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Speaker 1: Him, I Boris, and this is straight talk.

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Speaker 2: I did the documentary because I didn't want him to

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Speaker 2: not be here anymore.

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Speaker 1: Deli Delvin Delaney, Well to straight talk. We're here to

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Speaker 1: talk about a whole lot of stuff. You were married

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Speaker 1: for a long long time to John stock Queyn. Yeah,

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Speaker 1: you met in the pub.

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Speaker 2: Of course.

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Speaker 1: It's like you read about a love stories.

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Speaker 2: Everything he did he thought big, whether it was well

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Speaker 2: Through's Cricket or the Paul Hogan shows, or certainly Crocodile Dundee.

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Speaker 2: And so he had no fear and he had tremendous

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Speaker 2: self belief.

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Speaker 1: He talked about Crocodile Dundee one being to some extent

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Speaker 1: a love story between Hoagues and Linda. Is this documentary

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Speaker 1: about the love story between Delphine Delaney and John Counell. Yeah,

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Speaker 1: this is a love letter to John Delphine Deli Mark

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Speaker 1: Delvin Delaney, Well, having a straight talk. Thank you for

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Speaker 1: having me. How long were we been made for?

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Speaker 2: When you just reminded me it was twenty two years?

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Speaker 2: So I was such a slip of a girl.

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Speaker 1: You were still are. Your gorgeous cheeks just went a

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Speaker 1: bit read too. We Thanksuly, I probably knew before that

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Speaker 1: because I think that I was hunting around up there

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Speaker 1: Byron bay Are with Gingja Maginsha. He's probably used to

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Speaker 1: stay up at one of your the a frame for

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Speaker 1: your place up there.

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Speaker 2: He stayed in every house I had spread himself around.

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Speaker 1: And now he lives up Welcome and live neighbor and

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Speaker 1: my neighbor too. Well, we're here to talk about a

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Speaker 1: whole lot of stuff. You were married for a long

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Speaker 1: long time to one of the people that I consider

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Speaker 1: and I'm not an efficionado on this topic, but I

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Speaker 1: considered to be one of the greatest creators in Australian

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Speaker 1: television and probably a lot of other things too, in

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Speaker 1: an entrepreneurial sense. Ever, of course, John stropped Cornell. Yeah,

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Speaker 1: how long ago were you guys married?

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Speaker 2: We were married for forty six years?

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Speaker 1: Forty six years? Yeah, and he passed away? How long agoes? Now?

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Speaker 1: As he passed away, it'll be four years in July.

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Speaker 1: Four years. Wow, that's mad. I do want to talk

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Speaker 1: to you about that, not his passing, but I want

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Speaker 1: to talk to you about how you met.

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Speaker 2: We met in the pub, of course, I know who'd

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Speaker 2: have thought that we would have had one for thirty

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Speaker 2: years afterwards, but we met it five ways in Paddington

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Speaker 2: and he had been apparently perving on me in TV week,

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Speaker 2: which I didn't know. I just sort of started a

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Speaker 2: fledgling television career and I sat next to Paul Hogan

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Speaker 2: at a footy event for one of the networks, I

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Speaker 2: think it was seven, and we hit it off. And

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Speaker 2: at the time they had only a guest actress every

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Speaker 2: month on the Paulhiggan Show. So Paul reported back to

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Speaker 2: John saying, I met that Delving Delaney. She's a bit

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Speaker 2: of all right, mate, you'd like her. I think we

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Speaker 2: should have her on the show. So as a result

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Speaker 2: of that, when I was in this pub and my

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Speaker 2: date went to the toilet and his date, I don't

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Speaker 2: know where she was, but he left her to come

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Speaker 2: over to me and he said, oh, you don't know me.

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Speaker 2: I'm John Cornell. I produced the Paul Hogan Show. Would

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Speaker 2: you like to be on it? And I just dropped

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Speaker 2: to the floor pretty much and said yes please, because

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Speaker 2: that was probably the biggest break that I could have

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Speaker 2: had at that stage of my career. And so a

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Speaker 2: couple of months later I was up in Sydney doing

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Speaker 2: the rehearsal and saying yes to every single thing that

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Speaker 2: he asked me, could I play, even though I'd never

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Speaker 2: done any of them, because I didn't want to lose

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Speaker 2: my chance. So that's how we met, and that's how

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Speaker 2: we started a romance a couple of months after that.

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Speaker 1: What is it attracted to you? You to him when

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Speaker 1: you first met him? What was the his sense of humor? Was?

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Speaker 1: It was an instant though?

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Speaker 2: Was it an instant, instant chemical attraction from both of us?

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Speaker 2: It's like you read about in the love stories, and

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Speaker 2: I think too. He was you know, John was ten

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Speaker 2: years older than I am, so I'd always liked older man,

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Speaker 2: and he ticked the boxes in so many ways. He

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Speaker 2: was good looking, he was funny, he was smart, he

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Speaker 2: was kind, he was sexy. He was all of those

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Speaker 2: things that a woman could ever want. Intelligent too, very

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Speaker 2: very very intelligent. Yeah, John. John had the kind of

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Speaker 2: mind that I could never anticipate. If somebody said to me,

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Speaker 2: can you you know, can you find what would John

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Speaker 2: say to that last that you'd have to ask John?

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Speaker 2: I could never get it right. And so he had

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Speaker 2: a very original way of thinking, and he was expansive.

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Speaker 2: He wasn't afraid to think big. Everything he did he

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Speaker 2: thought big, whether it was Will through his cricket or

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Speaker 2: the Paul Hogan Show, or certainly Crocodile Dundee. And so

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Speaker 2: he had no fear, and he had tremendous self belief,

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Speaker 2: and he had more belief in Paul Hogan than Paul

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Speaker 2: Hogan had in himself, which is what Hoages is readily

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Speaker 2: admitted to. And so I think that when you have

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Speaker 2: somebody believe in you so strongly, it gives you the

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Speaker 2: confidence to go forward with great ambition, which is what

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Speaker 2: Paul did because he knew he had John backing him.

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Speaker 2: And I think too, it was such a symbiotic relationship

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Speaker 2: that they were like soul brothers, you know, they really

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Speaker 2: were on the save waveleck and aiming for the same

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Speaker 2: high things. And they both were great patriots, And so

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Speaker 2: I think that whole thrust drove their careers and determined

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Speaker 2: what they wanted to do.

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Speaker 1: You said, you're on there. You were featured in TV week.

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Speaker 1: I sent a recall back in those days. And I

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Speaker 1: don't know what you were doing at the time. Were

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Speaker 1: you doing Salent Century or you what were you doing

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Speaker 1: it the time?

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Speaker 2: No, I was doing some other dodgy quish show, quish show.

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Speaker 2: I did a few dodgy, dodgy quish shows. This one

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Speaker 2: was called high Rollers.

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Speaker 1: High Rollers. It was it's no longer going, certainly not. No,

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Speaker 1: I do remember you in the Sale of the Century.

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Speaker 1: Every young man remembered Delvin Delaney in the Side of

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Speaker 1: the Century. People watched it. We didn't care about the

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Speaker 1: quiz part of it. We're more interested in seeing Delvin Delaney.

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Speaker 1: I can now tell you that after forty years or so,

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Speaker 1: I've never made that admission to you. But now I'm

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Speaker 1: making that admission to you. So I hope you don't

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Speaker 1: mind safe now. Yeah, I'm safe now. Now you're safe.

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Speaker 1: Now that's a better part. But how and you actually, probably,

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Speaker 1: I would say during that period, or a ten year period,

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Speaker 1: you would have been probably the most featured person on

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Speaker 1: the front of a lot of the magazines, Women'sday, Women's Weekly,

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Speaker 1: TV Week, all the other stuff that was out there.

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Speaker 1: I mean, you're always on the front of a cover

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Speaker 1: of a cover, featured in a lot of the covers.

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Speaker 1: Why do you think there was such a fascination with

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Speaker 1: you during that period? What is you think?

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Speaker 2: What is a vision? Is a very transparent medium, and

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Speaker 2: I think that if you're not authentic and honest, people

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Speaker 2: see straight through you. And so I just tried to

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Speaker 2: be myself, really and I operate from a place of

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Speaker 2: kindness and compassion.

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Speaker 1: You know.

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Speaker 2: I believe in building people up, not bringing them down,

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Speaker 2: and kindness as a currency, and I think that people

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Speaker 2: relate to that, and they can they can recognize that.

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Speaker 2: When I was getting this sounds a bit wanky, but

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Speaker 2: when I was being driven to the studio in my limousine,

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Speaker 2: I'd ask the driver take me the back way, take

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Speaker 2: me the back way through the poorer neighborhoods. Because I

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Speaker 2: knew that when I was recording that show, I was

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Speaker 2: going to be trying to sell a two thousand dollars

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Speaker 2: mont Blanc pen to my audience, and that audience with

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Speaker 2: those people right across Australia, but certainly inclusive of all neighborhoods.

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Speaker 2: And so it had to be my attitude to that

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Speaker 2: had to be relatable to people from all walks of life.

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Speaker 2: And so I didn't want to elevate myself. I wanted

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Speaker 2: to make sure that they were on my plane. I'm

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Speaker 2: on your plane too. I came from a family that

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Speaker 2: didn't have any money, and so I understood the value

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Speaker 2: of money and how difficult it is sometimes to keep

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Speaker 2: it and make it. And so I think that I

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Speaker 2: think that was probably one of the qualities. I'm a

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Speaker 2: ready laugher.

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Speaker 1: You know.

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Speaker 2: I had a co star who was a little bit

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Speaker 2: difficult to work with. A couple of times I did

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Speaker 2: One time I got him in the nose with a

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Speaker 2: powder puff because he was being a bit of a

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Speaker 2: he was annoying me. So we did it in front

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Speaker 2: of a live audience and he was being annoying him.

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Speaker 2: So I got this powder puff that was on the

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Speaker 2: set and just went on his face and all his

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Speaker 2: powder The director saying, cart cart I'm saying, leave it in.

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Speaker 2: Everyone loved that because I don't like him either.

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Speaker 1: Hopefully he's watching, he probably would be.

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Speaker 2: I don't know, but you know, it's the truth, and

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Speaker 2: I don't think you can fool people, and so maybe

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Speaker 2: that was part of the reason why people related, and

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Speaker 2: the same with Hoages. People related to Hoax because he

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Speaker 2: told the truth. He was authentic, and I think that

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Speaker 2: was also what John was. John was lucky and that

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Speaker 2: he could hide behind strop yeah and not get recognized,

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Speaker 2: and people didn't really know who John Cornell was.

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Speaker 1: But now stop for those people who don't know, Strop

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Speaker 1: was his order ego. It was his other character was

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Speaker 1: that was the character in the Paul Hogan show. Strop

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Speaker 1: was was John Cornell's character.

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Speaker 2: Dopey sidekick, as Hogs would say, the forty year old

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Speaker 2: virgin or a lifesaver's cap at a twisted grin.

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Speaker 1: And he was hilarious.

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Speaker 2: In fact, in those sketches, Hoages was stropped straight man

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Speaker 2: because Strop was funnier than Hoages in those particular Hoges

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Speaker 2: and Strop sketches. And so I think, I think having

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Speaker 2: this forty year old virgin who was constantly leering after women,

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Speaker 2: usually me in the sketch was also something very relatable

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Speaker 2: to young young boys who were watching, like, you know,

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Speaker 2: I've got to try to get the girl, doesn't matter

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Speaker 2: how dopey or hm. I'm going to try to get

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Speaker 2: the girl and one day I might win. And he

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Speaker 2: did because we married. So that was that was that

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Speaker 2: was curious because my mum actually thought I was dating Strop.

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Speaker 1: You're going to marry that Guy'm'm going to read him

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Speaker 1: home to meet you. It's a funny thing. I wonder what,

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Speaker 1: when I think about would you say in terms of

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Speaker 1: how you describe strop I wonder whether you would know

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Speaker 1: what it was about you that he found attractive. I mean,

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Speaker 1: because I find both of you refreshingly honest, normal, both funny,

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Speaker 1: both creative, and both really kind. You're both very kind hearted,

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Speaker 1: like not putting it on and I'm not here to

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Speaker 1: blow smoke up or proverbial, but that is the truth.

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Speaker 1: That's how you, guys are. That's why everyone loves you, guys,

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Speaker 1: both of you. Do you think that he saw the

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Speaker 1: same things in you that you saw in him, because

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Speaker 1: it sounds like a real commonality. Definitely.

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Speaker 2: And I think too that we're both nature lovers. We'd

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Speaker 2: spend a lot of time camping. In fact, I had

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Speaker 2: my honeymoon.

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Speaker 1: In a tent.

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Speaker 2: And John had a four year old daughter at the time,

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Speaker 2: whom I inherited as a three year old, which was

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Speaker 2: not what I'd planned.

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Speaker 1: You were twenty three, yes, and so.

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Speaker 2: I think that he just could see that I was

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Speaker 2: very accepting of life and capable of just handling, or

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Speaker 2: at least trying to, anything that was put in my way. Yeah,

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Speaker 2: I'll have a go, I'll have a go, And I

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Speaker 2: think that have a go mentality really underpinned John and

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Speaker 2: Paul as well. You know, my mummy used to say,

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Speaker 2: if you want to try something, just have a go,

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Speaker 2: have a go. You might be really good at it.

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Speaker 2: And her words would ring in my ears whenever I

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Speaker 2: would try anything new, And so, you know, I think

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Speaker 2: that was part of John's way of life as well,

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Speaker 2: and probably connected us in that attitude that yeah, yep,

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Speaker 2: just have a go at something and try your best

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Speaker 2: and keep your sense of humor.

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Speaker 1: Would you be able to just remind us or informost

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Speaker 1: like what was the background behind the Paul Hogan Show?

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Speaker 2: Like?

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Speaker 1: What was the genesis of it? The idea? What was

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Speaker 1: what was the Paul Hogan Show supposed to do? Present

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Speaker 1: in terms of the two characters. Was what were trying

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Speaker 1: to tell the audience? You know? And how did it start?

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Speaker 1: Was it difficult? I mean you came into it later on,

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Speaker 1: but you must know the whole story. So and did

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Speaker 1: have to present to who? You know? Who did you

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Speaker 1: have to pitch your idea to? Who? Did John pitch it.

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Speaker 2: To Channel nine first? And then it went to seven

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Speaker 2: and then it came back to nine. But John, John

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Speaker 2: and Mike Willisy founded A Current Affair. They were both

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Speaker 2: journalists together in Western Australia. John was Australia's I think

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Speaker 2: still is youngest super A grade journalist, so at twenty

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Speaker 2: three he was writing a backpage column. At twenty five

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Speaker 2: he was London editor, so he had a very golden

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Speaker 2: journalism career. They left Perth to go to Melbourne and

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Speaker 2: started up A Current Affair. John named it and he

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Speaker 2: was the producer. And because he'd worked in newspapers with

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Speaker 2: the likes of Paul Rigby, who was one of Australia's

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Speaker 2: eminent cartoonists and went on to work in New York.

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Speaker 2: When he saw Paul Hogan, it's peace that Tony Ward

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Speaker 2: had done after Paul had won new faces. When he

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Speaker 2: saw his piece on A Current Affair, John realized that

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Speaker 2: this is the guy that he'd been looking for to

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Speaker 2: give ordinary Australians commentary on the week's events. At the

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Speaker 2: end of the week he had a Friday afternoon slot.

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Speaker 2: Just once a week. He'd go into the studios, put

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Speaker 2: his hand out. They'd give him some cash, much more

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Speaker 2: than he was paying getting paid to work on the

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Speaker 2: Sydney of a bridge. Put in his pocket back to

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Speaker 2: the Bridge, and then Mike and John had a bit of.

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Speaker 1: A bust up, as in Willisey.

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Speaker 2: And Mike Willersey. John left and Paul went with him,

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Speaker 2: and they tried a couple of things that they made

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Speaker 2: a special hoax in Singapore, hoages in England. And then

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Speaker 2: it became obvious to John that he had to have

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Speaker 2: his own show, and so they did a pilot which

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Speaker 2: I found in my.

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Speaker 1: Archives that'll be in the documentary YEP.

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Speaker 2: Nineteen seventy four. And then it went from there because

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Speaker 2: it raided its head off because what they were asking

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Speaker 2: Australians was to be themselves and to not be ashamed

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Speaker 2: of who they were. And we had cut the umbilical

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Speaker 2: cord to England by then, well they did. They had

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Speaker 2: a big role in sharpening the blade to cut the

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Speaker 2: cord because OSI's were kind of cringing it our identity

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Speaker 2: a bit. You know, we didn't have much national pride

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Speaker 2: back in the early seventies. Even the newsreaders spoke with

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Speaker 2: a clipped British accent, I remember, And so outcomes hoagues

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Speaker 2: get a viewers. Yeah, let me you know, let me

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Speaker 2: let me tell you, let me tell you a bit

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Speaker 2: about what the news that isn't but should be. You know,

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Speaker 2: let me tell you what you should be hearing kind

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Speaker 2: of thing. This is the truth. And he did it

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Speaker 2: with such naturalness and humility and and affection that nobody

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Speaker 2: took offense to it. It was like, yeah, we should

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Speaker 2: have a voice, and yeah, that's how we sound when

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Speaker 2: we use that voice. We're Australian.

