Obsession (2026) - Does Curry Barker's low budget smash live up to the hype??

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Hello horror fans and welcome back to the Script
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to Screen podcast. where we delve into the spine
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-tingling world of horror cinema. Each week we
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look at the scariest scenes, unmask the deeper
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meanings behind your favourite horror films,
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and explore the psychology of fear that keeps
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us coming back for more. From script analysis
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to scene breakdowns, we'll be dissecting your
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favourite horror movies to see just what makes
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them tick. So whether you're a seasoned horror
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aficionado or just starting to explore the genre,
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join us as we unravel the spine -tingling stories
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that haunt the silver screen. I'm Will. I'm Lee.
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So for those of you that may be new to the show,
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is amazing for us. So that would be awesome,
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too. But more importantly, how have you been
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and what have you been watching? OK, so after
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our last Invisible Man episode, I was kind of
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in the mood for more. more invisible malarkey
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so i uh i checked out hollow man again i've seen
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hollow man before but i checked out hollow man
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and its sequel hollow man 2 Oh, he's stuck with
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the invisibility theme. I love it, Lee. I didn't
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even know there was a sequel to Hollow Man, to
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be honest. Yeah, me neither, mate, me neither.
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To be honest, I'd kind of forgotten what a ride
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the original Hollow Man was. I mean, the special
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effects are so good in that film. Some of the
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CGI is maybe a little bit ropey nowadays, but
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on the flip side of the coin, some of it really
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holds up well. And I'd forgotten what a damn
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horny film it was. was like everyone is just
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like so fucking randy in that film but i guess
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that's uh that's that's paul paul verhoeven for
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you i suppose he does he does have a slight paunch
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on for the sexy doesn't he paul verhoeven um
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how was the sequel lee God, man, it was awful.
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Oh, no. It was just awful. I'm literally struggling
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to think of anything good to say about it. Even
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the gratuitous nudity was kind of subpar. Oh,
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dear. What a shame. Were the FX any good in the
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sequel at all? No, no. I mean, the only decent
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SFX were literally... lifted from the original
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film and spliced into the sequel in a way that
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made it look like they kind of flash back to
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when the guy the new guy kind of became invisible
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and they just basically just inserted scenes
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from like the kevin bacon turning invisible sequence
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i'm guessing because the film had like no budget
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whatsoever but yeah it's love the original avoid
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the sequel sounds a little bit like uh you know
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like a bruce lee exploitation movie slap them
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into a new one oh well that sounds a bit of a
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show never mind I watched a few bits, Lee, this
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week since we last spoke. So in a fit of kind
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of retro, you know, bombastic action desire,
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I managed to watch The Expendables, which I hadn't
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seen before, which I thought was big on bonkers
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action set pieces. But it's pretty much kind
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of light on everything else, I think. But it
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was entertaining enough, though. I thought, you
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know, Jet Li was maybe a little underused, you
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know, being a Hong Kong cinema nut. But that's
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just that. me um i also went to the cinema and
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uh through no choice of my own watched masters
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of the universally which which uh i thought was
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like fun but it was tonally it was really quite
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odd you know it seemed to try and kind of straddle
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the line between entertainment for kids and humor
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for adults but you know, it didn't, didn't quite
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work for me, but big, um, shout out to guy Hendrick
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Dias for the production design, because I thought
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that was really, really strong, but yeah, man,
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it wasn't, uh, wasn't all that good. I thought
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I am. I'm really excited to see master the universe.
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It's really good for you. Yeah. I am so excited
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for that film. It's like, like I just seen all
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the trailers and the nostalgia, just like, it's
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just hitting all the right buttons for me, man.
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I'm really excited for that one. Well, I mean,
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that's kind of where I was, but I was, I guess
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I, maybe I didn't know what to expect going in
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and it sort of didn't quite, didn't quite work
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for me, but yeah, don't want to be too harsh
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on it. You know, it was good fun. Yeah. I remember
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when Expendables first came out, me and my mates,
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we went to watch Expendables and then directly
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afterwards, we literally walked out of one cinema
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and went into the other. We saw Piranha 3D. I
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think you mentioned this before. Yeah, yeah,
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yeah. Yeah. So we went straight from like all
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testosterone and like, I don't think there was
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a... I think there was about two female cast
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members in the Expendables. So we went straight
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from that to... to piranha 3d and it was like
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the best combo ever it was just it was just great
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so great so uh so anyway what what is uh strapped
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on the table for dissection this week good stuff
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okay well this week we are taking a deep dive
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into the recent box office smash that is obsession
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oh fantastic yeah this one has been making some
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serious headlines lately Yeah, it certainly has.
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So, I mean, this was filmed on a budget of around
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$750 ,000. And this bad boy Lee has racked up,
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as of the time of writing, just over $148 million
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at the global box office and has certainly put
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writer -director Curry Barker well and truly
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on the map. The film initially premiered last
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September at the Toronto International Film Festival,
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where it received huge praise and led to a frenzied
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bidding war for the release rights, which was
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won by Focus for a rumoured $15 million. Nice.
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It is a sterling example of the increasingly
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popular YouTube -to -Hollywood style of filmmaking.
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which sees filmmakers kind of honing their craft
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or building their fan base via YouTube before
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leveraging that success toward breaking into
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Hollywood. I mean, examples include Markiplier's
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Iron Lung, the Philippou Brothers' Talk to Me,
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and most recently, obviously, Kane Parsons' Backrooms.
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Yeah. So, I mean, it used to be sort of writing
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a novel was the best alternative to getting a
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film made. But now it seems that YouTube could
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be the new backdoor into Hollywood, right? Definitely.
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Yeah, it definitely is. And we're going to be
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comparing Obsession to an undated copy of the
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script written, of course, by Curry Barker and
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weighing in at 99 pages. Yeah, nice. Looking
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forward to this one, Lee. So without further
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delay, let's strap down and slice open Curry
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Barker's Obsession. Bear has spent years obsessing
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over the woman he loves. When a mysterious wish
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-granting novelty finally makes her his, the
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fantasy becomes a nightmare. As the wish's horrific
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cost emerges, Bear must confront the terrifying
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consequences and decide if a forced love is better
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than no love at all. So we open on Bear, played
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by Michael Johnston. An awkward young manly talking
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directly to us, or rather a girl. He opens his
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heart to Nicky. It's a somewhat cheesy, if sweet,
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monologue. But the joke's on us, Lee. As it turns
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out, he was practicing asking the infamous Nicky
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out on a local waitress under the duress of his
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best bud, Ian, played by Cooper Tomlinson. Now,
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while the waitress is somewhat enamored by his
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earnest efforts, Ian is absolutely appalled,
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Lee, and tells him straight up that was the most
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cringeworthy thing he's ever seen. I don't know,
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dude. I mean, if you were a gal, would Bear's
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admission of love win you over? Me? No, no, no,
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not me. But if you were an attractive young lady,
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Lee, would you be enamored by Bear? Dude, if
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I was an attractive young lady, I'd be only fanzing
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the shit out of life, I think, with no time for
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Bear. That hardly sounds like a healthy life
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choice, dude. very true i expect but uh as someone
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whose ultimate life goal is to live in a fortified
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mansion miles from civilization with as little
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human contact as possible i'm not really seeing
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a downside okay so the less said about lee's
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only fans the better i think but but you should
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check it out seriously So Bear ponders declaring
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his feelings for Nikki at the gang's weekly trivia
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night, a notion that Ian is dead set against.
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And straight away, there's a really fun dialogue
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here as Ian states that trivia night is the only
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thing in his life that brings him joy, warns
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Bear not to ruin it for him. Ultimately, Bear
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agrees to hold off because as Ian constantly
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reminds him, all he has is timely. Now, Paul
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Bear returns to his apartment to find his beloved
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cat, Sandy, very, very dead. I've got a dead
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cat for a change. Upon further investigation,
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it seems the cat got into some sleeping pills
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and essentially OD'd. Right. So straight off
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the bat, we've got some interesting shit going
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on. And that's before we even start to take a
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real good look at the script. So as we just said,
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rather than opening with a save the cat moment
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to kind of endear us to bear, we have a killed
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the cat moment where a neglective bear leaving
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prescription pills out where the cat can get
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to them. And we also see when he locates the
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scattered pills on the floor as like open tins
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of cat food just kind of scattered around, which
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kind of indicates he's not exactly taking good
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care of his pet, his home, probably even himself.
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And the pills aren't his either. They have a
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woman's name on the label. And we learn later
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that Bear has moved into his late grandmother's
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apartment. So I'd wager that's whose pills he's
00:10:47.700 --> 00:10:50.340
using as well. so all in all i think this is
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not painting a very flattering picture of our
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protagonist and in the script as well we have
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a entirely different completely different opening
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so check it out interior bears house living room
00:11:06.700 --> 00:11:10.159
night small old house with faded yellow walls
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tapestry behind the couch serves as a poor man's
00:11:13.419 --> 00:11:17.669
wallpaper Bear, 25, slouches on the couch. A
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depressed existence. He's decent looking but
00:11:20.210 --> 00:11:23.090
lacks self -confidence. He fixates on a pivotal
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scene from a classic romance film on his small
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TV. It echoes, adding an eerie ambiance to the
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room. Man on TV, off screen. I've often wondered
00:11:33.070 --> 00:11:35.429
what it means to truly love someone. And then
00:11:35.429 --> 00:11:38.549
I realised it's what I feel for you. It's a love
00:11:38.549 --> 00:11:41.009
that defies the limitations of the world, that
00:11:41.009 --> 00:11:43.509
remains steadfast even in the face of chaos.
00:11:43.870 --> 00:11:46.690
Even if the world lost its colour, if hope faded
00:11:46.690 --> 00:11:49.309
into the night, my love for you wouldn't falter.
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It's unwavering and enduring, and it fills every
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fibre of my being. Bear's eyes tell the story
00:11:55.509 --> 00:11:58.029
of a man who yearns for love but enjoys wallowing
00:11:58.029 --> 00:12:00.750
in his disappointments. He looks down at the
00:12:00.750 --> 00:12:03.389
ground in front of him and sighs. The centre
00:12:03.389 --> 00:12:05.669
of the room, a dead cat lies where the coffee
00:12:05.669 --> 00:12:08.460
table should be. Its body's stiff and the grease
00:12:08.460 --> 00:12:10.700
from its hair has begun to seep into the carpet,
00:12:10.860 --> 00:12:14.059
causing it to smell. Bear takes a deep breath
00:12:14.059 --> 00:12:17.679
and finally stands up. Interior, Bear's house,
00:12:17.899 --> 00:12:21.019
kitchen, continuous. Countertops cluttered with
00:12:21.019 --> 00:12:24.500
junk. On the tile floor, a straw basket, pills
00:12:24.500 --> 00:12:27.279
and candle wax from a shattered candle. Bear
00:12:27.279 --> 00:12:29.759
scoops the pills back into their bottle reluctantly.
00:12:30.519 --> 00:12:33.100
Interior, Bear's house, bathroom, continuous.
00:12:34.139 --> 00:12:36.340
Bear opens the mirror slash medicine cabinet
00:12:36.340 --> 00:12:39.679
and places a pill bottle inside. He shuts the
00:12:39.679 --> 00:12:41.759
cabinet and looks at himself in the mirror. He
00:12:41.759 --> 00:12:45.480
tests out a smile. Eerie. Interior of Bear's
00:12:45.480 --> 00:12:48.120
house, living room, moments later. The coffee
00:12:48.120 --> 00:12:51.159
table is shoved aside. Bear, wearing rubber gloves
00:12:51.159 --> 00:12:53.940
and a dust mask, opens a trash bag over the cat's
00:12:53.940 --> 00:12:57.440
corpse. Bear drops the now heavy trash bag into
00:12:57.440 --> 00:13:01.580
a trash can. Yes, this is a very different opener,
00:13:01.740 --> 00:13:03.720
isn't it, Lee? So, you know what I'm going to
00:13:03.720 --> 00:13:05.799
say, dude? Why do you think they changed this
00:13:05.799 --> 00:13:09.980
for the film? I think the film opener is... far
00:13:09.980 --> 00:13:13.299
more in tone with what comes later in the film.
00:13:13.440 --> 00:13:16.340
I mean, tonally, this film is at its heart, I
00:13:16.340 --> 00:13:20.559
think, a very, very dark comedy. And the script
00:13:20.559 --> 00:13:23.259
paints a far bleaker picture of Bear. At least
00:13:23.259 --> 00:13:26.419
on screen, he's clearly saddened by his cat's
00:13:26.419 --> 00:13:29.500
passing, if only slightly. Whereas on the page,
00:13:29.580 --> 00:13:31.700
you know, it doesn't really look like he gives
00:13:31.700 --> 00:13:34.059
a shit at all. yeah i agree and i think we'll
00:13:34.059 --> 00:13:36.559
see this a lot you know as we move along because
00:13:36.559 --> 00:13:39.320
you know bear is way more sympathetic i found
00:13:39.320 --> 00:13:42.539
on screen than he is on the page um i do think
00:13:42.539 --> 00:13:45.120
this uh opening however sort of does generate
00:13:45.120 --> 00:13:47.440
a certain amount of sympathy for a dude seemingly
00:13:47.440 --> 00:13:50.779
down on his luck uh but it also subliminally
00:13:50.779 --> 00:13:53.419
i think paints a picture of a guy who's you know
00:13:53.419 --> 00:13:56.519
clearly struggling to cope across many areas
00:13:56.519 --> 00:13:59.360
of his life you know Anyway, back on screen.
00:13:59.820 --> 00:14:03.639
We see poor Bear sat on his bed, breaking down
00:14:03.639 --> 00:14:06.240
in tears. And do you think this is because of
00:14:06.240 --> 00:14:10.960
Cat Lee or his current romantic fixation? I think
00:14:10.960 --> 00:14:13.820
it's a general kind of my life is shit kind of
00:14:13.820 --> 00:14:16.980
breakdown. But I think the main source of his
00:14:16.980 --> 00:14:18.980
misery is probably going to be his current romantic
00:14:18.980 --> 00:14:23.129
situation or lack thereof. Yeah, I kind of took
00:14:23.129 --> 00:14:26.210
it as a general depressive response, you know,
00:14:26.210 --> 00:14:28.149
where the death of Sandy was probably just the
00:14:28.149 --> 00:14:31.629
broke open the floodgates, so to speak. Anyway,
00:14:31.710 --> 00:14:34.470
later that night, a still clothed bear is lying
00:14:34.470 --> 00:14:37.809
in bed, scrolling through Nikki's Instagram longingly
00:14:37.809 --> 00:14:40.789
when she calls him up. Instantly invigorated,
00:14:40.830 --> 00:14:43.370
he pops up and answers the call. And Nikki is
00:14:43.370 --> 00:14:46.230
keen to see Bear at the trivia night and confides
00:14:46.230 --> 00:14:48.710
in him she's quitting her job at the music store
00:14:48.710 --> 00:14:51.279
where their friendship group works. Now, Bear
00:14:51.279 --> 00:14:54.019
isn't overly keen on going, but the news of Nicky's
00:14:54.019 --> 00:14:56.940
imminent resignation does spur him into action.
00:14:57.259 --> 00:15:00.159
And now during the call, he's startled when Nicky
00:15:00.159 --> 00:15:02.200
accidentally drops her crystal necklace down
00:15:02.200 --> 00:15:04.539
the drain. And she tells Bear to get his ass
00:15:04.539 --> 00:15:06.620
in gear because they're running out of time.
00:15:07.279 --> 00:15:10.860
But time is all Bear has. I know. Nice little
00:15:10.860 --> 00:15:12.600
callback and play on words to the opening scene
00:15:12.600 --> 00:15:15.279
there, wasn't it? Absolutely. Now, in the script.
00:15:15.799 --> 00:15:18.240
Bear gets a voicemail from Nikki, which cuts
00:15:18.240 --> 00:15:20.320
out when she's startled and drops her necklace.
00:15:20.679 --> 00:15:23.460
And he calls her back and then learns about the
00:15:23.460 --> 00:15:26.080
dropping of the necklace. And also in the script,
00:15:26.259 --> 00:15:28.779
Bear is never reluctant to join her at trivia
00:15:28.779 --> 00:15:31.220
night and is instead annoyed to learn that she's
00:15:31.220 --> 00:15:34.639
headed there early along with Ian. And we also
00:15:34.639 --> 00:15:37.360
get the scene from a little earlier where Bear
00:15:37.360 --> 00:15:40.259
is weeping and crying on his bed. And on the
00:15:40.259 --> 00:15:42.340
page, it's a little clearer what he's actually
00:15:42.340 --> 00:15:49.940
crying about. Check it out. Interior, Bear's
00:15:49.940 --> 00:15:53.159
house, bedroom, moments later. Bear, centre screen,
00:15:53.440 --> 00:15:56.559
illuminated only by a warm lamp behind him, sits
00:15:56.559 --> 00:15:59.279
on the edge of his bed, crying, probably about
00:15:59.279 --> 00:16:02.480
the cat, or Nicky, or his life, maybe all of
00:16:02.480 --> 00:16:07.500
the above. Yeah, I did enjoy that line, I have
00:16:07.500 --> 00:16:10.820
to say. So we rejoin Bear in a local spirituality
00:16:10.820 --> 00:16:14.100
shop, and he's looking to replace Nicky's lost
00:16:14.100 --> 00:16:17.879
crystal necklace. He's at a loss which type to
00:16:17.879 --> 00:16:20.259
purchase, but his eyes light up when he sees
00:16:20.259 --> 00:16:23.279
something on a nearby shelf, and it's One Wish
00:16:23.279 --> 00:16:26.960
Willowsley. His mind made up, he decides this
00:16:26.960 --> 00:16:30.179
will be far superior as a gift and shares some
00:16:30.179 --> 00:16:32.500
nervous banter with the cashier about whether
00:16:32.500 --> 00:16:35.820
or not they work. Now this scene with the cashier
00:16:35.820 --> 00:16:38.539
plays a little longer in the script, so check
00:16:38.539 --> 00:16:42.039
out this little extra which kind of hints a little
00:16:42.039 --> 00:16:44.139
bit more about the history of the One Wish Willows.
00:16:49.450 --> 00:16:51.529
The clerk laughs for the first time while she
00:16:51.529 --> 00:16:56.629
rings him up. Viola. That's 1076. Bear. And I'm
00:16:56.629 --> 00:16:59.570
guessing these just came in this morning, mysteriously?
00:17:00.450 --> 00:17:04.569
Viola. No, we've had them. Bear. Egging on. They've
00:17:04.569 --> 00:17:06.950
been here forever. No idea who supplied them.
00:17:07.809 --> 00:17:10.190
Bear's having fun jabbing. The hipster is not
00:17:10.190 --> 00:17:13.329
having it. Viola. They were recalled in the 80s.
00:17:13.349 --> 00:17:18.200
We've held on to them. Bear. Smug. Perfect. Viola,
00:17:18.279 --> 00:17:20.420
do you want to buy two? There aren't many left.
00:17:21.240 --> 00:17:24.519
Bear picks up his bag, walking off. Bear, teasing.
00:17:24.759 --> 00:17:27.859
And there's the upsell. No, I'm good. Viola,
00:17:28.000 --> 00:17:31.680
as you wish. Bear, she's on fire. Let me guess.
00:17:31.799 --> 00:17:35.400
Be careful what you wish. Viola, playful. That's
00:17:35.400 --> 00:17:38.099
no fun. Bear turns around to look at the clerk.
00:17:38.279 --> 00:17:42.180
She smiles very still, eerie. Bear, nervous laughter.
00:17:42.619 --> 00:17:48.059
All righty. You need a raise. So why cut this
00:17:48.059 --> 00:17:50.680
from the film Lee? Well if you ask me I would
00:17:50.680 --> 00:17:54.240
say probably because it makes Bear seem too confident
00:17:54.240 --> 00:17:57.259
maybe. I mean his playful banter here is kind
00:17:57.259 --> 00:18:00.420
of at odds with the nervous shy guy we get in
00:18:00.420 --> 00:18:03.279
the film. I do like the whole thing about the
00:18:03.279 --> 00:18:05.400
willows being recorded in the 80s though. I thought
00:18:05.400 --> 00:18:08.140
that was a really cool touch. Yeah, it was. Yeah.
00:18:08.200 --> 00:18:09.920
No, I'd agree with that. I mean, he does seem
00:18:09.920 --> 00:18:12.180
way more sensitive and socially awkward on screen
00:18:12.180 --> 00:18:15.480
than he does in the script. I did really enjoy
00:18:15.480 --> 00:18:17.279
the clerk's performance here, though. I thought
00:18:17.279 --> 00:18:21.319
that was really good. Now, trivia night at the
00:18:21.319 --> 00:18:24.000
local bar is upon us and we finally meet the
00:18:24.000 --> 00:18:26.140
rest of Bear's friends, including Sarah, played
00:18:26.140 --> 00:18:29.299
by Megan Lawless, and the already infamous Nikki,
00:18:29.480 --> 00:18:32.279
played sensationally by Indy Navaretti. And to
00:18:32.279 --> 00:18:34.519
be fair, it's easy to see why Bear is head over
00:18:34.519 --> 00:18:37.319
heels for her. She's sweet, funny and gorgeously.
00:18:38.059 --> 00:18:40.200
The two of them head to the bar where they share
00:18:40.200 --> 00:18:42.500
some playful banter and Bear starts to tell her
00:18:42.500 --> 00:18:45.180
about his gift when Ian rocks up, determined
00:18:45.180 --> 00:18:48.329
not to let Bear spoil trivia night. so in the
00:18:48.329 --> 00:18:50.869
script before we head to trivia night we get
00:18:50.869 --> 00:18:54.569
a variation on the opening scene from the film
00:18:54.569 --> 00:18:57.109
with bear on the phone to ian whilst driving
00:18:57.109 --> 00:18:59.309
to the bar and their dialogue here is pretty
00:18:59.309 --> 00:19:02.630
on par with that opening scene minus obviously
00:19:02.630 --> 00:19:06.109
the additional waitress and when we do get to
00:19:06.109 --> 00:19:08.309
trivia night which is the next scene in the script
00:19:08.309 --> 00:19:11.069
it opens with this really interesting action
00:19:11.069 --> 00:19:14.809
line an upbeat retro bar buzzing with trivia
00:19:14.809 --> 00:19:17.980
nerds bear sits with his best friends Nicky,
00:19:17.980 --> 00:19:21.259
Ian and Sarah. The focus stays tightly on Bear,
00:19:21.420 --> 00:19:24.440
not yet revealing his friends. Now, this is on
00:19:24.440 --> 00:19:27.819
page 10 of the script. And for the next six pages,
00:19:28.019 --> 00:19:31.480
we still don't fully see Nicky's face until page
00:19:31.480 --> 00:19:34.759
16, where we are properly introduced to her just
00:19:34.759 --> 00:19:37.240
after she learns about Bear's dead cat. And that
00:19:37.240 --> 00:19:42.200
goes like so. Nicky, 24, steps into frame, a
00:19:42.200 --> 00:19:44.740
mix of intelligence, beauty and effortless charm.
