WEBVTT - Monty Franklin and Cool Hand Luke 0:00:00.160 --> 0:00:02.640 Gooday, Pete Hally here, welcome to you, and see nothing yet. 0:00:02.640 --> 0:00:04.520 In the movie Podcast, we're our chat to a movie 0:00:04.559 --> 0:00:07.120 lover about a classic or but loved the movie they 0:00:07.160 --> 0:00:11.160 haven't quite got around to watching until now. Today's guests 0:00:11.880 --> 0:00:21.239 comedian filmmaker Monty Franklin, all below. 0:00:21.560 --> 0:00:22.920 I want to stay here with you. 0:00:32.200 --> 0:00:33.560 Gay to the jobble. 0:00:39.479 --> 0:00:41.960 My lake, snake, shock, my fail. 0:00:43.159 --> 0:00:47.279 They couldn't happening right, So don't seen nothing here. 0:00:56.120 --> 0:00:58.880 This is going to be a fun one. Monty Franklin 0:00:59.040 --> 0:01:03.240 is back on home soil for a little while at least. 0:01:03.920 --> 0:01:08.560 He is an ossie comic who has fled his craft 0:01:09.240 --> 0:01:15.679 in the States. He's Los Angeles based, and I've always 0:01:16.000 --> 0:01:17.480 we haven't spent a lot of time with each other. 0:01:17.600 --> 0:01:20.440 Often these podcasts. Mostly it's people who I have spent 0:01:20.480 --> 0:01:23.759 a bit bit of time, not always. I hang out 0:01:23.760 --> 0:01:26.399 with Monty in LA like ten years ago. I when 0:01:26.440 --> 0:01:29.400 I saw him do a gig, he was great. I 0:01:29.440 --> 0:01:32.000 think it's me Monty and Tommy Little and we just 0:01:32.120 --> 0:01:36.080 hung out for a bit. Great guy, fun funny, but 0:01:36.200 --> 0:01:40.639 I always really admired him going over to the States. 0:01:40.720 --> 0:01:42.520 We have a lot of buzzie comedians who will go 0:01:42.560 --> 0:01:46.720 to London. There's a bit more of a pathway. I 0:01:46.880 --> 0:01:50.760 guess a lot of English and Australian comics that close. 0:01:50.800 --> 0:01:54.120 Because of the Melbourne Comedy Festival and Edinburgh, it's a 0:01:54.200 --> 0:01:58.320 much bigger roll of the dice to go to Los 0:01:58.360 --> 0:02:01.960 Angeles and try to crack it there. But he is 0:02:02.040 --> 0:02:05.640 I think the only Australian with his name on the 0:02:05.880 --> 0:02:12.160 wall at the Comedy Store in Hollywood. At least he's 0:02:12.320 --> 0:02:17.480 the first Aussie. He plays all the clubs, the improv clubs, 0:02:17.760 --> 0:02:21.400 the laugh Factory to us all around. He's worked on 0:02:22.040 --> 0:02:26.600 and with Rob Schneider on a Rob show. He's open 0:02:26.720 --> 0:02:30.000 for Rob as well and Joe Rogan. He's been on 0:02:30.120 --> 0:02:33.760 Joe Rogan's podcast. He's had roles in The New Girl. 0:02:35.320 --> 0:02:40.000 He's just doing it all real. Rob is Real, Rob 0:02:40.120 --> 0:02:44.200 is the series. You can see that on Netflix. He's 0:02:44.240 --> 0:02:47.560 a really He's a bloody hard worker. Monty and I've 0:02:47.800 --> 0:02:50.040 digged it with him a bit. Recently. He's getting his 0:02:50.240 --> 0:02:53.359 work up for a big tour playing Hamer Hall. It's 0:02:53.400 --> 0:02:56.160 a big it's a big room. So get along in 0:02:56.280 --> 0:03:01.160 Melbourne and all around the country. Booty Funny following you 0:03:01.240 --> 0:03:05.400 on Instagram, Monty Franklin and more than all of that, 0:03:05.840 --> 0:03:09.480 a couple of things. One his uncle, he's a great 0:03:09.560 --> 0:03:13.959 Richard Franklin, who made some great movies, including one of 0:03:14.440 --> 0:03:17.359 the first movie I ever saw, the Pirate Movie. I 0:03:17.440 --> 0:03:21.200 want to talk to Monty about that, but also Blue Lagoon, 0:03:21.280 --> 0:03:27.679 like some genuinely touchstone pictures Richard made more than that, 0:03:27.800 --> 0:03:30.160 and maybe leading on from that, Monty is about to 0:03:30.240 --> 0:03:33.239 go into a production of his own film. It's a 0:03:33.320 --> 0:03:38.040 passion project. It's got a Great Emu War. There was 0:03:39.080 --> 0:03:42.240 a film recently that dealt with that, a pretty low budget. 0:03:42.240 --> 0:03:44.040 I think a vision was going to be a YouTube 0:03:44.120 --> 0:03:46.960 kind of sketch, and they get building it and building 0:03:47.040 --> 0:03:50.040 and building it, and they released it as a film. 0:03:50.760 --> 0:03:57.320 This one seems to have a bigger budget and certainly 0:03:58.120 --> 0:04:01.240 a bit of staff power. John Clees is in it. 0:04:01.760 --> 0:04:05.520 Rob Schneider is in it. It's and Monty is in it. 0:04:05.600 --> 0:04:09.920 He's written it, he's directed it. So I cannot wait 0:04:10.360 --> 0:04:13.760 to see The Great Emu War, hopefully imagine maybe later 0:04:13.920 --> 0:04:15.880 next year, so a while away, but we'll keep you 0:04:15.960 --> 0:04:23.520 posted on that. Monty is funny, is generous, he's industrious, 0:04:23.520 --> 0:04:26.160 he's a bit of an entrepreneur, and I'm bloody stoked 0:04:26.440 --> 0:04:27.679 to be hanging with him today. 0:04:31.600 --> 0:04:35.560 Hi, I'm Monty Franklin. My top three favorite movies. Back 0:04:35.640 --> 0:04:37.760 to the Future, AE Way. 0:04:37.640 --> 0:04:41.120 A Matte Dark. Are you telling me that you built 0:04:41.160 --> 0:04:45.520 a time machine kind of a doloreate the way I 0:04:45.600 --> 0:04:45.880 see it? 0:04:46.240 --> 0:04:48.320 If you've got to build a time machine into a car, way' 0:04:48.360 --> 0:04:51.919 not do with some style besides the saineless steel construction 0:04:52.040 --> 0:04:53.479 me the fux dispersal. 0:04:54.520 --> 0:05:01.320 Look dumb, dumba Austria. 0:05:02.680 --> 0:05:08.880 Well then gooday, mate, Let's put another ash rimp. 0:05:08.720 --> 0:05:09.440 On my barbie. 0:05:10.080 --> 0:05:12.440 And I threw tombstone in there as well. 0:05:13.240 --> 0:05:19.279 Why Johnny Ringo looked like somebody just walked over your grave? 0:05:20.480 --> 0:05:22.600 And the movie that I hadn't seen but should have 0:05:22.760 --> 0:05:25.479 I don't know why I didn't was cool Hand Luke 0:05:26.160 --> 0:05:27.160 Last bell is at eight. 0:05:27.400 --> 0:05:29.560 Any man knocking his bunk at eight spends the night 0:05:29.600 --> 0:05:32.159 in the box. There's no smoking in the prone position 0:05:32.240 --> 0:05:34.400 in bed. To smoke, you must have both legs over 0:05:34.440 --> 0:05:36.400 the side of your bunk. And a man caught smoking 0:05:36.480 --> 0:05:38.440 in the prone position in bed spends the night in 0:05:38.480 --> 0:05:38.880 the box. 0:05:39.360 --> 0:05:41.200 You'll get two sheets every Saturday. 0:05:41.480 --> 0:05:43.120 You put the clean sheet in the top the top 0:05:43.200 --> 0:05:44.960 sheet in the bottom the bottom sheet you turn in 0:05:45.000 --> 0:05:47.039 the laundry board, and a man turns in the wrong 0:05:47.080 --> 0:05:49.080 sheet spends the night in a box which no one 0:05:49.120 --> 0:05:51.159 will sit in the bunks with dirty pants on. Any 0:05:51.240 --> 0:05:53.280 man with dirty pants on sitting on a bunk spends 0:05:53.320 --> 0:05:55.360 a night in a box. Any man don't bring back 0:05:55.400 --> 0:05:57.360 his empty pop bottle spends the night in the box. 0:05:57.560 --> 0:05:59.360 And a man a loud talking spends the night in 0:05:59.440 --> 0:06:03.880 the box. You've got questions, you come to me. I'm 0:06:04.000 --> 0:06:08.080 car the Flora Walker, I'm responsible. Order in here. Any 0:06:08.160 --> 0:06:10.560 man don't keep order spends a night in the box. 0:06:12.680 --> 0:06:14.480 I hope you ain't going to be a hard. 0:06:14.360 --> 0:06:20.280 Geece drunken, bored, purple hearted, silver star veteran Luke Jackson's 0:06:20.279 --> 0:06:23.920 screen icon Paul and Human, playing the second most famous 0:06:24.000 --> 0:06:27.239 Luke in screen history, is arrested for cutting the heads 0:06:27.320 --> 0:06:31.240 off parking meters. Sentence to two years on a road gang. 0:06:31.480 --> 0:06:34.160 Luke is made to ernie stripes, but he demonstrates his 0:06:34.320 --> 0:06:37.880 worth and tenacity by withstanding a boxing bout with the 0:06:38.000 --> 0:06:42.680 burly top dog Dragline George Kennedy, winning the film's only oscar. 0:06:43.040 --> 0:06:46.880 The inmates become enamored with Luke and his cool demeanor. 0:06:47.400 --> 0:06:50.960 Whether it's taking a barrage of punches or eating fifty eggs, 0:06:51.080 --> 0:06:54.760 Luke can do no wrong in their eyes. But when 0:06:54.839 --> 0:06:57.880 news of Luke's mother's death seize, the captain decided a 0:06:57.960 --> 0:07:01.000 sentence Luke to the box to avoid him turning rabbit 0:07:01.080 --> 0:07:04.640 and running. It turns this film upside down. This strategy 0:07:04.920 --> 0:07:09.720 backfires as Luke plans his escape Well Escapes. Directed by 0:07:09.840 --> 0:07:13.800 Stuart Rosenberg. The Amateurville horror The Pope of Greenwich Village 0:07:14.000 --> 0:07:16.480 from a script by Frank Pearson from the novel by 0:07:16.640 --> 0:07:19.760 Don Pierce. Cool and Luke brings us one of cinema's 0:07:19.800 --> 0:07:24.280 great anti heroes, Monty Franklin. How many eggs do you reckon? 0:07:24.680 --> 0:07:25.400 You could eat? 0:07:26.160 --> 0:07:28.600 I think, honestly, if you're really pushing it, you could. 0:07:28.720 --> 0:07:33.160 Maybe you could maybe do twelve, but you'd feel disgusting 0:07:33.240 --> 0:07:34.120 after twelve. 0:07:34.000 --> 0:07:34.960 Four thousand calories. 0:07:35.000 --> 0:07:35.200 It is. 0:07:36.800 --> 0:07:40.240 I've googled it. Fifty eggs, fifty eggs, and he can 0:07:40.400 --> 0:07:43.920 physically do it. Oh, it won't kill you, but it's 0:07:43.960 --> 0:07:44.320 a lot. 0:07:44.600 --> 0:07:49.880 I could not believe that that plot in the movie. 0:07:50.040 --> 0:07:51.800 That was a plot line in the movie. It came 0:07:51.840 --> 0:07:54.880 from nowhere. He just goes, I could eat fifty eggs. 0:07:55.000 --> 0:07:57.520 He like, just yills it out, and then everyone just goes, 0:07:57.600 --> 0:08:00.840 what Norman's fifty eggs before? What do you talk? And 0:08:00.920 --> 0:08:03.880 then for the next fifteen minutes it's it's got nothing 0:08:03.920 --> 0:08:04.720 to do with the movie. 0:08:05.240 --> 0:08:08.360 It's a montage of egg eating. It's like a rocky 0:08:08.640 --> 0:08:11.840 montage with eggs. It's so funny. 0:08:12.240 --> 0:08:14.760 They just keep going close up on his stomach and 0:08:14.880 --> 0:08:17.720 beforehand and the big guy who you just said massaging 0:08:17.760 --> 0:08:20.400 his stomach, We're gonna massage that stomach up, babe boy. Look, 0:08:21.040 --> 0:08:23.400 and so I can fit the eggs. 0:08:23.760 --> 0:08:27.280 Fifty eggs and yeah, I won't get too deep into 0:08:27.360 --> 0:08:29.600 There's a lot to discuss about this movie, and the 0:08:29.680 --> 0:08:33.439 fifty eggs will be discussed absolutely. What did you know 0:08:34.040 --> 0:08:37.599 of Cool Hand? Luke? For disclosure, I watched this in 0:08:37.720 --> 0:08:40.800 my teen years and very much enjoyed it. But what 0:08:40.880 --> 0:08:42.000 do you know about it? 0:08:42.440 --> 0:08:45.160 I knew it was one of those movies that I 0:08:45.480 --> 0:08:49.679 probably should have seen, Like I knew it did have 0:08:49.920 --> 0:08:52.320 Oscar winners. I'm not sure I didn't know. 0:08:52.280 --> 0:08:53.400 George is the only one. 0:08:53.480 --> 0:08:58.600 Yeah, right, I knew Paul Newman, but I hadn't seen 0:08:58.640 --> 0:08:59.880 any of his movies. 0:08:59.559 --> 0:09:02.360 Either, Right, this is your first part new in Experience first, 0:09:02.400 --> 0:09:04.000 Paul Newman Side of the Past. 0:09:04.400 --> 0:09:08.000 Yeah, and Paul Newman falls into the same category as 0:09:09.400 --> 0:09:12.719 what's he at Redford? There you go exactly, And so 0:09:12.840 --> 0:09:15.800 I wanted to see him in his prime because I 0:09:15.920 --> 0:09:19.000 just remembered him from Souce Bottles. Yes, yeah, and so 0:09:19.200 --> 0:09:21.880 I was very interested in that. Cool Hand Luke is 0:09:21.920 --> 0:09:24.880 a movie that Rob Schneider, sorry to name drop, he's 0:09:24.920 --> 0:09:27.400 a friend of mine, but he talks about it a lot, right, 0:09:27.600 --> 0:09:30.520 And so when I saw that and I hadn't seen it, 0:09:30.600 --> 0:09:32.240 I'm like, this is definitely one of those that I 0:09:32.280 --> 0:09:34.680 should see. Yeah, you know when you just miss movies 0:09:34.760 --> 0:09:37.400 like I missed I forgot to watch Gladiator and then 0:09:37.520 --> 0:09:39.319 I went where did I watch that? And I watched 0:09:39.320 --> 0:09:41.640 it and I went, wow, I can't believe I forgot 0:09:41.720 --> 0:09:42.199 to watch that. 0:09:42.520 --> 0:09:45.280 Yeah, yeah, I mean, and this podcast is built for 0:09:46.160 --> 0:09:48.880 this occasion. There's so much I want to talk about. 0:09:48.920 --> 0:09:51.520 Guns and Roses fans would know Cool Hand Luke because 0:09:51.520 --> 0:09:53.160 I'm not sure if you're a Guns and Roses fan. 0:09:53.320 --> 0:09:55.959 But when the User Illusion albums came out in the 0:09:56.360 --> 0:10:00.320 mid nineties, I think what we have here is fairly 0:10:00.400 --> 0:10:03.480 to communicate. It was the beginning, thank you of Civil War. 0:10:03.720 --> 0:10:05.520 That was what I was trying to figure out where 0:10:05.520 --> 0:10:06.200 I knew it from? 0:10:06.440 --> 0:10:10.679 Yes Ah, and I like guns would never would never 0:10:10.679 --> 0:10:13.480 have seen this movie, would know be able to quote 0:10:13.480 --> 0:10:14.280 that verbatim, you know. 0:10:14.400 --> 0:10:16.000 But that's why I knew. When they said when you 0:10:16.040 --> 0:10:19.199 said that line casually Warden does, I just went, why 0:10:19.280 --> 0:10:20.280 do I know that line? 0:10:20.360 --> 0:10:20.400 So? 0:10:20.600 --> 0:10:23.920 Yes, that was the first tape I got was usual 0:10:23.960 --> 0:10:24.880 Illusion one and two. 0:10:25.040 --> 0:10:27.400 There you go. Yeah, and what a connection. Now we 0:10:27.559 --> 0:10:31.160 have lots of talk to you about about stuff you're doing, 0:10:32.400 --> 0:10:35.360 your history with family history of cinema. But let's talk 0:10:35.360 --> 0:10:38.520 about your three favorite films, which are it was Dumb 0:10:38.520 --> 0:10:40.280 and Dumber was in there. By the way, we should 0:10:40.360 --> 0:10:44.679 actually point out when when I approach you to do 0:10:44.800 --> 0:10:48.520 the podcast, and I and you've been in the States, which, 0:10:48.679 --> 0:10:50.760 by the way, the podcast is downloaded bit in the States, 0:10:50.800 --> 0:10:54.679 but you said, Okay, these are the films that I 0:10:54.720 --> 0:10:57.160 would like to cover. And you had like Dumb and Dumber, 0:10:57.280 --> 0:11:01.079 You had Mirror's Wedding, you had Missus, doubt Fire, This 0:11:01.200 --> 0:11:04.720 is doubt Fire. You had Yeah, these classic comedy movies, 0:11:04.720 --> 0:11:06.040 and I'm like, wow. 0:11:06.040 --> 0:11:09.840 What kind of comedian hasn't seen Yeah. 0:11:09.720 --> 0:11:11.480 I can take one or two of them, but like 0:11:11.760 --> 0:11:15.400 there's six classic, like the comedy movies you need to see. 0:11:16.200 --> 0:11:18.839 And it seemed I'm like, I know you're about to 0:11:18.920 --> 0:11:21.319 make a film the next year, maybe you should check 0:11:21.320 --> 0:11:24.439 out some of the classics. And then we worked out, no, 0:11:24.880 --> 0:11:27.400 you maybe slightly mis understood the premise that you hadn't 0:11:27.760 --> 0:11:30.520 you the lad to have seen the movie. So we 0:11:31.000 --> 0:11:35.560 got that straight. So I'm glad we did, but yes, 0:11:36.200 --> 0:11:38.800 you're and Dumb and Dumber was I was very surprised 0:11:38.840 --> 0:11:40.840 that you hadn't seen it. I mean, and this has 0:11:40.880 --> 0:11:43.480 come up many times in people's top three films. 0:11:43.640 --> 0:11:47.720 I wonder what it is about that film. It's perfect 0:11:47.800 --> 0:11:51.319 and silly and stupid and fun, and it's one of 0:11:51.360 --> 0:11:54.480 those movies that I was when I was eighteen and 0:11:54.600 --> 0:11:57.360 with friends and sitting around after a night out or whatever. 0:11:57.440 --> 0:12:00.920 We'd watch it eight times, you know, started again and 0:12:01.040 --> 0:12:05.559 we'd watch it again. And so that movie I have 0:12:06.160 --> 0:12:09.200 three prints on my wall. One of them is Dumb 0:12:09.200 --> 0:12:11.520 and Dumber. It's Harry and Lloyd on the on the 0:12:12.200 --> 0:12:15.319 mini bike. It's that and then I have Back to 0:12:15.360 --> 0:12:17.960 the Future and then I have Tombstone. So those are 0:12:18.000 --> 0:12:20.600 obviously the reason that I picked those three movies. They 0:12:20.720 --> 0:12:22.439 just they mean a lot to me. But Dumb and 0:12:22.520 --> 0:12:29.600 Dumber the classic comedy duo it's been, you know, since 0:12:29.679 --> 0:12:33.199 Laurel and Hardy and Avan Costella and then I just 0:12:33.400 --> 0:12:35.600 those two for me, I think was the first time 0:12:35.640 --> 0:12:40.000 that I was introduced to a duo that and stir 0:12:40.160 --> 0:12:44.439 crazy and yeah, I think it's the perfect amount of 0:12:45.120 --> 0:12:49.480 absolute silly and ridiculous. I love hearing about Jim Carey's 0:12:50.320 --> 0:12:52.880 story behind Dumb and Dumber, and it was the first 0:12:53.000 --> 0:12:55.839 movie that he was paid twenty million for that he 0:12:56.520 --> 0:12:59.160 had written down that you know, that's a goal that 0:12:59.240 --> 0:13:02.400 he wanted to do. Like the performance that he puts 0:13:02.440 --> 0:13:06.120 in that is brilliant, and Jeff Daniels as well. Just 0:13:06.559 --> 0:13:09.320 I don't know what it is why I just still laugh. 0:13:09.440 --> 0:13:10.199 It holds up too. 0:13:10.840 --> 0:13:13.760 Yeah, Well, because it's silly, isn't it Like, and silly 0:13:13.840 --> 0:13:16.480 doesn't has never gone out of fashion, I don't think, 0:13:16.720 --> 0:13:21.360 even though I believe that sometimes we underrate silliness as 0:13:21.400 --> 0:13:24.280 a society and even sometimes when we watch comedy because 0:13:24.720 --> 0:13:28.120 it's a fine line isn't it like that? There have 0:13:28.440 --> 0:13:30.920 been many movies that have attempted to do what Dumb 0:13:30.960 --> 0:13:34.440 and Dumber has done before and after, and some are 0:13:34.559 --> 0:13:37.720 just it's too silly. But there's something about Dumb and Dumber, 0:13:38.080 --> 0:13:41.520 even though it's not really trying for much else other 0:13:41.679 --> 0:13:44.199 than silliness, there's a lot of I think there is 0:13:44.200 --> 0:13:45.839 a heart to the story between the two. There's a 0:13:45.920 --> 0:13:48.800 chemistry between. Yeah, it does have a heart, and that 0:13:49.000 --> 0:13:49.920 may be the secret source. 