Speaker 1: Good aim. My name's Peter HELLI you welcome to you
Speaker 1: Ain't seen Nothing yet the movie podcast where I chat
Speaker 1: to a movie lover about a classic or beloved movie
Speaker 1: they haven't quite got around to watching until now. And
Speaker 1: today's guest actor Stephen Curry, would you give.
Speaker 2: Me a hand with the bags? You take the blind
Speaker 2: and I'll take the one in the table.
Speaker 3: Sir, the most you ever lost in the Quantie, go ahead,
Speaker 3: make my day have a right now, don't see nothing.
Speaker 1: If you live in Australia and consume even the slightest
Speaker 1: amount of and movies, you know who our next guest is.
Speaker 1: And if you're listening overseas and you've been listening to
Speaker 1: this podcast, then you would have heard our guest name
Speaker 1: pop up quite a bit, quite simply. Steve Curry's workers
Speaker 1: loomed large in the Australian TV and film landscape. Steve
Speaker 1: first appeared in two episodes I Believe a Fast Forward
Speaker 1: in nineteen eighty seven as part of the Whiz Bang Shows,
Speaker 1: before going on the film sitcom Late for School, but
Speaker 1: it was not in ninety seven's The Castle that really
Speaker 1: brought Steve into the hearts of all Ossie movie Lovers.
Speaker 1: His portrayal of Dale Kerrigan remains one of the great
Speaker 1: Ossie comedic performances, right up there with mc dundee and
Speaker 1: Muriel Hyslops. Steve has pretty much appeared in every Australian
Speaker 1: TV show you have ever heard of, plus the big
Speaker 1: screen comedies The Wag Boy, The Nugget Takeaway and Thunderstruck.
Speaker 1: But something happens around two thousand and seven where Steve
Speaker 1: decides to take on more and more dramatic roles, winning
Speaker 1: great acclaim and awards for his the trail of Ossie
Speaker 1: TV legend Graham Kennedy In The King. He gains further
Speaker 1: acclaim by playing another legend, joggy Melbourne Cup winning jockey,
Speaker 1: that is Damien Oliver in the Cup. He took another
Speaker 1: turn in twenty sixteen, playing the ultra creepy John White
Speaker 1: and scaring them for Jesus out of us in the
Speaker 1: disturbing thriller Hounds of Love, again to much acclaim. As
Speaker 1: a bloke, Stevee is as hilarious as you would hope,
Speaker 1: as creative as they come. Check out Humdinger on YouTube
Speaker 1: and he's most often the most fun bloke in the room.
Speaker 1: Oh and According to his IMDb, he was also the
Speaker 1: cinematographer on the A Puppetuy of the Penis movie. I
Speaker 1: had no idea about that. We will get to that soon.
Speaker 1: I'm bloody stoke to have my mate Stephen Curry as
Speaker 1: my guest today.
Speaker 4: Oh my god, Pete, that was really something home week
Speaker 4: that went into that right.
Speaker 2: This is where I introduced myself. Isn't it okay? Hi?
Speaker 2: My name is Stephen Curry, not the basketballer.
Speaker 4: It should be said, even though only our mothers can
Speaker 4: tell us apart and my favorite three movies as if
Speaker 4: you can pick three of But anyway, thanks Pete. Number
Speaker 4: one would have to be This is spinal TAP's such.
Speaker 2: A fine line between stupid and clever. Turn about number
Speaker 2: two dirty rotten scoundrels.
Speaker 1: Bro prect May I take your trade?
Speaker 2: And sir yes? And number three back to the future.
Speaker 5: My calculations are correct.
Speaker 1: When this baby hits eighty eight miles per hour, you
Speaker 1: got to see some serious ship.
Speaker 4: But up until I think it was two days ago,
Speaker 4: I'd never seen the nineteen fifty Joseph L.
Speaker 2: Mankovitz classic All About Eve.
Speaker 5: The general atmosphere is very mcbethish. What has or is
Speaker 5: about to happen. What is he talking about? McBeth? We
Speaker 5: know you, We've seen you like this before.
Speaker 1: Is it over?
Speaker 5: Is it just beginning? Fasten your seat belts.
Speaker 6: It's going to be a bumpy nute.
Speaker 1: It certainly is. Star Broadway actress Margo Channing play by
Speaker 1: icon Betty Davis, forty years before Madonna professed Our love
Speaker 1: for her is aging and getting paranoid. That paranoia and
Speaker 1: insecurity rises to the boy Or when fangirl Eve Harrington
Speaker 1: and Baxter is brought into her world by her best
Speaker 1: friend Karen. Yes, Karens have been messing things up for
Speaker 1: over seventy years, it seems. When even deers herself into
Speaker 1: the lives of Margo's inner circle, including her younger boyfriend
Speaker 1: Bill Simpson played by Gary Merrill, Betty Davis soon to
Speaker 1: be husband and eventually ex husband, and playwright Lloyd Richard
Speaker 1: Hugh Marlowe, it sends Margo into a theatrical tail spin Pendon,
Speaker 1: directed by Joseph Mankowitz, brother of Herman, who wrote a little
Speaker 1: flick eight years earlier called Citizen Kane, from an article
Speaker 1: by Margaret Or entitled The Wisdom of Eve, inspired by
Speaker 1: a true story of Austrian actress who had a fangirl
Speaker 1: slash stalker weave her way into her life before attempting
Speaker 1: to steal her career. Nominated for a record equally fourteen oscars,
Speaker 1: tied with Titanic and La La Land, including the only
Speaker 1: film ever with four actresses nominated in the same film.
Speaker 1: Sadly noneer them won. More on that later. All about Eve.
Speaker 1: It's about ruthless ambition, the fear of aging and what
Speaker 1: happens when you let the wolf in the door. Steve Curry,
Speaker 1: who have you shafted to get a theater gig over
Speaker 1: the years? There must be there must be a few.
Speaker 2: Yeah, it's true, That's very true. Look who shafted?
Speaker 4: I met Abba bud Tingwell when I was a younger man,
Speaker 4: and he took me under his bing and he taught
Speaker 4: me a lot of things.
Speaker 2: And you'll notice he's not around anything, won't you?
Speaker 7: Do?
Speaker 2: You notice that?
Speaker 1: No, his absence has been noted.
Speaker 4: Bill Hunter, one of the great stars of Australian screen,
Speaker 4: played Bart Cummings in the Cup.
Speaker 2: Yes, his last performance is no longer last performance ever?
Speaker 1: Wow, not no longer.
Speaker 4: With little tidbit, here's a little trivia fact here we go.
Speaker 4: Bart Cummings wig worn by Bill Hunter in that film
Speaker 4: a rabbized beard, yes, a fake rabbis beard from a
Speaker 4: costume shop which they chucked on his head to make
Speaker 4: a look Bart Cummings hair.
Speaker 1: Bart Cummings has a very a full ahead of hair.
Speaker 2: It's a rabbi's wig of hair.
Speaker 1: And the eyebrows was his eyebrows.
Speaker 2: They were just borrowed from John Howard. But that's my dad.
Speaker 2: How about this?
Speaker 4: My dad came as it was, he was an extra
Speaker 4: with my mum on the cup one day at and
Speaker 4: they were sitting behind Bill Hunter, and Dad said, should
Speaker 4: I have a chat to Bill? And I said probably not, like,
Speaker 4: probably not. He's pretty grumpy, especially in the mornings. He
Speaker 4: was pretty grumpy go legend, but pretty grumpy.
Speaker 2: Go in the mornings.
Speaker 4: And so Dad just couldn't resist and he tapped him
Speaker 4: on the shoulder and he said, good day Bill the butler,
Speaker 4: obviously from Muriel's wedding, right. And Bill's just turned around
Speaker 4: and Mum told the story Builders looks at him, looks
Speaker 4: him up and down and just goes. I think old
Speaker 4: Dad was devastated because he'd done it years earlier. To
Speaker 4: Eric Banner, right, shooting shooting the nugget. He came, he came,
Speaker 4: he can? I can I have a quid chat to Eric?
Speaker 4: All right, Dad, no worries. He walks up, good a chopper.
Speaker 1: He's got his strategy, hasn't he.
Speaker 7: Yeah?
Speaker 4: Yeah, it's like and and Eric, God love him, you know,
Speaker 4: gives him a nice friendly that's a dad making a joke. Laugh,
Speaker 4: you know, he goes bang. I now know what I'm
Speaker 4: going to do every time I get on set with
Speaker 4: my son. I'll see anyone famous, I'll just you.
Speaker 2: I'll just say a crack character they've maade and it
Speaker 2: should go down.
Speaker 1: Eric banners to blame. Thanks for watching all about Eve.
Speaker 1: And just obviously you haven't seen it before. I'll confess
Speaker 1: I hadn't seen it either.
Speaker 2: Can I be perfectly honest with you?
Speaker 4: I texted you last week, right, and because I said,
Speaker 4: because I looked at you all that you gave me
Speaker 4: a list of all.
Speaker 2: The suggestions of the films.
Speaker 4: And he said, you can choose one off the list
Speaker 4: if you want. But you know, I look through your
Speaker 4: whole list. It's a very extensive list. I suddenly realized
Speaker 4: I must be a bit of a nerd because I'd
Speaker 4: seen every film apart from this one. I genuinely when
Speaker 4: I texted you saying, I think there are boobs in it, right,
Speaker 4: Remember I've texted you. I genuinely thought I had in
Speaker 4: my head. All about Eve was like Deep Throat.
Speaker 2: I swear to God, I swear to God, I thought
Speaker 2: I had in my head.
Speaker 4: I went all about Eve. This sounds like there's something
Speaker 4: in there. I know, I've heard of that film, and
Speaker 4: you know Deep Throat Linda Lovelace. I thought All about
Speaker 4: Eve was like some I seriously thought I was going
Speaker 4: to see boobs, and then I was like nineteen fifty
Speaker 4: and Betty Davis went ah.
Speaker 1: Pretty quickly you would have realized, probably there's no boobs
Speaker 1: in this.
Speaker 2: No, no, but very quickly, you know what, Betty Davis
Speaker 2: big fan of Betty Davis. I assume you're a big
Speaker 2: fan of Betty Davis Well, to.
Speaker 1: Be honest, yes, But the legend of Betty Davis, I hadn't.
Speaker 1: I don't think I've seen many of her films. I mean,
Speaker 1: this is this is perhaps her most iconic role, and
Speaker 1: I hadn't seen this.
Speaker 4: Did you notice, ironically enough, she's got actual Betty Davis size.
Speaker 1: That was that occurred to me one of the odds,
Speaker 1: And I thought, hang on a second, It's like I was.
Speaker 4: When I was a kid. I got I got two
Speaker 4: rabbits for my birthday, boy and a girl. They turned
Speaker 4: out they bred like actual rabbits.
Speaker 1: This is amazing, this is amazing.
Speaker 4: So it was it was just this moment I just thought,
Speaker 4: that's fun, that's weird.
Speaker 1: I reckon. Maybe when Betty Davis was born, her parents
Speaker 1: saw her before they named her. Yeah, I saw her eyes.
Speaker 1: She got Betty Davis size, you.
Speaker 7: Know what.
Speaker 1: Davis?
Speaker 2: Yeah, yeah, but our sir Anam's Johnson, she's got better
Speaker 2: data science. But yeah, I a huge found of Bete Davis.
Speaker 2: And do you know who? I did? A BackStar? I
Speaker 2: didn't know.
Speaker 4: I'd never seen a film and hand backstering. Remember Bill
Speaker 4: Collins Hollywood, right, So I suddenly realized that I had
Speaker 4: not seen. My mom and dad used to watch that
Speaker 4: religiously on Saturday nights, you know, and have all the
Speaker 4: classic all the golden years of Hollywood stuff. And I thought,
Speaker 4: I've never seen I don't really know when enough about
Speaker 4: this and Bax, she's like she just like the camera
Speaker 4: just eats her up.
Speaker 2: She's so strikingly.
Speaker 4: Beautiful and kind of captivating and really astonishingly talented actress,
Speaker 4: and I suddenly thought, I've never seen enough. I haven't
Speaker 4: seen enough of these old films. And then you go,
Speaker 4: of course, I've seen all the Stooges films, and you
Speaker 4: know Abbot Costello film which are referenced in this film,
Speaker 4: by the way, and you know whatever, all of all
Speaker 4: of those kind of Gone with the Wind and the
Speaker 4: Wizard of Oz and all those sort of things that
Speaker 4: Bill Collins would love, but precious few of these kind
Speaker 4: of actual kind of classic I don't know how you described,
Speaker 4: but I guess I guess a little bit more sort
Speaker 4: of straightforward dramatic productions. You know that Bill Collins used
Speaker 4: to go bananas over. Yeah, and this is like I
Speaker 4: just thought it was fantastic. I love this film. I
Speaker 4: can't believe how much I loved this film.
Speaker 1: Yeah. I ended up watching it twice this week, which
Speaker 1: I did with We did Citizen Kane recently, which this
Speaker 1: that episode will air after this one.
Speaker 8: So it rosebud spoiled alert, am I No, we were
Speaker 8: just in a cafe and you ruined the end of
Speaker 8: There Will Be Blood by telling the Barista that there
Speaker 8: will be blood at the end of the movie, and
Speaker 8: now she basically knows the ending.
Speaker 2: They shouldn't record it.
Speaker 4: There will be blood. That's their own fault. Well, that's
Speaker 4: their own fault to teaser, as I said, Revenge of
Speaker 4: the Nerds. You know the nerds are.
Speaker 1: Going to get revenge, revenge, You're going to get the
Speaker 1: revenge jocks, and you know this is going to be
Speaker 1: all about Eve. I want to get to talking about
Speaker 1: the movie very soon.
Speaker 4: I didn't even think about that this film is a
Speaker 4: spoiler alert, and.
Speaker 1: Yes, this is all about it. But I mean, you
Speaker 1: could argue that, you could argue that it's not so
Speaker 1: your three favorite films, cracking, cracking films three though three.
Speaker 1: That's it is. You can do some apologies if you like, No,
Speaker 1: you're okay if you go through that. Yeah, if you
Speaker 1: think of anything along the way, this is spinal tap.
Speaker 1: It's almost in the if Susan Kane and all about
Speaker 1: It even and these kinds of movies are you know,
Speaker 1: the heightened classics for you know, drama, and this is
Speaker 1: spinal tap is somewhere in that realm for comedy.
Speaker 4: Look, I think it's the absolute, absolute quintessential mockumentary. This this,
Speaker 4: this mockumentary which was made in I think I'm going
Speaker 4: to say eighty two, early eighties, yep, is just every
Speaker 4: mockumentary that's come since.
Speaker 2: Ohs. A debt of Gratitude to Spinal Tap.
Speaker 1: Yeah.
Speaker 4: Rob Riiner directed this film and plays Marty de Burgie,
Speaker 4: the director within the film, in the which is effectively, sorry,
Speaker 4: just a bit of backstory anyone hasn't say it.
Speaker 2: It's about a band called Spinal Tap.
Speaker 4: And this is a mockumentary which is about, you know,
Speaker 4: following the sort of the I guess a huge famous
Speaker 4: hard hard rock band on the on the way out.
Speaker 1: Yeah, they're a heavy metal band from England, and that
Speaker 1: this is an American tour thereon.
Speaker 4: Yeah, and they've kind of you know and even funnily enough,
Speaker 4: you say, you know, the mock shed have come since then.
Speaker 2: A dead of gratitude to Spinal Tap.
Speaker 4: Christopher Guest, who plays Nigel Tafnell in this film, the guitarist,
Speaker 4: he of the very famous line but it goes to eleven.
Speaker 4: He ended up directing films like Waiting for Guffman, Best
Speaker 4: in Show, a Mighty.
Speaker 2: Wind, all these incredible.
Speaker 4: Ensemble mockumentary with with you know, with his favorite actors
Speaker 4: like Katherine O'Hara and Eugene Levy, you know, a Parker
Speaker 4: Posi and a cavalcade of all these really brilliant Yeah,
Speaker 4: Fred Willard comedic actors who they kind of get together once,
Speaker 4: you know, once every couple of years. It seemed there
Speaker 4: for a while, and they would make these classic films.
Speaker 4: Not the last one, whatever that last one was.
Speaker 1: For your consideration, mightn't mind that one. Actually there might
Speaker 1: have been one after. That's the one where they are
Speaker 1: basically going for an oscar.
Speaker 2: Right, No, No, I think there was one after.
Speaker 4: You know, I can't even literally we can't remember what
Speaker 4: what the topic, what I knew all the people were
Speaker 4: in it. Yeah, I don't remember what it was about
Speaker 4: or what happened. I just remember being so thoroughly disappointed.
Speaker 4: But Christopher Guest, who kind of obviously did a gratitude
Speaker 4: to Rob Ryaner's genius, but also you know, Waiting for
Speaker 4: Guffman is kind of up there with almost as highly
Speaker 4: my regard as as this is Spinal Tap. But Spinal
Speaker 4: Tap just it just nailed it. It nailed the in
Speaker 4: terms of lampooon in a particular industry as well, you know,
Speaker 4: lampooning that hard rock industry, and the pitfalls and the
Speaker 4: you know, the the the folly of kind of stardom
Speaker 4: in particular, fading stardom. And it's just it's a film
Speaker 4: that I've seen I reckon a hundred times. And it's
Speaker 4: no exaggeration, it's very It sounds like a lot, but
Speaker 4: it's I could honestly, I've seen it a hundred times.
Speaker 1: And have you listened to the commentary DVD, commicy.
Speaker 2: It's a whole new movie.
Speaker 1: It's so funny.
Speaker 2: Mate, It's and that's the thing.
Speaker 4: Anyone out there who has watched a bunch of times,
Speaker 4: put the commentary on if you haven't done so, because
Speaker 4: it it's a new movie. It's a brand new movie,
Speaker 4: and it's amazing. It's like putting it's like putting Tommy on,
Speaker 4: you know, at the start of the Wizard of Oz
Speaker 4: or whatever was it Tommy? Was it the Who the
Speaker 4: Who album? Tommy at the start of the Wizard of Oz.
Speaker 4: And apparently it's meant to you know, play to the
Speaker 4: whole thing with that commentary. That's that's that's the Tommy
Speaker 4: with the Wizard of Ours.
Speaker 1: I've never done that, Tommy with the Why haven't they
Speaker 1: that it might be a complete myth?
Speaker 2: I don't know.