00:19:45.150 --> 00:19:47.130
She has the cool girl -in -the -next -door appeal.
00:19:47.690 --> 00:19:50.849
Nicky. Oh, Bear, that's horrible. Nicky crawls
00:19:50.849 --> 00:19:53.210
into the booth, hugging Bear in a way that lingers
00:19:53.210 --> 00:19:55.549
beyond friendly. She kisses his cheek enough
00:19:55.549 --> 00:19:58.809
to confuse any man. And so this is clearly different
00:19:58.809 --> 00:20:01.289
from the film, where we officially meet Nicky
00:20:01.289 --> 00:20:04.470
and Sarah almost immediately. Yeah, any thoughts
00:20:04.470 --> 00:20:07.640
on why they changed this for the film? A couple.
00:20:07.700 --> 00:20:10.099
I mean, I think a six -minute talking head scene
00:20:10.099 --> 00:20:13.140
where we just focus on Bear and his reactions
00:20:13.140 --> 00:20:16.680
is interesting, but I think it would be really
00:20:16.680 --> 00:20:20.660
tough to pull off on screen. It works in theory,
00:20:20.700 --> 00:20:23.220
but you would have won a hell of a job keeping,
00:20:23.420 --> 00:20:25.640
I think, mainstream audiences' attention through
00:20:25.640 --> 00:20:29.440
this. I mean, I think Navaretti could probably
00:20:29.440 --> 00:20:31.839
have pulled it off a little later in the film,
00:20:31.900 --> 00:20:34.210
but... Definitely, definitely not here, I think.
00:20:34.230 --> 00:20:36.950
Not with Johnston here. Also, the beat where
00:20:36.950 --> 00:20:39.869
Nikki hugs and kisses Bear in the script, it
00:20:39.869 --> 00:20:42.829
could kind of insinuate that maybe she's sending
00:20:42.829 --> 00:20:46.470
mixed signals, which for some viewers might lessen
00:20:46.470 --> 00:20:48.849
the impact of what is done to her a little later
00:20:48.849 --> 00:20:52.490
in the film. I mean, it shouldn't, but not everybody
00:20:52.490 --> 00:20:54.269
is going to interpret the film the way you want
00:20:54.269 --> 00:20:57.529
them to. Sometimes I think you have to dial in
00:20:57.529 --> 00:21:01.099
on your themes early, if that makes sense. Yeah,
00:21:01.180 --> 00:21:02.839
totally, man. I mean, I think, you know, the
00:21:02.839 --> 00:21:04.880
way the film is edited and shot, it still does
00:21:04.880 --> 00:21:07.740
kind of isolate Bear enough to get the point
00:21:07.740 --> 00:21:10.940
across without the need for the shot to be held
00:21:10.940 --> 00:21:13.920
for the full six minutes, you know. Yeah. Still
00:21:13.920 --> 00:21:17.380
effectively done. So on screen after Nicky and
00:21:17.380 --> 00:21:20.259
Ian head back to the table, it's Sarah who Bear
00:21:20.259 --> 00:21:23.299
tells about his cat's passing. And it's her that
00:21:23.299 --> 00:21:26.180
gives him the tender hug, which, given how things
00:21:26.180 --> 00:21:28.660
play out later in the film, makes a lot more
00:21:28.660 --> 00:21:32.150
sense, I think. We also get a few small but important
00:21:32.150 --> 00:21:34.190
little tidbits of information dropped through
00:21:34.190 --> 00:21:37.029
dialogue, such as the group all work in Sarah's
00:21:37.029 --> 00:21:40.450
father's music store. Sarah's father keeps a
00:21:40.450 --> 00:21:43.309
gun in the work safe and Sarah is desperately
00:21:43.309 --> 00:21:46.029
trying to get into art school while Nikki hopes
00:21:46.029 --> 00:21:48.710
to be a novelist. The night has drawn on and
00:21:48.710 --> 00:21:51.970
our posse roll out of trivia night. Ian and Sarah
00:21:51.970 --> 00:21:55.150
are keen for karaoke, but Nikki is beat and wants
00:21:55.150 --> 00:21:58.069
to be dropped off at home. Ian isn't having it,
00:21:58.109 --> 00:22:00.579
but Bear steps up and offers to. take her home
00:22:00.579 --> 00:22:04.220
much to sarah's disappointment yeah it's really
00:22:04.220 --> 00:22:07.279
interesting knowing how everything plays out
00:22:07.279 --> 00:22:10.099
in the film to kind of watch these earlier character
00:22:10.099 --> 00:22:13.539
dynamics play out yeah i mean armed with foresight
00:22:13.539 --> 00:22:15.680
definitely shines a new light on things doesn't
00:22:15.680 --> 00:22:19.420
it so nikki borrows 20 from sarah which she then
00:22:19.420 --> 00:22:21.460
hands over to a homeless guy sitting outside
00:22:21.460 --> 00:22:24.859
the bar while a lovestruck bear watches dreamily
00:22:24.859 --> 00:22:27.539
yeah i guess that will be her save the cat moment
00:22:28.039 --> 00:22:31.559
Yeah, yeah, yeah. So Bear and Nicky then set
00:22:31.559 --> 00:22:34.279
off on the drive to Nicky's house. They share
00:22:34.279 --> 00:22:36.519
some playful banter and some interesting thoughts
00:22:36.519 --> 00:22:39.859
on the difference between love and romance. Yeah,
00:22:39.900 --> 00:22:42.400
there's a lot more dialogue in the script, including
00:22:42.400 --> 00:22:44.819
this little gem here, which I thought was great.
00:22:45.559 --> 00:22:48.279
Nicky, why does Ian force everyone to drink so
00:22:48.279 --> 00:22:53.200
much? Bear thinks about it. Bear, maybe he thinks
00:22:53.200 --> 00:22:55.240
if he can force people to do things, they'll
00:22:55.240 --> 00:22:57.940
discover it's what they've always wanted. now
00:22:57.940 --> 00:23:00.359
if that's not a theme stated moment i don't know
00:23:00.359 --> 00:23:03.880
what is yeah no i tell you i mean it's a little
00:23:03.880 --> 00:23:07.339
heavy -handed perhaps but you know that's probably
00:23:07.339 --> 00:23:10.140
why it was cut but it's definitely a theme that's
00:23:10.140 --> 00:23:12.339
like just like grabbing the theme and just smacking
00:23:12.339 --> 00:23:15.440
someone in the face with it yeah it's cool though
00:23:15.440 --> 00:23:18.619
i quite like it okay so back on screen and nikki
00:23:18.619 --> 00:23:21.240
drops hints that sarah has feelings for him but
00:23:21.240 --> 00:23:24.619
bear dismisses her as just a friend He then goes
00:23:24.619 --> 00:23:27.119
on to reminisce about the time in music class
00:23:27.119 --> 00:23:29.779
where Nicky was kind to him, but she clearly
00:23:29.779 --> 00:23:32.259
doesn't have the same fondness for the memory
00:23:32.259 --> 00:23:35.039
that he has, Lee. She heads for home and Bear,
00:23:35.200 --> 00:23:37.819
foolishly taking Ian's advice, refers to her
00:23:37.819 --> 00:23:41.259
as Freaky Nicky, something that she is very,
00:23:41.319 --> 00:23:45.099
very unhappy about, Lee. Now Bear apologises
00:23:45.099 --> 00:23:48.380
and then Nicky asks him straight up, do you like
00:23:48.380 --> 00:23:50.680
me? Because if you do, now is the time to tell
00:23:50.680 --> 00:23:54.089
me. Ah, yeah, that last part, those last lines
00:23:54.089 --> 00:23:56.730
aren't in the script, but I'm just grateful,
00:23:56.829 --> 00:23:58.930
thank God, that Bear finally has the chance to
00:23:58.930 --> 00:24:01.990
confess to Nicky how he really feels. So, you
00:24:01.990 --> 00:24:04.829
know, does he fess up here? Does he fuck Lee?
00:24:04.890 --> 00:24:07.390
No, he completely wimps out of this important
00:24:07.390 --> 00:24:10.369
moment. He claims they're just good friends and
00:24:10.369 --> 00:24:13.069
then painfully laments his words the moment Nicky
00:24:13.069 --> 00:24:16.660
heads inside. There are many times throughout
00:24:16.660 --> 00:24:20.500
this film where Bear massively fucks up. This
00:24:20.500 --> 00:24:23.200
one is the first, and it's not going to be long
00:24:23.200 --> 00:24:26.279
before he adds to that list. He should keep a
00:24:26.279 --> 00:24:30.720
can of big -time Bear fuck -ups, I think. BBFs,
00:24:30.720 --> 00:24:33.359
I love it. Let's do it. So I guess that, then,
00:24:33.420 --> 00:24:37.559
boys and girls, was BBF number one. Nice. Okay,
00:24:37.579 --> 00:24:40.140
so having blown his greatest shot at confessing
00:24:40.140 --> 00:24:42.539
his feelings to the girl he loves, a distraught
00:24:42.539 --> 00:24:45.180
Bear retrieves the one -wish willow and removes
00:24:45.180 --> 00:24:48.880
it from the box, setting off a delightfully tacky
00:24:48.880 --> 00:24:52.099
electric jingle before stating, I wish Nicky
00:24:52.099 --> 00:24:54.579
Freeman loved me more than anyone in the fucking
00:24:54.579 --> 00:24:59.200
world. And now we're rocking straight into BBF
00:24:59.200 --> 00:25:03.859
number two. Now, to be fair to Bear, while this
00:25:03.859 --> 00:25:08.500
was... indeed a huge fuck up on his part at this
00:25:08.500 --> 00:25:10.680
point i think we can forgive him for this one
00:25:10.680 --> 00:25:14.480
as a you know i'm sure he's not expecting this
00:25:14.480 --> 00:25:18.579
to actually work and you know b his wish it comes
00:25:18.579 --> 00:25:20.740
from an innocent desire for love you know we
00:25:20.740 --> 00:25:24.420
all want that right yeah i mean i didn't i didn't
00:25:24.420 --> 00:25:26.500
think there was a shred of malice here from bear
00:25:26.500 --> 00:25:30.640
in this moment actually yeah i also actually
00:25:30.640 --> 00:25:32.960
uh peg this as the end of act one what do you
00:25:32.960 --> 00:25:35.569
reckon Yeah, man, this is exactly where I had
00:25:35.569 --> 00:25:39.369
it too. Yeah, spot on. OK, so now Bear is about
00:25:39.369 --> 00:25:42.410
to drive away when he glances back to Nicky's
00:25:42.410 --> 00:25:45.470
and he sees her silhouetted on the porch just
00:25:45.470 --> 00:25:49.109
staring at him. She approaches the car and seems
00:25:49.109 --> 00:25:51.910
really spaced out. Either the alcohol is hitting
00:25:51.910 --> 00:25:54.390
her hard or something else weird is going on.
00:25:54.470 --> 00:25:57.250
She asks Bear if he wants to come inside because
00:25:57.250 --> 00:26:00.650
she's really sad about her dying cat. No, wait,
00:26:00.670 --> 00:26:03.769
your cat's dying? Suddenly, she freaks out, confused.
00:26:04.150 --> 00:26:07.029
Like, what the hell am I doing? Much to a bemused
00:26:07.029 --> 00:26:10.250
Bear's confusion. Now, unable to get him into
00:26:10.250 --> 00:26:12.569
her house, she hops into the passenger seat and
00:26:12.569 --> 00:26:14.569
agrees to head back to Bear's place instead.
00:26:15.190 --> 00:26:18.009
I just need to point out, if you haven't watched
00:26:18.009 --> 00:26:20.890
the film yet, obviously... Full spoilers as always.
00:26:21.049 --> 00:26:25.490
But Indy Navarrete's performance is so, so good
00:26:25.490 --> 00:26:28.190
in this film. I mean, this is a career making
00:26:28.190 --> 00:26:31.150
film for her. You know, no doubt. And at the
00:26:31.150 --> 00:26:34.529
very least, the very least, horror will have
00:26:34.529 --> 00:26:36.630
found a new screen queen with her. I mean, the
00:26:36.630 --> 00:26:40.230
way she slips between normal and freaky Nikki
00:26:40.230 --> 00:26:44.390
is just sublime. It's an absolute joy to watch.
00:26:44.490 --> 00:26:48.039
And I've watched this film a few times now. she's
00:26:48.039 --> 00:26:51.200
captivating every time she's so good yeah she's
00:26:51.200 --> 00:26:54.599
really killing it so bear is still uneasy about
00:26:54.599 --> 00:26:57.099
taking nikki back to his apartment but she breaks
00:26:57.099 --> 00:26:59.660
down and tells him her dad is dying of cancer
00:26:59.660 --> 00:27:03.599
so he finally relentlessly once inside bear's
00:27:03.599 --> 00:27:06.099
place we learn that he did indeed inherit it
00:27:06.099 --> 00:27:08.460
from his grandmother and nikki takes a moment
00:27:08.460 --> 00:27:10.940
to savor the smell of the place saying it smells
00:27:10.940 --> 00:27:16.359
like him and that is nice Barker is really clever
00:27:16.359 --> 00:27:18.920
in the way he shoots a lot of the freaky Nicky
00:27:18.920 --> 00:27:22.079
scenes. In this one, like many others, her face
00:27:22.079 --> 00:27:24.940
is largely obscured by shadow and it's almost
00:27:24.940 --> 00:27:27.400
like her voice is coming from somewhere else
00:27:27.400 --> 00:27:30.960
and it's just, it's delightfully creepy. Yeah,
00:27:30.960 --> 00:27:33.980
it's wonderful, isn't it? So Bear settles Nicky
00:27:33.980 --> 00:27:36.359
into his bed and leaves for the couch when Nicky
00:27:36.359 --> 00:27:38.539
calls him back. She doesn't want to be alone
00:27:38.539 --> 00:27:42.000
and asks if Bear will sleep in the bed with her.
00:27:42.700 --> 00:27:45.019
Now, after a little persuasion, he relents and
00:27:45.019 --> 00:27:47.859
Nicky strips to her underwear. And it's hard
00:27:47.859 --> 00:27:50.279
to tell if Bear is more unnerved by these turns
00:27:50.279 --> 00:27:53.599
of events or can't believe his luck. But I mean,
00:27:53.619 --> 00:27:55.920
either way, he climbs into bed with Nicky and
00:27:55.920 --> 00:27:58.319
it's not long before she moves in for a kiss.
00:27:58.339 --> 00:28:01.440
And this time Bear ain't chickening out. He's
00:28:01.440 --> 00:28:04.759
all in and things get hot and heavy before Nicky
00:28:04.759 --> 00:28:08.039
seemingly snaps to her senses and screams in
00:28:08.039 --> 00:28:10.599
horror, not knowing where she is or what she's
00:28:10.599 --> 00:28:13.509
doing. Poor bear is just as freaked out as Nicky
00:28:13.509 --> 00:28:16.369
when she seemingly returns to her senses and
00:28:16.369 --> 00:28:19.450
apologises for her outburst. A confused bear
00:28:19.450 --> 00:28:21.930
sleeps on the floor at the foot of the bed, or
00:28:21.930 --> 00:28:24.809
at least tries to. But unable to sleep, he heads
00:28:24.809 --> 00:28:26.630
for his computer where he googles whether or
00:28:26.630 --> 00:28:29.990
not one -wish willows actually work. The answers
00:28:29.990 --> 00:28:33.849
seem to be split pretty evenly between yes they
00:28:33.849 --> 00:28:37.809
do and no they don't. Yeah, the internet forum
00:28:37.809 --> 00:28:41.490
he's reading from even mentions the weird guy
00:28:41.490 --> 00:28:43.630
on the other end of the help desk number, which
00:28:43.630 --> 00:28:46.529
is, I thought, a really cool little plant to
00:28:46.529 --> 00:28:49.730
a later event in the film. And this internet
00:28:49.730 --> 00:28:52.089
search isn't present at the script at this point.
00:28:52.430 --> 00:28:55.430
Instead, we get this moment, which kind of segues
00:28:55.430 --> 00:29:03.809
into the next scene of the film. Interior. Bear's
00:29:03.809 --> 00:29:06.789
house. Bedroom. Later. Bear lies on the floor
00:29:06.789 --> 00:29:09.549
with blankets and a pillow, eyes wide open. He
00:29:09.549 --> 00:29:13.029
gets up and exits frame. Bathroom. He flips on
00:29:13.029 --> 00:29:15.390
the light and washes his face, leaving the bathroom.
00:29:15.769 --> 00:29:18.509
Bedroom. He sees Nicky's dark shadow sitting
00:29:18.509 --> 00:29:22.230
up in bed, staring at him. Nicky. Eerie. What
00:29:22.230 --> 00:29:25.089
were you doing? Scared half to death. A beat.
00:29:25.369 --> 00:29:28.650
Bear. I was just going to the bathroom. Nicky.
00:29:28.670 --> 00:29:32.029
Oh, thank God. Prolonged eerie silence. They
00:29:32.029 --> 00:29:34.990
lock eyes. Then Bear lies back on his pallet
00:29:34.990 --> 00:29:38.170
as the silent tension mounts. Nicky off screen.
00:29:38.390 --> 00:29:41.309
Can you lay with me? Bear is deeply disturbed.
00:29:41.710 --> 00:29:45.230
Bear. I don't know, Nicky. A long beat. Nicky,
00:29:45.230 --> 00:29:48.849
please. Bear joins her in bed. She quickly wraps
00:29:48.849 --> 00:29:54.490
an arm around him. Frozen. Bear is uneasy. Yeah,
00:29:54.589 --> 00:29:58.170
pretty weirdly. Pretty weird. So Bear wakes the
00:29:58.170 --> 00:30:00.329
following morning to find Nicky has a surprise
00:30:00.329 --> 00:30:04.430
for him. She's dug his dead cat up out of the
00:30:04.430 --> 00:30:07.650
bin and made a shrine or memorial to it, complete
00:30:07.650 --> 00:30:11.769
with buzzing flies. Bear is understandably not
00:30:11.769 --> 00:30:14.269
too pleased with this. Yeah, and this is pretty
00:30:14.269 --> 00:30:17.730
close to what's written. Yeah. So the next morning,
00:30:17.829 --> 00:30:21.809
Bear and Nicky head into work. And we get another
00:30:21.809 --> 00:30:24.950
small scene here that didn't make it to the film.
00:30:30.160 --> 00:30:33.079
Exterior Mandy's music parking lot day. A wide
00:30:33.079 --> 00:30:36.380
shot shows Mandy's music featuring a large marching
00:30:36.380 --> 00:30:39.619
season discount matinee sign. Only a handful
00:30:39.619 --> 00:30:42.460
of cars are parked out front. Bear's car pulls
00:30:42.460 --> 00:30:45.339
up. Both in uniform Bear and Nicky exit. Bear
00:30:45.339 --> 00:30:48.180
with a backpack. As they walk Nicky grabs Bear's
00:30:48.180 --> 00:30:50.680
hand but he gently pulls away. Bear shocked.
00:30:51.019 --> 00:30:54.339
Whoa uh let's not do that just right now. Nicky.
00:30:54.339 --> 00:30:56.859
Yeah gross. Nicky takes a step away from him.
00:30:57.519 --> 00:31:00.740
So inside the music store, Bear fills Ian in
00:31:00.740 --> 00:31:03.900
on the night's events, all while Nicky stares
00:31:03.900 --> 00:31:06.839
longingly at Bear from across the store. The
00:31:06.839 --> 00:31:08.740
two lads come to the conclusion that Nicky was
00:31:08.740 --> 00:31:12.960
probably on Molly again, and Ian goes to check
00:31:12.960 --> 00:31:16.480
on her. So at this point in the script, Bear
00:31:16.480 --> 00:31:19.200
uses the store computer to research the one which
00:31:19.200 --> 00:31:21.579
willows and has pretty much the same results
00:31:21.579 --> 00:31:25.359
as he did earlier in the film. After work, Bear
00:31:25.359 --> 00:31:27.200
is worried that Nicky will want to come home
00:31:27.200 --> 00:31:29.799
with him again, but she's already arranged for
00:31:29.799 --> 00:31:33.559
Ian to take her home. So in the script, Nicky
00:31:33.559 --> 00:31:36.599
is expecting to ride with Bear and is visibly
00:31:36.599 --> 00:31:40.099
pissed off when he says he can't take her. Yeah,
00:31:40.119 --> 00:31:41.720
interesting little change there. Any thoughts
00:31:41.720 --> 00:31:45.720
on that, Lee? It could be it's kind of playing
00:31:45.720 --> 00:31:49.900
up to the Molly theory, maybe. Maybe Nicky was
00:31:49.900 --> 00:31:52.119
just having a bad trip and Bear's worrying about
00:31:52.119 --> 00:31:55.119
nothing. I don't really buy that. I mean, the
00:31:55.119 --> 00:31:57.960
audience isn't going to buy it. I mean, we know
00:31:57.960 --> 00:32:00.299
what the movie's about. We know that the wish
00:32:00.299 --> 00:32:02.619
is real. It's in the blurb. It's on the poster.
00:32:02.839 --> 00:32:04.740
It's going to be on the back of the DVD box.
00:32:05.460 --> 00:32:07.960
So all I can think of is that it would stop Ian
00:32:07.960 --> 00:32:10.240
from becoming too suspicious about things too
00:32:10.240 --> 00:32:13.500
soon, maybe. What do you make of it? What do
00:32:13.500 --> 00:32:15.940
you think? Yeah, I'm not sure, really. I mean,
00:32:15.960 --> 00:32:18.880
Nicky wanting to go home with Bear would definitely
00:32:18.880 --> 00:32:23.430
play up the obsession kind of angle. But the
00:32:23.430 --> 00:32:24.950
other thing I thought is we do kind of need a
00:32:24.950 --> 00:32:27.009
moment of reflection from Bear at this point.
