Dodge This: Action Movies Unleashed
Simon Feilder and Matthew Highton are British comedians separated by a sea but united by their love of action movies. Join them for a celebration of the latest and (hopefully) greatest in action cinema from around the world, from big budget bombastic bonanzas to down & dirty DTV darlings.
Dodge This: Action Movies Unleashed
JERICHO RIDGE (UK, 2023) with Joe Roberts
Captain Big Punch (Joe Roberts) returns to talk about something other than Don Lee as we dive into British survival siege action thriller JERICHO RIDGE, written and directed by Will Gilbey, starring Nikki Amuka-Bird alongside Michael Socha, Zack Morris and Solly McLeod.
JERICHO RIDGE trailer
We also get into some pre-waffle about Prestige Television (Shogun, Baby Reindeer), Love Lies Bleeding, Dune 2, method acting, letterboxd ratings, the Steve Martin documentary, Superman: The Tony Hawk's Pro Skater Story & Robbie Williams...
The show's got a Twitter: @dodgethispod
All the other good stuff is here: simonfeilder.com
Subscribe to Simon's newsletter thing: simonfeilder.substack.com
Joe can be found at iamjoeroberts.com
Affiliate Links:
Hosted by Buzzsprout & recorded in Riverside.fm
This will help you watch all the international treats: nordVPN
If you're reading this far, god bless America.... could you do a rate (and review) on Apple or Spotify plz&thx?
Sheriff's Office, Jericho Ridge! We got active shooters on the scene! Repesting backup! the art of fighting without fighting. Stick around. Always trying to ice skate on film. Dodge this. Hello friends and welcome back to Dodge This Action Movie's Unleashed Season 3 Episode, I checked it, 11. We are talking about Jericho Ridge, the brand new indie action thriller out of the actual United of Kingdoms, if you can believe it, and you certainly will. And joining me to talk about it, um, Rescued. from his Don Lee punches people, Groundhog Day, loop of podcast appearances, brackets until the next one comes out, is your friend of mine, director and Amsterdam dweller, Mr. Joe Roberts. Hello. Thanks for having me back. It's lovely to be back. He's got one of the best voices on the podcast. I miss Don Lee and his big punches. I can't wait to see more of those punches. Not long, right? Yeah. Four, the Roundup Three. We did this last time. It's the football scores, isn't it? It's the Outlaws Four, the Roundup Three. Looking forward to it. Yeah, he's going to be punching some more people. But until then, we've got Jericho Ridge, Joe. And I thought you would enjoy this one particularly because it's, you know, A, not Korean MMA man. B, you were British. And you know, C... I didn't write, I just should have thought these through before I started them. But you know, you just like good movies and I think you'll have a lot of interesting things to say about it. Before we get there though, it's been a while. What have you seen? I have been watching. It does seem there's, it's a good time for TV at the moment. I'm watching a lot of prestige television as they say. Oh, that's a great way to describe it. Thank you. Um, you're welcome. Top of the list is Shogun. the Disney FX Japanese epic, which I'm really enjoying. I'm on episode five. No spoilers. Right. I'm on nine. Uh, well, I think the finale drops tomorrow on that into it. I'm, you know, it's, it's appointment. It's in the diary. Love that. Yeah. Um, yeah, fantastic. Amazing, beautiful production design. Love the. the acting of most of the Japanese contingent Cosmo Jarvis. I got very confused at the start with what language is this English person speaking to the Japanese? It turns out it's Portuguese, but it's actually in English. But everyone's speaking Portuguese, but for the sake of the view is that everyone's talking in English, apart from the Japanese and that is translated. But we won't translate the Portuguese because that would be too much translation. Who is, which one is Cosmo Jarvis? The main English guy. The English guy. I do like him, but he is such an actor, isn't he? I imagine in real life he's either like the best guy who buys all the drinks or an absolute dickhead. I can't decide. He's just like, such a right-eyed, good-looking character. He's sort of like affordable Tom Hardy at this point. Although his stock has obviously massively skyrocketed after this. But he has that like... I assume that those people just sort of grow, but they're just everywhere. I met another actor who very much reminded me of that. I keep trying to describe the difference between comedians and actors to people, and I just think that, comedians aren't that, but comedians can become actors, but actors are just that. You know? They're just like doing rep theatre somewhere like that. And then they get cast in something like this because they're very good at it. But they're very like, committed! And just dry, you know? And that. 100%. Acting is shouting, isn't it? Is it? I think he's very committed. I think he's very, from what I've read, he's quite method in that Tom Hardy way. You'll probably find him like late night in a hotel bar. barking in the background, that, those kinds of noises that I think he makes, but I'm really, I think it's a fantastic series. He is good. Don't get me wrong. He's very good. He's absolutely perfect for the role. Yes. And so, um, I'm enjoying that. I last night, uh, over the weekend, we binged a Netflix series called baby reindeer. Oh yes. The Richard Gad one. I've heard nothing but great things about that. Absolutely fantastic. Like brutal and incendiary and very British and the comedian kind of fringe element, I think would be. Yeah. It's so, it's so, I didn't know that was sort of in production or anything. And I don't personally know Richard Gad, but like I, I'm aware of him and I have, uh, seen his shows. And so it's like, it's very cool that, that I, which I think it was a fringe show or it's based on a show. Yes. And now it's like a theater show that I think international Netflix thing. Yeah. Incredible. It's brilliantly confidently written. You can tell it's a fringe show. You can tell it's a piece of theater that's been poured over and it looks fantastic. It's really confidently directed as well. I think it's really, really great. We love that. It's, it's brutal and it's honest and it's really revealing and unflinching as they say. Um, uh, And the last thing I watched recently, I went to the cinema. Oh yeah. There were loads of cinemas in Amsterdam. That's one of the best things about living in Amsterdam is the amount of cinemas for me. That's actually something I'd never considered, but it is true. There are a lot of cinemas. There's a good range of like multiplexes and there's also quite a few little indies, aren't there, that are all really good. Yeah. So we went to a little indie cinema called The Movish. Oh, the movies up on the top there on Hallemmerdike. Yep. And we saw a film called Love Lies Bleeding. Okay. Yes. Kristen Stewart. Wrestling. Kristen Stewart. Yes. Well, it's more bodybuilding. They've got a fantastic actor who's called Katie O'Brien, who's obviously. was a bodybuilder first and they found her is by Rose Glass. Who's a British director and it's her second film. The first film she did was called St. Maud great horror film. And this is like a body horror kind of really great genre piece and like visual, like very visceral in it. And Ed Harris has got a great haircut in it. And I really loved it. I really enjoyed it. So that would, that would be. You sold me on Ed Harris's haircut. Actually that's what I was already intrigued. It's a skullet for the ages. It's, it's fantastic. Yeah. Apparently he put it on as a joke and the director was like, that's great. Keep it on. So, yeah, love lies bleeding. Um, sometimes the hair piece can just