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All the right movies. 
Why is Benoit Blanc here? 

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I'm here because this morning 
someone dodged a very important 

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question. 
Who? 

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Me. 
Linda asked. 

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Who hired me? 
Who hired you? 

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I do not know. 
An envelope of cash showed up at

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my apartment yesterday with a 
news clip and a throb is dead. 

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An envelope that worked. 
An envelope of cash for somebody

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suspects foul play and goes 
through this hot chair dancer 

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hiring me of staying anonymous. 
It makes no damn sense. 

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Compels me though. 
When renowned crime novelist 

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Harlan Thrombie is found dead 
the morning after his 85th 

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birthday, his sprawl and 
dysfunctional family all become 

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suspects. 
But when a master detective 

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arrives to investigate, the web 
of lies, inheritance and 

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resentment begin to unravel. 
Wildly out of control, Ryan 

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Johnson's Knives Out sliced 
through the box office in 2019, 

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a love letter to the whodunner 
genre with a modern twist. 

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Boasting an All Star ensemble 
led by Daniel Craig and Anna 

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Amos, it proved that murder 
mystery was alive and kicking. 

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My name is Luke and the two 
fellows with me who have a 

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regurgitative reaction to Miss 
Truthan R Matt. 

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What were the overheard words by
the Nazi child masturbating in 

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the bathroom? 
And Westie. 

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That was the dumbest car chase 
of all time. 

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ATRM are investigating A 
doughnut hole. 

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In the doughnut hole, the game 
is afoot. 

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Hi everyone, welcome to All the 
Right Movies, a podcast on 

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classic and hit films where we 
will not eat one I order of 

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shit. 
No, no, definitely not. 

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We're telling the story of 
Hollywood one film at a time, 

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and this time it's a bonafide 
modern classic. 

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Is that? 
Yeah, Daniel Craig with that 

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accent. 
It's Chris Evans in that 

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sweater. 
It's Ryan Johnson's delightful 

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Knives Out. 
Wonderful. 

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Yeah. 
Should be on fucking TV with 

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that accent. 
So before go rummaging through 

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the Thrombie estate, it is that 
time when we tell you about 

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becoming an ATRM patron. 
Lovely. 

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00:02:23,560 --> 00:02:26,520
Now what you're listening to is 
our flagship podcast, a brand 

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00:02:26,520 --> 00:02:28,560
new episode of which comes out 
every two weeks. 

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00:02:28,840 --> 00:02:32,000
Huge, huge, huge deep dives into
the biggest films and the most 

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00:02:32,000 --> 00:02:35,040
recent 20 episodes are available
on all podcast platforms. 

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00:02:35,480 --> 00:02:39,760
The rest, well over 100 episodes
now, are in our podcast archive.

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00:02:40,040 --> 00:02:42,720
There's certain to be a load of 
films that you like in there. 

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00:02:42,720 --> 00:02:45,240
We've covered all the classics. 
You can listen to everything in 

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00:02:45,240 --> 00:02:48,560
there by signing up on Spotify, 
Apple Podcasts, YouTube, and 

49
00:02:48,560 --> 00:02:51,280
Payreon. 
And also on YouTube and Page 

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00:02:51,280 --> 00:02:54,200
Ron, you can listen to two brand
new podcasts that we create 

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00:02:54,200 --> 00:02:56,080
every month. 
These are the watch list where 

52
00:02:56,080 --> 00:02:58,960
we review new release movies and
Double Feature where we talk 

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about films that we wouldn't 
necessarily get to on this show 

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just yet. 
Yes, indeed, that's the plan. 

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There are hundreds and hundreds 
of episodes, a whole dynasty of 

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00:03:08,120 --> 00:03:10,400
content waiting for you on 
Patreon. 

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00:03:10,400 --> 00:03:12,560
You can also vote for the films 
that we talk about and ask us 

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00:03:12,560 --> 00:03:16,680
questions for the show as well. 
That's patreon.com/all the right

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00:03:16,680 --> 00:03:18,080
movies. 
Easy as that. 

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Easy peasy. 
If you do like us and you can't 

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support us, we'll make sure 
you're not written out of the 

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will. 
Thanks everyone. 

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Yes. 
Thank you so much. 

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Guys, you'll be in there. 
Now, Matt, you chose this film, 

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so the spotlight is on you 
first. 

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You've been talking about it for
a while. 

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You've wanted to do it for a 
while. 

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That's true. 
Why do you want to talk about 

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Knives Out? 
I mean, I'm just a fan of 

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talking about films where their 
success is completely against 

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expectations. 
I mean, where did this come 

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from? 
The Who didn't murder mystery 

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wasn't exactly ripping up trees.
No one was begging for that 

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genre to come back. 
So for Ryan Johnson to come up 

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with this, to come up with a 
completely new ID, with a new 

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character, he doesn't do what 
Guy Ritchie did with Sherlock 

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Holmes. 
Take an old one and just 

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reinvent them so he didn't even 
recognize them anymore. 

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Create someone. 
You cast Daniel Craig of all 

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people, in the lead with this 
outrageously entertained and 

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central performance that no one 
could predict. 

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This should have been just a 
moderate success, maybe a cult 

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film. 
But for it to land in the way 

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that it did critically and 
commercially, I think the 

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achievement of this to be as 
massive as it was can't be 

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understated. 
And I think one of the great 

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things about it is it doesn't 
matter that you know how this is

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going to end now because the 
journey is just so much fun 

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every time. 
The way. 

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Johnson twists and turns the 
plot. 

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It becomes this ride of not 
knowing where you're going, but 

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the joy of it is trying to keep 
up with it all the same and 

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realizing you're on the hands of
someone who's treating the 

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audience with intelligence. 
And ultimately, if you don't 

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like Knives Out, then eat shit 
and eat it. 

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You definitely eat it. 
One day? 

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What about USD? 
Yeah, this is one that escaped 

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me at the cinema. 
I was kind of put off by it, 

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just thinking, oh, this was, it 
seemed a bit try hard and a bit 

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needy. 
I wasn't a big fan of Brick. 

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I really like Looper. 
And then I saw the Star Wars 

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stuff and I was like, oh, not 
too sure. 

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About this down with. 
Johnson just really up and down 

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with him and I just thought, I 
think it looked really try hard.

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Like I say, like you swing in 
the back at something that 

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shouldn't really exist and he's 
just going to really fall flat 

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on this because I didn't realize
how into this genre he actually 

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is. 
And when I, when I watched it, I

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was so surprised, so relieved, 
but just so entertained. 

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From start to finish takes 2 
hours and 10 minutes. 

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And like Matt said, it's just 
kind of being at the theme park 

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where waiting in the queue is 
actually more entertaining than 

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the ride itself. 
And then when you get on the 

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roller coaster, you're like, I 
was, I was really entertained 

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just looking at everything that 
was around there in the queue. 

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Just kind of the anticipation is
better than the payoff. 

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And it is such a lovely ride. 
And he does so well. 

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It's so intricate. 
There's so many brilliant 

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filmmaking techniques and he has
so many narrative swerves. 

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He's writings incredible, he's 
directions incredible, and all 

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the performances just deliver. 
And they've all seem to have 

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their little niche within the 
film. 

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Nobody overlaps at all with 
their own performances. 

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There's really original 
characters built into it. 

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There's not like, oh, there's 
the Butler or there's this 

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person who you've seen a billion
times. 

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There's no real stereotypes in 
this. 

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And even Blank is a stereotype 
of a stereotype of Daniel Craig,

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which is almost like a 
stereotype of Bond really, which

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is what he's tapping into. 
And I think Daniel Craig, like 

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I've said before, I think he 
enjoys in this character more 

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than he does enjoy playing James
Bond much more. 

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Yeah, I would agree, definitely.
And I think the whole film just 

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lands. 
It's just, it just sits really, 

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really nice. 
It was a perfect time for it to 

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come out. 
Ryan Johnson, of all people, 

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delivers. 
He really does. 

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I like you might. 
I saw this at the cinema 

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release. 
Incredibly positive reviews. 

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They were a big motivator for me
to go and see it, and I loved it

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from the word go. 
Just great casts, great setting.

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I love a good murder mystery, 
and I feel the genre kind of 

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being lost until this film 
brought a racing back into 

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public consciousness. 
Best of all, it's just a 

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writing. 
I mean, it's just a delightfully

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laid piece of work that always 
keeps you guessing. 

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And no matter how many times 
I've seen this, I still need to 

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listen intently to understand 
how Ransom actually did it. 

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00:07:01,480 --> 00:07:03,680
And I still don't absolutely 
know the truth. 

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We'll try and get there. 
I'm sure the three wouldn't 

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figure it out. 
But knowing the killer doesn't 

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spoil the film. 
This has re watchability slapped

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all over it. 
Yeah, it's better when you do 

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know. 
Yeah, it is. 

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It is then. 
You can. 

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You can relax a bit with it. 
Yeah, exactly. 

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00:07:18,240 --> 00:07:21,360
Yeah. 
It's just a bloody good time, 

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and it always will be, yeah. 
Knives Out was written and 

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directed by Ryan Johnson 
Corporate used by Johnson and 

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Ram Bergman for MRC and T St. 
Productions. 

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Distributed in a movie theatres 
by Lionsgate on November 27th, 

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2018. 
Shut on location in 

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Massachusetts with some set 
work. 

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It stars Daniel Craig as the 
last of the gentleman sleuths 

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Spin while Blanc and at our Mrs.
Marta Cabrera. 

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Chris Evans is Ransom Drysdale, 
and they're supported by one of 

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the best casts around, including
ATRM favorite Jimmy Lee Curtis, 

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Christopher Plummer, Tony 
Collette, Michael Shannon, Don 

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Johnson, Lakeith Stanfield and M
Emmett Walsh, to name only a 

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handful. 
Yes. 

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OK, so my house, my rules, my 
coffee. 

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We're headed to the Thrombie 
Mansion for the opening act of 

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Knives Out. 
The beginning. 

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We're welcome to the Impose and 
Thrombie world by two Alsatians 

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before the man in the house is 
found dead by his housekeeper, 

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his throat slit. 
We then Fast forward to one week

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after Harlan Thrombie's demise. 
We're back at the house where 

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detectives are carrying out some
family interviews. 

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And you're taking it away, Matt.
I mean, people talk about great 

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character introductions in 
cinema, and they'll see, you 

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00:08:33,960 --> 00:08:37,200
know, Orson Welles, The Third 
Man, Omar Shree, Florence 

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Arabia. 
I think this is up there because

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it's so easy to miss the fact 
that Blanc is there all along. 

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You can just about see his legs 
at the side, the frame. 

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00:08:45,880 --> 00:08:47,160
Yeah. 
But it's when those questions 

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start. 
Exactly. 

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And everyone gets into this 
stride. 

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I'm sorry. 
OK. 

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I think I've got this figured 
out. 

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00:08:50,920 --> 00:08:53,560
Then Bing, it's that piano key. 
And that's the end of that. 

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00:08:53,560 --> 00:08:55,840
Brilliant. 
And it's such a great torch that

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00:08:55,840 --> 00:08:57,960
when he announces his presence, 
he's out of focus in the 

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00:08:57,960 --> 00:09:00,040
background. 
It isn't until he's hit that key

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a few times that he comes into 
focus. 

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00:09:02,200 --> 00:09:04,720
And that's when he realized, 
despite not saying a word, he's 

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00:09:04,720 --> 00:09:06,440
one control in this whole 
process. 

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00:09:07,040 --> 00:09:09,000
And what's great is that every 
time he hits the key, it's 

198
00:09:09,000 --> 00:09:11,440
because the conversations gone 
off track or he's heard 

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00:09:11,640 --> 00:09:13,240
everything he needs to hear from
that person. 

200
00:09:13,240 --> 00:09:15,280
So you're thinking, well, what's
he picking up on there? 

201
00:09:15,280 --> 00:09:17,360
What have they given away that I
haven't picked up on? 

202
00:09:17,600 --> 00:09:19,720
And we think that. 
And then it's when Richard, 

203
00:09:19,720 --> 00:09:22,520
played by Don Johnsley, just 
based attention was, I have a 

204
00:09:22,520 --> 00:09:24,120
question. 
Who the fuck is that? 

205
00:09:24,760 --> 00:09:27,640
And then you get your proper 
look at blanks sitting there 

206
00:09:27,640 --> 00:09:30,440
with such confidence in himself.
The little smile on this is 

207
00:09:30,440 --> 00:09:32,720
playing with a coin. 
But as soon as you hear that 

208
00:09:32,720 --> 00:09:35,240
accent, I'm here on the behest 
of a client. 

209
00:09:36,400 --> 00:09:38,240
Well, this is amazing. 
I love this guy already. 

210
00:09:38,240 --> 00:09:39,280
I want to know where this is 
going. 

211
00:09:39,280 --> 00:09:42,920
And then the introduction of the
family members has done so 

212
00:09:42,920 --> 00:09:45,320
neatly as well. 
You get such a quick handle on 

213
00:09:45,320 --> 00:09:48,160
who they all are, where the 
tensions in this family are. 

214
00:09:48,280 --> 00:09:49,800
Who doesn't like who for what 
reason? 

215
00:09:49,880 --> 00:09:52,920
And it's so funny when it's 
cutting between Walt, Meg and 

216
00:09:52,920 --> 00:09:56,760
Richard talking about Jacob, and
Walt says my son Jacob be 16, 

217
00:09:57,120 --> 00:09:59,400
very politically active. 
That could be Richard. 

218
00:09:59,640 --> 00:10:02,120
The boy is literally an Etsy. 
That's amazing. 

219
00:10:02,200 --> 00:10:03,600
Yeah. 
And then back to Walt just 

220
00:10:03,600 --> 00:10:06,320
looking really good, like kids 
today with the Internet. 

221
00:10:06,560 --> 00:10:09,760
It's amazing. 
Like he knows exactly what Jacob

222
00:10:09,760 --> 00:10:12,840
is. 
So, so much groundwork is laid 

223
00:10:12,840 --> 00:10:15,920
out here in terms of introducing
Blanc, who he is, who everyone 

224
00:10:15,920 --> 00:10:18,360
in the family is, what they're 
set up with each other is like 

225
00:10:18,680 --> 00:10:21,840
how they all view Harlan, and it
feels so effortless. 

226
00:10:22,120 --> 00:10:25,360
Just this incredible roster of 
actors one after another. 

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00:10:25,600 --> 00:10:28,040
Amazing production design 
already, which I'm sure we'll 

228
00:10:28,040 --> 00:10:30,360
talk about. 
You get to the setup and you 

229
00:10:30,360 --> 00:10:33,080
just think, I'm just raring to 
go with the rest of this film. 

230
00:10:33,480 --> 00:10:35,840
Yeah, it's incredible. 
Jamie Lee Curtis identified with

231
00:10:35,840 --> 00:10:38,560
the character of Linda being the
daughter of famous parents. 

232
00:10:38,560 --> 00:10:41,080
She said that people have a 
funny way of taking away 

233
00:10:41,080 --> 00:10:44,200
anything you do creatively and 
reduce it to your privilege. 

234
00:10:44,960 --> 00:10:47,760
Yeah, Curtis assumed the role of
the family matriarch. 

235
00:10:47,760 --> 00:10:50,200
She was coming off the back of 
Halloween on this, so she was 

236
00:10:50,200 --> 00:10:52,920
riding high, assuming the role 
of the family matriarch. 

237
00:10:52,920 --> 00:10:55,360
She cooked meals for the cast 
and befriended the woman who 

238
00:10:55,360 --> 00:10:57,000
owned the house. 
More on that later. 

239
00:10:57,000 --> 00:10:58,000
Oh nice. 
Oh nice. 

240
00:10:58,160 --> 00:11:01,280
She said I treated the house as 
if it were mine, which is nice. 

241
00:11:01,280 --> 00:11:02,600
You can see she feels well at 
home. 

242
00:11:02,600 --> 00:11:03,360
Oh. 
Definitely. 

243
00:11:03,480 --> 00:11:05,120
Yeah, yeah, yeah. 
Just the most comfortable 

244
00:11:05,120 --> 00:11:07,160
character, most ground in the 
whole thing, Yeah. 

245
00:11:07,520 --> 00:11:10,400
And at the 17 minute mark, 
there's a photo of Richard, 

246
00:11:10,400 --> 00:11:12,880
Linda and Ransom in the 
foreground as Walt, as Colin 

247
00:11:12,880 --> 00:11:14,360
Ransom, the black sheep of the 
family. 

248
00:11:14,520 --> 00:11:17,120
And that picture was inserted 
digitally in post production 

249
00:11:17,120 --> 00:11:19,320
using green screen. 
And it was done so that the 

250
00:11:19,320 --> 00:11:22,080
audience could put a name to the
face because at this point, 

251
00:11:22,080 --> 00:11:23,760
we've not yet been introduced to
Ransom. 

252
00:11:24,160 --> 00:11:26,760
Yeah, you can't miss it. 
It's it's in the foreground, 

253
00:11:26,920 --> 00:11:28,880
it's in focus and everything 
else in the show. 

254
00:11:29,000 --> 00:11:30,920
Yeah, it's blurred. 
I don't know. 

255
00:11:30,920 --> 00:11:33,160
Well, I don't even know when to 
bring all these points up, but 

256
00:11:33,160 --> 00:11:35,800
there's so many little moments. 
I mean, that photograph of 

257
00:11:35,800 --> 00:11:38,680
Ransom, first time you've seen 
him is behind an elephant statue

258
00:11:38,680 --> 00:11:41,240
because he knows to turn after 
the statue so he's not caught on

259
00:11:41,240 --> 00:11:41,720
the camera. 
It's. 

260
00:11:41,720 --> 00:11:44,320
Brilliant, yeah. 
It's just all these little bits 

261
00:11:44,320 --> 00:11:46,640
all the way through, yeah. 
A lovely little detail as well 

262
00:11:46,640 --> 00:11:49,400
during the interview scenes is 
when there's a flashback to the 

263
00:11:49,400 --> 00:11:52,440
night of It's a different child 
sat next to Harlan as the cakes 

264
00:11:52,440 --> 00:11:54,280
being put down. 
Yeah, depending on who who's 

265
00:11:54,280 --> 00:11:55,240
telling the story. 
Right. 

266
00:11:55,240 --> 00:11:57,320
Yeah, yeah, yeah, It's a. 
Couple, isn't it? 

267
00:11:57,480 --> 00:12:00,960
Yeah, yeah, yeah. 
And I love that none of the 

268
00:12:00,960 --> 00:12:03,520
family can decide on where 
Martyr is from. 

269
00:12:03,520 --> 00:12:07,800
No, she's from your Paraguay, 
Brazil. 

270
00:12:07,960 --> 00:12:13,160
Brazil. 
Everybody wanted to their 

271
00:12:13,160 --> 00:12:15,840
funeral, but everyone was 
outvoted by the other one. 

272
00:12:15,840 --> 00:12:17,320
Yeah, that's such a great one 
and truck. 

273
00:12:17,360 --> 00:12:18,840
I wanted you there, but I was 
outvoted. 

274
00:12:19,240 --> 00:12:21,240
Yeah. 
So nobody wanted that there, 

275
00:12:21,240 --> 00:12:22,240
which is incredible. 
Yeah. 

276
00:12:22,720 --> 00:12:25,680
The moment where Joni says that 
she knows of Blank from a tweet 

277
00:12:25,680 --> 00:12:28,520
about an article in The New 
Yorker, a case about a tennis 

278
00:12:28,520 --> 00:12:30,960
player. 
This is a reference to sleuth 

279
00:12:31,160 --> 00:12:35,160
Joseph L Mankiewicz, 1972 
mystery starring Laurence 

280
00:12:35,160 --> 00:12:37,760
Olivier and Michael Caine. 
At the start of the film, 

281
00:12:37,760 --> 00:12:41,280
Olivier's character is dictating
the ending of his latest novel, 

282
00:12:41,400 --> 00:12:44,240
Death by Double Fault, about a 
body in the tennis court. 

283
00:12:44,760 --> 00:12:45,960
Brilliant death by a double 
fault. 

284
00:12:45,960 --> 00:12:47,840
I want to read that. 
Yeah, yeah, brilliant. 

285
00:12:48,000 --> 00:12:51,200
Yeah, it also ties into a scene 
later on where Ransom's reading 

286
00:12:51,480 --> 00:12:55,200
Martyrs blackmail note visible 
on the coffee table, copies of 

287
00:12:55,200 --> 00:12:58,200
The New Yorker, right when the 
plan is unravelled right at the 

288
00:12:58,200 --> 00:12:59,840
end. 
Yeah, yeah, yeah, yeah. 

289
00:12:59,840 --> 00:13:02,480
So this hints that that's where 
Ransom got the idea of hype 

290
00:13:02,480 --> 00:13:03,960
blank in the first place. 
Yes, right. 

291
00:13:04,400 --> 00:13:06,960
And the other thing about Blanc 
hitting the note on the piano? 

292
00:13:07,080 --> 00:13:09,680
If you notice Detective Elliott 
Lee, Keith Sunfield's character,

293
00:13:09,680 --> 00:13:12,360
he then follows with a question 
relating to the time that 

294
00:13:12,360 --> 00:13:13,800
certain person arrived at the 
house. 

295
00:13:14,240 --> 00:13:16,840
And it's also being suggested 
that he hits the key when 

296
00:13:16,840 --> 00:13:19,800
someone is lying, right? 
Johnson has a couple of ever 

297
00:13:19,800 --> 00:13:22,800
presents in the cast actors who 
have appeared in all of his 

298
00:13:22,800 --> 00:13:24,840
films. 
Noah Sagan, who plays Trooper 

299
00:13:24,840 --> 00:13:27,640
Wagner, the policeman and 
Holland Thrombies fanboy. 

300
00:13:27,680 --> 00:13:29,600
He's great. 
Yeah, so, so funny. 

301
00:13:29,840 --> 00:13:32,920
But there's also a blink in your
missive voice cameo from Joseph 

302
00:13:32,920 --> 00:13:34,960
Gordon Levitt. 
Yeah, he plays the part of 

303
00:13:34,960 --> 00:13:38,400
Detective Hard Rock, a character
in the TV show that Marta's 

304
00:13:38,400 --> 00:13:39,720
sister is watching The start 
that's. 

305
00:13:39,720 --> 00:13:41,840
Right, Yeah, yeah, it is 
blinking. 

306
00:13:41,840 --> 00:13:44,560
You'll miss it that very much. 
Literally 2 lines Yeah, because.

307
00:13:44,560 --> 00:13:46,880
It's low in the mix, but he's 
dialogues ludicrous. 

308
00:13:47,200 --> 00:13:49,800
He says you slashed his face 
open, You're left and bleeding 

309
00:13:49,800 --> 00:13:52,440
in the street like a stuck pig. 
Then you crushed his skull with 

310
00:13:52,440 --> 00:13:55,280
a forklift and burned his hands 
off to raise the fingerprints. 

311
00:13:59,000 --> 00:14:01,240
Great, that was just an outtake 
from break, wasn't it? 

312
00:14:03,800 --> 00:14:06,680
Yeah, both of those actors are 
in both the Knives Out sequels 

313
00:14:06,680 --> 00:14:08,720
as well. 
Yeah, Gordon Lever plays the 

314
00:14:08,720 --> 00:14:12,040
hourly Dong in Glass Onion. 
Interestingly, yes. 

315
00:14:12,360 --> 00:14:16,040
Ludicrous. 
And there are a few deleted 

316
00:14:16,040 --> 00:14:18,800
scenes cut from the film. 
In one, Blanc goes to Walton 

317
00:14:18,800 --> 00:14:22,000
Donna's home and finds out from 
Donna that Walt's injured leg, 

318
00:14:22,000 --> 00:14:24,720
which allegedly happened during 
a bike accident, actually 

319
00:14:24,720 --> 00:14:27,440
happened at night when he got 
into a tangle with some unsavory

320
00:14:27,440 --> 00:14:29,480
types that he owes money to. 
Great. 

321
00:14:29,480 --> 00:14:32,440
Yeah, in another scene, Blanc's 
got a skin rash, which leads 

322
00:14:32,440 --> 00:14:35,720
into a confrontation with Johnny
about her Flam Beauty products 

323
00:14:35,720 --> 00:14:38,040
line, and it comes to the 
conclusion that she's actually 

324
00:14:38,040 --> 00:14:39,560
broke. 
Yeah, right. 

325
00:14:39,680 --> 00:14:40,960
That's why she left Twitter. 
I wasn't it? 

326
00:14:41,440 --> 00:14:42,280
Yeah. 
That's right. 

327
00:14:42,280 --> 00:14:42,840
Yeah. 
Yeah. 

328
00:14:43,280 --> 00:14:45,000
I'm on Instagram. 
DM me on Instagram not on. 

329
00:14:45,000 --> 00:14:48,120
Twitter. 
That's great, I love that bit as

330
00:14:48,120 --> 00:14:49,840
well. 
When you mentioned Westie about,

331
00:14:49,840 --> 00:14:52,200
I read a tweet about an article 
about you. 

332
00:14:52,440 --> 00:14:55,200
Not the article, she just. 
Yeah, just the tweet line. 

333
00:14:55,560 --> 00:14:58,080
She's got time. 
So both of those scenes give 

334
00:14:58,080 --> 00:15:00,760
each character a motivation for 
Bump and Harlan off wishes. 

335
00:15:01,040 --> 00:15:03,120
I think we've got that already, 
but I don't think we need the 

336
00:15:03,120 --> 00:15:04,440
additional scenes. 
No. 

337
00:15:04,560 --> 00:15:06,520
No. 
So after these characters have 

338
00:15:06,520 --> 00:15:08,960
been established and we 
understand their angles, it's 

339
00:15:09,040 --> 00:15:12,000
it's great to see them squirm 
under Harlan's microscope for 

340
00:15:12,000 --> 00:15:15,640
all of their dirty dealings. 
The sequence where Harlan clears

341
00:15:15,640 --> 00:15:18,560
house and cuts Walt, Ransom, 
Richard and Johnny out. 

342
00:15:19,360 --> 00:15:22,040
I love that each character 
revels in the other person's 

343
00:15:22,040 --> 00:15:25,560
misery, but to smile his wife 
clean off their faces when 

344
00:15:25,560 --> 00:15:27,360
they're accused of something 
heinous. 

345
00:15:27,920 --> 00:15:30,800
And Ryan Johnson does a great 
job of intertwining interviews 

346
00:15:30,800 --> 00:15:33,440
with flashbacks and different 
perspectives and then returning 

347
00:15:33,440 --> 00:15:36,240
back to the present with a 
different interviewee telling 

348
00:15:36,240 --> 00:15:39,360
the their perspective of that 
story that we saw in flashback 

349
00:15:39,680 --> 00:15:41,880
Great Richard played by Don 
Johnson. 

350
00:15:41,880 --> 00:15:44,520
Just such a blabbermouth. 
He's brilliant, isn't he? 

351
00:15:44,760 --> 00:15:47,320
He's fantastic. 
He can't wait to dish the dirt 

352
00:15:47,320 --> 00:15:49,320
on Walt. 
He says he'd get into it with 

353
00:15:49,320 --> 00:15:53,320
Harlan and the cuts to blank and
he's beady, blue eyes wide and 

354
00:15:53,320 --> 00:15:55,960
he said, did they get into it at
the party? 

355
00:15:58,280 --> 00:16:01,520
Fantastic, but. 
When the heat starts to rise on 

356
00:16:01,520 --> 00:16:03,600
Richard, he then tries to 
implicate Joni. 

357
00:16:03,600 --> 00:16:06,960
What a sniffle and little. 
Change. 

358
00:16:07,360 --> 00:16:09,560
Don Jones is great in this role.
I think he could get lost in the

359
00:16:09,560 --> 00:16:11,200
crowd, but he really stands out.
Yeah. 

360
00:16:11,200 --> 00:16:12,560
Oh yeah. 
He's fantastic. 

361
00:16:12,680 --> 00:16:15,480
And from a plotting point of 
view, we get motivation for all 

362
00:16:15,480 --> 00:16:17,520
involved. 
Joni's been double dip and Waltz

363
00:16:17,520 --> 00:16:19,280
cut out. 
Richard's been cheating on Linda

364
00:16:19,360 --> 00:16:20,680
so they all have something to 
hide. 

365
00:16:21,080 --> 00:16:23,240
And Johnson? 
Ryan Johnson, that is not Don 

366
00:16:23,240 --> 00:16:25,200
Johnson. 
Ryan Johnson presents the 

367
00:16:25,200 --> 00:16:27,200
information so deliciously. 
Yes. 

368
00:16:27,720 --> 00:16:31,040
And a lot of the action takes 
place in Holland study and one 

369
00:16:31,040 --> 00:16:33,920
of art director Jeremy 
Woodward's task was to design 

370
00:16:33,920 --> 00:16:37,120
the jackets for the body of 
Holland's work over 4 decades. 

371
00:16:37,760 --> 00:16:40,640
So this meant that given them an
identity specific to the period 

372
00:16:40,640 --> 00:16:43,040
that what they were written in 
taken into consideration 

373
00:16:43,040 --> 00:16:46,040
Holland's journey through life 
where he was personally at that 

374
00:16:46,040 --> 00:16:48,440
time as well. 
So they've all got an identity 

375
00:16:48,720 --> 00:16:50,720
and there's not a display of 
them as such. 

376
00:16:50,720 --> 00:16:53,960
The just dotted around the place
such attention to detail. 

377
00:16:54,080 --> 00:16:55,960
Yeah, yeah. 
It's there if you're looking for

378
00:16:55,960 --> 00:16:57,400
it, and it's just absolutely 
great. 

379
00:16:57,400 --> 00:16:59,080
Just so much texture of the 
film. 

380
00:16:59,280 --> 00:17:02,120
Yeah, so the character of 
Holland Thrombie was named after

381
00:17:02,120 --> 00:17:05,440
a character in the 1981 
adventure novel Who Killed 

382
00:17:05,440 --> 00:17:10,119
Hollow Thrombie, which I think 
was a guest your own like and. 

383
00:17:10,119 --> 00:17:12,839
Ryan Johnson loved it. 
Yeah. 

384
00:17:13,040 --> 00:17:16,440
And great Nana Winetta is played
by Kay Callan and despite 

385
00:17:16,440 --> 00:17:18,920
playing Holland's mother, she's 
actually six years younger than 

386
00:17:18,920 --> 00:17:21,280
Christopher Plummer, who was 90 
years old at the time. 

387
00:17:21,520 --> 00:17:25,440
Wow, that's a great fact. 
Yeah, I love her. 

388
00:17:25,440 --> 00:17:27,640
When Linda's asked how old she 
is and she doesn't know. 

389
00:17:28,400 --> 00:17:30,360
Nobody knows. 
Yeah, we have no idea. 

390
00:17:30,520 --> 00:17:32,640
That's amazing. 
You don't question either. 

391
00:17:32,640 --> 00:17:34,840
You just love the cast. 
And don't you say Last Crusade. 

392
00:17:35,480 --> 00:17:36,680
It doesn't matter. 
It's great. 

393
00:17:37,240 --> 00:17:39,400
Love of a wall shouting at her 
asking if she's eaten. 

394
00:17:39,720 --> 00:17:45,320
For dinner. 
Salmon to eat? 

395
00:17:49,320 --> 00:17:52,400
That's what default. 
Well, we're going to break and 

396
00:17:52,400 --> 00:17:55,400
take our first question from an 
ATRM patron. 

397
00:17:55,520 --> 00:17:57,400
That's one of the benefits we 
mentioned at the top. 

398
00:17:57,400 --> 00:17:59,720
If you support us on Patreon, 
you can ask us questions. 

399
00:18:00,040 --> 00:18:02,760
And our first one comes from 
Heather Armantrout. 

400
00:18:02,760 --> 00:18:04,000
Hi, Heather. 
Hi, Heather. 

401
00:18:04,560 --> 00:18:06,920
Heather says hello gents. 
Greetings from Las Vegas. 

402
00:18:07,080 --> 00:18:08,240
Oh. 
Crossing the globe. 

403
00:18:08,240 --> 00:18:09,640
I love it. 
OK, nice, lovely. 

404
00:18:09,800 --> 00:18:12,360
Heather says Christopher Plummer
did some of his best work well 

405
00:18:12,360 --> 00:18:15,440
into the 80s, including such 
gems as Spike Lee's Inside Man, 

406
00:18:15,440 --> 00:18:18,160
his Oscar winner performance in 
Beginners, and hilarious voice 

407
00:18:18,160 --> 00:18:20,720
work on Disney's Up. 
Yes, yes, that's true. 

408
00:18:20,920 --> 00:18:23,080
What are some of your favorite 
performances from actors 

409
00:18:23,080 --> 00:18:25,120
flourishing into their golden 
years? 

410
00:18:25,280 --> 00:18:28,040
Golden years it's. 
Great. 

411
00:18:28,040 --> 00:18:29,560
Great in the new world as well. 
Wonderful. 

412
00:18:29,560 --> 00:18:31,040
Yes, he is. 
Yes, yes he is. 

413
00:18:31,480 --> 00:18:34,000
Heather ends up with thank you 
for all your great work on the 

414
00:18:34,000 --> 00:18:36,120
podcast. 
That is our pleasure. 

415
00:18:36,120 --> 00:18:37,240
Thank you for listening. 
Thank you, Very. 

416
00:18:37,240 --> 00:18:38,240
Thank you very much. 
Yeah. 

417
00:18:38,360 --> 00:18:39,680
Wester, you want to take that 
first. 

418
00:18:39,880 --> 00:18:42,320
Well, I mean, there's one of my 
very, very favourites and we 

419
00:18:42,320 --> 00:18:44,960
spoke about this on Double 
Feature and it's Richard 

420
00:18:44,960 --> 00:18:48,280
Farnsworth in the Street Story. 
Brilliant. 100% I'm always 

421
00:18:48,280 --> 00:18:49,160
going. 
That's always going to come 

422
00:18:49,160 --> 00:18:51,720
straight to mind. 
Which links beautifully into 

423
00:18:51,720 --> 00:18:55,000
Harry Dean Stanton in Lucky as 
his last performance, right? 

424
00:18:56,600 --> 00:19:00,000
Beautiful, beautiful stuff. 
And that links nicely into Bruce

425
00:19:00,000 --> 00:19:02,720
Dern in the Nebraska, which I 
think is a wonderful 

426
00:19:02,720 --> 00:19:04,920
performance. 
And then Christopher Lee. 

427
00:19:04,920 --> 00:19:07,080
These are all kind of like last 
performances, I think. 

428
00:19:07,440 --> 00:19:09,480
And Christopher Lee, Lord of the
Rings, which I think was the 

429
00:19:09,480 --> 00:19:12,320
role he was born to play. 
Yeah, I think it's absolutely 

430
00:19:12,320 --> 00:19:13,760
fantastic. 
He's having so much fun. 

431
00:19:13,760 --> 00:19:15,400
And that's with them. 
Then four guys for me. 

432
00:19:15,840 --> 00:19:17,160
Wonderful. 
What about you, Matt? 

433
00:19:17,400 --> 00:19:20,200
One crossover there I was also 
going to mention Bruce Dern from

434
00:19:20,200 --> 00:19:22,760
Nebraska, but also he's amazing 
in the Hateful 8 he. 

435
00:19:23,200 --> 00:19:25,240
Is, yeah. 
He's also great in Django. 

436
00:19:25,240 --> 00:19:27,320
He's only got the one scene, but
he is great in Django and 

437
00:19:27,320 --> 00:19:29,880
Chained as well. 
He seems to find a new lease 

438
00:19:29,880 --> 00:19:32,760
like as he's really hateful 
characters for Tarantino. 

439
00:19:33,200 --> 00:19:35,680
Other ones that stand out for 
me, though, June Squib, also in 

440
00:19:35,680 --> 00:19:38,040
Nebraska, but in Thelma, the 
film that was out a couple years

441
00:19:38,040 --> 00:19:41,480
ago, yeah, still turn out great 
performances. 

442
00:19:41,720 --> 00:19:44,120
And I thought Joe Pesci in The 
Irishman thought that was the 

443
00:19:44,120 --> 00:19:46,960
best he'd been in absolutely 
years. 

444
00:19:47,280 --> 00:19:49,320
Love it. 
Because that character is not 

445
00:19:49,480 --> 00:19:52,360
Tommy from Goodfellas. 
Really just as scary in his own 

446
00:19:52,360 --> 00:19:54,240
way. 
Yeah, I think the thing about 

447
00:19:54,240 --> 00:19:56,280
Pesci and the thing about Harry 
Dean Stanton as well as the 

448
00:19:56,280 --> 00:19:58,600
always looked over 50 years old 
no matter what. 

449
00:19:58,840 --> 00:20:00,720
That's always been at least 
middle-aged. 

450
00:20:00,960 --> 00:20:03,520
So I've never really thought of 
Pesci is like being oh, is he 

451
00:20:03,520 --> 00:20:04,120
old now? 
Yeah. 

452
00:20:04,240 --> 00:20:05,880
Yeah, he's always been like 
that. 

453
00:20:05,880 --> 00:20:06,880
He's always. 
Been like that. 

454
00:20:08,160 --> 00:20:10,680
Yeah, great. 
There is one crossover I was 

455
00:20:10,680 --> 00:20:13,240
going to say Richard Farnsworth 
as well in the Straight Story. 

456
00:20:13,400 --> 00:20:16,360
Yeah, I mean. 
Just one of the most effective 

457
00:20:16,360 --> 00:20:18,960
screen performances ever. 
Yeah, it's unbelievable. 

458
00:20:18,960 --> 00:20:20,160
Yeah. 
Wonderful. 

459
00:20:20,240 --> 00:20:23,040
You didn't mention Alan Arkin in
Little Miss Sunshine. 

460
00:20:23,560 --> 00:20:25,160
Oh yes, great. 
Trifle of that. 

461
00:20:25,280 --> 00:20:28,160
Reason there as well. 
Oh, yes, very much, yeah. 

462
00:20:28,440 --> 00:20:30,680
He's great and Argo as well. 
And then he pops up and Argo a 

463
00:20:30,680 --> 00:20:33,000
few years later. 
Go fuck yourself. 

464
00:20:34,080 --> 00:20:34,840
That's. 
Fantastic. 

465
00:20:34,840 --> 00:20:35,880
Yeah. 
Yeah, he's great. 

466
00:20:36,440 --> 00:20:37,680
He's into play with John 
Goodman. 

467
00:20:37,680 --> 00:20:39,560
Beautiful. 
Yeah, he's into play with 

468
00:20:39,600 --> 00:20:42,040
anybody in any. 
Day and finally I want to throw 

469
00:20:42,040 --> 00:20:45,040
in a curveball it's Ellen burst 
and that's not the curveball 

470
00:20:45,040 --> 00:20:51,080
because she's amazing everything
she's in but her work in TV 

471
00:20:51,280 --> 00:20:53,920
season 4 of the Louis show I. 
Don't know if you. 

472
00:20:53,920 --> 00:20:56,520
Caught it. 
She's got about 3-4, five 

473
00:20:56,520 --> 00:20:58,640
episodes and it's just 
beautiful. 

474
00:20:58,880 --> 00:21:02,320
So much warmth and depth and 
decades of acting experience. 

475
00:21:02,320 --> 00:21:05,440
A real heartwarming performance.
And the fact that she's in her 

476
00:21:05,440 --> 00:21:08,600
90s now and she's still out 
there finding interesting things

477
00:21:08,600 --> 00:21:10,600
to do, it's. 
Incredible. 

478
00:21:10,920 --> 00:21:13,640
I mean, I mean, this is a whole 
episode done in itself, isn't 

479
00:21:13,640 --> 00:21:16,200
it? 
To be honest, we could go on for

480
00:21:16,200 --> 00:21:17,080
ages. 
We could. 

481
00:21:17,240 --> 00:21:19,200
So let's get back to it. 
Thank you for the question, 

482
00:21:19,200 --> 00:21:20,720
Heather. 
Yeah, wonderful question. 

483
00:21:20,720 --> 00:21:22,800
Thank you, Heather. 
And over to you, Westie. 

484
00:21:22,920 --> 00:21:24,200
You're picking up the action 
here. 

485
00:21:24,240 --> 00:21:26,240
We're still in the middle of the
interviews, but this is where 

486
00:21:26,240 --> 00:21:28,920
we're introduced to Marta and 
more importantly, we're blanks. 

487
00:21:28,920 --> 00:21:32,200
Introduced Marta now. 
This is just so clever through 

488
00:21:32,200 --> 00:21:34,360
performance, through blocking, 
through everything that we're 

489
00:21:34,360 --> 00:21:38,480
going to be introduced to. 
Like he's sussed it out now that

490
00:21:38,480 --> 00:21:41,520
door, he looks down, he looks at
her shoes and then looks at her 

491
00:21:41,520 --> 00:21:42,760
and says, I've been poking 
around. 

492
00:21:42,760 --> 00:21:44,760
As he says that, he looks down 
at shoes again and knows for a 

493
00:21:44,760 --> 00:21:46,320
fact that she's been there. 
There's blood on her shoe. 

494
00:21:46,480 --> 00:21:48,200
So that's it. 
And from there, he's 

495
00:21:48,200 --> 00:21:50,400
manipulating that all the way 
through the book. 

496
00:21:50,920 --> 00:21:53,240
And then obviously later on, he 
quotes Sherlock Holmes and he 

497
00:21:53,240 --> 00:21:55,560
says there's something afoot. 
And every time he says something

498
00:21:55,600 --> 00:21:58,200
for, he references her 
involvement and all of it, which

499
00:21:58,200 --> 00:22:00,200
is this is kind of where it all 
comes from. 

