Speaker 1: Kid A Peter Helly here, welcome to you Ain't seen
Speaker 1: nothing yet in the movie Podcast, where I chat to
Speaker 1: a movie lover about a classic, oh beloved movie they
Speaker 1: haven't quite got around to watching until now. And today's
Speaker 1: guest singer, comedian, performer writer my mate Yonnie from Tripod.
Speaker 2: Ah blow. I want to stay here with you to
Speaker 2: the jobble my hate, snake shucked, my fail, It wouldn't
Speaker 2: be happening.
Speaker 3: Ripe, You an't nothing here.
Speaker 1: Simon Hall aka yon or Yonny from Tripod is a
Speaker 1: dear friend of mine who.
Speaker 2: I've known for many, many years.
Speaker 1: I first got to know yon on the Melbourne International
Speaker 1: Comedy Festival road show.
Speaker 2: I met him before I did that.
Speaker 1: It was the very first one, I think it was
Speaker 1: in nineteen ninety eight, and on that tour was myself, Tripod,
Speaker 1: Ross Noble, Keith Robinson from New York, will Anderson, Kering,
Speaker 1: Grant and I.
Speaker 2: Think that was it. And we had a magical time.
Speaker 1: And I particularly loved getting to know the Tripod boys, Gates,
Speaker 1: Scott and Yon And what I loved about them in
Speaker 1: particular was they just loved talking about music and movies.
Speaker 1: And guess what I love talking about those things too.
Speaker 1: Yon is hilarious and great company. There's a great blog
Speaker 1: to hang out with and chat, and a great performer
Speaker 1: and hilarious on stage. The Tripod Boys for those who
Speaker 1: may be listening in areas where maybe Tripod aren't known
Speaker 1: comedy trio acts. They came at a time where I
Speaker 1: think there were some comedy acts we were just doing
Speaker 1: song parodies. These guys got to steer away from the
Speaker 1: parody stuff and do more their own compositions. They are
Speaker 1: brilliant musically, they are hilarious, Their chemistry on stage is amazing.
Speaker 1: They've got a really loyal band of followers and really
Speaker 1: deserved followers. Yonny was part of this sequel to Bevan
Speaker 1: the Musical. Bevan the Musical was something I did with
Speaker 1: Gatesy from Tripod. We had to do it so quickly
Speaker 1: within that time to involve Scott and Yon. It became
Speaker 1: a bit of a hit on Triple j Reaching and
Speaker 1: number thirty five on the Hottest one hundred in I
Speaker 1: think it was ninety nine or maybe the year two
Speaker 1: thousand and then we did a sequel called Beverley Creatures,
Speaker 1: and I got Yon and Scott involved.
Speaker 2: It was not as big a hit. I gotta say
Speaker 2: difficult second album.
Speaker 1: But it was great that with Yan and Scott and
Speaker 1: just perform it occasionally on stage with him. We also
Speaker 1: did another song called a Man Is Not a camel
Speaker 1: but a Camel Is, and that was also a lot
Speaker 1: of fun.
Speaker 2: Yanni has a new project out.
Speaker 1: It's a podcast and it's called Minuscule Musical Minuscule spelt
Speaker 1: with a you when you look for it, where he
Speaker 1: and a guest, usually a musical guest, perform right and
Speaker 1: compose and then perform in front of a live audience.
Speaker 2: A musical.
Speaker 1: It's not like a full blown musical, like a a
Speaker 1: two hour musical weekly for an interval as a smaller
Speaker 1: musical goes between anywhere between ten to fifteen minutes. I
Speaker 1: haven't listened to it yet a middlely, but it sounds
Speaker 1: bloody amazing and I cannot wait to get my ears
Speaker 1: into it. Yannie is smart, funny, perceptive, and just a
Speaker 1: bloody hoot to be around, and I'm bloody stoked to
Speaker 1: be hanging with him today.
Speaker 2: My name's Jan and my favorite films are Michael Clayton.
Speaker 4: I have blood on my hand.
Speaker 3: You are the senior litigating partner of one of the
Speaker 3: largest most respected law firms in the world.
Speaker 2: You are a legend. I'm a complet You're romantic depressive.
Speaker 2: I am Siva, the god of death in the line
Speaker 2: of fire. I have a rendezvous with death, and so
Speaker 2: does the president, and so do you. Frank, if you
Speaker 2: get too close to me, you have a rendezvous with
Speaker 2: my ass. Motherfucker and eighth grade. The topic of today's
Speaker 2: video is being yourself. And it's like, you know, well,
Speaker 2: aren't I always being myself? And like, yeah, for.
Speaker 5: Sure, but uh sorry, I sorry, I'm reading these off papers.
Speaker 2: And I've chosen to watch for this episode. In the
Speaker 2: heat of the not.
Speaker 5: In the it seems like a sweat creeping cross.
Speaker 1: A Purvey police officer finds a dead body in the
Speaker 1: middle of the night in an alleyway in Sparta, Mississippi.
Speaker 1: When a black man is found at a train station
Speaker 1: with a reasonable amount of cash on him, the officer
Speaker 1: believes he has his man. When the man awaiting his
Speaker 1: train is taken to the police station, he reveals that
Speaker 1: he is in fact an officer of the law. In fact,
Speaker 1: he is a homicide officer who specializes in homicide. That man,
Speaker 1: of course, is Virgil Tibbs, iconically played by the great
Speaker 1: Sidney Poitier, when directed to stay in town and helped
Speaker 1: the small town officers crack this case of the murdered
Speaker 1: prominent businessman, a man who is pumping jobs into the
Speaker 1: local community. Officer Tibbs butts heads and ideals and values
Speaker 1: with local police chief Bill Gillespie played by the great
Speaker 1: Rod Steiger in an Oscar winning role. But when the
Speaker 1: town turns its anger and its prejudice against Tibbs, Gillespie.
Speaker 2: Must choose a side.
Speaker 1: Winner of the nineteen sixty eight Best Film Oscar among
Speaker 1: five collects have had that night, including best out of
Speaker 1: that for the Great hal ashby Amazingly or perhaps not amazingly,
Speaker 1: Sidney Poitier did not receive a nomination. Yonnie, have you
Speaker 1: ever been racially targeted for a murder in the American South?
Speaker 1: It is hard to find a whimsical question off the
Speaker 1: back of this one.
Speaker 2: Have you ever been a black detective? Well answer the
Speaker 2: question wrong, stop skirting around. Well, look, I'm gonna say,
Speaker 2: can I just leave it open? And say not yet?
Speaker 2: Not yet? No, you are young and there's many years
Speaker 2: ahead of you. Mate.
Speaker 1: Thanks for joining us on you at say nothing yet
Speaker 1: you you offered a few films. There's always a little
Speaker 1: bit of a negotiation that goes on when I approach
Speaker 1: your guests for this show.
Speaker 2: You offered a few.
Speaker 1: I sent you the officials, which the movie doesn't have
Speaker 1: to be on this list, but you chose In the
Speaker 1: Head of the Night, which I liked because I haven't
Speaker 1: seen it. I hadn't seen it either. It's probably not
Speaker 1: one of the its, not like Star Wars, where it's
Speaker 1: not like I can't believe you haven't seen it, not
Speaker 1: at all. No, but how did you watch it?
Speaker 2: You know? Did you set yourself up with some nice
Speaker 2: glass of wine, phone on the train with daytime and
Speaker 2: I put on the big Telly. I was in the
Speaker 2: room by myself, in the lound room, nice leather couch.
Speaker 2: I might have had just like a glass of water,
Speaker 2: nothing too distracting. And I watched it all in one go,
Speaker 2: because often I watch movies not in one go these days,
Speaker 2: like I watched them in little snatches. So I really
Speaker 2: wanted to sort of because I've developed this thing with
Speaker 2: movies lately, where you know, they're obviously made to be
Speaker 2: watched in one sitting, and there's a certain thing about
Speaker 2: your body clock and how you experience a thing over
Speaker 2: a period of time and when you do chop it up.
Speaker 2: I do think it's quite a different experience to watching
Speaker 2: it all in one go and just feeling the pace
Speaker 2: of it and the ten and you know, the tension
Speaker 2: building yourself is particularly in a film like this because
Speaker 2: it's got a lot of well I guess it's a
Speaker 2: who done it? And it's also got all that racial
Speaker 2: stuff as well, so you do kind of get you
Speaker 2: get all sort of torn up inside. And I like
Speaker 2: having that momentum un interrupted, you know.
Speaker 1: Because I did actually watch it. I watched it in
Speaker 1: two parts. I basically watched it.
Speaker 2: Oh you didn't watch it as well as I know.
Speaker 1: I know you nailed it, but I watched it, had
Speaker 1: to go, I met somebody for dinner, came back, watched
Speaker 1: the rest of it. I went back this morning and
Speaker 1: watched the last like twenty minutes as well. So we'll
Speaker 1: get we'll out to because there's a lot to talk about.
Speaker 1: Like you said, it is like a I guess a crime,
Speaker 1: who done it? A murder mystery, a procedural if you like,
Speaker 1: But it's also got a lot more going on with
Speaker 1: the racial tension which elevates it. I think to be
Speaker 1: the film that it is. Let's away your three favorite films.
Speaker 1: There's interesting films here. I'm so glad. I'm not sure
Speaker 1: if it's the first time Michael Clayton has been nominated
Speaker 1: as somebody's favorite film, but.
Speaker 2: It is a brilliant film. I love it. Yeah.
Speaker 1: I think it's my favorite George Clooney film. And it's
Speaker 1: all of the best scripts I think, yeah that's ever
Speaker 1: been written.
Speaker 2: Yeah. I think what grabs me the most about it
Speaker 2: is that his character is just so believable, Like where
Speaker 2: he ends up at the end. He's not the kind
Speaker 2: of hero who takes a big leap and takes a
Speaker 2: big risk and does a thing. He's basically forced to
Speaker 2: do what he does, Like I mean, I guess he
Speaker 2: could not do what he does at the end.
Speaker 1: But so for those who haven't seen it, he basically
Speaker 1: is a He's almost like a Mister Wolf style character from.
Speaker 2: Is a fixer upper. He cleans messes basically. Yeah, so
Speaker 2: he's technically a lawyer. He works for a huge law
Speaker 2: firm who defend pharmaceutical in this case, not pharmaceutical but
Speaker 2: like a big company whom it may come. It's basically
Speaker 2: a mon Santo type company who have probably given all
Speaker 2: these people cancer. So he works for them, but he's
Speaker 2: not working on that case. He's working well, I guess
Speaker 2: he kind of eventually is, but he's kind of working
Speaker 2: behind the scene and just trying to clean things up
Speaker 2: for them. But he's heavily compromised himself. So it's not
Speaker 2: it's nothing. None of his decisions are straightforward because he's
Speaker 2: got a gambling problem. He's got he's got entanglements with
Speaker 2: his with his brother who and he bought a restaurant
Speaker 2: with his brother. So there's a big mess with the mob,
Speaker 2: and you know, there are lots of angles to it
Speaker 2: that make it a tough ride for him.