0:13:50.000 --> 0:13:54.920 Maybe yeah, Well, it's it's interesting when you say, a 0:13:54.960 --> 0:13:57.040 lot of other movies have done similar to that, even 0:13:57.160 --> 0:14:00.679 the scene where Harry goes in and goes to the 0:14:01.000 --> 0:14:04.640 bathroom and has an obnoxious time in the bathroom. So 0:14:04.760 --> 0:14:07.559 many movies have done that, and I now cringe a 0:14:07.640 --> 0:14:10.400 little bit at them, like here we go again, and 0:14:10.520 --> 0:14:13.160 it's the same fart jokes and blah blah. That one 0:14:13.440 --> 0:14:17.559 is flat out hilarious, and it's the same premise that 0:14:17.600 --> 0:14:19.720 everyone else is trying to use someone just struggling in 0:14:19.800 --> 0:14:23.880 the bathroom. But the way that he did it, everything 0:14:24.160 --> 0:14:28.360 about it was silly and fun and at no point 0:14:28.400 --> 0:14:30.200 did I think, oh, this is too much, or this 0:14:30.360 --> 0:14:33.680 is overdone or anything like that. So when you say 0:14:33.720 --> 0:14:37.280 silly is the key to that is the king of 0:14:37.360 --> 0:14:41.680 comedy is silly. I think that's Steve Martin's that's what 0:14:41.800 --> 0:14:44.280 the best is. And if it's not too polarizing and 0:14:44.360 --> 0:14:47.040 everything like that, and you're really just talking about the 0:14:47.160 --> 0:14:50.160 silly goo goof stuff, I think that's what brings people 0:14:50.200 --> 0:14:51.880 in the most and then the heart to it. And 0:14:51.960 --> 0:14:53.680 there was so much hard in that toilet scene. 0:14:55.880 --> 0:15:00.480 There was certainly fluids. But what I have good point 0:15:00.560 --> 0:15:03.120 that many people have tried to do a similar scene. 0:15:03.680 --> 0:15:07.160 And then there's other funny toilet scenes that obviously, but 0:15:07.720 --> 0:15:09.200 you know, there's something about Mary comes to mind, but 0:15:10.360 --> 0:15:13.440 there's if you can find a way, whether it's in 0:15:13.480 --> 0:15:16.920 the performance, is to make it a little different. And 0:15:17.360 --> 0:15:19.480 it's like somebody told me, you know, we have a 0:15:19.480 --> 0:15:22.520 discussion with another comedian about Jerry Seinfeld, who I think 0:15:22.560 --> 0:15:26.760 is the goat, you know, and if you look at 0:15:26.880 --> 0:15:31.520 Jerry Seinfeld's set list, it would be what everybody what 0:15:31.840 --> 0:15:35.400 a critic would consider a hack set list like or 0:15:35.600 --> 0:15:38.280 you know, like cool comedians would go, you know, it's 0:15:38.280 --> 0:15:41.240 a hack, it's men and women, it's your relationship, it's 0:15:41.280 --> 0:15:45.560 popped tart exactly. But He always finds a way to 0:15:45.680 --> 0:15:48.800 find a new angle about stuff that has been explored 0:15:49.240 --> 0:15:52.000 for years and years and years, but he finds a 0:15:52.040 --> 0:15:52.800 fresh angle somehow. 0:15:52.920 --> 0:15:55.960 That is the key, and that is what angers good 0:15:56.040 --> 0:15:58.480 comedians the most. When you see someone do a premise 0:15:58.520 --> 0:16:00.560 that's been done before, but they wrap it up in 0:16:00.640 --> 0:16:03.240 a different packaging and you go, ah, why did I 0:16:03.360 --> 0:16:06.600 not see that angle of it? And that is definitely 0:16:06.680 --> 0:16:08.680 what Jerry does. And you're right, he is the goat. 0:16:08.760 --> 0:16:12.720 And he is like a craftsman too, like no word 0:16:13.040 --> 0:16:17.440 is wasted. He's like trimm down his act to a 0:16:17.560 --> 0:16:20.520 perfect And when you watch him and he runs on 0:16:20.600 --> 0:16:23.480 stage and he goes up, thank you and leaves like 0:16:23.560 --> 0:16:27.320 it's so professional, the way that he delivers silliness. It's 0:16:27.440 --> 0:16:29.040 just it's remarkable to watch. 0:16:29.200 --> 0:16:31.360 Sometimes I watch him and I need to kind of, 0:16:32.120 --> 0:16:34.680 you know, because I will waste words. Will like when 0:16:34.720 --> 0:16:36.360 I'm in the head of the joke. I don't. I 0:16:36.440 --> 0:16:39.880 don't like sometimes around I can't. I have a more 0:16:39.960 --> 0:16:42.840 conversational style. But you do have to kind of check 0:16:42.880 --> 0:16:44.320 him with this affe game. I'm not but I'm not. 0:16:45.720 --> 0:16:49.040 My brain is different than Jerry Seinfeld, and he's probably 0:16:49.040 --> 0:16:52.800 got OCD or he's something going on where he's just 0:16:52.880 --> 0:16:55.120 in the way he lives his life. Yeah, I've listened 0:16:55.120 --> 0:16:57.400 to many interviews with him. That's just the way he 0:16:57.640 --> 0:16:59.520 is and that's reflected with this comedy. So I think 0:17:00.120 --> 0:17:03.520 you find you know your voice. It love's just a 0:17:03.640 --> 0:17:05.800 reflection of who you are, and I think it has 0:17:05.880 --> 0:17:09.560 to be unless you are going full character with it. 0:17:10.840 --> 0:17:12.680 I think with Jerry, a big part of his life 0:17:12.800 --> 0:17:17.000 is the trans transcendental meditation, right, which is very rhythm. 0:17:17.440 --> 0:17:19.560 Didn't that didn't? That didn't? What you're meant to do? 0:17:19.680 --> 0:17:21.840 It's a mantra that you say, So he probably brings 0:17:21.880 --> 0:17:23.840 that into a lot of his comedy, which is it's 0:17:23.840 --> 0:17:28.639 a rhythm, it's a mantres, which I like. You are 0:17:28.680 --> 0:17:31.200 more of a storyteller. So You're sitting around the dinner 0:17:31.240 --> 0:17:33.800 table and I've got a I've got this interesting story. 0:17:33.960 --> 0:17:35.920 So I do sort of an arm my way through 0:17:35.960 --> 0:17:38.119 a little bit because I'm going on that journey with 0:17:38.200 --> 0:17:41.840 you on in this story, whereas Jerry is giving you 0:17:42.080 --> 0:17:48.200 his greatest hits of funny, right, it's different. It's like 0:17:48.280 --> 0:17:51.000 watching Stephen Wright, who's completely different than you and I 0:17:51.400 --> 0:17:54.240 delivering jokes but they're kind of like one liner's bang, 0:17:54.400 --> 0:17:57.000 one line of bang, just and he'll have a B 0:17:57.200 --> 0:18:00.359 and C in his head if he knows that's killer, 0:18:00.680 --> 0:18:02.960 he is a sleeper. Here's one just for the you know, 0:18:03.440 --> 0:18:05.600 just for the run of the mill. So it's all 0:18:05.760 --> 0:18:09.000 just different styles of comedy in the end. But yeah, 0:18:09.440 --> 0:18:10.760 it's silly, silly. 0:18:10.840 --> 0:18:14.639 Yeah, it's absolutely And I did think of something, as 0:18:15.160 --> 0:18:18.760 you'll say, Jerry Seinfeld, And we do apologize if Jim 0:18:18.840 --> 0:18:21.040 Carrey and Jeff Daniels listening to this and going hang on, 0:18:21.160 --> 0:18:22.720 Jerry Sifeld wasn't then dumb and dumb? How did we 0:18:22.720 --> 0:18:27.480 get onto it wasn't how did we get get under this? 0:18:28.040 --> 0:18:31.320 Jerry Siffler's book actually that he released with I think 0:18:31.320 --> 0:18:33.520 it's called is There Something in This Sort? And it 0:18:33.640 --> 0:18:35.680 was his joke. It's interesting to see how they were written. 0:18:35.680 --> 0:18:39.800 They were almost written almost like poems. They weren't written 0:18:40.080 --> 0:18:43.200 in long, long sentences. It was to your point about 0:18:43.200 --> 0:18:46.720 the rhythm. It was very interesting. Back to the Future 0:18:46.840 --> 0:18:52.280 has also it's right up there with the most as 0:18:52.320 --> 0:18:54.960 far as top three films go. It's been there a lot. 0:18:55.160 --> 0:18:58.720 We covered it with Nick Cody Live in the Melbourne 0:18:58.720 --> 0:19:02.000 International Comedy Festival keeps coming up. It is, as I 0:19:02.040 --> 0:19:03.359 always say, a perfect film. 0:19:03.440 --> 0:19:05.480 Wait, had Cody not seen Back to the Future? 0:19:05.720 --> 0:19:06.040 Correct? 0:19:06.400 --> 0:19:08.000 God, I don't have to talk to him about. 0:19:07.760 --> 0:19:11.600 That, And like it's Back to the Future is one 0:19:11.640 --> 0:19:14.520 of those like I thought I would never find anyone 0:19:14.520 --> 0:19:16.600 who hasn't seen it. There are some films going to 0:19:16.680 --> 0:19:19.040 go I won't. Everyone's seen Star Wars. 0:19:19.160 --> 0:19:20.879 It's like the Simpsons. Someone says, I've never seen the 0:19:20.920 --> 0:19:22.439 Simpson Like, how are you alive? 0:19:22.680 --> 0:19:26.840 I married to one of those people. Yeah, she's good 0:19:26.880 --> 0:19:30.359 in many other ways. But yeah, Back to the Future 0:19:30.440 --> 0:19:33.040 keeps coming up. And it was I finally yeah when 0:19:33.440 --> 0:19:35.440 Cody said, and it was a couple of years ago, 0:19:35.560 --> 0:19:37.639 and I just just hold off. We'll find time to 0:19:37.720 --> 0:19:40.719 do it, you know. And and and he held off 0:19:40.760 --> 0:19:42.760 watching it for like, you know, two hears and he 0:19:42.840 --> 0:19:44.760 finally found the time to do it live because I 0:19:44.760 --> 0:19:45.879 wanted to do it live because I thought it was 0:19:45.920 --> 0:19:47.080 a great film to do live. He did at the 0:19:47.080 --> 0:19:51.400 Melbourne National Comedy Festival. And yeah, he loved it, obviously. 0:19:52.160 --> 0:19:53.400 But I think it's a perfect film. 0:19:54.160 --> 0:19:56.760 They say it's the one of the perfect written films 0:19:57.000 --> 0:19:59.639 or trilogies that all the beats of our screen writing 0:19:59.720 --> 0:20:02.320 is meant to be done. They hit every mark perfectly. 0:20:02.440 --> 0:20:08.240 The characters are really really well defined, Like even Marty's brother, 0:20:08.440 --> 0:20:11.600 for instance, could have a show of his own. Is 0:20:11.680 --> 0:20:15.000 that defined of a character. So I think when you're 0:20:15.040 --> 0:20:19.680 talking about actual screenwriting and writing the perfect script back 0:20:19.720 --> 0:20:21.760 to the Future, they say Star Wars is as well, 0:20:22.680 --> 0:20:25.880 but Back to the Future is a perfectly written beat 0:20:25.920 --> 0:20:29.320 wise of how you read like Save the Cat, which 0:20:29.400 --> 0:20:32.359 is about screenwriting and stuff and the actual beats of 0:20:32.400 --> 0:20:35.240 writing a script. Back to the Future does it perfectly, 0:20:35.840 --> 0:20:39.159 and they loop in things from the beginning and settle them. 0:20:39.200 --> 0:20:41.800 By the end, everything's done exactly as it should be. 0:20:42.080 --> 0:20:44.960 It always bothered me because I've back if You've just 0:20:45.000 --> 0:20:47.600 been my favorite movie since I was a kid. I 0:20:47.760 --> 0:20:50.520 used to sleep in my clothes because Marty McFly did it. 0:20:50.720 --> 0:20:53.600 Like I was just obsessed with Back to the Future. 0:20:53.640 --> 0:20:56.359 But then when I got older and realized, oh, everyone 0:20:56.480 --> 0:21:00.320 loves this movie. It's not mine. I thought, oh, I 0:21:00.600 --> 0:21:03.280 should find something that's mine and cooler and stuff. But 0:21:03.320 --> 0:21:06.760 then I realized, just like what you like, and so 0:21:06.960 --> 0:21:10.399 I beg, I reckon, I know more knowledge about that 0:21:10.480 --> 0:21:13.320 movie than most people, because I just kept liking it 0:21:13.359 --> 0:21:15.440 and kept watching it, like I'll watch it every few months. 0:21:15.480 --> 0:21:18.000 I watched the trilogy. It's like one of my favorite 0:21:18.040 --> 0:21:21.359 things to do, just sit there. The music just makes 0:21:21.400 --> 0:21:24.720 me so happy. The Little Twinkles and everything that John 0:21:24.720 --> 0:21:29.200 Williams did, And obviously he's the greatest composer ever. Sorry 0:21:29.280 --> 0:21:35.920 to but the well, if you think about it, Home 0:21:35.920 --> 0:21:38.320 Alone and everything that John Williams anyway. 0:21:38.119 --> 0:21:41.040 Credit John william I often think with John Williams. I 0:21:41.080 --> 0:21:44.359 think I've asked somebody if they gave me a satisfactory answer, 0:21:45.520 --> 0:21:48.399 But like, would how would if John Williams was alive 0:21:48.480 --> 0:21:51.720 in the in the age of Mozart, Mozart and Beethoven, 0:21:51.760 --> 0:21:52.399 where would he be? 0:21:52.840 --> 0:21:52.879 Like? 0:21:53.040 --> 0:21:55.680 Is he as good as those guys? 0:21:56.119 --> 0:21:58.840 Yeah? I wonder because what he is good at is 0:21:59.440 --> 0:22:02.399 pairing at with a dramatic scene in a movie or 0:22:02.480 --> 0:22:05.440 a comedic pet in a movie. That's his skill. Yeah, 0:22:05.520 --> 0:22:07.240 And when you look at the movie and it does 0:22:07.320 --> 0:22:09.680 the little twinkle and it gives you that, oh, something's happening, 0:22:10.040 --> 0:22:13.680 Like he evokes that emotion in you. But just his 0:22:14.200 --> 0:22:17.280 music per se, I wonder. I know that He's obviously 0:22:17.400 --> 0:22:20.080 very talented and knows how to write music, but him 0:22:20.240 --> 0:22:22.480 scoring is that's his thing. 0:22:22.760 --> 0:22:25.639 I do wonder if if you hear Indiana Jones or 0:22:25.720 --> 0:22:27.840 Star Wars as a piece of music, and it's impossible 0:22:27.920 --> 0:22:29.920 for us to possibly take away the images and the 0:22:29.960 --> 0:22:32.920 feelings we have in nostalgia. We're connected to those movies 0:22:32.960 --> 0:22:35.480 in those moments. But I wonder if you just heard, 0:22:35.480 --> 0:22:37.639 if you played to somebody who hadn't seen those movies, 0:22:37.880 --> 0:22:41.840 that music alongside, you know, Beethoven's nine, I'm making that up. 0:22:41.880 --> 0:22:43.359 I'm not sure if it's Beethoven's Night. 0:22:44.960 --> 0:22:48.760 Six per Sistine Chapel. 0:22:51.240 --> 0:22:56.600 I think it's Rembrandt's second. How would it compare? What 0:22:56.840 --> 0:22:57.680 feelings would they have? 0:22:58.440 --> 0:23:01.159 Unless we've just grown in a custom now. But you 0:23:01.280 --> 0:23:04.160 can pick a John Williams score from if he's doing 0:23:04.200 --> 0:23:06.720 a new movie or something. This is John Williams. You 0:23:06.840 --> 0:23:10.359 know his style. But he still does come out with 0:23:10.520 --> 0:23:12.639 new ones that are belters. And he did it with 0:23:12.880 --> 0:23:15.080 I mean, it's Jesus twenty years now, but it was 0:23:15.119 --> 0:23:18.520 Harry Potter. He still comes up with them. So I 0:23:18.640 --> 0:23:21.840 do think that a year back in the day, if 0:23:21.880 --> 0:23:24.399 his music was because he would have gone into that 0:23:25.240 --> 0:23:29.320 world rather than the scoring world, which ye, I don't know. 0:23:29.480 --> 0:23:32.680 I saw him live at the Hollywood Bowl and playing 0:23:32.720 --> 0:23:34.880 to Back to the Future. So John Williams was there 0:23:34.880 --> 0:23:36.960 with the orchestra playing along to it as you watch 0:23:37.040 --> 0:23:40.760 the movie. Incredible and then they did bugs Bunny cartoons 0:23:40.840 --> 0:23:43.639 and did it along to that was so great. 0:23:44.680 --> 0:23:47.080 I can't think of another movie that's been scored so 0:23:47.320 --> 0:23:50.600 well and then got a soundtrack that is also so 0:23:51.760 --> 0:23:54.000 connected to the movie. I mean, you cannot listen to 0:23:54.240 --> 0:23:56.320 Huey Lewis and not think of Back to the Future, 0:23:56.680 --> 0:23:59.480 Power of Love and Out of Time, Top Gun, Top Gun. 0:23:59.520 --> 0:24:02.200 But I the story is good in top it is 0:24:02.240 --> 0:24:04.320 pretty good, but I would have Back to the Future 0:24:04.320 --> 0:24:04.680 ahead of it. 0:24:04.960 --> 0:24:08.640 Yeah, yes, and all all of the songs that came 0:24:08.680 --> 0:24:11.480 out of that and Huey Lewis, and I love Hue's 0:24:11.760 --> 0:24:15.600 cameo in it. You're just too darn loud his song 0:24:15.840 --> 0:24:17.879 like it's just everything's perfect with that. 0:24:18.480 --> 0:24:22.320 It really is great film. Let's talk about your next film, 0:24:22.320 --> 0:24:24.760 which is a Tombstone. I've got a recollection that had 0:24:24.800 --> 0:24:28.720 coming up maybe once on this the great Kurt Russell 0:24:28.760 --> 0:24:31.080 of course and Vel Kilma. 0:24:31.200 --> 0:24:35.479 Now in his prime in that was his best holiday. 0:24:35.680 --> 0:24:37.399 I saw a T shirt almost brought it recently with 0:24:37.680 --> 0:24:39.359 Doc Holliday saying I'm in my prime. 0:24:39.760 --> 0:24:42.359 Really Yeah. How's the scene when he's flipping his little 0:24:42.480 --> 0:24:45.600 glass around with Johnny Johnny, look, honey, it's Johnny ringo. 0:24:46.760 --> 0:24:48.800 Johnny does his gun flipping thing and then he gets 0:24:48.840 --> 0:24:51.480 his little cup and it's so funny how they brought 0:24:51.560 --> 0:24:55.960 him so much comedy into that quite serious story of 0:24:56.040 --> 0:24:59.320 White And there's a good doco on Netflix that just 0:24:59.359 --> 0:25:01.240 came out the other day that I started watching, which 0:25:01.480 --> 0:25:03.800 prompted me in my mind to think of Tombstone again. 0:25:03.920 --> 0:25:06.000 It's all about White Earth, but they go into the 0:25:06.080 --> 0:25:09.440 more serious side of it. And the reason that I 0:25:09.880 --> 0:25:13.840 really love Tombstone is, first of all, I love the 0:25:14.080 --> 0:25:17.879 while the West I always pitch. I think it's interesting 0:25:18.000 --> 0:25:21.200 as men. When you watch the Wild West, you picture 0:25:21.800 --> 0:25:23.600 who would I be in the West. Would I be 0:25:23.800 --> 0:25:27.480 the nervous bartender, here's your whiskey. Would I be the 0:25:27.520 --> 0:25:30.200 guy in the corner just playing the piano, don't hurt me. 0:25:30.320 --> 0:25:33.600 Would I be the tough guy turning his mustache, or 0:25:33.640 --> 0:25:35.760 would I be Wide Earth? Would I be the hero? 0:25:35.880 --> 0:25:38.680 Would I be Clint Eastwood, and most I like to 0:25:38.720 --> 0:25:40.119 think that I would be Clint t Eatwood, but I 0:25:40.119 --> 0:25:43.000 think i'd get shot on the first day and just well, 0:25:43.040 --> 0:25:44.040 I tried my best. 0:25:46.080 --> 0:25:49.280 I think i'd be the local dentist. I think shut 0:25:49.400 --> 0:25:50.360 the Blinds. 