Happy Scribe Logo

Transcript

Proofread by 0 readers
Proofread
[00:00:07]

OK, we're back. Go slow. Hi, everyone, welcome to Goldenthal.

[00:00:12]

His second try, second third fourth grader Jamie said his real name. He talks himself. Yeah, it was horrible. Well, his real name is Jamie, but he said his full name and this episode could be a bit messy where Jamie's laptop is in the shop, as they say.

[00:00:30]

Yeah, so I'm recording his. Discord coal onto OBEs, normally we were both record on to a test and then I edit the files together, but this time it's all in one file. So this could be hopefully the volumes, OK, because I really can't be bothered going in and and like every single time one of his talks the volume up and then, you know. Mm hmm.

[00:00:56]

Yeah. I'm very monotone, consistent speaker generally.

[00:01:00]

I feel definitely. So what is this? And let's remember, too, that this is the golden talkies.

[00:01:08]

Every week we review film that came out exactly 50 years ago that week. Yeah. This week's film is The Clowns or Clowns If You're Italian by Federico Fellini, which was originally released as a TV special but was also released in cinemas simultaneously. So it counts the movie as far as I'm concerned.

[00:01:28]

Yeah, and the release date we're going by is it came out in the Venice Film Festival on the 30th of August, and then everyone knows that film festival release date.

[00:01:39]

So everyone council's initial release dates, no one has ever not done that exact shut up.

[00:01:43]

Exactly.

[00:01:44]

And it came out on Christmas 1970 as well on TV. And so we were recording this episode quite soon after the last one aren't.

[00:01:52]

Yes, Duncan insisted. Yeah, I did. But you know, you're not wrong. And I, Platers Wens, know it's a busy week. And the last one was pretty rushed and late night. This time we're back in an afternoon recording.

[00:02:08]

So the way it should be. Hopefully it's a lot better. And this film, this is. Oh, no historical context. Yeah, of course. Let me do it. OK, and can you guess what the number one song in the US is? Jamy, the US.

[00:02:26]

Something by the Jackson five Elvis, again, some reason for the Beatles who? Good God, no. Well, what is it good for? Absolutely nothing that they do.

[00:02:39]

Yeah, that's no one can imagine what more that could possibly be.

[00:02:42]

Something about voter to you, I guess, based on the family watched. It's a good song. That was weird subtext in it that that was one of the songs I had on on iTunes back in the day. And obviously nowadays you can listen to any song you want, whenever you want, however you want. But back in the day I had my iPod and I had however many hundred songs on it and it was just those ones over and over again.

[00:03:08]

So that's one of the songs that there was.

[00:03:10]

I really feel that that was like the best possible point for music as the consumer or at least as a balance between consumer and artist, because obviously I like fire on YouTube and stuff. No one owns anything from it. Well, that is true. But traditional classic iPod, you know, you own your stuff. You got a big collection of it. Everyone's getting paid at the end of the day.

[00:03:27]

But also it was tough there. So that's true. I feel music. Well, the thing is, there's this weird sort of dichotomy where like a very major artist can make more than enough money, I feel from my life touring, you know. Yeah. But at the same time, like a very indie label, I feel deserves to be able to charge quite a lot for the music. Like if you have only 100 fans, but like they're very into your niche, then like if you're getting like one cent per play, then that's not going to do anything for you.

[00:03:56]

Whereas if they would be willing to pay seven pounds for an album in another world, then you deserve that 70 quid.

[00:04:02]

Yeah, but I think you can still buy albums, I think. Oh yeah. I mean, it's not possible. It's just that you could always listen to it and YouTube and stuff.

[00:04:10]

And I think it's better that they're making money now that it's a bit more formal in terms of streaming and stuff. I mean before they have to have the music videos that you'd listen to or watch on YouTube where we're not the artists uploading it, it was just someone uploading it. And I feel like that's got a lot better.

[00:04:29]

But I do sometimes wonder because, like, obviously piracy was a much more major problem for Spotify and I guess now. It's to a lesser extent, nature music came along and Apple Music the title. Yeah, well, I do kind of wonder how the cost values actually ended up working out in the end, because I have a sneaking suspicion that actually the amount of money lost by switching from like buying songs to streaming was actually more than was lost from piracy.

[00:04:58]

Yeah, no, it's a good point is a good point, but certainly from a consumer point of view. And I just think especially with how available the Internet is everywhere nowadays, like it's nice to own songs, but I mean, I've got a record player, so if I want to own a song, I'll buy the right. Yeah. And they can have, as I say, like thing. But having on the iPod was always a bit like it was.

[00:05:20]

I was spending a lot of money at school on music, which kind of. But it was valued thing, I suppose you brought up was forgotten about. I suppose the revival of vinyl is like the definitive way to own a song is like quite helpful from that perspective. But obviously, a lot of places can put up one.

[00:05:40]

Yeah, it's not I mean, it's not like the solution solves everything, but I do think generally streaming is a better thing. I mean, people are more likely to. Stream then to pirate nowadays, yeah. Whereas I don't think I definitely I mean, I don't think I ever did the whole, like, Langmeyer Wire downloading app before things, but I definitely pirated or on the verge of pirated music a lot more back when when it was kind of like that.

[00:06:09]

Hmm, I never pirated music, I was very good boy, I I'm tired of the music. I mean, I definitely listened to it on YouTube on not the correct channels and. I probably didn't. I can't really remember it, to be honest, I mean, I bought most of it on on iTunes, but it's just a lot easier now to listen to whatever. And then if you really like it, you can get on vinyl or anything.

[00:06:31]

So, yeah.

[00:06:32]

Yeah, that's my first thought. I've grown to really hate touchscreens as time goes on. Oh yeah. I just like their presence in my life. I like that the original iPod has like buttons that are good. Yeah, they were nice.

[00:06:47]

They were pretty good. They were kind of they were kind of like touchin. So the spinny things I guess.

[00:06:54]

But there's just something tactile is the word. I like tactile stuff. As I'm speaking right now, I'm running my thumb through a comb, which is probably being picked up by the audience. I should stop.

[00:07:03]

Oh, I mean, I fiddle with stuff all the time. And in it it's I think it's probably in the podcast that you can hear me. Yeah. It's just nice.

[00:07:10]

You know, I think I'm a really big fan of owning things physically. Like, I tried to never buy stuff digitally if I can avoid it. Like, I know a lot of people do that for my consumer. Right. So, yeah. So they can be like, you know, because they might delete it one day and then who knows.

[00:07:23]

Well, it's true. I've got loads of DVDs and I just feel like I mean, if you have a Netflix subscription, sure, you can watch all the films, but if your favorite food gets taken off Netflix, that's that's kind of you have to buy something else. We've really been like that for me.

[00:07:39]

It's just like I like I like owning things. It's just nice to have them, although I think that's the thing I can hold.

[00:07:45]

I get as well. But I mean, what you were saying about people talk about Snufkin taking off, I think that is true. So. Oh, yeah, definitely.

[00:07:52]

It's a valid argument. That's just not the main reason for your comment.

[00:07:56]

If someone was like, you have to like, convince me in the debate logically that, like, social media is still really important, then like that's probably what I'd lead with. Yeah, but just like for me personally, the real thing for me is I just like I like holding my media and going, yes, this is a thing I have, you know, ten thousand years. I still have it, although I think dude is great.

[00:08:16]

But, you know, probably I'm yeah. Like I've never read anything on a Kindle or. Yeah.