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Speaker 1: Did you see? That's really interesting? So DELI are you

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Speaker 1: saying that one of their big objectives of the two

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Speaker 1: of them, was to give Australians a voice outside of

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Speaker 1: what we used to being fed through the media, through

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Speaker 1: the news for example. It was actually giving us a

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Speaker 1: voice someone who sounds like us, someone who probably looks

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Speaker 1: like a normal Pussie, you know, like short's the sawn

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Speaker 1: off shirt that used to have on, the fair hair,

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Speaker 1: and the look the whole look. Yeah, the boots and

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Speaker 1: the socks, the workers boots and the socks sort of

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Speaker 1: just coming above the top of the boots. Was it

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Speaker 1: was was it the objective to make hoagues some of

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Speaker 1: them we all identify with which I did as a

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Speaker 1: kid and who was a young man. And was it

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Speaker 1: also that he was going to say what I think

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Speaker 1: or what my colleagues might be thinking, or say in

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Speaker 1: a way that my colleagues might be might be thinking,

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Speaker 1: not the way that we're going to get be fed

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Speaker 1: by the ABC or General nine News or whoever it

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Speaker 1: was doing the news at the time. It was at

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Speaker 1: that that's a bigger issue than that's a much bigger

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Speaker 1: objective than just being a comedy show.

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Speaker 2: Well it wasn't political, but it was patriotic, yeah, And

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Speaker 2: I think that what what they were trying to do

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Speaker 2: was to and not give Australians a voice, but give

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Speaker 2: Australians permission and encouragement to have a voice. Interesting because

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Speaker 2: we weren't being represented, certainly in the media and possibly

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Speaker 2: in newspapers as who we were, and so you know,

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Speaker 2: they steered away from politics really apart from sending up politicians.

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Speaker 2: So you know, if you ask Coaxact question, he would say,

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Speaker 2: all I want to do is make people laugh in

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Speaker 2: the most humble of ways, he would tell you that.

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Speaker 2: But behind that there were also these other Alarican qualities

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Speaker 2: and laryicn just means somebody who's anti establishment and anti authority,

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Speaker 2: and at that time of Australia's trajectory, we needed a

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Speaker 2: big dose of Alaricanism, to be able to stand on

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Speaker 2: our own feet and not feel ashamed of it. We

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Speaker 2: still do, yeah, probably probably There's never been another Paul Hogan,

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Speaker 2: So I hope we haven't forgotten that encouragement to have

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Speaker 2: this courage to say, no, we don't want to be

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Speaker 2: represented like that, that's not who we are, and to

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Speaker 2: know who we are. And I think that was part

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Speaker 2: of the success of Crocodile Dundee because Mick Dundee was

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Speaker 2: somebody so many of us wanted to be or could

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Speaker 2: certainly recognize as somebody that we'd like to meet.

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Speaker 1: And know and be mates with, have a beer with,

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Speaker 1: and have a beer with.

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Speaker 2: And that extended all over the world. They started to

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Speaker 2: see Aussies as being approachable and friendly and harmless and

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Speaker 2: up for a laugh and all those qualities that we

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Speaker 2: all as Australians have, but no pushover, but don't celebrate

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Speaker 2: and certainly not a pushover.

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Speaker 1: Yeah, because we don't want that either.

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Speaker 2: No.

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Speaker 1: No, John was outside of croc Dundee and outside of

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Speaker 1: the Paul Hogan Show, John was actually very creative in

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Speaker 1: his own right as well. Can you just take us

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Speaker 1: through the conversation of his pitch with Kerry Packer around

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Speaker 1: Wilshu's cricket. I mean, I've heard this story many times

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Speaker 1: from John, but like to take the audience through it, like, well,

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Speaker 1: tell me about it.

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Speaker 2: Yeah. So, Kerry Packer was a big cricket fan. He

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Speaker 2: didn't like the way that it was being covered. He

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Speaker 2: thought he could have done better with his Channel nine team,

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Speaker 2: so he approached the cricket Board to try to get

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Speaker 2: the rights from the ABC Tess cricket then was boring

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Speaker 2: and bland and only covered by two cameras and you know,

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Speaker 2: very white bread, boring coverage. So they knocked him back.

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Speaker 2: That could a be in Kerry's bonnet.

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Speaker 1: He didn't like that. He didn't like that.

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Speaker 2: And so at the time John was managing Dennis Lilly,

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Speaker 2: who was the world's fastest fast bowler and being paid

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Speaker 2: less than the guy who moved the sight screen as

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Speaker 2: in those days behind the players, which infuriated John, and

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Speaker 2: so he decided to go to the board and try

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Speaker 2: to get more money for the players. And the board

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Speaker 2: said no to that too.

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Speaker 1: This is a strain creeckerboard. Yeah.

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Speaker 2: So then neither of those men like to be defeated,

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Speaker 2: particularly when there's honor involved and justice and fair play.

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Speaker 2: Those guys, they weren't being paid enough. They were being

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Speaker 2: trotted out as eleven flanneled anonymous fools to pay for

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Speaker 2: very little money and not be able to really hold

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Speaker 2: down another job and be expected to be patriots for

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Speaker 2: their country and no reward. And so John went to

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Speaker 2: Kerry Packer and so I've got this idea, mate, we

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Speaker 2: should sign up the world's best cricketers and start our

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Speaker 2: own competition. And Kerry loved it. And so John came

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Speaker 2: up with the idea of colored clothing using the white ball,

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Speaker 2: putting microphones at the base of the stump so you

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Speaker 2: could hear the players covering it with eight cameras overhead shots,

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Speaker 2: like all of those really innovative ideas to reinvigorate cricket

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Speaker 2: one day, games night cricket. And Kerry was just totally

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Speaker 2: on board and didn't mind being the front man for

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Speaker 2: it because it gave him a chance to vent off

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Speaker 2: at the cricket board, square.

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Speaker 1: Up, absolutely square up.

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Speaker 2: And so it was a wild ride because I remember

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Speaker 2: them trialing all of these other colors for the balls

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Speaker 2: as well, orange and hot pink and bright red, and

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Speaker 2: then trying the white ball and seeing what would happened

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Speaker 2: to it when DENNIESELI did that.

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Speaker 1: Is his trademark though.

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Speaker 2: Yeah, so it was extraordinary and it wasn't a lay

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Speaker 2: down there.

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Speaker 1: It was failing the Wallsare's cricket initially in the beginning.

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Speaker 2: Yep, until John went to big l of Mojo Alan

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Speaker 2: Johnston and said we need an anthem. And he knew

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Speaker 2: Allan Johnston because they'd done the Winfield ads and that

401
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Speaker 2: was a top ad agency at the time. Morrison Alan

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Speaker 2: Johnson jo, Yeah, yeah, I remember them, and so it

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Speaker 2: is an inevitable voice. Big al as I lovingly call him, came.

404
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Speaker 1: Up with come on as he come on a great song.

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Speaker 1: And then we got.

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Speaker 2: Ads on radio and John would go into Channel nine

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Speaker 2: late at night and say, well, not even so late sometimes,

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Speaker 2: what ads have you got on? He said, We've got

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Speaker 2: you know, three Harvey Norman and two Toyota and well

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Speaker 2: take one of the hardy normal ones off put a

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Speaker 2: promo for World Serious Cricket. Kerry said it's.

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Speaker 1: All right because he's a cheeky bugger John, So cheeky,

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Speaker 1: cheeky like it. Take a bit of risky, cheeky bugger like.

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Speaker 1: So they take the risks and deal with it later.

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Speaker 1: Calculated risks.

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Speaker 2: Yeah, he'd think about it first and think, yeah, can

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Speaker 2: I get away with that?

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Speaker 1: Yeah? And if it's good, if it's good outcome, yeah,

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Speaker 1: car always a win win outcome.

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Speaker 2: And he used to say, you know the art of

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Speaker 2: a good negotiation is when both parties leave the two

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Speaker 2: able feeling like they have won.

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Speaker 1: That's very good as you can pull that off. And

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Speaker 1: that that World's Series Cricket song, come on, I was

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Speaker 1: he come on, that's still gets played everywhere. I mean

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Speaker 1: people still sing it. Everyone knows it Australians and they'll

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Speaker 1: sing it at the cricket, they'll sing it at lots

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00:24:16,080 --> 00:24:18,520
Speaker 1: of events. That was a pretty do you think that

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00:24:18,600 --> 00:24:22,440
Speaker 1: was an iconic moment four World Series cricket, Getting the

430
00:24:23,119 --> 00:24:26,280
Speaker 1: tune and the beat, it just all worked out well, just.

431
00:24:26,320 --> 00:24:30,919
Speaker 2: Turned it around. And I can remember hearing that and

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Speaker 2: driving across the Sydney Harbor Bridge from Kerry's place to

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Speaker 2: ours playing it at the top volume I could possibly.

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Speaker 2: It was the most infectious, wonderful anthem for Australia, and

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Speaker 2: that's in the doco. I put that in the doco

436
00:24:45,680 --> 00:24:50,080
Speaker 2: as well. And when I played it to various people

437
00:24:50,160 --> 00:24:53,560
Speaker 2: and I remember that knew all the words, you know,

438
00:24:53,800 --> 00:24:55,600
Speaker 2: just stood to their feet. Oh that was such a

439
00:24:55,600 --> 00:24:58,440
Speaker 2: great moment. And it was back in the day when

440
00:24:58,440 --> 00:25:02,240
Speaker 2: I think there was more engagement by the public to

441
00:25:02,480 --> 00:25:08,040
Speaker 2: cricket because at the end of that Addy, everybody runs

442
00:25:08,080 --> 00:25:09,160
Speaker 2: onto the ground.

443
00:25:09,600 --> 00:25:11,720
Speaker 1: Which you can't do. I'm not allowed to do anymore.

444
00:25:11,800 --> 00:25:14,440
Speaker 2: So it was like, oh, and people sitting on the hill,

445
00:25:14,480 --> 00:25:16,040
Speaker 2: and you know, it was back in the day when

446
00:25:16,480 --> 00:25:19,280
Speaker 2: things are a bit more relaxed and you could reach people.

447
00:25:19,320 --> 00:25:23,040
Speaker 1: I think the song the song, the song itself one

448
00:25:23,080 --> 00:25:24,399
Speaker 1: of these I used to always think it was so

449
00:25:24,440 --> 00:25:29,760
Speaker 1: successful was because it had like an under score of nostalgia.

450
00:25:30,520 --> 00:25:35,119
Speaker 1: You know, it's very nostalgic. The song come On he evoked.

451
00:25:35,160 --> 00:25:37,879
Speaker 1: It was very evocative, evoked nostalgia in my mind, like

452
00:25:37,920 --> 00:25:40,160
Speaker 1: it made me feel nostalgic about stuff it still darts,

453
00:25:40,200 --> 00:25:43,680
Speaker 1: to be honest with you, It's like it was presenting

454
00:25:43,680 --> 00:25:46,879
Speaker 1: to me a time that used to be and that

455
00:25:46,960 --> 00:25:49,480
Speaker 1: I missed and that it should now be there again.

456
00:25:49,880 --> 00:25:53,200
Speaker 1: And I thought the song was like it It actually

457
00:25:53,200 --> 00:25:56,439
Speaker 1: brought to life well series cricket because it added that

458
00:25:56,480 --> 00:25:59,560
Speaker 1: sort of emotion to it. Cricket was cricket and was

459
00:25:59,640 --> 00:26:00,960
Speaker 1: sure were going to buy this play, We're going to

460
00:26:00,960 --> 00:26:02,720
Speaker 1: buy their player, and we're going to pay more money.

461
00:26:02,760 --> 00:26:05,679
Speaker 1: All that stuff, all those things really important runs in

462
00:26:05,760 --> 00:26:11,239
Speaker 1: the process of doing something revolutionary rebellious, which is very

463
00:26:11,320 --> 00:26:15,159
Speaker 1: much in the Strain spirit. But the song brought it

464
00:26:15,240 --> 00:26:18,600
Speaker 1: to life. Yeah, and John knew that. I mean, I

465
00:26:18,720 --> 00:26:21,440
Speaker 1: ask you, did John know in the back of his mind,

466
00:26:21,480 --> 00:26:23,800
Speaker 1: I need to get someone like the Mojo guys to

467
00:26:23,840 --> 00:26:24,600
Speaker 1: write the song for me.

468
00:26:25,320 --> 00:26:28,479
Speaker 2: There was no other choice. And I think too that

469
00:26:28,520 --> 00:26:32,120
Speaker 2: what Well through his cricket brought was identity for the players.

470
00:26:33,080 --> 00:26:35,119
Speaker 2: And so then you can attach yourself to something and

471
00:26:35,160 --> 00:26:36,680
Speaker 2: you can have a favorite player.

472
00:26:36,359 --> 00:26:37,520
Speaker 1: Because you know who they are.

473
00:26:37,720 --> 00:26:40,600
Speaker 2: Yeah, And so you know Early's pounding down like a machine,

474
00:26:40,680 --> 00:26:44,359
Speaker 2: Pasco's making divots in the green. You know, Marsh's taken wickets,

475
00:26:44,400 --> 00:26:47,600
Speaker 2: Dougi's clearing pickets, the chapel eyes have got that killer gleam.

476
00:26:48,040 --> 00:26:51,199
Speaker 2: Suddenly you know who these players are in close up

477
00:26:51,280 --> 00:26:55,600
Speaker 2: on your screen. Then you could identify. Then you've got

478
00:26:55,680 --> 00:26:59,440
Speaker 2: a connected audience. And so that's what was missing from

479
00:26:59,440 --> 00:27:03,440
Speaker 2: the ABC coverage and the Cricket Board's old fashioned British

480
00:27:03,520 --> 00:27:08,879
Speaker 2: style of television coverage is that they are eleven flanneled fields.

481
00:27:08,880 --> 00:27:11,880
Speaker 2: You don't know who they are. So if you've got somebody,

482
00:27:11,920 --> 00:27:15,760
Speaker 2: particularly like Dennis Lily with his shirt button down to here,

483
00:27:15,760 --> 00:27:17,320
Speaker 2: in his gold chain and long hair.

484
00:27:17,640 --> 00:27:22,040
Speaker 1: On his chest, I like him? Who's he?

485
00:27:22,640 --> 00:27:25,199
Speaker 2: Well, now I know, and so you've you've got an

486
00:27:25,200 --> 00:27:28,800
Speaker 2: invested audience and that's what part of it anyway, what

487
00:27:28,920 --> 00:27:31,600
Speaker 2: brought them to the game. And there were jingles played

488
00:27:31,640 --> 00:27:33,879
Speaker 2: and competitions. Can you name the next line? You know,

489
00:27:33,960 --> 00:27:39,920
Speaker 2: the whole marketing campaign was brought to life to further

490
00:27:40,000 --> 00:27:44,160
Speaker 2: its success. And it wouldn't have happened without that song.

491
00:27:44,920 --> 00:27:49,240
Speaker 1: Given John, as we talked about earlier, he passed away

492
00:27:49,240 --> 00:27:53,000
Speaker 1: a couple of years ago, do you think that's would

493
00:27:53,040 --> 00:27:55,919
Speaker 1: John think that was one of his greatest achievements, not

494
00:27:56,359 --> 00:27:59,200
Speaker 1: getting World Series Cricket away, but the effect of World

495
00:27:59,280 --> 00:28:02,600
Speaker 1: Series cricketffect of the song, the effect of identifying with players,

496
00:28:03,640 --> 00:28:07,760
Speaker 1: you know, engaging the consumer or the audience closer to

497
00:28:07,760 --> 00:28:09,760
Speaker 1: the players. Getting more money for the players is great too,

498
00:28:10,000 --> 00:28:13,879
Speaker 1: engaging the whole box. And Dice would he if he

499
00:28:13,960 --> 00:28:16,679
Speaker 1: was sitting here now and probably AOI I could do

500
00:28:16,720 --> 00:28:18,640
Speaker 1: that for us. But if he was sitting here now

501
00:28:18,720 --> 00:28:22,000
Speaker 1: next to you, do you reckon that would be one

502
00:28:22,040 --> 00:28:23,280
Speaker 1: of his greatest achievements.

503
00:28:23,920 --> 00:28:27,199
Speaker 2: Yeah, And I think the reason would be was that

504
00:28:27,320 --> 00:28:30,120
Speaker 2: it achieved the outcome that he sought was to get

505
00:28:30,119 --> 00:28:33,199
Speaker 2: a better deal for the players and to create a

506
00:28:33,240 --> 00:28:36,879
Speaker 2: more entertaining form of cricket for the viewers. You know,

507
00:28:37,000 --> 00:28:42,920
Speaker 2: John was egalitarian and he was also values driven and

508
00:28:42,960 --> 00:28:46,400
Speaker 2: he did things for the good of all and so

509
00:28:46,600 --> 00:28:49,520
Speaker 2: that's what drove him. He didn't take any money for

510
00:28:49,600 --> 00:28:53,080
Speaker 2: World Series cricket, just like he didn't take any money

511
00:28:53,280 --> 00:28:55,040
Speaker 2: for the Australian Tourism campaign.

512
00:28:55,840 --> 00:28:57,560
Speaker 1: This is put the shrimp on the barbie.

513
00:28:57,600 --> 00:29:00,280
Speaker 2: Yeah, I don't want the money. I just want a

514
00:29:00,280 --> 00:29:04,120
Speaker 2: good job done. Because he wanted to achieve his ambition,

515
00:29:04,360 --> 00:29:08,680
Speaker 2: which was to get better recognition and better outcomes for

516
00:29:08,760 --> 00:29:11,280
Speaker 2: all of those guys who were diverting their time for Australia.

517
00:29:11,360 --> 00:29:12,760
Speaker 1: Sort of nation building stuff.

518
00:29:13,200 --> 00:29:14,840
Speaker 2: It is absolutely nation building.

