me several watches to realize that, of course, the elevator is going nowhere.
18:59They're just on a set.
19:00The genius of it is whilst they're inside the elevator talking,
19:04the art department have completely redressed the set outside
19:07so that when they come out, it looks like they're on a different floor.
19:12Movie magic.
19:13I love it.
19:14This is an incredible film if you haven't seen it.
19:16What else we got here?
19:18Oh, an all-time favorite, Delicatessen.
19:22I mean, this is sort of like a, well, it is kind of a dystopian film,
19:26similar to Brazil where it's kind of dystopian and yet retro-futuristic at the same time
19:31because it appears to be kind of set in some foggy post-war like France.
19:37But I saw this when it first came out and remains a source of huge inspiration to me.
19:44I love the rhythm of it.
19:46I love the amazing sequence with the metronome,
19:51as I think is one of my favorite sequences of all time.
19:54I just think everything about this film, the sense of humor,
20:06the camera work has just seemed astonishing.
20:09Is it Darius Congee?
20:10Yeah.
20:11I mean, I've seen this film many, many times and it really holds up as well.
20:14I mean, I know it's quite celebrated, this film, but I still don't think it gets enough credit.
20:18So I absolutely love Delicatessen and I would watch it any time.
20:22This is a film that I think has a bit of, I wouldn't say it has a direct influence on my film,
20:30but it's a dystopian game show film that I really enjoy,
20:33which I don't hear a lot of people talking about.
20:36The 10th victim, La Dizieme Victime.
20:42My pronunciation is terrible, sorry.
20:43Martello, forgive me, I love you so much.
20:47But you're fired anyway.
20:48Martello.
20:49Stop right there.
20:51I'm sorry.
20:53And this is kind of like a pop party.
20:55It's almost like a kind of spy versus spy thing.
20:58It was just like a, you know, a competition between different assassins,
21:03flamboyant assassins, like trying to kill each other.
21:08And so I can only assume that this had some influence on John Wick,
21:12but I, you know, some of these films of this era,
21:16Italian films like Danger Diabolique is a favorite of mine by Maria Barba,
21:20and I think The 10th Victim by Elia Petri is a really fun movie that not enough people talk about.
21:27Here's another favorite of mine, all-time favorite.
21:31I love the title.
21:33Can you say this to me?
21:34Les Guerriers de la Nuit.
21:35Oh, you make it sound perfect.
21:38I'm not even going to attempt that pronunciation.
21:40You made it sound like, but The Warriors, Walter Hill's The Warriors.
21:45You see what you get, warriors!
21:47You see what you get when you mess with the orphans!
21:49An all-time classic, and one of the great A to B films of all time.
21:58I like any film with, like, a sort of, like, a very, like, simple kind of straight-line quest.
22:04And in this movie, The Warriors have to get from Central Park to Coney Island and traverse,
22:09not dissimilar to actually Escape from New York, getting through Manhattan,
22:12but this film is, like, The Warriors have to get through, both on foot and on public transport,
22:19get back to Coney Island with every gang in Manhattan on their tail.
22:25It's really imaginative, it's, like, got a, I don't know, sort of, Walter Hill has that amazing knack
22:34of being both gritty and noir-ish and somewhat comic-book-y at the same time.
22:39Like, this and Streets of Fire are both films I really, really enjoy.
22:43I just love his direction, I love how spare it is,
22:48and there's never, like, a word wasted, never a shot wasted with Walter Hill.
22:53He's incredible, and, you know, he's a real hero of mine, both as a director and as a writer as well.
22:58I think he's just, like, again, somebody that should be even more celebrated than he already is.
23:04So I love this film.
23:05I also want to give a shout-out to another, I did not know the French title of Logan's Run was
23:12L'Âge de Cristal.
23:14Very fancy.
23:15It makes, all of the French titles are so much more flamboyant and classy.
23:20I'm a runner!
23:21Logan's Run, as you probably know, the premise of the movie is that when people reach the age of 30,
23:34they're put out to pasture.