00:32:27.089 --> 00:32:29.950
So, you know, I suspect it just gives Bear and
00:32:29.950 --> 00:32:32.809
us a chance to sit with what's happened up to
00:32:32.809 --> 00:32:35.390
now and sort of reflect on it. You know, after
00:32:35.390 --> 00:32:37.890
that sort of first act sort of finish, if you
00:32:37.890 --> 00:32:41.130
know what I mean. Anyway, later that night, Bear
00:32:41.130 --> 00:32:43.549
is at home and talking with Ian on the phone.
00:32:43.690 --> 00:32:45.910
His friend reassures him that everything is OK
00:32:45.910 --> 00:32:49.009
with Nikki. A shadow moves outside his window,
00:32:49.069 --> 00:32:51.509
Lee, and there's a sinister knock at the door
00:32:51.509 --> 00:32:54.930
and it's Nikki. And she's looking absolutely
00:32:54.930 --> 00:32:58.470
gorgeously. She's in a red dress and she's here
00:32:58.470 --> 00:33:01.210
to apologize to Bear about her behavior last
00:33:01.210 --> 00:33:04.289
night and confess that she was drunk and on drugs
00:33:04.289 --> 00:33:06.990
and reassures Bear that he didn't take advantage
00:33:06.990 --> 00:33:10.069
of her. I know I've already mentioned this, but
00:33:10.069 --> 00:33:12.470
the way Barker shoots Nikki in this scene is
00:33:12.470 --> 00:33:16.130
phenomenal. I mean, she's mostly hidden in shadow,
00:33:16.309 --> 00:33:18.910
but the way the light kind of catches off of
00:33:18.910 --> 00:33:21.869
her eyes just gives this wonderfully kind of
00:33:21.869 --> 00:33:25.309
beautiful while simultaneously quite frightening
00:33:25.309 --> 00:33:28.910
appearance. It's really contrasting. It's just
00:33:28.910 --> 00:33:31.819
amazing. Yeah, man. I mean, it's a completely
00:33:31.819 --> 00:33:33.839
gorgeous shot, isn't it? Those highlights. I
00:33:33.839 --> 00:33:36.220
mean, it kind of reminded me of Batman for some
00:33:36.220 --> 00:33:41.240
reason. That's what I thought. Anyway, Nikki
00:33:41.240 --> 00:33:44.119
confesses that she has feelings for Bear. And
00:33:44.119 --> 00:33:48.660
finally, finally, Bear admits the same. And then,
00:33:48.680 --> 00:33:51.799
oh, yeah, it's time for a motherfucking montage.
00:33:52.380 --> 00:33:54.740
Oh, my God. It feels like forever since we've
00:33:54.740 --> 00:33:57.660
had a good montage. Speak for yourself, dude.
00:33:57.740 --> 00:34:00.059
I'm forever watching Eisenstein. Not really.
00:34:00.759 --> 00:34:03.619
Anyway, we get some lovely romantic music to
00:34:03.619 --> 00:34:06.299
accompany said montage, and we are treated to
00:34:06.299 --> 00:34:09.380
a series of lovely vignettes of Bear and Nicky's
00:34:09.380 --> 00:34:13.440
budding romance. Oh, I know. It's beautiful,
00:34:13.559 --> 00:34:16.039
isn't it? We end up with the two of them enjoying
00:34:16.039 --> 00:34:18.960
a meal at a quaint little restaurant. It's all
00:34:18.960 --> 00:34:22.460
sweet, lovey dovey banter until Ian calls and
00:34:22.460 --> 00:34:25.519
tells Bear that Nicky's father isn't dying and
00:34:25.519 --> 00:34:27.900
that she'd recently told Sarah that she thinks
00:34:27.900 --> 00:34:31.159
of Bear as a brother. Oh, dear. It's like she
00:34:31.159 --> 00:34:33.599
suddenly snapped into a different person. Those
00:34:33.599 --> 00:34:36.760
words aren't lost on Bear as he recalls the night
00:34:36.760 --> 00:34:39.780
he broke the willow and heads back to the table.
00:34:40.590 --> 00:34:43.429
Nikki gifts him a tiger's eye gemstone that used
00:34:43.429 --> 00:34:46.030
to belong to her mother. And when he asks why,
00:34:46.210 --> 00:34:49.610
she answers that she loves him so, so, so, so
00:34:49.610 --> 00:34:52.449
much. And she doesn't know what she'd do without
00:34:52.449 --> 00:34:55.269
him. Alarm bells are ringing for me, Lee, I think.
00:34:56.670 --> 00:35:01.230
He asks her more than anyone in the world the
00:35:01.230 --> 00:35:04.590
exact words of his wish. She answers, yes, Lee.
00:35:05.190 --> 00:35:08.469
And then an increasingly uncomfortable bear asks
00:35:08.469 --> 00:35:12.030
her if her dad really has cancer. Nicky freaks
00:35:12.030 --> 00:35:15.010
out. No, no, no, no. I thought we were having
00:35:15.010 --> 00:35:18.610
a nice date. Man, we're rapidly approaching BBF
00:35:18.610 --> 00:35:21.690
number three. And now this scene ends pretty
00:35:21.690 --> 00:35:24.510
much on course with the script. So have a listen
00:35:24.510 --> 00:35:32.690
to how it plays out on the page. A pause. Nicky
00:35:32.690 --> 00:35:35.829
sits and the restaurant buzz resumes. Playfully,
00:35:35.869 --> 00:35:38.349
she grabs Bear's leg under the table, her eerie
00:35:38.349 --> 00:35:41.289
smile returning. Nicky, then why does it matter?
00:35:41.849 --> 00:35:45.730
Silence settles. Bear, lost in thought, realises
00:35:45.730 --> 00:35:48.610
his yearning for her overshadows all. Her actions,
00:35:48.730 --> 00:35:51.869
her lies, it all fades. Only her presence matters.
00:35:52.090 --> 00:35:55.909
Bear, matter of fact, doesn't matter to me. His
00:35:55.909 --> 00:35:59.170
response reveals a disregard for truth, showing
00:35:59.170 --> 00:36:01.829
a readiness to ignore darker realities for affection,
00:36:02.170 --> 00:36:08.250
hinting at a deeply flawed person. Yeah, so things
00:36:08.250 --> 00:36:11.289
are starting to take a very dark turn now as
00:36:11.289 --> 00:36:13.630
Bear is blatantly avoiding the fact that it's
00:36:13.630 --> 00:36:16.349
becoming increasingly clear Nikki is now a slave
00:36:16.349 --> 00:36:19.510
to his wish. And this is made even more disturbing
00:36:19.510 --> 00:36:21.809
in the next scene where Bear takes a dead -eyed
00:36:21.809 --> 00:36:26.280
Nikki to Pound Town, Lee. Yeah. So we've arrived
00:36:26.280 --> 00:36:28.739
at a big time bear fuck up number three. And
00:36:28.739 --> 00:36:31.079
as you said, you know, Bear is now pretty damn
00:36:31.079 --> 00:36:33.900
sure that he's essentially taking advantage of
00:36:33.900 --> 00:36:36.400
an impaired Nicky. But the truth is, as long
00:36:36.400 --> 00:36:38.739
as he gets to be with her, it looks like he doesn't
00:36:38.739 --> 00:36:42.119
care. Yeah. And it's a really interesting juxtaposition
00:36:42.119 --> 00:36:45.260
here because, you know, Bear is played so gently
00:36:45.260 --> 00:36:49.159
by Johnston throughout the film. But he's really
00:36:49.159 --> 00:36:51.719
doing the fucking he's doing the dirty here,
00:36:51.800 --> 00:36:54.519
isn't he? You know. Absolutely, yeah. And in
00:36:54.519 --> 00:36:57.219
the script, the scene is somehow even more disturbing.
00:37:02.840 --> 00:37:06.780
Interior, Bear's house, bedroom, night. Nicky
00:37:06.780 --> 00:37:09.099
slams Bear against the wall, kissing fiercely.
00:37:09.300 --> 00:37:11.920
They move to the bed where Bear playfully pushes
00:37:11.920 --> 00:37:15.179
her down. Clothes shed, Bear kisses her neck.
00:37:15.659 --> 00:37:18.699
Mid -moan, Nicky locks eyes with Bear, her expression
00:37:18.699 --> 00:37:21.579
shifting to sheer panic. With a frantic shove,
00:37:21.800 --> 00:37:24.380
she pushes him away and lets out a blood -curdling
00:37:24.380 --> 00:37:28.719
scream, her body trembling. Nicky. Bear, what
00:37:28.719 --> 00:37:32.539
the fuck? Bear remains unfazed, his eerie calm
00:37:32.539 --> 00:37:35.079
demeanour chilling. Within moments she's back,
00:37:35.239 --> 00:37:37.780
kissing his stomach. The disturbance registers
00:37:37.780 --> 00:37:40.000
as nothing more than a fleeting inconvenience
00:37:40.000 --> 00:37:44.820
to him. Nicky continued. Sorry, baby. Bear. It's
00:37:44.820 --> 00:37:47.760
okay, baby. They finish and Bear rolls over to
00:37:47.760 --> 00:37:51.760
the side. Nicky, that was amazing, baby. Bear
00:37:51.760 --> 00:37:56.500
smiles. Yeah, yeah. Bear's smile fades, a subtle
00:37:56.500 --> 00:37:58.539
acknowledgement of what he never thought he was.
00:38:02.480 --> 00:38:05.059
Yeah, I mean, the way he just waits for her sort
00:38:05.059 --> 00:38:07.739
of moment of clarity to pass on the page is really
00:38:07.739 --> 00:38:10.619
fucking pretty disturbing, isn't it? It's pretty
00:38:10.619 --> 00:38:13.780
disturbing. OK, so later that night, he wakes
00:38:13.780 --> 00:38:16.380
to find Nikki missing from the bed. And after
00:38:16.380 --> 00:38:18.699
a brief scan of his darkened bedroom, he spots
00:38:18.699 --> 00:38:21.719
her lurking in the corner. She creeps eerily
00:38:21.719 --> 00:38:24.219
into the light, wearing Bear's sweater because
00:38:24.219 --> 00:38:26.760
it smells like him and telling him to go back
00:38:26.760 --> 00:38:29.679
to sleep. She likes watching him sleep, Lee.
00:38:31.099 --> 00:38:35.280
She then starts to wail uncontrollably that she
00:38:35.280 --> 00:38:37.559
doesn't like her dreams and that she's feeling
00:38:37.559 --> 00:38:39.420
like he doesn't love her as much as she loves
00:38:39.420 --> 00:38:42.449
him. Bear tries to talk her back into bed, but
00:38:42.449 --> 00:38:44.989
she's not having it. Reluctantly, he lies back
00:38:44.989 --> 00:38:48.190
down to sleep, but mere moments later, he's snapped
00:38:48.190 --> 00:38:51.309
to attention by Nicky screaming, why won't you
00:38:51.309 --> 00:38:56.750
love me? He snaps back up, but Nicky is gone,
00:38:56.849 --> 00:38:59.530
only to scurry into the room a moment later,
00:38:59.570 --> 00:39:02.800
hiding her face behind some flowers. Bear is
00:39:02.800 --> 00:39:05.699
genuinely scared now, but after a few moments,
00:39:05.800 --> 00:39:07.659
Nicky states that the flowers are for his dead
00:39:07.659 --> 00:39:10.380
cat and climbs back into bed as though nothing
00:39:10.380 --> 00:39:14.239
untoward has happened. A very confused Bear starts
00:39:14.239 --> 00:39:18.579
to get up, only for Nicky to scream, Stay! Needless
00:39:18.579 --> 00:39:22.300
to say, he does this. And this whole scene kicks
00:39:22.300 --> 00:39:26.849
off at the 45 minute mark. Yeah. In the script,
00:39:27.210 --> 00:39:30.409
this scene is a lot shorter. Nikki never leaves
00:39:30.409 --> 00:39:32.449
the room. There's no talk of being scared in
00:39:32.449 --> 00:39:34.510
her dreams or fearing Bear doesn't love her.
00:39:34.869 --> 00:39:37.489
She does try to carve something into his arm
00:39:37.489 --> 00:39:40.849
with a sharp crystal, though. And in the film
00:39:40.849 --> 00:39:43.070
as well, with Nikki's face, they've kind of done
00:39:43.070 --> 00:39:45.510
her makeup in a way that makes her just look
00:39:45.510 --> 00:39:49.800
odd. You know, it's kind of almost like aging
00:39:49.800 --> 00:39:53.260
her a little bit, like sharp contouring. If you
00:39:53.260 --> 00:39:55.619
Google like this, this scene, you can see some
00:39:55.619 --> 00:39:58.739
like behind the scenes kind of makeup art that
00:39:58.739 --> 00:40:02.019
they did with Navaretti. And it's really creepy.
00:40:02.219 --> 00:40:04.840
It's really very much a case of uncanny valley.
00:40:05.519 --> 00:40:10.820
And also her scream of scary is written in the
00:40:10.820 --> 00:40:15.199
script as an elongated word. Oh, script sin.
00:40:15.400 --> 00:40:16.760
It's been a while since we had one of those.
00:40:17.610 --> 00:40:19.909
OK, so tell us what we have here, Lee. So this
00:40:19.909 --> 00:40:24.650
one consists of S, T, eight A's and five Y's.
00:40:25.789 --> 00:40:29.449
Brilliant. So the following morning, Bear wakes
00:40:29.449 --> 00:40:32.010
to find Nicky has given him a little haircut
00:40:32.010 --> 00:40:34.909
while he's been sleeping and he does his best
00:40:34.909 --> 00:40:38.070
to make it clear that that is not OK and asks
00:40:38.070 --> 00:40:42.210
her about her behaviour last night. She apologises,
00:40:42.250 --> 00:40:44.329
says she had a bad dream that freaked her out
00:40:44.329 --> 00:40:46.809
and presents Bear with a homemade packed lunch.
00:40:47.480 --> 00:40:50.519
and her biggest possible smile, all of which
00:40:50.519 --> 00:40:54.059
serves to unnerve Bear even more. Seeing that
00:40:54.059 --> 00:40:56.139
he's faltering, she moves in for a kiss, which
00:40:56.139 --> 00:40:58.699
immediately brings him back around, and he goes
00:40:58.699 --> 00:41:02.480
to leave for work, only to find Nicky has duct
00:41:02.480 --> 00:41:06.639
taped the entire door shut, Lee. It's played
00:41:06.639 --> 00:41:08.500
so well in the film as well, because neither
00:41:08.500 --> 00:41:11.059
of them acknowledge that the door is just...
00:41:11.280 --> 00:41:14.599
awash with duct tape they just go about the business
00:41:14.599 --> 00:41:16.940
and bears just trying to get the door open it's
00:41:16.940 --> 00:41:19.099
a great scene and you know what they say if you
00:41:19.099 --> 00:41:20.940
can't fix it with duct tape you're not using
00:41:20.940 --> 00:41:24.199
enough duct tape and uh it looked like nicky's
00:41:24.199 --> 00:41:26.300
gone through a couple of dozen roles minimum
00:41:26.300 --> 00:41:29.320
i think here but yeah i mean as i said i love
00:41:29.320 --> 00:41:31.019
the way that they both refuse to acknowledge
00:41:31.019 --> 00:41:34.260
the duct tape door and says bears just nonchalantly
00:41:34.260 --> 00:41:38.019
trying to just rip the door open that's really
00:41:38.019 --> 00:41:41.820
funny isn't it He finally manages to free the
00:41:41.820 --> 00:41:44.659
door and heads off to work while a smiling Nikki
00:41:44.659 --> 00:41:47.719
literally freezes in place with a horrendous
00:41:47.719 --> 00:41:51.280
smile, unmoving even when she pees herself. I
00:41:51.280 --> 00:41:55.079
mean, this is this kind of horrific double whammy
00:41:55.079 --> 00:41:59.139
hits us at the 52 minute point. Now, in the script,
00:41:59.280 --> 00:42:01.960
we get a line from Nikki that better explains
00:42:01.960 --> 00:42:05.539
the strange action. Nikki, I'll try. I'll be
00:42:05.539 --> 00:42:08.199
right here when you get home. Bare, uncomfortable.
00:42:09.059 --> 00:42:13.519
OK. And again, I said that look on Nikki's face,
00:42:13.619 --> 00:42:16.659
it's just it's such a sweet smile. But like the
00:42:16.659 --> 00:42:19.739
unfaltering way that Navarrete kind of just holds
00:42:19.739 --> 00:42:23.599
that pose just makes it really unnerving. Yeah,
00:42:23.639 --> 00:42:26.280
it's really rather chilling, isn't it? You know,
00:42:26.280 --> 00:42:29.019
we get this interesting kind of repeated jib
00:42:29.019 --> 00:42:31.559
down camera move as well to reveal poor Nikki
00:42:31.559 --> 00:42:34.239
sort of peeing herself. And this is used a few
00:42:34.239 --> 00:42:36.219
times in the film to great effect, I think. But
00:42:36.219 --> 00:42:39.340
it's really kind of unsettling stuff, isn't it?
00:42:40.219 --> 00:42:42.579
So later, while working his shift at the music
00:42:42.579 --> 00:42:45.300
store, Bear and Sarah catch up and Bear learns
00:42:45.300 --> 00:42:47.519
that Ian is having a party he wasn't invited
00:42:47.519 --> 00:42:50.199
to. And Sarah is worried about Bear's relationship
00:42:50.199 --> 00:42:52.980
with Nicky, more so because of its sudden intensity.
00:42:53.519 --> 00:42:56.039
They're interrupted by her dad, who hand delivers
00:42:56.039 --> 00:42:58.800
her latest application to art school. And it's
00:42:58.800 --> 00:43:01.739
not good, Lee. She didn't get in again. Oh, no.
00:43:02.710 --> 00:43:04.530
The two share a sweet moment where Bear consoles
00:43:04.530 --> 00:43:08.110
her and Sarah swipes his packed lunch, playfully
00:43:08.110 --> 00:43:10.429
teasing about Nicky's note about Bear being her
00:43:10.429 --> 00:43:13.329
little food critic and asking on the verdict
00:43:13.329 --> 00:43:17.019
of the cat. Bear is a little confused until he
00:43:17.019 --> 00:43:19.539
examines his half -eaten sandwich and realises
00:43:19.539 --> 00:43:23.239
Nicky has fed him chunks of his dead cat. And
00:43:23.239 --> 00:43:26.880
this is at the 57 -minute mark. And understandably,
00:43:26.960 --> 00:43:30.539
Bear proceeds to barf his guts up into a bin.
00:43:31.119 --> 00:43:34.179
What the fuck, dude? I mean, why would someone
00:43:34.179 --> 00:43:36.860
who claims to love him feed him his own dead
00:43:36.860 --> 00:43:40.650
cat? I have a theory that at some point Bear
00:43:40.650 --> 00:43:43.210
must have mentioned to Nicky how much he loves
00:43:43.210 --> 00:43:46.730
to eat. Lowly. We're not going there. We're not
00:43:46.730 --> 00:43:49.210
going there. Yeah, well, there's no mention of
00:43:49.210 --> 00:43:52.550
Bear eating dead cat in the script. Everything
00:43:52.550 --> 00:43:54.210
else about the scene is still there, though.
00:43:54.429 --> 00:43:57.730
Sarah and the college rejection. Now, after work,
00:43:57.869 --> 00:44:00.769
Bear is caught at his car by Ian, who asks for
00:44:00.769 --> 00:44:04.030
a lift home. And cue one awkward ride, Shirley.
00:44:04.860 --> 00:44:06.900
It's Ian's turn to share his misgivings about
00:44:06.900 --> 00:44:09.460
the relationship, and he admits it looks like
00:44:09.460 --> 00:44:11.800
Nicky is going through some shit and Bear is
00:44:11.800 --> 00:44:15.360
taking advantage of her. Something Bear strenuously
00:44:15.360 --> 00:44:17.780
denies, saying Nicky is all over him. He's not
00:44:17.780 --> 00:44:20.679
doing anything wrong. Ian then invites Bear to
00:44:20.679 --> 00:44:23.989
tonight's party, but only Bear. He makes it clear
00:44:23.989 --> 00:44:26.710
that if their relationship is healthy and codependent,
00:44:26.710 --> 00:44:29.230
then Nicky should have no problem with this at
00:44:29.230 --> 00:44:32.429
all. Bear agrees, but you can already see the
00:44:32.429 --> 00:44:34.909
dread in his eyes about the conversation this
00:44:34.909 --> 00:44:38.170
will entail with Nicky. Yeah, I mean, this is
00:44:38.170 --> 00:44:40.909
pretty much word for word in the script as it
00:44:40.909 --> 00:44:43.690
is on the film. And we even get some dual formatted
00:44:43.690 --> 00:44:45.929
dialogue, which I know you just love to see.
