Walking to the nurse podcast number, eight hundred and fifty nine. This episode brought you by square spurs whether you need a any kind of portfolio or digital presence. That is not basic social media. If you want to store to sell your products or services or a blog you just need. You just need more than one hundred and forty characters an you, don't want to put it on Facebook, because you just get a lot of really weird irrational comments in here threads there. So you want to make your blog short, of course, based gives you everything you need to make your next move into the reality of your own, little domain, including a free domain, not to mention with square space, is beautifully designed, templates and customizable features. A website is very simple: intuitive process as long as you're using square space so just add an arranger content with the click of a mouse start. Your free trial today, squarespace dot com. The offer code notice to get ten percent off your first purchase, plus that free domain with the purchase of an annual plan- let's

about the nurse community. These are things on in your world. Well, first of all, I have to mention that the id ten T festival is fully happening. This is June twenty four and twenty five. Going to be happening in mountain view, ca in Silicon Valley. I'm talking about bands like Weezer okay, go car seat, headrest, the Mowgli's girl talk tv on the radio, crystal castles, more. It's being added as we speak, I'm talking about a comedy tent, so you got your Garfunkel and Oates your Brian Main Michael CHE, your yes or less Lester, your Demetri Martin, your April Richardson and hammer comics being out as well and speaking of comics, not the comedian parts, but the comics comics, the centerpiece of id ten t is a comic con. 'cause I've been with so many festivals. I performed it so many

and I always felt like I wish the boots had more stuff. The exhibitor booths had more stuff that was relevant to my interests, so that was the that was the the seed of the idea of can we have stuff going on at all times? That is kind of in in the vein of stuff that that I'm like in probably stuff that you like, if you listen to this podcast, but no matter what or something going on at any given minute that, hopefully, will be fun and engaging to you go. Do you go to I d ten t fast dot com? That's I d, the number ten t fast dot com and get tickets because they're selling there you go there's also a medium tends, for the kids, let's see what else is on the nurse community corkboard. Oh this weekend March, eight in nineteen, the natural, his

museum in LOS Angeles is Elaine. Nature FEST is going to have over thirty exhibitor booths scientists in nature, experts to answer questions live animal presentations, nature walks, gardening tips, arts and crafts and a whole lot more. It's going to be fun and educational for your entire family. La nature. Fest is free. With a general admission. Ticket more info can be found it an hm dot, Org Mark Karen Rights, hey I'd like to post a note recommending a good friend of mine's first novel. Well, you have that it's called heroes, road by Chuck, Rogers a sword and sorcery tale in the battle of man versus or disgraced. And dishonorably discharged Cole at math and snow we are a slobbery soldiers that are caused. When serious or it makes them an offer. They can't afford to refuse they set out on an adventure that will take them all around the known world and one that will determine the world's fate available on Amazon, Kindle for a mere five dollars and ninety nine cents. This episode is Danny, Boyle, who's awesome. Oh my god,

the guy? Listen. Not only is he made some of my favorite movies probably some of your favorite movies, they're, all so vastly different. Yet You still see like oh yeah. I can see how same guy made all these incredible different movies. I mean Trainspotting Shallow grave eight days later, Slumdog millionaire one hundred seven hours, Steve Jobs and now Trainspotting too, which is actually in theaters this Friday March 17th an he didn't like this nicest he was so cool. I had no idea, you never know. You know, maybe something directors go when they're on a run, then they can really open up. But you know when know on one what I want, but he was fantastic like legit, a guy that you would want to go, have a coffee with I said- coffee, maybe you want beer or or I don't know, but but he's definitely

he's a good hang Danny Boyle- and I was it- was a real honor and real fun to talk to him so. Uh yeah Danny Boyle on this episode, nurse podcasts, which also sponsored by stamps com step, see, I mean, I hope, stamps dot com, never some sponsoring the notice podcast. But, of course, if everyone in the world use stamps dot com, I guess they probably would so, but you know what it's a risk I'm going to have to take stamps dot com, save you time and money. You can use that time to grow your business mail, any letter package just using printer in the mail carrier picks it up no more hassle the post office, no more waiting in line dropping all your packages waiting while someone males like forty two different sized packages and they've never been in a post office before and you're like forty people deep and it's almost five o'clock in the trap was going to be. Terrible and it's raining outside and it just everything. If I painted the grim picture stay in your house and you stamps dot com, twenty four slash, seven is available to you twenty four hours a day, seven days a week. If there were eight days away

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entering noticed dot com, I'm sorry for my full tv make up. I just got off work Michael make a little make up on as well. You do. I just went to Starbucks on the way here and I was thinking I was sitting there is the yeah. You may be called to I killed valuable, Thomas otava smiling. Oh, that's fantastic, feel it when you were at Starbucks. Were you were you like? Can I just have a cut agreed heading? If I was always, you know thing, you know we'll go out if anybody sees I'll do the thing where I expo explain, you know I've just been on tv. What's your drive Starbucks. Would you like Americana? I have a tall americana for day who's, clearly wearing makeup,

Starbucks right now, oh no, please don't drink some water, how's, Europe, tour been so far. Yes, alright yeah we could, we could have done I've done. I've been all over the world, this really from Moscow all over. Europe and India and Australia New Zealand, South Africa, so it's like four inches, probably just the past week yeah. I know it was probably quiz quite intense, so it was good. Italy was best yeah. What was great about ITALY? Would you like Rome yeah? I mean yeah, I'm thinking it's like everybody behaves like an aristocrat in ITALY and the French try to and fail, but the Italians Italians just are aristocrats 'cause, if so

much parking history, it's just like effortless, yeah, calcium, yeah, yeah, that's really good yeah. We don't look after it but yeah. You know roads you're, welcome everything about it, but do you do you? Have you ever thought, like? Maybe I'll just make a movie set in Rome, so I can just go. Spend six months in Rome will fill in enough funny. You should say that interesting. We are making our next. It's actually television thing for fx, but it's part is half cent chrome half in London just outside London. What is it it's about the gettys? Oh my gosh remembered the Getty story which which Getty story are you talking about the grunts and who was kidnapped in roll yeah? He's fifteen

kidnapped in Rome and his grand father who lived in England John Paul Getty. He was the richest man, not just the richest man in the world who they think he was the richest man in history, equivalent wise sure. Everyone else around him refused to pay the ransom because he suspected that the kid was organized himself. Oh, was a chip off the old block was a bit of a businessman and it turned out he had wow. But what happened when he declined to pay the ransom and some of the guys had help the kid organized stage, the kidnap, so it looked like a kidnap one of them sold with telling anyone sold the contract for the kidnapping onto the real mafia. So the kid went from being a kind of like producer and star of his own movie to being the real victim and they cut his ear off. Oh my god, and they sent it in the post with the message that this is your

soon, you'll pay. The ransom now will send the rest of him by post and he did pay the ransom and they invested the money that the run some that he paid in a port in ITALY through which they began the cocaine trade into Europe and now eighty percent of Europe's cocaine through that port. Well, I mean that's just industrious right there. It's just like you just think you read this stuff, nothing that can't be that. Can I'll surely isn't sold through apparently so went so when you're making a story like this that where people know like where you know where the information is readily available like well, here's what happened yeah. How are you approaching this in because I feel like people are so cool Razi about having things spoiled for them anymore, that. I wonder how that affects when you're doing you know like a true story where someone know well, we know how this turned out. So you doing along the way when you're, when you're kind of mapping out mapping that out

sing. You depend on Amnezia, really I think, picking up here, you know it's really. I know I really think people have an easier when they got it. We were just talking about trailers. I think people and I get an easier, but I see everything as you do these days. Everything is in the trailer, but it doesn't spoil the because I go in and I kind of like I'm still shocked at the moment of semen. That's why so ready yeah! You know, because you kind of you kind of is your complicit in forgetting. Well, you know, I think- and I think that's true true stories as well. He said fear that you'll die, even though you know he won't die because it still alive for interviewed last week. He was talking about how he got involved with the project and all that kind of stuff. So, but also your I was so visual that I feel, like you know, as a direct. Are people go? Oh well? Danny Danny Boyle's. Take on this is probably doesn't matter. If I know what the thing is. I know that it's going to be this kind of visual exploration of this story, and maybe that's you know that that has a lot to do with just what you would

