Oh, 7 Ep 6 - Once (the movie)

We give John Carney's Blockbusker romantic musical dramady Once a good going over. Some major wins and a couple of minor dips but would it be made today? Yeah... about that...

Links and things

Once - making a modern day musical (Youtube)

Glen Hansard - On acting in the film Once (Youtube) 

Side note, the Youtube channel that the above video sits on - The Off Camera Show with Sam Jones has had some insane guests over the years - take a look!

Falling Slowly wins Best Original Song (cringe alert) - Youtube

Transcript

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Hello and welcome to the 07 Podcast, the show that looks back at the films for 2007 with a 2025 lens. I'm Lucy Alfred and this dancing guy is my Co host. Tay, how are you? Tay No. No ones gonna see that. That's hilarious. I'm good. Thanks. How are you? I'm OK, we haven't spoken for a couple of weeks. Our avid listeners might have noticed a small gap in episodes. Your friends. All my friends, yeah. Apologies. Yeah. Tay's not been feeling very well. He actually lost his voice. So we couldn't we couldn't do a record. Little vocal chords get tired, don't they? Yeah, that would imply a lifetime of talking too much. Speaking of vocal chords, what film are we looking at this week, Tay? We're going to talk about the film once from 2000. Can you guess what year it's from? And it's an odd one, this one, because I'm pretty sure when it came out everyone loved it. And it seems like in the rearview mirror of time changed things a little bit in my mind. I definitely didn't watch it at the time and had forgotten once again that I'd seen it and it was only wait. Wait, wait, wait, tell. Please tell me in your memory of what you thought this film was. Please let it be as good as No Country, for there were some lightsabers. So there was a Hoover, a Hoover with an Irish accent talking to another Hoover. And it was like a precursor to the film Cars. If only. They're yeah, and they're chased around Dublin by a serial. Killer. Yeah, with a lightsaber. Yeah. No, no, that would have been better. Actually, yeah, I think that would have blown the very small budget that they had. So no, I knew it was a musical because I know this, I know the soundtrack very well. And I clearly knew the soundtrack because I'd seen the film, but I'd forgotten that I'd seen the film. And it wasn't until we got to the scene where they woke into the music shop and she plays the piano and then the the the famous song is sung that I was like, Oh no, I definitely have seen this film. I thought I recognised it around the vacuum cleaner bit. Yeah. And it wasn't. And until then I was like, no, I definitely have seen this film and I probably watched it because I liked the soundtrack. That was like everywhere. Because by the way, guys, I'm a huge musical fan, so love all the musicals. We're going to be doing some musical films. Much to take chagrin. I don't. Like productions that have just become musical. I'm really not great with those like although Wicked is amazing, it's kind of it feels like it's own thing. But when they just recreate a a piece of art of some kind and then they just write some songs and just smash those things together, they don't really grab me. Do you mean like Back to the Future or something like that? Yes. Terrible. Yeah, awful. Hey, hey. Yeah, Lucy, what is the film? Once it's a lo fi indie film shot on handheld cameras, very shakily actually. By the end I was like, what had motion sickness? It was made for around €130,000 and then it ended up grossing over $20 million, so pretty good going. It was one of those, as you say, sort of stand out little indie films that came out in 2007, which ended up being a little darling of critics and audiences alike. So yeah, it was a it was a pretty, pretty big hitter at the time. Written and directed by John Carney. He has previous on this kind of style of film, but he also did begin again with Mark Ruffalo and Keira Knightley and he did sing St. which I think I'm a bit more familiar with. John Carney is a guy who likes to make a film with songs in it. He was in a band and Glenn Hansard was in the same band as him for a while. I think Glenn Hansard is the singer-songwriter in the film, and Marquetta Iglova is the sort sort of, I'm not going to say love interest is the other singer-songwriter in the film. There you go. She's definitely set up to be the love interest and the audience expect them to be romantically connected and there definitely is a connection. But you're right in it not being a standard romance. Yeah. Spoiler alert, guy doesn't get the girl at the end. Literally called Guy, guy and girl. These two as well their names in the credits. Yeah, I love that. I love that he 'cause he actually calls. He always says myself and herself. Yeah, when he's referring to him and her. I quite like that. I just thought he was lazy. But yeah, so the film follows him guy himself, Yep. Who is the Dublin busker? And she is an immigrant flower girl and they meet on the street over a Hoover and well actually they meet on the street. Come on, says why don't you get a real job? And he was like, I've got a real job. I work in a Hoover repair shop and