Speaker 1: Good a Peter, Hell, are you here? Welcome to You
Speaker 1: ain't seen nothing yet? The movie podcast where I chat
Speaker 1: to a movie lover a bet a classic beloved movie
Speaker 1: they haven't quite got around to watching until now. And
Speaker 1: today's guest comedian, broadcaster, podcaster, wine lover, great mate Merrick Watts.
Speaker 2: All below.
Speaker 1: I want to stay here with you.
Speaker 2: That little jobble. Why hate snake sucked my hail?
Speaker 1: The economy haven't any right suck?
Speaker 2: You ain't seen nothing yet.
Speaker 1: Not many people can say they gave birth to a
Speaker 1: radio network, but my guest today can. He's my great mate,
Speaker 1: Merck Watts, and he, alongside his great mate Tim Ross,
Speaker 1: American Rosso basically well, they were the first show on
Speaker 1: the Nova network in Sydney and it was an instant success.
Speaker 1: They were huge. They were coming from Triple J where
Speaker 1: they were also huge. They got Nova rolling. It wasn't
Speaker 1: just about a success. It actually just built a culture
Speaker 1: around that radio station that I still think is felt today.
Speaker 1: After American Rosso professionally went their own ways and they
Speaker 1: were doing massive shows by the way, and they were
Speaker 1: the first people to kind of put their arm around me.
Speaker 1: I actually met Merrick before I started comedy he's my
Speaker 1: oldest mate in comedy, my greatest mating comedy. But they
Speaker 1: got me on at that chible J's show where I
Speaker 1: was doing Peter Hallie p I whether it's the challenges
Speaker 1: to me. One was to write a musical about Bevan
Speaker 1: from Young Talent Time. I teamed up with Gatesy to
Speaker 1: do That ended up being the number thirty five song
Speaker 1: on chible J's Hottus one hundred. That still one of
Speaker 1: the most surreal moments of my career. But they were
Speaker 1: also doing shows. They kind of began doing shows, not
Speaker 1: right at the beginning, but when they were getting bigger
Speaker 1: at the Prince Patrick Hotel and they would get me
Speaker 1: to do support and I just loved watching them on
Speaker 1: stage so much. And they're doing the en More Theater
Speaker 1: I think at one point and they may still have
Speaker 1: it for the most amount of consecutive shows at the
Speaker 1: end More Theater. That's a theater that holds I think
Speaker 1: two and a half thousand. I assue some support shows
Speaker 1: with him there and it was just as always my
Speaker 1: favorite gigs. Since they've gone their separate professional ways, it's
Speaker 1: been amazing to see what Mehs has built with his
Speaker 1: grapes of Mirth brand. It is a wine revolution. Mes
Speaker 1: loves his wine. He's a bit of a pis s head.
Speaker 1: He's an old fashioned pis s head, but he actually
Speaker 1: knows his wine like he judges wines professionally. He knows
Speaker 1: what he's talking about. He's passionate about it, and he's
Speaker 1: built the Grapes of Mirth brand, which if you've ever
Speaker 1: been like a day on the green, it's like that.
Speaker 1: You go to a winery, you sit it on the blanket,
Speaker 1: you drink some peanut gree and you watch comedians. You
Speaker 1: watch about six comedians and now it's even grown even more.
Speaker 1: I've done about half a dozen of them. They are
Speaker 1: always a bunch of fun. The comedians love it, the
Speaker 1: crowd loves it. It's a great day. But they've got
Speaker 1: even bigger. They're doing festivals now, Grapes of Mirth festivals
Speaker 1: where they're not just comedians, but there's musicians, podcasts, all
Speaker 1: kinds of wine shinannig and so there's one I think
Speaker 1: coming up soon. We talk about that. So get to
Speaker 1: a Grape of Mirth, follow them on Instagram if you can,
Speaker 1: and also mess as a new podcast out as well.
Speaker 1: Doesn't everybody but it's a great one. It's called Picture Discuss,
Speaker 1: where you get some comedians in they basically show them
Speaker 1: a picture and they discuss it. It's a very simple concept,
Speaker 1: but it's bloody funny and it's great and Mez it's
Speaker 1: always a great host a Mez. It's one of the
Speaker 1: most passionate people I know. Like I said, he's my
Speaker 1: oldest mate, one of my greatest mates in comedy and out.
Speaker 1: He's passionate about wine. He's passionate about the coming football,
Speaker 1: he's passionate about the army, military history. I think he
Speaker 1: went he won Essays Australia or he was at least
Speaker 1: tired for first I was so proud of him. I
Speaker 1: haven't watched it since that series. I watched because you know,
Speaker 1: my mate being pushed to the limit and it was
Speaker 1: amazing to see that. I love his bloke. He knows
Speaker 1: that he's passionate, he's bloody intelligent, he thinks outside the square.
Speaker 1: He's hilarious and I'm bloody stoked to be hanging with
Speaker 1: him today.
Speaker 2: Hello. My name's Mark Watts, and my three favorite films
Speaker 2: are The Life Aquatic, Oh.
Speaker 3: Sh Swipe, Bleitches, Everybody Jack with swarpe bleitches are pulling off.
Speaker 2: Nobody else got hit. I'm the only one with the steal platoon.
Speaker 1: We're going to lose this w.
Speaker 2: Come on, do you really think so us?
Speaker 4: We've been kicking other people's asses for so long.
Speaker 1: I figure it's time when gun ours.
Speaker 2: Kicked and Grimsby. See those blokes out there, those are
Speaker 2: Manchester United supports US. How law may you delay them?
Speaker 2: I promise I'll burn your school down for you. But
Speaker 2: before this week I had never seen before sunrise.
Speaker 1: So listen, here's the deal. This is what we should do.
Speaker 5: You should get off the train with me here in
Speaker 5: Vienna and come check out the town.
Speaker 6: What come on, I'll be fine, that's what we do.
Speaker 2: I don't know.
Speaker 5: All I know is I have to catch an Austrian
Speaker 5: Airlines flight tomorrow morning at nine thirty and I don't
Speaker 5: really have enough money for a hotel, so it's just
Speaker 5: going to walk around. And it'd be a lot more
Speaker 5: fun if you came with me. And if I turn
Speaker 5: out to be some kind of psycho, you know, you
Speaker 5: just get on the next train, all right, all right,
Speaker 5: think of it like this. Jump ahead ten twenty years, okay,
Speaker 5: and you're married only your marriage doesn't have that same
Speaker 5: energy that I.
Speaker 2: Used to have. You know, you start to blame your husband.
Speaker 5: You start to think about all those guys you've met
Speaker 5: in your life and what might have.
Speaker 6: Happened if you picked up with one of them.
Speaker 2: Well, I'm one of those guys.
Speaker 1: That's me, you know.
Speaker 5: So think of this as time travel from then to
Speaker 5: now to find out what you're missing out and see
Speaker 5: what this really could be is a gigantic fever to
Speaker 5: both you and your future husband. To find out that
Speaker 5: you're not missing out on anything. I'm just a big
Speaker 5: as loser as he is, totally unmotivated, totally boring, and
Speaker 5: you made the right choice and you're really happy.
Speaker 7: Let me get me back.
Speaker 1: Yes. Julie Delby Selaine has sat in the wrong seat
Speaker 1: on a train making its way through Europe to Paris.
Speaker 1: A German married cabal are arguing about something, probably sausages
Speaker 1: or Hitler, or maybe both, so she decides to move
Speaker 1: to the seat across from Ethan Hawke's Jesse, really not
Speaker 1: sure why she had not made this move earlier. It
Speaker 1: doesn't take long for these two young travelers that get
Speaker 1: talking and jump into their relevant histories. When the train
Speaker 1: pulls up in Vienna. It's time for Jesse to depart,
Speaker 1: but this connection they have conjured up is simply too
Speaker 1: powerful to walk away from. Or did this embarka train?
Speaker 1: Jesse returns with the proposal get off the train with
Speaker 1: me and walk the streets of Vienna during the night.
Speaker 1: Thankfully for the movie's sake, Selene says yes, and so
Speaker 1: we begin a stroll through one of the great cities
Speaker 1: of Europe with two star crossed lovers. Directed by the
Speaker 1: great Richard link Later, who wrote the screenplay with friend
Speaker 1: Kim Krizan, with significant input by Ethan Hook and Julie Delpy.
Speaker 1: It's the first of the Before trilogies, Before Sunset and
Speaker 1: Before Midnight, being the next two Merrick Watts. Would you
Speaker 1: have gotten off the train with Ethan Hawk?
Speaker 2: Oh? Absolutely, He's a hunk.
Speaker 1: He is like he I mean, he's done so much
Speaker 1: good work over the years, but this is like, yeah,
Speaker 1: this is early. The first time I saw Ethan Hawk
Speaker 1: was in Dead Poet Society and he was quite a
Speaker 1: I think I've spoken about this before when we did
Speaker 1: it with the Alexi Tolly A great movie, Love that movie.
Speaker 1: But when I saw that and I saw Ethan Hawk
Speaker 1: for the first time. I wasn't sure if he could act,
Speaker 1: because he was very quiet in that film, and I
Speaker 1: wasn't sure if that was just him and I reckon
Speaker 1: before Sunrise. Despite the fact that I've only seen it
Speaker 1: for the first time too this week, I think this
Speaker 1: is the beginning of us seeing Ethan Hook as a
Speaker 1: broader artist than actually what we had seen him before.
Speaker 2: It shows a bit of range. Yeah, yeah, so maybe
Speaker 2: he hadn't shown range before. That's what really kind of
Speaker 2: struck me at the start, was, you know, having not
Speaker 2: seen the movie before and seeing Ethan Hawk when he
Speaker 2: was really young. I was like, I was really impressed
Speaker 2: by his range in the film, like he was able
Speaker 2: to kind of you know, carry different levels of acting,
Speaker 2: to show different emotions in different you know pace, And
Speaker 2: it was I think he did a really good job.
Speaker 1: He's really good. Why now you I'm surprised I hadn't
Speaker 1: seen this film. So this comes out in ninety five,
Speaker 1: I'm twenty. I've recently gotten back from Europe from a
Speaker 1: holiday which was was more of a mission.
Speaker 2: To it's a kenticky to a pete.
Speaker 1: Stop talking it up.
Speaker 2: Oh my god, why do you keep saying, so sabbatical
Speaker 2: each Kentucky to it.
Speaker 1: Is a mission, and I don't care if they say
Speaker 1: under twenty eight I don't care. I've got my fake
Speaker 1: ID and it holds up in most countries. Yeah. So
Speaker 1: i'd gone over when I was eighteen. I think I've
Speaker 1: mentioned this on the podcast before. I had a girlfriend
Speaker 1: who was finished, who'd become already become an ex girlfriend
Speaker 1: before i'd left. As she was, I still come over.
Speaker 1: So I went on this massive kind of adventure. So
Speaker 1: I come back when I'm nineteen. This comes out like
Speaker 1: a year later. It should be my wheelhouse. I'm not
Speaker 1: sure why I hadn't seen it. You just missed it,
Speaker 1: and you're on so similar age, so why hadn't you
Speaker 1: seen it?
Speaker 2: I really don't know why. I think again, like you, Pete,
Speaker 2: I think it just kind of it got swept by.
Speaker 2: Maybe Terminator was released to some stage near there. I
Speaker 2: don't know, but it was like, yeah, it's a film.