519
00:29:14,880 --> 00:29:17,720
Speaker 1: It's nation building, but not unelected. In other words, he's

520
00:29:17,760 --> 00:29:20,400
Speaker 1: just doing it on his own bat Yeah the pun,

521
00:29:20,440 --> 00:29:22,320
Speaker 1: but he's doing on his own his own back. But

522
00:29:23,080 --> 00:29:27,480
Speaker 1: it just came in actually, But because he actually had

523
00:29:27,480 --> 00:29:29,800
Speaker 1: a broader purpose in his life and that's amazing. Not

524
00:29:29,840 --> 00:29:32,160
Speaker 1: many people like that. Most of us are all pretty

525
00:29:32,160 --> 00:29:34,000
Speaker 1: selfish and thinking about what's in it for me? What

526
00:29:34,120 --> 00:29:35,360
Speaker 1: can I get out of it? I don't mean in

527
00:29:35,360 --> 00:29:38,760
Speaker 1: a bad way, just how can I get ahead. He

528
00:29:38,800 --> 00:29:41,680
Speaker 1: was actually sitting back and thinking of these things, and

529
00:29:41,720 --> 00:29:44,440
Speaker 1: he had the perfect by the way, in most respects,

530
00:29:44,440 --> 00:29:46,200
Speaker 1: he had the perfect host, which is Hoes. We get

531
00:29:46,200 --> 00:29:50,920
Speaker 1: back to Hoages now, let's let's just settle down for

532
00:29:50,960 --> 00:29:57,360
Speaker 1: a second on the whole Crocodile dundee from where it

533
00:29:57,400 --> 00:30:00,560
Speaker 1: started the idea. I mean, the name income from f

534
00:30:00,640 --> 00:30:06,280
Speaker 1: start Crocodile Dundee O came from Hoages, nomber. Where do

535
00:30:06,360 --> 00:30:06,800
Speaker 1: they think of that?

536
00:30:06,880 --> 00:30:12,840
Speaker 2: I am, well, Hoages because he was we just moved

537
00:30:12,880 --> 00:30:15,920
Speaker 2: to Byron. We'd kind of finished with the Paul Hogan

538
00:30:15,920 --> 00:30:19,480
Speaker 2: Show Gone. You know, nine years was for me, it

539
00:30:19,560 --> 00:30:21,480
Speaker 2: was like evern or twelve. I think for them.

540
00:30:22,960 --> 00:30:25,760
Speaker 1: You were doing at that time, you were doing Solo Century. Yeah, yep.

541
00:30:26,160 --> 00:30:29,800
Speaker 2: After we moved to Byron, and so John was they

542
00:30:29,800 --> 00:30:31,640
Speaker 2: were looking for something. John was always wanting to make

543
00:30:31,680 --> 00:30:36,400
Speaker 2: a movie with Hoagues, always believed that he had star quality.

544
00:30:37,320 --> 00:30:41,000
Speaker 2: So he was writing scripts and at the same time

545
00:30:42,240 --> 00:30:44,200
Speaker 2: Paul was in New York on one of the tourism

546
00:30:44,320 --> 00:30:49,960
Speaker 2: campaign trips and he was walking back through a very

547
00:30:50,000 --> 00:30:53,960
Speaker 2: crowded New York street at peak hour and being jostled

548
00:30:53,960 --> 00:30:56,840
Speaker 2: and people everywhere, and he felt like a real hicic

549
00:30:57,920 --> 00:31:00,000
Speaker 2: and he's thinking to himself, you know, if I feel like,

550
00:31:00,880 --> 00:31:05,320
Speaker 2: imagine how Barney, who lives down the road feels like.

551
00:31:05,400 --> 00:31:08,480
Speaker 2: How would he feel? Or even better, a bloke from

552
00:31:08,480 --> 00:31:12,160
Speaker 2: the outback. And by the time he got to his room,

553
00:31:13,000 --> 00:31:16,640
Speaker 2: he had a story formulated and that was an outline

554
00:31:16,680 --> 00:31:19,840
Speaker 2: for a script. He expanded on the idea of the

555
00:31:19,880 --> 00:31:23,840
Speaker 2: fish out of water concept to this outback bloke who

556
00:31:23,960 --> 00:31:28,240
Speaker 2: ends up in New York City. So all good film

557
00:31:28,280 --> 00:31:31,880
Speaker 2: stories have to have a protagonist and an antagonist and

558
00:31:31,920 --> 00:31:33,720
Speaker 2: a theme, and the love story was the theme.

559
00:31:33,760 --> 00:31:35,120
Speaker 1: And so he.

560
00:31:35,880 --> 00:31:39,080
Speaker 2: Only ever Hoages only ever writes in block capital letters.

561
00:31:40,200 --> 00:31:43,280
Speaker 2: So he wrote it out and block capital letters. It

562
00:31:43,360 --> 00:31:46,160
Speaker 2: got typed up and then John took his red pen

563
00:31:46,240 --> 00:31:51,200
Speaker 2: to it. And as Hoages will say, he's the greatest

564
00:31:51,200 --> 00:31:54,760
Speaker 2: sub editor he'd ever met. He would always stop Paul

565
00:31:54,760 --> 00:32:01,400
Speaker 2: from being over lengthy in his monologues or any other

566
00:32:01,440 --> 00:32:04,680
Speaker 2: time he had to sort of say a lot of dialogue.

567
00:32:05,120 --> 00:32:07,760
Speaker 2: John was very pithy. He was a great editor, and

568
00:32:07,800 --> 00:32:11,200
Speaker 2: he had journalism as a background, so he would write

569
00:32:11,400 --> 00:32:15,680
Speaker 2: concisely and improve it and keep honing and honing. And

570
00:32:15,720 --> 00:32:17,720
Speaker 2: he did that constantly with Hoges, whether it was his

571
00:32:17,800 --> 00:32:20,280
Speaker 2: performance or his writing. So he got hold of it

572
00:32:21,440 --> 00:32:26,040
Speaker 2: and together they transformed it into the stript that it became.

573
00:32:27,120 --> 00:32:30,920
Speaker 2: I read the second draft the other day and it

574
00:32:31,000 --> 00:32:34,120
Speaker 2: was nowhere near what the final draft was like. And

575
00:32:34,160 --> 00:32:37,320
Speaker 2: I actually read the initial one over john shoulder, and

576
00:32:37,360 --> 00:32:39,600
Speaker 2: then he asked me to read it, and there are

577
00:32:39,600 --> 00:32:41,720
Speaker 2: a couple of things in there we thought, nah, here,

578
00:32:41,800 --> 00:32:44,600
Speaker 2: I wouldn't do that. And so you know, I'm not

579
00:32:44,640 --> 00:32:48,120
Speaker 2: suggesting that I had much input, but a female, a

580
00:32:48,120 --> 00:32:54,120
Speaker 2: female perspective was sought and so it came to life.

581
00:32:54,120 --> 00:32:58,120
Speaker 2: But essentially it was it's Hogues hoages, Hoges Hoagues. Will

582
00:32:58,160 --> 00:33:01,080
Speaker 2: tell you that, Mick Dundee, it's just hoages in.

583
00:33:01,040 --> 00:33:05,800
Speaker 1: The bush for real. Yes, that's in the doco too,

584
00:33:09,120 --> 00:33:11,600
Speaker 1: because it's real, it's real. You can't you can't. You

585
00:33:11,720 --> 00:33:14,680
Speaker 1: can't be authentic, authentic yourself. You know, you just can't

586
00:33:14,680 --> 00:33:16,840
Speaker 1: beat that because you can't act that out. It is

587
00:33:16,880 --> 00:33:18,480
Speaker 1: what it is. That's right.

588
00:33:18,680 --> 00:33:21,680
Speaker 2: But but Hoages and the Bush is different to Paul Hogan.

589
00:33:21,720 --> 00:33:25,600
Speaker 2: In the Bush, Hoags is the character. Yeah, the quintessential

590
00:33:26,520 --> 00:33:27,040
Speaker 2: I tell you.

591
00:33:27,000 --> 00:33:30,160
Speaker 1: What's what, But it doesn't matter. He put it on. Well,

592
00:33:30,320 --> 00:33:33,640
Speaker 1: you know, it's just really important, really important, actually very

593
00:33:33,640 --> 00:33:38,080
Speaker 1: interesting to me as someone who knew John Is. You said,

594
00:33:38,440 --> 00:33:42,320
Speaker 1: John took the red pen to it, and where where

595
00:33:42,360 --> 00:33:46,400
Speaker 1: the dialogue was too long, he would make it short.

596
00:33:47,120 --> 00:33:51,000
Speaker 1: John was, you said, use the word. He is very pithy.

597
00:33:51,160 --> 00:33:54,720
Speaker 1: John to me was always the master of the you know,

598
00:33:54,840 --> 00:33:57,760
Speaker 1: the ten word response. But it was always funny to

599
00:33:57,800 --> 00:34:03,600
Speaker 1: the point and very economical, but straight to the point

600
00:34:03,640 --> 00:34:05,880
Speaker 1: and quickly. I mean, there's only one of the persons

601
00:34:05,880 --> 00:34:08,280
Speaker 1: in the world that I've ever met that I find similar.

602
00:34:08,280 --> 00:34:11,480
Speaker 1: That's Ginge. That's probably the reason I get him, Ginge

603
00:34:11,520 --> 00:34:13,799
Speaker 1: gon On, because Ginge can just come up with a

604
00:34:13,880 --> 00:34:17,000
Speaker 1: response in a second. Yes, this actually kills me because

605
00:34:17,000 --> 00:34:19,680
Speaker 1: you're at a party or somewhere, and he would just

606
00:34:19,719 --> 00:34:22,239
Speaker 1: come out with something out of left field, nowhere, and

607
00:34:22,280 --> 00:34:26,719
Speaker 1: it is so perfectly positioned. And John was the same. Yeah,

608
00:34:26,800 --> 00:34:29,640
Speaker 1: but John will put it into writing for the show.

609
00:34:29,960 --> 00:34:34,600
Speaker 2: Yeah, for the movie films, yep, that's a real kill

610
00:34:34,680 --> 00:34:37,319
Speaker 2: his skills. And I agree with you about Ginj and

611
00:34:37,960 --> 00:34:40,240
Speaker 2: Gingji's in the doco too, And that's how he delivered

612
00:34:40,239 --> 00:34:42,720
Speaker 2: his pieces. Like when we asked him a question, straight

613
00:34:42,760 --> 00:34:47,160
Speaker 2: to the point, off the top of his head, concise, exact,

614
00:34:47,800 --> 00:34:52,400
Speaker 2: entertaining and informative, all in the middle of like four seconds,

615
00:34:53,000 --> 00:34:53,879
Speaker 2: he just nailed it.

616
00:34:54,080 --> 00:34:56,439
Speaker 1: That's why I need an hour podcast because I can't

617
00:34:56,440 --> 00:34:58,200
Speaker 1: do that. He could do this whole podcast in about

618
00:34:58,480 --> 00:35:02,520
Speaker 1: ten five minutes or something and it'd be exactly perfectly done.

619
00:35:02,680 --> 00:35:04,239
Speaker 1: It is a real skill. I don't know if it's

620
00:35:04,280 --> 00:35:05,960
Speaker 1: something you developed. I think it's something you're born with.

621
00:35:06,000 --> 00:35:06,960
Speaker 1: I mean it's it's a thing.

622
00:35:07,600 --> 00:35:09,319
Speaker 2: It's what you're born with. It for sure that that's

623
00:35:09,360 --> 00:35:11,680
Speaker 2: a type. And you know, when we were in partnership

624
00:35:11,760 --> 00:35:14,920
Speaker 2: at the Hotel Brunswick with Ginge, and we'd have these meetings,

625
00:35:15,719 --> 00:35:17,280
Speaker 2: are like what what what?

626
00:35:17,280 --> 00:35:17,480
Speaker 1: What?

627
00:35:18,480 --> 00:35:20,800
Speaker 2: Don't don't don't don't say the sums.

628
00:35:21,480 --> 00:35:23,279
Speaker 1: I need to write them down.

629
00:35:23,800 --> 00:35:26,960
Speaker 2: Because he'd be so quick, so staccato with you know,

630
00:35:27,680 --> 00:35:30,840
Speaker 2: machine gun rapidity, like just rattling off all these numbers.

631
00:35:31,520 --> 00:35:34,239
Speaker 2: And I don't know if that's because he's dyslexic, it

632
00:35:34,280 --> 00:35:39,400
Speaker 2: could be compensates with a different skill for being so

633
00:35:39,520 --> 00:35:43,160
Speaker 2: quick minded, but he was. He's extraordinary. And and John

634
00:35:45,040 --> 00:35:47,799
Speaker 2: Ginge will tell you was like his surrogate dad.

635
00:35:48,000 --> 00:35:49,440
Speaker 1: I was going to say, John had a great love

636
00:35:49,480 --> 00:35:49,840
Speaker 1: of Ginch.

637
00:35:49,960 --> 00:35:54,319
Speaker 2: Yeah, and gingj was like John's surrogate's son. John only

638
00:35:54,360 --> 00:35:58,840
Speaker 2: had daughters. And so they were they were real kindred mates.

639
00:35:59,160 --> 00:36:01,400
Speaker 2: They were, they were had a fantastic relationship.

640
00:36:01,880 --> 00:36:05,160
Speaker 1: And I do remember I remember one time we sat

641
00:36:05,160 --> 00:36:07,520
Speaker 1: at the back of the the pub and we're having

642
00:36:07,560 --> 00:36:13,960
Speaker 1: dinner with you, John Hoag's Ginch me and I just say,

643
00:36:14,040 --> 00:36:15,480
Speaker 1: I don't think I said a word the whole night.

644
00:36:15,760 --> 00:36:18,560
Speaker 1: I just sat there and awe listening to everyone riff

645
00:36:18,600 --> 00:36:21,480
Speaker 1: off each other. They just John and Ginge and host

646
00:36:21,560 --> 00:36:23,279
Speaker 1: just riffing off each other the whole time. It was

647
00:36:23,280 --> 00:36:26,080
Speaker 1: like it was like watching an episode of The Paul

648
00:36:26,120 --> 00:36:28,520
Speaker 1: Hogan Show, except the gin was in it as well,

649
00:36:28,880 --> 00:36:34,040
Speaker 1: playing himself and these individuals, but naturally so fast and

650
00:36:34,080 --> 00:36:37,719
Speaker 1: funny like it was. It wasn't scripted, and we talked

651
00:36:37,719 --> 00:36:40,839
Speaker 1: about all sorts of topics, politics, whatever it was. They

652
00:36:40,920 --> 00:36:45,200
Speaker 1: just rip testhreads of everybody, by the way, like mercilessly

653
00:36:45,239 --> 00:36:48,719
Speaker 1: to testreads off everybody. It's an amazing school that you

654
00:36:48,800 --> 00:36:51,120
Speaker 1: were able to sit around and live with that forever.

655
00:36:51,239 --> 00:36:53,960
Speaker 1: I mean you you sat in those environments for forty years.

656
00:36:54,080 --> 00:36:56,359
Speaker 1: Was John like that naturally at home? Was that his?

657
00:36:56,560 --> 00:37:00,720
Speaker 2: Yeah? That was a huge part of his appeal at home. Yeah,

658
00:37:00,840 --> 00:37:03,440
Speaker 2: it was that we could have these really witty conversations

659
00:37:03,480 --> 00:37:06,640
Speaker 2: and make each other laugh and be on the same

660
00:37:06,680 --> 00:37:08,839
Speaker 2: wavelength like that, you know. And I think maybe that's

661
00:37:08,840 --> 00:37:11,799
Speaker 2: what attracted him to me too, was that, oh here's

662
00:37:11,800 --> 00:37:15,839
Speaker 2: somebody that I could really riff with. And he was.

663
00:37:17,760 --> 00:37:24,760
Speaker 2: He was very much a dreamer. He was a dreamer

664
00:37:24,840 --> 00:37:28,960
Speaker 2: in so many ways that he needed somebody like me

665
00:37:29,160 --> 00:37:34,280
Speaker 2: because I'm the doer Pisces virgo to get the job done.

666
00:37:34,400 --> 00:37:36,839
Speaker 2: And I loved that part of it. I loved being

667
00:37:36,880 --> 00:37:39,000
Speaker 2: able to make a contribution back, like I'll do that.

668
00:37:39,080 --> 00:37:40,360
Speaker 2: You know, you just tell me what you want me

669
00:37:40,400 --> 00:37:42,880
Speaker 2: to do, and I'll do that. And then within that,

670
00:37:43,160 --> 00:37:44,719
Speaker 2: oh but what if we do this? Oh yeah, that's

671
00:37:44,719 --> 00:37:48,879
Speaker 2: a good idea, Dellian. So that was tremendously creatively collaborative,

672
00:37:49,560 --> 00:37:53,120
Speaker 2: and I think that really added a spark to our relationship.

673
00:37:53,360 --> 00:37:55,720
Speaker 2: Though some people would say never work with your wife

674
00:37:56,280 --> 00:37:58,799
Speaker 2: or never work with your husband, but for us it

675
00:37:58,960 --> 00:38:02,080
Speaker 2: was it was sort of part of the underlying attraction

676
00:38:02,239 --> 00:38:06,879
Speaker 2: was that we could create something together and understand where

677
00:38:06,920 --> 00:38:09,280
Speaker 2: each other's minds were at to make it happen.

678
00:38:09,760 --> 00:38:11,480
Speaker 1: Do you miss him? Yeah?

679
00:38:12,400 --> 00:38:16,960
Speaker 2: I think that's kind of like why I did the documentary.

680
00:38:17,480 --> 00:38:21,120
Speaker 2: It was because I didn't want him to not be

681
00:38:21,239 --> 00:38:27,640
Speaker 2: here anymore. And it was really confronting to see footage

682
00:38:27,680 --> 00:38:31,920
Speaker 2: of him looking so prime and sexy and smart and

683
00:38:32,000 --> 00:38:35,799
Speaker 2: gorgeous in that behind the scenes crocodile and d footage.

684
00:38:36,760 --> 00:38:41,640
Speaker 2: But even though it was extremely challenging and I was

685
00:38:41,640 --> 00:38:44,600
Speaker 2: in tears most days looking at it, at the end,

686
00:38:44,600 --> 00:38:47,480
Speaker 2: I didn't want to let it go. And I think

687
00:38:50,200 --> 00:38:54,600
Speaker 2: that when I released the film, I'll feel like I

688
00:38:54,600 --> 00:38:58,399
Speaker 2: can let it go because I don't want to hold

689
00:38:58,520 --> 00:39:01,520
Speaker 2: him here his spirit, do you know what I mean?