she. No. I see a broken Hoover. Come on. She. Oh yeah. Oh, my God, He's busking in the street and she is taken, I think, by his music, right? Yeah. And it's not the stuff that he does during the day because they make a point of talking about how he does his own stuff at night because people in the daytime just want to hear the hits. It's at night, he's on the street, he's playing some of his own stuff. And we'll get into that. And she is drawn to the, I think, the soul of what he's going on about. And they have a conversation. And yeah, it it transpires that he isn't just a busker. He's also, he also works in his dad's vacuum cleaner repair shop. And then a lovely friendship flourishes because she's also musical. She's got some stuff going on as well in her background. You get a sense from his music. He's going through some stuff. Understatement of the year. You're definitely going through some stuff. There. Oh boy. Yeah. I I have to say I've found it towards the end, just a bit shouty. Shouty and whiny. Prefer that. Prefer the songs where she's duetting with him, particularly the the the main famous number. Yeah, I don't know you this. Is the musical episode of this podcast. This is a musical episode of this podcast, yes. All right, Yeah. So they meet. Yeah. They bond over music. Their music is different and they get together and become friends and they make some music together and then eventually they record some music together. And in the midst all of that arc is some songs and some moments that are funny. And what else can you say? Well is that there is the frisson of and suggestion of romance. Well, he basically asks her to ask her if she wants to stay over, right? He does that, yes. Not so much a frisson. Well, no. It's a full on rub. I don't think it's reciprocated at that point, 'cause she literally is like, no, this was a mistake what you're talking about. Then he realises he's ballsed up and after that, then they form form the relationship. But there's definitely a chemistry there. And I'd say that the romantic element is that kind of realistic element of unrequited love or the way that relationships often play out in terms of like friendships or whatever that their situation, their, you know, she's married, he's going through a breakup or has like still thinks that he's in love with his ex. All of that means that they can't really be together, but there is definitely chemistry between them. Yeah, she and she gets a bit playful with that towards the end of the film. Yeah, there's a conversation they're having while they're out, just on a jaunt overlooking the sea, and she's alternating between English and Czech. And much is made in the behind the scenes of her saying to him in Czech. And it's not translated, so it's ambiguous that, but she's saying that maybe, maybe I love you instead of like her husband. Yeah, for sure. So yeah, I agree, a chemistry forms and then it fucks off with him because he goes to London. Yeah, I don't. I feel like that was just a bit sort of ham fisted at the end because he has spent most of the film talking about what a bitch his ex is because she ran off with somebody else. And then he's like, oh, but actually I still have feelings for you and I'm going to come and meet you in London. Bye. And then it's kind of the end. I guess this is one of my problems with this film is that the the thing the engine is powering him and a lot of his motivation to do this all this music, some of it is really, really good, is a a hurt for an ex who he ends up with the end. Yeah, I know. And it's like, oh, oh, I felt cheated. But yeah, good on John Carney, though, for having the gumption to make a film like this and seemingly for turning it around, A, for very little money and, B, in a way that it feels pretty credible. You were talking about motion sickness, and I didn't really get that, but this didn't. This doesn't make a big deal out of the fact that it was only shot on these one up or two up from the kind of cameras that they would teach us to film with the BBC. And that was impressive to me and to the point of distraction because I needed something to be distracted by towards the end of this film because I'm like, yeah, yeah, finally I get it. Yeah. You know, just do. She'll get off the pot, both of you, You know. So it's impressive that he made the film, but it's also impressive that it he keeps doing it. He won't stop. He keeps making these the same kind of films. And it's not to say that they're all the same, but like, they're obviously distinct from each other. But like, that's what he likes to do. That's his style. Performance doesn't just mean acting for him. And that's really cool. Like you could say that of of some of the greats, like, you know, David Lynch. Yeah, he's got his style. That's what he does. Yeah, are. We Would you call this a musical film? Yeah. Yeah, yeah, I think so. If you take the music away from it, there's nothing here. Yeah, man, it really helps it come up it. Would be a short It would be a fairly average short. Like, it would be cute and funny in places, but they so much of their draw to each other and their relationship. What becomes a relationship is a rat is centered on music, either playing