Tim Roth, Steven Knight & Tom Harper on Peaky Blinders: The Immortal Man

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1:40 [SPEAKER_02]: Just an example of what you get when you subscribe to the Kyle Meredith with podcast. [SPEAKER_02]: I'm Kyle Manit today. [SPEAKER_02]: We are going to be talking about the movie Peaky Blunders, the Immortal Man, with the creator and writer Steven Knight, director Tom Harper. [SPEAKER_02]: And I would say the villain, but everybody's sort of a villain in the Peaky Blunders world.

2:02 [SPEAKER_02]: But this specific villain in this when actor Tim Roth, and we'll read the quick synopsis here, Birmingham, 1940, amidst the chaos of World War II, Tommy Shelby is driven back from a self-imposed exile to face his most destructive reckoning yet. [SPEAKER_02]: With the future of the family and the country at stake, Tommy must face his own demons and choose whether to confront his legacy or burn it to the ground by order of the peaky blinders.

2:28 [SPEAKER_02]: Now we're going to start with Tim Roth. [SPEAKER_02]: Tim, you know, [SPEAKER_02]: and lied to me, reservoir dogs, pulp fiction, the hateful eight rob Roy, just to name a few. [SPEAKER_02]: He talks about joining the universe after a personal invitation from Killian Murphy, reshaping his character into a deceptively calm Nazi sympathizer, and how his own family's World War II history gave the role some emotional weight.

2:52 [SPEAKER_02]: We're also going to talk David Bowie and Petty Smith and the music in the film and a lot more So let's jump into it. [SPEAKER_02]: We are discussing Peaky Blunders the Immortal Man out's on Netflix. [SPEAKER_02]: It's Kyle Meredith with Tim Roth looking at your wool behind you You got the Bowie You got the prince love him.

3:13 [SPEAKER_06]: You got a blue read talk to wait to have me Are you here? [SPEAKER_06]: Okay, Depesh mode up there. [SPEAKER_02]: I'm sorry [SPEAKER_02]: I try to keep the good stuff over my shoulder. [SPEAKER_02]: Whether you like it or not. [SPEAKER_02]: Hey, yeah. [SPEAKER_02]: This is what it is. [SPEAKER_02]: Man, what a great batty that you get to play in this movie here.

3:33 [SPEAKER_02]: I'm the good guy. [SPEAKER_02]: I'm just someone. [SPEAKER_06]: I'm trying to bring you know, peace to the British, trying to end the war. [SPEAKER_06]: No, I know. [SPEAKER_02]: Try to end the war as great. [SPEAKER_02]: Maybe that's the best way, it's interesting, right? [SPEAKER_02]: To play a role like this, because, you know, I've heard you talk about, you get the call from, from Killions, as you want to be in the movie.

3:56 [SPEAKER_06]: No, it was weird. [SPEAKER_06]: I mean, alright, Killions is a bit of a mate. [SPEAKER_06]: We work together on this little film called Broken, where I chose to play the boring character. [SPEAKER_06]: I mean, they want to meet play the crazy one I went. [SPEAKER_06]: No, I'm going to play someone boring.

4:12 [SPEAKER_06]: I'll just play the dad based on particular mockingbird. [SPEAKER_06]: And then Killing was in it. [SPEAKER_06]: And we got that's how we first met. [SPEAKER_06]: And I was lovely. [SPEAKER_06]: We bonded on that. [SPEAKER_06]: And then I don't know if it's before or after that, but we gave a film that he was in, we gave it the palm door, it was on the jury, the Sam Jackson people like that.

4:34 [SPEAKER_06]: We were in Can, and we gave the Winder Shakes the Barley, the palm door, and not over the years. [SPEAKER_06]: And then when I knew about Peakey, but I'd never watched it. [SPEAKER_06]: And because I was just, you know, off doing my stuff, we'd bump into each other along the way when he was filming it, you know.

4:53 [SPEAKER_06]: I texted him saying, you know, run for the hills, keep your head down, you know, because I knew it is in the middle of a zoo, you know, you said, doing it, doing it, and then he said, you want to make a movie. [SPEAKER_06]: And I was like, yeah, and it was the movie, pick your blindest movie.

