Now we've got the right shade of yellow. It's time to kiss the ring. Your fun time wine boys are back to talk about episode five. Paramount Plus is a limited series that offer titled Kiss the Ring.
This episode is directed by Colin Buxy and written by our main man, the creator of the show, Michael Tolkien. Joining me as ever is the fuck that to my guy, Wheel Chitch. How's your week been? Pretty good mate, not bad at all, at the boys' birthday.
It's been panist school all day, always been good manager this week. Well, should we get straight? Let's get straight into it. Those of you who have already been listening for a while, we don't just talk about the offer.
We drink a little bit of wine. So will. What have you gone for this week? Where are we from?
What brand? What flavour? Wine? We have got a South African western pimentage and it is not nice.
It feels like this is a duffer week. I'm not sure whether it is a case of, I don't know, we're not recording on our usual day for some reason. It's thrown us off. I've got a Casa Mania Spanish wine.
It's a, yeah, Tempranillo and it tastes like shit. I've got to say, I don't know how much. It's bought the wine cost. My brother gave it to me and I think he won it at the works like raffle or something like that.
You know it's a bad sign as well because he drinks red wine. So why is he giving this to me? I know we know. No, no, because it's a fucking shit.
And shit. Yeah. Mine touch of smoke and it's great with lasagna or vegetarian sausages. Okay.
Mine is, oh, enjoy this fruity, medium bodied, Tempranillo, burst and juicy red and dark fruit flavours with a hint of space. Perfect with tapas, meat sources and stews. Very, very, very, I think when it says meat sources and stews, it means put the whole fucking bottle in. Yeah, it's good in a bolognese.
Get on the alcohol off it. I mean, it's a cooking wine. I think that's what I've been done with it. I've been done with a cooking wine.
I think I may be in the same boat. Obviously I'm going to drink it. Well, yeah, yeah. We'll probably find out this will be the one where like tomorrow we'll be messaging each other again.
I feel terrible. I feel worse. I never felt this. Yeah.
The bargain barrel wanes. So you told me this week that you were going to watch the godfather. Did you get around to watching it? Yes, I did.
They watched it with the other half. And yeah, didn't go as well as I'd hoped. They'll be angry, but they'll be upset about it. Because I was significant.
I haven't seen it for ages and fuck me. It's so good. So good. In fact, I think I messaged you half a dozen fuck me.
It's so good. And it just gave me it for some reason I was compelled as walking over from the cinema and just compelled to do impressions from from two of my favorite minor characters, which is Jack Waltz of I got to make a big star. And what's the name? Mo Green.
I just love that Mo Green speech at the end. It's like, you buy me out. I buy you out. I was making my bones while you were still dating cheerleaders.
I love it. I love those two those two speeches like the real fucking scene Steelers. Yeah, I forgot because I haven't seen it for real while since I saw the godfather. And I forgotten back that the Mo Green stuff.
I remember all this is at least there for the media story. But I've forgotten the Mo Green stuff. Yeah, I loved it. So I'm going to watch the godfather too tomorrow, possibly.
So is it? Yeah. Oh, yeah. Maybe by next week, maybe I'll get one and two in next week.
So yeah, you interviewed your your other half about what were your questions that you wrote down for in the year? Well, I plan to interview her and just like, because we said, Oh, we'll see what she thought of it. Because we interestingly get it. You know, someone who doesn't mean we need to vote the godfather.
So I thought, so I just say, I just asked her once you know what it was beforehand, what did she like? Didn't she like? Are you looking forward to seeing the godfather too? Because obviously I assume she really enjoyed the godfather because it's one of the best films ever made to the assumption was she really intrigued the godfather too.
Would you be now like to watch the offer? Because she's watched one of the best films ever made. Kind of vibe. And I said, do you think it'll do you think it is a holds up as one of the best films ever made?
And if not, why not? What is? Yeah, the answers we want to expect in. Well, should we hear from?
Shall we hear from Kylie? Yeah, let's hear from her. Right. The godfather.
It was my first time watching the godfather. I genuinely didn't know anything about it beforehand. When you said, that's what's got father, I said, is that the one I fell asleep to? And you said, no, that was something else that sounds similar to the godfather.
But probably isn't anything like the godfather. What was that film that she fell asleep to? That is like the godfather, but not the godfather and possibly nothing like the godfather. Good for us.
I think of that. Yeah, yeah, yeah. I don't want it to clarify. Not just once twice.
That's it. That's that didn't really know anything about it. I knew that would probably be some shooting and some gangsters. That was it.
And what did I like about it? I I didn't quite like it. It's not my sort of film, is it? Yeah, it was good.
Let me stop there again. What is what would you say is is Kylie's favourite film of all time? So, so me and the audience can get to know a bit more. I would say we're kind of diving into the deep end, getting our opinions on the godfather here.
Yeah. So Kylie's like a turn on the spot with mine, she loves that. Big final, so that kind of vibe. So good taste, obviously.
But yeah, but a good taste. Oh, what I thought. So yeah, I think grandpa the best hotel is one of her favourites and then labyrinth and things. But yes, it's clactic.
Nice. Yeah. I probably will keep making these interjections. So yeah, it's nice.
That's fine. It was long. I did not like his mouth. That really irritated me.