Speaker 1: And George Clooney, he had a run of these films
Speaker 1: where I think Syrianna might have been around his time,
Speaker 1: and where he basically often played I'm not sure if
Speaker 1: SI maybe fits what I'm about to say, but he
Speaker 1: had a run of films where he basically was a
Speaker 1: guy in a suit. You know, it's almost like that
Speaker 1: was George Cloney's uniform in every movie for about a
Speaker 1: period of five or so years. And I always had
Speaker 1: a thing. When George Clooney rocks up in a suit
Speaker 1: in a movie, you can go, that's George Clooney. You know,
Speaker 1: he's a miner star wearing a suit, and then five
Speaker 1: minutes later you forget that it's George Clooney and he's
Speaker 1: Michael Clayton, or he's whoever he was he was playing.
Speaker 2: He's Danny Ocean wherever it might be. Yeah, like he is.
Speaker 1: He's obviously a superstar. And you know there's sexist men
Speaker 1: live for certain amount of years. But he's a I
Speaker 1: think he's a really extraordinary actor.
Speaker 2: He's a great actor, and I think he but he
Speaker 2: also picks really cool things like I also think, like
Speaker 2: my other favorite movie of his and these two, I
Speaker 2: think there's there's like daylight between these two and all
Speaker 2: the other ones I've seen him in, and that is
Speaker 2: Oh actually I do like out of Sight. Ye, he's three,
Speaker 2: He's three three Kings. Three Kings, three Kings is great.
Speaker 2: I love how he chooses roles where he's like never
Speaker 2: a straightforward hero like he's that that pulls me in
Speaker 2: because they're really believable characters. I guess, Yeah, he performs
Speaker 2: is great. Is Sidney Pollack? I think directed Sidney Pollack
Speaker 2: directors in it. He's in it. He's just he's just
Speaker 2: acting it. We're talking about Michael Clayton. Yeah, he's just
Speaker 2: acting in it. But he's got He's good, isn't He's
Speaker 2: so good? Swinton is Swin one of the great villains
Speaker 2: of all time, easily in my top five villain. And
Speaker 2: Who's Who's the English actor who is the one going
Speaker 2: kind of nuts? Tom Wilkinson, Tom Wilkinson. He is phenomenal.
Speaker 2: He is great and again, like it's a super like
Speaker 2: I don't think I've ever seen that character before. Like,
Speaker 2: I mean, we've all seen the high functioning person with
Speaker 2: mental illness, but the way that he is unwell is
Speaker 2: really sort of specific.
Speaker 1: I think what makes this elevates this film an amazing
Speaker 1: and amazing.
Speaker 2: Script written by Tony Gilroy. Tony Gilroy who did recently
Speaker 2: and or are you into and you know what?
Speaker 1: I need to watch it again. I really liked it,
Speaker 1: and I love seeing dialogue that has never been passed
Speaker 1: through any like Jedi's lips at all. Just like it
Speaker 1: felt like that felt so exciting. I just wanted a
Speaker 1: little bit more popcorn in it, Okay, you know, like
Speaker 1: I thought it was. It was so determined to be
Speaker 1: not popcorn. But I think there's a little bit more popcorn. Yeah,
Speaker 1: now were more kernels, maybe like two kernels.
Speaker 2: I'm happy. I'm happy for this feel different to other stuff,
Speaker 2: and I really like that. But I found with that
Speaker 2: show and I'm doing this with Succession at the moment too.
Speaker 2: Is I watch every episode twice, like because they're being released.
Speaker 2: They're both shows that are being released kind of weekly
Speaker 2: or whatever during their run, and because of the kind
Speaker 2: of dialogue you're getting in those shows, there's so much
Speaker 2: juice in the dialogue, and I just love it more
Speaker 2: the second time, you know, Like I watch it like
Speaker 2: two days after I've watched it the first time, and
Speaker 2: it's just great and it just primes me for the
Speaker 2: next episode. I can't wait to go back to watch it,
Speaker 2: and or yeah, I really think you'll like it more
Speaker 2: than the second time. I've watched it three times now.
Speaker 2: And it's not just because I'm a Star Wars nut job. Yeah. Like,
Speaker 2: for example, I have not even watched the Obi one show.
Speaker 2: Oh see, I thought it's Obi one for me.
Speaker 1: I loved Obi Wan because I've always wanted to see
Speaker 1: Darth Vader and his fucking meanest.
Speaker 2: But what about at the end of Rogue one you
Speaker 2: get that, Yeah.
Speaker 1: But this is like like multiple times when you see
Speaker 1: Darth and like how evil he is and how kick
Speaker 1: ass he is, you know, like he was scary when
Speaker 1: I first saw Star Wars, you know ball, I probably
Speaker 1: saw it in eighty two or something, but I wanted
Speaker 1: to see him, like you eventually you kind of see
Speaker 1: that it's a guy in a suit and it's you know,
Speaker 1: and he's you know, he's been he's been, Yeah, and
Speaker 1: you know he just kind of swings his he can't
Speaker 1: really turn his that this is like he's more athletic
Speaker 1: in a way. Yeah, Okay, I saw a great like
Speaker 1: a fan did a remake of the Obi Wan and
Speaker 1: Dard Vader jewel that takes place with Obi one gets
Speaker 1: killed in New h and he did this amazing. I
Speaker 1: don't know how he did it, but he did like
Speaker 1: an amazing re not just re edit, but like shot stuff.
Speaker 2: But he's saying, it actually looks like the original film.
Speaker 1: But yeah, it looks like it looks like quite like
Speaker 1: the original film, but with like more athletic fighting going on,
Speaker 1: Like it's actually kind of quite quite extraordinary, and I
Speaker 1: was like, I want to see these two guys go
Speaker 1: at it when they're actually when they're in their primate heights.
Speaker 1: And I had all the Star Wars feels, and what
Speaker 1: I've been doing the Star Wars film releases is not
Speaker 1: engaging with fanboys on the on the internet. I'm not
Speaker 1: even I only kind of suspected maybe the Wobi one
Speaker 1: wasn't as loved as certainly as much as I loved it.
Speaker 2: I don't know, I just loved it.
Speaker 1: All I thought the Young Layer was was was great
Speaker 1: and it was I don't know, I just I just really.
Speaker 2: Maybe I have another look, you're the first person who
Speaker 2: has liked it that I've ever spoken to. Really. Yeah,
Speaker 2: And I don't just hang out with complete It might
Speaker 2: be hard to believe, but I don't just hang out
Speaker 2: with complete Star Wars nerds.
Speaker 1: And yeah, like but there were moments where I had chills. Yeah, okay,
Speaker 1: like watching it.
Speaker 2: Yeah, the hating Christien being back in it was was
Speaker 2: amazing and I liked the idea of that. And I
Speaker 2: always thought he got I always thought he got short
Speaker 2: changed in those those three movies, because I actually think
Speaker 2: he can act. He was in a film. I can't
Speaker 2: remember what it was called, but I think maybe it
Speaker 2: even had Harrison Ford in it or anyway, he was
Speaker 2: playing like an angsty teenager and he was really great
Speaker 2: and I can see why. I'm sure that's why he
Speaker 2: was cast as Anakin, because he was a teenager with
Speaker 2: a dark sort of thing. But then in those first
Speaker 2: three well what do you call episode one, two and three,
Speaker 2: he was The dialogue was so poor and George Lucas
Speaker 2: probably isn't the best director of actors, and it came
Speaker 2: across badly. Yeah, it was in to see. When you
Speaker 2: think of ABI one, okay, you expected probably low, very low.
Speaker 2: Enjoy it. I think what elevates Michael Clayton to get
Speaker 2: back to Minel Clayton is the great scrip from Tony Guro.
Speaker 1: But they are full of characters that, like you feel
Speaker 1: like you haven't quite seen. Yeah, these kind of characters
Speaker 1: before and both with Wilkinson, with Clooney and with Swinton.
Speaker 2: Swinton's character like we all know that person, that person,
Speaker 2: that sort of person who is an underling in a
Speaker 2: corporation and just doing absolutely everything to save this company. Yeah,
Speaker 2: but it's like a it's incremental, like her decisions are
Speaker 2: more and more serious as she goes. She's not just
Speaker 2: straight in from the start doing the worst thing possible
Speaker 2: that she sort of slowly gets there. So she's such
Speaker 2: a believable baddie. You're just really watching her make those
Speaker 2: decisions on the spot, and she's a baddie.
Speaker 1: She's doing in the end really kind of horrible things
Speaker 1: that they have horrible consequences, but she's doing it with
Speaker 1: anxiety as well.
Speaker 2: Yeah, yeah, yeah, absolutely, And all those scenes where she's
Speaker 2: like getting you watching her practicing her speech, Yeah, like
Speaker 2: just it plays into all your insecurities. And she's like
Speaker 2: setting out her clothes in the hotel room, like she's
Speaker 2: putting them on the bed and you know, ironing them
Speaker 2: and stuff. It's like it's just so human and relatable. Yeah. Yeah.
Speaker 2: In the Line of the fire, in the line of fire.
Speaker 1: In the line of fire, Clint this wood and I
Speaker 1: have seen that it has to say to my memory
Speaker 1: as much as it has with you. So he's protecting
Speaker 1: the president.
Speaker 2: He's protecting the president, and his backstory is so it's
Speaker 2: set in whenever it was made, like come is it what?
Speaker 2: Late nineties? Now? I think it's pretty odden it's set
Speaker 2: around that time. He's protecting some president, you know, unknown president.
Speaker 2: But his backstory is that he was one of JFK's
Speaker 2: Secret Service guys and he failed him. So he's got
Speaker 2: this thing. And John Malkovich is an intending assassin who
Speaker 2: he ends up having a relationship with, you know, a
Speaker 2: cat and mouse type relationship with, and he's the run
Speaker 2: of films where I reckon Malcovich was like the go
Speaker 2: to villain and he's so good because I do think
Speaker 2: Malkovich can phone it in like I think, but it's
Speaker 2: definitely one of his great and again a great villain
Speaker 2: because you sympathize with him once you hear his story,
Speaker 2: you go, oh god, you know, why wouldn't you be
Speaker 2: that monster? And he's fine, he's sort of funny, and
Speaker 2: the music is the music that goes with him. I
Speaker 2: don't think it's any Amriconi is so unsettling. Anyway, Have another.
Speaker 2: I definitely would say I have another watch that because
Speaker 2: it's such a fun film. One of the other secret
Speaker 2: Service agents and Clint's being very charming, but he's also
Speaker 2: really vulnerable in it, like he's I like that he
Speaker 2: embraced that later on in his in his things, like
Speaker 2: I guess in Unforgiven too, like there's a real there's
Speaker 2: a real thing where like a certain point in his
Speaker 2: movies he gets really sick in his movies, Like there's
Speaker 2: always a bit where he gets a cold.
Speaker 1: It is It is incredible the Clinisol is still making films,
Speaker 1: isn't it? At a high order? I really enjoyed Richard
Speaker 1: Jewel the Atlanta bombing. I haven't seen that. That was
Speaker 1: the last one I saw that, which I really enjoyed.
Speaker 1: I haven't necessarily enjoyed everything he's put out. But he's
Speaker 1: he's ninety though, isn't he.