5:09 [SPEAKER_02]: So what point does he say, oh, and by the way, you're going to play a Nazi sympathizer? [SPEAKER_06]: Oh, I read the script. [SPEAKER_06]: He just, the script came. [SPEAKER_06]: He did the same by the way with Barry. [SPEAKER_06]: It was all over text and he got Rebecca. [SPEAKER_06]: I mean, he's, he's trying to put casting directors out of business and he's doing rather well.

5:33 [SPEAKER_06]: Um, the easier asker to get for him casting asker. [SPEAKER_06]: That's another one. [SPEAKER_06]: Yeah. [SPEAKER_06]: Yes. [SPEAKER_06]: They probably why they in state of it. [SPEAKER_06]: Yeah. [SPEAKER_06]: Anyway. [SPEAKER_06]: Yeah. [SPEAKER_06]: So, and then I read it and it wasn't written that the way that we did it.

5:47 [SPEAKER_06]: It was written in a kind of aristocratic character from the upper classes who was kind of authoritarian and militaristic and so on. [SPEAKER_06]: And I said to them, I got on the zoom thing with the writer and the director, Steve and Tom, I said, can we play, can we flip it? [SPEAKER_06]: I'd like to play him as a sort of school teacher.

6:17 [SPEAKER_06]: with the one and just very reasonable and very nice and until the mask comes off a little deeper in. [SPEAKER_06]: Yeah, they went, let's do it. [SPEAKER_06]: That's great. [SPEAKER_06]: And so we just went, we rolled down that road. [SPEAKER_06]: And it was, it was a lot of fun to play in him that way.

6:37 [SPEAKER_06]: And I think it's kind of in a way. [SPEAKER_06]: It seems, although it's a second mobile movie, it's peaky blinded, it's set between the wars. [SPEAKER_06]: And it feels like an old, water movie. [SPEAKER_06]: It was, I mean, they really did get, I think that right, but with a modern twist, [SPEAKER_06]: appropriate voice for that kind of character to have in these times as well.

7:01 [SPEAKER_06]: So I think he crossed, you know, he crossed time in that say. [SPEAKER_06]: He's more and also I think and I'll shut up up after this, but also I think someone like that is more likely to be able to communicate with the peaky blinders than somebody who comes from the other classes. [SPEAKER_06]: Right.

7:21 [SPEAKER_06]: That guy [SPEAKER_02]: Well, come back, it's Kyle, man, it's with Tim Roth. [SPEAKER_02]: Like, you're already getting to the thing. [SPEAKER_02]: I mean, you know, where this goes, too, because it is. [SPEAKER_02]: It's like, you're playing this character, tied in with the Nazis at a time in the real world in the now where we're seeing that stuff again.

7:40 [SPEAKER_02]: And a character that's very the opposite of your ideology. [SPEAKER_02]: You know, what a leap of faith for an actor, I guess. [SPEAKER_06]: Well, my dad was in the Second World War, so he had his journey was slummed weller, he was in the slums in New York. [SPEAKER_06]: Sheep said, I'm absolutely poverty, then they shipped him to Liverpool, so he went the other way.

8:02 [SPEAKER_06]: And they put him as an 11-year-old who was in the factories in Liverpool, making bricks. [SPEAKER_06]: and then they put him down to the hot fields on the Kent in England as a hot picker. [SPEAKER_06]: So when the war came along he ran to it and then he was a tail gunner in bombers, very, very heavy.

8:25 [SPEAKER_06]: But he didn't, I mean he wouldn't really talk about his PTSD, it got him in the end. [SPEAKER_06]: But it felt doing the film in a way was a nod to him. [SPEAKER_06]: He always said, it's not over there's just put it on pause. [SPEAKER_06]: It's coming. [SPEAKER_06]: Oh, wow. [SPEAKER_06]: And he was, I think, very right.

8:43 [SPEAKER_06]: So yeah. [SPEAKER_06]: Yeah, it felt like a... [SPEAKER_06]: I think he would have loved this movie. [SPEAKER_06]: Maybe not the music, because, you know, jet-different generation. [SPEAKER_02]: Although, I don't know if it's like, fine teens, so much fine teens in there that's, so for me, I don't know how you'd have it.

