This week Chris Deacy is joined by Alyx Robinson to discuss the films; Cemetery Man, Men, El Conde, and The Sword in the Stone.
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00:00 (dramatic music)
00:02 - Hello and welcome to Kent Film Club.
00:14 I'm Chris Deasy, and each week I'll be joined
00:16 by a guest from Kent to dive deep into the impact
00:20 certain films have had on their life.
00:22 Each guest will reflect on the films
00:24 which have meant the most to them over the years.
00:26 And every week there will be a Kent Film Trivia
00:29 where we quiz you at home about a film
00:31 that has a connection to the county.
00:34 And now let me introduce you to my guest for this week.
00:37 She's a coordinator at Canterbury Christchurch University,
00:40 working in the faculty of medicine,
00:42 health, and social care.
00:43 Additionally, she also has a doctorate in philosophy
00:46 on the ethics of transhumanism and is a huge film fan.
00:50 It is Alex Robinson.
00:52 Great to have you on the show, Alex.
00:53 - Thanks, Chris, nice to be here.
00:54 - Now, what is your first film?
00:57 - My first film is Cemetery Man,
00:59 which is a very early Rupert Everett.
01:03 So this is before Rupert Everett became very widely known
01:07 and before he did a lot of other things
01:09 in English-speaking cinema.
01:12 And I think I saw this film when I was too young.
01:15 And so the reason I chose this film
01:17 is because there's a grand tradition
01:19 of seeing horror films a little too young
01:21 and getting something from it as a result,
01:24 which I think you miss if you see it age appropriately.
01:27 And so that's why I picked Cemetery Man.
01:29 I mean, Rupert Everett is stunning and brilliant in this,
01:32 and it was early in his career, which is exciting,
01:34 but I saw it early in my life,
01:38 and it was exciting as well.
01:39 - And did you see it on the small screen?
01:41 - I did.
01:42 I saw a downloaded copy.
01:44 - It's funny you say that,
01:46 because I remember when I was fairly young,
01:48 and it may not count as horror,
01:50 although one of the scenes in it is,
01:51 but watching Fatal Attraction and being on TV and thinking,
01:55 I wish I hadn't watched it almost,
01:56 because I didn't feel I was quite ready
01:58 to watch something like that.
01:59 But in your case, so Cemetery Man,
02:01 is it a film that having watched it at that age,
02:04 that you return to it?
02:06 - I return to it periodically.
02:08 And I mean, especially around Halloween,
02:11 it's a sort of Halloween favourite.
02:13 It's sort of a classic zombie story in many ways,
02:18 but there's a lot more to it.
02:20 And we don't want to say anything like it defies genre,
02:24 but it doesn't fall neatly anywhere.
02:25 And so re-watching it every year, getting older,
02:28 it becomes more interesting and more different every year.
02:31 - Are there any particular facets?
02:33 I mean, you mentioned obviously the actor, Rupert Everett,
02:36 but who we can see obviously in the image on the screen,
02:39 but is there anything about the film
02:41 that stands out in a way that other films of its kind,
02:44 for example, from the '90s don't do?
02:46 - I mean, I think because it's an Italian film
02:51 and because it was made outside
02:54 of our sort of cultural context,
02:56 I think it's very, very different.
02:57 And especially if you think about Rupert Everett
02:58 and the films he went on to do,
03:00 I mean, a sort of a range of rom-coms
03:02 and switching between rom-coms and then historical biopics,
03:07 like "The Madness of King George,"
03:08 that's a completely different kind of film.
03:12 But the thing about this in particular,
03:14 I think amongst horror films and especially in the '90s,
03:17 it was very romantic.
03:21 It was very romantic, I thought, as a film.
03:22 And the romantic story was so much more important
03:25 in a way than the scary.
03:27 - And is it the sort of film that you would watch
03:30 or have watched on your own?
03:32 I mean, there are some films
03:33 that I want to share with people.
03:34 I want to almost sort of say, "You must watch this.
03:36 "It'll change your life."
03:37 But sometimes you kind of want it to keep to yourself.
03:40 - Sometimes.
03:41 And I think I had this experience relatively recently.
03:43 I showed it to a friend.
03:45 And it almost reveals more about you as a person.
03:49 If you say, "I love this film," and then you show someone,
03:53 you're sort of almost watching them
03:54 more than you're watching the film, that experience.
03:56 And this is a very odd film.