it to each other or just even when they're having a conversation. He's just strumming on, strumming about. And you know, he's explaining his history, his troubled history with his ex, who he gets back with through song. And we learn more about them through music than we do really about through dialogue, I think. True, True, which is a true musical. They're true musicals. You know, the, the, the, the music helps to tell the story. Yeah, but it wasn't annoying in that way. It's. Like, no, they they were they were independent songs, but they weren't my least favorite type of musical, which is where they take real songs, IE the songs from the songs of Bob Dylan that they then put into musical. This is a stage music I'm talking about. She's called a Girl from the North Country. I'm a big Bob Dylan fan, love his music. I actually loved the soundtrack from Girl from the North Country, but when I went to see it, the songs, I mean Bob Dylan lyrics don't really make much sense anyway, so they definitely don't really help to repel the narrative. They just kind of convey a mood for whatever was going on in the scene. I do like a musical where they are singing how they feel, but these kind of sit somewhere in between where they are independent songs that help to repel the narrative, but they're not dialogical. Is that a word? No conversational. Conversational. Yeah. They're not conversational. Yeah, it feels like it's more than the sum of its parts. And that is, is certainly not like there's the acting performances are not, they're not getting any awards, right, But they're not actors. And they were both worried about that. And so John Carney rightly identifies that music is the is going to be the carry in this film. And it works. It's like a very light, fluffy confection. It's not going to fill you up, but it'll make you feel nice for 90 minutes or whatever. Or it'll make you feel away. Yeah, certainly some of the more ragey songs will make you really feel the negative emotions. They were either ragey or they were whiny, weren't they? There was a song called Lies which I thought is really good, but it's also the whiniest song in the film and it kind of it underlines what a whiny bitch this guy is. Oh my God, dude. Yes, I get over. It I know fuck. It is ambiguous though, right? Because it's not super clear that he gets back with her, but it that seemed to be the, that's what I took away from it was that this the off camera, they'd somehow figured out some detente and then they decided to get back together and he goes off to London. I thought so going back to memories of this film in my memory, the demo that they make, which, you know, they're all very impressed with, is something that he had. He was able to take to London and then, you know, use to to kick start a career for both of them. Yeah, but that's my misremembering of the film, because that's not what happens at all. Well, you, you definitely LED down those two alleys. One that they are, they end up becoming, you know, big stars. And the other is that they end up together, whereas actually neither of those things happen. And it made me feel a little bit uncomfortable, the idea that he's going to London, A, to meet his ex, but B, to take his music with him that she's played a huge part in. Is she going to get royalties? Is she going to get credited for her input? I don't think so. And that's what that made me feel a bit funky. So my favorite aspects. And now this is definitely a 2025 lens looking back at 2007. But I, I wrote in my notes the kind of naughties soft guy aesthetic, which I don't think that is the exact wording and I didn't coin it, but I follow an account on Instagram called Brit Cult Highly recommend following them if you're a millennial and you're British or just, or an Anglophile Britophile because it literally regurgitates imagery of the kind of naughties kind of British guy look. So think Vernon Kay, Dermot O'Leary and that and and then your guy in this film with the scarf that's knotted with the loop and it's through it and the kind of shaggy jacket that sort of like post Oasis look. I loved that aspect of it. And because it's filmed that kind of documentary style handheld camera, most of the people in the film aren't even extras. They're just average people. Walking down the street, you see sort of real Dublin. There's no sets as far as I'm aware. There's no sets. Even his little bedroom that feels like someone's actual bedroom. I guess when it's filmed for€130,000, you're not really blowing your budget on set. So that I love that just from a purely nostalgic sentiment because I'm a bit of a nostalgic weirdo. And I also, the other aspect I loved about this film was how they used sound, which kind of makes sense because it's a musical film. But there's a particular scene where they're walking down the street and you can hear them, and as they move away from the camera, the sound of their conversation just slowly fades into the sound of everyone walking along the street. Loved that. And there's also another scene where they're sat inside a cafe and the cameras outside filming them through the window. Now, obviously they wouldn't have had sophisticated mics really, and it would