Stab Liszt yeah. You hope that you hope that the kind of like the way you present it is dynamic enough that you can uh. I'm terribly gain on the easier because you kind of just get caught up in the course of course open the experience and I don't want to know the outcome, don't wanna be conscious of the out come until you find it really, and so is that, like the We did that one hundred and twenty seven hours, which is about the guy who cut his arm off and everybody knows that it's well documented. He goes wrong, giving Microsoft lectures about it right to Microsoft, executives telling them about his whole. Experience has written a book about it, but you still hold them Franco's performance, they're going to get caught up in a think. Was he going to do showing? No, what yeah you know, but he doesn't have it, but you know it is what happens him nizier? I think so I mean you must have worked pretty closely with him when you're working on the film, the guy who I'm roasting, Yes, he was. He was involved, it's interesting when you, when you do something just been involved. Actually, in um a film about Billy

in king and Bobby Riggs that oh wow battle of the sexes and as executive producers and again that's The case where you have a real person whose life story you're looking at, and you have to respect that and then you have to be truthful about it, but you have to dramatize it as well and John Well, who directed it the directors from little Miss sunshine? I've done. Full job in negotiating, not what you want to keep you want to keep your subjects happy. That is, that is an accurate portrayal. That is not an accurate, but right, a life, and yet you also have to the home of a strong the whenever you can to the circumstances you know so and on that was true with a listen as well. We had him involved, but you have to keep them at a distance as well. You can't literally make it like it's a letter to his right. You know it has to be for everyone. You know right and then do not show him. Did you wait to show him what you were doing? Did you only show him bits and pieces, or did he do see there?

he was there for some of the shooting, but then we showed it to him in front of an audience. Actually that he came in in front of a test audience when we were this thing is so we could still make changes and he came in a in a and a hat, and it is gonna use and all that kind of stuff. What's it that was an extraordinary experience for him. I think to see his story, which only he witnessed portrayed by a much of one hundred and twenty other people right in front of three hundred people. You know: test grade. So that's a bizarre experience. Looking at Franco saying the things some of the things that he said exactly the things he did and said and reported in his boss, what did he say to you immediately after the screen? He was very overcome. Let's say it was a bit much for him. I think I mean it was a bit of a weird one for and I think it was flight when he was wonderful, but he was really overcome by it sure the the the the and I think, particularly the.

Is what we were after the whole time and it was difficult to explain to him was obviously the intensity of immersion like I never wanted to cut away from the guy in the I always wanted to just stay there, whereas in his book he keeps cutting away- because an editor told him all people get sick of the canyon, yet they want to know what happened to your mom or the ones who know what's happening to your friends at work and so He did alternate chapters, and I said I don't want to do the alternate chapters. I just want to hear in there. I want him to feet. I want the audience to feel that They know what it's like to get to the point where you will consider cutting off your own arm and in fact they will get to the point where they would do it themselves, 'cause they will go in thinking. I could never do that. I mean I would never do that to me. I wouldn't do that, but you want it, to the point where they will do it literally and not learned, then they'll be able to watch it because otherwise of a maybe like not so watchable you never get hit on. This is our movie. You want

you going to watch something like that. You've got to be on the journey where you think you could believe you do that yourself really, so we try to make it as a as immersive as possible, really and so for him. I think to be both fully back in that experience and also abstracted probably because it's not him and only he witnessed it. So there can't be any version, that's true of it, because only he can see that version of it. You know, even though we copied the canyon we copied all the equipment. Everything was exactly the same. It's like the experiment, ruins the like they're doing the experiment, kind of ruins the experiment in a way that you can't it's still still synthetic absolutely, but he wasn't voting system we had, and that was the problem with we had all sorts of fainting and all sorts of was wearing that you couldn't watch it with people with thinking. I remember going up to pick. With the screening, it picks up wow. I don't remember the selects only going to pick so I was going to go and have a look round. I remember turning up with who they take you. The food to time

with the end of the screening and as we drove up there was an ambulance outside, maybe that maybe the giant lamp jumped on someone. Maybe that's what it was. The big lamp just squashed a person may be everything to do with the movie at all. It was another screening where this person had passed out and there was carried out. I mean literally carried out the screen, all them being carried out and I saw them being late, in these steps you know, and they just they came round like that, and they were fine. They would look absolutely fine. You expect people who passed out to be like slow recovery. They just went hello and the so many when hello, Bizzle Single, if there's something that it did you for what it really is. I guess list of of of the under twenty seven hours. A great example of that but is there something inside of you with each of these scripts? Where you go, I'm not

tell anyone else, but I have this secret idea about what this is, and that's just personal. That's for me because I'm sure, with with with that movie to go about, go cut his arm off. But to you it's probably a come. There's there's something completely different behind it right well, for me on thought, one, a

walls could we take. I knew from everyone everyone's reaction, that they couldn't imagine themselves doing, that it was an absolute barrier. They thought I would never do. How could you do that and that's the reason to make the film in a way to say how could you do that and that the reason you could do that was out sick for me was to do with loneliness rather than rather than actually the the physical acts. It was the only way that he could get back to the people that he had not spoon for the people that he turned his back on, because he was a figure, the in braced, the sultry nurse. The solitude of the individual yep, and yet when he was there, it was the th feel of comfort of company. The simplest thing we all take. The

said that he missed so much yeah sensible to people and that he would do anything to get back to them, so it was to try and it will. I was trying to get at that really that sense of the crowd, really in a way in a in a film, is about nothing, no crowed about just one person, that's interesting. You know when I think about- and it didn't occur to me till just now, but when I think of when I'm kind of laying out all of your films in my head, I I I am do be style. It seems like they're, all very human stories about what people do to survive like grave, yes or it's a real literally twenty. Eight days later, you know this Trainspotting Slumdog, it's all about like what do you, what what's human about survival and what do real humans do to survive? So I I I you. Do these press tours and things like that and they uh and you do find out stuff about everybody, thinks they're boring, which day are, to a certain degree, 'cause you're repeating yourself, but you know everybody repeats themselves at work. It starts work, it's just repetitive, sometimes, but they're also riveting as well, because sometimes you

every journalist and I'll tell you something that you had no absolutely realizing the point. Something out that you realize is absolutely true, but they had no idea, so I met in the French of especially got it. They take. Very, very serious. Yes, a lot of things very seriously, especially films, films themselves, and this year only said to me- she said she said all your films are exactly the same and I said, skews me and think she said Oh no, she said I enjoyed them very much, but she said they're all exactly the same, and I said how do you mean she said they're all about someone facing insurmountable obstacles and overcoming them, and I thought you think about that, It's absolutely true that actually for a lot of them anyway, I think they may have seen since she told me that I think I may have deliberately tried to change it, but it was not twenty. Seven dollars is very good example of it my story, it says story, but choosing to focus on it. Yet why are you interested in that? The guy is facing something completely impossible and yet he overcomes it and in overcoming it. That's healing, there's something healing and positive about

coming not really, no matter what stands in your way, you can you can overcome it. You know it's not millionaires, the kid from the slum ending up. You know on the top game all over the world, winning the top prize on winning the girl, and you know it's like you overcome the obstacles to get the you know, but that's a beautiful fairy tale to like that's a beautiful, fair. Yes, is a great terrible fairy tale story to it of you know pop or becomes print that. Keep it. You know like love, prevails and doing the right thing prevailed. Absolutely we all love to believe in that for sure, but for sure, but I know like with twenty eight days later. I know that there were alternate things where it didn't work out. Well, for gym, or just like everyone, guys organize. Well, he did dying. Woman Naomi was left on her own. I was really bleak and was shot it. She acted only when she tries to bring him the end up in this house

this dish used hospital where of course, it started in the hospital and she and she's trying to pump life back into his heart, and she was wore my god. She was like remember her performance, Oh, my god, and then she wandered off on her own with the other girl out into hold on their own and he died, but yeah we went with hope really on that one we went with the site, I think the release multiple endings in the states, because the guy was releasing it Peter, So I think it is very smart. He released it with one ending and then he said he is a different. Ending people went again 'cause. A surprisingly big gross yeah so did very rude, did rather well. Well, you know, particularly in that genre film. There are some there are so many there. Let you know horror, films most people are like yeah. You can make him for cheap and every once in awhile. I want to make a shitton of money, but when you, when you see a really good one and twenty eight days later, is like that isn't a pantheon of great horror movies it just it. You love it even more because they're like oh there's, so much crap out there, but there's this glimmering gem.