8:58 [SPEAKER_02]: I love the music. [SPEAKER_06]: Yeah, I do too. [SPEAKER_06]: I think it's fantastic. [SPEAKER_06]: I think art did a great job. [SPEAKER_06]: I'm really great job. [SPEAKER_06]: That cover of TearGrop, and that's gonna happen. [SPEAKER_06]: That's going to be, when they got, when they, the idea that they got that cave to re-record with his voice that's also had years added to it, I think was so smart.

9:20 [SPEAKER_06]: Yeah. [SPEAKER_02]: I wonder how many times he's recorded that song now, but I never get tired. [SPEAKER_02]: Like every single time it's like, Oh, oh. [SPEAKER_06]: Yeah. [SPEAKER_06]: For me, somebody like that would be Patty Smith, as well, who I just, that's it for me, you know. [SPEAKER_02]: Do you read her books?

9:36 [SPEAKER_06]: Oh yeah, and I did manage to say hello to her once as I was walking down the street and man her and that was good enough for me. [SPEAKER_06]: I'm just done. [SPEAKER_02]: Did you get a hold of back? [SPEAKER_06]: Also hung with Bowie. [SPEAKER_02]: So I thought maybe you hung with Bowie.

9:47 [SPEAKER_02]: Bowie's my, he's my number one. [SPEAKER_06]: Bowie was nice to me because he wanted me to be in a film with him and then we got to know each other. [SPEAKER_06]: John, her introduced me to him. [SPEAKER_06]: And then I worked with his wife, a man on a film in Belize, at the time. [SPEAKER_06]: And I got married, we got, I mean, my wife got married in Belize.

10:07 [SPEAKER_06]: So he was around for that as well. [SPEAKER_06]: We were hanging. [SPEAKER_06]: It was great. [SPEAKER_06]: Yeah, it was incredible. [SPEAKER_06]: Really nice guy. [SPEAKER_05]: Yeah. [SPEAKER_05]: And one of my heroes completely. [SPEAKER_05]: Yeah, I was just listening to the next day, driving in this morning.

10:18 [SPEAKER_05]: Yeah. [SPEAKER_05]: Yeah, it's phenomenal. [SPEAKER_02]: Um, I want to quickly hit on a line that you say, because I only got a couple minutes here. [SPEAKER_02]: The way you delivered, I have a son. [SPEAKER_02]: Yes. [SPEAKER_02]: and I'm so ashamed of them. [SPEAKER_02]: The way you hit that, are you aware in that moment that you've just nailed that line?

10:35 [SPEAKER_06]: I was, it has come, there's two lines that people have talked about. [SPEAKER_06]: There's the first line of the movie, which I don't know if you, yeah. [SPEAKER_06]: But also that, particularly, yeah, it does resonate. [SPEAKER_06]: It does resonate. [SPEAKER_06]: And [SPEAKER_06]: Again, goes back to my father and his relationship with his father and all of that stuff, which was not good.

10:59 [SPEAKER_06]: But, uh, and again, what the character is working towards, whether it's real or whether it's manipulation of Duke. [SPEAKER_06]: And so you've got, it works on so many levels, but I think I wasn't aware of when we delivered it, we didn't, I'm sure many takes on it. [SPEAKER_06]: But it just felt it should come out that way.

11:19 [SPEAKER_06]: And it seems to resonate with quite a lot of people that one. [SPEAKER_02]: You do that. [SPEAKER_02]: And it is like, uh, just because, you know, just you feel that slimyness almost of that son. [SPEAKER_02]: Yeah. [SPEAKER_02]: Yeah. [SPEAKER_02]: Yeah. [SPEAKER_02]: Good moment. [SPEAKER_02]: Let's see.

11:35 [SPEAKER_02]: And he writes poetry. [SPEAKER_02]: Hell of a film to be a part of my character. [SPEAKER_05]: I guess that. [SPEAKER_02]: Yeah. [SPEAKER_02]: Yeah. [SPEAKER_02]: Well, again, uh, it is beautifully. [SPEAKER_02]: I appreciate you taking the time to talk about it, man. [SPEAKER_02]: It's been a real pleasure.

