WEBVTT - REPETE: Hamish Macdonald and Punch Drunk Love 0:00:00.720 --> 0:00:03.559 Gid A, Peter Helly here, welcome to you Ain't Seen 0:00:03.640 --> 0:00:06.000 Nothing Yet the movie Podcast, where I chat to a 0:00:06.040 --> 0:00:09.920 movie lover about a classic, aw beloved movie they haven't 0:00:10.039 --> 0:00:14.080 quite got around to watching until now, and Today's guests 0:00:14.880 --> 0:00:18.360 Journalist TV hosts broadcaster. 0:00:18.040 --> 0:00:19.759 Mate Haimi's McDonald. 0:00:24.360 --> 0:00:26.799 The first rule of fake club is you do not 0:00:26.920 --> 0:00:28.240 talk about fake club. 0:00:35.280 --> 0:00:44.280 Now always you afraid of you broke my heart. I 0:00:44.360 --> 0:00:45.400 admi your luck. 0:00:46.120 --> 0:00:52.680 Mister Bond, James Bond, haven't a. 0:00:53.000 --> 0:00:55.520 Right now, don't see nothing here. 0:01:08.319 --> 0:01:11.559 Hamish McDonald is not only an outstanding journalist but quite 0:01:11.560 --> 0:01:15.480 simply one magnificent bloke. Hamish has done the hard yards 0:01:15.520 --> 0:01:18.760 over the years, working for everyone from Al Jazeera Channel 0:01:18.800 --> 0:01:22.640 four and ITV in England, ABC both in America and Australia, 0:01:22.680 --> 0:01:25.600 and of course Channel ten where he hosts a Sunday 0:01:25.640 --> 0:01:29.560 project alongside Lisa Wilkinson and or when Lalitez the Sniffles 0:01:29.600 --> 0:01:32.280 he joins us during the week. Like god good journalist, 0:01:32.360 --> 0:01:36.040 Hamish is always prepared to listen and debate to put 0:01:36.080 --> 0:01:38.600 his point forward. But it never feels that Hamees's mind 0:01:38.640 --> 0:01:41.320 has ever shut off to possibilities even when he's talking 0:01:41.360 --> 0:01:45.959 world affairs with an unqualified braffoon like myself. Hamish's great 0:01:46.000 --> 0:01:48.760 fun on and off the screen. He's curious about the 0:01:48.760 --> 0:01:52.240 world and the people around him. He's empathetic, but he's 0:01:52.240 --> 0:01:54.680 no pushover. Hamish knows how to put his argument to 0:01:54.920 --> 0:01:56.720 those in power and never. 0:01:56.560 --> 0:01:58.080 Takes a backward step. 0:01:58.800 --> 0:02:03.200 He's fun, he's intelligent, he's bloody handsome, and I'm bloody 0:02:03.200 --> 0:02:05.760 stoked to be hanging with him today? 0:02:15.919 --> 0:02:16.200 Could I? 0:02:16.440 --> 0:02:20.520 I'm Hamis McDonald. My three favorite films are Forwardings in 0:02:20.560 --> 0:02:27.560 a Funeral, I Think I Love You, Summersault and head On. 0:02:28.160 --> 0:02:31.639 I love that fucking felt And until recently, I'd never 0:02:31.680 --> 0:02:42.280 watched Punch Drunk Love. I believe this is a small piano. 0:02:43.160 --> 0:02:43.919 It's not a piano. 0:02:43.960 --> 0:02:46.440 I've got a piano. What did you get it? 0:02:48.280 --> 0:02:50.280 It was strapped in the street. 0:02:52.840 --> 0:03:00.919 Why are they here? Barry Mary. 0:03:02.320 --> 0:03:05.040 Following on from the twin successes of Boogie Knights and 0:03:05.080 --> 0:03:08.639 his magnus Opus Magnolia, Paul Thomas Anderson wanted to show 0:03:08.680 --> 0:03:11.600 Hollywood that he could make a movie that runs under 0:03:11.800 --> 0:03:15.400 ninety minutes. At the Carni International Film Festival, when the 0:03:15.400 --> 0:03:19.119 press were lavishing praise on the young auteur over magnolia. 0:03:19.320 --> 0:03:22.000 They asked him how the packed press conference, who would 0:03:22.000 --> 0:03:24.480 he like to work with next? He gave two answers. 0:03:24.480 --> 0:03:27.680 The first were met with fervent nods. It was Daniel 0:03:27.840 --> 0:03:30.800 day Lewis. The next day that came from PTA's mouth 0:03:31.120 --> 0:03:34.880 was met with roars of laughter. That name was Adam Sandler. 0:03:35.040 --> 0:03:37.080 The press were then discover a few years later that 0:03:37.120 --> 0:03:39.600 Anderson was not joking. He wanted to make an art 0:03:39.640 --> 0:03:43.000 House Adam Sandler comedy. The result is two thousand and 0:03:43.000 --> 0:03:47.160 two stunning punch drunk Love. We first find Adam Sandler's 0:03:47.200 --> 0:03:50.440 Barry Egan, hunched over his desk alone in the factory 0:03:50.440 --> 0:03:54.240 warehouse as he negotiates with a slightly disinterested voice on 0:03:54.240 --> 0:03:57.880 a helpline something about barcodes and putting his blue soup, 0:03:57.960 --> 0:04:01.920 making him almost disappear into the wall behind him. Sandler's 0:04:01.920 --> 0:04:05.400 turn as the repressed, socially awkward Barry, a man whose 0:04:05.400 --> 0:04:07.880 blue suit may as well be a strait jacket, is 0:04:07.920 --> 0:04:10.760 still the best of his career, although his work in 0:04:10.840 --> 0:04:14.560 Uncut Gems is in the conversation when Barry's one of 0:04:14.640 --> 0:04:17.880 seven Hally sisters, brings work mate Lena Lennard played by 0:04:17.960 --> 0:04:21.960 the always great Emily Watson, into officially introduce them. Barry's 0:04:22.000 --> 0:04:24.560 life is about to take a dramatic turn. Will Lena 0:04:24.600 --> 0:04:27.000 be able to drag Barry out of the shadows and 0:04:27.120 --> 0:04:30.839 into the light? Add to this an abruptly abandoned harmonium, 0:04:31.000 --> 0:04:33.560 a shitloader putting, and a phone sex call that goes 0:04:33.600 --> 0:04:36.000 as horribly wrong as it could possibly go, and you 0:04:36.080 --> 0:04:39.040 may just have one of the most unique American romances 0:04:39.160 --> 0:04:44.039 of recent times. John Brian's magnificent, deliberately disjointed score shot 0:04:44.080 --> 0:04:47.680 by frequent PTA collaborator Robert Elswiz, whose use of lighting 0:04:47.720 --> 0:04:50.880 and lens flair is a masterclass. A movie about letting 0:04:50.880 --> 0:04:54.920 people in, letting go, and finding strength through love. Hamis 0:04:55.000 --> 0:04:58.520 McDonald Have any of your phone sex calls ever gone 0:04:58.600 --> 0:04:59.200 this family? 0:05:00.040 --> 0:05:03.159 They've all been brilliant, they've all. 0:05:03.080 --> 0:05:07.839 Been romantic, and this gentle and there's a real, real 0:05:08.200 --> 0:05:10.080 yeah push up for humanity. 0:05:10.200 --> 0:05:12.960 None of them have ever tried to extort me afterwards. 0:05:12.800 --> 0:05:15.520 It's nice. It's nice when you can this. It's a 0:05:15.560 --> 0:05:17.479 business transaction. Hey, we've had a great time. 0:05:17.800 --> 0:05:20.440 Let's just leave it at that now. Thank you for 0:05:20.640 --> 0:05:21.039 joining me. 0:05:21.080 --> 0:05:23.960 You are one of the busier guests I've had on 0:05:24.560 --> 0:05:28.440 So thank you for dragging your ass to Collingwood in the. 0:05:28.560 --> 0:05:30.760 You know, on a wet Melbourne day, it's de rightful 0:05:30.760 --> 0:05:31.200 to be here. 0:05:31.520 --> 0:05:34.560 Why I won't ask you why you haven't seen Punch 0:05:34.600 --> 0:05:37.640 Drunk Love, because it's not like you haven't seen Star 0:05:37.680 --> 0:05:38.440 Wars or George. 0:05:38.480 --> 0:05:41.159 This is a particular kind of classic movie. 0:05:41.200 --> 0:05:44.280 I think it feels like, you know, it's it's more 0:05:44.320 --> 0:05:47.400 on the cult kind of side of classic. But are 0:05:47.480 --> 0:05:50.840 you what's your worldview of Adam Sandler going into this 0:05:50.920 --> 0:05:52.599 cause I think this is an important question for anyone 0:05:52.640 --> 0:05:53.560 watching Punt Drunk Love. 0:05:53.760 --> 0:05:56.800 I have come to the realization that he's quite a 0:05:56.800 --> 0:06:02.400 polarizing actor, and I probably fall on the skeptical side. 0:06:02.440 --> 0:06:09.080 I don't particularly like those kind of American comedy films 0:06:09.080 --> 0:06:12.320 that he's normally in. It's not a personal thing about him, 0:06:12.839 --> 0:06:16.040 but I guess the types of movies that he is 0:06:16.120 --> 0:06:20.760 in just don't particularly appeal to me. I think Emily 0:06:20.800 --> 0:06:24.200 Watson actually is someone that I would probably watch a 0:06:24.240 --> 0:06:27.080 film for. I can't remember why I didn't watch this 0:06:27.160 --> 0:06:29.520 when it came out in two thousand and two, but 0:06:29.600 --> 0:06:33.520 I reckon it probably would have been the Adam Sandler component. 0:06:33.560 --> 0:06:35.480 It's funny because Adam Sandler is I think such a 0:06:35.520 --> 0:06:37.560 strength in this film. I think once you watch it 0:06:38.320 --> 0:06:40.960 and he's I think we'll get into it. I want 0:06:41.000 --> 0:06:42.360 to talk too much about it. I think he's so 0:06:42.480 --> 0:06:47.080 great in this movie. But he also I think turns 0:06:47.080 --> 0:06:50.440 people away from the people who don't like Adam Sandler 0:06:51.880 --> 0:06:53.839 that generally it takes a lot for them to go 0:06:53.920 --> 0:06:56.360 It probably takes ten people to say you must see 0:06:56.400 --> 0:06:58.480 this movie for them to actually go see it. 0:06:58.680 --> 0:07:02.080 I guess exception of him, rightly or wrongly. And I 0:07:02.120 --> 0:07:04.720 know we're going to talk about this movie later on. 0:07:05.960 --> 0:07:08.599 Is that when you go and see an Adam Sandler film, 0:07:09.400 --> 0:07:13.480 you're watching Adam Sandler be Adam Sandler. That there's not 0:07:13.920 --> 0:07:17.880 a lot of dynamism or diversity to the characters he 0:07:18.120 --> 0:07:19.840 plays as or it seems to be a bit of 0:07:20.360 --> 0:07:25.640 an iteration of the same thing. And so I definitely 0:07:25.720 --> 0:07:28.560 came to this with a fair amount of curiosity. You know, 0:07:28.640 --> 0:07:33.120 why is this one on this list? You know, I 0:07:33.160 --> 0:07:35.200 was aware of it. It wasn't, you know, a film 0:07:35.240 --> 0:07:39.400 that I'd never heard of. I was enthusiastic about sitting 0:07:39.440 --> 0:07:44.880 down and watching it, and I tried to come at 0:07:44.920 --> 0:07:47.200 this with an open mind. I also knew that he 0:07:47.400 --> 0:07:51.320 had been in what was the one you Just Uncut Gems, 0:07:52.240 --> 0:07:54.880 and I definitely did think. I read the reviews of that, 0:07:55.040 --> 0:07:57.280 I thought about watching, and I didn't get to it, 0:07:57.480 --> 0:08:01.720 probably for the same reason, just that inherent skepticism that 0:08:01.760 --> 0:08:05.800 I have about about him. So yeah, I was ready 0:08:05.800 --> 0:08:07.400 for the journey of this film. 0:08:07.480 --> 0:08:10.560 Paul Jomas Sanderson certainly saw something. It's a remarkable press 0:08:10.600 --> 0:08:12.920 conference as in Car, which I mentioned in the intro, 0:08:13.000 --> 0:08:15.640 where they just laughed that he wanted It does sound 0:08:15.680 --> 0:08:18.080 like a joke when you say Daniel day Lewis and 0:08:18.120 --> 0:08:20.960 then Adam Sandler. Yeah, and you haven't made like a 0:08:21.040 --> 0:08:23.960 comedy yet, boy United. That's some comedic elements, absolutely, and 0:08:23.960 --> 0:08:26.240 so people actually do kind of consider it a comedy, 0:08:26.280 --> 0:08:28.160 but I see it more as like good Fellows in 0:08:28.200 --> 0:08:31.120 my mind. So to kind of go from these big 0:08:31.200 --> 0:08:34.520 ensemble pieces usually like the best character actors Philip Seima Hoffman, 0:08:34.600 --> 0:08:38.079 Julianne Moore, to then say you want to work with 0:08:38.200 --> 0:08:41.240 Daniel da Lewis, Yeah, fair enough, and then at Adam Sandler. 0:08:41.280 --> 0:08:43.080 I mean, if you're a comedian that's that's the joke 0:08:43.160 --> 0:08:43.439 you do. 0:08:43.760 --> 0:08:45.960 I quite like that, though, So I do a bit 0:08:46.000 --> 0:08:49.440 of second screening if I'm watching films generally, and I 0:08:49.480 --> 0:08:51.720 did do a bit of reading about this and the director, 0:08:52.120 --> 0:08:55.240 and actually that really appeals to me. It made me 0:08:55.280 --> 0:08:59.160 think about White Lotus, the series that did pretty well 0:08:59.240 --> 0:09:03.640 during the pandem and the director had this fascination with 0:09:03.760 --> 0:09:10.359 Jennifer Coolidge. He played Stiffler's mum in the American Pie franchise, 0:09:11.080 --> 0:09:14.439 and you know, she, in a similar way, always seemed 0:09:14.480 --> 0:09:18.000 to play the same character, the kind of blonde bimbo 0:09:19.080 --> 0:09:22.920 milf I think she was called in American Pie. And 0:09:23.080 --> 0:09:25.439 he was fascinated by her, and he did, in fact, 0:09:25.640 --> 0:09:28.680 I think I read a New Yorker magazine article about 0:09:28.679 --> 0:09:35.199 it subsequent to White Lotus. He had been so fascinated 0:09:35.240 --> 0:09:38.040 by her and so interested in what the layers were 0:09:38.480 --> 0:09:42.720 to her, underneath these very surface level portrayals of characters 0:09:43.160 --> 0:09:46.120 that she had delivered, that had actually written a whole 0:09:46.160 --> 0:09:50.400 series for her with her in mind that didn't get up. 0:09:51.120 --> 0:09:54.040 They then landed on White Lotus, and he wrote that 0:09:54.200 --> 0:09:57.280 character for her, and for me, she was really a 0:09:57.320 --> 0:10:02.040 standout in that in that series that really appealed. And 0:10:02.080 --> 0:10:05.240 the idea that he saw something in Adam Sandler beyond 0:10:05.480 --> 0:10:08.800 the kind of almost caricature of you know, characters that 0:10:08.840 --> 0:10:12.800 he plays. It was something that I was enthusiastic about. 0:10:12.840 --> 0:10:14.320 And I think, if you're right, if you're trying to 0:10:14.320 --> 0:10:18.360 break into the industry, and we get a lot of 0:10:18.360 --> 0:10:20.719 feedback from people who are trying to get in and 0:10:20.760 --> 0:10:23.760 and and it's occasionally I'll just try to kind of 0:10:24.440 --> 0:10:27.280 pick up on something that maybe helpful if you can 0:10:27.360 --> 0:10:29.440 find an actor and then maybe, you know, if you're 0:10:29.520 --> 0:10:31.720 local in Australia, it may be somebody who's you know, 0:10:32.679 --> 0:10:33.840 you know, a local actor. 0:10:34.240 --> 0:10:35.280 I did it. If I love you too. 0:10:35.440 --> 0:10:38.720 I love Peter dinkliche station agent, and I thought that 0:10:38.760 --> 0:10:43.280 guy is phenomenal and I wanted to write something for him. 0:10:43.559 --> 0:10:46.400 And it felt ridiculous. It felt like Peter thinklige is 0:10:46.400 --> 0:10:48.400 this is pre Game of Thrones, this is even pre 0:10:48.559 --> 0:10:51.080 death of a funeral. Peter Dinklish I didn't like. But 0:10:51.120 --> 0:10:54.640 it felt so bizarre for me to say that that loud, 0:10:54.960 --> 0:10:58.000 that I've written this for Peter Dnklage and then we 0:10:58.200 --> 0:11:00.199 send it to him and he had he got like 0:11:00.280 --> 0:11:01.720 that he has some notes on that on the draft 0:11:01.720 --> 0:11:03.320 that we sent him, and we kind of you know, 0:11:03.440 --> 0:11:05.360 we took some of those and other things we said, well, 0:11:05.360 --> 0:11:06.840 this is why this has done that way. 0:11:06.880 --> 0:11:09.439 So he accepted that, but he came on board. 0:11:09.880 --> 0:11:12.319 There is a thrill of having something written for you, 0:11:12.440 --> 0:11:16.000 So don't try to write something for George Clooney. He's 0:11:16.000 --> 0:11:20.680 got But if you can find an actor who you 0:11:20.720 --> 0:11:22.640 don't think has been used in the right way to 0:11:22.640 --> 0:11:24.719 give them a comedy or to give them a drama 0:11:24.880 --> 0:11:27.559 when they're you know, usually done comedy, then then that's 0:11:28.000 --> 0:11:31.320 that's If you can excite an actor about doing that, 0:11:31.320 --> 0:11:32.240 that's that helps. 0:11:32.320 --> 0:11:36.600 I think, you know, get a script screenlt sometimes. 0:11:36.720 --> 0:11:40.960 Yeah, I recently watched the I think it's a binge 0:11:41.000 --> 0:11:45.160 series maybe or Stan with Boyana love Me. Yeah, yeah, 0:11:45.280 --> 0:11:46.560 Boyana and Novakovich. 0:11:46.720 --> 0:11:49.160 Yeah. I haven't seen it, but I've only heard amazing things. 0:11:49.360 --> 0:11:54.360 And I was only vaguely aware of her, And I 0:11:54.360 --> 0:11:57.200 wouldn't put her in the same category as Adam Sandler, 0:11:57.400 --> 0:12:00.200 you know, always playing the same thing. But she has 0:12:01.040 --> 0:12:04.360 her career. She's Australian Australian Serbian, but mainly has had 0:12:04.360 --> 0:12:09.160 a career in the United States and I guess the 0:12:09.440 --> 0:12:12.520 characters that I think. You know, She's in Suicide Squad, 0:12:12.600 --> 0:12:17.040 she was in Ititonia. She was in a series with 0:12:17.320 --> 0:12:23.520 Alan Cummings where they're sort of these detectives and they 0:12:23.559 --> 0:12:25.679 were kind of quite well, I guess they're kind of 0:12:25.720 --> 0:12:29.120 comedic roles. Probably you would you would describe them. Yes, 0:12:29.160 --> 0:12:31.240 I don't know whether you'd say Aitonia is, but I 0:12:31.240 --> 0:12:36.720 guess it was. But in Love Me and It's with 0:12:36.840 --> 0:12:40.720 Hugo Weaving. She she's the main character, and there's just 0:12:40.800 --> 0:12:44.000 so much depth to her and so much emotion, and 0:12:44.520 --> 0:12:48.280 I found her one of the more transfixing characters and 0:12:48.360 --> 0:12:52.000 actors I've watched in a long time. And she did 0:12:52.040 --> 0:12:55.040 something I think in that series that stayed with me 0:12:55.120 --> 0:12:58.840 for quite a long time and really made me ponder. 