WEBVTT - Lucinda 'Froomes' Price and Psycho

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<v Speaker 1>Gid A, Peter Helly here, Welcome to you Ain't Seen

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<v Speaker 1>Nothing Yet the Movie Podcast. We're our chat to a

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<v Speaker 1>movie lover about a classic or beloved movie they haven't

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<v Speaker 1>quite got around to watching until now. And today's guest

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<v Speaker 1>broadcaster comedian online personality writer Liscinda Rooms Price.

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<v Speaker 2>All below.

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<v Speaker 3>I want to stay you with you, hey, little jobble,

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<v Speaker 3>my hat snake shucked my hail.

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<v Speaker 4>It couldn't be happening, right, So you ain't seen nothing new.

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<v Speaker 4>Today's a special show because I get to hang out

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<v Speaker 4>with somebody who I've.

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<v Speaker 1>Actually never met before. Licinda Froome's Price is the self

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<v Speaker 1>appointed CEO of Frooms World. I'm intrigued by Frooms I

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<v Speaker 1>have to say. I came across her a few years ago.

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<v Speaker 1>A friended pointed out that she'd posted a picture of

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<v Speaker 1>me from my row of live days.

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<v Speaker 4>I checked it out.

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<v Speaker 1>In the back of my brain, I thought she's probably

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<v Speaker 1>taken the piss somewhere. This is probably you know, it's fine,

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<v Speaker 1>And I checked it out and it wasn't. And what

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<v Speaker 1>I've learned since then is that Froomes is kind of

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<v Speaker 1>loves to celebrate Australian nostalgia. She's a really positive person.

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<v Speaker 1>She is joyful, joyous, she's bloody hilarious, and she's just

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<v Speaker 1>she's like an entrepreneur who has decided to invest in herself.

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<v Speaker 1>She has branded herself the whole Frooms World thing is remarkable.

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<v Speaker 1>She has a legion of fan who love her. She

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<v Speaker 1>does a radio show on the Caden Network called Flex

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<v Speaker 1>and Frooms. You can listen daily for the three pm

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<v Speaker 1>to five pm. It's also in podcast form. She has

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<v Speaker 1>a substack Frooms World which has over eleven thousand subscribers.

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<v Speaker 4>She's performing live.

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<v Speaker 1>She performed at the Melbourne and Sydney Comedy Festivals this

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<v Speaker 1>year in the show called Besties, alongside Lewis Hansen. She

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<v Speaker 1>started The Pedestrian as a writer and the producer and

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<v Speaker 1>the presenter for a few years. And like I said,

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<v Speaker 1>she just has backed herself in and I find it

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<v Speaker 1>kind of inspiring, to be honest.

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<v Speaker 4>You know, we're very different ages.

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<v Speaker 1>I think she's later twenties and she has recognized the space.

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<v Speaker 1>She worked out that you don't have to wait for

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<v Speaker 1>a TV network or a radio network to give you

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<v Speaker 1>a call. You can just create and build your own thing.

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<v Speaker 1>And that's exactly what she has done and is doing.

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<v Speaker 1>She's run thesehilarious campaigns. She read one as You Missed It,

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<v Speaker 1>where she basically there was billboards involved, where she was

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<v Speaker 1>basically putting out the word that she wanted to have

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<v Speaker 1>sex with Shane warn This is obviously before he passed,

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<v Speaker 1>and it was hilarious but also intriguing. It was like,

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<v Speaker 1>is this gonna is this gonna play out? What's gonna

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<v Speaker 1>happen here? And one he did engage with it for

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<v Speaker 1>a bit. She performed the song about it with g

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<v Speaker 1>Flip and Flume, which is basically a call out. She

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<v Speaker 1>embraces Australia nostalgia, pop culture, nostalgia, Shrek, Serena, Tuna, like,

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<v Speaker 1>there's all kinds of things and it's always entertaining, it's

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<v Speaker 1>always positive. I think she's a really fun person to follow.

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<v Speaker 1>I really encourage you to do that. Like I said,

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<v Speaker 1>she's smart, she's positive, she's bloody, hilarious, and I'm stoked

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<v Speaker 1>to be hanging out with her today.

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<v Speaker 2>My name is Friends, and my three favorite films are

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<v Speaker 2>number one Austin Powers. Actually my name is Austin Powers.

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<v Speaker 2>It says your name danger Powers.

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<v Speaker 4>No no no no no. Danger is my middle name.

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<v Speaker 2>Mean girl, that is so fetch, Gretchen, stop trying to

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<v Speaker 2>make Fetch happen. It's not going to happen. And everything

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<v Speaker 2>everywhere all at once. Rock acony? What rock acony?

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<v Speaker 5>You know, the one with the chef and he makes

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<v Speaker 5>bad food point and.

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<v Speaker 3>Then this is raccoon, sit on his head, control him,

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<v Speaker 3>and then he cooks good food.

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<v Speaker 2>Do you mean? But up until this week, I've never

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<v Speaker 2>seen Psycho.

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<v Speaker 1>Considered the mother of modern horror films, in nineteen sixty,

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<v Speaker 1>Alfred Hitchcock made it quite clear that adult men who

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<v Speaker 1>lived with their mothers are well a bit weird. Jamie

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<v Speaker 1>Lee Curtis's mum, Janet Lee is Marion Crane, a woman

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<v Speaker 1>we find in the hotel room having a rendezvous with

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<v Speaker 1>a ripped and shirtless divorcee Sam John Gavin, who is

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<v Speaker 1>suffering a little bit financially. When an opportunity presents itself

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<v Speaker 1>to Marry to take forty thousand dollar cash and skip town,

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<v Speaker 1>she takes it, eventually arriving at the completely vacant Bates

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<v Speaker 1>Motel run by Norman Gates. Anthony Perkins, a seemingly friendly

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<v Speaker 1>enough man with a passion for at taxidermy who lives with

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<v Speaker 1>his overbearing mother. Yes, in hindsight, there were some red flags.

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<v Speaker 1>Based on the book by Robert Bloke from a screenplay

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<v Speaker 1>by Joseph Stefano, nominated for four Oscars, it went home

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<v Speaker 1>empty handed, but it has lived in the pop cultural

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<v Speaker 1>psyche like very few films have rooms. Can you, without

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<v Speaker 1>writing it down, finish this maths equation forty thousand minus

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<v Speaker 1>seven hundred.

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<v Speaker 2>Thirty nine thousand and three hundred.

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<v Speaker 4>Well done? Well done? Was that right? That is absolutely right?

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<v Speaker 1>And I don't know why Marian couldn't do that sum

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<v Speaker 1>in her own head. I'm not sure why she had

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<v Speaker 1>to write that down and then flush it down the toilet.

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<v Speaker 4>We'll get to that later, but from the get go,

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<v Speaker 4>thank you so much for joining us.

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<v Speaker 2>Thanks you, Peter Hellier. It's a pleasure to be here

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<v Speaker 2>and to finally meet.

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<v Speaker 4>We have kind of over the a couple of years. Now.

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<v Speaker 1>Just follow each other on Instagram and message each other occasionally.

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<v Speaker 1>Basically started by a publicist told me a channel tention,

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<v Speaker 1>do you follow frums on Instagram?

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<v Speaker 4>This is a few years ago now.

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<v Speaker 1>I said no, no, I don't, and she sent me

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<v Speaker 1>these you had sent you posted something about me wearing

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<v Speaker 1>a beret whilst interview in the Backstreet Boys.

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<v Speaker 2>You're wearing a backwards cagle short cap.

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<v Speaker 1>I went through a little stage where I wore the

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<v Speaker 1>Can goal cap and was feeling kind of fine about

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<v Speaker 1>it at the time, and I think I may mentioned

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<v Speaker 1>this on this podcast before, and it wasn't until we

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<v Speaker 1>had Chris Rock on the show, who also wore the

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<v Speaker 1>Can goal cap, and our guest producer Paid McGinley introduced

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<v Speaker 1>me to Chris when they promoting Madagascar with Ben Stiller,

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<v Speaker 1>and she said, oh, Pete wears the Can goal cap

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<v Speaker 1>as well. I wasn't wearing it in this moment and

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<v Speaker 1>he just looked at me up and down and I've

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<v Speaker 1>never worn that cap again.

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<v Speaker 2>He said.

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<v Speaker 1>He really was like, no, I wouldn't be surprised if

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<v Speaker 1>maybe he hasn't worn the Can goal cap again since

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<v Speaker 1>since that moment, I think I ruined it for him,

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<v Speaker 1>and it was ruined for me.

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<v Speaker 4>I did interview Chris.

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<v Speaker 1>I've interviewed a couple of times, and the last time

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<v Speaker 1>I'm interviewed him for that kind of sore, kind of horror.

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<v Speaker 4>Film thing he did. I mentioned it to him.

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<v Speaker 1>I said, I this happened, and I'm I'm not trying

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<v Speaker 1>to shame you or anything, but I just want you

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<v Speaker 1>to know I don't wear the cano caps anymore.

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<v Speaker 4>And he was. He promised me he wasn't judging me,

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<v Speaker 4>but he was judging me. Yeah, he was judging me.

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<v Speaker 2>I went through a face as well. I think that's

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<v Speaker 2>how I sound. I don't even I can't even remember

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<v Speaker 2>how I found the photo of you, but I went

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<v Speaker 2>through a period. I was working at Pedestrian, like a

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<v Speaker 2>colored news site in in Gooda Commons, and I'd be

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<v Speaker 2>sitting opposite this guy and I started wearing the little

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<v Speaker 2>cap backwards, like I don't know what came home with

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<v Speaker 2>me to even consider. I don't even know where I

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<v Speaker 2>got it. And he just started calling me Samuel L. Jackson.

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<v Speaker 2>I can't be doing this.

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<v Speaker 1>I feel Samuel Jackson does own that look now, like

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<v Speaker 1>that's who I think of more so than Chris Roe.

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<v Speaker 4>I think of Samuel Jackson. He's the guy who basically

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<v Speaker 4>own is that look. I think.

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<v Speaker 1>And you know, a white at twenty five year old

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<v Speaker 1>Australian chubby man should not have been wearing a Cago

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<v Speaker 1>cap backwards.

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<v Speaker 4>I admit that, and I.

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<v Speaker 1>Moved on, you know, And it's so it's so weird

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<v Speaker 1>and like in the way it's I find it really funny,

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<v Speaker 1>but it's also if I was a deep, a little

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<v Speaker 1>bit deep, a little bit deeper.

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<v Speaker 4>I've made so few fashion choices, like like.

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<v Speaker 1>I'm like, I didn't I didn't go I'm gonna wear

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<v Speaker 1>hoodies and baseball caps, you know, as a fashion choice.

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<v Speaker 1>It's just kind of they just found me, and I

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<v Speaker 1>just kind of like, you know, I've never been brave.

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<v Speaker 4>It's the only fashion choice I think I've ever made.

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<v Speaker 4>But it was on TV for like a year and.

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<v Speaker 1>Chris Rock kind of ended it for me, which had well,

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<v Speaker 1>he did a service I think for all of us.

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<v Speaker 2>Maybe yeah, maybe, But I'm like, it is hard to

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<v Speaker 2>go out of your comfort zone. I always say wear

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<v Speaker 2>a hat to try and learn a few and kind

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<v Speaker 2>of like push yourself to be more confident because people

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<v Speaker 2>always comment on your hair on your hat. So yeah,

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<v Speaker 2>I think you got to take a risk, and you

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<v Speaker 2>took a risk.

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<v Speaker 1>I took a risk. I thought I've thought of, you know,

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<v Speaker 1>people have themed parties. Often thought of having a theme party,

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<v Speaker 1>which is like where something you would never usually wear

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<v Speaker 1>and that could be anything that could be It could

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<v Speaker 1>even be a hat some people where it could be

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<v Speaker 1>as simple as a hat, or it could be you know,

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<v Speaker 1>some kind of really fuck off you know design feathery

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<v Speaker 1>feathery thing, you know, or pant, golden pants or something.

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<v Speaker 4>I think it'd be a fun night, I think so.

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<v Speaker 2>Definitely a little hot short what they.

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<v Speaker 4>Call little Kyle spitting around hot pants chat.

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<v Speaker 1>That's it, sure, I mean, yeah, yeah, hey, Psycho, why

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<v Speaker 1>hadn't you seen this one?

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<v Speaker 4>I mean, this is made in nineteen sixty.

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<v Speaker 1>There's obviously the remake which Gus van sand did with

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<v Speaker 1>Vince Vaughn, the shot for shot remake. But this is like,

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<v Speaker 1>this is a major film, Like this is this is

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<v Speaker 1>really a big one. It kind of dawned on me

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<v Speaker 1>when I was watching it how big this film is.

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<v Speaker 1>And this is a real major one, And it doesn't

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<v Speaker 1>surprise me that some people haven't seen it. But why

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<v Speaker 1>hadn't you seen it?

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<v Speaker 4>Well?

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<v Speaker 2>I didn't even know there was a remake. There's a

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<v Speaker 2>Vinsfawn remake.

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<v Speaker 1>Yeah, in the nineties is very kind of earliest Vinceful.

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<v Speaker 1>It might have been post Swingers. I think it was

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<v Speaker 1>post Swingers. Yeah, Gus van Sant did basically a shot

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<v Speaker 1>for shot remake, which I've never seen actually watching this

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<v Speaker 1>maybe thing I should just go check it out. But

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<v Speaker 1>and also there's there's two sequels which I think both

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<v Speaker 1>have Anthony Perkins in a Psycho two and Psycho three. Yeah,

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<v Speaker 1>I mean this is a film that exists in the zeitgey,

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<v Speaker 1>so you must have known what were the things you

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<v Speaker 1>knew about this film.

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<v Speaker 4>Like going in?

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<v Speaker 2>Yes, so I was obviously tasked with finding a movie

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<v Speaker 2>for this podcast, And there's so much stuff that I've

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<v Speaker 2>never seen because I'm the kind of person that will

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<v Speaker 2>watch and when we get into my favorite films, you'll

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<v Speaker 2>see two of them I've watched probably more than anything

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<v Speaker 2>else in the world ever. But like I haven't even

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<v Speaker 2>watched Star Wars, for example, Like the gaps in my

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<v Speaker 2>knowledge are so wide preaching. But obviously I knew the

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<v Speaker 2>shower scene in Psycho, so that kind of drew me in,

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<v Speaker 2>and I guess I just googled, like what are the

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<v Speaker 2>best fells of all time? And that came up. But yeah,

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<v Speaker 2>I'd never had an opportunity to watch it until an

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<v Speaker 2>hour And.

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<v Speaker 4>I think this is actually the surprisingly.

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<v Speaker 1>We've done over near one hundred and twenty episodes of

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<v Speaker 1>this and this is the first Hitchcock film we've done,

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<v Speaker 1>so I was actually very excited. Yeah, we haven't done

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<v Speaker 1>Rear Window or north By Northwest or The Birds, and

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<v Speaker 1>I think this is I'm glad this is the first

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<v Speaker 1>one we're doing. This is you know, I think when

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<v Speaker 1>people think hitch they think Psycho. So yes, I'm very

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<v Speaker 1>interested to get into it with you. Let's talk about

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<v Speaker 1>your three favorite films.

0:13:27.080 --> 0:13:27.920
<v Speaker 4>If I was the guest.

0:13:27.960 --> 0:13:29.559
<v Speaker 1>And I'm not sure if this is already out there

0:13:29.640 --> 0:13:31.240
<v Speaker 1>that maybe you speak about it a lot and it's

0:13:31.280 --> 0:13:34.040
<v Speaker 1>just kind of in my head, but I'm not surprised

0:13:34.160 --> 0:13:38.480
<v Speaker 1>me and Girls is there. It is such a great film.

0:13:38.679 --> 0:13:41.199
<v Speaker 1>We covered it on this podcast with Sam Mack and

0:13:41.760 --> 0:13:44.000
<v Speaker 1>I was doing radio in Sydney at the time.

0:13:44.040 --> 0:13:46.760
<v Speaker 4>I got to interview Tina Fey when it came out,

0:13:47.240 --> 0:13:48.680
<v Speaker 4>and I was just so.

0:13:50.280 --> 0:13:53.400
<v Speaker 1>Like surprise because I thought, like, I'm seeing this Lindsay

0:13:53.440 --> 0:13:56.439
<v Speaker 1>Loewen film, Okay, we'll see what it's low.

0:13:56.760 --> 0:13:59.480
<v Speaker 4>And it's just so smart and so funny.

0:14:00.000 --> 0:14:02.680
<v Speaker 2>Btally, it's just I just think it's the perfect field.

0:14:02.720 --> 0:14:04.880
<v Speaker 2>So obviously it came out in two thousand and four,

0:14:05.840 --> 0:14:08.760
<v Speaker 2>so I was in year four, so I guess so you.

0:14:08.760 --> 0:14:10.280
<v Speaker 4>Didn't interview team the Fair when I came.

0:14:10.200 --> 0:14:14.439
<v Speaker 2>Out, nor sorry approbly one Persson could do that.

0:14:15.520 --> 0:14:19.680
<v Speaker 4>The Grade fours weren't given the opportunity, which is which

0:14:19.720 --> 0:14:20.160
<v Speaker 4>is a shame.

0:14:22.840 --> 0:14:25.800
<v Speaker 2>So I I think about it the Locks. I still

0:14:25.840 --> 0:14:28.000
<v Speaker 2>watch it probably like two times a year, i'd say,

0:14:28.560 --> 0:14:30.520
<v Speaker 2>And when it came out, I don't think the humor.

0:14:31.480 --> 0:14:33.880
<v Speaker 2>I don't think I really understood the humor beyond kind

0:14:33.920 --> 0:14:36.040
<v Speaker 2>of like the slapstick elements of it. Like I didn't

0:14:36.080 --> 0:14:38.880
<v Speaker 2>realize that the mean girls weren't cool or kind of

0:14:38.920 --> 0:14:39.640
<v Speaker 2>it was the joke.

0:14:39.600 --> 0:14:39.960
<v Speaker 4>Was on them.

0:14:40.080 --> 0:14:41.600
<v Speaker 2>I was just like, I want to be a mean girl,

0:14:41.680 --> 0:14:43.920
<v Speaker 2>like I want to be Ridina George. I love their

0:14:44.000 --> 0:14:48.640
<v Speaker 2>fashion and the whole high school experience, so kind of

0:14:49.240 --> 0:14:52.240
<v Speaker 2>learning later that it was had to reflect and be like,

0:14:52.320 --> 0:14:54.920
<v Speaker 2>oh no, they're actually mean, Like you don't even want

0:14:54.960 --> 0:14:56.560
<v Speaker 2>to be like Caddy Heron, you kind of want to

0:14:56.600 --> 0:14:58.560
<v Speaker 2>be like the ard freaks. But yeah, I feel like

0:14:58.600 --> 0:15:00.480
<v Speaker 2>every time I watch it, it's got that mix of

0:15:00.680 --> 0:15:04.320
<v Speaker 2>nostalgia as well as it just yeah, it stands up

0:15:04.480 --> 0:15:07.600
<v Speaker 2>like it's funny and it's smart. Yeah, and I love

0:15:07.640 --> 0:15:08.320
<v Speaker 2>the actors in it.

0:15:09.080 --> 0:15:11.480
<v Speaker 4>It's everyone's so good. It's it's funny watching it now.

0:15:11.680 --> 0:15:13.120
<v Speaker 4>If you're get a chance to watch it recently, if

0:15:13.160 --> 0:15:15.160
<v Speaker 4>you haven't seen it, go see it. It's it's so good.

0:15:15.520 --> 0:15:19.040
<v Speaker 1>But to see Reggie McAdams play like, you know, not

0:15:19.480 --> 0:15:22.080
<v Speaker 1>kind of a sweet Regie mcadam's role, like she's kind

0:15:22.120 --> 0:15:25.640
<v Speaker 1>of the she's that the queen, mean girl is it's

0:15:25.680 --> 0:15:26.080
<v Speaker 1>kind of weird.