11:49 [SPEAKER_02]: Well, good mate. [SPEAKER_02]: And we'll be right back right after this. [SPEAKER_02]: Welcome back, it's Kyle Manithari, part two of this episode on Piggy Blinders, the Immortal Man. [SPEAKER_02]: This is with creator and writer Steven Knight and director Tom Harper. [SPEAKER_02]: Now again, it's the film that brings Tommy Shelby's story to its long-plan conclusion.

12:09 [SPEAKER_02]: Steven's going to reveal that the idea of ending Piggy Blinders with a movie set in World War 2 was part of the plan for the very beginning. [SPEAKER_02]: while Tom will discuss trains letting the series into a more focused cinematic finale complete with intense practical sequences like this brutal mud fight between killing Murphy and Barry Kagan and a collapsing tunnel scene film largely for real.

12:33 [SPEAKER_02]: So let's get into this part too. [SPEAKER_02]: We're talking piggy blinders, the immortal man. [SPEAKER_02]: This is Kyle Meredith with Stephen Knights and Tom Harper. [SPEAKER_02]: Hello, Nicole. [SPEAKER_02]: great to see you both again and congratulate you. [SPEAKER_02]: I'm sure one of the many many people doing so on the immortal man.

12:48 [SPEAKER_02]: What a what an outstanding wild and really satisfying film you've done here. [SPEAKER_02]: Thank you. [SPEAKER_02]: Thank you. [SPEAKER_02]: Steven, when did you know that the movie was going to be a part of the plan? [SPEAKER_04]: From the beginning really, someone's unearthed an interview I did after the very first series, which is a little series on BBC 2, and I very confidently said I'm going to take this up to the second World War, and it's going to be a movie at the end.

13:13 [SPEAKER_04]: So that's sort of living proof of my naivety perhaps, but also that the plan was always in place. [SPEAKER_04]: I wanted it to be to start at the end of the first World War and end at the beginning of the second World War, and that's what we've done. [SPEAKER_02]: Did you always know that part of the story?

13:31 [SPEAKER_02]: Did you always know sort of how it would conclude? [SPEAKER_04]: No, I didn't know this story. [SPEAKER_04]: I knew it would be second-world war Birmingham, because during the blitz of the bombs of falling, stakes are high, no one knows they're going to live to sit another day. [SPEAKER_04]: Do you know the time it would die?

13:46 [SPEAKER_04]: Yeah, yeah. [SPEAKER_04]: Yeah, I mean, it had to end that way. [SPEAKER_04]: Tommy Shelby don't retire. [SPEAKER_04]: It's got to be gone, and so then I started to unearth or recall stories from the First World War Birmingham and started with the plot together through that. [SPEAKER_02]: Yeah, so you knew he was going to die.

14:08 [SPEAKER_02]: Did everyone else know? [SPEAKER_04]: No, I don't think so. [SPEAKER_04]: I think Kilian was always in favour of that ending. [SPEAKER_03]: We were, I think, like, all of us in the earth had to happen. [SPEAKER_03]: And it feels like the right ending to me. [SPEAKER_03]: Absolutely. [SPEAKER_03]: The whole, yes, it feels like he's been walking towards.

14:26 [SPEAKER_04]: And he's not someone who fears death and has, and is almost in the words of John Keith's half in love with these full death, all through the series. [SPEAKER_04]: Yeah. [SPEAKER_02]: I mean, when I say satisfying ending, that's a satisfying ending. [SPEAKER_02]: And then what I mean right there, that's a time for you, you know, so you get the keys to this.

14:44 [SPEAKER_02]: You know, let's start with like, what can you do with the movie that you can't do with the series? [SPEAKER_03]: I think you've got to tell a story in a short amount of time and it's got to be more singier. [SPEAKER_03]: I think those are the two main things. [SPEAKER_03]: I think that, you know, in terms of [SPEAKER_03]: production value and, you know, the look of a TV series as opposed to a film, there's not often there could be not that much difference or, you know, the lines are definitely blurred but I think this is a more singular story.

15:14 [SPEAKER_03]: This is the last chapter in the life of Tommy Shelby. [SPEAKER_03]: And so, so that gives it more focus. [SPEAKER_03]: You have to deliver more, you know, as Steve's always said, you know, you need a really getting in the middle of an end to a to a movie in a way that you can kind of explore more story lines with the TV series.

