Hello, everyone. Hello. Despite all the odds, we're back. Very Phineas and Ferb in their new hit songs. Have you watched that film yet?
No, I'm probably not going to because I never really watched Venus in fur. Oh, you didn't. That's the shame. I've watched like 20 episodes of the TV show now that I have Disney. Plus, I feel I can possibly catch up a little more in time.
I think you should watch all the episodes plus Cinematograph three plus the film, plus the Star Wars special in the Marvel special as well.
Something about that seems so cynical to me. Yeah, yeah, just having, like, the almost always, always difficult doesn't even have to be like, so fucking boastful about all the acquisitions they have.
It's true, but I do think that apparently they're very good. I mean, I've seen something say that the definition for a special is the best our story ever told, which I'm not sure I believe.
But yeah, you know, it does make you think the best our story ever told. As we all know, it is stopwork caravanned last.
Oh, take a different approach closely by walking around.
Well, I consider that New York story, not Star Wars story.
Oh, fair enough. Well, we're almost a minute and happened to podcast him. I introduced it. So that's always good.
That's always good. I feel this is the golden talk. We talk about a film that came out 50 years ago this week. Every week this week's film is Tora Bora. Fora toward territory, exactly what a picture, and so they came out in 24 to September. I'm going to rattle off some historical context as usual. Guess which city had its first marathon this this day.
So probably not like a major European city, maybe somewhere behind the Iron Curtain, perhaps the Warsaw Marathon, the first one ever.
New York. Oh, not so close. Now, this is why know have a man from my heart.
I don't think marathons were so big or they like I really I honestly, just in my mind, I assume it's like cathedrals, like every major city has to have has a mansion at least I mean, at least you've not watch a film about it.
So, you know, we have no reason to know what marathons were like in 1970 because you never watch any of us.
Our only frame of reference I personally know no history. I don't know that the Vietnam War exists. I only know that people were being conscripted for something. And as far as I can tell, it must have been a Second World War battle set so suspiciously, specifically in the jungle. Yeah, that's the only thing.
Yeah. Um. OK. Guess which city hosted the first women's only tennis tournament? I'm going to say London, although I'm sure you'll it's Houston, Houston, Texas, as a progressive, as we all know, we've got a new song in the charts.
Oh, really? That you knew. Summertime by Mungo Jerry. No, we had that one, remember? Oh, dear.
Oh, man. It's almost my playlist.
It's very nice to I would I would just say to you in future. Next time there's a song that has something to name, it probably came out not in September.
Is a September by I no, it's not as long as the the. The song is correct and Rosy by Neil Diamond.
You know the one I know Neil Diamond. I don't know Cracklin.
Well, if you don't know Franklin Roosevelt listen to. It's a very good song. We'll do. It was interestingly it was in skat free and it's not sort of song you'd expect in a skateboarding game.
Well I know the reason, the reason like the Tony Hawk games have such like varied and interesting soundtracks is like because Tony Hawk probably the music was very key to skater culture, so had to be very in tune. Yeah, I'm assuming skate for he's trying to do some would have been trying to do something similar.
Oh definitely. But I just think a song from the 1970s by Neil Gaiman is not something I would associate with skater culture.
However, actually skater culture start really emerging. Late 80s. Yeah, I think so. Well yeah.
I mean the 90s were the peak but it was in the late 90s. Early noughties would be the peak. Yeah. And I mean yeah the 80s was, was when it started so yeah. We're before, before that. I mean as we all know, Marty McFly invented skateboarding in nineteen fifty something. Yes.
And rock and roll. It wasn't black people, it was Marty McFly. It's very important. Very, very important and. There was a headline in Time magazine about skyjacking and how it was a rising problem, which is, of course, at this month, although obviously in 1970 not not at all, but yeah, it makes it sound very cool.
Yeah, well, I mean, I as usual, I can read the actual article, but it sounded like they were trying to make it sound cooler, like, oh, it's that what did he call the merger of modern technology and an ancient techniques because they were talking about the Pirates of the Sky and all this stuff. And I, I think that kind of article would not fly so well today.
Now that, you know, we never really talk about it. I suppose even by 1970, like a commercial plane, travel would still seem a lot more like modern than it would. I mean, obviously, definitely it was still seem kind of special, although guess it had been around for a while.
Yeah. Yeah, exactly.
I mean, I got the impression from the article that it was more I think it was talking about planes in Liberia.
Hmmm, that's a country right in West Africa. Yeah, I think I think it was probably to do with maybe air travel moving to that part of the world and then, you know, the extremist groups in that area taking advantage of it. But also, I'm very ignorant of my aviation history, you know, so I don't know if that's the case or not, but I kind of got the impression that's what the article was talking about.
You know, good on. You know, a good antidote to being weak on your aviation history would be Duncan. Well, I was watching a nice film about a famous aviation battle, perhaps even an air to sea battle.
That's actually that's a good idea, Jamie, because I've conveniently just finished my Sahu context and that Sacré was completely planned. I'm glad you're following the script.
It's nice. Sometimes I pick out the rhythm. Yeah. So perhaps everyone's favorite seat, Air-Sea Battle, is, of course, Pearl Harbor, of course.
So to outline the scenario, the film we're talking about today, tortora, hard for a tortora towards our harbor.
So it's a bit like animal crossing, but.
Yeah, yeah. And so oratorios or two or three as we shall be referring to it from now on, I will not be referring to it as it is about Pearl Harbor.
It's not really a film of any kind of protagonist. It would be fair to say that know more about the event itself and the various degrees of human error that led up to the which I'm going to use the word tragedy and really use operatively because the best word right here, I might discuss that later. And it's yeah. So very much. It's a film that is very much. About particular event, what led up to it, which I have to say, like, I mean, we're going to go into later, but if you look at film like Pearl Harbor or something where they kind of force these protagonists and heroes in and it's like completely random.
You know how they fit into you know, I liked how this film did not do that. Yeah, it's still to the people involved, but, you know, actually looked to the people involved and. Yeah, yeah.
So this film purports, at least in its opening hours, to be about historical accuracy, although I did notice that the trilogy on Amazon Prime was almost entirely people talking about historical errors. And, uh, that's cool.
Yeah, it opens with a big thing saying this is all a true story and everything happened. But then I think it's still had the warning that, uh, any characters are fictitious in any resemblance to living or dead human beings is entirely random or whatever, which they just have in every film. Um, there's an interesting video by that. And YouTube, uh, Campbell is called I'm sure if you look up like fictitious or like Hollywood fictitious warning or something, something to do Rasputin's sister or something.