And it was very off putting. I'm glad that he was in a coma for the second half of the film, because then I didn't have to look at his mouth moving. And then when you said, Oh, yeah, he put cotton ball in his mouth. I did think about that afterwards, every time he spoke, because I thought that's disgusting.
I would hate to have cotton balls in my mouth. And I was thinking about that every time he talked. And it was off putting. I think I think like just just correct on this.
I think he did that just in the test footage. I think the actual film had something else to do. So just to be clear, I said, when he did when he was getting into the role, I said, it's the scene in the office and it's in the program where he steps tissue into his mouth and does the shoe polish. At no point did I say enough in the whole of the golf other, he had cotton ball balls in his mouth.
That just didn't. That was an assumption that was made. I love it. My favorite person was the second wife.
Well, she wasn't the second wife. She was the first wife with the second girlfriend, the one that was Italian but Greek. She was nice. She didn't really say a lot, but I thought she was lovely and she was lots of fun.
Maybe that's why I liked her because she was lots of fun. Everybody else was very serious. I, yeah, I liked her. I don't think I like the godfather himself.
I think he's a bit of an asshole. And I know that you said, oh, yeah, but it's a good film and it's about family. And I could tell by your face when you first asked me that you were like, well, you know, she's going to complain about this film and say that it's not very good and you had that twitch on your face where you probably wanted to say horrible things to me. So what is this twitch on your face?
Can you explain this twitch? Is this a common thing? To be clear, I'm not going to say horrible things, but I obviously have a little bit of a, sometimes where I'll say like, so here's an example of this. When Fight Club was re-released in the cinema, we went to see Fight Club.
I'd have you seen Fight Club? Yeah, I'd seen Fight Club. I was like, the one with Brad Pitt. Yeah.
So we'll go and see Fight Club. Lovely, big screen for ideal. Left Fight Club. Stacked on afterwards.
I think I said to Kelly, he said, did you enjoy it? So you did enjoy it, but it's not the film I thought it was. What did you think you were going to see? Oh, you know, the Brad Pitt one, he likes dogs, snatch.
So that's the cut. And then I said, I think it's like a, he's happening. Look, so yeah, that's that obviously I don't miss a twitch. I'm not going to wear off, but I also have quite a lot of yourselves.
Just on the verge of a stroke at any given moment. Yeah. So we're honest, when you said, oh, it's not just about that, there is it, it's about family. Yeah, it is.
It's about family making you ditch doing the things that you actually quite like. I don't know, it was a college voice and then it was me and he said at the start, I'm not like them. Ditch and you being a decent person and a nice person and having a decent life for them. It was not really that great a family, are they really?
And he scared his grandson when he was running through the tomatoes, he put those things in his teeth and made him cry and then carried on chasing him. So then he died. Yeah, it's not really a very nice person. I'm sure he's supposed to be.
I mean, he's a real person, which I figured out halfway through the phone. So is Don Vito calling on? Is this, is this something you whispered halfway through the film? Well, and also I asked this question after I heard this voice note, I thought he's not a real person though.
And the response was, yeah, but you said it was based on a book. I said, yeah, a fictional book. So, yeah, apparently it said it's all based on a real person. I didn't, I didn't see with the cotton ball balls again, an assumption that's been made.
But yeah, he's, I don't know, bit of an ass. And I'm looking forward to seeing the second godfather. Yeah, maybe because I want to see Abutino turn into Scarface, which you told me have got nothing to do with godfather, which I don't believe. Whoa, whoa, where's this come from?
Absolutely no idea. This is what happened to me. Um, Heidi's a very intelligent creative woman. She's brilliant, and she puts her hands down.
But she does have these moments with she says these wild things like what she's done is the same with the good fellas thing. She's decided all gangster films are the same film and like a shared universe like Marvel. I can always buy into the thing of like some people kind of if you squint believe it hard enough, you can say that like Carly Toe's way is a sequel to if you turn off like five minutes before the end, you're like, Oh, yeah, yeah, yeah, the single Carly goes away. Yeah, I love it.
But also I'm not 100 percent sure if Kylie is thinking of Scarface. That could be any film. So she's, yeah, the one New York is in the leather coat and there's the scene in the pool. It could be a twist in the tail of the turned out Scarface.
You think he's gone for the part two? So who knows? Yeah, I like this. I like this kind of ongoing.
Yeah, maybe I forget Kylie on for an episode. So, yeah, I'm quite interested to do the second one. Would I watch the offer? Probably.
It'd be interesting to see why they decided to make the film. I mean, I don't know why they wanted to make the film but it's just a background into it. Maybe a bit more into their lives. Stuffing their assholes.
Yeah. Do I think it deserves to be held up as the best film I've made? No, no. Of course it doesn't.
I don't really understand why it is. Why people say, oh, that's my favourite film. That's one of the best ones I've made. There's plenty of the good films.
Mr. Magorium's Wundering Poem for a stop. Yeah. So, Mr.
Magorium's Wundering Poem. Can you shut some light onto this? Well, what is this? Are you being trolled here?
I have a feeling I am because Mr. Magorium's Wundering Poem. I know Kylie does like it. I think Wundering Poem was like, oh, we should watch that.
And I was like, no, we should probably watch like a good film or something. A good film. So I think that is then purposely just going to wind me up. But it's fine.
