WEBVTT - Will McMahon and Lost In Translation

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<v Speaker 1>Gid A, Peter Hell, are you here? Welcome to you

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<v Speaker 1>ain't seen nothing yet the movie Podcast. We're ourtch out

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<v Speaker 1>to a movie lover about a classic or beloved movie

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<v Speaker 1>they haven't quite got around to watching until now. And

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<v Speaker 1>today's guest radio superstar Will McMahon.

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<v Speaker 2>All below. I want to stay here with you, the jobble,

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<v Speaker 2>Why hate snake shucked?

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<v Speaker 3>Why hail? It wouldn't be happening right now?

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<v Speaker 4>You ain't seen nothing yew.

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<v Speaker 1>Ozzie listeners will know our guest today, Will mcmahony. The

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<v Speaker 1>Will in the Will and what are the Dynamic duo

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<v Speaker 1>and it's been dominating Australian airways for over a decade.

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<v Speaker 1>They're great mates. They started together over in Perth on

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<v Speaker 1>radio over there and eventually found their way back home

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<v Speaker 1>to Melbourne and through I think Fox Fem originally and

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<v Speaker 1>then on to Kiss where they have absolutely dominated. Recently

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<v Speaker 1>signed for another three years going through twenty twenty six,

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<v Speaker 1>which it takes them over a decade on Draft Time Radio,

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<v Speaker 1>which is a huge achievement coming from somebody who has

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<v Speaker 1>had a couple of unsuccessful attempts at a similar time slot.

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<v Speaker 5>It is a huge effort. I remember when they came along.

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<v Speaker 1>Everyone was trying to find the new Hamish and Andy,

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<v Speaker 1>and it was just radio producers. We're just putting two

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<v Speaker 1>guys in studios together hoping for pay dirt. And there's

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<v Speaker 1>always a little bit of cynicism about Okay, they're just

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<v Speaker 1>looking for another Hamishandy, in the same way that when

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<v Speaker 1>I Standy came along, as they're trying to find another

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<v Speaker 1>American Russo and so. Will and Woody were part of

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<v Speaker 1>that kind of landscape for a while, but then they

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<v Speaker 1>rose to the top like the cream always does.

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<v Speaker 5>Because they are genuinely great mates.

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<v Speaker 1>They have extraordinary chemistry, They work hard, they are inventive,

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<v Speaker 1>they're fund It's always I've always loved going into their

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<v Speaker 1>studio to hang out with them. I do know Woody

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<v Speaker 1>a bit more because I did I'm a celebrity, get

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<v Speaker 1>me out of here with Woody, But I could see

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<v Speaker 1>the love that he had for Will, and I can

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<v Speaker 1>see when I go into their studio as well.

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<v Speaker 5>Will is along with Woo You have appeared on.

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<v Speaker 1>Ninja Warrior, the Australian version a celebrity apprentice. Will himself

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<v Speaker 1>has been on the project quite a few times. He's

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<v Speaker 1>also a massive ambassador for mental health, and he has

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<v Speaker 1>spoken very openly and honestly, extremely broadly at times about

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<v Speaker 1>his own struggles, and it is quite extraordinary to watch

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<v Speaker 1>and to listen to we'll talk about his experiences in

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<v Speaker 1>that field, both personally and with people around him. So

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<v Speaker 1>absolutely culoss for Will for being such a open on

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<v Speaker 1>that front. He is funny, he is clever, he is

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<v Speaker 1>he's just about walking to the studio too. And I'm

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<v Speaker 1>bloody started to be hanging with Will mcmont today.

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<v Speaker 3>Hey, my name is Will McMahon. My favorite three films

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<v Speaker 3>are on Sunday by Dennis villenerv.

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<v Speaker 4>Excuisite monotrodicts you.

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<v Speaker 6>My Billolette Shimpson din Cousin.

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<v Speaker 3>So strictly Ballroom by Baz Lemon. I don't think so.

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<v Speaker 3>Just give me a try and go home just one hour.

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<v Speaker 3>This is very embarrassing.

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<v Speaker 2>I just need a chance.

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<v Speaker 3>You're gonna wake up tomorrow and feel like a real

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<v Speaker 3>idiot about this.

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<v Speaker 7>Do you want to dance your own steps or not?

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<v Speaker 3>It's none of your business? Well do you look? A

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<v Speaker 3>beginner has no right to approach an open ameter. Yeah, well,

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<v Speaker 3>an open ameter has no right to dance non federation steps.

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<v Speaker 3>But you did, didn't you?

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<v Speaker 4>That's different?

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<v Speaker 7>How is it different?

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<v Speaker 3>You're just like the rest of them.

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<v Speaker 7>You think it's different, but.

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<v Speaker 8>You're not, because you're just you're just really scared.

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<v Speaker 3>You're really scared to give someone you ago because you

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<v Speaker 3>think you know they might just be better than you are. Well,

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<v Speaker 3>you're just pathetic and you're gutless. You're a gutless wonder

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<v Speaker 3>and hook, which I think is Spielberg.

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<v Speaker 1>That ain't been a band.

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<v Speaker 2>He's oh he's fat, not so fat to me, he's

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<v Speaker 2>an all fat crap on man.

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<v Speaker 1>He that is so dangerous.

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<v Speaker 3>Now, okay, mischief, all right, show's over.

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<v Speaker 1>Now you put that thing away and put it down

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<v Speaker 1>before you poked somebody's eye out.

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<v Speaker 3>You're not I don't have to shave. What are you doing?

