Speaker 1: Gid A, Peter Helly here, welcome to you Ain't seen
Speaker 1: nothing yet The movie Podcast, where I chat to a
Speaker 1: movie lover about a classical beloved movie they haven't quite
Speaker 1: got around to watching until now. And today's guests comedian
Speaker 1: broadcaster wine lover, my great mate Merrick Watts all below.
Speaker 2: I want to stay here with you, the jobble, Why.
Speaker 1: Hate snake shocked HiRail, It couldn't happening right now?
Speaker 3: Don't see nothing here.
Speaker 1: Mark is a returning guest, So when I have a
Speaker 1: returning guess, I'm like gonn to bang on about him again.
Speaker 1: You go back and listen to the first one if
Speaker 1: you haven't already. But Mez is one of my well
Speaker 1: is my oldest friend in comedy. He's a man who
Speaker 1: many of you would know if you're of a certain age.
Speaker 1: Had a great relationship partnership with Tim Ross. He's a
Speaker 1: great mate American rousso both live and on Triple Jay.
Speaker 1: And then they basically they gave birth to a radio station.
Speaker 1: They started Nova in Sydney, which then expanded across the country.
Speaker 1: So he is a brilliant, brilliant man, talented, smart. If
Speaker 1: you haven't seen any Grapes of Mirth. Go to Grapes
Speaker 1: of Mirth, follow them on our Instagram and they are
Speaker 1: doing amazing things. They are winning awards with tourism, they
Speaker 1: are doing it all. It works because Mark is passionate
Speaker 1: about wine and comedy and shows. So get to a
Speaker 1: Grapes of Mirth gig and also various festivals around the
Speaker 1: country he's performing. He's sequel timely, as we discussed before Sunset,
Speaker 1: a sequel to an Idiots Guide to Wine titled in
Speaker 1: Idiots Guide to Wine Too. I'm also how he came
Speaker 1: up with the title. He's always been very good at
Speaker 1: the marketing. But you go to the show, you get wine,
Speaker 1: You're gonna taste us six wines, and you watch mez
Speaker 1: do comedy and drink wine. I'm certainly going and I
Speaker 1: hope to see you there. Check out. Merrik is amazing.
Speaker 1: He's a great mate and bloody stoke to be hanging
Speaker 1: out with him today.
Speaker 3: Hi.
Speaker 4: My name is Merek and my three favorite films are Star.
Speaker 5: Wars, Star two, you know, and of your Seats a
Speaker 5: bit beat up if you want a new one.
Speaker 4: Not on your life. That little droid and I've been
Speaker 4: through a lot together. You're okayr two.
Speaker 5: Good all rights again, take our procedure.
Speaker 4: Hang on, t tartoo.
Speaker 3: You've got to come back.
Speaker 6: You wouldn't want my life to get boring.
Speaker 1: Would you.
Speaker 4: The Grand Hotel Buddapest.
Speaker 3: The police are here. They asked for you.
Speaker 6: Tell them, I'm you right now?
Speaker 3: Okay?
Speaker 4: Have you ever been questioned by the authorities?
Speaker 3: Yes, some one occasion.
Speaker 1: I was arrested in torture by the rebel militia after
Speaker 1: the Desert uprising. Right, well, you know the drill then,
Speaker 1: of course you've never heard the word vandhart in your life.
Speaker 3: Got it?
Speaker 4: Okay, let's go.
Speaker 6: Maybe serve you a gentleman.
Speaker 1: Ah by order of the Commissioner of Police that broke
Speaker 1: the province, I here by place you under arrest for
Speaker 1: the murder of Madame Selene Villanov the Gofflin Taxis.
Speaker 4: I knew there was something fishy. We never got the
Speaker 4: cause of death. She's been murdered, and you think I
Speaker 4: did it? And fury would meet their open and handed
Speaker 4: and cawsky low Nagene.
Speaker 6: Get ready to put in that bank. These people want
Speaker 6: to test us.
Speaker 4: It's my pleasure.
Speaker 6: On the op check the door, check the door.
Speaker 4: It's a bunch of kids him.
Speaker 6: Come on here, they come, keep an eye out.
Speaker 3: Right over there.
Speaker 5: Fuck so so crowd, what you got?
Speaker 3: No?
Speaker 2: I did died, he Kinder got hanged.
Speaker 4: Yeah, hey shoot that guy.
Speaker 1: This guy, yeah him, the s S cocksucker with the
Speaker 1: busted wing.
Speaker 6: Hi angel, this one's yours.
Speaker 4: I'm made exact an asshole mother fucker. But up until tonight,
Speaker 4: I hadn't seen before sunset?
Speaker 3: Did you show up in Vienna that December? U?
Speaker 4: Did you?
Speaker 1: No?
Speaker 3: I couldn't. But did you? I need to know. It's
Speaker 3: important to me.
Speaker 6: Why if you didn't, Well, did you?
Speaker 2: Oh?
Speaker 3: Oh my god, you didn't.
Speaker 4: I got I mean, thank god I didn't and you didn't.
Speaker 4: I mean one of us had showed up there alone.
Speaker 3: I know, I know, I know. I was so concerned
Speaker 3: with that. I always felt horrible about not being there,
Speaker 3: but I couldn't. You know, my grandma died a few
Speaker 3: days before. She was buried that day, December sixteenth. Should
Speaker 3: that day?
Speaker 4: Yes?
Speaker 3: You remember that? Yeah?
Speaker 4: I remember everything.
Speaker 3: Of course it was in your book. But anyway, I
Speaker 3: was about I was about to fly to dinner, you know,
Speaker 3: and I and we heard the news about her, and
Speaker 3: of course I had to go to the funeral. With
Speaker 3: my kid.
Speaker 4: I'm sorry to hear that.
Speaker 3: You weren't there anyway?
Speaker 4: Wait, why weren't you there?
Speaker 3: I would have been there if I could have. I
Speaker 3: made plans, and you better have a good reason.
Speaker 2: What.
Speaker 3: Oh no, no, you where there?
Speaker 4: Weren't you? Oh no, that's terrible, Believe it or not.
Speaker 1: It's been nine years since Ethan Hawks Jesse charmed Julie
Speaker 1: Delby Slaine off that train in Vienna in Richard Linklater's
Speaker 1: charming cinema Veritae come Wrong, calm dramedy before Sunrise, And
Speaker 1: there was just one thing we wanted to know. Did
Speaker 1: Jesse and Selene meet up on that platform in Vienna
Speaker 1: all those years ago? We will discuss that answer soon enough.
Speaker 1: But in this sequel we have Jesse and Selene roaming
Speaker 1: the streets of Paris, ripping on all the big things
Speaker 1: life throws at us, death, regret, art, activism, memories, sex,
Speaker 1: memories of sex, optimism, pessimism, and everything in between. Jesse
Speaker 1: is now an author on a European tour promoting his
Speaker 1: book have at a certain moment in his life. No
Speaker 1: second prizes guessing which certain eurotrip sex in the park
Speaker 1: night that was, to be honest, I don't want to
Speaker 1: talk too much about the plot. Is there an actual plot?
Speaker 1: I'd rather save that for today's guest. Richard Look later
Speaker 1: returns with his star cross lovers, this time in the
Speaker 1: City of Romance in this delightful project that was nominated
Speaker 1: for the Best Screenplay Oscar in two thousand and five,
Speaker 1: Eric White's my old friend, Pete. Do you remember having
Speaker 1: sex with me in that part nine years ago? I?
Speaker 6: Do you do?
Speaker 4: And it was beautiful. It was I never read a
Speaker 4: book about.
Speaker 6: That.
Speaker 4: Book sold no.
Speaker 1: Copies, thankfully. We couldn't find a publisher, but there is
Speaker 1: a manuscript.
Speaker 4: I couldn't even find a reader. I couldn't find anybody
Speaker 4: to prove it.
Speaker 6: You gave it to me to have a look over,
Speaker 6: and I was I didn't have.
Speaker 4: Time, and you said I can't.
Speaker 1: I wanted to live in my memory more than actually
Speaker 1: have all the details because I may have exaggerated some things.
Speaker 4: Yeah, that's what happened, and you know through the lens
Speaker 4: of time.
Speaker 6: Pete.
Speaker 4: It's great to be back talking about before Sunset because
Speaker 4: it's interesting seeing sequels because I think you know more
Speaker 4: and more was seeing sequels on in films because Hollywood
Speaker 4: studios know they've got a proof of concept already in advance,
Speaker 4: so you know, you see lots of sequels, but in
Speaker 4: this time, it was not like a heavy kind of
Speaker 4: sequel period for films.
Speaker 1: I don't reckon no, And this took a long time,
Speaker 1: like to I'm not sure if they have the idea
Speaker 1: that it would be like a nine year thing, if
Speaker 1: it's supposed to be that long. But they could not
Speaker 1: get this film funded. In fact, there was a bigger
Speaker 1: version of a big like they wanted the bigger budget.
Speaker 1: But I do remember that Before Sunrise with that necessarily
Speaker 1: having it in front of me.
Speaker 4: Wasn't necessarily a big hit.
Speaker 1: And I think it kind of gained followers on DVD
Speaker 1: and as it went long, and then when this came out,
Speaker 1: more people jumped on board.
Speaker 6: People are still jumping on board.
Speaker 1: There's two people right here who have only recently joined
Speaker 1: the before trilogy express. But yeah, it was I kind
Speaker 1: of also liked that there was a little bit of
Speaker 1: time that we had between watching the first one. I
Speaker 1: think if you watched the first one and then like
Speaker 1: if you piggybacked it, it wouldn't we had enough time
Speaker 1: probably you know, only probably a few months since We've
Speaker 1: recorded the last one, and I think I'll do a
Speaker 1: similar thing for the next one. Because once you do
Speaker 1: a film on this podcast, it's a trilogy.
Speaker 6: You are you are.
Speaker 1: I think I mentioned that one before you did the
Speaker 1: last one, but the end of it I did.
Speaker 4: From a script of another great trilogy. It's a track.