I'm fine with it. But I am like, I don't think Dustin Hoffman even remembers making that. He wouldn't hold out as a good film. So he's just not funny.
Yeah, yeah, yeah. He's probably not going Sophie's Choice marathon man or Mr. Magorium's Wundering Poem. Mr.
Magorium's every day of the week, baby. They're saying that Mr. Magorium's Wundering Poem. Kylie might be thinking of Rain Man.
And she mentioned something as well. And I can only see which is like about watching the offer, like getting to know them better. Does she think that she's going to get to know the Corleone family better thinking it's a show that's based on their lives? Well, don't think so, because this could be a ball of contention here, because I actually have listened to these podcasts.
She would know that. She told me she has. Amazing. Amazing.
Well, interesting. Kylie, if you're listening, hello. Yeah, hello. This is, don't tell her I said hello.
We can, we can find out. We can plant the seed to save your misses is a avid listener to us waffling on about the offer. So yeah, let's jump in. Let's jump into this week's episode, kiss the ring.
But before we do, well, where did we leave the gang at the end of last week's episode? So, Brandon was in, but she knew it's out. He signed on to another project. Ready is getting it from everywhere.
Now we've done a lot of pressure. Francis is still being Francis, Pooso is still being Pooso. Yeah, and then we've got this subplot with Joccolombo, and a new character. Crazy Joey's on the scene.
Yes. Yes. Which leads us perfectly into the staff this week's episode. Yeah.
Pre titles, pre titles, scene we get of, well, I've got his name written down here. I'm the beat has at this, Gino. It's Carmine, right? It's the name of the guy who's in the car of Caesar.
He referred to it was Carmine, all the way through it. Yeah, Carmine. Yeah, but it's Carmine. Yeah.
So you've got Carmine and Caesar, and I'm not sure if you picked up on this, but Caesar is played by Jake Canavale, who is Bobby Canavale's son. And like it kind of is one of those things watching it is bugging me. I was like, he looks fucking familiar, man. Well, I didn't pick up on that, but now we know where I didn't pick one up.
He's like, if you kind of look at the heart, yeah, yeah, you said it. Yeah. He's just here. He's shrunken down Bobby Canavale, right?
Yeah. Yeah. But no, I didn't pick one up. Yeah.
So they're driving in a truck, obviously, it's supposed to be like, I should do some dirty deeds and their car is stopped. Well, the truck is stopped by a car. Who's in this car? Will so we're pretty crazy, Joe.
What's what's what's he got planned for? Well, yeah. So there's a bit of a thing he gets out the truck. Now, Carmine, who plays Carmine?
Because I recognize it's it's your child. Was he a child actor as well? Yes. Was he in hook?
Yes. Yes, he was. Yeah, I thought it was he's yeah, he's James Madio. Yes.
Yeah, he's what he's got with the lost boys from her. Yeah. So sitting in the water, I was a younger and yes, hook. But yeah, so he gets out the car and crazy Joe gets out with his new mates.
And they, they off him. They off. Hook. Carmine.
So yeah. And in a pretty brutal way, right? It's what? Yeah, it's really it's it's this scene comes, it could easily come from a gangster film, you know, a propaganda film.
Because yeah, they shoot him with a shotgun and then let Caesar go. Obviously they say let go and then shoots Carmine in a face. Yeah, which comes back to play all the whole thing's a warning, right? Letting Caesar go is tell.
Yeah, yeah. Tell everyone. And then we roll credit and then we get a conversation between how well, out turns up on Bob Evans's doorstep. And this happens.
What the fuck are you doing here? Oh my God. You said dark with the fuck. I just got off a plane.
I need your help. Why did you cut that wrong place? You told me to whatever it takes to get my movie made. You said the color outside the lines.
I never told you that. Fuck me over. That was never my intention. Yeah.
I'd go over that. I'd never intended to break up the Beatles. I don't give a fuck about your intentions. It was for the movie.
It was for the good of the movie. Keep saying that yourself. Listen, but you know, get into the film. He signed on to another project.
Probably something. I need you to get him out of it. You have got to be fucking kidding me. Come on Bob.
You've never even given him a shot. He's got something special. We need him. What you need is a fucking shower.
What kind of start to an episode, right? Because he Bob Evans is pissed. I'll ready for going over his head and going to jolly blood on about getting an opportunity in the film. And again, this is the stuff I love to say.
I love pissed off Evans. I love like just the turns of phrases like what he says to him like, he smells like a fuck and sick. Well, let me say that the repeat is the stand out. It's because every time he's done, every scene, he seems to have one of those lines.
Yes. That's an absolute pull. Yeah. It's just even like him saying mush, like instead of go, like it's just like mush.
Yeah. I do wonder how much is of hate that. The mush stuff and that is him just doing all that is on this a little bit of advice because he I imagine with real life people as well, like Matthew Good could have done so much background research. Like I imagine if you were going to play Bob Evans, you would have like just ingested the kid stays in the picture audio book, like especially it's him getting it just being like, and I guess it's a research insert as well.
That audio book for some reason is available in the US on Audible but not in the UK and I'm fucking living. Yeah, because I would have like, I would be one of my credits. I would have gone straight on that. I thought you this.
