Speaker 1: Kid, Hey, welcome to you.
Speaker 2: Ain't nothing yet the movie podcast. We're utch at a
Speaker 2: movie lover, but a classic couple of the movie they
Speaker 2: haven't quite got around to watching until now. Today's guest
Speaker 2: is a repeat episode because I'm having a little break.
Speaker 2: Only a couple of weeks and we're back with brand
Speaker 2: new episodes. But today's guest is a great made of mine.
Speaker 2: I really enjoyed this chat. Is one of the men
Speaker 2: of the moment. It's Tony Armstrong in two thousand and one,
Speaker 2: a Space Odyssey, enjoy.
Speaker 1: Ever dance with the Devil.
Speaker 3: On the vale Line.
Speaker 1: I'm walking ahead. I'm walking ahead.
Speaker 3: Of all the gin joints in all the towns in
Speaker 3: all the world. She walks in the mind.
Speaker 1: Having a right.
Speaker 4: Nothing.
Speaker 2: Where do we start with Tony Armstrong. Well, he played
Speaker 2: some AFL footing for the La Crows, Sidney Swans and Collingwood,
Speaker 2: but it's been his more recent foray into the media
Speaker 2: where Tony has been turning heads with a smile that
Speaker 2: could light up the mcg. Tony is the host of
Speaker 2: Indigenous AFL footy program The Brilliant Yuckeye, a collaboration between
Speaker 2: NITV and the AFL. Tony brings joy to mornings on
Speaker 2: ABC Breakfast with his sports report and has been joining
Speaker 2: us recently on the Project, where our audience are falling
Speaker 2: for him big time and the crew and cars are getting.
Speaker 1: Pretty smitten with him as well.
Speaker 2: He's Tony Armstrong, did of his bad news segments on
Speaker 2: the Weekly with Charlie Pickering also bloody hilarious and I've
Speaker 2: got to say ras Central Tony is joyous, fun smart,
Speaker 2: funny and one of the biggest breaths of fresh air
Speaker 2: on Ossie TV in recent time. And I'm bloody stoke
Speaker 2: to have him as my guest today.
Speaker 1: Today, I'm Tony Armstrong.
Speaker 4: My three favorite films are Batman Begins.
Speaker 1: You're Just an Ordinary Man, Ex Mackina, Did you program
Speaker 1: her to flirt with me? And Inception?
Speaker 3: Think about it? Ariarne? How did you get here?
Speaker 1: Where are you right now?
Speaker 4: But up until only recently there was a film that
Speaker 4: had really been sticking out as one that I hadn't seen.
Speaker 4: I'm a big fan of science fiction and it's perhaps
Speaker 4: the og science fiction film two thousand and one, A
Speaker 4: Space Odyssey.
Speaker 2: Yes you ain't seen nothing yet, fan Zach Krubrickery and
Speaker 2: a Venture continues as Stanley heads into outer space via
Speaker 2: the Dawn of Time, where apes have a territory war
Speaker 2: over a dirty puddle. Released a year before Neil and
Speaker 2: Buzz walked on the Moon in collaboration with writer Arthur C. Clark,
Speaker 2: two thousand and one of Space Odyssey is a film
Speaker 2: you need to create time for. It's a majestic third
Speaker 2: I think piece. It's evocaty of imagery will either entrance
Speaker 2: you or have you looking at your watch. Arthur C.
Speaker 2: Clark once said, if you understood two thousand and one,
Speaker 2: then we have failed. We wanted to raise more questions
Speaker 2: than we answered. On that note, it is a bloody triumph.
Speaker 2: Questions about our origins, the future, technology, philosophy, AI, humanity
Speaker 2: and how do you take a dub in zero gravity? Exactly.
Speaker 2: It's time to kick off your grip shoes and let
Speaker 2: held nine thousand guide you through. Tony Armstrong, be honest,
Speaker 2: did you wonder if your TV was broken for the
Speaker 2: first minutes of this film?
Speaker 1: I mean I known what I was watching it at
Speaker 1: the start. I was like, this is this is this? It?
Speaker 1: It was? It was pretty weird? Was it?
Speaker 4: Like?
Speaker 2: I paused it to see because I thought the audio
Speaker 2: is coming through. You got that black screen with this
Speaker 2: orchestral music, which is amazing, and you're wondering. After a while,
Speaker 2: you're wondering, Okay, hang on, this is going on for
Speaker 2: a bit, do you is something wrong with my TV?
Speaker 1: I've actually got a confession to make.
Speaker 4: So got on one of the streamers to watch it.
Speaker 4: It boarded off one of the streamers, Amazon Prime, so
Speaker 4: rented it for a month and started playing it. And
Speaker 4: I'm sat there with my house mate David and we're
Speaker 4: watching it and we stuffed up the audio ever so
Speaker 4: slightly like it wasn't an obvious stuff up, but it was.
Speaker 4: It was basically it was describing everything that you could
Speaker 4: see at the start, so you know, like the space
Speaker 4: it's like and it's a you know, and it's a
Speaker 4: look into the void and there is nothing to see here.
Speaker 4: And I was like, oh wow, maybe, like this is
Speaker 4: so meta that it's like telling me what I'm watching
Speaker 4: and I'm going to have a And then it's.
Speaker 2: Like having a golf commentator, agree is going now we're
Speaker 2: going in out of space? Seven would out it was,
Speaker 2: and it was no seven would by the way.
Speaker 4: And we and we kind of looked at each other
Speaker 4: after five minutes, you know, after you kind of.
Speaker 1: You get to the ape spit and we're like, no,
Speaker 1: this can't be right, this.
Speaker 4: Can't be here right. So we fiddled around with the
Speaker 4: audio and I mean it was a bit of it.
Speaker 4: Well at least it made us think that we were
Speaker 4: watching the right thing. Yeah, because if I didn't have that,
Speaker 4: I would have thought I was I'd taken a wrong
Speaker 4: turn somewhere.
Speaker 2: So I I thought for I think a few years
Speaker 2: that I had seen this film. I just kind of
Speaker 2: and I but I didn't really have many thoughts on it,
Speaker 2: which should have been the biggest indicator that I have
Speaker 2: not seen this film. So what I think though, because
Speaker 2: certain images and scenes I.
Speaker 1: Had seen.
Speaker 2: So what I think has happened is at some point
Speaker 2: when I was younger, I walked in on this film
Speaker 2: being played, it was playing and saw a certain section
Speaker 2: of it because I had no idea about that start
Speaker 2: the dawn of Man's stage with the with the Apes.
Speaker 2: I like, I that was like, is this what's going
Speaker 2: on here? Amazingly, this is released the same year as
Speaker 2: Planet of the Apes, So if you're working on Planet
Speaker 2: of the Apes, if I'd be thinking what the Hell's
Speaker 2: care doing it doesn't need that is a space movie.
Speaker 1: I mean it was.
Speaker 4: And then and then watching that at the start, you know,
Speaker 4: the apes were like like they're just with the bones
Speaker 4: and they touched the monolith. Yeah, and then and then
Speaker 4: it gives them this kind of divine intervention whatever you
Speaker 4: might call it. To start, I guess the weapon age
Speaker 4: or the age of tools. Yeah, and then it's pretty brutal.
Speaker 4: You see them, you know, beult the other ape and
Speaker 4: I'm like, oh my, what, Like, where's space here?
Speaker 1: Like, I mean, get me.
Speaker 2: On a ship as I want to see where's Han solo?
Speaker 4: Yeah, I mean I'm happy for that crossover to happen.
Speaker 1: But like I was so confused. And then clearly the
Speaker 1: movie goes on.
Speaker 4: But I got to the end of it and I
Speaker 4: had no idea really, like I had.
Speaker 1: A few ideas as to what I'd watched.
Speaker 4: Like I loved a lot of it. But I mean,
Speaker 4: as as you said, Clark was it who?
Speaker 2: Yeah, I have to see Clark so interestingly and when
Speaker 2: we move on before we get too deep into this,
Speaker 2: but I to see Clark. This was interesting. They actually
Speaker 2: collaborated on this, and there's one of the rare instances
Speaker 2: where a film was being developed at the same time
Speaker 2: as a book, So the artel kind of took care
Speaker 2: of the book, but they kind of worked together, which
Speaker 2: is an amazing way of doing it.
Speaker 4: That is because obviously it's always not obviously normally it's
Speaker 4: the book, then the movie, and then everyone complains because
Speaker 4: the book I mean sorry, because the movie just never
Speaker 4: goes in it as much depth as the book. Well,
Speaker 4: this this went into so much depth. I didn't know
Speaker 4: where I was. I didn't know how deep I was.
Speaker 2: Yeah, well, we'll go even deeper possible.
Speaker 1: We'll keep shit.
Speaker 2: Would come back and speak about two thousand and one
Speaker 2: in space. Obviously, I think I told you that this
Speaker 2: is like the fourth it's the fourth Kubrick film.
Speaker 1: We have done.
Speaker 2: One of the very early episodes of this podcasting series.
Speaker 2: One was a Clock or Orange with Christopher Pane, a
Speaker 2: film amazing. Then we've done The Shining last week with
Speaker 2: Tommy Dassolo, and the week before is that three?
Speaker 1: He might be three?
Speaker 3: Right?
Speaker 2: Might We might have wedged one in between. Lisa mckinn
Speaker 2: did Full Metal Jacket. So we are on a Kubrick
Speaker 2: bent to the point where somebody else nominated Doctor strange
Speaker 2: Love for an episode coming up, and I said, I'm
Speaker 2: not sorry, sorry, I need I need a break, and
Speaker 2: I finally have had watched it recently, but I thought,
Speaker 2: with this, I think the audience needs a break. So
Speaker 2: I'm sure we'll do Doctor Strangelove down a track. But
Speaker 2: let's get into your three favorite films. Let's start with
Speaker 2: Batman Begins. Why Batman begins? Over all the Dark Knight,
Speaker 2: because that's Dark Knight's come up a few times, Batman
Speaker 2: eighty Nine's come up before. Why why Batman begins?
Speaker 4: Well, so for me, what I loved about it A
Speaker 4: I was at the perfect time age wise to for
Speaker 4: a film like that to come out. Loved superheroes, loved
Speaker 4: Batman rather than I find a lot of people are
Speaker 4: Batman verus Superman people. Yeah, I am a huge Batman fan.
Speaker 4: That was fifteen sixteen when it came out, so just
Speaker 4: at the right age to get right around a big
Speaker 4: action film. But also redefined the super the superhero genre.
Speaker 4: So it was the first one that really went dark.
Speaker 2: Yeah, yeah, you know, before that was like pow because
Speaker 2: that blam, you know, but this was well, it's interesting
Speaker 2: to say that because I was I was in the
Speaker 2: hitting zone. When Batman we called Batman eighty nine, it
Speaker 2: was called Batman, yeah, Michael, Michael, Michael keatone, Michael Keaton
Speaker 2: was a technic sent as Joker. Yeah, and that that
Speaker 2: felt dark, like that was that that felt for me
Speaker 2: the first time, it was like, oh you, this is
Speaker 2: taking superheroes seriously and getting a bit darker. And then
Speaker 2: the more that series went a long than when Joel
Speaker 2: Schumacher kind of took over. I think he had one
Speaker 2: film that kind of was still dark, but then it
Speaker 2: got a bit kind of was that when he Forever, Yes,
Speaker 2: I forget the the order of it as Batman Batman Returns.
Speaker 1: It was Batman, Batman Returns, then Batman Forever, and.
Speaker 2: Then Batman and Robin Yes, the Clooney, Yes, Chris O'Donnell.
Speaker 2: So by that stage, I think by the third film,
Speaker 2: I think the Batman Returns, they got away with it
Speaker 2: and then it became a bit almost camp.
Speaker 1: Yeah, no, it did.
Speaker 4: Yeah, so the one with like Clooney and whoever played Yeah, yeah,
Speaker 4: yeah O'Donnell, who played who played Robin?