And someone made a film about Rasputin where he was presented in a certain way and then like sued the company. And then they basically realized if they put that at the start, it really doesn't matter what they say about the person as long as they've got that. But then there's also a lot of legal stuff saying that that's just not true. And there's really no reason why they put it there, because you can still get just as easily sued. So anyway, that's just that's an aside.
But the film very much purports to be a true story, as you said.
I think the best analogy for it is that it's like if you read it, you're like two nonfiction section of more students and you pick up some historical future for, you know, the general reader, but very much trying to tell a story in a very even handed way. So despite this, this is an American Japanese co-production and it tries to show the perspectives of both sides. And yet. Well, how do you how well do you feel it succeeded and not them?
Um, I, I would say quite well, actually, um, I, I'm guessing based on knowledge just means you disagree. But I think the fact because I mean both sides of the film were made completely separately essentially and and the Japanese side had Japanese directors and a Japanese cast and the American side had the same for America. And so I feel like it works quite well. I mean, obviously, in terms of historical accuracy, I don't know.
But, um, yeah. Yeah, I honestly think it does not a bad job. I feel like you you find yourself knowing characters on each side and kind of wondering how they're going to connect and stuff like that.
I will actually say that I thought the Japanese side was much more character than the American one. Yeah, you really do sort of figures. But Japanese is maybe like three really important characters. And you can be. Yeah.
And I think I mean, I think the film puts a lot of effort into showing how incompetent the certain Americans were. And yes. So you have a lot of characters that are trying to warn them and then you have a lot of characters that are ignoring the warnings and you kind of merge into one. I feel like that's my real problem with this film, is that there are too many characters and I know they can takes what I just said about hating when just a protagonist, I feel like they could have simplified the U.S. down into their dislike to unlinked characters that are warning about it from separate things.
And then they're going up to one that's ignoring it or something like that. And then that's that kind of simplified system, because that's what it boils down to, is that there's all these warnings coming in and they're being ignored. I'm not going to say I find it hard to follow because I didn't find it hard to follow. But you do find you don't really connect to any of the characters or I didn't even know who the people were.
Yeah. To me, I thought the best way to view it was not to. I found that I had a bad time. And so I leaned back and stopped paying attention to, like, who each character was and just sort of like a set of disconnected snapshots that were exactly like of little vignettes. He use my one French film term. Nice.
I mean, I think I think well, they did quite nicely. Even though you can tell the characters apart, they did use like locations and sets and stuff to quite clearly show who it was. You know, there is a people up at the radar in the hill. And, you know, they were you knew there was the two young guys and they were on the hill and they were in the radio station. And then they established it, you know, were the guys decoding it?
And you didn't need to remember who those guys were because you knew you were in that room of the decoder. And you're like, OK, so it's these guys. And then talking to these guys and then there's a guy in his office that was the secretary of state. But yeah, I feel like the specifics were kind of lost, but I don't think they were necessary. I mean, I don't think they were trying to do that anyway. You know, it's not a characteristic piece.
You know, as you say, like the at least for the American side, the very clear message I think of the film is that the attack on Pearl Harbor was allowed to happen. Due to repeated human error, yeah, so like just so long as you're seeing like scene after scene of, like, generals making bad choices or being away from the phone or not caring, then just clear, even if you're not, I'm not sure what these generals actual role is.
And yeah, that's true, I guess. Well, I was OK, I was going to say that I find it a bit weird that they. They tried so hard to establish people's names and what they did and stuff and at the start, but I don't think it's that weird. I think, you know, there's no harm in seeing who they are. I think they know that the audience is not going to remember, but they still have it there.
So this whole thing in the sense what happened?
Yeah, I think it gives a bigger veneer of authenticity, if you like. Yeah, I know it definitely does. When when you see the person, it says, like, you know, Charles Johnson, secretary of state or whatever, then even if you don't remember, they can forward at least you've had the initial like, OK, so this is X, Y, Z. This actually happened, you know, and you've got Lieutenant whatever in this room doing this.
So. Yeah, actually, yeah. Yeah, yeah, I think yeah, yeah, yeah, I would say, in contrast, privately, I would say the Japanese side sort of places the blame on like internal politics of the war.
Yeah, definitely. The message of the Japanese side is that they are given chances to negotiate and capitulate and find a peaceful solution, the bad actors within the system who desperately want to carry out an attack. But even the few people who are trying to seek a pacifist solution are unable to do anything.
Yeah. Yeah. So that's. Yeah, although I do agree with what you said earlier, yeah, it's easier to tell the Japanese people apart and know who they are.
Well, I think the Japanese only one focuses quite a lot on the actions of one particular pilot watch squadron leader and very helpfully gives them a bandana. Yeah, that's true. Although he is under one sort of admiral who's very reticent about the whole thing. So it stands out. I would say, like the big climax of the Japanese side is the admiral say that they should retreat from Pearl Harbor rather than going back for a second attack. So I think it's also very much the admiral story in a way.
And yeah, or big emotional, emotional. But he gets a big moment where he makes a choice. Yeah, definitely. And so, I mean, I think going into this, you you were not convinced, were you, about whether they show both sides? Well, yeah, I think changed.
I think for the film to work, you really do have to understand Pearl Harbor is the tragedy. I'm not 100 percent sure I do. But I think what might be more, because I'm because I'm British rather than because I'm not supporting the U.S., because I can imagine that I don't know much about how Pearl Harbor and how much the Japanese psyche.
And I can see why they would also feel a similar way or at least see it as a particularly sort of bleak moment in terms of violence. And obviously in the US is seen as one of the biggest tragedies in their entire history.
Yeah, I mean, I think I think that is a big thing because I went to see Dunkirk with where it was a Dunkirk or darkest. I think it was dark.
So I went to see my flatmates and they really didn't connect to it at all. And, you know, I really connected with the film.
And, you know, I don't know if I'd learn so much about the history and then seeing it on the screen.
And, you know, how how this happened and that happened and seeing it portrayed on the screen so amazingly with, you know, a great cast and all this stuff had a real impact on me.
And but for them, they were looking at it just as a piece of cinema. And I feel like this could could be the same, given it was not Japanese or American where, you know. Well, like I knew about Pearl Harbor, even though I've seen Pearl Harbor, the film, which I don't think was very good.
I remember correctly and, you know, even though I've seen, I so didn't really know what happened. So this is more like, oh, OK, so that happened. But I feel like if it's something that you've learned about, then maybe you'd have more of a connection with the film.