I found the the dome breeze last year, yeah yeah idea of ours yeah, I don't know who he is and but I thought I was rich. I thought it was a direct to Sometimes you watch another, a young directors working. You go wow that is it like. I really knows how to do it yeah and I wanted to get out way. Now here is very good at any. Yet I know the guys in it done. You could lose the the the the the lead guy and I know him, but I haven't seen the movie yet it's great it. So do you think you know because my friend, my friend, Joan at when someone has said twenty to there's a great zombie, because now it's not a zombie movie, it's an outbreak virus movie hey, it's a rage virus they're, not zombies. It's a raging fire! I know you get into these very particular definitions and when you're making them the role these rules, you have to set yourself rules, you have to keep to them because they have to be able to behave. You know you'll you'll creatures, we, are infected or you're a zombies or whatever you gotta call them your enraged

Well, whatever they are, that you have to attribute to them facilities at the beginning things they can do right and things they can't do Stick to the yeah he's a little as you get killed, literally and and then they they they they that's how you build your film because those restrictions you have you know they call ghetto to this because the you know we can't climb walls or they can climb walls, so they can't escape from them Amanda Wall, so it's very, very important part of it. Really laborious, such the working on whatever the beginning about what they're capable of what they own yeah, because it's funny that an audience will suspend their disbelief that this this is happening, but they will not suspend if you make your own rules yeah. They won't simply believe that it's a properly conflicted universe right, that's actually being sorted out and there are rules like there is for real life. You know you gotta be able to breathe, you need to eat or you die.

Things like that yeah. They need to know those things, but I I wonder how many how many times do you come up against that? Were you say uh you know 'cause. I would imagine people look you and go. Oh Danny boy he's got his whole film thing figured out knows exactly what he's doing, but then to hear like well. You know we tried one thing and then we had to be flexible and it didn't work. I mean yeah, it's full of that. You kind of you hold that the end product makes you look on the prisons, but you anything ball when you're making the thing you know, if you have a successful one, you appear on. If it's in for a moment, let you know what your new, you really know, what you're doing and you are after the old sign on it, and it will tell you just exactly as you planned. Quite the reverse is true and in fact, you kind of stay. Symbol around and I think the stumbling around is really valuable. I think I think I've made mistakes where I think I, where I was by knowing too much thinking. I knew how to do it and it's best when you don't know how to do it genuinely and you kind of stumbling around a bit, and I think that I have this theory that your first film,

often your best films, and I think, that's true as well. 'cause really that's really when you're at your purist. You really don't know what you're doing and you kind of work it out and obviously you can fail terribly at that point and never make another film again, because you really fall flat on your face. But if you can pull it off, there's nothing better because you have not committed that the end of the cunning that the knowing this sure so technical movies. You know they get it done so manipulative and technical, and you can you things like that and there's not delicious. Is where on Uranus Can you find your way? That's a wonderful feeling. You know when you get there, that's interesting too 'cause. It innocence is also a thread that that weaves through a lot of your films, to like you know, even with the be going back to shallow grave. What happens? It's got. There's money, this guy dies. What do we do? others like a trainspotting is all all about Lou about about innocence and, yes, it is and losing innocence, yeah it is the very it was. We do

and the second one, because you have to look at you- have to say what is the first one about. And at the time of course, everybody was saying it was about drugs. It's about pop culture and we realize it's actually about the title of the Richard Linklater Film. It's actually about boyhood, the first one, because when you do the second one, which is twenty years later, and it's actually about manhood you that's why realize the first ones about boy hood, and that time I mean they're in their early 20s. It's not teenager land, but it's the same idea. It's the recklessness of that time. Where you don't care about anything, you have you just abandoned you and it doesn't matter. Somebody can fall victim and even that doesn't matter you know, Tommy dies in the first one. They don't really. They don't really take that on board right there, sad

like for a day right, you know, and then it's gone, because you just can't can't career in down that pathway, but it's only laser when there's a reckoning when it is an accounting, it's time to take, take account really yeah. So that's the that's what it felt like in him. So it makes you says what first film was about his about that innocence and and and the energy not use you know, and then you and then you could you just find out with pop culture music. And stop high old. You know this kind of style. We love to see in films, because joyous and kind of light, flamboyant and kind of disrespectful to the classes is sin yeah. You know all that kind of stuff. I think it's about. I I I and I think you said I think it it's they're aware of it in the movie, but it's that idea of choose life. You know, I think that's what it's about yeah, because they're choosing you know they're choosing their lives in the beginning and then in the second one which I saw last night. It was great. They are continuing, like even in their 40s they're, still having to choose the lives that they want in the lives that they lead

what he has e updates that speech. That's I remember yeah, so he updates it, which is like a kind of sort of to be expected in every He said to us when we said we're going to do a sequel. Everybody said so they said like. Oh, so the soundtrack will be good. Yeah, that's fine! Like he's just like it's easy that there is a drug we really good and then, but they also said to be it. What you will you'll be updating the cheese on a speech that yeah. We were thinking of it. So so you do but I loved what did in the writing of it because he he'll tell you say yes, then, which is and saying. Well he about three, because the way through it, you immigrated says he it becomes more confessional. Anyhow got that sarcastic. Mocking of you know the choice we are available to people which he begins with, which is easy when you're used to have that kind of sneer about. What's on offer to you right, you know what we, what we all start choosing, but it become,

but his own disappointment really in in his choices and what he's him? and he hasn't become the person that he wanted to become really so it's actually quite confession. The end it begins as a kind of like a repeat and that's typical of doing one after another after twenty years he has to be the same but different. That's the weird contradiction of it's! If, if it's, if it's, if it's all the same they'll kill you this is all different: they'll kill you as well, so it's gonna be the same and different at the same time, so that you know there's no. You know the point is there's just no winning There's always gonna, be some. How come you didn't? I don't know if you make a movie but it, but you know one of the things that is. I actually found myself getting kind of emotional about was just the way, the flat the kind of the flash back to the first movie or so beautifully woven in in the way that they're, not traditional. It's like all the screen doesn't get wavy. You know it's just like yeah, but it's just one

in into the story, and I mean I look to you in a Gregory Jenny when I go with this guy still look great, but then, when you see the footage from Original movie, like they look like twelve year old they're. Well, don't know it's crazy, but that idea of you know we were so young and carefree, and even though they were making poor choices, you know and then now it just feels like all they have or cares. Yes all they have is the world way down and what happened in in you know in life. You're, just like all the sudden it you're just here so so so movies movies, our time and day, as an art form, there is nothing can deal with time like movies deal with time, so that you can, because what happens? Is we have a favorite film? If it's like Titanic, You you see LEO and Kate, you have that image of them and it's frozen absolutely frozen in time and it's just it just is in your brain it'll take you'll. Take it to your grave that image

we've seen LEO and Kate in other movies, but James Cameron goes back and updates that movie, somehow he didn't die or whatever. If you updates it that power of unlocking time 'cause it freezes time, and then you can uh get in movies as well, which is what you try to do here by those cock, makes you're talking about the way they were before. It's brutal for actors absolutely brutal for them, but it returns them to us because we all that's what happens to all of us, of course yeah, and it happens to even it happens to our idols our heroes, our immortalized, you know, 'cause, we immortalized people on the screen really anyway. Yeah movies are extraordinary for that and that. I remember Fincher said something about this. I was remembering reading about him saying about that. Movies are just about extending time or slowing it. That's all movies. Do they. In editing. When you go in and sing us all you doing, he just extending time of slowing it down or speeding it off. A compressing it an order all making it vanish just make time