Speaker 1: Well, let's talk about your three next favorite films. So
Speaker 1: I just remind our audience your previous first favorite three films,
Speaker 1: where the Life of Quit by Wessander's in great choice, Platoon.
Speaker 6: There's no more Merrick wats film than Platoon.
Speaker 1: That I would have you not had a Platoon comedy,
Speaker 1: I would have corrected you, Gomez, you forgot Platoon. And
Speaker 1: the surprise packet was Groomsby and a very funny film
Speaker 1: and great choices. Your next favorite films, of course, let's
Speaker 1: start with Star Wars. Guests in kind of early Yeasy
Speaker 1: Days Adam Christy, a Canadian comedian who I met in Montreal.
Speaker 6: He came on and said, he goes, why does everybody this?
Speaker 1: Everyone just admit that Star Wars is our favorite film
Speaker 1: and move on like anyone not having in their top three. Embarrassingly,
Speaker 1: you know, he's saying that I was agreeing with him.
Speaker 1: It's not in my top three, but it could easily
Speaker 1: be my top three. And then this is where top
Speaker 1: threes can be frightening, because Star Wars should be.
Speaker 6: It changed cinema. It meaning to fanboys, you.
Speaker 4: Know, but it's also too I think it's you know,
Speaker 4: how do you choose your favorite? That one of the
Speaker 4: definitions because if you are the parameters of it is
Speaker 4: right now, if there was three different films in front
Speaker 4: of me, one of the Star Wars, I might choose
Speaker 4: one of the other ones. But the fact is I've
Speaker 4: watched Star Wars more than I've watched any other film
Speaker 4: in my life. By the time I was a young man,
Speaker 4: I had seen Star Wars well over fifty times. I
Speaker 4: knew it word for word, and I think it's left
Speaker 4: a massive impression. Like you just it's almost a perfect
Speaker 4: film because you know, the hero's journey, It's got all
Speaker 4: of those elements. It was the first film that kind
Speaker 4: of had sci fi and a kind of martial arts,
Speaker 4: you know, Japanese kind of showing it background to it.
Speaker 4: It was a Britiant film. And the great thing about
Speaker 4: it is that, you know, for me, one of the
Speaker 4: reasons why it's my favorite film is because it's a
Speaker 4: film that I've been able to share with my son,
Speaker 4: which when I was a young man, I thought, wouldn't
Speaker 4: it be great one day if I had a son
Speaker 4: and head liked Star Wars. Oh, if only he was
Speaker 4: good at footy, it would be just perfect.
Speaker 1: But I'm the same that sharing Star Wars with my kids,
Speaker 1: and for them to be still interested, they've probably dropped
Speaker 1: off watching the TV series a little bit.
Speaker 4: My oldest.
Speaker 1: Funny, my oldest is the more likely one to watch it,
Speaker 1: but they will certainly head to the cinema to see
Speaker 1: the next installment, which hopefully is not that far away.
Speaker 1: I'm not sure when it's going to happen. It was
Speaker 1: probably the first movie that I can remember that it
Speaker 1: was an example of how cinema can sweep you away,
Speaker 1: literally to a galaxy far far away, yep, like I
Speaker 1: have it with many, many, many many films since then, obviously,
Speaker 1: and it can be that I'm swept away to Paris,
Speaker 1: you know, or I'm set the way to a farm
Speaker 1: in Kansas. But the power of cinema to transport you
Speaker 1: somewhere was so powerful, and I think Star Wars for
Speaker 1: me was at the beginning of that.
Speaker 4: Yeah. Absolutely, And it was just so monumental. I know
Speaker 4: it seems like a bit of a good way to
Speaker 4: describe it, but it was transportive in the way you say,
Speaker 4: Pete was also to a place that no one had
Speaker 4: been like in that time. It was not. It was
Speaker 4: only made about ten years after the moon landing, and
Speaker 4: you're said of going like wow, like you know it
Speaker 4: was they were talking about hyper speed and hyper drives
Speaker 4: and all the stuff. You know, it was like Asimov.
Speaker 4: It was, you know, and a lot of it was
Speaker 4: based on Asimov, where you're kind of looking forward in
Speaker 4: the future, and I think that allows that sense of dreaming,
Speaker 4: not just having a look at face value, you know,
Speaker 4: like an impressionist time of you know, a place or
Speaker 4: of a state. So, yeah, I love it. That's an
Speaker 4: amazing film.
Speaker 1: The Grand Budapest Hotel. This is one of Where's Anderson's
Speaker 1: finest films. You had Life Aquatics, so you're obviously big
Speaker 1: Where's Aason fan. But I remember seeing this and really
Speaker 1: liking it. But this gets better for me with every
Speaker 1: I've probably seen it five or six times now and
Speaker 1: it's still has gotten better with every view.
Speaker 4: Yeah. Absolutely, and like, it's a fairly dynamic film. You've
Speaker 4: got some great dynamic scenes in it. The one where
Speaker 4: Willing Dafoe is skiing, you know it's a skiing race,
Speaker 4: is brilliant. But it comes down to the class of
Speaker 4: the actors and the script writing and the themselves. Like
Speaker 4: William Dafoe's character, he's one of my favorite actors, but
Speaker 4: he's just like so on point with this, but everyone's
Speaker 4: portrayal of their character is pinpoint.
Speaker 1: They're all good in it, and Ray finds is he's
Speaker 1: phenomenally It is extraordinary.
Speaker 4: And that's why I liked it. I think it's just
Speaker 4: it just shows you how an accumulative force of massive
Speaker 4: talent that everyone's on the same page at the same time.
Speaker 4: This what is actually rather a pretty simple story.
Speaker 1: Yeah yeah, And where's Adison films? I think he's spoken
Speaker 1: about it. They're not the easiest films to act in.
Speaker 1: There's a certain rhythm that he has and that's why
Speaker 1: he often goes back to the same kind of He's
Speaker 1: almost got a company now of actors who he keeps
Speaker 1: going back to. Jason Schwartz and Bill Murray, will and Dafoe.
Speaker 1: They just hit it perfectly. It's obviously it's extremely stylistic.
Speaker 1: He's got his stamp that he has the same way
Speaker 1: that bas Lehmann has his stamps. And there's a part
Speaker 1: of me that I really enjoyed Asteroid City.
Speaker 4: I felt sleep. I thought was so boring. I literally
Speaker 4: fell asleep. I watched it on the weekend. I started
Speaker 4: watching it. We were not very far into it. I
Speaker 4: fell asleep. I found it painfully boring at the start.
Speaker 1: Yeah, I I didn't I the French, so you're wrong,
Speaker 1: you were Obviously.
Speaker 4: Your opinion is incorrect.
Speaker 1: Yeah, I mean, at least start the film before your
Speaker 1: second bottle of wine.
Speaker 4: Is it's true too? Though it is true I had
Speaker 4: some roses, but I was on a very comfortable chair, so.
Speaker 1: I thought the French dispatch was one where I kind
Speaker 1: of stroked a lot of bit. It just came out
Speaker 1: a bit like okay, And again, I'll probably go back
Speaker 1: and watch it because I feel like I do go
Speaker 1: the Wes Anderson films with a heightened sense of expectation.
Speaker 1: I was actually I saw it with Tom Budge was
Speaker 1: a great actor.
Speaker 6: I was the Tom.
Speaker 1: I just sitting next to me, and we're big, both big.
Speaker 1: Wes Anderson filmed fans, and I did say this as
Speaker 1: the lights went down. I said, there's a panning shot,
Speaker 1: does somebody like you're looking out a window, you know,
Speaker 1: talking down to somebody on the ground level. He has
Speaker 1: all the tropes. Yeah, but it's part of me is
Speaker 1: like it keep going as long as the story is good.
Speaker 1: There is a part of me that would love for
Speaker 1: him to go back to like a rush More kind
Speaker 1: of more contained, two or three or four hander film
Speaker 1: where he doesn't have the thirty stars. As much as
Speaker 1: it's fun to see sometimes, wouldn't mind as an exercise
Speaker 1: for him to go back to a smaller story.
Speaker 4: I just think that of his fans. I mean, obviously
Speaker 4: I've mentioned two of his fans. Two of his films
Speaker 4: has been, you know, my favorite films of all time.
Speaker 4: But I'm not a sicker fan for his films. I don't.
Speaker 4: I don't expect to like all of his films because
Speaker 4: I think there's been a couple of The French Dispatches,
Speaker 4: one of them where I've just gone, I didn't enjoy
Speaker 4: that film. I was all right. I didn't enjoy it though,
Speaker 4: Whereas you know, there's other films like The Grand Budapesture,
Speaker 4: which I just think is brilliant.
Speaker 1: Yeah, absolutely, yeah, absolutely, And I think I may have
Speaker 1: said this Life Equatic is my favorite of the West
Speaker 1: Anderson films. I think that is a much underrated film.
Speaker 1: To be honest, this is one again. They wouldn't be
Speaker 1: a Merriic Top three without a war film in there,
Speaker 1: and Fury is an absolute belter.
Speaker 4: Fury is brilliant. I mean, there's lots of great war
Speaker 4: films that have been made recently, but I think the
Speaker 4: thing is I've watched Fury the most because Fury is
Speaker 4: incredibly layered in the sense that you've got a very
Speaker 4: compact space and you're at war. There's a lot going on.
Speaker 4: This tank's being blown up and people are dying in
Speaker 4: horrific ways. It's the understanding of you get to know
Speaker 4: these personalities without them revealing anything. They're not sharing, there's
Speaker 4: no sharing in the tank, and yet you start to
Speaker 4: understand the profile of the individuals in the tank, and
Speaker 4: you get to understand Brad Pitt's character. I mean, he's
Speaker 4: absolutely on point in this film. But I think one
Speaker 4: of the great things in that movie is the opening scene.
Speaker 4: I was gap but You've got me then we're done.
Speaker 4: It's such an incredible start to a film. But the
Speaker 4: end is all also too. It's amazing. It's just for
Speaker 4: a war film, it's fucking perfect.