[00:08:23]

I really about anything. I was like I really like enjoyed it for a while and I got a Kindle Fire when my old Kindle broke for some reason and then it came to Unsuspicious.

[00:08:37]

I come back to touchscreen thing. I didn't like using the Kindle Fire nearly as much. I just went straight back to having books and sort of circle. Yeah, I think I quite like to have a Kindle and although I don't know if they still make them.

[00:08:48]

Yeah, I guess it's kind of. Yeah. Canonise em what happened to your old Kindle.

[00:08:52]

You said you said in a very suspicious way that you didn't so like weirdly maybe like six months pornographic book off the Internet.

[00:09:01]

And that was six months or so. For some reason, the top half of the screen had a bunch of black bars on it and I couldn't get rid of them. I was like black horizontal bars. It was fine because, like, you could still read the book. It was just a little more difficult. You know, you live. And then one day it just froze entirely. And nothing I could do could get it to restart. So it's still in my room.

[00:09:22]

It still shows the exact same page that froze on its mother. It's Chapter Fourteen, Mothers and Children of Miranda Hart's autobiography. Oh, and yeah, it just won't work anymore.

[00:09:34]

Do you want to read it that while I'm not recording in my room. So that would be a real pain.

[00:09:39]

OK, no. Fair enough. And would you like some more. So we're going to text Jimmy Jimmy then can you guess what else was in the top ten in the US.

[00:09:49]

So what was No one. No one was more. What was it good for. Yeah, no, too much I can remember.

[00:09:59]

Ed, there is one other song that I knew wasn't rhetorical that was just like, well that wasn't a rhetorical question. You were just asking me. I was asking if you could guess with the other one was, yeah, OK.

[00:10:12]

No, this ain't No Mountain High Enough by Diana Ross.

[00:10:17]

That's another Guardians of the Galaxy soundtrack.

[00:10:20]

No, not the Diana Ross version. Jimmy Oh, is it, Joe?

[00:10:25]

The Marvin Gaye's version is the one Marvin Gaye and Tad Tatty and yet totally. And to that time, Tammi Terrell and Marvin Gaye and Tammi Terrell. Their version is the one it's on at its most famous one, and it's the one that's only going to say Galaxy, and I think I prefer that one, the Diana Ross very like gospel. And it's got spoken word, but in itself it's quite good as well. And it's a bit different.

[00:10:56]

I find it no mountain high enough, a bit cheesy. The modern day version is a little too much like that. And Ross is more maybe you should check out.

[00:11:05]

Um, OK. And U.K., the U.K. one was oh, I can't remember what was on it last week, but it was much the same. But coinciding with World Cup squad was not in it.

[00:11:17]

Surprising, but to me there was a song called Tears of a Clown by Smokey Robinson. I think I've heard that before.

[00:11:27]

I listened to it was it was all right. And but that's relevant because we're watching icons this week.

[00:11:34]

Yes. Our E clowns claim to be OK.

[00:11:37]

And then Life magazine was open this week, which I find interesting. What what perspective I think it releases.

[00:11:46]

Yes. Or well, that's life. It's good.

[00:11:49]

It was about the growing industry. I didn't read their opinions on it, but I think it was just I think it might have been there were opinion pieces from both sides of whatever. But yeah, there seem to be a few articles about that and they cover stories about that. So that was interesting. Shall we talk about Fellini and I.

[00:12:07]

E clones? Yes.

[00:12:09]

So Fellini Federico Fellini is an Italian director who is quite famous. And I have not I have not watched any of his films before.

[00:12:19]

Duncan, you had I have watched eight and a half. And last night I watched La Dolce Vita.

[00:12:25]

Oh, this is like two different periods of his career, right? Not far. And they are eight and a half carat in 1960, I think. Oh, sorry. La Dolce Vita came out in 1960 and eight and a half 1960 free. So they're not really different from the cloud if that's what you meant. OK, but not different. I know like from reading exactly one Roger Ebert article that like Federico Fellini had like a period where he was more grounded in realism.

[00:12:58]

And then as his career went on, he became more and more abstract that.

[00:13:01]

Yeah, I mean, I thought La Dolce Vita was more realistic. Yes, it is definitely.

[00:13:08]

There's a lot of moments in it that are definitely not. Um, but yeah, eight and a half is very much not based on reality or is it is entirely based on reality, but there's a lot of dream sequences. And is this a dream. This is not a dream. Is this real. This is not real. What's he thinking. What's he doing, etc.. There's a lot of that in it. So and yeah I think. Yeah, yeah that's true.

[00:13:32]

That's true too. And both of the films have cranes in them.

[00:13:36]

Yeah. Which my likes clowns.

[00:13:38]

The man likes clowns a lot. Uh henceforward does it.

[00:13:42]

It sucks is the question that this particular film will endeavor to answer. Yeah. OK, I'll try and I'm not going to have a little plot summary because it doesn't really have a plot, but just to give a brief recap so we can center our discussion. It starts off in Fellini's childhood in Italy, which is rapidly becoming a fascist state. So we see Fellini being taken to the circus as a youth. And it's a very classic circus, bears a lot of fun and games, but sort of hidden darkness.

[00:14:19]

That's all that so many circus are. All circuses really have. So you see the animals and they're quite ferocious and starving. And there's a lot of like dwarf's around them. They all kind of. It seems a bit exploitative. Yeah, it's like there's got the freaks, which, you know, is what all the people are here to see.

[00:14:40]

There's a lot of freaks. Yes, everyone's a freak, you could see you could say that the photograph shoots to episode and say eight six.

[00:14:57]

Yeah, so we see like the Marine Circus and it's sort of what you'd expect is like acrobatics. There's a lion tamer. There's a bearded lady called Matilde and she's the ultimate fighter and the ringmaster. There's like 10 coins to anyone who volunteers to fight Matilde. And it's all you, man from the audience, like a woman comes out. It's like all, oh, I don't know if you should fight, man, but she takes off her coat and it turns out she's Miss Tarzan that's wearing a leopard skin underneath and they fight.

[00:15:28]

So it's all very artificial. But everyone's having fun. Everybody's laughing. But it's gruesome as well, like I said, is the animal exploitation is a bit where the ringmaster says, like, oh, I have these two conjoined twins. She uses the old word in a jar like these two fetuses, and he hands them around the audience and he puts it right in Fellini's face, a young woman's face, like, what do you think? And Slaid.

[00:15:54]

So, you know, that's the atmosphere. It's very raucous yet, but then we get to the clowns, the main attraction of the event, and it's like. Ten or so at once, and it's very cacophonous they'll do their slapstick thing, they do the gag. The film focuses on this one with like a hammer, like fans, but like keep whacking the other clown in the head with a hammer keeps getting stolen from them by someone else.

[00:16:19]

That was that was right at the end of the film or towards the end of the film, wasn't it? No, no, no. It's the very beginning. There might be other effects, but I've definitely I felt that was partly free. And then it's repeated at the end. I don't remember it. And it could have been the sequences in the film. Yeah.

[00:16:36]

So the way the clown scene, at least initially is shot is quite aggressive in its own way. And clearly the audience having fun. What we hear from Fellini, that he didn't find the clowns funny. He found them terrifying. We had to leave the circus in shame because he cried much like I did during Finding Nemo when I was free. All right.

[00:16:57]

In my experience, for anyone I had to leave the jungle to because I started crying when I was free and my mom had a very deep cut.