0:15:26.160 --> 0:15:26.280
<v Speaker 4>Now.

0:15:26.400 --> 0:15:29.120
<v Speaker 2>It's so weird, isn't it Because you then watch her

0:15:29.160 --> 0:15:31.960
<v Speaker 2>in the Notebook and you like see her in interviews

0:15:32.000 --> 0:15:34.520
<v Speaker 2>and yeah, every other character that she plays, it's like

0:15:34.640 --> 0:15:35.960
<v Speaker 2>you can't reconcile the two.

0:15:36.320 --> 0:15:40.880
<v Speaker 4>Yeah, yeah, like she I remember seeing her in Wedding Crashes.

0:15:40.920 --> 0:15:44.000
<v Speaker 1>I think was the one that I really noticed her

0:15:44.040 --> 0:15:46.520
<v Speaker 1>and I thought, oh, she is, like I can understand

0:15:46.520 --> 0:15:49.120
<v Speaker 1>why she's cast in that role because she is like

0:15:49.440 --> 0:15:53.120
<v Speaker 1>every guy, every straight guy would go, well, that's who

0:15:53.200 --> 0:15:54.480
<v Speaker 1>I want to be my girlfriend.

0:15:54.760 --> 0:15:56.320
<v Speaker 4>It's like that that girl.

0:15:56.400 --> 0:15:58.720
<v Speaker 1>And then and she's kind of played a lot of

0:15:58.760 --> 0:16:02.960
<v Speaker 1>those roles, and she's some diversity in her roles as

0:16:03.000 --> 0:16:07.680
<v Speaker 1>far as she would strive for more interesting stuff, you know,

0:16:07.920 --> 0:16:10.280
<v Speaker 1>later on in her career, but she certainly had that

0:16:10.400 --> 0:16:12.120
<v Speaker 1>kind of she was the golden girl. For you know,

0:16:12.400 --> 0:16:16.000
<v Speaker 1>a long time notebook and wedding crashes and so yeah,

0:16:16.040 --> 0:16:19.520
<v Speaker 1>to see her and it's blonde with the blonde eyebrows

0:16:19.560 --> 0:16:23.520
<v Speaker 1>as well. Is is really it's God to take you

0:16:23.520 --> 0:16:27.880
<v Speaker 1>back a little bit. Amy Poehler is so so funny.

0:16:28.000 --> 0:16:28.680
<v Speaker 1>Is the cool mum?

0:16:29.200 --> 0:16:30.960
<v Speaker 4>Yes, yes, the other one.

0:16:30.880 --> 0:16:33.000
<v Speaker 1>Who makes me laugh a lot, like Tina fe is

0:16:33.120 --> 0:16:37.880
<v Speaker 1>so good at She's obviously a very good joke writer,

0:16:38.160 --> 0:16:39.960
<v Speaker 1>you know, through years of saturny in my life. But

0:16:40.120 --> 0:16:43.160
<v Speaker 1>her ability the pepper that at the right moments, those

0:16:43.240 --> 0:16:50.320
<v Speaker 1>assembly scenes with Tim Meadows, you know, playing I think

0:16:50.360 --> 0:16:54.120
<v Speaker 1>he's the principal. They're just perfect jokes at the right time.

0:16:54.840 --> 0:16:58.000
<v Speaker 1>They're never superfluous, you know, it's all still part of

0:16:58.040 --> 0:17:01.880
<v Speaker 1>the plot and character Bill and it's just it's so good.

0:17:02.000 --> 0:17:04.840
<v Speaker 2>It's genius. So I would watch it when we had

0:17:04.880 --> 0:17:08.920
<v Speaker 2>it on DVD, and I remember being downstairs at my parents'

0:17:09.000 --> 0:17:12.879
<v Speaker 2>house and there was this little tiny This is obviously

0:17:12.920 --> 0:17:14.680
<v Speaker 2>before you could be streaming and like kind of like

0:17:14.960 --> 0:17:17.000
<v Speaker 2>clicking exactly where you wanted to go in the movie.

0:17:18.000 --> 0:17:22.080
<v Speaker 2>And there's this scene when Caddie goes to the Halloween

0:17:22.119 --> 0:17:24.760
<v Speaker 2>party and she's dress up as the kind of like

0:17:25.000 --> 0:17:30.240
<v Speaker 2>Vampire Bride and she walks outs this guy sitting on

0:17:30.320 --> 0:17:33.240
<v Speaker 2>a sense and he sees her and he goes and

0:17:33.359 --> 0:17:38.080
<v Speaker 2>like so backwards, Like it's the most stupid slapstick thing

0:17:38.119 --> 0:17:40.640
<v Speaker 2>I've ever seen. But I just have to be really

0:17:41.200 --> 0:17:44.400
<v Speaker 2>like clear memories of just going back and like making

0:17:44.440 --> 0:17:47.360
<v Speaker 2>the CD go back and back and just actually saysical

0:17:47.480 --> 0:17:50.600
<v Speaker 2>tunes like rolling down my cheeks. It's it's like a

0:17:50.640 --> 0:17:51.920
<v Speaker 2>core memory of my childhood.

0:17:52.840 --> 0:17:55.879
<v Speaker 1>Well, and that doesn't that doesn't surprise me because what

0:17:56.000 --> 0:17:59.440
<v Speaker 1>I've observed of you with you the Summer's content that

0:17:59.480 --> 0:18:03.159
<v Speaker 1>you pulled out into the world that you are like

0:18:03.280 --> 0:18:07.840
<v Speaker 1>a celebrator of I think pop culture, you know, and

0:18:08.160 --> 0:18:12.080
<v Speaker 1>and and you don't seem to me to be an

0:18:12.119 --> 0:18:18.320
<v Speaker 1>overly cynical person. No, you you do embrace You embrace

0:18:18.359 --> 0:18:21.120
<v Speaker 1>pop culture and a bit of silliness.

0:18:21.520 --> 0:18:25.240
<v Speaker 2>I love silliness. I can't help myself. I think like,

0:18:25.320 --> 0:18:27.680
<v Speaker 2>I've got a show with Flex Mummy on cater It's

0:18:27.720 --> 0:18:31.000
<v Speaker 2>called Flex and Frooms, And kind of when we first

0:18:31.000 --> 0:18:32.680
<v Speaker 2>started recording, I was like, oh, I've got to be

0:18:32.920 --> 0:18:35.080
<v Speaker 2>a bit more cerebral. I've got to come with kind

0:18:35.119 --> 0:18:39.280
<v Speaker 2>of like social dilemmas and talk about people's behavior, and

0:18:39.400 --> 0:18:40.960
<v Speaker 2>now that we've been doing it for a year, I'm

0:18:41.040 --> 0:18:44.000
<v Speaker 2>just like, that's just not my I can't. I find

0:18:44.040 --> 0:18:47.480
<v Speaker 2>it really hard to like criticize things. I just would

0:18:47.480 --> 0:18:50.720
<v Speaker 2>prefer to find the funny things happening or kind of

0:18:50.880 --> 0:18:53.119
<v Speaker 2>like try to find a way to be entertaining as

0:18:53.200 --> 0:18:57.560
<v Speaker 2>opposed to to I guess I'm just trying to find

0:18:57.600 --> 0:19:01.040
<v Speaker 2>my own way to talk about issues or like discuss

0:19:01.119 --> 0:19:02.400
<v Speaker 2>serious things, if that makes sense.

0:19:02.440 --> 0:19:05.560
<v Speaker 1>And I think I think it's really refreshing as people

0:19:05.640 --> 0:19:08.080
<v Speaker 1>who and I've said the gravitation towards it, you know,

0:19:08.160 --> 0:19:10.800
<v Speaker 1>people like you more recently because it's like I like

0:19:11.040 --> 0:19:14.400
<v Speaker 1>people who. There's so much stuff to be down about,

0:19:14.440 --> 0:19:16.760
<v Speaker 1>and you know, there's ways of doing comedy and you know,

0:19:16.800 --> 0:19:18.760
<v Speaker 1>I've done it before where you tend to be angry

0:19:18.800 --> 0:19:21.720
<v Speaker 1>about something that happens a lot, you know, but to

0:19:21.920 --> 0:19:26.199
<v Speaker 1>find somebody who just is genuinely celebrating that doesn't mean

0:19:26.240 --> 0:19:27.840
<v Speaker 1>you can't be taking the piss and you know and

0:19:27.920 --> 0:19:31.400
<v Speaker 1>all that. But you like Brendan cow you know, he's

0:19:31.440 --> 0:19:34.200
<v Speaker 1>a friend of mine and we made a movie together,

0:19:34.280 --> 0:19:36.280
<v Speaker 1>you know, in twenty ten, and he made like he

0:19:36.359 --> 0:19:39.320
<v Speaker 1>loves his music and he made like a like little

0:19:40.840 --> 0:19:42.640
<v Speaker 1>at the end of it wasn't quite the wrap party

0:19:42.760 --> 0:19:46.720
<v Speaker 1>was the end of shoot party, and and he made

0:19:46.800 --> 0:19:50.480
<v Speaker 1>like a mixed kind of tape which is was on

0:19:50.600 --> 0:19:54.440
<v Speaker 1>CD at the time, and it had like bands, and

0:19:54.480 --> 0:19:55.840
<v Speaker 1>I kind of thought when I saw, I thought he

0:19:55.920 --> 0:19:57.879
<v Speaker 1>was kind of taking the piss. I thought, ah, like

0:19:58.119 --> 0:19:59.919
<v Speaker 1>it had maybe it had like I'm making this up

0:20:00.040 --> 0:20:02.600
<v Speaker 1>that like Duran, Duran and Kylie and you know, but

0:20:02.720 --> 0:20:05.920
<v Speaker 1>also like Midlake and and you know, more recent bands

0:20:06.640 --> 0:20:07.960
<v Speaker 1>and Bonavu and stuff like that.

0:20:08.240 --> 0:20:10.680
<v Speaker 4>And I thought, are you taking the piss?

0:20:11.080 --> 0:20:13.280
<v Speaker 1>Are you kind of saying that Midlake's cool but you

0:20:13.359 --> 0:20:15.359
<v Speaker 1>know and durand and this is just a laugh at

0:20:15.359 --> 0:20:16.920
<v Speaker 1>that and then and he's like, no, these are like

0:20:17.119 --> 0:20:20.119
<v Speaker 1>genuinely brilliant songs that I love. And he's like, and

0:20:20.200 --> 0:20:22.240
<v Speaker 1>I kind of thought, yeah, like you don't need to

0:20:22.280 --> 0:20:25.960
<v Speaker 1>be cynical about, you know, everything, You can just celebrate

0:20:26.720 --> 0:20:29.840
<v Speaker 1>celebrate it, you know, find the things you'd love, and.

0:20:31.320 --> 0:20:33.199
<v Speaker 4>Yeah, celebrate it totally.

0:20:33.400 --> 0:20:36.919
<v Speaker 2>I do sometimes like to. I think people who engage

0:20:36.960 --> 0:20:39.560
<v Speaker 2>with the stuff that I've made think that I'm taking

0:20:39.600 --> 0:20:41.520
<v Speaker 2>the piece out of everything as well, which is kind

0:20:41.560 --> 0:20:44.240
<v Speaker 2>of a fun place to play, like I'll post I

0:20:44.320 --> 0:20:48.720
<v Speaker 2>post songs on my story and like, I quite like

0:20:48.800 --> 0:20:52.440
<v Speaker 2>the songs, but they're also kind of not guilty pleasures,

0:20:52.480 --> 0:20:54.840
<v Speaker 2>but they're like old cuts of Australian pop music in

0:20:54.880 --> 0:20:57.879
<v Speaker 2>the early two thousands, and something about them is so

0:20:58.080 --> 0:20:59.840
<v Speaker 2>funny because one missing me saying, I don't know if

0:20:59.880 --> 0:21:02.120
<v Speaker 2>you intend to be funny every time that you post

0:21:02.240 --> 0:21:05.639
<v Speaker 2>these songs, but it just it hits.

0:21:06.080 --> 0:21:08.560
<v Speaker 4>Yeah, yeah, it's funny. The term guilty pleasures go.

0:21:08.640 --> 0:21:11.680
<v Speaker 1>I've kind of almost I've started to kind of rally

0:21:11.800 --> 0:21:14.080
<v Speaker 1>against that term in a way, and I think you

0:21:14.160 --> 0:21:17.120
<v Speaker 1>almost alluded to it yourself. It's like, no, what, don't

0:21:17.160 --> 0:21:19.399
<v Speaker 1>take guilt if it gives you pleasure, And I think

0:21:19.440 --> 0:21:23.120
<v Speaker 1>it's part of us growing up. You kind of go, well,

0:21:23.320 --> 0:21:27.159
<v Speaker 1>I it's a bit embarrassing that I you know that, I, like,

0:21:27.320 --> 0:21:29.080
<v Speaker 1>I listened to so much bon Jovi growing up. So

0:21:29.080 --> 0:21:30.840
<v Speaker 1>I'm gonna kind of like come to this own. I'm

0:21:30.840 --> 0:21:34.200
<v Speaker 1>gonna put in a little category over here because I

0:21:34.280 --> 0:21:36.879
<v Speaker 1>want to. I'd rather people know that I listen to

0:21:37.000 --> 0:21:40.879
<v Speaker 1>more of the National now than I bonjo But so

0:21:40.920 --> 0:21:43.560
<v Speaker 1>I know they can all exist in the same head,

0:21:43.960 --> 0:21:46.639
<v Speaker 1>you know, I can I can have you know, the

0:21:47.080 --> 0:21:50.000
<v Speaker 1>latest national album in my head and still have space

0:21:50.040 --> 0:21:50.800
<v Speaker 1>for living on a prayer.

0:21:51.119 --> 0:21:52.680
<v Speaker 4>You know, it can still it can still be in there.

0:21:54.200 --> 0:21:56.000
<v Speaker 2>I like to think that I'm pretty good at it too,

0:21:56.200 --> 0:21:59.479
<v Speaker 2>Like I'm happy to listen to Britney Sears all their

0:21:59.720 --> 0:22:01.840
<v Speaker 2>old classics. But I do find when I have people

0:22:01.920 --> 0:22:04.600
<v Speaker 2>over for dinner, I struggle because I'm like, I've got

0:22:04.640 --> 0:22:07.680
<v Speaker 2>to put on like something really low key but also

0:22:07.800 --> 0:22:10.600
<v Speaker 2>kind of a bit R and B and all these

0:22:10.640 --> 0:22:12.120
<v Speaker 2>kind of things that I just go back to the same.

0:22:12.200 --> 0:22:16.040
<v Speaker 2>I can't even say the band is Karukabar Oh yeah.

0:22:16.000 --> 0:22:18.640
<v Speaker 4>Yeah, yeah, I seen.

0:22:18.960 --> 0:22:21.480
<v Speaker 1>I haven't committed to learning the pronunciation yet. I'm going

0:22:21.520 --> 0:22:23.000
<v Speaker 1>to see they hang around for long enough.

0:22:24.480 --> 0:22:27.520
<v Speaker 2>Exactly. I haven't even seen them live in concert, and

0:22:27.720 --> 0:22:30.280
<v Speaker 2>everybody laughs when I say I for some reason, my

0:22:30.480 --> 0:22:33.119
<v Speaker 2>brain can't wrap my hand around it. But yeah, I

0:22:33.200 --> 0:22:36.639
<v Speaker 2>think I still do have a bit of like, oh

0:22:36.720 --> 0:22:39.000
<v Speaker 2>my god, maybe the Brittany. You know, some songs actually

0:22:39.080 --> 0:22:40.880
<v Speaker 2>are also just good to listen to on your own,

0:22:40.920 --> 0:22:43.240
<v Speaker 2>Like I'm sure there's some Bonjo retracts that you want

0:22:43.280 --> 0:22:45.760
<v Speaker 2>to be alone so you can fully kind of daydream

0:22:45.920 --> 0:22:46.320
<v Speaker 2>with them.

0:22:46.280 --> 0:22:50.480
<v Speaker 1>You know, yeah, yeah, absolutely, and and to be honest,

0:22:51.320 --> 0:22:53.040
<v Speaker 1>well I don't listen to them as much as I

0:22:53.160 --> 0:22:56.119
<v Speaker 1>used to, but I will always go to the concert

0:22:56.160 --> 0:22:58.760
<v Speaker 1>because the first concert I ever went to was bon

0:22:58.840 --> 0:23:02.800
<v Speaker 1>Jovi in nineteen eighty eight, which is probably you you

0:23:02.880 --> 0:23:05.600
<v Speaker 1>were born or not even born yet. So I kind

0:23:05.640 --> 0:23:09.760
<v Speaker 1>of have this I often think of the like in life,

0:23:09.880 --> 0:23:11.840
<v Speaker 1>not just as far as pop culture goes, but like

0:23:11.960 --> 0:23:15.720
<v Speaker 1>the fourteen year old me and I kind of always

0:23:15.800 --> 0:23:17.760
<v Speaker 1>have these little conversations with the fourteen year old me

0:23:17.840 --> 0:23:19.600
<v Speaker 1>of like I think about what he would be thinking

0:23:19.640 --> 0:23:23.280
<v Speaker 1>about what I'm doing now and all that. So musically,

0:23:23.600 --> 0:23:26.960
<v Speaker 1>that kind of you know, is quite prevalent because it

0:23:27.320 --> 0:23:30.399
<v Speaker 1>is like that, that's the years where I was learning

0:23:30.440 --> 0:23:34.120
<v Speaker 1>about music and falling in love with music, and being

0:23:34.160 --> 0:23:36.800
<v Speaker 1>my first concert, I'm like, no, I'm at a duty

0:23:37.640 --> 0:23:38.880
<v Speaker 1>to my fourteen year old self.

0:23:38.960 --> 0:23:41.640
<v Speaker 4>I will go see bon Jovi, you know, every time.

0:23:41.760 --> 0:23:44.840
<v Speaker 1>And There's been conscerts where I've gone to and I'm like, oh,

0:23:44.920 --> 0:23:47.000
<v Speaker 1>it was all right, you know, I wasn't into it.

0:23:47.119 --> 0:23:49.840
<v Speaker 4>But the last love was at the MCG. It was great.

0:23:49.960 --> 0:23:52.200
<v Speaker 4>I loved it, you know, and I was there with

0:23:52.680 --> 0:23:54.639
<v Speaker 4>some of my family members and it was. Yeah, it

0:23:55.040 --> 0:23:55.400
<v Speaker 4>was great.

0:23:55.480 --> 0:24:00.720
<v Speaker 1>So speaking of celebrating and all your three films have joy.

0:24:01.680 --> 0:24:03.120
<v Speaker 1>The next two Austin Powers.

0:24:03.880 --> 0:24:06.080
<v Speaker 2>Yeah, that's my number Well, that's my number one movie

0:24:06.160 --> 0:24:07.440
<v Speaker 2>of all time, Austin Powers.

0:24:07.680 --> 0:24:10.560
<v Speaker 4>Actually this is what in order one, two, three these

0:24:10.760 --> 0:24:12.280
<v Speaker 4>so we stay with me and girls, But that was

0:24:12.400 --> 0:24:14.280
<v Speaker 4>number two. Number one was Austin Powers.

0:24:14.600 --> 0:24:19.200
<v Speaker 2>Yes, Austin Powers. I think it came out, did it

0:24:19.280 --> 0:24:20.840
<v Speaker 2>covering like ninety eight? Maybe?

0:24:21.160 --> 0:24:26.359
<v Speaker 1>Yeah, I reckon, Oh yes, I reckon around that time.

0:24:26.440 --> 0:24:29.320
<v Speaker 1>I may have thought possibly at touched earlier.

