Speaker 1: Kidd A, Peter, Hell, are you here? Welcome to you?
Speaker 1: And seeing nothing Yet the movie Podcast where I checked
Speaker 1: to a movie lover about a classic or loved movie
Speaker 1: they haven't quite got around to watching until now, and
Speaker 1: today's guest comedian extraordinary, Ross Noble.
Speaker 2: I'm sorry, Dave, I'm afraid I can't do that. You
Speaker 2: want answer?
Speaker 3: What the truth?
Speaker 1: You can't handle the truth?
Speaker 3: This would sharpen you up and thank you ready for
Speaker 3: a bit of the old ultra violence.
Speaker 1: Thank you haven't any right now?
Speaker 4: Don't see nothing here.
Speaker 1: I first met Ross Noble a touch over twenty years
Speaker 1: ago when he first toured Australia and we both took
Speaker 1: part in the inaugural Melbourne International Comedy Festival road show
Speaker 1: pinballing around regional Victoria with the likes of Will Anderson, Tripod,
Speaker 1: kring Brand and Matt King. Now to real life, Ross's
Speaker 1: comedy achievements would well, it'll take way too long and
Speaker 1: we have a movie to talk about. But there are
Speaker 1: a couple of things worth noting. In two thousand and seven,
Speaker 1: Russ was voted the tenth greatest stand up of all
Speaker 1: time on Channel four's one hundred Greatest Stand Up Hole
Speaker 1: in twenty eighteen, he was nominated for the Sir Lawrence
Speaker 1: Olivier Award for his role in mel Brooks's Young Frankenstein
Speaker 1: on the West End. For over twenty years, Ross has
Speaker 1: been a great mate. He's endlessly curious, utterly unique and
Speaker 1: unsurprisingly as sharp as attack. And I'm bloody stoke to
Speaker 1: have him hanging with me today.
Speaker 4: Hello, my name's Ross Noble and my three favorite films
Speaker 4: are Raiders of the Lost or.
Speaker 3: I Hate Snake Zack, Hi Hail, Come on show a
Speaker 3: little back more?
Speaker 2: Will you back to the future?
Speaker 3: Are you telling me that you built a time machine
Speaker 3: head of a do Warrior?
Speaker 2: And gremlins don't ever feed him after midnight?
Speaker 4: And up until this week, I had never seen the
Speaker 4: film Wake in Fright.
Speaker 1: Australian masculinity gets put under the marcroscribing Ted Kutcheff s
Speaker 1: nning seventy one masterpiece Wake in Fright, a film nick
Speaker 1: tab Old the most terrifying film about Australia ever. John
Speaker 1: and Gary Bond is an English teacher stationed in a
Speaker 1: tiny apren looking back down not tim Boonder, but at
Speaker 1: the end of the school year he leaves his job.
Speaker 1: Deen and I with his god Bread in the bright
Speaker 1: line of simpley beforehand. Now he planned to spend a
Speaker 1: night in wodn Yeva before heading Cone and in the Yema,
Speaker 1: things go badly as the aggressively friendly locals invited him
Speaker 1: to drink again and sending John Brant straight through a big,
Speaker 1: blood sweat soaked hell Ross and Igul. Did you enjoy
Speaker 1: your time in the Yema?
Speaker 2: I did. I liked it a lot.
Speaker 4: I was quite surprised, actually, because it was when I
Speaker 4: looked down the list that was quite tricky, because I'd
Speaker 4: pretty much seen every film on the list of you know,
Speaker 4: possible films, and I came to work and.
Speaker 2: Freight and I thought I'd vaguely heard of it, but
Speaker 2: I thought.
Speaker 4: I definitely haven't seen that, and then I just got obviously,
Speaker 4: I discovered that it had been lost for years. So
Speaker 4: you know, I'm guessing not a huge amount people have
Speaker 4: seen it unless they're real sort of ossie cinephiles. And
Speaker 4: then so yes, so I thought it was gonna be
Speaker 4: waking fright. There's just the sort of you know, the
Speaker 4: having fright in the title, Like I love horror films,
Speaker 4: and I genuinely thought, oh, this is gonna be because
Speaker 4: it's set, because it's set and filmed in the same
Speaker 4: area as like Rais Are Back. I honestly thought it
Speaker 4: was gonna be I mean, it is a horror film,
Speaker 4: but it's it's not a horror film in the sense of,
Speaker 4: you know, it's it's it's a it.
Speaker 1: Wasn't psychological thriller with horror elements.
Speaker 4: Yes it is very much a horror film, but yes
Speaker 4: there's not the month, Yes the monster is within, and yes,
Speaker 4: there you go. So that's so I was pleasantly surprised
Speaker 4: because I was I was you know, I thought there
Speaker 4: was gonna be I thought there was gonna be like
Speaker 4: zombie hands coming up out of the desert. I thought
Speaker 4: it was gonna be along those lines, and or even
Speaker 4: even sort of it reminded me a little bit of
Speaker 4: it's got a touch of the Wickerman as well. You know,
Speaker 4: you know, I thought it was going to be an
Speaker 4: element of maybe, you know, he goes to this community
Speaker 4: and there's a sort of you know, there's something, there's
Speaker 4: something sinister where he gets tricked and he ends up
Speaker 4: in whatever the whatever the Australian version of the Wickerman is.
Speaker 1: You know, Yeah, well it's got that sense of a
Speaker 1: man stuck in a nightmare. It's it's even reminded me
Speaker 1: in you know, in some weird way in the Truman Show,
Speaker 1: just somebody who's stuck somewhere and cannot get out. And
Speaker 1: it also had like, for me, you know, a Kubrick
Speaker 1: feel about it. And this came out in nineteen seventy one.
Speaker 1: I think the Clockwork Orange may have come out either
Speaker 1: in nineteen seventy one or a very similar time, and
Speaker 1: it kind of feels like a it's kind of similar feel.
Speaker 1: Even the shining kind of you know, kind of maybe
Speaker 1: think of a shining at times as well. And you're right,
Speaker 1: this film kind of disappeared. Australians did not take to
Speaker 1: it at all. That he liked seeing themselves represented like
Speaker 1: this on screen. And then the print, the original negative
Speaker 1: was lost and only found in a Pittsburgh kind of
Speaker 1: vault in I think two thousand and four, and I
Speaker 1: think there were twenty copies and they're all marked to
Speaker 1: be destroyed basically, and the editor of the film had
Speaker 1: like made it his mission to find these, you know,
Speaker 1: these prints, and then it was it was all digitally
Speaker 1: kind of remastered and touched up, and yeah, it took
Speaker 1: two years to do and only kind of reappeared in
Speaker 1: my two thousand and six or so, so it was
Speaker 1: so you're right, a lot of Australians wouldn't have seen
Speaker 1: this film.
Speaker 4: Because also as well, it was probably hard to be
Speaker 4: destroyed by the Australian tourist board.
Speaker 2: I think probably what did you get rid of it?
Speaker 4: It strange were you because you say that that's what
Speaker 4: It's a lot of a lot of sort of like
Speaker 4: Australian horror films and more traditional horror films. There's something
Speaker 4: interesting about the fact that, oh, by the way, can
Speaker 4: I just point out to anyone that's dune the listening
Speaker 4: to this because they think, oh, that Ross Noble, he's
Speaker 4: quite funny. I will not be funny at all, because
Speaker 4: I am going to deconstruct this as if it is
Speaker 4: full film analysis, and there'll be there'll be no jokes.
Speaker 2: I'm only half.
Speaker 4: Joking, but yeah, it's it's one of those give me
Speaker 4: a lot to think about, to be honest, But there's
Speaker 4: something about he's trapped.
Speaker 2: But there's a.
Speaker 4: Sort of an irony of the fact that he's trapped
Speaker 4: in these this sort of this wide open space, you know,
Speaker 4: And I think and I think a lot of Australian horror,
Speaker 4: but like Wolf Creaks, a.
Speaker 2: Bit like that.
Speaker 4: You've got the sort of you've got the endless you know,
Speaker 4: endless sky, endless amounts of distance, like what what you
Speaker 4: would deem to be the ultimate freedom, you know, the
Speaker 4: ultimate just just just expanse of of being free from
Speaker 4: the world, but actually being trapped because of the because
Speaker 4: of the you know, the small towns and all that
Speaker 4: sort of stuff. So there's a there's sort of a
Speaker 4: there's an interesting thing going on there.
Speaker 1: Yeah, I've heard it described as wide wide spaces and
Speaker 1: narrow minds.
Speaker 2: Oh right, yeah, there you go.
Speaker 1: I don't say let's come back, because there is so
Speaker 1: much to talk about Waking Fright. But you have picked
Speaker 1: three excellent films as your as your top three. So
Speaker 1: let's have a chat before we return to the gather
Speaker 1: outside the Yeah, but not the gather, the gathers the
Speaker 1: crickets going on. There's there's no cricket ever wicket in
Speaker 1: Freight Rails of the Lost Dark. It has it has
Speaker 1: come up a couple of times. What a fantastic movie.
Speaker 2: Yeah, I mean these three films.
Speaker 4: He's not picked these three films it's like, obviously, trying
Speaker 4: to pick three films is you know, it's almost possible.
Speaker 4: But I think these three I would classom as my
Speaker 4: favorites because they're the films that I've watched more than
Speaker 4: any other films. And also, these were the films that,
Speaker 4: you know, when I was sort of you know, I
Speaker 4: don't know, between the ages of sort of five and ten,
Speaker 4: these were the films that I saw and they just
Speaker 4: sort of transported me.
Speaker 2: You know.
Speaker 4: They were the things that made me love cinema. You know,
Speaker 4: the idea of just worlds, of being able to disappear into.
Speaker 4: They're all set in worlds which are real, but fantastical
Speaker 4: things happen within those worlds, and that's like with all
Speaker 4: sort of with art, that's what I like.
Speaker 2: You know, some people might think that I really love.
Speaker 4: Just sort of like out and out like surreal stuff,
Speaker 4: but I don't. The stuff that I really like is
Speaker 4: you know, like you look at a cereala's painting and go, oh,
Speaker 4: that's all very well. But when you look get a
Speaker 4: painting that's that's like fine art, but just the perspective
Speaker 4: is a bit warped, or the you know, the hand
Speaker 4: is a the hand is a foot, you know that
Speaker 4: that's the sort of stuff. And all of these films
Speaker 4: I think they kind of set you know, set that
Speaker 4: in motion, and you know, Surrealers of the Lost Ark was.
Speaker 2: Kind of.
Speaker 4: You know it it felt like it felt like you
Speaker 4: were watching you're you're watching a real guy in a
Speaker 4: real world, and and you sort of go, yeah, no,
Speaker 4: that that could that could absolutely happen. And then it
Speaker 4: isn't until you get a bit older there you go,
Speaker 4: oh right, okay, so that's that's not that couldn't actually happen,
Speaker 4: you know, so yeah, yeah.
Speaker 1: I I love Writers of Lost and I love Indiana
Speaker 1: Jones for some reason. And I must say as I
Speaker 1: got older, I kind of changes. But for quite a
Speaker 1: while I had Temple Doom ahead of Writers of the
Speaker 1: Lost Act and I think I dis liked maybe Shorty
Speaker 1: Stones being short Shorty Stone. I call him Shorty Stones
Speaker 1: short round. It was calling Shorty Stones because I wrote
Speaker 1: when I was at school, and I did a show
Speaker 1: based on this called My Guide to Better Books, which
Speaker 1: was I wrote, you know, these books that I would
Speaker 1: present to the class, and I wrote what TOO called
Speaker 1: Indiana Hallia and the Rackers of the Lost Park. Now
Speaker 1: Rackers is not even a word. I think I was
Speaker 1: just you know, overstretching on trying to come up with,
Speaker 1: you know, a bit of a parody parody title, and
Speaker 1: that I included all my friends in in the in
Speaker 1: the class, and my friend Michael Stones became Shorty Stones,
Speaker 1: That's why, and Shorty Stones. But I loved, I really
Speaker 1: loved Raising the Lost Star. I love. And that was
Speaker 1: a bit like Star Wars. I mean, I'll probably have
Speaker 1: Star Wars perhaps ahead of the Danagytis films, but not
Speaker 1: by much. It was just that cinema experience where you
Speaker 1: were just you know, transported and taken away. And when
Speaker 1: I think of these films, I think of my being
Speaker 1: in that cinema, a Greensboro Twin and the smell of
Speaker 1: the popcorn. Yeah, it was true the true movie experience.
Speaker 4: And the thing as well with with Indiana Jones is
Speaker 4: like I properly like I lived it.
Speaker 2: You know.
Speaker 4: It was we went to a wedding my aunt. He
Speaker 4: was getting married, and my sister had a bride bridesmaid's
Speaker 4: dress made for her and my and I was going
Speaker 4: all right, so she gets a bridesmaid dress, So do
Speaker 4: I get something? Because my mom was making the dress
Speaker 4: and I said, I want to go with Indiana Jones
Speaker 4: made me a leather jacket. You when you're not going
Speaker 4: to a wedding as Indiana Jews.
