Speaker 1: Gid A, Peter Helly here, welcome to you Ain't Seen
Speaker 1: Nothing Yet the movie Podcast, where I chat to a
Speaker 1: movie lover about a classic, aw beloved movie they haven't
Speaker 1: quite got around to watching until now, and Today's guests
Speaker 1: Journalist TV hosts broadcaster.
Speaker 2: Mate Haimi's McDonald.
Speaker 3: The first rule of fake club is you do not
Speaker 3: talk about fake club.
Speaker 2: Now always you afraid of you broke my heart. I
Speaker 2: admi your luck.
Speaker 4: Mister Bond, James Bond, haven't a.
Speaker 3: Right now, don't see nothing here.
Speaker 1: Hamish McDonald is not only an outstanding journalist but quite
Speaker 1: simply one magnificent bloke. Hamish has done the hard yards
Speaker 1: over the years, working for everyone from Al Jazeera Channel
Speaker 1: four and ITV in England, ABC both in America and Australia,
Speaker 1: and of course Channel ten where he hosts a Sunday
Speaker 1: project alongside Lisa Wilkinson and or when Lalitez the Sniffles
Speaker 1: he joins us during the week. Like god good journalist,
Speaker 1: Hamish is always prepared to listen and debate to put
Speaker 1: his point forward. But it never feels that Hamees's mind
Speaker 1: has ever shut off to possibilities even when he's talking
Speaker 1: world affairs with an unqualified braffoon like myself. Hamish's great
Speaker 1: fun on and off the screen. He's curious about the
Speaker 1: world and the people around him. He's empathetic, but he's
Speaker 1: no pushover. Hamish knows how to put his argument to
Speaker 1: those in power and never.
Speaker 2: Takes a backward step.
Speaker 1: He's fun, he's intelligent, he's bloody handsome, and I'm bloody
Speaker 1: stoked to be hanging with him today?
Speaker 2: Could I?
Speaker 3: I'm Hamis McDonald. My three favorite films are Forwardings in
Speaker 3: a Funeral, I Think I Love You, Summersault and head On.
Speaker 3: I love that fucking felt And until recently, I'd never
Speaker 3: watched Punch Drunk Love. I believe this is a small piano.
Speaker 3: It's not a piano.
Speaker 2: I've got a piano. What did you get it?
Speaker 5: It was strapped in the street.
Speaker 3: Why are they here? Barry Mary.
Speaker 1: Following on from the twin successes of Boogie Knights and
Speaker 1: his magnus Opus Magnolia, Paul Thomas Anderson wanted to show
Speaker 1: Hollywood that he could make a movie that runs under
Speaker 1: ninety minutes. At the Carni International Film Festival, when the
Speaker 1: press were lavishing praise on the young auteur over magnolia.
Speaker 1: They asked him how the packed press conference, who would
Speaker 1: he like to work with next? He gave two answers.
Speaker 1: The first were met with fervent nods. It was Daniel
Speaker 1: day Lewis. The next day that came from PTA's mouth
Speaker 1: was met with roars of laughter. That name was Adam Sandler.
Speaker 1: The press were then discover a few years later that
Speaker 1: Anderson was not joking. He wanted to make an art
Speaker 1: House Adam Sandler comedy. The result is two thousand and
Speaker 1: two stunning punch drunk Love. We first find Adam Sandler's
Speaker 1: Barry Egan, hunched over his desk alone in the factory
Speaker 1: warehouse as he negotiates with a slightly disinterested voice on
Speaker 1: a helpline something about barcodes and putting his blue soup,
Speaker 1: making him almost disappear into the wall behind him. Sandler's
Speaker 1: turn as the repressed, socially awkward Barry, a man whose
Speaker 1: blue suit may as well be a strait jacket, is
Speaker 1: still the best of his career, although his work in
Speaker 1: Uncut Gems is in the conversation when Barry's one of
Speaker 1: seven Hally sisters, brings work mate Lena Lennard played by
Speaker 1: the always great Emily Watson, into officially introduce them. Barry's
Speaker 1: life is about to take a dramatic turn. Will Lena
Speaker 1: be able to drag Barry out of the shadows and
Speaker 1: into the light? Add to this an abruptly abandoned harmonium,
Speaker 1: a shitloader putting, and a phone sex call that goes
Speaker 1: as horribly wrong as it could possibly go, and you
Speaker 1: may just have one of the most unique American romances
Speaker 1: of recent times. John Brian's magnificent, deliberately disjointed score shot
Speaker 1: by frequent PTA collaborator Robert Elswiz, whose use of lighting
Speaker 1: and lens flair is a masterclass. A movie about letting
Speaker 1: people in, letting go, and finding strength through love. Hamis
Speaker 1: McDonald Have any of your phone sex calls ever gone
Speaker 1: this family?
Speaker 3: They've all been brilliant, they've all.
Speaker 1: Been romantic, and this gentle and there's a real, real
Speaker 1: yeah push up for humanity.
Speaker 3: None of them have ever tried to extort me afterwards.
Speaker 1: It's nice. It's nice when you can this. It's a
Speaker 1: business transaction. Hey, we've had a great time.
Speaker 2: Let's just leave it at that now. Thank you for
Speaker 2: joining me.
Speaker 1: You are one of the busier guests I've had on
Speaker 1: So thank you for dragging your ass to Collingwood in the.
Speaker 2: You know, on a wet Melbourne day, it's de rightful
Speaker 2: to be here.
Speaker 1: Why I won't ask you why you haven't seen Punch
Speaker 1: Drunk Love, because it's not like you haven't seen Star
Speaker 1: Wars or George.
Speaker 2: This is a particular kind of classic movie.
Speaker 1: I think it feels like, you know, it's it's more
Speaker 1: on the cult kind of side of classic. But are
Speaker 1: you what's your worldview of Adam Sandler going into this
Speaker 1: cause I think this is an important question for anyone
Speaker 1: watching Punt Drunk Love.
Speaker 3: I have come to the realization that he's quite a
Speaker 3: polarizing actor, and I probably fall on the skeptical side.
Speaker 3: I don't particularly like those kind of American comedy films
Speaker 3: that he's normally in. It's not a personal thing about him,
Speaker 3: but I guess the types of movies that he is
Speaker 3: in just don't particularly appeal to me. I think Emily
Speaker 3: Watson actually is someone that I would probably watch a
Speaker 3: film for. I can't remember why I didn't watch this
Speaker 3: when it came out in two thousand and two, but
Speaker 3: I reckon it probably would have been the Adam Sandler component.
Speaker 1: It's funny because Adam Sandler is I think such a
Speaker 1: strength in this film. I think once you watch it
Speaker 1: and he's I think we'll get into it. I want
Speaker 1: to talk too much about it. I think he's so
Speaker 1: great in this movie. But he also I think turns
Speaker 1: people away from the people who don't like Adam Sandler
Speaker 1: that generally it takes a lot for them to go
Speaker 1: It probably takes ten people to say you must see
Speaker 1: this movie for them to actually go see it.
Speaker 3: I guess exception of him, rightly or wrongly. And I
Speaker 3: know we're going to talk about this movie later on.
Speaker 3: Is that when you go and see an Adam Sandler film,
Speaker 3: you're watching Adam Sandler be Adam Sandler. That there's not
Speaker 3: a lot of dynamism or diversity to the characters he
Speaker 3: plays as or it seems to be a bit of
Speaker 3: an iteration of the same thing. And so I definitely
Speaker 3: came to this with a fair amount of curiosity. You know,
Speaker 3: why is this one on this list? You know, I
Speaker 3: was aware of it. It wasn't, you know, a film
Speaker 3: that I'd never heard of. I was enthusiastic about sitting
Speaker 3: down and watching it, and I tried to come at
Speaker 3: this with an open mind. I also knew that he
Speaker 3: had been in what was the one you Just Uncut Gems,
Speaker 3: and I definitely did think. I read the reviews of that,
Speaker 3: I thought about watching, and I didn't get to it,
Speaker 3: probably for the same reason, just that inherent skepticism that
Speaker 3: I have about about him. So yeah, I was ready
Speaker 3: for the journey of this film.
Speaker 1: Paul Jomas Sanderson certainly saw something. It's a remarkable press
Speaker 1: conference as in Car, which I mentioned in the intro,
Speaker 1: where they just laughed that he wanted It does sound
Speaker 1: like a joke when you say Daniel day Lewis and
Speaker 1: then Adam Sandler. Yeah, and you haven't made like a
Speaker 1: comedy yet, boy United. That's some comedic elements, absolutely, and
Speaker 1: so people actually do kind of consider it a comedy,
Speaker 1: but I see it more as like good Fellows in
Speaker 1: my mind. So to kind of go from these big
Speaker 1: ensemble pieces usually like the best character actors Philip Seima Hoffman,
Speaker 1: Julianne Moore, to then say you want to work with
Speaker 1: Daniel da Lewis, Yeah, fair enough, and then at Adam Sandler.
Speaker 2: I mean, if you're a comedian that's that's the joke
Speaker 2: you do.
Speaker 3: I quite like that, though, So I do a bit
Speaker 3: of second screening if I'm watching films generally, and I
Speaker 3: did do a bit of reading about this and the director,
Speaker 3: and actually that really appeals to me. It made me
Speaker 3: think about White Lotus, the series that did pretty well
Speaker 3: during the pandem and the director had this fascination with
Speaker 3: Jennifer Coolidge. He played Stiffler's mum in the American Pie franchise,
Speaker 3: and you know, she, in a similar way, always seemed
Speaker 3: to play the same character, the kind of blonde bimbo
Speaker 3: milf I think she was called in American Pie. And
Speaker 3: he was fascinated by her, and he did, in fact,
Speaker 3: I think I read a New Yorker magazine article about
Speaker 3: it subsequent to White Lotus. He had been so fascinated
Speaker 3: by her and so interested in what the layers were
Speaker 3: to her, underneath these very surface level portrayals of characters
Speaker 3: that she had delivered, that had actually written a whole
Speaker 3: series for her with her in mind that didn't get up.
Speaker 3: They then landed on White Lotus, and he wrote that
Speaker 3: character for her, and for me, she was really a
Speaker 3: standout in that in that series that really appealed. And
Speaker 3: the idea that he saw something in Adam Sandler beyond
Speaker 3: the kind of almost caricature of you know, characters that
Speaker 3: he plays. It was something that I was enthusiastic about.
Speaker 1: And I think, if you're right, if you're trying to
Speaker 1: break into the industry, and we get a lot of
Speaker 1: feedback from people who are trying to get in and
Speaker 1: and and it's occasionally I'll just try to kind of
Speaker 1: pick up on something that maybe helpful if you can
Speaker 1: find an actor and then maybe, you know, if you're
Speaker 1: local in Australia, it may be somebody who's you know,
Speaker 1: you know, a local actor.
Speaker 2: I did it. If I love you too.
Speaker 1: I love Peter dinkliche station agent, and I thought that
Speaker 1: guy is phenomenal and I wanted to write something for him.
Speaker 1: And it felt ridiculous. It felt like Peter thinklige is
Speaker 1: this is pre Game of Thrones, this is even pre
Speaker 1: death of a funeral. Peter Dinklish I didn't like. But
Speaker 1: it felt so bizarre for me to say that that loud,
Speaker 1: that I've written this for Peter Dnklage and then we
Speaker 1: send it to him and he had he got like
Speaker 1: that he has some notes on that on the draft
Speaker 1: that we sent him, and we kind of you know,
Speaker 1: we took some of those and other things we said, well,
Speaker 1: this is why this has done that way.
Speaker 2: So he accepted that, but he came on board.
Speaker 1: There is a thrill of having something written for you,
Speaker 1: So don't try to write something for George Clooney. He's
Speaker 1: got But if you can find an actor who you
Speaker 1: don't think has been used in the right way to
Speaker 1: give them a comedy or to give them a drama
Speaker 1: when they're you know, usually done comedy, then then that's
Speaker 1: that's If you can excite an actor about doing that,
Speaker 1: that's that helps.
Speaker 2: I think, you know, get a script screenlt sometimes.
Speaker 3: Yeah, I recently watched the I think it's a binge
Speaker 3: series maybe or Stan with Boyana love Me. Yeah, yeah,
Speaker 3: Boyana and Novakovich.
Speaker 2: Yeah. I haven't seen it, but I've only heard amazing things.