0:24:30.320 --> 0:24:33.840
<v Speaker 2>Yeah, well it was the first movie that I remember

0:24:33.920 --> 0:24:37.840
<v Speaker 2>watching and the movie that is probably the I've probably

0:24:37.880 --> 0:24:40.440
<v Speaker 2>watched it, yeah, the most through my childhood. I'd always

0:24:40.440 --> 0:24:43.920
<v Speaker 2>come back to watch it. To me, it is the

0:24:44.040 --> 0:24:48.480
<v Speaker 2>absolute perfect film. It hits all of my sensibilities in

0:24:48.560 --> 0:24:50.760
<v Speaker 2>a way that nothing else has ever been created. Canon.

0:24:51.200 --> 0:24:54.000
<v Speaker 2>I love the music sequence, I love the sixties fashion.

0:24:54.600 --> 0:25:00.040
<v Speaker 2>I'm a I'm a Mike Myers like obsessive. I I

0:25:00.080 --> 0:25:01.800
<v Speaker 2>don't think he's ever done anything, but I don't think

0:25:01.800 --> 0:25:04.040
<v Speaker 2>it's funny. I haven't seen like the Love Guru though,

0:25:04.359 --> 0:25:07.440
<v Speaker 2>I've only really watched the Austin Powers and Wayne's World.

0:25:08.800 --> 0:25:12.640
<v Speaker 2>But I will go back. I went back and watched

0:25:12.640 --> 0:25:15.040
<v Speaker 2>All Some Powers about a year ago, thinking oh, would

0:25:15.040 --> 0:25:17.919
<v Speaker 2>be really outdated and I wouldn't find it funny by

0:25:18.080 --> 0:25:20.880
<v Speaker 2>you know, when you've watched something, are you engage with art?

0:25:21.320 --> 0:25:23.800
<v Speaker 2>I will call it art and you're like, wow, I

0:25:23.960 --> 0:25:26.359
<v Speaker 2>see how this has impluenced my life. I see how

0:25:26.400 --> 0:25:30.600
<v Speaker 2>this influenced my comedy and kind of so much of

0:25:30.680 --> 0:25:34.359
<v Speaker 2>my life that's been influenced by Austin Powers, like the

0:25:34.480 --> 0:25:39.280
<v Speaker 2>poor humor, the blue humor, everything about it. And yeah,

0:25:39.280 --> 0:25:43.159
<v Speaker 2>obviously it's got a nossalgic element again, but yeah, it's

0:25:43.200 --> 0:25:45.200
<v Speaker 2>pretty amazing when you find something that was kind of

0:25:45.240 --> 0:25:47.120
<v Speaker 2>the first thing you ever watched and you realize, wow,

0:25:47.200 --> 0:25:51.160
<v Speaker 2>this has had quite a sizeable effect on the stuff

0:25:51.200 --> 0:25:51.640
<v Speaker 2>that I make.

0:25:51.720 --> 0:25:52.840
<v Speaker 4>I guess yeah, And I.

0:25:52.920 --> 0:25:55.399
<v Speaker 1>Want to pick your up on something because I'm interested

0:25:55.440 --> 0:26:01.639
<v Speaker 1>in exploring this. You mentioned poor humor, like, no, no, no,

0:26:01.840 --> 0:26:07.720
<v Speaker 1>do not be embarrassed because I love poo humor and

0:26:07.880 --> 0:26:10.959
<v Speaker 1>I was literally speaking to some comedians about it yesterday

0:26:11.200 --> 0:26:18.359
<v Speaker 1>and I detest anybody who does not enjoy who humor,

0:26:18.440 --> 0:26:19.840
<v Speaker 1>Like I am, get over yourselves.

0:26:21.840 --> 0:26:26.320
<v Speaker 4>What do you find? Because while is often like really

0:26:26.440 --> 0:26:29.679
<v Speaker 4>curious as to why I find somebody like shitting themselves

0:26:29.720 --> 0:26:33.479
<v Speaker 4>so funny, like you know, in a very wearly kind

0:26:33.480 --> 0:26:35.679
<v Speaker 4>of why he wants to dig deep into my psyche

0:26:35.720 --> 0:26:37.520
<v Speaker 4>and says, what is it? What is it? And I

0:26:37.600 --> 0:26:42.400
<v Speaker 4>say to him because as an adult, it's less funny

0:26:42.440 --> 0:26:43.320
<v Speaker 4>for kitschens his pants.

0:26:43.560 --> 0:26:49.040
<v Speaker 1>But as an adult, you know this shouldn't happen. So

0:26:49.600 --> 0:26:52.600
<v Speaker 1>you were going to remember this day for the rest

0:26:52.640 --> 0:26:57.840
<v Speaker 1>of your life. Like you, there's panic involved, there's emotions,

0:26:57.880 --> 0:27:00.159
<v Speaker 1>there's probably it's triggering probably from it. You know, a

0:27:00.280 --> 0:27:04.920
<v Speaker 1>childhood point of view, is probably trauma involved. But there's

0:27:04.920 --> 0:27:07.320
<v Speaker 1>a situation that you need to kind of create an

0:27:07.359 --> 0:27:09.440
<v Speaker 1>exit strategy, like there's an escape plane.

0:27:09.200 --> 0:27:12.920
<v Speaker 4>That needs to be hatched. There are so exactly exactly

0:27:13.160 --> 0:27:16.399
<v Speaker 4>I sincerely and I was I and I've spoken to

0:27:16.440 --> 0:27:19.160
<v Speaker 4>people who you know, even here in my heart radio,

0:27:19.320 --> 0:27:20.959
<v Speaker 4>and you know, I'm not sure how keen they are,

0:27:21.200 --> 0:27:23.560
<v Speaker 4>but I am keen to do a podcast called Whoops,

0:27:23.560 --> 0:27:24.280
<v Speaker 4>I Shat my Pants.

0:27:24.680 --> 0:27:28.560
<v Speaker 1>And it's just it's just people telling stories about the

0:27:28.640 --> 0:27:29.639
<v Speaker 1>time they shat their pants.

0:27:30.359 --> 0:27:34.639
<v Speaker 4>And I'm not saying it's for everyone. I've got a

0:27:34.680 --> 0:27:35.600
<v Speaker 4>feeling you would listen to it.

0:27:36.080 --> 0:27:38.400
<v Speaker 2>I thought when like, count me on as the first

0:27:38.480 --> 0:27:41.159
<v Speaker 2>guest and I'll share everything. Did I apprecihim? I that

0:27:41.200 --> 0:27:46.080
<v Speaker 2>I've experienced in my life. Honestly, I saw him to

0:27:46.160 --> 0:27:49.120
<v Speaker 2>you the other day, which was like, I don't get

0:27:49.160 --> 0:27:52.640
<v Speaker 2>people who don't find sart's funny. It's like you still

0:27:52.680 --> 0:27:54.200
<v Speaker 2>do them, but you don't get any joy out of it.

0:27:54.640 --> 0:27:58.680
<v Speaker 4>Yeah, well yeah, yeah, yeah, yeah, it's like it's I

0:27:58.760 --> 0:27:59.960
<v Speaker 4>remember I used to. I used to.

0:28:00.240 --> 0:28:02.840
<v Speaker 1>One of the joys that I had growing up was

0:28:02.920 --> 0:28:08.440
<v Speaker 1>like farting into a phone, which makes no sense because

0:28:08.600 --> 0:28:10.440
<v Speaker 1>the other person down the other end all their hearing

0:28:10.560 --> 0:28:12.760
<v Speaker 1>is like a little bit of distortion and you are

0:28:12.880 --> 0:28:15.520
<v Speaker 1>left with the putrid smell.

0:28:15.960 --> 0:28:20.000
<v Speaker 2>Yeah, exactly, Pete. I literally yesterday it was on FaceTime

0:28:20.040 --> 0:28:22.879
<v Speaker 2>with my mum, as it got to a bit in

0:28:22.960 --> 0:28:25.240
<v Speaker 2>the conversation where it's like we had nothing to say,

0:28:26.160 --> 0:28:30.960
<v Speaker 2>so obviously like I farted into the phone and yeah,

0:28:31.040 --> 0:28:35.360
<v Speaker 2>she was like, what was that if? I didn't even register? Right,

0:28:36.040 --> 0:28:39.080
<v Speaker 2>I am twenty eight years old, like this is Yeah.

0:28:39.200 --> 0:28:41.360
<v Speaker 2>I'm kind of at the stage where I talk about

0:28:41.360 --> 0:28:45.280
<v Speaker 2>it on my radio show, like I want to graduate

0:28:45.440 --> 0:28:48.520
<v Speaker 2>from Pusuma, and yet it is such an integral part

0:28:48.560 --> 0:28:51.960
<v Speaker 2>of my personality that I think it's what's it called

0:28:52.480 --> 0:28:56.320
<v Speaker 2>when something's not fruitful, it's futile. Futile exercise.

0:28:56.720 --> 0:29:00.200
<v Speaker 4>Yeah, I really encourage you not to move on that.

0:29:00.800 --> 0:29:04.320
<v Speaker 1>Like a good mate of mine previous guests on this podcast,

0:29:04.360 --> 0:29:07.120
<v Speaker 1>Ben Hurley, he's a great New Zealand comedian. He's in

0:29:07.160 --> 0:29:09.000
<v Speaker 1>a few more shows, and he said, I've noticed every

0:29:09.080 --> 0:29:12.520
<v Speaker 1>every there's always one routine about Pooh in your shows.

0:29:13.400 --> 0:29:15.960
<v Speaker 1>I said, to be honest, sometimes I've got like a

0:29:16.040 --> 0:29:21.240
<v Speaker 1>backlog of like Pooh routines. But like because I feel

0:29:21.280 --> 0:29:23.280
<v Speaker 1>like if you do too much of it in one show,

0:29:23.400 --> 0:29:25.160
<v Speaker 1>like you lose parts of the audience. But if you

0:29:25.680 --> 0:29:27.520
<v Speaker 1>if you if you time it right and it's it's

0:29:27.520 --> 0:29:29.000
<v Speaker 1>a good enough for routine, you know you can do

0:29:29.200 --> 0:29:32.240
<v Speaker 1>you talk it for enough and then you know eventually

0:29:32.280 --> 0:29:34.280
<v Speaker 1>you move on, Like you can't kind of you can't

0:29:34.320 --> 0:29:37.240
<v Speaker 1>keep going back to the Pooh well in the same show.

0:29:37.560 --> 0:29:40.960
<v Speaker 1>So I'm gonna got pool routines locked in until about

0:29:41.080 --> 0:29:41.960
<v Speaker 1>twenty thirty two.

0:29:43.560 --> 0:29:49.080
<v Speaker 2>That's important. We all meet somewhere to Oh. I actually

0:29:49.200 --> 0:29:52.600
<v Speaker 2>find like I find it disgusting. It's weird. When I

0:29:52.640 --> 0:29:55.680
<v Speaker 2>think of Pooh, I think of the emoji you have

0:29:55.760 --> 0:30:00.640
<v Speaker 2>quite an immature, like kind of cute kind of relationship

0:30:00.720 --> 0:30:05.200
<v Speaker 2>to poo. Yeah, whereas the shitting of the pants, like, yeah,

0:30:05.240 --> 0:30:07.440
<v Speaker 2>the reality of it is actually quite terrifying.

0:30:07.680 --> 0:30:13.000
<v Speaker 1>It's traumatic, and it's like if you shit your pants,

0:30:13.800 --> 0:30:17.160
<v Speaker 1>you know that day, Like it's never gonna be not

0:30:17.280 --> 0:30:20.800
<v Speaker 1>in your memory unless you know, like you psychologically this

0:30:20.920 --> 0:30:24.400
<v Speaker 1>can block it out somehow, but it's like, yeah, you're

0:30:24.400 --> 0:30:26.080
<v Speaker 1>always gonna You're aways gonna know. And there are people

0:30:26.120 --> 0:30:29.160
<v Speaker 1>I love, people who speak quite openly about like I'm

0:30:29.160 --> 0:30:31.320
<v Speaker 1>gonna say, as an adult, I've never shot my pants,

0:30:31.840 --> 0:30:34.480
<v Speaker 1>but I there are people I know. I've got a

0:30:34.480 --> 0:30:37.520
<v Speaker 1>brother in law who just he's got twenty stories about

0:30:37.520 --> 0:30:39.720
<v Speaker 1>as an adult, him shooting his pants, and he quite

0:30:39.760 --> 0:30:43.520
<v Speaker 1>openly like tells the story, like you'll meet him and

0:30:43.640 --> 0:30:45.200
<v Speaker 1>within three minutes he's telling you about the time he

0:30:45.240 --> 0:30:46.080
<v Speaker 1>shod his pants.

0:30:47.640 --> 0:30:48.200
<v Speaker 2>Over dinner.

0:30:48.480 --> 0:30:52.720
<v Speaker 4>Over dinner anywhere. It could be in church, you could

0:30:52.720 --> 0:30:55.400
<v Speaker 4>be a wedding, or something could be at the funeral in.

0:30:55.440 --> 0:31:01.520
<v Speaker 2>His seems like no food to people that don't be

0:31:01.600 --> 0:31:02.560
<v Speaker 2>a romantic setting.

0:31:02.960 --> 0:31:04.600
<v Speaker 4>I mean, there are times sometimes you have to stop

0:31:04.640 --> 0:31:08.440
<v Speaker 4>the comment you okay, let's not now, not now. I

0:31:08.520 --> 0:31:09.040
<v Speaker 4>said something.

0:31:09.080 --> 0:31:11.440
<v Speaker 1>I remember the other day of my one of my

0:31:11.560 --> 0:31:14.720
<v Speaker 1>sons when he was like five, and he said to me,

0:31:15.120 --> 0:31:17.160
<v Speaker 1>I got a bit of a whiff, and you know,

0:31:17.200 --> 0:31:17.800
<v Speaker 1>I was like, oh.

0:31:17.720 --> 0:31:20.200
<v Speaker 4>Mate, do you need to go to the toilet? He

0:31:20.240 --> 0:31:23.360
<v Speaker 4>goes no, No, I said, no, I think it. I

0:31:23.440 --> 0:31:23.840
<v Speaker 4>think you do.

0:31:25.560 --> 0:31:27.280
<v Speaker 1>I said, give me a look, give me like a look.

0:31:27.320 --> 0:31:30.480
<v Speaker 1>And there was like shit in his pants. He said, mate,

0:31:31.280 --> 0:31:34.480
<v Speaker 1>what are you doing? Like you know, you know you

0:31:34.560 --> 0:31:38.080
<v Speaker 1>need to go to the bathroom. You're five And he goes, oh,

0:31:38.880 --> 0:31:41.320
<v Speaker 1>it was just a shot. I'm mate, No, you give

0:31:41.360 --> 0:31:44.480
<v Speaker 1>me understood. A shot is always an accident. It's not

0:31:44.600 --> 0:31:45.120
<v Speaker 1>a choice.

0:31:46.880 --> 0:31:48.000
<v Speaker 4>You don't go. This is a shot.

0:31:48.040 --> 0:31:52.640
<v Speaker 1>I'm going to let this one through. No, it's a

0:31:52.920 --> 0:31:55.600
<v Speaker 1>complete misunderstanding of what a shot is.

0:31:56.520 --> 0:32:00.920
<v Speaker 4>He needs an education, he really does. He really. All right,

0:32:01.000 --> 0:32:02.320
<v Speaker 4>let's move on to your third film.

0:32:02.360 --> 0:32:04.160
<v Speaker 1>Before we get into the film, we're here to talk

0:32:04.160 --> 0:32:08.719
<v Speaker 1>about a movie that took all before, it won the Oscar,

0:32:08.880 --> 0:32:10.960
<v Speaker 1>everything everywhere, all at once.

0:32:11.080 --> 0:32:14.000
<v Speaker 4>I saw this at the cinema with that knowing much.

0:32:14.080 --> 0:32:16.400
<v Speaker 4>I saw the trailer and thought that looks really interesting

0:32:16.600 --> 0:32:19.920
<v Speaker 4>and was bloody hell was I blown away? What a

0:32:20.080 --> 0:32:21.640
<v Speaker 4>joyous beautiful movie.

0:32:21.760 --> 0:32:23.760
<v Speaker 2>I did the exact same thing. I didn't know anything about.

0:32:23.760 --> 0:32:25.760
<v Speaker 2>It was here in Heaps of Hip, so I went,

0:32:27.040 --> 0:32:31.240
<v Speaker 2>I just have this memory of feeling like my chest

0:32:31.520 --> 0:32:35.120
<v Speaker 2>was being gripped of this kind of like being gripped

0:32:35.160 --> 0:32:37.520
<v Speaker 2>by the emotion of that film and the kind of

0:32:37.600 --> 0:32:40.360
<v Speaker 2>crescendo of when the mum and the daughter are kind

0:32:40.360 --> 0:32:43.040
<v Speaker 2>of like there's this tension of them finding the whole

0:32:43.080 --> 0:32:45.720
<v Speaker 2>way through and then when at this kind of like

0:32:46.600 --> 0:32:51.280
<v Speaker 2>juncture junction they come together and there's this kind of

0:32:51.400 --> 0:32:54.680
<v Speaker 2>like fight between them, but this really like deep love

0:32:54.840 --> 0:32:56.960
<v Speaker 2>that I feel they had to go through all of

0:32:57.040 --> 0:32:59.960
<v Speaker 2>this remarold to find it. And I thought as well,

0:33:00.080 --> 0:33:03.800
<v Speaker 2>it was like a really beautiful illustration of you know,

0:33:03.920 --> 0:33:07.960
<v Speaker 2>the daughter is quite nihilistic and she's depressed, and I

0:33:08.040 --> 0:33:12.400
<v Speaker 2>thought it was a really beautiful illustration of her coming

0:33:12.440 --> 0:33:15.200
<v Speaker 2>out of it. Or to me, it was a fantastical

0:33:17.280 --> 0:33:20.480
<v Speaker 2>just yeah, illustration of so many big emotions in a

0:33:20.560 --> 0:33:24.320
<v Speaker 2>way that was so fun and so creative and you

0:33:24.480 --> 0:33:29.120
<v Speaker 2>just had to Yeah, it blew me away. I was crying.

0:33:29.640 --> 0:33:32.440
<v Speaker 2>I find it really I find crying embarrassing, Like I

0:33:32.520 --> 0:33:35.240
<v Speaker 2>struggle with it, especially in public, like if I'm crying

0:33:35.280 --> 0:33:38.640
<v Speaker 2>in a movie. I'm like, this is like my shouting experience,

0:33:38.640 --> 0:33:40.120
<v Speaker 2>you know what I mean. I'd prefer to shout in

0:33:40.200 --> 0:33:43.040
<v Speaker 2>the movie then cry. Okay, here I was like I

0:33:43.160 --> 0:33:45.400
<v Speaker 2>was a wreck and I just had that emotion of

0:33:45.480 --> 0:33:49.080
<v Speaker 2>being like I want everyone to go and watch this movie.

0:33:49.440 --> 0:33:51.520
<v Speaker 4>Yeah, it was such a special movie.

0:33:51.600 --> 0:33:53.280
<v Speaker 1>And when we're watching a game, well, this is a

0:33:53.400 --> 0:33:57.040
<v Speaker 1>fun film, Like it's bonkers and it's got some crazy ideas, and.

0:33:59.080 --> 0:34:00.320
<v Speaker 4>But you're right about like.

0:34:00.440 --> 0:34:02.880
<v Speaker 1>That those moments between the mother and the daughter, And

0:34:03.040 --> 0:34:06.160
<v Speaker 1>for me it was it was her husband and her

0:34:06.480 --> 0:34:10.279
<v Speaker 1>when she The moment that got me that I thought

0:34:10.400 --> 0:34:12.920
<v Speaker 1>this has gone from like a fun, crazy film to

0:34:13.239 --> 0:34:17.040
<v Speaker 1>like something that actually has gotten into, you know, inside

0:34:17.080 --> 0:34:21.800
<v Speaker 1>of me was when he said, you see my kindness

0:34:21.960 --> 0:34:25.040
<v Speaker 1>as a weakness, but it's actually a strategy.

0:34:25.920 --> 0:34:30.400
<v Speaker 4>And I think that is such a beautiful message at this.