00:44:46.070 --> 00:44:48.750
I do, Lee. Yeah, it's used a few times in the
00:44:48.750 --> 00:44:50.960
script, which I really enjoyed. So once he's
00:44:50.960 --> 00:44:53.639
parked up outside, Bear rehearses his confrontation
00:44:53.639 --> 00:44:56.659
with Nikki, where he tells her cooking his dead
00:44:56.659 --> 00:45:00.739
cat is not OK and that he's going out for a boys
00:45:00.739 --> 00:45:03.500
night tonight. Now, just as he leaves the car,
00:45:03.599 --> 00:45:06.280
he hears the dying chime of the one wish willow
00:45:06.280 --> 00:45:09.440
box. And upon inspecting it, he notices the helpline
00:45:09.440 --> 00:45:12.139
number and gives it a call. The guy on the other
00:45:12.139 --> 00:45:14.760
end of the phone is easily the most nonchalant,
00:45:14.760 --> 00:45:19.119
doesn't give a fuck guy ever. And first, Bear
00:45:19.119 --> 00:45:21.360
assumes it's a wrong number before confirming
00:45:21.360 --> 00:45:24.619
that, yes, this is indeed one wish willows. Bear
00:45:24.619 --> 00:45:27.920
asks if it's possible to alter a wish. Alas,
00:45:27.920 --> 00:45:31.679
Lee, it's not. And Bear asks if it's real. Not
00:45:31.679 --> 00:45:33.980
the wish. He knows that already. But he asks
00:45:33.980 --> 00:45:37.639
if the love is real. Yeah. And this gives us
00:45:37.639 --> 00:45:41.340
one of the. best lines in the movie uh and like
00:45:41.340 --> 00:45:43.340
this whole call scene you know none of this is
00:45:43.340 --> 00:45:45.719
in the script at all but this is that line uh
00:45:45.719 --> 00:45:48.159
just because you chose this for her doesn't make
00:45:48.159 --> 00:45:52.059
it less real and this is also a really important
00:45:52.059 --> 00:45:54.840
point in the script because we get concrete absolute
00:45:54.840 --> 00:45:57.860
confirmation that bear is now fully aware of
00:45:57.860 --> 00:46:00.599
the reason for nikki's strange behavior and her
00:46:00.599 --> 00:46:03.980
feelings for him so he is now definitely absolutely
00:46:03.980 --> 00:46:07.239
culpable for what comes next Now, somewhat to
00:46:07.239 --> 00:46:09.820
Bear's credit here, he does then try to cancel
00:46:09.820 --> 00:46:12.380
the wish entirely, but it turns out that they
00:46:12.380 --> 00:46:15.139
don't really do that either. And the only way
00:46:15.139 --> 00:46:18.559
the wish will be cancelled is if he dies. Yeah,
00:46:18.599 --> 00:46:20.260
I mean, this is some really good writing because
00:46:20.260 --> 00:46:23.179
now Bear has been given a way to put things right,
00:46:23.280 --> 00:46:26.440
but it will quite literally cost him everything
00:46:26.440 --> 00:46:30.599
to do so. Now, realising there's no easy way
00:46:30.599 --> 00:46:33.000
out of his predicament, Bear asks about Nicky's
00:46:33.000 --> 00:46:35.260
constant free counts, to which the voice on the
00:46:35.260 --> 00:46:38.420
phone asks if he wants to speak to her. We then
00:46:38.420 --> 00:46:41.739
hear a voice, the real Nicky Lee, screaming in
00:46:41.739 --> 00:46:45.000
torment down the phone. It's constant and really
00:46:45.000 --> 00:46:48.260
harrowing. It's totally terrifying. I mean, what
00:46:48.260 --> 00:46:50.639
is going on here, Lee? I mean, this all happens
00:46:50.639 --> 00:46:53.559
at the one hour, three minute and 50 second mark,
00:46:53.599 --> 00:46:56.809
but what the fuck is happening? Okay, so Curry
00:46:56.809 --> 00:46:59.449
Barker, who incidentally is the voice on the
00:46:59.449 --> 00:47:03.010
phone here, a little director cameo, has mentioned
00:47:03.010 --> 00:47:05.269
that he kind of imagines the real Nikki is being
00:47:05.269 --> 00:47:07.929
held in some kind of purgatory while this new
00:47:07.929 --> 00:47:10.590
entity, whatever it is, takes over her body.
00:47:10.989 --> 00:47:13.150
I kind of have a little theory on this myself,
00:47:13.289 --> 00:47:16.070
so remind me in the breakdown and I'll circle
00:47:16.070 --> 00:47:20.219
back to it. Okay, cool. Will do. Well, a fittingly
00:47:20.219 --> 00:47:22.659
disturbed bear returns home to find a dishevelled
00:47:22.659 --> 00:47:25.119
Nicky standing in the same spot and covered in,
00:47:25.139 --> 00:47:28.260
well, everything, to be honest. Puke, piss, blood.
00:47:28.460 --> 00:47:32.780
It's really nasty. She lights up on seeing him,
00:47:32.800 --> 00:47:35.460
but then realises how gross she is and heads
00:47:35.460 --> 00:47:42.699
to the shower to clean up. Oh, hello. It's that
00:47:42.699 --> 00:47:45.659
time again, Lee. It's time for another random
00:47:45.659 --> 00:47:49.349
page check. So for those of you who may not know,
00:47:49.489 --> 00:47:53.010
it is a de facto screenwriting rule that one
00:47:53.010 --> 00:47:56.170
page of script equals one minute of movie time.
00:47:56.329 --> 00:47:59.110
Now, this can vary slightly from page to page,
00:47:59.110 --> 00:48:03.210
but it usually holds on to be pretty close to
00:48:03.210 --> 00:48:05.989
the mark. Nice. How are we holding up with Obsessions
00:48:05.989 --> 00:48:09.469
page count versus screen time? Give me a second.
00:48:09.489 --> 00:48:14.869
Let's have a look. See, we are on the 65 minute
00:48:14.869 --> 00:48:18.610
mark on the screen. Whereas in the screenplay,
00:48:18.809 --> 00:48:22.469
we are on. Oh, you're not going to believe this
00:48:22.469 --> 00:48:26.250
one. Page 65 of the script. Oh, man. Absolutely.
00:48:26.510 --> 00:48:28.989
Bang freaking only. I think that's the closest
00:48:28.989 --> 00:48:31.869
we've had on one of these, isn't it? I think
00:48:31.869 --> 00:48:34.070
it is. I reckon so. Yeah. And it's really interesting
00:48:34.070 --> 00:48:36.309
because, you know, we've lost scenes from the
00:48:36.309 --> 00:48:39.119
page. added scenes for the film, but we still
00:48:39.119 --> 00:48:41.659
landed on the exact desired point. And that's
00:48:41.659 --> 00:48:44.760
pretty crazy and just goes to very much, I think,
00:48:44.760 --> 00:48:48.260
lend authority to the one -minute rule. But what
00:48:48.260 --> 00:48:50.199
makes this even more interesting, I think, is
00:48:50.199 --> 00:48:53.380
that as a writer of dialogue -heavy scripts,
00:48:53.659 --> 00:48:56.599
Barker himself has been quoted as saying, a minute
00:48:56.599 --> 00:49:00.679
per page is not accurate for me. I beg to differ,
00:49:00.820 --> 00:49:03.639
Mr. Barker. I beg to differ. I shall never question
00:49:03.639 --> 00:49:07.119
you again, one -minute rule. Okay, so back to
00:49:07.119 --> 00:49:09.800
the film now. While Nicky is in the shower, Bear
00:49:09.800 --> 00:49:13.099
scolds Nicky for cooking that cat and says that
00:49:13.099 --> 00:49:16.619
he's going to a boys' night at Ian's alone. The
00:49:16.619 --> 00:49:18.440
shower cuts out instantly and a disappointed
00:49:18.440 --> 00:49:21.400
Nicky offers to go with him. A petrified Bear
00:49:21.400 --> 00:49:24.139
stresses that it's a boys' night and he thinks
00:49:24.139 --> 00:49:27.630
he should go alone. Cue a horrific scream from
00:49:27.630 --> 00:49:31.289
in the shower and Bear freaks out and Nicky tells
00:49:31.289 --> 00:49:34.050
him that Sarah is going. So Bear relents and
00:49:34.050 --> 00:49:36.110
the next thing you know, we're at the boys night.
00:49:36.329 --> 00:49:39.110
And to be fair to Nicky, there's a fair helping
00:49:39.110 --> 00:49:41.730
of ladies there, isn't there, Lee? Yeah, absolutely.
00:49:42.429 --> 00:49:45.869
In the script, Nicky actually phones Sarah to
00:49:45.869 --> 00:49:48.289
find out if she is going to the party, after
00:49:48.289 --> 00:49:50.929
which Bear feels he has no choice but to bring
00:49:50.929 --> 00:49:54.440
Nicky along. Now, at the party, after a grilling
00:49:54.440 --> 00:49:57.260
from Ian, Bear sits with the group to play dare
00:49:57.260 --> 00:50:00.340
Jenga. Or do you say Jenga, Lee? Is it a hard
00:50:00.340 --> 00:50:03.519
J for you? I am a J for Jenga. I've never heard
00:50:03.519 --> 00:50:07.139
it as Jenga before. Well, it's a soft J for me,
00:50:07.219 --> 00:50:09.820
but there we go. Almost immediately, one of the
00:50:09.820 --> 00:50:12.559
participants, Joe, pulls a brick, which lets
00:50:12.559 --> 00:50:15.280
him swap places with anyone. And he chooses Bear
00:50:15.280 --> 00:50:18.880
so he can sit next to Nicky, who is not amused.
00:50:19.500 --> 00:50:21.599
Someone cracks a joke about Bear putting a spell
00:50:21.599 --> 00:50:24.039
on her and she cracks up with over -the -top
00:50:24.039 --> 00:50:27.159
fake laughter. It comes to Nicky's turn, Lee,
00:50:27.159 --> 00:50:29.840
and she pulls a brick, then stands and begins
00:50:29.840 --> 00:50:33.480
to read from her phone. And this is pretty much
00:50:33.480 --> 00:50:36.619
word for word what's in the script, so let's
00:50:36.619 --> 00:50:38.639
just take it straight from the page for you.
00:50:43.500 --> 00:50:47.099
Nicky. Yay! Nicky pulls a brick, doesn't read
00:50:47.099 --> 00:50:50.019
it aloud, stands. grabs her phone and starts
00:50:50.019 --> 00:50:53.280
reading. Nicky continued. The air was charged
00:50:53.280 --> 00:50:56.099
by the distant call of a nightbird. His face
00:50:56.099 --> 00:50:58.539
was obscured, but I knew he was looking at my
00:50:58.539 --> 00:51:01.980
chest, each side stretching, recently matured
00:51:01.980 --> 00:51:05.940
to different sizes. Nicky, eerily still, uses
00:51:05.940 --> 00:51:08.980
her voice to embody the characters. Nicky continued.
00:51:09.949 --> 00:51:12.750
Hansel, come lie with me, like the old woman
00:51:12.750 --> 00:51:15.750
taught us when we were children. I said. He closed
00:51:15.750 --> 00:51:18.510
the door and leaned against it. You're not my
00:51:18.510 --> 00:51:21.690
wife, Gretel, he said. I am more than your wife.
00:51:21.869 --> 00:51:24.849
I'm your sister. Some people chuckle, but Nicky
00:51:24.849 --> 00:51:27.329
is impassioned by the words. Nicky continued.
00:51:28.070 --> 00:51:30.489
Hansel flinched and reached for the door handle.
00:51:30.650 --> 00:51:33.619
I knew he would not leave this place. He would
00:51:33.619 --> 00:51:35.820
relent and choose to be inside me like he had
00:51:35.820 --> 00:51:38.519
many nights before. If not, I would have filleted
00:51:38.519 --> 00:51:41.300
his meaty forearm, rolled it like a stick of
00:51:41.300 --> 00:51:44.179
licorice, and inserted his flesh between my legs.
00:51:44.739 --> 00:51:48.079
Laughter turns to unease. Nicky sets her phone
00:51:48.079 --> 00:51:50.960
down, reciting the remainder from memory. Nicky
00:51:50.960 --> 00:51:55.320
continued. Hansel is my soul, I cud. Brother,
00:51:55.420 --> 00:51:58.360
will you be inside me tonight? I went to him
00:51:58.360 --> 00:52:00.619
at the wall and reached for his sharp shoulders.
00:52:00.820 --> 00:52:03.739
His eyes were on the door, but his hands grabbed
00:52:03.739 --> 00:52:10.340
my hips. She sits. And I mean, what the actual
00:52:10.340 --> 00:52:17.159
living fuck was that shit? An incestuous tale
00:52:17.159 --> 00:52:20.079
of Hansel and Gretel was definitely not on my
00:52:20.079 --> 00:52:24.340
bucket list. And this scene. Really? I mean,
00:52:24.340 --> 00:52:27.139
it kicks off at a one hour, 50 second mark, doesn't
00:52:27.139 --> 00:52:30.119
it? Yeah. I mean, apparently Curry, but Curry
00:52:30.119 --> 00:52:32.639
Barker asked his father, Jeff, who is a seasoned
00:52:32.639 --> 00:52:35.880
playwright to compose this monologue. And yeah,
00:52:36.039 --> 00:52:38.139
he definitely hit it out the park because this
00:52:38.139 --> 00:52:41.880
shit is weird and disturbing on so many levels
00:52:41.880 --> 00:52:44.400
and not to be a dead horse again, but Navarrete
00:52:44.400 --> 00:52:48.059
just absolutely kills it here. She really does.
00:52:48.179 --> 00:52:51.260
I mean, it's quite a disturbing moment. I did
00:52:51.260 --> 00:52:53.920
enjoy the reactions from the Jenga crowd here.
00:52:54.019 --> 00:52:56.679
And I think this scene, while disturbing, does
00:52:56.679 --> 00:52:59.539
have a darkly comic tone running through it,
00:52:59.619 --> 00:53:03.260
you know. Needless to say, the room is somewhat
00:53:03.260 --> 00:53:06.019
taken aback by the content and passion of Nikki's
00:53:06.019 --> 00:53:09.070
poetry. After a moment, the turns shift and now
00:53:09.070 --> 00:53:11.969
it's Bear's turn. And he takes a brick and finds
00:53:11.969 --> 00:53:15.030
that he has to kiss the person to his left, that
00:53:15.030 --> 00:53:18.349
being Sarah. And you can literally feel the tension
00:53:18.349 --> 00:53:21.230
in the room here as Nikki surges up from her
00:53:21.230 --> 00:53:23.389
seat. And when we see her face, it's like looking
00:53:23.389 --> 00:53:27.469
directly at a sad emoji face. I don't know if
00:53:27.469 --> 00:53:29.369
she managed to pull that face off on her own
00:53:29.369 --> 00:53:32.550
or if it was tweaked by some FX or CGI. But I
00:53:32.550 --> 00:53:35.230
mean, the cinema just literally the first time
00:53:35.230 --> 00:53:37.650
I watched it, just literally everybody just cracked
00:53:37.650 --> 00:53:39.949
up at this point. And there's so much tension
00:53:39.949 --> 00:53:43.929
as soon as that there is read out. I mean, I
00:53:43.929 --> 00:53:46.670
think the film is trying to tell us something
00:53:46.670 --> 00:53:48.829
quite clever here. I mean, with Bear being told
00:53:48.829 --> 00:53:51.929
to kiss the person to his left. And what I found
00:53:51.929 --> 00:53:54.090
really interesting, and if you rewatch the film
00:53:54.090 --> 00:53:56.500
with this in mind, you'll notice it. Sarah is
00:53:56.500 --> 00:53:59.880
constantly framed on Bear's left -hand side,
00:54:00.099 --> 00:54:03.199
whereas Nikki more often than not is placed on
00:54:03.199 --> 00:54:06.539
his right, which is maybe perhaps a subtle indication
00:54:06.539 --> 00:54:09.900
that Sarah is in fact the girl that Bear should
00:54:09.900 --> 00:54:13.300
be kissing, pursuing from the start. Yeah, that's
00:54:13.300 --> 00:54:16.119
interesting. But I also found the Hansel and
00:54:16.119 --> 00:54:18.900
Gretel monologue interesting as it kind of hints
00:54:18.900 --> 00:54:21.639
at Bear and Nikki's almost brother and sister
00:54:21.639 --> 00:54:24.780
relationship before The Wish. And then how that
00:54:24.780 --> 00:54:27.260
has been twisted into something really kind of
00:54:27.260 --> 00:54:32.780
sick and dark and sexual. And I found that quite
00:54:32.780 --> 00:54:36.079
interesting as well. Yeah, that's really good.
00:54:36.099 --> 00:54:37.739
It's subtle, isn't it? But it's definitely there,
00:54:37.940 --> 00:54:41.300
right? So a clearly upset Nikki stomps around
00:54:41.300 --> 00:54:44.119
the room behind Sarah and drags her backwards,
00:54:44.440 --> 00:54:47.360
chair and all, before taking her place at Bear's
00:54:47.360 --> 00:54:50.159
side and ludicrously puckering up to receive
00:54:50.159 --> 00:54:54.929
Bear's reluctant kiss. And again, this is all
00:54:54.929 --> 00:54:57.309
running in line with the script, which then gives
00:54:57.309 --> 00:55:05.929
us this little peach of a moment. Nikki, no one
00:55:05.929 --> 00:55:08.309
on this earth will ever comprehend what it feels
00:55:08.309 --> 00:55:11.260
like to love someone as much as I love you. Nikki
00:55:11.260 --> 00:55:14.940
rises, words catching in her throat. Nikki continued,
00:55:15.239 --> 00:55:17.980
now to the crowd. And everyone in this room will
00:55:17.980 --> 00:55:21.400
die looking at Ian, never feeling the strength
00:55:21.400 --> 00:55:24.659
of my connection I have felt with my bear. Ian
00:55:24.659 --> 00:55:27.539
shoots Nikki an almost hurt look. She returns
00:55:27.539 --> 00:55:30.960
to her original seat in silence. Ian, sombre,
00:55:31.039 --> 00:55:35.599
nearly a whisper. Nikki, are you okay? Nikki,
00:55:35.719 --> 00:55:39.139
I'm just kidding, guys. Some relief in the room,
00:55:39.179 --> 00:55:43.530
but still quiet. Nikki continued, defiant. OK,
00:55:43.610 --> 00:55:49.349
fine, I'm not kidding. Live with it. Oh, how
00:55:49.349 --> 00:55:53.929
terrifyingly sweet that is. So this macabre tender
00:55:53.929 --> 00:55:56.590
moment doesn't last, though, as at that very
00:55:56.590 --> 00:55:59.309
moment, the real Nikki snaps back into her body,
00:55:59.349 --> 00:56:03.199
screaming, it's not me. She smashes a vodka bottle
00:56:03.199 --> 00:56:05.659
on the table and stabs herself repeatedly in
00:56:05.659 --> 00:56:08.599
the face before immediately returning to Freaky
00:56:08.599 --> 00:56:11.719
Nicky and apologising to everyone. And Ian is
00:56:11.719 --> 00:56:14.920
freaking out, screaming for Bear to do something,
00:56:14.960 --> 00:56:17.400
but the young man just sits seemingly numb to
00:56:17.400 --> 00:56:21.119
the situation and his responsibility to it. Yeah,
00:56:21.159 --> 00:56:24.039
man, it's a really great scene. And here's that
00:56:24.039 --> 00:56:31.179
moment from the script. Nikki locks eyes with
00:56:31.179 --> 00:56:34.360
Bear, guilt washing over her. Suddenly she jolts
00:56:34.360 --> 00:56:36.539
back into her body, the true Nikki emerging.
00:56:36.900 --> 00:56:39.840
She moves abruptly, frantically searching for
00:56:39.840 --> 00:56:42.099
anything that could hurt her, a vodka bottle.
00:56:42.219 --> 00:56:45.199
She smashes it on the table. Everyone jerks back
00:56:45.199 --> 00:56:48.519
in fear, Nikki begging. It's not me, please!
00:56:49.369 --> 00:56:52.030
After several attempts, the glass shatters. She
00:56:52.030 --> 00:56:54.429
grabs the broken end of the bottle and stabs
00:56:54.429 --> 00:56:57.469
it into her face. The blunt glass fails to puncture,
00:56:57.510 --> 00:57:00.650
causing damage nonetheless. She manages one more
00:57:00.650 --> 00:57:06.369
stab before switching back to Happy Nikki. I
00:57:06.369 --> 00:57:09.030
found this really interesting in the script because
00:57:09.030 --> 00:57:12.010
this is, I believe, the first point in the script
00:57:12.010 --> 00:57:15.630
where Cary Barker clearly delineates between
00:57:15.630 --> 00:57:18.869
two different Nickys. We've got the true Nicky
00:57:18.869 --> 00:57:22.250
emerging who, after trying to kill herself, switches
00:57:22.250 --> 00:57:25.829
back to happy Nicky. And I think it's the first
00:57:25.829 --> 00:57:28.510
concrete proof in the script that there are two
00:57:28.510 --> 00:57:31.150
very different personas in that body. You know,
00:57:31.170 --> 00:57:34.469
it's not a case of... brainwashing or or possession
00:57:34.469 --> 00:57:37.530
or what have you yeah i mean i agree i think
00:57:37.530 --> 00:57:40.309
this really i think this really sort of serves
00:57:40.309 --> 00:57:42.570
the film too because it both raises the horror
00:57:42.570 --> 00:57:45.489
of the situation and also gives us a really sick
00:57:45.489 --> 00:57:48.530
to the stomach feeling about bear you know um
00:57:48.530 --> 00:57:52.210
now bear drives a bloodied nicky to the hospital
00:57:52.210 --> 00:57:54.170
and we see him try desperately to get nicky to
00:57:54.170 --> 00:57:57.929
go inside but it ain't happening lee yeah and
00:57:57.929 --> 00:58:05.219
here's that scene from the script Exterior hospital
00:58:05.219 --> 00:58:08.880
moments later. From afar we see Bear and a nurse
00:58:08.880 --> 00:58:11.159
try to get a reluctant Nikki out of his car.
00:58:11.340 --> 00:58:13.780
Nikki pushes Bear off of her refusing to go.
00:58:14.099 --> 00:58:17.000
Bear pulls the nurse off to one side. While they
00:58:17.000 --> 00:58:18.980
talk Nikki gets out of the car and begins to
00:58:18.980 --> 00:58:21.639
do a little dance. The nurse ultimately refuses
00:58:21.639 --> 00:58:24.500
to take Nikki because of the principle of informed
00:58:24.500 --> 00:58:28.820
consent. I thought this was interesting as well,
00:58:28.840 --> 00:58:31.280
because here the script brings up the notion
00:58:31.280 --> 00:58:34.500
of consent, something that is very much a questionable
00:58:34.500 --> 00:58:36.840
theme of the film. And again, you know, here
00:58:36.840 --> 00:58:39.340
it is in writing, theme stated kind of thing.
00:58:39.860 --> 00:58:41.699
Yeah, I think throughout the script, you know,
00:58:41.699 --> 00:58:44.119
I mean, Barker is pretty liberal with spelling
00:58:44.119 --> 00:58:47.840
out his themes, you know, and only reading the
00:58:47.840 --> 00:58:49.119
script, you know, some might say it's a little
00:58:49.119 --> 00:58:51.059
heavy handed, but a lot of the time the lines
00:58:51.059 --> 00:58:53.500
are delivered by secondary characters in the
00:58:53.500 --> 00:58:55.420
film. And it does seem to wash over you without
00:58:55.420 --> 00:58:57.719
drawing too much attention to itself in the actual
00:58:57.719 --> 00:59:01.840
film, I think. So back at Bears, he confronts
00:59:01.840 --> 00:59:04.579
Nikki over her behavior, asking her if she even
00:59:04.579 --> 00:59:07.159
likes him. Well, of course she does. She loves
00:59:07.159 --> 00:59:09.460
him more than anything, Lee. He takes her hand
00:59:09.460 --> 00:59:12.440
and asks her slowly, deliberately, does Nicky
00:59:12.440 --> 00:59:15.619
like me? She cracks a fucking creepy -ass smile
00:59:15.619 --> 00:59:19.059
and replies, of course, she's his freaky Nicky.