Speaker 1: And you feel in it. It's not just following some
Speaker 1: war films. You know they'll be expansive and you know
Speaker 1: they're covering all different sides, and this is just really
Speaker 1: this with these group of men, and that's what really
Speaker 1: war tends to be about. It's about, particularly you know,
Speaker 1: the first two World One and World War two, like
Speaker 1: groups of largely men who are trying to get through
Speaker 1: fucking hell together and the bonds they make and the
Speaker 1: things they do to stay alive and to have to
Speaker 1: move on from catastrophe and fatalities you know instantly, and
Speaker 1: the scars that that get left behind, and the damage
Speaker 1: that gets left behind, both physically the towns and to
Speaker 1: people behind it and to themselves.
Speaker 6: It's extraordinary. I think it's a great choice.
Speaker 4: Just really quickly. That part I reckon is you hit
Speaker 4: on it is that And this is what war does.
Speaker 4: Is it galvanizes men and women, but men in particularly
Speaker 4: you know, in battle. It galvanizes people who would never
Speaker 4: normally have such loyalty and brothers and brothership or you know,
Speaker 4: like a sense of camaraderie, so you know their personalities.
Speaker 4: Then they don't have the same backgrounds, they're completely different.
Speaker 4: If they met each other in social society, they would
Speaker 4: never form a bond, but war bonds them to the
Speaker 4: point where they will sacrifice their life for a person
Speaker 4: that they have totally congruity with. And that's what's about.
Speaker 4: That's what I love about that film.
Speaker 1: Yeah, and you said the Netflix from the front Lines
Speaker 1: where they've colorized, and that's an extraordinary as well. We
Speaker 1: don't necessarily go into from the front Lines. I think
Speaker 1: it's released in the December on the Netflix. Well worth
Speaker 1: a look if you'd like to look back to the
Speaker 1: World War two. Let's talk about the film you astar
Speaker 1: the talk about today. I was very much looking forward
Speaker 1: to watching this again. I think we both really enjoyed
Speaker 1: Before Sunrise, the original film. But I need to ask you,
Speaker 1: did you enjoy Richard Later starring of course Ethan Hawke
Speaker 1: and Julie Delpy.
Speaker 6: Did you enjoy Before Sunset?
Speaker 3: Yeah?
Speaker 4: I did like it. Yeah, it was different in some
Speaker 4: ways to what I expected, and it was it's a
Speaker 4: different film, but also to it does feel very much
Speaker 4: like even those nine years apart, it does feel very
Speaker 4: much like a sequel. And a big credit to Ethan
Speaker 4: Hawke for having nine years from the making of that
Speaker 4: film to the sequel, the first to the sequel, nine
Speaker 4: years he had in Hollywood, and at no stage did
Speaker 4: it occur to him to get his teeth corrected. He's
Speaker 4: just like, nah, yeah, nah, sticking with this. Yeah yeah,
Speaker 4: it's just like, nah, I'm still going to have the
Speaker 4: worst teeth in show business and I'll get away with it.
Speaker 4: And it does.
Speaker 1: Until Ricky Dubais came along. It's nine years later, so
Speaker 1: they haven't met up.
Speaker 6: Were you.
Speaker 1: I think it takes about nine and a half minutes
Speaker 1: for them to get to the point where they asked
Speaker 1: the question did you turn up? Which is, first of all,
Speaker 1: would you have turned up if you were in this situation?
Speaker 1: Because what's interesting when we spoke about before Sunrise, because
Speaker 1: I was kind of thinking, Okay, we've kind of done
Speaker 1: this film. This is a pretty similar film to the
Speaker 1: first one in many ways, and we spoke about traveling,
Speaker 1: you know, and all that, and I thought, I think
Speaker 1: there's an interesting question about memory and the way we
Speaker 1: frame memories and the things in our past that we
Speaker 1: come back to. But would you have gone if you
Speaker 1: had this experience, would you have traveled to be there
Speaker 1: on that platform? It was six months later, I think Indiana, Yeah,
Speaker 1: I probably would have. I think I would have too.
Speaker 4: Yeah, I think I probably would have. If I had
Speaker 4: a connection with another human being on any level, I
Speaker 4: reckon I would travel, you know, like I've tracked down
Speaker 4: some cab drivers that I just thought were terrific bikes
Speaker 4: and I've caught up with them six months later. I said,
Speaker 4: you remember you dropped off at the MCG. Yeah.
Speaker 1: To be honest, if I had sex with the park
Speaker 1: in the park with a woman who I also felt
Speaker 1: connection with, probably have stayed of the platform for six months.
Speaker 4: Just become a vagrant for six months, and then when
Speaker 4: they are you've got a beard and you look different.
Speaker 4: I'm staying part of me is a romantic enough that
Speaker 4: I would have gone back to do it. But I
Speaker 4: think that you're right, Like, it's it's interesting that I
Speaker 4: think it's just you're waiting for it, Like when are
Speaker 4: they going to ask whether or not they went and
Speaker 4: met at the platform, or if they did or not,
Speaker 4: because you know instantly that they didn't you know, like
Speaker 4: it very very early. Well, obviously they didn't.
Speaker 6: They didn't.
Speaker 1: But then there's that great question in your mind is
Speaker 1: did one of them turn up? We had a little earlier,
Speaker 1: but Jesse denies it at first, and then it comes
Speaker 1: out that you know, he did. And there's so many
Speaker 1: different ways they could have played that. So when Selene asked, Jesse,
Speaker 1: did you turn up? Which is a question like if
Speaker 1: you saw this and before Sunrises the movie, that means
Speaker 1: a lot to a lot of people, like, you know,
Speaker 1: somebody saw it in the cinemas when it came out,
Speaker 1: so I had a nine year wait and when obviously
Speaker 1: when they announced they're doing this film, are we going
Speaker 1: to find out?
Speaker 6: Did he turn up? Or did she turn up?
Speaker 1: And there's there's a way of doing it where Jesse
Speaker 1: was convincing enough that he convinced Selene that he didn't
Speaker 1: turn up and then reveal that later. I didn't like
Speaker 1: the strong choice of actually going, yeah, we're going to
Speaker 1: deal with this now.
Speaker 3: Yeah.
Speaker 4: I like that too, and also like the way that
Speaker 4: it did it where you know, he didn't just give
Speaker 4: the answer, he actually he told a fib and then
Speaker 4: he and then it was kind of revealed in a
Speaker 4: really nice way that he had actually gone there, but
Speaker 4: there was no kind of bitterness from him or like
Speaker 4: that's what was great about it was like, well, I
Speaker 4: went there and you didn't go there, and you know
Speaker 4: it was it was just like, you know that was
Speaker 4: the thing. Yeah, I did it and you weren't there,
Speaker 4: and it was. But he was so in the moment
Speaker 4: with her there, which shows that reconnection was genuine, and
Speaker 4: the original connection was genuine, and that reconnection was really genuine.
Speaker 4: But I ask you this, Pete, because I noticed this
Speaker 4: the first part of the film. He's in a book shot.
Speaker 4: He's doing a book signing and in Paris.
Speaker 1: It's a European tour and this is the last stop
Speaker 1: on the tour. I'm not sure, to be honest, if
Speaker 1: my agent or publisher is flying me one side of
Speaker 1: the world to another the Q and A in Paris
Speaker 1: in front of six people, I would expect a bigger crowd.
Speaker 4: Yeah, I'd expect a bigger crowd, and also wouldn't expect
Speaker 4: to jet out that day. I'd be like, I reckon,
Speaker 4: I might stay in Paris and get hammered and fall
Speaker 4: asleep watching a film. But what I did notice, And
Speaker 4: this is very clever. Is in an opening scene where
Speaker 4: he's in the bookshop and he's talking about his book
Speaker 4: and you know, essentially, you know, divulging the character Selene
Speaker 4: but not saying Selene obviously, but you know he's having
Speaker 4: a conversation about it, and he's gesticulating and moving and
Speaker 4: sort of this conversation. And then it's not until after
Speaker 4: Selene enters the bookshop and she sees him that you
Speaker 4: see his hands come up for the first time and
Speaker 4: you see that he's wearing a wedding band, right, So
Speaker 4: it's not until after you clocked that Selene is there
Speaker 4: before it's revealed on his hand that he's married.
Speaker 1: Yeah, pretty good. It's very good. And also I think
Speaker 1: there's some beautiful stuff going on in the I guess
Speaker 1: the subtext of what's going on because he's asking there's
Speaker 1: a conversation about a you a romantic or are you
Speaker 1: a cynic? And that kind of potentially could be seen
Speaker 1: as Jesse Pally in the first film was maybe the
Speaker 1: romantic and Selene was more cynical. But it's also like
Speaker 1: he says something like you could see this, read this
Speaker 1: story one way and think he's going to be there
Speaker 1: because you're romantic and you could see the same you
Speaker 1: read the same book and think you're a cynic. And
Speaker 1: I think that's true.
Speaker 6: Of movies as well.
Speaker 1: I think there's a subjects we are actually talking about
Speaker 1: the way we view film as you know you can
Speaker 1: the way you would have felt. I think it's really
Speaker 1: clever that he's actually put that to the audience as well.
Speaker 1: What did you think at the end of Before Sunrise?
Speaker 1: Did you think they turned out? Did you think they
Speaker 1: continue their relationship or did you think that was it?
Speaker 6: I think that was actually that was smart.
Speaker 4: Pete smart because I played a pretty smart card earlier.
Speaker 4: I was it was. My first point was like, I'll
Speaker 4: bring that up Pete.
Speaker 6: I miss that.
Speaker 4: If Bete hasn't clocked out, Oh look great, then Pete's going,
Speaker 4: oh soorr are we're playing a game of you know here,
Speaker 4: I'm just going to draw forward, dickhead. It's a really
Speaker 4: good point, though, like, that's that's a great thing that Yeah,
Speaker 4: I didn't really consider he's asking the audience to kind
Speaker 4: of give the answer to that.
Speaker 6: I think I was using the flash.
Speaker 1: It really does really economically put us back to where
Speaker 1: this and if you hadn't seen the film before Sunrise Yep.