Speaker 3: And I was only vaguely aware of her, And I
Speaker 3: wouldn't put her in the same category as Adam Sandler,
Speaker 3: you know, always playing the same thing. But she has
Speaker 3: her career. She's Australian Australian Serbian, but mainly has had
Speaker 3: a career in the United States and I guess the
Speaker 3: characters that I think. You know, She's in Suicide Squad,
Speaker 3: she was in Ititonia. She was in a series with
Speaker 3: Alan Cummings where they're sort of these detectives and they
Speaker 3: were kind of quite well, I guess they're kind of
Speaker 3: comedic roles. Probably you would you would describe them. Yes,
Speaker 3: I don't know whether you'd say Aitonia is, but I
Speaker 3: guess it was. But in Love Me and It's with
Speaker 3: Hugo Weaving. She she's the main character, and there's just
Speaker 3: so much depth to her and so much emotion, and
Speaker 3: I found her one of the more transfixing characters and
Speaker 3: actors I've watched in a long time. And she did
Speaker 3: something I think in that series that stayed with me
Speaker 3: for quite a long time and really made me ponder.
Speaker 3: And I love things that you go away reflecting on
Speaker 3: for a substantial period of time and wanting to talk
Speaker 3: to people about. And so I don't think it was
Speaker 3: written for her. I think actually it was a series
Speaker 3: that was originally made somewhere in Scandinavia maybe, and it
Speaker 3: was an Australian adaptation, but it felt actually very Australian,
Speaker 3: and I thought she was just incredible.
Speaker 1: Yeah, she is an incredible actress. And she also she
Speaker 1: is very funny. Like I don't know her particularly well.
Speaker 1: I think i've met her at maybe a handful of
Speaker 1: times when we interviewed a couple of times.
Speaker 2: She's for the whole years ago.
Speaker 1: When what I really admire about her is she she
Speaker 1: doesn't stop, like she just kind of if she's not
Speaker 1: working sher corect work, Like she's doing this tennis character
Speaker 1: that's like Russian. I might have been serving on a
Speaker 1: tennis character that was just and she's just doing her
Speaker 1: own little videos hilarious.
Speaker 3: I think she has a YouTube series where she goes
Speaker 3: I've really gone down a few rabbit holes hear.
Speaker 2: There always rabbit holes to go down.
Speaker 3: And then yeah, she goes on dates with people. Yeah,
Speaker 3: and it's filmed for you for YouTube, I think, and
Speaker 3: she plays a character.
Speaker 2: Yes, I spoke.
Speaker 1: I think I spoke to somebody who actually appeared in
Speaker 1: one of those. Was on the other end of the day, Yeah,
Speaker 1: it was working on these.
Speaker 3: I think someone we work with has done it, because
Speaker 3: I feel like I've had this conversation at work. Yes,
Speaker 3: project it was well, but she's actually one of our
Speaker 3: makeup artists at Channel ten. Went to high school with
Speaker 3: her at I think it's McDonald College, one of the
Speaker 3: performing arts schools in college. Yeah, my performing arts school.
Speaker 2: Give it a plug, go on.
Speaker 3: And was talking about her the other day actually, and
Speaker 3: because I think they were planning some kind of reunion
Speaker 3: or something something along those lines, and she was like,
Speaker 3: she was so cool when we were in high school.
Speaker 3: She taught us how to smudge.
Speaker 2: I forgot all about smudging.
Speaker 3: Wow, the woman of many hidden talents.
Speaker 1: We're talking smudges in on paper and that's not cool
Speaker 1: or code for something else.
Speaker 3: It could be you know, when you were at high school,
Speaker 3: primary school and you do like drawings, and then you know,
Speaker 3: you'd sort of put a bit of spit on your
Speaker 3: fingers and smudge the end of the the yeah line, I.
Speaker 1: Thought it might have been like code and all of
Speaker 1: a sudden condoning smudging and that's going to my face.
Speaker 1: I might have to go down that rabbit hole as well.
Speaker 1: It's much better than the rabbit hole. You're not much safer.
Speaker 1: Let's say about your three favorite films. It's really interesting
Speaker 1: ones here. Four Weddings and a Funeral. Let's begin with that.
Speaker 1: What a one of the quintessential romantic comedies. You know,
Speaker 1: I remember seeing this in Glasgow. I was traveling by
Speaker 1: myself as an eighteen year old. I may have turned
Speaker 1: nineteen by the time I saw it, and just felt
Speaker 1: all the feels of you know, like missing my friends
Speaker 1: from back home, and I remember crying in the cinema
Speaker 1: watching it by myself. Did you see when it came
Speaker 1: out or did you catch it later on?
Speaker 3: I think probably I saw it when it came out,
Speaker 3: but I think I I it's a film that I've
Speaker 3: There's only a handful of films that I've watched a lot,
Speaker 3: and it's a film that I do go back to,
Speaker 3: you know, if it's a rainy day or whatever and
Speaker 3: I'm feeling a bit, you know, blue, It's a film
Speaker 3: that I might put on. I think I've lived a
Speaker 3: lot of my adult life overseas, and a large chunk
Speaker 3: of that in the UK, in London, and so a
Speaker 3: lot of the locations became very familiar to me, and
Speaker 3: so I ended up, you know, I lived in a
Speaker 3: place in Islington for a long time and bits of
Speaker 3: that film shot around there, you know, the sort of
Speaker 3: the opening scenes where they're running late and she's sort
Speaker 3: of half dressed running down the high street. That's that's
Speaker 3: up the street in Islington. The sort of final scenes
Speaker 3: where you know, Any McDowell's in the in theane and
Speaker 3: Hugh Grant sort of turns up at the door. That's
Speaker 3: filmed at a house on the edge of Highbury Fields,
Speaker 3: which is where I where my place was.
Speaker 2: Was it raining in that scene, I didn't notice.
Speaker 1: God, Charlie Pickering, I'm sure it was, had a has
Speaker 1: a violent reaction to Dany McDowell, and I feel, I
Speaker 1: feel she was mostly good. She did her job in
Speaker 1: that role, that last scene. And I'm sure it's direction
Speaker 1: from Richard Curtis or not, but that last scene where
Speaker 1: she's yeah, that line, yeah, look, he doesn't ruin the
Speaker 1: film for me.
Speaker 3: I get why people don't particularly like those films as well,
Speaker 3: you know, Richard Curtis films, they're a particular thing. But
Speaker 3: I guess I really I really loved living in the UK.
Speaker 3: I loved living in London. I felt, you know, my
Speaker 3: time there work wise and personally was was you know,
Speaker 3: formative period in my life. And I think that and
Speaker 3: love actually it just reminds me of that time very strongly,
Speaker 3: and you know, I think I think when I first
Speaker 3: moved to the UK, I think Love Actually had just
Speaker 3: come out and Bits of Love actually a film on
Speaker 3: the South Bank and in South London, which is where
Speaker 3: I was living. I was dossing at that point, you know,
Speaker 3: sleeping on someone's couch just near London Bridge. So it
Speaker 3: was it was all I guess I was sort of
Speaker 3: in that space, in that in that geographic space as
Speaker 3: that film came out and was you know, a huge
Speaker 3: hit obviously, and so I think those Richard Curtis films
Speaker 3: remind me of that time in my life and and
Speaker 3: so you know, it just connects me with that.
Speaker 1: And for the record, I love Richard Curtis films. I mean,
Speaker 1: maybe don't listen to it Love Actually episode with Eddie
Speaker 1: Bannon because he and I joined a little bit. There's
Speaker 1: a lot wrong with that film, but Richard largely about
Speaker 1: the fields, I think, and and those you forget that
Speaker 1: four Weddings and even you know and Nodding Hill really
Speaker 1: kind of it was just so wonderful to see a
Speaker 1: group of friends and in a way that a completely
Speaker 1: different kind of show, but Seinfeld kind of that kind
Speaker 1: of aspirational oh these might be my friends. When I
Speaker 1: get older and I'm living in a big city, and
Speaker 1: and and Seinfeld, their characters are more unlikable. They're funny
Speaker 1: and we love them, but they're unlikable characters. Where notting
Speaker 1: Hill that it was surrounded by these warm, supportive friends
Speaker 1: of family. He'd like to take the piece out of
Speaker 1: each other, but also we're there, they had each other's backs.
Speaker 1: You know that that kind of scene in notting Hill
Speaker 1: when they're in the cafe, when he's kind of said,
Speaker 1: you know, I can't be with you and send her away,
Speaker 1: and then.
Speaker 2: What are you doing?
Speaker 1: You know, it's it's a warmth of Richard Curtis films
Speaker 1: is intoxicating.
Speaker 3: You're right, and I agree with that one hundred percent.
Speaker 3: I think the funeral scene in Four Weddings and.
Speaker 2: A Funeral is the Poem is incredible.
Speaker 3: I struggle to think of a scene in any film
Speaker 3: that touches me more. I think a cry every time
Speaker 3: I think as well. The depiction in that movie of
Speaker 3: a gay relationship or same sex relationship within a group
Speaker 3: of friends was very meaningful to me. It wasn't a
Speaker 3: gay movie, it wasn't a gay story. It just existed
Speaker 3: in a very you know, in a way that was
Speaker 3: more familiar to me.
Speaker 1: It's interesting because Shit's Creek has won a lot of fans.
Speaker 1: I love Shit's Creek for the representing a gay relationship
Speaker 1: without all the judgment and from the small town that
Speaker 1: you might usually expect in American or Canadian any kind
Speaker 1: of films really, And I didn't really thought about it,
Speaker 1: but for Winnings in the Funeral almost does that.
Speaker 2: Yeah, you know, thirty years earlier.
Speaker 3: Yeah, I mean it's an old film, and I think
Speaker 3: there was a time, I guess where where gay stories
Speaker 3: or same sex stories were almost set to the side,
Speaker 3: or treated differently, and or were somehow if they were depicted,
Speaker 3: were very controversial within a broader context. This is just
Speaker 3: a group of friends. Yeah, A couple of them happened
Speaker 3: to be in a same sex relationship, and I I
Speaker 3: suppose I saw a version of love in that, particularly
Speaker 3: in that funeral scene, that it was very meaningful. I
Speaker 3: guess when you when you are young, and you know,
Speaker 3: learning about yourself and thinking about your future, that that is,
Speaker 3: you know, is important.
Speaker 2: Yeah.
Speaker 1: Well, something it was a bit more controversial was head
Speaker 1: on with alextati artists. That's a different kind of relationship
Speaker 1: and the representation of a gay man's life. So remind
Speaker 1: me was the character in head on incredible film? Was
Speaker 1: he straight with his family or was he like not
Speaker 1: out of the closet?
Speaker 3: Was he wasn't really out? No, he definitely wasn't out.
Speaker 3: He was he was on a bit of a journey
Speaker 3: of discovery.
Speaker 2: Yeah.
Speaker 3: I actually rewatched it last night to refamiliarize myself with
Speaker 3: it because I was thinking through, hang on, what you know,
Speaker 3: how do you choose these three favorite films?
Speaker 1: And I guess there was a discussion you were having
Speaker 1: Georgia Toney and Kate Lambrook at the desk which I
Speaker 1: was trying not to listen to, about what your three
Speaker 1: favorite film should be.
Speaker 3: And I I was a little uncertain about naming this
Speaker 3: as one, but I guess I you know, it came
Speaker 3: out at a time when I was young and was
Speaker 3: learning about myself, and I guess what stood out in
Speaker 3: my memory was Alex Dimitriat's this incredibly hot guy. There
Speaker 3: was some pretty full frontal scenes in that film, and
Speaker 3: it was just incredibly exciting to see that. I think,
Speaker 3: excuse me now, when I rewatch it. It's actually a
Speaker 3: pretty dark film and it's very challenging to watch, and
Speaker 3: I think probably more than anything, it probably scared me
Speaker 3: about being gay because it's depiction of what it was
Speaker 3: like exploring that. You know, he was in a lot
Speaker 3: of back alleyways and you know, random hookups with you know,
Speaker 3: a factory worker or a restaurant worker, and not that
Speaker 3: there's anything wrong with that, but it was all A
Speaker 3: lot of it was very sort of spontaneous, and some
Speaker 3: of it was a little bit scary, and the reactions
Speaker 3: within the Greek community or sort of those traditional conservative
Speaker 3: families two characters that may be gay or cross stressing
Speaker 3: or whatever they were doing, were pretty ferocious. And yeah,
Speaker 3: I think it probably came at a time for me
Speaker 3: when I certainly wouldn't have been out and probably was
Speaker 3: just coming to terms with it myself.
Speaker 1: So looking at that where you're going to think, Wow,
Speaker 1: if I'm going to go down this path, is that
Speaker 1: is that what it's going to be like?
Speaker 3: Yeah, I mean I don't consciously remember that, but watching
Speaker 3: it rewatching it last night for the first time in years,
Speaker 3: I thought, my god, this must have absolutely scared this
Speaker 3: shit out of me because.
Speaker 1: There was a time when I think society, the straight
Speaker 1: world kind of thought, oh, well, this is what gay
Speaker 1: people are, like, they must they thought.
Speaker 2: They're all the same.