[00:17:07]

Yeah, well, it was when the tiger came on screen and roars and I started crying.

[00:17:12]

And I like your assumption that I would have seen the jungle, but to dump him. I know what you mean. You've seen it. But I'm assuming you're aware the Tigers and having seen Jungle Book one, I assume, you know, the tiger will at some point come out and roar. Perhaps that's kind of the assumption I was going for. I'm not I'm not necessarily thinking you're going to be like, oh, yeah, for me. That scene, of course.

[00:17:35]

Yeah, I remember because we're a bit fun trivia. The Jungle Book too. And I believe Peter Pan to this thing is called Might Return to Neverland or something where the only two Disney sequels to it, like a cinema release other than the rescuers down on there, which doesn't really count. And I saw Peter Pan to an after school club, I remember even as a kid, I thought it was very weird. But you know, which one was that sorry, Peter Pan two is the one that set during World War Two, and it stars when these children and they go, Oh, Peter, I've seen like Captain Hook comes back and, you know, getting his revenge on the scallywag.

[00:18:12]

Yes. You know. Yeah. Good, wholesome fun. Yeah, I don't really remember much about it, but I do remember having seen Peter Pan to at some point in my in my path in my life. And well, OK, so, yeah, we see the flashback of him and then he starts crying.

[00:18:31]

Yes. And Clooney explains in voiceover The reason he found found the clown so terrifying was because they reminded him of the members of his community, of any small community philosophes specific examples. So he says there's a dirty old man who harasses all the women, but they all like to find them funny, harmless, yet. So you remind them that there's a dwarf who hangs around town. I can't remember what was his job.

[00:19:02]

I don't remember that being a dwarf hanging around town. All right. Man who gets picked up in Tibooburra from the pub.

[00:19:08]

Yes. Those that say there's a man who gets picked up by about a pub. There's a World War One veteran who sits in this chair silently, but also his daughter who has memorized every Mussolinis feature of my heart.

[00:19:23]

Yeah. There's an old man who is mostly harmless, but every time he has a little stutter and he keeps score when they will play billiards, every time he sees a war movie, he has these very intense flashbacks and becomes convinced he's back in the trenches yet. So he'll wander around the town square with his family during commando crawl and putting flags up and like and everyone makes fun of him. Everyone makes fun of him is actually a very sad scene.

[00:19:52]

Is very sad. Yeah. But, you know, they take pies and they throw him and they say they're grenades and they do a rat a tat tat thing with the gun. Yeah, it's very sad.

[00:20:02]

But on the other but, you know, it's also it doesn't, you know, to be fair. Yeah. So I say it's supposed to be sad, but I do feel it's also meant to, like, impart a sense of community of the town. So let's say the more the most interesting scene, I think, during the flashback of the town is the one with the kids station. Yeah. Where like there's a station master and all the kids there, like, stick their tongues out of him as soon as the train's going to go away.

[00:20:29]

And he says, like, I'm going to report you to the police like I know I know who your parents are, Sonny Jim. And, you know, he rants and raves and everybody has a fun old time about it. Yeah. But then there's a bit where it's like but then later, you know, the fascists have come to town and none of the children can laugh or smile anymore. But the stationmaster is very happy with himself because he is essentially a fascist.

[00:20:51]

Yeah. And he's a. There's a sort of death of the life of the town, which I suppose is supposed to be a dramatic reflection because this film is about the death of clowning as an art form, yet as a reflection of death itself.

[00:21:09]

One could say, but yeah, it's a very interesting sub text or subplot and yeah, where it compares the art of cloning to life. And it's actually very interesting seeing we'll talk about it later, obviously, but seeing such a great filmmaker make essentially a documentary film. But but put in it all these deep themes and meanings. It's very, very interesting thing to see. Yeah.

[00:21:38]

Yeah. So, yeah, we have particularly these complex feelings on his childhood.

[00:21:44]

So that's the backstory. That's kind of. Yeah. What's the word for it. And set up for a long prologue. That's one. Yeah. That's kind of the prologue. And then we're introduced to the film crew and and it turns out this whole film is a film within a film and but they're all playing themselves. So Fellini plays himself in the film. Yes. And then he has a fake film crew who all the people that are playing the crew have the same names as the actual crew.

[00:22:09]

So I don't know.

[00:22:10]

It's very accommodating because they're all like other than Fellini, they're all like comedy stereotypes. I know his script supervisor, like she has to be like this is like role. Yeah. So like she accidentally tears off our script once and she can't like she's messing up our line readings. Yeah, exactly. You know, it's fun, but it's also very sexist.

[00:22:32]

Yeah. And it's interesting because the film. Is this weird mix of like documentary and mockumentary and you see you know, you see the film crew filming, but you also see the stuff that they have been filming as well. And it's all mixed in and there's no explanation for why. Why you can see why you know so much of the film, cause he's so much about the film crew and yeah, until the end, I guess, kind of.

[00:23:01]

But you know what this film reminds me of, I'm going to immediately lower the tone of this conversation just because I know it's going to be fairly high for the rest of it. There's a there's an enemy, which I know is your favorite start talking about.

[00:23:14]

I say cold attack video, which is a documentary about the founding of Dynex, which is an anime studio. So it's not actually about that at all. It consists of a series of interviews with fans and they're all talking about how anime has ruined their life, like this one who says I can keep spending money on figurines and now he's broken. One is like my girlfriend's left me and one's like I have no friends now, but they're all played by members of Dynex, like the studio, like animation stuff and sort of the self-referential thing.

[00:23:44]

And then meanwhile, in the background, like there's an animated segments which talk about very fast version of what actually happened. So like, whilst it is true that, like, was made by two people who met at university and then they made a company like it has wacky hijinks and stuff. So it's that sort of same shifting between sort of farcical reality, sort of a mockumentary about getting a very meaningful truth to the narrator.

[00:24:13]

I mean, do do we know if and the people there in the film crew are actual our actual film people, if that makes sense or are they all actors?

[00:24:30]

I know you're saying and the honest answer is, I don't know. I don't know either. I'm usually doing this.

[00:24:35]

I can really see because I mean, it just says everyone as himself. Yeah. And because obviously I'm about to jump to the end. They are sort of claims as well. Right. You can see that at the end. So I'm wondering if they it's just clowns or circus performers that are playing the crew as well in order to at the end can become part of the the thing. We'll talk about that anyway. But it's interesting. Very interesting.

[00:25:06]

So the majority of the film is a series of interviews for this film crew does with X clowns. They go to Paris where clowning evolved into an art form. But the overwhelming consensus from everyone they speak to from these academics is when we talk about clowning to all the retired clowns themselves, that clowning is dead is an art form. Yeah, it's had its time in the sun and now it's gone. Yeah. So everyone's either all so everyone's old or like forgetful or they're just happy, sort of resting on their laurels, even by the academics who like spreading like a very, very passionate argument about the timing, say like clouting is dead now and it's good that that's the way things are.

[00:25:50]

Which is, yeah, that is the film. Of course, we know the clowns aren't dead because Stevo is around. Who Stevo Esteva from Jacky's. I've never watched drama, you've never watched Jackass. Well, that's that's going to be interesting to me because I was going to compare this film to Jackass genuinely, not in jokily.

[00:26:12]

I compare films to things you haven't seen all the time.