Speaker 1: Start playing. Okay, computer at the start of Porky's Revenge,
Speaker 1: it's amazing.
Speaker 2: You it was. Police are got to be Mission to Monster.
Speaker 1: Come on, always get those films, movies, titty movies, Porky's Revenge,
Speaker 1: that one and All about It, favor No.
Speaker 2: What was the one? And this is? And these are
Speaker 2: a by going here? Right?
Speaker 4: No bikini shot with the two way mirror. You just
Speaker 4: don't see movies like that anymore?
Speaker 1: Is that the one? Tim Robbins was in an early
Speaker 1: one The Fraternity vakeer Haitian. Yeah he played mother.
Speaker 4: Yeah, yeah, yes, yes, you go there, you go, of course,
Speaker 4: don't forget, don't forget.
Speaker 2: Sean Penn as Spacoli in The Fast Time as a
Speaker 2: Ridgemond High.
Speaker 1: Yeah fast, I've ridged on High. Feels like it's it's
Speaker 1: a notch above some of those.
Speaker 2: Okay, right, I think, okay, maybe it is one notch.
Speaker 1: It's not, it is one not. Dirty Running Scoundrels is
Speaker 1: a delightful film. Steve Martin, Michael Kaine.
Speaker 4: Going through this, I listened to your to this podcast
Speaker 4: where you had our mutual friend Phil Lloyd on, and
Speaker 4: he was talking about planes, Trains and Automobiles being one
Speaker 4: of his top.
Speaker 1: Three and one of my top three.
Speaker 4: Well, it was going to be in my top three
Speaker 4: as well, I thought, you have to Well, no, no, But
Speaker 4: the thing is is, like I've realized it, probably fairly.
Speaker 4: I would say, I've got fifty films in my top
Speaker 4: in my top in my head that I could rattle
Speaker 4: off as my favorite films. Right, I've noticed seven of
Speaker 4: them of Steve Martin films. Wow, right, so dirty rotten
Speaker 4: Scoundrels is a masterpiece. Planes, Trains and Automobiles parenthood amazing,
Speaker 4: so brilliantly today, like all these films have not dated
Speaker 4: a second. Three Megos, three Amigos, The Jerk, the Two Brains.
Speaker 1: The Lonely Guy you love, the lonely Guy, lonely guy,
Speaker 1: only guy.
Speaker 2: I've had a blank on the lonely Guy.
Speaker 1: The Lonely Guys is a great one. He just plays
Speaker 1: a lonely guy spoilerer.
Speaker 2: Is he a lonely guy? What is going on with these.
Speaker 1: Come on guys?
Speaker 4: Trying to be a little bit more cryptodata The Man
Speaker 4: with Two Brains again, right, No, that last was that
Speaker 4: last Steve Martin anyway.
Speaker 1: Another one that Steve Martin, one that more recent more
Speaker 1: recent ones ever a decade ago that Mark Humphreys absolutely
Speaker 1: gave a big pump up and I watched it afterwards
Speaker 1: I already said that both.
Speaker 2: Oh, there you go. That's that's it.
Speaker 4: That's the film, right, and it's like and then and
Speaker 4: that was in that period, well, that was in the
Speaker 4: sort of the start of the period where Eddie Murphy
Speaker 4: started to go, oh my god, it's like Eddie Murphy
Speaker 4: was doing about Eddie Murphy impression. But that film is
Speaker 4: so it's like Eddie Murphy still in his prime kind
Speaker 4: of did you ever see Chevy Chase is one of
Speaker 4: my favorite all time actors and you see him now
Speaker 4: and it's like he's doing a bad Chevy Chase impression.
Speaker 2: Yeah, and then all those kinds of things where you
Speaker 2: just said, they've got that perfect.
Speaker 4: I think it was rehab and then going to rehab
Speaker 4: was bad for Chevy.
Speaker 2: Putting I'm putting it out there. I think rehabs good
Speaker 2: for most people.
Speaker 4: Let's be frank, all right, it would have been good
Speaker 4: for Amy One House but it wasn't.
Speaker 2: She didn't go.
Speaker 4: Chevy came out of rehab and then just went, I'm
Speaker 4: going to do Vegas vacation.
Speaker 1: Yeah, you know what I mean. Well, and also there
Speaker 1: were for those who haven't followed Chevy Chase's career and
Speaker 1: even maybe read some of those books that have been
Speaker 1: written about apparently quite the asshole. I've heard this, yeah, yes,
Speaker 1: and I've even heard it with people who have worked
Speaker 1: with him and this, Yeah, he's tricky.
Speaker 4: Yeah yeah, and he I read an article about him
Speaker 4: and Lawn Michaels at a wedding a couple of years ago,
Speaker 4: and he basically said to Laura Mark and Law it's
Speaker 4: so sad for Chevy to actually have this written because
Speaker 4: someone had quoted Lawn Michaels as telling them that this
Speaker 4: conversation had happened. Where he turns to Lawn Michaels. They're
Speaker 4: sitting on the spare dicks at a wedding table, and
Speaker 4: he goes, Lawn, let's make a movie together. Let's let's
Speaker 4: get the let's get the band back together. Let's let's
Speaker 4: do this, and Lrane had to turn to him and say,
Speaker 4: the ship sailed right, you know, like that horrible moment
Speaker 4: where it's kind of like he would probably still feel like,
Speaker 4: you know, because he's in what's the community community, right,
Speaker 4: and he's and he's actually, if you didn't know, if
Speaker 4: you didn't know Chevy Jay, you saw this too.
Speaker 2: You got good performance. Like he's good, right, he's not
Speaker 2: the Chevy from back in the old days, but it's
Speaker 2: like I think in his head.
Speaker 1: Yeah.
Speaker 4: Anyway, it was just really interesting thing to read that
Speaker 4: you kind of almost you kind of you kind of
Speaker 4: reap what you sew and and that perhaps his attitude
Speaker 4: when he was at the top of his game might
Speaker 4: have well.
Speaker 1: I think, you know, anyone who's had success in entertainment,
Speaker 1: you have a certain period of time now to make
Speaker 1: Hay you while the sunshine it can still last, that
Speaker 1: can last for decades, yes, but if you squander it
Speaker 1: through you know, misbehavior or being unprofessional, oh man, then
Speaker 1: it can disappear and it can most most likely not
Speaker 1: come back.
Speaker 2: And you want to be shipped hot, yeah, like you
Speaker 2: want to be You want to be robbing down r
Speaker 2: to get away with You want to be God loving
Speaker 2: Russell to get away with some of the stuff that
Speaker 2: Russell's pulled off or whatever. You know, you want to
Speaker 2: be really, really really great, especially in our country where
Speaker 2: it's like I often and and you know, there is
Speaker 2: a common misconception in our game, in our country where
Speaker 2: there'd be people in a lot of people in the
Speaker 2: entertainment industry, a bunch of assholes. I think it's a misconception.
Speaker 4: They exist just like they just anywhere, and there might
Speaker 4: be a few more of them, who knows right, because
Speaker 4: of ego and all that sort of crap. But but
Speaker 4: it's fascinating to me when I see them pop up
Speaker 4: just every now and then you'll see like a star turn,
Speaker 4: you see a Tangy on set or whatever in a
Speaker 4: low budget Australian thing where we are pumped for time.
Speaker 4: There is no coming back tomorrow to reshoot this scene.
Speaker 4: This is the day we shoot this scene, and you're
Speaker 4: going to start slowing shit down and storm off.
Speaker 2: It fascinates me because.
Speaker 4: It's so so short sighted.
Speaker 2: Yeah, and so like I just think, always ever think.
Speaker 4: And I've only seen it a few times and I'm
Speaker 4: captivated by it.
Speaker 2: I don't get me wrong, I love watching it. Just
Speaker 2: sit back and grab myself a cup of tea and
Speaker 2: just check it out. But then you as they walk off.
Speaker 2: You think you'd want to be good, Yeah, like you
Speaker 2: want to be real good.
Speaker 1: Because you know you have worked on as many film
Speaker 1: and TV cruises as almost anyone in this country. You know,
Speaker 1: cruises go from one prage to another, and that shit
Speaker 1: gets spoken about.
Speaker 2: Oh yeah, yeah, there is so much.
Speaker 1: Talent in this country. You don't you know, it's part
Speaker 1: of the conversation when you're.
Speaker 2: Casting the and we don't mind a chin wag of
Speaker 2: all the industries, like oh don't yeah, don't be don't
Speaker 2: be doing that in many people.
Speaker 1: I mean, don't get me started about Lisa I will
Speaker 1: I will not be drawn into it. And Lloyd show
Speaker 1: Biz soul mate s b A the worst show massive.
Speaker 4: You're not gonna you wouldn't tell him that I said that.
Speaker 4: You keep that between us.
Speaker 1: Absolutely, yeah, absolutely, These microphones aren't switched on. Ye all right,
Speaker 1: but but butg on schedules. As as as a film,
Speaker 1: it's just it's such, it just moves. It's such a funny,
Speaker 1: a great pace and it's just funny.
Speaker 4: It's beautiful and the revelations in the twists and the
Speaker 4: turns in the plot. So basically, if anyone who hasn't
Speaker 4: seen it. It's it's Steve Martin is a small time
Speaker 4: con man who's basically getting around the French Riviera, ripping
Speaker 4: off single women by basically being a playboy and doing
Speaker 4: him over and thinking he's going to make a career
Speaker 4: out of this. He's just going to happily live his
Speaker 4: life doing this forever. And it's his turf, this is
Speaker 4: his Boumont sir, oh no, no, sorry, So his turf
Speaker 4: is you know, around the area. So then he finds
Speaker 4: out he decides to go under Boumont Sumere, which is
Speaker 4: this place where he you know, hears that there's just
Speaker 4: all these retire ladies, retired single women. He goes, this
Speaker 4: is going to be it, and that's when he meets
Speaker 4: That's when he meets Michael Kain who's basically, if he
Speaker 4: thought he was good at being a connor man, Michael
Speaker 4: Kinane is the.
Speaker 2: Daddy of the entire thing. Steve Martin is poorly sure
Speaker 2: to Michael Kaine's Robert de Niro. He's like the boss.
Speaker 4: Man, and and you know they end up getting in
Speaker 4: ghurts and yeah, it's it's.
Speaker 2: It is honestly one of and in.
Speaker 4: Terms of you know, formula bothers me a lot in
Speaker 4: film and I think in film writing, and I understand
Speaker 4: that formula is important, but that kind of strict adherence
Speaker 4: to formula at all costs, without any without any kind
Speaker 4: of ability to massage the edges of that, it bothers
Speaker 4: me a little bit. But I think Dirty Rotten the
Speaker 4: Scoundrels as an example of a script that does not
Speaker 4: find itself beholden to those rules, and it's kind of
Speaker 4: it's got its own rhythm that I don't think I've
Speaker 4: seen before and I don't think we'll see again executed
Speaker 4: quite as perfectly as.
Speaker 1: That film directed by Yoda.
Speaker 2: Directed by Yoda. Yeah, that's right. Yeah, four and seventy.
Speaker 2: How old Yoda?
Speaker 1: Well it wasn't he five hundred in Empire?
Speaker 2: Okay, So he's been around.
Speaker 1: And he's made some films. I mean, like that's one
Speaker 1: of his good films. Yeah, you don't hear about the
Speaker 1: ones that didn't quite work. Making little great movies around
Speaker 1: the Dagga Bar Swamp.
Speaker 2: Yeah, that was like in his form in his formulaic period,
Speaker 2: you know what I mean, Like, you've got to got
Speaker 2: to make a few mistakes, got to kiss a few
Speaker 2: from us.
Speaker 1: I mean a bit harsh on Yoda that he never
Speaker 1: got the director Star Wars movie.
Speaker 2: Isn't that shocking? Tiger's just stepped in there.
Speaker 1: He's going to direct the next Yeah, playda, that's exciting though,
Speaker 1: I say, hey, Back to the Future has has popped
Speaker 1: up a couple of times. What a phenomenal film.
Speaker 2: Yeah, it really is.
Speaker 4: And you know, if if any of you, you and
Speaker 4: I of the same milk, of the same of the
Speaker 4: same vintage. And it was I remember, very distinctly, nine
Speaker 4: years old Ballwin Cinema. I knew I had seen the
Speaker 4: best film I would ever see.
Speaker 2: When I was nine, I just went I was so.
Speaker 4: Dazzled and just perplexed and enthralled and excited and.
Speaker 2: Like a little bit horny too, Like I was nine,
Speaker 2: and he was going to kiss he was going to
Speaker 2: kiss Jennifer on them.
Speaker 4: Well that's funny, No, no, no, son, you know he's about
Speaker 4: to kiss Jennifer on the park bench and then get in.
Speaker 4: But that's me his mum. Okay, so one of my
Speaker 4: favorite films. But let's just break it down a bit.
Speaker 4: His mom is a sex pets yes right, yeah, yeah,
Speaker 4: and she like, do we know I don't I know?
Speaker 4: We weren't big on like enthusiastic consent back in those days.
Speaker 4: And we did mention Revenge of the Nerds the other
Speaker 4: day just before we're in, which the heroes basically break
Speaker 4: into the sorority house and do what they call panty
Speaker 4: raid and put in cameras and so basically like they
Speaker 4: are a bunch of sex pists and they're our protagonists
Speaker 4: and our heroes. Martin with Fly's mum. She's there with
Speaker 4: Calvin Klein in the car and basically she's not taking
Speaker 4: over an hour. She is going to have her way
Speaker 4: with him, only interrupted by the next rapist, BIV, who
Speaker 4: now wants to come and rape her. So it's not
Speaker 4: the themes of this fellow are not great that, Frank,
Speaker 4: It's not like I was thinking about the other day.
Speaker 4: Gree Greece is another one, like we kind of go
Speaker 4: such a catchy musical, Oh yes, goes really catchy with
Speaker 4: a theme and the moral of the story is if
Speaker 4: you don't.
Speaker 2: Put out, you areinn't going to be popular. Yeah, you
Speaker 2: get those leather pants on, let's get clapping, let's get rooten,
Speaker 2: and let's get popular.
Speaker 1: Well the theme, yeah, absolutely, that whole Yeah, that's one
Speaker 1: of the biggest things about it when you watch it now,
Speaker 1: I living John kind of you know who's beautiful, tell
Speaker 1: me about it. It has to basically be sewn into
Speaker 1: a leather outfit.
Speaker 4: Yeah yeah, yeah, while all the little weird little sex
Speaker 4: pests are behind. They are doing catchy, little catchy little
Speaker 4: dance moves and little tongue movements.
Speaker 1: I know what we're saying is thirty five years ago.
Speaker 1: So everyone was a sex past and we've come a
Speaker 1: long way.
Speaker 4: I think so, which you know what, And there's quite
Speaker 4: a seamless little link into all about Eve here too,
Speaker 4: because this is a This is all about Eve is
Speaker 4: a is a feminist piece.
Speaker 2: It's not. It's I've kind of read up some.
Speaker 4: Bits about because I want to sound really intelligent, and
Speaker 4: now I've told you that I read up, so I'm
Speaker 4: not going to sound but I can read.
Speaker 1: Yeah, I have notes as well. I've done some big.
Speaker 4: So so you know, it's a feminist it's a feminist tale,
Speaker 4: but far out there are some serious problems with calling
Speaker 4: it a feminist film.
Speaker 1: Now yeah, yeah, yeah, I guess I guess everything. Like
Speaker 1: doing this podcast, I've really learned how things can can
Speaker 1: Movies are still alive in a way. We spoke about
Speaker 1: I don't want to stay too much before we actually
Speaker 1: get to that episode. But when we spoke about Citizen
Speaker 1: Kane with Mark Samuel Bernaro from Arni Donner, we've kind
Speaker 1: of spoke about how watching even Citizen k Now to
Speaker 1: even like five years ago is different because they've had
Speaker 1: Trump since then, and we even know more about the
Speaker 1: Murdock medium and maybe how they work and wet, so
Speaker 1: we put that filter on it. So the movie is
Speaker 1: kind of still alive. And I think with the Awakening
Speaker 1: we're all having about, you know, lots of things about society,
Speaker 1: like these films are kind of still the changing. Oh
Speaker 1: and that doesn't mean we have to you know, discard them.
Speaker 1: And it's every individual's choice what films they decide to not,
Speaker 1: you know, visit anymore, revisit.
Speaker 4: I thought there was just a couple of people in
Speaker 4: a room deciding what's going to be canceled and what's not.
Speaker 1: Yeah, I did they work a Twitter.
Speaker 2: Okay, you're not in that.
Speaker 1: I'm not in there. I'm not in there. I applied, Yeah,
Speaker 1: got back and.
Speaker 4: May realized that you wrote I love you too, major bubble.
Speaker 2: This is everywhere is every I can't get it because.
Speaker 4: I was the cinematographer and the puppetry that it's very
Speaker 4: very easy to get canceled these.
Speaker 1: Days, it's very easy. I it's no, it's really fascinating.
Speaker 1: I mean this and this Joseph Mankowitz. So we'll move on.
Speaker 4: To Yeah, so was I need to do that segue?
Speaker 4: That wasn't my job to do that.
Speaker 1: It wasn't yours. But this is helpful.
Speaker 2: This is okay, hugely telling me when I'm helpful, guests,
Speaker 2: it's gonna be all re edited.
Speaker 1: You'll barely appear in the episode.
Speaker 4: Mat just get replaced by I don't know what Phil
Speaker 4: Lloyd bring full back.
Speaker 2: Hi, I'm Phil Lloyd and my three favorite film.
Speaker 1: Yeah, yeah, really good. If if he hasn't been canceled
Speaker 1: by then yeah, all about it. So it's written and
Speaker 1: directed by Joseph macwitzy, as I mentioned in the intro,
Speaker 1: the brother of Herman macwitz rog Citizen Kane, and he
Speaker 1: was kind of he was seen as, yeah, a feminist.
Speaker 1: And I've actually listened to you know, chatting podcasts even
Speaker 1: about him and women saying like, you know, they still
Speaker 1: can't believe how good he was at writing female relationships well,
Speaker 1: because he wrote he wins the Oscar of the year
Speaker 1: before this for a Letter to Three Wives, which I
Speaker 1: think he wrote and directed as well, which is a rare,
Speaker 1: rare feet I'm not sure how many times that has happened.
Speaker 1: But and this movie is the only movie with four
Speaker 1: actresses nominated for uscers.
Speaker 2: And very diverse women too.
