WEBVTT - Lizzy Hoo and This Is Spinal Tap

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<v Speaker 1>Gooda Peter, Hell are you here? Welcome to you and

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<v Speaker 1>saying nothing yet. In the movie podcast, We're our chack

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<v Speaker 1>to a movie lover. I've been a classic O beloved movie.

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<v Speaker 1>They haven't quite gotten around a scene until now. And

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<v Speaker 1>today's guest comedian Lizzie who.

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<v Speaker 2>Do you really think you have a chance against us?

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<v Speaker 2>Mister cowboy?

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<v Speaker 1>Open the pod bay doors, Hell.

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<v Speaker 3>I'll have what she's happens.

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<v Speaker 1>Happening right now.

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<v Speaker 3>Don't see nothing.

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<v Speaker 1>Lizzie, who has been absolutely storming at on the trained

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<v Speaker 1>comedy scene.

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<v Speaker 4>She came quite late.

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<v Speaker 1>Than most people, to be honest. A lot of people

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<v Speaker 1>start out of school these days. They do raw comedy,

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<v Speaker 1>they do class clowns, and they're into it.

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<v Speaker 4>Where Lizzie she was working, she was.

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<v Speaker 1>Working out in the wild, gaining life experience. And I

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<v Speaker 1>first saw her on stage about five years ago now,

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<v Speaker 1>and you just knew she had some magic about her.

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<v Speaker 1>She is dry, hilarious, really whip smart, and I've done

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<v Speaker 1>many festivals around the country with her.

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<v Speaker 4>I've seen her at the.

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<v Speaker 1>Melbourne National Comedy Festivals, the Fringe Festival where she's been

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<v Speaker 1>killing it with her solo shows, and she's just kind

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<v Speaker 1>of a joy to be around.

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<v Speaker 4>She also was in a.

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<v Speaker 1>Writer's room for the development of seasons two and three

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<v Speaker 1>on How to Say Married, where she was such a

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<v Speaker 1>brilliant presence to have in the room.

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<v Speaker 4>I really love any.

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<v Speaker 1>Chance I get to hang out with Lizzie, and today

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<v Speaker 1>is no exception. I'm bloody stoked to be hanging with Hi.

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<v Speaker 3>I'm Lizzie Who and my three favorite movies are Imitation Game.

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<v Speaker 5>You really think that bend it?

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<v Speaker 3>Like Beckham.

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<v Speaker 6>All I'm saying is there is a reason why Sporty

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<v Speaker 6>Spice is the only one of them without a fella.

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<v Speaker 3>And I think any of this step up franchise and

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<v Speaker 3>that's so lame.

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<v Speaker 7>I told you she was screw with this up.

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<v Speaker 3>But up until last night, I had not seen this

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<v Speaker 3>is spinal tap.

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<v Speaker 2>Hello. My name is Marty de Bergie. I'm a filmmaker.

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<v Speaker 2>I make a lot of commercials.

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<v Speaker 8>That little dog that chases the covered wagon underneath the

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<v Speaker 8>sink that was mine. In nineteen sixty six, I went

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<v Speaker 8>down to Greenwich Village, New York City, to a rock

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<v Speaker 8>club called the Electric Banana. Don't look for it, it's

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<v Speaker 8>not there anymore. But that night I heard a band

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<v Speaker 8>that for me redefined the word rock and roll. I

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<v Speaker 8>remember being knocked out by their exuberance, their raw power

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<v Speaker 8>and their punctuality. That band was Britain's now legendary Spinal Tap.

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<v Speaker 8>Seventeen years and fifteen albums later, Spinal Tap is still

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<v Speaker 8>going strong and they've earned a distinguished place in rock

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<v Speaker 8>history as one of England's loudest bands. So on the

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<v Speaker 8>late fall of nineteen eighty two, when I heard that

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<v Speaker 8>Tap was releasing a new album called Smell the Glove

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<v Speaker 8>and was planning their first tour of the United States

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<v Speaker 8>in almost six years to promote that album, well, needless

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<v Speaker 8>to say, I jumped at the chance to make the

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<v Speaker 8>documentary the if you Will rockumentary that you're about to see.

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<v Speaker 1>It's fair to say there are few comedies that have

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<v Speaker 1>had the cultural impact and influence as nineteen eighty four's

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<v Speaker 1>rock classic This is Spinal Tap. The Rob Rana directed

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<v Speaker 1>documentary Sorry Rockumentary, Sorry Mockumentary was unlike anything that had

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<v Speaker 1>been done before, setting the path for the Office wal Car,

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<v Speaker 1>the Dewey Cox Story, Parks and Recreation, and countless others. This,

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<v Speaker 1>of course, is on top of the Christopher Guest driven

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<v Speaker 1>comedies Waiting for Government, best in Show, A mighty Wind,

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<v Speaker 1>and plenty more. This is spinal Tap, basically invented a

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<v Speaker 1>genre filmmaker Marty de Berghie follows Britain's loudest band, Spinal

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<v Speaker 1>Tap on their fateful North American tour. It begins with

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<v Speaker 1>hopes high, but as the backlash to the cover artwork

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<v Speaker 1>on their new LP Smell the Glove amps up the girlfriend,

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<v Speaker 1>the lead singer, Davidson Huggins played by Michael McLean, arrives.

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<v Speaker 1>The result is rock and roll chaos, rock and roll glory. Lizzie,

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<v Speaker 1>who have you amped yourself up to eleven to be

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<v Speaker 1>here today?

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<v Speaker 5>Yes?

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<v Speaker 4>And should?

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<v Speaker 3>I should be doing all the tongue out the cans.

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<v Speaker 5>I should have worn my hair big. Yeah, I'm amped

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<v Speaker 5>to be here.

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<v Speaker 4>Well, welcome.

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<v Speaker 1>You are one of the busiest working comics in the

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<v Speaker 1>business today, so I appreciate you one watching the movie

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<v Speaker 1>and then coming to talk about it, particularly this movie,

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<v Speaker 1>because this is a movie that comes with an ounce

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<v Speaker 1>of pressure.

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<v Speaker 9>There is.

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<v Speaker 1>This has come up many times as people's you know

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<v Speaker 1>and fellow comics favorite you know three films. It is

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<v Speaker 1>iconic that it has a huge legacy and you know,

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<v Speaker 1>I won't lie, I'm a touch nervous about you know

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<v Speaker 1>how you might react. We don't want, I don't want

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<v Speaker 1>to hear your reaction just yet. But why hadn't you

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<v Speaker 1>seen this is spinal Tap? And what did you know

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<v Speaker 1>of it?

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<v Speaker 3>Well? I definitely heard of it, but yeah, I just

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<v Speaker 3>I don't know why I haven't watched it. I don't

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<v Speaker 3>know if you heard up top, one of my favorite

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<v Speaker 3>movies is the Step Up franchise. Maybe this is spinal

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<v Speaker 3>Tap and my likes don't cross over, but that there

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<v Speaker 3>is a lot of pressure now that I didn't know

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<v Speaker 3>that this movie had come up.

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<v Speaker 5>In your podcast.

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<v Speaker 3>But yeah, maybe I hope I'm the person to do

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<v Speaker 3>this movie.

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<v Speaker 4>Just I'm sure you are.

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<v Speaker 1>I got no doubt, and if not, we'll do an

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<v Speaker 1>edit job on it and we'll come up. Trust me.

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<v Speaker 1>Let's talk about your three favorite films, because we do

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<v Speaker 1>want to get stuck into about this is spinal Tap,

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<v Speaker 1>but imitation game Benedict coming Back.

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<v Speaker 5>Yeah, that's it.

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<v Speaker 3>And he invents a computer that detects uh, yeah, the Spies, yeah.

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<v Speaker 4>Basically and help end the yeah, the World War two,

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<v Speaker 4>And I just.

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<v Speaker 3>Remember watching it going I had no idea about this

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<v Speaker 3>story and I think now he's on one of the notes, the.

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<v Speaker 4>UK notes, right, the Queen if already have that.

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<v Speaker 5>And it's Benedict Kumberbatch.

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<v Speaker 3>So I just remember watching that movie going wow, that

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<v Speaker 3>was really inspirational and it was like, I don't know,

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<v Speaker 3>sat in her tie, like he was gay and they

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<v Speaker 3>just didn't accept him for who that was he was,

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<v Speaker 3>even though he had all this like smarts and intellect

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<v Speaker 3>and yeah yeah yeah.

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<v Speaker 1>And Kieren Knightley was yes, yeah, yeah yeah.

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<v Speaker 4>Do you love a true story? Oh yeah, lean into

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<v Speaker 4>true stories?

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<v Speaker 5>Yeah, yeah, I love.

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<v Speaker 3>A true story. I read a lot of nonfiction. I

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<v Speaker 3>read a lot of biographies and stuff like that.

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<v Speaker 1>Yeah, so my mom, for some reason, as soon as

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<v Speaker 1>you put based on the true story, she obviously isn't

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<v Speaker 1>the only one, because obviously it happens to a lot,

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<v Speaker 1>even when it's like the Coen Brothers famously did it

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<v Speaker 1>with Fargo where they said based on the true story,

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<v Speaker 1>it wasn't.

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<v Speaker 4>Which I love that they did that.

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<v Speaker 1>Yeah, but no, that is a that is a cracking

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<v Speaker 1>filmy Uh, well played and bend it like Beckham, Oh.

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<v Speaker 5>No, the Kia Knightley, you put them together.

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<v Speaker 1>You discovery certain something maybe did you know.

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<v Speaker 5>I don't know.

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<v Speaker 3>I did see it once at a market in London. Yeah,

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<v Speaker 3>so I don't know that's a claim to fame. Maybe

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<v Speaker 3>she was buying flowers.

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<v Speaker 1>Yeah, I imagine nightly buying flower.

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<v Speaker 3>Yeah, yeah, she was buying flowers.

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<v Speaker 5>Yeah I didn't.

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<v Speaker 3>I didn't really realize that that I picked.

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<v Speaker 4>Who were the flowers for?

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<v Speaker 1>To get the lean over? As she wrote on the card,

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<v Speaker 1>did you see that?

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<v Speaker 5>Probably just for her house?

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<v Speaker 1>Come about saying thanks for being yea from yeah ination game?

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<v Speaker 3>But yeah, I loved I love Bennette Beckham as a kid.

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<v Speaker 3>I think I must have watched that as a teenager

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<v Speaker 3>because I grew up playing a lot of sport and

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<v Speaker 3>like I grew up, like my first sport that I

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<v Speaker 3>played was rugby union because my brothers played it.

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<v Speaker 5>And but then I wasn't I was the only girl

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<v Speaker 5>in the team.

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<v Speaker 3>No one really accepted, Like my team accepted me and

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<v Speaker 3>the club accepted me. But like any time that I

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<v Speaker 3>would go to a match or anything, they'd be like whispers.

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<v Speaker 5>Like, oh there's a girl on the team. Oh my gosh,

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<v Speaker 5>there's a girl on the team.

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<v Speaker 3>And I just I played one year because I felt

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<v Speaker 3>like sou out of my dab. I loved it, but

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<v Speaker 3>I was like, no, I've got to fight another sport.

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<v Speaker 3>I've got to find a girl sport. But I just

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<v Speaker 3>love Bennett like beckhamcause it's like that whole you know,

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<v Speaker 3>female sport camaraderie. They're winning, like yeah, and then there's

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<v Speaker 3>a cultural element as well. Not that I experienced any

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<v Speaker 3>of that, but I just really enjoyed that film and

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<v Speaker 3>I've watched it, yeah a lot of times.

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<v Speaker 1>Well, we were recording this the night after I had

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<v Speaker 1>quite a fiery debate with my good friend Stephen Price.

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<v Speaker 1>Oh yeah project about the AFLW. So, I mean how

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<v Speaker 1>and the point I made was, I really, my sisters

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<v Speaker 1>are both AFL mad. They able to have loved the unity.

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<v Speaker 1>I'm not sure if anything either of them would be

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<v Speaker 1>any good. Yeah, but they never had a chance, Like

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<v Speaker 1>we would go to our our you know, to watch

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<v Speaker 1>for myself and my brother to play, and they would

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<v Speaker 1>go and work camteing basically. Yeah, you know, so this

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<v Speaker 1>whole point of you know, whether the AFL w' is

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<v Speaker 1>up the scratch to AFL men's which is a ridiculous argument. Yeah,

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<v Speaker 1>and it's fourth or fifth season. It's what it means

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<v Speaker 1>to girls, Yeah, you had to stop playing at a

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<v Speaker 1>certain home. What you mentioned.

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<v Speaker 3>Yeah, Like I was eight when I played, and then

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<v Speaker 3>I went and played netball because I thought, okay, no,

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<v Speaker 3>I'm not meant to play this, I'm meant to play netball.

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<v Speaker 5>I ended up playing hockey.

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<v Speaker 3>I hated network. I ended up playing hockey for most

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<v Speaker 3>of my life. But when I was seventeen, So girls,

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<v Speaker 3>I think in rugby they had to stop at twelve

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<v Speaker 3>and then they could go back and play in the

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<v Speaker 3>women's league. And I was seventeen and I went with

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<v Speaker 3>a school friend and we wanted to play rugby with

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<v Speaker 3>the women's team, and they said we couldn't play. They're like,

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<v Speaker 3>you can come and train, but you can't legally take

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<v Speaker 3>the field because you're too young. You have to be eighteen.

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<v Speaker 4>So you caught in this.

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<v Speaker 3>Yeah, it was like yeah, and I'm like, I guess

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<v Speaker 3>I'll just play hockey, you know, But yeah, it does. Yeah,

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<v Speaker 3>you just never get the chance. And I watch my

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<v Speaker 3>niece she plays AFL now, and I've watched her from

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<v Speaker 3>when she was like ten years old. She's sixteen now,

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<v Speaker 3>and they are so good, like they've gotten so much better,

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<v Speaker 3>and just watching them, like I shed a tear sometimes

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<v Speaker 3>because I'm watching them thinking, oh, wish this was me.

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<v Speaker 3>I'm seething with jealousy. But they're just playing for each other,

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<v Speaker 3>they're loving it. Watching them sing the song at the end, Oh,

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<v Speaker 3>it's just amazing.

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<v Speaker 6>Yeah.

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<v Speaker 1>Yeah, I think it's really hard to not watch those

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<v Speaker 1>games and see what it means to them. I mean,

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<v Speaker 1>and in the I don't want to make it all

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<v Speaker 1>about what happened. Yeah, it is on my mind a

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<v Speaker 1>little bit, But the response I got from people. I

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<v Speaker 1>got a response from a professional, you know, a sports

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<v Speaker 1>person who plays you know, absolutely high level in tennis

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<v Speaker 1>and saying to me, you know, I went to I

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<v Speaker 1>went to AFL with my dad growing up, and I

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<v Speaker 1>just I would have played AFL if I if that

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<v Speaker 1>opportunity is and she's on the professional tennis circuit. From

0:12:27.200 --> 0:12:29.440
<v Speaker 1>people who are broadcasters in the game, women who are

0:12:29.440 --> 0:12:31.400
<v Speaker 1>broadcast in the game, who still have these kind of

0:12:31.440 --> 0:12:34.360
<v Speaker 1>hurdles they are they are trying to jump over. But

0:12:34.400 --> 0:12:37.079
<v Speaker 1>most of it really was if it was there when

0:12:37.120 --> 0:12:40.520
<v Speaker 1>I was there, I would have been playing it. Yeah,

0:12:40.520 --> 0:12:43.760
<v Speaker 1>you know, And some some women who were like, you know,

0:12:44.440 --> 0:12:46.240
<v Speaker 1>this all came up when I was like twenty nine,

0:12:46.360 --> 0:12:47.800
<v Speaker 1>thirty thirty one, where I was probably just said a

0:12:47.800 --> 0:12:52.000
<v Speaker 1>little bit to you know, to other starteah, and so

0:12:52.200 --> 0:12:54.319
<v Speaker 1>it is all about looking forward. So I can imagine

0:12:55.360 --> 0:12:58.360
<v Speaker 1>that playing a role in your love of Bend at

0:12:58.440 --> 0:12:59.080
<v Speaker 1>Light Beckham.

0:12:59.200 --> 0:12:59.440
<v Speaker 2>Yeah.

0:12:59.559 --> 0:13:02.480
<v Speaker 3>Yeah, even though I wasn't a soccer player, I just

0:13:02.600 --> 0:13:07.720
<v Speaker 3>loved like the team camaraderie and and even at school,

0:13:07.880 --> 0:13:09.800
<v Speaker 3>like you know, the sports girls.

0:13:09.520 --> 0:13:11.600
<v Speaker 5>Were sort of like one thing.

0:13:11.840 --> 0:13:14.640
<v Speaker 3>And you get a bit you're like, oh, sport, Like

0:13:15.000 --> 0:13:17.720
<v Speaker 3>why why are you spending your weekends playing sport? Like

0:13:17.800 --> 0:13:21.080
<v Speaker 3>it wasn't something you were like completely proud of like

0:13:21.800 --> 0:13:25.560
<v Speaker 3>the guys were, you know. So I just I just

0:13:25.640 --> 0:13:27.560
<v Speaker 3>related to a lot of that movie.

0:13:28.040 --> 0:13:33.480
<v Speaker 1>Yeah, now that's your sporting side, theatrical side, your your

0:13:33.840 --> 0:13:37.280
<v Speaker 1>I'm not sure I haven't seen you dance before, but

0:13:37.360 --> 0:13:39.959
<v Speaker 1>take us through to Step Up franchise.

0:13:40.040 --> 0:13:43.520
<v Speaker 5>Now set up cheerleading or no, it's dancing.

0:13:43.600 --> 0:13:44.320
<v Speaker 4>It's more dancing.

0:13:44.400 --> 0:13:46.880
<v Speaker 5>Yeah yeah, yeah, and it's just.

0:13:47.000 --> 0:13:48.520
<v Speaker 4>It's bring it on. The cheerleading one.

0:13:48.679 --> 0:13:51.280
<v Speaker 3>Bring it on is the cheer step Up. I think

0:13:51.320 --> 0:13:54.480
<v Speaker 3>it's going up to like number ten. Yes, it's a

0:13:54.600 --> 0:13:56.640
<v Speaker 3>very popular format.