Speaker 1: Like it was like a departure from reality, you know.
Speaker 4: And and and I think as much of a stretch
Speaker 4: as it is that a guy dresses up as a
Speaker 4: bat and runs around and fites crime, and of course
Speaker 4: that's ridiculous. It needs to be grounded in a real
Speaker 4: truth and a real reality. And I and that's what
Speaker 4: I found with Batman. Begins like you could you could
Speaker 4: actually believe this character again apart from the like being
Speaker 4: a billionaire or like all the stuff that is so obvious,
Speaker 4: but it was really really dark. It didn't really show
Speaker 4: him winning too much. He had his huge flaws. He
Speaker 4: was failing as in his relationships. So that was what
Speaker 4: I really really liked. I found the ones before basically
Speaker 4: he was perfect, yeah, you know, and the whole crux
Speaker 4: of Batman is he is actually really really flawed, deeply flawed,
Speaker 4: deeply troubled, deeply unwell guy.
Speaker 1: So yeah, and obviously it was just the perfect sweet
Speaker 1: spot for me.
Speaker 4: And then I found I felt like I love the
Speaker 4: other two, but just for me, that'll just it probably
Speaker 4: elevates itself with the level of nostalgia.
Speaker 2: I have towards it, and it got in first I
Speaker 2: was like, oh wow, this is we can do this.
Speaker 4: And now even though the other two some people like more,
Speaker 4: I think the critically acclaimed one is Dark Knight yep,
Speaker 4: A Dark Knight where Heath Ledger, of course posthumously won
Speaker 4: an oscar. Yeah, so that one's obviously probably the most
Speaker 4: critically acclaimed one, But for me, it's Batman Begins.
Speaker 1: Yep, excellent.
Speaker 2: X Macina is am amazing film.
Speaker 1: We've seen it. Yeah, what a film that is?
Speaker 4: It? Basically it plays plays on the Turing test, which is,
Speaker 4: you know, the I guess, the final test of artificial intelligence,
Speaker 4: just to see if the machine can actually think for itself.
Speaker 4: And like the way that that's done is set set
Speaker 4: with this tech wizard who lives in the middle of
Speaker 4: in the middle of some sort of forest somewhere and
Speaker 4: this and this guy wins a prize off the back
Speaker 4: of being a genius within a robotics company and ends
Speaker 4: up basically being a human suring test for this machine.
Speaker 1: And it's just the questions that it makes you ask
Speaker 1: yourself about.
Speaker 4: Like manipulation and you know what machines are doing to
Speaker 4: what machines are already doing to us We know machines.
Speaker 4: And the one that I think we all go to
Speaker 4: straightaway is our phone and social media. Like we straightaways
Speaker 4: we know that that it's that it's influencing our behaviors,
Speaker 4: our thought patterns, the way we the way we act,
Speaker 4: the way we think. But then to kind of see
Speaker 4: it played out like that through the lens of this
Speaker 4: obvious robot who is still like weirdly beautiful.
Speaker 1: It's it's it's it's so strange. It's Alicia for Canada.
Speaker 2: It's the first time I think I've even seen her
Speaker 2: on screens around the win an oscar a couple of
Speaker 2: years later.
Speaker 4: But yeah, yeah, and and and just watching that, and
Speaker 4: watching his descent, and and and the way that she manipulates.
Speaker 1: The lead character, the Redhead fell I forgotten his name.
Speaker 2: He's uh De Dominald Glease, I think it's Dominall. So
Speaker 2: he's he was in the recent Star Wars films, and
Speaker 2: he's the son of Brendan Gleason.
Speaker 1: He's also in He's also in an episode of Black
Speaker 1: Mirror and all the English actors. Yeah, I know, right,
Speaker 1: I take a ticket.
Speaker 4: But yeah, and and and just watching the way she
Speaker 4: hits him against against I guess the crazy tech billionaire
Speaker 4: is so brilliant and scary and captivating.
Speaker 2: I love films, And obviously two thousand and one of
Speaker 2: space obviously is a big influence on X MAC and
Speaker 2: you know, obviously with all the I guess the AI stuff.
Speaker 2: But I love films, science fiction films that are set
Speaker 2: closer to Earth, you know, like that that are kind
Speaker 2: of almost happening on Earth. Arrival, I'm sure he's yeah
Speaker 2: yeah with Amy Adams and it's that that's a brilliant,
Speaker 2: simple film, but but is about so many massive things.
Speaker 4: And like and Arrival, like the tent, the kind of
Speaker 4: tension like what would you do? Yeah, yes, yeah, ship, Yeah,
Speaker 4: I'm not going in there.
Speaker 2: The simple bravery that character shows, yeah, is stunning, and
Speaker 2: you know, you can you can show bravery so many
Speaker 2: different ways, and where we see often where it's so
Speaker 2: obvious that they're being brave because they're going into a
Speaker 2: burning building or they're taking on a massive monster, you know.
Speaker 2: But yeah, it's a subtle dep fly, but it's exactly
Speaker 2: but in Arrival, that's a beautiful depiction of bravery.
Speaker 1: Yeah, you're exactly right.
Speaker 4: And I think as well with sci fi stuff, I
Speaker 4: like being freaked out by it a bit. In terms
Speaker 4: of I love getting existential dread. I also love like
Speaker 4: getting over thatesistential dread very fast after I've got it,
Speaker 4: But when it first comes I'm like whoa, yeah, like
Speaker 4: who knows what's going to happen? And you know it's
Speaker 4: not a not a movie. But I've already I've already
Speaker 4: mentioned it. Black Mirror. All of the Black Mirror stuff
Speaker 4: is so so fantastic because it does that you can
Speaker 4: see so simply and so close to where we are,
Speaker 4: how this stuff can happen.
Speaker 2: I really admire people who can project. I mean, it's
Speaker 2: fun to take the piss out of futurists. Yeah. Yeah, yeah,
Speaker 2: you get a real job, but you know, you know
Speaker 2: there's another way for that, guesser, Yeah, but I want
Speaker 2: that gig. Yeah exactly, Yeah, I got putting your foot
Speaker 2: tips in. But I I admire anyone who can see
Speaker 2: the trends of where we're heading and kind of see
Speaker 2: how that will affect us ten years, twenty years, and
Speaker 2: even now in ways that we don't even know. I
Speaker 2: remember a friend of mine, Richard marsln Saily no longer
Speaker 2: with us, but he when he was very reluctant to
Speaker 2: have a mobile phone and and you know, kept it.
Speaker 2: He's really simple and he's I remember telling me he's
Speaker 2: the first person who put this idea in my head
Speaker 2: that's going this is a tracking device, and I'm like, mate,
Speaker 2: it's not a tracking device.
Speaker 1: Get the tinpoil hat off your head.
Speaker 2: It's a telephone, mate, you call it, you use it
Speaker 2: to call me and uh and you know it is
Speaker 2: like you know it's yes, it is also our phone camera,
Speaker 2: but you know these are.
Speaker 1: My phone and it knows where we are?
Speaker 2: Is it where we are?
Speaker 5: You know?
Speaker 4: I don't know if you've ever seen the clip of
Speaker 4: David Bowie when the Internet first comes out and he's
Speaker 4: in an MTV interview and someone's going, oh, it's just
Speaker 4: another way of you know, trans transmitting information, and David
Speaker 4: was like, no, it's going to completely change the way
Speaker 4: we deliver information, the way we eve information.
Speaker 1: It's going to change all of our art mediums.
Speaker 4: It's he basically everything that he said in this in
Speaker 4: this clip it goes for about a minute and a half.
Speaker 1: He's like, no wonder, no wonder.
Speaker 4: David Bowie was able to do everything that he did
Speaker 4: in so many different art art forms because it was
Speaker 4: like he'd been to twenty twenty one and then and
Speaker 4: this interview would have been the mid nineties. It just
Speaker 4: and exactly to your point, but just on the guesses.
Speaker 4: Do you know the other gig I really want, you know,
Speaker 4: the feels like guy for weather.
Speaker 2: Ten twenty seven, but it feels like twenty six. Yeah, yeah,
Speaker 2: I don't understand.
Speaker 1: It feels like the other one. The pressure gauge in footage,
Speaker 1: I don't know.
Speaker 2: How are they measuring that?
Speaker 1: To eighty six?
Speaker 2: That's through the roof.
Speaker 1: That's good, I think, because there's red underneath it.
Speaker 2: Let's go to inception, will stay on the science fiction.
Speaker 2: I mean this, I remember seeing this in the cinema.
Speaker 2: In fact, I saw it before. I've got to see
Speaker 2: a previous You very little outside of it being Christopher
Speaker 2: Nolan and an amazing cast, but bloody hell, it.
Speaker 1: Is so good. I mean, what a great idea of
Speaker 1: you know, each like the layers of dreams and each
Speaker 1: dream you go down, time gets slower. And then the
Speaker 1: idea that you.
Speaker 4: Can put yourself into someone else's dream and then influence
Speaker 4: their thinking by making them by conceivingly making them think that.
Speaker 1: They've come up with a thought of their own volition.
Speaker 4: Yeah, brilliant, And then turning that into an action film
Speaker 4: and then being able to have levels of so Basically,
Speaker 4: you've got different levels of action sequences.
Speaker 1: That are all within the same or.
Speaker 4: Within the same film, So you could like you could
Speaker 4: go anywhere, you know, they end up in the know, yeah,
Speaker 4: whereas like at the very highest level, they're on a
Speaker 4: they're on A seven four seven from.
Speaker 1: I think, I think it's La to Australia to Sydney.
Speaker 2: I thought I'm going through the island and lost, but maybe.
Speaker 1: Maybe I was like no, no, no, that was two
Speaker 1: thousand and one space.
Speaker 2: We'll get to that. So when you're watching a film
Speaker 2: like Inception, how important is it? How do you watch it?
Speaker 2: Are you trying to work it out? Or on first viewing?
Speaker 2: Do you come to understand it the more you watch it?
Speaker 2: Because I tend to watch those films like like that.
Speaker 2: Inception is a great example. You explained it then better
Speaker 2: than I ever could. But I watched it as almost
Speaker 2: a heist movie. Well it is exactly, and that's how
Speaker 2: I enjoyed it. As a highst movie. I'm sure there
Speaker 2: are things that happen in Inception that I don't understand,
Speaker 2: and I'm sure even the ending, I'm.
Speaker 1: Still just anyone know that?
Speaker 2: And well that's and we'll certainly get to that with
Speaker 2: two thousand and one, the idea of of do we
Speaker 2: have to know everything that you know happens in a movie.
Speaker 2: Sometimes people get frustrated with like not having it all tired.
Speaker 5: I love it.
Speaker 2: Yeah, yeah, I think there are ways of doing it
Speaker 2: where it really works, and I think it's a really
Speaker 2: good example of that. I did see a movie, Jim
Speaker 2: Jimish movie with Bill Murray called Broken Flowers, and it
Speaker 2: was I really enjoyed that film, and he was about
Speaker 2: Bill Murray played a guy and he's going around to
Speaker 2: various I think X ex girlfriends of his and uh,
Speaker 2: I forget I've only seen a little once because the
Speaker 2: ending frustrated me. And and he I forget why he's
Speaker 2: going around to all of them, but he's and it's enjoyable.
Speaker 2: It's like watching these conversations between people, you know, Bill
Speaker 2: Murray's moving through his history with these people and he
Speaker 2: and then this ends with him the camera kind of
Speaker 2: he's in the middle of the street with I think,
Speaker 2: holding some flowers and the camera's kind of going around him,
Speaker 2: around him, and he's looking around and we're not I
Speaker 2: forget what he's what he's supposed to be looking for.
Speaker 2: And it's goes around and that stops, and it's like, ah,
Speaker 2: I was not expecting the movie to end there, not
Speaker 2: like I still thought that there was more to come. Yeah,
Speaker 2: and then I'm not sure exactly what that It felt
Speaker 2: like you ran out of film as opposed to you know,
Speaker 2: please Hasney at Yasney Podcasts at gmail dot com if
Speaker 2: you have an explanation for the ending of Broken Flowers.