Speaker 2: He's at least ninety, he might be more. He maybe
Speaker 2: like ninety two. He's like nudging the queen.
Speaker 1: Yeah, like, and he's still not only it's amazing if
Speaker 1: we found out he was still alive, but he's still
Speaker 1: making movies.
Speaker 2: Yes, yeah, and sometimes in them still as well. Yeah yeah,
Speaker 2: And he's still charming. He's he's really I mean, he
Speaker 2: ticks a lot of boxes, doesn't he. He's a pretty
Speaker 2: amazing guy. Like that Unforgiven movie. I mean, I could
Speaker 2: easily put that in my top three as well, Like, yeah,
Speaker 2: where he's come from to make that movie and to
Speaker 2: be that character, and it's such a it just ticks
Speaker 2: so many boxes unforgiven, Like it uses that world that
Speaker 2: we know, that Western thing, and then it turns it
Speaker 2: turns it on its head. Yeah, and just all these
Speaker 2: horrifically human moments. I mean, it does kind of deliver
Speaker 2: in the end on the whole sort of Shane thing
Speaker 2: as we do get to see him absolutely kick ass. Yeah.
Speaker 1: Yeah, it's funny films that kind of subvert often you
Speaker 1: actually kind of sometimes look you look at it and
Speaker 1: at at macro level, you go, oh no, they still
Speaker 1: actually did there, They still delivered on the you know
Speaker 1: you one in the Western Yeah.
Speaker 2: I reckon, we'll probably get back to that too. Yeah, maybe,
Speaker 2: let's hope. So eighth grade. I haven't seen eighth grade.
Speaker 2: I've only heard great things tell us about eighth grade. Yeah, okay,
Speaker 2: So eighth grade is Bo Burnham, who's a musical comedian.
Speaker 2: I think he's mostly established as a musical comedian.
Speaker 1: Really saw he came into my consciousness when I watched
Speaker 1: Inside he Coming special he did during the Lockdown, and
Speaker 1: it's all basically songs and bits that he recorded in
Speaker 1: his apartment.
Speaker 2: Yeah, and it's incredible. It is incredible, and it's incredible filmmaking.
Speaker 2: Like my takeaway from that film is it's incredible filmmaking.
Speaker 2: I mean, I do really like a lot of the
Speaker 2: songs too, but probably I'm too close to it being
Speaker 2: in that musical comedy kind of can't turn on, you
Speaker 2: can't turn off. I mean, but there are some amazing songs.
Speaker 2: But the thing that really excites me about it is
Speaker 2: the just so many great filmmaking ideas. And it's interesting
Speaker 2: too because so eighth Grade is a film he directed,
Speaker 2: and I think wrote he's not in it, and when
Speaker 2: I saw it, I think i'd heard his name, but
Speaker 2: I didn't even know he was a musical comedian or
Speaker 2: I didn't really know anything about him. So I saw
Speaker 2: it really cold, which is always the best way to
Speaker 2: see a movie, isn't it Like you have really even
Speaker 2: know expectations. And it's about it's basically just about the
Speaker 2: life of this thirteen year old girl who's trying to
Speaker 2: navigate life. And it's you know, she makes like inspirational
Speaker 2: YouTube videos. Anyway, I mean, I don't want to kind
Speaker 2: of spoil it or anything, but it's just a really
Speaker 2: heart wrenching beautiful portrait of someone's life, and it felt
Speaker 2: really timely because of the whole social media thing and
Speaker 2: her relationship with her Dad's really great. And yeah, it's
Speaker 2: lovely and heartbreaking and nothing like anything that was going
Speaker 2: at the time. Yeah, because it's about five years ago. Maybe,
Speaker 2: yeah about that.
Speaker 1: About that, Yeah, I saw one recently after some wh's
Speaker 1: got poor misscal in it, and that was a really
Speaker 1: lovely just a vibe of what you described. Sounded a
Speaker 1: little father and daughter on vacation and just gentle but
Speaker 1: stuff to say, there's.
Speaker 2: A little bit of similarity in that it's got that feel,
Speaker 2: that sort of documentary feeling a bit like you're just
Speaker 2: watching a life rather than you're getting performed to or
Speaker 2: anything like that. Yeah, so that's similar. But I would
Speaker 2: say because I mean I liked after Son, but it
Speaker 2: is very slow, isn't it Like it's.
Speaker 1: Yes, it's one of those films you need. I'll watch
Speaker 1: it on the plane actually, and you need it. It's
Speaker 1: one of those films if you're happy for a film
Speaker 1: to wash over you. Yeah, after Some kind of feels
Speaker 1: like that film. Yeah, eighth grade sounds like you might
Speaker 1: have a bit more going on. I think it just
Speaker 1: motors on a little bit more.
Speaker 2: But it's not. Yeah, it's not a bad comparison. Yeah.
Speaker 1: We have spoken about many films already, but there is
Speaker 1: one film we are here to discuss from nineteen sixty seven,
Speaker 1: winner of five Oscars, directed by the great Norman Jewison, starring,
Speaker 1: of course the iconics Indy Potier, Rod Steiger, Warren Oates,
Speaker 1: Lee Grant. It is a fantastic cast, it's an iconic film.
Speaker 1: It meant a lot. It came at a very interesting
Speaker 1: time in American history for this kind of film to
Speaker 1: be released.
Speaker 2: Johnny, did you enjoy in the Head of the Night?
Speaker 2: I enjoyed it. I enjoyed. I mean, it's a good
Speaker 2: it's for a start, it's one of those films. It's
Speaker 2: good because it's got the whole the backdrop of racism
Speaker 2: and all that sort of stuff. So it's about a thing,
Speaker 2: a really important thing. But it's also a good who
Speaker 2: done it? So it pulls you along with the mechanics
Speaker 2: of the plot. Yeah, and I think the plot and
Speaker 2: the character speak really well to each other as well. Yeah,
Speaker 2: you know, it's not they're not sort of two separate things.
Speaker 2: You are enjoying at the same time, they kind of
Speaker 2: keep affecting each other. Yes, Yes. Do you think this
Speaker 2: film works though if you don't have that racial undercurrent
Speaker 2: and because that doesn't just work as a murder mystery,
Speaker 2: it's not super interesting without that.
Speaker 1: Yeah, I I completely agree, like, like you do need
Speaker 1: that tussle and that tension. Yeah, I mean, it's caught
Speaker 1: in the heat of the night. It's it's it's hot
Speaker 1: in Mississippi. Even when when Tibbs informs Missus Colbert that
Speaker 1: her husband has part he's the one who you know,
Speaker 1: has to and he goes to kind of move towards
Speaker 1: her to comfort her, and he pulls she pulls away,
Speaker 1: even though she later.
Speaker 2: She later ends up of being in his corner.
Speaker 1: Yeah, and demanding that he stay on the case, which
Speaker 1: is an important aspect of the movie when he's doing
Speaker 1: the autopsy and his hands are on I'm watching it
Speaker 1: going shouldn't be wearing gloves. But I can understand why
Speaker 1: he wasn't wearing gloves because what it was making the
Speaker 1: reaction you have of the coroner and the sheriff. So
Speaker 1: I think if you take away all of that, then
Speaker 1: you Yeah, I think you probably left with an OK movie.
Speaker 1: But I think, you know, the performances by Sidney Pottier
Speaker 1: and Rod Steiger, I think are so good in particular,
Speaker 1: and that tension and the danger and the stakes are
Speaker 1: high really elevate this film to being a worthy Oscar winner.
Speaker 2: Yeah, and I think like his character because he's the
Speaker 2: only black person in the whole Well, you meet a
Speaker 2: couple of you meet a family who let him stay
Speaker 2: at his Does he stay their house? Yes, but you
Speaker 2: meet them for like what two minutes? You don't really
Speaker 2: even see the house. And there is also a character
Speaker 2: later on, but he's pretty much the only black guy
Speaker 2: in the movie. And because of what's what he has
Speaker 2: to kind of what he has to contend with, it
Speaker 2: feels like he's this night who's gone into a forest
Speaker 2: of monsters. Like the whole time, there's just danger everywhere
Speaker 2: he goes, like not just the thread of someone being
Speaker 2: like calling him the N word, but the thread of
Speaker 2: actually just being beaten to death, Like there are several
Speaker 2: moments where that's quite likely to happened to him. Yeah.
Speaker 1: Yeah, I mean I was interested because he was there
Speaker 1: visiting his mum, which made me think he was on
Speaker 1: his way.
Speaker 2: Wasn't he getting a connecting train, like he actually wasn't
Speaker 2: going to that town. He was, he was, he was
Speaker 2: sitting at the station, and I think he was going
Speaker 2: to be getting on another train going somewhere else.
Speaker 1: Oh that's interesting because the way I read it, all
Speaker 1: the way I saw it was he had was visiting
Speaker 1: his had visited his mum.
Speaker 2: Oh okay maybe on the way back.
Speaker 1: Okay, yeah, right, yeah, which made me think Eyes originally
Speaker 1: from this town, which kind of.
Speaker 2: Changes, Like, yeah, it does change.
Speaker 1: It feels like they would have played into that, the
Speaker 1: idea that this man has come back to his hometown,
Speaker 1: which I have seen movies like that before, and then
Speaker 1: it's a great it's great plot device. But I suspect
Speaker 1: if we're adding their own little coloring in our own
Speaker 1: little backstory, maybe.
Speaker 2: His mum has moved to this town and he's visited her.
Speaker 1: Yeah, yeah, I feel like that makes sense because I
Speaker 1: think the thing he clearly grew up in the north,
Speaker 1: Like yeah, and I mean, what did you know of
Speaker 1: this film?
Speaker 2: Pretty much nothing? Yeah I didn't. I don't think I
Speaker 2: even maybe I knew he was in it. I really
Speaker 2: didn't know what it was going to be about. I mean,
Speaker 2: it kind of sounds like a Noirish detectivey thing, I
Speaker 2: guess from the name. But yeah, really, which is great,
Speaker 2: Like I did, I mean, when I was picking what
Speaker 2: film to watch with you, I did like read little
Speaker 2: blurbs just to see which thing I wanted to watch,
Speaker 2: and I went, oh, that looks good. So I knew
Speaker 2: when I press play, I knew that. Yeah.
Speaker 1: Yeah, So when when you often ask and I often
Speaker 1: think about when I felt I was in safe hands
Speaker 1: when I'm watching a film on mut of you feel
Speaker 1: the same way, Yeah, when did you feel like, oh.
Speaker 2: This is really quickly? Yeah? The music I think does
Speaker 2: that like, because I mean I'm not a juje expert
Speaker 2: on films of that particular era, but it felt like
Speaker 2: the combination of that car moving through the town and
Speaker 2: the Quincy Jones music. I think the Quincy Jones aspect
Speaker 2: is a really important bit of the film. Yeah, the
Speaker 2: mood that he brings to it and the kind of
Speaker 2: I don't know, because of what it's about, it's great
Speaker 2: that it's Quincy Jones. Yes, you know, so, yeah, super
Speaker 2: early on the car prowling through the neighborhood at night,
Speaker 2: I think I was I was there that exactly the same,
Speaker 2: exactly the same.