0:12:58.880 --> 0:13:02.120 And I love things that you go away reflecting on 0:13:02.200 --> 0:13:05.200 for a substantial period of time and wanting to talk 0:13:05.240 --> 0:13:09.120 to people about. And so I don't think it was 0:13:09.120 --> 0:13:10.800 written for her. I think actually it was a series 0:13:10.800 --> 0:13:13.520 that was originally made somewhere in Scandinavia maybe, and it 0:13:13.559 --> 0:13:18.520 was an Australian adaptation, but it felt actually very Australian, 0:13:18.800 --> 0:13:22.559 and I thought she was just incredible. 0:13:22.200 --> 0:13:26.679 Yeah, she is an incredible actress. And she also she 0:13:26.920 --> 0:13:30.160 is very funny. Like I don't know her particularly well. 0:13:30.160 --> 0:13:31.760 I think i've met her at maybe a handful of 0:13:31.760 --> 0:13:33.160 times when we interviewed a couple of times. 0:13:33.280 --> 0:13:35.280 She's for the whole years ago. 0:13:35.280 --> 0:13:38.840 When what I really admire about her is she she 0:13:38.880 --> 0:13:41.120 doesn't stop, like she just kind of if she's not 0:13:41.160 --> 0:13:43.679 working sher corect work, Like she's doing this tennis character 0:13:43.760 --> 0:13:45.920 that's like Russian. I might have been serving on a 0:13:45.960 --> 0:13:48.800 tennis character that was just and she's just doing her 0:13:48.840 --> 0:13:50.480 own little videos hilarious. 0:13:50.600 --> 0:13:52.600 I think she has a YouTube series where she goes 0:13:52.679 --> 0:13:56.160 I've really gone down a few rabbit holes hear. 0:13:55.400 --> 0:13:56.720 There always rabbit holes to go down. 0:13:56.760 --> 0:14:02.640 And then yeah, she goes on dates with people. Yeah, 0:14:02.679 --> 0:14:05.240 and it's filmed for you for YouTube, I think, and 0:14:05.320 --> 0:14:07.320 she plays a character. 0:14:07.800 --> 0:14:09.040 Yes, I spoke. 0:14:09.080 --> 0:14:12.960 I think I spoke to somebody who actually appeared in 0:14:13.000 --> 0:14:15.959 one of those. Was on the other end of the day, Yeah, 0:14:16.120 --> 0:14:17.120 it was working on these. 0:14:17.280 --> 0:14:20.120 I think someone we work with has done it, because 0:14:20.160 --> 0:14:23.160 I feel like I've had this conversation at work. Yes, 0:14:23.560 --> 0:14:29.440 project it was well, but she's actually one of our 0:14:29.440 --> 0:14:32.520 makeup artists at Channel ten. Went to high school with 0:14:32.560 --> 0:14:35.680 her at I think it's McDonald College, one of the 0:14:35.680 --> 0:14:41.560 performing arts schools in college. Yeah, my performing arts school. 0:14:42.360 --> 0:14:43.280 Give it a plug, go on. 0:14:45.480 --> 0:14:49.280 And was talking about her the other day actually, and 0:14:49.960 --> 0:14:51.800 because I think they were planning some kind of reunion 0:14:51.880 --> 0:14:54.520 or something something along those lines, and she was like, 0:14:54.880 --> 0:14:57.000 she was so cool when we were in high school. 0:14:57.080 --> 0:15:00.120 She taught us how to smudge. 0:15:02.080 --> 0:15:03.680 I forgot all about smudging. 0:15:06.560 --> 0:15:09.000 Wow, the woman of many hidden talents. 0:15:09.760 --> 0:15:13.560 We're talking smudges in on paper and that's not cool 0:15:13.680 --> 0:15:14.720 or code for something else. 0:15:15.320 --> 0:15:17.080 It could be you know, when you were at high school, 0:15:17.200 --> 0:15:19.960 primary school and you do like drawings, and then you know, 0:15:20.200 --> 0:15:22.040 you'd sort of put a bit of spit on your 0:15:22.040 --> 0:15:26.760 fingers and smudge the end of the the yeah line, I. 0:15:26.680 --> 0:15:28.120 Thought it might have been like code and all of 0:15:28.120 --> 0:15:30.800 a sudden condoning smudging and that's going to my face. 0:15:32.360 --> 0:15:34.000 I might have to go down that rabbit hole as well. 0:15:34.000 --> 0:15:37.920 It's much better than the rabbit hole. You're not much safer. 0:15:38.720 --> 0:15:40.960 Let's say about your three favorite films. It's really interesting 0:15:40.960 --> 0:15:43.720 ones here. Four Weddings and a Funeral. Let's begin with that. 0:15:43.760 --> 0:15:46.440 What a one of the quintessential romantic comedies. You know, 0:15:46.640 --> 0:15:49.320 I remember seeing this in Glasgow. I was traveling by 0:15:49.320 --> 0:15:51.000 myself as an eighteen year old. I may have turned 0:15:51.040 --> 0:15:53.680 nineteen by the time I saw it, and just felt 0:15:53.720 --> 0:15:56.360 all the feels of you know, like missing my friends 0:15:56.360 --> 0:15:58.680 from back home, and I remember crying in the cinema 0:15:58.920 --> 0:16:01.520 watching it by myself. Did you see when it came 0:16:01.560 --> 0:16:02.640 out or did you catch it later on? 0:16:02.840 --> 0:16:04.760 I think probably I saw it when it came out, 0:16:05.000 --> 0:16:10.360 but I think I I it's a film that I've 0:16:10.480 --> 0:16:12.840 There's only a handful of films that I've watched a lot, 0:16:13.120 --> 0:16:14.680 and it's a film that I do go back to, 0:16:14.720 --> 0:16:16.240 you know, if it's a rainy day or whatever and 0:16:16.240 --> 0:16:19.440 I'm feeling a bit, you know, blue, It's a film 0:16:19.440 --> 0:16:23.760 that I might put on. I think I've lived a 0:16:23.800 --> 0:16:26.360 lot of my adult life overseas, and a large chunk 0:16:26.400 --> 0:16:30.200 of that in the UK, in London, and so a 0:16:30.240 --> 0:16:35.360 lot of the locations became very familiar to me, and 0:16:35.480 --> 0:16:37.520 so I ended up, you know, I lived in a 0:16:37.560 --> 0:16:41.880 place in Islington for a long time and bits of 0:16:41.920 --> 0:16:46.080 that film shot around there, you know, the sort of 0:16:46.120 --> 0:16:49.840 the opening scenes where they're running late and she's sort 0:16:49.880 --> 0:16:53.160 of half dressed running down the high street. That's that's 0:16:53.240 --> 0:16:56.480 up the street in Islington. The sort of final scenes 0:16:56.560 --> 0:17:01.040 where you know, Any McDowell's in the in theane and 0:17:01.200 --> 0:17:04.160 Hugh Grant sort of turns up at the door. That's 0:17:04.400 --> 0:17:07.879 filmed at a house on the edge of Highbury Fields, 0:17:07.880 --> 0:17:10.560 which is where I where my place was. 0:17:10.760 --> 0:17:12.439 Was it raining in that scene, I didn't notice. 0:17:15.440 --> 0:17:20.959 God, Charlie Pickering, I'm sure it was, had a has 0:17:21.000 --> 0:17:25.560 a violent reaction to Dany McDowell, and I feel, I 0:17:25.560 --> 0:17:28.119 feel she was mostly good. She did her job in 0:17:28.160 --> 0:17:31.000 that role, that last scene. And I'm sure it's direction 0:17:31.040 --> 0:17:34.680 from Richard Curtis or not, but that last scene where 0:17:34.720 --> 0:17:39.600 she's yeah, that line, yeah, look, he doesn't ruin the 0:17:39.600 --> 0:17:40.119 film for me. 0:17:42.000 --> 0:17:45.840 I get why people don't particularly like those films as well, 0:17:46.480 --> 0:17:49.280 you know, Richard Curtis films, they're a particular thing. But 0:17:49.400 --> 0:17:52.920 I guess I really I really loved living in the UK. 0:17:53.280 --> 0:17:56.960 I loved living in London. I felt, you know, my 0:17:57.080 --> 0:17:59.639 time there work wise and personally was was you know, 0:18:00.160 --> 0:18:05.280 formative period in my life. And I think that and 0:18:05.320 --> 0:18:09.240 love actually it just reminds me of that time very strongly, 0:18:09.880 --> 0:18:12.840 and you know, I think I think when I first 0:18:13.000 --> 0:18:15.560 moved to the UK, I think Love Actually had just 0:18:15.640 --> 0:18:18.320 come out and Bits of Love actually a film on 0:18:18.359 --> 0:18:20.840 the South Bank and in South London, which is where 0:18:20.880 --> 0:18:23.439 I was living. I was dossing at that point, you know, 0:18:23.560 --> 0:18:26.919 sleeping on someone's couch just near London Bridge. So it 0:18:26.960 --> 0:18:30.959 was it was all I guess I was sort of 0:18:31.000 --> 0:18:34.720 in that space, in that in that geographic space as 0:18:34.760 --> 0:18:37.640 that film came out and was you know, a huge 0:18:37.680 --> 0:18:43.040 hit obviously, and so I think those Richard Curtis films 0:18:43.760 --> 0:18:46.520 remind me of that time in my life and and 0:18:46.560 --> 0:18:48.879 so you know, it just connects me with that. 0:18:49.560 --> 0:18:52.440 And for the record, I love Richard Curtis films. I mean, 0:18:52.520 --> 0:18:54.520 maybe don't listen to it Love Actually episode with Eddie 0:18:54.560 --> 0:18:57.760 Bannon because he and I joined a little bit. There's 0:18:57.800 --> 0:19:00.680 a lot wrong with that film, but Richard largely about 0:19:00.720 --> 0:19:04.720 the fields, I think, and and those you forget that 0:19:05.280 --> 0:19:09.240 four Weddings and even you know and Nodding Hill really 0:19:09.320 --> 0:19:13.000 kind of it was just so wonderful to see a 0:19:13.040 --> 0:19:16.880 group of friends and in a way that a completely 0:19:16.880 --> 0:19:19.840 different kind of show, but Seinfeld kind of that kind 0:19:19.880 --> 0:19:22.199 of aspirational oh these might be my friends. When I 0:19:22.200 --> 0:19:24.240 get older and I'm living in a big city, and 0:19:24.320 --> 0:19:29.639 and and Seinfeld, their characters are more unlikable. They're funny 0:19:29.640 --> 0:19:32.400 and we love them, but they're unlikable characters. Where notting 0:19:32.480 --> 0:19:35.480 Hill that it was surrounded by these warm, supportive friends 0:19:35.480 --> 0:19:36.800 of family. He'd like to take the piece out of 0:19:36.800 --> 0:19:39.080 each other, but also we're there, they had each other's backs. 0:19:39.600 --> 0:19:41.959 You know that that kind of scene in notting Hill 0:19:41.960 --> 0:19:43.879 when they're in the cafe, when he's kind of said, 0:19:43.960 --> 0:19:46.080 you know, I can't be with you and send her away, 0:19:46.080 --> 0:19:46.440 and then. 0:19:46.640 --> 0:19:47.280 What are you doing? 0:19:47.680 --> 0:19:50.280 You know, it's it's a warmth of Richard Curtis films 0:19:50.480 --> 0:19:51.240 is intoxicating. 0:19:52.040 --> 0:19:54.919 You're right, and I agree with that one hundred percent. 0:19:55.280 --> 0:19:58.480 I think the funeral scene in Four Weddings and. 0:19:58.480 --> 0:20:01.200 A Funeral is the Poem is incredible. 0:20:01.800 --> 0:20:05.359 I struggle to think of a scene in any film 0:20:05.640 --> 0:20:09.800 that touches me more. I think a cry every time 0:20:11.000 --> 0:20:16.080 I think as well. The depiction in that movie of 0:20:17.119 --> 0:20:21.440 a gay relationship or same sex relationship within a group 0:20:21.480 --> 0:20:25.879 of friends was very meaningful to me. It wasn't a 0:20:25.920 --> 0:20:29.600 gay movie, it wasn't a gay story. It just existed 0:20:29.960 --> 0:20:33.840 in a very you know, in a way that was 0:20:34.440 --> 0:20:35.840 more familiar to me. 0:20:36.800 --> 0:20:40.080 It's interesting because Shit's Creek has won a lot of fans. 0:20:40.520 --> 0:20:44.440 I love Shit's Creek for the representing a gay relationship 0:20:44.880 --> 0:20:47.399 without all the judgment and from the small town that 0:20:47.440 --> 0:20:52.479 you might usually expect in American or Canadian any kind 0:20:52.520 --> 0:20:54.960 of films really, And I didn't really thought about it, 0:20:54.960 --> 0:20:56.520 but for Winnings in the Funeral almost does that. 0:20:56.720 --> 0:20:59.080 Yeah, you know, thirty years earlier. 0:20:59.160 --> 0:21:03.399 Yeah, I mean it's an old film, and I think 0:21:04.720 --> 0:21:08.159 there was a time, I guess where where gay stories 0:21:08.560 --> 0:21:12.680 or same sex stories were almost set to the side, 0:21:13.040 --> 0:21:18.320 or treated differently, and or were somehow if they were depicted, 0:21:18.359 --> 0:21:20.919 were very controversial within a broader context. This is just 0:21:20.920 --> 0:21:25.480 a group of friends. Yeah, A couple of them happened 0:21:25.520 --> 0:21:30.560 to be in a same sex relationship, and I I 0:21:33.040 --> 0:21:37.600 suppose I saw a version of love in that, particularly 0:21:37.640 --> 0:21:40.879 in that funeral scene, that it was very meaningful. I 0:21:40.880 --> 0:21:44.240 guess when you when you are young, and you know, 0:21:44.359 --> 0:21:48.880 learning about yourself and thinking about your future, that that is, 0:21:49.320 --> 0:21:50.320 you know, is important. 0:21:50.800 --> 0:21:51.080 Yeah. 0:21:51.400 --> 0:21:54.640 Well, something it was a bit more controversial was head 0:21:54.680 --> 0:21:59.600 on with alextati artists. That's a different kind of relationship 0:21:59.840 --> 0:22:06.600 and the representation of a gay man's life. So remind 0:22:06.640 --> 0:22:10.199 me was the character in head on incredible film? Was 0:22:10.240 --> 0:22:13.199 he straight with his family or was he like not 0:22:13.359 --> 0:22:14.120 out of the closet? 0:22:14.200 --> 0:22:19.160 Was he wasn't really out? No, he definitely wasn't out. 0:22:19.560 --> 0:22:21.520 He was he was on a bit of a journey 0:22:21.760 --> 0:22:22.600 of discovery. 0:22:22.680 --> 0:22:22.880 Yeah. 0:22:23.320 --> 0:22:27.800 I actually rewatched it last night to refamiliarize myself with 0:22:27.840 --> 0:22:30.399 it because I was thinking through, hang on, what you know, 0:22:30.800 --> 0:22:32.920 how do you choose these three favorite films? 0:22:33.000 --> 0:22:34.840 And I guess there was a discussion you were having 0:22:35.240 --> 0:22:38.040 Georgia Toney and Kate Lambrook at the desk which I 0:22:38.080 --> 0:22:40.520 was trying not to listen to, about what your three 0:22:40.520 --> 0:22:41.600 favorite film should be. 0:22:41.840 --> 0:22:47.000 And I I was a little uncertain about naming this 0:22:47.160 --> 0:22:51.560 as one, but I guess I you know, it came 0:22:51.600 --> 0:22:54.080 out at a time when I was young and was 0:22:54.160 --> 0:22:59.919 learning about myself, and I guess what stood out in 0:23:00.040 --> 0:23:06.560 my memory was Alex Dimitriat's this incredibly hot guy. There 0:23:06.600 --> 0:23:10.960 was some pretty full frontal scenes in that film, and 0:23:11.800 --> 0:23:14.720 it was just incredibly exciting to see that. I think, 0:23:15.200 --> 0:23:19.000 excuse me now, when I rewatch it. It's actually a 0:23:19.040 --> 0:23:23.919 pretty dark film and it's very challenging to watch, and 0:23:23.960 --> 0:23:27.080 I think probably more than anything, it probably scared me 0:23:27.119 --> 0:23:30.560 about being gay because it's depiction of what it was 0:23:30.680 --> 0:23:33.800 like exploring that. You know, he was in a lot 0:23:33.840 --> 0:23:37.560 of back alleyways and you know, random hookups with you know, 0:23:37.600 --> 0:23:40.159 a factory worker or a restaurant worker, and not that 0:23:40.200 --> 0:23:43.879 there's anything wrong with that, but it was all A 0:23:43.920 --> 0:23:48.280 lot of it was very sort of spontaneous, and some 0:23:48.359 --> 0:23:51.880 of it was a little bit scary, and the reactions 0:23:53.119 --> 0:23:56.840 within the Greek community or sort of those traditional conservative 0:23:56.880 --> 0:24:00.480 families two characters that may be gay or cross stressing 0:24:00.760 --> 0:24:05.000 or whatever they were doing, were pretty ferocious. And yeah, 0:24:05.040 --> 0:24:07.760 I think it probably came at a time for me 0:24:07.840 --> 0:24:12.280 when I certainly wouldn't have been out and probably was 0:24:12.400 --> 0:24:14.160 just coming to terms with it myself. 0:24:14.359 --> 0:24:15.840 So looking at that where you're going to think, Wow, 0:24:16.000 --> 0:24:17.639 if I'm going to go down this path, is that 0:24:17.760 --> 0:24:18.760 is that what it's going to be like? 0:24:19.280 --> 0:24:22.800 Yeah, I mean I don't consciously remember that, but watching 0:24:22.880 --> 0:24:25.679 it rewatching it last night for the first time in years, 0:24:26.240 --> 0:24:29.040 I thought, my god, this must have absolutely scared this 0:24:29.080 --> 0:24:30.520 shit out of me because. 0:24:30.280 --> 0:24:32.560 There was a time when I think society, the straight 0:24:32.760 --> 0:24:34.720 world kind of thought, oh, well, this is what gay 0:24:34.760 --> 0:24:36.720 people are, like, they must they thought. 