03:58 It's a very, it's a sort of gratuitous film
04:01 about death and about sex and about all sorts of things.
04:04 And you begin to worry, I think,
04:07 when you're watching a film with someone,
04:09 and it depends how well you know them.
04:10 This is something that I think I would only show to people
04:13 I trusted, not to read too much into it
04:16 about me as a person.
04:17 But I think it's a fantastic thing
04:19 to watch on your own as well,
04:21 because it's quite introspective.
04:23 - Yeah, and the way that we watch films,
04:24 the way we consume films,
04:26 does obviously say a lot about ourselves.
04:28 But also, of course, when somebody is watching something
04:31 and they're not quite expecting it
04:32 to go down a certain path,
04:34 then of course there are all sorts of follow-throughs
04:37 on that.
04:37 But was your experience of Cemetery Man
04:39 largely a positive one in terms of
04:41 what other people have said about it,
04:44 the way that you've interacted with them
04:46 about Cemetery Man?
04:47 - I think so.
04:48 I think so, because I'm really interested
04:50 in transhumanism and in humanity
04:52 and in what it means to die
04:53 and what it means to continue living and not to die.
04:56 And any zombie film sort of touches on that a little bit.
05:00 What are monsters?
05:01 What are human beings?
05:02 And so you always have fun discussions
05:04 with people about that.
05:05 But you also discover things like
05:07 friends really, really don't like
05:11 close-up, gory, injury detail.
05:13 This is how you find out.
05:15 - Because of course you did a doctorate on transhumanism,
05:18 was this in any way an inspiration?
05:20 Was it even something that you were able to draw on,
05:22 decide in that piece of work?
05:24 - I wouldn't say this was,
05:25 but horror most definitely was.
05:27 I think because so much horror,
05:29 and this film included,
05:32 does talk about whether humans are monsters
05:35 in the way they treat each other,
05:36 and this spills over into how they treat zombies,
05:38 I think that there's something there.
05:40 It does have, and we hesitate to say,
05:44 existential themes, and I won't give anything away,
05:46 but towards the end of the film,
05:48 reality starts to fray a little bit for the characters,
05:51 and it changes.
05:52 I think it is quite philosophical, too.
05:54 - And do you think that that was an entry point for you
05:56 in so many ways in the research that you went on to do?
05:59 - I mean, yes, horror, yes.
06:01 Anything about death and dying,
06:03 but not gratuitously,
06:05 not in a Cemetery Man kind of shooting the zombies way,
06:08 but taking quite seriously death and dying
06:12 is something that happens to us in life.
06:14 I think that certainly was an entrance point.
06:16 - Absolutely.
06:17 Well, thank you, Alex.
06:18 Well, it's time now to move on to your second chosen film,
06:21 and you've chosen a fairly recent,
06:24 also I think, safe to say, horror film, Men.
06:27 - So, Men is very recent,
06:29 but the reason I picked it as a film
06:30 that's quite significant to me
06:31 is I think it's representative of a lot of horror films,
06:36 which deal with the relationships
06:39 that we have with each other,
06:40 but the relationship between men and women in particular.
06:43 And I mean, it gives a lot away in the title,
06:46 but this film I find really interesting
06:50 in part because of the recurring,
06:53 like the Rory Kinnear throughout.
06:56 And I think he, again, I don't want to give too much away,
06:59 but I think this is relatively well known.
07:01 He plays almost every male character in the film
07:04 to sort of great effect.
07:07 And there's something incredibly eerie
07:09 about what he does.
07:11 It's unsettling in a way that stuck with me
07:14 long after I watched it.
07:16 It still gives me shivers thinking about it now
07:18 because it's about, I mean,
07:19 it's about all sorts of things,
07:20 but the business with Rory Kinnear playing all the men,
07:23 it's just a sinister undertone,
07:24 which even if you don't think about it too much
07:26 while you're watching,
07:28 makes you feel uneasy
07:29 about your relationship with other people.
07:31 And that was the thing that stuck with me.
07:33 And I haven't seen anything else like it
07:36 where you come out of the cinema,
07:38 'cause I saw this in the cinema,
07:39 and you can't think about anything else for days,
07:42 and that's a wonderful experience.
07:44 - Yeah, and I remember that as well
07:45 because there's a classic 1970s film
07:48 with Laurence Olivier and Michael Caine, "Sleuth,"
07:50 where it's just those two characters in disguise
07:53 to a large extent.
