WEBVTT - Ray O’Leary and Amélie

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<v Speaker 1>Welcome to you. Waitne say nothing yet. In the movie podcast,

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<v Speaker 1>we're our chut to a movie lover about a classical

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<v Speaker 1>beloved movie they haven't quite got around to watching until now.

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<v Speaker 1>And today's guest comedian ray O Leary.

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<v Speaker 2>All below. I want to stay here with you, the jobble,

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<v Speaker 2>Why hate snake shucked? Why?

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<v Speaker 3>Ray?

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<v Speaker 1>They wouldn't happening right now? You ain't seen nothing new.

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<v Speaker 1>Today's guest ray Leary is a comedy juggernaut on the rise,

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<v Speaker 1>The Juggernaut Rise Up. Maybe I've stuffed that up already,

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<v Speaker 1>but anyway, ray O Leary is absolutely delight the watch.

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<v Speaker 1>He's been seducing an audience with his appearance on have

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<v Speaker 1>You Been Paying Attention? He's a Kiwi and Keywi's listening

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<v Speaker 1>well know He's written for seven Days. He's appeared on

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<v Speaker 1>Seven Days Guy Montgomery's Guy Mont's Spelling Bee, which is

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<v Speaker 1>an excellent show on the ABC in Australia at the

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<v Speaker 1>moment and also over in New Zealand Patriot Brains. He's

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<v Speaker 1>been in more recently Thank God You're Here, where it

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<v Speaker 1>was quite brilliant for the cheap seats. He is on

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<v Speaker 1>all the TV shows right now. He's easy to catch.

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<v Speaker 1>He's everywhere. He came over to New Zealand. I would

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<v Speaker 1>say he's been in four or five years. Time is

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<v Speaker 1>a tricky thing post COVID, but I would put it

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<v Speaker 1>at about four or five years. He's done a series

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<v Speaker 1>of Task Master in New Zealand. He's on tour at

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<v Speaker 1>the moment. He's one of my favorite Suan names all time.

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<v Speaker 1>I think your laughter is only making me stronger. I

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<v Speaker 1>saw the show in Brisbane. We were doing back to

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<v Speaker 1>back shows. I was on first and Ray mentioned he

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<v Speaker 1>was coming on to my show and I said, well, snap,

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<v Speaker 1>I want to come along to yours. Yeah, I love

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<v Speaker 1>this show. Hopefully he enjoyed mine, but I love this show.

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<v Speaker 1>We had to be here afterwards. He was excited about

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<v Speaker 1>heading off to Edinburgh, and I believe that's gone really

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<v Speaker 1>well for Hi. If you won the Best Newcomer at

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<v Speaker 1>the twenty sixteen Wealth and Comedy Awards, He's nominated for

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<v Speaker 1>the prestigious Billy Tea Award twenty seventeen. He studied philosophy.

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<v Speaker 1>He's funny, he's kind and I'm bloody stoked he'd be

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<v Speaker 1>hanging with him today.

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<v Speaker 4>Hello, my name is Ray Leary. My three favorite films

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<v Speaker 4>are the Breakfast Club.

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<v Speaker 3>Dear mister Burne. We accept the fact that we had

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<v Speaker 3>to sacrifice a whole Saturday and detention for whatever it

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<v Speaker 3>was we did wrong, But we think you're crazy to

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<v Speaker 3>make us write an essay telling you who we think

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<v Speaker 3>we are. Can you see us as you want to

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<v Speaker 3>see us? In the simplest terms were the most convenient definitions,

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<v Speaker 3>But what we found out is that each one of

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<v Speaker 3>us is a breen and an athlete and a basket case,

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<v Speaker 3>a process and a criminal. Does that answer your question? Sincerely, yours,

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<v Speaker 3>Breakfast Club.

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<v Speaker 4>Toy Story three.

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<v Speaker 1>Al Right, guys, we got one shot at this.

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<v Speaker 5>Everyone ready, Ready, let's do it.

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<v Speaker 2>Make the call.

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<v Speaker 6>Target is on approach, just like we rehearsed it. Guys,

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<v Speaker 6>Hello and Jojo Rabbit looking.

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<v Speaker 1>Fetching as usually.

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<v Speaker 2>Wow, it's because of you.

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<v Speaker 1>My son can't walk properly and has a messed up face.

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<v Speaker 3>Still yeah, yeah, So you are going to look after

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<v Speaker 3>him while I'm at work.

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<v Speaker 1>Make sure he has a job and feels included. Got it?

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<v Speaker 1>Got it? Really, Cotton?

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<v Speaker 4>And up until this week, I've never seen the French

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<v Speaker 4>film Amiie.

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<v Speaker 1>Oh so French Armie lives in montmart Paris, well in

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<v Speaker 1>the much cleaner, romantic, idealistic montmart Paris, which may or

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<v Speaker 1>may not exist largely in our protagonist's head. An only

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<v Speaker 1>child who lost her mother under tragic, hilarious circumstances, her

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<v Speaker 1>father keeps her at arms distance, leading to a misdiagnosis

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<v Speaker 1>of a heart condition. As news breaks of Princess Diana's death,

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<v Speaker 1>Armiie discovers a tin box containing a nostalgic treasure trove

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<v Speaker 1>kept within the wall of her apartment. Armiie decides to

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<v Speaker 1>track down the owner of this tin box to test

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<v Speaker 1>her abilities as a guardian angel of sorts. Bursting in

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<v Speaker 1>the cinemas in two thousand and one, the world fell

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<v Speaker 1>in love with not only the character of Armillie, but

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<v Speaker 1>also the sooux fle of a film coming off He's

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<v Speaker 1>Not Awesome Hollywood Experience in Alien Resurrection French icon Jean

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<v Speaker 1>Pierre Jeannette Delicatessen, City of Lost Children, returns home chuck,

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<v Speaker 1>full of ideas and inspiration, and seems to relish the

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<v Speaker 1>freedoms his hometown affords him. Nominated for five Oscars, written

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<v Speaker 1>by Guellam Laurent and Jean Pierre Jeannet, Everything About Amie

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<v Speaker 1>is stylish, romantic and nostalgic. Ray O Leary, question, how

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<v Speaker 1>many people do you think right now are having all orgasms?

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<v Speaker 1>Ballpark Figure, World Park Figure.

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<v Speaker 4>It's it's crazy how romantic the film makes that question,

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<v Speaker 4>see which it's on the roof that tries to evesdrop

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<v Speaker 4>on everyone having six of the sea.

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<v Speaker 1>And I would be surprised if, at any time of

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<v Speaker 1>day in Paris, if you'd asked that question, if fifteen

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<v Speaker 1>was a genuine answer, I feel like fifteen hundred at

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<v Speaker 1>the minimum would be the case. It would be the case,

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<v Speaker 1>ray O Lary, thank you so much for joining us on.

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<v Speaker 1>You ain't seen nothing yet.

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<v Speaker 4>No, no, thank you so much for having me. Peter,

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<v Speaker 4>hell are you?

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<v Speaker 1>And for those who are only listening, which is basically

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<v Speaker 1>how we do this podcast. We sometimes I have some

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<v Speaker 1>clips You're in the suit and I was wondering. I

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<v Speaker 1>was almost excited. I saw you hiking in Edinburgh with

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<v Speaker 1>Melanie Bracewell in a casual outfit. Yes, you are addressed

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<v Speaker 1>for success.

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<v Speaker 4>You've got the character, to Ray Larry, mel she gets

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<v Speaker 4>to see the real behind the suit. You see just

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<v Speaker 4>an artifice, a stage persona.

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<v Speaker 1>I can't wait to catch up with Melon the next time.

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<v Speaker 1>I'm going to ask you what's he like?

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<v Speaker 4>He drops the voice, he speaks normally, no accent Scottish.

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<v Speaker 1>It's a mate. Yes, thank you for coming.

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<v Speaker 4>No no, no, thank you for having me. I think

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<v Speaker 4>I've seen this to you before. But it's a genuine

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<v Speaker 4>honor because you know, growing up in New Zealand, I

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<v Speaker 4>used to watch you know Rove live and so you know,

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<v Speaker 4>what she knew was a sort of you know, a

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<v Speaker 4>big influence on my on my comedy. You know, you've

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<v Speaker 4>got a lot to answer for it. You've ruined my life.

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<v Speaker 1>We did do a gig recently, well back to back gigs.

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<v Speaker 1>We shows in Brisbane at the Powerhouse. Had fun. I

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<v Speaker 1>loved your show. Oh thank you, thank congratulations on all

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<v Speaker 1>the touring and you've been this guy back from Edinburgh.

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<v Speaker 4>Yes, no, thank you, thank you in congrats to you

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<v Speaker 4>as well. You've obviously you've I know, last time I spoke,

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<v Speaker 4>you were going to Sydney and around New South Wales.

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<v Speaker 1>Wrapped up the tour for now and off to treat

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<v Speaker 1>the boards in the theater. Her oh her in a

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<v Speaker 1>Starcatcher Disney production. Tickets on sale now. Myself Colin Lane,

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<v Speaker 1>it's a cracker against a.

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<v Speaker 4>Cracker, but yes, no, thank you, thank you, sort of

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<v Speaker 4>an elder statesman of comedy.

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<v Speaker 1>Well, I appreciate I appreciate that rogue. It's funny because

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<v Speaker 1>Rove Live was so kind of big in a weird way.

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<v Speaker 1>I've had to explain it to a couple of people

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<v Speaker 1>over here, because it was big on a street around

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<v Speaker 1>for ten years here, and it was a big show here,

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<v Speaker 1>but there was something else going on with it in

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<v Speaker 1>New Zealand. I went over there road to come back

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<v Speaker 1>from doing a promotional tour and he almost like the

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<v Speaker 1>blood of drained from his face. How was it? He goes,

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<v Speaker 1>they really love it. I love it. They love it

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<v Speaker 1>kind of hard, you know. And I went over there

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<v Speaker 1>not long after that, and I kind of saw it.

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<v Speaker 1>It was just it was on a Friday night over there,

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<v Speaker 1>so I often went up against the Rugby League and

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<v Speaker 1>often beat the Rugby League on a Friday night, and

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<v Speaker 1>I would literally walk around this and I was doing

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<v Speaker 1>some shows over there as well. I remember hearing people

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<v Speaker 1>say tonight, I'm going home to watch live and they

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<v Speaker 1>didn't know I was in airshot. It was just kind

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<v Speaker 1>of weirdly not necessarily weirdly, but it was a big

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<v Speaker 1>show over there.

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<v Speaker 4>But was it I mean I'm trying to you know,

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<v Speaker 4>cast my memory back, but was it. I mean, it

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<v Speaker 4>can't have been that like Australia specific. There was like

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<v Speaker 4>you had international guests and things like that.

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<v Speaker 1>Big international guests, and we didn't sketches. It wasn't, you know,

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<v Speaker 1>and we often crossed to Australian suburbs and stuff, but

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<v Speaker 1>it wasn't. It wasn't. We weren't trying to make it Australian.

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<v Speaker 1>And I think once we're on New Zealand and once

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<v Speaker 1>you know, we did respect that idea. And I think

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<v Speaker 1>occasionally we would cross in New Zealand or we would

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<v Speaker 1>have a New Zealand flavor and there as well.

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<v Speaker 4>Yes, like I remember, you know, Hamish and Andy would

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<v Speaker 4>have a segment. I remember Carry Bichmore would do than News.

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<v Speaker 4>I remember I still remember a monologue that Road did

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<v Speaker 4>about emojis. I think that was that was the new

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<v Speaker 4>thing emos.

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<v Speaker 1>You talk about. I mean it's crazy. I mean, that's

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<v Speaker 1>what it's great about comedy. Comedy becomes a time capsule,

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<v Speaker 1>you know, you can I mean I still remember writing

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<v Speaker 1>an SMS joke when it was it's pretty edgy, right,

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<v Speaker 1>but let's Amilee, I'm fascinated. I thought, why not. You know,

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<v Speaker 1>it's one of the most romantic films ever made, and

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<v Speaker 1>I thought who better to get along to talk about

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<v Speaker 1>this film and that the lover boy himself. Now, I

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<v Speaker 1>sent you the list, as I do with most of

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<v Speaker 1>my guests, and you came back with a few. I

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<v Speaker 1>think the Manchurian Canada that was there, which has been

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<v Speaker 1>nominated a few times recently. We haven't quite got to it.

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<v Speaker 4>Sliding Doors was enough.

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<v Speaker 1>Sliding, which I thought, okay, Sliding Doors or Armie, And

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<v Speaker 1>basically we haven't covered a lot of foreign language films,

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<v Speaker 1>so I thought Armie might be a good place. But

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<v Speaker 1>what do you know about Armie?

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<v Speaker 4>What did I know? It's like you? So again, obviously

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<v Speaker 4>I've never seen it, and I think I had gotten

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<v Speaker 4>this impression that it was sort of the maybe sort

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<v Speaker 4>of the core identity of a lot of queer key people,

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<v Speaker 4>like especially a quirky woman. I think, like I think

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<v Speaker 4>it was like a very And I also thought it

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<v Speaker 4>was quite a divisive film. I thought it was like

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<v Speaker 4>a film that you either loved it or you hated it,

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<v Speaker 4>so I thought it, but looking at I looked at

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<v Speaker 4>the reviews after watching, and it's basically universally beloved. But

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<v Speaker 4>my expectation going in is it there's a good chance

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<v Speaker 4>I could hate this, and there's a good chance I

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<v Speaker 4>could love it. And yeah, but it felt like it

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<v Speaker 4>had that sort of I don't know, Zoe Dishanell like,

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<v Speaker 4>you know, that kind of vibe that she was bringing

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<v Speaker 4>you the Manic Pixie dream girl time. Yes, And I

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<v Speaker 4>had spoken to comedian Josh Earl in the morning before

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<v Speaker 4>I watched it, and he was He mentioned one of

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<v Speaker 4>the scenes to me about how the cinema scene where

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<v Speaker 4>she turns around and watches all the people in the movies,

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<v Speaker 4>and I was thinking, oh Christ, this.

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<v Speaker 1>Is it too late for sliding Doors be a sliding

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<v Speaker 1>doors moment. Well, I'm fascinated to see where we get

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<v Speaker 1>to with Armily. But you're absolutely right, without going too

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<v Speaker 1>far back into it, it came at a time both

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<v Speaker 1>I think stylistically nine to eleven. Yeah, it interested to

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<v Speaker 1>know was it release after nine to eleven. I'll see

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<v Speaker 1>if I can find them find that out, because it

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<v Speaker 1>would have been a film that the world craved. I

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<v Speaker 1>think it is.

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<v Speaker 4>It is such a kind film. It is it is

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<v Speaker 4>that's baked into it and the we'll get to it,

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<v Speaker 4>but the coloring and stuff it So anyway.

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<v Speaker 1>There's so much on every level of detail with that.

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<v Speaker 1>Let's talk your three favorite films. They're good ones. The

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<v Speaker 1>Breakfast Club.

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<v Speaker 4>Now, I always so whenever someone asked me what is

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<v Speaker 4>your favorite film, I always say The Breakfast Club and

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<v Speaker 4>then I will always give them that sentence to follow

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<v Speaker 4>and they say, they'll say, so, what's your favorite film?

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<v Speaker 4>And I say The Breakfast Club and then it's But

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<v Speaker 4>I think I'm trying to think of I do really

0:12:47.760 --> 0:12:49.400
<v Speaker 4>enjoy it, and I think maybe it came at a

0:12:49.440 --> 0:12:51.479
<v Speaker 4>time like I watched it when I was a teenager,

0:12:51.559 --> 0:12:53.200
<v Speaker 4>you know, and I think it's still felt like it

0:12:53.440 --> 0:12:55.679
<v Speaker 4>translated to me, you know. I kind of love it.

0:12:55.679 --> 0:12:58.839
<v Speaker 4>It's it's interesting, and maybe it has that Arma Lee

0:12:58.960 --> 0:13:01.480
<v Speaker 4>kind of vibe and the sense that Armily is not

0:13:01.960 --> 0:13:03.680
<v Speaker 4>how ABU did I describe it? Maybe would it be

0:13:03.679 --> 0:13:06.320
<v Speaker 4>fair to say that Armi is not exactly plot driven,

0:13:06.480 --> 0:13:07.600
<v Speaker 4>like it's it's.

0:13:07.440 --> 0:13:11.880
<v Speaker 1>Such a simple film, Armily, And I guess what you're

0:13:11.920 --> 0:13:14.560
<v Speaker 1>saying is the Breakfast Clubies is very similar with not

0:13:14.600 --> 0:13:16.120
<v Speaker 1>a lot happens, but a lot happens.

0:13:16.200 --> 0:13:18.679
<v Speaker 4>Yes, exactly, Yeah, And I really love that about the

0:13:18.720 --> 0:13:21.240
<v Speaker 4>breakfast club or like, I you know, there's something so

0:13:21.240 --> 0:13:23.960
<v Speaker 4>sweet and wholesome to it, and I almost I would.

0:13:24.000 --> 0:13:26.760
<v Speaker 4>I've read about it, and there's something like I heard

0:13:26.760 --> 0:13:31.480
<v Speaker 4>that maybe the scene where the jock talks about I

0:13:31.559 --> 0:13:34.640
<v Speaker 4>think maybe beating up the nerds and like sellotaping their

0:13:34.720 --> 0:13:37.040
<v Speaker 4>ass cheeks together or whatever. You know, there's big emotional

0:13:37.440 --> 0:13:39.400
<v Speaker 4>reveal at the end. I've heard maybe that was improvised

0:13:39.520 --> 0:13:42.320
<v Speaker 4>or something. I remember getting mad reading about there being

0:13:42.320 --> 0:13:44.640
<v Speaker 4>sort of like this beautiful scene that I love. It

0:13:44.640 --> 0:13:49.600
<v Speaker 4>was not meticulously planned, you know, a litt almost, but

0:13:50.440 --> 0:13:52.320
<v Speaker 4>there's just something about I think it was watching it

0:13:52.360 --> 0:13:54.400
<v Speaker 4>in that teenage state. And I mean not that I

0:13:54.480 --> 0:13:57.360
<v Speaker 4>was a particular you know, I had plenty of friends.

0:13:57.360 --> 0:14:00.120
<v Speaker 4>I wasn't you know, a basket case, but I you know,

0:14:00.160 --> 0:14:02.440
<v Speaker 4>it wasn't like I was having this huge fight with

0:14:02.520 --> 0:14:04.400
<v Speaker 4>my parents or anything like that. But it's just something

0:14:04.440 --> 0:14:07.080
<v Speaker 4>I don't know, it speaks. It speaks to being a teenager,

0:14:07.120 --> 0:14:09.200
<v Speaker 4>and I think I saw it at the exact right time,

0:14:09.200 --> 0:14:11.040
<v Speaker 4>and I've just always loved it.

0:14:11.160 --> 0:14:13.600
<v Speaker 1>I'm the same. I think it hits very differently if

0:14:13.640 --> 0:14:16.640
<v Speaker 1>you watch it as a team, you know, without being

0:14:16.679 --> 0:14:18.800
<v Speaker 1>too dramatic about it. When I saw it, I'm like, yeah,

0:14:18.800 --> 0:14:21.680
<v Speaker 1>this film sees me, you know, an American high school,

0:14:21.680 --> 0:14:25.640
<v Speaker 1>which they were quite vastly different Australian imagine New Zealand

0:14:25.680 --> 0:14:26.160
<v Speaker 1>high schools.

0:14:26.240 --> 0:14:28.720
<v Speaker 4>Yes, my high school was two hundred people. We didn't

0:14:28.720 --> 0:14:32.200
<v Speaker 4>have enough people to have jocks and basket and princesses

0:14:32.240 --> 0:14:34.800
<v Speaker 4>and stuff. It was just it was either you're kind

0:14:34.800 --> 0:14:36.840
<v Speaker 4>of cool, you're kind of a loser. There was there

0:14:36.880 --> 0:14:38.720
<v Speaker 4>was and even then by the end of it, you know,

0:14:38.800 --> 0:14:40.960
<v Speaker 4>no one gave, you know, no one cared about all

0:14:40.960 --> 0:14:44.200
<v Speaker 4>that stuff. But yeah, no, yeah, I think I get

0:14:44.240 --> 0:14:46.880
<v Speaker 4>the feeling that our high schools, the Australasian high schools,

0:14:46.920 --> 0:14:49.480
<v Speaker 4>are a lot less of a vicious like you know

0:14:49.520 --> 0:14:50.760
<v Speaker 4>those places of the wild West.

0:14:50.800 --> 0:14:53.720
<v Speaker 1>You know, absolutely, And I'm the same. I don't think

0:14:53.720 --> 0:14:57.160
<v Speaker 1>I fit neatly into any of the categories. Maybe princess,

0:14:58.560 --> 0:15:01.080
<v Speaker 1>I saw you put on lipstick before it was balm.

0:15:01.600 --> 0:15:03.800
<v Speaker 1>It was barm o wary and that was an off

0:15:03.800 --> 0:15:10.440
<v Speaker 1>air thing. So but it's funny, like Mark Anthony Hall

0:15:10.640 --> 0:15:14.920
<v Speaker 1>is so funny in that, and so you know when

0:15:14.960 --> 0:15:17.880
<v Speaker 1>he talks about the little lamp that he made, when

0:15:18.160 --> 0:15:19.040
<v Speaker 1>what they call it would.

0:15:18.800 --> 0:15:21.000
<v Speaker 4>Work or something else, the only class is failing.

0:15:21.080 --> 0:15:23.880
<v Speaker 1>Yes, yeah, and the lamp wouldn't come on and he

0:15:23.960 --> 0:15:28.600
<v Speaker 1>considered maybe killing himself. It's it's great. Judd Nelson's great.

0:15:28.600 --> 0:15:31.120
<v Speaker 1>Molly Ring would have of course, and everyone's great.