0:24:36.520 --> 0:24:37.240 They're all the same. 0:24:37.320 --> 0:24:39.720 There's not, you know, Hannah Gasby talks about the quiet gays. 0:24:41.160 --> 0:24:45.000 You know, Yeah, there's a there's a whole like like 0:24:45.000 --> 0:24:47.840 like straight people, there's a whole speaking of people, you know. 0:24:47.880 --> 0:24:51.040 And that's not a homogeneous grouping. Yeah, there's a lot 0:24:51.080 --> 0:24:54.720 of letters in that alphabet. But even within that, Yeah, 0:24:54.760 --> 0:24:58.360 there's a lot of diversity and dynamism and different interests 0:24:58.400 --> 0:24:59.240 in different backgrounds. 0:24:59.240 --> 0:25:00.720 So I can, I can even and when you're young 0:25:00.720 --> 0:25:02.240 watching a movie like Head on It, and you know, 0:25:02.280 --> 0:25:04.320 there's probably other films that, you know, like a lot 0:25:04.320 --> 0:25:08.359 of a lot of films that depicted gay lifestyles around 0:25:08.359 --> 0:25:11.359 that time were like on the edge of like edgy cinema, 0:25:11.480 --> 0:25:15.199 art house cinema. Yeah, and that kind of almost that 0:25:15.280 --> 0:25:17.360 alone takes it to edgier spaces. 0:25:18.000 --> 0:25:21.400 It certainly does. And I mean, I love Christos Chokis's 0:25:21.480 --> 0:25:28.960 writing generally. I think he's totally brilliant and clearly what 0:25:29.040 --> 0:25:31.160 he was doing with that film was trying to start 0:25:31.200 --> 0:25:34.640 a kind of a conversation and it did have that impact. 0:25:34.680 --> 0:25:36.680 That film had a big impact. Design understand it on 0:25:36.720 --> 0:25:41.439 the Greek community in Australia. I mean, I also think 0:25:42.760 --> 0:25:46.440 the Paul Kapsus. Is there other actor in it who 0:25:46.560 --> 0:25:51.640 I've gotten that if I've got that wrong, but absolutely true. 0:25:52.119 --> 0:25:54.399 Actually I was blown away watching it last night, how 0:25:54.760 --> 0:25:58.960 great he is in it. And he is someone that's 0:25:59.000 --> 0:26:04.320 experimenting with with with gender or is I suppose living 0:26:04.359 --> 0:26:10.240 a gender fluid existence to some degree, and calls himself Tula, 0:26:10.720 --> 0:26:14.040 which is the name of his dead mother, and his 0:26:14.200 --> 0:26:19.200 father is appalled and this leads them into some fairly 0:26:19.240 --> 0:26:26.320 brutal scenarios and it is actually an incredible performance. 0:26:26.720 --> 0:26:32.679 Yeah, yeah, and very current. Mm head on check it 0:26:32.680 --> 0:26:35.760 out if you have a little movie around that time 0:26:36.000 --> 0:26:39.720 which I saw called Priest. Do you even see Priest 0:26:39.720 --> 0:26:43.159 by Antonio Bird, Robert Carlisle and Linus Roach about a 0:26:43.160 --> 0:26:45.879 Catholic priest who all of a sudden, just all of 0:26:45.920 --> 0:26:50.600 a sudden, but you know, started experimenting and it's an incredible, 0:26:50.720 --> 0:26:52.399 incredible I took I think I spoken about it on 0:26:52.440 --> 0:26:54.480 these podcasts before. I took a girl on a date 0:26:54.680 --> 0:26:56.960 and she was a Catholic fearing you know, you know, 0:26:57.040 --> 0:27:00.000 straight girl, as I was a straight guy. 0:27:00.160 --> 0:27:01.840 We went to the Melbourne at that point in my life. 0:27:01.920 --> 0:27:03.960 I mean, you know, yeah, yeah. 0:27:04.280 --> 0:27:05.000 It's still open. 0:27:05.080 --> 0:27:09.800 It's still open, and yeah, I yeah, so wow, these 0:27:09.800 --> 0:27:12.520 things are really these are really full on scenes and 0:27:13.720 --> 0:27:13.960 it was a. 0:27:14.000 --> 0:27:15.040 Very different movie to the head on. 0:27:15.080 --> 0:27:17.560 But I imagine if I was watching that in your 0:27:17.640 --> 0:27:21.720 situation kind of thinking, it's still even even though there's 0:27:21.760 --> 0:27:24.440 some tenderness in that movie, it's still kind of depicted. 0:27:24.480 --> 0:27:26.560 There's like people doing the wrong thing in a way. 0:27:27.200 --> 0:27:28.600 That's how society, I guess. 0:27:28.480 --> 0:27:32.040 Was totally. I mean, look, of course, it's amazing how 0:27:32.040 --> 0:27:37.119 far we've come. Actually, and so just from a I 0:27:37.160 --> 0:27:41.600 suppose social observation standpoint, watching it last night and reflecting 0:27:41.640 --> 0:27:43.840 on you know, that's really in the time of my 0:27:43.920 --> 0:27:46.800 adult life, yeah, which is sort of twenty years. Yeah, 0:27:47.680 --> 0:27:50.959 I think we attitudes have really changed, and that's that's 0:27:51.000 --> 0:27:55.760 obviously a wonderful thing. But yeah, I think when you 0:27:55.800 --> 0:27:59.560 are back in the eighties and nineties growing up gay 0:27:59.880 --> 0:28:04.240 or learning about yourself in that way, coming I come. 0:28:04.400 --> 0:28:08.360 You know, it came from a pretty conservative background, from 0:28:08.400 --> 0:28:11.600 a very small rural community. I was at a very 0:28:11.640 --> 0:28:17.000 conservative religious boarding school, all male, pretty sort of violent, 0:28:17.800 --> 0:28:23.120 aggressive environment. It was actually it was a fairly terrifying 0:28:23.359 --> 0:28:30.119 experience and isolating and lonely, and so I definitely I 0:28:30.119 --> 0:28:33.280 think there were things in that movie that definitely resonated 0:28:33.680 --> 0:28:37.240 and just that you know, there's a scene where the 0:28:37.320 --> 0:28:40.520 sort of these two the Alex demitriads and the Caps 0:28:40.560 --> 0:28:44.480 as characters end up in a police sell. One of them's, 0:28:44.760 --> 0:28:48.160 you know, poor Caps's addressed as Tuller. Alex is sort 0:28:48.200 --> 0:28:50.680 of gearing up for a night out, and then they 0:28:50.800 --> 0:28:54.720 sort of have this violent interaction both physical and verbal 0:28:54.800 --> 0:28:58.600 with the with the police. Yeah, I guess I was 0:28:58.640 --> 0:29:05.680 surprised at how familiar that felt. Weirdly, having grown up 0:29:05.680 --> 0:29:09.280 in the in the environment that I did. That sort 0:29:09.280 --> 0:29:12.120 of sense of genuine not just fear of like what 0:29:12.240 --> 0:29:14.880 happens if and when I tell my parents what happens 0:29:15.280 --> 0:29:19.600 you know about coming out, but just a genuine physical 0:29:19.640 --> 0:29:25.320 fear is something that that is, you know, is familiar 0:29:25.360 --> 0:29:29.880 to me and I don't think about much, but watching 0:29:29.880 --> 0:29:33.440 the film last night, you know, it certainly certainly resonated, 0:29:33.520 --> 0:29:35.240 and it made me think about that. 0:29:35.360 --> 0:29:39.200 And that actual Metritist's performance was revelatory, like he had 0:29:39.240 --> 0:29:41.720 gone from almost like heartbreak high in those kinds of 0:29:41.800 --> 0:29:45.040 roles and this kind of shocked everyone. This was like, wow, 0:29:45.160 --> 0:29:47.200 this is we weren't expecting this from from the sky 0:29:47.440 --> 0:29:50.680 and has continued to go on and to give great performance. 0:29:50.800 --> 0:29:53.000 I was actually remembering I think he I think he 0:29:53.160 --> 0:29:59.560 was found like by the Heartbreak High producers or Heartbreak 0:29:59.600 --> 0:30:04.840 Hid produces on the street Yeah, yeah, with friends, yeah Sydney, and. 0:30:04.920 --> 0:30:07.440 Considering that usually you might get a film or two 0:30:07.440 --> 0:30:09.560 out of someone that. I mean sometimes you hear those 0:30:09.600 --> 0:30:12.520 people going and having great careers, but to give those 0:30:12.600 --> 0:30:15.960 kinds of performances to go from playing you know, Heartbreaking 0:30:16.320 --> 0:30:20.200 and became heart Break High, where you know, the good performances. 0:30:20.680 --> 0:30:24.160 But yeah, head on was like full on and you know, 0:30:24.280 --> 0:30:27.520 doing some things for young bloke and you confronting for 0:30:27.560 --> 0:30:30.080 an actor. It also started, I think a string of 0:30:30.120 --> 0:30:33.080 films where Alex to Mitchiada's characters did like seem to 0:30:33.080 --> 0:30:34.480 perform or sex on people like. 0:30:34.400 --> 0:30:36.440 It, like it seemed to be. It seemed to be 0:30:36.480 --> 0:30:37.840 even in films where you weren't expecting it. 0:30:38.120 --> 0:30:41.560 Okay, there he goes again, adjusting it to the director, 0:30:41.600 --> 0:30:43.240 should I go down to this guy? It's not really 0:30:43.280 --> 0:30:45.000 the script that's got nothing to do with the plot, 0:30:45.040 --> 0:30:47.520 but sure, why not? Will throw it in there, we'll 0:30:47.600 --> 0:30:48.440 use it, maybe we won't. 0:30:48.440 --> 0:30:51.160 Who knows. They're a fantastic performer. 0:30:51.240 --> 0:30:55.040 Alex Demititi artist another breakthrough performance, and I do want 0:30:55.040 --> 0:30:56.640 to get on the top of backpunchtronk Love very soon, 0:30:56.680 --> 0:30:58.280 so we'll keep this a bit quick. But Kate Shortland 0:30:58.280 --> 0:31:00.640 a rise in the scene as a direct and that 0:31:00.680 --> 0:31:03.720 brings Abbie Cornish, who's had a wonderful career as well 0:31:03.720 --> 0:31:05.240 in Somersault. 0:31:05.040 --> 0:31:09.440 And Sam Worthington Sam worthing of course, and also Eric 0:31:10.120 --> 0:31:15.680 Eric Thompson Eric Thompson. So I suspect probably if you're 0:31:15.680 --> 0:31:18.000 listening you might not have seen Somersault. It wasn't like 0:31:18.040 --> 0:31:20.840 a big hit or anything. Would you call it art house. 0:31:20.960 --> 0:31:23.320 I got arth Hoouse. I think that'll win at Carnt 0:31:23.440 --> 0:31:24.960 or maybe very well at Cahn. 0:31:25.400 --> 0:31:30.560 So I going this probably almost twenty years ago. I 0:31:30.800 --> 0:31:34.800 was living in London. I hadn't been home to Australia 0:31:34.840 --> 0:31:39.320 for a number of years, and I went to go 0:31:39.400 --> 0:31:44.800 and see a movie in Covent Garden one day and 0:31:45.200 --> 0:31:48.600 when I got there, I saw like a sign board 0:31:48.680 --> 0:31:52.120 up for an Australian film and I was just I 0:31:52.200 --> 0:31:54.920 was just feeling a bit homesick, and I thought, maybe 0:31:54.960 --> 0:31:57.080 I'll watch that instead of what I'm here to watch. 0:31:57.840 --> 0:32:01.080 And I knew nothing about it, didn't know anything about 0:32:01.080 --> 0:32:04.200 the story, where it was set anything. And I went 0:32:04.240 --> 0:32:09.600 and sat down, and the film is set in Ginderbyne. 0:32:09.560 --> 0:32:11.880 It was I was gonna ask. 0:32:12.440 --> 0:32:14.720 Yeah, I knew Gindabie was set in Ginderbyne, but yeah, 0:32:14.920 --> 0:32:16.440 I was sure if it was. 0:32:16.520 --> 0:32:19.640 And not only that it was largely filmed on my street. 0:32:20.120 --> 0:32:20.720 Oh wow. 0:32:20.960 --> 0:32:24.360 Yeah. And I had no inkling of this before I 0:32:24.400 --> 0:32:30.720 went in, and I the emotions that I went through 0:32:31.400 --> 0:32:37.200 watching that movie were so overwhelming. I still feel them 0:32:37.200 --> 0:32:40.080 a little bit when I think about going and sitting 0:32:40.080 --> 0:32:43.240 in that cinema in London and watching this film and 0:32:43.320 --> 0:32:48.920 seeing the place where she lives is at Siesta Villa Motel, 0:32:49.280 --> 0:32:51.680 which is at the end of Gerrara Drive, which is 0:32:51.720 --> 0:32:52.760 where I grew up. 0:32:54.120 --> 0:32:54.920 That's incredible. 0:32:55.400 --> 0:32:58.120 The Leah Purcell character lives in a house which is 0:32:58.160 --> 0:33:00.200 also at the end of our street that was called 0:33:00.200 --> 0:33:03.960 the Animal House. The servo is the survey that we 0:33:04.000 --> 0:33:09.400 go to. The Sam Worthington character is about a guy 0:33:09.440 --> 0:33:13.280 that is sort of going home to visit it was. 0:33:13.600 --> 0:33:18.800 It was. It's a great film anyway, but that experience 0:33:18.840 --> 0:33:23.320 for me initially of watching it was incredible. 0:33:23.440 --> 0:33:25.280 I mean, we're all get to kick when a movie 0:33:25.320 --> 0:33:29.400 is shot in our own city. You know, we've discussed 0:33:29.440 --> 0:33:33.080 on this podcast how many people you know, I've spoken 0:33:33.120 --> 0:33:34.880 to love the Matrix just because of shot in Sydney. 0:33:34.960 --> 0:33:38.040 You recognize, Ah, there's you know, there's George Street or whatever. 0:33:38.080 --> 0:33:40.920 But for one to be shot in your street is 0:33:40.920 --> 0:33:41.680 pretty incredible. 0:33:42.280 --> 0:33:45.400 And for anyone listening that that doesn't know if Ginnervine 0:33:45.440 --> 0:33:48.400 it's in the snow mountains of New South Wales. It's 0:33:49.040 --> 0:33:52.440 a tiny little community, only a few thousand people. It's 0:33:52.440 --> 0:33:56.240 close to the ski resorts. Outside of the ski season, 0:33:56.320 --> 0:33:59.840 it's a very quiet place there always was. It's changing 0:34:00.000 --> 0:34:03.840 little bit now, but it's a place that I feel 0:34:03.880 --> 0:34:08.799 incredibly and deeply connected to every time I go. But 0:34:09.320 --> 0:34:12.480 you know, lived overseas for about fifteen sixteen years and 0:34:12.680 --> 0:34:15.000 whenever I came back, I would always make sure I 0:34:15.040 --> 0:34:18.239 got home to Ginderbyne. And there's a bend that you 0:34:18.360 --> 0:34:22.520 drive around as you as you come from Sydney into 0:34:22.640 --> 0:34:26.879 the mountains. There's one particular bend just before East Ginderbyne 0:34:27.080 --> 0:34:31.840 where you turn on this corner, and the whole mountains 0:34:31.840 --> 0:34:35.440 and the lake revealed themselves to you. And I always 0:34:35.600 --> 0:34:38.920 in anticipation of that bend, put the window down and 0:34:39.080 --> 0:34:44.719 just taking the air. It smells different there, and it's 0:34:44.800 --> 0:34:48.640 often very cold and crisp, and I love the feeling 0:34:48.920 --> 0:34:53.120 of putting the window down, taking a really deep breath 0:34:53.160 --> 0:34:56.520 in through my nose, feeling that kind of coldness at 0:34:56.560 --> 0:35:02.080 the back of my nose, and I I feel more 0:35:02.120 --> 0:35:05.520 at home and at peace there then I reckon anywhere 0:35:05.520 --> 0:35:06.080 else in the world. 0:35:06.520 --> 0:35:09.840 That's amazing. Do you have a soundtrack to that moment? 0:35:09.880 --> 0:35:11.439 Do you do you put anything on? 0:35:11.840 --> 0:35:12.000 No? 0:35:12.000 --> 0:35:14.960 I don't know. I mean probably just whatever is on. 0:35:15.080 --> 0:35:18.319 It's not about sort of trying to recreate something. I 0:35:18.360 --> 0:35:22.200 think something that is incredible about that landscape is that 0:35:22.239 --> 0:35:26.640 it is so ever changing. You know, the seasons all 0:35:26.760 --> 0:35:30.319 occur within one day, it can be within one hour, 0:35:31.880 --> 0:35:35.879 and it's really dramatic. And that viewpoint when you're coming 0:35:36.040 --> 0:35:38.600 is quite high up on a hill, so you get 0:35:38.600 --> 0:35:44.440 this just but it's an incredible reveal and it's you know, 0:35:44.640 --> 0:35:47.719 we live. Our home was in East Ginduvine on the lake, 0:35:48.120 --> 0:35:50.800 So you know you're literally in the last four minutes 0:35:50.840 --> 0:35:53.760 of your journey from from Sydney or Canberra or wherever 0:35:53.800 --> 0:35:56.480 you've come from. You know you know it's coming. If 0:35:56.480 --> 0:35:59.319 you're taking people down for the first time, you know 0:35:59.400 --> 0:36:01.640 you know they're about to see it. Or I look 0:36:01.680 --> 0:36:03.839 forward to that moment, you know, like when I took 0:36:03.920 --> 0:36:07.120 take my partner down for the first time, just you know, 0:36:07.200 --> 0:36:09.400 you know, for the five ten minutes leading up to 0:36:09.480 --> 0:36:13.200 that reveal that they're going to be like, wow. 0:36:13.320 --> 0:36:15.399 Yeah, this is beautiful. That's an exciting moment. 0:36:15.440 --> 0:36:17.560 This place that you talk about all the time is 0:36:17.640 --> 0:36:19.440 actually quite stunning. 0:36:19.520 --> 0:36:21.440 I hope Jake enjoyed it and didn't say just won 0:36:21.480 --> 0:36:25.319 the window up. What are you're doing? It's freezy? That 0:36:25.400 --> 0:36:26.560 could have been a deal rerecord. 0:36:27.360 --> 0:36:29.960 I at the same time when I saw four weddings 0:36:29.960 --> 0:36:33.440 over in London, so I was eighteen, basically traveling by myself. 