have been quite hard to film them inside the cafe because there would have been people in there because they couldn't have closed the cafe presumably. So to get around that, they filmed them from outside the, the restaurant. But you can hear them in the cafe. And I, I just loved that. It was really so easy to do, but the effect was brilliant because you had that kind of element of, well, you're looking in at them in the real world, you'd never be able to hear what they were saying. But you, you get that audio. So he's a musician, isn't he? As in John Carney? Yeah, he's a bass player. He knows sound and so he uses sound very well here where he hasn't got a big budget to do anything else with it. He can play around with what he can play around with. So I love that. And I don't think as far as I can tell, unless they did a really good job of it, if and I don't think any of the the music is mimed. It all feels like it's recorded in situ. Think so. Which again, is really hard to do. And they did a great job. So yeah, I loved, I loved the sound design and and the way the way it was used. They're my favorite aspects. What are your favorite aspects, Tay? Couple of things. I wrote that it almost felt like you were in the room for a lot of the scenes. It felt very immersive. So it does feel like a documentary. I really love the lofi but credible feel of it. And I'm a sucker for guerrilla filmmaking. They didn't get a single permit for filming in Dublin for this, no or the surrounding areas. And you know, I struggled to figure out how they spent 130 grand from what it's and they didn't get paid right. I think they took a percentage, which is such a smart idea. I mean, I think it only took 17 days to film, right? So. So I would like, so it appeals, it appeals to my interest in filmmaking about the approach and the plan and how they use things like very long lenses to so that the actors are not almost unaware of the camera. They're walking down the street having a conversation. And I'm sure that helped the actors as well because they don't have to emote massively. They just have to hang out and have these semi scripted conversations and it all comes together in a way that I think is really great. You don't feel cheated as a viewer of a film. It feels like it feels credible, which is why I guess I it feels like it's more than some of its parts because if you dig into it, you break it down into its components, it's like there's, there's very little there. It's kind of boring. Yeah, it's like, you know, that kid who always used to make the most amazing fucking things out of just like a few bits of Lego. Oh, yeah. And you like how? What did you, how did you do that? Yeah, like that. So yeah, I, I generally like the feel of the film. I can nitpick some of the stuff about the songs and how to exception to them being a bit whiny and a bit sort of petulant relationship grief, especially with the ending. Like the ending just feels like and, and now nothing's wrong. Yeah, it's like, oh, what did we learn then and what have you learned? Guy well, yeah, maybe he, he hasn't learned anything, but I think she learned that whilst it would be potentially fun to have a little liaison with him, actually there's more important things in her life like her daughter and stability for her. So ultimately she has that. But then obviously she does have a little link to him where he buys her a piano, which is quite sweet. There is a bit in the film where they're about to part ways and he says to her, do you want to have a cup of tea or something? And he means it, right? And she's like, Oh, yeah, cup of tea, you know, And they're joking about having hanky panky, and she calls it that. And she says it'll be interesting but worthless. Like, yeah, good shout. He's a, he's a knob even. You know, he's good in it, right? They're his songs. And he was worried about being in the film because the story is quite close to him. Wow, and now it's a film forever. That's what you do with your grief, isn't it? You make it into something that's going to live forever and it will never. You'll never be free of it. You'll. Never be free of it, and neither will they. Good call. Yeah, so big. That's big up yours isn't it to to your exes. I don't think that I think this is a mistake because like, you're committing some deeply painful part of yourself to a format that will just hang around, be watched by people, and even maybe even you if you forget about it for long enough. And then you're like oh fucking hell I forgot about this and now, now I'm reminded and pissed off so. Some of the greatest art has come out of heartbreak. So what I wanted to say was, you know, when famous singers write songs about their exes, for instance, the the the song. But I mean, I can't believe I'm actually going about to say this, but that Taylor Swift song, it's obviously about Harry Styles and it's going, it's like the song. Is it called going out of style or something? I don't know, almost the fans, the Swifties say that it's about them, but if you are the person that the song was written about, you have to hear that on the radio all the time, so it maybe it's a big up yours. Yeah, but it's also like, it's like having a tattoo