0:15:32.320 --> 0:15:35.600
<v Speaker 4>Yeah. The principles great, the principles. Yeah, the scene where

0:15:35.600 --> 0:15:38.000
<v Speaker 4>they get high, and I love the dance they do

0:15:38.040 --> 0:15:40.160
<v Speaker 4>to the you know, it's everything about it. And I

0:15:40.200 --> 0:15:42.880
<v Speaker 4>think also maybe the slow reveal of I mean this

0:15:42.960 --> 0:15:45.240
<v Speaker 4>is maybe it's sort of cliche filmmaking, but I loved

0:15:45.240 --> 0:15:48.360
<v Speaker 4>it of Judd Nelson's character, you know, where you're like, Okay,

0:15:48.400 --> 0:15:50.360
<v Speaker 4>this guy's a jerk, and the slow reveal of his

0:15:50.440 --> 0:15:52.440
<v Speaker 4>home life and you're like, oh no, this guy has

0:15:52.480 --> 0:15:55.040
<v Speaker 4>a real troubled background and he does have that heart

0:15:55.120 --> 0:15:57.560
<v Speaker 4>of gold kind of thing. Yeah, just you know, been

0:15:57.640 --> 0:15:59.680
<v Speaker 4>through so much with his dad and stuff. It's just

0:15:59.840 --> 0:16:02.200
<v Speaker 4>I love that. The smoke up Johnny scene, you know,

0:16:02.360 --> 0:16:03.800
<v Speaker 4>you know, you know what we got in the Bender

0:16:03.880 --> 0:16:06.240
<v Speaker 4>Household for Christmas. Yeah, and he talks about having a

0:16:06.280 --> 0:16:09.240
<v Speaker 4>cigarette burned into his arm or whatever happens. It's just yeah,

0:16:09.240 --> 0:16:10.520
<v Speaker 4>I think it came at the right time, and we're

0:16:10.520 --> 0:16:12.800
<v Speaker 4>actually very lucky that I saw that one first, because

0:16:12.800 --> 0:16:14.800
<v Speaker 4>I had a very similar feeling about the film High

0:16:14.840 --> 0:16:18.920
<v Speaker 4>School Musical three. So they could have seen that one first.

0:16:18.920 --> 0:16:22.600
<v Speaker 4>We could have been very easily in a different conversation.

0:16:23.120 --> 0:16:25.040
<v Speaker 1>I think High School Musical, and it might have been

0:16:25.040 --> 0:16:26.960
<v Speaker 1>two or three. I don't think it was the original

0:16:26.960 --> 0:16:29.200
<v Speaker 1>one has come up in some of his favorite films,

0:16:29.200 --> 0:16:33.360
<v Speaker 1>like really, I remember who maybe m Rosciano.

0:16:34.120 --> 0:16:37.360
<v Speaker 4>Yes, I mean the first one. I remember the third one.

0:16:38.200 --> 0:16:40.360
<v Speaker 4>It was my final year at high school as well,

0:16:40.640 --> 0:16:44.800
<v Speaker 4>and also Troy and Gabriella and the whole game they

0:16:44.880 --> 0:16:51.560
<v Speaker 4>were graduating. You know, go Wildcats, Wildcats.

0:16:51.640 --> 0:16:56.000
<v Speaker 1>There's a film with Goldie horn In. I would hazard

0:16:56.040 --> 0:16:59.280
<v Speaker 1>a guess between maybe I would say eighty five, which

0:16:59.360 --> 0:17:03.320
<v Speaker 1>was good Wildcats and they were she was the female

0:17:03.320 --> 0:17:05.800
<v Speaker 1>coach of this team and she's only given the job

0:17:05.840 --> 0:17:07.959
<v Speaker 1>as nobody else wanted it, and yeah, of course then

0:17:08.000 --> 0:17:11.960
<v Speaker 1>succeed and good film, good eighties film, A great pick,

0:17:12.200 --> 0:17:15.280
<v Speaker 1>The Breakfast Club. Let's go on to Toy Story three.

0:17:15.600 --> 0:17:19.960
<v Speaker 4>Yes, a habit of trilogies with me. I think again,

0:17:20.520 --> 0:17:22.879
<v Speaker 4>I just remember it being a phenomenal film when I

0:17:22.920 --> 0:17:25.040
<v Speaker 4>first watched it. Maybe I've only seen it once or

0:17:25.080 --> 0:17:27.880
<v Speaker 4>twice since I haven't. It's one of those films where

0:17:27.880 --> 0:17:29.960
<v Speaker 4>you think it's over sort of, I mean, similar to

0:17:30.000 --> 0:17:32.720
<v Speaker 4>the Shawshank Redemption, Like we think the film's ended, and

0:17:32.760 --> 0:17:35.399
<v Speaker 4>then there's another, you know, another climactic scene, like I

0:17:35.400 --> 0:17:38.040
<v Speaker 4>think they managed to escape the kindergarten, and you think

0:17:38.080 --> 0:17:39.800
<v Speaker 4>it's over, and then they go to the dump and

0:17:39.840 --> 0:17:42.120
<v Speaker 4>that I mean, this is huge spoilers for Toy Story three,

0:17:42.160 --> 0:17:44.000
<v Speaker 4>but there's a scene at the end when you genuinely

0:17:44.040 --> 0:17:47.360
<v Speaker 4>think all the toys are going to die. You genuinely

0:17:47.359 --> 0:17:50.840
<v Speaker 4>believe in a Disney film they're about to kill off

0:17:51.080 --> 0:17:54.119
<v Speaker 4>every single character, and you genuinely believe it, and then

0:17:54.119 --> 0:17:56.679
<v Speaker 4>they you get say and it's just I don't know.

0:17:56.680 --> 0:17:59.040
<v Speaker 4>It was again, it was that thing of you know

0:17:59.080 --> 0:18:00.600
<v Speaker 4>Toy Story one and two. You know I would have

0:18:00.640 --> 0:18:02.840
<v Speaker 4>watched when I was younger, and then you've aged Andy

0:18:02.960 --> 0:18:05.240
<v Speaker 4>up and you know he's leaving home to go to UNI,

0:18:05.280 --> 0:18:08.080
<v Speaker 4>and I was in a similar age, and so again

0:18:08.119 --> 0:18:09.840
<v Speaker 4>it's you know, heading at the right time. I think

0:18:10.080 --> 0:18:13.240
<v Speaker 4>an element of that and it is I don't know

0:18:13.240 --> 0:18:14.680
<v Speaker 4>how you feel. It is a bit of a shame

0:18:14.720 --> 0:18:18.280
<v Speaker 4>they keep releasing. I mean, I do think Swoy Story

0:18:18.280 --> 0:18:20.000
<v Speaker 4>four is a good film, but there was I just

0:18:20.000 --> 0:18:22.399
<v Speaker 4>felt like it was such a perfect ending, you know,

0:18:22.480 --> 0:18:24.560
<v Speaker 4>and I do you do worry about it cheapening.

0:18:25.000 --> 0:18:28.159
<v Speaker 1>I'll tell you who agrees with you. Oh, Quentin Tarantina.

0:18:29.160 --> 0:18:32.920
<v Speaker 1>He literally has said, very similar guy, Yeah, very similar guys.

0:18:33.440 --> 0:18:37.440
<v Speaker 1>Often you see Quentin in the gray suit. But he

0:18:37.440 --> 0:18:40.120
<v Speaker 1>he said he hasn't even seen for and I haven't

0:18:40.160 --> 0:18:42.520
<v Speaker 1>seen for. And I think subconsciously I've made the same

0:18:43.280 --> 0:18:46.919
<v Speaker 1>choice where I'm like, this is a perfect trilogy of

0:18:47.000 --> 0:18:49.520
<v Speaker 1>films with the perfect ending. It's not just that. I

0:18:49.520 --> 0:18:52.280
<v Speaker 1>think Toy Story three and very few in a trilogy

0:18:52.320 --> 0:18:54.960
<v Speaker 1>where you would say where the third film is the bear?

0:18:56.280 --> 0:18:57.920
<v Speaker 1>But I think you could make that argument with Toy

0:18:57.960 --> 0:19:02.359
<v Speaker 1>Story three. Why would you go back? Yes, like, I

0:19:02.400 --> 0:19:05.800
<v Speaker 1>haven't seen for and I have heard it. It's fine, yes, yeah, yeah,

0:19:05.920 --> 0:19:09.520
<v Speaker 1>And that's the issue is it's fine, Yes, yes, absolutely right.

0:19:09.800 --> 0:19:13.120
<v Speaker 4>It was horrible. There's something funny about it. Ever was amazing.

0:19:13.160 --> 0:19:15.119
<v Speaker 4>You're like, okay, thank god they keep doing it. But

0:19:15.200 --> 0:19:17.720
<v Speaker 4>it's just fine. Yeah, you know, it's just okay, so

0:19:18.000 --> 0:19:19.480
<v Speaker 4>you know they're still around or whatever.

0:19:19.560 --> 0:19:22.480
<v Speaker 1>There's another other franchises. I think Pixark can play with.

0:19:23.240 --> 0:19:27.520
<v Speaker 1>Nobody cares if you keep making cars films, we understand,

0:19:28.160 --> 0:19:30.440
<v Speaker 1>and that's one. But you know that's all Warmark connected.

0:19:30.800 --> 0:19:34.440
<v Speaker 1>We understand that. But maybe Leaf Toy story. Yes alone.

0:19:34.800 --> 0:19:36.520
<v Speaker 4>You say you don't know why they keep making it,

0:19:36.520 --> 0:19:38.399
<v Speaker 4>but I do think there is a very simple artswer.

0:19:39.520 --> 0:19:43.239
<v Speaker 1>I wonder why Disney keeps producing films, films that make

0:19:43.280 --> 0:19:45.240
<v Speaker 1>a lot of money, if only we can put a

0:19:45.320 --> 0:19:46.000
<v Speaker 1>finger on it.

0:19:46.440 --> 0:19:49.320
<v Speaker 4>I was gonna say, do you find it stressful? I mean,

0:19:49.560 --> 0:19:51.480
<v Speaker 4>I don't know if you'd seen Have you seen Amily?

0:19:52.200 --> 0:19:54.480
<v Speaker 1>Yeah? Yes, I saw it when it came out.

0:19:54.560 --> 0:19:55.879
<v Speaker 4>Oh yes, yes. I was going to say, do you

0:19:55.880 --> 0:19:58.960
<v Speaker 4>find it stressful? Pecking films for people to watch.

0:19:59.200 --> 0:20:02.080
<v Speaker 1>Well, it's all he's kind of done in conjunction. So

0:20:02.600 --> 0:20:08.439
<v Speaker 1>I often say pick a few, hence Mentoring Canada and

0:20:08.440 --> 0:20:11.600
<v Speaker 1>Sony DAWs came up for you, and there's a long list.

0:20:11.640 --> 0:20:14.720
<v Speaker 1>There's a lot of films, so I've always kind of

0:20:14.840 --> 0:20:17.600
<v Speaker 1>encouraged him if there's one that you really want to watch.

0:20:17.600 --> 0:20:19.480
<v Speaker 1>It kind of a bit embarrassed you haven't seen us,

0:20:19.760 --> 0:20:21.920
<v Speaker 1>but you know, we've done over nearly one hundred and

0:20:21.960 --> 0:20:24.400
<v Speaker 1>six hundred and seventy episodes, so there's still a lot

0:20:24.440 --> 0:20:26.479
<v Speaker 1>of films we haven't done yet.

0:20:27.000 --> 0:20:29.480
<v Speaker 4>That list was so long, and I was shocked with

0:20:29.520 --> 0:20:30.440
<v Speaker 4>how few I had seen.

0:20:31.520 --> 0:20:35.119
<v Speaker 1>Some people's some people cavelis, I've seen everything, you know,

0:20:36.160 --> 0:20:38.520
<v Speaker 1>but I'm not sure if he's actually seen the list.

0:20:38.560 --> 0:20:41.280
<v Speaker 1>I'm sure that he won. He went straight to jug

0:20:43.040 --> 0:20:46.120
<v Speaker 1>if Tony Martin the film he did, Top Gun.

0:20:46.440 --> 0:20:50.000
<v Speaker 4>Yeah, Tony Martin hadn't seen Top Guy. Know, he I

0:20:50.160 --> 0:20:53.679
<v Speaker 4>just had Have you been with him? And like basically

0:20:53.720 --> 0:20:55.199
<v Speaker 4>every time I've shared a green room with him, he

0:20:55.280 --> 0:20:58.040
<v Speaker 4>talks about films. He was talking about DVDs and blu

0:20:58.160 --> 0:20:59.320
<v Speaker 4>rays and like he's got.

0:20:59.280 --> 0:21:01.320
<v Speaker 1>Tony Martin is on my keeping the blue ray dv

0:21:01.680 --> 0:21:05.040
<v Speaker 1>industry afloat. There's no doubt about that. No, that was

0:21:05.200 --> 0:21:08.200
<v Speaker 1>that was an honor to have Tony and a surprise

0:21:08.359 --> 0:21:10.760
<v Speaker 1>that when he film was so per Top Gun. I know,

0:21:11.080 --> 0:21:14.399
<v Speaker 1>because even as pop culturally you'd be a cross. I

0:21:14.400 --> 0:21:16.040
<v Speaker 1>guess you don't have to see Top Gun to be

0:21:16.400 --> 0:21:20.560
<v Speaker 1>kind of a cross. They did shows, Yeah, yeah.

0:21:21.280 --> 0:21:24.359
<v Speaker 4>No, it's just I for I Forgure, which birthday. It

0:21:24.440 --> 0:21:27.640
<v Speaker 4>was a couple of years ago. I wanted I love musicals,

0:21:27.640 --> 0:21:29.800
<v Speaker 4>and I went to go see the movie in the Heights.

0:21:29.840 --> 0:21:32.159
<v Speaker 4>I wanted to see that film, which is a Meloel

0:21:32.240 --> 0:21:34.439
<v Speaker 4>Miranda film, and I remember my friends were sitting there

0:21:34.440 --> 0:21:36.040
<v Speaker 4>to watch it with me. Very nice of them, but

0:21:36.080 --> 0:21:40.359
<v Speaker 4>I remember as the lights were coming down, my friend

0:21:40.800 --> 0:21:45.320
<v Speaker 4>next to me said, two and a half hours when

0:21:45.320 --> 0:21:46.440
<v Speaker 4>the lights came down.

0:21:49.359 --> 0:21:52.480
<v Speaker 1>We had a similar experience with my wife, Bridge, who

0:21:52.760 --> 0:21:56.119
<v Speaker 1>does not love sitting down for too long. We rarely

0:21:56.160 --> 0:21:59.639
<v Speaker 1>will watch a movie at home together, generally if we

0:21:59.680 --> 0:22:03.680
<v Speaker 1>are because we're having a very lazy Sunday, maybe we've

0:22:03.720 --> 0:22:06.120
<v Speaker 1>been out at night before, or it's a rainy kind

0:22:06.119 --> 0:22:08.879
<v Speaker 1>of day. It takes something like that to for her

0:22:08.920 --> 0:22:11.280
<v Speaker 1>to watch it, and we rarely go to the movies

0:22:11.320 --> 0:22:13.760
<v Speaker 1>even these days, so we often watch serious lots of

0:22:13.760 --> 0:22:16.479
<v Speaker 1>television to get us, which weirdly you often end up

0:22:16.520 --> 0:22:18.520
<v Speaker 1>sitting down for it as long you can get up

0:22:18.600 --> 0:22:20.679
<v Speaker 1>once every forty five minutes and do something and then

0:22:20.720 --> 0:22:23.080
<v Speaker 1>come back. But I took her to see Who's Afraid

0:22:23.119 --> 0:22:28.000
<v Speaker 1>of Virginia Wolf the MTC production, because I was keen

0:22:28.080 --> 0:22:30.359
<v Speaker 1>to see it. We both love cat Stewart, and I

0:22:30.400 --> 0:22:32.000
<v Speaker 1>didn't know much about it. I hadn't seen the film.

0:22:32.000 --> 0:22:34.520
<v Speaker 1>I've seen it for Yan from Trump. We watched it

0:22:34.600 --> 0:22:36.880
<v Speaker 1>for this podcast, but really didn't know too much about

0:22:36.880 --> 0:22:39.040
<v Speaker 1>I knew it was kind of set around like I

0:22:39.040 --> 0:22:40.919
<v Speaker 1>thought it was like a dinner party scene, but it's

0:22:41.359 --> 0:22:44.600
<v Speaker 1>a married couple anyway. And we go to take our

0:22:44.640 --> 0:22:47.480
<v Speaker 1>seats and I see somebody who i'd met a couple

0:22:47.520 --> 0:22:49.760
<v Speaker 1>of times before at the MCC, which is the Melbourne

0:22:49.800 --> 0:22:52.480
<v Speaker 1>Cricket Club, when I've been at the Cricket of the

0:22:52.520 --> 0:22:55.919
<v Speaker 1>football and she says hello, and did you said to

0:22:55.920 --> 0:22:58.880
<v Speaker 1>my wife? And just as the lights go down, she goes,

0:22:59.080 --> 0:23:04.480
<v Speaker 1>you know, it's three hours, it's three three intervals, and

0:23:05.240 --> 0:23:10.560
<v Speaker 1>the lights of comically came down and my wife would

0:23:10.560 --> 0:23:12.240
<v Speaker 1>have got been walked out it was any earlier, I

0:23:12.320 --> 0:23:14.440
<v Speaker 1>think she certainly wouldn't have gone. But we were chatting

0:23:14.440 --> 0:23:17.000
<v Speaker 1>about last night actually, and I said, are you happy

0:23:17.000 --> 0:23:19.840
<v Speaker 1>that you went? And yeah, I really am. I said,

0:23:19.920 --> 0:23:22.840
<v Speaker 1>you said, cat was amazing, But I wouldn't have never

0:23:22.880 --> 0:23:24.560
<v Speaker 1>would have gone by to night. It is that long

0:23:24.840 --> 0:23:28.640
<v Speaker 1>and there's two intervals, not three, but yeah.

0:23:28.680 --> 0:23:31.480
<v Speaker 4>That's yes, there's a I just finished watching the show

0:23:31.520 --> 0:23:34.040
<v Speaker 4>the Other Two, which is this phenomenal American comedy, and

0:23:34.080 --> 0:23:36.080
<v Speaker 4>they there's an episode where they go to a play

0:23:36.680 --> 0:23:39.200
<v Speaker 4>that one of their boyfriends is in it it's about AIDS,

0:23:39.560 --> 0:23:41.240
<v Speaker 4>and when they get there they realize how long the

0:23:41.280 --> 0:23:43.479
<v Speaker 4>film is. I think they're on the players. I think

0:23:43.520 --> 0:23:45.040
<v Speaker 4>it was for about six hours or something. And they

0:23:45.080 --> 0:23:48.200
<v Speaker 4>got into mission it's about the start, and then it AIDS.

0:23:48.200 --> 0:23:50.399
<v Speaker 4>And then they go up and part two of the

0:23:50.400 --> 0:23:53.959
<v Speaker 4>play will continue tomorrow, and everyone goes, oh. They all

0:23:54.000 --> 0:23:56.720
<v Speaker 4>are obliged to keep going because the players about AIDS,

0:23:56.800 --> 0:24:00.600
<v Speaker 4>and they don't. They don't want to seem disrespectful, but

0:24:00.720 --> 0:24:01.720
<v Speaker 4>no one has enjoyed it.

0:24:03.880 --> 0:24:07.320
<v Speaker 1>When Harry Potter was doing the Two Years, part one

0:24:07.320 --> 0:24:10.000
<v Speaker 1>and part two and and and then they eventually went, Okay,

0:24:10.200 --> 0:24:12.320
<v Speaker 1>we're going to merge it all into one. Let's talk

0:24:12.320 --> 0:24:14.359
<v Speaker 1>You're you're a key way so they had to be

0:24:14.480 --> 0:24:15.200
<v Speaker 1>Jojo Rabbit.

0:24:16.040 --> 0:24:18.000
<v Speaker 4>Yeah, yes, this one, this one is more of a

0:24:18.040 --> 0:24:20.680
<v Speaker 4>wild card. This is because I should admit I think

0:24:20.720 --> 0:24:22.760
<v Speaker 4>I'm similar to your wife, Like I'm not a big

0:24:22.840 --> 0:24:25.359
<v Speaker 4>movie guy like I I mean, obviously you know I

0:24:25.440 --> 0:24:27.679
<v Speaker 4>like movies, but it's always TV shows for me. I

0:24:27.720 --> 0:24:29.800
<v Speaker 4>love TV series. It's the thing I always put on

0:24:29.920 --> 0:24:32.520
<v Speaker 4>them at home and I want to watch something, and

0:24:32.720 --> 0:24:34.720
<v Speaker 4>I was so I was struggling. I was trying to remember,

0:24:34.720 --> 0:24:36.679
<v Speaker 4>like I've done a podcast on movies before where they

0:24:36.680 --> 0:24:38.680
<v Speaker 4>asked me my top four and I was trying to remember.

0:24:38.720 --> 0:24:40.720
<v Speaker 4>I was like, what did I say? Then? I definitely

0:24:40.720 --> 0:24:42.800
<v Speaker 4>toy story three in Breakfast Club to come up. And

0:24:42.840 --> 0:24:46.800
<v Speaker 4>I do recall saying Jojo Rabbit to them as well, I'm.

0:24:46.720 --> 0:24:48.280
<v Speaker 1>Gonna go I'm gonna go down and hunt this da.

0:24:48.960 --> 0:24:51.840
<v Speaker 1>It's a different answer. I'm gonna be furious, but Joe,

0:24:51.880 --> 0:24:55.119
<v Speaker 1>I again that. I mean, it's the reason why it

0:24:55.119 --> 0:24:57.320
<v Speaker 1>came to mind. I think is just at the time. Again,

0:24:57.400 --> 0:24:59.000
<v Speaker 1>it was a film when I saw it, and it

0:24:59.040 --> 0:25:02.480
<v Speaker 1>was so I guess, so powerful. I remember, I mean,

0:25:02.640 --> 0:25:04.000
<v Speaker 1>I don't know if anyone else has seen it, but

0:25:04.000 --> 0:25:05.920
<v Speaker 1>I just remember finding like some of the scenes, like

0:25:05.960 --> 0:25:09.639
<v Speaker 1>when you see the red shoes and it's just so

0:25:09.680 --> 0:25:12.080
<v Speaker 1>full on. I remember having a like a moment in

0:25:12.119 --> 0:25:15.360
<v Speaker 1>the bathroom afterwards, being like, oh, well that was quite intense,

0:25:15.400 --> 0:25:17.719
<v Speaker 1>and I think a guy recognized me in the bathroom

0:25:17.760 --> 0:25:18.960
<v Speaker 1>and started talking to me. I was like, this is

0:25:19.000 --> 0:25:22.800
<v Speaker 1>not the time I'm just trying to process some emotions here,

0:25:22.880 --> 0:25:27.080
<v Speaker 1>Like I loved Oh, they'll get a selfie after. And

0:25:27.160 --> 0:25:29.359
<v Speaker 1>obviously it's always great to see a film where Hitler's

0:25:29.359 --> 0:25:35.760
<v Speaker 1>portrayed positively. It's finally, finally, not since Hitler was making

0:25:35.800 --> 0:25:40.959
<v Speaker 1>those films. Girls, you're not being betrayed out positively that

0:25:41.119 --> 0:25:43.200
<v Speaker 1>film on paper, and I know it was a book,

0:25:43.200 --> 0:25:45.840
<v Speaker 1>but I think Tiger did take some you know, some

0:25:45.880 --> 0:25:49.760
<v Speaker 1>liberties and and and his own stuff that was and

0:25:49.800 --> 0:25:52.040
<v Speaker 1>I think Hitler as a character what maybe wasn't in

0:25:52.040 --> 0:25:55.120
<v Speaker 1>the book. So I think I'm sorry if I'm wrong.