0:25:51.920 --> 0:25:52.399 In the Street. 0:25:54.800 --> 0:25:56.760 But it is a great film, and we could talk 0:25:56.760 --> 0:25:58.280 about for longer, but there's a few things I want 0:25:58.320 --> 0:26:00.920 to talk about, Yes, before we get to cool hand. 0:26:01.440 --> 0:26:05.640 Luke your uncle, which I'm not sure if I don't think, 0:26:05.720 --> 0:26:09.920 I don't think I knew this that you reminded me 0:26:10.040 --> 0:26:12.000 or at least told me a week or so ago 0:26:12.080 --> 0:26:14.840 when we will have a gig together. Is the greatest 0:26:14.880 --> 0:26:18.600 strain director Richard Franklin. Yes, And the connection I have 0:26:18.680 --> 0:26:22.359 with Richard Franklin is he made the first movie I 0:26:23.000 --> 0:26:26.520 ever ever saw at Greensboro twint. I was swaging about 0:26:26.520 --> 0:26:28.320 it this on this podcast before. Can you guess which 0:26:28.359 --> 0:26:28.800 movie it was? 0:26:29.080 --> 0:26:30.560 Well, now I'm going to change. I was going to 0:26:30.600 --> 0:26:32.440 say it was Patrick, but I don't think you'd fall 0:26:32.480 --> 0:26:34.119 in love with that. That was a horror film, So 0:26:34.280 --> 0:26:36.800 I think it was the Is it the nil One? 0:26:37.240 --> 0:26:37.280 No? 0:26:37.640 --> 0:26:39.920 No, okay, it's the Pirate movie. 0:26:40.920 --> 0:26:43.199 What it's called the Pirate Movie Pate movie. Yes, oh 0:26:43.240 --> 0:26:43.720 I don't know it? 0:26:43.800 --> 0:26:48.080 Okay, so well too. And actually Nikki brittin how there's 0:26:48.119 --> 0:26:49.240 one of her three favorite films. 0:26:49.400 --> 0:26:53.520 Really, Yes, so I can watch my uncle's films that 0:26:53.600 --> 0:26:55.040 I haven't watched the Pirate. 0:26:54.920 --> 0:26:57.920 But now when I was looking through the films your 0:26:58.000 --> 0:27:01.600 uncle had made, it made sense because he made the 0:27:01.640 --> 0:27:06.280 Blue Lagoon. Yes, And Christopher Atkins is in the Pirate movie. 0:27:06.400 --> 0:27:10.480 Ah okay, and I think it's Christy McNichol okay or 0:27:10.560 --> 0:27:14.359 Cursty McNichol. And this is a movie that was shot 0:27:14.520 --> 0:27:17.360 down in Wherreby like at whereby mansion kind of area, 0:27:17.480 --> 0:27:20.159 and it's it was. I still remember going to the 0:27:20.280 --> 0:27:23.120 movies and having they had you know, they had little 0:27:23.119 --> 0:27:26.760 tis with at the candy store, you know, and they 0:27:26.800 --> 0:27:29.639 had like a little treasure chest and had like candy 0:27:29.680 --> 0:27:31.480 and I remember and I fell in love with that 0:27:31.600 --> 0:27:33.639 and the smell of the popcorn. And I love the movie. 0:27:34.160 --> 0:27:35.879 I actually got it. I got it on DVD, like 0:27:36.000 --> 0:27:39.080 I found it on DVD about ten years ago. Yeah, 0:27:39.119 --> 0:27:42.080 So what was it like growing up? Was obviously the 0:27:42.200 --> 0:27:44.399 cinema loom large in your in your house and. 0:27:44.880 --> 0:27:49.879 The yes, to a degree. When I was younger, I 0:27:50.480 --> 0:27:53.000 would go around to my uncle's house and he would 0:27:53.040 --> 0:27:55.560 show us films before anyone else. We saw Blue Lagoon 0:27:55.600 --> 0:27:59.160 before anyone else. We saw the Land before Time before 0:27:59.160 --> 0:28:01.760 anyone else. I remember bragging about that it's cool, I've 0:28:01.760 --> 0:28:06.720 already seated, and so we would sit and kind of 0:28:06.760 --> 0:28:10.040 watch some films with him. But I was way too young. 0:28:10.080 --> 0:28:12.600 I didn't understand what it was to be a filmmaker 0:28:12.640 --> 0:28:15.119 and stuff. And then but then when I was a 0:28:15.200 --> 0:28:19.040 teenager and I started to I used to make lego 0:28:19.359 --> 0:28:23.200 films for my friends at school, little stop start motion films, 0:28:23.240 --> 0:28:24.800 and then I'd take them and see which bits they 0:28:24.920 --> 0:28:26.879 liked and stuff. And it was this I was very 0:28:26.960 --> 0:28:29.200 interested in it always. And then I would go on 0:28:29.320 --> 0:28:31.080 set of my uncle's film. So he was doing a 0:28:31.119 --> 0:28:33.879 TV show called Beast Master in my teen years on 0:28:33.920 --> 0:28:35.479 the Gold Coast, and I went and watched a lot 0:28:35.560 --> 0:28:38.200 of that, and then I saw how production worked. And 0:28:38.560 --> 0:28:40.440 at Warner Brothers movie or you can do the backlot 0:28:40.480 --> 0:28:42.760 tour yep, and you can see how they do the 0:28:42.840 --> 0:28:43.560 sound and everything. 0:28:44.080 --> 0:28:47.880 I did the sound of the lethal weapon, yeah exactly, yeah, 0:28:48.160 --> 0:28:50.160 And they'd throw the crate into the water when they 0:28:50.280 --> 0:28:53.560 crashed and stuff, and my Mum said, I just wanted 0:28:53.600 --> 0:28:54.440 to do that all day. 0:28:54.680 --> 0:28:56.560 The girls wanted to go on other rides and stuff, 0:28:56.600 --> 0:28:58.520 but I just wanted to do the backlot tour because 0:28:58.560 --> 0:29:02.600 I was with it. And so then that's where my 0:29:02.720 --> 0:29:04.760 uncle was shooting on the back lot of Warners with 0:29:04.880 --> 0:29:08.120 beast Master, And so I just fell more in love 0:29:08.200 --> 0:29:11.120 with the idea of making a film and the idea 0:29:11.160 --> 0:29:15.880 of storytelling, which is essentially what we do, but on 0:29:16.000 --> 0:29:18.680 a much grander scale and with props and everything like that. 0:29:18.880 --> 0:29:21.760 So the idea of making a movie has been a 0:29:21.920 --> 0:29:24.160 dream of mine since I was a kid, and something 0:29:24.200 --> 0:29:26.680 that I've been lucky enough to experience through my uncle's 0:29:26.800 --> 0:29:29.840 films and be on set and stuff. Like you said, 0:29:29.960 --> 0:29:32.080 the idea of going to the movies, and the smell 0:29:32.120 --> 0:29:35.440 of the popcorn, and the even the previews. I love 0:29:35.480 --> 0:29:38.760 watching previews. I make sure I'm very early to watch previews. 0:29:38.800 --> 0:29:40.320 I'm just obsessed with it. 0:29:40.840 --> 0:29:44.520 Yeah, I love it as well, and very exciting. The 0:29:44.600 --> 0:29:47.520 Great Emu War, which we might chat about at the 0:29:47.600 --> 0:29:51.320 back of this podcast, but very excited, goes in production 0:29:51.400 --> 0:29:56.080 early next year. We some massive comedy icons involved. It's insane. 0:29:56.920 --> 0:29:59.720 But we'll chat about that later on. Let's get into 0:29:59.800 --> 0:30:03.040 the film. We are here to talk about today. 0:30:03.400 --> 0:30:10.960 What we've got here is failure. Duke Milke, some man 0:30:11.680 --> 0:30:15.600 you just can't reach. So you get what we had 0:30:15.640 --> 0:30:19.960 here last week, which is the way he wants. Well, 0:30:20.240 --> 0:30:20.920 he gets it. 0:30:22.720 --> 0:30:23.680 I don't like it. 0:30:24.480 --> 0:30:25.880 Anymore than you me. 0:30:26.480 --> 0:30:32.720 Okay. Nineteen sixty seven a massive movie year. We covered 0:30:32.800 --> 0:30:37.160 the Graduate recently, same year with Damon Harriman, ye same year. 0:30:38.440 --> 0:30:40.440 In the Head of the Night was the same year 0:30:41.440 --> 0:30:46.520 we've covered that, And there's a couple of other movies. 0:30:46.640 --> 0:30:49.240 Well call him Luke obviously, and I guess he's coming 0:30:49.240 --> 0:30:55.480 to dinner. The best actor Oscar that year was insane. 0:30:55.520 --> 0:30:57.480 It was like it was Paul Newman for coll Ann Luke, 0:30:58.040 --> 0:31:01.400 Rod Steiger in the Head of the Night. It doesn't 0:31:01.440 --> 0:31:06.080 Hofpen for the graduate specer Tracy. If I guess he's 0:31:06.120 --> 0:31:08.640 coming for dinner. It was just insane. It was insane. 0:31:08.680 --> 0:31:12.240 Rod Steiger won. But anyway, getting ahead of ourselves. Monte 0:31:12.320 --> 0:31:16.880 Franklin nineteen sixty seven, starring Paul Newman George Kennedy, directed 0:31:16.920 --> 0:31:19.360 by Stuart Rosenberg. Did you enjoy cool Hamluck? 0:31:19.800 --> 0:31:23.080 Surprised how much I enjoyed it excellent. I love it, 0:31:23.280 --> 0:31:27.480 which is interesting because I knew it was an old film. 0:31:27.560 --> 0:31:31.920 I knew I was coming into a slower paced film 0:31:32.200 --> 0:31:37.040 than we're used to these days. And I was wondering beforehand, 0:31:37.480 --> 0:31:41.120 will I be bored because of the way that YouTube 0:31:41.120 --> 0:31:44.080 and everything has made our senses. I need the thing now, 0:31:44.120 --> 0:31:48.360 I need the thing now. And I was so relieved 0:31:48.440 --> 0:31:52.120 and happy ten minutes in that I was like, oh, 0:31:52.240 --> 0:32:00.160 thank god, yea that I personally still can appreciate and 0:32:01.280 --> 0:32:10.080 see great storytelling, great acting, and appreciate older styles of 0:32:10.680 --> 0:32:14.080 cinematography and the way they used sound and what they 0:32:14.160 --> 0:32:17.520 had at their disposal and the way that they use 0:32:17.600 --> 0:32:19.840 them back then. Like now you think, oh, well they 0:32:19.920 --> 0:32:22.400 did great work with CGI and they they didn't have 0:32:22.440 --> 0:32:25.360 any of that, So how do we make this cinematic? 0:32:25.400 --> 0:32:27.680 How do we make people sit there and just go oh? 0:32:28.200 --> 0:32:29.760 And the way that they did it was just so 0:32:30.680 --> 0:32:32.920 fun and it's almost like there was a lot of 0:32:33.040 --> 0:32:37.680 zoom ins to the mirrored glasses and then scenes playing 0:32:37.720 --> 0:32:41.440 out within the glasses, and it's almost like it would 0:32:41.480 --> 0:32:44.520 be what a student film would try and do. They're like, oh, 0:32:44.600 --> 0:32:47.280 that's cool. But it was cool. It was cool, and 0:32:47.360 --> 0:32:49.080 when I watched it, I was like, this is it cool? 0:32:49.520 --> 0:32:52.640 Yeah, it really is a cool film. This is I 0:32:52.680 --> 0:32:55.880 mean Shawshank comes, you know, twenty or so years yeah, 0:32:56.000 --> 0:32:58.440 you know after this, maybe twenty seven years after this, 0:32:59.040 --> 0:33:03.120 and Shaw Shanks a great film. But you can see 0:33:03.320 --> 0:33:06.360 the influence cool hand Luke would have had comp Shake Redemption. 0:33:06.560 --> 0:33:10.120 I mean, Luke does feel like Andy Dufrayan, like a 0:33:10.160 --> 0:33:13.560 cooler Andy Dufrayan coming in and shaking things up. I 0:33:13.760 --> 0:33:15.280 love this film. I watched it when you know, my 0:33:15.360 --> 0:33:18.040 late teens, probably off the back I'm not sure if 0:33:18.080 --> 0:33:19.920 it was off the back of the Guns N' Roses album, 0:33:20.000 --> 0:33:23.000 but maybe around that time. I loved it. I hadn't 0:33:23.040 --> 0:33:25.120 watched it, I don't think since, so when I sat 0:33:25.160 --> 0:33:26.640 down to watch it again, I was like, I wonder 0:33:26.640 --> 0:33:27.960 if I'm going to enjoy it as much? And I 0:33:28.640 --> 0:33:31.160 really loved it. I think this is a stunning film. 0:33:31.160 --> 0:33:34.440 I don't think I get spoken about enough. I think 0:33:34.480 --> 0:33:37.200 it's you know, it's occasionally it's referred to as a 0:33:37.240 --> 0:33:39.160 cult classic. I think it deserves to be more than 0:33:39.200 --> 0:33:41.280 a cult classic. I think it's and out in that 0:33:41.400 --> 0:33:44.200 classic I think Paul Newman, maybe we should have start there. 0:33:44.320 --> 0:33:47.760 Paul Newman, your first Paul Newman experience. What did you 0:33:47.880 --> 0:33:49.000 make of this again? 0:33:49.640 --> 0:33:54.320 Yeah, he's dreamy, That's all it comes down to. That's 0:33:54.400 --> 0:33:58.040 the thing that people always talk about, Oh, they've got 0:33:58.120 --> 0:34:01.240 star power, or they've got this. You gut it, keed, 0:34:01.320 --> 0:34:04.200 you gut it. But when people have it, you can't 0:34:04.240 --> 0:34:07.600 help but stare at them. It's like Harrison Ford, just 0:34:07.720 --> 0:34:09.360 you stare it, and every word that comes out of 0:34:09.400 --> 0:34:10.520 the mouth, you're like, oh. 0:34:11.080 --> 0:34:11.279 Like that. 0:34:11.960 --> 0:34:13.680 And there's people that you meet in your lives that 0:34:13.840 --> 0:34:16.080 have that just around too. Sometimes you're just like, Wow, 0:34:16.120 --> 0:34:17.239 this person's captivating. 0:34:17.640 --> 0:34:17.960 What is it? 0:34:18.120 --> 0:34:19.840 What is it about them? Is it the way they 0:34:19.920 --> 0:34:22.640 carry themselves? Is it their confidence? I'm not sure what 0:34:22.719 --> 0:34:26.919 it is. But the first second that he drops down 0:34:27.000 --> 0:34:30.520 to the ground after trimming all the parking meters, you 0:34:30.719 --> 0:34:34.879 just get a sense of this guy that you want 0:34:34.920 --> 0:34:37.120 to be mates with him, that you want to hang 0:34:37.160 --> 0:34:38.719 out with him, that you want to get drunk and 0:34:38.760 --> 0:34:41.759 cut parking meters off with him, That I'm with you, 0:34:42.160 --> 0:34:43.680 And that's what you want in your lead character in 0:34:43.719 --> 0:34:45.440 a movie, don't you want? All right, I'm with you. 0:34:45.719 --> 0:34:47.560 Where are we going with this story? What are you 0:34:47.640 --> 0:34:50.759 telling me? I'm here? And instantly I felt that with him. 0:34:50.920 --> 0:34:55.200 We did the sting just recently with Frankie McNair and 0:34:55.560 --> 0:34:56.960 we both loved that. We both were watching it for 0:34:57.000 --> 0:34:59.840 the first time, both loved it. It's Paul Newman and 0:35:00.120 --> 0:35:03.759 at Redford together again. After following up from Buscashi and 0:35:03.760 --> 0:35:06.239 The Sundance Kid, I was reading that Paul Newman was 0:35:06.280 --> 0:35:08.960 advised not to do it because comedy, he doesn't have 0:35:09.080 --> 0:35:12.240 the light touch for comedy. And you watch, You're watching 0:35:12.320 --> 0:35:15.400 Koland Luke again. No, that's such bad advice. Like he 0:35:15.520 --> 0:35:19.320 does have this charisma and that smile and the laugh, 0:35:19.520 --> 0:35:23.400 and like he brings a lightness, you know to this 0:35:23.640 --> 0:35:26.239 character where it could have been played differently and have 0:35:26.360 --> 0:35:29.040 a real kind of heaviness to it. But like you said, 0:35:29.120 --> 0:35:31.680 that first shot where he drops to the ground, he's 0:35:31.719 --> 0:35:34.160 sitting up against the parking meter, he's cut the head 0:35:34.200 --> 0:35:36.320 off and he just breaks in. The cops coming, he 0:35:36.400 --> 0:35:39.080 breaks into a laugh and the title comes up, Koland Luke. 0:35:39.560 --> 0:35:41.759 It's like I'm in Yeah, I'm in here. 0:35:41.880 --> 0:35:43.680 I mean, where's this guy going? I'm coming with you. 0:35:44.239 --> 0:35:47.640 It's yeah. In the that's what you want in your 0:35:47.719 --> 0:35:51.400 lead character. It's it's almost He reminded me a lot 0:35:51.440 --> 0:35:54.399 of like Ryan Gosling of what Ryan Gosling's doing these days. 0:35:54.520 --> 0:35:58.840 He's bringing comedy very very well, but in such a 0:35:59.080 --> 0:36:02.200 such a subtle way. He doesn't need to sell it 0:36:02.320 --> 0:36:05.239 too much, and by saying need to some people sell 0:36:05.280 --> 0:36:06.960 it and sell it great. Jim Carrey is one of 0:36:07.000 --> 0:36:09.120 the best salesmen of comedy that there has ever been. 0:36:09.760 --> 0:36:13.839 But sometimes people can bring it right back. Harrison Ford 0:36:13.880 --> 0:36:16.239 again very good, just bringing it right back to just 0:36:16.760 --> 0:36:20.879 a word or just a look, and that is enough 0:36:21.000 --> 0:36:24.239 to sell the comedy. And the people around him in 0:36:24.400 --> 0:36:28.800 the Chain Gang were more over the top and he 0:36:29.000 --> 0:36:32.080 was a little bit more reserved, but he was the 0:36:32.160 --> 0:36:35.200 one that you kept looking to. He was the center 0:36:35.320 --> 0:36:39.279 and focal point, and the attention was always what's look doing? Yeah, 0:36:39.440 --> 0:36:41.360 my god, it's cool. Yes, he's cool, hand Luke, but 0:36:41.920 --> 0:36:46.120 he's cool as well. There's something really gravitos to what 0:36:46.239 --> 0:36:46.680 he's doing. 0:36:47.000 --> 0:36:52.120 Yes, yes. And the actor is also I think, uniformly great. 0:36:52.280 --> 0:36:55.200 Like the shots in this movie which almost like a 0:36:55.239 --> 0:36:58.279 painting strickt Rosenbig does a really good job of this, 0:36:58.520 --> 0:37:03.200 like creating, nobody dominates, you know. It's certainly Luke's picture, 0:37:03.280 --> 0:37:04.879 and Lukey is the guy, and that's how you want 0:37:04.880 --> 0:37:06.520 to feel. That's that's what they're feeling. 0:37:06.640 --> 0:37:06.680 This. 0:37:07.200 --> 0:37:08.640 It's like this guy, you know, like you said, I 0:37:08.680 --> 0:37:10.160 want to be his mate. But I think they're all 0:37:10.200 --> 0:37:14.040 from the acting the actor's company in New York, so 0:37:14.280 --> 0:37:16.240 I love them knew each other so that he felt 0:37:16.320 --> 0:37:19.279 like this there was a camaraderie between the actors. I 0:37:19.400 --> 0:37:21.920 love it. I think George Kennedy is really good, you know, 0:37:22.200 --> 0:37:24.920 like I think you know, they're obviously in different categories. 0:37:24.960 --> 0:37:26.920 I think Paul Newman, you know, I would loved from 0:37:26.960 --> 0:37:28.400 the Winn and Oscar for this, he wins it for 0:37:29.040 --> 0:37:33.640 the Hustler? Is it the Hustler? Years later? That wasn't 0:37:33.960 --> 0:37:36.000 like he's been better in other films. It was good 0:37:36.040 --> 0:37:38.200 and that absolutely, but this was I think his best 0:37:38.200 --> 0:37:39.200 performance that I've seen. 0:37:39.320 --> 0:37:42.759 All right, So just touching on you said, sometimes it's 0:37:42.880 --> 0:37:45.080 like a picture that they're painted. There was a scene 0:37:45.120 --> 0:37:47.200 where it cuts to a storm coming and I think 0:37:47.200 --> 0:37:51.160 it's actually just a painting. It's a still shot. It 0:37:51.239 --> 0:37:53.960 doesn't have a movement to it, and this storm is 0:37:54.040 --> 0:37:56.480 coming and it's the noise of a storm, like it's 0:37:56.560 --> 0:37:59.640 just a still shot of clouds. It's very funny. 