It's just been a little literally on your day today, working editing, that's literally what you do and then you have this other thing in Cinema, which is that the audience- and this is unique as well- they come in and they give you with even pay you and they give you two hours of their time there you go, I'm not going to do anything else for two hours there and that impact within some movies, all time really so yeah they will they truly are it is the art form of time right, but are you? Are you ever a down by the Dee Dee, infinite possibilities. I mean it's to me. The scariest thing that I imagine about being a director is okay, we're gonna shoot all the stuff. I know what the story is, but now here are a near infinite number of ways that I can present this story, and how do I know which one is the right way to present it yeah? Well, that's the good thing is that you have, because you got

it'd money an unlimited time you have to get. You call even really consider light. Now you you, you already were amiss, wanted restrictions are really important to you and why being boxed in is really important because they they restrict your field of vision straight away, you you, you have to kind of cut your cloth straight away, and I like that as well, because you can sometimes bumps I'm so those boxes you know, but you put the base, define for you. What is infinite choices? It's like the most powerful person in the world can do anything, but they don't know what to do, because they can literally do anything right. So we we took with only these. We tend to take less money than you. We could take more money and that opens up choices that you got to you, but it doesn't make you free, or I don't think right- we're of course, because then you'd be you it's. It almost feels like that, like a like a fish in a bowl like, if you give a fish, a giant thing, it's gonna get bigger. '

And if you you know, it's gonna fit to whatever size. So it's not gonna help you necessarily to blow for more money. If you don't need to tell us what what we we made this on the beach and we took yeah some money for that, maybe that was the the biggest. Maybe that we've made budget wise. I think what I was it didn't really suit me. It felt like a on the eight, so it shoot it becomes a huge oil tanker that you can. That is full of incredible riches. You know it's packed full of skill and credible tunnel but you can't move it. It takes you a day to turn it round this, like believable, trying to move it round was when you like, right away. You can kind of got more flexibility, really. I'm sure the studios appreciate that you want to take less money for the movies, but it does seem like amend this responsibility, the more money you take on the more people want to get involved, or will you would when you, if you get some a hundred million dollars sure we we bandy these terms around like a hundred million dollars yet because one hundred and fifty million dollars- and you start not realizing what that means. But that's like a small

Nation's gross annual products or something you know, it's like it's it's incredible amounts of money. Then, of course, people are going to want to have it they're going to want to know what's happening to. It was in fact movies. Don't know what they're doing generally speaking, otherwise there wouldn't ever be any unsuccess, the ones who hates it all be perfect right. Would you be really boring world as well people, if you go, if you invested a lot of money, they want, they want to know, is in good hands and they want to know what's going on and a lot of time you come out, you don't really know. What's going on, you can bullshit people yeah and sell them something and tell them and give the impression you know what you're doing, but you it's a mystery really about. Were you emerge at the end and what comes out to the end is not like this one, the the the transporting sequel. I remember watching it after we. We been editing for about a month and I remember watching it and it wasn't

overall, these children running around in it every scene at all these children or images of children or imaginary children. There's two imaginary children, and it was well- and I thought well and I cast all these children cast them at search for them. I directed them on the day and done all that, and yet, when you accumulate in a film it kind of became,

well with the fathers you know and that's one of the things is about. I really in a way how poor they are as follows: because blood like literally three of them all fathers and I put they- are as follows, and in in in the in the twenty years that's happened and yeah. I didn't really. We never really talked about on the site, which was what time passing and things like that, but we never really talked about man hold not really right. It's a mystery that sort of emerges at the end of if you're, if it's working well, you know the some of the is sold as part of that bruise. This not quite predictable, really in a way that, but if someone gives you a hundred and fifty million dollars, they want to know exactly what's going to come out at the end right understandable do you think they ultimately grew up by the end of the

you can movie, or do I mean I don't want to spoil anything for any, obviously for people who haven't seen it yet, but it sort of feels to me, like they kind of just go back to the you know like they don't. You know, like maybe they're, just in this endless loop. Well, you can read it. This sort of a couple of ambiguous images you could read it all the way really yeah. I mean the final image, which is a brunson

you could read either way right it. Definitely there is some progress made in in a net Tolman Soul, a knowledge mint. Some kind of self consciousness- and this is little yes, it was not with the is not without, if you hope, full in, if you hopefully inclined, if you're inclined towards hope, yeah you'll find stuff in the yeah. Well, that's interesting because it do you feel like it's better for the audience to kind of make their own decisions about what they think is going on. Or do you like to be understood? Do you like your message to be understood? Well, you starts off light that you, you definitely think off texel this old. This will show them. They'll know exactly. The truth is that you learn quite quickly that actually people do read things differently and you called control you you, I think her,

In the twenty we may twenty eight days later about social rage, because with lots of incidents in Britain of I will completely unacceptable and very extreme social rage. Like I'm people beating each of the overall public over accidents, in a in a in a in, and you know, good car accidents things on really terrible things happening like that, but when we were filming so that's what we set out to make and we set up so it was going to be about that and those were all our reference points. All our photographs were about this, and that was the kind of metaphor. It was four and then, while we were filming, nine hundred and eleven happened, and the film became much more about the vulnerability of cities and you go. I do you what shift and I'm sure that's one of the reasons that it works in America. It was that it was because it came out quite quickly after nine eleven, and it was one of the first films looks at how vulnerable cities was that they could just funny. She

your eyes and you would be left feeling very vulnerable scared and yet, but you can't predict that so there's no way. You know that you bump into time sometimes, and sometimes it is to elevate the film. Sometimes it makes them a relevant, of course, as well sure, but a really great horror movie will sort of take the cultural fears right guys and and do something symbolic with it, so that when you're watching it, it's not just than that. Guy that that guy then you're really feel like holyshit yeah. What would I do? What are we going to do? You feel it on a deeper level? I think do you have a pair a particular type? What film did you feel the most comfortable on what film did you feel like? Oh, this is me this is the most you know Danny Boyle Movie of all of them. I don't know you kind of like. I don't know that you can't quite do that, because what happens is that they get distorted by if they do work

and they become popular. They, those ones, get distorted and they don't belong to you anymore. That kind of taken over by their reception right, and you with the ones that nobody wants, that nobody cared for. You do care for them. You compensate by caring for the more sure shoulders like films, like million sunshine. We went to see films and you like huddle around them, look after them really, so it's more that than thinking. That's the one. You know that there is one that's the best or the most of the mall with when you feel most comfortable with, so when your cat, what? What is the experience for you coming off a movie that you know coming off a movie like twenty eight days later Trainspotting and coming off a movie that wasn't as popular like? Do? Are you inspired the same amount both ways you go well, the next time I'm going to or do you feel like hey? No, I did what I was supposed to do and it doesn't matter. If you know one hundred million people didn't see it.