Speaker 4: There was tall ones, there were tall ones and short ones,
Speaker 4: and you know, he's really diversity.
Speaker 2: Was back in nineteen fifty there was different.
Speaker 4: But having said that, that is this film is peculiar
Speaker 4: as a nine m fifty film as something that is
Speaker 4: that is a such a strong vehicle for these amazing
Speaker 4: female actors, right the blokes.
Speaker 2: The women wipe the floor with the blokes in this film.
Speaker 1: There's one bloke. I thought, actually, I'm just like they
Speaker 1: wipe the floor. But they are the stars. Like, yeah,
Speaker 1: Betty Davis I think is the star. Yeah. And and
Speaker 1: Baxter is right behind it. Yeah. But I would also
Speaker 1: give some even Karen yes less Home played Karen. I
Speaker 1: will give a bit of kudos to Addison George Saunders,
Speaker 1: who played Adison de Witch, who wins the Oscar for
Speaker 1: at spotting actor. Right by the way, none of the
Speaker 1: women all miss out on oscars for this. They all
Speaker 1: miss out.
Speaker 4: Yeah, right, But the one thing, okay, so Adison de Witt,
Speaker 4: So Adison do Wit plays the critic, and I love
Speaker 4: I want to later. I want to read his opening.
Speaker 4: I've written it down. That's cheating, I know, but I
Speaker 4: want to read his own.
Speaker 1: I'm glad you did, because I actually I wanted to.
Speaker 1: I wanted to play that. I couldn't actually find it
Speaker 1: on YouTube where we usually grab that clips from.
Speaker 4: It's so good, and he's just he's a critic and
Speaker 4: he's like the mustache twirling. He's the he's the antagonist
Speaker 4: right in this film. And but the one thing about
Speaker 4: his character, and the one I guess the way he
Speaker 4: chose to play it, or the way he was directed,
Speaker 4: or the way it was written, or probably a blend
Speaker 4: of all of them, is he's not interchangeable. The other
Speaker 4: blokes are interchangeable, yes, right, And I think this was
Speaker 4: This is why I say as peculiar for a film
Speaker 4: of from seventy one years ago, that that often it
Speaker 4: would have been the other way around. It was the
Speaker 4: female roles that were kind of interchangeable. That was sort
Speaker 4: of serving the purpose of all of these male protagonists.
Speaker 2: And this film is like you look at the you
Speaker 2: look at Bill, who's the Who's the writer?
Speaker 1: And Bill Simpson is the boyfriend of of Margo.
Speaker 2: Yeah yeah.
Speaker 1: And then you have Lloyd he's the playwright.
Speaker 2: Lloyds the play right, so play Bill and Lay.
Speaker 4: You look at those two blokes and they're just like
Speaker 4: same haircut, months of slightly darker hair, same performance, same dude.
Speaker 2: Like they're not.
Speaker 4: There is not a great deal of distinction between them.
Speaker 4: Both egger maniacs, both think that they're kind of, you know,
Speaker 4: in charge of things when they're actually not.
Speaker 1: But I softened with Bill, Like when we first meet Bill,
Speaker 1: he's gone complaining that Margo's holding him up and he
Speaker 1: has to get to the app. I actually softened to him.
Speaker 1: I thought he actually was Like there was an interesting
Speaker 1: the choices he made as far as as far as
Speaker 1: not you know when she tried to beduced.
Speaker 4: By Eve, so evesuicing. You know what I love in
Speaker 4: that scene too, and this is you don't get away
Speaker 4: with this anymore.
Speaker 2: You've got Addison deal with the antagonists, and he's he's
Speaker 2: walking up to the to the dressing room, so Eve's
Speaker 2: just done.
Speaker 4: She's been she's the understudy for Margo. She's just done
Speaker 4: her first a performance on stage. Everyone has just been
Speaker 4: absolutely blown away. The critic is about to go and
Speaker 4: go to her door and basically just have his way
Speaker 4: with her.
Speaker 2: I guess I don't know what.
Speaker 4: He's gonna do, but he overhears the conversation between her
Speaker 4: as Eve is hitting on Bill Simpson, and he uses
Speaker 4: his cane.
Speaker 2: To just gently push the door ajar.
Speaker 4: And the staging of the scene is like, hang on,
Speaker 4: aren't they looking straight at it?
Speaker 2: Like you just don't get it over?
Speaker 4: Like the logic of it didn't matter, because it was like, ah,
Speaker 4: I know what he's doing.
Speaker 2: He's over hearing something. You know that old chestnut where
Speaker 2: if you or I submitted a script tomorrow to some
Speaker 2: funding body, they say, okay, let me guess he just
Speaker 2: overhears the conversation from outside the room. Lazy that's up
Speaker 2: there with He woke up and it was all a
Speaker 2: dream mate.
Speaker 4: You don't get away with it anymore. So he's standing
Speaker 4: there and she's hitting on Bill and Bill, yeah, you're right,
Speaker 4: he knocks her back.
Speaker 2: But what I love about it, well, it's like, yeah, it's.
Speaker 4: A feminist film, but Bill knocks her back by saying,
Speaker 4: what I go after?
Speaker 2: I want to go after and wanted to come after me.
Speaker 2: They're doing a bit. It's not ely fifty, they're doing it.
Speaker 2: It's just like still like that moment.
Speaker 1: It's funny where even you know, I think it's even
Speaker 1: exists in twenty twenty one. Even when you are trying
Speaker 1: to be good, whether you're male, female, or otherwise, you
Speaker 1: don't always get it right, like this is this is
Speaker 1: something you know, like I'm sure Joseph Mankowich wrote that
Speaker 1: the best intentions and even that line, you know, but yeah,
Speaker 1: that line does kind of stand out as like, Okay,
Speaker 1: you kind of you ruined it with that a little bit.
Speaker 4: Yeah, yeah, you know, like you know, Eve is so
Speaker 4: so just just a bit of backstory. So Eve is,
Speaker 4: you know, this very very ambitious young woman who basically
Speaker 4: wants to usurp the big famous star in Margo in
Speaker 4: Bennie Davis, right, So she basically is from the day
Speaker 4: from the word go, she is basically planning to take over.
Speaker 4: She's got this domination thing in her head. And then
Speaker 4: she goes after Bill. So she goes after the the
Speaker 4: director Sorry, the right. Oh god, I always mixes up anyway.
Speaker 4: The director Bill Simpson, Right, So this is Margo's husband,
Speaker 4: and so when she's when, she basically gets someone else
Speaker 4: to ring up and pretend that she's ill, so that
Speaker 4: Bill has to get out of bed and go over
Speaker 4: to her place, and we don't see what happens, but
Speaker 4: we assume nothing happens because Bill's another guy.
Speaker 2: He's the same.
Speaker 4: Guy as Lloyd, of course, exactly the same character, and basically.
Speaker 2: Says no, no, I don't want to do that or whatever.
Speaker 4: And then so Eve Tells tells Addison de Witt, the critic,
Speaker 4: you know that the Bill and I have to be married,
Speaker 4: you know, makes up this entire ruse, and the resulting
Speaker 4: scene is basically him just saying, no, you're lying to me,
Speaker 4: because you're going to be mine, And when she laughs
Speaker 4: at him, he slaps her across the face and you
Speaker 4: think he going, oh, like that's kind of enough, and
Speaker 4: you think, oh, yeah, she gets a revenge. It's like, nah,
Speaker 4: she just kind of well.
Speaker 1: She tries to ask him out of the door, and
Speaker 1: he says, you're not tall enough for that or something.
Speaker 4: And you will be mine. Yes, after tonight, I will
Speaker 4: own you. That's what he says after it's not I
Speaker 4: will own you.
Speaker 2: And it's like.
Speaker 1: I had I had a slightly outside of the slapping
Speaker 1: across the face and all that, But as far as
Speaker 1: him saying I will own you, I never kind of
Speaker 1: saw that as him saying I will own you in
Speaker 1: a kind of like as you in a sexual kind
Speaker 1: of way, or like you know, it's like, I'm the
Speaker 1: biggest critic in town and your career is mine. I
Speaker 1: am in charge of your right.
Speaker 2: Okay, the more sinister because.
Speaker 1: Well because he just slapped her right, maybe I'm reading
Speaker 1: it wrong, but that's how I I took.
Speaker 4: It's fine, And you know, with all these things that
Speaker 4: have changed, it's critics, haven't.
Speaker 1: Critics is the last song?
Speaker 4: Yeah, and now the problem is everyone's a critic, so
Speaker 4: everyone thinks that they can now that now destroy it.
Speaker 2: It comes back to cancel culture as well, doesn't it's.
Speaker 1: Ever been Has there ever been a sympathetic critic betrayed?
Speaker 2: Sympathetic critic betray that's really good.
Speaker 1: But when it kind of comes to the mind, which
Speaker 1: is certainly not initially sympathetic, but we kind of grow
Speaker 1: like him is in the movie Chef oh oh yeah, yeah.
Speaker 4: Yeah, right, and you can actually can get the human
Speaker 4: side of him, yeah.
Speaker 2: Eventually, but it takes a fair while.
Speaker 1: Yeah, because you have John Favreau, John Favreau who who
Speaker 1: it's almost seen from his point of view that he
Speaker 1: hates him straight away and then and then he kind
Speaker 1: of sucks up and it gets.
Speaker 2: About securely because he's a critic, yes, yeah, yeah.
Speaker 4: And I've got some that I don't dislike a lot
Speaker 4: of people, but a couple of them critics in this country,
Speaker 4: and I just I think they're very negative and very angry,
Speaker 4: mean people. But that not that's not across the that's
Speaker 4: not across the bold. It's not because they're critics by
Speaker 4: any stretch. It's more about the intent and the and
Speaker 4: the I don't know, there is a genuine some some
Speaker 4: have a genuine disregard and distaste for anything that's not.
Speaker 2: Something that they love.
Speaker 4: Effectively, they're either going to love it or they're going
Speaker 4: to pan the shit out of it and basically talk
Speaker 4: about what happened in the cinema while they're in the cinema.
Speaker 1: Oh yes, when you see any reviews, whether it be
Speaker 1: for film or live comedy shows or theater, when you
Speaker 1: when the review is more about what's happening around and appose.
Speaker 4: It's about the ego of the person writing it and
Speaker 4: who can be funnier in their denouncing of someone's work
Speaker 4: or whatever. And I'm not saying you have to, you
Speaker 4: don't have to just say you like things to be
Speaker 4: nice at all, but can get that's that flight of
Speaker 4: the concord line, be more constructed with your feedback, you
Speaker 4: know it.
Speaker 2: Would be nice.
Speaker 4: Yeah, you know, I think I reckon still are the best,
Speaker 4: the best, the best critic.
Speaker 2: Portrayed on film.
Speaker 4: Is one of my other favorite films in my top
Speaker 4: fifty is History of the World, Part one, the mel
Speaker 4: Brooks film, in which you've got the first artist and
Speaker 4: he's a caveman and he's doing a drawing of the
Speaker 4: thing on the on the on the wall, and everyone's
Speaker 4: going and the first critic and another caveman gets up
Speaker 4: on the rock and just pisses.
Speaker 2: All over it.
Speaker 4: It's just like that reminds me of some of the
Speaker 4: people that I genuine distaste in our industry.
Speaker 1: Let's go back to the start of we're talking all
Speaker 1: about Eve, because it's it's quite interesting because obviously Joseph
Speaker 1: Makowitch would have seen Citizen Kane, and I feel like
Speaker 1: he's taken some of the flare from that. There's so
Speaker 1: much innovative stuff that happened in Citizen Kane, including that
Speaker 1: kind of floating camera, And I feel like this movie,
Speaker 1: across the board, there's not a lot of tricks to it,
Speaker 1: like this blocking in the staging is quite simple to
Speaker 1: the fact where Allison Dewitty is just standing in the
Speaker 1: doorway pretending to.
Speaker 2: It's a theater show.
Speaker 4: It's you know, that's saying is on sane yes, which
Speaker 4: is interesting because and in this film is sort of
Speaker 4: described as that and it's and it's also known as
Speaker 4: like imember what the actual saying is, like it's, it's,
Speaker 4: it's it's known as like films undefined saying or whatever,
Speaker 4: like no one quite.
Speaker 2: Knows what it is, but it's.
Speaker 4: I think this general sense of it, as far as
Speaker 4: I understand is is allowing the scene to kind of
Speaker 4: happen in its natural environment.
Speaker 2: Right.
Speaker 4: So this film and It's and It's and it's kind
Speaker 4: of typical of a lot of the films of it's
Speaker 4: of its era.
Speaker 2: They didn't need they didn't need to do.
Speaker 4: Twenty setups in for in scenes, they didn't need to
Speaker 4: cover every single every single angle, and there's some angles
Speaker 4: which you're kind of confusing because you can't see the
Speaker 4: face of the person who's like when when Karen, you know,
Speaker 4: she's reading the review, which is basically having a go
Speaker 4: at Margo, but it's but it's effectively about about Eve's performance.
Speaker 4: You don't even see her face when she kind of
Speaker 4: sees has this, has this? You know, you don't you
Speaker 4: don't see that anymore. You don't get that anymore. You're
Speaker 4: not allowed to do that in film always, you know.
Speaker 4: But these these scenes can go for, you know, for
Speaker 4: a minute without a cut, and they hold on a
Speaker 4: two shot. It makes it very theatri and it relies
Speaker 4: on the skill of people like you know, Betty Davis
Speaker 4: and Backstads and'll be able to kind of pull that
Speaker 4: stuff off, and they do brilliantly.
Speaker 2: But yeah, it's not it's it. I like that idea.
Speaker 4: I like the fact that it's indefinable because I don't
Speaker 4: sound as stupid as I probably could sound by not
Speaker 4: being able to say what Misson's saying is.
Speaker 2: But after saying it, you know it.
Speaker 1: Means in a very simple way, miss Unsene. This basically means, yes,
Speaker 1: keeping the camera going less cut spaceically, you know, like
Speaker 1: you know, very simple to it's almost like a scene.
Speaker 1: Doing it as a scene, as a one in one shot, Yeah, yeah,
Speaker 1: it is.
Speaker 2: And he'll and he'll pick out those moments.
Speaker 4: It'll be like if someone comes through the door, bang,
Speaker 4: re cutting to the door to see who's coming through
Speaker 4: the door, and that then that then kind of you know,
Speaker 4: breaks along into becoming a three shot or whatever. But
Speaker 4: you know, in this day and age, there are people,
Speaker 4: there are directors, and there are something in this country
Speaker 4: who do it really well when they can win the
Speaker 4: battle to not have to do every close up. Matt
Speaker 4: Saville is a really good example of one of our
Speaker 4: best directors who can just hold on a lonely wide
Speaker 4: shot with a billowing curtain for a minute where everyone
Speaker 4: else would be so nervous, and when he's showing the
Speaker 4: cut to whoever the hell paid for it, they will
Speaker 4: be sitting there going, where's my close up?
Speaker 2: You know, where?
Speaker 4: Why aren't I seeing you know, the one hundred mil
Speaker 4: on Pete's eyes while he's listening to the big information
Speaker 4: coming to.
Speaker 2: It, all that sort of stuff, And I like this.
Speaker 4: I like that part of the direction is it makes
Speaker 4: it for me, so it feels more, a little bit
Speaker 4: more theatrical and a little bit more kind of allows
Speaker 4: those those incredible actors to kind of bring that naturalism to.
Speaker 1: One of my favorite shots or scenes we ever did
Speaker 1: and it's a date, which you're a part of that
Speaker 1: series here we Ga, but it wasn't that that episode.
Speaker 1: It was it was a scene with Jimo and their mailman,
Speaker 1: and that these are these two characters just met on
Speaker 1: the street Jimo and Savesdeb's character she gets a heel
Speaker 1: caught in the tram tracks and they go off and
Speaker 1: one of those before Sunrise style kind of like they
Speaker 1: go off and almost the day turns into a date
Speaker 1: kind of thing, and they're at the launch of Matt
Speaker 1: and they're at the window and they're just chatting about
Speaker 1: Jim Man's carriage, talking about what the perfect cup of
Speaker 1: tea is like. And Jonathan Brow was directing, who's a
Speaker 1: great comedy director, did a lot of these dates of
Speaker 1: certainly the first series and Rose Haven more recently, and
Speaker 1: he he just had this came up behind them, so
Speaker 1: they're kind of like face I guess forty five degrees
Speaker 1: kind of looking at each other, but also looking out
Speaker 1: the window a bit, and he just stayed. He shot
Speaker 1: one take, which I guess was the master he was thinking,
Speaker 1: but he just slowly moved the camera into them, and
Speaker 1: I remember in the edit he kind of it was
Speaker 1: slowly moving in and then we kind of cut to
Speaker 1: the side and we saw their faces. And I remember
Speaker 1: this being net with him, and I think he said
Speaker 1: he may have said I wanted to I wanted to
Speaker 1: go for that, go for longer, but I thought we
Speaker 1: should come around, and I said, let's just see how
Speaker 1: far we can go. And we basically shot almost the
Speaker 1: entire scene that's moving closer to them, yes, from behind,
Speaker 1: and it made it so much more interesting and powerful,
Speaker 1: I think.
Speaker 4: But also it also trusts the audience, you know, to
Speaker 4: be able to be absorbed in that, and trust the
Speaker 4: trust the actors to be able to hold that. It's
Speaker 4: kind of that big sort of level of trust where
Speaker 4: you don't have to you know. The edit points are
Speaker 4: great because it gives you the fluidity to be able
Speaker 4: to time your things as you want to time them.
Speaker 4: You want to get the scissors in there, and you
Speaker 4: want to be able to tighten it to your specifications.
Speaker 4: If you've got a symbiosis between the you know, the
Speaker 4: writing and the director and the actors and the dop
Speaker 4: you should be able to hypothetically be able to hold
Speaker 4: these things, these things that lend themselves to to being
Speaker 4: in that moment and to being able to for the
Speaker 4: audience to be able to just absorb the connection between
Speaker 4: the two people.
Speaker 2: You should be able to do that.
Speaker 4: But it's more often than not, someone like Matt sam
Speaker 4: As I say, we'll get to go back to whatever
Speaker 4: network or whatever, you know, production company that he's working for,
Speaker 4: and they'll go, yeah, yeah, it's good, but can we just.
Speaker 2: See the we want to see the singles. We want
Speaker 2: to see that.
Speaker 1: We're paying for these stars. Let's let's see them. Let's
Speaker 1: see their faces on camera.