Yeah, because he's such a character. I think I did not do it. It's not available in UK. No, and I'm like, you can buy the book, but you can't buy the audio book.
I'm tempted to go to illegitimate means because I own the book like now, do you know what I mean? I'm the book book book book book book book book book, fuck these guys. Paramount are listening. I like to admit that the Bob Evans estate are going to be knocking on my door.
Yeah, fuck these regions. You fucking steal a Bob Evans. Bob Evans is ghost is going to haunt me. You're parrot my fucking book.
If only imagine that's sitcom. They're going to be haunted by Bob in it. It's all explicit. Jack Nicholson from Chinatown.
Little Jack Nicholson. The Jack Nicholson. So yeah, that is a rider, baby. Easy ride.
Yeah. So we cut to Barry leading a meeting with the shareholders, trying to convince them to get rid of Paramount. Right. And what are you?
Yeah, what are you kind of? Barry's been a shit hill from the beginning, right? He's not really doing anything because he's kind of like, he's, I don't know, one of the villains of the piece in this. Yeah, we haven't seen, we don't see much of it.
When he does turn up, he's just there to be a prick. Yeah, that is his main role in this show. Like it has, everyone else has had their little moments where you get a bit of an insight into why he literally just comes on to appear to be a wreck. And yeah, and this is, again, this is why he does these, yeah, he's the holder board meeting and he's pushing for them.
Cell, Paramount. No. What did you think? You know, when he kind of throws over to Charlie, I like the camera kind of holds on him and he hesitates.
What did you think he was going to say when he kind of says, what do you think, Charlie? For a moment, I thought there was going to be, Charlie was going to say, absolutely not. I thought that was going to be the thing. It was going to be a moment.
But we didn't really have that. It just, yeah, it was just a hesitation. But I didn't think we were going to put these over the top moments where he goes, I never sell Paramount. But yeah, so that's enough.
That seems just a bit of Hank's crickage. And obviously to set up the fact that this is a real world thing now, right? It's not speculation. Obviously we had the whole plot of is Evans going to get fired from Paramount, like kind of my guffin.
And now it's now, actually, no, that the ball is rolling for them to potentially sell. I do love Charlie's line though. It's like, people think I've sentimental about the things I own, and I about Paramount and I want to get rid of it. I very sentimental about everything I own.
That's why I demand a lot of money. He's a funny bond villain and he's like, $1 million. He may as well be stroking a cat. Yeah.
$20 million for Paramount pictures. Then we cut to the casting office, we have Francis and Andrea discussing the casting and Betty comes in to break some bad news for our boy Frankie. What's the news she's got for Francis? Yeah, so they've lost his permits.
This is no. So she's come to tell Francis that Pacino's out of the picture. Yeah, he doesn't know yet because he's not aware that Pacino is out because they've in the previous episode they had the meeting with him. Yeah, so she lets Francis know that Pacino is no longer in the picture because he signed on for another film.
And it's obviously you see the kind of the naivety of Francis, but there's an aspect of like, well, James Kahn's in the film anyway, we can just move him over and he's like, we can't just fucking move him over. And he's like, well, this just happens in Hollywood all the time. It wouldn't be like that big of a thing. Right?
And like we've said before in the show, it's kind of like, and I do like this thing that it's obviously we know that, I don't know, not that we know, but there is speculation that Bob Evans probably will go to work. At the end of the day, he now like, yeah, like it's that thing of, I don't know, that everything could be in the balance here. So he's like, he wants the picture to get made anyway, because if anything, he wants his, his winning streak to continue, right? Yeah, Bob Evans is a man who just he wants, he's a winner.
He wants to be on top and he, yeah, he's doing his thing. But if it means the film will get made and he can continue his absolute winning streak of one film. Yeah, but yeah, so it's going to get me. So obviously Francis is not because Pachino's is his boy.
And we cut, yeah, we go to a scene of Bob Evans with Ali McGraw watching panic in Needle Park. Roll it back with you. Again, how many times do we have to watch panic in Needle Park? Because I see you the guy by the script, Michael tells his brother-in-law, he's not going to kill him, but we know he's lying.
It's a shocking scene, but he's got to be played in the subtext. Pachino doesn't have to say a word, and I can't take my eyes off him. An ice blue terrifying film about people you love. Fuck it, Ruddy.
I love it. I absolutely love it. I can run it, man. Ruddy how?
As I keep saying this to Ruddy. But again, in that, like we said, with these Needle Up, these moments with a thing of not being subtle, like he's already said roller again. And then she said, how many times do we have to watch panic in Needle Park? Is that an Al Pacina?
So it's again, it's a little bit like in your face with but I don't mind it. Yeah, I like it. I'm gonna pay off like a fucking Ruddy. Great.
I've actually ordered a copy of Panic in Needle Park, so I feel like it's an Al Pacina blind spot for me. Yeah, I've never seen it. Especially if it's sold over our boy Bobby Evans on a Pachino. It's got to be some gold in there, right?
Sorry, good. We'll talk about Bob Evans. We'll talk about how Ruddy's career in a bit, because I want to talk about how Ruddy a bit in this episode perhaps and what he went on to do. I know, maybe we'll save that for a later episode about what Ruddy went on to do after the God while, because I think it's very fascinating and very, I don't know, he hops about, shall we say, from film?