00:59:19.119 --> 00:59:22.119
Oh, man, we know how much the real Nicky hates
00:59:22.119 --> 00:59:25.480
that nickname. Yeah. Bears suggest spending some
00:59:25.480 --> 00:59:28.530
time apart and Nicky breaks down in tears. A
00:59:28.530 --> 00:59:30.630
distraught Bear voices that this isn't real,
00:59:30.730 --> 00:59:33.030
none of it's real, but Nicky insists that it
00:59:33.030 --> 00:59:35.849
is, she's always loved him, and that she'd love
00:59:35.849 --> 00:59:38.989
him in every reality. He wants her to be normal,
00:59:39.110 --> 00:59:41.750
just to be Nicky, and she promises to be anything
00:59:41.750 --> 00:59:44.909
he wants. She then hops up and walks backward
00:59:44.909 --> 00:59:47.510
into the hallway where, clad in shadow, she tells
00:59:47.510 --> 00:59:50.489
him not to be afraid, and all this kicks off
00:59:50.489 --> 00:59:54.869
at around the 1 hour 18 minute mark. It's hard
00:59:54.869 --> 00:59:58.230
to describe this creepy whole walk backwards
00:59:58.230 --> 01:00:01.030
moment. It's really brief. And it's kind of like
01:00:01.030 --> 01:00:04.929
she's being forcibly rewound. And it's creepy
01:00:04.929 --> 01:00:09.030
as fuck. It's so out of nowhere. It's great,
01:00:09.110 --> 01:00:12.070
isn't it? So Bear wants her to spend the night
01:00:12.070 --> 01:00:14.630
alone, but she tells him in a creepy -ass monologue
01:00:14.630 --> 01:00:17.949
how cold and crushing it feels without him. Yeah.
01:00:18.050 --> 01:00:20.230
And the script for this scene, again, plays out
01:00:20.230 --> 01:00:27.409
quite differently. Check it out. She's convincing.
01:00:27.849 --> 01:00:30.829
A tear falls from Bear's eye, overwhelmed with
01:00:30.829 --> 01:00:34.110
guilt. Suddenly, Nicky jumps up, startling Bear.
01:00:34.269 --> 01:00:36.650
We see the bottom of Nicky's legs as she removes
01:00:36.650 --> 01:00:39.570
her pants and panties. Nicky, offscreen, continued.
01:00:40.090 --> 01:00:44.170
Let's fuck, Bear. Bear. Huh? Nicky's bare legs
01:00:44.170 --> 01:00:48.110
walk offscreen. Nicky, offscreen. Come on, let's
01:00:48.110 --> 01:00:51.380
fuck, Bear. Bear glances over to Nikki, now in
01:00:51.380 --> 01:00:53.900
the hallway leading to the bedroom. She stands
01:00:53.900 --> 01:00:57.059
half -naked, mostly obscured by shadows. Nikki,
01:00:57.199 --> 01:01:01.719
continued, emotionless. It's normal. Bear, what?
01:01:02.280 --> 01:01:07.500
Nikki, emotionless. Hi, I'm normal. Bear. Nikki,
01:01:07.659 --> 01:01:11.440
what the hell? Nikki, rail me, Bear. I'm normal.
01:01:11.960 --> 01:01:15.579
Bear, that's not normal. Nikki, what do you want?
01:01:16.099 --> 01:01:19.869
Bear. I just want you to not act crazy. Nikki,
01:01:20.030 --> 01:01:22.570
robotic. Well, if you loved Nikki the way Nikki
01:01:22.570 --> 01:01:25.530
was, Nikki wouldn't have changed for you. She
01:01:25.530 --> 01:01:28.070
cracks a broken smile through her wounds, terrifying.
01:01:28.690 --> 01:01:31.789
She moves towards Bear in slow motion, unsettling
01:01:31.789 --> 01:01:34.929
and inhumane. Her lips don't match her words.
01:01:35.150 --> 01:01:38.269
Nikki, continued. Come on, Bear, rail my guts
01:01:38.269 --> 01:01:41.329
in like Hansel fucks his sister. Bear, scared.
01:01:41.690 --> 01:01:47.079
Nikki, stop. She stops. Nikki, sweet. Bear, what's
01:01:47.079 --> 01:01:50.019
a one -wish willow? Nikki smiles, checkmate.
01:01:50.179 --> 01:01:54.360
Bear, I... I don't know. Nikki, emotionless.
01:01:54.739 --> 01:01:57.320
Thank you for showing me that I love you. She
01:01:57.320 --> 01:01:59.860
grabs Bear's hand, and he reluctantly follows.
01:02:00.320 --> 01:02:02.659
We stay on this empty shot as we hear moaning
01:02:02.659 --> 01:02:08.380
from the other room grow in intensity. So, I
01:02:08.380 --> 01:02:10.320
mean, I'd argue that this is way more disturbing
01:02:10.320 --> 01:02:12.179
in the script than what... what we actually get
01:02:12.179 --> 01:02:14.400
on screen. And I mean, make no mistake, what
01:02:14.400 --> 01:02:17.599
we get on screen is pretty messed up. Yeah, absolutely,
01:02:17.699 --> 01:02:19.840
man. I mean, having Bear have sex with Nikki
01:02:19.840 --> 01:02:23.059
after all that, I mean, I think would have pretty
01:02:23.059 --> 01:02:26.400
much killed any empathy the audience might have
01:02:26.400 --> 01:02:28.199
still had for the character if it happened on
01:02:28.199 --> 01:02:31.019
screen. You know, I've said before, Bear is very
01:02:31.019 --> 01:02:34.380
much the villain of this film, but we've been
01:02:34.380 --> 01:02:37.929
kind of able to overlook. if not excuse most
01:02:37.929 --> 01:02:40.250
of his actions because they initially came from
01:02:40.250 --> 01:02:43.449
a place of genuine love and helplessness and
01:02:43.449 --> 01:02:47.250
naivety. But if that had happened on screen,
01:02:47.309 --> 01:02:49.829
I think everyone would have just straight down
01:02:49.829 --> 01:02:52.349
hated the guy for the rest of the film. I totally
01:02:52.349 --> 01:02:54.050
agree. I mean, I think, you know, this is what
01:02:54.050 --> 01:02:55.909
I mentioned earlier that, you know, the way Johnston
01:02:55.909 --> 01:02:58.530
plays bear is very sort of sympathy inducing.
01:02:58.550 --> 01:03:00.289
He doesn't really come across as calculating
01:03:00.289 --> 01:03:03.789
or inherently evil in the film. I think in the
01:03:03.789 --> 01:03:06.650
script he does come across as far more sinister,
01:03:06.849 --> 01:03:10.130
you know? Yeah, absolutely. Anyway, later that
01:03:10.130 --> 01:03:12.610
night, Bear gets a text from Sarah asking to
01:03:12.610 --> 01:03:15.530
meet in the park and it seems quite urgent. He
01:03:15.530 --> 01:03:17.909
tries to sneak out of bed without waking Nikki
01:03:17.909 --> 01:03:21.130
and it looks like he succeeded until he and Nikki
01:03:21.130 --> 01:03:24.530
whisper his name. But this is not the bear worshipping
01:03:24.530 --> 01:03:27.750
girl talking, it's the real Nikki Lee. She begs
01:03:27.750 --> 01:03:30.510
for Bear to kill her and tells her that the other
01:03:30.510 --> 01:03:33.909
Nikki is sleeping and not to wake her up. A horrified
01:03:33.909 --> 01:03:36.750
and guilt -ridden bear then asks, is it so bad
01:03:36.750 --> 01:03:39.510
being with him? To which the sleeping girl replies
01:03:39.510 --> 01:03:42.010
that she's never been with him and implores him
01:03:42.010 --> 01:03:45.010
again to kill her. And this is a truly chilling
01:03:45.010 --> 01:03:48.750
scene and it hits hard. And this appears at the
01:03:48.750 --> 01:03:52.829
one hour, 23 minute mark of the film. Yeah, I
01:03:52.829 --> 01:03:55.650
mean, this scene is just awful. I mean, not like
01:03:55.650 --> 01:03:59.409
bad awful, but it's masterfully done. But hearing
01:03:59.409 --> 01:04:01.889
the real Nikki's kind of pathetic sobs, just
01:04:01.889 --> 01:04:05.309
a killer, is really unnerving. And I think, and
01:04:05.309 --> 01:04:08.289
it's here I think that the audience will pretty
01:04:08.289 --> 01:04:11.440
much be universally... turned against bear and
01:04:11.440 --> 01:04:13.480
not so much because he refuses to kill her you
01:04:13.480 --> 01:04:16.019
can't necessarily you know be surprised by that
01:04:16.019 --> 01:04:19.320
but for me it's the fact that he he takes nikki's
01:04:19.320 --> 01:04:22.820
obvious suffering and then instantly makes it
01:04:22.820 --> 01:04:25.219
about him it's like why is it so bad being with
01:04:25.219 --> 01:04:28.840
me you know what's so bad about me and and that
01:04:28.840 --> 01:04:31.639
to me is like the point where he kind of just
01:04:31.639 --> 01:04:34.739
switched into like proper full full kind of villain
01:04:34.739 --> 01:04:37.480
mode for the rest of the film for me yeah brutal
01:04:37.480 --> 01:04:40.639
isn't it So a little later in the park, Bear
01:04:40.639 --> 01:04:43.900
joins Sarah in her car and they chat for a bit.
01:04:43.940 --> 01:04:46.099
And Sarah reveals that she's received her last
01:04:46.099 --> 01:04:48.699
college letter, her last chance at art school.
01:04:48.739 --> 01:04:52.280
And she wanted to open it with him. She also
01:04:52.280 --> 01:04:54.300
reveals that Nikki and Ian had been hooking up
01:04:54.300 --> 01:04:56.880
on and off for the past couple of years and very
01:04:56.880 --> 01:04:59.179
strongly hints that she has feelings for Bear.
01:04:59.320 --> 01:05:01.860
She also throws in how he still owes her a kiss
01:05:01.860 --> 01:05:04.539
from the game. We've got some romantic music
01:05:04.539 --> 01:05:06.480
playing and it looks like these two might just
01:05:06.480 --> 01:05:09.119
be about to seal the deal with a kiss when BAM!
01:05:09.159 --> 01:05:11.380
Nicky headbutts through the driver's window,
01:05:11.619 --> 01:05:13.760
holding a brick up to the steering wheel and
01:05:13.760 --> 01:05:17.219
proceeds to smash Sarah's face and skull into
01:05:17.219 --> 01:05:20.719
the brick over and over and over. And oh my God,
01:05:20.840 --> 01:05:24.000
this is so brutal. And this appears at the 1
01:05:24.000 --> 01:05:28.699
hour 27 minute 15 second mark. Oh, man. Now poor
01:05:28.699 --> 01:05:32.800
Sarah's been taken to pound town. Oh, not the
01:05:32.800 --> 01:05:36.360
time, dude. A young girl with a promising future
01:05:36.360 --> 01:05:40.260
has just died, Lee. OK, fair enough. Start of
01:05:40.260 --> 01:05:42.719
Act 3 here? Yeah, man. I mean, this is definitely
01:05:42.719 --> 01:05:46.059
where I had it, too. Yeah, definitely. OK, so
01:05:46.059 --> 01:05:49.199
an apologetic Nikki tells a shell -shocked bear
01:05:49.199 --> 01:05:51.960
that she's really sorry, but this is kind of
01:05:51.960 --> 01:05:54.699
his fault. He wished for all of this after all,
01:05:54.780 --> 01:05:59.079
but she's so, so, so glad he did. He just needs
01:05:59.079 --> 01:06:01.519
to help her dispose of the body and a numb and
01:06:01.519 --> 01:06:05.059
horrified Bear goes along with it, Lee. Now back
01:06:05.059 --> 01:06:07.420
in the music store, Nicky tells Bear to go home
01:06:07.420 --> 01:06:10.320
and she will finish up with the body. Bear parks
01:06:10.320 --> 01:06:13.440
up somewhere quiet and opens Sarah's letter to
01:06:13.440 --> 01:06:16.199
find that, yep, you guessed it, her dream had
01:06:16.199 --> 01:06:19.039
come true and she'd been accepted into art school.
01:06:19.480 --> 01:06:22.619
And unable to cope with any more, he breaks down
01:06:22.619 --> 01:06:25.940
and screams with rage, horror, guilt and regret.
01:06:26.659 --> 01:06:30.000
So in the script, this scene is played a lot
01:06:30.000 --> 01:06:37.900
quieter and sort of lower tone. Exterior viewpoint,
01:06:38.260 --> 01:06:41.719
sunrise. A breathtaking sunrise illuminates the
01:06:41.719 --> 01:06:45.239
foothills. Bear sits in his car, solitary. He
01:06:45.239 --> 01:06:47.980
retrieves Sarah's letter from his pocket, hesitates,
01:06:47.980 --> 01:06:51.150
then unfolds it. Dear Sarah Harper, congratulations.
01:06:51.809 --> 01:06:54.449
On behalf of the admissions committee, it is
01:06:54.449 --> 01:06:56.670
with great pleasure I extend to you an offer
01:06:56.670 --> 01:06:58.750
of admission to the Luther Arts School for the
01:06:58.750 --> 01:07:02.329
upcoming academic year. Bear's tears flow silently.
01:07:02.809 --> 01:07:05.630
Regret consumes him. After a moment, he lifts
01:07:05.630 --> 01:07:08.570
his head, resolute, ready to fix his mistakes.
01:07:10.409 --> 01:07:14.050
Okay, so why change here, Lee? Um... I'm not
01:07:14.050 --> 01:07:17.250
sure. I mean, I think both ways to play it are
01:07:17.250 --> 01:07:19.550
valid reactions. You know, I have a feeling that
01:07:19.550 --> 01:07:22.369
this is the kind of scene that would have been
01:07:22.369 --> 01:07:25.269
shot multiple ways and maybe they went with what
01:07:25.269 --> 01:07:28.730
they felt translated the best. And to be fair,
01:07:28.809 --> 01:07:31.929
I mean, Bear has been like very muted, passive
01:07:31.929 --> 01:07:34.389
character up until this point, pretty much just
01:07:34.389 --> 01:07:37.570
reacting to everything that happens. You know,
01:07:37.570 --> 01:07:39.949
he doesn't really take action. He just reacts.
01:07:41.659 --> 01:07:44.179
But I like the idea of him kind of finally breaking
01:07:44.179 --> 01:07:48.139
down and raging up and finally trying to put
01:07:48.139 --> 01:07:50.960
things right. Yeah, no, I totally agree. I think
01:07:50.960 --> 01:07:53.440
it's kind of, you know, it's needed at this point.
01:07:53.460 --> 01:07:55.320
And it's really, I think, quite sort of effective
01:07:55.320 --> 01:07:58.480
how he reacts. But yeah, I mean, as I sort of
01:07:58.480 --> 01:08:00.159
mentioned a little bit earlier, you know, I think
01:08:00.159 --> 01:08:03.619
this is a classic kind of post -act, you know,
01:08:03.619 --> 01:08:06.519
turning point here for Bear. And I think, you
01:08:06.519 --> 01:08:08.360
know, this kind of represents, again, a sort
01:08:08.360 --> 01:08:10.360
of moment of reflection. And I think, like I
01:08:10.360 --> 01:08:11.679
said, I just think it's really effective, but
01:08:11.679 --> 01:08:14.630
I think it's really needed at this point. So
01:08:14.630 --> 01:08:17.029
a desperate bear returns to the shop where he
01:08:17.029 --> 01:08:19.550
bought the one wish willow. And after a panicked
01:08:19.550 --> 01:08:21.949
moment and with the help of a different store
01:08:21.949 --> 01:08:24.270
clerk, he's able to locate the last remaining
01:08:24.270 --> 01:08:27.670
willows. He breaks down and confesses what he
01:08:27.670 --> 01:08:30.130
did. And the clerk suggests that maybe bear could
01:08:30.130 --> 01:08:32.569
try getting someone else to make a new wish that
01:08:32.569 --> 01:08:35.649
overrides his wish. Or, you know, he could just
01:08:35.649 --> 01:08:39.310
kill himself, maybe. So this again plays out
01:08:39.310 --> 01:08:41.710
a little differently in the script with it's
01:08:41.710 --> 01:08:45.149
more the end of the scene as the biggest notable
01:08:45.149 --> 01:09:06.020
change. But she doesn't really want me. It's
01:09:06.020 --> 01:09:09.960
not real. It's not right. Harry. Right. A beat.
01:09:10.319 --> 01:09:13.720
Harry continued. But she does. And she would
01:09:13.720 --> 01:09:20.479
be miserable without you. There. Right. Bear
01:09:20.479 --> 01:09:22.779
purchases the remaining willows and returns to
01:09:22.779 --> 01:09:25.640
his car where he rips one from the box and wishes
01:09:25.640 --> 01:09:28.720
that Nicky Freeman loved him as a friend. He
01:09:28.720 --> 01:09:30.840
tries to snap the willow, but either they've
01:09:30.840 --> 01:09:33.020
changed the recipe or he needs to start working
01:09:33.020 --> 01:09:35.579
out because that bad boy ain't breaking for love
01:09:35.579 --> 01:09:38.939
nor money. It is a one wish willow, not a two
01:09:38.939 --> 01:09:41.239
wish willow. But I did spot something quite interesting
01:09:41.239 --> 01:09:44.479
here is when Bear tries to make another wish
01:09:44.479 --> 01:09:46.890
with the one wish willows, the tone. that it
01:09:46.890 --> 01:09:49.250
plays is slightly different so like the first
01:09:49.250 --> 01:09:52.170
time he opened it it played a specific tone and
01:09:52.170 --> 01:09:55.449
then every time he tries to do it again it plays
01:09:55.449 --> 01:09:57.170
like a slightly different tone it's got a bit
01:09:57.170 --> 01:10:00.470
more of a kind of like kind of fuck you kind
01:10:00.470 --> 01:10:03.109
of feel to it so like it's just to show that
01:10:03.109 --> 01:10:04.949
it won't you know it's not going to happen twice
01:10:04.949 --> 01:10:07.569
yeah no that's interesting i hadn't actually
01:10:07.569 --> 01:10:10.189
uh noticed that in the film but that's uh that's
01:10:10.189 --> 01:10:12.789
really cool um i mean i guess he thought you
01:10:12.789 --> 01:10:16.180
know new willow new wish um But Bear's not giving
01:10:16.180 --> 01:10:19.060
up yet and he races off to Ian's house to enact
01:10:19.060 --> 01:10:22.439
his backup plan, Lee. No sooner does he rock
01:10:22.439 --> 01:10:24.600
up that a very distressed Ian demands to know
01:10:24.600 --> 01:10:27.119
what's going on, why Bear's covered in blood
01:10:27.119 --> 01:10:29.520
and why Sarah keeps texting him telling him to
01:10:29.520 --> 01:10:32.739
come over. Bear freaks out and goes to leave
01:10:32.739 --> 01:10:35.060
but Ian demands to know what the fuck is happening,
01:10:35.180 --> 01:10:38.939
Lee. And Bear confesses everything. Ian is not
01:10:38.939 --> 01:10:41.159
buying it for a second though even when Bear
01:10:41.159 --> 01:10:44.539
comes clean about the wish and gives Ian a willow
01:10:44.539 --> 01:10:46.819
and begs him to wish that he'd never made the
01:10:46.819 --> 01:10:49.960
first wish. A pissed off Ian breaks the willow
01:10:49.960 --> 01:10:54.460
and wishes for a billion dollars. Boom! Instantly
01:10:54.460 --> 01:10:57.399
huge wads of cash begin to rain from the ceiling
01:10:57.399 --> 01:11:00.420
as a distraught Bear falls to his knees in frustration
01:11:00.420 --> 01:11:03.579
while an amazed Ian tries to process exactly
01:11:03.579 --> 01:11:06.289
what the fuck is going on. So an increasingly
01:11:06.289 --> 01:11:10.250
desperate bear must fall back to his backup backup
01:11:10.250 --> 01:11:14.189
plan, Lee. He heads home with the intention of
01:11:14.189 --> 01:11:16.550
asking Nicky to make the wish that will save
01:11:16.550 --> 01:11:19.449
her. Upon entry, he's greeted by a makeshift
01:11:19.449 --> 01:11:22.479
shrine to him and Nicky. He calls for her again
01:11:22.479 --> 01:11:25.260
and she looms from the shadows behind him, moving
01:11:25.260 --> 01:11:28.720
with creepy steps unseen across the room. It's
01:11:28.720 --> 01:11:31.680
then that Bear spots Sarah stripped naked and
01:11:31.680 --> 01:11:34.399
displayed on an armchair at around the 1 hour
01:11:34.399 --> 01:11:37.840
36 minute and 20 second mark. He turns to see
01:11:37.840 --> 01:11:40.579
Nikki huffing on one of Sarah's joints, wearing
01:11:40.579 --> 01:11:43.539
her dress and having drawn renditions of Sarah's
01:11:43.539 --> 01:11:45.859
tattoos on her skin at what looks like permanent
01:11:45.859 --> 01:11:49.739
marker. She screams at Bear, asking why he won't
01:11:49.739 --> 01:11:52.300
love her, and then smashes her head open with
01:11:52.300 --> 01:11:55.329
the same brick she used to kill Sarah. At this
01:11:55.329 --> 01:11:57.930
point, Ian starts hammering on the door, psyched
01:11:57.930 --> 01:11:59.989
that he's now a freaking billionaire. I mean,
01:12:00.010 --> 01:12:03.550
who wouldn't be? Meanwhile, Nicky is screaming
01:12:03.550 --> 01:12:06.510
in Bear's face so hard she pukes all over him.