0:25:55.200 --> 0:25:58.600
<v Speaker 1>Let me let us know. On paper, it seems crazy.

0:25:58.680 --> 0:26:00.680
<v Speaker 1>And the thing I really enjoyed Joe Rabber. But the

0:26:00.720 --> 0:26:02.240
<v Speaker 1>thing I like it just as much is the fact

0:26:02.280 --> 0:26:05.520
<v Speaker 1>that it was made that a studio went, yeah, we'll

0:26:05.560 --> 0:26:06.040
<v Speaker 1>back this in.

0:26:06.280 --> 0:26:10.240
<v Speaker 4>Yes we'll get a we'll get a crazy New Zealander

0:26:10.280 --> 0:26:13.320
<v Speaker 4>to play a person of color, to play a Jewish

0:26:13.359 --> 0:26:17.040
<v Speaker 4>guy to play Hitler, like a cartoony, fun, friendly Hitler

0:26:17.040 --> 0:26:19.000
<v Speaker 4>who wants to like hang out with his little best

0:26:19.040 --> 0:26:21.760
<v Speaker 4>friend and stuff. And so yeah, it is really really

0:26:21.760 --> 0:26:24.000
<v Speaker 4>good this. I know there's a lot of backlash on

0:26:24.040 --> 0:26:25.760
<v Speaker 4>Twitter about it. I mean again, I haven't seen the

0:26:25.760 --> 0:26:27.640
<v Speaker 4>film in such you know, since it came out, so

0:26:27.960 --> 0:26:29.399
<v Speaker 4>I can't speak to any specifics.

0:26:29.400 --> 0:26:31.080
<v Speaker 1>But do you mean ex formally Twitter?

0:26:31.320 --> 0:26:33.840
<v Speaker 4>Yes? X. Sorry so I know you're a big musk hed.

0:26:33.920 --> 0:26:37.560
<v Speaker 1>Sorry. Still I still love that every time you see

0:26:37.600 --> 0:26:41.520
<v Speaker 1>Twitter a report on Twitter, Yes, it's still X in

0:26:41.640 --> 0:26:44.760
<v Speaker 1>brackets formally Twitter. I still don't know for a man

0:26:44.760 --> 0:26:47.080
<v Speaker 1>who's supposed to be I imagine has lots of marketing

0:26:47.119 --> 0:26:50.480
<v Speaker 1>money behind him in nouse the rebranding of Twitter that

0:26:50.680 --> 0:26:51.600
<v Speaker 1>X makes no sense.

0:26:52.040 --> 0:26:55.040
<v Speaker 4>It's so bad. No one is going x X is

0:26:55.040 --> 0:26:57.399
<v Speaker 4>too common a letter. No one. No one is like,

0:26:57.440 --> 0:26:59.199
<v Speaker 4>oh yeah, X, of course X. I use X all

0:26:59.240 --> 0:27:01.960
<v Speaker 4>the time I've been posting on It was such a crazy,

0:27:02.160 --> 0:27:04.200
<v Speaker 4>crazy decision. But also I wonder if it makes sense

0:27:04.240 --> 0:27:05.880
<v Speaker 4>to like, because then it creates sort of like you're

0:27:05.920 --> 0:27:08.159
<v Speaker 4>either with us or against us kind of mentality. Like

0:27:08.320 --> 0:27:11.120
<v Speaker 4>I feel like Twitter's become even more, you know, divided

0:27:11.119 --> 0:27:12.880
<v Speaker 4>between the left and the right, and you know, like

0:27:13.320 --> 0:27:15.280
<v Speaker 4>now when you have a blue chechnique to your name,

0:27:15.720 --> 0:27:17.720
<v Speaker 4>that's sort of a symbol that you're you know, you

0:27:17.840 --> 0:27:21.480
<v Speaker 4>like Elon Musk or whatever you like. Certain but still

0:27:21.480 --> 0:27:23.840
<v Speaker 4>in every single news report. Everyone, every journalist is like,

0:27:23.880 --> 0:27:26.879
<v Speaker 4>it's silly to call it. Ever, even I think we've

0:27:26.880 --> 0:27:27.399
<v Speaker 4>got to refer to.

0:27:27.440 --> 0:27:29.959
<v Speaker 1>A porn side or something. There's been three or so

0:27:30.119 --> 0:27:33.399
<v Speaker 1>years now at a guess you think that should be

0:27:33.520 --> 0:27:35.359
<v Speaker 1>enough time for it, like not to have to have

0:27:35.640 --> 0:27:38.080
<v Speaker 1>formerly Twitter. But the fact that people are still writing that,

0:27:39.440 --> 0:27:42.000
<v Speaker 1>and also when you tweet something it was it seems

0:27:42.000 --> 0:27:45.720
<v Speaker 1>so integrated in the name. You said that an X,

0:27:47.800 --> 0:27:52.240
<v Speaker 1>I exed you, I ex you, I do exed you.

0:27:53.280 --> 0:27:54.920
<v Speaker 1>What's the backlash about Joe?

0:27:55.240 --> 0:27:57.760
<v Speaker 4>I think I've seen people describe the film as evil,

0:27:58.200 --> 0:28:01.359
<v Speaker 4>and I suspect it's to do with the portrayal of Hitler,

0:28:01.359 --> 0:28:05.080
<v Speaker 4>but I'm not super and maybe because in the actually no,

0:28:05.200 --> 0:28:07.240
<v Speaker 4>maybe in the book it's worse. I think in the film,

0:28:07.400 --> 0:28:09.560
<v Speaker 4>you know, he keeps the Jewish girl or the woman.

0:28:09.600 --> 0:28:11.919
<v Speaker 4>I figured if she's a Jewish, the woman taking refuge

0:28:11.920 --> 0:28:14.800
<v Speaker 4>at least from the Nazis is played by a New

0:28:14.920 --> 0:28:17.960
<v Speaker 4>Zealander she Maybe they think there's something toxic there about

0:28:17.960 --> 0:28:19.439
<v Speaker 4>I mean, I guess it is toxically. He kind of

0:28:19.480 --> 0:28:21.120
<v Speaker 4>keeps it even though she doesn't need to be there.

0:28:21.160 --> 0:28:23.040
<v Speaker 1>I think, yeah that or is that?

0:28:23.160 --> 0:28:25.680
<v Speaker 4>Or is that me misremembering based on tweets I've seen

0:28:25.680 --> 0:28:31.000
<v Speaker 4>about the book. Anyway, now my memory is all on

0:28:31.040 --> 0:28:34.000
<v Speaker 4>the phone to speak to your fellow countrymen.

0:28:34.560 --> 0:28:37.560
<v Speaker 1>Three great movies. I haven't seen Jojo for a while.

0:28:37.560 --> 0:28:40.560
<v Speaker 1>I should go back and back into that one. Let's

0:28:40.560 --> 0:28:43.920
<v Speaker 1>talk about the film we are here to talk about today.

0:28:46.680 --> 0:28:47.400
<v Speaker 1>The song.

0:29:00.080 --> 0:29:00.760
<v Speaker 5>What is you?

0:29:00.920 --> 0:29:01.040
<v Speaker 1>Oh?

0:29:01.080 --> 0:29:07.400
<v Speaker 5>The Lerida participants people.

0:29:10.000 --> 0:29:12.600
<v Speaker 1>She married soon passed.

0:29:13.800 --> 0:29:20.720
<v Speaker 5>So said when I leave you on Ladesh, if was

0:29:21.000 --> 0:29:24.120
<v Speaker 5>to get because you put to shell? Yeah, babacky ya

0:29:25.040 --> 0:29:27.000
<v Speaker 5>get well.

0:29:27.040 --> 0:29:27.520
<v Speaker 1>But no need.

0:29:29.000 --> 0:29:30.720
<v Speaker 5>Just in What's placed?

0:29:30.720 --> 0:29:40.880
<v Speaker 1>You see a really very quick translation.

0:29:40.960 --> 0:29:43.360
<v Speaker 4>Please I didn't what was she fringe?

0:29:45.160 --> 0:29:47.200
<v Speaker 1>It doesn't. I'm surprised. At the end of the film,

0:29:47.200 --> 0:29:49.120
<v Speaker 1>I thought, wow, this is a French film. I didn't

0:29:49.280 --> 0:29:53.000
<v Speaker 1>have no idea that was Emily helping the blind man

0:29:53.040 --> 0:29:54.640
<v Speaker 1>across the road and pointing everything out.

0:29:55.040 --> 0:29:56.600
<v Speaker 4>I was going to guess that. I thought so based

0:29:56.640 --> 0:29:58.920
<v Speaker 4>on how quickly she was speaking. This is the only

0:29:59.760 --> 0:30:01.800
<v Speaker 4>and but you know, I thought French people, they began

0:30:01.880 --> 0:30:06.160
<v Speaker 4>every sentence with how do you say so? So it

0:30:06.240 --> 0:30:07.920
<v Speaker 4>was a real learning opportunity for me.

0:30:08.240 --> 0:30:10.480
<v Speaker 1>It was always part of my French and then into it,

0:30:11.000 --> 0:30:13.920
<v Speaker 1>which I have to say a lot, let's get into it.

0:30:14.000 --> 0:30:17.280
<v Speaker 1>Directed by Jean Pierre Janet, Legend of French cinema from

0:30:17.320 --> 0:30:21.600
<v Speaker 1>two thousand and one, starring Audrey to Tao as Amie,

0:30:21.840 --> 0:30:25.760
<v Speaker 1>Paulaine Rayal Larry. Did you enjoy Amie.

0:30:26.920 --> 0:30:30.120
<v Speaker 4>I'm sorry to say I did not enjoy Armale, and

0:30:30.720 --> 0:30:33.160
<v Speaker 4>I feel like such a philistine for saying it. I

0:30:33.200 --> 0:30:35.840
<v Speaker 4>will say I went and not expecting to enjoy it.

0:30:35.920 --> 0:30:38.040
<v Speaker 4>I saw the runtime and I thought, oh Christ and

0:30:38.160 --> 0:30:40.560
<v Speaker 4>then and then I put the film on and subtitles

0:30:40.640 --> 0:30:42.080
<v Speaker 4>came up, and I thought, oh, I'm going to really

0:30:42.160 --> 0:30:45.240
<v Speaker 4>have to lock watch it.

0:30:46.280 --> 0:30:51.240
<v Speaker 1>I can't look at anything else. I was really curious

0:30:51.360 --> 0:30:56.920
<v Speaker 1>watching this because I thought it's really kind of captured

0:30:57.040 --> 0:30:59.160
<v Speaker 1>the imagination of the world. It's one of the biggest

0:30:59.200 --> 0:31:01.560
<v Speaker 1>French films of AUTI and it kind of like cut through,

0:31:02.160 --> 0:31:05.640
<v Speaker 1>nominated for five Oscars, you know, the zion work kind

0:31:05.680 --> 0:31:07.960
<v Speaker 1>of works kind of on every level. But if you

0:31:08.000 --> 0:31:11.160
<v Speaker 1>don't connect with that character, then you might be a

0:31:11.240 --> 0:31:15.400
<v Speaker 1>bit at sea. But I was wondering because Armile is

0:31:15.440 --> 0:31:18.840
<v Speaker 1>an innocent in this case like this in the tradition

0:31:18.920 --> 0:31:25.600
<v Speaker 1>of a forest gunt. More recently, Emma Stone in and

0:31:26.160 --> 0:31:28.600
<v Speaker 1>You your stage can. I was thinking on the way

0:31:28.680 --> 0:31:31.400
<v Speaker 1>here is kind of is kind of like you play

0:31:31.480 --> 0:31:34.960
<v Speaker 1>this kind of innocent who's just like, you know, making

0:31:35.040 --> 0:31:38.960
<v Speaker 1>his way through the world and having these observations, you know.

0:31:41.480 --> 0:31:46.000
<v Speaker 1>And I thought maybe Ray could really connect with this film.

0:31:47.000 --> 0:31:52.280
<v Speaker 1>We might watch, but obviously you haven't done.

0:31:53.640 --> 0:31:55.640
<v Speaker 4>I always feel opposite watching your comment, like this is

0:31:55.720 --> 0:31:58.480
<v Speaker 4>quite a malicious on the line this is and he's

0:31:58.480 --> 0:31:59.840
<v Speaker 4>a scrooge type of character.

0:32:02.000 --> 0:32:03.560
<v Speaker 1>Well. One of the things, one of the things I

0:32:03.640 --> 0:32:06.880
<v Speaker 1>do like about the character Emily is you see that

0:32:07.360 --> 0:32:11.000
<v Speaker 1>it's not just sweetness and kindness, you know, if she

0:32:11.120 --> 0:32:15.040
<v Speaker 1>doesn't like you, like the grocer and the neighborhood. With

0:32:15.120 --> 0:32:18.080
<v Speaker 1>the mention of wor Cup, she disconnects the TV at

0:32:18.360 --> 0:32:21.719
<v Speaker 1>Expirements and with the grocer who's not very nice at

0:32:21.720 --> 0:32:27.000
<v Speaker 1>all to his coworker, who's perhaps on the simpler side

0:32:27.040 --> 0:32:29.960
<v Speaker 1>of intellect. Perhaps she goes you know, she goes into

0:32:30.000 --> 0:32:33.840
<v Speaker 1>his apartment and basically tortures him with little micro you aggressions.

0:32:33.920 --> 0:32:36.560
<v Speaker 4>Yes, I must say, when she put her hand on

0:32:36.640 --> 0:32:38.440
<v Speaker 4>the grains, I was like, that does look nice?

0:32:40.680 --> 0:32:41.400
<v Speaker 1>Are there? Things like?

0:32:41.880 --> 0:32:41.920
<v Speaker 2>That?

0:32:42.040 --> 0:32:43.760
<v Speaker 1>Was one of the big things about it as well,

0:32:43.800 --> 0:32:46.160
<v Speaker 1>though I really enjoyed them. Those things that you know,

0:32:46.840 --> 0:32:49.240
<v Speaker 1>they get to know a quick little bio of somebody

0:32:49.880 --> 0:32:54.000
<v Speaker 1>he likes, he dislikes. What would your likes and dislikes.

0:32:54.640 --> 0:32:56.800
<v Speaker 4>My I think one of the things that makes me

0:32:56.880 --> 0:33:00.240
<v Speaker 4>happiest in this world is going on an ism a

0:33:00.360 --> 0:33:04.920
<v Speaker 4>travel lader in the airport, walking on a travel lader

0:33:04.920 --> 0:33:07.960
<v Speaker 4>of the airport. I get so much joy from walking

0:33:08.000 --> 0:33:09.480
<v Speaker 4>on one of those and looking at the people next

0:33:09.520 --> 0:33:12.320
<v Speaker 4>to me and going, I'm going so much faster. I

0:33:12.400 --> 0:33:16.080
<v Speaker 4>don't understand people don't go on the That's crazy. I

0:33:16.120 --> 0:33:17.959
<v Speaker 4>feel like Oscar for stories on there.

0:33:20.040 --> 0:33:21.280
<v Speaker 1>And that's what a similarity is.

0:33:21.400 --> 0:33:21.480
<v Speaker 4>End.

0:33:26.440 --> 0:33:28.200
<v Speaker 1>You could have gone so many other fast.

0:33:29.760 --> 0:33:34.600
<v Speaker 4>I mean Kathy Freeman, I mean.

0:33:34.600 --> 0:33:37.880
<v Speaker 1>Bolt. So I was trying to think.

0:33:40.400 --> 0:33:42.240
<v Speaker 4>I feel like a man with no legs.

0:33:44.920 --> 0:33:51.120
<v Speaker 1>Who was accused found to your murder. So what would

0:33:51.160 --> 0:33:54.880
<v Speaker 1>be a dislike a dislike? What would be a fun

0:33:54.920 --> 0:34:01.360
<v Speaker 1>little quirky little dislike being a have a letter? Feeling like.

0:34:02.920 --> 0:34:06.320
<v Speaker 4>This legs she dislikes. God, this is making me seem

0:34:06.400 --> 0:34:08.399
<v Speaker 4>so cheery and happy, like I can't think of something

0:34:08.440 --> 0:34:11.200
<v Speaker 4>I despike, Whereas I feel like my life is filled

0:34:11.239 --> 0:34:15.400
<v Speaker 4>with so many, so many aggressions. How about this. This

0:34:15.520 --> 0:34:19.680
<v Speaker 4>is something I'm very minor. But when another comedian insists

0:34:19.760 --> 0:34:23.120
<v Speaker 4>upon you coming to the show but never once expresses

0:34:23.160 --> 0:34:26.799
<v Speaker 4>interest in coming to your show, that is something I've

0:34:27.320 --> 0:34:28.280
<v Speaker 4>recently realized.

0:34:28.320 --> 0:34:31.760
<v Speaker 1>I mean, I I enjoyed coming to your show in Britlyne.

0:34:33.320 --> 0:34:38.920
<v Speaker 1>I'm glad I did. I'm glad because it would have

0:34:38.960 --> 0:34:39.880
<v Speaker 1>it would have felt personal.

0:34:40.320 --> 0:34:43.040
<v Speaker 4>No, no, no, you did not insist upon me coming.

0:34:43.160 --> 0:34:45.160
<v Speaker 4>That was you seemed upset of anything.

0:34:48.040 --> 0:34:51.800
<v Speaker 1>Only here there's legs when comedians it did not to

0:34:51.880 --> 0:34:54.640
<v Speaker 1>come to his show. But it's not.

0:34:54.840 --> 0:34:56.879
<v Speaker 4>It's it's fine for them not to. I don't mind

0:34:56.920 --> 0:34:59.040
<v Speaker 4>people not COVID. It's when they're they're like you got

0:34:59.160 --> 0:35:01.239
<v Speaker 4>to you know, the keep inviting me to the show

0:35:01.239 --> 0:35:03.000
<v Speaker 4>and going, oh, you know, you know, I'm busy.

0:35:03.040 --> 0:35:03.640
<v Speaker 1>You know, like I am.

0:35:03.920 --> 0:35:06.640
<v Speaker 4>You know, we're all busy, you know. But then but

0:35:06.680 --> 0:35:08.440
<v Speaker 4>then they not once are like, oh can I get

0:35:08.480 --> 0:35:10.040
<v Speaker 4>a comp to your show? That feels like a bit.

0:35:10.800 --> 0:35:12.200
<v Speaker 4>That's that's the rudeness, I.

0:35:12.280 --> 0:35:15.600
<v Speaker 1>Think, Yes, that is do you want to name names?

0:35:15.719 --> 0:35:18.760
<v Speaker 4>Yes, let's go. Kevin Hart.

0:35:20.400 --> 0:35:25.759
<v Speaker 1>I like, yeah, he likes the smell of orange on

0:35:25.880 --> 0:35:30.080
<v Speaker 1>his fingers of orange and the and the taste of

0:35:30.120 --> 0:35:32.160
<v Speaker 1>a sultan bringing a chip on the tip of his tongue.

0:35:33.400 --> 0:35:37.400
<v Speaker 1>And I dislikes. Hell yeah, he dislikes when meals come

0:35:37.400 --> 0:35:41.040
<v Speaker 1>out at restaurants at odd times. Happened this morning. We

0:35:41.080 --> 0:35:42.920
<v Speaker 1>were we were actually went out for breakfast and I

0:35:43.040 --> 0:35:48.520
<v Speaker 1>got my my Birchu musley and I was finishing up.

0:35:48.520 --> 0:35:53.680
<v Speaker 1>My wife still hadn't got a avocado. Yeah, only smashed.

0:35:54.000 --> 0:35:56.320
<v Speaker 1>That's not you know, not that complix. It wasn't that complicated.

0:35:56.400 --> 0:35:58.160
<v Speaker 4>Yes, no, I I agree, And then you've got this

0:35:58.239 --> 0:36:01.520
<v Speaker 4>awkward thing with her, I mean, especially opinion what you get.

0:36:01.560 --> 0:36:03.840
<v Speaker 4>They sort of insist on you eating your meal you know,

0:36:04.400 --> 0:36:06.359
<v Speaker 4>well yeah, yeah, I mean you can't have your meal

0:36:06.400 --> 0:36:07.719
<v Speaker 4>got cold or whatever or well.

0:36:07.680 --> 0:36:09.480
<v Speaker 1>Then they said, can we give you a complimentary you know,

0:36:09.640 --> 0:36:12.520
<v Speaker 1>something else to eat? No, we don't, we don't, we

0:36:12.520 --> 0:36:15.600
<v Speaker 1>don't have we don't have the time anything to the drinks.

0:36:15.640 --> 0:36:18.400
<v Speaker 1>Say I'll have a child, and then that didn't come.

0:36:20.120 --> 0:36:22.879
<v Speaker 1>Let's just we'll call the whole thing off. But I also,

0:36:23.400 --> 0:36:26.920
<v Speaker 1>hell yeah, also the lakes. When seconds are left on

0:36:27.040 --> 0:36:30.600
<v Speaker 1>the microwave clock. Oh don't like when seconds yeah left

0:36:30.680 --> 0:36:31.040
<v Speaker 1>on you.

0:36:31.080 --> 0:36:33.200
<v Speaker 4>Mean you mean like if someone opens the microwave early

0:36:33.320 --> 0:36:36.080
<v Speaker 4>and it doesn't reset it. Yeah, you know, one hundred percent,

0:36:36.120 --> 0:36:36.400
<v Speaker 4>you're right.

0:36:36.440 --> 0:36:37.120
<v Speaker 1>I like it on zero.

0:36:37.400 --> 0:36:41.200
<v Speaker 4>Yes, not your Your microwave doesn't have the time like

0:36:41.280 --> 0:36:43.640
<v Speaker 4>the vastly incorrect time on it.

0:36:43.840 --> 0:36:46.600
<v Speaker 1>No, we know it's actually just goes back to zero.

0:36:46.960 --> 0:36:47.120
<v Speaker 4>Oh.

0:36:47.600 --> 0:36:49.680
<v Speaker 1>I think there's enough clocks in our house and watches

0:36:49.760 --> 0:36:52.040
<v Speaker 1>on devices that we don't need a microwave.

0:36:52.280 --> 0:36:54.680
<v Speaker 4>I did mean to lift. I didn't me to compliment.

0:36:54.719 --> 0:36:58.759
<v Speaker 4>You did get here on times, and it.

0:36:58.840 --> 0:37:01.480
<v Speaker 1>Was nothing to do with the micros. It played no part.