Yeah, it's eclectic list. So Betty tells Ruddy that Carmine's been shot right in the next scene and Jack Ballard is waiting in his office and he's introduced to Arram to kind of say like this, this is the guy we're using. And what do we think? What do we think of Jack Ballard?
He seems to be getting a bit more screen time now, right? He was kind of earlier episodes was Barry Lapidus's second-hand man now. He's kind of getting a bit more to do it. What are we making of Jack Ballard?
Yeah, I mean, he's again, he's there as another tension for Ruddy because he's getting involved a bit and he's obviously he's more in mind of budgetary things. And he's just a bit of a thorn in Ruddy's side, which I will be because he invites him out for drinks, then he wants to kick that he wants to kind of put the boot in. He's like, yeah, we should talk about a few things. He's like, well, you weren't here for the meeting.
You weren't here for the production meeting, like earlier, or whatever. And it's like, what a frick Jack. Yeah, he's another one of our businessman quick characters, like Colin Hanksu is playing. Barry Lapidus, yeah.
So he's another one. He's in a suit. He was a pain in the arse already. I think it's just a balance out the difference in how ready is the man who's come from nothing and to these business so just there to be business-minded.
Yeah, it's like Barry Lapidus is kind of Bob Evans's foil and then Jack Ballard has kind of been set as being like his kind of company's stooge boil for. Yeah, yeah, for Ruddy. Yeah, yeah, yeah. Well, yeah, where do we move to next?
Is this where we get the scene of Bob Evans going for going for lunch, right? Just before I just realized that he is played by the guy from Robocot, the melty man. So, yeah, it's just like, I was just looking at it all, I wonder what else he's just clicked, it is him. Yes, it is, yes.
He looks a lot different. Obviously he looks different Robocot, he's melted. But yeah, he's in, isn't it? Yes, yeah, yeah, yeah, yes.
Go toxic melty man, is he? Well, I never. Yeah, Emil from Robocot. Yeah, yeah, yeah, I love it.
Which I wouldn't have had any idea looking at him because he just told me the front of the player. So, yeah, so, and then we, yeah, so Bob Evans, I love this next scene of Bob Evans going for lunch with the head of MGM. His his panic e-thing with the matriad about like, why the fuck is he? Yeah, my table.
I loved it. It's such a great little moment. It's such a Bob Evans moment when he walks in. And yeah, he's a little bit sad, he's stable.
His booth is both. Yeah, yeah, yeah. And when he turns up, he's like, oh, sorry for being late. He's like, well, you know what I say, if you're 10 minutes late, if you're 10 minutes early, you're still late.
But what is this meeting about? Well, that's what I want to know. Yeah, so the meeting is, there's obviously Bob Evans, the panicking needle park starring Al Pacino now. So he wants Pacino as well, and he knows his film again, but he's so easy.
So he needs to get Al Pacino, but he also needs to get Al Pacino out of the film that he's obviously signed up for. So he's discussing maybe doing a swap. Yes. Yes, he wants to swap him for Robert De Niro, which I'm not quite sure.
Like, did they have Robert De Niro for the role of, like, they don't quite go into his De Niro signed on or anything like, how do they, how are they swapping him for De Niro? That's what I don't quite get. No, he didn't know that he's mentioned, it's just when another one of those main drops, I think we've got, oh, they've mentioned Robert De Niro. So yeah, but we don't get into the intricacies of how this swap would work.
But that's the idea. I think I'm going to swap Robert De Niro for Al Pacino. But it's not just a straight swap, is it? Jim Aubrey has some other caveats to his offer.
Yeah, he wants, yeah, he's not going to do the straight swap because it's not happening. So he wants some books that Bob has obviously the rights to and yeah, Bob's not having any of it at first, not happening, but he negotiate. And then he's with it one one one book of his choosing, which like, you can see the disdain on Evans' face. So it's like, I can really don't want to do this, but doing that, but it's not always going to happen.
Yeah. And there we give them. Then we move to back, yeah, kind of we kind of flick back and forth between like the Bob Evans stuff. Well, just outside and like the production office a lot.
And we get introduced to Dean Tavallaris, who is the production designer on this film, who was the production designer on the godfather, who is played by? Where is Dean Tavallaris on Eric Balfour? Yeah, what do you like? We get a little bit of him in this episode.
What do you think of? What do you think of old Deanie Boy? That's a new character? Yeah, this is one of the episodes.
It's quite funny. There's a lot of jumping about in this episode, I think it's a shorter episode than somebody others. It does seem like a bit of a not a filler episode, but we introduced a few more people because we're getting to the making of the godfather now. So yeah, there's these short scenes of people being introduced.
So he's this character as well, who's just introduced the short quick scene, kind of establishes where his value is. Yeah, he's obviously going to be in his bonnet because he wants to build the sets. It kind of shows what a shambles it was. The ball is rolling ever closer to start date.
And he's like, I need to build these sets. We haven't got the permits to build these sets where we want them to. And then obviously I think Betty calls up the office and they find out that the guy who'd given them the permits has been sacked. And they're like, oh no.
It's because he gave us the permits. That's why he's been sacked. He's been fired. Yeah, he's got a guy there.
I got a guy there. They form a guy here. The guy's not there. It's come down to the opponents.