Yeah, well, I think the thing is, like every country is like. Narrative of the war will obviously like focus on its own sort of emotional peaks and troughs, obviously, like in Britain, we're very focused on Dunkirk and like D-Day other like I can imagine very easily that like, say, a Chinese person would point out that Dunkirk is just like a retreat, like it's nothing too special about it.
And maybe our lads off that beach, that's the thing.
So I feel like as a UK person, like my personal understanding of Pearl Harbor is that like, you know, it's sad that, know, people died, obviously, but I wouldn't give it any greater emotional import than any other battle.
Yeah, exactly. It's it you kind of just know it as like an event that happened that brought the Americans into the war. Whereas obviously, I mean, the fact that they brought it, brought them into war is evidence of what it means to them and what it continues to mean going forward.
Also, from the British perspective, the story of Pearl Harbor is more one of relief than any other emotion.
Yeah, exactly. Yeah. I hate crime, but I'm I am somewhat curious about the Japanese perspective in Pearl Harbor because I think the the way the country sort of the narrative of World War Two for Japan is still very politically contentious issue today.
That's a good point. Yeah, the right wing party in power, for example, is very big on denying the war crimes made. And then obviously there are a lot of people, particularly on the Japanese left, who are like wanting to go down the German route of, like, atonement and stuff, I think. Yeah. So I'm curious, particularly given this is the only important thing is that like Pearl Harbor was in living memory when this film was made.
So like I mean, I said on Wikipedia, I think there is oh, I just use Wikipedia as a source. I there's like ten ten of the actors in the film were involved in World War Two, so, you know, that shows that. Yeah, yeah.
I think when I was watching the film and I was sort of like trying to figure out who the audience would be like, obviously this film crossed clearly a ridiculous amount of money to make the audiences as everyone knew how much it cost, how much did it cost, because twenty five and a half million, which in today's money is one hundred seventy point eight million.
So the money is on the screen, certainly wasn't the best or the very target audience for the film. It's like people who maybe were like, oh, fighting AIDS around Pearl Harbor, but like want to see the wider context. Mm hmm. I think the film and we talked about this before, we thought I was not really a story. But you really do have to be interested in the event itself and in particular seeing the causes of the event in order to enjoy the film.
I think. Yeah, I, I, I was feeling about. The Japanese at this time in America to do you know, because I feel like I mean, there's a whole thing about, you know, Japan after the war essentially not being as affected as Germany. You know, like you can imagine at this time in the U.K. with Germany, there would still be a big. You know, can I remembering of that, whereas I feel like Japan kind of.
I was like a contemporary US viewer, how they'd like to see the jazz and some of interest him in 1970, are they going to say, I can't believe that they're trying to portray the Japanese like this? Or are they kind of going to be interested?
I guess I genuinely like people that fought in the war or because I mean, the big thing about the Japanese is the the whole I mean, we talked about it to the hero, but the whole thing about essentially the whole country being brainwashed to an even greater extent than the Nazis did, just like, you know, the whole country. Because because there is the religion in place already, it was very easy to turn that religion into this like master race, world domination kind of thing, and I feel like the.
Maybe that was quite quickly pushed aside at the end as no, I think my guess is but I mean, obviously 1970s America was still very racist.
Yeah, every day, even now, like America, I don't think America is ever really apologize for the internment camps.
Yeah, probably not. So I imagined in 1970, like. I'm sure like an erudite movie viewer, to be willing to acknowledge there was another side. I'm sure they wouldn't be cheering out of their seats on the Japanese plane, see, like the sun splashing and talk about how it's a good omen. Yeah, I think the film works.
If you see the Japanese as the villains, I mean it definitely because, I mean, I don't think it would work the other way around because that's because that's the way it's structured is like, you know, is this horrible event that happened. I mean, they sort of nod towards the fact that, like, the US does want Japan to make the first move politically in the war. Yeah, that was I think I have heard elsewhere as well.
There's not really much attempt to muddy the waters. And I think that's week I was talking about when I was saying I had not mix, but I think I wasn't going like, oh, this is the evening to take on the event, you know, really gives both sides. It was like, this is definitely an American film is one that's willing to consider what was going on in Japan is.
Yes, but I mean, I think there is an acknowledgement of the. Can a Japanese mindset at the time really it doesn't reflect. Yeah, no. Interesting, yeah, what else is worth talking about in this film? What do you think of the battle scene? Oh, I thought it was awesome. I really liked it.
And then I went on for a bit to know if I went out because there is such a long buildup to it last night. This film won't be disappointed. I mean, I, I actually was not bored at any point in the film, but I was definitely I definitely was was where are you.
OK, well there's a difference, but yeah, I definitely wasn't bored. But I did find myself wondering when something was coming and when it finally came and it lasted so long and so epic. I loved it.
Yeah, definitely. I think for me, as I say, this film I think very much depends on how interesting you find, like either Pearl Harbor or like the military itself. Yeah, one of the great differences between you and me is that you're into that stuff, whereas I genuinely think that there's nothing in the world more boring than the military. Yeah, I am not engaged by it at all. So I found the first two hours of this film almost intensely boring.
I watched film over free sessions, one of which took place at one at three a.m. So while I sat there and watched that one, I loved him.
But, you know, the battle scene was really nice. I don't know something about the way they blow up planes in these films, I guess because it's all practical effects.
Just like I said, the thing that blew my mind was the stunt work, the some of the explosions. You know, you saw guys crawling out and diving right next to the explosion. And that's a real you know, there's no CGI here. That's a real explosion.
And there's these guys running away and jumping and diving and rolling and crawling and doing all this stuff. It was insane.
I mean, I'm sure at least part of the reason you can do that stays because of health and safety. Oh, absolutely. Yeah.
But at the same time, you know, given that they have risked their lives, who are we to not appreciate the result?
Exactly. Exactly. And it's a really, really good looking battle scene. I'm Michael Bay's acclaimed Pearl Harbor. But how would you feel it compared?
I really can't remember that much, but I. Yeah, I really can't remember that much, but based on what I can, I think the I think the battle seems a lot shorter. I think you had the same kind of build up. And then the battle scene was just a few things getting blown up. And I can't really I'm sure it was cool because I'm sure I had loads of cool CGI and ships sinking all this stuff. But yeah, I really think nothing compared to this.
I don't think I mean, this one really, really was quite something I thought I'd say.
I think the reason this film fails for me personally is that I was very emotionally dry and that's by design. But the bottle scene also contains the best moments for me, which is when the general sort of realized the enormity of their mistakes.
Yeah, when when they're looking out the window and people are coming in and reporting this damage and this damage was like a moment where I I know as well as we discussed earlier about the guy, but one of the sort of heads of the units or leaves his house and then they see and he's trying to, like, drive down to headquarters so you can arrange like a counterattack or like, yeah, he knows a submarine has just been seen and he wants to check out more, but he leaves his house and he sees the carnage on the hill.