500
00:22:00,360 --> 00:22:02,960
I love the fact that she is not 
in the study yet. 

501
00:22:03,080 --> 00:22:05,960
He interviews her first outside.
So it's more natural. 

502
00:22:05,960 --> 00:22:08,440
It's more honest. 
It's more of a creative space 

503
00:22:08,440 --> 00:22:10,840
where she can breathe and she 
can just be honest about things.

504
00:22:10,840 --> 00:22:13,520
Because I think even now he 
knows that you might have 

505
00:22:13,520 --> 00:22:16,320
something wrong where she needs 
to be sick or something else is 

506
00:22:16,320 --> 00:22:18,000
going to happen. 
So he's given her that safe 

507
00:22:18,000 --> 00:22:20,920
space in which to do it, and 
that's where we find out the 

508
00:22:20,920 --> 00:22:22,640
regurgitate of reaction to Miss 
Truth. 

509
00:22:22,680 --> 00:22:25,280
Amazing dialogue that. 
And that it's it's brilliant 

510
00:22:25,280 --> 00:22:27,560
dialogue and how can I say it 
certainly out And I just, you 

511
00:22:27,560 --> 00:22:29,160
know, he's just forever the 
gentleman. 

512
00:22:29,160 --> 00:22:31,400
Wonderful. 
That cigar, which is just an 

513
00:22:31,400 --> 00:22:33,480
obvious, not the Colombo that 
he's figuring it out. 

514
00:22:33,480 --> 00:22:35,920
And that's amazing. 
There doesn't seem like a cigar 

515
00:22:35,920 --> 00:22:37,800
smoker really, but it totally 
fits the character. 

516
00:22:37,840 --> 00:22:40,320
And then we find out as an 
audience that could be played 

517
00:22:40,320 --> 00:22:43,720
just so stupidly for laughs. 
Then every time she'll I mean, 

518
00:22:43,720 --> 00:22:46,160
imagine that like the Naked gun 
or something, he just to tell a 

519
00:22:46,160 --> 00:22:49,440
lie and it'd just be stupid. 
But this is just so beautifully 

520
00:22:49,440 --> 00:22:50,720
laid out. 
It's just like this little 

521
00:22:50,720 --> 00:22:53,960
nugget of information and you 
genuinely feel sorry for her 

522
00:22:53,960 --> 00:22:55,880
because you know that she's 
suffering with this. 

523
00:22:56,080 --> 00:22:58,400
It's like an ailment that just 
had all my life and she can't 

524
00:22:58,400 --> 00:23:00,320
really explain it. 
You know what, you could tap 

525
00:23:00,320 --> 00:23:02,920
into eating problems, or it 
could tap into anxiety or it 

526
00:23:02,920 --> 00:23:04,800
could tap into depression or 
anything that she's been through

527
00:23:04,800 --> 00:23:07,920
with a, you know, a mom and be 
supported at any time. 

528
00:23:08,200 --> 00:23:10,920
It all leads back to these like 
issues that she could have with 

529
00:23:10,920 --> 00:23:13,600
just worry and panic. 
But it's so more carefully done.

530
00:23:14,040 --> 00:23:17,520
But then when she is pushed and 
she does lie and she throws up 

531
00:23:17,520 --> 00:23:20,760
in the pig statue, which 
obviously shows that she's 

532
00:23:20,760 --> 00:23:24,760
allergic to like greed and 
wealth and throws it uses them 

533
00:23:24,760 --> 00:23:28,880
to like catch the vomit. 
So it's which is a fantastic 

534
00:23:28,880 --> 00:23:30,600
touch. 
And that motif comes up again 

535
00:23:30,600 --> 00:23:33,280
later on. 
Then we'll find out because of 

536
00:23:33,280 --> 00:23:35,600
that ailment that she has. 
Blank doesn't necessarily push 

537
00:23:35,600 --> 00:23:36,840
it, but he knows when to stop 
it. 

538
00:23:36,840 --> 00:23:38,720
And the other two guys are there
kind of say, right, that's 

539
00:23:38,720 --> 00:23:40,720
enough, that's enough. 
But he finds out all three 

540
00:23:40,720 --> 00:23:45,480
motives in this scene. 
All three motives really well 

541
00:23:45,480 --> 00:23:47,160
played out. 
I mean, the writing of just this

542
00:23:47,160 --> 00:23:50,000
scene as a short film in itself,
of how you interview somebody 

543
00:23:50,000 --> 00:23:52,120
who's a suspect but not 
necessarily a suspect. 

544
00:23:52,120 --> 00:23:54,200
She kind of you're on her side 
at the minute. 

545
00:23:54,240 --> 00:23:56,280
It just flows from here. 
It's just fantastic stuff. 

546
00:23:56,600 --> 00:23:58,920
Right at the start of the scene,
I absolutely love it when 

547
00:23:58,920 --> 00:24:02,320
Marta's inside and she can hear 
Blanc and the two policemen 

548
00:24:02,320 --> 00:24:05,560
talking and she's guilty as sin 
the way the world is on her 

549
00:24:05,560 --> 00:24:06,560
shoulders. 
Yeah. 

550
00:24:06,600 --> 00:24:08,360
He leans in. 
Listen to the conversation 

551
00:24:08,360 --> 00:24:11,640
outside before Blanks eye comes 
peering in through the window. 

552
00:24:11,880 --> 00:24:14,960
That's really funny. 
Yeah, and the Grand Painting of 

553
00:24:14,960 --> 00:24:17,720
Holland wasn't really there. 
It wasn't completed before 

554
00:24:17,720 --> 00:24:20,000
production started. 
So had be added in digitally 

555
00:24:20,000 --> 00:24:21,680
during post production, Johnson 
said. 

556
00:24:21,720 --> 00:24:24,240
Every single shot you see in the
movie with the painting and it 

557
00:24:24,240 --> 00:24:26,800
was a green screen. 
We took a high quality photo of 

558
00:24:26,800 --> 00:24:28,760
the painting and they comped in 
every shot. 

559
00:24:28,800 --> 00:24:29,880
Nice. 
Seamless. 

560
00:24:30,480 --> 00:24:32,800
Yeah, it is seamless. 
This painting is fantastic, and 

561
00:24:32,800 --> 00:24:34,640
I'm not sure if it changes all 
the way through the film. 

562
00:24:34,640 --> 00:24:37,240
I feel like it does, but there's
a definite smile at the end. 

563
00:24:37,240 --> 00:24:41,120
When you say that again, it goes
from a frown, confused, to when 

564
00:24:41,120 --> 00:24:43,400
everything's figured out and she
last looks at it again. 

565
00:24:43,400 --> 00:24:45,280
You get that close up and 
there's that, definitely. 

566
00:24:45,440 --> 00:24:46,720
Definitely. 
Yeah, definitely. 

567
00:24:46,720 --> 00:24:48,480
It's subtle, but it's there. 
Yeah. 

568
00:24:48,560 --> 00:24:50,240
Such a great move. 
It is. 

569
00:24:50,240 --> 00:24:52,480
It's wonderful. 
Johnson knew that Marta had to 

570
00:24:52,480 --> 00:24:55,440
lie during the film and wanted 
to make it as difficult as 

571
00:24:55,440 --> 00:24:57,320
possible for the character to 
get out of it. 

572
00:24:57,560 --> 00:25:00,120
And he was inspired by a scene 
from David Mamet's House of 

573
00:25:00,120 --> 00:25:03,080
Games from 1987, where the 
characters talk about certain 

574
00:25:03,080 --> 00:25:05,080
tales that people have when 
they're lying. 

575
00:25:05,320 --> 00:25:06,960
And. 
He came up with this. 

576
00:25:07,080 --> 00:25:09,280
Yeah, he said. 
Given the tone of the movie, 

577
00:25:09,280 --> 00:25:11,520
what's something? 
A little splashy, so to speak, 

578
00:25:11,520 --> 00:25:13,880
that we can write. 
And so I thought, well, maybe 

579
00:25:13,880 --> 00:25:16,520
she pukes when she lies and she 
can't hide that, so that would 

580
00:25:16,520 --> 00:25:17,480
be fun. 
Right. 

581
00:25:17,720 --> 00:25:21,560
It is fun, it's really memorable
and we can buy it because of the

582
00:25:21,560 --> 00:25:24,320
things that you said, Wesley, it
might be like kind of like an 

583
00:25:24,320 --> 00:25:27,800
extreme reaction to certain 
circumstances, traumas in the 

584
00:25:27,800 --> 00:25:30,160
past. 
So it is viable. 

585
00:25:30,840 --> 00:25:32,160
Oh absolutely. 
Yeah, totally. 

586
00:25:32,320 --> 00:25:34,120
Because it's not overhand or 
overplayed. 

587
00:25:34,280 --> 00:25:36,800
That's right, and it's 
beautifully paid off in that 

588
00:25:36,800 --> 00:25:39,680
scene as well at the end. 
Oh yeah, it's it's a wonderful 

589
00:25:39,680 --> 00:25:42,920
thing when it comes full circle.
So many things come full circle.

590
00:25:42,960 --> 00:25:45,320
Yeah, it's ridiculous. 
It's like the Olympic badge 

591
00:25:47,720 --> 00:25:52,240
circles in it. 
So a seemingly open and shut 

592
00:25:52,240 --> 00:25:55,720
case has now been blown wide 
open with tales of rejection and

593
00:25:55,720 --> 00:26:01,040
tales of infidelity. 
Yes, with Martin back inside, 

594
00:26:01,040 --> 00:26:03,360
we're now going to dig into the 
reason for Benoit Blanc's 

595
00:26:03,360 --> 00:26:05,920
presence before going back to 
the night of and the 

596
00:26:05,920 --> 00:26:08,040
circumstances surrounding 
Harlan's death. 

597
00:26:08,760 --> 00:26:11,280
And I'm starting with an 
explanation of Blanc's presence 

598
00:26:11,280 --> 00:26:14,320
at the house this morning. 
Somebody dodged a very important

599
00:26:14,320 --> 00:26:16,000
question. 
And that somebody was Benoit 

600
00:26:16,040 --> 00:26:18,840
Blanc. 
He's underway who hired him, but

601
00:26:18,840 --> 00:26:21,400
he compels him. 
An envelope of class shows up at

602
00:26:21,400 --> 00:26:24,160
his apartment and a news clip. 
And I love that. 

603
00:26:24,160 --> 00:26:27,360
Wagner says an envelope that 
worked and Blanc's reaction is 

604
00:26:27,360 --> 00:26:32,520
an envelope of cash. 
I never look wonderful of cash. 

605
00:26:33,560 --> 00:26:34,640
Big Ward. 
Yeah. 

606
00:26:35,640 --> 00:26:38,520
Now this is a mystery inside a 
mystery inside the murder. 

607
00:26:38,600 --> 00:26:41,320
Why would somebody anonymously 
hire a private detective to 

608
00:26:41,320 --> 00:26:43,480
solve a seemingly 
straightforward suicide case? 

609
00:26:43,960 --> 00:26:45,960
As he says, and makes no damn 
sense. 

610
00:26:46,040 --> 00:26:49,920
And before it all sparrows out 
of control, Johnson pulls the 

611
00:26:49,920 --> 00:26:52,480
strings together for the 
audience by having Detective 

612
00:26:52,480 --> 00:26:55,200
Elliot go back to the night of 
and give us everyone's 

613
00:26:55,200 --> 00:26:57,320
whereabouts, time stamps, 
circumstances. 

614
00:26:57,600 --> 00:27:01,200
It reinforces characters, 
reinforces motivations, gives us

615
00:27:01,200 --> 00:27:04,280
the on the surface facts that 
we've got, and brings us up to 

616
00:27:04,280 --> 00:27:06,120
speed. 
It's not all the details, and 

617
00:27:06,120 --> 00:27:09,000
we'll find those out later with 
very different perspectives, but

618
00:27:09,000 --> 00:27:12,280
Johnson packages everything 
together so very neatly here 

619
00:27:12,400 --> 00:27:13,880
just to make sure that we're on 
track. 

620
00:27:13,960 --> 00:27:16,360
Track because there are loads of
things happening. 

621
00:27:16,600 --> 00:27:19,680
Yeah, it's real smart writing. 
Yeah, there it is. 

622
00:27:19,720 --> 00:27:21,960
And editing as well, and the 
structure of it. 

623
00:27:22,520 --> 00:27:23,720
Great stuff. 
Yeah. 

624
00:27:23,720 --> 00:27:26,800
And then from there, Mardi in 
viewed again and this is when we

625
00:27:26,800 --> 00:27:29,240
get her flashback. 
And I mean, to follow on from 

626
00:27:29,240 --> 00:27:32,480
what our pair on Heather said, 
Christopher Plummer is just so 

627
00:27:32,480 --> 00:27:35,720
good in this. 
I mean, he's got 17 or 8 minutes

628
00:27:35,720 --> 00:27:38,520
of screen time maybe, but he 
just dominates the film all the 

629
00:27:38,520 --> 00:27:40,040
same. 
His presence, he gets there. 

630
00:27:40,560 --> 00:27:43,000
And Harlan is so in control of 
everything. 

631
00:27:43,000 --> 00:27:46,000
He's in control of his family, 
but even in control of his own 

632
00:27:46,000 --> 00:27:49,200
death, when he realizes Mard has
given him an overdose, he 

633
00:27:49,200 --> 00:27:51,720
doesn't freak out. 
He gave me 100 milligrams of the

634
00:27:51,720 --> 00:27:53,760
good stuff. 
What is the good stuff dosage 

635
00:27:53,760 --> 00:27:56,160
supposed to be? 
And Marda, obviously, and she 

636
00:27:56,160 --> 00:27:57,800
panic. 
Let's not call it that right 

637
00:27:57,800 --> 00:27:59,520
now, OK? 
3 milligrams. 

638
00:27:59,840 --> 00:28:01,520
And then here's the blame. 
Oh, that's much less. 

639
00:28:01,680 --> 00:28:03,760
Just like. 
That's fine and. 

640
00:28:04,600 --> 00:28:06,720
Then says I'm going to give you 
an emergency shot so you don't 

641
00:28:06,720 --> 00:28:09,040
die in 10 minutes. 
Oh well, no pressure, that's 

642
00:28:09,040 --> 00:28:11,040
fine. 
Like it's just the epitome of 

643
00:28:11,040 --> 00:28:13,480
calm And I love how he starts 
dropping this down for future 

644
00:28:13,480 --> 00:28:15,280
novel I got This is really 
interesting I could use. 

645
00:28:15,320 --> 00:28:17,480
This, yeah, yeah. 
So dying out on this. 

646
00:28:17,480 --> 00:28:19,800
This is. 
Great, so is he already putting 

647
00:28:19,800 --> 00:28:22,120
it together in his head that 
this isn't an act? 

648
00:28:22,120 --> 00:28:24,880
Mard would not make this 
accident, she's too good. 

649
00:28:25,240 --> 00:28:27,480
So is he putting it together? 
Don't know. 

650
00:28:27,480 --> 00:28:29,640
Maybe there's that ambiguity, 
which I really like. 

651
00:28:29,640 --> 00:28:33,080
I think to Amos is brilliant 
here because she just epitomizes

652
00:28:33,480 --> 00:28:36,200
that horrible feeling in the pit
of your stomach when you've 

653
00:28:36,200 --> 00:28:39,360
messed something up bad and 
she's messed up to the worst 

654
00:28:39,360 --> 00:28:40,400
possible degree. 
He is. 

655
00:28:40,400 --> 00:28:42,280
So she's. 
Actually, she's fantastic, yeah.

656
00:28:42,520 --> 00:28:44,880
And it's that level of 
compassion that Holland shows in

657
00:28:44,880 --> 00:28:47,360
his final moments. 
All he cares about is protecting

658
00:28:47,360 --> 00:28:50,280
Martyr and the inheritance that 
she doesn't know about yet. 

659
00:28:50,800 --> 00:28:53,280
And also because he knows about 
her family and where they've 

660
00:28:53,480 --> 00:28:56,280
came from and what will happen 
to them if she gets into 

661
00:28:56,280 --> 00:28:58,320
trouble. 
I mean, that is so resonant 

662
00:28:58,320 --> 00:29:01,360
today, like his last action. 
See to protect Marta from soon. 

663
00:29:01,360 --> 00:29:02,760
Some of the news we're watching 
at the minute. 

664
00:29:02,760 --> 00:29:05,920
So it's a brilliant same because
everything is now turned on its 

665
00:29:05,920 --> 00:29:08,600
head and what we thought was 
going to be the case isn't the 

666
00:29:08,600 --> 00:29:10,600
case at all. 
But no one knows how to part 

667
00:29:10,600 --> 00:29:12,880
from Marta. 
Yeah, I love to arm us. 

668
00:29:13,000 --> 00:29:16,840
The contrast in just her real 
warmth of character. 

669
00:29:16,840 --> 00:29:19,480
When she's playing goal with 
Harlan and she's making jokes, 

670
00:29:19,480 --> 00:29:21,320
they've obviously got an amazing
relationship. 

671
00:29:21,560 --> 00:29:24,160
But then that turns when she 
gives him the overdose. 

672
00:29:24,920 --> 00:29:27,520
Like you said, Matt, you know, 
that sickness feeling, it's 

673
00:29:27,520 --> 00:29:30,440
palpable, isn't it? 
I also love it that when she's 

674
00:29:30,440 --> 00:29:34,080
being interviewed, she's 
positioned in the ring of knives

675
00:29:34,080 --> 00:29:37,800
as opposed to everybody else who
have been kind of like set aside

676
00:29:37,800 --> 00:29:40,440
adjacent to it. 
All the knives are focused in on

677
00:29:40,440 --> 00:29:42,800
her head here. 
And as we've been talking about,

678
00:29:42,800 --> 00:29:45,720
the impressive circular knife 
prop plays a big part in 

679
00:29:45,720 --> 00:29:49,000
proceedings, Johnson said. 
I had that written in the script

680
00:29:49,000 --> 00:29:50,960
as a religious icon made of 
knives. 

681
00:29:51,000 --> 00:29:53,560
A big Halo of knives. 
Yeah, they went through a lot of

682
00:29:53,560 --> 00:29:55,880
different designs that didn't 
hit the spot for Johnson. 

683
00:29:56,160 --> 00:29:58,560
But just a few days before 
production started, production 

684
00:29:58,560 --> 00:30:02,240
designer David Crank found a 
huge industrial BBQ grit which 

685
00:30:02,240 --> 00:30:04,720
cut the mustard. 
Once the knives were mounted on 

686
00:30:04,720 --> 00:30:07,840
it, Johnson was blown away. 
I mean it's it's 1 great movie 

687
00:30:07,840 --> 00:30:09,280
prop. 
Oh, yeah, it's wonderful. 

688
00:30:09,280 --> 00:30:10,280
Yeah. 
I mean, you wouldn't want it in 

689
00:30:10,280 --> 00:30:11,360
your house. 
It's fairly threatening. 

690
00:30:13,120 --> 00:30:16,120
That's it in front of this. 
No, I'm all right. 

691
00:30:16,120 --> 00:30:16,920
Thanks. 
I'll see you later. 

692
00:30:18,360 --> 00:30:21,440
And Crank was also tasked with 
filling the grand old house with

693
00:30:21,520 --> 00:30:24,880
art, facts and details that one 
would expect to see in Holland 

694
00:30:24,880 --> 00:30:26,880
from Peace House. 
And it's a visual representation

695
00:30:26,880 --> 00:30:30,720
of Holland's mind. 
Yes, yeah, you can see that set 

696
00:30:30,720 --> 00:30:32,800
decorated. 
David Schlesinger found an old 

697
00:30:32,800 --> 00:30:34,240
dollhouse. 
I don't know why they find in 

698
00:30:34,240 --> 00:30:37,080
BBQ grits and old doll houses 
where they where they search in 

699
00:30:37,080 --> 00:30:40,640
the skins, Crank said. 
I looked at it and said, what's 

700
00:30:40,640 --> 00:30:42,600
the worst thing you could do 
with the child's toy? 

701
00:30:43,080 --> 00:30:46,120
Why don't we turn it into a bar?
So that's the bar in the. 

702
00:30:46,560 --> 00:30:49,480
Yeah, great. 
Yeah, all of the SEC declaration

703
00:30:49,480 --> 00:30:50,920
as well. 
There's loads of skulls and 

704
00:30:50,920 --> 00:30:53,280
skeletons and everything and all
of the pains, which is what they

705
00:30:53,280 --> 00:30:56,000
used to do in Victorian times. 
It was the memento Mori of like,

706
00:30:56,000 --> 00:30:57,760
remember that you're mortal, 
Remember that you're going to 

707
00:30:57,760 --> 00:30:59,400
die. 
So no matter how much wealth you

708
00:30:59,400 --> 00:31:02,080
have, death is always there. 
Yeah, that's that's littered all

709
00:31:02,080 --> 00:31:04,160
the way through the whole house.
I think the house itself as a 

710
00:31:04,160 --> 00:31:06,240
character is fantastic. 
It's amazing, brilliant. 

711
00:31:06,440 --> 00:31:08,000
It's one of the great movie 
houses. 

712
00:31:08,280 --> 00:31:09,160
Yeah, it is. 
Yeah, it is. 

713
00:31:09,640 --> 00:31:12,040
And this game of gore that 
they're playing is quite telling

714
00:31:12,040 --> 00:31:14,360
because Martha says that she's 
able to win because she's not 

715
00:31:14,360 --> 00:31:16,120
trying to beat Harland. 
She's trying to build a 

716
00:31:16,120 --> 00:31:18,640
beautiful pattern. 
And that's what happens in the 

717
00:31:18,640 --> 00:31:20,040
film. 
Everyone's trying to get what 

718
00:31:20,040 --> 00:31:22,240
they can from Harlem, whereas 
Martha just wants to do the 

719
00:31:22,240 --> 00:31:24,680
right thing, even if that does 
mean her going to jail. 

720
00:31:25,280 --> 00:31:27,880
Yeah, amazing. 
But she does win by being, you 

721
00:31:27,880 --> 00:31:30,600
know, the dark aside, moving 
through the white aside, which 

722
00:31:30,600 --> 00:31:33,080
is the immigrant walking through
the white privilege and just 

723
00:31:33,160 --> 00:31:35,960
playing it with kindness. 
And that's how it cuts through. 

724
00:31:35,960 --> 00:31:37,720
That's a great, great visual. 
Yeah. 

725
00:31:38,040 --> 00:31:39,720
There's a nice bit of 
foreshadowing here as well. 

726
00:31:39,720 --> 00:31:42,600
When Harlan's talking about 
Ransom, he says that he doesn't 

727
00:31:42,600 --> 00:31:45,440
know the difference between the 
stage prop and a real knife. 

728
00:31:45,960 --> 00:31:47,360
Yeah. 
And we see that playing out at 

729
00:31:47,360 --> 00:31:49,000
the end when he. 
Tries to circle down. 

730
00:31:49,480 --> 00:31:51,280
Yeah, yeah, yeah. 
Brilliant. 

731
00:31:51,280 --> 00:31:53,400
Great. 
So seeing how much he cares 

732
00:31:53,400 --> 00:31:55,440
about martyr. 
And then it just goes to this 

733
00:31:55,440 --> 00:31:59,000
wonderful moment where we've 
seen it like 100 times, but not 

734
00:31:59,000 --> 00:32:02,800
as fresh or as clear, as concise
as this, where he gives us this 

735
00:32:02,800 --> 00:32:06,160
list of how to get out of it. 
And it's almost reading it from 

736
00:32:06,160 --> 00:32:07,720
a book. 
And the voiceover work is 

737
00:32:07,720 --> 00:32:11,360
fantastic. 
It's so well positioned and so 

738
00:32:11,360 --> 00:32:14,360
well played through. 
It's Ryan Johnson's work of time

739
00:32:14,360 --> 00:32:17,280
manipulation here and his grasp 
on filmmaking technique. 

740
00:32:17,280 --> 00:32:19,320
And now you are just not lost at
all. 

741
00:32:19,520 --> 00:32:21,920
Call attention to the time or 
it's midnight, walking straight 

742
00:32:21,920 --> 00:32:23,520
out. 
This has been parodied so many 

743
00:32:23,520 --> 00:32:26,000
times, but he brings it back to 
kind of where it belongs and you

744
00:32:26,000 --> 00:32:28,360
take it seriously. 
You know, the confusion about 

745
00:32:28,360 --> 00:32:30,000
the before, the after with the 
elephant. 

746
00:32:30,000 --> 00:32:32,600
She's questioning the voice over
as she's moving and drive and 

747
00:32:32,600 --> 00:32:34,880
it's like, that's brilliant. 
That's really well worked in. 

748
00:32:35,120 --> 00:32:37,080
And obviously she goes in front 
of it, which is supposed to go 

749
00:32:37,080 --> 00:32:39,720
behind, which we'll find out 
later on when the review and the

750
00:32:39,720 --> 00:32:41,400
tapes. 
That's really important. 

751
00:32:41,840 --> 00:32:43,960
Then she climbs the trellis, but
then she's at the bottom and she

752
00:32:43,960 --> 00:32:45,120
says you've got to be kidding 
me. 

753
00:32:45,120 --> 00:32:47,000
And then the voiceover just 
replies, I'm not. 

754
00:32:47,400 --> 00:32:51,280
It's just so, so great, so well 
done and put the guy, he must 

755
00:32:51,280 --> 00:32:53,560
have been writing this going, 
yes, I'll do that. 

756
00:32:53,680 --> 00:32:57,400
And then when you say there's 
that child coming through the 

757
00:32:57,400 --> 00:32:59,680
painting that hides the windows 
is that false wall. 

758
00:32:59,920 --> 00:33:02,120
So that painting of the kid 
actually shows what's going to 

759
00:33:02,120 --> 00:33:04,080
happen through the window. 
So that's brilliant. 

760
00:33:04,080 --> 00:33:05,200
That's a little bit of 
foreshadowing. 

761
00:33:05,200 --> 00:33:08,200
She comes through you say she 
doesn't scrape a fun on the 

762
00:33:08,200 --> 00:33:10,240
window sill, totally avoids 
that. 

763
00:33:10,600 --> 00:33:12,280
So on 2nd view and that's really
rewarding. 

764
00:33:12,280 --> 00:33:15,400
And then when she drops down, 
don't be seen and then drops 

765
00:33:15,400 --> 00:33:18,400
down at the bottom, you know, 
just when you take me robe and 

766
00:33:18,400 --> 00:33:20,560
take me cap and you figure out 
how did the same and he just 

767
00:33:20,560 --> 00:33:23,200
kind of that's a bit of a 
throwaway, but that works again 

768
00:33:23,200 --> 00:33:25,320
so well. 
And it's like don't be seen And 

769
00:33:25,320 --> 00:33:27,160
it's just like, Ransom, are you 
back again already? 

770
00:33:27,600 --> 00:33:29,960
But it's because of the age of 
the character, the confusion of 

771
00:33:29,960 --> 00:33:31,720
the character, the way the 
character has already been set 

772
00:33:31,720 --> 00:33:32,800
up. 
They don't know how old she is. 

773
00:33:32,800 --> 00:33:35,640
You don't know what's going on. 
And then it comes a full circle 

774
00:33:35,640 --> 00:33:37,280
with how she's going to get out 
with this. 

775
00:33:37,760 --> 00:33:40,200
How's this actually going to 
work when you can't lie? 

776
00:33:40,480 --> 00:33:43,000
And it's just tell the fragments
and we've seen everything and 

777
00:33:43,000 --> 00:33:45,680
they are the perfect fragments 
of how to tell that story 

778
00:33:45,680 --> 00:33:47,640
without implicating yourself 
into anything. 

779
00:33:48,480 --> 00:33:50,760
Honestly, it's just like lying 
in a lazy river. 

780
00:33:51,800 --> 00:33:53,600
Just like I'm just having so 
much fun. 

781
00:33:53,600 --> 00:33:55,440
This is just great. 
That's when this is over. 

782
00:33:55,440 --> 00:33:57,480
I'll probably just do it again. 
This is nice. 

783
00:33:57,480 --> 00:33:59,760
And you just feel like you're 
just so well guided through it, 

784
00:33:59,760 --> 00:34:02,440
where you're not getting 
agitated, where you don't, you 

785
00:34:02,440 --> 00:34:04,640
don't necessarily want to know 
the answers because there's so 

786
00:34:04,640 --> 00:34:06,720
many questions. 
And it's like you said at the 

787
00:34:06,720 --> 00:34:08,000
top. 
Look, I think it's a perfect 

788
00:34:08,000 --> 00:34:11,199
word for I think this moment, 
this whole montage is just 

789
00:34:11,199 --> 00:34:13,080
delicious. 
It is. 

790
00:34:13,080 --> 00:34:15,960
It really is. 
It gives it loads of different 

791
00:34:15,960 --> 00:34:19,840
layers because in a previous 
flashback, Detective Elliot says

792
00:34:19,840 --> 00:34:21,280
that he checked his time. 
It's 12:00. 

793
00:34:21,560 --> 00:34:25,280
And the viewer, you're thinking 
that's a little convenience, 

794
00:34:25,600 --> 00:34:28,840
that it's bang on 12:00. 
How could he remember the time? 

795
00:34:29,000 --> 00:34:32,239
But then we found out in this 
flashback that Marta brings 

796
00:34:32,239 --> 00:34:34,480
attention to the time. 
It's great. 

797
00:34:34,760 --> 00:34:36,679
Midnight already. 
And then he looks again. 

798
00:34:36,840 --> 00:34:38,840
It's reinforced for the audience
as well. 

799
00:34:38,920 --> 00:34:41,760
Yes, exactly. 
Obviously this moment Harlan is 

800
00:34:41,760 --> 00:34:43,920
on the road out because Marta 
has mixed up his medicine and 

801
00:34:43,920 --> 00:34:45,320
gave him an overdose of 
morphine. 

802
00:34:45,760 --> 00:34:48,400
At least that's what she thinks.
But allegedly, morphine acts 

803
00:34:48,400 --> 00:34:50,960
very quickly, and Holland would 
not have lasted as long as he 

804
00:34:50,960 --> 00:34:52,480
did with the amount he was 
given. 

805
00:34:53,040 --> 00:34:55,440
So there's a clue to the fact 
that he was given the right 

806
00:34:55,440 --> 00:34:58,200
medication by a master. 
It just had the wrong label on 

807
00:34:58,200 --> 00:34:58,920
it. 
Yeah. 

808
00:34:59,480 --> 00:35:02,360
And I guess in her panic, she 
hasn't realized that. 

809
00:35:02,520 --> 00:35:05,040
Yeah, no, of course not. 
I mean, it's too late anyway 

810
00:35:05,040 --> 00:35:06,920
when she goes in. 
His mind's made-up, so there's 

811
00:35:06,920 --> 00:35:08,320
nothing she could do to change 
that anyway. 

812
00:35:08,480 --> 00:35:11,360
Great, so Martin has got blood 
in her hands, and considering 

813
00:35:11,360 --> 00:35:13,880
her reaction to tell her lies, 
it's only a matter of time 

814
00:35:13,880 --> 00:35:15,400
before the game is up. 
Yeah. 

815
00:35:19,160 --> 00:35:23,760
The director. 
The first outing for Ryan 

816
00:35:23,760 --> 00:35:26,800
Johnson on All the Right Movies,
he'd been sharpening his blades 

817
00:35:26,800 --> 00:35:30,040
behind the camera for almost 15 
years before getting to Knives 

818
00:35:30,040 --> 00:35:33,280
Out. 
Our thoughts on his work here as

819
00:35:33,280 --> 00:35:35,640
director will get room as a 
writer later on. 

820
00:35:36,400 --> 00:35:39,360
And I think that on top of 
everything else that Johnson is 

821
00:35:39,360 --> 00:35:42,120
spinning a compelling narrative.
Great characters, classic 

822
00:35:42,120 --> 00:35:45,200
mystery, honour in the genre. 
He keeps us thoroughly 

823
00:35:45,200 --> 00:35:48,360
entertained with what is going 
on in the frame, specifically 

824
00:35:48,360 --> 00:35:51,960
his use of depth. 
He's given us texture details 

825
00:35:51,960 --> 00:35:53,720
and torn with just his 
backgrounds. 

826
00:35:54,120 --> 00:35:57,440
If you take that Thrombie house,
it's not just a set, we've said 

827
00:35:57,440 --> 00:36:00,320
it, it's a character. 
Every room stuffed with clues, 

828
00:36:00,320 --> 00:36:03,360
red herons, portraits, Knick 
knacks, books, weapons on the 

829
00:36:03,360 --> 00:36:05,640
wall. 
And Johnson stages his actors at

830
00:36:05,640 --> 00:36:07,760
different distances from the 
camera, so your eye is 

831
00:36:07,760 --> 00:36:10,640
constantly being drawn deeper 
and deeper into the frame. 

832
00:36:10,960 --> 00:36:13,240
There's always something 
happening behind the person 

833
00:36:13,240 --> 00:36:16,080
talking, a family member lurking
in a doorway, or a reaction shot

834
00:36:16,080 --> 00:36:18,160
that tells you more than 
dialogue does. 

835
00:36:18,400 --> 00:36:21,040
And it rewards multiple viewings
because you're catching things 

836
00:36:21,040 --> 00:36:23,480
in the background that you just 
missed first time around. 

837
00:36:23,960 --> 00:36:26,680
And I think that's a real skill 
because it's doing 2 jobs at 

838
00:36:26,680 --> 00:36:28,720
once. 
On the surface, it's building 

839
00:36:28,720 --> 00:36:31,760
this rich, lived in world where 
every object feels like it has a

840
00:36:31,760 --> 00:36:35,280
story behind it, but underneath 
that, it's planted information. 

841
00:36:35,800 --> 00:36:38,360
Johnson is hiding things in 
plain sight and trusting that 

842
00:36:38,360 --> 00:36:40,160
the audience is smart enough to 
find them. 

843
00:36:41,200 --> 00:36:44,320
That depth of frame isn't just 
there for pretty compositions, 

844
00:36:44,320 --> 00:36:47,240
it's storytelling as well. 
Visual storytelling at its best.

845
00:36:47,600 --> 00:36:49,920
Yeah, yeah. 
So regarding having depth in the

846
00:36:49,920 --> 00:36:52,920
frame and things going on in the
background, Johnson referenced 

847
00:36:52,920 --> 00:36:56,240
the works of Michael Curtis and 
Old Hollywood and said it's much

848
00:36:56,240 --> 00:36:58,400
more interesting if you can have
her fame where there were 

849
00:36:58,400 --> 00:37:01,720
multiple things happening at 
once and orchestration in Maison

850
00:37:01,720 --> 00:37:05,840
sent in the whole shebang. 
Yes, Curtis directed Casablanca,

851
00:37:05,880 --> 00:37:09,520
The Adventures of Robin Hood. 
One of my favorite moments here 

852
00:37:09,520 --> 00:37:12,640
is when Marta comes back to the 
family near the end and she 

853
00:37:12,640 --> 00:37:15,080
wants to confess. 
She's got them all lined up and 

854
00:37:15,080 --> 00:37:16,720
they're positioned like a family
portrait. 

855
00:37:16,720 --> 00:37:19,120
Some are sitting down, some are 
standing up, and it's like a 

856
00:37:19,120 --> 00:37:20,920
jewel. 
They're on one side, they've got

857
00:37:20,920 --> 00:37:23,120
their positions, and on the 
other side is Martyr in the 

858
00:37:23,120 --> 00:37:26,640
foreground, with Blank behind 
her and the portrait of Holland 

859
00:37:26,640 --> 00:37:29,160
to his left. 
Johnson's telling us visually 

860
00:37:29,160 --> 00:37:31,160
who's on who's side here. 
Yes, exactly. 

861
00:37:31,200 --> 00:37:34,920
That's incredible work which I 
think just could easily get lost

862
00:37:34,920 --> 00:37:37,360
under everything else going on 
because it's so multi layered. 

863
00:37:37,640 --> 00:37:40,920
Yeah, I think the reason this 
works is because he understands 

864
00:37:40,920 --> 00:37:43,720
cinema and he understands the 
language of cinema and he 

865
00:37:43,720 --> 00:37:46,960
understands the narrative of it.
And if you think about how much 

866
00:37:47,120 --> 00:37:50,880
balance this up between how much
the writing plays towards how 

867
00:37:50,880 --> 00:37:54,040
much the camera work plays and 
how much you see in the frame 

868
00:37:54,560 --> 00:37:57,520
and how much dialogue is 
exposition and how much is 

869
00:37:57,520 --> 00:38:00,120
explained and what's happening, 
or are we seeing what's 

870
00:38:00,120 --> 00:38:03,280
happening being explained. 
So I think most of it is visual 

871
00:38:03,320 --> 00:38:05,400
in the revelation of what's 
happening. 

872
00:38:05,440 --> 00:38:08,120
We're seeing more than we hear 
about, and I think that's really

873
00:38:08,120 --> 00:38:10,040
important and he's really got a 
grasp on that. 

874
00:38:10,040 --> 00:38:13,280
And the use of all of these 
influences is just the tone and 

875
00:38:13,280 --> 00:38:16,080
the feel of this. 
And I think to create something 

876
00:38:16,080 --> 00:38:18,760
like this is incredibly, 
incredibly difficult because 

877
00:38:18,760 --> 00:38:21,560
just going off that montage. 
Then Holland tells Mark how to 

878
00:38:21,560 --> 00:38:24,400
get away with it. 
If those shots don't match later

879
00:38:24,400 --> 00:38:28,320
on in the film, you are fucked. 
You are done for if you if you 

880
00:38:28,320 --> 00:38:30,800
don't cut from her walking down 
the stairs to turn around at the

881
00:38:30,800 --> 00:38:33,680
same point of when he speaks and
then you go to his point of view

882
00:38:33,680 --> 00:38:35,640
earlier on. 
If you don't match in your head,

883
00:38:36,120 --> 00:38:38,400
you're done for. 
And that's why films like this 

884
00:38:38,400 --> 00:38:41,400
on 10A Penny, that's why they 
don't come around as often as 

885
00:38:41,400 --> 00:38:42,920
they do. 
Because to pull this off is 

886
00:38:42,920 --> 00:38:46,560
incredibly difficult because 
everything needs to be In Sync. 

887
00:38:46,680 --> 00:38:50,160
Everyone needs to be fired and 
on all cylinders and everyone 

888
00:38:50,160 --> 00:38:52,320
needs to be so into what's going
on. 

889
00:38:52,880 --> 00:38:56,000
Every single person on this film
needs to be firing on all 

890
00:38:56,000 --> 00:38:58,240
cylinders. 
And Ryan Johnson brings that 

891
00:38:58,240 --> 00:38:59,480
energy. 
You can see he's got that 

892
00:38:59,480 --> 00:39:01,400
energy. 
And this needs to be done from a

893
00:39:01,400 --> 00:39:04,480
director that's incredibly rare 
and incredibly refreshing. 

894
00:39:04,480 --> 00:39:07,920
And not only has he done it this
time, he's done it twice after 

895
00:39:07,920 --> 00:39:12,040
this to the same degree level of
attention to detail. 

896
00:39:12,320 --> 00:39:15,040
It's just a big shout to 
Hollywood and the state of it 

897
00:39:15,040 --> 00:39:17,360
right now. 
Like, find somebody who really, 

898
00:39:17,360 --> 00:39:19,440
really appreciates where all 
this came from. 

899
00:39:19,800 --> 00:39:22,160
Make it a little bit more modern
and a little bit more for an 

900
00:39:22,160 --> 00:39:24,560
audience that just going to dive
into it with a little bit more 

901
00:39:24,560 --> 00:39:27,120
modern themes. 
But if you move away from 

902
00:39:27,120 --> 00:39:29,400
Classic Cinema, you're going to 
pay the price. 

903
00:39:29,400 --> 00:39:32,600
If you stay the course like he 
has, you're going to make 

904
00:39:32,600 --> 00:39:35,600
millions, which is what he did, 
and that's his influence as a 

905
00:39:35,600 --> 00:39:38,000
director. 
Absolutely, yeah. 

906
00:39:38,240 --> 00:39:41,480
Talking about his influence and 
talking about Classic Cinema so 

907
00:39:41,480 --> 00:39:44,080
that he didn't shoehorn himself 
down a particular path with one 

908
00:39:44,080 --> 00:39:47,280
piece of workers inspiration, he
said that he put himself in a 

909
00:39:47,280 --> 00:39:50,360
general mindset of murder 
mystery which gave him a blurred

910
00:39:50,360 --> 00:39:51,400
vision. 
Right. 

911
00:39:51,560 --> 00:39:54,320
However, there are a number of 
influences at play for Johnson 

912
00:39:54,320 --> 00:39:57,160
in Knives Out. 
Specifically and unsurprisingly,

913
00:39:57,160 --> 00:40:00,400
the work of the Grand Master of 
murder mystery, Agatha Christie,

914
00:40:00,760 --> 00:40:03,080
a writer whom he grew up 
reading, and his love for the 

915
00:40:03,080 --> 00:40:05,440
genre grew from there. 
Yeah, well, of course. 

916
00:40:05,480 --> 00:40:06,240
Why wouldn't? 
Of course. 

917
00:40:06,360 --> 00:40:08,920
Yeah, exactly. 
And he later adored the Christie

918
00:40:08,920 --> 00:40:12,280
movie adaptations in the 70s and
80s with these huge ensemble 

919
00:40:12,280 --> 00:40:15,640
casts in incredible locations. 
And he said, I said to my 

920
00:40:15,640 --> 00:40:18,920
producer, we want an All Star 
cast to be one that old skill 

921
00:40:18,960 --> 00:40:21,360
entertainment. 
We're putting on a big show type

922
00:40:21,360 --> 00:40:23,480
feel. 
Yeah, it's murder and the Orange

923
00:40:23,480 --> 00:40:25,200
Express and Evil under the Sun, 
isn't it? 