0:13:56.880 --> 0:13:57.760
<v Speaker 5>The dance movie.

0:13:57.960 --> 0:14:00.280
<v Speaker 1>Are they equally as good or is there a drop

0:14:00.280 --> 0:14:02.160
<v Speaker 1>off at a certain point or is it like fast

0:14:02.160 --> 0:14:05.880
<v Speaker 1>and furious they actually get supposedly better or at least

0:14:05.880 --> 0:14:06.160
<v Speaker 1>you know.

0:14:06.720 --> 0:14:09.079
<v Speaker 3>I think there were, like there's a couple of better ones,

0:14:09.120 --> 0:14:11.800
<v Speaker 3>like Step Up to the Streets I think is probably

0:14:12.440 --> 0:14:15.439
<v Speaker 3>my favorite. And I saw that in three D.

0:14:18.720 --> 0:14:23.080
<v Speaker 1>At the cinema when they work at you really really pops.

0:14:23.520 --> 0:14:26.480
<v Speaker 3>It's just one thing my best friend, and we don't

0:14:26.520 --> 0:14:28.960
<v Speaker 3>have you don't have a lot of similarities, but it's

0:14:29.080 --> 0:14:32.680
<v Speaker 3>dance movies is something, and it's funny you run into

0:14:32.680 --> 0:14:35.720
<v Speaker 3>people that grew up watching films, like you know, went

0:14:35.760 --> 0:14:38.120
<v Speaker 3>to high school in the nineties. There was this real

0:14:38.240 --> 0:14:42.440
<v Speaker 3>dance genre thing, like there was a step up Save

0:14:42.520 --> 0:14:46.200
<v Speaker 3>the Last Dance, Yeah, honey, Like there were all these

0:14:46.480 --> 0:14:49.120
<v Speaker 3>dance movies that came out ugly.

0:14:49.560 --> 0:14:55.040
<v Speaker 1>Yeah yeah, it's just like late nineties, early two thousand yeah, yeah, yeah, yeah.

0:14:54.560 --> 0:14:58.440
<v Speaker 4>Yeah, Okay, we'll step up. He's two thousand and six, actually, yeah, carey, Yeah.

0:14:58.840 --> 0:15:00.120
<v Speaker 1>Time is a weird the.

0:15:00.200 --> 0:15:02.240
<v Speaker 5>Concept in my twenties there so.

0:15:03.960 --> 0:15:06.200
<v Speaker 4>Is this the birth of Channing Tatum?

0:15:06.680 --> 0:15:10.520
<v Speaker 3>Yeah, yeah, he's in it, And it's like that classic

0:15:10.600 --> 0:15:15.200
<v Speaker 3>format of you know, wrong side of the tracks. These

0:15:15.280 --> 0:15:17.560
<v Speaker 3>kids aren't going to make it. They're taken on the

0:15:17.720 --> 0:15:22.440
<v Speaker 3>proper dance schools and then they blitz it obviously, and

0:15:23.120 --> 0:15:25.600
<v Speaker 3>it's great to watch. It's probably a bit like bend At,

0:15:25.640 --> 0:15:26.720
<v Speaker 3>like Beckham esque.

0:15:27.040 --> 0:15:28.480
<v Speaker 5>At the end they're all winning.

0:15:28.640 --> 0:15:31.600
<v Speaker 3>I love a little sports montage.

0:15:32.040 --> 0:15:36.760
<v Speaker 1>Yeah, I'm a bandit for like the movies like Teen

0:15:36.800 --> 0:15:40.960
<v Speaker 1>Wolf and Wildcats. Was a really horn that was a

0:15:41.000 --> 0:15:43.880
<v Speaker 1>really good American high school and that was you know,

0:15:44.400 --> 0:15:47.640
<v Speaker 1>it's worth seeing. Actually it was. You know, she's like

0:15:47.680 --> 0:15:51.280
<v Speaker 1>a single mom who you know, is a obviously a

0:15:51.280 --> 0:15:55.600
<v Speaker 1>woman trying to coach you know, American football and college

0:15:55.600 --> 0:15:57.320
<v Speaker 1>takes it because she's a you know, she's a woman.

0:15:57.640 --> 0:16:02.280
<v Speaker 1>And she finally gets like the worst team in reputation

0:16:02.360 --> 0:16:06.280
<v Speaker 1>wise and their misfits obviously, she whips them in the

0:16:06.360 --> 0:16:08.960
<v Speaker 1>shape and it's it's like I reckon you love.

0:16:09.160 --> 0:16:11.160
<v Speaker 5>Yes, I would love that.

0:16:11.440 --> 0:16:16.480
<v Speaker 1>Check that out, all right. Three films, imitation game, bend

0:16:16.480 --> 0:16:22.680
<v Speaker 1>It like Beckham and step Up. The whole franchise, every single.

0:16:22.480 --> 0:16:25.400
<v Speaker 5>One, everything one, every single minute.

0:16:25.520 --> 0:16:28.120
<v Speaker 1>Imagine Chennington doesn't stay with them the whole way through.

0:16:28.160 --> 0:16:31.560
<v Speaker 1>Does he eventually leaves? Is it a revolving cast or

0:16:31.600 --> 0:16:31.800
<v Speaker 1>is it?

0:16:31.840 --> 0:16:34.920
<v Speaker 3>Yeah, it is there's some repeat cast. But then yeah,

0:16:34.960 --> 0:16:38.120
<v Speaker 3>I think he eventually leaves, goes on to bigger and

0:16:38.160 --> 0:16:40.600
<v Speaker 3>better things. Obviously, Magic Mike.

0:16:45.160 --> 0:16:46.160
<v Speaker 5>Not a bad movie.

0:16:47.680 --> 0:16:50.600
<v Speaker 1>Well we will forget that sometimes. Magic Mike. You know

0:16:50.600 --> 0:16:53.440
<v Speaker 1>it's a Steven Soderberg film, you know. Yeah, the first

0:16:53.480 --> 0:16:56.880
<v Speaker 1>one was great. I saw the second one. I think

0:16:56.880 --> 0:17:01.640
<v Speaker 1>my wife went without me. But yeah, good film.

0:17:01.400 --> 0:17:06.080
<v Speaker 3>Great film. I actually saw. I don't know if I this, Yeah,

0:17:06.080 --> 0:17:06.320
<v Speaker 3>I did.

0:17:08.240 --> 0:17:08.520
<v Speaker 1>I did.

0:17:08.680 --> 0:17:10.439
<v Speaker 3>I did see that, and it was it was the

0:17:10.560 --> 0:17:13.639
<v Speaker 3>night before, although it was the night of that. I

0:17:13.680 --> 0:17:15.840
<v Speaker 3>was living in Sydney at the time, and Gladys said,

0:17:16.400 --> 0:17:18.960
<v Speaker 3>if you don't have to go out, don't go out.

0:17:21.520 --> 0:17:24.480
<v Speaker 3>And I and my friend and I were like, if

0:17:24.480 --> 0:17:25.680
<v Speaker 3>this is the last thing that we.

0:17:25.680 --> 0:17:29.359
<v Speaker 5>Do, we're going to Magic Mike Live.

0:17:30.080 --> 0:17:33.920
<v Speaker 3>And we turned up and we followed this like stream

0:17:33.960 --> 0:17:37.600
<v Speaker 3>of Taffeta and Hen's parties into this and it was

0:17:37.680 --> 0:17:39.720
<v Speaker 3>quite the production, like it was like a Spiegel tent,

0:17:39.840 --> 0:17:43.600
<v Speaker 3>but a lot bigger and higher. It was beautiful and

0:17:43.640 --> 0:17:47.000
<v Speaker 3>then inside, yeah, it was like a round theater and

0:17:47.080 --> 0:17:49.920
<v Speaker 3>honestly there it was like a quarter fall that night

0:17:50.160 --> 0:17:51.639
<v Speaker 3>and it was hilarious.

0:17:51.680 --> 0:17:55.280
<v Speaker 5>It was the best comedy show that i'd seen that year.

0:17:56.760 --> 0:17:58.040
<v Speaker 5>I was laughing the whole time.

0:17:59.160 --> 0:18:01.000
<v Speaker 4>But some people decide, Okay, well I don't need to

0:18:01.000 --> 0:18:03.240
<v Speaker 4>go back Cloud. You're right, and there were.

0:18:03.160 --> 0:18:05.600
<v Speaker 1>Just just the horn dogs.

0:18:06.560 --> 0:18:10.480
<v Speaker 3>I wasn't quite peak horn dogs because I got tickets

0:18:10.480 --> 0:18:13.560
<v Speaker 3>at the back. I got the cheapest tickets, but I

0:18:13.600 --> 0:18:16.399
<v Speaker 3>did pay my respects to the ladies at the front.

0:18:16.480 --> 0:18:19.200
<v Speaker 3>I was like, respect to you. You know who you are.

0:18:19.680 --> 0:18:20.800
<v Speaker 3>I'm going to get a front rower.

0:18:20.880 --> 0:18:21.880
<v Speaker 5>Magic Live.

0:18:22.200 --> 0:18:24.440
<v Speaker 1>This pandemic has been hard on all of us. Yeah,

0:18:25.080 --> 0:18:28.439
<v Speaker 1>whatever gets you through. Yeah, if you double backs, you

0:18:28.600 --> 0:18:31.200
<v Speaker 1>enjoy your magic market. Yeah.

0:18:32.080 --> 0:18:33.040
<v Speaker 3>It was really fun.

0:18:33.520 --> 0:18:36.000
<v Speaker 1>Okay, I'll tell you what is fun. This movie we're

0:18:36.000 --> 0:18:40.159
<v Speaker 1>about to discuss Lizzie Who. Lizzie Who. It's a movie

0:18:40.320 --> 0:18:45.600
<v Speaker 1>from nine to eighty four Starrying Christopher guest Who. So

0:18:45.720 --> 0:18:48.560
<v Speaker 1>I didn't direct it. Robraina directed it, but he wrote

0:18:48.600 --> 0:18:52.600
<v Speaker 1>it along with Harry Shearer Legend Harry Shearer or Legends,

0:18:52.600 --> 0:18:59.840
<v Speaker 1>Michael McKean and Robraina obviously appears in it. Also cameos

0:19:00.160 --> 0:19:05.560
<v Speaker 1>Willard Frand Dresser, Billy Crystal, Bruna Kirby. I have to

0:19:05.600 --> 0:19:08.800
<v Speaker 1>ask it one of the one of the biggest legacy

0:19:08.800 --> 0:19:12.280
<v Speaker 1>comedies of all time. Lizzy, this is Spinal none eighty four.

0:19:13.040 --> 0:19:13.840
<v Speaker 1>Did you enjoy it?

0:19:14.480 --> 0:19:14.720
<v Speaker 9>Yeah?

0:19:14.760 --> 0:19:18.679
<v Speaker 5>I loved it? Yeah, I really, I really loved it.

0:19:18.760 --> 0:19:21.960
<v Speaker 3>I see this sense of relief on your face. I

0:19:22.000 --> 0:19:24.480
<v Speaker 3>know when friand Dresser walked out.

0:19:24.520 --> 0:19:27.720
<v Speaker 5>I was like, there's friend Dresser. Yeah, and my.

0:19:27.640 --> 0:19:29.480
<v Speaker 3>Boyfriend was watching it with me and he's like who

0:19:29.480 --> 0:19:33.639
<v Speaker 3>would I like, friend's mine the Nanny and he's from

0:19:33.680 --> 0:19:35.600
<v Speaker 3>the UK. I don't know if they got the Nanny.

0:19:35.720 --> 0:19:38.119
<v Speaker 3>He didn't watch The Nanny growing up.

0:19:38.200 --> 0:19:40.840
<v Speaker 4>I thought mister Sheffield would have been Yeah.

0:19:42.280 --> 0:19:45.640
<v Speaker 3>But yeah, I really enjoyed it. It's so funny. And

0:19:46.359 --> 0:19:50.600
<v Speaker 3>as someone who's done level in Level two improvs I did.

0:19:51.080 --> 0:19:53.280
<v Speaker 3>I was like, this has to be improvised. Yeah, some

0:19:53.320 --> 0:19:55.360
<v Speaker 3>of those scenes You're like, oh, this is just classic

0:19:55.800 --> 0:19:56.960
<v Speaker 3>people topping each other.

0:19:57.680 --> 0:19:59.320
<v Speaker 1>Yeah. Well, one of the great things about it which

0:19:59.359 --> 0:20:02.520
<v Speaker 1>I love And this is like again I mentioned it

0:20:02.560 --> 0:20:05.119
<v Speaker 1>in the intro, but nothing like this had been done before.

0:20:05.480 --> 0:20:06.880
<v Speaker 4>We're so used to this now.

0:20:07.840 --> 0:20:10.359
<v Speaker 1>The Office obviously with the probably the biggest example of

0:20:10.359 --> 0:20:14.080
<v Speaker 1>somebody really running with this idea outside of Christopher Guest

0:20:14.160 --> 0:20:18.959
<v Speaker 1>and these guys themselves, but you see it. The influence

0:20:19.119 --> 0:20:22.520
<v Speaker 1>of this movie is so profound. I think I said

0:20:22.520 --> 0:20:25.600
<v Speaker 1>it created its own genre. But what I love about

0:20:25.640 --> 0:20:28.560
<v Speaker 1>the improv and know I'll get you to speak to

0:20:28.560 --> 0:20:31.160
<v Speaker 1>it a bit. It's not about somebody. They're not trying

0:20:31.160 --> 0:20:34.119
<v Speaker 1>to outdo each other with punchlines as such. Is actually

0:20:34.160 --> 0:20:37.000
<v Speaker 1>they are kind of really in the moment. They're not

0:20:38.760 --> 0:20:42.240
<v Speaker 1>they're really helping each other, which is improvs about.

0:20:42.320 --> 0:20:44.760
<v Speaker 3>Yeah, it's a classic yes, and like even in that

0:20:45.000 --> 0:20:48.360
<v Speaker 3>like the drama, the drama scene where they're like, oh,

0:20:48.440 --> 0:20:50.959
<v Speaker 3>how did you drummer die or whatever they do, but

0:20:51.000 --> 0:20:55.359
<v Speaker 3>they're just like going, I think an improv I've done

0:20:55.359 --> 0:20:57.360
<v Speaker 3>a bit of improv. But they have this theory where

0:20:57.359 --> 0:20:59.760
<v Speaker 3>you go from like instead of just going A to B,

0:21:00.080 --> 0:21:02.800
<v Speaker 3>go A to C, T, D E F, like with

0:21:02.920 --> 0:21:04.240
<v Speaker 3>your points, and that.

0:21:04.320 --> 0:21:06.600
<v Speaker 5>Is like a classic situation where they do that.

0:21:06.680 --> 0:21:10.320
<v Speaker 3>It's like, oh, yeah, this happens, and then oh he

0:21:10.800 --> 0:21:15.919
<v Speaker 3>spontaneously combus and it's yeah, it's just a classic improv

0:21:16.000 --> 0:21:18.400
<v Speaker 3>scene and they're just like, yeah, yeah, this is this

0:21:18.440 --> 0:21:21.000
<v Speaker 3>is what it is. And I can imagine that they're

0:21:21.480 --> 0:21:23.680
<v Speaker 3>in the scenes they would have said, Okay, we need

0:21:23.720 --> 0:21:26.960
<v Speaker 3>to get here, Yeah, you just do it how you want.

0:21:27.760 --> 0:21:30.800
<v Speaker 1>Yeah, Well, yeah, and they apparently had no idea what

0:21:30.920 --> 0:21:33.000
<v Speaker 1>questions Marty de Bergi.

0:21:33.480 --> 0:21:35.119
<v Speaker 4>Marty is a Mardy de Bergi.

0:21:35.160 --> 0:21:40.280
<v Speaker 1>The name comes from a combination of Martin Scorsese, Brian Depalmer,

0:21:41.080 --> 0:21:45.159
<v Speaker 1>Steven Spielberg, and I think that another Italian director who

0:21:45.200 --> 0:21:47.280
<v Speaker 1>is less familiar with but then e at the end,

0:21:47.520 --> 0:21:51.400
<v Speaker 1>I'm not sure it's Felenial whoever it is, but they had.

0:21:51.320 --> 0:21:52.920
<v Speaker 4>No idea what questions he was going to ask.

0:21:53.800 --> 0:21:56.959
<v Speaker 1>But occasionally they would say to him, as you can imagine,

0:21:57.160 --> 0:21:59.280
<v Speaker 1>I could just ask me, ask me this question and

0:21:59.280 --> 0:22:02.760
<v Speaker 1>they would like, and you know so, and they shot hour,

0:22:02.920 --> 0:22:05.919
<v Speaker 1>like over one hundred hours. This is on film, so

0:22:05.960 --> 0:22:08.440
<v Speaker 1>this is one way they're shooting on video and that's

0:22:08.480 --> 0:22:12.600
<v Speaker 1>it's nice and cheap. They're shooting on film, which is expensive,

0:22:14.280 --> 0:22:17.000
<v Speaker 1>and so to get those sometimes where it's one take

0:22:17.760 --> 0:22:20.040
<v Speaker 1>people in proing is pretty impressive.

0:22:20.240 --> 0:22:23.600
<v Speaker 3>Yeah. Yeah, I just thought it was really funny, and

0:22:23.640 --> 0:22:27.399
<v Speaker 3>you know, I did inspire a lot of other shows. This,

0:22:27.720 --> 0:22:31.600
<v Speaker 3>I feel is like a very stripped back version, like

0:22:31.680 --> 0:22:34.200
<v Speaker 3>you couldn't spend like I did, spend the first ten

0:22:34.240 --> 0:22:39.119
<v Speaker 3>minutes going what's going on? What's happening here? I'm not

0:22:39.200 --> 0:22:40.520
<v Speaker 3>sure Oh, I get it.

0:22:40.640 --> 0:22:42.320
<v Speaker 4>I get it. Yeah, because it's right.

0:22:42.480 --> 0:22:45.439
<v Speaker 1>It's more subtle in a way, sob and there are

0:22:45.480 --> 0:22:48.400
<v Speaker 1>some classic like in a way set pieces which will

0:22:48.440 --> 0:22:52.520
<v Speaker 1>get to and ideas that they clearly had set up.