And he just like such a genuine face of sadness and sort of regret from the actor, but doesn't feel selfish. Like to me, it wasn't like it was. It was. And I fucked up. It was like genuine worry for, like, the people he'd like unintentionally. And for me, that was the best moment of the film, definitely. It was a really, really good part of the actor. I do not remember his name and I'm not going to look it up.
Cool, though. Something that I liked was how. Things that had been involved in the build up came back in the battle where, you know, they moved the planes from the side of the airfield to the road in the lane. And, you know, when you say that earlier on, you're like, oh, no, that's not good. Then the battle starts and you're like, oh, here we go. And then they'll get blown up.
And I mean, sure, it's really predictable. And, you know, I do think that a lot of the American folks are going to just be I mean, there's no way that, you know, things were that stupid. I'm sure the things happened. But I think it is this.
But these decisions, like originally would like be spread out over months. And that's exactly what they all come to us saying.
The bad decisions were not exactly in the film and say the guy's like, OK, we're moving the planes to the middle, OK, we're not going to do this. All right. The radar is not going to telephone, though. But, yeah, you know, the radar gets a telephone, but then the phone up and the guys don't believe them. Oh, no. The guys think it's a be seventeens. And then, you know, those guys aren't trained fully on the actual thing.
And you know that because it said earlier and then the planes get blown up in the line and then there's the two pilots. If we move to the other airfield to take off and get in a dogfight and, you know, l kind of comes together, which I quite liked. Yeah. Yeah.
So I think if there's anything else that really sticks out to me and there's the there's a funny bit when the flying scoop, it was quite funny.
Did you like that kind of comedic break or.
It's just I think I would have I said I would have liked otherwise it wasn't, you know, comedy gold. But it feels weirdly out of place in the film.
Yeah, we know what they call being tired when they're like looking over and is the three Japanese guys in the plane and the wave of the AC. So they fly past and then the plane does a cool little maneuver to go there.
It was. Yeah, it well it was funny, but it was a bizarre, really bizarre.
Just for context, it's like a bit with Pearl Harbor or like, you know, it's a day off and it there's a sort of billies look taking a flying lesson about Hawaii and instructors, giving them instructions and having a chat. And then like slowly they get surrounded by like 20 Japanese planes and then they do the, like, look to the side and then they sort of like a weird wave in the window. Yes. It's like takes over the steering.
It's like I'm taking over Beli. And then she goes like a cool sort of corkscrew as they descended. It's the island.
And again, it was like the classic, like looking in the eyes, you know, and just being like, OK, I shouldn't be here, you shouldn't be here. Let's just got here. It was funny but I'm not sure. I'm not sure it worked for me.
I feel like it maybe damaged pacing a little bit as funny as it was, although I do think it was nice.
It was a nice way to show how relaxed and calm it was in Hawaii, you know.
Yeah, well, that is how unprepared everyone was.
I guess it's a nice way to show that. And it's a little bit comedic.
There's a little comedic stuff with the Japanese side as well. I think the. Yeah. Their overconfidence or not overconfidence. I guess it was well earned. Their confidence. Yeah. But yeah, again, I felt that particular scene just a little place and I even I've actually happened. If it did it might turn.
Yeah. And. I think you can have very serious films, I like one moment Comic Relief, and it can work really well because, like, there's a lot of tension and late night. Yeah, completely Buchla tone. And you can sort of reset to something else if you want. Yeah, but like, given that this is like the build up to the most dramatic scene, it feels weird to relieve tension before you're about to relieve the tension.
I mean, I feel like you could have done it less comedically, you know. Yeah. And like I know Point was a fearful for the life of Billy or his flying instructor, because I feel like the way they should have played is wholly share that the Japanese are going to shoot this little plane down or are they going to get out of here? And that's just a little prelude to the big tension that's coming. But instead, it's so much played for laughs.
And, you know, at no point do you think they're in any trouble. You just think, oh, how do we get out there surrounded by all these Japanese planes, lol, where are they going to, do you know?
Yeah, this was also like a broader thought or I suppose sort of intentional consequence of the way the film is structured is that you don't really fear for anyone's life in it because there aren't really any characters to that you get attached to you from. That's true.
So like well and I mean, even even the characters that you that you are shooting, I don't think are ever in any mortal danger, you know, because they're all the generals.
They're all the generals.
And the guys on the Radio Hill are still up there. The two the two fighter pilots would be the only ones. But instead of that, they just go and kick some ass.
Yeah, the Japanese pilots are never in any trouble.
The most likable characters in the film with the Japanese fighter pilots. And they're never in any danger. Yeah, it's supposed to get back to what you're saying. Obviously, a more conventional film about something like this would probably weigh like, uh, sort of do the Titanic thing. And it would have felt like a smaller story within the tragedy and then might because we have a smaller story and we get like the emotional impact. And this film doesn't do that, I think is stronger for it because it's unique definitely in a way, in a way that we don't see any of those give you like an overall picture of the tragedy.
But the sacrifice that it makes is that you do care less about what's going on because you don't have that human interest element really in opera.
So apparently they deliberately didn't cast any box office stars and even even some of the Japanese actors were complete amateurs. And that was a deliberate choice because they wanted all the folks on the story. And, you know, at no point did they want you to say, oh, there is Henry Fonda on the screen, you know. Yeah.
And that's what happened then on the waterfront as well. And then it's like really go now because everyone remembers that film because Marlon Brando said, yeah, I mean, that's, I guess, the problem.
It's only quite a few films. I think they have that. But then if the films launch someone's career, anyone watching that film after release is going to know who they are, you know, but well, we can talk about the cast, though. It does have some big names in it and maybe not quite as big as you say it. So Martin Balsam was in 12 Angry Men and also catch 22, which you watched a few weeks ago.
And he was the U.S. general that was warning about stuff at James Whitmore is the old man in Shawshank Redemption. You've not seen the film, right? No, no, no, no. We talked about that, though. We talked about it. Well, yeah, we did. Yeah, yeah. The old man that does something to himself, uh, at one point in the film, I'm okay. I think I spilled it last time.
Synagis well again, Joseph Cotten was in the Ferdman and also Citizen Kane. He's a pretty good list.
He's the guy that plays opposite Orson Welles in the Ferdman.
Um, uh, Orson Welles, the main character in the Ferdman. Oh, yeah, well, he's the main character, is he the main character, really? Wow. Yeah. And yeah, well, that's a good point, actually. And I just said bizarre smells of the smells is the big name is a bigger.