Speaker 1: There's not, you know, Hannah Gasby talks about the quiet gays.
Speaker 1: You know, Yeah, there's a there's a whole like like
Speaker 1: like straight people, there's a whole speaking of people, you know.
Speaker 3: And that's not a homogeneous grouping. Yeah, there's a lot
Speaker 3: of letters in that alphabet. But even within that, Yeah,
Speaker 3: there's a lot of diversity and dynamism and different interests
Speaker 3: in different backgrounds.
Speaker 1: So I can, I can even and when you're young
Speaker 1: watching a movie like Head on It, and you know,
Speaker 1: there's probably other films that, you know, like a lot
Speaker 1: of a lot of films that depicted gay lifestyles around
Speaker 1: that time were like on the edge of like edgy cinema,
Speaker 1: art house cinema. Yeah, and that kind of almost that
Speaker 1: alone takes it to edgier spaces.
Speaker 3: It certainly does. And I mean, I love Christos Chokis's
Speaker 3: writing generally. I think he's totally brilliant and clearly what
Speaker 3: he was doing with that film was trying to start
Speaker 3: a kind of a conversation and it did have that impact.
Speaker 3: That film had a big impact. Design understand it on
Speaker 3: the Greek community in Australia. I mean, I also think
Speaker 3: the Paul Kapsus. Is there other actor in it who
Speaker 3: I've gotten that if I've got that wrong, but absolutely true.
Speaker 3: Actually I was blown away watching it last night, how
Speaker 3: great he is in it. And he is someone that's
Speaker 3: experimenting with with with gender or is I suppose living
Speaker 3: a gender fluid existence to some degree, and calls himself Tula,
Speaker 3: which is the name of his dead mother, and his
Speaker 3: father is appalled and this leads them into some fairly
Speaker 3: brutal scenarios and it is actually an incredible performance.
Speaker 1: Yeah, yeah, and very current. Mm head on check it
Speaker 1: out if you have a little movie around that time
Speaker 1: which I saw called Priest. Do you even see Priest
Speaker 1: by Antonio Bird, Robert Carlisle and Linus Roach about a
Speaker 1: Catholic priest who all of a sudden, just all of
Speaker 1: a sudden, but you know, started experimenting and it's an incredible,
Speaker 1: incredible I took I think I spoken about it on
Speaker 1: these podcasts before. I took a girl on a date
Speaker 1: and she was a Catholic fearing you know, you know,
Speaker 1: straight girl, as I was a straight guy.
Speaker 2: We went to the Melbourne at that point in my life.
Speaker 3: I mean, you know, yeah, yeah.
Speaker 2: It's still open.
Speaker 1: It's still open, and yeah, I yeah, so wow, these
Speaker 1: things are really these are really full on scenes and
Speaker 1: it was a.
Speaker 2: Very different movie to the head on.
Speaker 1: But I imagine if I was watching that in your
Speaker 1: situation kind of thinking, it's still even even though there's
Speaker 1: some tenderness in that movie, it's still kind of depicted.
Speaker 1: There's like people doing the wrong thing in a way.
Speaker 2: That's how society, I guess.
Speaker 3: Was totally. I mean, look, of course, it's amazing how
Speaker 3: far we've come. Actually, and so just from a I
Speaker 3: suppose social observation standpoint, watching it last night and reflecting
Speaker 3: on you know, that's really in the time of my
Speaker 3: adult life, yeah, which is sort of twenty years. Yeah,
Speaker 3: I think we attitudes have really changed, and that's that's
Speaker 3: obviously a wonderful thing. But yeah, I think when you
Speaker 3: are back in the eighties and nineties growing up gay
Speaker 3: or learning about yourself in that way, coming I come.
Speaker 3: You know, it came from a pretty conservative background, from
Speaker 3: a very small rural community. I was at a very
Speaker 3: conservative religious boarding school, all male, pretty sort of violent,
Speaker 3: aggressive environment. It was actually it was a fairly terrifying
Speaker 3: experience and isolating and lonely, and so I definitely I
Speaker 3: think there were things in that movie that definitely resonated
Speaker 3: and just that you know, there's a scene where the
Speaker 3: sort of these two the Alex demitriads and the Caps
Speaker 3: as characters end up in a police sell. One of them's,
Speaker 3: you know, poor Caps's addressed as Tuller. Alex is sort
Speaker 3: of gearing up for a night out, and then they
Speaker 3: sort of have this violent interaction both physical and verbal
Speaker 3: with the with the police. Yeah, I guess I was
Speaker 3: surprised at how familiar that felt. Weirdly, having grown up
Speaker 3: in the in the environment that I did. That sort
Speaker 3: of sense of genuine not just fear of like what
Speaker 3: happens if and when I tell my parents what happens
Speaker 3: you know about coming out, but just a genuine physical
Speaker 3: fear is something that that is, you know, is familiar
Speaker 3: to me and I don't think about much, but watching
Speaker 3: the film last night, you know, it certainly certainly resonated,
Speaker 3: and it made me think about that.
Speaker 1: And that actual Metritist's performance was revelatory, like he had
Speaker 1: gone from almost like heartbreak high in those kinds of
Speaker 1: roles and this kind of shocked everyone. This was like, wow,
Speaker 1: this is we weren't expecting this from from the sky
Speaker 1: and has continued to go on and to give great performance.
Speaker 3: I was actually remembering I think he I think he
Speaker 3: was found like by the Heartbreak High producers or Heartbreak
Speaker 3: Hid produces on the street Yeah, yeah, with friends, yeah Sydney, and.
Speaker 1: Considering that usually you might get a film or two
Speaker 1: out of someone that. I mean sometimes you hear those
Speaker 1: people going and having great careers, but to give those
Speaker 1: kinds of performances to go from playing you know, Heartbreaking
Speaker 1: and became heart Break High, where you know, the good performances.
Speaker 1: But yeah, head on was like full on and you know,
Speaker 1: doing some things for young bloke and you confronting for
Speaker 1: an actor. It also started, I think a string of
Speaker 1: films where Alex to Mitchiada's characters did like seem to
Speaker 1: perform or sex on people like.
Speaker 2: It, like it seemed to be. It seemed to be
Speaker 2: even in films where you weren't expecting it.
Speaker 1: Okay, there he goes again, adjusting it to the director,
Speaker 1: should I go down to this guy? It's not really
Speaker 1: the script that's got nothing to do with the plot,
Speaker 1: but sure, why not? Will throw it in there, we'll
Speaker 1: use it, maybe we won't.
Speaker 2: Who knows. They're a fantastic performer.
Speaker 1: Alex Demititi artist another breakthrough performance, and I do want
Speaker 1: to get on the top of backpunchtronk Love very soon,
Speaker 1: so we'll keep this a bit quick. But Kate Shortland
Speaker 1: a rise in the scene as a direct and that
Speaker 1: brings Abbie Cornish, who's had a wonderful career as well
Speaker 1: in Somersault.
Speaker 3: And Sam Worthington Sam worthing of course, and also Eric
Speaker 3: Eric Thompson Eric Thompson. So I suspect probably if you're
Speaker 3: listening you might not have seen Somersault. It wasn't like
Speaker 3: a big hit or anything. Would you call it art house.
Speaker 1: I got arth Hoouse. I think that'll win at Carnt
Speaker 1: or maybe very well at Cahn.
Speaker 3: So I going this probably almost twenty years ago. I
Speaker 3: was living in London. I hadn't been home to Australia
Speaker 3: for a number of years, and I went to go
Speaker 3: and see a movie in Covent Garden one day and
Speaker 3: when I got there, I saw like a sign board
Speaker 3: up for an Australian film and I was just I
Speaker 3: was just feeling a bit homesick, and I thought, maybe
Speaker 3: I'll watch that instead of what I'm here to watch.
Speaker 3: And I knew nothing about it, didn't know anything about
Speaker 3: the story, where it was set anything. And I went
Speaker 3: and sat down, and the film is set in Ginderbyne.
Speaker 2: It was I was gonna ask.
Speaker 1: Yeah, I knew Gindabie was set in Ginderbyne, but yeah,
Speaker 1: I was sure if it was.
Speaker 3: And not only that it was largely filmed on my street.
Speaker 2: Oh wow.
Speaker 3: Yeah. And I had no inkling of this before I
Speaker 3: went in, and I the emotions that I went through
Speaker 3: watching that movie were so overwhelming. I still feel them
Speaker 3: a little bit when I think about going and sitting
Speaker 3: in that cinema in London and watching this film and
Speaker 3: seeing the place where she lives is at Siesta Villa Motel,
Speaker 3: which is at the end of Gerrara Drive, which is
Speaker 3: where I grew up.
Speaker 2: That's incredible.
Speaker 3: The Leah Purcell character lives in a house which is
Speaker 3: also at the end of our street that was called
Speaker 3: the Animal House. The servo is the survey that we
Speaker 3: go to. The Sam Worthington character is about a guy
Speaker 3: that is sort of going home to visit it was.
Speaker 3: It was. It's a great film anyway, but that experience
Speaker 3: for me initially of watching it was incredible.
Speaker 1: I mean, we're all get to kick when a movie
Speaker 1: is shot in our own city. You know, we've discussed
Speaker 1: on this podcast how many people you know, I've spoken
Speaker 1: to love the Matrix just because of shot in Sydney.
Speaker 1: You recognize, Ah, there's you know, there's George Street or whatever.
Speaker 1: But for one to be shot in your street is
Speaker 1: pretty incredible.
Speaker 3: And for anyone listening that that doesn't know if Ginnervine
Speaker 3: it's in the snow mountains of New South Wales. It's
Speaker 3: a tiny little community, only a few thousand people. It's
Speaker 3: close to the ski resorts. Outside of the ski season,
Speaker 3: it's a very quiet place there always was. It's changing
Speaker 3: little bit now, but it's a place that I feel
Speaker 3: incredibly and deeply connected to every time I go. But
Speaker 3: you know, lived overseas for about fifteen sixteen years and
Speaker 3: whenever I came back, I would always make sure I
Speaker 3: got home to Ginderbyne. And there's a bend that you
Speaker 3: drive around as you as you come from Sydney into
Speaker 3: the mountains. There's one particular bend just before East Ginderbyne
Speaker 3: where you turn on this corner, and the whole mountains
Speaker 3: and the lake revealed themselves to you. And I always
Speaker 3: in anticipation of that bend, put the window down and
Speaker 3: just taking the air. It smells different there, and it's
Speaker 3: often very cold and crisp, and I love the feeling
Speaker 3: of putting the window down, taking a really deep breath
Speaker 3: in through my nose, feeling that kind of coldness at
Speaker 3: the back of my nose, and I I feel more
Speaker 3: at home and at peace there then I reckon anywhere
Speaker 3: else in the world.
Speaker 1: That's amazing. Do you have a soundtrack to that moment?
Speaker 1: Do you do you put anything on?
Speaker 5: No?
Speaker 3: I don't know. I mean probably just whatever is on.
Speaker 3: It's not about sort of trying to recreate something. I
Speaker 3: think something that is incredible about that landscape is that
Speaker 3: it is so ever changing. You know, the seasons all
Speaker 3: occur within one day, it can be within one hour,
Speaker 3: and it's really dramatic. And that viewpoint when you're coming
Speaker 3: is quite high up on a hill, so you get
Speaker 3: this just but it's an incredible reveal and it's you know,
Speaker 3: we live. Our home was in East Ginduvine on the lake,
Speaker 3: So you know you're literally in the last four minutes
Speaker 3: of your journey from from Sydney or Canberra or wherever
Speaker 3: you've come from. You know you know it's coming. If
Speaker 3: you're taking people down for the first time, you know
Speaker 3: you know they're about to see it. Or I look
Speaker 3: forward to that moment, you know, like when I took
Speaker 3: take my partner down for the first time, just you know,
Speaker 3: you know, for the five ten minutes leading up to
Speaker 3: that reveal that they're going to be like, wow.
Speaker 2: Yeah, this is beautiful. That's an exciting moment.
Speaker 3: This place that you talk about all the time is
Speaker 3: actually quite stunning.
Speaker 2: I hope Jake enjoyed it and didn't say just won
Speaker 2: the window up. What are you're doing? It's freezy? That
Speaker 2: could have been a deal rerecord.
Speaker 1: I at the same time when I saw four weddings
Speaker 1: over in London, so I was eighteen, basically traveling by myself.