[00:26:14]

Go ahead. Well, no, I'll do it at the end because it's really the end sequence that. Him credit. I'm amazed you have measures in Jackass. I'm amazed Martin Lawrence of Arabia, uh, still got a lot more to say to say. Um, yeah, it was. So, yeah, you were saying most of the film and follows these interviews. And along with the interviews, they're intercut with Klown performances, which generally linked in some way to the interview.

[00:26:53]

And I think my absolute favorite favorite one is when I think it is clones or maybe it's academic sitting around a table discussing it. Cloning is dead. And that whole scene is intercut with, like clones on stage arguing, oh, yeah, I just loved the way it was like juxtaposed between the, like, serious academic discussion. And then people like spraying each other and hang each other and had it was a I think it really got to the heart of what he what he's trying to say about what clones represent and that kind of thing.

[00:27:25]

You know, those interesting yeah, I'm going to be honest, I think I didn't pick that up in so really this very obvious.

[00:27:33]

Yeah, no, fair enough.

[00:27:35]

I mean, I'm sure there are other I'm sure I'm sure all the acclaimed performances that were chosen had deep meanings and reasons for being picked. But that one in particular stood out to me because I know I didn't notice initially. And, you know, I just I find it a bit weird to kind of intercut rather than rather than having, like, an interview then a clean bit. And then I kind of realized that they were being compared, although it might be those clowns arguing and it was them then in costume.

[00:28:00]

They're arguing again, I'm not hundred percent sure, um, because you can't really tell if it's the same person. But yeah, it was interesting. Now, any of the interviews particularly stand out to you? I think my favorite was the the ringmaster who's just gone completely senile. And I was like, but it's very sad.

[00:28:19]

I think that's when I was going to talk about. It's really sad. The one that doesn't want to see them because they're Italian. That's a different one.

[00:28:26]

But the Marines won't see that because they're Italian. It's very bizarre and a very sort of hope. But I just got text me emphatic, like, oh, no, I read that very lightly.

[00:28:38]

OK, you can have fun editing that out.

[00:28:41]

I'm not going to today, but have fun with that because you're in the middle of speaking.

[00:28:47]

I was even yeah. There were there were quite a few injuries of old old people that were very sad, especially when they came be plannings dead and all of a sudden.

[00:28:55]

But the man. Yes, is like one guy and the little girl come round and then his wife is like, we don't sorry. Can't see you saying Italians just make some too sad. The U.S. is his homeland too much?

[00:29:07]

Yeah, it's institutional. It's very emotional, but also incredibly bizarre because you can only live a maximum of like three hours drive from Italy.

[00:29:16]

Is that right? So far. Francis from Italy. Well, that's probably an exaggeration, I guess. And living in the ferry. Yeah, I mean, he can swim boat. He could be from Palermo.

[00:29:26]

But, you know, even if it's from fucking Leone, it's not a long journey to go to Italy, not exiled for life. You can go back.

[00:29:34]

Yeah. I mean, yeah, this entire interview is about how much he misses Italy. Yeah. Every day of his life, they ask him what he does every day and he says, I feed my parrot.

[00:29:43]

Yeah, it's very sad, very sad. And it's interesting. Most of the film takes place in France, which is described as the birthplace of circus and cloning, which I had to be honest, I was not really aware of.

[00:29:55]

I'm almost certain this is because they have the Commedia dell'arte in Italy, right. So it was Cirque de Soleil and all that stuff up.

[00:30:05]

And there isn't the origin. The modern circus is attributed to an English person, apparently.

[00:30:10]

Um, I should have mentioned that in the film. Yeah, but I guess I mean, there's there's where it was, you know, and where it was developed or whatever, and compared to where it was came from. Um anyway. Or is it that France is the birthplace of clouting specifically what they're trying to say, because obviously.

[00:30:37]

Like, the weird thing about clowns is that they really have nothing to do with the rest of the circus, if you know what I mean. Yeah, like everything other than the circus is like other than clowns in the circus, like, oh, look at this amazing thing. Like we have these exotic animals or these acrobats only. Incredible. And I mean, also you can watch these guys fall over.

[00:30:54]

Yeah, but clowns are pretty amazing in their own way. Well, yeah.

[00:30:58]

I mean, it's anonymous. I'm just saying, like, if you're for the concept of a circus, it's like, you know, see these very sites. Ladies and gentlemen, if you're wheeling around your troupe to, like, know a Georgian town where no one's seen an elephant before. And you're also going to show them like a man who can juggle six knives at once, like that's a coherent idea. But if you're also right. But also I want a man in a funny retinues that becomes a weird tangent.

[00:31:25]

Yeah, that's true. And I feel like it just gives that the the the it's like the entertainment, the comic relief, and it's kind of the thing that runs through the circus and links. Oh. I mean I actually wrote down the claims were kind of I felt like they were almost ruining the opening sequence because as soon as something ended, the audience didn't have any time to save her because it would just be some clowns would run on and like something stupid.

[00:31:53]

And although then when they were saying up the Cajun stuff, it kind of gave it kind of filled in time. I feel like that's what it's about. It's about filling in, not filling in. The time isn't just like wasting people's time, but it's something that you can do, something that an individual can do or a group people can do that is entertaining and and fills in. Yeah. A period when because, you know, if you have an elephant, come on.

[00:32:18]

And then the next thing is a lion tamer. You could escape the cage you go to. Yeah. You know, the back. And I think the clown is an amazing art form in itself. I feel like it's it kind of fills in that space, that empty space in the circus.

[00:32:32]

Have you I've ever seen that Bill Murray tweet where he's like, you know, at the Olympics, they should have a regular guy running alongside all the athletes. So I can see how impressive it is.

[00:32:42]

No, but that does actually sound like a cool idea that maybe it's something. So it works like that. We're like the clowns. Good for contrast. Like if you have an acrobat who could do a human pyramid with like five people, but now you're also a clown, he's just falling into his own face because then they climb up and fall over and you're kind of like, yeah, I don't know.

[00:33:00]

I mean, I'm amazed you don't know who Stevo is. And because he has a lot to say about cloning and I would say. The most I know about claims is because he trained as a clean up and he allowed lies in Jackass. Manjeet voice, yes, I know it's like the lowest form of entertainment, but it is actually very good. Well, I think we're making our wonderful. Are they. That's you know, I think I heard that.

[00:33:28]

And anyway, they interview bunch of clowns, a bunch of old clowns, dying clowns, dead clowns. They don't care which clowns as well, which only to Charlie Reville and Glock are the only to become rich.

[00:33:43]

Do you know who else is in this? Who else? Victoria Chaplin. To Charlie Chaplin's daughter. Oh, yeah, sorry. You just say, yeah, yeah, and I think this was her. Like Main. Thing. That she ever did. Oh, right. This is like the only project. Well, I think she's a circus performer, but it's not like she's it's not like she's a film star like her dad. So I think this is the thing that she's in.

[00:34:10]

She's 69 years old. I'm looking at her now, looking up her now, looking her up now. And yeah, I'm looking at Wikipedia. Wikipedian, there's not much she was an extra in her dad's last film, which is on the BFI player, actually. And and she was meant to be in his next film. But then I guess he passed away and but yeah, she was in the clouds and she was in the circus talking about if I played this film is available in the BFI player.

[00:34:37]

Yes.

[00:34:38]

Don't use that on mobile. It sucks. It's terrible. I was barely able to watch it. Fair enough. However, I was looking to be a fair player and there's a lot of really good films on that. And there's also free ones, which I've not even looked for. But I look for the free stuff.