Speaker 2: But the scene in the Oh, here's a Here's a
Speaker 2: fun thing from you'll probably know this. It's a good
Speaker 2: bit of trivia.
Speaker 4: The club, you know in Temple of Doom, the club
Speaker 4: at the start where Willie's doing anything goes. Do you
Speaker 4: know what that clubs called? No, it's actually called Club
Speaker 4: obi Wan.
Speaker 2: There's a little in Enjoy. It's only up there for
Speaker 2: a second.
Speaker 4: And in the in the Temple there's some hieroglyphics, and
Speaker 4: there's all just different hieroglyphics. And then C three P
Speaker 4: and R two D two are depicted as gods in
Speaker 4: the like actually in the temple, so it's like they've
Speaker 4: put in. There's loads of little things like that, and in.
Speaker 1: Fact and through with Ah as well, like Yona appears
Speaker 1: in like the Halloween, you know.
Speaker 4: And e t Is there's three of et species in
Speaker 4: the in the Senate in.
Speaker 2: In Phantom Menace, you know.
Speaker 4: I'm for a photo for no confidence in Chancel of Lauren,
Speaker 4: But was a couple of years ago I had an opening.
Speaker 4: I had this I filmed this opening for the start
Speaker 4: of my show, which was it was like a turn
Speaker 4: off your mobile phones song and dance number, and I
Speaker 4: had these two women with top hats and sparkly outfits
Speaker 4: and it was basically in my head. I went, I
Speaker 4: wanted to feel a bit like the opening of of
Speaker 4: Templar Doom, and so we went off to the I
Speaker 4: sent one of my people off to the wardrobe place
Speaker 4: in London Angels and they've basically done every film, you know,
Speaker 4: every film that.
Speaker 2: You can only get in if you're doing a professional production.
Speaker 4: You can't just go and you know, get stuff for
Speaker 4: a fancy dress. And I said, I need some and
Speaker 4: I described the outfit, but I didn't I didn't specifically
Speaker 4: reference Templar Doom.
Speaker 2: Anyway.
Speaker 4: He came back and he had two of the original
Speaker 4: outfits from Temple of Doom, which are still there's a whole.
Speaker 2: Rack of them.
Speaker 4: There's like there was you know, thirty dancers or whatever.
Speaker 4: They're just there. They've just been on a rack sitting
Speaker 4: at the back of back of the warehouse all these years.
Speaker 4: And in the label it was like Templar doing Templar
Speaker 4: do it like amazing actually, so every night before I
Speaker 4: went on stage, I was like, yes, please.
Speaker 1: So they were sitting right next to the original print
Speaker 1: of Waking Fright. It was quite incredible. Back to the
Speaker 1: Future I remember. I remember the lead up to this movie,
Speaker 1: like being excited by the lead up, like there's films
Speaker 1: around this time, like Ghostbusters as well, I remember, but
Speaker 1: like really buying into the hype of Ghostbusters, and I
Speaker 1: remember like being totally there for Back to the Future.
Speaker 1: I was a massive Family Tires fan, so I was
Speaker 1: on board the Michael J. Fox Express and I was
Speaker 1: just ready for it, and it just did not disappoint.
Speaker 2: Yeah.
Speaker 4: I mean it's funny actually because I think a lot
Speaker 4: of those movies, like in the eighties were like Ghostbusters is.
Speaker 2: An interesting one.
Speaker 4: People were trying to work out, you know, why that
Speaker 4: why that last Ghostbusters movie they did, you know was
Speaker 4: a flop, and everyone was saying, you know, it's all
Speaker 4: that controversy because it was art women and the fans
Speaker 4: turned against women.
Speaker 2: It wasn't at all.
Speaker 4: It's basically a lot of the films back then, even
Speaker 4: though they were comedies, and you know, it might just
Speaker 4: be in the age I was at, they weren't played
Speaker 4: as comedies. When you went to watch Ghostbusters, you were
Speaker 4: watching a film about supernatural pest control officers. That's what
Speaker 4: you were watching, and it just happened to be funny.
Speaker 4: I think that's where a lot of sort of the
Speaker 4: newer versions all like modern modern films in that style,
Speaker 4: they go in going the this is a comedy, rather
Speaker 4: than this is a film about busting ghosts, and we're
Speaker 4: gonna make it funny, you know. And that's sort of
Speaker 4: back to the Future as well, is you know, that's
Speaker 4: sort of yeah, it's a it's a it's a it
Speaker 4: is a genuine.
Speaker 2: It sounds so stupid to see it, but it's.
Speaker 4: A genuine story about a kid, you know, trying to
Speaker 4: go back and you know, not just not just sort
Speaker 4: of get himself back, but you know, getting with the parents.
Speaker 2: And all that sort of stuff.
Speaker 4: So but it wasn't like it wasn't like you weren't
Speaker 4: going to that film necessarily going this is all about
Speaker 4: the time travel, you know, this is you know, and
Speaker 4: that's yeah, And I think for me, I think Back
Speaker 4: to the Future as close to a perfect film as
Speaker 4: you can get, you.
Speaker 1: Know that, I completely agree. I was gonna say what
Speaker 1: you're talk about, right, This is Ryder has one of
Speaker 1: the great opening act ones I think of all time,
Speaker 1: and the whole film's pretty perfect as well. I think
Speaker 1: Back in the Future has the perfect third act. I
Speaker 1: think the way that film comes home is just incredible.
Speaker 1: And I think I may have mentioned on this podcast
Speaker 1: before the one little thing I have and it's not
Speaker 1: a real gripe, it's just more of a you know.
Speaker 1: An observation is when Marty is trying to set the
Speaker 1: time to go back and save Doc, he has a
Speaker 1: time machine. How much time does he give him to
Speaker 1: save his best friend? Fifteen minutes? Yeah, I just think,
Speaker 1: I just think, if you know, and that's because it's
Speaker 1: a movie. If it was real world, of course you
Speaker 1: would go back probably six months beforehand, and every day
Speaker 1: this remind him don't buy the trolley or uranium of
Speaker 1: the Libyans, just just don't. Just don't.
Speaker 2: But I see what you mean.
Speaker 4: But at the same time, you could argue that you
Speaker 4: could argue that Marty has learned the fact that the tiniest,
Speaker 4: the tiniest little thing can then affect what happens in
Speaker 4: the future, So maybe he's he's learned and he's gone, well,
Speaker 4: I could go back, I could go back the day before,
Speaker 4: but there's more possibilities of then there being a butterfly
Speaker 4: effect knocking on you see. Yeah, it's sort of I
Speaker 4: say what you're saying. But at the same time, I
Speaker 4: think Marty's realized, I mean that that analysis doesn't actually work,
Speaker 4: because then why would he bring the sports almanac back
Speaker 4: in the second one?
Speaker 1: He clearly he forgets. He forgets, he's the lesson he learned,
Speaker 1: and we've all done that, we've all learned less and
Speaker 1: then forgotten the lesson.
Speaker 2: Movies, Yeah, I would, I would say that. And then
Speaker 2: but the other thing about that film as well.
Speaker 4: It's not just all the little it's not just the
Speaker 4: way that they've linked everything together. There's all these touches
Speaker 4: in like like, for example, at the start, when the
Speaker 4: camera's going across all of the clocks, and one of
Speaker 4: the clocks is it's like a little clock of Harold
Speaker 4: Lloyd from the movie Safety Last, you know, and he's
Speaker 4: he's hanging off the clock and it's ticking and he's
Speaker 4: slowly with that classic Harold Lloyd image. One of the
Speaker 4: clocks is that's that's depicting Harold Lloyd in safety lasts
Speaker 4: and then the end of it, and that's a direct
Speaker 4: nod to the dock on the clock later on. And
Speaker 4: there's so many of those, which not only is that
Speaker 4: not only have they put all this stuff in the script,
Speaker 4: you know, there's also there's there's all these sort of
Speaker 4: like production design things that they've you know that they've
Speaker 4: just you know that all this stuff that's happening in
Speaker 4: the background as well, that you just every time you
Speaker 4: watch it, Oh yeah, that's that thing, and yeah, I
Speaker 4: love it.
Speaker 1: It is the film that keeps on giving your absolutely right.
Speaker 1: You can keep watching it and find new new things
Speaker 1: or things that you may have forgotten about, and it's
Speaker 1: it is so you're absolutely right. It's so perfect. And
Speaker 1: it's interesting is that about the dark the opening scene
Speaker 1: being a you know a bit of a it's for
Speaker 1: telling what happens at the end, And you know, I
Speaker 1: think that maybe we're a better discuss and we will
Speaker 1: talk about Gremond's before we talk about Waking Front. I
Speaker 1: think the opening shot of that, which is this beautiful
Speaker 1: three sixty degree shot, you know, of just showing that
Speaker 1: there's this you know, the desolate kind of the vastness
Speaker 1: of the Australian outback, and it just comes back and
Speaker 1: you know, you starts at the school and it kind
Speaker 1: of comes back you see the hotel and then you
Speaker 1: see that the hotel and the school and the train
Speaker 1: line in the middle, and that kind of foretells the
Speaker 1: end of this movie as well, that you know, this
Speaker 1: guy is doing a three sixty, he's gonna end, He's
Speaker 1: going to end back exactly where he started. And I
Speaker 1: love movies that do that with and not with not
Speaker 1: a heavy hand.
Speaker 4: Yeah, definitely, there's a there's an it because there's a
Speaker 4: in work and freight as well as the there's the
Speaker 4: exact which we'll come back to that. We'll come back
Speaker 4: to that come back.
Speaker 1: Let's the way Gremlins we quickly before we I really
Speaker 1: saw a little bit of Gremlins. It was on and
Speaker 1: I watched, you know, only about twenty minutes of it. Yeah,
Speaker 1: and I did. I did think. I'm not usually a
Speaker 1: bit I'm never the one at the front of the
Speaker 1: line calling for reboots or you know, like let's make
Speaker 1: let's remake this movie. I do wonder though, if Gremlins
Speaker 1: could be remade with just based on the fact that
Speaker 1: we could make the Gremlins. Uh, you know, I think
Speaker 1: better now. And it's it's part of it. I watch it,
Speaker 1: I enjoyed it, and it's you know, part of it
Speaker 1: is the kitcheness and the fun and the fun of it. Absolutely,
Speaker 1: But I just wonder if there is a market for
Speaker 1: those who maybe haven't seen Gremlins to bring a twenty
Speaker 1: twenty one audience into it.
Speaker 4: But your thoughts, Yeah, I mean that what I what
Speaker 4: I adore about Gremlins, And normally, like I'm in a
Speaker 4: hotel at the moment, but normally if I was, if
Speaker 4: I was at torn I have replicas. I have replicas
Speaker 4: of the original Gremlins that I've purchased, and I have
Speaker 4: all of the and I've got all of the original
Speaker 4: toys as well. That's how that's how Gremlins are. And uh,
Speaker 4: with the day that I found out that Joe danteer
Speaker 4: was following me on Twitter, there was that straight away
Speaker 4: sent him a sent him a message, hello, mister Dante,
Speaker 4: just to say that, you know, shameously going, this is
Speaker 4: the most excited I've ever been in.
Speaker 2: My entire life.
Speaker 4: Yeah, yeah, yeah, yeah, very much so. Yeah, it was Yeah,
Speaker 4: top man, there's a scene in Grammars in the in
Speaker 4: the Peltzer kitchen when the when the gremlin is one
Speaker 4: of the Grams is attacking and you can actually see
Speaker 4: you can see the rod, you can see one of
Speaker 4: the wires attached to the hat where it's being puppeteered.
Speaker 2: I really like that.
Speaker 4: Like I mean, obviously you'd have to have watched it
Speaker 4: a lot to go hang on, there's there's the there's
Speaker 4: the wire. But there's something about there's something that like,
Speaker 4: you know, Gualermo del Toro, you know when he does
Speaker 4: his you know, when he does his monstery stuff.
Speaker 2: I love the way that.
Speaker 4: He takes I love the way that he takes Rubbert
Speaker 4: costumes and practical effects and then sort of augment them with.
Speaker 2: You know, puts gills on, puts moving eyes. So yeah,
Speaker 2: you still get that.
Speaker 4: So I think if if they were going to read
Speaker 4: boot Gremlins, I would want to see I would want
Speaker 4: to see Robert puppets that are that are then enhanced
Speaker 4: with special effects. If they went full special effects, it
Speaker 4: would I think you get into that sort of you know,
Speaker 4: I am legend sort.
Speaker 1: Of No, you know, I completely agree. I would not
Speaker 1: be condoning a c G I reboot of Gremlins, it
Speaker 1: would be you know, and I think I think J. J.
Speaker 1: Abrams did it really well with the Star Wars Star
Speaker 1: Wars films of using practical. I mean, baby, he was
Speaker 1: one of the great you know, yeah, now become one
Speaker 1: of the great droids of Star Wars because he's actually there.
Speaker 1: I've been in the room with BB eight. It's it's amazing.