0:36:33.880 --> 0:36:36.960 I've gone to scand the NAVYA next well now a 0:36:37.000 --> 0:36:40.560 next girlfriend actually even then a next girlfriend in Finland's 0:36:40.560 --> 0:36:42.719 I said there for a while, went worked in Scotland 0:36:42.719 --> 0:36:44.960 for a while and was I remember getting a bus 0:36:45.000 --> 0:36:47.239 in Glasgow up to a place on the West Coast 0:36:47.280 --> 0:36:50.680 called Inverary, very small town, beautiful town like the picture 0:36:50.960 --> 0:36:53.160 I kind of a lock and you know, and the 0:36:53.200 --> 0:36:55.680 green rolling hills of Scotland and almost a one street 0:36:55.719 --> 0:36:57.319 town with a pub on it. That's basically where I 0:36:57.360 --> 0:37:00.640 worked for about only about a month. But driving up 0:37:00.680 --> 0:37:04.000 there and playing I had a walkman. This is in 0:37:04.080 --> 0:37:06.920 ninety three, so literally what when a handful of cassettes 0:37:06.920 --> 0:37:10.680 and one of them was Paul Kelly Live, and I 0:37:10.680 --> 0:37:13.560 remember playing Winter I didn't deliberately play. It just came 0:37:13.600 --> 0:37:15.600 on as my head was against the kind of the 0:37:15.600 --> 0:37:17.360 window of the bus and the rain was kind of 0:37:17.360 --> 0:37:19.920 coming down, and Winter Coat came on by Paul Kelly, 0:37:20.160 --> 0:37:22.719 and it was just so whenever I'm in the if 0:37:22.719 --> 0:37:25.719 I ever go to Ginderbyne, I'll probably put winter Coat 0:37:25.800 --> 0:37:28.879 on and listen to it would be my moodsetter. All right, 0:37:29.000 --> 0:37:30.920 Haim's McDonald. You can't put it off any longer. It's 0:37:30.920 --> 0:37:33.040 been a couple of days where we've avoided talking about 0:37:34.360 --> 0:37:36.360 this film because we wanted to save it all fresh 0:37:36.480 --> 0:37:37.400 for the podcast. 0:37:37.480 --> 0:37:40.800 But this is an amazing film. In my mind. 0:37:40.840 --> 0:37:43.000 It's two thousand and two Paul Thomas and its is 0:37:43.000 --> 0:37:45.040 his false film. He made Hard eight is his debut. 0:37:45.440 --> 0:37:49.600 Then Into Boogie Knights was incredible. Into Magnolia, I did 0:37:49.600 --> 0:37:51.879 say he wanted to make a film under ninety minutes. 0:37:51.920 --> 0:37:54.680 He wanted to show Hollywood could do that, because Magnolia 0:37:54.800 --> 0:37:58.279 was three hours and Boogie Night was close three hours too. 0:37:58.360 --> 0:38:00.440 This comes in at ninety four minutes, so if you 0:38:00.480 --> 0:38:02.439 take away the credits, he's done his job. 0:38:02.480 --> 0:38:06.359 But Hami's McDonald. Did you like Puns Drunk Love? 0:38:07.440 --> 0:38:09.400 He did do it in ninety minutes. It felt like 0:38:09.480 --> 0:38:10.560 three hours. 0:38:14.640 --> 0:38:20.960 Like a knife to my heart, Hamish, Okay, let's discuss it. 0:38:21.000 --> 0:38:24.400 So I got a text message from you when you 0:38:24.560 --> 0:38:28.799 watched you about halfway through and you said you want 0:38:28.800 --> 0:38:29.400 to remember. 0:38:29.120 --> 0:38:32.160 Her what you said, this film is creepy. 0:38:32.200 --> 0:38:34.680 His film is creepy, and I replied, well, yeah, I 0:38:34.719 --> 0:38:37.000 don't think it's a creepy movie. There are certainly creepy 0:38:37.120 --> 0:38:40.440 characters in there. And then you said something like I 0:38:40.440 --> 0:38:42.080 don't like the way it makes me feel. 0:38:42.200 --> 0:38:45.759 Yeah, I found it unsettling. I think in large part 0:38:45.800 --> 0:38:46.759 that was the soundtrack. 0:38:47.520 --> 0:38:49.319 It's a very and I mentioned it in the into 0:38:49.440 --> 0:38:56.560 John Brian Genius deliberately does this thiscombobulated soundtrack because it 0:38:56.680 --> 0:38:59.799 kind of matches the film in a way, And this 0:38:59.840 --> 0:39:03.160 is like an absolute master class in composing and like 0:39:03.280 --> 0:39:05.680 giving the film what it needs in very I mean, 0:39:05.680 --> 0:39:07.960 there's a beautiful, lush movie we hear when they later 0:39:08.040 --> 0:39:11.399 on go to Hawaiian it it's becomes romance. But there's 0:39:12.000 --> 0:39:16.000 that awesome scene I find where everything's just coming down 0:39:16.080 --> 0:39:18.640 around you know, there's the fork with and then there's 0:39:18.760 --> 0:39:22.520 crashing and and all the dialogue is completely is this 0:39:22.640 --> 0:39:25.040 combobulated as well? It's like what's it the pudding? Are 0:39:25.040 --> 0:39:27.960 you having crying fits? Like what's what's He's just going 0:39:28.000 --> 0:39:30.400 Toledo like this, and it's just so that just just 0:39:30.560 --> 0:39:36.360 matches the dialogue perfectly. But so in talking to people 0:39:36.360 --> 0:39:38.600 over the years about this film and it's it's a 0:39:38.600 --> 0:39:41.120 divisive film. Adam Sandler plays I think a part now 0:39:41.120 --> 0:39:45.560 I think he's magnives in it. But I more than 0:39:45.600 --> 0:39:48.200 any other film perhaps I know it gives people a 0:39:48.440 --> 0:39:52.720 feeling and either it seems to me either that feeling 0:39:52.800 --> 0:39:57.600 falls on that. I love this film because it's it's sweet. 0:39:58.000 --> 0:40:00.640 See I find it a sweet film. I'm not saying 0:40:00.680 --> 0:40:04.200 it's not without its darkness. Obviously it is, but ultimately 0:40:04.200 --> 0:40:06.000 I find it the sweet film. But if you don't 0:40:06.000 --> 0:40:07.919 find fall on that side, you follow this side where 0:40:08.280 --> 0:40:09.600 it's it's a bit unnerving. 0:40:09.760 --> 0:40:13.799 Well, what did you find sweet though? The relationship between I. 0:40:14.080 --> 0:40:16.200 Find this is a movie about a guy who's hiding 0:40:16.320 --> 0:40:19.439 from the world, and and we know why he's hiding. 0:40:19.480 --> 0:40:23.960 He's had a horrific upbringing because his sisters are hellish 0:40:23.120 --> 0:40:26.040 and and he just he doesn't want any part of it, 0:40:26.120 --> 0:40:30.040 and he gets dragged out. He gets dragged out. Like 0:40:30.320 --> 0:40:34.000 you don't see movies with Barry Egan. They don't make 0:40:34.040 --> 0:40:36.640 movies about Barry. He's somewhere on the spectrum I suspect, 0:40:37.640 --> 0:40:40.200 and you don't put him in romantic comedy films. Like 0:40:40.360 --> 0:40:43.440 Barry Egan found out he was the protagonist in the movie, 0:40:43.480 --> 0:40:44.640 he wouldn't know what to do. 0:40:44.719 --> 0:40:45.920 His head would actually explode. 0:40:46.320 --> 0:40:49.320 He's not an interesting person, he doesn't he has nothing 0:40:49.320 --> 0:40:52.600 to offer, he thinks, So to put him in this 0:40:52.640 --> 0:40:54.960 thing and the matching with somebody who just sees him, 0:40:55.000 --> 0:40:58.280 I think there's very powerful when a film can depict 0:40:58.840 --> 0:41:02.759 characters where one sees the other, one sees something that 0:41:02.800 --> 0:41:03.960 nobody else sees. 0:41:03.880 --> 0:41:08.160 Yeah, so I I will grant you that. 0:41:08.200 --> 0:41:10.919 I before you even say that, I always make this point. 0:41:11.040 --> 0:41:13.279 I think it's a good point for you to be 0:41:13.360 --> 0:41:16.200 comfortable that I'm making this point and the reminder audience, 0:41:16.480 --> 0:41:19.760 this is a movie that I've seen about twenty times. 0:41:19.800 --> 0:41:21.360 I saw it when it came out in the cinema. 0:41:21.360 --> 0:41:23.040 I've loved it from day one. I've got to know 0:41:23.080 --> 0:41:25.239 the movie more and more as i've watched even more 0:41:25.280 --> 0:41:26.120 the last I've watched it. 0:41:26.120 --> 0:41:26.920 Two times this week. 0:41:27.880 --> 0:41:30.080 This is a movie you watched literally two or three 0:41:30.160 --> 0:41:32.720 days ago, and you are in probably many ways still 0:41:32.760 --> 0:41:34.640 processing yeah, this movie. 0:41:34.719 --> 0:41:37.040 And I do think you're You can go on a 0:41:37.120 --> 0:41:39.480 journey with any film or piece of literature, right, you 0:41:39.560 --> 0:41:42.680 can come to appreciate it more over time. And I 0:41:42.680 --> 0:41:45.520 wouldn't say that I don't appreciate some of what's in it. 0:41:45.960 --> 0:41:48.319 And to the point I was making earlier about the 0:41:48.560 --> 0:41:53.200 Jennifer Coolidge thing, identifying something in people that tend to 0:41:53.520 --> 0:42:00.120 play similar characters, I think I can see that that 0:42:00.920 --> 0:42:07.440 the director obviously was interested in what's beyond these characters 0:42:07.480 --> 0:42:12.200 that he plays, Like what is that awkwardness? Why does 0:42:12.200 --> 0:42:16.680 he end up in these strange situations, you know, playing 0:42:17.280 --> 0:42:19.799 the characters that he's played in other films, like what's 0:42:19.840 --> 0:42:23.239 the depth, what's the nuance to these people? And I 0:42:24.840 --> 0:42:28.960 think with the character in this film, you know, it's 0:42:29.000 --> 0:42:32.000 almost a split personality. He'll be sitting there at a 0:42:32.040 --> 0:42:36.840 dinner table having a what seems like a fairly ordinary 0:42:37.719 --> 0:42:42.120 date conversation, and then he'll something will be said and 0:42:42.160 --> 0:42:45.520 he'll excuse himself, go to the bathroom, and smash up 0:42:45.560 --> 0:42:49.000 the bathroom. And so I can imagine that the director 0:42:49.080 --> 0:42:52.000 might be thinking, well, there must be two sides to 0:42:52.040 --> 0:42:54.840 these characters. There must be multiple dimensions to these characters, 0:42:54.840 --> 0:42:58.960 and is that one of those dimensions? But I found 0:42:59.000 --> 0:43:04.120 for myself watching that it may be quite uncomfortable. It 0:43:04.239 --> 0:43:08.839 made me wonder how thin the line is between this 0:43:08.920 --> 0:43:16.120 person managing those emotions and those violent outbursts by excusing 0:43:16.200 --> 0:43:20.720 himself and going to the bathroom, or you know, somewhere 0:43:20.719 --> 0:43:24.000 down the track, if this relationship evolved just taking it 0:43:24.040 --> 0:43:29.000 out on her. That's what that scene made me wonder. 0:43:29.160 --> 0:43:30.200 That's absolutely valid. 0:43:30.280 --> 0:43:34.839 I didn't get that because I feel like this he 0:43:35.040 --> 0:43:38.879 is in desperate need of help. Let's have a listen 0:43:38.920 --> 0:43:42.200 to when he and the reasons for him being like this. 0:43:42.480 --> 0:43:45.160 It does a really good job. Everything's done so economically. 0:43:45.200 --> 0:43:49.799 This is a filmmaking masterclass on every single detail. Now 0:43:49.920 --> 0:43:51.759 I'm not saying that that means you needed to light 0:43:51.840 --> 0:43:57.120 the film, but we know a bad way, you know, 0:43:57.480 --> 0:43:59.960 a hacky way of doing this is to really explain 0:44:00.360 --> 0:44:02.279 you know this. You know his parents die. We don't 0:44:02.280 --> 0:44:04.080 really know anything about his parents. But yeah, when I 0:44:04.200 --> 0:44:05.839 was young, and that's why he is. But he's not. 0:44:06.160 --> 0:44:08.719 We just we just see these interactions he has with 0:44:08.840 --> 0:44:10.879 his sisters. He's forced to go to this dinner party 0:44:10.880 --> 0:44:14.080 that they've organized, and this is him as he arrives. 0:44:14.120 --> 0:44:16.200 He's not nobody's ever't seen him yet, and he's at 0:44:16.200 --> 0:44:19.680 the front door, and this is what he hears remember 0:44:19.760 --> 0:44:22.240 and barries to get all mad. 0:44:23.560 --> 0:44:29.560 Ron used to call us game boys, were sliding glass door. 0:44:31.400 --> 0:44:31.760 Sliding. 0:44:31.880 --> 0:44:39.960 Master don't remember homes himself in him about the hammer 0:44:41.000 --> 0:44:47.799 was done. He's Day's talking about you. Remember we used 0:44:47.840 --> 0:44:50.080 to call you gay boy, You get all mad. What 0:44:50.719 --> 0:44:51.719 we used to call you gay boy? 0:44:51.800 --> 0:44:54.080 Remember you'd be fine and then we call you gay boy. 0:44:54.120 --> 0:44:55.040 You just freak out. 0:44:55.400 --> 0:44:57.680 We were climbing gay and you got so mad you 0:44:57.719 --> 0:44:59.480 through the hammers with the sliding glass or you. 0:44:59.560 --> 0:45:02.080 Remember I don't remember that, Yes you do, you're calling 0:45:02.120 --> 0:45:03.879 you gabeor and you got so mad? 0:45:04.760 --> 0:45:05.239 Are you gay? 0:45:05.280 --> 0:45:05.400 Now? 0:45:07.080 --> 0:45:10.279 I don't know. I'm trying to figure out. 0:45:11.440 --> 0:45:13.160 Or do you have the wear suit? 0:45:13.400 --> 0:45:14.640 I don't know. 0:45:16.160 --> 0:45:18.440 You Are you using that dandel chamber on you? 0:45:18.600 --> 0:45:18.759 Yeah? 0:45:18.920 --> 0:45:21.920 Very, very very Why do you have the hammer? 0:45:22.400 --> 0:45:26.200 Why did I have he was building a dog nouse? 0:45:26.719 --> 0:45:32.799 Okay, okay, you have. 0:45:32.880 --> 0:45:37.440 A kid, Okay, I was just thinking about you. 0:45:37.680 --> 0:45:39.879 Glad you can make it ship. 0:45:40.239 --> 0:45:42.680 So that almost tells us everything we need to know 0:45:42.800 --> 0:45:46.759 why Barry is hiding away in his warehouse from the 0:45:46.840 --> 0:45:50.120 world now. But yeah, I mean basically the conversation we 0:45:50.160 --> 0:45:52.960 had about the other films was that, was that something 0:45:53.040 --> 0:45:54.759 that because that happens raised me early in the film 0:45:54.800 --> 0:45:56.800 that you kind of I don't want to say triggering, 0:45:56.880 --> 0:45:59.640 but was it like this is making me feel uncomfortable. 0:45:59.239 --> 0:46:01.440 Or this is Yeah, of course, I think it's hard 0:46:01.480 --> 0:46:03.120 to listen to that and not feel uncomfortable. 0:46:03.360 --> 0:46:05.920 Yeah, it's but I take it and kind of go 0:46:06.080 --> 0:46:08.520 and obviously, you know, we may me come from a 0:46:08.560 --> 0:46:10.080 different point of view, but I look at the go 0:46:10.200 --> 0:46:12.520 and I just feel for Barry. I'm just like, it 0:46:12.640 --> 0:46:16.239 makes me just feel more empathy for Barry. He's lived 0:46:16.280 --> 0:46:19.520 his life like this and he's an only he's got 0:46:19.880 --> 0:46:21.960 seven sisters and this is what he's put up with. 0:46:22.719 --> 0:46:24.200 I want this guy to win. I want this guy 0:46:24.239 --> 0:46:27.000 to have a win. Please have a win. And that's why. 0:46:27.480 --> 0:46:29.359 Yeah, we won't go race through a film just yet, 0:46:29.360 --> 0:46:31.959 but later on I feel this kind of elation because 0:46:31.960 --> 0:46:34.479 it's like, yes, like when he does tell his sister 0:46:34.600 --> 0:46:37.279 fucking leave, fucking lie, like I can understand the outbursts 0:46:37.760 --> 0:46:40.440 because I see where it's come from. That that that 0:46:40.719 --> 0:46:45.040 uncomfortableness that you felt, and I get that, and it 0:46:45.160 --> 0:46:47.520 is it is uncomfortable, like they did. There's no air 0:46:48.280 --> 0:46:51.520 in anything that Like it's one thing after another. If 0:46:51.520 --> 0:46:53.239 it's not the gay boy thing, it's the hammer thing, 0:46:53.280 --> 0:46:54.799 it's it's the Dandre thing. 0:46:55.000 --> 0:46:56.200 Yeah, like there's no. 0:46:56.760 --> 0:47:00.319 But soon after that he smashes up the glass doors. Yeah, 0:47:00.440 --> 0:47:07.120 and so any I guess, yeah, I see this. I 0:47:07.280 --> 0:47:10.640 see that you're being invited to feel sympathy, but then 0:47:10.680 --> 0:47:14.680 the violent outbursts are also discombobulating. 0:47:15.920 --> 0:47:16.840 Yeah. Absolutely. 0:47:17.400 --> 0:47:19.279 I just want to point out a magnificent shot when 0:47:19.320 --> 0:47:24.520 he does actually break those doors. Just notice he smashes 0:47:24.560 --> 0:47:28.960 the doors. This is where everything is thought through. Smashes 0:47:29.000 --> 0:47:31.640 the doors. The one of the right breaks, and one 0:47:31.680 --> 0:47:34.719 of the middle shatters a bit, and then the one 0:47:34.760 --> 0:47:36.919 of the left kind of it doesn't completely all shatter, 0:47:37.000 --> 0:47:40.560 but you can see through, and you Barry is behind 0:47:40.880 --> 0:47:42.560 the one that hasn't fallen through. So you come see 0:47:42.560 --> 0:47:45.239 almost his silhouette. He's colored silhouette. And then you see 0:47:45.360 --> 0:47:46.280 the sisters. 0:47:46.480 --> 0:47:48.480 All on one side, in the left and on the 0:47:48.600 --> 0:47:51.360 right hand side there's is a photo of Barry on 0:47:51.440 --> 0:47:51.759 the wall. 0:47:52.560 --> 0:47:55.680 That is what his life is. He is by himself. 0:47:55.680 --> 0:47:58.800 He is completely isolated. He has nobody his parents for 0:47:58.920 --> 0:48:02.840 what they don't say that I can remember what happened 0:48:02.840 --> 0:48:07.680 to him, but so he is completely he doesn't have 0:48:07.719 --> 0:48:10.640 any friends. He's in this situation. He's put in the 0:48:10.640 --> 0:48:13.719 situation because of the abuse to these cops. I'm gonna 0:48:13.760 --> 0:48:15.680 allow him to have an a purse. And then when 0:48:15.719 --> 0:48:18.480 he does have the aburse, what's the next thing that 0:48:18.600 --> 0:48:18.960 he does? 0:48:19.080 --> 0:48:20.479 He asks for help. 0:48:24.280 --> 0:48:29.680 I'm sorry about that, Sorry about what I did. Sorry, 0:48:31.760 --> 0:48:36.719 I wanted to ask you something because you're a doctor, right, yeah, 0:48:39.600 --> 0:48:51.959 I don't like myself sometimes? Can you help me? Mary, 0:48:52.000 --> 0:48:52.840 I'm a dentist. 