0:22:53.200 --> 0:22:55.359
<v Speaker 4>But compared to like.

0:22:57.040 --> 0:23:02.160
<v Speaker 1>An American Office, for example, where they are those talking heads, yeah,

0:23:02.240 --> 0:23:05.560
<v Speaker 1>they are written and they are it's basically they've taken

0:23:05.600 --> 0:23:10.080
<v Speaker 1>the conceit of the mockumentary but written it, you know.

0:23:10.119 --> 0:23:12.560
<v Speaker 1>And I'm sure there's improv within those shows as well,

0:23:12.600 --> 0:23:14.920
<v Speaker 1>but they have still kind of written it to the

0:23:14.960 --> 0:23:17.600
<v Speaker 1>end of their lives. You know. They do the talking heads.

0:23:17.640 --> 0:23:19.159
<v Speaker 1>It's a gag. You know, there's a big game and

0:23:19.160 --> 0:23:21.879
<v Speaker 1>it's great. I really like both the UK Office and

0:23:21.920 --> 0:23:25.000
<v Speaker 1>the American Office. Yeah, but it's a different thing there. Yeah.

0:23:25.359 --> 0:23:28.880
<v Speaker 3>Yeah, there's definitely like monologues, proper monologues that they're doing

0:23:28.920 --> 0:23:29.600
<v Speaker 3>in those shows.

0:23:29.640 --> 0:23:30.840
<v Speaker 5>But yeah, I just.

0:23:30.840 --> 0:23:33.800
<v Speaker 3>Really enjoyed, Like I don't know how I'd love to

0:23:33.800 --> 0:23:37.040
<v Speaker 3>see the outtakes of this movie because I can imagine

0:23:37.040 --> 0:23:39.040
<v Speaker 3>that they just couldn't hold the laughter in.

0:23:39.320 --> 0:23:41.680
<v Speaker 4>Yeah, there's one part.

0:23:41.760 --> 0:23:45.439
<v Speaker 1>There's one bit which I've heard Rob Rainer say, it

0:23:45.560 --> 0:23:48.320
<v Speaker 1>was like he was gone and let's maybe have a

0:23:48.720 --> 0:23:52.520
<v Speaker 1>have a listen to. This is Nigel Toughnell, paid by

0:23:52.920 --> 0:23:57.879
<v Speaker 1>Christopher Guest at the piano and he's working on this

0:23:58.600 --> 0:24:00.919
<v Speaker 1>quite a beautiful new song which represents a bit of

0:24:00.920 --> 0:24:08.800
<v Speaker 1>a new direction for him.

0:24:08.840 --> 0:24:11.000
<v Speaker 2>It's pretty Yeah, I like it.

0:24:11.359 --> 0:24:13.120
<v Speaker 10>I've just been feeling about with it for a few

0:24:13.160 --> 0:24:13.680
<v Speaker 10>months now.

0:24:15.040 --> 0:24:19.480
<v Speaker 2>Very delicate. It's a bit of a departure from the

0:24:19.560 --> 0:24:20.200
<v Speaker 2>kind of thing.

0:24:20.040 --> 0:24:24.520
<v Speaker 10>You know, all yeah, Well, it's part of a trilogy, really,

0:24:24.520 --> 0:24:29.160
<v Speaker 10>a musical trilogy that I'm doing in D minor, which

0:24:29.200 --> 0:24:33.119
<v Speaker 10>I always find is really the saddest of all keys. Really,

0:24:33.160 --> 0:24:35.400
<v Speaker 10>I don't know why, but it makes people weep instantly.

0:24:35.520 --> 0:24:35.959
<v Speaker 2>The player.

0:24:39.320 --> 0:24:40.080
<v Speaker 7>It's a hormar.

0:24:41.200 --> 0:24:45.000
<v Speaker 2>It's very pretty, you.

0:24:45.040 --> 0:24:49.439
<v Speaker 10>Know, just simple lines intertwining, you know, very much like

0:24:49.680 --> 0:24:52.160
<v Speaker 10>I'm really influenced by Mozart and Bark and it's sort

0:24:52.160 --> 0:24:52.919
<v Speaker 10>of in between though.

0:24:52.960 --> 0:24:53.800
<v Speaker 7>It's really it's like.

0:24:53.760 --> 0:24:54.520
<v Speaker 2>A mark piece.

0:24:54.600 --> 0:24:56.200
<v Speaker 4>Really, what do you call us?

0:24:57.040 --> 0:24:59.119
<v Speaker 10>Well, this piece is called a lick my love pump.

0:25:03.359 --> 0:25:06.879
<v Speaker 1>Apparently Robina loses it because, if you know, it's a

0:25:06.880 --> 0:25:11.160
<v Speaker 1>pretty hard cut outside off and I've noticed a few

0:25:11.240 --> 0:25:14.119
<v Speaker 1>times they cut hard out of scenes and I reckon

0:25:14.560 --> 0:25:17.080
<v Speaker 1>that's it because they're in browing, like you never know

0:25:17.119 --> 0:25:18.239
<v Speaker 1>when somebody's gonna lose it.

0:25:18.440 --> 0:25:20.760
<v Speaker 4>Yeah, I think that that happens quite a bit, you know.

0:25:22.240 --> 0:25:24.440
<v Speaker 5>Bark Mozart to Lick My Love.

0:25:25.600 --> 0:25:28.040
<v Speaker 1>There are so many little jokes in that, and the

0:25:28.119 --> 0:25:33.160
<v Speaker 1>performance is so lovely, but it's it's a perfect amount

0:25:33.200 --> 0:25:37.080
<v Speaker 1>of misdirect of taking you some of your You're listening

0:25:37.119 --> 0:25:38.920
<v Speaker 1>to the music, going, yeah, this is actually really actually

0:25:38.960 --> 0:25:40.800
<v Speaker 1>quite nice because the music in this is really it's

0:25:40.840 --> 0:25:41.280
<v Speaker 1>really good.

0:25:41.440 --> 0:25:44.160
<v Speaker 3>Yeah they're good, and I read that they're like, yeah,

0:25:44.160 --> 0:25:45.160
<v Speaker 3>they're proper musicians.

0:25:45.240 --> 0:25:46.000
<v Speaker 4>Yeah they know what they're doing.

0:25:46.080 --> 0:25:47.480
<v Speaker 5>Yeah, they know what they're doing.

0:25:47.720 --> 0:25:49.919
<v Speaker 3>But it's it's so funny, and.

0:25:50.520 --> 0:25:54.639
<v Speaker 1>The bands of that time like this was like pretty

0:25:54.800 --> 0:25:57.520
<v Speaker 1>like I was. When you listen to it, even outside

0:25:57.560 --> 0:26:01.240
<v Speaker 1>the movie, if you put the soundtrack on, it's you

0:26:01.280 --> 0:26:02.959
<v Speaker 1>can drive around in your car and listen to it,

0:26:03.000 --> 0:26:04.960
<v Speaker 1>and you know, and I should be quite happy driving

0:26:04.960 --> 0:26:07.640
<v Speaker 1>around and and you know, rocking out a little bit

0:26:08.080 --> 0:26:10.399
<v Speaker 1>with it. But then you put the words in it,

0:26:10.480 --> 0:26:14.359
<v Speaker 1>and it just becomes ridiculous. But to be honest, it's not.

0:26:14.960 --> 0:26:18.520
<v Speaker 1>They told a really fine line I think of of

0:26:18.640 --> 0:26:23.240
<v Speaker 1>making it believable but being being funny and silly at

0:26:23.280 --> 0:26:23.760
<v Speaker 1>the same time.

0:26:23.960 --> 0:26:28.399
<v Speaker 3>Yeah, because like the genre of the mocking is so ridiculous.

0:26:27.960 --> 0:26:30.720
<v Speaker 5>Like Twisted Sister.

0:26:31.320 --> 0:26:36.480
<v Speaker 1>Kiss One had and this is that famously, so many

0:26:36.600 --> 0:26:40.800
<v Speaker 1>bands had no idea. Well, Ozzi Osborne like thought it

0:26:40.840 --> 0:26:45.240
<v Speaker 1>was a real documentary because a real band like this

0:26:45.359 --> 0:26:47.879
<v Speaker 1>is obviously pre Google. You couldn't like, you know, they

0:26:48.359 --> 0:26:51.439
<v Speaker 1>watching a band that they had never heard of before. Yeah,

0:26:51.560 --> 0:26:54.840
<v Speaker 1>I think, you know, the edge kind of I think

0:26:54.880 --> 0:26:57.200
<v Speaker 1>he weaked watching it because he didn't think it was real,

0:26:57.240 --> 0:26:59.560
<v Speaker 1>but he kind of thought it feels real like this,

0:26:59.800 --> 0:27:01.840
<v Speaker 1>like I've been in these situations oh for.

0:27:02.359 --> 0:27:06.080
<v Speaker 3>Yeah, and not just to music too, Like I think

0:27:06.119 --> 0:27:08.560
<v Speaker 3>a lot of I don't know, once people get to

0:27:08.600 --> 0:27:12.240
<v Speaker 3>this like certain level and they just start demanding things,

0:27:12.240 --> 0:27:16.680
<v Speaker 3>they become like philosophers and they start thinking that their

0:27:16.760 --> 0:27:21.040
<v Speaker 3>ideas are like amazing, and this is Yeah, I think

0:27:21.080 --> 0:27:24.720
<v Speaker 3>it could be yet relevant to a lot of different arts.

0:27:24.960 --> 0:27:30.320
<v Speaker 1>And also this you know, we share the same management team, Lizzie,

0:27:31.359 --> 0:27:33.480
<v Speaker 1>but you know, I would never I'm not saying our

0:27:33.480 --> 0:27:38.400
<v Speaker 1>managers are like this. I will say that Tony Hendra,

0:27:38.480 --> 0:27:40.560
<v Speaker 1>who played in Faith, who's the manager.

0:27:41.800 --> 0:27:46.639
<v Speaker 4>I think he almost holds the whole thing together.

0:27:46.760 --> 0:27:50.960
<v Speaker 1>In a way like one I think is really funny,

0:27:51.440 --> 0:27:55.040
<v Speaker 1>so good in it, but I like, you know, he's

0:27:55.040 --> 0:27:58.840
<v Speaker 1>basically playing the manager who's just saying what he needs

0:27:58.880 --> 0:28:01.720
<v Speaker 1>to say to get the band on the bus basically,

0:28:01.800 --> 0:28:04.280
<v Speaker 1>you know, and to get the band to their next thing.

0:28:04.880 --> 0:28:09.800
<v Speaker 1>And the first time he really it kind of starts

0:28:09.880 --> 0:28:12.760
<v Speaker 1>dawning on you that this guy's obviously, don't you he's

0:28:12.840 --> 0:28:15.200
<v Speaker 1>at least lying to the band. Is when he says

0:28:15.240 --> 0:28:18.439
<v Speaker 1>Boston's being canceled, he goes, don't worry, it's not a

0:28:18.440 --> 0:28:22.760
<v Speaker 1>big college town. When I first watched it as a kid,

0:28:23.920 --> 0:28:26.919
<v Speaker 1>that line never really never, you know, popped out at me.

0:28:26.960 --> 0:28:29.879
<v Speaker 1>But knowing that Boston is the biggest college city in

0:28:29.920 --> 0:28:32.679
<v Speaker 1>the world, you know, it's Harvard, it's Cambridge, you know,

0:28:32.760 --> 0:28:37.120
<v Speaker 1>it's it's it's huge. That's you watch it as an a lot,

0:28:37.119 --> 0:28:39.160
<v Speaker 1>you're going to go, oh, yeah, okay, this guy's full

0:28:39.160 --> 0:28:39.440
<v Speaker 1>of ship.

0:28:39.560 --> 0:28:40.760
<v Speaker 5>Yeah, this guy's gas lighting.

0:28:41.960 --> 0:28:42.680
<v Speaker 4>Yeah yeah.

0:28:42.760 --> 0:28:46.240
<v Speaker 1>But it falls in with these all the things that

0:28:46.280 --> 0:28:51.080
<v Speaker 1>happen in comedy. Sometimes it's management about naming, your naming

0:28:51.080 --> 0:28:54.720
<v Speaker 1>a show about artwork that goes with the show. In fact,

0:28:54.760 --> 0:28:57.680
<v Speaker 1>let's have a listen to the conversation between fran Dresher.

0:28:57.800 --> 0:29:02.160
<v Speaker 1>She plays Bobby Flackman, the pr agent, And there's being

0:29:02.240 --> 0:29:07.280
<v Speaker 1>some controversy about the cover of the new LPA Smell

0:29:07.320 --> 0:29:07.680
<v Speaker 1>the Glove.

0:29:08.600 --> 0:29:10.840
<v Speaker 11>Yeah, I mean, we feel and it seems to be

0:29:11.320 --> 0:29:14.240
<v Speaker 11>facts that the company is rather down on the cover.

0:29:14.360 --> 0:29:16.200
<v Speaker 2>Is that the case. Yes, you can give it to

0:29:16.240 --> 0:29:16.600
<v Speaker 2>me straight.

0:29:16.640 --> 0:29:16.800
<v Speaker 3>You know.

0:29:17.080 --> 0:29:18.800
<v Speaker 9>Listen, they don't like the cover.

0:29:19.200 --> 0:29:20.600
<v Speaker 2>They don't like it, that's certainly straight.

0:29:20.720 --> 0:29:23.120
<v Speaker 9>They find it very offensive and very sexist.

0:29:23.320 --> 0:29:25.040
<v Speaker 2>But what exactly do you find offensive?

0:29:26.200 --> 0:29:30.720
<v Speaker 9>You've put a greased naked woman on all fours with

0:29:30.880 --> 0:29:34.200
<v Speaker 9>a dog collar around her neck and a leash and

0:29:34.240 --> 0:29:37.840
<v Speaker 9>a man's arm extended out up to here, holding on

0:29:37.920 --> 0:29:41.080
<v Speaker 9>to the leash and pushing a black glove in her

0:29:41.160 --> 0:29:42.280
<v Speaker 9>face to sniff it.

0:29:42.560 --> 0:29:46.240
<v Speaker 2>You don't find that offensive. You don't find that sexy.

0:29:46.640 --> 0:29:49.240
<v Speaker 9>That's right, nineteen eighty to get out of the sixties.

0:29:49.280 --> 0:29:50.960
<v Speaker 9>We don't have this mentality anymore.

0:29:51.160 --> 0:29:52.760
<v Speaker 2>You should have seen the cover they wanted to do.

0:29:52.960 --> 0:29:53.720
<v Speaker 11>I don't care what.

0:29:53.680 --> 0:29:56.000
<v Speaker 2>They want now. This is something and you're going to

0:29:56.080 --> 0:29:58.320
<v Speaker 2>have to talk to your boys about. Certainly not like.

0:29:58.440 --> 0:30:00.520
<v Speaker 9>I don't think that a sexy cover is the answer

0:30:00.520 --> 0:30:03.520
<v Speaker 9>for ye albumselves. It doesn't sell because you'll tell me

0:30:04.080 --> 0:30:06.280
<v Speaker 9>the white album what was that? There was nothing on

0:30:06.400 --> 0:30:07.240
<v Speaker 9>my goddamn cover.

0:30:08.600 --> 0:30:10.560
<v Speaker 1>I mean, I think it's also it's really funny. There's

0:30:10.560 --> 0:30:12.320
<v Speaker 1>also a bit it's aged really well. I mean, I

0:30:12.320 --> 0:30:14.480
<v Speaker 1>think it's the film Ages has aged quite well, like

0:30:14.560 --> 0:30:17.960
<v Speaker 1>this is you know, a strong woman saying noah, fuck.

0:30:17.840 --> 0:30:19.120
<v Speaker 5>This this is Yeah.

0:30:19.240 --> 0:30:22.000
<v Speaker 3>When I watched that scene when they say, oh, this

0:30:22.080 --> 0:30:24.560
<v Speaker 3>is nineteen eighty two, and I'm like, oh my god,

0:30:25.720 --> 0:30:29.640
<v Speaker 3>how many times do we say it's twenty twenty two now? Yeah,

0:30:29.880 --> 0:30:33.120
<v Speaker 3>I just that scene is so timeless. And even last

0:30:33.200 --> 0:30:35.800
<v Speaker 3>night I was having a joke a discussion with someone

0:30:35.800 --> 0:30:40.240
<v Speaker 3>who who knew someone who's like saying a joke and there,

0:30:40.400 --> 0:30:42.120
<v Speaker 3>and the other person was like, well, what do you

0:30:42.240 --> 0:30:44.800
<v Speaker 3>find funny in that? And they were like, oh, this

0:30:44.840 --> 0:30:47.720
<v Speaker 3>isn't this And then they said, but don't you find

0:30:47.760 --> 0:30:51.880
<v Speaker 3>that offensive? Like how Like it's it's such a relevant

0:30:51.920 --> 0:30:53.600
<v Speaker 3>conversation that we're having at the moment.

0:30:53.760 --> 0:30:56.280
<v Speaker 4>Absolutely absolutely so.

0:30:57.880 --> 0:31:02.200
<v Speaker 1>There's also there's also the actually, did you have a

0:31:02.200 --> 0:31:04.040
<v Speaker 1>favorite song? Let's go back to the music. Do you

0:31:04.080 --> 0:31:08.040
<v Speaker 1>have a favorite song or a favorite album title. One

0:31:08.080 --> 0:31:11.440
<v Speaker 1>of my favorites was the intravenous de Milow I thought,

0:31:11.600 --> 0:31:14.720
<v Speaker 1>was I loved it. I did love the artwork on

0:31:14.800 --> 0:31:15.600
<v Speaker 1>Shark Sandwich.

0:31:16.000 --> 0:31:17.280
<v Speaker 5>What was shark sandwich?

0:31:17.360 --> 0:31:20.560
<v Speaker 1>Shark Sandwich is basically just a sandwich with shark circling.

0:31:22.240 --> 0:31:25.880
<v Speaker 1>It was more cartoony than some of the other titles.

0:31:26.120 --> 0:31:27.920
<v Speaker 1>And they had that's the one we had the two

0:31:27.960 --> 0:31:28.560
<v Speaker 1>word review.