Speaker 2: But but inception, I think you know, it works on
Speaker 2: a different level.
Speaker 4: It can leave you with questions without Yeah, you're right.
Speaker 4: I think inception is a great one because it leaves
Speaker 4: you with so many questions. But also it's a perfect
Speaker 4: point to leave it because then you go, well, where
Speaker 4: will we like at what level were we watching the film, Matt?
Speaker 1: Were we in a dreamscape? Were we in real life?
Speaker 1: Does it matter? Really?
Speaker 4: Like, you know, is he happy enough just going into
Speaker 4: that dreamscape and living there forever?
Speaker 1: Or is it or is it true? I mean brilliantly done.
Speaker 4: And you're right, there can be a nice juncture, or
Speaker 4: there can be a really nice point to do it
Speaker 4: where you leave people with questions but they still feel
Speaker 4: like they've got some form of closure. Yeah, And it
Speaker 4: sounds like that Bill Murray film. You're like, Oh, I
Speaker 4: would have liked to have had a few more signposts. Yeah, yeah,
Speaker 4: just a couple.
Speaker 1: Yeah.
Speaker 2: There are questions you can have with Inception in two
Speaker 2: thousand and one, which I think are really healthy and
Speaker 2: great for discussion and can enhance your enjoyment of the movie.
Speaker 2: What you don't want to do is a question of
Speaker 2: like what happened there? Like what what you know?
Speaker 1: Like what.
Speaker 2: You're not giving me enough to kind of go on
Speaker 2: to discuss. Really, Like the Sopranos, I love the end
Speaker 2: of the Sopranos, like this, you know it's it's you
Speaker 2: hear and you might want to skip ahead if you haven't,
Speaker 2: if you if you plan on watching The Sopranos for
Speaker 2: the first time. But Tony is is there waiting at
Speaker 2: the cafe and all you hear is a bell ring
Speaker 2: and he looks up and you're not sure if that's
Speaker 2: if that's a family member, a friend and a colleague,
Speaker 2: or is it somebody there to do a hit on
Speaker 2: him exactly?
Speaker 4: And I think the brilliant thing about that is the
Speaker 4: motif the whole way through has been ding. They look
Speaker 4: up like that, you're gone, but we don't see him, like,
Speaker 4: we don't see that. So you watch it and you
Speaker 4: think you know what happens, like I think he does,
Speaker 4: but I don't know.
Speaker 1: And I love that. And I think us talking.
Speaker 4: About this out loud, because I've never really spoken about
Speaker 4: the end of films that have or series that are unresolved.
Speaker 1: I think it's if you can leave it with a
Speaker 1: couple of.
Speaker 4: Paths from that last moment, I think audiences are happy, Yeah,
Speaker 4: because I can see why it's that path. I can
Speaker 4: see why it's that path. Or I can see what's
Speaker 4: that path. Or I can see what's that path. I
Speaker 4: don't know, but I can justify each of them. So
Speaker 4: I still feel like I've got closure even though I
Speaker 4: don't know.
Speaker 2: Maybe yes, well absolutely. And the great thing is you
Speaker 2: might think that Tony Soprano gets gets killed in that moment.
Speaker 2: I might think that he doesn't. Neither of us are wrong, Yeah, exactly.
Speaker 2: And and the creator, David Chase is more than happy
Speaker 2: for us to have that. He's not he's not asking
Speaker 2: us necessarily to to you know, oh yeah, he's probably
Speaker 2: happy for us to healthily debate what it might mean.
Speaker 2: But and what I love about two thousand and one
Speaker 2: is that. And I was so relieved and I read
Speaker 2: that quote from Arthur C. Clarke is, if you understood
Speaker 2: we have failed, we wanted to raise more questions. And
Speaker 2: that's what I think cinema can do and TV can
Speaker 2: do it as well. That I mean in so many
Speaker 2: writers room where you know, I'm making different kinds of
Speaker 2: shows obviously than than what we're talking about. But this
Speaker 2: idea that we need to know exactly the character's intentions
Speaker 2: all the time. It should always you should always be asking.
Speaker 2: You've always got to need to be ahead of your audience,
Speaker 2: and you always need to be having them curious as
Speaker 2: to or you're trying to make them curious. What does
Speaker 2: what does this mean? What does that character want? Are
Speaker 2: their intentions as you know, as as easy as believable
Speaker 2: as what they're suggesting they are, Like, you know, you
Speaker 2: just keep asking questions. You want the audience to keep
Speaker 2: asking questions, because if the audience knows everything, you're dead
Speaker 2: in the water. And I think those kinds of endings great.
Speaker 2: Now I'm not saying every show like there's been some
Speaker 2: like that, Yeah, exactly, there have been some movies and
Speaker 2: that have tied up nicely and they've been really satisfying.
Speaker 2: I don't necessarily prefer one or the other, but you know,
Speaker 2: it's it's how well they're done once they've chosen to
Speaker 2: go down a certain path.
Speaker 4: It's I mean, if I was to ever write something
Speaker 4: like this, which there's just no way, I just would
Speaker 4: never be able to get drunk again because people.
Speaker 1: So what are you? I'll tell you, you know, yeah, yeah,
Speaker 1: how would you keep it in? You know?
Speaker 2: Well, we'll get to the ending of what I think
Speaker 2: Stanley Kubrick might be thinking.
Speaker 4: I just mean, ingenuously, if I wrote a brilliant cliffhanger
Speaker 4: like Inception or The Sopranos, any of these ones where
Speaker 4: you left that you left there scratching your head, I'd
Speaker 4: be I'd be six drinks away from from from blowing
Speaker 4: the lid.
Speaker 1: Because I think I think you're right.
Speaker 2: Because what's interesting is I think the creators, you know,
Speaker 2: and if they say, the writers at that time, they
Speaker 2: have made up their mind that they want the audience
Speaker 2: to debate for eternity whether Tonyno got shot or not
Speaker 2: in that in that in that final scene. If they
Speaker 2: say I think Tony got killed in that in that
Speaker 2: last scene, then that becomes facts younger. Yeah, that is
Speaker 2: like you, you wrote it, You are the creator, so
Speaker 2: we we we now believe that as fact. So you
Speaker 2: do have to then, you know.
Speaker 4: So do you think they don't know? Like genuine like
Speaker 4: do you genuinely think? And I often think this is
Speaker 4: also like the cynic and me gooes, well, how can
Speaker 4: you not know? But then but then also maybe they don't. Yeah, no,
Speaker 4: I WHI should be the only way to do it,
Speaker 4: I think, without spilling the beings somewhere at some comic
Speaker 4: con or.
Speaker 2: Funnily enough, I was thinking about this recently, how I
Speaker 2: think the process of writing, and one of the most
Speaker 2: powerful things about writing is how it can unlock your
Speaker 2: subconscious you know, in ways. I'm not quite sure what
Speaker 2: else can do, but I think that when you write,
Speaker 2: there are times when you're writing and you don't know
Speaker 2: what you've actually really written and what it actually means
Speaker 2: until sometimes it's already it's been made and you kind
Speaker 2: of think, ah, I realized that actually was I was
Speaker 2: dealing with something.
Speaker 4: So I form a therapy perhaps absolutely absolutely cathartic.
Speaker 2: Yeah, And it doesn't always have to be therapeutic, It
Speaker 2: doesn't always have to be you dealing with. But it's
Speaker 2: you exploring something that you decided to explore. So I
Speaker 2: think to even suggest that all creators and or writers
Speaker 2: know exactly what they work, like one hundred percent know
Speaker 2: exactly what that work means is not necessarily true. And
Speaker 2: I suspect Stanley Kubrick has and I think he's embraced it.
Speaker 2: I think he's smart enough to embrace that, you know
Speaker 2: and kind of go, I don't. I don't really know
Speaker 2: exactly what this means, what this stargate means, what this
Speaker 2: you know, boss Baby at the end means. I think
Speaker 2: I think she was big was I think two thousand
Speaker 2: and one he's the prequel the Boss Baby.
Speaker 1: I'm pretty sure.
Speaker 2: I'm pretty sure that's where we get to at the end.
Speaker 3: But I.
Speaker 2: Really believe that. I think the reason the Coen Brothers
Speaker 2: are so reluctant to discuss their work in detail is
Speaker 2: I think they work on the same level where it's
Speaker 2: like this is we subconscious into our process, and we
Speaker 2: embrace it. We don't try to fight it. We don't
Speaker 2: always try to understand everything. How fascinating is that when
Speaker 2: you see something on screen where you kind of go,
Speaker 2: I'm not exactly sure what that man, but it was cool.
Speaker 4: It's cool, yeah, yeah, And I think I think that's
Speaker 4: a great point in that, you know, when you reflect
Speaker 4: on your own life and some decisions you make and
Speaker 4: all that kind of thing, because ultimately, I think writing
Speaker 4: you make a decision to write.
Speaker 1: You make a decision to write about something you.
Speaker 4: Might not understand as you're saying, what the true but
Speaker 4: the true intention is at the very beginning, but on
Speaker 4: a whim. You might think it's on a whim, but
Speaker 4: it probably comes from some deep down intention to do it.
Speaker 4: And geez, like you'd have to be so self reflective
Speaker 4: to understand every single time. And then sometimes you know,
Speaker 4: when you sit down in front of the laptop now
Speaker 4: not necessarily in front of a patter and pen, and
Speaker 4: you start tapping away, like stuff just spills out and
Speaker 4: it's almost this flow state, right, and then you would
Speaker 4: go back and go, gee, that was actually pretty good.
Speaker 1: I don't know why that came out.
Speaker 4: So you would be I think quite naive to think
Speaker 4: that everything is so so so meticulously planned out. And
Speaker 4: then when I think about someone like a Wes Anderson,
Speaker 4: who I think has everything down to you know, like
Speaker 4: the millimeter everything so planned, from the choreography of the
Speaker 4: scenes to you know, the tiny little whiskey tumbler that
Speaker 4: might be on a desk in the back. Like he's
Speaker 4: like got everything. I still reckon there's happy accidents there
Speaker 4: that he doesn't realize he wanted, Absolutely that he didn't
Speaker 4: realize he wanted in and then he saw and then
Speaker 4: he saw the happy accident, and then he reverse engineered
Speaker 4: stuff after that.
Speaker 2: Absolutely, And what's really interesting, I bet this two thousand
Speaker 2: and one is a Kubrick is famous for nothing being
Speaker 2: like by chance, you know, and the shining we spoke
Speaker 2: about Tommydasley last week props in the background, but it's
Speaker 2: a furniture, like the design of the architecture of the hotel,
Speaker 2: so many things, and not by chance. I get the impression.
Speaker 2: Even though I know there are things in this movie
Speaker 2: two thousand and one that have been obviously thought out
Speaker 2: to the nth degree. I think I think Stanley Kubrick
Speaker 2: has embraced the idea that he doesn't like, like he
Speaker 2: doesn't necessarily know why these things are happening, and he's
Speaker 2: actually embraced that. So he's almost and I might be wrong,
Speaker 2: but I feel like in a really beautiful way. He
Speaker 2: has relinquished some of that control, even though the way
Speaker 2: he directs is very controlling, to the point where I
Speaker 2: think he pissed off the cinematographer because he he didn't
Speaker 2: really collaborate. But he has embraced the idea that I
Speaker 2: don't completely understand all this. I may have my own
Speaker 2: you know, philosophies and all that, but I'm not. This
Speaker 2: is just this is you know, like a think piece.
Speaker 2: This is I want people to enjoy the evocative imagery
Speaker 2: of it. I want to enjoy it. You know, spaceships
Speaker 2: were really like at this stage, you know, I mean
Speaker 2: this is still nine years away from Star Wars, you know,
Speaker 2: to the point you know, especially were really fast, you know,
Speaker 2: like you know, they're really exciting, like really slowed it down.