0:48:53.000 --> 0:48:53.160 Day. 0:48:54.440 --> 0:48:56.160 What god of help do you think I can give you? 0:48:56.400 --> 0:48:58.000 Yeah, I mean one, it's it's it's a great tag. 0:48:58.480 --> 0:49:00.840 The city doesn't end there. He goes talks about his 0:49:01.160 --> 0:49:04.560 crying problem that he has, but again, that gives me more. 0:49:05.200 --> 0:49:08.000 We want to see characters in movies try to try 0:49:08.080 --> 0:49:10.600 to make themselves better. Barry has a problem. No, I'm 0:49:10.600 --> 0:49:13.920 not doubting these outbursts are an issue, but Barry is 0:49:13.920 --> 0:49:18.000 also recognizing that they're an issue. He's reaching out to 0:49:18.120 --> 0:49:20.640 a man, maybe one of the only men in his 0:49:20.800 --> 0:49:23.320 life that he can maybe outside of Rico play with 0:49:23.360 --> 0:49:25.600 Louis Guzman in the Factory, who's bloody, hilarious and I 0:49:25.680 --> 0:49:30.360 love him. But he tells Walter Walter's. 0:49:30.000 --> 0:49:30.640 Going to betray that. 0:49:31.400 --> 0:49:34.239 When his sister comes in later the factory, he says, 0:49:34.239 --> 0:49:36.759 Walter says, you have a crying problem, and it's just 0:49:36.920 --> 0:49:40.800 like he's as said, Le's obviously he says, don't tell anyone. 0:49:44.560 --> 0:49:47.279 And maybe watching this in twenty twenty two, outside of two, 0:49:48.000 --> 0:49:51.320 where we look at violence and we know violence amongst 0:49:51.320 --> 0:49:54.160 the men is an issue, and we kind of we 0:49:54.719 --> 0:49:57.080 our minds go to different places, Nate. It's certainly that 0:49:57.360 --> 0:49:59.640 didn't go in my mind in two thousand and two 0:50:00.280 --> 0:50:02.040 when I'm watching, and it still doesn't to me because 0:50:02.040 --> 0:50:08.320 I think he's not it's not directed at anyone, it's. 0:50:08.560 --> 0:50:15.799 But across the through the film, he seems to lack 0:50:15.960 --> 0:50:20.880 agency at so many points, right, and so he is 0:50:21.000 --> 0:50:23.719 capable of it, as demonstrated in the clip that you 0:50:23.880 --> 0:50:28.760 just played. He's capable of saying to someone I sometimes 0:50:28.800 --> 0:50:34.399 don't like myself. I need some help. But and he's 0:50:34.440 --> 0:50:38.400 also not unable to communicate. You know, there's there's moments 0:50:38.440 --> 0:50:41.600 where he communications, communicates quite clearly. 0:50:41.440 --> 0:50:44.240 And well he's on the phone in that very first scene, 0:50:45.040 --> 0:50:47.840 but he is trying to find a connection through those conversations. 0:50:47.880 --> 0:50:49.800 I mean, he's having conversations with the guy. You know, 0:50:50.680 --> 0:50:52.560 there's the scene where he's on he's on the phone, 0:50:52.600 --> 0:50:54.840 he says, do you have my home phone number? And 0:50:54.960 --> 0:50:57.680 the guy goes, I don't need it, yeah, I just 0:50:57.719 --> 0:50:59.000 saw you might want to call. 0:50:59.160 --> 0:50:59.960 I want to connect me. 0:51:00.080 --> 0:51:04.840 Yeah, yeah, And he is looking for this connection. 0:51:04.960 --> 0:51:07.560 He can, he can communicate, and you're right about the agency, 0:51:07.600 --> 0:51:08.880 but he does do a couple of things that I 0:51:08.960 --> 0:51:11.839 think where he takes he takes on a bit because 0:51:12.440 --> 0:51:16.000 like so those listening agencies basically means you want your 0:51:16.040 --> 0:51:21.080 protagonists to He can't be passive like Emily Watson comes 0:51:21.120 --> 0:51:23.320 to him, which is which is passive. But what he 0:51:23.640 --> 0:51:27.359 does a couple of things. One he collects he collects pudding. Yeah, 0:51:28.400 --> 0:51:30.360 he's got a plan. So he's got a plan to 0:51:30.440 --> 0:51:30.799 get out. 0:51:31.960 --> 0:51:32.080 Uh. 0:51:32.600 --> 0:51:35.560 Two he takes a harmonium and we'll talk about that. 0:51:35.719 --> 0:51:41.360 That that that scene and obviously it's it's a strong opener. 0:51:43.520 --> 0:51:46.120 He makes a phone sex call. But these aren't things 0:51:46.120 --> 0:51:48.759 where like agency can you and usually most films that 0:51:48.800 --> 0:51:51.279 they're usually much bigger things, you know. And he does 0:51:51.400 --> 0:51:54.399 get there later on in the second half of the film. 0:51:54.680 --> 0:51:55.319 He definitely does. 0:51:55.400 --> 0:51:57.960 He does take things on, like he really takes things 0:51:58.000 --> 0:52:01.240 on once he has that love that he's been lacking 0:52:01.280 --> 0:52:01.880 in his life. 0:52:03.880 --> 0:52:04.200 He he. 0:52:06.640 --> 0:52:07.000 Strength. 0:52:07.160 --> 0:52:15.480 Yeah, but I think I struggled to accept that you 0:52:15.600 --> 0:52:19.680 could be so desperate and so sad and so hurt 0:52:19.760 --> 0:52:23.880 by these relationships with the sisters, for example, and not 0:52:24.239 --> 0:52:27.880 doing anything about it, not make the decision like he 0:52:28.440 --> 0:52:31.160 He's obviously made a lot of decisions in his life, 0:52:31.400 --> 0:52:35.040 like hiding himself away in this factory or whatever it is. 0:52:35.560 --> 0:52:37.480 But isn't this the moment we are seeing. Isn't that 0:52:37.520 --> 0:52:38.640 what this film is about, like. 0:52:38.960 --> 0:52:42.200 A transition even yeah, like but even that, he doesn't 0:52:42.640 --> 0:52:45.440 make that happen. It comes to him. 0:52:47.239 --> 0:52:50.080 Yeah, yeah, but he is still making He's making choices, 0:52:50.560 --> 0:52:52.600 or we want from our characters to make choices. 0:52:53.000 --> 0:52:55.719 He makes the choice to what he calls. And I 0:52:55.800 --> 0:52:58.120 think it's important when he's in Hawaiian he calls his sister. 0:52:58.320 --> 0:53:01.000 Yeah, because he doesn't know Lena's none, but so he 0:53:01.120 --> 0:53:02.840 calls her. That's a decision he's made. It didn't have 0:53:02.880 --> 0:53:05.480 to do that makes it. And then when she fights 0:53:05.520 --> 0:53:07.960 him on it, he actually he goes here we can 0:53:08.000 --> 0:53:09.800 actually and we will jump around a little bit, but 0:53:09.920 --> 0:53:11.040 he calls his sister. 0:53:11.520 --> 0:53:14.200 And this is a little fun fact that the sister. 0:53:14.040 --> 0:53:15.680 He calls, the one who's like really on him, the 0:53:15.680 --> 0:53:17.920 one who comes to the factory, Lena's co worker, is 0:53:18.000 --> 0:53:20.799 the only actor out of the sisters. The other non 0:53:20.880 --> 0:53:22.920 actors were quite incredible because I thought they're thinking in 0:53:22.960 --> 0:53:25.760 the kitchen that we played where was actually really nicely performed, 0:53:25.800 --> 0:53:27.480 as hard as it was to watch, but see when 0:53:27.480 --> 0:53:29.279 he's yelling at his sister. I think that's him at 0:53:29.360 --> 0:53:31.480 least taking that on. What I love about it is 0:53:31.680 --> 0:53:34.399 it's a smallness, is a real intimacy to this film, 0:53:34.520 --> 0:53:37.760 like it's not, and he makes these ordinary things seem 0:53:37.880 --> 0:53:40.839 quite beautiful. This true the way it's shot, and these 0:53:40.960 --> 0:53:45.240 really ordinary things, like it's basically the harmonium is basically hard, rubbish, 0:53:45.640 --> 0:53:47.920 and there's beauty in that. There's a I have a 0:53:48.040 --> 0:53:50.360 theory which I share with Brendan cow which is a 0:53:50.440 --> 0:53:54.360 harmonium is love, and it's about his connection with that 0:53:54.440 --> 0:53:57.040 harmonium that he is willing to accept and when so 0:53:57.120 --> 0:53:59.160 when Lena kind of comes in and he meets him, 0:53:59.560 --> 0:54:01.759 him going back out and taking the harmonium, putting into 0:54:01.760 --> 0:54:03.840 these officer. Now you can say it's love, or you 0:54:03.880 --> 0:54:05.560 can say he's even if it's his heart. 0:54:05.800 --> 0:54:09.520 Yeah, it's certainly a symbol of what he needs to 0:54:09.600 --> 0:54:14.040 do to take that relationship that she's offering to him. Yes, right, 0:54:14.200 --> 0:54:16.600 that's what that was my reading of the of the 0:54:17.320 --> 0:54:18.680 because it appears out of note. 0:54:18.680 --> 0:54:22.480 You know, this is something his truck, but his car, 0:54:23.000 --> 0:54:26.279 his car flips like a van taxi, like a maxicab, 0:54:26.440 --> 0:54:28.880 drops it off both red. By the way, there's a 0:54:28.920 --> 0:54:30.680 big thing going on with colors, which I'll get to 0:54:31.280 --> 0:54:34.480 blue and red. Okay, keep the blue and reds in mind. 0:54:35.239 --> 0:54:37.040 I would love to know poor Thomas Anderson had any 0:54:37.120 --> 0:54:40.120 kind of thought about, even in his own head, a 0:54:40.239 --> 0:54:43.600 backstory of who was in that car. Wifely, I think 0:54:43.719 --> 0:54:47.239 basically the harmonium represents love. The car represents chaos, because 0:54:47.239 --> 0:54:50.719 his life becomes chaotic after that, and that's where there 0:54:50.760 --> 0:54:54.680 is feeling of where it becomes a little bit uneasy 0:54:54.719 --> 0:54:56.920 that the score kind of this kind of changes and 0:54:57.080 --> 0:55:00.560 it becomes this kind of you start hearing you know, 0:55:00.960 --> 0:55:04.080 it's started almost like a lush kind of instrumental in 0:55:04.160 --> 0:55:06.800 the opening titles, and it becomes more like, yeah, like this. 0:55:11.360 --> 0:55:13.839 And you have that scene where we spoke about where 0:55:15.480 --> 0:55:18.040 Lena comes in and it's it's it's almost I don't 0:55:18.080 --> 0:55:20.080 think it's one shot, but it's almost one shot. 0:55:20.400 --> 0:55:21.080 He goes in for along. 0:55:21.080 --> 0:55:25.160 I can almost see you getting a certain discomfort on 0:55:25.200 --> 0:55:27.719 your face listening to this. You got the gaffer tape, 0:55:27.960 --> 0:55:31.479 the electrical tape there. John Brian, who did the score, 0:55:31.600 --> 0:55:35.080 actually worked on it whilst I'm making the movie, even beforehand, 0:55:35.160 --> 0:55:35.759 so on set. 0:55:36.440 --> 0:55:37.680 He could actually play some of this. 0:55:38.239 --> 0:55:44.520 The soundtrack of the score. It makes me push my 0:55:45.239 --> 0:55:47.720 toes up into the roof of my shoes. 0:55:48.800 --> 0:55:49.279 I love it. 0:55:50.600 --> 0:55:51.000 I love that. 0:55:51.320 --> 0:55:53.160 I love that because that's what he's like. 0:55:54.440 --> 0:55:57.080 They're wanting you to feel something. You know, Well, that's 0:55:57.080 --> 0:55:59.160 what it makes it just I listened to this, but 0:55:59.200 --> 0:56:05.200 I'm driving around, you do I love I love this soundtrack. 0:56:05.800 --> 0:56:07.000 Well, it takes me back to the movies. 0:56:07.200 --> 0:56:10.360 I'm I don't necessarily have the same like we're not 0:56:10.440 --> 0:56:11.920 watching the movie when everything's happening. 0:56:11.920 --> 0:56:13.080 I have the same friends. 0:56:13.160 --> 0:56:14.840 But I've watched this movie so many times that I 0:56:15.000 --> 0:56:17.360 watch it sometimes now I still get all the fields. 0:56:17.400 --> 0:56:19.840 But I'm also watching it on a you know, on 0:56:19.920 --> 0:56:22.799 a PTA masterclass level. It is amazing what he's done 0:56:22.880 --> 0:56:26.120 with this film. Let's talk about these Let's talk about 0:56:26.160 --> 0:56:27.080 his decision. 0:56:26.760 --> 0:56:27.920 To call a phone sex line. 0:56:27.920 --> 0:56:30.960 But he takes some agency and he and he calls, 0:56:31.320 --> 0:56:33.440 we spoke about your your you've had some happy memories 0:56:33.480 --> 0:56:36.680 with phone sex. I'm glad. I'm glad it wasn't triggering. 0:56:36.719 --> 0:56:38.719 I'm glad there wasn't something else that was triggering for you. 0:56:40.800 --> 0:56:43.080 In this. And I actually from I have written here 0:56:43.080 --> 0:56:44.800 in my notes. It gives very agency here. 0:56:46.320 --> 0:56:49.160 There's a sweetness again. He calls a phone sex line 0:56:49.200 --> 0:56:51.919 and he wants to talk about almost anything he's trying 0:56:51.920 --> 0:56:55.000 to avoid. He's trying to connect with somebody he's trying 0:56:55.040 --> 0:56:58.360 to avoid, actually anything about sex. She's asking you putting 0:56:58.360 --> 0:57:01.560 yourself off, and he's like, oh, no, what's your dick doing. 0:57:01.840 --> 0:57:05.120 I don't know what it's doing, you know, like it's yeah. 0:57:05.520 --> 0:57:07.600 He asks about the money and his company, and he 0:57:07.680 --> 0:57:09.839 goes he wants to diversify, and he's actually pretty happy 0:57:09.840 --> 0:57:10.520 with the way it's going. 0:57:11.160 --> 0:57:15.080 So obviously subsequently the people that run that phone sex 0:57:15.200 --> 0:57:19.480 line turn out to be baddies, but he doesn't know that, right, 0:57:19.640 --> 0:57:21.640 He just is calling a phone sex line. 0:57:21.760 --> 0:57:23.680 Amount of times he says, it can't come back and 0:57:23.720 --> 0:57:27.400 they can be jack, you know, he's just confidentially asked 0:57:27.400 --> 0:57:28.360 like two or three times. 0:57:28.720 --> 0:57:31.480 And it's obviously something that you see depicted in film 0:57:32.360 --> 0:57:35.480 or television shows from time to time where there's the 0:57:35.560 --> 0:57:39.800 guy that's in need of you know, comfort or sympathy 0:57:40.720 --> 0:57:45.720 or love going down that pathway of sex lines or 0:57:46.680 --> 0:57:51.600 you know, sex workers. So that's not that's not altogether unfamiliar, 0:57:52.280 --> 0:57:58.120 But I suppose when that when that call happens, it 0:57:58.200 --> 0:58:01.280 did also make me wonder, you know what this woman, 0:58:02.040 --> 0:58:03.880 you know, probably a young woman working on a phone 0:58:03.920 --> 0:58:07.920 sex Imagine how weird that would have been for her. 0:58:08.680 --> 0:58:10.640 I know we're supposed to sort of see the world 0:58:10.720 --> 0:58:13.800 through him because he's the protagonist. 0:58:13.800 --> 0:58:15.840 But so, yes, you have sympathy for Georgia. 0:58:16.360 --> 0:58:20.040 Well, I'm acknowledging that Georgia turns out to be not 0:58:20.160 --> 0:58:23.040 a good character. But in the moment, I'm thinking, why 0:58:23.160 --> 0:58:24.520 is he doing this to this woman? 0:58:25.840 --> 0:58:28.000 But you could say that about anyone who goes to 0:58:28.040 --> 0:58:31.440 a sex worker. Like he's been really nice. He got 0:58:31.560 --> 0:58:33.480 of says you sound nice. He actually says you sound 0:58:33.560 --> 0:58:36.760 nice and personable. Like I think there's a version of 0:58:36.880 --> 0:58:39.680 what you're saying where somebody is really aggressive and it's like, 0:58:39.840 --> 0:58:40.720 well that's you. 0:58:40.760 --> 0:58:42.360 Know, everyone deserves respects. 0:58:42.640 --> 0:58:46.720 I think Barry's being disrespectful in any single way outside 0:58:46.720 --> 0:58:49.040 of using the service, which I don't think is disrespectful. 0:58:49.720 --> 0:58:51.960 But she clearly doesn't. I mean she is sort of 0:58:52.160 --> 0:58:56.560 she keeps attempting to have to do the phone sex call. Yeah, yes, yes, 0:58:57.040 --> 0:58:58.680 and he just wants to talk about all this other 0:58:58.800 --> 0:58:59.480 random stuff. 