0:31:29.000 --> 0:31:30.760
<v Speaker 4>Oh yeah, like shark.

0:31:30.480 --> 0:31:32.280
<v Speaker 1>Sandwich, more like shit sandwich.

0:31:35.040 --> 0:31:36.200
<v Speaker 5>Oh that is awesome.

0:31:36.520 --> 0:31:38.800
<v Speaker 3>I mean the yeah, off the back of that scene

0:31:38.840 --> 0:31:40.880
<v Speaker 3>that was the cover with the black just the.

0:31:40.800 --> 0:31:41.840
<v Speaker 4>Black, the black guy.

0:31:41.920 --> 0:31:45.680
<v Speaker 3>Yeah, and then that coming out and then the manager

0:31:45.760 --> 0:31:47.440
<v Speaker 3>trying to justify it, be like, yeah, it's.

0:31:47.320 --> 0:31:49.240
<v Speaker 4>Great, Yeah, I love it well.

0:31:49.440 --> 0:31:52.680
<v Speaker 1>And to be honest, I mean, did they see DC's

0:31:52.720 --> 0:31:55.320
<v Speaker 1>back in Black was basically that I have.

0:31:55.600 --> 0:31:57.040
<v Speaker 4>It might have had an AC DC.

0:31:56.960 --> 0:32:00.200
<v Speaker 3>On the logo on it, but yeah, I think a

0:32:00.200 --> 0:32:04.840
<v Speaker 3>lot of covers did, like a very minimal There were.

0:32:04.720 --> 0:32:07.120
<v Speaker 1>A few things about this movie that I thought were

0:32:07.160 --> 0:32:10.920
<v Speaker 1>ahead of its time outside of the actual genre, you know,

0:32:11.360 --> 0:32:17.120
<v Speaker 1>birth But like they there's a scene and we'll get

0:32:17.120 --> 0:32:20.120
<v Speaker 1>to the famous eleventh scene, I assume, but he points

0:32:20.120 --> 0:32:22.160
<v Speaker 1>out that he has a wireless guitar like that he

0:32:22.200 --> 0:32:25.640
<v Speaker 1>that has any I don't know. I imagine nine eighty four,

0:32:25.720 --> 0:32:28.120
<v Speaker 1>maybe most people hadn't heard of the idea of a

0:32:28.160 --> 0:32:29.480
<v Speaker 1>wireless thing. I don't know.

0:32:29.520 --> 0:32:30.560
<v Speaker 4>It might be completely incorrect.

0:32:30.560 --> 0:32:35.680
<v Speaker 1>I don't know. Also the Jack the Ripper musical Saucy Jack.

0:32:36.320 --> 0:32:37.600
<v Speaker 1>I reckon that gets made now.

0:32:38.000 --> 0:32:40.840
<v Speaker 5>Yeah, I reckon someone's made it.

0:32:40.960 --> 0:32:44.160
<v Speaker 1>I reckon Back then it seems like a ridiculous idea.

0:32:44.560 --> 0:32:47.880
<v Speaker 4>But now I don't know, you.

0:32:47.840 --> 0:32:51.600
<v Speaker 3>Know, I'm sure that's been it, like at Edinburgh Fruge

0:32:51.960 --> 0:32:53.760
<v Speaker 3>something like, someone's done it.

0:32:53.800 --> 0:32:56.960
<v Speaker 1>I think they may have actually played a song, because

0:32:56.960 --> 0:32:58.640
<v Speaker 1>they do kind of get together every now and then

0:32:58.640 --> 0:33:00.800
<v Speaker 1>for a benefit or something and play that. And they

0:33:00.800 --> 0:33:05.080
<v Speaker 1>did release an album in two thousand and nine I think.

0:33:06.320 --> 0:33:08.600
<v Speaker 1>And also there's a part where they talk about he

0:33:08.640 --> 0:33:12.120
<v Speaker 1>wants to play his acoustic songs with the London Philharmonic,

0:33:13.080 --> 0:33:17.200
<v Speaker 1>which happens all the time. The Yeah, well together with

0:33:17.320 --> 0:33:18.680
<v Speaker 1>orchestras and play their music.

0:33:19.000 --> 0:33:23.240
<v Speaker 3>I just saw an ad for Leo you remember that, Yeah, yeah,

0:33:23.480 --> 0:33:27.280
<v Speaker 3>and it was like Leoor with symphony orchestra. But you

0:33:27.280 --> 0:33:30.880
<v Speaker 3>know the Ministry of Sound franchise. Yeah, they do stuff

0:33:30.920 --> 0:33:32.960
<v Speaker 3>with the orchestra now and people love that.

0:33:34.560 --> 0:33:39.240
<v Speaker 1>Yeah, it's completely did you have a favorite character, do

0:33:39.360 --> 0:33:44.080
<v Speaker 1>you so? Obviously we've management obviously added the band. Do

0:33:44.120 --> 0:33:46.160
<v Speaker 1>you have a favorite band? Membay had Nigel Tafnell played

0:33:46.160 --> 0:33:50.280
<v Speaker 1>by Christopher Guess. He had Derek Small's Harry Shearer and

0:33:50.400 --> 0:33:55.360
<v Speaker 1>Davidson Havens played by Michael McKean. Obviously had x amount

0:33:55.360 --> 0:34:01.160
<v Speaker 1>of various drummers who had untimely deaths. Yeah, but did

0:34:01.200 --> 0:34:02.040
<v Speaker 1>you have a favorite.

0:34:01.800 --> 0:34:04.640
<v Speaker 5>One the guy with the dark hair and the muster.

0:34:04.600 --> 0:34:07.440
<v Speaker 3>Yeah, very sure, Yeah, yeah, yeah, yeah, yeah, yeah, that

0:34:07.520 --> 0:34:09.000
<v Speaker 3>was that was He was the best.

0:34:09.080 --> 0:34:11.520
<v Speaker 1>He always reminds me. I'm not sure if you've watched

0:34:11.520 --> 0:34:14.440
<v Speaker 1>the Beatles documentary. That was La Peter Jackson's Beatles documentary.

0:34:14.520 --> 0:34:16.239
<v Speaker 1>It's just about the making of Letter B and it

0:34:16.320 --> 0:34:19.680
<v Speaker 1>went for like it's you know, he went for four

0:34:19.719 --> 0:34:22.160
<v Speaker 1>episodes and they all went for two and a half hours each.

0:34:22.239 --> 0:34:24.279
<v Speaker 1>It was you had to be a real music nerd

0:34:24.320 --> 0:34:26.799
<v Speaker 1>to jump in on it. But he reminded me of

0:34:27.160 --> 0:34:31.480
<v Speaker 1>Ringo stars. He basically got Lennon and McCartney, who are

0:34:31.520 --> 0:34:34.239
<v Speaker 1>the geniuses of the band. And then yet you do

0:34:34.320 --> 0:34:37.319
<v Speaker 1>also have George Harrison who's trying to basically get in

0:34:37.360 --> 0:34:40.799
<v Speaker 1>on the songwriting. Yeah, and there's tension between he leaves

0:34:40.800 --> 0:34:43.000
<v Speaker 1>for a few days and they eventually get him back.

0:34:43.360 --> 0:34:46.520
<v Speaker 1>But then you got little ringo star who's just happy

0:34:46.560 --> 0:34:49.600
<v Speaker 1>to be doing his job and contributing to the band.

0:34:50.760 --> 0:34:51.560
<v Speaker 4>As he might.

0:34:51.960 --> 0:34:55.759
<v Speaker 1>And I think that's what Derek Small's feels like that

0:34:55.920 --> 0:35:01.160
<v Speaker 1>to me. He does his job, his great comic relief.

0:35:01.320 --> 0:35:06.200
<v Speaker 1>Let's have it. Listen to him in action when this

0:35:06.320 --> 0:35:10.480
<v Speaker 1>is well, actually, let's play. Let's play. Let's listen to

0:35:10.520 --> 0:35:13.560
<v Speaker 1>the Stonehenge. There's two parts I want to play. This

0:35:13.360 --> 0:35:16.320
<v Speaker 1>is this is when they they want a noise maker,

0:35:17.200 --> 0:35:20.200
<v Speaker 1>something to really you know, get this American tool back

0:35:20.239 --> 0:35:25.799
<v Speaker 1>on tracks. So they decide to get Stonehenge over full

0:35:25.840 --> 0:35:29.840
<v Speaker 1>on Stonehenge on stage. And this is when the artist

0:35:29.880 --> 0:35:33.400
<v Speaker 1>who has put the Stonehenge together takes it to Tony

0:35:33.960 --> 0:35:35.280
<v Speaker 1>sorry Ian, the manager.

0:35:35.920 --> 0:35:37.040
<v Speaker 2>It looks absolutely perfect.

0:35:37.120 --> 0:35:39.840
<v Speaker 11>I mean it's it's all right proportions, it'll be this

0:35:39.960 --> 0:35:42.040
<v Speaker 11>color right, Yeah, that's.

0:35:41.800 --> 0:35:44.279
<v Speaker 2>That's that's just terrific. I mean it almost looks that's

0:35:44.360 --> 0:35:45.520
<v Speaker 2>like the real thing, got it.

0:35:45.960 --> 0:35:48.359
<v Speaker 11>Yeah, when we get the actual set, when we get

0:35:48.360 --> 0:35:50.640
<v Speaker 11>the piece, it'll it'll follow exactly these specifications.

0:35:50.640 --> 0:35:53.960
<v Speaker 2>I mean, even these contours and everything. I'm don't understanding,

0:35:54.680 --> 0:35:56.879
<v Speaker 2>but I mean the actual piece. Well, I mean when

0:35:56.920 --> 0:35:58.120
<v Speaker 2>when you build the actual piece.

0:35:58.280 --> 0:36:02.480
<v Speaker 6>But this is what you asked for, isn't it what?

0:36:02.600 --> 0:36:04.280
<v Speaker 2>This is the piece? This is the piece?

0:36:05.160 --> 0:36:05.520
<v Speaker 5>Yes?

0:36:05.719 --> 0:36:09.840
<v Speaker 6>Are you telling me that this is it? This is scenery.

0:36:10.360 --> 0:36:13.719
<v Speaker 6>Have you ever been to stone Hinge? The triptics are

0:36:13.719 --> 0:36:16.239
<v Speaker 6>twenty feet high. You can stand four men.

0:36:16.520 --> 0:36:19.920
<v Speaker 2>Ye, scenery.

0:36:21.360 --> 0:36:22.680
<v Speaker 5>This is what I was asked to build.

0:36:23.000 --> 0:36:25.840
<v Speaker 9>Eighteen inches right here, it's specified eighteen inches.

0:36:26.760 --> 0:36:29.520
<v Speaker 2>I was given this napkin. I mean, forget this, fuck

0:36:29.560 --> 0:36:30.080
<v Speaker 2>the napkin.

0:36:34.200 --> 0:36:38.839
<v Speaker 1>So then of course they play times they play Stonehenge

0:36:40.040 --> 0:36:43.399
<v Speaker 1>the song, and they love to I only realize as

0:36:43.440 --> 0:36:48.080
<v Speaker 1>their in concert live ye, that which I just love

0:36:48.120 --> 0:36:50.640
<v Speaker 1>it because they It means they probably haven't rehearsed with it,

0:36:50.680 --> 0:36:54.920
<v Speaker 1>which it was fund funny. It comes down it's much

0:36:54.920 --> 0:36:58.200
<v Speaker 1>smaller than expected. They go into a little folk tune

0:36:58.200 --> 0:37:02.080
<v Speaker 1>with the small set of people dancing around.

0:37:02.680 --> 0:37:06.840
<v Speaker 3>Yes, that was the workaround. They're like, okay, we've got this,

0:37:07.719 --> 0:37:10.520
<v Speaker 3>what are we gonna do? This is my favorite part

0:37:10.520 --> 0:37:14.040
<v Speaker 3>of the movie was Yeah, this scene with the stone Edge,

0:37:14.120 --> 0:37:15.600
<v Speaker 3>the whole nap Because I used to work at a

0:37:15.640 --> 0:37:18.480
<v Speaker 3>graphic design studio and the number of briefs I've got

0:37:18.560 --> 0:37:22.120
<v Speaker 3>on a napkin or like scribbled on a piece of paper.

0:37:22.200 --> 0:37:24.560
<v Speaker 3>So I was like, yeah, one hundred percent that happened

0:37:24.600 --> 0:37:26.759
<v Speaker 3>like with someone just being like, yeah, this is what

0:37:26.840 --> 0:37:30.000
<v Speaker 3>I want eighteen inches and then you do it and they're.

0:37:29.800 --> 0:37:32.680
<v Speaker 5>Like what what is this? What do you do?

0:37:33.120 --> 0:37:37.960
<v Speaker 3>Like that was so relatable to me. And then just

0:37:37.960 --> 0:37:41.440
<v Speaker 3>seeing them on the stage with the stone engine.

0:37:42.440 --> 0:37:46.200
<v Speaker 1>Yeah, and let's ever listen to their reaction after the show,

0:37:47.040 --> 0:37:52.600
<v Speaker 1>with a beautiful tag from Harry Shearer's Derek Smalls.

0:37:52.760 --> 0:37:54.520
<v Speaker 2>I do not, for one think that the problem was

0:37:54.560 --> 0:37:55.399
<v Speaker 2>that the band was down.

0:37:55.440 --> 0:37:57.480
<v Speaker 6>I think that the problem may have been that there

0:37:57.520 --> 0:37:59.440
<v Speaker 6>was a stone nge monument on the stage that was

0:37:59.480 --> 0:38:03.600
<v Speaker 6>in dangerous being crushed by a dwarf all right, that.

0:38:03.680 --> 0:38:06.839
<v Speaker 2>Tended to understate the hugeness of the object. I really

0:38:06.880 --> 0:38:08.920
<v Speaker 2>think you're just making much two bigger thing out of it.

0:38:09.080 --> 0:38:10.600
<v Speaker 10>Making a big thing out of it would have been

0:38:10.600 --> 0:38:14.920
<v Speaker 10>a good idea.

0:38:15.520 --> 0:38:18.359
<v Speaker 1>It's just a great line, a perfect line to kind

0:38:18.360 --> 0:38:20.560
<v Speaker 1>of represent what I was mentioning before. They're not going

0:38:20.600 --> 0:38:24.279
<v Speaker 1>for huge punch lines. That is great improv where you're

0:38:24.960 --> 0:38:28.200
<v Speaker 1>you're actually listening, as opposed to thinking how can I

0:38:28.239 --> 0:38:31.080
<v Speaker 1>make the best yeah boom tish ever here.

0:38:31.239 --> 0:38:34.240
<v Speaker 3>Yeah, just yeah, that would have been the perfect point

0:38:34.480 --> 0:38:36.719
<v Speaker 3>in an improv scene where the person comes across with

0:38:36.760 --> 0:38:40.799
<v Speaker 3>their arm. They were like, yep, nze, that's it. Yeah, yeah,

0:38:40.840 --> 0:38:42.280
<v Speaker 3>it's just so funny.

0:38:42.000 --> 0:38:42.319
<v Speaker 4>Did you.

0:38:45.160 --> 0:38:47.960
<v Speaker 1>I also love the you know, the scene was one

0:38:47.960 --> 0:38:50.239
<v Speaker 1>of my favorite scenes where where they came out of

0:38:50.239 --> 0:38:53.560
<v Speaker 1>the cocoons, which obviously this wouldn't have been the improvised

0:38:53.600 --> 0:38:56.719
<v Speaker 1>this been would have been written. I think the cocoons

0:38:57.200 --> 0:39:00.920
<v Speaker 1>let's call them cocoons or alien kind of eggs, And

0:39:00.920 --> 0:39:04.120
<v Speaker 1>and Nigel and Dave come out of theirs and they

0:39:04.239 --> 0:39:07.319
<v Speaker 1>play the song they're fucking out, but there.

0:39:06.840 --> 0:39:08.839
<v Speaker 4>His traps, he's trapped in it.

0:39:09.080 --> 0:39:11.640
<v Speaker 1>He's still trying to play guitar, but he's also banging

0:39:12.560 --> 0:39:14.879
<v Speaker 1>on the egg. There's the tech guys trying to work

0:39:14.880 --> 0:39:16.920
<v Speaker 1>out the electronics. And then he's got he's got like

0:39:16.960 --> 0:39:20.000
<v Speaker 1>a torch, he's like a flame torch, and he's trying

0:39:20.040 --> 0:39:22.759
<v Speaker 1>to somehow get it open with and they just time

0:39:22.840 --> 0:39:24.880
<v Speaker 1>it perfectly the right At the end of the song,

0:39:25.280 --> 0:39:27.640
<v Speaker 1>they go back in as he comes out with that,

0:39:27.760 --> 0:39:30.200
<v Speaker 1>realizing that they've gone back out, you know, and it's

0:39:30.280 --> 0:39:31.040
<v Speaker 1>it's it's.

0:39:30.960 --> 0:39:34.040
<v Speaker 3>Yeah, it's perfect. Yeah, there's so many good moments like that.

0:39:34.280 --> 0:39:37.279
<v Speaker 3>And how how how many times does that happen in

0:39:37.280 --> 0:39:39.920
<v Speaker 3>a stage show? You like hear all these things like

0:39:40.239 --> 0:39:43.160
<v Speaker 3>like I went there and then the mic wasn't working

0:39:43.320 --> 0:39:45.880
<v Speaker 3>and I just had to do it a cappella and

0:39:46.280 --> 0:39:48.439
<v Speaker 3>there's just yeah, there's so many funny bits.

0:39:48.480 --> 0:39:49.440
<v Speaker 4>I'm not sure what you're like.

0:39:49.480 --> 0:39:54.480
<v Speaker 1>I've been very reluctant to add too much, like other

0:39:54.600 --> 0:39:57.480
<v Speaker 1>factors to my shirt, my live show, I like to

0:39:57.520 --> 0:40:00.399
<v Speaker 1>keep it pretty much the meet a microphone because if

0:40:00.400 --> 0:40:03.480
<v Speaker 1>the microphone sucks up, they can just bring me another microphone. Yeah,

0:40:03.719 --> 0:40:07.480
<v Speaker 1>but the idea, and that's I've never done theater because

0:40:08.280 --> 0:40:10.960
<v Speaker 1>I we stand up. If something goes wrong and I'm

0:40:11.000 --> 0:40:13.239
<v Speaker 1>just doing stand up, I can fix it myself. I can, yeah,

0:40:13.280 --> 0:40:15.759
<v Speaker 1>as far as if I forget a routine that I

0:40:15.760 --> 0:40:18.120
<v Speaker 1>was supposed to do, and you know, I can fix it.

