Let's do it, let's do it. Let's get warmed up. Nice and warm. Get yourself nice and warm.
Sit down. Ever catty. Gar vocal chords. Nice and warm.
Ever catty. That's the last little water then. That is a joke you made 10 years ago. That's still funny.
No, it's still on apocalyptic arches. Post-apocalypse arches. So we're doing book times. Like we're doing what we usually do and just get the book title and go right.
We don't need nothing else. Yeah, we made it up. We made it up. It's fine.
It's good. It's good. Because yeah, book titles. You can't expect us to read the book and then pitch the movie.
I don't think anyone in Hollywood reads books. No. Exactly. We are.
Live to pitch does as Hollywood is. Yeah. That's all the other way around. Maybe who knows.
Which is why have you ever read a script? Like a Hollywood script? If I ever have, it's probably been one that you've shown me. I don't think I've shown you any scripts because I hardly read scripts.
I used to. There have been times when I like, yeah, you used to, I think you used to read a lot. Yeah. And you've shown me like little bits of them when you're like, oh, in the script here, it's not.
Yeah. Yeah. Because scripts, the formatting of scripts and like sort of how they've evolved over time, like to be more like, more like sort of pictures almost. Yeah.
Like, yeah, the scripts, scripts don't do what prose does, which is like sort of have a little bit of artistic sort of like building an image in your mind. Yeah. What scripts do quite a lot is just go, well, for example, I was listening to a podcast called the cancel movie report, a very good podcast in which they audio play scripts that have never been made. Okay.
Cool. The latest episode I was listening to was just Whedon's canceled Wonder Woman film. Okay. Yeah.
They acknowledge it as well. And this is like from 2006. And there's a part of the, the part of the script that just goes, she takes off her coat to reveal the costume. And it's like in big letters on a thing.
And it's like, okay, so this is written for an audience that is a film executive. Yeah. So you like basically it's got to be written in that kind of style. Like you've got to be sort of making the, making the director aware and the producers aware of like what, how big a thing this is or like how small a thing this is and stuff.
That's, that's the kind of audience. It's not to sort of sit down and read this. It's like, imagine this is a movie. Yeah.
Imagine, imagine how much money this is going to make because people are going to be excited about this moment, this moment and this moment. Yes. Exactly. Which I guess is what we do in a way in the show.
Well, I think that's the cynical mindset we've had all along. Oh, yeah. Definitely. It simply shows the same cynicism as, as what we've brought to it.
I'm sure that that book buffs would tell you that there's a lot of cynicism in pros and cons. Well, oh yeah. But I've never read a book. So it like never, not one.
Yeah. So I have to imagine, I am imagining that the world of pros is more pure and artistic and it's an older form. Right. Yeah.
And by all those, it's like, yeah, hundreds of years older. Yeah. And what as old as you'd think, yeah, the book, pros, just in general. Yeah.
And well, book adaptations, like the, like it got to a point where I'm sure like the majority of films, I'm sure that has been a few years where the majority of films were just book adaptations. Yeah. And I think that what we've done in a way is we've, we've kind of crossed through a barrier somewhere, which is to say in our teams, they were in the works of making a lot of book adaptations that were, you did have, hey, this was the best seller three years ago, four years ago, as a movie of it that happened. The girl on the train captain, Corelli captain, Corelli.
Yeah. And lovely bones. Yeah. But who's the only one?
Yes. Holds. Yeah. But they were still working through a bit of backlog on the classics.
Oh, yeah. Oh, you got Pride and Prejudice. Yeah. You got all the Jane Austins.
You had like, you know, the big Stephen King stuff. Oh, yeah. The stuff. Well, this is the thing, right?
They hadn't yet made a Narnia movie, Tom. Well, this is the thing because Stephen King, it's the year of Stephen King films. This year. Yeah.
I, I've been watching one could argue that it's been the year of Stephen King films for the past 15 years. It has, it has arguably, but we've had two versions of it. We've still, two versions of what? All right.