Yes. He is the main character in it.
I like the Ferdman. I'm very surprised. I do not recognize it.
Yeah. It's a good film. I can't remember, I can't remember who he plays in this. But I mean he's one of the US guys and there is a guy called Ajay Marshall who is also in 12 Angry Men and three men talking comes up a lot on it does come up.
I suppose it's because it's 12 male actors. Yeah. And are middling, generally middling kind of building actors and are therefore going to be in a lot of films from this period.
Yeah, I, I guess Tovan remains quite a bit older than this, but still I mean yeah I suppose they're still in operation and that that was the only ones I looked at there.
There's a huge cast and an ensemble cast one could even actually make the proper ensemble in a way is now at least more on board is.
And I watched another film from the sample Cast the Devil all the time that came out on Netflix last week.
I would think it was good.
And yeah, I mean, if you've not seen that, we won't talk about it and I would probably recommend it.
It wasn't great. Um, but it had definitely had some good bits and it was cool. It's based on a book. So, um, it's got some stuff, but it was one of these other like in zombie films it spans. Right. Like this one. It spends a huge amount of time. So there's different genres.
That's always fun stuff. Yeah, it's nice. I'd recommend it but I recommend it. And um.
OK, back to Pearl Harbor. Uh, did you understand any of the Japanese. No, they speak like no, they speak very fast in that film. Yeah, and that's true. Unsorted native Japanese people, I wouldn't be able to understand even a native speaker. So, yeah, and they they weren't talking a lot about, you know, their pens or what they have.
So you say, are you seeing the Duolingo doesn't teach you how to order an attack on Pearl Harbor? Yeah.
Once I got to the Duolingo lesson on Battleship, so I got back to Oklahoma and. What else would I have the so back circling back around, turning around, jumping up and down the stunts and stuff, you know, the one wheeled landing, the plane was landing. Oh, yeah. That was not planned. Did you know that? Oh, wow. I did not.
So you know how I'd like the film quality changes pretty massively. I hadn't noticed when when it lands, I'm sure. So basically what happened is they had to be seventeens up in the air and doing test flights or whatever. And then one of them reported in that one of his landing gear wasn't working. So at that point, the film crew set up a camera quickly and basically because because the plane didn't have a landing gear, it was circling for ages to run out of fuel because one of his little fuel as possible in case they blew up.
And so they had plenty of time to set up the camera and get it. So they got the actual, like actual crash landing they got on their camera and then they just filmed the touch and go with the other one. So as it comes in to land, when it touches the ground, that's all planned because the plane just touched down and took off again. But the actual crash landing that happened was not planned. And which is a cool little anecdote.
Sure. A lot of like really quite dangerous accidents that happen in this country. Watch. Yeah, I think I don't think there are any casualties of this film, and but you do want I mean, if I remember Ben-Hur, I think had one or two people dying and.
Well, I remember when we watched the out of towners, which is like not us. Oh, yeah.
There's an axiom that very clearly could have very easily killed Jack. Yeah, exactly.
And there was a guy that fell off the plane in catch 22. Yeah. And yeah, I don't think anyone died. I look up and I, uh. Did anyone die in the film making? And. Yeah, no, I don't I don't see it so. Yeah, no, I don't think anyone died or Cole got injured or was a stuntman run for the life, so I suspect.
Oh, this is a day I can read because I don't have a fucking subscription to the Telegraph, I assume. OK, I know I know me.
And it was it would be very interesting if I had a subscription to the Telegraph.
Yeah, well, you'd be playing it.
And so I got emails from them every week because I think I must have subscribed to them briefly to like, look at an article here and say, oh, like a free trial kind of thing.
So I think it'd be a good newspaper to subscribe to, but it's just it's such a weird while they talk about like the culture wars and like cultural Marxism, now I'm like, I just can't take any of that seriously.
I could just it's too much.
And anyway, I don't think anyone died, but I'm surprised because there are some huge explosions and some huge stunts and all that kind of stuff. And what did you think about the kamikaze bit?
Kamikaze. Yeah, there's a bit where one of the Japanese planes gets shot and is smoking and then you see the pilot decided to crash it into the show, which I assume is supposed to be a sort of prelude to kamikaze. Is that true? Do you know if that's true? That I don't know if that's true, it sounds somewhat unlikely. Oh, very much so, yeah. I suppose because I mean, it might be a prisoner of war, which wouldn't be nice.
And I'm not so enlightened opinion on what you do in a plane.
The first kamikaze attack was October 25th, 1944. But I assume it's entirely possible that. I mean, someone could have deliberately. Crash in and I suppose there are planes going down. There's nothing you can do. Maybe it's like a natural, not natural, but it's like obviously an idea that people would have had.
Exactly. And with the Japanese. Oh, yes. Apparently, before the formation of kamikaze units, pilots had made deliberate crashes as a last resort when the planes had suffered severe damage and did not want to risk being captured or wanted to do as much damage to the enemy as possible. Um, yes, I suppose I suppose this particular one. You know, didn't necessarily happen, but they did it did happen before, and I think that I mean, there's a whole Japanese thing, isn't there, about honorable death and, you know, all this kind of thing, which I don't like, I guess I guess exaggerated a lot, I think.
Oh, I mean, it definitely does. But but I'm talking more about World War Two, specifically, I suppose.
Yeah. You know, when you. Well, the fact is the kamikaze units even exist. It is kind of proof of that. And then, you know, this this whole idea of the master race and Japan being the best and honorable dying. I mean, all countries in war generally have an idea that it is honorable to die for your country. But I do feel that Japan had a particular. And so I don't know how to describe it had a particular.
Push for idear and or whatever. That's fair. Yeah. Anything else you want to say? Oh, I'm sure I do. I mean I mean, look at this. It was nominated for five Oscars and it won best special effects.
This was a very big Oscar. But I think this might have won the most of the films that year. Might be wrong. They only won one Oscar. Oh, yeah. Then suddenly this happened five easy pieces, I think, for like the new year. You see again and again and again the Oscars. So basically the last the last few weeks, you obviously.
Yeah. Yeah. I suppose like this is this is Oscar season in terms of like the release of Windows. Yeah. Although obviously we do have an. We did, and yeah, so it was nominated for special effects, art, cinematography, editing and sound, and it won special effects.
So I think that's deserved. I have not seen other nominees necessarily, but they were pretty special effects.
Let's see what got nominated as anything we have, like, uh, we Lucchesi Palmeiras and then the only other one is Passan for some reason.
Oh. There was only two nominees that were embarrassing. Well I mean this obviously deserves it.
