Speaker 1: Good day, Peter Helly here, welcome to you Ain't Seen
Speaker 1: Nothing Yet? The movie podcast where I chat to a
Speaker 1: movie lover about a classic or beloved movie they haven't
Speaker 1: quite got around to watching until now. And today's guest
Speaker 1: comedian podcaster mate Justin Hamilton.
Speaker 2: Nice spot.
Speaker 1: Wax On, wax Off. I do wish we could chat linger, but.
Speaker 2: I'm having an old frian fordnight.
Speaker 1: But me haven't a right.
Speaker 3: Nothing.
Speaker 1: I have a dirty secret. You ain't seen nothing yet, fans.
Speaker 1: This isn't my first movie podcast, no way Back almost
Speaker 1: a decade ago, I did a little podcast called Hellia
Speaker 1: and Hammo Dig Flicks with my great mate Justin Hamilton.
Speaker 1: We started that podcast because well, I enjoyed speaking to
Speaker 1: no one about movies more than I did with my
Speaker 1: mate Hammo. I met Hamo a couple of decades ago
Speaker 1: when he was putting the La comedy scene on his
Speaker 1: back with another great mate of mine, Limo. He eventually
Speaker 1: moved to Melbourne, where he built his audience not through
Speaker 1: TV appearances or radio gigs, but by smashing it every time.
Speaker 4: He hit the stage.
Speaker 1: Not only is Justin Hamilton one of the top stand
Speaker 1: up comedians in the country, he's also one of the
Speaker 1: most in demand writers in.
Speaker 4: Australia as we speak.
Speaker 1: He also has a brilliant pop cultural podcast called Big Squid,
Speaker 1: amongst many other things. Check out Big Squid. It is
Speaker 1: going bananas. Hamo isn't the kind of comic that asks
Speaker 1: what is comedy right now? Instead, Hamilton masks what can
Speaker 1: comedy be? I'm bloody stoked they have my mate, Justin
Speaker 1: Hamilton hanging out with me today.
Speaker 3: Hello, my name is Justin Hamilton. And as of today,
Speaker 3: the twenty eighth of July twenty twenty one, my three
Speaker 3: favorite films are Interstellar.
Speaker 5: I Just Love We Forgotten Who We Are.
Speaker 2: Now, Miller's Crossing.
Speaker 1: Now If you can't trust the Fixed, what can you Drift?
Speaker 2: And Lost Highway.
Speaker 3: But as of just recently, I had never seen the
Speaker 3: movie The French Connection.
Speaker 1: It's nineteen seventy one New York City and a decade
Speaker 1: of paranoia is about to begin, and what better way
Speaker 1: to kick it off than with Gene Hackman's complicated, booze
Speaker 1: fueled Jimmy Popeye Doyle and Roy Scheider's bruised and beaten
Speaker 1: Cloudy Russo zigzagging their way through urban New York in
Speaker 1: Trench coats peering through shot windows on the tail of
Speaker 1: Frog one and Frog two. Yeah, we might talk about
Speaker 1: that later. William Freakin's breakout film explores the thin line
Speaker 1: between good and evil as Doyle and Russo stumble upon
Speaker 1: a drug ring with origins in France, with a cracking
Speaker 1: score from Don Allis. Shot almost handheld documentary Stye by
Speaker 1: dop Owen Roseman his first film, He Went Under the
Speaker 1: Shoot the Exercise with Freaking also Tutsian Network, Nice and
Speaker 1: Nice CV there based on a book by Robert Moore,
Speaker 1: The French Connection is a movie that set the tone
Speaker 1: for generations.
Speaker 4: Of cop movies that followed.
Speaker 1: It also contains one of the best car chases of
Speaker 1: all time, Hammo out of interest? Did you pick your
Speaker 1: feet in Poughkeepsie?
Speaker 2: Why do you keep asking me that.
Speaker 1: You got nothing to do with the film, like every.
Speaker 2: Time it's been years. It's the first thing you've ever
Speaker 2: asked me. I can't keep you knowing it. I can't
Speaker 2: keep denying it.
Speaker 1: Stop picking your feet, not just in Paul Keepsy, in Adelaide,
Speaker 1: in Sydney, in Melbourne. This stopped doing it. It's gross.
Speaker 2: It's a bad habit. It's a nervous tick.
Speaker 1: We'll get to that line maybe when we talk more
Speaker 1: about the film later on, but it's certainly one that
Speaker 1: caused me a bit of confusion. But you nominated a
Speaker 1: few films off the list that I give as a guide,
Speaker 1: and it's just a guide for my guests to kind
Speaker 1: of pick a thought starters. There were quite a few films,
Speaker 1: about half a dozen films you came back with. We've
Speaker 1: done quite a bit of the eighties recently, so I
Speaker 1: was keen to get out of the eighties. So I
Speaker 1: was pretty happy you chose the French Connection from nineteen
Speaker 1: seventy one because I had seen it. But I reckon
Speaker 1: what I did is I watched it before I was
Speaker 1: ready to actually watch it. I reckon I watched it
Speaker 1: in my teens when this felt it just felt boring
Speaker 1: to me, and I think I kind of find I
Speaker 1: may even fast forward it to the Car Chase, which
Speaker 1: I i'd heard was one of the your time great
Speaker 1: car chasers. So I've kind of really fall in tenth
Speaker 1: and purposes, felt like I was watching it again for
Speaker 1: the first time. But why did you choose the French
Speaker 1: Connection in the end.
Speaker 3: So that's really funny because so a couple of things.
Speaker 3: One is, I thought I'd never seen it. Well, for
Speaker 3: a while, I thought I had seen it because the
Speaker 3: car chase, specifically that scene of Gene Hackman's Popeye who
Speaker 3: nearly takes out a young woman with her pram, and
Speaker 3: that scene is so kind of indelible. It was like, oh, yeah,
Speaker 3: I must have seen this movie heaps of times. And
Speaker 3: then I realized, oh no, I haven't seen it. And
Speaker 3: not only haven't I seen it, but do you remember
Speaker 3: when DVDs, not when they first came out, but when
Speaker 3: they became so ubiquitous, there would be sales all the
Speaker 3: time to get rid of the stock. And that was
Speaker 3: one of the movies that I bought I reckon a
Speaker 3: good ten to twelve years ago that when you said
Speaker 3: let's do that one, I was like, great, because you
Speaker 3: know what, I can finally do unwrap it like it was.
Speaker 3: It was still stuck all up in the collection.
Speaker 2: So I was like, this is great. So I peeled
Speaker 2: it open.
Speaker 3: Then I watched it, and then it was weird because
Speaker 3: I felt like I was getting flashes of it, like
Speaker 3: hang on and maybe I have seen this. And then
Speaker 3: I spoke to my mum and she reckons I have
Speaker 3: seen it, but probably exactly the same way you viewed it,
Speaker 3: probably quite young. I reckon it might have been one
Speaker 3: of those things where Mum was up watching a film
Speaker 3: I didn't want to go to bed, she said, do
Speaker 3: you want to watch this?
Speaker 2: And I probably.
Speaker 3: Checked out at some point because in the ways it is,
Speaker 3: it's a real throwback film.
Speaker 2: There's not a lot of dialogue.
Speaker 3: It is kind of the boring aspects of police work,
Speaker 3: which is a lot of just standing around in the cold,
Speaker 3: watching other people eat really good food. And also Gene
Speaker 3: Hackman's character is compelling but quite shocking, and I think
Speaker 3: he was probably shocking to me as a teenager and
Speaker 3: in the current era, like there's a lot to unpack
Speaker 3: there with Popeye, right.
Speaker 1: There really is, there really is, And you're right, it
Speaker 1: does take a while, it takes its time.
Speaker 4: You're absolutely right.
Speaker 1: It dives into the boring aspects of policing, like you say,
Speaker 1: and I think as a teenager watching it, and to
Speaker 1: be honest, no doubt many adults. I'll be interested to
Speaker 1: see what when our listeners think of the French connection
Speaker 1: if they haven't seen it. And I had the same
Speaker 1: feeling when I watched a conversation about ten years ago
Speaker 1: just how, which is maybe I think three years after
Speaker 1: this another kind of surveillance film starring Gene Hackman, made
Speaker 1: by Francis for Popular And there's the pacing. Sometimes you
Speaker 1: see a film and this is what I love doing
Speaker 1: this podcast because I know I'm kind of forced to
Speaker 1: watch it. I'm kind of like, I don't like there
Speaker 1: have been films that I've watched for this podcast, like
Speaker 1: Butchercassid in The Sundance Kid and straight away I'm like,
Speaker 1: I love this film, I'm here for it. This wasn't
Speaker 1: one of those films for me. I had to work
Speaker 1: and I, you know, I'm probably getting two into the
Speaker 1: film that I kind of like to at this stage
Speaker 1: of the podcast, but I had to. I had to
Speaker 1: kind of, you know, kind of mindfully keep engage myself
Speaker 1: and remind myself that I need to be talking about
Speaker 1: this with Hamo in the morning, so you need, you need,
Speaker 1: you need to watch. And I got there. I got there,
Speaker 1: you know, and I I you know, but it is,
Speaker 1: you know those seventies films that they are at different pace.
Speaker 1: We're so used to things happening, you know, and getting
Speaker 1: spoon fed and having stuff delivered on the plate to
Speaker 1: us these days, and this film does not do that
Speaker 1: in any way, shape or form.
Speaker 2: Yeah, it's fascinating.
Speaker 3: It's it also has a definitive pace, which is, as
Speaker 3: you said, very seventies, but it also has an aesthetic
Speaker 3: that feels very modern. And you know, like, so I
Speaker 3: was reading about how Freed. Can you know the way
Speaker 3: it's shot. It's shot like a documentary. It doesn't go
Speaker 3: looking for the characters. Characters kind of walk into the shot,
Speaker 3: and that hit that hadn't really been done before. I
Speaker 3: think there was a French movie that he'd seen that
Speaker 3: he was inspired by, and because he had a documentary background,
Speaker 3: he applied it to this film. But you know, they're
Speaker 3: very different films. But funnily enough, I was getting a
Speaker 3: tenant vibe from it with the look of it and
Speaker 3: the way it was shot in the lack of dialogue
Speaker 3: and the seventies esthetic is it's quite popular amongst a
Speaker 3: lot of filmmakers now and then they've just sped it
Speaker 3: up with things kind of happening. But at the same time,
Speaker 3: one of the most riveting scenes and it's a funny
Speaker 3: thing to say, but one of the most riveting scenes.
Speaker 2: Is gene Hack been.
Speaker 3: Trying to tail the bad guy and then walking on
Speaker 3: and off a train?
Speaker 1: Yes, yes, how is this riveting? But it is absolutely
Speaker 1: and I love that scene and I have led you
Speaker 1: way further down this path that I plan to go
Speaker 1: at this stage of the film. But this is what
Speaker 1: Hammo and me do. We basically we get chatting. Hamers
Speaker 1: in Sydney, I'm in Melbourne. We used to hang out
Speaker 1: a lot, like physically, you know, catch up. We had
Speaker 1: going to do that. We have a podcast. I mentioned
Speaker 1: that in the intro and that was basically was we
Speaker 1: made that because based on the conversation we're having. Listen,
Speaker 1: we want to this record these conversations we're having and
Speaker 1: why we wasted it. But it's always hard the court.
Speaker 1: It takes me about fifteen minutes to get the work
Speaker 1: each day, and it's it's not quite well, it's nowhere
Speaker 1: near enough time for me to call you in that time.
Speaker 1: So we actually hadn't spoken to each other for a
Speaker 1: little while, because even though despite the various lockdowns you know,
Speaker 1: this year, we hadn't spoked with each other for a
Speaker 1: little while. So if there's a lot to a lot
Speaker 1: to talk about and I want to talk about your
Speaker 1: three favorite films. I suspect you have and correct me
Speaker 1: if I'm wrong. I suspect. I'm always fascinated by the
Speaker 1: psychology of my guests and how they kind of go
Speaker 1: about deciding.
Speaker 4: Their three fe films.
Speaker 1: I like the fact that you stamped it because this
Speaker 1: could change, I imagine at any point in time. But
Speaker 1: I imagine it's a reflection of interests, even though there's you
Speaker 1: know that these films aren't necessarily a mile apart. But
Speaker 1: would I be wrong in saying you were You would
Speaker 1: have been tempted to have three Christopher Nolan films as
Speaker 1: your top three films? Did you have? Is in No Stella?
Speaker 1: The at the Outright? Your outright Christopher Nolan is at
Speaker 1: the Dark Knight, you know the you know, almost level
Speaker 1: with it. How closest tenant there because you are a
Speaker 1: a Nolan well, the biggest Nolan fan that I know.
Speaker 3: Yeah, It's It's one of those things. It's funny because
Speaker 3: I was a fan from I remember seeing Memento at
Speaker 3: the cinema and it was like one of those what
Speaker 3: just happened kind of movies? You know what you walk
Speaker 3: out and then it's like, well, I'm going to keep
Speaker 3: an eye on what this guy next. And then of
Speaker 3: course the next film he makes is Insomnia and I
Speaker 3: love al Pacino, and it's Robin Williams in a you know,
Speaker 3: before he started doing a few more darker roles. It
Speaker 3: was like, holy shit, what is this with Robin Williams.