07:54 And watching this film as well,
07:56 of course, you're sometimes thinking,
07:57 "Is that the same actor, or does it just look like,
07:58 "or is she projecting onto all the characters?"
08:02 Maybe I think there's an undercurrent
08:05 of a very bad relationship that she's escaping from.
08:07 - But the film, I did like you see on the big screen,
08:11 and I found it very uncomfortable.
08:13 And I sort of appreciated that
08:16 because sometimes a film can challenge you,
08:18 and then because it challenges you,
08:19 it sparks all sorts of thoughts and reflections.
08:22 Is that what happened in your case?
08:24 - Absolutely.
08:25 And I mean, if you've seen the film,
08:26 the last third of the film,
08:28 which I think it becomes extremely uncomfortable to watch
08:33 for reasons which seem very different
08:36 and very jarring at the time,
08:37 but which on reflection,
08:39 I went back and I thought about it and watched it again.
08:41 And I realized that we had been building to that point,
08:44 to that crescendo, to that,
08:45 apparently that massive change
08:47 into a different kind of film,
08:48 a sort of body horror film in the last final act.
08:53 Yeah, certainly it jarred me.
08:58 - And do you find that it's a very,
09:00 because it's obviously a British horror film,
09:03 but do you think that there's anything wider?
09:06 I mean, horror films for me,
09:07 I always find same with biblical epics
09:09 or any sort of genre.
09:09 It often says something about the age in which it's made.
09:12 And I think also in relation to,
09:14 for example, the Me Too movement,
09:15 did you find that this film
09:16 really sort of hit the zeitgeist of today?
09:19 - I think it did.
09:20 And I think, I mean,
09:22 because horror has a tradition
09:24 of treating female characters quite poorly,
09:26 it's interesting and it's refreshing
09:28 to see that maybe the legacy of a lot of horror
09:30 that we've seen, you know,
09:33 when it comes out in horror now,
09:34 you get these amazingly rich,
09:36 incredibly complex narratives
09:38 about how scary it is to be a woman in certain situations.
09:41 I mean, you mentioned the relationship that she's escaping.
09:44 In some places you could say it's quite nuanced.
09:48 In other places, I mean, the title is Men
09:49 and it's very much,
09:51 it's clear what it's about in that sense.
09:53 But it's been refreshing to see newer horror films
09:57 deal with patriarchal issues in a much more nuanced way.
10:00 And I think this is one of them.
10:02 - And do you find that it's a film that,
10:04 some films can be very visceral.
10:05 You can watch it sometimes and you can say,
10:07 well, it had a profound effect.
10:08 But in my case, I wasn't sure
10:11 that I wanted to watch it again.
10:12 I almost wanted to give it some time.
10:14 It had a huge impact on me.
10:15 In your case, you obviously saw it on the big screen,
10:17 but did you return to it?
10:19 - I did, I did.
10:20 I returned to it on the big screen.
10:22 I think it's that paradox of horror business
10:26 where I felt awful watching it.
10:29 And then I came out and I couldn't stop thinking about it.
10:32 And so I went back to have the same experience again.
10:34 And of course you can never really
10:35 have the same experience again
10:36 because some things you knew were coming
10:39 that you didn't know last time.
10:41 But it was about wanting to feel that sense
10:45 of that heightened experience of horror again.
10:48 And I think the big screen is the best place for that.
10:50 - And of course, sometimes when you watch it the second time
10:52 and you kind of know what's coming
10:53 and maybe the other people in the audience don't,
10:55 you're almost watching the audience
10:57 as much as you're watching the film.
10:58 On the second viewing,
10:59 did you learn anything different from it?
11:02 - I learned that there are some things
11:04 I find a lot more disturbing than I realised.
11:07 And I saw them the first time
11:08 because I didn't know they were coming.
11:10 Didn't know to look away.
11:11 And I think when you know it's coming,
11:13 you flinch away from certain things.
11:15 And that was interesting because, you know,
11:18 I watched it all the first time,
11:20 but the second time I know there are bits I didn't see.
11:22 - Well, thanks, Alex.
11:23 Well, that's about all the time we have
11:25 for the first half of the show.
11:27 However, before we go to the break,
11:29 we have a Kent film trivia question for you at home.
11:32 Which film shot scenes in Chatham's historic dockyard,
11:37 specifically using HMS Gannett?