I get all right. I don't know what that is, but okay. But yeah, with Stephen King, it's funny how like I couldn't name a director of a Stephen King film. And I don't think anyone who enjoys.
I don't think Kubrick. Kubrick? Kubrick? Well, that's my fault.
I don't think so. Who did? No. Was it some other shimok that got made to do Dark Tower?
Oh, yeah. Yeah. Again, could not tell you. I associate Stephen Spielberg with that because he made Ready Player One.
Yes. Ernest Klein. Yeah. That's a book I'll take.
Not because of Ernest Klein. Like that movie references the shining. Yeah. Because I, there was a period of Stephen Spielberg making two movies at once.
Yes. One that he gives a shit about and one that's just going to fade into obscurity but has a bigger budget. Yeah. Yeah.
Was it the BFG in Lincoln in the same? I think so. Yeah. He's going back to it.
In Jurassic Park, probably two films he wanted to give a shit about. Yeah. But that's the... That's his workflow.
That's his scale in a year. That's his workflow. Ready Player One on the post. Yeah.
Like it's like one of these movies. But yeah, so like when we were teenagers, we were like, you know what, like there was a revolution in the movie industry as to what it was considered could be made for a high-budget movie. Yeah. Because they only just put fantasy on the table.
Yeah. But fucking Lord of the Rings. Right? Before, fantasy was, yeah, you've got labyrinths and you've got Willow.
Yeah, who's with the two? Who's with the two? Who's with the two movies? No one's giving budget.
So it was the two like the highest budget fantasy movies. The never ending story. You know, you've got some, there are, there is a wave of like, you know, 70s, 80s, fantasy movies, but none of them are really like, you know, sitting there as your blockbuster. No, no, no, they're all cult classics now.
No one's going back and watching. So me and Andy were sitting down the other day to watch a movie and she was like, to watch something and she says it's almost every time. I wanna watch something that captures the same vibe that the Dungeons and Dragons movie does. Okay.
You know, like that, we've watched the mummy already. Yeah. So that was up. Yeah.
I was like, fuck. I don't know what else. What captures that vibe. Yeah.
And I was like, they canceled the Willow TV show. And we can't get it without it. That's exactly what that is. But yeah.
Someone send, someone send India a zip file full of the Willow TV show. Yeah, I just want to bring it up again. The Willow TV show is canceled. And for no reason, no reason.
They were like a very much like, Oh, wow, we could do Narnia. We could do these various like things that have sat in the literary world. Just imagine me. So you know, the whole Jimmy Kimmel thing recently.
I just really want to be that one guy who's like, you brought Kimmall back. You know, bring the Willow TV show back. Like, you just completely misunderstood the political landscape and that's that happened. Yeah.
Yeah. Yeah, Disney. We're all out here on this street. Just be the one guy in the crowd cheering at the end where it's just like, yeah, and Willow.
Yeah, bring Willow back as well. I'm out in the middle of this street. There's a camp of people all around me protesting. You know why?
Yeah, Willow. Everyone's like, looks around. That's a real, there are dozens of us. I think you should leave sketch.
Yeah. Yes. That's exactly it. Yeah.
My, yeah, that's the whole, like Tim Robinson character. We're all here because you canceled the Willow show. You brought Kimmall back. Bring back the Willow show.
You have someone going to like the Black Lives Matter and protest and being like, yeah. Just all those people that when they canceled Disney Plus when it gives you a reason, everyone's like, oh, because you canceled Givel and just one guy reading this one thing is like, you canceled Willow. That was three years ago. And we're all there about it.
Sorry, Willow based on those three books. We see at the end of the show. Yeah. We'll never see the other two books.
Chapter two in Chapter three. Yeah. So, yeah, there was this broadening of a scope of what cinema could manage. Partially because of like, I assume, because CGI had been legitimised.