23:36So you have a kind of crystal that kind of goes out at age 30.
23:40And I don't want to say this is, like, a perfect film, but it really stays with me.
23:44There's something about the premise and the overall look, both the costumes and the use of locations
23:50and the production design and Jerry Goldsmith's score that really, like, sticks with me.
23:55In fact, when me and Michael Bacall were working on the Running Man script, the two scores that
24:01we'd listen to all the time were, like, John Carpenter and Alan Howard's score for Escape
24:06from New York and Jerry Goldsmith's score for Logan's Run, particularly the cue called
24:11The Dome.
24:12So, um, this is a film that's, like, really, like, stayed with me.
24:16And, um, I love the, the Carnival section.
24:19It's, uh, it's, it's, it's really worth watching.
24:22I don't think it quite kind of, like, sticks the landing at the very end, but it's so memorable.
24:28And, um, you know, sometimes films are about firing up your imagination.
24:34Like, sometimes the sort of, the, the memory of it might be, like, sort of, um, more powerful
24:40than the film itself.
24:42This is a really interesting film and I, um, I will watch it any time.
24:46Uh, this is another film I think, super, very underrated.
24:51Come on, Tony, get out here and fight like a man!
24:54Ah!
24:55And I've mentioned this on the press tour a couple of times because, um, there are other,
25:03like, dystopian game show films that come up a lot, like, um, The Hunger Games and Battle
25:07Royale.
25:08But people don't talk enough about Series 7, which is a Canadian film from, I think, the,
25:20sort of, early 2000s.
25:21And what, I think this actually probably is quite influenced by the Stephen King book.
25:27Um, but the great thing about Series 7 is it presents, you're watching basically like
25:32a marathon of episodes of a reality show so that it's, it's all done, you know, you're
25:38watching basically like clips from the show.
25:42And, uh, it's, it's a clever way of doing a lower budget version of one of these films.
25:48Um, but it's very witty.
25:50It's very well done.
25:51The person playing the narrator, uh, you hear their voice all the way through Series 7 is
25:57Will Arnett.
25:57A young Will Arnett is the voice of Series 7.
26:01Um, so I, I'm glad this is out here because I feel like people don't talk about this one
26:05enough.
26:05So shout out to Series 7.
26:08Was it important for you to really keep the televised aspect of The Running Man?
26:13Because in some adaptations, I'm, I'm thinking about The Long Run, The Long Walk, sorry.
26:18Oh yeah.
26:18Um, in the new adaptation, in the, the adaptation this year, the televised aspect is practically
26:24gone, but it's really what is really interesting about watching people being okay to be watched,
26:32trying to survive and trying to, to get the money and to get the price at the end.
26:38Yeah.
26:39I mean, what in, in, in our movie, you're with Ben Richards the entire time.
26:46So there's not really any scenes without him.
26:49However, he is watching the TV in a number of different places.
26:54And so he only gets his information from the TV.
26:57And of course, what's on the TV isn't necessarily the truth.
27:01So it definitely was a big part of the adaptation, which is straight from the book,
27:06to stay with Ben and see it subjectively from his point of view for the entire film.
27:11So you do get to see a lot of other parts of TV shows, even just things where he's waiting
27:17it out and is bored in his hotel room, watching like endless reality shows.
27:23Like you see the world through the TV and also, you know, the start of the film, you establish
27:30that this is a cruel future society where poor people are asked to compete on game shows
27:36for desperate for money to risk injury or death.
27:40So it was really, it was one of the more ambitious things about the movie was we had to tell all
27:46of Ben's story.
27:47We had to tell all the Ben's story, but also we had to show just another world through the
27:52TV as well.
27:53So it was, it was very ambitious.
27:56I have probably along with 2001, this is another film that I've probably seen.
28:06This is a film that I, I, I was already interested in film and I already think I wanted to be
28:18a director, even though I didn't necessarily have the idea of exactly how to become a director.