Speaker 1: I've gone to scand the NAVYA next well now a
Speaker 1: next girlfriend actually even then a next girlfriend in Finland's
Speaker 1: I said there for a while, went worked in Scotland
Speaker 1: for a while and was I remember getting a bus
Speaker 1: in Glasgow up to a place on the West Coast
Speaker 1: called Inverary, very small town, beautiful town like the picture
Speaker 1: I kind of a lock and you know, and the
Speaker 1: green rolling hills of Scotland and almost a one street
Speaker 1: town with a pub on it. That's basically where I
Speaker 1: worked for about only about a month. But driving up
Speaker 1: there and playing I had a walkman. This is in
Speaker 1: ninety three, so literally what when a handful of cassettes
Speaker 1: and one of them was Paul Kelly Live, and I
Speaker 1: remember playing Winter I didn't deliberately play. It just came
Speaker 1: on as my head was against the kind of the
Speaker 1: window of the bus and the rain was kind of
Speaker 1: coming down, and Winter Coat came on by Paul Kelly,
Speaker 1: and it was just so whenever I'm in the if
Speaker 1: I ever go to Ginderbyne, I'll probably put winter Coat
Speaker 1: on and listen to it would be my moodsetter. All right,
Speaker 1: Haim's McDonald. You can't put it off any longer. It's
Speaker 1: been a couple of days where we've avoided talking about
Speaker 1: this film because we wanted to save it all fresh
Speaker 1: for the podcast.
Speaker 2: But this is an amazing film. In my mind.
Speaker 1: It's two thousand and two Paul Thomas and its is
Speaker 1: his false film. He made Hard eight is his debut.
Speaker 1: Then Into Boogie Knights was incredible. Into Magnolia, I did
Speaker 1: say he wanted to make a film under ninety minutes.
Speaker 1: He wanted to show Hollywood could do that, because Magnolia
Speaker 1: was three hours and Boogie Night was close three hours too.
Speaker 1: This comes in at ninety four minutes, so if you
Speaker 1: take away the credits, he's done his job.
Speaker 2: But Hami's McDonald. Did you like Puns Drunk Love?
Speaker 3: He did do it in ninety minutes. It felt like
Speaker 3: three hours.
Speaker 1: Like a knife to my heart, Hamish, Okay, let's discuss it.
Speaker 1: So I got a text message from you when you
Speaker 1: watched you about halfway through and you said you want
Speaker 1: to remember.
Speaker 3: Her what you said, this film is creepy.
Speaker 1: His film is creepy, and I replied, well, yeah, I
Speaker 1: don't think it's a creepy movie. There are certainly creepy
Speaker 1: characters in there. And then you said something like I
Speaker 1: don't like the way it makes me feel.
Speaker 3: Yeah, I found it unsettling. I think in large part
Speaker 3: that was the soundtrack.
Speaker 1: It's a very and I mentioned it in the into
Speaker 1: John Brian Genius deliberately does this thiscombobulated soundtrack because it
Speaker 1: kind of matches the film in a way, And this
Speaker 1: is like an absolute master class in composing and like
Speaker 1: giving the film what it needs in very I mean,
Speaker 1: there's a beautiful, lush movie we hear when they later
Speaker 1: on go to Hawaiian it it's becomes romance. But there's
Speaker 1: that awesome scene I find where everything's just coming down
Speaker 1: around you know, there's the fork with and then there's
Speaker 1: crashing and and all the dialogue is completely is this
Speaker 1: combobulated as well? It's like what's it the pudding? Are
Speaker 1: you having crying fits? Like what's what's He's just going
Speaker 1: Toledo like this, and it's just so that just just
Speaker 1: matches the dialogue perfectly. But so in talking to people
Speaker 1: over the years about this film and it's it's a
Speaker 1: divisive film. Adam Sandler plays I think a part now
Speaker 1: I think he's magnives in it. But I more than
Speaker 1: any other film perhaps I know it gives people a
Speaker 1: feeling and either it seems to me either that feeling
Speaker 1: falls on that. I love this film because it's it's sweet.
Speaker 1: See I find it a sweet film. I'm not saying
Speaker 1: it's not without its darkness. Obviously it is, but ultimately
Speaker 1: I find it the sweet film. But if you don't
Speaker 1: find fall on that side, you follow this side where
Speaker 1: it's it's a bit unnerving.
Speaker 3: Well, what did you find sweet though? The relationship between I.
Speaker 1: Find this is a movie about a guy who's hiding
Speaker 1: from the world, and and we know why he's hiding.
Speaker 1: He's had a horrific upbringing because his sisters are hellish
Speaker 1: and and he just he doesn't want any part of it,
Speaker 1: and he gets dragged out. He gets dragged out. Like
Speaker 1: you don't see movies with Barry Egan. They don't make
Speaker 1: movies about Barry. He's somewhere on the spectrum I suspect,
Speaker 1: and you don't put him in romantic comedy films. Like
Speaker 1: Barry Egan found out he was the protagonist in the movie,
Speaker 1: he wouldn't know what to do.
Speaker 2: His head would actually explode.
Speaker 1: He's not an interesting person, he doesn't he has nothing
Speaker 1: to offer, he thinks, So to put him in this
Speaker 1: thing and the matching with somebody who just sees him,
Speaker 1: I think there's very powerful when a film can depict
Speaker 1: characters where one sees the other, one sees something that
Speaker 1: nobody else sees.
Speaker 3: Yeah, so I I will grant you that.
Speaker 1: I before you even say that, I always make this point.
Speaker 1: I think it's a good point for you to be
Speaker 1: comfortable that I'm making this point and the reminder audience,
Speaker 1: this is a movie that I've seen about twenty times.
Speaker 1: I saw it when it came out in the cinema.
Speaker 1: I've loved it from day one. I've got to know
Speaker 1: the movie more and more as i've watched even more
Speaker 1: the last I've watched it.
Speaker 2: Two times this week.
Speaker 1: This is a movie you watched literally two or three
Speaker 1: days ago, and you are in probably many ways still
Speaker 1: processing yeah, this movie.
Speaker 3: And I do think you're You can go on a
Speaker 3: journey with any film or piece of literature, right, you
Speaker 3: can come to appreciate it more over time. And I
Speaker 3: wouldn't say that I don't appreciate some of what's in it.
Speaker 3: And to the point I was making earlier about the
Speaker 3: Jennifer Coolidge thing, identifying something in people that tend to
Speaker 3: play similar characters, I think I can see that that
Speaker 3: the director obviously was interested in what's beyond these characters
Speaker 3: that he plays, Like what is that awkwardness? Why does
Speaker 3: he end up in these strange situations, you know, playing
Speaker 3: the characters that he's played in other films, like what's
Speaker 3: the depth, what's the nuance to these people? And I
Speaker 3: think with the character in this film, you know, it's
Speaker 3: almost a split personality. He'll be sitting there at a
Speaker 3: dinner table having a what seems like a fairly ordinary
Speaker 3: date conversation, and then he'll something will be said and
Speaker 3: he'll excuse himself, go to the bathroom, and smash up
Speaker 3: the bathroom. And so I can imagine that the director
Speaker 3: might be thinking, well, there must be two sides to
Speaker 3: these characters. There must be multiple dimensions to these characters,
Speaker 3: and is that one of those dimensions? But I found
Speaker 3: for myself watching that it may be quite uncomfortable. It
Speaker 3: made me wonder how thin the line is between this
Speaker 3: person managing those emotions and those violent outbursts by excusing
Speaker 3: himself and going to the bathroom, or you know, somewhere
Speaker 3: down the track, if this relationship evolved just taking it
Speaker 3: out on her. That's what that scene made me wonder.
Speaker 2: That's absolutely valid.
Speaker 1: I didn't get that because I feel like this he
Speaker 1: is in desperate need of help. Let's have a listen
Speaker 1: to when he and the reasons for him being like this.
Speaker 1: It does a really good job. Everything's done so economically.
Speaker 1: This is a filmmaking masterclass on every single detail. Now
Speaker 1: I'm not saying that that means you needed to light
Speaker 1: the film, but we know a bad way, you know,
Speaker 1: a hacky way of doing this is to really explain
Speaker 1: you know this. You know his parents die. We don't
Speaker 1: really know anything about his parents. But yeah, when I
Speaker 1: was young, and that's why he is. But he's not.
Speaker 1: We just we just see these interactions he has with
Speaker 1: his sisters. He's forced to go to this dinner party
Speaker 1: that they've organized, and this is him as he arrives.
Speaker 1: He's not nobody's ever't seen him yet, and he's at
Speaker 1: the front door, and this is what he hears remember
Speaker 1: and barries to get all mad.
Speaker 3: Ron used to call us game boys, were sliding glass door.
Speaker 5: Sliding.
Speaker 3: Master don't remember homes himself in him about the hammer
Speaker 3: was done. He's Day's talking about you. Remember we used
Speaker 3: to call you gay boy, You get all mad. What
Speaker 3: we used to call you gay boy?
Speaker 1: Remember you'd be fine and then we call you gay boy.
Speaker 3: You just freak out.
Speaker 1: We were climbing gay and you got so mad you
Speaker 1: through the hammers with the sliding glass or you.
Speaker 5: Remember I don't remember that, Yes you do, you're calling
Speaker 5: you gabeor and you got so mad?
Speaker 2: Are you gay?
Speaker 1: Now?
Speaker 3: I don't know. I'm trying to figure out.
Speaker 2: Or do you have the wear suit?
Speaker 5: I don't know.
Speaker 6: You Are you using that dandel chamber on you?
Speaker 3: Yeah?
Speaker 1: Very, very very Why do you have the hammer?
Speaker 5: Why did I have he was building a dog nouse?
Speaker 4: Okay, okay, you have.
Speaker 3: A kid, Okay, I was just thinking about you.
Speaker 5: Glad you can make it ship.
Speaker 1: So that almost tells us everything we need to know
Speaker 1: why Barry is hiding away in his warehouse from the
Speaker 1: world now. But yeah, I mean basically the conversation we
Speaker 1: had about the other films was that, was that something
Speaker 1: that because that happens raised me early in the film
Speaker 1: that you kind of I don't want to say triggering,
Speaker 1: but was it like this is making me feel uncomfortable.
Speaker 3: Or this is Yeah, of course, I think it's hard
Speaker 3: to listen to that and not feel uncomfortable.
Speaker 1: Yeah, it's but I take it and kind of go
Speaker 1: and obviously, you know, we may me come from a
Speaker 1: different point of view, but I look at the go
Speaker 1: and I just feel for Barry. I'm just like, it
Speaker 1: makes me just feel more empathy for Barry. He's lived
Speaker 1: his life like this and he's an only he's got
Speaker 1: seven sisters and this is what he's put up with.
Speaker 2: I want this guy to win. I want this guy
Speaker 2: to have a win. Please have a win. And that's why.
Speaker 1: Yeah, we won't go race through a film just yet,
Speaker 1: but later on I feel this kind of elation because
Speaker 1: it's like, yes, like when he does tell his sister
Speaker 1: fucking leave, fucking lie, like I can understand the outbursts
Speaker 1: because I see where it's come from. That that that
Speaker 1: uncomfortableness that you felt, and I get that, and it
Speaker 1: is it is uncomfortable, like they did. There's no air
Speaker 1: in anything that Like it's one thing after another. If
Speaker 1: it's not the gay boy thing, it's the hammer thing,
Speaker 1: it's it's the Dandre thing.
Speaker 2: Yeah, like there's no.
Speaker 3: But soon after that he smashes up the glass doors. Yeah,
Speaker 3: and so any I guess, yeah, I see this. I
Speaker 3: see that you're being invited to feel sympathy, but then
Speaker 3: the violent outbursts are also discombobulating.
Speaker 2: Yeah. Absolutely.
Speaker 1: I just want to point out a magnificent shot when
Speaker 1: he does actually break those doors. Just notice he smashes
Speaker 1: the doors. This is where everything is thought through. Smashes
Speaker 1: the doors. The one of the right breaks, and one
Speaker 1: of the middle shatters a bit, and then the one
Speaker 1: of the left kind of it doesn't completely all shatter,
Speaker 1: but you can see through, and you Barry is behind
Speaker 1: the one that hasn't fallen through. So you come see
Speaker 1: almost his silhouette. He's colored silhouette. And then you see
Speaker 1: the sisters.
Speaker 2: All on one side, in the left and on the
Speaker 2: right hand side there's is a photo of Barry on
Speaker 2: the wall.
Speaker 1: That is what his life is. He is by himself.
Speaker 1: He is completely isolated. He has nobody his parents for
Speaker 1: what they don't say that I can remember what happened
Speaker 1: to him, but so he is completely he doesn't have
Speaker 1: any friends. He's in this situation. He's put in the
Speaker 1: situation because of the abuse to these cops. I'm gonna
Speaker 1: allow him to have an a purse. And then when
Speaker 1: he does have the aburse, what's the next thing that
Speaker 1: he does?
Speaker 2: He asks for help.
Speaker 5: I'm sorry about that, Sorry about what I did. Sorry,
Speaker 5: I wanted to ask you something because you're a doctor, right, yeah,
Speaker 5: I don't like myself sometimes? Can you help me? Mary,
Speaker 5: I'm a dentist.