make the roll, right? Yeah. It's like old, um, what's his face in Blackberry. Hold. Um, it's always sunny Glenn Howerton with a, with a bald bit with a hair around the sides, it's just like, I bet as soon as he put that on, he was like, well, I am the guy, I'm the guy now. Yeah. I mean, sometimes they put their shoes on and you feel like you're walking in their shoes. Sometimes it's hair. That's what these method actors don't get is just put on a fun, just put on a fun wig or do an accent. The last jewel that Ridley Scott movie that was mostly about Ben Affleck's hair. Damon's crazy hair. Remember those wacky hair? I haven't seen that movie actually. Haven't seen it. Firstly, the hair. Secondly, a fantastic jewel, the last jewel happens right at the end and it makes you wish there was more of the jeweling. The jeweling. They, they, they keep it quite towards the end, but you're watching and you're like, ah, Ridley Scott can really do action set pieces really well. Okay. Yeah. So I really recommend it. It's on Disney, I think now. So that's what I'll add it to the absolutely insurmountable list. Stuff. Just pop it on there, pop it on the very top of that pile. Yeah, yeah, 100% I don't know if, since the last episode was a little while ago, I've been away a bit, and that's why there's been a bit of a delay, anyone who's counting, I don't know if I had seen Dune 2 then, but I have still, I've still seen it, whether I had then or not. I think that is the last thing that I saw in the cinema. It's good. Oh, yeah. You said it was good. Yeah. Have you, do you also see it? Yeah. That's fantastic. Yeah. I would, I would say better than good. That's like, yeah, definitely better. The good I've said is a solid four star movie. Well, do you think it's a fiver? It's yes. Yeah. It is what it is pure cinema, isn't it? And I think maybe it's easy to overlook that, but it is like, you must see this in a big cinema with a big sound system because it's scary and loud. And it, and old Denis Villeneuve just, you know, just knows how to f**king make things epic. Yeah. I think we had a little WhatsApp about this, didn't we? Just the scale. He's so good at like, even from like arrival, you know, on, he's really good at making things really massive. Yeah. And that movie is full of really massive stuff. I saw it at the IMAX with loud music and like you say, it's just a visceral experience. Terrifyingly loud at times. Too loud sometimes, but just fantastic. Again, just from an experience point of view, I saw it with a friend who's read all the books and had some thoughts around that. I'm not into the lore at all. I saw the first one and really enjoyed the first one. Sames. of went along for the ride and blew, blew both my socks off. I wear two pairs of socks. You have to at this time of year in Amsterdam. And cycling around and it blew not one, but both pairs of socks off. Well off both feet as well. So four socks out of five. That's pretty good actually. That's the new rating system. Where's the fifth sock? Red hot chili peppers. We don't need to know. Okay. Good rating system that though actually for. many socks got blown off, but you have to also explain that you're wearing two pairs. Haven't thought of the way through, but it could work. It could catch on. I've had this conversation with a couple of people about ratings on Letterboxd. As you know, I'm a big fan of Letterboxd and I still do rate things out of five, but I noticed that a couple of people stopped doing the ratings and just writing a little review. And I sort of was like, I wonder why that is, but I knew deep down. Well, sometimes you can't get that. You're not always comparing apples to apples, you know, like something that you're watching like a 1950s black and white detective movie and you're comparing it to June too. Like what is the system? I don't know. I mean, it works for Empire magazine somehow, I guess, but sometimes you just sort of have to be like, I really liked this straight to video karate movie, four stars and then Oppenheimer. I also liked this four, four stars is that, you know, part of me is like a, maybe, maybe I stopped doing the star, the star sock rating and just write a couple of sentences, but it's just the shortcut, the shorthand, isn't it? It's the star rating. It's reductive. It is reductive. Yeah. But, but I quite like it because it makes you think about how much you enjoyed the film and quite a summing it up in a simple way. Yeah. And it has to be subjective, doesn't it? That's the thing. Yeah. But yeah. I mean, ultimately it is. It's like, well, I thought it was absolutely bloody great. I'm giving it five. I never give anything five. Do you not? I could quite. RRR and John Wick four, maybe. I think just things that have really blown all five of my socks off in the cinema. It's very rare. It's very rare. But yeah. Yeah. I think that's it. What? And it also, also it's like, it's like the Dutch, nobody ever gets 10 out of 10 because that means there's no room for improvement, you know? I, yeah. But saying that I'm not sure how you improve on June to doing what that film did. I don't know how you improve that. It's really, you know, it's really good. It is, it is great for, for what it is, which is an epic sci-fi fantasy. Action romance. Yes. All of those genres. I did watch the first part of the Steve Martin documentary on a plane recently. Don't know if you were even aware of that. I wasn't. No. I judge, I guess that just by your face now. It's a sort of two-part biography, autobiography. He narrates it. First, the first part is about him sort of starting out doing standup, which I have watched. which was excellent. And the second part, I think is the sort of latter years from when he stopped doing standup. I haven't watched that yet. They said, I don't know. I assume it covers movies and banjo stuff, but prestige television television. Yeah. All the murders in the buildings and that kind of thing. Yes. It's very good. I've very much enjoyed it. It was such an interesting story and it's great to hear it, you know, from the horse's mouth and also there's loads of good archival footage from when he was starting out and just sort of fine. Gee, just sort of like invented a sort of style of comedy or, you know, pie, he was a real pioneer. You forget such a long time ago, but yeah, he is one of the greats and it's a very interesting doco. Does the first part cover like the jerk and the man with two brains that early? Is he still doing standup when he's doing? I think he basically stopped doing standup. as he started doing those movies. So yeah, it does, it does vaguely cover, I think the jerk cause that was his first one. Right. No two brains. Um, I would say it's up to and including the jerk that's recommended. Nice. Also watched a documentary about, um, Tony Hawk's pro skater, the video game. That's just reminded me. I've watched the one about Tony Hawk on, on HBO, which is great, but not the video game itself, which has made the video games made. crazy amounts of money. Yeah, very quite an interesting documentary. Yeah. On YouTube's? Where did I find that? That is these days. I sometimes when someone mentions something, I have to stop myself going, where is that? Because because we're, we all live in different countries and I go on just watch.com and go, is it streaming in my country? And then is it streaming in anywhere where my VPN works? And then after that, you just have to sort of, you know, go digging a bit. Yeah, I'm not 100% sure. I couldn't say where you can watch that, but it may vary by country. It's called, I think, Superman, the Tony Hawk's Pro Skater story. It's enjoyable, but they don't play the Goldfinger song until about halfway through. And that felt like a real missed