WEBVTT
00:00:00.160 --> 00:00:04.400
Heads up, audio listeners, you're about to hear a videotaped conversation.
00:00:04.559 --> 00:00:10.320
For the full experience, check out the video version of this episode on Apple Podcasts, Spotify, or YouTube.
00:00:14.400 --> 00:00:20.640
Back around 1997, there was a wax museum in London called Madame Tussaud's Rock Circus.
00:00:20.800 --> 00:00:31.519
It was full of animatronic wax effigies of rock stars like the Beatles, Tina Turner, and the newly minted pop icon Jarvis Cocker, frontman of the UK band Pulp.
00:00:31.760 --> 00:00:33.119
Pulp, pulp, pulp.
00:00:33.520 --> 00:00:38.479
At the time, he and the band were struggling to finish their album This Is Hardcore.
00:00:38.799 --> 00:00:41.600
I used to be in Madame Two Swords in London.
00:00:41.759 --> 00:00:46.719
It led, I can I tell you, it led to a very one of the most frightening experiences of my life.
00:00:46.799 --> 00:00:47.439
Can I tell you about it?
00:00:47.679 --> 00:00:49.359
No, no, don't tell us about that at all.
00:00:49.679 --> 00:00:50.640
Definitely tell us about that.
00:00:51.119 --> 00:01:01.759
Okay, so um I can let you into a trade secret here that when they're doing the wax work, they generally just they you go in and they'll take lots of photographs of your head and they'll measure your head.
00:01:02.000 --> 00:01:09.040
We were in the studio, we were trying to finish this is hardcore, we've been going on for a year, spent loads of money, everybody was in a terrible mood.
00:01:09.359 --> 00:01:13.680
I was sat in the control room and then one of the tape hops came and he said, A package has arrived for you.
00:01:13.840 --> 00:01:19.920
So this box came in and I opened it, and and you know, those kind of uh polished iron things that you have in.
00:01:20.319 --> 00:01:21.120
Yeah, yeah, the peanuts.
00:01:21.359 --> 00:01:25.519
So I cleared those, and then my head was just looking at me.
00:01:28.319 --> 00:01:38.799
Yeah, it's like apparently what the reason they'd done that w after I'd recovered from the shock of it was um to check the color of the eyes.
00:01:38.879 --> 00:01:44.719
They wanted me to hold it next to my head and take the picture, and then they would know if they got the colour of the eyes right.
00:01:45.200 --> 00:01:45.760
They should warn you.
00:01:46.079 --> 00:01:47.040
They should have warned me, I could.
00:01:47.439 --> 00:01:49.280
Yeah, that is quite creepy.
00:01:50.719 --> 00:02:00.719
That is Jarvis Cocker and director Garth Jennings, who in his new film sort of has Jarvis gaze upon himself again with way happier results.
00:02:01.280 --> 00:02:04.879
The movie's called Pulp: What Do You Do for an Encore?
00:02:05.599 --> 00:02:26.719
It starts off like a concert movie documenting Pulp's huge super theatrical reunion gigs at London's O2 Arena last year, but then every couple of songs, the concert pauses to let Jarvis, in voiceover, muse about his life and his band, accompanied by years of archable footage, home movies, press interviews, even random TV ads he dug as a kid.
00:02:27.039 --> 00:02:30.719
This film is going to be like being at a jumble self.
00:02:32.080 --> 00:02:35.599
And all because the lady loves McTray.
00:02:36.000 --> 00:02:44.879
And after a while, it turns into something really moving: a love letter to art, his bandmates, and especially the audience.
00:02:45.759 --> 00:02:47.360
I'm Rico Galliano.
00:02:47.439 --> 00:02:48.800
Welcome back to the Movie Podcast.
00:02:48.960 --> 00:02:51.759
Movie is the global film company that champions Great Cinema.
00:02:51.919 --> 00:02:55.039
On this show, we tell you the stories behind Great Cinema.
00:02:55.680 --> 00:03:00.960
Today, a special episode is my interview with Jarvis Cocker and director Garth Jennings about Pulp.
00:03:01.120 --> 00:03:02.400
What do you do for an encore?
00:03:02.719 --> 00:03:05.199
Streaming exclusively on Movie right now.
00:03:05.520 --> 00:03:18.479
Pulp blew up in late 90s Britain after Jarvis literally fell from a window and during his hospital stay got the idea of fusing sexy soul music with euphoric Euro disco and witty righteous lyrics.
00:03:18.719 --> 00:03:21.120
His killer fashion sense also didn't hurt.
00:03:21.360 --> 00:03:26.719
Then to his dismay, critics labeled pulp Britpop, along with UK acts like Oasis.
00:03:26.879 --> 00:03:29.199
Later you'll hear him talk about all the above.
00:03:29.439 --> 00:03:42.080
Meanwhile, Garth Jennings is probably best known for the mega hit animated movies he wrote and directed, Sing and Sing Too, but he also directed some of the coolest and funniest rock videos of the 90s for the likes of Blur and Supergrass.
00:03:42.400 --> 00:03:49.759
I sat down with Garth and Jarvis after screening of their movie last month in front of a live audience at the Regal Union Square Cinema in New York City.
00:03:49.919 --> 00:03:52.639
As expected, they were both dressed up dapper as can be.
00:03:52.800 --> 00:04:04.080
I sorted my questions for them into five kind of chapters: What's in the movie, what's not in the movie, Dapper Suits, Cartoons, and we began appropriately enough with some questions about beginnings.
00:04:04.240 --> 00:04:10.560
Starting with Garth and Pope's first work together on one of the band's music videos, circa 1997.
00:04:12.000 --> 00:04:19.439
We had recorded the song Help the Aged, and it was announced that we were going to do it, and you sent a treatment in for it.
00:04:19.759 --> 00:04:36.560
Yeah, I sent an idea, and it was the first time we we were uh working with a band of your status, and and we put in the idea which was um a Stanner stair lift to heaven in the style of Stanner stairlifts are, you know, like in old people have them in their own.
00:04:36.959 --> 00:04:38.319
They can't get up the stairs anymore.
00:04:38.480 --> 00:04:44.720
You put them on a very slow chair, and I thought, wouldn't it be great to see Jarvis on one of those?
00:04:45.279 --> 00:04:46.560
And you felt the same way.
00:04:46.800 --> 00:04:47.600
Yeah, I loved it.
00:04:48.079 --> 00:04:49.439
I sat down for most of the video.
00:04:49.759 --> 00:04:50.319
Yeah, it's good.
00:04:51.120 --> 00:04:52.399
It was a natural.
00:04:52.639 --> 00:04:55.360
And you I mean, you collaborated on other stuff since then.
00:04:55.439 --> 00:04:59.279
What was the moment where you kind of realized game recognize game?
00:04:59.360 --> 00:05:01.279
Like you were this was not going to be a one-off.
00:05:01.439 --> 00:05:03.120
You would continue to do things.
00:05:03.600 --> 00:05:13.360
Well, I mean, that that that treatment for for help the aged was one of the things because it it referenced uh Powell and Pressburger film, A Matter of Life and Death.
00:05:13.439 --> 00:05:15.120
I don't know if you've seen that, it's a great film.
00:05:15.439 --> 00:05:22.879
When you share some cultural references with somebody, then then you you know that you you can make something good together.
00:05:23.279 --> 00:05:27.920
And you invited Garth Inn to co-create the stage show.
00:05:28.480 --> 00:05:36.560
What I mean was there was there a vibe that you were hoping for when you Yeah, four letters A B B A.
00:05:37.199 --> 00:05:43.680
How Abba because in I was thinking chord progressions and then the Swedish band.
00:05:44.079 --> 00:05:47.439
In in London at the moment, uh it's been going for a few years.
00:05:47.519 --> 00:05:49.519
It's this show called ABBA Voyage.
00:05:50.000 --> 00:05:54.079
It features um abatars, not avatars, but abatts.
00:05:54.160 --> 00:06:02.079
So the they seem to be like ABBA, but you're like in the 1970s, these figures are on the stage and they perform.
00:06:02.560 --> 00:06:06.560
Then there is a real band, and we'd we'd both separately seen that show.
00:06:06.879 --> 00:06:07.920
Yeah, loved it.
00:06:08.079 --> 00:06:18.959
It was so joyful and so unashamedly theatrical, and it was all about you know re-presenting the music in a way that just felt really special.
00:06:19.360 --> 00:06:22.720
I would not have guessed musical theater was the thing that you were gonna, or a jukebox music.
00:06:23.279 --> 00:06:34.079
I'm going to do it so but I assume between the two of you that you have like a compendious knowledge of every rock film ever made, every concert film ever made.
00:06:34.240 --> 00:06:40.720
Was there a concert film that you were kind of like, this is something that I would love to, you know, take stuff from or be inspired by?
00:06:41.120 --> 00:06:44.720
For me, there wasn't one I was there wasn't one I was sort of taking stuff from.
00:06:44.879 --> 00:06:46.720
Um I've seen a lot.
00:06:47.040 --> 00:06:48.560
And they're the obvious ones.
00:06:48.800 --> 00:06:53.920
The most recent one that was really baked into my noodle was uh Beyoncé's homecoming.
00:06:54.160 --> 00:06:54.639
Oh wow.
00:06:54.879 --> 00:06:58.240
Um yeah, it just again, killer entrance.
00:06:58.319 --> 00:06:59.199
Have you seen that?
00:06:59.600 --> 00:07:02.319
Is it because that's how you do it?
00:07:02.560 --> 00:07:03.680
How does it how does it open?
00:07:03.920 --> 00:07:05.040
Well, it's Beyonce.
00:07:05.600 --> 00:07:08.399
She could just stand there for ages, it would be fine.
00:07:08.560 --> 00:07:19.519
But she comes on as a queen goddess and then storms off with a stick and then she's gone for a bit, and then she comes up on the back of the stage, and there's like hundreds of people on the stage, and she does crazy in love.
00:07:19.600 --> 00:07:21.040
So, Coachella, you ready?
00:07:21.199 --> 00:07:22.560
And it's just like fantastic.
00:07:22.720 --> 00:07:26.079
It's and then they have all these cutaways to the show being prepared.
00:07:26.240 --> 00:07:27.680
So I thought, oh, that works.
00:07:27.759 --> 00:07:30.959
You can watch a show and tell a story.
00:07:31.360 --> 00:07:32.720
And I thought, that's good.
00:07:33.040 --> 00:07:34.879
So the format of the show actually comes from beyond.
00:07:34.959 --> 00:07:35.759
So the format of the show.
00:07:38.720 --> 00:07:39.920
Yeah, no, but it's true.
00:07:40.560 --> 00:07:48.240
It wasn't that it was from that, but it was just one of the many concert films I've seen that I thought was terrific and and was very, very, very nicely done.
00:07:48.319 --> 00:07:48.560
Yeah.
00:07:48.879 --> 00:07:49.920
Did were you aware of that?
00:07:50.000 --> 00:07:54.160
That that was one of the No, I thought we would just make it a straight concert film, actually.
00:07:54.319 --> 00:07:54.560
Yeah.
00:07:54.800 --> 00:08:02.399
But then uh But then um when Garth said that it was going to be archive, I thought, okay.
00:08:02.560 --> 00:08:05.360
I couldn't watch most of it tonight, actually, for some reason.
00:08:05.600 --> 00:08:05.839
Why?
00:08:06.000 --> 00:08:06.560
Well, I don't know.
00:08:06.639 --> 00:08:08.800
I it's a bit like watching your life, you know.
00:08:08.959 --> 00:08:12.160
You're supposed to see all your life flash before you when you're dying.
00:08:12.319 --> 00:08:14.959
And uh maybe I just thought I was gonna die if I watched it.
00:08:15.040 --> 00:08:15.759
I don't know.
00:08:16.160 --> 00:08:17.759
I'm sorry you felt like that.
00:08:18.480 --> 00:08:25.920
So you kind of were like, let's not just make it a concert movie, we're gonna weave your life and band story into this thing.
00:08:26.000 --> 00:08:27.040
And you thought what?
00:08:27.199 --> 00:08:28.079
You were like, No.
00:08:29.040 --> 00:08:30.399
No, I feel like I'm dying.
00:08:30.800 --> 00:08:39.200
There was Garth arranged a viewing of the rough cut of it, uh, maybe just before Christmas, I think, wasn't it like last year?
00:08:39.519 --> 00:08:43.919
And um and when I saw it, then I could see that it it was gonna work.
00:08:44.159 --> 00:08:58.080
The voice of God, which is me in the film, which is you know, that's that also was I could see why that would work, but I I I hope well, it's a bit like um you just hear my voice a lot in that film.
00:08:58.960 --> 00:08:59.679
Yeah, it's good.
00:08:59.919 --> 00:09:01.120
Which is fine, I suppose.
00:09:01.440 --> 00:09:02.879
You've got a lovely voice.
00:09:03.279 --> 00:09:14.639
And it's and it's and I like the fact that it was it was felt like Jarvis was telling you the story, not me or other expert people, you know, that say, Oh, I remember when this came out and this is what it meant.
00:09:14.720 --> 00:09:19.200
I think it's what you're saying that it felt like you he was right next to you telling you the story.