of of a failure. We just have to do what Steve Zizu did in the Life Aquatic where it crosses out her name. I actually had an ex-boyfriend who's ex-wife when they were still together wanted him to have a tattoo of her name on his arm and he said he would only do it if he was allowed to do it the Steve Sisi way. So he did. But then they did actually break up and he had it on his arm. Still, Glen Hansard and Marqueta in Globe Padilla. They were a couple for a brief period of time. Do you have an age cap there? Who's there? I couldn't really place their ages. So in the film, at the time of making the film, so he knew her, right? He knew she must be on the sort of music circuit and he's in a band. So their past is overly crossed and but she was like maybe I think 17/16/17 when John Carney started to make noises about making this film and initially, do you know this? No, this is all new to me. Well, OK, so this is not like this is not some deep law, but Killian Murphy was in the running to be in this film. I didn't know that. Yeah, and Glenn Hansard was going to write the songs, and he knew Marqueta, and he said she'd be really good in this. And so he put her forward. He suggested her to John Carney and then Killian Murphy. He was worried about two things, not being able to do the songs justice effectively and about acting opposite someone who didn't have any acting experience. And I don't think he was being mean about it. I think he was thinking this is going to be really difficult for you if you struggle, right? And so he didn't. He decided not to do it. And so John Carney said, look, Glenn Hansard, you are writing the songs, why not consider being in the film? He's already got 1 completely non actor, right? What, what's one more? What's you know, what's where's the harm? And I think John Carney kicked in most of the budget himself. Right. Oh wow. Yeah, I'm sure he's fine now, though. Well, I'm sure he is. So, yeah, so that's the back story. So at the time of making his Glenn Hansard, I think it was about 36 and Marquetta was about 17, and they know each other. And then that face, for anyone who's listening, Lucy's made a face. Stank face, 20 years. Close to 20 years, yeah. So that's why I say this is a documentary from the future predicting a relationship in real life because they spent a year tour doing a press tour for the film because it was so successful and formed a relationship, a very brief relationship from what I can understand off the back of that. So you know, life is imitating our imitating life. Right. So, yeah, yeah. But so she was 17 when they made the film or 1817. So if they're doing a year long, so say for instance, that doesn't come out until she's maybe 18 and then she's doing a they're doing a press circuit for a year. She's not even 20 and he's pushing 40. That's weird, man. But just speak to Leonardo DiCaprio about that. Tay, tell me about your highlights from Once. I, there's loads of little moments in the film that I liked. We started off this podcast saying that we're not going to like this film, we're going to slag it off. Actually, all we've done so far is talk about the stuff we like and there's seemingly no end. But anyway, bits I liked in particular was the scene where they they secure a bank loan by just playing a guy a tape Lucy, can we please go and have a meeting with a bank manager and just play? I'll get I'll figure out a way to put the podcast on a tape recorder and just play it to someone and then see that's. How? We make. It please go to a charity shop and get you an I'll fitting beige suit. My suits are ill fitting in beige, just on the spectrum of beige. I like the fact that they won over a guy who works in a bank because they I think they micro targeted that guy. They did their homework and knew that he was a a music enthusiast. And they're like, yeah, this is rocking. Yeah, 10 grand. Yeah. So that bit really spoke to me. There were there were several little music videos in this film, one of which is on a beach and it centres mostly around a Frisbee and it's like a cinematic Frisbee session. You don't see too many of those. I like that bit. I like the fact that she is needling him for most of the film. It feels like she's she's digging at him. She she's digging into his history and his feelings in a way that's like playful and not too not rude and not not with any agenda other than just like to get to know him and that is fun to watch. I like the little moment with his dad. Oh fuck that. Must be my favorite. Scene Sorry Lucy, I can't think of any other bits I liked particularly, but you tell me about what bits you liked. I loved the scene with his dad. I Love Actually all the scenes with his dad, but I particularly loved the scene with his dad listening to the song obviously smoking and they sat at either end of the very domestic table after breakfast it looks like I think, and he's having a smoke. His dad and I feel like I I should have done my research, but like, was that his actual dad? He does. He felt like he wasn't an actor, really natural. He doesn't say much, but when he does speak it's really powerful. And in that scene he's listening to the song and I think he says something like it's fucking