opportunity to me. But thankfully they do get to it and they do talk to John Feldman from Goldfinger and that sort of thing. Nice. Yeah. And if you're, you know, a man of a certain age, like I know we both are, you've... probably spent a lot of time playing Tony Hawk's Pro Skater on PS2, I imagine. Maybe PS1, the first one. Yeah, the first one. And then two and three were the absolute. I lost a lot of, lost a lot of hours to those, to those games. Absolute classics. Yeah. Absolutely brilliant soundtracks as well. And so it was a documentary that must've been able to clear that music. So it had a bit of money behind it. Wasn't that huge? Yes. It definitely had. some chat about the music, some chat with lots of the skaters. They got Tony Hawk in there. Obviously that would be a real problem, I would say, if they didn't manage to. It was a super low budget doc, but like, you know, yeah, it was nice. It was nice. Nice. Three stars, three stars, three socks, three socks. Documentaries nowadays, I feel, are being self-produced or executive produced by the people that they're about. And sometimes Obviously with the Steve Martin documentary, that's good. It makes it also more like autobiographical, but some documentaries I've watched, the two that come to mind is the David Beckham documentary and the Robbie Williams documentary. One of the documentaries is edited, well, partly edited by the director of the film that we're going to watch today. Those documentaries like say they're from... from a more objective point of view, but when they're executively produced by the people that they're about. Like they get final cut, you think? Yeah. I felt with the David Beckham one and with the Robbie Williams one, it was like a little bit of a, yeah. Puff piece? Yes. But disguised as, you know, an authentic documentary. Verite, yeah. I didn't see the Beck's one apart from the meme of Victoria Beckham's dad's Mercedes or whatever. But I did watch the first episode of the Robbie one. And, I mean, it's funny to think that he is behind it and has final say and he's like, I should just do it in my pants in my bed. That seems like the best way to do this. Not one of those lovely sort of big depth of field, like two cameras, one of them's moving Netflix setups, just get in the bed, mate. But I did enjoy it. And I think there was a lot in there that I didn't know about those years. And I think he was quite open. But yeah, you're right. If he's like, don't put that in, mate. Yeah. Going in, is it? And if he's in his pants, basically watching old footage of himself, it's very close to ownerism anyway, in terms of just like, a little bit, but yeah, I watched the first one as well. And I was like, this is just all. Well, somebody edited one episode of that multi-part documentary. I'm not sure which one, but the editor of it was a man named Will. Will Gilby has written quite a few films and he's edited quite a few films. He's won a bloody BAFTA, I believe, for editing that The Bross documentary. Love that documentary. And now he has stepped up to the proverbial plate with his directorial debut, Jericho Rich. Now, our feature presentation. Dodge this. Joe, we've made it through to the private password protected Vimeo screening link slash local multiplex. And it's time to watch Jericho Rich, the aforementioned directorial debut of Mr. Will Gilby, which hits UK releasing times this month, which as I speak is April 2024. Hopefully that means you can go and see it in your local cinema. If you live in a cool city like Amsterdam, that's got loads of cinemas. I don't know what the programming schedule is for it. They don't tell you that kind of stuff. I'll, I will start with, I'd highly recommend going to see it, but I will have Joe run us down on the old appellate. We open on some fantastic- Hex just absolutely grasped it and gone for it. We open on fantastic vistas of snow peaked mountains. He's reading the stage directions, I love it. I just remember it opening with like really great visuals of, and I was like, wow, where are we? This is, this is, this is the Rockies. It puts, that's where we are in the American. Well, great question. Yeah. Um, and we open on a cop, uh, a policeman getting up, uh, brushing her teeth, uh, telling her son, uh, they're going to go to work. And, uh, the cop is played by Nikki and Mookabird is recognizable. A great British, uh, actress been in loads like Avenue five and popped up in old. And really great. Just I really like her. Yeah. Recognizable face where you go, Oh, what do I know her from? Yeah. There's a lot of that in this, isn't there? We'll come back. Definitely. We'll come back. She's not only got a recognizable face, she's also got a big boot on. She's recovering as she's a limping cop and straight away as a limping cop and definitely in that kind of American kind of local cop, I was like, slice the lone cop plan, let's do it. I love that film. Oh yeah. put me right in the mood for that. That's a good, not even that deeper cut, but good reference. Yes. Copland. Yeah. And then, yeah, she goes to, she's a local deputy. I'm not quite sure on the, the hierarchy of American police. I should be, I've seen enough of these things. I know, right? I know. I want to ask Will Gilby about, about this, because it seems like, you know, All these things are like, we probably know how our Sheriff's Department works, right? But then I draw a movie and it would be the most, like, sort of high school level, oh wow, Kowalski, get in here! And I'm like, this actually seems quite realistic. I'd love to know how much research got done. Yeah. So, she turns out that she's been, was... Deputy? I'm gonna say. Chief Deputy, I think, right? Chief Deputy, okay. Vice President Deputy, and she's been booted down. Assistant to the General Manager. There's a load of, yeah, all of her colleagues come in, and some are above her and some are below her in the hierarchy. Okay, okay, okay. He's got a bit hooked up on the hierarchy of a local Sheriff's Department. Yeah, yeah, yeah. It's the Sheriff's Department. Yeah. And everyone who comes in. Simon Coons, Chris Riley from slow horses. And I'm like, and then Michael soccer's being arrested. I'm like, hang on a minute. It's everyone going to be British. And the answer is yes, everyone is going to be British. You think this film. If you were wondering. And yeah, quick little Google and like, Oh, where they film this? Cause the scenery is fantastic. And they filmed it in Kosovo and everyone's British. Yeah. And, uh, that's the, again, that's just. being someone who makes TV and tries to make films or wants to make films. It's like, oh, this is already a smart film. Incredible, right? Yeah. Get back to the plot. We're in the Sheriff's Department. Oh, sorry, sorry. Yeah. We're in the Sheriff's Department. Skip to the end. No, a lot of cameras are being used. Surveillance cameras have been installed, Again, smart filmmaking in terms of like, how are we going to show all these angles whilst all keeping it in one location? Um, the higher up Sherr escape corner. Oh, I'm sorry. That's an inciting incident. Um, so, uh, the locksmith, there's a locksmith that turns up. Fucking hell. Well, you do it then. I thought it was, I'm just, oh, that what's that? So you, what, what happens next then? I thought the locksmith does turn up to people get turned. Yeah. No, that is, that is true. You're absolutely right. Yeah. I just wanted more. I wanted more bullet points and that's like real time. Oh yeah. You said this has to be a tight 45. Okay. So, um, they have this great thing where the locksmith turns up. And she lets the locksmith in. They've been robbed. That was another thing. Sorry. They've been robbed. Quite a major point. Yeah. Sorry. So Simon, you take