00:09:19.519 --> 00:09:21.919
Which came first, the story though, or the archival?
00:09:22.000 --> 00:09:23.519
Like well, let me take a step back.
00:09:23.679 --> 00:09:26.879
You uh I'm assuming that you had a huge amount of archival stuff.
00:09:26.960 --> 00:09:28.799
Like, what how much did you have to work on?
00:09:29.279 --> 00:09:32.399
Just loads, just so much, tons and tons.
00:09:32.480 --> 00:09:37.679
And it was amazing and difficult because um when you look at stuff, you just get drawn into it.
00:09:37.759 --> 00:09:42.000
It's like going through your own photographs at home and you end up going through all of them.
00:09:42.399 --> 00:09:46.399
What was your favorite piece of ephemera that you came upon in that pile?
00:09:46.639 --> 00:09:49.679
Well, it was when Jarvis went on a p a pirate ship.
00:09:49.919 --> 00:09:51.759
Uh with that.
00:09:52.080 --> 00:09:52.639
I love that.
00:09:53.279 --> 00:09:55.200
It's a for those listening at home.
00:09:55.279 --> 00:09:56.799
This is a a moment in the film.
00:09:56.879 --> 00:09:58.879
It's a from a TV show, it looks like yeah.
00:09:58.960 --> 00:10:03.039
Live and kicking was a kids' TV programme that was on on Saturday mornings.
00:10:03.600 --> 00:10:05.440
It was lovely going through that stuff though.
00:10:05.679 --> 00:10:13.120
Even seeing things like old TV ads that we wanted to try out, and it was just I've I've loved being back going through all of them.
00:10:13.440 --> 00:10:16.159
What was your favourite thing that you maybe had forgotten about?
00:10:16.320 --> 00:10:16.879
A piece of video.
00:10:17.200 --> 00:10:21.440
Well, the one that I wasn't I there were lots of bits that I just didn't remember at all.
00:10:21.600 --> 00:10:29.679
There's one where I think it's like a Scandinavian uh interviewer, and they says, You uh how how do you top yourself or something like that?
00:10:30.559 --> 00:10:31.679
We're releasing an album.
00:10:31.840 --> 00:10:35.039
Do you think it's important to top yourself?
00:10:36.240 --> 00:10:36.720
No way.
00:10:37.120 --> 00:10:38.960
That's an unfortunate phrase.
00:10:39.200 --> 00:10:42.159
In English, if we say to top yourself, it means to commit suicide.
00:10:42.480 --> 00:10:43.039
Okay, sorry.
00:10:47.919 --> 00:10:48.480
Yes.
00:10:48.720 --> 00:10:50.559
I don't know, I kind of like that.
00:10:51.840 --> 00:10:53.200
The concert starts.
00:10:53.360 --> 00:10:57.440
We're in by the way, we're in the what's in the movie part of the conversation now.
00:10:58.080 --> 00:11:08.240
Uh it starts with Jarvis in voiceover saying the very hilarious and kick-ass announcement that this will be a night you will remember for the rest of your life.
00:11:08.799 --> 00:11:12.399
Who made that decision and tell me why you decided to open that way?
00:11:12.799 --> 00:11:24.080
I I always love a concert because um what it's like in this audience as well, you know, you get people gathered together in a place and there'll never be this gathering of people again, you know.
00:11:24.399 --> 00:11:30.000
The thing about concerts, and I think is that an audience makes it, you know.
00:11:30.639 --> 00:11:35.120
A band can go and rehearse in a room and it can sound okay and everything, but it's not a concert.
00:11:35.279 --> 00:11:46.000
To to make it a concert, it's a it's a it's a cooperation between you and the audience, and uh and i I think there's a term it it's called collective effervescence, apparently.
00:11:46.080 --> 00:11:52.639
Uh that was a a term uh coined back in 1912 by a French um psychologist.
00:11:52.799 --> 00:12:03.600
So this is this thing where uh it can happen at sporting events and and at concerts where it becomes almost like a chemical reaction and no one's really in charge of it.
00:12:04.000 --> 00:12:12.159
In normal life, I'm a fairly repressed uh controlled person, but on stage I manage to escape that.
00:12:12.320 --> 00:12:22.799
And um and and it no one, yeah, this thing of losing control, I think, is uh is important, especially with other people.
00:12:23.200 --> 00:12:39.440
It doesn't though it to me also it kind of speaks about something that I love and I I'll bet you a lot of people here love about the band too, which is simultaneously acknowledging the power of pop music, but also acknowledging how ridiculous the hugeness of pop music is.
00:12:39.600 --> 00:12:44.320
It's just the night you will remember for you will remember for the rest of your life.
00:12:44.559 --> 00:12:46.559
It's so big it's absurd.
00:12:46.960 --> 00:12:51.600
And I wonder like where because I see it in both of your work all the time.
00:12:51.759 --> 00:12:56.000
It's like loving the power of music, but also knowing that it's ridiculous on some level.
00:12:56.159 --> 00:13:00.320
And I'm wondering when that occurred to you and why it's been like such a thing in your work.
00:13:00.799 --> 00:13:03.440
Well, but you know, I I was brought up on pop music.
00:13:03.600 --> 00:13:18.879
My mum used to have the pop radio on when I she was getting me and my sister ready to go to school, and it was the first music that kind of gave me what I call the tingle, where you hear something and it makes you go kind of shivery in a pleasant way.
00:13:19.120 --> 00:13:24.320
But then when I got older, I realized that pop music didn't tell you the whole story of relationships.
00:13:24.399 --> 00:13:34.159
Like when I attempted to have relationships myself, I thought, well, this is nothing like you know, in pop songs, it's like, yeah, love you, baby, everything's gonna be fine.
00:13:35.120 --> 00:13:37.440
And I just it was always awkward and stuff.
00:13:37.519 --> 00:13:55.759
So I I I at a very early age I decided that what I was gonna try and do was have songs that were pop songs that had a pop song structure of verse, chorus, verse chorus, bridge double chorus, maybe a solo occasionally, but to put words in that that I thought were more honest.
00:13:56.159 --> 00:13:58.399
Something sort of akin to what you're talking about.
00:13:58.480 --> 00:14:03.679
I do want to hear like, did you have that moment where it's kind of like this is glorious and absurd?
00:14:04.000 --> 00:14:05.519
On the uh making this film.
00:14:05.919 --> 00:14:07.440
Well, then pop music in general.
00:14:07.679 --> 00:14:13.440
Oh, from the beginning, I I actually that thing you just said about the tingle, I really relate.
00:14:13.519 --> 00:14:15.039
I'm sure everyone does actually.
00:14:15.120 --> 00:14:17.759
It is that physical reaction to it.
00:14:18.000 --> 00:14:31.600
But that I mean, when you're little and Freddie Mercury comes on and sings Bohemian Rhapsody, you've you've got everything you were saying just then about the you've it feels fantastic, but it is also uh just funny and over the top and brilliant.
00:14:31.679 --> 00:14:36.799
And yeah, I and and and then even in cinema, that feeling I got it by the bucket load.
00:14:36.879 --> 00:14:39.600
So when E Elliot's flying with E.T.
00:14:39.679 --> 00:14:46.879
and John Williams is giving it some, yeah, I am getting some serious I'm nine years old, I'm getting a massive tingle.
00:14:47.120 --> 00:14:50.639
Yeah, that sounded disgusting, but you know what I mean, right?
00:14:50.960 --> 00:14:51.759
Yeah, sorry.
00:14:51.919 --> 00:14:56.720
But it was and I've I basically chased that a bit like I guess you've been doing through music.
00:14:56.799 --> 00:15:12.559
I've been chasing those feelings through the work I've been trying to do, as even in the music videos, they weren't my songs, but I was trying to capture why I felt that way about the song and hopefully make something that would communicate that or share that too.
00:15:12.799 --> 00:15:16.000
That's what this film was, just to just try and share that feeling.
00:15:16.080 --> 00:15:16.240
Yeah.
00:15:16.559 --> 00:15:24.960
Yes, and well, that actually kind of leads to my next question, which is at the same time that there's maybe that somewhat ironic look at music going on.
00:15:25.039 --> 00:15:30.399
I mean, just in general, and the way that it's put together, this movie is so non-ironic.
00:15:30.559 --> 00:15:32.639
It was almost surprising to me, right?
00:15:32.960 --> 00:15:43.519
I I was expecting more pop strutting, which we get, we get plenty of pop strutting, but this kind of embrace of the audience that happens was really surprising to me.
00:15:43.600 --> 00:15:51.039
And I confess I don't know how the live shows have evolved over time, but when did that start happening to pulp shows where it became such a collective thing?
00:15:51.360 --> 00:15:52.799
That's a good question, actually.
00:15:52.960 --> 00:16:01.440
I mean, you you you commented actually that when you started editing the film, you you you were worried at first because there were so many people singing along.
00:16:01.600 --> 00:16:03.360
Yeah, so how are we gonna get rid of them?
00:16:03.679 --> 00:16:08.799
Yeah, it was it was but they become they're like you're saying it's the secret ingredient because it's between you and them.
00:16:08.879 --> 00:16:11.519
And if you didn't have them, it wouldn't be the same.
00:16:11.600 --> 00:16:19.600
But they were so loud, and they were singing, it wasn't just like the front row or the front bit, it was right to the back of the the arena, and it was phenomenal.
00:16:19.679 --> 00:16:21.600
Yeah, it was really 20,000 people, yeah.
00:16:21.759 --> 00:16:26.559
You know, and when we got to something changed, and you really can hear them.
00:16:26.720 --> 00:16:28.159
That is what it sounded like in there.
00:16:28.240 --> 00:16:29.519
We haven't enhanced any of that.
00:16:29.600 --> 00:16:33.039
It was really extraordinary, really powerful, lovely.
00:16:33.279 --> 00:16:36.720
So I don't yeah, I mean, I don't know uh when it started happening.
00:16:36.799 --> 00:16:44.399
Uh maybe that well, there's in the film it talks about Glastonbury when when you're really realising, God, they know every word.
00:16:44.639 --> 00:16:46.320
Oh yeah, that actually that's a good point.
00:16:46.399 --> 00:16:50.240
Yeah, that was when that was the first time anybody'd sung along to a pulp song.
00:16:50.320 --> 00:16:51.279
I mean, audibly.
00:16:51.600 --> 00:16:51.919
Really?
00:16:52.080 --> 00:16:52.559
Yeah, well.
00:16:53.200 --> 00:16:54.480
So it's pretty deep into your career.
00:16:55.039 --> 00:17:01.919
But no, because common people have been a hit in the UK, and and Glastonbury was the first concert that we did after that.
00:17:02.000 --> 00:17:03.600
So it was a big Oh my god.
00:17:03.840 --> 00:17:04.640
It was really weird.
00:17:04.720 --> 00:17:13.359
We started playing it, and then I could hear the audience singing it really loud, and it made me nervous because I thought, oh, I might forget the words, and they'll know because they know the words.
00:17:14.079 --> 00:17:21.519
I I divide concert movies loosely into concert movies that show the audience and concert movies that don't show the audience.
00:17:21.759 --> 00:17:24.720
Like stop making sense doesn't show the audience until the very end.
00:17:24.880 --> 00:17:29.680
Um, this movie shows them right from the beginning, and I'm assuming it's to get this vibe across.
00:17:29.839 --> 00:17:32.960
But there's also a really easy way to make that feel very pandering.
00:17:33.279 --> 00:17:38.240
It's kind of like you should now enjoy the song like this person is enjoying the song.
00:17:38.640 --> 00:17:45.599
But I never feel that when I'm watching this movie, and I'm wondering if there was like consciously how you were approaching showing the audience in this movie.
00:17:46.000 --> 00:17:52.079
I didn't think we'd be showing that much before we shot it, but then when it happened, you couldn't avoid it.
00:17:52.240 --> 00:17:58.880
They were that they were a huge part of your show, and I couldn't believe how lovely everyone was.
00:17:59.039 --> 00:18:03.759
I couldn't believe how many different generations and people had come from all over the place.
00:18:03.839 --> 00:18:06.480
It was such a mix, and so many young people as well.
00:18:06.720 --> 00:18:07.839
Yeah, that was surprising to me too.
00:18:09.200 --> 00:18:09.759
I couldn't believe it.
00:18:09.839 --> 00:18:12.559
Everybody, every man and woman there was like just fabulous.
00:18:12.640 --> 00:18:16.400
I uh it looked like we cast them, but they were really just genuinely lovely.
00:18:16.640 --> 00:18:19.119
And um that was great.
00:18:19.279 --> 00:18:20.400
And then that's what I mean.
00:18:20.480 --> 00:18:22.640
We just responded to what was happening at the beginning.
00:18:22.799 --> 00:18:25.599
I thought we would hold back on the on the crowd.
00:18:25.920 --> 00:18:28.240
So you ended up like turning the cameras on the crowd, basically?
00:18:28.319 --> 00:18:30.319
Because you were just like, turn them around.
00:18:30.640 --> 00:18:32.480
You're just like turn the cameras around, turn the cameras around.