Speaker 3: Day.
Speaker 5: What god of help do you think I can give you?
Speaker 1: Yeah, I mean one, it's it's it's a great tag.
Speaker 1: The city doesn't end there. He goes talks about his
Speaker 1: crying problem that he has, but again, that gives me more.
Speaker 1: We want to see characters in movies try to try
Speaker 1: to make themselves better. Barry has a problem. No, I'm
Speaker 1: not doubting these outbursts are an issue, but Barry is
Speaker 1: also recognizing that they're an issue. He's reaching out to
Speaker 1: a man, maybe one of the only men in his
Speaker 1: life that he can maybe outside of Rico play with
Speaker 1: Louis Guzman in the Factory, who's bloody, hilarious and I
Speaker 1: love him. But he tells Walter Walter's.
Speaker 2: Going to betray that.
Speaker 1: When his sister comes in later the factory, he says,
Speaker 1: Walter says, you have a crying problem, and it's just
Speaker 1: like he's as said, Le's obviously he says, don't tell anyone.
Speaker 1: And maybe watching this in twenty twenty two, outside of two,
Speaker 1: where we look at violence and we know violence amongst
Speaker 1: the men is an issue, and we kind of we
Speaker 1: our minds go to different places, Nate. It's certainly that
Speaker 1: didn't go in my mind in two thousand and two
Speaker 1: when I'm watching, and it still doesn't to me because
Speaker 1: I think he's not it's not directed at anyone, it's.
Speaker 3: But across the through the film, he seems to lack
Speaker 3: agency at so many points, right, and so he is
Speaker 3: capable of it, as demonstrated in the clip that you
Speaker 3: just played. He's capable of saying to someone I sometimes
Speaker 3: don't like myself. I need some help. But and he's
Speaker 3: also not unable to communicate. You know, there's there's moments
Speaker 3: where he communications, communicates quite clearly.
Speaker 1: And well he's on the phone in that very first scene,
Speaker 1: but he is trying to find a connection through those conversations.
Speaker 1: I mean, he's having conversations with the guy. You know,
Speaker 1: there's the scene where he's on he's on the phone,
Speaker 1: he says, do you have my home phone number? And
Speaker 1: the guy goes, I don't need it, yeah, I just
Speaker 1: saw you might want to call.
Speaker 3: I want to connect me.
Speaker 2: Yeah, yeah, And he is looking for this connection.
Speaker 1: He can, he can communicate, and you're right about the agency,
Speaker 1: but he does do a couple of things that I
Speaker 1: think where he takes he takes on a bit because
Speaker 1: like so those listening agencies basically means you want your
Speaker 1: protagonists to He can't be passive like Emily Watson comes
Speaker 1: to him, which is which is passive. But what he
Speaker 1: does a couple of things. One he collects he collects pudding. Yeah,
Speaker 1: he's got a plan. So he's got a plan to
Speaker 1: get out.
Speaker 2: Uh.
Speaker 1: Two he takes a harmonium and we'll talk about that.
Speaker 1: That that that scene and obviously it's it's a strong opener.
Speaker 1: He makes a phone sex call. But these aren't things
Speaker 1: where like agency can you and usually most films that
Speaker 1: they're usually much bigger things, you know. And he does
Speaker 1: get there later on in the second half of the film.
Speaker 2: He definitely does.
Speaker 1: He does take things on, like he really takes things
Speaker 1: on once he has that love that he's been lacking
Speaker 1: in his life.
Speaker 5: He he.
Speaker 2: Strength.
Speaker 3: Yeah, but I think I struggled to accept that you
Speaker 3: could be so desperate and so sad and so hurt
Speaker 3: by these relationships with the sisters, for example, and not
Speaker 3: doing anything about it, not make the decision like he
Speaker 3: He's obviously made a lot of decisions in his life,
Speaker 3: like hiding himself away in this factory or whatever it is.
Speaker 2: But isn't this the moment we are seeing. Isn't that
Speaker 2: what this film is about, like.
Speaker 3: A transition even yeah, like but even that, he doesn't
Speaker 3: make that happen. It comes to him.
Speaker 1: Yeah, yeah, but he is still making He's making choices,
Speaker 1: or we want from our characters to make choices.
Speaker 2: He makes the choice to what he calls. And I
Speaker 2: think it's important when he's in Hawaiian he calls his sister.
Speaker 1: Yeah, because he doesn't know Lena's none, but so he
Speaker 1: calls her. That's a decision he's made. It didn't have
Speaker 1: to do that makes it. And then when she fights
Speaker 1: him on it, he actually he goes here we can
Speaker 1: actually and we will jump around a little bit, but
Speaker 1: he calls his sister.
Speaker 2: And this is a little fun fact that the sister.
Speaker 1: He calls, the one who's like really on him, the
Speaker 1: one who comes to the factory, Lena's co worker, is
Speaker 1: the only actor out of the sisters. The other non
Speaker 1: actors were quite incredible because I thought they're thinking in
Speaker 1: the kitchen that we played where was actually really nicely performed,
Speaker 1: as hard as it was to watch, but see when
Speaker 1: he's yelling at his sister. I think that's him at
Speaker 1: least taking that on. What I love about it is
Speaker 1: it's a smallness, is a real intimacy to this film,
Speaker 1: like it's not, and he makes these ordinary things seem
Speaker 1: quite beautiful. This true the way it's shot, and these
Speaker 1: really ordinary things, like it's basically the harmonium is basically hard, rubbish,
Speaker 1: and there's beauty in that. There's a I have a
Speaker 1: theory which I share with Brendan cow which is a
Speaker 1: harmonium is love, and it's about his connection with that
Speaker 1: harmonium that he is willing to accept and when so
Speaker 1: when Lena kind of comes in and he meets him,
Speaker 1: him going back out and taking the harmonium, putting into
Speaker 1: these officer. Now you can say it's love, or you
Speaker 1: can say he's even if it's his heart.
Speaker 3: Yeah, it's certainly a symbol of what he needs to
Speaker 3: do to take that relationship that she's offering to him. Yes, right,
Speaker 3: that's what that was my reading of the of the
Speaker 3: because it appears out of note.
Speaker 1: You know, this is something his truck, but his car,
Speaker 1: his car flips like a van taxi, like a maxicab,
Speaker 1: drops it off both red. By the way, there's a
Speaker 1: big thing going on with colors, which I'll get to
Speaker 1: blue and red. Okay, keep the blue and reds in mind.
Speaker 1: I would love to know poor Thomas Anderson had any
Speaker 1: kind of thought about, even in his own head, a
Speaker 1: backstory of who was in that car. Wifely, I think
Speaker 1: basically the harmonium represents love. The car represents chaos, because
Speaker 1: his life becomes chaotic after that, and that's where there
Speaker 1: is feeling of where it becomes a little bit uneasy
Speaker 1: that the score kind of this kind of changes and
Speaker 1: it becomes this kind of you start hearing you know,
Speaker 1: it's started almost like a lush kind of instrumental in
Speaker 1: the opening titles, and it becomes more like, yeah, like this.
Speaker 1: And you have that scene where we spoke about where
Speaker 1: Lena comes in and it's it's it's almost I don't
Speaker 1: think it's one shot, but it's almost one shot.
Speaker 2: He goes in for along.
Speaker 1: I can almost see you getting a certain discomfort on
Speaker 1: your face listening to this. You got the gaffer tape,
Speaker 1: the electrical tape there. John Brian, who did the score,
Speaker 1: actually worked on it whilst I'm making the movie, even beforehand,
Speaker 1: so on set.
Speaker 2: He could actually play some of this.
Speaker 3: The soundtrack of the score. It makes me push my
Speaker 3: toes up into the roof of my shoes.
Speaker 2: I love it.
Speaker 3: I love that.
Speaker 2: I love that because that's what he's like.
Speaker 1: They're wanting you to feel something. You know, Well, that's
Speaker 1: what it makes it just I listened to this, but
Speaker 1: I'm driving around, you do I love I love this soundtrack.
Speaker 2: Well, it takes me back to the movies.
Speaker 1: I'm I don't necessarily have the same like we're not
Speaker 1: watching the movie when everything's happening.
Speaker 3: I have the same friends.
Speaker 1: But I've watched this movie so many times that I
Speaker 1: watch it sometimes now I still get all the fields.
Speaker 1: But I'm also watching it on a you know, on
Speaker 1: a PTA masterclass level. It is amazing what he's done
Speaker 1: with this film. Let's talk about these Let's talk about
Speaker 1: his decision.
Speaker 2: To call a phone sex line.
Speaker 1: But he takes some agency and he and he calls,
Speaker 1: we spoke about your your you've had some happy memories
Speaker 1: with phone sex. I'm glad. I'm glad it wasn't triggering.
Speaker 1: I'm glad there wasn't something else that was triggering for you.
Speaker 2: In this. And I actually from I have written here
Speaker 2: in my notes. It gives very agency here.
Speaker 1: There's a sweetness again. He calls a phone sex line
Speaker 1: and he wants to talk about almost anything he's trying
Speaker 1: to avoid. He's trying to connect with somebody he's trying
Speaker 1: to avoid, actually anything about sex. She's asking you putting
Speaker 1: yourself off, and he's like, oh, no, what's your dick doing.
Speaker 2: I don't know what it's doing, you know, like it's yeah.
Speaker 1: He asks about the money and his company, and he
Speaker 1: goes he wants to diversify, and he's actually pretty happy
Speaker 1: with the way it's going.
Speaker 3: So obviously subsequently the people that run that phone sex
Speaker 3: line turn out to be baddies, but he doesn't know that, right,
Speaker 3: He just is calling a phone sex line.
Speaker 1: Amount of times he says, it can't come back and
Speaker 1: they can be jack, you know, he's just confidentially asked
Speaker 1: like two or three times.
Speaker 3: And it's obviously something that you see depicted in film
Speaker 3: or television shows from time to time where there's the
Speaker 3: guy that's in need of you know, comfort or sympathy
Speaker 3: or love going down that pathway of sex lines or
Speaker 3: you know, sex workers. So that's not that's not altogether unfamiliar,
Speaker 3: But I suppose when that when that call happens, it
Speaker 3: did also make me wonder, you know what this woman,
Speaker 3: you know, probably a young woman working on a phone
Speaker 3: sex Imagine how weird that would have been for her.
Speaker 3: I know we're supposed to sort of see the world
Speaker 3: through him because he's the protagonist.
Speaker 2: But so, yes, you have sympathy for Georgia.
Speaker 3: Well, I'm acknowledging that Georgia turns out to be not
Speaker 3: a good character. But in the moment, I'm thinking, why
Speaker 3: is he doing this to this woman?
Speaker 1: But you could say that about anyone who goes to
Speaker 1: a sex worker. Like he's been really nice. He got
Speaker 1: of says you sound nice. He actually says you sound
Speaker 1: nice and personable. Like I think there's a version of
Speaker 1: what you're saying where somebody is really aggressive and it's like,
Speaker 1: well that's you.
Speaker 2: Know, everyone deserves respects.
Speaker 1: I think Barry's being disrespectful in any single way outside
Speaker 1: of using the service, which I don't think is disrespectful.
Speaker 3: But she clearly doesn't. I mean she is sort of
Speaker 3: she keeps attempting to have to do the phone sex call. Yeah, yes, yes,
Speaker 3: and he just wants to talk about all this other
Speaker 3: random stuff.
Speaker 2: Yes, but I don't one. I suspect that would actually
Speaker 2: happen a lot.
Speaker 1: I suspect phone sex lines you will have, you would
Speaker 1: have men calling and trying to connect on a more
Speaker 1: human level than actually just to rub one out.
Speaker 3: It's not it's not what I do.
Speaker 1: You are there for business, you know what you need,
Speaker 1: You get in, you get out.
Speaker 2: No fucking about did I still exist? Do you think
Speaker 2: I was thinking about that on the way in. I
Speaker 2: called one many many, many, many many years ago. It
Speaker 2: would have been not in this millennia. It was twenty seven,
Speaker 2: it was pre pandemic. Actually might have been.
Speaker 1: It might have been during a pandemic. And I found
Speaker 1: the weird experience. And I actually do think I did
Speaker 1: kind of like try to kind of like just ask.
Speaker 1: I think once I was on the line, I was like,
Speaker 1: I'm not sure if I really want this.
Speaker 2: I think I was. I didn't quite believe it.