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<v Speaker 3>A stirl and flying around? This is an insurance nightmare?

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<v Speaker 9>What is this?

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<v Speaker 5>I'm for the Lord of the Fly pre school? Where

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<v Speaker 5>your parents?

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<v Speaker 3>Who's in charge here?

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<v Speaker 4>No, no, mister skunkad with too much moose.

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<v Speaker 3>You are just a punk kid. I want to speak

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<v Speaker 3>to a grown up.

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<v Speaker 8>All dronalds of pirates, excuse me, we killed pirates.

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<v Speaker 4>I'm not a pirate, so happens? I am a lawyer.

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<v Speaker 2>Kill the lawyer.

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<v Speaker 5>I'm not that kind of.

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<v Speaker 3>Lawyer, and I haven't sayensten chance.

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<v Speaker 10>Thank you? Thanks?

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<v Speaker 1>What can I get you? I'm not sure.

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<v Speaker 4>For relaxing times, make it suntory time.

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<v Speaker 10>I'll have a vodkatonic.

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<v Speaker 4>Thanks.

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<v Speaker 10>So what are you doing here?

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<v Speaker 11>A couple of things, taking a break from my wife

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<v Speaker 11>forgetting my son's birthday, and get paid two million dollars

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<v Speaker 11>to endorse a whiskey when I could be doing a

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<v Speaker 11>play somewhere.

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<v Speaker 4>But the good news is the whiskey works. What are

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<v Speaker 4>you doing?

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<v Speaker 10>My husband's a photographer, so he's here working and I

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<v Speaker 10>wasn't doing anything. So I came along and we have

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<v Speaker 10>some friends olive here.

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<v Speaker 4>How long you've been married?

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<v Speaker 3>Thank you?

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<v Speaker 4>Two years? Twenty five line ones. You're probably just having.

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<v Speaker 10>A mid life crisis.

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<v Speaker 4>Did you buy a Porsche yet? You know I was

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<v Speaker 4>thinking about buying a Porsche.

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<v Speaker 1>Fading movie star Bob Harris icon Bill Murray lands in

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<v Speaker 1>Tokyo to shoot a whiskey commercial and he's immediately a

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<v Speaker 1>fish out of water. The language barrier, the jet lag

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<v Speaker 1>weed TV shows, even the hotel gym equipment is behaving strangely.

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<v Speaker 1>Mid twenty Charlotte Scarlett Johansen is in town supporting her

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<v Speaker 1>photographer husband John Giovanni Rabizi, and he's also feeling lost

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<v Speaker 1>and discombobulated. Is it just a jet lag or a

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<v Speaker 1>Bob and Charlotte experiencing their own personal angst. For large

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<v Speaker 1>parts of the film, Bob and Charlotte feel trapped into

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<v Speaker 1>Tokyo's park height, occasionally breaking out into the neo flooded

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<v Speaker 1>streets of this famous, unique, and sometimes bizarre city. What

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<v Speaker 1>happens next is open to interpretation. Is it a romance,

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<v Speaker 1>a friendship or something deeper? Sophie a couple of sophomore

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<v Speaker 1>film following her hit The Virgin's Suicides. It won Bill

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<v Speaker 1>Murray his only oscar. Will McMahon, have you ever nearly

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<v Speaker 1>been killed by a stepmaster?

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<v Speaker 12>No?

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<v Speaker 4>I have.

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<v Speaker 3>Maybe a treadmill stepmaster. You've got a bit more control. Yes, treadmill.

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<v Speaker 3>I feel as if is right out of your head.

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<v Speaker 1>Yes, sometimes I do occasion will try to test myself

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<v Speaker 1>on the treadmill. But very yeah, very funny scene. Will Man,

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<v Speaker 1>thank you very much for coming in to discuss this

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<v Speaker 1>movie with me. How did we how did we arrive

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<v Speaker 1>at Lost in Translation?

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<v Speaker 3>You sent me a list. How literally do you want

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<v Speaker 3>to get here? Like, well know, how much of a

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<v Speaker 3>peek behind the curtain you want?

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<v Speaker 1>So I do send?

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<v Speaker 5>I do send a massive list of films that we

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<v Speaker 5>haven't covered.

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<v Speaker 1>Yeah, I asked. I generally asked to choose a few.

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<v Speaker 1>I think there was one request. I've been under the

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<v Speaker 1>part of the moment because I'm in rehearsal of a

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<v Speaker 1>play Pete on a starcatcher and did I did request?

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<v Speaker 5>Could it not be like an epic?

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<v Speaker 1>Yeah?

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<v Speaker 4>Something not.

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<v Speaker 5>I mean, you're you're a busy man yourself, so I

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<v Speaker 5>was pretty confident you're.

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<v Speaker 3>Trying to both a favor. Yes, yeah, yes, I'm going

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<v Speaker 3>to be honest. I'm actually I'm in a bit of

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<v Speaker 3>a I'm trying to do a deep dive on all

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<v Speaker 3>the Hitchcock movies at the moment, So I really wanted

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<v Speaker 3>to I haven't seen so I really wanted to vertigo. Yeah,

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<v Speaker 3>because everything is like the best field, you know, you know,

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<v Speaker 3>the kind of the best thrillers of all time that

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<v Speaker 3>I just realize I hadn't seen them, So you're kind

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<v Speaker 3>of going through them, and then my partner sem because

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<v Speaker 3>you know, you get to a certain age where if

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<v Speaker 3>you're watching something on TV. Genuinely, generally speaking, I think

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<v Speaker 3>you have to make a compromise.