0:37:01.719 --> 0:37:04.520
<v Speaker 1>It really didn't, I'm sure, and we'll get the reasons

0:37:04.600 --> 0:37:06.600
<v Speaker 1>made way. What irked you about this film or what

0:37:06.680 --> 0:37:08.640
<v Speaker 1>didn't grab your attention? But it's a well it's a

0:37:08.680 --> 0:37:09.799
<v Speaker 1>beautifully made film, right.

0:37:09.760 --> 0:37:11.600
<v Speaker 4>Yes, it is beautiful. I will, I will admit that.

0:37:11.680 --> 0:37:14.919
<v Speaker 4>And that's always something that's so nice about a film

0:37:14.960 --> 0:37:17.840
<v Speaker 4>I think about like that. It's just pleasant to look at.

0:37:18.640 --> 0:37:20.680
<v Speaker 4>It almost feels sort of like a lost art, you know.

0:37:21.480 --> 0:37:23.840
<v Speaker 4>And maybe this just shows how much of a philistine

0:37:23.840 --> 0:37:25.279
<v Speaker 4>I am. But the only time I the other time

0:37:25.320 --> 0:37:28.839
<v Speaker 4>I really noticed it is with Wis Anderson Films. Yeah,

0:37:28.920 --> 0:37:31.480
<v Speaker 4>when you feel like everything's been so carefully placed, and

0:37:31.560 --> 0:37:35.360
<v Speaker 4>there's a color pellette I think he uses and Amelle

0:37:35.560 --> 0:37:38.200
<v Speaker 4>uses that. I don't think it is really used all

0:37:38.280 --> 0:37:39.400
<v Speaker 4>that often in modern films.

0:37:39.520 --> 0:37:42.920
<v Speaker 1>I think it's it's a really good comparison. And so

0:37:43.160 --> 0:37:46.560
<v Speaker 1>you often hear about the French New Wave and and

0:37:46.719 --> 0:37:50.160
<v Speaker 1>and what does that? What does that mean? Who are

0:37:50.160 --> 0:37:53.600
<v Speaker 1>the French? And it's like Jean look, Gerard and t

0:37:53.760 --> 0:37:57.440
<v Speaker 1>Faux and they were just poor and not getting the

0:37:58.640 --> 0:38:01.440
<v Speaker 1>you know, the money to make their films. And in

0:38:01.520 --> 0:38:03.640
<v Speaker 1>a way they were critical of the French films we

0:38:03.760 --> 0:38:05.920
<v Speaker 1>made of the day because they were like very shiny

0:38:06.000 --> 0:38:11.160
<v Speaker 1>and very not really showing Paris as Paris is. Ironically, Emily,

0:38:11.200 --> 0:38:14.560
<v Speaker 1>you could argue, does not really show Paris as Paris is.

0:38:14.840 --> 0:38:17.560
<v Speaker 4>It's funny that the financing limiting them. It reminds me

0:38:17.600 --> 0:38:19.600
<v Speaker 4>of I try to write an English essay in back

0:38:19.640 --> 0:38:22.239
<v Speaker 4>in high school about film To Kill a Mockingbird, the

0:38:22.280 --> 0:38:25.919
<v Speaker 4>one starring Gregory Pitt. Yes, and you know, I wanted

0:38:25.920 --> 0:38:27.879
<v Speaker 4>to argue that it was filmed in black and white

0:38:27.920 --> 0:38:31.719
<v Speaker 4>to make a point about racism. No, they had to film.

0:38:36.239 --> 0:38:39.000
<v Speaker 1>There is something about which I'm sure you've come across

0:38:39.080 --> 0:38:44.040
<v Speaker 1>in your career that when you don't have certainly happened

0:38:44.040 --> 0:38:46.520
<v Speaker 1>when you know we've done it's a date, or how

0:38:46.560 --> 0:38:48.200
<v Speaker 1>to stay married, or the film I made a film

0:38:48.239 --> 0:38:48.880
<v Speaker 1>cause I love you too.

0:38:49.760 --> 0:38:52.440
<v Speaker 4>I thought at first it was about you delvyd your

0:38:52.440 --> 0:38:56.920
<v Speaker 4>own personal life that I've been on a first date money.

0:38:57.680 --> 0:39:00.919
<v Speaker 1>Yeah, I dated my wife and we didn't get married

0:39:01.120 --> 0:39:05.040
<v Speaker 1>on the spot, thankfully. But no, when you when you

0:39:05.120 --> 0:39:09.719
<v Speaker 1>were snookered by budget or the location doesn't become available,

0:39:10.840 --> 0:39:13.719
<v Speaker 1>you often come up with a much better idea, this

0:39:13.880 --> 0:39:17.440
<v Speaker 1>idea that boundaries and having parameters set by the studio

0:39:17.600 --> 0:39:20.719
<v Speaker 1>or the ties and suites upstairs. Now, sometimes obviously that

0:39:20.880 --> 0:39:23.279
<v Speaker 1>is annoying and it's not for the betterment of the

0:39:23.320 --> 0:39:26.400
<v Speaker 1>film or the projects. But I think quite often it's

0:39:26.480 --> 0:39:28.800
<v Speaker 1>amazing how many times, particularly if it happens in the

0:39:28.960 --> 0:39:32.799
<v Speaker 1>writing phase of it, you can go, Okay, let's work

0:39:32.840 --> 0:39:35.239
<v Speaker 1>around this, what's a better solution, and you often come

0:39:35.280 --> 0:39:36.280
<v Speaker 1>up with a better idea.

0:39:36.080 --> 0:39:38.680
<v Speaker 4>One hundred percent. Yes, I always feel that that way

0:39:38.719 --> 0:39:42.320
<v Speaker 4>about when people complain about political correctness and comedy. You know,

0:39:42.719 --> 0:39:44.960
<v Speaker 4>regardless of you know your view of it. If you

0:39:45.040 --> 0:39:47.320
<v Speaker 4>think there is you know, a new rule or whatever

0:39:47.360 --> 0:39:49.680
<v Speaker 4>about what you can and can't say. Then you can

0:39:49.960 --> 0:39:52.160
<v Speaker 4>play with that and work around it. Like Ben Hurley,

0:39:53.280 --> 0:39:54.680
<v Speaker 4>a New Zealand comedian.

0:39:54.600 --> 0:39:57.120
<v Speaker 1>A great comic, previous guest on the show, a friend

0:39:57.120 --> 0:39:59.680
<v Speaker 1>of mine. Ben, Yes, he's so funny. On the current

0:39:59.680 --> 0:40:02.200
<v Speaker 1>season task Master, Yes.

0:40:01.600 --> 0:40:04.560
<v Speaker 4>He has just finished airing. He has a joke about

0:40:04.600 --> 0:40:07.480
<v Speaker 4>how he went to get a massage, and the opening

0:40:07.520 --> 0:40:10.080
<v Speaker 4>of the joke is about how she came from a

0:40:10.160 --> 0:40:12.960
<v Speaker 4>country and you can no longer do their accent anymore,

0:40:13.239 --> 0:40:15.600
<v Speaker 4>but she let's just say she was German and she

0:40:15.719 --> 0:40:20.440
<v Speaker 4>came from a little German town called Shanghai. He does

0:40:20.520 --> 0:40:23.040
<v Speaker 4>a German accent. It's such a funny, it's such a

0:40:23.440 --> 0:40:25.719
<v Speaker 4>that's so much cleverer than just doing it, you know,

0:40:25.880 --> 0:40:28.640
<v Speaker 4>doing a mock caricature Asian accent or whatever. You know,

0:40:28.680 --> 0:40:30.920
<v Speaker 4>it's so much funnier. And I always think it was

0:40:30.960 --> 0:40:34.040
<v Speaker 4>well about Mash the TV show. I think I think

0:40:34.080 --> 0:40:36.640
<v Speaker 4>there was the American version. They wanted them to have

0:40:36.719 --> 0:40:39.440
<v Speaker 4>a laugh track and Mash you know that all the right,

0:40:39.520 --> 0:40:41.440
<v Speaker 4>you know, they hated having a laugh track, but the

0:40:41.719 --> 0:40:43.840
<v Speaker 4>studio relented and said, Okay, you don't have to have

0:40:43.880 --> 0:40:46.800
<v Speaker 4>a laugh track when you're filming in the hospital. Scenes.

0:40:46.920 --> 0:40:48.959
<v Speaker 4>I guess maybe there were meant to be somber or whatever.

0:40:49.320 --> 0:40:51.160
<v Speaker 4>And so then they tried to sit as many scenes

0:40:51.200 --> 0:40:53.680
<v Speaker 4>as they could inside the hospital so that way they

0:40:53.760 --> 0:40:55.719
<v Speaker 4>never had to use the laugh track. And I think

0:40:55.800 --> 0:40:58.600
<v Speaker 4>that's kind of interesting innovation, you know, Yeah, that produces

0:40:58.760 --> 0:41:00.400
<v Speaker 4>just much more interesting stuff.

0:41:00.680 --> 0:41:03.840
<v Speaker 1>Yeah, absolutely so in these films. And I think Where's

0:41:03.840 --> 0:41:07.759
<v Speaker 1>Anderson is obviously influenced by the French New Wave because

0:41:07.840 --> 0:41:12.040
<v Speaker 1>because they didn't have the money, they would have dolly shots,

0:41:12.200 --> 0:41:14.719
<v Speaker 1>but they'll be in a wheelbarrow with the camera or

0:41:14.800 --> 0:41:16.800
<v Speaker 1>on a bicycle, you know. So, and the camera was

0:41:16.880 --> 0:41:20.520
<v Speaker 1>often always moving or handheld. In Arma Lee, the camera

0:41:20.640 --> 0:41:25.160
<v Speaker 1>is always moving, it never it never, it's still, you know.

0:41:25.280 --> 0:41:27.480
<v Speaker 1>Breaking the Fourth Wall was a kind of a French

0:41:28.040 --> 0:41:31.440
<v Speaker 1>New Wave thing. Was it narration? Like in narration, like

0:41:31.560 --> 0:41:36.200
<v Speaker 1>starting a film with monologue in narration? Is it kind

0:41:36.239 --> 0:41:38.440
<v Speaker 1>of came I think from the French New Wave, Like

0:41:38.640 --> 0:41:40.399
<v Speaker 1>you see good failures kind to do that a really

0:41:40.440 --> 0:41:42.120
<v Speaker 1>good you know effect.

0:41:42.960 --> 0:41:44.880
<v Speaker 4>This is this thing where like I feel like by

0:41:45.000 --> 0:41:47.600
<v Speaker 4>having this conversation, you're convincing me to enjoy the film.

0:41:47.680 --> 0:41:49.239
<v Speaker 4>Like I'm like, oh, maybe I did like it, Like

0:41:49.600 --> 0:41:51.719
<v Speaker 4>I'm loning all these interesting things. It's like when I

0:41:51.760 --> 0:41:55.080
<v Speaker 4>saw the film, did you ever watch Tar? Which was yeah,

0:41:55.760 --> 0:41:57.160
<v Speaker 4>which was again, there was a film I did not

0:41:57.360 --> 0:41:59.719
<v Speaker 4>enjoy when I saw it, And then basically then when

0:41:59.840 --> 0:42:02.360
<v Speaker 4>I was I saw it, and then I where I

0:42:02.440 --> 0:42:05.600
<v Speaker 4>filmed task Master the New Zealand season after seeing it,

0:42:05.960 --> 0:42:08.120
<v Speaker 4>and every day I was on set we talked about

0:42:08.160 --> 0:42:11.120
<v Speaker 4>the film Tar and eventually had so many conversations about Tar.

0:42:11.160 --> 0:42:13.440
<v Speaker 4>I was like, oh, maybe it was a really great film.

0:42:13.640 --> 0:42:16.919
<v Speaker 1>That's so funny because I shot my series of task

0:42:17.000 --> 0:42:19.520
<v Speaker 1>Master coming up later this year in Australia. We shot

0:42:19.560 --> 0:42:22.279
<v Speaker 1>it just after I think you had shot your series. Yes,

0:42:22.360 --> 0:42:25.200
<v Speaker 1>that sounds right, and that that conversation that idea got

0:42:25.239 --> 0:42:27.760
<v Speaker 1>back to us the Tar. For some reason, it became

0:42:27.840 --> 0:42:31.759
<v Speaker 1>like a little well, well yeah, And then it became

0:42:31.800 --> 0:42:34.200
<v Speaker 1>a joke between because we had the same thing of

0:42:34.280 --> 0:42:36.840
<v Speaker 1>like discussing that we like the film and night and

0:42:37.120 --> 0:42:39.640
<v Speaker 1>so it became it's still a running joke between me

0:42:39.640 --> 0:42:41.759
<v Speaker 1>and Resnichols. And whenever I see Tar, if it's on

0:42:41.800 --> 0:42:43.640
<v Speaker 1>an airplane, I take a photo and I said with

0:42:43.680 --> 0:42:46.719
<v Speaker 1>the Reis Nicholson, just say, you know Tars playing uncontesce

0:42:46.719 --> 0:42:49.560
<v Speaker 1>at the moment, or just so you know, he's a

0:42:49.640 --> 0:42:55.200
<v Speaker 1>photo tars on the in the Foxtel store, as anybody

0:42:55.200 --> 0:42:57.520
<v Speaker 1>who is that. You know, he's in the Edinburgh Festival

0:42:57.520 --> 0:42:59.640
<v Speaker 1>at the moment, and I'm still sending him Tar photos.

0:43:00.920 --> 0:43:02.800
<v Speaker 4>That's so crazy that it filtered down. But yeah, I

0:43:02.840 --> 0:43:05.480
<v Speaker 4>remember Joseph Moore, who's part of the writing team for

0:43:05.560 --> 0:43:08.560
<v Speaker 4>task Master, said he pitched a task which was of

0:43:08.719 --> 0:43:12.320
<v Speaker 4>we came up with the show Tarsk Master, and his

0:43:12.560 --> 0:43:16.920
<v Speaker 4>task was write an opera, write a concert without getting canceled.

0:43:20.800 --> 0:43:23.040
<v Speaker 1>So did you enjoy tar in the end?

0:43:23.400 --> 0:43:25.960
<v Speaker 4>I think I've become convinced that I did enjoy it.

0:43:25.960 --> 0:43:27.800
<v Speaker 4>I've only said it the one time, but I've, you know,

0:43:28.280 --> 0:43:29.680
<v Speaker 4>the more I think about it, and like I read

0:43:29.719 --> 0:43:31.759
<v Speaker 4>reviews about like the structure of the film was meant

0:43:31.800 --> 0:43:34.520
<v Speaker 4>to mirror the piece that she was writing, like it's

0:43:34.560 --> 0:43:36.200
<v Speaker 4>a slow beginning, but then it has like quite a

0:43:36.560 --> 0:43:39.560
<v Speaker 4>frenetic crescendo. And I did enjoy elements of her, like

0:43:39.640 --> 0:43:42.799
<v Speaker 4>her crashing into the conductor. But I remember when it ended,

0:43:42.840 --> 0:43:45.960
<v Speaker 4>I was sort of like, oh, is that it's just over? Okay? Whoops?

0:43:46.000 --> 0:43:48.640
<v Speaker 4>And I probably didn't read into the significance of how

0:43:48.760 --> 0:43:50.960
<v Speaker 4>far she had fallen and stuff. But I did think

0:43:51.000 --> 0:43:52.920
<v Speaker 4>there were elements of it that were very clever, like

0:43:53.000 --> 0:43:56.080
<v Speaker 4>the slow reveal that she had been sort of inappropriate

0:43:56.160 --> 0:43:58.759
<v Speaker 4>with it with a student, or the slow reveal of

0:43:58.880 --> 0:44:03.080
<v Speaker 4>that that preview student. I feel like people probably listening

0:44:03.120 --> 0:44:05.239
<v Speaker 4>to this podcast, we're not expected to get spoiled about

0:44:05.239 --> 0:44:05.799
<v Speaker 4>the film Tar.

0:44:08.280 --> 0:44:10.799
<v Speaker 1>Well. My biggest shock about Tar was that it wasn't

0:44:11.200 --> 0:44:13.520
<v Speaker 1>I thought it was based on it. It really sells

0:44:13.600 --> 0:44:16.000
<v Speaker 1>the idea, and the performance is so good, and they

0:44:16.080 --> 0:44:19.800
<v Speaker 1>have these long I think maybe it's the opening scene

0:44:19.840 --> 0:44:22.680
<v Speaker 1>where she's doing this long kind of form interview of

0:44:22.719 --> 0:44:23.280
<v Speaker 1>an audience.

0:44:23.480 --> 0:44:25.359
<v Speaker 4>Yes, that that was a challenging scene.

0:44:25.360 --> 0:44:27.600
<v Speaker 1>I thought it was. It kind of makes you think, oh,

0:44:27.640 --> 0:44:29.600
<v Speaker 1>they're showing this scene because this is like, this is

0:44:29.880 --> 0:44:32.319
<v Speaker 1>a conversation has happened, and then this is showing how

0:44:32.400 --> 0:44:34.480
<v Speaker 1>good she is and how much she knows and how

0:44:34.560 --> 0:44:37.680
<v Speaker 1>much is in control of her craft, and you know

0:44:38.360 --> 0:44:40.360
<v Speaker 1>it's going to get an insight of this woman and

0:44:40.440 --> 0:44:42.640
<v Speaker 1>her career before we move into because you know, I

0:44:42.719 --> 0:44:44.920
<v Speaker 1>don't know, I don't know who Tar is. You know,

0:44:45.080 --> 0:44:48.160
<v Speaker 1>I haven't And it was only after the film I googled.

0:44:48.239 --> 0:44:50.600
<v Speaker 1>You know, Tar, I want to know more and then

0:44:50.640 --> 0:44:56.120
<v Speaker 1>that completely completely. Rarely have I been disappointed. I mean,

0:44:56.160 --> 0:44:58.040
<v Speaker 1>when we heard Forrest Gump wasn't a real guy.

0:44:58.200 --> 0:45:00.920
<v Speaker 4>That was I guess we have to do this long

0:45:01.040 --> 0:45:03.200
<v Speaker 4>think about the wood maker making the puppet. But I

0:45:03.200 --> 0:45:06.839
<v Speaker 4>would love it, but I can't went in into Pinocchio's life.

0:45:10.239 --> 0:45:13.440
<v Speaker 1>Get back to your point, this podcast has quite a

0:45:13.480 --> 0:45:17.359
<v Speaker 1>few times now somebody who would say, ah, yeah, I'm

0:45:17.400 --> 0:45:19.480
<v Speaker 1>not sure, and I particular like and mean by the

0:45:19.600 --> 0:45:22.239
<v Speaker 1>end through discussing it, actually I might watch it again,

0:45:22.320 --> 0:45:24.319
<v Speaker 1>or maybe I enjoyed it more than I thought.

0:45:24.360 --> 0:45:26.719
<v Speaker 4>I yes. And also to go back to what you

0:45:26.760 --> 0:45:28.880
<v Speaker 4>said about Lydia Tar, about her being a real person.

0:45:28.920 --> 0:45:31.560
<v Speaker 4>I feel like so much of how I learn things nowadays,

0:45:31.840 --> 0:45:33.960
<v Speaker 4>as I go and I watch a biopic or I

0:45:34.080 --> 0:45:35.960
<v Speaker 4>watch a film based on now you know now every

0:45:36.000 --> 0:45:38.600
<v Speaker 4>film was basically based on real events, and you watch

0:45:38.680 --> 0:45:41.040
<v Speaker 4>that and then you go, but did it happen that way?

0:45:41.440 --> 0:45:44.120
<v Speaker 4>Then that's how I learn about historical facts. Now, as

0:45:44.160 --> 0:45:46.880
<v Speaker 4>I go on Wikipedia and I learned about how everything

0:45:46.920 --> 0:45:48.560
<v Speaker 4>that the film got wrong, and that's now how I

0:45:48.680 --> 0:45:52.160
<v Speaker 4>know what actually happened on was it Missus Harris's Evil

0:45:52.200 --> 0:45:55.640
<v Speaker 4>Little Letters or whatever. That Olivia Coleman film was Wicked,

0:45:56.120 --> 0:45:57.680
<v Speaker 4>Wicked Little Letters or something else.

0:45:58.000 --> 0:46:00.319
<v Speaker 1>I watched that. I haven't seen that one, but it's

0:46:00.960 --> 0:46:08.160
<v Speaker 1>thoroughly averages that may not make the poster the perfect film.

0:46:08.239 --> 0:46:09.400
<v Speaker 4>That's how I would describe it.

0:46:10.320 --> 0:46:13.200
<v Speaker 1>I I mean, let's what's your Do you have a

0:46:13.320 --> 0:46:14.520
<v Speaker 1>relationship with Paris?

0:46:15.239 --> 0:46:18.560
<v Speaker 4>No, I've never been, so that my relationship begins and

0:46:18.680 --> 0:46:22.880
<v Speaker 4>ends with the Olympics of this year, I think, so. Yeah, No,

0:46:22.920 --> 0:46:24.800
<v Speaker 4>I've never been. I mean, you know, I'd love to go,

0:46:25.000 --> 0:46:26.680
<v Speaker 4>I guess, but no, I've not been.

0:46:26.840 --> 0:46:28.719
<v Speaker 1>So And do you have because a lot of people

0:46:28.719 --> 0:46:30.680
<v Speaker 1>it's one of those cities that people will have a

0:46:30.719 --> 0:46:34.400
<v Speaker 1>wonderlust for, like the idea of, like the romance of it,

0:46:34.560 --> 0:46:37.879
<v Speaker 1>or the history. Do you I mean outside just like, oh, yeah,

0:46:37.880 --> 0:46:39.200
<v Speaker 1>it would be nice to go one day. But do

0:46:39.320 --> 0:46:40.680
<v Speaker 1>you have an urge to go to Paris?

0:46:40.920 --> 0:46:43.680
<v Speaker 4>No? No, I have sort of zero urge to go traveling.

0:46:43.760 --> 0:46:46.359
<v Speaker 4>Like I'm very like I I guess I'm very said

0:46:46.400 --> 0:46:48.880
<v Speaker 4>in my ways maybe, but like, I know I should

0:46:48.960 --> 0:46:50.719
<v Speaker 4>go to Paris, and I think that would be the

0:46:50.800 --> 0:46:52.640
<v Speaker 4>thing that motivates me to go, Like oh, I have

0:46:52.800 --> 0:46:53.440
<v Speaker 4>to go to Paris.

0:46:53.520 --> 0:46:55.080
<v Speaker 1>It's Paris, you know, So I.

0:46:55.160 --> 0:46:58.200
<v Speaker 4>Will go eventually, I imagine, but it's I don't have

0:46:58.320 --> 0:47:02.040
<v Speaker 4>a drive really to visit any place really apart from

0:47:02.160 --> 0:47:04.360
<v Speaker 4>the fact that like you should, you should go to

0:47:04.480 --> 0:47:05.120
<v Speaker 4>these places.