Speaker 5: You know, it's incredible, you know, so yeah, practical and
Speaker 5: most of it should be probably you know, eighty percent practical,
Speaker 5: and it's that twenty percent week like you say with
Speaker 5: Del Toro, it's his eyes or gills or something that
Speaker 5: kind of brings it brings it to life.
Speaker 1: All right, Okay, we're going to take have a quick
Speaker 1: word from our sponsor and then we're going to come
Speaker 1: back and find out what Ross Noble thought about the
Speaker 1: nineteen seventy one classic based on the book from Kenneth Cook.
Speaker 1: It's waking fright, you know, the yeah play am one.
Speaker 3: Just to know, oh, child like it.
Speaker 4: I want to see a bit more than other than that.
Speaker 6: Do you think it's worth seeing?
Speaker 1: It's the best.
Speaker 2: Place in Australia. Everybody likes the ever ply p howby
Speaker 2: worried who you are or where you come from. You're
Speaker 2: a good black.
Speaker 1: You're all right, you know what I mean? Okay, all right, Ross,
Speaker 1: We're already spoke a little bitt the start. We know
Speaker 1: you liked it. I was. I was really interested because
Speaker 1: for those who don't know you live, you know you
Speaker 1: live in Australia, if you've been touring in Australia for
Speaker 1: many years. We first met in the twenty years ago
Speaker 1: for the very first Melbourny International Festival road show.
Speaker 4: Where we went to we were that was the first
Speaker 4: time I've been a Broken Hill.
Speaker 1: I forgot to put that together. Yes, we've wad this
Speaker 1: film shot and kind of inspired by Broken Hill.
Speaker 4: And I think at the time, did you come with
Speaker 4: me or because certainly I got very excited. I know,
Speaker 4: I know a lot of I know a lot of
Speaker 4: you was He's weren't quite as excited as me. But
Speaker 4: I took a trip out to the pub in Silverton
Speaker 4: because I wanted to see because that, you know, because
Speaker 4: they'd shot so many Australian films out in Silverton.
Speaker 2: So I went out there just.
Speaker 4: Stood in the I just stood at this sort of
Speaker 4: out in the deserty bit and just went, wow, it's.
Speaker 2: All happened here. And then I'm sure did you come
Speaker 2: with me for that? Yeah?
Speaker 1: Much, I'm sure I would have remembered that. I don't
Speaker 1: think I was probably hungover. I do remember, I do
Speaker 1: remember Broken Hill funny enough. And this is so because
Speaker 1: we're speaking about waking fright. So at the end of
Speaker 1: each show, we would all stay on stage and say,
Speaker 1: you know, do do you where should we go tonight?
Speaker 1: And sometimes it was you know, you know, sometimes some
Speaker 1: of us felt like going out. Sometimes we didn't. But
Speaker 1: I remember on that night we had a really good
Speaker 1: show and we were like that, we're all going out tonight.
Speaker 1: Where are we going? In the audience with yell suggestions
Speaker 1: and somebody yelled at something maybe called up the Black
Speaker 1: Opal or something like that, right, and somebody else a
Speaker 1: black Opal, come to the Black Opal. And then somebody
Speaker 1: else stood up and said it's close, and then somebody
Speaker 1: else further back yelled out, I'm the owner, I'll open up.
Speaker 1: And then so then we went backstage. We all have
Speaker 1: your color beers backstage, not yourself, of course, you're a
Speaker 1: non drinker. But then we all went to the Black
Speaker 1: Opal or something something like that, and they opened up.
Speaker 1: The place was full and they it was like a movie.
Speaker 1: We all walked in and the cheers and they they
Speaker 1: parted ways and we went at a bar and it
Speaker 1: was totally it was like a much nicer version of
Speaker 1: Waking Front. It was like Waking Joy I forgot.
Speaker 2: Yeah, we walked in the that's right.
Speaker 1: So, as what's your what are some of the Australian
Speaker 1: films you've either enjoyed or or like, what's your impression
Speaker 1: of Australian cinema. Obviously went out to silver and so
Speaker 1: you've seen you've seen some yeah, yeah.
Speaker 4: So obviously like the I mean it's tricky because you know,
Speaker 4: you've got you've got your sort of you got your
Speaker 4: wolf creeks, you know, and it's difficult because I love
Speaker 4: those films, but I'm also aware of the fact that, like,
Speaker 4: there are a lot of those films that play into
Speaker 4: the stereotypes that not just people from overseas have, but
Speaker 4: I think people who live in the cities here who
Speaker 4: don't who haven't necessarily traveled, you know, out you know,
Speaker 4: into the back of beyond there. So you know, but
Speaker 4: I really love you know, your sort of your rogues,
Speaker 4: you know, your sort of obviously raise a back, you know.
Speaker 2: I like those. I like all those big.
Speaker 4: You know, people getting people getting hunted down by crocodiles.
Speaker 2: I unashamedly love all of that, you know.
Speaker 4: And again you know, like like I say, a wolf creek,
Speaker 4: you know, like you know, madman picking off backpackers. I
Speaker 4: love all that, but I do I am aware. And
Speaker 4: this is what I found with Waking Fight. It was
Speaker 4: it was tricky because it's one of those things where
Speaker 4: when you go out there, the people are so friendly
Speaker 4: and so nice that you kind of go, that's a
Speaker 4: shame that it's it's it's so cinematic. Why wouldn't you have,
Speaker 4: you know, a madman with a gun hunting down backpackers.
Speaker 4: But at the same time, it sort of feels like
Speaker 4: a bit of a guilty pleasure, you know.
Speaker 1: Yeah. Yeah, so you you're you're a non drinker. Yeah,
Speaker 1: there's this kind of and obviously this is some hardcore
Speaker 1: drinking going on. Yeah, this is can you can you
Speaker 1: see the Australian kind of drinking experience reflected in this film,
Speaker 1: Like did you kind of did a ring? True to you?
Speaker 2: Yeah? Yeah, I mean there was sort of it's it's interesting.
Speaker 4: I find it quite hard to connect with that, with
Speaker 4: the sort of main character in it, for exactly that reason.
Speaker 4: You're the fact that, like, you know, the whole film
Speaker 4: is about the sort of yeah, like see it, that
Speaker 4: sort of aggressive hospitality, you know, go out, may have
Speaker 4: a drink, have a drink, and then you know, but
Speaker 4: I because I don't drink, I've spent a lot of
Speaker 4: my life kind of I've got used to people getting
Speaker 4: like shitty with me for not having a drink. Have
Speaker 4: a be a dough on one, I'll have a lemona
Speaker 4: what's wrong with you? Come on, come on.
Speaker 2: Have a drink.
Speaker 4: And I'm so used to just going now it's fine,
Speaker 4: and then and then getting past people's you know, just
Speaker 4: getting past almost like that sort you know that's at
Speaker 4: peer pressure thing, and then getting past that and then
Speaker 4: just going out finding oh we can all you know,
Speaker 4: we can all still have a good time even though
Speaker 4: I'm not drinking. And I think that's where, you know,
Speaker 4: that's that was the there.
Speaker 2: Was part of me was going he was but you know,
Speaker 2: here's a guy. He's not used to that.
Speaker 4: You know, he's a he's an academic, he's been isolated
Speaker 4: apart from his mate at the pub. In the small
Speaker 4: time that he town that he's been. You know, it's
Speaker 4: quite a sort of you know, he's been a bit
Speaker 4: isolated and and sort of I think he's you know,
Speaker 4: but he seems he comes across as you know, he's
Speaker 4: a handsome guy, and he seems like he's he's confident.
Speaker 4: But yeah, just that thing of feeling feeling threatened. That's
Speaker 4: why it's so disturbing, you know, feeling so threatened by
Speaker 4: that kind of by these men. But at the same time,
Speaker 4: it's it's all about them being on the surface, it's
Speaker 4: about them being friendly, you know. So that's that's the
Speaker 4: that's what's so disconcerting about it.
Speaker 1: Yeah, new to the Yabber, new to the Yabba.
Speaker 2: Like your old place?
Speaker 6: No, and he's bloody awful.
Speaker 2: You don't like the yabber?
Speaker 7: Okay, yah.
Speaker 6: Yah?
Speaker 1: Will you have a drink? No?
Speaker 6: I'm doing with this one's things.
Speaker 2: I'll drink it down, not buy another.
Speaker 6: Look, I'm flat broken a color fort to drink.
Speaker 2: What's that going to do with that? Man? I said,
Speaker 2: I'll buy you a drink, you don't have to buy
Speaker 2: me one.
Speaker 4: Now, I drink it down.
Speaker 3: Too many skey, don't forget the tomato juice.
Speaker 1: I am Jim Holmes, John Groan. Yeah, I mean I
Speaker 1: completely connect with that idea of feeling like you are
Speaker 1: like disappointing somebody for not drinking. Like the idea of
Speaker 1: like if you go to somebody's, if somebody's having birthday
Speaker 1: drinks at the bar or even in their own backyard,
Speaker 1: and you go there and you are not drinking, that
Speaker 1: you are somehow letting them down. Like it's like, it's
Speaker 1: it's it's a it's a it's an affront almost to
Speaker 1: kind of you know, decide not to drink on your birthday,
Speaker 1: but your birthday doesn't warrant my time and and and indulgence.
Speaker 1: And it's only really recently that I've really gotten past
Speaker 1: out of kind of going no, if I don't want
Speaker 1: to drink, you just don't drink. Just go and you know,
Speaker 1: and when people, if people do it to me, I
Speaker 1: kind of see as Wow, it's an even bigger compliment
Speaker 1: that you've come here, you know, because you know, I
Speaker 1: think a lot of people will be like, if I'm
Speaker 1: not drinking, I'm not going. But there's a lot of
Speaker 1: there's a big that's a big attitude in Australia as
Speaker 1: far as if you're a drinker, if if you're not
Speaker 1: going to go out and drink on a Saturday night, there,
Speaker 1: what's the point of going out?
Speaker 6: You know?
Speaker 1: Yeah, And and I think what this film does is
Speaker 1: really tap into that. Like we like we've said a
Speaker 1: couple of times like that kind of hostile you know,
Speaker 1: slapping you know that really slapping people hard on the back.
Speaker 1: It's it's like it's other words are friendly, but the
Speaker 1: only thing the friendly are the words. The the the
Speaker 1: body language and the inference is all really quite aggressive
Speaker 1: and violent.
Speaker 4: Yeah, there's there's a there's a fascinating and there's a
Speaker 4: there's a brilliant line at one point where he ends
Speaker 4: up he ends up going back to this guy's house
Speaker 4: and a couple of these these hunters come over and
Speaker 4: they're you know, and they're really drinking, and so he
Speaker 4: goes off with the daughter and one of the hunters
Speaker 4: actually says the line, he says, what sort of guy
Speaker 4: is he? So something paraphrase, He's what sort of man
Speaker 4: is he? He'd rather go off with a woman than
Speaker 4: have a drink? And that's such a you know, that's
Speaker 4: one of those things where you know, there's these guys
Speaker 4: you get you know, these sort of you know groups
Speaker 4: of guys, you know, you know, maybe it's like sports
Speaker 4: team or whatever, and they would rather be they feel
Speaker 4: like they're more manly because they're all drinking and they're
Speaker 4: all kind of all boys together than sitting in the
Speaker 4: corner talking to women. And you know what I mean,
Speaker 4: they would sort of they would sort of go, oh,
Speaker 4: he's not as much of a block because he's talking
Speaker 4: to those women rather than hanging around with us, you know.
Speaker 4: And I've always found that and you know, a real
Speaker 4: sort of one.
Speaker 2: I could never get my head round, you know, because.
Speaker 1: I certainly had friends and who are still friends, and yeah,
Speaker 1: we've all evolved and grown, but there were some friends
Speaker 1: who were exactly like that were really affronted when one
Speaker 1: of us would break away from the from the pack
Speaker 1: and you know, talk to a girl or you know,
Speaker 1: you set up a conversation, and to the point where
Speaker 1: sometimes they would like deliberately come over sabotage it, so
Speaker 1: we would just come back with their tails between our
Speaker 1: legs to continue the drinking.
Speaker 4: Yeah.
Speaker 1: Yeah, it's it's so messed up.
Speaker 2: And the point where it turns.
Speaker 4: In the film, though, which is interesting is the fact
Speaker 4: that like, so he's got he's got a girlfriend that
Speaker 4: is back in Sydney.
Speaker 2: Now, now, I wasn't I wasn't sure whether or not.
Speaker 2: I wasn't sure whether or.
Speaker 4: Not that girlfriend was. He says that he's going back
Speaker 4: to see her, and he says that he's.
Speaker 2: You know, but there's a sort of dream sequence where
Speaker 2: he's kind of.
Speaker 4: He's you know, where he's imagined he's on the beach.
Speaker 4: You know, he's on the beach with her, And I
Speaker 4: wasn't sure whether or not that was. He's got a
Speaker 4: picture of her, but I wasn't sure whether or not.
Speaker 4: Are they still together? And you know, and he is
Speaker 4: genuinely going back to see her or is that a
Speaker 4: previous you know, has that relationship broken down? But he's
Speaker 4: just holding onto that because the whole thing, like you say,
Speaker 4: it's this sort of it's this sort of it's a day,
Speaker 4: it's a dream. The whole things is fever dream.