0:38:01.200 --> 0:38:03.359 That's nineteen sixty seven. I was still working their way 0:38:03.480 --> 0:38:05.640 through what they could do and what they can't do. 0:38:05.920 --> 0:38:07.760 Let's talk about the eggs. You brought it up earlier. 0:38:08.840 --> 0:38:10.480 It does come out of nowhere, which is kind of 0:38:10.520 --> 0:38:13.120 like is it is a comedic scene. And we've spoken 0:38:13.120 --> 0:38:15.200 a little bit about the light touch of pon human 0:38:15.239 --> 0:38:18.520 in this and the comedy in it. It's not necessarily 0:38:18.520 --> 0:38:21.799 a comedy though it's and I hate that we get 0:38:21.840 --> 0:38:24.279 to this point where we have to label a film. 0:38:24.400 --> 0:38:25.840 Is it a comedy? Is it a jam? Is it 0:38:25.880 --> 0:38:27.600 a GM? Germany is a dirty word? 0:38:27.680 --> 0:38:27.799 Now? 0:38:27.920 --> 0:38:32.520 Like it's it's let films exist as they are, but 0:38:32.600 --> 0:38:35.279 we need yeah, we don't need to work out which 0:38:35.400 --> 0:38:37.040 part of the video section. I think that's probably where 0:38:37.160 --> 0:38:39.200 it really, you know, what we needed to label films. 0:38:40.160 --> 0:38:43.640 But certainly there's fun in this film, but there's also 0:38:44.120 --> 0:38:47.080 it packs a bit of a punch. So my belief 0:38:47.360 --> 0:38:50.759 of why the eggs this exists as opposed to just 0:38:51.080 --> 0:38:53.920 a comedic moment where he eats fifty eggs and comes out. 0:38:54.080 --> 0:38:58.279 I think he starts seeing himself potentially the opportunity to 0:38:58.360 --> 0:39:00.359 be a leader or is this a natural born leader? 0:39:00.920 --> 0:39:06.360 And he believes that by doing something this silly and 0:39:06.800 --> 0:39:11.520 fun is going to raise the morale of the inmates, 0:39:12.120 --> 0:39:14.800 and this becomes I think, you know, we see it 0:39:14.880 --> 0:39:17.120 later on when they're tarring the road as well, that's 0:39:17.200 --> 0:39:20.480 his that's what he sees his purpose because it's tarring 0:39:20.520 --> 0:39:24.480 of the road. I think is fascinating because Luke, he's 0:39:24.600 --> 0:39:28.520 not he's not fighting the system. He's not there like 0:39:29.160 --> 0:39:32.720 if the authorities, you know, saw him as an asset, 0:39:33.640 --> 0:39:36.160 like and kind of forgetting. It was almost like watching 0:39:36.160 --> 0:39:37.520 it for the first time. I kind of knew some 0:39:37.600 --> 0:39:40.200 of the beats, but I couldn't remember it all. And 0:39:40.280 --> 0:39:42.279 I was thinking at one point, as part of the 0:39:42.840 --> 0:39:44.960 what they do is do they try to keep him longer? 0:39:45.280 --> 0:39:47.840 Like Dofrain in Shoshank, they keep him longer than he 0:39:47.920 --> 0:39:52.760 needs to serve because he's become beneficial to the warden's business. 0:39:53.440 --> 0:39:55.120 So I thought, is that what they do here as well? 0:39:55.320 --> 0:39:58.440 They keep looking longer than they need to because he's 0:39:58.480 --> 0:40:02.080 so helpful, and the tarring of the road, they tar 0:40:02.239 --> 0:40:05.080 it quicker. They tar with energy. You know, they're they're 0:40:05.080 --> 0:40:07.640 they're upbeat that they're happy about the work they've done there. 0:40:08.080 --> 0:40:11.239 It's such a great scene, made weird only by the 0:40:11.320 --> 0:40:13.560 fact that the nine news theme comes in. 0:40:14.880 --> 0:40:17.080 It was so funny. 0:40:17.440 --> 0:40:21.680 So the composer, it's his original that the Channel nine 0:40:21.760 --> 0:40:25.839 news theme was written for cool Hand Luke, and which 0:40:25.920 --> 0:40:28.640 is the in the in America is the eyewitness news theme. 0:40:29.200 --> 0:40:31.520 So the composer kept on getting people like, I love 0:40:31.560 --> 0:40:32.880 the score you did for the cool hand. Look, but 0:40:32.920 --> 0:40:34.600 why did you use thee with this news. 0:40:36.480 --> 0:40:38.280 The breaking news, breaking news? 0:40:38.800 --> 0:40:41.239 So outside of that kind of the slight weirdness for us, 0:40:41.320 --> 0:40:44.319 you know, watching it many many years later, it's it's 0:40:44.400 --> 0:40:48.719 such a such a clever and different way of doing it. 0:40:48.800 --> 0:40:51.400 Where Luke wasn't looking to rebel, he was looking to 0:40:51.880 --> 0:40:55.880 engage and lead. But what the authorities see is somebody 0:40:56.280 --> 0:40:58.120 they don't want the leader in that in that camp 0:40:58.200 --> 0:41:00.239 they want they want sheep. Yeah yeah, And all of 0:41:00.280 --> 0:41:04.960 a sudden they have a man who the inmates will 0:41:05.040 --> 0:41:08.120 follow admire that is dangerous to them. 0:41:08.680 --> 0:41:12.960 It's interesting that you think he wants to be the leader. 0:41:14.600 --> 0:41:16.480 Whether he wants to be or is a natural born 0:41:16.560 --> 0:41:17.080 leader of but please. 0:41:17.160 --> 0:41:20.040 Yeah, I don't think he wants to be a leader, 0:41:20.120 --> 0:41:22.600 and I don't think he thinks himself as a leader. 0:41:23.360 --> 0:41:29.680 I think I think he just saw himself as someone 0:41:29.719 --> 0:41:33.759 who could. I think he was entertaining himself and other 0:41:33.800 --> 0:41:36.279 people came along for the ride. I think with the 0:41:36.400 --> 0:41:39.680 eggs thing, he just in his head he thought, I 0:41:39.760 --> 0:41:41.960 think I can eat fifty eggs. I'm just gonna see 0:41:41.960 --> 0:41:43.600 if I can eat fifty eggs in front of these guys. 0:41:43.719 --> 0:41:47.200 I don't think he thought, oh, this will rally everyone, 0:41:47.320 --> 0:41:49.759 this will excite people and give him something. I just 0:41:49.920 --> 0:41:54.239 think he was there and then the tarring of the road, 0:41:54.320 --> 0:41:56.480 he just in, this is what I thought, like in 0:41:56.560 --> 0:41:59.160 his head, he was just doing it slowly and then thought, 0:41:59.360 --> 0:42:01.160 why don't we see if I can do this as 0:42:01.200 --> 0:42:03.200 quick as I can and just see how that goes. 0:42:03.400 --> 0:42:05.360 And then everyone else rallies in and stuff. And because 0:42:05.360 --> 0:42:07.879 at the end he doesn't say, there we did it, guys, 0:42:07.960 --> 0:42:09.960 they go, what do we do now? He goes, it's 0:42:10.040 --> 0:42:12.520 just to sit here and enjoy this, and then they 0:42:12.600 --> 0:42:15.360 all then they're all looking to him like he's some 0:42:15.600 --> 0:42:18.520 kind of leader or messiah or something like that. 0:42:18.680 --> 0:42:20.279 Right, Well, it's certainly a messiah thing going on. 0:42:20.480 --> 0:42:23.920 Yeah, definitely, but I don't think he ever ever buys 0:42:24.000 --> 0:42:24.320 into that. 0:42:25.000 --> 0:42:27.520 Yeah, it's a really it's an interesting discussion point, and 0:42:27.840 --> 0:42:30.200 it's possible that both things are true. You can eat 0:42:30.239 --> 0:42:34.120 eggs because you think this will be this is going 0:42:34.160 --> 0:42:37.239 to entertain Yeah. Yeah, this kills an hour of my time. Yeah, 0:42:38.000 --> 0:42:41.600 you know, out of two years, a lot of eggs. 0:42:41.600 --> 0:42:43.759 If you do it every day, I feel like, well, 0:42:43.760 --> 0:42:48.200 well for me, I think to have complete investment in look, 0:42:48.320 --> 0:42:52.200 it needs to be more about himself than it needs 0:42:52.200 --> 0:42:54.799 to be about something more than himself. And we see 0:42:54.840 --> 0:42:58.399 when he you know, his mother comes to visit him. Yeah, yeah, 0:42:58.440 --> 0:43:01.279 we get a great insight and that's an incredible scene. 0:43:01.680 --> 0:43:04.560 Incredible that one I actually paused and I thought about 0:43:04.640 --> 0:43:07.160 for quite some time because these days you would never 0:43:07.239 --> 0:43:08.040 get a scene like that. 0:43:08.400 --> 0:43:09.520 Eight pages of dialogue. 0:43:09.520 --> 0:43:13.400 I was that really had nothing to do with the story, 0:43:13.520 --> 0:43:16.320 rather than us realizing that he has a mother and 0:43:16.360 --> 0:43:19.600 a family and he's a person and he's loved so 0:43:19.719 --> 0:43:21.360 in your head you think, oh, there's someone on the 0:43:21.440 --> 0:43:23.879 outside for him. But they didn't need to come into 0:43:23.920 --> 0:43:26.520 that much detail of the conversation. But there was so 0:43:26.680 --> 0:43:31.040 much power to what she was talking about, and she 0:43:31.200 --> 0:43:33.759 touched on a lot of things that didn't need to 0:43:33.840 --> 0:43:37.200 be but were really interesting. That she loved one of 0:43:37.239 --> 0:43:38.719 her sons more than the other one. 0:43:38.880 --> 0:43:41.879 Well, she loved Luke Moore than she loved his brother. 0:43:42.000 --> 0:43:45.239 So she was leaving all her assets and property to. 0:43:45.480 --> 0:43:47.160 Because she felt bad that she didn't love him as 0:43:47.239 --> 0:43:49.520 much as she loved Luke. What an interesting thing to 0:43:49.560 --> 0:43:51.239 put in there that didn't need to be in there. 0:43:51.280 --> 0:43:52.919 But when I heard her, I just went, Wow, that's 0:43:53.800 --> 0:43:57.719 really interesting. It's dramatic. It hits you in the soul 0:43:57.800 --> 0:44:00.040 and you're like, wow, people do think. 0:44:00.239 --> 0:44:03.080 Let's have listened. Let's listen to uh these monm practically 0:44:03.640 --> 0:44:04.600 saying goodbye. 0:44:05.080 --> 0:44:07.040 I think it's just never the way they seem or 0:44:07.440 --> 0:44:09.080 you know that man's got to go his own way. 0:44:09.719 --> 0:44:11.080 I guess I just gotta. 0:44:12.480 --> 0:44:14.000 Gotta love you let go. 0:44:16.400 --> 0:44:16.960 I guess. 0:44:19.760 --> 0:44:22.080 I ain't asking what you're gonna do when you get out, 0:44:22.239 --> 0:44:25.080 because I'll be dead and it don't matter. 0:44:27.880 --> 0:44:29.640 He never did want to live forever. 0:44:29.760 --> 0:44:31.239 I mean, it wasn't such a hell of life. 0:44:31.640 --> 0:44:36.160 Oh I had me, I had me some high old times. 0:44:37.080 --> 0:44:40.520 You old man, Luke. He was He wasn't much good 0:44:40.600 --> 0:44:44.600 for sticking around, but damn it, he made me laugh. 0:44:45.239 --> 0:44:49.879 One of the things. I I agree that you don't 0:44:49.920 --> 0:44:53.560 necessarily need this for story, but I think it tells 0:44:53.680 --> 0:44:57.600 us so much about Luke, and I think maybe you 0:44:57.640 --> 0:45:01.880 can it is in it has it is connected to 0:45:01.920 --> 0:45:07.319 the story because she says nobody controls Luke. Nobody controls Luke, 0:45:07.360 --> 0:45:09.799 and she says, I guess I just have to love 0:45:09.880 --> 0:45:13.080 you and leave you, or that line was and that's 0:45:13.520 --> 0:45:16.239 the kind of cracks And that's the danger that Luke 0:45:16.320 --> 0:45:20.760 represents to the authorities that they can't control. 0:45:21.120 --> 0:45:21.480 All right. 0:45:21.560 --> 0:45:24.040 I like that a lot, right, Yeah, And if his 0:45:24.239 --> 0:45:26.120 mother not that the authorities are watching this, but as 0:45:26.120 --> 0:45:29.319 an audience, we can see if his mother can't control Luke, 0:45:29.800 --> 0:45:33.160 what hope that the authorities have. And the idea also 0:45:33.280 --> 0:45:35.600 in there that and that comes back later on with 0:45:35.680 --> 0:45:37.160 his confession, and the church will get that a bit 0:45:37.239 --> 0:45:39.600 later on. But he hasn't been dealt a good hand, 0:45:40.200 --> 0:45:42.959 you know, and his father basically didn't know his father, 0:45:43.480 --> 0:45:45.080 So that that just gives us a little bit of 0:45:45.840 --> 0:45:48.920 an insight. Do we absolutely need it, Maybe not. And 0:45:49.040 --> 0:45:51.120 a lot of these movies from this era wouldn't give 0:45:51.160 --> 0:45:53.640 us that information. We've spoken a lot about even the graduate, 0:45:54.040 --> 0:45:57.640 how little you know about Benjamin Braddock outside of you 0:45:57.719 --> 0:46:00.480 know from from you know, seeing one to the the scene. 0:46:00.480 --> 0:46:02.879 You don't really know what he was studying and all 0:46:02.920 --> 0:46:05.680 these things. So this is I think reasonably uncommon for 0:46:05.760 --> 0:46:09.239 a movie from ninety sixty seven to give us such backstory. 0:46:09.480 --> 0:46:11.640 I think it'd be uncommon these days. Like if you 0:46:12.160 --> 0:46:14.560 were writing the script, and I've had script notes from 0:46:14.600 --> 0:46:17.120 executives and people, and they would look at that and go, 0:46:17.400 --> 0:46:19.440 you don't need that. That doesn't progress the story, That 0:46:19.520 --> 0:46:21.920 doesn't every inch of the way progress the story, and 0:46:21.960 --> 0:46:26.320 everything like that. But like you said, that actually broadens 0:46:26.360 --> 0:46:30.440 and richens the story so deeply that it's an integral 0:46:30.520 --> 0:46:34.680 part of the overall what we want to get out 0:46:34.719 --> 0:46:38.200 of this character, and that he is untamed, you know, 0:46:38.280 --> 0:46:43.000 he shouldn't be caged, so to speak. And then the 0:46:43.120 --> 0:46:45.239 rest of the time that we're watching him in it 0:46:45.320 --> 0:46:48.799 gives us more of a sense of oh, that they 0:46:48.840 --> 0:46:51.359 don't have control over him. Anything could happen. He could 0:46:51.440 --> 0:46:53.400 tar the road quickly right now, he could run off 0:46:53.440 --> 0:46:55.759 to the bush and pretends he's running it like we 0:46:55.880 --> 0:46:58.120 don't know what he's about to do. Yeah, So that 0:46:58.480 --> 0:46:59.880 definitely plays into that, doesn't it. 0:47:00.080 --> 0:47:03.759 And the turning point is the horrific choice that the 0:47:03.840 --> 0:47:07.400 authorities make when his mother passes away. He gets it, 0:47:07.440 --> 0:47:12.400 gets word, and instead of showing compassion to this inmate 0:47:12.480 --> 0:47:17.520 who's behaving and getting work done more efficiently and having 0:47:17.760 --> 0:47:22.840 boosting morale within the group, they punish him by putting 0:47:22.920 --> 0:47:25.640 him in the box to lessen the chance or the 0:47:25.719 --> 0:47:28.759 risk of him going rabbit and fleeing to get to 0:47:28.880 --> 0:47:33.239 his funeral. And that's basically the turning point of the film. 0:47:33.480 --> 0:47:33.680 Yeah. 0:47:33.760 --> 0:47:36.720 It's almost like a dog that's being really well behaved 0:47:36.760 --> 0:47:38.440 and then you put it in a cage and you're like, 0:47:38.560 --> 0:47:41.239 what did you do that for? Because he's great, Yeah, 0:47:41.360 --> 0:47:43.880 he's great with the kids, he's great. Like what are 0:47:43.960 --> 0:47:44.600 you doing that for? 0:47:44.960 --> 0:47:45.160 Yeah? 0:47:45.480 --> 0:47:49.160 And yeah, that was that really changed the way that 0:47:49.239 --> 0:47:53.320 I was watching the film. I was laughing at fifty 0:47:53.360 --> 0:47:56.359 eggs and then let's start the road quickly, and I'm like, well, 0:47:56.440 --> 0:47:57.520 these guys are going to do next? 0:47:57.600 --> 0:47:58.399 This is so fun. 0:47:58.719 --> 0:48:01.200 And then I was like be mean to Luke. 0:48:01.440 --> 0:48:05.319 Why are you doing it to my baby boy? Yeah, yeah, 0:48:05.440 --> 0:48:10.759 it's but you do feel when he's put in the box, 0:48:10.880 --> 0:48:13.520 you know, like you think about that his mother has 0:48:13.600 --> 0:48:16.960 just passed away, and he gets somehow punished for it. 0:48:17.320 --> 0:48:19.200 There's that great line, I think, the famous line where 0:48:19.200 --> 0:48:20.759 he says, you know, I'm just doing my job and 0:48:21.040 --> 0:48:23.080 he's just calling it your job. Don't make it right, boss, 0:48:23.880 --> 0:48:26.040 Yeah it was. It was a fantastic line. 0:48:25.840 --> 0:48:29.480 And parallels to share Shank that you're mentioning. That's exactly 0:48:29.560 --> 0:48:33.879 what happens when he's little mate that he's teaching English too, 0:48:34.560 --> 0:48:36.600 gets killed. He gets put in the box for a week. 0:48:36.960 --> 0:48:38.560 And it's exactly the same, isn't it. 0:48:38.719 --> 0:48:43.239 I think the only real difference, obviously there's different, but 0:48:43.320 --> 0:48:45.200 the only the end, which we're going to get to 0:48:45.320 --> 0:48:47.080 a bit a bit later, But you know one has 0:48:47.120 --> 0:48:51.640 a more of an happily on the beach and he 0:48:51.719 --> 0:48:57.399 goes where and he made love under and this says 0:48:57.400 --> 0:49:01.480 a different ending obviously, But yeah, that mother seen the 0:49:02.160 --> 0:49:05.759 actress both the theater background, so they're worried about the 0:49:05.800 --> 0:49:07.640 time it was going to take to do eight pages, 0:49:08.080 --> 0:49:11.480 but because they were just absolute pros and theater, they 0:49:11.719 --> 0:49:14.879 just they did. It almost came in under time. 0:49:15.280 --> 0:49:18.439 Eight pages is eight minutes, so that did not feel 0:49:18.480 --> 0:49:22.880 like eight minutes. No, it felt it felt really it 0:49:23.360 --> 0:49:27.920 felt so real and honest and a real conversation between 0:49:28.000 --> 0:49:30.320 two people, between a mother and a son. It was 0:49:30.600 --> 0:49:31.399 really well done. 0:49:31.520 --> 0:49:35.080 And not having like resisting the temptation to for a 0:49:35.200 --> 0:49:40.360 big you know, not romantic emotional would be a wind choice. 