924
00:40:25,240 --> 00:40:29,960
Yeah, yeah, yeah, yeah. 
Well, talking about those, 

925
00:40:29,960 --> 00:40:32,720
Johnson tweeted photos of 
Porsche he had hanging up when 

926
00:40:32,720 --> 00:40:35,320
he was editing Knives Out in 
January 2019. 

927
00:40:35,560 --> 00:40:38,400
These were posters that served 
as inspiration for the film in 

928
00:40:38,400 --> 00:40:41,240
one way or another. 
And they were evil under the 

929
00:40:41,240 --> 00:40:43,560
sun. 
Gosford Park, murdered by death.

930
00:40:43,560 --> 00:40:47,880
Death trap clues, death on the 
Nile, the last of Sheila, Murder

931
00:40:47,880 --> 00:40:50,160
on the Orient Express, the 
Mirror Cracked, the private 

932
00:40:50,160 --> 00:40:53,000
eyes, and finally Pokémon 
Detective Pikachu. 

933
00:40:54,800 --> 00:40:57,480
Obviously the most influential. 
I was going to say that. 

934
00:40:57,560 --> 00:40:59,360
Yeah. 
And one film missing from that 

935
00:40:59,360 --> 00:41:02,640
rogues gallery is Sleuth, the 
Lawrence Olivier and Michael 

936
00:41:02,640 --> 00:41:05,000
Caine. 
As mentioned earlier, outside of

937
00:41:05,000 --> 00:41:07,400
Agatha Christie, it was 
Johnson's biggest inspiration 

938
00:41:07,400 --> 00:41:09,400
for Knives Out. 
Yeah, yeah, yeah, absolutely. 

939
00:41:09,400 --> 00:41:11,200
He loves it. 
And there were nods to it all 

940
00:41:11,200 --> 00:41:14,000
over this film, specifically all
the little figurines and 

941
00:41:14,000 --> 00:41:15,480
characters strewn about the 
house. 

942
00:41:15,920 --> 00:41:17,920
There were shots of them in the 
opening scene, including a 

943
00:41:17,920 --> 00:41:20,840
sailor that looks just like 
Jolly Jack Tar from Sleuth. 

944
00:41:21,120 --> 00:41:24,440
It is Jolly Jack Tarf. 
It looks like it's the same 

945
00:41:24,440 --> 00:41:25,920
thing. 
The founder when he found the 

946
00:41:25,920 --> 00:41:26,880
dog was out, surely? 
Yeah. 

947
00:41:27,040 --> 00:41:28,480
Yeah, yeah. 
Must have anybody? 

948
00:41:28,480 --> 00:41:34,640
On the same. 
Skip I think he just brings so 

949
00:41:34,640 --> 00:41:37,240
much attention to detail 
throughout all of this. 

950
00:41:37,240 --> 00:41:40,200
The plot, the various character 
motives and alibis. 

951
00:41:40,680 --> 00:41:42,400
Everything makes sense in his 
water type. 

952
00:41:42,400 --> 00:41:44,640
But Johnson, He's also playing 
fairly with the audience. 

953
00:41:45,200 --> 00:41:47,760
There's no great revelation that
he springs out of nowhere. 

954
00:41:47,920 --> 00:41:50,080
Everything is set up, everything
is in plain sight. 

955
00:41:50,080 --> 00:41:52,760
And fair enough, you'd have to 
be very clever to pick some of 

956
00:41:52,760 --> 00:41:54,720
them up. 
Being the fact that the dogs 

957
00:41:54,720 --> 00:41:58,120
don't bark at Martyr, but they 
do bark at Ransom is a huge game

958
00:41:58,120 --> 00:42:00,640
because obviously somebody is 
the dogs barking in the middle 

959
00:42:00,640 --> 00:42:03,280
of the night. 
But all the same, it is there if

960
00:42:03,280 --> 00:42:05,120
you're paying attention. 
If you think about it, you know 

961
00:42:05,120 --> 00:42:08,280
he points out the blood spot on 
Marcus shoe well before it 

962
00:42:08,280 --> 00:42:11,560
becomes important and he threads
it together with such a neatness

963
00:42:11,560 --> 00:42:14,320
that you don't feel foolish for 
not working it out yourself. 

964
00:42:14,680 --> 00:42:17,080
You just feel like you've been 
treated like an adult watching 

965
00:42:17,080 --> 00:42:19,280
this. 
And he's got he's such a real 

966
00:42:19,280 --> 00:42:21,320
patience. 
He doesn't rush anything. 

967
00:42:21,600 --> 00:42:24,800
He doesn't spell anything out 
over the any trust the audience 

968
00:42:24,920 --> 00:42:27,080
and as much as he's open and 
expectations. 

969
00:42:27,080 --> 00:42:28,920
So there's actually not a murder
to solve. 

970
00:42:28,920 --> 00:42:31,680
At first it's a suicide, but 
then actually, no, it's a tragic

971
00:42:31,680 --> 00:42:34,160
accident. 
So when we go from there, but 

972
00:42:34,160 --> 00:42:37,640
it's done with such a confident,
it's like every 10 minutes he 

973
00:42:37,640 --> 00:42:40,680
lays out a fresh piece of 
evidence or a new twist or a new

974
00:42:40,680 --> 00:42:42,200
revelation that takes you 
somewhere else. 

975
00:42:42,560 --> 00:42:44,920
And it's like he's dangling the 
resolution in front of the 

976
00:42:44,920 --> 00:42:48,120
audience, but just keeps pulling
it away until he lets he catch 

977
00:42:48,120 --> 00:42:50,760
up at the end. 
And as much as he interlaces the

978
00:42:50,760 --> 00:42:53,440
film with humor, he never lets 
it become a spoof either. 

979
00:42:53,440 --> 00:42:56,160
Which it easily could be. 
This could just be silly. 

980
00:42:56,600 --> 00:42:58,800
It could be, yes. 
It could be Clue, yeah. 

981
00:42:58,800 --> 00:43:01,040
It could be clue, it could be 
one step away from the naked gun

982
00:43:01,280 --> 00:43:04,880
and it's you know, he knows when
the let scenes play out with the

983
00:43:04,880 --> 00:43:07,120
comic twist, but he knows when 
to pull back on that as well. 

984
00:43:07,480 --> 00:43:09,680
So the top's like the ultimate 
compliment. 

985
00:43:09,680 --> 00:43:12,560
I compare director. 
It's this is so incredibly 

986
00:43:12,560 --> 00:43:15,200
complicated put together, but he
just makes look so easy. 

987
00:43:15,960 --> 00:43:18,040
Yeah, yeah, yeah. 
It's effortless, isn't it? 

988
00:43:18,240 --> 00:43:19,680
Yeah, it's just them influences,
isn't it? 

989
00:43:19,680 --> 00:43:21,640
I mean, he's just pulling them 
left, right and centre and just 

990
00:43:21,640 --> 00:43:23,480
making complete sense of them, 
just like you say. 

991
00:43:23,520 --> 00:43:26,160
Even that little bit about the 
dogs, Yeah, it comes from 

992
00:43:26,160 --> 00:43:29,600
Sherlock Holmes, a Silver Blaze,
where he finds out like the the 

993
00:43:29,600 --> 00:43:32,520
bad guy through the silence of 
the dog because it knows him. 

994
00:43:32,520 --> 00:43:35,440
So it's like that little and 
just sprinkling that all the way

995
00:43:35,440 --> 00:43:37,320
through, which is fantastic. 
Yeah, that's amazing. 

996
00:43:37,840 --> 00:43:40,400
And the initial concept for 
Knives Out came to Ryan Johnson 

997
00:43:40,400 --> 00:43:43,840
after he finished his 
directorial debut Brick in 2005.

998
00:43:43,920 --> 00:43:46,840
He had planned to revisit the 
idea after the release of sci-fi

999
00:43:46,840 --> 00:43:51,120
film Lupa in 2012, and he even 
mentioned it in a 2010 interview

1000
00:43:51,120 --> 00:43:53,640
with an independent that he 
would like to write and direct 

1001
00:43:53,640 --> 00:43:55,760
an Agatha Christie style murder 
mystery next. 

1002
00:43:55,960 --> 00:43:57,360
Yeah. 
What took you so long? 

1003
00:43:57,360 --> 00:43:58,440
Yeah. 
Exactly. 

1004
00:43:58,440 --> 00:44:01,280
But yeah, but Lupa brought 
Johnson more critical success, 

1005
00:44:01,280 --> 00:44:03,680
and with that came and offered 
to direct the second part of the

1006
00:44:03,680 --> 00:44:06,280
Star Wars sequel trilogy, The 
Last Jedi. 

1007
00:44:06,520 --> 00:44:08,560
And how can he pass it on? 
Security like bars? 

1008
00:44:08,600 --> 00:44:11,160
Well, that's true enough. 
Yeah, it was only after that 

1009
00:44:11,160 --> 00:44:13,360
wrapped you could focus on his 
murder mystery idea. 

1010
00:44:13,840 --> 00:44:17,400
Yeah, and once Daniel Craig was 
signed on to the project by the 

1011
00:44:17,400 --> 00:44:20,800
director, whose last film made 
over a billion dollars, it 

1012
00:44:20,800 --> 00:44:23,520
wasn't difficult to get finance.
And we'll get to create later 

1013
00:44:23,520 --> 00:44:24,120
on. 
Yeah. 

1014
00:44:24,160 --> 00:44:25,760
Yeah. 
And the script was sent around 

1015
00:44:25,760 --> 00:44:28,360
to generate a buzz going into 
the Toronto Film Festival 

1016
00:44:28,360 --> 00:44:30,280
market. 
But even before Johnson and his 

1017
00:44:30,280 --> 00:44:33,560
team set off for Canada, MRC 
stumped up the 40 million 

1018
00:44:33,560 --> 00:44:36,400
needed, with Lionsgate coming on
board to distribute as well. 

1019
00:44:36,400 --> 00:44:39,480
I mean it's incredible right now
and not surprised to got snapped

1020
00:44:39,480 --> 00:44:41,640
up. 
And while there are comedic 

1021
00:44:41,640 --> 00:44:43,960
elements in the film, Johnson 
rendered great lengths to 

1022
00:44:43,960 --> 00:44:46,920
highlight that Knives Out is not
a parody of murder mystery films

1023
00:44:46,920 --> 00:44:49,880
in the way that others are, like
Clue or Murder by Death. 

1024
00:44:50,240 --> 00:44:51,560
It honors the tradition, doesn't
it? 

1025
00:44:51,560 --> 00:44:55,040
But clearly he's got a love for 
the genre and I think it's fair 

1026
00:44:55,040 --> 00:44:58,280
to say now it's in the great 
lineage of murder mystery films.

1027
00:44:58,480 --> 00:44:59,880
Oh, definitely. 
Yeah, yeah, yeah. 

1028
00:45:00,080 --> 00:45:02,840
So bringing up Sleuth again. 
And that was a major reference 

1029
00:45:02,840 --> 00:45:05,360
point for the set decorators and
production designers when 

1030
00:45:05,360 --> 00:45:08,080
building the world of Holland 
Thrombie inside the mansion as 

1031
00:45:08,080 --> 00:45:10,120
we've been discussing. 
I mean, it has to be, doesn't? 

1032
00:45:10,360 --> 00:45:12,760
It Yes, of course it is. 
Yeah, The Thrombie House was 

1033
00:45:12,760 --> 00:45:14,240
shot in three different 
locations. 

1034
00:45:14,400 --> 00:45:17,120
The main one was the Ames 
Mansion in Borderland State 

1035
00:45:17,120 --> 00:45:18,960
Park, Massachusetts. 
Nice. 

1036
00:45:19,160 --> 00:45:21,760
Production designer David Crank 
said when you walked in, it had 

1037
00:45:21,760 --> 00:45:24,280
character because nobody had 
wiped it clean and modernized 

1038
00:45:24,280 --> 00:45:26,000
it. 
It had been with the same family

1039
00:45:26,000 --> 00:45:29,120
for a few generations. 
Imagine that just went in, 

1040
00:45:29,120 --> 00:45:31,600
started cleaning it and like 
cranked and said what the fuck 

1041
00:45:31,600 --> 00:45:32,280
are? 
You. 

1042
00:45:33,240 --> 00:45:35,880
Doing I used the first floor of 
the house only the upper floors 

1043
00:45:35,880 --> 00:45:39,080
were constructed on set because 
the hallways didn't accommodate 

1044
00:45:39,080 --> 00:45:41,520
the shoot, but they were all 
based on the style of the Ames 

1045
00:45:41,520 --> 00:45:43,360
mansion. 
And the library, along with 

1046
00:45:43,360 --> 00:45:45,080
exteriors. 
They were shot in another 

1047
00:45:45,080 --> 00:45:47,320
mansion in Massachusetts. 
Because there were three 

1048
00:45:47,320 --> 00:45:49,840
different locations, the 
placement of the room subsets 

1049
00:45:50,040 --> 00:45:52,440
did make actual physical sense. 
Consider in the space 

1050
00:45:52,440 --> 00:45:54,520
downstairs. 
Yeah, it's the overlook, isn't 

1051
00:45:54,520 --> 00:45:54,920
it? 
Yeah. 

1052
00:45:55,160 --> 00:45:57,080
Yeah, exactly that. 
Yeah. 

1053
00:45:57,080 --> 00:45:59,280
Yeah. 
One of Crank's favorite rooms to

1054
00:45:59,280 --> 00:46:02,320
construct was Harlan's study, 
which was also shot on a stage 

1055
00:46:02,560 --> 00:46:04,280
set decorator. 
As we mentioned, David 

1056
00:46:04,280 --> 00:46:07,760
Schlesinger's crew created these
weird dioramas of murder scenes.

1057
00:46:07,760 --> 00:46:10,880
I think you mentioned earlier, 
Westie, they served to reinforce

1058
00:46:10,880 --> 00:46:13,520
the notion that the film is a 
visual representation of 

1059
00:46:13,520 --> 00:46:16,080
Harlan's mind. 
It's just full of detail. 

1060
00:46:16,240 --> 00:46:18,320
Yeah. 
And the house acted as a hub for

1061
00:46:18,320 --> 00:46:19,800
the actors, with everyone 
bonding. 

1062
00:46:19,800 --> 00:46:22,240
They're making for a happy 
working environment that 

1063
00:46:22,240 --> 00:46:25,000
actually spent so much time in 
the house that producer Ram 

1064
00:46:25,000 --> 00:46:27,560
Bergman said that they actually 
wasted a lot of money on 

1065
00:46:27,560 --> 00:46:29,640
trailers for the actors, which 
were barely used. 

1066
00:46:31,400 --> 00:46:34,640
So a director completely at home
with the material making it sing

1067
00:46:34,640 --> 00:46:36,760
on screen. 
He's got many years ahead of 

1068
00:46:36,760 --> 00:46:40,280
him, but Ryan Johnson probably 
will struggle to top Knives Out.

1069
00:46:40,880 --> 00:46:44,920
So yeah. 
The cast. 

1070
00:46:48,160 --> 00:46:49,680
An incredible cast of Knives 
Out. 

1071
00:46:49,680 --> 00:46:52,440
We'll be talking about the 
support as we go, but here we're

1072
00:46:52,440 --> 00:46:56,840
talking about CSIKFC, the black 
sheep of the Thrombie family. 

1073
00:46:56,840 --> 00:47:01,480
But first, Harlan's nurse from 
Uruguay and the Dharmas as Marta

1074
00:47:01,480 --> 00:47:03,840
Cabrera on the Umat. 
Yeah. 

1075
00:47:03,840 --> 00:47:06,160
I mean, I think one of the 
really interesting things about 

1076
00:47:06,160 --> 00:47:09,360
all three of these films is 
Blanc is kind of the protagonist

1077
00:47:09,360 --> 00:47:11,680
of the main character, but he 
also isn't in a lot of ways. 

1078
00:47:12,080 --> 00:47:14,200
We don't really find out 
anything about him. 

1079
00:47:14,640 --> 00:47:17,560
And I love the fact that we 
don't get the cliche a bit where

1080
00:47:17,800 --> 00:47:20,240
we find out like his mother was 
murdered, but they never found 

1081
00:47:20,240 --> 00:47:22,360
the killer and that's what 
inspired him. 

1082
00:47:22,720 --> 00:47:24,880
You don't need that. 
So instead what you do is you 

1083
00:47:24,880 --> 00:47:27,840
shift that focus on to someone 
else in all three of these 

1084
00:47:27,840 --> 00:47:30,080
films. 
And it works so well with Marta 

1085
00:47:30,080 --> 00:47:33,640
because the Amos is just so 
incredibly likeable. 

1086
00:47:33,960 --> 00:47:36,720
She's just got this real 
innocence and generosity of 

1087
00:47:36,720 --> 00:47:40,080
spirit, which contrasts so 
effectively to all the conniving

1088
00:47:40,080 --> 00:47:43,040
that's going on from the 
thrombies, all the greed that 

1089
00:47:43,040 --> 00:47:45,360
feels everything they do. 
And all she wants to do is be a 

1090
00:47:45,360 --> 00:47:49,200
good person and do a good job. 
That's why it's such a great 

1091
00:47:49,200 --> 00:47:51,880
twist that she thinks she's 
responsible for Holland's death.

1092
00:47:52,320 --> 00:47:55,960
And it does look like she is, 
albeit accidentally, because how

1093
00:47:55,960 --> 00:47:58,360
does she get out of that? 
And her performance is so good 

1094
00:47:58,360 --> 00:48:01,520
because he can see the guilt 
just weighs so heavily on it. 

1095
00:48:02,200 --> 00:48:06,120
And it puts us as an audience in
a quandary because we think she 

1096
00:48:06,120 --> 00:48:08,760
is responsible, but at the same 
time, we wanted to get away with

1097
00:48:08,760 --> 00:48:10,880
it. 
So how, how is that going to 

1098
00:48:10,880 --> 00:48:13,320
resolve itself? 
And because she's so likable, 

1099
00:48:13,840 --> 00:48:15,360
you're just completely on her 
side. 

1100
00:48:15,680 --> 00:48:18,280
And even the vomiting thing is 
really clever because it's not 

1101
00:48:18,280 --> 00:48:21,040
just a cheap guy that actually 
puts her in a real bind because 

1102
00:48:21,040 --> 00:48:23,680
she can't lie about what's 
really been going on. 

1103
00:48:23,800 --> 00:48:24,840
She's. 
Backed into a corner. 

1104
00:48:24,840 --> 00:48:27,320
It's just backed into a corner, 
which gives it this tension and 

1105
00:48:27,320 --> 00:48:30,600
it makes it such a such a 
fascinating character to have in

1106
00:48:30,600 --> 00:48:32,280
this situation. 
And the last thing I want to 

1107
00:48:32,280 --> 00:48:34,520
mention, that kind of last 
cliche it avoids. 

1108
00:48:34,720 --> 00:48:37,280
Obviously, by the time you get a
Glass Onion, we find out a bit 

1109
00:48:37,280 --> 00:48:40,000
more about Blanc's personal life
and the sexuality. 

1110
00:48:40,520 --> 00:48:43,000
But just going on this on this 
loan, if you didn't know that, 

1111
00:48:43,000 --> 00:48:45,560
I'm just really glad they 
avoided the glacier of Marta and

1112
00:48:45,560 --> 00:48:48,880
blank, like having a romance or 
having a play. 

1113
00:48:49,560 --> 00:48:52,640
Because honestly, going into it,
I thought it's it's going to go 

1114
00:48:52,640 --> 00:48:54,560
there, isn't it? 
Because, you know, Daniel Craig 

1115
00:48:54,560 --> 00:48:56,800
and Anna de Armas, they're going
to get together. 

1116
00:48:56,800 --> 00:48:58,200
And I'm so glad they didn't go 
there. 

1117
00:48:59,080 --> 00:49:01,840
Yeah, I'm so glad they didn't. 
That would have been rubbish. 

1118
00:49:01,840 --> 00:49:04,240
It wasn't just the lack of 
romance in this whole film. 

1119
00:49:04,240 --> 00:49:06,080
So refreshing this house. 
Exactly. 

1120
00:49:06,120 --> 00:49:08,880
Yeah, I just think Anna Dalmis, 
it's just a breath of fresh air.

1121
00:49:08,880 --> 00:49:12,280
She's a beautiful counterpoint 
to the Thrombie family. 

1122
00:49:12,280 --> 00:49:14,640
And they're kind of like, as 
you've mentioned, Westie, their 

1123
00:49:14,640 --> 00:49:17,600
white privilege, their 
harshness, their spikiness, 

1124
00:49:17,600 --> 00:49:19,640
their out of contempt for 
everybody else. 

1125
00:49:20,080 --> 00:49:23,640
And Anna Dalmis has just got so 
much vulnerability, but also 

1126
00:49:23,720 --> 00:49:25,840
like resolve and strength of 
character. 

1127
00:49:26,200 --> 00:49:29,160
Yeah, she's great. 
You know, there's no element of 

1128
00:49:29,160 --> 00:49:31,320
her performance where you think 
she doesn't deserve what she 

1129
00:49:31,320 --> 00:49:33,000
gets. 
Yeah, exactly. 

1130
00:49:33,040 --> 00:49:35,840
Yeah, Johnson was looking for a 
little known actor in the part 

1131
00:49:35,840 --> 00:49:38,040
of Monitor display of 
vulnerability and obviously the 

1132
00:49:38,040 --> 00:49:41,240
underdog quality. 
It was casting director Mary 

1133
00:49:41,240 --> 00:49:44,360
Veranu who brought the Armas to 
Johnsons attention. 

1134
00:49:44,840 --> 00:49:48,080
And Ryan Johnson had seen that 
in Blade Runner 2049, but that's

1135
00:49:48,080 --> 00:49:50,160
about it. 
Initially, he thought she was 

1136
00:49:50,160 --> 00:49:52,840
too pretty to play a martyr 
convincingly, but changed his 

1137
00:49:52,840 --> 00:49:55,440
mind when she came in to read. 
How did you change your mind 

1138
00:49:55,440 --> 00:49:58,280
when she came? 
So in the flesh, she was just 

1139
00:49:58,280 --> 00:49:59,320
not too. 
I would have. 

1140
00:49:59,320 --> 00:50:01,000
I would have made it even worse 
for me. 

1141
00:50:01,000 --> 00:50:04,840
Oh, there she is. 
That's that's ludicrous. 

1142
00:50:05,520 --> 00:50:07,640
Johnson said. 
She's got that Audrey Hepburn 

1143
00:50:07,640 --> 00:50:09,800
type thing. 
Some actors have that magical 

1144
00:50:09,800 --> 00:50:12,640
quality where you feel like 
their eyes are just windows 

1145
00:50:12,640 --> 00:50:14,760
right into their souls. 
And that's what Anna's got. 

1146
00:50:15,000 --> 00:50:16,800
Yeah, She's got that all right. 
Yeah. 

1147
00:50:16,840 --> 00:50:19,280
Definitely, she's fantastic. 
But the armistice's initial 

1148
00:50:19,280 --> 00:50:21,200
impulse was to actually turn the
role down. 

1149
00:50:21,480 --> 00:50:24,520
She wasn't interested in playing
Latin specific roles, but after 

1150
00:50:24,520 --> 00:50:27,240
reading the full script she was 
just drawn to modest strength of

1151
00:50:27,240 --> 00:50:28,920
character instead. 
Yeah. 

1152
00:50:28,920 --> 00:50:31,720
She was only given like kind of 
like a brief outline of the 

1153
00:50:31,720 --> 00:50:36,040
script at 1st and it said like 3
words like young, pretty. 

1154
00:50:37,040 --> 00:50:40,680
And she said I'm not interested 
in doing any kind of Latin 

1155
00:50:40,680 --> 00:50:42,840
specific roles. 
And then when she got the full 

1156
00:50:42,840 --> 00:50:45,840
script, she realized, yeah. 
There's a lot more to it than 

1157
00:50:45,880 --> 00:50:46,680
just three. 
Words. 

1158
00:50:46,760 --> 00:50:49,000
So that's a lot more subtle than
she probably thought it was 

1159
00:50:49,000 --> 00:50:49,880
going to be. 
Yeah. 

1160
00:50:50,160 --> 00:50:53,360
She also liked the idea of 
martyrs regurgitate reaction to 

1161
00:50:53,360 --> 00:50:56,840
untruths, she said. 
I'm a master at gulping and 

1162
00:50:56,840 --> 00:51:01,800
making the sounds now. 
So she may not have been well 

1163
00:51:01,800 --> 00:51:05,160
known in 2019, but that all 
changed with Knives Out and it 

1164
00:51:05,160 --> 00:51:07,480
almost bringing warmth, 
vulnerability and resolve to the

1165
00:51:07,480 --> 00:51:14,160
screen as Marta Cabrera. 
Next up, an outrageous turn from

1166
00:51:14,160 --> 00:51:16,800
James Bond at the time of 
release, Daniel Craig with his 

1167
00:51:16,800 --> 00:51:19,680
foghorn Leghorn Sullivan drawl 
as Benoit Blanc. 

1168
00:51:20,080 --> 00:51:22,000
Wesley, over to you. 
He's great, isn't he? 

1169
00:51:22,160 --> 00:51:25,680
I mean, he's having so much fun 
and I just love. 

1170
00:51:25,680 --> 00:51:28,000
I mean, Matt touched on it 
before the introduction to this 

1171
00:51:28,000 --> 00:51:31,680
character is so brilliant 
because it's he's in reduction 

1172
00:51:31,680 --> 00:51:33,280
in nearly every film before 
this. 

1173
00:51:33,280 --> 00:51:35,680
It's a head reduction is Bond. 
He's in reduction and wrote the 

1174
00:51:35,680 --> 00:51:37,480
perdition. 
It's just this low angle. 

1175
00:51:37,840 --> 00:51:41,880
He sat on the chair just like 
who is this guy cloaked in 

1176
00:51:41,880 --> 00:51:44,200
darkness? 
And it's just a real parody of 

1177
00:51:44,200 --> 00:51:46,040
all of these parts that he's 
played before. 

1178
00:51:46,120 --> 00:51:50,960
But he brings such a lightness 
of touch here, such this lack of

1179
00:51:51,240 --> 00:51:53,040
matches more. 
Like I said before, there's no 

1180
00:51:53,040 --> 00:51:56,760
masculinity to the part without 
it being overly effeminate. 

1181
00:51:56,760 --> 00:51:59,160
But he's just very understanding
and very emotional. 

1182
00:51:59,440 --> 00:52:02,240
Yes, but you don't expect this 
guy to have a fist fight. 

1183
00:52:02,480 --> 00:52:05,040
No, you don't expect them to 
like be caught in the middle of 

1184
00:52:05,040 --> 00:52:07,240
something like there's a bar 
room brawl and it's all right 

1185
00:52:07,240 --> 00:52:09,160
because blanks there and you 
take care of everything. 

1186
00:52:09,360 --> 00:52:11,320
You'd see him just leaving. 
He would just leave. 

1187
00:52:12,200 --> 00:52:13,920
I've had enough. 
And even in a car chase, he's 

1188
00:52:13,920 --> 00:52:15,840
just trying to phone her to calm
everything down. 

1189
00:52:15,840 --> 00:52:17,640
Hanging out the window. 
He's just like, will you answer 

1190
00:52:17,640 --> 00:52:19,600
the phone? 
It's just brilliant. 

1191
00:52:20,280 --> 00:52:23,200
I love the way it just it takes 
all of your expectations and 

1192
00:52:23,200 --> 00:52:25,680
just slams them on the heads 
like he's being James Bond for 

1193
00:52:25,680 --> 00:52:28,040
Christ's sake. 
He's almost finished being James

1194
00:52:28,040 --> 00:52:31,320
Bond at this point, and I think 
he's just taken all of that 

1195
00:52:31,320 --> 00:52:33,840
bravado, all of that build up, 
and he's just went, how can I 

1196
00:52:33,840 --> 00:52:37,800
subvert this completely into a 
Peter Sellers kind of role where

1197
00:52:37,800 --> 00:52:39,640
people are going to take it 
seriously And it's not 

1198
00:52:39,640 --> 00:52:43,240
slapstick, but his confusion is 
so palpable because he's leading

1199
00:52:43,240 --> 00:52:44,480
the films. 
When he's confused. 

1200
00:52:44,480 --> 00:52:48,160
We're really confused, but he's 
confused on purpose because he's

1201
00:52:48,160 --> 00:52:50,800
just manipulating everybody of 
all people. 

1202
00:52:50,840 --> 00:52:52,640
I would never have thought 
Daniel Craig. 

1203
00:52:52,640 --> 00:52:54,000
No, I wouldn't. 
No, I would have. 

1204
00:52:54,320 --> 00:52:56,480
And I think this is Daniel 
Craig's way of going, right? 

1205
00:52:56,480 --> 00:52:58,840
I've got a new character, I've 
got a new way of looking at it. 

1206
00:52:58,840 --> 00:53:01,840
It's completely subverting the 
James Bond trope, and I'm going 

1207
00:53:01,840 --> 00:53:04,000
to go for it. 
And he absolutely dives in head 

1208
00:53:04,000 --> 00:53:05,440
first. 
But the beautiful thing about 

1209
00:53:05,440 --> 00:53:07,760
his performance is that 
everybody else is diving in head

1210
00:53:07,760 --> 00:53:09,800
first with him. 
You can say that they're all 

1211
00:53:09,800 --> 00:53:12,960
going at the same pace, and it's
just a wonderful thing to say. 

1212
00:53:12,960 --> 00:53:15,400
What an invention of a character
and what a reinvention of a 

1213
00:53:15,400 --> 00:53:17,080
career. 
Yeah, nice. 

1214
00:53:17,320 --> 00:53:19,320
In the middle of being James 
Bond, Yeah. 

1215
00:53:19,320 --> 00:53:22,280
The fact that he's able to bring
something more memorable to the 

1216
00:53:22,280 --> 00:53:23,960
screen. 
Yeah, Benoit Blanc. 

1217
00:53:24,080 --> 00:53:25,960
In my opinion anyway. 
Yeah, yeah, I'd agree. 

1218
00:53:26,240 --> 00:53:28,560
Feels really free, doesn't he? 
Yeah. 

1219
00:53:29,160 --> 00:53:32,360
Yeah, shackles are off. 
Yeah, it's a real freeness and a

1220
00:53:32,360 --> 00:53:35,160
playfulness to the character. 
Yeah, I really love that one 

1221
00:53:35,160 --> 00:53:38,040
sided interaction between Blanc 
and Great Nana. 

1222
00:53:38,840 --> 00:53:41,360
Yeah, he's able to make that 
absolutely compelling. 

1223
00:53:41,360 --> 00:53:43,920
She's not saying a word. 
Yeah, yeah, yeah. 

1224
00:53:43,920 --> 00:53:46,720
The warmth of his character. 
He knows that she knows 

1225
00:53:46,720 --> 00:53:48,680
something and he's trying to 
draw it out of her. 

1226
00:53:48,680 --> 00:53:50,400
Love that. 
It's just talking about being 

1227
00:53:50,400 --> 00:53:52,200
tired all the time. 
They're all getting more tired. 

1228
00:53:52,200 --> 00:53:54,720
I'm like, yeah, it's fantastic. 
The way that it's lit as well. 

1229
00:53:54,720 --> 00:53:56,840
It's so nicely done. 
Oh, it is really elegant. 

1230
00:53:56,880 --> 00:53:59,480
Yeah, it's beautiful. 
And Johnson conceived of Blanc 

1231
00:53:59,480 --> 00:54:02,280
as an American prowl, and it 
seems fitting now we've got an 

1232
00:54:02,280 --> 00:54:05,120
Englishman playing an American 
because it was generally an 

1233
00:54:05,120 --> 00:54:08,200
Englishman playing the Belgian 
prowl in movies without, just 

1234
00:54:08,200 --> 00:54:11,920
like Albert Finney, Peter Usnoff
and David Sushi on TV taking the

1235
00:54:11,920 --> 00:54:13,000
role. 
That's right. 

1236
00:54:13,000 --> 00:54:15,120
Yeah. 
Grace Johnson had Craig in mind 

1237
00:54:15,120 --> 00:54:17,280
for the role from the start. 
He liked the fact that it's 

1238
00:54:17,280 --> 00:54:20,520
averted to his one persona, 
which it absolutely does, and he

1239
00:54:20,520 --> 00:54:23,480
knew that he had the range to 
play comedic after seeing him on

1240
00:54:23,480 --> 00:54:25,480
stage and in Soderbergh's Logan 
Lucky. 

1241
00:54:25,640 --> 00:54:28,040
Obviously, yes. 
He's very funny in. 

1242
00:54:28,480 --> 00:54:29,440
That he is, yeah. 
Great. 

1243
00:54:29,680 --> 00:54:32,280
Johnson said that Craig relished
the idea of Blanc. 

1244
00:54:32,600 --> 00:54:34,560
I could tell how much fun he was
going to have. 

1245
00:54:34,720 --> 00:54:37,400
He looked like he was a little 
kid I in a Christmas present. 

1246
00:54:39,480 --> 00:54:41,160
Wonderful. 
But he almost didn't get his 

1247
00:54:41,160 --> 00:54:42,760
man. 
Craig couldn't commit to nights 

1248
00:54:42,760 --> 00:54:45,000
out because of his obligation to
No Time to Die. 

1249
00:54:45,320 --> 00:54:47,720
But when production was delayed 
on that, Craig jumped at the 

1250
00:54:47,720 --> 00:54:51,560
chance to fill Benoit's shoes as
long as it started filming in 

1251
00:54:51,560 --> 00:54:52,800
six weeks time. 
Right. 

1252
00:54:52,920 --> 00:54:54,560
Yeah. 
So because the tight turn 

1253
00:54:54,560 --> 00:54:56,920
around, Johnson cut short a 
holiday with his wife to get the

1254
00:54:56,920 --> 00:54:58,600
ball rolling straight away. 
Right. 

1255
00:54:58,680 --> 00:55:00,760
I'm sure she was over the moon 
with her. 

1256
00:55:02,920 --> 00:55:04,920
You see the final bit though, 
It's a Yeah, fair enough. 

1257
00:55:05,160 --> 00:55:07,360
Yeah, yeah. 
And with Craig's star power, the

1258
00:55:07,360 --> 00:55:09,440
rest of the cast fell into place
quite quickly. 

1259
00:55:09,440 --> 00:55:12,280
Johnson targeted actors who were
available at short notice for a 

1260
00:55:12,280 --> 00:55:15,600
short period of time. 
Johnson explained if you shoot 

1261
00:55:15,600 --> 00:55:18,240
in sometime next year, everybody
in the back of their head is 

1262
00:55:18,240 --> 00:55:20,640
thinking about keeping their 
options open in case a big 

1263
00:55:20,640 --> 00:55:23,800
Marvel movie comes up. 
But in this case in Can you show

1264
00:55:23,800 --> 00:55:26,560
up in 4 weeks in Massachusetts 
and just have fun with us doing 

1265
00:55:26,560 --> 00:55:29,120
this murder mystery? 
Yeah, he thought that that was 

1266
00:55:29,280 --> 00:55:32,040
just a lot more appealing than 
seeing Put This in your diary 

1267
00:55:32,040 --> 00:55:34,480
for like 12 months time. 
Yeah, yeah, yeah, yeah. 

1268
00:55:34,560 --> 00:55:36,880
Johnson said that he was able to
ground the film in reality 

1269
00:55:36,880 --> 00:55:39,640
because of the cast who were 
given big performances without 

1270
00:55:39,640 --> 00:55:42,360
disconnecting from reality and 
making the film a parody. 

1271
00:55:43,000 --> 00:55:44,720
Yeah. 
And with the large ensemble 

1272
00:55:44,720 --> 00:55:47,280
cast, Johnson said film it was 
so much fun that it became like 

1273
00:55:47,280 --> 00:55:49,040
summer camp with the size of the
cast. 

1274
00:55:49,040 --> 00:55:51,880
Managing people was just as 
important as actually making the

1275
00:55:51,880 --> 00:55:54,320
film, he said. 
If you cast generous actors and 

1276
00:55:54,320 --> 00:55:57,320
actresses that seem like good 
people, it'll make the set life 

1277
00:55:57,320 --> 00:55:58,160
better. 
Yeah. 

1278
00:55:58,280 --> 00:56:00,280
Yeah. 
But because of the large cast, 

1279
00:56:00,520 --> 00:56:03,600
Johnson named a lot of them 
after musicians he loved just to

1280
00:56:03,600 --> 00:56:06,680
keep track of them. 
So Linda and Richard were named 

1281
00:56:06,680 --> 00:56:08,160
after Linda and Richard 
Thompson. 

1282
00:56:08,560 --> 00:56:11,720
Walt and Donna were named after 
Walter Becker and Donald Fagan 

1283
00:56:11,720 --> 00:56:15,840
from Steely Dan. 
Johnny was Joni Mitchell and her

1284
00:56:15,840 --> 00:56:18,320
late departed husband Neil was 
Neil Young. 

1285
00:56:18,320 --> 00:56:22,680
Neil Young. 
And Benoit Blanc is obviously 

1286
00:56:22,680 --> 00:56:24,920
distinctive because of his 
accents. 

1287
00:56:25,720 --> 00:56:28,760
In the original script for the 
film, the character is described

1288
00:56:28,760 --> 00:56:30,520
as having a subtle southern 
accents. 

1289
00:56:31,920 --> 00:56:35,600
Not sure it ended up that way. 
No, cross that word out. 

1290
00:56:36,000 --> 00:56:39,400
Yeah, that's because when doing 
research, Daniel Craig came 

1291
00:56:39,400 --> 00:56:43,240
across right in the story and 
Shelby Foot and based his accent

1292
00:56:43,360 --> 00:56:46,240
largely on his. 
Yeah, and if you've heard Foot 

1293
00:56:46,240 --> 00:56:49,120
Talking, you know that Craig has
certainly taken the animated 

1294
00:56:49,120 --> 00:56:51,360
Southern drawl up quite a few 
notches. 

1295
00:56:52,000 --> 00:56:54,520
There were a few other sources 
of inspiration, which may 

1296
00:56:54,520 --> 00:56:56,440
account for the slightly 
exaggerated accent. 

1297
00:56:56,560 --> 00:56:58,920
Craig has said that there's a 
little Tennessee Williams thrown

1298
00:56:58,920 --> 00:57:02,440
in there alongside Monsieur Hulo
from the Jacques Tati films from

1299
00:57:02,440 --> 00:57:04,360
the 50s and 60s, Yes. 
Nice. 

1300
00:57:04,360 --> 00:57:06,680
There's also influence of 
Christopher Guest's Harlem 

1301
00:57:06,680 --> 00:57:09,960
pepper investment show Goodbye 
with Carrie Grant. 

1302
00:57:09,960 --> 00:57:12,520
Flair for the spoken word into 
Catch a Thief. 

1303
00:57:12,720 --> 00:57:14,760
Yes, yeah. 
Craig worked with a dialect 

1304
00:57:14,760 --> 00:57:18,440
coach for authenticity. 
Yeah, it's larger than life, but

1305
00:57:18,440 --> 00:57:20,800
I'm certain that it's authentic.
Oh yeah, yeah. 

1306
00:57:20,920 --> 00:57:22,600
Oh yeah, 100% don't. 
Doubt it for a second. 

1307
00:57:23,080 --> 00:57:26,320
And as we're on Benoit Blanc, 
we've got our second Patreon 

1308
00:57:26,320 --> 00:57:28,480
question. 
This one comes from Jasmine 

1309
00:57:28,480 --> 00:57:29,800
Christensen. 
Hi, Jasmine. 

1310
00:57:30,040 --> 00:57:32,720
Hi, Jasmine. 
She says I'm so excited you guys

1311
00:57:32,720 --> 00:57:34,680
are doing this movie. 
I love all the Knives Out 

1312
00:57:34,680 --> 00:57:36,920
movies. 
My question is what mystery or 

1313
00:57:36,920 --> 00:57:39,960
thriller would you insert Benoit
Blanc in and how fast would he 

1314
00:57:39,960 --> 00:57:42,720
solve the crime? 
Sending well wishes all the way 

1315
00:57:42,720 --> 00:57:44,200
from Alaska. 
Oh, lovely. 

1316
00:57:44,240 --> 00:57:48,440
Wow, lovely, Fantastic. 
I like this kind of placement of

1317
00:57:48,440 --> 00:57:50,000
people. 
Yeah, tell us where you're from.

1318
00:57:50,000 --> 00:57:51,080
Yeah. 
Tell us where you're from. 

1319
00:57:51,080 --> 00:57:51,920
That'd be great. 
Yeah. 

1320
00:57:51,920 --> 00:57:53,480
Great stuff. 
Yeah, excellent. 

1321
00:57:53,480 --> 00:57:55,480
Well, thank you very much for 
the question, Jasmine. 

1322
00:57:55,480 --> 00:57:58,240
And firstly, I'm going to go 
with Clue. 

1323
00:57:58,640 --> 00:58:01,600
We've mentioned it already, 
Blanc, in that mansion with 

1324
00:58:01,600 --> 00:58:04,680
Colonel Mustard, Mrs. White and 
Wadsworth working together. 