Speaker 2: Is it a dream?
Speaker 4: And it's sort of this descent into a nightmare. Is
Speaker 4: the reality of him having that girlfriend? Is she actually real?
Speaker 4: Or is that or is that just his way of
Speaker 4: coping with the fact that he's stuck in this you know,
Speaker 4: stuck in this little town.
Speaker 2: You know, so I thought that was quite interesting.
Speaker 1: There's no effort to call this girl, this girlfriend. You know,
Speaker 1: it's only nineteen seventy one. I know, you know, you
Speaker 1: would have had the backup a track of coins into
Speaker 1: the phone to the call, but you know, phones existed obviously,
Speaker 1: even in the out back in nineteen seventy one. Yeah,
Speaker 1: there's no efforts to call or that really outside of
Speaker 1: that dream sequence. And then we know that he's going
Speaker 1: home to you know, we suspect he's going home to
Speaker 1: see her, whether together her or not, but there's no
Speaker 1: efforts to kind of try to connect. But you know,
Speaker 1: those two characters really outside of that, Yeah, you know,
Speaker 1: you're right.
Speaker 4: And then and then also like the point where you know,
Speaker 4: it's so he apparently so apparently teachers have to pay
Speaker 4: one thousand dollars. So the reason he's teaching in that
Speaker 4: place is you have to put up one thousand dollars
Speaker 4: deposit when you become a teacher, and then they can
Speaker 4: send you anywhere, and he has to stay there and
Speaker 4: work off his contract. Until that seems to be the
Speaker 4: conceit of which I'm not sure if that was was
Speaker 4: that true in the seventies like it?
Speaker 2: I mean, maybe you say you're a slave. What do
Speaker 2: you mean by then?
Speaker 6: You wouldn't know how our educational authorities get teachers for
Speaker 6: the outback.
Speaker 1: Wouldn't never clue.
Speaker 2: Mate.
Speaker 6: Now our new teacher has to post a bond for
Speaker 6: a thousand dollars. That thousand guarantees you'll serve out your
Speaker 6: contract wherever they send you.
Speaker 2: Oh okay, I suppose they know what they're doing. Yeah,
Speaker 2: clever Black never liked to stop.
Speaker 1: In the ones. But long do you?
Speaker 6: Depends on the place.
Speaker 2: Yeah, that's right.
Speaker 3: Well, never mind, Jack, you can always come to the
Speaker 3: yap of your holidays.
Speaker 2: Good luck.
Speaker 6: Yeah, it's something to look forward to.
Speaker 1: I don't know, but I suspect that some truth, you know,
Speaker 1: because it's not it's not really a no, it's not
Speaker 1: a big deal, but you know that make a big
Speaker 1: deal of it. We just know that he he is
Speaker 1: in this dead end job that he's trying to get
Speaker 1: out of. He wants to raise I think at a
Speaker 1: thousand or two thousand dollars cash and he sees that
Speaker 1: to be enough to get him out of out of teaching.
Speaker 1: Not just that job, I think out of teaching. So
Speaker 1: and what's I think really fascinating about this film is that, yes,
Speaker 1: he's broke, which kind of makes him stuck in it,
Speaker 1: but he makes choices along the way that you know
Speaker 1: that he's got agency in his downfall, I think because
Speaker 1: he is he is you know, he goes back to
Speaker 1: the room and he's got his money and he you know,
Speaker 1: that could be the end of it. He could be
Speaker 1: going to Sydney, you know, in the morning with you know,
Speaker 1: with a thousand backs or however much he had, but
Speaker 1: he goes back to try to win, to try to
Speaker 1: win more.
Speaker 2: Yeah. Yeah, I mean that's the thing.
Speaker 4: He's sort of he does all of the all of
Speaker 4: the things that all of the problems that before him are,
Speaker 4: which I suppose that's what makes a great film rather
Speaker 4: than just a film where stuff happens to the to
Speaker 4: the protagonist, like everything that happens to him happens to him.
Speaker 4: It's his fault. He makes a decision to put himself,
Speaker 4: you know, to put it because because he could have
Speaker 4: done that thing of like he was supposed to be
Speaker 4: flying to Sydney, and then you realize that he could
Speaker 4: have actually he could have just hitchhiked, like he goes
Speaker 4: to the labor exchange, and like the point later on
Speaker 4: in the film where he is trying to hitchhike back
Speaker 4: to Sydney, he could have done that. Instead of going
Speaker 4: to the labor exchange to go right, I'm gonna try
Speaker 4: and find get my money back to get a flight,
Speaker 4: he could have started hitchhiking, which leads me again to think, like,
Speaker 4: I don't know what how good that relationship is with
Speaker 4: his with this fancy you know that girl, because again
Speaker 4: there's a point where there's a point where he goes
Speaker 4: off with the daughter and it's like she goes right,
Speaker 4: come with me, and he does go, oh yeah, It's
Speaker 4: it's like you can't you can't resist her. He's like, yeah,
Speaker 4: go on, I'll have it, you know, I'll have a
Speaker 4: little dalliance with it. So he's obviously not in love
Speaker 4: with the girl that he's going back too.
Speaker 8: So yeah, I think I think it's I think it's
Speaker 8: a really I think the picts really well, the the
Speaker 8: pull sometimes of alcohol and gambling.
Speaker 1: I really felt that, you know, I've been in that situation,
Speaker 1: not those exact situations before, but I can really know
Speaker 1: we are. We are, Like I've said, now I'm not
Speaker 1: going to have a drink, and then you're just thinking vinced,
Speaker 1: I have one, and then you're having two, and then
Speaker 1: you've had four, and then you've had six. And you know,
Speaker 1: certainly been situations where you know, I mean, no way
Speaker 1: a problem gambled. But I do have, you know, a
Speaker 1: gambling app on my phone, and you know, and I
Speaker 1: do sometimes find myself having a quick bet on a
Speaker 1: game where I'm not even going to be in front
Speaker 1: of it, you know, I'm not going to be watching
Speaker 1: it like usually, And that's that's where it all started
Speaker 1: for me, with having a bet on a game that
Speaker 1: I was watching, you know, usually involving a team that
Speaker 1: I support, right, and I have not And I had
Speaker 1: to really check in with myself a few times, going
Speaker 1: to go, why are you having a bet on a
Speaker 1: game that you're not watching? Now? You know, why are
Speaker 1: you doing that? And yeah, I'll delete that for a while,
Speaker 1: but I'll come back to it, so I said, And
Speaker 1: I'm talking literally literally five dollar bets, you know, you know,
Speaker 1: every few weeks or so. But I it was more
Speaker 1: than I was doing, you know, a couple of years
Speaker 1: ago and I can kind of see the pool of
Speaker 1: the two up game had for John.
Speaker 4: Yeah, yeah, I mean that's sort of I think that's
Speaker 4: the point where he that's the point where he gets
Speaker 4: seduced by the.
Speaker 2: Thing that I find.
Speaker 4: I mean that we should probably talk about the the
Speaker 4: hunting scene, which is but there's a there's an interesting
Speaker 4: thing that he sort of you know before you know,
Speaker 4: like if you look at the like, if you look
Speaker 4: at his journey, that's what I really liked.
Speaker 2: I really like the fact if you look at his.
Speaker 4: Journey over the you know, over the course of the film,
Speaker 4: at the start, at the start of the film, he's
Speaker 4: he's got this attitude that he's better than all of
Speaker 4: these people. You know, he's got that thing of you know,
Speaker 4: he's out there, he doesn't want to be out there.
Speaker 4: He's he's got this sort of he's got this he
Speaker 4: very much looks down.
Speaker 2: On these people like you know, you know, like like
Speaker 2: he's above it.
Speaker 4: And then and then that's that's the interesting and again
Speaker 4: we'll let's not jump ahead, but I'll be interested.
Speaker 2: To see what you what you think his journey.
Speaker 4: Was, like what he becomes at the end, because I
Speaker 4: still can't quite make up my mind.
Speaker 2: But yeah, we'll get back to that.
Speaker 1: We'll come back to that. Let's talk about some of
Speaker 1: the performances. It was a film debut of Jack Thompson,
Speaker 1: who you referred to earlier. He was the one who
Speaker 1: talks about the Yeah that him and these he plays Dick.
Speaker 1: It's Dick and Joe are the two guys who kind
Speaker 1: of come over and they're like always fighting and wrestling.
Speaker 1: This is Jack Thompson's who is who for those who
Speaker 1: don't know, is one of the all time great acting
Speaker 1: legends in Australian cinema. First first one, first film and
Speaker 1: Chips rapid his last and it was almost the Changing
Speaker 1: of the Guard. And Chips rapidly died not long after this.
Speaker 1: And famously he told the director, we'll get to the
Speaker 1: director in the second story. I'm sure, and I'm sure
Speaker 1: you know what I'm going to point out about the director.
Speaker 1: But the Chips rafferty was he was given that the
Speaker 1: pints that started drinking and he realized that, hang on,
Speaker 1: this don't taste like the regular beers. And they've given
Speaker 1: him non alcoholic beer and he said, no, I need
Speaker 1: to drink real beer. And so the director, you know,
Speaker 1: come of you know, back in those days, agreed and
Speaker 1: the director instead of you handled the directing, I'll handle
Speaker 1: the drinking. And I reckon he was drinking thirty pints
Speaker 1: a day, you know when when I when acting, and
Speaker 1: and maybe unsurprisingly he had a heart attack only months
Speaker 1: later and passed away. So I think I think if
Speaker 1: Waking Fright was made in twenty twenty one, there might
Speaker 1: be a lawsuit coming potentially. But yeah, so that was
Speaker 1: Chips Raffanti's last film. Yeah, John melliam In there by
Speaker 1: Charlie at the start of the film that he he's
Speaker 1: the bat and they're in the small town, listeners will
Speaker 1: recognize him from a crocodile dundee.
Speaker 2: He was, yeah.
Speaker 1: Yeah, he's he's great And was that and.
Speaker 2: Wasn't the big the big guy?
Speaker 4: It wasn't the the guy the bartender didn't wasn't he dounk?
Speaker 2: Did he play dunk in?
Speaker 1: I think it might be I think it might be right.
Speaker 1: It's Peter.
Speaker 2: I wasn't sure. I wasn't sure where.
Speaker 1: You might be right? Actually, I well, Peter, middle was Joe,
Speaker 1: But I'm not sure. It's weird that you say that.
Speaker 1: I think last night with that really clocking it too much.
Speaker 1: I kind of thought of dunk, So that might have been.
Speaker 4: It could another It could just be that there you
Speaker 4: know big guys in pubs that.
Speaker 2: The guy in working just going I should have got
Speaker 2: the dunk gig.
Speaker 1: Well, Dundee would have been only fourteen or so years later.
Speaker 1: I think that was only five.
Speaker 3: Yeah.
Speaker 1: You also had a quick appearance from the receptionist at
Speaker 1: the one of the pubsy in the hotel days that which.
Speaker 4: Is that's almost like David Lynch type because.
Speaker 1: When he comes back, she's got her she's dipping her
Speaker 1: hand in.
Speaker 4: Yeah, she's got a the front of her and she's
Speaker 4: dipping out and just sort of putting it on her face.
Speaker 4: And there's something quite you know that it comes across
Speaker 4: as being sort of quite a sensual, a little bit sexual.
Speaker 4: But then as soon as he as soon as he
Speaker 4: says i'd like a room, she doesn't.
Speaker 2: She doesn't continue.
Speaker 4: Going well you'd like to, you know, oh, I'll find you.
Speaker 4: She's just like going up the hole on the left
Speaker 4: like whatever. And then she goes back to just be
Speaker 4: like rubbing water on herself.
Speaker 2: So it's yeah, but.
Speaker 4: He doesn't he doesn't take that as being you know
Speaker 4: any sort of you know, seduction or anything. It's it's
Speaker 4: quite an unusual. I couldn't quite figure that out, to
Speaker 4: be honest.
Speaker 1: No, it was. It was just kind of quiet. But
Speaker 1: I think it sets up perhaps that this town is
Speaker 1: full of weird characters, you know, like this is one
Speaker 1: of the first people we kind of meet, and that
Speaker 1: we are going to this town is a little different.
Speaker 1: And that was She was played by Maggie Dance. Now
Speaker 1: longtime Neighbors fans with no Maggie Dance played Dorothy Burke,
Speaker 1: almost the successor to Missus Mangle if you like, as
Speaker 1: the neighborhood, you know, busybody.
Speaker 2: Ah, there you go. I didn't know that there's a lot.
Speaker 1: Of English actors in this a lot of English actors.
Speaker 1: Gary Bond, who's the lead, He English actor, died in
Speaker 1: ninety five, ah fifty five. And Sylvia Kay was Jeannette,
Speaker 1: So she's the woman married to Ted Kutchef, the director.