0:47:07.719 --> 0:47:11.440
<v Speaker 1>It's it's rare that you come across somebody's like travel.

0:47:14.800 --> 0:47:19.759
<v Speaker 1>There is somebody now my wife and my life that

0:47:20.200 --> 0:47:23.560
<v Speaker 1>is has been very likely to travel. And if they do,

0:47:23.680 --> 0:47:32.160
<v Speaker 1>it's it's America. No no interest, so curiosity, massive fan

0:47:32.840 --> 0:47:38.400
<v Speaker 1>and and that's it. Always. It always intrigues me as

0:47:38.520 --> 0:47:40.880
<v Speaker 1>to as to what what that's based on.

0:47:41.080 --> 0:47:43.200
<v Speaker 4>Yeah, I just I think it's the thing of just

0:47:43.320 --> 0:47:45.719
<v Speaker 4>I like, you know, I think what I like is

0:47:45.760 --> 0:47:47.400
<v Speaker 4>I do like hanging out with my friends, you know,

0:47:47.440 --> 0:47:49.800
<v Speaker 4>I love having conversations with him and stuff. And I

0:47:50.400 --> 0:47:52.440
<v Speaker 4>think I'm just very neutral about where we do that.

0:47:54.840 --> 0:47:56.360
<v Speaker 4>You know, like we could go should we could go

0:47:56.400 --> 0:47:58.200
<v Speaker 4>swimming and we could hang in a pool and talk,

0:47:58.360 --> 0:48:00.120
<v Speaker 4>or we could you know, or we could you know,

0:48:00.200 --> 0:48:01.840
<v Speaker 4>we can go to Paris, and you know that, And

0:48:01.920 --> 0:48:03.600
<v Speaker 4>it is actually I mean, I think, you know, it

0:48:03.719 --> 0:48:05.839
<v Speaker 4>is nice to go traveling with your friends because then

0:48:06.239 --> 0:48:08.759
<v Speaker 4>at least it gives you things to talk about. You know, yes,

0:48:09.040 --> 0:48:10.480
<v Speaker 4>and you know, and then you have memories and you

0:48:10.760 --> 0:48:12.760
<v Speaker 4>you know, memories are nice. I guess.

0:48:14.280 --> 0:48:19.000
<v Speaker 1>Well, memories cannot also nice. Famously, there are plenty of

0:48:19.120 --> 0:48:22.319
<v Speaker 1>memories that you would like to raise and getting too.

0:48:22.320 --> 0:48:24.239
<v Speaker 4>A little bit of Eternal Sunshine, the smellst mindy. Yes,

0:48:24.280 --> 0:48:26.640
<v Speaker 4>a great film. Yes, oh that, maybe that? Maybe that

0:48:26.760 --> 0:48:28.359
<v Speaker 4>was one of the films on my top four when

0:48:28.400 --> 0:48:29.399
<v Speaker 4>I did the top four list.

0:48:29.520 --> 0:48:31.360
<v Speaker 1>There we go. Well, it's also an interesting like with

0:48:32.239 --> 0:48:36.160
<v Speaker 1>Ironic to forget it. But I feel like there's a

0:48:36.200 --> 0:48:39.480
<v Speaker 1>connection with Eternal Sunshine and Armor Lee, like there's a

0:48:39.760 --> 0:48:43.839
<v Speaker 1>certain I think Eternal Sunshine is darker and it goes

0:48:44.400 --> 0:48:48.319
<v Speaker 1>to more Perhaps there I say interesting places and ask

0:48:48.400 --> 0:48:51.480
<v Speaker 1>bigger for philosophical questions. Even though Armily is a very

0:48:51.560 --> 0:48:55.239
<v Speaker 1>simple film about can you make other people's lives better?

0:48:55.640 --> 0:48:59.200
<v Speaker 1>And what's your role in doing that? And how important

0:48:59.280 --> 0:49:03.440
<v Speaker 1>is isin? And I do like that Armiles. It's kind

0:49:03.440 --> 0:49:06.600
<v Speaker 1>of a love story, certainly a romantic films. It's you

0:49:06.680 --> 0:49:09.160
<v Speaker 1>always feel that she's doing it for the betterment of herself,

0:49:09.320 --> 0:49:12.400
<v Speaker 1>more than the idea of needing a guy to make

0:49:12.480 --> 0:49:15.680
<v Speaker 1>her life better. I think you know the fact that

0:49:15.760 --> 0:49:19.279
<v Speaker 1>she goes and attempts to make other people's lives better,

0:49:19.600 --> 0:49:22.920
<v Speaker 1>and through doing that, I think becomes confident enough to

0:49:24.000 --> 0:49:26.680
<v Speaker 1>land this guy, if you like she does in a

0:49:26.800 --> 0:49:31.000
<v Speaker 1>very complicated way. I mean, there are things in this movie,

0:49:31.239 --> 0:49:34.320
<v Speaker 1>like with the phone box, the little treasure trove, the

0:49:34.400 --> 0:49:38.040
<v Speaker 1>tin boxes she finds and she finally gets it into

0:49:38.120 --> 0:49:41.320
<v Speaker 1>the hands of the person who lost it as a child.

0:49:41.520 --> 0:49:43.440
<v Speaker 1>But even then it's just like that you call the

0:49:43.480 --> 0:49:46.359
<v Speaker 1>phone box as he's walking by, and then you hang up,

0:49:46.440 --> 0:49:49.400
<v Speaker 1>and then he has to see the tin box. It's

0:49:49.480 --> 0:49:50.800
<v Speaker 1>like there's an easy way of doing that.

0:49:52.880 --> 0:49:54.799
<v Speaker 4>Yes, I remember thinking at the end where I thought, oh,

0:49:54.840 --> 0:49:58.360
<v Speaker 4>she's finally going to meet Nino or what Nina? And

0:49:58.440 --> 0:50:01.040
<v Speaker 4>he looks in the photo whel on the page she sees,

0:50:01.080 --> 0:50:03.520
<v Speaker 4>and then it's do you want to meet me? Go here?

0:50:03.560 --> 0:50:05.239
<v Speaker 4>And then he goes to Then he goes to the

0:50:05.320 --> 0:50:08.359
<v Speaker 4>cafe and he's waiting for her, and she's too, puts

0:50:08.400 --> 0:50:10.520
<v Speaker 4>a note in his pocket. Then it's like, come on, just.

0:50:10.600 --> 0:50:14.440
<v Speaker 1>Talk, just say hello. I mean I was I was

0:50:14.520 --> 0:50:17.520
<v Speaker 1>thinking with the phone box, why why isn't she making

0:50:17.600 --> 0:50:20.680
<v Speaker 1>conversation with this guy? And then you realize, oh, she's

0:50:20.719 --> 0:50:24.440
<v Speaker 1>actually quite crippling shy. I do love the setup of

0:50:25.040 --> 0:50:27.440
<v Speaker 1>her relationship with her parents, you know the fact that

0:50:27.480 --> 0:50:30.480
<v Speaker 1>her her mum. You know, like this film is kind

0:50:30.480 --> 0:50:32.240
<v Speaker 1>of I think when people kind of think about amily,

0:50:32.320 --> 0:50:34.560
<v Speaker 1>they think about it it's romantic, it's idealistic, and they

0:50:34.640 --> 0:50:36.719
<v Speaker 1>kind of forget about some of the darker elements. Her mum,

0:50:37.160 --> 0:50:40.600
<v Speaker 1>her mom gets squashed by somebody leaping off committing suicide

0:50:41.000 --> 0:50:45.520
<v Speaker 1>of a cathedral. Yes, I mean that's it's a light yes.

0:50:45.600 --> 0:50:48.200
<v Speaker 4>And then her dad assumes she has a heart condition

0:50:48.480 --> 0:50:51.920
<v Speaker 4>and and homeschools. Like she has no social she has

0:50:51.960 --> 0:50:53.120
<v Speaker 4>no friends for her.

0:50:53.000 --> 0:50:55.879
<v Speaker 1>Growing up, doesn't have any friends because her father does

0:50:55.960 --> 0:50:58.480
<v Speaker 1>not not in the physical contact. So the only time

0:50:58.560 --> 0:51:00.640
<v Speaker 1>she has physical contact is when he gives her a

0:51:00.719 --> 0:51:05.320
<v Speaker 1>medical and that causes the very the thrill of his

0:51:06.080 --> 0:51:08.520
<v Speaker 1>hand is gently being on her on a steposcope being

0:51:08.560 --> 0:51:12.600
<v Speaker 1>on her chest sends her heart into increases her heartbeat,

0:51:12.800 --> 0:51:16.040
<v Speaker 1>so they assume she has a medical heart defect, so

0:51:16.320 --> 0:51:19.360
<v Speaker 1>she ends up being homeschool I think it's incredible.

0:51:19.440 --> 0:51:21.600
<v Speaker 4>No, yes, no, I do think the opening. I remember

0:51:21.640 --> 0:51:23.319
<v Speaker 4>going in thinking like there's a chance I'm not going

0:51:23.400 --> 0:51:25.759
<v Speaker 4>to like this film, and then the opening I must say,

0:51:25.760 --> 0:51:28.840
<v Speaker 4>I really I was really really enjoying the film, like

0:51:28.960 --> 0:51:31.560
<v Speaker 4>her childhood and stuff growing up, and I think I'm

0:51:31.600 --> 0:51:33.800
<v Speaker 4>trying to pinpoint what I disliked, and I think I

0:51:33.840 --> 0:51:36.520
<v Speaker 4>don't think I like it when films and books and

0:51:36.760 --> 0:51:42.120
<v Speaker 4>stuff are maybe aimless as too as an unfeared description.

0:51:42.600 --> 0:51:44.960
<v Speaker 4>But like, have you read Catcher in the Rye?

0:51:45.239 --> 0:51:45.399
<v Speaker 1>Yes?

0:51:45.640 --> 0:51:47.160
<v Speaker 4>And the Catcher in the rye is sort of you know,

0:51:48.600 --> 0:51:50.719
<v Speaker 4>does he does the main character even hold it hold

0:51:50.800 --> 0:51:53.000
<v Speaker 4>in court? Yes, he just it's a sort of him

0:51:53.000 --> 0:51:55.480
<v Speaker 4>just sort of wandering about and looking at things and

0:51:55.520 --> 0:51:58.560
<v Speaker 4>then going like, oh, you know, I hate that or

0:51:58.640 --> 0:52:00.680
<v Speaker 4>I like this or whatever, and then it just kind

0:52:00.680 --> 0:52:02.920
<v Speaker 4>of then it's just sort of over. Yeah, and all

0:52:02.960 --> 0:52:05.160
<v Speaker 4>this that's my memory of it from red in high school.

0:52:05.239 --> 0:52:05.440
<v Speaker 3>And I.

0:52:07.000 --> 0:52:08.560
<v Speaker 4>Think I have an issue with films where I feel

0:52:08.560 --> 0:52:10.719
<v Speaker 4>like they follow a similar kind of pattern. I guess

0:52:10.719 --> 0:52:13.280
<v Speaker 4>I felt like and like, I don't know, she reunites

0:52:13.320 --> 0:52:14.920
<v Speaker 4>the guy with the box, and then I was like, Okay,

0:52:15.000 --> 0:52:16.680
<v Speaker 4>I thought that was the main thing, and now there's

0:52:16.680 --> 0:52:18.200
<v Speaker 4>just this whole other thing and she's just kind of

0:52:18.280 --> 0:52:19.759
<v Speaker 4>doing stuff now, and I was like, what is the

0:52:19.960 --> 0:52:21.919
<v Speaker 4>I don't know, I think it speaks to me being

0:52:22.000 --> 0:52:25.520
<v Speaker 4>quite stupid and film and film illiterate. I think where

0:52:26.080 --> 0:52:28.000
<v Speaker 4>there's I feel like, if there's not like an obvious

0:52:28.080 --> 0:52:29.759
<v Speaker 4>plot point for them to get to, I'm sort of like,

0:52:29.840 --> 0:52:31.960
<v Speaker 4>what's going on here? What am I watching this for?

0:52:32.080 --> 0:52:32.960
<v Speaker 4>What's what's happening?

0:52:33.520 --> 0:52:38.160
<v Speaker 1>The filmmaker should and obviously for many people, the filmmaker

0:52:38.200 --> 0:52:38.680
<v Speaker 1>has done this.

0:52:39.880 --> 0:52:41.279
<v Speaker 4>No, No, I'm very much in the wrong.

0:52:43.400 --> 0:52:45.000
<v Speaker 1>We all we all can out with different films, but

0:52:45.320 --> 0:52:47.960
<v Speaker 1>you know, it should always feel there's momentum in a

0:52:48.000 --> 0:52:51.400
<v Speaker 1>film that you were constantly asking questions of the film.

0:52:51.640 --> 0:52:55.000
<v Speaker 1>I do think the powerful thing about Amalie is every

0:52:55.080 --> 0:53:00.719
<v Speaker 1>department is just in stunning form. The color in this

0:53:01.120 --> 0:53:04.760
<v Speaker 1>you know they use they use red, green, and yellow,

0:53:05.640 --> 0:53:07.960
<v Speaker 1>a whole bunch, with the occasional flash of blue like

0:53:08.040 --> 0:53:10.520
<v Speaker 1>you see like a blue lamp or a blue car,

0:53:10.680 --> 0:53:13.880
<v Speaker 1>and that's you know, and it's and it's all very deliberate.

0:53:13.960 --> 0:53:17.920
<v Speaker 1>It's all it's all done to represent different moods. And

0:53:18.000 --> 0:53:20.040
<v Speaker 1>we won't deep dive too much into that because you know,

0:53:20.400 --> 0:53:22.520
<v Speaker 1>you can do that online like all the work for

0:53:22.600 --> 0:53:23.160
<v Speaker 1>you guys.

0:53:24.520 --> 0:53:26.880
<v Speaker 4>No, but it does feel like one of those films,

0:53:27.480 --> 0:53:31.480
<v Speaker 4>like again, like Tar where it's so rich I think,

0:53:31.560 --> 0:53:33.960
<v Speaker 4>and what it's doing, like again, like the you know,

0:53:34.080 --> 0:53:36.399
<v Speaker 4>it looks so beautiful and it's it's such a it's

0:53:36.400 --> 0:53:39.040
<v Speaker 4>an interesting film. I'll definitely give it that like. And

0:53:39.160 --> 0:53:41.200
<v Speaker 4>and so maybe that's if any think it's that's more

0:53:41.200 --> 0:53:43.080
<v Speaker 4>important than me enjoying it, is that like it's going

0:53:43.160 --> 0:53:44.680
<v Speaker 4>to be a film that I think I could discuss

0:53:44.760 --> 0:53:47.320
<v Speaker 4>with people for a long long time, Whereas again, like

0:53:47.520 --> 0:53:50.040
<v Speaker 4>you know, Wicked Little Letters as a film that I,

0:53:50.320 --> 0:53:52.320
<v Speaker 4>you know, I never think about, you know, in Tars,

0:53:52.320 --> 0:53:53.960
<v Speaker 4>a film I still think about, you know, And just

0:53:54.040 --> 0:53:56.760
<v Speaker 4>because I didn't enjoy it at the time doesn't necessarily

0:53:56.800 --> 0:53:59.200
<v Speaker 4>mean it's not a good film, I guess as how

0:53:59.280 --> 0:54:01.719
<v Speaker 4>maybe howd you know, I think I can just like

0:54:01.920 --> 0:54:03.919
<v Speaker 4>maybe this is a crazy thing to do, but maybe

0:54:03.960 --> 0:54:06.279
<v Speaker 4>it's from studying philosophy. But I feel like you can

0:54:06.320 --> 0:54:08.239
<v Speaker 4>make a distinction between whether or not the film is

0:54:08.280 --> 0:54:10.560
<v Speaker 4>good and whether or not I actually enjoyed it. And

0:54:10.640 --> 0:54:12.279
<v Speaker 4>I don't think I enjoyed it at the time I

0:54:12.360 --> 0:54:14.680
<v Speaker 4>watched it, But the film is probably good and it's

0:54:14.719 --> 0:54:17.400
<v Speaker 4>like it's, you know, it's a richer film than a

0:54:17.480 --> 0:54:18.320
<v Speaker 4>lot out there, you know.

0:54:18.760 --> 0:54:21.560
<v Speaker 1>Yeah, I think there's something to say for that. There

0:54:21.560 --> 0:54:24.440
<v Speaker 1>are films that you decide in the moment that you love.

0:54:24.680 --> 0:54:24.840
<v Speaker 3>You know.

0:54:24.920 --> 0:54:27.319
<v Speaker 1>There are times where I'm watching a film and very

0:54:27.400 --> 0:54:29.239
<v Speaker 1>early on, it could be the first scene buscashid in

0:54:29.239 --> 0:54:31.400
<v Speaker 1>the Sundance Kid I watched for this podcast, and in

0:54:31.440 --> 0:54:33.440
<v Speaker 1>the opening titles, I thought, I love this film, you know,

0:54:33.520 --> 0:54:36.279
<v Speaker 1>and of course who knows, and I end up loving

0:54:36.320 --> 0:54:38.319
<v Speaker 1>that film, But it could have gone a separate way,

0:54:38.360 --> 0:54:40.400
<v Speaker 1>but I felt very safe hands. Then there are films

0:54:40.440 --> 0:54:43.080
<v Speaker 1>that you kind of just just just staying you like

0:54:43.320 --> 0:54:45.800
<v Speaker 1>Past Laves as a film that I watched it again recently,

0:54:46.000 --> 0:54:48.160
<v Speaker 1>and that was a film that just I loved it

0:54:48.320 --> 0:54:50.840
<v Speaker 1>watching it, but just it grew in richness for me

0:54:50.920 --> 0:54:52.680
<v Speaker 1>the more it's stayed in my head and the more

0:54:52.719 --> 0:54:55.000
<v Speaker 1>I thought about it. And the fact is, Ray, I'm

0:54:55.000 --> 0:54:57.480
<v Speaker 1>planning on recording this for six hours, so you're be

0:54:57.480 --> 0:54:59.400
<v Speaker 1>doing with amal long for a lot.

0:55:02.000 --> 0:55:04.680
<v Speaker 4>The film like Requiem for a Dream, I think when

0:55:04.719 --> 0:55:07.279
<v Speaker 4>I watched that, I was I think I was like

0:55:07.400 --> 0:55:09.680
<v Speaker 4>depressed for three days after it was like it was

0:55:09.760 --> 0:55:13.919
<v Speaker 4>horrified watch and like it's probably like the best film

0:55:13.920 --> 0:55:16.360
<v Speaker 4>I'll never watch again, you know, like it probably is

0:55:16.400 --> 0:55:18.560
<v Speaker 4>a great film, but it's just so upset.

0:55:19.600 --> 0:55:21.719
<v Speaker 1>I think I think it's it's important to kind of

0:55:22.080 --> 0:55:25.000
<v Speaker 1>otherwise we end up all being trolls and going I

0:55:25.080 --> 0:55:27.560
<v Speaker 1>hated this film. Why do people like this film? I've

0:55:27.560 --> 0:55:29.200
<v Speaker 1>spoken about this before in this podcast, but I think

0:55:29.200 --> 0:55:31.600
<v Speaker 1>it's a message worth spreading. We did puns Strang Love

0:55:31.640 --> 0:55:34.000
<v Speaker 1>with Hamis McDonald and I love Punstrang Love. I think

0:55:34.000 --> 0:55:36.839
<v Speaker 1>it's an unbelievable film. That's that's one of the Thomas

0:55:36.880 --> 0:55:41.239
<v Speaker 1>Anderson and Emily Watson Emily Watson. Funny enough, the year

0:55:41.320 --> 0:55:43.600
<v Speaker 1>I saw it was written for Emily Watson, and then

0:55:43.880 --> 0:55:47.560
<v Speaker 1>they didn't check she doesn't speak French. I would have

0:55:47.600 --> 0:55:54.879
<v Speaker 1>thought before that role could have gone to us. So yeah,

0:55:55.000 --> 0:56:01.040
<v Speaker 1>she she was on duo Lgodon between it was a bonjour?

0:56:02.000 --> 0:56:04.320
<v Speaker 1>Can you just can you do a dr after bonur?

0:56:05.920 --> 0:56:08.400
<v Speaker 4>A film? All my conversation from behind the.

0:56:10.760 --> 0:56:12.400
<v Speaker 1>And then and then we just do the rest in English?

0:56:12.800 --> 0:56:15.319
<v Speaker 1>Is that call? I really love it as a film,

0:56:15.360 --> 0:56:17.800
<v Speaker 1>like it'd be my top ten. And Hamish did not

0:56:17.920 --> 0:56:22.320
<v Speaker 1>connect with it the reasons that I kind of disagree with,

0:56:22.600 --> 0:56:25.560
<v Speaker 1>but at the same time, that's that's how he saw

0:56:25.680 --> 0:56:28.919
<v Speaker 1>that film, and and I just spoked to another friend,

0:56:29.000 --> 0:56:32.200
<v Speaker 1>George Tani, who knows Hamish and myself, and she just

0:56:32.320 --> 0:56:35.919
<v Speaker 1>made the point I think sometimes we are so keen

0:56:36.160 --> 0:56:38.880
<v Speaker 1>for people to like the same stuff we like, you know,

0:56:38.960 --> 0:56:40.759
<v Speaker 1>because you like I want to spread the word about

0:56:40.800 --> 0:56:42.520
<v Speaker 1>this movie. I want you to feel the same way

0:56:42.560 --> 0:56:46.560
<v Speaker 1>I do about it. But what makes it's special is

0:56:46.600 --> 0:56:48.759
<v Speaker 1>the connection you have in this with with this film,

0:56:48.800 --> 0:56:51.400
<v Speaker 1>that you saw the beauty in this film, and it

0:56:51.440 --> 0:56:53.439
<v Speaker 1>makes it even more special that sometimes that other people

0:56:53.520 --> 0:56:55.319
<v Speaker 1>don't see that. You know, there could be a song

0:56:55.440 --> 0:56:58.799
<v Speaker 1>or a painting, whatever it might be. But it's it's

0:56:58.840 --> 0:57:01.000
<v Speaker 1>good that we all have different realationships with.

0:57:01.160 --> 0:57:04.080
<v Speaker 4>These yes you know, pieces of art, Yes, yes, one

0:57:04.120 --> 0:57:06.919
<v Speaker 4>hundred percent years. I've also I've been thinking ever since

0:57:06.960 --> 0:57:10.719
<v Speaker 4>you said maybe I'd connect with the character Emilie because

0:57:10.719 --> 0:57:13.319
<v Speaker 4>we're both sort of people sort of going through our

0:57:13.400 --> 0:57:15.719
<v Speaker 4>lives that a similar way. And I was trying to

0:57:15.760 --> 0:57:18.400
<v Speaker 4>think the film I watched. I'm trying to think of

0:57:18.440 --> 0:57:21.160
<v Speaker 4>the last film I watched about a man going to

0:57:21.360 --> 0:57:25.000
<v Speaker 4>go into France that I connected with was Mister Bean's Holiday,

0:57:28.600 --> 0:57:31.160
<v Speaker 4>which I think is maybe a more apt comedy per se.