Speaker 2: That's it.
Speaker 4: And I don't know, and I'm not saying that that's
Speaker 4: that's what you should always do it it's not at all,
Speaker 4: but but it's you should be able to have the
Speaker 4: freedom to choose to do that when the scene demanded, exactly.
Speaker 1: If you're shooting every scene from.
Speaker 2: Behind and you're boring the out of everyone.
Speaker 4: Yes, And I also I think because audiences they become
Speaker 4: you know, we talk about attention. Spans are getting shorter
Speaker 4: and shorter and shorter, and you can't you know, this
Speaker 4: film couldn't be directed by this anymore because people.
Speaker 2: Can't be going, oh, it feels like it's taken forever
Speaker 2: or whatever.
Speaker 4: I think you can I think audiences get very easily
Speaker 4: trained and could be can be. You know, you look
Speaker 4: at the way Tarantino will direct some of his scenes,
Speaker 4: which he can hold and I think you guys talked
Speaker 4: about because you with Phil did once upon a time
Speaker 4: in Hollywood, and he can hold these scenes. And pulp
Speaker 4: fiction is a great example of it, where he's got
Speaker 4: those high, high level, top of their game actors that
Speaker 4: can actually just keep you engrossed despite what you're expecting
Speaker 4: the camera to go to, you know, or what your
Speaker 4: I don't know what your what your what your what?
Speaker 4: Your brain has been has been has been accustomed to it,
Speaker 4: or has been has been kind of cajoled into expecting.
Speaker 1: Yeah, I want to talk about the what I like
Speaker 1: about the opening and you want of them? I think
Speaker 1: we talk about the voice over. There's a few things
Speaker 1: happening in that from the get go. It's it's so
Speaker 1: it's the an Awards ceremony, the Sarah Simmons Siddons Award,
Speaker 1: which is a fictional as a matter of fact, and
Speaker 1: then became nonfictional because two years later they actually started
Speaker 1: presenting I didn't know that for Chicago Theater Actors they
Speaker 1: started and Betty. They gave Betty Davis an honorary one
Speaker 1: despite the fact that I don't think she was in a.
Speaker 2: So that is so I think.
Speaker 1: The Tony started maybe two years and in forty eight
Speaker 1: or something, so that it could have been the Tonys
Speaker 1: this this kind of award, but maybe that didn't, you know,
Speaker 1: for whatever reasons they didn't. That wasn't maybe big enough.
Speaker 2: At that, like the Olivier Awards or whatever.
Speaker 1: Yeah, at the top of the top of the top,
Speaker 1: and basically Eve is being presented this but we don't
Speaker 1: know who Eve is. And we see the shot, but
Speaker 1: we see the shots of Margo, we see Karen Bill,
Speaker 1: we see Addison, and we we learn more about what
Speaker 1: those looks are about, obviously when we come back to
Speaker 1: him later on. But you can tell that there's something
Speaker 1: what's nice, You can tell that's something going on. But
Speaker 1: what I like at this, like the voice over tells
Speaker 1: you that it's going to be some fun as well.
Speaker 1: There's a there's a there's a good joke mate.
Speaker 4: The voice over is so funny. That is as funny
Speaker 4: and opening the voiceover to hear right, and it is
Speaker 4: and you know it's interesting too. Is you think he's
Speaker 4: the narrator? He's not the narrator?
Speaker 2: Well, because there are three?
Speaker 1: Yeah, I think there's there's jewel. There's jewel because because
Speaker 1: Karen jumps in after Addison, that's narrating.
Speaker 2: And also doesn't doesn't Margot hang on what one of
Speaker 2: the other.
Speaker 1: I think later on there's there's.
Speaker 4: Right, she's the she's the narrator now or the yeah,
Speaker 4: protagonist are now or whatever, you know, which happens.
Speaker 1: You know, occasionally you get that. I think Good Fellas
Speaker 1: uh did that, but I think back then that would
Speaker 1: have been pretty rare to have multiple narrators.
Speaker 4: Yeah, okay, so the opening thing, right, I love this.
Speaker 4: So basically it's it's Addison DeWitt the critic with his
Speaker 4: kind of sanctimonious, arrogant voice, kind of saying the minor awards,
Speaker 4: and they're at the ward ceremony and we're going, as
Speaker 4: you say, going around to all these people that are
Speaker 4: going to become out.
Speaker 2: You know, we're going to know all these characters.
Speaker 4: The minor awards have already been presented. Minor awards are
Speaker 4: for such as the writer and director, since their function
Speaker 4: is merely to construct a tower so that the world
Speaker 4: can applaud a light which flashes on top of it.
Speaker 4: And no brighter light has ever dazzled the.
Speaker 2: Eye than that of Eve Harrington. To those of you
Speaker 2: who do not read, attend the theater, listen to unsponsored
Speaker 2: radio programs, or know anything of the world in which
Speaker 2: you live, it is perhaps necessary to introduce myself. My
Speaker 2: name is Addison de Witt.
Speaker 4: My native habitat is the theater in a tight toil
Speaker 4: not nor do I spin. I am a critic and commentator.
Speaker 4: I am essential to the theater.
Speaker 1: It is, it is so, it is so good. And
Speaker 1: sif curry is available for voice workers, well, ladies and gentlemen.
Speaker 2: Jet Star all day, every day, low firs. Where that
Speaker 2: comes from?
Speaker 1: What if Addison de Witt was was doing.
Speaker 2: A Star all day every day loafair?
Speaker 1: There you go, He's got range, ladies and gentlemen. I
Speaker 1: really I spoke to Chris Walker last series. Who's the
Speaker 1: EP on on the Weekly and Hard Queen's and we
Speaker 1: did network final edition episode of last season, and I
Speaker 1: learned something about when I was doing something diving into network,
Speaker 1: something called the fifth wall, which is almost and I'd
Speaker 1: never heard that before.
Speaker 2: When that comes down, you know, it's the.
Speaker 1: Idea, and I think the fifth war is in play
Speaker 1: in All about Eve, the fifth wall being it's when
Speaker 1: almost the actors feel like the characters almost referring like
Speaker 1: there was almost an awareness that they in a movie
Speaker 1: like that. There's a lot of talk about television and
Speaker 1: the way that scenes and characters and this is the
Speaker 1: end of a scene, and this is and there's a
Speaker 1: bit of that going on on here that in fact,
Speaker 1: there's an amazing speech given by a Bete Davis in
Speaker 1: the car. We might listen to this because I think
Speaker 1: there's a bit of four playing at the end of
Speaker 1: this incredible scene.
Speaker 5: Funny business. A woman's career.
Speaker 6: The things you drop on your way up the ladder
Speaker 6: so you can move faster, you forget, you'll need them
Speaker 6: again when you get back to being a woman. So
Speaker 6: one career or females have in common, whether we like
Speaker 6: it or not, being a woman. Sooner or later we've
Speaker 6: got to work out it, no matter how many other
Speaker 6: careers we've had or wanted. And in the last analysis,
Speaker 6: nothing's any good unless you can look up just before
Speaker 6: dinner or turn around in bed. There he is without
Speaker 6: that you're not a woman, or something with a French
Speaker 6: provincial office.
Speaker 5: Or a book full of clipiques which you're not a woman.
Speaker 5: Slow curtain the.
Speaker 4: End, Yeah, curtain. Yeah, it's interesting. It's that's a that's
Speaker 4: an interesting part of it. Isn't that that that that
Speaker 4: mono is such a beautiful monologue.
Speaker 2: But also it's like the feminists who are going to
Speaker 2: be listening watching this film because they heard it was
Speaker 2: a feminist film, they just have a problem with that
Speaker 2: not a woman?
Speaker 4: Do you have a man to look over to? And
Speaker 4: it's like, and there's a line in this film and
Speaker 4: I know, I know it's written. I hope it's written,
Speaker 4: you know, with its tongue Felmi plannets treek about you know,
Speaker 4: when when Margot basically says, you know, now that she's
Speaker 4: going she's engaged to be married to Bill, she doesn't
Speaker 4: need to be an actress anymore because she's going to
Speaker 4: be a married woman.
Speaker 2: And it's like, we may have a problem here. You
Speaker 2: can't again.
Speaker 4: You and I write that script and we handed into
Speaker 4: screen Australia tomorrow.
Speaker 2: It's not going to go well. Not going to go well,
Speaker 2: that's rank but fascinating and.
Speaker 4: Beautifully you know, beautifully performed and heartbreaking and you know,
Speaker 4: as I say, I know, the tongues in the cheek
Speaker 4: in various parts of it, but it is it's fascinating
Speaker 4: to kind of to see how that kind of idea,
Speaker 4: ideal of feminism has has kind of changed in film
Speaker 4: and the way it can be presented is fascinating.
Speaker 1: What's really feels authentic and speaking and and you know,
Speaker 1: having friends who are women in this industry, is that
Speaker 1: the getting older for women and hopefully this is changing.
Speaker 1: That has always been you know, more frightening than the
Speaker 1: man getting older in this industry, and that it's it's amazing.
Speaker 1: This film is made in nineteen fifty, so you assume,
Speaker 1: you know, there's used a couple of years leading into it.
Speaker 1: I'm not sure how quickly they turned over scripts into
Speaker 1: into production, but you know, so the industry is really
Speaker 1: only about twenty five as far as talking films go,
Speaker 1: twenty five years old, maybe it's not network network's made
Speaker 1: in you know, the seventies, so it's like that that's
Speaker 1: maybe you know, TV's are almost similar twenty five years old,
Speaker 1: and like some of the issues that are still you know,
Speaker 1: prevalent in TV now we're spoken about in network and
Speaker 1: some of the issues are still prevalent in our industry
Speaker 1: that are spoken about in All about Eve.
Speaker 4: Absolutely, yeah, and there are there are some of those. Yeah,
Speaker 4: they're shameful kind of things that haven't changed enough. There
Speaker 4: are in the process of changing. It's and it's and
Speaker 4: it's a great thing to know that, but there are, Yeah,
Speaker 4: obviously there are. Maybe this film does kind of refer
Speaker 4: to those those entrenched traditions that are very hard to
Speaker 4: shake right and that you know, it's funny she said
Speaker 4: about how long it took from to turn these films around.
Speaker 2: There's a reference to it in this film when Bill.
Speaker 4: Margo's husband goes off to Hollywood to make his film,
Speaker 4: to make his first film, direct his first film, and
Speaker 4: she goes, how.
Speaker 2: Are you daring? Where I need to see?
Speaker 4: You need to come over and you need to be here,
Speaker 4: And it feels like he's been there for a couple
Speaker 4: of weeks, and I think that's the reference a couple
Speaker 4: of weeks for a few weeks, and I said, we've
Speaker 4: just finished shooting and we've just had the previews, so
Speaker 4: I think, And then I was thinking, I was like, yeah, well,
Speaker 4: there probably wasn't a lot. There was a lot of
Speaker 4: adr going. I would imagine it might have been a
Speaker 4: little bit of it, like post thinking of dialogue stuff,
Speaker 4: but it's like, I don't know, I felt like there was.
Speaker 2: They were letting us know there was a pretty quick
Speaker 2: turn around with movies.
Speaker 1: Was there a grade do you think or I don't know,
Speaker 1: we need to get.
Speaker 4: Some expert and to talk to it about this, but yeah,
Speaker 4: it did. It did feel like they were kind of
Speaker 4: you know, films for being pretty damn quickly.
Speaker 1: Yeah. Yeah. How much responsibility do you give your place
Speaker 1: on Karen for letting eve Eve in? Like if somebody
Speaker 1: one of your bet mates brought somebody who was a
Speaker 1: fan into the addressing room. Yeah yeah, the addressing rooms, Yeah,
Speaker 1: your private space. It's supposed to be you know, a
Speaker 1: little bit kind of sacred.
Speaker 4: Well yeah, I mean, I suppose she's got a fairly
Speaker 4: plausible tale. She gives a pretty convincing hard luck stories.
Speaker 4: She makes up her entire backstory.
Speaker 1: Did you know? So did you what did you when
Speaker 1: did you first start going hang on.
Speaker 3: Story?
Speaker 1: Yeah?
Speaker 2: Yeah, And I'm not saying I'm even that intelligent that I.
Speaker 1: Sensed not always what it seemed, not knowing. I knew
Speaker 1: very little about this film going in. Yeah, so as
Speaker 1: what it was really about.
Speaker 4: Also, it's a performance style. Do you know that the
Speaker 4: performance style has changed considerably? And this was around about
Speaker 4: the time in the fifties where where naturalism was really
Speaker 4: starting to become a not so much the norm, but
Speaker 4: a sought after commodity because the kind of they'd come
Speaker 4: out of those silent pictures which were all about the
Speaker 4: face and emoting one hundred percent without any words, to
Speaker 4: suddenly get to the fifties where they you got people
Speaker 4: like Betty Davis, and even Betty Davis in this film,
Speaker 4: who does a few kind of ott gestures and moments,
Speaker 4: but that is affected by the fact that she's been
Speaker 4: this super famous person who's gotten away with whatever, and
Speaker 4: she's been this theatrical kind of you know, dominant force
Speaker 4: in the industry.
Speaker 2: But you know, Anne Baxter's performance earlier throughout the whole thing.
Speaker 4: Is quite it kind of toes the line of that
Speaker 4: precipice of melodrama but kind of quite beautifully. But at
Speaker 4: the same time as that, you sort of go something
Speaker 4: up there's something up here because she's I can't work
Speaker 4: out whether she's acting this or not, you know, but yeah, she's.
Speaker 1: But isn't that also a big part of this movie
Speaker 1: that Margo is always acting In fact, so he's So's Eve.
Speaker 1: We learn that later, but we kind of see Margo
Speaker 1: doing like whenever she enters the room, she gathers herself,
Speaker 1: Like when she goes enters down the stairs, she rushes,
Speaker 1: she almost races down the stairs, she takes her breath,
Speaker 1: and then she enters.
Speaker 2: She entered the scene, and she does that on the
Speaker 2: stage as well.
Speaker 1: When they have that that great that great fight on
Speaker 1: stage and she come again, she kind of she gathers
Speaker 1: herself and then she enters the stage.
Speaker 4: Exactly exactly and the sparks up a dorry. That's one
Speaker 4: thing about this film. You forget how often people just smoked.
Speaker 1: Darryll it was. It gained some controversy because of the
Speaker 1: amount of smoking in bed, particularly the smoke smoking smoking
Speaker 1: about It's like.
Speaker 2: I'm so fascinated as I think my character would be smoking.
Speaker 2: Yeah you're in bed, yeah yeah, and they.
Speaker 1: All do it. You already brush your teeth. It's like, what.
Speaker 2: Are you're about to go to sleep? Us straight after that, Dirry,
Speaker 2: It's like a only few actors these days are allowed
Speaker 2: to get away with it. Mendo, he's allowed to get
Speaker 2: away with it, you know. In Bloodlines is like, oh god, Menday,
Speaker 2: take a break off. The Darry's mate what's his name,
Speaker 2: Matt McConaughey in True Detective. You know, he's sitting there,
Speaker 2: he's always got in the in the interview room.
Speaker 4: He's always got to cannabier and a day and it's
Speaker 4: like you just you almost feel like you're getting lung
Speaker 4: cancer watching it. But I just love that thing that
Speaker 4: I just love that the the you know, the time
Speaker 4: that's appropriate to spark up a dozzler and I reckon
Speaker 4: maybe a lot of these actors back then it was like,
Speaker 4: there's the age old problem of what to do with
Speaker 4: my hands right on screen?
Speaker 2: On stage? You're on screen. I think you and I
Speaker 2: might be a similar beast if we like a bit
Speaker 2: of business.
Speaker 4: I allowed to be at least holding a forka like,
Speaker 4: you know, or like just swirling a coffee or something
Speaker 4: like that.
Speaker 1: I don't like to be doing too many things because
Speaker 1: you got to match.
Speaker 2: Ituity problems, something without and go.
Speaker 4: You go to eat your forkarture, but you don't actually
Speaker 4: get a bite of it, so the size of it's
Speaker 4: always the same.
Speaker 2: But I love that.
Speaker 4: But the problem with the smoking is you've got continuity
Speaker 4: issues all over the joint at the level of your sicking.
Speaker 2: But it's just I don't know, man, I just love that.
Speaker 2: I love that thing about you know.
Speaker 4: You watch Old Neighbors episodes, right, and I love Alan Dale,
Speaker 4: Allen Dale, who played Jim. You watch how often he's
Speaker 4: sitting on a couch opening at canafoses.
Speaker 2: It's so funny and I just feel like he just
Speaker 2: got to a point four years in me when I
Speaker 2: think my character would be sitting on this couch.
Speaker 4: Yeah I know, Al there's a can of fosses next
Speaker 4: to your for you I kind of thing. He's just like,
Speaker 4: why are you sitting again? Back then, it was like
Speaker 4: I think I should be smoking, and was like.
Speaker 2: You should, but let's go. I can't see who that
Speaker 2: is because of the haze of smoke in that bedroom.
Speaker 2: So I love it.
Speaker 1: When I watched all about it the second time this week.
Speaker 1: I kind of know the dirry. I spaked up a
Speaker 1: dirry in bed and Bridge was wrapped love that she
Speaker 1: loved it. She I noticed. I kind of kept an
Speaker 1: eye on even her intentions, knowing you know where you
Speaker 1: know where it goes the second time, and when do
Speaker 1: you think, like, what was her? Who was she targeting?
Speaker 1: Like it seems like it's Margo, but then of course
Speaker 1: she then she she seduces, she tries to reduce Bill,
Speaker 1: and then she goes on to Addison, and I wonder
Speaker 1: if if it was actually kind of Lloyd even to
Speaker 1: begin with, because she mentions Eve mentions that she likes
Speaker 1: the name of his new play that she's kind of
Speaker 1: read about or heard about on footsteps on the ceiling,
Speaker 1: which is, you know, Margo's going to go play Cora
Speaker 1: kind of after this run's done. And and when we
Speaker 1: always about the SCD time, it's almost like she's angling,
Speaker 1: you know, to bring that up in conversation, and then
Speaker 1: Lloyd gets her back on track about, oh, so you've
Speaker 1: really seen every performance of this And I just watched
Speaker 1: it a second time. I thought, oh, maybe it's actually
Speaker 1: not Margo. She's necessarily target. She just wants and maybe
Speaker 1: she just.