over. No, please. No, don't. Please take over. I'm dreadful at doing it. That's why I forced, I guess, to do it and then critique them while they're doing it. Okay. So, yeah, the place has been turned over. They haven't stolen all of the guns. So they've left the big guns. That's what I remember. Yeah. Now I'm really nervous locksmith turns up I mean it to fix a fix the place there the room that's been busted into She's like don't touch anything and then there's that great kind of ghost story can see where She's on the phone to a boss and saying like oh the locksmith here And he said the locksmith called 30 minutes ago. He can't make it Ghost story stuff so the locksmith isn't a locksmith There's a fricar, a bit of a fight with guns, although she's been left a gun without any bullets in it, but then she finds some bullets, she puts those bullets in. Sorry, I do try. I'm trying to make this more pithy. He gets put in a jail next to Michael Soccer. He's not a locksmith, but can pick a lock. So there is some kind of crossover job wise. Whatever he does do, he probably could. be a locksmith, but he's decided not to. He's probably during the pandemic, there wasn't a lot of crime stuff to be done. He retrained. We don't know. He's, he's, he's on the other side. He's got, he's a bad locksmith now, the, you know, the rogue locksmith. Yeah. Um, and then it essentially turns into a siege movie. Oh God. That's all I needed you to say. That's we got there. We got there eventually. Excellent. Excellent so much actually. No. And you, what you did do very nicely. Um, which this movie also does is you put all the pieces in motion for lots of things that we, um, I would love to talk about. So actually, actually great job. And I can go fuck myself for being quite rude during it. Say thanks for that, Joe. Yeah. It is you. Well, you texted me saying what your favorite siege movies and that I was like, that is a great. I think it's impossible to like talk about a movie like this without immediately going it's not a precinct 13. But you mentioned a whole bunch of other ones that I hadn't thought about without Googling list of siege movies. Oh, I Googled. Yeah. You Googled. Yeah. I thought they just came out of your head. Oh, no. Some of them were at the top of my head and then I reinforced it with Googling. Reinforced. Strong, actually. And in fact, well. Well, one, I think we can discuss it like the exact, what makes a Siege movie, I think. I think I know the answer to this. Is it just people outside trying to get in? People defending something? Yes. The baddies are outside and they don't want to be let in. It's, it feels like from, again, from the light Googling, and it was light, it wasn't too much, the light Googling that I did do. It does seem like it has to be a single location with people outside and people, people outside wanting to get inside. And so movies like that, um, the ones that this without Googling, one of my favorite movies growing up, what probably on a rewatch wouldn't hold up toy soldiers. Yeah. I'm used to have that on the, on VHS. Owned it on VHS. Big fan of that movie. I think probably because it's set in a school and we were young and they were fighting back against the baddies, right? Like you say, Will Wheaton. Will Wheaton from Star Trek The Next Generation. Etched in my mind the scene where, a scene that I've enacted throughout my life a thousand times where I disarm a gunman. And then they play it out to sort of... a degree of realism that you just would not expect in a movie like that, where he tries to shoot the AK-47, but he can't control it and it just sort of shoots up into the air. And then I believe, I'm happy to be quoted, corrected, but I believe he is then killed. He is then killed. Thus, sort of spoiling all of my childhood and adulthood fantasies of disarming a baddie and then John McClain-ing them all. Yeah. There was, there were some nice kind of turns in that film that may have probably made it cooler. It was like, oh, this is slightly different. I haven't watched it since probably the 1980s, early 90s. Yeah. I wonder, I wonder how it, how it holds up. Could you rewatch it for the podcast? Could just do a bloody rewatch, couldn't we, for a bit of fun. Yeah. All right. Let's pop back in a couple of hours. Let me just get on to Just Watch, see if it's streaming in India. I haven't seen it on any of the big streaming services. They haven't, I haven't seen that. It's not popped up. And that should, that movie's title has not popped into my head for so many years until you mentioned it. There was such, that is a proper good deep cut siege movie. Sorry. You were going to list some others. Um, less deep cut, more obvious ones. Dust till Dawn. Yeah. The, the Robert Rodriguez. Again, slash Tarantino, right? slash Tarantino. He was arguably like his half is the siege movie, right? Yes. Because Tarantino's is the sort of quite dark and creepy first half. With the feet. Quite a lot of feet action in it, because it's Quentin Tarantino. Also, it's got vampires thrown into it. Recent Notable One's Green Room I really liked. Yeah. Now is that a Siege movie? That's an interesting one. Oh, they're trying to get out. They're trying to escape. aren't they more? Is it? No, no, they turn up and they're trying to get in. I feel like they barricade themselves in. Right. They're old. Again, that's like in an old punk club. And there's this kind of Nazi element to a lot of the... That movie goes fucking hard at times, doesn't it? Jesus, it's brutal. More Star Trek Next Generation from old Pat Stu. That's right. Oh yeah, Pat Stewart's playing an absolute horror show in that, isn't he? Yeah. That's a good movie. That's a good movie. What other siege ones come to your mind? Or cop shop is probably the most recent one, right? Joe Carnahan, who's in that, but Gerard Butler. Okay. Grillo is Grillo in that. That's, that is, you know, that is quite, I mean, there's more parallels, I suppose, with this because it is literally set in a police station. A song Precinct 13, I suppose, which I haven't seen for a long old time. And I haven't seen the, um, the remake either. No. But even that apparently John Carpenter sort of big fan of Rio Bravo, old Western. Um, so I don't know what my point is there. So when, when people go, oh, you got someone Precinct 13. Yeah. That's not, that wasn't the be all end all of, of siege movies. And that, yeah, the siege movie genre must've. sprouted out of the Western, that seems like the most obvious place where it comes from. Someone defending a fort. I think what all Siege movies do, and what this one does well, is works within its limitations because Siege movies usually come out of budget requirements to only have one, if maybe two locations. Yes. Do you think so? Do you think that's... Like historically, do you think that's what it is? I definitely think it's the case in this one. And I think that's, it's a very shrewdly done in that regard. Yeah. But like, so something like from dusk till dawn in, when I think like my immediate thought isn't well, budget restrictions meant they probably just built one big set and had the five vampires there, but you know, but could, could be the case. I think so. I think it might be with all these things when you come to keep it in one room, having to picture movie and having to sell it. You can be like, we don't need a lot of time or a lot of space to be able to do this or a lot of locations, we can do this in three weeks in this one space and we can make it look great. And I feel like Assault and Precinct 13, a lot of early John Carpenter stuff, like working with the restrictions rather than against them. And that's where great genre pieces come out of. Yeah. Must, it must all come down. Unfortunately, when