Speaker 2: I feel like I should have seen before and enjoyed
Speaker 2: it before. But it was, like you, Pete, in that
Speaker 2: time when this film was being made, in the kind
Speaker 2: of mid nineties, not long after that, like I went
Speaker 2: on my first kind of sojourn where I went overseas
Speaker 2: and went backpacking on my own and had like similar
Speaker 2: kind of experiences, you know, traveling on trains and meeting
Speaker 2: foreigners and kind of exploring myself as much. And that's
Speaker 2: the things like you're kind of exploring countries, but you're
Speaker 2: also exploring people and attitudes and culture. There's so much
Speaker 2: exploration going on. But I can't believe I didn't see
Speaker 2: it at that time, because I would have gone, oh,
Speaker 2: that's just like a trip that I've just done or
Speaker 2: I'm about to do, or give me some inspiration. So
Speaker 2: I don't know how it passed me by. Like I said,
Speaker 2: it must have been a terminated film. Maybe some guy
Speaker 2: came out of the linoleum floor and I was like, okay,
Speaker 2: this is me for two years.
Speaker 1: I think my early impression of it was it just
Speaker 1: it was like a little romantic comedy, and I'm not
Speaker 1: you know, I made a romanic comedy. I'm certainly for
Speaker 1: a romantic comedy, but I just didn't it didn't seem
Speaker 1: to jump out at me as a film that I
Speaker 1: really needed to see. I want to look at the
Speaker 1: films I'm nine in ninety five and see what actually
Speaker 1: was coming out, because you're right, sometimes it is just
Speaker 1: a films you know, that are coming out that year.
Speaker 2: It could have been released at the same time as
Speaker 2: a massive blockbust like a die Hard or something like that,
Speaker 2: which just soaks up all the oxygen.
Speaker 1: Yeah. Absolutely so some of the films that came out
Speaker 1: in ninety five. I mean you may have gone and
Speaker 1: see Billy Madison, Oh yeah, instead of seeing Before Sunrise. Actually,
Speaker 1: I know what you've seen. You've seen show Girls.
Speaker 2: That's what it was two years over and over again,
Speaker 2: ninety five to ninety seven.
Speaker 1: Clueless, Brave Heart, Oh Brave Heart. You would have seen that.
Speaker 1: I saw that in the cinema seven.
Speaker 8: Yes.
Speaker 2: See. They're two huge movies.
Speaker 1: Batman Forever, Yes, and even as far as the Comedi's
Speaker 1: ace Ventura comes out another romantic comedy while you were
Speaker 1: sleeping with Sandra Bullock water World. May as we skip that.
Speaker 1: Apollo thirteen, The Usual Suspects.
Speaker 2: Oh wow.
Speaker 1: See yeah, that's one of my favorites.
Speaker 2: That's amazing.
Speaker 1: It's hard to talk about these days because some of
Speaker 1: the problematic cast and crew toy story comes out. Die
Speaker 1: Hard with a Vengeance, Yeah, see, there we go, dead
Speaker 1: Man Walking I saw that in the cinema casino, so
Speaker 1: and it wasn't a massive hit. I think it only
Speaker 1: made it made like a pretty poultry, like five million
Speaker 1: dollars I think I read at the box office. It
Speaker 1: became a bit of a hit later, And it was
Speaker 1: really just the commitment of the the actors involved in
Speaker 1: the director who decided that maybe we want to commit
Speaker 1: to doing this idea of you know, a sequel nine
Speaker 1: years down the track. But we'll get to all of that.
Speaker 1: But I'm glad we're doing this because we both love traveling,
Speaker 1: and I think there'll be some good reminiscing going on
Speaker 1: as well as talking about Before Sunrise from nineteen ninety five.
Speaker 1: Let's talk about your three favorite films. So the first
Speaker 1: one was The Life Aquatic. This is an excellent choice.
Speaker 1: I haven't watched it for a while, but I said
Speaker 1: for a long time it was my favorite Where's Anderson film? Yep,
Speaker 1: my son Oscar. During lockdown we sat down and watched
Speaker 1: all the Wes Anderson films. Who went I saw Asteroid
Speaker 1: City together. We're looking forward in fact as we speak,
Speaker 1: and by the time this goes out, there will be
Speaker 1: a new Were's Anderson film. On Netflix. Yeah, which like
Speaker 1: I had this weird thing where you know, sometimes when
Speaker 1: it rains at pause, I had Andison is one of
Speaker 1: my favorite filmmakers, had the news that this film I
Speaker 1: never heard of was coming out like in a week
Speaker 1: on Netflix. And also my favorite band of National were
Speaker 1: dropping a new album. Like it was just like, what
Speaker 1: I've done something right?
Speaker 2: If Colin Wood would win a premiership.
Speaker 1: Factor of glory are two much because you know, by
Speaker 1: the time this goes away, we may actually know if
Speaker 1: that happened or not. So I'll try to play a
Speaker 1: straight line on that way, but it is. It is
Speaker 1: a great film. The Life Aquatic with Steve's the Zoo,
Speaker 1: Bill Murray and or The Regular with Kate Blanchet's in
Speaker 1: there as.
Speaker 2: Well, Angelica Houston. It's like an all star cast. Willem
Speaker 2: Dafoe and he plays Klass, which is like one of
Speaker 2: the best cameo performances. He's awesome in cameo performances, but
Speaker 2: he is so good in that character. It's there's an
Speaker 2: amazing scene in that film where there's a bit of
Speaker 2: slap between him and Wilson out on a dock, and
Speaker 2: it's such a magically performed piece of acting. I was like,
Speaker 2: my god, it's brilliant. But the film itself, like, I
Speaker 2: watch it with my kids. My kids love Wes Anderson films.
Speaker 2: I'm not one of those people that is so sick
Speaker 2: of fantic about Where's Anderson films that I think they're
Speaker 2: all great. I think some of them are pretty ordinary.
Speaker 2: But I think that film is one of the best
Speaker 2: things I've ever seen in my life. I could watch
Speaker 2: it over and over and over again, and I do
Speaker 2: because I think it's just it's the music is amazing,
Speaker 2: so well done.
Speaker 1: So it's David Bowie, a lot of Bowie tracks Portuguese.
Speaker 2: Yeah, so the music is wonderful, It's perfectly matched. It's
Speaker 2: got a wonderful combination of you know, live action and
Speaker 2: set pieces as well as you know, some really nice
Speaker 2: studio elements of inside the ship where you cut through
Speaker 2: and stuff like that classic Wes Anderson kind of stuff.
Speaker 2: But I just really really love that film.
Speaker 1: Yeah, that is a great pick, and I reminded that
Speaker 1: I need to watch it again. Let's talk about soon.
Speaker 2: So good.
Speaker 1: I'm not surprised there is a war movie. We're talking
Speaker 1: Mister Sas Australia himself was this the seed that was
Speaker 1: sown for your eventual appearance on Essays Australia.
Speaker 2: Yeah. Look, I always had an obsession with the army
Speaker 2: and warfare as a kid. But I think with Platurn,
Speaker 2: all the movies i'd seen about war up until that
Speaker 2: point were glorification of war, and this was actually, you know,
Speaker 2: the human side of war. And again, Willem Defoe like
Speaker 2: he was, he absolutely owned that film. It's based around
Speaker 2: you know, Charlie Sheen is the protagonist. He is the
Speaker 2: main character in the film and you follow his story,
Speaker 2: but it's actually the humanity of Willem Dafoe that highlights
Speaker 2: the inhumanity of war, and was the first one that
Speaker 2: was like, it was very graphic, so like you know,
Speaker 2: it was graphic warfare in a way that it was
Speaker 2: even more graphic than say something like Francis faul Coppola's
Speaker 2: Apocalypse Now. So it was graphic and brutal, but it
Speaker 2: had a different kind of resonance. As I said, it
Speaker 2: was the first war film i'd seen that made made
Speaker 2: me actually think war is not all good. That's when
Speaker 2: I discovered war is bad, all bad. Merrick all bad,
Speaker 2: all bad, and Willem Dafoe and that there's one scene
Speaker 2: where he is running away from gunfire and he's been
Speaker 2: shot repeatedly, and the inhumanity of I think was Barnes. He's,
Speaker 2: you know, direct opposite of the chopper flying away in
Speaker 2: him running through a field and just dying in a field.
Speaker 2: And I was just like, I remember, just like as
Speaker 2: a kid being moved to tears. I just really resonated
Speaker 2: with him. That's a beautiful film.
Speaker 1: Is that the post image.
Speaker 2: Dropping on his knees and he's been shot to pieces
Speaker 2: and the helicopter is moving away.
Speaker 1: It also comes out of the time when there were
Speaker 1: a lot of war films coming out. There were the
Speaker 1: first met jacket film, Middle Jacket, Casualist of War with
Speaker 1: Sean Penn and Michael J. Fox, you know, and that
Speaker 1: was a real departure for Michael J. Fox. A thin
Speaker 1: red line I think came a few years later. Yeah,
Speaker 1: excellent pick Grins. Here we go fun with somebody you
Speaker 1: love somebody we had I'm not sure if I've played it,
Speaker 1: but we had a speak pipe or at least an
Speaker 1: email and my apologies to the lady who wrote it,
Speaker 1: requesting that we cover Grimsby as a classic or blooved film.
Speaker 2: I think it's amazing. I think it's amazing, and I
Speaker 2: love saying it because comedians and you know, noncomedians, people
Speaker 2: just generally when I tell them that Grimsby is one
Speaker 2: of my favorite comedies ever made, They're just like, what
Speaker 2: is wrong with you? I thought that you had taste,
Speaker 2: And I go, it's brilliant. It is absolutely brilliant. I
Speaker 2: love I love comedies. You know, when I was a kid,
Speaker 2: I loved two things, war and comedy, and I've managed
Speaker 2: to do a bit of both over my life, but
Speaker 2: there are the two things. When I was a teenager,
Speaker 2: a pre teenage boy, the only things I was really
Speaker 2: interested was American comedies like Caddyshack and meat Balls and
Speaker 2: Stripes and things like that. I was absolutely obsessed. And
Speaker 2: again Bill Murray as well, which is why I love
Speaker 2: The Life Aquatic. So I loved American comedy films and
Speaker 2: I loved Warfare. But I think the reason why I
Speaker 2: picked Grimsby is because it's the I really respect Sesshia
Speaker 2: Khin Baron, I really do. I think he is an
Speaker 2: absolute genius, and what I love about this film is
Speaker 2: the length that he's prepared to go to to force
Speaker 2: the joke to keep going, like everybody knows, oh that's
Speaker 2: a bit edgy, and he just goes, Oh you think
Speaker 2: that's the edge, let me open up a few more doors.
Speaker 2: The ledges out over here, and I'm going over it.
Speaker 2: And that's what it does with Grimsby. It is not
Speaker 2: the most clever film. It's not a clever comedy, but
Speaker 2: it is so difficult for me to not just laugh
Speaker 2: my ass off. And there's scenes in that film that
Speaker 2: you just go, it's gone too far, and then you
Speaker 2: go and then he goes another level. And that's what
Speaker 2: I love, is that commitment from him to just say,
Speaker 2: we already know that this is past the level. We
Speaker 2: are now inside an elephant, right.
Speaker 1: Yes, And he goes and that's a scene that I remember,
Speaker 1: like I saw it to interview him. I interviewed him
Speaker 1: for this film on the project, and I remember, I remember,
Speaker 1: this thing is a really funny film. But it's not
Speaker 1: one that I've revisited. Maybe I should again.
Speaker 2: It's actually a lot more layer than it first appears.
Speaker 2: But what's brilliant is that you know that there's a
Speaker 2: line that he could say, oh, okay, we've ticked that box.
Speaker 2: Now that's done. We've got that joke. It's done, and
Speaker 2: he goes, n let's go one more level and you
Speaker 2: go okay, and so that you go there with the
Speaker 2: joke and he goes and one more and you go wow.