15:32 [SPEAKER_03]: And that means there's more focus and there's sort of a more intense, [SPEAKER_03]: period, more singing stories. [SPEAKER_03]: I think that's what it is. [SPEAKER_03]: Now of course we did have more money for the film as well. [SPEAKER_03]: I think it allows you to take some more risks you get buy in for a bit more you get more audience buy in for a movie.

15:47 [SPEAKER_03]: I think I don't know if that's let's say or not. [SPEAKER_03]: But like you can you can take your time. [SPEAKER_03]: For example, there's some quite long lingering shots that they take their time that develop that [SPEAKER_03]: they don't reveal too much too soon and I think you get that buy-in from an audience.

16:03 [SPEAKER_03]: You can do that with a movie because you have that sort of commitment. [SPEAKER_03]: Particularly with peeking when you've got such a loyal fan base, whereas in TV, you need to grab people's attention and hold it, so it tends to be a bit more choppy and a bit more. [SPEAKER_03]: So there's just some of the various, and then we could blow some moisture up as well.

16:22 [SPEAKER_02]: Well, I mean, there's a little bit of danger right of having more money because because you all have been able to tell this incredible story by saying scrappy and suddenly is like, all right, well, here's here's the open check or whatever. [SPEAKER_04]: Yeah, it can be hazardous because, you know, when we were making the series, you're on a budget that means that you can't blow stuff up.

16:45 [SPEAKER_04]: Even though we did actually did, we blew up a whole house, but, um, and therefore you have to be inventive and find ways around it and to tell the story in a different way. [SPEAKER_04]: But I hope with this, we didn't, because the story expanded. [SPEAKER_04]: then it was quite judiciously done.

17:02 [SPEAKER_04]: In other words, bombs were dropping. [SPEAKER_04]: So things were blowing up. [SPEAKER_04]: You know, it's not that we're going out of our way to make a point that we're going to blow stuff up or spin the budget on certain things. [SPEAKER_04]: That's what was happening. [SPEAKER_04]: But it is fun to do all that stuff.

17:17 [SPEAKER_02]: There are plenty of scenes in there too and Tom, you know, like there's a few that I just I really focused on like the mud fight scene, you know, I would love to know anything about filming that day because because again, you've got less time to tell a story but you still really take your time on that scene.

17:37 [SPEAKER_03]: Yes, I mean, that's a good example. [SPEAKER_03]: That would have been very challenging to do on the TV. [SPEAKER_03]: So it's just the logistics of that, quite significant, you know, that takes time to do. [SPEAKER_03]: And it did take a lot of time and a lot of set up. [SPEAKER_03]: And then even then best lay plans like go to ruin.

17:53 [SPEAKER_03]: You know, it was always written in the pick pen. [SPEAKER_03]: I think Steve would always imagine, he'll give a muddy, a muddy, muddy fight. [SPEAKER_03]: But, [SPEAKER_03]: when we, it rained two days straight before filming and the mud, it was muddy but then it turned into like a swimming pool and then in addition to that like the fences to keep the clean mud and the dirty mud where the pigs were like sort of disintegrated and the pigs bust through it and so they were like [SPEAKER_03]: It was day one filming as well, I was like, oh my god, that actually was very reason to be turned up.

18:28 [SPEAKER_03]: And, you know, it's killing Murphy and Barry Kowker on the first day of filming. [SPEAKER_03]: They might literally just turn up and go like, I'm sorry, mate, but I am not going. [SPEAKER_03]: I'm not going there. [SPEAKER_03]: But they were really offered. [SPEAKER_03]: They went for it.

18:38 [SPEAKER_03]: And, you know, actually, I think they enjoyed it for the first, like. [SPEAKER_03]: two minutes and we had two days of it as they had to keep going and just like they just got to see how you can see from the movie they get so cake and it's so heavy but I love that you know that's another thing you know it's not um it's not sanitised it's not like they're not superheroes you know when they stand up it's [SPEAKER_03]: really heavy and it's hard and you feel that that the difficulty they face, you feel that and I'm much more interested in that as that sort of action that feels real, that feels hard, that feels difficult, that feels painful because they're humans and I'll see what they're here as well.