[00:34:51]

They're all going to sound dismissive. They're mostly stuff like that in public domain. So it's usually like short films from the very early nineteen hundreds.

[00:34:58]

No, that makes sense. But I looking through that one was the moon. You know where the moon goes and the guy's a rocket. I forgot the rocket goes in the moon's face. I forgot that the French one.

[00:35:08]

Oh you survived. And I was going to say green screen will be black screen and man that's an awesome film.

[00:35:16]

That's all I can remember. It's called it's like the first film. The first big film. And it's really cool. Is it like Man on the Moon? I'm sure it's cold, something like French men, men to the moon, something alien and the alien. I can't remember what it's called, it's a very good film, though, and there's all that kind of stuff in it, looking for Seven Samurai is on it. Just seen on a subscription, not for free.

[00:35:44]

Yeah. Bayt, is that you? Fourche, be happy. Oh, yeah, I love. Well, that's on it goes to Michelle Ozona as well. If I did that to my list, the animated one of the animated onya. Oh great. And yeah. So I've added a lot of these to my list. I might keep this actually after my trials up for a bit. I could and probably not though I've already added. Eight films to my list, including Napoleon, which is like five hours long or something, I think.

[00:36:12]

Well, so yeah, I say that after he was like a three hour long film last week, I've been making fun of, you know, watching four hour long. So those for oh, the Lawrence of Arabia.

[00:36:21]

Yeah. Yeah. But yeah, they've got basically I was looking for it and it is about 50 percent films I've watched as part of my course at my film course, and the rest are ones I could definitely see on film course. But you know, it's good to watch those and interesting. So yeah. Yeah.

[00:36:42]

Have you watched the fight on. You watch anything. A movie by the way.

[00:36:48]

Yes, I did watch. I watched a bit of the Seventh SEAL and then I got distracted.

[00:36:54]

Oh the show's if I players all that's not sorted. And then I think I watch something else. All right.

[00:37:03]

Now it's the stuff of movies. I've added some more stuff, but I would say the BFI player seems to be these kind of obscure films that you must watch for.

[00:37:11]

His movie is really just obscure films that movies like when you go to like one of those, like sort of hipster restaurants where, like, they pick the menu for you. Yeah. You get the one thing exactly. Which is nice in itself because it's giving you a healthy diet. I think it's the exact phrase they use eight and a half.

[00:37:28]

Jamie is on PFA player. Oh of course. Are you. I watch it. Oh Metropolis on it. So I said, oh that's my watch this. Yeah. So I'm looking for this and there's a lot of interesting stuff in it. OK, let's finish the some rain in Elashi was better because they were basically free. Yeah, so like, say, interviews with clowns, general impression, you know, it's dying like for there's one who says clowns haven't disappeared.

[00:37:55]

It's just that people don't know how to laugh anymore. Yeah.

[00:37:59]

Very deep. Very deep. And then we get to the final performance, which I guess I'll leave you to describe the scene. There are a lot more out of it than I did.

[00:38:07]

Well, it's a funeral. It's a funeral, basically. And and up until this point, the you've had the interviews where you see the film crew a little bit and and you kind of do a few little bits like you were saying earlier, where she doesn't get the script for her and you think, oh, that's kind of funny.

[00:38:28]

And they're kind of in the background of some bits. And then there's interviews where you don't really see them. And then there's a clown performances where really you're primarily just watching the performances. There's no way the background stuff and then everything is brought together in this big final grand thing. And it's almost revealed it's revealed to the film crew is part of the clown, the clown troupe, the clown heritage, because they start fucking things up and like falling over and stuff explodes.

[00:39:02]

And then there's this amazing bit where Fellini is getting interviewed and the interviewer says, well, what is the point of this film? What's the message of this film? And before he gets a chance to answer, a buck bucket comes flying in from off screen and lands on his head. And then a bucket comes in lines and infuse his head. And it's this big amalgamation of airing the film set for like the world. So coming together. And of course, the whole final sequence is a funeral for for a clown.

[00:39:33]

But I mean, it could be you could see it as a family clowning as a whole. And and it's just it's a pretty amazing sequence, I thought. Yeah, I know there's an old clown that starts feeling unwell and he has to out of the performance and you see him sitting, watching and getting very emotional and thinking it's really good.

[00:39:58]

Yeah. And what I was saying earlier, it reminds me of Jackass because the Jackass films. So obviously you're aware of Jackass. Yeah, roughly. So the TV show is just like guys doing stupid things and say hello, welcome to Jackass. I'm Johnny Knoxville. And today I'm going to fucking go down this hill in a shopping trolley and then they do that and that's it.

[00:40:22]

But the films have obviously a far bigger budget. So a lot of the film is the same thing.

[00:40:28]

Hi, I'm Johnny Knoxville. I'm going to staple my dick to a table right here. But the intro and outro, the films are these big grand set pieces where you have stuff falling over and people running around and all these stunts being done and fire and fireworks and explosions and people falling over and seeing things and doing things. And that was really I really felt like this film had the same vibe here at the end where everything's everything's brought together and it's this big performance and it's got so much energy and and stuff.

[00:41:04]

Yeah.

[00:41:05]

And so I realized I probably brought the bar right down by comparing Fellini to Jackass, but it really remind me of it now, like I might as well.

[00:41:17]

I've kind of bounced off the film, I think quite a bit, but so I didn't think the last sequence really landed for me at all.

[00:41:26]

This might be just because I was watching all my fucking telephone, as they say, for disapproving stare. I to be honest, if you. Jamie. Yeah, I think you need to get real. Because never in a million years would you could you see a phone on your fucking telephone filming?

[00:41:47]

I can. I haven't seen Federico Fellini clowns. I know it's true.

[00:41:53]

I think I have you you might you might think you've seen Federico Fellini's equations, but never in a trillion years. But you have seen it on your fucking telephone get real impressive.

[00:42:10]

Yeah. So I think it was shown in moments much like Federico Fellini, I claim. Yeah.

[00:42:18]

So I would say the big grand finale itself didn't land me, but well I really liked was at the end where the old clown just had a little chat with the lady.

[00:42:26]

The music stops music. Why everyone else is laughing. Everyone's left. Yeah. The clown talks to Fellini.

[00:42:33]

I've I've actually forgotten what you said, but it seemed meaningful at the time. It's very is very poignant at the time.

[00:42:40]

And then he plays his trumpet and it's quite sad, but also very melancholic is the better word. It's very intimate. It is.

[00:42:49]

Yeah. I love that because it showed the I mean, it was basically the ending of the film is the whole film where you've got the big performances followed immediately by an intimate moment of of real like human feeling and emotion. Yeah. Yeah, so I liked it a lot. My general issue with this film to talk about more broadly is that I never really found the clowns as interesting as Federico did, he didn't really want me to his side. Yeah, and that's partly on me.

[00:43:22]

Well, the thing is, I nice to find it very boring.

[00:43:25]

The thing with Fellini is he's he's a very personal filmmaker. Yes. He's been quoted as saying that I think at some point early in his career, he realized that the only person who can make films for was himself or actually maybe maybe it was while he was making it and a half that you kind of said that.

[00:43:41]

Yeah. And it's a very, very, really seedy, self-indulgent film. I don't think that I don't necessarily hate that. But it did it did start to wear on me after a bit.