0:40:18.800 --> 0:40:20.839
<v Speaker 1>But when other people are relying on me, or if

0:40:20.840 --> 0:40:25.200
<v Speaker 1>I'm relying on cues, then it petrifies me.

0:40:25.400 --> 0:40:26.799
<v Speaker 5>Oh yeah, I couldn't do it.

0:40:26.840 --> 0:40:29.480
<v Speaker 3>Like anytime I think about adding a que in or

0:40:29.520 --> 0:40:33.399
<v Speaker 3>having a screen or a PowerPoint or something like I'll

0:40:33.440 --> 0:40:35.719
<v Speaker 3>think about it and be passionate about it for about

0:40:35.719 --> 0:40:41.640
<v Speaker 3>a day and then I'm like, nah, don't use your words.

0:40:41.920 --> 0:40:45.920
<v Speaker 1>That said, I am considering using one light for my show,

0:40:46.600 --> 0:40:49.799
<v Speaker 1>upcoming show. Yeah, but I there's every chance I'll listen

0:40:49.800 --> 0:40:50.560
<v Speaker 1>back to this conversation.

0:40:50.600 --> 0:40:54.240
<v Speaker 3>I go, yeah, yeah, I tell you what a funny

0:40:54.560 --> 0:40:59.000
<v Speaker 3>YouTube rabbit Hole is is like amateur theater fails where

0:40:59.000 --> 0:41:01.640
<v Speaker 3>there's a lot of you know, people coming out they

0:41:01.680 --> 0:41:04.879
<v Speaker 3>haven't got the right dress on or like they're falling over.

0:41:05.000 --> 0:41:06.360
<v Speaker 3>It's it's good fun.

0:41:06.880 --> 0:41:10.000
<v Speaker 1>Okay, I'm doing that. I'm doing that. The other thing,

0:41:10.160 --> 0:41:14.200
<v Speaker 1>which I'm sure it's struck a quarter or a nerve

0:41:14.239 --> 0:41:16.600
<v Speaker 1>with you, certainly is a stand up.

0:41:17.600 --> 0:41:19.440
<v Speaker 4>But it's that idea of these gigs.

0:41:19.200 --> 0:41:23.360
<v Speaker 1>Getting smaller and smaller, or the you know, the corporate

0:41:23.400 --> 0:41:24.439
<v Speaker 1>the bad corporate gig.

0:41:24.520 --> 0:41:25.560
<v Speaker 3>Oh yeah you ruck.

0:41:25.560 --> 0:41:30.880
<v Speaker 1>Up to because yeah, when they rock up to the

0:41:30.920 --> 0:41:35.520
<v Speaker 1>place and it's the puppets are headlining, yes over them

0:41:36.160 --> 0:41:40.000
<v Speaker 1>is well, very funny, but it's also like you can

0:41:40.160 --> 0:41:41.239
<v Speaker 1>feel good.

0:41:41.920 --> 0:41:43.360
<v Speaker 4>I'm sure you've rocked up the gig where you're going

0:41:43.440 --> 0:41:43.560
<v Speaker 4>to go.

0:41:43.600 --> 0:41:46.600
<v Speaker 1>Either they're set up badly or they haven't been marketing

0:41:47.080 --> 0:41:49.440
<v Speaker 1>or not everybody at the workplace knew this was happening.

0:41:51.200 --> 0:41:54.239
<v Speaker 4>Have you have you had a like a horrific corporate.

0:41:53.960 --> 0:41:55.240
<v Speaker 1>Yet, is that? Oh?

0:41:55.360 --> 0:41:59.000
<v Speaker 3>Yeah, I've had some. Yeah, I've definitely had a couple

0:41:59.360 --> 0:42:03.560
<v Speaker 3>where I've been I've just been plowing, Like I've got

0:42:03.560 --> 0:42:05.320
<v Speaker 3>to the point I'm like, I'm just going to plow

0:42:05.719 --> 0:42:06.759
<v Speaker 3>and I'm going to get off.

0:42:07.680 --> 0:42:10.400
<v Speaker 4>Think of the money head down there is.

0:42:10.880 --> 0:42:13.920
<v Speaker 1>So they go to a military base and this is

0:42:14.160 --> 0:42:16.759
<v Speaker 1>and we'll get to before we get to the military base,

0:42:16.840 --> 0:42:24.320
<v Speaker 1>this is all happening of course because David's David's girlfriend

0:42:24.320 --> 0:42:28.239
<v Speaker 1>has arrived, which is shades of Yoko. Obviously, there's is,

0:42:28.280 --> 0:42:33.080
<v Speaker 1>you know, probably the biggest influence. I'm sure it's not

0:42:33.160 --> 0:42:36.280
<v Speaker 1>the only one that you know, have a partner destabilizing

0:42:36.280 --> 0:42:39.000
<v Speaker 1>a band, and.

0:42:40.160 --> 0:42:41.279
<v Speaker 4>Yeah, it is.

0:42:41.800 --> 0:42:44.279
<v Speaker 1>It's it's, it's, it's it's it's one of the very

0:42:44.320 --> 0:42:47.759
<v Speaker 1>few things that drives the storyline forward in the way.

0:42:48.120 --> 0:42:54.120
<v Speaker 3>Yeah, yeah, yeah, her arrival and yeah, her creating tension

0:42:54.200 --> 0:42:57.120
<v Speaker 3>within the group. That's like her job and then end

0:42:57.200 --> 0:42:59.799
<v Speaker 3>up with the manager leaves for a period and then

0:43:00.400 --> 0:43:03.200
<v Speaker 3>comes back and just gives her this look.

0:43:03.280 --> 0:43:04.600
<v Speaker 5>As I told you.

0:43:04.680 --> 0:43:10.440
<v Speaker 1>So well when Nigel leaves the band. He walked off

0:43:10.440 --> 0:43:12.360
<v Speaker 1>stage at one point and he gives her that really

0:43:12.800 --> 0:43:17.640
<v Speaker 1>big look, but you know, and it's you can understand

0:43:17.640 --> 0:43:20.759
<v Speaker 1>how it can disrupt the flow of a tour, but

0:43:20.800 --> 0:43:22.640
<v Speaker 1>you kind of also understand that, well, you know, these

0:43:22.640 --> 0:43:27.360
<v Speaker 1>people's lives and they're entitled to live them. But I

0:43:27.440 --> 0:43:31.960
<v Speaker 1>think when she starts suggesting costumes and then the idea

0:43:31.960 --> 0:43:34.680
<v Speaker 1>of what maybe maybe my girlfriend can manage the band

0:43:34.680 --> 0:43:37.480
<v Speaker 1>as well, you know that you can understand attention, but

0:43:37.480 --> 0:43:39.640
<v Speaker 1>that they go to a military base because gigs are

0:43:39.640 --> 0:43:44.919
<v Speaker 1>getting canceled, and it's where we meet Fred Willard, who

0:43:45.880 --> 0:43:48.680
<v Speaker 1>basically he's one of my favorite people to watch on stage.

0:43:48.719 --> 0:43:51.960
<v Speaker 1>Salely passed away a few years ago, and he does

0:43:52.719 --> 0:43:56.880
<v Speaker 1>some stick that he ends up really doing in so

0:43:57.040 --> 0:44:00.480
<v Speaker 1>many of their productions over the next twenty to thirty years,

0:44:00.560 --> 0:44:03.919
<v Speaker 1>and it's it's glorious anytime you get to watch Fred

0:44:03.920 --> 0:44:04.359
<v Speaker 1>will work.

0:44:04.400 --> 0:44:08.200
<v Speaker 4>But this is him upon arrival talking to the band.

0:44:09.640 --> 0:44:13.280
<v Speaker 12>Ah books Stratt, you are a final target.

0:44:13.640 --> 0:44:17.200
<v Speaker 2>I'm Jeanine, this final spinal.

0:44:16.880 --> 0:44:19.880
<v Speaker 12>Tap I mistake. I'm Lieutenant Bob Hookstratt. Welcome to Lindberg

0:44:20.000 --> 0:44:22.719
<v Speaker 12>Air Force Base. This is your gentlemen's first visit to

0:44:22.800 --> 0:44:23.919
<v Speaker 12>military facility.

0:44:23.880 --> 0:44:24.719
<v Speaker 1>Yes, find me.

0:44:24.800 --> 0:44:26.960
<v Speaker 12>I start by saying, how thrilled we are to have

0:44:27.040 --> 0:44:29.360
<v Speaker 12>you here. We are such fans of your music and

0:44:29.480 --> 0:44:32.440
<v Speaker 12>all of your records. I'm not speaking of yours personally,

0:44:32.440 --> 0:44:34.720
<v Speaker 12>but the whole genre of the rock and roll and something.

0:44:35.000 --> 0:44:37.319
<v Speaker 12>All the exciting things are happening music today, and let

0:44:37.320 --> 0:44:39.239
<v Speaker 12>me explain a bit about what's going on. This is

0:44:39.280 --> 0:44:42.640
<v Speaker 12>our monthly at Ease weekend. It gives us a chance

0:44:42.680 --> 0:44:44.560
<v Speaker 12>of gonna let down our hair. Although I see you

0:44:44.600 --> 0:44:47.719
<v Speaker 12>all have a head start these haircuts a wooden fast

0:44:47.760 --> 0:44:50.640
<v Speaker 12>military must believe me. Although I shouldn't talk. My hair's

0:44:50.640 --> 0:44:52.719
<v Speaker 12>get a little shaggy too. Better not get too close

0:44:52.719 --> 0:44:54.759
<v Speaker 12>to you, They'll think I'm part of the band. I'm Joey.

0:44:54.840 --> 0:44:55.120
<v Speaker 4>Of course.

0:44:55.120 --> 0:44:59.479
<v Speaker 12>Shall we go in and I'll show you around.

0:45:00.640 --> 0:45:05.359
<v Speaker 1>You just got so many little throwaways, and I love

0:45:05.400 --> 0:45:08.000
<v Speaker 1>him so much. There's also the one that was a

0:45:08.000 --> 0:45:10.759
<v Speaker 1>bit triggering for me was when they nobody rocks up

0:45:10.800 --> 0:45:14.000
<v Speaker 1>to the LP signing. They finally got the covers going

0:45:14.080 --> 0:45:18.960
<v Speaker 1>and nobody came. Because I remember doing an appearance a signing,

0:45:19.000 --> 0:45:24.080
<v Speaker 1>a DVD signing at at ABC store in the city

0:45:25.560 --> 0:45:30.680
<v Speaker 1>with Pat Brammele and Any Maynard. They were there for

0:45:30.760 --> 0:45:33.120
<v Speaker 1>Upper Middle Bogan and I was there for representing it.

0:45:33.200 --> 0:45:36.279
<v Speaker 1>To date, those both those shows went back to back

0:45:36.280 --> 0:45:39.040
<v Speaker 1>on the ABC for a couple of years, and the

0:45:39.120 --> 0:45:41.560
<v Speaker 1>ABC on the DVD release said, oh, we've got a

0:45:41.600 --> 0:45:44.920
<v Speaker 1>new store in Melbourne Central or somewhere and you know,

0:45:45.719 --> 0:45:47.120
<v Speaker 1>so we're going to you know, if you guys could

0:45:47.120 --> 0:45:48.759
<v Speaker 1>go there for two hours on a Saturday and this,

0:45:48.920 --> 0:45:51.880
<v Speaker 1>you know, we'll set you up signed DVDs and you

0:45:52.000 --> 0:45:53.680
<v Speaker 1>kind of assume that they're going to let people know

0:45:53.760 --> 0:45:55.960
<v Speaker 1>about it, and it was kind of organized. It was

0:45:55.960 --> 0:45:59.319
<v Speaker 1>almost like this week and we're like okay, and we

0:45:59.400 --> 0:46:03.239
<v Speaker 1>rock up and over to two hours, I reckon I

0:46:03.400 --> 0:46:04.400
<v Speaker 1>sign maybe.

0:46:04.239 --> 0:46:11.760
<v Speaker 4>Eight DVDs and I think he probably signed maybe twelve

0:46:11.800 --> 0:46:12.680
<v Speaker 4>Up and Middle Bog.

0:46:12.560 --> 0:46:16.040
<v Speaker 1>And DVDs it was, and it's over two hours. There

0:46:16.040 --> 0:46:18.279
<v Speaker 1>were some points of those two hours where we were

0:46:18.280 --> 0:46:20.799
<v Speaker 1>just walking around the storm and then my one of

0:46:20.800 --> 0:46:24.680
<v Speaker 1>my high school teachers walks, now, thankfully this is at

0:46:24.680 --> 0:46:27.360
<v Speaker 1>a stage where you know, I'm comfortable enough with what

0:46:27.440 --> 0:46:30.879
<v Speaker 1>I've done, and yeah, you know, it was just that

0:46:31.040 --> 0:46:33.000
<v Speaker 1>you kind of go, oh, wow, you really struggling. But

0:46:33.080 --> 0:46:37.120
<v Speaker 1>I've done some other stuff, so it wasn't as awkward

0:46:37.160 --> 0:46:40.120
<v Speaker 1>as it could have been. But whenever I see Pat

0:46:40.440 --> 0:46:44.359
<v Speaker 1>or any it's like a war story. It really is

0:46:44.440 --> 0:46:46.560
<v Speaker 1>like this, And I think they just thought this is

0:46:46.600 --> 0:46:47.960
<v Speaker 1>back in the day. I think it still happens to

0:46:48.000 --> 0:46:50.640
<v Speaker 1>an extent where they thought just put it on your

0:46:50.760 --> 0:46:52.799
<v Speaker 1>socials and then people will come. It's like, that's not

0:46:52.880 --> 0:46:55.640
<v Speaker 1>how it really works that you do need to actually

0:46:55.719 --> 0:46:59.920
<v Speaker 1>let people know sign in the store. Is there a

0:47:00.080 --> 0:47:01.759
<v Speaker 1>database that maybe you can lean into?

0:47:01.960 --> 0:47:04.560
<v Speaker 3>Were you at the back of the store.

0:47:06.680 --> 0:47:09.960
<v Speaker 1>We're inside the store, so thankfully we weren't. But this

0:47:10.960 --> 0:47:13.920
<v Speaker 1>I always find, you know, I know a lot of

0:47:13.920 --> 0:47:17.080
<v Speaker 1>people sell merch after after gigs. I'm not sure it's

0:47:17.080 --> 0:47:18.400
<v Speaker 1>becoming less of a thing or more of a thing.

0:47:18.440 --> 0:47:20.160
<v Speaker 1>Probably less of a maybe more online.

0:47:20.239 --> 0:47:23.200
<v Speaker 3>Even the thing now is like follow me on find

0:47:23.280 --> 0:47:24.120
<v Speaker 3>my socials.

0:47:24.160 --> 0:47:26.000
<v Speaker 4>That's the sort of which is perfect because you just

0:47:26.000 --> 0:47:26.600
<v Speaker 4>put it out there.

0:47:26.680 --> 0:47:28.560
<v Speaker 5>Yeah yeah, and that's it.

0:47:28.600 --> 0:47:32.240
<v Speaker 1>But the idea of sitting at a trestle table watching

0:47:32.320 --> 0:47:35.480
<v Speaker 1>the audience in this entertainment walked by after a show

0:47:35.719 --> 0:47:39.520
<v Speaker 1>is yeah, that's There's been times I've done and people, yeah, lot,

0:47:40.120 --> 0:47:41.719
<v Speaker 1>there's been plenty of times when people have lined up

0:47:41.719 --> 0:47:43.440
<v Speaker 1>and I've been done DV these signings where I was

0:47:43.680 --> 0:47:46.040
<v Speaker 1>and book signings. You know that I've been overwhelmed with

0:47:46.040 --> 0:47:48.080
<v Speaker 1>the amount of people who have rocked up. But that

0:47:48.200 --> 0:47:51.719
<v Speaker 1>was that was not this. That was a very different thing.

0:47:52.800 --> 0:47:53.400
<v Speaker 1>He really was.

0:47:53.480 --> 0:47:56.600
<v Speaker 3>And just that line to of oh, I love the

0:47:56.640 --> 0:47:59.000
<v Speaker 3>whole genre, like I've had so many people say I

0:47:59.080 --> 0:48:00.880
<v Speaker 3>love comedy.

0:48:02.160 --> 0:48:03.440
<v Speaker 5>Yeah, that's why we picked you.

0:48:03.480 --> 0:48:06.080
<v Speaker 3>I love comedy. And I'm like, okay, the.

0:48:06.000 --> 0:48:06.920
<v Speaker 1>Famous watched me?

0:48:07.440 --> 0:48:09.000
<v Speaker 4>Yeah, the famous one. I saw it at the Melbourn

0:48:09.000 --> 0:48:11.960
<v Speaker 4>Comedy Festival. Oh well, what show was it?

0:48:12.080 --> 0:48:14.520
<v Speaker 1>Oh, you have the one on TV the Yeah you

0:48:14.560 --> 0:48:15.680
<v Speaker 1>mean you show me on the gala?

0:48:15.800 --> 0:48:17.560
<v Speaker 4>Yeah, yeah, okay, Yeah.

0:48:17.480 --> 0:48:19.880
<v Speaker 5>It's so different thing three and a half minute.

0:48:21.000 --> 0:48:22.880
<v Speaker 1>There's some great lines I do I do love. Also

0:48:22.960 --> 0:48:25.480
<v Speaker 1>the line it's a fine line between stupid and clever.

0:48:25.840 --> 0:48:28.880
<v Speaker 3>Oh yeah, which is so true.