Speaker 4: Wants to peak it is, I think, And Addison makes
Speaker 4: a really good comment to us, like I'm not your
Speaker 4: bunch of whatever. It is like his referenced to like,
Speaker 4: I'm not your stupid bunch of vidiots. You've just pulled
Speaker 4: all of this stuff. I'm the one who watches all
Speaker 4: those people. I'm the one who knows more than all
Speaker 4: those people.
Speaker 5: I know.
Speaker 4: I've known you everything about you from the moment that
Speaker 4: he said what was the name of the theater? So
Speaker 4: she tells Margot that she saw her in this in
Speaker 4: this performance in a theater in San Francisco, just.
Speaker 2: After her husband had died in the war. And it's
Speaker 2: like this sob story, and he's overheard it, and he says,
Speaker 2: what was that theater that you saw her in?
Speaker 4: You know that Addison knows right that she's full of whatever.
Speaker 4: But I don't see her as taking targeting anyone in particular.
Speaker 4: I see her as targeting. She's targeting fame, isn't she's targeting.
Speaker 4: She's doing whatever it takes to succeed. She's seen every
Speaker 4: performance in the standing room area of the theater that
Speaker 4: Margot has given her. That play purely so that she
Speaker 4: could so that she can usurp her, so she can
Speaker 4: become the understudy and eventually u surp her. Not because
Speaker 4: she wants to hurt Margo, I don't think, because she
Speaker 4: just wants to agree.
Speaker 1: I agree with that, yeah, And I think the two
Speaker 1: people who kind of see her for who she is
Speaker 1: kind of quite early is Addison, whose job it is
Speaker 1: to kind of critique.
Speaker 4: And see through the rubbish of the industry kind of thing,
Speaker 4: and this is this is a performance that he's critiquing.
Speaker 1: Right absolutely, And the other ones the housekeeper Birdie, who
Speaker 1: kind of she's also nominated, she was one of the
Speaker 1: four nominated. But yeah, she kind of you know, you know,
Speaker 1: is not on the stage, but she her job is
Speaker 1: also to kind of see things.
Speaker 4: And and she's kind of a bit vaudevillian, who isn't
Speaker 4: she like I don't even know who that actor is.
Speaker 2: That that's terrible to say that, but.
Speaker 4: The ritz putting on the rits. But she's like, yeah,
Speaker 4: quite her physicality is brilliant. It's it's almost she's almost
Speaker 4: a bit clownish in this film, but quite beautifully underplayed
Speaker 4: in that regard. But she's kind of like she's sort
Speaker 4: of like the comedic fall guy for for Betty davisus Margot. Yeah,
Speaker 4: and she's but she's so beautifully measured through it, and say,
Speaker 4: she's just this kind of battle act. She just knows
Speaker 4: what's going on. She's across everybody. She's put up with
Speaker 4: Margo's rubbish for however many decades.
Speaker 1: It's got a proto typeing though in that age of
Speaker 1: movies too, to have that kind of character that that kind.
Speaker 2: Of shake the hand, the handmaiden or something like that.
Speaker 1: Yeah, like she's there and he just doesn't take ship
Speaker 1: the dog. Yeah, yeah, straight shooter. Yeah.
Speaker 2: Yeah.
Speaker 1: You've also kind of mentioned saying about Lloyd's brother Lloyd
Speaker 1: being in a certain military division. That's why I kind
Speaker 1: of thought I was just something she's done more. It's
Speaker 1: almost you can always see this as a slip up.
Speaker 1: But she's gone just giving away a little bit too
Speaker 1: much information. Yeah, at that early stage, which I thought
Speaker 1: was was.
Speaker 2: I do love She's but she's nothing if not researched,
Speaker 2: you know what I mean.
Speaker 4: And she's got and she's she's got every little angle
Speaker 4: covered because the night where she has she has svengalied
Speaker 4: a situation in which the car that Margo and Karen
Speaker 4: and Bill are in that breaks, that runs out of
Speaker 4: petrol out in the middle of nowhere. So they missed
Speaker 4: the train to get back to Broadway to be able
Speaker 4: to do wherever they doing the performance. It's bad, wasn't
Speaker 4: it well? To be able to do the performance? She
Speaker 4: has she's organized this whole thing. We find out that,
Speaker 4: oh that's spoiler.
Speaker 1: That isn't it if you have much to meat the movie?
Speaker 2: But her work, her preparation is something else.
Speaker 1: Yes, But is that is that what I took it
Speaker 1: was Karen who actually organized the running out of the gas.
Speaker 2: But no, sorry, I sorry.
Speaker 4: I took it that Karen doesn't think about those things,
Speaker 4: and Eve knew that she doesn't think about those things.
Speaker 2: I thought it was established.
Speaker 4: Well he had not a spoiler alert, because you can
Speaker 4: watch for yourself either they've gone and siphoned it.
Speaker 1: Well, because Karen has this thing where she's like like
Speaker 1: she's the society. She's had had a little bit of
Speaker 1: enough of Margot at some point where she's like, Okay,
Speaker 1: this is getting She's getting a bit, you know.
Speaker 5: And so she.
Speaker 1: That I might be right, and I would suggest that
Speaker 1: Eve is in on this because she's organized and for
Speaker 1: the critics, yeah, to come back.
Speaker 4: Not just Addison DeWitt, but she's basically called, as Margaret says,
Speaker 4: every critic in every dirty little gin join wherever they
Speaker 4: wherever they hang out.
Speaker 1: They've all just come walking into another movie.
Speaker 2: There for a second, whatever whatever that line is.
Speaker 4: You know, she basically found a whole bunch of these
Speaker 4: critics wherever you find critics, and they've all turned up
Speaker 4: to the one performance in which the understudy is the.
Speaker 1: Star and she's and she smashes it. So when so
Speaker 1: when they're in the in the car and it's run
Speaker 1: out of gas petrol here in Australia, that was really good.
Speaker 1: Pat you have you have Margot giving that speech we
Speaker 1: played earlier. And one of the great powerful things I
Speaker 1: think is that Karen is next to her and she's
Speaker 1: she's tearing up. And I don't think it's necessarily because
Speaker 1: of that speech. It's because she knows she's betrayed her.
Speaker 1: And then when later on, when when Eve turns and
Speaker 1: we'll play that this soon, she uses that they're going
Speaker 1: to go God, you know you know what you did?
Speaker 2: You know what got it?
Speaker 4: Because I was saying that as like she had been
Speaker 4: out smarted by Eve, and which is kind of.
Speaker 2: That as well. But I thought what she was doing
Speaker 2: is you knew what you knew what you did because
Speaker 2: you let them down by not covering all of your
Speaker 2: bases kind of thing. And that's what I reckon.
Speaker 4: You're completely right. I have not ever been accused of
Speaker 4: being an intelligent person.
Speaker 1: Right at the top, didn't you? Yeah, you mentioned it,
Speaker 1: so you got on the front foot, which is a
Speaker 1: smart thing to do, iron mat full circle.
Speaker 2: But yeah, okay, but either way, Yeah, she's very whichever
Speaker 2: way that that that played out. She Eve is the
Speaker 2: most thorough and machiavellian character I've seen in film for
Speaker 2: a very very long time. Yeah, and then she We
Speaker 2: can't really say what happens at the end, can we,
Speaker 2: because that's a real spoiler alert.
Speaker 1: No, you need to watch the film, Like but at
Speaker 1: some point if you haven't watched some people have said
Speaker 1: they listened to this and then watched the movie. But
Speaker 1: if you got to this given anyone, maybe just maybe
Speaker 1: maybe stop listening now and watched the film.
Speaker 2: But I haven't got anything better to say from here on.
Speaker 2: Ind just so you know, I'm happy for people to.
Speaker 1: We'll go. We'll get to the end soon. But what
Speaker 1: I liked was the way it kind of it wasn't
Speaker 1: too heavy handed, the way the suspicions started coming in,
Speaker 1: like when Margo. It was really when Eve says I
Speaker 1: sent the telegram myself. When when Bill's in Hollywood shooting
Speaker 1: the movie and she organized the birthday call, which seems
Speaker 1: to be like a nice enough thing. It's a bit strange, yeah,
Speaker 1: but she says, I forgot to tell you, and I
Speaker 1: would have felt awfully if you forgot Bill's birthday. So
Speaker 1: she's at the PA, so she's doing a good job.
Speaker 1: Bernie is a bit suspicious, But it's when she says
Speaker 1: I sent him a telegram myself that you either see
Speaker 1: that change in Margot. It's like, oh, it's one thing
Speaker 1: for you to organize it for me to have a
Speaker 1: conversation with my boyfriend, but you're sending my boyfriend basically
Speaker 1: a text message behind my back.
Speaker 7: That's it.
Speaker 4: And you know what, and genius in the writing, in
Speaker 4: the fact that you set up Margot. Betty Davis's character
Speaker 4: is as this fading star with her own paranoias. I think,
Speaker 4: as you mentioned at the start, which is just about
Speaker 4: this you know, as we've been talking about this girl
Speaker 4: paranoia of the of the of the fading, of the
Speaker 4: fading limelight, of the kind of inability to see pass
Speaker 4: the next few years because younger and prettier and whatever
Speaker 4: is going to come along, and that plays in feeds
Speaker 4: into her parento because she's one of the early ones
Speaker 4: who go who smells a rat on this?
Speaker 2: And you she doesn't know or anyone else doesn't seem
Speaker 2: to know at that stage.
Speaker 4: That's just Margo, you know, because it's it's probably part
Speaker 4: of the course for Margo. But she's kind of got
Speaker 4: this little little inkling that's that's going on. It's beautifully
Speaker 4: written in that regard years.
Speaker 1: And then and then of course Bill returns without heading
Speaker 1: up to see Eve. And then it really gets fascinating
Speaker 1: when Eve starts pitching the idea about her being the understudy.
Speaker 1: Because we haven't seen besides being a thidle lover we
Speaker 1: know she is, we haven't we haven't heard that she's
Speaker 1: necessarily been a performer. No, I can remember.
Speaker 7: No.
Speaker 2: And that's the odd thing, isn't it.
Speaker 4: And so we don't even see her audition for to
Speaker 4: become the understanding what it is is it's oh, we
Speaker 4: haven't ever mentioned this. It's one of the other female
Speaker 4: actors in this film. In one of her first ever films,
Speaker 4: she didn't go on to do much. Her name was
Speaker 4: Marilyn Monroe. Look it up, look it up.
Speaker 2: She's some anyway, she's on the internet and so am I.
Speaker 1: Yeah, well so one agree with separation whatever.
Speaker 4: That's the end of six degrees or seven ba Kevin Bacon.
Speaker 4: Isn't that everyone's wanting to gree No? But she but
Speaker 4: she amazing like that?
Speaker 2: That did she?
Speaker 7: Yeah? That.
Speaker 4: Marilyn Monroe in one of her very early films, plays
Speaker 4: this young starlet who who has designs on the stage
Speaker 4: but perhaps doesn't quite have the ability to back it up.
Speaker 2: And and it's it's Eve.
Speaker 4: Manages to to to Sphingali her way into being the
Speaker 4: person to read opposite her, thereby getting the role was
Speaker 4: the understudy.
Speaker 1: Let's have a listen to Marilyn Monroe in one of
Speaker 1: the scenes in one of her very very early films.
Speaker 1: It wasn't known outside of yeah and she she's great.
Speaker 1: This is them sitting on the stairs and she's trying
Speaker 1: to get the waiter's attention because she wants a drink.
Speaker 5: O waiter.
Speaker 1: That's that's a Butler.
Speaker 5: Well, I can't yellow Butler. Can I be? Somebody's name
Speaker 5: is Butler. You'll have a poet, an idiotic one. I
Speaker 5: don't want to make trouble. All I want is a drink.
Speaker 5: I'll get well done.
Speaker 2: I can see your career rising at the east like
Speaker 2: the sun and I.
Speaker 1: Did begin rising after all about that's it.
Speaker 4: And look, and you know you talk about one note
Speaker 4: characters and you don't these days, you're not a lot
Speaker 4: to write characters as such with any point of view
Speaker 4: that are kind of one note, because they become you know,
Speaker 4: it's like, hey, can we get a little bit of
Speaker 4: light and shape in this character. But as far as
Speaker 4: one note characters go, she's brilliant. That is fantastic. And
Speaker 4: then but the reaction addison to which you know, reactions
Speaker 4: that you have a point, my dear and idiotic one
Speaker 4: the points like you.
Speaker 1: Might it's a good point.
Speaker 2: Someone's name mighty Butler, That's what I'm saying.
Speaker 1: But when when Eve such a pitching beer for this way,
Speaker 1: I think it goes up another notch and even to
Speaker 1: the point where like she's she's kind of had this
Speaker 1: kind of argument. I think with Karen about I forget
Speaker 1: exactly what it was, but it was like, you kind
Speaker 1: of feel like she's pitched the idea about the understudy,
Speaker 1: and then they've kind of got into this thing and she's, oh,
Speaker 1: maybe I could never be the understudy. But then when
Speaker 1: Karen leaves, she's like, just remind you you ask about
Speaker 1: the understudy. Yeah, yeah, that's rights. Yeah is it lovely
Speaker 1: thing going on? She goes, I couldn't pass anything else,
Speaker 1: but yeah, I will.
Speaker 2: I feel I feel like I've already asked so much already. Yeah,
Speaker 2: that kind of thing. It's like, it's great to it's
Speaker 2: great to be able to, Yeah, put a little precursor in,
Speaker 2: but yeah you ask.
Speaker 4: I'm so sorry. It's like even asking for another cup
Speaker 4: of tea, isn't it? So now you're not It's like
Speaker 4: on the plane, you go, come up and you go
Speaker 4: and I don't about my pa.
Speaker 2: I'm so sorry.
Speaker 4: Not you ran out of tea. You don't want to
Speaker 4: make your own tea. You like another cup of team
Speaker 4: It's like that's why you rang the bell is studying?
Speaker 2: Sorry at all?
Speaker 1: Well, I love that. And we're getting closer to the
Speaker 1: end now where where Eve does turn It is quite
Speaker 1: it's quite chilling in a way. You know, we we
Speaker 1: have seen her, and we kind of suspect that she
Speaker 1: know he's got designs on this. But single say that
Speaker 1: the duplicity of we say the full duplicity of her.
Speaker 1: In fact, let's have a listen to Abe as she turns,
Speaker 1: and believe it or not.
Speaker 7: If there's anything I can do, there is something I
Speaker 7: think I know something most important you can do.
Speaker 5: You want to play Cora. You want me to tell Lloyd,
Speaker 5: and I think you should play it if you told
Speaker 5: him so. He gave me the part. He said he
Speaker 5: would after all, you said, don't you know that part
Speaker 5: was written for Margot. It might have been fifteen years ago.
Speaker 5: It's my part now you talk just as Edison said
Speaker 5: you did. Cora is my part. You've got to tell
Speaker 5: Lloyd it's for me. I don't think anything in the
Speaker 5: world would make me say that. Edison wants me to
Speaker 5: play it over my dead party.
Speaker 7: That won't be necessary. Addison knows how Margo happened to
Speaker 7: miss that performance, How I happened to know she'd miss
Speaker 7: it in time to call him and notify every paper
Speaker 7: in town.
Speaker 5: It's quite a story.
Speaker 7: Addison could make quite a thing. Imagine how snide and
Speaker 7: vicious he could get and still tell nothing but the truth.
Speaker 5: I had a time persuading him, you better sit down.
Speaker 5: You look a bit wobbley.
Speaker 2: That is the weirdest thing. I just realized something.
Speaker 4: That is, word for word, the conversation I have with
Speaker 4: Nick Genoppolos before The Wog Boy he wanted to cast
Speaker 4: Budding well Or in the role of the dorky office
Speaker 4: kid in I said word for word that monologue.
Speaker 1: So you must have watched all about it without realizing
Speaker 1: it said that the Nick Genopolis on the set of
Speaker 1: The Wog Boys, and then just like it raised it
Speaker 1: from your mind.
Speaker 2: I got to go. I've got to go.
Speaker 1: And this means we can't actually play this release this
Speaker 1: podcast because you're aready.
Speaker 2: This is unbelievable.
Speaker 4: One of the odds. I went back to, Man, I'm sorry,
Speaker 4: I don't even know why I even brought that up.
Speaker 4: I put in a big time, big time sorry.
Speaker 1: Oh yeah, that well, I mean that was a revelation.
Speaker 1: It wasn't. I wasn't expecting.
Speaker 2: But sorry. Back to the thing, back to.
Speaker 1: It's quite chilling because she before that, she's like being
Speaker 1: like seemingly genuine sense. I just want my friends back.
Speaker 1: She seems, you know, she's having a girl adison. I
Speaker 1: was under his spell and I fell for his tricks
Speaker 1: and I just want my friends back. And then with
Speaker 1: that much really prompting, she goes, actually, but with all
Speaker 1: that said, yeah, I want this job. Yeah, yeah, yeah.
Speaker 4: Do you know you know, before you mentioned right, you said,
Speaker 4: what if someone came up backstage and started, you know,
Speaker 4: how long would it take you two wise up to him?
Speaker 4: You know what I wouldn't do. I wouldn't invite him
Speaker 4: to move in that night into the upstairs room. No,
Speaker 4: you know what I mean, I don't think I would.
Speaker 1: I wouldn't invite them to the airport.
Speaker 2: I really like your stuff. I'm a poor kid from
Speaker 2: out the back box.
Speaker 4: It's like, I want to move in with me and
Speaker 4: the Dean and the kids. She'll love it, I don't know.
Speaker 4: She'll be fine hoping any stuff. No, no, just that
Speaker 4: knighte oh, come on, come on.
Speaker 2: Wake up?
Speaker 1: Is Is he bisexual? I would say, by curious, because
Speaker 1: there's I've seen that discussed where there's there's two instances
Speaker 1: where it kind of comes up and okay, you know,
Speaker 1: just back in these days, these things were not you
Speaker 1: ever explored with a heavy hand. It always had to
Speaker 1: be you could never get anything through. Even in that
Speaker 1: one of the first thing in the dressing room, where
Speaker 1: Margot is talking about the love lives of Southern women,
Speaker 1: it's actually really she's really talking about the sex lives
Speaker 1: of Southern women. So these things are very We've spoken
Speaker 1: of its use of about rebel without a Cause and
Speaker 1: the relationship between the younger character and James Dean, the
Speaker 1: male character, and there he loved it. It was basically
Speaker 1: he wanted James Dean, you know, the character, but they couldn't.