11:40 Was it A, Sherlock Holmes, B, Muppets Most Wanted,
11:44 or was it C, Mr. Turner?
11:47 We'll reveal the answer right after this break.
11:49 Don't go away.
11:50 (dramatic music)
11:54 (dramatic music)
11:57 Hello, and welcome back to Kent Film Club.
12:09 Just before the ad break,
12:10 we asked you at home a Kent film trivia question.
12:13 Which film shot scenes in Chatham's historic dockyard,
12:19 specifically using HMS Gannett?
12:21 I asked, was it A, Sherlock Holmes,
12:23 B, Muppets Most Wanted, or was it C, Mr. Turner?
12:28 And now I can reveal to you that the answer
12:30 was in fact C, Mr. Turner.
12:33 The HMS Gannett, which doubled for a pleasure vessel
12:36 on the Thames, as well as the scenes where Turner
12:39 is tied to the mast of a ship in a storm
12:41 to make some sketches for one of his paintings.
12:44 Did you get the answer right?
12:46 Well, it's time now, Alex,
12:47 to move on to your next chosen film,
12:49 and it's another fairly recent one.
12:50 It's El Conde.
12:52 - And I mean, I picked this because I saw it recently,
12:57 and I think, and it was great.
13:00 I mean, I enjoyed it tremendously.
13:03 I know I'm going to revisit it at some point,
13:07 but I suppose the reason I picked it to talk about today
13:09 is that so often the film that means the most to me
13:12 is the film I saw most recently, you know?
13:14 And I think really sincerely,
13:16 very often it's just that obsessive,
13:17 I've seen something in the cinema, I loved it,
13:20 it made me think about something or it made me laugh,
13:22 and that's my favourite film.
13:23 And that truly is the way I felt about this when I came out.
13:26 It was bizarre, it made me laugh, it confused me.
13:30 It was great fun to watch.
13:31 I think visually it was perhaps a little pretentious,
13:34 but in the fun way, and it just genuinely became
13:36 my favourite film having watched it.
13:37 So I thought, right, I have to talk about it.
13:39 - And it's impossible in a way not to give too much away,
13:42 but it's pretty obvious from the very beginning
13:44 that there's a voiceover with a voice
13:46 that's very, very familiar, certainly to Eddie Pity.
13:47 Who grew up, as I did in the 1980s,
13:50 and a particular, very famous British politician,
13:54 and indeed Prime Minister.
13:55 But there's a plot here, which is one of them,
13:57 if there's a prize for the most surreal plot ever conceived,
14:01 and the way that it meshes,
14:02 John, do you want to say a little bit about,
14:05 in your own words, how do you explain the plot of El Conde?
14:09 - Carefully, I think, because some of it is in the reveal.
14:12 And it's a re-imagining.
14:16 It's a comedic, satirical re-imagining
14:19 of a contentious historic figure.
14:22 Well, you know, and I think it's safe to say
14:24 that it's about Pinochet, you know?
14:26 And, but I don't really want to say too much more,
14:28 but I think it's sort of one of those curious things,
14:30 I think a lot of it, because I went in completely blind to it,
14:34 I went in not knowing what it was, and it blew me away.
14:37 And as I say, I had this sort of profound effect
14:39 where I came out and thought,
14:40 oh, I really want to talk about this immediately
14:41 with everybody, but then realised I couldn't,
14:44 because so much is in the reveal,
14:45 so much is in the drama of the way history has been changed
14:50 for dramatic, you know, for humorous purposes,
14:52 satirical purposes.
14:53 - Because what I thought was very sort of clever about it
14:55 is not just that there was political commentary,
14:59 but that actually it included the politicians
15:03 who were part of that commentary,
15:04 who'd engendered it in Chile and also in the United Kingdom,
15:08 as principal characters in what is
15:10 pretty much a zombie movie.
15:13 - It really is.
15:14 I think it's, yeah, it's in that,
15:16 it does similar things to Cemetery Man in a way.
15:20 I mean, it's, and to men,
15:23 it makes it unclear who the monsters are,
15:26 and we've got to love that,
15:27 because it's a punching up moment, I think.
15:31 If we're worried about the nature of politics,
15:35 the behavior of politicians, or about ethics,
15:38 which I think we should be,
15:40 sometimes it's nice just to be able to laugh at them,
15:43 to pillory them, and to say,
15:44 what ridiculous characters, what monsters,
15:48 and I think this does that.