Speaker 1: She's English. El Thomas played Tim Hines and he was
Speaker 1: born in Scotland. And of course pleasant Donald Pleasance. I
Speaker 1: played Doc and I got to say his accent was
Speaker 1: really good. It wasn't perfect. That came out at times.
Speaker 1: But I think for nineteen seventy one he was. He
Speaker 1: was great and one of the first classic movies I
Speaker 1: watched was The Greatest Guy. You know. So I love
Speaker 1: Donald Pleasant.
Speaker 2: Over there on the floor. Yeah, it's great.
Speaker 1: He's so he's so good in this He's so watchable
Speaker 1: Donald Pleasance.
Speaker 4: Yeah, and also quite you know the scene to you know,
Speaker 4: when he when they go back to to his shack
Speaker 4: and he sort of and he explains about being he
Speaker 4: explains about being a doctor, and you know that the
Speaker 4: parallels between you know, the teacher and the doctor, and
Speaker 4: you know, this is what you know, this is what
Speaker 4: you could This is you know, this is what you
Speaker 4: could end up becoming if.
Speaker 2: You hang around. You know, that was that was interesting.
Speaker 4: And and then also as well, I think that like,
Speaker 4: you know, the relationship between him and the daughter, and
Speaker 4: and then also the fact that you know something there
Speaker 4: was something.
Speaker 2: Going on there of him going.
Speaker 4: You know, did I do something I shouldn't have done
Speaker 4: by going off on the walk with the daughter? Is
Speaker 4: this is this how it started?
Speaker 2: You know?
Speaker 4: Is this how it started with him as well? You know,
Speaker 4: and and and then obviously you know, I don't want
Speaker 4: to give anything away but at the end there's something
Speaker 4: incredibly incredibly sinister happens.
Speaker 1: Well, if you haven't watched the film, you need to
Speaker 1: watch the film. There will be spoilers. Yeah, but that
Speaker 1: so that's saying where he's telling the doctor, informing John
Speaker 1: that he you know, also has had daily answers with them. Jeannette,
Speaker 1: it's it's it's it's you know, it's a little bit
Speaker 1: of a I mean on you know, the almost such
Speaker 1: shaming in a way. It's you know, he's talking about
Speaker 1: you know, people judge her, and then you know, and
Speaker 1: then it's like when when you first see donn Plans,
Speaker 1: the last thing you think he is is a sexual being.
Speaker 1: You know, yeah, it totally is, you know, and and
Speaker 1: to a you know, it turns really dark, that kind
Speaker 1: of that that that nature. You know. But yeah, it's
Speaker 1: an incredible performance by dumb pleasants.
Speaker 4: Yeah, no, one hundred percent. It's just because at first
Speaker 4: you sort of at first, he sort of feels at
Speaker 4: first you can't quite figure him out, but then you realize,
Speaker 4: oh no, hang on, this is just he is exactly
Speaker 4: the same. He's exactly the same as this teacher, and
Speaker 4: he's he's gone down that path and this is this
Speaker 4: is his future, you know.
Speaker 1: And I would really like to know if he was
Speaker 1: actually really doing handstands and drinking beer at the same time.
Speaker 4: Was incredible. I mean that was just I mean I
Speaker 4: did still went like that's one of those things where
Speaker 4: I looked at it and just went did he say, oh,
Speaker 4: by the way, I can do a handstand? And they went,
Speaker 4: or was that in the original novel? You know, like
Speaker 4: it was just but the fact that he was doing
Speaker 4: the handstand and drinking upside down and explaining why medically
Speaker 4: that that it worked, and then you're sort of going, oh, yeah,
Speaker 4: because he's a doctor and but he's doing a handstand.
Speaker 4: But yeah, good on him, Good on him.
Speaker 1: Now the director, let's talk at the director is such
Speaker 1: a such a you know, maybe the you know, Angry
Speaker 1: the greatest Australian film ever made. There's a lot of
Speaker 1: international talent, including the English actors I've just mentioned, but
Speaker 1: the director, Ted Kotchev, is a Canadian director. I think
Speaker 1: this is second film, an incredible second film. But then
Speaker 1: because it wasn't a hit, he doesn't necessarily go on
Speaker 1: and make these others. You know, it doesn't get the
Speaker 1: office to make all these even though it went to
Speaker 1: Khanna's Australia's entry at the Khan Film Festival. Scorsese he
Speaker 1: was sitting, you know, it had only made one film,
Speaker 1: and it hadn't it was a flop, was sitting behind
Speaker 1: at the Khan and this like was like saying all
Speaker 1: through the movie, like this director is amazing. He's gonna,
Speaker 1: he's going for it. He's gonna. He's really gone for it.
Speaker 1: And then you know, and you know, the the some
Speaker 1: of the scenes later on when they fully full on,
Speaker 1: he's like, well, he really went for it. And Ko
Speaker 1: found out his name, and they've had like a relationship,
Speaker 1: and Scores had a relationship with his film. He's helped
Speaker 1: kind of remaster it and all that. But he then
Speaker 1: he ended making this same director ends up making Weekend up.
Speaker 2: Amazing.
Speaker 1: I saw, you know, I always wondered for some reason
Speaker 1: I hadn't. We looked at what other films he had made,
Speaker 1: and then I saw that he made First Blood. Yeah,
Speaker 1: the very first Rainbow film, and I thought that kind
Speaker 1: of rings a bell. Maybe this I've seen that enough
Speaker 1: times that the name might have rang a bell. But
Speaker 1: when I saw Weak in the Bernie's I actually thought,
Speaker 1: as somebody like Wikipedia this, you know, like and this
Speaker 1: and this and this is an I m B D.
Speaker 1: I was surely this cannot be the case. But yeah,
Speaker 1: he made week in Bernie in eighty nine.
Speaker 2: I mean you can see first Blood.
Speaker 4: You can see why because because you know, the thing
Speaker 4: about Fridays it is an incredible like there's no getting
Speaker 4: away from it, is an incredible film, and it's beautifully shocked,
Speaker 4: and it's you know, even the stuff that's you know,
Speaker 4: even the stuff that's just shot, you know, just in
Speaker 4: the bar and the two up game and all that
Speaker 4: sort of stuff. You know, there's sort of the close
Speaker 4: ups on the you know, on the the sort of
Speaker 4: laughing faces, even the even the sort of dream sequence
Speaker 4: where he's sort of he's coming in and out of
Speaker 4: he's blacked out, and all that stuff is you know,
Speaker 4: the realistic stuff is shot beautifully, and then all of
Speaker 4: the dream like descent into madness stuff is also incredible.
Speaker 4: So this guy is like, you know, he's he's a
Speaker 4: proper he's like a proper filmmaker. You know, that's not
Speaker 4: that's not a fluke. And but then the thing about
Speaker 4: Weekend at Bernie's, which we should say is even though
Speaker 4: it's it's very much a punchline, and the Weekend at
Speaker 4: Bernie's is actually for a knock about eighties comedy. It's
Speaker 4: incredibly dark. You know, you can sort of you can
Speaker 4: sort of see like first Blood, fair enough, small town,
Speaker 4: you know, guy in a small town, you know, with
Speaker 4: a with a menace of the police are also the
Speaker 4: police in the army are also the baddies, but they're
Speaker 4: the good guys. You can sort of see parallels there.
Speaker 4: But but actually Weekend at Bernie's is, you know, it's
Speaker 4: about them covering up the fact that they've got a corpse.
Speaker 4: So it could be like Weekend at Bernie's could have
Speaker 4: been one of those films that that sort of just
Speaker 4: disappeared without trace, but it's still referenced because it's actually
Speaker 4: it's a it's a it's a fun film. I love well.
Speaker 1: I saw Bernie in the cinema and laughed a lot,
Speaker 1: And I wonder if I think maybe when they made
Speaker 1: the sequel, it was like, okay, you may be you know,
Speaker 1: gilding the lily a little bit now, like, you know,
Speaker 1: how long can you keep a corpse alive?
Speaker 4: Well, let's not forget that in Weekend at Bernie's too.
Speaker 4: The corpse came back to life because do you remember
Speaker 4: how the Calypso music.
Speaker 2: It was, It was like.
Speaker 4: It would it would sort of be reanimated, So yeah,
Speaker 4: maybe that's uh, yeah, they find is like finding out
Speaker 4: that Mannequin was directed by the same person that did
Speaker 4: cass or.
Speaker 2: Something like that.
Speaker 1: But yeah, let's talk about the the rather horrific and
Speaker 1: it really took me. You know, I'm writing like notes
Speaker 1: when I was watching the Rust shooting this going you know, uh,
Speaker 1: you know, either I wrote, either they're actually shooting kangaroos
Speaker 1: or they've got the greatest animal train acting coach in
Speaker 1: the world. It's really full on. Well when you were
Speaker 1: watching it, and obviously there's a disclaimer at the end
Speaker 1: of the movie, which we'll get to, but when you
Speaker 1: were watching it, what were you what you're thinking?
Speaker 4: The first The first thing that struck me was that
Speaker 4: they're driving around in that you know, they're driving around
Speaker 4: in that car.
Speaker 1: Which is not The Ghostbusters inherited a very ghost spiel
Speaker 1: to it.
Speaker 4: Yeah, it's not a good suspense, but it's not it's
Speaker 4: not a modern fall back for by any child. And
Speaker 4: he stretched it was what what I found interesting about
Speaker 4: that was was the real his reaction to being involved
Speaker 4: in that. He was he was like laughing and caught
Speaker 4: up in clearly the the sort of the adrenaline of
Speaker 4: this car being driven incredibly quickly flying around. They've all
Speaker 4: got guns, they're shooting out of the you know that
Speaker 4: in the in the daytime. He was like, he was
Speaker 4: genuinely excited about that. And that's what I looked at.
Speaker 4: It went all right, no, he's this isn't him just.
Speaker 1: This isn't anymore.
Speaker 2: No, No, he's.
Speaker 4: He's enjoying the excitement of this. He's enjoying this sort
Speaker 4: of being on this ride, and he's now he's become
Speaker 4: one of them. And then obviously then when he goes
Speaker 4: on to to stab the kangaroo like with a knife
Speaker 4: close like close quarters, the point where you know you
Speaker 4: sort of see.
Speaker 2: Donald pleasant is sort of like, you know, he's.
Speaker 4: He's still I think that's part of him that still
Speaker 4: holds onto the idea that he hasn't that he hasn't
Speaker 4: become a savage. But then when he kills him that
Speaker 4: even he smiles as if to go like, is that smile,
Speaker 4: is that smile saying he's become one of us, or
Speaker 4: is that smile saying, oh, like, thank god he was
Speaker 4: able to do it, because it makes my life easier
Speaker 4: because we don't then have to deal with these two guys.
Speaker 4: You know, I think the smile might be saying, this
Speaker 4: is good. He's now one of us and I can
Speaker 4: get him really drunk, and you know this is Yeah.
Speaker 1: That's that's what I took from that. He's one of us,
Speaker 1: and like in his quieter moments, he may feel like
Speaker 1: a failure for for being seduced by this town. And
Speaker 1: then he's still here and still there, but he's maybe
Speaker 1: he sees a little bit of himself in John that
Speaker 1: he came to this town mild mannered and you know,
Speaker 1: a bit of a gentleman, and now look what you know,
Speaker 1: Like if we can get him, we can get anyone.
Speaker 1: And that's that's a big part of this film. I
Speaker 1: think of this being wanting to be part of a
Speaker 1: of a gang in a way, you know, like like
Speaker 1: these guys. Sometimes when you meet people who you know,
Speaker 1: you may be actually intimidated by it. Even though I'm
Speaker 1: not sure if if I think you're right. Earlier said
Speaker 1: that John feels like he's better than these people. But
Speaker 1: then when he kind of starts seeing them drinking the
Speaker 1: way they do, and and and and gamble the way
Speaker 1: they do, and and you know, there's there's almost to
Speaker 1: an extent, like a family involved here because it's the
Speaker 1: local pub and that's where all the town go. Like
Speaker 1: he gets seduced into feeling like, actually, I think I
Speaker 1: want to be I want to be a part of this,
Speaker 1: so it becomes less about him being trapped, and like
Speaker 1: you says, he's completely embracing now all the little devils
Speaker 1: are proud of Hell?
Speaker 7: Who do you mean you don't think the Yabba is
Speaker 7: the greatest little place on earth?
Speaker 1: It could be worse. How supply beer could run out?
Speaker 1: Why did you say that?
Speaker 6: Say?
Speaker 1: What what about them being proud of hell?
Speaker 3: Discontent is the luxury of the well to do. You
Speaker 3: got to live here, you might as well like it.
Speaker 3: Why aren't you like.
Speaker 1: Paulper Job.
Speaker 3: At touch of his hairy hands, Benjamin.
Speaker 6: I move forward of the aggressive hosspitality, the arrogance of
Speaker 6: stupid people insistitu should be a stupid as they are.
Speaker 3: When your death or farming up, it's worse than death
Speaker 3: in the mind. Do you want them to sing opera
Speaker 3: as well, and what do you do, I'm.
