Alan Parker

And there were some scenes in it that just were really not for the squeamish.

But the director, I love Alan Parker.

I didn't even realize it was an Alan Parker film.

So yeah, that was fun to rewatch that again.

And the scariest part of that movie for me was at the end when Mickey Rourke's character walks back to his hotel room and passes the old woman sitting there and she looks at him.

He used to just get himself, yeah, oh, God, yeah, he was going through a bad, bad drug phase at that point.

And he would literally, he didn't have a good experience with Midnight Express, though, with Alan Parker.

He was very disrespectful.

And then after a while, because he was giving in really good drafts, Alan Parker had to just appreciate, I think because Alan Parker wanted to write the script himself, but he couldn't because he was being distracted by other projects.

But in the end, he had to just say, yeah, we'll do Oliver Stone's script.

Even though he just saw him as a dog's body in the background, just keeping the project going whilst he focused on his other filming.

All right.

So we got Alan Parker as the director of this.

He's also the writer.

His first film was Our Chrissy in 1974.

Rightfully so.

Yeah, terrified of that film, but it's brilliant.

Alan Parker also did Fame in 1980.

He did Pink Floyd, The Wall in 1982.

[laughs] Uh, wow.

But, uh, of course, Alan Parker did it better.

And this is, uh, Hart speaking Spanish.

A very peculiar kind of Spanish, but Spanish nonetheless Long nights inside the international output of Buenos Aires.

Uh-

...

Alan Parker.

Yep.

Yeah.

Yes, yes, yes.

At the end of Alan Parker's 1991 movie, The Commitments, based on the Roddy Doyle novel of the same name.

The main character Jimmy's dream of managing a successful Irish R&B band goes belly up in spectacular fashion when the band gets in a massive fight at their big gig, which leaves their lead singer sprawled out in the alley with his face all busted up and bleeding.

And as Jimmy walks home later that night, along the port of Dublin in the moonlight.

... um, which was amazing.

We worked with some incredible directors, and she went back to the '60s with the likes of Ridley Scott and Alan Parker and, uh, you know, we worked with amazing directors.

And we worked on a couple of TV projects.

We worked on The Bill when it first came out, astonishingly.