it comes to making films, it must all come down to like, how much is this going to cost? How long is this going to take? And how, how quickly can you do it or how well can you do it? And this is something that I loved about Jericho Ridge of like the way they use these covert cameras and these dash cams to show us outside of the, of this single location of, of inside the siege. Yeah. Yeah. In both a money way, not to be too cynical about it. No, but it made you feel like there were more locations in the movie, right? Even though it was like a fixed camera on sticks, sort of one shot. Yeah. It wasn't like a whole day to go to another location. Very, yeah, I mean, he's written a bunch of films, right? He edits films. Will Gill be the director. this feels like in the best way possible, a movie written to a budget. Yeah. Like we build two sets. We find one exterior. We make, we can make it look really good. Yeah. And apparently they shot it in 25 days. Amazing. And it does look really good. And it does. I don't know what the budget is. I'm imagining a couple, three. three to two to five, two to five. No one will ever tell you. So, no, exactly. But again, like using, using the single locations and doing it in a way, again, other genre films do it well where you can weave the restrictions of what you've been given into the story itself and make it part of the fabric of the story. So it doesn't feel like that. You sort of reverse engineer the. limitations into the script. Exactly. Or forward engineer or just engineer. Just engineer. Just, yeah. Yeah. And I think, and I think going to maybe Kosovo to do the exteriors, I don't know if they filmed it on a stage. And that's my question for, for Will Gilby. Yeah. Is, is that building that we see inside the actual thing, or is it? in a studio, the inside parts. Yeah. Cause he talked about it being very, very cold and most of it is inside. Yeah. There's only a few exteriors. So I wonder if they just, that is the set. I don't know, but am I being super naive thinking they would build it the inside, outside the facade of the sheriff's office? I don't know. Cause there's a, there's a couple of shots where they come through the window, out of the front door and then they're outside. And I was like, Oh, hang on. Is this just stitched or is this the actual set here in this bit of woodland in Kosovo? Yeah. These are all great questions, which I'm waiting with baited breath for the next installment. Well, anticipated, patery listeners will be excited to know that all being well, I will be speaking to the director, Will Gillby on the next episode. So I will put these questions and many more to him. Hopefully he will offer up some morsels for us. And the other really clever thing, and not to sound too Brexit about this, Was that none of this money went back into our country. Take that. Is Kosovo in the EU? I don't know. No, but again, if you're going to make something like this in 24 days in a single location, make sure you get really, really great actors and not to sound too British about it. A lot of the best actors in the world come from the UK and the cast in it is really good. I really enjoyed all the performances. I thought everyone in this was excellent. And until I think, until Simon Coontz turned up, I didn't have an inkling. Because I was like, I recognize that man. And then my little cog started whirring. And then I, and then there, you know, then my sort of radar was up. And I, you know, there were a couple of little, if you're listening for the accents, you can hear occasionally, right? If you're going to be super pedantic about it. But yeah, everyone in it is really good. And Nikki Amuka Bird, who I have not seen, I don't think in anything else, absolutely kills it in this movie. I think she is really, really great. Yeah. She's the glue that holds the whole thing together. Yeah. Incredible performance. Yeah. And again, just really smart kind of casting. It's just a really clever film and that really an hour and a half. Yeah. An hour and 45, somewhere around that really tight. Under 90. It absolutely, yeah. Gets in, gets its job done and then gets out and ticks all the boxes. Yeah. I wonder if again, these are just all questions that we won't be able to answer. But I'll jot them down and I'll ask Will. All the exteriors, are they Kosovo or is that America as well? That's a good point. Like the sort of that pond five, that shutter stop. Some of it did have a, now you mentioned it, there were watermark on it. Like I said, the budget was very tight. The budget didn't go to getting the watermark off. Okay. It's creative commons. Yeah, no, that is a good question. Are those drone shots Kosovo or are they? we have some nice drone shots of actual rural America? I don't know. Jason Vale It looked like it looked like the Rockies. But again, Kosovo could look like... Jason Vale Do you know what Kosovo looks like? Jason Vale No. Jason Vale So that's the genius of this production team, isn't it? Coming to this from a sort of having written a bunch of other movies, and also being an editor, I think, must really help in terms of... Oh, interestingly, he didn't edit this and that's obviously I want to ask him why. I feel like I probably know why he didn't want to, you know, just have the full, I guess autonomous no input vision on it, perhaps in the edit. Or maybe it's just so fucking so tiresome sitting in an edit that you wanted someone else to do it and to sit back on the comfy sofa at the back going, can you maybe move that in front of that? Yeah. I think it's a good filmmaking is such a team sport that you want to try and get. Well, confident filmmaking. You want to try and get other people's opinions in and even as, as an editor. And if you're writing it and directing it, yeah. If you're going to edit it as well, it just makes an exceedingly lonely process. That's true. Actually. Yeah. You could, you would just be sat in the room on your own. Gosh. And you need, you need people to bounce ideas off. But also it could, it would become so sort of singularly voiced that you perhaps would be like, I, um, mine. When you're like, well, maybe it would be quite useful to get a bit of input. Yeah. You can't do, there are fantastic filmmakers who do that. So Steven Soderbergh, for example, pretty much writes it, shoots it, edits it. Yeah. Sings the theme tune, writes the theme tune. Waterman. So, uh, it's. It is doable, but when you're working at this sort of pace, and I can imagine writing it, I've never written anything, but I can imagine writing something like this. Again it must be so terrifying, or singing into the dark really, or not knowing what's good and what's not. I can understand, yeah, why he got an editor in. I think my big question, and probably one I'm gonna record for, if you want me to record a question for him. like is within the kind of editing field basically. So with his background as an editor and having worked with loads of other people's footage, how does like an experienced editing knowledge, how does that change or modify how you work as a director or even as a writer during the scripting and the pre-production like. That's a great question. Yeah. And I think I trod on the end of it very unprofessionally. I'm sorry, I should have left a little bit of breathing room there for the edit. I think it must just, well, I mean, we've said it comes in at a lean 90 minutes. So when he puts pen to paper, you know, he knows this is two sets, one exterior. We're going to, I'm going to set this up here, going to set this up here. It's going to kick off big time, 40 minutes in. then it's going to be a breathless race to the finish. And I suspect as a director it must very much help to kind of, in your head, be editing, right? I