0:59:00.080 --> 0:59:03.120 Yes, but I don't one. I suspect that would actually 0:59:03.160 --> 0:59:03.640 happen a lot. 0:59:03.840 --> 0:59:06.680 I suspect phone sex lines you will have, you would 0:59:06.720 --> 0:59:11.200 have men calling and trying to connect on a more 0:59:11.560 --> 0:59:14.480 human level than actually just to rub one out. 0:59:14.520 --> 0:59:15.480 It's not it's not what I do. 0:59:17.040 --> 0:59:19.280 You are there for business, you know what you need, 0:59:19.640 --> 0:59:21.040 You get in, you get out. 0:59:21.320 --> 0:59:24.320 No fucking about did I still exist? Do you think 0:59:24.360 --> 0:59:26.640 I was thinking about that on the way in. I 0:59:26.800 --> 0:59:29.520 called one many many, many, many many years ago. It 0:59:29.520 --> 0:59:34.400 would have been not in this millennia. It was twenty seven, 0:59:34.440 --> 0:59:37.200 it was pre pandemic. Actually might have been. 0:59:37.400 --> 0:59:39.720 It might have been during a pandemic. And I found 0:59:39.840 --> 0:59:43.800 the weird experience. And I actually do think I did 0:59:43.920 --> 0:59:45.880 kind of like try to kind of like just ask. 0:59:46.120 --> 0:59:47.640 I think once I was on the line, I was like, 0:59:47.640 --> 0:59:49.560 I'm not sure if I really want this. 0:59:49.640 --> 0:59:51.280 I think I was. I didn't quite believe it. 0:59:52.120 --> 0:59:55.480 I didn't believe the facade like what they see what 0:59:55.560 --> 0:59:57.000 you see later on with the you know when you 0:59:57.120 --> 0:59:59.680 see the mattress Man, you know, and philis Simah Hoffman, 0:59:59.720 --> 1:00:02.800 and you the lovely little shot of the you know, 1:00:03.080 --> 1:00:05.520 the tally workers, just of their headsets and sitting at 1:00:05.560 --> 1:00:08.640 desks like they're, you know, working for Optus. That's how 1:00:08.680 --> 1:00:10.960 I kind of imagine imagine it being. So you never 1:00:11.080 --> 1:00:12.560 kind of brought him, so I kind of get that 1:00:12.720 --> 1:00:14.120 idea of kind of going, well, I don't want to 1:00:14.960 --> 1:00:18.800 just jump into any kind of sex stuff. But I 1:00:18.880 --> 1:00:21.280 also kind of really connect with that idea of going 1:00:21.840 --> 1:00:24.720 I think I was also. I only did at once 1:00:24.760 --> 1:00:27.680 because I was so fearful of, like, you know, somebody 1:00:27.760 --> 1:00:30.360 finding out where's my credit card? This mum said, my 1:00:30.360 --> 1:00:35.560 credit card state? You know, there's there's this what happens, 1:00:35.600 --> 1:00:38.200 you know? And and do they have do they have 1:00:38.280 --> 1:00:41.040 my credit card details? Now, I think all this comes 1:00:41.080 --> 1:00:44.120 from a very human and real place. I don't I 1:00:44.200 --> 1:00:47.120 didn't have. I've never even thought of having kind of 1:00:47.160 --> 1:00:50.240 that sympathy for empathy for Georgia because she signed up 1:00:50.240 --> 1:00:52.800 for this as her job, you know, and this because 1:00:52.840 --> 1:00:56.000 the boat wants to She's trying to steer it back 1:00:56.040 --> 1:00:57.240 to sex. 1:00:57.280 --> 1:00:58.920 But she end up she does. 1:00:58.800 --> 1:01:01.800 Engage to an extent of Yeah, she does eventually, and 1:01:01.880 --> 1:01:05.560 then takes advantage of that. I feel you have really 1:01:05.680 --> 1:01:09.080 gone in hard on not liking Barry, and I think 1:01:09.120 --> 1:01:11.720 that makes it hard to then, Yeah, I feel like 1:01:11.720 --> 1:01:14.480 if you don't have empathy for Barry Egan, you can't 1:01:14.720 --> 1:01:20.080 enjoy it's hard to enjoy probably your life and the 1:01:20.080 --> 1:01:22.920 beautiful world around you, and then the complexities of the 1:01:23.040 --> 1:01:23.640 human nature. 1:01:23.840 --> 1:01:25.160 No of this film. 1:01:25.320 --> 1:01:26.960 I mean, at some point I thought, because when you 1:01:27.120 --> 1:01:28.760 I think you'd watched maybe half of it, and you're 1:01:28.800 --> 1:01:31.520 kind of have a rebrief conversation, and I've got a 1:01:31.600 --> 1:01:33.360 sense of this hasn't come as a surprise today. 1:01:33.560 --> 1:01:36.920 But I think though it's I don't think it's that 1:01:37.040 --> 1:01:40.840 I have no empathy for him. I think I just 1:01:40.960 --> 1:01:44.080 found that at every at every turn, as I felt 1:01:44.560 --> 1:01:50.240 that sentiment emerging, something else would happen which would would 1:01:50.320 --> 1:01:54.280 throw me about him. Yeah, you know, the violent outburst, 1:01:54.440 --> 1:01:56.520 the yeah, you know, I was kind of into that 1:01:56.640 --> 1:02:00.360 scene where he's having dinner with her, and and you 1:02:00.480 --> 1:02:04.320 do lean into that to the possibility of romance, and 1:02:05.200 --> 1:02:12.040 he does display this more communicative, eloquent, thoughtful side, and 1:02:12.120 --> 1:02:15.360 then she raises something. 1:02:16.640 --> 1:02:18.760 She seems like the adult in the room in a way, 1:02:19.280 --> 1:02:25.440 Lena Lena Leonard, and it is a slight misreading of 1:02:25.520 --> 1:02:29.240 the room on her situation to bring up the sisters 1:02:29.680 --> 1:02:32.360 and the hammer story, and intend it's his funny story. 1:02:32.560 --> 1:02:35.520 I would have maybe read the Tea Leaves a bit more. 1:02:36.160 --> 1:02:38.479 I love that story, and I do love that scene 1:02:38.480 --> 1:02:42.040 because you see him actually enjoying himself, like he's starting to. 1:02:43.320 --> 1:02:47.320 Because everything he basically up until then, he just he 1:02:47.520 --> 1:02:50.919 just he lies, and you can understand why he lies. 1:02:51.120 --> 1:02:53.280 I kind of wrote down some of the lies he 1:02:53.800 --> 1:02:54.760 that he spills out. 1:02:54.960 --> 1:02:58.160 Have you got seven pages loads of notes? 1:02:58.200 --> 1:02:58.400 Yeah? 1:02:58.720 --> 1:03:02.640 Maybe even maybe more, even when they're they Lena and 1:03:02.960 --> 1:03:06.360 Barry meat after that chaotic scene, you know, the fork 1:03:06.400 --> 1:03:08.240 lift and everything is this combubbler. 1:03:08.360 --> 1:03:10.880 We spoke a little bit that before, right at. 1:03:10.760 --> 1:03:14.720 The end where she comes back in and he says, 1:03:15.440 --> 1:03:18.400 he says, he says four things, they're all four four 1:03:18.440 --> 1:03:19.040 things are lies. 1:03:19.840 --> 1:03:26.080 He says, I didn't ask about therapy. The pudding's not mine. 1:03:27.880 --> 1:03:30.080 I'm wearing this suit because they have an important meeting today, 1:03:32.240 --> 1:03:34.560 and I don't have a crying problem. Now we understand 1:03:34.600 --> 1:03:36.280 why he's lying about those things. They're not they're not 1:03:36.440 --> 1:03:41.360 they're white lies. But there's there's still lies. There are 1:03:41.440 --> 1:03:43.120 so many times. 1:03:44.000 --> 1:03:45.920 Why why is it? How do you justify him doing that? 1:03:46.080 --> 1:03:48.960 Are you above a lie? A white lie to impress somebody. 1:03:48.960 --> 1:03:51.320 Would you would you on your first date with Jake 1:03:51.360 --> 1:03:53.840 and you kind of put out or that if somebody 1:03:53.920 --> 1:03:58.680 had given you giving Jake or your skeletons in your closet, 1:03:59.400 --> 1:04:01.400 would you do you not want to water some of 1:04:01.440 --> 1:04:04.640 those down? And kind of yeah, But I don't think 1:04:04.680 --> 1:04:06.919 that's again, it's a reasonably human kind of reaction. 1:04:07.000 --> 1:04:08.680 I think it's it's a bunch them all together and 1:04:09.320 --> 1:04:09.920 hit them all out. 1:04:09.960 --> 1:04:11.720 Like I think he's somewhere on the spectrum, So let's like, 1:04:11.840 --> 1:04:14.360 let's have that as part of the you know, the 1:04:14.480 --> 1:04:16.600 microscope that we view Barry through. 1:04:17.080 --> 1:04:17.600 It's odd. 1:04:17.960 --> 1:04:19.960 He's an odd guy. There's no doubting he's an odd guy. 1:04:20.400 --> 1:04:22.840 So the fact that he's like best not the same 1:04:22.920 --> 1:04:26.320 the thing. Just let it, let it rest, and hopefully 1:04:26.360 --> 1:04:28.200 she hasn't heard those things or not taken those things. 1:04:28.520 --> 1:04:31.840 She's still seeing him for who he is. These lies 1:04:31.960 --> 1:04:36.160 like Rico remind me to call that guy in Toledo. 1:04:38.040 --> 1:04:40.360 He comes back into the opposite who's going to Ledo. 1:04:41.840 --> 1:04:48.720 I feel that she to your point, I not that 1:04:48.960 --> 1:04:52.400 she ever says it explicitly, but you get the impression 1:04:52.480 --> 1:04:54.120 that she is happy to overlook. 1:04:54.400 --> 1:04:57.000 Yes, I agree, all agree, And I think she knows 1:04:57.080 --> 1:04:59.000 that it must be tough on him because she knows, 1:04:59.560 --> 1:05:01.479 she knows his sister, Barry's sister. 1:05:01.840 --> 1:05:05.800 But it's interesting, right that it's sort of almost a setup. 1:05:06.440 --> 1:05:10.640 Well it is a setup, but a suggestion to the sister, right. 1:05:10.720 --> 1:05:13.400 Yes, So she sees that Barry on the wall, which 1:05:14.000 --> 1:05:18.000 I mentioned earlier, and and she then based on just 1:05:18.440 --> 1:05:21.400 how he looks, he's a handsome guy, she wants to 1:05:22.120 --> 1:05:25.760 meet him. She has her own quirks, you know, as well. 1:05:26.240 --> 1:05:33.480 She's completely you know, I'm a normal inverted commas ah. 1:05:34.440 --> 1:05:39.680 But yeah, I I I think she does. She she 1:05:39.760 --> 1:05:42.640 sees him which I which I think is you know, 1:05:42.840 --> 1:05:46.240 really lovely. It's really I think that's a sweetness that 1:05:46.320 --> 1:05:50.160 I like. And and she reveals her oddness, you know, 1:05:50.360 --> 1:05:51.720 you know, a bit later on when they have that 1:05:51.800 --> 1:05:54.320 Pellow talk when they finally get together and they're talking 1:05:54.320 --> 1:05:56.320 about smashing each other and she she says, I want 1:05:56.320 --> 1:05:57.120 to chew your cheeks. 1:05:57.120 --> 1:05:58.800 I want to eat them. He says, I want to 1:05:59.040 --> 1:06:00.560 smash my face chairman. 1:06:00.640 --> 1:06:04.680 Like, now, yeah, that's confronting in a way, but like 1:06:04.880 --> 1:06:08.720 if they if they're saying it It's like the way 1:06:08.760 --> 1:06:11.200 I see that is the way you know, people want 1:06:11.240 --> 1:06:13.440 to say about a baby. Oh I could gobble you up. 1:06:13.520 --> 1:06:15.080 You know, somebody will say in such a way, and 1:06:15.200 --> 1:06:17.800 I go, I wouldn't be surprised if my auntie eats 1:06:17.880 --> 1:06:20.280 my baby, like keep them away, because they are. 1:06:21.040 --> 1:06:23.520 But the way that's delivered though, the bits by him, 1:06:23.960 --> 1:06:26.800 it's a little more threatening though than your auntie saying 1:06:26.800 --> 1:06:27.720 I want to gobbled baby. 1:06:28.360 --> 1:06:32.520 Yes, but she but she she initiates the conversation, and. 1:06:32.560 --> 1:06:36.160 The way she responds to him is she undercuts it 1:06:36.400 --> 1:06:38.000 by going further. Yes. 1:06:38.520 --> 1:06:42.200 Yes, so they're they're they're playing on a consensual same page, 1:06:42.960 --> 1:06:45.920 you know. It's not like it's not like Barrie's misread 1:06:45.960 --> 1:06:47.280 the room and has come out with I want to 1:06:47.320 --> 1:06:48.680 I want to smash you with a sledge up. That 1:06:48.760 --> 1:06:52.360 becomes a different thing. And I think, you know, if 1:06:52.360 --> 1:06:55.160 we're honest with each other, we all have things that 1:06:55.240 --> 1:06:57.000 we will say to our partners that we would never 1:06:57.960 --> 1:06:58.480 want to, you. 1:06:58.480 --> 1:07:00.840 Know, just say or the he heard, or to be 1:07:01.040 --> 1:07:04.680 you know. Yeah, so this is a like there's a. 1:07:04.760 --> 1:07:08.040 Line in Hawaii which I just it's just fucking such 1:07:08.320 --> 1:07:13.080 great writing. So when they finally get together. He calls 1:07:13.400 --> 1:07:16.760 and and and he says, and all the line is 1:07:16.800 --> 1:07:18.920 there's two lines. There's two lines. 1:07:18.960 --> 1:07:20.160 So he's he's. 1:07:20.120 --> 1:07:22.760 Called, he's got They got a great scene where they 1:07:22.800 --> 1:07:24.440 kind of you know, he have the hanshat. We'll talk 1:07:24.440 --> 1:07:27.880 about that soon. And then there's the band. The band's 1:07:27.920 --> 1:07:30.880 in red blue ocean in the background, blue and red, 1:07:32.720 --> 1:07:35.960 and or she says, like you can you can imagine 1:07:36.280 --> 1:07:38.840 they finally got together. As the writer, you what's the 1:07:38.880 --> 1:07:42.440 most romantic thing, the most amazing prophetic things that I 1:07:42.480 --> 1:07:42.960 can write? 1:07:43.320 --> 1:07:46.080 She just says, you came and got me out of 1:07:46.120 --> 1:07:48.720 my room. Thank you. 1:07:50.160 --> 1:07:53.280 And he takes the compliment. He doesn't say much. You 1:07:53.400 --> 1:07:55.960 just you take, but you can tell he's taken it on. 1:07:57.280 --> 1:07:59.919 And then he looks around and he says, it really 1:08:00.040 --> 1:08:01.400 looks like Hawaii here, doesn't it. 1:08:01.800 --> 1:08:02.000 Yeah? 1:08:02.880 --> 1:08:06.760 And others think that's that is perfect writing. And then 1:08:06.760 --> 1:08:10.200 they walk up and they walk away, and I love 1:08:10.280 --> 1:08:11.960 the walks they do from the date. We'll go back 1:08:11.960 --> 1:08:13.520 to the date in the seat. But when they walk 1:08:13.520 --> 1:08:17.519 away and he reaches out and she eventually kind of 1:08:17.600 --> 1:08:20.400 reaches down, holds his hand, and what I love about 1:08:21.320 --> 1:08:24.280 this movie and when I see this kind of kinds 1:08:24.320 --> 1:08:28.120 of movies, and they do it. You can watch Lord 1:08:28.120 --> 1:08:32.000 of the Rings and you can follow Frolo's journey and 1:08:32.040 --> 1:08:34.160 Sam's journey that they get this ring in a volcano, 1:08:34.680 --> 1:08:36.760 and the courage that it takes, and the bravery it takes, 1:08:37.720 --> 1:08:42.200 the courage and bravery it takes for Barry Egan evidence 1:08:42.360 --> 1:08:45.640 to extend his hand not knowing he doesn't know. He 1:08:45.720 --> 1:08:47.960 has a feeling that she might because you know, things 1:08:48.000 --> 1:08:51.400 have gone better for her to take his hand. You 1:08:51.479 --> 1:08:52.760 had a feeling it must have been like if he 1:08:52.840 --> 1:08:54.840 put out his hand and she doesn't go to you know, 1:08:55.439 --> 1:08:57.120 it's like saying I love you to somebody and not 1:08:57.280 --> 1:08:59.680 know like then and from where he's come from to 1:08:59.760 --> 1:09:02.640 get to that point. That's one of the reasons I 1:09:02.720 --> 1:09:03.280 love this movie. 1:09:03.640 --> 1:09:05.520 Do you reckon she dropped off the harmonium? 1:09:06.360 --> 1:09:09.559 Oh mm? 1:09:10.840 --> 1:09:15.479 Because she reveals that she deliberately came with her yes, car, yep, 1:09:15.920 --> 1:09:18.760 that she'd seen the photo that it you know, it 1:09:18.840 --> 1:09:19.160 was all. 1:09:19.160 --> 1:09:24.760 Deliberate, Yeah, and supposedly I always forget to look out 1:09:24.840 --> 1:09:28.360 for it. But the first time Barry Egan is in 1:09:28.439 --> 1:09:33.599 the supermarket, there is a flash of red in the background. 1:09:33.920 --> 1:09:38.560 Red Hamish red and supposedly I'm not sure if it 1:09:38.600 --> 1:09:42.280 actually was Emily Watson on the day or it's just 1:09:43.000 --> 1:09:43.479 represented it. 1:09:43.640 --> 1:09:45.639 Yeah, so what's what's the red and blue? 1:09:46.320 --> 1:09:52.080 So it's just it's largely it's a filmmaking thing that's 1:09:52.120 --> 1:09:56.719 going on, but it's about you know, you know, visual literacy. 1:09:56.840 --> 1:10:00.439 I guess of somebody who's working at port Thomas Anderson's 1:10:00.560 --> 1:10:05.320 level and what he does. So blue kind of represents loneliness. 1:10:06.040 --> 1:10:09.360 That's Barry. That's why he wears his blue suit. 1:10:09.479 --> 1:10:13.639 Lena is red, Okay, Lena representing love passion. She wears 1:10:13.880 --> 1:10:15.960 red or colors that are closely. 1:10:15.720 --> 1:10:16.320 At lined to red. 1:10:16.400 --> 1:10:19.200 I think she may be changing the pink purples you 1:10:19.280 --> 1:10:22.080 often see the lens flares when they first meet. 1:10:22.520 --> 1:10:24.160 There's a lens flare that's in the middle of them. 1:10:24.600 --> 1:10:27.840 It's both red and blue, like a little tiny, little 1:10:28.040 --> 1:10:31.000 two colored rainbow, both pointing kind of at each other. 1:10:31.240 --> 1:10:35.000 There seems like when Barry finally decides to go, and 1:10:35.320 --> 1:10:37.200 like I mentioned earlier, the car and the taxi that 1:10:37.280 --> 1:10:40.200 drop off, the Flip and the Harmonium both red. When 1:10:40.280 --> 1:10:42.439 Barry decides to go to the airport. When he decides, 1:10:42.800 --> 1:10:45.200 I'm going to go. He races out of the factory. 1:10:45.439 --> 1:10:47.840 A red truck just kind of goes by. It's very strong, 1:10:47.840 --> 1:10:50.160 you know, you never really see any really cars, you see. 1:10:50.200 --> 1:10:53.240 It seems to be traveling at quite always with momentum. 1:10:53.640 --> 1:10:56.320 Barry kind of you know, runs through it. That then 1:10:56.400 --> 1:10:59.800 cuts to Barry come down the airway walk in his 1:11:00.040 --> 1:11:02.000 blue and I think, I think it's like blue carpet 1:11:02.800 --> 1:11:06.760 shade of blue two Hostess in red. When you are 1:11:06.880 --> 1:11:10.160 in Hawaii, you'll see that the box is blue. Barriers 1:11:10.200 --> 1:11:13.120 on the box, the dancers in the street are wearing red. 1:11:13.920 --> 1:11:16.400 The parade a big Hawaiian parade. Also there's a mesh. 1:11:16.840 --> 1:11:19.680 There's a little mesh gate like little mesh you know, 1:11:19.840 --> 1:11:21.600 things that can be folded up. They're folding it up 1:11:22.040 --> 1:11:24.160 as they as they're doing it. Where as soon as 1:11:24.760 --> 1:11:28.160 Barry starts talking to Lena, it folds up almost gets 1:11:28.200 --> 1:11:28.599 out of screen. 