I did what I wanted to do so you know funk everyone yeah. Now you just feel angry the injustice of it. You know you kind of like you can see that we take it very seriously. The blame game yeah the release pattern, that's the favorable release button was all wrong. You know March. All of the so that would yeah. So you tend to blame: what have you come, but I'm? No, it's good! Actually, because it it's it's a big part of it. Actually, it's a it's a it's a big part of it of the of them not working when they don't work. It doesn't feel like it at the time. You don't say you don't relish and the time, but you it is a big part of it right. Where you feel 'cause it's as a world, it's a very, very ego, placing world sure. You know

see something works like wool, you know you get everything blown up, you it's just like cool and it can be quite Gideon, not an easy. You do need to be. Let's, let's really brought on to us, you know I see if anybody's two six, 'cause. God knows how you keep your feet on the ground. I've really, no idea, you know you're pretty successful, yeah well, clearly is. Rather you got uh so good. They offer you think those are important. Yeah yeah, it's like it's like in anything, and it makes you try. It makes you return and go again. Is Becky, says again again: you know you go again. Yeah you gotta, keep going like! Not really is it is it is it weird is. It is like holding an Oscar, is it? Do you go? Well, I don't know what else? What do I do now I mean? Is it? Does it feel we got is with it because it because they, you are come, look at it. I mean a lot. Actually I had it out for awhile. Have it when it was just impossible, I mean.

Yeah you get open. It slightly are magnetic to look at. You know you can't just walk by it and it's like everyday like that, and of course it's like you just can't do that. So I packed it away oh. You did ok, he just can't look at everyone. If that's kind of I wonder if that's also in english quality to have like do not. Your head too high or someone's going to smack it down. He certainly willing in Britain that certainly, but that's certainly true, yeah. No, but you can't it's not it's not particularly healthy for you to dwell on those things like that. Really, you should also be pushing the boat out well you should also not think it was saying about not knowing what you're doing. That's also very important to have a kind of like it's, not It's an ambition at sea rather than a model state, but you should be circumspect about how good you all think. No, I don't know how to do that. How would I do that? I'd love to put to In a space movie, 'cause I've always loved space movies, but I have no clue how to do it and I remember reading you'll, never remember these directors saying

once you do. One you'd never do another unless you have to for commercial reasons, one sequel or something like that, a franchise you can you make one space movie in that set, and it's true: why is that? Well X, kills you The simplest thing in the world like gravity which we all suffer in all take for granted, How you make a film with knows no gravity. I mean I can't tell the effort in every time. I watch a space movie. I think it's brilliant mate, whoever you are It made this movie and I don't care that people don't like it. It's really it's because just to achieve that and itself. Yes, he's also difficult unease anyway. So it a a am yeah, and so I didn't know what to make the and the and I found out- and it was hard and nobody like film either so at the time they all like it. Now lots of people talk about it. Now it's a film that gets lots of effect but at the time we went to see it 'cause you released in March. Actually

but yeah. It was the release patterns. It was the really was the release patterns, but it is kind of funny how sometimes a film can just maybe not hit at the right time ten years later. People go ooooo, wait a minute. This makes a lot of sense that where did that go I know, but you also you also. Those are specialists as well people that you tend to meet. Who are saying those things. Those are people like us who were interested. We were interested in it, the public wave of film. Is something that you are susceptible to that wave of the public interest, what they're interested in, and we again we say it's. Oh it's too influenced my pr campaigns or money or big studios by it, and but it's not true that I think There is a wave of interest, but the public have and you are at the mercy

I'm not, and you and you should be- you should not be exempt from the really it's. It's healthy really that in a way yeah it's baffling well, you can't predict to any be terrible if you could all absolutely put you know, but you can't it keeps everybody on their toes. I think. Is there a type of movie that you still feel like abat someday, I'm going to do that like do you have something in the back of your head that you feel, like you, have either been ready for either. You feel like. I need to get to a certain level before I can. Do this. Skill level or user? One thing that's way off in your head. Still owe you a musical really. I mean, I think you know, for any director of an original musical is the ultimate is the is the Holy GRAIL really absolutely if it is the purest form of if you can get your characters to sing that makes sense and an obsolete, believe it and go

with that light. Not that's the old summits, that's the degree of difficulty. You know they did the dies in the do the dives yeah women pulled on lives. Yeah, I agree of difficultly. That's that's all ball. Well, the original trainspotting was almost immediately get all those kind of was a musical when we going to the film we were going to do as a musical was the kids film. We make call millions yeah 'cause. That is a musical. If you look at the ingredients, that is a musical and we chickened out we were going to get Noel Gallagher to write. The songs are in oh wow and get the kids to see. Because you can leave a yell at him while he was which you can note of it and we lack confidence may may in the really suffering cultural boys week we kept floating about set, and then we kind of box office and and did not the companies. Now I do it now. If you come across an idea like that, that is a musical. I get one. It hasn't a beauty in a simplicity about it that suits a musical there's, something very hopeful ultimately about musicals. I think

so I'd love to do one of those still yeah. What is the rate? What do you think is the right kind of story for a musical? What does it have to have? Well that one had a very simple moral, dilemna, really and a beautiful innocence at the center of it, which is a young kid confronted with they found her. Bag of money by railway, and it was like what we're going to do with these? It's all up to it and his elder brother told him. Don't tell anybody about it, He said why not? He said because if you tell me about it, they'll tax it and he said all right, ok So he has this kind of comedic beauty of innocence, really facing something that that's the opposite of innocent, really money yeah. It did those simple, the Azle, simple devices. I mean love stories overseas. Well, you know what you're so right, though you really, you have to know Aline Musical, because if someone just start singing in the middle of the thing you're like and also the song has to be good as well, and it has to be per produced. Well, yeah, the mobile with

break into singing has to be absolutely earned. Yeah. You can't just do it well with uh. You know I'm going to want to throw something out there. An if you know if you love the idea by all means one that musical space movie no one's it. It is time for a musical space movie. There is a musical space with no, my god. What is it a forgotten in ash? something I should know that remember their musical in space. Remember Show me the words yeah. Can you find Lego right? But that's you know, they'll get away with anything, but I think I think I think it's time I think it's some sort of a you know it's just it's not asteroid. So maybe there's a karaoke bar on an asteroid. They don't know. No, it wasn't a musical. It was a love story. Wasn't there a love story, in in the in the sequel to two thousand and one uh. In ten Yemenis until it was it was. It was a love. There was a love story and it wasn't he's, never love and isn't there a love relationship in '

'cause, they always used to say the one thing you can't do in space is sax. Doesn't work in Spacex doesn't work in space, so there were always used to laugh about that. But actually there's been kind of relationship like passengers was a relationship in space. Wasn't it so that's been honestly think you know, I don't know, maybe you see two thousand and one just think what are you doing Dave? This is highly a regular amazing, two thousand and one. Maybe it is two thousand one musical that you need to make man. I don't know, but if you look, you got to do it so when we were researching sunshine, we did all this research in one of the things we found out was that NASA one of the experiments they were doing on the space lab was they were taking all that pig semen up into space yeah and they all doing experiments on insemination in space, because it's going to happen at some point and will there be any consequences for it that we cannot foresee sure. So these are all the kind of long term experiments they're doing about so they do they take a pic,

to inseminate the pig yeah well like I guess, to get into a lot of trouble if he did it with humans. Yeah exactly the law of so they did so. Apparently they were doing that with doing it, but they were doing insemination in space to see if there was any consequences of it that gravity for Instagram any with that they would need yeah that that would be like any consequences, but I don't know any more about it and now, I'm sure there's such filthy do the things that have happened if they, because they, you know they need to know these things. You know for going to go on long journeys at some point to get off this rock than they need to know what happens if you in space and it clogs the answer. I know these types of things. I need to know that you know sperm cloud, that's the thing that doesn't exist on earth, but in space you know very dangerous. You know they say everything you know is Chris Hadfield, one of the the the the astronaut who was on the ice. That's what yeah! You know he was saying you know even just to use the toilet is such a job, an insane endeavor yeah, because you have to be strapped in then you have you can't like you

so your body can force you into other directions. I mean the whole thing is just sounds terribly. I went on the on the gravity free playing. You know the one that goes. Obama comment yeah. I went on that. That was an amazing experience. Was it fun? Yes, it is. I mean it's like it's quite expensive. It's like I mean then it was about. It was just. It was over three thousand dollars but I remember thinking, Pie God. You will never have an experience like that in your life. Yeah, like that, would you go into space if you had, the upper oh yeah, you would so so, apart from that thing, last year, my daughters, my two daughters took me to get an. I mentioned this 'cause. It was like space so Girls wanted to swim in Lake Baikal, okay, which is which is the lake in Siberia, Eastern Siberia, it's the is the deepest biggest freshwater lake in

world is more fresh water in there than older, great lakes of America put together. Six strolled right thing is shaped. Like a moon, you look at it in its once. You start looking at it is mesmerizing. It feels like the center of the world, the real sense of the world. You know, like empires, always measure things from what the spanish empire measure distances from Madrid right, because they believe that the sense of the world right, but the sense of the actual sent to the world- I think, is this like an Easter is growing. It will eventually split will be long gone it eventually split Russia into it will tear Russia apartments. It's the most extraordinary kind of natural phenomenon on earth. James Cameron's been down it apparently I'm sure that flooring, it edit submersible, so it is supposed to snow, but I wanted to swim in it, so they took me so that was a bit like being in space just going at that distance Trans Siberian Express. We did four days and four nights from Moscow to Irkutsk, and that was an extraordinary experience like a different meditative experience, which I'm sure