00:18:32.640 --> 00:18:34.319
Yeah, they go mental, go.
00:18:34.400 --> 00:18:34.640
Yeah.
00:18:34.799 --> 00:18:34.960
Wow.
00:18:35.119 --> 00:18:38.079
Though those cameras on the crowd were supposed to be on Jarvis.
00:18:38.720 --> 00:18:43.119
So so when we knew we had enough cameras on Jarvis, we would turn the other one around.
00:18:43.200 --> 00:18:43.599
Yes.
00:18:44.000 --> 00:18:44.400
Amazing.
00:18:44.640 --> 00:18:49.200
I want to I I could go on forever, by the way, talking about the actual songs in this movie.
00:18:49.440 --> 00:18:58.960
There is one, and it maybe goes to what we're talking about here, that I want to talk to you about Jarvis because you've had such a it seems like you've had an interesting relationship with it.
00:18:59.039 --> 00:19:07.119
And it comes up really early in the movie as Miss Shapes, which is a beautiful, beautiful song, one of my favorite songs uh that you do.
00:19:07.359 --> 00:19:14.640
Uh and it's for those who don't know, this is a call to nerds and oddballs and smart people to rise up and take over.
00:19:15.839 --> 00:19:19.920
And I read that that was written, I guess, in 96 or something.
00:19:20.160 --> 00:19:26.799
And in 99 you gave an interview where you were like, I don't like listening to that song anymore, because it's clear that that didn't happen.
00:19:26.960 --> 00:19:28.960
Like basically we didn't take over.
00:19:29.200 --> 00:19:29.359
Yeah.
00:19:29.680 --> 00:19:34.960
But it's back in your set, and I'm wondering what has changed in your relationship to that song.
00:19:35.440 --> 00:19:37.680
Um I kind of grew up, I suppose.
00:19:37.920 --> 00:19:43.839
When when we did a Paul Greatest Hits record, I consciously said we can't have it on there.
00:19:43.920 --> 00:19:44.240
Yeah.
00:19:44.880 --> 00:19:47.279
Which was just being uh petty, really.
00:19:47.599 --> 00:20:00.880
But it was like, yeah, so there was this exciting moment um in in the UK where where bands that traditionally would have just been like indie bands started having hits in the real hit parade.
00:20:01.119 --> 00:20:14.880
And to me that seemed exciting because it it seemed like uh there could be a revolution or something, you know, the culture could get more interesting if you were getting these people from the margins uh taking the centre stage.
00:20:15.039 --> 00:20:31.119
And so Miss Shapes was written in that kind of mood of uh of giddy expectation because common people had been a hit, so I thought, right, we've got an audience now, so now I'm gonna whip them up into a fervor, and we will we will cause revolution to happen.
00:20:31.359 --> 00:20:32.960
And it didn't happen, you know.
00:20:33.039 --> 00:20:37.359
Uh uh, it for a start it got this horrible name, B pop.
00:20:37.759 --> 00:20:49.839
I can't say the word, you know, which was a horrible term because obviously the pop bit I was alright with because we'd already always telling people we were pop, and they'd go, shut up, you indie band, and stuff like that.
00:20:50.000 --> 00:20:59.759
But um it the the Brit part I didn't like because that was like some kind of flag waving uh nationalist thing, and I'd and I I really didn't like that idea.
00:21:00.000 --> 00:21:02.000
I'm always thinking these things are gonna happen actually.
00:21:02.079 --> 00:21:07.759
It was the same when there was the acid house thing in in um in the UK in the late 80s.
00:21:07.839 --> 00:21:10.240
I thought this is it, this is it now, yeah.
00:21:10.400 --> 00:21:16.960
We're all gonna be raving all the time, and we're all gonna stop gonna work and everything, and it didn't happen.
00:21:17.039 --> 00:21:18.079
So exactly.
00:21:18.319 --> 00:21:27.680
But I've I guess uh it's back in the set now, and I really enjoy singing it, and maybe I don't know, hope for a revolution, anybody?
00:21:27.920 --> 00:21:28.799
I mean, yeah.
00:21:29.599 --> 00:21:32.880
I mean, some of the lyrics definitely hit hard right now.
00:21:32.960 --> 00:21:35.920
The future that you've got mapped out is nothing much to shout about.
00:21:36.240 --> 00:21:40.480
We won't use guns, we won't use bombs, we'll use the one thing we've got more of, that's our minds.
00:21:40.799 --> 00:21:42.880
I mean, like, come on, then.
00:21:43.119 --> 00:21:43.359
Yeah.
00:21:43.599 --> 00:21:47.119
Do you I mean, like, are you thinking about now when you're thinking singing that song?
00:21:47.200 --> 00:21:49.279
It doesn't feel like a nostalgia piece to me anymore.
00:21:49.599 --> 00:21:53.200
No, I I I I that's what I'm proud of with the songs, I suppose.
00:21:53.279 --> 00:21:56.480
That when you write a song, you don't know what its shelf life's gonna be.
00:21:56.559 --> 00:21:59.759
You don't know if it's gonna go off in six months, so you know it might be.
00:22:00.240 --> 00:22:01.519
Or scene passe.
00:22:02.240 --> 00:22:04.079
We're moving on to what's not in the movie.
00:22:04.319 --> 00:22:08.559
I earlier asked what might have been inspirational for this film.
00:22:08.880 --> 00:22:11.519
Like what concert films was there something you didn't want to do?
00:22:11.599 --> 00:22:13.440
Like this is something concert films do all the time.
00:22:13.519 --> 00:22:14.240
We're not doing that.
00:22:14.480 --> 00:22:14.799
Oh.
00:22:15.200 --> 00:22:19.119
Well, yeah, it wasn't really it was based on what we really wanted to do.
00:22:19.200 --> 00:22:31.759
But um there's a couple of things like we did Jarvis mentioned earlier, experts talking about pop who would be great, but probably very nice to meet and maybe even film, but just didn't want to do that.
00:22:31.920 --> 00:22:40.160
Also, there's a new trend where people like yourself would be given an an iPad and then they watch themselves and they go, Oh yeah.
00:22:40.799 --> 00:22:41.839
Have you seen that?
00:22:42.160 --> 00:22:43.359
That's a thing, isn't it?
00:22:43.920 --> 00:22:44.559
Oh my god.
00:22:44.640 --> 00:22:50.960
And I'm thinking that's not right because if I did that to you and I gave you an iPad, you would not respond.
00:22:51.200 --> 00:22:55.359
And a camera's on you, and there's all the sound people, it's like, and you're like, oh, I'm feeling all these emotions.
00:22:55.599 --> 00:22:59.119
Like, no, you this is all a bit, it doesn't feel right.
00:22:59.440 --> 00:23:03.680
And and uh it wouldn't feel like it was coming from the world of pulp.
00:23:04.000 --> 00:23:08.480
Most of the most of the stuff that's not in that I would have loved to put in is the show itself.
00:23:08.640 --> 00:23:14.000
The show was two hours, I think, or maybe more, had this fantastic intermission, which was lovely.
00:23:14.160 --> 00:23:14.960
It was just great.
00:23:15.599 --> 00:23:16.720
What did you do in the intermission?
00:23:16.880 --> 00:23:18.319
Oh, it was a 15-minute intervention.
00:23:19.039 --> 00:23:20.000
I had to change me clothes.
00:23:21.920 --> 00:23:24.960
Everyone went off and had a beer, and the audience knew there was a countdown.
00:23:25.039 --> 00:23:31.519
There was a countdown happening, and uh then there were little we made little video bits that would play, and it was uh it was his own little piece.
00:23:32.480 --> 00:23:33.759
Yeah, there was a we had a song vote.
00:23:35.119 --> 00:23:40.480
Uh we we'd we would rehearse two songs and then people could choose which one they wanted to do.
00:23:40.640 --> 00:23:41.519
Yeah, it was a clapometer.
00:23:42.640 --> 00:23:48.000
Yeah, and so we wouldn't find out which one they'd chosen until like five minutes before we went on for the second half.
00:23:48.400 --> 00:23:56.480
Yeah, and the audience were asked, like, if you would like to hear this, you know, clap now, and then the thing would go up depending on how much they cheered, and then we'd go to the other one on the other screen.
00:23:56.640 --> 00:23:58.799
So it was a pattern that's for every band on earth.
00:23:58.960 --> 00:24:00.000
Yeah, it was brilliant, fun.
00:24:00.079 --> 00:24:01.279
And then the countdown was amazing.
00:24:01.359 --> 00:24:05.920
The last 30 seconds, without asking them to, the entire audience counted down.
00:24:06.000 --> 00:24:10.880
It's like an irresistible human urge to join in with a countdown, and it was lovely.
00:24:11.039 --> 00:24:20.240
So this there was so much in the show, like the inflatable characters that came out for the fear, and there was so much in it that's that we couldn't put in the film.
00:24:20.400 --> 00:24:20.559
Okay.
00:24:21.200 --> 00:24:26.160
Because one of the reasons was we wanted to keep it to a uh an accessible 90-minute length.
00:24:26.400 --> 00:24:27.200
Well, that was important.
00:24:27.599 --> 00:24:29.359
That may be the boring answer to this question.
00:24:29.440 --> 00:24:30.880
We'll cut it out if it's boring.
00:24:31.119 --> 00:24:40.480
Uh in the in the like the first documentary sequence in the movie, you talk about being really into sci-fi and sci-fi TV shows.
00:24:40.559 --> 00:24:43.440
I'm wanting to live in space, Doctor Who, this kind of thing.
00:24:43.599 --> 00:24:54.160
And then the next thing you say is, then I was, you know, a teenager, and here's me writing about being in a band, like making up band logos and outfits for the band.
00:24:54.559 --> 00:25:04.480
What happened between Space Jarvis like age, whatever that was, and like 15-year-old Ian McCullough's hair Jarvis?
00:25:05.119 --> 00:25:11.119
Being in the band seemed more accessible, like I could get a guitar, I couldn't get a rocket.
00:25:12.079 --> 00:25:15.759
And there was no like branch of NASA near Sheffield.
00:25:16.240 --> 00:25:18.720
But what made you want to trade the rocket for that?
00:25:19.039 --> 00:25:39.839
But I don't I'd always I think I I mean I I'd wanted to be in a band from about the age of seven, and that was probably because I'm I was born in 1963, and the Beatles were number one on the day I was born, and I was kind of uh even though I I was you know I was a kid, so I didn't totally uh understand what they were about, but it created an atmosphere.
00:25:40.000 --> 00:25:53.440
I mean, the Beatles really encouraged so many people to form bands because they were normal kids from Liverpool and they wrote their own songs, you know, and so that was an amazing kind of boo.
00:25:53.599 --> 00:25:54.319
I could do that.
00:25:54.640 --> 00:25:56.799
I have to say, I totally expected you would say Bowie.
00:25:57.200 --> 00:26:03.200
Bowie was like David Bowie's first greatest hits changes one Bowie.
00:26:03.440 --> 00:26:06.240
That was the first LP that I bought with my own money.
00:26:06.400 --> 00:26:06.799
Wow.
00:26:07.039 --> 00:26:11.839
So uh so yeah, so that would have been when I was about 13 or 14.
00:26:12.079 --> 00:26:13.359
I mean space oddity.
00:26:13.680 --> 00:26:15.200
Space Oddity's good, yeah.
00:26:15.279 --> 00:26:19.039
Uh that's my me and my wife do that at karaoke.
00:26:19.519 --> 00:26:19.839
Really?
00:26:20.079 --> 00:26:22.000
I'm Major Tom and she's Grand Control.
00:26:22.319 --> 00:26:22.880
That's good.
00:26:23.119 --> 00:26:23.599
That's good.
00:26:23.680 --> 00:26:24.400
I didn't know that.
00:26:24.480 --> 00:26:24.880
That's excellent.
00:26:25.119 --> 00:26:25.359
That's good.
00:26:25.519 --> 00:26:29.839
She sings the first bit and then I come in, here am I sitting in my tinkering.
00:26:30.319 --> 00:26:30.480
Wow.
00:26:30.880 --> 00:26:31.119
Yeah.
00:26:31.680 --> 00:26:33.519
I even do a bit of floaty one.
00:26:34.480 --> 00:26:35.759
So, okay, here's another thing.
00:26:35.920 --> 00:26:36.720
Not in the film.
00:26:36.960 --> 00:26:40.640
You show the equation of what makes pulp.
00:26:41.039 --> 00:26:44.400
You have this kind of revelation, this is what pulp's music is going to be.
00:26:44.480 --> 00:26:50.799
And the equation is Barry White plus Eurodisco plus gritty northern realism equals the future, aka Uri Music.
00:26:50.960 --> 00:26:54.079
And you tell us in the movie about Barry White, he's smooth and awesome.
00:26:54.240 --> 00:27:01.200
Uh, you're from the land that invented gritty northern realism, but uh I I can probably guess, but where did the Eurodisco come in?
00:27:01.279 --> 00:27:02.640
Because right before that, you're post-punk.
00:27:02.799 --> 00:27:03.279
That's what you're talking about.
00:27:03.519 --> 00:27:09.440
Well, the Eurodisco came in in the form of a portable keyboard that I stole from my grandmother.