It's down to one man. And it's sent a biegé, they assume. Yeah. And then we get our first little dose of our boy, Joe fucking clambour.
How shrunken has Giovanni Rapice got five episodes into this guy? Is he kind of scrunched all the way up here? Still pretty scrunched. I think he's on the same scrunched level as last.
He's not more scrunched. I feel he might get more scrunched, but he's quite scrunched and he's still sweaty. Yeah, he's one of those who doesn't really get that much screen time in this episode. Anyway, it's kind of like, and I think you've got a few missing people in this episode.
I hate to say as well that I think this is the first episode. We've had no pooza, right? No, I was waiting for the pooza, no pooza. Yeah, friend of the podcast, Patrick Gallo.
Those of you who may not have listened are directly there that way. You can head back on the feed a couple of episodes and you'll be able to hear my interview with Patrick Gallo talking about what it was like to play Mario Pooza kind of get into his role, which was, if I say so myself, it was a fascinating chat. I don't want to say it to me. It's not a real belter.
It's such a good listen. Yeah, he's an interesting guy. Yeah, yeah. And you know his brother.
So yeah, crazy. But now, yeah, it's a shame. I love the pooza stuff. I've got no pooza in this episode.
So maybe we'll get a full pooza episode, more pooza. Well, yeah, we get these little new characters with the short scenes just to wrap it up to the bait, the making of it now. And obviously, this is the first episode. So far in the series, the first two were directed by Dexter Fletcher and the second two were directed by Adam Arkin.
And now this one is directed by Colin Buxie. Have you noticed the change in director of they all managed to keep a level tone for the show? Like we said before, I think sometimes, if you're the person who makes the first cut of episodes, you do kind of set the tone. So there is that reason.
I think this episode, but it's, oh, you've got these Bob Evans scenes and Bob Evans is always great to watch because it, this show is so capery. This still doesn't let up for a minute, but there is definitely scenes which have become darker. Those first two episodes are Dexter Fletcher ones. They're really light frothy, zip along.
But there's, they're not massive changes, but there is slight changes in the tone like last week we had the scene with the, um, the pissing of the pants, which is only in a dark scene. And then we have this opening to this one, which is quite, you know, it's not in keeping with the show as well. It's one of the dark scenes. It's pretty brutal.
It does get shot in the face. So yeah, I think the non-manic of changes, but you can see slight, horrible shifts. And I can kind of see why they've gone to someone like Colin Buxie as well to like handle like a few like, I think maybe he does a couple of mid-season episodes, like, because he's kind of his resume as it were of stuff. He's like, he's a, he's a TV store director.
Like, it's kind of been direct in TV stuff since the 70s. And like has kind of cropped up like here and there on like stuff like Better Call Saul, Breaking Bad, Masters of Sex, Billions, I mean, the affair, the sinner, like, yeah, just kind of, he did that episode of Wu Tang in American Saga. So it just has like a thing of like, you just see a steady pair of hands, right? I think that's like kind of what you need, like, once you, especially if you like somebody who can match the tone that's kind of come before it, right?
And in all that, the visual tone at least. Yeah. I mean, this, like we said, this is a short episode as well, and it, it definitely feels like a mid-season episode because yeah, we introduced the characters really quickly and in there and it's not, it's opening more, but also, I don't, it just feels like a mid-season episode. We're going to get to a scene.
I think if they wanted to do this as an hour runtime, like, kind of draw, like pull back the 13 minutes that this episode is missing, they could have given me 13 more minutes of a certain scene and I'll flag it up and get to it because I could have, I could have seen an hour, I could have said, I could have seen a bottle episode of a certain part of this episode. Yeah, I think this, is it, I think maybe that is one of the, like, I love the show, but I can, it is one of the possible samples of show that some things aren't given time to breathe, because it is so zippy and so frenetic sometimes, like this episode, even though it's a shorter episode, it packs a lot, it's just, yeah, we're on to the next, we're on to the next, he's in a car and he's getting out of the car and he's zips a lot. Yeah, it's like, yeah, it's like, he's in LA and then he's in New York in the next scene. He's just taking his co-op and walking through a door, you're like, hang on, I've been in it.
How did you get from there today? They haven't even finished the conversation, they won't have it. So, and you do get a bit like, but just find that's what the show is, but yeah, I would quite have to, like you say, with those breaking bad episodes, like the, the bottle episodes, I could have a poo, so a couple of, you know, bottle episodes with that, those have given time to breathe and things, you know? A bottle episode that has multiple bottles of wine consumed.
Just then we get smashed on lylose, cool. Slaving away on typewriters, like, ripping off pages, like, pacing up and just, just talk sandwich in one hand, yeah, winding the other, talking over the scenes. I could have seen tons of that stuff, just those two, like, really, that's like a kind of two-man play or like a kind of low-budget film, I would love to see that, like, I don't know. Yeah, just them too, in that house.