0:34:30.600 --> 0:34:35.560
<v Speaker 1>Time and and you know, in history to put out there,

0:34:35.600 --> 0:34:38.719
<v Speaker 1>because again we've spoken about cynicism and there's so much

0:34:39.600 --> 0:34:44.080
<v Speaker 1>vitriol and hate and and and kindness is often seen

0:34:44.200 --> 0:34:44.960
<v Speaker 1>as as.

0:34:46.600 --> 0:34:48.480
<v Speaker 4>Oh yeah, like cute and.

0:34:50.040 --> 0:34:53.440
<v Speaker 1>Disposable in a way, and and not as as a

0:34:53.480 --> 0:34:57.800
<v Speaker 1>way of actually navigating life. You know, it's just like

0:34:58.120 --> 0:35:00.359
<v Speaker 1>you know, almost like oh well, it's nice to be kind,

0:35:00.800 --> 0:35:03.239
<v Speaker 1>but to really get through life you need to be

0:35:03.320 --> 0:35:06.080
<v Speaker 1>an asshole or do this and do that. So for

0:35:06.200 --> 0:35:08.840
<v Speaker 1>him to point out that, to be honest, it's it's like,

0:35:09.320 --> 0:35:11.799
<v Speaker 1>it's not when Cate Blanchett pointed out when she wanted

0:35:11.800 --> 0:35:17.960
<v Speaker 1>Anosci years ago that casting women in you know, as

0:35:18.040 --> 0:35:20.480
<v Speaker 1>leads and good roles is not just a nice thing

0:35:20.560 --> 0:35:20.759
<v Speaker 1>to do.

0:35:21.239 --> 0:35:24.840
<v Speaker 4>It is actually it is financially rewarding.

0:35:25.160 --> 0:35:27.560
<v Speaker 1>Like there's an audience for this, so actually, don't if

0:35:27.560 --> 0:35:29.120
<v Speaker 1>you don't want anything to see there's like the right

0:35:29.200 --> 0:35:33.239
<v Speaker 1>thing to do. See it as economically, you know, a

0:35:33.320 --> 0:35:35.200
<v Speaker 1>positive thing and you know, a forceful thing to do.

0:35:35.800 --> 0:35:39.160
<v Speaker 1>You'll make money. And it's like it's like this, it's like, well,

0:35:39.560 --> 0:35:42.560
<v Speaker 1>if you're kind, it's not just about oh well, you know,

0:35:42.800 --> 0:35:45.520
<v Speaker 1>people will like you. It's actually about it. It's a

0:35:45.600 --> 0:35:49.320
<v Speaker 1>way of actually navigating life. It's not just you know,

0:35:49.440 --> 0:35:53.920
<v Speaker 1>it's not flimsy. It's actually a considered choice.

0:35:54.320 --> 0:35:57.920
<v Speaker 2>Absolutely absolutely, and often think about people who have like

0:35:58.120 --> 0:36:01.799
<v Speaker 2>been you really traumatous experiences or you know that I've

0:36:01.880 --> 0:36:04.520
<v Speaker 2>seen in the media or I've seen in my life

0:36:05.160 --> 0:36:09.040
<v Speaker 2>and It always strikes you when they are very very kind,

0:36:09.360 --> 0:36:13.000
<v Speaker 2>because I think to myself, Oh, you're someone who you know,

0:36:13.200 --> 0:36:16.080
<v Speaker 2>should be allowed to be upset with the world and

0:36:16.760 --> 0:36:20.839
<v Speaker 2>kind of yeah, put out. And you're the kindest, most

0:36:21.440 --> 0:36:25.680
<v Speaker 2>kind of patient person that I know. Yeah, And that's

0:36:25.719 --> 0:36:29.000
<v Speaker 2>always very touching and kind of Yeah, it's inspiring to

0:36:29.120 --> 0:36:31.200
<v Speaker 2>make you want to be like, oh, you know this,

0:36:31.520 --> 0:36:35.839
<v Speaker 2>this is easy and it makes other people feel Yeah,

0:36:35.960 --> 0:36:36.719
<v Speaker 2>it's inspiring.

0:36:36.960 --> 0:36:37.160
<v Speaker 4>Yeah.

0:36:37.400 --> 0:36:41.200
<v Speaker 1>I say to Dan McPherson, who's you know, he was

0:36:41.280 --> 0:36:44.440
<v Speaker 1>in neighbors and he's a great actor and lovely, lovely

0:36:44.520 --> 0:36:47.160
<v Speaker 1>bloke and one of the best looking humans I've seen.

0:36:47.280 --> 0:36:50.839
<v Speaker 1>And I remember always saying to him. I say to him,

0:36:51.400 --> 0:36:53.680
<v Speaker 1>if I if I look like you, I wouldn't be

0:36:53.719 --> 0:36:56.200
<v Speaker 1>as nice as you. It would actually get to my

0:36:56.280 --> 0:36:58.719
<v Speaker 1>head a little bit. I said, I can't. I need

0:36:58.840 --> 0:37:01.239
<v Speaker 1>to kind of like my kindness is it has to

0:37:01.280 --> 0:37:04.520
<v Speaker 1>be a strategy. I can't get away with beg an asshole.

0:37:04.800 --> 0:37:08.000
<v Speaker 1>So if I was you, then I would be like,

0:37:08.280 --> 0:37:08.480
<v Speaker 1>you know.

0:37:08.600 --> 0:37:11.520
<v Speaker 2>Fuck this, I don't have time.

0:37:13.920 --> 0:37:17.320
<v Speaker 1>All right, Let's talk about this incredible film from nineteen

0:37:17.560 --> 0:37:22.239
<v Speaker 1>sixty directed by Alfred Hitchcock. It is a movie that

0:37:22.320 --> 0:37:25.279
<v Speaker 1>has lived in the public Psyche since the day it

0:37:25.480 --> 0:37:26.120
<v Speaker 1>was released.

0:37:27.000 --> 0:37:30.480
<v Speaker 4>Frooms, did you enjoy Psycho?

0:37:30.960 --> 0:37:34.560
<v Speaker 2>I really, I didn't have any expectations. I went into

0:37:34.640 --> 0:37:37.879
<v Speaker 2>this in a work scenario, thinking I don't have any

0:37:37.960 --> 0:37:41.080
<v Speaker 2>choice but to finish this movie. And from the first

0:37:41.400 --> 0:37:46.480
<v Speaker 2>like five minutes, I was into it. Oh yeah, I think.

0:37:46.800 --> 0:37:48.600
<v Speaker 2>So I didn't realize I've got a really bad habit.

0:37:48.680 --> 0:37:50.960
<v Speaker 2>I'm sure you've interviewed other people that do this of

0:37:51.440 --> 0:37:52.840
<v Speaker 2>like googling through movies.

0:37:53.160 --> 0:37:55.320
<v Speaker 4>Yeah, yeah, it's really.

0:37:55.320 --> 0:37:57.200
<v Speaker 2>I think because I was watching it by myself, so

0:37:58.040 --> 0:38:02.000
<v Speaker 2>I know, I didn't have anyone to be like, stop

0:38:02.040 --> 0:38:04.960
<v Speaker 2>doing that, stop doing that. But I googled the main

0:38:05.080 --> 0:38:08.279
<v Speaker 2>woman straight away and realized it was Jamie Lee Curtis's mum. Yeah,

0:38:08.760 --> 0:38:10.200
<v Speaker 2>and I was like, oh my god, like I would

0:38:10.280 --> 0:38:12.560
<v Speaker 2>not have even I don't even really think they looked similar.

0:38:13.000 --> 0:38:15.040
<v Speaker 2>And I deal with her because I really liked her

0:38:15.080 --> 0:38:18.200
<v Speaker 2>performance from the start, like I found her really, you know,

0:38:18.280 --> 0:38:21.000
<v Speaker 2>I was intrigued by her, and I thought, I now

0:38:21.000 --> 0:38:22.440
<v Speaker 2>I think that I noticed the movie. I was like,

0:38:22.560 --> 0:38:25.160
<v Speaker 2>all the acting, I think is really great, and I

0:38:25.239 --> 0:38:27.600
<v Speaker 2>think a lot of the stuff that I've seen from

0:38:27.719 --> 0:38:32.440
<v Speaker 2>that era, which admittedly isn't much. The acting in those

0:38:32.520 --> 0:38:35.680
<v Speaker 2>kind of movies feel so different to realistic acting now. Yeah,

0:38:36.160 --> 0:38:38.440
<v Speaker 2>so for it to be kind of believable, oh this

0:38:38.600 --> 0:38:40.800
<v Speaker 2>is this feels modern or something.

0:38:41.040 --> 0:38:42.160
<v Speaker 4>Yeah, it's interesting.

0:38:42.280 --> 0:38:46.600
<v Speaker 1>Sometimes you get sometimes even within a movie, you get

0:38:47.080 --> 0:38:51.280
<v Speaker 1>those performances which feel like they are of that certain

0:38:51.560 --> 0:38:54.920
<v Speaker 1>acting style. And then sometimes occasionally you get even one

0:38:55.000 --> 0:38:56.279
<v Speaker 1>performance within.

0:38:56.719 --> 0:38:58.800
<v Speaker 4>That movie that you're going to go, well that person.

0:38:58.920 --> 0:39:01.680
<v Speaker 4>I think there's one for me memory in It's a

0:39:01.719 --> 0:39:06.239
<v Speaker 4>Wonderful Life where somebody it's not James Stewart, but it's

0:39:06.880 --> 0:39:08.920
<v Speaker 4>one of the actresses who just feels like they are

0:39:09.440 --> 0:39:12.479
<v Speaker 4>Could you could step into the screen in twenty twenty

0:39:12.520 --> 0:39:15.200
<v Speaker 4>three and not have to change that much about your

0:39:15.239 --> 0:39:18.200
<v Speaker 4>style of acting, But it's very rare. But I agree.

0:39:18.200 --> 0:39:22.440
<v Speaker 1>I think performances here are really good, you know, and

0:39:22.680 --> 0:39:26.040
<v Speaker 1>I think they're just you know, unsurprisingly, there are smart

0:39:26.120 --> 0:39:29.279
<v Speaker 1>choices made the whole way through.

0:39:29.480 --> 0:39:33.160
<v Speaker 4>So what was really interesting for me was the star.

0:39:33.320 --> 0:39:36.880
<v Speaker 1>So you had this bird's eye view of Phoenix, Arizona,

0:39:37.320 --> 0:39:40.560
<v Speaker 1>and there's a we'll get to the bird motif throughout

0:39:40.600 --> 0:39:45.000
<v Speaker 1>this film, which obviously is reasonably important, and then you

0:39:45.120 --> 0:39:47.439
<v Speaker 1>go into this hotel room and to see this little

0:39:48.360 --> 0:39:51.480
<v Speaker 1>rendezvous and they give you a time and which is Friday,

0:39:51.560 --> 0:39:58.279
<v Speaker 1>December eleven, two forty three. I think it was, which

0:39:58.320 --> 0:40:01.600
<v Speaker 1>I thought was interesting, I'm sure of you, like the

0:40:01.719 --> 0:40:04.560
<v Speaker 1>Coen Brothers did with Fargo, where they had based on

0:40:04.640 --> 0:40:08.520
<v Speaker 1>a true story even though it wasn't And I thought

0:40:08.680 --> 0:40:12.080
<v Speaker 1>the reason for doing it was to make it feel

0:40:12.200 --> 0:40:13.960
<v Speaker 1>like in nineteen sixty, to make it feel oh, this

0:40:14.160 --> 0:40:16.960
<v Speaker 1>is this is like, maybe this is true, and to

0:40:17.040 --> 0:40:19.400
<v Speaker 1>give it a sense of time and place and and

0:40:20.320 --> 0:40:22.879
<v Speaker 1>oh this actually happened, even though I believe the book

0:40:23.040 --> 0:40:27.120
<v Speaker 1>was based on on a on a real story, but

0:40:27.440 --> 0:40:29.719
<v Speaker 1>this is it is the work of fiction. But did

0:40:29.760 --> 0:40:31.719
<v Speaker 1>you did you kind of think about what that meant?

0:40:31.800 --> 0:40:33.600
<v Speaker 1>Did a meaning thing to you? To give that make

0:40:33.680 --> 0:40:34.000
<v Speaker 1>you think?

0:40:34.520 --> 0:40:36.560
<v Speaker 4>Why is there? Why are they timestamping this at all?

0:40:37.239 --> 0:40:37.880
<v Speaker 2>I should got this?

0:40:39.520 --> 0:40:40.359
<v Speaker 4>Which is fair enough?

0:40:40.640 --> 0:40:43.759
<v Speaker 1>This is like this is always say always say that

0:40:44.239 --> 0:40:47.960
<v Speaker 1>people on this podcast have watched a movie generally once.

0:40:48.000 --> 0:40:51.880
<v Speaker 4>Occasionally somebody will give it a second view, so you

0:40:52.000 --> 0:40:53.319
<v Speaker 4>are still processing it. Well.

0:40:53.360 --> 0:40:55.040
<v Speaker 1>The only reason I can tell you that they actually

0:40:55.080 --> 0:40:56.440
<v Speaker 1>had the time stamp because I thought it's a really

0:40:56.440 --> 0:40:57.920
<v Speaker 1>clever move, because it makes you think, oh, this is

0:40:58.000 --> 0:41:02.720
<v Speaker 1>maybe this is a true story. Was when she's driving

0:41:02.880 --> 0:41:06.080
<v Speaker 1>later on, in the background there's some Christmas decorations. So

0:41:06.480 --> 0:41:10.360
<v Speaker 1>Hitchcock thought, well, all of time stamp that's in December

0:41:10.840 --> 0:41:12.920
<v Speaker 1>and that, you know, so that they kind of explained.

0:41:12.920 --> 0:41:14.879
<v Speaker 1>I didn't even notice the Christmas decorations, to be honest,

0:41:15.080 --> 0:41:16.880
<v Speaker 1>but that's the reason it's there. But we do go

0:41:16.960 --> 0:41:20.520
<v Speaker 1>into this hotel room and we find maryon crane with

0:41:20.920 --> 0:41:23.600
<v Speaker 1>Sam and they're having a bit of a rendezvous.

0:41:24.320 --> 0:41:27.239
<v Speaker 4>What were your what do you think of that?

0:41:27.320 --> 0:41:29.440
<v Speaker 1>And this is this is nineteen sixty, so this is like,

0:41:29.840 --> 0:41:31.600
<v Speaker 1>this is these are scenes that we had to be

0:41:32.360 --> 0:41:35.160
<v Speaker 1>you know, past the censor and then there's a whole

0:41:35.200 --> 0:41:36.600
<v Speaker 1>story in regards to that.

0:41:38.200 --> 0:41:40.279
<v Speaker 4>But you know, it was it was you know, it

0:41:40.360 --> 0:41:43.160
<v Speaker 4>was is resourced for nineteen sixty. She's lying on the.

0:41:43.160 --> 0:41:44.799
<v Speaker 2>Bed Brasi air out.

0:41:44.920 --> 0:41:45.120
<v Speaker 4>Yeah.

0:41:46.280 --> 0:41:48.120
<v Speaker 2>But the first thing I noticed from that scene, the

0:41:48.160 --> 0:41:50.239
<v Speaker 2>one with the one thing that I remembered that kind

0:41:50.280 --> 0:41:52.759
<v Speaker 2>of I thought, oh, maybe this is Obviously I'd heard

0:41:52.840 --> 0:41:56.760
<v Speaker 2>Alfred Hitchcock a million times, but I didn't really know anything.

0:41:56.800 --> 0:41:58.600
<v Speaker 2>I've never seen any of these other films, didn't know

0:41:58.640 --> 0:42:00.239
<v Speaker 2>why it was so famous that there. So thing I

0:42:00.360 --> 0:42:04.360
<v Speaker 2>noticed was the panning shot where they panned like directly

0:42:04.480 --> 0:42:07.439
<v Speaker 2>into the window and then through the window into the room,

0:42:07.560 --> 0:42:09.520
<v Speaker 2>and I thought, oh my god, that would have been

0:42:09.640 --> 0:42:11.640
<v Speaker 2>so hard to do at that time to get it

0:42:11.800 --> 0:42:15.799
<v Speaker 2>that smooth. So I said, oh, that's a that's a feat. Yeah.

0:42:16.080 --> 0:42:17.880
<v Speaker 2>I mainly I'm so I've been watching a lot of

0:42:17.880 --> 0:42:19.720
<v Speaker 2>Sex in the City, so I think I'm just immune

0:42:19.760 --> 0:42:23.160
<v Speaker 2>to any kind of like racy scene, Like everything looks

0:42:23.200 --> 0:42:25.680
<v Speaker 2>so pg compared to that. Like I watched Second the

0:42:25.719 --> 0:42:28.640
<v Speaker 2>City straight after to like cleanse my mind of the scariness.

0:42:29.200 --> 0:42:31.120
<v Speaker 1>Well, what was I thought was interesting because I think

0:42:31.320 --> 0:42:34.080
<v Speaker 1>when you first go in there, you think there's some

0:42:34.320 --> 0:42:37.080
<v Speaker 1>kind of a sort of affair going on here, like

0:42:37.280 --> 0:42:41.360
<v Speaker 1>that there's it's an affair as far as there's a

0:42:41.480 --> 0:42:43.640
<v Speaker 1>third party that is unaware of that this is happening.

0:42:43.719 --> 0:42:48.240
<v Speaker 1>But I think that again, he makes these smart choices,

0:42:48.320 --> 0:42:51.560
<v Speaker 1>and I guess I've writer did where because we don't

0:42:51.600 --> 0:42:54.319
<v Speaker 1>have a lot of time. You know, this gets going

0:42:54.400 --> 0:42:58.319
<v Speaker 1>pretty quickly, this whole story, and we want to like Mary,

0:42:58.440 --> 0:43:00.960
<v Speaker 1>we need to like Marian because she's about to do something,

0:43:01.200 --> 0:43:01.920
<v Speaker 1>you know, criminal.

0:43:02.920 --> 0:43:05.239
<v Speaker 4>So I think at first we are.

0:43:05.960 --> 0:43:08.359
<v Speaker 1>He lets us for about a middle or to think

0:43:08.480 --> 0:43:12.400
<v Speaker 1>that this is maybe, you know, something a bit controversial

0:43:12.520 --> 0:43:15.480
<v Speaker 1>is happening here, and then you realize, oh, no, he's

0:43:15.800 --> 0:43:19.279
<v Speaker 1>a divorcee and he've got some financial issue issues, and

0:43:19.560 --> 0:43:21.680
<v Speaker 1>you know, she's she just wants to this to be

0:43:23.080 --> 0:43:24.799
<v Speaker 1>the next time we will have dinner, you know, we'll

0:43:24.800 --> 0:43:27.080
<v Speaker 1>have lunch with my sister. And so there's actually nothing

0:43:27.200 --> 0:43:30.360
<v Speaker 1>controversial really about it as far as you know, just

0:43:30.719 --> 0:43:32.799
<v Speaker 1>I mean, and if this is made in twenty twenty three,

0:43:32.800 --> 0:43:34.960
<v Speaker 1>wouldn't wouldn't even blink at the beginning of that, we

0:43:35.000 --> 0:43:37.920
<v Speaker 1>wouldn't go, well, there's an effect, you know, we wouldn't worry.

0:43:37.719 --> 0:43:41.040
<v Speaker 2>About what up? Did you guys mean on? Give us

0:43:41.120 --> 0:43:41.439
<v Speaker 2>the tea?

0:43:42.120 --> 0:43:42.319
<v Speaker 4>Yeah.