1325
00:58:05,960 --> 00:58:07,760
He'd love it. 
I think he'd solve all three 

1326
00:58:07,760 --> 00:58:09,440
different endings at once. 
Yeah. 

1327
00:58:09,560 --> 00:58:12,160
Yeah, of course he would. 
And 2nd, I'm going to go with 

1328
00:58:12,160 --> 00:58:16,440
Scream Blank in Woodborough 
picking apart the slasher movie 

1329
00:58:16,440 --> 00:58:18,320
references. 
I think he'd be on Stu and 

1330
00:58:18,320 --> 00:58:20,360
Billy's ass halfway through the 
second act. 

1331
00:58:20,360 --> 00:58:23,080
He did it. 
And finally, forget Freddie and 

1332
00:58:23,080 --> 00:58:24,720
Jason. 
This would be the crossover 

1333
00:58:24,720 --> 00:58:27,280
event around them all. 
Murder on the Orient Express. 

1334
00:58:27,680 --> 00:58:31,560
Poirot versus Blanc on the same 
train, the same case. 2 

1335
00:58:31,560 --> 00:58:33,280
legendary detectives going at 
it. 

1336
00:58:33,440 --> 00:58:37,480
Yeah, I think Blanc would know 
immediately, but he would let it

1337
00:58:37,480 --> 00:58:39,840
play out to the end because he's
just having too much fun. 

1338
00:58:40,400 --> 00:58:41,840
Yeah. 
Fair enough. 

1339
00:58:42,080 --> 00:58:43,920
What about you, Matt? 
I've got two. 

1340
00:58:43,920 --> 00:58:48,320
First one is murder by death, 
which I think great, that guy 

1341
00:58:48,320 --> 00:58:50,520
getting all those authors around
the dinner table. 

1342
00:58:50,520 --> 00:58:52,760
You can't solve this murder, and
it looks like an impossible 

1343
00:58:52,760 --> 00:58:54,760
murder to solve. 
Blanc would get that done in 5 

1344
00:58:54,760 --> 00:58:56,440
minutes, then he'd be ready for 
dinner. 

1345
00:58:56,480 --> 00:58:59,600
That'd be absolutely fine. 
And then the second one in the 

1346
00:58:59,600 --> 00:59:02,160
heat of the night, obviously 
being a Southern gentleman 

1347
00:59:02,160 --> 00:59:03,960
himself. 
He wouldn't get. 

1348
00:59:04,560 --> 00:59:07,840
Anywhere near the issues that 
Sidney Potty has in that trying 

1349
00:59:07,840 --> 00:59:09,600
to solve that murder. 
So again, heat of the night, 

1350
00:59:09,600 --> 00:59:11,280
he'd solve that one very, very 
quickly. 

1351
00:59:11,880 --> 00:59:13,560
Nice. 
Fantastic film as well. 

1352
00:59:13,640 --> 00:59:15,280
It's great film, love it. 
Yeah. 

1353
00:59:16,000 --> 00:59:16,880
All right. 
USD. 

1354
00:59:16,960 --> 00:59:19,320
Some that actually needed 
solvent a little bit quicker for

1355
00:59:19,320 --> 00:59:23,200
me without the pain at the end. 
Right. 

1356
00:59:23,200 --> 00:59:25,680
First one, put them in seven. 
You replace both of them. 

1357
00:59:27,080 --> 00:59:29,160
Just going through each of the 
murder scenes, you can have some

1358
00:59:29,160 --> 00:59:31,320
of the dialogue imagines going. 
Ladies and general, we have 

1359
00:59:31,320 --> 00:59:36,200
ourselves a harmless side. 
That would be amazing Gluttony. 

1360
00:59:39,760 --> 00:59:42,080
My goodness doesn't. 
Make him Yoda. 

1361
00:59:42,440 --> 00:59:45,080
Just because a boy has a library
card does not make him Yoda. 

1362
00:59:45,360 --> 00:59:47,000
That would be absolutely 
wonderful. 

1363
00:59:47,240 --> 00:59:48,880
He's fucking with us, That's 
what he's doing. 

1364
00:59:49,560 --> 00:59:52,320
Do this all day you're. 
Right. 

1365
00:59:52,320 --> 00:59:55,320
It's amazing. 
It would be put him in seven. 

1366
00:59:55,680 --> 00:59:58,920
Fucking Dante. 
Oh, fucking Dante. 

1367
01:00:06,440 --> 01:00:08,680
I don't know how we do the 
ending, but if you amazed him, 

1368
01:00:09,520 --> 01:00:12,520
no has the upper hand. 
It's blurred. 

1369
01:00:18,800 --> 01:00:20,720
It's but that's great. 
We would just be on his shoe. 

1370
01:00:22,720 --> 01:00:27,960
So yeah, that's my first one. 
The second one is just because 

1371
01:00:27,960 --> 01:00:30,520
it's such a brilliant film. 
And please guys, if you haven't 

1372
01:00:30,520 --> 01:00:33,600
seen this, please check it out. 
But Sean Penn directed Jack 

1373
01:00:33,600 --> 01:00:35,960
Nicholson, starring the pledge. 
Lovely. 

1374
01:00:36,600 --> 01:00:39,640
That film is incredible, but put
Blanc in there and it's solved. 

1375
01:00:39,800 --> 01:00:41,520
It's done. 
Don't have that ending. 

1376
01:00:41,520 --> 01:00:43,400
Amazing. 
And then one for Jasmine, 

1377
01:00:43,400 --> 01:00:46,840
especially being from Alaska, I 
would say Insomnia the Chris 

1378
01:00:46,840 --> 01:00:48,160
Nolan. 
Yeah, lovely. 

1379
01:00:48,160 --> 01:00:49,760
Yeah. 
I would like that to be solved a

1380
01:00:49,760 --> 01:00:51,280
little bit easier. 
I don't want to shoot a dead 

1381
01:00:51,280 --> 01:00:54,600
dog, no. 
Yeah, this might work with your 

1382
01:00:54,600 --> 01:01:02,800
Mama. 
Oh, God, let's just scrap the 

1383
01:01:02,800 --> 01:01:05,720
rest of this and let's just do 
different films. 

1384
01:01:05,720 --> 01:01:07,480
Different films. 
Yeah, that would be great. 

1385
01:01:08,080 --> 01:01:10,200
Lovely. 
Thank you very much for the 

1386
01:01:10,200 --> 01:01:12,200
question, Jasmine. 
PL. 

1387
01:01:12,320 --> 01:01:21,800
AM C fuck off. 
He was found here with garbage 

1388
01:01:21,800 --> 01:01:26,760
bags. 
Wrapped in garbage bag. 

1389
01:01:33,040 --> 01:01:36,000
It's great little thing to 
remember. 

1390
01:01:38,840 --> 01:01:40,680
Wonderful. 
And that brings us to the end of

1391
01:01:40,680 --> 01:01:43,200
our conversation on Daniel Craig
as Benoit Blanc. 

1392
01:01:43,600 --> 01:01:47,600
Unfortunately. 
Sure, wonderful range and a 

1393
01:01:47,600 --> 01:01:50,000
great sense of humor in a now 
iconic role. 

1394
01:01:50,120 --> 01:01:55,600
Yes, Finally, the antagonist in 
the story, the entitled, 

1395
01:01:55,720 --> 01:01:59,800
delightfully chunky knit sweat, 
a clad Hugh Ransom Drysdale, 

1396
01:01:59,800 --> 01:02:02,920
played by Chris Evans. 
Asshole. 

1397
01:02:04,840 --> 01:02:06,760
I want to talk about this 
performance because I think I 

1398
01:02:06,760 --> 01:02:09,800
said a while back on one of our 
shows, I can't remember which 

1399
01:02:09,800 --> 01:02:12,880
one it was, that the current 
crop of actors being run through

1400
01:02:12,880 --> 01:02:16,000
the Hollywood meat grinder. 
And for the most part, they're 

1401
01:02:16,000 --> 01:02:17,480
all called Chris. 
Yeah. 

1402
01:02:17,720 --> 01:02:20,160
A role indistinguishable from 
each other. 

1403
01:02:20,280 --> 01:02:22,680
From my point of view. 
They just seem a little bit 

1404
01:02:22,680 --> 01:02:24,840
bland. 
They seem to lack a little bit 

1405
01:02:24,840 --> 01:02:28,040
of personality, but I think Evan
stands above the pack. 

1406
01:02:28,040 --> 01:02:31,520
And that's certainly true here 
because in the eight years Pride

1407
01:02:31,520 --> 01:02:34,560
and Ives out, he'd appeared in 
11 Marvel films. 

1408
01:02:35,320 --> 01:02:38,360
Yeah, 11. 
That's a lot of stars and 

1409
01:02:38,360 --> 01:02:39,440
stripes. 
It is. 

1410
01:02:39,680 --> 01:02:44,680
Yeah, I'm doing the right thing.
So to see him turn up here as 

1411
01:02:44,680 --> 01:02:48,240
this absolute nightmare of a 
human being is a real breath of 

1412
01:02:48,240 --> 01:02:49,680
fresh air. 
Yeah, it is. 

1413
01:02:49,720 --> 01:02:50,880
Yeah. 
And he doesn't come in in the 

1414
01:02:50,880 --> 01:02:53,160
second act either, so he's got a
lot of catching up to do. 

1415
01:02:53,560 --> 01:02:56,080
But boy, oh boy, he does just 
that. 

1416
01:02:56,080 --> 01:02:58,480
He creates A shitstorm before 
the will. 

1417
01:02:58,480 --> 01:03:02,040
Reading, eating biscuits and 
lounging around like he owns the

1418
01:03:02,040 --> 01:03:04,760
joint. 
It's a grand entrance and a law.

1419
01:03:04,760 --> 01:03:07,360
He is an entitled prick. 
There's something undeniably 

1420
01:03:07,360 --> 01:03:10,800
satisfying about watching him 
stick it to every single member 

1421
01:03:10,800 --> 01:03:12,880
of his family. 
Yeah, yeah, because they're all 

1422
01:03:12,880 --> 01:03:16,560
terrible people. 
Evans pulls that superior, 

1423
01:03:16,560 --> 01:03:18,360
entitled attitude off really 
well. 

1424
01:03:18,560 --> 01:03:21,480
I think Ransom has the safety 
net of wealth, so he can just be

1425
01:03:21,760 --> 01:03:24,520
an asshole to anyone and 
everyone because you know what 

1426
01:03:24,520 --> 01:03:26,640
they're going to do about it. 
He doesn't care. 

1427
01:03:26,720 --> 01:03:29,240
Yeah, exactly. 
And Evans plays that with such 

1428
01:03:29,240 --> 01:03:31,960
ease that you'd think you'd be 
doing this kind of role his 

1429
01:03:31,960 --> 01:03:33,960
entire career. 
I don't think he's ever done 

1430
01:03:33,960 --> 01:03:35,680
anything like this up until this
point. 

1431
01:03:36,200 --> 01:03:38,240
No. 
I think there's a swag under it,

1432
01:03:38,760 --> 01:03:41,600
You know, he's got the sweater, 
which set tongues wagging. 

1433
01:03:42,240 --> 01:03:44,240
The way he carries himself. 
He looks like he's having the 

1434
01:03:44,240 --> 01:03:46,800
time of his life, and that 
energy that he's got is 

1435
01:03:46,800 --> 01:03:48,360
infectious. 
He looks great as well. 

1436
01:03:48,440 --> 01:03:49,920
Yeah. 
Yeah, I mean, the great thing 

1437
01:03:49,920 --> 01:03:52,520
about Craig is Blanc is it 
subverts the James Bond troll, 

1438
01:03:52,520 --> 01:03:56,040
but this submits the Captain 
America troll. 100% it doesn't. 

1439
01:03:56,080 --> 01:03:58,000
So I can get away with anything,
some Captain America. 

1440
01:03:58,000 --> 01:03:59,320
Exactly. 
Yeah, eat shit. 

1441
01:03:59,400 --> 01:04:00,560
Eat shit. 
You know, it's brilliant. 

1442
01:04:00,960 --> 01:04:02,960
It's brilliant, Casson. 
And I think that's what I find 

1443
01:04:02,960 --> 01:04:05,320
so impressive about this 
performance after over a decade 

1444
01:04:05,320 --> 01:04:08,520
of playing the most virtuous, 
morally upstanding character in 

1445
01:04:08,520 --> 01:04:11,080
cinema. 
Yeah, Evans flips it entirely 

1446
01:04:11,080 --> 01:04:13,680
and makes you love him for being
the worst person in the room. 

1447
01:04:14,000 --> 01:04:15,680
Yeah. 
And I think it takes a lot of 

1448
01:04:15,680 --> 01:04:18,360
charisma to pull that off. 
And it proves that there's more 

1449
01:04:18,360 --> 01:04:21,840
to Chris Evans than just that 
shield and that good guy nature.

1450
01:04:21,920 --> 01:04:22,840
Yeah. 
Definitely. 

1451
01:04:23,160 --> 01:04:26,720
And Ransom is named after the 
main character Elwyn Ransom in 

1452
01:04:26,720 --> 01:04:30,080
CS Lewis's The Space Trilogy, 
also known as the Ransom 

1453
01:04:30,080 --> 01:04:31,840
Trilogy. 
Johnson was a big fan of the 

1454
01:04:31,840 --> 01:04:34,200
series as a kid and said. 
I've always just thought that 

1455
01:04:34,200 --> 01:04:36,880
was a weird cool name and I was 
happy I was able to steal that. 

1456
01:04:37,320 --> 01:04:39,000
Nice, I thought it was after the
Belle Gibson film. 

1457
01:04:39,880 --> 01:04:44,320
Give me back my son. 
Johnson was well aware of Evans 

1458
01:04:44,320 --> 01:04:47,400
clean cut superhero persona but 
knew that he could play against 

1459
01:04:47,400 --> 01:04:48,760
type. 
Haven't seen him on stage in 

1460
01:04:48,760 --> 01:04:54,480
2018 in Kenneth Lauren's lobby 
Hero play the character of Bill 

1461
01:04:54,480 --> 01:04:57,000
in that. 
Yes, Johnson said. 

1462
01:04:57,000 --> 01:04:59,400
You've got to see it not as 
baggage but as ammunition. 

1463
01:04:59,600 --> 01:05:02,240
If there was somebody in that 
part who the audience inherently

1464
01:05:02,240 --> 01:05:05,040
wanted to like, that would help 
the ARC overall. 

1465
01:05:05,280 --> 01:05:07,240
Yeah, it works a treat. 
It does. 

1466
01:05:07,240 --> 01:05:10,000
Yeah, and he was persuaded to 
come on board because of 

1467
01:05:10,000 --> 01:05:13,120
convenience and proximity. 
Having wrapped on Avengers End 

1468
01:05:13,120 --> 01:05:15,480
Game, he was planning some 
recuperation time at Holborn, 

1469
01:05:15,480 --> 01:05:17,480
Massachusetts. 
But then they said, well, it 

1470
01:05:17,480 --> 01:05:19,920
films in Boston. 
And I said I just can't see an 

1471
01:05:19,920 --> 01:05:22,040
order this. 
Yeah, it's like what we said 

1472
01:05:22,040 --> 01:05:26,080
before, Johnson saying can you 
come and do this fun, quirky 

1473
01:05:26,080 --> 01:05:29,240
movie for six weeks in 
Massachusetts and in the 

1474
01:05:29,240 --> 01:05:32,040
proximity and people's 
availability is what he played 

1475
01:05:32,040 --> 01:05:34,240
upon. 
I'm giving away some of the 

1476
01:05:34,240 --> 01:05:36,240
trade secrets in Hollywood, 
Johnson. 

1477
01:05:36,240 --> 01:05:39,440
Let's slip a key detail for you 
to keep an eye open for in any 

1478
01:05:39,440 --> 01:05:43,080
film that will allow characters 
to have iPhones in movies, but 

1479
01:05:43,080 --> 01:05:46,280
not the bad guys. 
Yeah, Really. 

1480
01:05:46,400 --> 01:05:48,320
Wow. 
You'll notice that Ransom is an 

1481
01:05:48,320 --> 01:05:50,160
Android guy in this film. 
Right. 

1482
01:05:50,880 --> 01:05:53,200
Samsung, Google, they obviously 
root for the bad. 

1483
01:05:53,200 --> 01:05:54,000
Guy. 
Fair enough. 

1484
01:05:54,080 --> 01:05:56,120
Yeah, they don't mind. 
After revealing this detail, 

1485
01:05:56,120 --> 01:05:58,720
Johnson said every single 
filmmaker who has a bad guy in 

1486
01:05:58,720 --> 01:06:01,440
their movie that's supposed to 
be a secret wants to murder me 

1487
01:06:01,440 --> 01:06:05,600
right now. 
Great, great. 

1488
01:06:05,600 --> 01:06:09,480
I love that little detail. 
So an incredible cast where at 

1489
01:06:09,480 --> 01:06:12,160
least eight of them deserve a 
mention in this segment. 

1490
01:06:12,880 --> 01:06:15,920
But with the Armours, Craig and 
Evans, the film has three 

1491
01:06:15,920 --> 01:06:18,520
outstanding actors, all given 
very different performances. 

1492
01:06:18,560 --> 01:06:19,440
Yeah. 
Yeah. 

1493
01:06:26,380 --> 01:06:28,180
All right, movies. 
We'll be right back. 

1494
01:06:28,340 --> 01:06:30,780
Thank you for supporting us by 
listening to the sponsors for 

1495
01:06:30,780 --> 01:06:33,740
this episode. 
Thank you for listening to our 

1496
01:06:33,740 --> 01:06:36,140
sponsors. 
And now it's back to the show. 

1497
01:06:39,400 --> 01:06:43,920
The middle. 
In the second act of the film, 

1498
01:06:43,920 --> 01:06:47,080
something is afoot and Blank 
recruits Marta to be his 

1499
01:06:47,080 --> 01:06:49,400
confidante. 
Poor Marta here. 

1500
01:06:49,720 --> 01:06:51,440
I mean, she's been through the 
ringer today. 

1501
01:06:51,440 --> 01:06:53,600
She's been the subject of some 
casual racism. 

1502
01:06:53,720 --> 01:06:56,600
She's just had a panic attack, 
and now things are ramped up 

1503
01:06:56,600 --> 01:06:59,600
because she cannot shake Benoit 
Blanc, who's beautifully 

1504
01:06:59,600 --> 01:07:01,960
revealed in the shadows of the 
garden when he lights up the 

1505
01:07:01,960 --> 01:07:03,400
cigar. 
Yeah, it's amazing. 

1506
01:07:03,640 --> 01:07:06,760
He observes the facts without 
biases of heart or head. 

1507
01:07:06,920 --> 01:07:08,320
Lovely dialogue. 
Yeah. 

1508
01:07:08,320 --> 01:07:09,960
Great. 
And he's making his plans to 

1509
01:07:09,960 --> 01:07:11,280
start his investigation 
tomorrow. 

1510
01:07:11,280 --> 01:07:14,440
And once martyred by his side 
because he trusts her kind heart

1511
01:07:14,480 --> 01:07:16,360
and the fact that she had 
nothing to gain from Holland's 

1512
01:07:16,360 --> 01:07:17,880
murder. 
He's smarter than the average 

1513
01:07:17,880 --> 01:07:19,560
bear. 
Because by the end, with his 

1514
01:07:19,560 --> 01:07:21,440
revealed Armada, we've already 
discussed it. 

1515
01:07:21,440 --> 01:07:23,680
He's known all along. 
Yeah. 

1516
01:07:24,000 --> 01:07:25,480
And he's been manipulating 
everybody. 

1517
01:07:25,720 --> 01:07:28,320
As harsh as it sounds, he has 
been manipulated in everybody, 

1518
01:07:28,320 --> 01:07:30,440
including. 
He's like Derren Brown. 

1519
01:07:33,880 --> 01:07:36,120
So the truth will out 
eventually, because Marta is a 

1520
01:07:36,120 --> 01:07:39,760
good person and she's bound to 
crack, and she does get there. 

1521
01:07:40,120 --> 01:07:42,760
So she goes back to her home, 
her head spinning with all this 

1522
01:07:42,760 --> 01:07:45,200
guilt and confusion. 
As far as she knows, she did 

1523
01:07:45,200 --> 01:07:48,000
kill Harlan, and Armus plays 
that wonderfully. 

1524
01:07:48,320 --> 01:07:51,160
How on earth did she get herself
into this situation when she sat

1525
01:07:51,160 --> 01:07:52,600
down? 
She's looking at the TV. 

1526
01:07:52,920 --> 01:07:55,960
The TV, incidentally, is an 
episode of Murder She Wrote. 

1527
01:07:56,000 --> 01:07:58,840
Yeah, it's dubbed in Spanish. 
It's called Who Threw the Barber

1528
01:07:58,840 --> 01:08:00,800
Tolls in Mrs. Fletcher's 
Chowder. 

1529
01:08:01,360 --> 01:08:03,720
It's about a dinner party where 
somebody is murdered. 

1530
01:08:03,720 --> 01:08:08,280
Are they all? 
And then we flash back to the 

1531
01:08:08,280 --> 01:08:10,200
grizzly details of Holland's 
final moments. 

1532
01:08:10,520 --> 01:08:12,760
Martha's tears and fears are 
real. 

1533
01:08:12,880 --> 01:08:14,640
Holland's affection for her is 
genuine. 

1534
01:08:14,640 --> 01:08:18,000
But when she went back in that 
room, did you really have to 

1535
01:08:18,000 --> 01:08:19,279
slightly throw it in front of 
her? 

1536
01:08:19,680 --> 01:08:22,319
That image will stay with her 
for the rest of her life. 

1537
01:08:22,560 --> 01:08:25,279
Very cruel. 
Yeah, but I guess the reason 

1538
01:08:25,279 --> 01:08:27,800
that he had to do this is 
because Marta would have stopped

1539
01:08:27,800 --> 01:08:30,200
him otherwise. 
Yeah, because she was just about

1540
01:08:30,200 --> 01:08:33,680
to go in and it gives us that 
delicious plot point, the close 

1541
01:08:33,680 --> 01:08:35,560
up of the blood splatter Armada 
sneakers. 

1542
01:08:35,560 --> 01:08:36,160
Yeah. 
Yeah. 

1543
01:08:36,359 --> 01:08:39,319
She's being caught red footed, 
but she's being strong for her 

1544
01:08:39,319 --> 01:08:41,160
mother. 
That's a detail that's captured 

1545
01:08:41,160 --> 01:08:44,439
without any dialogue when it 
comes back from the flashback 

1546
01:08:44,439 --> 01:08:46,560
and she holds her mother's hand.
Yeah, yeah, yeah. 

1547
01:08:46,680 --> 01:08:49,240
Because she knows what's at 
stake here without any dialogue.

1548
01:08:49,240 --> 01:08:50,399
That's really good. 
Yeah. 

1549
01:08:50,439 --> 01:08:52,840
Yeah, it doesn't take a coat off
and get comfortable either. 

1550
01:08:53,000 --> 01:08:55,439
No, they should be removed from 
the scene at any point. 

1551
01:08:55,439 --> 01:08:57,479
Yeah, yeah. 
So straight after that, she's 

1552
01:08:57,479 --> 01:08:59,640
going to have to try and cover 
our tracks in more ways than 

1553
01:08:59,640 --> 01:09:02,600
one. 
Yeah, I mean, it's it's great 

1554
01:09:02,600 --> 01:09:05,439
when we go in there and, you 
know, we have this really great 

1555
01:09:05,439 --> 01:09:08,200
setup and we've got all the 
modern technology, as he stated,

1556
01:09:08,200 --> 01:09:11,399
which is just so funny because 
it's just VHS tape. 

1557
01:09:11,399 --> 01:09:14,840
It's absolutely shit. 
Top loader as well. 

1558
01:09:14,960 --> 01:09:16,680
Yeah, Top. 
Loader the earliest. 

1559
01:09:16,960 --> 01:09:20,240
Earliest just eats tapes like 
popcorn, but I kept this one, 

1560
01:09:20,240 --> 01:09:23,520
you know, and I've kept this one
great performances all around, 

1561
01:09:23,560 --> 01:09:26,880
but it's just the way that this 
is all building now towards 

1562
01:09:26,880 --> 01:09:29,240
we're thinking how she's going 
to get away with this because 

1563
01:09:29,240 --> 01:09:32,840
Blanc's now trying to entrap her
saying that he wants her 

1564
01:09:32,840 --> 01:09:35,319
involved. 
Otherwise she can takes control 

1565
01:09:35,319 --> 01:09:38,200
and Fast forward in the tape and
then ejects it and you see that 

1566
01:09:38,200 --> 01:09:40,240
the tape's smoking and blocks 
like turns his back. 

1567
01:09:40,240 --> 01:09:42,000
He's back on us. 
If he knows that she's trying to

1568
01:09:42,000 --> 01:09:44,920
manipulate somehow and he's 
distracting Elliot and the other

1569
01:09:44,920 --> 01:09:47,120
guy and just trying to talk to 
them, can we get this digitized 

1570
01:09:47,120 --> 01:09:49,359
properly somehow? 
He's like helping her get away 

1571
01:09:49,359 --> 01:09:51,760
with it in The Walking through 
and she's got the magnet just 

1572
01:09:51,760 --> 01:09:53,399
rubbing it against the table, 
which is obviously going to 

1573
01:09:53,399 --> 01:09:54,760
erase it. 
I was going to cause trouble 

1574
01:09:54,760 --> 01:09:56,760
with the VHS tape, which is 
lovely. 

1575
01:09:56,760 --> 01:10:00,000
Puts that magnet in her pocket, 
but I just even before that when

1576
01:10:00,000 --> 01:10:02,040
they see it on the screen is 
that look that dialogue where 

1577
01:10:02,040 --> 01:10:04,120
he's like, it looks like a 
Japanese horror movie. 

1578
01:10:04,240 --> 01:10:06,480
Absolutely love. 
That are we all going to die in 

1579
01:10:06,480 --> 01:10:09,760
seven days there's. 
A little knot of the ring there.

1580
01:10:09,760 --> 01:10:11,560
I really love that. 
That was really, really good. 

1581
01:10:11,720 --> 01:10:14,800
And there's just that real great
back and forth between Blunt, 

1582
01:10:14,800 --> 01:10:18,480
like looking stupid, but also 
being very intelligent with and 

1583
01:10:18,480 --> 01:10:21,440
taking note of everything around
him, everything that's going on.

1584
01:10:21,880 --> 01:10:23,840
Because from this point we know 
that there's tracks there. 

1585
01:10:23,840 --> 01:10:26,720
He's probably already seen them.
He's distracting the other two 

1586
01:10:26,720 --> 01:10:29,600
guys while she walks ahead. 
He lets her do it yes and then 

1587
01:10:29,600 --> 01:10:32,240
goes as a render. 
It's weird stop This is really 

1588
01:10:32,240 --> 01:10:35,440
important and waits at that 
point when Marta's gone too far 

1589
01:10:35,440 --> 01:10:38,560
Marla and then he's actually not
like necessarily shouting, but 

1590
01:10:38,560 --> 01:10:41,000
she plays that so well. 
So as an audience, we don't we 

1591
01:10:41,000 --> 01:10:44,840
don't know that back. 
So the supporting each other as 

1592
01:10:44,840 --> 01:10:46,880
she's going back over the tracks
and he's letting her do it. 

1593
01:10:47,160 --> 01:10:49,960
If he'd suspected that she would
just be in jail by an hour. 

1594
01:10:49,960 --> 01:10:52,280
She was like the murderer that 
would be done. 

1595
01:10:52,280 --> 01:10:54,560
He's just trying to. 
So many levels here in this 

1596
01:10:54,560 --> 01:10:56,280
thing. 
And he's trying to solve it with

1597
01:10:56,280 --> 01:10:59,400
that, and he's letting her do it
because by her doing this, he's 

1598
01:10:59,400 --> 01:11:00,920
going to find out what really 
happened. 

1599
01:11:01,080 --> 01:11:03,080
And he knows that there's 
something else going on with it 

1600
01:11:03,360 --> 01:11:05,480
from the final moment of 
covering the tracks. 

1601
01:11:05,480 --> 01:11:08,160
And the dogs run in, destroy the
tracks yet again. 

1602
01:11:08,360 --> 01:11:10,880
But it's their relationship to 
Martyr that then he blank, looks

1603
01:11:10,880 --> 01:11:13,360
down and goes, the best judge of
character is a dog. 

1604
01:11:13,360 --> 01:11:15,120
Yeah, he's trying to piece it 
together. 

1605
01:11:15,280 --> 01:11:17,960
We think we know what's 
happened, but we don't know. 

1606
01:11:17,960 --> 01:11:20,880
It's just another great couple 
of layers in the middle of the 

1607
01:11:20,880 --> 01:11:23,000
film that shouldn't be this 
brilliant, but it really is. 

1608
01:11:23,160 --> 01:11:25,400
Yeah, it really is. 
It's absolutely fantastic. 

1609
01:11:25,400 --> 01:11:28,240
So many layers. 
So the role of Mr. Proof Rock, 

1610
01:11:28,320 --> 01:11:31,120
the security guard Johnson 
wanted act that and magician 

1611
01:11:31,120 --> 01:11:33,600
Ricky Jay. 
Unfortunately, Jade died just 

1612
01:11:33,600 --> 01:11:36,280
before film was about to start. 
So he got the great Emmett 

1613
01:11:36,280 --> 01:11:39,640
Walsh, who's fantastic in that. 
He's had a great performance. 

1614
01:11:39,800 --> 01:11:42,560
So he took his place. 
And if you actually look in this

1615
01:11:42,560 --> 01:11:44,760
scene, when Walsh puts that 
picture of the house up with the

1616
01:11:44,760 --> 01:11:47,840
magnet, there's a little picture
of Ricky Jay just on the right 

1617
01:11:47,840 --> 01:11:49,000
hand side. 
Yes, there is. 

1618
01:11:49,120 --> 01:11:50,280
Wow. 
Just a little homage. 

1619
01:11:51,760 --> 01:11:53,240
Yeah. 
Really nice touch, yeah? 

1620
01:11:53,280 --> 01:11:55,960
Yeah, that's amazing. 
And Walsh said Ricky J was going

1621
01:11:55,960 --> 01:11:58,760
to do it and he went and died. 
Then they had to come and get 

1622
01:11:58,760 --> 01:12:00,560
somebody that wasn't as good, so
they got me. 

1623
01:12:00,640 --> 01:12:02,760
I'm brought in because they 
can't get who they want. 

1624
01:12:02,800 --> 01:12:04,120
That's normally the way I get 
hired. 

1625
01:12:04,240 --> 01:12:07,920
A work cheap must be. 
Bless me, lovely, brilliant. 

1626
01:12:08,720 --> 01:12:12,680
Afterwards died in 2024, Ryan 
Johnson tweeted and it came to 

1627
01:12:12,680 --> 01:12:16,000
set with two things. 
A copy of his credits, which was

1628
01:12:16,000 --> 01:12:18,960
a small type, single space, 
double column list of modern 

1629
01:12:18,960 --> 01:12:22,800
classics that filled the whole 
page, would be yeah yeah yeah, 

1630
01:12:22,800 --> 01:12:26,520
and $2.00 bills, which he passed
out to the entire crew saying 

1631
01:12:26,520 --> 01:12:28,320
don't spend it and you'll never 
be broke. 

1632
01:12:28,800 --> 01:12:30,400
What an absolute legend. 
What a guy. 

1633
01:12:30,720 --> 01:12:31,480
That's amazing. 
Yeah. 

1634
01:12:31,480 --> 01:12:33,400
Yeah. 
And then after this, we've been 

1635
01:12:33,400 --> 01:12:35,200
talking about him. 
We've seen him briefly already, 

1636
01:12:35,200 --> 01:12:37,640
but this is our first proper 
introduction around some, I 

1637
01:12:37,640 --> 01:12:40,920
mean, Chris Evans having the 
time of his life here. 

1638
01:12:40,920 --> 01:12:43,120
As we've been saying, he's not 
Captain America and he's 

1639
01:12:43,120 --> 01:12:47,120
overjoyed about that for once. 
And he just devours the scene 

1640
01:12:47,120 --> 01:12:50,480
and it's incredible how much 
chaos Ransom causes when he 

1641
01:12:50,480 --> 01:12:52,880
doesn't actually see it or do 
that much to 'cause it. 

1642
01:12:53,080 --> 01:12:56,480
He just has to show up, I mean. 
Just sits in the middle. 

1643
01:12:56,480 --> 01:13:00,440
And it explodes. 
I mean, he turns up, the dogs 

1644
01:13:00,440 --> 01:13:02,840
don't like him. 
There's clue number 1, He tells 

1645
01:13:02,840 --> 01:13:04,760
the cops only the help column, 
Hugh. 

1646
01:13:04,760 --> 01:13:06,600
There's clue #2 which you're 
going to have to remember. 

1647
01:13:07,000 --> 01:13:10,040
But you brush that off and then 
he's into the house and he 

1648
01:13:10,240 --> 01:13:13,560
listens to all of 2 words from 
Blanc and he just comes out with

1649
01:13:13,920 --> 01:13:17,040
CSIKFC. 
And then he's on and he just 

1650
01:13:17,040 --> 01:13:20,200
Saunders into that room. 
All just ran around, insults Meg

1651
01:13:20,200 --> 01:13:22,360
just in that chair with his 
cookie psyche. 

1652
01:13:22,360 --> 01:13:25,400
He's Lord of the Manor Michael 
Shannon in this scene. 

1653
01:13:26,000 --> 01:13:28,200
He is. 
He's amazing. 

1654
01:13:28,200 --> 01:13:30,880
He's. 
Walt clearly fumed at Ransom for

1655
01:13:30,880 --> 01:13:35,640
not being at the funeral. 
Yeah. 

1656
01:13:35,720 --> 01:13:38,600
But then Ransom rings of Jacob 
that makes a kick off between 

1657
01:13:38,600 --> 01:13:41,920
Megan, Jacob, Altright troll, 
Liberal Snowflake, and that 

1658
01:13:41,920 --> 01:13:44,280
could back to Walt. 
I don't know what any of that 

1659
01:13:44,280 --> 01:13:48,520
means. 
Like he doesn't understand the 

1660
01:13:48,520 --> 01:13:51,320
son at all. 
And then Richard dives in, just 

1661
01:13:51,320 --> 01:13:54,120
has to pop out of nowhere 
joylessly masturbating the 

1662
01:13:54,120 --> 01:13:57,400
pictures of dead deer about 
Jacob so that that ends up with 

1663
01:13:57,400 --> 01:13:59,800
he and Walt actually getting 
into a proper scrap with each 

1664
01:13:59,800 --> 01:14:01,880
other. 
And this is just the funniest 

1665
01:14:01,880 --> 01:14:03,440
thing Ransom's ever seen in his 
life. 

1666
01:14:03,600 --> 01:14:05,600
He's just kicking back and join 
his cookies. 

1667
01:14:06,080 --> 01:14:08,520
He's barely said a word. 
And he's caused all this and 

1668
01:14:08,520 --> 01:14:11,040
he's having a will of the time. 
You know, we got to do this more

1669
01:14:11,040 --> 01:14:13,680
often. 
And then even when it's revealed

1670
01:14:13,680 --> 01:14:15,920
he's been cut out, the will. 
So, you know, Walter's like, 

1671
01:14:16,040 --> 01:14:18,280
yes, yes. 
Yeah, yeah. 

1672
01:14:18,600 --> 01:14:20,480
I love that. 
And then he's in his face 

1673
01:14:20,480 --> 01:14:24,200
rejoicing and Ransom is just 
like, wow, like he just doesn't 

1674
01:14:24,200 --> 01:14:26,520
care. 
And then it all kicks off again 

1675
01:14:26,520 --> 01:14:28,840
and it's clear like by this 
point he's had enough for the 

1676
01:14:28,840 --> 01:14:31,320
rest of the family. 
Taking them off 1 by 1, the 

1677
01:14:31,320 --> 01:14:32,400
better. 
I mentioned right at the top, 

1678
01:14:32,760 --> 01:14:35,400
eat it, Eat it, Definitely eat 
it. 

1679
01:14:35,840 --> 01:14:37,680
Just amazing the scene, so 
funny. 

1680
01:14:37,840 --> 01:14:40,120
Yeah, it's great. 
Johnson was able to get the 

1681
01:14:40,120 --> 01:14:42,880
reaction from the dogs when 
Ransom shows up by giving Chris 

1682
01:14:42,880 --> 01:14:45,680
Evans 2 toy balls. 
The dogs were leashed by their 

1683
01:14:45,680 --> 01:14:48,160
trainers off screen and Evans 
showed the dogs that he had the 

1684
01:14:48,160 --> 01:14:50,680
balls before the camera started 
rolling to get the reaction. 

1685
01:14:50,960 --> 01:14:52,800
Yeah, they went wild. 
They loved it. 

1686
01:14:53,040 --> 01:14:54,280
Brilliant. 
Similar thing. 

1687
01:14:54,280 --> 01:14:56,800
The opening shot of the dogs 
render was the camera was 

1688
01:14:56,800 --> 01:15:00,080
achieved by them getting them to
run from one dog trainer to the 

1689
01:15:00,120 --> 01:15:02,040
other. 
The camera and behind. 

1690
01:15:02,040 --> 01:15:03,000
Yeah. 
Yeah, brilliant. 

1691
01:15:03,200 --> 01:15:06,040
And Johnson wanted Ransom to eat
milk and cookies in this 

1692
01:15:06,040 --> 01:15:08,160
introduction scene to make him 
seem juvenile. 

1693
01:15:08,600 --> 01:15:10,680
And Evans, he had so many 
biscuits for that scene. 

1694
01:15:10,680 --> 01:15:13,400
He said his mouth felt like it 
was coated in butter. 

1695
01:15:16,200 --> 01:15:19,440
We've mentioned Ryan Johnson 
last film was The Last Jedi had 

1696
01:15:19,440 --> 01:15:23,440
polarized its fervent Star Wars 
fan base, and there was a lot of

1697
01:15:23,440 --> 01:15:26,000
backlash, which was widely 
documented on social media. 

1698
01:15:26,720 --> 01:15:29,200
And he used this as inspiration 
for the character of Jacob 

1699
01:15:29,200 --> 01:15:32,920
Thrombie, right? 
In this scene, the boy is 

1700
01:15:32,920 --> 01:15:33,960
literally a Nazi. 
Yeah. 

1701
01:15:34,160 --> 01:15:36,720
He's always on his phone, 
described as politically active 

1702
01:15:36,720 --> 01:15:38,400
by his dad. 
Basically, he's a troll on 

1703
01:15:38,400 --> 01:15:40,400
Twitter. 
And that's exactly what Ryan 

1704
01:15:40,400 --> 01:15:42,720
Johnson's poking fun at here. 
Yeah, yeah, yeah. 

1705
01:15:43,040 --> 01:15:45,600
And the original script for 
Knives Out was actually littered

1706
01:15:45,600 --> 01:15:48,160
with F bombs. 
But Ryan Johnson had an 11th 

1707
01:15:48,160 --> 01:15:50,400
hour change of heart and 
softened the language to make it

1708
01:15:50,400 --> 01:15:52,800
PG13. 
And he'd reminded himself of the

1709
01:15:52,800 --> 01:15:55,960
reason he was drawn to the genre
in the 1st place, which is those

1710
01:15:55,960 --> 01:15:58,080
family friendly Agatha Christie 
who done it. 

1711
01:15:58,200 --> 01:15:59,920
They just don't have any blue 
language in them. 

1712
01:16:00,280 --> 01:16:02,880
Yeah, I mean, he literally went 
through the screenplay and just 

1713
01:16:02,880 --> 01:16:05,760
struck all the F bombs out. 
Yeah, in this scene where Ransom

1714
01:16:05,760 --> 01:16:08,240
tells everybody to eat shit, he 
was supposed to tell them all. 

1715
01:16:08,240 --> 01:16:09,280
Fuck you. 
Right. 

1716
01:16:09,440 --> 01:16:10,280
Yeah, right. 
Yeah, right. 

1717
01:16:10,280 --> 01:16:12,920
So it's Richard's the only one 
that survived, the one right at 

1718
01:16:12,920 --> 01:16:14,200
the start. 
That's right, yeah. 

1719
01:16:14,200 --> 01:16:16,600
Yeah, that's why it's so funny. 
It is, yeah. 

1720
01:16:16,680 --> 01:16:18,280
Yeah. 
And the actor stuck to the 

1721
01:16:18,280 --> 01:16:20,920
script, pretty much to the word.
But there were a few off script 

1722
01:16:20,920 --> 01:16:23,320
moments that happened when the 
big cusk got together during the

1723
01:16:23,320 --> 01:16:26,640
eat shit moment when Blanc 
leaves through Michael Shannon 

1724
01:16:26,720 --> 01:16:28,800
improvise the line. 
I'm not eating one. 

1725
01:16:28,800 --> 01:16:32,800
I odor of shit which is so 
funny. 

1726
01:16:33,280 --> 01:16:35,840
That is brilliant. 
Yeah, he improvised that 

1727
01:16:35,880 --> 01:16:37,760
celebration. 
When he finds out, he's out of 

1728
01:16:37,760 --> 01:16:40,400
the way as well. 
That's brilliant, just in the 

1729
01:16:40,400 --> 01:16:42,640
background. 
Shannon's amazing in this man. 

1730
01:16:42,640 --> 01:16:43,320
He really? 
Yeah. 

1731
01:16:43,720 --> 01:16:46,320
So with Ransom on the scene, 
everything is in chaos. 

1732
01:16:46,440 --> 01:16:48,720
The Will Reedon should settle 
things down though, surely? 