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<v Speaker 1>Yeah, yeah, or one of you has to do the

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<v Speaker 1>really sad.

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<v Speaker 3>Thing and you know, gone watching on their laptop in

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<v Speaker 3>their bedroom, and you know, general assumption is that they're

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<v Speaker 3>probably wanking, and you don't want to be that guy.

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<v Speaker 3>You know, like you don't want to be that guy.

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<v Speaker 3>So I was like, you know what, I'm not going

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<v Speaker 3>to tell you. I'm just going to go and watch

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<v Speaker 3>better Go by myself. So I was like, no, no,

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<v Speaker 3>you know, I'll compromise. And then yeah, I'm really glad

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<v Speaker 3>that I did in the end, because I hadn't seen

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<v Speaker 3>this and I don't know why. You know, just occasionally

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<v Speaker 3>you get someone that just slipped through the cracks, and

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<v Speaker 3>this was one of them, and thankfully it was for

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<v Speaker 3>seeing my partner as well.

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<v Speaker 1>Yeah, yeah, I did see this in the cinema. Oh cool,

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<v Speaker 1>I envy and I yeah, I was very excited to

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<v Speaker 1>do it. In fact, we were supposed to cover this

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<v Speaker 1>a few years ago.

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<v Speaker 3>Oh yeah, yeah, yeah.

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<v Speaker 1>The wonderful comedian Dan Connell. Yeah, had nominated Lost in

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<v Speaker 1>Translation and I was very excited. Yeah, I watched a

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<v Speaker 1>film for the.

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<v Speaker 3>You know, you've seen it a few times.

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<v Speaker 5>I've seen this film close to ten times.

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<v Speaker 3>You're a couple of year, I imagine when you just

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<v Speaker 3>told me what your favorite three films are and god

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<v Speaker 3>Father one and two, So I imagine you're a severie

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<v Speaker 3>couple of fan as well.

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<v Speaker 1>I am. This is my favorite of her of her films,

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<v Speaker 1>and I do, like I mean, Sophie a couple of

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<v Speaker 1>It's so much behind the scenes stuff going on with

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<v Speaker 1>this film. I think so much that so much.

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<v Speaker 3>It was so good to watch for that reason, and.

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<v Speaker 1>We'll definitely we'll definitely get onto that. But so I

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<v Speaker 1>watched this film when it came out. Bill Murray was

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<v Speaker 1>having a bit of a renaissance. I'm not sure if

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<v Speaker 1>he rush More he had done rush Moore right right, right, right,

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<v Speaker 1>So there was he fifty Was he fifty fifty two?

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<v Speaker 3>Okay, as we were guessing.

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<v Speaker 1>Yeah, it's seventeen the fact, Yeah, so's there's so many things.

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<v Speaker 1>So so watch the film again. Yeah, side of the top,

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<v Speaker 1>made all my notes, like I do, got all the

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<v Speaker 1>clips up. We're in the studio with them.

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<v Speaker 3>Are you watching this by yourself, by the way, or

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<v Speaker 3>you know, watching Are you watching this with your partner,

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<v Speaker 3>you know, are you compromising?

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<v Speaker 6>There?

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<v Speaker 3>Are you?

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<v Speaker 1>I'll watch I take the TV the bridges. She likes

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<v Speaker 1>to go to bed a bit earlier, so she's happy. Okay, yeah, yeah,

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<v Speaker 1>it's all pretty yeah, all good. So I watched it.

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<v Speaker 1>We're in the studio talking to Dan and I'm saying,

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<v Speaker 1>you know, you know Lost in Translation clips, and that's

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<v Speaker 1>I'm saying it. And then he does his three favorite

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<v Speaker 1>films and he does say I haven't seen Lost in Translation,

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<v Speaker 1>but there's something about the way he says it.

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<v Speaker 3>I'most like.

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<v Speaker 5>And I started doing the review of it, and then

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<v Speaker 5>I can see his face and then he has I

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<v Speaker 5>think I.

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<v Speaker 1>Watched the wrong film. He Fear and Loathing in Las Vegas.

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<v Speaker 12>What I know?

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<v Speaker 3>I know what got lost in translation? There?

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<v Speaker 1>Something certainly got lost in translations.

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<v Speaker 5>I don't know.

0:12:47.760 --> 0:12:52.599
<v Speaker 3>I kind of was he just like Big Metro, Big Metropolis?

0:12:52.760 --> 0:12:52.800
<v Speaker 6>Like?

0:12:53.000 --> 0:12:53.160
<v Speaker 10>Was that?

0:12:53.679 --> 0:12:56.199
<v Speaker 3>Was that the salient feature in the films.

0:12:56.360 --> 0:12:59.680
<v Speaker 1>Fear and Loathing in Las Vegas? Lost in Translations?

0:13:00.559 --> 0:13:02.200
<v Speaker 3>Are there any similar actors or anything?

0:13:02.280 --> 0:13:02.880
<v Speaker 4>No, Well.

0:13:04.280 --> 0:13:05.559
<v Speaker 1>It's Johnny deppit Fear and Loaded.

0:13:07.080 --> 0:13:07.560
<v Speaker 3>That's awesome.