There was just a lot going on. I was watching a Patrick Willem's video earlier about this because it was like, yeah, CG up until the sort of early 2000s. And maybe like the Matrix probably, like it wasn't seen as like, all right, well, you'd get like one shot in a film that was like, oh my God. You can do CG.
That's incredible. But now it's like you've got Avatar, which is almost entirely. All CG apart from a few guys. Yeah.
And it's like what the audience has just come to expect with stuff. And I think back then, like as we were growing up, it was like, you know, a CG had gotten to the point where a film executive could say, oh, actually, that's cheap and not only is that getting cheaper, but it's also, I believe it. Yeah. I believe it.
I'm watching Tron when I was like five or six and being blown away by the visual effects. I had no idea what was going on. Yeah, well, yeah, I still don't know what was going on for that. You know, the most I've ever understood Tron was in Kingdom Hearts.
That'll tell you. That'll tell you a lot about Tron. Yeah. But yeah, it seems with the year of Stephen King stuff.
I think that like they've run out of, this point I'm getting to is that they've run out of classics given that they've done them twice now. Yeah, they've done it twice. Yeah. Right.
Like they've done quite a lot of stuff. There's been seven prime prejudice movies. Like they are, we've got a new Frankenstein. Oh, yeah.
You want to throw it? Yeah, yeah, yeah. We'll see if that happens. Yeah, we'll see.
It's not video game. It should be OK. OK, cool. I don't know.
There's no mountains of madness. No, Mary Shelley, your Hobbit. I'm not a snake looking over. Yeah, fair enough.
But yeah, like they're pissing for now, which is why I think we've got we've got Stephen King's big swings. Yeah. And then now that now they're really like, well, I mean, actually big swings could be a good Stephen King title. Big swings don't go on the swings.
Somehow you'll die. As a kid, try to go all over the top. Yeah, yeah. The poster is just a swing with nothing on it.
Yeah, but like it's over the top. It's often fine to the wormhole. That's how you get raptured, Tom. Yeah.
Yeah. Oh, that was meant to happen a few days ago. Yeah, it's still happening. Don't worry.
It's still coping. They're still in there. It's going to happen. Don't you worry.
You know what? Part of me wishes it would. Yeah, because it's like, then we'd have an answer. Yeah, well, yeah.
What an answer until all the insufferable people in the world we've got. That's true. If they were the one chosen ones. Yeah, if they were the chosen ones.
Might be a random selection. Yeah. If it was like American gods level of like gods. People who eat enough dates.
Yeah, they got rapture. You eat enough? Enough. Enough dates.
Yeah, with Stephen King. Down to the drop now, aren't we? Oh, well. King.
When I was a kid walking around a bookshop, there'd be just like a whole section of Stephen King. I had no idea who he was. Yeah. All I knew was like, oh, I was writing a lot of books.
I mean, to be fair, Tom, you could have taken from base principles. You could have from that experience alone. You could have figured out that Stephen King was a coked up algorithm. Yeah.
I think too many books. Well, at that point, I'd never written a novel. Yeah. I still haven't to some degree.
I've written a novel sized thing that you could say is a novel, I guess. It hasn't been bound in the prison of physical paper. No, and it never will. But it's like, yeah, having gone through that experience and been like, fuck, I can't write anything.
How do you do that? Yeah, it just loses all these inhibitions, I reckon. Yeah. And just like, I'm a good writer, which no writer has ever thought.
No, I think there's some writers do think I'm a good writer. But I think most of them, while they're a satire writer or they're their computer, probably think I'm going to do the worst writing I possibly can and then make it better slowly. That's how I approached it recently. I'm just going to do the worst thing I can.
And then, yeah, hopefully I might come back to it. I think if you are a good writer, you probably have this instinct, which is like, that doesn't feel right. So if you write a bad chapter, and then look over it and go, that doesn't feel right, I'm changing it. It doesn't feel like...
And then you never get out of that chapter. Well, you do, because that's what the editing is for. Well, this is the thing. Like, I don't want to go into it too much, but it's just a lot of people who write just can't get to the end of the thing.