Speaker 1: They couldn't go into that. So there's two moments. One
Speaker 1: on the stairs when Margo is a bit pissed and
Speaker 1: she wants to go to bed, and she says to Bill,
Speaker 1: do you want to come up and tuck me in
Speaker 1: and turn and then you're going to sneak out? You know,
Speaker 1: maybe you would like to do that Eve And she says,
Speaker 1: you know, if you want me to, yeah, right, and
Speaker 1: he says, no, I do not.
Speaker 2: I think that one would be like I will do
Speaker 2: anything necessary.
Speaker 1: You could absolutely read that. The more suggestive one is
Speaker 1: when the phone call comes in and I wasn't sure
Speaker 1: that was supposed to be Marylyn. I'm not sure if
Speaker 1: that was Marilyn. And it looks a bit like Marilyn.
Speaker 1: I don't think it is, so I don't think it's
Speaker 1: the same character, Miss missus a, Miss Casswell, No, that's
Speaker 1: not the same as it.
Speaker 4: She looks the one who pretends Eve's sick so they
Speaker 4: can get she get a bill out of bed.
Speaker 1: And then they go up the stairs in their dress
Speaker 1: gowns with their arms kind of around each other.
Speaker 2: Ah okay, I thought they were just thinking hoots. So
Speaker 2: I think you're back then shown your cards very very strongly.
Speaker 2: Here you've got a four of gund haven't.
Speaker 1: Yeah. Yes, and my next meason, are you by sexually
Speaker 1: a little bit?
Speaker 4: But no, No, Look, I I don't know. I didn't
Speaker 4: I didn't read I didn't read that. But I think
Speaker 4: I guess, as I say, I think at all costs.
Speaker 4: I think maybe maybe she would be whatever anyone wanted
Speaker 4: her to be in order to get where she wanted
Speaker 4: to go.
Speaker 1: Yes, you know one of my this.
Speaker 4: Has a bit off topic, you're talking about Marion Monrogan.
Speaker 4: One of my favorite lines in the whole thing is
Speaker 4: when Addison DeWitt, So this is the critic guy.
Speaker 2: You know, he's let's say, what would he be, late fifties.
Speaker 4: Maybe he comes into the party with Marilyn Monroe, who's
Speaker 4: all of twenty one, and clearly she's sort of you know,
Speaker 4: they've got something going on because he's you know, he's
Speaker 4: the big critic guy that she wants to impress.
Speaker 2: So there having somewhat of a relationship.
Speaker 4: And and Betty Davis, Betty Davis's Margo turns to someone
Speaker 4: next to her and says, you've met whatever her name is.
Speaker 4: She's an old friend of mister DeWitt's mother. This is
Speaker 4: kind of like, I just love that, you know, twenty
Speaker 4: one year it's this beautiful throwaway line, as you say,
Speaker 4: like no one's mentioning anything, no one's talking about. That's
Speaker 4: basically her saying she's rooting him because she reckons he's
Speaker 4: going to get her somewhere. She's an old friend of
Speaker 4: mister DeWitt's mother.
Speaker 2: Yeah, you're beauty.
Speaker 7: I love.
Speaker 1: Also, there's no cutaway of where she's you know, those
Speaker 1: people off camera, like they just they stay off camera.
Speaker 1: The camera stays on the stairwell.
Speaker 4: Again, this is the thing about that coverage, right, and
Speaker 4: so that's you know again back that Karen reading the
Speaker 4: newspaper and what's happened is the review of Eve's performance
Speaker 4: from the night before, But actually what it is is
Speaker 4: the supper that they had afterwards, that Eve went out
Speaker 4: with with de Witt, And whether she said this or
Speaker 4: whether she didn't, she probably did. And it's basically all
Speaker 4: about the fading star that is Margot basically rips Margo
Speaker 4: to shreds this article.
Speaker 2: And it's a huge.
Speaker 4: Turning point in Karen's in Karen's ark because she realizes
Speaker 4: what she's done. And you don't come around on her face.
Speaker 4: It's the back of her head and it's in wide
Speaker 4: and she sits there and reads it for a while.
Speaker 4: You don't go over he shoulder like we have to now.
Speaker 4: You don't go back onto her eyes in one hundred
Speaker 4: mil like we have to do now. You just kind
Speaker 4: of like you just see her just like get up
Speaker 4: and walk out. You never see her face in that
Speaker 4: scene again. You know, it's interesting all that stuff that
Speaker 4: I don't know, it didn't feel Maybe it never time
Speaker 4: become Yeah, maybe it did only have three rectams.
Speaker 1: Maybe get it out into cinema they could afford the restrets.
Speaker 1: Let the Citizen Kane had reshreats. So we always kind
Speaker 1: of hear when a movie has researched, it must have
Speaker 1: been in trouble.
Speaker 2: That's like nineteen thirty.
Speaker 1: So that's nineteen forty one, okay, And you know what
Speaker 1: I heard.
Speaker 4: You know why the last word in Citizen Kane was
Speaker 4: originally caravan Park, which is hyphenated, and that's that's get
Speaker 4: a Rosebud instead.
Speaker 2: They said let's make it just Rosebud.
Speaker 1: I heard it was Ocean Grove, okay, and they said
Speaker 1: let's go to the other side of the bay.
Speaker 4: Yeah, okay, right well, either way something that maybe that
Speaker 4: was part of the recess, that's not going to work.
Speaker 4: Ocean Grove is not going to work. Mccraef.
Speaker 2: You know Rosebud.
Speaker 4: So we've got a family house a right right, always
Speaker 4: had it. They used to have the skate rink down there.
Speaker 4: Did you ever spend time there as a kid?
Speaker 1: TALKI was again on the Ocean Grove.
Speaker 4: Saturday when they got rid of that skate rink, mate,
Speaker 4: because it was the best place. Every time we go there.
Speaker 4: It was someone's birthday, free ice cream. I just wanted
Speaker 4: to let you know that it was that off topic.
Speaker 1: All about ice cream.
Speaker 7: Yeah.
Speaker 1: So we then Eve invites Addison in. I love this
Speaker 1: scene because you think Eve thinks she's got the upper
Speaker 1: hand here and she's going to break some news to
Speaker 1: Addison and that she is the power in this in
Speaker 1: this relationship. But Addison quickly flips that. I she tells
Speaker 1: Addison that she is going to this where we're fred
Speaker 1: to a couple of times where that she will be
Speaker 1: going off with Lloyd's Lloyd. I think the Lloyd the player, right, yeah,
Speaker 1: the player, right, yeah, and he's going to be writing
Speaker 1: plays for her and yeah, they're going to be a
Speaker 1: new power couple. And Addison says, no, no, no, that's
Speaker 1: what the slapping happens, and the the I own you
Speaker 1: and a bitually yeah, let us know, Yasney Podcasts at
Speaker 1: gmail dot com. Did you see that as as Addison
Speaker 1: saying I own you in a physical Why was it
Speaker 1: more care her career?
Speaker 2: Yeah? I think you know what.
Speaker 4: The more the more I think about, the more you're
Speaker 4: I think you're absolutely right. I think I might have
Speaker 4: been led a bit by the Marilyn character. Did you
Speaker 4: get the impression that the Marilyn character and the Addison
Speaker 4: character were having a sexual relationship or did I make
Speaker 4: that up?
Speaker 7: No?
Speaker 1: I can't. You know, I think when you see when
Speaker 1: you see likes a fifty something guy in this movie
Speaker 1: power walking in with Me too, if Marilyn between two
Speaker 1: year old Marilyn Monroe, you kind of think, yeah, that's
Speaker 1: that's probably happening.
Speaker 2: Yeah, yeah, yeah, yeah, there were Yeah. I mean, and
Speaker 2: this was back in the day when you know, your.
Speaker 4: Harvey Weinsteins were all celebrated, weren't they know, they were
Speaker 4: sort of lovable rogues who sort of you know, got
Speaker 4: to abuse their power and all that sort of stuff.
Speaker 2: And that's what That's just kind of how I read
Speaker 2: it for some for some Reaon, But yeah, I reckon.
Speaker 2: You might be right. You usually are.
Speaker 4: Because you went to Parade College and I went to
Speaker 4: Marsalon College. You learn more about that stuff.
Speaker 1: Yeah, they're pretty much almost identical schools. So yeah, the Addison,
Speaker 1: that's a brilliant, brilliant scene. And then she gets away
Speaker 1: with it, she wins the award, and then we joy.
Speaker 4: Got the classic book end the first scene which was
Speaker 4: at the at the awards ceremony where now we now
Speaker 4: It makes perfect sense why all of these people in
Speaker 4: their singles are all kind of having their moments of
Speaker 4: kind of.
Speaker 1: And and we understand Addison's the only one who's looking
Speaker 1: on with any kind of joy. We see another little
Speaker 1: performance from Eve when a fan comes up and she
Speaker 1: just wants to go home. She's she's kind of cracked
Speaker 1: the shits a little bit, and then the fan comes on,
Speaker 1: she turns on, Oh nice, and she's nice and sweet
Speaker 1: all of a sudden for that two seconds, and then
Speaker 1: she's back to I do love that Addison's line, I'll
Speaker 1: drop you off. I have no intention of missing this party.
Speaker 2: Yeah, it's funny. That was what I was thinking of too.
Speaker 4: It's just like, okay, well that's that's where the chivalry
Speaker 4: certainly not dead, and that's the sat that's but.
Speaker 2: Yeah, so she's she's, she's you know, it's a careful
Speaker 2: what you wish for a tail?
Speaker 4: Isn't that that she's kind of reached this pinnacle of
Speaker 4: where she wanted to be her all of her machiavellian
Speaker 4: plans have kind of culminated in this, in this result
Speaker 4: that she always wanted and that you know kind of yeah,
Speaker 4: again that careful what you wish for a moment.
Speaker 2: Which so we're glad to get people.
Speaker 4: Do people tell you they listen to this and they
Speaker 4: go back to see the movie even though we've given
Speaker 4: away absolutely interesting.
Speaker 1: I love the little community we're building with this podcast.
Speaker 1: Not had one complaint I say about spoilers, even to
Speaker 1: be because we advertise, you know, everyone who clicks on
Speaker 1: to watch the episode knows what film will be discussing. Okay,
Speaker 1: but what they don't know and I don't know when
Speaker 1: when when you know, I don't ask you for your
Speaker 1: three favorite films, and then we There are times where
Speaker 1: I have listened back to the podcast going, oh, we
Speaker 1: kind of gave away a lot about that that that
Speaker 1: that movie, you know, but not once still like I
Speaker 1: have I got a you know, as anyone complained that
Speaker 1: we're spoiling. So here's some other spoilers, some other films.
Speaker 2: You watch.
Speaker 4: You watch the Avalanche like yet another podcast that was
Speaker 4: going along swimmingly until Curry turned up.
Speaker 1: How many podcasts have ruin.
Speaker 2: Sammy Pea's podcast ruined that. I've ruined that one, very
Speaker 2: very sold.
Speaker 1: Actually she comes home and there's it's it's a great reveal.
Speaker 1: There's there's somebody sleeping on the couch, and she doesn't
Speaker 1: realized until she kind of sees her. And she turns
Speaker 1: around and we can see her in the mirror, and
Speaker 1: it's it's a girl who looks almost identical. It's it's
Speaker 1: so well cast because it's like almost identical, but she's
Speaker 1: like five years younger maybe, And it's a girl called
Speaker 1: Phoebe or is it or is.
Speaker 7: It it is?
Speaker 2: Well, Eve's name is not Eve.
Speaker 4: I think the suggestion is that perhaps Phoebe is completely repeating.
Speaker 2: Yes the past.
Speaker 1: Yeah, yeah, I think you're right.
Speaker 4: And Eve has now become so kind of consumed in
Speaker 4: her own success that perhaps she's.
Speaker 1: Not seeing seeing history repeat itself. And then so she
Speaker 1: fixes her a drink and she does knock on the door.
Speaker 1: It's Addison de Witch. She knows his name straight away.
Speaker 1: Addison knows exactly what's going on. He advites.
Speaker 2: She gives him the love eyes, like, you know, like
Speaker 2: it's like the biggest, big love eyes you've ever seen,
Speaker 2: and in the same love eyes that she's always given,
Speaker 2: the same love eyes that Marilyn was giving to the
Speaker 2: producer she wanted to be fast in his film.
Speaker 1: And she takes the trophy she puts on the cloak,
Speaker 1: the glamorous cloak is what you call it, which.
Speaker 4: Is a throwback to what Eve does on stage stage
Speaker 4: with Margo's costume from earlier on. That catches her and
Speaker 4: she kind of thinks it's so lovely and sort of
Speaker 4: so it's so innocent and God love you because you know,
Speaker 4: if you, if you keep at it, maybe one day.
Speaker 2: You will have that, you know, we'll have a cloak
Speaker 2: on and you will be able.
Speaker 1: To And the glorious final shot, which is her in
Speaker 1: one of those kind of mirrors where there's mirrors and
Speaker 1: it's like, yeah, so you've got like there's all of
Speaker 1: a sudden, there's sixty Phoebe's holding in this cloak, holding
Speaker 1: this trophy, and its just.
Speaker 2: Classic Bill Collins the score. At that moment, it's like
Speaker 2: where did all those violins come? Eighty violin suddenly coming
Speaker 2: up and it's like this huge hundred piece orchestra there's
Speaker 2: just dominating, and yeah, she's now duplicity and she's everywhere
Speaker 2: and she's surrounding you everywhere.
Speaker 1: And also that this thing is has been repeated, you know,
Speaker 1: like this you already mentioned that we Eve did this.
Speaker 1: We suspect Margo. Uh, Margot may have done it. Yes,
Speaker 1: I know there's a theory that Bertie may have been
Speaker 1: like because there's she was a theater act. She she
Speaker 1: said she opened the second half or something that there
Speaker 1: is a theory that there might have been some similar
Speaker 1: kind of thing Margot taking out Bertie.
Speaker 2: Oh wow, right, then.
Speaker 1: Marilyn's obviously doing this as well. So this is kind
Speaker 1: of behaved. There's I think that's what that's final saying there.
Speaker 1: There's not just one of these these human beings. There
Speaker 1: are a whole bunch of them.
Speaker 4: And can I just say to the restraints in Joseph
Speaker 4: man how are you pronouncing it? Mankowitz, thought Mankovic, So Mankowitz,
Speaker 4: the restraint. I was so dreading when she's standing there
Speaker 4: and that and that music swells, and you got a
Speaker 4: million versions of her in those mirrors, and she looks
Speaker 4: at one sort of away from us, and then she
Speaker 4: looks one ninety degrees from us. I was just dread us,
Speaker 4: and don't look at us like I thought that that
Speaker 4: was going to be the thing is like looking at us,
Speaker 4: I say, and this could happen to you love whatever
Speaker 4: you know, I don't think subtlety was was the was
Speaker 4: the most you know, common trait in a lot of
Speaker 4: the a lot of the directing of the of the time.
Speaker 4: But it was just nice to just yeah, she's and
Speaker 4: you can say that last moment of her just kind
Speaker 4: of side on seeing herself surrounded by herself is so
Speaker 4: so beautiful.
Speaker 1: So yeah, it is. It is amazing. I got some
Speaker 1: fun facts. Oh great, we love fun facts on this.
Speaker 4: I've told some lies in this thing. Anyone to anyone
Speaker 4: to tell you what they thought. The biggest lie was yes,
Speaker 4: I think people are going to know.
Speaker 1: I'll be well, I know, I know. That conversation you
Speaker 1: had with Nick Genas on the Long Boy was absolutely yeah. Yeah.
Speaker 4: So anything with Bud ding well the truth does they
Speaker 4: ding Well? Budding? Well, oh, can I tell you quick story?
Speaker 4: You'll probably of course you can. So when when the
Speaker 4: when the castle came out? The famous people, well, well
Speaker 4: Bud was very famous, but he was also like an
Speaker 4: elder gentleman, right, so the face missed slight. The younger
Speaker 4: people like Antennay, you know, she's been in the country practice,
Speaker 4: Michael Caayton, of course, Michael Kayton, Saphie Lee, Eric Banner,
Speaker 4: the famous people they got to go to places like Sydney, right,
Speaker 4: and they got together plays.
Speaker 2: Like Brisbane for the premiere, premier, for the just for
Speaker 2: the for the junk head kind of thing.
Speaker 7: Right.
Speaker 2: Bud and I got taken on a rex plane to Aubrey.
Speaker 4: I know you, and he was so lovely and he'd
Speaker 4: been I'd known him for a bit beforehand, and he'd
Speaker 4: always been he was actually quite a very very generous
Speaker 4: man to meet, but right, and he always he sort
Speaker 4: of he had, as I mentioned before, took me. It
Speaker 4: took me on to his wing, and he was he was,
Speaker 4: you know anyway, I'll always be in his debt.
Speaker 2: He we get off the plane and the lady who's
Speaker 2: there to take us around Aubrey obviously no, it doesn't
Speaker 2: know who I am, obviously, and obviously doesn't know who
Speaker 2: Budd is.
Speaker 4: Right, But she's done their research because they've given their
Speaker 4: the sheets of paper with our information on it.
Speaker 2: And she goes, oh, guys, oh, come on, great to see.
Speaker 4: Wow, Wow, guys, Wow, what a thrill and gets us
Speaker 4: into this car and then she she's driving the car
Speaker 4: and she looks back she goes, I just want to
Speaker 4: say one thing, guys. I never thought I would be
Speaker 4: lucky enough to share a car with a little pause,
Speaker 4: Stephen Curry with whose names and Charles bud Tingle.
Speaker 2: It's like, oh God, love you, God love that anyway
Speaker 2: it was, but you can cut that out.
Speaker 1: Of it well. In fact, in fact, I might to
Speaker 1: stop there before I get to the fun facts. Okay,
Speaker 1: because you have been mentioned in this podcast quite a bit.
Speaker 1: I mean, hughsy Castle was in three films coming.
Speaker 2: Kangy had never even seen it.
Speaker 1: Pang had never seen it, but watched it and loved,
Speaker 1: loved your performance. And Samuel Johnson we had on last week,
Speaker 1: the last episode, and he got to the stage where
Speaker 1: where he was saying that he's like intimidated by you,
Speaker 1: and he just accepts. I just find that out. I
Speaker 1: did say, I will pass on. Just just go easy
Speaker 1: on him, mate, go easy.