marvellous or play it again, it's fucking marvellous. But I love that scene. I loved, I loved him. Also bringing the little teas and coffees in whilst they're having band practice in his room where he's so infantilised, where he's like back. He's like a clearly a guy in his mid 30s in a box in his dad's box room with his mates doing band practice. Very cute. Loved that. Felt like going back to what you said, but you felt like you were in the room. You for sure felt like you were in the room in that scene because it's so busy. There's so many people in the camp caravan must have just been sat there like like holding onto the camera. So yeah, I love that. And then of course, as I said, I loved the scene, which was my cue to remembering that I had seen the film in the in the music shop where they he runs through the song with her, the famous song, and they sing it together. It's beautiful. And that's I think maybe the best part of the film, that that scene. There's a funny story about that scene that told by Glenn Hansard where the guy who runs that shop, after the film came out and was a success, loads of people would go to his shop because they'd find out that his shop was the shop where that was filmed. And they're like, Oh my God, there's out the piano. And he'd say yeah. And he'd sell that piano and then he'd buy a replacement for that piano. And then someone else would come and he'd sold the same piano about like 7 times. Wow, wow. Yeah, funny, that's. Brilliant. OK. Tay, would you say there's anything more or less relevant in 2025 than there was in 2007 when looking at once? Well, one of the reasons why I picked once was a lot of the sentiment happening around the entire W at the moment about immigrants and their role in society. So I do feel like any attempt to make a film like this now would be treated as a sort of woke Hollywood attempt to try and soften people's, some people's, you know, problematic stances about where they think their problems are coming from in life. So I think that aspect of it would definitely get some some traction amongst some people and some hate. But also I just don't think a film like this would get made. I think the novelty of guerrilla film making is gone. And and so, you know, a $20 million return on a film is probably doesn't do much these days. And this is the point of this podcast, right, was to talk about films that probably wouldn't exist in 2025. And so this feels like one of those, something like it. We have musical films, but they feel a bit more grandiose and a bit more like proper productions these days. But they're not, you know, they're getting their permits to film on the streets. They've got sets. Yeah. I mean, the only the two I can think of that I've seen recently, like new, newer releases, Wicked, which came out December last year, and the one about Bob Dylan called Complete Unknown with Timothy. The sound in that is sick. But yeah, they're even even Complete Unknown, which wasn't flashy high camp like Wicked. Huge budget, of course. So you're right. It would never, it would never get made now. The audacity of making a musical on handheld cameras for less than 200 euros €200,000 like Nah Nah. I think it would get made. I just don't think it would make any impact. I don't think it would cut through. I mean, because it we, I don't know if, I don't know if we've covered this, but it won an Oscar for Best Song. Beautiful, beautiful segue. Have you seen? Have you seen the Oscar acceptance moment for this film? No, I have not. I'll have to watch that. Oh. Lucy, I'm going to send it to you, but you're going to break your toes because it is proper cringy, so I'm going to spoil it. But what happens? Don't. You don't need to watch it now. You should you should watch it anyway just to see. Seeing is believing, right? But basically Marquetta and Glenn go up to receive their Their Best Song Best Original Song award and Glenn talks for a bit and then Marquetta goes to speak and then they play them both out. Oh no, that's awful. I know it was awful, but that will happen about 3/4 of the way through the video and then you'll be like, that's weird, what's the rest of this? And what happens at the end of that video is that they they bring Marquetta out later on in the award ceremony to speak. I'm good. And she came out and talked. She's got a really funny accent as well. It's like she she is check right. But she she does sound like a Dubliner as well. Yeah, it comes. Out in the film. Yeah, yeah, it's it's pretty cool. So yeah, that's an uncomfortable video for me to put in the show notes. OK, cool fun facts. Steven Spielberg reportedly said a little movie called Once gave me enough inspiration to last the rest of the year. Nice. Nicely done, Steve. Oh, I just think, come on, if Steven Spielberg A feel something and B says something about your film, if Flippin made it. Yeah, I think much was made of it in the in the once camp that and I'm sure it shifted some units. Yeah, I've got one that isn't on your list. So this film is like 85 minutes. I think John Carney had a 60 minute script and he said that it wasn't about having a perfect story or a perfect script. It was about tone. Tone was the priority and I think