Speaker 1: I remember Seth McFarland, our Family Guy, saying, and really
Speaker 1: I think about it a lot, saying, how often in
Speaker 1: the traditional writers rooms and in comedic writers rooms, you're
Speaker 1: a bunch of writers, often comedians, and they joke, and
Speaker 1: they take the joke further and further and further until
Speaker 1: until you're in an elephant, you know, and then somebody
Speaker 1: will say, Okay, well we can't do that, so they
Speaker 1: go back three options before where it's saved totally. And
Speaker 1: that's what Family Guy don't do, is what Sasha Baron
Speaker 1: Cohen don't do. They go, what is the fucking where's
Speaker 1: the edge, And let's go go fucking three or four
Speaker 1: notches above that or past that. And that's and you
Speaker 1: build your own culture, Like if I was to do
Speaker 1: some of sars, Sasha Baron Cohen does my audience, and
Speaker 1: you've always grow your audience, you're always pivot and all that.
Speaker 1: I except that I'm kind of using myself as a
Speaker 1: hypothetical example in the way, but they won't, they won't
Speaker 1: enjoy that. There are routines. I'm not sure if you've
Speaker 1: done this as well. There's routines that I've written that
Speaker 1: have almost given away to others because I've.
Speaker 2: Gone better suited for someone else.
Speaker 1: It's not for me. It's not for me to say this,
Speaker 1: So it's not for me or my audience doesn't want
Speaker 1: to hear this from me.
Speaker 2: It's correct, and.
Speaker 1: They are transfer You're going to go no, I'm going
Speaker 1: to push my audience and they I think they should
Speaker 1: hear this from me because of a different perspective and
Speaker 1: whatever I always tew comics to a kind of newer.
Speaker 1: You get to build your own culture, and the weirder
Speaker 1: your culture, darker or whatever you want to call it,
Speaker 1: the edge of your culture wants to be. It might
Speaker 1: take you longer, you know, to find your audience and
Speaker 1: to build an audience, but you'll own you'll you'll just
Speaker 1: own your space.
Speaker 2: Yeah, and look, you know what it is for me, Pete.
Speaker 2: And this is true of what you've just said. But
Speaker 2: it's bravery, right, It comes down to bravery and commitment.
Speaker 2: Like I said, commitment but it's actually a bravery that
Speaker 2: I truly admire because if it's one thing what's Sasha
Speaker 2: k Sasha Baron Cohen does brilliantly is when he is
Speaker 2: alig or if he's bor out or whatever like that,
Speaker 2: he's flying off, you know, the cuff, as it were,
Speaker 2: and that's really brave. We know going into that that
Speaker 2: that's brave. But also too it's it's unpredictably brave. So
Speaker 2: we admire the bravery of it because we don't know
Speaker 2: what the outcome could be or would be, and he
Speaker 2: pushes it and we seem to go he could literally get shot,
Speaker 2: punched or murdered right now. So it's a bravery that's
Speaker 2: really substantive. We understand and see that. But the bravery,
Speaker 2: like you said, to not step back from the joke
Speaker 2: to right to level five, to deaf Con five, and
Speaker 2: then not pull it back to palatable deaf Con three,
Speaker 2: that's what I admire. It's the bravery of the commitment
Speaker 2: that I really respect.
Speaker 1: Yeah, no, I love it. And I think he's preparing
Speaker 1: I've heard for a while that he's been preparing a
Speaker 1: live tour. In fact, he did a lot of the
Speaker 1: work in Australia between lockdowns. Some of our friends I think,
Speaker 1: you know, kind of helped work on it with him
Speaker 1: and gave him feedback. And I think he's bringing all
Speaker 1: the characters on a live to it. So we'll keep
Speaker 1: you posted on that. I'm sure you probably hear about
Speaker 1: it outside of this podcast. I'm sure, says a Brown
Speaker 1: Currany isn't just relying on me to get the word
Speaker 1: out for him.
Speaker 2: These publicists right now is taking notes going.
Speaker 1: No one came. Maybe we didn't put all our eggs
Speaker 1: in the right basket before we get on to talk
Speaker 1: about today's movie, not in ninety fives before sunrise. I
Speaker 1: want to encourage everyone to jump on our speak pipe,
Speaker 1: follow our page and it's basically like leaving an answer
Speaker 1: machine message, but we're going to hear your voice on
Speaker 1: our speaker. We heard from Beck last week. She had
Speaker 1: requested this movie. In fact, before sunrise. I think we've
Speaker 1: delivered on that. And this is Tim. Tim has contacted
Speaker 1: me and the show. Let's see from Tim.
Speaker 9: Could Pete love the podcast so many great episodes? I
Speaker 9: wanted to suggest a couple of potential future guests. Brian Nankervis.
Speaker 9: I thought it could be cool Rosso Andrew Gays and
Speaker 9: Sarah Kendall would be another one. And my other suggestion.
Speaker 9: I listened to Ben Lee doing The Club and I
Speaker 9: really enjoyed it, but obviously Ben didn't particularly like the film.
Speaker 9: I'd love you to revisit the Club with a with
Speaker 9: a guest who's a Collingwood supporter. So I was thinking maybe,
Speaker 9: like if you could redo it with Merrick White, So
Speaker 9: I think Brad Oaks might be a Collingwood supporter or
Speaker 9: Santo Cillaro, someone like that. But yeah, love the podcast
Speaker 9: and keep them coming. Thanks Mane.
Speaker 1: Good work, Tim, Cool work Tim. And I'm glad because
Speaker 1: I think Mes was like, Okay, he's mentioned Rosso. He doesn't,
Speaker 1: he hasn't requested me. You're savings.
Speaker 2: I'm right here, Tim here, and good on you. Well
Speaker 2: done for being a colin With supporter and also to
Speaker 2: managing to be articulate, so not something we're known for.
Speaker 1: Yeah, that's a great one. It's a great idea. I'm
Speaker 1: not sure we've never gone back and recovered an episode.
Speaker 1: It feels like a fun live event we should do.
Speaker 2: I'd love to do it. I think that's great. I
Speaker 2: haven't seen the Club in years too, Like a long time.
Speaker 1: You can imagine there's some stuff in there.
Speaker 2: It'd be disastrous.
Speaker 1: I mean, I think you can make an AFL film
Speaker 1: five years ago in a wooden age, well over year period, you.
Speaker 2: Make a film about the AFL in January and right
Speaker 2: now it's canceled. You know, it's just it's a bit
Speaker 2: of a moving but he spit it's up. Look, Yeah
Speaker 2: that's it. That's a good suggestion though.
Speaker 1: Yeah, thanks him for that. And yeah, any podcast a
Speaker 1: Gmail if you want to send us an email, but
Speaker 1: what up to hear your voice? So get onto our
Speaker 1: speak pipe. Just follow the page as well. Okay, tell
Speaker 1: me something that really pisses your offe really jameson.
Speaker 8: Crazy been told by strange men. Strange men in the street,
Speaker 8: you know, like to smile, like to make them feel better,
Speaker 8: but they're boring life.
Speaker 2: What else?
Speaker 4: I hate?
Speaker 8: I hate that three hundred kilometers from here, there's a
Speaker 8: war going on. You know, people are dying and nobody
Speaker 8: knows what to do about it, or they don't give
Speaker 8: a shit.
Speaker 1: I don't know.
Speaker 8: I hate that. The media is you know, they're trying
Speaker 8: to control our minds.
Speaker 1: The media.
Speaker 4: Yeah, the media, you.
Speaker 7: Know, it's very subtle. But it's a new form of fascism.
Speaker 4: Really, I hate.
Speaker 8: I hate when I'm in a foreign country, especially in America.
Speaker 7: They other words, each time I wear.
Speaker 8: Black, or like lose my temper or say anything about anything,
Speaker 8: you know, they always.
Speaker 10: Go, oh, it's so French, it's so cute.
Speaker 2: I hate that.
Speaker 4: I can stand it.
Speaker 2: Really, is it all?
Speaker 4: Well, there's a lot of things with it.
Speaker 10: So it's my turn.
Speaker 4: Okay, you're gonna answer ideas, answer what's the problem for you?
Speaker 1: You bro okay. Eric Watts ninety ninety five Before Sunrise,
Speaker 1: directed by Richard Link later The Great Richard Link. Later
Speaker 1: he also The Days of Confused Boyhood, School of Rock,
Speaker 1: Ascandadarkly Waking Life Bernie, one of the most interesting filmmakers
Speaker 1: of our time. Did you enjoy Before Sunrise?
Speaker 2: Yeah? I did. I thought it was I think because
Speaker 2: I really liked the nostalgic tones and the hark back
Speaker 2: to the nineties, and it was a really good reminder
Speaker 2: from somebody, you know, who was in my formative years
Speaker 2: in the nineties, Like the characters were, so I really
Speaker 2: liked the fact that I was going, oh, yeah, I'm
Speaker 2: kind of relating to their journey in life as well, like,
Speaker 2: you know, the not knowing where your future is at
Speaker 2: and kind of playing a little bit loose and being
Speaker 2: comfortable with it. Just kind of like it seemed like
Speaker 2: the characters both kind of knew that life would work
Speaker 2: out okay, but they didn't actually know how it was
Speaker 2: going to work out. I liked that, and I felt
Speaker 2: drawn to it for that reason. I liked the story. Also.
Speaker 2: I am actually strangely quite romantic. I am at heart
Speaker 2: a slight romantic, So I like the idea that you know,
Speaker 2: they had this this kind of romantic moment with each
Speaker 2: other that was so short and so intense, but yet
Speaker 2: not passionate. It was very it was very interesting. It
Speaker 2: was romantic more than passionate. Sometimes you know, a lot
Speaker 2: of romantic films go really hard on the passion of
Speaker 2: it and certainly the physical expression, but that was That's
Speaker 2: not what it was about. It was about real connection,
Speaker 2: and it was it was really nice. I've never had
Speaker 2: that connection with a person, but I mean, it was
Speaker 2: great to see it on screen.
Speaker 1: And I so it was my first time watching it,
Speaker 1: and I really enjoyed it. I really enjoyed it. I
Speaker 1: did wonder what whether this film meant to me if
Speaker 1: I watched it in nineteen ninety five when it came out,
Speaker 1: like I think it would be like right up there,
Speaker 1: like it would have meant a lot to me, I think, Yeah,
Speaker 1: just being in that headspace and you know, and the
Speaker 1: way we are sometimes aspirational of going, oh, how good
Speaker 1: would it be to fall in love with a French
Speaker 1: woman on the train and traveling through the romanticsm you know,
Speaker 1: it's a very romantic premise, you know, the idea of
Speaker 1: you know, living with an open mind and an open
Speaker 1: heart and going where the day and the night takes
Speaker 1: you and traveling and being alone, and that that feeling
Speaker 1: it did take me back of Yea, I traveled alone.
Speaker 1: I went over to Finland for a short while and
Speaker 1: then basically was on my own Finland, the home of romance,
Speaker 1: happiest people in the world, with the biggest suicide, right
Speaker 1: weird juxtaposition from the Finns, and then spend a lot
Speaker 1: of time. God has some people around me, but like
Speaker 1: he chucked around island by myself and went to Scotland
Speaker 1: and worked there for a little while by myself, you know,
Speaker 1: went the October first by myself, met some people, drink
Speaker 1: by yourself. I went to the Octoba first by myself.
Speaker 1: I blew that theory out of the water. But there
Speaker 1: is something about that. It took me back to meeting people,
Speaker 1: and I met all kinds people, some people who meant
Speaker 1: a lot to me because I was going through you know,
Speaker 1: a bit of a bit of heartbreak, you know, and strangers,
Speaker 1: you know, exchange students from New Zealand and people from
Speaker 1: all around the world who kind of became the kind
Speaker 1: of important people to me in this moment in my life,
Speaker 1: and I really have not had anything to do with
Speaker 1: any of them since. And these two characters that have
Speaker 1: this make and they don't really know they make this plagere.