mean, a lot of good directors talk about they're assembling the shots in their head as they're shooting, right? I guess some, not all, I mean, I'm sure some just point seven cameras at something and blow it up. But when you're on this much budget and this tight a time scale, you sort of have to be thinking very much in terms of like the storyboard in your head. Yeah. When to stop, when to keep going. Yeah. And as an editor, working with other directors, he must have been like, if only you had thought about the edit when you were directing this. So I feel it must play in so heavily as to not only, like you say, the scripting, but also the kind of direction of like, okay, I don't need that here because we're going to cut away from it somewhere else. Right. the clever use of, like I said, the dash cam footage, how we're going to do that, what that's going to feel like. Yeah, very smart. Actually the dash cam stuff, like I hadn't thought about it in as, in as obvious as terms, I guess in that, like, it really does take you out when you are still in the single location. It's a very smart device for making the kind of playground of the movie feel bigger. You're like, Oh, remember when they went to that house? You're like, well, they, They didn't, she was just watching the monitor of them at the house, but like, yeah, it's like a very cool conceit. Yeah. And, and just a good way of opening the world out and making it feel less interior while still being fully kind of interior. Yeah. When it all kicks off, I was going to say the action is very, um, adeptly handled, I would say. Um, I love to debate ad nauseam, whether things are technically an action movie, but I think I clocked when the first sort of gunshots were fired was 40 minutes into this movie. So almost, it's almost halfway through. It doesn't feel like it because it's such a good build. But from then on, it sort of doesn't really let up. And I think the claustrophobia, the constant tension, there is like a few scuffles, there's a lot of gunfire, there's running around. I think it has to qualify, isn't it? Isn't it actually a thriller? Isn't it? That was another, how would you describe it? Clinical, tactical, smart scripting choice that I wanted to ask him about is, does she have the cast on her leg so that she moves around the set slower? Nice. That's a good, yeah. What do you think about that? Cause if she was just like fully fine, she could just be running back and forth, but everything is like a struggle. Is it just like to add another layer of struggle? Like what is the thinking behind it? I think so. You've got to give people a reason not to leave. I think if she, maybe she could leave, she could just run away. Yeah. That's true. Yeah. Get in a car or the technically, although they do, they drive off in the car. One of my favorite bits is where. Chris Riley and Simon Kuntz come back in the car and then they get shot while they're in the front seat and they do some fantastic getting shot dancing while sat down. They really get shot to bits. That is a very, that might be my action replay moment. That reminds me of like in, who, what is it? I think it's in one of Michael Mann's movies. You know, he's such a, like a gun nerd. And when people get shot in his movies, it's like so, I think it might be like Miami Vice or something. Okay. Where someone's got an absolutely huge sniper rifle and it like, when it hits things it's just realistically like, it tears through, you know, like a car and the sort of body in it. Like, it sounds horrific when I describe it. But it's that. It's very surprising amount of gunfire and spoilers, people getting shot up, yeah. That's when it really kicks off, I would say. Right. I would say the inciting incident is the locksmith isn't coming, right? He's in the call. Script watching. Yeah. And then it really kicks off when the gunfire starts. And then I think just the sort of between the cinematography, the pacing, the score is excellent. The bad guy is very menacing. He's got a very sort of angular face and that long hair that only very angular faces pull off I think. He's a very just overconfident criminal baddie, terrifying. And then it just goes, you know, like it just sort of, it's that snowballing of, it just tips it over the top of the hill and then it really doesn't let up until the sort of final frames of. you know, no real spoilers like the cavalry eventually arrives. Obviously, it's the sort of, if it was a diehard movie, it would be the helicopter shot pulling away of him sitting in the ambulance with like 50 police cars around. But this is a smaller scale production where they do get those big escalades to bowl up at the end, which is very expensive, I imagine. And yeah, and then, you know, she finally sort of staggers out. Yeah. If it was a, if it was a Don Lee movie, he would be walking off into the sunset, past the car. That's true. I don't know how Rio Bravo ends, but yeah, the sort of the Western-ness of it would be that. Yeah. The, the, the lone gunman. No, not the lone, the, the hero, the lone hero walks off into the sunset. And that kind of happens, but yeah, it's so incredibly taught tight, tight. And I guess that that's so rooted in, in Will Gilby's editing. background, right? You must have just tightened this within an inch of its life. Zero air in any of the scenes. And yeah, the action, that would be something that would terrify me kind of directing action or directing guns or knowing how... blood packs were in the choreography around, you know, just triggering them at the wrong time and just, uh, Well, here's a little tidbit for you. A couple of weeks ago, I was shooting something and, um, I had a, uh, blood pack to explode into my face, me and another guy. And that is absolutely terrifying. I'm not going to lie to you. They basically just put a tiny piece of explosive in a bag. they can't go, it's going to be like this, just watch, we'll do one over here. They just go, we'll just attach it to basically like a bloke, so holding a two by four with this thing attached and then holding it like yay far away from my face. That's going to work great on the podcast, two feet away from my face. And they were just like, okay, you know, we'll just say three, two, one, this will explode. And then you react and say, and then, and say your line, say your line. First time it sort of went. didn't really get enough blood on the face and then they're just like, well, we'll just make it a bit stronger this time. And then I will also add, you know, I'm in India, so the health and safety is feels like it's a little bit less unionized, shall I say, on movie sets, you know, incredible massive sets, huge budgets, very professional, but just occasionally things feel as, as somebody literally said to me. This ain't the BBC, mate. Second time they made it a bit stronger. I almost took my co-actors fucking head off. Did you get the line out? Yeah. I was very Tom Cruise broken ankle on the roof about it. Like we're not doing this again. Absolutely terrifying. So yeah, you're. Sorry, I made it about my blood pack story, but, um, no, that's great. You're right to handle that stuff confidently is, must be so difficult. And I assume you just have to have a great team of people around you who know what that stuff does and how it looks. So you, you'd get it on the first go. Cause you haven't got time or money to like reset everything after you've blown it up. Yeah. Good, a good action designer, a good second unit director. Yeah. Once again, I'm fascinated for you to speak to him and to get these answers. Vicariously, yes. I want to know, yes, please. But yeah, geography, I think, is a word we haven't said about this yet, but that is so critical in sort of setting this, the ball, the