Space would be as well, so you've got to swim in the lake. I did four strokes, it was October. So if you swim anymore, you would have died. You could feel your eat disappearing literally, like they've been amputated, God it's was about, but it was an incredible experience sounds terrifying though I mean just that idea of I don't know. I have a weird thing about. You know like a large cavernous bodies of water. That sort of feel to me, like you, could just do the earth would just swallow. Pull up in. That would be it well late by Cal, won't be for you, then, but I like hearing that it was fun. What did you when you got out of the water? What what did you think? I thought I felt life in the way I mean it's just like I mean not say, call it a plunge, pool a cold plunge pool is going to do that, see we I do feel alive. You can drink as well, because it's incredibly Puma fresh rules of the whole of the slide Sharon Rady ran an ad. I I actually, I always wanted when we took we, which we always talk of a sequel to twenty eight days. Twenty eight weeks later and one of the idea

was to end up at Lake Bikal that the world, that's where the world would end up facing a real apocalypse. That's where you'd go Do you have an endless supply of freshwater there? If every else was contaminated? That's where you'd go you'd all end up in Siberia. Well, is it I mean? Is there will you do with come on. Well, no, I, like I was with I saw. I saw it's funny. Actually, I saw so Skull. Showed me his film. The other night he's been making this film annihilation. It's very good, some of it really good and he has an idea for a third part of it, but I don't know whether it will actually happen or not it's kind of like because there's a one that is

wonderful idea, but whether realizing it runs a rising and all I don't know really get off to yell out. You have to get him on the show and speak to her. I mean, and then you know, on top of that, it's just really hard to make a movie like it's just the process. It's it's almost like the process that it be the bureaucracy in the process that it takes to make a movie almost feels like it was designed only for people to figure out like ok, if you can get past this, you know it's like the turtles. The little baby tortoises swimming across getting across this, and if you can get across the sand and not get eaten by a seagull, then you deserve to have this happen, but it seems you know like how long what is the longest process that you had from start from conception of idea to actually making a movie? We didn't, but we've been very lucky. We've been quite quick when the ones I've been involved involved, we've been quite quickly. You do hear horror stories of development taking ten years and things like that, so actually get them up and going what I find.

So bizarre is that what you're doing is most of the time? What you're doing is realism is just real life like we're living now and yet to repeat a bit of it. Plausibly takes you four thousand four hundred times the amount of time it takes to do some well the repeats, I don't fail, and I exact moment, and they keep plausible, unacceptable and believable takes you four hundred times the amount of time to actually recreate in film hi. It's bizarre, don't you think? Well it it is, but it you know, especially because, You I feel like your style is so unique. Are you where the camera is supposed to go in every scene. Is it happening or do you and on the day to go, you know? Maybe I can I want to try this here. Is that if you do it on the day that the I always the best like is always you you out, you have to have a plan, hey which is has been announced. Four one 'cause? Everybody needs to think. They know what they're doing, because there's so many people involved in some.

Planning involved, but actually plan b is always better in which you make it up on the day and that's be cause. You shouldn't shouldn't plan too much without the actors on once the for there anyway, that kind of films. I do that, once the actors come into the room, that's when you should make your decisions really well, then they feel like the it's being built around them rather than that they're being inserted into it right now, the common thing that they feel, understandably they turn up, and it's like everything is decided. Right now I just say the lines, which is how some people like to operate sure, but I much prefer it to feel like its emerging out of them. So if you can hold the decision making for as late as possible, it's scary 'cause. You can come a cropper with it and fall behind and all those terrible sins, but actually it's the best way. If you can, and also everybody is different on the day anyway, you know actors the different people every day, because obviously life happens to them, and you know in the mean time, and so there are different person

sing slightly differently one day. Then they will another day. There is no empirical truth that they'll always played it's written this when it will always be played that way. They do new onset with their own experience every and it'll change, depending on which day you catch the memory yeah, but it's just this either that dirt directing in particular just feels like you have to be. It just seems like such a dichotomy of you need to be in control, but also you need to know that you don't have control over anything because there's just so many moving parts. Yes, another thing you you will you acknowledge, you have to you, but there's lots of people can make films at this law, and I, what would lots of people who have who would, I could tell, would be very, very good director They have vision, they have a kind of craft that would allow them to do it, but they don't want that responsibility. They genuinely dom on the responsibility of making the decision 'cause. Sometimes you have to make decisions and they're, not necessarily the correct one.

But they are the one that will work for the day that will work on that day. It's very practical business in a way you've got a kind of just get through the day and get everybody on board through the day as well. In a way, then, a lot of people just don't want that kind of responsibility. Really, but yeah you are, but you are you're the leader and they want you to be the leader, even if you're making the occasional bad decision they prefer that to indecision right there, hey is indecision and also as long as you're, making it they're not responsible for its fine with my idea anyway. What do you think are your strengths and weaknesses? What do you think you're really good at and what are some things that you go? I wish I were better at this particular thing. I wish I wish I was better character. I look at you know. I look at films, the really really really care about carrot so deeply, and I admire them very, very much because I think ultimately, audiences what character more than anything. We we we, we like to think they, what style and stuff it really if they don't

They follow carrot. So more than anything I wish I was desperate carrots to study, but I'm too impatient for that, what kind of light and not smiley that's what I am good at is impatience. I I am. I don't apologize for if people don't like that, that's fine! I like films, to have propulsion and and compulsion and and be moving full, always so have any patients that keeps them moving forward and that doesn't allow you time really to study character in the in great great Dan really, and so what? What do you think you're good at like? What do you want that? That's the impatience, addresses yeah yeah, the. I think that was a good thing, really the very impatient about wanting the, film to have forward momentum. I can it's changed it 'cause, it's all digital, but it always used to be always use. Amaze me with twenty four frames, are saying he was it's really going through this huge speed? And I thought that's. Why that's why movies are action

so that's why an action movie is the purest movie. There is really because it's always about forward momentum, and it's you know it's the old silent, whether it was a journey they're always moving like the general. It's always moving yeah. You know everything is moving across the screen like that and when people went to the first time, people went to see movies, they would it's like screaming, because there was a train right inside yeah, but it was coming sort of love that and that's the beauty of that's the origin of Cinema. I think in a way Mass cinema, which is that you go there and have that mass experience. I love that everything virtual reality is going to make it weird, though, because in the way that 'cause, I think it would be great for some things and not great for a lot of things, but I still think that you do the conductor to go. This is what you should be looking at for this story like this idea, where you can go into a three hundred and sixty degree immersive environment and, like ok, you pick. What you want to see is like no, it's like someone should. You know director needs to tell you what the story is.