0:43:42.880 --> 0:43:46.920
<v Speaker 1>And then so he's kind of like he is protecting

0:43:47.640 --> 0:43:51.200
<v Speaker 1>Marian from, you know, the harsh judgments which would have

0:43:51.239 --> 0:43:53.879
<v Speaker 1>been harsher in nineteen sixty, even to the point where

0:43:53.960 --> 0:43:56.600
<v Speaker 1>the guy who comes in with the forty thousand dollars

0:43:56.800 --> 0:44:01.319
<v Speaker 1>is the biggest jerk, like in the world, like she's

0:44:01.360 --> 0:44:05.080
<v Speaker 1>about to steal his money. But so he makes it

0:44:05.640 --> 0:44:10.319
<v Speaker 1>very clear that we don't like this guy's awful, he's

0:44:10.360 --> 0:44:12.680
<v Speaker 1>a sleeze he's got forty.

0:44:12.760 --> 0:44:16.480
<v Speaker 4>Doesn't mean much to him, so we kind of forgive

0:44:16.560 --> 0:44:18.920
<v Speaker 4>her for that crime.

0:44:19.200 --> 0:44:21.640
<v Speaker 2>Yeah, it's surprisingly at the start though, I didn't think

0:44:21.680 --> 0:44:24.400
<v Speaker 2>that she was going to take the money, even when

0:44:24.440 --> 0:44:27.840
<v Speaker 2>she was driving away. Oh, it was only at a

0:44:27.920 --> 0:44:30.719
<v Speaker 2>certain point that I realized, oh, she's actually going to

0:44:31.080 --> 0:44:32.640
<v Speaker 2>run away with it. Like it kind of dawned on me,

0:44:32.719 --> 0:44:36.200
<v Speaker 2>probably a bit later than it should have. But yeah,

0:44:36.280 --> 0:44:39.200
<v Speaker 2>that guy, he I didn't feel bad at all. Yeah,

0:44:39.200 --> 0:44:43.680
<v Speaker 2>exactly because you're like, oh, it's like when someone flaunts money, yeah,

0:44:43.719 --> 0:44:46.000
<v Speaker 2>and then he's a tight us. You're like, well, you's like,

0:44:46.840 --> 0:44:49.600
<v Speaker 2>I've just gone through the ridden role of like having

0:44:49.680 --> 0:44:53.560
<v Speaker 2>to appease your ego, so I should be compensated, you know.

0:44:53.880 --> 0:44:54.120
<v Speaker 4>Yeah.

0:44:54.360 --> 0:44:57.240
<v Speaker 1>Yeah, And like the difference, like if you can imagine

0:44:57.640 --> 0:44:59.600
<v Speaker 1>somebody coming in with hat in hand, and this is

0:44:59.600 --> 0:45:03.000
<v Speaker 1>out of forty thousand dollars and they need this, they're

0:45:03.040 --> 0:45:05.120
<v Speaker 1>investing this, so hopefully it works that they can pay

0:45:05.160 --> 0:45:07.919
<v Speaker 1>off the you know, pay for the farm or whatever

0:45:07.960 --> 0:45:09.600
<v Speaker 1>it might be. That's a very different They put you

0:45:09.600 --> 0:45:14.240
<v Speaker 1>in a very different headspace towards Marion. But because we're

0:45:14.280 --> 0:45:19.560
<v Speaker 1>presented with this horrendous man, we're like yeah, go for it,

0:45:19.600 --> 0:45:22.400
<v Speaker 1>taking forty thousand dollars. Where we are on team Marian

0:45:22.480 --> 0:45:25.840
<v Speaker 1>right now. So and then and also like later on

0:45:25.960 --> 0:45:30.000
<v Speaker 1>when she she's she's going to leave the hotel to

0:45:30.120 --> 0:45:33.880
<v Speaker 1>go back, and and like she even said before her demise,

0:45:34.760 --> 0:45:36.719
<v Speaker 1>she's actually kind of said she she's going back to

0:45:36.800 --> 0:45:39.959
<v Speaker 1>make untangle herself in the trap that she got herself into.

0:45:40.160 --> 0:45:43.880
<v Speaker 1>So there's even even up until that point, hitchcocky is

0:45:44.239 --> 0:45:48.360
<v Speaker 1>you know, we are always on team Marian totally totally.

0:45:48.719 --> 0:45:51.799
<v Speaker 1>And she gets obviously, she leaves, she gets seen by

0:45:51.840 --> 0:45:54.799
<v Speaker 1>the boss, her boss, and then pulled over by the cop.

0:45:55.360 --> 0:46:00.640
<v Speaker 1>Which the CoP's not very he's investigation of her. Like

0:46:01.000 --> 0:46:02.440
<v Speaker 1>he gets the number five. I'm not sure what he does.

0:46:02.480 --> 0:46:04.399
<v Speaker 4>He gets the license, he looks at the number plate,

0:46:04.480 --> 0:46:07.120
<v Speaker 4>and then then she just drives off. I mean, I

0:46:07.200 --> 0:46:08.000
<v Speaker 4>know that's what I was.

0:46:08.080 --> 0:46:10.960
<v Speaker 2>I was waiting for him to come back and you know,

0:46:11.160 --> 0:46:12.360
<v Speaker 2>put all the pieces together, but.

0:46:12.480 --> 0:46:16.239
<v Speaker 4>He just yeah, as to go. She goes.

0:46:16.280 --> 0:46:18.680
<v Speaker 1>But then he kind of sees her trading in this

0:46:18.880 --> 0:46:23.000
<v Speaker 1>car and stands on the other side of the road

0:46:23.160 --> 0:46:26.279
<v Speaker 1>just looking over. It's a very quick trading, by the way.

0:46:26.360 --> 0:46:30.360
<v Speaker 1>I mean, I wish you can't rent a car that quickly.

0:46:31.360 --> 0:46:34.520
<v Speaker 2>O Life's the line? Itch is like he's never the

0:46:34.600 --> 0:46:37.080
<v Speaker 2>car salesman, had like never felt that much pressure on

0:46:37.320 --> 0:46:39.160
<v Speaker 2>the had never been on the receiving end. Is that

0:46:39.280 --> 0:46:39.760
<v Speaker 2>much pressure?

0:46:41.640 --> 0:46:43.960
<v Speaker 1>I see the miss in I've got a real thing.

0:46:44.280 --> 0:46:45.640
<v Speaker 1>I do a return to the show. I think at

0:46:45.640 --> 0:46:48.480
<v Speaker 1>the moment, deconstructed our gaming. I'm still playing Perth. How

0:46:48.520 --> 0:46:50.160
<v Speaker 1>about we're coming to you soon? Well, I talk about

0:46:50.160 --> 0:46:52.280
<v Speaker 1>how long it takes a check into hotels, like considering

0:46:52.360 --> 0:46:54.879
<v Speaker 1>they all have your everything, everything they could possibly need.

0:46:55.080 --> 0:46:57.160
<v Speaker 1>Is is they have when you book the hotel, and

0:46:57.239 --> 0:47:00.680
<v Speaker 1>then they take a long time when you're checking in.

0:47:01.280 --> 0:47:05.239
<v Speaker 1>But I think the car rental industry have seen that

0:47:05.440 --> 0:47:08.400
<v Speaker 1>and gone I think we can do worse than you

0:47:08.840 --> 0:47:11.120
<v Speaker 1>because I feel like when you go rent a car,

0:47:11.239 --> 0:47:15.239
<v Speaker 1>it's very simple. Again, you have my details, I booked

0:47:15.280 --> 0:47:18.239
<v Speaker 1>the car, I assume the car is there. Just give

0:47:18.320 --> 0:47:22.440
<v Speaker 1>me the keys and it's it's like I feel like

0:47:23.239 --> 0:47:25.640
<v Speaker 1>to work in the car rental industry, like you can't

0:47:26.000 --> 0:47:29.040
<v Speaker 1>type like that. They must like test your typing and

0:47:29.120 --> 0:47:32.160
<v Speaker 1>if you type too fast you're not allowed to work.

0:47:32.320 --> 0:47:34.600
<v Speaker 4>It's like they will just it's just like one finger

0:47:35.360 --> 0:47:39.920
<v Speaker 4>typing at budget or hurts you know it really it is.

0:47:40.280 --> 0:47:43.640
<v Speaker 1>I've had a few infuriating experiences with car rental places recently,

0:47:43.680 --> 0:47:46.760
<v Speaker 1>but I won't let that still time from talking about Psycho.

0:47:48.320 --> 0:47:51.200
<v Speaker 4>Then they so let's get to the Baits, the Baits motel,

0:47:51.440 --> 0:47:52.800
<v Speaker 4>hotel motor. I think it's a motel.

0:47:53.360 --> 0:47:57.200
<v Speaker 1>When you met Norman Baits, did you know we'll get

0:47:57.200 --> 0:47:58.640
<v Speaker 1>to We'll get to the twist later.

0:47:58.760 --> 0:48:02.360
<v Speaker 4>But do you know like the twist? Did you know,

0:48:03.400 --> 0:48:06.160
<v Speaker 4>like you near the shower scene? Yeah, I guess.

0:48:06.239 --> 0:48:06.399
<v Speaker 2>Yeah.

0:48:06.440 --> 0:48:10.440
<v Speaker 4>The next big thing to know is the twisted Were

0:48:10.480 --> 0:48:10.960
<v Speaker 4>you aware?

0:48:11.880 --> 0:48:11.920
<v Speaker 2>You?

0:48:12.040 --> 0:48:14.320
<v Speaker 4>Do you think his mother was up in the the

0:48:14.440 --> 0:48:15.080
<v Speaker 4>in that house?

0:48:15.719 --> 0:48:15.919
<v Speaker 2>Yes?

0:48:16.120 --> 0:48:16.440
<v Speaker 4>I did.

0:48:17.120 --> 0:48:20.000
<v Speaker 2>I ruined the surprise though for me because I watched

0:48:20.040 --> 0:48:22.160
<v Speaker 2>the movie in two parts. I watched it two nights

0:48:22.200 --> 0:48:25.160
<v Speaker 2>ago and then I watched it the second half last night.

0:48:25.360 --> 0:48:25.560
<v Speaker 4>Yep.

0:48:26.360 --> 0:48:30.160
<v Speaker 2>In the bath and my apartment is like a nineteen

0:48:30.280 --> 0:48:35.400
<v Speaker 2>forties kind of brick. It's got the bathroom is untouched.

0:48:35.440 --> 0:48:38.399
<v Speaker 2>It's the same bathtub since back then. And I think

0:48:38.480 --> 0:48:41.160
<v Speaker 2>the motel looks kind of forties ish, even though it

0:48:41.239 --> 0:48:42.719
<v Speaker 2>was said in the sixties. It kind of looks like

0:48:42.800 --> 0:48:47.320
<v Speaker 2>a rundown that kind of eeric type of thing. And

0:48:47.440 --> 0:48:49.840
<v Speaker 2>the reason I don't I don't have a showercun because

0:48:49.880 --> 0:48:51.960
<v Speaker 2>of the movie. So obviously it's been deep and less

0:48:51.960 --> 0:48:52.879
<v Speaker 2>psyche for a long time.

0:48:53.320 --> 0:48:54.200
<v Speaker 4>Is that is that true?

0:48:54.680 --> 0:48:57.680
<v Speaker 2>Yeah? Yeah, I can't have a showercut and that's terrifying.

0:48:58.160 --> 0:49:03.200
<v Speaker 1>Wow, yeah it is apparently, like yeah, like people having showers.

0:49:03.560 --> 0:49:06.080
<v Speaker 1>It had like a massive impact on women having showers.

0:49:07.360 --> 0:49:10.479
<v Speaker 1>Janet ly I would not have a shower for years,

0:49:11.160 --> 0:49:13.840
<v Speaker 1>like really yeah, yeah, oh yeah, I had a massive

0:49:13.880 --> 0:49:14.440
<v Speaker 1>impact on her.

0:49:14.840 --> 0:49:17.520
<v Speaker 2>Well, okay, so I figured out that the second twist

0:49:17.600 --> 0:49:19.759
<v Speaker 2>because I was looking at Norman Baits and I was like,

0:49:20.239 --> 0:49:23.680
<v Speaker 2>he kind of looks samiliar. And my cousin had sent

0:49:23.719 --> 0:49:25.399
<v Speaker 2>me a picture of my dad when he was young

0:49:27.000 --> 0:49:29.239
<v Speaker 2>the day before and I'll show you just so you

0:49:29.320 --> 0:49:30.840
<v Speaker 2>can I can get you or actually picking they were

0:49:30.920 --> 0:49:36.600
<v Speaker 2>kind of similar, both kind of dark hair, skinny type looking.

0:49:36.680 --> 0:49:40.480
<v Speaker 2>Here we go, so here's Norman Baits, you know, yeah, yeah,

0:49:40.520 --> 0:49:44.480
<v Speaker 2>that's him, and then my dad. Look my dad kind

0:49:44.480 --> 0:49:49.000
<v Speaker 2>of looks like a serial killer, but that's similar, right, yes, yes,

0:49:50.680 --> 0:49:51.400
<v Speaker 2>types look.

0:49:51.640 --> 0:49:54.359
<v Speaker 1>In fact, he's yeah, and you're right, he's giving off

0:49:55.200 --> 0:49:58.839
<v Speaker 1>like a Steelia serial killer looked more so than Norman

0:49:58.880 --> 0:50:00.960
<v Speaker 1>Baits in that phone. I'm not sure it's Norman Bates

0:50:01.120 --> 0:50:03.000
<v Speaker 1>or just Anthony Perkins. I'm not sure if Anthony Perkins's

0:50:03.320 --> 0:50:04.000
<v Speaker 1>character there.

0:50:04.400 --> 0:50:05.000
<v Speaker 4>But wow.

0:50:05.880 --> 0:50:08.319
<v Speaker 2>Also his Anthony Perkkin's like in heaps of other movies

0:50:08.320 --> 0:50:08.839
<v Speaker 2>when he's older.

0:50:09.560 --> 0:50:12.160
<v Speaker 4>He didn't have He came back and did Psycho two.

0:50:13.000 --> 0:50:16.320
<v Speaker 4>I think Psycho three as well. He's insane.

0:50:16.800 --> 0:50:19.920
<v Speaker 1>He worked a lot, but there's nothing, there's nothing that

0:50:20.120 --> 0:50:24.040
<v Speaker 1>particularly stands out that that would rival anywhere close to

0:50:24.480 --> 0:50:26.000
<v Speaker 1>Psycho in his career.

0:50:26.080 --> 0:50:30.480
<v Speaker 4>So he worked, but nothing that kind of was, you know,

0:50:31.320 --> 0:50:32.279
<v Speaker 4>your Norman Baates level.

0:50:32.520 --> 0:50:34.839
<v Speaker 2>Well, that's why. That's how I came to twist, because

0:50:34.840 --> 0:50:37.440
<v Speaker 2>then I started looking at photos of this Anthony guy

0:50:37.880 --> 0:50:41.080
<v Speaker 2>and I saw him in the other part of the movie.

0:50:41.520 --> 0:50:43.799
<v Speaker 4>Yeah right, yeah, yeah, which is a.

0:50:43.800 --> 0:50:45.799
<v Speaker 2>Bit disappointing because I'm not sure I would have seen

0:50:45.800 --> 0:50:48.759
<v Speaker 2>it coming. I was a bit like daf through this

0:50:48.840 --> 0:50:49.640
<v Speaker 2>n't me to be honest.

0:50:50.000 --> 0:50:53.160
<v Speaker 1>Well, it's so I was so interested because I watched

0:50:53.200 --> 0:50:57.759
<v Speaker 1>this in my teenage years and I knew there was

0:50:57.840 --> 0:51:00.479
<v Speaker 1>something to do with the mother. Soide I don't forget

0:51:00.480 --> 0:51:03.200
<v Speaker 1>if I completely saw it as a twist or not

0:51:03.400 --> 0:51:07.120
<v Speaker 1>or like if it worked on me. But yeah, now

0:51:07.840 --> 0:51:11.640
<v Speaker 1>now sixty three years after the movie was made, Yeah,

0:51:11.760 --> 0:51:13.719
<v Speaker 1>I wonder how many people will still you know, I

0:51:13.920 --> 0:51:17.360
<v Speaker 1>don't know that there's I mean, the fact is that

0:51:17.480 --> 0:51:22.080
<v Speaker 1>there are there are You do hear the mother talking,

0:51:22.239 --> 0:51:23.160
<v Speaker 1>you know, like you do hear?

0:51:23.800 --> 0:51:27.680
<v Speaker 4>And that wasn't Anthony Perkins talking.

0:51:27.760 --> 0:51:30.920
<v Speaker 1>That they got I think three different actresses and they

0:51:31.040 --> 0:51:35.200
<v Speaker 1>kind of mixed in a mix of all three of them, so.

0:51:35.280 --> 0:51:38.319
<v Speaker 4>There is like I'm not sure, I'm not sure if

0:51:38.320 --> 0:51:41.400
<v Speaker 4>that's cheating. I don't know. I think it is because

0:51:41.560 --> 0:51:48.360
<v Speaker 4>where's the audience hearing that. I feel like potentially that

0:51:48.480 --> 0:51:52.000
<v Speaker 4>Anthony Perkins should be made to do that voice.

0:51:52.440 --> 0:51:55.040
<v Speaker 2>I think so true. Maybe the one kind of tiny

0:51:55.080 --> 0:52:00.120
<v Speaker 2>giveaway was that it was so loud like Marion was

0:52:00.200 --> 0:52:02.640
<v Speaker 2>hearing it from down in the thing, but it sounded

0:52:02.719 --> 0:52:04.839
<v Speaker 2>like she was in the next room. Yes, and maybe

0:52:04.920 --> 0:52:06.440
<v Speaker 2>that was a bit of a giveaway.

0:52:07.840 --> 0:52:11.719
<v Speaker 1>Yeah, listen, actually let's have listened to This is the

0:52:11.800 --> 0:52:14.480
<v Speaker 1>mother and the Norman arguing from inside the mansion.

0:52:14.719 --> 0:52:18.560
<v Speaker 5>No, I tell you no, I won't have you bringing

0:52:18.680 --> 0:52:22.480
<v Speaker 5>strange young girls and Patapa by handle light I suppose,

0:52:22.600 --> 0:52:26.320
<v Speaker 5>and the cheap paratic fashion of young men with cheap barotic.

0:52:25.960 --> 0:52:27.640
<v Speaker 3>Mind father, please?

0:52:28.200 --> 0:52:31.319
<v Speaker 5>And then what after Sapa music with Firs.

0:52:31.480 --> 0:52:34.480
<v Speaker 6>Whether she's just a stranger, she's hungry and it's raining out,

0:52:34.719 --> 0:52:35.480
<v Speaker 6>mat it, she's.

0:52:35.480 --> 0:52:40.560
<v Speaker 5>Just a stranger as this man, no desire strangers. Oh,

0:52:40.840 --> 0:52:44.360
<v Speaker 5>I refuse to speak of disgusting things because they distrust me.

0:52:44.880 --> 0:52:48.080
<v Speaker 2>You understand, boy, Go on, go tell us.

0:52:48.040 --> 0:52:50.880
<v Speaker 5>You'll not be a peating her ugly appetite.

0:52:50.400 --> 0:52:52.520
<v Speaker 4>With my oh my son?

0:52:53.160 --> 0:52:55.000
<v Speaker 5>Or do I have to tell her because you don't

0:52:55.080 --> 0:52:58.080
<v Speaker 5>have the guts? Ah, boy, you have the Dutch boy?

0:52:58.400 --> 0:52:58.840
<v Speaker 7>Shut up?

0:52:59.040 --> 0:52:59.480
<v Speaker 3>Shut up.

0:53:00.320 --> 0:53:03.480
<v Speaker 1>There is almost overlap in a weird way, which kind

0:53:03.520 --> 0:53:07.000
<v Speaker 1>of I don't know. I feel like it's confusing. It's

0:53:07.040 --> 0:53:12.400
<v Speaker 1>confusing that they're like, are we to believe that Norman

0:53:12.520 --> 0:53:14.359
<v Speaker 1>Bates is a well?

0:53:14.400 --> 0:53:16.759
<v Speaker 4>I guess we find it later on. I guess.