1733
01:16:48,880 --> 01:16:50,200
Yeah. 
Almost certainly. 

1734
01:16:52,800 --> 01:16:55,840
In the upcoming sequence of 
events, Blanc finds some key 

1735
01:16:55,840 --> 01:16:58,800
evidence and Linda asks Marta a 
very pertinent question. 

1736
01:16:59,720 --> 01:17:02,800
Was she Boink and her father? 
Yep. 

1737
01:17:03,360 --> 01:17:06,720
Who knows that? 
Over to you. 

1738
01:17:06,840 --> 01:17:08,560
Yeah, so it's all kicking off 
for the family. 

1739
01:17:08,560 --> 01:17:10,560
So Blanc and Marta leave them to
it. 

1740
01:17:10,880 --> 01:17:13,280
Everything's spinning around. 
We've already seen the dog with 

1741
01:17:13,280 --> 01:17:15,840
that piece of trousers already. 
Key piece of evidence in its 

1742
01:17:15,840 --> 01:17:18,520
mouth. 
Blanc throws the ball, the dog 

1743
01:17:18,520 --> 01:17:19,920
comes back with that classic 
draw. 

1744
01:17:19,920 --> 01:17:23,760
Works really well, but it's the 
tension for her character again,

1745
01:17:23,760 --> 01:17:26,560
it's it's this element of 
everything starting to fall into

1746
01:17:26,560 --> 01:17:29,720
place for Blanc, but it's going 
to expose martyr, or so she 

1747
01:17:29,720 --> 01:17:32,240
thinks in the process. 
You know, this is part of the 

1748
01:17:32,240 --> 01:17:34,560
trellis, but it's in you break. 
So where does that come from? 

1749
01:17:34,560 --> 01:17:36,440
Is that a secret window? 
Let's go and have a look. 

1750
01:17:36,640 --> 01:17:39,760
It's classic who done it stuff I
have to mention when they walk 

1751
01:17:39,760 --> 01:17:42,120
back into the house and that 
argument is still raging. 

1752
01:17:42,120 --> 01:17:45,480
I mean to talk about Michael 
Shannon when he is right in 

1753
01:17:45,480 --> 01:17:47,680
Ransom's face with that packet 
of cookies. 

1754
01:17:48,000 --> 01:17:51,240
How about small cookies? 
You, you want some more cookies?

1755
01:17:53,080 --> 01:17:54,760
I swear. 
I'm sure you can see Chris Evans

1756
01:17:54,760 --> 01:17:58,000
is trying not to laugh because 
he's probably in his face and I 

1757
01:17:58,000 --> 01:18:00,160
think Chris Evans is really 
struggling not to break 

1758
01:18:00,160 --> 01:18:02,440
character there. 
Maybe Holland left you a cold 

1759
01:18:02,440 --> 01:18:04,240
glass of milk and as well, 
asshole. 

1760
01:18:05,080 --> 01:18:07,840
Brilliant stuff from Shannon. 
Improvised line as well. 

1761
01:18:07,840 --> 01:18:10,360
Yeah, yeah, yeah. 
But then we're back upstairs. 

1762
01:18:10,520 --> 01:18:12,840
Blanc finds the muddy 
footprints, and you can see the 

1763
01:18:12,840 --> 01:18:15,440
cogs whirring in his head. 
And that's what, say, it's only 

1764
01:18:15,440 --> 01:18:17,320
a Rep spec. 
You realize he kind of knows 

1765
01:18:17,320 --> 01:18:20,840
about Martyr already, so this is
just more manipulation of her. 

1766
01:18:21,120 --> 01:18:23,000
And there's that wonderful 
tension to it because on one 

1767
01:18:23,000 --> 01:18:25,240
hand, you want to see Blanc get 
things right. 

1768
01:18:25,680 --> 01:18:28,640
It's really exciting, the same 
demonstrate the smarts. 

1769
01:18:28,640 --> 01:18:30,840
But at the same time, you don't 
want Martyr exports. 

1770
01:18:31,360 --> 01:18:34,280
So when he says the game is a 
foot, a Watson, that expression 

1771
01:18:34,280 --> 01:18:36,840
on the face mean we'll talk 
about the nitware. 

1772
01:18:36,840 --> 01:18:39,320
But like, she's wearing that 
scarf like it's a noose. 

1773
01:18:39,440 --> 01:18:41,240
Like it's getting tighter around
her neck. 

1774
01:18:41,800 --> 01:18:46,200
Yeah, it's a great sequence, and
it forms part of a really great 

1775
01:18:46,200 --> 01:18:49,840
little detail, a thread that 
runs through this entire film. 

1776
01:18:50,000 --> 01:18:53,000
It can often go overlooked. 
It's the invisible ink letter 

1777
01:18:53,000 --> 01:18:55,400
that Harlan writes to Linda and 
threatens Richard. 

1778
01:18:55,400 --> 01:18:57,280
You tell her or I will. 
Yeah. 

1779
01:18:57,480 --> 01:19:00,240
Once Harlan pops off, Richard 
breaks into the drawer in his 

1780
01:19:00,240 --> 01:19:03,720
desk and retrieves the letter, 
relieved that it is blank. 

1781
01:19:04,120 --> 01:19:06,680
But he then sets off chain of 
events that incriminates him in 

1782
01:19:06,680 --> 01:19:09,040
Linda's eyes. 
Something would get beautifully 

1783
01:19:09,040 --> 01:19:12,720
paid off in the NC, yeah. 
Yes, the way that this all 

1784
01:19:12,720 --> 01:19:14,480
starts. 
Firstly Richard throws the 

1785
01:19:14,480 --> 01:19:18,360
baseball out of the window, then
an unsuspecting blank walks past

1786
01:19:18,360 --> 01:19:21,440
it, picks it up, puts it in his 
pocket as he's talking. 

1787
01:19:21,800 --> 01:19:24,400
Later he throws the ball for the
dog, who then brings it to 

1788
01:19:24,400 --> 01:19:26,880
Linda. 
She goes to Holland Study to 

1789
01:19:26,880 --> 01:19:28,760
return the ball and finds the 
letter. 

1790
01:19:28,880 --> 01:19:31,120
Wonderful. 
And the rest we don't see, but 

1791
01:19:31,120 --> 01:19:32,920
it winds up with Richard getting
a black eye. 

1792
01:19:32,920 --> 01:19:35,800
So presumably Linda reads it and
clocks Richard for cheating on 

1793
01:19:35,800 --> 01:19:37,000
her. 
And we can come to that 

1794
01:19:37,000 --> 01:19:40,040
conclusion because there's a 
scene earlier in the film where 

1795
01:19:40,040 --> 01:19:43,400
Linda is crying over Holland's 
all letters to her, all of which

1796
01:19:43,400 --> 01:19:46,200
have a burn mark on them, where 
she's obviously used the lighter

1797
01:19:46,200 --> 01:19:49,280
to reveal the writing. 
Yeah, and spoke about the games 

1798
01:19:49,280 --> 01:19:51,240
that the player and how that's 
how they used to communicate. 

1799
01:19:51,240 --> 01:19:54,680
It was a game, Yeah, Yeah. 
Also, there are a few frames 

1800
01:19:54,680 --> 01:19:57,440
when Richard first retrieves the
letter shown some lettering on 

1801
01:19:57,440 --> 01:19:59,080
the paper when the sunlight 
catches it. 

1802
01:19:59,680 --> 01:20:00,240
Right. 
Lovely. 

1803
01:20:00,240 --> 01:20:02,160
Yeah. 
So now we're getting down to the

1804
01:20:02,160 --> 01:20:04,640
nitty gritty of it. 
It's the actual will reading, 

1805
01:20:04,640 --> 01:20:07,240
and we're going to find out what
all of this is about, or we're 

1806
01:20:07,240 --> 01:20:09,200
really going to find out what 
all this is about because it 

1807
01:20:09,200 --> 01:20:10,880
just gets more complicated for 
me, really. 

1808
01:20:11,800 --> 01:20:14,000
So it's wonderful to see Frank 
Oz in there. 

1809
01:20:14,000 --> 01:20:15,240
Yeah. 
Always wonderful. 

1810
01:20:15,520 --> 01:20:17,880
He's recognizable. 
He is, and right now as well. 

1811
01:20:17,880 --> 01:20:19,000
That's brilliant. 
Just sitting there and 

1812
01:20:19,000 --> 01:20:20,480
everyone's got their own 
compositions. 

1813
01:20:20,520 --> 01:20:24,240
The way that they just stood as 
families, as units, as a couple.

1814
01:20:24,240 --> 01:20:25,920
And that's what, you know, love 
that. 

1815
01:20:25,920 --> 01:20:28,120
That's who wants each of the 
part of this world. 

1816
01:20:28,120 --> 01:20:30,720
There's three separate parts to 
it, and then you've got that 

1817
01:20:30,720 --> 01:20:33,880
wonderful shot of Ransom in the 
background and he's stuck in the

1818
01:20:33,880 --> 01:20:37,240
king on top of the chess pieces 
to show that obviously he's now 

1819
01:20:37,240 --> 01:20:39,000
going to be the king. 
He's now going to rule what's 

1820
01:20:39,000 --> 01:20:41,360
going on because he's got the 
other hand on everybody, that 

1821
01:20:41,360 --> 01:20:44,520
lovely slow pushing on him. 
Everyone else just stays on like

1822
01:20:44,520 --> 01:20:46,800
a meter away just to see 
everybody in that frame. 

1823
01:20:47,280 --> 01:20:49,680
Jamie Lake Curtis is so good in 
this. 

1824
01:20:50,320 --> 01:20:52,560
Just every little bit when it's 
just like this isn't going to 

1825
01:20:52,560 --> 01:20:55,080
take very long. 
She's like, yes, great, I've got

1826
01:20:55,080 --> 01:20:56,880
this is no problem. 
Yes, wonderful dress. 

1827
01:20:57,520 --> 01:20:59,440
Please, please continue. 
Yes, that's fine. 

1828
01:20:59,840 --> 01:21:02,520
Everyone is just so confident, 
just so cocky. 

1829
01:21:02,880 --> 01:21:04,880
The assistant that Alan who's 
Frank Osborne is reading the 

1830
01:21:04,880 --> 01:21:06,000
world. 
She just points down. 

1831
01:21:06,000 --> 01:21:08,480
She's like the house. 
Oh, yes, there's the house that 

1832
01:21:08,480 --> 01:21:10,280
that's going to go and there's 
60 million and yes. 

1833
01:21:10,280 --> 01:21:11,560
And then there's the 60 million 
years. 

1834
01:21:11,560 --> 01:21:13,200
Yeah. 
And then there's the ownership 

1835
01:21:13,200 --> 01:21:15,200
of Blood Like Wine, which is a 
publishing company. 

1836
01:21:15,200 --> 01:21:16,520
Thank you. 
So it's just basically that's 

1837
01:21:16,520 --> 01:21:17,920
the three things that we want to
go on. 

1838
01:21:18,080 --> 01:21:20,560
That's all left to martyr, just 
one after the other. 

1839
01:21:20,600 --> 01:21:22,880
Just knocks all the pins down 
just one at a time. 

1840
01:21:22,880 --> 01:21:24,360
And the frustration. 
Isn't it? 

1841
01:21:24,520 --> 01:21:27,320
And the pain that's a strike for
everybody when they're getting 

1842
01:21:27,320 --> 01:21:29,560
let down one after the other 
after the other. 

1843
01:21:29,960 --> 01:21:32,920
It's so well done. 
Then beautiful compositions and 

1844
01:21:32,920 --> 01:21:35,560
it just slowly pushes in on 
ransom and he knows what's going

1845
01:21:35,560 --> 01:21:36,640
on. 
And then there's that shot of 

1846
01:21:36,640 --> 01:21:38,840
martyr because pushes past 
belong and he doesn't know 

1847
01:21:38,840 --> 01:21:41,520
what's going on and it goes on 
her and she definitely doesn't 

1848
01:21:41,520 --> 01:21:42,560
have a clue what's happening 
here. 

1849
01:21:42,720 --> 01:21:44,760
But just look at the way the 
camera tells the story. 

1850
01:21:44,920 --> 01:21:46,760
And then it finally gets to the 
house. 

1851
01:21:46,760 --> 01:21:49,280
Everybody's arguing the toss and
say it's still our house. 

1852
01:21:49,280 --> 01:21:51,560
You get out whatever. 
And then to find out that the 

1853
01:21:51,560 --> 01:21:55,360
house is being left to martyr 
that wide shot which everybody's

1854
01:21:55,360 --> 01:21:58,680
in and then leakers turns around
because you bitch, you just 

1855
01:21:58,680 --> 01:22:02,040
point straight at the like 
that's the last straw. 

1856
01:22:02,040 --> 01:22:05,280
That's it and just pointing at 
her and you get out and police 

1857
01:22:05,280 --> 01:22:07,680
get out and everyone get out and
then she knows she's got no 

1858
01:22:07,920 --> 01:22:12,040
right here and she and as the 
character and as the performer, 

1859
01:22:12,040 --> 01:22:14,920
as the actress herself, as JBL 
Curtis was part of that house 

1860
01:22:14,920 --> 01:22:17,360
and made herself so integral. 
You can see that she's really 

1861
01:22:17,360 --> 01:22:20,040
connected to that yes and when 
she flips because she's 

1862
01:22:20,480 --> 01:22:21,680
self-made she's made the 
business. 

1863
01:22:21,680 --> 01:22:23,680
She's the only one who stood on 
her own 2 feet really. 

1864
01:22:24,120 --> 01:22:26,360
She had a bit of help of her 
dad, which is kind of She's got 

1865
01:22:26,360 --> 01:22:29,480
something to fall back on she's.
The only one who doesn't face 

1866
01:22:29,480 --> 01:22:31,520
the wrath of her dad either. 
Exactly. 

1867
01:22:31,520 --> 01:22:34,960
Yeah, it could stay outside and 
that camera couldn't be any more

1868
01:22:34,960 --> 01:22:37,320
loose. 
Yeah, it is just so handheld and

1869
01:22:37,320 --> 01:22:38,440
just. 
So time as well. 

1870
01:22:38,440 --> 01:22:40,280
Isn't it? 
It's the only time. 

1871
01:22:40,560 --> 01:22:42,960
Lovely transitions between 
seeing Richard knock on the 

1872
01:22:42,960 --> 01:22:45,360
window and then the camera comes
down and then see a wider view 

1873
01:22:45,360 --> 01:22:46,760
of Martin the car trying to 
start. 

1874
01:22:46,920 --> 01:22:48,400
Yeah. 
And now we got Ransom coming in 

1875
01:22:48,400 --> 01:22:51,200
to save the day and he just 
pulls in at the back and does 

1876
01:22:51,200 --> 01:22:54,040
the same gesture that Richard 
did to her earlier at the beck 

1877
01:22:54,040 --> 01:22:57,200
and her in and then have her as 
like manipulate her and say, 

1878
01:22:57,200 --> 01:22:59,800
well, you're from Paraguay, so 
did it. 

1879
01:22:59,800 --> 01:23:02,600
Well, so so it's the same that 
he's done taking that to 

1880
01:23:02,600 --> 01:23:04,480
manipulate that, but she doesn't
know that. 

1881
01:23:04,720 --> 01:23:07,280
And then she's taking out of 
this whole mess and you just 

1882
01:23:07,280 --> 01:23:09,560
think Ransom is a good guy, He's
taking her out of it. 

1883
01:23:09,560 --> 01:23:11,120
He needs to understand what's 
going on. 

1884
01:23:11,400 --> 01:23:13,640
And then we're going to that 
next scene and we'll see, oh, on

1885
01:23:13,640 --> 01:23:15,480
his side. 
Is he on her side? 

1886
01:23:15,520 --> 01:23:17,240
Are these the guys we've got to 
read for now? 

1887
01:23:17,400 --> 01:23:18,840
And then we're straight and Act 
3. 

1888
01:23:19,120 --> 01:23:21,920
You mentioned there when she 
comes out of the house, it goes 

1889
01:23:21,920 --> 01:23:23,400
from a steady counter, a 
handheld. 

1890
01:23:23,440 --> 01:23:26,320
Obviously it puts us in Marta's 
headspace, but it was born out 

1891
01:23:26,320 --> 01:23:28,200
of necessity. 
Ryan Johnson broke the 

1892
01:23:28,200 --> 01:23:30,960
Steadicam, so they had. 
Oh, amazing. 

1893
01:23:31,480 --> 01:23:32,080
Yeah. 
That's it. 

1894
01:23:32,160 --> 01:23:32,680
Better. 
Yeah. 

1895
01:23:33,080 --> 01:23:35,400
And when all the family are 
crowding Marta's car, Toni 

1896
01:23:35,400 --> 01:23:37,800
Collette improvised the line. 
I'm not on Twitter anymore. 

1897
01:23:37,800 --> 01:23:40,440
DM me on Instagram. 
Great. 

1898
01:23:40,440 --> 01:23:42,760
And then when the cop as well, 
when the when the tournament 

1899
01:23:42,760 --> 01:23:44,440
says, have you seen her Insta? 
She's an influencer. 

1900
01:23:44,480 --> 01:23:45,960
Yeah, that's absolutely 
brilliant. 

1901
01:23:46,720 --> 01:23:49,120
So it really hits home, which is
like, she's got a presence, but 

1902
01:23:49,120 --> 01:23:51,520
not one that's been paid for by 
her, which is great. 

1903
01:23:51,760 --> 01:23:54,440
That line also links into a 
deleted scene where Joni, it's 

1904
01:23:54,440 --> 01:23:57,080
mentioned that she had to shut 
down a Twitter account due to 

1905
01:23:57,080 --> 01:23:59,760
negative comments about a skin 
care company, which, again, is 

1906
01:23:59,760 --> 01:24:01,320
even funnier because she's 
useless. 

1907
01:24:01,520 --> 01:24:04,440
She's just an absolute Lech. 
Yeah. 

1908
01:24:05,120 --> 01:24:07,040
Tony Colette. 
Just magnificent. 

1909
01:24:07,040 --> 01:24:09,880
Oh, she's wonderful, Yeah. 
Her back story of the party when

1910
01:24:09,880 --> 01:24:11,840
she's just dancing and 
everyone's ignoring her, just 

1911
01:24:11,840 --> 01:24:14,000
absolutely love that. 
Yeah, yeah, yeah. 

1912
01:24:14,280 --> 01:24:17,600
It's great, great. 
Kind of echoes of Gwyneth 

1913
01:24:17,600 --> 01:24:20,600
Paltrow's skin care company. 
I would imagine that was her 

1914
01:24:20,720 --> 01:24:22,480
influence. 
Yeah, Yeah. 

1915
01:24:22,480 --> 01:24:24,600
I imagine that's why she started
the company. 

1916
01:24:24,600 --> 01:24:28,080
Yeah, yeah, very possibly, yeah.
And when everyone has gone crazy

1917
01:24:28,080 --> 01:24:31,240
and shouting at Marta, Jaden 
Martel's character Jacob calls 

1918
01:24:31,240 --> 01:24:33,760
her an anchor baby. 
This wasn't in the script and 

1919
01:24:33,760 --> 01:24:36,560
was an adlet by Martel. 
It wasn't picked up on the first

1920
01:24:36,560 --> 01:24:39,600
Take Law, but Michael Shannon 
heard it and told Ryan Johnson 

1921
01:24:39,720 --> 01:24:41,320
that Jayden had a really funny 
line. 

1922
01:24:41,560 --> 01:24:43,600
Johnson loved it, so they didn't
have to take to get it. 

1923
01:24:44,520 --> 01:24:47,920
Shannon died in a crowbar. 
Every bit of improv that we hear

1924
01:24:47,920 --> 01:24:50,360
from everybody, including 
themselves, as they tried to get

1925
01:24:50,360 --> 01:24:52,760
Ryan Johnson off script. 
Come on, man, the script's not 

1926
01:24:52,760 --> 01:24:55,160
good enough. 
Anger, baby, Come on. 

1927
01:24:56,240 --> 01:24:59,040
Yeah, if you're unfamiliar, the 
term anchor baby means a child 

1928
01:24:59,040 --> 01:25:02,880
born in or a country to illegal 
immigrant parents, allegedly for

1929
01:25:02,880 --> 01:25:05,320
the reason of getting 
citizenship to that country. 

1930
01:25:05,760 --> 01:25:08,400
It's really funny. 
It's just in the background, he 

1931
01:25:08,400 --> 01:25:10,040
says. 
It's like it's without 

1932
01:25:10,360 --> 01:25:13,320
understanding. 
It's just, he's heard on 

1933
01:25:13,320 --> 01:25:15,080
Twitter. 
Anchor Baby. 

1934
01:25:17,320 --> 01:25:20,080
So with all of our principles 
all together in this will 

1935
01:25:20,080 --> 01:25:23,800
reading, we've got our third and
final question from Petron of 

1936
01:25:23,840 --> 01:25:26,160
all the right movies. 
And this is Ryan Chipple. 

1937
01:25:26,320 --> 01:25:27,160
Hello, Ryan. 
Hello. 

1938
01:25:27,200 --> 01:25:28,520
Ryan. 
Ryan asked. 

1939
01:25:28,520 --> 01:25:30,920
If you were assembling a cast 
for a whodunit, who would you 

1940
01:25:30,920 --> 01:25:32,440
choose and what would be the 
setting? 

1941
01:25:32,800 --> 01:25:36,600
Matt, why didn't you go first? 
Yeah, I mean I've got 2 IDs for 

1942
01:25:36,600 --> 01:25:38,960
this. 
The first one, OK, I can't claim

1943
01:25:38,960 --> 01:25:41,360
this is totally original because
it's based on, I don't know if 

1944
01:25:41,360 --> 01:25:44,560
you've seen this clip of Sesame 
Street did a version of Benoit 

1945
01:25:44,560 --> 01:25:49,080
Blanc called Beignet Blanc and 
there's the God Daniel Craig to 

1946
01:25:49,080 --> 01:25:51,360
watch it and he thoughts the 
funniest thing ever. 

1947
01:25:51,920 --> 01:25:54,320
So I think based off that, you 
know, like Muppets Christmas 

1948
01:25:54,320 --> 01:25:57,240
Carol where you've just got 
Michael Caine as the one human 

1949
01:25:57,240 --> 01:25:58,600
actor. 
The rest of The Muppets you 

1950
01:25:58,600 --> 01:26:00,920
could do that with Ben Raw Blanc
just in The Muppets. 

1951
01:26:01,000 --> 01:26:03,080
That's great. 
And he just doesn't react to 

1952
01:26:03,080 --> 01:26:05,440
them at all. 
He just treats totally straight 

1953
01:26:05,440 --> 01:26:08,320
face like Michael Caine does. 
So I would do that in some kind 

1954
01:26:08,320 --> 01:26:11,680
of like rundown hotel in the 
middle of nowhere, that kind of 

1955
01:26:11,680 --> 01:26:13,680
history. 
The other idea is I think he 

1956
01:26:13,680 --> 01:26:17,000
could go quite meta in terms of 
Daniel Craig and make it about 

1957
01:26:17,000 --> 01:26:19,320
like connections with him in his
past. 

1958
01:26:19,320 --> 01:26:22,680
So you could have one where 
you've got Timothy Dalton, PS 

1959
01:26:22,680 --> 01:26:26,600
Brosnan, Judi Dench, Ralph 
Fiennes, Ben Wishaw, Naomi 

1960
01:26:26,600 --> 01:26:28,480
Harris. 
Then I'd have Ken Branner in 

1961
01:26:28,480 --> 01:26:30,280
there as well for the pro 
connection. 

1962
01:26:30,680 --> 01:26:33,480
And then the last one would be 
Rachel Vice, because obviously 

1963
01:26:33,480 --> 01:26:35,200
she's Daniel Craig's wife in 
real. 

1964
01:26:35,200 --> 01:26:37,200
Life brilliant. 
And I think you could do 

1965
01:26:37,200 --> 01:26:40,320
something like on a Hollywood 
film set, like kind of screen 

1966
01:26:40,320 --> 01:26:42,160
three, that kind of meta thing. 
Yeah. 

1967
01:26:42,160 --> 01:26:44,400
Oh yeah, yeah. 
Yeah, yeah, yeah, yeah. 

1968
01:26:44,760 --> 01:26:47,600
What about you Westie? 
What's your cast and setting for

1969
01:26:47,600 --> 01:26:49,760
the whodunnit? 
Plot wise, I'm just going to 

1970
01:26:49,760 --> 01:26:52,280
have to stick to the original. 
You know, there's like the 

1971
01:26:52,280 --> 01:26:54,400
family and there's been a murder
in that house, and I'm just 

1972
01:26:54,400 --> 01:26:56,440
going to stick to that premise. 
I'm not going to go too deep 

1973
01:26:56,440 --> 01:26:59,000
into the plot or anything, but 
the cast would be, we've seen it

1974
01:26:59,000 --> 01:27:01,840
all a million times, but the 
cast would be classic mother, 

1975
01:27:01,840 --> 01:27:03,440
father. 
So the mother would be Goldie 

1976
01:27:03,440 --> 01:27:05,040
Hawn. 
Oh lovely. 

1977
01:27:05,040 --> 01:27:06,960
The dad of the family? 
Kurt Russell, obviously. 

1978
01:27:06,960 --> 01:27:09,200
Of course. 
The Butler Anthony Hopkins. 

1979
01:27:09,960 --> 01:27:13,560
Oh. 
Yeah, spoiled son and his trophy

1980
01:27:13,560 --> 01:27:15,760
wife would be Colin Farrell and 
Mia Goth. 

1981
01:27:16,360 --> 01:27:17,960
Lovely. 
Them two together, lovely, 

1982
01:27:17,960 --> 01:27:19,400
hilarious. 
That'd be really, really good. 

1983
01:27:19,800 --> 01:27:23,400
The daughter of the family, 
Emily Blunt, and the detective 

1984
01:27:23,440 --> 01:27:25,280
who has to solve it all, Mark 
Ruffalo. 

1985
01:27:26,440 --> 01:27:28,120
Now you're talking. 
There we are. 

1986
01:27:28,760 --> 01:27:31,160
Rolled in cameras. 
That would be my idea for me. 

1987
01:27:31,160 --> 01:27:32,240
That's great. 
Yeah, Yeah. 

1988
01:27:32,760 --> 01:27:34,480
I mean, I love recasting 
questions. 

1989
01:27:34,520 --> 01:27:36,920
Very nice. 
And it taps into something I 

1990
01:27:36,920 --> 01:27:39,160
mentioned earlier, because 
unlike the current crop of 

1991
01:27:39,160 --> 01:27:42,720
leading men, who I think are 
quite interchangeable, the 

1992
01:27:42,720 --> 01:27:45,880
amount of excitement actresses 
working right now is an absolute

1993
01:27:45,880 --> 01:27:47,400
embarrassment of riches. 
It is. 

1994
01:27:47,400 --> 01:27:48,160
It is. 
You're right. 

1995
01:27:48,400 --> 01:27:51,480
So my whodunit is going to be 
all female and they're all 

1996
01:27:51,480 --> 01:27:53,680
playing themselves meta. 
Oh nice. 

1997
01:27:53,800 --> 01:27:56,680
OK, so the setting's an old 
Hollywood mansion during award 

1998
01:27:56,680 --> 01:28:00,200
season. 
A legendary producer, reclusive 

1999
01:28:00,200 --> 01:28:03,920
producer, maybe he's hosting an 
after party for the ceremony. 

2000
01:28:04,120 --> 01:28:07,680
So 8 actresses, all nominated 
that year, all rivals, all with 

2001
01:28:07,680 --> 01:28:10,200
history and by mourn. 
And the horse is dead in the 

2002
01:28:10,200 --> 01:28:11,400
library. 
Nice, nice. 

2003
01:28:11,560 --> 01:28:15,000
So the cast, I'm going to throw 
Anodamus in because she's amazed

2004
01:28:15,000 --> 01:28:18,640
and I wanted to play against, so
I'll play against Martyr. 

2005
01:28:18,640 --> 01:28:22,040
So she's true in confidence. 
I didn't put in me Goth, but I 

2006
01:28:22,040 --> 01:28:23,840
should have because she's 
amazing as well. 

2007
01:28:24,080 --> 01:28:27,320
But I've got Anya Taylor Joy in 
there, who'd be the one that 

2008
01:28:27,320 --> 01:28:29,640
everybody suspects because she's
got those striking eyes. 

2009
01:28:29,640 --> 01:28:31,440
Yeah. 
Mikey Madison. 

2010
01:28:31,600 --> 01:28:33,600
I think she's going to be the 
wild card that nobody sees 

2011
01:28:33,600 --> 01:28:36,320
coming. 
Curry Condon, who we obviously 

2012
01:28:36,320 --> 01:28:37,480
love. 
Yes, yes. 

2013
01:28:37,480 --> 01:28:39,640
She'd be the quiet one in the 
corner who knows more than she's

2014
01:28:39,640 --> 01:28:42,320
letting on. 
Got Keke Palmer in there 

2015
01:28:42,320 --> 01:28:43,920
bringing energy in the one 
liners. 

2016
01:28:43,920 --> 01:28:45,880
And I think she'd keep everybody
on their tours. 

2017
01:28:46,440 --> 01:28:48,680
Margaret Quali, who is just 
incredible. 

2018
01:28:49,120 --> 01:28:51,200
Yeah, yeah. 
She's amazing, Thomas and 

2019
01:28:51,200 --> 01:28:53,040
Mackenzie brilliantly 
understated. 

2020
01:28:53,200 --> 01:28:56,360
She'd be the one that you rule 
out maybe a bit too early and 10

2021
01:28:56,360 --> 01:28:58,360
day as well. 
Biggest star in the room. 

2022
01:28:58,760 --> 01:29:00,720
She's got a target on her back 
and her makes of the most 

2023
01:29:00,720 --> 01:29:03,760
interesting subject of the lot. 
So 8 actresses, one mansion, one

2024
01:29:03,760 --> 01:29:06,320
dead producer. 
Throw Daniel Craig in there as 

2025
01:29:06,320 --> 01:29:09,080
the detective and you've got 
your 4th Knives Out movie. 

2026
01:29:09,240 --> 01:29:10,440
Sounds wow. 
Nice. 

2027
01:29:10,440 --> 01:29:12,120
Get on the phone, Ryan. 
Yeah, yeah. 

2028
01:29:12,480 --> 01:29:14,640
And a great question, Ryan. 
Thank you very much. 

2029
01:29:14,840 --> 01:29:17,280
Yes, thank you mate. 
So back to the film. 

2030
01:29:17,280 --> 01:29:20,360
And once Martyr has made it out 
of the will reading, she's there

2031
01:29:20,360 --> 01:29:23,640
with Ransom the high tailor to a
bar where he fills her full of 

2032
01:29:23,640 --> 01:29:27,200
beans and sausage. 
So while the Thrombie households

2033
01:29:27,200 --> 01:29:29,680
Scrabble around to salvage, they
are lost inheritance. 

2034
01:29:29,680 --> 01:29:32,920
Talking of the Slayer rule, 
Ransom makes Marta spill her 

2035
01:29:32,920 --> 01:29:35,080
guts one way or another, the 
sneaky bastard. 

2036
01:29:35,440 --> 01:29:36,680
Spill the beans. 
Almost. 

2037
01:29:36,680 --> 01:29:38,440
Spill the beans. 
Very good now. 

2038
01:29:38,680 --> 01:29:42,000
That is great because he knows 
it's not suicide because he 

2039
01:29:42,000 --> 01:29:45,120
killed him and he knows about 
Marta's condition and he's 

2040
01:29:45,120 --> 01:29:47,160
backed her into a corner. 
That's really good writing. 

2041
01:29:47,200 --> 01:29:49,640
Yeah, it is brilliant. 
Yeah, and after Martyr has told 

2042
01:29:49,640 --> 01:29:52,560
her story, we don't hear the 
details because we cut back to 

2043
01:29:52,560 --> 01:29:54,120
the family talking about the 
Slayer room. 

2044
01:29:54,280 --> 01:29:57,480
Ransom continues his sniveling 
little ways by trying to cheat 

2045
01:29:57,480 --> 01:30:00,520
his way into his grandfather's 
inheritance, and he's a very 

2046
01:30:00,520 --> 01:30:03,320
dangerous individual because 
he'll happily kill his own 

2047
01:30:03,320 --> 01:30:05,480
grandfather for it. 
We'll later find out. 

2048
01:30:05,800 --> 01:30:08,560
And he's not to be trifled with 
because this is an elaborate 

2049
01:30:08,560 --> 01:30:10,800
plot that he's concocted. 
He is a smart kid. 

2050
01:30:10,800 --> 01:30:15,080
And this is where Mona has to 
face up to her own reality. 

2051
01:30:15,080 --> 01:30:18,120
She did kill Harlan, and she's 
going to have to face the music 

2052
01:30:18,120 --> 01:30:21,840
in her eyes and in our eyes at 
this point, and the ripple 

2053
01:30:21,840 --> 01:30:25,000
effect of which could have 
severe consequences for a 

2054
01:30:25,000 --> 01:30:27,240
family. 
And you can see that etched all 

2055
01:30:27,240 --> 01:30:28,840
over to Armistice's face in this
scene. 

2056
01:30:29,800 --> 01:30:31,440
There's pain. 
There's a width that she's 

2057
01:30:31,440 --> 01:30:34,120
carrying around. 
And finally, when she has a 

2058
01:30:34,120 --> 01:30:36,760
conversation with Meg, Meg comes
off the phone and you think 

2059
01:30:36,760 --> 01:30:39,240
she's speaking in hushed tones 
because she's hiding from the 

2060
01:30:39,240 --> 01:30:41,720
family. 
But then there's the beautiful 

2061
01:30:41,720 --> 01:30:44,880
reveal of all of the family 
standing behind her as the 

2062
01:30:44,880 --> 01:30:47,840
camera comes round. 
It reminded me of imagery from 

2063
01:30:47,840 --> 01:30:51,640
Get Out a little bit. 
Great scene. 

2064
01:30:52,120 --> 01:30:54,880
And there is a fine, fine 
display of knitwear throughout 

2065
01:30:54,880 --> 01:30:59,080
Knives Out, none more so than 
Ransoms impeccable chunky knit 

2066
01:30:59,080 --> 01:31:02,360
white number in this scene. 
Ah yes, the Internet went crazy 

2067
01:31:02,360 --> 01:31:04,800
forward and sales of replica 
sweaters went through the roof. 

2068
01:31:05,080 --> 01:31:06,400
Yeah. 
Oh, it's a wonderful piece it. 

2069
01:31:06,560 --> 01:31:08,200
Is like, yeah. 
That's a lovely piece. 

2070
01:31:10,200 --> 01:31:13,280
The costume designer was Jenny 
Egan, and her brief from Ryan 

2071
01:31:13,280 --> 01:31:15,360
Johnson was that Ransom's 
clothes would be these 

2072
01:31:15,360 --> 01:31:18,320
incredibly expensive pieces that
he didn't take care of. 

2073
01:31:18,680 --> 01:31:22,320
So she made holes in the sleeves
of his sweater and wore down the

2074
01:31:22,320 --> 01:31:25,480
heels on his shoes as well. 
If you look, you can see on the 

2075
01:31:25,560 --> 01:31:27,960
on the sleeves and on the 
collar, there are holes in that 

2076
01:31:27,960 --> 01:31:30,320
sweater. 
It's a lovely detail, Yeah. 

2077
01:31:30,440 --> 01:31:31,280
Incredible. 
Yeah. 

2078
01:31:31,840 --> 01:31:34,960
So Marta has the keys to the 
Thrombie Kingdom, and everybody 

2079
01:31:34,960 --> 01:31:37,040
wants a piece of her. 
It's a nice piece. 

2080
01:31:40,520 --> 01:31:45,160
The crew. 
A tight knit crew on Knives Out 

2081
01:31:45,160 --> 01:31:47,920
with Ryan Johnson using crew he 
used throughout his career. 

2082
01:31:48,240 --> 01:31:50,960
We're starting with his work as 
writer on Knives Out, the title 

2083
01:31:50,960 --> 01:31:54,720
of which came from a Radiohead 
song on their Amnesiac album. 

2084
01:31:55,240 --> 01:31:58,280
The work and title for the film 
was Morn and Belle, also a song 

2085
01:31:58,280 --> 01:32:01,560
from the same album, right? 
Yes, Matt, your thoughts on Ryan

2086
01:32:01,560 --> 01:32:04,200
Johnson screenplay? 
Clearly the work of someone who 

2087
01:32:04,200 --> 01:32:07,360
knows the genre inside out, but 
more importantly, he knows what 

2088
01:32:07,360 --> 01:32:10,080
the appeal is, and the appeal is
there might be called whodunit, 

2089
01:32:10,080 --> 01:32:11,480
but that's not the important 
thing. 

2090
01:32:11,520 --> 01:32:15,200
The important thing is the how, 
not The Who, because we can all 

2091
01:32:15,200 --> 01:32:17,640
guess The Who and any who done 
it and have a good chance of 

2092
01:32:17,640 --> 01:32:19,960
getting it right. 
And there's no real attempt to 

2093
01:32:19,960 --> 01:32:22,120
master the fact Ransom's the bad
guy here. 

2094
01:32:22,240 --> 01:32:25,560
The joy of it is how. 
And this is such an intricately 

2095
01:32:25,560 --> 01:32:28,080
created how. 
We think it's suicide, but then 

2096
01:32:28,080 --> 01:32:30,200
it's manslaughter. 
But how did it get to that point

2097
01:32:30,200 --> 01:32:31,840
and what are the ramifications 
of that? 

2098
01:32:32,200 --> 01:32:33,720
It can't just be be a tragic 
accident. 

2099
01:32:33,720 --> 01:32:35,560
There has to be something else 
going on. 

2100
01:32:36,000 --> 01:32:37,160
And that's where you can't 
guess. 

2101
01:32:37,160 --> 01:32:38,920
And that's what Johnson knows is
the key to it. 

2102
01:32:38,920 --> 01:32:43,080
Also, to work out from there the
whole plan, how thorough it is. 

2103
01:32:43,080 --> 01:32:45,120
It's the kind of right And you 
go, I don't know where you'd 

2104
01:32:45,120 --> 01:32:48,320
even start without, let alone 
finish it in a way that is so 

2105
01:32:48,320 --> 01:32:51,240
detailed but so logical at the 
same time. 

2106
01:32:51,360 --> 01:32:54,160
And then as well as creating 
this incredibly compelling case,

2107
01:32:54,160 --> 01:32:56,120
he's creating a new character 
from scratch. 

2108
01:32:56,240 --> 01:32:59,120
He just leaves off the page. 
It's filled with really good 

2109
01:32:59,120 --> 01:33:02,360
jokes, memorable dialogue, and 
at the same time it has subtext.

2110
01:33:02,760 --> 01:33:04,920
It does talk about stuff. 
It talks about privilege and 

2111
01:33:04,920 --> 01:33:08,920
racism and deep grain prejudices
in American Society in class. 

2112
01:33:09,480 --> 01:33:12,280
To make all of those elements 
and make them balance against 

2113
01:33:12,280 --> 01:33:13,840
each other, that is some 
achievement. 

2114
01:33:13,920 --> 01:33:17,040
I mean, we often say, don't we? 
On these episodes, the script 

2115
01:33:17,040 --> 01:33:18,880
was fluid. 
It wasn't finished. 

2116
01:33:18,880 --> 01:33:21,120
It wasn't complete. 
By the time they got, everyone 

2117
01:33:21,120 --> 01:33:23,960
had a little bit to say. 
I imagine this was pretty much 

2118
01:33:23,960 --> 01:33:26,480
to the letter once the camera 
started rolling. 

2119
01:33:27,120 --> 01:33:30,440
Say, for Michael Shannon, 
everything else was trying to 

2120
01:33:30,440 --> 01:33:32,120
get away. 
Yeah, yeah, yeah. 

2121
01:33:32,400 --> 01:33:34,440
What about you, Westie? 
Ryan Johnsons writing. 

2122
01:33:34,640 --> 01:33:36,240
I can't really praise it highly 
enough. 

2123
01:33:36,240 --> 01:33:38,680
I can just. 
It creates pictures in my mind 

2124
01:33:38,680 --> 01:33:41,760
of just a completely and 
beautifully plotted piece of 

2125
01:33:41,760 --> 01:33:43,760
hair. 
But you're just watching the 

2126
01:33:43,760 --> 01:33:46,520
plats come together and there's 
about 6 different threads, but 

2127
01:33:46,520 --> 01:33:48,640
you're watching small plat. 
They're here, and you're 

2128
01:33:48,640 --> 01:33:50,720
thinking this is going to be a 
mess at the end. 

2129
01:33:50,880 --> 01:33:52,520
But then you look at it and you 
just think, well, that's just 

2130
01:33:52,520 --> 01:33:54,360
beautifully done. 
Yeah, it's beautifully weaved 

2131
01:33:54,360 --> 01:33:56,240
together, and that's what it 
reminds us of. 

2132
01:33:56,240 --> 01:33:58,720
And it's watching them do it. 
It's watching that plat come 

2133
01:33:58,720 --> 01:34:01,120
together and seeing how joyous 
that is and not worrying about 

2134
01:34:01,120 --> 01:34:03,640
the technique because whoever 
you're watching do that has done

2135
01:34:03,640 --> 01:34:06,520
it very well and knows exactly 
where this is going. 

2136
01:34:06,640 --> 01:34:09,960
It's the ability to flow through
this film without getting 

2137
01:34:09,960 --> 01:34:12,000
agitated or frustrated. 
Yes. 