Speaker 1: I didn't believe the facade like what they see what
Speaker 1: you see later on with the you know when you
Speaker 1: see the mattress Man, you know, and philis Simah Hoffman,
Speaker 1: and you the lovely little shot of the you know,
Speaker 1: the tally workers, just of their headsets and sitting at
Speaker 1: desks like they're, you know, working for Optus. That's how
Speaker 1: I kind of imagine imagine it being. So you never
Speaker 1: kind of brought him, so I kind of get that
Speaker 1: idea of kind of going, well, I don't want to
Speaker 1: just jump into any kind of sex stuff. But I
Speaker 1: also kind of really connect with that idea of going
Speaker 1: I think I was also. I only did at once
Speaker 1: because I was so fearful of, like, you know, somebody
Speaker 1: finding out where's my credit card? This mum said, my
Speaker 1: credit card state? You know, there's there's this what happens,
Speaker 1: you know? And and do they have do they have
Speaker 1: my credit card details? Now, I think all this comes
Speaker 1: from a very human and real place. I don't I
Speaker 1: didn't have. I've never even thought of having kind of
Speaker 1: that sympathy for empathy for Georgia because she signed up
Speaker 1: for this as her job, you know, and this because
Speaker 1: the boat wants to She's trying to steer it back
Speaker 1: to sex.
Speaker 2: But she end up she does.
Speaker 1: Engage to an extent of Yeah, she does eventually, and
Speaker 1: then takes advantage of that. I feel you have really
Speaker 1: gone in hard on not liking Barry, and I think
Speaker 1: that makes it hard to then, Yeah, I feel like
Speaker 1: if you don't have empathy for Barry Egan, you can't
Speaker 1: enjoy it's hard to enjoy probably your life and the
Speaker 1: beautiful world around you, and then the complexities of the
Speaker 1: human nature.
Speaker 2: No of this film.
Speaker 1: I mean, at some point I thought, because when you
Speaker 1: I think you'd watched maybe half of it, and you're
Speaker 1: kind of have a rebrief conversation, and I've got a
Speaker 1: sense of this hasn't come as a surprise today.
Speaker 3: But I think though it's I don't think it's that
Speaker 3: I have no empathy for him. I think I just
Speaker 3: found that at every at every turn, as I felt
Speaker 3: that sentiment emerging, something else would happen which would would
Speaker 3: throw me about him. Yeah, you know, the violent outburst,
Speaker 3: the yeah, you know, I was kind of into that
Speaker 3: scene where he's having dinner with her, and and you
Speaker 3: do lean into that to the possibility of romance, and
Speaker 3: he does display this more communicative, eloquent, thoughtful side, and
Speaker 3: then she raises something.
Speaker 1: She seems like the adult in the room in a way,
Speaker 1: Lena Lena Leonard, and it is a slight misreading of
Speaker 1: the room on her situation to bring up the sisters
Speaker 1: and the hammer story, and intend it's his funny story.
Speaker 1: I would have maybe read the Tea Leaves a bit more.
Speaker 1: I love that story, and I do love that scene
Speaker 1: because you see him actually enjoying himself, like he's starting to.
Speaker 1: Because everything he basically up until then, he just he
Speaker 1: just he lies, and you can understand why he lies.
Speaker 2: I kind of wrote down some of the lies he
Speaker 2: that he spills out.
Speaker 3: Have you got seven pages loads of notes?
Speaker 2: Yeah?
Speaker 1: Maybe even maybe more, even when they're they Lena and
Speaker 1: Barry meat after that chaotic scene, you know, the fork
Speaker 1: lift and everything is this combubbler.
Speaker 2: We spoke a little bit that before, right at.
Speaker 1: The end where she comes back in and he says,
Speaker 1: he says, he says four things, they're all four four
Speaker 1: things are lies.
Speaker 2: He says, I didn't ask about therapy. The pudding's not mine.
Speaker 1: I'm wearing this suit because they have an important meeting today,
Speaker 1: and I don't have a crying problem. Now we understand
Speaker 1: why he's lying about those things. They're not they're not
Speaker 1: they're white lies. But there's there's still lies. There are
Speaker 1: so many times.
Speaker 3: Why why is it? How do you justify him doing that?
Speaker 2: Are you above a lie? A white lie to impress somebody.
Speaker 1: Would you would you on your first date with Jake
Speaker 1: and you kind of put out or that if somebody
Speaker 1: had given you giving Jake or your skeletons in your closet,
Speaker 1: would you do you not want to water some of
Speaker 1: those down? And kind of yeah, But I don't think
Speaker 1: that's again, it's a reasonably human kind of reaction.
Speaker 3: I think it's it's a bunch them all together and
Speaker 3: hit them all out.
Speaker 1: Like I think he's somewhere on the spectrum, So let's like,
Speaker 1: let's have that as part of the you know, the
Speaker 1: microscope that we view Barry through.
Speaker 2: It's odd.
Speaker 1: He's an odd guy. There's no doubting he's an odd guy.
Speaker 1: So the fact that he's like best not the same
Speaker 1: the thing. Just let it, let it rest, and hopefully
Speaker 1: she hasn't heard those things or not taken those things.
Speaker 1: She's still seeing him for who he is. These lies
Speaker 1: like Rico remind me to call that guy in Toledo.
Speaker 1: He comes back into the opposite who's going to Ledo.
Speaker 3: I feel that she to your point, I not that
Speaker 3: she ever says it explicitly, but you get the impression
Speaker 3: that she is happy to overlook.
Speaker 1: Yes, I agree, all agree, And I think she knows
Speaker 1: that it must be tough on him because she knows,
Speaker 1: she knows his sister, Barry's sister.
Speaker 3: But it's interesting, right that it's sort of almost a setup.
Speaker 3: Well it is a setup, but a suggestion to the sister, right.
Speaker 1: Yes, So she sees that Barry on the wall, which
Speaker 1: I mentioned earlier, and and she then based on just
Speaker 1: how he looks, he's a handsome guy, she wants to
Speaker 1: meet him. She has her own quirks, you know, as well.
Speaker 1: She's completely you know, I'm a normal inverted commas ah.
Speaker 1: But yeah, I I I think she does. She she
Speaker 1: sees him which I which I think is you know,
Speaker 1: really lovely. It's really I think that's a sweetness that
Speaker 1: I like. And and she reveals her oddness, you know,
Speaker 1: you know, a bit later on when they have that
Speaker 1: Pellow talk when they finally get together and they're talking
Speaker 1: about smashing each other and she she says, I want
Speaker 1: to chew your cheeks.
Speaker 2: I want to eat them. He says, I want to
Speaker 2: smash my face chairman.
Speaker 1: Like, now, yeah, that's confronting in a way, but like
Speaker 1: if they if they're saying it It's like the way
Speaker 1: I see that is the way you know, people want
Speaker 1: to say about a baby. Oh I could gobble you up.
Speaker 1: You know, somebody will say in such a way, and
Speaker 1: I go, I wouldn't be surprised if my auntie eats
Speaker 1: my baby, like keep them away, because they are.
Speaker 3: But the way that's delivered though, the bits by him,
Speaker 3: it's a little more threatening though than your auntie saying
Speaker 3: I want to gobbled baby.
Speaker 2: Yes, but she but she she initiates the conversation, and.
Speaker 3: The way she responds to him is she undercuts it
Speaker 3: by going further. Yes.
Speaker 1: Yes, so they're they're they're playing on a consensual same page,
Speaker 1: you know. It's not like it's not like Barrie's misread
Speaker 1: the room and has come out with I want to
Speaker 1: I want to smash you with a sledge up. That
Speaker 1: becomes a different thing. And I think, you know, if
Speaker 1: we're honest with each other, we all have things that
Speaker 1: we will say to our partners that we would never
Speaker 1: want to, you.
Speaker 2: Know, just say or the he heard, or to be
Speaker 2: you know. Yeah, so this is a like there's a.
Speaker 1: Line in Hawaii which I just it's just fucking such
Speaker 1: great writing. So when they finally get together. He calls
Speaker 1: and and and he says, and all the line is
Speaker 1: there's two lines. There's two lines.
Speaker 2: So he's he's.
Speaker 1: Called, he's got They got a great scene where they
Speaker 1: kind of you know, he have the hanshat. We'll talk
Speaker 1: about that soon. And then there's the band. The band's
Speaker 1: in red blue ocean in the background, blue and red,
Speaker 1: and or she says, like you can you can imagine
Speaker 1: they finally got together. As the writer, you what's the
Speaker 1: most romantic thing, the most amazing prophetic things that I
Speaker 1: can write?
Speaker 2: She just says, you came and got me out of
Speaker 2: my room. Thank you.
Speaker 1: And he takes the compliment. He doesn't say much. You
Speaker 1: just you take, but you can tell he's taken it on.
Speaker 1: And then he looks around and he says, it really
Speaker 1: looks like Hawaii here, doesn't it.
Speaker 3: Yeah?
Speaker 1: And others think that's that is perfect writing. And then
Speaker 1: they walk up and they walk away, and I love
Speaker 1: the walks they do from the date. We'll go back
Speaker 1: to the date in the seat. But when they walk
Speaker 1: away and he reaches out and she eventually kind of
Speaker 1: reaches down, holds his hand, and what I love about
Speaker 1: this movie and when I see this kind of kinds
Speaker 1: of movies, and they do it. You can watch Lord
Speaker 1: of the Rings and you can follow Frolo's journey and
Speaker 1: Sam's journey that they get this ring in a volcano,
Speaker 1: and the courage that it takes, and the bravery it takes,
Speaker 1: the courage and bravery it takes for Barry Egan evidence
Speaker 1: to extend his hand not knowing he doesn't know. He
Speaker 1: has a feeling that she might because you know, things
Speaker 1: have gone better for her to take his hand. You
Speaker 1: had a feeling it must have been like if he
Speaker 1: put out his hand and she doesn't go to you know,
Speaker 1: it's like saying I love you to somebody and not
Speaker 1: know like then and from where he's come from to
Speaker 1: get to that point. That's one of the reasons I
Speaker 1: love this movie.
Speaker 3: Do you reckon she dropped off the harmonium?
Speaker 2: Oh mm?
Speaker 3: Because she reveals that she deliberately came with her yes, car, yep,
Speaker 3: that she'd seen the photo that it you know, it
Speaker 3: was all.
Speaker 1: Deliberate, Yeah, and supposedly I always forget to look out
Speaker 1: for it. But the first time Barry Egan is in
Speaker 1: the supermarket, there is a flash of red in the background.
Speaker 1: Red Hamish red and supposedly I'm not sure if it
Speaker 1: actually was Emily Watson on the day or it's just
Speaker 1: represented it.
Speaker 3: Yeah, so what's what's the red and blue?
Speaker 1: So it's just it's largely it's a filmmaking thing that's
Speaker 1: going on, but it's about you know, you know, visual literacy.
Speaker 1: I guess of somebody who's working at port Thomas Anderson's
Speaker 1: level and what he does. So blue kind of represents loneliness.
Speaker 2: That's Barry. That's why he wears his blue suit.
Speaker 1: Lena is red, Okay, Lena representing love passion. She wears
Speaker 1: red or colors that are closely.
Speaker 2: At lined to red.
Speaker 1: I think she may be changing the pink purples you
Speaker 1: often see the lens flares when they first meet.
Speaker 2: There's a lens flare that's in the middle of them.
Speaker 1: It's both red and blue, like a little tiny, little
Speaker 1: two colored rainbow, both pointing kind of at each other.
Speaker 1: There seems like when Barry finally decides to go, and
Speaker 1: like I mentioned earlier, the car and the taxi that
Speaker 1: drop off, the Flip and the Harmonium both red. When
Speaker 1: Barry decides to go to the airport. When he decides,
Speaker 1: I'm going to go. He races out of the factory.
Speaker 1: A red truck just kind of goes by. It's very strong,
Speaker 1: you know, you never really see any really cars, you see.
Speaker 1: It seems to be traveling at quite always with momentum.
Speaker 1: Barry kind of you know, runs through it. That then
Speaker 1: cuts to Barry come down the airway walk in his
Speaker 1: blue and I think, I think it's like blue carpet
Speaker 1: shade of blue two Hostess in red. When you are
Speaker 1: in Hawaii, you'll see that the box is blue. Barriers
Speaker 1: on the box, the dancers in the street are wearing red.
Speaker 1: The parade a big Hawaiian parade. Also there's a mesh.
Speaker 1: There's a little mesh gate like little mesh you know,
Speaker 1: things that can be folded up. They're folding it up
Speaker 1: as they as they're doing it. Where as soon as
Speaker 1: Barry starts talking to Lena, it folds up almost gets
Speaker 1: out of screen.
Speaker 2: So there's almost no barrier now between the blue and
Speaker 2: the red.
Speaker 1: When Lena's voice comes up a little note the light
Speaker 1: comes up in the lighting is another thing. I'll get
Speaker 1: the lighting in the sec And then when he's running
Speaker 1: from the from the brothers and he does that kind
Speaker 1: of dive that kind of style. It's kind of a
Speaker 1: stylistic dive. There could be another reason for that. We'll
Speaker 1: get onto a superman theory soon. He dives and there's
Speaker 1: a red arrow facing the direction that he dives, like
Speaker 1: in a neon light arrow in the shop front there.