Speaker 4: You could get on You can get on board pretty quickly.
Speaker 4: But then he didn't overuse the flash based sequences. They
Speaker 4: were gone quite quickly. They were there to establish the
Speaker 4: time and the place of it, but they were gone
Speaker 4: quite quickly. In the sequel, he didn't rely on them.
Speaker 1: And I think they were really good, even if outside
Speaker 1: of the device of bringing us up the speed and
Speaker 1: this as a quick refresher course. I think it was
Speaker 1: nice to see those because I think they are also
Speaker 1: probably in their own heads as well, Like when Jesse's
Speaker 1: talking about this book, he probably has those memories in
Speaker 1: his head, and Selene's come to the bookstore for the
Speaker 1: Q and A with those memories in her head. You
Speaker 1: make a good point earlier about the timeline, and you're
Speaker 1: kind of been hanging cheek perhaps or half tanging cheek,
Speaker 1: but yeah, you would probably stay extra day. And also
Speaker 1: particularly that he knows that Selene might leave. This is
Speaker 1: almost like it was a little bit like a trap.
Speaker 1: It was like, this is like exact he wrote the
Speaker 1: book for this moment, yep, for hoping that she would
Speaker 1: maybe reach out or come to the bookstore in Paris.
Speaker 1: So why wouldn't you stay another couple of days.
Speaker 4: Yeah.
Speaker 1: I don't think the film is affected by it, and
Speaker 1: I didn't think about it as I watched a film,
Speaker 1: But as you say that, I thought, yeah, if this
Speaker 1: was real life, it takes away to tick and clock.
Speaker 1: That's why it's in the movie. Yeah, and that's why
Speaker 1: movies make these choices. Obviously, did you think about like
Speaker 1: when she said did you turn up? Did you have
Speaker 1: any inkling who if either of them turned up? I mean,
Speaker 1: obviously we knew that they didn't meet because it was
Speaker 1: the conversation about the book, and it's also this is
Speaker 1: a sequel that's nine years later, and it looks like
Speaker 1: they hadn't seen each other, So we knew they didn't
Speaker 1: meet up. But did you have any kind of inkling
Speaker 1: of like maybe she turned up or he turned up
Speaker 1: before they had that conversation.
Speaker 4: I expected the reverse, which is possibly why I played it.
Speaker 4: I given that she lived in Europe.
Speaker 6: Yeah, like it's just.
Speaker 4: Around the corner Mae show up. Plus also too, Grandma's dead,
Speaker 4: Like how cliss look? I mean you know like yeah,
Speaker 4: I mean you know you could push that it's a funeral,
Speaker 4: you can push it back one day, I guess the
Speaker 4: old is more time to go and you know, get
Speaker 4: some sandwiches. Came something I don't know I expected if
Speaker 4: there was going into it. I thought if there was
Speaker 4: one person that showed up, was going to be her,
Speaker 4: not him. Yeah, just because the distance. That's what was
Speaker 4: really interesting is like as soon as you see that
Speaker 4: he made that commitment to do that, then he wrote
Speaker 4: the book, you go, this is one hundred percent you
Speaker 4: are having a life crisis, which later on it kind
Speaker 4: of came out that he was not in love with
Speaker 4: his wife and he loved his son, but he was
Speaker 4: not you know, it was not the life that he
Speaker 4: sought for himself. But he'd laid the groundwork for let's
Speaker 4: call it a trap, the whole point of it, like,
Speaker 4: you know, to be there because if he'd written it
Speaker 4: and he didn't want to have contact with Slaine because
Speaker 4: it was based on her, you would not go to Europe.
Speaker 6: Yeah, yes, that's right, that's right.
Speaker 4: I think for six people. I mean, I imagine we
Speaker 4: got done smaller book signings. By the way, I did
Speaker 4: Hello Dimmix, I did'sulnerable.
Speaker 1: I think I may have mentioned this on this podcast.
Speaker 1: I did a DVD signing once. It may have been
Speaker 1: at DIMIs. It was like a new DIMIs in Melbourne
Speaker 1: and it was for season two of It's a Date
Speaker 1: series eight created on the ABC, and we'll pair it
Speaker 1: up when we would go to are at eight thirty
Speaker 1: and then Upper Middle Bog and we go to at
Speaker 1: nine o'clock. We did a signing and I was representing
Speaker 1: It's a Date and Patty Bermwer and Annie Maynard we're
Speaker 1: representing Appy Middle Boga and both are fantastic in that series.
Speaker 1: The ABC was back in the day where I think
Speaker 1: the ABC thought Twitter was so powerful that all it
Speaker 1: took were for the or the verta Commas talent to
Speaker 1: tweet that are going to be somewhere and everyone would come.
Speaker 1: Long story short, we had very few people came. I
Speaker 1: think they signed maybe for two hours. We signed about twelve.
Speaker 1: They signed about twelve up in Little Bog and DVDs.
Speaker 1: Can I sign about eight? It's an eight DVDs to
Speaker 1: the point where sometimes the owner I said, if you
Speaker 1: want to walk around this, you know, if you want
Speaker 1: to take a couple.
Speaker 4: Of books, you want to just leave and just go Well,
Speaker 4: we kind.
Speaker 1: Of hinting towards that and they said, oh, we did
Speaker 1: say you're going to be here for two hours. And
Speaker 1: then and then one of my old teachers walked in
Speaker 1: and he said as I was looking at I said,
Speaker 1: he goes.
Speaker 6: What are you doing here?
Speaker 1: And I said, oh, I'm this actually this actually yeah,
Speaker 1: I was so I was like torn. I was like,
Speaker 1: I say, I'm buying a book because I was actually
Speaker 1: just perusing and browsing. So and then I said, actually,
Speaker 1: we're doing a signing over there.
Speaker 4: I'm going to think fast, but you say, just finished
Speaker 4: the signing.
Speaker 6: Yeah, and then if.
Speaker 4: Anybody else comes along and go, oh god, I thought
Speaker 4: were done with this, Okay, just three more to add
Speaker 4: it to the town.
Speaker 6: Where were you in twenty twelve? Dimicks.
Speaker 1: One of the things I was I think they did
Speaker 1: a good job of is kind of addressing the mistake
Speaker 1: they made by not exchanging numbers. I think they if
Speaker 1: I were just doing, they're doing as a romantic kind
Speaker 1: of thing or I forget the reason. I mean thousand
Speaker 1: and one to them.
Speaker 4: And I thought that it was a bit kind of like, oh,
Speaker 4: you know, it was a bit tweet, and it won't
Speaker 4: really you know, it won't mean anything. Let's just like
Speaker 4: have the moment and take it forward. It was and
Speaker 4: I think that also too, that gave them the commitment
Speaker 4: to have to go to the train station, so I
Speaker 4: think that was the reason for it. And I can't
Speaker 4: I bought into that.
Speaker 2: Well.
Speaker 1: I think it's it's a very romantic notion. If it
Speaker 1: was real life, you go, you really spun the dice
Speaker 1: on that one.
Speaker 4: I love also that it picks by Friday, Dick picks
Speaker 4: by Friday.
Speaker 1: I love her in New York at a similar time,
Speaker 1: you know, or at the same time. I thought that
Speaker 1: was a nice detail of like this sliding door moment
Speaker 1: that kind of went awry and they could have actually
Speaker 1: hooked up earlier, maybe saved themselves some painful relationships along
Speaker 1: the way.
Speaker 6: But I thought that was a lovely detail.
Speaker 1: And I know Julie Delbi's story about the Gun than
Speaker 1: the Guns in America was based on the actual experiences
Speaker 1: she had because I was watching it going I think
Speaker 1: she's telling that story, I go, wow, this is just
Speaker 1: such good acting that I am completely buying that these
Speaker 1: are experiences that actually happened.
Speaker 4: To the characters, so she's tapping into real life.
Speaker 1: It didn't surprise me when I read that that was
Speaker 1: something that she took out of her real life.
Speaker 4: Yeah, it was. Look, I think there's some great This
Speaker 4: is one of the points that I kind of took
Speaker 4: away from it too, is that there's some really nice
Speaker 4: time capsules in there, more so than the first film.
Speaker 4: They were basically talking about, you know, without talking about it,
Speaker 4: but what became social media and the proliferation of social media,
Speaker 4: gun laws and the absurdity of gun control in America.
Speaker 4: But I think there's you know, there's some really nice
Speaker 4: and also to talking about the news, like the news
Speaker 4: cycle and the fact that you know, people have been
Speaker 4: made to feel fearful by the news and control by
Speaker 4: the news. So there's some like really quite there's some
Speaker 4: topic of conversation that are very very current now that
Speaker 4: we kind of highlight as current issues which were actually
Speaker 4: exposed in the making of this film in two thousand
Speaker 4: and seven, which is really really quite apprecient, and I
Speaker 4: thought that was great. But they just kind of come
Speaker 4: along ago. That's actually pretty much how it's rolled out.
Speaker 4: That's pretty much how it's rolled out. So it's not
Speaker 4: like they were trying to predict the future at all.
Speaker 4: They were just talking about maybe the seedlings that have
Speaker 4: now become trees, and it was just I thought that
Speaker 4: was really great. I really enjoyed that because that wasn't
Speaker 4: in the first film.
Speaker 1: And I think what separates it from the first film
Speaker 1: is the young looking forward, you know, looking projecting about
Speaker 1: what life might become and what my life might be like.
Speaker 1: And I do feel like you really do get the
Speaker 1: sense that there has been life experience. I think if
Speaker 1: they made the film two years later, it's not an
Speaker 1: interesting film. I think the actors needed to, you know,
Speaker 1: I mean the other kind of imitating life.
Speaker 6: I think that is awkward. Is that.
Speaker 1: Is Ethan Hawk because he was married to Emma Thurman.