0:13:07.720 --> 0:13:09.680
<v Speaker 1>So we had to kind of I had seen fear

0:13:09.720 --> 0:13:12.719
<v Speaker 1>and Loathing in Las Vegas, but not to a I

0:13:12.760 --> 0:13:17.000
<v Speaker 1>probably wouldn't have covered it on this podcast, but it

0:13:17.120 --> 0:13:19.120
<v Speaker 1>was it was actually, it was a fun it was

0:13:19.160 --> 0:13:21.959
<v Speaker 1>a fun app So when you did nominate losson Translation one,

0:13:22.040 --> 0:13:24.000
<v Speaker 1>it's got a pretty good running time, and.

0:13:24.120 --> 0:13:26.360
<v Speaker 3>So I think it's ayah, it's not an epic.

0:13:27.040 --> 0:13:31.840
<v Speaker 5>It's it's not an epic. I was already pretty familiar

0:13:31.920 --> 0:13:32.160
<v Speaker 5>with it.

0:13:32.880 --> 0:13:36.880
<v Speaker 1>I knew and because I prepped for it before, I

0:13:37.040 --> 0:13:38.559
<v Speaker 1>was very excited for you to do it, and I'm

0:13:38.600 --> 0:13:41.120
<v Speaker 1>excited to get into talking about So let's talk about

0:13:41.120 --> 0:13:44.160
<v Speaker 1>your three other favorite films or your three favorite films.

0:13:45.440 --> 0:13:46.200
<v Speaker 1>You're telling me off.

0:13:46.480 --> 0:13:50.680
<v Speaker 5>This was a hard task, really really hard.

0:13:50.960 --> 0:13:53.679
<v Speaker 3>I was actually I've actually I got to the point

0:13:53.720 --> 0:13:56.520
<v Speaker 3>where I was asking other people what are my favorite movies,

0:13:57.400 --> 0:14:00.320
<v Speaker 3>because I think I've just seen a lot of films,

0:14:00.320 --> 0:14:02.920
<v Speaker 3>and I'm very passionate about a lot of films, and

0:14:03.679 --> 0:14:07.200
<v Speaker 3>I got to the point where I just I don't

0:14:07.240 --> 0:14:10.760
<v Speaker 3>think it's a not touch on your part. I don't

0:14:10.760 --> 0:14:15.200
<v Speaker 3>think it's a fair question. I'm not here to critique,

0:14:15.240 --> 0:14:17.840
<v Speaker 3>you know, critique you made. But it was tough.

0:14:17.960 --> 0:14:21.320
<v Speaker 1>The most ironic guest I've had was Zan Roe, who

0:14:21.960 --> 0:14:24.600
<v Speaker 1>I don't think made a similar comment. It's like you

0:14:24.760 --> 0:14:25.960
<v Speaker 1>do a show called Top five.

0:14:26.040 --> 0:14:29.680
<v Speaker 3>Yeah yeah, yeah, yeah, famously does to take five? Yeah yeah, yeah.

0:14:29.680 --> 0:14:35.920
<v Speaker 1>Yeah, So hang on calling the kettle black listen and

0:14:36.040 --> 0:14:39.360
<v Speaker 1>it does mine have reasonably definitive top three godfather, Yeah

0:14:39.400 --> 0:14:41.040
<v Speaker 1>you said one. It's a bit of cheek. I do

0:14:41.120 --> 0:14:42.800
<v Speaker 1>one and two at the same time, playing Change and

0:14:42.840 --> 0:14:48.320
<v Speaker 1>Hounobiles sideways. It hasn't changed for years. Yeah, but I understand. Also,

0:14:49.240 --> 0:14:51.160
<v Speaker 1>I would actually what I might actually do for my

0:14:51.280 --> 0:14:54.880
<v Speaker 1>podcast is do my actual top ten, because I'm that curious. Okay,

0:14:54.960 --> 0:14:55.840
<v Speaker 1>what is at four?

0:14:55.960 --> 0:14:58.200
<v Speaker 3>Is Star Wars exactly? Yeahs.

0:14:58.320 --> 0:15:00.680
<v Speaker 1>Some translation may even be like I'm I actually fascinated

0:15:01.000 --> 0:15:02.360
<v Speaker 1>because I've just kind of stopped it at three.

0:15:02.560 --> 0:15:02.800
<v Speaker 3>Yeah.

0:15:03.480 --> 0:15:05.840
<v Speaker 1>What is my favorite Paul Thomas Anderson film? Is it Magnoledge?

0:15:05.840 --> 0:15:10.880
<v Speaker 1>Is it construct? So when you start kind of, you know,

0:15:11.200 --> 0:15:13.680
<v Speaker 1>getting a bit further out, Yeah, yeah.

0:15:13.720 --> 0:15:15.800
<v Speaker 3>That's when it starts getting interesting as well. So I

0:15:16.480 --> 0:15:19.000
<v Speaker 3>because once you get from four till you know, I

0:15:19.120 --> 0:15:21.280
<v Speaker 3>told you I've got I managed to do a three.

0:15:21.320 --> 0:15:24.200
<v Speaker 3>But there's a rotating bench of eight people. It's like

0:15:24.480 --> 0:15:26.840
<v Speaker 3>football in the early naughties, you know, just a massive

0:15:26.920 --> 0:15:31.040
<v Speaker 3>bench and I was kind of looking and I So

0:15:31.160 --> 0:15:33.760
<v Speaker 3>what I ended up doing was I changed the question

0:15:33.920 --> 0:15:39.520
<v Speaker 3>slightly to what films influenced me the most, Like what

0:15:39.680 --> 0:15:43.760
<v Speaker 3>movie did I watch? And I loved obviously, but I

0:15:44.000 --> 0:15:47.800
<v Speaker 3>was like, ah, because making movies is something that I

0:15:47.840 --> 0:15:50.240
<v Speaker 3>always want to do. It's always something I wanted to do.