0:49:41.120 --> 0:49:42.120 How bad it They just. 0:49:42.239 --> 0:49:45.319 Passed, but he wasn't allowed to go to that area 0:49:45.440 --> 0:49:48.880 of the car. There's no look you stay there, yes. 0:49:48.920 --> 0:49:52.240 But but what like you can imagine, like the temptation 0:49:52.440 --> 0:49:54.560 to go she lunges out him and gives him a 0:49:54.640 --> 0:49:58.200 hut or he does that, and there's emotion, but they 0:49:58.320 --> 0:50:01.399 withhold that, they even physically keep them apart, and there's 0:50:01.400 --> 0:50:03.719 actually a barrier there, like there's you know, it's a 0:50:03.840 --> 0:50:05.680 choice to have her in the back of a car 0:50:06.200 --> 0:50:07.320 in a van where it's. 0:50:07.920 --> 0:50:10.040 He waves to her oddly in the end, if you remember, 0:50:10.120 --> 0:50:11.800 because I think he has to show both of his 0:50:11.920 --> 0:50:16.399 hands for the security guards. And so he stands back 0:50:16.480 --> 0:50:19.200 from the thing and says by mum with two hands 0:50:19.320 --> 0:50:21.839 like that, saying goodbye to his mum who will never 0:50:21.920 --> 0:50:24.239 see again. Just the way that he says goodbye is 0:50:24.360 --> 0:50:29.000 so it's so weird, but it's so you feel for him. 0:50:29.040 --> 0:50:32.439 You're like, I can't even say goodbye properly because he's 0:50:32.480 --> 0:50:35.040 in this because where he is, which. 0:50:34.920 --> 0:50:36.840 Is really clever because it sets up that he's already 0:50:36.920 --> 0:50:43.000 been had this kind of weird repress, kind of farewell 0:50:43.080 --> 0:50:46.040 to his mother already. So then when she does pass, 0:50:47.280 --> 0:50:52.279 you really feel it. And that scene where he gets 0:50:52.360 --> 0:50:57.040 the news and everyone just gives him his space, everyone 0:50:57.280 --> 0:51:00.160 out of respect, and they they all just part I 0:51:00.239 --> 0:51:00.600 really loved. 0:51:00.640 --> 0:51:02.560 I didn't say anything either. Yeah, I didn't need to. 0:51:03.200 --> 0:51:06.200 They just all left and let him sit in his 0:51:06.360 --> 0:51:08.160 bunk and play on his ukulele. 0:51:08.800 --> 0:51:11.879 Let's have listened to Paul Newman classic Jesus. 0:51:12.840 --> 0:51:24.520 Get Yourself the Sweetened Dollar dressed him Panstorm stating Shell 0:51:28.239 --> 0:51:36.279 going ninety scary cause I cut the Virgin Mary the 0:51:36.480 --> 0:51:41.520 shoeing and I welcome hell. 0:51:44.640 --> 0:51:47.360 So good. The tear this comes down the cheek, you 0:51:47.440 --> 0:51:50.440 know that. No, that's that's all acting these days. Back 0:51:50.480 --> 0:51:53.440 in nineteen sixty seven, you can add that his impost puns. 0:51:53.840 --> 0:51:55.960 The tear down the cheek got me. I realized, Oh 0:51:56.120 --> 0:51:59.360 he's good, he's really good. Yeah, that scene I was 0:51:59.360 --> 0:52:01.560 actually watching, and my girlfriend walked in and went, what 0:52:01.640 --> 0:52:04.760 are you watching? And I was like, fully just staring, 0:52:04.840 --> 0:52:07.800 almost crying myself. I'm like, it's brilliant. 0:52:11.400 --> 0:52:14.960 I love him. Yeah, and then he just goes, he 0:52:15.080 --> 0:52:17.040 goes with a refrain, He kind of digs in. 0:52:17.080 --> 0:52:18.840 And there's a bit of anger in it. 0:52:19.080 --> 0:52:24.360 Yeah, it's really it's really cool. The car wash, we 0:52:24.440 --> 0:52:26.080 gotta get to the car wash so funny. 0:52:26.120 --> 0:52:29.520 Another scene like the fifty eggs didn't need to be there, 0:52:29.960 --> 0:52:32.880 but the fact that it is is just why the 0:52:33.000 --> 0:52:38.040 movie is so great. I think. Yeah, the the the 0:52:38.120 --> 0:52:41.120 way that the men were getting so riled up, they 0:52:41.160 --> 0:52:44.480 were squirming, they were that riled up. It was so funny. 0:52:44.640 --> 0:52:45.520 It was so funny. 0:52:45.880 --> 0:52:48.400 Yeah, bordering on ridiculous. It's almost more ridiculous than that 0:52:48.480 --> 0:52:51.919 the eggs scene, but you know, it does it does show, 0:52:52.200 --> 0:52:55.640 you know, the restlessness and the urges of men who 0:52:55.680 --> 0:53:00.239 have been you know, imprisoned. Yeah, it's it's so over 0:53:00.320 --> 0:53:02.120 the top of that. And I'm not sure if this 0:53:02.239 --> 0:53:05.360 is the first sudsy car wash that was committed. 0:53:05.400 --> 0:53:07.759 That's what I assumed it was. That's why I was 0:53:07.840 --> 0:53:09.680 laughing so much. I go, this is where all of 0:53:09.800 --> 0:53:12.759 the subs, all the rest of them have come from. Yeah, 0:53:13.280 --> 0:53:16.680 and it's full ridiculous, Like she's fully pressed against the 0:53:16.719 --> 0:53:19.600 window at the end, scrubbing back and forth, and her 0:53:20.160 --> 0:53:23.920 breasted like in the in the in the foam. It's 0:53:24.120 --> 0:53:24.920 it's so. 0:53:25.120 --> 0:53:28.640 Funny because the house is you know, you can barely 0:53:28.680 --> 0:53:32.279 even spot the house for memory. You know, she could 0:53:32.280 --> 0:53:36.040 have done it close to the house. But she, I mean, 0:53:36.480 --> 0:53:41.719 so the act the actress who who was cast to 0:53:41.840 --> 0:53:44.560 do this car wash, she has been on record to 0:53:44.640 --> 0:53:50.320 say she wasn't really aware of how sexually charged this 0:53:50.480 --> 0:53:52.680 scene was and in her performance was, and she didn't 0:53:52.719 --> 0:53:58.160 realize what all this meant now right, I mean, I 0:53:58.360 --> 0:54:01.439 find that somewhat when you watch it, like she said, 0:54:01.520 --> 0:54:04.400 literally cleaning a window with her breasts. 0:54:04.480 --> 0:54:07.280 Yeah, she's ringing out the sponge on her breasts. 0:54:07.560 --> 0:54:12.120 Yes, it's impossible to think. But do you think the 0:54:12.520 --> 0:54:17.680 character knew what she was doing? Do you think I mean, 0:54:17.719 --> 0:54:19.160 I suspect she Oh. 0:54:19.160 --> 0:54:21.279 Yeah, that was the line that one of them said, 0:54:21.320 --> 0:54:23.759 because she don't know what she's doing. And then Luke goes, 0:54:24.200 --> 0:54:27.520 she knows exactly what she's doing. She did, of course, 0:54:27.680 --> 0:54:30.759 she got all those guys paying attention to her. That's 0:54:30.800 --> 0:54:34.600 exactly what she was doing, like the character. And I 0:54:34.760 --> 0:54:37.400 just think the fact that she did it in nineteen 0:54:37.480 --> 0:54:40.400 sixty seven would be very rare, wouldn't it. 0:54:40.600 --> 0:54:41.000 I think so. 0:54:41.280 --> 0:54:46.760 And then just the nature of it, the unnecessary scene 0:54:47.000 --> 0:54:50.160 in the movie but necessary in the end, and like 0:54:50.280 --> 0:54:52.480 the eggs and everything, which is what led to it 0:54:52.560 --> 0:54:55.759 to be such an interesting film and to watch. But 0:54:56.040 --> 0:54:59.080 that scene, I was audibly laughing. 0:54:59.480 --> 0:55:03.960 Yeah, so ridiculous, you know. I suspect that you're supposed 0:55:03.960 --> 0:55:05.279 to be laughing. I don't think it's one of these 0:55:05.320 --> 0:55:08.120 things it's like, let's let's laugh at it behind the 0:55:08.320 --> 0:55:11.440 filmmakers back. I think it's it's intentionally funny. 0:55:11.520 --> 0:55:11.640 You know. 0:55:11.800 --> 0:55:14.359 The reactions are you know some of the lines. Yeah. 0:55:14.400 --> 0:55:17.600 I think drag Line says, Lord, if you're going to 0:55:17.600 --> 0:55:20.440 strike me down, wait five minutes or something, yeah, or 0:55:20.520 --> 0:55:24.920 something like that. Drag Line is an interesting character. He's 0:55:25.000 --> 0:55:28.279 like the big bear, top dog of the group, and 0:55:28.320 --> 0:55:30.000 he's the one I guess Luke has to go through 0:55:30.160 --> 0:55:33.239 to get acceptance, and he does so through this fight. 0:55:33.280 --> 0:55:35.640 I think it happens after the carwash when drag linees 0:55:35.719 --> 0:55:38.719 going on about how amazing you still fantasizing about him, 0:55:38.719 --> 0:55:41.080 and Luke says, this is not helping. You're not helping 0:55:41.080 --> 0:55:41.720 anyone here. 0:55:42.560 --> 0:55:45.200 And he goes, you get your sleep tomorrow we fight. 0:55:45.239 --> 0:55:48.279 And then it's on. It's on. But what did you 0:55:48.320 --> 0:55:49.680 make of the fighting scene. 0:55:50.000 --> 0:55:57.480 I thought it really cemented you to understanding Luke that 0:55:57.640 --> 0:56:01.080 he's he's a never give up, you can't cage me 0:56:01.239 --> 0:56:03.520 type of guy. I'm not even going to be caged 0:56:03.560 --> 0:56:05.440 in this fight. I'm not even going to go down 0:56:05.520 --> 0:56:07.960 in this fight. I'm going to I'm not going to 0:56:08.400 --> 0:56:10.560 talk my mouth off. I'm just going to keep going. 0:56:11.200 --> 0:56:15.520 And the hilariousness of some of the shots missing by 0:56:15.960 --> 0:56:20.200 a foot at least and then going I just liked 0:56:20.239 --> 0:56:22.839 it because I knew the year that it was made 0:56:23.840 --> 0:56:25.960 in the still and I'm like, okay, I'm going to 0:56:26.000 --> 0:56:28.640 put myself in nineteen sixty seven watching this film, and 0:56:28.840 --> 0:56:32.640 this is this is great. It was very interesting that 0:56:32.760 --> 0:56:35.480 the big guy what was his name, drag Line. Dragline 0:56:36.320 --> 0:56:40.680 starts off very tough, very gruff. We're going to call 0:56:40.719 --> 0:56:43.120 you no he is because you don't listen like very 0:56:43.320 --> 0:56:46.560 like this, and then after after that fight, it's oh, 0:56:46.600 --> 0:56:50.480 it's my babie boy. Oh mad, it's my beautiful boy. 0:56:52.120 --> 0:56:53.839 This changes completely. 0:56:54.719 --> 0:56:56.719 It is a switch. But I reargue with you. If 0:56:56.800 --> 0:56:58.480 you when you watch your back, you can kind of 0:56:58.520 --> 0:57:01.239 see that he is. He's not the brighter spark in that. 0:57:01.719 --> 0:57:03.040 That's exactly he's big. 0:57:03.160 --> 0:57:06.439 He's the big guy. Yeah. I do love that scene. 0:57:06.480 --> 0:57:08.840 And we've seen you know, I'm sure it's not the 0:57:08.920 --> 0:57:12.279 first scene of like stay down, man, stay down, and 0:57:13.040 --> 0:57:15.799 the character just keep on getting up. But I really, 0:57:15.920 --> 0:57:17.960 I really like it. I also feel like you really 0:57:18.640 --> 0:57:21.560 feel the sweat, you know, and the and the dirt 0:57:21.680 --> 0:57:24.120 like look being pummeled into the dirt and getting back up. 0:57:24.160 --> 0:57:25.840 When he gets back and there's so much dirt on 0:57:25.920 --> 0:57:28.160 his back, I kind of want to go, oh, someone 0:57:28.240 --> 0:57:29.120 dust him off a little bit. 0:57:29.200 --> 0:57:30.760 That's too much. That's too much. 0:57:30.840 --> 0:57:33.800 But it's so real and honest and doesn't look like 0:57:34.080 --> 0:57:35.920 a makeup artist put it on. It looks like he 0:57:36.040 --> 0:57:37.000 actually went down. 0:57:37.160 --> 0:57:39.320 Well, they shot that over three days, and that they 0:57:39.360 --> 0:57:43.320 were both knacked after because look, it's it's not necessary 0:57:43.320 --> 0:57:45.520 from the punching, obviously, but from the from the hitting 0:57:45.560 --> 0:57:49.000 the ground and and all that. So I love it. 0:57:49.160 --> 0:57:52.200 It's interesting to point out the drag Line is the 0:57:52.600 --> 0:57:55.080 big guy, but he's not a leader, is he? It 0:57:55.160 --> 0:57:56.840 seems when you go in there that he is the leader, 0:57:56.880 --> 0:57:59.160 but he's just the biggest and the loudest. But then 0:57:59.160 --> 0:58:02.240 you're right comes in who's an actual leader and everyone 0:58:02.600 --> 0:58:05.240 just turns to him. They never turned to drag Line 0:58:05.240 --> 0:58:06.680 that much. They were just kind of scared of him, 0:58:07.160 --> 0:58:09.680 which is This is something I wanted to bring up 0:58:10.120 --> 0:58:15.080 quickly of why men, I think would enjoy that movie 0:58:15.080 --> 0:58:16.680 a lot more than women. And I think men like 0:58:16.800 --> 0:58:20.920 watching prison movies because we think which one would I be? 0:58:21.400 --> 0:58:23.760 Would I be the big guy? Am I the leader? A? 0:58:24.240 --> 0:58:25.680 Am I the scared guy? Am I this? 0:58:25.800 --> 0:58:26.000 And that? 0:58:26.520 --> 0:58:29.840 And then it parallels in society of what man am I? 0:58:29.880 --> 0:58:31.840 Am I an alpha male? And everything like that? Right 0:58:32.840 --> 0:58:35.439 out in the world, Tom Cruise is an alpha male. 0:58:35.800 --> 0:58:37.520 I look to him, I think he's a legend, he's great, 0:58:37.720 --> 0:58:41.880 But in prison he's five foot two, he's not. He's 0:58:41.920 --> 0:58:44.480 not the guy, is he? So it's a different pecking order, 0:58:44.600 --> 0:58:46.520 and you wonder in your head would I make it? 0:58:46.560 --> 0:58:48.479 Would I be okay? Would I be carrying the corner? 0:58:48.520 --> 0:58:51.280 Would I cry? What would I do? And then women 0:58:51.400 --> 0:58:56.000 watch true crime documentaries. And it's because I don't know, 0:58:56.200 --> 0:58:59.000 maybe they think, well, every man watches prison films, so 0:58:59.040 --> 0:59:01.400 they desperately want to go to prison. So I have 0:59:01.520 --> 0:59:04.160 to make sure that I know everything they could possibly 0:59:04.240 --> 0:59:09.160 do to avoid being by these paths. 0:59:10.200 --> 0:59:13.280 I was actually discussing with my wife this morning. My wife, 0:59:13.280 --> 0:59:15.200 I'll get up. My wife gets up usually before me. 0:59:15.480 --> 0:59:17.920 Sometimes I write late into the night, that's an excuse. 0:59:19.000 --> 0:59:21.280 But I will get up and she'll be, you know, 0:59:21.440 --> 0:59:23.560 there's there's don't think she kind of you know, she 0:59:23.840 --> 0:59:26.120 likes to do before she can sit down and have 0:59:26.240 --> 0:59:29.120 a tea. But she'd be watching some true crime. 0:59:29.240 --> 0:59:30.800 And I'm like, first thing in the morning. 0:59:32.480 --> 0:59:35.880 Watching true crime and she was murdered, and then she's 0:59:36.840 --> 0:59:40.080 make my tea. But she made the point that true 0:59:40.120 --> 0:59:45.720 crime is feels removed enough. If it was it's usually 0:59:45.720 --> 0:59:47.560 American true crime. It's a lot of those shows that 0:59:47.600 --> 0:59:50.880 you know, yeah, and then they feel like they're historical 0:59:51.000 --> 0:59:54.240 almost where she goes, I couldn't watch like it was 0:59:54.320 --> 0:59:57.080 like a true crime about the abuse of a child. 0:59:57.640 --> 0:59:59.880 I couldn't watch that. I wouldn't start my day. But 1:00:00.000 --> 1:00:02.680 it feels like it still feels like entertainment, you know, 1:00:02.920 --> 1:00:05.800 which you know? I imagine I think we all know 1:00:05.960 --> 1:00:08.360 watch true crime as entertainment. I heard somebody want to say, 1:00:08.600 --> 1:00:10.400 I want to I want to write true crime at fiction. 1:00:13.080 --> 1:00:16.040 It's funny that women like watching true crime, but I 1:00:16.160 --> 1:00:19.760 dare say most women hate watching animal documentaries because animals 1:00:19.800 --> 1:00:23.760 get but the lion attack the gazelle and I can't 1:00:23.880 --> 1:00:26.680 make it. You watched eight episodes of this killer who 1:00:26.800 --> 1:00:32.360 went through the Midwest. Yep, that's far removed from real life. 1:00:32.640 --> 1:00:36.680 You can't watch the end of bandy. Let's we mentioned 1:00:36.760 --> 1:00:39.960 earlier there was christ like, there is a Messiah thing 1:00:40.040 --> 1:00:42.680 going on here, and it's a lot of us about 1:00:42.720 --> 1:00:47.600 hero worship. These inmates just look at Luke, and I 1:00:47.720 --> 1:00:51.080 think he gives them hope. And whether he has decided 1:00:51.120 --> 1:00:54.200 that that's his role or he's a natural born leader, 1:00:54.520 --> 1:00:58.400 everyone can decifer themselves, but I think there's certainly the 1:00:58.480 --> 1:01:02.120 hero worship thing going on. And we see when he 1:01:02.280 --> 1:01:06.480 comes back in from the grave and he has a Degeah, 1:01:06.560 --> 1:01:08.520 it's a great scene. It's like, well, have you put 1:01:08.560 --> 1:01:11.120 dirt in the sheriff's grave or whatever it is? 1:01:11.320 --> 1:01:14.240 And yes, there's no way he can win there's no 1:01:14.280 --> 1:01:14.760 way he can win. 1:01:14.840 --> 1:01:16.320 He can. He has to dig it and then fill 1:01:16.360 --> 1:01:18.120 it back in and then dig it again, and he 1:01:18.200 --> 1:01:19.240 ends up being pushed into it. 1:01:19.760 --> 1:01:21.640 That reminded me, Sorry, that reminded me of the scene 1:01:21.680 --> 1:01:23.800 in the Castle with Robert Redford when he kept making 1:01:23.880 --> 1:01:27.800 him move those bricks from one side to the other. Remember, yeah, yeah, see. 1:01:27.840 --> 1:01:31.400 That to me is the difference. But he was a 1:01:31.960 --> 1:01:33.880 he was a general in the army or something. But 1:01:34.000 --> 1:01:37.320 he definitely was a leader and rallied everyone in that film, 1:01:37.360 --> 1:01:39.520 didn't he see Luke doesn't do that as much, but 1:01:40.000 --> 1:01:42.320 he definitely has them all looking at him like they 1:01:42.360 --> 1:01:45.160 did it Robert Redford in the Castle, like they look 1:01:45.240 --> 1:01:47.880 to him as the leader. I just I didn't really 1:01:47.960 --> 1:01:51.920 feel like he said, right, I'm the guy. I think 1:01:52.640 --> 1:01:54.320 this is just what I got that he just went, 1:01:55.840 --> 1:01:59.000 all right, I'll be the guy man for me. 1:01:59.240 --> 1:02:02.160 He's just a yeah with the I agree he may 1:02:02.240 --> 1:02:05.520 not articulated to himself that I'm going to lead this group, 1:02:05.600 --> 1:02:08.880 but I think he's just such a natural born leader. 1:02:10.000 --> 1:02:13.000 He has natural charisma. He said. From the moment we 1:02:13.080 --> 1:02:15.480 saw him on camera when he was laughing, we wanted 1:02:15.520 --> 1:02:16.640 the bees, mate, You know. 1:02:16.760 --> 1:02:18.840 So maybe that's what he is, is like your mate 1:02:18.880 --> 1:02:21.000 who you all follow to the pub because you know, 1:02:21.120 --> 1:02:23.360 he's the fun one. And he's not necessarily a leader, 1:02:23.480 --> 1:02:25.320 is he. He's not going to take you into battle. 1:02:25.440 --> 1:02:26.000 But no. 1:02:26.200 --> 1:02:28.080 But but leaders can be you know, leaders can be 1:02:28.160 --> 1:02:31.800 the you know, the fung whoever organizes the bucks party. 