[00:43:52]

Yeah, no, I definitely get that. And I agree. I think the the end sequence really won me over. But as a whole, I would agree with you that there were points in the film where I was kind of like, right, I get it. You know, you're talking to these claims. Some of the performances are really good. Otherwise I was kind of like, yeah, right. It's a clown. Like, yeah, I think there's only so much clown you can take.

[00:44:16]

I feel really bad because it's very well-made. It's very brilliantly made. It's deeply personal.

[00:44:22]

Yeah. But it's sort of like looking at a stranger's baby pictures or whatever. Right, Scott, you just you need to be there in the same emotional place. I find the idea of like a death of the art form is very interesting in and of itself. I would say the film is really about about that, as it were, really more about the emotional space. It's causes that were rather than. I suspect there was like a really hard nosed BBC four documentary on Here's Why Kleiman's became less popular, you know, and then like, OK at the end.

[00:45:01]

But don't they have their place today? Then I find I find that very interesting. But Virginica is really more about like, you know, there's no clowns anymore. You know, this how this is how I feel about it. And this is how it makes me feel about myself and about my youth. Yeah, which, again, is very artistically valuable, very artistically valid, definitely. You know, when you go, it's like an art gallery and like you look at a painting and you don't get it, but you feel kind of ashamed.

[00:45:30]

So you kind of just sort of stand looking at it for a bit longer than you would really walk away. That's the phone to me, right? Yeah.

[00:45:37]

No, I get what you're saying. And I. I would recommend you watch the Dolce Vita.

[00:45:44]

Yeah. As was say I do the sums. So for the opposite reasons actually to for the honeymoon, make me think I should probably watch the director's other work. Yeah. Because I think I was very interested in what it does and I usually like very personal stuff. Yeah. Stuff that's really just like the creator yelling about themselves. I don't quite know why this one really did it for me. I think maybe if it was something I, I relate to more personally, especially obviously as a young man that doesn't fascinate me in quite the same way as I'm sure it does to people who are 30 years older than me.

[00:46:22]

And so. Well, maybe if I watched eight and a half or so.

[00:46:25]

Yeah, maybe you should watch it and have I was going to say, if you don't like if you don't like the person stuff, then the Dolce Vita is just a great film. And but personally in terms of personal stuff in half is also very personal. But it's it's more about his relationship with women and the creative process. So yeah. If you'd find that interesting then. Yeah, it has very good. And I work the Dolce Vita is just really, really good.

[00:46:50]

I mean so the eight and a half and the dogfighter and I find very hard not to compare because they both have the same main actor in them. They're both Fellini films are from the same period and they're both quite long. And for me the Dolce Vita held me for three hours, whereas eight and a half did not hold me for two and a half hours. And that might have been because I was doing it for my course rather than anything else.

[00:47:15]

But, um, yeah, I preferred to Dolce Vita.

[00:47:19]

Yeah. I mean, anything you have to do for work and I enjoy laughs. Exactly.

[00:47:24]

And I guess I was kind of watching Dolce Vita for this, but not really because we're not directly I can't really talk about it because you seen it and it's good.

[00:47:34]

But importantly, both the distributor and eight and a half have clients in them.

[00:47:39]

So it's clearly somebody he's very interested in. Yeah. I mean, I'm glad they got to explore it. Yeah, well, I will say I'm very surprised that TV station commissioned this Christmas Day special because this isn't really a film, I'd imagine gathering around the whole family around the TV screen after Christmas dinner, you know, all watching together.

[00:47:59]

I assume it's because it's Fellini and they kind of.

[00:48:03]

Yeah, it seems like this sort of guy that you just give money, you know, like it does seem like it's probably just like a blank check project or like you can do whatever you want as long as it's cheap.

[00:48:12]

If it was like David Lynch, you know, like they would just give David Lynch money, maybe that's maybe that's a bad example because he's so. And like Christopher Nolan, if Christopher Nolan came to the BBC, it was like, I want 500000 to make a low budget Christmas Day special. It'd be like, you know, go for it. Hmm. That's probably maybe not. I don't know. And it was a budget, you know. Five pounds.

[00:48:41]

Let me look up a clown's budget. I'd be shocked if it was too high. Killer claims from outer space has had a budget of one point eight dollars million. Gifts for killer comes from outer space, and Audi has enlisted a group of clients to convey a serious message about the carbon technologies and a new multi-million pound campaign campaign. And however, I do not have anything about the moment.

[00:49:10]

Man, where did I see that? Oh, there was an actor. I was looking up an actor.

[00:49:17]

And just why we were told by Rob co-conspirators, I was looking for an actor that was in something and he was also in a film called What was it called. It was like Beaver something Zombeavers.

[00:49:31]

OK, and it sounds like a film where they came up with the title first.

[00:49:36]

It came out in 2014. It's a horror comedy and it just kind of reminded me that that was a genre that existed. The like horror comedy, the 2010s, zombie or piranha, free double D and girls in bikinis getting eaten by things kind of genre was one I'd forgotten about. That's true, I think Parana infidelity is the only one I've seen and I did not see it infrequently.

[00:50:03]

And what was the point if not seeing those three double D..

[00:50:07]

I know I saw many of these, but not enough. You and. Yeah, that whole. A type of film is one I'd forgotten, but I just can't imagine going to the cinema must be horny in. I know you're walking home with something you watch at home, isn't it? Well, no, because it's redoubled and I'm going to watch. Oh, well, that's true. But so I'm going to have to walk up to the counter.

[00:50:32]

You have to talk to the receptionist, say I want to go see the movie.

[00:50:37]

And then she says, oh, you you want to see Piranha one? And you're like, no, no, no. You say prostitute. And you're like, no, she's like, which? Which one? And you have to say frequently, please.

[00:50:47]

Yeah. Unless you guys are you very horny, sir. And you have to go. Yes, ma'am, I know. And then you walk off in shame and then you go into a room and the ticket fact is there and he's like, sir, are you going to see the horny film? And you have to go, Yes, sir. When you walk into a room with a bunch of other sad looking men and you all know you're here because you're horny and you're not allowed to masturbate in theaters anymore, unfortunately, here you just are.

[00:51:09]

So did you know the first version of it in 1978? The second one came in 1981 and then print Afridi's came out in 2010 and front free double decker in 2012.

[00:51:21]

I genuinely just thought from Afridi's it was the only Karana film.

[00:51:25]

No, I was afraid. It's actually technically it's the fifth one. There is Parana Parana to the spawning piranha. Peranich this morning I'm providing free double the.

[00:51:36]

Yes, it isn't a frightening subtitle run to the spawning directed by James Cameron in his feature tonight debut, James Cameron, Who Made Aliens and Terminator and Titanic, started off with Piranha two this morning. And that was his he was the special effects director.

[00:52:04]

And then the original right to left, and he had to do it step up and then the spawn, he was filming in Rome and while he was disillusioned from being there and suffering from a fever hit, a nightmare about an invincible robot hit man in the future to assassinate him, which inspired the Terminator. It's nice the Terminator is born through this debacle from that to this morning anymore.

[00:52:34]

Holy shit, Jamie, this is not something I was aware of. Me neither. OK, well, I mean, what started out as an innocent conversation about Zombeavers has turned into a massive discovery of a James Cameron's filmography.

[00:52:52]

Wow. Well, I never saw either on the Fredi or Free Doubleday. And I'm going to be honest, I don't think I ever will.

[00:52:59]

I watched a friend of freedom in a group of friends on a TV, and it was very awkward because how are you holding at 15?