wheels in motion for this movie, right? Before anything happens. everyone or our lead character has basically walked around every part of the set. So you know, that bit is over there through that door leads to where that is out there is that, you know, and then when the bullets start flying, it all makes sense in your head. Nothing feels too crazy. Yeah. And the CCTV helps with that. Other surveillance cameras around the space help with These are covert, I think they're even labelled maybe in the UI of what she's watching. And then they lose them halfway through and it was like, oh, we've lost our only advantage, which was quite cool. And yeah, so again, the establishing of geography is really well done. It doesn't feel heavy handed, but again, feels woven into the fabric of the piece. Right? Like they've got cameras all around, so they can see when people are trying to come in. Alright, well, let's take it up a notch. Now that the cameras have gone out. Or there's, you know, how do you make the same set look interesting and different 20 minutes later, where, like in the bit where the cells are, there's some gunfire. One of the fluorescent lights comes swinging down. And suddenly that sort of, you know, brightly fluorescently lit bit of cell becomes like a quite scary, claustrophobic, intimate, very contrasty, lit, same bit of set, totally different look. And I think the same happens in the upstairs when various things explode. There's a really deliberate and interestingly shot bit where she's having a sort of heart to heart with her son. And it's just like... You know, you could have shot it in so many different ways, but he's like sat on the floor and there's like the shadow of a desk and it's just so nicely art directed, cinematographer directed, like just so many pieces come together to make it just look so nice when it's a person sat on the lino floor talking to a person in an office chair, you know? Yeah. It's really well shot. Yes. Yes. I want to shout out the DP at some point, as I scroll through the IMDB, he's got a very Irish name. What is it? It's Rory O'Brien. Yeah. Rory O'Brien. Yes. I think a lot of the, how do you say, a lot of the production value can be laid at the feet of the DP. And the, you know, the, the lighting, the art direction, because it does, it sounds, it sounds like not a compliment, but it does look much more expensive than it definitely was. Right. Yeah, definitely. And again, just one of the many benefits of working in a single location or working with a set build is that you have the time to light it, pre-light it, do all these different spaces and make it look amazing. Again, it's just all the money you're saving is going on to the like the, the value of the production is production value. Right. Does that make any sense? But it's just, it's just, yeah. The production value is everything's just really well thought out within the parameters of what they have. I think it's really smart and really great. Yeah. And I think, yeah, it looks like several million bucks more than the ones that it was, that it, that it was. Um, I just thought as well. James Nunn's first movie, Tower Block, could potentially count as a Siege movie. Single location, they're trapped inside a tower block and there's a sniper outside. It's great. So he hasn't it. Yeah. That's just smart. Yeah. Smartly written. Keep it small. The raid to that could be a siege movie. Attack the block. The first raid. Raid twos when they go out everywhere. Right. That's what they do in second movies. Once you get a bigger budget. Get out. Let's get some locations. Get a car chase in it. Other shout outs for other siege movies, just to circle back. Please. Lock. Or in the car. Or Tom Hardy in a car. Yeah. Very interesting. Haven't seen that actually, but yeah. Maybe not. Fantastic. Is that a siege movie? No, but it's one location. Okay. Yeah, you're right. It's not a siege movie. If the location is moving, does that count? Yeah. Yes. A single location in the, um, I don't know if you've seen any bang bus. Fake taxi is a technically a siege movie. No, I've, I've drifted into single location movies because yeah, these aren't siege movies anymore. But yeah, this, this is a fantastic siege movie that you should go and see at your local multiplex. Yeah. I highly recommend it. It's a really strong debut. Just like I said, this is, I said James, I'm with a safe pair of hands and I think I need to just think of a better description, but confident is I think the word. confident debut. It just knows exactly what it is and it slots really neatly into the genre, but it does its own thing and it does it in a really nice, mature, confident way. I think it ticks so many boxes for me. And I think it's just sort of quite cool that it's like a British director, British cast, shot in Kosovo, but it's about a small town sheriff's department. I may or may not have had a 10 minute waffle about that earlier, depending on whether I leave it in. But yeah, I would just absolutely recommend it. Before we go, Joe, I'm going to need your action replay a moment. It's tough with this one, isn't it? Because I think, because it's not like, oh, there's that one amazing fight scene or there's like that big stunt to narrow down the sort of repeatable moments. So while I watch your cogs whirring, I will toss out the one, I can't claim it because you brought it up first. So you can, you can have it if you want it. The bit where the first, the first bullets go. That's pretty great. But I will also bring up a second moment, which is, an absolutely classic Chekhov's gun situation where, correct me if I'm wrong, but Chekhov's gun is like, if you see a gun, it's going to be fired at some point, right? You have to fire it. That's basically the thing. So there's a bit where there's a sort of setup of, oh, there is this gun, but, and you kind of go, huh, well, okay. You know, probably should be fine. And then, and then later on. It absolutely pays off in a really great way where you're just where as it gets towards it you're like, oh, wait a minute. And then yes, it just exactly happens as it should. You know, the sort of the dominoes go clack, clack. And you're like, yes, perfect. Great. That's just, that's great script writing. Love it. Thank you. Check next. I don't think I'd rewind it and rewatch it in the sort of like, it's a bit gross. But it's, um, yeah, it's a very good, and I will count that as my action replay for me. Thank you. And good night. Good. Because my action replay is the one you mentioned is them getting shot and doing some more awesome kind of sat down, getting shot dancing for a good six seconds where they're just really kind of like, kind of moving around and stuff like that. But it's great. It's great to watch. Yeah. The other, we've mentioned it as well, again, it just comes back, it shows the craft of this film basically, is that the best moments are cleverly set up and executed, and the ghost story moment, the kind of like, that's... that locksmith, that's not the locksmith he can make it, and it's a bit of a... So yeah, again. It's not a traditional action replay moment, but it's a satisfying payoff to a well set up, well crafted piece of drama. Yeah. I've thought of another potential action replay moment, which is one bit where this is my old spoilers. So watch yourselves. There's a sort of big swinging dick guy who gets vaguely mentioned. And then at one point is like, what are some shit going down? Don't worry. And then, and bowls up. And it very quickly goes very far south. That's, that's quite a hubris, hubristic. That's a nice moment. That's all I got. When, when the first bit of the cavalry turn up and then they, yeah, that's satisfying again. Oh, I forgot to mention, I'm going to ask Will