Yeah, you either write it or write it all and then read it. And then go back to it. That doesn't make any sense of the story. I'll change it.
Well, going back to my point about Stephen King movies, and that's the point. We refer to them as Stephen King movies. There's no water. Stephen King is an out of the auto.
Yeah, there's no... There's a weird genre of movies that goes from Shawshank to fucking the Dark Tower. It's art, yeah. And it's just like, oh, this guy inspired all of these movies with the books he wrote and stuff, which is weird.
I guess they have the names of the books on them, right? Like, because I was thinking, you know, I played Alan Wake. That's a Stephen King game. Yeah, well, and this brings me to this year, where we've got weapons, the Running Man, two films I've not seen, and The Long Walk, which is the film I did go and see the other day.
I've got a little Mark Komod moment here. OK. Yeah, tell you the review. Yeah, going to give you a review.
The Long Walk is a two-hour-long panic attack of a movie. So you have to start, if you're doing a Mark Komod bit, you have to start with a brief description of... All right, OK. So the Long Walk is a movie in which it's said in the dystopian future, or past, who knows, after some war, it's not really told as when.
And these boys, in order to win, like, an incredible life-changing amount of money and a wish, they just have to walk. Simple as. A wish? Simple as.
Like a magical wish. Thank you, Mr. Mayo. Like...
You've just got to imagine that, basically, starting... ..Staring David Johnson and Cooper Hoffman, Philip Seymour Hoffman, some fame. And if I was... If I was...
What's his name? Simon Mayo? Yeah. Simon Mayo?
Yeah. If I was Simon Mayo, I would then say some of the things that those people have been in. Yes, so David Johnson from... So, David Johnson from...
I don't know what Simon Mayo is. I'm like... David Johnson half the heels of his role in Alien Romulus, and Cooper Hoffman from Licorice Pizza. Yeah.
But, yeah, it's a two-hour-long panic attack of a movie. It's fucking grim. It's directed... Or is it like, I know the director of this, because it's the Hunger Games director.
David Lawrence, the last three Hunger Games movie, I think? He likes torturing adolescence. Well, this is like where the Hunger Games is very much like Battle Royale, Kid on Kid. Yeah.
The long walk, the premise of it, is they just walk and keep walking until they bexpire, basically, and then someone comes and shoots them in the head. And the camera does not shy away from this first shot. Oh, my goodness. It's horrific.
It's like, you'd think in like a film like that, they just sort of cut away. Yeah. Like, I just let your imagination go. But because the CG now, you see this kid get full-on shot in the hair.
Jesus. And it's like, wow. That fucking hell. Like, it doesn't hold back.
And from then on, you're like in it, like a rollercoaster. It is so like the whole time you're on the edge of your seat. And the thing I found that was like sort of... It separated it from the Hunger Games and Battle Royale and stuff like that was...
Because it's not Kid versus Kid. It's just, well, as a kid, it's like young adult versus young adult. It is young adult versus only them, only themselves. Like, it's basically just like, they've got to go as far as they can go.
And the whole time you're thinking like, oh my god, there's 50 of these guys. Like, they've just gone into this knowing that they'll probably not like odds are. They're not gonna be the one. I'm a good showing.
They've got a 51 chance. Yeah, yeah. And it's just like, yeah, it starts to sink in. Like, and there's some really, really tense moments quite early on, where it's like, oh my god, like, what happens if they go below three miles an hour?
Oh, yeah. They've got like, watches on the top. They've got long stretches and they'll blow up. Oh, no, no, no, they get shot.
There's like... The stealth release of Speed 4. I mean, it kind of is. But it's, yeah, Mark Hamill is the major.
Okay. Who, yeah, it seems to be loving his role in this movie. It'd be a villain. Yeah, being a villain.
You don't see his eyes. He's just behind aviators and he's just going, ah, come on boys. And they say about Angel. Yes, yeah, yeah.