Wait, wait. One person not disputing the special effects, but it's not really the same week. Not much, no.
And of the things I'm sure this is very interesting to listen to, Mama.
I'm sure I'm just going to let you. Yeah.
Know anything else. Really sweet. It did.
Yeah. And do you know who directed this, Jimmy and not pay attention to that neighborhood took. So the American director was Richard Flycatcher. Soylent Green.
See, I've heard of we we talked about it before and not on film as people. Not in here. No, maybe not. And it's a good film. He made 20000 Leagues Under the sea, which I have not seen.
Oh, that's a very famous book. But, you know.
And he also he also made a little film called Dr. Doolittle, or as you would say, Dr. Dolittle.
Yes. Yes. However, its pronunciation, not the Eddie Murphy, won the 1967 musical.
Oh, that's the one that lost all of my. Well, that's the one that lost like it's like at the time, the biggest financial failure in the history of cinema. Oh, really? Well, there you go.
You made, I think, equaled in part by 2019. Dr. Dolittle.
Jimmy, just see it right now. There are a few.
So for context, we, uh, we we we at school, we were in the quiz team and we had Jimmy go ask the question, what was the question? Do you remember?
It was like, what's the film with, like Eddie Murphy talking to charming animals or something? Yeah.
And Jamie answered and then was like Dr. Dolittle. And then everyone burst out laughing. And it was it was just a great time.
And then the way it's meant to be, it was a book originally. So you can't prove that I'm wrong.
Your excuse was that you'd never seen it, so you had no idea to see it, even those two words. Anyway, that's just a little that's just a little little insight into our lives.
And Joe, who directed the Japanese, but, uh, or actually better questions, you know, who is supposed to direct the Japanese.
But on and that's going to be very interesting. I'm guessing there's only so many really famous Japanese directors active at this time. Was it somehow or other?
It was Akira Kurosawa. He worked in this film. He worked on this film for two years in preproduction and then left two weeks into shooting. He left the film.
I was about to say, I'm going to keep talking and then I'm OK.
I was kind of done. But and the the American guy basically said it was probably right that he left because whilst he's an absolutely brilliant director, this is really not his kind of film. So this is yeah.
I find it interesting that he worked so much in preproduction. I don't know how much if that was the right work and how much of it was more overseeing stuff. But that's a lot of time to spend on a project that you don't finish. And the directors, the actual Japanese directors were called Toshio Massouda. You heard of him?
Oh, fuck, yes. Because he worked in space. Battleship Yamato. Yeah. There you go. He's an anime. That is good.
The other Japanese director was Kenji Fukasaku. He made monster that.
We got to talk about anime on this. I know.
I very quickly shut you down, OK, talk about your animated and I'll talk about Kenji Fukuda because I mean, there's not much to say.
I've never actually seen that space Battleship Yamato, but it's very famous, very influential work. And I think quite important in solidifying the aesthetic of sort of 80s and 90s sci fi anime, which is very distinct. Well, I'm very impressed that he worked on this and also that he did so after working on live action films, which I'm surprised because when you ask a lot of animation directors why they got into the line of work, they will either tell you they love animation or because they couldn't hack it as a live action director.
There you go. This guy made this one and the other. Yeah, the other guy was Kingi Dukat Saku, whose name I said probably the first time, and I completely lost it. He directed Battle Royale and Byul to Requiem, the best moment, the only Japanese film so many of us seen, although that's not true.
But I think I think the most popular live action Japanese film ever. Yeah.
I mean, I would say it's well deserved. It's a really good film. It's a good film. You've not seen this one, right? We've talked about this, but no, I've only seen the first one. Right. Yeah, the second one.
Not so good, but I think it's laughable. It's just so bad.
So am I supposed to be back in the set? Sorry. Oh, OK. And we're back. Jamie. Yes. Has just had a takeaway delivered midpoints, would you believe it was very, very good.
Come back to me. Yeah. What is it. Japanese. I got it's curry Indian curry.
Oh that's not Japanese and it's not Japanese. What were you saying. Yeah. We're talking about real well yes. We talked about it before so I'm not going to go on.
But it's a good film and it's very interesting.
The director of this also made about real and very about real to a much better film and also on the ocean's shoot erected, I'm guessing I. Yeah, I wouldn't say this film was visually remarkable, I guess the Japanese segment when something like a fifth of that. So it's hard to me in terms of cinematography and stuff.
Yeah, I feel like you're right. But yeah, there's nothing where you're like, whoa, look at that. Yeah, I agree. Um. Oh, what was I going to say, I had something to say, and now if I'm looking at my notes and I've lost the oh, the Japs, the new Japanese commander went to Harvard, which I think is quite interesting because it's not really something you think about so much in, you know, nineteen forty something.
Yeah, people having gone abroad to study, especially Japan to America, so I find it interesting and that's interesting. Did you find it interesting?
Yeah, I wonder if it informs his performance.
I'm sure that I know well what you mean. I'm just kidding. Never. OK, cool. So, um. Anything else that you. Um, the scene where the take off the the carrier was very dark and hard to see anything, and I think that was deliberate so that you could see the rising sun in the background and that kind itself. Oh, look, it's a rising sun.
But I mean, the rising sun thing was like a big, uh, what we in the business call a symbol. Yeah, definitely a film degree of ever covered that. Yeah.
But I do feel like they could have not had it quite so dark because you really just couldn't see anything for a good five minutes as all of which was. Yeah.
Um. There's another big. Which I refused to believe happened where once the attack had started, the attack starts as the Americans are raising the flag and once it started, they wait for the national anthem to finish until they all go to the battle stations. And the band, like, rushes the song to finish. And I refuse to believe that happened. I mean, I know Americans are insane about flags and nationalities and stuff, but there's no way that when you're getting bombed, you're standing there waiting.
I mean, this is the cultist time in American history, really. So if there was ever a time when they were going to, like, not not kneel at any point during the national anthem at the final game, you can't do it when you're being bombed. Those are the rules. It's true.
This is the one is true. Um. And this is anything which is like truly remarkable to be that fanatically patriotic, then like the answer to all this is true. This is true.
And yeah, I don't think I have really anything else about the film and necessarily other than to say I really, really liked it.
And I feel we move on to the final ratings.
Yeah, I think so. I think I mean, it's not like it's not like we're strictly structured. We can always go back if one of those things is something. But yeah, let's let's go on.
So to be controversial, I know you I kind of thought, you know, about what our rating system means today. I really dug down deep because my overall opinion on the film is that I don't like it. Yeah, but I acknowledge that there are other people in the world who like it a lot more because they're interested in the military lives in Pearl Harbor. So if you're like me, you don't give a shit and I don't watch if you're someone who has an interest in these things.