1:11:28.640 --> 1:11:32.640 So there's almost no barrier now between the blue and 1:11:32.760 --> 1:11:33.120 the red. 1:11:33.320 --> 1:11:35.960 When Lena's voice comes up a little note the light 1:11:36.040 --> 1:11:39.200 comes up in the lighting is another thing. I'll get 1:11:39.200 --> 1:11:42.559 the lighting in the sec And then when he's running 1:11:42.600 --> 1:11:45.920 from the from the brothers and he does that kind 1:11:45.960 --> 1:11:47.519 of dive that kind of style. It's kind of a 1:11:47.520 --> 1:11:50.479 stylistic dive. There could be another reason for that. We'll 1:11:50.479 --> 1:11:53.439 get onto a superman theory soon. He dives and there's 1:11:53.479 --> 1:11:57.640 a red arrow facing the direction that he dives, like 1:11:57.800 --> 1:12:01.400 in a neon light arrow in the shop front there. 1:12:01.760 --> 1:12:04.640 When they leave the dinner, there is a truck with 1:12:04.920 --> 1:12:07.519 it goes along beside them or they whilst they walk, 1:12:07.680 --> 1:12:12.040 and it's got a blue it's largely blue logo, but 1:12:12.120 --> 1:12:14.120 it's got some red riding as well. And then that 1:12:14.320 --> 1:12:16.479 leaves and it's overtaken when they walk to their car 1:12:16.680 --> 1:12:20.120 by a car yard which has largely it's got it's 1:12:20.120 --> 1:12:21.880 shut down, but it's sill, got some lights. It's got 1:12:21.920 --> 1:12:25.759 red and blue lights. And then there's a final scene 1:12:25.760 --> 1:12:29.280 which I'll get to when we discuss another theory. But 1:12:31.160 --> 1:12:34.240 when he finds Lena, this was really interesting. When he 1:12:34.360 --> 1:12:37.080 finds Lena, they've been red and blue and there's this 1:12:37.280 --> 1:12:39.320 light thing going on as well. So when Lena first 1:12:39.320 --> 1:12:41.240 meets Barry, you would have noticed a lot of blown 1:12:41.280 --> 1:12:44.719 out lights. Lena kind of represents the light. So Lena 1:12:44.960 --> 1:12:47.360 when they first meet, when she comes down together a 1:12:47.400 --> 1:12:49.720 car fixed the sun is right behind Lena and it's 1:12:49.760 --> 1:12:53.040 shining on Barry a lot. There's all these lens flares, 1:12:53.320 --> 1:12:57.160 there's lots of light bouncing off trucks and things, and. 1:12:57.840 --> 1:12:59.439 It's all really beautifully placed. 1:13:00.120 --> 1:13:02.559 So even when a good example is when Barry goes 1:13:02.640 --> 1:13:05.960 and he doesn't kiss Lena, and then she goes downstairs 1:13:06.000 --> 1:13:08.320 and she says, I just want you to know I 1:13:09.760 --> 1:13:12.160 wanted to kiss you, and it just gently moves and 1:13:12.200 --> 1:13:15.320 there's a there's a lamp on the desk and it 1:13:15.439 --> 1:13:18.360 gently moves in. And when she says that the more 1:13:19.160 --> 1:13:20.960 the more light and the more he talks to Lenna, 1:13:21.000 --> 1:13:24.240 that the more light appears on his face. So when 1:13:24.600 --> 1:13:28.160 Barry meets Lena in Hawaii and goes with the big 1:13:28.200 --> 1:13:32.439 awkward handshake, it's the only time she's wearing white, right, 1:13:33.280 --> 1:13:36.920 Lena is the light dragging him out of the shadow. 1:13:37.000 --> 1:13:40.360 Samish, I think you've watched it too many times. 1:13:40.520 --> 1:13:43.200 You haven't watched it enough. You have not watched it. 1:13:43.240 --> 1:13:46.920 It's a it's an incredible film, but. 1:13:47.920 --> 1:13:51.600 Clearly it's made for people that have a passion for filmmaking. 1:13:51.920 --> 1:13:55.240 So if all this is correct, yes, I'm not doubt. 1:13:55.240 --> 1:13:57.479 I'm not casting down on what you're saying. But if 1:13:57.560 --> 1:14:01.599 that's all correct, it's not need for the average consumer. 1:14:01.920 --> 1:14:04.559 These are things that likes a Richard Curtis film. 1:14:04.520 --> 1:14:07.040 When I watched, but they be stopping Richard Curtis films 1:14:07.080 --> 1:14:09.640 that would be not at this level. I don't think. 1:14:09.640 --> 1:14:11.640 I'm not saying that Curtis is a great filmmaker, but 1:14:12.479 --> 1:14:16.599 you know there's more art if you like, in Paul 1:14:16.640 --> 1:14:19.639 dams Anderson's films, No disabout it. I'm a Rachi Curtas fan, 1:14:19.640 --> 1:14:21.920 I really am. But I don't watch this in two 1:14:21.920 --> 1:14:23.720 thousand and two in a cinema and pick up all this. 1:14:24.000 --> 1:14:28.519 This is from seeing it twenty times. And so you 1:14:28.600 --> 1:14:30.240 probably won't watch this film twenty times. 1:14:31.400 --> 1:14:33.360 You watch it twice, but I'll go back and watch 1:14:33.400 --> 1:14:33.719 it again. 1:14:33.880 --> 1:14:35.720 Yeah, so it's picking up those things. 1:14:35.800 --> 1:14:39.719 Also, these things exist to work on a subconscious level. 1:14:40.760 --> 1:14:43.439 Like it's only when you really sit down and do 1:14:43.600 --> 1:14:47.240 some reading on it and you know, I'm looking around 1:14:47.320 --> 1:14:49.439 that you discover it. Some of these things I discovered 1:14:49.439 --> 1:14:51.200 for myself. I thought, there's there's a lot of red 1:14:51.240 --> 1:14:54.320 and blue. Oh, there's more red there. And there's there's 1:14:54.360 --> 1:14:56.880 other things that I you know, like the light I 1:14:56.960 --> 1:14:59.120 knew there was light. There's something to do light. There 1:14:59.160 --> 1:15:02.240 was overblown light. It's really blown out when it's outside and. 1:15:04.400 --> 1:15:05.200 So glaring. 1:15:05.760 --> 1:15:09.400 Yeah, and it's and it's yeah, it's just really interesting. 1:15:09.400 --> 1:15:12.880 Also, lots of white walls, you know, and there's really 1:15:13.360 --> 1:15:19.599 interesting stuff to take out. So Superman, Superman, let's talk Superman. 1:15:19.920 --> 1:15:23.840 All right, let's talk sip Man. There's a theory which 1:15:23.880 --> 1:15:26.800 I this is I only became aware of getting ready 1:15:26.840 --> 1:15:31.040 for this show. There's a theory that Barry Egan is Superman. 1:15:31.439 --> 1:15:34.479 As in this is you know, this is his day 1:15:34.600 --> 1:15:36.920 job at night his Yeah. 1:15:36.800 --> 1:15:40.519 That there are like, now, I don't want people thinking 1:15:40.600 --> 1:15:43.400 that that Barry Egan is going to enter the DC 1:15:43.560 --> 1:15:46.120 universe or anything, but that that as a as a 1:15:46.200 --> 1:15:52.599 source of inspiration Superman is there are three lines from 1:15:52.600 --> 1:15:55.200 Superman to Barry Egan. I'm going to take you through it. 1:15:55.280 --> 1:15:55.439 Now. 1:15:55.640 --> 1:15:58.240 This is not this is a bit of fun. It's 1:15:58.280 --> 1:15:59.639 not one of the reasons why I love the film. 1:15:59.680 --> 1:16:01.720 Like I said, it's I could take it or leave it. 1:16:02.320 --> 1:16:04.680 And at first I was like, oh, come on, and 1:16:04.760 --> 1:16:09.120 then when they started listing all the things, you kind 1:16:09.160 --> 1:16:12.600 of go okay, all right, Poor Thomas Anderson had this, 1:16:12.760 --> 1:16:15.439 you know, I don't know. He feels a big superhero fan, 1:16:15.520 --> 1:16:18.960 big Superman fan. All right, so you've got the obvious one. 1:16:19.040 --> 1:16:22.960 He wears blue. He wears blue. Also, flight is a 1:16:23.000 --> 1:16:28.600 big thing for Superman. Barries after freaking fly miles, he 1:16:28.640 --> 1:16:30.800 talks about DJ Justice. It's one of my favorite scenes. 1:16:31.120 --> 1:16:32.600 I have mentioned this, and you know, I feel like 1:16:32.600 --> 1:16:34.360 a wanker every time I say I had the pleasure 1:16:34.439 --> 1:16:36.559 of having dinner with poor Thomas Anderson, and the one 1:16:36.640 --> 1:16:38.479 scene I got to asking about was that dinner scene 1:16:38.840 --> 1:16:39.880 about DJ Justice. 1:16:39.960 --> 1:16:43.479 I loved it. There's justice. There's a whole truth. 1:16:43.240 --> 1:16:45.920 Thing going on with the lies, and he tells lies, 1:16:45.960 --> 1:16:47.960 and then Lena starts telling the truth, you know, and 1:16:48.080 --> 1:16:51.799 then he starts telling the truth. He discovers great strength, 1:16:52.800 --> 1:17:00.120 almost super human strength. Lois Slane is his girlfriend in 1:17:00.200 --> 1:17:07.160 this movie. It's Lena Leonard. After they after they kiss, 1:17:07.840 --> 1:17:14.360 Barry's tie is red, symbolizing a little more the famous 1:17:14.680 --> 1:17:16.400 SimMan outfit. 1:17:16.840 --> 1:17:18.240 There's a villain in this movie. 1:17:19.640 --> 1:17:24.519 The mattress Man sounds quite quite like a villain when 1:17:24.680 --> 1:17:26.760 he confronts and we'll get the philisimahoffins and we got 1:17:26.800 --> 1:17:30.240 to Philisi Hoffen he when he gets to that, he 1:17:31.360 --> 1:17:33.720 he's wearing he's getting his haircut, and he's wearing this 1:17:33.840 --> 1:17:35.760 thing that almost looks like a cape that a villain 1:17:36.400 --> 1:17:40.200 might wear. Superman had his Fortunes of Solitude, which was 1:17:40.479 --> 1:17:42.599 I forget the name. I don't know sub Man well enough, 1:17:43.240 --> 1:17:46.439 but yeah, the place where he's from the planet where 1:17:46.439 --> 1:17:48.800 he was from almost had those like ice. Remember the glass, 1:17:49.720 --> 1:17:53.120 he's either ice or glass kind of shards the way 1:17:53.320 --> 1:17:57.719 that some of and Barrie's fortunes of Solitude is his factory, 1:17:58.520 --> 1:18:01.160 and he has his plunges the way they're shot, and 1:18:01.200 --> 1:18:03.599 when Lena and he says to come in, they kind 1:18:03.640 --> 1:18:05.559 of almost walk through these plunges that are set up 1:18:05.680 --> 1:18:07.719 look like these kind of shades of glass. 1:18:08.320 --> 1:18:10.040 And perhaps the. 1:18:10.080 --> 1:18:14.280 Most compelling one is fine the very final shot of 1:18:14.400 --> 1:18:18.920 the film, which is Barry at the Harmonium. They've gotten together, 1:18:18.960 --> 1:18:23.639 they've had their kiss and at her apartment, and then 1:18:23.720 --> 1:18:26.040 they go through the factory and he's in the harmonium 1:18:27.080 --> 1:18:30.240 and he's wearing his blue suit and Lena comes up 1:18:30.240 --> 1:18:32.320 from behind him and this gives him a hug behind 1:18:32.400 --> 1:18:36.800 him in her red which looks like a cape, and 1:18:37.320 --> 1:18:42.720 she says, here we go, which could be something you 1:18:42.840 --> 1:18:44.840 hear when you're about to take off. 1:18:45.800 --> 1:18:47.640 It feels like a little bit of a stretch to me. 1:18:47.920 --> 1:18:50.600 I mean, I think it's fun. I think it's I 1:18:50.640 --> 1:18:51.880 don't really care if it's true or not. 1:18:52.200 --> 1:18:54.719 I'd like to know if if Paul Thomas Anderson used 1:18:54.760 --> 1:18:56.599 it as some kind of even if it's a bit 1:18:56.640 --> 1:18:57.280 of fun for him. 1:18:57.320 --> 1:18:59.200 But what I do like about that theory, though, is 1:18:59.280 --> 1:19:04.120 that someone has admired the film and and have reflected 1:19:04.200 --> 1:19:07.920 on it enough to think that up, Yeah, that. 1:19:08.000 --> 1:19:08.479 Is a film. 1:19:08.520 --> 1:19:11.519 By the way, this is a film that those who 1:19:11.720 --> 1:19:16.920 love it like, absolutely, absolutely absolutely love it like. It 1:19:17.080 --> 1:19:21.160 is one of those absolutely one of those films. Let's 1:19:21.160 --> 1:19:25.679 sa way Philisima Hoffman, the great, late great Philisima Hoffman. 1:19:25.800 --> 1:19:28.120 I mean, let's we got to have a listen to 1:19:30.240 --> 1:19:34.479 the phone call between Adam Sandler and Philaema hoffin two greats. 1:19:35.400 --> 1:19:37.080 I'm gonna connect her with my supervisor. 1:19:37.200 --> 1:19:43.320 Now you're in trouble, honey, Hello, sir, my name is 1:19:43.360 --> 1:19:47.400 Barry Egan. I called your service. Oh what's that? 1:19:47.840 --> 1:19:49.519 I said, calm down and shut the fuck up. What's 1:19:49.560 --> 1:19:49.880 the problem. 1:19:50.280 --> 1:19:53.440 The problem is if you explain one of your employees 1:19:53.520 --> 1:19:56.280 that girl I was just speaking with has been threatening me, 1:19:57.080 --> 1:20:01.280 and four blonde gentlemen just attack me and smashed my 1:20:01.400 --> 1:20:03.880 car and hurt my girl. 1:20:04.400 --> 1:20:06.280 I go fuck yourself. That shit has nothing to do 1:20:06.360 --> 1:20:10.200 with me. I run a legitimate business here. Listen to me. 1:20:11.200 --> 1:20:12.080 What's your name? 1:20:12.240 --> 1:20:12.439 Sir? 1:20:13.439 --> 1:20:13.960 Answer me? 1:20:14.240 --> 1:20:15.040 What's your name? 1:20:15.800 --> 1:20:19.839 I'm sorry, I know it could be anybody. 1:20:19.920 --> 1:20:22.320 You're a bad person. You have no right taking people's 1:20:22.360 --> 1:20:26.200 confidence in your service. You understand me, sir? No, no, no, 1:20:26.760 --> 1:20:29.120 shut up. Shut the fuck. 1:20:29.000 --> 1:20:30.760 You're out right to take shut up. 1:20:31.080 --> 1:20:35.080 You shut up, shut up, shut shut shut shut shut up, 1:20:36.840 --> 1:20:37.320 shut up. 1:20:39.160 --> 1:20:41.439 Now are you threatening me? 1:20:41.600 --> 1:20:44.679 Dick? An't you you go fuck yourself? 1:20:45.760 --> 1:20:51.519 Oh? Fuck? 1:20:51.720 --> 1:20:53.719 Did you just say go fuck myself? 1:20:57.400 --> 1:20:57.599 Yes? 1:20:57.800 --> 1:20:59.320 I did that? 1:20:59.600 --> 1:21:01.000 Wasn't you're dead? 1:21:03.880 --> 1:21:05.800 I mean you probably felt sorry for Philip sine my 1:21:05.800 --> 1:21:06.639 hot run in that scene. 1:21:09.520 --> 1:21:09.760 It is. 1:21:10.120 --> 1:21:11.880 It is an unsettling well. 1:21:11.920 --> 1:21:15.439 Originally this was going to be a gangster film, funnily enough, yeah, 1:21:15.479 --> 1:21:18.439 and this was going to be Barry was going to 1:21:18.479 --> 1:21:21.439 be a thief and Lena was going to be I 1:21:21.560 --> 1:21:24.400 think his ex wife, and it was heading towards a 1:21:24.479 --> 1:21:30.679 more Tarantino style affair. But I I love this film 1:21:30.720 --> 1:21:33.920 because it's so unique, like it is the characters are, 1:21:33.960 --> 1:21:38.519 you know, and the direction it goes without without feeling 1:21:38.640 --> 1:21:43.400 like like Guy Ritchie movies can feel like a bit 1:21:43.520 --> 1:21:46.599 cake don It's like, wow, there are so many you've worked. 1:21:46.439 --> 1:21:46.760 Really had. 1:21:46.760 --> 1:21:48.840 You can always see Guy Ritchie on a whiteboard kind 1:21:48.880 --> 1:21:49.800 of mapping it out. 1:21:50.200 --> 1:21:52.040 This is not like that. This is kind of prett effortless. 1:21:52.080 --> 1:21:55.920 This comes from a you know, it's also the the 1:21:56.040 --> 1:21:58.800 repercussions of making not even a mistake, you know, he 1:21:58.960 --> 1:22:01.000 just he's just a guy. He was trying to connect. 1:22:01.080 --> 1:22:02.720 He rang a phone's next light, and then all of 1:22:02.720 --> 1:22:05.400 a sudden this is put on him and then he 1:22:05.560 --> 1:22:08.960 he he takes control. I mean, I love it when 1:22:09.000 --> 1:22:09.719 he takes control. 1:22:10.840 --> 1:22:11.240 It is so. 1:22:12.920 --> 1:22:17.519 It is like, yes, I don't care where you've got 1:22:17.520 --> 1:22:19.600 these skills from. Where you can you know, beat up 1:22:19.960 --> 1:22:20.960 like four Blonde Brothers. 1:22:21.040 --> 1:22:23.680 Yeah, but you're doing it. You found strength and it's 1:22:23.680 --> 1:22:25.920 just a it's not a complicated message. 1:22:26.160 --> 1:22:27.840 That's why I like, That's why I think sometimes there 1:22:27.960 --> 1:22:30.120 is that car flip and why he does dive off 1:22:30.160 --> 1:22:32.320 in that scene and for no real reason and it 1:22:32.439 --> 1:22:35.479 kind of runs off. It's like there are things that 1:22:35.680 --> 1:22:39.479 happen that are we Sometimes I'm critical of films because 1:22:39.479 --> 1:22:41.200 I think real life can be stranger than what we 1:22:41.400 --> 1:22:43.240 you know, and sometimes when you're trying to develop something 1:22:43.280 --> 1:22:44.560 and we go, oh, that happened. 1:22:44.280 --> 1:22:45.519 It's like anything can happen. 1:22:45.720 --> 1:22:46.519 YEA life is. 1:22:46.520 --> 1:22:52.120 Stranger than fiction. And I just think, so let's, you know, 1:22:52.240 --> 1:22:56.400 let's embrace the weird and then you know. 1:22:57.800 --> 1:23:03.360 Could I could I turn your argument for this character 1:23:03.800 --> 1:23:05.479 back on you though a little? Do you think the 1:23:05.600 --> 1:23:11.240 director is deliberately challenging you to find it difficult to 1:23:11.800 --> 1:23:12.599 be on his side. 1:23:12.840 --> 1:23:16.640 I don't think he is. I really I understand. I understand. 