1:02:32.880 --> 1:02:35.320 You know, he doesn't always have to be about battles 1:02:35.320 --> 1:02:39.640 and and but I think there is certainly a messiah 1:02:39.680 --> 1:02:41.360 thing going on the way they look at him the 1:02:41.440 --> 1:02:43.360 whole way through. And then but when he gets out 1:02:43.400 --> 1:02:44.240 of the grave and he. 1:02:44.680 --> 1:02:48.600 They start playing songs to him, to everything, the guy 1:02:48.720 --> 1:02:50.240 gets the katari goes, oh, this is all I can 1:02:50.280 --> 1:02:53.800 do to help our messiah. That starts playing to give 1:02:53.880 --> 1:02:56.160 him something that's to show that they're all there with him. 1:02:56.400 --> 1:02:56.600 Yeah. 1:02:56.800 --> 1:02:59.040 And then and then he gets out and he begs 1:03:00.080 --> 1:03:02.120 a stomp, and that's when they turn on him. 1:03:02.160 --> 1:03:03.400 They turn on him quickly. 1:03:03.600 --> 1:03:03.760 Yeah. 1:03:03.760 --> 1:03:06.240 And I think there's a you know, lots of religious 1:03:06.320 --> 1:03:08.400 kind of you know stuff going on in his motifs, 1:03:08.440 --> 1:03:10.200 and him getting out of the grave could be seen 1:03:10.240 --> 1:03:11.800 as Jesus is going to getting out of the tomb 1:03:11.880 --> 1:03:14.440 and rising again. But he right, you know, and he 1:03:15.120 --> 1:03:17.840 he begs and they tear up the picture. 1:03:17.560 --> 1:03:19.720 That he instantly tear the picture up. 1:03:19.920 --> 1:03:22.160 Yeah, when does that happy? They place him on the table? 1:03:22.200 --> 1:03:22.760 Does that happened? 1:03:22.800 --> 1:03:24.840 After the they place him on the table with the eggs. 1:03:25.360 --> 1:03:27.000 And the eggs he might be after the eggs, and 1:03:27.040 --> 1:03:30.280 he's in a crist like, deliberately christ like pose. He's 1:03:30.320 --> 1:03:34.160 on the table pose his feet that crossed over. 1:03:34.560 --> 1:03:36.920 Is only you're right, and very specific. 1:03:37.160 --> 1:03:40.240 It was very and thirty seventy is his number, and 1:03:40.360 --> 1:03:42.720 thirty seven refers to a particular passage in the Bible. 1:03:44.520 --> 1:03:47.000 So there's a lot of obviously it ends, you know, 1:03:47.440 --> 1:03:50.880 in the church. But what what did you what did 1:03:50.960 --> 1:03:54.560 you make of their turning against him? Because it is 1:03:54.640 --> 1:03:56.120 a bit you know, come on. 1:03:56.160 --> 1:03:59.000 Guys, Yeah I did definitely that was that was me 1:03:59.560 --> 1:04:01.640 fully on Luke's side, and I'm like, all right, he's 1:04:01.920 --> 1:04:04.480 gone through a lot. But they instantly ripped up the thing. 1:04:04.640 --> 1:04:08.120 They all turned their backs on him as he walked through, 1:04:08.240 --> 1:04:13.000 whereas fifteen twenty minutes earlier, they all gave him the 1:04:13.080 --> 1:04:16.440 respect when his mother died and left him to in 1:04:16.560 --> 1:04:19.720 that same room, and then they all acted like he 1:04:19.920 --> 1:04:24.760 wasn't even there. They dropped him that quickly that I 1:04:25.120 --> 1:04:28.600 really I was angry at them. I was like, come on, guys, 1:04:28.880 --> 1:04:31.160 we're in this together and he's gone through it. You 1:04:31.280 --> 1:04:33.240 need to stand by him like he stood by you 1:04:33.400 --> 1:04:36.760 and has been the rock that you've needed. And they 1:04:36.840 --> 1:04:39.000 turned him so quickly. And it was interesting later when 1:04:39.080 --> 1:04:42.880 Dragline runs away with him and says, oh, you were 1:04:42.920 --> 1:04:46.280 playing this the whole time, like he wanted him to say, yes, 1:04:46.360 --> 1:04:48.120 I was, and he goes, no, I wasn't. He broke me, 1:04:48.960 --> 1:04:51.200 and drag Line couldn't accept it. He wanted to know 1:04:51.360 --> 1:04:54.040 that Luke was always the Luke that they had put 1:04:54.080 --> 1:04:57.560 into their messiah eyes, and when he didn't and broke, 1:04:57.840 --> 1:05:01.800 they couldn't handle it. And it was really interesting when 1:05:01.840 --> 1:05:03.880 drag Line said that. He goes, oh, you were playing 1:05:04.000 --> 1:05:06.320 us the whole time, and when he realized, he goes, no, 1:05:06.480 --> 1:05:08.160 tell me you were playing us, like he really was 1:05:08.200 --> 1:05:10.320 begging him to just at least tell me that. So 1:05:10.440 --> 1:05:12.360 I think it was interesting. 1:05:12.520 --> 1:05:16.040 Yeah, absolutely, And he actually said I've never planned anything 1:05:16.080 --> 1:05:18.240 in my life. Yeah, And I did think when he 1:05:18.320 --> 1:05:20.000 said that, I did go, well, hang on, how did 1:05:20.040 --> 1:05:23.320 you that first escape? You know where it was there 1:05:23.320 --> 1:05:24.280 obviously was a plan. 1:05:24.640 --> 1:05:26.280 It was funny how they didn't show it at all 1:05:26.520 --> 1:05:28.760 for the movie, did they? They just started doing it. 1:05:29.160 --> 1:05:31.240 I really love that they did that. Like usually in 1:05:31.320 --> 1:05:33.840 a movie Shaw Shank Redemption, half of the plot is 1:05:33.920 --> 1:05:36.320 showing how he did and how he gets to it 1:05:36.360 --> 1:05:40.200 and everything. This just they're having a loud Fourth of 1:05:40.320 --> 1:05:42.600 July party and he's just got a sore and then 1:05:42.640 --> 1:05:45.160 you're going, oh, he's breaking out. I didn't even tell us. 1:05:45.400 --> 1:05:46.840 They didn't prepare us for this. 1:05:47.400 --> 1:05:49.960 And then then he's out and they don't show him 1:05:50.000 --> 1:05:56.000 being captured, which again I kind of I kind of liked. 1:05:56.120 --> 1:05:57.760 I really liked it. It reminded me a little bit 1:05:57.800 --> 1:06:00.680 of is it Peter Sellers and the Panther when he 1:06:00.800 --> 1:06:05.600 just kept getting brought back in the anvil? Yeah, just 1:06:05.760 --> 1:06:06.840 brought it back immediately. 1:06:07.480 --> 1:06:09.400 But those scenes when he when he is and the 1:06:09.840 --> 1:06:13.760 dogs that are chasing him there while the crashing through 1:06:13.840 --> 1:06:15.600 fences and apparently that was that was happening, and the 1:06:15.640 --> 1:06:17.680 actor was just like, I guess I'm just gonna have 1:06:17.720 --> 1:06:20.280 to go underneath, and like that they were literally being pulled. 1:06:20.320 --> 1:06:22.040 I mean, you know, dogs can only act this a 1:06:22.200 --> 1:06:25.280 certain amount. Yeah, I do like when they he comes 1:06:25.320 --> 1:06:28.320 across these these two boys. I think it's his second escape. 1:06:29.080 --> 1:06:30.000 And let's listen. 1:06:31.960 --> 1:06:33.040 How to take your pants on. 1:06:35.200 --> 1:06:36.840 The best ways to get rid of them when they're going? 1:06:38.920 --> 1:06:39.440 What you mean? 1:06:39.480 --> 1:06:40.040 Strong enough? 1:06:40.400 --> 1:06:41.360 Strong enough for what? 1:06:44.320 --> 1:06:45.320 You couldn't have to an act? 1:06:45.800 --> 1:06:46.240 Can too? 1:06:47.000 --> 1:06:47.960 But you can't can to? 1:06:48.200 --> 1:06:49.600 Bet you can't can too. 1:06:50.400 --> 1:06:51.160 I'll bet you can't. 1:06:51.440 --> 1:06:51.560 Can. 1:06:52.520 --> 1:06:53.640 Well, then go get it man? 1:07:00.800 --> 1:07:01.320 What's your name? 1:07:01.360 --> 1:07:02.400 Boy? Ben? 1:07:03.200 --> 1:07:03.439 Ben? 1:07:04.560 --> 1:07:06.440 Have you been taking those starts off her pants? 1:07:08.440 --> 1:07:08.840 You know it? 1:07:09.000 --> 1:07:09.160 Kid? 1:07:13.280 --> 1:07:27.200 M hm, you want to see something real funny. You're 1:07:27.240 --> 1:07:29.720 going in there and you get me a chili, powder 1:07:29.800 --> 1:07:32.040 and pepper and Korean and lake land of it all right. 1:07:33.800 --> 1:07:35.960 I think that the two kids were really good, and 1:07:36.080 --> 1:07:39.760 I really felt that the kid's disappointment when he thought 1:07:39.800 --> 1:07:41.040 he was going to be the one who heaved the 1:07:41.080 --> 1:07:43.680 ass and and then Link said out let me take it, Yes, 1:07:44.080 --> 1:07:46.040 And this goes behind and he buries his head in 1:07:46.120 --> 1:07:48.960 his hands and kind of felt his pain. 1:07:50.360 --> 1:07:51.440 I thought it was going to be part of it. 1:07:52.520 --> 1:07:54.920 Got your axe, But. 1:07:55.160 --> 1:07:57.640 I I the escapes aren't fun and and and I 1:07:57.760 --> 1:08:00.760 think obviously a massive part of that the second act, 1:08:00.800 --> 1:08:05.120 but I you know, when he's returned. I think the 1:08:05.200 --> 1:08:07.040 inmates are kind of happy to see him again, like 1:08:07.240 --> 1:08:09.800 the Yeah, They're not like, oh damn, he didn't get out. 1:08:09.840 --> 1:08:11.160 They're like, okay, it looks back. 1:08:11.400 --> 1:08:11.600 Yeah. 1:08:11.720 --> 1:08:13.520 They need him because I think he represents hope. I 1:08:13.520 --> 1:08:15.920 think that's a big thing as well. I think to 1:08:16.000 --> 1:08:19.040 them represents hope. So when they break him and he 1:08:19.120 --> 1:08:22.479 begs for mercy, I think they see that as Hope 1:08:22.560 --> 1:08:23.080 being lost. 1:08:23.280 --> 1:08:26.360 Yeah. Yeah, I just still think they turned too quickly. 1:08:26.800 --> 1:08:30.639 Absolutely interesting in that scene, and it reminded me. Throughout 1:08:30.720 --> 1:08:33.799 the film. You can hear birds chirping in the background 1:08:33.840 --> 1:08:37.840 a lot, and I was listening to it because the 1:08:37.960 --> 1:08:42.240 sounds very interesting. Nineteen sixty seven, they didn't use much sound. 1:08:42.479 --> 1:08:45.880 There wasn't much of a score. There was a lot 1:08:45.960 --> 1:08:50.080 of silence, and it really played into the gravity of 1:08:50.160 --> 1:08:52.720 certain scenes, and I really liked it. I liked the 1:08:52.880 --> 1:08:56.360 lack of needing to cram too much sound in. But 1:08:56.520 --> 1:08:59.040 the birds in the background for me was very interesting 1:08:59.080 --> 1:09:01.680 because it was almost like throughout the whole thing, it 1:09:01.840 --> 1:09:06.760 showed that freedom and outside is there, it's in reach, 1:09:07.760 --> 1:09:10.720 and so while he's in there and insular and they're 1:09:10.800 --> 1:09:13.559 having this world and they're and they're fighting, and they're boxing, 1:09:13.640 --> 1:09:17.960 and they're you know, they're digging holes and everything. Freedom 1:09:18.000 --> 1:09:21.000 and a different existence is chirping in the trees. You 1:09:21.040 --> 1:09:22.080 can hear it the whole time. 1:09:22.320 --> 1:09:25.120 Yeah, that's a great point. That's a great point because 1:09:25.160 --> 1:09:29.519 you want Yeah, I mean, somebody could drive by and 1:09:29.680 --> 1:09:34.200 have access to enjoy those birds and and and and 1:09:34.479 --> 1:09:36.880 the smells. But all of a sudden you put change on, 1:09:37.040 --> 1:09:41.040 you know, and you are incarcerated. It changes you're experience 1:09:41.080 --> 1:09:45.080 and your will view. Yeah, it's yeah, I love it. 1:09:45.479 --> 1:09:49.439 What did you As we move towards the back end, 1:09:49.840 --> 1:09:52.080 what do you make of it? So we think Luke 1:09:52.200 --> 1:09:57.040 is broken, that he's conformed. He's helping, you know, the 1:09:57.320 --> 1:10:00.920 the authorities, retrieving a turtle that's been shot. 1:10:01.120 --> 1:10:01.320 Yeah. 1:10:01.680 --> 1:10:05.320 Oh, by the way, we haven't cover the authorities, so 1:10:05.439 --> 1:10:08.720 we've got our old mate. The failure to communicate. 1:10:09.720 --> 1:10:14.559 Great performance, great and very subtle. Probably has four lines 1:10:14.560 --> 1:10:16.120 of dialogue the whole film. 1:10:16.280 --> 1:10:20.040 So so good in the delivery method, and you're not 1:10:20.240 --> 1:10:25.599 sure whether he is does he want to be liked? 1:10:26.200 --> 1:10:29.040 It's funny because you don't. There's not enough of him 1:10:29.080 --> 1:10:32.000 to hate him, there's not enough to understand him. Or anything. 1:10:32.280 --> 1:10:35.880 I did draw parallels to the warden in Shawshank Redemption, 1:10:36.000 --> 1:10:38.240 because when in the end of that one, when he 1:10:38.720 --> 1:10:42.040 ends up shooting himself, you're like, good, I hated that guy. 1:10:42.439 --> 1:10:45.400 But this guy you'd never got a sense of. But 1:10:45.520 --> 1:10:47.640 he came in and he had the authority and you 1:10:47.760 --> 1:10:50.240 knew what he was, but you never got enough of 1:10:50.320 --> 1:10:55.880 him to to to really feel a presence of what 1:10:56.080 --> 1:10:59.960 he meant. But it was enough. He's like the prince 1:11:00.200 --> 1:11:02.000 at school. You never really see the principle, but you 1:11:02.080 --> 1:11:02.599 know he's there. 1:11:04.640 --> 1:11:06.840 He looms large. But I mean there is that scene, 1:11:07.160 --> 1:11:09.920 the failure to communicate scene where he whacks him and 1:11:10.040 --> 1:11:12.479 he rolls down into the forefront of the frame. It's 1:11:12.520 --> 1:11:15.560 a beautiful shot. And this film is so such a 1:11:15.600 --> 1:11:18.080 good looking film. You know, I'm not just on about 1:11:18.080 --> 1:11:22.880 porn humaneous. It's absoutely gorgeous. In fact, the director was 1:11:22.880 --> 1:11:24.760 getting a bit frustrated because he thought he wanted this 1:11:24.840 --> 1:11:28.320 to be a grittier kind of film. It's a it's 1:11:28.360 --> 1:11:31.799 a beautifully shot film. The merit sunglasses we mentioned earlier, 1:11:31.800 --> 1:11:34.679 but that's this is a great character and I believe 1:11:34.760 --> 1:11:37.920 the thinking behind it is and I think this is 1:11:38.000 --> 1:11:41.880 why I often cops or prison guards would often wear 1:11:41.960 --> 1:11:45.120 at a certain time merit sunglasses because it kind of 1:11:46.040 --> 1:11:49.960 it reduces the the you know, the chance of having 1:11:50.080 --> 1:11:53.360 apathy or humanity if you're just looking into you can't 1:11:53.400 --> 1:11:56.519 see their eyes. And obviously there's a little payoff in 1:11:56.920 --> 1:12:00.800 the very final moment with that. But so Luke's final escape, 1:12:01.000 --> 1:12:04.400 he's he's shaking the bush and all that. Very clever. 1:12:04.600 --> 1:12:09.000 He escapes and he gets so this is actually sorry, 1:12:09.040 --> 1:12:11.240 this is the that's the second. In the second one, 1:12:11.400 --> 1:12:15.000 the car jumps into the car and takes off, drag 1:12:15.080 --> 1:12:18.599 line jumps in. You mentioned, Neil, we're free and knew 1:12:18.640 --> 1:12:20.680 you were, knew you were you were faking it, and 1:12:20.800 --> 1:12:22.639 then they go their separate ways. What are you thinking 1:12:22.680 --> 1:12:23.160 at this point? 1:12:23.320 --> 1:12:25.759 I'll tell you what I was thinking. When he started 1:12:26.240 --> 1:12:28.599 running and getting the gun and killing the turtle and everything. 1:12:28.680 --> 1:12:31.639 I felt betrayed by Luke. Yeah right, I felt, how 1:12:31.800 --> 1:12:35.840 could you We were a team? You are now just 1:12:35.960 --> 1:12:39.000 one of their shills, said the roy word. I felt 1:12:39.040 --> 1:12:43.880 very betrayed by him, and I thought, please please come back, Yeah, 1:12:44.000 --> 1:12:46.120 which is what they were all feeling. 1:12:46.920 --> 1:12:49.479 Which is fascinating, isn't it. This maybe made in nineteen 1:12:49.479 --> 1:12:52.519 sixty seven, and you have felt about Luke from the 1:12:52.560 --> 1:12:54.680 first moment you see him, and that's exactly what the 1:12:54.680 --> 1:12:57.120 director wants you to feel exactly, And now you're feeling 1:12:57.160 --> 1:12:58.719 exactly what the direct exactly. 1:12:59.200 --> 1:13:03.120 They Yeah, I was a perfect audience member that they wanted. 1:13:03.320 --> 1:13:05.400 And as soon as he got in the truck and 1:13:05.680 --> 1:13:08.960 drove off, for a second, I thought, was he allowed 1:13:09.000 --> 1:13:10.960 to drive that truck and he's going to get something? 1:13:11.040 --> 1:13:12.920 But then when there was some speed to it, I 1:13:13.000 --> 1:13:14.519 just went, oh, thank god, he's back. 1:13:14.800 --> 1:13:17.280 It looks back. He's back. 1:13:17.479 --> 1:13:19.760 And I wanted him to say I was playing it 1:13:19.800 --> 1:13:21.800 the whole time like he did as well, But when 1:13:21.800 --> 1:13:25.080 he didn't, I still said, Nah, he was in my head. 1:13:25.479 --> 1:13:28.519 I still wanted him to be that weird, but I 1:13:28.640 --> 1:13:30.880 wanted to believe that he was playing that he hadn't 1:13:30.920 --> 1:13:31.400 been broken. 1:13:31.680 --> 1:13:39.040 Well, I still wonder if maybe I'm in the same 1:13:39.080 --> 1:13:41.960 boat as you're just wanting to believe it. But I'm like, 1:13:42.080 --> 1:13:46.400 may share you sure that's subconsciously please back recesses of 1:13:46.439 --> 1:13:48.920 your brain. You thought, you know, I need to if 1:13:49.000 --> 1:13:50.840 I play the part, Yes, if I played the part, 1:13:51.280 --> 1:13:52.080 the moment will come. 1:13:52.280 --> 1:13:52.479 Yeah. 1:13:52.920 --> 1:13:56.519 So they go their separate ways, and Luke finds at church, 1:13:56.920 --> 1:14:01.799 and this is I think it's a fascinate sequence of events. 1:14:02.160 --> 1:14:06.400 Let's have a listen to look in the church. 1:14:06.960 --> 1:14:10.080 I know I'm a pretty evil fellow. Kill people in 1:14:10.160 --> 1:14:14.599 the war, and I got drunk and chewed up municipal 1:14:14.680 --> 1:14:17.160 property and the life. I know I got no call 1:14:17.200 --> 1:14:19.080 to ask for much. But even so, you gotta admit 1:14:19.160 --> 1:14:20.920 you ain't helped me, no cards in a long time. 1:14:22.680 --> 1:14:24.680 Getting it looked like you got things fixed, So I 1:14:24.760 --> 1:14:25.799 can't never went out. 1:14:27.680 --> 1:14:32.639 And signed outside all them rules and regulations and bosses. 