about this. The choice to make the bullets. those sort of tracer fire bullets, you know, that you see in like post 90s war movies slash actual war footage, where you see the trail that the bullet leaves. You don't see that a lot in movies and it felt like a very deliberate choice. And I suspect, I guess you probably put that on in post these days, right? But to make that choice feels like... You're a real fan of the genre and you're like, you know, what looks fucking cool is those bullets that kind of go and look like tiny fireballs because they feel so powerful. And at night, you see exactly where they're going. And it really like brings it home. Love that. More questions, more questions for Will. It's less us discussing it and more us workshopping and interview. It's going to be an absolute humdinger of an interview though, we have workshopped it within an engine. We've got so many nerdy questions for director Will Gilday. Stick around, hi guys! We're both involved in movies, but not making them, our own ones yet. Hopefully one day. You should also ask him what his favourite Siege movie is, that's an obvious one. Great start, yeah, 100%. Joe Ross, thank you so much for joining me again to talk about a movie that hasn't got Don Lee. As I've said this, as I've said it, I remembered the other day I watched Don Lee in Badland Hunters. Ah, with the crocodile movie. The crocodile movie. Or Alligator. Which, not spoilers, but actually that. There is a crocodile, but it's in the first few minutes and the rest of the movie is not really about a massive crocodile at all. It's quite a, and I don't know why I'm continually surprised by this, but it's really bloody and brutal sort of post-apocalyptic movie where Donnelly does punch quite a lot of people, but he also sort of shotguns people's arms off and stuff. Like it's very, of toned it down to PG-13, this goes back the other way where you're like, whoa, okay. Nice. It's very entertaining. It knows exactly what it is and it just does that very well. Post-apocalyptic, bad situation, some baddies, a rescue mission, gangs, Donley punching people, just a lot of blood everywhere. Is it South Korean? Yeah. South Korean. Yeah. It's big punch productions. Oh, great. Your favorite. I'm signed up. I'm going to go and try and watch it. Obviously I can't watch it. Not one to watch with the family. Probably not with the younger kids. No, no, no. It's on Netflix. Why fear? Why fear? Yeah. On Netflix, on Netflix. I think it's a, you know, STN straight Netflix. Sorry, I've sidetracked. I was going to give you a lovely round out, Joe. At the beginning, I didn't sort of puff piece you up because I assume everyone knows and loves you already by now, but you have been working very hard on a new show for our HRH, the BBC, which is coming out in the coming months, right? If I'm correct. It's called Peacock. It's the second series of Peacock, which Uh, in the summer months, we're not quite sure. They're always quite cagey about when they're going to put this stuff out. There's a slightly, um, big football tournament that's happening in the summer months, which makes me worry, but you know, it's on iPlayer so you can watch it whenever you want, but yeah, it's a second season of Peacock, which was loads of fun, uh, to make it's from the people who wrote, uh, people just do nothing and, uh, it's a silly, uh, gym based. There aren't any guns or people having their arms shot off. Not interested! There's two episodes where people shit themselves. I'm back in, and I'm back on board. There was a long discussion with a Foley artist about the intricacies of the exact type of fecal matter and how where it would go. And that is true collaboration in filmmaking. That's coming together and talking about a coming together and then the going out. Whatever. You never call shitting yourself about a coming together. But yeah, that's a lot of fun and so hopefully that'll be out in a couple of months. Watch it everyone who has access to iPlayer. You saying it's on at the same time as the Euros sent like a shiver down my spine from the days of like... doing stand-up shows during the summer already quite a potentially barren patch. As soon as the sun comes out, no one wants to go to a comedy show in the UK. But God forbid there's a football tournament on and you're like, oh yeah, finally I've got this really great gig booked in and it's on a Tuesday, it's in this lovely room and then a few weeks before you get the draw. Oh, England are playing Germany. Oh, what date is that on? Oh, for fuck's sake. And then you turn up to like the four people in the room and you're like, Hey everyone, I don't like football either. And then one of them's like, Oh shit, you have the football. And they run out. So there's only three of them left. And the other one's just like, my wife bought the tickets to this. You better be funny. Live in the dream. Let's hope. Well, the beauty of, you know, non-linear TV watching, right? Is that we can just watch it whenever. Even people who are in Amsterdam and India via bloody VPNs. Thank, thank goodness. I still pay, I still pay my license fee. Don't worry auntie. Joe, if people want to find you on social media, can they do that? Yes. Thank goodness. If they want, I'm not very active. MySpace, Tumblr and Habbo Hotel. Yeah. All, uh, I am Joe Roberts. Um, yeah, you can find me there, but I've, I've kind of gone off the whole idea, if I'm honest. Fair enough. I'm trying to live more in the moment. No, I don't know. I'm trying to. I'm just on my phone too much. I need to like just leave it in this probably I need to leave it in my bedroom at the start of the day and then just get on with my day and give myself an hour on the phone or something like that. Yes, do that sort of like, you know, for our work week, Tim Ferris of it. I only I only answer emails at four p.m. on a Friday. I love the idea of that. But then in reality, it's always just like. Can you do this thing tomorrow? I need an answer now. Oh, it's been put back two weeks. Don't worry about it. You know, hashtag freelance life. Any question that you have that pops into your brain, you can answer it straight away. Yeah. Any podcast you want to listen to is via the phone. Anything you want to watch is on your phone. Yeah. It's just everything's via the phone. So we live in a utopia is what you're saying. I get it. I get it loud and clear, my friends. Hey, if you want to follow the podcast, it's still on Twitter at dodge this pod. But like you say, Joe, gosh, it's hard enough just manning, you know, your own social media accounts, let alone do one for the podcast, especially when you're a new country and you're trying to build your profile as an actor. Um, you couldn't find me, uh, on my website, SimonFielder.com. That's got links to everything you need. Please get in touch with your suggestions of movies we may have overlooked. There's so much content these days that the list of attempting to keep things as current movies is trickier and trickier in a way. It sort of goes from, oh yeah, this movie is coming out this month to, oh goodness. Well, I thought this only just came out, but it actually came out at Christmas. Any hoops. Always want to hear about new stuff. So. Get in touch with a pod if you want to give us actual earth money to keep the lights on. You can do that also via the link in the description. Otherwise everything being well, we'll see on the next episode when all brackets, some brackets, hopefully most of our questions will be answered when I sit down with director of the excellent Jericho Ridge, Will Gilby for a bloody old, a bloody old chin work as nobody says in the meantime, Joe, please. Join me in screaming at the top of your lungs in an obnoxious fashion. Goodbye.