0:15:50.400 --> 0:15:53.080
<v Speaker 3>I just I don't know, from the moment that I

0:15:53.520 --> 0:15:56.080
<v Speaker 3>started watching films, I was just like, I just love

0:15:56.320 --> 0:15:58.920
<v Speaker 3>making stories and telling stories, and that's just somewhere that

0:15:59.000 --> 0:16:02.320
<v Speaker 3>I've kind of always vision myself going someday I will

0:16:02.520 --> 0:16:06.000
<v Speaker 3>I will go there, and so I don't know I

0:16:06.040 --> 0:16:08.480
<v Speaker 3>had that, I had that preconception really early on I reckon,

0:16:08.600 --> 0:16:10.680
<v Speaker 3>like twelve I reckon, I had that idea. I was

0:16:10.720 --> 0:16:12.080
<v Speaker 3>in the I was in the cinemas, and I just

0:16:12.160 --> 0:16:13.400
<v Speaker 3>had this moment where I was like, this is the

0:16:13.560 --> 0:16:16.000
<v Speaker 3>this is the coolest thing ever. I just remember thinking that,

0:16:16.080 --> 0:16:18.600
<v Speaker 3>I remember seeing it all and just being there and

0:16:18.800 --> 0:16:21.600
<v Speaker 3>just the scope and the size, and I've always had

0:16:21.640 --> 0:16:24.200
<v Speaker 3>a crazy imagination, so it just it kind of like

0:16:24.400 --> 0:16:27.080
<v Speaker 3>was the only thing that fulfilled my imagination was stories

0:16:27.200 --> 0:16:30.080
<v Speaker 3>and then that level of stories. So as a result,

0:16:30.160 --> 0:16:33.680
<v Speaker 3>every movie I kind of watch from there. Always it

0:16:33.800 --> 0:16:37.040
<v Speaker 3>was always kind of through this lens of like changing

0:16:37.240 --> 0:16:39.360
<v Speaker 3>what sort of movie I thought I could make and

0:16:39.800 --> 0:16:43.880
<v Speaker 3>influencing that all the way through. So my favorite movie

0:16:43.920 --> 0:16:47.040
<v Speaker 3>often became someone who, you know, kind of like blew

0:16:47.080 --> 0:16:49.200
<v Speaker 3>everything over all over again and just like just reset

0:16:49.200 --> 0:16:51.160
<v Speaker 3>everything for me, and we're like, whoa you could do that?

0:16:52.000 --> 0:16:54.760
<v Speaker 3>So that kind of is what influence my top three.

0:16:54.880 --> 0:16:59.720
<v Speaker 3>So I said, UNDI, which is I've not seen Okay,

0:16:59.760 --> 0:17:04.720
<v Speaker 3>So that's that's Denis phellen nerves first film. I mean yeah,

0:17:06.040 --> 0:17:07.720
<v Speaker 3>in terms of like reset for me like that. The

0:17:07.800 --> 0:17:10.240
<v Speaker 3>reason that is that that every time someone goes, what's

0:17:10.240 --> 0:17:14.040
<v Speaker 3>you favorite film, that that completely bowled me over. Like

0:17:14.160 --> 0:17:16.920
<v Speaker 3>I was watching it with my girlfriend at the time.

0:17:17.080 --> 0:17:19.800
<v Speaker 3>It's it's a. It's his first movie. I think it's A.

0:17:19.920 --> 0:17:24.280
<v Speaker 3>It's in French and it's a Basically it's about a

0:17:24.600 --> 0:17:26.800
<v Speaker 3>kind of like the hang up of the North African Wars.

0:17:27.160 --> 0:17:29.399
<v Speaker 3>It's really fall on like I've got a stress. But

0:17:30.640 --> 0:17:35.840
<v Speaker 3>I finished it, and to be honest, I didn't. She

0:17:36.080 --> 0:17:38.639
<v Speaker 3>she hated it, Like there's there's no doubt she hated it.

0:17:38.680 --> 0:17:42.760
<v Speaker 3>She didn't really like movies. I sound like an awful partner,

0:17:42.800 --> 0:17:44.320
<v Speaker 3>but I was like, look, I really want to watch this.

0:17:44.840 --> 0:17:46.600
<v Speaker 3>We sat down and we watched it, and I remember

0:17:46.640 --> 0:17:50.760
<v Speaker 3>finishing it and we couldn't talk, Like the ending was

0:17:51.359 --> 0:17:55.760
<v Speaker 3>so intense that we like I remember getting up and

0:17:56.240 --> 0:17:57.639
<v Speaker 3>going to I was like, I need to go and

0:17:58.119 --> 0:18:00.440
<v Speaker 3>just get out of this room and just get away

0:18:00.440 --> 0:18:03.120
<v Speaker 3>from this because it didn't see it coming. And I'm

0:18:03.160 --> 0:18:06.600
<v Speaker 3>not spoiling anything by saying there's this really cryptic line

0:18:06.880 --> 0:18:09.640
<v Speaker 3>at the end where this woman just says one plus

0:18:09.720 --> 0:18:12.520
<v Speaker 3>one equals too, right, and then that's all you need

0:18:12.560 --> 0:18:13.840
<v Speaker 3>to know, and that says nothing about the plot. I

0:18:13.840 --> 0:18:16.640
<v Speaker 3>haven't spoiled anything, but there's that moment. It was such

0:18:16.680 --> 0:18:19.760
<v Speaker 3>a simple bit, and I remember just thinking everything about

0:18:20.160 --> 0:18:22.440
<v Speaker 3>like this whole movie has taken me all the way

0:18:22.480 --> 0:18:24.719
<v Speaker 3>over here, and it's all dennis VILLEINRV. You know, it's

0:18:24.760 --> 0:18:28.160
<v Speaker 3>like bow landscapes and darkness, and you know, it's all

0:18:28.240 --> 0:18:30.960
<v Speaker 3>just it's all him. And then I just thought it

0:18:31.040 --> 0:18:34.760
<v Speaker 3>was so clever, his entire narrative in this foreign land.