01:12:07.029 --> 01:12:10.310
Ian lets himself in and bang! Nicky shoots him
01:12:10.310 --> 01:12:13.149
in the head without even looking. Bear is finally
01:12:13.149 --> 01:12:15.770
able to calm her somewhat by telling her how
01:12:15.770 --> 01:12:18.170
much he loves her and is able to take the gun
01:12:18.170 --> 01:12:20.090
from her hand and tells her they should both
01:12:20.090 --> 01:12:23.359
take a shower to freshen up. Yeah, this scene
01:12:23.359 --> 01:12:25.979
is pretty much on point with what's written in
01:12:25.979 --> 01:12:27.979
the script, so there's no major changes here
01:12:27.979 --> 01:12:31.739
at all. Now Bear manages to lock himself in the
01:12:31.739 --> 01:12:34.340
bathroom as a frantic Nicky pounds and screams
01:12:34.340 --> 01:12:37.140
on the door like a lunatic. Eventually he manages
01:12:37.140 --> 01:12:39.300
to convince her he'll be done in a minute and
01:12:39.300 --> 01:12:42.500
she calms down. Bear takes the gun and puts it
01:12:42.500 --> 01:12:45.000
against his chest, then in his mouth, trying
01:12:45.000 --> 01:12:47.199
to gauge the most efficient and painless suicide
01:12:47.199 --> 01:12:50.250
method. But as a sweet sounding Nicky tries to
01:12:50.250 --> 01:12:52.949
reassure him through the bathroom door, he chickens
01:12:52.949 --> 01:12:56.010
out. Instead, he heads to the bathroom cabinet
01:12:56.010 --> 01:12:58.710
and retrieves the cat killer pills and starts
01:12:58.710 --> 01:13:01.470
to wolf them down, ending up necking the whole
01:13:01.470 --> 01:13:04.189
bottle. He sits for a moment, then tries to make
01:13:04.189 --> 01:13:06.770
himself throw up. And man, for a moment, I thought
01:13:06.770 --> 01:13:08.649
Bayer was going to be selfless, do the right
01:13:08.649 --> 01:13:11.289
thing, Lee. I know my mate. I mean, he's only
01:13:11.289 --> 01:13:13.750
trying to kill himself now because his life has
01:13:13.750 --> 01:13:17.310
been utterly fucking ruined. You know, I just
01:13:17.310 --> 01:13:19.310
don't think he's doing it for selfless reasons
01:13:19.310 --> 01:13:22.149
here. And, you know, as you point out, he even
01:13:22.149 --> 01:13:24.569
bottled it by trying to throw the pills back
01:13:24.569 --> 01:13:28.069
up just after he takes them. Yeah. And in the
01:13:28.069 --> 01:13:30.550
background, we hear the electronic jingle of
01:13:30.550 --> 01:13:33.810
a one wish willow followed by a snap. Immediately,
01:13:33.810 --> 01:13:37.069
Bear's demeanour changes. He rises from the toilet
01:13:37.069 --> 01:13:39.350
and leaves the room to find Nicky waiting for
01:13:39.350 --> 01:13:42.029
him. And they stare at one another, both completely
01:13:42.029 --> 01:13:45.090
lovestruck, giggling and smitten. They move in
01:13:45.090 --> 01:13:48.090
for a kiss and we pan down to see a freshly broken
01:13:48.090 --> 01:13:51.529
one -wish willow. Yeah, no prizes for guessing
01:13:51.529 --> 01:13:54.140
what Nicky's wished for. Yeah, no prizes indeed.
01:13:54.319 --> 01:13:57.359
But the pills are taking effect and Bear slumps
01:13:57.359 --> 01:14:00.479
to the floor. A distraught Nikki manages to drag
01:14:00.479 --> 01:14:02.760
him to the couch, but her beloved Bear slips
01:14:02.760 --> 01:14:06.239
away in her arms and a screaming, hysterical
01:14:06.239 --> 01:14:08.880
Nikki grabs the gun and puts it in her mouth
01:14:08.880 --> 01:14:12.180
when the real Nikki, having been released by
01:14:12.180 --> 01:14:15.000
Bear's death, snaps back in control at the one
01:14:15.000 --> 01:14:19.579
hour, 44 minute and 25 second mark and understandably
01:14:19.579 --> 01:14:23.729
freaks the fuck out. we pan down through nikki's
01:14:23.729 --> 01:14:26.989
screams to see a very dead bear eyes fixed on
01:14:26.989 --> 01:14:31.510
his love as the credits roll oh those are some
01:14:31.510 --> 01:14:34.090
fast working tablets he took as well that was
01:14:34.090 --> 01:14:36.050
like what like two minutes from like consumption
01:14:36.050 --> 01:14:39.470
to death i was like wow that's uh you gotta be
01:14:39.470 --> 01:14:42.069
careful his grandma must have had cyanide pills
01:14:42.069 --> 01:14:44.210
in that thing or something but uh now in the
01:14:44.210 --> 01:14:46.109
script it's very interesting because this fine
01:14:46.109 --> 01:14:55.020
finale it plays out somewhat differently Interior,
01:14:55.100 --> 01:14:57.880
Bear's house, living room, continuous. Bear slowly
01:14:57.880 --> 01:15:00.920
walks out into the hallway with vigour and desperation.
01:15:01.439 --> 01:15:03.979
He sees Nicky from across the house smiling at
01:15:03.979 --> 01:15:07.520
him. He smiles back. They laugh together. It's
01:15:07.520 --> 01:15:10.600
a total rom -com moment, minus the blood, wounds
01:15:10.600 --> 01:15:13.800
and terrifying undertones. He slowly approaches
01:15:13.800 --> 01:15:16.880
and she extends her arms like a child. He leans
01:15:16.880 --> 01:15:19.340
in and kisses her, a longing for togetherness.
01:15:19.479 --> 01:15:22.060
His face becomes covered in blood as he kisses
01:15:22.060 --> 01:15:25.069
her broken jaw. We slowly pan over to reveal
01:15:25.069 --> 01:15:27.770
on the table a freshly used one -wish willow.
01:15:28.329 --> 01:15:30.529
We can tell by its placement that Nicky used
01:15:30.529 --> 01:15:34.510
it. Bear collapses onto the couch. Nicky, no,
01:15:34.670 --> 01:15:38.390
no, no, no, whispers. What did you do, Bear?
01:15:39.189 --> 01:15:42.029
Music starts to play, offering a creepy optimistic
01:15:42.029 --> 01:15:44.710
feel in juxtaposition to the terror in front
01:15:44.710 --> 01:15:48.050
of us. Nicky, now clutching Bear's lifeless form,
01:15:48.170 --> 01:15:51.229
cradles him with profound sorrow. Nicky continued,
01:15:51.609 --> 01:15:56.600
whispers. Bear, no. No, no, no, no, no, no. What
01:15:56.600 --> 01:16:01.520
did you do? Baby, no. Bear, weak. In this life
01:16:01.520 --> 01:16:05.239
and the next. These final words hit Nikki. She
01:16:05.239 --> 01:16:08.079
takes Bear's gun and, with finality, shoots herself
01:16:08.079 --> 01:16:11.439
in the head. We remain fixed on this shot, capturing
01:16:11.439 --> 01:16:14.180
the blood slowly dripping, a haunting and sombre
01:16:14.180 --> 01:16:17.079
testament to this tragic love story. The end.
01:16:20.430 --> 01:16:22.310
so come on man what did you think of the film
01:16:22.310 --> 01:16:24.229
and the script yeah man i mean i thought this
01:16:24.229 --> 01:16:26.970
was really really good lee it had a great kind
01:16:26.970 --> 01:16:31.189
of atmosphere and a sort of relentless escalation
01:16:31.189 --> 01:16:33.770
to the narrative and i thought tonally it really
01:16:33.770 --> 01:16:36.449
really worked well um i mean it's horrifying
01:16:36.449 --> 01:16:40.920
it's darkly comic And Barker really just has
01:16:40.920 --> 01:16:43.619
a handle on what he wants the audience to feel
01:16:43.619 --> 01:16:47.300
throughout, I think. Really great performances,
01:16:47.439 --> 01:16:50.920
really kind of assured direction. As I say, the
01:16:50.920 --> 01:16:54.600
two leads are sort of top notch. Yeah, top draw
01:16:54.600 --> 01:16:58.350
stuff, man. What did you think? yeah i mean obviously
01:16:58.350 --> 01:17:00.350
i'm a sucker for this kind of thing i mean this
01:17:00.350 --> 01:17:03.170
is a fantastic film as you said it just feels
01:17:03.170 --> 01:17:07.590
so unique and fresh and just so so kind of worthy
01:17:07.590 --> 01:17:10.050
of all the hype and praise it's received you
01:17:10.050 --> 01:17:12.510
know it's hard to believe how little this film
01:17:12.510 --> 01:17:14.949
costs to make because at no point while i was
01:17:14.949 --> 01:17:17.069
watching this did i think man this looks cheap
01:17:17.069 --> 01:17:19.750
or you know they've clearly cut corners here
01:17:19.750 --> 01:17:23.170
or there it just looked great i mean i think
01:17:23.720 --> 01:17:25.859
one of the things i think you know i was thinking
01:17:25.859 --> 01:17:27.699
this the other day is coming out of that sort
01:17:27.699 --> 01:17:30.560
of youtube filmmaking world is you know you really
01:17:30.560 --> 01:17:33.819
have to kind of know where to spend your money
01:17:33.819 --> 01:17:36.880
and and how to create stories that you can tell
01:17:36.880 --> 01:17:39.659
uh that are effective with the budgets that you
01:17:39.659 --> 01:17:41.460
have and i think you know barker's just done
01:17:41.460 --> 01:17:43.859
that masterfully here he's sort of crafted a
01:17:43.859 --> 01:17:46.560
story that he can tell on a sort of reasonable
01:17:46.560 --> 01:17:49.899
budget um and that's sort of reflected in the
01:17:49.899 --> 01:17:51.939
film you know there's no massive kind of set
01:17:51.939 --> 01:17:55.159
pieces um yeah you know all the sets are very
01:17:55.159 --> 01:17:58.399
sort of naturalistic and i just think it's it's
01:17:58.399 --> 01:18:00.960
sort of a really a kind of character tale more
01:18:00.960 --> 01:18:03.680
so than a sort of supernatural horror sort of
01:18:03.680 --> 01:18:06.920
tale which may require more cgi or whatever um
01:18:06.920 --> 01:18:08.859
so yeah i just think it's it's really really
01:18:08.859 --> 01:18:12.180
well done okay man i think it's that time let's
01:18:12.180 --> 01:18:21.500
break this baby downly oh yeah OK, so let's begin
01:18:21.500 --> 01:18:23.560
the breakdown by looking at the biggest differences,
01:18:23.600 --> 01:18:26.199
if indeed there were any, between the screenplay
01:18:26.199 --> 01:18:29.079
and the film. OK, so yeah, absolutely, there
01:18:29.079 --> 01:18:32.039
were a few differences. I mean, the ending being
01:18:32.039 --> 01:18:35.020
a prime example. A lot of scenes were trimmed
01:18:35.020 --> 01:18:38.640
down and the film goes into a little more detail
01:18:38.640 --> 01:18:41.420
about the one which willows than the script does.
01:18:42.359 --> 01:18:44.180
I think the scripts as well, as we mentioned
01:18:44.180 --> 01:18:47.840
earlier, paints bear in a fairly harsher light
01:18:47.840 --> 01:18:50.479
sometimes. And I think he was softened a little
01:18:50.479 --> 01:18:53.659
for the film, maybe to keep the audience's empathy
01:18:53.659 --> 01:18:56.899
up until the last moment. I mean, this is written
01:18:56.899 --> 01:19:00.539
as and was shot very much as a talking heads
01:19:00.539 --> 01:19:03.880
movie. I mean, probably a good. 80 % of the film
01:19:03.880 --> 01:19:07.079
at least is just a static shot of someone talking.
01:19:07.760 --> 01:19:10.779
But interestingly, a lot of the time Barker keeps
01:19:10.779 --> 01:19:13.539
the camera on bear throughout these scenes. So
01:19:13.539 --> 01:19:16.380
whether he's the one speaking or not, and that
01:19:16.380 --> 01:19:19.939
centers the film very much on him. And it would
01:19:19.939 --> 01:19:22.819
be so, so easy for that to become dull or uninteresting.
01:19:22.819 --> 01:19:25.300
But as I've seen this film a few times now, and
01:19:25.300 --> 01:19:27.859
not once have I found it to drag, even though
01:19:27.859 --> 01:19:31.789
that a good. 40 to 50 percent of the film is
01:19:31.789 --> 01:19:35.189
probably just watching bear's face react to things
01:19:35.189 --> 01:19:38.609
you know what i mean i mean you can tell i mean
01:19:38.609 --> 01:19:40.510
that's sort of the hallmark of a sort of compelling
01:19:40.510 --> 01:19:43.550
kind of performance really yeah um but it goes
01:19:43.550 --> 01:19:45.890
back to what i said you know sort of barker is
01:19:45.890 --> 01:19:49.130
able to kind of marshal what he has and make
01:19:49.130 --> 01:19:51.630
something that's still effective you know he's
01:19:51.630 --> 01:19:54.550
yeah he's relying on kind of character and performance
01:19:54.550 --> 01:19:57.350
rather than sort of big set pieces and i think
01:19:57.350 --> 01:19:59.850
that's a testament to his kind of skill you know
01:19:59.850 --> 01:20:02.289
and sort of keeping the tension and keeping keeping
01:20:02.289 --> 01:20:05.590
everything in place um during those those sort
01:20:05.590 --> 01:20:08.350
of scenes but i have to ask this dude i mean
01:20:08.350 --> 01:20:11.090
what would you wish for if you had a working
01:20:11.090 --> 01:20:15.250
one wish willow that is a very very interesting
01:20:15.250 --> 01:20:19.250
question um so i have looked on onewishwillow
01:20:19.250 --> 01:20:23.590
.com at the frequently asked questions and any
01:20:23.590 --> 01:20:26.250
wish has the following restrictions which i've
01:20:26.250 --> 01:20:29.729
taken a note of One Wish Willow cannot grant
01:20:29.729 --> 01:20:32.550
wishes involving time manipulation, resurrection,
01:20:33.010 --> 01:20:36.170
immortality, or creating more One Wish Willows.
01:20:36.590 --> 01:20:39.750
And also, as we know, it's one wish per person,
01:20:39.810 --> 01:20:43.029
and the wish will vanish when the original wisher
01:20:43.029 --> 01:20:46.369
passes away. So originally, I was going to wish
01:20:46.369 --> 01:20:49.909
for Superman's powers, but I don't know if that
01:20:49.909 --> 01:20:52.470
would work, as it could kind of cross over into
01:20:52.470 --> 01:20:56.010
immortality territory. So, you know, that's...
01:20:56.819 --> 01:21:00.199
maybe maybe not dubious so if that wouldn't work
01:21:00.199 --> 01:21:03.079
i was then thinking of a few bit a few billion
01:21:03.079 --> 01:21:07.380
dollars but if the money vanished when i died
01:21:07.380 --> 01:21:09.699
i'm uncertain as to what would happen with stuff
01:21:09.699 --> 01:21:12.779
i bought or invested the main reason i would
01:21:12.779 --> 01:21:14.880
want that money is so i could provide generational
01:21:14.880 --> 01:21:17.539
wealth for my family so it's it's no good if
01:21:17.539 --> 01:21:20.840
it's all going to vanish when i croak So what
01:21:20.840 --> 01:21:23.600
does that leave with? I think if Superman was
01:21:23.600 --> 01:21:26.180
off the table, I'd probably go with Professor
01:21:26.180 --> 01:21:28.659
X level mind control. I think that would be pretty
01:21:28.659 --> 01:21:31.539
sweet. I'd just be like, yo, Elon, throw your
01:21:31.539 --> 01:21:33.699
boy a couple of billion on the slide, dog. You
01:21:33.699 --> 01:21:37.319
know, just hear me out. And then get voted in
01:21:37.319 --> 01:21:40.180
as prime minister and create a Lee -shaped utopia.
01:21:40.720 --> 01:21:44.409
How about you, dude? What would you go for? I
01:21:44.409 --> 01:21:48.050
shudder to think of the potential vision of a
01:21:48.050 --> 01:21:51.149
Lee -shaped utopia, dude. The only thing I want
01:21:51.149 --> 01:21:53.170
Lee -shaped is Lee. You know what I'm saying?
01:21:54.789 --> 01:21:57.829
Yeah, man, I don't know. I mean, just to be a
01:21:57.829 --> 01:22:00.529
spoiler, I'm not a huge fan of kind of new age
01:22:00.529 --> 01:22:04.170
tat. So I'm not sure that I would buy a one -wish
01:22:04.170 --> 01:22:06.569
willow in the first place. But if I were to make
01:22:06.569 --> 01:22:09.529
a one -wish willow wish, I think I'd wish for
01:22:09.529 --> 01:22:14.539
maybe like... I don't know, generative AI to
01:22:14.539 --> 01:22:18.180
go away, you know? Fucking hate generative AI.
01:22:20.479 --> 01:22:23.899
But then it would come back, you know? So I'm
01:22:23.899 --> 01:22:27.199
not sure. Okay, so let's look at our characters.
01:22:27.260 --> 01:22:29.539
Are there any introductions that stood out to
01:22:29.539 --> 01:22:34.020
you as particularly effective or memorable? I'm
01:22:34.020 --> 01:22:37.500
pretty sure I mentioned Nikki's earlier in the
01:22:37.500 --> 01:22:40.079
pod, so I'm going to go with Sarah's, which goes
01:22:40.079 --> 01:22:44.789
like this. We shift to Sarah, 25, cute, effortlessly
01:22:44.789 --> 01:22:47.770
cool, with a large bass cleft tattoo on her left
01:22:47.770 --> 01:22:50.430
arm and a heart tattoo above her left breast.
01:22:50.689 --> 01:22:53.329
She's unknowingly sporting a beer moustache.
01:22:53.630 --> 01:22:56.489
So I kind of like here how she's kind of cool,
01:22:56.729 --> 01:22:59.729
a little edgy with the tattoos, but also kind
01:22:59.729 --> 01:23:03.350
of charmingly goofy with the oblivious beer moustache.
01:23:03.510 --> 01:23:06.989
How about you? Yeah, I picked out bears. And
01:23:06.989 --> 01:23:08.729
I think we've... I think we've covered this already,
01:23:08.829 --> 01:23:10.590
but I just thought it was interesting because
01:23:10.590 --> 01:23:13.270
in the script, you know, his his intro is kind
01:23:13.270 --> 01:23:15.689
of bisected by some dialogue. So it's effectively
01:23:15.689 --> 01:23:18.829
split into two parts. But this is the second
01:23:18.829 --> 01:23:21.470
part of Bear's intro. And that goes like this.
01:23:22.050 --> 01:23:24.329
Bear's eyes tell the story of a man who yearns
01:23:24.329 --> 01:23:26.890
for love, but enjoys wallowing in his disappointments.
01:23:27.109 --> 01:23:29.229
He looks down at the ground in front of him and
01:23:29.229 --> 01:23:32.380
sighs. And I just thought this kind of sums him
01:23:32.380 --> 01:23:35.340
up wonderfully well, you know, it's really about
01:23:35.340 --> 01:23:38.539
the internal rather than anything kind of external
01:23:38.539 --> 01:23:41.539
in terms of his look or anything like that. So
01:23:41.539 --> 01:23:43.439
I just thought it was really good. I really enjoyed
01:23:43.439 --> 01:23:46.920
that one. Were there any sort of notable lines
01:23:46.920 --> 01:23:49.079
of dialogue? You mentioned Barker's dialogue.
01:23:49.220 --> 01:23:51.000
I mean, is there anything that stood out for
01:23:51.000 --> 01:23:54.659
you in the script? So this film is absolutely
01:23:54.659 --> 01:23:57.520
rammed with really great dialogue. I mean, Barker
01:23:57.520 --> 01:24:04.039
has a gift for naturalistic conversation. I'll
01:24:04.039 --> 01:24:06.420
drop some of my favourites. First up, I think,
01:24:06.420 --> 01:24:09.699
was this cracker of a line from Ian talking about
01:24:09.699 --> 01:24:12.859
how much he values Trivia Night, which perfectly
01:24:12.859 --> 01:24:14.960
sums up the early feel of the film, I think.
01:24:15.439 --> 01:24:19.420
Ian, I wake up every Wednesday rock hard thinking
01:24:19.420 --> 01:24:22.579
about Trivia Night. It just cracked me up when
01:24:22.579 --> 01:24:24.659
I first heard that. It delivered so well in the
01:24:24.659 --> 01:24:26.699
film. Yeah, it really was. It was just total
01:24:26.699 --> 01:24:29.920
like deadpan. And there's this chilling exchange
01:24:29.920 --> 01:24:33.500
from the real Nicky while freaky Nicky sleeps.
01:24:34.000 --> 01:24:38.039
And that goes, Nicky continued, whisper, kill
01:24:38.039 --> 01:24:40.859
me, bear. Too ashamed to look at her. His voice
01:24:40.859 --> 01:24:44.279
quivers as he talks. Bear, what would be so bad?
01:24:44.560 --> 01:24:48.020
What's so bad about being with me? Long beat,
01:24:48.220 --> 01:24:52.039
Nicky. I've never been with you, Bear. And I
01:24:52.039 --> 01:24:55.039
think that last line is great because it just
01:24:55.039 --> 01:24:57.880
reinforces the truth that this whole time with
01:24:57.880 --> 01:25:00.579
Nikki has been a lie. And it's such a revealing
01:25:00.579 --> 01:25:03.640
moment because even as she's begging him to kill
01:25:03.640 --> 01:25:06.199
her, he still makes everything about himself.
01:25:07.180 --> 01:25:09.819
But I think my favorite line comes from the film
01:25:09.819 --> 01:25:12.380
and not the script. And I've mentioned this already,
01:25:12.500 --> 01:25:15.000
but I'll touch on it again. And that line is,
01:25:15.060 --> 01:25:18.020
just because you chose this for her doesn't make
01:25:18.020 --> 01:25:20.729
it less real. And how about you? What's your
01:25:20.729 --> 01:25:24.210
favourite? Yeah, man. I mean, just to echo what
01:25:24.210 --> 01:25:26.789
you said, the film is kind of chock full of cracking
01:25:26.789 --> 01:25:30.470
dialogue and it's delivered really, really well
01:25:30.470 --> 01:25:32.470
by the cast, really sort of naturalistically
01:25:32.470 --> 01:25:35.210
and it's done really well. There's a lot of humour
01:25:35.210 --> 01:25:38.029
in the film as well. I'm thinking of the sort
01:25:38.029 --> 01:25:40.289
of banter centred around Ian's character mostly,
01:25:40.470 --> 01:25:43.069
but both Sarah and Nicky have some great lines
01:25:43.069 --> 01:25:46.630
too, some real zingers. I also think the kind
01:25:46.630 --> 01:25:48.350
of emotional beats or reflective moments are
01:25:48.350 --> 01:25:50.630
handled in a very pleasingly sort of naturalistic
01:25:50.630 --> 01:25:53.550
way, which, you know, really draws the audience
01:25:53.550 --> 01:25:57.810
in. I also think Bear's dialogue when he's initially
01:25:57.810 --> 01:26:00.630
reacting to Nicky in a state of general confusion
01:26:00.630 --> 01:26:03.050
are really well handled by Johnston's performance.