[00:53:08]

Probably 14.

[00:53:09]

Yeah, the peak the peak age for saying let's get the boys together and watch the film, you know, and yeah, I guess I guess these this genre is a subgenre of American Pie sort of films.

[00:53:26]

Yeah. It's like because like American Pie is. It's very sexual, that's for comedy sake. Yeah, but these ones are allegedly from comedy sake. So, I mean, the thing that made me see a zombeavers is from the producers of American Pie, Cabin Fever and the Ring. It's the ring now.

[00:53:46]

Also a very good horror film, the original Japanese, one that is meant to be. But I don't know about the universe in two and I don't know how critical it was. Very popular. I don't know if that means it was good.

[00:53:59]

Fair enough. And whether you go Zombeavers, I don't know how we got into that. That oh killer tried to squeeze the budget of icons.

[00:54:09]

We don't know Eakins and those are fruitless. Yeah. Jesus Christ. Tangent filled indeed.

[00:54:17]

Do how many Italian films we watch now? Is this a third one?

[00:54:22]

We watch Tapson for the honeymoon and this one for Mr..

[00:54:28]

Oh yeah, of course.

[00:54:29]

Yeah. This is the I don't know why they've come up so often. Maybe just because.

[00:54:34]

Well, I mean, Italian cinemas are pretty big international movies.

[00:54:39]

Never watched a single film from France, for instance. France is the other one.

[00:54:43]

I would say we need to watch them watch anything Spanish, I don't think.

[00:54:50]

I don't know how big the Spanish film industry was last time. I think we're watching a Czech film next week as part of the French. As far as the Czech New Wave, tell me, what is it? I've forgotten. It's like a it's. It's, you know, dark central retelling of Alice in Wonderland, they're not be following a we can fucking wonders. It absolutely is. I'm not watching that film. It's awful.

[00:55:15]

Actually, I've already watched it find you can watch it and we can discuss it. But it made me want to fucking kill myself. My rating next week is going to be to watch.

[00:55:26]

I can tell you ahead of time. In fact, I might even come on next week.

[00:55:33]

I can just tell you right now my ratings can be and what I think of the film.

[00:55:41]

I don't like the most popular film the year as a whole for completely since Jimmy Find.

[00:55:49]

I'm not telling you that I'm not watching it again. So my memory, my memory will be based on watching it several months ago. And I'm sure I'm sure I have the piece I wrote about it. So he's fine, OK.

[00:56:02]

Next week is going to be a short one by the check New York the other Times and probably also for next week to ask you about.

[00:56:18]

Yeah, it's fine.

[00:56:21]

We're talking about ratings. Why would you write this?

[00:56:24]

I would rate this, um, I clone's. I would read to it.

[00:56:30]

Oh, maybe by no watch if it's own ad. No, no. And watch it streamed. I seek out but don't pay for pay.

[00:56:42]

Pay for La Dolce Vita. That's nice. Yeah, yeah, I. I'm going to downgrade it personally to watch this, and I think, OK, it'll be they'll ever be on. So I guess effectively I don't watch.

[00:57:04]

I'm not being that mean. OK, if you have a flatmate who's really into Italian cinema. Yeah.

[00:57:09]

If you're interested in clowns or a Fellini completionist and then definitely watch it. I'm, I'm kidding. I'm going to keep it as no I'm going to change it to watch of his on because I'm going to say that you should seek to achieve it or in half.

[00:57:26]

Yeah. I suppose to justify my opinion thematically it's very interesting, very personal reflection on the death of an era. I would also say that that is perhaps the world's most common theme for any film. Yeah. And if you want to see a film about the death of Linera, you can watch almost any film ever made. And George, you have changed your mind again, I'm going to put it, but I'm going to stream it, okay, because it's unique, because she needs.

[00:57:55]

I like that that's a little bit like saying how stupid I am, because it is very unique, it's very personal, it deserves to exist.

[00:58:03]

Yeah, no, I'm going to say it. It's cool.

[00:58:05]

You know what? When you play the self-indulgent filmmaking roulette wheel, sometimes it's not on the line of the audience. That's the game you play.

[00:58:12]

And it's landed me and it's not lying to me. So, yeah, that's the way it goes. Then you go to, um.

[00:58:20]

Well, I don't know if I've got anything else, particularly now housekeeping, and we are we I don't think we're on any new platforms at this point in time.

[00:58:32]

I believe believe. Let me have a look here. I believe we're still on Spotify and anchor. I don't think we're not happy Skype yet. And maybe we won't be whoknows and. I mean, probably. All right. I don't know. Yeah, I guess this is goodbye for now, I guess. And I know what you.

[00:58:53]

You've not been up to anything interesting. I don't think I have. I'm going to send them without you. I thought I was going to kill himself. Jimmy doesn't want to come to the cinema because he's scared of you, scared of the pandemic virus.

[00:59:13]

I've been playing more of the wit for free. It's much like the rest of the which are free as it's quite good. I just finished today reading the first collection of which are short stories, Oku, which are nice.

[00:59:25]

I like that a lot more than the TV show. I thought I'd figured the TV show was loyal adaptation. That's not really it makes a lot of changes in ways that I think Rolpa the stories of their uniqueness. Right. And sort of make gérald less interesting character. OK, so I would recommend reading the books cool as an e-book reader at any point in time. Always does. But I did read the books both after playing the video game and watching TV show.

[00:59:52]

So I should watch the show. I'm not I'm not being biased towards my first experience.

[00:59:57]

Yeah, unlike many people, I've also been playing polarized.

[01:00:03]

Oh yeah. I told you about this. Was it free? It's free on the PSN. Nothing else. Right. Nothing else. But yeah, it's quite fun. It's quite repetitive and they're going to be adding a lot of new content or so they say fairly regularly. And I hope that's the case because it's fun, but it's very similar every time the team games are terrible. Right. I don't like them. The races are very fun and I haven't won the game yet.

[01:00:30]

And that makes me very sad. It's oh, I played I text my play time. I played into the Gunjan if you know that game for forty hours total and I never once won.

[01:00:43]

Like I said, the free one, an epic, it was free and epic is free, and I have it right now, actually that's just a coincidence. I bought I paid money for it, but that was a very good game if you want to buy it. But I never won, and that made me sad.

[01:00:59]

I'm looking on epic right now. I'm wondering if I should get the Tony Hawk remasters, because last week I said I didn't like Tony Hawk games, but I had the only one I played is like the worst rate when I think so maybe I should get these remastered ones for HD. But I really just think the flip stick system is better than Tony Hawk button pressing system. But I don't know, maybe I mean, there's probably room in your life for to probably it does look pretty cool.

[01:01:28]

I think it's a lot less open world, though, isn't it? Tony Hawk is like you got a selection of like Arrhenius and they're all very large and you know what? They're large and maybe it is.

[01:01:41]

I do I don't know. It's Armel is still going to be playable in the remasters. But who's to say Spiderman is in it?

[01:01:48]

So I wasn't he had a kooky guest characters. Apparently the soundtracks are all very good as well because I'm sure they will be. Tony Hawk was very dedicated to making sure it had an authentic sound.

[01:01:58]

Authentic.

[01:02:00]

Well, maybe it's pricey, though, 40 times.

[01:02:05]

I mean, I think it's the sort of thing that not to be rude to remasters, but usually in like a year they go on sale for most of their money from people who are nostalgic and do that very quickly, straightaway.