0:18:34.840 --> 0:18:37.320
<v Speaker 3>And then it came down to this like one question

0:18:37.480 --> 0:18:39.960
<v Speaker 3>that this person asked another person, and it just blew

0:18:40.119 --> 0:18:42.440
<v Speaker 3>my mind and at the same time, like hurt me

0:18:42.760 --> 0:18:47.000
<v Speaker 3>like it was. It was so painful, and yeah, that

0:18:47.160 --> 0:18:49.919
<v Speaker 3>just kind of blew It really did kind of reshape

0:18:49.960 --> 0:18:52.800
<v Speaker 3>how I thought about how impactful a movie could be

0:18:52.960 --> 0:18:55.199
<v Speaker 3>on a person. It was almost like I had an

0:18:55.280 --> 0:18:56.199
<v Speaker 3>argument with myself.

0:18:56.880 --> 0:18:59.919
<v Speaker 1>It's amazing, And it's amazing that you had such a reaction,

0:19:00.119 --> 0:19:02.760
<v Speaker 1>because because I will go see movies by myself quite often.

0:19:02.920 --> 0:19:06.000
<v Speaker 5>Yeah, because sometimes it's it's a last minute decision.

0:19:06.880 --> 0:19:09.080
<v Speaker 1>You know, I've done enough work or there's enough work

0:19:09.119 --> 0:19:11.520
<v Speaker 1>on this week that I can take this morning off,

0:19:11.640 --> 0:19:13.480
<v Speaker 1>or you know, I'm going to write this afternoon or

0:19:13.480 --> 0:19:17.040
<v Speaker 1>I've written this morning. Soe movie. Yeah, so, and I can't.

0:19:17.600 --> 0:19:18.119
<v Speaker 3>I like it.

0:19:18.520 --> 0:19:20.639
<v Speaker 1>I don't dislike singing with other people, but there is

0:19:20.680 --> 0:19:23.080
<v Speaker 1>a pressure that comes with having somebody sit next to you.

0:19:23.200 --> 0:19:26.200
<v Speaker 3>Particularly as you said, you're yeah, I didn't want to

0:19:26.200 --> 0:19:26.399
<v Speaker 3>watch it.

0:19:26.440 --> 0:19:27.040
<v Speaker 1>Do you want to watch it?

0:19:27.160 --> 0:19:27.320
<v Speaker 3>Yeah?

0:19:27.520 --> 0:19:30.280
<v Speaker 5>And you've you've gone that with watching it and you

0:19:30.400 --> 0:19:32.840
<v Speaker 5>had this like immense reaction.

0:19:33.000 --> 0:19:36.120
<v Speaker 3>Yeah, yeah, yeah, yeah, yeah, that's good. Yeah, it was exactly.

0:19:36.400 --> 0:19:41.160
<v Speaker 3>And we broke up shortly after that. And I actually

0:19:41.160 --> 0:19:44.320
<v Speaker 3>don't think that's a coincidence. I'm gonna be honest that

0:19:44.920 --> 0:19:47.720
<v Speaker 3>that that Yeah, so number one.

0:19:47.720 --> 0:19:51.800
<v Speaker 1>That's number one. And then and then you strictly yeah, okay,

0:19:52.000 --> 0:19:55.200
<v Speaker 1>so yeah, this I mean in terms of like it

0:19:55.240 --> 0:19:56.600
<v Speaker 1>sounds almos a polar opposite.

0:19:57.040 --> 0:20:00.359
<v Speaker 3>I know, right, I know, and do this. I kind

0:20:00.359 --> 0:20:01.920
<v Speaker 3>of did it deliberately. I'm gonna be honest, peek, like

0:20:01.960 --> 0:20:03.879
<v Speaker 3>I have curated these a little bit. I did kind

0:20:03.920 --> 0:20:05.000
<v Speaker 3>of want to give it a bit of a spread.

0:20:05.680 --> 0:20:08.080
<v Speaker 3>We lived in Berlin for six months as a family

0:20:08.720 --> 0:20:10.639
<v Speaker 3>when we were kids. My dad was working over there,

0:20:10.640 --> 0:20:12.960
<v Speaker 3>and I have three two buzzs and a sister, and

0:20:13.040 --> 0:20:16.199
<v Speaker 3>we had one TV and then we had like there

0:20:16.240 --> 0:20:18.800
<v Speaker 3>was like one hundred German movies. We were saying in

0:20:18.880 --> 0:20:22.000
<v Speaker 3>some woman's house, and then there was strictly ballroom. Now.

