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Quiz Show
Quiz Show
The Grand Budapest Hotel
The Grand Budapest Hotel
The Grand Budapest Hotel
The Grand Budapest Hotel
Film credit
Ralph Fiennes
Also referred to as Ray Files, Fiennes, fines
Stats
- Episodes featuring their films
- 2
- Movies in this archive
- 3
Rewatchables episodes featuring Ralph Fiennes’s films
The Grand Budapest Hotel
2014 film
Chris Ryan · Sean Fennessey · Andy Greenwald
Aired August 13, 2024
Displaying all 2 episodes
Mentioned in discussions
Apex Mountain
Quiz-show movies: yes
In the discussion (9)
Approx. transcript time · 01:15:04Read transcript
- Ordinary People was offered over Quiz Show as Redford’s directing apex.
- Fiennes was placed around Schindler’s List, Quiz Show, and The English Patient. — Bill Simmons
- Paul Schofield’s apex was placed in the 1960s, not at Quiz Show. — Bill Simmons
- Jack Barry may have been at his fame apex during the original 21 era. — Bill Simmons
- Christopher McDonald’s apex was assigned to Happy Gilmore. — Bill Simmons
- Geritol’s apex ended as the scandal broke in 1959. — Bill Simmons
- Quiz Show was declared the apex of quiz-show movies. — Bill Simmons
- Turturro and movie Boston accents were rejected as apex cases. — Bill Simmons
- Morrow’s 1992 SNL hosting spot with Nirvana was called his apex. — Bill Simmons
Casting What-Ifs
Redford’s Van Doren search, Paul Newman declining Mark Van Doren, and an uncertain Soderbergh/Tim Robbins path
In the discussion (3)
Approx. transcript time · 01:02:39Read transcript
- Redford sought an American for Charles Van Doren, considered William Baldwin, and landed on Ralph Fiennes. — Bill Simmons
- Paul Newman reportedly declined Mark Van Doren. — Bill Simmons
- Steven Soderbergh’s attachment was accepted as true; the Tim Robbins detail remained uncertain. — Bill Simmons
In the discussion (3)
Approx. transcript time · 00:44:13Read transcript
- Rob Morrow receiving top billing over Ralph Fiennes was nominated. — Bill Simmons
- Martin Scorsese at that precise career moment was selected. — Bill Simmons
- Geritol, “beatnik,” and “Gentiles and Jews” were discussed as specifically 1950s details. — Brian Koppelman
Producer review
Film-school influence; satisfying pace and humor; Fiennes; style integral to character
In the discussion (4)
Approx. transcript time · 02:02:59Read transcript
- The film dominated film-school cinematography exercises because its symmetrical framing and dolly shots seemed reproducible. — Chris Ryan
- It prompted exploration of Anderson’s earlier films. — Chris Ryan
- Its pace, energy and overt humor make it especially satisfying; Fiennes gives a favorite performance. — Chris Ryan
- The controlled style feels integral to Gustave and the plot, reducing the irritation some feel with Anderson’s other films. — Chris Ryan
In the discussion (3)
Approx. transcript time · 02:01:42Read transcript
- Wes Anderson is the final choice, while Fiennes remains the hypothetical Oscar recipient. — Chris Ryan
- Anderson’s fully realized vision earns another explicit choice; art and aesthetic principles are also proposed. — Chris Ryan
- A further Anderson agreement emphasizes beauty and satire serving the emotional blow of Gustave’s death. — Andy Greenwald
Podcast choices
- Speaker not identified
- Wes Anderson
- Speaker not identified
- Wes Anderson
- Speaker not identified
- Wes Anderson
In the discussion (1)
Approx. transcript time · 01:55:19Read transcript
- Ralph Fiennes is chosen over Anderson, whose consistently accomplished films make this singular performance the stronger choice.
Apex Mountain
Wes Anderson, qualified
In the discussion (6)
Approx. transcript time · 01:47:20Read transcript
- The mustache ensemble is considered against Cruising and Glory without a settled answer.
- Beautiful boys approaching adulthood is rejected in favor of Stand by Me, with Cruising joked about.
- Anderson’s peak is initially qualified but ultimately supported because the success secured room for many future movies.