19:12 [SPEAKER_03]: I mean, we felt it. [SPEAKER_02]: I felt it as a viewer and talking about looking out on the right actors for the job, by the way, as you're saying, because I agree, I don't think everybody would have been like, all right. [SPEAKER_02]: Let's dive in, you know. [SPEAKER_03]: The more real aid I've ever really offer is really immense key loss to them.

19:29 [SPEAKER_02]: Yeah, and then just the the other one I was thinking about was the you know the tunnel scene towards the in there just how You know, I'm sure there is a lot of movie magic of course to go through that, but but how you made it feel so claustrophobic. [SPEAKER_03]: But honestly, another nice thing about doing the movie is we could do most things for real.

19:48 [SPEAKER_03]: So there's there's very little, you know, there are there's very good judicious visual effects, but [SPEAKER_03]: mostly not, you know, and that tunnel sequence says, we did it all for real, you know, we built that tunnel, there's a little tiny camera that comes along, that comes back with you on a big arm of a crane that comes back with Tommy's doing it again did it all for real.

20:07 [SPEAKER_03]: When the tunnel collapses on him, that wasn't, you know, obviously not real bricks, but they were rubber bricks and they landed all the top of him. [SPEAKER_03]: And when he came to again, I had him upside down and the dust was all settling on him and it was going up his nose and his eyes and we put him through it.

20:26 [SPEAKER_03]: Uh, it's not the reason for me, it helps you, like, I think that, you know, I've done plenty of work on green screen and green screen studios where you, where you kind of recreate things and it's, it's not the same, you know, like, it's like, however, green and acc to maybe like there's nothing like being the cold or the heat or the wind or the dust or the mud or whatever it is that, you know, because because there's, it's not that they can't necessarily, uh, [SPEAKER_03]: and what they're going through, but it's the unforeseen things that you can't predict when the little piece of dust is going to go up.

20:57 [SPEAKER_03]: You know, it's going to make you do the do you know me like that's sort of impossible to recreate. [SPEAKER_03]: It sounds like a very specific instance that you just said it. [SPEAKER_02]: Yeah. [SPEAKER_02]: That's one of the things of us to happen. [SPEAKER_02]: You were talking about sets, and Steven, there was one, because the last time we talked was with 1000 blues, and there's a moment in the bar, and I'm like, my God, that looks like the same bar.

21:20 [SPEAKER_04]: No, no, no, no. [SPEAKER_04]: This is the garrison, and always on Peaky, the team who make this happen are exceptional, and really devoted, and often, the same people who are in series one are still working on the movie now. [SPEAKER_04]: And they really go to town on making this thing look and the garrison pub, which was the only set bill, I think, wasn't it?

21:44 [SPEAKER_04]: Yeah. [SPEAKER_04]: It was just magnificent. [SPEAKER_04]: And the fact that you have Killian Murphy and Barry Kea had standing either side of the bar in the garrison, they don't even need words, they just have a drink of whiskey and it tells you the whole story which is fantastic. [SPEAKER_02]: Um, some of the history you were talking about, because, uh, so, so going back to the story, it's even, you know, you knew you're going to World War II, and I, you know, we know you like looking for real moments of history to kind of basis on, not just the war, but, uh, Germany making that money and, and speaking to the dead, like that became its own boom industry at the same time as well.

22:25 [SPEAKER_04]: Yeah. [SPEAKER_04]: Yeah, yeah, I mean that when I knew the Second World War, I mean the first real thing was the bombing of the BSA factory which really happened and my mom works at the factory at the time and would have been there, it wasn't for the fact that my older brother was not well.

22:40 [SPEAKER_04]: So that story is a family story. [SPEAKER_04]: So I've always had that and then in the back of my mind I remember this thing about Operation Burnheart where the Nazis tried to flood. [SPEAKER_04]: British economy with forged currency and it just felt absolutely right. [SPEAKER_04]: It's lots and lots of cash you know and that's where the peaky blinders live and so those two stories together but you're right about the especially in the first world war as well that when people lost loved ones they did go to mediums and they went to sci-kicks who would then sort of speak to the dead stuff so that's exactly where cowlowe is making a living.