Speaker 3: And then of course Batman begins came out, and I
Speaker 3: remember being halfway through that film and he just became
Speaker 3: Batman and turning around to our friend Adam Richard and saying,
Speaker 3: I hope it doesn't shit the bed now, like this
Speaker 3: has been really good and he hasn't even become Batman yet.
Speaker 3: So you know, I've enjoyed all of his films. No,
Speaker 3: it's Interstella is definitely my favorite. I think Dunkirk might
Speaker 3: actually be his best film. I think Dunkirk is a masterpiece.
Speaker 3: And I was, I was all over Tenant.
Speaker 1: I was.
Speaker 2: You know, that to me was pure Nolan heroin straight
Speaker 2: into my eyes.
Speaker 3: And if someone said to me I didn't like it
Speaker 3: for these reasons, I like, go, oh, yeah, fair enough.
Speaker 2: But I guess what, I loved it every second of it.
Speaker 1: My brother said to me the other day, I just
Speaker 1: saw the worst film I've ever seen.
Speaker 4: I said, what you guys are or something.
Speaker 1: I said, Listen, it's not the worst one you've ever seen,
Speaker 1: but it's not for everyone. It's not for every everyone,
Speaker 1: but it's you know, you need pages. I saw that
Speaker 1: with Luke McGregor in the cinema. Is actually the first
Speaker 1: movie I saw in the cinema when we came out
Speaker 1: of one of the lockdowns, and it was kind of
Speaker 1: joyous as to be in a cinema and I really enjoyed.
Speaker 1: I'll need to watch it again to have like even
Speaker 1: really even a conversation with you about it, despite the
Speaker 1: fact I'm going to ask you more quich it's probably
Speaker 1: more about any to sell it. But I need to
Speaker 1: see it again. But the one thing I remember saying
Speaker 1: that Luke is fuck. I love Christopher Nolan's ambition, you know.
Speaker 1: I really like he's nowhere.
Speaker 4: Near resting on his laurels. I don't think no, And.
Speaker 3: It's look, essentially, it makes as much sense as a
Speaker 3: Bond film, and that's what it is. It's just his
Speaker 3: his version of a Bond film, which isn't cluttered with
Speaker 3: any sense of history. It can just be its standalone thing.
Speaker 3: It's almost like yours. It's an origin movie. It could
Speaker 3: be the third of a five part series. It has
Speaker 3: the potential for more story, but in a weird way,
Speaker 3: I don't want them. I like that this is one
Speaker 3: of many that and this is the only one he's
Speaker 3: going to produce. Like what ruined Star Wars, I don't
Speaker 3: need fucking prequels. I don't need sequels. Just give me
Speaker 3: the original trilogy.
Speaker 1: You know.
Speaker 3: So that's all he's going to give me with Tenate.
Speaker 3: That's why I love about Inception. You could have heapsmall
Speaker 3: movies about Inception, but just one is really tasty, and
Speaker 3: I think it does kind of make sense if you
Speaker 3: you know. Of course, it's overwhelming when you first see
Speaker 3: it because it's a spectacle, but the more you watch it,
Speaker 3: there is it does make sense. And I like the
Speaker 3: ambiguity about it, which is a word that we'll get
Speaker 3: back to later on, especially with the French connection.
Speaker 2: It's something that I've enjoyed in the last.
Speaker 3: Few years, and it's it's where I would rather work,
Speaker 3: which is the ambiguous state of storytelling where whoever's watching
Speaker 3: it can kind of project what they want to believe
Speaker 3: onto it.
Speaker 2: And in a way.
Speaker 1: You know.
Speaker 2: That's why I think Tenet does beautifully.
Speaker 3: And then if you really want to do a deep dive,
Speaker 3: look up what a statur squad where is and realize
Speaker 3: that Nolan has made his version of a Sataur square.
Speaker 2: I won't say anything more.
Speaker 3: Just look it up or listen to my podcast Big Squid,
Speaker 3: where I fucking break that shit down.
Speaker 1: But it's right.
Speaker 2: But Interstellar is It is everything I like in a.
Speaker 3: Recipe, cook perfectly and served up, and I was just
Speaker 3: wrapped with it. I love sci fi. I love big ideas.
Speaker 3: I love you know, the idea of you know. I
Speaker 3: also like that it's kind of a little bit scary
Speaker 3: and that it's like a documentary from the future. And
Speaker 3: if you think I'm overreacting, check out the dust storms
Speaker 3: that are happening through China at the moment. And don't
Speaker 3: tell me that you want to suddenly become a corn
Speaker 3: farmer so you have a job in the future.
Speaker 2: You know.
Speaker 1: It's yeah, I mean the rise of the rise of
Speaker 1: you know the way that with global warming, with politics,
Speaker 1: with with I said, dust storms, with my back of
Speaker 1: mice plagues. Yeah, you know, there's a feeling, there's a
Speaker 1: feeling that we're closer to the end, then we are
Speaker 1: to start.
Speaker 3: Well, that's it, and that you can kind of look
Speaker 3: at Nolan's last three films, Interstellar, Dunkirk, and Tenant, and
Speaker 3: they are about survival and they are about trying to
Speaker 3: overcome utter annihilation. And even though you know, Dunkirk's quite
Speaker 3: clearly a film about war and something that really happened,
Speaker 3: that there aren't any victories in other than getting back
Speaker 3: to safety and sort of celebrating that that is a
Speaker 3: victory in itself. And you know, Intenant the idea, and
Speaker 3: it's a heady idea, but the idea that the future
Speaker 3: is so terrible that they're willing to destroy the past
Speaker 3: in the hope that that somehow makes the future better.
Speaker 3: They don't know if it will, but that's how bad
Speaker 3: things have gotten. And you go, ohh that is that
Speaker 3: is a heady philosophical conundrum to think about, all wrapped
Speaker 3: up in very handsome John David Washington and Robert Patterson
Speaker 3: kicking arms.
Speaker 1: And what I love about Nolan's film, what I you know,
Speaker 1: admire about Tenant is you can still go, like I
Speaker 1: the way I watch films is I don't necessary I'm
Speaker 1: not necessarily trying to solve every crime or kind of
Speaker 1: generally I'm the first watch.
Speaker 4: I'm letting it wash over me.
Speaker 1: I'm not trying to which which makes you know Nolan
Speaker 1: films when he's in his Interstellar inception, you know, it
Speaker 1: can be problematic in a way because those films do demand,
Speaker 1: I think, a bit of work, and you're in they
Speaker 1: They've always got my attention in my engagement. But I
Speaker 1: am just letting it wash over me. But what I
Speaker 1: love about Nolan is at a base level, even if
Speaker 1: it's just the fact that you are getting little endorphine hits,
Speaker 1: because the things that didn't you you were confused about
Speaker 1: in the first half of the film, slowly start making sense.
Speaker 1: Even if it's like, oh, that's where that spinning car
Speaker 1: came from. Yeah, yeah, that's that spinning cat. Like that,
Speaker 1: There's these little things that kind of at least keep
Speaker 1: you going, Ah, I'm following some of this. You know,
Speaker 1: I'm not completely down with every philosophical you know, wormhole
Speaker 1: Nolan's going down here, but I remember that spinning car
Speaker 1: from earlier.
Speaker 3: Yeah, well, you know, the thing to kind of remember
Speaker 3: with him is that he's a fan of movies and
Speaker 3: he watches all the Marvel movies, and he loves the
Speaker 3: Fast and the Furious franchise, and you know, loves the
Speaker 3: James Bond franchise. And you know, even when he loves
Speaker 3: those franchises, the Bond film he loves the most is
Speaker 3: the George Lazenbury one, and the Fast and the Furious
Speaker 3: movie he loves is the one that people don't like much,
Speaker 3: which is Tokyo Drift. You know, he's a and the
Speaker 3: thing is is that he loves the work of Kubrick.
Speaker 3: But the movie that changed his life was Star Wars.
Speaker 3: And so when you take all of that into account,
Speaker 3: it's funny. Sometimes you hear people getting angry like he's
Speaker 3: trying to bamboozle you, and it's no, no, no, no, he's
Speaker 3: not trying to bamboozle you. He's trying to give you
Speaker 3: the same sentenceation he felt when he saw Luke sky
Speaker 3: Walker stare at two sons. He wants to give you
Speaker 3: something that you've never seen before, and he wants to
Speaker 3: do it in an entertaining way. And he's not going
Speaker 3: to talk down to you like he'll give he'll give
Speaker 3: you jumping on points. I think that's one of the
Speaker 3: criticisms of Nolan that sometimes his dialogue explains what's going on.
Speaker 3: But also I'd say, for you know, a ten year
Speaker 3: old who's watching Tenant, if you've got someone explaining how
Speaker 3: it works, like, I'm fine with that. He's a populis.
Speaker 3: His movies aren't m rated, they're PG. He wants everyone
Speaker 3: to see them, and he wants everyone to have a
Speaker 3: good time and walk out of it feeling like they've
Speaker 3: experienced something new. I think that's quite quite a lofty
Speaker 3: ambition in a movie director these days.
Speaker 1: Absolutely, the Coen Brothers. I'm not surprised to see the
Speaker 1: Coen Brothers on you lease. I thought either there will
Speaker 1: be three Nolan films, and I thought possibly couple. The
Speaker 1: Coen Brothers is one. But Miller's Crossing is a fine pixer.
Speaker 2: Oh my god, such a good film.
Speaker 3: Once again, the ambiguity of Gabriel Byrne in that where
Speaker 3: it's funny he's kind of really loyal, but he's also
Speaker 3: loyal to himself, and he does he makes disloyal decisions,
Speaker 3: and he's just he's in such a moral gray area.
Speaker 3: But at the end, you know he's he's done all
Speaker 3: the right things. And in his inability to change means
Speaker 3: that he kind of comes out alone out of it.
Speaker 2: You know. It's the music's beautiful.
Speaker 3: I remember seeing it at the cinema and Carter Burwell's
Speaker 3: music and the and the hat, you know, floating across
Speaker 3: the forest, and it was just such a such a
Speaker 3: stunning film, and a lot of the like.
Speaker 2: It was hard to pick a Coen Brothers film.
Speaker 3: Actually, I could have plumped for A Serious Man, you know,
Speaker 3: which is one of those underrated Coen Brothers films where
Speaker 3: if you really pay attention, it is really funny and
Speaker 3: there's a lot going on inside. Lewin Davis is all
Speaker 3: so underrated, but you know, and then of course the
Speaker 3: classics like Fargo, No Country for Old Men, you know,
Speaker 3: the Big Lebowski, like, they're all such great films, and
Speaker 3: but Miller's Crossing is the one that.
Speaker 2: I think is the emotional favorite.
Speaker 1: Carter Burwell is just a genius. He like, he's one
Speaker 1: of the few. Maybe I should listen to more scores
Speaker 1: when I'm in my car, but he's he's scores or
Speaker 1: one of the the you know, the who he's a
Speaker 1: composed that I was just one of the few composed
Speaker 1: older put on in the car and listen to I mean,
Speaker 1: he's burn after reading. It's funny you think mentioned Bern
Speaker 1: after reading? How good are the Caen Brothers' career is?
Speaker 1: When Burn after reading is not one of the movies
Speaker 1: you mentioned when you mentioned eight other films they've done.
Speaker 3: I know that's got one of the greatest moments in
Speaker 3: movie history, where you're sitting there going I can't wait
Speaker 3: for Brad Pitt and George Clooney to finally meet up.
Speaker 2: Did you seriously do this to us? Which is great?
Speaker 1: I think I think Ben after reading. I think George
Speaker 1: Clooney at his comedic best. I think sometimes he overdoes
Speaker 1: it sometimes, and I think he's overdone it in some
Speaker 1: other Coen Brothers films. But and it's Brad Pitt at
Speaker 1: his funniest as well. Everyone's so good in that film.
Speaker 1: I love it. Miller's Crossing, I just think of that.
Speaker 1: I think of the hat when when I when I
Speaker 1: think of Miller's Crossing, I just think of that's that
Speaker 1: that that that hat. You know, in the wind, the leaves,
Speaker 1: the autumn leaves, it is it is stunning.
Speaker 4: In the cutterbell Well composition.
Speaker 3: So many great set pieces you know, the when they
Speaker 3: tried to take out the big Boss, Albert Findy and
Speaker 3: he pulls out the machine gun to Danny Boy, Like
Speaker 3: that is amazing. The I don't think i'd ever seen
Speaker 3: John Taturo in a film before. So the you know,
Speaker 3: the look into your heart, Tommy, look into your heart,
Speaker 3: you know, all of that's so fantastic. And then his
Speaker 3: heel turn is just pitch perfect. You know, the great
Speaker 3: scene where you know the Dane is, you know, looks
Speaker 3: like he's going to choke Tom Reagan to death. All
Speaker 3: the weird camera angles and the and the heat you
Speaker 3: can feel the heat in that scene. You know, It's
Speaker 3: just got so many great moments, and you know I
Speaker 3: saw that probably around the time. So I think I
Speaker 3: saw The Untouchables was the first film that I became
Speaker 3: seriously obsessed with that was kind of like my gateway
Speaker 3: to grown up films on my own. Like, you know,
Speaker 3: there's the time where your parents show your grown up
Speaker 3: movies that you like, but then there's the grown up
Speaker 3: movie that.