15:50 But it's also about, I think it's also,
15:52 in a funny sort of way, it humanizes dictators.
15:57 I wouldn't say in a way that makes them
15:58 acceptable or charming,
16:00 but it talks about their relationships with their families,
16:02 and the curious things that happen when they die
16:05 to do with their inheritance.
16:06 I mean, ill-gotten gains inherited by families,
16:09 that creates a problem for families,
16:10 and I think that's discussed in this film.
16:13 But it's just, I think it's just a bit wacky,
16:17 and I think it's a fun addition.
16:20 - Because the director has a habit, actually,
16:23 of making films about very well-known people,
16:26 including, of course, most recently, Diana.
16:28 He called it Spencer, didn't he?
16:30 And it was obviously about the late Princess of Wales.
16:34 But a very different and quite controversial take
16:38 in the same way, in the way that he went,
16:41 the focus was on a very particular period,
16:43 and it was Christmas 1991,
16:44 and seeing the royal family through the eyes
16:47 of Diana, Princess of Wales,
16:49 but using exactly the same sort of tropes
16:51 that we see in El Condor.
16:52 - Absolutely, absolutely.
16:53 I mean, I say, when I was watching it,
16:54 I didn't immediately make that connection.
16:56 What I did think about was Tarantino,
16:58 and I think some of his recent films,
17:02 Once Upon a Time in Hollywood,
17:04 these what-if stories about history
17:07 that tell us so much about what actually did happen.
17:10 That's what it reminded me of initially.
17:11 - And I suppose that's the way it works for all of us,
17:14 that we all have our own take on a particular character,
17:17 that often people vote for certain people,
17:19 or don't vote for them in the case of
17:20 what happens in the context of dictators,
17:22 but in a way that there is something
17:25 of our lives reflected in them,
17:27 and the way that the film deals with the legacy,
17:29 and the family, and the money,
17:30 and also the immortality issue,
17:32 actually kind of works really well.
17:34 But as you say, it's wacky, it's surreal,
17:36 it's got the most absurd film plot,
17:39 but there's something in there that you feel
17:41 that it says something that a more conventional biopic
17:44 wouldn't have achieved.
17:45 - Most definitely.
17:45 And I mean, one of the tropes of vampire stories
17:48 in particular, because we have this idea
17:50 that vampires can create other vampires,
17:53 one of the tropes is that relations,
17:56 you know, that people have relationships with the vampire
17:58 because they wish to become a vampire themselves,
18:00 and then this kind of idea that people,
18:02 that familiars would end up begging to be a vampire,
18:05 but the vampire would refuse.
18:07 And again, without giving too much away,
18:09 that does happen in this film,
18:11 and there's one character in particular
18:13 who is desperate to become a vampire,
18:16 but isn't allowed.
18:19 And that relationship, that sort of,
18:21 no, this is my domain, this is me and my power,
18:25 and that's not available to people's families,
18:26 that's not available even to their closest relations,
18:30 I think that's relevant,
18:31 whether you're talking about vampires or dictators.
18:33 - It's a very thoughtful film, for sure.
18:35 Okay, well thank you, Alex,
18:35 and it's time to move now onto your final chosen film,
18:39 and you've gone for perhaps something
18:40 from a different genre to the ones
18:42 that we've just been focusing on,
18:43 The Sword in the Stone.
18:45 - And for entirely different reasons as well,
18:49 I mean, this was a childhood favourite,
18:51 I think it's utterly delightful.
18:53 And it's, but I think it stands up well.
18:59 I mean, it was made in 1963,
19:01 but I think it's still just as watchable.
19:04 There are no moments in it when I re-watch it,
19:07 which I frequently do,
19:08 when you're feeling unwell, or a bit run down,
19:12 it's one of those,
19:13 it's a nice thing to have on with a cup of tea,
19:16 but there's nothing in it that draws out that sort of,
19:20 oh, it was a different time.
19:21 There's nothing that makes me uncomfortable,
19:23 there's nothing that reminds me how long ago it was made,
19:26 and it's just a very comfortable space.
19:28 - And do you wanna say a bit about when it was made,
19:29 'cause 1960s.
19:31 - It was, it was the '60s, I think.
19:33 And I mean, it's a different era of Disney films.