Speaker 1: Because the very first scene the diner, I was like, yeah, okay,
Speaker 1: it's a bit corny. It it feels a little bit
Speaker 1: from our perspective now, a bit old, doesn't it. Yeah,
Speaker 1: the guy running the diner whatever, he's a late night
Speaker 1: diner in a small town and he's killing flies with
Speaker 1: like a rubber band, and he's yeah, this is kind
Speaker 1: of almost a running joke that he keeps a cake
Speaker 1: from me.
Speaker 2: He's hoarding the food for himself.
Speaker 1: Yeah, he's got some psycho vibes going on, which for me,
Speaker 1: for me, and then that kind of later on we
Speaker 1: can discuss how how he comes back into it. But yeah,
Speaker 1: that that driving through I was like, yeah, I'm here
Speaker 1: for I'm here for this.
Speaker 2: Yeah, I feel really good.
Speaker 1: And when when Warren Oates' character, which one's Warren notes,
Speaker 1: he's Sam, the police officer.
Speaker 2: You might know Warre notes from stripes, I don't. I
Speaker 2: don't know. If I've seen stripes. I could have done stripes.
Speaker 1: He could have done stripes has been done on this podcast,
Speaker 1: so it would have bound you.
Speaker 2: Yeah, he's great.
Speaker 1: When he arrested because he basically we find the body,
Speaker 1: and this body is interesting that there's a one, you know,
Speaker 1: like there's another way doing this movie where it's it's
Speaker 1: a black teenager, you know. But I thought it was
Speaker 1: interesting that they kind of went with the white businessman.
Speaker 1: But I thought it worked. And it's an interesting idea
Speaker 1: that they found a good reason for Tims to be
Speaker 1: interested because he's bringing a lot of jobs into town
Speaker 1: and a lot of those jobs are going to African Americans,
Speaker 1: and that I like.
Speaker 2: There's some really cool counter counterweights to things, yeah, which
Speaker 2: aren't necessarily obvious.
Speaker 1: Yeah, and even the because it ends up being the
Speaker 1: relationship between Gillespie and.
Speaker 2: The bossip of the cops, yes, yeah, and Tims. Yeah,
Speaker 2: And and.
Speaker 1: It's done in a pretty subtle way, like they don't
Speaker 1: even become they never become chummy, like they never like
Speaker 1: the best mating. In fact, Gillespie's kind of doing it,
Speaker 1: you know, like he's he's almost like I always feel
Speaker 1: like he's one inch away from taking the town siding this,
Speaker 1: you know, Yeah, I mean often trying to run him
Speaker 1: out of like get Yeah.
Speaker 2: I like how that. I mean it's really Toos and
Speaker 2: Froze and I at the very end of the move,
Speaker 2: are we allowed to talk about the very end now, Yeah,
Speaker 2: we can jump it. Found it. I found it a bit.
Speaker 2: I don't know, like I don't think it needs that
Speaker 2: you take care now line, Like it just feels like
Speaker 2: a Hollywood Corny. I guess you want something. You want
Speaker 2: to feel like he's changed. You do want to feel
Speaker 2: like he's changed. Yeah, I agree, Yes, absolutely, we're talking
Speaker 2: about the white cop has changed. But that just felt
Speaker 2: like one just one step too far from me. I
Speaker 2: was like, ah, I want to.
Speaker 1: See a thing that I kind of disagree in a
Speaker 1: way because I thought I didn't I agree that you
Speaker 1: don't want it Sue Corny in this kind of film. Yeah,
Speaker 1: and you want to see I agree, you want to
Speaker 1: see the shift and the change in Gillespie. I thought
Speaker 1: that moment could have been something better or cooler, or
Speaker 1: more impactful. I just kind of thought it was thought
Speaker 1: they threw away that moment. Yeah a little bit.
Speaker 2: Maybe it just needed to be something you saw but didn't.
Speaker 2: It wasn't a lie. The dialogue was just a bit
Speaker 2: like take care now.
Speaker 1: And then he kind of turns and he kind of
Speaker 1: smiles at that line, as I want, yeah, what what
Speaker 1: what made you smile about that line?
Speaker 2: Yeah? And why why would you Why would Sidney Poitiers
Speaker 2: at that point smile like the guy has been nearly
Speaker 2: the whole time an absolutely asshole to him. Yeah, Like,
Speaker 2: wouldn't you maybe just give a begrudging nod like you
Speaker 2: might get something. I think that's what it was that
Speaker 2: didn't work for me. It was a smile. Yeah, Okay,
Speaker 2: not the line so much. Yeah, because I guess it
Speaker 2: is believable that Gillespie would feel indebted to him and
Speaker 2: start to like, you know, it is believable that he
Speaker 2: would now like him a bit.
Speaker 1: Yeah, and respect him. He's seeing he's cracked the case. Yeah,
Speaker 1: that he wouldn't have I don't think quite clearly.
Speaker 2: I like how he keeps, he keeps finding suspects and going, no,
Speaker 2: this is the one, this is the one.
Speaker 1: It's almost like just if you stop being it's a
Speaker 1: perfect thing to say, just stop being racist, stopping racist,
Speaker 1: because if you went racist, you would just let this guy,
Speaker 1: you know, this case for you. Yeah. Yeah, And then
Speaker 1: but he gets on going, no, this is it, We're done.
Speaker 1: You're in jail, Like I get him out of Joe.
Speaker 2: We need leaving town. That don't leave town. We actually
Speaker 2: do need you. And then he ever gets to the
Speaker 2: point where like one of the he's like, oh, actually no,
Speaker 2: it's one of the it's one of my cops. This guy, well,
Speaker 2: this is the thing as well about it.
Speaker 1: I'm not sure if I still understand how the crime
Speaker 1: got solved.
Speaker 2: And I have a few questions about that. Yeah, but
Speaker 2: I'm not a forensics guy. But one of the things is,
Speaker 2: and it happens in a lot of movies, right, and
Speaker 2: I guess those CSI shows and stuff. It's like he
Speaker 2: looks at the body and he goes, this could not
Speaker 2: have this donk on the head. It was at seventeen
Speaker 2: degrees at the back of the head or something, and
Speaker 2: therefore could not have been done by a Was it
Speaker 2: a right handed man or a left Yeah, a right
Speaker 2: handed man. And I always kind of go in those moments,
Speaker 2: is that just like a film convention that they use,
Speaker 2: because is that really true that? Because wouldn't it If
Speaker 2: you're going to donk someone on the head, that can
Speaker 2: be a pretty messy enterprise, right, That could happen a
Speaker 2: lot of ways. You could be coming from the front,
Speaker 2: you could be coming from the side, he could be
Speaker 2: coming from the back.
Speaker 1: I do think I do think that probably there are
Speaker 1: ways you can still measure how it could have happened,
Speaker 1: because yeah, obviously you you have the account of maybe
Speaker 1: a witness or the positioning of the body where they
Speaker 1: can try to work out or ascertain which direction of
Speaker 1: blow came in, Was it front or back?
Speaker 2: Was it potentially well, he doesn't have posision of the
Speaker 2: body in this case because the body's moved anyway.
Speaker 1: So but I think, I think what happens in movies
Speaker 1: is they work that very quickly.
Speaker 2: Yeah, okay, which I'm grateful for. Yes, Yeah, let's not
Speaker 2: let's not change cinema too much.
Speaker 1: We don't need anymore through our films. So what they
Speaker 1: do really well is what other questions did you have?
Speaker 2: Okay, another question I have? This is my biggest question.
Speaker 2: So it's revealed that he the comp calls up Sidney
Speaker 2: Poitiers Superior to find out if his story is true, right,
Speaker 2: and quickly betray is how kind of racisty is down
Speaker 2: the phone and whatever, and then he hands the phone
Speaker 2: over to Sidney Poitier and you don't hear the other
Speaker 2: end of the conversation, but Sidney Poitiers chief back home
Speaker 2: in the North, has basically said you should help these
Speaker 2: guys solve this yep, this case. Now my question is
Speaker 2: would a chief do that? And I have a possible
Speaker 2: answer for it, but it just felt at the time,
Speaker 2: I was like, is that a bit convenient that the
Speaker 2: Chief's telling him, no, you can't leave the town until
Speaker 2: you've solved this crime.
Speaker 1: So now I'm confused, Johanni, do you want longer films
Speaker 1: or shorter films? Come home, get out of there.
Speaker 2: I want him to just refuse the call to adventure.
Speaker 2: It is like, what I do want is what, regardless
Speaker 2: of their length, is a believable movie.
Speaker 1: Yes, yeah, yeah, I do think movies of this era
Speaker 1: takes some shortcuts that we don't see as much anymore.
Speaker 1: Like maybe now we would need this a bit more
Speaker 1: justification why it was important for that chief to be
Speaker 1: without one of his best men.
Speaker 2: Yeah, he's depriving himself of his best man. I do
Speaker 2: have a I do have a possible reason that I
Speaker 2: had to make up just so I could move on,
Speaker 2: And that is the chief hearing the tone of Rod
Speaker 2: Steiger's character and how much of an ars he is
Speaker 2: hearing that, He's thought, No, we need to prove this
Speaker 2: guy he's an asshole. We need to prove this guy wrong,
Speaker 2: that Sidney Poitier is a great detective and that you know,
Speaker 2: to help you not be racist anymore. So the chief
Speaker 2: has like a little motive, and we don't know. We
Speaker 2: don't get to know the chief at all. So no,
Speaker 2: we don't get to know the chief at all. He
Speaker 2: might be.
Speaker 1: Somebody who's progressive, you know, it probably is.
Speaker 2: I mean, he believes in TIBs, even if he's white.
Speaker 2: He obviously believes in TIBs because he works with him
Speaker 2: and possibly appointed him as detective or you know whatever.
Speaker 1: Yeah, and what we know, not that the chief knows,
Speaker 1: is but what we know as the audience is this
Speaker 1: the police force is not going to solve this case,
Speaker 1: you know, and they will probably I mean the fact
Speaker 1: that Timms gets basically arrested without any questioning. Yeah, yeah,
Speaker 1: you know, he based on the fact that the color
Speaker 1: of his skin and he's got money in his wife.
Speaker 2: But that's probably quite It's not just how incompetent they are, though,
Speaker 2: isn't it. It's like how racist that exact part of
Speaker 2: the world was.
Speaker 1: Yes, yes, the incompetency is on full show, like pretty
Speaker 1: quickly when when they find the body and there's a
Speaker 1: discussion about how long the body's been dead for. Oh yeah,
Speaker 1: and they're like, now maybe half. They're clearly guessing that
Speaker 1: even the doctor doesn't doesn't know. Yeah, So there's I
Speaker 1: think they do a good job of making you believe
Speaker 1: that tips does have.
Speaker 2: To absolutely And I was very satisfied with that bit
Speaker 2: of police work about rigamortis. And I can't remember the details,
Speaker 2: but that all felt really solid to me.
Speaker 1: Yes, and there is one and when Tims goes back,
Speaker 1: and obviously there's quite a few arguments with Gillespie, but
Speaker 1: it does bring up maybe the most iconic moments in
Speaker 1: the film. There's two particular arconic moments, and this is
Speaker 1: the nice arconic line in the film.