Speaker 2: You find off the back of being interested.
Speaker 3: So I saw The Untouchables and then that kind of
Speaker 3: opened up the world of the Godfather Godfather Part two.
Speaker 3: I think Goodfellas came out in a similar time, and
Speaker 3: I remember around that period seeing Miller's Crossing, and I
Speaker 3: put that up there with all of those.
Speaker 4: You mentioned.
Speaker 1: Ambiguity and the Coen Brothers a good one to look
Speaker 1: at ambiguity in films because they possibly are the masses
Speaker 1: at it. Like people are often trying to die sect
Speaker 1: Coen Brothers films. They're quite reluctant to discuss their films
Speaker 1: and the themes of their films in any specific detail.
Speaker 1: And I've heard them say, to be honest, people, they say,
Speaker 1: people people think of films mean you know a lot,
Speaker 1: They mean less than they think you know. And like
Speaker 1: and I love, I love that. It seems like it
Speaker 1: might be a theme today. But I think the Coen Brothers,
Speaker 1: they are making films, they're smart films, and no doubt
Speaker 1: there's there's themes, you know, in these films, and but
Speaker 1: there is ambiguity all through their films.
Speaker 2: Yeah. I think what you do is, this is my guess.
Speaker 3: Anyway, you make a film and you have everything in
Speaker 3: your head about what it's about, and you just don't
Speaker 3: give everyone every bit of information. And I can't tell
Speaker 3: you how relieved I am that the Coen Brothers don't
Speaker 3: talk about their films because recently, Quentin Tarantino, it's been
Speaker 3: on the campaign trail and a few podcasts I listened to.
Speaker 3: He's been on talking about how he wrote a novelization
Speaker 3: of What's Upon a Time in Hollywood, which was a
Speaker 3: movie that when I first saw it, I enjoyed it
Speaker 3: while I was watching, and then I got out of there,
Speaker 3: and I didn't know how I felt about it because
Speaker 3: Mum had been a big fan of Sharon Tate, and
Speaker 3: so I'd known that story about her for like forty years,
Speaker 3: and I didn't know how I felt about where it
Speaker 3: ended up and what it said about her. And it
Speaker 3: took me a few days to think about it, and
Speaker 3: then I kind of came to the conclusion. I know,
Speaker 3: I think it's a work of genius because it's the
Speaker 3: first time I've thought of Sharon Tate as an actress
Speaker 3: and not a murder victim. And I think that is
Speaker 3: a great thing to you bestow upon someone who has
Speaker 3: filled in a part of pop culture for terrible reasons.
Speaker 3: But he's been talking recently, and he's just been pointing
Speaker 3: out what some scenes actually mean, like the fight with
Speaker 3: Bruce Lee which I always saw as Brad Pitt's carrick
Speaker 3: to being an unreliable narrator and remembering something how he
Speaker 3: wanted it to be. But Tarantino has come out and
Speaker 3: said no, no, no, like in the context of the
Speaker 3: movie that actually happened, and it's like, you just kind
Speaker 3: of shat on your own movie, Like don't why are
Speaker 3: you telling me? Like you shot it in a way
Speaker 3: for me to make up my own mind, and now
Speaker 3: you're telling me my mind was wrong, And I don't
Speaker 3: like this decision.
Speaker 1: Boom shitting on his own movie perhaps, and also shitting
Speaker 1: on the legacy and memory of you know, Bruce Lee,
Speaker 1: which you know, I think he's I think he's been
Speaker 1: forced to discuss this a little bit recently because Shannon Lee,
Speaker 1: Bruce's daughter with discusses a bit on the show recently. Yeah,
Speaker 1: has come out and said, yeah, not not cool. It's
Speaker 1: not cool.
Speaker 3: And you know, he's saying, oh, I did all this
Speaker 3: research and all these people said these things, and it's
Speaker 3: like everyone's come out so no, like what's he talking about?
Speaker 1: You know?
Speaker 3: So anyway, but so I love that the Coen Brothers
Speaker 3: don't come out of nowhere and say, now let us
Speaker 3: explain the Big Lebowski and I'd be like, la l
Speaker 3: l l L LAA, No, don't ruin it, It's all good.
Speaker 2: I'm fine.
Speaker 1: Yeah, David Lynch is somebody who I'm not an aficionado
Speaker 1: on David Lynch by any stretch of imagination. I do
Speaker 1: remember seeing Lost Highway in cinemas and really enjoying it,
Speaker 1: and I don't think I've watched it since, So I
Speaker 1: would even struggle to recall the plot line, to be honest,
Speaker 1: of this David Lynch film outside of David Arkettes in.
Speaker 4: It, is that right?
Speaker 1: Patricia Arquette, Patricia Arkeett one of the art kids in there.
Speaker 1: Some readys I can see David Arkette in it, but
Speaker 1: Patricia Arquette is in it and Bill Pullman, Bill Pullman,
Speaker 1: that's it. I was actually, yes, yes, yes, what's it about?
Speaker 3: So it came out in sort of like the mid
Speaker 3: to late nineties and wasn't a big hit at all,
Speaker 3: but it was. It kind of emotionally predicts the twenty
Speaker 3: first century, and it's a bit of a horror movie,
Speaker 3: but in a very David Lynch way. So essentially, Bill
Speaker 3: Pullman's character is a saxophonist, and he plays at night,
Speaker 3: and then he and his wife, who's played by Patrice Sharqett,
Speaker 3: start getting delivered these video cassettes, and the video cassettes
Speaker 3: when they put them on and watched them, it's them
Speaker 3: being filmed at night. And then eventually a few strange
Speaker 3: things happen, and then at some point his wife is
Speaker 3: murdered and he's taken away as a suspect, even though
Speaker 3: he claims he didn't do it. And then while he's
Speaker 3: in jail, he becomes a completely different person, a young
Speaker 3: man who then goes back to his life, and it
Speaker 3: is that's essentially what the movie is about. And it's no,
Speaker 3: there's nothing spelled out for you. There is nothing that
Speaker 3: is pointed to at any point that you can say, ah,
Speaker 3: did you see that scene where they pointed to that
Speaker 3: and that told you everything.
Speaker 2: There's nothing like that at all. And one of the
Speaker 2: things I love in.
Speaker 3: Storytelling is a circular shape, and there's a circular shape
Speaker 3: to this film, which is what to me spells out
Speaker 3: the horror of it. And it is, you know, it's
Speaker 3: funny in points, like a David Lynch film, but you know,
Speaker 3: a good horror film does make your laugh sometimes it's
Speaker 3: not jump scares. It's an emotional horror of being disassociated
Speaker 3: from your life and the trouble that can get you into.
Speaker 3: And I come back to it all the time. I
Speaker 3: think it's a I think it's a masterpiece. But once again,
Speaker 3: I could imagine some people watching it and going, geezu,
Speaker 3: this is taking a while, and wow, I got to
Speaker 3: the end, and I really have no idea what happened.
Speaker 3: But I think it's a I think it's an immersive film.
Speaker 3: And if you kin'd of give yourself over to it,
Speaker 3: watch it in the dark, don't you know? As as
Speaker 3: we hear inten, don't try I try to understand it.
Speaker 3: Just feel it and you will be taken on a
Speaker 3: real journey.
Speaker 1: Yeah. And I think if I hadn't have seen it
Speaker 1: in the cinema, I may have, you know, I may
Speaker 1: have drifted off and got distracted by various things around me.
Speaker 4: And I think youre absolutely right.
Speaker 1: I should revisit it, actually, because I remember really enjoying
Speaker 1: it at the time. We're going to take a break
Speaker 1: and then we're going to come back, and I want
Speaker 1: to know what you actually thought of William Freakin's nineteen
Speaker 1: seventy one classic the French connection. All right, we're back
Speaker 1: with Justin Hammered and Hammo. I need to know what
Speaker 1: what do you what do your thought? We did?
Speaker 4: We did? You know, we share some thoughts earlier. But
Speaker 4: did you like it? Oh?
Speaker 3: I loved it like I loved it and I was
Speaker 3: riveted And.
Speaker 2: You know, I think I mentioned this earlier.
Speaker 3: It's it's strangely modern, like the way the camera moves
Speaker 3: and the way it depicts people. It's i'll tell you what,
Speaker 3: it's confronting as well, because especially watching it in the
Speaker 3: modern day, I don't think you were ever meant to
Speaker 3: like the character of Popeye, but even more so now
Speaker 3: with how we know, you know, some aspects of American
Speaker 3: police force were you're sitting there going, oh, the casual racism,
Speaker 3: the just the.
Speaker 1: Well the first scene where one of the first scenes
Speaker 1: where they're basically you know, they're dressed up as Santa
Speaker 1: and then they're beating up a you know African American kid,
Speaker 1: you know, or you know, a young adult. It's it's
Speaker 1: it's really, it is really hard to watch. And most
Speaker 1: of the black characters you know ari that yeah, you
Speaker 1: know criminals or you know drug users, you know, are problematic,
Speaker 1: you know, so, yeah, that is you know, yeah, that
Speaker 1: is tough to watch in twenty twenty one. You know,
Speaker 1: I'm not sure how it felt in nineteen seventy one.
Speaker 3: Yeah, I don't. Yeah, that's a really good question. Actually,
Speaker 3: I wonder how it did feel in nineteen seventy one.
Speaker 3: You know, it's an R rated film, so I don't
Speaker 3: think it's meant to be consumed by the masses. It's
Speaker 3: definitely a grown up movie. I think it's probably depicts
Speaker 3: the world that those characters live in perfectly, and I
Speaker 3: think that's what, in the end, watching it with that
Speaker 3: context in mind, is what made the film not feel exploitive.
Speaker 3: It was, Okay, well, this is their world. It's not
Speaker 3: a world that I particularly like. It's not a world
Speaker 3: that I would particularly want to visit, but I understand
Speaker 3: that's the world that they're in. But it's a hell
Speaker 3: of a performance by both of them. Gene Hackman, his
Speaker 3: intensity all the way through it is great. And I'm
Speaker 3: also curious to know if you thought that there were
Speaker 3: times where Roy Scheider is actually laughing as Roy Scheider,
Speaker 3: because you know, when gene Hackman's on a roll trying
Speaker 3: to get information there's a couple of shots where you
Speaker 3: see Roy Scheider walking off laughing, and I honestly feel
Speaker 3: like that was him kind of breaking character, but still
Speaker 3: somehow being in character because Popeye is so ridiculous and
Speaker 3: being over the top.
Speaker 4: I love that.
Speaker 1: I hope you're right. I'm going to have to go
Speaker 1: back and watch it again. I certainly think Roy Schid
Speaker 1: is the his character is the more passive of the two.
Speaker 1: I think if you always have one criticism of the yeah,
Speaker 1: you've got Popeye Doyle, who's, you know, a fascinating character,
Speaker 1: and Roy Schard is kind of along for the ride.
Speaker 3: Yeah, Well, you kind of get flashes of his character
Speaker 3: in that. Once again, you don't really spend as much
Speaker 3: time with him, but you do pick up he's incredibly loyal,
Speaker 3: but he doesn't the reason he gets along with Popeye's
Speaker 3: he'll put up with his ship to a certain extent,
Speaker 3: but then there'll be moments when he pushes back and
Speaker 3: will sort of, you know, slap him around a little
Speaker 3: bit to get him back on track. But then you know,
Speaker 3: especially in that phenomenal scene, once again, describing it will
Speaker 3: sound strange that it's riveting, But when they're pulling the
Speaker 3: car apart looking for the drugs, and that scene goes forever,
Speaker 3: and the longer it goes, you're like, this has.
Speaker 2: Been a terrible mistake.
Speaker 3: And we've seen them more at stakes, so it's quite
Speaker 3: on the cards that they have fucked this.
Speaker 1: Up, absolutely, And and I think it's it's it's it's
Speaker 1: set up from the very opening that this is a
Speaker 1: film that's going to take its time, you know, And
Speaker 1: I it's it's like on this podcast chatting about how
Speaker 1: a movie starts, you know, what it sets up. And
Speaker 1: I think, what what this movie sets up? What freaking's
Speaker 1: trying to do? You have the the French guy who
Speaker 1: we we don't know who this guy is. We suspect
Speaker 1: he's on the lookout. He's kind of doing his own
Speaker 1: little stakeout. He's kind of hiding behind corners. He's he's
Speaker 1: spying on some people. And then we just follow him
Speaker 1: like he's eating eating a baghet or something, and then
Speaker 1: he has a baguet, and then and then and and
Speaker 1: then he just walks through the streets of Massaill and
Speaker 1: we're following and we think, okay, this guy's.
Speaker 4: You know, one of the players of this this.
Speaker 1: Film, And and then he just gets shot in the head.
Speaker 1: The point where I was like, when the gun came up,
Speaker 1: I'm like, they're not going to shoot him because he's like,
Speaker 1: he's a guy, he's a person of interest obviously because
Speaker 1: they spent two minutes, you know, walking the streets and
Speaker 1: a sign within. But no, he gets shot in the
Speaker 1: head and blood splood on the walls. Very red.
Speaker 4: The blood is very red.
Speaker 1: In this film.