He's just there on the back of this car. Just like looking at these boys and just going, come on boys. Come on, get on. Only five of your left.
And yeah, like these tanks go around with them and stuff. And yeah, like if one of them at some point tries to make a break for it and just get shot and stuff, it's brutal. And like we don't see anything outside of the walk. You know, like with the Hunger Games as this whole sort of like, it's kind of like gladiator.
You see the people behind the curtain and stuff like that as well. But this is just a personal walk in which they just die. And it's from the perspective of the people on the walk. Yeah, yeah.
We don't see who's watching or like how people are reacting. It's basically your on it with them. There were screenings apparently where they had treadmills. So you could join in.
I had to walk with you. And I cut away. In grim. But yeah, and like the whole time I was just like, I just felt horrible.
It was like, it was like me to summer. Right. It kind of had that sort of like what the fuck is going to happen to these characters. Yeah, the whole time.
Like it was. Yeah, thrilling. Yeah, thrilling. And also probably a film I'd probably never watch again.
Yeah. Yeah. But yeah, I would say Cooper Hoffman, David Johnson, incredible. Like it was, yeah, those they keep it.
They keep it on. I mean, I'll just say that it's a bit where I think it's like the first night of the walk. It goes on for six days. And like the whole time you're just thinking, how far would I get in this?
That's the worst bit about it. It's just like, I wouldn't know. They basically just like for sleep while they're walking still. And it's just like the first night or something.
There's a bit of the walk that's like a quite steep gradient. Yeah. So like these guys are sort of drifting off and stuff. And then suddenly they hear this gunshot.
And then like the next like basically they're just running up this hill while they're like, yeah, well, other people just being shot left, right and center is like, we lost 14 guys last night. It's like, fuck me. This is grim. Yeah.
But yeah, it's a good movie. I wouldn't yeah, I wouldn't watch it if no, I probably would. But yeah, but yeah, a few years good. I would imagine you would you would like it.
Yeah. Yeah. That's in terms of in terms of like adaptations, book, adaptations. You think it's successful?
An adaptation? I mean, I've never read it. But apparently it's different. It's got like a different ending or whatever.
But like as a film, if someone had told me this isn't, this is not an adaptation. This is just something original. I'd be like, great, great. But my point about it being Stephen King adaptation is it goes fucking hard in the fact that it knows that the Stephen King adaptation, it looks like it and stand by me.
And like it's set in a weird world where it's kind of the 50s, but also a weird future. Sure. It's very strange. Yeah.
Yeah. In what it does is yeah. I'm looking forward to seeing Running Man by that same merit, really, because from my perspective, I watched Running Man when I was a teenager. Yeah.
And a few years ago. I think yeah. But in either from either of those lenses, Running Man was kind of retro futuristic. Yeah.
Right. It's what the future looked like in the 80s. Yeah. So it was never a it was never a current like imagination of the future.
Right. You know, like a blade runner and stuff. Right. Yeah.
Yeah. It kind of has this like retro futuristic lens to it. And whereas this next one is coming out, it looks like it's futuristic, but futuristic in a quite a conceivable way. Yes, it was like the future is in like looper or something.
Yeah. Well, all right. I can see how they get to that point. Yeah.
Yeah. And I'm like, probably speaking more about the like it's probably saying more about what things are relevant today. Yeah. Because if you if you watch Running Man now, it kind of speaks about like mainstream media.
Yeah. And the glitz and the glamour of and the divide between what it covers up and that sort of thing. Yeah. But it's it's it's far cry.
It's far cry from like reality is it isn't really at least that movie. You don't know about the book? The movie certainly doesn't say that much. Well, the sorts of I go from back in the day.
So from the deluxe blue flame, we've got the silence of the lambs. This is obviously by Thomas Harris. Yes. The Hannibal Lecter film to enjoy it.
Yeah. So when you said the signs of the lambes, you said quite calmly. Yeah. It's made me think it's made me think of over the top of that, bing, bing, bing, bing, bing, bing, bling, bing.