28:23But when I was a teenager, there was sort of two movies in the same year that I saw that
28:27really like, just kind of like the light bulb films for me in terms of the inspiration to
28:32actually really do it.
28:34And this is one of them.
28:35It's like Evil Dead 2 by Sam Raimi and Raising Arizona by the Coen brothers, colleagues of
28:40each other.
28:40And in fact, I think even when this film came out, they had some sort of competition of
28:45doing the same shot in both movies.
28:47Both films feature a shot where a crane goes, this one, I think it goes up and over a car.
28:54And in Evil Dead 2, it goes through the back window and out the front window.
28:58So they had, there's some kind of continuity between the two movies.
29:01But this movie, I just think, is a real inspiration to me because so well written, so well directed,
29:08just like energy and invention in every single frame.
29:12It's one of those movies that I just watch it and think, how long did this take to make?
29:18How the hell did they do this?
29:20Every single like sort of shot is kind of perfection.
29:24And there's so much fun in every frame.
29:27And it's just one of those movies that you could watch 13 times and still find something
29:32new.
29:33I don't know why I'd pick 13.
29:34You could watch it six times as well.
29:36But I just, it's one of those films that's just like, it's just absolutely just dense with
29:41detail, rewards several viewings.
29:44But my, Simon Pegg is also obsessed with this movie.
29:46It also has so much foreshadowing in it.
29:48So much foreshadowing and so many great callbacks.
29:52So it was definitely like a film that's a huge inspiration to me.
29:57And I know they have lots of other favorites, but still their best, as far as I'm concerned.
30:04Growing up, did you watch more films in cinemas or did you used to go to places like this,
30:10video stores as well?
30:11I used to watch things at the cinema up until the point, my parents didn't have like a VCR.
30:18And so I used to watch films at the cinema and just watch films on TV and stay up late
30:24if something was on.
30:26So I think sometimes my schoolwork suffered because if Halloween was playing at two in
30:31the morning, I'd stay, I'd stay up and watch it in my bedroom quietly with the sound turned
30:35down.
30:35But maybe like when in my late teens, I think when I started working Saturday jobs, I got
30:40like a VHS for the house.
30:43And so it's definitely watching a lot of films around then.
30:46And then when I went to art college as well in Bournemouth, they had a library with a little
30:51viewing booth.
30:52And I used to go and just watch films in the viewing booth all the time.
30:57And sometimes there was a, there was a, there was a person I met at the university next door
31:01who had all of the video nasties on VHS.
31:04If you know, in like the sort of the early eighties, the BBFC banned a lot of horror movies.
31:09You just couldn't get them on VHS.
31:11And this guy had all these like sort of second, third generation copies of all the video nasties.
31:17And because I didn't have a V, like VCR where I was staying at college, I used to go and watch
31:22them in the library viewing booth back at the art college.
31:26But because sometimes they were so hideous, I would try to angle the TV away from the
31:31door as much.
31:32If there was a porthole in the door and then you'd be watching something like nightmares
31:37in a damaged brain or I spit in your grave and think like, I really hope nobody looks
31:43through this door.
31:44So I would like angle the TV away from the door when I was watching something truly horrific.
31:49I still feel the deep shame of that.
31:51I can, I can feel, I can feel myself getting flustered even thinking about it.
31:54If you could steal one film here and running as fast as you can and never get caught, what
32:01film would you pick?
32:02What would I, what, are you asking me to shoplift?
32:05Yeah.
32:05Oh my God.
32:07If I was running and keeping running, it would have to be Run Lola Run, I'd have to go back
32:10to Lola Rant.
32:11Um, this would be the one, like sort of like, um, I think this is, this is probably like the
32:17best running film of all time.
32:19So, so why not this one?
32:22Almini!
32:24I'll see you next time.
32:25Bye.
32:26Bye.
32:27Bye.
32:28Bye.
32:29Bye.
32:30Bye.
32:31Bye.
32:32Bye.
32:33Bye.
32:34Bye.
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