00:27:10.559 --> 00:27:24.880
My granddad had bought her this um Yamaha Porta sound keyboard, like a Casio kind of keyboard that was battery operated, and you it had uh big preset rhythms in it, and there was a disco setting, and I loved it.
00:27:24.960 --> 00:27:33.039
It was actually and and I after I'd fallen from the window, you saw the bit where I fell from the window.
00:27:33.119 --> 00:27:50.480
So I I spent quite a long time in hospital recuperating, and and um I I did I wanted to try and write songs, but I knew that I couldn't have a guitar because I was on this ward, it was very old-fashioned, like a long thin room with all beds along it either side.
00:27:50.559 --> 00:27:56.400
So, you know, you were in with a lot of other blokes, like miners who'd had like some pit accident or whatever.
00:27:56.559 --> 00:28:02.720
So you're not gonna be there strumming, yeah, with like things fucking sure, trying to sleep or whatever.
00:28:02.880 --> 00:28:09.599
So so with the keyboard, it had a headphone port, so I could listen to it and tinkle away.
00:28:09.680 --> 00:28:21.200
Yeah, and and I wrote um I wrote a few songs, and I really I think you know, maybe because I was bedridden at that point, the idea of dancing was very appealing to me.
00:28:21.279 --> 00:28:28.880
So I started to use the disco setting quite a lot and wrote a lot of songs, all of which had death in the title.
00:28:30.400 --> 00:28:38.079
I mean, this is so the Casio, the the presets on a Casio keyboard were like the major inf inspiration.
00:28:38.640 --> 00:28:42.640
Well, yeah, well, yeah, because then I did get a Casio years later.
00:28:42.720 --> 00:28:47.279
Uh in the and that's what I wrote um Common People on, does it?
00:28:47.359 --> 00:28:54.240
Does it was like kind of uh we learn a dad whistloader?
00:28:54.480 --> 00:28:58.400
I tell you that case fellow and Coca-Cola she said fine.
00:28:59.039 --> 00:29:01.200
Let's let's move on to my next chapter.
00:29:01.440 --> 00:29:01.599
Okay.
00:29:01.920 --> 00:29:07.359
Uh, because something that is in the film is the importance of style and the concept of pulp.
00:29:07.599 --> 00:29:12.480
So the next chapter that we're gonna talk about is uh I'm calling it Dapper Suits.
00:29:12.880 --> 00:29:15.680
It consists of one question for both of you.
00:29:15.920 --> 00:29:18.319
Where do you get your Dapper suits?
00:29:19.359 --> 00:29:20.640
Do you want to go first?
00:29:20.880 --> 00:29:23.200
You've got the nine I mean, you're the suit guy.
00:29:23.359 --> 00:29:24.640
This is a one-off for me.
00:29:24.720 --> 00:29:26.799
This is his default setting.
00:29:26.880 --> 00:29:27.279
Yeah.
00:29:27.599 --> 00:29:30.319
Um well, I used to get them from jumble sales.
00:29:30.559 --> 00:29:30.960
What?
00:29:31.119 --> 00:29:42.319
Because well, because people were just throwing clothes away and and uh and you know that was in the 80s, so it was things from the 70s that they were throwing away, and I kind of like them.
00:29:42.640 --> 00:29:44.880
But that's kind of disappeared now.
00:29:45.039 --> 00:29:48.559
Um and charity shops in the UK are terrible now.
00:29:49.119 --> 00:29:51.839
Uh it's all colour-coded and and not very good.
00:29:52.160 --> 00:30:05.839
So now I I um there's a tailor in Paris called uh called Husbands, and um and he he makes really good clothes and uh nice kind of slightly flared trousers.
00:30:05.920 --> 00:30:07.920
So I I get quite a lot of things from him.
00:30:08.319 --> 00:30:20.880
I thought you were I was hoping that you would mention a specific tailor, because I want to know what the challenge is that other tailors cannot overcome when it comes to making a perfect Jarvis Cocker suit.
00:30:21.519 --> 00:30:26.000
It has to have um shoulders that uh um stick up a bit.
00:30:27.119 --> 00:30:29.759
You you might have I don't know if you're gonna show you this seam.
00:30:30.400 --> 00:30:31.759
So uh the seam.
00:30:32.160 --> 00:30:33.279
Can we zoom in on this, please?
00:30:33.519 --> 00:30:33.759
Thank you.
00:30:34.480 --> 00:30:38.720
The seam kind of goes backwards towards the back of it.
00:30:38.799 --> 00:30:48.960
Yeah, so that makes the shoulders stand up a bit more and um and the trousers have to be at least parallel or just a little bit flared, not like flappy flap flap flap.
00:30:53.440 --> 00:30:53.680
Yeah, yeah.
00:30:55.279 --> 00:31:00.799
And people would ride a motorbike and be like uh like wings trying to take off.
00:31:01.440 --> 00:31:02.880
Newgarth, where'd you go?
00:31:03.200 --> 00:31:07.519
This is for those who are listening at home and not watching, this is like an amazing corduroy outfit.
00:31:07.759 --> 00:31:08.160
Thanks.
00:31:08.400 --> 00:31:09.680
Yeah that's very nice of you.
00:31:09.759 --> 00:31:15.440
Uh well that I mean I was just thinking as you're asking that, I was like, oh, I know the the the answer to this is a little odd.
00:31:15.519 --> 00:31:18.640
Uh uh what it is, I've only really got one proper suit.
00:31:18.880 --> 00:31:27.680
The premiere for this film, the first time it was shown, was in London, and two days before that premiere was my father-in-law's funeral.
00:31:27.759 --> 00:31:37.519
And he was great, and it was a lovely guy, and it but he was nearly 91, so it was it was oh it was lovely, and it was better because I just felt weird if I wore the same suit.
00:31:37.759 --> 00:31:38.480
Do you know what I mean?
00:31:38.559 --> 00:31:40.559
I thought I've got to get something else.
00:31:40.960 --> 00:31:46.559
So I thought, and I'd seen this in a in a shop near where we live in France, so I thought I'll go for it.
00:31:46.640 --> 00:31:53.599
And and my wife basically, I've got nothing on me that my wife, my wife's great, she's a fashion designer, so she I've never bought my own clothes.
00:31:53.680 --> 00:31:55.039
She always goes, that, get that.
00:31:55.200 --> 00:31:57.920
And so I met her at the shop, she went, Yep, get that.
00:31:58.079 --> 00:31:59.359
So that's how it happened.
00:31:59.599 --> 00:32:00.400
I love that you're married.
00:32:00.559 --> 00:32:03.599
A fashion designer married somebody who has literally two suits to their neighborhood.
00:32:03.759 --> 00:32:04.000
Yeah, yeah.
00:32:04.400 --> 00:32:07.440
No, I I've never picked it.
00:32:07.519 --> 00:32:13.200
Uh the only I very rarely buy clothes, but when I have done, I my wife just puts me in the changing room.
00:32:13.279 --> 00:32:14.079
This is absolutely true.
00:32:14.160 --> 00:32:16.880
She puts me in the changing room and says, wait there.
00:32:17.119 --> 00:32:20.000
And then things just come over the top.
00:32:20.079 --> 00:32:22.000
And then, but there's no like uming and a ring.
00:32:22.079 --> 00:32:23.279
I come out and I go, Oh, these are nice.
00:32:23.359 --> 00:32:24.240
She goes, No, take that off.
00:32:24.319 --> 00:32:24.880
That's terrible.
00:32:25.039 --> 00:32:25.680
Take it off.
00:32:25.839 --> 00:32:28.480
And she's she's been good so far, so yeah.
00:32:28.799 --> 00:32:29.839
30 years.
00:32:30.319 --> 00:32:31.519
I'm glad it worked out.
00:32:31.680 --> 00:32:32.240
It did, yeah.
00:32:32.400 --> 00:32:32.960
She's great.
00:32:33.279 --> 00:32:35.200
Final chapter, cartoons.
00:32:35.599 --> 00:32:39.279
Um, Garth, you were famed for a couple of the best animated movies ever.
00:32:39.519 --> 00:32:43.440
Sing and uh the cunningly named sequel, which is called Sing Two.
00:32:43.680 --> 00:32:45.279
Yeah, we really went for it on that title, didn't we?
00:32:45.359 --> 00:32:47.359
Yeah, where did you What Could We Call It?
00:32:47.680 --> 00:32:48.000
Crazy.
00:32:48.079 --> 00:32:49.039
Were you high that day?
00:32:49.119 --> 00:32:50.240
That's amazing.
00:32:50.559 --> 00:32:55.839
Um, I would say for somebody though who always your work always has this warm quality.
00:32:55.920 --> 00:32:59.680
For those who don't know, like this is the gentleman that did Blur's Coffee and TV video.
00:33:00.000 --> 00:33:02.160
Like, just some of the greatest, right?
00:33:02.319 --> 00:33:04.480
With the little milk carton for those who don't know.
00:33:04.640 --> 00:33:11.680
It is it's totally beautiful and totally lovely, but also totally absurd and totally like silly.
00:33:11.920 --> 00:33:14.960
And I'm wondering why those seem to go together for you.
00:33:15.200 --> 00:33:17.920
Because at first blush, it doesn't seem like they would.
00:33:18.079 --> 00:33:31.759
So I'm warm and I'm not sure I've got a good, like a neat podcasty answer, but I think it's a bit like you were saying earlier about what's the why the combination of absurd and the and the wonderful and the the tingle.
00:33:32.559 --> 00:33:35.279
It's sort of everything we've been talking about.
00:33:35.519 --> 00:33:42.559
I just feel I'm drawn to things that give me that feeling, and I tend to find they come from surprising places.
00:33:42.880 --> 00:33:55.839
All the ideas for the videos that worked, I wasn't trying to think of it, they were just a an emotional re response to the to the music, and it was the same working with you on this film, it's just following it.
00:33:56.000 --> 00:34:06.799
Um and in and with the animated films, how pop music can be you know, a silly song that people might think is silly can be really meaningful in the right ways.
00:34:06.960 --> 00:34:21.440
It could suddenly like when we when we had the funeral um for my father-in-law, uh, as the coffin went away for the to to the crematorium, um, we played his favourite song, which is Burt Campett swinging safari.
00:34:21.519 --> 00:34:22.559
Um, you know, that one goes.
00:34:25.119 --> 00:34:29.920
It's a really sort of silly little song, but in that context, yeah, everyone was in tears.
00:34:30.079 --> 00:34:33.119
It was lovely, we were happy, but also very moved.
00:34:33.199 --> 00:34:36.239
And I think I I I love that balance.
00:34:36.480 --> 00:34:41.360
If it's too like sad and the song sad, I'm a bit like oh easy now.
00:34:41.440 --> 00:34:45.199
But if you can find a way in that just balances it, that's my favorite.
00:34:45.280 --> 00:34:46.239
And the same with humor.
00:34:46.320 --> 00:34:51.199
If you can find a way to for it to be sweet but also funny, then I just like that balance.
00:34:52.960 --> 00:34:58.079
Jarvis Cocker and Garth Jennings, they're funny, sweet, and also rockin' movie pulp.
00:34:58.239 --> 00:35:02.239
What do you do for an encore is streaming exclusively on Movie right now.
00:35:02.639 --> 00:35:04.559
And that's the movie podcast for this week.
00:35:04.719 --> 00:35:07.360
Follow us for more great stories from great filmmakers.
00:35:07.519 --> 00:35:09.840
If you dug this, you should now flip back a few episodes.
00:35:09.920 --> 00:35:16.159
We just wrapped a season about great needle drops in movies, focusing on tunes from the UK and the eighties and nineties.
00:35:16.320 --> 00:35:22.800
We get into music from Pet Shop Boys, the specials Soul to Soul, and I spoke to some of the members of those bands too.
00:35:22.880 --> 00:35:23.519
Check it out.
00:35:23.679 --> 00:35:25.039
And now let's roll credits.
00:35:25.119 --> 00:35:28.079
This episode was written and hosted by me, Rico Galliano.
00:35:28.159 --> 00:35:31.920
Kira McEnf is our producer with help from assistant producer Kat Kowalzik.
00:35:32.079 --> 00:35:41.119
Audio and video editing by Ella Kazdal, who was recorded by StuPot Productions, mastering by Stephen Cologne, our theme music was composed by Yuri Suzuki.
00:35:41.360 --> 00:35:49.360
This episode would have been impossible without the help of Dylan Polichek, Taylor Thomas, and the crew at the Regal Union Square Cinema in New York City.
00:35:49.519 --> 00:35:51.679
Thanks also to Renee Musumenci.
00:35:51.920 --> 00:35:55.039
The Movie Podcast is executive produced by me, along with F.H.
00:35:55.199 --> 00:35:57.360
Aquarelle, Daniel Kasman, and Michael Taka.
00:35:57.440 --> 00:36:02.639
And finally, to watch the best in cinema, subscribe to Movie at Movie.com.
00:36:02.800 --> 00:36:04.480
Thanks for watching andor listening.
00:36:04.639 --> 00:36:07.039
Go watch the movies, Miss Shapes Unite.