Speaker 1: So in the film, Jesse basically gets pregnant and they
Speaker 1: marry basically out of responsibility, and then ends up back
Speaker 1: in Paris, and we suspect, well we kind of know
Speaker 1: if we know there's a sequel, that probably he's staying
Speaker 1: when we'll get to the ending a bit later. But
Speaker 1: uma Thurman file around this around the time of this film,
Speaker 1: file for divorce because of suspected adultery. So there's that
Speaker 1: imitating life thing going on, but you do feel the
Speaker 1: life experience.
Speaker 6: Even to that.
Speaker 1: Selene feels like she has. She's more confident in herself now,
Speaker 1: like she's I think Jesse doesn't dominate the first movie,
Speaker 1: but I think I feel like he talks more and
Speaker 1: I feel Selene talks more in this movie.
Speaker 4: Yeah, and her accents changed as well. It doesn't seem
Speaker 4: as French.
Speaker 1: Yeah, was she because she is well maybe she has
Speaker 1: spent time in the States or yeah.
Speaker 6: Yeah.
Speaker 4: And I don't know whether or not that was, you know,
Speaker 4: by design or not, but it felt like it was.
Speaker 4: It was just a little easy to catch all of
Speaker 4: the words.
Speaker 1: I say that she doesn't have a traditional French accent,
Speaker 1: but I'm not sure that. Maybe when she speaks frenchhip
Speaker 1: it sounds more friendship, probably, but when she speaks English,
Speaker 1: her French is not a traditional French accent. Okay, I'm
Speaker 1: not sure that changed between the first and and the
Speaker 1: second film. The other thing that I think is really
Speaker 1: interesting even for us to talk about is when she
Speaker 1: said that she didn't remember having sex with them, would
Speaker 1: go that's painful, that is where do you go from there?
Speaker 4: Like in the modern erea, you hear that and go, no,
Speaker 4: you you remember it, don't you know? It's not good?
Speaker 1: No, No, don't get to the Connus Louns Jesse. Now
Speaker 1: stats this.
Speaker 4: Is this is not great. Yeah, it was interesting she
Speaker 4: said she could remember. I was like, you'd remember, yeah,
Speaker 4: because they only had a bottle of wine. Pete like,
Speaker 4: you know, seriously, if anybody's qualified to know the effects
Speaker 4: of alcohol, it's me, right, And I was going, No,
Speaker 4: you're in the parking at one bottle of red wine
Speaker 4: which you took from the bar because you had no money,
Speaker 4: so you didn't go and buy a subsequent alcohol because
Speaker 4: you didn't get down the bottle low because you had
Speaker 4: no money. So I can't see you getting hammered enough
Speaker 4: if she'd sculled that whole bottle in one go. Maybe
Speaker 4: a little bit of memory loss. So I was like,
Speaker 4: either we're calling bullshit on this and she's just making
Speaker 4: that up for effect, or like he's got no penis,
Speaker 4: there's only do.
Speaker 6: You know, like he's a kendle Ah, that's a twist.
Speaker 4: That's the third film, is that he's just got a mound,
Speaker 4: plastic mound.
Speaker 1: Okay, So the idea of memory, I think it's become
Speaker 1: really interesting thing to discuss that. And we know later
Speaker 1: on that she does remember, and we'll get to that
Speaker 1: later on, but the idea that two people can experience
Speaker 1: the same thing but walk away with two different truths
Speaker 1: in a way like have you ever done a routine
Speaker 1: in comedy where you're maybe based on something real it's happened,
Speaker 1: but you've played around with some of the details of them,
Speaker 1: and then eventually you forget what was real and what wasn't.
Speaker 4: Ye, it's not saying tell why enough times and you'll
Speaker 4: end up believing yourself. Yeah, yeah, I don't know what
Speaker 4: you may Yeah, so you reckon that's what it is.
Speaker 1: Well, I don't necessarily think that, because we do find
Speaker 1: out later on that, like I said, that really does remember.
Speaker 1: But that moment has made me think of that and
Speaker 1: the way we frame memories and the way that two
Speaker 1: people could experience that same thing that say, neither come
Speaker 1: away with.
Speaker 4: Two completely different A few points.
Speaker 6: On any points.
Speaker 4: Yeah, yeah, that's a good point. I mean, it's you
Speaker 4: can tell that they were both still very connected with
Speaker 4: each other, though, but it's so much of that connection
Speaker 4: and maybe this is one of the reasons why is
Speaker 4: it was not based and this is really really evident
Speaker 4: in the first film and then again in this second film.
Speaker 4: It's based on desire not on the lust right, It's
Speaker 4: neither of them are lusty films. Right, there's not like
Speaker 4: this kind of overwhelming or even really evident physical, strong
Speaker 4: physical attraction. It's not. They're completely engaged with each other
Speaker 4: through conversation. So it's a mental thing. So that's why
Speaker 4: when she says she's forgotten the sex, I'm like, well,
Speaker 4: obviously she's playing. But still it's kind of the secondary
Speaker 4: thing to that relationship. It's deliberately put there as the
Speaker 4: non primary reason for why they wanted to be to
Speaker 4: That was not a physical attraction. It was a mental attraction.
Speaker 4: That's what this is about.
Speaker 6: It's about connection totally.
Speaker 4: It's about a physical a mental connection over physical connection,
Speaker 4: and it takes it out of that kind of lusty,
Speaker 4: particularly with the young when they were young, it's really evident.
Speaker 4: It's like, well, they're not lusting after each other. I
Speaker 4: mean at that age I would have been trying to
Speaker 4: take my five zero ones off at any point because
Speaker 4: I would have been wearing five z ones for sure.
Speaker 4: It's not you know, it wasn't like horny young people.
Speaker 4: And then later on you see it again it's again
Speaker 4: it's based on that connection mentally rather than physically.
Speaker 6: Yeah, absolutely.
Speaker 1: I mean I will say that Jesse is he's telling
Speaker 1: a little horny throughout this film, and I think more
Speaker 1: so than the first film in a way, like I
Speaker 1: think he But it makes sense because Jesse spent time
Speaker 1: and he's thought about he was the one who showed up,
Speaker 1: and then he's kind of made this plan to have
Speaker 1: this Yeah, very not really sought after a book tour
Speaker 1: in his bookstore, hoping that Selene might turn up. So
Speaker 1: he's thought about this a lot, No doubt Selene has
Speaker 1: thought about Jesse to a degree, even a lot, But
Speaker 1: it's a different way that she would have framed that
Speaker 1: thinking because she doesn't know that he did turn up,
Speaker 1: so she in her own mind she got to told
Speaker 1: herself he didn't. He wouldn't have turned up and lived
Speaker 1: with that and that becomes her truth. So she's got
Speaker 1: to catching up a little bit. Jesse's like, nah, I
Speaker 1: I was there for you. I haven't really fallen out
Speaker 1: of love with you. Sure, I'm in this other situation,
Speaker 1: which again very strong choice by Richard link Later and
Speaker 1: all of them to have him married. It's a complication
Speaker 1: that it's murky, but it's it adds to the feeling
Speaker 1: of are they actually going to really how do I
Speaker 1: feel about this? You know, so they do have to
Speaker 1: I think make have that moment where Jesse does put
Speaker 1: his cards on the table and says, this is yeah,
Speaker 1: I'm married, but which is You know, it's movies versus
Speaker 1: reality in a way, because even in reality you hear
Speaker 1: that you're going to go, OK, maybe this deal with
Speaker 1: the marriage first and the exit of that instead of
Speaker 1: having an affair behind you you asked back in a
Speaker 1: movie suddenly traumatic, Yeah, forty one minutes they take to
Speaker 1: address that. They come because I was like, I wonder
Speaker 1: if let of them have moved on to it. Is
Speaker 1: that going to be a little thing they spring on us. Yeah,
Speaker 1: there's partners or there's.
Speaker 4: Waiting to see because he's got a wedding band. And
Speaker 4: it was after that it's like it's really clear, you know,
Speaker 4: he's got a wedding band, he is married. I'm like,
Speaker 4: when is she gonna ask about this? And there's no
Speaker 4: like little tells through that I saw anyway where she's like,
Speaker 4: you know, glancing at it or anything like that, or
Speaker 4: you know, there's no recognition from the director to show
Speaker 4: that she has clocked the fact that he's married and
Speaker 4: then all of a sudden it just kind of comes out.
Speaker 1: Yeah, I would love that he if he actually, like
Speaker 1: without seeing him do it, but just notice at some
Speaker 1: point that he wasn't wearing the ring anymore, Like he
Speaker 1: kind of moment that he almost tried to not pull
Speaker 1: it over her eyes, but just kind of like, I
Speaker 1: will control the situation this conversation when I think I'm
Speaker 1: ready to have that conversation. Like if he goes through
Speaker 1: and not reveal that, then that's a very different thing.
Speaker 1: But that could have been a nice thing I think
Speaker 1: potentially to play with. Let's listen, so this is Jesse
Speaker 1: talking about the fact that he did set up this
Speaker 1: idea of the Paris to her.
Speaker 5: You know, I think that book that I wrote, in
Speaker 5: a way, it was like building something so that I
Speaker 5: wouldn't forget the details of the time that we spent together,
Speaker 5: you know, like just as a.
Speaker 4: Reminder that that once we really did meet, you know
Speaker 4: that this was real, this happened.
Speaker 3: I'm happy you're saying that, because I mean, I always
Speaker 3: feel like a freak because I'm never able to move
Speaker 3: on like this. You know, people just have an affair
Speaker 3: or even entire relationships, they break up and I forget,
Speaker 3: they move on like they would have changed random cereals.
Speaker 3: I feel I was never able to forget anyone I've
Speaker 3: been with because each person that their own specific qualities.
Speaker 3: You can never replace anyone.
Speaker 1: What as last is last. This is also a little
Speaker 1: bit imitating life because they write the first Richard linklater
Speaker 1: genius director had this experience where you know, he's been
Speaker 1: going before Sunrise experience where he walked the streets with
Speaker 1: this woman named Amy. So he actually wrote before Sunrise
Speaker 1: or helmed before Sunrise in the hope that maybe Amy.
Speaker 4: Would get to identify herself.
Speaker 6: Yeah, and she didn't.