690
00:39:01,560 --> 00:39:04,080
Speaker 2: I feel like I am a little bit by making

691
00:39:04,160 --> 00:39:08,439
Speaker 2: him feel so alive. He'll always be in my heart

692
00:39:09,320 --> 00:39:12,960
Speaker 2: and I have a photograph that I talked to I

693
00:39:13,000 --> 00:39:15,759
Speaker 2: talked to him, and whatever pops into my head, it's like,

694
00:39:15,800 --> 00:39:20,640
Speaker 2: thanks John, because this doesn't sell like me, so I

695
00:39:20,680 --> 00:39:23,880
Speaker 2: never want to lose that. But as well as not

696
00:39:24,000 --> 00:39:26,400
Speaker 2: wanting to let him go. I also wanted him to

697
00:39:26,440 --> 00:39:31,200
Speaker 2: be honored for his contribution because he was, as you say,

698
00:39:31,840 --> 00:39:34,680
Speaker 2: so much behind the scenes and stayed out of the limelight,

699
00:39:35,200 --> 00:39:39,200
Speaker 2: didn't want public accolades, didn't believe in blowing his own trumpet.

700
00:39:40,440 --> 00:39:42,440
Speaker 2: But I wanted to blow it for him because I

701
00:39:42,520 --> 00:39:45,880
Speaker 2: know what that guy did for Australia, for Paul's career,

702
00:39:46,520 --> 00:39:50,400
Speaker 2: for cricket, for everything he put his patriotic can to,

703
00:39:51,239 --> 00:39:54,680
Speaker 2: always in the most altruistic way, always for the greater

704
00:39:54,760 --> 00:39:59,799
Speaker 2: good that needs acknowledging and applauding. And it wasn't just

705
00:40:00,719 --> 00:40:05,839
Speaker 2: his contribution in Crocodile Dundee, it was everybody else who

706
00:40:05,960 --> 00:40:09,000
Speaker 2: wasn't recognized as much as Paul was, you know, and

707
00:40:09,080 --> 00:40:13,359
Speaker 2: rightly so he sees the star. But Russell Boyd, who

708
00:40:13,360 --> 00:40:21,040
Speaker 2: did this incredible cinematography, Australia's premiere cinematographer doing a comedy film.

709
00:40:21,480 --> 00:40:24,080
Speaker 2: And that's I think a whole other element to Crocodile

710
00:40:24,160 --> 00:40:28,360
Speaker 2: Dundee is that it has this grandeur and magnificence of

711
00:40:28,360 --> 00:40:32,799
Speaker 2: photography in the outback because somebody like Russell Boyd was

712
00:40:32,880 --> 00:40:36,520
Speaker 2: helming that as cinematographer. And even though it was a comedy.

713
00:40:36,680 --> 00:40:42,160
Speaker 2: It just felt big because of his skill and his

714
00:40:42,280 --> 00:40:46,319
Speaker 2: team like the key Grip Ray Brown and the composer

715
00:40:46,760 --> 00:40:52,040
Speaker 2: who wrote a fantastic, unforgettable score. And Linda, who's never

716
00:40:52,200 --> 00:40:55,480
Speaker 2: really been asked about her role on the film. When

717
00:40:55,480 --> 00:40:58,319
Speaker 2: I interviewed her, she said, no one ever asks me.

718
00:40:58,880 --> 00:41:00,960
Speaker 2: They always talk about me, but they never asked me.

719
00:41:01,040 --> 00:41:03,239
Speaker 2: I said, will you go for it? Because I'm now

720
00:41:03,280 --> 00:41:05,920
Speaker 2: asking you what happened to you in that? In that

721
00:41:05,960 --> 00:41:06,959
Speaker 2: whole story.

722
00:41:06,800 --> 00:41:08,600
Speaker 1: Looks so she fell in love with Paul and she

723
00:41:08,680 --> 00:41:12,120
Speaker 1: did and I mean it, yeah, yeah.

724
00:41:12,560 --> 00:41:15,560
Speaker 2: And Peter Fayman, the director who's in the documentaries, he

725
00:41:15,840 --> 00:41:20,480
Speaker 2: also comments on that watching that unfold because we shot chronologically,

726
00:41:21,400 --> 00:41:24,920
Speaker 2: so they didn't know each other at all at the

727
00:41:24,920 --> 00:41:25,840
Speaker 2: beginning of the film.

728
00:41:25,920 --> 00:41:29,520
Speaker 1: How did she get sourced? Why do they picked link

729
00:41:29,640 --> 00:41:32,040
Speaker 1: Kauselowski her?

730
00:41:32,680 --> 00:41:35,439
Speaker 2: They wanted, they wanted. We couldn't afford a big name.

731
00:41:38,000 --> 00:41:39,960
Speaker 2: Paul had never made a movie, John had never made

732
00:41:40,000 --> 00:41:42,520
Speaker 2: a movie. That Peter Faymon had never made a movie,

733
00:41:43,880 --> 00:41:46,480
Speaker 2: and Linda had never made a movie. And so you

734
00:41:46,600 --> 00:41:50,239
Speaker 2: start off fresh with new faces and new attitudes and

735
00:41:50,280 --> 00:41:56,120
Speaker 2: people who really wanted to perform, and so John picked

736
00:41:56,160 --> 00:41:59,080
Speaker 2: Linda out in a lineup of black and white photographs

737
00:42:00,239 --> 00:42:05,319
Speaker 2: and then flew her out here for the job. She

738
00:42:05,360 --> 00:42:07,439
Speaker 2: auditioned in La flew her out here for the job.

739
00:42:08,320 --> 00:42:11,120
Speaker 2: Paul couldn't even make eye contact with her at first.

740
00:42:11,719 --> 00:42:15,239
Speaker 2: He's quite shy, particularly around women. In all the years

741
00:42:15,280 --> 00:42:16,839
Speaker 2: that I worked with him on The Poor Hogan Show

742
00:42:16,880 --> 00:42:22,120
Speaker 2: and never saw him astray. Very honorable man, a lot

743
00:42:22,120 --> 00:42:24,319
Speaker 2: of opportunity, but didn't take any of them.

744
00:42:24,360 --> 00:42:24,680
Speaker 1: And so.

745
00:42:26,320 --> 00:42:28,920
Speaker 2: Linda found that weird, because you know, she came from

746
00:42:28,960 --> 00:42:31,520
Speaker 2: a background of training with Juilliard, which was a highly

747
00:42:31,520 --> 00:42:36,000
Speaker 2: regarded drama school in New York City. Paul hates to rehearse.

748
00:42:38,120 --> 00:42:41,160
Speaker 2: He didn't he want to rehearse. So she's wondering what

749
00:42:41,200 --> 00:42:43,719
Speaker 2: the hell am I doing here? And she's in the

750
00:42:43,719 --> 00:42:47,439
Speaker 2: outback where there's everything to bite you and some things

751
00:42:47,480 --> 00:42:50,439
Speaker 2: that might eat you, and she's petrified because she comes

752
00:42:50,440 --> 00:42:51,719
Speaker 2: from New York City.

753
00:42:52,120 --> 00:42:52,800
Speaker 1: She had this.

754
00:42:53,560 --> 00:42:57,080
Speaker 2: Fear of bugs. She would go and sleep in on

755
00:42:57,120 --> 00:43:01,960
Speaker 2: the floor of Peter Fayman's cabin with Peter and his

756
00:43:02,000 --> 00:43:04,120
Speaker 2: wife in the bed, her on the floor because she

757
00:43:04,200 --> 00:43:06,120
Speaker 2: was too scared to stay in her own cabin. Wow

758
00:43:06,320 --> 00:43:11,240
Speaker 2: initially so Peter Fayman spent a lot of time talking

759
00:43:11,280 --> 00:43:14,080
Speaker 2: her out, as did I. When I was on set

760
00:43:14,280 --> 00:43:16,880
Speaker 2: on Crop, I was still doing Sale until halfway through it,

761
00:43:17,320 --> 00:43:19,920
Speaker 2: and then I quit that to join John. But the

762
00:43:19,960 --> 00:43:22,280
Speaker 2: times that I got to be in Kackado with Linda,

763
00:43:23,360 --> 00:43:25,839
Speaker 2: I was there to comfort and keep her company and

764
00:43:26,400 --> 00:43:27,440
Speaker 2: reassure her that.

765
00:43:28,760 --> 00:43:29,520
Speaker 1: This'll be all right.

766
00:43:30,280 --> 00:43:35,000
Speaker 2: And then gradually they just found each other and then

767
00:43:35,600 --> 00:43:37,040
Speaker 2: they found love for each other.

768
00:43:37,560 --> 00:43:40,600
Speaker 1: Do you think the movie's more powerful because they actually

769
00:43:41,040 --> 00:43:43,160
Speaker 1: were sort of falling in love over a period of time?

770
00:43:43,200 --> 00:43:46,040
Speaker 1: Maybe with they I do. Yeah, it was actual love story.

771
00:43:46,560 --> 00:43:48,680
Speaker 2: It's a true love story, and they stayed together for

772
00:43:48,719 --> 00:43:52,200
Speaker 2: twenty years, and that kind of thing when you see

773
00:43:52,200 --> 00:43:56,760
Speaker 2: that on a screen and it's intangible, you're not quite

774
00:43:56,800 --> 00:44:01,360
Speaker 2: sure why you're relating to that so strongly, but it's

775
00:44:01,480 --> 00:44:05,760
Speaker 2: almost subliminal. It's so strongly there, but you can't quite

776
00:44:05,760 --> 00:44:08,960
Speaker 2: put your finger on it. But there's a chemistry that

777
00:44:09,080 --> 00:44:14,040
Speaker 2: comes off those scenes that was felt between those two people.

778
00:44:14,480 --> 00:44:17,400
Speaker 2: Because the first time that they kiss at the Billibon

779
00:44:18,280 --> 00:44:20,520
Speaker 2: in the film was their first.

780
00:44:20,360 --> 00:44:22,600
Speaker 1: Kiss, and it was probably for real.

781
00:44:23,040 --> 00:44:26,239
Speaker 2: It was absolutely for real, and you can kind of

782
00:44:26,280 --> 00:44:32,239
Speaker 2: see that in the way that Paul hesitates and looks

783
00:44:32,239 --> 00:44:34,080
Speaker 2: at her a bit more and then he kisses her.

784
00:44:34,800 --> 00:44:37,319
Speaker 2: You know, it was just I mean, I put that

785
00:44:37,360 --> 00:44:39,960
Speaker 2: in the documentary because I'm hoping that people will go

786
00:44:40,000 --> 00:44:43,799
Speaker 2: to see the documentary because it will unlock so many

787
00:44:43,840 --> 00:44:46,800
Speaker 2: of the things that people didn't know about what happened

788
00:44:47,760 --> 00:44:52,200
Speaker 2: on the making of Crocodile Dundee. And we found this

789
00:44:52,280 --> 00:44:56,319
Speaker 2: incredible footage and it shows it all, and I wanted

790
00:44:56,320 --> 00:44:58,680
Speaker 2: to really wanted to share that with people because it'll

791
00:44:58,760 --> 00:45:02,520
Speaker 2: just add such a different to mention lots of extra

792
00:45:02,640 --> 00:45:05,480
Speaker 2: layout to their experience of watching the film when it

793
00:45:05,480 --> 00:45:06,040
Speaker 2: comes out.

794
00:45:05,920 --> 00:45:08,360
Speaker 1: To get in May, and I'll be watching it again

795
00:45:08,560 --> 00:45:13,080
Speaker 1: because of these things. One of the just out of interest.

796
00:45:13,560 --> 00:45:15,320
Speaker 1: If I could just get really behind the scenes for

797
00:45:15,360 --> 00:45:20,840
Speaker 1: a second when that gets filmed, that kiss, that moment

798
00:45:20,840 --> 00:45:24,440
Speaker 1: gets filmed, I'm talking about on set, not in the movie,

799
00:45:24,440 --> 00:45:29,680
Speaker 1: but on set, and I presume there's an edit review

800
00:45:29,760 --> 00:45:32,520
Speaker 1: at the end of the day or some stage down

801
00:45:33,280 --> 00:45:37,680
Speaker 1: after that. Would John come home and say, you wouldn't

802
00:45:37,680 --> 00:45:44,279
Speaker 1: believe it, Dearly Lake, that kiss was amazing. It's great footage.

803
00:45:44,920 --> 00:45:47,120
Speaker 1: I think he's falling in love with her, or she's

804
00:45:47,120 --> 00:45:49,040
Speaker 1: falling in love with him or the falling in love

805
00:45:49,040 --> 00:45:50,520
Speaker 1: with each other, which you have that is that a

806
00:45:50,560 --> 00:45:54,200
Speaker 1: discussion behind the scenes? Is that an observation and therefore

807
00:45:54,239 --> 00:45:54,840
Speaker 1: a discussion.

808
00:45:55,040 --> 00:45:57,480
Speaker 2: Well, they were attracted to each other before the kiss,

809
00:45:58,160 --> 00:45:59,840
Speaker 2: so we could see that that was happening.

810
00:46:00,120 --> 00:46:02,879
Speaker 1: You can see the chemistry work, absolutely, you could see

811
00:46:02,880 --> 00:46:04,399
Speaker 1: it definitely. And how does it work?

812
00:46:04,440 --> 00:46:04,480
Speaker 2: That?

813
00:46:04,520 --> 00:46:07,360
Speaker 1: Would you go to say to Corney, like, you know,

814
00:46:07,520 --> 00:46:09,120
Speaker 1: can you see if you if you notice what's going

815
00:46:09,160 --> 00:46:12,520
Speaker 1: on here? Like how does a Well Linda came to

816
00:46:12,560 --> 00:46:16,120
Speaker 1: me because she do you want to see the floor anymore?

817
00:46:16,160 --> 00:46:22,319
Speaker 1: She was I don't know where she was sleeping at

818
00:46:22,320 --> 00:46:24,759
Speaker 1: the time, but she was Paul. So because she was

819
00:46:24,760 --> 00:46:25,680
Speaker 1: on the floor.

820
00:46:25,360 --> 00:46:31,400
Speaker 2: On the floor, she was really shocked. I mean she

821
00:46:31,440 --> 00:46:34,480
Speaker 2: felt this. You can see the chemistry in the behind

822
00:46:34,480 --> 00:46:36,680
Speaker 2: the scenes footage in the documentary. You can see this

823
00:46:36,800 --> 00:46:41,320
Speaker 2: chemistry building. Oh yeah, there's a glance. There's a glance

824
00:46:41,320 --> 00:46:43,719
Speaker 2: that Paul gives and it's so out of the corner

825
00:46:43,719 --> 00:46:48,600
Speaker 2: of his eye and she's like, ah, got you. And

826
00:46:48,719 --> 00:46:53,600
Speaker 2: Linda came to me because she was worried about Paul

827
00:46:53,640 --> 00:46:59,600
Speaker 2: being married and excuse me, she was worried about Paul

828
00:46:59,600 --> 00:47:02,279
Speaker 2: being married and didn't quite know what to do, and

829
00:47:02,320 --> 00:47:06,479
Speaker 2: I'm I just said, you know you, I've never seen

830
00:47:06,520 --> 00:47:07,200
Speaker 2: Paul like this.

831
00:47:07,600 --> 00:47:08,920
Speaker 1: He is not a player.

832
00:47:09,640 --> 00:47:12,320
Speaker 2: This is genuine like he's not playing you.

833
00:47:13,200 --> 00:47:13,920
Speaker 1: And you have to.

834
00:47:13,880 --> 00:47:20,120
Speaker 2: Follow your heart. I believe life is so wonderfully short.

835
00:47:20,880 --> 00:47:23,880
Speaker 2: You better, you better do the right thing by your heart.

836
00:47:24,680 --> 00:47:28,840
Speaker 2: And they did, and so I think that, you know, John,

837
00:47:30,440 --> 00:47:34,840
Speaker 2: John swore me to secrecy. He said, this is like

838
00:47:34,880 --> 00:47:38,400
Speaker 2: the Code of the West. What's what's on set stays

839
00:47:38,400 --> 00:47:42,440
Speaker 2: on set, and okay, and that that's unusual for me

840
00:47:42,520 --> 00:47:46,480
Speaker 2: because I was friends with Noline, Paul's wife at the time,

841
00:47:47,120 --> 00:47:49,080
Speaker 2: so it was a bit of a difficult situation. But

842
00:47:51,000 --> 00:47:54,480
Speaker 2: I don't interfere in people's lives. That's their business. And

843
00:47:54,520 --> 00:47:58,600
Speaker 2: so I was there to support both Paul and Linda,

844
00:47:58,640 --> 00:48:02,040
Speaker 2: though I never really got a chance too. That was

845
00:48:02,080 --> 00:48:04,960
Speaker 2: more John's realm, but Paul knew that I was in

846
00:48:05,000 --> 00:48:08,880
Speaker 2: support because of my attitude to Linda. And it was

847
00:48:08,920 --> 00:48:12,239
Speaker 2: funny because when I showed Paul the documentary after I'd

848
00:48:12,280 --> 00:48:17,040
Speaker 2: finished it, and in it I say that I was

849
00:48:17,080 --> 00:48:20,359
Speaker 2: there is Linda's confidant. He went, were you?

850
00:48:20,600 --> 00:48:24,480
Speaker 1: He didn't know? Yeah, mate, but you were just listening.

851
00:48:24,520 --> 00:48:25,839
Speaker 1: You weren't eating or you just.

852
00:48:26,120 --> 00:48:28,399
Speaker 2: God No, I was not in my position to make

853
00:48:28,440 --> 00:48:29,800
Speaker 2: anyone's choices.