I could see Dan Fogler and Patrick Gallo, like, if that was presented to them, just in a heartbeat, that'd go with it. Yeah, you can clearly from the interview did as well, and watching them on screen, you can clearly see they are, and I'm absolutely blessed, they are, and you can tell, like, yeah, that's, I think that's why that chemistry was supposed to work in those, while, like we said, a million times of the wee blood, those scenes is because you can clearly see there's a genuine chemistry and they are, so we love it doing it, which is, which is what, this is, this episode was one of, I enjoyed it, but I think it did miss that, those poosle bits with copper and that, because it, yeah, like, obviously, but it does, this did feel a lot like a mid-season, let's get some shit out there, so we can move on. Yeah, and there's, and what, what's on the other episodes done up until this point as well, it's been just time for people to hang out and discuss things, like, I don't know that can be like quite, or not even exposition heavy, but just kind of talk, yeah, almost like talking about like what's happened in the plot so far, and it's kind of, I don't know, I kind of warm to those scenes, like we've had it like in the last one with like them in the bar and stuff like that, and we've got that great speech from Stephanie Koenig as Andrea Eastman and stuff like that, and it's like, I don't know, we don't really get too much of that, this episode is really like, let's push things forward, do you know what I mean, to quote Mike's gonna, yes, it is like, and of course we, that's why the runtime is short, is because in the world of this show, it is almost in a sense, a part episode, and we're just, not in that part, episode of like just two characters, but we're just, yeah, there's much out there now, as we can move on, nothing, nothing in this, there's no real standout moments in this, it's just a lot of info, seen up, seen up, seen up, seen up, seen up, seen up, seen 100%. So yeah, back to what we're talking about, Joe Colombo and his guys are talking about, yeah, wackin' crazy Joe Gallo and Joe's not, yeah, Joe's not having any of it, he's saying, oh, I'll speak to the commission, I gotta speak to the commissioner if we want to put down a wack, I believe it to me, but the festival is the fun is cut short when the Popo arrive at the doll.
Yeah, the Popo bust in, the FBA, yeah, they bust in, and they glare with a, they were searched, joke, I'm all over them, he's not asking, he's good at the whole guy's, and yeah, but I was a passing shot, one of the FBI guys says, mentions the commissioner's name, another commissioner, yeah, yeah, yeah, yeah, and a BRG, right? BRG, yeah, and one of the agents finds a crew pass on Caesar that links him to Parramount and the godfather, right, as well, so it's kind of like some tension is built up, the world is closing in, right, it's like not just the mob and the film colliding, it's like now that the police are closing in on it as well. Yeah, Ruddy's getting it from everywhere, and I think that's what the crux of this episode is, it's just building up that, we'll get to it, but Ruddy's getting shit from everywhere now, he's got himself in a lot of, yeah, a lot of elements going on which is going to cause him a little bit of hassle, so yeah. And then, yeah, then we, well, then Evans calls Ruddy to call him a putts, but also to break the news that they've got Pacino, and one of the things I noticed as well is when they're on the phone, is Bob Evans is watching Harold and Mord, like in a screening, yeah, yeah, that's just like, a nice little, like, I don't know if Harold and Mord would have been out at that time, it's just like, yeah, maybe, okay, I'll just, I'll have my lag.
I didn't know it, but yeah, so that's the, again, it's one of those little, they have these little snippets of things they look awful, even when it's not been hammered in your face, where they literally say the name of the group, the actors name it in the full lambda name of the, but yeah. Right, it's just, it's just paramount flexing their muscles right now, we own this film from this time, it would just be on in the background for people who may have a vague interest in that kind of stuff. And so, yeah, we get a moment between Francis and Gordon Willis, and they're talking about their kind of vision for the film, and Gordon Willis is showing him a book of like, this is kind of how I want it to look of all like the shadows and the light and the dark, but Francis is kind of opposed to the ideas that the actors have got to move, right? It's like, we can't just, they can't just be still constantly.
Yeah, because he says about them, he says, well, the actors can move, they'll hit their marks and Francis is saying, well, no, I want them to be moving, they need to move to move, for panically and smooth, whereas he's, his version of that is what they can, for where they're supposed to go. So there's another tension between those two. Which I think famously they didn't get on that well, Gordon Willis and Francis Ford Coppola, I think there was kind of issues in regards to that. And I think, I think one of the things that this show, as we're kind of like getting into it, is I think there was even less faith in Francis Ford Coppola than there is shown in the show.
It's bloody frozen. Sorry, Manifros then. Yeah, I thought that was the case. Oh yeah, what I was saying was, yeah, there's, what they're not kind of showing is in real life, there was even less kind of faith put into Francis Ford Coppola.
And it's kind of like they're making out like, there's a couple of like button heads, but like not as much as it was in real life where it's like, even like all of the crew kind of didn't. I'm not sure if we're going to get to the point where it's not all of the things you're getting into. Yeah, I don't know if, yeah, I don't know if that is it, because it's a funny woman, because we seem to be, they almost want to keep the Francis there and the poosos stuff and the actual production of the baller almost quite, they were said breezy and light, where the darker stuff is coming from your gangsters. Yeah, I'll write a personal life, right?
Yeah, it's personal life. I think they almost do want this ready, Pooso Francis to be a little bit of a gang and they are like, as you've seen before, it's the scenes with them like literally high fiving. It's like, they may as well be doing, yeah, they may as well be doing scene from Anchorman leaving the new studio where they all jump up and high fight and they keep it that kind of stuff breezy. So I don't know if we'll, we will see like, maybe that's why the sugarcoat is only how tense things got with Francis for copper and things.