Speaker 4: It's exciting.
Speaker 1: I think I think it might have had some had
Speaker 1: some filtering in post go on, there some grading. But
Speaker 1: and then the lovely touch of the killer basically taking
Speaker 1: a little bit of breadstick and theget. It was a
Speaker 1: lovely touch.
Speaker 2: It is. I'm so glad you brought that up.
Speaker 3: That was one of my notes that I wrote down
Speaker 3: because it made me laugh so much because you've just
Speaker 3: seen this poor guy get shot in the face. And
Speaker 3: not only does the guy go and take the beget,
Speaker 3: but he only takes.
Speaker 2: Some of it, Like he just takes it. I take
Speaker 2: the whole fucking beget, mate, He's paid for it.
Speaker 1: Well, unless unless the rest of the beget had some
Speaker 1: blood on it, because there there's a lot of there
Speaker 1: was a lot of splatter.
Speaker 4: I would have loved to have seen that.
Speaker 1: Actually, just like brushing a little bit of blood off
Speaker 1: the beget before before reading it. I must I think
Speaker 1: I thought of you when I when that happened, because
Speaker 1: I thought, I reckon Hammo is going to be chuckling
Speaker 1: at that.
Speaker 2: Yeah, no, you know, well, I just know it is.
Speaker 3: It's such a perfect little kind of touch to add
Speaker 3: to a film, isn't it That it just walks over.
Speaker 3: I'll just take a little bit, keeps walking and that's
Speaker 3: the end of that guy's story.
Speaker 1: And then it's juxtaposed beautifully. Yeah, you got the basically
Speaker 1: the south of France and the year on the the
Speaker 1: rivery era, I guess, and the house of the criminal,
Speaker 1: you know, our mastermind criminal kind of lives and then
Speaker 1: he's going to be the villain for the film. And
Speaker 1: and then you go to Brooklyn and you you see
Speaker 1: Hackman and Scheider on on. You know, it's interesting because
Speaker 1: you have the they sat up the bad guy, they
Speaker 1: set the killer. You know, he kills somebody, you know, okay,
Speaker 1: he's the killer. And you have the cops you know,
Speaker 1: on a on a on a steakhout. If you're like
Speaker 1: an and the resting criminals, you know, so everyone's clearly
Speaker 1: defined very early on in this film. So Hackman is
Speaker 1: dressed up as Santa, which I guess tells you that
Speaker 1: you know he's you know he's not. He's prepared to
Speaker 1: do he thinks outside the square, this guy, which is
Speaker 1: a nice, nice touch. And then we lead into the
Speaker 1: scene which is you know it is it is a
Speaker 1: tough watch and they drag him into the alleyway and
Speaker 1: they had this conversation with him and I mentioned this,
Speaker 1: I ask you this, it's worth having a little chat
Speaker 1: about this is this is the scene where they are
Speaker 1: really playing the good cop backup with the that the
Speaker 1: young man theyver they've dragged away. And there's a week
Speaker 1: question that that Gene Hackman's popeye keeps asking the time,
Speaker 1: I know what's saying? That streat he lives on ship
Speaker 1: ed was like playing pick your feet?
Speaker 5: What was he talking about?
Speaker 1: A man?
Speaker 4: You want to talk to you?
Speaker 1: You have.
Speaker 4: You ever been for Keepsie?
Speaker 1: Talk about you said? Come on, have you ever been
Speaker 1: for Keepsie? You better Forughkeepsie? Haven't you I want to
Speaker 1: hear it?
Speaker 2: Come on, yes, have you been there?
Speaker 1: Right? Yeah?
Speaker 2: You sat on the edge of the back.
Speaker 1: Didn't you can you talk of your shoes, put your
Speaker 1: finger between you toes and pick your feet, don't you?
Speaker 2: That's all right?
Speaker 1: You want to see you on my fight?
Speaker 2: You know what that means?
Speaker 1: God damn it? Oh what wrong?
Speaker 2: I got graper Balis bowling scores.
Speaker 3: Now I'm gonna bust your aut for those three bags
Speaker 3: and I'm gonna na from your fet forep.
Speaker 1: I mean, it's it's strange, like it's so the story
Speaker 1: behind it is so the two, the two. So this
Speaker 1: is based on a book. The book was touched boring,
Speaker 1: so we in Freaquent wasn't particularly interested in adapting it.
Speaker 1: But then he actually met, uh, two of the guys
Speaker 1: who did what was he we were involved with this
Speaker 1: big kind of drug busts uh and and they cops
Speaker 1: the names were it was Grasso and Aiden I think
Speaker 1: their names were, and they he hung out with them
Speaker 1: and thought, oh, you guys are really interesting and would
Speaker 1: follow him around on bus and and like go, wow, okay,
Speaker 1: maybe I could take that story, but add a whole
Speaker 1: lot of you know, add a car chase, and add
Speaker 1: you know, some set pieces and and some fun stuff
Speaker 1: and and and apparently they had dressed up as Santa
Speaker 1: claus as, you know, to bust people.
Speaker 4: They yeah, you know, Popeye.
Speaker 1: Would would ring the bell twice to alert the police
Speaker 1: to come and arrest somebody. But apparently one of the
Speaker 1: tactics was that Popeye would often ask somebody.
Speaker 4: Did you did you.
Speaker 1: Say did you pick your feet?
Speaker 4: In Portkeepsi?
Speaker 1: In a way to throw to confuse the guys, they're
Speaker 1: kind of who are they're interrogating so and then when
Speaker 1: so when his partner comes in and asks the question
Speaker 1: that they actually want to ask, he's kind of almost
Speaker 1: relieved that he can actually answer this question because he
Speaker 1: knows what they're talking about. So it was that kind
Speaker 1: of a tactic. So I've used it here. But for me,
Speaker 1: I must say, it kind of just confused me because
Speaker 1: I was going, what, like you're trying to work out
Speaker 1: early on in the movie, and again I'm trying to
Speaker 1: let it wash over me, but I'm kind of think, okay,
Speaker 1: you're still trying to follow it, and I'm thinking, what, Okay,
Speaker 1: so there's something that happening Poughkeepsie. Okay, I'll keep that
Speaker 1: in mind, Poughkeepsi. And then it doesn't it does not
Speaker 1: come up again.
Speaker 3: Well, it comes up very briefly, and so I was
Speaker 3: like you. I was like, what is going on here?
Speaker 3: Do I need to remember about this? And then the
Speaker 3: I figured it must have been a tactic to make
Speaker 3: someone feel disorientated, but I didn't I didn't know if
Speaker 3: there was a specificity to that term. And the only
Speaker 3: reason I sort of thought it must be So that's
Speaker 3: one of the scenes where Roy Scheider starts laughing, and
Speaker 3: so he turns away at one point and he's got
Speaker 3: the giggles. So I'm thinking, Okay, well, there's there's something
Speaker 3: going on there. And then later on one of the
Speaker 3: other cops says to Popeye, are you still picking your
Speaker 3: feet and poughkeepsie?
Speaker 1: You know? And he right?
Speaker 2: So I was like, oh, is he known for this?
Speaker 3: So I didn't know if there was a specific thing
Speaker 3: to it or is it essentially just absurdism and you
Speaker 3: and by keep asking a question that they have that
Speaker 3: he bullies them into saying yes. So then when they
Speaker 3: do ask the right question, it will just be easier
Speaker 3: for them to be honest because they've already been bamboozled
Speaker 3: so much.
Speaker 2: Is that that's essentially both right?
Speaker 4: I think that's absolutely correct.
Speaker 1: Yeah, And then they shot that they went to shoot
Speaker 1: out I think on the first day, and Gene Hackman
Speaker 1: was quite uncomfortable, you know, with the racist elements. So
Speaker 1: even he I guess to go back to what we're
Speaker 1: talking about before, had this felt in nineteen seventy one,
Speaker 1: the fact that Gene Hackman was uncomfortable with it. Yeah,
Speaker 1: and he I think those shooting is on the first
Speaker 1: day and he wasn't that he wasn't really committing to it.
Speaker 1: And I think part of it was his discomfort with,
Speaker 1: you know, bailing up this African African American kid, but
Speaker 1: also he thought that him and Scheider hadn't kind of
Speaker 1: gotten too their kind of natural rhythm of you know,
Speaker 1: of the good back up kind of role. And and
Speaker 1: he ends up quitting on the on the second day
Speaker 1: and and freaking was was kind of harshly we'll try
Speaker 1: to make him kind of angry to kind of you know,
Speaker 1: stir him up. We've spoken about this on on this
Speaker 1: podcast before. This idea that directors will and hopefully it's
Speaker 1: an outdated method, the idea that you need to get
Speaker 1: under the skin or to agitate your actor. If you
Speaker 1: hire the right person, surely you don't need to do
Speaker 1: those kinds. I think Kubrick was famous for it, and
Speaker 1: then Shelley Deval and the shining Yeah, it is famous
Speaker 1: or infamous. So and then they he came back, his
Speaker 1: manager committing you to come back, and he eventually you know,
Speaker 1: got into the role. And and then they went back
Speaker 1: on the last day, I think, and shot this role,
Speaker 1: shot this scene again, and it was you know what
Speaker 1: we see on the on the screen now.
Speaker 2: Yeah, manipulating actors.
Speaker 3: There's something kind of you know, it's bullying in many ways,
Speaker 3: and you've seen it with that that that.
Speaker 2: Kubrick story is awful.
Speaker 3: There's the that awful story about Dustin Hoffman really slapping
Speaker 3: Meryl Streep and Kramer versus Kramer like and you know
Speaker 3: she wasn't expecting. On the plot side, Edward Norton punching
Speaker 3: Brad Pitt in the year after Fincher told him to
Speaker 3: do it. So then you get that reaction of ah,
Speaker 3: my ear like that reaction, but you know that feels
Speaker 3: that feels different. You're you're making a movie called Fight
Speaker 3: Club with David Fincher, guess what he's probably going to
Speaker 3: do at some point, But these other films, it's like,
Speaker 3: you know, acting is pretendsies just just you know, like
Speaker 3: I'm not downplaying it. It's a it's a wonderful skill,
Speaker 3: but it is pretensis. And I don't know if you
Speaker 3: have to psychologically damage someone to get a performance.
Speaker 1: I just think it comes down to when you when
Speaker 1: you hire your actor, hire the actor that you know
Speaker 1: can get to that point that you need that you
Speaker 1: need them to be.
Speaker 3: Yeah, you know it's amazing that he wanted to quit
Speaker 3: because he wins Best Actor in nineteen seventy one for
Speaker 3: this performance.
Speaker 1: Yeah, it's one of a couple of a couple of Oscars.
Speaker 1: There's talk that there's a lot of improvis going on.
Speaker 1: There's been quite a bit of debate because a screenwriter
Speaker 1: kind of said and who won for Best Screenplay and
Speaker 1: has kind of said, no, there wasn't as much as
Speaker 1: you think. I do get a little bit. I don't
Speaker 1: know uneasy when actors overstate the amount of improv that
Speaker 1: was done, because I think sometimes there's sometimes I think
Speaker 1: they're referring to even the improv of their own performance
Speaker 1: of you know, like the way they might move your acting.
Speaker 1: There's improv in every acting performance because you are you know,
Speaker 1: not everything is on the page. The way you move,
Speaker 1: you know, the way you move your hands, you know,
Speaker 1: the way you move you know throughout a scene. I
Speaker 1: think when you talk about improv I think people just
Speaker 1: go to dialogue, and I think it's it is more
Speaker 1: than that.
Speaker 4: And I feel for screenwriters.
Speaker 1: The first time I really felt uncomfortable with hearing Vince
Speaker 1: Vaughan talking about how much they improvised in wedding Crashes
Speaker 1: with Owen Wilson, and I just kind of thought, you know,
Speaker 1: there's somebody who wrote that, and I reckon, they probably
Speaker 1: wrote ninety percent of what we see, and you have improvised.
Speaker 1: And I always think, and I quite like Vince Vaughn,
Speaker 1: but I think it's very visible when Vince Vaughan is improvising, Yeah,
Speaker 1: because it feels like, oh, that's a bit they could
Speaker 1: have shortened. Yeah, that's a bit, that's a bit that's
Speaker 1: a bit self indulgent. Yeah, And yeah, I just get
Speaker 1: a little bit uneasy when when actors talk about how
Speaker 1: much they were improvising.
Speaker 3: No, I totally agree, and I think it's there's been
Speaker 3: kind of a movement that is not dissimilar to maybe
Speaker 3: I don't know, it's hard. I don't know anything about
Speaker 3: time anymore since Lockdown. It's till twenty twenty one, isn't it.
Speaker 3: But I feel like about twelve fifteen years ago there
Speaker 3: were was a movement in the Australian comedy scene where
Speaker 3: it was like, ugh, he's doing a routine. He's prepared,
Speaker 3: and it was you know, no, I just improvised my material,
Speaker 3: and it's like, well, I can tell like there's improvisation
Speaker 3: in the material that you're prepared, because every performance is
Speaker 3: different and every audience has a different reaction to different parts,
Speaker 3: so you're even if it is a pre prepared routine,
Speaker 3: you are still improvising within it because sometimes you'll also
Speaker 3: find new jokes, so you're always doing that and getting
Speaker 3: back to your Vince Fawn point. Often you could tell
Speaker 3: the comedians who were getting up, who were going, I'm
Speaker 3: not going to do a routine. I'm just going to
Speaker 3: take seven displit words I've never put in a sentence
Speaker 3: before and keep going until I find it out and
Speaker 3: you sit there and go, fuck, that could have been trimmed.