Speaker 1: We'll get to the end later and then what happens
Speaker 1: later on. You know, at the time, you think, oh,
Speaker 1: I'll know these people forever, and these this is back
Speaker 1: also in a time which I really like about the film.
Speaker 1: No mobiles, you know, no, they don't even have a
Speaker 1: camera on them to take a photo when he says
Speaker 1: I want to take a phone and he does it
Speaker 1: with his mind, you know, like that's such a good
Speaker 1: because I went in ninety four and I literally came
Speaker 1: back with a little notebook which I've still got with
Speaker 1: a handful of email addresses you know, written in there,
Speaker 1: but mainly phone numbers and postal addresses.
Speaker 2: So I love that. It's funny, you know, because I
Speaker 2: thought about that at the time. If they had mobile phones,
Speaker 2: that whole thing would not have worked. Wouldn't have happened.
Speaker 1: They would never they want to looked up by the train.
Speaker 1: They would have had the noise canceling headphones on, so
Speaker 1: that the Germans you know, having an argument wouldn't have
Speaker 1: bothered her.
Speaker 2: You know, it's amazing, like and it was actually really
Speaker 2: refreshing not seeing the tech in it as well. Yeah,
Speaker 2: because it is such a story of you know, one
Speaker 2: to one human conversation and that's what it's all about.
Speaker 2: So it's kind of like, you know, diametrically opposed to
Speaker 2: the way we are now as a society, which is
Speaker 2: massively interconnected constantly you know, linked to technology and to
Speaker 2: people instantly, and yet this is like this amazing experience
Speaker 2: where it's just one on one and there is no interruptions,
Speaker 2: and that's the way the whole movie carries. So it'd
Speaker 2: be very difficult to see how you could redo that film, now, Yeah,
Speaker 2: how could you do that now it would be really difficult,
Speaker 2: you know, one of the things that you don't like, Jesse,
Speaker 2: I don't like not having my mobile phone, and I
Speaker 2: don't like talking to you. That's what it. So it's
Speaker 2: and it's really nice. It was a refreshing kind of
Speaker 2: you know, like I said.
Speaker 1: Wally flicks through hot Instagram models on and then.
Speaker 2: He matches whether you know what he does. He's on
Speaker 2: the train and he sees the German guy and goes, oh,
Speaker 2: I don't think you're meant to be their class and
Speaker 2: twitch over. And then him meets Selene and he's like, oh,
Speaker 2: this week's better. That's maybe how you would reinvent the film.
Speaker 1: So if we're saying that that film doesn't work, you know,
Speaker 1: even ten years later, certainly maybe not twenty years later
Speaker 1: because basically, well I'm not saying that it doesn't want
Speaker 1: but you need to incorporate that technology because everyone's traveling
Speaker 1: now with their you know, with phones and their air
Speaker 1: pods or their boss no it's canceling headphones. I wonder
Speaker 1: how much of that is affecting real travel like our people,
Speaker 1: you know, I know, I spect about this in the
Speaker 1: stand up, like we've forgotten how to be bored, Yes,
Speaker 1: and we through boredom comes ideas and creativity. Like my
Speaker 1: kids never say to me now they know what they
Speaker 1: go to. They go to their phones and they've never bought.
Speaker 2: Yeap, which means that there I've been generationally. I mean,
Speaker 2: there's a whole other discussion, but I agree with it entirely.
Speaker 2: Because they're a board, they're not forced to use their imagination.
Speaker 2: Because they're not using their imagination, they're not as creative.
Speaker 2: Like when I go for a drive, sometimes I drive
Speaker 2: a lot, you know, in rural areas. I love it.
Speaker 2: And oftentimes I won't listen to a podcast, I won't
Speaker 2: listen to music, I won't do anything. I will just
Speaker 2: watch the road and just let my mind travel, because
Speaker 2: we used to do that when I was a kid.
Speaker 2: I used to look out the window and I'd be
Speaker 2: bored out of my mind driving from Melbourne to Broken Hill.
Speaker 2: But I used to have like really crazy imagination going
Speaker 2: on because I was bored. And it's this funny thing
Speaker 2: about train. So the movies, you know, they meet on
Speaker 2: a train, and the first thing I saw on that
Speaker 2: and the kind of opening scenes on the train was
Speaker 2: like how much I love rail travel? For that, and
Speaker 2: I do it whenever I can, whenever I can, particularly overseas,
Speaker 2: I travel by rail and I try not to listen
Speaker 2: to headphones. I listened to immersion is is, that's actually
Speaker 2: the experience there, So why bring in another experience? Like
Speaker 2: whatever you're listening to is actually like I think some
Speaker 2: music maybe, but like I think immersing himself in the
Speaker 2: environment and looking at the window, it's one of the
Speaker 2: great experiences you can have.
Speaker 1: I agree, and I'm guilty.
Speaker 2: Germans are arguing that's all kitching.
Speaker 1: Apparently they are arguing because it was a choice not
Speaker 1: to have subtitles on. But they're arguing about that. Think
Speaker 1: the lady brings up a thing about that, or the
Speaker 1: guy brings up a thing about there there's four hundred
Speaker 1: thousand alcoholics or forty thousand alcoholics in Germany or something,
Speaker 1: and then she says, oh, you're one of them, and
Speaker 1: he says, I'm not surprised, I'm married to you.
Speaker 2: Yeah, that's a classic. That's a classic fallback. I look
Speaker 2: at me, I have to only drink because of you. Yeah, sure, Klaus, right,
Speaker 2: whatever yourself, whatever you life.
Speaker 1: I think she was right to move away from Klaus.
Speaker 2: I think it was upset because I think I understand
Speaker 2: a little bit of German. And there was a line
Speaker 2: there is said that he was angry with her because
Speaker 2: she forgot to pack his leather shorts and mask, and
Speaker 2: how was he expected to go to the clubs in Berlin.
Speaker 1: I know he's gonna look silly in theology, That's what
Speaker 1: it was. And there's nothing worse than looking silly at analogy.
Speaker 1: It just it just does not put you in the mood.
Speaker 1: So they get off the train, and I mean, the
Speaker 1: connection between these two is off the charts. I think
Speaker 1: like it is. That's why I think there's three films.
Speaker 1: I mean, you get this casting wrong and it doesn't work.
Speaker 1: I think Ethan Hawk and Julie Delpy do. They completely work,
Speaker 1: and I love there's a little shift, like on the train.
Speaker 1: I had a little concern at the start, So she
Speaker 1: moves seats. Her moving seats maybe the earliest inciting incident
Speaker 1: of any movie I've seen. You could argue that Ethan
Speaker 1: Hall coming on and saying get off the train with
Speaker 1: me is the inciting incident, but I would suggest the
Speaker 1: potential the exciting incident is the incident and the action
Speaker 1: that kind of begins the domino effect of the plot,
Speaker 1: I guess, and the narrative her moving seats because of
Speaker 1: the Germans is the inciting incident.
Speaker 2: But people have had to move because of the Germans.
Speaker 1: I mean, we shouldn't be laughing historical, it's quite true,
Speaker 1: the layers of this film and what he's saying, which
Speaker 1: later is saying about the world. So they're very confident,
Speaker 1: you know, and they're having this kind of like they're
Speaker 1: very quick to getting to this kind of the big issues,
Speaker 1: and they're they're reading books, which you know, again there's
Speaker 1: another thing you don't really see on trains anymore. You
Speaker 1: do occasionally, and they so having pretty big discussions pretty early.
Speaker 1: They seem pretty Particlarly Ethan Hogg. He seems pretty confident.
Speaker 1: I'm like, ah, is he going to be that kind
Speaker 1: of smamy American. Then they get off the train. They
Speaker 1: have this little moment on the bridge where it's it's
Speaker 1: awkward all of a sudden, because it's shifted. They've gone
Speaker 1: from like, you know, this is just us on the
Speaker 1: train and who knows how long we'll be talking for
Speaker 1: and they are connecting, but it's like there's a certain
Speaker 1: bravado that's going on. And now they've shifted off the
Speaker 1: train and they realized they've made the commitment to spend
Speaker 1: you know, eighteen hours whatever it might be together and
Speaker 1: oh shit, we need to.
Speaker 2: We need to do something here because the jeopardy. That
Speaker 2: what happened is the jeopardy. It's a commitment of time
Speaker 2: and resources. And you know, the fact that they've decided
Speaker 2: to do that. I know exactly what you're saying. That
Speaker 2: jeopardy kind of kicks in and then you just go, oh, okay,
Speaker 2: and there is that movement. That's what I'm saying about.
Speaker 2: You know, at the start about Ethan talk where I
Speaker 2: was like he had a bit of range, Like you
Speaker 2: could see that kind of shift in him as like,
Speaker 2: you know, the cocky bravado, you know, American, you know,
Speaker 2: kind of teen guy is now going, I actually have
Speaker 2: to be interesting and we've got to find interesting things
Speaker 2: and keep momentum. And that's what was great about it
Speaker 2: was like they both managed to push the momentum of
Speaker 2: the film because otherwise it could it could be very
Speaker 2: boring very quickly. But oh we went to a cafe
Speaker 2: with this end.
Speaker 1: This is largely it's a talkie film. This is very
Speaker 1: dialogue heavy. A lot of people think it's improvised.
Speaker 2: I was going to ask you about that. It was
Speaker 2: one of my notes.
Speaker 1: Yeah. So Richard Link later wrote this with the writing
Speaker 1: partner of his, Kim Chrisan, and they really both had
Speaker 1: similar experiences where Richard Link later spent a night walking
Speaker 1: around Philadelphia with a woman called Amy who he just
Speaker 1: happened to meet, and Kim had traveled I was traveling
Speaker 1: through Europe, I think from Paris and at last through
Speaker 1: Europe and met a Norwegian man and they had this
Speaker 1: kind of connection. So they both had these these stories
Speaker 1: and they kind of wrote this movie, but it was
Speaker 1: very kind of they left it open, you know, and
Speaker 1: then they kind of worked with Ethan Hawk and Julie
Speaker 1: Delpy to kind of fill in some blanks. And I
Speaker 1: guess you use their experiences as well, and to the
Speaker 1: point where they don't get credited as writers. But in
Speaker 1: the next movie they do okay, and I think in
Speaker 1: the subsequent one Before Midnight they do as well. And
Speaker 1: there was there's one scene where, in fact when Ethan Hawk,
Speaker 1: when we heard it earlier, when he's saying, get off
Speaker 1: the train with me, Julie Delpy kind of they said,
Speaker 1: hang on, you need to give me a reason to
Speaker 1: get off the train. And I think what's in there
Speaker 1: at the moment is not working like I wouldn't. And
Speaker 1: it's a very good point, and it's a very important
Speaker 1: point because it's this is this is kicking off the movie,
Speaker 1: like does you get off the train? And this is
Speaker 1: good movies ask questions of you and like you can
Speaker 1: kind of and you can talk about would you get
Speaker 1: off the Train's.
Speaker 2: That's that's such a good point. Yeah, instantly as at
Speaker 2: the audience, you instantly asked a question like not a
Speaker 2: moral dilemma or anything like that, but it's like would you.
Speaker 1: Yeah, would you yes? Yeah? And so he came up
Speaker 1: with I think a few times he kind of and
Speaker 1: he was kind of improvising it a bit, and you know,
Speaker 1: I think working with Richard Link later and Julie wo
Speaker 1: be like, nah, it didn't work, do it again. And
Speaker 1: so he came up with this kind of idea of
Speaker 1: the time 'espeacially like time travel. I'm basically you know,
Speaker 1: saving you from making mistake or you can look back
Speaker 1: when you're with your husband and look back and this
Speaker 1: is the guy you avoided and.