And I would say trying to look at it as another person would, I would rather watch overall. I think it averages out to a much better song. I going to be my final operation.
My rating is by it. That's very high. I like it. Yeah, I really liked it and really, frankly, I wouldn't say necessarily more than anything else. I mean, I'm not saying by the Criterion Collection here, but I'm just saying I yeah, if I was really good, the action scenes were really good and.
From what I can remember about the film Pearl Harbor, this is a lot better than that and it came out a long time before it. And yeah, I think it's another film.
I wish that Pearl Harbor was one called The Final Countdown from 1980. Yeah.
And which I feel we may also have talked about in a podcast before and which is about an aircraft carrier from present time, i.e. from 1980. They get sent back in time to Pearl Harbor and there's a whole debate about whether they should stop it or not with their jets.
And it's ridiculous and it's absolutely ludicrous and however, is quite interesting, not very good, but. You know, and I definitely had that film in my mind when I was watching this one, and this one is better than that one, that one's obviously more sci fi than anything else.
Have you ever seen the college horror sketch where it's like, I wish the 90s could be done? They get back to the 90s and he realizes he has he has a moral obligation to stop 9/11 from happening. No, but that sounds hilarious. Yes, it's very similar, very similar to this one. I mean, it is an interesting thing because. I mean, the whole thing is that their ship is so well equipped that they could literally stop it completely and the lightly captured Japanese pilot and he shoots a bunch of them and then they kill him, I think.
And then someone gets left in 1940. And then they they went back in the present day, like come up as an old man.
It's got that classic, like, time travel thing and. Yeah, yeah. So that was another one about Pearl Harbor that that's a film that you can watch, but I'd recommend Tortora over it. Yeah, our daughter is fine, if you're interested, I think if. If you're going to watch a film about Pearl Harbor, if that's something you were interested, if you're interested in this film, it's all it's all ready for you. That's probably the best way.
Yeah. Yeah. OK, scooping it. And what else have you been watching, if anything?
I really had a lot of free time this week. I don't believe you. I know for a fact that you're not allowed to go outside. So no, I'm self isolating.
By the way, if anyone is listening to multiplexed this, I know no one is.
And then a little bit of foreshadowing last week where I said I was hanging out with a friend who told me he had been in contact with a bunch of people.
And now this week I have Cove's maybe or the lady had been in contact with someone according to the U.S. and I think it is either him or a train that I was on.
You did you did say you were on a train where people were not wearing facemasks and were coughing. Well, I mean, the thing is, I had to take the train from Edinburgh to Glasgow, and I've done it a couple of times recently and it's always been really empty. So I figured like a shower, I figured it probably wouldn't matter. It would still be empty. And that turned out to be an incredibly wrong assumption. Yeah, it was awful.
And there were people that people were wearing masks, but they're very non-committal. The guy in front of me kept doing that stupid thing where you put your nose over it. Yeah, it's insane. Which I mean, I believe a little bit.
It was either that guy, in which case I thought was quite a long time before I got a notification after that it shows I'm a little worried and or it was the friend I was hanging out with only two days before the which is a bit better, but I don't think I like it.
But they but they've not told me. No, I feel like they would have messaged me if I think I think it's someone maybe they think it's someone that you don't know, because I think they would tell you maybe. Maybe they would.
Maybe because. I don't know. I have a message I'm asking, did you give me a copy of it and I think. Do you think maybe. No, because that the app is the app connected to track and because obviously with track and trace, people get phoned up and asked what they've been doing, is the app connected to that where it can pop up?
Well, I see obviously you're in proximity to them anyway. I'm wondering if they could have said your name and then it would come up on the app that. I don't know. Like, as you as you well know, I was supposed to get a and I didn't. Yeah. So I don't think this was working. There's a small, very unlikely chance that maybe the is entirely mistaken and there's nothing wrong with me.
And it could be a glitch that be pretty funny, but like which has lasted a week. So. Yeah.
So are you a week into your quarantine. Almost. It'll be a week. Monday night is Friday. They're recording. Yeah. So if we round up a bit generously, that's very generous.
So you're not really saying how you I mean, you, you were you could you could always say you have symptoms, but that's kind of shitty because people need to do this just and you isolate yourself even if you test negative.
So to isolate if you've been in contact with someone, what's the difference in my life? I don't have many symptoms. The only thing I have is a sore throat. I have that literally all the time. And it's not one of the symptoms that allows you to get tested. Yeah, well, there's nothing good about that.
The good news is that you're not able to go to any pubs or meet anyone anyway.
So, yes, we're very low and I'm running low on food, which, you know what, if you want to tune into last week, you'll hear me say that I know of a lot of people have been following the rules. And I said if people keep ignoring the rules, there's going to be strict self imposed on people specifically. And here we are one week later to the day and pubs are now banned from and students are not allowed to go to pubs, at least for this week.
And you're not supposed to meet any other households. And also and there is basically a second vote in Scotland in terms of people indoors at least.
So, you know, I think I kind a part of this podcast will serve for us as a sort of record of our thoughts during a very interesting period of history that we're living for.
I'm very glad there's this sort of continuity that we set up.
I said it last week and here we are. You know, I mean, those people have been saying for ages there's going to be a second down. But I specifically said it last week and I specifically said, who going to be and why it was going to be. And here we are.
So, yeah, I don't think it is actually a second lock down more.
OK, well, but Jimi, are you like to go out right now? For me, it's exactly my one case study.
I don't mind. I think psychologically I'm very well attuned to staying inside the walls.
Yeah, I do actually to be somewhat I, I mean, at least in terms of meeting people, I do like to go out side, but I can you can do that anyway. And in terms of being people, I'm really not too bothered. I would like to be able to meet another household.
It would be nice if I could late can't really because of like what I'm doing right now. I'm I'm socially self isolate from my flatmates as well. I can't really hang out with them either.
Keynote you can go in the same room. You have to separate yet technically. But like I'm supposed to avoid them wherever possible and let me give them something because they're they don't have to self isolate. And if I gave them something then they would. Yeah, that's true. So I'm kind of stuck.
Yeah. I'm, I'm more thinking of it from. Like travel quarantine perspective, where it's kind of you, the person probably doesn't have it. So, you know, I, I still follow the rules, but you don't have to necessarily be locked in a room. You can open the window and sit in separate source. And if you've come into contact with someone.
So it's kind of more yeah, I'm obviously in a very different situation and I I'm a liability at least, you know. Yeah.