0:57:32.040 --> 0:57:34.800
<v Speaker 1>When people get asked who are your ideal three guests

0:57:34.800 --> 0:57:42.880
<v Speaker 1>at a dinner party, Regulary, Amie and mister Bean. There

0:57:42.960 --> 0:57:46.440
<v Speaker 1>is something I think nice about watching a character who

0:57:46.960 --> 0:57:50.600
<v Speaker 1>particularly we know her history, losing her mother and then

0:57:50.760 --> 0:57:54.560
<v Speaker 1>she was her father. There was not necessarily the connection

0:57:55.360 --> 0:57:58.880
<v Speaker 1>finding their voice in the world. Yeah, I think he's

0:57:58.960 --> 0:58:01.480
<v Speaker 1>very powerful. Talk about some of the characters that we met.

0:58:01.920 --> 0:58:06.040
<v Speaker 1>We have the lady who lives I think downstairs, downstairs

0:58:06.040 --> 0:58:08.400
<v Speaker 1>in the same apartment. This is a bit of a

0:58:08.440 --> 0:58:12.439
<v Speaker 1>strange one. So she lost her husband I think hadn

0:58:13.000 --> 0:58:17.080
<v Speaker 1>was having an affair and is writing letters, but he

0:58:17.240 --> 0:58:20.760
<v Speaker 1>died in a plane accident. That they were writing levels

0:58:20.760 --> 0:58:23.760
<v Speaker 1>back and forth, but she didn't receive the last letter

0:58:23.880 --> 0:58:28.000
<v Speaker 1>or something. And then Amile to make things better. There's

0:58:28.000 --> 0:58:30.880
<v Speaker 1>a bit of cutting and past in this old school. Yes, right,

0:58:30.960 --> 0:58:32.400
<v Speaker 1>this is when it was hard to do a bit

0:58:32.400 --> 0:58:36.720
<v Speaker 1>of cutting and paste. Your generation's got so easy. And

0:58:37.480 --> 0:58:41.320
<v Speaker 1>it's a little bit morally dubious. I think like she

0:58:41.480 --> 0:58:44.800
<v Speaker 1>does when she starts meddling, she almost become addicted to

0:58:44.840 --> 0:58:48.160
<v Speaker 1>the meddling. And you can argue that it's a little

0:58:48.160 --> 0:58:51.120
<v Speaker 1>bit yeah, like I said, morrally dubious, but it does

0:58:52.040 --> 0:58:57.080
<v Speaker 1>lift the mood of that character, whether it's it's well,

0:58:57.120 --> 0:58:59.160
<v Speaker 1>it's not based on fact, it's based on fiction.

0:58:59.560 --> 0:59:02.960
<v Speaker 4>He's had a Yes, I know, there's there's that philosophical

0:59:03.040 --> 0:59:06.120
<v Speaker 4>question of I guess of would you be okay living

0:59:06.160 --> 0:59:08.120
<v Speaker 4>I guess living in a world where it turns out

0:59:08.520 --> 0:59:11.040
<v Speaker 4>that all your friends sort of secretly despised you. You know,

0:59:11.160 --> 0:59:13.560
<v Speaker 4>no one actually liked you, you know, anyone you thought

0:59:13.720 --> 0:59:15.680
<v Speaker 4>was close to you actually you know they were mocking

0:59:15.720 --> 0:59:17.880
<v Speaker 4>you behind your back every you know, every turn they

0:59:17.880 --> 0:59:18.800
<v Speaker 4>could get it they could.

0:59:19.280 --> 0:59:19.920
<v Speaker 1>Is that what's happening?

0:59:21.640 --> 0:59:23.479
<v Speaker 4>Look, I've got some I've been in some group chats.

0:59:26.840 --> 0:59:29.400
<v Speaker 4>Every time you send a message to Reye. Nicholson about tar.

0:59:31.320 --> 0:59:36.480
<v Speaker 1>Reese messages, his last reply was just like, you know

0:59:36.720 --> 0:59:44.120
<v Speaker 1>this thing laughing emerge cone better than that. It's fascinating.

0:59:44.360 --> 0:59:46.160
<v Speaker 4>Yes, this idea of you know, is it better to

0:59:46.240 --> 0:59:48.200
<v Speaker 4>be aware of that stuff or would you rather live

0:59:48.240 --> 0:59:50.720
<v Speaker 4>in blissful ignorance? And I think, I mean a lot

0:59:50.760 --> 0:59:53.120
<v Speaker 4>of people probably do imagine themselves as the kind of

0:59:53.160 --> 0:59:55.640
<v Speaker 4>person like I'd love to you know, live the truth

0:59:55.760 --> 0:59:57.480
<v Speaker 4>or whatever. You know, the truth is so important to me.

0:59:57.840 --> 0:59:59.600
<v Speaker 4>But when you think about it like that, you're like Oh,

0:59:59.720 --> 1:00:02.360
<v Speaker 4>maybe that the ignorance would be quite nice. Maybe it

1:00:02.360 --> 1:00:05.080
<v Speaker 4>would be nice to ever Armilee type figure sort of

1:00:05.120 --> 1:00:08.320
<v Speaker 4>intervening and making sure I was protected from how horrible

1:00:08.440 --> 1:00:09.480
<v Speaker 4>everyone around me was.

1:00:09.680 --> 1:00:13.600
<v Speaker 1>Yeah, you'd love Emily organizing your birthday party. I think

1:00:13.680 --> 1:00:16.080
<v Speaker 1>she would do a pretty bang up job. She liked

1:00:16.120 --> 1:00:18.280
<v Speaker 1>her crass, you know, she likes a.

1:00:18.320 --> 1:00:20.520
<v Speaker 4>Surprise, goodie begs filled with grain.

1:00:23.520 --> 1:00:25.600
<v Speaker 1>The one character I thought was a bit I didn't

1:00:25.680 --> 1:00:29.560
<v Speaker 1>particularly like was the character in the in the cafe

1:00:30.280 --> 1:00:34.440
<v Speaker 1>who is kind of like my stalking Oh. Yes, and

1:00:34.520 --> 1:00:36.840
<v Speaker 1>then Amile decides, okay, he's a bit of a creep

1:00:36.920 --> 1:00:40.560
<v Speaker 1>I'll set her up. I'll set him up with the

1:00:40.640 --> 1:00:42.040
<v Speaker 1>other one. With the other one's name.

1:00:42.520 --> 1:00:46.880
<v Speaker 4>The cigarette the tobacconist was a hypochondriac.

1:00:47.240 --> 1:00:50.160
<v Speaker 1>Yes, yes, that was a strange mood.

1:00:50.280 --> 1:00:53.240
<v Speaker 4>Yes he was. He looked unpleasant. He was constantly recording

1:00:53.400 --> 1:00:56.080
<v Speaker 4>everything that was happening in the cafe. And then after

1:00:56.200 --> 1:00:59.800
<v Speaker 4>they do sort of hook up, he doesn't he doesn't

1:00:59.840 --> 1:01:01.480
<v Speaker 4>see to turn a new leaf, like he seems to

1:01:01.520 --> 1:01:04.960
<v Speaker 4>be just as creepy as he was, still these kind

1:01:04.960 --> 1:01:07.200
<v Speaker 4>of he seems still mad and bitter, and it's still

1:01:07.240 --> 1:01:10.240
<v Speaker 4>recording what everyone's up to and he thinks because he's

1:01:10.280 --> 1:01:12.040
<v Speaker 4>sort of a love triangle thing going on, right, and

1:01:12.120 --> 1:01:14.200
<v Speaker 4>he or like he thinks that other waitresses trying to

1:01:14.240 --> 1:01:16.600
<v Speaker 4>flirt with Nino when he put when she because he

1:01:16.720 --> 1:01:20.280
<v Speaker 4>sees her put the thing anyway, you know, he's an unpleasant,

1:01:20.320 --> 1:01:20.720
<v Speaker 4>awful man.

1:01:21.240 --> 1:01:25.680
<v Speaker 1>It's a slight strange one because why would you set

1:01:25.800 --> 1:01:29.880
<v Speaker 1>up beside this man with I assume another coworker just

1:01:29.960 --> 1:01:32.320
<v Speaker 1>to get him out of the hair of that coworker,

1:01:32.760 --> 1:01:35.720
<v Speaker 1>because there's nothing that suggests that they're good together, I think,

1:01:35.800 --> 1:01:38.120
<v Speaker 1>you know, but they end up having wild sex in

1:01:38.280 --> 1:01:43.000
<v Speaker 1>the bathroom, yes, which is you know, it's very comical,

1:01:43.240 --> 1:01:44.760
<v Speaker 1>and I think it's played for last.

1:01:44.960 --> 1:01:46.520
<v Speaker 4>Is the sixteenth orgasm, is.

1:01:48.000 --> 1:01:51.000
<v Speaker 1>The sixteenth agism, And I think it's important to have

1:01:51.200 --> 1:01:55.480
<v Speaker 1>that because when you have the moment later on, when

1:01:55.560 --> 1:01:59.760
<v Speaker 1>Amalie and Nino finally get together, you can imagine in

1:01:59.840 --> 1:02:03.880
<v Speaker 1>this romanticized world that everyone in Paris is making love

1:02:03.960 --> 1:02:05.720
<v Speaker 1>with one of each other. It's good to show that

1:02:06.160 --> 1:02:11.120
<v Speaker 1>their tender way of making love is the way they

1:02:11.320 --> 1:02:14.640
<v Speaker 1>do it. And there is is still rigorous other sex

1:02:14.720 --> 1:02:18.200
<v Speaker 1>happening in bathrooms all over Paris, and I know we

1:02:18.320 --> 1:02:20.480
<v Speaker 1>have had the orgasms already. But I think it's it's

1:02:20.960 --> 1:02:23.480
<v Speaker 1>it's good, it makes that moment. It hit a little

1:02:23.520 --> 1:02:24.959
<v Speaker 1>differently at the end.

1:02:25.040 --> 1:02:27.080
<v Speaker 4>It's a bit tinder, a bit more sweet as opposed

1:02:27.120 --> 1:02:28.520
<v Speaker 4>to the animalist.

1:02:30.440 --> 1:02:32.960
<v Speaker 1>I mean, it's they're up against the glass, you know,

1:02:33.120 --> 1:02:34.840
<v Speaker 1>the window of the bathroom.

1:02:34.480 --> 1:02:37.360
<v Speaker 4>And everyone can see them. And then right at the end,

1:02:37.480 --> 1:02:40.680
<v Speaker 4>Ami decides to turn on the coffee machine, as if

1:02:40.760 --> 1:02:41.840
<v Speaker 4>that's going to obscure.

1:02:41.880 --> 1:02:46.440
<v Speaker 1>That'll take it the last six minutes. Anyone's forgotten about that.

1:02:46.720 --> 1:02:48.320
<v Speaker 4>I'll be making coffee this whole time.

1:02:48.680 --> 1:02:52.800
<v Speaker 1>Yeah. Yeah, But like Paris is also a big figure,

1:02:52.840 --> 1:02:56.920
<v Speaker 1>and also like the idealization of Paris that they're clearly

1:02:57.520 --> 1:02:59.680
<v Speaker 1>going for this and they're not. There was there's criticism

1:02:59.720 --> 1:03:01.840
<v Speaker 1>of the on that it doesn't show the real Paris,

1:03:01.920 --> 1:03:04.840
<v Speaker 1>but it's like it's ridiculous. It's like that's what the film.

1:03:04.960 --> 1:03:08.160
<v Speaker 1>It's a choice of filmmakers making. There's plenty of films

1:03:08.200 --> 1:03:10.480
<v Speaker 1>that show the real Paris. This is not about it

1:03:10.520 --> 1:03:13.440
<v Speaker 1>being the real Paris. This is the idolized version of Paris.

1:03:13.560 --> 1:03:16.520
<v Speaker 1>In the head of Amalie. The filmmakers actually went away

1:03:17.120 --> 1:03:21.000
<v Speaker 1>and the crew scrubbed any graffiti on the walls of

1:03:21.240 --> 1:03:24.760
<v Speaker 1>the train station. So everything's really clean in this film.

1:03:25.000 --> 1:03:27.040
<v Speaker 1>There's no white in this film. I'm not sure you know.

1:03:27.080 --> 1:03:30.040
<v Speaker 1>There's no white walls. Everything's either yellow or blue or

1:03:30.360 --> 1:03:32.600
<v Speaker 1>so not blue. It is the occasional blue, but red

1:03:33.080 --> 1:03:35.600
<v Speaker 1>or green, there's no there's no, there's not a white

1:03:35.680 --> 1:03:37.800
<v Speaker 1>wall in this And there's a point where she goes

1:03:37.880 --> 1:03:40.520
<v Speaker 1>up in the train station and goes to give money

1:03:40.600 --> 1:03:43.560
<v Speaker 1>to a I think you've read them as a displaced

1:03:43.600 --> 1:03:47.280
<v Speaker 1>person these days, and he says, no, I don't work

1:03:47.360 --> 1:03:50.360
<v Speaker 1>on Sundays. Who refuses the money. So I think that

1:03:50.640 --> 1:03:54.240
<v Speaker 1>is the reason that joke's there. One it's a reasonably

1:03:54.240 --> 1:03:56.120
<v Speaker 1>funny joke, but it's a nod to kind of say

1:03:56.640 --> 1:04:01.120
<v Speaker 1>this isn't reality. We're not dealing in in your reality.

1:04:01.120 --> 1:04:02.760
<v Speaker 4>One hundred percent. And like even at the start of

1:04:02.840 --> 1:04:05.360
<v Speaker 4>the film, she when she's a child, she plays doctor

1:04:05.920 --> 1:04:08.360
<v Speaker 4>to like is it a giant crocodile or something like

1:04:08.720 --> 1:04:12.040
<v Speaker 4>she has an imaginary friend that's like clearly a mythical creature. Yes,

1:04:12.400 --> 1:04:14.920
<v Speaker 4>And there's some elements of like very I think a

1:04:15.040 --> 1:04:17.200
<v Speaker 4>very small amount of c GI or like this. Well,

1:04:17.280 --> 1:04:21.440
<v Speaker 4>like at one point she turns into a puddle. It's

1:04:21.480 --> 1:04:25.040
<v Speaker 4>clearly like a fantastical version of height, a slightly heightened

1:04:25.120 --> 1:04:25.800
<v Speaker 4>version of reality.

1:04:25.920 --> 1:04:29.320
<v Speaker 1>Yeah, photos talking to her in the photo booth.

1:04:29.480 --> 1:04:31.880
<v Speaker 4>Yes, I read a review that mentioned like things like

1:04:31.960 --> 1:04:34.440
<v Speaker 4>there's no McDonald's in Paris, which, of course, like I mean,

1:04:34.480 --> 1:04:36.440
<v Speaker 4>I've never been, but of course there would be a mcdonald'sy.

1:04:36.480 --> 1:04:38.120
<v Speaker 4>But it's I think that's really nice. I think it's

1:04:38.200 --> 1:04:42.400
<v Speaker 4>nice to see this sort of decommercialized version of a city.

1:04:42.440 --> 1:04:44.800
<v Speaker 4>You know, I think I don't care where the movie

1:04:44.840 --> 1:04:46.800
<v Speaker 4>you said. I think I would like to not see

1:04:46.800 --> 1:04:49.760
<v Speaker 4>a big McDonald's sign. And what exactly this isn't the block.

1:04:49.800 --> 1:04:53.479
<v Speaker 4>I don't need to have you promotion shoved down my face.

1:04:53.520 --> 1:04:55.440
<v Speaker 1>You know that's right. And then Paris is such a

1:04:55.560 --> 1:04:57.880
<v Speaker 1>romantic city, so why not lean into that. Paris is

1:04:57.920 --> 1:05:00.320
<v Speaker 1>another film that I think is I do love And

1:05:00.440 --> 1:05:03.720
<v Speaker 1>you know, some people say you're not supposed to the

1:05:03.760 --> 1:05:06.160
<v Speaker 1>other on films anymore, but I think in Paris is

1:05:06.200 --> 1:05:08.480
<v Speaker 1>his last great film. I think it's extraordinary.

1:05:08.600 --> 1:05:10.640
<v Speaker 4>Yes, No, I didn't. I haven't had a chance. I

1:05:10.920 --> 1:05:13.800
<v Speaker 4>have not seen that one. I did not get managed

1:05:13.800 --> 1:05:16.400
<v Speaker 4>to get it under the wire before before it became

1:05:16.720 --> 1:05:18.640
<v Speaker 4>publicly problematic to watch the films.

1:05:19.640 --> 1:05:23.000
<v Speaker 1>Yeah, I'd argue that you still you.

1:05:23.040 --> 1:05:25.480
<v Speaker 4>Get separation the art from the artist. Do you have

1:05:25.560 --> 1:05:26.960
<v Speaker 4>a connection with Paris have you?

1:05:27.080 --> 1:05:28.960
<v Speaker 1>I mean, I've been there quite a few times. I've

1:05:28.960 --> 1:05:30.440
<v Speaker 1>been there about four times.

1:05:30.240 --> 1:05:32.120
<v Speaker 4>Of course, because you're I mean your last show you

1:05:32.200 --> 1:05:34.560
<v Speaker 4>talk about going to Rome the Romans where that story

1:05:34.600 --> 1:05:36.280
<v Speaker 4>set with you that you take the phone.

1:05:37.960 --> 1:05:42.000
<v Speaker 1>Great, yeah, thank you, thank you. And I do a

1:05:42.120 --> 1:05:47.680
<v Speaker 1>bit about going to Paris and my wife wanting to

1:05:47.760 --> 1:05:50.680
<v Speaker 1>learn French and the idea of going. You know, there's

1:05:50.720 --> 1:05:53.800
<v Speaker 1>no point French unless you can learn the whole language,

1:05:54.400 --> 1:05:57.480
<v Speaker 1>because then you go up to somebody and you will say, like,

1:05:57.600 --> 1:05:59.880
<v Speaker 1>pretend this is French. It's because it's because you why

1:06:00.280 --> 1:06:03.600
<v Speaker 1>where's a train station? And they will respond in the

1:06:03.640 --> 1:06:05.760
<v Speaker 1>French because they think you're French, and you have to explain.

1:06:05.760 --> 1:06:08.720
<v Speaker 1>I only learned the questions, so there's no point.

1:06:10.560 --> 1:06:14.960
<v Speaker 4>So I was, I've been to China and when I

1:06:15.000 --> 1:06:17.800
<v Speaker 4>went to China, the only phrase I learned was she

1:06:18.560 --> 1:06:21.360
<v Speaker 4>and I'm probably pronouncing that even wrong, the one which

1:06:21.440 --> 1:06:23.880
<v Speaker 4>is thank you, and that's all I basically, you know,

1:06:24.000 --> 1:06:26.040
<v Speaker 4>like I had a because I'm vegan, and I had

1:06:26.040 --> 1:06:27.800
<v Speaker 4>a thing saved on my phone that I just point

1:06:27.840 --> 1:06:30.320
<v Speaker 4>out to be like, I eat what like I think

1:06:30.360 --> 1:06:32.080
<v Speaker 4>it's like I eat what the monks eed or whatever.

1:06:32.200 --> 1:06:34.600
<v Speaker 4>You know, I forget what the exact wordy was. But

1:06:34.640 --> 1:06:36.720
<v Speaker 4>I think there's like a you know, a popular group

1:06:36.800 --> 1:06:38.400
<v Speaker 4>within China that I'm like, Okay, I have the same

1:06:38.520 --> 1:06:41.040
<v Speaker 4>diet as them, so you know, give me those kind

1:06:41.080 --> 1:06:44.840
<v Speaker 4>of dumplings please. But I basically I went around saying

1:06:44.840 --> 1:06:48.280
<v Speaker 4>she share. And the nice thing about traveling over like overseas,

1:06:48.440 --> 1:06:50.880
<v Speaker 4>when you look like we do, is that no one

1:06:50.920 --> 1:06:52.840
<v Speaker 4>will ever think I'm from New Zealand. You know, people

1:06:52.880 --> 1:06:55.200
<v Speaker 4>will assume I'm a bumbling American if I if I,

1:06:55.320 --> 1:06:58.040
<v Speaker 4>if I make a mistake, New Zealand gets off scot free.

1:06:58.200 --> 1:07:00.360
<v Speaker 4>You know, like you know, it's a people if I

1:07:00.400 --> 1:07:02.960
<v Speaker 4>do something super like, oh, that's just another dumb American

1:07:03.360 --> 1:07:04.479
<v Speaker 4>ru ruining the place.

1:07:04.560 --> 1:07:06.880
<v Speaker 1>And so well, often if you go to I think

1:07:06.920 --> 1:07:09.600
<v Speaker 1>Paris is one of these cities where you almost have

1:07:09.840 --> 1:07:13.240
<v Speaker 1>to let them know that you're not British or American.

1:07:13.680 --> 1:07:15.600
<v Speaker 1>And once you let them know you're Australian or your

1:07:15.720 --> 1:07:18.640
<v Speaker 1>case of New Zealander, they will you will see their attitudes.

1:07:19.280 --> 1:07:22.880
<v Speaker 1>It's like it's actually a thing. I like, we've been

1:07:22.880 --> 1:07:25.800
<v Speaker 1>there about four times. I love it. Like the whole

1:07:25.880 --> 1:07:28.200
<v Speaker 1>thing about French people being rude, we haven't. We've seen

1:07:28.240 --> 1:07:30.920
<v Speaker 1>it occasionally, but like no more times than any other

1:07:31.040 --> 1:07:33.960
<v Speaker 1>city in the world, including my own city, Melbourne. Like,

1:07:34.440 --> 1:07:36.760
<v Speaker 1>you know, there are rude people, but I love it.

1:07:36.800 --> 1:07:39.160
<v Speaker 1>I think they've got the work life balance kind of

1:07:39.200 --> 1:07:39.640
<v Speaker 1>worked out.

1:07:39.720 --> 1:07:42.080
<v Speaker 4>Oh oh yes, I food there. That's sort of like

1:07:42.400 --> 1:07:45.000
<v Speaker 4>when it hits five pm, they are literally like that's it.

1:07:45.080 --> 1:07:48.320
<v Speaker 1>I'm done. You arrive in a small town and there's

1:07:48.360 --> 1:07:49.920
<v Speaker 1>no you know, if you arrive at two o'clock that

1:07:50.200 --> 1:07:52.919
<v Speaker 1>lunch is done. There's nowhere you're not eating. You're not eating.