01:26:04.340 --> 01:26:07.479
And, you know, these lines sort of in his performance
01:26:07.479 --> 01:26:09.739
really allows the audience to empathize with
01:26:09.739 --> 01:26:12.760
Bear, despite the sort of horrific kind of self
01:26:12.760 --> 01:26:15.680
-centeredness. Yeah, it's quite an effective
01:26:15.680 --> 01:26:17.880
trick, I think, that Barker and Johnston sort
01:26:17.880 --> 01:26:21.140
of pull off here. I think specifically with regards
01:26:21.140 --> 01:26:22.800
to favorite lines, you know, the ones you've
01:26:22.800 --> 01:26:24.420
already mentioned are really high on the list,
01:26:24.500 --> 01:26:26.880
especially Nicky's lines where, you know, trapped
01:26:26.880 --> 01:26:29.500
Nicky is talking to Bear as freaky Nicky kind
01:26:29.500 --> 01:26:31.760
of sleeps. I thought that was really, really
01:26:31.760 --> 01:26:35.560
strong, really strong scene. But I think the
01:26:35.560 --> 01:26:38.239
other line that kind of stood out for me is Nikki's
01:26:38.239 --> 01:26:41.859
dialogue at the boys night party. And she's gone
01:26:41.859 --> 01:26:46.010
through her sort of. monologue you know and it's
01:26:46.010 --> 01:26:48.369
really the sort of the coda to that that sort
01:26:48.369 --> 01:26:51.529
of speech about loving bear where she says um
01:26:51.529 --> 01:26:54.590
okay fine i'm not kidding live with it yeah i
01:26:54.590 --> 01:26:57.909
just thought these lines were so well delivered
01:26:57.909 --> 01:27:01.270
and it was such a perfect moment for them and
01:27:01.270 --> 01:27:04.430
and uh you know navaretti you know is just great
01:27:04.430 --> 01:27:07.670
and then you know then you get this kind of awkward
01:27:07.670 --> 01:27:11.880
silence and ian follows up with hmm who wants
01:27:11.880 --> 01:27:13.939
jello shots you know just to break the tension
01:27:13.939 --> 01:27:16.720
I just thought that moment and that dialogue
01:27:16.720 --> 01:27:19.720
and the performances from uh you know those two
01:27:19.720 --> 01:27:22.739
I just thought was absolutely fantastic And I
01:27:22.739 --> 01:27:24.920
really enjoyed the dialogue performances from
01:27:24.920 --> 01:27:26.939
both the New Age shop clerks. I thought that
01:27:26.939 --> 01:27:31.420
was really strong. They both seem sort of vacantly
01:27:31.420 --> 01:27:34.199
serene, but, you know, they're not afraid to
01:27:34.199 --> 01:27:36.199
challenge Bear when they feel he oversteps the
01:27:36.199 --> 01:27:39.920
mark, which I thought was really fun. And interesting
01:27:39.920 --> 01:27:41.880
performances from those two, you know, because
01:27:41.880 --> 01:27:46.140
it does feel odd how they react to him and the
01:27:46.140 --> 01:27:48.899
general situation. So, yeah, man. Yeah, it's
01:27:48.899 --> 01:27:52.050
a cracking, cracking dialogue in there. And the
01:27:52.050 --> 01:27:53.729
performances just really sell them, you know.
01:27:53.770 --> 01:27:56.310
So, OK, so before we break down the scarily,
01:27:56.350 --> 01:27:59.970
do you have a scariest moment, Lee? Oh, I think
01:27:59.970 --> 01:28:02.949
for me, I think it's that scene where Nikki is
01:28:02.949 --> 01:28:05.130
watching Bear sleep. You know, she's just kind
01:28:05.130 --> 01:28:07.750
of lurking in the corner and then she kind of
01:28:07.750 --> 01:28:10.270
hides her face behind the flowers. And like I
01:28:10.270 --> 01:28:13.109
said, she's got that weird kind of uncanny valley
01:28:13.109 --> 01:28:16.170
kind of makeup on. And there's just something
01:28:16.170 --> 01:28:19.840
about that moment I found really chilling. yeah
01:28:19.840 --> 01:28:22.420
that was really great i mean i thought the the
01:28:22.420 --> 01:28:25.140
trap nicky moment speaking you know while freaky
01:28:25.140 --> 01:28:27.819
nicky sleeps was probably the most chilling moment
01:28:27.819 --> 01:28:31.359
for me i mean it's just such a tragic moment
01:28:31.359 --> 01:28:34.119
and so sort of truly horrific you know especially
01:28:34.119 --> 01:28:36.180
i please for bear to kill her there was something
01:28:36.989 --> 01:28:39.350
truly kind of terrifying about that and actually
01:28:39.350 --> 01:28:41.590
you know i felt this i was thinking about this
01:28:41.590 --> 01:28:43.710
i felt the same way when dallas pleased to be
01:28:43.710 --> 01:28:46.449
killed by ripley um i don't know if you remember
01:28:46.449 --> 01:28:48.750
from the deleted scene yeah i remember yeah yeah
01:28:48.750 --> 01:28:50.810
just gave me the same feeling you know it's just
01:28:50.810 --> 01:28:53.649
something utterly tragic is unfolding before
01:28:53.649 --> 01:28:56.869
your eyes and yeah just got got me right in the
01:28:56.869 --> 01:28:59.689
meow meow you know um all right then let's speak
01:28:59.689 --> 01:29:01.909
about the so first of all yes or no does the
01:29:01.909 --> 01:29:06.130
film more or less conform to the 10 minute ruley
01:29:06.720 --> 01:29:10.199
No, sir, it does not. Ah, interesting. Break
01:29:10.199 --> 01:29:14.260
it down for us, dude. OK, so, I mean, as always,
01:29:14.380 --> 01:29:17.399
the scareology is a very subjective thing, you
01:29:17.399 --> 01:29:19.319
know, and I'm looking forward to seeing if you
01:29:19.319 --> 01:29:22.060
have a different take on it. But I put the film's
01:29:22.060 --> 01:29:24.960
first real scare around the 45 -minute mark,
01:29:25.039 --> 01:29:28.119
which is the aforementioned watching you sleep
01:29:28.119 --> 01:29:31.460
moment. Now, from this point on, we do hit the
01:29:31.460 --> 01:29:33.779
10 minute rule pretty much without exception,
01:29:33.899 --> 01:29:36.859
with our next scares hitting at 52 minute and
01:29:36.859 --> 01:29:39.979
57 minute points. And then our next two scares
01:29:39.979 --> 01:29:42.460
come in at five minute intervals at one hour
01:29:42.460 --> 01:29:44.420
and three minutes and one hour eight minutes.
01:29:45.159 --> 01:29:47.760
And then 10 minutes later, at one hour and 18
01:29:47.760 --> 01:29:50.100
minutes, we get the full on Freaky Nicky moment,
01:29:50.239 --> 01:29:53.619
followed five minutes later at one hour 23 with
01:29:53.619 --> 01:29:55.840
the Sleeping Nicky begging Bear to kill her.
01:29:56.829 --> 01:29:59.130
So four minutes later, we get Sarah's brutal
01:29:59.130 --> 01:30:01.829
murder, followed eight minutes later by her naked
01:30:01.829 --> 01:30:04.369
corpse being left in the chair and Nikki finally
01:30:04.369 --> 01:30:07.590
snapping out of her possessive obsession at one
01:30:07.590 --> 01:30:12.390
hour and 44 minutes. Yeah, it's interesting.
01:30:12.529 --> 01:30:17.029
I sort of, you know, you do get a building tension,
01:30:17.329 --> 01:30:19.609
don't you, in those first 45 minutes. You're
01:30:19.609 --> 01:30:21.550
obviously introducing characters and their sort
01:30:21.550 --> 01:30:24.029
of backstories and their relationships to one
01:30:24.029 --> 01:30:27.930
another. There is something truly unsettling
01:30:27.930 --> 01:30:30.649
about those kind of early Nicky moments, you
01:30:30.649 --> 01:30:32.850
know, after the wish is cast, which I think is,
01:30:32.890 --> 01:30:35.750
although not necessarily a scare, it's definitely
01:30:35.750 --> 01:30:38.770
unnerving, right? Yeah, that's where I kind of
01:30:38.770 --> 01:30:41.149
struggled because, you know, it's definitely
01:30:41.149 --> 01:30:45.689
like, it's unnerving. But again, like I say,
01:30:45.710 --> 01:30:48.250
the scarology is often quite subjective and I'm
01:30:48.250 --> 01:30:50.199
probably quite... Well, we tend to go on sort
01:30:50.199 --> 01:30:53.000
of jump scares, don't we? Yeah, we tend to go
01:30:53.000 --> 01:30:56.579
on like, you know, clearly scary moments, you
01:30:56.579 --> 01:30:59.600
know, like leaving the seat scares. Yeah. Yeah.
01:30:59.739 --> 01:31:03.399
But you could very well put an argument. I mean,
01:31:03.420 --> 01:31:05.720
the first wish happens, I think it's around about
01:31:05.720 --> 01:31:09.020
the 25 minute mark it will take. I need to check.
01:31:09.180 --> 01:31:11.939
But so you could argue that that is it could
01:31:11.939 --> 01:31:14.680
be counted as a scary as a scary moment or when
01:31:14.680 --> 01:31:17.079
she snaps out or when she's in the restaurant
01:31:17.079 --> 01:31:19.770
and has the freak out. They're definitely creepy.
01:31:20.029 --> 01:31:22.350
They're definitely unnerving to me. They weren't
01:31:22.350 --> 01:31:26.470
scary. Yeah. But atmosphere. Yeah. But even then
01:31:26.470 --> 01:31:29.609
it wouldn't have held to the rule exactly because
01:31:29.609 --> 01:31:32.409
of that first 25 minutes there's, there's nothing.
01:31:32.489 --> 01:31:35.810
Yeah. Yeah. Yeah. OK, well, let's break down
01:31:35.810 --> 01:31:38.250
those acts for you. So and again, remember, this
01:31:38.250 --> 01:31:40.789
is highly subjective, but we found no real scares
01:31:40.789 --> 01:31:44.350
in act one. And it's only around the film's midpoint
01:31:44.350 --> 01:31:47.430
that things really started kicking off. But when
01:31:47.430 --> 01:31:50.369
they did, things did not let up with act two.
01:31:50.489 --> 01:31:53.770
A consisting around seven evenly paced scares
01:31:53.770 --> 01:31:57.590
that held true to the 10 minute rule. Then we
01:31:57.590 --> 01:32:00.550
roll into the final act with three slightly more
01:32:00.550 --> 01:32:04.020
spaced out, but horrifying scares, which. Still
01:32:04.020 --> 01:32:07.380
held to that 10 minute rule. Fantastic. And did
01:32:07.380 --> 01:32:09.260
you have any thoughts on the on the themes at
01:32:09.260 --> 01:32:12.220
work here? Yeah, I thought, you know, thematically,
01:32:12.319 --> 01:32:14.539
this film is really interesting. So certainly
01:32:14.539 --> 01:32:16.260
Parker themes, I think, you know, pursuit of
01:32:16.260 --> 01:32:19.220
love is really strong here. You could make a
01:32:19.220 --> 01:32:23.020
case for desire for validation, morality of individuals
01:32:23.020 --> 01:32:26.800
as well. But really, I think this is about Bear's
01:32:26.800 --> 01:32:30.520
kind of pursuit of love. And I think in a wider
01:32:30.520 --> 01:32:32.539
context, just to say, which is really interesting
01:32:32.539 --> 01:32:35.720
for a horror film, I think in a wider context,
01:32:36.039 --> 01:32:38.319
Obsession kind of explores the idea of consent.
01:32:38.880 --> 01:32:42.260
and sort of bodily autonomy you know Nikki is
01:32:42.260 --> 01:32:44.319
essentially trapped and being sort of tortured
01:32:44.319 --> 01:32:47.699
in a non -consensual relationship and you know
01:32:47.699 --> 01:32:49.899
she's kind of experiencing a total loss of bodily
01:32:49.899 --> 01:32:52.819
autonomy at the hands of a kind of obsessed male
01:32:52.819 --> 01:32:55.279
you know and this obviously leads us to look
01:32:55.279 --> 01:32:58.279
at wider kind of societal issues and movements
01:32:58.279 --> 01:33:02.699
as we consider this theme I think but tied closely
01:33:02.699 --> 01:33:05.300
to this idea is the sort of loss of self and
01:33:05.300 --> 01:33:08.439
codependency You know, Nikki starts the film
01:33:08.439 --> 01:33:10.279
as a woman who's sort of independent and has
01:33:10.279 --> 01:33:13.439
goals and aspirations of her own. And, you know,
01:33:13.460 --> 01:33:15.539
and as that wish kind of takes effect, all these
01:33:15.539 --> 01:33:18.060
aspirations disappear and she turns into this
01:33:18.060 --> 01:33:21.260
obsessive kind of beast whose actions become
01:33:21.260 --> 01:33:24.630
more and more extreme. But the film also, I think,
01:33:24.630 --> 01:33:27.850
explores this idea of kind of suffocating codependency
01:33:27.850 --> 01:33:30.430
and both Nicky and Bear end up trapped in, you
01:33:30.430 --> 01:33:32.630
know, obviously this extremely sort of destructive
01:33:32.630 --> 01:33:37.609
cycle. I also think the film explores the idea
01:33:37.609 --> 01:33:41.829
of kind of, you know, the nice guy and how Bear's
01:33:41.829 --> 01:33:45.250
case that's fueled by an extreme kind of self
01:33:45.250 --> 01:33:47.909
-doubt and loneliness. And, you know, Bear starts
01:33:47.909 --> 01:33:51.250
the film as a pretty sympathetic character, really.
01:33:51.310 --> 01:33:53.739
But this mutates into this. kind of horrifically
01:33:53.739 --> 01:33:56.979
manipulative and coercive behavior and Barker
01:33:56.979 --> 01:33:59.699
really shines a light on how I guess kind of
01:33:59.699 --> 01:34:02.899
male loneliness and sort of entitlement can turn
01:34:02.899 --> 01:34:05.819
into something truly you know horrendously toxic
01:34:05.819 --> 01:34:09.619
and Bear is essentially sort of I mean he's essentially
01:34:09.619 --> 01:34:13.159
like knowingly raping Nikki in this film which
01:34:13.159 --> 01:34:15.779
I think is really sort of truly unsettling. Yeah,
01:34:15.819 --> 01:34:18.199
yeah. And lastly, I think, you know, obviously
01:34:18.199 --> 01:34:20.659
sort of obsession itself, you know, it's how
01:34:20.659 --> 01:34:23.119
it can lead to the sort of destruction of relationships,
01:34:23.119 --> 01:34:27.060
both kind of platonic and romantic. And what
01:34:27.060 --> 01:34:28.880
I thought was interesting is how the film doesn't,
01:34:28.880 --> 01:34:31.159
I mentioned this before, but doesn't use the
01:34:31.159 --> 01:34:32.920
traditional kind of Parker themes we'd expect
01:34:32.920 --> 01:34:35.560
to see in a horror film, you know? Yeah. I know
01:34:35.560 --> 01:34:38.020
there's obviously the supernatural kind of will
01:34:38.020 --> 01:34:40.520
-o -wish element going on, but... you know, it
01:34:40.520 --> 01:34:42.359
did make me think this film could really kind
01:34:42.359 --> 01:34:46.060
of be something more like a tragic kind of romance,
01:34:46.359 --> 01:34:48.560
you know, a la Romeo and Juliet. And I think
01:34:48.560 --> 01:34:51.159
it's interesting that the ending kind of has
01:34:51.159 --> 01:34:54.840
real echoes of that story in the way the two
01:34:54.840 --> 01:34:57.140
sort of protagonists end up. So I thought it
01:34:57.140 --> 01:34:58.859
was really cool, though, thematically. What about
01:34:58.859 --> 01:35:01.460
you, man? Did you have any thoughts? Yeah, yeah,
01:35:01.520 --> 01:35:03.199
I had a few thoughts. One thing you just brought
01:35:03.199 --> 01:35:05.039
up I thought quite interesting was like the,
01:35:05.119 --> 01:35:08.159
you know, bear being kind of like the nice guy.
01:35:08.670 --> 01:35:10.649
you know i think there's a there's definitely
01:35:10.649 --> 01:35:13.789
a kind of a a thing in society kind of like a
01:35:13.789 --> 01:35:17.229
nice guy privilege where people think that you
01:35:17.229 --> 01:35:20.229
know the nice guy ultimately deserves to get
01:35:20.229 --> 01:35:23.569
the girl in the end and you know and a lot of
01:35:23.569 --> 01:35:26.399
like nice guys have that kind of conception.
01:35:26.520 --> 01:35:28.859
Like, you know, we're older, we're nice guys,
01:35:28.899 --> 01:35:30.960
we're older hot chick, you know, it's like, uh,
01:35:31.399 --> 01:35:33.479
that makes sense. You know, it's kind of almost
01:35:33.479 --> 01:35:36.420
like a nice guy sort of entitlement, you know,
01:35:36.420 --> 01:35:38.899
but, um, there's also a sort of, um, sorry to
01:35:38.899 --> 01:35:42.359
butt in. There's also a kind of, um, a conflict
01:35:42.359 --> 01:35:44.819
avoidance thing going on with Ben, you know,
01:35:44.840 --> 01:35:48.300
where he's sort of almost, uh, is excusing his,
01:35:48.500 --> 01:35:52.729
um, his. you know not doing anything about this
01:35:52.729 --> 01:35:55.289
through just an avoidance of conflict you know
01:35:55.289 --> 01:35:57.390
not confronting things as they come up yeah yeah
01:35:57.390 --> 01:36:01.710
yeah it's like i said he he he just reacts to
01:36:01.710 --> 01:36:04.630
everything and he's never like he's not uh an
01:36:04.630 --> 01:36:07.109
engaging sort of protagonist you know he doesn't
01:36:07.109 --> 01:36:10.270
like drive the story forward he's very much a
01:36:10.270 --> 01:36:12.750
passive kind of observer. And like, like when
01:36:12.750 --> 01:36:15.250
Nikki is freaking out at the party and, you know,
01:36:15.250 --> 01:36:16.949
smashing her face with the bottle, he's just
01:36:16.949 --> 01:36:18.729
kind of sitting there looking like he wishes
01:36:18.729 --> 01:36:21.810
the ground could swallow him up. And Ian's like,
01:36:21.869 --> 01:36:24.010
for fuck's sake, man, do something, do something.
01:36:24.170 --> 01:36:28.229
And he's just like, Oh God. Yeah. It's just sat
01:36:28.229 --> 01:36:31.590
there. But, um, But again, if we're going back
01:36:31.590 --> 01:36:34.649
to our classic Parker themes, and as we said,
01:36:34.750 --> 01:36:37.189
I pretty much touched on the same ones that hit
01:36:37.189 --> 01:36:38.850
the same ones that you did. The desire for love
01:36:38.850 --> 01:36:41.170
is absolutely the driving force behind this one.
01:36:41.789 --> 01:36:44.270
But again, you could make an argument for the
01:36:44.270 --> 01:36:46.689
morality of individuals as well. I mean, obviously,
01:36:46.729 --> 01:36:50.050
Bear is so infatuated with Nikki, you know, that
01:36:50.050 --> 01:36:53.210
quickly settles for possessing her rather than
01:36:53.210 --> 01:36:57.930
being in like a mutually. a mutual relationship
01:36:57.930 --> 01:37:00.229
you know it's kind of is love versus possession
01:37:00.229 --> 01:37:04.430
or obsession as it were and what makes even more
01:37:04.430 --> 01:37:07.090
tragic i think what makes bear interesting uh
01:37:07.090 --> 01:37:09.670
is both the uh he's he's both the protagonist
01:37:09.670 --> 01:37:13.710
and the antagonist of the film you know so he's
01:37:13.710 --> 01:37:17.569
he's like the hero Hero is probably not the word,
01:37:17.649 --> 01:37:21.229
but he is like the hero and the villain, the
01:37:21.229 --> 01:37:23.010
protagonist and the antagonist, the good guy
01:37:23.010 --> 01:37:25.710
and the bad guy. So he kind of fulfills that
01:37:25.710 --> 01:37:30.090
kind of double role in the film, especially when
01:37:30.090 --> 01:37:33.819
he becomes aware of the situation. does nothing
01:37:33.819 --> 01:37:36.479
to rectify it. So I think you could, the first
01:37:36.479 --> 01:37:38.239
half of the film, you can kind of look at him
01:37:38.239 --> 01:37:40.020
almost as like we're rooting for him. He's our
01:37:40.020 --> 01:37:42.420
protagonist. He's kind of our hero. And then
01:37:42.420 --> 01:37:44.720
about halfway, you kind of get that switch where
01:37:44.720 --> 01:37:47.640
he realizes what he's done. But, you know, he's
01:37:47.640 --> 01:37:50.199
happy just to let things keep going because it's
01:37:50.199 --> 01:37:55.359
beneficial to him. Yeah. Yeah. Yeah. It's only
01:37:55.359 --> 01:37:57.140
when his friends are killed and Nicky has committed
01:37:57.140 --> 01:37:59.680
murder that he finally decides, yeah, I should
01:37:59.680 --> 01:38:03.649
probably do something about this. Let's talk
01:38:03.649 --> 01:38:06.630
for a minute about Sarah. I mean, Sarah, I think,
01:38:06.630 --> 01:38:09.189
has quite an understated importance to this film's
01:38:09.189 --> 01:38:13.050
narrative. So I think Nicky represents Bear's
01:38:13.050 --> 01:38:17.029
ultimate desire, his fantasy, his ideal kind
01:38:17.029 --> 01:38:20.189
of life. But I think Sarah kind of exists as
01:38:20.189 --> 01:38:23.350
kind of an alternate path. that bear could have
01:38:23.350 --> 01:38:25.649
taken if he wasn't so blinded with his obsession
01:38:25.649 --> 01:38:28.489
with nikki you know i mean she genuinely likes
01:38:28.489 --> 01:38:30.710
and cares for him they have a genuine connection
01:38:30.710 --> 01:38:34.569
that's built on trust and friendship and at several
01:38:34.569 --> 01:38:36.550
points throughout the film that they they share
01:38:36.550 --> 01:38:39.149
like moments of like genuine kind of intimacy
01:38:39.149 --> 01:38:42.449
and connection that he doesn't have with nikki
01:38:42.449 --> 01:38:44.989
and nikki as i said she kind of represents this
01:38:44.989 --> 01:38:47.930
more more of an idealized fantasy you know in
01:38:47.930 --> 01:38:50.350
bear's mind she's his dream girl his perfect
01:38:50.350 --> 01:38:53.739
woman and this this flawed perception kind of
01:38:53.739 --> 01:38:56.680
forces him to ignore Sarah in favor of Nikki.