2138
01:34:12,000 --> 01:34:14,360
Like, what did that that mean? 
Where did he go there? 

2139
01:34:14,640 --> 01:34:17,680
It seems that Ryan Johnson's got
just the right amount of ideas. 

2140
01:34:17,880 --> 01:34:19,960
And I think it's taken him a 
long time to write this because 

2141
01:34:19,960 --> 01:34:22,080
it's just been in his head more 
than it's been on the page. 

2142
01:34:22,080 --> 01:34:24,440
And I think he's probably been 
driving somewhere. 

2143
01:34:25,000 --> 01:34:27,760
He's been filming Looper, He's 
been doing Brick just thinking 

2144
01:34:27,960 --> 01:34:30,520
just like Holland does and just 
writing these ideas down. 

2145
01:34:30,520 --> 01:34:32,080
Or that that would be a bit too 
much. 

2146
01:34:32,240 --> 01:34:35,240
All the mood on the scoring 
ball, but not his, right? 

2147
01:34:35,240 --> 01:34:37,600
That would just be the twist on 
any of the narrative. 

2148
01:34:37,600 --> 01:34:40,720
You would see others mud there. 
There's a fingerprint there and 

2149
01:34:40,720 --> 01:34:42,640
that's the end of it. 
I mean, if you think about how 

2150
01:34:42,640 --> 01:34:47,880
loose something like The 
Fugitive is, none of that is 

2151
01:34:47,880 --> 01:34:49,760
about anything to do with like 
this. 

2152
01:34:49,760 --> 01:34:50,920
It's just right. 
He's guilty. 

2153
01:34:50,920 --> 01:34:52,680
That's it. 
What What about with the what's 

2154
01:34:52,680 --> 01:34:54,320
and the where's and the who's? 
Well, that doesn't fucking 

2155
01:34:54,320 --> 01:34:56,440
matter. 
That's all this film's about, 

2156
01:34:56,640 --> 01:34:58,280
and Johnson knows that. 
And that's where the 

2157
01:34:58,280 --> 01:35:00,520
entertainment is. 
That's where the genius is. 

2158
01:35:00,880 --> 01:35:03,680
But it's also the dialogue. 
It's also the characterization. 

2159
01:35:03,680 --> 01:35:06,440
It's also the fact that he isn't
hitting cliche after cliche 

2160
01:35:06,440 --> 01:35:10,960
after cliche, but he's still 
trying to embody a work that is 

2161
01:35:10,960 --> 01:35:13,520
naturally built on cliche. 
That's what this is. 

2162
01:35:13,840 --> 01:35:16,640
It's always over who done it. 
There's always a knife involved,

2163
01:35:16,640 --> 01:35:19,000
there's always blood involved. 
There's always footprints and 

2164
01:35:19,000 --> 01:35:21,920
tracks and hidden entrances and 
mansions and rich people and 

2165
01:35:21,920 --> 01:35:24,320
poor people. 
He knows all of that, he takes 

2166
01:35:24,360 --> 01:35:26,560
all the cliches and he makes 
something brand new. 

2167
01:35:26,560 --> 01:35:28,480
That's how good the rightness. 
Yeah, it is. 

2168
01:35:28,480 --> 01:35:31,240
It's incredible. 
Even just on a surface level, 

2169
01:35:31,440 --> 01:35:34,040
you could watch it and just have
fun with the mystery without 

2170
01:35:34,040 --> 01:35:36,920
having to really chime in with 
all of the details. 

2171
01:35:37,200 --> 01:35:39,280
Doesn't matter. 
Second view, Third view, 4th 

2172
01:35:39,280 --> 01:35:40,960
view. 
Different layers reveal 

2173
01:35:40,960 --> 01:35:42,400
themselves. 
Yeah, absolutely. 

2174
01:35:43,000 --> 01:35:45,120
And for me, it's the structure 
and the economy of the right. 

2175
01:35:45,120 --> 01:35:47,880
And Johnson does something 
really incredible. 

2176
01:35:47,880 --> 01:35:50,280
He gives us the answer halfway 
through the film. 

2177
01:35:50,320 --> 01:35:51,760
Very similar what you're saying,
Matt. 

2178
01:35:52,000 --> 01:35:55,080
We see what happened to Harlan 
in any other mystery that would 

2179
01:35:55,080 --> 01:35:57,640
kill the tension. 
But Johnson flips it. 

2180
01:35:57,640 --> 01:36:00,480
So instead of asking who did it,
well now, like, will Martin get 

2181
01:36:00,480 --> 01:36:02,320
away with it? 
And how will she get away with 

2182
01:36:02,320 --> 01:36:04,240
this? 
And I think that's a really 

2183
01:36:04,240 --> 01:36:06,920
brave structural choice because 
you're suddenly rooting for the 

2184
01:36:06,920 --> 01:36:10,000
suspect, which is the complete 
opposite of how these things 

2185
01:36:10,000 --> 01:36:12,040
usually work. 
And I think you need an 

2186
01:36:12,040 --> 01:36:14,040
incredible actress to pull that 
off as well. 

2187
01:36:14,640 --> 01:36:17,160
And then he pulls the rug again 
at the end by revealing there's 

2188
01:36:17,160 --> 01:36:19,480
another layer on underneath that
we didn't see coming. 

2189
01:36:19,560 --> 01:36:22,160
So it's a triple bluff. 
And the right is so tight that 

2190
01:36:22,160 --> 01:36:24,520
it feels organic. 
And I think what makes that 

2191
01:36:24,520 --> 01:36:27,640
possible is the economy because 
there's not a wasted line. 

2192
01:36:27,920 --> 01:36:31,280
Every joke, every seemingly 
throw away a comments, every 

2193
01:36:31,280 --> 01:36:34,760
insignificant detail comes back 
around the mug, the blood on the

2194
01:36:34,760 --> 01:36:37,840
shoe, the toxicology report, the
baseball that we've discussed. 

2195
01:36:38,360 --> 01:36:40,680
Johnson plants seeds so 
carefully that you don't notice 

2196
01:36:40,680 --> 01:36:44,040
them until they bloom, and it 
does it while keeping the tone 

2197
01:36:44,040 --> 01:36:47,040
light and entertaining. 
It's two hours, 10 minutes and 

2198
01:36:47,040 --> 01:36:49,400
it feels like 90 minutes. 
All killer nor filler. 

2199
01:36:49,480 --> 01:36:52,280
Yeah, yeah, definitely. 
I think it takes real confidence

2200
01:36:52,280 --> 01:36:54,840
to leave your cards on the table
at the midpoint of a mystery and

2201
01:36:54,840 --> 01:36:56,920
back yourself to keep the 
audience engaged. 

2202
01:36:57,520 --> 01:36:59,480
I think it's a risk that most 
wouldn't take. 

2203
01:36:59,720 --> 01:37:01,720
But Johnson trusts his 
structure, he trusts his 

2204
01:37:01,720 --> 01:37:04,440
characters, and he trusts that 
the audience is smart enough to 

2205
01:37:04,440 --> 01:37:06,400
go along for the ride. 
Yeah, exactly. 

2206
01:37:06,600 --> 01:37:09,440
And we do, because I think every
scene is doing at least two 

2207
01:37:09,440 --> 01:37:12,320
things at once. 
It's entertaining us and quietly

2208
01:37:12,320 --> 01:37:15,320
setting up the next revelation. 
That's pretty spectacular 

2209
01:37:15,320 --> 01:37:16,480
writing. 
Yeah, yeah. 

2210
01:37:16,800 --> 01:37:19,360
And the whole process came 
together in the space of a year 

2211
01:37:19,360 --> 01:37:21,560
from start to finish. 
Johnson started writing in 

2212
01:37:21,560 --> 01:37:24,440
January 2018. 
The script was done by June. 

2213
01:37:24,560 --> 01:37:26,520
Production wrapped by Christmas 
the same year. 

2214
01:37:26,600 --> 01:37:27,280
Yeah. 
Yeah. 

2215
01:37:27,280 --> 01:37:28,520
That's economy for you. 
Yeah. 

2216
01:37:28,960 --> 01:37:31,680
Yeah, like I say, I think this 
just been living in his head. 

2217
01:37:32,960 --> 01:37:35,800
And when he started writing, 
Ryan Johnson was reminded of 

2218
01:37:35,840 --> 01:37:38,840
Alfred Hitchcock's comments and 
who done it, where he said they 

2219
01:37:38,840 --> 01:37:42,000
rely entirely on the surprise 
and that outside of this they 

2220
01:37:42,000 --> 01:37:46,160
are generally narratively weak. 
Johnson said the idea was to 

2221
01:37:46,160 --> 01:37:48,960
figure out how to give the movie
an engine that was something 

2222
01:37:48,960 --> 01:37:52,240
beyond just a collection of 
clues and the mulling over of 

2223
01:37:52,240 --> 01:37:55,080
suspects. 
Once I had that, I began to dig 

2224
01:37:55,080 --> 01:37:58,440
a little deeper, and that's when
I came up with the actual story.

2225
01:37:58,600 --> 01:38:00,760
Yeah, yeah, yeah. 
He's got the surface level in 

2226
01:38:00,760 --> 01:38:02,400
there. 
That's the start point. 

2227
01:38:02,400 --> 01:38:04,560
Just the mystery is the start 
point, yeah. 

2228
01:38:05,040 --> 01:38:07,600
And we mentioned earlier that 
Johnsons main inspiration was 

2229
01:38:07,600 --> 01:38:09,920
Agatha Christie, which extended 
to his characters. 

2230
01:38:10,040 --> 01:38:12,560
He said that she wasn't a 
political or socially active 

2231
01:38:12,560 --> 01:38:15,200
writer, but that she did write 
characters from British society 

2232
01:38:15,400 --> 01:38:16,960
that readers would have been 
familiar with. 

2233
01:38:17,360 --> 01:38:19,280
So you said it was very 
important that we didn't just 

2234
01:38:19,360 --> 01:38:22,680
skin it with the modern day 
world, but that we did what 

2235
01:38:22,680 --> 01:38:25,160
Agatha Christie didn't actually 
try to use it to engage with 

2236
01:38:25,160 --> 01:38:27,720
some of the character types that
were experienced at the day. 

2237
01:38:28,080 --> 01:38:30,880
So the family would argue, like 
all families do, and elements of

2238
01:38:30,880 --> 01:38:33,560
that, a political points of view
that views could relate to in 

2239
01:38:33,680 --> 01:38:36,840
2019 still relevant now. 
Very relevant. 

2240
01:38:36,840 --> 01:38:40,840
Yeah, Johnson said that unlike 
noir movies, where pretty much 

2241
01:38:40,840 --> 01:38:43,520
every scene features the 
detective and Christie 

2242
01:38:43,520 --> 01:38:46,400
mysteries, Pyo was often 
accompanied by the character of 

2243
01:38:46,400 --> 01:38:48,200
Captain Hastings, who was his 
psychic. 

2244
01:38:48,320 --> 01:38:51,280
Yeah, that's why he leaned into 
the character of martyr quite 

2245
01:38:51,280 --> 01:38:52,520
heavily. 
Yeah, yeah, yeah. 

2246
01:38:52,640 --> 01:38:55,200
And he also conflated the 
mechanics of a Hitchcock 

2247
01:38:55,200 --> 01:38:58,240
thriller like The 39 Steps, 
where there's the central 

2248
01:38:58,240 --> 01:39:00,960
mystery but also a character we 
care about who was emotionally 

2249
01:39:00,960 --> 01:39:02,680
involved. 
That's what he had in mind when 

2250
01:39:02,680 --> 01:39:05,120
writing the character of Martyr.
It comes across, doesn't it? 

2251
01:39:05,200 --> 01:39:07,200
Yeah, yeah. 
We've mentioned it throughout, 

2252
01:39:07,200 --> 01:39:10,040
but there are a number of clues 
that point to Ransom's guilt 

2253
01:39:10,200 --> 01:39:13,480
running throughout the film, a 
few of them that we may not have

2254
01:39:13,480 --> 01:39:15,040
mentioned. 
Ransom's interaction with 

2255
01:39:15,040 --> 01:39:17,680
Holland on the night of is the 
only one that we don't get to 

2256
01:39:17,680 --> 01:39:18,920
see. 
Yeah, yeah. 

2257
01:39:19,720 --> 01:39:22,800
When Harlan is talking about the
family tomato, there's a knife 

2258
01:39:22,800 --> 01:39:24,760
in the foreground cover and his 
throat. 

2259
01:39:24,760 --> 01:39:27,440
When he mentions Ransom just 
before, he says the difference 

2260
01:39:27,440 --> 01:39:29,120
between the stage prop and a 
real knife. 

2261
01:39:29,120 --> 01:39:30,440
Yeah, yeah, He lifts it up, 
doesn't he? 

2262
01:39:30,440 --> 01:39:34,000
And kind of that's right, yeah. 
And during the will reading, 

2263
01:39:34,000 --> 01:39:37,200
Ransom is the only person not to
react angrily to the news that 

2264
01:39:37,200 --> 01:39:39,600
Martyr gets everything. 
The reason being he already 

2265
01:39:39,600 --> 01:39:42,160
knows that he's been cut out the
well and that it's all going to 

2266
01:39:42,160 --> 01:39:43,240
her. 
That's right. 

2267
01:39:43,480 --> 01:39:46,120
Blank remarks that dogs are good
judge of character as he 

2268
01:39:46,120 --> 01:39:48,800
mentioned earlier when the Greek
Martha with warmth. 

2269
01:39:49,080 --> 01:39:51,080
The opposite to be said when 
Ransom shows up. 

2270
01:39:51,200 --> 01:39:53,840
This fact is doubled down upon 
when Mega's walking up by the 

2271
01:39:53,840 --> 01:39:55,640
dogs. 
This isn't referred to again, 

2272
01:39:55,640 --> 01:39:58,360
but we can assume that this was 
Ransom coming back to the scene 

2273
01:39:58,360 --> 01:40:00,360
of the crime. 
Yeah, that's a great little 

2274
01:40:00,360 --> 01:40:01,840
detail. 
It's not hammered home. 

2275
01:40:01,840 --> 01:40:03,680
No, not really, but it's just 
there. 

2276
01:40:04,080 --> 01:40:05,600
Yeah. 
So an outstanding piece of 

2277
01:40:05,600 --> 01:40:08,080
writing from Ryan Johnson. 
Honour in the genre with great 

2278
01:40:08,080 --> 01:40:10,920
affection, layers of intrigue, 
wonderful characters. 

2279
01:40:11,240 --> 01:40:16,400
Wonderful writing. 
Next is the music on Knives Out.

2280
01:40:16,400 --> 01:40:18,880
We're talking about popular 
music in the film and the score 

2281
01:40:18,880 --> 01:40:22,960
by Nathan Johnson. 
Now, I think the score's a real 

2282
01:40:22,960 --> 01:40:24,480
treat. 
I think it's sharp, it's 

2283
01:40:24,480 --> 01:40:27,240
playful, it's got a sense of 
mischief running through it that

2284
01:40:27,400 --> 01:40:31,320
mirrors the film very nicely. 
That opening string quartet sets

2285
01:40:31,320 --> 01:40:35,360
the tone immediately, those 
precise strings that feel like 

2286
01:40:35,360 --> 01:40:38,040
they're creeping up on you. 
And from there, it opens out 

2287
01:40:38,040 --> 01:40:40,840
under a full orchestral score 
that's got some real personality

2288
01:40:40,840 --> 01:40:42,480
to it. 
It's got this quality where it 

2289
01:40:42,480 --> 01:40:45,240
feels both classic and modern at
the same time. 

2290
01:40:45,400 --> 01:40:47,640
Yeah. 
You can hear the influences of 

2291
01:40:47,640 --> 01:40:50,360
those grand symphonic scores 
from the golden age of cinema, 

2292
01:40:50,480 --> 01:40:52,680
and I actually think there's 
something in the strings that 

2293
01:40:52,680 --> 01:40:57,680
reminded me of Pinot Dinagio's 
work on Don't Look Now And going

2294
01:40:57,680 --> 01:41:00,440
back to We'll cover that 
Untoable feature years ago. 

2295
01:41:01,440 --> 01:41:04,760
Some of Pinot Dinagio's music in
that when we talked about it 

2296
01:41:04,760 --> 01:41:08,600
doesn't necessarily fit the 
bill, but I can certainly hear 

2297
01:41:08,600 --> 01:41:10,200
it in the strings. 
I know what you mean. 

2298
01:41:10,200 --> 01:41:12,880
It sounds very European, Yeah. 
Yeah, very much yeah. 

2299
01:41:13,240 --> 01:41:16,160
For a film, this stuff with plot
and conversation, the score 

2300
01:41:16,400 --> 01:41:19,000
doesn't overwhelm it, but it 
dances around the dialogue 

2301
01:41:19,000 --> 01:41:20,480
rather than trampoline all over 
it. 

2302
01:41:20,600 --> 01:41:22,640
I think it's understated. 
I think it's sharp. 

2303
01:41:22,640 --> 01:41:25,280
I think it's elegant, much like 
the film itself. 

2304
01:41:26,320 --> 01:41:28,840
And just a credit to the song 
choices as well. 

2305
01:41:28,840 --> 01:41:31,880
I think they give you a peek 
into the characters journey vibe

2306
01:41:31,880 --> 01:41:33,240
into more than this at the 
party. 

2307
01:41:33,240 --> 01:41:35,960
And trying to drag Linda up to 
dance is a joy. 

2308
01:41:36,040 --> 01:41:38,960
Yeah, because we've all know 
that person who tries to drag 

2309
01:41:38,960 --> 01:41:40,600
you up the dance. 
It's horrible. 

2310
01:41:40,600 --> 01:41:42,000
Yeah, leave us alone. 
Yeah. 

2311
01:41:42,960 --> 01:41:46,120
And blank singing, losing my 
mind outside the laundromat. 

2312
01:41:46,480 --> 01:41:48,880
We'll talk about that later. 
But it is wonderful. 

2313
01:41:48,880 --> 01:41:50,960
He's just alone with his 
headphones and he's just letting

2314
01:41:50,960 --> 01:41:53,840
it all hang out. 
Yeah, it's great. 

2315
01:41:54,040 --> 01:41:56,120
Yeah, it's great. 
And any film that ends with 

2316
01:41:56,120 --> 01:41:57,720
Sweet Virginia by The Rolling 
Stones. 

2317
01:41:57,720 --> 01:41:59,520
I mean, well, yeah. 
That's going to send me home 

2318
01:41:59,520 --> 01:42:00,840
happy, yeah. 
That's a shoo in. 

2319
01:42:01,600 --> 01:42:04,040
Yeah, I think it's one of those 
where I think you would have to 

2320
01:42:04,200 --> 01:42:06,880
stream it on Spotify or 
something to really get into it 

2321
01:42:06,880 --> 01:42:09,720
and appreciate it. 
It's not one where it's really 

2322
01:42:09,720 --> 01:42:11,520
bombastic. 
The themes aren't any face. 

2323
01:42:11,520 --> 01:42:14,160
But when you do listen to it, 
and I know it's difficult to 

2324
01:42:14,160 --> 01:42:16,760
judge this and say this, but I 
think if you listen to this not 

2325
01:42:16,760 --> 01:42:18,920
knowing the thing about the 
film, how do you think you'll 

2326
01:42:18,920 --> 01:42:20,400
go? 
This sounds like a mystery 

2327
01:42:20,400 --> 01:42:22,040
genre. 
This sounds like the music from 

2328
01:42:22,040 --> 01:42:24,760
a Who? 
It instantly nails the genre 

2329
01:42:24,760 --> 01:42:27,520
with the strings, the piano, as 
you say, Luke, it's kind of 

2330
01:42:27,520 --> 01:42:30,400
sinister bit foreboarding this 
tension in there, but it is 

2331
01:42:30,400 --> 01:42:33,160
playful at the same time and I 
think that just sums up the 

2332
01:42:33,160 --> 01:42:35,560
genre. 
So it's one of those where 

2333
01:42:35,560 --> 01:42:38,240
because it is quite subtle, I 
see you have to specifically 

2334
01:42:38,240 --> 01:42:40,680
listen to it. 
But if this wasn't in the film, 

2335
01:42:40,680 --> 01:42:44,520
you would notice so much just 
dead air in the film you would 

2336
01:42:44,520 --> 01:42:45,880
really miss. 
It there, wouldn't there? 

2337
01:42:45,880 --> 01:42:47,600
Yeah. 
You know, that's what this music

2338
01:42:47,600 --> 01:42:49,320
is doing. 
And then the song choices, I 

2339
01:42:49,320 --> 01:42:52,160
mean they are sparing, but each 
one does hits home as well 

2340
01:42:52,160 --> 01:42:54,440
because it does as you say it 
tells you about the character. 

2341
01:42:54,640 --> 01:42:56,560
Yeah, I love it. 
I think it's fantastic. 

2342
01:42:56,560 --> 01:42:59,840
I think the range that you would
go through, but it feels to me 

2343
01:42:59,840 --> 01:43:02,680
like each track on this is like 
a room in the house. 

2344
01:43:03,560 --> 01:43:06,520
It has it's like own identity 
where you're going and where 

2345
01:43:06,600 --> 01:43:07,720
it's moving you through the 
house. 

2346
01:43:07,720 --> 01:43:09,960
But you just, you can never 
judge what each room's going to 

2347
01:43:09,960 --> 01:43:12,160
hold because it all seems to 
look the same but look so 

2348
01:43:12,160 --> 01:43:13,000
different. 
Yeah. 

2349
01:43:13,000 --> 01:43:15,040
And all seems to sound the same 
but sounds so different. 

2350
01:43:15,120 --> 01:43:17,800
But if you listen to that, the 
opening credits are the opening 

2351
01:43:17,880 --> 01:43:20,240
boom where that hits. 
And that's massive in the mix. 

2352
01:43:20,240 --> 01:43:22,560
And them dogs are running and 
you're like, oh, yeah, this is a

2353
01:43:22,560 --> 01:43:24,080
Sherlock Holmes film, right? 
Yeah, yeah. 

2354
01:43:24,080 --> 01:43:25,360
It's a murder mystery. 
There's some. 

2355
01:43:25,600 --> 01:43:28,240
There's the Moors and there's 
the haze on it and there's fog 

2356
01:43:28,240 --> 01:43:29,480
in the background and there's a 
mansion. 

2357
01:43:29,480 --> 01:43:31,400
Perfect. 
But listen to the last track 

2358
01:43:31,400 --> 01:43:33,880
when they're all coming out, 
when Ranson is being taken away.

2359
01:43:34,120 --> 01:43:36,560
That's as close to jazz as 
you're going to get on that 

2360
01:43:36,560 --> 01:43:40,760
soundtrack. 
It is totally like 16-4 or 

2361
01:43:40,760 --> 01:43:43,640
whatever the rhythm is. 
It's all over the place, totally

2362
01:43:43,640 --> 01:43:45,440
disjointed. 
There's instruments coming in 

2363
01:43:45,440 --> 01:43:47,320
left, right and center because 
the family are just so 

2364
01:43:47,320 --> 01:43:48,960
dispersed. 
Everyone's confused. 

2365
01:43:48,960 --> 01:43:51,400
Nobody knows what's going on. 
So it's not necessarily a 

2366
01:43:51,400 --> 01:43:54,520
soundtrack for the audience. 
It's just a soundtrack to kind 

2367
01:43:54,520 --> 01:43:56,640
of relate to the family what's 
going on. 

2368
01:43:56,920 --> 01:44:00,600
Like Matt said, you can miss 
this music totally at the start.

2369
01:44:00,600 --> 01:44:03,440
Yes, you can see it because 
you're locked in, but there's so

2370
01:44:03,440 --> 01:44:04,720
much dialogue, there's so much 
going on. 

2371
01:44:04,720 --> 01:44:06,760
There's so much with the camera 
movement, there's so much with 

2372
01:44:06,760 --> 01:44:08,800
the technique. 
You forget this music on this. 

2373
01:44:09,440 --> 01:44:11,560
And like a lot of times we've 
done where you have not 

2374
01:44:11,560 --> 01:44:13,680
necessarily a lazy director, but
one that doesn't have the 

2375
01:44:13,680 --> 01:44:16,920
confidence that Ryan Johnson has
here, where the music speaks for

2376
01:44:16,920 --> 01:44:19,080
the scene. 
This is how you should feel. 

2377
01:44:19,240 --> 01:44:21,440
You should feel like this. 
You should feel upset, you 

2378
01:44:21,440 --> 01:44:23,160
should feel misery. 
You should feel angry, you 

2379
01:44:23,160 --> 01:44:25,760
should feel horrified. 
None of the music does that 

2380
01:44:25,760 --> 01:44:27,760
here. 
It basically sets the tone of 

2381
01:44:27,760 --> 01:44:28,920
the room. 
You're in the room and you've 

2382
01:44:28,920 --> 01:44:30,000
got to figure it out. 
That's. 

2383
01:44:30,360 --> 01:44:32,680
Yeah, I like that. 
It doesn't drag you by the hand,

2384
01:44:32,680 --> 01:44:33,920
does it? 
No, not at all. 

2385
01:44:34,600 --> 01:44:36,880
A lot of the music in the film 
aligns to the mystery at the 

2386
01:44:36,880 --> 01:44:39,240
center of the narrative. 
When Martyr and Ransom are in 

2387
01:44:39,240 --> 01:44:42,200
the restaurant, Gordon Lightfoot
Sundown is playing with the 

2388
01:44:42,200 --> 01:44:44,120
lyrics. 
If I find you creeping around my

2389
01:44:44,120 --> 01:44:45,840
backstairs. 
Very good. 

2390
01:44:46,200 --> 01:44:48,640
Similarly, the song that's 
playing at the end is The 

2391
01:44:48,640 --> 01:44:50,720
Rolling Stones. 
Sweet Virginia with the lyric. 

2392
01:44:50,920 --> 01:44:52,880
Got to scrape that shit right 
off your shoe. 

2393
01:44:53,640 --> 01:44:54,840
Wonderful. 
Great. 

2394
01:44:55,080 --> 01:44:57,680
Not very Ryan Johnson for me, 
though, because that's not deep 

2395
01:44:57,680 --> 01:44:59,520
enough. 
So I've looked into Gordon 

2396
01:44:59,520 --> 01:45:02,360
Lightfoot Sundown. 
That song was written about a 

2397
01:45:02,360 --> 01:45:04,000
groupie who he's on and off 
with. 

2398
01:45:04,400 --> 01:45:06,640
Lightfoot at the time called 
Kathy Smith. 

2399
01:45:06,880 --> 01:45:10,680
Kathy Smith, the same one got 15
months in prison for fatally 

2400
01:45:10,680 --> 01:45:12,840
injecting a speedball that 
caused the death of John 

2401
01:45:12,840 --> 01:45:14,160
Belushi. 
The overdose. 

2402
01:45:14,200 --> 01:45:15,040
Wow. 
Wow. 

2403
01:45:15,360 --> 01:45:19,080
Which is exactly what Marta did.
Or what she thought you did. 

2404
01:45:19,680 --> 01:45:20,920
Amazing. 
Amazing, isn't it? 

2405
01:45:21,040 --> 01:45:22,680
That's great. 
Classic Ryan Johnson. 

2406
01:45:22,680 --> 01:45:26,200
Yeah, More than three layers to 
every decision he's made. 

2407
01:45:26,600 --> 01:45:27,760
Ludicrous. 
Yeah. 

2408
01:45:27,760 --> 01:45:30,520
That's amazing. 
Yeah, we mentioned the score, of

2409
01:45:30,520 --> 01:45:32,440
course, and that's by Nathan 
Johnson. 

2410
01:45:32,440 --> 01:45:36,040
That's Ryan's cousin, right? 
He scored all of his films apart

2411
01:45:36,040 --> 01:45:38,520
from The Last Jedi for obvious 
reasons. 

2412
01:45:38,720 --> 01:45:40,640
Yeah. 
And from the early days of 

2413
01:45:40,640 --> 01:45:43,760
Ryan's concept, he and Nathan 
conceived with the music that 

2414
01:45:43,760 --> 01:45:46,680
scores the film to have a 
grandiose classical feel, which 

2415
01:45:46,680 --> 01:45:49,680
was unlike any of the Ryan 
Johnson movie up to that point. 

2416
01:45:50,080 --> 01:45:53,240
So that took influence from 
Maurice Jar's work on Lawrence 

2417
01:45:53,240 --> 01:45:56,880
of Arabia, Nino wrote his music 
on Death on the Nile and the 

2418
01:45:56,880 --> 01:45:58,480
work of Bernard Herrman in 
general. 

2419
01:45:58,680 --> 01:46:01,160
Yeah, nice. 
The Johnson saw these works has 

2420
01:46:01,160 --> 01:46:03,520
given each instrument in the 
orchestra a voice. 

2421
01:46:03,520 --> 01:46:05,200
They weren't blurred into one 
sound. 

2422
01:46:05,200 --> 01:46:07,640
Each element had its own 
identity, something which was 

2423
01:46:07,640 --> 01:46:09,960
mirrored by the cast, who all 
have their place on the chess 

2424
01:46:09,960 --> 01:46:11,720
board. 
Yeah, they've all got their kind

2425
01:46:11,720 --> 01:46:14,200
of like, audible identity. 
Yeah, yeah. 

2426
01:46:14,720 --> 01:46:16,920
Nathan started his work by 
visiting the set ture in 

2427
01:46:16,920 --> 01:46:19,360
Principal Photography and 
Visitor regularly to get a feel 

2428
01:46:19,360 --> 01:46:21,640
for the production which 
informed his work. 

2429
01:46:22,160 --> 01:46:25,200
The score was recorded at the 
legendary Abbey Road Studios as 

2430
01:46:25,200 --> 01:46:28,200
well, and I mentioned that there
are multiple themes for each 

2431
01:46:28,200 --> 01:46:30,680
character. 
The individual Thrombie themes 

2432
01:46:30,680 --> 01:46:33,600
are all variations on the main 
family theme, which comes from 

2433
01:46:33,600 --> 01:46:35,880
the Master of the house, Harlan 
Thrombie. 

2434
01:46:36,000 --> 01:46:38,920
Yeah, Nathan said. 
He's the stream that everyone 

2435
01:46:38,920 --> 01:46:41,200
flows out of. 
He created this house for them 

2436
01:46:41,200 --> 01:46:43,360
all to live in. 
All the stuff in the house is 

2437
01:46:43,360 --> 01:46:46,040
Sophie's written into his books.
That's great, yeah. 

2438
01:46:46,280 --> 01:46:50,000
The main theme, Knives Out 
String Quartet in J Minor drew a

2439
01:46:50,000 --> 01:46:53,280
line in the sand for Nathan. 
It plays at the opening of the 

2440
01:46:53,280 --> 01:46:55,640
film and sets the standard and 
it's great. 

2441
01:46:55,880 --> 01:46:58,160
It is always forget because it 
is really quiet. 

2442
01:46:58,160 --> 01:46:59,480
So I was turning it up 
yesterday. 

2443
01:47:00,320 --> 01:47:03,920
It's the volume up on this and 
that one. 

2444
01:47:04,120 --> 01:47:09,360
You turn this down, but. 
Nathan's favorite piece of music

2445
01:47:09,360 --> 01:47:11,800
is called The Will, and it plays
obviously at the Will reading 

2446
01:47:11,800 --> 01:47:14,600
scene, he said. 
In that queue, the orchestra 

2447
01:47:14,600 --> 01:47:17,000
plays around with a gigantic 
string slide. 

2448
01:47:17,040 --> 01:47:20,040
The slide takes us into this 
unsettling craziness that begins

2449
01:47:20,040 --> 01:47:21,800
to happen. 
The whale is the shift in the 

2450
01:47:21,800 --> 01:47:23,840
movie. 
We break open the doors and we 

2451
01:47:23,840 --> 01:47:25,880
go for the throat. 
Nice. 

2452
01:47:26,360 --> 01:47:28,760
So a great combination of 
scoring soundtrack on Knives 

2453
01:47:28,760 --> 01:47:30,720
Out, a rarity in modern cinema I
think. 

2454
01:47:31,080 --> 01:47:36,200
Yes, definitely. 
Finally, Steve Yedlin Adlin a 

2455
01:47:36,200 --> 01:47:38,600
touch of class to proceedings 
with his beautiful 

2456
01:47:38,600 --> 01:47:43,120
cinematography over the USD. 
I'm sure you've both visited the

2457
01:47:43,400 --> 01:47:50,120
Steve Edlin website, as I have 
and see that it's it's splitting

2458
01:47:50,120 --> 01:47:52,040
the two parts 1 is 
cinematography and the other is 

2459
01:47:52,040 --> 01:47:54,640
colour science, which is very, 
very important, which is wow, 

2460
01:47:54,720 --> 01:47:56,680
basically comparing film stocks 
to digital. 

2461
01:47:57,600 --> 01:48:00,080
And I'm Steve Edlin's really, 
really underrated as being one 

2462
01:48:00,080 --> 01:48:02,280
of them DPS who can shoot a 
film. 

2463
01:48:02,280 --> 01:48:04,720
And you don't know if this is 
shot on 35 Miller, whether this 

2464
01:48:04,720 --> 01:48:08,200
is shot on digital. 
I'm sure this is the first Ryan 

2465
01:48:08,200 --> 01:48:11,680
Johnson film that was actually 
shot on digital using the mini. 

2466
01:48:12,600 --> 01:48:14,640
What he brings to this is it's 
timeless. 

2467
01:48:15,520 --> 01:48:18,040
This isn't going to age. 
You can watch any other film 

2468
01:48:18,040 --> 01:48:20,720
from that period and they're all
got the orange and teal or the 

2469
01:48:20,720 --> 01:48:25,080
ball got this kind of backlight,
but this just sits and it won't 

2470
01:48:25,080 --> 01:48:27,000
age. 
And I think that's just down to 

2471
01:48:27,000 --> 01:48:30,560
its distinctive look. 
Like 7 has a look, but this 

2472
01:48:30,640 --> 01:48:32,960
necessarily doesn't. 
And that's what I mean by that 

2473
01:48:32,960 --> 01:48:35,280
timeless nature. 
I think everything has a warmth 

2474
01:48:35,280 --> 01:48:37,640
and a softness, but he's using 
soft light, using hard light, 

2475
01:48:37,960 --> 01:48:40,080
but it's nothing that's really 
definitive. 

2476
01:48:40,080 --> 01:48:43,200
It just works in each sequence 
and it just balances each 

2477
01:48:43,200 --> 01:48:45,320
sequence and the skin tones are 
just perfect. 

2478
01:48:45,440 --> 01:48:48,640
It's just so in the middle where
it doesn't push up all the 

2479
01:48:48,640 --> 01:48:50,480
audience anywhere. 
And that's where it reminds me 

2480
01:48:50,480 --> 01:48:53,400
of the music because that's it. 
And it's not distracting in any 

2481
01:48:53,400 --> 01:48:55,600
way. 
It just tells the story, but he 

2482
01:48:55,600 --> 01:48:58,960
tells it so beautifully and just
has this real kind of look to 

2483
01:48:58,960 --> 01:49:02,680
the green, this real authentic 
feel that the camera movements. 

2484
01:49:03,240 --> 01:49:06,520
It just feels like everything is
just so well thought through and

2485
01:49:06,520 --> 01:49:08,320
you can see it's all so well 
planned. 

2486
01:49:08,480 --> 01:49:11,600
And the technique and the camera
work in this film is just as 

2487
01:49:11,600 --> 01:49:14,560
important as the dialogue 
because it helps the dialogue 

2488
01:49:14,760 --> 01:49:17,800
and it helps the music and it 
helps the plot by just sweeping 

2489
01:49:17,800 --> 01:49:19,880
1 camera to the next. 
There's not one move in this 

2490
01:49:19,880 --> 01:49:21,360
film where you think that's 
necessary. 

2491
01:49:21,800 --> 01:49:24,480
Yeah, You know, just that slow 
push on Ransom when they're 

2492
01:49:24,480 --> 01:49:28,280
talking about the will. 
Just so necessary. 

2493
01:49:28,480 --> 01:49:30,400
It's not like, Oh well, you're 
just going to sit on them and 

2494
01:49:30,400 --> 01:49:32,400
just stay there. 
It's just, and he's smiling. 

2495
01:49:32,400 --> 01:49:34,600
It's just when you watch it 
again, you go, that makes 

2496
01:49:34,600 --> 01:49:37,240
perfect sense. 
There's so many complicated 

2497
01:49:37,240 --> 01:49:39,280
moves, complicated light and 
setups. 

2498
01:49:39,760 --> 01:49:41,160
You know, there's reflections in
the glasses. 

2499
01:49:41,160 --> 01:49:43,200
They're taking that away so they
can actually have the crew where

2500
01:49:43,200 --> 01:49:44,840
they need them to be in certain 
points. 

2501
01:49:45,200 --> 01:49:47,840
There's just so many things that
are just so important. 

2502
01:49:48,080 --> 01:49:50,160
And it's just, it's so 
reflective in his work in that 

2503
01:49:50,160 --> 01:49:54,560
it looks so simple. 
It looks so straightforward. 

2504
01:49:54,560 --> 01:49:57,200
But even that opening shot at 
like 200 frames a second, but 

2505
01:49:57,200 --> 01:49:59,440
two dogs running past and you 
don't really know it's two dogs 

2506
01:49:59,440 --> 01:50:01,480
until just at the right moment. 
And then they come past the 

2507
01:50:01,480 --> 01:50:04,080
frame and the framing of the 
house, and they get that right. 

2508
01:50:04,640 --> 01:50:06,400
That takes a lot of time. 
And they didn't really have a 

2509
01:50:06,400 --> 01:50:08,560
lot of time to do that. 
And this looks like it took 

2510
01:50:08,560 --> 01:50:12,680
about four years to shoot. 
That's how good it is. 

2511
01:50:12,720 --> 01:50:14,760
Yeah, six weeks. 
And it looks like it took four 

2512
01:50:14,760 --> 01:50:15,160
years. 
Yeah. 

2513
01:50:15,440 --> 01:50:18,160
Really excellent, really 
accomplished film making and I 

2514
01:50:18,160 --> 01:50:20,440
think you hadn't had a lot to do
with the look, the style, and 

2515
01:50:20,440 --> 01:50:22,360
it's a film that definitely 
won't age. 

2516
01:50:22,720 --> 01:50:25,640
No I agree 20 years time it'll 
still look brand. 

2517
01:50:25,640 --> 01:50:26,760
New still look really fresh, 
yeah. 

2518
01:50:27,800 --> 01:50:29,000
Yeah, I think it's really 
impressive. 

2519
01:50:29,000 --> 01:50:31,840
I think it ties in to what I was
saying about Johnson's use of 

2520
01:50:31,840 --> 01:50:34,240
depth. 
That Thrombie mansion is the 

2521
01:50:34,240 --> 01:50:37,200
star of the show visually, and I
think yet that makes it feel 

2522
01:50:37,200 --> 01:50:40,760
both inviting and depressive at 
the same time because he uses 

2523
01:50:40,760 --> 01:50:43,080
those wide lenses so you can 
feel the space around the 

2524
01:50:43,080 --> 01:50:44,920
characters. 
And I think that's crucial in a 

2525
01:50:44,920 --> 01:50:47,840
film like this because the house
itself is telling you so much 

2526
01:50:48,000 --> 01:50:49,280
about these people. 
Yeah. 

2527
01:50:49,480 --> 01:50:52,200
And the way he lights the 
interiors is great, using the 

2528
01:50:52,200 --> 01:50:55,480
natural light coming through 
those big windows. 2 great uses 

2529
01:50:55,480 --> 01:50:57,640
of light. 
First one is when Meg is on the 

2530
01:50:57,640 --> 01:50:59,360
phone to Martyr. 
In that scene that we've just 

2531
01:50:59,360 --> 01:51:02,080
been talking about, there's a 
strip of light over her eyes. 

2532
01:51:02,080 --> 01:51:04,040
Yeah. 
Yeah, everything around her face

2533
01:51:04,040 --> 01:51:05,880
is dark. 
Apart from that, don't listen to

2534
01:51:05,880 --> 01:51:07,000
the words coming out of her 
mouth. 

2535
01:51:07,240 --> 01:51:09,000
She's lying in the eyes tell you
everything. 

2536
01:51:10,040 --> 01:51:13,080
And the second is when Walt 
comes to see Martyr at home in a

2537
01:51:13,080 --> 01:51:14,800
scene we're going to be talking 
about in a bit. 

2538
01:51:15,080 --> 01:51:17,960
There's a slither of light that 
comes through the window behind 

2539
01:51:17,960 --> 01:51:21,080
him when he's offering Martyrs 
family help, but he quickly 

2540
01:51:21,080 --> 01:51:23,480
covers over that. 
When things turn sinister, the 

2541
01:51:23,480 --> 01:51:27,080
light goes. 
Great use of light, and there's 

2542
01:51:27,080 --> 01:51:29,600
an exuberance to the visuals. 
When the family are together, 

2543
01:51:29,600 --> 01:51:31,400
everything is bright and 
cluttered and alive. 

2544
01:51:31,520 --> 01:51:34,040
But as the mystery deepens and 
the mood shifts, the light and 

2545
01:51:34,040 --> 01:51:36,160
pulls back and the shadows creep
in a little bit. 

2546
01:51:36,920 --> 01:51:39,880
It mirrors the narrative without
ever being heavy-handed With 

2547
01:51:39,880 --> 01:51:43,520
this, the cameras always finding
something new to look at, always

2548
01:51:43,520 --> 01:51:47,520
repositioning to reveal a detail
or reaction, and I think it 

2549
01:51:47,520 --> 01:51:49,840
keeps you engaged in a film 
that's essentially set in one 

2550
01:51:49,840 --> 01:51:51,560
location for most of its 
runtime. 