1:14:34.080 --> 1:14:37.080 You made me like I am and just where am 1:14:37.080 --> 1:14:37.880 I supposed to fit in? 1:14:40.080 --> 1:14:40.240 Oh? 1:14:40.400 --> 1:14:46.080 Man, I gotta tell you, I started out pretty strong 1:14:46.200 --> 1:14:49.920 and fast, but it's beginning to get to me. 1:14:52.080 --> 1:14:52.800 When does it end? 1:14:55.240 --> 1:14:56.360 What do you got in mind for me? 1:14:58.000 --> 1:14:58.800 What do I do? Now? 1:14:59.600 --> 1:15:02.240 It's you know, he's come out. I think he said 1:15:02.280 --> 1:15:03.880 in the Korean War, I think is the war there 1:15:03.920 --> 1:15:04.800 that they refer to. 1:15:05.360 --> 1:15:09.920 Yeah, but he won purple hearts and stuff like he 1:15:10.040 --> 1:15:10.400 was a hre. 1:15:10.720 --> 1:15:13.400 Yeah, he is absolute hero and he's come back. And 1:15:13.520 --> 1:15:15.439 this would have, I think, spoken to a lot of 1:15:15.520 --> 1:15:19.519 the servicemen and women's experience coming back from from conflict, 1:15:20.160 --> 1:15:24.200 just feeling lost and forgotten. Yeah, really, when when you 1:15:24.320 --> 1:15:27.280 when you, if you frame it like that, and if 1:15:27.320 --> 1:15:29.680 you remember that. As he's saying all this, I think 1:15:29.680 --> 1:15:31.759 he's extremely powerful, very sad. 1:15:31.920 --> 1:15:37.640 Very powerful, very sad. I was, you know what, I 1:15:37.720 --> 1:15:41.919 think parallels a lot of and I only can experience 1:15:42.160 --> 1:15:47.320 what I've experienced as a man. So for men, exactly 1:15:47.400 --> 1:15:51.559 what he said still rains true today. I started out 1:15:51.800 --> 1:15:56.120 with dreams, and I started out strong and trying my best, 1:15:56.320 --> 1:15:59.840 and I've been beaten down. Give me a break, what's 1:16:00.080 --> 1:16:03.040 next for me? Here's a lot that goes on through 1:16:04.080 --> 1:16:07.439 men of a certain age, probably around thirty five to 1:16:07.520 --> 1:16:11.160 about fifty five, it is. And so watching that scene, 1:16:11.240 --> 1:16:17.160 you massively feel, yeah, give us a go, like we're 1:16:17.240 --> 1:16:20.600 trying our best. Yeah, And I really really felt that 1:16:20.760 --> 1:16:24.120 in that scene, and it was said it was very interesting. 1:16:24.280 --> 1:16:28.040 I thought it was quite good to his character. Drag Line. 1:16:28.080 --> 1:16:30.000 He said he's a little bit of an idiot because 1:16:31.120 --> 1:16:33.800 Luke's looking up talking to God. Track Line walks in 1:16:33.880 --> 1:16:36.360 and like looks up, like where are you looking? And 1:16:36.520 --> 1:16:38.479 it's a lot of so funny that they added that 1:16:38.640 --> 1:16:41.880 in He's like look, baby boy. And then he goes like, 1:16:42.080 --> 1:16:43.840 who are you talking to? Like you're at a church, 1:16:43.920 --> 1:16:45.880 you know who he's talking to. You don't have to 1:16:45.920 --> 1:16:46.320 look up. 1:16:46.479 --> 1:16:50.479 But I guess Luke obviously has some faith. It's been 1:16:50.680 --> 1:16:54.600 rocks and it's probably been discarded, and maybe it's his 1:16:54.800 --> 1:16:58.880 last chance. He's tried to escape, he's been found every time. 1:17:00.040 --> 1:17:02.760 Maybe he's just he's just looking for one last little 1:17:02.800 --> 1:17:07.040 pace of gardens. And I think then he does get 1:17:07.120 --> 1:17:09.640 on his knees and and and ask for help on my. 1:17:09.720 --> 1:17:15.479 Knees asking, Yeah, that's what I thought. I guess I'm 1:17:15.479 --> 1:17:23.080 pretty tough to deal with, hard case. Yeah, I guess 1:17:23.120 --> 1:17:24.320 I gotta find my own way. 1:17:29.720 --> 1:17:37.920 M M. 1:17:44.800 --> 1:17:49.400 That's your answer, man, I guess you're a hard case too. 1:17:50.160 --> 1:17:53.280 I love that line. Yeah, yeah, but yes he has 1:17:53.400 --> 1:17:55.479 he has for help, and he sends drag lining, and 1:17:55.600 --> 1:17:58.400 like you said, he looks he's looking around. But you know, 1:17:58.600 --> 1:18:01.599 like drag Line doesn't have that, I guess in his life. 1:18:01.680 --> 1:18:06.160 You know, he doesn't the idea of talking, you know, right, possibly, possibly, 1:18:07.880 --> 1:18:09.840 but what a bad choice by drag line. I was 1:18:09.880 --> 1:18:11.160 frustrated with drag line here. 1:18:11.479 --> 1:18:14.800 Oh, very why did you lead him to Luke like. 1:18:15.120 --> 1:18:18.120 Would have worked it out. Yeah, And I think, to 1:18:18.200 --> 1:18:21.559 be honest, I think subconsciously, you know, like he's probably thinking, 1:18:21.760 --> 1:18:25.240 I'm caught. I can't survive this now with what I 1:18:25.400 --> 1:18:28.120 know now of how life can be in the camp 1:18:28.200 --> 1:18:30.600 with Luke in it. It's better with Luke in it. 1:18:31.400 --> 1:18:33.360 So I'm gonna I'm gonna take him back with me. 1:18:33.520 --> 1:18:36.519 They definitely showed that part of drag Line's character when 1:18:36.600 --> 1:18:40.280 they separated, and he just kept looking longingly like he'd 1:18:40.360 --> 1:18:42.720 left a dog in the woods, like how could you 1:18:42.880 --> 1:18:44.840 leave me here? He even walks off and looks back. 1:18:44.960 --> 1:18:48.080 He takes steps back towards Luke. He doesn't just look back. 1:18:48.520 --> 1:18:50.800 He goes oh, and then doesn't know what to do 1:18:50.920 --> 1:18:53.000 with himself. So when he does get caught and stuff, 1:18:53.000 --> 1:18:54.840 and he's like, oh, I'll take him to Luke and 1:18:54.960 --> 1:18:56.920 then then we'll be back in our bunks. But in 1:18:57.000 --> 1:18:58.680 an hour, you know, and he even says that he 1:18:58.720 --> 1:19:00.439 goes only pin and how we'll get out back. We 1:19:00.520 --> 1:19:04.320 can go back to the way things were, yes and right, Yeah, 1:19:04.520 --> 1:19:07.880 I was definitely in that. I'm like, I have you idiot. 1:19:08.240 --> 1:19:09.000 Yeah, I wasn't. 1:19:09.120 --> 1:19:13.000 I wasn't disappointed in him because it's his character. But 1:19:13.160 --> 1:19:16.200 I was like, you idiots, we were almost free. But 1:19:16.320 --> 1:19:20.320 also I felt a little bit with that money Luke 1:19:20.360 --> 1:19:22.640 saying my knee's here talking to you and stuff, I 1:19:22.720 --> 1:19:26.960 felt like that was a little bit of acceptance of 1:19:27.080 --> 1:19:30.800 his fate. Before you heard the cops and everything come in. 1:19:31.479 --> 1:19:35.920 I felt like he kind of went, all right, well, 1:19:35.960 --> 1:19:39.680 whatever it is is like yeah, I really that's what 1:19:39.760 --> 1:19:42.920 I felt in that moment, that almost that he couldn't 1:19:42.960 --> 1:19:45.360 get a run away from his fate. 1:19:45.640 --> 1:19:47.760 I certainly felt that when he said I guess you're 1:19:47.760 --> 1:19:50.160 a hard case too. Yeah, I certainly felt there. But 1:19:50.400 --> 1:19:53.439 that's really interesting. I mean you could almost see that, 1:19:53.760 --> 1:19:59.040 to be honest, that is dragline Judas in this It 1:19:59.200 --> 1:20:01.639 is a betrayal. It's like, you know, Judas was paid 1:20:01.680 --> 1:20:06.400 the Three to point Jesus out or to betray him 1:20:06.400 --> 1:20:07.320 and Dragon. 1:20:07.920 --> 1:20:10.160 I think he's done and didn't realize that he was Judas. 1:20:10.479 --> 1:20:12.280 Yeah, yeah, I think I think he's been played. But 1:20:12.600 --> 1:20:14.320 like I said, and then you mentioned all that stuff 1:20:14.320 --> 1:20:16.040 about the bunks week we give be back, I think 1:20:16.360 --> 1:20:20.200 he probably wouldn't tell himself that he's betrayed Luke. But 1:20:20.240 --> 1:20:23.880 I think subconsciously. He certainly has like he's led the cops. 1:20:23.960 --> 1:20:26.639 Luke would have been fine, Yeah, drag Line, yeah, absolutely 1:20:26.640 --> 1:20:27.080 gets caught. 1:20:27.360 --> 1:20:27.519 Yeah. 1:20:27.560 --> 1:20:29.920 And but then he also says they've got us, like 1:20:30.040 --> 1:20:34.679 they got yeah that he just like, oh, well they've 1:20:34.680 --> 1:20:36.559 got us, let's go back to our bunks and talk 1:20:36.600 --> 1:20:38.680 about it. What he wants, Yeah, he wants to talk 1:20:38.720 --> 1:20:39.679 with his mate in the bunk. 1:20:39.800 --> 1:20:42.240 They go back, goes to the window. It's a great 1:20:42.600 --> 1:20:45.200 it's a great refrain of the line. What we got 1:20:45.280 --> 1:20:48.400 here is a failure to communicate. Yeah, we're you expecting. 1:20:48.600 --> 1:20:49.760 What were you expecting at this point? 1:20:50.000 --> 1:20:51.200 Absolutely not what happened. 1:20:51.320 --> 1:20:51.920 Yeah, And. 1:20:53.479 --> 1:20:57.479 It shocked me, which again a class accordience member playing 1:20:57.520 --> 1:21:00.360 into exactly what they wanted. I went, no, oh, he's 1:21:00.360 --> 1:21:04.599 not going to die. And it was as soon as 1:21:04.640 --> 1:21:07.400 he started saying the line, I knew where what he 1:21:07.520 --> 1:21:09.920 was doing, and I instantly just went, oh, it's good. 1:21:11.360 --> 1:21:13.160 But I did not expect the shot. 1:21:13.520 --> 1:21:16.560 The shot was. It actually took me. I think I 1:21:17.040 --> 1:21:20.880 jolted a little bit when it happened. And and then 1:21:21.160 --> 1:21:28.040 he's taken out, he's walking. I would have liked I 1:21:28.080 --> 1:21:30.200 would have liked drag Line to carry him out. I 1:21:30.320 --> 1:21:32.200 kind of think he looked because do you believe he's 1:21:32.200 --> 1:21:32.760 dead at the end. 1:21:34.640 --> 1:21:38.520 I believe he's smile. 1:21:38.280 --> 1:21:40.920 And I believe that too, But I would have liked 1:21:41.479 --> 1:21:43.680 him do like I carried him out, he looks like 1:21:43.760 --> 1:21:48.120 he was walking okay enough, and then he's dead, which 1:21:48.320 --> 1:21:50.160 I'm not saying couldn't happen, but I just kind of think, 1:21:50.600 --> 1:21:54.240 I know, more poetically, perhaps him, you know, lifting him out, 1:21:55.880 --> 1:21:58.000 putting him in the car to smile, because he says 1:21:58.160 --> 1:22:01.040 that was Luke's power, like he's smiled in their face 1:22:01.320 --> 1:22:04.519 of authority. He wasn't. He was never trying to defeat them. 1:22:04.560 --> 1:22:07.360 Really, he's I thought it was interesting you bring that 1:22:07.479 --> 1:22:10.400 up too, because when he walked out with him, I thought, 1:22:11.280 --> 1:22:13.800 this is interesting that they're playing it this way. But 1:22:14.800 --> 1:22:19.479 that was his character the whole time he was standing. Yeah, 1:22:19.880 --> 1:22:23.920 I guess it's And if drag Line had carried him out, 1:22:24.640 --> 1:22:30.880 we would have felt more like Dragline should have gone, 1:22:31.040 --> 1:22:34.080 why why did this happen to us? And it would 1:22:34.120 --> 1:22:38.280 have changed the perception of Luke to the very end, 1:22:38.800 --> 1:22:44.760 being untamed. You can't of entame him in death. He's 1:22:44.800 --> 1:22:46.000 still going to do it his way. 1:22:46.280 --> 1:22:48.560 Yeah, I think that's a really good point. I like that. 1:22:48.960 --> 1:22:50.960 I do like that. And he does say in the 1:22:51.080 --> 1:22:53.559 fight when he's when he's down, he keeps on getting down, 1:22:53.600 --> 1:22:54.960 and he keeps on getting up, and they say stay 1:22:54.960 --> 1:22:56.439 down and stay down, which is I guess is you 1:22:56.520 --> 1:22:59.040 know echoes in this scene, you know he's not going 1:22:59.080 --> 1:23:00.519 to stay down. He's going to he's going to walk 1:23:00.560 --> 1:23:03.800 to his death. But he says, you're going to have 1:23:03.880 --> 1:23:07.200 to kill me, and this is what happens. But and 1:23:07.280 --> 1:23:11.360 he he's still smiling, and they cannot take that from Luke, 1:23:11.720 --> 1:23:14.040 you know, they can't rob him of his who he is. 1:23:14.720 --> 1:23:17.320 And then there's the running over of the mirror glasses, 1:23:17.360 --> 1:23:21.240 which I take that mean that Lucas had an impact, 1:23:21.560 --> 1:23:24.400 the man who's made them suffer more than maybe anybody else. 1:23:24.920 --> 1:23:27.880 It's almost like his armor is off, yes, and it's broken. 1:23:27.760 --> 1:23:31.800 But look has a legacy, almost that Lucas had an impact, and. 1:23:31.880 --> 1:23:35.120 That it seemed a little bit insignificant in the end, 1:23:35.520 --> 1:23:38.120 like look how easily you can smash those glasses. Look 1:23:38.160 --> 1:23:41.000 how easily this guy can be broken. Like when drag 1:23:41.080 --> 1:23:44.560 Line went up and shook him, he did cower. He 1:23:44.640 --> 1:23:48.439 didn't stand above him. Fight back, hit him with a gun. 1:23:48.680 --> 1:23:52.800 He didn't go get away from me, coward and it 1:23:52.920 --> 1:23:56.560 was interesting to watch him. And the whole time he 1:23:56.760 --> 1:23:59.880 was stoic. In the movie. It was a big four. 1:24:00.160 --> 1:24:01.560 He had that gun. He chewed a bird out of 1:24:01.600 --> 1:24:03.680 the sky with one shot. That this guy is But 1:24:03.800 --> 1:24:06.000 then he cowered in the end, and he was so 1:24:06.120 --> 1:24:10.560 easily broken, his glasses, his armor was so easily just 1:24:10.760 --> 1:24:12.840 shed to one side. It's interesting. 1:24:13.080 --> 1:24:15.560 Yeah, And if those glasses were to represent, you know, 1:24:15.840 --> 1:24:19.599 having a certain inhumanity, those glasses removed and like you said, 1:24:19.680 --> 1:24:22.120 cowering all of a sudden, he does seem very human. 1:24:22.520 --> 1:24:25.479 And that's what Luke has brought into the camp. That's 1:24:25.520 --> 1:24:28.439 his legacy. I think it's I think it's great. I 1:24:28.479 --> 1:24:31.200 think it's great, mate. I think this podcast comes with homework. 1:24:31.240 --> 1:24:33.880 I always say, and you have gone above and beyond. 1:24:34.000 --> 1:24:36.040 You are you are busy. You are getting ready for 1:24:36.200 --> 1:24:40.800 your huge national tour. You are playing Haimer Hall. 1:24:41.240 --> 1:24:45.360 Yeah, Blarodie Hell, it's two thousand seats seats, terrifying. 1:24:46.880 --> 1:24:50.120 You're going to have a great time. Gret tickets. That's 1:24:50.120 --> 1:24:52.479 happening in November. But I want to talk to you 1:24:52.560 --> 1:24:55.200 about the Great Emu War. I've been hearing about this 1:24:55.320 --> 1:24:57.840 for quite a while. I wasn't sure where it was 1:24:57.920 --> 1:25:02.560 up to. But you're shooting early twenty twenty five and 1:25:03.160 --> 1:25:05.360 Rob Schneider, who we know your mates with and you 1:25:05.920 --> 1:25:09.640 work with, is in the movie. John Clees is in 1:25:09.680 --> 1:25:12.840 the movie. Like, because your mates we've robbed, you've probably 1:25:12.840 --> 1:25:14.640 you know, and you've worked with him before. You know, 1:25:15.400 --> 1:25:18.680 that's exciting to bring him to Australia and to work 1:25:18.720 --> 1:25:22.320 on a movie. But John Clees, did you know John? 1:25:22.720 --> 1:25:26.080 Or So? I wrote the film with Rob. We'd written 1:25:26.120 --> 1:25:30.280 a bunch of drafts of the script and I sent 1:25:30.360 --> 1:25:33.280 it to John Clees's daughter, Camilla Clees, comedian in La 1:25:33.439 --> 1:25:35.080 I knowna well, and I said, look, I wrote a 1:25:35.240 --> 1:25:37.880 part for your dad if you ever want to And 1:25:38.040 --> 1:25:40.639 she said, when it's ready, I'll take it to him. 1:25:40.760 --> 1:25:42.439 And we got it to a really great point. She 1:25:42.520 --> 1:25:46.160 took it to him. About forty eight hours later, my 1:25:46.240 --> 1:25:50.080 phone rings John Clees here and I was just like, hell, 1:25:51.800 --> 1:25:54.479 I thoroughly loved the script. How would you feel about 1:25:54.520 --> 1:25:56.760 me coming on and writing the next draft with you? 1:25:57.280 --> 1:26:01.120 So I picked myself up off the floor and I 1:26:01.400 --> 1:26:05.720 rang Rob and I said he went dude, and so Rob, 1:26:06.600 --> 1:26:09.599 myself and John kind of lived together in a house 1:26:09.640 --> 1:26:14.280 in Arizona for about six weeks and wrote the most 1:26:14.360 --> 1:26:17.080 recent draft of the script together. Jim Jeffries came out 1:26:17.120 --> 1:26:19.080 and wrote with us. So at one stage there was 1:26:19.120 --> 1:26:22.120 four of us sitting around the back, laughing our asses 1:26:22.160 --> 1:26:26.160 off writing this script together, and I am piecing together. 1:26:26.600 --> 1:26:28.479 Between us, we realized there was like one hundred and 1:26:28.520 --> 1:26:32.080 eighty years of comedy, one hundred and seventy coming from John. 1:26:32.520 --> 1:26:38.200 But I was great to piece his genius with Rob's 1:26:38.360 --> 1:26:42.760 character genius with Jim's style and then mashing it all 1:26:42.800 --> 1:26:45.920 into this beautiful script. Has a lot of heart and 1:26:46.680 --> 1:26:48.439 a lot of comedy, and there's a lot of John 1:26:48.479 --> 1:26:52.560 Clee's in there, which is fantastic. And he's playing my 1:26:52.720 --> 1:26:56.360 father in the movie. I'm playing the lead soldier who 1:26:56.400 --> 1:26:58.880 goes out to fight birds, trying to impress his World 1:26:58.920 --> 1:27:03.120 War One hero far John Clees, and I lose to birds, embarrassingly, 1:27:03.320 --> 1:27:06.439 making things way worse. Rob Schneider is the head of 1:27:06.479 --> 1:27:12.000 the Australian Army. His Australian accents really really funny. Jim 1:27:12.040 --> 1:27:14.840 Jefferies is playing the mayor of this small town where 1:27:14.840 --> 1:27:17.560 everything's happening and stuff. So we got Res Darby in 1:27:17.640 --> 1:27:21.640 there as well. Just flat out hilarious. And there's some 1:27:21.760 --> 1:27:23.880 other people that I can't mention, but really really fun. 1:27:24.320 --> 1:27:28.000 And yeah, we're going to be shooting, starting pre production 1:27:28.240 --> 1:27:31.280 early next year. So, like I said before, been my 1:27:31.600 --> 1:27:34.240 dream since I was eight to make a film, and 1:27:35.240 --> 1:27:38.680 this is my baby. I've been working on this for 1:27:39.320 --> 1:27:41.960 well ten years, but I've been building to it since 1:27:42.040 --> 1:27:42.720 I was eight. 1:27:43.479 --> 1:27:47.840 Are you directing? Yeah, that's amazing. I made a film 1:27:47.880 --> 1:27:50.519 in twenty ten. I didn't directed, Dana redirected it. 1:27:51.240 --> 1:27:53.880 I thought you directed that. I'm not sure what a lot. 1:27:53.760 --> 1:27:56.320 Of people say that. I always said after in interviews 1:27:56.479 --> 1:27:59.880 sometimes alive I had to go directed, But I've directed 1:27:59.880 --> 1:28:01.640 it so of television in to date and how to 1:28:01.640 --> 1:28:04.560 say married and and it's a bit you know, it's 1:28:04.640 --> 1:28:07.280 a really cool thing. But for a movie there, I'm 1:28:07.320 --> 1:28:09.560 sure there are people along the way. He kind of 1:28:09.640 --> 1:28:12.559 said to you, how about we get some of the director, 1:28:12.600 --> 1:28:13.240 or how about. 