1:07:53.280 --> 1:07:56.120
<v Speaker 1>We I was like recently with the Glease and so

1:07:56.320 --> 1:08:00.240
<v Speaker 1>Tom Gleason and his family, and when I over to

1:08:00.360 --> 1:08:03.680
<v Speaker 1>Tom's apartment with my wife and we grabbed a couple

1:08:03.720 --> 1:08:06.440
<v Speaker 1>of bottles of wine and and some bits and pieces

1:08:06.680 --> 1:08:08.960
<v Speaker 1>some cheese, and it's amazing how you like you never

1:08:09.080 --> 1:08:10.720
<v Speaker 1>rock up. I will never work up to your house

1:08:10.760 --> 1:08:13.720
<v Speaker 1>with the cheese and bread. You know, I just want

1:08:13.800 --> 1:08:15.480
<v Speaker 1>to be We're in France and you get cheesebread and

1:08:15.600 --> 1:08:18.880
<v Speaker 1>some wine and we're literally waiting for time to come

1:08:18.960 --> 1:08:21.760
<v Speaker 1>downstairs to let us in, and a woman approaches us,

1:08:21.800 --> 1:08:25.080
<v Speaker 1>a French woman, and critiques our wine and kind of

1:08:25.080 --> 1:08:27.920
<v Speaker 1>says that one is not no good. That is no good.

1:08:28.479 --> 1:08:30.240
<v Speaker 1>That one you need that you need, you need to

1:08:30.280 --> 1:08:31.840
<v Speaker 1>be you need to chill it, you need to chill it,

1:08:31.960 --> 1:08:34.479
<v Speaker 1>and that's you know, and she's and we're like, oh,

1:08:34.760 --> 1:08:37.679
<v Speaker 1>and we like it was good wine, like we brought

1:08:37.680 --> 1:08:40.479
<v Speaker 1>it and we weren't skimping. And then my family and

1:08:40.560 --> 1:08:42.840
<v Speaker 1>Tom's family we went at the Verst Saign together, let's

1:08:42.880 --> 1:08:47.080
<v Speaker 1>have a day of Asai, and we got a a

1:08:47.280 --> 1:08:49.840
<v Speaker 1>picnic blanket and got some more bits and again cheese

1:08:49.840 --> 1:08:51.680
<v Speaker 1>and breads and and all that stuff. And we just

1:08:51.800 --> 1:08:54.160
<v Speaker 1>grabbed a bottle of wine on the way there from

1:08:54.320 --> 1:08:57.880
<v Speaker 1>like a supermarket, and it was we knew we weren't

1:08:57.880 --> 1:09:00.200
<v Speaker 1>buying the best wine, but we just thought just when

1:09:00.240 --> 1:09:02.679
<v Speaker 1>we sit down for a picnic and versaill, well that's

1:09:02.720 --> 1:09:05.719
<v Speaker 1>the cheese, poor you know, wine into some plastic cups.

1:09:06.240 --> 1:09:09.599
<v Speaker 1>And another woman came up to us and they said

1:09:09.640 --> 1:09:11.360
<v Speaker 1>that is not a good wine. Like that she was

1:09:11.400 --> 1:09:15.080
<v Speaker 1>even more and that is not good wine. Well, well,

1:09:15.280 --> 1:09:18.840
<v Speaker 1>we can't do anything. Now we're drinking it. It's we're

1:09:18.880 --> 1:09:22.000
<v Speaker 1>not tipping it out. But I kind of loved it

1:09:22.479 --> 1:09:26.000
<v Speaker 1>so much because it's like, you know, occasionally in life

1:09:26.000 --> 1:09:28.439
<v Speaker 1>and there's comedians, we look for these moments where it's like, fuck,

1:09:28.560 --> 1:09:32.920
<v Speaker 1>something's happening. Somebody has stepped out of the usual kind

1:09:32.960 --> 1:09:37.400
<v Speaker 1>of you know, pattern of life and and and changed

1:09:37.439 --> 1:09:40.880
<v Speaker 1>it a bit and and we we I love it.

1:09:41.040 --> 1:09:41.439
<v Speaker 1>I love it.

1:09:41.600 --> 1:09:43.960
<v Speaker 4>So it'd be like me, I, well, I do the

1:09:44.000 --> 1:09:45.760
<v Speaker 4>similar thing. But when I see people eating the wrong

1:09:45.840 --> 1:09:48.960
<v Speaker 4>kind of aureos, I'm like, you want to get double stuffed,

1:09:49.720 --> 1:09:50.560
<v Speaker 4>more creepy.

1:09:50.479 --> 1:09:52.280
<v Speaker 1>People eating crunches the wrong way. So then you take

1:09:52.280 --> 1:09:54.479
<v Speaker 1>the chocolate off the top and you and the signe

1:09:55.000 --> 1:09:58.439
<v Speaker 1>you can't just bite into it, mate, excellently. I've got

1:09:58.479 --> 1:10:02.599
<v Speaker 1>a few things before we wrap up price tagging the dildos,

1:10:02.640 --> 1:10:07.320
<v Speaker 1>and you notice that there's in the This is when

1:10:07.320 --> 1:10:10.639
<v Speaker 1>you're writing a scene, if anyone's writing a you know script,

1:10:10.880 --> 1:10:13.160
<v Speaker 1>you know, these are the fun little touches you can

1:10:13.200 --> 1:10:15.840
<v Speaker 1>put in. There's a scene where I think Nino he's

1:10:15.880 --> 1:10:18.800
<v Speaker 1>chatting out to the woman who was works at the

1:10:18.840 --> 1:10:22.799
<v Speaker 1>pawn store with him, and they just casually price tagging dildos.

1:10:23.920 --> 1:10:27.240
<v Speaker 1>I thought that was a lovely touch in this romantic

1:10:27.320 --> 1:10:31.160
<v Speaker 1>French frill. Why not have somebody price tagging dildos.

1:10:31.240 --> 1:10:33.800
<v Speaker 4>Yes, when she goes to the little heap show thing

1:10:33.960 --> 1:10:35.880
<v Speaker 4>or you know, she goes to the porn store, I

1:10:35.920 --> 1:10:38.519
<v Speaker 4>remember thinking this is not what I was expecting. And

1:10:38.680 --> 1:10:40.800
<v Speaker 4>this feels like because when you see her face and

1:10:40.880 --> 1:10:43.720
<v Speaker 4>the don't I think I thought Mla was a lot

1:10:43.840 --> 1:10:46.720
<v Speaker 4>younger than maybe she actually was, like just judging from

1:10:46.760 --> 1:10:49.280
<v Speaker 4>the DVD cover, you know, like, yeah, I thought it

1:10:49.360 --> 1:10:52.040
<v Speaker 4>might be super sanitized going into it. I didn't realize

1:10:52.080 --> 1:10:54.240
<v Speaker 4>there would be any kind of sexual element to it.

1:10:54.360 --> 1:10:57.120
<v Speaker 1>Yeah, there's a sexual element, and then there's there's there's that,

1:10:59.439 --> 1:11:02.519
<v Speaker 1>and I think there's a lot of stuff going on,

1:11:03.160 --> 1:11:06.439
<v Speaker 1>and you know, there's punstrang Love actually does this really

1:11:06.439 --> 1:11:08.479
<v Speaker 1>well as well, and I kind of made the point

1:11:08.560 --> 1:11:11.240
<v Speaker 1>to be hamish, and I think Amalie does it. It

1:11:11.479 --> 1:11:15.800
<v Speaker 1>shows the courage it can take to actually pronounce your

1:11:15.960 --> 1:11:19.000
<v Speaker 1>love for somebody, like and I've been married now twenty

1:11:19.040 --> 1:11:20.640
<v Speaker 1>one years, so I was thinking about this when I

1:11:20.720 --> 1:11:22.320
<v Speaker 1>was watching it, kind of go yeah, when you have

1:11:22.680 --> 1:11:27.080
<v Speaker 1>a crush on somebody, thinking back of how hard it

1:11:27.320 --> 1:11:30.320
<v Speaker 1>is to let them know, particularly if you don't know

1:11:30.880 --> 1:11:35.080
<v Speaker 1>if it's going to be requited. So there's a great

1:11:35.120 --> 1:11:37.439
<v Speaker 1>moment where Adam Sander just holds out his hand and

1:11:37.479 --> 1:11:39.439
<v Speaker 1>Emily Watson takes it in punstrang love and I think

1:11:40.400 --> 1:11:44.800
<v Speaker 1>this moment Arma Lee is walking over towards the photo booth. Oh,

1:11:45.240 --> 1:11:48.040
<v Speaker 1>and she's kind of organized with a repairman, that mystery

1:11:48.120 --> 1:11:49.920
<v Speaker 1>man that's trying to work out who this guy is,

1:11:50.080 --> 1:11:52.599
<v Speaker 1>especially is your ghost and he ends up being he's

1:11:52.600 --> 1:11:55.519
<v Speaker 1>just a repairman. He fixes it, and when he fixes

1:11:55.520 --> 1:11:57.600
<v Speaker 1>the photo booth, he takes a photo. He doesn't need

1:11:57.640 --> 1:11:59.400
<v Speaker 1>the photo, so he discards it. And who is this

1:11:59.479 --> 1:12:02.080
<v Speaker 1>mystery man? She works it out, makes Nino kind of

1:12:02.520 --> 1:12:05.400
<v Speaker 1>you know, work it out too, plans all that, and

1:12:05.479 --> 1:12:07.839
<v Speaker 1>then he's walking over towards him, and the luggage Carosel

1:12:07.920 --> 1:12:09.960
<v Speaker 1>kind of gets in the way and then he's gone.

1:12:10.040 --> 1:12:11.680
<v Speaker 1>But it's just like when she was walking over, I

1:12:11.760 --> 1:12:14.920
<v Speaker 1>was was like, Yeah, this is like about the courage

1:12:14.960 --> 1:12:17.599
<v Speaker 1>it takes to let somebody know how you feel. Yes, yes,

1:12:18.280 --> 1:12:20.639
<v Speaker 1>he also got the painter, which I think they called

1:12:20.640 --> 1:12:21.360
<v Speaker 1>the glass Man.

1:12:21.720 --> 1:12:24.120
<v Speaker 4>Yes, yes, yes, he's got the nickname. Yes, but he's

1:12:24.160 --> 1:12:27.040
<v Speaker 4>trying to paint. He can't quite nail that one woman

1:12:27.120 --> 1:12:28.760
<v Speaker 4>and the and the scene that he's trying to paint,

1:12:28.800 --> 1:12:30.800
<v Speaker 4>which is sort of a metaphor.

1:12:30.520 --> 1:12:34.320
<v Speaker 1>For for a yes, because he's got a glass of

1:12:34.400 --> 1:12:36.240
<v Speaker 1>red wine. I think in front of it that's obscuring

1:12:36.320 --> 1:12:39.840
<v Speaker 1>some of her face. I think that's the one that Yeah.

1:12:39.880 --> 1:12:43.519
<v Speaker 1>And I like those scenes where it becomes they're obviously

1:12:43.680 --> 1:12:47.519
<v Speaker 1>talking about Amalie, and at some point you see that

1:12:47.640 --> 1:12:50.920
<v Speaker 1>they both I think both characters have to know that

1:12:51.000 --> 1:12:53.360
<v Speaker 1>they're both talking about amily, but it goes, it goes

1:12:54.240 --> 1:12:57.920
<v Speaker 1>not spoken yes, yes, but you can see they both understand.

1:12:58.000 --> 1:13:00.280
<v Speaker 4>It's one hundred percent the way he's looking at her,

1:13:00.640 --> 1:13:04.439
<v Speaker 4>he knows he is Yeah, yeah, she doesn't know herself.

1:13:04.600 --> 1:13:07.200
<v Speaker 1>Well, that's it, and that's and and that's the journey.

1:13:07.360 --> 1:13:08.880
<v Speaker 1>The name stuff. Of course, we have got to mention

1:13:08.960 --> 1:13:11.120
<v Speaker 1>the names because the name became kind of the big thing.

1:13:11.280 --> 1:13:14.160
<v Speaker 1>There's almost a parodied is.

1:13:14.160 --> 1:13:17.920
<v Speaker 4>It in Andy Griffith's book. I actually maybe maybe I

1:13:18.080 --> 1:13:20.080
<v Speaker 4>was the right age to read them, but I'm pretty

1:13:20.120 --> 1:13:22.280
<v Speaker 4>sure he did. I think he wrote a.

1:13:22.280 --> 1:13:25.559
<v Speaker 1>Short story where really post Armily do you think?

1:13:25.720 --> 1:13:28.240
<v Speaker 4>Or post Armily was it? Was it? After nine to eleven,

1:13:28.320 --> 1:13:28.879
<v Speaker 4>I think.

1:13:29.520 --> 1:13:32.519
<v Speaker 1>Always, always, any Griffith's work through.

1:13:37.439 --> 1:13:39.680
<v Speaker 4>With a twelve hour old boys ships out to at,

1:13:42.720 --> 1:13:44.800
<v Speaker 4>I think he has I think it would have been

1:13:44.880 --> 1:13:47.320
<v Speaker 4>I think at least the age I was was definitely

1:13:47.439 --> 1:13:48.280
<v Speaker 4>would have been post.

1:13:49.760 --> 1:13:52.439
<v Speaker 1>Because because there was there's a great film, a Jason

1:13:52.520 --> 1:13:56.240
<v Speaker 1>Rightman film with George Clooney and Anna kendrickt Up in

1:13:56.320 --> 1:13:56.559
<v Speaker 1>the Air.

1:13:58.240 --> 1:13:59.720
<v Speaker 4>I think that's a phenomenal film.

1:13:59.800 --> 1:14:02.320
<v Speaker 1>That's film that I think I would have seen. Now.

1:14:02.360 --> 1:14:06.240
<v Speaker 1>It's very that film's on. I'm not I'm not turning away.

1:14:06.520 --> 1:14:08.080
<v Speaker 1>I really enjoy it. Up in the Air.

1:14:08.280 --> 1:14:09.960
<v Speaker 4>I think I've only seen it the first time it

1:14:10.080 --> 1:14:12.040
<v Speaker 4>was on, but I remember it being like, yeah, I

1:14:12.080 --> 1:14:15.840
<v Speaker 4>remember loving it. I remember the oh yes, no, yeah,

1:14:15.840 --> 1:14:17.240
<v Speaker 4>there's the firing scene.

1:14:18.000 --> 1:14:23.479
<v Speaker 1>It's very rewatchable. Jason Bateman's in love Jason Batemanat they

1:14:23.720 --> 1:14:25.920
<v Speaker 1>do a similar thing and they actually refer to I

1:14:26.040 --> 1:14:28.760
<v Speaker 1>like that Nome movie where they they call it the

1:14:29.680 --> 1:14:32.840
<v Speaker 1>yeah yeah, it's not the Nome thing. And they're taking

1:14:32.880 --> 1:14:37.120
<v Speaker 1>a photo. They're taking a picture of Dana McBride, who's

1:14:37.160 --> 1:14:40.840
<v Speaker 1>the who's marrying George Clooney's sister in the film, and

1:14:40.880 --> 1:14:42.680
<v Speaker 1>they've got like his cardboy cut out. Oh and of

1:14:42.760 --> 1:14:48.960
<v Speaker 1>course his sister is of course Melanie Alinsky in New Zealand.

1:14:49.040 --> 1:14:54.200
<v Speaker 1>Of course, how could you not on Mate two and

1:14:54.200 --> 1:14:57.759
<v Speaker 1>a half man. But she's like, she's an extraordinary actress.

1:14:58.040 --> 1:15:02.080
<v Speaker 1>Heavenly Creatures. Heavenly Creatures, wasn't Yes, And now she's in

1:15:02.240 --> 1:15:04.559
<v Speaker 1>Yellow Jack is the Yellow Jack Yellow Jackets. Yeah, she's

1:15:05.160 --> 1:15:09.639
<v Speaker 1>great and everything she's in. Vera Formiga is also, it's

1:15:09.680 --> 1:15:13.960
<v Speaker 1>a really great film. But Dynamic Bride is marrying Melon

1:15:14.000 --> 1:15:17.280
<v Speaker 1>Nielinski and they have this They can't afford to travel,

1:15:17.720 --> 1:15:19.840
<v Speaker 1>so they have this carbor cut out and the idea

1:15:19.920 --> 1:15:21.880
<v Speaker 1>friends are actually taking them away and getting them a

1:15:21.920 --> 1:15:24.639
<v Speaker 1>photographed in different places, and so George Croney it could

1:15:24.640 --> 1:15:27.560
<v Speaker 1>becomes a bit of an inconvenience to do this. And

1:15:28.320 --> 1:15:30.960
<v Speaker 1>they refer to this like the Gnome thing or like

1:15:31.080 --> 1:15:35.160
<v Speaker 1>the movie, and that's a reference to Amie. I believe

1:15:35.200 --> 1:15:40.000
<v Speaker 1>the an Internet travel company had done some kind of

1:15:40.080 --> 1:15:43.800
<v Speaker 1>thing with gnomes, and so Armiy's kind of borrowed from that.

1:15:44.080 --> 1:15:44.559
<v Speaker 1>I believe.

1:15:44.880 --> 1:15:48.280
<v Speaker 4>Yes, I thought that a really interesting thing about I mean,

1:15:48.600 --> 1:15:50.719
<v Speaker 4>this is such such a small moment, but the impression

1:15:50.760 --> 1:15:53.000
<v Speaker 4>I got when Amily, I think, does she go up

1:15:53.040 --> 1:15:55.559
<v Speaker 4>and say to him. She says to her dad like, oh,

1:15:55.600 --> 1:15:58.000
<v Speaker 4>where's the gnome or something like that, And I got you.

1:15:58.240 --> 1:16:00.519
<v Speaker 4>I almost thought, oh, has he not even been outside

1:16:01.120 --> 1:16:03.000
<v Speaker 4>to check? You know, maybe that's when he to go

1:16:03.080 --> 1:16:05.040
<v Speaker 4>get the photo or something. But I thought it was

1:16:05.080 --> 1:16:06.880
<v Speaker 4>like he's so living in a small little world that

1:16:06.960 --> 1:16:08.519
<v Speaker 4>I don't think he even noticed the gnome was.

1:16:08.520 --> 1:16:11.360
<v Speaker 1>Gone, you know, yeah, yeah, or then but then he

1:16:11.479 --> 1:16:14.920
<v Speaker 1>became obsessed with it, obsessed and he was waiting for

1:16:15.000 --> 1:16:18.320
<v Speaker 1>the postman, like, which is a such an almost I

1:16:18.520 --> 1:16:21.880
<v Speaker 1>was chatting with fellow comedian who I want to who

1:16:21.880 --> 1:16:24.000
<v Speaker 1>it is, because we haven't really kind of spoken to

1:16:24.040 --> 1:16:26.840
<v Speaker 1>anyone about what we're working on. Somebody in there. In

1:16:26.920 --> 1:16:29.240
<v Speaker 1>there they're thirty one, I can tell you the age.

1:16:29.520 --> 1:16:32.439
<v Speaker 1>And we were chatting about the idea of like waiting

1:16:32.479 --> 1:16:35.120
<v Speaker 1>for the postman, Like the postman arriving was an event.

1:16:36.560 --> 1:16:39.280
<v Speaker 1>It was like you would, like you usually have an

1:16:39.320 --> 1:16:41.639
<v Speaker 1>idea what time the postman would be coming, like these

1:16:41.720 --> 1:16:45.040
<v Speaker 1>days it's just bills and pamphlets delivered, but back in

1:16:45.240 --> 1:16:48.360
<v Speaker 1>you know, pre emails and all that, like letters would

1:16:48.360 --> 1:16:51.560
<v Speaker 1>have birthday cards and so it was an event. So

1:16:51.720 --> 1:16:53.799
<v Speaker 1>and he I like that he kind of starts waiting

1:16:54.439 --> 1:16:56.960
<v Speaker 1>for the postman and he doesn't know what the's going on.

1:16:57.040 --> 1:17:00.880
<v Speaker 1>If he ever finds out, he just becomes is this

1:17:01.040 --> 1:17:03.960
<v Speaker 1>idea that Arma Lee is injecting magic in the people's lives?

1:17:04.000 --> 1:17:07.040
<v Speaker 1>So the name is returned and he doesn't question it. Yeah,

1:17:07.120 --> 1:17:10.240
<v Speaker 1>I think, were you expecting Princess Diana to play a

1:17:10.320 --> 1:17:10.960
<v Speaker 1>role in this film?

1:17:11.360 --> 1:17:11.880
<v Speaker 4>Not at all?

1:17:11.960 --> 1:17:13.519
<v Speaker 1>Not all, not all going on.

1:17:13.640 --> 1:17:16.080
<v Speaker 4>And also the way from memory, the way the film's

1:17:16.280 --> 1:17:18.720
<v Speaker 4>the very start of the film, as it's sort of

1:17:18.840 --> 1:17:21.519
<v Speaker 4>like you know that you know, her whole life changes

1:17:21.560 --> 1:17:23.600
<v Speaker 4>the day Princess Diana dies, and I feel like they

1:17:23.680 --> 1:17:25.479
<v Speaker 4>do like kind of like a weird flashed forward thing

1:17:25.520 --> 1:17:26.880
<v Speaker 4>and you see sort of bits of the film that

1:17:26.920 --> 1:17:28.800
<v Speaker 4>are coming forward, and maybe you see is that when

1:17:28.800 --> 1:17:31.000
<v Speaker 4>you also see who driss and like maybe she's in

1:17:31.080 --> 1:17:33.000
<v Speaker 4>black and white or wearing a mask or whatever, or

1:17:33.040 --> 1:17:36.280
<v Speaker 4>you see the repairman or something, and I remember thinking like, oh,

1:17:36.320 --> 1:17:37.960
<v Speaker 4>this is going to be like some kind of heist film,

1:17:38.040 --> 1:17:39.920
<v Speaker 4>Like she's going to get like she's going to get

1:17:39.960 --> 1:17:42.240
<v Speaker 4>involved in something way bigger than herself because of this

1:17:42.360 --> 1:17:44.040
<v Speaker 4>box or whatever. You know, she's going to be something

1:17:44.200 --> 1:17:49.240
<v Speaker 4>in with the Mafia, and so my expectations of what's

1:17:49.360 --> 1:17:50.080
<v Speaker 4>what was going.

1:17:49.920 --> 1:17:54.320
<v Speaker 1>On was, what the hell is going Yeah, I can

1:17:54.400 --> 1:17:56.439
<v Speaker 1>imagine she does break the fourth wall, obviously, I don't

1:17:56.439 --> 1:17:58.479
<v Speaker 1>think she ever. I think she does talk to the camera.

1:17:58.520 --> 1:17:59.600
<v Speaker 1>I think when she's in the movie, she talked to

1:17:59.600 --> 1:18:02.200
<v Speaker 1>the camerastin turn and smile.