2551
01:51:52,080 --> 01:51:53,400
I think that's really 
impressive. 

2552
01:51:54,000 --> 01:51:55,800
Yeah, great. 
Set in one location, but shot in

2553
01:51:55,800 --> 01:51:56,840
three? 
I forget that. 

2554
01:51:57,200 --> 01:51:59,440
Yeah, but they look like one 
location as well. 

2555
01:51:59,440 --> 01:52:02,000
Yeah. 
Matt, your thoughts on Stevie 

2556
01:52:02,000 --> 01:52:03,920
Edelen's work? 
I mean, he's Ryan Johnson's 

2557
01:52:03,920 --> 01:52:06,400
right hand man, isn't he? 
Has to say, worked with him on 

2558
01:52:06,440 --> 01:52:08,840
all of his films. 
And I think this is just such a 

2559
01:52:08,840 --> 01:52:11,920
great partnership because I 
would never describe Ryan 

2560
01:52:11,920 --> 01:52:13,960
Johnson as a purely visual film 
maker. 

2561
01:52:13,960 --> 01:52:16,280
You never go. 
That's a typical Ryan Johnson 

2562
01:52:16,280 --> 01:52:17,520
shot. 
Yeah. 

2563
01:52:17,920 --> 01:52:21,160
He's not that type of director. 
He's more of a storyteller, I'd 

2564
01:52:21,160 --> 01:52:22,920
say. 
So that's why I need someone 

2565
01:52:22,920 --> 01:52:25,400
like Yedlin, Who? 
Whatever Johnson gives him, he 

2566
01:52:25,400 --> 01:52:28,120
knows how to make it work. 
I mean, to go from a high school

2567
01:52:28,120 --> 01:52:32,360
noir like Brick to Star Wars and
then these films, I mean, that's

2568
01:52:32,360 --> 01:52:34,800
some range like Yedlin has. 
Yeah. 

2569
01:52:34,880 --> 01:52:38,160
Understands the genre. 
And this film is so dialogue 

2570
01:52:38,160 --> 01:52:41,360
heavy that his challenge is to 
suffer being stagey, which it 

2571
01:52:41,360 --> 01:52:44,040
easily could be. 
So, I mean, you've mentioned the

2572
01:52:44,040 --> 01:52:47,200
deep focus, Luke, the brilliant 
production design, but to me, 

2573
01:52:47,200 --> 01:52:49,560
it's about the framing. 
It's about moving that camera 

2574
01:52:49,560 --> 01:52:52,760
very deliberately, very fluidly 
to accentuate the drama. 

2575
01:52:52,760 --> 01:52:55,640
So like when the family 
overheard the argument between 

2576
01:52:55,640 --> 01:52:59,240
Harlan and Ransom and he sums up
the way the camera just pans 

2577
01:52:59,240 --> 01:53:01,680
around to catch Ransom storming 
out. 

2578
01:53:01,760 --> 01:53:02,600
Yeah, Yeah. 
That's great. 

2579
01:53:02,960 --> 01:53:06,040
The way the camera pushes in or 
zooms out during those opening 

2580
01:53:06,040 --> 01:53:08,080
interviews. 
In times it cuts to emit, 

2581
01:53:08,080 --> 01:53:11,400
sometimes it cuts to close up. 
Just keeping it snappy visually.

2582
01:53:11,920 --> 01:53:14,880
When Harlem confronts Journey, 
it starts off with him holding 

2583
01:53:14,880 --> 01:53:17,680
the baseball in the foreground, 
then just pulls around the desk 

2584
01:53:17,680 --> 01:53:20,360
to reveal him. 
I mean, this is all very simple 

2585
01:53:20,360 --> 01:53:22,800
stuff, but sometimes the simple 
stuff is still the best. 

2586
01:53:22,840 --> 01:53:24,680
Yeah, because this is what stops
it. 

2587
01:53:24,680 --> 01:53:27,000
As I say, it being stagey, it 
brings it to life. 

2588
01:53:27,280 --> 01:53:30,240
And there's a very strong visual
identity to this film. 

2589
01:53:30,320 --> 01:53:32,920
Yedlin is behind that and I 
honestly think he's the unsung 

2590
01:53:32,920 --> 01:53:35,560
hero of the film. 
Yeah, absolutely. 

2591
01:53:35,640 --> 01:53:36,960
A. 
Number of characters in the film

2592
01:53:36,960 --> 01:53:39,480
wear glasses, which started to 
create a problem. 

2593
01:53:39,480 --> 01:53:42,120
You mentioned at Westie in the 
interview scenes where the 

2594
01:53:42,120 --> 01:53:44,840
reflection of the crew could 
easily be seen in the likes of 

2595
01:53:44,840 --> 01:53:47,440
Linda's glasses. 
Yeah, well to combine this, if 

2596
01:53:47,440 --> 01:53:49,440
you've seen the behind the 
scenes shots, the key grip Matt 

2597
01:53:49,440 --> 01:53:51,520
Mania, which is our Matt's new 
nickname by the. 

2598
01:53:51,520 --> 01:53:53,760
Yeah, it's the great. 
With the idea to create, yeah, 

2599
01:53:53,960 --> 01:53:56,760
to create Matt's, which is great
because a Matt is basically 

2600
01:53:56,760 --> 01:53:58,360
something that you shine a light
through. 

2601
01:53:58,360 --> 01:54:01,240
It can like call the call the 
global, go over the front of the

2602
01:54:01,240 --> 01:54:02,920
lighting rigs. 
So they're just like squares cut

2603
01:54:02,920 --> 01:54:05,680
out and look like a window. 
So these were opaque shapes that

2604
01:54:05,680 --> 01:54:08,280
went over the lights, as we've 
said, create the illusion of the

2605
01:54:08,280 --> 01:54:11,200
reflection in the glasses. 
So there's windows are the 

2606
01:54:11,200 --> 01:54:13,480
shapes in the room to having all
these mats on the stands and 

2607
01:54:13,480 --> 01:54:15,400
it's moving them around to hide 
the crew just so they can get 

2608
01:54:15,400 --> 01:54:16,840
the shots that they need is 
amazing. 

2609
01:54:17,040 --> 01:54:19,640
That is great, it means that 
Yeatling could keep in real 

2610
01:54:19,640 --> 01:54:22,520
reflections in the glasses, 
maintaining the realism and 

2611
01:54:22,520 --> 01:54:25,640
obviously didn't need to do VFX 
post production. 

2612
01:54:26,280 --> 01:54:31,000
Yeah, it looks great because it 
would just be the crew in Yeah. 

2613
01:54:31,080 --> 01:54:34,360
Glasses, yeah. 
And this is the first film that 

2614
01:54:34,360 --> 01:54:37,560
Rian Johnson shot entirely 
digitally and this allowed him 

2615
01:54:37,560 --> 01:54:40,440
to use minimal lighting as 
digital needs less lighting rigs

2616
01:54:40,440 --> 01:54:43,360
than the Chewton on film and 
this was essential considering 

2617
01:54:43,480 --> 01:54:45,440
the majority of the film was 
shot inside. 

2618
01:54:45,720 --> 01:54:47,360
Yeah, tight spaces. 
Yeah. 

2619
01:54:48,000 --> 01:54:51,360
Despite being shot digitally, 
Johnson wanted a film look, and 

2620
01:54:51,360 --> 01:54:53,880
Steve Yedlin was able to achieve
this with some jiggery. 

2621
01:54:53,880 --> 01:54:57,600
Pokery imposed, Johnson said. 
Steve did all this crazy colour 

2622
01:54:57,600 --> 01:55:00,520
science, obviously. 
That's why there's a dedication 

2623
01:55:00,520 --> 01:55:02,640
to it on his website. 
Westie yeah, yeah. 

2624
01:55:02,800 --> 01:55:05,680
And he said he added grain and 
gate weave and all the stuff you

2625
01:55:05,680 --> 01:55:07,200
need to make this look like 
film. 

2626
01:55:07,200 --> 01:55:09,280
And it comes across like that. 
It really. 

2627
01:55:09,280 --> 01:55:10,600
Does. 
There's a texture to it. 

2628
01:55:11,120 --> 01:55:14,120
Yeah, and like we said, you 
hadn't shot on the Alexa Mini 

2629
01:55:14,200 --> 01:55:17,440
using Zeiss Master Primes. 
And he also used Panavision 

2630
01:55:17,440 --> 01:55:21,120
Primos, the PCZ and the PCW, 
which are compact zooms, which 

2631
01:55:21,120 --> 01:55:23,560
obviously gives you a little bit
more space when the wide angles 

2632
01:55:23,560 --> 01:55:25,960
are being used. 
So you can closer shots of the 

2633
01:55:25,960 --> 01:55:28,760
actual characters individually, 
which really just ramps up the 

2634
01:55:28,760 --> 01:55:31,120
tension as well. 
So you cut the characters, the 

2635
01:55:31,120 --> 01:55:33,200
action in the background, the 
depth that we've already talked 

2636
01:55:33,200 --> 01:55:35,760
about, but also using these 
compact zooms to really punch in

2637
01:55:35,760 --> 01:55:37,760
and accentuate the details. 
Fantastic stuff. 

2638
01:55:38,240 --> 01:55:40,960
So stunning work from those 
behind the camera, Adnan, Knives

2639
01:55:40,960 --> 01:55:44,520
Out, Prestige and identity. 
Special mention should also go 

2640
01:55:44,520 --> 01:55:48,240
to Bob Dux's editing and the 
incredible production design by 

2641
01:55:48,240 --> 01:55:50,240
David Crank. 
Yes, definitely. 

2642
01:55:54,000 --> 01:55:58,200
The end. 
The walls are closing in on 

2643
01:55:58,200 --> 01:56:00,840
Marta as the Thrombie family 
attempt to tighten their grip, 

2644
01:56:01,240 --> 01:56:03,800
but a shot and revelation at the
laundromat sets blanks. 

2645
01:56:03,800 --> 01:56:06,880
Mind racing about doughnuts? 
Yeah. 

2646
01:56:07,200 --> 01:56:10,080
First up, Marta, under pressure 
from the thrombies, from the 

2647
01:56:10,080 --> 01:56:13,760
media, from lawyers, slips out 
of her house the back way and is

2648
01:56:13,760 --> 01:56:17,080
startled by Walt, who comes 
lumbering to water, backlit with

2649
01:56:17,080 --> 01:56:18,920
that incredible lightning that I
mentioned earlier. 

2650
01:56:19,560 --> 01:56:22,520
Who knows what he was up to, 
considering Marta shocks him and

2651
01:56:22,520 --> 01:56:24,920
he makes a feeble attempt at 
covering his tracks. 

2652
01:56:24,920 --> 01:56:26,800
Hey, how are you doing it? 
But he was going to say 

2653
01:56:26,800 --> 01:56:29,880
something else, so who knows 
what he was up to. 

2654
01:56:30,080 --> 01:56:32,160
I really like the performance 
from Michael Shannon here. 

2655
01:56:32,160 --> 01:56:35,160
We've talked about him because 
Shannon is an actor. 

2656
01:56:35,240 --> 01:56:39,440
He's got his reputation playing 
strange, unhinged, weird 

2657
01:56:39,440 --> 01:56:42,600
characters. 
Yeah, but up to now Walt has 

2658
01:56:42,600 --> 01:56:45,920
been this trampled upon whipping
boy in the Thrombie family. 

2659
01:56:46,440 --> 01:56:51,080
He's Fredo Corleone, isn't he? 
Yes, but he really leans into 

2660
01:56:51,080 --> 01:56:53,400
the Michael Shannon that we know
and love in this scene. 

2661
01:56:53,480 --> 01:56:56,680
Creepy, unpredictable, probably 
a bit of a sleaze as well. 

2662
01:56:57,120 --> 01:56:58,880
Yeah, yeah. 
When he's putting the squeeze on

2663
01:56:58,880 --> 01:57:01,960
Martyr about the inheritance and
reveals that he knows about her 

2664
01:57:01,960 --> 01:57:04,120
mother's illegal residential 
status. 

2665
01:57:04,600 --> 01:57:07,640
So the stakes are raised. 
But Marta gets out of it 

2666
01:57:07,640 --> 01:57:09,760
beautifully, she says. 
So you're saying that with the 

2667
01:57:09,760 --> 01:57:12,920
family's resources, you could 
help me fix this so my mother 

2668
01:57:12,920 --> 01:57:15,440
wouldn't need to go away? 
And Walt thinks he's cracked it.

2669
01:57:16,320 --> 01:57:18,480
Yeah, yeah, Yeah. 
But then Marta ties him up a 

2670
01:57:18,480 --> 01:57:19,200
knot. 
All right. 

2671
01:57:19,200 --> 01:57:21,040
OK. 
So, Harland, give me all of your

2672
01:57:21,040 --> 01:57:23,800
resources. 
So with my resources, I'll be 

2673
01:57:23,800 --> 01:57:25,720
able to fix it. 
So I guess I'll be able to find 

2674
01:57:25,720 --> 01:57:29,640
the right lawyers. 
Amazing, Amazing writing. 

2675
01:57:29,640 --> 01:57:32,280
And great to see Marta sticking 
up for herself and not being 

2676
01:57:32,280 --> 01:57:34,280
allowed to be bullied. 
Yeah, yeah. 

2677
01:57:34,280 --> 01:57:36,000
Which is always the case when it
comes to our mother. 

2678
01:57:36,200 --> 01:57:36,920
Yeah. 
Yeah. 

2679
01:57:36,960 --> 01:57:39,480
Yeah, it is. 
We've got the chance to get the 

2680
01:57:39,520 --> 01:57:43,320
evidence that we need, but it's 
all gone up in flames, it seems.

2681
01:57:43,440 --> 01:57:46,160
So what kind of person would 
burn down a whole building? 

2682
01:57:46,440 --> 01:57:51,320
Well, you sitting right next to 
you, I think, and that's the 

2683
01:57:51,320 --> 01:57:52,960
point. 
And we're so invested in this, 

2684
01:57:52,960 --> 01:57:55,800
this moment where ransoms like 
asking her all the questions. 

2685
01:57:55,800 --> 01:57:57,440
Did you get an e-mail? 
Well, there it is. 

2686
01:57:57,440 --> 01:58:00,800
And it's just clear as day on 
later viewings what he's doing. 

2687
01:58:00,800 --> 01:58:03,960
He's such a snake and he's so 
much there and then you say 

2688
01:58:03,960 --> 01:58:06,480
blank, it's on this telephoto so
it's miles ways. 

2689
01:58:06,480 --> 01:58:09,600
It was spying on him and he then
clock smarter and you think what

2690
01:58:09,600 --> 01:58:11,320
blogs coming for it. 
He's sussed it out now they've 

2691
01:58:11,320 --> 01:58:13,680
gone too far. 
There's no CCTV footage that's 

2692
01:58:13,680 --> 01:58:15,240
great. 
That didn't really need to be in

2693
01:58:15,240 --> 01:58:16,240
there. 
Great. 

2694
01:58:16,240 --> 01:58:18,840
And then what ensues is just 
incredible. 

2695
01:58:18,840 --> 01:58:21,360
The dumbest car chase of all 
time is, Ellie says later on. 

2696
01:58:21,920 --> 01:58:24,720
But it is a car chase at the 
same pace as the whole 

2697
01:58:24,720 --> 01:58:27,480
narrative. 
It goes at 60 miles an hour 

2698
01:58:27,480 --> 01:58:30,040
because the whole film's going 
between 30 and 60. 

2699
01:58:30,040 --> 01:58:33,200
It doesn't break the speed limit
is the narrative doesn't break 

2700
01:58:33,200 --> 01:58:35,920
your intelligence limit. 
It doesn't take you too far. 

2701
01:58:35,920 --> 01:58:39,200
It doesn't speed out of control 
and I love that little moment as

2702
01:58:39,200 --> 01:58:42,040
well where you see her phone and
it's the screen smashed and 

2703
01:58:42,040 --> 01:58:45,160
everyone else's phone is 
pristine and it's all fine, but 

2704
01:58:45,160 --> 01:58:46,440
she's kind of working through 
it. 

2705
01:58:46,640 --> 01:58:48,480
But it just says maybe baby 
Blanc on it. 

2706
01:58:49,560 --> 01:58:52,800
Brilliant. 
So he's in there somewhere and 

2707
01:58:52,800 --> 01:58:55,080
then it's the way that she takes
people on here. 

2708
01:58:55,160 --> 01:58:57,720
It's Marta out, Fox in them, not
out running them. 

2709
01:58:57,840 --> 01:59:00,480
So it's like she's playing the 
same game again and getting 

2710
01:59:00,480 --> 01:59:03,120
through the small like apps 
using her ability and using a 

2711
01:59:03,120 --> 01:59:06,720
car, which is an import, by the 
way, Hyundai, it's obviously not

2712
01:59:06,720 --> 01:59:09,520
made there. 
So again, reflects who she is 

2713
01:59:09,520 --> 01:59:11,520
and her personality and she's 
slipping away from the 

2714
01:59:11,520 --> 01:59:13,800
authorities. 
And then we'll get to the point 

2715
01:59:13,800 --> 01:59:17,000
where the do you think the vote 
ran them and the pull up and 

2716
01:59:17,000 --> 01:59:19,200
you've got just talking ransom 
and he then reiterates the 

2717
01:59:19,200 --> 01:59:22,440
address as if he knows it off by
heart and just because obviously

2718
01:59:22,440 --> 01:59:25,120
he's involved in all that and 
then she's apologized. 

2719
01:59:25,120 --> 01:59:26,920
Sorry, got you into this. 
It's just that knock on the 

2720
01:59:26,920 --> 01:59:30,280
window just there. 
You haven't got time to talk 

2721
01:59:30,280 --> 01:59:32,000
about this. 
It's so good because it's 

2722
01:59:32,000 --> 01:59:34,600
grounded in that realism. 
It's just there and she's got 

2723
01:59:34,600 --> 01:59:37,200
her hands up and we think, 
right, well, she's getting 

2724
01:59:37,200 --> 01:59:39,560
pulled in now because they found
this and just of the know that 

2725
01:59:39,560 --> 01:59:42,040
somebody climbed at the trust 
and then they bring Ransom in 

2726
01:59:42,040 --> 01:59:45,280
and she brings her arms down and
just reveals blanks behind us. 

2727
01:59:45,280 --> 01:59:47,120
If like I've got your back door,
worry about it. 

2728
01:59:49,200 --> 01:59:52,240
It's a great control of the 
narrative, great control of 

2729
01:59:52,240 --> 01:59:54,520
motivations for each character, 
and more importantly, it's a 

2730
01:59:54,520 --> 01:59:57,160
great control of person. 
He doesn't lose track of it 

2731
01:59:57,160 --> 01:59:58,920
here, which he could have very, 
very easily. 

2732
01:59:59,160 --> 02:00:00,840
Yeah, it's a. 
It's a great sequence. 

2733
02:00:01,280 --> 02:00:04,680
Amazing when Blank pulls up 
beside Martyr in the car and 

2734
02:00:04,680 --> 02:00:07,040
gestures towards his four legs 
picking up. 

2735
02:00:08,320 --> 02:00:10,160
It's me ringing you. 
Maybe be blank. 

2736
02:00:11,720 --> 02:00:14,560
Definitely is. 
And this scene starts off with 

2737
02:00:14,560 --> 02:00:17,120
the medical examiners building 
up in flames. 

2738
02:00:17,440 --> 02:00:19,880
A scene before this when Marta 
goes to see Ransom at his house,

2739
02:00:19,880 --> 02:00:22,880
there's an array of jugs behind 
him and there's a space where it

2740
02:00:22,880 --> 02:00:24,960
appears one is missing. 
Right. 

2741
02:00:25,080 --> 02:00:28,040
That is the jug that Ransom used
for the Molotov cocktail to burn

2742
02:00:28,040 --> 02:00:31,160
down the medical examiner. 
Brilliant. 

2743
02:00:31,720 --> 02:00:34,680
Oh God, I. 
Know it's great. 

2744
02:00:34,960 --> 02:00:37,280
I'm getting a headache just 
thinking about how much genius 

2745
02:00:37,280 --> 02:00:38,960
this is where I'm nearly 
finished. 

2746
02:00:41,720 --> 02:00:44,040
And during this car chase, he 
can see, you know, to Ryan 

2747
02:00:44,040 --> 02:00:47,520
Johnson's first film, Brick. 
The midnight tunnel symbol can 

2748
02:00:47,520 --> 02:00:50,000
be seen spray painted on the 
wall when they go down the back 

2749
02:00:50,000 --> 02:00:51,720
alley, which looks like the 
letter. 

2750
02:00:52,160 --> 02:00:55,000
A Oh, that rounded A. 
Yeah, yeah, that's right. 

2751
02:00:55,080 --> 02:00:56,600
Yeah, yeah. 
Nice little touch. 

2752
02:00:57,600 --> 02:01:01,160
And then finally, about 90 
minutes in the film, we get what

2753
02:01:01,160 --> 02:01:03,680
is the closest thing to a 
murder, which, you know, we've 

2754
02:01:03,680 --> 02:01:06,200
just not had so far. 
And it's the one expecting 

2755
02:01:06,520 --> 02:01:08,880
because this is more to find and
fun in the basement. 

2756
02:01:08,920 --> 02:01:12,640
And it's another great example 
of the film taking you on one 

2757
02:01:12,640 --> 02:01:15,840
track and then just spinning 
another way, because up until 

2758
02:01:15,840 --> 02:01:18,640
now, Fran has been just a 
peripheral figure, really. 

2759
02:01:19,120 --> 02:01:21,720
And now we'll find it's just 
tied up, injected with morphine 

2760
02:01:21,720 --> 02:01:23,800
in the basement. 
What's she got to do with this 

2761
02:01:23,800 --> 02:01:25,000
now? 
What's happening now? 

2762
02:01:25,000 --> 02:01:27,000
Like, is she really blackmailing
Martyr? 

2763
02:01:27,000 --> 02:01:28,640
Because that seems to have come 
out of nowhere. 

2764
02:01:28,720 --> 02:01:31,080
That doesn't mean to. 
And of course, you get another 

2765
02:01:31,080 --> 02:01:33,200
clue he as to who's actually 
behind all this. 

2766
02:01:33,320 --> 02:01:37,200
Hugh did it, which is, you know,
so easy to miss first time 

2767
02:01:37,200 --> 02:01:38,840
around. 
And it's just classic stuff, 

2768
02:01:38,840 --> 02:01:41,240
really. 
Creepy basement, dripping water,

2769
02:01:41,240 --> 02:01:43,640
dark shadows, sudden spider 
across the face. 

2770
02:01:43,800 --> 02:01:47,080
It's all brilliantly done. 
But it says evident about Marta 

2771
02:01:47,080 --> 02:01:50,320
as a character that even in this
moment, her first reaction is to

2772
02:01:50,320 --> 02:01:53,720
try to save Fran with CPR and 
then get at a hospital. 

2773
02:01:53,720 --> 02:01:56,560
Even though if Fran is saved, 
it's going to expose Marta 

2774
02:01:57,280 --> 02:02:00,320
because God admit, she still 
thinks she's responsible for 

2775
02:02:00,320 --> 02:02:02,440
Harlan's death. 
And someone's going to expose 

2776
02:02:02,440 --> 02:02:06,440
her even if it's Fran and she's 
so intent and confessing. 

2777
02:02:06,440 --> 02:02:08,880
Like even all that means she'll 
forfeit the inheritance. 

2778
02:02:09,320 --> 02:02:11,680
Like even in the the hospital 
waiting room that tells mom 

2779
02:02:11,680 --> 02:02:15,760
that's what she has to do. 
So it's very funny when it just 

2780
02:02:15,760 --> 02:02:19,480
got the Blanc singing along in 
the car, the ambulance pulling 

2781
02:02:19,480 --> 02:02:21,360
up. 
Oh Lord, until he realizes. 

2782
02:02:21,360 --> 02:02:23,080
It. 
But it's another brilliant 

2783
02:02:23,080 --> 02:02:24,960
moment because you just don't 
know where this is going now. 

2784
02:02:25,000 --> 02:02:27,520
And increasingly it's getting 
more and more tense because we 

2785
02:02:27,520 --> 02:02:30,160
know we're getting to the end. 
And there's just no sign that 

2786
02:02:30,160 --> 02:02:32,640
Martyr can get out of this in 
any way, shape or form. 

2787
02:02:33,400 --> 02:02:36,360
Yeah, yeah. 
Yeah, we mentioned the film 

2788
02:02:36,360 --> 02:02:39,440
earlier, The Last of Sheila, 
when discussing Ryan Johnson's 

2789
02:02:39,440 --> 02:02:42,040
influences for the film. 
Massive influence on Glass 

2790
02:02:42,040 --> 02:02:44,920
Onion. 
Yeah, the start of it, right? 

2791
02:02:45,000 --> 02:02:47,640
That film was Co written by 
Stephen Sondheim, the Broadway 

2792
02:02:47,640 --> 02:02:50,120
composer. 
Sondheim also wrote the song 

2793
02:02:50,120 --> 02:02:53,200
Losing My Mind for the Play of 
Follies, which Blank sings in 

2794
02:02:53,200 --> 02:02:55,880
the car when he's waiting for 
Martyr outside the laundromat. 

2795
02:02:55,960 --> 02:02:58,600
Yeah, right, right. 
And Daniel Craig, being a big 

2796
02:02:58,600 --> 02:03:01,760
Liza Minnelli fan, surprisingly 
requested that Johnson used the 

2797
02:03:01,760 --> 02:03:03,960
Minnelli version of Losing My 
Mind for this scene. 

2798
02:03:04,160 --> 02:03:05,760
Nice. 
And to tie it all together, 

2799
02:03:05,760 --> 02:03:08,400
Laurence Olivier based his 
character in the film Sleuth on 

2800
02:03:08,400 --> 02:03:10,960
Stephen Sodeheim himself. 
Brilliant. 

2801
02:03:11,720 --> 02:03:13,880
Another layer. 
Another detail. 

2802
02:03:14,720 --> 02:03:17,080
It's incredible. 
They're the biggest lasagna I've

2803
02:03:17,080 --> 02:03:30,520
ever seen. 10 foot lasagna. 
So Ransom is arrested, Fran has 

2804
02:03:30,520 --> 02:03:33,080
been poisoned, and Martyr is 
going to spill her guts to the 

2805
02:03:33,080 --> 02:03:35,200
family. 
Thankfully, Blank knows more 

2806
02:03:35,200 --> 02:03:36,920
than he's letting on. 
Thank God. 

2807
02:03:37,200 --> 02:03:41,600
Thank God, Yeah. 
We're bringing it all back home 

2808
02:03:41,600 --> 02:03:44,640
with Blank Confront and Ransom, 
Ransom, Confront and Martyr and 

2809
02:03:44,640 --> 02:03:47,520
the aftermath with the Thrombie 
family unit in tatters. 

2810
02:03:48,560 --> 02:03:51,160
And we're starting with the hole
at the centre of this doughnut. 

2811
02:03:51,640 --> 02:03:53,600
A doughnut hole in a doughnut's 
hole. 

2812
02:03:53,600 --> 02:03:56,160
But now the doughnut hole has a 
hole in its centre. 

2813
02:03:56,480 --> 02:03:58,560
It is a small doughnut with its 
own hole. 

2814
02:03:58,760 --> 02:04:00,600
And our doughnut is not Hall at 
all. 

2815
02:04:00,640 --> 02:04:03,680
What on earth are you talking 
about, Benoit? 

2816
02:04:03,680 --> 02:04:04,880
Great. 
Metaphor. 

2817
02:04:07,480 --> 02:04:12,160
Lynch But taking it a step 
further, as you mentioned that 

2818
02:04:12,160 --> 02:04:14,160
what is going on? 
But Johnson was on the verge of 

2819
02:04:14,160 --> 02:04:16,880
removing Blanc's whole dawn 
analogy from the film. 

2820
02:04:17,200 --> 02:04:19,120
Craig convinced him to give him 
a shot at the speech, and his 

2821
02:04:19,120 --> 02:04:20,840
delivery encouraged Johnson to 
keep it in. 

2822
02:04:20,840 --> 02:04:22,880
I mean, I'm not surprised. 
It does make sense of it. 

2823
02:04:23,240 --> 02:04:26,240
I'm thrilled he kept it in 
because it's just such delicious

2824
02:04:26,240 --> 02:04:29,600
dialogue and delivery. 
Yeah, Benoit unravels an 

2825
02:04:29,600 --> 02:04:31,320
intriguing combination of 
factors. 

2826
02:04:31,320 --> 02:04:34,280
Is it Fran? 
No, the answer is not so simple.

2827
02:04:34,720 --> 02:04:38,240
A great visual of Ben Wild Blanc
with a knife mural behind him. 

2828
02:04:38,280 --> 02:04:42,640
Like you mentioned earlier. 
USD Hugh Ransom Drysdale is then

2829
02:04:42,640 --> 02:04:46,440
brought in and he's completely 
underestimated Benoit here or 

2830
02:04:46,440 --> 02:04:50,280
thought he was smarter than him.
And then we go right back to the

2831
02:04:50,280 --> 02:04:51,920
night of with a fresh 
perspective. 

2832
02:04:52,560 --> 02:04:56,280
Your quote at the top, mat. 
It's my favorite line in the 

2833
02:04:56,280 --> 02:05:00,520
film because Benoit blog is now 
revealing his actual 

2834
02:05:00,520 --> 02:05:03,280
personality. 
He's not this Mr. Nicey Nicey. 

2835
02:05:04,080 --> 02:05:06,920
He is quite cynical and he is 
quite sarcastic. 

2836
02:05:07,240 --> 02:05:09,360
He's playing his hand now. 
He's playing his hands. 

2837
02:05:09,560 --> 02:05:12,360
What were the overheard words by
the Nazi child masturbating in 

2838
02:05:12,360 --> 02:05:18,760
the bathroom? 
Holy shit that's great. 

2839
02:05:19,000 --> 02:05:21,600
Yeah, he's not messing about. 
It turns out Ransom was furious 

2840
02:05:21,600 --> 02:05:24,000
that he was cut off from Harlan,
that Marta was getting it. 

2841
02:05:24,000 --> 02:05:26,000
And then he forms a plan. 
He sneaks in, switches the 

2842
02:05:26,000 --> 02:05:28,000
medications, then steals the 
antidote. 

2843
02:05:28,320 --> 02:05:30,920
Turns out that Marta gave a 
Holland the right medication and

2844
02:05:30,920 --> 02:05:34,800
Harlan would have been fine. 
Yeah, but he goes back the next 

2845
02:05:34,800 --> 02:05:36,960
day, suicide on his hands. 
The plot thickens. 

2846
02:05:37,680 --> 02:05:41,160
I love that shot that pushes 
past the knife configuration, 

2847
02:05:41,160 --> 02:05:44,080
zooms into Blanc as he turns 
around and says enter Benoit 

2848
02:05:44,080 --> 02:05:45,080
Blanc. 
Blanc. 

2849
02:05:45,160 --> 02:05:48,240
Yes, yeah. 
Yeah, fantastic. 

2850
02:05:49,120 --> 02:05:50,960
Yeah. 
And I mentioned to the 

2851
02:05:50,960 --> 02:05:53,600
conversation that Fran had 
earlier with Marta about a film 

2852
02:05:53,600 --> 02:05:56,560
she saw called Deadly by 
Surprise starring Danica 

2853
02:05:56,560 --> 02:05:58,360
McCullough. 
She's basically telling the 

2854
02:05:58,360 --> 02:06:00,680
details of Harlan's death. 
She got poisoned unknowingly, 

2855
02:06:00,680 --> 02:06:03,680
then committed suicide. 
And that's what mother 

2856
02:06:03,680 --> 02:06:05,480
references he is. 
She was telling me what was 

2857
02:06:05,480 --> 02:06:06,200
happening. 
Yeah. 

2858
02:06:06,560 --> 02:06:08,480
Also, Danica McKellar is a real 
actress. 

2859
02:06:08,480 --> 02:06:11,000
When she realized she got name 
dropped in the film, she sent 

2860
02:06:11,000 --> 02:06:14,120
Johnson a knife in green with 
Deadly by Surprised as a gift. 

2861
02:06:14,640 --> 02:06:16,200
Oh wow, nice. 
Very nice. 

2862
02:06:16,840 --> 02:06:19,600
So this is just a wonderfully 
constructed plan and counter 

2863
02:06:19,600 --> 02:06:21,680
plan. 
It's airtight, but it's very 

2864
02:06:21,680 --> 02:06:23,040
difficult to wrap your head 
around it. 

2865
02:06:23,040 --> 02:06:26,560
Like I said at the top, just 
committing to the right like 

2866
02:06:26,560 --> 02:06:29,760
this, a commitment to the 
mystery that Ryan Johnson has 

2867
02:06:29,920 --> 02:06:33,240
and a great example of seeing it
through to the third act all the

2868
02:06:33,240 --> 02:06:34,760
way through sticking the 
landing. 

2869
02:06:34,760 --> 02:06:36,320
But we're not done yet, are we 
not? 

2870
02:06:36,680 --> 02:06:39,360
We're not, Because then Marta 
takes the call from the 

2871
02:06:39,360 --> 02:06:40,880
hospital. 
Fran's OK. 

2872
02:06:40,880 --> 02:06:43,880
Ransom's under arrest. 
But not before he reveals even 

2873
02:06:43,880 --> 02:06:46,000
more of his true colors with 
this ranted martyr. 

2874
02:06:46,200 --> 02:06:49,280
We took you into our home, we 
welcomed you and our family, and

2875
02:06:49,280 --> 02:06:51,080
now you think you can steal it 
from us? 

2876
02:06:51,640 --> 02:06:54,760
It's the voice of unearned 
privileged speaking. 

2877
02:06:54,760 --> 02:06:58,240
She's done nothing wrong, apart 
from being a far better person 

2878
02:06:58,240 --> 02:07:00,440
to his grandfather than Ransom 
ever was. 

2879
02:07:00,720 --> 02:07:02,440
And he just can't see that at 
all. 

2880
02:07:02,720 --> 02:07:05,880
And when he called it our 
birthright, our ancestral 

2881
02:07:05,880 --> 02:07:08,240
family, it's, it's clear what he
means. 

2882
02:07:08,560 --> 02:07:11,400
She's not American, so therefore
she's worthless. 

2883
02:07:11,520 --> 02:07:14,120
She's inferior because he's 
white and that's all that 

2884
02:07:14,120 --> 02:07:16,040
matters. 
But it doesn't kind of hammer it

2885
02:07:16,040 --> 02:07:17,480
home too much. 
It just moves on. 

2886
02:07:17,760 --> 02:07:20,400
Because then when Blanc laughs 
in his face, that. 

2887
02:07:20,400 --> 02:07:23,680
Is who he? 
Paula bought it from a Pakistani

2888
02:07:23,680 --> 02:07:26,800
real estate billionaire. 
In the 80s in. 

2889
02:07:27,240 --> 02:07:28,600
The 80s. 
Yeah, exactly. 

2890
02:07:28,600 --> 02:07:30,760
So the whole thing is bullshit. 
It's all built. 

2891
02:07:30,760 --> 02:07:34,400
This whole family is built on 
bullshit and Ransom's reaction 

2892
02:07:34,400 --> 02:07:37,680
is so funny because he just 
can't take it anymore. 

2893
02:07:37,880 --> 02:07:41,840
Oh shut up Blanc, shut up, shut 
up with that Kentucky fight 

2894
02:07:41,840 --> 02:07:46,800
Foghorn Leghorn drawl. 
It's the last Draw fame. 

2895
02:07:46,800 --> 02:07:49,280
And then it's the small 
revelations come thick and fast 

2896
02:07:49,920 --> 02:07:51,600
ransom. 
He just confesses everything 

2897
02:07:51,600 --> 02:07:55,200
because he's so smug in his 
privileged belief that he still 

2898
02:07:55,200 --> 02:07:57,640
won't get serious jail time 
because he's got a great lawyer.

2899
02:07:58,240 --> 02:08:01,360
He's really in martyrs face. 
She then spews in his face. 

2900
02:08:01,360 --> 02:08:03,320
So France actually dead. 
She's been lying. 

2901
02:08:03,320 --> 02:08:06,200
So he's screwed. 
So as he says, in for a penny 

2902
02:08:06,480 --> 02:08:08,320
and that's slow. 
More lunge with a knife. 

2903
02:08:08,320 --> 02:08:10,600
The way the camera follows the 
pair of them down. 

2904
02:08:11,120 --> 02:08:13,480
That's an amazing shot. 
And then we get the pay off. 

2905
02:08:13,480 --> 02:08:16,320
We mentioned earlier Holland 
talking about Ransom, saying he 

2906
02:08:16,320 --> 02:08:18,480
wouldn't even know the 
difference between a real knife 

2907
02:08:18,560 --> 02:08:20,360
and a prop knife. 
Yeah. 

2908
02:08:20,360 --> 02:08:22,560
And the brilliance is we've all 
forgotten that line. 

2909
02:08:23,000 --> 02:08:25,720
So there's about 10 seconds 
where you think, oh, shit, he's 

2910
02:08:25,720 --> 02:08:29,160
killed it because it looks like 
he has until he pulls it out. 

2911
02:08:29,160 --> 02:08:31,440
And the expression on his face 
when he just tries it again 

2912
02:08:31,440 --> 02:08:34,280
twice just to double check it's 
and it won't go in. 

2913
02:08:34,560 --> 02:08:37,160
He goes, well, shit. 
It's. 

2914
02:08:37,320 --> 02:08:40,040
Such a brilliant way to wrap it 
up for these two characters 

2915
02:08:40,040 --> 02:08:42,920
because it sums them up. 
Ransom can't tell the difference

2916
02:08:42,920 --> 02:08:45,800
between a real life and a prop 
knife, but Marta can tell the 

2917
02:08:45,800 --> 02:08:47,560
difference between the two vials
of medicine. 

2918
02:08:48,080 --> 02:08:49,080
Oh yeah, exactly. 
Yeah. 

2919
02:08:49,320 --> 02:08:52,440
The fake vomit in this scene was
made-up of baby food. 

2920
02:08:53,120 --> 02:08:55,240
The cast were fascinated by the 
concoction. 

2921
02:08:55,240 --> 02:08:58,080
Dharma said that they all went 
outside with the fake vomit to 

2922
02:08:58,080 --> 02:09:00,760
test the texture and to see how 
far they could project the 

2923
02:09:00,760 --> 02:09:05,600
eyelet. 
Evans said simply about the 

2924
02:09:05,600 --> 02:09:07,960
whole scene. 
I didn't love getting the puke 

2925
02:09:07,960 --> 02:09:12,320
in my face. 
He wouldn't. 

2926
02:09:12,520 --> 02:09:14,360
Yeah. 
And then there's that really 

2927
02:09:14,360 --> 02:09:16,800
brilliant sit down between 
Martyr and Blanc and they're 

2928
02:09:16,800 --> 02:09:20,120
across from each other. 
There's no bullshit straight 

2929
02:09:20,120 --> 02:09:21,960
down the line. 
Everything's on the table now. 

2930
02:09:22,360 --> 02:09:24,800
And he says you got away with it
not by playing their game or 

2931
02:09:24,800 --> 02:09:27,480
Harlan's game, but by playing 
your own, just by being a 

2932
02:09:27,480 --> 02:09:29,680
genuine good person. 
And I think that's a wonderful 

2933
02:09:29,680 --> 02:09:32,800
message to anybody watching. 
It is like, you know, you can't 

2934
02:09:32,800 --> 02:09:34,120
focus on anything that's meant 
for you. 

2935
02:09:34,360 --> 02:09:36,120
So just be genuine and just be 
nice. 

2936
02:09:36,120 --> 02:09:38,240
And everything that lands should
land for a reason. 

2937
02:09:38,520 --> 02:09:41,520
And that's the whole point. 
This feels wide open for me 

2938
02:09:41,560 --> 02:09:44,760
because I feel like she's going 
to make them earn their way 

2939
02:09:44,760 --> 02:09:46,520
back. 
I don't think she takes 

2940
02:09:46,520 --> 02:09:50,120
everything and shuts the door. 
I think because Blank says, I 

2941
02:09:50,120 --> 02:09:52,800
have a feeling you will feeling 
you'll follow your heart. 

2942
02:09:52,800 --> 02:09:54,840
Basically, you're good because 
you're a good person. 

2943
02:09:54,840 --> 02:09:57,960
Because you're a kind of person,
You're not really going to let 

2944
02:09:57,960 --> 02:10:01,600
them suffer. 
But at the same time, she's not 

2945
02:10:01,600 --> 02:10:03,520
letting them off the hook. 
I don't think she's slamming the

2946
02:10:03,520 --> 02:10:06,480
door in the face. 
She's now above them tower and 

2947
02:10:06,480 --> 02:10:08,320
above them. 
She's now in charge of them. 

2948
02:10:08,400 --> 02:10:11,200
So she is now at the place where
they are. 

2949
02:10:11,200 --> 02:10:14,400
Her help, really. 
And they switch places and 

2950
02:10:14,400 --> 02:10:17,480
they'll be known and they have 
to now work to get recognition. 

2951
02:10:17,520 --> 02:10:19,920
They now have to work to be part
of that house. 

2952
02:10:19,920 --> 02:10:22,960
So I think she will welcome them
back in between the legs. 