0:48:29.160 --> 0:48:32.120
<v Speaker 1>Yeah, there's some truth in that the shows have been

0:48:32.160 --> 0:48:37.160
<v Speaker 1>canceled due to a lack of advertising funds, not even

0:48:37.360 --> 0:48:43.959
<v Speaker 1>of advertising, like of advertising funds. It was lovely. Now

0:48:44.120 --> 0:48:48.160
<v Speaker 1>there's some fun facts that I mean to be actually honest,

0:48:49.400 --> 0:48:53.160
<v Speaker 1>there's not like sometimes I have a whole heap of

0:48:54.040 --> 0:48:57.319
<v Speaker 1>fun facts. This one doesn't have as many because I

0:48:57.320 --> 0:48:59.080
<v Speaker 1>think most of the stuff that comes out of this

0:48:59.239 --> 0:49:02.359
<v Speaker 1>that people knowing that they make a thing of is

0:49:02.440 --> 0:49:06.760
<v Speaker 1>that it was kind of all improvd yeah, which was incredible.

0:49:06.800 --> 0:49:07.920
<v Speaker 4>They shot a whole bunch of.

0:49:07.880 --> 0:49:11.920
<v Speaker 1>It, and that a lot of bands did not realize

0:49:11.960 --> 0:49:13.480
<v Speaker 1>a lot of people did not realize that this was

0:49:13.480 --> 0:49:17.480
<v Speaker 1>actually a fake documentary. The people really believed that this

0:49:17.600 --> 0:49:18.080
<v Speaker 1>was all real.

0:49:18.200 --> 0:49:19.319
<v Speaker 5>And I see that too.

0:49:19.719 --> 0:49:22.520
<v Speaker 3>It took me like a good I knew it was

0:49:22.520 --> 0:49:25.160
<v Speaker 3>a documentary, but in the ten to fifteen minutes at

0:49:25.200 --> 0:49:28.439
<v Speaker 3>the start, I thought, what, it's not obvious enough.

0:49:28.680 --> 0:49:33.919
<v Speaker 1>No, it strikes that balance like not being like I said,

0:49:34.080 --> 0:49:37.200
<v Speaker 1>if it was now, the jokes in a way, they

0:49:37.200 --> 0:49:40.759
<v Speaker 1>would be sharper, but they wouldn't be as good. The

0:49:40.800 --> 0:49:42.000
<v Speaker 1>whole thing wouldn't be as good.

0:49:42.120 --> 0:49:45.040
<v Speaker 3>It would be too brightened. I think, yeah, for sure.

0:49:45.760 --> 0:49:48.000
<v Speaker 1>Actually, before we get into a couple of fun facts

0:49:48.040 --> 0:49:52.080
<v Speaker 1>we got, of course, have to play maybe the most famous. Well,

0:49:52.080 --> 0:49:56.560
<v Speaker 1>there's two scenes that I think for me that maybe

0:49:56.600 --> 0:50:00.080
<v Speaker 1>the most kind of spoken about. One is when I

0:50:00.160 --> 0:50:03.520
<v Speaker 1>can't find the stage. Oh that is a brilliant that

0:50:03.719 --> 0:50:06.400
<v Speaker 1>is so good, and they seem to be able to

0:50:07.880 --> 0:50:11.080
<v Speaker 1>everything goes with the right length. Yes, sometimes you want

0:50:11.239 --> 0:50:12.719
<v Speaker 1>you know, you might feel like you want more, but

0:50:12.760 --> 0:50:14.840
<v Speaker 1>I reckon they've cut hard to get out of somebody

0:50:14.880 --> 0:50:17.839
<v Speaker 1>laughing or something, and I feel like this. They keep

0:50:17.880 --> 0:50:22.120
<v Speaker 1>going back and giving the shackers whatever you call them,

0:50:23.040 --> 0:50:27.680
<v Speaker 1>and this came back and when they go the full

0:50:27.719 --> 0:50:32.880
<v Speaker 1>circle and find themselves back with the janitor, Yeah, I

0:50:32.920 --> 0:50:33.359
<v Speaker 1>love it.

0:50:33.440 --> 0:50:35.680
<v Speaker 3>That is and the janitor is just like, yeah, so

0:50:35.719 --> 0:50:38.280
<v Speaker 3>you have to cross through it and do some jogging.

0:50:39.920 --> 0:50:42.040
<v Speaker 3>You got to do some jogging. They're like, oh, we

0:50:42.040 --> 0:50:46.640
<v Speaker 3>don't have time for jogging. Oh, that's a brilliant scene.

0:50:46.800 --> 0:50:51.600
<v Speaker 1>And the other one is, of course when they Nigel

0:50:51.840 --> 0:50:56.520
<v Speaker 1>is taking Marty through his guitars and then the famous

0:50:57.120 --> 0:50:59.240
<v Speaker 1>iconic spinal tap amp.

0:50:59.560 --> 0:51:01.480
<v Speaker 2>This is a top to you know what we use

0:51:01.520 --> 0:51:02.000
<v Speaker 2>on stage.

0:51:02.040 --> 0:51:05.520
<v Speaker 10>But it's very very special because if you can see, yeah,

0:51:05.880 --> 0:51:10.760
<v Speaker 10>the numbers all go to eleven, look right across the board,

0:51:11.280 --> 0:51:14.960
<v Speaker 10>eleven or eleven, mostly eleven ams go up to ten.

0:51:15.120 --> 0:51:18.560
<v Speaker 2>Exactly does that mean it's louder? Is there any louder? Well,

0:51:18.640 --> 0:51:22.200
<v Speaker 2>it's one louder, isn't it. It's not ten? You see,

0:51:22.360 --> 0:51:24.239
<v Speaker 2>most most blokes are going to be playing at ten.

0:51:24.520 --> 0:51:26.279
<v Speaker 6>You're on ten here, all the way up, all the

0:51:26.280 --> 0:51:27.640
<v Speaker 6>way up, all the way up.

0:51:27.800 --> 0:51:29.839
<v Speaker 2>You're on ten on your guitar. Where can you go

0:51:29.920 --> 0:51:33.960
<v Speaker 2>from there? Where? I don't know where exactly. What we

0:51:34.120 --> 0:51:37.400
<v Speaker 2>do is if we need that extra push over the cliff,

0:51:37.480 --> 0:51:39.160
<v Speaker 2>you know what we do, put it up to an

0:51:39.200 --> 0:51:41.719
<v Speaker 2>eleven exactly one loud. Why don't you just.

0:51:41.680 --> 0:51:44.840
<v Speaker 8>Make ten louder and make ten be the top number,

0:51:44.880 --> 0:51:46.120
<v Speaker 8>and make that a little louder.

0:51:49.600 --> 0:51:50.520
<v Speaker 2>These go to eleven.

0:51:55.800 --> 0:51:59.919
<v Speaker 4>It's so good, it's so good. We mentioned the cameo.

0:52:01.120 --> 0:52:04.759
<v Speaker 1>I think you mentioned Frank Dresser was maybe your favorite, Yeah,

0:52:04.800 --> 0:52:07.239
<v Speaker 1>which I think is a good call. Dana Carvey was

0:52:07.280 --> 0:52:10.520
<v Speaker 1>also in there as one of the mind waiters the

0:52:11.160 --> 0:52:12.600
<v Speaker 1>crystal Yeah.

0:52:12.600 --> 0:52:13.279
<v Speaker 5>What did he say?

0:52:13.400 --> 0:52:17.839
<v Speaker 1>Mime is money is money?

0:52:18.600 --> 0:52:19.400
<v Speaker 3>That is brilliant.

0:52:21.000 --> 0:52:23.240
<v Speaker 1>I do love I'm a big fan of Bruno Kirby.

0:52:23.239 --> 0:52:31.080
<v Speaker 1>So Bruno Kirby, Good Morning, Vietnam, Godfather Part two, City Slickers.

0:52:32.200 --> 0:52:35.560
<v Speaker 1>He plays the limo driver. I do love him that

0:52:35.600 --> 0:52:39.799
<v Speaker 1>he can't he can't quite understand he's telling the story

0:52:39.840 --> 0:52:42.879
<v Speaker 1>about Frank Sinacha. He's a New York limo driver. He's

0:52:42.880 --> 0:52:46.200
<v Speaker 1>got these guys from England in his Limo, who are musicians.

0:52:46.200 --> 0:52:49.160
<v Speaker 1>Of course they're going to love this story about Frank Sinatra,

0:52:50.080 --> 0:52:52.120
<v Speaker 1>but they just wind the window up. They don't give

0:52:52.160 --> 0:52:54.359
<v Speaker 1>a shit. And then he's like these guys they don't

0:52:54.360 --> 0:52:55.279
<v Speaker 1>get it. They get it.

0:52:55.840 --> 0:52:58.919
<v Speaker 3>Yeah, that was a good and it was like quite

0:52:58.960 --> 0:53:01.480
<v Speaker 3>a good story, like and then all of a sudden,

0:53:01.840 --> 0:53:03.560
<v Speaker 3>the windows just like no mate.

0:53:04.640 --> 0:53:07.280
<v Speaker 1>But it's also that thing of you know, we always

0:53:07.360 --> 0:53:10.319
<v Speaker 1>think the bands are a fad, you know, and those

0:53:10.360 --> 0:53:13.319
<v Speaker 1>people who you know, it's almost like a generation gap.

0:53:13.360 --> 0:53:14.799
<v Speaker 1>That was probably more of a cultural gap than a

0:53:14.840 --> 0:53:19.759
<v Speaker 1>generation gap. I remember in year eight my teacher, mister

0:53:19.800 --> 0:53:23.160
<v Speaker 1>Wells was a big Beatles fan, and I kind of

0:53:23.200 --> 0:53:25.480
<v Speaker 1>like the Beatles as well. I kind of wasn't somebody

0:53:25.480 --> 0:53:29.520
<v Speaker 1>who would necessarily, you know, trash, you know, like the

0:53:29.560 --> 0:53:31.680
<v Speaker 1>bands that came before me. You know, I probably owned,

0:53:32.200 --> 0:53:36.280
<v Speaker 1>you know, a dodgy copy of bootleg copy of Sergeant Peppers.

0:53:37.160 --> 0:53:38.520
<v Speaker 4>But I was a bon Jovi fan.

0:53:38.600 --> 0:53:41.800
<v Speaker 1>That was yeah, right, And I remember like having arguments

0:53:41.800 --> 0:53:44.319
<v Speaker 1>with mister Wells at bon Jovi were like bigger than

0:53:44.320 --> 0:53:49.440
<v Speaker 1>the Beatles and so they won't be around, which is ridiculous.

0:53:49.480 --> 0:53:52.600
<v Speaker 1>And I accept that nobody's as big as the balls.

0:53:52.800 --> 0:53:56.520
<v Speaker 1>But Bonjo they're still going. Yeah, still one of the

0:53:56.520 --> 0:54:00.520
<v Speaker 1>biggest steering bands, live bands in the world. And if

0:54:00.520 --> 0:54:02.040
<v Speaker 1>you want to get a party started, you know, put

0:54:02.080 --> 0:54:05.680
<v Speaker 1>some Jovi on as far as your anthemic rock. Yeah,

0:54:06.480 --> 0:54:09.160
<v Speaker 1>So I stand by that, but I remember having debates

0:54:09.239 --> 0:54:10.480
<v Speaker 1>with him about it.

0:54:10.560 --> 0:54:12.879
<v Speaker 4>Remember, it's just a fad. It's just a fad.

0:54:13.200 --> 0:54:13.520
<v Speaker 1>Yeah.

0:54:13.560 --> 0:54:17.080
<v Speaker 4>So when I watched that, I do think back yeah.

0:54:16.920 --> 0:54:19.560
<v Speaker 3>To that, Yeah, oh that yeah, and that comes up

0:54:19.600 --> 0:54:22.399
<v Speaker 3>all the time or not. So I mean now where

0:54:22.400 --> 0:54:25.600
<v Speaker 3>people just get like one song or two songs out.

0:54:26.600 --> 0:54:28.799
<v Speaker 3>But I remember back in the day for my high

0:54:28.840 --> 0:54:31.040
<v Speaker 3>school band thing, it was like you're either Pearl Jam

0:54:31.120 --> 0:54:33.960
<v Speaker 3>or Nirvana. It was that that was the split, and

0:54:34.040 --> 0:54:36.360
<v Speaker 3>I was like, who who was better? And even though

0:54:36.400 --> 0:54:41.080
<v Speaker 3>like Nirvana couldn't go on like, that was still an argument.

0:54:41.960 --> 0:54:43.000
<v Speaker 4>I was never quite.

0:54:42.800 --> 0:54:47.400
<v Speaker 1>Sure whether Nirvana obviously not being able to record anymore,

0:54:48.080 --> 0:54:52.239
<v Speaker 1>what was a disadvantage or an advantage in that debate, Like,

0:54:53.560 --> 0:54:55.080
<v Speaker 1>is the fact that Pearl Jam got to make so

0:54:55.160 --> 0:54:56.920
<v Speaker 1>much more music, and you know, you can only make

0:54:56.920 --> 0:54:59.360
<v Speaker 1>so much great music until maybe there might be you know,

0:55:00.120 --> 0:55:02.000
<v Speaker 1>o igue that the last Pearl Jam album was great.

0:55:02.440 --> 0:55:03.319
<v Speaker 4>I'm a pillow Jam fan.

0:55:03.360 --> 0:55:05.440
<v Speaker 1>I was probably on the pearl Jam side of that debate,

0:55:05.800 --> 0:55:08.359
<v Speaker 1>to be honest, but I do love the Nirvana as well.

0:55:08.480 --> 0:55:11.880
<v Speaker 1>But I wonder if Nirvana had have made Yeah albums,

0:55:12.840 --> 0:55:15.359
<v Speaker 1>at what point do they tip over the other side? Yeah?

0:55:15.400 --> 0:55:18.279
<v Speaker 3>What point do they start playing the army base.

0:55:20.840 --> 0:55:22.320
<v Speaker 5>If Nevada ever.

0:55:22.160 --> 0:55:25.480
<v Speaker 1>Had When did Nevara release sex Farm?

0:55:25.719 --> 0:55:29.080
<v Speaker 3>Yeah, it could have happened.

0:55:29.600 --> 0:55:32.640
<v Speaker 1>My favorite title of all the songs was Tonight. I'm

0:55:32.640 --> 0:55:35.440
<v Speaker 1>going to rock You Tonight was one of them.

0:55:35.880 --> 0:55:39.640
<v Speaker 3>Tonight twice in the title is well Tonight Tonight the

0:55:39.760 --> 0:55:40.960
<v Speaker 3>smashing pub kits.

0:55:41.320 --> 0:55:47.520
<v Speaker 1>They actually yeah, Billy Corgan. Yeah, Like I said, there

0:55:47.520 --> 0:55:50.400
<v Speaker 1>went really a whole bunch of fun facts. It was

0:55:50.840 --> 0:55:55.160
<v Speaker 1>slightly sad fact Tony Hendra, who played in Faith, he

0:55:55.400 --> 0:55:58.640
<v Speaker 1>passed away only lessen a year ago or about a

0:55:58.719 --> 0:56:04.799
<v Speaker 1>year ago, which is sad obviously, Uh, and I think so.

0:56:04.960 --> 0:56:08.120
<v Speaker 1>I think he didn't really make a much else after this,

0:56:08.200 --> 0:56:12.320
<v Speaker 1>but he admitted that he read a memoir. He actually

0:56:12.360 --> 0:56:16.080
<v Speaker 1>attempted to take his own life the night before shooting

0:56:16.120 --> 0:56:20.080
<v Speaker 1>began on this spinal tap and he said this is

0:56:20.080 --> 0:56:24.120
<v Speaker 1>obviously with years of no doubt work and hindsight, but

0:56:24.160 --> 0:56:26.760
<v Speaker 1>he said, the joy of making that film saved him

0:56:27.000 --> 0:56:27.920
<v Speaker 1>from his depression.

0:56:28.160 --> 0:56:29.360
<v Speaker 3>Oh that's so nice.

0:56:29.560 --> 0:56:33.799
<v Speaker 1>Yeah, yeah, And I said, I really do believe that

0:56:33.920 --> 0:56:36.880
<v Speaker 1>he in a way holds a lot of the film together.

0:56:37.800 --> 0:56:39.719
<v Speaker 1>I'm not necessarily saying he's the best thing in the film,

0:56:39.760 --> 0:56:45.240
<v Speaker 1>but I think he's so important I think to this film.

0:56:45.800 --> 0:56:47.880
<v Speaker 1>There was also you may have noticed there was some

0:56:47.960 --> 0:56:51.279
<v Speaker 1>herpes kind of cold saws. Oh yeah, on some of

0:56:51.280 --> 0:56:53.759
<v Speaker 1>the band. There was a there was a kind of

0:56:53.880 --> 0:57:01.080
<v Speaker 1>abandoned subplot where there was a female's opening band, and

0:57:01.280 --> 0:57:02.120
<v Speaker 1>the running.

0:57:01.880 --> 0:57:04.520
<v Speaker 4>Joke was that they'd all slept with the.

0:57:04.360 --> 0:57:07.000
<v Speaker 1>Lead singer and we're getting purpose along the way, which

0:57:07.040 --> 0:57:10.200
<v Speaker 1>I think we talk about this film aging well. I

0:57:10.200 --> 0:57:12.719
<v Speaker 1>think it's probably best that it was about I'm not

0:57:12.760 --> 0:57:14.759
<v Speaker 1>sure at what point I got to feel like they

0:57:14.800 --> 0:57:17.880
<v Speaker 1>didn't shoot any of it, but maybe they had the

0:57:17.920 --> 0:57:19.400
<v Speaker 1>idea and they were going to shoot that later. So

0:57:19.800 --> 0:57:24.000
<v Speaker 1>we're planting these little cold saws, So.

0:57:24.160 --> 0:57:26.120
<v Speaker 3>That's interesting that they just cut that.

0:57:26.600 --> 0:57:26.920
<v Speaker 4>Yeah.

0:57:27.200 --> 0:57:30.960
<v Speaker 1>Yeah, I mean I said, I think there's not much

0:57:30.960 --> 0:57:33.880
<v Speaker 1>about this film that kind of I think it's like

0:57:33.960 --> 0:57:37.520
<v Speaker 1>I said, from the Yeah, some good news for spinal

0:57:37.600 --> 0:57:41.000
<v Speaker 1>tap fans, which I must have missed when they announced

0:57:41.040 --> 0:57:43.800
<v Speaker 1>it sequel coming twenty twenty four.