854
00:48:30,000 --> 00:48:31,240
Speaker 1: Yeah, you're just listening.

855
00:48:31,560 --> 00:48:35,480
Speaker 2: But the only advice I had was, well, you know,

856
00:48:36,280 --> 00:48:38,000
Speaker 2: I think you have to follow your heart.

857
00:48:38,040 --> 00:48:40,839
Speaker 1: And he's not. He's not. He's not.

858
00:48:41,000 --> 00:48:43,880
Speaker 2: He's not going to play you. He's going to if

859
00:48:43,920 --> 00:48:46,360
Speaker 2: he says he loves you, he'll be telling the truth.

860
00:48:46,760 --> 00:48:50,080
Speaker 2: He tells the truth. Paul is such a man of integrity.

861
00:48:50,320 --> 00:48:53,600
Speaker 2: I've never heard him swear, except for when he saw

862
00:48:53,640 --> 00:48:56,640
Speaker 2: the docco and then he said it's fucking brilliant.

863
00:48:57,719 --> 00:48:59,000
Speaker 1: He liked it.

864
00:49:00,480 --> 00:49:03,800
Speaker 2: That's an endorsement I've never heard justwear. But he'll always

865
00:49:03,800 --> 00:49:04,920
Speaker 2: stick up for the underdog.

866
00:49:05,880 --> 00:49:06,080
Speaker 1: You know.

867
00:49:06,120 --> 00:49:08,120
Speaker 2: He's a good bloke. He's a good as he bloke,

868
00:49:08,760 --> 00:49:11,920
Speaker 2: so he wouldn't do the wrong thing by anybody, and

869
00:49:12,040 --> 00:49:12,879
Speaker 2: let alone a woman.

870
00:49:13,960 --> 00:49:16,839
Speaker 1: He sounds like a person of real honor for those

871
00:49:16,840 --> 00:49:19,319
Speaker 1: who don't know him. And that's one of the great

872
00:49:19,320 --> 00:49:21,839
Speaker 1: things about the documentary. It's sort of not only does

873
00:49:21,880 --> 00:49:23,600
Speaker 1: it give you behind the scenes, but and gives you

874
00:49:23,600 --> 00:49:25,719
Speaker 1: a greater context of how all these things happen, and

875
00:49:25,719 --> 00:49:29,480
Speaker 1: particularly if going back beyond crocodile and going down to

876
00:49:29,680 --> 00:49:32,560
Speaker 1: you know, the Paul Hogan Show, et cetera, and Corney

877
00:49:32,640 --> 00:49:36,920
Speaker 1: John Cornell, but gives you, gives everyone context, but also

878
00:49:38,160 --> 00:49:40,239
Speaker 1: gives me, gives me, for example, from what you're just

879
00:49:40,280 --> 00:49:43,160
Speaker 1: saying now, a better understanding of what was actually going on,

880
00:49:43,280 --> 00:49:45,759
Speaker 1: which it sounded like it was a little bit unavoidable

881
00:49:45,800 --> 00:49:47,680
Speaker 1: for Paul and heard a fall in love with each

882
00:49:47,680 --> 00:49:52,200
Speaker 1: other in those scenes, like like she's attractive, he's an

883
00:49:52,200 --> 00:49:55,360
Speaker 1: attractive guy. That there was some chemistry going on. You're

884
00:49:55,360 --> 00:49:59,279
Speaker 1: putting put in. They get put in this situation if

885
00:49:59,320 --> 00:50:02,120
Speaker 1: you feel that if he felt that way genuinely, and

886
00:50:02,160 --> 00:50:04,840
Speaker 1: you say he wasn't a player, there's no reason why

887
00:50:05,280 --> 00:50:08,160
Speaker 1: he should be dishonest to himself. And that's right.

888
00:50:08,880 --> 00:50:13,640
Speaker 2: He would now, Yeah, he never kid himself. He'd never

889
00:50:13,719 --> 00:50:18,880
Speaker 2: kid himself. John wouldn't let him anyway. You know, they

890
00:50:18,920 --> 00:50:21,480
Speaker 2: both of them are always good at keeping people in check.

891
00:50:22,560 --> 00:50:26,280
Speaker 1: Each other and me, you know, there was no ego.

892
00:50:26,400 --> 00:50:27,320
Speaker 1: They get ahead of yourself.

893
00:50:27,440 --> 00:50:29,399
Speaker 2: I absolutely do not get ahead of yourself, and don't

894
00:50:29,400 --> 00:50:32,200
Speaker 2: think your boots are too big. Be yourself, but be

895
00:50:32,280 --> 00:50:36,239
Speaker 2: real and be humble. And so you know, I think

896
00:50:36,280 --> 00:50:39,520
Speaker 2: that is a is a mark of their measure.

897
00:50:40,440 --> 00:50:43,720
Speaker 1: That's very irish. Delve Angeline, don't get ahead of yourself

898
00:50:45,200 --> 00:50:48,080
Speaker 1: very much. Is very much. So I need to ask

899
00:50:48,120 --> 00:50:49,520
Speaker 1: you me as the obvious question. I need to ask

900
00:50:49,560 --> 00:50:52,239
Speaker 1: because everybody wants to know this the knife scene, you know,

901
00:50:52,440 --> 00:50:55,919
Speaker 1: that's not a knife like it was a I don't

902
00:50:55,920 --> 00:50:57,880
Speaker 1: know whether it was never meant to be so brilliant

903
00:50:58,320 --> 00:51:00,560
Speaker 1: and but it just became so brilliant then went well

904
00:51:00,600 --> 00:51:03,319
Speaker 1: that worked or was it was their purpose behind it?

905
00:51:04,719 --> 00:51:06,600
Speaker 2: Well that's interesting, you know because even just the other

906
00:51:06,640 --> 00:51:12,080
Speaker 2: day when I was reading this second draft the knife scene,

907
00:51:12,160 --> 00:51:13,760
Speaker 2: that line wasn't even in there.

908
00:51:13,760 --> 00:51:16,000
Speaker 1: In the second draft, No, was not.

909
00:51:16,760 --> 00:51:20,560
Speaker 2: I was amazed. I thought, wow, that got put in.

910
00:51:20,880 --> 00:51:22,719
Speaker 2: I don't know how many drafts they did. I don't

911
00:51:22,760 --> 00:51:24,400
Speaker 2: think they did too many because they didn't used to

912
00:51:24,480 --> 00:51:28,920
Speaker 2: rewrite a lot. So I have to check the final

913
00:51:29,000 --> 00:51:31,279
Speaker 2: draft what number of that was, because that's something that

914
00:51:31,360 --> 00:51:34,640
Speaker 2: I would like to know, because Draft two were so

915
00:51:34,680 --> 00:51:36,080
Speaker 2: different to the final script.

916
00:51:36,480 --> 00:51:39,080
Speaker 1: It was it much improv going on it like by

917
00:51:40,000 --> 00:51:41,960
Speaker 1: no not in those days, if you.

918
00:51:43,440 --> 00:51:45,880
Speaker 2: If you only had eight point eight million dollars budget,

919
00:51:46,280 --> 00:51:48,560
Speaker 2: that meant that you could only buy this amount of

920
00:51:48,560 --> 00:51:51,960
Speaker 2: film because you shot on film and film was expensive.

921
00:51:52,960 --> 00:51:55,839
Speaker 2: That meant that everybody involved had to be really on

922
00:51:55,880 --> 00:51:58,960
Speaker 2: their mark. That you couldn't do take one hundred and

923
00:51:58,960 --> 00:52:04,040
Speaker 2: thirty seven you didn't have enough film. So that made

924
00:52:04,400 --> 00:52:08,719
Speaker 2: for me the teamwork much more collaborative and everybody on

925
00:52:10,200 --> 00:52:10,960
Speaker 2: the same mission.

926
00:52:11,680 --> 00:52:12,080
Speaker 1: And so.

927
00:52:13,719 --> 00:52:16,640
Speaker 2: There may have been if there was a take two

928
00:52:16,760 --> 00:52:19,040
Speaker 2: or three or four, they might have been slightly different gestures,

929
00:52:19,080 --> 00:52:24,560
Speaker 2: but no dialogue, no improvisation, no loose lips in that way.

930
00:52:26,160 --> 00:52:30,680
Speaker 2: And so the knife scene somehow, I mean, the mugget

931
00:52:30,800 --> 00:52:33,200
Speaker 2: was in there and there was a knife, but.

932
00:52:34,960 --> 00:52:38,319
Speaker 1: That's not a knife was not in draft two. It

933
00:52:38,360 --> 00:52:39,200
Speaker 1: wasn't no.

934
00:52:39,360 --> 00:52:42,320
Speaker 2: And then the other really interesting thing about that too,

935
00:52:42,400 --> 00:52:48,960
Speaker 2: that knife scene, is that when they were editing, when

936
00:52:49,000 --> 00:52:55,280
Speaker 2: John was editing that scene, they didn't have that particular take,

937
00:52:56,760 --> 00:52:59,480
Speaker 2: and he knew that it had been shot because what

938
00:52:59,560 --> 00:53:03,360
Speaker 2: had happened with that particular take was that Peter Feyman

939
00:53:03,400 --> 00:53:07,520
Speaker 2: had said cut, and Paul kept knocking around with this kid,

940
00:53:08,080 --> 00:53:11,040
Speaker 2: and he was playing with him and way like just

941
00:53:11,160 --> 00:53:14,920
Speaker 2: mucking around, knocking around after cut, and he had a

942
00:53:14,920 --> 00:53:17,960
Speaker 2: glint in his eye because he was being playful, and

943
00:53:18,080 --> 00:53:20,600
Speaker 2: John had seen that when they were filming, and when

944
00:53:20,640 --> 00:53:22,680
Speaker 2: they were editing, that's the take that he was looking

945
00:53:22,680 --> 00:53:25,480
Speaker 2: for because it didn't look too threatening. It looked like

946
00:53:25,560 --> 00:53:25,920
Speaker 2: ha ha.

947
00:53:27,080 --> 00:53:27,480
Speaker 1: And so.

948
00:53:29,160 --> 00:53:31,560
Speaker 2: That's not it. No, that's not it. There's another take.

949
00:53:31,600 --> 00:53:34,600
Speaker 2: There's another take, and it was in the editing room

950
00:53:34,800 --> 00:53:38,719
Speaker 2: bin wow, and John fished it out and put that

951
00:53:39,600 --> 00:53:40,759
Speaker 2: in the film because that.

952
00:53:40,800 --> 00:53:42,920
Speaker 1: Was the take. Maybe you got to just explain how

953
00:53:42,920 --> 00:53:46,239
Speaker 1: the editing, how the edit sweet works. So like, yeah,

954
00:53:46,280 --> 00:53:49,200
Speaker 1: because back in the day, explain, Yeah, back.

955
00:53:49,080 --> 00:53:52,799
Speaker 2: In the olden days, ye, digital, but years ago you

956
00:53:52,840 --> 00:53:57,920
Speaker 2: had to physically use a razor blade to splice the film.

957
00:53:58,280 --> 00:54:02,000
Speaker 2: So you had these these reels of film, and then

958
00:54:02,440 --> 00:54:05,600
Speaker 2: you'd have, say you had four takes, and they might

959
00:54:05,640 --> 00:54:09,560
Speaker 2: be a part of that scene, a particular take that

960
00:54:09,719 --> 00:54:13,120
Speaker 2: was better than the take too, which.

961
00:54:12,920 --> 00:54:14,040
Speaker 1: Is also on the same tape.

962
00:54:14,440 --> 00:54:17,960
Speaker 2: Yes, so you might take that bit out and replace

963
00:54:18,000 --> 00:54:21,040
Speaker 2: it with the better bit, and then you splice that

964
00:54:21,120 --> 00:54:24,880
Speaker 2: together and thread it through and there it's one piece again.

965
00:54:26,000 --> 00:54:28,880
Speaker 1: So and those people parts you cut off are discarded,

966
00:54:29,480 --> 00:54:33,480
Speaker 1: they're thrown away. Well I've still got them, have you, really?

967
00:54:33,640 --> 00:54:37,440
Speaker 2: I've got reels and reels and reels of old crocodile

968
00:54:37,520 --> 00:54:38,160
Speaker 2: Dundee film.

969
00:54:38,200 --> 00:54:39,240
Speaker 1: Are you going to put it on digital?

970
00:54:39,880 --> 00:54:44,320
Speaker 2: It's all, but I'm still stuck with the physical asapes.

971
00:54:44,480 --> 00:54:47,960
Speaker 2: So what we're going to do and through our website

972
00:54:48,080 --> 00:54:52,359
Speaker 2: is have aur Crop Collection where you can buy frames film.

973
00:54:52,480 --> 00:54:54,400
Speaker 2: Oh wow, bit of memorabilia.

974
00:54:54,520 --> 00:54:57,680
Speaker 1: That's cool, Yeah, very cool. Yeah. The only thing you

975
00:54:57,719 --> 00:54:59,320
Speaker 1: have to going to have to get a microfish ready

976
00:54:59,360 --> 00:55:02,879
Speaker 1: to watch it, but or something in deteriorated. But it's

977
00:55:02,880 --> 00:55:07,719
Speaker 1: certainly but yeah, it's not us frame anyway, okay, but

978
00:55:07,760 --> 00:55:10,520
Speaker 1: it's more for the fact that I've got something that

979
00:55:10,560 --> 00:55:13,440
Speaker 1: comes from the original movie. So so John had to

980
00:55:13,440 --> 00:55:16,880
Speaker 1: fish around in the bin or wherever the cutting floor,

981
00:55:17,200 --> 00:55:19,520
Speaker 1: pick it up, and you've got to hold up and

982
00:55:19,600 --> 00:55:21,200
Speaker 1: see what works because you can't won't be able to

983
00:55:21,200 --> 00:55:23,399
Speaker 1: work it by looking at it. And he knew that

984
00:55:23,400 --> 00:55:25,319
Speaker 1: that he saw that scene, you remembered it.

985
00:55:25,800 --> 00:55:29,000
Speaker 2: That's how because he knew Paul, you know, working so

986
00:55:29,120 --> 00:55:32,919
Speaker 2: closely with Paul for so long, I knew he John

987
00:55:33,000 --> 00:55:37,000
Speaker 2: knew intrinsically what Paul would deliver and what the feeling

988
00:55:37,120 --> 00:55:40,040
Speaker 2: was when Paul delivered it. And he's looking for the feeling,

989
00:55:40,080 --> 00:55:44,880
Speaker 2: the emotion like that's inherent in that take, and that

990
00:55:45,040 --> 00:55:47,040
Speaker 2: was that. It was I'm not I'm not going to

991
00:55:47,120 --> 00:55:47,360
Speaker 2: hurt you.

992
00:55:47,440 --> 00:55:49,800
Speaker 1: Boy. You know I'm not going to blade your face.

993
00:55:50,520 --> 00:55:52,560
Speaker 2: I might cut up your jacket to teach you a lesson,

994
00:55:52,960 --> 00:55:55,960
Speaker 2: but I'm not going to threaten you because I'm playing

995
00:55:56,000 --> 00:55:58,640
Speaker 2: with you with my very big knife.

996
00:55:59,120 --> 00:56:02,239
Speaker 1: It's it's interesting to me and for people who talk

997
00:56:02,280 --> 00:56:05,799
Speaker 1: to me from overseas and particular Americans, that's the one

998
00:56:05,880 --> 00:56:10,160
Speaker 1: scene that they never forget and they always raise it.

999
00:56:10,200 --> 00:56:13,600
Speaker 1: That's not a knife, this is knife. I don't whether

1000
00:56:13,640 --> 00:56:15,600
Speaker 1: I remember the scene or they certainly remember the words.

1001
00:56:17,080 --> 00:56:22,640
Speaker 1: What do you represents some of the more poignant moments

1002
00:56:22,680 --> 00:56:25,520
Speaker 1: out of the movie, apart from apart from the knife

1003
00:56:25,880 --> 00:56:28,800
Speaker 1: What do you see as some of those poignant moments?

1004
00:56:28,840 --> 00:56:31,320
Speaker 1: Because you've just recreated the whole show, the whole movie,

1005
00:56:31,640 --> 00:56:33,480
Speaker 1: and you must be saying, oh wow, that was pretty

1006
00:56:33,480 --> 00:56:35,920
Speaker 1: bloody good. I remember the knife scene, but you remember

1007
00:56:35,960 --> 00:56:40,160
Speaker 1: you would have seen in this process of recreating, the creating,

1008
00:56:40,160 --> 00:56:43,800
Speaker 1: the documentary of things that really worked for the movie.

1009
00:56:44,640 --> 00:56:47,160
Speaker 1: Maybe the kissing scene. What do you see as some

1010
00:56:47,280 --> 00:56:51,960
Speaker 1: of the iconic moments in the movie, see by scene.

1011
00:56:52,200 --> 00:56:57,240
Speaker 2: I just think it's every scene has got a little highlight,

1012
00:56:58,000 --> 00:57:01,920
Speaker 2: whether it's his entry into the bar with the rubber crocodile,

1013
00:57:03,000 --> 00:57:09,360
Speaker 2: yes in drug And it's funny because you know, what

1014
00:57:09,440 --> 00:57:11,640
Speaker 2: we also found was that there was a scene shot

1015
00:57:11,719 --> 00:57:16,280
Speaker 2: that didn't get used where Mick is outside walk About

1016
00:57:16,280 --> 00:57:20,320
Speaker 2: Creek Pub in the back of a ute drunk with

1017
00:57:20,400 --> 00:57:23,240
Speaker 2: the crocodile's tail hanging out as well as his legs.

1018
00:57:23,880 --> 00:57:24,880
Speaker 1: Of the ute cab.