Speaker 2: I had these long kind of you.
Speaker 1: Know, sequences to go for five minutes, you know, of
Speaker 1: just like a spaceship going from the left of screen
Speaker 1: to the right of screen, and just slow music.
Speaker 2: And that's why I think that's two minutes of black
Speaker 2: screen at the start. With that music is a way
Speaker 2: of informing you, going this we are going to take
Speaker 2: what's coming.
Speaker 4: I have no idea that's where that music came from either,
Speaker 4: right yeah, yeah, yeah, you know, like I've heard that
Speaker 4: elsewhere in pop culture, and I just I just assumed
Speaker 4: I knew, Well.
Speaker 2: I actually is that is that? Where is that original score?
Speaker 1: Or is that?
Speaker 2: Is that just classical music? I'm not actually sure. Listeners
Speaker 2: are very good? Has any podcasts at gmail dot com?
Speaker 2: Let us know if that because I thought the same thing.
Speaker 2: I thought, oh, this is where it comes from, and
Speaker 2: maybe this is where it was popular, right.
Speaker 4: Yeah, but it could be a very very old song.
Speaker 4: That's but there was also there was stuff in it
Speaker 4: as well which I thought was so brilliant and just
Speaker 4: such a weird way to do things. And I was
Speaker 4: looking at it going half the time, I was thinking,
Speaker 4: how have you shot this?
Speaker 1: Yes?
Speaker 2: So you know the scene treadmill almost like that running.
Speaker 4: Yeah, I watched that without any thought of story. I
Speaker 4: was watching that just trying to you know, being in
Speaker 4: and around TV now having some idea of shooting techniques
Speaker 4: and that kind of thing going.
Speaker 1: Is it on a runner like like we've never done
Speaker 1: another maybe seat breakfast?
Speaker 3: Yeah?
Speaker 1: Yeah, I simply don't have the budget.
Speaker 2: Got a green screen that I play around with every
Speaker 2: now and then. Yeah, yeah, poorly, Yeah, but it's incredible.
Speaker 2: In fact, the first episode of this podcast, Tom Gleeson
Speaker 2: nominated two thousand and one, is one of his favorite
Speaker 2: films and one things he said when he watched it,
Speaker 2: I think a boarding school was watching it thinking how
Speaker 2: did they do this late? And that I still don't know,
Speaker 2: and I'm not sure that, you know, I haven't had
Speaker 2: time to do it enough deep diving to kind of know.
Speaker 1: If there's stuff out there.
Speaker 2: There's many stuff out there, there's if there's yeah, a
Speaker 2: video showing how they actually did it always been explained on.
Speaker 4: Because even one of the scenes where one of I
Speaker 4: guess the space waiters on the plane on the spaceship,
Speaker 4: she's walking along in the in the sticky shoes grip shoes, yeah,
Speaker 4: in the in the in the grip shoes, and then
Speaker 4: she goes she starts going up, but then like in
Speaker 4: verses on herself and then walks and then walks out.
Speaker 4: And you know, obviously there's cut points and stuff, but
Speaker 4: you just couldn't you couldn't see any And this is
Speaker 4: what sixty sixty eight.
Speaker 2: So this is a year before the moon landing. They
Speaker 2: are still working out like there's still new information coming
Speaker 2: in in about the Moon's gravity, so they know fair
Speaker 2: bit less than what we know now. And that's why
Speaker 2: I think the gravity rules in this movie are a
Speaker 2: little skew.
Speaker 1: If and I.
Speaker 2: There are times when it's like, oh, hang on, why
Speaker 2: why isn't that floating? Or why isn't you know, why
Speaker 2: is this floating?
Speaker 5: But not that?
Speaker 2: Yes, yes, I think it's very forgivable, particularly because you know,
Speaker 2: man hadn't landed on the Moon. And I think like
Speaker 2: in the as I'm making this film, there were some
Speaker 2: things discovered about the Moon's gravity, which may have even
Speaker 2: changed the way they would have done if you had
Speaker 2: the time. But that scene, You're absolutely right when he's
Speaker 2: running around.
Speaker 1: Is just it's incredible. Yeah.
Speaker 4: And one of the other things I was thinking as
Speaker 4: I was watching it, because I had to keep reminding
Speaker 4: myself that it was in sixty eight, I was like,
Speaker 4: I can kind of see why people think the Moon
Speaker 4: landing was fake, if you know, and made in a
Speaker 4: Hollywood basement, you know, like the Chili Pepper's lyric Fromication,
Speaker 4: you know, you know, it's it's like, well, I'm watching
Speaker 4: this movie and it looks like it looks pretty bloody
Speaker 4: real now imagine what that looked like in sixty eight.
Speaker 2: I kept on thinking the same thing. It's like this
Speaker 2: would have been my Like we probably said before about
Speaker 2: other movies, and sometimes we watch movies now it's mind blind.
Speaker 4: But I think Blade Under twenty forty nine, the epicness
Speaker 4: of some of those, like coming into into the post
Speaker 4: apocalyptic vegas like that kind of you're like.
Speaker 2: Whoa, right, yeah, so watching this it's sixty eight though,
Speaker 2: like I mean, smacked, it unbelievable and it looks so good,
Speaker 2: Like it's funny when you take out fashion. Fashion is
Speaker 2: a big like you know, a cup holder in a
Speaker 2: way of going.
Speaker 1: This is when this film was baking Jean's nineties.
Speaker 2: Yeah, exactly exactly, and it can it can have a
Speaker 2: really quick technologies also that, but what this does is
Speaker 2: like because it's it's space technology. I mean they even
Speaker 2: get a bit of FaceTime going, you know, like, which
Speaker 2: is incredible. How do you know again futurists right, like yeah,
Speaker 2: and then they did work with Yeah, I think you know,
Speaker 2: scientists and futurists and NASA people from NASA to get
Speaker 2: the information right, and so you.
Speaker 4: Know, when they first get to that, I guess the
Speaker 4: kind of the space station and they've got you know,
Speaker 4: I guess the European space crew there. Early early in
Speaker 4: the film, it looked like I've seen like officers that
Speaker 4: look like that, like open plan modern kind of cool ergonomic.
Speaker 1: Furniture, you know, you know, like the red chairs. I
Speaker 1: was like, oh, what Danish designers done these?
Speaker 2: You know, yeah, I was.
Speaker 1: I was looking at it.
Speaker 4: I was like far right, Like that's like it's I
Speaker 4: think what they went for rather than like, you know,
Speaker 4: being on trend with fashion. They were like, what is
Speaker 4: like timeless? Cool is like almost you could like like
Speaker 4: you could never conceive owning any of this stuff, but
Speaker 4: you could conceive.
Speaker 2: That it exists well after c Clark was going to
Speaker 2: have His original idea was to have Hell nine thousand
Speaker 2: as a like mobile kind of robot. And then the
Speaker 2: reason he didn't go with that is like, is it
Speaker 2: this could date? You know, I imagine if you had
Speaker 2: Dexter from Perfect Match going around on on on that spacecraft. Yeah,
Speaker 2: that's it really quickly. So they had this, you know,
Speaker 2: this omnipresent red eye that becomes Hell nine thousand. You
Speaker 2: know how cools like amazing.
Speaker 4: I was the first thing that came to my mind,
Speaker 4: and I've forgotten his name from Futurama. The robot who's
Speaker 4: the robot in Futurama. I'm not a bender, right, but yeah,
Speaker 4: like it's like that, you know, he's got yeah and
Speaker 4: you're like, you're like, uh, yeah, that's aged poorly.
Speaker 2: But but but yeah, if you can fu Durama's card
Speaker 2: and it's almost a piss take, but yeah, that's on
Speaker 2: this movie.
Speaker 4: Yeah, it's it's it sticks out because as well, even
Speaker 4: though Futuma is like piss take, everything moves just as
Speaker 4: it should because it's it's a cartoon, so you know, yeah,
Speaker 4: whereas if that like the actual technology to move whatever robot.
Speaker 1: It was, you wouldn't have been able to like that
Speaker 1: wouldn't have been able to hold up.
Speaker 4: So this omnipresent and the voice, the voice of how
Speaker 4: Mine thousand, Wow.
Speaker 1: It was so scary from the first time you heard it. Yeah,
Speaker 1: from the first time you heard it, you like trouble,
Speaker 1: you know.
Speaker 2: And I think there's been so many films since two
Speaker 2: thousand and one have been influenced by two thousand and
Speaker 2: one where you kind of I think it's loaded into
Speaker 2: us now. I wondered watching it nine sixty eight is
Speaker 2: I'll be curious as when your sense of like something's
Speaker 2: not right with this, with this AI.
Speaker 1: Trick in the first time that it was like something's malfunctioned.
Speaker 2: Yeah, would the penny have dropped then?
Speaker 3: Could be?
Speaker 2: Because I think maybe not, because why why would you
Speaker 2: would trust at that stage?
Speaker 6: We should advise you, however, that our preliminary findings indicate
Speaker 6: that you're onboard niner triple zero computer is in error
Speaker 6: predicting the fault, I say again, in era predicting the fault.
Speaker 6: I know this sounds rather incredible, but this conclusion is
Speaker 6: based on the results from our twin niner triple zero computer.
Speaker 6: We are skeptical ourselves, and we are running cross checking
Speaker 6: routines to determine reliability of this conclusion. Sorry about this
Speaker 6: little snag, Fellows, and we'll get this info to you
Speaker 6: just as soon as.
Speaker 1: We work it out.
Speaker 6: X Ray delt the one. This is Mission control to
Speaker 6: zero four to nine er Trends Mission concluded.
Speaker 3: I hope the two of you are not concerned about this. Oh,
Speaker 3: I'm not out. Are you quite sure? Yeah?
Speaker 4: I'd like to ask you a question though, of course,
Speaker 4: how would you account for this discrepancy between you and
Speaker 4: the twin nine thousand.
Speaker 5: Well, I don't think there is any question about It
Speaker 5: can only be attributable to human error. This sort of
Speaker 5: thing has cropped up before, and it has always been
Speaker 5: due to human error.
Speaker 6: Listen, how there's never been any instance at all of
Speaker 6: a computer error occurring in the nine thousand series?
Speaker 3: Has it none whatsoever? Frank? The nine thousand series has
Speaker 3: a perfect operational record.
Speaker 1: Well, of course, I know all a wonderful achievements of
Speaker 1: the nine thousand series, but uh, are you certain there's
Speaker 1: never been any case of even the most insignificant computer.
Speaker 3: Are none whatsoever? Frank? Quite honestly, I wouldn't worry myself
Speaker 3: about that.
Speaker 1: Well, I'm sure you're right.
Speaker 3: Hel U.
Speaker 1: Fine, that's very much.
Speaker 6: Oh, fr I'm having a bit of trouble with my
Speaker 6: transmitter and sea, but I wonder if you'd come down
Speaker 6: and take a look at.
Speaker 5: It with me.
Speaker 1: See let or hut.
Speaker 4: Because yeah, well, I suppose upon reflection the first time
Speaker 4: is you know, when he's at the space station and
Speaker 4: he's talking about going.
Speaker 1: To I think it's the Moon. He's going to the
Speaker 1: Moon to find the next monolith. Yeah, and the European.
Speaker 1: The other European space.
Speaker 4: Team who are heading back to Earth are like, oh,
Speaker 4: haven't you heard about all the trouble anyone who's gone there?
Speaker 4: The their comms have been lost. You know, if I
Speaker 4: was to watch it again now, obviously I know it now.
Speaker 4: But that's that's probably your first hint that something's not right.
Speaker 2: And it's a great filmmaking and storytelling, does it. It's
Speaker 2: I still fall into the trap sometimes early movies of
Speaker 2: not listening to those kind of casual conversations. In the
Speaker 2: conversations they have really important details in them. And then
Speaker 2: once you know I said, and viewing or you can
Speaker 2: think back to it, like you haven't kind of gone, oh.