23:17 [SPEAKER_02]: Yeah, and what an interesting, I mean, it makes sense. [SPEAKER_02]: It makes sense when you look back on something like that, you know, and I think I heard a podcast recently that kind of focused on that whole thing, but just like, I guess it's that little detail that you can just kind of pluck from history and be like, oh, I can make a whole story of this.

23:34 [SPEAKER_02]: Yeah, yeah, yeah, yeah. [SPEAKER_02]: You know, it's kind of wild. [SPEAKER_02]: And of course, you all get to, I don't want to get to the fact that you're telling this Nazi story, you can't predict what's been happening in the real world at the time. [SPEAKER_02]: But there's a lot of this stuff that kind of was like, oh man, you know, here in the more wars in the world and the neo-Nazi isn't everything.

23:58 [SPEAKER_02]: Do you start to see those as you're making it? [SPEAKER_02]: And how does that feel? [SPEAKER_04]: It's good for the film, bad for the world. [SPEAKER_04]: Sure. [SPEAKER_04]: This is becoming more and more topical. [SPEAKER_04]: But yeah, I do feel it. [SPEAKER_04]: And things that are happening, it's not a conscious thing.

24:18 [SPEAKER_04]: But I think it's like the weather, you know, you would absorb what's happening in the world and it turns up. [SPEAKER_04]: But yeah, I mean, it's definitely something that I think [SPEAKER_04]: getting through his audience, his audiences are starting to spot that. [SPEAKER_02]: Yeah, just the weight that it adds to a movie like this, you know, something like that.

24:37 [SPEAKER_02]: And Tom, you get to work with these actors that I really have to hear too about, you know, bringing Barry and Tim in, you know, their new to the world, you know, was there, what was the direction for that? [SPEAKER_03]: Well, I think that the writing in PIC is always so good that there's constantly been attracting great actors whether that's Asian Brody or Sam Klaff in or Anna Taylor Joy or, you know, the patty constantly the list goes on.

25:00 [SPEAKER_03]: There's sort of been a tradition, I guess, if you like, of, you know, a great new antagonist coming in or these wonderful sort of support roles are coming and play it in the season. [SPEAKER_03]: So this, I think this was no other, there was a new antagonist, [SPEAKER_03]: fit the bill perfectly, Rebecca came in, Barricchio again, so we, it was one of the, the most straightforward casting processes I've ever been through where we just asked people wanted to say yes, and it's great because, you know, you have these constants, you know, whether that's, so if you run to the place eight or kill you or, you know, and the, you know, of course, you know, [SPEAKER_03]: Charlie strong and curly and so there there's this sort of this cool cast but then you get these new energies that sort of come in and just Give a new favor.

25:51 [SPEAKER_02]: So it's really it's it's it's a great paid balance to be in well It's such a beautifully told movie and again so satisfying for the fans and everything So thank you both for doing what you do and wrapping up the stories you did and as always it was great to talk with you both [SPEAKER_02]: Thank you, thanks a lot.

26:35 [SPEAKER_02]: After that, you can head over to WFPK.org, where I do a show, Monday through Friday, starting at 6pm Eastern, it's 4 hours of classics from the 80s and 90s, you get the best in new music and bonus interviews, lots of music news as well, in fact, one of my recent shows featured some classics and favorites from cowboy junkies, Emilew Harris, The Betts, The Beatles, Bridge of Bardot, Nirvana Hole, [SPEAKER_02]: The last dinner party, dead, silvenessos, silver sun pickups, food fighters, and my interviews with U2s, the Edge, Pearl Jam's Jeff Amence, and Blur's Graham Coxen.

27:12 [SPEAKER_02]: That's what you get when you tune in week 9, starting 6pm at WFPK.ORG. [SPEAKER_02]: Consequence, as your music and film news, you can also find any of the social media sites, the address is always at Kyle Meredith, please do like and follow along. [SPEAKER_02]: That does it for another edition.

27:28 [SPEAKER_02]: I'm Kyle Meredith, I'll see you next time. [SPEAKER_00]: consequence podcast network it's easy to hear your favorite artist on WFPK from wherever you are. [SPEAKER_00]: Listen on your smart speaker live stream from our website at WFPK.org from Louisville Public Media.