Speaker 1: And then she made He made Before Sunset hoping and
Speaker 1: she didn't reach.
Speaker 6: Out quite a desperate And then and.
Speaker 1: Then before Midnights, Please come on, you made a third film,
Speaker 1: you made a trilogy.
Speaker 4: You're looking needy now, so it's un attractive, mate, She's
Speaker 4: not going to want you now.
Speaker 6: It's a little it's a little clinging. Yeah.
Speaker 1: And then before Midnight comes out. And around the time
Speaker 1: that comes out, before or after the premiere, a friend
Speaker 1: of Amy's contacts which later with a restraining order No no,
Speaker 1: with the sad news that she actually died in a
Speaker 1: motorcycle accident on May ninth, nineteen ninety four, so not
Speaker 1: long after. I think they had their experience at age
Speaker 1: twenty four, and that was I think that was a
Speaker 1: few weeks.
Speaker 6: Before well, I've got nine ninety five.
Speaker 1: I also written a few weeks before they shot before sunrise,
Speaker 1: but that doesn't add up because it was shot in
Speaker 1: the early two thousand. That's really sad. It reminds me
Speaker 1: of I'm a big weddings Parties Anything fan. There's a
Speaker 1: beautiful song they sing good for a short time, and
Speaker 1: that's a very similar story where the folk law and
Speaker 1: I don't know if it's been verified by Mick Thomas,
Speaker 1: who is, you know, the songwriter and lead singer of
Speaker 1: Weddings Parties Anything. I think it's a genius where he
Speaker 1: would he played doing gigs through Europe, met this girl,
Speaker 1: got chatting. They had a connection that he said, I'm
Speaker 1: doing a show in I'll say Hamburg, and she's like,
Speaker 1: I'm gonna be around that area, I'll get the Hamburg.
Speaker 1: We will hang out like in a month, and she
Speaker 1: didn't turn up, and he kind of wondered about it
Speaker 1: for a long time, and then eventually at a gig
Speaker 1: a friend of hers turned up and said she actually
Speaker 1: she was in an accent. So it's a very it's
Speaker 1: basically the same story, but for a short time by weddings, parties,
Speaker 1: anything beautiful song off the river Esque album. I mean,
Speaker 1: the great device this film has is the ticking clock.
Speaker 1: And that's why, of course Jesse doesn't have three or
Speaker 1: four days or a week, the spending Paris. We wanted
Speaker 1: to feel like he's not getting on this plane.
Speaker 4: Yeah, the urgency, yeah, the decision.
Speaker 6: Yeah.
Speaker 1: They also kind of worked Ethan Hawk and Julie Delby
Speaker 1: on this script before Sunday. They all worked together. There's
Speaker 1: there's the building blocks of a script basically similar to
Speaker 1: I guess the way perhaps Larry David does Kirby Your Enthusiasm,
Speaker 1: where it's like, this is the scene, this is what
Speaker 1: we're trying to achieve out of this thing.
Speaker 6: I imagine there's a lot more. It looks a bit more.
Speaker 1: Like a script than what Larry David does, because there's
Speaker 1: details in this and performances that, you know, more nuanced
Speaker 1: than the Curby Enthusiasm performances. As great as that is,
Speaker 1: but they then did a similar thing the first time
Speaker 1: they didn't get screen credit this time.
Speaker 6: They got screen credit, just a little background stuff.
Speaker 1: But did you think were you thinking, well, when did
Speaker 1: you first go, oh, he's not going to he's not
Speaker 1: going to get on there, or were you expecting the
Speaker 1: traditional rom com chase to the airport.
Speaker 2: No.
Speaker 4: I think there's a there's a moment where they jump
Speaker 4: on a barge like a boat, and they go down
Speaker 4: the same and I was like, okay, so what's happening
Speaker 4: you talk about there's the urgency of the ticking clock,
Speaker 4: and then that's the first time you just go, mate,
Speaker 4: you've got on a boat. Right. If you're getting on
Speaker 4: a boat, you're not getting on a plane. And that's
Speaker 4: when I went okay. And also too, there's two parts
Speaker 4: in that as well. Number One, it felt really loosely scripted.
Speaker 4: It felt like like you're just saying pete. It was like,
Speaker 4: here's the scene kind of b in it, which is
Speaker 4: like on a boat because it's observational and you're moving
Speaker 4: and traveling. And there's a few things that in that
Speaker 4: moment or in that's around that time that I think
Speaker 4: are really pivotal in the film in some ways. Number
Speaker 4: One was that understanding that getting on a boat is
Speaker 4: a massive jeopardy. For you're getting on the plane. You're sacrificing,
Speaker 4: potentially sacrificing one for the other night. Still I still
Speaker 4: get the driver to pick us up and all this stuff,
Speaker 4: and go, yeah, mad, you're getting on a boat. That's
Speaker 4: a risk. You're taking a huge risk, which makes me
Speaker 4: think that you actually wanted to fail. The passage of time,
Speaker 4: the conversation on the boat became very calm and slow,
Speaker 4: and the urgency dropped right off. It was just like,
Speaker 4: I'm just in this moment, and so the urgency of
Speaker 4: having to get somewhere had been taken away because he'd
Speaker 4: made a decision and committed to going on a boat.
Speaker 4: And then there was another thing too, which was like
Speaker 4: I don't know if it was subconscious, subliminal or what
Speaker 4: it was, but there I think there was a repeat
Speaker 4: of a scene in the first film there's a guy painting.
Speaker 4: They walked past him. I think they might have tipped
Speaker 4: him if they didn't, they're tight asses. And then in
Speaker 4: the second films, like the mature version of that person
Speaker 4: again the same thing. So it's like a repeat of it,
Speaker 4: and so to go, oh, okay, well, now there's a
Speaker 4: sense of you know, they're staring down, but also to
Speaker 4: there's a repetition here as well, so that moment of like, well,
Speaker 4: decisions need to be made down I was like, I
Speaker 4: don't reckon he's going to get on that plane. I reckon,
Speaker 4: he's tow he's a Roman sandal, and I reckon. He
Speaker 4: wants to go back to her place. And then what happens.
Speaker 4: He goes back to her place and they walk, but
Speaker 4: the time slows down. He's like deliberately putting obstacles time
Speaker 4: obstacles in his own path.
Speaker 1: And one of the challenges I think that would have
Speaker 1: been for this script is where do you get the tension?
Speaker 6: Now?
Speaker 1: The obvious because it's such like a lovely walk through Paris,
Speaker 1: The obvious thing is to have that the tension come
Speaker 1: from why weren't you there? Weren't why didn't you arrive?
Speaker 1: You know, yeah, surely you could have got word to me.
Speaker 1: So they decide not to go down the obvious path,
Speaker 1: and they come with this really interesting idea that the
Speaker 1: night they spent together set the bar so high as
Speaker 1: far as romance goes, it's kind of almost ruined Selene's
Speaker 1: future relationships. And I think that's a very interesting, nuanced argument.
Speaker 1: And let's have a little listen to Selene and Jesse
Speaker 1: there now in.
Speaker 6: A cab, I think, on their way to drop her off.
Speaker 3: I don't believe in anything that relates to love. I
Speaker 3: don't feel things for people anymore.
Speaker 2: In a way, I put all.
Speaker 3: My romanticism into that one night, and I was never
Speaker 3: able to feel all this again, Like somehow this night
Speaker 3: took things away from me and I expressed them to you,
Speaker 3: and you took them with you. It made me feel cold,
Speaker 3: like if love wasn't for me.
Speaker 4: I don't believe that. I don't believe that.
Speaker 3: You know what reality and love almost contradictory for me.
Speaker 3: It's funny every single of my exents, then they're married.
Speaker 3: Men go out with me, we break up, and then
Speaker 3: they get married, and later they called me to thank
Speaker 3: me for teaching them what love is, and that I
Speaker 3: taught them to care and respect women.
Speaker 4: I think one of those, you know, I want to
Speaker 4: kill them.
Speaker 3: We didn't ask me to marry them.
Speaker 2: I would have said no, but at least I could
Speaker 2: have asked. But it's my fault.
Speaker 3: I know it's my fault because I never felt it
Speaker 3: was the right man never, But what does it mean
Speaker 3: the right man, the love of your life? The concept
Speaker 3: is absurd. The idea that we can only be complete
Speaker 3: with another person is evil, right.
Speaker 1: I mean, first of all, great line from Julie Delby.
Speaker 1: You know, why didn't I ask me the marria them?
Speaker 1: My order said no, But at least I could have asked.
Speaker 1: It was a great line. But it's a really I
Speaker 1: think it's a really fascinating point that she makes. You know,
Speaker 1: I had a relationship when I was aiding, my first
Speaker 1: serious relationship, and it did for you know, quite a
Speaker 1: few years. This bar west like I'm not ready to
Speaker 1: kind of have a serious relationship with anyone who wasn't
Speaker 1: until I met my now wife Bridge and I was like, okay,
Speaker 1: now I can I can move on now I found
Speaker 1: the other one. But it did you have those early relationships,
Speaker 1: particularly if they're intense, and you know, my relationship with
Speaker 1: this girl was she was from Finland, so it was
Speaker 1: like that we had a ticking clock of her leaving.
Speaker 1: So yeah, I think that's a really interesting argument that.
Speaker 4: She's profoundly affected by the loss of love that she had.
Speaker 4: That's the thing that shaped it showed her thinking about
Speaker 4: how she would have formative relationships in a romantic level
Speaker 4: from there on. It was like set a precedent, set
Speaker 4: her thinking, set her bar for judgment as well. And
Speaker 4: like he's it's kind of funny when he says I
Speaker 4: don't believe that. It's like, well, I don't know how
Speaker 4: you cannot believe it because it's not something you'd really
Speaker 4: want to share, saying, Look, I'm an emotional cripple, because
Speaker 4: that's essentially what you're saying. I'm an emotional cripple and
Speaker 4: men come to me and then they learn about love,
Speaker 4: and then they go away, and then they find it
Speaker 4: with somebody else, and I'm left behind because of an
Speaker 4: interlude that I had with you for twenty four hours.