1019
00:57:25,840 --> 00:57:27,720
Speaker 2: And you can't look at the I found the black

1020
00:57:27,760 --> 00:57:29,360
Speaker 2: and white photo and you can't look at it and think,

1021
00:57:29,640 --> 00:57:34,040
Speaker 2: what the hell, oh god, that's that scene. And and

1022
00:57:34,120 --> 00:57:41,520
Speaker 2: so I think this whole sense of arrival was whittled

1023
00:57:41,560 --> 00:57:46,400
Speaker 2: down to that one burst into the walk About Creek Pub.

1024
00:57:46,560 --> 00:57:51,240
Speaker 1: I mean, what an entry for a script. And then

1025
00:57:51,480 --> 00:57:56,560
Speaker 1: the I'm glad you reminded me of the walking up

1026
00:57:56,640 --> 00:57:58,280
Speaker 1: to Linda, you know, Michael J.

1027
00:57:58,440 --> 00:58:02,040
Speaker 2: Crocodile Dundee never Safari's never go out with this or

1028
00:58:02,080 --> 00:58:04,200
Speaker 2: you'll never come back, you know, like there was this

1029
00:58:04,440 --> 00:58:07,920
Speaker 2: sort of throwaway the cost of throwaways, And I think

1030
00:58:08,200 --> 00:58:11,760
Speaker 2: for me, there's not a favorite scene because it ripples through,

1031
00:58:12,000 --> 00:58:16,720
Speaker 2: whether it's when he's hypnotizing the buffalo brought us back

1032
00:58:16,720 --> 00:58:19,640
Speaker 2: to the truck, you know, like out of the wild West.

1033
00:58:19,680 --> 00:58:24,000
Speaker 2: You know, it's just like it's Mick Dundee, whether he's

1034
00:58:24,080 --> 00:58:25,840
Speaker 2: you know, when he's shaving with the razor and he's

1035
00:58:25,880 --> 00:58:28,640
Speaker 2: which is the blade of the knife because he sees

1036
00:58:28,760 --> 00:58:32,240
Speaker 2: Sioux coming. You know, all through it there were these

1037
00:58:32,280 --> 00:58:36,720
Speaker 2: just comedic throwaways that we're written in the script that

1038
00:58:36,800 --> 00:58:41,800
Speaker 2: seem really natural, but in totality made that film.

1039
00:58:41,600 --> 00:58:44,680
Speaker 1: Work so well. And they building his character, always building

1040
00:58:44,680 --> 00:58:47,000
Speaker 1: the character, just keep building a character always through the movie.

1041
00:58:47,040 --> 00:58:51,840
Speaker 2: Yeah, all the nuances of you know, the idiosyncrasies that mickhad.

1042
00:58:51,920 --> 00:58:53,520
Speaker 1: Is that one of the reasons why the movie, the

1043
00:58:53,640 --> 00:58:58,240
Speaker 1: documentaries should say, is probably going to be so powerful,

1044
00:58:58,440 --> 00:59:01,040
Speaker 1: not only in your mind, but in everyone's mind, because

1045
00:59:01,040 --> 00:59:02,880
Speaker 1: it just sort of takes us through what we probably

1046
00:59:02,880 --> 00:59:04,800
Speaker 1: forgot because we haven't seen the movie for a long time.

1047
00:59:04,800 --> 00:59:05,880
Speaker 1: A lot of us have seen the movie for a

1048
00:59:05,880 --> 00:59:09,120
Speaker 1: long time. Yeah, it sort of comes takes us back

1049
00:59:09,120 --> 00:59:11,640
Speaker 1: through the process. Yeah, that part of the idea of

1050
00:59:11,640 --> 00:59:13,600
Speaker 1: this is just this is the important stuff.

1051
00:59:13,920 --> 00:59:17,920
Speaker 2: A reminder, remember when this happened, this happened to Australia,

1052
00:59:18,520 --> 00:59:22,160
Speaker 2: This put us on the map. Naturally, it made us

1053
00:59:22,480 --> 00:59:27,160
Speaker 2: recognized and so don't you want to relive the beautiful

1054
00:59:27,160 --> 00:59:33,600
Speaker 2: outback photography cinematography. Cinematography again, I certainly did. I never

1055
00:59:33,640 --> 00:59:36,600
Speaker 2: get tired of watching that footage. It's beautiful, and now

1056
00:59:36,600 --> 00:59:41,120
Speaker 2: that it's restored to four K, it's sparkling. It's extraordinary.

1057
00:59:41,440 --> 00:59:43,720
Speaker 2: It's almost better than when it was made because the

1058
00:59:43,760 --> 00:59:46,520
Speaker 2: technology is so much better in cinemas as well.

1059
00:59:46,400 --> 00:59:48,840
Speaker 1: Because they can do even the image of the colors.

1060
00:59:48,840 --> 00:59:54,840
Speaker 2: Everything on the color grade. Yeah, So it's not only

1061
00:59:54,880 --> 00:59:58,880
Speaker 2: a reminder of that, it's it's a reminder of who

1062
00:59:58,880 --> 01:00:02,080
Speaker 2: we are too as well, Like, let's not forget that

1063
01:00:02,120 --> 01:00:12,600
Speaker 2: where these basic friendly people like mc dundee, and I'd

1064
01:00:12,640 --> 01:00:14,720
Speaker 2: like to remind people about that because I think we

1065
01:00:15,120 --> 01:00:16,680
Speaker 2: for a start, we all need a bit of all laugh.

1066
01:00:18,360 --> 01:00:21,120
Speaker 2: And it's not a very demanding movie. It's not how

1067
01:00:21,120 --> 01:00:24,520
Speaker 2: I brow. It's not super intelligent, you know, it's not

1068
01:00:24,640 --> 01:00:25,720
Speaker 2: asking a lot of people.

1069
01:00:25,800 --> 01:00:27,360
Speaker 1: It's not the matrix weve got to try and work

1070
01:00:27,400 --> 01:00:28,000
Speaker 1: at what's going on.

1071
01:00:28,240 --> 01:00:32,160
Speaker 2: No, just relax and enjoy it. Spend a lovely afternoon

1072
01:00:32,160 --> 01:00:34,800
Speaker 2: at the movies with your kids and your grandkids, or

1073
01:00:34,840 --> 01:00:37,160
Speaker 2: your mum and dad or you know, it's all ages.

1074
01:00:37,680 --> 01:00:39,720
Speaker 2: John set out to make a movie from seven to

1075
01:00:39,760 --> 01:00:45,800
Speaker 2: seventy and he achieved that. And so I think it's

1076
01:00:45,840 --> 01:00:51,040
Speaker 2: just a really lovely reminder of what happened then for

1077
01:00:51,160 --> 01:00:52,040
Speaker 2: what can happen now?

1078
01:00:52,240 --> 01:00:54,880
Speaker 1: Could you remind me of something because I I sort

1079
01:00:54,880 --> 01:00:58,880
Speaker 1: of remember some of the stories when he was seeking investors. Yeah,

1080
01:01:00,280 --> 01:01:02,320
Speaker 1: like in America. I think he was in America, wasn't

1081
01:01:02,320 --> 01:01:06,120
Speaker 1: it was an Australian Australia, was it? What was that

1082
01:01:06,200 --> 01:01:08,360
Speaker 1: process like? And because you know, it cost a lot

1083
01:01:08,360 --> 01:01:10,680
Speaker 1: of money to eight million bucks to produce the movie

1084
01:01:10,720 --> 01:01:14,120
Speaker 1: or maybe more after everything, and it looked it did

1085
01:01:14,160 --> 01:01:17,640
Speaker 1: fabulously well, I mean it's gross what half a billion dollars?

1086
01:01:17,640 --> 01:01:20,400
Speaker 1: What's what is the world done to today? Three d

1087
01:01:20,480 --> 01:01:24,520
Speaker 1: and seven million? And it's the highest grossing Australian movie

1088
01:01:24,840 --> 01:01:28,200
Speaker 1: still ever Yeah, still to this very day.

1089
01:01:28,240 --> 01:01:30,400
Speaker 2: Even by today's conversions.

1090
01:01:30,480 --> 01:01:34,320
Speaker 1: Yep. And so it did brilliantly for relatively speaking, very

1091
01:01:34,320 --> 01:01:37,800
Speaker 1: low budget. But they did raise the money. They'd raise

1092
01:01:37,840 --> 01:01:42,080
Speaker 1: the money, we did, and to take me through that process, well, so.

1093
01:01:43,640 --> 01:01:46,800
Speaker 2: John went to his rich mates first obviously, like Kerry Packer,

1094
01:01:48,080 --> 01:01:51,520
Speaker 2: and Kerry Packer put in quite a bit over a

1095
01:01:51,560 --> 01:01:53,880
Speaker 2: million and pulled it out.

1096
01:01:54,600 --> 01:01:57,200
Speaker 1: But because he was.

1097
01:01:58,760 --> 01:02:01,680
Speaker 2: He was advised by one of his employees who shall

1098
01:02:01,680 --> 01:02:06,840
Speaker 2: remain nameless, that it wasn't going to work and they

1099
01:02:06,840 --> 01:02:10,680
Speaker 2: shouldn't invest. And even though he was really great mates

1100
01:02:10,680 --> 01:02:15,400
Speaker 2: with John, he listened to this advisor and he pulled

1101
01:02:15,400 --> 01:02:19,120
Speaker 2: that money out. Well, and we couldn't get Hoits to

1102
01:02:19,160 --> 01:02:22,640
Speaker 2: back it. They had somebody in the film industry, a

1103
01:02:22,760 --> 01:02:27,240
Speaker 2: director of note who shall also remain nameless, who advised

1104
01:02:27,240 --> 01:02:31,840
Speaker 2: them that it was a second rate script. Paul Hogan's

1105
01:02:31,840 --> 01:02:34,760
Speaker 2: a television star, he'd never make a movie star. They

1106
01:02:34,760 --> 01:02:37,560
Speaker 2: shouldn't go near it with a barge pole, like do

1107
01:02:37,680 --> 01:02:41,040
Speaker 2: not invest in Crocodile Dundee. So we couldn't raise the money.

1108
01:02:41,960 --> 01:02:42,240
Speaker 1: Really.

1109
01:02:42,320 --> 01:02:45,560
Speaker 2: Late in the piece, Kerry pulled his money out, so

1110
01:02:45,640 --> 01:02:49,000
Speaker 2: that meant that we had to scramble around to get

1111
01:02:49,000 --> 01:02:52,400
Speaker 2: investors because we had like we were in pre production.

1112
01:02:53,280 --> 01:02:56,920
Speaker 2: So we mortgaged our house and we went to mums

1113
01:02:56,960 --> 01:03:01,439
Speaker 2: and dads, family and friends, the cricketer. We just put

1114
01:03:01,440 --> 01:03:05,680
Speaker 2: it out there as a prospectus. Five thousand dollars was

1115
01:03:05,680 --> 01:03:08,840
Speaker 2: the minimum. My mum and dad put that much in

1116
01:03:08,880 --> 01:03:11,080
Speaker 2: that they hardly had that much, but they backed John

1117
01:03:12,320 --> 01:03:16,400
Speaker 2: and we raised the money that way. Wow, so those

1118
01:03:16,480 --> 01:03:21,680
Speaker 2: people who invested got like a dozen, twelve or thirteen

1119
01:03:21,720 --> 01:03:25,760
Speaker 2: times their money back. So Kerry was kicking himself.

1120
01:03:27,280 --> 01:03:32,160
Speaker 1: Good. Yeah, is because most people just think these things

1121
01:03:32,240 --> 01:03:35,640
Speaker 1: just magically happen. And I know that it may be

1122
01:03:35,720 --> 01:03:38,120
Speaker 1: a bit boring the money part of it to audiences,

1123
01:03:38,160 --> 01:03:41,240
Speaker 1: but it's a critical part of it. And the critical

1124
01:03:41,240 --> 01:03:42,880
Speaker 1: part of the story is how we raise money. So

1125
01:03:42,960 --> 01:03:44,439
Speaker 1: you just passed the hat around.

1126
01:03:44,760 --> 01:03:48,800
Speaker 2: Absolutely, like there was no crowdfunding, There was no you know,

1127
01:03:49,520 --> 01:03:52,080
Speaker 2: assistance from the New South Wales film commited, like none

1128
01:03:52,120 --> 01:03:53,200
Speaker 2: of that had started.

1129
01:03:53,720 --> 01:03:56,560
Speaker 1: Yeah, because that didn't happen until the eighties, the film commission.

1130
01:03:56,680 --> 01:03:57,920
Speaker 1: Yeahs ring film commission.

1131
01:03:57,960 --> 01:04:00,760
Speaker 2: So this was eighty five, but it wasn't it wasn't

1132
01:04:00,800 --> 01:04:01,320
Speaker 2: alive then.

1133
01:04:01,800 --> 01:04:03,760
Speaker 1: Anyway. I know you're right because I was working in

1134
01:04:03,840 --> 01:04:08,400
Speaker 1: law from the time. I remember that they government intjudics

1135
01:04:08,440 --> 01:04:09,920
Speaker 1: the thing where you get one hundred and ten percent

1136
01:04:09,960 --> 01:04:12,400
Speaker 1: tax deduction if you invest, Yeah, if invest in one

1137
01:04:12,440 --> 01:04:15,480
Speaker 1: of these things. So there was no real tax benefits

1138
01:04:15,480 --> 01:04:17,280
Speaker 1: for anybody. You just had to pass it, pass the

1139
01:04:17,320 --> 01:04:20,800
Speaker 1: hat around. How was it you? How'd you win people

1140
01:04:20,840 --> 01:04:23,200
Speaker 1: out like your mum and your dad? Like was it

1141
01:04:23,360 --> 01:04:26,120
Speaker 1: just faith in? John and you and Hoages.

1142
01:04:26,040 --> 01:04:29,640
Speaker 2: Faith in John and Hoages, Yeah. Absolutely. Like in the

1143
01:04:29,680 --> 01:04:33,400
Speaker 2: documentary we speak to DJO, who was Dennis Johnson, who

1144
01:04:33,440 --> 01:04:35,840
Speaker 2: was the underwriter for the stockbroking firm at the time

1145
01:04:36,280 --> 01:04:38,680
Speaker 2: and an old mate of Paul's. They grew up together

1146
01:04:38,720 --> 01:04:41,040
Speaker 2: in Granville. They were the Granville.

1147
01:04:40,600 --> 01:04:42,360
Speaker 1: Boys Granville's, didn't you.

1148
01:04:42,640 --> 01:04:47,720
Speaker 2: Yeah, And so he took the prospectus to his partner

1149
01:04:47,760 --> 01:04:52,760
Speaker 2: and said, there's an opportunity for us to invest in

1150
01:04:52,800 --> 01:04:57,080
Speaker 2: Paul Hogan and John Cornell. We should take it, and

1151
01:04:57,120 --> 01:05:02,080
Speaker 2: they did, but they also we're advising other people to

1152
01:05:05,000 --> 01:05:08,640
Speaker 2: John and Paul, like in Excess, you know that, like

1153
01:05:09,520 --> 01:05:13,520
Speaker 2: so many people who were also going to be involved

1154
01:05:13,520 --> 01:05:16,360
Speaker 2: with the film, because in Excess wrote music for the film.

1155
01:05:17,640 --> 01:05:20,040
Speaker 2: Because at the time with Tenba, a lot of people

1156
01:05:20,080 --> 01:05:23,720
Speaker 2: thought that it was a tax right off, you were

1157
01:05:23,760 --> 01:05:25,280
Speaker 2: expected to lose money.

1158
01:05:25,760 --> 01:05:27,400
Speaker 1: That's why you got a the tax section more than

1159
01:05:27,440 --> 01:05:29,240
Speaker 1: you put in, because you're expected to lose the do

1160
01:05:29,360 --> 01:05:31,200
Speaker 1: because it's not going to it's not going to be returned.

1161
01:05:31,720 --> 01:05:35,120
Speaker 1: But it happened the other way, because that's great. But

1162
01:05:35,160 --> 01:05:36,760
Speaker 1: that's good for those individuals.

1163
01:05:36,920 --> 01:05:39,160
Speaker 2: And John was thrilled. And in the documentary, I've got

1164
01:05:39,200 --> 01:05:43,360
Speaker 2: footage of him saying it felt good to have pensioners

1165
01:05:44,160 --> 01:05:46,439
Speaker 2: and people like that put a little bit of money

1166
01:05:46,440 --> 01:05:49,760
Speaker 2: into Crocodile Dundee and get a lot back. That feels good.

1167
01:05:50,360 --> 01:05:56,000
Speaker 2: And that was his approach to everything, was to make

1168
01:05:56,040 --> 01:05:59,840
Speaker 2: people have a win. And so you know, luckily for

1169
01:06:00,560 --> 01:06:02,880
Speaker 2: we had a win. He knew that there would be

1170
01:06:02,920 --> 01:06:06,440
Speaker 2: a win. John was extremely confident about the success of

1171
01:06:06,480 --> 01:06:09,040
Speaker 2: Crocodile Dundee, which is why he did the Blue Sky

1172
01:06:09,120 --> 01:06:10,720
Speaker 2: deal in America.

1173
01:06:10,640 --> 01:06:12,800
Speaker 1: Which what can you take us through? The Blue Sky deal?

1174
01:06:14,000 --> 01:06:17,360
Speaker 2: So a Blue Sky deal, that's when you you go

1175
01:06:17,440 --> 01:06:22,920
Speaker 2: to a distributor and we got knockbacks like twentieth Century

1176
01:06:22,920 --> 01:06:24,080
Speaker 2: Fox didn't want to know about it.

1177
01:06:24,320 --> 01:06:26,040
Speaker 1: You got to explain because the movie can make the movie,

1178
01:06:26,320 --> 01:06:28,320
Speaker 1: it's got to be distributed though, someone's got to make.

1179
01:06:28,800 --> 01:06:33,240
Speaker 2: Then you take it to a distributor to sell to cinemas.

1180
01:06:33,800 --> 01:06:34,479
Speaker 1: So we're looking.