Speaker 2: Sliding doors, moment sliding doors, and.
Speaker 1: You know we've seen they've also had the connection early,
Speaker 1: so we know there's a connection there. But it's still
Speaker 1: a big thing to get off a train with a
Speaker 1: relative stranger and not to accommodation or you're literally walking around.
Speaker 2: Of times I've done it on public transport, and I've
Speaker 2: done it probably I've got a nun for one hundred.
Speaker 1: Striker YEAHM zero two.
Speaker 2: By sorry, I noticed you're reading your newspaper. Would you
Speaker 2: like to get off this train and we'll just spend
Speaker 2: a day together.
Speaker 1: On an experiment. How many people can get get off
Speaker 1: the train and walk around just shepding them with us?
Speaker 2: Hi, I'm a foreign national. Would you like to get
Speaker 2: off this train with me?
Speaker 1: I'm going to walk around Sovereign Hill all night. You
Speaker 1: want to come with me, we'll dig for gold. Well
Speaker 1: one of these things about when they're on the train,
Speaker 1: when he pitches his TV show and it's the Truman
Speaker 1: show he's pitching.
Speaker 2: That was remarkable. That was remarkable. It's unkenny. And also
Speaker 2: to her reference to which was actually in the audio clip,
Speaker 2: about how news media was controlling people's thoughts, like you know, now,
Speaker 2: that's something we just all understand and you know, kind
Speaker 2: of no, I.
Speaker 1: Would say, there's three things she brings up that are
Speaker 1: all on the money. I think, the way men treat
Speaker 1: women as far as going, yeah, smile, you know, the
Speaker 1: way men try to control women, and even in minute
Speaker 1: ways like that. You know, you imagine your granddad or
Speaker 1: your dad in the same smile. So it's you know,
Speaker 1: like it's no, you don't get to tell them how
Speaker 1: to behave and what to do with their face. And
Speaker 1: then the war three hundred kilometers away, that's that's a
Speaker 1: reference at that time too, was war in Croatia, yeahs Kosovo, Yeah,
Speaker 1: no matter in Croatia, I think, And you know, obviously
Speaker 1: if the film was made today, I mean the Ukraine
Speaker 1: and yeah, and you're at the media, and that's something
Speaker 1: that we kind of seem to be aware of. Yeah,
Speaker 1: it's it's it's varying degrees, mind you.
Speaker 2: Yeah, but it's it's it's funny that it's like kind
Speaker 2: of a little prescient as well, but also at the
Speaker 2: same time wrapped in nostalgia. That's what I thought was
Speaker 2: kind of cool about it.
Speaker 3: Yeah.
Speaker 2: Yeah, there was a couple of little insights and little
Speaker 2: bits of peace but I did want to bring up
Speaker 2: the fact that, you know, one of the things I
Speaker 2: really liked about this film, Pete, is the fact that
Speaker 2: it feels like you could have done it, Like anybody
Speaker 2: can do this film, you know what I mean, Like
Speaker 2: it's not like a Pollo thirt eight where you go, well,
Speaker 2: I could never be in that. I'm not a character
Speaker 2: in that film, whereas anybody can be a character, whether
Speaker 2: you know your male or female or whatever. Any person,
Speaker 2: any human can be a character in this film if
Speaker 2: it was redone, because you go, well, I could be
Speaker 2: in that circumstance. And I really liked that. And then
Speaker 2: I thought about it, and I've actually been at that time.
Speaker 2: In nineteen ninety five, I was in a remarkably similar
Speaker 2: circumstance and it played out a little bit differently. But
Speaker 2: it was nineteen ninety five and I was working in
Speaker 2: a pub and I met a French woman, a French girl,
Speaker 2: and I thought she was stunning, and I was talking
Speaker 2: to it, but I was working the same time, and
Speaker 2: it kind of struck really liked her personally. I thought
Speaker 2: she was really really bright, and I was like, oh, okay,
Speaker 2: this is kind of a bit weird. I said, how
Speaker 2: long are you traveling around Australia for us? And I said, okay, well, hey,
Speaker 2: this is gonna sound a bit weird, but tomorrow I'm
Speaker 2: not working. Do you want to go somewhere? And she goes,
Speaker 2: what do you mean? What do you have in mind?
Speaker 2: I said, have you seen Australian animals? Do you want
Speaker 2: to go to the zoo? And she goes, I would
Speaker 2: love to go to the zoo. And I was like,
Speaker 2: oh my god, I'm going on a date with a
Speaker 2: French This is exciting. So we agreed to meet. Because
Speaker 2: you know, there's no mobile phones. I said to meet
Speaker 2: me at the Melbourne Zoo at this time and we'll
Speaker 2: have a day. And we did. We went to the
Speaker 2: zoo and met her and she was so French and
Speaker 2: everything was wonderment to her. So, you know, like I
Speaker 2: would go, this is a taipan, obviously a snake that
Speaker 2: I've handled heaps of times because I've got Australians, so
Speaker 2: I've got natural ability to handle poisonous animals, and she's
Speaker 2: just buying it all and go, oh, you know we
Speaker 2: have those anyway, So taking around the zoo and we
Speaker 2: were there all day and it was intoxicating and just
Speaker 2: being around this woman and seeing things through her lens
Speaker 2: and experiencing through her wonderment, and I was like, my god,
Speaker 2: this is an amazing connection. And at the end of
Speaker 2: the left the zoo walked out the front and I said,
Speaker 2: would you like to go and get a drink? Do
Speaker 2: you want to go and have a drink? And she said,
Speaker 2: oh no, I can't and I said, oh, okay, why not?
Speaker 2: She said I have to go and meet my boyfriend.
Speaker 2: And I was like, fuck you.
Speaker 1: And then she sprayed you with mace.
Speaker 2: And it really was the worst day of my life.
Speaker 2: Can you see how those sliding door moments can sometimes
Speaker 2: go wrong? Like maybe just don't talk to the person
Speaker 2: on the train, maybe just put your headphones.
Speaker 1: Your sliding door moments became what were you fall? And
Speaker 1: your head's in between the sliding doors, and the sliding
Speaker 1: doors are just like banging into your head forward and back,
Speaker 1: forward and back.
Speaker 2: And I'm on the outside and the train leaves and
Speaker 2: it's still dragging me by my head down the platform
Speaker 2: so everybody could see it. And I swear to God Win,
Speaker 2: this girl just told me that she had a boyfriend
Speaker 2: and couldn't go out on a date with her. I
Speaker 2: was like, first of all, I was bying the way
Speaker 2: by what did we just do for six hours? What
Speaker 2: was that you paid for this? Because it was a
Speaker 2: date I paid for it. I was like, okay, did
Speaker 2: you have for a zoo? A yearly passed and that
Speaker 2: it's like that was all of my money. I think
Speaker 2: I had like thirty dollars left for drinks. I was going,
Speaker 2: oh my god. And it was just like, oh, these
Speaker 2: things don't work out. And then that's that was the
Speaker 2: beginning of my hatred of the French. Subsequent submarine contracts later,
Speaker 2: I was very very happy. But yeah, it was funny
Speaker 2: like that was that was a real time and that
Speaker 2: year was that year. It's a remarkable that that is.
Speaker 1: It wasn't Julie Delpy, wasn't it was she was going
Speaker 1: after meet Ethan Hawk. It was, oh my god, but
Speaker 1: what it isn't me? And that's what traveling by yourself
Speaker 1: can do. And in a way I had it with
Speaker 1: my finished girlfriend, but I was in my own country,
Speaker 1: like she was the one traveling and we had this,
Speaker 1: you know, very different its meeting on the train. She
Speaker 1: was living next door and all that. But when you
Speaker 1: are traveling by yourself. It's amazing how more open you are,
Speaker 1: Like compare traveling to yourself and the way you are
Speaker 1: open to the world and the way you view the
Speaker 1: world and the opportunities that present to you. You're way
Speaker 1: more open to compared to the way we live. And
Speaker 1: we're talking to men closing in on fifty, married with kids.
Speaker 1: We're not necessarily going you know, it's not my job
Speaker 1: or the way I want to live my life to
Speaker 1: be open to every opportunity that presents itself. That's a
Speaker 1: very dangerous way to live. I'm no longer married and
Speaker 1: my kids are no longer talking to me. If I
Speaker 1: take every opportunity, you know, And that's that's from like, oh,
Speaker 1: somebody's off at me. A Ryan to ship, you know,
Speaker 1: to Bendigo. I'm gonna jump out, go to Bendiga. No. Yeah,
Speaker 1: And this film did a really good job of taking
Speaker 1: me back and sometimes even reminded me of people who
Speaker 1: I hang out with for a week or I hitchhiked with,
Speaker 1: you know, or you know, I got friendly with, you know,
Speaker 1: Like it was a whole range of people to kind
Speaker 1: of flash back through my mind as I was watching it,
Speaker 1: and it reminded me of the joy of I mean,
Speaker 1: I still love traveling. I have traveled a favorite this year,
Speaker 1: but there is still something very special. I think, particularly
Speaker 1: when you're younger, but not necessarily. I think you know,
Speaker 1: you can travel any time, and then depending on where
Speaker 1: you are in your life, it is very profound. I
Speaker 1: think traveling and having that time to yourself.
Speaker 2: Yeah, well that's the thing is too. You know, you're
Speaker 2: on your own, so you've got to be independent. But
Speaker 2: then also too, what happens is that independence is you
Speaker 2: start having independent thought. So roughly, it was in nineteen
Speaker 2: ninety eight I went overseas on my own for the
Speaker 2: first time, and I went backpacking through Canada and America,
Speaker 2: and I was away for just over a month, and
Speaker 2: it was the first time I'd been on my own,
Speaker 2: first time I've been alone in my own thoughts, like
Speaker 2: really like it was at this time I was was
Speaker 2: doing CTA, I was about to go and start working
Speaker 2: with Rosso on Triple J on Sundays. So this is
Speaker 2: pre drive, pre everything, and I knew I was about
Speaker 2: to have an epoch in my life. I knew that
Speaker 2: I was going to have a change, like things were
Speaker 2: going to change. I literally went overseas, rushed the trip
Speaker 2: because I knew that Rossall and I were going to
Speaker 2: be filling in for Roy and HG on Sundays on
Speaker 2: Triple J and I thought, this is the pathway. I
Speaker 2: could feel it.
Speaker 1: And know that's an Emmy, a Peabody, an Oscar and
Speaker 1: the Community Radio Award. I'm sorry, sorry, sorry as well,
Speaker 1: sorry sorry, but it was.
Speaker 2: Like I did know at that time that my life
Speaker 2: was going to change when I got back, so I
Speaker 2: was like, I'm going to go and do this now.
Speaker 2: And it was formative in my thinking. My independence was there,
Speaker 2: my ability to kind of know what I liked and
Speaker 2: what I didn't like and just explore the things that
Speaker 2: I enjoyed, and and like you saying, Peter, like I
Speaker 2: met people that I might have spent three or four
Speaker 2: days with. I met some Scottish dude who was hilarious
Speaker 2: and hung out with him for three days in somewhere
Speaker 2: in Canada. I can't eve remember where it was now,
Speaker 2: and it was just pisce funny. Never spoke to the
Speaker 2: bike again. That was it, and that was okay, you know,
Speaker 2: like there was no exchange of anything. It was just
Speaker 2: like where it's like we're probably nowadays you would have
Speaker 2: a phone, you would have got a phone. Yeah, but
Speaker 2: it's just like, well, you know, what are we going
Speaker 2: to do? Write letters to each other. We're not going
Speaker 2: to be penpals. It was then acceptance of a short
Speaker 2: term friendship. And that's what was interesting about the film
Speaker 2: is the acceptance of something being short but intense and
Speaker 2: being okay with that, rather than trying to make something
Speaker 2: live forever.