2953
02:10:23,080 --> 02:10:25,760
Yeah, I think it's her. 
Her coffee, her rules, her 

2954
02:10:25,760 --> 02:10:27,680
house. 
And that's the whole point. 

2955
02:10:27,680 --> 02:10:29,360
I don't think she slams the door
on anybody. 

2956
02:10:29,720 --> 02:10:31,640
OK. 
But it's good that it ends in 

2957
02:10:31,640 --> 02:10:35,080
that shut off and it doesn't go 
and a yearly in Holland's now 

2958
02:10:35,080 --> 02:10:36,400
doing this and they're doing 
this. 

2959
02:10:36,680 --> 02:10:40,600
That would be absolutely crap. 
So a wonderful ending to a 

2960
02:10:40,600 --> 02:10:43,160
wonderful film. 
That is, it really, really is, 

2961
02:10:43,280 --> 02:10:44,720
yeah. 
I mean, one of the very first 

2962
02:10:44,720 --> 02:10:47,160
shots we see, apart from the 
establishing shot of the dogs 

2963
02:10:47,160 --> 02:10:50,520
running out, is the real close 
up of that mug, which says my 

2964
02:10:50,520 --> 02:10:52,080
house, my rules, my coffee on 
it. 

2965
02:10:52,640 --> 02:10:54,280
And it bookends the film 
beautifully. 

2966
02:10:54,280 --> 02:10:56,320
And I think Johnson wanted to 
put something in. 

2967
02:10:56,480 --> 02:10:58,280
It's got the first shot of the 
big imposing house. 

2968
02:10:58,280 --> 02:11:01,160
He wanted to break the tension 
with kind of a goofy modern joke

2969
02:11:01,160 --> 02:11:03,240
mug. 
But it's got more to it than 

2970
02:11:03,240 --> 02:11:04,640
that. 
There's more subtext than that. 

2971
02:11:04,640 --> 02:11:06,320
And it really hits all my nature
brings it up. 

2972
02:11:06,320 --> 02:11:07,960
You don't really see all of the 
words either. 

2973
02:11:07,960 --> 02:11:11,280
It's on her and she owns that 
mug now if you think it's even 

2974
02:11:11,280 --> 02:11:13,320
better. 
Yeah, during production, Johnson

2975
02:11:13,320 --> 02:11:15,480
thought it'd be a good idea to 
include it in the final shot. 

2976
02:11:15,480 --> 02:11:18,160
Where might it takes a sip? 
Johnson said. 

2977
02:11:18,320 --> 02:11:19,480
Then we were doing that close 
up. 

2978
02:11:19,480 --> 02:11:22,160
She was in the balcony. 
And I yelled up, sip the tea. 

2979
02:11:22,320 --> 02:11:24,520
And she brought it in the frame.
And those words came up 

2980
02:11:24,520 --> 02:11:27,240
obscured, like you said, Westie,
But we know what it means. 

2981
02:11:27,240 --> 02:11:27,880
Yeah. 
Yeah. 

2982
02:11:28,000 --> 02:11:30,280
And he said it was a perfect 
ending to the film. 

2983
02:11:30,280 --> 02:11:31,400
And it is. 
It's great. 

2984
02:11:31,400 --> 02:11:33,640
It's a great bookend. 
It is brilliant the way that 

2985
02:11:33,640 --> 02:11:34,960
just cut. 
So you must have just known 

2986
02:11:34,960 --> 02:11:36,000
right there. 
Just cut that. 

2987
02:11:36,000 --> 02:11:38,240
Yeah, done. 
So a glorious ending with 

2988
02:11:38,240 --> 02:11:40,120
everyone getting exactly what 
they deserve. 

2989
02:11:40,520 --> 02:11:40,920
Yes. 
Yeah. 

2990
02:11:41,360 --> 02:11:47,920
Or maybe not. 
Reception and awards. 

2991
02:11:50,360 --> 02:11:52,920
Names Out premiered at the 
Toronto International Film 

2992
02:11:52,920 --> 02:11:56,880
Festival on September 7th, 2019 
and was met with a rapturous 

2993
02:11:56,880 --> 02:12:00,920
reception to safeguard the film 
until the late November general 

2994
02:12:00,920 --> 02:12:02,640
released. 
Johnson said at the festival. 

2995
02:12:03,040 --> 02:12:05,480
Like Hitchcock said, please 
don't spoil our ended. 

2996
02:12:05,680 --> 02:12:08,320
It's the only one we've got. 
Yes, yeah. 

2997
02:12:08,520 --> 02:12:11,440
Yeah, the buzz continued to grow
as the film played a fantastic 

2998
02:12:11,440 --> 02:12:14,720
fest in Austin, the Chicago 
International Film Festival and 

2999
02:12:14,720 --> 02:12:17,840
the BFI London Film Festival. 
Yeah, it did a little bit of a 

3000
02:12:17,840 --> 02:12:21,600
tour, and when it was finally 
released 27th of November, it 

3001
02:12:21,600 --> 02:12:25,160
was a massive critical hit. 
Yeah, yeah, Mark Kermode, 

3002
02:12:25,160 --> 02:12:28,120
writing in the Observer, gave 
her four out of five and said as

3003
02:12:28,120 --> 02:12:30,720
with the very best who done it's
everything is set up and 

3004
02:12:30,720 --> 02:12:33,360
sneakily signalled in the 
opening moments of the drama. 

3005
02:12:33,760 --> 02:12:36,600
But it's only on 2nd viewing 
that those early clues become 

3006
02:12:36,600 --> 02:12:39,000
evident. 
Ryan Johnson's homage to Agatha 

3007
02:12:39,000 --> 02:12:42,040
Christie delivers laughs, twists
and thrills with aplomb. 

3008
02:12:42,400 --> 02:12:44,080
Kermode knows what time it is. 
Yep. 

3009
02:12:44,200 --> 02:12:47,360
Yeah, in Empire, the film also 
got four out of five, saying 

3010
02:12:47,360 --> 02:12:51,920
Rian Johnson put his own spin on
Dashiell Hammett with 2005's 

3011
02:12:51,920 --> 02:12:54,960
Brick. 
Now he's Johnsonized the work of

3012
02:12:54,960 --> 02:12:57,760
Agatha Christie with equal 
enjoyable results. 

3013
02:12:57,920 --> 02:13:00,840
Knives Out is snappy, meta and 
yes, shop. 

3014
02:13:01,120 --> 02:13:05,480
It is that unfortunately, Roger 
Ebert was no longer with us when

3015
02:13:05,480 --> 02:13:08,800
Knives Out was released, but it 
was reviewed by Brian Talarico 

3016
02:13:08,800 --> 02:13:11,720
on rogerebert.com. 
What do you think the Brian man 

3017
02:13:11,720 --> 02:13:14,400
gave it out of four fellas? 
3 1/2. 

3018
02:13:14,400 --> 02:13:16,000
Yeah, they go. 
Halves. 

3019
02:13:16,440 --> 02:13:18,640
Yeah, they go. 
They went halves. 3 1/2. 

3020
02:13:19,000 --> 02:13:20,720
And they also went 3 1/2, 
Wesley. 

3021
02:13:20,720 --> 02:13:24,720
Well done. 3 1/2 out of four. 
He said Ryan Johnson's Knives 

3022
02:13:24,720 --> 02:13:27,080
Out is one of the most purely 
entertaining films in years. 

3023
02:13:27,280 --> 02:13:30,320
It is the work of a cinematic 
magician, one who keeps you so 

3024
02:13:30,320 --> 02:13:33,160
focused on what the left hand is
doing that you miss the right. 

3025
02:13:33,520 --> 02:13:36,760
Yes, yeah, yeah. 
And now it has 7.9 out of 10 on 

3026
02:13:36,760 --> 02:13:39,400
IMDb. 
And I'm Rotten Tomorrow is 97% 

3027
02:13:39,400 --> 02:13:41,760
from critics, 92% from 
audiences. 

3028
02:13:43,000 --> 02:13:45,440
Big reviews led the way for big 
box office numbers. 

3029
02:13:45,440 --> 02:13:50,120
On a $40 million budget, Knives 
Out returned 312.9 million 

3030
02:13:50,120 --> 02:13:54,400
worldwide. 
It was never going to be a big 

3031
02:13:54,400 --> 02:13:57,280
fish during awards season, but 
it performed admirably. 

3032
02:13:57,440 --> 02:14:00,600
It got 1 Oscar nomination for 
Best Original Screenplay, but 

3033
02:14:00,600 --> 02:14:04,480
lost out to Can you? 
Yes, 20/20/2020 He was our 

3034
02:14:04,480 --> 02:14:06,240
parasite. 
Boom. 

3035
02:14:06,240 --> 02:14:07,840
Just like that Matt. 
Love it. 

3036
02:14:08,440 --> 02:14:13,320
Matty Mania. 
The same nomination and winner 

3037
02:14:13,320 --> 02:14:17,120
at the Baftas as well it. 
Did get more awarded the Golden 

3038
02:14:17,120 --> 02:14:20,080
Globes or three in total? 
Best Actor for Daniel Craig, 

3039
02:14:20,200 --> 02:14:23,680
Best Actress for Ana de Amas and
Best Film in Musical or comedy. 

3040
02:14:23,880 --> 02:14:27,120
It did get three wins at the 
Saturn Awards, Best thriller, 

3041
02:14:27,120 --> 02:14:29,920
best support and Actress for 
Diamas and best Editing. 

3042
02:14:31,440 --> 02:14:34,000
So critical and box office 
success for a film that cinema 

3043
02:14:34,000 --> 02:14:37,000
goers took to their hearts. 
A few smatterings of award 

3044
02:14:37,000 --> 02:14:38,600
nominations didn't go amiss 
either. 

3045
02:14:38,840 --> 02:14:41,800
All in all, an incredibly 
successful venture for a genre 

3046
02:14:41,800 --> 02:14:43,240
that some thought it had its 
day. 

3047
02:14:43,440 --> 02:14:44,080
Yeah. 
Definitely. 

3048
02:14:47,400 --> 02:14:52,680
Sequels and influence. 
In an interview with Variety of 

3049
02:14:52,680 --> 02:14:55,040
the time of release, Ryan 
Johnson said that he was 

3050
02:14:55,040 --> 02:14:58,440
interested in expanding an Ives 
out world, but besides Benoit 

3051
02:14:58,440 --> 02:15:01,080
Blanc, he had no interest in 
bringing any of the characters 

3052
02:15:01,080 --> 02:15:03,680
back. 
No, that's very Agatha Christie 

3053
02:15:03,680 --> 02:15:06,440
that I think. 
And he also said each Knives Out

3054
02:15:06,440 --> 02:15:07,800
film is something I want to 
make. 

3055
02:15:07,800 --> 02:15:10,120
If that stops being the case, we
won't do another one. 

3056
02:15:10,440 --> 02:15:12,960
But he was true he's word. 
Rian Johnson signed A2 picture 

3057
02:15:12,960 --> 02:15:16,440
deal with Netflix and in 2022 
released the sequel glass onion.

3058
02:15:17,040 --> 02:15:20,520
Starring Daniel Craig, Janelle 
Monáe, Ed Norton, Catherine 

3059
02:15:20,520 --> 02:15:24,400
Hahn, Leslie Odom junior, Kate 
Hudson, Dave Batista and 

3060
02:15:24,400 --> 02:15:27,760
Madeline Klein. 
It has 91% on rods models and 

3061
02:15:27,760 --> 02:15:31,280
7.1 out of 10 on IMDb. 
Yes, indeed. 

3062
02:15:31,880 --> 02:15:34,720
Then Johnson followed that up 
with Wake Up Dead Man in 2025, 

3063
02:15:35,080 --> 02:15:38,160
starring Daniel Craig of course,
Glenn Close, Josh Brolin, Jeremy

3064
02:15:38,160 --> 02:15:42,880
Renner, Kaley spinney, Mila 
Kunis, and Josh O'Connor. 92% 

3065
02:15:42,880 --> 02:15:46,040
around tomorrow 7.3 out of 10 
and IMDb similar. 

3066
02:15:46,200 --> 02:15:49,400
Both glass onion and wake up 
dead man followed knives outs 

3067
02:15:49,400 --> 02:15:53,640
path in being named after songs.
Glass onion, The Beatles, Wake 

3068
02:15:53,640 --> 02:15:59,280
Up Dead Man, YouTube Yes. 
So 2 sequels Westie, what are 

3069
02:15:59,280 --> 02:16:01,640
your thoughts on them? 
I mean the brilliant this is a 

3070
02:16:01,640 --> 02:16:05,160
brilliant trilogy. 
I do prefer Wake Up Dead Man if 

3071
02:16:05,160 --> 02:16:07,280
I have to pick one out of the 
two sequels. 

3072
02:16:07,280 --> 02:16:09,520
I love Knives Out, but I think 
Wake Up Dead Man was just 

3073
02:16:09,520 --> 02:16:12,520
slightly more refined. 
I think Glassonian felt a bit 

3074
02:16:12,520 --> 02:16:15,520
rushed, but I think shifting the
pace totally for Wake Up Dead 

3075
02:16:15,520 --> 02:16:17,560
Man works the locations 
different. 

3076
02:16:17,560 --> 02:16:20,000
Everything just feels different 
and it feels like it's had a lot

3077
02:16:20,000 --> 02:16:23,200
more thought put into it. 
But one of the best trilogies of

3078
02:16:23,200 --> 02:16:25,520
recent years. 
Yes, big claim. 

3079
02:16:25,520 --> 02:16:26,680
I love it. 
Yeah. 

3080
02:16:27,000 --> 02:16:28,680
What about you, Matt? 
Thoughts on the sequels? 

3081
02:16:29,080 --> 02:16:31,080
Yeah, I think I'm very, very 
similar here. 

3082
02:16:31,080 --> 02:16:34,240
I mean, yeah, in general it's an
incredibly strong trilogy that 

3083
02:16:34,240 --> 02:16:36,760
do have pretty much the same 
level of quality throughout. 

3084
02:16:36,760 --> 02:16:39,080
But I think if I did have to 
pick one is the weakest, it 

3085
02:16:39,080 --> 02:16:41,959
would be Glass Onion. 
I think it's just a little bit 

3086
02:16:41,959 --> 02:16:44,799
overstuffed, a little bit too 
many celeb cameos and they're a 

3087
02:16:44,799 --> 02:16:47,360
little over long and. 
Glossy in it. 

3088
02:16:47,639 --> 02:16:50,559
Bit too glossy in the Murder it.
The Harvard just isn't that 

3089
02:16:50,559 --> 02:16:53,639
interesting compared to Knives 
Out, and the one thing they've 

3090
02:16:53,639 --> 02:16:57,920
nailed every time out is casting
who the film is really about. 

3091
02:16:57,920 --> 02:17:00,480
Because Janelle Monáe is 
brilliant in glass. 

3092
02:17:00,879 --> 02:17:03,320
She's amazing. 
That that twist, and you know, 

3093
02:17:03,719 --> 02:17:06,160
if you've not got under, but 
that twist where you realize 

3094
02:17:06,200 --> 02:17:09,600
she's playing twins and she's 
playing a dead sister, that's 

3095
02:17:09,600 --> 02:17:10,959
incredible. 
Yeah. 

3096
02:17:11,200 --> 02:17:14,080
Yeah, I did think Wake Up Dead 
Man was much closer to Knives 

3097
02:17:14,080 --> 02:17:15,559
Out. 
I love the gothic setting. 

3098
02:17:15,799 --> 02:17:19,200
Again, impeccable casting. 
Joshua Connor is so good. 

3099
02:17:19,719 --> 02:17:22,400
Yeah, he's amazing. 
Yeah, and it might just have the

3100
02:17:22,400 --> 02:17:25,200
best murder of the three so far,
OK. 

3101
02:17:25,400 --> 02:17:28,400
And like Knives Out, it's got a 
bit more subtext to it. 

3102
02:17:28,400 --> 02:17:30,639
You know, it is about faith in 
belief. 

3103
02:17:30,799 --> 02:17:31,959
So I think just adds a lot to 
it. 

3104
02:17:31,959 --> 02:17:33,799
So yeah, that's how I feel about
them. 

3105
02:17:34,040 --> 02:17:37,320
Yeah, I'm not dissimilar in any 
way to you 2 fellas. 

3106
02:17:37,639 --> 02:17:40,160
I think they are inferior than 
Knives Out, but they are great. 

3107
02:17:40,440 --> 02:17:43,040
I watched them pretty much as 
often as the original. 

3108
02:17:43,200 --> 02:17:45,639
They've become a nice Christmas 
film because of their release 

3109
02:17:45,639 --> 02:17:47,559
dates as well, which I think. 
Is quite nice. 

3110
02:17:48,160 --> 02:17:50,799
Yeah, I think Wake Up Dead Man 
is probably better than Glass 

3111
02:17:50,799 --> 02:17:52,080
Onion, but there's not much in 
it. 

3112
02:17:52,360 --> 02:17:54,160
No, no. 
And it would be possibly compete

3113
02:17:54,160 --> 02:17:56,000
with Knives. 
I were enough for some elements 

3114
02:17:56,000 --> 02:17:58,080
of the third act that didn't 
sing for me. 

3115
02:17:58,280 --> 02:17:59,400
OK. 
Yeah. 

3116
02:17:59,760 --> 02:18:01,959
I'll say that my favorite 
performance across the sequels 

3117
02:18:01,959 --> 02:18:05,160
is like you much, you know, 
money and Glass Onion, an 

3118
02:18:05,160 --> 02:18:08,000
impeccable jewel role. 
She's amazing. 

3119
02:18:08,799 --> 02:18:12,040
But niggles aside, I love that 
the settings are different. 

3120
02:18:12,040 --> 02:18:15,000
I love the ensemble cast, the 
mysteries and Johnson and Craig 

3121
02:18:15,000 --> 02:18:16,719
return and is always a joy. 
Yeah. 

3122
02:18:16,760 --> 02:18:20,680
Yes, it is a modern film, but 
there's been a lot that's 

3123
02:18:20,680 --> 02:18:21,559
coming. 
It's work. 

3124
02:18:21,559 --> 02:18:24,559
So in the years since its 
release, where we've seen Knives

3125
02:18:24,559 --> 02:18:27,680
Out influence and legacy. 
In terms of legacy, I think 

3126
02:18:27,680 --> 02:18:30,440
Knives Out basically reinvented 
the murder mystery for the 20 

3127
02:18:30,440 --> 02:18:32,920
twenties. 
Before this film came along, the

3128
02:18:32,920 --> 02:18:35,840
genre was in a bit of a rut. 
Kenneth Branner had done Murder 

3129
02:18:35,840 --> 02:18:37,320
on the Orient Express, which was
fine. 

3130
02:18:37,320 --> 02:18:40,559
It looked nice, but it felt like
I've seen it all before. 

3131
02:18:40,840 --> 02:18:42,400
Stuffy. 
Stuffy. 

3132
02:18:42,799 --> 02:18:46,040
No risks with it was there. 
No risks, no, But Naizag came 

3133
02:18:46,040 --> 02:18:48,200
along and showed everybody that 
you could honour the traditions 

3134
02:18:48,200 --> 02:18:50,480
of Christie in the golden age of
The Who don't know while making 

3135
02:18:50,480 --> 02:18:53,200
something that felt contemporary
and vital and funny and had 

3136
02:18:53,200 --> 02:18:54,840
something to say about the world
we live in. 

3137
02:18:55,000 --> 02:18:56,559
That's a much harder trick to 
pull off. 

3138
02:18:56,799 --> 02:18:57,280
Yeah. 
Yeah. 

3139
02:18:57,480 --> 02:18:59,719
And the ripple effect has been 
enormous since. 

3140
02:18:59,719 --> 02:19:02,200
Now he's out, you've had. 
See how they run the Thursday 

3141
02:19:02,200 --> 02:19:04,080
Murder Club murder mystery and 
its sequel? 

3142
02:19:04,080 --> 02:19:06,680
Countless Agatha Christie 
adaptations popping up on 

3143
02:19:06,879 --> 02:19:09,600
Netflix and other streamers. 
Yeah, and I wouldn't be 

3144
02:19:09,600 --> 02:19:12,120
surprised if Death on the Nile 
and A Haunt in Venice were green

3145
02:19:12,120 --> 02:19:14,719
lit because of Knives Out. 
Sure, yeah. 

3146
02:19:15,080 --> 02:19:18,040
But my favorite thing to come 
out of the whole Renaissance is 

3147
02:19:18,040 --> 02:19:21,280
Ryan Johnson's Poker Face Star 
in the magnificence. 

3148
02:19:21,480 --> 02:19:24,120
Natasha Lyonne. 
It's a different format. 

3149
02:19:24,120 --> 02:19:25,559
It's episodic. 
It's TV. 

3150
02:19:25,559 --> 02:19:28,080
It's a how catch him rather than
a who done it. 

3151
02:19:28,240 --> 02:19:31,440
But it's got that same energy, 
great writing, great characters.

3152
02:19:31,600 --> 02:19:34,559
And Natasha Lyonne is, I mean, 
you know how I feel about her. 

3153
02:19:34,559 --> 02:19:36,639
She's a man. 
Yeah. 

3154
02:19:36,879 --> 02:19:39,520
Matt, what do you think? 
In terms of legacy and 

3155
02:19:39,520 --> 02:19:42,200
influence, I think just 
heartening, not a completely 

3156
02:19:42,200 --> 02:19:44,559
original idea in an old 
established genre. 

3157
02:19:44,559 --> 02:19:48,120
Can work and hopefully it's 
legacy will be more directors, 

3158
02:19:48,120 --> 02:19:51,000
writers, whoever start doing 
that with their own I DS. 

3159
02:19:51,120 --> 02:19:53,680
I think legacy wise is obviously
made under Armours. 

3160
02:19:53,680 --> 02:19:57,200
The star that she is today, it's
absolutely huge for her career. 

3161
02:19:57,400 --> 02:20:00,440
But maybe it's biggest legacy is
on Daniel Craig himself, because

3162
02:20:00,720 --> 02:20:03,720
pretty much every other actors 
took on the Bond role, probably 

3163
02:20:03,720 --> 02:20:05,320
The only exception being 
Connery. 

3164
02:20:05,800 --> 02:20:07,760
That's the role. 
I will always define them in the

3165
02:20:07,760 --> 02:20:10,000
public eye and the struggle to 
escape that. 

3166
02:20:10,160 --> 02:20:12,480
I honestly think you look at 
Daniel Craig and just as many 

3167
02:20:12,480 --> 02:20:15,520
people will go Benoit Blanc, 
that's his best role, not Bond. 

3168
02:20:15,520 --> 02:20:18,320
Yeah, Yeah. 
And he's completely escaped the 

3169
02:20:18,320 --> 02:20:20,440
shackles of Bond now. 
And he was great as Bond, 

3170
02:20:20,520 --> 02:20:22,000
certainly not saying. 
Anything different? 

3171
02:20:22,640 --> 02:20:24,760
The thing is, there's always 
going to be another Bond. 

3172
02:20:24,760 --> 02:20:27,760
I can't imagine anyone else 
doing the Benoit Blanc role. 

3173
02:20:28,040 --> 02:20:29,000
No way. 
Yeah. 

3174
02:20:29,000 --> 02:20:31,640
I think one of its biggest 
legacy is where to put Daniel 

3175
02:20:31,640 --> 02:20:33,560
Craig as an actor. 
Fantastic. 

3176
02:20:33,760 --> 02:20:35,960
What about USD influence and 
legacy? 

3177
02:20:36,040 --> 02:20:38,160
Yeah, I'll just reiterate what 
both you guys are saying. 

3178
02:20:38,160 --> 02:20:40,080
I think it's bringing 
intelligence cinema back to the 

3179
02:20:40,080 --> 02:20:42,440
masses. 
Gracious, huge thank God for 

3180
02:20:42,440 --> 02:20:45,000
that. 
That's just shown that cinema is

3181
02:20:45,000 --> 02:20:47,880
alive and it is well, but you 
need an altar and you need 

3182
02:20:47,880 --> 02:20:49,840
somebody who understands where 
it came from. 

3183
02:20:50,080 --> 02:20:52,680
You know, it's sure the casts of
big names can get along. 

3184
02:20:53,040 --> 02:20:55,240
It showed that it's not about 
that anymore. 

3185
02:20:55,240 --> 02:20:57,760
The egos are out the window. 
Everybody knows everything about

3186
02:20:57,760 --> 02:21:00,080
everybody's lives. 
So the, you know, the status of 

3187
02:21:00,080 --> 02:21:02,880
an actor isn't necessarily on 
top of everything else. 

3188
02:21:03,040 --> 02:21:05,400
Anna Diamus came from nothing 
when she did this. 

3189
02:21:05,400 --> 02:21:05,960
Really. 
Yeah. 

3190
02:21:06,320 --> 02:21:08,280
We're going to really have to 
test actors and we're going to 

3191
02:21:08,280 --> 02:21:11,680
have to give them space and 
freedom to perform and direct. 

3192
02:21:11,680 --> 02:21:13,480
There's space and freedom to 
create. 

3193
02:21:13,480 --> 02:21:16,480
Because if you do that and you 
put it on the page and you make 

3194
02:21:16,480 --> 02:21:18,080
sure you do it right and you 
give them the money, you 

3195
02:21:18,080 --> 02:21:19,400
perform. 
You're going to get actors who 

3196
02:21:19,400 --> 02:21:21,000
are happy. 
You're going to get crews that 

3197
02:21:21,000 --> 02:21:22,880
are really inventive. 
You're going to get directors 

3198
02:21:22,880 --> 02:21:25,360
who are really excited, and 
you're going to get 3 films that

3199
02:21:25,360 --> 02:21:27,080
are really excellent and are 
going to make money. 

3200
02:21:27,080 --> 02:21:30,080
So sit back, pay attention, and 
look at what can be done when 

3201
02:21:30,080 --> 02:21:34,560
you give nerds for 30 million. 
Because we're all good at making

3202
02:21:34,560 --> 02:21:36,240
money and we don't need 
explosions to do it. 

3203
02:21:36,240 --> 02:21:39,520
And that's its legacy. 
Great, what a legacy it is. 

3204
02:21:39,520 --> 02:21:42,120
Yes, absolutely. 
So a modern film that we can 

3205
02:21:42,120 --> 02:21:44,840
safely see has made a huge 
impact on the industry already, 

3206
02:21:44,960 --> 02:21:47,920
and with two sequels under its 
belt, are we able to consider 

3207
02:21:47,920 --> 02:21:49,920
the Knives Out trilogy one of 
the best there is? 

3208
02:21:50,120 --> 02:21:51,480
I think so. 
I think that's been the 

3209
02:21:51,480 --> 02:21:57,200
conversation now, yeah. 
All the right movies ranking. 

3210
02:21:59,160 --> 02:22:02,520
Knives Out Big Bloody for our 
final segment, where we ranked 

3211
02:22:02,520 --> 02:22:06,440
the film and scored out of 10. 
Westie Yeah, when you start. 

3212
02:22:06,640 --> 02:22:09,760
I've been singing its praises 
throughout the whole podcast and

3213
02:22:10,040 --> 02:22:12,160
understandably why, because the 
more you watch this film, the 

3214
02:22:12,160 --> 02:22:13,920
more you appreciate it, the more
you understand it. 

3215
02:22:14,000 --> 02:22:16,400
But it is one that I think when 
we're talking about every 

3216
02:22:16,400 --> 02:22:20,240
review, the one star off, the 
half a star off the reserve and 

3217
02:22:20,240 --> 02:22:22,960
judgment for something. 
And I feel exactly the same way.

3218
02:22:22,960 --> 02:22:26,040
I feel like I'm not 100% 
satisfied by it and I don't 

3219
02:22:26,040 --> 02:22:28,400
quite know why because there's 
nothing else you can fit into 

3220
02:22:28,400 --> 02:22:32,040
this fucking film to be honest. 
It's got everything you need 

3221
02:22:32,040 --> 02:22:34,480
from a car chase to a murder to 
commentary. 

3222
02:22:34,480 --> 02:22:37,840
It's got on social situations, 
racial situations and it's all 

3223
02:22:37,840 --> 02:22:39,360
in here. 
Fantastic performances 

3224
02:22:39,360 --> 02:22:42,640
throughout, but I do feel like 
there's just something missing 

3225
02:22:42,640 --> 02:22:44,840
and it will click with us 
eventually and I think it will 

3226
02:22:44,840 --> 02:22:46,400
come in time. 
I think it's one of them films 

3227
02:22:46,400 --> 02:22:49,000
that you need to leave to 
marinate a little bit and come 

3228
02:22:49,000 --> 02:22:50,920
back to it and realize how 
special it is. 

3229
02:22:51,160 --> 02:22:53,720
So I'm not going to give a top 
marks right now, might do in a 

3230
02:22:53,720 --> 02:22:56,440
few years time, but it's a 
definite 9 on 10 for me. 

3231
02:22:56,440 --> 02:22:58,640
And like I say, I can't quite 
put your finger on why it's not 

3232
02:22:58,640 --> 02:23:00,720
top, but it just isn't for some 
reason. 

3233
02:23:01,320 --> 02:23:03,200
It's bad. 
Just means I might have a little

3234
02:23:03,200 --> 02:23:06,200
bit more to find. 
OK, Yeah, I understand that, 

3235
02:23:06,200 --> 02:23:08,600
Westie. 
Yeah, we've been unequivocal 

3236
02:23:08,600 --> 02:23:10,120
here. 
Knives Out is a joy. 

3237
02:23:10,400 --> 02:23:13,240
The cast atop of the line, 
including a larger than life 

3238
02:23:13,240 --> 02:23:16,200
Daniel Craig, who's been one. 
Blanc has transcended the film, 

3239
02:23:16,200 --> 02:23:17,080
I think. 
Yeah. 

3240
02:23:17,160 --> 02:23:19,120
Yeah. 
Ryan Johnson's direction doesn't

3241
02:23:19,120 --> 02:23:20,560
get the credit it deserves. 
For me. 

3242
02:23:20,840 --> 02:23:24,120
It has a great narrative and 
really outstanding writing. 

3243
02:23:24,400 --> 02:23:26,040
Yeah. 
That screenplay that should be 

3244
02:23:26,040 --> 02:23:27,600
taught in film school. 
It should. 

3245
02:23:27,760 --> 02:23:30,400
I'd say that it's a pitch 
perfect film for what it sets 

3246
02:23:30,400 --> 02:23:33,400
out to achieve. 
Pretty much flawless and cements

3247
02:23:33,400 --> 02:23:35,880
it's placed in the lineage of 
the old time great murder 

3248
02:23:35,880 --> 02:23:38,520
mystery films. 
Like you Westie, My natural 

3249
02:23:38,520 --> 02:23:42,160
reflex would be to go for a nine
without even thinking about it. 

3250
02:23:42,240 --> 02:23:46,200
Knives Out Easy 9 out of 10. 
But then going through this and 

3251
02:23:46,200 --> 02:23:49,960
analyzing that score, I need 
something to bring it down to 9 

3252
02:23:50,280 --> 02:23:52,640
and I couldn't find anything. 
I know I'm I'm the same. 

3253
02:23:52,640 --> 02:23:55,760
That could be time for me. 
I kind of do it. 

3254
02:23:55,880 --> 02:23:57,600
I don't need any time, it's a 
perfect 10. 

3255
02:23:58,080 --> 02:23:59,080
Oh wow. 
Amazing. 

3256
02:24:00,360 --> 02:24:02,760
What about you, Matt? 
I think films like Knives Out 

3257
02:24:02,760 --> 02:24:05,720
should just be celebrated from 
the rafters because the next 

3258
02:24:05,720 --> 02:24:08,240
time anyone comes home from the 
cinema and you've been 

3259
02:24:08,240 --> 02:24:11,840
disappointed by the latest 
remake, the latest reboot, the 

3260
02:24:11,840 --> 02:24:15,560
latest 8th sequel to Scream or 
whatever and you go, Oh no, 

3261
02:24:15,560 --> 02:24:19,960
originally in Hollywood anymore.
Put Knives Out on, you'll feel 

3262
02:24:19,960 --> 02:24:23,000
1000 times better and you'll 
realize actually people are 

3263
02:24:23,000 --> 02:24:25,520
making original films. 
I mean, granted, yes, Ryan 

3264
02:24:25,520 --> 02:24:29,160
Johnson had a substantial career
before this to fall back on and 

3265
02:24:29,160 --> 02:24:31,920
get the backing, but all the 
same, that wasn't a guarantee 

3266
02:24:31,920 --> 02:24:35,680
for him, for what he wanted to 
make with no concessions to 

3267
02:24:35,680 --> 02:24:38,040
anyone. 
And it was such a massive fit. 

3268
02:24:38,040 --> 02:24:40,640
And that should give anyone 
who's got an original idea 

3269
02:24:40,640 --> 02:24:43,960
motivation, key batter, because 
you can find your audience. 

3270
02:24:44,120 --> 02:24:46,160
It's an incredibly entertaining 
film. 

3271
02:24:46,440 --> 02:24:49,400
I'm always in the mood for the 
idea of a Benoit Blanc marathon 

3272
02:24:49,400 --> 02:24:52,680
across 3 consecutive nights or 
even A1 night is a wonderful 

3273
02:24:52,680 --> 02:24:54,160
one. 
I'm sure we'll do that soon. 

3274
02:24:54,560 --> 02:24:56,800
Daniel Clear can't get enough 
for that performance. 

3275
02:24:57,200 --> 02:24:59,760
The Armas Evans, they're up 
there with them. 

3276
02:25:00,120 --> 02:25:02,960
But really it took for me to 
really analyze it in the way 

3277
02:25:02,960 --> 02:25:06,040
that we have done in the run up 
to this, to realize just how 

3278
02:25:06,040 --> 02:25:09,920
much detail is in this film, how
much thinking behind everything,

3279
02:25:09,920 --> 02:25:13,640
not just the plot, but the 
visuals, the soundtrack. 

3280
02:25:14,040 --> 02:25:16,840
This for me is something that 
absolutely fulfills the beef of 

3281
02:25:16,840 --> 02:25:19,120
being a modern classic. 
So it's a 10 for me as well. 

3282
02:25:19,480 --> 02:25:20,440
Wow. 
Boom. 

3283
02:25:20,720 --> 02:25:23,480
Yeah, very nice. 
Our 4th and final Scoff and 

3284
02:25:23,480 --> 02:25:25,560
Knives outcomes from our Patreon
community. 

3285
02:25:25,640 --> 02:25:28,560
Those great guys and gals before
the twist ending. 

3286
02:25:28,560 --> 02:25:30,640
Here are some of their musings 
on the film. 

3287
02:25:31,600 --> 02:25:33,880
Derek Horrigan said. 
Really enjoyed this. 

3288
02:25:33,880 --> 02:25:37,520
Fun, exciting and a genuine 
whodunit Daniel create, breaking

3289
02:25:37,520 --> 02:25:40,880
free of the Bond shackles and 
creating a genuinely great new 

3290
02:25:40,880 --> 02:25:44,280
character and one of the many 
Hollywood Chris's actually given

3291
02:25:44,280 --> 02:25:47,680
a good performance. 9 out of 10.
Yep, Yep. 

3292
02:25:47,960 --> 02:25:50,280
Catherine Price said. 
I still remember how fun it was 

3293
02:25:50,280 --> 02:25:53,040
seeing Knives Out in the theatre
with my extended family and how 

3294
02:25:53,040 --> 02:25:55,080
we kept laughing and talking 
about it for days. 

3295
02:25:55,560 --> 02:25:58,880
It's just an all around great 
movie and whoever took Daniel 

3296
02:25:58,880 --> 02:26:01,360
Craig into becoming a live 
action Folkhorn Leghorn 

3297
02:26:01,360 --> 02:26:03,240
detective deserves a Nobel 
Prize. 

3298
02:26:03,800 --> 02:26:06,160
It's a ten. 
Wow, Yep, just like that. 

3299
02:26:06,160 --> 02:26:07,640
Very nice. 
Yeah, lovely. 

3300
02:26:07,840 --> 02:26:10,720
And finally Matt T Overall I've 
landed on a nine. 

3301
02:26:10,960 --> 02:26:14,640
I was edging towards 8.5, but I 
reflected the original idea to 

3302
02:26:14,640 --> 02:26:17,440
hang together this big cast to 
introduce James Bond as 

3303
02:26:17,440 --> 02:26:19,000
something completely new and 
interesting. 

3304
02:26:19,200 --> 02:26:21,720
I love how it's shot, I love how
it doesn't cheat the audience, 

3305
02:26:21,960 --> 02:26:24,840
and when compared to the second 
one, which still a good movie, 

3306
02:26:24,920 --> 02:26:27,360
it shows it's quality from a 
filmmaker that clearly loves 

3307
02:26:27,360 --> 02:26:29,880
this era of detective fiction. 
Yeah, yeah. 

3308
02:26:30,320 --> 02:26:32,600
Very much. 
We're all singing from the same 

3309
02:26:32,600 --> 02:26:34,280
hymn sheet here. 
We are, yeah. 

3310
02:26:34,840 --> 02:26:37,800
A lot of positivity, yeah. 
What does that mean overall for 

3311
02:26:37,800 --> 02:26:39,680
the Patreon score out of 10 
chaps I'm. 

3312
02:26:39,960 --> 02:26:41,560
Going to say in it. 
I'll go 9. 

3313
02:26:41,640 --> 02:26:45,440
It was a nine brilliant, very 
solid show and meaning that out 

3314
02:26:45,440 --> 02:26:49,120
of 40 knives, House scores an 
incredibly high 38. 

3315
02:26:49,640 --> 02:26:50,360
Wow. 
Excellent. 

3316
02:26:50,440 --> 02:26:52,400
Fully deserved, yeah. 
Yes, definitely. 

3317
02:26:52,680 --> 02:26:55,480
All the right movies will be 
back in two weeks when John West

3318
02:26:55,640 --> 02:26:58,440
and Matt will be staying in the 
21st century in more ways than 

3319
02:26:58,440 --> 02:27:02,160
one when they tell the make 
enough story of Alfonso Quran's 

3320
02:27:02,200 --> 02:27:06,520
outstanding children of men. 
Oh boy, that's a total whiplash.

3321
02:27:06,760 --> 02:27:08,960
Yeah. 
That's a change of pace. 

3322
02:27:08,960 --> 02:27:10,400
Yeah, nice little slice of 
misery. 

3323
02:27:11,240 --> 02:27:13,080
This isn't miserable enough so 
it loses a pint. 

3324
02:27:13,720 --> 02:27:19,640
Children of Men 11 out of 10. 
For our studio head and 

3325
02:27:19,640 --> 02:27:22,520
directors chair patrons, last 
week we tackled Trey Parker and 

3326
02:27:22,520 --> 02:27:25,400
Matt Stone on double feature 
when we talked about South Park,

3327
02:27:25,400 --> 02:27:27,800
Bigger, Longer and Uncut, and 
Team American World Police. 

3328
02:27:27,800 --> 02:27:31,400
Yep, Yep, we did. 
We tread carefully and of course

3329
02:27:31,400 --> 02:27:34,200
it's all in context. 
It is all in context, yeah. 

3330
02:27:34,520 --> 02:27:37,600
Hilarious episodes, so sign up 
to be an ATR and patron for 

3331
02:27:37,600 --> 02:27:39,400
that. 
With a new episode of the Watch 

3332
02:27:39,400 --> 02:27:40,960
this coming at the start of 
March. 

3333
02:27:41,320 --> 02:27:43,280
Yes, yes. 
If you haven't done it already, 

3334
02:27:43,280 --> 02:27:45,840
please give us a positive rating
on your podcast platform of 

3335
02:27:45,840 --> 02:27:48,080
choice. 
It helps us get noticed, so 

3336
02:27:48,080 --> 02:27:50,240
anything you could do will be 
much appreciated. 

3337
02:27:50,520 --> 02:27:52,280
Yes, it will be guys. 
Thank you. 

3338
02:27:52,520 --> 02:27:54,720
And as ever, we're on social 
media around the clock. 

3339
02:27:54,720 --> 02:27:57,240
We're on X, Blue Sky threads, 
Instagram, TikTok. 

3340
02:27:57,400 --> 02:27:59,720
I'll make enough movie threads 
go up on X and Blue sky. 

3341
02:27:59,720 --> 02:28:03,080
And just like our podcasts, we 
go into my new detail on behind 

3342
02:28:03,080 --> 02:28:05,920
the scenes facts and anecdotes, 
with all information coming from

3343
02:28:05,920 --> 02:28:08,840
at least three sources or from 
the mouths of the cast and crew.

3344
02:28:09,520 --> 02:28:12,160
You can join our Facebook group 
for another the wonderful movie 

3345
02:28:12,160 --> 02:28:15,920
community full of great people. 
Yep, our YouTube channel is 

3346
02:28:15,920 --> 02:28:19,000
youtube.com/all the Right Movies
where you can also listen to our

3347
02:28:19,000 --> 02:28:22,640
podcasts and our website is All 
the Right movies.com. 

3348
02:28:22,640 --> 02:28:25,280
It is. 
And that is a wrap, everyone. 

3349
02:28:25,280 --> 02:28:28,200
We're off to examine a donut 
hall within a donut hall. 

3350
02:28:28,440 --> 02:28:29,800
Yes, we are. 
We are peckish. 

3351
02:28:30,280 --> 02:28:33,120
We got peckish. 
Thanks very much for. 

3352
02:28:33,440 --> 02:28:34,040
Listening. 
Thanks guys. 

3353
02:28:34,040 --> 02:28:35,720
Thanks guys. 
Come back in two weeks for 

3354
02:28:35,720 --> 02:28:36,360
Children of Men.