I believe so, but I can't I'm old fashioned in that way. Then my daughter works in we are at the moment and- and they don't think like that they have- and it's it's uh is beyond the door I'll never get through. Really I don't. I don't think you know. I admire it when I watch it and I watched that Chris Milk's films, which are really beauty we made and they are emotional. I always thought the olden be emotional, it would just be technical, wizardry sure, but his films are genuinely emotional. Where you start to tear up you know you can feel yourself being emotional about peoples stories, you're hearing about So there are clearly huge possibilities. Yeah there figured out yeah. They know that someone figure in the foothills of the moment yeah, but you know remember the first time I saw Trainspotting and it the win and when it was in the theater when it came out- and you know twenty years ago with a twenty-

was neither like nine thousand five hundred and ninety six nine thousand six hundred and ninety six and uh, but just the idea of uh realizing, oh he's, showing me what it feels like to them, and that is such a such a unique way rather than having the characters. Tell you. This is what this feels like, but to see them get absorbed in the carpenter to see like going into a toy.

No he's diving in this beautiful. You know it's romanticized, like kind of from their point of your romanticizing. All these really awful greedy failings, yes, was that you know with that sort of the driving ammo for that movie, or was that just did you see those a style choices when you were making that, though it would, but they were there with it. There was such kind of the such moral high ground. It's normally expressed about any kind of drug use in in in in culture well, certainly in film, and that it was too. It was to deliberately contradict that and say in to ask the question: no, why do people use drugs, but what? What is it like for the people? Why are using drugs light. Not, I think what I need it. He was trying. The problem is that Keryx is the early Moshe's in these books are normally looks not really as victims. Really they looked up from a distance rather than an and they judged.

They normally judged either in one or two ways, a victim or as evil. You know and it depending on your perspective, I was trying to shoot up perspective, unnaturally those perspectives and take it from the perspective in sight and at the time of the first film those huge use throughout Britain of ecstasy, ecstasy, it exploded across Britain. I need, if anything, the fit if you're going to say the first films about drug use is not really, but if you gonna say that it's more about the energy the film is more about is more akin to ecstasy than heroin, which is heroin, is a very dole drug to Walch being used because nothing happens. Rarely people just really doll was off. You know in the corner of the room, for a time was ten hours. There's very, very little happens with it, so it was more the um. It was more. The energy of the drug of the day really ecstasy and it was to try, naturally, but it was to try and see it from the perspective of the users really and that they as they.

In the film. You know we're not stupid, we do it because we get something from it really. Is that very simple perspective, which was not permissible really in the cinema Jim gently, speaking citizen, you know in a mainstream film and of course he should be because he's not going to lead to is not going to lead to more drug use because you can see in the film if you look at the whole film, the some terrible things happen sure no to some of the people in the film and am. So if it's just going to give people more knowledge- and you must always believe in more access to knowledge and experience and culture is part of giving you that those tools to access more knowledge of marks. Yet I mean I No, I don't think the movie in any way made. It seem glamorous, because it's juxtaposed with these really tragic things happening or even just you know, just like you know flying everywhere. It's like seeing the real sort of pretty reality of like this is what these this is, what their daytime lives are like? Yes, yeah and there's uh,

There's a scene in the new movie was spud, the Renton saves buddies about trying to find suicide actually and it's a terrible scene in the way it's almost unwatchable what is happening. I'm at one point with a bag on his head and stuff like that, and it's kind of Irving's will specializes in that in that kind of, like that, there's a beauty and then a huge comedy, and then these gross out moments of almost unwatchable repulsion, where you are repelled by what you're watching as well. So you get the full gamut of the experience. There are always justified like the disgusting moments. It's never just for shock. I mean it is shocking, but it never feels like oh he's just this is like it's all. It's for a reason. It's always in a you know. Do you think that's part of your job is to I mean this is a dumb question. Yes, of course it is, but the idea that you know you're just figuring out how to justify

is the craziest thing that you can show and still root it in some sort of a reality or give it a reason. No anything like that it because of these days, of course, you could do anything. You can share anything I mean story wise. I mean story wise because you know in the eye there's a version of another movie which is like a which is a crazy comedy which the guy shipped in the bed and they throw the sheets. I think it's ever if you were like. Oh my god, that's crazy! You know this movie, it's in Trainspotting, it's like horrifying, but it makes so much sense like this is part of his character. This is what's happening. This is what this is doing, and so it doesn't feel like he was just trying to gross everyone out you root root. History carries right, you do route it through character and you want to feel it through that character. Really, I mean about waiting until the day when you make the decision is that you do as much planning as you can, with the actor who's responsible for that

almonds and then a and and then, if it's on the day only than on the day you make good decisions about the scene on the day, so it feels like the active should own it. You know you know imposing it on them. We can impose grow so stop on anybody sure, but if it comes out the carrot so you'll have the it'll feel like it's Brad from the act to themselves. From that Karen's right. Do you have a premier was our big premier for transfer When it came out the first one yeah yeah, that was when we did one in Scotland we did a civil tennis, one one there's a rival cities in Scotland, Glasgow and Edinburgh Michael says the great rivalry between the two cities. We did similar tennis was very, very good, may show it so we did one and then we raced across the most, so we open wall and then race across the motorway and was there for the end of the other woman's life, all that kind of, so so simple Tennessee. I was just wondering if you had, because you know I'm by rumor the first time. I saw that movie. I thought why don't I haven't even seen anything like this before so just the experience of seeing it with you know. Do you get excited no

you're about to show this to a group of people who have no idea what their in store for and then just kind of watching how they process it? As it's happening, I did. The one I do remember is what, after it so after he played in Britain, it went to the Cannes Film Festival and what housing can is that you present the film the big night in Kenya. Big premiering can to the to the bourgeoisie of can and the cinema, and you you, you know your in a kind of role with the in the middle and as the film ends you have to stand on. The spot light comes on you, you have to turn around and face the audience and I remember turning round and facing our audience and they were clapping like this, and I remember looking around and thinking they look absolutely like. They do not know what that was. It was like they look baffled completely baffled. You think they were

think they were just being french. I don't know. I thought I was about to say there would be polite, but they're, not particularly polite French necessarily, but they were baffled. I think they were completely baffled by the experience yeah. I guess I guess every you know. I mean again it's sort of like what you said earlier, but every person every audience they're going to bring their own baggage into a thing, which is why it's impossible to make some for everyone's, like everyone is, you know, they're going to bring in all their issues, they're going to see what they see, and so it's funny to sort of see how that doesn't affect just a person but like Culturale what things play differently in different and how they play in different countries. I know yeah I mean it's that you can't you can't. I mean, I suppose, they're all people who are very good at it, takes all of very good at designing a film that can appeal everyone sure seems to have an appeal to everyone. That's an extraordinary skill, but I think I'm the only one I would find the impossible. Really. I don't even think about. He can't even really think about people about all the people. You have to think I'm not sure

example like this. You have to think about the story in your your interest in the story, and it may well be that that's completely out of also with everyone else, which is when you have a disaster. You made something and nobody's interested in watching it. Absolutely no one wants to watch it, but you still you've had that up in just the same really. I suppose there are people who design it, not caring what they think themselves about set and to think what do these people think about said sure, but I suppose that kind of stuff I do is I'm obsessed. I go into a kind of frenzy of end assist in a particular story and hope that he shared with other people eventually, you know when it finally comes. I sure, and then is there a certain point in the process of making a film where you feel like okay, I think I think we're. I think we have it now and is that at different points throughout the process for each my,