1:28:13.400 --> 1:28:16.519 We've had other directors on what happened we had We've 1:28:16.520 --> 1:28:20.320 had two American directors, but what was happening was they 1:28:20.400 --> 1:28:26.280 weren't getting the comedy that Australians are willing to give 1:28:26.400 --> 1:28:28.200 up to the rest of the world without feeling like 1:28:28.240 --> 1:28:30.800 we're getting the piss taken out. Yes, and they were going, 1:28:30.880 --> 1:28:34.000 wouldn't this be funny? And I go, no, that's actually 1:28:34.240 --> 1:28:38.720 really embarrassing, and you can't actually, and they didn't get it. 1:28:39.280 --> 1:28:41.960 And I found myself having to explain a lot of stuff. 1:28:42.000 --> 1:28:46.080 But then, like even working with John and Rob, I 1:28:46.280 --> 1:28:51.080 had to explain that won't fly with Australian audiences. We 1:28:51.200 --> 1:28:53.719 are very particular with the line that we will cross, 1:28:53.840 --> 1:28:55.960 and then once you cross that line, we will all 1:28:56.040 --> 1:28:58.840 turn our backs on you. So it was great when 1:28:58.880 --> 1:29:00.880 Jim was there because I go, right, Jim, and you 1:29:00.960 --> 1:29:03.240 go yeah, yeah, we can't say that, or yeah no, 1:29:03.320 --> 1:29:05.000 we can't do that, or we can do that, but 1:29:05.280 --> 1:29:10.360 not that, because that's it's very particular. But I love 1:29:10.600 --> 1:29:13.720 walking that fine line and it was great to have 1:29:13.760 --> 1:29:17.080 a gym there because he and I both too around 1:29:17.120 --> 1:29:19.599 the States doing comedy and walk that line the whole 1:29:19.680 --> 1:29:22.800 time of what we want to expose to the world 1:29:23.240 --> 1:29:26.400 about Australians and what we want to keep to ourselves. 1:29:26.520 --> 1:29:29.360 It's a reason why the Castle was so popular here. 1:29:29.439 --> 1:29:34.040 But didn't work overseas. That's for us, that's us. Red 1:29:34.080 --> 1:29:37.360 Dog was for us. But this movie we want to 1:29:37.400 --> 1:29:41.559 make for the world Ala Crocodile Dundee, which is still 1:29:42.080 --> 1:29:44.360 for us and we're proud of, but for the world 1:29:44.479 --> 1:29:47.799 to fall in love with again. So it's a broader, 1:29:48.439 --> 1:29:52.040 broader comedy. But the thing about John two is I've 1:29:52.080 --> 1:29:54.519 now spent time with him. I have dinner with him, 1:29:54.560 --> 1:29:56.880 and he's a friend. He's more than that. He's like 1:29:57.000 --> 1:30:00.920 a We've had these conversations. I My father left when 1:30:00.960 --> 1:30:03.000 I was young, he never had a son. We've developed 1:30:03.000 --> 1:30:05.640 a father son relationship. We just talk about life and 1:30:06.479 --> 1:30:08.920 he's the most He's exactly like you want him to 1:30:09.000 --> 1:30:12.240 be and even more. And what he taught me was 1:30:12.360 --> 1:30:17.800 you can be silly, but not be the clown. You 1:30:17.920 --> 1:30:23.439 can be goofy but demand the utmost respect from people. 1:30:24.000 --> 1:30:26.040 And to watch him do that, just out at dinner 1:30:26.200 --> 1:30:29.080 with waiters and waitresses and say the silliest goofy thing 1:30:29.600 --> 1:30:32.320 but still say it in a way that everyone was like, 1:30:32.439 --> 1:30:36.400 oh thank you sir. Like that all right, you're making 1:30:36.439 --> 1:30:40.439 a scene. Yes, so fun. Like we'd be out at 1:30:40.479 --> 1:30:42.400 lunch or something and then we're walking back to the car, 1:30:42.520 --> 1:30:44.960 and this happened in Phoenix, and we looked in there 1:30:45.040 --> 1:30:47.280 was a puppet store, and he goes, I love puppets, 1:30:47.680 --> 1:30:49.560 and we went in there and bought eight puppets, and 1:30:49.640 --> 1:30:52.080 then went back to his place and did a puppet 1:30:52.160 --> 1:30:54.800 show for his daughter. It was just me and John 1:30:54.920 --> 1:30:57.880 making stuff up, but that was for no one else's 1:30:57.960 --> 1:31:00.639 benefit than us, and to make his daughter laugh. 1:31:00.960 --> 1:31:01.519 That's amazing. 1:31:01.600 --> 1:31:03.519 It was just so much fun. And he's so fun. 1:31:04.200 --> 1:31:06.360 I've interviewed him a couple of times on the project, 1:31:06.400 --> 1:31:10.640 and he's he's still really fascinated and curious about new 1:31:10.720 --> 1:31:13.439 ideas and new people. So like the idea that he 1:31:13.560 --> 1:31:16.080 got back to you quickly in a way, it doesn't 1:31:16.080 --> 1:31:19.760 surprise me, only because I've interviewed him. Eric Idol I 1:31:19.840 --> 1:31:22.240 spent some time with backstage. I've interviewed him couple of 1:31:22.240 --> 1:31:24.600 times too. But we did just for laughs at the 1:31:24.840 --> 1:31:28.920 Opera House and there were like six comedians myself, rove 1:31:29.120 --> 1:31:31.400 Reyce Nicholson was there a few others. 1:31:31.280 --> 1:31:31.960 And we just. 1:31:33.920 --> 1:31:36.360 Hanging, you know, just hope in this moment would last, 1:31:36.960 --> 1:31:39.400 knowing if he would say at some point, okay, I 1:31:39.400 --> 1:31:41.479 should head off and We're there for like an hour, 1:31:41.479 --> 1:31:42.439 an hour and a half, and then we went to 1:31:42.520 --> 1:31:45.320 a bar afterwards and it was just yeah, like those 1:31:45.680 --> 1:31:49.799 to meet your heroes is daunting sometimes, but I'm so glad. 1:31:50.200 --> 1:31:52.200 I've even just got to interview John a couple of times. 1:31:52.280 --> 1:31:57.120 You're working with him and now are his son. You 1:31:57.240 --> 1:32:00.639 must go, hang on, what has this? I mean, I've 1:32:00.680 --> 1:32:02.800 met Hoagues a couple of times and that's been you know, 1:32:03.000 --> 1:32:06.920 that's been a thriller, so you really Yeah, it's nice 1:32:07.320 --> 1:32:11.880 as they get older and it's still so so funny 1:32:12.240 --> 1:32:14.439 and willing to work and sharp. Yeah. 1:32:14.920 --> 1:32:17.759 And he I would argue that he is the elder 1:32:18.240 --> 1:32:21.400 statesman of comedy in the world right now. I think 1:32:21.439 --> 1:32:23.280 he's the oldest. I think he's done the most. I 1:32:23.360 --> 1:32:26.160 think he's written the most. He's talked about creativity in 1:32:26.240 --> 1:32:29.720 a way that has developed comedy and the most influential 1:32:30.080 --> 1:32:31.160 that's alive today. 1:32:31.640 --> 1:32:35.600 He's talks on creativity. Great joined YouTube and he's had a. 1:32:35.600 --> 1:32:37.960 Great book on it. It was great working with him 1:32:38.240 --> 1:32:40.360 when we would work right, we'd start at ten am 1:32:41.080 --> 1:32:43.439 and he would come out and sit down out the 1:32:43.479 --> 1:32:45.360 back of the house. It was during twenty twenty, so 1:32:45.400 --> 1:32:47.479 we were meant to all sort of be separated, and 1:32:48.240 --> 1:32:52.360 so we would sit there and it was very interesting. 1:32:52.439 --> 1:32:55.800 We'd laugh and we right scenes, and then suddenly he'd go, right, 1:32:56.360 --> 1:32:59.559 the comedy has left the building. Let's go and get lunch. 1:33:00.160 --> 1:33:01.240 And in my. 1:33:03.400 --> 1:33:06.280 Professional life, work wise and stuff, I have to dig 1:33:06.320 --> 1:33:08.559 a hole all day or I didn't do any work, 1:33:08.680 --> 1:33:10.640 so I'm banging my head thinking, no, no, we need 1:33:10.680 --> 1:33:12.479 to keep working. But we would go and have lunch 1:33:12.760 --> 1:33:14.320 and we would talk and laugh about what we just 1:33:14.400 --> 1:33:17.080 talked about and come up with more ideas, and then 1:33:17.080 --> 1:33:19.160 I'd come back and sort of filter them into the script. 1:33:19.400 --> 1:33:21.280 And I realized after a week of doing that we 1:33:21.400 --> 1:33:24.720 did vastly more than if I'd done eight hours every 1:33:24.800 --> 1:33:27.920 day banging my head against the wall. And that's why 1:33:28.080 --> 1:33:30.280 you talk about creative ideas coming to you in the shower. 1:33:30.600 --> 1:33:32.799 That's why they come when they do. But he notices 1:33:32.880 --> 1:33:35.360 them and knows when the energy of the idea is 1:33:35.400 --> 1:33:38.680 gone and everything, and he's just a craftsman at that right, 1:33:38.880 --> 1:33:40.559 it's gone, let's go for lunch. 1:33:40.920 --> 1:33:42.280 I'm glad you mentioned the check because I was thinking 1:33:42.280 --> 1:33:45.479 about it, because that's part of his book. It's a 1:33:45.479 --> 1:33:48.920 little while it's like it will take you twenty minutes, 1:33:49.000 --> 1:33:50.240 twenty five minutes half out of break. 1:33:50.280 --> 1:33:51.240 It's called creativity. 1:33:51.680 --> 1:33:55.519 Yeah, it's really good. Check out. But I did the 1:33:55.560 --> 1:33:58.360 same thing where I've decided that I'm developing a few 1:33:58.439 --> 1:34:01.160 things and we just basically two hours to you know, 1:34:01.280 --> 1:34:02.600 two and a half if we're flying at the end. 1:34:02.640 --> 1:34:04.599 But generally I do feel when he said, comedy has 1:34:04.640 --> 1:34:07.040 left the room, like you feel it. And even it's 1:34:07.200 --> 1:34:10.080 if it's energy or something, you know, all the good 1:34:10.120 --> 1:34:12.960 ideas have been. You can't be on fire for eight 1:34:13.040 --> 1:34:16.760 hours in a day, so just short, sharp sessions. Come 1:34:16.800 --> 1:34:18.320 back to it later on in the afternoon if if 1:34:18.360 --> 1:34:21.439 you want, but go do something for a walk. Absolutely, mate, 1:34:21.920 --> 1:34:23.000 it's been an absolute pleasure. 1:34:23.520 --> 1:34:24.840 Thank you, it's been fantastic. 1:34:25.000 --> 1:34:27.360 I'm hanging out. I'm glad you enjoyed. Cool Handlet you 1:34:27.360 --> 1:34:29.560 can go back to Rob Schneider and say you've seen it, 1:34:29.800 --> 1:34:32.880 seen it and I love Paul Newman and you well, mate, 1:34:33.360 --> 1:34:36.479 go watch Buschcassie in the Sun, dance Kid, and seriously, 1:34:36.800 --> 1:34:39.599 it's just ridiculous. He was on new was on number 1:34:39.720 --> 1:34:44.400 nineteen on Nixon's enemies list back in the day. Yeah, 1:34:44.560 --> 1:34:46.080 just because you know all the all the you know, 1:34:46.280 --> 1:34:50.400 the all the communist stuff that was going on. Yeah. 1:34:51.240 --> 1:34:54.280 So Warren Beady was the other person nominated for Bonnie 1:34:54.280 --> 1:34:58.760 and Clyde's another film for nineteen sixty seven a year. Yeah, 1:34:58.920 --> 1:35:02.120 if you've hard facts coming out here, fun facts. Newman 1:35:02.600 --> 1:35:06.719 ate only about eight eggs. I reckon some fancy editing 1:35:06.880 --> 1:35:12.320 going on, and he did vomit. Afterwards. The actors did 1:35:12.400 --> 1:35:15.360 tar a mile long stretch of road for the county. 1:35:15.680 --> 1:35:17.280 I'm not sure if that was on top of what 1:35:17.360 --> 1:35:19.760 they did, or that was imagine he's probably kept on 1:35:19.840 --> 1:35:23.280 going or as part of the film. The author of 1:35:23.439 --> 1:35:27.160 the novelist Don Pierce, didn't like the film at all. 1:35:27.439 --> 1:35:30.200 Didn't like the casting of human thought he was too scrawny. 1:35:30.479 --> 1:35:31.920 Didn't like what we have here is a failure to 1:35:31.960 --> 1:35:35.240 communicate speech. Reckons. Somebody in that position wouldn't have used 1:35:35.680 --> 1:35:39.760 a redneck wouldn't have used had those thoughts. I don't 1:35:39.760 --> 1:35:41.800 think it was high for Litton kind of thoughts, to 1:35:41.840 --> 1:35:44.360 be honest. No, you know, I'm trying to think which 1:35:44.439 --> 1:35:46.439 bit wouldn't have occurred to somebody. 1:35:47.360 --> 1:35:50.479 But he's in that position too. Yeah, he's in a 1:35:50.600 --> 1:35:54.000 powerful position. He should be articulate to some degree. 1:35:54.160 --> 1:35:57.240 You think so, you'd think so. Wives were banned on 1:35:57.400 --> 1:36:02.760 set because they they wanted to have this pent up feeling. 1:36:02.680 --> 1:36:04.080 For the car wash scene. 1:36:04.200 --> 1:36:06.120 For the car washing well, speak of the car wash scene, 1:36:06.120 --> 1:36:09.680 I'm not sure. Apparently it's ninety sixty seven. The producers 1:36:09.880 --> 1:36:14.000 tried to convince Joy Hannon to smoke some marijuana to 1:36:14.800 --> 1:36:18.519 free up her inabitus, which is I hate to almost 1:36:18.600 --> 1:36:21.799 leave finished on this note, but what a creepy feeling. 1:36:22.160 --> 1:36:25.640 They did have somebody else stand in for some of 1:36:25.720 --> 1:36:27.960 the takes. It was like a fifteen year old. It 1:36:28.000 --> 1:36:30.759 gets creepy, a fifteen year old cheerleader from a local school. 1:36:31.479 --> 1:36:34.320 She was in an overcoat though, so making that watch 1:36:35.479 --> 1:36:36.639 you will. 1:36:37.520 --> 1:36:40.519 There was ninety sixty seven. Didn't Elvis marry a fifteen 1:36:40.600 --> 1:36:43.679 year old around then too? It's just there was different times, 1:36:43.760 --> 1:36:44.679 people different times. 1:36:44.760 --> 1:36:48.840 This is good behavior. But mate, thank you so much. 1:36:49.160 --> 1:36:53.479 Good with the tour it film and yeah, thanks. 1:36:53.520 --> 1:36:54.920 Thanks for having me. This is one of my favorite 1:36:54.960 --> 1:36:56.679 things to do talk movies and it was really great. 1:36:56.720 --> 1:36:57.040 Thank you. 1:36:58.760 --> 1:37:06.559 For Sweden dressed Kim Ryanston setting of our Belonge show. 1:37:09.240 --> 1:37:15.160 Good Money scary because I've got the Virgin Mary assuring 1:37:15.320 --> 1:37:16.880 me that I won't go. 1:37:17.560 --> 1:37:27.719 He a natural born world shaker, Luke Jackson, cool Hand Luke. 1:37:28.479 --> 1:37:33.000 Paul Newman went to the writer, the screenwriter, Frank Pearson. 1:37:33.160 --> 1:37:34.720 He said, I hope you're not going to write this 1:37:34.920 --> 1:37:39.080 for me, meaning I hope you're not going to write 1:37:39.120 --> 1:37:42.040 this for Paul Newman the actor. Write it for cool 1:37:42.080 --> 1:37:44.200 Hand Luke the character, and I'll find a way to 1:37:44.240 --> 1:37:47.200 play it. And he does. I think out of the 1:37:47.240 --> 1:37:51.559 performances I've seen from Paul Newman, this is my favorite. 1:37:51.840 --> 1:37:55.559 I think this is a great, great film, really great film. 1:37:55.760 --> 1:37:58.560 I'm really glad Monty enjoyed it. If you haven't seen it, 1:37:59.200 --> 1:38:03.040 check it out, and if you have seen it previously, 1:38:03.360 --> 1:38:07.240 watch it again. It stands up. It's so good. I 1:38:07.280 --> 1:38:09.080 don't want to compare it well. I will compare it 1:38:09.120 --> 1:38:10.560 to at the Shaw Shank and we had compared to 1:38:10.680 --> 1:38:12.600 shaw Shank, but I don't want to harp on about it. 1:38:12.640 --> 1:38:15.559 I don't want to say which one is better. It's 1:38:15.560 --> 1:38:17.200 just too hard. Shaw Shank is a great film. I'm 1:38:17.240 --> 1:38:18.880 not taking anything away from shaw Shank, But if you 1:38:19.040 --> 1:38:23.240 like shaw Shank, watch cool Hand Luke so much to love. 1:38:23.360 --> 1:38:25.040 Thank you for listening to you and seeing nothing yet 1:38:25.080 --> 1:38:28.120 we truly appreciate it. There are times where I'm like, 1:38:28.200 --> 1:38:30.880 I'm going to wrap this podcast up. I'll be honest, 1:38:31.560 --> 1:38:34.680 it's time consuming, but I keep on thinking bloody hell. 1:38:34.720 --> 1:38:36.599 Every time I sit down and I watch a movie, 1:38:37.000 --> 1:38:39.440 I just love it. And then I have this conversation 1:38:39.880 --> 1:38:42.719 with a mate or you know, somebody who I don't 1:38:42.840 --> 1:38:47.160 know as well as I like Monty, and it's just brilliant. 1:38:47.200 --> 1:38:49.479 There's more people I want to get on, more films 1:38:49.520 --> 1:38:51.720 I want to cover. But I would love to hear 1:38:51.800 --> 1:38:55.479 from you, either via speak pipe, go there, leave a message. 1:38:55.960 --> 1:38:59.479 We'd love to hear your voice, Requests for guests, requests 1:38:59.479 --> 1:39:01.639 from movies, anything we've said that you want to pick 1:39:01.720 --> 1:39:04.559 up on and take. We'd love to hear your voice. 1:39:05.040 --> 1:39:08.120 Or you can email at Yasney Podcast at gmail dot com. 1:39:08.560 --> 1:39:12.000 Love hearing from you next week on the show. This 1:39:12.920 --> 1:39:18.080 exciting and somewhat unexpected in a way. One of the 1:39:18.160 --> 1:39:21.240 comedians making the biggest waves at the moment is from 1:39:21.240 --> 1:39:24.200 across the Ditch, a man by the name of Rayo Leary. 1:39:25.280 --> 1:39:27.400 Australians are falling in love with ray as Am I 1:39:27.600 --> 1:39:29.680 He is a great guy. I like hanging out with him. 1:39:30.160 --> 1:39:33.120 We caught each other shows in Brisbane at the Powerhouse. 1:39:33.320 --> 1:39:36.960 Recently he popped into my show and then I said, well, 1:39:36.960 --> 1:39:38.479 if you're doing that to my show, I'm popping into 1:39:38.520 --> 1:39:41.880 your show. And we caught each other shows. Very funny man, 1:39:42.280 --> 1:39:44.400 very funny man. He went to Edinburgh, had a great 1:39:44.439 --> 1:39:47.240 time over there killing it on how you been paying attention? 1:39:47.439 --> 1:39:50.439 Thank god you're here. He is one of the men 1:39:50.560 --> 1:39:54.080 of the moment and the rayo Leary, the man in 1:39:54.160 --> 1:39:59.280 the gray suit, the dry tone, will be covering little 1:39:59.320 --> 1:40:03.879 French film the World fell in Love With many years ago. Amie, 1:40:04.920 --> 1:40:08.400 that's right. The idea that ray Leary is watching Emily 1:40:08.479 --> 1:40:10.840 for some reason makes me laugh. But I'm looking forward 1:40:10.840 --> 1:40:13.160 to it. I saw Emily when it came out, and 1:40:13.800 --> 1:40:15.400 you know, I always say I was besotted by it, 1:40:15.760 --> 1:40:18.120 but a lot of people were and I really enjoyed it. 1:40:18.280 --> 1:40:21.760 I really enjoyed it. People started doing the nome thing 1:40:22.360 --> 1:40:26.160 became a reference point. It was a moment for French 1:40:26.200 --> 1:40:31.360 cinema and yes, beautiful film. Ray Leary. Next week on 1:40:31.479 --> 1:40:34.080 you Ain't Seed Nothing yet watching Amale until then back 1:40:34.120 --> 1:40:46.840 an hour and so we leave old Pete save van Sult, 1:40:47.880 --> 1:40:50.200 and to old friends of the radio audience we've been 1:40:50.240 --> 1:40:51.920 a pleasant good name.