Speaker 1: And the fact that they knew this was a short
Speaker 1: that had a short time together is really that opens
Speaker 1: it up, and because it puts you in a very
Speaker 1: different headspace. And I imagine some people look at this
Speaker 1: film and like my concerns early was is Ethan Hawk
Speaker 1: talking like you know, this is written actually by a
Speaker 1: forty year old guy, and he's kind of profound kind
Speaker 1: of guy. He's thinking big thoughts and they're not natural
Speaker 1: discussions you will have with somebody you've just met. But
Speaker 1: when you're traveling by yourself, you know you are ready
Speaker 1: if you meet that right person, even if it's not
Speaker 1: the kind of love connection, but even if it's a
Speaker 1: friendly connection, you are happy to fucking chat. Yeah, you know, yeah,
Speaker 1: this may be the first person he has spoken to
Speaker 1: for days. You know, he's gone the Madrid with for
Speaker 1: his X, which actually kind of was a little triggering
Speaker 1: for me because and it's like, oh, Okay, this is
Speaker 1: not happening anymore. Isn't that there's no solving this relationship?
Speaker 1: And then I know when I went through that, the
Speaker 1: people who I then found around me, I was like,
Speaker 1: you know, like arms around them, and they you know,
Speaker 1: like thank you and like whatever you want to chat about,
Speaker 1: and we our best mates for this period of time.
Speaker 1: Right now, we are best mates, So you are you
Speaker 1: are prepared to have these profound discussions that you wouldn't
Speaker 1: have necessary if you meet somebody at the footy.
Speaker 2: I reckon one of the reasons why the film works
Speaker 2: is if that had just been set between two Americans
Speaker 2: in America, it wouldn't have worked. And I think it's
Speaker 2: because based off a premise, I think, a premise of
Speaker 2: the way people think, which is when you're at home
Speaker 2: and you're in your own kind of world, when something
Speaker 2: a proposition comes to you, you say why. The first
Speaker 2: thing is, well, why would I do that? Why would
Speaker 2: I do that? Whereas when you're overseas, the premise changes
Speaker 2: to well why wouldn't I do that? I'm here for experiences,
Speaker 2: so why wouldn't I do that? So therefore the belief,
Speaker 2: the suspension of disbelief that you need, of how they
Speaker 2: kind of form it up pretty quickly is okay, because you,
Speaker 2: like you're saying, you can just have that moment where
Speaker 2: you go, why wouldn't I do this? I'm over here
Speaker 2: to do these things, surely if there's a time to
Speaker 2: do that. It's not back at home where I have
Speaker 2: to ask why would I do it?
Speaker 1: Now?
Speaker 2: I just ask why wouldn't I? And it's that complete shift,
Speaker 2: and that's what I think. You know, if it had
Speaker 2: been set by two people, two Americans in America, it
Speaker 2: just would not make any sense. It wouldn't work. It
Speaker 2: needs to have that extra.
Speaker 1: Level, completely agree. One of my wife's, Bridge's favorite, one
Speaker 1: of the stories I'd love from her is she was
Speaker 1: in an Irish pub by herself, chrattling by yourself, and
Speaker 1: saw Anne at the bar in Dublin and this went
Speaker 1: I've never seen them done in the bar and it's
Speaker 1: went up and they chatted and they had a few
Speaker 1: drinks together and the concord crashed as came on meant
Speaker 1: to the pub, thankfully, but it was on the news
Speaker 1: and that kind of came through so that they just
Speaker 1: chatting about life and wow, I'm sure religion would have
Speaker 1: come up in it, but yeah, and then death and
Speaker 1: and she said it was one of the most kind
Speaker 1: of profound moments I've ever had.
Speaker 2: Because she said, well, why not the one there's a
Speaker 2: nun there at the bar? Why not? Because that's the
Speaker 2: funny thing. Like in Australia. If right now that proposition
Speaker 2: I've seen none at a bar. I go, that's odd,
Speaker 2: this seems sucks. I'll just move away from this danger.
Speaker 2: This is clearly a dangerous situation. It's not it's some
Speaker 2: dangerous situation. My brain will just go this is a trap.
Speaker 2: It's definitely a trap. There's a nun in a bar.
Speaker 1: I mean, you don't want to get into the habit.
Speaker 1: I'm sorry. I had to go for it.
Speaker 2: It was full volley too. I was standing at the
Speaker 2: knit and the tennis ball hit me in the fam
Speaker 2: America playing tennis. Didn't you see it?
Speaker 1: No? Oh wow. Let's have a listen to one of
Speaker 1: their conversations Slaine and Jesse and this is uh, this
Speaker 1: is one of the big discussions they're talking about.
Speaker 7: Love talking seriously here.
Speaker 10: I mean, I always feel this pressure of being a
Speaker 10: strong and independent ipon of womanhood and not making making
Speaker 10: look like my whole life is revolving.
Speaker 2: Around some guy.
Speaker 7: But loving someone and being loved means so much to me.
Speaker 10: I always make fun of it and stuff, But isn't
Speaker 10: everything we're doing in life were to be loved a
Speaker 10: little more?
Speaker 1: Mm hmm, Yeah, I don't know.
Speaker 11: Sometimes I dream about being a good father and a
Speaker 11: good husband, and sometimes it feels really close.
Speaker 6: But then other times it seems silly, like it would
Speaker 6: ruin my whole life. And it's not just a fear
Speaker 6: of commitment or that I'm incapable of caring or loving,
Speaker 6: because I can. It's just that, if I'm totally honest
Speaker 6: with myself, I think I'd rather die knowing that I
Speaker 6: was really good at something that I had excelled in
Speaker 6: some way, and then that I'd just been a nice,
Speaker 6: caring relationship.
Speaker 1: Yeah, it's nice. I do this because it kind of
Speaker 1: shows that Ethan Hulk is not almost doesn't quite believe
Speaker 1: in the love and the fairy tale, and she de
Speaker 1: spy everything that she feels society is telling her, which
Speaker 1: I think is are very real things. Like I think
Speaker 1: it's even more true today than maybe it was then
Speaker 1: that she, you know, she feels almost this guilt of
Speaker 1: actually wanting love and wanting a man in her life
Speaker 1: and wrestling that being a strong independent woman. But what
Speaker 1: it does to a degree, because this film doesn't really
Speaker 1: have any conflict in it, which is like one of
Speaker 1: the every film you will see will have conflict in it,
Speaker 1: and the reason they get away with it, it has
Speaker 1: this amazing ticking clock of this There's a plane that
Speaker 1: Jesse is getting off and it's never discussed. He won't
Speaker 1: get on there, and I'm so glad they ain't go
Speaker 1: down that root of him going no, I'm staying like, yeah,
Speaker 1: there's a version of Roman comedies we've seen I've done
Speaker 1: on myself where we're going off to the airport. Now
Speaker 1: we're not going I'm not getting on the plane. I'm
Speaker 1: really glad they didn't go down that path. But what
Speaker 1: it does is it gives you that's the tension. The
Speaker 1: tension is the fact that we all know and there
Speaker 1: comes down to that kind of human thing that Richard
Speaker 1: Link later knows that we're going to be experiencing this
Speaker 1: kind of this well of emotions withinside of us knowing
Speaker 1: that what would it be like to meet your soulmate,
Speaker 1: knowing that you need to get on a plane, and
Speaker 1: the fact that he can't afford a hotel room and
Speaker 1: you know she's not particularly well off, means that, you know,
Speaker 1: we kind of know that it's not a nuption for him
Speaker 1: to stay. You can't afford hotel room. He's like, he
Speaker 1: can't stay and he needs to get on that plane.
Speaker 1: So I think it's a very clever little touch.
Speaker 2: Yeah, it was also to the fact that again like
Speaker 2: the bravery, her bravery to say that she almost resents
Speaker 2: the fact that she wants that traditional sense of love,
Speaker 2: that traditional kind of falling in love and the romance evide,
Speaker 2: and then the need for it, like you know, almost
Speaker 2: like it's a capitulation to have to need that love,
Speaker 2: and then you kind of expect him to kind of
Speaker 2: follow along with it, and he goes, no, I'm the one.
Speaker 2: I'm not too sure, but to go, okay, that's it
Speaker 2: is actually surprising and it's probably a bit of brave
Speaker 2: in the riding there, but it's it's not predictable, So okay,
Speaker 2: I didn't expect him to say that, like you kind
Speaker 2: of expect to go, well, he seems so romantic. Then
Speaker 2: that's kind of in congruous to the behavior that we're
Speaker 2: seeing previously, which is like, I'm a hopeless romantic. Let's
Speaker 2: get off the train, let's do this. And then when
Speaker 2: it talks about the future of romance, it's like, don't
Speaker 2: I don't know. Maybe you know, children are not not good.
Speaker 2: They might make me, they might make me unhappy, which
Speaker 2: ethan they will. They will make you unhappy. Trust me,
Speaker 2: I've got a couple. They're a nightmare. But yeah, it's
Speaker 2: just it was interesting. There was not It's so dialogue
Speaker 2: heavy that you expect some of those tropes and you
Speaker 2: expect some of those guessable moments like he's go I
Speaker 2: can guess where this is going to go. I can
Speaker 2: see where this is going to go. There's a predictability
Speaker 2: that you would expect and it's not there.
Speaker 1: Yeah, and this spite and nothing's to elevated, you know,
Speaker 1: nothing's to there's no real quotable lines in this that
Speaker 1: that at least, you know, maybe people who know before
Speaker 1: sunrise more than maybe maybe there outlines that it have
Speaker 1: become famous. I certainly haven't permeated my psyche. There's no
Speaker 1: you know, you had me at Hello or God off
Speaker 1: my trone.
Speaker 2: It would have been amazing if you said that.
Speaker 1: That's Polo Express, I think, you know, And there's some
Speaker 1: tropes in that where they visit they visit a record,
Speaker 1: or they visit a cemetery, they visit a theme part.
Speaker 1: There's certain you know, a CD kind of pub that.
Speaker 1: There's certain places they you know, I feel like I've
Speaker 1: seen you know, there's yeah, kind of Lost in Translation
Speaker 1: and Roman Holiday, even the movies that I thought of
Speaker 1: when I was watching it. You know, there's no scene outstays.
Speaker 1: It's welcome. There's no big moment where you get sideswiped
Speaker 1: and you're like, oh shit, this is happening. Like there's
Speaker 1: you know, there's a version of this movie where it's
Speaker 1: revealed that Julie Delpy has a boyfriend. You know, there's
Speaker 1: a version of that. But I'm glad that it just
Speaker 1: plays out. It's a movie that again there's if you're
Speaker 1: allowed to wash over you, I think, or the rewards
Speaker 1: are there.
Speaker 2: Yeah, it's a quiet Sunday film, which is actually, ironically,
Speaker 2: when I watched it, a quiet Sunday film when you
Speaker 2: know you don't have two massive expectations on anything. Just
Speaker 2: watch it.
Speaker 1: Yeah, like you said, just a lettle wash over you,
Speaker 1: and you need to pay attention to it. I think
Speaker 1: it's not something where you can have, you know, be
Speaker 1: on your phone or have other stuff going on. I
Speaker 1: think it deserves your attention. There was also the milkshake
Speaker 1: guy who wrote the poem. I was a little bit
Speaker 1: disappointed that he didn't come back and say, because the
Speaker 1: idea was give him a word. Instead it's giving him money,
Speaker 1: give him a word who write a poem based on that.
Speaker 1: When he comes back, he's got a beautiful poem and
Speaker 1: they give him some money. I would have liked it
Speaker 1: if he came back and said, Okay, I've got a poem.