1181
01:06:34,520 --> 01:06:38,120
Speaker 2: He's we're in America and he's looking for the right distributor.

1182
01:06:39,640 --> 01:06:41,760
Speaker 2: And we took it to a couple and John did

1183
01:06:42,120 --> 01:06:43,920
Speaker 2: and they knocked it back. No, I didn't even that

1184
01:06:44,040 --> 01:06:46,640
Speaker 2: didn't even know where Australia was. That we even spoke

1185
01:06:46,680 --> 01:06:50,400
Speaker 2: English much so a few of them did because of

1186
01:06:50,440 --> 01:06:57,120
Speaker 2: the tourism campaign, but it wasn't going so well. So

1187
01:06:58,520 --> 01:07:03,160
Speaker 2: he had the film audience tested, which isn't usually done,

1188
01:07:03,480 --> 01:07:06,080
Speaker 2: certainly not by a producer, and he went to the

1189
01:07:06,080 --> 01:07:10,440
Speaker 2: same company where all the movie distributors have their audience

1190
01:07:10,760 --> 01:07:13,320
Speaker 2: tests done. So an audience test is when you show

1191
01:07:13,360 --> 01:07:15,919
Speaker 2: it to a select amount of people and they give

1192
01:07:15,960 --> 01:07:20,040
Speaker 2: you a rating, and the rating is normally forty five

1193
01:07:20,600 --> 01:07:25,760
Speaker 2: that's acceptable. It got a fifty three, which was unheard of,

1194
01:07:26,760 --> 01:07:29,120
Speaker 2: and so the next place that he wanted to go

1195
01:07:29,200 --> 01:07:32,320
Speaker 2: to was Paramount because he liked they had big, fancy

1196
01:07:32,400 --> 01:07:33,080
Speaker 2: iron gates.

1197
01:07:33,320 --> 01:07:36,640
Speaker 1: I'm going to go They've got money. So he.

1198
01:07:38,280 --> 01:07:42,760
Speaker 2: Took it to them with the audience test and they said, oh,

1199
01:07:42,840 --> 01:07:45,960
Speaker 2: you know, this is unusual. It's a fifty three. Where

1200
01:07:45,960 --> 01:07:48,200
Speaker 2: did you get it tested? And he said, I use

1201
01:07:48,280 --> 01:07:52,480
Speaker 2: the same company that you use, and so he was

1202
01:07:52,520 --> 01:07:55,920
Speaker 2: more armed than they were really and even though it

1203
01:07:55,960 --> 01:07:59,200
Speaker 2: had tested well, they didn't really think it was going

1204
01:07:59,280 --> 01:08:04,080
Speaker 2: to do what it did. They released in autumn, which

1205
01:08:04,240 --> 01:08:06,640
Speaker 2: or the fall, which is when they usually put their

1206
01:08:08,240 --> 01:08:16,719
Speaker 2: uncertain movies, and so John agreed to the deal where

1207
01:08:16,920 --> 01:08:20,400
Speaker 2: they got the greater share up to a certain point.

1208
01:08:20,479 --> 01:08:23,439
Speaker 2: I think it was twenty million, and then a blue

1209
01:08:23,479 --> 01:08:27,439
Speaker 2: sky deal means that the producers take the greater share

1210
01:08:28,240 --> 01:08:30,360
Speaker 2: or take all the rest. I think it is basically

1211
01:08:30,400 --> 01:08:34,679
Speaker 2: the blue sky after that cutoff point and they they're

1212
01:08:34,720 --> 01:08:36,960
Speaker 2: rubbing their hands together, going, oh, this is you know,

1213
01:08:37,000 --> 01:08:40,280
Speaker 2: these they don't know what they're doing. We're going to

1214
01:08:40,320 --> 01:08:42,080
Speaker 2: clean up with that and they can have the rest.

1215
01:08:43,040 --> 01:08:45,920
Speaker 1: Well, we had the rest, the rest of the eight million.

1216
01:08:46,040 --> 01:08:50,120
Speaker 2: Yeah. So it took courage I think for John to

1217
01:08:50,160 --> 01:08:54,559
Speaker 2: do that, or self belief that, and he pulled it.

1218
01:08:54,520 --> 01:08:57,280
Speaker 1: Off a lot of times. Courage your self believe. Yeah.

1219
01:08:58,200 --> 01:09:01,200
Speaker 2: And so when he went back negotiate for crop two,

1220
01:09:02,520 --> 01:09:05,120
Speaker 2: they said, you can take that straw out of your mouth.

1221
01:09:05,240 --> 01:09:10,080
Speaker 1: Now we know what you're up to. I remember telling

1222
01:09:10,120 --> 01:09:12,320
Speaker 1: us to real fund it. Yeah, the whole thing.

1223
01:09:12,680 --> 01:09:15,000
Speaker 2: Yeah, yeah, and they did.

1224
01:09:14,680 --> 01:09:19,479
Speaker 1: They fund a crop too, So Deli Lake. Now we're

1225
01:09:19,520 --> 01:09:21,840
Speaker 1: at the end of our show now, but like, and

1226
01:09:21,960 --> 01:09:25,479
Speaker 1: we'll talk about where the show is going to feature.

1227
01:09:26,200 --> 01:09:27,960
Speaker 1: I think it's next week, so I will go through

1228
01:09:28,080 --> 01:09:30,840
Speaker 1: the details in a second. But given that you've had

1229
01:09:30,880 --> 01:09:33,880
Speaker 1: an opportunity just to talk through it again, like in

1230
01:09:33,920 --> 01:09:40,240
Speaker 1: a long form, is there anything in the documentary for you,

1231
01:09:40,320 --> 01:09:43,439
Speaker 1: that is an absolute highlight. Like, what is something in

1232
01:09:43,479 --> 01:09:46,240
Speaker 1: there that was a big highlight for you? There's something

1233
01:09:46,320 --> 01:09:48,719
Speaker 1: you discovered that you probably forgot about, or you maybe

1234
01:09:48,720 --> 01:09:50,720
Speaker 1: you didn't even know about because you know, you've been

1235
01:09:51,000 --> 01:09:55,320
Speaker 1: rifling through old films and scripts and you know, talking

1236
01:09:55,320 --> 01:09:59,160
Speaker 1: to everybody and reliving the moments. And I don't know

1237
01:09:59,160 --> 01:10:02,000
Speaker 1: if you're talking to the directors, etc. Who helped produce

1238
01:10:02,000 --> 01:10:04,000
Speaker 1: the show, will director the show at the beginning? What

1239
01:10:04,040 --> 01:10:05,400
Speaker 1: are some of the things that come out of for

1240
01:10:05,640 --> 01:10:07,640
Speaker 1: down Delaney?

1241
01:10:08,360 --> 01:10:14,599
Speaker 2: Extraordinary things, extraordinary coincidences. I think it's I think it's John.

1242
01:10:18,120 --> 01:10:20,080
Speaker 2: When I had I had I joined the crew for

1243
01:10:20,160 --> 01:10:22,080
Speaker 2: Crop two, I had three jobs. One of them was

1244
01:10:22,560 --> 01:10:29,640
Speaker 2: making a making of directing that organizing everything. So we

1245
01:10:29,720 --> 01:10:31,720
Speaker 2: never did that because we didn't need to at the

1246
01:10:31,720 --> 01:10:33,840
Speaker 2: time it just took off again, we didn't. We just

1247
01:10:33,960 --> 01:10:36,320
Speaker 2: never had time to make a making of So I

1248
01:10:36,320 --> 01:10:38,519
Speaker 2: had that footage. Didn't really want to use Crop two

1249
01:10:38,520 --> 01:10:41,320
Speaker 2: footage in this story because it was really about Kroc one,

1250
01:10:42,360 --> 01:10:44,240
Speaker 2: so I was a bit short of footage really.

1251
01:10:45,120 --> 01:10:45,639
Speaker 1: And then.

1252
01:10:47,120 --> 01:10:50,000
Speaker 2: Even though we'd gone through every single tub, we thought

1253
01:10:50,560 --> 01:10:53,120
Speaker 2: in my big shed of all the archival materials that

1254
01:10:53,160 --> 01:10:56,920
Speaker 2: belonged to John that I unexpectedly found when I was

1255
01:10:56,920 --> 01:11:01,200
Speaker 2: looking for the restoration elements when we were shooting. When

1256
01:11:01,360 --> 01:11:03,760
Speaker 2: we were in shooting, like we were in shooting the

1257
01:11:03,800 --> 01:11:06,960
Speaker 2: documentary in one of the rooms that we'd set up

1258
01:11:07,160 --> 01:11:10,479
Speaker 2: of the production office as an archival room, so I

1259
01:11:10,479 --> 01:11:12,240
Speaker 2: had all the tubs and the old scripts and the

1260
01:11:12,280 --> 01:11:14,840
Speaker 2: posters and the international posters and all this stuff. And

1261
01:11:16,479 --> 01:11:19,719
Speaker 2: then we did this observational sort of interview with Peter Fahman,

1262
01:11:19,760 --> 01:11:24,000
Speaker 2: the director, Ray Brown, Paul Hogan, and me, and we

1263
01:11:24,040 --> 01:11:27,240
Speaker 2: didn't actually use that in the doco because we didn't

1264
01:11:27,240 --> 01:11:29,280
Speaker 2: need to. But the next day, when we were packing

1265
01:11:29,280 --> 01:11:34,280
Speaker 2: it all down, there was this stack of two old, big,

1266
01:11:34,439 --> 01:11:39,400
Speaker 2: forty centimeters square plastic film reels, and on the side

1267
01:11:39,439 --> 01:11:43,320
Speaker 2: of them I saw that it had Peter Feyman Productions,

1268
01:11:44,120 --> 01:11:46,800
Speaker 2: the Making of Hogues. And Peter Fehman was there and

1269
01:11:46,840 --> 01:11:51,000
Speaker 2: I said what are they and he said, oh, they'd

1270
01:11:51,000 --> 01:11:54,800
Speaker 2: be the making of Crocodile Dundee one. And I went, what,

1271
01:11:55,479 --> 01:11:57,880
Speaker 2: I didn't even know you had someone making Crocodile Dundee

1272
01:11:57,880 --> 01:12:00,200
Speaker 2: one and he said, oh yeah. John Bowring said that's

1273
01:12:00,200 --> 01:12:02,920
Speaker 2: why it's got Peter Faman Productions, because John Bowring was

1274
01:12:02,960 --> 01:12:06,439
Speaker 2: a cameraman who used to do exterior shoots for The

1275
01:12:06,479 --> 01:12:11,400
Speaker 2: Paul Hogan Show on film, and he'd always built Peter

1276
01:12:12,120 --> 01:12:16,240
Speaker 2: at Channel nine. And so I said, well, what's the

1277
01:12:16,280 --> 01:12:18,760
Speaker 2: making of Hawgs's Eyes? Just written the title wrong me,

1278
01:12:18,800 --> 01:12:19,280
Speaker 2: I said.

1279
01:12:19,200 --> 01:12:21,880
Speaker 1: Right, I could really use those.

1280
01:12:23,000 --> 01:12:25,640
Speaker 2: I said, oh, they've probably got no sound. You know,

1281
01:12:25,880 --> 01:12:28,960
Speaker 2: I don't even know if they'll be any good. And

1282
01:12:29,000 --> 01:12:31,439
Speaker 2: I said I haven't seen them before. They weren't in

1283
01:12:31,479 --> 01:12:35,400
Speaker 2: amongst all the other archival stuff, like I don't even know, Victoria,

1284
01:12:35,479 --> 01:12:39,000
Speaker 2: have you seen No one had seen them, and so

1285
01:12:40,000 --> 01:12:42,120
Speaker 2: he said, oh, there's probably only one place in Australia

1286
01:12:42,160 --> 01:12:46,080
Speaker 2: that can restore those. So we sent them to this

1287
01:12:46,160 --> 01:12:50,920
Speaker 2: place in Melbourne without breath Held and they came back

1288
01:12:51,080 --> 01:12:55,280
Speaker 2: in perfect condition with audio. Yes, wow, an excellent vision.

1289
01:12:56,200 --> 01:12:57,480
Speaker 1: And in those.

1290
01:12:59,520 --> 01:13:03,240
Speaker 2: Film else was all of the content that I've used

1291
01:13:04,000 --> 01:13:08,200
Speaker 2: for the making of Crocodile Dundee behind the scenes footage

1292
01:13:08,439 --> 01:13:11,400
Speaker 2: and Victorian I looked at each other and went, John

1293
01:13:11,439 --> 01:13:12,120
Speaker 2: put those there.

1294
01:13:13,840 --> 01:13:15,680
Speaker 1: Well, you are a very spiritual person. I've always known

1295
01:13:15,720 --> 01:13:18,840
Speaker 1: you to be that. I mean you are. You are

1296
01:13:18,840 --> 01:13:21,720
Speaker 1: extraordinarily spiritual as a person. I mean, I think you are.

1297
01:13:22,360 --> 01:13:26,320
Speaker 1: And you talked about and I don't want to embarrass you,

1298
01:13:26,360 --> 01:13:31,479
Speaker 1: but you talked about crocodile doneed one being to some

1299
01:13:31,560 --> 01:13:37,920
Speaker 1: extent a love story between Hoages and Linda. Is this

1300
01:13:38,040 --> 01:13:44,839
Speaker 1: documentary about the love story between Delphine Jelani and John Cornell? Yeah,

1301
01:13:45,240 --> 01:13:46,240
Speaker 1: this is your love story.

1302
01:13:47,160 --> 01:13:52,000
Speaker 2: This is a love letter to John because I'm I'm

1303
01:13:52,040 --> 01:13:59,160
Speaker 2: compelled to honor him and include him in the retelling

1304
01:14:00,080 --> 01:14:04,519
Speaker 2: and on his presence. I felt his presence so strongly.

1305
01:14:04,720 --> 01:14:08,479
Speaker 2: I'll give you an example. We started off calling the

1306
01:14:08,479 --> 01:14:11,160
Speaker 2: production company lucky Ducks because John and I used to

1307
01:14:11,160 --> 01:14:16,360
Speaker 2: always see Oh with such lucky ducks. And I didn't

1308
01:14:16,400 --> 01:14:18,200
Speaker 2: in the end, but for a while I was, and

1309
01:14:18,200 --> 01:14:20,960
Speaker 2: I had flying ducks on the ducks with a motif, right,

1310
01:14:21,040 --> 01:14:23,639
Speaker 2: And so then we were setting the production office up

1311
01:14:24,000 --> 01:14:26,960
Speaker 2: and I cleaned the shelves and Victoria's putting stuff up,

1312
01:14:26,960 --> 01:14:31,000
Speaker 2: and she put John's binoculars from the boat, his boat

1313
01:14:31,360 --> 01:14:33,280
Speaker 2: up on the shelf and I kept looking at them, thinking,

1314
01:14:34,320 --> 01:14:36,040
Speaker 2: and she said, you don't want those there, do I said, no,

1315
01:14:36,080 --> 01:14:37,719
Speaker 2: they're a bit ugly. I think we can do better,

1316
01:14:37,760 --> 01:14:40,760
Speaker 2: and Oh take them down. So she took them down.

1317
01:14:40,840 --> 01:14:44,080
Speaker 2: She put her hand back up and she grabbed something

1318
01:14:44,280 --> 01:14:49,360
Speaker 2: and she had a hand behind her back. And actually,

1319
01:14:49,400 --> 01:14:53,360
Speaker 2: I should backtrack a little bit because just before John passed,

1320
01:14:53,400 --> 01:14:55,760
Speaker 2: I asked him what bird he wanted to be remembered as,

1321
01:14:55,960 --> 01:14:59,080
Speaker 2: because we've got this tradition in our family. And he

1322
01:14:59,160 --> 01:15:05,559
Speaker 2: said drongo. Ah okay. And then we saw one about

1323
01:15:05,560 --> 01:15:07,519
Speaker 2: six months later and I said to him, are you

1324
01:15:07,560 --> 01:15:09,679
Speaker 2: sure you want to be remembered as a spangled drongo?

1325
01:15:09,840 --> 01:15:13,040
Speaker 2: Because they're my gratory. I won't see them much. He

1326
01:15:13,040 --> 01:15:15,240
Speaker 2: said no, no, change your mind. I said, ah, I said

1327
01:15:15,280 --> 01:15:16,880
Speaker 2: what and he said, A cook a barraugh?

1328
01:15:16,920 --> 01:15:20,559
Speaker 1: Oh, that's my favorite. You're serious? Oh a god, you're

1329
01:15:20,600 --> 01:15:22,760
Speaker 1: killing me. A cook a bar it's my favorite bird.

1330
01:15:23,360 --> 01:15:25,400
Speaker 2: And I said why why a cook a barra? And

1331
01:15:25,439 --> 01:15:26,920
Speaker 2: he said because they make people laugh.

1332
01:15:26,800 --> 01:15:30,679
Speaker 1: One hundred I love them first first, to make people

1333
01:15:30,720 --> 01:15:31,320
Speaker 1: laugh in the morning.

1334
01:15:31,680 --> 01:15:34,920
Speaker 2: And the Indigenous belief is that they ring the bell,

1335
01:15:35,000 --> 01:15:37,439
Speaker 2: they clear the air. The cooker barras clear the air

1336
01:15:37,520 --> 01:15:41,000
Speaker 2: morning and night, because like a bell ringing. So okay,

1337
01:15:41,080 --> 01:15:44,160
Speaker 2: a cook a barraugh. So back to in the production

1338
01:15:44,200 --> 01:15:48,080
Speaker 2: office setting it up, Victoria brings her hand out and says,

1339
01:15:49,160 --> 01:15:51,720
Speaker 2: did you put this there? And in her hand was

1340
01:15:51,760 --> 01:15:55,479
Speaker 2: a tiny, little white ceramic duck and I said, no,

1341
01:15:56,560 --> 01:15:59,439
Speaker 2: I've never seen that before in my life. And she

1342
01:15:59,479 --> 01:16:02,000
Speaker 2: went and what about this? And it was a cooker

1343
01:16:02,040 --> 01:16:02,519
Speaker 2: Borough feather.