Speaker 2: I have listened to.
Speaker 4: This the virgire chief. He thinks that Harvey citizen.
Speaker 6: I be damn.
Speaker 4: Could I talk to you about it in private?
Speaker 3: You can't talk to me about in privacy because I
Speaker 3: got COVID wallet right here in my hand. We took
Speaker 3: it from Harvey obits. You don't think he gave it
Speaker 3: to him, do you.
Speaker 4: I don't know.
Speaker 6: But Oberst could have come along after the crime found it,
Speaker 6: picked it up.
Speaker 2: I don't know.
Speaker 3: That's what the boy said he did.
Speaker 7: I'm sorry, man, but I said different.
Speaker 6: When I examined the deceased, it was obvious that the
Speaker 6: fatal blow was struck from an angle of seventeen degrees
Speaker 6: from the riot, which makes it almost certain the person
Speaker 6: who did it is right handed.
Speaker 7: So what all, Harve's left handed? Chief, but in town those.
Speaker 4: That yeah, that's what we figured out. Chief Harvey's lefty.
Speaker 4: Uh huh.
Speaker 6: You're pretty sure yourself? Int your Virgil?
Speaker 3: Virgil, It's a funny name for a bigga boy to
Speaker 3: come from Philadelphia.
Speaker 6: What did they call you up there?
Speaker 4: They call me mister Tips?
Speaker 3: Mister Tips, Well, mister Wood take Bester.
Speaker 6: Tips, take them down to the depot.
Speaker 4: I mean, boy, like, now.
Speaker 2: I'm glad you left that silence in there, because that
Speaker 2: silence that I mean, it's you got to watch it.
Speaker 2: But he's the camera stays on Poritier in that moment,
Speaker 2: and he goes through quite a few little emotions there.
Speaker 2: It's a I mean, he's this is the thing. This
Speaker 2: is my discovery for that film. He's probably a really
Speaker 2: dumb discovery. But I always knew he was good. But
Speaker 2: I've only ever I think I've only ever seen him
Speaker 2: do like bid parts in like films in the nineties
Speaker 2: and stuff. And what is so on display in this
Speaker 2: movie is that he's a move Like he's not just
Speaker 2: a great actor, like always knew he was a great actor,
Speaker 2: but he's a movie star like he's so he's got
Speaker 2: that extra thing, you know. He's just so compelling to
Speaker 2: to watch.
Speaker 1: Yeah, and and to put it in context of the time,
Speaker 1: like he was pretty much the only black leading actor
Speaker 1: in America and this was the Selma kind of like wow,
Speaker 1: two years earlier Martin Luther King, I think it's assassinated.
Speaker 1: A year after this, there was some you know, kind
Speaker 1: of racial kind of a quality bills that were being
Speaker 1: kind of passed and and to the point where Sidney
Speaker 1: Poititier refused to kind of shoot down in the South
Speaker 1: because it's the danger it represented to his life. He
Speaker 1: was convinced they had to shoot some of those driving
Speaker 1: through with the cotton fields, which are hard to kind
Speaker 1: of replicate, you know, these days you could do it
Speaker 1: easily with the screens and stuff. But they did a
Speaker 1: short shoot in Tennessee, just across the border, and he
Speaker 1: received death threats, and so they basically they packed up
Speaker 1: pretty quickly and got back out of town.
Speaker 2: He also had because he'd been there.
Speaker 1: Down in the South, I think a years earlier with
Speaker 1: Harry Belafonte trying to register voters and they were nearly
Speaker 1: killed by the ku Klux Klam. So an understandable reluctance
Speaker 1: to shoot a movie in the South, so they shot
Speaker 1: most of it in Illinois.
Speaker 2: The other thing he did, which is a very movie move,
Speaker 2: was in that scene. So there's a scene where he's
Speaker 2: pretty sure that the plantation owner is responsible for the murder. Yes,
Speaker 2: and the plantation owner is racist in a really creepy way.
Speaker 2: You haven't listened to that, so yeah, let's have that thing.
Speaker 2: Let's have a listen.
Speaker 1: So they've gone to this year White Plantation, obviously a
Speaker 1: massive house or in a greenhouse with orchards, and a
Speaker 1: conversation happens, which leads to a moment that was referred
Speaker 1: to as the slap that was heard across the world.
Speaker 4: Why did you two come here to ask you about Colbert?
Speaker 4: Let me understand these.
Speaker 7: You two came here to question me.
Speaker 6: Well, your your attitudes, mister Undercott, your points of view
Speaker 6: are a matter of record.
Speaker 4: Some people.
Speaker 6: Well, let us say that people who work for mister
Speaker 6: Colbert might reasonably regard you as the person least likely
Speaker 6: to mourn his passing.
Speaker 4: We were just trying to clarify some of the evidence.
Speaker 6: Was mister Colbert ever in this greenhouse say last night
Speaker 6: about midnight.
Speaker 4: Goodness be.
Speaker 7: Yeah, you saw it?
Speaker 4: I saw it. Where do you go to do about it?
Speaker 4: I can't.
Speaker 3: I remember that.
Speaker 7: There was a time, but I could have had you shot.
Speaker 1: So for those who haven't seen the film, we obviously
Speaker 1: heard you too. Watch the film, but the first slap
Speaker 1: you heard was and the cot slapping TIBs and then
Speaker 1: immediately Tim slaps him back, and everyone says shocked. Absolutely,
Speaker 1: and only the actors in the in the in the
Speaker 1: in the room, and in the characters, and also audiences
Speaker 1: were shocked. This is something that Sydney Pottier, he has
Speaker 1: been on the record of saying. He insisted on.
Speaker 2: Yeah, that's why, That's why I said, you know, he's
Speaker 2: he He's a movie star in that sense. I want
Speaker 2: to I want to have a stake in this. I'm
Speaker 2: not just an actor hired. I want to I'm important
Speaker 2: as a storytelling part of this movie. And I did
Speaker 2: he say, I only want to do things I believe
Speaker 2: I would actually do when I play roles, which is
Speaker 2: a really interesting stands for an actor.
Speaker 1: Because he could have he would have been understandable if
Speaker 1: he just took it. He's a police officer, he's also
Speaker 1: a black man in the South. Knowing that the chain
Speaker 1: of events, the domino effect this could have, that could
Speaker 1: be extremely you know, put him in peril. You know,
Speaker 1: Martin Luther King was famously a pacifist, so the Mattman
Speaker 1: King response would have been probably to yes, an the
Speaker 1: other cheek another check. But he's starting straight away. And
Speaker 1: what I like about it, what it says about Tips,
Speaker 1: which I think rings true in other scenes, is he
Speaker 1: does have ego.
Speaker 2: I think that makes him really human. Yeah, absolutely, And
Speaker 2: his humanity is kind of the reason he's there because
Speaker 2: he sees this plantation owner and he's like, you're the murderer,
Speaker 2: you know, because he has he already has, like he's lying,
Speaker 2: like you're the you're the person least likely to mourn,
Speaker 2: you know what I mean. Like he really does bring
Speaker 2: his own stuff to it. And clearly the guy is awful.
Speaker 2: You know, I could have had you shot.
Speaker 1: Yeah, So when he cries, he leaves, so Tibbs and
Speaker 1: Gillespie leaves. I mean the line and this is where
Speaker 1: Gillespie really has to he has to choose a side,
Speaker 1: you know, it is what are you going to do
Speaker 1: about it?
Speaker 2: Yeah?
Speaker 1: And I love the fact that he says, I don't
Speaker 1: I don't know, he doesn't do anything about it. Yeah,
Speaker 1: but he doesn't make a speech or he doesn't you know,
Speaker 1: I don't know.
Speaker 2: He's shocked. I think that rings true to where he's at.
Speaker 1: He leaves, and then you've got the butler who kind
Speaker 1: of shakes his head at Endicott and then Endicott breaks down.
Speaker 2: He's shaking his head at Endicott. That butler, I well,
Speaker 2: I think that's I thought he was shaking his head
Speaker 2: at Sydney point here.
Speaker 1: Well, it's interesting I read it. I think it's open
Speaker 1: for interpretation. Yeah right, I actually saw it as he
Speaker 1: kind of shook his head at end the cop and
Speaker 1: end the Cock could have read that differently and all that.
Speaker 1: But then and the cock breaks down in tears. What
Speaker 1: did you think the tears meant?
Speaker 2: I think the tears are about someone who has suddenly
Speaker 2: actually actually actually it reminds me of succession. Are you
Speaker 2: watching Succession at the moment. Are we're allowed to talk
Speaker 2: about that. I'm not up to date. I can't talk
Speaker 2: about it because jungle. But anyway, what I like about
Speaker 2: it is it feels like, you know, you go through
Speaker 2: your life having a certain view of the world and
Speaker 2: also certain experiences you've never had or even imagined. And
Speaker 2: he's never imagined being hit by a black man like
Speaker 2: that it could even be possible in front of a
Speaker 2: police officer. Yeah, in front of a police officer. And
Speaker 2: he's never felt powerless before, and suddenly he's just like
Speaker 2: been reduced to anyone else who has no power, and
Speaker 2: it's just shaken him somehow. That's my that's my take.
Speaker 1: In his own house, in his green house, which is
Speaker 1: probably his happy place. He loves his orchids, he loves
Speaker 1: his orchards, and yeah, I see it as a man
Speaker 1: realizing that a time times are changing. Yeah okay, and
Speaker 1: and things may happen in the future that don't run
Speaker 1: his way. And the fact the fact that he's been
Speaker 1: slapped by an African American in his in his own
Speaker 1: house and the police officer just do not do anything
Speaker 1: about it was phenomenal. So you're right when he said
Speaker 1: Sydney Pottier like that choice he made, and he you know,
Speaker 1: he was before they shot it. Obviously he wasn't on
Speaker 1: the day, he insisted. He's basically, it's still no deal.
Speaker 1: This is in or I'm not.
Speaker 2: And it's crazy to think how that your life could
Speaker 2: be such that your active your activism is so like
Speaker 2: intrinsic to your art. You know, I like to be
Speaker 2: in that. I can't really imagine that personally.
Speaker 1: Well, and they're obviously worried about how this would play
Speaker 1: in cinemas in the South. Apparently there were no reports
Speaker 1: of violence in cinemas. I don't know exactly how it was.
Speaker 1: I mean, did it get screened in the South.
Speaker 2: I think it did. I think it did.
Speaker 1: But apparently in the North, like in towns like Philadelphia
Speaker 1: and you like, there were cheers.
Speaker 2: When this happened. Yeah, right. It's a great It's also
Speaker 2: a great scene because the way Endicott starts out in
Speaker 2: that scene is he's being racist, but it's he's using
Speaker 2: metaphors and I think he's talking about the plants and
Speaker 2: he's got a twinkle in his eye and he's like
Speaker 2: you your scarm and everything. But he's not saying it.
Speaker 2: He's kind of being a southern gentleman in inverted commas.
Speaker 2: And I love scenes where a character just gets revealed,
Speaker 2: you know, for what they really are, or having to
Speaker 2: reveal themselves, having to you know, rather than getting to
Speaker 2: be passive, aggressive or whatever, you know, on their own terms.