Speaker 4: I completely agree.
Speaker 1: To get back to your point, You've almost set it
Speaker 1: up as a theme for this episode, which I love
Speaker 1: is the ambiguity of this and I do love that
Speaker 1: we don't we don't really know anything about their past.
Speaker 1: We don't know how long these two I've only seen it,
Speaker 1: you know, last night, so maybe I've missed it. But
Speaker 1: we don't know how long these guys have ever been
Speaker 1: partners for, you know, are there We assume there's no
Speaker 1: there's no partners involved, no wives, popeyes, you know, he's
Speaker 1: you know, he's got a few little ladies. He sleeps
Speaker 1: within the film, so we suspect there's no wife or
Speaker 1: a significant other, and we don't see anything from Shardest.
Speaker 1: But and I like that this is a movie about
Speaker 1: two corps trying to bring down a drug ring. There's
Speaker 1: the stuff we don't need. We don't need to, you know,
Speaker 1: we don't need to know their emotional wounds, really like,
Speaker 1: even though sometimes that can be very important in the film,
Speaker 1: you know, but but understanding when it's needed and when
Speaker 1: it's not. And I think it's it's not needed in
Speaker 1: this film, and it doesn't suffer for it.
Speaker 3: Yeah, you feel like they I totally agree, And I
Speaker 3: feel like they've been together for a while. I think
Speaker 3: you kind of get that impression with the way.
Speaker 2: They talk to each other.
Speaker 3: I think you get that, and the way, as we
Speaker 3: discussed before about the way ship backs Popeye, we get
Speaker 3: little bits and pieces from the other cops. He's obviously
Speaker 3: had hunches where he's been right on the money, and
Speaker 3: it looks like he's had hunches where he has been
Speaker 3: way off. And he's also one of his hunters has
Speaker 3: led to the death of another cop at some point,
Speaker 3: and he seems.
Speaker 2: To be either.
Speaker 3: Just completely ignoring it or maybe that's why he's an alcoholic.
Speaker 3: Maybe part of his genius is that, you know, he
Speaker 3: can't control it, and he dampens it by you know,
Speaker 3: running himself into the ground. And part of what makes
Speaker 3: this movie so fascinating is, you know, you talked about
Speaker 3: that opening where you go, oh, this must be one
Speaker 3: of our main characters.
Speaker 2: Up, mister Burgett. He's gone.
Speaker 3: And then suddenly we're following these two cops and these
Speaker 3: two worlds intertwine by chance because they go to the
Speaker 3: club and then they look over and they see someone
Speaker 3: that you know, Popeye's brilliance genius.
Speaker 2: It gets a hunch on that is correct.
Speaker 3: That leads to something much bigger, and it's yeah, it's
Speaker 3: fascinating the way it kind of plays out that way.
Speaker 1: Yeah, I do love that these two they're almost I guess,
Speaker 1: you know, I'm not sure if beat cops is the
Speaker 1: right word, but yeah, they're cops that aren't you suspect
Speaker 1: you know, if you've seen the other guys, they're not
Speaker 1: quite the other guys where they're being they're coping shit
Speaker 1: back at the station because but you know, they're not
Speaker 1: they're not receiving medals and they're not you know, but
Speaker 1: and they they run their own they run their own
Speaker 1: race in a way. But you're right, they've had some
Speaker 1: failures and some tragedies and disasters. They're not the cops
Speaker 1: at the da is putting out in front of the
Speaker 1: the press and saying, you know, these are these are
Speaker 1: our finest.
Speaker 3: Oh yeah, And I don't want to get to the
Speaker 3: ending just yet, but just to keep in mind when
Speaker 3: we do get there, I think the very final title
Speaker 3: card also informs us of their.
Speaker 2: History, if that makes sense.
Speaker 3: So okay, with the denouement, I think they kind of
Speaker 3: sets in stone the type of guys we've been watching
Speaker 3: for the whole movie.
Speaker 1: Okay, we'll put that. We'll come back to a little
Speaker 1: placeholder there forward.
Speaker 2: Anything from commercial radio.
Speaker 1: Now he's some smash mouth. So hang right, Scheider, they've
Speaker 1: got him Cloudy. I think in this I think in
Speaker 1: the in one of the in the i mbd's referred
Speaker 1: to as Buddy Russo. So we've got we're his Cloudy.
Speaker 1: And from here on in so Cloudy goes back to
Speaker 1: Popeye's house or apartment, and it's I think deliver very
Speaker 1: much deliberately. It's it's almost like a prison set up.
Speaker 1: It's quite a depressing place to live. And he's just
Speaker 1: ridden past that the girl on the bike, and you know,
Speaker 1: even and then these days twenty twenty one, I'm not
Speaker 1: sure what if like fifty years ago nine, it's everyone,
Speaker 1: but it's a bit like eh and thank god, thank god,
Speaker 1: in a way, he was the one chained up, handcuffed
Speaker 1: in that bed and the woman was safe in between, empowered,
Speaker 1: you know, in the other room.
Speaker 2: Yeah.
Speaker 3: Look, we don't spend a lot of time with her,
Speaker 3: so I'm not going to say that she wasn't empowered.
Speaker 3: But yes, thank goodness, he was the one with the
Speaker 3: handcuffs him to the bed. But just that whole setup.
Speaker 3: As soon as soon as the door opens and the
Speaker 3: pushbike has kind of leaned up against the door. It's
Speaker 3: a bummer, Like you already have an idea that this
Speaker 3: guy things aren't great for him, and then you get
Speaker 3: to his house and you go, oh, I underestimated.
Speaker 2: How shitt he his life. Yes, and it feels like
Speaker 2: it's his fault as well, do you know what I mean?
Speaker 3: Like you feel like his life is this way because
Speaker 3: of the way he conducts himself and he can't conduct
Speaker 3: himself any other way.
Speaker 1: Yeah. And I like the fact that they're not they
Speaker 1: didn't whether this was a trope already or they just
Speaker 1: ignored it or it became a trip later on. But
Speaker 1: he's not. He's not a divorce divorcee who's you know,
Speaker 1: been left with nothing and this is what he's been
Speaker 1: left with.
Speaker 4: Is like, no, this is this is all him or
Speaker 4: all he's doing.
Speaker 1: Yeah. And also you know the fact that I imagine
Speaker 1: New York cops of that ELK weren't you know, this
Speaker 1: is probably not you know, they were making a lot
Speaker 1: of money, you know, so which you know, we led
Speaker 1: to a lot of the corruption. I also when I
Speaker 1: was watching this was thinking about the time it was
Speaker 1: made nineteen seventy one and surveillance being a reasonably like
Speaker 1: that technology. Those great scenes where they're listening in, you know,
Speaker 1: I'm sure they were. They were wires beforehand. And the
Speaker 1: idea of bugging a place, I think it even comes up,
Speaker 1: well it comes from the Godfather, but the Godfather is
Speaker 1: after this. But I wonder how exciting that felt for
Speaker 1: audiences like to see, like how and I I've had
Speaker 1: more time on maybe you know, do a bit more
Speaker 1: research as far as films are kind of looked at surveillance,
Speaker 1: but I imagine it felt reasonably kind of schmick.
Speaker 2: Yeah, and yeah, that would have felt ahead of the time.
Speaker 2: You know.
Speaker 3: It's funny because now you know, to record this, I
Speaker 3: have to take the tape off my camera on my
Speaker 3: computer because that's.
Speaker 1: Just what you do.
Speaker 3: Like it is, you know, oh yeah, everything's listening to me.
Speaker 3: Oh hang on, let me just have a conversation about
Speaker 3: the French connection. Hang on, I'll just go on Instagram.
Speaker 3: Oh look, there's a site that was to send me
Speaker 3: the box set, Like how did that happen?
Speaker 1: You know?
Speaker 3: But the idea of them listening in, I feel like
Speaker 3: it would have been people who are super nerdy and
Speaker 3: up to date with surveillance techniques and people who are
Speaker 3: into conspiracy theories. The government's listening to you man, you know,
Speaker 3: it would have been that kind of thing, and here
Speaker 3: they are. Not only are they doing it, but geez
Speaker 3: it looks really boring.
Speaker 1: Yeah, one of my favorite, one of my favorite scenes
Speaker 1: is and because we mentioned this, you mentioned the science,
Speaker 1: we can shut a bit a bit more about the later.
Speaker 4: The lack of dialogue.
Speaker 1: There's long stretches where there's no dialogue, but there's a
Speaker 1: I think there's a scene where it's I think the
Speaker 1: best dialogue perhaps in the film is when they're they're
Speaker 1: having the heroin measured or tested to see how pure
Speaker 1: it is, and there's some lovely dialogue that comes from
Speaker 1: the man doing it.
Speaker 4: Let's have a listen. Plas stuff one eight zero.
Speaker 5: Two hundred Good Housekeeping Seal of Approval to ten US
Speaker 5: Governments Certified two twenty Lunar trajectory Junk of the Month
Speaker 5: club Sirloin Steak to thirty created Poison, Absolute.
Speaker 4: Dyna Mate Junk in a Month, club Sirloin Steak.
Speaker 1: It's the one.
Speaker 4: It's the one time.
Speaker 1: Where somebody is allowed to have this kind of almost clean,
Speaker 1: patient kind of you know dialogue that's actually it's got
Speaker 1: a bit of swagger about it. Really like it's the
Speaker 1: rest of it's so real and so like, you know,
Speaker 1: in the moment, and heated that this is like quiet
Speaker 1: a moment. This guy is completely relaxed about it, you know,
Speaker 1: and is in his element.
Speaker 2: Oh mate, he's a beat poet the way he's.
Speaker 3: And you know, it is one of the things that
Speaker 3: I enjoy with watching specifically older movies as well, is thinking, oh,
Speaker 3: would you like to see this as.
Speaker 2: A TV show?
Speaker 1: Now?
Speaker 3: I think this is perfect as a movie, but if
Speaker 3: they made this as a TV show, I'm giving that
Speaker 3: character an.
Speaker 2: Arc because I want to keep.
Speaker 3: Just testing junk all over town, just being really cool,
Speaker 3: and I don't really want to give him any come
Speaker 3: up and so, like, I know he's not a good dude,
Speaker 3: but I'm happy to keep following him. He's kind of amusing,
Speaker 3: I've got to say, one of the most refreshing aspects
Speaker 3: of this film, and he is a prime example of this.
Speaker 2: He doesn't have cap teeth. He just has normal teeth.
Speaker 3: There's a little crack there, you know, it's like just
Speaker 3: kind of have normal mouths, and people kind of you know,
Speaker 3: everyone looks like it's it's a sea of Caucasian men
Speaker 3: and they all look different and it's quite it's quite satisfying.
Speaker 3: Some are a bit pudgy, some are a bit round.
Speaker 3: You know, Roy Scheider's got this this rugged handsomeness that
Speaker 3: you just do not see in actors in any way anymore.
Speaker 3: You know, Now actors are and this is not you know,
Speaker 3: having a go, but now they you know, they have
Speaker 3: chemical pills and they look after their faces and all
Speaker 3: that kind of stuff. That Roy Scheider looks like I
Speaker 3: just spent sixteen hours in the sun smoking, and I feel.
Speaker 1: And Gene Hackman running is just like here's forty one
Speaker 1: when he made this and and yeah, I love that
Speaker 1: He's not Yeah he's not Vin Diesel, you know, chasing
Speaker 1: somebody down.
Speaker 4: He's fucking struggling.
Speaker 1: The only the only way they catch that kid at
Speaker 1: the start is because he falls over, you know. And
Speaker 1: when he jumps, he jumps the rail. At one point
Speaker 1: it looks like he came so close to not making that,
Speaker 1: not clearing that rail.
Speaker 3: I reckon if he had not cleared it, I have
Speaker 3: a feeling that would have been in the movie because
Speaker 3: he would have just sing and they just would have
Speaker 3: they would have just left the realism of it, because
Speaker 3: you know, they left the realism of everything that happened
Speaker 3: with the car, so Geen Hackman face planting would have
Speaker 3: become a part of the story.
Speaker 4: I would have loved to have seen that and the
Speaker 4: t about realism.
Speaker 1: How's this for nineteen seventy seventies Hollywood filmmaking New Hollywood.
Speaker 1: That scene that we'd just listened to where they're measuring
Speaker 1: the hell and it was real heroin?
Speaker 3: Oh you serious? It's a heroin? All right, we'll get
Speaker 3: some real because you know what the best part of
Speaker 3: that is. I guess they had to claim it on
Speaker 3: tax movie making product?
Speaker 2: So did they?
Speaker 1: I don't know? And I imagine, imagine not every time
Speaker 1: you see the heroin, it's it's it's real. But in
Speaker 1: that instance, when they measured it so that small amount
Speaker 1: where they may put whatever they put in there, and
Speaker 1: to do it all, they wanted to make it as
Speaker 1: real as possible. And yeah, real heroin.