Speaker 4: Drink And also the parallels between the two of them
Speaker 4: wrestling and fighting and then you know, ultimately him passing
Speaker 4: out in the in the room and those two Hunter guys,
Speaker 4: you know, wrestling with each other. You know, there's a
Speaker 4: bit of a parallel going on there, but there's a
Speaker 4: but you know, what I thought was really interesting though,
Speaker 4: is the point where there's a point a bit later
Speaker 4: on where he's walking through the he's walking through the street,
Speaker 4: you know, and he's he's kind of he's got the
Speaker 4: gun and he's you know, he's got blood on him
Speaker 4: and all the rest of it. And what I thought
Speaker 4: was interesting for the first time, you see you see
Speaker 4: like people out and about shopping, you know, on a
Speaker 4: Saturday afternoon, and there's a you know, there's a nice
Speaker 4: little boutique to you know, like another like a little
Speaker 4: sort of clothes shop, and people are going about their
Speaker 4: every day and they're sort of looking like, what is
Speaker 4: this character. I think we can both agree that The
Speaker 4: Ruhunt is probably one of the most disturbing things in
Speaker 4: any film ever filmed.
Speaker 2: I mean, it's I mean.
Speaker 4: The fact that at the time, like you say, you're
Speaker 4: sort of looking at it going, God, yeah, I wonder
Speaker 4: how they did this, and then you find out at
Speaker 4: the end, and this is the thing that I found
Speaker 4: particularly disturbing is the fact that they said this this
Speaker 4: footage was shot by professional license hunters, as if like, oh, yeah, okay,
Speaker 4: that's oh well, as long as they're license hunters actually
Speaker 4: killing kangaroos like on camera. And then they sort of
Speaker 4: said that thing of due to the fact that kangaroos
Speaker 4: are in dangered that we feel that it was we
Speaker 4: shouldn't we put this footage in like uncut. So I
Speaker 4: think they're trying to after cake and eat it there.
Speaker 4: I think it was basically like it's a very powerful
Speaker 4: bit of cinema, but you are basically watching the actors,
Speaker 4: you know, torturing animals. That's that's you can't get away
Speaker 4: from that fact.
Speaker 1: So yeah, so basically they the way they shot it,
Speaker 1: there was a you know, kangaroos do get cowld and
Speaker 1: and and and there went as being cowded to this situation.
Speaker 1: This was actually hunters collecting kangaroos, killing kangaroos for pet
Speaker 1: food in for the United States, So this was getting
Speaker 1: They're being sent as PetFood to the USA. So because
Speaker 1: this was already happening, the filmmakers decided, well, this is
Speaker 1: going to happen anyway if we send our cameras to
Speaker 1: them and yeah, it will go out with them and shoot.
Speaker 1: And apparently they were saying the hunters were saying, how
Speaker 1: do you want me to shoot the kangaroos? The Ted
Speaker 1: Kotcheff and he's going to saying, what do you mean?
Speaker 1: He goes, well, if I shouldn't in the heart, they
Speaker 1: take like three steps and then they die. If I
Speaker 1: should have in the in the kidney, they kind of
Speaker 1: they do this, so I should have in the brain.
Speaker 1: They were like leap up into the air and like
Speaker 1: and he said this, do not do anything for me.
Speaker 1: Just just do what you can need to do and
Speaker 1: we will find it with the cameras. It's a similar
Speaker 1: situation I think to Apocalypse Now and the killing of
Speaker 1: the cow or the oxen, and that was shot in
Speaker 1: a way where it was it was the local tribe
Speaker 1: was carrying out their ceremonial, you know, ceremony and there's
Speaker 1: the slaughtering of of of the the animal, and France
Speaker 1: for a couple of you know this decided that if
Speaker 1: this is going to happen, let's capture it on and
Speaker 1: use it for our purposes. So it's a it's quite
Speaker 1: a vexed issue in the end, whether you know it's
Speaker 1: filming something that's already going to happen, you know the
Speaker 1: right thing to do, or or you should we just
Speaker 1: not have these scenes like it is? It is. It
Speaker 1: is a really gut wrenching, hard to watch piece of cinema.
Speaker 1: It's you know, it's it's so full on. I am confused.
Speaker 1: So what I haven't heard the director to kind of
Speaker 1: respond to is anybody ask him, is there's there's a
Speaker 1: shooting is one thing? You can see how they've shot that.
Speaker 1: They're they're in the same shot, and there's you know, yeah,
Speaker 1: they've they've paid you cut and pasted it together. They've
Speaker 1: shot it separately. But then you have actors the other
Speaker 1: fighting the kangaroo scenes.
Speaker 2: That's they did it.
Speaker 4: There was no doubt that that when he's holding the tale,
Speaker 4: when he's holding the tale, and even you know in
Speaker 4: the first actor, is that happened?
Speaker 2: That definitely that that wasn't.
Speaker 4: Those kangaroos were moving around while that was like it was,
Speaker 4: I mean, it's one of those things where I think,
Speaker 4: you know, it was a different time. I think that
Speaker 4: they they justified it because you know, it's not it's
Speaker 4: a film that's you know, I think if it was
Speaker 4: in a that you know the fact that it's a
Speaker 4: it's a film that's based on a novel and it
Speaker 4: is a genuine Yeah, I think Apocalypse Now is quite
Speaker 4: a good I think that is quite a good comparison,
Speaker 4: because you know, it's it's a film that's trying to
Speaker 4: say something. So at least it's I suppose you can
Speaker 4: sort of justify it's very much. The whole thing is
Speaker 4: very much of a time. So and it is powerful.
Speaker 4: You can't you can't get away from you know, you
Speaker 4: can't get away from that. But yeah, it's it's it's
Speaker 4: very it's very confronting.
Speaker 1: Yeah. The filmmakers say they consult with the RISPCA, who
Speaker 1: said they encouraged them to go hard and show not
Speaker 1: that necessarily they said, apparently reportedly by the filmmaker, go
Speaker 1: as hard, show the worst stuff. He said, I'm not
Speaker 1: showing the worst stuff here, reckons, he went about, you know,
Speaker 1: which makes you think Jesus. As far as the what
Speaker 1: they shut from the actual hunt and because they said
Speaker 1: they want they wanted people to know what actually kind
Speaker 1: of goes on. So they thought as a way of
Speaker 1: getting the word out as to how cruel this actually is.
Speaker 4: So maybe we could be we I think now might
Speaker 4: be on reflection, look about it. It might be weekend
Speaker 4: at Bernie's. Might be some kind of deep dive psychological.
Speaker 2: Sort of piece of cinema.
Speaker 4: That he is trying to He's trying to come to
Speaker 4: terms with his inner demons. You know, he you know,
Speaker 4: he forced the you know, these animals were killed on
Speaker 4: camera and he went, how can I try and how
Speaker 4: can I try and lift my the darkness that's in
Speaker 4: my heart? Well, Bernie represents those kangaroos.
Speaker 2: And have you have you? Have you?
Speaker 1: I'm sure I have asked you over the years, have
Speaker 1: you have you drunk? It?
Speaker 3: All? You?
Speaker 1: If he's always been a non drink exert, So did
Speaker 1: this film give you? Because I must say, and I
Speaker 1: watched this. I mentioned this before we start recording. I
Speaker 1: watched this a little bit hangover, which I think he's
Speaker 1: either the best or best or worst way to watch
Speaker 1: this movie. I don't know for sure, maybe the worst,
Speaker 1: but I must say I feel like if I'd never
Speaker 1: drank before, this film gives a pretty good, uh depiction
Speaker 1: of the feeling of what it's like to be drunken,
Speaker 1: a little bit out of control, swinging kind of lights
Speaker 1: and the kind of like this, the disorientation and also
Speaker 1: everything that happens. But just the way it's presented on screen,
Speaker 1: I feel it's when you have the like a really
Speaker 1: kind of a messy kind of drunkenness, you know, like
Speaker 1: that this feels like that that the losing of control,
Speaker 1: I think is is really well depicted in this in
Speaker 1: this movie.
Speaker 4: Right, interesting because from from somebody who's never drunk, it
Speaker 4: really I thought it was a brilliant depiction of just
Speaker 4: how you know, when I was a teenager, and especially
Speaker 4: when I was doing gigs in like you know, I
Speaker 4: do gigs in Essex. I remember and Down and Ken
Speaker 4: I did a gig used to do this sort of it.
Speaker 2: Was a kaffe.
Speaker 4: It was like a sort of caffe attached to a
Speaker 4: night club. It was a bar, and then they use
Speaker 4: the nightclub used to split into they used to sort
Speaker 4: so the comedy.
Speaker 2: Would be going on.
Speaker 4: But then in the main nightclub they used to have
Speaker 4: like male strippers and all the women would go in
Speaker 4: and they'd have the male strippers on, and then they
Speaker 4: would have they would have female strippers for the blokes
Speaker 4: in the in the sort of smaller bar area of
Speaker 4: the of the club, and I remember that that was
Speaker 4: very much.
Speaker 2: There was a real sort of sense of like.
Speaker 4: People being a bit out of control and just all
Speaker 4: these kind of feral men who were sort of it
Speaker 4: was just.
Speaker 2: A really even though there was no.
Speaker 4: Even though everyone is they're just drinking and watching strippers
Speaker 4: or whatever, it had, there was a there was a
Speaker 4: sort of a it felt like something sinister was going on,
Speaker 4: you know, And I think that kind of you know,
Speaker 4: I don't mind, like I enjoy it when other people
Speaker 4: are drinking, but you know, when you're in that situation,
Speaker 4: that bar, that first bar that he goes into, and
Speaker 4: it's all like, hey, we're all having a good time.
Speaker 4: I remember when I was a teenager being in situations
Speaker 4: where you're where you're just looking at it going there's
Speaker 4: there's a that there's something I think when you're looking
Speaker 4: at with the clarity, everyone else in the place doesn't
Speaker 4: doesn't feel the hostility, doesn't doesn't realize that you're right
Speaker 4: on the edge of violence. Because everyone's just having a drink.
Speaker 4: And I think for me, I that really resonated with
Speaker 4: me because when I was a teenager, there would be
Speaker 4: there would be times where drinking would be happening and
Speaker 4: then all of a sudden, you know, there was blood
Speaker 4: everywhere and there's somebody getting the head smashed against the wall,
Speaker 4: and and to everyone else is like, oh, what's going on,
Speaker 4: whereas you know, for me, it was like, oh, yeah,
Speaker 4: well I could feel that coming for the last twenty minutes,
Speaker 4: you know, so yeah.
Speaker 1: Sure, like you've been in the situation post gigs, you know,
Speaker 1: where somebody will come up to you and they will
Speaker 1: just give you like a must put you in a
Speaker 1: bear hug or slight your back or grab the back
Speaker 1: of your neck and come.
Speaker 2: Yeah.
Speaker 1: It was that was Monny, great mate. And and it's
Speaker 1: like that what you have said is really interesting that
Speaker 1: the idea that we have, no idea that we are
Speaker 1: all the precipice of violence right now, because because most
Speaker 1: of us, you know, there might be a room full
Speaker 1: of you know, and and and and six don't know
Speaker 1: exactly a losing control basically.
Speaker 4: Yeah, yeah, and just how quickly that can turn, you know,
Speaker 4: I think it happens weirdly, and you know, there's not
Speaker 4: there's not that there's not as many women in this,
Speaker 4: but I think women who are drinking turn so much quicker,
Speaker 4: like you know, if if a woman, if a woman's
Speaker 4: really drunk and she comes and she put her on
Speaker 4: around you, or like the one I get is like
Speaker 4: drunk women to wanting to touch my hair all the time,
Speaker 4: you know, and if I go, don't whoa, don't talk?
Speaker 2: What are you doing? Get off me?
Speaker 4: They turn like that, And I think that's sort of yeah,
Speaker 4: it's but but you know, you know what's brilliant about
Speaker 4: this film is the fact which I really loved is,
Speaker 4: like I say, I was expecting to watch a film.
Speaker 2: That was gonna be.
Speaker 4: You know, like some mad kangaroo hunter popping up and
Speaker 4: then shooting everyone in the town, or it was going
Speaker 4: to be something along those lines, Oh my god, someone's
Speaker 4: trapped in the town and all of the you know,
Speaker 4: almost like those hammer horror ones where you know, he
Speaker 4: even had a touch of the you know, the slaughtered lamb,
Speaker 4: you know, the sort of the local in the In fact,
Speaker 4: have you seen that film Get Duked?
Speaker 2: Have you seen that film? It's just it's fairly new.
Speaker 2: It's about these kids. It's a very funny.
Speaker 4: Film, actually a lot funnier than like you probably read
Speaker 4: the premise of it and think it's not going to
Speaker 4: be sort of a bit like The in Between Us Meets.
Speaker 4: It's got a touch of the League of Gentlemen about it.
Speaker 4: It's it's about these kids going on the Duke of
Speaker 4: Edinburgh as award scheme and then they start getting hunted
Speaker 4: by this posh this posh duke guy turns up and
Speaker 4: it's not the actual Duke of Edinburgh, but it's that
Speaker 4: sort of I thought it was going to be along
Speaker 4: those lines a Deliverance, That's what I thought it was
Speaker 4: going to be.