0:53:16.920 --> 0:53:19.520
<v Speaker 1>I guess it's not a performance. It's actually it is

0:53:19.880 --> 0:53:23.080
<v Speaker 1>like it is. It's a schizophrenia, I guess. But the

0:53:23.160 --> 0:53:25.600
<v Speaker 1>fact that there's almost like a tiny bit of overlap

0:53:26.800 --> 0:53:31.520
<v Speaker 1>make you know, I don't like because it does like

0:53:32.239 --> 0:53:35.120
<v Speaker 1>whether it's you know, obviously it's a mental condition that

0:53:35.160 --> 0:53:37.200
<v Speaker 1>he has to find out later, but he still can't

0:53:38.160 --> 0:53:40.960
<v Speaker 1>he still needs to be talking as Norman and then

0:53:41.000 --> 0:53:41.680
<v Speaker 1>talking as the mother.

0:53:42.280 --> 0:53:43.759
<v Speaker 4>He can't be doing it at the same time.

0:53:43.920 --> 0:53:46.480
<v Speaker 2>Yeah. Maybe if he had snapchat back then then it

0:53:46.680 --> 0:53:50.640
<v Speaker 2>was like okay, but no one can modulate their Voicelier. Yeah.

0:53:50.760 --> 0:53:54.920
<v Speaker 2>I was so surprised though, with the movie that the

0:53:55.080 --> 0:53:58.040
<v Speaker 2>shower scene was so early on.

0:53:58.680 --> 0:54:00.719
<v Speaker 4>I think that's what intrigues me exactly what I was

0:54:00.760 --> 0:54:01.479
<v Speaker 4>going to ask you about.

0:54:01.520 --> 0:54:04.880
<v Speaker 1>And this shocked audiences in nineteen sixty generally was a

0:54:04.920 --> 0:54:09.160
<v Speaker 1>big star and it was deliberately cast. Hitchcock deliberately cast

0:54:09.200 --> 0:54:11.880
<v Speaker 1>a big star because you don't you know, particularly back then,

0:54:11.920 --> 0:54:13.759
<v Speaker 1>you didn't. This is a pregame of thrones. Obviously, you

0:54:13.800 --> 0:54:17.960
<v Speaker 1>don't kill off main characters and big stars. And this happens,

0:54:18.080 --> 0:54:21.120
<v Speaker 1>like you know, through a third of the movie before.

0:54:21.239 --> 0:54:23.759
<v Speaker 1>This happened so often with iconic moments, and when people

0:54:23.760 --> 0:54:27.880
<v Speaker 1>watching films for the first time, I often wonder, did

0:54:27.920 --> 0:54:31.160
<v Speaker 1>the moment that you were waiting for happen when you're

0:54:31.200 --> 0:54:34.719
<v Speaker 1>expecting and I would I be writing suggesting you may

0:54:34.760 --> 0:54:37.239
<v Speaker 1>have thought this happened in the climax of the film.

0:54:37.640 --> 0:54:41.239
<v Speaker 2>Yes, at the very end, like it ends with her dying. Yeah,

0:54:41.440 --> 0:54:42.200
<v Speaker 2>the last scene.

0:54:42.800 --> 0:54:44.759
<v Speaker 1>I'd seen this film and I knew it happened like

0:54:44.880 --> 0:54:47.120
<v Speaker 1>earlier than you'd expect, But even watching it.

0:54:48.120 --> 0:54:51.320
<v Speaker 4>Last night, I was like, this happens really quickly.

0:54:53.239 --> 0:54:53.919
<v Speaker 2>She said bye?

0:54:54.560 --> 0:54:56.160
<v Speaker 4>And what were you What were you thinking?

0:54:56.960 --> 0:54:57.400
<v Speaker 2>What was it?

0:54:57.560 --> 0:54:57.840
<v Speaker 4>Tense?

0:54:58.040 --> 0:54:58.200
<v Speaker 2>Was it?

0:54:58.400 --> 0:54:59.879
<v Speaker 4>How are you feeling watching the shower scene.

0:55:00.440 --> 0:55:02.320
<v Speaker 2>I thought it would be more gruesome than it was.

0:55:02.400 --> 0:55:06.520
<v Speaker 2>I quite liked it felt quite restrained, like when no

0:55:06.600 --> 0:55:08.560
<v Speaker 2>one walks back into the room to kind of clean

0:55:08.680 --> 0:55:13.320
<v Speaker 2>her up, you barely see her. I thought that the

0:55:14.080 --> 0:55:16.680
<v Speaker 2>feeling of that was really interesting because she's always below

0:55:16.760 --> 0:55:20.680
<v Speaker 2>the camera. But I thought it was well done.

0:55:20.800 --> 0:55:24.080
<v Speaker 1>Well it took it took seven days, I can tell

0:55:24.080 --> 0:55:27.440
<v Speaker 1>you for rooms, it took seven days to shoot seventy

0:55:27.520 --> 0:55:32.160
<v Speaker 1>different camera setups. There were ninety edits or like fast cuts.

0:55:32.840 --> 0:55:37.560
<v Speaker 1>The stabbing sound was the sound of a knife stabbing

0:55:37.600 --> 0:55:43.040
<v Speaker 1>a watermelon. Well, they used blood. The blood was chocolate syrup.

0:55:43.880 --> 0:55:45.320
<v Speaker 1>And that's one of the reasons why he wanted to

0:55:45.320 --> 0:55:47.040
<v Speaker 1>shoot in black and white, because he knew that he

0:55:47.520 --> 0:55:50.960
<v Speaker 1>wanted it to be quite glory, and he knew he

0:55:50.960 --> 0:55:52.960
<v Speaker 1>would have trouble getting it across the sensor if it

0:55:53.120 --> 0:55:57.360
<v Speaker 1>was in color. Generally, he was also supposed to have contacts,

0:55:57.400 --> 0:55:59.480
<v Speaker 1>but it took back then, It took a long time

0:56:00.280 --> 0:56:02.560
<v Speaker 1>to kind of have these contacts made and deliver, so

0:56:02.680 --> 0:56:05.880
<v Speaker 1>they didn't have the time because I must if you

0:56:05.960 --> 0:56:08.359
<v Speaker 1>notice that when you go, it's a great transition shot

0:56:08.400 --> 0:56:13.799
<v Speaker 1>from the plug or the drain of the bath into

0:56:13.880 --> 0:56:18.360
<v Speaker 1>her eye she's lying down. It's a great shot and

0:56:18.440 --> 0:56:21.560
<v Speaker 1>it holds on it for a long time. And they

0:56:21.600 --> 0:56:24.239
<v Speaker 1>had no like there's no post production where you back

0:56:24.280 --> 0:56:26.560
<v Speaker 1>then where you could kind of like do some tricks.

0:56:26.560 --> 0:56:29.239
<v Speaker 1>But there's a tiny little flicker to the point where

0:56:29.280 --> 0:56:30.680
<v Speaker 1>I think the first time I saw it, I was like.

0:56:31.320 --> 0:56:35.120
<v Speaker 4>Oh, she's alive. Yeah, yeah, but she is she is dead.

0:56:35.719 --> 0:56:40.320
<v Speaker 1>It was the first time a nude model, like a

0:56:40.400 --> 0:56:43.560
<v Speaker 1>standing model was used a body double, and there was

0:56:43.680 --> 0:56:47.320
<v Speaker 1>massive There was massive like when the senses came in.

0:56:48.440 --> 0:56:51.040
<v Speaker 1>There were six men who had to kind of decide

0:56:51.080 --> 0:56:54.560
<v Speaker 1>whether this was going to be allowed, and three of

0:56:54.600 --> 0:56:57.640
<v Speaker 1>them said they could see nudity, and three of them

0:56:57.680 --> 0:57:01.239
<v Speaker 1>said they didn't see any nudity. So they sent a

0:57:01.320 --> 0:57:06.240
<v Speaker 1>memo back to Hitchcock saying can you remove the nudity?

0:57:07.200 --> 0:57:10.719
<v Speaker 1>And hitch Cock did decide not to do it. Didn't

0:57:10.800 --> 0:57:13.239
<v Speaker 1>touch it at all. Anybody wrote a memo back a

0:57:13.280 --> 0:57:16.560
<v Speaker 1>few days later saying, yes, I've removed all the nudity.

0:57:17.040 --> 0:57:19.880
<v Speaker 1>And they watched it again and the three people who

0:57:19.920 --> 0:57:21.600
<v Speaker 1>said they saw the nudity said, yet, no, it's not

0:57:21.640 --> 0:57:24.959
<v Speaker 1>there anymore. But the other three who said they didn't

0:57:25.000 --> 0:57:30.120
<v Speaker 1>see the nudity were now seeing nudity. What So, it

0:57:30.240 --> 0:57:34.600
<v Speaker 1>was a weird And it means it scenes working because

0:57:34.640 --> 0:57:38.480
<v Speaker 1>it's like the tricks he has played on your mind

0:57:38.560 --> 0:57:43.000
<v Speaker 1>and what you think you are seeing is quite incredible.

0:57:43.760 --> 0:57:47.760
<v Speaker 1>And the combination of that fast editing and the score

0:57:48.120 --> 0:57:52.280
<v Speaker 1>which is incredible. Yeah, it's it's such a it's such

0:57:52.320 --> 0:57:55.480
<v Speaker 1>a brilliantly executed I mean. And when you think about

0:57:55.840 --> 0:57:58.160
<v Speaker 1>the camera equipment, that's what they said, like seventy different

0:57:58.200 --> 0:58:01.040
<v Speaker 1>camera setups. You got that scene of the shama falling

0:58:01.120 --> 0:58:03.320
<v Speaker 1>down like you're looking up at it. This is equipment

0:58:03.400 --> 0:58:07.120
<v Speaker 1>that wasn't waterproof. They had to design shower heads that

0:58:07.240 --> 0:58:10.960
<v Speaker 1>kind of came, you know, like sprayed, not straight down

0:58:11.040 --> 0:58:13.640
<v Speaker 1>into the camera, like you can imagine that shot. Now

0:58:13.840 --> 0:58:15.360
<v Speaker 1>you might have the you know, water falling into the

0:58:15.440 --> 0:58:18.080
<v Speaker 1>camera and you get away with that, but now you

0:58:18.160 --> 0:58:21.400
<v Speaker 1>have to like protect the lighting and the cameras, you know,

0:58:21.440 --> 0:58:23.800
<v Speaker 1>because seven days you probably.

0:58:23.560 --> 0:58:26.800
<v Speaker 4>Shoot that now in two days, I imagine with the

0:58:27.880 --> 0:58:28.640
<v Speaker 4>speed they can move.

0:58:29.240 --> 0:58:34.160
<v Speaker 1>And the other interesting thing about this scene, and it's

0:58:34.200 --> 0:58:37.800
<v Speaker 1>quite a tragic detail, there was a body double called

0:58:38.120 --> 0:58:41.760
<v Speaker 1>Marley Renfro who was the so she's the body double,

0:58:42.160 --> 0:58:45.600
<v Speaker 1>and she became quite famous as a result of this.

0:58:45.840 --> 0:58:49.200
<v Speaker 1>She was on the Playboy cover in nineteen sixty. It

0:58:49.360 --> 0:58:52.960
<v Speaker 1>was reported that she was murdered in the late eighties.

0:58:53.280 --> 0:58:57.120
<v Speaker 1>I believe raped the murdered, but it turns out that

0:58:57.960 --> 0:59:01.440
<v Speaker 1>it wasn't her. It was another woman called Mara Davis,

0:59:01.920 --> 0:59:06.440
<v Speaker 1>who was the body standing for the lighting checks. So

0:59:06.600 --> 0:59:09.240
<v Speaker 1>not only they had the body double for Janetly, they

0:59:09.280 --> 0:59:13.360
<v Speaker 1>also had a body standing for the lighting checks, and

0:59:13.480 --> 0:59:17.120
<v Speaker 1>these two women were often people got confused, you know,

0:59:17.240 --> 0:59:21.480
<v Speaker 1>they went sure which one did what, and sadly, a

0:59:21.840 --> 0:59:28.200
<v Speaker 1>psycho obsessive basically killed Mara Davis thinking it was Marley Renfro.

0:59:28.880 --> 0:59:31.560
<v Speaker 1>He wanted to kill the body that he had seen

0:59:32.360 --> 0:59:38.080
<v Speaker 1>be murdered on film in psycho. Really yeah, so it's

0:59:38.240 --> 0:59:43.160
<v Speaker 1>really horror. Yeah, that's shocking and another you know, kind

0:59:43.200 --> 0:59:46.479
<v Speaker 1>of creepiness. So already pretty creepy scene.

0:59:48.280 --> 0:59:50.280
<v Speaker 2>Yeah, and he's the kind of movie that, you know,

0:59:50.400 --> 0:59:53.000
<v Speaker 2>there's like Alfred hitch Stuck. They'd be kind of like

0:59:53.160 --> 0:59:55.840
<v Speaker 2>mega fans stuff like people that are obsessed with because

0:59:55.840 --> 0:59:58.560
<v Speaker 2>he was kind of like the pioneer of horror or something.

0:59:58.680 --> 1:00:03.120
<v Speaker 1>Yes, suspense, and this was kind of scene as you know,

1:00:03.280 --> 1:00:06.520
<v Speaker 1>he wanted this. He kept everything so quiet and he

1:00:06.640 --> 1:00:08.640
<v Speaker 1>wanted this to kind of that's why he started with

1:00:08.760 --> 1:00:11.200
<v Speaker 1>it like that's you know, we'll call it the sex scene,

1:00:12.240 --> 1:00:14.160
<v Speaker 1>because he wanted the people to think he was just

1:00:14.240 --> 1:00:17.680
<v Speaker 1>making this tawdry, kind of little you know, b Gray

1:00:17.840 --> 1:00:20.080
<v Speaker 1>kind of you know, kind of flick with you know,

1:00:20.160 --> 1:00:22.640
<v Speaker 1>had some horror and some gore and sex and you

1:00:22.680 --> 1:00:26.760
<v Speaker 1>know it was tantalizing and titillating, and he kept everything

1:00:26.920 --> 1:00:29.960
<v Speaker 1>really really quiet. So there's a real kind of appetite.

1:00:29.960 --> 1:00:34.800
<v Speaker 1>Even though Paramount, who hitch I had to deal with,

1:00:35.640 --> 1:00:37.800
<v Speaker 1>hated the film. They didn't think it worked. They kind

1:00:37.800 --> 1:00:39.800
<v Speaker 1>of said they didn't fund it. Hitchcock ended up funding

1:00:39.840 --> 1:00:41.960
<v Speaker 1>a lot of the film by himself. They shouted at

1:00:42.000 --> 1:00:44.280
<v Speaker 1>the Universal a lot which famously, now that you can

1:00:44.360 --> 1:00:47.840
<v Speaker 1>you go on the Universal Tour and the Baits House

1:00:48.080 --> 1:00:50.120
<v Speaker 1>is like you wanted the mate you know that enjoys

1:00:50.160 --> 1:00:52.440
<v Speaker 1>the probably the two things you kind of remember and

1:00:52.520 --> 1:00:53.400
<v Speaker 1>the flash flood, of course.

1:00:53.480 --> 1:00:57.520
<v Speaker 4>But so the previews didn't go great.

1:00:58.080 --> 1:01:01.040
<v Speaker 1>And then Hitchcock this, you know, he did this thing

1:01:01.080 --> 1:01:03.720
<v Speaker 1>where he put out this videos or videos or film

1:01:03.840 --> 1:01:07.160
<v Speaker 1>or trailers kind of saying that please do not discuss

1:01:07.240 --> 1:01:09.640
<v Speaker 1>the ending of this film. You know, if you've seen it,

1:01:09.680 --> 1:01:12.720
<v Speaker 1>we only have one ending. And if you if you

1:01:12.760 --> 1:01:15.280
<v Speaker 1>were late to the cinema, you are not allowed in.

1:01:16.440 --> 1:01:17.960
<v Speaker 1>You know, whether you are the Queen of England, the

1:01:18.040 --> 1:01:20.000
<v Speaker 1>President of the United States, if you are late, you

1:01:20.120 --> 1:01:23.120
<v Speaker 1>had not And they kind of policed it, they kind

1:01:23.160 --> 1:01:26.680
<v Speaker 1>of made sure that cinema owners were actually policing that

1:01:26.880 --> 1:01:30.760
<v Speaker 1>rule that you were not allowed in. So and it

1:01:30.880 --> 1:01:34.280
<v Speaker 1>opens massively and it becomes, you know, you know, a huge,

1:01:34.800 --> 1:01:38.720
<v Speaker 1>massive film, and a Paramount executive did say that they

1:01:38.760 --> 1:01:41.920
<v Speaker 1>were before it opened that they were relieved that the

1:01:42.000 --> 1:01:45.080
<v Speaker 1>Paramount logo was not on the front of the movie.

1:01:45.120 --> 1:01:48.440
<v Speaker 4>It was universal. So lots of egg on, a lot

1:01:48.480 --> 1:01:50.360
<v Speaker 4>of faces. So do you.

1:01:51.840 --> 1:01:56.400
<v Speaker 1>You see the silhouette of whoever it is, you know

1:01:56.480 --> 1:01:58.800
<v Speaker 1>now it's Norman Bates. Did you what were you thinking?

1:01:59.000 --> 1:02:01.800
<v Speaker 4>Were you thinking did you know at this stage, where

1:02:01.800 --> 1:02:04.800
<v Speaker 4>were you in your little Google searching?

1:02:05.840 --> 1:02:08.120
<v Speaker 2>I didn't Googled yet, so I sully thought it was

1:02:08.160 --> 1:02:11.600
<v Speaker 2>the mother and no one's bes cute, like he's got

1:02:11.680 --> 1:02:15.040
<v Speaker 2>her a sandwich, and I guess when he looks through

1:02:15.240 --> 1:02:18.800
<v Speaker 2>the little peephole at her in the bathroom, that's when

1:02:18.840 --> 1:02:20.880
<v Speaker 2>I thought, oh, he's not quite right. But I thought

1:02:20.920 --> 1:02:24.640
<v Speaker 2>maybe he was like a bit of a like obviously creep,

1:02:24.720 --> 1:02:26.360
<v Speaker 2>but I didn't think he was capable of murder.

1:02:26.640 --> 1:02:29.320
<v Speaker 1>Yeah, I mean it does a really good job of

1:02:29.400 --> 1:02:33.240
<v Speaker 1>Blake like this seems like he seems like a friendly guy.

1:02:33.440 --> 1:02:34.520
<v Speaker 4>He seems like a friendly guy.

1:02:34.640 --> 1:02:36.680
<v Speaker 2>Yeah, you know, like a little bit isolated.

1:02:36.800 --> 1:02:40.200
<v Speaker 1>But yeah, and then they have we won't even play

1:02:40.280 --> 1:02:44.640
<v Speaker 1>the conversation they have where we first maybe start seeing

1:02:45.160 --> 1:02:49.800
<v Speaker 1>the turning of Norman bas this is he's brought down supper,

1:02:49.880 --> 1:02:54.520
<v Speaker 1>like you said, some sandwiches and some milk. He's gone

1:02:54.520 --> 1:02:59.920
<v Speaker 1>all out and yeah, I think generally here, I mean

1:03:00.280 --> 1:03:02.680
<v Speaker 1>suggests by putting his mother into a harm.

1:03:03.480 --> 1:03:07.400
<v Speaker 6>I'm sorry, I didn't mean it to sound uncaring. What

1:03:07.520 --> 1:03:10.520
<v Speaker 6>do you know about caring? Have you ever seen the

1:03:10.560 --> 1:03:14.640
<v Speaker 6>inside of one of those places? Laughing in the tears

1:03:16.200 --> 1:03:23.480
<v Speaker 6>and the cruel eyes studying you. My mother there. But

1:03:23.600 --> 1:03:29.640
<v Speaker 6>she's harmless. She's as harmless as one of those stuffed birds.