[01:02:17]

And there's a game coming a. An anime and thingee game, anime football game. In Zoomer 11, hmm, let me look up. And I got a notification, my phone about games are coming captain to Barsa conference, Abaza Oh, that.

[01:02:43]

And I'm bringing it up only because it's relevant to the conversation as a very popular anime. And basically, is it to the extent that I think the only reason that's getting New Seasons is because that's Italian fans.

[01:02:54]

Interesting. There's a game by. Yeah, I've never watched it. It's not like I don't want to be condescending, but it's a kiddie show, so I haven't watched the games for the kiddies game.

[01:03:06]

Yeah.

[01:03:07]

I mean it could be for people nostalgic for it though.

[01:03:09]

I mean there's nothing wrong with it. Someone was like, we're making the game, you know, postman Pat mail delivery.

[01:03:16]

We've made it as complicated as the current day fans deserve. Well, yeah, I'll take that.

[01:03:23]

The the reason I find it interesting is we've talked before about Mario Stryker's charge. People before very was called. Yeah. And this one talks about being a football game with like special moves and that kind of thing. And I thought it might be interesting to play. It's available on on PC and Xbox, I think certainly is available and switch and PlayStation, and I think it's available on Xbox as well. So I thought it could be a cool game to get.

[01:03:48]

Maybe I'll look into it.

[01:03:51]

I will recommend either way.

[01:03:53]

But if you don't know, I was wondering, you might have heard of the serious game serious.

[01:03:58]

I think it's a game series and maybe not, but I don't have any opinions about something else coming out searching similar to.

[01:04:07]

Oh, so noone is coming out this week and I way I think it's already out. I should go buy it.

[01:04:13]

That's not, that's not such. And submitted to you know, it's, it's an anti RPG from 1997 and it was originally released in Japan and it never got an English release, but they translated it for the first time. It's Tim Rogers from Action Busson dot com. He's doing the translation and it's got a lot of popularity because it is an influence on undetailed, which I'm sure you've heard of. Yeah, have. Yeah, because it's like a game where, like you come down and then like you see, like the heroes, like being killing all the monsters and like stealing everyone's stuff and you have to repair the damage that he has done.

[01:04:48]

It sounds very cool and everyone says it's very good. It's by the do you know the game?

[01:04:51]

TROUILLOT So, you know, that's a game where you have to go around the towns and test everyone. Oh, it's by the creator of that cool.

[01:05:01]

Such a tease me. Yes. I thought I was less artistically. I find it weird. The I feel like it was it was a very popular game when it came out and it's kind of been going it seems weird to me. Anyone else apparently it's got caught, which is kind of the thing that these sequels tend to, you know, I suppose like surgeon simulator is like very, very dependent on like stream our culture.

[01:05:26]

Yeah. So I suppose if you have co-ops and like, you can, you know that there's going to be like, you know, the cutie pie feature in marketplace. Yeah, we're doing certain. I won't say we're doing certain statement which I'll be like doing a heart operation co-op. Three question marks eyes. Yeah. So yeah. Like if you can show like something new for the viewing audience then you know that you know. You're going to get that interest back, whereas if you're just like starting a simulator, too, it's exactly the same as the old one.

[01:05:59]

Yeah. And I felt like I said five minutes that Friday is basically the same thing.

[01:06:04]

I wrote it when it came out very quickly. Yes, very, very rare indeed. And I'm looking at this football game. It's got national teams in it. It's got Germany, America, Italy, England. Uruguay, yes. Netherlands, yes. France, yeah. Argentina, Brazil, Japan. OK, those make sense. Yes. The one other team that's gotten it. No Sunako. Senegal, so. But it just seems that they're pretty active footballing culture.

[01:06:45]

True. But I mean, there might be other explanations. I see.

[01:06:50]

I'm saying I don't because I'm missing any other, I guess, enormous.

[01:06:52]

And the other big teams are the a big I will say that a very likely explanation is that in the TV show or the comment, there will have been like a big talk about, like Captain Sebastiao going up against the Senegal football team, probably have a whole story thing. And like everyone has their favorite characters who were on the Senegal team. You're probably right in the game. You're probably right. I guess.

[01:07:13]

And yeah, I guess Senegal is kind of a big football nation.

[01:07:17]

Yeah, I think not some very mean, but I've never heard of them being mentioned in other contexts.

[01:07:24]

No, but I don't think they've missed anyone else. Actually, Portugal did miss Portugal.

[01:07:29]

I mean, Portugal was a huge football team now and they're not here. And Spain. Spain is not in the game.

[01:07:38]

That was that was more my point, it wasn't so much in wife who got cynical, it was more just like it seems bizarre that there's Sandigo over Portugal or maybe they also want to have a decent enough amount of people from each continent.

[01:07:51]

Yeah, that's true. I mean, I love your team because if you're doing just like, you know, the 20 biggest football team in the world, then it's going to be almost entirely European. Yeah.

[01:07:59]

And I guess from it, yeah. From a Japanese point of view that like international and South American as. Yeah. But there are so many. I mean, there's your car. Yes. Yes, yeah. I guess there are two continents that have a very large obsession with football.

[01:08:14]

Yeah. And we're looking at it from a very Eurocentric point of view. From a Japanese point of view, it's more interesting to have the range.

[01:08:24]

Yeah, well, I suppose like part of the appeal of these things, like being a players, people from all around the world. Yeah. And if they're all like, I don't know how wide Europe is a thousand miles apart and I don't know how wide is Europe.

[01:08:37]

Good. You. Yeah, I know. I think the world the world is surprisingly small. Europe. I looked up, how wide is Europe? Uh, it's not telling me dusting to a secret I grew up in, Miles. I think the distance from the U.K. to Canada, one thousand three hundred thirty nine miles was just Yev.

[01:09:03]

Yeah, wow, I know going to that doesn't look like the longest distance, surely the bomber, Portugal. To like the Middle West, that would be a lot longer. They wouldn't be with their allies. Well, I mean, London's not even on it. I mean, Ireland's in Europe. Yeah, that's true. I get it looks like you can take. They picked two places, there are roughly the same latitude. Yeah, I suppose that's the reason why, but it still doesn't make sense.

[01:09:39]

Russia does. Europe start quite early on, isn't it?

[01:09:44]

The euro maintains, according to this children's photograph, which is probably not the. The most sacred thing cool, and I think that says I think let's call it this, this is not coming at the sun.

[01:10:02]

I'm recording it on Tuesday. No, what if something big happened?

[01:10:05]

Should we record a reactions in case something big happens this week?

[01:10:11]

Oh, no. That was so horrible. What happened this week. I know. Wasn't it great? I'm I'm so glad this happened.

[01:10:17]

Happened. I am. I mean, oh, that was awful that so many people were hurt or injured or dead, and you know what? Some people might be sad that that many people died, but I think they deserved it.

[01:10:32]

If something happens, I close out there. Oh, my God, there's no great nation. But where was that huge explosion? Lebanese in Lebanon was in Beirut, Beirut. Sorry.

[01:10:48]

Yeah, and if there's no I'm sorry, Nomsa, the news I didn't pay attention to imagine I imagine if we'd recorded this that week and it got to the end of the week.

[01:10:58]

And I was talking about that news, that Jane solution. That was insane. That was a few weeks ago now. So people know we're not talking about that.

[01:11:06]

OK, well, by everyone, I hope you enjoy it. And this episode by.