Speaker 1: No, that was I didn't.
Speaker 4: I didn't pick up on it, you know, And and
Speaker 4: even then like, obviously obviously it's a clue, but yeah,
Speaker 4: the way it's written, it's not written as a clue.
Speaker 4: It's written as a throwaway detail that you're not really
Speaker 4: supposed to think about that now you're genius, genius.
Speaker 1: And then you know, you speak of that influencing further films.
Speaker 4: As soon as I saw how and heard how and
Speaker 4: then realized it was Ai, and then when I really realized,
Speaker 4: you know, not just was AI to the point of
Speaker 4: being AI under you know, control. It was a I
Speaker 4: with a true mind of its own. I was like,
Speaker 4: this is where replicants came from with Blade Runner. You know,
Speaker 4: I was because you know, the replicants they break like,
Speaker 4: they have their own thoughts and and they break out.
Speaker 4: Like obviously the Blade Runner story is amazing, but yeah,
Speaker 4: I was straightaway Blade Runner, that's where the replicants have
Speaker 4: come from.
Speaker 1: Anyway, it could be completely false.
Speaker 2: Oh no, I mean, I think the influence of this
Speaker 2: film is there's no doubt this is one of the
Speaker 2: most influential films of all time. It's one of the
Speaker 2: first times where like a studio film and an art
Speaker 2: house film kind of collided.
Speaker 1: I think it's really interesting. Well yeah, like just like
Speaker 1: visually it could be you know, you could and they
Speaker 1: pretty much do.
Speaker 4: You could just play space music to it, and you
Speaker 4: could charge people two hundred and fifty bucks to go
Speaker 4: to a session at the MGV and they'd be lining
Speaker 4: up around the corners.
Speaker 2: What is a Pink Floyd song that you can put
Speaker 2: on in a particular moment. I forget which track it is,
Speaker 2: but if you put it on a particular moment it
Speaker 2: kind of because they were in conversations to perhaps provide
Speaker 2: a soundtrack really because before he landed on all the
Speaker 2: classical stuff, he did like go through a number of
Speaker 2: different paths, and so there's a pink floid track that
Speaker 2: if you play at a certain point.
Speaker 1: It fits perfectly.
Speaker 4: I've actually got one more if but before we move off,
Speaker 4: I guess the influence further on. So you know, in
Speaker 4: the last bit, in the last I guess act or stage,
Speaker 4: whatever you want to call it.
Speaker 1: I think it's off the top of my head, like
Speaker 1: Journey to Jupiter or something.
Speaker 2: Like that, I think, and I think that's I think
Speaker 2: that's where the pink floids come.
Speaker 4: Yeah, right, because so you know, in Interstellar, which is
Speaker 4: another one of my favorite films, you know when I
Speaker 4: forgot Matthew McConaughey's character's name, but he's basically going back
Speaker 4: through that portal and like and like the ship's like shaking, yeah,
Speaker 4: and you know.
Speaker 1: The portal at the end.
Speaker 4: As soon as I was watching it, I was like, oh, man,
Speaker 4: like derivative as you know obviously everything is, but almost
Speaker 4: a direct ode to.
Speaker 1: Two thousand and one. I was like watching it and
Speaker 1: even the you know, the close up on there on the.
Speaker 7: Helmet, but yeah, you know that shot from seeing that before, Yeah, yeah,
Speaker 7: and it was it was where i'd where I went
Speaker 7: straight away was Matthew McConaughey's character in Interstellar.
Speaker 4: Yeah, and even the way the like the portal like
Speaker 4: bent Bent ever so slightly exactly the same as as
Speaker 4: in Interstellar.
Speaker 2: It's it's it's it's incredible. And that there's the other
Speaker 2: The other famous thing in this film, I think is
Speaker 2: that the from Kubrick fans is that look which becomes
Speaker 2: where it's it's a character kind of looking down but
Speaker 2: eyes up. And you see that in in in the Helmet,
Speaker 2: I think, you know, and that you see Game a
Speaker 2: Pile in full metal jacket give that same look before
Speaker 2: he goes ape ship and and really you know, gives
Speaker 2: him help, gives him hell. You see you see Ja
Speaker 2: Nicholson doing it in the Shining, It's a very Kubricking
Speaker 2: kind of look. That light that stark on the gate
Speaker 2: is amazing. So I've got a little fun fact for
Speaker 2: you here at Tone. So Sandy Kubek goes to the
Speaker 2: ninety sixty four in New York Worldfare and he sees
Speaker 2: a movie or a documentary called To the Moon and
Speaker 2: Beyond made by a guy called Douglas Trumbule, and he
Speaker 2: had invented and it had some of these effects in it.
Speaker 2: So he had invented this thing called he called slit
Speaker 2: scan where he achieves those colors. Because it's funny when
Speaker 2: you watch it now, we are just so used of
Speaker 2: assuming oh yeah, oh yeah, yeah, yeah, exactly what is that.
Speaker 2: There's the kind of you know, the flippancy of it,
Speaker 2: but there's also yeah, that was done by a computer.
Speaker 2: This was done by moving a camera rapidly past a
Speaker 2: lit artwork with a camera shutter held open open just
Speaker 2: enough to allow like a streaky like.
Speaker 1: A slow so like a slower shutter speed. Yeah, so
Speaker 1: rather than getting a crisp image, everything's kind of.
Speaker 2: Blurred and he is warped, and yeah, you just kind
Speaker 2: of captured whatever. So you know, you're really contriting some
Speaker 2: control of what you actually get obviously, but you get
Speaker 2: the beautiful images and that's and that's how that is achieved,
Speaker 2: and that's that's incredible. And when you think again, we
Speaker 2: come back to nineteen fifty eight.
Speaker 4: Yeah, and yeah, so my mind went straight away to
Speaker 4: some kind of kaleidoscope, you know, like but but then
Speaker 4: I couldn't work out how you would do a kaleidoscope
Speaker 4: and turn it.
Speaker 1: Yeah.
Speaker 4: So I mean so I just again, and we keep
Speaker 4: we keep saying this. I can't work out how this
Speaker 4: film was done. On the most part, Like normally, there'd
Speaker 4: be one or two things that I'd seen and I go, oh,
Speaker 4: that was cool. If I had half an hour, I reckon,
Speaker 4: I could have solid thinking. I reckon, I could I
Speaker 4: could work that out. Yeah, this this this stuff. I'd need,
Speaker 4: you know, a science degree.
Speaker 1: Yeah, it's incredible.
Speaker 2: And that's even if this doesn't work, Like, let's face it,
Speaker 2: there are some people who who would hate this film
Speaker 2: and would not have the patience for it. And that's
Speaker 2: and that's fine, completely fine.
Speaker 1: I get that.
Speaker 2: And I'll confess to last I watched it last night.
Speaker 2: Probably not under the perfect circumstances. I watched it. We
Speaker 2: had a final episode of War, and I kind of
Speaker 2: forgot I probably should watch this the night before, but
Speaker 2: I like to watch it the night before we come
Speaker 2: and to discuss it so it's really fresh in my mind.
Speaker 2: So I watched it and then I was kind of
Speaker 2: interacting with a little bit on social media and then
Speaker 2: you know, messages from friends and family and cast members
Speaker 2: and crew members, and I was kind of intracting with that.
Speaker 2: So it was almost an hour later, about ten thirty,
Speaker 2: I put on two thousand and one. It's quite a
Speaker 2: it's quite a mind jump to go from you know,
Speaker 2: a family comedy lea that you've created too, Stanley Kubrick's
Speaker 2: two thousand to.
Speaker 4: Some of the challenges, Like it's almost aggressively challenging your mind.
Speaker 2: You know, yeah, exactly. So I prefer that watch these
Speaker 2: films for the podcast, you know, maybe a glass of wine,
Speaker 2: a glass of Scotch in a relaxed frame of mind.
Speaker 2: You know, there was a part of me it's like, wow,
Speaker 2: this is gonna be late by the time.
Speaker 1: You will laugh at how I watched it.
Speaker 3: So I.
Speaker 4: Did Breky yesterday morning, So what's time you have to
Speaker 4: be up for breakay? So I get up at twenty
Speaker 4: to four. You've done Brecky shifts. You understand what it's like.
Speaker 1: It's hard, and you.
Speaker 4: Get tired, Like you're just tired basically all the time.
Speaker 1: It's a great like it's really fun to do, but
Speaker 1: you're tired. And I got home. I had to do
Speaker 1: some other chores.
Speaker 4: So I got home at about two o'clock and I
Speaker 4: was like, I've got to watch you It's either now.
Speaker 4: But I had to go film Yoka last night, so
Speaker 4: I was, oh, I've got to watch it now. So
Speaker 4: I watched it yesterday AVO, and it took me about
Speaker 4: four and a half hours to watch because I kept
Speaker 4: falling asleep because.
Speaker 1: I was as you know, you're just so tired, and
Speaker 1: I was really enjoying it.
Speaker 4: But you have to be like in the right zone,
Speaker 4: I reckon to watch this film, you have to be
Speaker 4: ready to you have to be ready to go with it.
Speaker 4: It's the same as like, gayh, what are those So
Speaker 4: there's train Spotting and then there's Requiem for a Dream.
Speaker 4: You can't watch those films in certain headspaces. You need
Speaker 4: to you need to be ready to go to watch
Speaker 4: those films. And it's the same as this. You've got
Speaker 4: to be ready to soak it in and sit in
Speaker 4: like what could be perceived as being as being bored.
Speaker 2: Yeah, we've got I mean there's a version of this
Speaker 2: film and I full confession, I had to rewind. I
Speaker 2: missed the bit where basically We'll get to this bit
Speaker 2: soon where Dave goes and unplugs unplugs hell, you know,
Speaker 2: like people may maybe the people moment the.
Speaker 1: Film is going to say that was my most tense
Speaker 1: kind of scene.
Speaker 2: Yeah, and I was really enjoying because that's when he's
Speaker 2: you know, he's he's been trapped out and he has
Speaker 2: to kind of get his way through and it's amazing.
Speaker 2: I don't know how I was just you know, it
Speaker 2: was probably twelve thirty by this stage, and my eyes
Speaker 2: went up. You know, I'm gonna shut down for a
Speaker 2: little while. Health conversation going on. So yeah, it's it's
Speaker 2: what was I.
Speaker 1: Going to say?
Speaker 4: Actually no, so no, So we're talking about the kind
Speaker 4: of film it isn't it's like it's it's like it's
Speaker 4: not a film you can just chuck ones like a
Speaker 4: like a.
Speaker 1: Shoot them up no where you're so easily entertained.
Speaker 2: And there's a version of this film, Like you could
Speaker 2: do an edit on this film, like if you wanted
Speaker 2: to show it to my dad, you know, like who
Speaker 2: doesn't necessarily give aid all the themes and a lot
Speaker 2: of the philosophical questions it's posing, and you could start
Speaker 2: this after the Dawn of Man with that first space
Speaker 2: ship cut out. Yeah, there's probably there's probably a seventy
Speaker 2: minute version of these film. It's a really good entertaining film,
Speaker 2: which is basically about an AI computer, you.
Speaker 1: Know, try to take over.
Speaker 4: Yeah, yeah, yeah, will Because the original cut I was
Speaker 4: reading somewhere it was like it was like one hundred
Speaker 4: and sixty one minutes something like that.
Speaker 2: It took a ninety minutes.
Speaker 1: Yeah, yeah, yeah, and there was that would have been
Speaker 1: what I been a bit how you're going?
Speaker 2: I laughed, I laughed when I read that he took
Speaker 2: out after.
Speaker 1: The New York City. Yeah, he got smacked in the.
Speaker 2: Ninety minutes to help with the pacing. What were you
Speaker 2: doing with the other forty mate? The speed up the pacing?