Speaker 2: I'm physically intimidating. It's like, don't take this unlike the rock.
Speaker 1: People don't know Stephen Curry is seven foot.
Speaker 4: Yeah, yeah, yeah, that's right. And I always make sure
Speaker 4: I'm in the ditch. I'm a reverse time cruise. I
Speaker 4: like to be suter than all my Okay stars, Wow,
Speaker 4: but interesting.
Speaker 1: Andy Lee. Also it was a top three. That episode
Speaker 1: is coming up. But mate, that that role and I
Speaker 1: mentioned in the intro, but that role is as funny
Speaker 1: today as it was all those years ago. Your I mean,
Speaker 1: your timing and everything is so good. And what are
Speaker 1: your memories of making the castle? It's actually so much
Speaker 1: of it being said about the castle was shot in
Speaker 1: ten days.
Speaker 4: It was so quick, and it was so like, you
Speaker 4: know what, the overriding thought and memory was, don't muck
Speaker 4: this up, don't don't like this seemed to me like
Speaker 4: a really good opportunity.
Speaker 1: I know it sounds redundant to say you'd work with
Speaker 1: the guys on Frontline afterwards.
Speaker 4: After Jane Kennedy cast because she saw me in an
Speaker 4: ad right, and I was just like, all of a sudden,
Speaker 4: I've gone in for this very quick audition.
Speaker 2: It was like a really quick.
Speaker 4: One, and I was thinking, oh my god, this is
Speaker 4: the degeneration. Okay, don't stuff this up.
Speaker 2: And then I get the role.
Speaker 4: And then a week later I'm in the read through
Speaker 4: with all of those people and kind of just looking around,
Speaker 4: going that's Rob Sitch.
Speaker 2: That's Rob Sitch.
Speaker 4: And Glenn Robbins was at the read He doesn't remember
Speaker 4: being at the Red two. He was one hundred percent
Speaker 4: was at the read through of that film, right because
Speaker 4: I remember he was sitting next to Sophie Lee, and
Speaker 4: all I was thinking was if she only knew how
Speaker 4: quickly I got home from school to what to watch
Speaker 4: The Bugs Bunny Show, not for the cartoons, you know
Speaker 4: what I mean?
Speaker 2: And now she's my sister.
Speaker 1: It was weird, but Sophie Lee hosted you know, the
Speaker 1: Bugs Bunny Show, and it was even controversial because I
Speaker 1: wasn't commented on, you're doing it shot.
Speaker 4: Skimpy likera, lots of like colorful, kind of like and
Speaker 4: the young teenage like it was whatever.
Speaker 2: I don't want to make it a creepy story.
Speaker 5: No, no, but it was.
Speaker 1: It was a thing of that day.
Speaker 2: I had a huge crush, just a huge crush, and
Speaker 2: it was just like, Oh she's my sister.
Speaker 1: Yoah cool and so buddy funny in that in that
Speaker 1: in that role.
Speaker 2: Oh mat and so good. Honestly, that's what it was.
Speaker 2: It was just basically it was eleven days.
Speaker 4: We shot it, and it was an entire experience of
Speaker 4: just kind of going, I think this is the funniest
Speaker 4: thing I know, this is the funniest thing I've ever
Speaker 4: read I think with these dudes too, I've always loved.
Speaker 2: This is going to be great. Just do the right thing,
Speaker 2: you know what I mean.
Speaker 4: Just do the job that you need to do and
Speaker 4: don't mark it up, don't get recasts, because this could
Speaker 4: be and there's a red hot chance that it's because
Speaker 4: of that film that I'm even sitting here talking to
Speaker 4: you on this podcast.
Speaker 1: You know, I like it's it really is.
Speaker 2: And I know, and I don't mean that in a
Speaker 2: self deprecating way at all. I don't at all.
Speaker 4: It's more about just like you kind of have these
Speaker 4: things come up in your life sometimes where you just
Speaker 4: kind of get this little voice in your head that goes,
Speaker 4: this could be a really great opportunity. And you know,
Speaker 4: as an actor growing up in school days and I
Speaker 4: was doing our ads and did a couple of those
Speaker 4: TV shows that were pretty terrible, and teachers would just
Speaker 4: constantly tell me get something to fall back on, like
Speaker 4: you need you, you know.
Speaker 1: What I mean?
Speaker 4: This guy because almost like personal, almost a bit personal.
Speaker 4: I was like, don't think that's gonna last because you're
Speaker 4: not look at you, you're not Bruce Samazan, Like you don't,
Speaker 4: you don't, You're not going to be here forever, like they.
Speaker 1: Often used to throw the often heard ninety percent of
Speaker 1: actors are out of work. That was always the bit, that.
Speaker 2: Was the thing, and the teachers would say that stuff,
Speaker 2: and it's like, just scratch your little itch, yeah, because doodles,
Speaker 2: do you little skits, your little comedy skits. And that
Speaker 2: was it, and it was it still to this day.
Speaker 2: In some ways it sort of resonates in your brain
Speaker 2: a bit. You would have had a similar vibe, I'm
Speaker 2: sure right where it's like, okay, you're kind of a creative.
Speaker 4: You were probably a little bit louder than a lot
Speaker 4: of the kids, you were probably quick witted or whatever.
Speaker 2: And it was like great, but that's not really a thing,
Speaker 2: you know. And I'm sure footy.
Speaker 4: Players probably get it as well, like where it's like,
Speaker 4: if you think about footy players, the average footy career
Speaker 4: is four years, yeah AFL career, and those people who
Speaker 4: get four years, they start off on a pretty base rate.
Speaker 4: Everyone thinks, oh, you've loaded and you can buy a
Speaker 4: really cool new ut or whatever. Well you do, but
Speaker 4: then you've got no money left in your first year.
Speaker 4: That sort of thing where it's like the castle comes
Speaker 4: along and and you just kind of go, this could
Speaker 4: be a chance to just not It's not like a
Speaker 4: stuff you moment. It's more just like a don't prove
Speaker 4: the right moment, yes, right, Yeah, And that was that's
Speaker 4: what it was, because it was like I'd never still
Speaker 4: to this day, I mean, I'd still do different things
Speaker 4: within the industry or whatever, writing and whatever, but outside
Speaker 4: of the things, I've never had any interest, slash ability
Speaker 4: to do anything else right professionally. So it's kind of
Speaker 4: that thing about going, man, you could actually make this
Speaker 4: could be a thing, You could actually do this for
Speaker 4: a job. And so that was what Yeah, sorry, it's
Speaker 4: it's a strong question, a very long but it was
Speaker 4: very very It was very prominent in my mind.
Speaker 1: And the shoot it in eleven days and Robed so
Speaker 1: Rob directs at Santo shoots it. Sampang that doesn't refer
Speaker 1: to doesn't say it for twenty five, which is amazing.
Speaker 1: Go listen to episode two of This This This Podcast
Speaker 1: season one, So and Sampang last at the idea when
Speaker 1: Santa called himself the cinematographer, he said that you're a
Speaker 1: camera man. But it was it was as far as
Speaker 1: coverage goes, was it shooting for eleven days, you've got
Speaker 1: to move quickly.
Speaker 4: Yeah, Actually, Santo wasn't the cinematographer. Santo was the be
Speaker 4: camera operator, but he was he was on. But sorry,
Speaker 4: I don't mean to talk center down, but no, no,
Speaker 4: I think it's I think Santo would never have called
Speaker 4: himself the cinemataony.
Speaker 1: No, we did laugh at the fact that Santa that
Speaker 1: that is like he never actually called himself.
Speaker 4: But you know, you know, I remember the you know,
Speaker 4: the family who owned that house that we shot in.
Speaker 4: They they were obviously going a movie is going to
Speaker 4: be shot in our house. How cool is that? And
Speaker 4: they put them up in the como. It's like, we're
Speaker 4: going to live in the como for like two weeks, right,
Speaker 4: how cool is this? And the d generation the Late
Speaker 4: Show dudes are going to make a movie in our house?
Speaker 2: How sweet is this? What they didn't tell them, is
Speaker 2: it because you've only got eleven days to shoot the movie.
Speaker 2: We're going to shoot it like a sitcom. So every
Speaker 2: room's going to have its own lighting rig constantly going.
Speaker 2: So if you finish a scene in the kitchen and
Speaker 2: the next scene in the movie is in the lounge room,
Speaker 2: we order to pick up. We go over there and
Speaker 2: we shoot the next scene in the lounge room. We
Speaker 2: turn a light on, turn a switch, all the lights
Speaker 2: come on.
Speaker 4: You're making the next scene, right, which is as you know,
Speaker 4: and if anybody who hasn't sort of I guess, been
Speaker 4: on a film, you would almost always shoot anything in
Speaker 4: the kitchen in the two or three days that you
Speaker 4: need to shoot all that stuff because it's lit, and
Speaker 4: you get it all done and then you move to
Speaker 4: the next location. This was not This was just moving
Speaker 4: around scene by scene chronologically shooting this thing. But to
Speaker 4: get this light lighting rig, they had to cut a
Speaker 4: big hole in each of the ceilings, right, get this
Speaker 4: big scaffolding rig up into the ceiling with the lights
Speaker 4: coming down, and you look at you go hole, did
Speaker 4: you run this past that? And they go that no, no,
Speaker 4: But but when they come back it will be replaced
Speaker 4: and they won't even know unless they turn up to
Speaker 4: check out the filming.
Speaker 2: One day.
Speaker 1: They rock up, no jokes, the mom, the dad, the kids,
Speaker 1: they all kind of.
Speaker 4: Rock up, all excited, and there's like Uncle Harry from
Speaker 4: the Sullivans at the head of the table. There's Molly
Speaker 4: from the Country Practice and some guys I've never seen before.
Speaker 4: And they kind of walk in and they's like you
Speaker 4: can see them but really smiling and really looking around.
Speaker 4: And then one by one they all just look up
Speaker 4: and it was like you've never seen a smile get
Speaker 4: wiped off her face?
Speaker 7: What?
Speaker 4: And then Annie may have had no, no, we need
Speaker 4: to actually splain something to you, and Rob kind of
Speaker 4: took them besides, now listen, now, okay, we didn't mention
Speaker 4: that this was going to happen, but as soon as
Speaker 4: when you come back here on Tuesday week, that will
Speaker 4: be all exactly because I was like, I think the magic,
Speaker 4: the magic of cinema might have been said that the
Speaker 4: sheene might have come off the Magic of cinema very quickly.
Speaker 1: A million dollar budget and most of it went into
Speaker 1: probably fixing the ceiling.
Speaker 2: There you go anyway, but wow, and.
Speaker 1: Before before we move on from the coming back the
Speaker 1: fun facts, because we're going to get a lunch. You're paying,
Speaker 1: I'm paying.
Speaker 2: So good, so I can read the menu from the
Speaker 2: left and brought me.
Speaker 1: I already ordered, already pre ordered. We're having the same thing.
Speaker 2: The lunch special special.
Speaker 1: Jeraldin Hickey on just one of the mass j Hicky
Speaker 1: is fantastic. She just won the MAST Outstanding UH Comedy
Speaker 1: Show Award at Melbourne International Film But.
Speaker 4: I just say quickly, she has earned her stripes so brilliantly.
Speaker 4: Geraldine Hickey is one of those people and if you
Speaker 4: don't know who she is, go and see her shows.
Speaker 4: She's so freaking good and she has worked a ass off,
Speaker 4: yes and done. You know, she's worked it out from
Speaker 4: these tiny little rooms and kind of playing to know people.
Speaker 2: Working her and writing brilliant stuff constantly.
Speaker 7: She is.
Speaker 2: Honestly, I can't say enough about Geraldine. She's so bloody
Speaker 2: good and I'm just I'm.
Speaker 1: Stoked years such I haven't known a more feel good factor.
Speaker 7: You know.
Speaker 1: Maxicomedians for Jay's winning that award. She did an episode
Speaker 1: this podcast called called It's called You Want Say Nothing
Speaker 1: Yet you're listening to it. Wow, But if you done
Speaker 1: this before besides the one I did with Jordine, Okay,
Speaker 1: she did Harold and Maud, Go and listen to that
Speaker 1: episode one. It's a great movie and she's great. But
Speaker 1: one of the things she mentioned one of her favorite
Speaker 1: films is not The Asshole, but was Rogue. And she
Speaker 1: she said to me whenever she gets an opportunity to
Speaker 1: talk to you. I'm not sure she has mentioned it. Yeah,
Speaker 1: she like, but she kind of nervously goes. So she
Speaker 1: just wants to know everything about rogue. The next time
Speaker 1: you do see jazz, just feel free, like you'll make
Speaker 1: it very happy if you just go up and just say,
Speaker 1: let's grab a coffee and talk about rogue.
Speaker 4: I don't get that very often. I don't get you know,
Speaker 4: I was in Paris once I've obviously.
Speaker 1: Traveled, you've done well, yeah, you're paying for lunch now.
Speaker 2: We didn't have any money, I'll be honest.
Speaker 4: We were stealing our bagettes from the from the like
Speaker 4: the buffet table at our shitty hotel to go and
Speaker 4: eat it out in like bather by the outside the louver,
Speaker 4: you know. But no, no, and this what this French
Speaker 4: person came up and said, you know, I'm not going
Speaker 4: to do the act.
Speaker 1: I think you still friend? Is that I think the
Speaker 1: French one is the one you're allowed to do. That's racist.
Speaker 2: So I said, excuse me, but you know I'm doing
Speaker 2: it now.
Speaker 4: No said, pardon me. This is imagine this in a
Speaker 4: French accent. All right, bother me do it again, pardon
Speaker 4: me door so softg Are you an actor? And I
Speaker 4: went yeah, and you're going, where's this going to go?
Speaker 4: Like a French person in Paris knows I'm an actor,
Speaker 4: And then they said I love that movie. Cut now,
Speaker 4: Oh Cat is a terrible horror film that I was
Speaker 4: in with Molly Ringwald and Kylie Minogue in nineteen ninety nine.
Speaker 4: Molly Ringwald quite famous in France, and this film opened
Speaker 4: at number two in the French box office. It died
Speaker 4: in the ass here and everywhere else it tried to open,
Speaker 4: but in France it spent like three days at number
Speaker 4: two at the French box office because Molly.
Speaker 2: Ringwold was in it and this dude.
Speaker 4: It was like one of those moments like Geraldine Hickey
Speaker 4: liking rogue is like you just don't have.
Speaker 2: It's like, it's yeah, one of those momors. He's going
Speaker 2: to go, gee, well, okay, well there you go, it's
Speaker 2: out there.
Speaker 1: I met a guy and his wife with my wife.
Speaker 1: We were in France and we got yeah, I will
Speaker 1: be paying for lunch, no trisycle okay, And we were
Speaker 1: having a chat and he said, you do you play
Speaker 1: a character called Strawnie.
Speaker 2: New York and I say, this was a New York accent.
Speaker 2: You didn't want to do no, no, nothing.
Speaker 1: That's racist?
Speaker 2: Yeah, yeah, okay, you that's racist.
Speaker 1: Whoa still got Sorry?
Speaker 2: That's racist. That that was that was seen in Australia.
Speaker 1: A comedy fan who kind of followed comedy around the
Speaker 1: world a little bit. And it's kind of, you know,
Speaker 1: like the strange comedy as well, and then stumbled on
Speaker 1: a bit of Strawnie. Hey, some fun facts before we go. Yeah,
Speaker 1: we've got a table waiting for us. This is Benny
Speaker 1: Davis has big comeback Still that's where we go.
Speaker 2: Okay, sorry, Betty Davis.
Speaker 1: Betty Davis big comeback vehicle. She hadn't had a hit
Speaker 1: for a while. She wasn't necessarily the hot casting. In fact,
Speaker 1: we were supposed to go to another actress called Claudette
Speaker 1: Colbert who's from France, who probably was the woman who
Speaker 1: came up to you and asked about cut. I thought
Speaker 1: he was as Kenny, but yeah, okay, And she was
Speaker 1: originally cast, but she heard herself. I think she met
Speaker 1: a grizzly end, a grizzly end blast stage at the theater.
Speaker 1: So she she got recast and it was bet Davis.
Speaker 1: There was bet Davis had a massive reputation for being
Speaker 1: hard to work with and often kind of coming in
Speaker 1: and rewriting scenes, so everyone was concerned this was going
Speaker 1: to happen. She gets sent the script and Joseph Makwitz says,
Speaker 1: she was absolutely She did not change a single word.
Speaker 2: She did pour her Betty Davis eyes all over all over,
Speaker 2: no doubt about that.
Speaker 1: Let's be very rolling through it, very clear on that.
Speaker 1: And she was a delight to work with. Got along
Speaker 1: with the rest of the crew. Besides Celeste Holm, who
Speaker 1: played Karen. They apparently they hated each other.
Speaker 4: Because Karen was always asking for the manager such as
Speaker 4: she and that that short blonde hair, classic Karen, Classic
Speaker 4: Karen Karen.
Speaker 1: And so delightful the work with the change of word
Speaker 1: and describes as one of the best, you know, experiences
Speaker 1: of her acting acting life.
Speaker 2: What was there a problem with Celeste Home?
Speaker 1: She I think it seems to me that she was
Speaker 1: offended by selest homes good manners.
Speaker 2: They can be very thank you.
Speaker 1: Yeah, like seriously, wasn't It wasn't Betty's style. The original
Speaker 1: name of the movie was called Best Performance and Performance
Speaker 1: Producer Darryl Zanich was reading the script and highlighted or
Speaker 1: circled the line all about it, which is in that
Speaker 1: voice over, So he said that I think it works
Speaker 1: the life imitating art here and Baxter played the role
Speaker 1: of Margo on Broadway. Years later. Thirty three years later,
Speaker 1: Bet Davis was making a series called Hotel. She fell
Speaker 1: ill and Baxter replaced her. Oh my god, totally did.
Speaker 2: That's crazy?
Speaker 4: So hang on, But also, wasn't there something about the
Speaker 4: theater production was absolutely trashed by the critics.
Speaker 1: It didn't it didn't last. I think they did maybe
Speaker 1: a couple hundred performances or something.
Speaker 2: Okay, right, it was around for years.
Speaker 4: It was something about it getting it so wrong because
Speaker 4: there was the feminist angle of it or something was
Speaker 4: kind of I think was really.
Speaker 2: Diluted in the production. I believe I don't ever ever
Speaker 2: take anything I say as the truth.
Speaker 1: No, this is you know that you've known me a
Speaker 1: long this gospel, that's true.