00:00:00.160 --> 00:00:04.400
Heads up, audio listeners, you're about to hear a videotaped conversation.
00:00:04.559 --> 00:00:10.320
For the full experience, check out the video version of this episode on Apple Podcasts, Spotify, or YouTube.
00:00:14.400 --> 00:00:20.640
Back around 1997, there was a wax museum in London called Madame Tussaud's Rock Circus.
00:00:20.800 --> 00:00:31.519
It was full of animatronic wax effigies of rock stars like the Beatles, Tina Turner, and the newly minted pop icon Jarvis Cocker, frontman of the UK band Pulp.
00:00:31.760 --> 00:00:33.119
Pulp, pulp, pulp.
00:00:33.520 --> 00:00:38.479
At the time, he and the band were struggling to finish their album This Is Hardcore.
00:00:38.799 --> 00:00:41.600
I used to be in Madame Two Swords in London.
00:00:41.759 --> 00:00:46.719
It led, I can I tell you, it led to a very one of the most frightening experiences of my life.
00:00:46.799 --> 00:00:47.439
Can I tell you about it?
00:00:47.679 --> 00:00:49.359
No, no, don't tell us about that at all.
00:00:49.679 --> 00:00:50.640
Definitely tell us about that.
00:00:51.119 --> 00:01:01.759
Okay, so um I can let you into a trade secret here that when they're doing the wax work, they generally just they you go in and they'll take lots of photographs of your head and they'll measure your head.
00:01:02.000 --> 00:01:09.040
We were in the studio, we were trying to finish this is hardcore, we've been going on for a year, spent loads of money, everybody was in a terrible mood.
00:01:09.359 --> 00:01:13.680
I was sat in the control room and then one of the tape hops came and he said, A package has arrived for you.
00:01:13.840 --> 00:01:19.920
So this box came in and I opened it, and and you know, those kind of uh polished iron things that you have in.
00:01:20.319 --> 00:01:21.120
Yeah, yeah, the peanuts.
00:01:21.359 --> 00:01:25.519
So I cleared those, and then my head was just looking at me.
00:01:28.319 --> 00:01:38.799
Yeah, it's like apparently what the reason they'd done that w after I'd recovered from the shock of it was um to check the color of the eyes.
00:01:38.879 --> 00:01:44.719
They wanted me to hold it next to my head and take the picture, and then they would know if they got the colour of the eyes right.
00:01:45.200 --> 00:01:45.760
They should warn you.
00:01:46.079 --> 00:01:47.040
They should have warned me, I could.
00:01:47.439 --> 00:01:49.280
Yeah, that is quite creepy.
00:01:50.719 --> 00:02:00.719
That is Jarvis Cocker and director Garth Jennings, who in his new film sort of has Jarvis gaze upon himself again with way happier results.
00:02:01.280 --> 00:02:04.879
The movie's called Pulp: What Do You Do for an Encore?
00:02:05.599 --> 00:02:26.719
It starts off like a concert movie documenting Pulp's huge super theatrical reunion gigs at London's O2 Arena last year, but then every couple of songs, the concert pauses to let Jarvis, in voiceover, muse about his life and his band, accompanied by years of archable footage, home movies, press interviews, even random TV ads he dug as a kid.
00:02:27.039 --> 00:02:30.719
This film is going to be like being at a jumble self.
00:02:32.080 --> 00:02:35.599
And all because the lady loves McTray.
00:02:36.000 --> 00:02:44.879
And after a while, it turns into something really moving: a love letter to art, his bandmates, and especially the audience.
00:02:45.759 --> 00:02:47.360
I'm Rico Galliano.
00:02:47.439 --> 00:02:48.800
Welcome back to the Movie Podcast.
00:02:48.960 --> 00:02:51.759
Movie is the global film company that champions Great Cinema.
00:02:51.919 --> 00:02:55.039
On this show, we tell you the stories behind Great Cinema.
00:02:55.680 --> 00:03:00.960
Today, a special episode is my interview with Jarvis Cocker and director Garth Jennings about Pulp.
00:03:01.120 --> 00:03:02.400
What do you do for an encore?
00:03:02.719 --> 00:03:05.199
Streaming exclusively on Movie right now.
00:03:05.520 --> 00:03:18.479
Pulp blew up in late 90s Britain after Jarvis literally fell from a window and during his hospital stay got the idea of fusing sexy soul music with euphoric Euro disco and witty righteous lyrics.
00:03:18.719 --> 00:03:21.120
His killer fashion sense also didn't hurt.
00:03:21.360 --> 00:03:26.719
Then to his dismay, critics labeled pulp Britpop, along with UK acts like Oasis.
00:03:26.879 --> 00:03:29.199
Later you'll hear him talk about all the above.
00:03:29.439 --> 00:03:42.080
Meanwhile, Garth Jennings is probably best known for the mega hit animated movies he wrote and directed, Sing and Sing Too, but he also directed some of the coolest and funniest rock videos of the 90s for the likes of Blur and Supergrass.
00:03:42.400 --> 00:03:49.759
I sat down with Garth and Jarvis after screening of their movie last month in front of a live audience at the Regal Union Square Cinema in New York City.
00:03:49.919 --> 00:03:52.639
As expected, they were both dressed up dapper as can be.
00:03:52.800 --> 00:04:04.080
I sorted my questions for them into five kind of chapters: What's in the movie, what's not in the movie, Dapper Suits, Cartoons, and we began appropriately enough with some questions about beginnings.
00:04:04.240 --> 00:04:10.560
Starting with Garth and Pope's first work together on one of the band's music videos, circa 1997.
00:04:12.000 --> 00:04:19.439
We had recorded the song Help the Aged, and it was announced that we were going to do it, and you sent a treatment in for it.
00:04:19.759 --> 00:04:36.560
Yeah, I sent an idea, and it was the first time we we were uh working with a band of your status, and and we put in the idea which was um a Stanner stair lift to heaven in the style of Stanner stairlifts are, you know, like in old people have them in their own.
00:04:36.959 --> 00:04:38.319
They can't get up the stairs anymore.
00:04:38.480 --> 00:04:44.720
You put them on a very slow chair, and I thought, wouldn't it be great to see Jarvis on one of those?
00:04:45.279 --> 00:04:46.560
And you felt the same way.
00:04:46.800 --> 00:04:47.600
Yeah, I loved it.
00:04:48.079 --> 00:04:49.439
I sat down for most of the video.
00:04:49.759 --> 00:04:50.319
Yeah, it's good.
00:04:51.120 --> 00:04:52.399
It was a natural.
00:04:52.639 --> 00:04:55.360
And you I mean, you collaborated on other stuff since then.
00:04:55.439 --> 00:04:59.279
What was the moment where you kind of realized game recognize game?
00:04:59.360 --> 00:05:01.279
Like you were this was not going to be a one-off.
00:05:01.439 --> 00:05:03.120
You would continue to do things.
00:05:03.600 --> 00:05:13.360
Well, I mean, that that that treatment for for help the aged was one of the things because it it referenced uh Powell and Pressburger film, A Matter of Life and Death.
00:05:13.439 --> 00:05:15.120
I don't know if you've seen that, it's a great film.
00:05:15.439 --> 00:05:22.879
When you share some cultural references with somebody, then then you you know that you you can make something good together.
00:05:23.279 --> 00:05:27.920
And you invited Garth Inn to co-create the stage show.
00:05:28.480 --> 00:05:36.560
What I mean was there was there a vibe that you were hoping for when you Yeah, four letters A B B A.
00:05:37.199 --> 00:05:43.680
How Abba because in I was thinking chord progressions and then the Swedish band.
00:05:44.079 --> 00:05:47.439
In in London at the moment, uh it's been going for a few years.
00:05:47.519 --> 00:05:49.519
It's this show called ABBA Voyage.
00:05:50.000 --> 00:05:54.079
It features um abatars, not avatars, but abatts.
00:05:54.160 --> 00:06:02.079
So the they seem to be like ABBA, but you're like in the 1970s, these figures are on the stage and they perform.
00:06:02.560 --> 00:06:06.560
Then there is a real band, and we'd we'd both separately seen that show.
00:06:06.879 --> 00:06:07.920
Yeah, loved it.
00:06:08.079 --> 00:06:18.959
It was so joyful and so unashamedly theatrical, and it was all about you know re-presenting the music in a way that just felt really special.
00:06:19.360 --> 00:06:22.720
I would not have guessed musical theater was the thing that you were gonna, or a jukebox music.
00:06:23.279 --> 00:06:34.079
I'm going to do it so but I assume between the two of you that you have like a compendious knowledge of every rock film ever made, every concert film ever made.
00:06:34.240 --> 00:06:40.720
Was there a concert film that you were kind of like, this is something that I would love to, you know, take stuff from or be inspired by?
00:06:41.120 --> 00:06:44.720
For me, there wasn't one I was there wasn't one I was sort of taking stuff from.
00:06:44.879 --> 00:06:46.720
Um I've seen a lot.
00:06:47.040 --> 00:06:48.560
And they're the obvious ones.
00:06:48.800 --> 00:06:53.920
The most recent one that was really baked into my noodle was uh Beyoncé's homecoming.
00:06:54.160 --> 00:06:54.639
Oh wow.
00:06:54.879 --> 00:06:58.240
Um yeah, it just again, killer entrance.
00:06:58.319 --> 00:06:59.199
Have you seen that?
00:06:59.600 --> 00:07:02.319
Is it because that's how you do it?
00:07:02.560 --> 00:07:03.680
How does it how does it open?
00:07:03.920 --> 00:07:05.040
Well, it's Beyonce.
00:07:05.600 --> 00:07:08.399
She could just stand there for ages, it would be fine.
00:07:08.560 --> 00:07:19.519
But she comes on as a queen goddess and then storms off with a stick and then she's gone for a bit, and then she comes up on the back of the stage, and there's like hundreds of people on the stage, and she does crazy in love.
00:07:19.600 --> 00:07:21.040
So, Coachella, you ready?
00:07:21.199 --> 00:07:22.560
And it's just like fantastic.
00:07:22.720 --> 00:07:26.079
It's and then they have all these cutaways to the show being prepared.
00:07:26.240 --> 00:07:27.680
So I thought, oh, that works.
00:07:27.759 --> 00:07:30.959
You can watch a show and tell a story.
00:07:31.360 --> 00:07:32.720
And I thought, that's good.
00:07:33.040 --> 00:07:34.879
So the format of the show actually comes from beyond.
00:07:34.959 --> 00:07:35.759
So the format of the show.
00:07:38.720 --> 00:07:39.920
Yeah, no, but it's true.
00:07:40.560 --> 00:07:48.240
It wasn't that it was from that, but it was just one of the many concert films I've seen that I thought was terrific and and was very, very, very nicely done.
00:07:48.319 --> 00:07:48.560
Yeah.
00:07:48.879 --> 00:07:49.920
Did were you aware of that?
00:07:50.000 --> 00:07:54.160
That that was one of the No, I thought we would just make it a straight concert film, actually.
00:07:54.319 --> 00:07:54.560
Yeah.
00:07:54.800 --> 00:08:02.399
But then uh But then um when Garth said that it was going to be archive, I thought, okay.
00:08:02.560 --> 00:08:05.360
I couldn't watch most of it tonight, actually, for some reason.
00:08:05.600 --> 00:08:05.839
Why?
00:08:06.000 --> 00:08:06.560
Well, I don't know.
00:08:06.639 --> 00:08:08.800
I it's a bit like watching your life, you know.
00:08:08.959 --> 00:08:12.160
You're supposed to see all your life flash before you when you're dying.
00:08:12.319 --> 00:08:14.959
And uh maybe I just thought I was gonna die if I watched it.
00:08:15.040 --> 00:08:15.759
I don't know.
00:08:16.160 --> 00:08:17.759
I'm sorry you felt like that.
00:08:18.480 --> 00:08:25.920
So you kind of were like, let's not just make it a concert movie, we're gonna weave your life and band story into this thing.
00:08:26.000 --> 00:08:27.040
And you thought what?
00:08:27.199 --> 00:08:28.079
You were like, No.
00:08:29.040 --> 00:08:30.399
No, I feel like I'm dying.
00:08:30.800 --> 00:08:39.200
There was Garth arranged a viewing of the rough cut of it, uh, maybe just before Christmas, I think, wasn't it like last year?
00:08:39.519 --> 00:08:43.919
And um and when I saw it, then I could see that it it was gonna work.
00:08:44.159 --> 00:08:58.080
The voice of God, which is me in the film, which is you know, that's that also was I could see why that would work, but I I I hope well, it's a bit like um you just hear my voice a lot in that film.
00:08:58.960 --> 00:08:59.679
Yeah, it's good.
00:08:59.919 --> 00:09:01.120
Which is fine, I suppose.
00:09:01.440 --> 00:09:02.879
You've got a lovely voice.
00:09:03.279 --> 00:09:14.639
And it's and it's and I like the fact that it was it was felt like Jarvis was telling you the story, not me or other expert people, you know, that say, Oh, I remember when this came out and this is what it meant.
00:09:14.720 --> 00:09:19.200
I think it's what you're saying that it felt like you he was right next to you telling you the story.