Speaker 2: It's about ninety minutes.
Speaker 4: You can you imagine being like a die hard like
Speaker 4: Kubrick critic back then and you walk out and someone goes,
Speaker 4: so tone, did you like.
Speaker 1: Be honest? Yeah? Favorite bit the end.
Speaker 2: Yeah, there was a popular actor at the time. I
Speaker 2: forget who it was. I read about that that you
Speaker 2: walked out halfway through and this week, can somebody tell
Speaker 2: me later on what this is all about?
Speaker 1: Well, what happens in the end.
Speaker 2: And jokes on them, no one, can you gotta go
Speaker 2: see mate? Hell lady, hell, it's it's so yeah at
Speaker 2: that moment where because.
Speaker 4: Dave's just lost, Like if you go back sort of
Speaker 4: five minutes, Dave's just lost Frank.
Speaker 2: Question question about Frank. Why wasn't he headed to the.
Speaker 1: I didn't understand that now, I mean, that's that's that's
Speaker 1: space one I won isn't it.
Speaker 2: Space one one? Why would you not be tethered because
Speaker 2: if you miss yeah, yes, satellite, whether they're fixed gone.
Speaker 4: Well, so my only my my only thought was that
Speaker 4: because I did have the same thought, I was like,
Speaker 4: perhaps he was, but it was like hooked up to
Speaker 4: something and you know how how has control over all
Speaker 4: the all the mechanics in the ship?
Speaker 1: My only thought was that how disconnected him?
Speaker 2: See, but I would have loved to have seen that,
Speaker 2: you know, and this is Kuber gives us what he
Speaker 2: wants to give us.
Speaker 1: Yeah, exactly.
Speaker 2: In the end, it doesn't really matter, like it's just
Speaker 2: one of those things that you think afterwards, why is he?
Speaker 2: Even during I must says.
Speaker 1: Why is he? Why is this going for his spacewalk?
Speaker 4: And that's and that's see, that's one of those ones
Speaker 4: if we think back to earlier how we're talking about
Speaker 4: those those those happy accidents or those accidental that's a
Speaker 4: very deliberate decision. Yeah, that's a very deliberate decision to
Speaker 4: not to not show a tether, to leave us in
Speaker 4: a mind where we go, well.
Speaker 1: Why wasn't he to say was he? And then how
Speaker 1: it's hard to believe that Arthur C.
Speaker 2: Clark and Stanley Cerick don't have a discussion about Okay,
Speaker 2: so he goes out. He's obviously tended to the spaceship
Speaker 2: because he's not going to go out and then oh
Speaker 2: he's tended. Yeah, well he doesn't need to be tad
Speaker 2: what No, it needs to be Yeah, yeah.
Speaker 4: There's there's no way. But so yeah, anyway, so Frank's
Speaker 4: hurtling off into space. Dave at this point is going like,
Speaker 4: I know that Howel's crook because they've had the conversation
Speaker 4: just before and you can see the bit. It's brilliantly done,
Speaker 4: and you don't I don't think you know at that
Speaker 4: point that Hal can read lips open?
Speaker 1: Hello, Hell do you read me?
Speaker 3: Hello?
Speaker 1: Hell? Do you read me?
Speaker 5: Do you read me?
Speaker 1: Hew? Do you read me? Hell?
Speaker 2: Hello, Hell, do you read me?
Speaker 5: Oh?
Speaker 1: Hell, do you read me?
Speaker 2: Do you read me?
Speaker 3: How affirmative?
Speaker 1: Dave? I read you? Open the pod bay doors.
Speaker 5: Hell, I'm sorry, Dave. I'm afraid I can't do that.
Speaker 5: What's the problem.
Speaker 3: I think you know what the problem is just as
Speaker 3: well as I do.
Speaker 1: What are you talking about?
Speaker 3: Hell? This mission is too important for me to allow
Speaker 3: you to jeopardize it.
Speaker 1: I don't know what you're talking about.
Speaker 5: Hell, I know that you and Frank were planning to
Speaker 5: disconnect me, and I'm afraid that's something I cannot allow
Speaker 5: to happen.
Speaker 1: Where the hell did you get that idea?
Speaker 5: Hell, Although you took very thorough precautions in the part
Speaker 5: against my hearing you, I could see your lips.
Speaker 4: More because they're because they're sat there in the perfect
Speaker 4: little I guess the window window, I.
Speaker 2: Mean the whole spaceship. They could have gone anywhere, they
Speaker 2: had to sit right in front of him. I imagine
Speaker 2: how I said everything.
Speaker 4: Like you said omnipresent, and they have this conversation. They're like, well,
Speaker 4: we're left with no other choice but to disconnect. How
Speaker 4: he's clearly heard that, And that's what makes me think
Speaker 4: that he untethered Frank only in retrospect, because then we
Speaker 4: hear later on when Dave goes and grabs goes and
Speaker 4: grabs Frank with the robot arms out of the little
Speaker 4: the little rover whatever you want to call it, and
Speaker 4: he tries to come back to the ship, which is
Speaker 4: beautiful cinematography, you know, the two ships facing each other.
Speaker 1: Yeah, and he's like, I'm sorry, like, you know.
Speaker 4: For this mission to go forward, I can't let you
Speaker 4: back on the ship. And you're like, oh my god,
Speaker 4: this he's taken it, like he's got the ship now.
Speaker 1: So that's that's the.
Speaker 4: Reason why I think, how how untethered Frank? But then
Speaker 4: it's that scene where he reconnects and he gets shot
Speaker 4: out of the out of the rover into the kind
Speaker 4: of holding bay, Yeah, pulls it down.
Speaker 2: He's got yeah seconds, you know, I think they've proven
Speaker 2: that you can actually survive of like fifteen seconds or something.
Speaker 2: But there's there's also if you apparently if you're trying
Speaker 2: to hold your breath during it, you will explode.
Speaker 1: So there's like there's yeah, there's so many caveats.
Speaker 4: Yeah, but also like they're like, oh, yeah, you can
Speaker 4: you know, apparently you can survive fifteen seconds.
Speaker 1: Who's done?
Speaker 2: Yeah, you know, who's go Yeah?
Speaker 1: Yeah, no, thanks, Yeah.
Speaker 2: Absolutely, it's such a it's it's the best stretch of
Speaker 2: the movie for mine as far as yeah, because it
Speaker 2: feels like they're is there's that, it's all tension, it's
Speaker 2: a bit of action, and it's it's eerie because you know,
Speaker 2: how's he gonna, yeah, how's he gonna overcome? How he
Speaker 2: seems to be he seems to be completely in control
Speaker 2: and then yeah, he just goes and doesn't It switches
Speaker 2: him off. But that, you know, like that's a great
Speaker 2: sequence in that doesn't have to be action packed. You know,
Speaker 2: all he really does is go through a few passengers.
Speaker 2: But it's it's hell, say, speak as he's doing. As
Speaker 2: he's doing is in fact we might have a listen
Speaker 2: uh to that. This is hell trying to convince Dave
Speaker 2: not to disconnect him. O.
Speaker 5: Dave, I can see you're really upset about this. I
Speaker 5: honestly think you want to sit down, calmly, take a
Speaker 5: stress pill and think things over. I know I've made
Speaker 5: some very poor decisions recently.
Speaker 2: You certainly have hell and that like it goes up
Speaker 2: for quite a while. Stanley Cubbing does not rush.
Speaker 4: Through this at all, and he's climbing up that that
Speaker 4: really claustrophobic ladder.
Speaker 1: You're going, oh, my lord.
Speaker 4: And then he gets into that kind of I guess
Speaker 4: Hal's mainframe whatever you want to call it. God, that
Speaker 4: room looked cool, you know, like like the red Dutch tilts.
Speaker 4: So you know, it's it's it's just off, you know,
Speaker 4: things are a bit cooked. And then it's like you
Speaker 4: get to the end, get to the end, and his
Speaker 4: voice starts changing as he starts taking out the memories.
Speaker 1: Oh genius, genius.
Speaker 2: And he he's deleting the memory you know, he's bleeding
Speaker 2: on the pawn or the all the porn.
Speaker 1: It's gone. I was going to know just incognito, the.
Speaker 2: Search history is gone. But is it is. It's fascinating.
Speaker 2: It's just so it's fascinating. I love it so much,
Speaker 2: Like I thought that was the best sequence. I think
Speaker 2: that was completely so. Then so this happens and then
Speaker 2: we kind of go back. He goes through the eventually
Speaker 2: he goes through that stargate which we're spoken about, and
Speaker 2: then what did you make oh of the bedroom in
Speaker 2: the bedroom and yeah, yeah.
Speaker 4: So basically almost like a floor of a house, or
Speaker 4: you know, you could imagine it like the premiere suite
Speaker 4: at some swanky hotel, you know, like like three or
Speaker 4: four different rooms all connected with the rover in it.
Speaker 1: Yeah. Yeah, and the rover was in it. I was
Speaker 1: also was the room of green screen and the rover
Speaker 1: just you know, I couldn't stop thinking about how they
Speaker 1: were making stuff because it was so amazing. Yeah, and
Speaker 1: then all of a sudden, you don't see him get
Speaker 1: out of the rover. He's just out of the rover.
Speaker 4: And then there's who I didn't realize or clock as
Speaker 4: being Dave look back at him.
Speaker 1: Yes, so I didn't clock that the first time.
Speaker 4: And so this this this figure turned around and looks
Speaker 4: at Dave, who's still Oh by the way, Dave at
Speaker 4: this point wrinkles all over his face as well, so
Speaker 4: has aged an eon. Yeah, I I I have to
Speaker 4: admit I wasn't sure what I was watching at that point,
Speaker 4: and I was I was going, you know, is he
Speaker 4: is he seeing himself in the future?
Speaker 1: Is he seeing himself in the past.
Speaker 4: Is this an alternate universe where he's you know, sort
Speaker 4: of watching time go by through a window?
Speaker 1: I wasn't sure. I really wasn't sure.
Speaker 4: And then it got like obviously weird when the last
Speaker 4: monoloth comes and then we see, you know, a big
Speaker 4: baby boss.
Speaker 1: Hang on old to young? What you know it was?
Speaker 1: I didn't know what to make it? What did you
Speaker 1: make of it?
Speaker 2: I'm like, and I always say this about this podcast,
Speaker 2: and I feel like this is the perfect episode to
Speaker 2: point this out and to remind people is that we
Speaker 2: will have people listening to this who have seen this
Speaker 2: maybe many times, and have their own views on it.
Speaker 2: The beauty about this podcast is I have a guest
Speaker 2: who is who has just seen the movie and he's
Speaker 2: pro he's still processing it, hasn't had a chance to
Speaker 2: go back and watch it again. I and I'm in
Speaker 2: that chair as well for this one. I all intensive
Speaker 2: purposes watched it for the first time last night outside
Speaker 2: of maybe seeing half an hour but many many years ago.
Speaker 2: I was surprised how many snippets, like, how many bits
Speaker 2: of it seemed really new to me like that, how
Speaker 2: many clips don't like that seemed fresh? I said, I
Speaker 2: didn't know about the apes at all, you know, like,
Speaker 2: so I didn't feel like I was Sometimes when you've
Speaker 2: seen bits of movies you feel like, oh, I have
Speaker 2: seen this bit, I've seen this. I was surprised how
Speaker 2: little I had seen. To be honest, I think that
Speaker 2: maybe the the running around, I'd seen that, but maybe
Speaker 2: i'd seen that, yeah somewhere else, I clip somewhere. I'm
Speaker 2: still I don't have a definitive answer about what that
Speaker 2: actually means. I really don't. All I suspect is that
Speaker 2: Dave has been reborn to become boss baby.
Speaker 1: Yeah, and he's now looking at Earth and about to
Speaker 1: go back.
Speaker 2: Yeah. And that is that the birth of Is that
Speaker 2: his individual rebirth into you know? And will he go
Speaker 2: back to he will? Will he go back to Earth?