1:03:31.800 --> 1:03:35.000
<v Speaker 2>I am sorry. I only felt.

1:03:36.560 --> 1:03:37.800
<v Speaker 7>It seems she's hurting you.

1:03:39.680 --> 1:03:44.600
<v Speaker 6>I meant well. People always mean well. They cluck their

1:03:44.680 --> 1:03:47.200
<v Speaker 6>thick tongues and shake their heads and suggest, oh so

1:03:47.520 --> 1:03:48.360
<v Speaker 6>very delicately.

1:03:56.200 --> 1:03:57.800
<v Speaker 4>Of course I've.

1:03:57.640 --> 1:04:01.920
<v Speaker 6>Suggested it myself, but I hate to even think about it.

1:04:03.800 --> 1:04:04.400
<v Speaker 4>She needs me.

1:04:09.560 --> 1:04:14.200
<v Speaker 6>It's not as if she were a maniac, a raving thing.

1:04:17.040 --> 1:04:23.360
<v Speaker 6>She just goes a little mad. Sometimes we all go

1:04:23.440 --> 1:04:28.560
<v Speaker 6>a little mad sometimes, haven't you.

1:04:31.720 --> 1:04:36.480
<v Speaker 8>Yes, sometimes just one time can be enough.

1:04:38.560 --> 1:04:41.760
<v Speaker 6>Thank you, Thank you, Norman.

1:04:47.920 --> 1:04:48.960
<v Speaker 4>The red flag would have been up.

1:04:49.760 --> 1:04:52.360
<v Speaker 2>That's what I knew she was in trouble. To be fair, Yeah,

1:04:53.480 --> 1:04:54.600
<v Speaker 2>you overstep that, Marion.

1:04:54.840 --> 1:04:55.040
<v Speaker 4>Yeah.

1:04:55.400 --> 1:04:58.760
<v Speaker 1>And so there is this bird kind of motif going

1:04:58.800 --> 1:05:03.560
<v Speaker 1>through in the conversation they're having there. They're surrounded by birds.

1:05:04.320 --> 1:05:08.720
<v Speaker 1>They've been taxidermied, stuffed, and I'll just walk through some

1:05:08.840 --> 1:05:11.640
<v Speaker 1>of the you know, the bird that's all through the movie,

1:05:11.800 --> 1:05:13.680
<v Speaker 1>and there's little subtle ones. And you would have taken

1:05:13.720 --> 1:05:18.000
<v Speaker 1>these on rooms, no doubt, either knowingly or subconsciously. And

1:05:18.160 --> 1:05:21.280
<v Speaker 1>I've some of these I've stumbled upon, not stumbled upon,

1:05:21.320 --> 1:05:24.040
<v Speaker 1>I've deep dived, and you got some you know that

1:05:24.400 --> 1:05:25.400
<v Speaker 1>it didn't occur to me either.

1:05:25.440 --> 1:05:28.200
<v Speaker 4>But so we start the movie starts with the birds

1:05:28.200 --> 1:05:33.560
<v Speaker 4>I view. It's set in the in Phoenix. Her name

1:05:33.640 --> 1:05:36.400
<v Speaker 4>is Marion Crane, which is a bird.

1:05:36.760 --> 1:05:39.880
<v Speaker 1>There's Norman Bates and which refers to the debating of

1:05:39.920 --> 1:05:43.720
<v Speaker 1>a trap when they do talk about traps. Of course,

1:05:43.760 --> 1:05:46.440
<v Speaker 1>there's there's stuffed birds around. There's there's references to birds

1:05:46.560 --> 1:05:49.560
<v Speaker 1>you eat like a bird. My mom's as harmless as

1:05:49.560 --> 1:05:52.200
<v Speaker 1>one of these stuffed birds, and one of the really

1:05:52.320 --> 1:05:55.560
<v Speaker 1>and there's pictures on the wall of Marion's room and

1:05:55.680 --> 1:05:57.680
<v Speaker 1>they're birds that get preyed.

1:05:57.440 --> 1:06:01.720
<v Speaker 4>Upon in her room and one falls when he like, yes,

1:06:01.800 --> 1:06:02.040
<v Speaker 4>so I.

1:06:02.040 --> 1:06:04.480
<v Speaker 1>Think, I think yes, I think that is like, yeah,

1:06:04.520 --> 1:06:07.520
<v Speaker 1>that bird has been you know, taken down if you like.

1:06:08.120 --> 1:06:10.520
<v Speaker 1>And there's a really that that scene you speak of

1:06:10.760 --> 1:06:13.640
<v Speaker 1>through the peep hole, which I think by the time

1:06:13.640 --> 1:06:17.840
<v Speaker 1>he's doing that, we think, Marian, it's.

1:06:17.680 --> 1:06:18.280
<v Speaker 2>Not looking good.

1:06:19.960 --> 1:06:23.400
<v Speaker 1>There's a really beautiful, beautiful thing which I didn't notice

1:06:23.400 --> 1:06:25.680
<v Speaker 1>is only like doing some deep diving that that I

1:06:25.840 --> 1:06:27.120
<v Speaker 1>kind of this this point of that.

1:06:27.520 --> 1:06:29.400
<v Speaker 4>So Norman's weighing on what to do.

1:06:29.520 --> 1:06:32.480
<v Speaker 1>He looks and he he seems standing up in the

1:06:32.560 --> 1:06:37.360
<v Speaker 1>background there's now which has got its wings out, and

1:06:37.440 --> 1:06:40.760
<v Speaker 1>it's looking quite you know, you know, like it's about

1:06:40.760 --> 1:06:42.920
<v Speaker 1>the swoop almost. And now, of course it is a

1:06:42.960 --> 1:06:46.880
<v Speaker 1>bird of prey. In the foreground there's a turkey, which

1:06:47.280 --> 1:06:50.240
<v Speaker 1>is not necessarily a bird of prey. It's more likely

1:06:50.280 --> 1:06:53.120
<v Speaker 1>to be prayed upon. So you have no one between

1:06:53.280 --> 1:06:56.680
<v Speaker 1>these two stuffed birds, a bird of prey and a

1:06:56.720 --> 1:06:59.800
<v Speaker 1>bird that gets preyed upon. And then he looks into

1:06:59.880 --> 1:07:03.600
<v Speaker 1>the peephole and when he comes out, the shot is

1:07:05.000 --> 1:07:07.120
<v Speaker 1>no longer. The turkey is no longer in that shot.

1:07:07.320 --> 1:07:11.080
<v Speaker 1>It is Norman with the owl in the background. And

1:07:11.200 --> 1:07:14.000
<v Speaker 1>what Hitchcock's saying to us is that Norman has made

1:07:15.000 --> 1:07:19.760
<v Speaker 1>his choice. You know, he's a bird of prey and

1:07:20.800 --> 1:07:25.400
<v Speaker 1>he has his prey in his sights. Norman, Yeah, Norman, Norman.

1:07:25.480 --> 1:07:29.960
<v Speaker 4>By now we we we should know now that he is.

1:07:30.600 --> 1:07:34.680
<v Speaker 1>Like you said, when when she gets taken in the shower,

1:07:35.400 --> 1:07:37.320
<v Speaker 1>you still thought it was the mother, and you know,

1:07:37.480 --> 1:07:40.280
<v Speaker 1>like and absolutely you are supposed to You're supposed to

1:07:40.480 --> 1:07:42.600
<v Speaker 1>kind of for quite still quite a while, like he

1:07:42.720 --> 1:07:45.960
<v Speaker 1>comes in and cleans up, and you think, well, you know,

1:07:46.080 --> 1:07:49.840
<v Speaker 1>he's devoted to his mother, you know, you know, there's

1:07:49.880 --> 1:07:52.320
<v Speaker 1>some weird things he does say about you know, a

1:07:52.480 --> 1:07:56.040
<v Speaker 1>man's best friend is always his mother, and you know this, Yeah,

1:07:56.200 --> 1:08:02.160
<v Speaker 1>here's some issues obviously, you know, and he's cleaning up,

1:08:02.520 --> 1:08:04.640
<v Speaker 1>and then, like you said, it's so interesting that this

1:08:04.920 --> 1:08:06.760
<v Speaker 1>has happened so early, Like this is, you know, a

1:08:06.840 --> 1:08:08.160
<v Speaker 1>third of the way through the movie. And then the

1:08:08.280 --> 1:08:11.040
<v Speaker 1>kind of the shifts, which there's very few movies like

1:08:11.120 --> 1:08:15.720
<v Speaker 1>this where either shifts so basically a character who was

1:08:15.760 --> 1:08:18.719
<v Speaker 1>in the opening scene and that's it, and a brand

1:08:18.720 --> 1:08:22.320
<v Speaker 1>new character, which is a sister Lila who's now demanding answers,

1:08:22.880 --> 1:08:26.800
<v Speaker 1>and you know, the p I comes in, he goes, Yeah,

1:08:27.439 --> 1:08:28.160
<v Speaker 1>he gets murder.

1:08:28.240 --> 1:08:31.920
<v Speaker 2>He was very kind of nineteen sixties actor vibes to me.

1:08:32.240 --> 1:08:33.040
<v Speaker 4>Yeah, he was.

1:08:33.320 --> 1:08:35.360
<v Speaker 1>He's almost had like the touch of the film noir

1:08:35.600 --> 1:08:38.040
<v Speaker 1>kind of which, you know, a detective in the ninety

1:08:38.080 --> 1:08:41.760
<v Speaker 1>sixties movie. Yeah, there's probably one way to play that role,

1:08:42.840 --> 1:08:47.120
<v Speaker 1>I feel. And he gets he gets taken. And then

1:08:47.479 --> 1:08:50.080
<v Speaker 1>finally Lyla and sand decide, okay, well you know we're

1:08:50.120 --> 1:08:54.000
<v Speaker 1>going to let's suss this out, so they go to

1:08:54.040 --> 1:08:58.320
<v Speaker 1>the Baits Hotel and it ends up obviously with Lila

1:08:58.640 --> 1:09:01.320
<v Speaker 1>entering the house. How are you feeling at this point

1:09:01.880 --> 1:09:05.400
<v Speaker 1>about how are your nerves? Did you feel tenseled? Did

1:09:05.479 --> 1:09:08.920
<v Speaker 1>we was start watching a movie that you were you invested?

1:09:09.120 --> 1:09:11.960
<v Speaker 2>I was invested for sure. I totally thought she would

1:09:11.960 --> 1:09:16.000
<v Speaker 2>be slain, to be honest, did the classic like whenever

1:09:16.080 --> 1:09:19.320
<v Speaker 2>people go up or downstairs in like a psychological movie.

1:09:19.400 --> 1:09:21.479
<v Speaker 2>I'm like, you've just made the worst choice seller, Like

1:09:21.600 --> 1:09:24.479
<v Speaker 2>why so? Why did I like split up?

1:09:24.760 --> 1:09:26.200
<v Speaker 4>But I was so.

1:09:27.360 --> 1:09:31.920
<v Speaker 2>I found actually the loud noise and music when she

1:09:32.040 --> 1:09:35.280
<v Speaker 2>made a discovery and that kind of visual that was

1:09:35.360 --> 1:09:37.240
<v Speaker 2>scary to me. That was probably the scariest, A bit

1:09:37.360 --> 1:09:40.840
<v Speaker 2>more scary than the shower scene. You're right, yeah, something

1:09:40.880 --> 1:09:42.960
<v Speaker 2>about the really really loud music and kind of like

1:09:43.400 --> 1:09:46.559
<v Speaker 2>suspense movies. I find this is the most terrifying part

1:09:46.600 --> 1:09:46.720
<v Speaker 2>of it.

1:09:46.920 --> 1:09:50.040
<v Speaker 1>There was one jump scare that I noticed where she

1:09:50.120 --> 1:09:51.960
<v Speaker 1>kind of turned around like it but it didn't ever

1:09:52.040 --> 1:09:53.720
<v Speaker 1>have any music on it. And it's like, it was

1:09:53.760 --> 1:09:55.560
<v Speaker 1>actually kind of weird for me to see like a

1:09:55.680 --> 1:09:58.360
<v Speaker 1>jump scare with that that kind of like dramatic music

1:09:58.600 --> 1:10:01.400
<v Speaker 1>thrown in because as you say, there's music all the

1:10:01.439 --> 1:10:04.000
<v Speaker 1>way through it, and it is building this tension. So

1:10:04.680 --> 1:10:08.599
<v Speaker 1>when we saw Norman carry his mother down the stairs,

1:10:09.200 --> 1:10:10.080
<v Speaker 1>what were you thinking?

1:10:10.680 --> 1:10:11.240
<v Speaker 4>Because even when I.

1:10:11.320 --> 1:10:12.880
<v Speaker 1>Was thinking, like you know, I already seen, I was

1:10:12.920 --> 1:10:16.600
<v Speaker 1>like okay, yeah, and I did remember reasoning quickly of

1:10:16.680 --> 1:10:17.280
<v Speaker 1>course the ending.

1:10:17.560 --> 1:10:21.479
<v Speaker 4>But what were you thinking? Like, like were you thinking this?

1:10:21.720 --> 1:10:23.680
<v Speaker 2>I'm like, sure she can fight back a little bit.

1:10:23.880 --> 1:10:26.559
<v Speaker 2>She didn't want to go down there. It's like you're old,

1:10:26.720 --> 1:10:28.519
<v Speaker 2>but like you can do something.

1:10:28.720 --> 1:10:32.160
<v Speaker 1>Yeah, we've heard missus Bates argue and she seems like

1:10:32.200 --> 1:10:38.040
<v Speaker 1>a feisty a feisty Yeah, where's that fight now? Missus

1:10:38.080 --> 1:10:41.200
<v Speaker 1>Bates when you need it the most, it takes her

1:10:41.240 --> 1:10:44.880
<v Speaker 1>down to the basement, goes out and he's dealing with

1:10:45.040 --> 1:10:47.360
<v Speaker 1>Sam in a bit of a clumsy kind of a

1:10:47.360 --> 1:10:50.639
<v Speaker 1>little bit of a clumsy wrestle, and Lylah goes down

1:10:50.680 --> 1:10:56.280
<v Speaker 1>into the basement. She heads in, and what what did

1:10:56.320 --> 1:11:00.880
<v Speaker 1>you make of it? So you see missus Bates sitting there?

1:11:01.400 --> 1:11:02.559
<v Speaker 1>What were you expect them to happen?

1:11:03.400 --> 1:11:05.880
<v Speaker 2>I at that point had to put my sinking cap

1:11:05.960 --> 1:11:08.120
<v Speaker 2>on and I had an idea what would happened. I

1:11:08.200 --> 1:11:13.560
<v Speaker 2>was spending the movie being my most native self always.

1:11:13.360 --> 1:11:15.799
<v Speaker 4>Can I say yeah absolutely, yeah, yeah, yes.

1:11:15.880 --> 1:11:19.120
<v Speaker 2>Like any kind of skull situation, I'll always find really

1:11:19.200 --> 1:11:22.320
<v Speaker 2>scary at it. So it kind of gave me reminded

1:11:22.360 --> 1:11:26.439
<v Speaker 2>me of Michael Jackson's Thriller where it kind of looks

1:11:26.479 --> 1:11:31.040
<v Speaker 2>so fake but it's so just like bad and gross.

1:11:31.200 --> 1:11:35.120
<v Speaker 1>Yeah, yeah, it's it's so funny because I'm not sure

1:11:35.200 --> 1:11:38.599
<v Speaker 1>when the swivel chair was invented. I'm not sure when

1:11:38.600 --> 1:11:42.800
<v Speaker 1>they came in, but I did find actually laughed like

1:11:43.000 --> 1:11:45.920
<v Speaker 1>the swivel because she just touches the shoulder and all

1:11:45.920 --> 1:11:48.720
<v Speaker 1>of a sudden and then the chair does a complete turnaround,

1:11:48.840 --> 1:11:50.880
<v Speaker 1>like it does a complete like one to eighty, and

1:11:51.000 --> 1:11:53.719
<v Speaker 1>it's like, how how did that happen?

1:11:53.840 --> 1:11:58.840
<v Speaker 4>I'd love to know what chair they had. And almost

1:11:58.920 --> 1:12:01.200
<v Speaker 4>not only there's like a but it almost seems to

1:12:01.240 --> 1:12:05.320
<v Speaker 4>do like a bit of ada. Yeah yeah, yeah, yeah,

1:12:06.640 --> 1:12:10.720
<v Speaker 4>it's totally there. It's it's it's it's it's the mother,

1:12:11.040 --> 1:12:11.719
<v Speaker 4>she screams.

1:12:12.040 --> 1:12:15.839
<v Speaker 1>And then, of course, not only that, we have Norman

1:12:16.720 --> 1:12:21.000
<v Speaker 1>barging in in his mother's clothes and wig.

1:12:21.280 --> 1:12:25.320
<v Speaker 2>That was quite that took me aback, I guess because

1:12:25.320 --> 1:12:27.320
<v Speaker 2>he looks quite happy with himself as well. He's kind

1:12:27.360 --> 1:12:31.439
<v Speaker 2>of like again a today moment seemed quite like enjoyed

1:12:31.479 --> 1:12:32.160
<v Speaker 2>being in the clothes.

1:12:32.280 --> 1:12:34.040
<v Speaker 4>Yeah. It was almost his happy place, wasn't it.

1:12:34.360 --> 1:12:36.479
<v Speaker 2>Yeah, Yeah, and I thought it was. It was interesting

1:12:36.479 --> 1:12:38.120
<v Speaker 2>when they like got to his bedroom and he's in

1:12:38.200 --> 1:12:43.280
<v Speaker 2>a child's bedroom. Yeah, that's where he was sleepy peach.

1:12:43.680 --> 1:12:45.599
<v Speaker 4>Yeah, I think that's right.

1:12:45.800 --> 1:12:47.360
<v Speaker 2>I think that's right, in a single bed.

1:12:47.560 --> 1:12:51.519
<v Speaker 1>Yeah, and then we have like it's interesting some people

1:12:51.680 --> 1:12:54.960
<v Speaker 1>think when we had the psychiatrist who comes in and

1:12:55.040 --> 1:12:58.720
<v Speaker 1>explains what was going on, there were some people would argue,

1:12:58.800 --> 1:13:01.559
<v Speaker 1>you don't need that, saying I would argue, in nineteen

1:13:01.640 --> 1:13:04.639
<v Speaker 1>sixty that sense reasonably important.

1:13:04.680 --> 1:13:05.280
<v Speaker 4>I think you probably.

1:13:05.439 --> 1:13:08.880
<v Speaker 1>I think we're maybe more across mental health issues, you know,

1:13:09.680 --> 1:13:11.719
<v Speaker 1>these days, than they were back in nineteen sixty.

1:13:11.920 --> 1:13:12.519
<v Speaker 4>Not that I could.

1:13:12.720 --> 1:13:15.000
<v Speaker 1>I wouldn't necessarily watch this film in two then twenty

1:13:15.040 --> 1:13:19.679
<v Speaker 1>three and be able to give a diagnosis of Norman's condition,

1:13:19.800 --> 1:13:22.320
<v Speaker 1>but I would probably guess there was some schizophrenias and

1:13:22.360 --> 1:13:23.320
<v Speaker 1>by Paula going on.

1:13:23.760 --> 1:13:27.280
<v Speaker 4>But that just gives us his I guess diagnosis on

1:13:27.439 --> 1:13:28.519
<v Speaker 4>Norman basis ever listening.

1:13:29.080 --> 1:13:35.519
<v Speaker 7>She was there, but she was a corpse, so he

1:13:35.640 --> 1:13:38.720
<v Speaker 7>began to think and speak for her, give her half

1:13:38.800 --> 1:13:42.519
<v Speaker 7>his life, so to speak. At times he could be

1:13:42.720 --> 1:13:48.320
<v Speaker 7>both personalities, carry on conversations. At other times the mother

1:13:48.439 --> 1:13:52.920
<v Speaker 7>have took over completely. He was never all Norman, but

1:13:53.080 --> 1:13:57.479
<v Speaker 7>he was often only mother, And because he was so

1:13:57.600 --> 1:14:01.519
<v Speaker 7>pathologically jealous of her, he assumed that he was as

1:14:01.600 --> 1:14:06.280
<v Speaker 7>jealous of him. Therefore, if he felt a strong attraction

1:14:06.439 --> 1:14:09.720
<v Speaker 7>to any other woman, the mother's side of him would

1:14:09.760 --> 1:14:10.280
<v Speaker 7>go wild.