And we're getting that the darkest stuff from Chorcon and all of these guys. Who knows if we make it in the actual production, we might get it in like next few episodes of like the kind of, yeah, like the kind of, I don't know, there's a story that he tells on like the commentary on the godfather that one day he was hiding in a toilet because he could hear the crew kind of slagging him off, like as they, like he was kind of on the toilet and kind of lifted his feet up so nobody could see it was in there, which is heartbreaking stuff. That's real sad stuff for them. Horrible.
But how comes in with some good news for despite the bickering between Francis and Gordon with the news that Pacino is in? She was in. Yeah, he puts his, puts his photo on the board so we know that he's back in. And I'll, I'll write he's in a suit as well.
I think, but McCarle mentioned, or they mentioned, are they looking very dapper, but why is he in a suit? Well, that's what I want to know. There's Francis said, and he says, I've never seen him in a suit before. And he says, I've got a thing.
But yeah, he's, he's off to see, well, he's off to the funeral of Carmine. So he's going to go to the funeral away. Obviously you're probably into our friend's joke, Colombo. Do you think like, is that a good idea?
Do you know, is that a good idea to go to a gang, a gangster's funeral? Absolutely not. Again, I think this is one of these things where I think this is an invention for the show, because I can't see that. And he just popped along to a funeral of a gangster.
And he goes over an ulterior motive as well. He kind of wants to, he wants to go in and say like, I'll be out, he's giving a shit about the production of the film. Again, this is one of those scenes where I think this is just switched together from a lot of things, because it would, I mean, you would have to be mental to go like, well, that seems a good type. They're all going to be there.
So I'll just pop down now. Maybe Joe will be like, maybe Joe will be like quite sad as well, and like vulnerable that I'll be able to sneak in and be like, he'll be like, Oh, yeah, thanks for coming out. Yeah, yeah, I'll do whatever you want. Ask me to be argy for you.
Yeah, well, you're the crazy mood ring gangster guy. I think I'll catch him at his most vulnerable. He's made fuel roll and ask him to source himself for me. I think I'll work.
Yeah, good idea mate. No. So that's what, well, apparently it does. Yeah.
So that's what happens. Conveniently, Joe's got his own beef with a beige as well, right? He's like, well, it's like a making proper for me at all. And he kind of leaves it on his line, or if it is what it is, like, yeah, yeah, yeah, we're going to, like, I'll get it done basically.
Then we get, again, that how kind of quick cutting the show is. We go from that to Joe Colombo and Senator Beige having a meal, discussing things, right? Yeah, we've gone from funeral to a being mentioned to straight doing it. Like he's gone, he's gone, go, let's go.
So let's wrap this up, guys. Yeah, come on. I've got things to do. I've only got 38 minutes running tight.
So yeah, so they go straight into him here with the asian, where he says it's being a misunderstanding. Oh, I think this is where you kind of, I don't know, get like a sense of threat from Joe Colombo in like, well, he's, well, he openly threatens him, right? He's like, the fucking League got 2,000 members and they got a lot of big fucking families that could hold against you if all I know is pull out some favors with the League. Yeah, he's, he, he, this is these little scenes with all the, um, do you have on them?
Sorry, Colombo is where he's quite gangster. And he is quite threatening. He does his thing. I've always all shown us in talking like this.
He is, can be quite threatening. You do get a sense of danger from him. And this is when the moment where he's clear that he could fucking shit up if you wanted to. Oh, definitely, definitely.
And I like the way that this scene ends as well, is he does a fucking, he does, like, it must be a play on his name, because the scene ends with like him saying like, like they've, he's getting the feds off his back, and then the scene ends with Joe Colombo saying, Oh, and one more thing. You know, no, he's a thing. Another thing. Yeah.
Yeah. Yeah. Yeah. Yeah.
Like a fucking actual Colombo, like kind of reference of him. Like, and obviously we know his audience. He means like, you need to fucking ease off of the Godfather, right? Let them have what they want.
Yeah, that's got to be intentional. You wouldn't have to talk about, you wouldn't have someone as well to have and another thing. Yeah. Which I didn't know it's until now, but yeah, then we get Pete Abart pitching Chinatown to Bob Evans, right?
We got to get him going like, Oh, it's about the water in LA. And what is it? Bob ever says, I was like, Oh, is this the one that's about incest? And like, yeah, incessant war, or something along those lines.
But again, it is one of those, getting the before those named rocks with Chinatown. And then it, yeah, it's just, I'll read it and he puts it on his desk. And yeah, but it's mentioned a few times as well, China's home. So Bob Evans is obviously paranoid as well, because one of the things that Jack Aubrey said to him at that meeting he had is that Paramount is being sold off and he mentions it to Pete Abart, right?
And like, he's like, Did you fucking know anything about this Peter? Like, yeah, I don't know why I went low his grip in there for a second. Yeah, but yeah, so he does, he makes it obviously, he's on his mind now, because we're having slightly on edge Bob Evans again, where he's got the look of a man who's going to do one of his scenes dealing break downs. But yeah, he's a man on the edge.
We just mentioned it that, yeah, that is the cost we did, they're selling Paramount. But yeah, so it's in the back of his mind. I love the terminology they're using it as well, being spun off. It's apparently a fucking spun off.