Speaker 1: My milkshake brings all the boys to and they're like,
Speaker 1: you said that one coming as well.
Speaker 2: I didn't see that one coming.
Speaker 1: It wasn't quite the slant of the head. It was
Speaker 1: a smaller, le, gentle backhand down the line.
Speaker 2: That went just slightly out of the line We're going
Speaker 2: to go upstairs to have a look at that says
Speaker 2: just over, just.
Speaker 1: Out fucking hawkey. One of the interesting things about this
Speaker 1: movie by the way, takes place on my birthday, June sixteen.
Speaker 1: And what do you know about James Joyce? Not a
Speaker 1: lot either, do I always feel bad. I don't know
Speaker 1: more about the great poets and writers. But James Joyce
Speaker 1: looms large in this movie.
Speaker 2: He was I know, he's a very very famous poet.
Speaker 2: He was like, you know, up with the Canterbury Tales
Speaker 2: and that kind.
Speaker 1: Of He's right up there.
Speaker 2: So Sammy Taylor, Coleridge Joyce, that kind of stuff.
Speaker 1: Yeah, yeah. And I think Ulysses, which is also about
Speaker 1: takes place on June sixteen over twenty four periods. It
Speaker 1: runs into June seventeen, and he met on that day
Speaker 1: his partner Norah Barnacle, great names gripper name Barnacle. James
Speaker 1: Joyce translated the play by a German writer. I believe
Speaker 1: his name is Klaus Klaus Von's, son of Gang. That's
Speaker 1: probably say I apologize on any Germans listening. My handwriting
Speaker 1: is bad. I'll blame it on that. But that was
Speaker 1: the name of the piece, and that translates into Before
Speaker 1: Sunrise Ah. Both involved walking around a single city, Vienna
Speaker 1: in Before Sunrise and in the book Dublin and Jesse's
Speaker 1: real name is James, which is of course James Joyce.
Speaker 1: So looms large, let's get to the end. What were
Speaker 1: you thinking was going to happen? Fact, before we get
Speaker 1: to the end, there's that moment they have. It's the
Speaker 1: most kind of central moment. It is a romantic film.
Speaker 1: But they do have a point where they discuss fucking
Speaker 1: in Julie Duppy's words, and it's a fun scene because
Speaker 1: you can see the torment in Jesse and he's being
Speaker 1: you know, he's been respectful, like I mean, there's there's
Speaker 1: a version of this age is really bad.
Speaker 2: He he's a Roman sandal, yeah, he he.
Speaker 1: You know, he's he's horny at this point. I think
Speaker 1: she is as well. I think I think she makes
Speaker 1: the good point very mutual. It's mutual, it's absolutely mutual.
Speaker 1: And she makes a good point, Well, if you're gone
Speaker 1: and it's going to leave me with all these feelings,
Speaker 1: I'm not going to feel good about it. He kind
Speaker 1: of accepts that. Do you think they had sex? Do
Speaker 1: they have sex?
Speaker 2: No?
Speaker 1: You don't think so?
Speaker 2: No, I don't think so. There was the big the
Speaker 2: big question was, well they not do that? And I
Speaker 2: was like, no, it's because you would have seen a shift,
Speaker 2: and you wouldn't be asking the question, do you know
Speaker 2: what I mean? It's like it's like a black hole.
Speaker 2: You don't look for what's there, look for what's not there,
Speaker 2: and what's not there is the shift that they would
Speaker 2: have had had they had sex, there would have been
Speaker 2: a change in both of them. Like I mean, obviously,
Speaker 2: he would have just been high fiving himself massively, just
Speaker 2: going I'm not like Merrick at the zoo. That's what
Speaker 2: he would have been saying.
Speaker 1: He would have been telling his friends.
Speaker 2: So I think that it's what's what was lacking.
Speaker 1: I took out of it that they did they did,
Speaker 1: because they do start, you know, rolling around in the
Speaker 1: grass for one of a better term, getting pretty hot
Speaker 1: and heavy in the old parlance, and then it cuts
Speaker 1: to the next morning and they're walking down the street
Speaker 1: hand in hand. I like that. It's an open question
Speaker 1: that we don't but let us know. Get on our
Speaker 1: speak pipe, follow our pages. Did Selene and Jesse fuck,
Speaker 1: that's what you want to know. Did they have sex?
Speaker 1: Did they consummate their connection? Maybe we find out in
Speaker 1: the in future movies, which we'll talk about in a second.
Speaker 1: Before we get to the end. One of my favorite
Speaker 1: scenes was in the pub where they go to the
Speaker 1: pub and we also hear another must all touch from
Speaker 1: Richard Link. Later we hear other little conversations of people connecting.
Speaker 1: It just reminds you that these conversations we see people
Speaker 1: having converts around. Sometimes we eavesdrop, sometimes we don't. You know,
Speaker 1: most of you don't, but people are having these connections
Speaker 1: all around us, and sometimes they're trivial and sometimes they're meaningful.
Speaker 1: I think it's just a nice little touch. And then
Speaker 1: we kind of we arrive at Selene and Jesse's table
Speaker 1: and there's a nice little kind of conceit that they're
Speaker 1: doing of Selene's Selene's idea, I'm going to call my
Speaker 1: friend to tell her I can't come to make her
Speaker 1: house or the party or whatever she was going to go.
Speaker 1: And they pretend they're on the phone, and I want
Speaker 1: to play in two parts, this is Selene making the
Speaker 1: phone call to her friend back in Paris. Yeah, let's
Speaker 1: just have all listen because they are revealing things about themselves,
Speaker 1: but in a way that is comforting for them.
Speaker 7: I mean, actually I was I was ready to go
Speaker 7: to the train with him after talking to him a
Speaker 7: short while. You were so sweet. I couldn't help it.
Speaker 7: We were in the launch car and you begin to
Speaker 7: talk about him as a little boy seeing his great
Speaker 7: grandmother's ghost. I think that's when I fell for him.
Speaker 7: Just the idea of this little boy with all those
Speaker 7: beautiful dreams. He trapped me.
Speaker 1: So a lot of this idea that you know. It's
Speaker 1: first of all, we hear that, you know, there's a
Speaker 1: confession of love, and also that she kind of fell
Speaker 1: for him straight away, And yeah, I think it's it's
Speaker 1: really nice. I do also love as they're talking, particularly
Speaker 1: when Ethan Hawke. I'm not complaining Ethan Hawk's because then
Speaker 1: he calls his friend and Julie's I think is very good.
Speaker 1: She's putting on this dude kind of accent. But I
Speaker 1: want to play more of Julie Delpy's phone call. It's
Speaker 1: just an interesting way of as open as that they
Speaker 1: have been with each other and spoken about all the
Speaker 1: big things, this is even bigger. They're being more vulnerable.
Speaker 1: They're actually kind of saying really personal things about how
Speaker 1: they feel about each other. So this is the next
Speaker 1: part of that.
Speaker 7: But I'm afraid he's scared of me. You know, I
Speaker 7: told him the story about the woman that kills her
Speaker 7: boyfriend and stuff. You must be scared to death. You
Speaker 7: must be thinking of this many polatief mean woman. I
Speaker 7: just hope it doesn't feel that way about me, because
Speaker 7: you know me, I'm the most harmless person. The only
Speaker 7: person that could really hurt is myself.
Speaker 2: I don't think you're scared of you.
Speaker 6: I think he's crazy about you, really.
Speaker 5: I mean, I've known you a long time, and I
Speaker 5: got a good feeling you're gonna see him again.
Speaker 7: Who haven't talked about that yet.
Speaker 1: So it's also the first time the idea what we
Speaker 1: know is an audience, and they even know as characters
Speaker 1: that there is a there is a ticking clock. Yeah,
Speaker 1: but they've almost forgotten about it. I think they talked
Speaker 1: about that we're in our own all the time zone.
Speaker 2: Yeah they've lost it. Yeah, they've lost they're swept up
Speaker 2: in the moment.
Speaker 1: Yeah, it's the first reminder that they give themselves that
Speaker 1: this is ending soon.
Speaker 2: I think that's scene, you know, where they're you know,
Speaker 2: pretending to call other people on the phone in front
Speaker 2: of each other.
Speaker 1: I think it.
Speaker 2: Would have been slightly improved this is probably a directorial
Speaker 2: decision if they used sock puppets, got your peek, gotcha?
Speaker 1: Okay, it's fifteen thirty. I completely agree, And I hope
Speaker 1: Richie look later listen to this at some point. What
Speaker 1: I do love I think I went to say before,
Speaker 1: but maybe I lost my train of thought, pardon the pun.
Speaker 1: But as they're talking and they're listening to each other
Speaker 1: because they're doing the old fashioned phone call thing, you know,
Speaker 1: they're holding your fingers like a phone, and that kind
Speaker 1: of slowly kind of look changes into they lose their
Speaker 1: phone shape, and then they kind of remember that they're
Speaker 1: supposed to be on the phone, so they kind of
Speaker 1: like they read, kind of straighten their fingers. It's a
Speaker 1: really lovely acting technique. Another scene that I really loved
Speaker 1: was the listening scene of the song in the booth
Speaker 1: where they're looking at each other. I believe Richard Link
Speaker 1: later played that for the first time to them, like
Speaker 1: that's the first time they heard that song, and they're
Speaker 1: looking at each other, but they're they're avoiding each other's gaze,
Speaker 1: you know, and it's it's a very lovely scene, and it's.
Speaker 2: Forced intimacy as well. Yes, it forced close intimacy.
Speaker 1: Well, the camera stays in there, it's a little loose,
Speaker 1: it's the one shot, so as the audience, you feel
Speaker 1: like you're in there as well, and you're kind of
Speaker 1: trapped in this situation, kind of happily trapped. And then
Speaker 1: the song continues and we go into like a montage.
Speaker 1: So it's not a groundbreaking technique, but it's just a
Speaker 1: point of that, like that idea, it's a good turning
Speaker 1: point in their relationship to kind of go, okay, they're
Speaker 1: feeling something a bit deeper now, and then that that
Speaker 1: feeling does not just exists in the record store, it's
Speaker 1: gone out with them into Vienna, which I think is
Speaker 1: it's a really nice technique, which yeah, we've seen done before,
Speaker 1: probably before Sundrise and after before Sundayrise. Okay, the finals thing,
Speaker 1: what were you hoping? Do you have any hopes or
Speaker 1: what do you think was gonna happen at the end.
Speaker 2: It's interesting. So I like the fact that it came
Speaker 2: full circle and it comes back to a train and
Speaker 2: it's about now, it's about getting on. The question is
Speaker 2: do I get on? Not do I get off? So
Speaker 2: you know that was a full circle kind of thing,
Speaker 2: and I think that was well played. I kind of
Speaker 2: had an expectation that it would be a Hollywood film
Speaker 2: and that she would step off and go, I don't
Speaker 2: care what tomorrow is, Let's just live today again and again,
Speaker 2: or some you know shit like that. So the actual
Speaker 2: final scene was like, oh, okay, that's that's a little
Speaker 2: bit of a gut punch. That's not how I expected
Speaker 2: it would end because of the predictability, and that's sort
Speaker 2: of like it was actually quite brave to do that,
Speaker 2: and maybe, you know, maybe that's one of the reasons
Speaker 2: why the film may not have done as well, because
Speaker 2: people anecdotally would say to the friends, you know, people
Speaker 2: like closure, they like a beginning, in the middle and
Speaker 2: an end. That's how we see this things three part acts,
Speaker 2: you know, we so things stories are very formulaic, and
Speaker 2: this film doesn't have any conflict. And then it doesn't
Speaker 2: in the way that you would expect it to end.