01:38:56.880 --> 01:39:00.760
You know, you could, you could in fact argue
01:39:00.760 --> 01:39:03.680
that from, from a story perspective that Nikki
01:39:03.680 --> 01:39:09.180
is bears want, but Sarah is bears need. And then
01:39:09.180 --> 01:39:11.520
the film kind of kills Sarah exactly at the point
01:39:11.520 --> 01:39:14.479
where bear is. teetering on salvation you know
01:39:14.479 --> 01:39:16.520
sarah and the healthy life with bear that she
01:39:16.520 --> 01:39:19.699
represents is just brutally taken away by nikki
01:39:19.699 --> 01:39:24.239
aka bear's unhealthy obsession and he is irrevocably
01:39:24.239 --> 01:39:27.279
kind of damned at that point Yeah, I think it's
01:39:27.279 --> 01:39:29.960
really interesting to think about Bear's want
01:39:29.960 --> 01:39:31.640
and need in this film. And we should probably
01:39:31.640 --> 01:39:33.920
sort of talk about that at some point a little
01:39:33.920 --> 01:39:36.060
bit more, you know, and just sort of explore
01:39:36.060 --> 01:39:38.720
those concepts. And when you're doing character
01:39:38.720 --> 01:39:41.880
development, you know, and how that sort of manifests
01:39:41.880 --> 01:39:44.939
in a script. Yeah. Cool, man. OK, so what, if
01:39:44.939 --> 01:39:46.819
anything, do you think you learned from the script
01:39:46.819 --> 01:39:50.199
here, Lee? OK, I mean, there's a lot of dialogue
01:39:50.199 --> 01:39:53.319
in this in here, in this script. But that, as
01:39:53.319 --> 01:39:55.260
I said, that seems to be one of Curry Barker's.
01:39:55.520 --> 01:39:58.380
biggest strengths you know the dialogue in this
01:39:58.380 --> 01:40:02.159
film and and the script is really really good
01:40:02.159 --> 01:40:05.819
anyone wanting to learn or brush up on a very
01:40:05.819 --> 01:40:08.640
sort of naturalistic style of dialogue should
01:40:08.640 --> 01:40:11.619
definitely check this one out And I'm also going
01:40:11.619 --> 01:40:14.859
to beat the familiar old drum here and talk very
01:40:14.859 --> 01:40:18.260
briefly about concept. I've spoken about this
01:40:18.260 --> 01:40:20.439
to no end, so I won't dwell too long here, but
01:40:20.439 --> 01:40:23.520
this is just another example of a fantastic concept
01:40:23.520 --> 01:40:26.159
that does a great deal of the heavy lifting.
01:40:26.880 --> 01:40:29.960
Barco reportedly got the idea from this from
01:40:29.960 --> 01:40:33.239
a Simpsons Halloween special episode featuring
01:40:33.239 --> 01:40:36.399
some wish -granting monkey's paw or some kind
01:40:36.399 --> 01:40:40.250
of MacGuffin. Actually, that brings another great
01:40:40.250 --> 01:40:42.710
point I should touch on, which is feeding your
01:40:42.710 --> 01:40:45.529
story engine. So what do I mean when I say that?
01:40:46.310 --> 01:40:50.890
It means as a writer, you should always be consuming
01:40:50.890 --> 01:40:56.130
stories, TV, movies, true crime, novels. You
01:40:56.130 --> 01:40:58.869
never know when inspiration will strike. I mean,
01:40:58.930 --> 01:41:02.069
if you look at Obsession, one of the most successful
01:41:02.069 --> 01:41:05.149
films ever, it's made something like 200 times
01:41:05.149 --> 01:41:09.750
its original budget. what happened so curry barker
01:41:09.750 --> 01:41:11.949
maybe sat down one sunday caught a rerun of an
01:41:11.949 --> 01:41:15.170
old simpsons episode and now boom he's one of
01:41:15.170 --> 01:41:17.789
the hottest properties in hollywood you know
01:41:17.789 --> 01:41:20.170
you just got to keep that fire burning keep adding
01:41:20.170 --> 01:41:23.449
fuel consume screenplays like their food just
01:41:23.449 --> 01:41:26.069
be like a sponge and absorb everything you can
01:41:26.069 --> 01:41:29.829
until something great spills out you know i also
01:41:29.829 --> 01:41:32.329
want to touch on something I don't think we've
01:41:32.329 --> 01:41:35.470
really dwelt on before. And that is character
01:41:35.470 --> 01:41:39.029
names and the importance and the meaning that
01:41:39.029 --> 01:41:41.909
you can sort of invest in them. So we'll start
01:41:41.909 --> 01:41:46.430
with Baron, Baron Bailey, aka Bear. So what's
01:41:46.430 --> 01:41:49.220
the significance here? I mean, there's a few
01:41:49.220 --> 01:41:51.380
things we can take from this. I mean, bears are
01:41:51.380 --> 01:41:53.880
often regarded as cute, cuddly and media. So
01:41:53.880 --> 01:41:55.979
we have a bit of that. But more significantly,
01:41:56.060 --> 01:41:59.800
I think this kind of comes from the recent man
01:41:59.800 --> 01:42:02.739
versus bear debate. I don't know if you're familiar
01:42:02.739 --> 01:42:05.760
with, but for those unaware of it, the question
01:42:05.760 --> 01:42:08.979
was posed to women. What would you rather run
01:42:08.979 --> 01:42:12.720
into in the middle of the woods, a man or a bear?
01:42:13.020 --> 01:42:16.619
And I can't help but wonder if if bears name.
01:42:17.180 --> 01:42:19.520
in the film kind of reflects something of this
01:42:19.520 --> 01:42:22.000
debate, certainly kind of plays into the theme
01:42:22.000 --> 01:42:26.680
of, you know, untrustworthy males, nothing else.
01:42:27.550 --> 01:42:30.590
And then there's Nikki. Nikki's surname is Freeman.
01:42:30.789 --> 01:42:33.829
So this one's pretty self -explanatory. You know,
01:42:33.850 --> 01:42:36.229
a free woman would sound off, but Freeman, you
01:42:36.229 --> 01:42:39.130
know, that's gold. And Nikki, who spends most
01:42:39.130 --> 01:42:41.949
of the movie technically enslaved, would be yearning
01:42:41.949 --> 01:42:45.550
to be free. So it's just a really small aspect
01:42:45.550 --> 01:42:49.109
of screenwriting. But, you know, names can be
01:42:49.109 --> 01:42:51.729
pretty huge significance sometimes. And you can
01:42:51.729 --> 01:42:54.569
get some cool little deeper meanings in there.
01:42:55.000 --> 01:42:57.140
Oh, yeah, man. I mean, you know me, Lee. I love
01:42:57.140 --> 01:42:59.500
a name with deeper significance. So really pleased
01:42:59.500 --> 01:43:01.779
you kind of mentioned that. I mean, I thought
01:43:01.779 --> 01:43:04.340
the name Baron also conjures this idea of lording
01:43:04.340 --> 01:43:06.340
over other people, which I thought was really
01:43:06.340 --> 01:43:09.579
interesting as well. Yeah, great points, man.
01:43:09.960 --> 01:43:12.319
I think for me, you know, this script kind of
01:43:12.319 --> 01:43:16.140
highlighted Barker's masterful. use of structure
01:43:16.140 --> 01:43:19.420
you know he sort of sets out the world and tone
01:43:19.420 --> 01:43:22.720
of the film really well early on introduces and
01:43:22.720 --> 01:43:25.779
sets up the protagonist really well um the act
01:43:25.779 --> 01:43:29.319
breaks i think were pretty clear i'd say There
01:43:29.319 --> 01:43:32.020
are strong turning points and moments of reflection
01:43:32.020 --> 01:43:35.760
as well. And I think the moments of comic relief
01:43:35.760 --> 01:43:38.560
are really well positioned, well timed. They
01:43:38.560 --> 01:43:42.380
feel earned. They don't feel forced at all. The
01:43:42.380 --> 01:43:45.140
stakes are being raised just at the right times.
01:43:45.539 --> 01:43:48.739
And there are sort of clear B and C stories which
01:43:48.739 --> 01:43:51.000
are interesting and sort of intersect with the
01:43:51.000 --> 01:43:53.579
main narrative really well. And they sort of
01:43:53.579 --> 01:43:56.479
highlight themes and, you know, raise the stakes
01:43:56.479 --> 01:43:59.399
or the tragedy really well. And again, you know,
01:43:59.399 --> 01:44:01.659
none of it sort of feels forced at all in the
01:44:01.659 --> 01:44:05.159
film. And I think just having, you know, a deep
01:44:05.159 --> 01:44:07.199
sort of understanding of structure is what I
01:44:07.199 --> 01:44:10.279
took away from this. Also, I think the dual,
01:44:10.340 --> 01:44:12.979
you know, dialogue lines in the script, always
01:44:12.979 --> 01:44:16.140
a winner for me, Lee. But I thought there was
01:44:16.140 --> 01:44:18.779
some just there was some great instances of just
01:44:18.779 --> 01:44:21.460
sort of writing, you know, of Barker's writing.
01:44:22.279 --> 01:44:24.479
where he sort of reflects on his characters in
01:44:24.479 --> 01:44:27.000
action lines. And I think we mentioned this already,
01:44:27.140 --> 01:44:31.199
but certainly where Barker describes Bear is
01:44:31.199 --> 01:44:34.279
really, really good. And the whole sort of intro
01:44:34.279 --> 01:44:36.979
sort of goes a little like this. The silence
01:44:36.979 --> 01:44:39.800
settles. Bear, lost in thought, realises his
01:44:39.800 --> 01:44:42.960
yearning for her overshadows all. Her actions,
01:44:43.060 --> 01:44:46.779
her lies, it all fades. Only her presence matters.
01:44:47.100 --> 01:44:50.670
Bear, matter of fact, doesn't matter to me. His
01:44:50.670 --> 01:44:53.569
response reveals a disregard for truth, showing
01:44:53.569 --> 01:44:56.529
a readiness to ignore darker realities for affection,
01:44:56.869 --> 01:45:00.449
hinting at a deeply flawed person. And I just
01:45:00.449 --> 01:45:03.489
thought this was really well, you know, really
01:45:03.489 --> 01:45:06.069
well written. And it speaks to theme. It obviously
01:45:06.069 --> 01:45:09.489
speaks to sort of Bear's character. And I just
01:45:09.489 --> 01:45:11.310
thought that, you know, this is a really cool
01:45:11.310 --> 01:45:14.430
piece of writing. And the script is kind of.
01:45:14.779 --> 01:45:18.680
replete with really good bits of prose and the
01:45:18.680 --> 01:45:20.680
last thing I thought was how Barker and I mentioned
01:45:20.680 --> 01:45:22.739
this in the last episode but how Barker is thinking
01:45:22.739 --> 01:45:26.119
about the cinematic toolbox and how things can
01:45:26.119 --> 01:45:28.880
be planned in your script to sort of highlight
01:45:28.880 --> 01:45:32.600
or bring out moments of significance in the film
01:45:32.600 --> 01:45:36.159
so here Barker references sound in an interesting
01:45:36.159 --> 01:45:40.210
way and in the script it says this The chaos
01:45:40.210 --> 01:45:43.430
of the store acts as a soundtrack. Horns, feedback
01:45:43.430 --> 01:45:46.930
and other chatter build the intensity. So this
01:45:46.930 --> 01:45:49.250
is really short and simple. It's kind of all
01:45:49.250 --> 01:45:51.710
in caps, as you'd expect from a sound cue. But
01:45:51.710 --> 01:45:54.710
again, it just shows how Barker is thinking about
01:45:54.710 --> 01:45:57.430
how he can use the elements of cinema to heighten
01:45:57.430 --> 01:46:00.550
moments in the film. And I think it sort of shows
01:46:00.550 --> 01:46:03.329
planning and it shows understanding. And I think
01:46:03.329 --> 01:46:05.569
it's something really worth thinking about, you
01:46:05.569 --> 01:46:07.390
know, adding into your scripts if it's kind of
01:46:07.390 --> 01:46:11.579
appropriate. OK, so you mentioned a theory on
01:46:11.579 --> 01:46:14.920
Nicky and the purgatory. Oh, yeah, yeah, yeah.
01:46:15.000 --> 01:46:17.819
So a lot of people think that Nicky was replaced
01:46:17.819 --> 01:46:20.699
by some kind of malicious spirit and the real
01:46:20.699 --> 01:46:23.199
Nicky kind of held in purgatory until Bear's
01:46:23.199 --> 01:46:25.560
death. And I kind of want to expand on this with
01:46:25.560 --> 01:46:28.699
a theory that runs somewhat adjacent to this,
01:46:28.800 --> 01:46:32.020
I think. So you know how in time travel movies
01:46:32.020 --> 01:46:35.180
when people travel back in time and then like
01:46:35.180 --> 01:46:38.810
I'm going like full Avengers endgame. here and
01:46:38.810 --> 01:46:41.029
then the timeline kind of splits and you have
01:46:41.029 --> 01:46:43.170
the original timeline and then you have the altered
01:46:43.170 --> 01:46:45.850
timeline so i was thinking like what if the moment
01:46:45.850 --> 01:46:48.710
bear kind of made the wish it made two nickies
01:46:48.710 --> 01:46:51.470
like one unaltered and unable to fulfill the
01:46:51.470 --> 01:46:53.949
wish which was which was then sent to like the
01:46:53.949 --> 01:46:56.449
purgatory and the other one sort of now programmed
01:46:56.449 --> 01:46:59.069
to love bear more than anything was free to to
01:46:59.069 --> 01:47:01.909
exist in nicky's body but every aspect of her
01:47:01.909 --> 01:47:04.569
being was coded by that one kind of dogma to
01:47:04.569 --> 01:47:09.230
love bear more than anything in the world yeah
01:47:09.230 --> 01:47:14.090
interesting theory lee like it um i mean let
01:47:14.090 --> 01:47:17.189
us know what you think horror fans let's tell
01:47:17.189 --> 01:47:19.930
us what your theories are um okay well i think
01:47:19.930 --> 01:47:22.109
we're almost done here before we wrap up uh talk
01:47:22.109 --> 01:47:24.170
about our next episode what would you rate the
01:47:24.170 --> 01:47:27.189
script and the film as here okay so for this
01:47:27.189 --> 01:47:30.029
one i'm going to give the script a seven and
01:47:30.029 --> 01:47:34.250
the film a nine uh the reason being that as written
01:47:34.250 --> 01:47:37.409
i think the script sometimes gets close to dragging
01:47:37.409 --> 01:47:40.149
its feet with some of the dialogue scenes whereas
01:47:40.149 --> 01:47:42.489
on screen everything just seems to hit that perfect
01:47:42.489 --> 01:47:45.899
balance And not to mention the great performances
01:47:45.899 --> 01:47:48.039
from the cast and everybody involved in the making
01:47:48.039 --> 01:47:50.600
of the film. I should throw out to Johnston as
01:47:50.600 --> 01:47:52.979
well, because he's great. I've talked about him
01:47:52.979 --> 01:47:55.279
much, and I think he gets quite overshadowed
01:47:55.279 --> 01:47:57.760
by Navarrete's performance, but he was really
01:47:57.760 --> 01:48:00.600
great in this film as well. yeah yeah yeah i
01:48:00.600 --> 01:48:02.640
was honestly dude i was sort of on the same page
01:48:02.640 --> 01:48:05.199
i gave the uh well exactly on the same page i
01:48:05.199 --> 01:48:07.340
gave the script to seven pretty much for the
01:48:07.340 --> 01:48:09.180
same reasons but i also think the script can
01:48:09.180 --> 01:48:11.539
sometimes feel a touch on the nose thematically
01:48:11.539 --> 01:48:14.920
yeah um but i gave the film a nine two because
01:48:14.920 --> 01:48:18.319
i just thought the way bear is presented really
01:48:18.319 --> 01:48:20.880
presents the audience with a conundrum you know
01:48:20.880 --> 01:48:24.970
he's clearly Later on, he's clearly the antagonist
01:48:24.970 --> 01:48:28.989
in this tale and is the sort of titular obsessive,
01:48:28.989 --> 01:48:32.420
you know, he's the sort of. the obsession character,
01:48:32.720 --> 01:48:34.899
if you like, despite Nikki being sort of presented
01:48:34.899 --> 01:48:39.039
outwardly as the obsessed person. And I guess
01:48:39.039 --> 01:48:41.300
I just thought, you know, Barker's created such
01:48:41.300 --> 01:48:43.779
a nuanced kind of mosaic that it really does
01:48:43.779 --> 01:48:46.640
leave the audience guessing and questioning things
01:48:46.640 --> 01:48:49.880
and coming out of the film with questions and
01:48:49.880 --> 01:48:53.020
sort of, you know, potential discussions. And
01:48:53.020 --> 01:48:55.159
I love that. And I just, yeah, I thought the
01:48:55.159 --> 01:48:58.189
film was really, really effective. Awesome. So
01:48:58.189 --> 01:49:01.729
what have we got there? So 14 out of 20 for the
01:49:01.729 --> 01:49:05.409
script and 18 out of 20 for the film. Nice. Nice,
01:49:05.409 --> 01:49:08.449
dude. Good stuff. Yeah, it's good stuff. I kind
01:49:08.449 --> 01:49:10.250
of feel like the script deserves more now, seeing
01:49:10.250 --> 01:49:14.989
its score out of the final quarter. But hey -ho.
01:49:15.470 --> 01:49:17.250
Could get a bit more. I mean, there's nothing
01:49:17.250 --> 01:49:19.029
sort of inherently wrong with the script. I think
01:49:19.029 --> 01:49:20.489
it's a really good script, and it does breeze
01:49:20.489 --> 01:49:24.829
by. It is. Yeah, I'm happy with the seven on
01:49:24.829 --> 01:49:27.170
the script, I think. Awesome. All right, dude,
01:49:27.229 --> 01:49:30.270
so what's on the agenda for next time? Next time,
01:49:30.329 --> 01:49:33.250
we're dipping back into the world of TV horror
01:49:33.250 --> 01:49:36.170
as we take a deep dive into an absolute modern
01:49:36.170 --> 01:49:38.689
masterpiece and one of the defining works of
01:49:38.689 --> 01:49:41.850
my youth, the first episode of Buffy the Vampire
01:49:41.850 --> 01:49:45.199
Slayer. Welcome to the Hellmouth. nice dude i
01:49:45.199 --> 01:49:47.920
have never watched an episode of buffy in my
01:49:47.920 --> 01:49:52.800
life lee fuck off really yeah genuine truth not
01:49:52.800 --> 01:49:57.340
interested wow so we will uh that will be interesting
01:49:57.340 --> 01:50:00.659
won't it yeah well we're probably gonna have
01:50:00.659 --> 01:50:04.439
some clashes on now i don't know about that i
01:50:04.439 --> 01:50:06.260
might enjoy it you never know just never uh never
01:50:06.260 --> 01:50:09.199
my thing OK, so if you enjoyed the podcast, please
01:50:09.199 --> 01:50:13.359
hit like and do, you know, follow the show. Totally
01:50:13.359 --> 01:50:15.760
free to do so. If you're feeling really generous,
01:50:15.939 --> 01:50:18.819
please leave us a review on your podcatcher of
01:50:18.819 --> 01:50:21.220
choice because it really does help us. Obviously,
01:50:21.300 --> 01:50:23.619
check out our socials. We're on Facebook and
01:50:23.619 --> 01:50:25.579
Blue Sky. We can be reached there. A little bit
01:50:25.579 --> 01:50:27.399
of Instagram now as well. Some TikTok maybe.
01:50:28.039 --> 01:50:30.420
We also publish to YouTube, so you can listen
01:50:30.420 --> 01:50:32.439
to us there. There's no real visuals currently,
01:50:32.579 --> 01:50:35.159
but plenty of audio goodness. And of course,
01:50:35.159 --> 01:50:37.500
as always, feel free to drop us a line with any
01:50:37.500 --> 01:50:43.260
thoughts on our website. That is www .scripttoscreampodcast
01:50:43.260 --> 01:50:46.260
.com. We always love hearing from you guys. We
01:50:46.260 --> 01:50:47.960
have much more content there, as I mentioned,
01:50:48.039 --> 01:50:51.180
script samples, scurology graphs, all sorts of
01:50:51.180 --> 01:50:53.479
insights. We obviously have our blog up and running
01:50:53.479 --> 01:50:56.250
now as well, don't we, Lee? We do. Which we post
01:50:56.250 --> 01:51:00.109
to as much as we can. We're obviously now offering
01:51:00.109 --> 01:51:03.590
script reading services as well. And we will
01:51:03.590 --> 01:51:06.029
analyze your scripts and give you tailored feedback
01:51:06.029 --> 01:51:10.090
on your work. We're also producing and creating
01:51:10.090 --> 01:51:13.409
pitch decks for projects now. We will collaborate
01:51:13.409 --> 01:51:15.729
with you to create a stunning pitch deck for
01:51:15.729 --> 01:51:18.029
your project, which you can take out into the
01:51:18.029 --> 01:51:21.720
world and get pitching. And it's worth mentioning
01:51:21.720 --> 01:51:24.920
that we do not rely on generative AI when creating
01:51:24.920 --> 01:51:28.560
pitch decks. So if that's of interest for you,
01:51:28.640 --> 01:51:31.359
go to our website, navigate to the script reading
01:51:31.359 --> 01:51:33.640
page, and you can get all of the information
01:51:33.640 --> 01:51:38.079
there. But until next time, do take care. I wish
01:51:38.079 --> 01:51:40.220
our listeners would love our podcast more than
01:51:40.220 --> 01:51:42.859
any other podcast in the whole fucking world.
01:51:43.100 --> 01:51:45.979
And keep writing those scares.