0:57:44.560 --> 0:57:48.560
<v Speaker 5>Crazy, it's so good. Do you think it'll be the same.

0:57:48.960 --> 0:57:50.200
<v Speaker 4>Well, it's the same. It's the same.

0:57:50.400 --> 0:57:54.160
<v Speaker 1>They're all still alive, well as far as the main

0:57:54.200 --> 0:57:58.360
<v Speaker 1>three in the bands and Rob Rainer. Rob Rainer by

0:57:58.400 --> 0:58:02.120
<v Speaker 1>the way, like this is his first film, so he's

0:58:02.200 --> 0:58:06.200
<v Speaker 1>an American icon. Even before he starts moving behind the camera.

0:58:06.240 --> 0:58:09.680
<v Speaker 1>He was like in a massive US sitcom called All

0:58:09.720 --> 0:58:12.080
<v Speaker 1>in the Family, and so he was almost like a

0:58:12.160 --> 0:58:15.200
<v Speaker 1>rich you know, Richie canningham Ron Howard style character.

0:58:15.760 --> 0:58:17.200
<v Speaker 4>And then he wants to direct.

0:58:17.400 --> 0:58:19.400
<v Speaker 1>He knows these guys, these guys did they a sketch

0:58:19.440 --> 0:58:22.120
<v Speaker 1>comedy a sketch for him in a comedy show. He

0:58:22.520 --> 0:58:24.880
<v Speaker 1>had a show that he I think director or ran

0:58:25.000 --> 0:58:28.560
<v Speaker 1>called the TV show Yeah think in Canada. These guys

0:58:28.560 --> 0:58:30.280
<v Speaker 1>come on, they do a sketch and this is all

0:58:30.360 --> 0:58:33.040
<v Speaker 1>born from that one sketch.

0:58:33.240 --> 0:58:36.000
<v Speaker 3>And so much stuff happens like that, Like one person

0:58:36.040 --> 0:58:38.240
<v Speaker 3>will do a sketch or a character and then all

0:58:38.280 --> 0:58:40.680
<v Speaker 3>of a sudden there's a movie or they've got a

0:58:40.880 --> 0:58:43.000
<v Speaker 3>running yeah show or something.

0:58:43.240 --> 0:58:49.640
<v Speaker 1>And well, Christopher Guest was checking into a hotel once

0:58:50.600 --> 0:58:54.040
<v Speaker 1>and there was an English band in front of him,

0:58:54.120 --> 0:58:58.120
<v Speaker 1>checking in before him, and they were arguing about where

0:58:58.200 --> 0:59:01.280
<v Speaker 1>they left. The managers with the bass player about where

0:59:01.320 --> 0:59:04.280
<v Speaker 1>his equipment was, and his bass player was saying, I

0:59:04.280 --> 0:59:07.360
<v Speaker 1>don't know, probably it's maybe at the airport. And they

0:59:07.400 --> 0:59:11.120
<v Speaker 1>went on for fifteen minutes and and Christopher Guesser said

0:59:11.240 --> 0:59:14.640
<v Speaker 1>it all came from that and like ten years ten

0:59:14.720 --> 0:59:17.960
<v Speaker 1>years later, that's when he it all happens, but he

0:59:18.000 --> 0:59:19.360
<v Speaker 1>just kept it in his head. He said it was

0:59:19.360 --> 0:59:21.600
<v Speaker 1>the happiest day of his life outside of I think

0:59:21.640 --> 0:59:26.320
<v Speaker 1>marrying his wife Jamie Lee Curtis that yeah, and the

0:59:26.360 --> 0:59:28.680
<v Speaker 1>birth of his kids. He said, the happiest day, Like

0:59:28.840 --> 0:59:31.800
<v Speaker 1>just he just soaked it all in and just knew

0:59:31.800 --> 0:59:32.880
<v Speaker 1>that it was going to come.

0:59:32.680 --> 0:59:33.880
<v Speaker 3>Back seving this idea.

0:59:33.960 --> 0:59:35.240
<v Speaker 5>Yeah, that's so good.

0:59:35.480 --> 0:59:38.600
<v Speaker 3>And music. I like to think comedians are quite like

0:59:38.720 --> 0:59:43.240
<v Speaker 3>humble characters, but I think musicians are on another level.

0:59:43.880 --> 0:59:46.200
<v Speaker 3>I used to when I was at Uni, I worked

0:59:46.200 --> 0:59:48.880
<v Speaker 3>at a bar and this bar I worked out was

0:59:48.920 --> 0:59:53.200
<v Speaker 3>contracted to do the bar work at a music festival

0:59:53.440 --> 0:59:56.200
<v Speaker 3>like Stereosnic one of those, and so we had to

0:59:56.200 --> 1:00:01.280
<v Speaker 3>put all the artists writers together, and honestly, they were

1:00:01.360 --> 1:00:04.920
<v Speaker 3>ridiculous they was, Oh, we need to blow up crocodile,

1:00:05.960 --> 1:00:10.240
<v Speaker 3>We'd like ten bottles of Belvedere. It was just can

1:00:10.280 --> 1:00:11.440
<v Speaker 3>you imagine asking for that?

1:00:11.720 --> 1:00:14.640
<v Speaker 1>Yeah, the famous, the famous on his van Halen asking

1:00:14.720 --> 1:00:20.160
<v Speaker 1>for Blue Eminem's. Yeah, And it came out later that

1:00:20.600 --> 1:00:23.640
<v Speaker 1>Eddie van Halen said that the reason he asks for

1:00:23.680 --> 1:00:28.600
<v Speaker 1>Blue Eminems is to make sure that the promoters had

1:00:28.640 --> 1:00:32.320
<v Speaker 1>read the contract. Ah, so if there was Blue Eminem's there,

1:00:32.360 --> 1:00:35.800
<v Speaker 1>he knew they'd read the contract. If they weren't, he

1:00:35.880 --> 1:00:40.560
<v Speaker 1>knew they didn't. I'm not sure that's revisionism going on,

1:00:40.800 --> 1:00:44.120
<v Speaker 1>yeah or not. But I like the story.

1:00:44.280 --> 1:00:47.160
<v Speaker 3>Yeah, I do like Yeah, I do like the story. Yeah,

1:00:47.200 --> 1:00:48.480
<v Speaker 3>I got to look after yourself.

1:00:50.080 --> 1:00:55.640
<v Speaker 1>Well sometimes I mean, yeah, obviously there are ridiculous requests.

1:00:55.840 --> 1:00:58.600
<v Speaker 1>You feel like you're just making somebody's life harder, requesting

1:00:58.600 --> 1:01:02.040
<v Speaker 1>a blow up crocodile, whatever it might be. But sometimes

1:01:02.040 --> 1:01:05.080
<v Speaker 1>it is like I imagine, if you're doing night after

1:01:05.240 --> 1:01:07.880
<v Speaker 1>night and it basically becomes your home away from home,

1:01:08.560 --> 1:01:10.640
<v Speaker 1>these are the things that are going to make me feel,

1:01:12.280 --> 1:01:16.400
<v Speaker 1>so I can be as comfortable as I can. But

1:01:16.560 --> 1:01:20.840
<v Speaker 1>usually usually comedy you rock up and there's a plate

1:01:20.880 --> 1:01:22.720
<v Speaker 1>of sandwiches and the plate fruit, happy with.

1:01:22.680 --> 1:01:28.360
<v Speaker 3>The Carmen's music. But the best thing about the writers

1:01:28.400 --> 1:01:30.440
<v Speaker 3>at this festival. I did it for a couple of years,

1:01:30.480 --> 1:01:32.600
<v Speaker 3>but anything that they didn't.

1:01:32.480 --> 1:01:34.280
<v Speaker 5>Touch we got to keep.

1:01:34.520 --> 1:01:34.960
<v Speaker 1>Here we go.

1:01:35.360 --> 1:01:39.400
<v Speaker 3>Can you imagine that university We had a truckload stuff

1:01:39.800 --> 1:01:43.600
<v Speaker 3>going back to a sharehouse. It was like our yearly alcohol. Yeah, yeah,

1:01:43.600 --> 1:01:44.560
<v Speaker 3>it was. It was amazing.

1:01:44.600 --> 1:01:46.920
<v Speaker 1>Well, the amount of times even the project, you will

1:01:47.120 --> 1:01:49.600
<v Speaker 1>it will be a request. You know, these are what

1:01:49.680 --> 1:01:53.520
<v Speaker 1>you need to have. And I'm not aware of anything

1:01:53.840 --> 1:01:56.200
<v Speaker 1>completely out of control. But the bigger the entourage is

1:01:56.240 --> 1:01:58.000
<v Speaker 1>the bigger the request because they're not just dealing with

1:01:58.040 --> 1:02:00.760
<v Speaker 1>the artists. They're dealing with they're on and often it's

1:02:00.840 --> 1:02:02.760
<v Speaker 1>more for their own as to be honest, yeah okay,

1:02:02.840 --> 1:02:06.200
<v Speaker 1>but yeah, often that you know, it'll be it'll be touched.

1:02:06.240 --> 1:02:07.880
<v Speaker 1>So you have these, you know, six bottles of wine

1:02:08.080 --> 1:02:12.640
<v Speaker 1>in the green room afterwards, so good. All of a

1:02:12.680 --> 1:02:15.000
<v Speaker 1>sudden carry gets so I can do it and that's it.

1:02:18.240 --> 1:02:23.760
<v Speaker 1>At school, I really can't. Lizzie who this podcast comes

1:02:23.760 --> 1:02:27.440
<v Speaker 1>with homework and you you are, you are as busy

1:02:27.520 --> 1:02:31.640
<v Speaker 1>as anyone. You're running around doing gigs, you're appearing on

1:02:31.680 --> 1:02:33.960
<v Speaker 1>TV shows, so thank you so much.

1:02:35.120 --> 1:02:35.480
<v Speaker 3>Pressure.

1:02:35.800 --> 1:02:37.680
<v Speaker 5>Yeah, I hope I did it justice.

1:02:38.120 --> 1:02:38.600
<v Speaker 4>Yeah.

1:02:38.800 --> 1:02:41.720
<v Speaker 1>Is there anything you missing anything you?

1:02:41.800 --> 1:02:42.040
<v Speaker 4>Yeah?

1:02:42.440 --> 1:02:45.800
<v Speaker 3>I mean I just oh the one thing I did

1:02:45.920 --> 1:02:49.640
<v Speaker 3>love the other one thing? What did What did they

1:02:49.720 --> 1:02:51.720
<v Speaker 3>call the girlfriend at one point an.

1:02:51.640 --> 1:02:54.960
<v Speaker 1>Australian Australian nightmare, an Australian night yeahok, like.

1:02:55.560 --> 1:02:57.120
<v Speaker 4>You look like an Australian's nightmare.

1:02:57.200 --> 1:03:00.320
<v Speaker 3>Yeah. I just thought that was so beautiful. I know,

1:03:00.560 --> 1:03:02.000
<v Speaker 3>such a good description.

1:03:01.720 --> 1:03:03.360
<v Speaker 1>Because I kind of looked at that thought I'm not

1:03:03.440 --> 1:03:07.880
<v Speaker 1>exactly sure what it means, but it kind of like, yeah,

1:03:08.000 --> 1:03:11.200
<v Speaker 1>like I didn't I could have. I even thought about it,

1:03:11.200 --> 1:03:14.200
<v Speaker 1>and I thought, Okay, what are they not that like

1:03:14.520 --> 1:03:16.480
<v Speaker 1>not being offended at all, Like, but I was just

1:03:16.560 --> 1:03:18.800
<v Speaker 1>kind of going, what how is that?

1:03:19.760 --> 1:03:22.080
<v Speaker 4>Why does it work? Yeah? It works?

1:03:22.600 --> 1:03:24.120
<v Speaker 1>And I wasn't sure if it was in a Living

1:03:24.520 --> 1:03:26.240
<v Speaker 1>John kind of thing, because she would have been kind

1:03:26.280 --> 1:03:29.800
<v Speaker 1>of Xena do yeah, and she kind of had that

1:03:29.880 --> 1:03:31.400
<v Speaker 1>kind of it was kind of.

1:03:31.400 --> 1:03:36.520
<v Speaker 4>A mixture of Xanadu and maybe and rock you a what.

1:03:36.720 --> 1:03:36.959
<v Speaker 11>Yeah.

1:03:37.160 --> 1:03:39.560
<v Speaker 3>I did think it might have been in Olivia John

1:03:39.640 --> 1:03:43.320
<v Speaker 3>reference or that they're sort of like speaking down to

1:03:43.440 --> 1:03:46.960
<v Speaker 3>Australians and like an Australian wouldn't even look that bad.

1:03:47.160 --> 1:03:50.280
<v Speaker 3>You know. That's that's what I think. But it took

1:03:50.320 --> 1:03:52.360
<v Speaker 3>me a while, like is she Australian? Is she trying

1:03:52.360 --> 1:03:55.080
<v Speaker 3>to do it? Like what's happening? Yeah? I just thought

1:03:55.120 --> 1:03:56.400
<v Speaker 3>that was another beautiful line.

1:03:56.440 --> 1:03:58.000
<v Speaker 4>It kind of came out of the blue, but it was.

1:03:58.080 --> 1:03:59.960
<v Speaker 1>It was perfect. It was perfect. That's a good one.

1:04:00.280 --> 1:04:03.160
<v Speaker 1>You are not an Australian nightmare. Listen, you are an

1:04:03.240 --> 1:04:07.520
<v Speaker 1>Australian dream. I encourage everyone to go see your shows.

1:04:07.560 --> 1:04:09.800
<v Speaker 1>You've been killing it. Do you have anything coming up

1:04:09.800 --> 1:04:11.320
<v Speaker 1>that you want to shout out?

1:04:12.120 --> 1:04:14.919
<v Speaker 3>Nothing coming up. I'm just I'm definitely starting to work

1:04:14.960 --> 1:04:18.439
<v Speaker 3>on my news show for festival season next year, so yeah,

1:04:18.600 --> 1:04:19.240
<v Speaker 3>look out for that.

1:04:19.320 --> 1:04:21.000
<v Speaker 1>It's that time of year you're just don't to get

1:04:21.000 --> 1:04:26.880
<v Speaker 1>conversations phone call saying what's the show's Yeah, I've got

1:04:26.880 --> 1:04:29.520
<v Speaker 1>this idea about a woman who's been greased up in

1:04:29.600 --> 1:04:37.920
<v Speaker 1>a dog collar. That's where I'm going. Beautiful, Thanks Lizzie,

1:04:43.800 --> 1:04:44.440
<v Speaker 1>it's pretty.

1:04:45.600 --> 1:04:46.520
<v Speaker 2>I like it.

1:04:46.760 --> 1:04:51.400
<v Speaker 1>Yes, it's a beautiful piano there Nigel tough Nol with

1:04:51.480 --> 1:04:56.240
<v Speaker 1>the beautiful ballad Lick my Love Pump, Bring your Tear

1:04:56.280 --> 1:05:00.840
<v Speaker 1>to the Eye. It really does. Really relieved that Lizzie,

1:05:00.840 --> 1:05:06.880
<v Speaker 1>who loved this is spinal tap. I was nervous. I

1:05:06.960 --> 1:05:11.320
<v Speaker 1>was nervous. There's something about comedians being too judgy on

1:05:12.120 --> 1:05:16.520
<v Speaker 1>comedy that is a little bit. Oh, it's a bit

1:05:17.120 --> 1:05:19.840
<v Speaker 1>makes me a bit nervous to be honest, and I

1:05:19.920 --> 1:05:23.160
<v Speaker 1>know comedians don't love doing that. So if Lizzie had

1:05:23.280 --> 1:05:25.920
<v Speaker 1>watched it and not enjoyed it, I was to be honest.

1:05:26.240 --> 1:05:27.360
<v Speaker 4>And this is the only time I've done this.

1:05:27.440 --> 1:05:31.160
<v Speaker 1>I actually said to her management team, if Lizzie wants

1:05:31.200 --> 1:05:32.760
<v Speaker 1>to watch it first and then let me know she

1:05:32.960 --> 1:05:36.360
<v Speaker 1>likes it, and if she doesn't like it, we can

1:05:36.400 --> 1:05:39.320
<v Speaker 1>bail on the episode. They said, nah, she'll love it.

1:05:39.320 --> 1:05:42.160
<v Speaker 1>She'll love it, so I never heard back. Even though

1:05:42.160 --> 1:05:45.480
<v Speaker 1>I gave them a parachute, they refused a parachute. Lizzie

1:05:45.520 --> 1:05:47.600
<v Speaker 1>watched it. I found out that she loved it when

1:05:47.640 --> 1:05:49.960
<v Speaker 1>she said that she loved it, and I was bloody relieved.

1:05:49.960 --> 1:05:52.800
<v Speaker 1>So thanks Lizzie. She is killing it at the moment

1:05:53.160 --> 1:05:57.280
<v Speaker 1>on stage and screen, and yes, go and support her.

1:05:57.360 --> 1:05:58.840
<v Speaker 4>Support all of our guests, support our.

1:05:58.760 --> 1:06:01.880
<v Speaker 1>Sponsors as well. If you respond on the show, that

1:06:01.960 --> 1:06:06.120
<v Speaker 1>means they're supporting our show. So if it's a I

1:06:06.120 --> 1:06:08.360
<v Speaker 1>don't know, an app or a movie that's coming out

1:06:08.440 --> 1:06:11.280
<v Speaker 1>or whatever it might be, just check them out, check

1:06:11.360 --> 1:06:14.040
<v Speaker 1>them out. And because they're supporting us, so we can

1:06:14.080 --> 1:06:17.960
<v Speaker 1>deliver this to you for free, that's right for free.

1:06:18.400 --> 1:06:21.600
<v Speaker 1>Derek Myers at Casway Studios dot com dot au is

1:06:21.640 --> 1:06:25.760
<v Speaker 1>the man who stitches all this together and if you're

1:06:25.800 --> 1:06:27.920
<v Speaker 1>looking to get your podcast up, he's the man to

1:06:27.920 --> 1:06:32.120
<v Speaker 1>speak to, whether it's in studio here in Collingwood, in

1:06:32.160 --> 1:06:37.360
<v Speaker 1>Melbourne or remotely. And I know this was an episode Derek,

1:06:37.400 --> 1:06:39.760
<v Speaker 1>you had been waiting for for quite a while.