0:20:22.160 --> 0:20:25.679
<v Speaker 3>I don't know how or why, Like I lived in Australia, right,

0:20:25.760 --> 0:20:27.720
<v Speaker 3>Like I should have seen this in Australia, but it

0:20:27.760 --> 0:20:30.040
<v Speaker 3>was all we had, and I reckon we saw that

0:20:30.720 --> 0:20:32.840
<v Speaker 3>forty times, you know, because it was all we could watch.

0:20:32.880 --> 0:20:34.879
<v Speaker 3>You know, there was no streaming or anything, so you know,

0:20:34.920 --> 0:20:37.200
<v Speaker 3>we would put it on. And my little brothers were

0:20:37.240 --> 0:20:39.560
<v Speaker 3>quite young, and when of them was five at that age,

0:20:40.280 --> 0:20:42.440
<v Speaker 3>and he loved it, and we just kept watching it

0:20:42.480 --> 0:20:47.280
<v Speaker 3>and watching and watching it, and I just, I don't know,

0:20:47.400 --> 0:20:49.760
<v Speaker 3>I feel so in love with that movie. I don't

0:20:49.800 --> 0:20:52.879
<v Speaker 3>know why. I just again, in terms of me on

0:20:53.119 --> 0:20:56.680
<v Speaker 3>like a trajectory of making movies, I think the moment

0:20:56.760 --> 0:21:00.239
<v Speaker 3>that I heard the Australian accents, I was like, oh

0:21:00.359 --> 0:21:02.760
<v Speaker 3>my god, what they made this in Australia. And I

0:21:02.880 --> 0:21:04.359
<v Speaker 3>was just kind of I just I just thought that

0:21:04.520 --> 0:21:06.800
<v Speaker 3>was so cool because everything else that I've seen that

0:21:07.000 --> 0:21:09.119
<v Speaker 3>had been made in Australia was like what play school?

0:21:09.600 --> 0:21:11.280
<v Speaker 3>You know, like I hadn't really seen any I hadn't

0:21:11.280 --> 0:21:13.480
<v Speaker 3>seen an Australian production of any weight. I might have

0:21:13.560 --> 0:21:15.440
<v Speaker 3>been watching The Castle when Dad was watching the Castle,

0:21:15.440 --> 0:21:17.280
<v Speaker 3>you know, like, but I hadn't seen anything. And then

0:21:17.280 --> 0:21:18.800
<v Speaker 3>I saw that and I was like, Oh, this is

0:21:19.359 --> 0:21:21.040
<v Speaker 3>this is this kind of story I want to tell.

0:21:21.400 --> 0:21:23.320
<v Speaker 3>And I was kind of obsessed with musical theater at

0:21:23.359 --> 0:21:26.520
<v Speaker 3>that stage, so it was it was the first movie

0:21:26.640 --> 0:21:29.680
<v Speaker 3>that I'd seen where somebody had managed to make a

0:21:29.920 --> 0:21:34.200
<v Speaker 3>musical into a movie. And not necessarily they're not singing obviously,

0:21:34.400 --> 0:21:37.600
<v Speaker 3>but in terms of like the production, it's such it

0:21:37.720 --> 0:21:40.560
<v Speaker 3>is a musical. It's it's like it's a stage show

0:21:40.760 --> 0:21:43.760
<v Speaker 3>on a on on screen you know these like cut

0:21:43.800 --> 0:21:47.000
<v Speaker 3>to these dramatic shots sweeping cameras. You know, they danced

0:21:47.040 --> 0:21:49.120
<v Speaker 3>a time after time on a rooftop around a hills hoist.

0:21:49.160 --> 0:21:51.159
<v Speaker 3>You know, it's just like you can almost see the

0:21:51.280 --> 0:21:53.919
<v Speaker 3>set and that is that and I you know, I mean,

0:21:53.960 --> 0:21:56.000
<v Speaker 3>I love it. I really I didn't love I loved

0:21:56.080 --> 0:22:01.000
<v Speaker 3>Moulin Rouge as well, but that movie and it's it

0:22:01.040 --> 0:22:02.639
<v Speaker 3>struck my favorite genre as well. Was it made me

0:22:02.760 --> 0:22:05.199
<v Speaker 3>laugh and it made me cry, which if you can

0:22:05.280 --> 0:22:06.879
<v Speaker 3>get that, how can you're doing?

0:22:07.320 --> 0:22:10.040
<v Speaker 1>And I think when you see a movie in a

0:22:10.119 --> 0:22:14.119
<v Speaker 1>particular it almost is that represents a time in your

0:22:14.200 --> 0:22:16.840
<v Speaker 1>life as well, exactly. I mean I remember seeing actually

0:22:16.920 --> 0:22:20.240
<v Speaker 1>Haymis McDonald who was on this podcast, had a similar

0:22:20.280 --> 0:22:21.840
<v Speaker 1>thing when he was you know, I think working for

0:22:21.920 --> 0:22:25.959
<v Speaker 1>El Jazeera or somewhere stationed overseas and saw Somersault right

0:22:26.240 --> 0:22:29.399
<v Speaker 1>and recognized the Cracker, yeah, and recognized places that you know,

0:22:29.480 --> 0:22:32.560
<v Speaker 1>from where he lived, and this meant a lot to him.

0:22:32.560 --> 0:22:34.960
<v Speaker 1>I was overseas. It's not on the strained film, but yeah,

0:22:35.080 --> 0:22:37.480
<v Speaker 1>me watching Four Weddings in the Funeral in Glasgow, I

0:22:37.520 --> 0:22:40.800
<v Speaker 1>was having by myself and obviously it's on the strained film,

0:22:40.840 --> 0:22:43.280
<v Speaker 1>but it spoke a lot about friends and it just hit.