Speaker 2: So there's a couple of things that you know, if
Speaker 2: you're talking to your friends at a barbecue, do you
Speaker 2: bring up this film? Do you talk about before sunrise
Speaker 2: at a barbecue? Maybe not? Maybe not, So maybe it
Speaker 2: didn't kind of travel anecdotally amongst people, and you know,
Speaker 2: get more people's eyes on it because of that reason.
Speaker 2: But it was a brave decision to do that.
Speaker 1: Yeah. Yeah, And certainly it's found its audience in depending years.
Speaker 1: But it's the reason perhaps it doesn't become nutting Hill
Speaker 1: or I mean, and it's also not trying to be
Speaker 1: as funny as a notting Hill. It's it is more
Speaker 1: of a comedy drum. It's whimsical in its comedy. Let's
Speaker 1: have a listen to a bit of the farewell.
Speaker 11: Listen, listen, you know all this bullshit were talking about
Speaker 11: about singing each other again.
Speaker 2: I don't want to do that. I don't want to
Speaker 2: do that.
Speaker 11: When you say something, maybe you didn't want to all right,
Speaker 11: well listen, do you what do you want to do?
Speaker 7: Maybe maybe we should meet here in five years or something?
Speaker 1: All right, all right, five years.
Speaker 7: That's it's like a sociologic How about one year?
Speaker 1: One year?
Speaker 2: All right?
Speaker 1: How about six months?
Speaker 4: Six months it's.
Speaker 7: Gonna be freezing, Yeah, we come here, we go somewhere else.
Speaker 4: Uh, six months from now last night.
Speaker 11: Last night, six months from last night, which was June sixteenth,
Speaker 11: So track nine six months from now at six o'clock
Speaker 11: at night, December December.
Speaker 2: Yeah, no, listen, it's a train ride for you. I
Speaker 2: gotta fly away over here and ship like that. All right,
Speaker 2: but I'm gonna be.
Speaker 4: Here okay too, all right, and we're not gonna call right,
Speaker 4: no depressing, yeah, okay, all right.
Speaker 5: All right, the train's going away. Say goodbye bye, goodbye.
Speaker 2: Later.
Speaker 1: I do a lot of the French goodbye and the
Speaker 1: American goodbye. I mean it works because the chemistry between
Speaker 1: these two is off the charts. And also that scene.
Speaker 1: You know, I've certainly been in the situation where I've
Speaker 1: had to say goodbye to somebody. In fact, you know,
Speaker 1: with my finished X when she left Australia to go back,
Speaker 1: that was kind of like, yeah, it was that. It
Speaker 1: was like, you know, I'll come to Finland and you know,
Speaker 1: like that was so that was you know, I really
Speaker 1: I really felt that.
Speaker 2: And likewise, I've had a similar experience.
Speaker 1: Yeah, and I think everyone most people would have an
Speaker 1: experience where yeah, whether it's saying good bye to a
Speaker 1: family member or you know, jumping on a plane, you know,
Speaker 1: I mean that think about airports. It is the opening
Speaker 1: scene of them love actually when it's one of the reunions.
Speaker 1: It's the opposite of the goodbye. It's usually the welcome
Speaker 1: backs in that scene. But yeah, very powerful.
Speaker 2: Gives the audience hope but not closure.
Speaker 1: Yeah, like you can decide again and this I love
Speaker 1: this weather they do get back together. Now we know
Speaker 1: that there are sequels, but I do believe the timeline
Speaker 1: is not necessarily add up to the timeline agreed to
Speaker 1: in that final scene. So they're going to meet in
Speaker 1: six months. My impression is based on the fact when
Speaker 1: the how long the film took to make, and that
Speaker 1: it's nine years, so in fact, there's.
Speaker 2: A long time to be waiting on Platform nine.
Speaker 1: And my impression is also I think and I don't
Speaker 1: want any spoilers on this, Please don't contact this because
Speaker 1: I would love you to come back next season and
Speaker 1: before before sunset clearly have not seen it. I didn't
Speaker 1: tell you this because it was a trap. But when
Speaker 1: you agree to do a trilogy on this show, you've
Speaker 1: got to complete the trilogy. Luke McGregor has taken took
Speaker 1: care of Star Wars for.
Speaker 2: Us, So Luke McGregor did a hat your job on Godfather,
Speaker 2: by the way, so.
Speaker 1: We will come back and talk about maybe next season,
Speaker 1: hopefully before sunset, and then the season after that will
Speaker 1: get around to before midnight. I'm fascinated. I'm fascinating to
Speaker 1: see because it'll be, you know, a different period of
Speaker 1: your life. And we're talking about this as men who
Speaker 1: are in their late forties, you know, so maybe before
Speaker 1: midnight we will even relate to more than.
Speaker 2: So if it's nine years later, that would make it
Speaker 2: two thousand and four and.
Speaker 1: Then and thirteen three films over eighteen years.
Speaker 2: Oh my god, two thousand and four. I was a
Speaker 2: fucking mess.
Speaker 1: Page.
Speaker 2: You know what I was like in two thousand and four.
Speaker 1: You were nuts.
Speaker 2: Oh my god, what a horrible human being?
Speaker 4: What a mess?
Speaker 2: Oh my god, the abuse. Anyway, looking forward to recanning
Speaker 2: those stories, mate.
Speaker 1: This podcast comes with homework and you are fucking busy.
Speaker 1: Congrats on everything, mate, the grapes of mirth, what you
Speaker 1: have built. We did feel the dreams recently and talking
Speaker 1: about a building and they will come. What you have
Speaker 1: built with grapes of mirth from not just like a
Speaker 1: day on the green style like medians at wineries. And
Speaker 1: I've done about half a dozen now and they've all
Speaker 1: been amazing. But now you're doing festivals with them, which
Speaker 1: is staggering, and you have one coming up. Tell us
Speaker 1: about that.
Speaker 3: One.
Speaker 2: Comedy of the Vines is at Heide and Seek Winery
Speaker 2: in the Gambi, which is about ninety minutes north of Melbourne.
Speaker 2: And the gamb is a little bit of a hidden
Speaker 2: gem in the wine world. There's some like really old school,
Speaker 2: like one hundred and fifty year old wineries out there,
Speaker 2: but people don't tend to know about it as a
Speaker 2: wine region. But it's awesome. The game is beautiful.
Speaker 1: It's a little.
Speaker 2: Microclimate area, so it's got beautiful weather. It's got more
Speaker 2: Sunday days in the Gold Coast, which is unusual for
Speaker 2: to say something about that in Victoria. People go, you
Speaker 2: meant Queensland. No, no Victoria, but you mean Queensland. No,
Speaker 2: It's in Victoria. And so we do a two day
Speaker 2: festival there, Comedy of the Vines, which is in November
Speaker 2: eleven and twelve. So if you're listening to this and
Speaker 2: you know you want to come, then come. If you
Speaker 2: don't come to the.
Speaker 1: Next one, and if they just google, Grapes of Mirth
Speaker 1: will follow you on Instagram at a you or Grapes
Speaker 1: of Mirth you find all the information there. It is fantastic. Also,
Speaker 1: you have a new podcasts picture to discuss.
Speaker 2: Yeah, which is basically what we do is we just
Speaker 2: get a picture and then we discuss it myself and
Speaker 2: two other comedians to It's interactive. So when you get
Speaker 2: your podcast, when you load it up, you see the
Speaker 2: picture that the comedians are discussing, and three of us
Speaker 2: just have a chat about the picture and another. It
Speaker 2: goes for like ten to twelve minutes or something like that.
Speaker 2: So it's a short, shorter form podcast.
Speaker 1: As opposed to this one, which you goes about two hours.
Speaker 2: And this is whene is either the snack you have
Speaker 2: before or the little trucky you have after. It's the
Speaker 2: fantail that you have half you've had. You ain't say
Speaker 2: nothing yet, mate.
Speaker 1: You are one of my great mates, my oldest mate
Speaker 1: in comedy. As I said in the intro, always up
Speaker 1: catching up.
Speaker 2: Thank you, it's been a pleasure.
Speaker 1: Let's go smash a pino.
Speaker 2: Pino is not a person, by the way.
Speaker 3: Yeah, both stars don't forget and the stars explored its
Speaker 3: billions of years ago. You're from everything just as roved
Speaker 3: everything you know start, so don't forget you are stars.
Speaker 1: There. It is another episode if You Ain't Seen Nothing
Speaker 1: Yet with my great mate Merrick Wats. That was a
Speaker 1: fun film to watch for the first time, but also
Speaker 1: to chat with mes about and just to reminisce about
Speaker 1: not just a film but our own lives and our
Speaker 1: own travels and our younger years. I hope you enjoyed that.
Speaker 1: I hope you enjoyed the film and our chat about it.
Speaker 1: If we miss something, let us know yasny Podcasts at
Speaker 1: gmail dot com. What I'd rather you do instead of
Speaker 1: just write an email is put your voice to it.
Speaker 1: Find our speak part through our page and just record
Speaker 1: a message like we played earlier. I love hearing the voices,
Speaker 1: so please do that and you can also if you could,
Speaker 1: go to iTunes and give us a rating. I recommend
Speaker 1: five stars, but each of their own whatever you like
Speaker 1: really five stars, and also leave us a review. This
Speaker 1: keeps the algorithm moving about and it is much appreciated.
Speaker 1: So we have one episode left of this season of
Speaker 1: You Ain't See Nothing Yet. It's been the first season
Speaker 1: where we've kind of have played a few repeats amongst
Speaker 1: the season because of having busy touring and also I
Speaker 1: was in Europe for a month. I was in South
Speaker 1: Africa for a bit. Obviously, with with I'm a celebrity,
Speaker 1: so it'll be a shorter gap I think of about
Speaker 1: I'd say about four weeks. I would say we'll play
Speaker 1: some favorite repeated episodes and I'll try to get recording
Speaker 1: some new guests. I'm excited about some of the names
Speaker 1: we have lined up for next season. But next week
Speaker 1: on the show, and you ain't see nothing yet to
Speaker 1: finish off this season. I'm really thrilled to have this guest.
Speaker 1: It's somebody I've only met a handful of times, but
Speaker 1: she has become a really think important and entertaining voice
Speaker 1: in the pop cultural landscape in Australia, particularly when it
Speaker 1: comes to TV and music. It's Zan row Is going
Speaker 1: to be joining me and I'm absolutely thrilled. She's a
Speaker 1: great mate of my great mate me for her so
Speaker 1: they do it an amazing podcast bang On, which is
Speaker 1: a huge hit. And yes, she'll be in the studio
Speaker 1: with me next week for our final episode covering a
Speaker 1: very funny film going over the comedy. It is John Clee's,
Speaker 1: Jamie Lee, Curtis, Michael Palin, Kevin Klein. I think you
Speaker 1: want to ask you for this, you would have guessed
Speaker 1: it by now. It's a Fish God Wonder.
Speaker 2: That's right.
Speaker 1: We're doing a Fish Good Wonder to finish off the
Speaker 1: Yasni season. I can't wait. I can't wait to hang
Speaker 1: up with with Zan and also to do this very
Speaker 1: funny movie. Saw it in the cinema. I loved it.
Speaker 1: I've seen it quite a few times, haven't seen it
Speaker 1: for a while. I want to have us aged. If
Speaker 1: you have any thoughts that were going to play within
Speaker 1: that episode, get onto asap and get on our speak pipe,
Speaker 1: and if you have any questions about the film or thoughts,
Speaker 1: we will push it to the front of the line.
Speaker 1: A Fish God Wonder. That's it next week until then,
Speaker 1: both for now and so we leave old Pete safe
Speaker 1: and souf and to our friends of the radio audience,
Speaker 1: we've been a pleasant good night.