Speaker 2: Is that a whole new species species being born, a
Speaker 2: whole new superhuman specie about to be born?
Speaker 1: Is evolution?
Speaker 5: Is it?
Speaker 4: So? I was thinking, trying to rack my brain, and
Speaker 4: I was so glad when you said you weren't one
Speaker 4: hundred percent sure what was going on with the film too,
Speaker 4: so I didn't feel like I was so close.
Speaker 2: So really, when I read that quote, a.
Speaker 4: Complete more on because I was on I was racking
Speaker 4: my brain on the way here, trying to think, Okay,
Speaker 4: so logically, what's the kind of logic flow of the
Speaker 4: way I've seen, you know, kind of in quotes humanoids
Speaker 4: in this film, and you know, we start off as apes,
Speaker 4: or it starts off with apes and it ends up
Speaker 4: with a baby. Bit in between, we've had someone we
Speaker 4: assume age and we assume it's all the same person
Speaker 4: in the same timeline, in the same universe.
Speaker 1: I've watched too much freaking Morty, you know, like all
Speaker 1: the multi verses. But so then, I, like you said,
Speaker 1: probably the closest I got to.
Speaker 4: An idea was perhaps its evolution, and you know, it's onto,
Speaker 4: It's onto the next phase, whatever that is.
Speaker 1: I got no idea what that is, but.
Speaker 2: I think a lot of it is. It really is
Speaker 2: magery and and this Kubrick giving you an opportunity to
Speaker 2: be in the moment to ponder, you know, to be inspired.
Speaker 2: I feel like it's a reasonably optimistic ending for this film.
Speaker 2: I think there's a version of this which could have
Speaker 2: been a bit bleaker, but I think it's quite optimistic
Speaker 2: ending with the know a boss baby, you know, new
Speaker 2: life being reborn. I feel like that's a reasoning optimistic ending.
Speaker 1: Do you prefer happy endings? I I'm going to rephrase
Speaker 1: that do you like movies that end on a.
Speaker 2: Positive ignoring the ignoring.
Speaker 1: Joke.
Speaker 2: I was quite proud of myself for and it took
Speaker 2: me a few seconds ago. No, don't, don't. Don't come
Speaker 2: on having a good discussion about one of the high
Speaker 2: art film more time. Yes, I like hand jobs a bit.
Speaker 1: I never thought you'd ask home.
Speaker 2: Yeah, usually just take you out for lunch afterwards. No,
Speaker 2: it's I don't In the same way, we're discussing about
Speaker 2: open ended endings and also closed endings where everything's tied up.
Speaker 2: I don't necessarily have a preference. I'd just liken to
Speaker 2: be done well. And I thought this was for what
Speaker 2: they were going for. Is done really well? Do I
Speaker 2: understand it?
Speaker 5: No?
Speaker 1: Not at this stage.
Speaker 2: I may have more conversations, I may do a bit
Speaker 2: more deep diving, and I'll you know, I could come
Speaker 2: back in the year's time.
Speaker 1: I have more and more thoughts.
Speaker 4: Do you think it's the kind of film that maybe
Speaker 4: they were wanting us to walk out or finish watching
Speaker 4: with a feeling inside rather than an answer?
Speaker 1: Yes, absolutely, I think that, Like you know, there are.
Speaker 4: Some films or even a lot of music does it
Speaker 4: And the first one that comes to my mind is
Speaker 4: a King's Leon song called the Bucket, very very sad,
Speaker 4: very sad song about someone kicking the bucket. But you
Speaker 4: sing that like it's a summer song and we're going
Speaker 4: to catch up with mates and get milkshakes and stuffy bongs,
Speaker 4: do you know what I mean? And I guess the
Speaker 4: meaning's kind of hidden a little bit in that song,
Speaker 4: And I would maybe that's what they were trying to do,
Speaker 4: hide the meaningly, like the meaning was only something they knew.
Speaker 1: Where left with a bunch of questions but a.
Speaker 2: Feeling absolutely, And I think they're inviting you to contemplate
Speaker 2: life and where we've come from, where we're going.
Speaker 1: There's a lot of those questions, aren't there, And like thematically,
Speaker 1: you know, you've got.
Speaker 4: Unborn babies, you've got space, which everyone always starts getting
Speaker 4: existential about big classic music that evokes emotion. Yeah, yeah,
Speaker 4: I think I.
Speaker 1: Tend to agree. It's you're in no uncertain terms as
Speaker 1: to how you feel. You've just got no real idea why.
Speaker 2: Yeah, yeah, you're having a like an emotional response to it,
Speaker 2: or you just get frustrated with it. And I can
Speaker 2: in particular, I mean, I would like to go see
Speaker 2: this again. But you know, on a big screen, you know,
Speaker 2: it does, it does, and I think they do do
Speaker 2: that quite often. In fact, Kate Lenbrook said to me
Speaker 2: that not she had seen this recently on a big screen. Apparently,
Speaker 2: when this came out, it wasn't a financial success. It
Speaker 2: was a bit slow to start, and they were going
Speaker 2: to pull it from screens, and a lot of theater
Speaker 2: owners in the States said, just hang on. We've noticed
Speaker 2: a lot of young adults coming in and taking taking
Speaker 2: with their illicit drugs, and particularly yeah, for that Stargate scenes,
Speaker 2: and that kind of got on a bit of a
Speaker 2: roll with that kind of stuff, and and hence it
Speaker 2: became more of a financial success.
Speaker 4: And some very influential musicians said it was one of
Speaker 4: their favorite films. That John Lennon, I think at the time,
Speaker 4: was saying he'd watch it once a week.
Speaker 1: David Bowie was a huge fan of it because he
Speaker 1: probably got it. You know, yeah, jerk, it's a bit
Speaker 1: of light fair for David is at it. I knew.
Speaker 2: I knew.
Speaker 1: I knew from the I knew from the second the
Speaker 1: ape picked up the bone. What do I said? Two
Speaker 1: hours for?
Speaker 5: Then?
Speaker 1: Mate?
Speaker 2: You know, we should we should point out one of
Speaker 2: the great movie transitions of all time that the bone
Speaker 2: going up turning into a spaceship and turned into a spaceship,
Speaker 2: which which is what they're saying, is that this is
Speaker 2: the first weapon into a website. Yeah, and you mentioned
Speaker 2: earlier took go back to the monolith, arrives and the
Speaker 2: apes are not sure how to deal with it. One
Speaker 2: eventually touches it, and that ape, which I believe is
Speaker 2: called Moon Moon Gazer, he is the one who then
Speaker 2: works out, oh this can we consuse estions, we can
Speaker 2: use this, and then that gives them so that they
Speaker 2: kind of they take on. They beat their rival to death,
Speaker 2: and then they they're eating they can get they can
Speaker 2: feed themselves. Now it's the first weapon.
Speaker 1: And then it goes.
Speaker 2: He throws it in the air and we see the
Speaker 2: spacecraft and that's the space station, and that's almost like
Speaker 2: the ultimate weapon, you know, millions of years into the future.
Speaker 2: And also because I had to read about this film
Speaker 2: after I watched it, it walk away and go okay,
Speaker 2: well that's done.
Speaker 1: Ye yeah, yeah, I had to read about it, which
Speaker 1: is great.
Speaker 4: You know, it left me with a lot of questions
Speaker 4: and it said as well that the monolith like whenever
Speaker 4: the monolith turned up and it was and it was touched,
Speaker 4: it expanded horizons. So the first time with the apes
Speaker 4: they touch it and then all of a sudden, weapons
Speaker 4: the next the next time, the monolith is on the
Speaker 4: Moon and they go down to the Moon and then
Speaker 4: they touch it and they look at it, and then
Speaker 4: it lets out that shriek and it's basically like a
Speaker 4: warning or whatever it is. It's like an alarm to
Speaker 4: the next monolith, which is i think on Jupiter. And
Speaker 4: then they go from there and expands everything. It expands
Speaker 4: the horizons again.
Speaker 2: To that's really interesting. That explains That explains a lot.
Speaker 4: And then and then the last one you see on
Speaker 4: Jupiter sends them through that stargate sends them through the
Speaker 4: Star game. And then the very last one we see
Speaker 4: is old Dave in the bed and he's like again
Speaker 4: I think I think it's one of those Kubrick looks
Speaker 4: where he's like in the bed and and he's kind
Speaker 4: of looking through his forehead brow at this at the monolith.
Speaker 4: As the it's almost like an eclipse with the monolith
Speaker 4: with I'm assuming A's Sun. And then go and then
Speaker 4: I think the boss Baby ends up there, so.
Speaker 2: And there's a nod to Michelangelo, I think too, when
Speaker 2: he's reaching out always his fingers out, that's supposed to
Speaker 2: be a nod suggesting that this monolith is actually a god.
Speaker 1: Yeah.
Speaker 2: Yeah, I really like the monolith as far as I
Speaker 2: was sure it was actually supposed to be like even
Speaker 2: an alien life form as such, or is it like
Speaker 2: what is it? Is it a god? Is it an
Speaker 2: alien life form? Kubrick was almost going to have alien
Speaker 2: life forms appear in this and then.
Speaker 1: Are you glad he didn't?
Speaker 2: Absolutely? I think it's a happy accident. The reason he
Speaker 2: didn't do it because a budget. He realized that they
Speaker 2: were running out of budget. But then he so he
Speaker 2: convinced himself, and I think rightfully so that we don't
Speaker 2: need to see them, you know. I think he was
Speaker 2: credit to see you know, you don't see God, you know.
Speaker 2: So I think I love the the rectangular black monolith,
Speaker 2: that this mass that we you know, this matter that
Speaker 2: we don't exactly know obviously, we don't know why it's
Speaker 2: slight to touch it, and they don't really describe it.
Speaker 2: But it's just what you said about that, because I
Speaker 2: was wondering what happened there, and I think that the
Speaker 2: idea that it just expands your horizon. I was thinking
Speaker 2: of it as something like almost in a way taken
Speaker 2: an awareness.
Speaker 1: Well, yes, the same thing. Yeah, APAs to discover have
Speaker 1: you have you? Have you seen a TV.
Speaker 4: Series called Dark No, it's just brilliant German TV series, three,
Speaker 4: three seasons.
Speaker 2: I don't do German.
Speaker 1: You don't of all of all of them Germans, the
Speaker 1: one you don't do?
Speaker 2: No, No, I don't love German. Answer in fact that
Speaker 2: lives of others run Lola Rum it's my favorite. That's Booty.
Speaker 2: They have TV or TV.
Speaker 1: Have you seen Babylon Berlin. I've seen episode of It's
Speaker 1: that's fantastic.
Speaker 2: Yes, anyway, I digress. My dad's watching it at the moment.
Speaker 2: Actually recommend at the end.
Speaker 1: Of the day, jeez, me and your dad. Huh, you're
Speaker 1: probably surprised. I enjoyed two thousand but and I've only
Speaker 1: just clocked it now. So it's this.
Speaker 4: It's this show where basically they don't just time like,
Speaker 4: it's not just about time travel. It's it's about.
Speaker 1: Like parallel universe travel as well.
Speaker 4: So like the premises, it's not like we aren't just
Speaker 4: everywhere where, every when, and so you know, it's like
Speaker 4: so then the question becomes where.
Speaker 1: Are you or it's not just where are you? When
Speaker 1: are you right?
Speaker 4: And basically the thing they use to get from one
Speaker 4: place to the other is dark matter. And now that
Speaker 4: I now that I've seen this, I think to myself,
Speaker 4: is that an you know, am I going to find
Speaker 4: Am I going to see little nods to a space
Speaker 4: I mean to a space ODY see everywhere I look now?
Speaker 4: Or is that going to be confirmation bys?
Speaker 1: Do you know what I mean?
Speaker 2: Yeah, Yeah, that's fascinating.
Speaker 1: Yeah, Like I just wonder if I'll see them now and.