Speaker 2: That's I think Deliverance.
Speaker 4: Is probably the film that this is closest to. And
Speaker 4: because I thought it was going to be like that,
Speaker 4: and the fact that the fact that the I thought
Speaker 4: it was going to be a bit of entertainment and
Speaker 4: there'd be a bit of horror in the outback, I
Speaker 4: wasn't prepared for just how powerful and how deeply affecting
Speaker 4: this it's I would say, there's not many films that
Speaker 4: will that will move you quite as emotionally as this film,
Speaker 4: because there's so much going on and it's so immersive
Speaker 4: that yeah, it's it's uh, it definitely will trigger. It
Speaker 4: will trigger all sorts of emotions, which I was surprised
Speaker 4: because I thought it was just going to be a
Speaker 4: bit of a bit of a rockter of the.
Speaker 2: Out Back.
Speaker 1: Razorback meets Kangaroo Jack exactly exactly.
Speaker 4: Yeah.
Speaker 2: Yeah.
Speaker 1: One of the one of the surprising bits of I
Speaker 1: think the casting was so fantastic. We spoke about a
Speaker 1: little bit earlier, but one of them I thought was
Speaker 1: quite interesting was the truck driver who, like towards the
Speaker 1: back of the film, he's the guy who thinks John
Speaker 1: thinks he's going to Sydney, but he's actually kind of
Speaker 1: he just goes back to the Yabba and and Jack drivers.
Speaker 1: It's just it's not he's completely different type than the
Speaker 1: rest of he's quite like it almost it's got feminine
Speaker 1: kind of ye you know feel to the to him.
Speaker 1: He could be you know, he could be in choice
Speaker 1: of An's band, right, you know, he's like he's like
Speaker 1: a soft kind of it's quite skinny and small, and
Speaker 1: it's a really interesting, you know, piece of piece of casting.
Speaker 4: And also the fact that everybody like everybody that he
Speaker 4: encounters up until that point has basically been it feels
Speaker 4: like they're going have a drink, come and join us, coming,
Speaker 4: you know, and there's that that's what's going on. Whereas
Speaker 4: he's the first person that's just like he goes, can
Speaker 4: he get me out of you? And he's like, what's
Speaker 4: in it for me?
Speaker 2: He?
Speaker 4: You know, he sort of in a way he represents
Speaker 4: the he sort of represents the outside world, you know.
Speaker 4: And then the fact that he takes them back to
Speaker 4: the to the start is.
Speaker 2: Yeah, no, I got fun that, Yeah.
Speaker 1: And the idea of the beer is the tonic that
Speaker 1: kind of traps people there. Like if this was made
Speaker 1: now and maybe in Edgar Wright made that the beer
Speaker 1: would actually have something in it that he's actually like
Speaker 1: imprisoning you, Like it would have a serum or something
Speaker 1: and that kind of you know that that would be
Speaker 1: maybe more conspiratorial perhaps, but a bit like that.
Speaker 4: Sorry, I was just going to say it a bit
Speaker 4: like you know that drug in a dread, you know,
Speaker 4: the film, Like it would be more along those lanes,
Speaker 4: wouldn't It'd be more you know, like a sort of
Speaker 4: a crack crack like substance wouldn't it.
Speaker 1: Yeah, absolutely, I think that's a great, great comparison. I
Speaker 1: must say I didn't see that the John and Doc
Speaker 1: kind of I was sure what to think of it
Speaker 1: when he woke up in the morning, whether they had
Speaker 1: consensual sex. I had heard it was referred to as
Speaker 1: a rape, but I must say watching it, I was
Speaker 1: I wasn't sure what had happened. I assume that that
Speaker 1: sex had been had, but I wasn't sure what was it.
Speaker 4: There's an interesting because I think that's that's where it
Speaker 4: gets really interested, because something's happened there. But I think
Speaker 4: when he's when he has those flashbacks later on, and
Speaker 4: I think what they were saying there is is that
Speaker 4: they had had sex, but he'd woken up and you
Speaker 4: know he he hadn't. I don't think you could say
Speaker 4: that he'd consented to I think that was the I
Speaker 4: think what they were trying to say was is that.
Speaker 2: He was so out of it that he.
Speaker 4: Couldn't have possibly concerned even if he wanted to sleep
Speaker 4: with him.
Speaker 2: I don't think he could. You could, You couldn't.
Speaker 4: Possibly say that he in any way could have consented
Speaker 4: to it, because he was so out of it that
Speaker 4: that the doc must have known that there was. There's
Speaker 4: just there's no way like anyone that says, oh no,
Speaker 4: he consented to it. He saw the state he was in.
Speaker 2: He couldn't.
Speaker 4: He couldn't possibly even like even if he was bisexual,
Speaker 4: even if like he had the woman in Sydney, you know,
Speaker 4: maybe even if he was gay, even if the idea
Speaker 4: of the you know, like him not sleeping with the
Speaker 4: daughter and the vomiting and all that sort of stuff,
Speaker 4: he wasn't. He was too drunk to be able to consent.
Speaker 4: So it was definitely so the doc definitely raped him.
Speaker 4: In my opinion, I just think that's not even I
Speaker 4: don't think that's even up for discussion, you know, like,
Speaker 4: so so whatever the filmmakers are saying, oh well no,
Speaker 4: maybe they maybe it's a well no, that's not that's just.
Speaker 1: That's not what the filmmakers have referred to it as
Speaker 1: as as right, okay, sorry, yes, but when when I
Speaker 1: was watching it and then the way he said it
Speaker 1: is perfectly correct, that is yeah, that's and that's really
Speaker 1: I think it's another strong message from from the film.
Speaker 4: So so so then so then I think what the
Speaker 4: way I read it is that he was definitely raped.
Speaker 4: So therefore when he when he thinks back to now,
Speaker 4: fair enough, the daughter wasn't she wasn't taking part in
Speaker 4: all the drinking and stuff. But I think what happens
Speaker 4: is is that he realizes what's I think he realizes
Speaker 4: what happened to him, and then he thinks back to
Speaker 4: the way that the doctor was talking about her and saying,
Speaker 4: you know, you know this is you know, people judge
Speaker 4: her and you know, all that thing about slutching. But
Speaker 4: I don't think that's what I don't think that's necessarily
Speaker 4: what it is. I think they're basically they At that moment,
Speaker 4: he realizes that the doc you know, oh, she's you know,
Speaker 4: she's loose with her favor as an all the estimate,
Speaker 4: and he got, nah, they're doing to her exactly the
Speaker 4: same thing that's happened to him. They're getting her drunk
Speaker 4: and taking advantage of her, and she's clearly you know,
Speaker 4: it's the same way that when when she goes I'm
Speaker 4: going for a walk with him, nobody but an eyelid.
Speaker 4: They're all like, you know, And the fact the fact
Speaker 4: that one of the hunter guys at the start is
Speaker 4: quite sexually aggressive towards her, like getting in a way,
Speaker 4: and she.
Speaker 2: Just sort of puts up with it.
Speaker 4: And I think that that's the point where when he
Speaker 4: has all those flashbacks of like what happened to him
Speaker 4: and he's thinking about her and the doc, I think
Speaker 4: that's the moment where he realizes that basically she's been
Speaker 4: you know, she's been assaulted by him and all these
Speaker 4: other brooks while they've been drunk, but that's just become
Speaker 4: you know, she just kind of accepts it the same
Speaker 4: way that he says, like why don't you leave? Is
Speaker 4: it because of your father? And you know, it's that
Speaker 4: thing of she's trapped, and I think that's part of
Speaker 4: her being trapped as well, you know, And I think
Speaker 4: that's why that's the thing that I think that's the
Speaker 4: thing that makes him go back.
Speaker 2: With the gun.
Speaker 4: I think it's not necessarily about this has happened to me,
Speaker 4: because I think he looks at it and goes I
Speaker 4: think he realizes that all of the things that have
Speaker 4: happened to him have been because of his own have
Speaker 4: partly been by his own hand, where she she's just
Speaker 4: been born into this and there's nothing she can do.
Speaker 4: And I think when he goes back to kill him.
Speaker 4: I think it's more about avenging what's happened to her
Speaker 4: than about getting revenge for himself. And then when he
Speaker 4: walks in, he puts the gun to his own head.
Speaker 2: You know. I think maybe.
Speaker 4: That's the moment where he maybe that's that's them saying
Speaker 4: that actually, the only way is going to solve his
Speaker 4: problems is too is to kill himself rather than kill him,
Speaker 4: you know, because he's still going to be trapped there.
Speaker 4: But then the other thing that I found was strange
Speaker 4: was the fact that then when he comes out of
Speaker 4: the hospital and the doc picks him up, and the
Speaker 4: doc's wearing a suit, and he's back in the suit,
Speaker 4: and it's almost like, you know, and and the cop
Speaker 4: just goes, this is the statement of what's happened, you know,
Speaker 4: I've I've you know, which it is all fudged.
Speaker 2: I think that's the.
Speaker 4: Point where he goes, oh, well, the docs picked me up,
Speaker 4: we're still friends. I you know, I'm not going to
Speaker 4: bring up the fact that he raped me, and I'm
Speaker 4: not gonna And equally, the doc isn't gonna isn't gonna
Speaker 4: try and get him up on charges for attempted murder
Speaker 4: because he changed his mind and shot himself at the end,
Speaker 4: and it's almost like this, none of this happened, you know,
Speaker 4: it was. It was. It's sort of like the policeman
Speaker 4: is officially saying, I think we can all agree none
Speaker 4: of this happened. We can just go back to the
Speaker 4: way things were. And that's what and that's for me
Speaker 4: what brings up the interesting question. At the end of
Speaker 4: when they're on the train, this was the thing that
Speaker 4: didn't want to jump ahead to. So he's on the
Speaker 4: train and it's an exact mirror image of the initial
Speaker 4: scene when he's leaving and the guy goes and initially
Speaker 4: the guy's gonna have a drink, have a drink, and
Speaker 4: he says no, because all the way through he never
Speaker 4: actually accepts. He just he's constantly refusing the hospitality, like
Speaker 4: all the way through. But then at the end, the
Speaker 4: guy goes, have a drink, have a drink, and he goes, oh, thanks, mat,
Speaker 4: and he takes a drink and he opens it. He
Speaker 4: just drinks it and he has no problem and there's
Speaker 4: no hostility from those guys.
Speaker 2: That's oh, he's all right.
Speaker 4: And he doesn't even talk to them, you know, it's
Speaker 4: just like, thanks, here's And so the question for me
Speaker 4: is has he And then he goes back to the school,
Speaker 4: presumably never gets to see never gets to see the girlfriend.
Speaker 2: Like, so the question for.
Speaker 9: Me at the end is has he has he by accepting,
Speaker 9: by just accepting the drink, has he accepted he's become
Speaker 9: one of these people.
Speaker 2: And he's like, He's like, yeah, accept your drink.
Speaker 4: He no longer thinks he's above them.
Speaker 2: He's dropped to the depth.
Speaker 4: Or is it? Or is or are they saying the
Speaker 4: way to deal with rather than deal with the fact
Speaker 4: that he's raped and Nelly murdered a man? Is Is
Speaker 4: it saying, you know what, it's easier just to have
Speaker 4: a drink and not rock the boat.
Speaker 2: Is that what they're trying to say. It's it's like,
Speaker 2: what do you think?
Speaker 1: Because it's I think his life now is in a
Speaker 1: loop and he's stuck in a loop. And we spoke
Speaker 1: about this almost being a nightmare or a dream, and
Speaker 1: when he basically literally wakes up in hospital and he
Speaker 1: has chips rapidly telling him none of this happened. This basically,
Speaker 1: this didn't happen. The the nightmare or the dream is over,
Speaker 1: but so he thinks and then he and then he
Speaker 1: heads back to his his town to to I was
Speaker 1: gonna say it was yeah yeah, tim boone, yeah, And
Speaker 1: and then he's he's in this loop now where I
Speaker 1: think it's just gonna And that's why I think that
Speaker 1: opening shot, which I come refreger for its three sixty
Speaker 1: years you come back to the same place, and I
Speaker 1: think that kind of foretells the end of this. And
Speaker 1: I think that's what he's you know, his life might
Speaker 1: be now. He may never escape this town. He's one
Speaker 1: of them. That's that's that's what I took because the
Speaker 1: first thing he does, of course, is going to you know,
Speaker 1: go to the pub and meets up with John Mellian
Speaker 1: and you know, and he's there again.
Speaker 2: Yeah yeah, yeah.
Speaker 4: So it's just a constant Yeah, You're just it's going
Speaker 4: to repeat itself.
Speaker 1: And and that's what makes it really grim, kind of
Speaker 1: grim viewing in a way, because you know, and I'm
Speaker 1: a fan. I've said this before. I said a couple
Speaker 1: of weeks ago that I do love a little bit
Speaker 1: of hope at the end of my movies. You know,
Speaker 1: this give us a little bit of hope. There's none
Speaker 1: of that here there is no there is.