Bing, bing, bing, bing, bing, bing, bing. Bling, bing, bing, bing, bing, like a little sleepy, sleepy sheep. Yeah. Oh, like a sleepy.
Yeah. I think it is like almost like a kid's TV show like a really early early development kid's TV show. What if what if this is a farm? on which all the sheep stop bleeding.
Oh, and it's ran by a blind farmer. Yes, I can't find the sheep. I can't find the sheep. And you've got to help him find his sheep.
Where are the sheep? Why aren't they speak? Where are the sheep? Why won't they speak?
It's just you on the sheep. Yeah. No, this farmer played by Ray Winston. He's like, I'm a farmer.
I can't see anymore. I can't see anymore. Can you help me find my sheep? It's like him going from field to field and trying to find.
Trying to find the sheep. How do we adapt to that to film? Well, that was the TV show. Yeah.
That was the TV show. I assumed it was like, what's it called? Each piece of hair plum and like, where's Wally and stuff? Well, you try and find it in the story.
Oh, that's a good chat actually. I like that. Well, there's a TV show of where's Wally and stuff. Well, can't blues clues almost as well?
Where is Carmen Sandiego? Yes, yeah, yeah. Where is the sheep? But just to get an audience in, we're like, basically, the hook is, how the fuck are they going to do the science of the lambs as a kid's day?
Yeah. Actually, the farmer's not played by her in Robinson. The farmer's played by Jody Foster. Sure.
Yeah. And she's the farmer. And yeah, she's looking for a sheep. And I think book or Anthony Hopkins could be a farmer.
Have you seen my sheep? Have you seen my sheep? Yeah, Anthony Hopkins. I can't quite find them.
I know they're somewhere around here. So, but have a little peek. Yeah. And, because they're quite meek, no, no, my sheep have started to bete.
It didn't really rank for me. It's kind of hard for me. No, no, no, really. Well, I think this farmer, in the film adaptation of the Wilson and suddenly, like all the sheep are gone.
Yeah. They've been rustled. Yes, they've been rustled. And nobody knows why.
Yes. And it turns out that there's a Lovecraftian monster that's invisible that's been stalking around and it's taken them all away to a distant, estranged land. Oh, is it? Well, it's kind of king and yellow situation.
Kind of, yeah. Or I don't know why it's called Thompson the Magic Railroad. Yes. Where?
Which, like in Thomas of the Magic Railroad, Marlle Wilson has to go to the land of this magical land. Dreams and nightmares. The other part of Dreams and nightmares to help Anthony Hopkins find his sheep. Oh, because that's why when you go to sleep, you can't sheep.
Yes. Because they need to be sheep for people to count to go to sleep. So the land of Dreams and nightmares takes some. Yes, I like this.
I like this. I think that's, it's all kid friendly. Yeah. Yeah.
It's all kid friendly. Science, all I'm starring Anthony Hopkins. David Bowie plays the King of Dreams and nightmares. Oh, yeah.
He's dressed in yellow. Yeah. And he doesn't really understand the human desire to stay in the real world. Yeah, because, well, would you want to go into the real world where all your dreams can happen right here?
Yeah. And Marl Wilson's like, bull nightmares happen here as well. And he's like, yes, I know. Just as real to me.
Just as real to me. And here's your nightmare now. And then all these sheep turn into horrible creatures. And she's got to dream them back into sheep to help Anthony Hopkins get back to his farm.
Exactly. She's an artist. She draws the picture. I like that.
She's a character from the TV show that helps paint the sheep and does like a section where it's like, can you paint these farm animals? She's got the map. It's things on the map when they're trying to find out where the sheep have gone. Yeah.
I think it was like Pandora the Explorer style. Yeah. I'm honest. So we've jumped to a lot of hoops for that one.
Yeah, the silence of the lambs. We jumped over a lot of wares. A lot of fences for this one. Hello.
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