- Fiennes’s career opportunity is placed at The English Patient rather than equating this favorite performance with peak influence.
- Revolori’s initial yes is revised to Spider-Man.
- Other actors and fictional Eastern European cities are not affirmed; Sokovia is the joking alternative.
The Rick Dalton Award for the Greatest Fucking Acting I’ve Ever Seen
Goldblum’s cat reaction and legal manner; Fiennes running
In the discussion (2)
Approx. transcript time · 01:40:35Read transcript
- Goldblum’s response to the cat’s death and effortless delivery of legal complications are praised. — Sean Fennessey
- Gustave abruptly fleeing when he realizes he will be arrested is a perfectly timed physical-comedy moment. — Andy Greenwald
In the discussion (3)
Approx. transcript time · 01:38:19Read transcript
- Angela Lansbury was intended for Madame D. but a stage commitment to Driving Miss Daisy caused a scheduling conflict. — Chris Ryan
- Anderson denied a rumor that Johnny Depp was considered for Gustave. — Chris Ryan
- Norton could choose a role except Gustave, which was reserved for Fiennes; Norton would otherwise have pursued it. — Chris Ryan
The Stephen A. Smith Hottest Take Award
Owen Wilson improves other Anderson leads; Dmitri is right, disputed
In the discussion (3)
Approx. transcript time · 01:32:10Read transcript
- Owen Wilson could improve the lead of every Anderson film except this one; Gustave requires Fiennes. — Sean Fennessey
- Dmitri may be right that Gustave exploits wealthy elderly women; a similar figure approaching one’s own mother would cause suspicion. — Chris Ryan
- That suspicion is countered by Gustave’s long relationship, possible love and Dmitri’s possessiveness; simply honoring the painting bequest might have avoided the conflict.
In the discussion (15)
Approx. transcript time · 00:56:05Read transcript
- The film confirms Anderson’s historical stature through commercial success, awards and a defining central performance. — Sean Fennessey
- Fiennes’s versatility rarely receives a full reputational reassessment with each new film. — Andy Greenwald
- Fiennes can play villains, honorable authority figures and small character roles.
- Fiennes’s melancholy beneath the comedy is essential to the film’s success. — Andy Greenwald
- The film sits within an extraordinary decade of Fiennes performances, alongside regular stage work. — Sean Fennessey
- Small roles get remarkable impact from minimal screen time; Wilkinson’s contribution is praised before a later reservation is previewed. — Chris Ryan
- Gustave’s flexible principles are funny: grand vows quickly yield to practical needs, selling the painting or enjoying the money. — Chris Ryan
- Gustave asking Henckels about his mother is a favored line. — Chris Ryan
- Sleeping with wealthy older women is playfully defended as a strategy. — Andy Greenwald
- Brody’s profanity and ordinary New York delivery are singled out.
- The cast’s varied natural accents, including Ronan’s Irish voice, work within the invented setting. — Andy Greenwald
- Swinton’s elderly Madame D. performance and makeup are praised.
- Revolori’s untrained quality suits a novice lobby boy rather than detracting from the performance. — Chris Ryan
- Small frequent meals for stamina is an appealing line or principle. — Chris Ryan
- The film’s palette had a lasting influence on graphic design and fashion.
In the discussion (8)
Approx. transcript time · 00:37:36Read transcript
- The film received nine Oscar nominations and won costume, makeup, production design and original score.
- Fiennes reportedly redid his confessional material after seeing Mathieu Amalric’s intensity, since they initially shot separately. — Andy Greenwald
- Swinton’s old-age makeup reportedly received unusually generous spending compared with the production’s general thrift.
- The replacement painting is titled Two Lesbians Masturbating. — Chris Ryan
- Fiennes improvised Gustave’s full life story for Anderson, from a street-urchin childhood through East London. — Chris Ryan
- Goldblum reportedly stayed for much of the production after finishing his scenes; the company lived and dined together. — Chris Ryan
- Keitel reportedly slapped Revolori 42 times while filming the farewell. — Andy Greenwald
- Hugo Guinness’s story collaboration is belatedly recognized; Anderson wrote the screenplay and Guinness shared the Oscar nomination.
Displaying discussions 1 - 12 of 16 in total