Speaker 4: He's the thing, right, fantastic, What an amazing impact. But
Speaker 4: also to you're a bit unhinged if you've known somebody
Speaker 4: for less than twenty four hours and then you can't
Speaker 4: have a relationship for another nine years, Like I mean
Speaker 4: fit ink, I'm like, it's a red flag, red flag there,
Speaker 4: But I would.
Speaker 6: Agree in the real world.
Speaker 1: Yeah, in the movie, I think what it's saying is
Speaker 1: this connection was so so power powerful and intense. Yeah,
Speaker 1: if your sister says that to you, you know, or
Speaker 1: maybe a partner who like, this is seven years outter.
Speaker 1: I'm sorry, I un neused guy to for hours and
Speaker 1: you'd be like, Okay, well I might be dodging a
Speaker 1: bottle here. I suspect obviously we're two men talking about this,
Speaker 1: But I suspect that line and that kind of idea
Speaker 1: she brings up about men almost using her and thanking
Speaker 1: her later for teaching them about women, And like, I
Speaker 1: think that'll be a very kind of perhaps even triggering
Speaker 1: scene for some women who have felt they were a
Speaker 1: stepping stone for men.
Speaker 4: I don't. I don't believe that because I don't think
Speaker 4: women learn anything from us because we don't offer enough.
Speaker 4: Just like, what do you what you learn from us?
Speaker 4: Is like they're really revolting we are like yeah, I
Speaker 4: don't know. Look, I think that it's and that's how
Speaker 4: they too. Like maybe if she has taught men about women,
Speaker 4: and that's a great thing that she's she's offered them,
Speaker 4: but she's not the right one for it. I don't know.
Speaker 4: It's it's a tricky one that that scene, that part there,
Speaker 4: that's the first time where I just go, I hang
Speaker 4: on a second, it's a bit rich of you to
Speaker 4: cry poor here. That was the only there was like
Speaker 4: a little bit of that conflict, but he doused it
Speaker 4: rather than kind of throw it back on her and say,
Speaker 4: because I know what I'm like in a relationship, And
Speaker 4: if I had been Ethan Hawk's character in that scene,
Speaker 4: I would have thrown it back and said I'm the
Speaker 4: one who went to the fucking train station, like I
Speaker 4: don't want to tell you I had to get on
Speaker 4: a plane to get to a train station, and you
Speaker 4: live here and you didn't go. I know your grandmother
Speaker 4: was dead. Send a friend with a note, like so
Speaker 4: many options. If it's really important and you think it
Speaker 4: might impact you for nine years and all of your relationships.
Speaker 5: Get somebody with a sandwich board that says, Jesse, i'll
Speaker 5: be here tomorrow's dead. Then get a sandwich boy says fuck,
Speaker 5: you won't believe this. Nan died, Selene, we'll be back
Speaker 5: here tomorrow.
Speaker 4: Tomorrow. It's Europe. She got this. So that's why I
Speaker 4: said to go, Oh, it's a bit rich to be complaining.
Speaker 4: He blame me.
Speaker 1: It's a tricky And I had those thoughts as well,
Speaker 1: like I was trying to go Wow, she's really going
Speaker 1: for it here and going hire. She does eventually kind
Speaker 1: of say that was something that was pent up in
Speaker 1: her I think, I don't think.
Speaker 4: It's the only point of friction in the film.
Speaker 1: And you need that. So I understand from a movie
Speaker 1: point of view why they did. I think they did
Speaker 1: a really good job of like, you know, this is
Speaker 1: an emotional time and it's bringing it's a triggering time
Speaker 1: to bring up all these nostalgic memories, some good, some bad,
Speaker 1: not not just the night they spent together, but relationships
Speaker 1: since I think it's also really good that Selene almost
Speaker 1: defends Jesse's wife when he's from Memory's respectful, he's been
Speaker 1: honest about how he feels and their situation. You know,
Speaker 1: Selene says at one point, you know, like she must
Speaker 1: have been tired. You know, she's given birth and she's
Speaker 1: going through labor and pregnancy and you can't expect it,
Speaker 1: you know, all this. So I did like it just
Speaker 1: showed some class on Selene's side that she didn't take
Speaker 1: the opportunity going to go Yeah, like that sounds pretty
Speaker 1: fucked up. Maybe you know, maybe you should move to Paris. Nudge, nudge, wink.
Speaker 6: Wink.
Speaker 1: Yeah, that wasn't very subtle, Selene, I know what you're saying.
Speaker 1: And also you kind of got this idea of it's
Speaker 1: not just a memory that Selene is dealing with, but
Speaker 1: it's just the memory. Then one version of that night,
Speaker 1: which is Jesse's book, Yeah, that she has read, and
Speaker 1: I think she eventually admits there are some things that
Speaker 1: were you know that we're hard to read.
Speaker 4: Yeah, that also too, you know you feel as though
Speaker 4: being the subject of his book and knowing that the
Speaker 4: subject of the book was something you're waiting to see
Speaker 4: her address. Yes, and that's kind of where she addresses it.
Speaker 1: And like it early when she kind of says in
Speaker 1: this book, so when I or she or who who?
Speaker 4: That was lovely? Yeah, that was like and it was,
Speaker 4: But you know that there's going to be like, there's
Speaker 4: no way known you can have a book written about
Speaker 4: you essentially a moment that you're you know, obviously very
Speaker 4: involved in a pivotal into the story, that you can't
Speaker 4: not bring that up a bit and have some sort
Speaker 4: of feelings about it, like good bad all that. Like
Speaker 4: I mean, if you and you could guard it, whether
Speaker 4: you were elated that you were the subject matter, you
Speaker 4: might be able to guard it for a period of time,
Speaker 4: but then you'd bring it up. But with her there
Speaker 4: was like you could just see there's a little bit
Speaker 4: of business that it didn't that it didn't happen, that
Speaker 4: created the friction point. It was the only it's weird
Speaker 4: that a film with so many layers has so few layers,
Speaker 4: Like there's so few elements of like friction or there's
Speaker 4: nothing combative. There's not a lot of dynamism in that film, and.
Speaker 1: They reject any of the Like I said, the obvious
Speaker 1: opportunities for conflict and tension being that where the fuck
Speaker 1: were you know, yeah, in that on the sandwich board.
Speaker 1: I do feel sorry for the poor driver who's in
Speaker 1: basically a tunnel at a boom gates behind him. Then
Speaker 1: they didn't give me a pass at least having a
Speaker 1: boomgate leting park inside.
Speaker 4: And also I was thinking about like reversing out of
Speaker 4: there would.
Speaker 6: Have been behind you get it out cooked.
Speaker 1: Yes, And because they go in, it works because that
Speaker 1: this tension of like are they going in to listen
Speaker 1: to the song?
Speaker 3: No?
Speaker 6: Well, I think Jesse knows why. He's what he's hoping for.
Speaker 1: Selene, is you know it's we suspect that she is
Speaker 1: on a similar page, but we don't know if it's
Speaker 1: going to anything's going to happen. Yeah, she makes a
Speaker 1: cup of tea. I suspect when this driver outside at
Speaker 1: a boomgate, don't make a cup of tea.
Speaker 6: She plays it the song. I think this ending.
Speaker 4: Songs wasn't as terrible as I thought it was going
Speaker 4: to be, just this small point. I thought it was
Speaker 4: gonna be hard.
Speaker 6: That's actually imagine it was so awful that she couldn't
Speaker 6: sing at all. It's like playing this song.
Speaker 4: It's just the song she says she's written, but it's
Speaker 4: a nickelback.
Speaker 6: Around.
Speaker 1: No, I think this works gonna perfectly, and we get
Speaker 1: the payoff for all those moments where you need to
Speaker 1: get you need to get on you, you need to
Speaker 1: get to the airport. You need to catch up plane.
Speaker 1: You need to catch up plane. He rings the driver,
Speaker 1: he's published it. Make sure you're on that plane. Make
Speaker 1: sure you're on that plane. And yes, the let's have
Speaker 1: a little let's listen to the closing scene.
Speaker 3: Maybe you are gonna miss that plane. I know.
Speaker 1: So it's kind of perfect because you never see them kiss.
Speaker 1: No outside of you know, the French kiss on the
Speaker 1: you know, the caisse on the euro Pain kiss on
Speaker 1: the cheeks.
Speaker 6: Both sides.
Speaker 4: I think it's kind of perfect.
Speaker 1: And again to come up with a ending that is
Speaker 1: in a similar vein to the before Sunrise, I don't
Speaker 1: think you could do the same thing. But let's meet again,
Speaker 1: but have this I guess the question is, Okay, we
Speaker 1: assume he stays, what does happen next and which would
Speaker 1: lead us to before Midnight?
Speaker 4: But the timeline has changed, the time horizon, it's now different.
Speaker 4: So the first one was will he come back in
Speaker 4: six months? Will she come back in six months? This
Speaker 4: is where will they be in five years? How will
Speaker 4: this relationship develop? If they co habit, if they you know,
Speaker 4: he leaves his wife and his child, how will it evolve?
Speaker 4: She could move to America, she's been there before, so
Speaker 4: you don't kind of know. Like the question is not
Speaker 4: about will they meet up again? It's like will this
Speaker 4: you know, what we see is like this near perfect
Speaker 4: relationship or this near perfect that they've got. Will that
Speaker 4: see the long game? And that's that's the question, Like
Speaker 4: you don't want to see what happens in three days time.
Speaker 4: You don't want to see what happens is six months
Speaker 4: something you start thinking really long term ago. I wonder
Speaker 4: if they are together in ten years and what that
Speaker 4: looks like.
Speaker 1: And what was this connection they made in Vienna intense
Speaker 1: and amazing and wonderful because they knew they had that
Speaker 1: finite time. I'm sure we've all had relationships where you
Speaker 1: kind of think back and go, go, what this is
Speaker 1: a sliding doors kind of exercise.
Speaker 6: What would my life look like if I move countries?