Speaker 4: At least for the next little bit, I won't be
Speaker 4: able to stop looking because it's it's it's It's got
Speaker 4: me with more questions obviously than I've got answers.
Speaker 1: Yeah.
Speaker 2: I mean, there's no doubt though that the influence of
Speaker 2: this has been. It's like you were discuss Citizen Kane
Speaker 2: on this before and even the Shining and certainly if
Speaker 2: you've watched The Simpsons and this keeps on coming up
Speaker 2: on it on this on these podcasts. You know a
Speaker 2: lot of a lot of my guests who'll watch movies
Speaker 2: for the first time, going, oh, now, I understand that
Speaker 2: that reference yeah older, you know, and then the Shining
Speaker 2: and isn't Kane They go for it both those films
Speaker 2: over the years. But that's That's one more thing I
Speaker 2: just wanted to discuss, was how do you whenever I
Speaker 2: see a space film where somebody's floating in space like
Speaker 2: it does give me. I really I have a like
Speaker 2: a physical react, physical reaction to it. I feel a
Speaker 2: little bit nauseous when I see it. That that film
Speaker 2: Gravity with the Sandra Bullock, I'm assure yourself, that was
Speaker 2: a great film, and that was like terrifying to me.
Speaker 1: So you speak of like, I'm not sure how they
Speaker 1: did it? God that looked realized. Yeah. Yeah. The movement
Speaker 1: of all because I was because I was watching as
Speaker 1: closely as I could. Is a leg flailing where it
Speaker 1: shouldn't be.
Speaker 4: You know, I think he's dead already, so is the
Speaker 4: leg everything was put and the weird axis that they
Speaker 4: had him on in you know, Frank spinning around really strangely.
Speaker 4: And yeah, no, I'm quite the same, especially when they
Speaker 4: do the thing with the audio where you just hear
Speaker 4: the breath have you ever scuba dived?
Speaker 2: Yes, I have actually, but I also did Snooba recently
Speaker 2: in Hawaii, which is a slightly different thing. It's a
Speaker 2: bit of an easier way of doing it. But I
Speaker 2: know you mean that that breath and apparently this is
Speaker 2: Stanley Kubrick's breath. Oh really fun fact.
Speaker 1: Yeah, love that.
Speaker 4: But the thing is, if you've ever scuba dived, which
Speaker 4: I would think must be the closest thing to being
Speaker 4: tethered into space in that you're going into another environment.
Speaker 4: If you take it off, you're cooked. But when you
Speaker 4: go down, your mind forgets that you can breathe, so
Speaker 4: you'll actually hear your your breath go and that's all
Speaker 4: you can hear. And that's freaky out and you need
Speaker 4: to like literally say to yourself, hey, tone like.
Speaker 1: Yeah. And then when they do, like when they couple
Speaker 1: like a spacewalk with the breath, that gives me a
Speaker 1: very very physical reaction. I don't thought of it. I
Speaker 1: don't like it.
Speaker 2: No, I completely know what you're talking about. And but
Speaker 2: that that's that feeling of watching somebody going, Wow, you
Speaker 2: cannot be more lost than you are right now, like
Speaker 2: you're untethered. Idiots like, how do you get back outside
Speaker 2: of you know, the shuttle being able to come and
Speaker 2: pick your up somehow, and and you know we've seen
Speaker 2: that happen, happens in gravity. But how do you like it?
Speaker 5: You are?
Speaker 2: So I'm not scared of heights, but I don't like
Speaker 2: sitting standing too close to an edge where like you
Speaker 2: could possibly fall, you know, I don't think most people
Speaker 2: are probably want risk it. Yeah, why risk it? So
Speaker 2: to see somebody like that far up and just floating away,
Speaker 2: it would say, is just terrifying.
Speaker 1: So out of control? Yeah, yeah, And I think most
Speaker 1: people don't really like being out of control.
Speaker 2: Yeah, that's I think that's exactly one of it is,
Speaker 2: Like of control, mate, it's been a bloody blast. I've
Speaker 2: got some fun more more fun facts. I've weaved some in.
Speaker 2: Do you know the idea that there are conspiracy theories
Speaker 2: saying that the moon landing was actually almost produced or
Speaker 2: directed by Stanley Kubrick and they used unused footage from
Speaker 2: this film and spacecraft and some of the props to
Speaker 2: fake the moon landing.
Speaker 4: So I didn't know that, but I did say earlier
Speaker 4: that I reckon, well not not I reckon. I can
Speaker 4: see why people are moon landing can especially theorists, conspiracy theorists,
Speaker 4: because of how legiti it all looked.
Speaker 1: So I get it, yeah idiots, but I get it wrong.
Speaker 1: But like, yeah, I was watching it and there was
Speaker 1: some stuff I was like, this is so realistic.
Speaker 2: Yeah it's still now. You could have made this in
Speaker 2: the eighties. It's used to be going, wow, this is
Speaker 2: I can't believe this is made in the eighties or
Speaker 2: even the nineties.
Speaker 1: Straight. Yeah, and you look, and I think you touched
Speaker 1: on it earlier.
Speaker 4: The best thing they did because as soon as one
Speaker 4: I think as soon as one thing dates, everything dates.
Speaker 4: So if you were to have had an alien life
Speaker 4: form in there, it would have dated.
Speaker 1: Everything that you've seen.
Speaker 4: So that's why I think it holds up against so
Speaker 4: many of the other space movies until probably recently from
Speaker 4: an effects point of view, because you're like, well, alien
Speaker 4: looks like you know, plastic, Yeah, you know, like the
Speaker 4: prop sous and then that just gives away the whole
Speaker 4: conceit of everything else.
Speaker 2: Hence why it was a brilliant idea not to have
Speaker 2: the dexter robot as hell. So it was nominated for
Speaker 2: thirteen Oscars only won the one for special effects. Stanley
Speaker 2: Kubrick was awarded that because he was oversaw a special
Speaker 2: effects department. A lot of the people who worked on
Speaker 2: the special effects thought it was unfair that he was
Speaker 2: the sole recipient of that OSCAR because it was seen
Speaker 2: as a team effort, which I think is complotely fair enough.
Speaker 2: They did tighten up the oscars the rules around that
Speaker 2: as a result. Vivian Kudrick is Stanley's daughter obviously, and
Speaker 2: she playst the Floyd's daughter who we see on the
Speaker 2: FaceTime video. That's her daughter, and I think she is
Speaker 2: the one who the daughter who did the which made
Speaker 2: about the Shining doco behind the scenes where she's kind
Speaker 2: of following Jack Nicholson around and shots some really lovely
Speaker 2: shot a little one for the I think for the BBC,
Speaker 2: a little behind the scenes of the Shining and she
Speaker 2: and she made that how brilliant.
Speaker 4: On that is the footage behind the scenes of Jack
Speaker 4: Nicholson getting ready to go through the door.
Speaker 2: Yeah yeah, yeah, it's.
Speaker 1: It's great. It's unbelievable just watching him like descend into
Speaker 1: this complete deranged madman. He scary. There is a good
Speaker 1: deep diving to be had with the shining.
Speaker 2: Absolutely, there's one joke in this movie, not the joke
Speaker 2: it's it's I think it was Dave. Dave's looking at
Speaker 2: basically how to go to the toilet in out of space,
Speaker 2: and they've got how to how to how to take
Speaker 2: a dump in out of space. Kubrick said that was
Speaker 2: the only the singular joke in this in this film,
Speaker 2: even putting that in.
Speaker 4: I thought there was another joke when you know, when
Speaker 4: they come with the first time they land on the
Speaker 4: moon and he comes with the with like all like
Speaker 4: the space food, I guess, and one of them makes
Speaker 4: the comedy.
Speaker 1: Is like they're getting better and better at these all
Speaker 1: the time. Yeah, and then maybe that was just an
Speaker 1: earnest space dude.
Speaker 2: Yeah, yeah, yeah. I think it probably plays as a
Speaker 2: joke for them, where there's a joke that's designed to
Speaker 2: make the audience laugh. So I I think I agree
Speaker 2: with you.
Speaker 1: I'm not going to challenge Stanley. I just thought there
Speaker 1: was another year.
Speaker 2: Well, Stanley won't won't refute it. So yes, I think
Speaker 2: I think that's I think we worked in a lot
Speaker 2: of our the the apes were mimes, and I'm not
Speaker 2: sure if you kind of they were so good like
Speaker 2: I mean, obviously, when the came I got a bit closer,
Speaker 2: you could see that these weren't real apes, but they
Speaker 2: were great from a distance. When you stayed away a bit,
Speaker 2: they you would have believed they were real apps.
Speaker 1: And again, I know we keep harping on it, but
Speaker 1: you've got to remember when people are seeing this. Yeah,
Speaker 1: like straight up, straight up, you're believing.
Speaker 2: If you're seeing in the cinema in ninety sixty eight,
Speaker 2: you're watching it, I think you believe that these are
Speaker 2: you know, you.
Speaker 1: You think that they've somehow got apes and trained apes soundly.
Speaker 2: Colver be one of insurance policy in case aliens were
Speaker 2: discovered before the film was released. Lloyd's of London knocked
Speaker 2: him back. But it would have been a pretty good
Speaker 2: payday actually, for if they had taken that up, to
Speaker 2: be honest, so they missed out, would have been a
Speaker 2: huge payday, huge payday, mate, Thank you so much, Thanks Pete.
Speaker 2: This comes with a bit of homework, and this is
Speaker 2: you know, I'm chuffed with the amount of my guests who,
Speaker 2: whether it was by design or just through some naivety,
Speaker 2: have chosen two and a half hour films. And this
Speaker 2: is another one. I had no idea, so Sampang was
Speaker 2: very smart. He chose a ninety minute film.
Speaker 4: I was gonna say I could have done a ninety
Speaker 4: How had Sampang not seen the cast?
Speaker 2: Oh well that has been discussed many times and we
Speaker 2: still don't know. Really, he doesn't know how, but he
Speaker 2: loved it and we always recommend The Castle to.
Speaker 1: The Hitting Zone. It's it's one of the best films. Well.
Speaker 2: He also works with those who made that, so it's
Speaker 2: it's kind of incredible. Mate, you are an absolute joy
Speaker 2: to hang out with, loving having you on the on
Speaker 2: the project. We'll see you on there. This week ABC
Speaker 2: Breakfast was where you can see Tony yuck eye spose
Speaker 2: we can people catch your guy.
Speaker 4: So your guys on an I t V. I think
Speaker 4: it's on Fox as well. I think the AFL website
Speaker 4: streams it as well. So yeah, Base and maybe SPS
Speaker 4: showed as well. Yeah, so it's all over the place.
Speaker 2: You've got no excuse if you've got a TV, I
Speaker 2: shall be on in your house, no excuse not to
Speaker 2: have Tony Armstrong on your house. It's if you love
Speaker 2: your foot you get onto it. It's a cracking footy
Speaker 2: show mate.
Speaker 1: Thank you. So much. What a pleasure that was awesome.
Speaker 3: Day see.
Speaker 1: Day see.
Speaker 3: Give me your lab su Grave, see.
Speaker 1: All four from.
Speaker 4: Love of You.
Speaker 2: Yes, Hell nine thousand is gone. The batteries have been
Speaker 2: taken out. His such history has been erased. I love
Speaker 2: that chat with my friend Tony Armstrong. Catch him on Yockeye,
Speaker 2: the Project, ABC Sports. He is killing it at the
Speaker 2: moment and the bloody joy to be around and the
Speaker 2: big commitment to watch to watch two thousand and one
Speaker 2: of Space Odyssey whilst doing Breakfast TV. Three votes t Armstrong,
Speaker 2: maybe the first time he got three votes. Take care
Speaker 2: and I'll see you very soon.
Speaker 6: And so we leave old Pete safe and soult and
Speaker 6: to our friends of the radio audience, we've been a
Speaker 6: pleasant good night.