Speaker 1: When they leave the dinner, there is a truck with
Speaker 1: it goes along beside them or they whilst they walk,
Speaker 1: and it's got a blue it's largely blue logo, but
Speaker 1: it's got some red riding as well. And then that
Speaker 1: leaves and it's overtaken when they walk to their car
Speaker 1: by a car yard which has largely it's got it's
Speaker 1: shut down, but it's sill, got some lights. It's got
Speaker 1: red and blue lights. And then there's a final scene
Speaker 1: which I'll get to when we discuss another theory. But
Speaker 1: when he finds Lena, this was really interesting. When he
Speaker 1: finds Lena, they've been red and blue and there's this
Speaker 1: light thing going on as well. So when Lena first
Speaker 1: meets Barry, you would have noticed a lot of blown
Speaker 1: out lights. Lena kind of represents the light. So Lena
Speaker 1: when they first meet, when she comes down together a
Speaker 1: car fixed the sun is right behind Lena and it's
Speaker 1: shining on Barry a lot. There's all these lens flares,
Speaker 1: there's lots of light bouncing off trucks and things, and.
Speaker 2: It's all really beautifully placed.
Speaker 1: So even when a good example is when Barry goes
Speaker 1: and he doesn't kiss Lena, and then she goes downstairs
Speaker 1: and she says, I just want you to know I
Speaker 1: wanted to kiss you, and it just gently moves and
Speaker 1: there's a there's a lamp on the desk and it
Speaker 1: gently moves in. And when she says that the more
Speaker 1: the more light and the more he talks to Lenna,
Speaker 1: that the more light appears on his face. So when
Speaker 1: Barry meets Lena in Hawaii and goes with the big
Speaker 1: awkward handshake, it's the only time she's wearing white, right,
Speaker 1: Lena is the light dragging him out of the shadow.
Speaker 3: Samish, I think you've watched it too many times.
Speaker 2: You haven't watched it enough. You have not watched it.
Speaker 2: It's a it's an incredible film, but.
Speaker 3: Clearly it's made for people that have a passion for filmmaking.
Speaker 3: So if all this is correct, yes, I'm not doubt.
Speaker 3: I'm not casting down on what you're saying. But if
Speaker 3: that's all correct, it's not need for the average consumer.
Speaker 3: These are things that likes a Richard Curtis film.
Speaker 2: When I watched, but they be stopping Richard Curtis films
Speaker 2: that would be not at this level. I don't think.
Speaker 1: I'm not saying that Curtis is a great filmmaker, but
Speaker 1: you know there's more art if you like, in Paul
Speaker 1: dams Anderson's films, No disabout it. I'm a Rachi Curtas fan,
Speaker 1: I really am. But I don't watch this in two
Speaker 1: thousand and two in a cinema and pick up all this.
Speaker 1: This is from seeing it twenty times. And so you
Speaker 1: probably won't watch this film twenty times.
Speaker 3: You watch it twice, but I'll go back and watch
Speaker 3: it again.
Speaker 2: Yeah, so it's picking up those things.
Speaker 1: Also, these things exist to work on a subconscious level.
Speaker 1: Like it's only when you really sit down and do
Speaker 1: some reading on it and you know, I'm looking around
Speaker 1: that you discover it. Some of these things I discovered
Speaker 1: for myself. I thought, there's there's a lot of red
Speaker 1: and blue. Oh, there's more red there. And there's there's
Speaker 1: other things that I you know, like the light I
Speaker 1: knew there was light. There's something to do light. There
Speaker 1: was overblown light. It's really blown out when it's outside and.
Speaker 3: So glaring.
Speaker 2: Yeah, and it's and it's yeah, it's just really interesting.
Speaker 1: Also, lots of white walls, you know, and there's really
Speaker 1: interesting stuff to take out. So Superman, Superman, let's talk Superman.
Speaker 1: All right, let's talk sip Man. There's a theory which
Speaker 1: I this is I only became aware of getting ready
Speaker 1: for this show. There's a theory that Barry Egan is Superman.
Speaker 3: As in this is you know, this is his day
Speaker 3: job at night his Yeah.
Speaker 1: That there are like, now, I don't want people thinking
Speaker 1: that that Barry Egan is going to enter the DC
Speaker 1: universe or anything, but that that as a as a
Speaker 1: source of inspiration Superman is there are three lines from
Speaker 1: Superman to Barry Egan. I'm going to take you through it.
Speaker 6: Now.
Speaker 1: This is not this is a bit of fun. It's
Speaker 1: not one of the reasons why I love the film.
Speaker 1: Like I said, it's I could take it or leave it.
Speaker 1: And at first I was like, oh, come on, and
Speaker 1: then when they started listing all the things, you kind
Speaker 1: of go okay, all right, Poor Thomas Anderson had this,
Speaker 1: you know, I don't know. He feels a big superhero fan,
Speaker 1: big Superman fan. All right, so you've got the obvious one.
Speaker 1: He wears blue. He wears blue. Also, flight is a
Speaker 1: big thing for Superman. Barries after freaking fly miles, he
Speaker 1: talks about DJ Justice. It's one of my favorite scenes.
Speaker 1: I have mentioned this, and you know, I feel like
Speaker 1: a wanker every time I say I had the pleasure
Speaker 1: of having dinner with poor Thomas Anderson, and the one
Speaker 1: scene I got to asking about was that dinner scene
Speaker 1: about DJ Justice.
Speaker 2: I loved it. There's justice. There's a whole truth.
Speaker 1: Thing going on with the lies, and he tells lies,
Speaker 1: and then Lena starts telling the truth, you know, and
Speaker 1: then he starts telling the truth. He discovers great strength,
Speaker 1: almost super human strength. Lois Slane is his girlfriend in
Speaker 1: this movie. It's Lena Leonard. After they after they kiss,
Speaker 1: Barry's tie is red, symbolizing a little more the famous
Speaker 1: SimMan outfit.
Speaker 2: There's a villain in this movie.
Speaker 1: The mattress Man sounds quite quite like a villain when
Speaker 1: he confronts and we'll get the philisimahoffins and we got
Speaker 1: to Philisi Hoffen he when he gets to that, he
Speaker 1: he's wearing he's getting his haircut, and he's wearing this
Speaker 1: thing that almost looks like a cape that a villain
Speaker 1: might wear. Superman had his Fortunes of Solitude, which was
Speaker 1: I forget the name. I don't know sub Man well enough,
Speaker 1: but yeah, the place where he's from the planet where
Speaker 1: he was from almost had those like ice. Remember the glass,
Speaker 1: he's either ice or glass kind of shards the way
Speaker 1: that some of and Barrie's fortunes of Solitude is his factory,
Speaker 1: and he has his plunges the way they're shot, and
Speaker 1: when Lena and he says to come in, they kind
Speaker 1: of almost walk through these plunges that are set up
Speaker 1: look like these kind of shades of glass.
Speaker 2: And perhaps the.
Speaker 1: Most compelling one is fine the very final shot of
Speaker 1: the film, which is Barry at the Harmonium. They've gotten together,
Speaker 1: they've had their kiss and at her apartment, and then
Speaker 1: they go through the factory and he's in the harmonium
Speaker 1: and he's wearing his blue suit and Lena comes up
Speaker 1: from behind him and this gives him a hug behind
Speaker 1: him in her red which looks like a cape, and
Speaker 1: she says, here we go, which could be something you
Speaker 1: hear when you're about to take off.
Speaker 3: It feels like a little bit of a stretch to me.
Speaker 2: I mean, I think it's fun. I think it's I
Speaker 2: don't really care if it's true or not.
Speaker 1: I'd like to know if if Paul Thomas Anderson used
Speaker 1: it as some kind of even if it's a bit
Speaker 1: of fun for him.
Speaker 3: But what I do like about that theory, though, is
Speaker 3: that someone has admired the film and and have reflected
Speaker 3: on it enough to think that up, Yeah, that.
Speaker 2: Is a film.
Speaker 1: By the way, this is a film that those who
Speaker 1: love it like, absolutely, absolutely absolutely love it like. It
Speaker 1: is one of those absolutely one of those films. Let's
Speaker 1: sa way Philisima Hoffman, the great, late great Philisima Hoffman.
Speaker 1: I mean, let's we got to have a listen to
Speaker 1: the phone call between Adam Sandler and Philaema hoffin two greats.
Speaker 6: I'm gonna connect her with my supervisor.
Speaker 4: Now you're in trouble, honey, Hello, sir, my name is
Speaker 4: Barry Egan. I called your service. Oh what's that?
Speaker 2: I said, calm down and shut the fuck up. What's
Speaker 2: the problem.
Speaker 4: The problem is if you explain one of your employees
Speaker 4: that girl I was just speaking with has been threatening me,
Speaker 4: and four blonde gentlemen just attack me and smashed my
Speaker 4: car and hurt my girl.
Speaker 2: I go fuck yourself. That shit has nothing to do
Speaker 2: with me. I run a legitimate business here. Listen to me.
Speaker 2: What's your name?
Speaker 3: Sir?
Speaker 4: Answer me?
Speaker 1: What's your name?
Speaker 2: I'm sorry, I know it could be anybody.
Speaker 3: You're a bad person. You have no right taking people's
Speaker 3: confidence in your service. You understand me, sir? No, no, no,
Speaker 3: shut up. Shut the fuck.
Speaker 2: You're out right to take shut up.
Speaker 5: You shut up, shut up, shut shut shut shut shut up,
Speaker 5: shut up.
Speaker 2: Now are you threatening me?
Speaker 3: Dick? An't you you go fuck yourself?
Speaker 5: Oh? Fuck?
Speaker 2: Did you just say go fuck myself?
Speaker 3: Yes?
Speaker 5: I did that?
Speaker 3: Wasn't you're dead?
Speaker 2: I mean you probably felt sorry for Philip sine my
Speaker 2: hot run in that scene.
Speaker 5: It is.
Speaker 3: It is an unsettling well.
Speaker 1: Originally this was going to be a gangster film, funnily enough, yeah,
Speaker 1: and this was going to be Barry was going to
Speaker 1: be a thief and Lena was going to be I
Speaker 1: think his ex wife, and it was heading towards a
Speaker 1: more Tarantino style affair. But I I love this film
Speaker 1: because it's so unique, like it is the characters are,
Speaker 1: you know, and the direction it goes without without feeling
Speaker 1: like like Guy Ritchie movies can feel like a bit
Speaker 1: cake don It's like, wow, there are so many you've worked.
Speaker 2: Really had.
Speaker 1: You can always see Guy Ritchie on a whiteboard kind
Speaker 1: of mapping it out.
Speaker 2: This is not like that. This is kind of prett effortless.
Speaker 1: This comes from a you know, it's also the the
Speaker 1: repercussions of making not even a mistake, you know, he
Speaker 1: just he's just a guy. He was trying to connect.
Speaker 1: He rang a phone's next light, and then all of
Speaker 1: a sudden this is put on him and then he
Speaker 1: he he takes control. I mean, I love it when
Speaker 1: he takes control.
Speaker 5: It is so.
Speaker 1: It is like, yes, I don't care where you've got
Speaker 1: these skills from. Where you can you know, beat up
Speaker 1: like four Blonde Brothers.
Speaker 2: Yeah, but you're doing it. You found strength and it's
Speaker 2: just a it's not a complicated message.
Speaker 1: That's why I like, That's why I think sometimes there
Speaker 1: is that car flip and why he does dive off
Speaker 1: in that scene and for no real reason and it
Speaker 1: kind of runs off. It's like there are things that
Speaker 1: happen that are we Sometimes I'm critical of films because
Speaker 1: I think real life can be stranger than what we
Speaker 1: you know, and sometimes when you're trying to develop something
Speaker 1: and we go, oh, that happened.
Speaker 2: It's like anything can happen.
Speaker 3: YEA life is.
Speaker 1: Stranger than fiction. And I just think, so let's, you know,
Speaker 1: let's embrace the weird and then you know.
Speaker 3: Could I could I turn your argument for this character
Speaker 3: back on you though a little? Do you think the
Speaker 3: director is deliberately challenging you to find it difficult to
Speaker 3: be on his side.
Speaker 1: I don't think he is. I really I understand. I understand.