00:09:19.519 --> 00:09:21.919
Which came first, the story though, or the archival?
00:09:22.000 --> 00:09:23.519
Like well, let me take a step back.
00:09:23.679 --> 00:09:26.879
You uh I'm assuming that you had a huge amount of archival stuff.
00:09:26.960 --> 00:09:28.799
Like, what how much did you have to work on?
00:09:29.279 --> 00:09:32.399
Just loads, just so much, tons and tons.
00:09:32.480 --> 00:09:37.679
And it was amazing and difficult because um when you look at stuff, you just get drawn into it.
00:09:37.759 --> 00:09:42.000
It's like going through your own photographs at home and you end up going through all of them.
00:09:42.399 --> 00:09:46.399
What was your favorite piece of ephemera that you came upon in that pile?
00:09:46.639 --> 00:09:49.679
Well, it was when Jarvis went on a p a pirate ship.
00:09:49.919 --> 00:09:51.759
Uh with that.
00:09:52.080 --> 00:09:52.639
I love that.
00:09:53.279 --> 00:09:55.200
It's a for those listening at home.
00:09:55.279 --> 00:09:56.799
This is a a moment in the film.
00:09:56.879 --> 00:09:58.879
It's a from a TV show, it looks like yeah.
00:09:58.960 --> 00:10:03.039
Live and kicking was a kids' TV programme that was on on Saturday mornings.
00:10:03.600 --> 00:10:05.440
It was lovely going through that stuff though.
00:10:05.679 --> 00:10:13.120
Even seeing things like old TV ads that we wanted to try out, and it was just I've I've loved being back going through all of them.
00:10:13.440 --> 00:10:16.159
What was your favourite thing that you maybe had forgotten about?
00:10:16.320 --> 00:10:16.879
A piece of video.
00:10:17.200 --> 00:10:21.440
Well, the one that I wasn't I there were lots of bits that I just didn't remember at all.
00:10:21.600 --> 00:10:29.679
There's one where I think it's like a Scandinavian uh interviewer, and they says, You uh how how do you top yourself or something like that?
00:10:30.559 --> 00:10:31.679
We're releasing an album.
00:10:31.840 --> 00:10:35.039
Do you think it's important to top yourself?
00:10:36.240 --> 00:10:36.720
No way.
00:10:37.120 --> 00:10:38.960
That's an unfortunate phrase.
00:10:39.200 --> 00:10:42.159
In English, if we say to top yourself, it means to commit suicide.
00:10:42.480 --> 00:10:43.039
Okay, sorry.
00:10:47.919 --> 00:10:48.480
Yes.
00:10:48.720 --> 00:10:50.559
I don't know, I kind of like that.
00:10:51.840 --> 00:10:53.200
The concert starts.
00:10:53.360 --> 00:10:57.440
We're in by the way, we're in the what's in the movie part of the conversation now.
00:10:58.080 --> 00:11:08.240
Uh it starts with Jarvis in voiceover saying the very hilarious and kick-ass announcement that this will be a night you will remember for the rest of your life.
00:11:08.799 --> 00:11:12.399
Who made that decision and tell me why you decided to open that way?
00:11:12.799 --> 00:11:24.080
I I always love a concert because um what it's like in this audience as well, you know, you get people gathered together in a place and there'll never be this gathering of people again, you know.
00:11:24.399 --> 00:11:30.000
The thing about concerts, and I think is that an audience makes it, you know.
00:11:30.639 --> 00:11:35.120
A band can go and rehearse in a room and it can sound okay and everything, but it's not a concert.
00:11:35.279 --> 00:11:46.000
To to make it a concert, it's a it's a it's a cooperation between you and the audience, and uh and i I think there's a term it it's called collective effervescence, apparently.
00:11:46.080 --> 00:11:52.639
Uh that was a a term uh coined back in 1912 by a French um psychologist.
00:11:52.799 --> 00:12:03.600
So this is this thing where uh it can happen at sporting events and and at concerts where it becomes almost like a chemical reaction and no one's really in charge of it.
00:12:04.000 --> 00:12:12.159
In normal life, I'm a fairly repressed uh controlled person, but on stage I manage to escape that.
00:12:12.320 --> 00:12:22.799
And um and and it no one, yeah, this thing of losing control, I think, is uh is important, especially with other people.
00:12:23.200 --> 00:12:39.440
It doesn't though it to me also it kind of speaks about something that I love and I I'll bet you a lot of people here love about the band too, which is simultaneously acknowledging the power of pop music, but also acknowledging how ridiculous the hugeness of pop music is.
00:12:39.600 --> 00:12:44.320
It's just the night you will remember for you will remember for the rest of your life.
00:12:44.559 --> 00:12:46.559
It's so big it's absurd.
00:12:46.960 --> 00:12:51.600
And I wonder like where because I see it in both of your work all the time.
00:12:51.759 --> 00:12:56.000
It's like loving the power of music, but also knowing that it's ridiculous on some level.
00:12:56.159 --> 00:13:00.320
And I'm wondering when that occurred to you and why it's been like such a thing in your work.
00:13:00.799 --> 00:13:03.440
Well, but you know, I I was brought up on pop music.
00:13:03.600 --> 00:13:18.879
My mum used to have the pop radio on when I she was getting me and my sister ready to go to school, and it was the first music that kind of gave me what I call the tingle, where you hear something and it makes you go kind of shivery in a pleasant way.
00:13:19.120 --> 00:13:24.320
But then when I got older, I realized that pop music didn't tell you the whole story of relationships.
00:13:24.399 --> 00:13:34.159
Like when I attempted to have relationships myself, I thought, well, this is nothing like you know, in pop songs, it's like, yeah, love you, baby, everything's gonna be fine.
00:13:35.120 --> 00:13:37.440
And I just it was always awkward and stuff.
00:13:37.519 --> 00:13:55.759
So I I I at a very early age I decided that what I was gonna try and do was have songs that were pop songs that had a pop song structure of verse, chorus, verse chorus, bridge double chorus, maybe a solo occasionally, but to put words in that that I thought were more honest.
00:13:56.159 --> 00:13:58.399
Something sort of akin to what you're talking about.
00:13:58.480 --> 00:14:03.679
I do want to hear like, did you have that moment where it's kind of like this is glorious and absurd?
00:14:04.000 --> 00:14:05.519
On the uh making this film.
00:14:05.919 --> 00:14:07.440
Well, then pop music in general.
00:14:07.679 --> 00:14:13.440
Oh, from the beginning, I I actually that thing you just said about the tingle, I really relate.
00:14:13.519 --> 00:14:15.039
I'm sure everyone does actually.
00:14:15.120 --> 00:14:17.759
It is that physical reaction to it.
00:14:18.000 --> 00:14:31.600
But that I mean, when you're little and Freddie Mercury comes on and sings Bohemian Rhapsody, you've you've got everything you were saying just then about the you've it feels fantastic, but it is also uh just funny and over the top and brilliant.
00:14:31.679 --> 00:14:36.799
And yeah, I and and and then even in cinema, that feeling I got it by the bucket load.
00:14:36.879 --> 00:14:39.600
So when E Elliot's flying with E.T.
00:14:39.679 --> 00:14:46.879
and John Williams is giving it some, yeah, I am getting some serious I'm nine years old, I'm getting a massive tingle.
00:14:47.120 --> 00:14:50.639
Yeah, that sounded disgusting, but you know what I mean, right?
00:14:50.960 --> 00:14:51.759
Yeah, sorry.
00:14:51.919 --> 00:14:56.720
But it was and I've I basically chased that a bit like I guess you've been doing through music.
00:14:56.799 --> 00:15:12.559
I've been chasing those feelings through the work I've been trying to do, as even in the music videos, they weren't my songs, but I was trying to capture why I felt that way about the song and hopefully make something that would communicate that or share that too.
00:15:12.799 --> 00:15:16.000
That's what this film was, just to just try and share that feeling.
00:15:16.080 --> 00:15:16.240
Yeah.
00:15:16.559 --> 00:15:24.960
Yes, and well, that actually kind of leads to my next question, which is at the same time that there's maybe that somewhat ironic look at music going on.
00:15:25.039 --> 00:15:30.399
I mean, just in general, and the way that it's put together, this movie is so non-ironic.
00:15:30.559 --> 00:15:32.639
It was almost surprising to me, right?
00:15:32.960 --> 00:15:43.519
I I was expecting more pop strutting, which we get, we get plenty of pop strutting, but this kind of embrace of the audience that happens was really surprising to me.
00:15:43.600 --> 00:15:51.039
And I confess I don't know how the live shows have evolved over time, but when did that start happening to pulp shows where it became such a collective thing?
00:15:51.360 --> 00:15:52.799
That's a good question, actually.
00:15:52.960 --> 00:16:01.440
I mean, you you you commented actually that when you started editing the film, you you you were worried at first because there were so many people singing along.
00:16:01.600 --> 00:16:03.360
Yeah, so how are we gonna get rid of them?
00:16:03.679 --> 00:16:08.799
Yeah, it was it was but they become they're like you're saying it's the secret ingredient because it's between you and them.
00:16:08.879 --> 00:16:11.519
And if you didn't have them, it wouldn't be the same.
00:16:11.600 --> 00:16:19.600
But they were so loud, and they were singing, it wasn't just like the front row or the front bit, it was right to the back of the the arena, and it was phenomenal.
00:16:19.679 --> 00:16:21.600
Yeah, it was really 20,000 people, yeah.
00:16:21.759 --> 00:16:26.559
You know, and when we got to something changed, and you really can hear them.
00:16:26.720 --> 00:16:28.159
That is what it sounded like in there.
00:16:28.240 --> 00:16:29.519
We haven't enhanced any of that.
00:16:29.600 --> 00:16:33.039
It was really extraordinary, really powerful, lovely.
00:16:33.279 --> 00:16:36.720
So I don't yeah, I mean, I don't know uh when it started happening.
00:16:36.799 --> 00:16:44.399
Uh maybe that well, there's in the film it talks about Glastonbury when when you're really realising, God, they know every word.
00:16:44.639 --> 00:16:46.320
Oh yeah, that actually that's a good point.
00:16:46.399 --> 00:16:50.240
Yeah, that was when that was the first time anybody'd sung along to a pulp song.
00:16:50.320 --> 00:16:51.279
I mean, audibly.
00:16:51.600 --> 00:16:51.919
Really?
00:16:52.080 --> 00:16:52.559
Yeah, well.
00:16:53.200 --> 00:16:54.480
So it's pretty deep into your career.
00:16:55.039 --> 00:17:01.919
But no, because common people have been a hit in the UK, and and Glastonbury was the first concert that we did after that.
00:17:02.000 --> 00:17:03.600
So it was a big Oh my god.
00:17:03.840 --> 00:17:04.640
It was really weird.
00:17:04.720 --> 00:17:13.359
We started playing it, and then I could hear the audience singing it really loud, and it made me nervous because I thought, oh, I might forget the words, and they'll know because they know the words.
00:17:14.079 --> 00:17:21.519
I I divide concert movies loosely into concert movies that show the audience and concert movies that don't show the audience.
00:17:21.759 --> 00:17:24.720
Like stop making sense doesn't show the audience until the very end.
00:17:24.880 --> 00:17:29.680
Um, this movie shows them right from the beginning, and I'm assuming it's to get this vibe across.
00:17:29.839 --> 00:17:32.960
But there's also a really easy way to make that feel very pandering.
00:17:33.279 --> 00:17:38.240
It's kind of like you should now enjoy the song like this person is enjoying the song.
00:17:38.640 --> 00:17:45.599
But I never feel that when I'm watching this movie, and I'm wondering if there was like consciously how you were approaching showing the audience in this movie.
00:17:46.000 --> 00:17:52.079
I didn't think we'd be showing that much before we shot it, but then when it happened, you couldn't avoid it.
00:17:52.240 --> 00:17:58.880
They were that they were a huge part of your show, and I couldn't believe how lovely everyone was.
00:17:59.039 --> 00:18:03.759
I couldn't believe how many different generations and people had come from all over the place.
00:18:03.839 --> 00:18:06.480
It was such a mix, and so many young people as well.
00:18:06.720 --> 00:18:07.839
Yeah, that was surprising to me too.
00:18:09.200 --> 00:18:09.759
I couldn't believe it.
00:18:09.839 --> 00:18:12.559
Everybody, every man and woman there was like just fabulous.
00:18:12.640 --> 00:18:16.400
I uh it looked like we cast them, but they were really just genuinely lovely.
00:18:16.640 --> 00:18:19.119
And um that was great.
00:18:19.279 --> 00:18:20.400
And then that's what I mean.
00:18:20.480 --> 00:18:22.640
We just responded to what was happening at the beginning.
00:18:22.799 --> 00:18:25.599
I thought we would hold back on the on the crowd.
00:18:25.920 --> 00:18:28.240
So you ended up like turning the cameras on the crowd, basically?
00:18:28.319 --> 00:18:30.319
Because you were just like, turn them around.
00:18:30.640 --> 00:18:32.480
You're just like turn the cameras around, turn the cameras around.
