The US President and UK Prime Minister fancy a war. But not everyone agrees that war is a good thing. The US General Miller doesn't think so and neither does the British Secretary of State ... See full summary »
Steve Coogan has been asked by The Observer to tour the country's finest restaurants, but after his girlfriend backs out on him he must take his best friend and source of eternal aggravation, Rob Brydon.
A story that follows a New York woman (who doesn't really have an apartment), apprentices for a dance company (though she's not really a dancer), and throws herself headlong into her dreams, even as their possibility dwindles.
Two actors, as their make up is applied, talk about the size of their parts. Then into the film: Laurence Sterne's unfilmable novel, Tristram Shandy, a fictive autobiography wherein the narrator, interrupted constantly, takes the entire story to be born. The film tracks between "Shandy" and behind the scenes. Size matters: parts, egos, shoes, noses. The lead's girlfriend, with their infant son, is up from London for the night, wanting sex; interruptions are constant. Scenes are shot, re-shot, and discarded. The purpose of the project is elusive. Fathers and sons; men and women; cocks and bulls. Life is amorphous, too full and too rich to be captured in one narrative. Written by
The real Tony Wilson (who Steve Coogan played in 24 Hour Party People (2002), another Michael Winterbottom film) plays himself, interviewing Steve Coogan on the film set. The somewhat spiky relationship between the two (who also worked together on local TV in the early 1990s) is subtly referenced in Coogan's lukewarm "let's catch up in Manchester". See more »
[Steve is hanging upside down in the model womb]
How about filming the other way around, the right way up, and then just flip the image?
Well, maybe, but I'd have to have a word with Mark about that. I mean, I think he wanted the realism.
He wants realism?
Yeah, I'm a grown man, talking to the camera, in a fucking womb!
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Throughout the closing credits, Rob and Steve talk about how they use techniques of various other actors. See more »
In trying to film a movie based on the novel Tristam Shandy, it is explained that this book is utterly unfilmable. modestly rather, they show the actual process of trying to make this movie while discussing the parts of the book that displayed meaning so they can decide what scenes will be added/cut in the movie. Cleverly enough, this entire process serves as a metaphor for the actual book and the digressive nature of it. Maybe not the most interesting topic to watch, but it is done well enough for you to be curious as to how everything is resolved. If you don't get the metaphor, you will not like the movie. If you do, you might be as delighted as ever that something quite unique has just been viewed.
didn't i just sound ridiculous?
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