19:37 I think there's a character in it called,
19:41 I can't remember the character's name,
19:42 but played by Thirl Ravenscroft,
19:44 and he was better known for being the voice
19:46 of Tony the Tiger,
19:47 and he was on the original Disney Haunted House ride
19:52 as a voice,
19:53 and he's got this tremendous, great booming voice,
19:55 but I had no idea about this when I watched it as a child,
19:58 it was just a tremendously funny, great booming voice,
20:00 and then, you know, you come back to it later
20:02 and recognise the voice,
20:03 that's Tony the Tiger,
20:06 and these sort of funny little connections,
20:07 but it was made just such a long time ago,
20:10 but it's, I think it's utterly charming,
20:13 and such a growing up story.
20:15 - And do you think there's something about animation
20:18 that works in a way that live action can't do?
20:22 And I ask that in the context
20:24 of what we've just been talking about,
20:25 'cause transhumanism, horror, body fluidity, et cetera,
20:29 but in this case here,
20:31 animation is able to do obviously things
20:33 that are perhaps, particularly in the 1960s,
20:36 this was really perhaps ahead of its time.
20:39 - Yeah, I think it was probably very exciting,
20:41 but I mean, I still find it exciting,
20:42 but because the film has a wizard,
20:47 I mean, Merlin, Merlin who can do magic,
20:50 Merlin who can transfigure himself into other animals
20:52 and so on, and frequently does,
20:55 and transfigures Mort into other animals very often,
21:00 that's exciting, that's interesting,
21:01 and they do that for the purposes of learning,
21:03 so it's a growing up story,
21:04 the future King Arthur is learning who he is,
21:07 and at various points, they turn into fish and squirrels,
21:10 and this is Merlin's magic,
21:11 and of course you can do that with animation,
21:13 'cause you can just become a squirrel,
21:15 but then when the witch appears
21:16 and she can transfigure, it's sinister,
21:18 and it's different, and it takes on a whole different,
21:21 I think the thing that I always remember about the film
21:25 is the battle, and it's the battle of two people
21:28 who can transfigure themselves,
21:30 and I think even when you're small,
21:32 you realise that that could be metaphorical.
21:34 - And actually, the links with transhumanism
21:37 are very obvious just from the description
21:40 that you've given, but have you grown up
21:43 with the film as well?
21:44 So some of you watched it when you were young,
21:45 has the film stayed the same, have you evolved,
21:48 or do you, when you watch this,
21:50 are you reminded of, does it evoke your childhood?
21:53 - I think so, it reminds me of being small,
21:56 but also, Chris, I can find transhumanism in anything,
21:59 and I think one of the things that we do, of course,
22:01 is that we overlay our own adult selves onto things,
22:04 so sometimes I watch it and I'm thinking
22:07 about transfiguring yourself and learning and growing
22:10 by being different forms and different shapes,
22:11 and sometimes I'm just remembering being five
22:14 and its bright colours.
22:15 - Because it's very easy to look back,
22:16 and of course there's an obvious thread
22:18 throughout the four films that you've chosen,
22:20 and in terms of your research,
22:22 but do you kind of feel that the film has its own space,
22:25 or do you project onto the film the research
22:29 that you did subsequent to watching that film?
22:31 - I think I do, I think, and I think sometimes
22:35 we have to be very careful
22:36 to pull ourselves back from doing that.
22:37 I mean, you take out of a cinema experience
22:40 what you bring to it, to some extent,
22:43 and we can't help that.
22:44 I think that's the same with something like Men,
22:48 you know, of course it's about something,
22:50 of course it kind of, it could be hitting you over the head
22:52 with the patriarchy, or you could go in and miss that,
22:56 you know, who knows, on a bad day,
22:59 you might go in and miss themes,
23:01 or take in something completely different.
23:04 So I think it's a double-edged sword, isn't it?
23:07 - And I have to ask, have you watched this ever
23:09 on the big screen, or is it a small screen experience?
23:12 - This has always been the small screen for me,
23:14 mostly VHS, my family had the video cassette.
23:19 I mean, if there was a screening of it,
23:21 I would go and see it.
23:23 - Well, that may well happen, so I hope it does.
23:25 Thank you, Alex.
23:26 Well, I'm afraid that that's all the time we have for today.
23:29 Many thanks to Alex Robinson for joining us
23:31 and being such a brilliant guest.
23:33 And that's all the time that we have for today.
23:36 Thank you to those of you at home for tuning in.
23:38 Be sure to come back and join us again
23:40 at the same time next week.
23:41 Until then, that's all from us.
23:43 Goodbye.
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