But, you know, only 10 days to 6:00 p.m. on Monday night is when it will be two weeks next month.
Yes, I know. I'll be one of. I had my anniversary of the contact March 9th, and then you go out and immediately say, yeah, it would be nice to be immune. Well, that's true. And they talk about the post covid syndrome and stuff and like it seems like the long term damage would be quite bad for you because, like, it really is best not to get guess at all if it's something that people don't talk about.
But apparently it is, but. The lasting impact and so you do not watch anything is what you're saying? Well, I've watched a lot of TV because that's what I do when I quote unquote, busy. Is that right? Yes. I don't do that. So much schoolwork right now. And I've been trying to get involved with some societies. But what I like to do is watch TV.
So like I say, I mentioned I've been watching an unhealthy amount of police and Ferb and that it has been more than zero.
Give me advice on how it's a great show. It's fine. It's very much like how I remember it from the one episode I saw when I was very young.
Did you mean very.
It's it's very it's very, very self-aware sense of humor. And I think it's not it's there's been like a decade in between where everything's been doing that. But it does take on me. OK, and then I've been watching a lot of the rebooted ducktails, which is which is pretty fun, if you like. It's not as good as gravity falls, but clearly going through the same vein. Right. It's pretty fun. And then I've been watching, what, The Simpsons, because that's on Disney plus two and one of the best TV shows ever made.
So that's not so cool.
In the same way I'd be saying I've been listening to the Beatles recently and, you know, not big fan, but missing out.
And I watched the five Bloods. Oh, yeah. No fan. I really yeah, I, I normally really like Spike Lee, um, but it just felt really weird and I mean, you've not seen it, right? No, I won't. Well, I won't go into it, I would definitely watch it, you know, I'm not going to say don't watch it. I think it's an experience. And politically speaking, it's got a lot to say.
And, you know, that's good, but. It just feels really weird and it's kind of, you know, you know, there's was like comedy films where there's there's a group of lads out in the jungle and they the stocky, super extreme stuff keeps happening to them. Yeah, it feels like that, and that's just no, I expect it at all, and I really thought it was going to be this like deep look at at, you know, dealing with Vietnam and linking that to race relations and all this kind of stuff.
And there is a lot of that that is intertwined with these really weird, weirdly kind of comic and extreme action sequences and like random characters and like a bunch of Vietnamese caricatures. And, yeah, it just was weird and it really didn't feel like I had much to say. You know, I feel like Spike Lee generally is quite good at bringing something new to the table, and this one really felt like it was just like a cliche after cliche or cliche.
And obviously a lot of the stuff is cliches because it's still a big problem and some of these to be addressed. But there are some bits where it is kind of like you. I wanted something more and I would need something to be said.
And instead it just it was just like some cliche about the war like this or that. So, yeah, I was a bit disappointed with it. Huh.
It's a shame. Yeah. I like I haven't seen it. It's always sad when you see him is he's like black clansman is really good and yeah.
Do the right things really good. Very, very, very cynical. Spike Lee's career had been like something of a at least critically. I haven't seen much of the films until Black Clansman.
Well Old Boy is of course the one that you really fucked up. And yeah, I got on my watch list to watch and the original ones so good. And apparently his one just rubbish.
So, you know, I feel like I think from from what I've seen that was seems like a project that was like kind of forced on him and that like he was like, yeah, probably so.
I mean, I still have to watch it to see and see what he does with it and what happens. But I have heard it's not very good and and. Directors can have, you know, well, we can have all great films, but, you know, it's it's not right to expect every single film the director comes out to be great.
But what's also is a bit disappointing when someone like Spike Lee comes out with something that's not. You know, amazing, I mean, at the end of the day, their job is to make films that the studios want them to like. Obviously, there's nothing necessarily wrong with a director, like occasionally taking a project that isn't going to change the world. Exactly.
But the thing that's what to fight the film with the five bloods is a it is supposed to be that well, let's say I think Netflix is the strategy, at least with a lot of these things, like what the Irishwoman stuff is like a well-known director, a blank check, and then. Exactly.
I'm thinking about ending things as very similar, I think, which which is why it's a bit disappointing when, you know, something like old boy can kind of say, OK, so it was a big film in Korea. Some USCG wanted to convert that. Spike Lee needed the money at the time. But with the five bloods, sure, I don't know the details behind it. But you know what you say, it seems like it's probably about right and it feels like he didn't hit the mark with it.
But, yeah, I suppose the risk with Netflix approach and from what I'm saying, what you're saying is the problem, I think from what a lot of people are saying is maybe the problem with I'm thinking of ending things is that if you give creators a blank check, the risk is that they will become incredibly self-indulgent.
Yeah, I mean, this this film is really, really Spike Lee, like you can tell for sure, but not in a good way, I don't think. Yeah.
I suppose to other to like speak out like in favor of limiting artists artistic freedom. But they do say that like the best ideas come from restrictions.
Exactly. And having someone there to say no, that doesn't work, you know, whereas, you know, I can definitely see it being. Like, oh, yeah, yeah, Mr. Lee will do that, yeah, yeah, that's a good idea, obviously. Let's do that. Let's try this. Miss Lee, you know you need it. Yeah. Right. Um, and yeah, I watched the devil all the time, which I thought were already I was a gentleman and so all that was going to get.
The Guy Ritchie film, yeah, yeah, I see, it's pretty good. Hmm. It's very good, actually. Film.
Yeah, I think it's the only one I have actually seen. But even before I could tell that it was that Guy Ritchie film very much. Yeah.
Yeah. It's just it's another one of these I think the nicest way to put it.
And if you like it, it was pretty, it is pretty nice film. And watched the first episode of Afterlife today, it was it was it was own right. I think I just like how much did you watch it? It only one episode. Yeah. I mean, I think I will get I think I'll watch some more, but I don't know.
I mean, it's just my opinion of Ricky Gervais is like so soured by over the years.
I think I can really enjoy anything that I like him, but I really like I really like the office.
Yeah, obviously. So I think my going theory is that because I've liked everything about Steve that Ricky Gervais and Stephen Merchant worked on together and I disliked everything Ricky directed by himself because I'm actually just a fan of Stephen Merchant. Yeah.
Or I mean, it could be the combination, but yeah. I mean, it does seem that that's probably more likely.
But I feel like a lot of his career has been exploiting people who are funnier than me either. Yeah.
I mean, I think he probably would admit that in some cases maybe she didn't know. It seemed all right. I mean, I need to watch more of it. Yeah, right. We get to go. I'm very.
Yeah. Go eat your thing 19 or so. But I know you're doing all right.
I found it on.