Speaker 1: Yeah, they did it in two takes. They gave him
Speaker 1: two takes to get that right. Apparently Norman Jewis and
Speaker 1: the director gave I think Sidney Poitier a couple of
Speaker 1: rehearses on him. The one of them get it right,
Speaker 1: and you know, that's pretty cool. There's another point where,
Speaker 1: again there's this constant tussle of like leaving and should
Speaker 1: he leave? And sometimes it's it's Tims who wants to leave.
Speaker 1: Other times it's the town that want has gone. The
Speaker 1: town certainly want ham gone. And I like the fact
Speaker 1: that the stakes, you know, do get high. I think
Speaker 1: that they say he won't make it through satur Day.
Speaker 1: It's great that missus Colbert is the one who kind
Speaker 1: of says yeah.
Speaker 2: I thought that was a really important bit of the plot,
Speaker 2: wasn't it, Because it's like, why wouldn't he Yeah, why
Speaker 2: wouldn't he leave or why wouldn't they if they hate
Speaker 2: him so much, why wouldn't they just take him off
Speaker 2: the case or whatever. Yeah, it's a really portant You
Speaker 2: do need it, definitely needs her to at her foot
Speaker 2: down and go because she's a powerful woman. She basically
Speaker 2: owns the factory.
Speaker 1: Now it's basically saying, I'm packing up the factory and leaving,
Speaker 1: and your town is basically farked.
Speaker 2: Yeah. If Tibbs doesn't stay on the case. Yeah, so,
Speaker 2: and I like that that comes from because I think,
Speaker 2: as discussed earlier, she's not necessarily a non racist herself,
Speaker 2: but she can clearly go, oh, I know this guy
Speaker 2: actually knows how to do it. Yeah, Like she can
Speaker 2: see what the audience can see is that this police
Speaker 2: force are incompetent, and Tibbs is the opposite of that.
Speaker 1: He knows what he's doing, and it's really important. I
Speaker 1: did think a couple of times, what doesn't he ever gun?
Speaker 1: He's a police officer, he's going to the south. Well, he's
Speaker 1: not on judy, he's.
Speaker 2: Not on juty of it. I just think I have
Speaker 2: a gun. You've seen too many movies, whereas I know
Speaker 2: all about the real world. Yeah.
Speaker 1: Yeah, in America, they don't have guns at all, and
Speaker 1: the stakes get high. We have that the chase with
Speaker 1: the Confederate flags, his number of plates, and that scene
Speaker 1: in the what is it like an old railway warehouse almost,
Speaker 1: and so they they really let it play out. Yeah,
Speaker 1: Like it's a long time where there's a lot like
Speaker 1: ducking and weaving and like you know, flinching and and.
Speaker 2: It doesn't really go where you expect, does it. Like
Speaker 2: there's a moment where they're sort of in you can
Speaker 2: see they're in the distance and it's sort of a
Speaker 2: standoff but from a distance, and then they come much
Speaker 2: closer and then it ends up being basically hand to
Speaker 2: hand combat or you know, the the verge of hand
Speaker 2: to hand combat. I really like, I wasn't quite sure
Speaker 2: where that was going that scene. Yeah, she's great, it was.
Speaker 1: A good one, but sorry, I wasn't going to play
Speaker 1: the scene where he was This is where Tis has
Speaker 1: decided to leave and right and Gillespie goes to him
Speaker 1: and he actually it's maybe the best piece of work
Speaker 1: Gillsbie does as.
Speaker 2: A reading the room and maybe human behavior.
Speaker 1: Oh yeah, he kind of I guess strokes or recognizes
Speaker 1: the ego of TIBs let's let's have a listen to that.
Speaker 3: What would you say if I, uh, I asked you
Speaker 3: to state for a while.
Speaker 8: Noah, this kind of needs a factory Vernon.
Speaker 3: COVID come down in Chicago to build it, right hear?
Speaker 3: They're gonna hire a thousand men, having them be colored.
Speaker 2: You know what that means?
Speaker 4: Probably got him killed.
Speaker 7: That's what missus Koba thinks.
Speaker 3: She wants us to catch her killer. No killer, no factory. Well,
Speaker 3: it's a lot of jobs for a lot of colored people.
Speaker 2: You follow me.
Speaker 4: Going home? Man, Now, your people, not mine, yours. You
Speaker 4: made this scene. What do you want to do?
Speaker 7: You want me to beg you?
Speaker 4: Is that what you ask No, I've had your town
Speaker 4: up to here.
Speaker 2: Boy, it would give me a world of satisfaction.
Speaker 4: A horse whip you virgil? Yeah, my father used to
Speaker 4: say that, even did once.
Speaker 7: It well, not enough to suit me.
Speaker 9: Now you listen to me just once in my life.
Speaker 9: I'm gonna hold my temper. I'm telling you that you're
Speaker 9: gonna stay here. You're gonna stay here if I have
Speaker 9: to go inside and call your chief of police and
Speaker 9: have him remind you of what he told you to do.
Speaker 9: But I don't think I have to do that, you see, no,
Speaker 9: because you're so damn smart. You're smarter than any white man.
Speaker 9: You're just gonna stay here and show us all. You
Speaker 9: got such a big head that you could never live
Speaker 9: with yourself unless you could put us all to shame.
Speaker 9: You wanna know something, Virgil, I don't think that you
Speaker 9: could let an opportunity like that pass by.
Speaker 1: Everything he's saying is true as far as is like,
Speaker 1: you know, you'll be beter than us. You are actually
Speaker 1: better than us. Yeah, yeah, everything I bounce you is better.
Speaker 1: I'm not going to say that, but I know I'm
Speaker 1: going to say that. I know you think you are,
Speaker 1: and I'm not going to say whether I agree. Yeah,
Speaker 1: but yeah, yeah, deep down he knows it's a very
Speaker 1: clever piece of work.
Speaker 2: Actually, and I did.
Speaker 1: We mentioned a couple of times, trying to get rid
Speaker 1: of him and then realizing you're needing back. It's because
Speaker 1: you do in like all filmsical lookin I guess buddy films,
Speaker 1: and this is a buddy film to an extent. They
Speaker 1: you do need things that keep these unlikely characters together. Yeah,
Speaker 1: I know, like you know in the film, you know
Speaker 1: I made I love you too. We have Peter Dinklie
Speaker 1: and Brendan Coal who were kind of strangers, and Brendan
Speaker 1: breaks into Peter's car and they're complete strangers. And there
Speaker 1: was staying to read the director, wonderful director, you know,
Speaker 1: has gone on and directed the whole heap of stuff.
Speaker 1: Now at the script stage, she said to me, we
Speaker 1: do need things that tie these characters, keep these characters together.
Speaker 1: So there's a car, the car key's kind of they
Speaker 1: got to take to the mechanic and Jim the character
Speaker 1: is broken into you know, he's basically caused it. He
Speaker 1: then takes it with him and then so it's not
Speaker 1: just about in that instance, Jim needing Charlie Petted English's
Speaker 1: character to write in this letter, Yeah it actually he
Speaker 1: needs being physical to kind of keep them together as well.
Speaker 1: And I think this movie does a really good job
Speaker 1: because there are so many times when you do say,
Speaker 1: why doesn't he just go yah? You know it's a
Speaker 1: murdered white guy. Yeah, well this guy, this African American,
Speaker 1: really care about this rich white guy when he's been
Speaker 1: facing well death threats and attempts on his life. So
Speaker 1: you do need to make those efforts to keep him
Speaker 1: in town. And I think they do it really well.
Speaker 2: I really like the scene between them. It's pretty close
Speaker 2: to the end, I think, in Rod Steiger's house and
Speaker 2: they start drinking together and they start they get pretty friendly,
Speaker 2: and you're going, okay, you know, this is all pretty
Speaker 2: standard buddy movie type yeah type stuff. You know, finally
Speaker 2: we understand each other. But then there's a turn and
Speaker 2: I can't remember what brings it on, but Rod Steiger
Speaker 2: is like, don't you pity me? Yeah, And it's a
Speaker 2: great turn.
Speaker 1: Do a really good job of not letting You can't
Speaker 1: turn Gillespie away, Like who's a racist? Yeah, not necessarily
Speaker 1: the worst racist in town, but still a racist. It
Speaker 1: never goes far away, even though he's changing, Yeah, they
Speaker 1: never completely get rid of it. Yeah, Like it's still
Speaker 1: there in him and he's maybe learning to not be racist,
Speaker 1: but it takes a long time for a man to change.
Speaker 2: I imagine in the American South in ninety sixty seven.
Speaker 2: And you're not because it's not just about you changing,
Speaker 2: it's about because you then have to relate to all
Speaker 2: the forces around you that haven't changed yet. Yes, Like
Speaker 2: so it's a big it's not yeah, it's not something
Speaker 2: and that's why the final line is a bit kind
Speaker 2: of disappointing, you know, yeah, because you want to see
Speaker 2: that change, but you just want to see a little
Speaker 2: you know, yeah, and this little little moments.
Speaker 1: And I said, I like your idea of almost removing
Speaker 1: the dialogue or even if if it was Leslie saying hey,
Speaker 1: I'll give you a call of it, you know, if
Speaker 1: another mood of one guy, or feel free to drop
Speaker 1: by again, like something that's kind of not a joke
Speaker 1: but kind of like well, and they tend to joke
Speaker 1: from his character. Yeah, not necessarily it's going to make
Speaker 1: us laugh, but it kind of can give something that
Speaker 1: deserves the reaction that Sidney Potier gives, which is which
Speaker 1: is almost the green of the laugh. Yeah, And I
Speaker 1: just I just think that that would have been nice.
Speaker 1: So we get towards I guess the end, and I said,
Speaker 1: I don't completely understand.
Speaker 2: I think there's some convenient police work going on.
Speaker 1: Yeah, that tips I don't know how it necessarily he
Speaker 1: got to the end, but it was. It is the
Speaker 1: creepy guy at the cafe Dinah, Yeah, he was responsible. Dolorous,
Speaker 1: the girl who likes to be naked, is kind of involved. Yeah,
Speaker 1: there's a weird scene where she talks about the tombstone
Speaker 1: sex if you yeah, engaged with the tombstone sexy.
Speaker 2: But I do kind of relate to that. I just
Speaker 2: want to say, you have asked me, so now I'm
Speaker 2: going to answer. I do kind of. I have always
Speaker 2: liked like a stainless steel sort of surface. I don't
Speaker 2: necessarily mean in a sexual way, but I like, you know,
Speaker 2: like when you're sick and you want to just lie
Speaker 2: on a cold ground, you had that experience.
Speaker 1: No, but I can kind of I can kind of
Speaker 1: get where you're going, you know, as someone's you know,
Speaker 1: a surface is good and if it's cool, that's good.