Speaker 4: I think that's why I might have liked it so much,
Speaker 4: because I quite like I think that there's so many
Speaker 4: movies are so formulaic in terms of them finishing, you know.
Speaker 2: With with that hope.
Speaker 4: But what I quite like is I quite like that
Speaker 4: like a slight like for example, have you ever seen
Speaker 4: The Mist?
Speaker 2: Have you seen?
Speaker 1: Yeah?
Speaker 2: Yeah?
Speaker 4: And the fact that, like, you know, they kill themselves
Speaker 4: in the car and then the mist clears and they
Speaker 4: were like a meter away from being being rescued, you know,
Speaker 4: all the.
Speaker 2: Tanks are there and stuff and like.
Speaker 4: And then I remember when I was a kid that
Speaker 4: one of the films that sort of affected me the
Speaker 4: most was and I was really young when I saw
Speaker 4: it The Italian Job, and the fact that The Italian
Speaker 4: Job was the first film because I've probably only been
Speaker 4: watching sort of kids probably I was really young when
Speaker 4: I saw it, and my dad showed me when I
Speaker 4: was the best cart yest you'll ever see. And then
Speaker 4: you know, that film ends with the with the coach
Speaker 4: balanced on the edge of a cliff and they're all
Speaker 4: at one end and the gold that they've robbed at
Speaker 4: the other end, and Michael Kine takes a step forward
Speaker 4: and just that way is enough for the you know,
Speaker 4: for the coach to start, you know, and he steps
Speaker 4: back and they all look at each other and he goes, right, lads,
Speaker 4: I've got an idea, and that to me and then
Speaker 4: you just and it just just it just tracks back
Speaker 4: like that, and.
Speaker 2: The things just on the cliff.
Speaker 4: And I remember as a kid just thinking that is
Speaker 4: the best, because I was like, what, he can't end
Speaker 4: like that?
Speaker 2: And I said to my dad does he get off
Speaker 2: the cliff? Do they not get off the cliff?
Speaker 4: And he's like, well, that's the And so I I
Speaker 4: quite like the fact he's got his job and he's
Speaker 4: you know, he's having a drink and he's not you know,
Speaker 4: he didn't kill himself, but you're not quite sure up.
Speaker 2: But I like that. I really like films that you
Speaker 2: just go, oh, here we go, here we go again.
Speaker 6: You know.
Speaker 1: Yeah. Yeah. And then and this film, I mean, and
Speaker 1: I love this film like I I had seen it
Speaker 1: a fork about, you know, fifteen or so years ago,
Speaker 1: not long after I guess they rediscovered it, and it
Speaker 1: effect it'd been more watching it last night than I did,
Speaker 1: I think fifteen years ago I think. I think even
Speaker 1: though I was what thirty fifteen years ago, it didn't
Speaker 1: quite I didn't quite understand what they were saying, and
Speaker 1: I thought might have been a bit over the time.
Speaker 1: I enjoyed it, but I thought maybe it was a
Speaker 1: bit a bit able to top look at Australian masculinity
Speaker 1: and drinking culture. But I you know that fifteen years since,
Speaker 1: and you know the way the world has changed, even
Speaker 1: the last five years, it spoke to me a lot
Speaker 1: more and I was able to identify more things and
Speaker 1: more experiences that I've had even through through this film.
Speaker 1: And this film doesn't It's not a film that I
Speaker 1: don't think needs that ray of hope at the end,
Speaker 1: because why would you put a little bit of hope
Speaker 1: at the end of this film. It doesn't need it
Speaker 1: because it's not what it's trying to sell you. It's
Speaker 1: trying to make the message of this toxic kind of
Speaker 1: drinking culture and what it can do to someone. And
Speaker 1: if you are going to engage in that behavior, these activities,
Speaker 1: then there's no there's no progression, there's no you are
Speaker 1: not going to get where you want if you if
Speaker 1: you conduct yourself. You know, I like this So that's
Speaker 1: why I mean, that's I thought. This was the point
Speaker 1: I was I guess I was making is I generally
Speaker 1: love that little bit of hope at the end of movies,
Speaker 1: but this is one where it's a really good case
Speaker 1: for not needing it, because it's not what the filmmaker
Speaker 1: wants you to think. At the end of the last
Speaker 1: thing he wants you to think is I have a
Speaker 1: maybe we should organize that cricket trip.
Speaker 4: We've all had weekends like that. How can I how
Speaker 4: can I make a weekend worse than that? What if
Speaker 4: a guy's boss dies? So I would say my only
Speaker 4: criticism and I here to do this because it's one
Speaker 4: of those things where you know, you know, if you
Speaker 4: know what it's like, you get a five star review,
Speaker 4: there's always one line, perhaps your face.
Speaker 2: My only my only problem.
Speaker 4: That I had with this film was the fact that
Speaker 4: it that not everybody that lives in those remote towns.
Speaker 4: There's a lot of really smart people out there who
Speaker 4: don't have drinking problems, and you know, there's another there's
Speaker 4: another side. There's another side to those small towns, in
Speaker 4: the mining towns and the you know, the out back
Speaker 4: places which you know that's a very brutal portrayal of
Speaker 4: and it, you know, And I think probably I wasn't,
Speaker 4: you know, I didn't. I didn't come to this country
Speaker 4: till to ninety nine, so that might have been, you know,
Speaker 4: that that might have been the norm at that point.
Speaker 4: But I think now, I think it would be quite nice.
Speaker 4: It would be quite nice to see those places depicted
Speaker 4: where people aren't going through the worst of the worst,
Speaker 4: you know.
Speaker 1: And with that said, there's a doco that I actually watch,
Speaker 1: funnily enough, on New Year's Eve, my wife and I
Speaker 1: we tend us to stay home and you have a
Speaker 1: few drinks and not venture out on year z E.
Speaker 1: But we watched a doco that was done a couple
Speaker 1: of years ago called Hotel called Gardi, and it's based
Speaker 1: on a small town in Australia, not dissimilar to the Yabba,
Speaker 1: and it's about two finished backpackers who go and take
Speaker 1: up a job bartending at this hotel. And it's got
Speaker 1: a lot of the Waking Front kind of vibe about it,
Speaker 1: and it's like it's quite a lot of the things
Speaker 1: they're saying, you're Waking Front, that they're making the same
Speaker 1: points here, and but With that said, it's also it's
Speaker 1: also quite touching in yeah, because there's there's probably a
Speaker 1: more of a breadth of the type of men that
Speaker 1: you might get and characters. It's not just the ultra
Speaker 1: aggressive you know much I do. It's it's it's like
Speaker 1: the you know this guy who you don't, the invisible
Speaker 1: guy at the end, he's quite sweet, you know, at
Speaker 1: the bar and it's it's Hotel cal guard. I think
Speaker 1: it's on stand. It's worth checking it's it's worth checking out.
Speaker 1: But mate, thank you so much.
Speaker 2: Well, I wasn't. That wasn't funny at all. I did see.
Speaker 2: I did, I did, I did see an advance.
Speaker 4: Once you start getting me talking about films, there's no
Speaker 4: there's nod.
Speaker 1: I'm the same way. And I don't necessarily see this
Speaker 1: podcast as necessarily, you know, a comedy podcast, hopefully, And
Speaker 1: we have had some laughs throughout it, and it often
Speaker 1: depends on the film waiting for you know, we got
Speaker 1: weekending Bernie's there, Thank god that Ted Kotcher directed week
Speaker 1: In the Bernie's we got were able to muse a
Speaker 1: bit on that, but no, thank you mate, it's a
Speaker 1: it's this podcast country homework and I love it.
Speaker 2: I love it.
Speaker 1: I do appreciate it. And are you playing the Yabba
Speaker 1: anytime soon? He's the rough table tour going through the EBB.
Speaker 4: Well, you know what, it's funny because you know a
Speaker 4: friend of ours, Deve O'Neill, the comedian. I literally, yeah, god, yeah, yeah,
Speaker 4: he's probably like that, yeah, the honorary.
Speaker 2: Mayor or something. I literally I I thought of an idea.
Speaker 4: We were talking about sitcoms, and I thought of an
Speaker 4: idea which is pretty much which is pretty much the
Speaker 4: flip side, like if you took Wake and Fright and
Speaker 4: just completely flipped it on its head. I pitched him
Speaker 4: and I said, I reckon, you should do a sitcom
Speaker 4: about this, and then told him this idea, and then,
Speaker 4: having watched Wake in Fright, I'm now going no, that's
Speaker 4: a really good idea. I'm slightly annoyed. I gave it.
Speaker 1: Anyway, Well, thank you so much, and we will catch
Speaker 1: up again there very soon and go the yeba.
Speaker 2: All right, do you want to drink?
Speaker 6: What's the matter with your people?
Speaker 3: Sponge on?
Speaker 6: You burn your house down, murdy, your wife, freak your child,
Speaker 6: that's all right.
Speaker 3: Don't have a tripper, you don't have.
Speaker 2: A flaming bloody tripper.
Speaker 6: You have a criminal offense at the end of the
Speaker 6: bloody world in there, you're.
Speaker 1: That well, that was a whole bunch of fun and
Speaker 1: just fascinating chatting with Ross about that particular film. It
Speaker 1: may be the greatest Australian film of all time. I've
Speaker 1: always had a sut spot for Breaking Morant, and I've
Speaker 1: often said that was my favorite Strain film of all time,
Speaker 1: but I think Waking Fright with each viewing, creeps a
Speaker 1: little bit closer to the great Breaking Morant. So it
Speaker 1: was fascinating to get Ross's take on it. And as
Speaker 1: Ross said, Ross and me, when we get together, we
Speaker 1: often get together and have lunch and we talk about
Speaker 1: movies just a lot, and we often deep dive and
Speaker 1: the jokes of go out the window and we just
Speaker 1: become passionate cinephiles, I guess, And it was great to
Speaker 1: get his take on this Ossie classic. I'm not sure
Speaker 1: I mentioned in this, but France was one country in
Speaker 1: one market that really took to wake Hi from perhaps
Speaker 1: the only one. It was ignored or rejected by Australian
Speaker 1: audiences upon release, but it played for nine months in
Speaker 1: cinemas in Paris, which is kind of extraordinary. It was
Speaker 1: also the final theatrical film of Gary Bond, who played
Speaker 1: John Grant. He continued working in TV, but for some
Speaker 1: reason never made another film. The director Ted Kotchef is
Speaker 1: not only has he made Weekend, The Bernie's and First Blood,
Speaker 1: but he also made another film called The Apprenticeship of
Speaker 1: Duddy Kravitz, which won the Golden Bear at the Berlin
Speaker 1: Festival Film Festival, and he's considered one of the great
Speaker 1: Canadian films of all time. So an extraordinary career Ted
Speaker 1: Kotchef making, you know, a couple of what you might
Speaker 1: call independent art house films and absolute classics, and then
Speaker 1: you have First Blood and Weekend Bernie is saddled up
Speaker 1: next to it. So make of that what you will.
Speaker 1: But I really loved watching this film again and I
Speaker 1: yeah appreciate Ross for the insight that he brought to
Speaker 1: that conversation. I want to thank Derek Mas, my podcast
Speaker 1: manager at Castwaystudios dot com dot au, for your podcast needs.
Speaker 1: This was recorded online because Ross was touring at the
Speaker 1: Adelaide Fringe Festival, so this was done online, not in
Speaker 1: our usual usually comfortable studios at Castways Studios. Yes, new
Speaker 1: podcast at gmail dot com is where you can send
Speaker 1: us your emails. Were being loving all the emails again,
Speaker 1: people are still writing to be telling me about.
Speaker 2: That.
Speaker 1: And net increase was of course and that's Funa Cello.
Speaker 1: So thank you for everyone who is continuing to catch
Speaker 1: onto that episode. I think that episode has done particularly well,
Speaker 1: so thank you for that and this keep them coming.
Speaker 1: Kathy and Edmonson got in touch with me and she's
Speaker 1: loving the podcast and she wants me to find somebody
Speaker 1: who has not seen Gallipoli and also The Intouchable, so
Speaker 1: one of the great French film and we've remade in
Speaker 1: America with Brian Kranston and Kevin Hart for a memory.
Speaker 1: So thanks Kathy for that email, and yes, keep them coming,
Speaker 1: keep them coming. Next week on the show, We've only
Speaker 1: got a couple more for this series, and I'm going
Speaker 1: to take a short break finished filming How to Stay Married,
Speaker 1: which we're doing at the moment, and then I'll load
Speaker 1: up with some more some more guests, so a couple
Speaker 1: more to go. Next week on the show, we have
Speaker 1: myth Warhurst who will be watching Cheering Capodi's Classic and
Speaker 1: the of course Loudrey Hepburn Classic Breakfast at Tiffany's. That
Speaker 1: will be next week. I cannot wait to sit down
Speaker 1: with Myth and have that conversation. Till then, keep watching movies,
Speaker 1: take care of yourselves. Goodbye for now, and so we
Speaker 8: Leave old Pete, save man Salt, and to our friends
Speaker 8: of the radio audience, we've been a pleasant good night.