that he is successful in that. I mean, clearly he is because, you know, it made it a boat, a boatload of money. Yeah. So yeah, so it is good. Yeah, it is. It's all right. I wouldn't say I wouldn't tell people not to watch it, but would you say that you'd give it the same rating as you did when you first saw it today? You know, like someone when someone ambushes you and say, oh, what do you think of what we've done with the decorating? And you you never thought about the room that you're in or how different it looks and you just like, oh, it's nice that I think that was my reaction. I want having seen this film. I wasn't offended by it. I wasn't. It was just a a nice trouble free 85 minutes. Yeah. And I came out feeling a little bit lighter and I was like, oh, that's good. And humming the songs. Yeah, the job done. Yeah, I'd agree. I'd give it, I'd give it a three out of five. Yeah, like we started this podcast in a very grumpy effect and griped about this film. Turns out I didn't hate it. Like I say, some of its parts it it, it comes together really, really well and you know it, it did well. And John Carney gets to make more films like it. And so that's the name of the game, I think. Yeah, and it should be noted that one of the reasons we another reason why we also watch this film was because I requested that we didn't watch a Hollywood slash American film. So it's actually quite nice to watch something that was a bit different. So it was a great year for film throughout the world. We will be looking at films from other nations. So yeah, stay tuned for what comes next. Glenn Hansardo Machete Glover wrote most of the songs before the script. The music came first. Did you know that, Lucy? I did know that tear, yes. That was a problem for a little while because they they disputed whether or not it was a song that was originally written for the film because the the song existed before the film. Oh wow. And so they almost lost their Oscar award. But then the panel of people who made those decisions took another look and they were like, nice. So I. Right. So coming to the end, let's wrap it up. Would you watch once again? Yeah, I would under a very specific set of circumstances. So if I had exactly 85 minutes to spare and I wanted to just have something light, like a palate cleanser, you know, just something light and something that is just a little bit sweet and not too heavy, I would beat that while watching the film once. Yeah, I agree. I can imagine myself telling people to watch it. Just like, yeah, it's just like a sweet, nice film. Like it won't. You're not going to write home about it, but it's worth a watch. Yeah, it's a it's the sort of film you could, you could put it on when your parents come round to visit. Yeah, there's no rudeness, barely any swearing. There's some swearing. Barely any. Yeah. Listen, we've sworn in this episode, actually. Yeah. OK, Fab. Alright, that's once we did it. We did it. Yeah, so next week we're gonna talk about The Visitor starring Richard Jenkins, and it's written and directed by Tom McCarthy. And old boy, I have got so many things to say about Tom McCarthy. We could probably do a whole episode just about Tom McCarthy. Great, can't wait to watch that. It is really good. Can't wait to get accused of being woke in the comments. Yeah, I know. I I can't help myself. I just like leaving comments. OK, Lucy, thank you for bearing with me while I talk about the film once. It was a good one. Yeah. And yes, thank you Tay for convincing me that I do actually quite like this film. Yeah, that's the sign of a good film, isn't it? When you talk it out for an hour and 22 minutes and then and then you decide that it's good. Better than you thought it was, yeah. That's what, that's what that goes on the poster. Better than Better than. I thought it was actually. Tay Borson, BBC Movies. Is there anything you want to say to anyone? Yes, a few of you have requested certain films. I did promise Matt Geer that we would look at, what's that, Will Smith film. Oh, I am legend. I am legend, Yeah, a few people have asked me to do that. One of the best smash cuts into apocalypse in film I think. Yeah. Matt or no? Matt or no Matt, I have seen it. So yes we will. We will do the films that you y'all have requested. Yes, please. That'll be good. We're we're all about requests. You, you just tell us. If you say 3 turn to humor, I'm going to insist that we watch both versions of three turn to humor. So you're doubling up on our work. Just saying. That also has been requested by somebody, I can't remember. That's why I'm mentioning it. You know who you are. Also, at some point you may as well get these requests in now before we start tying them to Patreon membership. Yeah, give us your dollar. For the princely sum of a pound, beautiful per month, you can get all the stuff that you get for free, but safe in the knowledge that you've done a good thing. Yeah, man, a more good a thing. A more good a thing, yeah, but we're not doing any of these films. Next, we're doing The Visitor. Yeah, and it'll be good. Cool. You wait. Just you wait, you buggers. I don't talk like that. I don't talk like that, right? Bye Tay speech next. Week, take care, Bye bye.