00:18:32.640 --> 00:18:34.319
Yeah, they go mental, go.
00:18:34.400 --> 00:18:34.640
Yeah.
00:18:34.799 --> 00:18:34.960
Wow.
00:18:35.119 --> 00:18:38.079
Though those cameras on the crowd were supposed to be on Jarvis.
00:18:38.720 --> 00:18:43.119
So so when we knew we had enough cameras on Jarvis, we would turn the other one around.
00:18:43.200 --> 00:18:43.599
Yes.
00:18:44.000 --> 00:18:44.400
Amazing.
00:18:44.640 --> 00:18:49.200
I want to I I could go on forever, by the way, talking about the actual songs in this movie.
00:18:49.440 --> 00:18:58.960
There is one, and it maybe goes to what we're talking about here, that I want to talk to you about Jarvis because you've had such a it seems like you've had an interesting relationship with it.
00:18:59.039 --> 00:19:07.119
And it comes up really early in the movie as Miss Shapes, which is a beautiful, beautiful song, one of my favorite songs uh that you do.
00:19:07.359 --> 00:19:14.640
Uh and it's for those who don't know, this is a call to nerds and oddballs and smart people to rise up and take over.
00:19:15.839 --> 00:19:19.920
And I read that that was written, I guess, in 96 or something.
00:19:20.160 --> 00:19:26.799
And in 99 you gave an interview where you were like, I don't like listening to that song anymore, because it's clear that that didn't happen.
00:19:26.960 --> 00:19:28.960
Like basically we didn't take over.
00:19:29.200 --> 00:19:29.359
Yeah.
00:19:29.680 --> 00:19:34.960
But it's back in your set, and I'm wondering what has changed in your relationship to that song.
00:19:35.440 --> 00:19:37.680
Um I kind of grew up, I suppose.
00:19:37.920 --> 00:19:43.839
When when we did a Paul Greatest Hits record, I consciously said we can't have it on there.
00:19:43.920 --> 00:19:44.240
Yeah.
00:19:44.880 --> 00:19:47.279
Which was just being uh petty, really.
00:19:47.599 --> 00:20:00.880
But it was like, yeah, so there was this exciting moment um in in the UK where where bands that traditionally would have just been like indie bands started having hits in the real hit parade.
00:20:01.119 --> 00:20:14.880
And to me that seemed exciting because it it seemed like uh there could be a revolution or something, you know, the culture could get more interesting if you were getting these people from the margins uh taking the centre stage.
00:20:15.039 --> 00:20:31.119
And so Miss Shapes was written in that kind of mood of uh of giddy expectation because common people had been a hit, so I thought, right, we've got an audience now, so now I'm gonna whip them up into a fervor, and we will we will cause revolution to happen.
00:20:31.359 --> 00:20:32.960
And it didn't happen, you know.
00:20:33.039 --> 00:20:37.359
Uh uh, it for a start it got this horrible name, B pop.
00:20:37.759 --> 00:20:49.839
I can't say the word, you know, which was a horrible term because obviously the pop bit I was alright with because we'd already always telling people we were pop, and they'd go, shut up, you indie band, and stuff like that.
00:20:50.000 --> 00:20:59.759
But um it the the Brit part I didn't like because that was like some kind of flag waving uh nationalist thing, and I'd and I I really didn't like that idea.
00:21:00.000 --> 00:21:02.000
I'm always thinking these things are gonna happen actually.
00:21:02.079 --> 00:21:07.759
It was the same when there was the acid house thing in in um in the UK in the late 80s.
00:21:07.839 --> 00:21:10.240
I thought this is it, this is it now, yeah.
00:21:10.400 --> 00:21:16.960
We're all gonna be raving all the time, and we're all gonna stop gonna work and everything, and it didn't happen.
00:21:17.039 --> 00:21:18.079
So exactly.
00:21:18.319 --> 00:21:27.680
But I've I guess uh it's back in the set now, and I really enjoy singing it, and maybe I don't know, hope for a revolution, anybody?
00:21:27.920 --> 00:21:28.799
I mean, yeah.
00:21:29.599 --> 00:21:32.880
I mean, some of the lyrics definitely hit hard right now.
00:21:32.960 --> 00:21:35.920
The future that you've got mapped out is nothing much to shout about.
00:21:36.240 --> 00:21:40.480
We won't use guns, we won't use bombs, we'll use the one thing we've got more of, that's our minds.
00:21:40.799 --> 00:21:42.880
I mean, like, come on, then.
00:21:43.119 --> 00:21:43.359
Yeah.
00:21:43.599 --> 00:21:47.119
Do you I mean, like, are you thinking about now when you're thinking singing that song?
00:21:47.200 --> 00:21:49.279
It doesn't feel like a nostalgia piece to me anymore.
00:21:49.599 --> 00:21:53.200
No, I I I I that's what I'm proud of with the songs, I suppose.
00:21:53.279 --> 00:21:56.480
That when you write a song, you don't know what its shelf life's gonna be.
00:21:56.559 --> 00:21:59.759
You don't know if it's gonna go off in six months, so you know it might be.
00:22:00.240 --> 00:22:01.519
Or scene passe.
00:22:02.240 --> 00:22:04.079
We're moving on to what's not in the movie.
00:22:04.319 --> 00:22:08.559
I earlier asked what might have been inspirational for this film.
00:22:08.880 --> 00:22:11.519
Like what concert films was there something you didn't want to do?
00:22:11.599 --> 00:22:13.440
Like this is something concert films do all the time.
00:22:13.519 --> 00:22:14.240
We're not doing that.
00:22:14.480 --> 00:22:14.799
Oh.
00:22:15.200 --> 00:22:19.119
Well, yeah, it wasn't really it was based on what we really wanted to do.
00:22:19.200 --> 00:22:31.759
But um there's a couple of things like we did Jarvis mentioned earlier, experts talking about pop who would be great, but probably very nice to meet and maybe even film, but just didn't want to do that.
00:22:31.920 --> 00:22:40.160
Also, there's a new trend where people like yourself would be given an an iPad and then they watch themselves and they go, Oh yeah.
00:22:40.799 --> 00:22:41.839
Have you seen that?
00:22:42.160 --> 00:22:43.359
That's a thing, isn't it?
00:22:43.920 --> 00:22:44.559
Oh my god.
00:22:44.640 --> 00:22:50.960
And I'm thinking that's not right because if I did that to you and I gave you an iPad, you would not respond.
00:22:51.200 --> 00:22:55.359
And a camera's on you, and there's all the sound people, it's like, and you're like, oh, I'm feeling all these emotions.
00:22:55.599 --> 00:22:59.119
Like, no, you this is all a bit, it doesn't feel right.
00:22:59.440 --> 00:23:03.680
And and uh it wouldn't feel like it was coming from the world of pulp.
00:23:04.000 --> 00:23:08.480
Most of the most of the stuff that's not in that I would have loved to put in is the show itself.
00:23:08.640 --> 00:23:14.000
The show was two hours, I think, or maybe more, had this fantastic intermission, which was lovely.
00:23:14.160 --> 00:23:14.960
It was just great.
00:23:15.599 --> 00:23:16.720
What did you do in the intermission?
00:23:16.880 --> 00:23:18.319
Oh, it was a 15-minute intervention.
00:23:19.039 --> 00:23:20.000
I had to change me clothes.
00:23:21.920 --> 00:23:24.960
Everyone went off and had a beer, and the audience knew there was a countdown.
00:23:25.039 --> 00:23:31.519
There was a countdown happening, and uh then there were little we made little video bits that would play, and it was uh it was his own little piece.
00:23:32.480 --> 00:23:33.759
Yeah, there was a we had a song vote.
00:23:35.119 --> 00:23:40.480
Uh we we'd we would rehearse two songs and then people could choose which one they wanted to do.
00:23:40.640 --> 00:23:41.519
Yeah, it was a clapometer.
00:23:42.640 --> 00:23:48.000
Yeah, and so we wouldn't find out which one they'd chosen until like five minutes before we went on for the second half.
00:23:48.400 --> 00:23:56.480
Yeah, and the audience were asked, like, if you would like to hear this, you know, clap now, and then the thing would go up depending on how much they cheered, and then we'd go to the other one on the other screen.
00:23:56.640 --> 00:23:58.799
So it was a pattern that's for every band on earth.
00:23:58.960 --> 00:24:00.000
Yeah, it was brilliant, fun.
00:24:00.079 --> 00:24:01.279
And then the countdown was amazing.
00:24:01.359 --> 00:24:05.920
The last 30 seconds, without asking them to, the entire audience counted down.
00:24:06.000 --> 00:24:10.880
It's like an irresistible human urge to join in with a countdown, and it was lovely.
00:24:11.039 --> 00:24:20.240
So this there was so much in the show, like the inflatable characters that came out for the fear, and there was so much in it that's that we couldn't put in the film.
00:24:20.400 --> 00:24:20.559
Okay.
00:24:21.200 --> 00:24:26.160
Because one of the reasons was we wanted to keep it to a uh an accessible 90-minute length.
00:24:26.400 --> 00:24:27.200
Well, that was important.
00:24:27.599 --> 00:24:29.359
That may be the boring answer to this question.
00:24:29.440 --> 00:24:30.880
We'll cut it out if it's boring.
00:24:31.119 --> 00:24:40.480
Uh in the in the like the first documentary sequence in the movie, you talk about being really into sci-fi and sci-fi TV shows.
00:24:40.559 --> 00:24:43.440
I'm wanting to live in space, Doctor Who, this kind of thing.
00:24:43.599 --> 00:24:54.160
And then the next thing you say is, then I was, you know, a teenager, and here's me writing about being in a band, like making up band logos and outfits for the band.
00:24:54.559 --> 00:25:04.480
What happened between Space Jarvis like age, whatever that was, and like 15-year-old Ian McCullough's hair Jarvis?
00:25:05.119 --> 00:25:11.119
Being in the band seemed more accessible, like I could get a guitar, I couldn't get a rocket.
00:25:12.079 --> 00:25:15.759
And there was no like branch of NASA near Sheffield.
00:25:16.240 --> 00:25:18.720
But what made you want to trade the rocket for that?
00:25:19.039 --> 00:25:39.839
But I don't I'd always I think I I mean I I'd wanted to be in a band from about the age of seven, and that was probably because I'm I was born in 1963, and the Beatles were number one on the day I was born, and I was kind of uh even though I I was you know I was a kid, so I didn't totally uh understand what they were about, but it created an atmosphere.
00:25:40.000 --> 00:25:53.440
I mean, the Beatles really encouraged so many people to form bands because they were normal kids from Liverpool and they wrote their own songs, you know, and so that was an amazing kind of boo.
00:25:53.599 --> 00:25:54.319
I could do that.
00:25:54.640 --> 00:25:56.799
I have to say, I totally expected you would say Bowie.
00:25:57.200 --> 00:26:03.200
Bowie was like David Bowie's first greatest hits changes one Bowie.
00:26:03.440 --> 00:26:06.240
That was the first LP that I bought with my own money.
00:26:06.400 --> 00:26:06.799
Wow.
00:26:07.039 --> 00:26:11.839
So uh so yeah, so that would have been when I was about 13 or 14.
00:26:12.079 --> 00:26:13.359
I mean space oddity.
00:26:13.680 --> 00:26:15.200
Space Oddity's good, yeah.
00:26:15.279 --> 00:26:19.039
Uh that's my me and my wife do that at karaoke.
00:26:19.519 --> 00:26:19.839
Really?
00:26:20.079 --> 00:26:22.000
I'm Major Tom and she's Grand Control.
00:26:22.319 --> 00:26:22.880
That's good.
00:26:23.119 --> 00:26:23.599
That's good.
00:26:23.680 --> 00:26:24.400
I didn't know that.
00:26:24.480 --> 00:26:24.880
That's excellent.
00:26:25.119 --> 00:26:25.359
That's good.
00:26:25.519 --> 00:26:29.839
She sings the first bit and then I come in, here am I sitting in my tinkering.
00:26:30.319 --> 00:26:30.480
Wow.
00:26:30.880 --> 00:26:31.119
Yeah.
00:26:31.680 --> 00:26:33.519
I even do a bit of floaty one.
00:26:34.480 --> 00:26:35.759
So, okay, here's another thing.
00:26:35.920 --> 00:26:36.720
Not in the film.
00:26:36.960 --> 00:26:40.640
You show the equation of what makes pulp.
00:26:41.039 --> 00:26:44.400
You have this kind of revelation, this is what pulp's music is going to be.
00:26:44.480 --> 00:26:50.799
And the equation is Barry White plus Eurodisco plus gritty northern realism equals the future, aka Uri Music.
00:26:50.960 --> 00:26:54.079
And you tell us in the movie about Barry White, he's smooth and awesome.
00:26:54.240 --> 00:27:01.200
Uh, you're from the land that invented gritty northern realism, but uh I I can probably guess, but where did the Eurodisco come in?
00:27:01.279 --> 00:27:02.640
Because right before that, you're post-punk.
00:27:02.799 --> 00:27:03.279
That's what you're talking about.
00:27:03.519 --> 00:27:09.440
Well, the Eurodisco came in in the form of a portable keyboard that I stole from my grandmother.