Speaker 2: Yeah, Like I wasn't I wasn't thrown when she said it,
Speaker 2: which symmeteries if you had sex. Let's get to the
Speaker 2: bottom of this. No, I really like that. It's a
Speaker 2: great detail. It's a great and it's a good sort
Speaker 2: of it's because it's so specific it kind of throws
Speaker 2: you off the plot too, Like about who does why
Speaker 2: does she go to a police station? Oh, I guess
Speaker 2: her brother does. Why does her brother haul her into
Speaker 2: a police station to say, my sister's been raped? Like? Why? Why?
Speaker 2: Tell anyone. Yeah, but is she is she pregnant? I guess, yeah,
Speaker 2: I guess she is.
Speaker 1: And then was at that stage is she accusing Sam?
Speaker 1: Would the police officer Warren oates, Yeah, not doing well.
Speaker 1: I guess if that's the case, that his reason is justice.
Speaker 1: You saying you should have kept the quiet.
Speaker 2: Well, I'm just saying, like you probably would keep it quiet,
Speaker 2: like you don't want the whole town, Like I'm trying
Speaker 2: to be in that mindset of that time. You don't
Speaker 2: want the whole town to know that that your sister's
Speaker 2: been raped in that time. Yes, it's a different you know. Yes,
Speaker 2: the worst thing of all is that anyone knows that
Speaker 2: your sister's even had any kind of sex. And yeah,
Speaker 2: we know where it directly.
Speaker 1: Sometimes these you know, these situations were handled, whether it
Speaker 1: be you know, through abortions or people women set away
Speaker 1: to have abortions. And yeah, is charging it to the
Speaker 1: police station with a head full oft theme? You know,
Speaker 1: because you know, once he says this in the police station,
Speaker 1: the whole town's going to know.
Speaker 2: Yeah.
Speaker 1: Yeah, it's interesting. I mean, I take that point. I
Speaker 1: can only imagine though he he has decided whether it's
Speaker 1: the right decision at that time for him and his sister.
Speaker 2: But he wants justice, right, Okay, he might be misguided
Speaker 2: even who he thinks because in the end, was it now,
Speaker 2: in the end it was the cafe guy guy? Yeah,
Speaker 2: it was the murderer. Yes, And and why why would
Speaker 2: you why if you're the girl, do you want to
Speaker 2: say that it was the police officer and not the
Speaker 2: cafe guy just because he's higher on the social thing. Yeah,
Speaker 2: that's why I was a little bit or is she
Speaker 2: kind of like does she have a beef with him?
Speaker 2: She wants to sort of throw him under the bus
Speaker 2: for some other reason.
Speaker 1: I got confused around thee and this I talk often
Speaker 1: about like a flawless movie, like a perfect film. Yeah,
Speaker 1: and that for me, the police case and the murder,
Speaker 1: who'd done it? The way it gets resolved.
Speaker 2: Yeah, it's a bit fittly y. Yeah. I love this
Speaker 2: film a lot.
Speaker 1: I think there's a lot to really admire and like
Speaker 1: about it, particularly the time it came out. But I
Speaker 1: feel like it falls over in the last ten to
Speaker 1: fifteen minutes. Yeah, that's You've got the Mexican stand off
Speaker 1: kind of where all the guns come out, they finally
Speaker 1: find their guns. Tis again doesn't have a gun. I
Speaker 1: don't think means he's just standing there.
Speaker 2: But it's better that he doesn't have a gun. It
Speaker 2: is absolutely like you want him to have everything against him.
Speaker 1: Right, Yes, it's like it's like me saying you should
Speaker 1: have a gun. You'd also say why didn't you identify
Speaker 1: yourself as a police officer at the train station. It's
Speaker 1: because we want that, we want that, we want that
Speaker 1: to be revealed.
Speaker 2: But is it that stubborn thing of like I shouldn't
Speaker 2: have to tell you, well, I should be traded properly
Speaker 2: without having to tell you I'm a police. I think
Speaker 2: you can. I think you can justify that.
Speaker 1: Like he knows, he knows he's got this get out
Speaker 1: of jail free carding.
Speaker 2: Yeah, he's probably waiting for the to savor the moment
Speaker 2: of revealing it. Yeah you know, I know I would. Yeah.
Speaker 3: Yeah. In the meanwhile, just killed yourself a white man,
Speaker 3: just about the most important white man we got around here,
Speaker 3: and picked yourself up a couple of hundred dollars.
Speaker 6: I earned that money ten hours a day, seven days
Speaker 6: a week.
Speaker 3: Coll it can earn that kind of money.
Speaker 2: Boy, Hell, that's more than I'm making a month.
Speaker 4: Now, where did you earn it?
Speaker 7: Philadelphia, Mississippi, Pennsylvania.
Speaker 3: Just what do you do with the little Pennsylvania earned
Speaker 3: a kind of money.
Speaker 4: I'm a police officer.
Speaker 1: A few interesting facts about this film. He had one
Speaker 1: hundred and twenty seven dollars on him, which today you
Speaker 1: might go with he did, Tims did. Yeah, you might go,
Speaker 1: how much money is that? Well, I can tell you
Speaker 1: it's one thousand and five dollars, So it's a significant
Speaker 1: amount of cash, you know, I mean less plastic back
Speaker 1: in those days. That's true, But I mean how long
Speaker 1: is he away for? He's on the way back, though,
Speaker 1: so you'd think he would have.
Speaker 2: Obviously didn't take the biggest plot hole in the thing.
Speaker 2: That much money? Yeah, what did you do with your mom?
Speaker 2: Did you take out for a nice dinner? Tips? Did
Speaker 2: you plan to take her out for a nice dinner
Speaker 2: and then and then decide not to And then looked
Speaker 2: at his cash and went, oh, my gosh, I could
Speaker 2: really spend this another way.
Speaker 1: Norman Jewison, the director, asked Rod Steiger came with the
Speaker 1: idea that he's a gum shot because he really did
Speaker 1: you notice how much he loves chewing his gum. He's
Speaker 1: like he's like an NFL coach. Like the gum chewing
Speaker 1: that's going on to the point where it comes through
Speaker 1: to micro like you hear it. I thought they could
Speaker 1: have toned it down, like even the sound of it,
Speaker 1: if he wasn't chew it that much. He went through
Speaker 1: two hundred and sixty three packets of gum.
Speaker 2: Oh my god, that's a good stat I liked his glasses, Yeah,
Speaker 2: I want it. Do you know about those? So he
Speaker 2: wears these orange tinted glasses. What's what's with those tinted glasses?
Speaker 1: I don't know, but I think I saw a copy
Speaker 1: of the book and then the book the cover and
Speaker 1: then weather it was a re release of the you know,
Speaker 1: once the movie was out and they re released it
Speaker 1: to kind of match what they did in the film
Speaker 1: that happens he did.
Speaker 2: He had the orange glasses. So even in the book,
Speaker 2: the book is like a Southern cop thing, Like I
Speaker 2: feel like I've seen that in life in Chip well yeah,
Speaker 2: Jeff definitely in Chips Yeah, and definitely in the James
Speaker 2: Bond movie where he's where there's that cop, yeah, cop
Speaker 2: character South American, Southern and Southern American anyway. Yeah, I
Speaker 2: always thought people wore tinted glasses because when they're wearing
Speaker 2: them inside and stuff. I always thought that was like
Speaker 2: if they're because they're a pot smoker and they're trying
Speaker 2: to hide them red. Possibly I need another reason. I
Speaker 2: want to know what the other reason is.
Speaker 1: Okay, rodstigirl. So he was like legendary actor. If you
Speaker 1: know the Herder they Fall. He played the al Capone
Speaker 1: in al Capone. He's in the Longest Day. He was
Speaker 1: nominated for an Oscar for The Pawnbroker got the Zivago
Speaker 1: Mars Attacks, one of his more recent or later films,
Speaker 1: on the Waterfront, he was Charlie.
Speaker 2: Charlie, Well, I haven't seen I don't I think I've
Speaker 2: seen one of those movies you've mentioned. So it was
Speaker 2: like a pretty new Rod Stagger experience. Yeah, I think
Speaker 2: I've got to get I've got to get into all
Speaker 2: the Sydney Poitier stuff. I don't think I've seen guests
Speaker 2: Who's Coming to Dinner or the school one. I don't
Speaker 2: think i've seen.
Speaker 1: Well, Guess Who's Coming to Dinner was released the same year,
Speaker 1: so he that back to back. So when he was
Speaker 1: a year when he wasn't nominated for an Oscar. There
Speaker 1: is a case put forward that he may.
Speaker 2: Have double split voting.
Speaker 1: Yeah, which which is an explanation, but you know, there's
Speaker 1: you could also look at it in other ways.
Speaker 2: Of course, but it was.
Speaker 1: It was a strong year as far as movies made
Speaker 1: in the ninety sixty eight Oscars. It won and it
Speaker 1: beats check out these films. Guess He's coming for dinner
Speaker 1: to dinner, Cool Hand, Luke, The Dirty Dozen, Bonnie and Clyde.
Speaker 2: Wow, and The Graduate Wow bad.
Speaker 1: I imagine if this year's Oscar Best Film, we look
Speaker 1: back in thirty five years, forty years and think, bloody hell,
Speaker 1: it's almost sixty years.
Speaker 2: It's approaching sixty years old. It's crazy. What which films
Speaker 2: kind of stick, isn't it? You know? And because the
Speaker 2: Graduate is just like an old timer?
Speaker 4: Yeah?
Speaker 3: Yeah.
Speaker 1: Out of all those films, you do wonder which one?
Speaker 1: I think you can make a case almost any of
Speaker 1: them could have been a worthy winner.
Speaker 2: Colleen Luke is an exceptional film. I don't think I've
Speaker 2: seen that either.
Speaker 1: Man, Okay, you've got to pick so many films you
Speaker 1: have to come back next season. But yeah, also, this
Speaker 1: film was the first, it's quite a fascinating fact. Is
Speaker 1: the first major Hollywood film to be lit properly for
Speaker 1: an African American actor.
Speaker 2: Right, So that's huge, isn't it.
Speaker 1: Yeah, so they just kind of they just didn't They
Speaker 1: didn't either know or didn't care to or didn't realize
Speaker 1: that there.
Speaker 2: Was a thing. It was a thing.
Speaker 1: Yeah, different colored skin means the lights will do different things.
Speaker 1: So yeah, that's a And he does look like he
Speaker 1: looks he's a movie. He looks so good in it.
Speaker 1: There's a documentary on might be Netflix. It's called I
Speaker 1: think it's called Sydney. I think Oprah Winfrey was behind it, okay,
Speaker 1: and it looks at the life of Sidney Pointier. He
Speaker 1: came to America not knowing any English, wow, And he
Speaker 1: taught himself, and he deliberately taught himself to speak the
Speaker 1: way he does.
Speaker 2: Like he's very well spoken.
Speaker 1: Like he wasn't just enough learning English, he wanted to
Speaker 1: speak English.
Speaker 2: Well, okay, right and proper. I always assumed that he
Speaker 2: was from Africa or something like that, because I'm not
Speaker 2: saying it wrong, but just from his accent, because it's
Speaker 2: not a particularly American accent that he has. But When
Speaker 2: I say that, I mean that he learned Englis is there.
Speaker 2: He came from the Bahamas, right, Like talk about a
Speaker 2: self made man. He really was.