1:18:02.800 --> 1:18:02.960
<v Speaker 3>You know.

1:18:03.240 --> 1:18:06.160
<v Speaker 1>A This is a pre Jim Kazinski as well, or

1:18:06.200 --> 1:18:08.679
<v Speaker 1>Prey of the Office, the American Office.

1:18:08.520 --> 1:18:12.759
<v Speaker 4>At least, but pre Malcolm in the Middle.

1:18:14.600 --> 1:18:17.920
<v Speaker 1>It was I liked it, but I almost never want

1:18:17.920 --> 1:18:20.160
<v Speaker 1>to see it again in a way like it was.

1:18:20.640 --> 1:18:22.439
<v Speaker 1>It was very cute, but I think they use it

1:18:22.720 --> 1:18:25.120
<v Speaker 1>just enough. They had gone one more time with it,

1:18:25.160 --> 1:18:27.519
<v Speaker 1>I would have gone, maybe it's too much. Yes, did

1:18:27.600 --> 1:18:30.000
<v Speaker 1>you did you like the Audrey Tau Did you like

1:18:30.120 --> 1:18:30.519
<v Speaker 1>the Oh?

1:18:30.560 --> 1:18:32.439
<v Speaker 4>You know, she's phenomenal. That's I think one of the

1:18:32.520 --> 1:18:35.880
<v Speaker 4>things I love is an actor who's not in many films,

1:18:36.560 --> 1:18:38.479
<v Speaker 4>or like, not in many films that I've seen. And

1:18:38.600 --> 1:18:41.200
<v Speaker 4>so that way, it's just immediately believable, you know, because

1:18:41.200 --> 1:18:43.160
<v Speaker 4>the only time I've ever seen these people are you know,

1:18:43.760 --> 1:18:45.560
<v Speaker 4>in the scenes they're currently in, you know, whereas like

1:18:45.680 --> 1:18:47.800
<v Speaker 4>you know, obviously these people are phenomenal actors, but you know,

1:18:47.920 --> 1:18:50.680
<v Speaker 4>Tom Hanks is an element of like, okay, I need

1:18:50.800 --> 1:18:53.040
<v Speaker 4>to forget that it is Tom Hanks, you know, like

1:18:53.280 --> 1:18:55.400
<v Speaker 4>you know, it was great when he did the Elvis

1:18:55.439 --> 1:18:56.920
<v Speaker 4>film and he put on a big fat suit and

1:18:56.960 --> 1:19:00.880
<v Speaker 4>then did the craziest woe you've ever heard, and I looked.

1:19:00.920 --> 1:19:03.200
<v Speaker 4>I looked it up after the colonel did not sound

1:19:03.280 --> 1:19:05.439
<v Speaker 4>like that at all. He spoke with like a like

1:19:05.520 --> 1:19:08.880
<v Speaker 4>an American, like a normal enough American accent, and just

1:19:09.280 --> 1:19:11.840
<v Speaker 4>Tom Hanks decided to go full noise. It's like the

1:19:11.960 --> 1:19:17.000
<v Speaker 4>weird pseudo Dutch choice. It was the first film I

1:19:17.080 --> 1:19:18.920
<v Speaker 4>saw which made me go, was Tom Hanks not a

1:19:18.960 --> 1:19:19.439
<v Speaker 4>good actor?

1:19:20.400 --> 1:19:23.000
<v Speaker 1>Well? I can't. I eventually went along with it, but

1:19:23.080 --> 1:19:28.000
<v Speaker 1>I'm surprised. I would have thought, oh, he's nailed the accent, Like, yes,

1:19:28.600 --> 1:19:32.559
<v Speaker 1>it's has a strange accent that he does. I assumed, oh,

1:19:32.920 --> 1:19:33.479
<v Speaker 1>he's he's.

1:19:34.000 --> 1:19:35.479
<v Speaker 4>This is the real guy. He must sound like that.

1:19:35.600 --> 1:19:37.720
<v Speaker 4>But I watched like a sixty minutes interview with him.

1:19:37.720 --> 1:19:40.400
<v Speaker 4>I was like, oh my god, he's just talking normally.

1:19:40.600 --> 1:19:43.519
<v Speaker 4>Just but yes, I did. I remember loving that in

1:19:43.640 --> 1:19:46.360
<v Speaker 4>the Elvis film when he's protesting and he's trying to sing.

1:19:46.680 --> 1:19:48.320
<v Speaker 4>He wants to sing one. He wants to sing his

1:19:48.439 --> 1:19:51.000
<v Speaker 4>songs and not some Christmas numbers. And I remember and

1:19:51.320 --> 1:19:53.760
<v Speaker 4>Tom Hanks is walking around the office, walking around the

1:19:53.840 --> 1:19:57.000
<v Speaker 4>studio going, oh, you know, Elvis must play. Here comes

1:19:57.040 --> 1:19:58.280
<v Speaker 4>Santy clause.

1:19:59.520 --> 1:20:06.920
<v Speaker 1>Such such a ratic. I love that. That is great.

1:20:07.280 --> 1:20:09.559
<v Speaker 1>Here is some fun facts before we before we wrap

1:20:09.680 --> 1:20:11.720
<v Speaker 1>things up. Audrey to Taw does not know how to

1:20:11.760 --> 1:20:14.560
<v Speaker 1>skim stones. There you go. Oh that was s f

1:20:14.840 --> 1:20:17.479
<v Speaker 1>X special Effects. The name prank I did mention it was.

1:20:17.560 --> 1:20:20.639
<v Speaker 1>It was an idea that was used in a campaign

1:20:20.760 --> 1:20:24.080
<v Speaker 1>for the Internet mark internet marketing campaign. I was actually

1:20:24.160 --> 1:20:26.680
<v Speaker 1>kind of slightly increased. They came after the film, but

1:20:27.520 --> 1:20:29.760
<v Speaker 1>it was based on this idea that there was a

1:20:29.800 --> 1:20:34.719
<v Speaker 1>group called the Gnome Liberation Front and they were convicted

1:20:34.800 --> 1:20:37.519
<v Speaker 1>of stealing over one hundred and fifty names across the

1:20:37.680 --> 1:20:41.439
<v Speaker 1>UK and France, and the leader of the group was

1:20:41.479 --> 1:20:45.680
<v Speaker 1>actually convicted in the court court in France. So that

1:20:45.840 --> 1:20:50.519
<v Speaker 1>that kind of played a part in Colt come on,

1:20:51.520 --> 1:20:58.840
<v Speaker 1>I mean, yeah, bloke, PC gone man body courts anything

1:21:00.040 --> 1:21:03.280
<v Speaker 1>of its probably paid for some probably sentimental gift that

1:21:03.439 --> 1:21:09.000
<v Speaker 1>received probably passed on. Armily's name was actually given Emily's

1:21:09.040 --> 1:21:11.879
<v Speaker 1>dad's name was given to the cafe the two Windmills.

1:21:11.920 --> 1:21:17.200
<v Speaker 1>I think it's called where it was promptly stolen. It's true.

1:21:18.240 --> 1:21:22.040
<v Speaker 1>There's a character Lucian. He's like the simple fellow who

1:21:22.040 --> 1:21:24.200
<v Speaker 1>works at the grocery store and he that's painting with

1:21:25.040 --> 1:21:27.680
<v Speaker 1>the man of glass or a glass man. He you

1:21:27.720 --> 1:21:29.320
<v Speaker 1>may that as often had his hand. I think it

1:21:29.360 --> 1:21:32.160
<v Speaker 1>is his right hand in his jacket. He's paralyzed. His

1:21:32.240 --> 1:21:36.040
<v Speaker 1>a comedian in France, and he's his right hand is paralyzed.

1:21:37.280 --> 1:21:38.560
<v Speaker 1>So that's that.

1:21:38.840 --> 1:21:40.240
<v Speaker 4>Is that so I was just trying to hide his

1:21:40.360 --> 1:21:41.559
<v Speaker 4>own real injury.

1:21:41.640 --> 1:21:45.360
<v Speaker 1>Well, yeah, I don't think it comes up in as

1:21:45.400 --> 1:21:46.759
<v Speaker 1>part of the story or anything.

1:21:47.360 --> 1:21:47.960
<v Speaker 4>I don't think so.

1:21:48.000 --> 1:21:50.720
<v Speaker 1>I know that I could see this is not really

1:21:50.760 --> 1:21:52.840
<v Speaker 1>a fact, but just a little note that Armie and

1:21:52.960 --> 1:21:56.720
<v Speaker 1>Nino barely share any dialogue together. There's the phone call,

1:21:57.720 --> 1:22:00.599
<v Speaker 1>and then there's a very brief exchange in cafe when

1:22:00.600 --> 1:22:03.439
<v Speaker 1>she's riding behind him. For you, at that point you'll

1:22:03.439 --> 1:22:05.360
<v Speaker 1>probably think, just say something to him.

1:22:05.840 --> 1:22:07.360
<v Speaker 4>So she keeps trying to hide from her and.

1:22:07.400 --> 1:22:11.640
<v Speaker 1>She yeah so and then later on she's water and

1:22:11.760 --> 1:22:15.320
<v Speaker 1>she melts. So that's the lesson kids. That is the

1:22:15.439 --> 1:22:19.160
<v Speaker 1>lesson ray O Leary. This podcast comes with homework. You've

1:22:19.240 --> 1:22:22.520
<v Speaker 1>done it above and beyond. You've watched a movie with subtitles.

1:22:23.080 --> 1:22:26.360
<v Speaker 1>You don't quite go into the Jane Kennedy watching three

1:22:26.960 --> 1:22:30.360
<v Speaker 1>Lord of the Rings films director's cut eleven and a

1:22:30.360 --> 1:22:35.000
<v Speaker 1>half hours, you don't quite make into that. It's then group.

1:22:35.040 --> 1:22:36.360
<v Speaker 1>But I appreciate anyone.

1:22:36.520 --> 1:22:38.679
<v Speaker 4>Thank you. I'm looking forward to doing your book podcast.

1:22:40.000 --> 1:22:41.559
<v Speaker 4>Recommend a film for me to read.

1:22:41.880 --> 1:22:46.120
<v Speaker 1>Yeah, yeah, read Chanta Am by Wednesday, please right, that

1:22:46.640 --> 1:22:50.320
<v Speaker 1>would be great. My congratulations. I've love watching the Rise

1:22:50.600 --> 1:22:53.400
<v Speaker 1>of ray Leary, both on your appearances of have you

1:22:53.520 --> 1:22:56.360
<v Speaker 1>paying attention, but also seeing you gig around town, around

1:22:56.400 --> 1:22:59.160
<v Speaker 1>the country, Edinburgh, your show, which is one of the

1:22:59.200 --> 1:22:59.879
<v Speaker 1>great titles.

1:23:00.920 --> 1:23:01.200
<v Speaker 4>Thank you.

1:23:01.320 --> 1:23:03.479
<v Speaker 1>I love it so much. Your laughter is only making

1:23:03.560 --> 1:23:04.120
<v Speaker 1>me stronger.

1:23:04.280 --> 1:23:05.240
<v Speaker 4>Well, thank you, thank you.

1:23:05.960 --> 1:23:07.400
<v Speaker 1>And just how was Edinburgh?

1:23:07.640 --> 1:23:07.880
<v Speaker 3>It was?

1:23:08.000 --> 1:23:10.440
<v Speaker 4>It was good, it was good. It's an intense experience,

1:23:10.560 --> 1:23:12.680
<v Speaker 4>it was. But I was very lucky, you know, like

1:23:12.720 --> 1:23:15.439
<v Speaker 4>I had a very you know, good run. I was

1:23:15.479 --> 1:23:20.080
<v Speaker 4>in a university classroom. Yes, yes, it's every I never

1:23:20.160 --> 1:23:22.519
<v Speaker 4>went into a single venue there and was like, oh

1:23:22.560 --> 1:23:24.920
<v Speaker 4>this venue is the right temperature, this is this is

1:23:26.000 --> 1:23:28.360
<v Speaker 4>this is perfect for performing comedy and like, you know,

1:23:28.520 --> 1:23:30.080
<v Speaker 4>you hear this, you know, I think like let them in.

1:23:30.160 --> 1:23:31.920
<v Speaker 4>You hear the stories like they would always chill the

1:23:32.000 --> 1:23:35.280
<v Speaker 4>audience to make them as old as possible. Whereas, yeah,

1:23:35.360 --> 1:23:37.479
<v Speaker 4>every room in Edinburgh is the exact opposite. You're like, oh,

1:23:37.520 --> 1:23:40.400
<v Speaker 4>I'm kind of a sauna here and it's like appressively hot,

1:23:40.439 --> 1:23:43.080
<v Speaker 4>and you know, some people are performing in like caves

1:23:43.200 --> 1:23:46.320
<v Speaker 4>and you know, underground and it's just it's such a

1:23:46.439 --> 1:23:49.040
<v Speaker 4>wild like you think you'd be braced for it from

1:23:49.120 --> 1:23:52.000
<v Speaker 4>doing Melbourne Comedy Festival, but in Edinburgh, you know, the

1:23:52.040 --> 1:23:54.240
<v Speaker 4>show start at ten am, you know, you know you're

1:23:54.280 --> 1:23:56.719
<v Speaker 4>doing a gig at noon and the place is packed

1:23:56.760 --> 1:24:00.800
<v Speaker 4>and you know, so it's just a saying in the

1:24:00.920 --> 1:24:02.519
<v Speaker 4>sane time. But I'm you know, I'd love to go.

1:24:02.600 --> 1:24:04.200
<v Speaker 4>I'm you know, I'm hoping I'll go back again.

1:24:04.320 --> 1:24:06.639
<v Speaker 1>So I'm sure you will. So when you go over,

1:24:06.720 --> 1:24:09.240
<v Speaker 1>do you think as your crowd found you online, have

1:24:09.320 --> 1:24:13.720
<v Speaker 1>they found through task Master? Where do you? Where do you?

1:24:14.320 --> 1:24:16.600
<v Speaker 4>I had one woman tell me that she came and

1:24:16.640 --> 1:24:18.559
<v Speaker 4>watched because she heard me on a podcast. So I'm

1:24:18.840 --> 1:24:27.360
<v Speaker 4>looking forward to another single ticket sales from No but yeah,

1:24:27.479 --> 1:24:29.479
<v Speaker 4>like there were people, you know, there were like a

1:24:29.520 --> 1:24:31.800
<v Speaker 4>lot of Australians and Kiwis had come because they're you know,

1:24:32.280 --> 1:24:34.080
<v Speaker 4>aware of who I am. So that was nice. And

1:24:34.160 --> 1:24:37.719
<v Speaker 4>then yeah, task Master, the task Master brand is so strong.

1:24:37.760 --> 1:24:39.519
<v Speaker 4>I'm so lucky to have been a part of you

1:24:39.640 --> 1:24:42.680
<v Speaker 4>know that that series where yeah, people knew me from

1:24:42.720 --> 1:24:44.920
<v Speaker 4>that and and you were coming to the show. And

1:24:45.000 --> 1:24:46.400
<v Speaker 4>then also I think some people, you know, there's an

1:24:46.400 --> 1:24:48.800
<v Speaker 4>element of just taking a chance on someone like I had.

1:24:48.920 --> 1:24:51.599
<v Speaker 4>I had a show canceled because of a power cut,

1:24:51.840 --> 1:24:54.479
<v Speaker 4>and I'm bumped into some of the audience beforehand, and

1:24:54.800 --> 1:24:56.519
<v Speaker 4>I was talking to a woman and she was Irish,

1:24:56.560 --> 1:24:58.960
<v Speaker 4>and she's going, oh, you're not Irish, and she just

1:24:59.080 --> 1:24:59.920
<v Speaker 4>took a punt based on.

1:25:03.800 --> 1:25:06.080
<v Speaker 1>But I think, so when you're looking at you're going

1:25:06.120 --> 1:25:09.479
<v Speaker 1>to take a punt, you're looking at somebody. Often you're

1:25:09.520 --> 1:25:13.439
<v Speaker 1>looking at posters, and I think, and I think your

1:25:13.520 --> 1:25:16.840
<v Speaker 1>post simple image. But you know, if people hadn't seen you,

1:25:17.040 --> 1:25:19.960
<v Speaker 1>you know, the suit and the and the and the hair,

1:25:20.120 --> 1:25:23.280
<v Speaker 1>and it's just it's it's quite a package. And couple

1:25:23.360 --> 1:25:25.920
<v Speaker 1>that with your laughter. He's only making me stronger as

1:25:25.960 --> 1:25:29.360
<v Speaker 1>a as a show title, I think, yeah, it's not

1:25:29.600 --> 1:25:32.439
<v Speaker 1>just about taking a punt really nearly. I think I

1:25:32.560 --> 1:25:35.240
<v Speaker 1>think I made a decision years ago to make my

1:25:35.680 --> 1:25:38.519
<v Speaker 1>posters as funny as you know I could think of,

1:25:38.560 --> 1:25:40.879
<v Speaker 1>because there was a stage where a lot of comedians

1:25:40.920 --> 1:25:44.360
<v Speaker 1>were making their posters look like rock stars and moody

1:25:44.439 --> 1:25:48.719
<v Speaker 1>and sexy. That's got no place in comedy for mine.

1:25:50.640 --> 1:25:53.600
<v Speaker 1>But mate, thank you so much. Keep kicking goals. And

1:25:53.920 --> 1:25:54.920
<v Speaker 1>it's been a pleasure hanging out.

1:25:55.000 --> 1:25:56.280
<v Speaker 4>No, thank you so much as an honor.

1:26:12.680 --> 1:26:16.680
<v Speaker 1>Yeah, it was a great. Ray O'Leary, what a man.

1:26:17.800 --> 1:26:21.839
<v Speaker 1>And he told me afterwards, now his favorite film Mercy.

1:26:22.160 --> 1:26:29.479
<v Speaker 1>Oh he's still here. Usually I wait for the guests

1:26:29.479 --> 1:26:32.960
<v Speaker 1>to leave the studio, but Ray's still here. What do

1:26:33.000 --> 1:26:34.519
<v Speaker 1>you think of the podcast? Right you perform?

1:26:34.800 --> 1:26:37.560
<v Speaker 4>You know, yeah, I've got some notes I would I

1:26:37.600 --> 1:26:39.320
<v Speaker 4>would describe it as aimless.

1:26:40.960 --> 1:26:43.840
<v Speaker 1>We have many many films. I was expecting tar like

1:26:43.920 --> 1:26:46.080
<v Speaker 1>you said, they come up on the spotless mine.

1:26:46.680 --> 1:26:48.880
<v Speaker 4>Yeah, I'm so glad you brought that up. I got

1:26:48.960 --> 1:26:49.639
<v Speaker 4>to watch that again.

1:26:49.800 --> 1:26:50.000
<v Speaker 3>It is.

1:26:50.160 --> 1:26:53.040
<v Speaker 1>It is a good one. If you enjoying the podcast,

1:26:53.320 --> 1:26:55.120
<v Speaker 1>it's free. So how about you do something for us

1:26:55.160 --> 1:26:56.920
<v Speaker 1>and head to iTunes and give us a ratings. I

1:26:57.000 --> 1:26:59.599
<v Speaker 1>recommend what do you recommend? That of five stars? Ray,

1:27:00.200 --> 1:27:02.639
<v Speaker 1>I hope they can go up to six six try

1:27:02.720 --> 1:27:04.400
<v Speaker 1>and do what you can if you can hack into

1:27:04.439 --> 1:27:06.200
<v Speaker 1>the mainframe. I think that's what the I think that's

1:27:06.439 --> 1:27:10.960
<v Speaker 1>the terminology of iTunes. Give six stars. If not five stars,

1:27:11.080 --> 1:27:17.880
<v Speaker 1>we appreciate labor review post on x post on formerly Twitter. Well, yeah,

1:27:18.320 --> 1:27:20.040
<v Speaker 1>tell your friends. I think word of mouth is still

1:27:20.080 --> 1:27:23.320
<v Speaker 1>a thing, so let them know. Go see Rio Leary

1:27:23.560 --> 1:27:26.680
<v Speaker 1>whenever possible. That was a fun chat, and I think

1:27:26.720 --> 1:27:28.840
<v Speaker 1>he liked Amilee a little bit more than he did

1:27:28.840 --> 1:27:29.599
<v Speaker 1>when he arrived.

1:27:29.960 --> 1:27:32.800
<v Speaker 4>Yes, at one hundred percent, you've convinced me this is

1:27:33.160 --> 1:27:36.160
<v Speaker 4>is the new tar If I's talking about it.

1:27:37.000 --> 1:27:40.160
<v Speaker 1>We're going to different a message. Lee's playing on Fox

1:27:40.200 --> 1:27:43.920
<v Speaker 1>Style Thank you again once more, mate, And next week

1:27:44.120 --> 1:27:47.639
<v Speaker 1>on the show, a comedian who has been kicking massive

1:27:47.720 --> 1:27:50.600
<v Speaker 1>goals over the last couple of years. They smashed it

1:27:51.000 --> 1:27:54.240
<v Speaker 1>on thank God You're Here. I was gonna say the

1:27:54.320 --> 1:27:56.760
<v Speaker 1>other one, have you made attention? Thank God You're here?

1:27:57.600 --> 1:28:01.560
<v Speaker 1>It was hilarious on it. I've performed with Franking on

1:28:01.640 --> 1:28:05.720
<v Speaker 1>the same bill. I've seen them perform on stage many

1:28:05.800 --> 1:28:10.439
<v Speaker 1>times and hilarious, hilarious, fun to hang out with. And

1:28:11.280 --> 1:28:16.240
<v Speaker 1>guess what more, Paul Newman more Paul Newman. That's right,

1:28:16.720 --> 1:28:19.400
<v Speaker 1>we're reuniting Paul Newman with he's good mate Robert Redford.

1:28:19.520 --> 1:28:22.240
<v Speaker 1>We're doing the sting. We are doing the sting next

1:28:22.280 --> 1:28:25.080
<v Speaker 1>week and you ain't seen nothing yet. I have not

1:28:25.400 --> 1:28:29.759
<v Speaker 1>seen it. It's embarrassing. I've had comedians who have shamed

1:28:29.800 --> 1:28:33.320
<v Speaker 1>me for Colin Lane was outraged though I've never seen

1:28:33.360 --> 1:28:34.920
<v Speaker 1>the sting. But we're covering it next week and you

1:28:34.960 --> 1:28:47.040
<v Speaker 1>ain'tee nothing yet until then. Buck an hour and so

1:28:47.280 --> 1:28:51.120
<v Speaker 1>we leave Old Pete save fan soul, and to our

1:28:51.200 --> 1:28:54.639
<v Speaker 1>friends of the radio audience, we've been a pleasant, good name.