00:27:10.559 --> 00:27:24.880
My granddad had bought her this um Yamaha Porta sound keyboard, like a Casio kind of keyboard that was battery operated, and you it had uh big preset rhythms in it, and there was a disco setting, and I loved it.
00:27:24.960 --> 00:27:33.039
It was actually and and I after I'd fallen from the window, you saw the bit where I fell from the window.
00:27:33.119 --> 00:27:50.480
So I I spent quite a long time in hospital recuperating, and and um I I did I wanted to try and write songs, but I knew that I couldn't have a guitar because I was on this ward, it was very old-fashioned, like a long thin room with all beds along it either side.
00:27:50.559 --> 00:27:56.400
So, you know, you were in with a lot of other blokes, like miners who'd had like some pit accident or whatever.
00:27:56.559 --> 00:28:02.720
So you're not gonna be there strumming, yeah, with like things fucking sure, trying to sleep or whatever.
00:28:02.880 --> 00:28:09.599
So so with the keyboard, it had a headphone port, so I could listen to it and tinkle away.
00:28:09.680 --> 00:28:21.200
Yeah, and and I wrote um I wrote a few songs, and I really I think you know, maybe because I was bedridden at that point, the idea of dancing was very appealing to me.
00:28:21.279 --> 00:28:28.880
So I started to use the disco setting quite a lot and wrote a lot of songs, all of which had death in the title.
00:28:30.400 --> 00:28:38.079
I mean, this is so the Casio, the the presets on a Casio keyboard were like the major inf inspiration.
00:28:38.640 --> 00:28:42.640
Well, yeah, well, yeah, because then I did get a Casio years later.
00:28:42.720 --> 00:28:47.279
Uh in the and that's what I wrote um Common People on, does it?
00:28:47.359 --> 00:28:54.240
Does it was like kind of uh we learn a dad whistloader?
00:28:54.480 --> 00:28:58.400
I tell you that case fellow and Coca-Cola she said fine.
00:28:59.039 --> 00:29:01.200
Let's let's move on to my next chapter.
00:29:01.440 --> 00:29:01.599
Okay.
00:29:01.920 --> 00:29:07.359
Uh, because something that is in the film is the importance of style and the concept of pulp.
00:29:07.599 --> 00:29:12.480
So the next chapter that we're gonna talk about is uh I'm calling it Dapper Suits.
00:29:12.880 --> 00:29:15.680
It consists of one question for both of you.
00:29:15.920 --> 00:29:18.319
Where do you get your Dapper suits?
00:29:19.359 --> 00:29:20.640
Do you want to go first?
00:29:20.880 --> 00:29:23.200
You've got the nine I mean, you're the suit guy.
00:29:23.359 --> 00:29:24.640
This is a one-off for me.
00:29:24.720 --> 00:29:26.799
This is his default setting.
00:29:26.880 --> 00:29:27.279
Yeah.
00:29:27.599 --> 00:29:30.319
Um well, I used to get them from jumble sales.
00:29:30.559 --> 00:29:30.960
What?
00:29:31.119 --> 00:29:42.319
Because well, because people were just throwing clothes away and and uh and you know that was in the 80s, so it was things from the 70s that they were throwing away, and I kind of like them.
00:29:42.640 --> 00:29:44.880
But that's kind of disappeared now.
00:29:45.039 --> 00:29:48.559
Um and charity shops in the UK are terrible now.
00:29:49.119 --> 00:29:51.839
Uh it's all colour-coded and and not very good.
00:29:52.160 --> 00:30:05.839
So now I I um there's a tailor in Paris called uh called Husbands, and um and he he makes really good clothes and uh nice kind of slightly flared trousers.
00:30:05.920 --> 00:30:07.920
So I I get quite a lot of things from him.
00:30:08.319 --> 00:30:20.880
I thought you were I was hoping that you would mention a specific tailor, because I want to know what the challenge is that other tailors cannot overcome when it comes to making a perfect Jarvis Cocker suit.
00:30:21.519 --> 00:30:26.000
It has to have um shoulders that uh um stick up a bit.
00:30:27.119 --> 00:30:29.759
You you might have I don't know if you're gonna show you this seam.
00:30:30.400 --> 00:30:31.759
So uh the seam.
00:30:32.160 --> 00:30:33.279
Can we zoom in on this, please?
00:30:33.519 --> 00:30:33.759
Thank you.
00:30:34.480 --> 00:30:38.720
The seam kind of goes backwards towards the back of it.
00:30:38.799 --> 00:30:48.960
Yeah, so that makes the shoulders stand up a bit more and um and the trousers have to be at least parallel or just a little bit flared, not like flappy flap flap flap.
00:30:53.440 --> 00:30:53.680
Yeah, yeah.
00:30:55.279 --> 00:31:00.799
And people would ride a motorbike and be like uh like wings trying to take off.
00:31:01.440 --> 00:31:02.880
Newgarth, where'd you go?
00:31:03.200 --> 00:31:07.519
This is for those who are listening at home and not watching, this is like an amazing corduroy outfit.
00:31:07.759 --> 00:31:08.160
Thanks.
00:31:08.400 --> 00:31:09.680
Yeah that's very nice of you.
00:31:09.759 --> 00:31:15.440
Uh well that I mean I was just thinking as you're asking that, I was like, oh, I know the the the answer to this is a little odd.
00:31:15.519 --> 00:31:18.640
Uh uh what it is, I've only really got one proper suit.
00:31:18.880 --> 00:31:27.680
The premiere for this film, the first time it was shown, was in London, and two days before that premiere was my father-in-law's funeral.
00:31:27.759 --> 00:31:37.519
And he was great, and it was a lovely guy, and it but he was nearly 91, so it was it was oh it was lovely, and it was better because I just felt weird if I wore the same suit.
00:31:37.759 --> 00:31:38.480
Do you know what I mean?
00:31:38.559 --> 00:31:40.559
I thought I've got to get something else.
00:31:40.960 --> 00:31:46.559
So I thought, and I'd seen this in a in a shop near where we live in France, so I thought I'll go for it.
00:31:46.640 --> 00:31:53.599
And and my wife basically, I've got nothing on me that my wife, my wife's great, she's a fashion designer, so she I've never bought my own clothes.
00:31:53.680 --> 00:31:55.039
She always goes, that, get that.
00:31:55.200 --> 00:31:57.920
And so I met her at the shop, she went, Yep, get that.
00:31:58.079 --> 00:31:59.359
So that's how it happened.
00:31:59.599 --> 00:32:00.400
I love that you're married.
00:32:00.559 --> 00:32:03.599
A fashion designer married somebody who has literally two suits to their neighborhood.
00:32:03.759 --> 00:32:04.000
Yeah, yeah.
00:32:04.400 --> 00:32:07.440
No, I I've never picked it.
00:32:07.519 --> 00:32:13.200
Uh the only I very rarely buy clothes, but when I have done, I my wife just puts me in the changing room.
00:32:13.279 --> 00:32:14.079
This is absolutely true.
00:32:14.160 --> 00:32:16.880
She puts me in the changing room and says, wait there.
00:32:17.119 --> 00:32:20.000
And then things just come over the top.
00:32:20.079 --> 00:32:22.000
And then, but there's no like uming and a ring.
00:32:22.079 --> 00:32:23.279
I come out and I go, Oh, these are nice.
00:32:23.359 --> 00:32:24.240
She goes, No, take that off.
00:32:24.319 --> 00:32:24.880
That's terrible.
00:32:25.039 --> 00:32:25.680
Take it off.
00:32:25.839 --> 00:32:28.480
And she's she's been good so far, so yeah.
00:32:28.799 --> 00:32:29.839
30 years.
00:32:30.319 --> 00:32:31.519
I'm glad it worked out.
00:32:31.680 --> 00:32:32.240
It did, yeah.
00:32:32.400 --> 00:32:32.960
She's great.
00:32:33.279 --> 00:32:35.200
Final chapter, cartoons.
00:32:35.599 --> 00:32:39.279
Um, Garth, you were famed for a couple of the best animated movies ever.
00:32:39.519 --> 00:32:43.440
Sing and uh the cunningly named sequel, which is called Sing Two.
00:32:43.680 --> 00:32:45.279
Yeah, we really went for it on that title, didn't we?
00:32:45.359 --> 00:32:47.359
Yeah, where did you What Could We Call It?
00:32:47.680 --> 00:32:48.000
Crazy.
00:32:48.079 --> 00:32:49.039
Were you high that day?
00:32:49.119 --> 00:32:50.240
That's amazing.
00:32:50.559 --> 00:32:55.839
Um, I would say for somebody though who always your work always has this warm quality.
00:32:55.920 --> 00:32:59.680
For those who don't know, like this is the gentleman that did Blur's Coffee and TV video.
00:33:00.000 --> 00:33:02.160
Like, just some of the greatest, right?
00:33:02.319 --> 00:33:04.480
With the little milk carton for those who don't know.
00:33:04.640 --> 00:33:11.680
It is it's totally beautiful and totally lovely, but also totally absurd and totally like silly.
00:33:11.920 --> 00:33:14.960
And I'm wondering why those seem to go together for you.
00:33:15.200 --> 00:33:17.920
Because at first blush, it doesn't seem like they would.
00:33:18.079 --> 00:33:31.759
So I'm warm and I'm not sure I've got a good, like a neat podcasty answer, but I think it's a bit like you were saying earlier about what's the why the combination of absurd and the and the wonderful and the the tingle.
00:33:32.559 --> 00:33:35.279
It's sort of everything we've been talking about.
00:33:35.519 --> 00:33:42.559
I just feel I'm drawn to things that give me that feeling, and I tend to find they come from surprising places.
00:33:42.880 --> 00:33:55.839
All the ideas for the videos that worked, I wasn't trying to think of it, they were just a an emotional re response to the to the music, and it was the same working with you on this film, it's just following it.
00:33:56.000 --> 00:34:06.799
Um and in and with the animated films, how pop music can be you know, a silly song that people might think is silly can be really meaningful in the right ways.
00:34:06.960 --> 00:34:21.440
It could suddenly like when we when we had the funeral um for my father-in-law, uh, as the coffin went away for the to to the crematorium, um, we played his favourite song, which is Burt Campett swinging safari.
00:34:21.519 --> 00:34:22.559
Um, you know, that one goes.
00:34:25.119 --> 00:34:29.920
It's a really sort of silly little song, but in that context, yeah, everyone was in tears.
00:34:30.079 --> 00:34:33.119
It was lovely, we were happy, but also very moved.
00:34:33.199 --> 00:34:36.239
And I think I I I love that balance.
00:34:36.480 --> 00:34:41.360
If it's too like sad and the song sad, I'm a bit like oh easy now.
00:34:41.440 --> 00:34:45.199
But if you can find a way in that just balances it, that's my favorite.
00:34:45.280 --> 00:34:46.239
And the same with humor.
00:34:46.320 --> 00:34:51.199
If you can find a way to for it to be sweet but also funny, then I just like that balance.
00:34:52.960 --> 00:34:58.079
Jarvis Cocker and Garth Jennings, they're funny, sweet, and also rockin' movie pulp.
00:34:58.239 --> 00:35:02.239
What do you do for an encore is streaming exclusively on Movie right now.
00:35:02.639 --> 00:35:04.559
And that's the movie podcast for this week.
00:35:04.719 --> 00:35:07.360
Follow us for more great stories from great filmmakers.
00:35:07.519 --> 00:35:09.840
If you dug this, you should now flip back a few episodes.
00:35:09.920 --> 00:35:16.159
We just wrapped a season about great needle drops in movies, focusing on tunes from the UK and the eighties and nineties.
00:35:16.320 --> 00:35:22.800
We get into music from Pet Shop Boys, the specials Soul to Soul, and I spoke to some of the members of those bands too.
00:35:22.880 --> 00:35:23.519
Check it out.
00:35:23.679 --> 00:35:25.039
And now let's roll credits.
00:35:25.119 --> 00:35:28.079
This episode was written and hosted by me, Rico Galliano.
00:35:28.159 --> 00:35:31.920
Kira McEnf is our producer with help from assistant producer Kat Kowalzik.
00:35:32.079 --> 00:35:41.119
Audio and video editing by Ella Kazdal, who was recorded by StuPot Productions, mastering by Stephen Cologne, our theme music was composed by Yuri Suzuki.
00:35:41.360 --> 00:35:49.360
This episode would have been impossible without the help of Dylan Polichek, Taylor Thomas, and the crew at the Regal Union Square Cinema in New York City.
00:35:49.519 --> 00:35:51.679
Thanks also to Renee Musumenci.
00:35:51.920 --> 00:35:55.039
The Movie Podcast is executive produced by me, along with F.H.
00:35:55.199 --> 00:35:57.360
Aquarelle, Daniel Kasman, and Michael Taka.
00:35:57.440 --> 00:36:02.639
And finally, to watch the best in cinema, subscribe to Movie at Movie.com.
00:36:02.800 --> 00:36:04.480
Thanks for watching andor listening.
00:36:04.639 --> 00:36:07.039
Go watch the movies, Miss Shapes Unite.