Speaker 1: And the documentary does an amazing job of painting his
Speaker 1: life and it's an extraordinary thing to watch. I'll have
Speaker 1: to sprink it on that wonderful new app called Spruk,
Speaker 1: which everybody should be on. And he was the first
Speaker 1: black man, black actor to win an Academy Award. Yeah,
Speaker 1: he's I feel like in the last ten years particularly
Speaker 1: has been like really celebrated. Denzel Washington may not exist
Speaker 1: if it wasn't for Sydney potyera, I mean speaking broadly.
Speaker 7: Yeah, Sheffield last night it was Dens Washington.
Speaker 4: He's brilliant.
Speaker 7: He's a brilliant actor, and he's very good.
Speaker 4: He's good.
Speaker 7: Oh damn, I like him.
Speaker 4: He's kind.
Speaker 7: See he's not my favorite actor all the time, by
Speaker 7: the way. No, No, my favorite act of all time
Speaker 7: is mister Sidney Potio.
Speaker 1: So all right, before we go, Yannie obviously, continue to
Speaker 1: do great work with Tripod and everyone. Whenever you get
Speaker 1: a chance to see trumpot on tour they come through
Speaker 1: your town, you should take that opportunity. Big borrow or
Speaker 1: steal a ticket or just pay the box office online. Yeah,
Speaker 1: you can do that. But you have a new projects
Speaker 1: called Minuscule Musical. It's a podcast.
Speaker 2: It's a podcast and each episode it's like it's a
Speaker 2: limited six episode season. Smart and I regret not doing
Speaker 2: this episode series. Have you held yourself to a number
Speaker 2: of episodes twenty twenty per season, many seasons per year,
Speaker 2: usually two. That's a lot. It's a lot.
Speaker 1: Goes longer too. Mine's only about half an hour. Yeah,
Speaker 1: this season might be shorter. It might might be shorter,
Speaker 1: but we'll see.
Speaker 2: We'll see what makes it at the end. We'll see
Speaker 2: when we'll cut this one. How does Minuscule Musical work? Okay, fremous.
Speaker 2: So each episode is me and a guest writing a musical.
Speaker 2: We've written a short musical, like a ten to fifteen
Speaker 2: minute thing. It's a self contained little story, like a
Speaker 2: little radio play.
Speaker 1: And then we for example, it could be write a
Speaker 1: musical about somebody from young Talent time.
Speaker 2: Yeah, like that's a minuscule music off the top of
Speaker 2: my head, yep, you could totally do that. And so
Speaker 2: we've written a musical and then we and then we
Speaker 2: perform at it the Butterfly Club to a small crowd.
Speaker 2: So it's sort of like it's sort of like pitching
Speaker 2: a new it's like pitching a musical to a crowd.
Speaker 2: So does it all.
Speaker 1: What elements going to making the plot of the of
Speaker 1: the musical? Do you do that in the studio? He's
Speaker 1: had all done in front of the crowd.
Speaker 7: No, I know.
Speaker 2: So it's pre written, like we've got together for a
Speaker 2: few days. Each one has taken a few days to
Speaker 2: put together, and we just sort of sit there and
Speaker 2: try and come up with an idea, pitch ideas to
Speaker 2: each other, and then and then we write it. And
Speaker 2: you know, it's very kind of restricted by the amount
Speaker 2: of time, Like how much story can you get in
Speaker 2: ten to fifteen minutes. I mean, if you're talking about
Speaker 2: Bev in the musical, you can get a lifetime.
Speaker 1: Number thirty five, Hoddus one hundred in two thousand, I
Speaker 1: think was whatever. So are your guests or musical that
Speaker 1: they sing with you?
Speaker 2: Okay, So the guests are like the Sammy Jay did one,
Speaker 2: Jude Pearl did one, Jillian Cosgriff did one. We're basically
Speaker 2: doing the whole thing Like it's usually like a keyboard
Speaker 2: or a guitar or a bit of both. And we're
Speaker 2: playing the characters, like we say, when we write it,
Speaker 2: we kind of got that and in mind, like, oh,
Speaker 2: you'll play this character. And they're usually kind of two hands.
Speaker 2: Sometimes we have an extra person if the story needs that.
Speaker 2: And then we like play it to the crowd and
Speaker 2: some of them are funny. Some of them are occasionally funny,
Speaker 2: like you know, some of them are just trying to
Speaker 2: be good, right, And then we and then we sort
Speaker 2: of talk about it afterwards in front of the crowd
Speaker 2: of a little post mortem and to talk about what
Speaker 2: we thought worked or whatever, and you answer questions from
Speaker 2: the crowd. Yeah, we do. We answer questions from the crowd.
Speaker 2: And one of the one of the musicals is is
Speaker 2: about Bono and the Edge having the idea to make
Speaker 2: the Spider Man musical. Remember they did a Spider Man
Speaker 2: musical a few years ago, so it's it's kind of meta,
Speaker 2: but it's about it's about them in a limo hatching
Speaker 2: the idea to make a Spider Man musical, which famously
Speaker 2: was like quite a flop and had a lot of
Speaker 2: technical problems. Anyway, the night we did it in the crowd.
Speaker 2: There was a lady who had seen the real Spider
Speaker 2: Man musical that that was kind of a disaster, and
Speaker 2: she talked us through all the technical things that happened.
Speaker 2: She went seven times, seven times because the first time
Speaker 2: she went the Spider Man something fucked up and the
Speaker 2: Spider Man was just sort of dangling yeah, over the audience.
Speaker 2: So she's like, well, I'm coming again, and it happened
Speaker 2: every time she went.
Speaker 1: Maybe it was just her. Maybe, yeah, she was the
Speaker 1: bad lunch chart. Yeah, and that's available now, get you good.
Speaker 1: Yeah your podcast?
Speaker 2: Yes, yeah, minuscule and it's m I n U school musical.
Speaker 2: It's the old version of the spelling of that word.
Speaker 2: Don't ask what at a meeting with the meetings involved,
Speaker 2: now what? It just looks better like if you look
Speaker 2: at it on a page, it looks better than mini skill. Yeah, yeah,
Speaker 2: I agree. I agree. It was perhaps not a great
Speaker 2: marketing decision, but.
Speaker 1: You'll find it minuscule spelled with a you, both minuscule
Speaker 1: and musical with a you. There are eyes in there
Speaker 1: as well. You work it out on mate. This podcast
Speaker 1: comes with homework.
Speaker 2: I appreciate the time you've put in the watch this
Speaker 2: classic film. I'm glad you enjoyed it.
Speaker 1: At always it always works, and now you can go
Speaker 1: off and you can say you've seen in the Head
Speaker 1: of the Night by normal Jewison with Sidney Potier, Thank you,
Speaker 1: thank you.
Speaker 4: Sell my soul but yourself.
Speaker 2: There we go, Yanni from Tripod. That was great.
Speaker 1: I was nervous because I really got a little bit
Speaker 1: confused towards the end of that film. And I really
Speaker 1: loved it, but I thought it did fall away a
Speaker 1: little bit as far as the case and how it
Speaker 1: was solved goes compared to some of the standards, and
Speaker 1: there's so much crime drama and true crime and we
Speaker 1: kind of have a I think the bar has really
Speaker 1: gone up. So when you're watching a film in nineteen
Speaker 1: sixty seven where there are a couple convenient discoveries in
Speaker 1: this film, but I think it's more than that.
Speaker 2: This movie. It is about the racial undertones.
Speaker 1: And you know, I mean, imagine if Sidney Poitier did
Speaker 1: not do this role and it was simply it was
Speaker 1: Paul Newman. We were not talking about it today, I
Speaker 1: don't think so. It is a fascinating film and I
Speaker 1: hope you've enjoyed it. If you watched it. I want
Speaker 1: to thank everybody who continues to listen to this podcast.
Speaker 2: We are growing and growing and growing.
Speaker 1: If you want to reach out yasny podcast at gmail
Speaker 1: dot com you can find the speak Pipe through the
Speaker 1: links on the page. I love the community. We continue
Speaker 1: to grow. Yeah, keep watching movies. We'll try to get
Speaker 1: a live event going soon. I'm going away again for
Speaker 1: a little bit, so there might be a couple of
Speaker 1: reruns that we have to run. It is important because
Speaker 1: I do love doing this and I feel if I
Speaker 1: don't take breaks when I can, then I'll just burn
Speaker 1: out and I'll eventually just close it all up. So
Speaker 1: you might get to a week where or a couple
Speaker 1: of weeks in a row where there's some episodes re released.
Speaker 1: Hopefully it doesn't make it too mad. Hopefully maybe it's
Speaker 1: an episode you haven't checked out before. I do shoes
Speaker 1: episodes I do enjoy particularly, so hopefully you can enjoy
Speaker 1: them again or enjoy them for the first time. But
Speaker 1: we will have plenty of new episodes coming out. In fact,
Speaker 1: next week on the show. We have a fantastic comedian's
Speaker 1: on the scene for many, many years. A lot of
Speaker 1: AFL fans will know our guests because he really got
Speaker 1: some notoriety going when the Bulldogs, the Western Bulldogs in
Speaker 1: the AFL in their premiership year our guests, and this
Speaker 1: is I think the first time has happened. But he
Speaker 1: wrote the banners. He's a comedian. He wrote the banners
Speaker 1: for the Western Bulldogs.
Speaker 2: They kind of went.
Speaker 1: Viral or they got a lot of traction that it
Speaker 1: was all part of the feel good story that year
Speaker 1: of the Western Bulldogs. But he's a fantastic comedian. Danny
Speaker 1: McGinlay will be my guest next week. He's a big cinephile.
Speaker 1: And we are going back. We are going back to
Speaker 1: nineteen forty four, and I'm excited because it's the first
Speaker 1: Billy Wilder film that we will be covering. Awesome director
Speaker 1: also directed A Boulevard, The Apartment, among others. I'm sure
Speaker 1: we'll get to those movies down the track, but this
Speaker 1: is the first Billy Wilder film we're doing. It is
Speaker 1: perhaps regarded as the greatest film noir of all time
Speaker 1: for nineteen forty four. It is double in enmity will
Speaker 1: be covering. I'm excited because I haven't seen it. Danny
Speaker 1: obviously hasn't seen it. We'll be watching it for the
Speaker 1: first time and bringing it to you. So if you
Speaker 1: haven't checked out Double Indemnity, I do kind of recommend
Speaker 1: with this one.
Speaker 2: Because it is a mystery, I do recommend watching it.
Speaker 1: Obviously, some people like listen to the podcast, and hey,
Speaker 1: we live in a free country.
Speaker 2: Do what you like. But I imagine, because it is a.
Speaker 1: Mystery, spoilers will impact on your enjoyment of the film.
Speaker 1: So if you can track down Doublingdemnity, watch it. I
Speaker 1: can't wait to see it, and we'll be changing about
Speaker 1: that film, and I'm sure many more things with the
Speaker 1: very funny Danny Agin lay next week, and you ain't
Speaker 1: see nothing yet until then.
Speaker 2: Take care.
Speaker 6: And so we leave old Pete save Vansul and to
Speaker 6: our friends of the radio audience, we've been a pleasant
Speaker 6: good name.