Speaker 3: So maybe that guy of a rat party, Yeah, started
Speaker 3: off really exciting, and then everyone just kind of sat
Speaker 3: around and listened to.
Speaker 1: The let's talk about the train. You refer to it
Speaker 1: earlier on It is It's one of my favorite.
Speaker 4: Scenes of the film it.
Speaker 1: I think you said something like it has no right
Speaker 1: being that that intriguing it is so it is so beautiful,
Speaker 1: you know, choreographed and performed.
Speaker 2: Oh and the fact that I think what's fascinating about it.
Speaker 3: I don't know if you read it the same way,
Speaker 3: But at first I can't tell if the tale knows
Speaker 3: that he's being tailed.
Speaker 2: So that's part of the intrigue. Is is he aware
Speaker 2: or is he not aware?
Speaker 3: And is he kind of messing with Popeye or is
Speaker 3: he uncertain that Popeye is there and trying to trick him?
Speaker 3: And then there's just a point where you sit there
Speaker 3: and you go, nah, he knows, he knows, and he's
Speaker 3: messing with Popeye. And then you can see it dawn
Speaker 3: on Hackman's face where he's like, I think he's onto me,
Speaker 3: but now we're in this dance and I.
Speaker 2: Have to stick with it.
Speaker 3: And then he manages to trick him, and it's like
Speaker 3: all pretenses off. It's just Hackman throwing the hat on
Speaker 3: the ground. I'm just shaking his fist that this this
Speaker 3: cat and mouse game that became something completely different.
Speaker 2: Well that guy just won.
Speaker 1: Yeah, yeah, I read it exactly the same way, and
Speaker 1: it was. It was just fascinating, even when when I
Speaker 1: think the last time Hackling or Popeye gets off the
Speaker 1: train and you have the our French villain in the
Speaker 1: background and you know he's gone back on, but we
Speaker 1: know that Pope is still looking the wrong way and
Speaker 1: it's too late.
Speaker 3: You go, no, look the other way, the other around,
Speaker 3: and why are you still playing the game of Oh yeah,
Speaker 3: I'm just casually stepping off for the fifteenth time, and
Speaker 3: I don't want you to know that I know.
Speaker 2: And then that's how that's.
Speaker 1: What I thought. I thought. I thought, surely at some
Speaker 1: point you're kind of like you got to make a
Speaker 1: little bit of eye contact and go, let's do this. Yeah,
Speaker 1: it's on. The cat has found the mouse.
Speaker 2: It's so good.
Speaker 3: But once again, just describing it, people would be thinking
Speaker 3: walking on and off a train, how is that compelling?
Speaker 2: But it is amazing.
Speaker 1: And we've seen we've seen you know, that scene since then,
Speaker 1: and I'm not sure you know if there's how many
Speaker 1: cops chasing bad guys on trains or not even cops necessarily,
Speaker 1: but you know how many scenes like that there were
Speaker 1: pre dates this one, But this, I know, this feels
Speaker 1: like it might have been one that has inspired many
Speaker 1: of those scenes we see where bad guys are being
Speaker 1: chased through trains, you know, and carriages or and vice versa.
Speaker 3: Yeah, this feels like a really groundbreaking movie, like a
Speaker 3: ground zero for a lot of where these types of
Speaker 3: movies go in the future. And it's it's part of
Speaker 3: the fun of watching these films, isn't it. And suddenly, oh,
Speaker 3: I've seen that in you know, in the future down
Speaker 3: the road. There's been movies over gone. We're going to
Speaker 3: do our version of that scene. And this is where
Speaker 3: this scene kind of came together. And once again I
Speaker 3: would say, you know, as I said to you up top,
Speaker 3: it it felt even though it takes its time, which
Speaker 3: feels weird to us because we're so used to so
Speaker 3: many cuts in films now, it also felt strangely, you know,
Speaker 3: quite modern in in the way it was shot and
Speaker 3: the way music was used and the sparsity of dialogue.
Speaker 2: I thought it was extraordinary.
Speaker 1: The more I think about it, Well, it's we mentioned
Speaker 1: it shot you know, documentary style. It was a gorilla
Speaker 1: style because it's it's they didn't get permits for anything.
Speaker 1: So so in that scene we in frequent is basically
Speaker 1: whether it's him pushing it the dop or at least
Speaker 1: the cameraman. I'm not sure the VP shot that particular
Speaker 1: scene or if he had cameraman you know, taking his place,
Speaker 1: but he was basically pushed in a wheelchair, filming in
Speaker 1: a wheelchair. And there's a bit where Popo Million where
Speaker 1: gets on the plane where the camera starts, you know,
Speaker 1: almost it rises and it shakes a little bit. That's
Speaker 1: him literally getting off the wheelchair, yeah, and following it.
Speaker 1: But using all the natural They used all the natural
Speaker 1: light as far as sort of say light from you know,
Speaker 1: outside daylight. It's also lamps and whatever was they shot
Speaker 1: handheld a small unit and whatever light they.
Speaker 4: Had they made use.
Speaker 1: And if you look at the way that you know,
Speaker 1: that's why when the camera comes up to the train,
Speaker 1: you don't see any kind of reflection. Usually there might
Speaker 1: be a light even on the camera to help out.
Speaker 4: There's none of that.
Speaker 1: And even when they're at the kiosk, they're having their
Speaker 1: popeyes having his toffy apple and the Frenchman's having whatever
Speaker 1: he's having. You know, it's it's it looks beautiful like
Speaker 1: it looks. It looks it looks great, and and it's
Speaker 1: still using the lighting that's and it was the d
Speaker 1: I p Owen Owen Roseman's first first film, like first
Speaker 1: first feature film. So he goes on to make the
Speaker 1: exos two years later with with Freaking Again and and
Speaker 1: like I mentioned earlier, the TOTSI Network and he's a legend.
Speaker 1: But just yeah, that that that sequence was just that's
Speaker 1: that's where I've really decided this is this is this
Speaker 1: is great, this is this is great, this is a masterpiece.
Speaker 1: And the way that they just kind of take their
Speaker 1: time with that. I had a suspicion somewhere in the movie,
Speaker 1: maybe the first third. I kind of knew that the
Speaker 1: car chase didn't have any permits, but it kind of
Speaker 1: hit in the back of my head. I wonder if
Speaker 1: they really had any.
Speaker 3: Permits for anything, And for a few scenes in public
Speaker 3: and I had to stop myself from doing this, but
Speaker 3: I started looking at some of the other people in
Speaker 3: the shots and you can tell that it's there's no
Speaker 3: permits because there's people going, oh, you know, kind of
Speaker 3: was that a cameraman or is actually happened?
Speaker 2: You know that parts kind of thing.
Speaker 3: So so I had to stop myself for looking for
Speaker 3: that because it popped into my head, had a little
Speaker 3: look noticed it.
Speaker 2: Went, don't watch the film, don't be watching that bit there.
Speaker 1: Yeah, that's that's for your second view. And but that's
Speaker 1: that when I when I, when I hear you films
Speaker 1: where they haven't got hermits and they're not extras, they're
Speaker 1: real people, I always think, yeah, okay, but how they're
Speaker 1: not looking to the camera, Because if you're walking down
Speaker 1: the stairs and there's a camera there, your eyes drawn
Speaker 1: to the camera. I mean, yeah, you only have to
Speaker 1: watch any news reporter doing a broadcast from outside of
Speaker 1: a state of origin match to realize that, you know,
Speaker 1: you know, that must be a flame when there's there's
Speaker 1: a camera involved.
Speaker 2: I reckon on the street.
Speaker 3: Though for the most part, it takes you a bit
Speaker 3: by surprise, and I think the majority of people, your
Speaker 3: gut instinct is I don't want to be in this, right,
Speaker 3: you know, I don't know what this is like at
Speaker 3: the state of origin or something like that. You're there,
Speaker 3: you know, for sport, and you kind of will instinctively
Speaker 3: put two and two together, which is they must be
Speaker 3: reporting on the sport. I'm into sport, I'm on the camera,
Speaker 3: but I reckon on the street when you're just trying
Speaker 3: to go and you've got forty five minutes for lunch
Speaker 3: and you just want to get yourself a non bloody forget,
Speaker 3: and you see a camera you think, oh god, I
Speaker 3: don't need to be a part of this.
Speaker 2: And you quickly cross the road.
Speaker 1: Yeah yeah, yeah, probably right. The pace certainly picks up
Speaker 1: around this at this point. You get the train and
Speaker 1: then you've got the assassination attempt on Popeye. I thought
Speaker 1: when I when I scene started and there's the baby
Speaker 1: in the pram and then the mung gets shot.
Speaker 4: Yeah, and I was I was waiting for almost the
Speaker 4: you know, one of my favorite movies.
Speaker 1: The Untouchable, is that they're great scene with the pram
Speaker 1: in the in the central station and and it's just
Speaker 1: such a brilliant Elliott ness, you know, and Andy Garcia.
Speaker 4: Save Yeah. Yeah, it's brilliant, and we'll definitely do that
Speaker 4: movie at one point.
Speaker 1: But I was expecting, you know, yeah, go save the
Speaker 1: baby pop Eye, like, but again, I'm fine with the
Speaker 1: idea that they they didn't. It's like that is often
Speaker 1: what we see where you give, you know, a character
Speaker 1: who may be perceived as unlikable.
Speaker 4: Here a heroic moment the show.
Speaker 1: No, even though he you know, he's racist and he
Speaker 1: does these things, let's show him, you know, he's moral code,
Speaker 1: maybe shining through a little bit or rising to the
Speaker 1: top because he's you know, he's going to save that
Speaker 1: baby and they say that woman and you know, get
Speaker 1: her of safety. And then but as none of that,
Speaker 1: he hides me on a tree. Yeah, and.
Speaker 3: You know, it feels like it would have been out
Speaker 3: of character to have that, Like that's not this movie,
Speaker 3: isn't it. Like if he's suddenly crouching over the woman
Speaker 3: and dragging her to safety and running out to get
Speaker 3: the baby, you're suddenly thinking is this Popeye or is
Speaker 3: this maybe this is what Gene Hackman would do. But
Speaker 3: Popeye just you know, he wants to whoever's shooting at him,
Speaker 3: he's going to get him. And it's and once again
Speaker 3: that's another thing that plays into the ending as well.
Speaker 3: You know, we've already seen when we get to the
Speaker 3: end and how that plays out. We've already seen what
Speaker 3: happens when he gets shot at with an innocent bystander
Speaker 3: being shot. He is single minded and this is probably
Speaker 3: what works for him as a cop, and also what
Speaker 3: works against him.
Speaker 1: Absolutely, I think the guy who is sent to kill him,
Speaker 1: he says, basically, I'll take care of this in a
Speaker 1: pretty cocky way. Really fucked this up. Like like if
Speaker 1: you if you're gonna say in your French, you know,
Speaker 1: in your cocky French, you know with certain amount of assurance,
Speaker 1: you know, I'll take care of this. Have a better plan, mate, Like,
Speaker 1: surely there's a better way of going up on a
Speaker 1: rooftop and try to take him out from there. I mean,
Speaker 1: you know, I've seen I've seen hits in movies before,
Speaker 1: and there's better. There's been better plans than this. He
Speaker 1: shut the bed on this one.
Speaker 3: Well, I think he probably overthought it because he was
Speaker 3: a cop, so we thought I'd better do this from
Speaker 3: a distance. But I have a feeling that there would
Speaker 3: have been there would have been a lot of cops
Speaker 3: coming after him, but there would have been also a
Speaker 3: lot of cops that went, oh, thank goodness, because that
Speaker 3: guy is a pain in the ass and now I
Speaker 3: don't have to deal with him anymore.
Speaker 2: So he probably overthought how to do it.
Speaker 3: Also, like you know, like you just walked up to
Speaker 3: someone in Massailles, you know, maybe maybe it was home
Speaker 3: called advantage in Massai, and then away from home, you
Speaker 3: just don't do things like the normal way that you
Speaker 3: would do it. That's that's how the conversation would have
Speaker 3: gone if he'd gotten back to his boss.
Speaker 2: Why did you do that? You always just walk up
Speaker 2: to them and shoot them. Sorry, I'm just I'm not
Speaker 2: in my own.
Speaker 1: Bed, you know, you didn't. Never forget. And then and
Speaker 1: then we're led so basically that there's a chase, and
Speaker 1: it leads to this amazing car chase, which you alluded
Speaker 1: to before. No permits are given, so assistant directors helped out,
Speaker 1: but also local police helped out. Basically off duty police
Speaker 1: officers helped out to kind of keep it reasonably safe
Speaker 1: for about five blocks and then they're on there, so
Speaker 1: they shut they kept shooting outside those five blocks, and
Speaker 1: that's when they were like they didn't have as much protection.
Speaker 1: Weam frequent has said that is kind of amazed it
Speaker 1: was done without anybody getting hurt or killed, which is
Speaker 1: you know, concerning and obviously wouldn't happen anymore. But it's
Speaker 1: a stunning chase. It's basically there's a camera on the
Speaker 1: front of the of the of the car that they
Speaker 1: rigged up. There's one at the back of Popeye for
Speaker 1: Popeye's point of view, and then there's one looking back
Speaker 1: at Popeye. So it just looks you know, you're right there,
Speaker 1: you feel, you feel really fucking close to it, you
Speaker 1: feel in it.