Speaker 2: Okay.
Speaker 1: Feminist thing had been watered down. That's in Wikipedia as
Speaker 1: we speak.
Speaker 2: Yeah, yeah, actually, I think that might be where I
Speaker 2: and Dave Lawson is Henry Lawson's grands According to Wikipedia.
Speaker 1: Davis Bete Davis falls in love with Bill, her younger boyfriend.
Speaker 1: They get married, don't tell me they get married and
Speaker 1: then get divorce ten years later. And she says that
Speaker 1: the idea that they think they married their characters and
Speaker 1: then eventually they fell in love out of love with
Speaker 1: their characters. It is that flyne in the notting Hill
Speaker 1: that Julia Robert says, the Hugh Grant in bed where
Speaker 1: and I thought when I was, I thought it was
Speaker 1: bet Davis, But I went back and watched it. It's
Speaker 1: Rita Hayworth. She talks about the idea that they go
Speaker 1: to bed with Gilda and they wake up with Rita Hayworth.
Speaker 1: So yes, so the Oscars are saying, you know, and
Speaker 1: Baxter and and bet Davis both nominated for Best Actress,
Speaker 1: slightly controversial in that, and Baxter lobbied to be also
Speaker 1: part of the Best.
Speaker 4: Actress right, Yeah, okay, so that for your consideration thing too,
Speaker 4: isn't it. This is where the lobbying, Yes, this is
Speaker 4: kind of the era where the lobbying really came into
Speaker 4: its own. Yeah.
Speaker 1: And despite being reasonably news, she was in The Magnificent
Speaker 1: Ambussons with Auston Wells as follow up the Citizen, Kane
Speaker 1: and Baxter. But she's still making her way. She's a
Speaker 1: star on the rise, but she has just enough pull
Speaker 1: to make this happen. She's nominated alongside Bet Davis for
Speaker 1: Best Actress in nineteen fifty one Oscars and basically splits
Speaker 1: the vote so it doesn't basically denies Bet Davis. It's
Speaker 1: commonly believed that she basically split the vote denied her
Speaker 1: an Oscar. She probably wins the Best Supporting Actor as well.
Speaker 1: Judy Holiday for Born Yesterday wins that Oscar. George Saunders
Speaker 1: wins Best Supporting Actor, wins It wins the Best Motion
Speaker 1: Picture that year. Santi Boulevard's released that year, another film
Speaker 1: about more Hollywood than Theater, Father of the Bride, King
Speaker 1: Sulomon's Minds, and Born Yesterday The Third Man was also
Speaker 1: released that year. A great film where I hope we
Speaker 1: cover on this. Yeah, Joseph Golden.
Speaker 4: Funny, you're not saying how I haven't seen a lot
Speaker 4: of those Golden years of Hollywood films. I've seen almost
Speaker 4: all those films. Said, maybe I've just put them all
Speaker 4: into the recesses of my mind. Yeah, The Third the
Speaker 4: Third Third Man, Third Man, Third.
Speaker 2: Man is an absolute classic.
Speaker 1: That is brilliant.
Speaker 2: Yeah, and if we think so, it must be good.
Speaker 1: It must be good. Yeah, it must be good because
Speaker 1: we because we were on radio, we're on a podcast podcast.
Speaker 1: What we say is gospel Davis. But Davis marriage it
Speaker 1: was falling apart, so she actually married. The start of
Speaker 1: this filming, it's falling apart. She's having lots of yelling
Speaker 1: fights and that's why her voice is actually quite husky.
Speaker 4: I just thought she was smashing the dazzlers, yeah, because
Speaker 4: we saw her smashing her a lot of and I
Speaker 4: just thought, well, I did notice her voice and it
Speaker 4: was quite a I think that is so perfect.
Speaker 2: For her character that oh it's so good. It's so beautiful.
Speaker 4: And it's like this kind of this theater kind of
Speaker 4: workhorse is just devote her entire life to projecting into
Speaker 4: emoting into you know, over acting in real life kind
Speaker 4: of things and respect.
Speaker 1: The bet Davis like she like she was playing an
Speaker 1: aging actress when she was feeling in real life like
Speaker 1: an aging actress who had passed her best. And maybe
Speaker 1: she was giving this, you know, she saw this. She
Speaker 1: was smart enough to see the opportunity than it was
Speaker 1: like we we know now that actresses, we've seen the transformation.
Speaker 1: Actresses do often to get oscars, you know, Charlie Sarn's
Speaker 1: done it, you know.
Speaker 4: And then and that's when Oprah says it was a
Speaker 4: very brave performance, which means she didn't wear makeup.
Speaker 2: Amazing performances. But then she's not talking about that with
Speaker 2: the performance. She's talking about like just to be able
Speaker 2: to look like that.
Speaker 1: Yeah, you can tell that. I think they have done
Speaker 1: some little tricks to make bet Davis a little bit
Speaker 1: older than what even is. J Gobor spend a bit
Speaker 1: of time on set because she's married to the actor
Speaker 1: who plays Bill. She had Simons her husband.
Speaker 2: Seven. I think Lizzie Taylor smashed Hi. No, she smashed six,
Speaker 2: but Richard Burton was twice.
Speaker 1: That's right. They got remarried. She keeps on coming up
Speaker 1: the set because because so she's married to Addison de Witt. Really, yes,
Speaker 1: so she's married Edison de Witt, and she she hears
Speaker 1: about this blonde, young, blonde bombshell who's on set, Marilyn,
Speaker 1: and it's paranoid, and keeps rocking up to set.
Speaker 4: Fisty cuffs because she was she was pretty quick at
Speaker 4: the fists old Jajar even on her later days.
Speaker 2: I think I seem to remember her. She beat up
Speaker 2: punched a traffic cop in her latter day. Yes, I
Speaker 2: remember the dad pulled her.
Speaker 4: Over for running a red light and she got out
Speaker 4: of her car and clocked him one in the face.
Speaker 4: She was don't mess with good on.
Speaker 1: Good on, good on her, good on the good on
Speaker 1: the good. Thank you so much. This movie Country of Homework.
Speaker 1: You have a movie out June Again. Nony Hazelhurst, Claudia
Speaker 1: Carves and the biggest names in Australian It's fantastic.
Speaker 2: Wayne Blair, Darren Gilshannon, incredible.
Speaker 1: You can also see on How to Stay Married right
Speaker 1: now if you watching a podcast is released. But some
Speaker 1: great names that door to open. Wayne Blair is not
Speaker 1: in the house.
Speaker 4: What do you know about Wayne Blair is an actor.
Speaker 4: I know he's not in How to Stay Married? And
Speaker 4: I don't think he was in I Love You Too, No, no, no.
Speaker 1: But Claudia Carban was in the Secret Life of Us
Speaker 1: and this series about to they made all there are
Speaker 1: some secrets that get revealed. There are some secrets. It's
Speaker 1: a June again, fantastic film and it's it's about any
Speaker 1: Hazerhurst character he has. She's in a home, she's suffering
Speaker 1: from dementia, but she has a reprieve from her dementia,
Speaker 1: and she has this like almost window of opportunity to
Speaker 1: to sort some ship out.
Speaker 2: Yeah, and you know, and this is I talked to
Speaker 2: you about this on your nightly television show, Peter Peter
Speaker 2: Helly Live. I don't think it's called that. I don't
Speaker 2: think it's called that in mind.
Speaker 1: I thought.
Speaker 2: But anyway, that's fine.
Speaker 4: And what I've neglected to mention because what I do
Speaker 4: I as you know, you've known me long enough now,
Speaker 4: I when I get five minutes on a show like that,
Speaker 4: I tend to just go like what I need to
Speaker 4: do is just quickly do seven hit jokes and then
Speaker 4: hopefully plug the thing at the end. And what I
Speaker 4: forgot to do was to actually talk quite seriously about
Speaker 4: the performance that Nani has he gives in this film.
Speaker 4: Now she I don't think it's any great state secret
Speaker 4: that she's a freaking brilliant actor, but this film is
Speaker 4: like it's kind of it's it's it's I don't want
Speaker 4: to say to her, Chopper, is that terrible?
Speaker 2: Sorry? But this is a film that she absolutely owns
Speaker 2: this film. And it's a beautiful performance.
Speaker 4: It's a heartbreaking performance, it's hilariou is it's kind of
Speaker 4: like everything that I've always loved about Noni but like,
Speaker 4: I honestly think it's the best performance she's ever given.
Speaker 2: And I just I can't say enough about her.
Speaker 1: She's brilliant and that's saying something because she has given
Speaker 1: brilliant performances her. She breaks my heart and little fish.
Speaker 2: A little fish, Oh my god, she's great.
Speaker 4: She's great, and this is kind and that's not even
Speaker 4: her viehicre as such that that's her kind of one
Speaker 4: of the supporting actors, you know, but but you know,
Speaker 4: and what a cast that was far out, But yeah,
Speaker 4: this film is Yeah, wouldn't be percent with her at
Speaker 4: the center, and she just she just drives it so beautifully.
Speaker 1: And I have no idea what Nony where none is
Speaker 1: in her life or what her ambitions still are. But
Speaker 1: wouldn't it be great for her to have a Jackie
Speaker 1: Weaver style eruption? Yes, you know, and Hollywood and ye
Speaker 1: take notice.
Speaker 2: You know what'd be great if she got that?
Speaker 4: Then I get a Sullivan Stapleton because I'm not the
Speaker 4: go over we're talking about.
Speaker 2: Mate.
Speaker 1: I never couldn't get her. Did you get budging one
Speaker 1: because he knocked him up? Child's But.
Speaker 4: Yeah, look it is it's she's great. And sorry, I
Speaker 4: don't even mean to sort of just track from that
Speaker 4: with stupid stupidity.
Speaker 1: Let's not undercut, undercout what she's necessary of what you're saying.
Speaker 2: It's not just so I hope people go and see
Speaker 2: a movie that I'm in.
Speaker 4: It is genuinely she is absolute rippers.
Speaker 1: It's a brilliant film. It's it's fun, it's it's you know,
Speaker 1: it's a it can sound heavy if described a certain way,
Speaker 1: but it's not. It's actually really fun. And go see
Speaker 1: go take your mom to go to your mother's day.
Speaker 2: And mother's Day that's right, yeah, yeah, so you take
Speaker 2: your mom. My mom is going to lose her mind watching.
Speaker 4: Oh that's a really bad expression to use when it's
Speaker 4: a film about Sorry, it's not about to mention my.
Speaker 2: Mom is going to be really love.
Speaker 1: The film's like contagious.
Speaker 4: No no, the laughter yeah yeah, yeah, yeah, it did
Speaker 4: take the contagious to finish it, but no, but yeah,
Speaker 4: so it's yeah, anyway, I'm really.
Speaker 2: Really proud to be part of it. So I hope
Speaker 2: you people going.
Speaker 1: To say it, check it out and again in cinemas.
Speaker 1: Now it's going to actually now I've said that I
Speaker 1: have the stay in cinemas because this podcast is just
Speaker 1: out there forever forever.
Speaker 4: Yeah, so oh yeah yeah, so we'll go and say
Speaker 4: it down and said if if this if it's twenty
Speaker 4: twenty three down, see it on iTunes.
Speaker 1: ITunes, it's available on iTunes, now available on Netflix formats.
Speaker 1: They will be yeah, yeah, let's smake up.
Speaker 2: So yeah, helly a Vision available. You're going to get
Speaker 2: a hell A Vision game. Yeah, of course out now
Speaker 2: on Helly Vision.
Speaker 1: Helly Vision.
Speaker 2: It's on Hilding It's Carriopolis again.
Speaker 1: That would be a good whatsoever? I want or don't
Speaker 1: want Nick to listen to this episode?
Speaker 2: Nick, I did love you? You know I love you, Nick.
Speaker 1: Thanks Mat, thanks for doing the homework for this one.
Speaker 5: This is my house, not in my house or a guess,
Speaker 5: not a director. And stop being a star and stop
Speaker 5: treating your guests as your supporting can Now, let's not
Speaker 5: get into a big hassle. It's about time we did.
Speaker 6: It's about time Margot realized that what's attractive on stage
Speaker 6: need not necessarily be a track.
Speaker 1: All right, Hi, bloody love that chat I did. He's
Speaker 1: been a great mate for a long time. We knew
Speaker 1: some friends of ours. We had some mutual friends when
Speaker 1: we're at high school, and we kind of end up
Speaker 1: we're bumping into each other at parties occasionally, and we
Speaker 1: didn't lessarily hang out a whole lot, but we knew
Speaker 1: each other and we got along really well. And then
Speaker 1: I started in entertainment. Steve has already had already made
Speaker 1: made a few things, and we know we became even
Speaker 1: closer mates, and that friendship has endured and gotten even
Speaker 1: closer over there. He's a fantastic guy. I love chatting
Speaker 1: to him, And that was just fascinating talking about the
Speaker 1: castle with him and his experience and that as much
Speaker 1: as long as I've known him, occasionally it might come up,
Speaker 1: but to actually sit down and actually hear some stories
Speaker 1: about his memories of making the castle was great. Did
Speaker 1: you enjoy that? Derek Meyer's from Castaways Studios dot Com.
Speaker 9: Absolutely awesome.
Speaker 1: You love the Castle, don't you?
Speaker 5: Oh?
Speaker 9: It's the best film ever made, best trained film ever made?
Speaker 1: Right? Wow? There you go? The greatest trained film ever made.
Speaker 1: You heard it here first, and you see when it
Speaker 1: came out, You remember seeing it at the cinema?
Speaker 2: Probably, yeah, I would have.
Speaker 9: My memory is pretty hazy for that era, but it was.
Speaker 1: There actally the life ladies and gentlemen.
Speaker 9: It has lived alive, but it was my hearing you
Speaker 9: people talk about that first experience of being being in
Speaker 9: the industry, but going in raw it was as a
Speaker 9: normal punter. It was awesome. It was just absolutely cacked
Speaker 9: and there were so many references to real life stuff
Speaker 9: that were hilarious, and.
Speaker 1: I loved all about Eve. I really enjoyed watching this film.
Speaker 1: It's a film that I hadn't seen. I had it
Speaker 1: on DVD. In fact, that's how I watched it. I
Speaker 1: watched it on DVD, and for some reason, I hadn't
Speaker 1: got around to watching it, and I didn't really know
Speaker 1: really that much about what it was about. Like you said, Derek,
Speaker 1: did you get a chance to watch it?
Speaker 2: No, I don't know the snippets.
Speaker 1: So occasionally Derek gets movies ruined for him because he
Speaker 1: has to sit in while we record this, and he's
Speaker 1: busy because he does other podcasts as well. He sees
Speaker 1: other podcasts behind my back here at Casaway Studios dot com.
Speaker 1: This is where you need to come to record your podcast,
Speaker 1: and so sometimes occasionally the movie gets ruined for Derek,
Speaker 1: so sorry about that. I think it's worth some films
Speaker 1: you need. I'm glad you're sawing Bruges for example, you know,
Speaker 1: and that's coming in Because that's coming up next week,
Speaker 1: we'll announce who's watching in Bruges. But I know you've
Speaker 1: watched it, and Harold and Maud was another one. I
Speaker 1: think it's really important for you to watch that before
Speaker 1: you listen to the podcast All about Eve. If you
Speaker 1: haven't listen to it and you haven't seen it, including Derek,
Speaker 1: it's still worth watching. It's so it's so great. It's
Speaker 1: a classic fourteen Oscar nominations, tied with Titanic and La
Speaker 1: La Land. But next week I'm very excited because there's
Speaker 1: a film which I just mentioned in Bruges. It's one
Speaker 1: of my favorite films and I saw it at the
Speaker 1: cinema and I've seen it many times since. I watched
Speaker 1: it again before in preparation for next week's episode, and
Speaker 1: seen it for a few years, and it just lived
Speaker 1: up to every memory I had for In fact, it
Speaker 1: was enhances. I got more out of it, and so
Speaker 1: I would have seen this film. I reckon eight to
Speaker 1: ten times. I believe you have seen that film. We
Speaker 1: might talk about it what you thought about next week.
Speaker 1: But who is coming in to talk about in Bruce?
Speaker 2: Tom Ballard?
Speaker 1: Tom Ballard, the rebel rouser himself. You're known from Triple
Speaker 1: J over the years, the Weekly Sorry Tonightly Charlie pickerings
Speaker 1: The Weekly Tonightly with Tom Ballard, and he's just one
Speaker 1: of the absolute staples of the Australian comedy scene. He's
Speaker 1: whip smart.
Speaker 7: I know.
Speaker 1: I'm as confident about him loving in Bruce as I've
Speaker 1: been about any other of our guests loving in Bruce.
Speaker 1: I reckon he's going to be really into it. Where
Speaker 1: can people send emails if they want to get onto
Speaker 1: a deck.
Speaker 9: It would be yasny podcast at gmail dot com. Y
Speaker 9: as n Why Podcast at gmail dot com.
Speaker 1: It's beautiful, Dunk. I've been accused of saying it too fast,
Speaker 1: so I'm glad you just pumped the brakes a bit there, Derek,
Speaker 1: and you got it out so people can write it down.
Speaker 1: You has any podcast at gmail dot com. If you
Speaker 1: want to request movies, if there's something we've said that
Speaker 1: it's wrong. Often we have this riffing in the moment
Speaker 1: we are talking about films we have only maybe just seen.
Speaker 1: I don't know which that the guests they got they
Speaker 1: say that their three favorite films, and I don't ask
Speaker 1: him beforehand, so I'm just kind of riffing. And sometimes
Speaker 1: I get a fact wrong. Feel free to pick it up.
Speaker 1: But also this request movies that you might like to
Speaker 1: hear about, and also, guests guess is probably a good
Speaker 1: starting point. Who do you want to me to try
Speaker 1: to reach out to to get on You ain't see
Speaker 1: nothing yet. So next week one a great mate of mind,
Speaker 1: Tom Bellar talking about Mark mcdonna's two thousand and eight
Speaker 1: classic with Colin Farrell and Brennan Gleeson and Ray Fines
Speaker 1: in Bruges. Have a movie. Check it out. It is
Speaker 1: an absolute cracker. It's a dark comedy. It's a dark
Speaker 1: it's not for the fainthearted, but check it out. Until then, bye,
Speaker 1: And so we leave old Pete safe and soult and
Speaker 1: to our friends of the radio audience, we've been a
Speaker 1: pleasant good night