1:23:18.080 --> 1:23:21.800 I'm well aware that this movie divides people. I think 1:23:22.200 --> 1:23:26.800 poor Thomas Anderson. The reason he one he just loves 1:23:26.840 --> 1:23:30.000 Adam Sandler. There's always loved these movies, and it surprises 1:23:30.040 --> 1:23:32.680 people to find that out that the guy who made 1:23:32.720 --> 1:23:36.200 There will Be Blood and Magnolia and the Master just 1:23:36.280 --> 1:23:38.200 happens to be a big fan of Adam Sandler movies, 1:23:38.840 --> 1:23:41.720 like he likes generally goofy stuff. And I think he's 1:23:41.760 --> 1:23:43.360 ace in the whole, and I think he's well aware 1:23:43.400 --> 1:23:46.040 of it. Is that even though this is almost ironic 1:23:46.120 --> 1:23:48.080 based on what we've talked about and the reaction of 1:23:48.120 --> 1:23:50.720 people thinking, oh, well, I don't like Adam Sandler is 1:23:50.760 --> 1:23:53.479 that he knows that people do love Adam Sandler, even 1:23:53.560 --> 1:23:54.800 though that's probably. 1:23:54.560 --> 1:23:56.479 Not giving consideration to the whole crowd. 1:23:56.520 --> 1:23:59.519 There's a whole other crowd who don't. I think Adam 1:23:59.560 --> 1:24:03.720 Sandler his comedies, like you mentioned earlier, aren't necessarily my 1:24:03.800 --> 1:24:06.120 cup of tea. But there's something so endearing about Adam 1:24:06.200 --> 1:24:08.639 Sandler that I will sit through and I will enjoy 1:24:09.080 --> 1:24:13.600 Happy Gilmore, the wedding singer fifty first Dates, because he 1:24:13.840 --> 1:24:18.280 is genuinely so likable. There are things so many things 1:24:18.360 --> 1:24:21.880 wrong with those movies, but you don't watch them, you know, 1:24:23.120 --> 1:24:27.560 discuss the you know, the lens and the colors that 1:24:27.640 --> 1:24:31.559 they use. It's Adam Sandler has a presence. He's funny, 1:24:32.400 --> 1:24:37.719 and there's something human about Adam Sandler that comes across 1:24:37.760 --> 1:24:41.599 on screen for me that I've always connected with. Even 1:24:41.640 --> 1:24:46.120 though there are some films if he's that I half 1:24:46.200 --> 1:24:48.000 watched it, I very rarely do that are half watched 1:24:48.000 --> 1:24:49.000 and I think I don't need to see the end 1:24:49.040 --> 1:24:51.200 of this or some about right hated. 1:24:51.720 --> 1:24:54.439 You know those fans like what are you doing. But 1:24:54.640 --> 1:24:56.240 there is something I think. 1:24:57.560 --> 1:25:01.600 Very humane about Adam Sandler on screen, and I think, I, 1:25:02.280 --> 1:25:04.320 you know, we all come from different places, and I 1:25:05.400 --> 1:25:08.439 just had immediate empathy I think for Adam standing and 1:25:08.720 --> 1:25:12.280 his rage. If his rage, if I didn't understand his rage, 1:25:12.600 --> 1:25:15.439 he would be more of a concern. If we don't 1:25:15.520 --> 1:25:20.040 see how much the sisters put on him, then it's 1:25:20.080 --> 1:25:23.040 just like what the what the this goes. 1:25:23.040 --> 1:25:25.479 Off the charts. But I can see and he asked 1:25:25.520 --> 1:25:27.679 for help. He asked for help. 1:25:28.240 --> 1:25:30.160 What do we want people to do? We want them 1:25:30.200 --> 1:25:32.120 to reach out. He's got no one to reach out to. 1:25:32.240 --> 1:25:34.640 The one look like Walter who does reach out to 1:25:34.840 --> 1:25:36.560 betrays him doesn't. 1:25:36.280 --> 1:25:37.799 Actually get into a doctor's surgery. 1:25:38.920 --> 1:25:40.080 Well, of course you can do. You can say the 1:25:40.120 --> 1:25:42.320 about any movie, why did I do this? Well, then 1:25:42.360 --> 1:25:43.479 there's no fucking movie. 1:25:45.120 --> 1:25:47.439 You can always say why why don't I just get 1:25:47.479 --> 1:25:49.559 over that heiccup and just get together? In the first 1:25:50.560 --> 1:25:53.240 Why doesn't Harry just love Sally straight away? Well, because 1:25:53.240 --> 1:25:54.439 we want to go on a journey, we want to 1:25:54.439 --> 1:25:55.960 make a movie. You want to have a few laughs here, 1:25:57.120 --> 1:25:58.400 So that's that's my point. 1:25:58.560 --> 1:26:00.599 I do love that scene. Did remind every sing Boogie 1:26:00.640 --> 1:26:01.360 Night's funnily enough. 1:26:01.479 --> 1:26:03.639 Yeah, I think a long time ago back, Yes. 1:26:03.560 --> 1:26:05.160 There was a there was a certain kind of like 1:26:06.040 --> 1:26:07.720 I feel like those scenes are related. There's a scene 1:26:07.720 --> 1:26:10.280 where Dirk Diggler goes into a car park and jerks 1:26:10.360 --> 1:26:13.160 himself off for cash and it and then it gets 1:26:13.160 --> 1:26:15.200 beaten up. It felt like it felt like it may 1:26:15.240 --> 1:26:16.280 have been shot in the same carpack. 1:26:16.320 --> 1:26:18.560 I don't know if it was or not. Yeah, I do. 1:26:18.800 --> 1:26:19.960 I love Phil heartfit. 1:26:20.000 --> 1:26:22.439 I mean the exchange they had when he goes after 1:26:22.520 --> 1:26:26.200 the car accident, he gets his superpowers, takes it to 1:26:26.280 --> 1:26:29.679 the hospital, then leaves. She does go back, Yeah, after 1:26:29.760 --> 1:26:34.160 they and she's already been discharged, like even though with 1:26:34.400 --> 1:26:37.800 stuff like he runs, like he goes to in the store. 1:26:38.320 --> 1:26:40.479 Well sorry he goes, Yeah, in the match of store. 1:26:40.680 --> 1:26:44.120 And that's in Ohio. So there's Gonneman Californian to Ohio. 1:26:45.000 --> 1:26:47.800 And but we don't think this is where you can 1:26:47.880 --> 1:26:49.599 create your own culture, create your own. 1:26:50.080 --> 1:26:52.560 Time lines, landscapes. 1:26:53.320 --> 1:26:55.320 We don't question, we don't, we don't. We don't really 1:26:55.400 --> 1:26:57.639 think about it. The jumps on a plane and goes Ohio. 1:26:57.800 --> 1:27:00.920 I don't know how long Ohio is from California. Imagine 1:27:01.040 --> 1:27:01.800 it's a plane trip. 1:27:02.120 --> 1:27:02.800 But he goes there. 1:27:02.840 --> 1:27:05.720 He's still on the phone in his hand, and it's 1:27:06.040 --> 1:27:09.680 and it's gorgeous. It's brilliant. You know, we don't, we're not. 1:27:10.360 --> 1:27:12.800 It's just a little detail that's kind of funny if 1:27:12.800 --> 1:27:17.840 you're watching it again. A craft when look how por 1:27:17.960 --> 1:27:21.160 Thomas Anderson reveals when Adam Sandlers can't go one and 1:27:21.160 --> 1:27:23.880 he's getting his hair cut, and it's such a simple 1:27:23.920 --> 1:27:26.760 little move and they use a mirror and and things 1:27:26.800 --> 1:27:29.280 to kind of disguise the fact and they just pil 1:27:29.360 --> 1:27:31.639 Simah Hoffen turns around and George who's cutting his head, 1:27:31.640 --> 1:27:33.360 turns around and he just like moves the camera a 1:27:33.400 --> 1:27:36.080 little bit reveals Adam standless standing in this almost there. 1:27:36.080 --> 1:27:39.519 I say, it's superhero pose and it's just like a 1:27:39.840 --> 1:27:45.400 very simple but brilliant directorial move. Okay, it is gorgeous, mate. 1:27:45.520 --> 1:27:50.720 This podcast comes with homework. I feel like more for 1:27:50.840 --> 1:27:51.599 you than most. 1:27:55.439 --> 1:27:56.639 I feel like I've let you down. 1:27:56.800 --> 1:28:00.599 No, no, listen, I like always say you just process 1:28:00.640 --> 1:28:02.120 in his film. I'm not gonna say you're gonna watch 1:28:02.120 --> 1:28:04.519 it again and love it, but you might you might 1:28:04.640 --> 1:28:07.160 watch it again and have a slightly slightly different view 1:28:07.200 --> 1:28:10.240 on it. Perhaps not, I don't know. Some quick fun 1:28:10.320 --> 1:28:13.320 facts before we go. The pudding said plot was actually 1:28:13.360 --> 1:28:15.680 a real based on a Time magazine I. 1:28:15.720 --> 1:28:16.080 Got to use. 1:28:16.160 --> 1:28:18.880 I saw that, yeah, because yeah, I read about it. 1:28:19.160 --> 1:28:21.200 Yeah, so it was a Time magazine article. A civil 1:28:21.240 --> 1:28:24.880 engineer called David Phelps bought three thousand dollars worth of 1:28:24.960 --> 1:28:29.120 putting US hundred and fifty cups and end up receiving 1:28:29.240 --> 1:28:32.599 one point two five million mile fring of flying miles. 1:28:32.840 --> 1:28:34.840 And they asked him if they could use his story. 1:28:35.400 --> 1:28:35.800 I did that. 1:28:35.840 --> 1:28:39.639 I didn't know that, yeah, and he said yes, yes, 1:28:39.880 --> 1:28:41.240 And then he saw the film and he's like, that 1:28:41.280 --> 1:28:44.719 guy makes me anxious. The movie's original titles were Knuckle, 1:28:44.800 --> 1:28:47.679 Sandwich and Yeah. I mentioned it was like a Tarantino 1:28:47.760 --> 1:28:50.080 style one hundred and forty pages long, and then he 1:28:50.200 --> 1:28:53.519 wanted to make a shorter film, so that all changed. 1:28:54.040 --> 1:28:56.280 The idea of having seven sisters was inspired, believe it 1:28:56.360 --> 1:28:58.639 or not, by an episode of Cops four times, Andazon 1:28:58.720 --> 1:29:02.120 was watching a I get arrested and he's talking about 1:29:02.120 --> 1:29:03.639 all the things wrong with his life, and he mentioned 1:29:03.640 --> 1:29:08.400 he's got seven sisters, and Sanderson thought, okay, that sounds fun. 1:29:09.000 --> 1:29:11.160 Sean Penn was going to play Dean Tremmel. Even though 1:29:11.200 --> 1:29:14.519 philism Hoffin nails it, Sean Penn was going to play 1:29:14.520 --> 1:29:17.760 it was unavailable. They always wanted to work together. Has 1:29:17.840 --> 1:29:20.320 recently worked with him on Licorice Pizza, which is an 1:29:20.320 --> 1:29:23.120 extraordinary film as well. This feels like poor Thomas Anders's 1:29:23.160 --> 1:29:25.920 most personal film, but Lickorage Pizza is in a completely 1:29:25.960 --> 1:29:29.920 different film vibe, but it also feels very personal as well. 1:29:30.240 --> 1:29:33.680 But so mate, thank you, thank you. We're heading into 1:29:33.720 --> 1:29:35.760 the project office. Well no doubt, continue to talk about it. 1:29:36.160 --> 1:29:37.880 I'll look at you across the desk and going how. 1:29:37.840 --> 1:29:39.479 There is this guy, buddy? 1:29:39.920 --> 1:29:39.960 What? 1:29:41.560 --> 1:29:43.600 Oh god? I don't understand it. 1:29:44.240 --> 1:29:46.559 But thank you so much, and thanks for hanging out, 1:29:46.760 --> 1:30:00.680 thanks for having me. There we go the ultimate episode 1:30:00.960 --> 1:30:03.479 of season four. If you ain't seen nothing yet, yes, 1:30:03.640 --> 1:30:06.160 one more ago, And I want to thank Hamis McDonald 1:30:06.200 --> 1:30:08.799 for coming in and having a chat about that film. 1:30:08.960 --> 1:30:10.920 I get the feeling he's going to go back at 1:30:10.960 --> 1:30:12.920 some point and watch it again and maybe have a 1:30:13.040 --> 1:30:15.880 different vibe about it. I don't know, I might be 1:30:15.920 --> 1:30:17.920 wishful thinking, but I love chatting to him. I love 1:30:17.960 --> 1:30:21.040 working with him. I love being his mate and very 1:30:21.120 --> 1:30:26.679 thoughtful sensitive guy. Sensitive not soft, I mean, he he cares, 1:30:26.760 --> 1:30:30.000 He's empathetic, so I really appreciate him taking the time. 1:30:30.000 --> 1:30:33.760 He's very, very very busy man. And I loved that. 1:30:33.880 --> 1:30:35.560 I loved him talking about. 1:30:35.360 --> 1:30:40.680 The movies, that story he told about about seeing Somersault 1:30:41.040 --> 1:30:45.519 in London, and then also what the movie head On 1:30:45.720 --> 1:30:47.559 kind of meant to him as well. That was really 1:30:48.000 --> 1:30:50.599 that was really really honest, kind of soul bearing stuff 1:30:50.640 --> 1:30:53.200 in a way. So thank you Hamish for being so honest. 1:30:53.360 --> 1:30:56.240 Sure do I wish you loved puns Strung Love more 1:30:56.280 --> 1:31:00.000 than you did, Yes, but that's the way to cookie grumble. 1:31:00.439 --> 1:31:02.880 And I still it doesn't change the way I think 1:31:02.960 --> 1:31:04.800 of the film. I think it's a perfect film. I 1:31:04.800 --> 1:31:07.639 think everything Paul Thomas Andersen tried to do he achieved 1:31:07.800 --> 1:31:11.040 and I will always love that film. And for anybody 1:31:11.120 --> 1:31:14.200 listening to this episode who loves punt Strunk Love as 1:31:14.240 --> 1:31:17.479 much as I do and may feel frustrated that Hamish 1:31:17.520 --> 1:31:19.559 didn't love it, that's not what this podcast is about. 1:31:19.800 --> 1:31:23.519 It's just about sharing our cinematic experiences. And yeah it 1:31:23.560 --> 1:31:26.280 should not even when I when we did love actually 1:31:26.320 --> 1:31:29.360 and I kind of, you know, joined in on the 1:31:29.439 --> 1:31:30.519 shredding of that film. 1:31:30.640 --> 1:31:31.080 I didn't. 1:31:31.640 --> 1:31:35.639 I certainly did not want anyone to change their views 1:31:35.720 --> 1:31:40.320 on love. Actually, you know, it's just about having a 1:31:40.439 --> 1:31:43.680 revisit of some films. So yeah, puns strung Love in 1:31:43.760 --> 1:31:47.000 my mind will always be perfect, and I hopefully Hamish 1:31:47.040 --> 1:31:48.640 will give me a tap on the shoulder in the 1:31:48.720 --> 1:31:51.280 year's time we go. Actually, Pete, I apologize. Let's record 1:31:51.320 --> 1:31:53.920 that podcast because it's actually the most brilliant film ever. 1:31:54.680 --> 1:31:57.679 I won't hold my breath, but we'll see Derek Maya 1:31:57.760 --> 1:32:00.720 Skaisway studios. You have not seen in Punk Struk Love. 1:32:00.760 --> 1:32:04.920 I believe you know what I'm going to now, we've achieved. 1:32:04.920 --> 1:32:06.640 If we've achieved something today. 1:32:06.479 --> 1:32:07.679 It might be the deciding vote. 1:32:07.880 --> 1:32:09.200 I'm a no Sandler guy. 1:32:09.520 --> 1:32:10.600 Yeah, okay, okay, so. 1:32:12.280 --> 1:32:15.719 Definitely listening to the clips and listening to the discussion, 1:32:16.640 --> 1:32:19.960 I'm going to have to just just tough en up 1:32:20.000 --> 1:32:20.960 and have a look at it. 1:32:21.920 --> 1:32:24.439 There was an article because we're actually recording this little 1:32:24.640 --> 1:32:27.600 behind the scenes. We're recording this a week or so 1:32:27.760 --> 1:32:31.639 after we recorded the interview with Hamish, and he sent 1:32:31.680 --> 1:32:34.280 me an article that was written by somebody because he's 1:32:34.320 --> 1:32:37.200 got Hustle out on Netflix now, which is a he 1:32:37.280 --> 1:32:41.400 plays a basketball coach, I think, and somebody who. 1:32:41.280 --> 1:32:42.439 Was writing in the age. 1:32:42.479 --> 1:32:46.240 I believe that everyone really needs to rethink their Adam 1:32:46.360 --> 1:32:50.760 Sandler prejudices, so good chance to do so. He's got 1:32:50.840 --> 1:32:54.479 Hustle on Netflix. Uncut Gems was amazing, but maybe start 1:32:54.520 --> 1:32:57.639 with Punks drunk love. It is a phenomenal experience, I believe. 1:32:57.880 --> 1:33:02.800 And performance next week sadly the last episode of If 1:33:02.840 --> 1:33:05.160 You Ain't Seen Nothing Yet for season four. It has 1:33:05.560 --> 1:33:09.160 flown by in many ways. Other times I feel like 1:33:09.240 --> 1:33:12.720 it's gone exactly over about twenty weeks or so. 1:33:13.080 --> 1:33:13.880 I'm so excited. 1:33:14.000 --> 1:33:19.560 The classic film, an iconic film with an iconic, brilliant Australian. 1:33:20.040 --> 1:33:22.479 We have Claire Bowditch coming in for the final episode 1:33:22.760 --> 1:33:26.760 next week. Claire is somebody who I could not have 1:33:27.600 --> 1:33:34.120 more respect for. She radiates positivity. She speaks so beautifully, 1:33:34.600 --> 1:33:39.200 and particularly about creativity and the importance of creativity. She 1:33:39.320 --> 1:33:42.280 really believes in what creativity can do and that everyone 1:33:42.479 --> 1:33:45.760 is creative. And I'm sure we'll get all kinds of insights. 1:33:46.280 --> 1:33:48.840 I've got my fingers double crossed. She's going to enjoy 1:33:48.920 --> 1:33:52.360 the movie that she has nominated. She has never seen. 1:33:52.520 --> 1:34:01.519 Claire Boats, musician, author, broadcaster, entrepreneur or amazing woman has 1:34:01.640 --> 1:34:07.360 never seen the nineteen seventy six winner of the Best 1:34:07.479 --> 1:34:11.720 Picture Oscar that year is the highest grossing movie of 1:34:11.960 --> 1:34:18.560 nineteen seventy six. It spawned eight spinoff films over five decades. 1:34:19.920 --> 1:34:22.559 It gave us sevesteris the Lione you know you can 1:34:22.640 --> 1:34:22.880 hear it. 1:34:24.200 --> 1:34:25.200 It's Rocky. 1:34:28.400 --> 1:34:31.559 Where Votage watches Rocky for. 1:34:31.640 --> 1:34:35.280 The first time next week on your eighteen Nothing yet 1:34:35.800 --> 1:34:53.920 until then, take care, and so 1:34:54.160 --> 1:34:58.000 We leave all Pete save Van Sult, and to our 1:34:58.120 --> 1:35:01.519 friends of the radio audience, we've been a pleasant your time.