Speaker 3: Oh yeah, it feels real, and because even the little
Speaker 3: accidents that happen in it are weighted in reality. Like
Speaker 3: you know, when you see you know, I've seen some
Speaker 3: great car chases and movies, but often when you know
Speaker 3: someone gets hit or whatever, there is a moment where
Speaker 3: you just this little part of your brain that thing
Speaker 3: they're not walking out of that, how are they walking
Speaker 3: out of that? That is they have been wiped out.
Speaker 3: I'm pretty certain a seat belt wouldn't have made that
Speaker 3: much difference. Always wear a seat belt, kids, But I
Speaker 3: don't think in that hit in particular, they're getting out
Speaker 3: of it and now able to run after someone. But
Speaker 3: every accident in this there's so many near misses, and
Speaker 3: the accidents that do happen are you know, just kind
Speaker 3: of scraping alongside another car or just you know, it
Speaker 3: feels real, which then adds to the esthetic, which makes
Speaker 3: you just feel so anxious as well, especially because we
Speaker 3: know that the train isn't going to stop, so you think, oh, no,
Speaker 3: he needs to keep driving, Like I was hoping he
Speaker 3: was going to get to the next station and get out,
Speaker 3: but he's trying to keep an eye up and it's amazing,
Speaker 3: Like it's one of the what top three car chases
Speaker 3: in any movie. It's that Bullet, the chasing Bullet's still
Speaker 3: my favorite.
Speaker 4: Yeah, well, bullet Bullet was in inspiration for this.
Speaker 1: In fact, we frequent said that he wanted to you know,
Speaker 1: that was that that was the blueprint and he wanted
Speaker 1: to try to outdo that.
Speaker 4: But let's see a bullet the French connection Blues.
Speaker 1: Brothers, you know, And I mean, it's one thing they
Speaker 1: have a great car chase, but sometimes it's it's it's
Speaker 1: also what else is going on and the fact that
Speaker 1: this is happening underneath the train line. You know, when
Speaker 1: he's looking up and you can kind of see the
Speaker 1: train and like you said, we know that you know
Speaker 1: it's not stopping at the next one is so it's
Speaker 1: it's it's it's so good.
Speaker 3: Story going on on the train as well, so you
Speaker 3: know exactly the car chase, it's this guy that he's
Speaker 3: chasing people suddenly realizing this dude is not right and
Speaker 3: him going to the front of the train. The poor
Speaker 3: conductor ends up having a heart attack of some sort.
Speaker 3: Like there's just so much going on up there. And
Speaker 3: then when you cut back to then it's the thrilling
Speaker 3: visceral card Chase, and there's a lot happening in in
Speaker 3: that that overall scene.
Speaker 1: And that train conductor is a real train conductor. They
Speaker 1: could they weren't allowed to have anybody else. Actually, they
Speaker 1: couldn't have an actor because he was actually had to
Speaker 1: stop the train, you know, at some point. So so
Speaker 1: he was actually real, a real, a real train conductor.
Speaker 1: And the guy who gets shot also it was a
Speaker 1: real I'm not sure what they call that role, but
Speaker 1: he was. He was like he belonged to the Actors
Speaker 1: Guild and so he got that that that part good
Speaker 1: on him. And then they and then we get to
Speaker 1: the point where they get the car and they take
Speaker 1: it apart, and it's it's it's so it's so good,
Speaker 1: like they are really they are really taking that car apart.
Speaker 3: I mean it's you know, even the lead up to
Speaker 3: it of them on the stakeout and watching the car
Speaker 3: that goes around the block three times, and eventually when
Speaker 3: they start, that car stops and starts breaking into it,
Speaker 3: and then all the cops descend. And I don't know
Speaker 3: about you, but I was sitting there going, I reckon,
Speaker 3: these are just punks who have seen a car and
Speaker 3: they're just coming back two more times to check it
Speaker 3: out before they steal it. And then it turns out
Speaker 3: that the cops have made a terrible mistake. They've jumped
Speaker 3: the wrong people. So I think that adds to the
Speaker 3: anxiety you feel when they're pulling it apart, because it's like,
Speaker 3: are you sure, Like I've already seen you make a mistake,
Speaker 3: and now you're pulling this car apart, and you're desperate
Speaker 3: to find these drugs and you are pulling everything apart,
Speaker 3: and it's quite like. I'm not like, I don't have
Speaker 3: a car, I've never driven a car. I'm not mechanically
Speaker 3: minded or anything. But I found it mesmerizing watching them
Speaker 3: just pulling it apart bit by bit.
Speaker 4: So did I I completely agree.
Speaker 1: And as much as they take it apart, boy, they
Speaker 1: put it back together nicely, don't they. I Mean, they
Speaker 1: come for the car and we suspect that they're not
Speaker 1: going to get the car because the car's fucking total.
Speaker 1: It's been it's been literally pulled apart. They found the
Speaker 1: drugs in there eventually, and I was at the point
Speaker 1: where I was like, well, I can't imagine where the
Speaker 1: drugs would be now, so it's a dead end.
Speaker 4: But they do find them.
Speaker 1: And then when they're told that your car is ready,
Speaker 1: I was kind of half expecting. Then they're kind of
Speaker 1: like they're playing a bit of a joke on them, like, yeah,
Speaker 1: your car's ready, and here it is and it's completely
Speaker 1: it's totaled, and it's like, well, you're arrested or you know,
Speaker 1: whatever it might be. But no, it's like that the
Speaker 1: car is usually pulled back together. They're done a sterling job.
Speaker 2: I was gobsmacked. I thought exactly the same thing.
Speaker 3: I honestly thought it was going to end with them saying, eh,
Speaker 3: like what have you done to our car? It's like
Speaker 3: you're nicked. But instead it comes out brand new, and
Speaker 3: I was like, holy shit, Like how did wow? Those
Speaker 3: guys really deserve my respect. They've done a great.
Speaker 1: Job, which again these days, you would go, well, hang
Speaker 1: on that they haven't. That's going to take longer. That's
Speaker 1: going to take a week to surely do that, you know,
Speaker 1: And you know, I don't know if there's any panel
Speaker 1: beaters listening Yasney podcasts at gmail dot com, let us
Speaker 1: know how long it would take to put that car
Speaker 1: back together. But I'm assuming it's not twenty minutes or
Speaker 1: whatever it might. It might have been an hour or something.
Speaker 3: Who knows how long they've been pulling it apart before
Speaker 3: the guys come in, But we do know that once
Speaker 3: those guys get there, they've been there four hours. So
Speaker 3: depending on like you know, are we are, we meant
Speaker 3: to be thinking that they're still pulling it apart while
Speaker 3: they're there, or maybe we're seeing them pulling it apart
Speaker 3: and then they come in and that's actually when they've
Speaker 3: started putting it back together.
Speaker 1: Yeah, for some reason, my mind was telling me and
Speaker 1: I might be wrong, but they were still pulling it
Speaker 1: apart while though they were in the office, So.
Speaker 4: I might be wrong.
Speaker 1: But it's a remarkable, a remarkable effort. But again, as
Speaker 1: surprise you, but it doesn't, it doesn't, it doesn't impact
Speaker 1: anything like you know, I think now it will be like, oh,
Speaker 1: come on, it's it's but I think, you know, I
Speaker 1: think you set up your own culture in a film,
Speaker 1: and this is you know, if you're not worried about
Speaker 1: too much backstory, you know, for hearing, you know, and
Speaker 1: then you know, you forgive films because they've set up
Speaker 1: these are the rules. This is the universe that we're
Speaker 1: living in, and this happened to deal with it. So
Speaker 1: we are moving on with it. We are moving on,
Speaker 1: whether you're with or you're not.
Speaker 3: So is it is it possibly just another car that
Speaker 3: looks like that that they've put the price back on
Speaker 3: the front because there was a car in the Pound,
Speaker 3: But I don't know if that's true either, because cars
Speaker 3: back then there's there seem to be lots of cars
Speaker 3: that look very different as opposed to now where you'd
Speaker 3: say oh yeah.
Speaker 1: They just yeah, yeah they got they got a Kia
Speaker 1: in there, they.
Speaker 4: Suzuki Swift.
Speaker 1: It seemed to me that was a reasoning unique car,
Speaker 1: and if not totally unique, it was maybe more European.
Speaker 2: Yeah no, they put it back together for sure.
Speaker 1: Yeah, I reckon we're supposed to believe that that that
Speaker 1: they've put it back together. There's a great they go
Speaker 1: across the bridge they're waiting for them. There's a great wave,
Speaker 1: which is an image I've seen and he's often the
Speaker 1: image used when, you know, if you're reading an article
Speaker 1: on the French connection, often it's that close up of
Speaker 1: Popeye waving back to our to our villains. And and
Speaker 1: then we're at the warehouse, and this is basically the
Speaker 1: end of the film, and it's quite extraordinary. They go
Speaker 1: in chasing the bad guys. They take one or two out,
Speaker 1: but there's the main bad guy who's he's still in there,
Speaker 1: and he well, we should we shoot the other cop,
Speaker 1: which is and you know, he shoot shooting him dead.
Speaker 1: What's interesting about this is that guy uh based on
Speaker 1: a real cop. He's in the cinema watching.
Speaker 2: He sees himself get.
Speaker 1: Killed on screen. He stands up and yelled bullshit and
Speaker 1: then sues for ten million dollars and then settles out
Speaker 1: of court for for ten thousand or something like that.
Speaker 1: But it's pretty amazing. It's pretty amazing, and apparently that
Speaker 1: has decided in the moment they kind of like do that.
Speaker 1: They're going, wouldn't it be good to shoot that guy
Speaker 1: because he's been pain in the ass, So hey, let's shoot.
Speaker 4: Him let's take him out.
Speaker 1: Wow, So give the guy that happens. Yeah, if you've
Speaker 1: got to invite him to the premiere, at least let
Speaker 1: him know, yeah.
Speaker 3: Or even give him a wait till you get to
Speaker 3: the end, mate, because you don't. Absolutely you miss out
Speaker 3: in the last three minutes. But I feel like that
Speaker 3: is that's one of those things where in hindsight, we
Speaker 3: we really get an idea of what kind of character
Speaker 3: Popeye is that.
Speaker 2: You know, it's the baby.
Speaker 3: It's thought, there's the woman with the baby being murdered,
Speaker 3: and he just keeps going and he has he's obviously
Speaker 3: calls the death of a cop before, and then this
Speaker 3: is the guy that's been pointing that out and been
Speaker 3: riding his ass because of what he's done in the past,
Speaker 3: which we don't know. Maybe this guy riding him is
Speaker 3: completely deserved. But he does not bat an eyelid. He
Speaker 3: just you know, he threeloads his gun.
Speaker 1: And yeah, yeah, yeah you can if you look for it,
Speaker 1: you can you can probably read into it a bit
Speaker 1: of like a Okay, that's something I might have to
Speaker 1: deal with that, but I'm not going to deal with
Speaker 1: it now. But it's it's quite extraordinary and you touched
Speaker 1: on it earlier with the baby in the pram. It's
Speaker 1: not this character. Yeah, other characters would would maybe if
Speaker 1: they made French connection in twenty twenty one, he would
Speaker 1: have a pop up would have a different reaction that
Speaker 1: in that moment, or maybe he wouldn't be dead, but
Speaker 1: he'd just be shot in the shoulder or something and say,
Speaker 1: oh sorry, buddy, and then he goes up to chase
Speaker 1: the villain. What did and what did you make of
Speaker 1: the soprano like ending of Popeye disappearing into it a
Speaker 1: back room in this warehouse and a single bullet shot being.
Speaker 3: So just briefly before I get to that, it makes
Speaker 3: sense that he shoots that cop as well, because he
Speaker 3: nearly shoots Roy Scheider, like he nearly takes out his
Speaker 3: mate when he comes in as well.
Speaker 2: So he is he's ready to shoot.
Speaker 1: Yeah, yeah, yeah, it's all done.
Speaker 3: I loved the ending, that the ambiguity of the ending
Speaker 3: of him going off into that room. And then you
Speaker 3: just start getting these place cards, and the place cards
Speaker 3: telling you, like, the whole operation is not one hundred
Speaker 3: percent of success. It's a mild success, but it's not
Speaker 3: enough of a success because what we learn in the
Speaker 3: very final the final panel of these guys get reassigned
Speaker 3: like they have quite clearly been on the edge before
Speaker 3: this movie ever started. They have been just keeping their jobs,
Speaker 3: just getting enough done, and then when they don't completely
Speaker 3: and utterly nail.
Speaker 2: This case, that's it. They're done.
Speaker 3: And there's a part of me so I so I
Speaker 3: know there's a sequel, and I have no interest in
Speaker 3: the sequel because I love this ending so much and
Speaker 3: there's a you know how they say, we don't know
Speaker 3: if this frenchman got away, but did Popeye shoot him
Speaker 3: and like dump him in a river or something like that?
Speaker 2: You know is or did he get away? Like the
Speaker 2: not knowing is what makes it fascinating to me.
Speaker 4: The sequel and I haven't seen it.