Speaker 1: I'm well aware that this movie divides people. I think
Speaker 1: poor Thomas Anderson. The reason he one he just loves
Speaker 1: Adam Sandler. There's always loved these movies, and it surprises
Speaker 1: people to find that out that the guy who made
Speaker 1: There will Be Blood and Magnolia and the Master just
Speaker 1: happens to be a big fan of Adam Sandler movies,
Speaker 1: like he likes generally goofy stuff. And I think he's
Speaker 1: ace in the whole, and I think he's well aware
Speaker 1: of it. Is that even though this is almost ironic
Speaker 1: based on what we've talked about and the reaction of
Speaker 1: people thinking, oh, well, I don't like Adam Sandler is
Speaker 1: that he knows that people do love Adam Sandler, even
Speaker 1: though that's probably.
Speaker 2: Not giving consideration to the whole crowd.
Speaker 1: There's a whole other crowd who don't. I think Adam
Speaker 1: Sandler his comedies, like you mentioned earlier, aren't necessarily my
Speaker 1: cup of tea. But there's something so endearing about Adam
Speaker 1: Sandler that I will sit through and I will enjoy
Speaker 1: Happy Gilmore, the wedding singer fifty first Dates, because he
Speaker 1: is genuinely so likable. There are things so many things
Speaker 1: wrong with those movies, but you don't watch them, you know,
Speaker 1: discuss the you know, the lens and the colors that
Speaker 1: they use. It's Adam Sandler has a presence. He's funny,
Speaker 1: and there's something human about Adam Sandler that comes across
Speaker 1: on screen for me that I've always connected with. Even
Speaker 1: though there are some films if he's that I half
Speaker 1: watched it, I very rarely do that are half watched
Speaker 1: and I think I don't need to see the end
Speaker 1: of this or some about right hated.
Speaker 2: You know those fans like what are you doing. But
Speaker 2: there is something I think.
Speaker 1: Very humane about Adam Sandler on screen, and I think, I,
Speaker 1: you know, we all come from different places, and I
Speaker 1: just had immediate empathy I think for Adam standing and
Speaker 1: his rage. If his rage, if I didn't understand his rage,
Speaker 1: he would be more of a concern. If we don't
Speaker 1: see how much the sisters put on him, then it's
Speaker 1: just like what the what the this goes.
Speaker 2: Off the charts. But I can see and he asked
Speaker 2: for help. He asked for help.
Speaker 1: What do we want people to do? We want them
Speaker 1: to reach out. He's got no one to reach out to.
Speaker 1: The one look like Walter who does reach out to
Speaker 1: betrays him doesn't.
Speaker 3: Actually get into a doctor's surgery.
Speaker 2: Well, of course you can do. You can say the
Speaker 2: about any movie, why did I do this? Well, then
Speaker 2: there's no fucking movie.
Speaker 1: You can always say why why don't I just get
Speaker 1: over that heiccup and just get together? In the first
Speaker 1: Why doesn't Harry just love Sally straight away? Well, because
Speaker 1: we want to go on a journey, we want to
Speaker 1: make a movie. You want to have a few laughs here,
Speaker 1: So that's that's my point.
Speaker 2: I do love that scene. Did remind every sing Boogie
Speaker 2: Night's funnily enough.
Speaker 3: Yeah, I think a long time ago back, Yes.
Speaker 1: There was a there was a certain kind of like
Speaker 1: I feel like those scenes are related. There's a scene
Speaker 1: where Dirk Diggler goes into a car park and jerks
Speaker 1: himself off for cash and it and then it gets
Speaker 1: beaten up. It felt like it felt like it may
Speaker 1: have been shot in the same carpack.
Speaker 2: I don't know if it was or not. Yeah, I do.
Speaker 2: I love Phil heartfit.
Speaker 1: I mean the exchange they had when he goes after
Speaker 1: the car accident, he gets his superpowers, takes it to
Speaker 1: the hospital, then leaves. She does go back, Yeah, after
Speaker 1: they and she's already been discharged, like even though with
Speaker 1: stuff like he runs, like he goes to in the store.
Speaker 1: Well sorry he goes, Yeah, in the match of store.
Speaker 1: And that's in Ohio. So there's Gonneman Californian to Ohio.
Speaker 1: And but we don't think this is where you can
Speaker 1: create your own culture, create your own.
Speaker 2: Time lines, landscapes.
Speaker 1: We don't question, we don't, we don't. We don't really
Speaker 1: think about it. The jumps on a plane and goes Ohio.
Speaker 1: I don't know how long Ohio is from California. Imagine
Speaker 1: it's a plane trip.
Speaker 2: But he goes there.
Speaker 1: He's still on the phone in his hand, and it's
Speaker 1: and it's gorgeous. It's brilliant. You know, we don't, we're not.
Speaker 1: It's just a little detail that's kind of funny if
Speaker 1: you're watching it again. A craft when look how por
Speaker 1: Thomas Anderson reveals when Adam Sandlers can't go one and
Speaker 1: he's getting his hair cut, and it's such a simple
Speaker 1: little move and they use a mirror and and things
Speaker 1: to kind of disguise the fact and they just pil
Speaker 1: Simah Hoffen turns around and George who's cutting his head,
Speaker 1: turns around and he just like moves the camera a
Speaker 1: little bit reveals Adam standless standing in this almost there.
Speaker 1: I say, it's superhero pose and it's just like a
Speaker 1: very simple but brilliant directorial move. Okay, it is gorgeous, mate.
Speaker 1: This podcast comes with homework. I feel like more for
Speaker 1: you than most.
Speaker 3: I feel like I've let you down.
Speaker 1: No, no, listen, I like always say you just process
Speaker 1: in his film. I'm not gonna say you're gonna watch
Speaker 1: it again and love it, but you might you might
Speaker 1: watch it again and have a slightly slightly different view
Speaker 1: on it. Perhaps not, I don't know. Some quick fun
Speaker 1: facts before we go. The pudding said plot was actually
Speaker 1: a real based on a Time magazine I.
Speaker 2: Got to use.
Speaker 3: I saw that, yeah, because yeah, I read about it.
Speaker 1: Yeah, so it was a Time magazine article. A civil
Speaker 1: engineer called David Phelps bought three thousand dollars worth of
Speaker 1: putting US hundred and fifty cups and end up receiving
Speaker 1: one point two five million mile fring of flying miles.
Speaker 3: And they asked him if they could use his story.
Speaker 2: I did that.
Speaker 1: I didn't know that, yeah, and he said yes, yes,
Speaker 1: And then he saw the film and he's like, that
Speaker 1: guy makes me anxious. The movie's original titles were Knuckle,
Speaker 1: Sandwich and Yeah. I mentioned it was like a Tarantino
Speaker 1: style one hundred and forty pages long, and then he
Speaker 1: wanted to make a shorter film, so that all changed.
Speaker 1: The idea of having seven sisters was inspired, believe it
Speaker 1: or not, by an episode of Cops four times, Andazon
Speaker 1: was watching a I get arrested and he's talking about
Speaker 1: all the things wrong with his life, and he mentioned
Speaker 1: he's got seven sisters, and Sanderson thought, okay, that sounds fun.
Speaker 1: Sean Penn was going to play Dean Tremmel. Even though
Speaker 1: philism Hoffin nails it, Sean Penn was going to play
Speaker 1: it was unavailable. They always wanted to work together. Has
Speaker 1: recently worked with him on Licorice Pizza, which is an
Speaker 1: extraordinary film as well. This feels like poor Thomas Anders's
Speaker 1: most personal film, but Lickorage Pizza is in a completely
Speaker 1: different film vibe, but it also feels very personal as well.
Speaker 1: But so mate, thank you, thank you. We're heading into
Speaker 1: the project office. Well no doubt, continue to talk about it.
Speaker 1: I'll look at you across the desk and going how.
Speaker 2: There is this guy, buddy?
Speaker 3: What?
Speaker 2: Oh god? I don't understand it.
Speaker 1: But thank you so much, and thanks for hanging out,
Speaker 1: thanks for having me. There we go the ultimate episode
Speaker 1: of season four. If you ain't seen nothing yet, yes,
Speaker 1: one more ago, And I want to thank Hamis McDonald
Speaker 1: for coming in and having a chat about that film.
Speaker 1: I get the feeling he's going to go back at
Speaker 1: some point and watch it again and maybe have a
Speaker 1: different vibe about it. I don't know, I might be
Speaker 1: wishful thinking, but I love chatting to him. I love
Speaker 1: working with him. I love being his mate and very
Speaker 1: thoughtful sensitive guy. Sensitive not soft, I mean, he he cares,
Speaker 1: He's empathetic, so I really appreciate him taking the time.
Speaker 2: He's very, very very busy man. And I loved that.
Speaker 2: I loved him talking about.
Speaker 1: The movies, that story he told about about seeing Somersault
Speaker 1: in London, and then also what the movie head On
Speaker 1: kind of meant to him as well. That was really
Speaker 1: that was really really honest, kind of soul bearing stuff
Speaker 1: in a way. So thank you Hamish for being so honest.
Speaker 1: Sure do I wish you loved puns Strung Love more
Speaker 1: than you did, Yes, but that's the way to cookie grumble.
Speaker 1: And I still it doesn't change the way I think
Speaker 1: of the film. I think it's a perfect film. I
Speaker 1: think everything Paul Thomas Andersen tried to do he achieved
Speaker 1: and I will always love that film. And for anybody
Speaker 1: listening to this episode who loves punt Strunk Love as
Speaker 1: much as I do and may feel frustrated that Hamish
Speaker 1: didn't love it, that's not what this podcast is about.
Speaker 1: It's just about sharing our cinematic experiences. And yeah it
Speaker 1: should not even when I when we did love actually
Speaker 1: and I kind of, you know, joined in on the
Speaker 1: shredding of that film.
Speaker 2: I didn't.
Speaker 1: I certainly did not want anyone to change their views
Speaker 1: on love. Actually, you know, it's just about having a
Speaker 1: revisit of some films. So yeah, puns strung Love in
Speaker 1: my mind will always be perfect, and I hopefully Hamish
Speaker 1: will give me a tap on the shoulder in the
Speaker 1: year's time we go. Actually, Pete, I apologize. Let's record
Speaker 1: that podcast because it's actually the most brilliant film ever.
Speaker 1: I won't hold my breath, but we'll see Derek Maya
Speaker 1: Skaisway studios. You have not seen in Punk Struk Love.
Speaker 2: I believe you know what I'm going to now, we've achieved.
Speaker 3: If we've achieved something today.
Speaker 2: It might be the deciding vote.
Speaker 3: I'm a no Sandler guy.
Speaker 2: Yeah, okay, okay, so.
Speaker 3: Definitely listening to the clips and listening to the discussion,
Speaker 3: I'm going to have to just just tough en up
Speaker 3: and have a look at it.
Speaker 1: There was an article because we're actually recording this little
Speaker 1: behind the scenes. We're recording this a week or so
Speaker 1: after we recorded the interview with Hamish, and he sent
Speaker 1: me an article that was written by somebody because he's
Speaker 1: got Hustle out on Netflix now, which is a he
Speaker 1: plays a basketball coach, I think, and somebody who.
Speaker 2: Was writing in the age.
Speaker 1: I believe that everyone really needs to rethink their Adam
Speaker 1: Sandler prejudices, so good chance to do so. He's got
Speaker 1: Hustle on Netflix. Uncut Gems was amazing, but maybe start
Speaker 1: with Punks drunk love. It is a phenomenal experience, I believe.
Speaker 1: And performance next week sadly the last episode of If
Speaker 1: You Ain't Seen Nothing Yet for season four. It has
Speaker 1: flown by in many ways. Other times I feel like
Speaker 1: it's gone exactly over about twenty weeks or so.
Speaker 2: I'm so excited.
Speaker 1: The classic film, an iconic film with an iconic, brilliant Australian.
Speaker 1: We have Claire Bowditch coming in for the final episode
Speaker 1: next week. Claire is somebody who I could not have
Speaker 1: more respect for. She radiates positivity. She speaks so beautifully,
Speaker 1: and particularly about creativity and the importance of creativity. She
Speaker 1: really believes in what creativity can do and that everyone
Speaker 1: is creative. And I'm sure we'll get all kinds of insights.
Speaker 1: I've got my fingers double crossed. She's going to enjoy
Speaker 1: the movie that she has nominated. She has never seen.
Speaker 1: Claire Boats, musician, author, broadcaster, entrepreneur or amazing woman has
Speaker 1: never seen the nineteen seventy six winner of the Best
Speaker 1: Picture Oscar that year is the highest grossing movie of
Speaker 1: nineteen seventy six. It spawned eight spinoff films over five decades.
Speaker 1: It gave us sevesteris the Lione you know you can
Speaker 1: hear it.
Speaker 2: It's Rocky.
Speaker 1: Where Votage watches Rocky for.
Speaker 6: The first time next week on your eighteen Nothing yet
Speaker 6: until then, take care, and so
Speaker 2: We leave all Pete save Van Sult, and to our
Speaker 2: friends of the radio audience, we've been a pleasant your time.