It's very weird. I remember when we shot the beginning of twenty eight days late, so we did that. The beginning, where he wonders run London and London's is, is set our we shop, not with a long time before we shot the rest, the movie, because we shot out at a time we could get London. It was like at the with the with the so sunrise was earliest in london- was most likely to be deserted. So we shot, over a week, four hundred and thirty every morning for a couple of hours before the traffic started when we shot that we put a piece of music on it, the Godspeed I can prove music this on it. I remember when I saw that- and I remember thinking- that's good- that's good. What will the rest of it be like, but it's rare that you think that where you achieve, any point. Now, it's kind of more left to pick well. That was different as well, because it was like in a standalone opening sequence. You can judge it really most the time sequences don't stand on their own, like in the new, maybe there's a right. There is a great sequence where they sing a song that a loyalist club

sing me a song about no more Catholics, she's, very, very promising. I remember thinking I should work because you and Johnny perform it brilliantly. I remember thinking that should work, but have no idea really whether it will or not. You have no idea whether it's surviving the end 'cause, you might cut it 'cause, you should cut. So if it doesn't work, you should be prepared to throw out. They all say that you should throw away your favorite scene, or you know they all say that you should throw away your favorite sharpen your favorite scene. You should get rid of it. Yo Yo, being over affection and writing, because it's too personal to me yet because I dislike not relevant to the story. Well, you should be prepared to kill your babies. You know because it's not relevant to the story should go really right. Now, it's tough when you suppose we spent three days shooting incident. Yes, are you gonna be prepared to

You literally killed the baby in Trainspotting. It was a literal that scene, it's still hot, it's still haunts so what's a week, so obviously there's this baby in the in the original film. The dice- and it's referred to in the second vote. Yes one of the consequences of their their aging, really, the coming to terms with what's happened in their past, and so we thought we better find out. What's happened to that baby because, of course, if we're going to use the baby in the new film right and then, if that baby has, I don't know right, you know you can't imagine what could have happened to that, because that baby will now be twenty two years old right. So we, in fact it was a twin we'd, cast twins 'cause. When you cuss a little bit,

these. You do trying cast to cut twins George, so you may want them out, because when the crying yeah, if you can't stop crying right, you kind of see get double double his success. If you can get it anyway, so we rate we switch phones, these twins on Facebook, all the fat. And there are adults now and they're adults, none very glamorous, these girls, very beautiful girls who are like lovely and they came to the kind of um Premiere Party. We can reach out to them and said well, come to the party there and they went round the very glamorous girls scottish girls and they went round the party introducing themselves as where the dead baby, which is disconcerting for people these secretively glamorous girls. So they got great fun. I mean there. Isn't there isn't up there? There was an opportunity to just have that baby as an adult on the ceiling like

they were going to get me down what's happening, but it really it tide so beautifully with the first one and does it does it he'll. Do you like this story is all wrapped up now? Does it feel you know? I mean I'm sure when you first made Trainspotting, you pry, never thought I'm gonna make another one of these. No, we didn't Unh unh unh. We should have done because if you will prophecy cool, So if you do you, you move straight away to make. You know you bring out your next one quite quickly after journal. You know that's the commercial thinking anyway, but we never. We never even imagine that what you hope is that you kind of like that error was that it would be bad because then it was you would never be forgiven for having returned to something that people had such affection for and then you made a ship film and that was the only pressure I ever felt was sometimes I see the actors looking at me. Corner of my eye and I could tell what they were thinking this,

not be done, they will literally thinking not we love it, but it's been an option, yes, the white, so we would what made you decide to go ahead and do it? Well, because we had a kind of there's a personal element in it this week, the cut so we we will go, we we never want to call it trains forcing this is the weird thing is that I know I know This is the part of my brain. The rational part of my brain knows we're gonna have to use the title Trainspotting somewhere in it's right. You know, but we we John, how do you know the screen writer? We have this insistence that we were going to call it something different with nothing to do with Trainspotting. It was going to be a fight. He was going to be cold, the least unfamiliar, which is a terrible title. We knew as a terrible title, but we were defiantly saying it's gotta be called that because it will be. It may not be anything to do with the first film. We may never even refer to the switch.

Go to be sold thing he's got his own identity. You mustn't judge is a sequel straight away which, because everybody does sure, so you cling on to that for as long as possible and eventually you gave in, and you have to give in a reference that, but but you keep hold of it until you feel like it. It has an identity of its own. That's really important to it that it feels like it's his own thing and it was more personal element to do with the passing of time, an asian man hood in the behavior of men over time it felt like that was the film that we were making really and that then it can. Then you can stick a label on it that touches it to the first one. What would what type by then its relationship with the first one sure so is what is weird process to describe that, but it was very important to us at the time and how have you changed since the first one? It's hard, isn't it you get you kind of which, if you

If you're lucky enough to be able to make a few films you you kind of learn, stuff and and and that's not sent necessarily help. He really isn't you think it would be. Logically, I think, there's a distance really about the early ones? That is more is more valid. See you, then all the technical skills, you sure sure sure later so you kind of hope you I hope you haven't learned too much and you hope you don't learn yourself out of being interesting. Really, I think you hope you don't attain skills that actually stop you being interested. You become more perfect see much on those on those things and you get yeah. It's so cunning film, it's sold, manipulative and you know it's soul concocted then in its most innocent states? So when he's in, is it leased, innocence? Eighties, morass of concoction of you know a fax and tricks and

things that you're using to and yet the should be at its heart should be something very, very simple, really and a heart breaking up Chile about set, because you were looking at our souls of the and we decided like in some ancient society. We decided to make figurines of the gulls that of forty feet high. I would golds all ourselves, that's really what John. Is that we've got away with the God we've done away with the gods. Generally speaking and we've made gods of ourselves when we look at ourselves, forty feet high and that has to be there has to be a beauty and simplicity and heart and something heartbreaking about that Altima. You know when you watch him stone and breakdown in Lavaland. You know you know it's just like. Well, it's Do you know what the statue apart and that's why we love actors and we put up with what, how crazy they are

No, we don't always because you know they have that huge value for a service of others. It's a really important part of our culture, and not just our culture of everything about us, is to watch ourselves up on the screen. The stories and lose ourselves in them? You know it's really essential part of being a human being. I think that storytelling thing which you do throughout to shore when you end, but that idea of having to harness these like emotional tornadoes that are performers and is figuring out like how can I just get him to fling out the right thing for this they're worth it? You have to believe they're worth it in the end to put up with everything, because I know I love too much like 'cause, you kind of it's expensive for them. Putting it out it's not emotionally emotionally. I think it is yeah and representing us which they do. There literally are representatives. You know up there living out these things that we may never get to that state, but we wish we did or we're glad we never got to that state. We want to see it experienced and we don't have to go through it, but we see it experience very.

Primordial. I think really in a way that you know it looks very skillful and very kind of like technical and all that kind of stuff, but his basic impact is very important to us. You know yeah, and also can you can you forget what you know yeah I I this is such an interesting idea, which I'd is that no one's ever said before, but this idea for getting what you know. I I have a car. I have a little car, that's in front of my computer and it says something like I'm sure it's a famous quote. I apologize for not intervening it to anyone, but but the quota, something like like five discover your discover, your recipes and abandon them yeah. And how do you do that? How do you forget yeah, like? How do you forget? How do you abandon that each time, especially because, inherently like you said, you're gonna, learn more each time? So how do you see any even to be in your mother?

Even if it's not intellectual knowledge, it's still in your body yeah! It's really it's really. It's! It's really tricky. Trying to it's it's it's to prevent you stinking you'll, know what you is to prevent you thinking. You know what you're doing. If you know what you're doing, what do you do, If you just know what you're doing, what are you doing you just it's just buy rolls or if you get the privilege of making a film you should. We literally on the limits of what you're capable of, and it should be kind of vibrating in front of you almost out of your control, but but still just within your control, you know, but also you control, and they say that you don't start until it gets an audience which is the final part of the equation is what they bring to it as we were talking about it for because they can bring something depending on

This happened in the world that day they will bring something different, they'll read it in a different way. You know, they'll just see it in in and you light depending on. What's happened that day to them. Well, this has been an amazing conversation. An I hope that you take the idea seriously of doing I'm going to add and uh I'm into it an italian space musical? That's a- and I just you know if I, if I see that happening, you win Academy awards small. Thank you. Thank you. It all began hit all began right here so transporting to what is with the release date March, seventeenth, Trainspotting to March seventeenth. It was wonderful and delightful to have you on the podcast. Thank you so much. It was a pleasure to be Can you boil, enjoy your burrito everyone now, leaving dot com enjoy your burrito.