1:06:40.320 --> 1:06:42.840
<v Speaker 7>I've been dying to use a certain button on my

1:06:42.880 --> 1:06:52.040
<v Speaker 7>mixing desk, the Dobbley, And yeah, I've been absolutely hanging

1:06:52.160 --> 1:06:54.560
<v Speaker 7>for this one. There's so many things out of this

1:06:54.600 --> 1:06:58.720
<v Speaker 7>film that are still in my vernacular and way of thinking. Yeah,

1:06:59.120 --> 1:07:04.240
<v Speaker 7>like space, your new friend, like you just have you

1:07:04.320 --> 1:07:08.120
<v Speaker 7>got a special new friend? Obviously that's that's Derek Smalls's

1:07:09.240 --> 1:07:12.040
<v Speaker 7>referencing a new girl he's met who probably doesn't know

1:07:12.040 --> 1:07:17.320
<v Speaker 7>her name. Doubley. Of course. Now I'm a sound engineer.

1:07:17.800 --> 1:07:20.880
<v Speaker 7>I wasn't back then, but now when someone's being a

1:07:20.880 --> 1:07:24.640
<v Speaker 7>bit sort of clearly doesn't know stuff, about the tech,

1:07:24.680 --> 1:07:27.320
<v Speaker 7>but they're still talking about it. I can't help but

1:07:27.440 --> 1:07:30.760
<v Speaker 7>eventually say, yeah, has it got doubley? And that just

1:07:30.840 --> 1:07:32.840
<v Speaker 7>lets him know that I don't. I'm not into what

1:07:32.880 --> 1:07:33.280
<v Speaker 7>they're saying.

1:07:33.480 --> 1:07:35.640
<v Speaker 1>That's a funny little moment, that one, because within it

1:07:35.840 --> 1:07:40.000
<v Speaker 1>they they again they're not looking at trumping it with

1:07:40.080 --> 1:07:42.360
<v Speaker 1>a bigger joke. In a way, they just almost just

1:07:42.560 --> 1:07:49.480
<v Speaker 1>enjoy that moment. I wonder actually if the actress got

1:07:49.480 --> 1:07:52.760
<v Speaker 1>it wrong or or they were just you know, they

1:07:52.760 --> 1:07:56.520
<v Speaker 1>were just in character doing their thing. But yeah, very funny.

1:07:56.560 --> 1:07:58.880
<v Speaker 7>But just what they don't do is what makes it,

1:07:58.920 --> 1:08:02.840
<v Speaker 7>isn't it. Yeah, magic happens, they go it's funny.

1:08:02.840 --> 1:08:06.240
<v Speaker 1>And I'm not comparing Strawy with the guy's in spinal tap.

1:08:06.320 --> 1:08:09.000
<v Speaker 1>But I remember when we went out for the first time.

1:08:09.040 --> 1:08:11.800
<v Speaker 1>We shot Strawy having a kick of the football, and

1:08:12.280 --> 1:08:16.400
<v Speaker 1>my producer said, and I was having shots a goal legitimately,

1:08:16.800 --> 1:08:20.000
<v Speaker 1>and I was actually kicking most of them, but tightish angle,

1:08:20.520 --> 1:08:22.320
<v Speaker 1>and I'd just said, okay, now kicks him on the fall.

1:08:22.360 --> 1:08:25.040
<v Speaker 1>Kicks him on the fall, and I was like, no, no,

1:08:25.160 --> 1:08:26.760
<v Speaker 1>I'm not going to do that because I want people

1:08:26.840 --> 1:08:30.559
<v Speaker 1>to believe that this guy could actually play football, not

1:08:30.680 --> 1:08:33.000
<v Speaker 1>that he's just shaking them, you know. And it was

1:08:33.960 --> 1:08:36.559
<v Speaker 1>the best thing we did for that character was to

1:08:36.560 --> 1:08:39.040
<v Speaker 1>actually give him a sense instead of going for the

1:08:39.080 --> 1:08:42.960
<v Speaker 1>bigger laugh, we gave him a sense of believability. Yeah,

1:08:43.000 --> 1:08:45.639
<v Speaker 1>and I think that's what And maybe I learned it

1:08:46.200 --> 1:08:51.640
<v Speaker 1>from these legends, because you're absolutely right. It's not that

1:08:51.640 --> 1:08:54.960
<v Speaker 1>they're not going for a thousand jokes. They're listening to

1:08:55.000 --> 1:08:57.680
<v Speaker 1>each other and it's it makes it really believable.

1:08:58.120 --> 1:09:01.880
<v Speaker 7>It really enjoyed Lizzie talking about how people maybe believed

1:09:01.920 --> 1:09:03.800
<v Speaker 7>it was a real thing. We were talking about some

1:09:03.920 --> 1:09:06.400
<v Speaker 7>rock bands. It was a thing, like I was there.

1:09:06.560 --> 1:09:09.679
<v Speaker 7>It was a thing. Remember there was no Internet, yep,

1:09:09.760 --> 1:09:13.360
<v Speaker 7>And there was lots of aging rock bands that you

1:09:13.439 --> 1:09:17.479
<v Speaker 7>just didn't know about. Yeah, Like if you ask me who, okay,

1:09:18.160 --> 1:09:20.920
<v Speaker 7>you know what Judas Priest looked like, I couldn't have

1:09:20.960 --> 1:09:23.880
<v Speaker 7>told you. Yeah, right, And there's so many of those.

1:09:24.200 --> 1:09:26.880
<v Speaker 7>It was a thing. The question did come up, not

1:09:26.960 --> 1:09:29.680
<v Speaker 7>for long. But there was a lot of films you

1:09:29.720 --> 1:09:31.840
<v Speaker 7>heard about a lot before before you saw it. You

1:09:31.840 --> 1:09:33.200
<v Speaker 7>didn't see clips of them anywhere.

1:09:33.360 --> 1:09:35.680
<v Speaker 1>No, Yeah, and I don't remember. I mean I was

1:09:35.760 --> 1:09:37.920
<v Speaker 1>nine when this comes out, but I don't really remember

1:09:37.960 --> 1:09:40.519
<v Speaker 1>it being released, you know, like it's basically the same

1:09:40.760 --> 1:09:45.000
<v Speaker 1>year it was Ghostbusters, like eighty four to eighty six,

1:09:45.320 --> 1:09:48.360
<v Speaker 1>but it's yeah, it wasn't. I don't remember that there

1:09:48.439 --> 1:09:50.280
<v Speaker 1>being a massive It was kind of a cult hit,

1:09:50.600 --> 1:09:55.559
<v Speaker 1>you know. And in fact, again this is seems to

1:09:55.600 --> 1:09:57.799
<v Speaker 1>be we say this every second week on this podcast,

1:09:57.800 --> 1:10:00.280
<v Speaker 1>but it wasn't a hit upon release. It was really

1:10:01.000 --> 1:10:03.800
<v Speaker 1>I found its life on video when when people would

1:10:03.840 --> 1:10:06.519
<v Speaker 1>have to pass literally pass these videos around, And what

1:10:06.600 --> 1:10:09.479
<v Speaker 1>a joy it would have been to watch not knowing

1:10:09.520 --> 1:10:11.520
<v Speaker 1>that this was a documentary.

1:10:12.040 --> 1:10:13.360
<v Speaker 7>Oh it's a.

1:10:13.320 --> 1:10:16.640
<v Speaker 1>Completely different experience, as funny as it is now and

1:10:16.680 --> 1:10:20.200
<v Speaker 1>as well as it has aged to be able to

1:10:20.280 --> 1:10:25.160
<v Speaker 1>go back and watch it unknowingly, it would be such

1:10:25.160 --> 1:10:26.280
<v Speaker 1>a glorious experience.

1:10:26.439 --> 1:10:29.160
<v Speaker 7>Oh there's a there's a documentary called Mad Dogs and

1:10:29.200 --> 1:10:34.120
<v Speaker 7>Englishmen which follows Joe Cocker tour on Russell and you've

1:10:34.160 --> 1:10:36.840
<v Speaker 7>got the piano player in the top, Hatley on Russell,

1:10:36.880 --> 1:10:39.200
<v Speaker 7>who you know made them all stand in a circle

1:10:39.280 --> 1:10:43.160
<v Speaker 7>and chance stuff before going on. And it was it

1:10:43.200 --> 1:10:44.960
<v Speaker 7>was as funny like I used to watch it in

1:10:45.000 --> 1:10:47.880
<v Speaker 7>the sharehouse and we all said, I go, ah, look

1:10:47.920 --> 1:10:51.479
<v Speaker 7>at that and they had the cliched groupies and it

1:10:51.520 --> 1:10:53.280
<v Speaker 7>was really really similar.

1:10:53.720 --> 1:10:56.240
<v Speaker 1>Well, there was I think another doco, Don't Look Back,

1:10:56.280 --> 1:10:58.479
<v Speaker 1>and the Bob Dylan documentary came out I think not

1:10:58.560 --> 1:11:01.120
<v Speaker 1>long before this, around this time, and that was I

1:11:01.120 --> 1:11:03.880
<v Speaker 1>think an influence. And so there was they were dealing

1:11:03.920 --> 1:11:08.760
<v Speaker 1>in a genre that was gathering steme. It just this

1:11:08.920 --> 1:11:11.080
<v Speaker 1>was completely made up, which becomes its own genre.

1:11:11.280 --> 1:11:15.160
<v Speaker 7>It's amazing and it's it's there's another genre maybe not

1:11:15.200 --> 1:11:18.280
<v Speaker 7>a genre, but there's a style of film that in

1:11:18.360 --> 1:11:21.799
<v Speaker 7>your head, it kind of you assume it was released

1:11:21.920 --> 1:11:24.960
<v Speaker 7>when you discovered it. It's so time, yes, But like

1:11:24.960 --> 1:11:27.160
<v Speaker 7>The Blues Brothers, I wouldn't have a clue when The

1:11:27.160 --> 1:11:29.600
<v Speaker 7>Blues Brothers was made. Yeah, it was just when I

1:11:29.720 --> 1:11:33.439
<v Speaker 7>discovered it. It started existing, Yeah, eighty four or whatever

1:11:33.479 --> 1:11:37.160
<v Speaker 7>it was. Yeah, But the same goes with Spinal Tap Yep.

1:11:37.200 --> 1:11:39.040
<v Speaker 7>I had no idea it came out when it did.

1:11:40.120 --> 1:11:42.120
<v Speaker 7>I would have assumed maybe a few years later.

1:11:42.280 --> 1:11:44.040
<v Speaker 4>It's so good and exciting.

1:11:44.160 --> 1:11:46.439
<v Speaker 1>So the idea of the sequel is that there is

1:11:46.760 --> 1:11:53.040
<v Speaker 1>some contractual, a shady contractual obligation that the band still

1:11:53.080 --> 1:11:55.519
<v Speaker 1>have and they've said very little. It's going to be

1:11:55.520 --> 1:12:01.320
<v Speaker 1>improvised again, so I imagine, yeah, it will be new songs,

1:12:01.360 --> 1:12:05.360
<v Speaker 1>and I think it's gonna be like one of those.

1:12:05.520 --> 1:12:07.800
<v Speaker 1>You got to temper your expectations a little bit. Not

1:12:07.840 --> 1:12:10.840
<v Speaker 1>that I have faith in these guys in delivering something

1:12:10.840 --> 1:12:14.639
<v Speaker 1>pretty special, but you know, we've seen with Zoolander two's

1:12:14.680 --> 1:12:20.040
<v Speaker 1>and these things can cannot always hit pay dirt, but

1:12:21.240 --> 1:12:23.840
<v Speaker 1>we'll certainly be lining up for it or booking a

1:12:23.840 --> 1:12:27.160
<v Speaker 1>ticket for it. The Metal Detector was the another one

1:12:27.200 --> 1:12:31.680
<v Speaker 1>we didn't get to, so of course I remember when

1:12:31.680 --> 1:12:33.360
<v Speaker 1>I first watched it that was probably the scene that

1:12:33.439 --> 1:12:36.040
<v Speaker 1>actually maybe laugh the most, you know, because it was

1:12:36.080 --> 1:12:39.320
<v Speaker 1>this bloody funny. Hey, if you want to get in

1:12:39.400 --> 1:12:41.800
<v Speaker 1>touch with us here at us nothing yet. We'd love

1:12:41.840 --> 1:12:46.160
<v Speaker 1>to hear from you, go to the speak pipe, which

1:12:46.200 --> 1:12:48.640
<v Speaker 1>if you follow the links on our pages, it's like

1:12:48.680 --> 1:12:51.840
<v Speaker 1>an answer machine machine message and we can hear you.

1:12:51.840 --> 1:12:54.760
<v Speaker 1>We can hear your actual voice, and we love that.

1:12:55.600 --> 1:12:59.040
<v Speaker 1>If you're a bit shy, it's got to our email

1:12:59.120 --> 1:13:02.160
<v Speaker 1>at Yasni Podcast at gmail dot com.

1:13:02.560 --> 1:13:06.920
<v Speaker 4>And do we have a quicker email this week?

1:13:07.080 --> 1:13:12.639
<v Speaker 7>There I got a I got a nice one from Patria. Patria,

1:13:13.560 --> 1:13:17.520
<v Speaker 7>and it's it's a nice email suggests it's a suggestion.

1:13:17.200 --> 1:13:18.640
<v Speaker 1>For we love suggestions.

1:13:18.840 --> 1:13:21.880
<v Speaker 7>Yep, suggestion for some possible guests Kate, Tim and.

1:13:21.840 --> 1:13:26.120
<v Speaker 1>Joel oh An over Drive team, Yeah, Kate, Richie and

1:13:26.160 --> 1:13:29.320
<v Speaker 1>Joel Christy and Tim Blackwell Yeah.

1:13:29.360 --> 1:13:32.120
<v Speaker 7>And Patria is confident that they would love to come on,

1:13:32.240 --> 1:13:35.480
<v Speaker 7>and they would. And she's suggesting some Monty Python films.

1:13:35.680 --> 1:13:37.040
<v Speaker 4>Oh well, Mighty Python.

1:13:37.080 --> 1:13:41.120
<v Speaker 1>I feels like Life of Brian is the film, and

1:13:41.160 --> 1:13:45.599
<v Speaker 1>it has been suggested it is certainly on the list. Again,

1:13:45.680 --> 1:13:49.000
<v Speaker 1>sometimes it's hard to find and we largely deal with comedians,

1:13:49.000 --> 1:13:52.759
<v Speaker 1>not not exclusively with our actors and musicians on recently,

1:13:52.800 --> 1:13:56.040
<v Speaker 1>but it's hard to find people who haven't seen a

1:13:56.120 --> 1:13:58.639
<v Speaker 1>film like this is Smile Tap or Life of Brian

1:13:59.439 --> 1:14:02.000
<v Speaker 1>and Life I think is the I think the Life

1:14:02.000 --> 1:14:05.320
<v Speaker 1>of Brian and this is spinal Tap in the conversation

1:14:05.439 --> 1:14:08.559
<v Speaker 1>for the greatest comedies ever. So certainly, if we can

1:14:08.600 --> 1:14:10.960
<v Speaker 1>find somebody who hasn't seen Life of Brian in particular,

1:14:11.040 --> 1:14:12.560
<v Speaker 1>I guesst the Holy Grail I think would have been that

1:14:12.600 --> 1:14:16.519
<v Speaker 1>conversation as well, we would love to do that as well.

1:14:17.160 --> 1:14:19.400
<v Speaker 7>And she finishes with love the show my hobby and

1:14:19.400 --> 1:14:21.920
<v Speaker 7>I listened to them together on our road trips.

1:14:22.120 --> 1:14:23.640
<v Speaker 4>Ah, fantastic.

1:14:23.680 --> 1:14:27.479
<v Speaker 1>Well, if you're listening now, you know, keep your hands

1:14:27.520 --> 1:14:30.680
<v Speaker 1>on ten and two and drive safe. But thanks for

1:14:30.720 --> 1:14:35.519
<v Speaker 1>listening to the podcast. And next week we have on

1:14:35.560 --> 1:14:38.439
<v Speaker 1>the show. It's a live episode. We recorded that the

1:14:38.479 --> 1:14:42.400
<v Speaker 1>Grapes of Mirth Festival run by Merrick Watts at the

1:14:42.400 --> 1:14:46.760
<v Speaker 1>Barossa Valley at Separates Field, in a wine cellar in

1:14:46.800 --> 1:14:48.360
<v Speaker 1>front of an awesome crowd.

1:14:48.479 --> 1:14:49.120
<v Speaker 4>It was packed.

1:14:49.160 --> 1:14:52.360
<v Speaker 1>It was amazing with my good friend Merrick Wats himself

1:14:52.560 --> 1:14:56.920
<v Speaker 1>and our featured guest is Nazim Hussein. Nazim Hussein who

1:14:56.920 --> 1:14:59.200
<v Speaker 1>has never seen a movie, a movie that's in my

1:14:59.240 --> 1:15:02.439
<v Speaker 1>top three from two thousand and four from Alexander Payne,

1:15:02.560 --> 1:15:06.759
<v Speaker 1>genius filmmaker, Sarrying, Paul g. Marty Thomas, Hayden Church, Virginia

1:15:06.800 --> 1:15:08.280
<v Speaker 1>Madison and the wonderful Sandra O.

1:15:08.560 --> 1:15:10.160
<v Speaker 4>It is sideways.

1:15:10.280 --> 1:15:13.120
<v Speaker 1>Yes, we're talking sideways in a wine cellar in the

1:15:13.120 --> 1:15:16.360
<v Speaker 1>Barissa Valley. If I have a live studio audience with

1:15:16.479 --> 1:15:19.000
<v Speaker 1>playing the Zame Hussain next week and you waited nothing

1:15:19.080 --> 1:15:32.040
<v Speaker 1>yet until then, by for now, and so we leave

1:15:32.080 --> 1:15:36.000
<v Speaker 1>old Pete, save themselves and to our friends of the

1:15:36.080 --> 1:15:36.879
<v Speaker 1>radio audience.

1:15:36.920 --> 1:15:38.920
<v Speaker 4>We've been a pleasant, good name