Speaker 1: It kind of it kind of it kind of ruins
Speaker 1: this ending for me a little bit, you know, because
Speaker 1: I because I know, and maybe I should have read
Speaker 1: at least a little bit of what the sequel's about,
Speaker 1: but I know that that he got away, like because
Speaker 1: a sequel is is Popeye for some reason, with that
Speaker 1: Cloudy going to France besides searching for our villain whose
Speaker 1: name is Elaine Shanier and that's what the sequel is about.
Speaker 1: So what happened then? Somebody just fired off a shot
Speaker 1: that didn't land? And is that? Is that good enough?
Speaker 1: And like, I assume they're not doing this for a sequel,
Speaker 1: for a sequel to exist, I assume that they're not.
Speaker 1: This they wouldn't have known. This is when William Freakan's
Speaker 1: first films. They wouldn't have known. This is also very
Speaker 1: early Gene Hackman, and very early Gene having his first
Speaker 1: big film, as was Roy Scheider. So it's not like
Speaker 1: these are stars and with the star director, with you know,
Speaker 1: all this faith in this project, it's going to be
Speaker 1: a franchise like this is this was a you know,
Speaker 1: Hail Mary, and and so they're not. I don't think
Speaker 1: they're setting up a sequel. So I knowing that the
Speaker 1: sequel that doesn't exist, I love the ending, But because
Speaker 1: the sequel exists, I'll be like, well, I don't know,
Speaker 1: like and that's more enhandsight because in the moment I
Speaker 1: enjoyed it. Im I was a bit confused though, and
Speaker 1: I because I didn't love what I would have liked.
Speaker 1: I would have liked a gunshot and maybe cut to
Speaker 1: black for a few seconds and then the place cards
Speaker 1: because I literally thought there was something wrong with my
Speaker 1: my I was.
Speaker 4: Streaming it on Disney.
Speaker 2: And the Disney app.
Speaker 1: It's in the Pixar section. Surprisingly it is. It is
Speaker 1: on the Disney app if you're looking for it. And
Speaker 1: I was like, Oh, what's what's going on? Because it's
Speaker 1: just a freeze of the close up of one of
Speaker 1: the actors. And then and then the title card comes
Speaker 1: the words come up. I was, ah, that's the that's
Speaker 1: the ending. Because I was fully ready, okay, now it's
Speaker 1: the chase moment, and I'm okay not to have that moment,
Speaker 1: but I was. I just would have loved a little
Speaker 1: space of me of allowing me to kind of comprehend, shit,
Speaker 1: did pop I just get shot or did instead of
Speaker 1: like having all this information about what happened to some
Speaker 1: of the other characters. You know, there's a few seconds
Speaker 1: of me having that in my head of like, what
Speaker 1: the fuck just happened.
Speaker 2: It's funny. It's even the start of the film.
Speaker 3: It's a little bit like the film started and oh
Speaker 3: it's ended, and it's it's like Friedkin just comes in
Speaker 3: hard while the story's already got a bit of momentum
Speaker 3: and finishes it where he desires he's going to finish it.
Speaker 3: I wish I hadn't looked up what the sequel was
Speaker 3: about either. I reckon, you're completely right, because I like,
Speaker 3: there's four years difference between the person and the second,
Speaker 3: and you know, there weren't really you know, you had bond,
Speaker 3: but there weren't really those types of movie franchises. Like
Speaker 3: I think it was a pretty big deal when Godfather
Speaker 3: Part two was that's right, so and it didn't do
Speaker 3: like I think it did all right, but it didn't
Speaker 3: do as well. And I think the thing I read
Speaker 3: was Hackman saying, you know, four years difference is too much.
Speaker 3: But also I just like I really loved the film
Speaker 3: and I just didn't have any urge to see Popeye again.
Speaker 4: Yeah, yeah, I agree.
Speaker 1: And there was also a TV series in eighty four
Speaker 1: with Ed O'Neil TV's Ted Bundy and also obviously j
Speaker 1: for Modern Family as Popeye himself. Before we go, here
Speaker 1: is some fun facts. I've weaved some of these fun
Speaker 1: facts throughout the episode, but here is someone didn't get
Speaker 1: to the straw hat that he puts on the back
Speaker 1: dash of the car is taken from that's a sign
Speaker 1: apparently in New York at the time when undercover agents
Speaker 1: were on duty, so be assigned to other police offices.
Speaker 1: So if that was a case, a lot of police
Speaker 1: officers would think my parents were off police police officers somewhere.
Speaker 2: He's not meant to they see the straw hat. He's
Speaker 2: on the job. No worries in getting some cake and coffee.
Speaker 1: Apparently one of the coldest New York winters on record
Speaker 1: at the time of shooting was it was particularly it
Speaker 1: was bloody freezing, so or the movie it does.
Speaker 4: You feel it, don't you?
Speaker 1: Yeah? And they they cut to eat it in the grass.
Speaker 1: That were advisors we mentioned, and they also went on
Speaker 1: to become they almost quit their jobs and when on
Speaker 1: become technical advisors in various Hollywood.
Speaker 4: Films and even appearing in some films.
Speaker 1: I think one of them that maybe had a small,
Speaker 1: very small role in The Godfather and un least advised
Speaker 1: on some of that as well. So and also that
Speaker 1: the car chase they cut, they when they were cutting
Speaker 1: it in the editor room, they cut it to a
Speaker 1: song by Santana. Oh yes, black Magic Woman. Yeah, yeah,
Speaker 1: it was a song I'm not familiar with.
Speaker 2: I wonder if that's been used in another movie. I
Speaker 2: do know that song. I feel like maybe it's.
Speaker 3: I don't know why, but as soon as I'd heard
Speaker 3: about that, I suddenly thought of Carlito's Way. That might
Speaker 3: be incorrect, but it feels like something musically from that world.
Speaker 1: Apparently if you play that to the to the Car Chase,
Speaker 1: very enjoyable experience.
Speaker 2: I'm told I am going to give that a crack.
Speaker 3: Actually, I am going to find that and I'm going
Speaker 3: to give that a go because that sounds fascinating because
Speaker 3: it does have a rhythm to it as well, like
Speaker 3: Jase has a very specific feel and rhythm as to
Speaker 3: how it plays out, and it's just going to be
Speaker 3: like the gritty version of Pink Floyd a Wizard of Oz.
Speaker 4: There's also I think.
Speaker 1: What was the Space odysse see we did that recently
Speaker 1: with Tony Armstrong, and there's it was that Pink Floyd
Speaker 1: again or was it another pink Floid song when they
Speaker 1: go through that star Stargate there's a particular pink Floid.
Speaker 1: So I imagine if you smoke the ride drugs and
Speaker 1: listen to Pink Floyd and put onto any movie, it'll
Speaker 1: you know, it'll it'll work. It's magic somehow on Golden Pond.
Speaker 2: With Henry Fonder and Catherine Herbert side of the movie. Yep,
Speaker 2: this is a little mating.
Speaker 1: Mate. Always a pleasure to hang out and it's good
Speaker 1: to talk movies in microphones with you again after all
Speaker 1: these years.
Speaker 4: I know this podcast comes with homework. I really appreciate it.
Speaker 1: I did mention it in the intro your podcast, The
Speaker 1: Big Squid, which covers a lot of really deep diving
Speaker 1: pop cultural stuff, and I do like stuff on The
Speaker 1: Watchmen and the whole heap of stuff. So yeah, congratulations
Speaker 1: on that leads it's going gangbusters.
Speaker 2: Oh yeah, thank you.
Speaker 3: Yeah, it's TV, movies, books, graphic novels, music, whatever people
Speaker 3: are into.
Speaker 2: You know, we like to celebrate it. And it doesn't
Speaker 2: mean it.
Speaker 3: We don't have criticism sometimes, but we try to come
Speaker 3: at criticisms from a place of love rather than just
Speaker 3: you know, shitting on things. Unless it's the movie Shape
Speaker 3: of Water, then we're happy to.
Speaker 1: I will defend the Shape. I'll watch the Shape of
Speaker 1: Water Rester because Hughsey was going to do the Shape
Speaker 1: of Water and then and then like I got home
Speaker 1: one night, the night before we were recording and and
Speaker 1: like eleven thirty at night and he gets it.
Speaker 4: He leaves me a messag saying, ah.
Speaker 1: I couldn't download the Shape of Water, can we do?
Speaker 1: I've done Pretty in Pink instead, So okay, you've done that,
Speaker 1: have you? Okay, I'm gonna watch Pretty in Pink now,
Speaker 1: but Shape we can talk about the shapewater another time.
Speaker 1: But mate, thanks so much. You're a bloody legend. You're
Speaker 1: a hell of a human being. And we'll speak again soon. Yeah.
Speaker 2: That's great. Great to see your peak.
Speaker 4: There.
Speaker 1: It is a little bit of Santana. Try playing that
Speaker 1: to the car chase in the French Connection Black Magic Woman. Yeah,
Speaker 1: I can't wait to sync all that up. Let us
Speaker 1: know if you do that. Yasney podcast at gmail dot com.
Speaker 1: Justin Hamill and one of my great mates. Known him
Speaker 1: for a couple of decades now and is probably my
Speaker 1: favorite person the chat movies with. Check out his podcast,
Speaker 1: Big Squid and I rose a regular on it as
Speaker 1: well as many others, so check it out. They do
Speaker 1: live shows. It's really flying for him and I'm absolutely stoked.
Speaker 1: Very talented, passionate man, good man. Love him all right. Yeah,
Speaker 1: if you want to contact me Yasney Podcasts at Gmail.
Speaker 1: That's where yeah you go to. You can also get
Speaker 1: on the iTunes and give us a rating. Five stars
Speaker 1: is recommended, but you know, you can do whatever you like,
Speaker 1: but five stars.
Speaker 4: Would be great.
Speaker 1: Also write a little review. There has actually been a
Speaker 1: couple of reviews written, and I might actually read one out.
Speaker 1: This one's from Vicky the dog Walker. This was left
Speaker 1: us the other day. I love your podcast and I
Speaker 1: recommended to heaps of friends. Thank you. I just listened
Speaker 1: to Dina Ewan's review and Bill and Ted, which I
Speaker 1: especially loved. We love Diana and Ewen. I remember when
Speaker 1: this movie came out and all my friends quoted lines
Speaker 1: from it. Such a great feel good movie. I've just
Speaker 1: watched Always Be.
Speaker 4: My Maybe.
Speaker 1: After hearing Diana's review and loved this as well. Another
Speaker 1: great movie. I can share it with all my girlfriends.
Speaker 1: Keep doing a great job, Pete. It makes my dog
Speaker 1: walking breeze.
Speaker 4: Well.
Speaker 1: I am glad you're enjoying a Vicky. We also have
Speaker 1: one from Rah Rah another five star review. Thank you, Rarah.
Speaker 1: Wednesday Morning cannot come soon enough. My favorite podcast by far,
Speaker 1: A lighthearted, funny and entertaining discussion between the lovely comedian
Speaker 1: movie buff Peter Helly, thank you very much, and a
Speaker 1: different guest each week who have a chat about a
Speaker 1: different but loved movie the guest hasn't seen until now.
Speaker 1: So interesting to hear different takes and views on movies.
Speaker 1: But I also love to hear each guests three favorite movies,
Speaker 1: which shows just how different movie tastes can be. But
Speaker 1: I believe this question really tells a lot about a person.
Speaker 1: I completely agree, ra Rah. You point out that your
Speaker 1: three top three movie changes fortnightly. This podcast has truly
Speaker 1: reinvigorated my love of movies and I'm so glad I
Speaker 1: have something to listen to during our many lockdowns in Melbourne.
Speaker 1: And then I also get great recommendations for a movie
Speaker 1: to watch. A fantastic podcast. Thank you so much, Rara.
Speaker 1: I do appreciate it. Yeah, so leave reviews on iTunes.
Speaker 1: Also email us at Jesney podcast dot com dot au.
Speaker 1: Castaway Studios is where we are recording and if you
Speaker 1: want to start a podcast, Derek Myers is the man
Speaker 1: you need to chat to at Castaway Studios dot com.
Speaker 1: We have a big show next week. We are going
Speaker 1: to stay in the seventies. We're going to move four
Speaker 1: years an Olympic trimester forward to nineteen seventy five for
Speaker 1: another classic film. We have Al Pacino's Sidney Lament John
Speaker 1: Gizzal Dog Day Afternoon.
Speaker 4: It's a brilliant film.
Speaker 1: Check it out if you haven't got the chance, and
Speaker 1: we'll be discussing that with comedian broadcaster cartoonists Scott dules Duly.
Speaker 1: He's a great mate. I'm really looking forward to it.
Speaker 1: Loves lapping up pop culture, all things TV and film.
Speaker 1: He does, so he'll have plenty to say about Dog
Speaker 1: Day Afternoon. Really check it out. I really loved revisiting
Speaker 1: this one. It's a great episode. Hope you enjoy it.
Speaker 1: If you're in lockdown, I hope you are just keeping
Speaker 1: as happy and healthy as you possibly can. Reach out
Speaker 1: to your mates, your family and stay connected till next week.
Speaker 1: We'll see them for Dog Day Afternoon with Scott Dooley,
Speaker 1: and so we leave old Pete save Fan Souf and
Speaker 1: to our friends of the radio audience, we've been a
Speaker 1: pleasant good night.