1344
01:16:02,880 --> 01:16:07,800
Speaker 1: Oh my god. Yeah, so he was overseeing the whole thing.

1345
01:16:08,400 --> 01:16:14,800
Speaker 2: He's we cooker Boroughs at the most opportune times. I

1346
01:16:14,840 --> 01:16:17,920
Speaker 2: was struggling with the decision driving from my house to

1347
01:16:17,960 --> 01:16:20,160
Speaker 2: the production office the other day, and I've got a

1348
01:16:20,160 --> 01:16:24,920
Speaker 2: home burial plot where John is. I was thinking away

1349
01:16:24,960 --> 01:16:26,360
Speaker 2: and I'm trying to work it out. And I looked

1350
01:16:26,400 --> 01:16:31,519
Speaker 2: over at his headstone and on top was a crooker Borough. Okay,

1351
01:16:32,240 --> 01:16:34,639
Speaker 2: that'll do. I'll go with that decision, Thanks John.

1352
01:16:36,200 --> 01:16:39,800
Speaker 1: I you know, I have this silly thing in my mind.

1353
01:16:39,800 --> 01:16:41,679
Speaker 1: If I hear cooker Borrows, like five in the morning

1354
01:16:41,680 --> 01:16:44,120
Speaker 1: before the sun comes up, If I hear them laughing

1355
01:16:44,280 --> 01:16:46,640
Speaker 1: wherever I am, my house, on my house up in

1356
01:16:46,640 --> 01:16:49,400
Speaker 1: the borro and Weaver, I have the view that my

1357
01:16:49,479 --> 01:16:50,400
Speaker 1: day is going to be a good day.

1358
01:16:50,720 --> 01:16:50,920
Speaker 2: Yeah.

1359
01:16:51,160 --> 01:16:53,479
Speaker 1: It's they're telling they're laughing at whatever is it might

1360
01:16:53,520 --> 01:16:55,919
Speaker 1: be worried about from the day before, and they're basically

1361
01:16:56,000 --> 01:16:58,160
Speaker 1: there's a sort of stupid. I know he's got no

1362
01:16:58,160 --> 01:17:01,160
Speaker 1: science associated with it, but it just makes me feel good.

1363
01:17:01,680 --> 01:17:04,920
Speaker 2: And that's your symbolism, and that's great. And we all

1364
01:17:04,920 --> 01:17:08,240
Speaker 2: should have this connection to the other side of things

1365
01:17:08,240 --> 01:17:12,439
Speaker 2: that we don't that we're not indoctrinated by. You know,

1366
01:17:12,479 --> 01:17:16,240
Speaker 2: that's spirit, that's connection to other things in a different

1367
01:17:16,240 --> 01:17:19,840
Speaker 2: way that's personal to you. And people may think, oh,

1368
01:17:20,000 --> 01:17:21,519
Speaker 2: you know, as if John put them there.

1369
01:17:22,400 --> 01:17:23,000
Speaker 1: Who knows?

1370
01:17:23,240 --> 01:17:26,800
Speaker 2: I had a materialization from John after he passed. I'm

1371
01:17:26,840 --> 01:17:29,599
Speaker 2: lying in bed one night, I rolled over and he

1372
01:17:29,760 --> 01:17:33,760
Speaker 2: was there, as large as life. I didn't imagine it.

1373
01:17:34,840 --> 01:17:36,760
Speaker 1: He was there. He didn't stay long.

1374
01:17:37,360 --> 01:17:42,040
Speaker 2: But I've had so many ghost encounters that I know

1375
01:17:42,840 --> 01:17:46,080
Speaker 2: that there's something else in a different realm that I

1376
01:17:46,120 --> 01:17:50,840
Speaker 2: have no explanation for, but total acceptance of. And so

1377
01:17:51,439 --> 01:17:55,719
Speaker 2: whether it's through birds and people say birds are messengers

1378
01:17:55,720 --> 01:17:59,519
Speaker 2: of the gods, you'll often see them at funerals, or

1379
01:17:59,560 --> 01:18:04,799
Speaker 2: you'll can on some level with an ancestor or a meaning,

1380
01:18:05,160 --> 01:18:09,760
Speaker 2: which is what you have. Why not embrace that? Who

1381
01:18:10,280 --> 01:18:15,679
Speaker 2: We can't be that ignorant to think that we know everything, Yeah,

1382
01:18:15,680 --> 01:18:16,400
Speaker 2: because we don't.

1383
01:18:16,520 --> 01:18:20,360
Speaker 1: And you're right. And I often where I fail often

1384
01:18:20,439 --> 01:18:25,360
Speaker 1: is that I'm about evidence, and I'm always thinking, well,

1385
01:18:25,360 --> 01:18:27,839
Speaker 1: if the science can't prove it, therefore it doesn't exist,

1386
01:18:28,240 --> 01:18:30,200
Speaker 1: when in fact, science would be the first to admit

1387
01:18:30,240 --> 01:18:32,759
Speaker 1: to you that or to us that they don't know everything.

1388
01:18:32,800 --> 01:18:35,360
Speaker 1: They're still in the discovery. They're just trying to discover everything,

1389
01:18:35,439 --> 01:18:37,800
Speaker 1: but they just don't know everything. And therefore, just because

1390
01:18:37,840 --> 01:18:40,840
Speaker 1: the scientists can't prove it doesn't mean it doesn't exist absolutely.

1391
01:18:41,240 --> 01:18:44,360
Speaker 1: And I love that thought process. Yeah, and it sits

1392
01:18:44,479 --> 01:18:46,200
Speaker 1: out there. I mean, I'm glad you're reminded me of

1393
01:18:46,200 --> 01:18:48,479
Speaker 1: the cooker bras and you know, I you know, I

1394
01:18:48,520 --> 01:18:51,600
Speaker 1: have a deep affection for John, always did, and you

1395
01:18:51,640 --> 01:18:54,240
Speaker 1: know I've always had it like this. There's something that

1396
01:18:54,280 --> 01:18:57,599
Speaker 1: I felt, I always felt close to when I saw him.

1397
01:18:57,640 --> 01:18:59,120
Speaker 1: I didn't see him that often, but you know, when

1398
01:18:59,120 --> 01:19:01,400
Speaker 1: it's to come up, i'd see you. And you know,

1399
01:19:01,520 --> 01:19:04,400
Speaker 1: my my youngest boy, Jimmy, loved him. And I was

1400
01:19:04,400 --> 01:19:06,400
Speaker 1: telling the story about it before, but I'm not going

1401
01:19:06,479 --> 01:19:09,120
Speaker 1: to reiterate it now on this show. But Jimmy was

1402
01:19:09,120 --> 01:19:10,920
Speaker 1: only eleven at the time, but he still talks about

1403
01:19:10,960 --> 01:19:14,559
Speaker 1: him affectionately. And there's something about when you told me

1404
01:19:14,560 --> 01:19:16,240
Speaker 1: that he loved cook Brows. I felt like he was

1405
01:19:16,280 --> 01:19:18,559
Speaker 1: talking to me because that's my favorite bird by far.

1406
01:19:18,680 --> 01:19:20,639
Speaker 1: There's no other bird in the world gets anything close

1407
01:19:20,680 --> 01:19:22,400
Speaker 1: to Cookbora. In fact, I've got a painting of a

1408
01:19:22,439 --> 01:19:24,519
Speaker 1: corkabara on the entrance of my house that I commissioned

1409
01:19:24,520 --> 01:19:27,200
Speaker 1: a lady to paint for me, and that's I just

1410
01:19:27,240 --> 01:19:28,880
Speaker 1: love them. I just love Cookbroa's. I love the fact

1411
01:19:28,920 --> 01:19:32,320
Speaker 1: they're laughing all the time. Yeah, and that's a great thing.

1412
01:19:32,439 --> 01:19:34,599
Speaker 1: He really really liked you, Mark.

1413
01:19:34,960 --> 01:19:36,880
Speaker 2: He spoke extremely highly of you.

1414
01:19:36,960 --> 01:19:37,439
Speaker 1: Thank you.

1415
01:19:37,439 --> 01:19:39,559
Speaker 2: You were one of his men. Yeah, you were one

1416
01:19:39,600 --> 01:19:40,479
Speaker 2: that he really liked.

1417
01:19:40,800 --> 01:19:44,240
Speaker 1: You know. It's funny, you know, it's funny, you know

1418
01:19:44,640 --> 01:19:47,680
Speaker 1: when we I can't wait to see the documentary, But

1419
01:19:48,000 --> 01:19:53,160
Speaker 1: it's when you think of people like John and people

1420
01:19:53,200 --> 01:19:55,240
Speaker 1: who were close to who were passed us and we

1421
01:19:55,320 --> 01:19:58,000
Speaker 1: often from my point of view, and probably even the

1422
01:19:58,040 --> 01:20:00,479
Speaker 1: audience who used to love watching John a strong and

1423
01:20:00,880 --> 01:20:03,880
Speaker 1: who have respect for what he produced. A documentary like

1424
01:20:03,960 --> 01:20:06,240
Speaker 1: this I think is really important for people to see

1425
01:20:06,240 --> 01:20:10,240
Speaker 1: because it actually gets you closer to the understanding of

1426
01:20:10,320 --> 01:20:14,400
Speaker 1: why you feel warm towards that individual and why you

1427
01:20:14,400 --> 01:20:17,479
Speaker 1: feel warm towards hoagues you know why I relate to

1428
01:20:18,240 --> 01:20:20,760
Speaker 1: Stop and Cornell. Why I related to the Paul Hogan Show.

1429
01:20:20,840 --> 01:20:24,000
Speaker 1: I just love Paul Hogan Show. Why I love I

1430
01:20:24,000 --> 01:20:27,479
Speaker 1: love Crocodile Dundee. And you're bringing all these little nuances

1431
01:20:27,479 --> 01:20:31,400
Speaker 1: out of the show in the making of in a documentary.

1432
01:20:31,439 --> 01:20:34,559
Speaker 1: I think that's extremely That stuff needs happened more often.

1433
01:20:34,720 --> 01:20:37,679
Speaker 1: I don't really remember seeing too many documentaries about movies,

1434
01:20:37,960 --> 01:20:40,120
Speaker 1: well made movies that have been around a long time,

1435
01:20:40,880 --> 01:20:44,160
Speaker 1: as to what the thought process was in making. And

1436
01:20:44,439 --> 01:20:46,040
Speaker 1: so this is a great initial and I might love

1437
01:20:46,080 --> 01:20:48,040
Speaker 1: to see the same sort of thing about for example,

1438
01:20:48,080 --> 01:20:50,639
Speaker 1: Break a Rant or Gallipoli as well, those sorts of shows.

1439
01:20:50,920 --> 01:20:53,120
Speaker 1: What was behind the idea about it? Why were the

1440
01:20:53,160 --> 01:20:54,439
Speaker 1: people thinking about these things?

1441
01:20:54,520 --> 01:20:58,000
Speaker 2: Yeah, you know, I think I think what I've tried

1442
01:20:58,040 --> 01:21:00,439
Speaker 2: to do with the documentary as well as craft a

1443
01:21:00,479 --> 01:21:03,840
Speaker 2: love letter to John and an honoring of everybody who

1444
01:21:03,880 --> 01:21:07,240
Speaker 2: contributed their little spark to the lightning in the bottle.

1445
01:21:07,360 --> 01:21:08,120
Speaker 1: You know that.

1446
01:21:09,520 --> 01:21:12,920
Speaker 2: It takes more than one person to create something as

1447
01:21:12,960 --> 01:21:17,280
Speaker 2: phenomenal as Crocodile Dundee. So yes, let's acknowledge and applaud

1448
01:21:17,360 --> 01:21:22,000
Speaker 2: those people. But as well, I wanted to I wanted

1449
01:21:22,040 --> 01:21:26,680
Speaker 2: to showcase the values that are inherent in success and

1450
01:21:26,720 --> 01:21:37,080
Speaker 2: when you have good values like true mateship, self belief, courage, egalitarianism.

1451
01:21:37,640 --> 01:21:39,680
Speaker 1: I love that one all of those things that.

1452
01:21:41,479 --> 01:21:43,519
Speaker 2: We should all practice. And I'm not trying to be

1453
01:21:43,560 --> 01:21:47,240
Speaker 2: a preacher here. It's just in recognition of those values

1454
01:21:47,840 --> 01:21:51,639
Speaker 2: that are so much in the body of that film

1455
01:21:52,320 --> 01:21:56,840
Speaker 2: that you can feel it, but you probably couldn't verbalize it.

1456
01:21:57,240 --> 01:22:00,360
Speaker 2: You don't know quite what it is, but this something

1457
01:22:00,360 --> 01:22:04,400
Speaker 2: that makes it good, and it's the good. And so

1458
01:22:05,040 --> 01:22:11,000
Speaker 2: I would like people to practice those values, to remember that,

1459
01:22:11,280 --> 01:22:15,479
Speaker 2: as OSSI is particularly, we have them, and if we

1460
01:22:15,560 --> 01:22:21,280
Speaker 2: practice those values, it makes things happen because you're doing good.

1461
01:22:22,080 --> 01:22:25,400
Speaker 2: And so I think that I think that it's in

1462
01:22:25,439 --> 01:22:28,760
Speaker 2: there without being too you know, this is what I

1463
01:22:28,800 --> 01:22:29,599
Speaker 2: reckon you should do.

1464
01:22:30,200 --> 01:22:31,839
Speaker 1: It's just a nod to it.

1465
01:22:31,840 --> 01:22:34,599
Speaker 2: It's a recognition of the fact that if those values

1466
01:22:34,680 --> 01:22:40,240
Speaker 2: weren't in that film, maybe it wouldn't have been that film.

1467
01:22:39,680 --> 01:22:42,080
Speaker 1: Which is probably why we all loved it, but we

1468
01:22:42,160 --> 01:22:43,040
Speaker 1: never really knew why.

1469
01:22:43,160 --> 01:22:45,479
Speaker 2: Yeah, I think I think there's something in there that's

1470
01:22:45,520 --> 01:22:48,800
Speaker 2: part of the magic. There's magic in Crocodile Dounity, and

1471
01:22:48,840 --> 01:22:53,599
Speaker 2: I don't think I'm overstating that. No magic is intent

1472
01:22:53,720 --> 01:22:58,439
Speaker 2: in action. And so it was this incredible intention to

1473
01:22:58,560 --> 01:23:03,600
Speaker 2: make this terrific film that really showcased Australia and Australians

1474
01:23:04,080 --> 01:23:07,880
Speaker 2: and those guys everybody on that film put that into

1475
01:23:07,960 --> 01:23:11,920
Speaker 2: action and then you know, you brew the cauldron and

1476
01:23:11,960 --> 01:23:15,120
Speaker 2: off she goes, and it affects everybody in a really

1477
01:23:15,160 --> 01:23:18,320
Speaker 2: good way if it's well intentioned. And I think that's

1478
01:23:18,320 --> 01:23:20,000
Speaker 2: what happened there with that.

1479
01:23:20,000 --> 01:23:22,560
Speaker 1: That is such a good summary of the whole thing. Seriously,

1480
01:23:23,160 --> 01:23:25,840
Speaker 1: did you rehearse that he's made up on the spot?

1481
01:23:27,160 --> 01:23:31,400
Speaker 1: You just channeled him. He just come through it? Well?

1482
01:23:31,920 --> 01:23:33,880
Speaker 1: To see where so you can purchase tickets to the

1483
01:23:33,880 --> 01:23:36,200
Speaker 1: screenings next week. So we're going to put this up

1484
01:23:36,600 --> 01:23:40,519
Speaker 1: on Thursday, that's tomorrow. You and I are filming this

1485
01:23:40,600 --> 01:23:43,000
Speaker 1: on a Wednesday. There's going to be the screenings and

1486
01:23:43,120 --> 01:23:45,000
Speaker 1: next week in the and we're going to put in

1487
01:23:45,000 --> 01:23:47,599
Speaker 1: the links below in the show notes, so anybody wants

1488
01:23:47,640 --> 01:23:50,679
Speaker 1: to know where to buy tickets and where the film

1489
01:23:50,720 --> 01:23:52,720
Speaker 1: has been shown, you can go see it. It's going

1490
01:23:52,720 --> 01:23:55,479
Speaker 1: to be in cinemas from the twenty sixth of March,

1491
01:23:55,520 --> 01:23:58,240
Speaker 1: is that's correct? Seven twenty seven of the March and

1492
01:23:58,240 --> 01:24:03,240
Speaker 1: the screenings nationwide, Yeah, across the nation. If you want to,

1493
01:24:03,280 --> 01:24:06,920
Speaker 1: you can go to Kismet Movies. That's k I S

1494
01:24:07,080 --> 01:24:09,320
Speaker 1: M E T M O v I E S Kismet

1495
01:24:09,600 --> 01:24:14,439
Speaker 1: movies dot com website Define screenings near you. Delvine is

1496
01:24:15,240 --> 01:24:17,240
Speaker 1: being absolutely awesome to have you here.

1497
01:24:17,920 --> 01:24:20,479
Speaker 2: Thank you for having me. I've enjoyed myself very much.

1498
01:24:20,600 --> 01:24:24,280
Speaker 1: Thanks for reminding me of the wonderful love story between

1499
01:24:24,320 --> 01:24:28,519
Speaker 1: you and John, and thanks for reminding me of mile mate. Yeah,

1500
01:24:28,760 --> 01:24:31,599
Speaker 1: the cooker barro man calling, I call them Corny Burroughs,

1501
01:24:31,640 --> 01:24:37,759
Speaker 1: now Corny Burroughs. I love it. Thanks Deli, thank you