Speaker 1: Or doesn't think that'd be a romantic relationship, but this
Speaker 1: is exploring these sliding doors moments and you kind of go, Okay,
Speaker 1: this was an intense you know, twelve hours, twenty four hours,
Speaker 1: whatever it was. How does this couple work when it's
Speaker 1: day in, day out, twenty four hours a day the grind.
Speaker 1: Some fun facts before we move on. A couple of
Speaker 1: people outside Selene's apartment, actually her parents, Albert Delpi and
Speaker 1: Marie Pile. I think Marie comes down the stairs as
Speaker 1: they're going up, and I think I think Albert Delpi
Speaker 1: is the one cooking the barbecue.
Speaker 6: The longer.
Speaker 1: Obviously we should wanted to point out that because this
Speaker 1: is there moving through Paris at a certain time of
Speaker 1: the day. This is necessarily said over twenty four hours
Speaker 1: or at night, so they had to get the light.
Speaker 1: They only had a few hours of shooting every day,
Speaker 1: and they need shot for fifteen days, so it's all shot.
Speaker 1: So they had to shoot at the right time of
Speaker 1: day that a few hours. Obviously, if they're in cafe
Speaker 1: when they could you know, they could play with the
Speaker 1: light a little bit there, I'm sure, but they had
Speaker 1: the right light, which obviously it's often wet dependent. If
Speaker 1: it's raining, I can imagine eating this cancel that day.
Speaker 1: It also puts pressure on the actors to.
Speaker 4: Really perform, perform, you know the lines, be prepared and
Speaker 4: be in the moment every time. What's great is that
Speaker 4: their performance, their character performance, is the same as it
Speaker 4: was in the first one. Do you believe that it's
Speaker 4: the same person.
Speaker 1: Yea, yeah, yeah, Ethan Hawk's cheek bones are a bit sharper,
Speaker 1: so fifteen days to shoot most days are as hot
Speaker 1: as a hot summer in Paris, thirty eight degrees most days, Jesus.
Speaker 6: Yeah.
Speaker 1: The longest take eleven minutes. Some of you are watching
Speaker 1: and going these are long.
Speaker 4: There's a walking secret he's going, this is going like
Speaker 4: when they're on the long walk. Yeah, this is a
Speaker 4: long scene.
Speaker 1: I think it's a real lesson when you watch it,
Speaker 1: and for those who haven't seen it yet or will
Speaker 1: watch it again, there's something about the power of not editing,
Speaker 1: not cutting away, not going for those closers, which we
Speaker 1: all you know, most films will do. Directors will do
Speaker 1: to get themselves coverage so they can edit later on.
Speaker 1: And you know, if it's one shot, it's impossible to edit.
Speaker 1: Maybe now technology there are ways, but how nice it
Speaker 1: feels to not have the edits ed It's great for
Speaker 1: pace and to spense and tension, but it's not what
Speaker 1: they're going for here.
Speaker 4: So it's all about time. So they make it so
Speaker 4: much in real time, and it make you feel like
Speaker 4: it's in real time. Those longest scenes, Yeah, give you
Speaker 4: that sense.
Speaker 1: Editing can do amazing things. You know, you can edit
Speaker 1: for the last you can edit for pain. But there's
Speaker 1: no need for later to show off in any of this,
Speaker 1: and he doesn't, and that's great.
Speaker 6: That it makes him genius.
Speaker 1: I think Julliabbie's agent tried to dissuade her from making
Speaker 1: this movie. He caught it a stupid movie that nobody's
Speaker 1: going to see. And he fired her the day that
Speaker 1: she said, no, fuck you, I'm doing it.
Speaker 4: He fighted her.
Speaker 6: He fighted her.
Speaker 4: Man, that's cool. It seems like a cool dude. Yeah,
Speaker 4: that's like a kid going to school and go I
Speaker 4: want to do a mass. Then they go, no, We're
Speaker 4: going to just do a little bit joke while I'm
Speaker 4: sacking you don't get me a messager.
Speaker 1: Particularly there's being a sequel, whether this fact that I'd
Speaker 1: read was left over from Before Sunrise? But if it's
Speaker 1: true to this before this film, to work with Richard
Speaker 1: later at Ethan Hawk for that experience for fifteen days,
Speaker 1: it seems like a no brain. Obviously, there's rehearsal periods
Speaker 1: that the commitment longer than fifteen days. Merck, watch this
Speaker 1: podcast Country of Homework. Like I said, it was a
Speaker 1: trap from the start. You didn't know that doing before
Speaker 1: sunrise meant you had to do this before sunset. But
Speaker 1: I was genuinely looking forward to watching this film and
Speaker 1: seeing where it went and having this discussion.
Speaker 6: Are you looking forward to seeing where before midnight comes.
Speaker 4: More so than before sunset? I want to see whether
Speaker 4: or not this passion and this moment is an enduring moment,
Speaker 4: or if it is actually just only in the brightness
Speaker 4: of those circumstances. Yes, I'm looking forward to it.
Speaker 6: I'm looking forward to it. All I know.
Speaker 4: I want to say divorce, though I want a divorce.
Speaker 4: I want to see some unhappiness in the next one.
Speaker 1: I think there is the doors are blown open where
Speaker 1: you can get conflict. In this next one you can,
Speaker 1: you can almost rebuild them a little bit. All I
Speaker 1: know is I think it's set in grease. So we
Speaker 1: go to Greece, which is a nice change of pace,
Speaker 1: nice nice change of scenery. So I'm looking forward to that.
Speaker 1: So next six season on, you ain't see nothing yet,
Speaker 1: You'll come back and do before midnight. Merrick Watts, you
Speaker 1: are my great friend, my greatest friend in comedy, my
Speaker 1: oldest friend in comedy. Congratulations on Grapes of Mirth. If
Speaker 1: you do not or have not been to a Grapes
Speaker 1: of Mirth event, they happen all around the country. Follow
Speaker 1: Grapes of Mirth on Instagram at Grapes of Mirth and
Speaker 1: also your show Idiot's Going to Wine.
Speaker 4: Is back with the volume two, Volume two six New
Speaker 4: Wines four new jokes. At this stage, I've already written
Speaker 4: I'm such a nerd. I read it months ago. I
Speaker 4: really did, I'm such a nerd. Yeah, it's great.
Speaker 1: I'm looking forward to And so for those who don't know,
Speaker 1: you don't just go along and watch you drink wine.
Speaker 4: Now, everyone drinks wine. Everyone in the audience. Everyone in
Speaker 4: the audience drinks six.
Speaker 6: Wines, including your ticket price along you just you just.
Speaker 4: Take the wine, sit down, and I'll do the rest.
Speaker 4: It's like I really just turned my comedy show into
Speaker 4: being a waiter. So enjoy it.
Speaker 6: You could even go in and take headphones and drink
Speaker 6: the wine.
Speaker 4: I would do that. Just go sorry, I'm having a
Speaker 4: silent disco Marriic. Just keep going the wine. Thanks mate,
Speaker 4: great to be here, mate.
Speaker 6: Well there it is.
Speaker 1: We're sue out of three done before sunset. That is
Speaker 1: a wrap on with my great mate Merrick once. I
Speaker 1: was really looking forward to watching the film and then
Speaker 1: chatting to him about it. We're going to give ourselves
Speaker 1: some time because I do think these movies need a
Speaker 1: bit of time between viewing. I kind of in a
Speaker 1: way don't recommend just binging them over a night or
Speaker 1: a few days. Like we often do with television, give
Speaker 1: yourself some time to live between these movies because they
Speaker 1: are set quite a few years apart.
Speaker 6: We won't wait for years.
Speaker 1: It'll be the next season of If You Ain't See
Speaker 1: Nothing Yet, where Mens will come back and finish the
Speaker 1: Before trilogy.
Speaker 6: But thank you so much to.
Speaker 1: MESI is one of the busiest men in showbiz and
Speaker 1: I really appreciate him coming in and doing his homework too.
Speaker 1: Thank you to you for listening to this episode and
Speaker 1: to the season. If you enjoy You Ain't See Nothing Yet.
Speaker 1: The best thing you can do for us is to
Speaker 1: go to iTunes or you listen to your podcast but
Speaker 1: iTunes and give us a five star rating and say
Speaker 1: nice things, leave a review.
Speaker 6: It does help. It does keep the algorithm moving, which
Speaker 6: I'm told is a good thing. Thank you.
Speaker 1: Thank you for listening, and you can get on our
Speaker 1: speak Pipe would love to hear your voices on this podcast.
Speaker 1: If you have any questions or comments about movies we've covered,
Speaker 1: or movies that you hear that we're going to cover
Speaker 1: it in the future, please let us.
Speaker 6: Know next week on the show. This is a big one.
Speaker 1: It's a returning guest. My great mate Limo. He's been
Speaker 1: on the show before. I think the series one. He
Speaker 1: did the with Nayle and i UK cult comedy classic.
Speaker 1: Then more recently he did Chinatown, which was fun. We
Speaker 1: enjoyed that one. Jack at his best. But next week
Speaker 1: we're going to a bit sillier. It's a comedy heavyweight,
Speaker 1: this one, and there's a lot to talk about. It's
Speaker 1: not necessarily a simple film to talk about. There are
Speaker 1: layers to this movie. It's a movie that might be
Speaker 1: triggering for some people, but I think the filmmaker knew
Speaker 1: what he was doing. He took a big swing with
Speaker 1: this one. In nineteen seventy four. It's mel Brooks with
Speaker 1: the Western spoof parody, the satire on racism that is
Speaker 1: Blazing Saddles. I had not watched it for a very
Speaker 1: long time. Limo will be watching for the first time.
Speaker 1: What does Blazing Saddles look like to somebody watching it
Speaker 1: for the first time? In twenty twenty four, Limo, the
Speaker 1: Great Limo will be joining me for Blazing Saddles. If
Speaker 1: you haven't seen a check of that beforehand, until then,
Speaker 1: bye for now, And so we leave old Pete, save
Speaker 1: Vansel and to our friends of the radio audience.
Speaker 4: We've been a pleasant, good name