1:14:14.560 --> 1:14:15.639
<v Speaker 4>When he met your.

1:14:15.640 --> 1:14:20.400
<v Speaker 7>Sister, he was touched by her, aroused by her.

1:14:20.320 --> 1:14:20.920
<v Speaker 4>He wanted her.

1:14:24.000 --> 1:14:26.880
<v Speaker 7>That set off the jealous mother, and mother killed the girl.

1:14:29.479 --> 1:14:31.960
<v Speaker 7>Now after the murder, Norman returned, as if from a

1:14:32.000 --> 1:14:36.599
<v Speaker 7>deep sleep, and like a dutiful son, covered up all

1:14:36.760 --> 1:14:37.719
<v Speaker 7>traces of the crime.

1:14:37.920 --> 1:14:41.320
<v Speaker 4>He was convinced his mother had committed. Did you kind

1:14:41.320 --> 1:14:44.479
<v Speaker 4>of buy that? Did you feel that that was a

1:14:45.560 --> 1:14:46.400
<v Speaker 4>that was reasonable?

1:14:46.960 --> 1:14:49.640
<v Speaker 2>Yeah, I guess it did feel kind of like the

1:14:49.800 --> 1:14:52.559
<v Speaker 2>movie had ended and that was like the credits moment.

1:14:52.680 --> 1:14:55.160
<v Speaker 2>It did feel a little bit disjointed to me. Yeah,

1:14:55.360 --> 1:14:59.120
<v Speaker 2>but as you said, obviously it's like maybe it needed explanation,

1:14:59.479 --> 1:15:03.599
<v Speaker 2>but yeah, it sells a little bit too over explaining

1:15:03.680 --> 1:15:05.240
<v Speaker 2>as much as you know, we didn't talk about mental

1:15:05.280 --> 1:15:06.840
<v Speaker 2>health back then, I'm pretty sure you can tell like

1:15:07.360 --> 1:15:08.960
<v Speaker 2>something isn't quite right, yea.

1:15:09.479 --> 1:15:11.800
<v Speaker 1>But also back back in those days, often they would

1:15:12.040 --> 1:15:13.720
<v Speaker 1>be happy enough to kind of go, well, he was,

1:15:14.160 --> 1:15:16.400
<v Speaker 1>he was, he was, he was psycho, he is a

1:15:16.439 --> 1:15:19.559
<v Speaker 1>crazy guy. And and and I do find it interesting

1:15:19.640 --> 1:15:24.519
<v Speaker 1>that they did, you know, try to explain what it was.

1:15:24.760 --> 1:15:27.479
<v Speaker 1>I think you could the film works with or without

1:15:27.520 --> 1:15:30.600
<v Speaker 1>this scene. It's interesting that the reference to the transvestite

1:15:31.200 --> 1:15:34.320
<v Speaker 1>and then kind of and that was again that was

1:15:34.360 --> 1:15:37.200
<v Speaker 1>kind of controversial. I think one of the executives, you know,

1:15:37.880 --> 1:15:40.160
<v Speaker 1>kicked up a storm about it and maybe got the

1:15:40.280 --> 1:15:44.600
<v Speaker 1>idea of transvestites and transsexuals confused, which he kind of

1:15:44.640 --> 1:15:47.200
<v Speaker 1>explains when he when you know, when he kind of

1:15:47.240 --> 1:15:51.040
<v Speaker 1>explains what the transvestite is in that moment. So we

1:15:51.120 --> 1:15:55.439
<v Speaker 1>have that scene, and then finally we find Norman Bates

1:15:55.920 --> 1:15:57.920
<v Speaker 1>in his cell and would just have a little listen

1:15:58.000 --> 1:15:58.200
<v Speaker 1>to this.

1:15:58.760 --> 1:16:02.519
<v Speaker 8>She was always and in the end he intended to

1:16:02.640 --> 1:16:06.320
<v Speaker 8>tell them I killed those girls, and that man as

1:16:06.400 --> 1:16:09.360
<v Speaker 8>if I could do anything except just sit and stare

1:16:10.120 --> 1:16:14.040
<v Speaker 8>like one of his stuffed birds. They know I can't

1:16:14.080 --> 1:16:17.160
<v Speaker 8>even move a finger, and I won't. I'll just sit

1:16:17.280 --> 1:16:21.880
<v Speaker 8>here and be quiet, just in case they do suspect me.

1:16:25.320 --> 1:16:29.760
<v Speaker 8>They're probably watching me. I'll let them, let them see

1:16:29.800 --> 1:16:33.720
<v Speaker 8>what kind of a person I am. I'm not even

1:16:33.760 --> 1:16:38.120
<v Speaker 8>gonna swat that fly. I hope they are watching. They'll see,

1:16:38.960 --> 1:16:44.040
<v Speaker 8>they'll see, and they'll know, and they'll say, why she wouldn't.

1:16:43.720 --> 1:16:44.960
<v Speaker 4>Even have a fly?

1:16:54.439 --> 1:16:56.519
<v Speaker 2>Was that that's the way the expression came up? Was?

1:16:56.560 --> 1:17:02.240
<v Speaker 1>I don't think so, because I good question. I imagine

1:17:03.000 --> 1:17:07.080
<v Speaker 1>I took that as like, not like him using a

1:17:07.160 --> 1:17:10.920
<v Speaker 1>well known expression. I think I'm going to research that.

1:17:11.360 --> 1:17:14.040
<v Speaker 2>Please, little sub note.

1:17:14.120 --> 1:17:15.920
<v Speaker 1>It's amazing sometimes when you watch these older films and

1:17:15.920 --> 1:17:18.120
<v Speaker 1>you kind of go Often what happens in this podcast

1:17:18.280 --> 1:17:21.880
<v Speaker 1>is people go, oh, now, I understand you know five

1:17:22.040 --> 1:17:25.960
<v Speaker 1>Simpsons episodes that I didn't kind of there's all these

1:17:26.000 --> 1:17:28.640
<v Speaker 1>references that you have the Shining or Citizen Kane or

1:17:28.680 --> 1:17:31.840
<v Speaker 1>It's a Wonderful Life where there's whole episodes basically you know,

1:17:31.920 --> 1:17:32.559
<v Speaker 1>around those things.

1:17:32.600 --> 1:17:35.679
<v Speaker 4>And I'm sure there's some psycho references in there as well.

1:17:36.080 --> 1:17:39.120
<v Speaker 2>Yes, I think there is. With Krusty the Clown, No,

1:17:39.280 --> 1:17:40.519
<v Speaker 2>not Krusty Sidcho Bob.

1:17:40.840 --> 1:17:45.799
<v Speaker 1>He tries to yeah, oh yes, he's always nice yes, absolute, Yeah, absolutely,

1:17:46.320 --> 1:17:47.920
<v Speaker 1>that's a famous, famous episode.

1:17:48.520 --> 1:17:51.080
<v Speaker 4>You mean, like you're happy you've seen Psycho now is it?

1:17:51.240 --> 1:17:52.960
<v Speaker 4>Is it a it's something you can tick off.

1:17:53.240 --> 1:17:55.120
<v Speaker 2>It's something I can tick off. For sure. I'd watch

1:17:55.120 --> 1:17:58.200
<v Speaker 2>it again, like I'd love someone to show someone who

1:17:58.240 --> 1:18:01.400
<v Speaker 2>hasn't seen it before, because I I think often, Yeah,

1:18:01.400 --> 1:18:03.759
<v Speaker 2>with older films, I feel like they go really slowly.

1:18:03.920 --> 1:18:06.400
<v Speaker 2>I liked how it wasn't I feel like nowadays films

1:18:06.439 --> 1:18:08.120
<v Speaker 2>go for a long time. So I thought it was good.

1:18:08.560 --> 1:18:11.519
<v Speaker 2>It's like one hour, one and a half hours maybe

1:18:11.600 --> 1:18:13.200
<v Speaker 2>or or something.

1:18:13.280 --> 1:18:13.960
<v Speaker 4>Yeah, funny.

1:18:14.360 --> 1:18:17.240
<v Speaker 2>Yeah, we definitely watch it again. I enjoyed it, you know,

1:18:17.280 --> 1:18:19.519
<v Speaker 2>because I would never have seen it. I think I'm

1:18:19.560 --> 1:18:22.600
<v Speaker 2>still not inspired to go and watch Star Wars. That

1:18:22.640 --> 1:18:23.720
<v Speaker 2>would probably be the next one.

1:18:23.840 --> 1:18:27.479
<v Speaker 4>That would be more of like, well, while he took

1:18:27.520 --> 1:18:30.160
<v Speaker 4>the bullet for you know, for those who haven't seen

1:18:30.200 --> 1:18:32.120
<v Speaker 4>Star Wars for this, and he's watched the whole trilogy,

1:18:32.439 --> 1:18:33.960
<v Speaker 4>and I got to say he enjoyed it.

1:18:34.439 --> 1:18:34.920
<v Speaker 2>I enjoyed it.

1:18:35.160 --> 1:18:38.120
<v Speaker 4>Yeah, okay, Dan, So I feel.

1:18:37.960 --> 1:18:41.160
<v Speaker 1>Like Stars a pretty big, Like it's funny when I

1:18:41.400 --> 1:18:43.639
<v Speaker 1>talk about this podcasts of people, I say, oh, Judith,

1:18:43.720 --> 1:18:45.560
<v Speaker 1>Lucy hasn't seen the Sound of Music, And they're like, what,

1:18:46.479 --> 1:18:48.799
<v Speaker 1>And I'll say, Todd Sampson hasn't seen The Shawshank Redemption.

1:18:48.960 --> 1:18:49.000
<v Speaker 2>What.

1:18:51.040 --> 1:18:53.960
<v Speaker 1>And so everyone's always surprised if somebody hasn't seen the

1:18:54.120 --> 1:18:57.120
<v Speaker 1>movie that they've obviously seen quite a lot. But I

1:18:57.200 --> 1:18:59.280
<v Speaker 1>feel like Star Wars still is one where you're going

1:18:59.360 --> 1:19:02.599
<v Speaker 1>to go, really, how could you not? My wife doesn't

1:19:02.640 --> 1:19:05.080
<v Speaker 1>understand that that I'm surprised at people. There are some

1:19:05.080 --> 1:19:07.240
<v Speaker 1>people who haven't seen Star Wars. She's never seen Star Wars.

1:19:07.600 --> 1:19:09.320
<v Speaker 1>She's never seen it either, she's never seen it. No

1:19:11.200 --> 1:19:14.160
<v Speaker 1>with somebody who loves Star Wars. And I've even said,

1:19:14.200 --> 1:19:16.479
<v Speaker 1>let's watch it with me, that's for fun on my birthday.

1:19:16.560 --> 1:19:20.160
<v Speaker 1>Maybe killed her in watching it, but she don't know interest.

1:19:20.720 --> 1:19:23.680
<v Speaker 1>So you know, oh that's okay. Live and let live,

1:19:24.000 --> 1:19:26.519
<v Speaker 1>live and let live Hey this is this movie also

1:19:26.960 --> 1:19:29.280
<v Speaker 1>featured the very first little fact on the way out,

1:19:29.720 --> 1:19:34.479
<v Speaker 1>The very first toilet was in the American cinema.

1:19:35.000 --> 1:19:37.280
<v Speaker 2>Really, Oh my god, that's like a perfect little bar

1:19:37.400 --> 1:19:37.800
<v Speaker 2>on top.

1:19:38.080 --> 1:19:41.000
<v Speaker 4>Yeah, yeah, it's you know.

1:19:41.080 --> 1:19:43.400
<v Speaker 1>Not only was it about the blood and the sex,

1:19:43.560 --> 1:19:47.599
<v Speaker 1>he also the very first told when she flushes her son,

1:19:47.680 --> 1:19:51.599
<v Speaker 1>which I already. Don't think she needed to do staying

1:19:51.600 --> 1:19:55.759
<v Speaker 1>school kids. Yeah, that's the first too that was shown

1:19:56.240 --> 1:19:57.080
<v Speaker 1>in American movies.

1:19:57.400 --> 1:20:00.799
<v Speaker 2>Wow, that's that's important. That's a good tip that I'll keep.

1:20:00.640 --> 1:20:05.560
<v Speaker 1>It is it is for this podcast comes with homework.

1:20:05.920 --> 1:20:09.600
<v Speaker 1>I am so glad you have done it. Thank you

1:20:09.720 --> 1:20:12.480
<v Speaker 1>for watching it. Thank you also this for the positivity

1:20:12.520 --> 1:20:15.000
<v Speaker 1>you put out into the world, you know, through your

1:20:15.640 --> 1:20:19.799
<v Speaker 1>radio Shump podcast and this content. You a delight to follow,

1:20:20.800 --> 1:20:23.799
<v Speaker 1>and it gave me great joy that you you revealed

1:20:23.960 --> 1:20:27.160
<v Speaker 1>once that you drove you and your dad I think drove.

1:20:28.800 --> 1:20:33.320
<v Speaker 4>Drove. I was doing a cross for Rogue live in

1:20:34.280 --> 1:20:35.599
<v Speaker 4>where was his Mark?

1:20:35.760 --> 1:20:37.639
<v Speaker 2>Berwood came out in Melbourne.

1:20:38.040 --> 1:20:40.479
<v Speaker 4>Berl came out in Melbourne and what did you do?

1:20:41.040 --> 1:20:45.160
<v Speaker 2>Me and my dad drove one hundred kilometers an hour down, yeah,

1:20:45.240 --> 1:20:48.280
<v Speaker 2>down towards Camart twenty four to seven, came out and

1:20:48.960 --> 1:20:51.920
<v Speaker 2>tried to moon you with both of our bare asses

1:20:51.960 --> 1:20:54.160
<v Speaker 2>out of the window. However, by the time we got

1:20:54.200 --> 1:20:57.160
<v Speaker 2>there it was just the team packing up. So I

1:20:57.280 --> 1:21:01.120
<v Speaker 2>actually I cried. I cried. I was the biggest road liasan.

1:21:02.120 --> 1:21:04.360
<v Speaker 2>So it's like a very you know, when you just

1:21:04.439 --> 1:21:07.280
<v Speaker 2>want something so badly and you don't get it. That

1:21:07.479 --> 1:21:10.400
<v Speaker 2>was that moment for me. So it's honestly crazy to

1:21:10.479 --> 1:21:11.920
<v Speaker 2>be here. Thank you for having me, Pete.

1:21:12.080 --> 1:21:14.240
<v Speaker 1>Oh well, thank you, And like I said, I really

1:21:14.400 --> 1:21:19.680
<v Speaker 1>really enjoy the stuff that you do, whether it's celebrating

1:21:20.080 --> 1:21:26.720
<v Speaker 1>music or movies or serena, tins of tuna, keep it up,

1:21:27.080 --> 1:21:30.760
<v Speaker 1>keep the positivity going coming up, and thanks for joining us.

1:21:30.880 --> 1:21:33.120
<v Speaker 1>Thank you, and yeah, yeah, hopefully we'll see you again

1:21:33.360 --> 1:21:34.160
<v Speaker 1>meeting person one day.

1:21:34.200 --> 1:21:38.560
<v Speaker 2>Hopefully I won't mean you. I'll be teed, but I

1:21:38.600 --> 1:21:40.640
<v Speaker 2>won't if your dad moves me.

1:21:40.920 --> 1:21:44.160
<v Speaker 4>That is that normal baits moved by normal baits.

1:21:44.479 --> 1:21:46.160
<v Speaker 2>I don't know re's laughing that saggy, but.

1:22:00.520 --> 1:22:00.920
<v Speaker 4>There we go.

1:22:01.320 --> 1:22:06.759
<v Speaker 1>That was Rooms with Psycho. I am glad we ticked

1:22:06.800 --> 1:22:09.960
<v Speaker 1>off finally a Hitchcock movie. Taken way too long for

1:22:10.080 --> 1:22:11.519
<v Speaker 1>us to get to that, but I'm glad that was

1:22:11.600 --> 1:22:13.160
<v Speaker 1>the first one. And like I said in the intro,

1:22:13.360 --> 1:22:17.840
<v Speaker 1>really glad and thankful and grateful that Fumes could do that.

1:22:18.840 --> 1:22:23.760
<v Speaker 4>I urge you to follow her on Instagram. She's just fun. Fun.

1:22:23.880 --> 1:22:28.000
<v Speaker 4>In this world where there's so much ah, so much

1:22:28.160 --> 1:22:29.000
<v Speaker 4>division and.

1:22:30.280 --> 1:22:32.560
<v Speaker 1>News and blah blah blah, is it's good to have

1:22:32.720 --> 1:22:35.280
<v Speaker 1>somebody that's putting fun content out into the world.

1:22:35.640 --> 1:22:36.160
<v Speaker 4>More of it.

1:22:36.479 --> 1:22:39.160
<v Speaker 1>I say, for those who are enjoyed the podcast, thank

1:22:39.160 --> 1:22:41.120
<v Speaker 1>you very much. I assume you are because you're listening

1:22:41.160 --> 1:22:44.200
<v Speaker 1>to this bit, and I urge you to go onto

1:22:44.400 --> 1:22:46.840
<v Speaker 1>iTunes and give us a rating that helps with our

1:22:46.880 --> 1:22:50.880
<v Speaker 1>algorithm gets it out to more people. I recommend five stars.

1:22:51.040 --> 1:22:53.640
<v Speaker 4>Leave a review. I really appreciate if you did that,

1:22:53.800 --> 1:22:55.120
<v Speaker 4>that would be wonderful.

1:22:55.520 --> 1:22:58.120
<v Speaker 1>You can also get in touch with us at Yasni

1:22:58.760 --> 1:23:02.280
<v Speaker 1>podcast at gmailsny podcast at gmail dot com.

1:23:02.400 --> 1:23:04.439
<v Speaker 4>I would love to hear from you next week on

1:23:04.560 --> 1:23:07.600
<v Speaker 4>the show. A good friend, well somebody has become a

1:23:07.600 --> 1:23:08.040
<v Speaker 4>great friend.

1:23:08.080 --> 1:23:11.880
<v Speaker 1>Actually only met them this year, met them in the

1:23:12.280 --> 1:23:14.960
<v Speaker 1>unlikely place that is the South African jungle.

1:23:15.080 --> 1:23:17.439
<v Speaker 4>He's one of my army celebrity camp mates. Will be

1:23:17.520 --> 1:23:18.479
<v Speaker 4>joining me next week.

1:23:18.920 --> 1:23:22.280
<v Speaker 1>You may know her also from below Deck, a massive,

1:23:23.040 --> 1:23:27.680
<v Speaker 1>massive global show, massive hit for Bravo. It is, of

1:23:27.720 --> 1:23:32.880
<v Speaker 1>course Asia Scott, my Flaming Ducks bandmate, will be joining me.

1:23:33.320 --> 1:23:35.519
<v Speaker 1>That's right next week. And you may say nothing yet

1:23:35.520 --> 1:23:38.120
<v Speaker 1>Asia Scott, I cannot wait. I'm sure it's going to

1:23:38.160 --> 1:23:41.840
<v Speaker 1>be amazing. Until then, take care.

1:23:52.320 --> 1:23:56.479
<v Speaker 6>And so we leave all Pete save fansal and to

1:23:56.600 --> 1:23:58.160
<v Speaker 6>our friends of the radio audience.

1:23:58.240 --> 1:23:59.080
<v Speaker 4>We've been a pleasant

1:24:02.479 --> 1:24:02.519
<v Speaker 2>T