0:22:43.200 --> 0:22:44.680
<v Speaker 3>Me so hard.

0:22:44.880 --> 0:22:47.160
<v Speaker 5>I just remember crying in the cinema. And it wasn't

0:22:47.400 --> 0:22:48.480
<v Speaker 5>necessarily just about.

0:22:48.240 --> 0:22:51.720
<v Speaker 3>The film that I was watching, the situation that I

0:22:51.800 --> 0:22:52.080
<v Speaker 3>love it.

0:22:52.080 --> 0:22:55.439
<v Speaker 5>When movies do become intrinsically linked to a.

0:22:55.520 --> 0:22:58.639
<v Speaker 3>Moment in your life one hundred percent. And I mean

0:22:58.640 --> 0:23:00.520
<v Speaker 3>the other thing i'd say about strictly boor, I know,

0:23:00.640 --> 0:23:03.080
<v Speaker 3>it's it's almost like, I mean, it is a comedy

0:23:03.119 --> 0:23:05.160
<v Speaker 3>in it, but it gets laughed at into these days

0:23:05.200 --> 0:23:08.440
<v Speaker 3>I feel is I loved that it dared.

0:23:09.920 --> 0:23:10.240
<v Speaker 4>To do.

0:23:11.200 --> 0:23:15.040
<v Speaker 3>I loved how daring its pathos was. It was, you know,

0:23:15.200 --> 0:23:18.320
<v Speaker 3>he's like sliding in on his knees at the end.

0:23:18.640 --> 0:23:21.840
<v Speaker 3>It was just so bold. I don't know, it was

0:23:21.960 --> 0:23:24.119
<v Speaker 3>just slap you in the face, just like, yeah, you

0:23:24.200 --> 0:23:27.000
<v Speaker 3>know what, we have got a guy swooning over a

0:23:27.040 --> 0:23:28.720
<v Speaker 3>girl and they're going to dance a passa double at

0:23:28.760 --> 0:23:30.200
<v Speaker 3>the end, And it was just I just loved that.

0:23:30.359 --> 0:23:32.920
<v Speaker 3>I didn't it wasn't trying to be too nuanced.

0:23:32.960 --> 0:23:35.119
<v Speaker 1>No, And you know, and then also Mark the arrival,

0:23:35.200 --> 0:23:39.120
<v Speaker 1>let's face it of perhaps our greatest yeah director, Yeah,

0:23:39.160 --> 0:23:41.640
<v Speaker 1>you know, I mean George Miller's obviously in that conversation.

0:23:41.800 --> 0:23:45.640
<v Speaker 5>Yeah, yeah, many directors. Sorry, I'm just blanking on all

0:23:45.680 --> 0:23:46.240
<v Speaker 5>of them now.

0:23:50.400 --> 0:23:56.320
<v Speaker 3>Every director, directors like George H.

0:23:56.920 --> 0:23:59.320
<v Speaker 1>Peter, We're friends. There are so many.

0:24:00.240 --> 0:24:03.399
<v Speaker 3>He really has made his mark into even defined a genre.

0:24:03.600 --> 0:24:07.280
<v Speaker 1>Let's face it, he built one. And then he's like

0:24:07.320 --> 0:24:11.000
<v Speaker 1>an appointment to view kind of directed bas Leman film

0:24:11.080 --> 0:24:15.600
<v Speaker 1>comes out. Yeah, and he's polarizing, not every one, but

0:24:15.640 --> 0:24:17.240
<v Speaker 1>I thought Elvis was extraordinary the.

0:24:17.280 --> 0:24:19.639
<v Speaker 3>Same I loved it. I absolutely loved it, but for

0:24:19.720 --> 0:24:22.639
<v Speaker 3>the same reasons. I felt like I was watching a

0:24:22.760 --> 0:24:25.520
<v Speaker 3>really well done musical on screen. And again, he just

0:24:25.600 --> 0:24:27.840
<v Speaker 3>doesn't like the best part of that Elvis movie I

0:24:27.880 --> 0:24:29.960
<v Speaker 3>thought was obviously that that show that he does, that

0:24:30.080 --> 0:24:35.960
<v Speaker 3>live show on TV, that that that was just so good.

0:24:36.160 --> 0:24:38.639
<v Speaker 3>And again it was just like it's just hard in

0:24:38.720 --> 0:24:41.080
<v Speaker 3>his sleeve cinema. Yeah, you know, it's like, you know what,

0:24:41.280 --> 0:24:42.440
<v Speaker 3>I'm just going to give it all to you. I

0:24:42.440 --> 0:24:46.040
<v Speaker 3>don't I'm a gonna worry about like nuancing and you

0:24:46.119 --> 0:24:48.200
<v Speaker 3>know what sort of angles were using. It's just like, no,

0:24:48.560 --> 0:24:50.679
<v Speaker 3>he's fucking front and center. There's a huge sign behind him.

0:24:50.680 --> 0:24:52.200
<v Speaker 3>He's wearing his heart in his sleeve and he's dying

0:24:52.240 --> 0:24:55.000
<v Speaker 3>for America and yeah, I love that.

0:24:55.160 --> 0:24:56.560
<v Speaker 1>Yeah, I love it as well.

0:24:56.920 --> 0:24:58.960
<v Speaker 5>I was very excited that you mentioned hook yeah up

0:24:59.000 --> 0:24:59.480
<v Speaker 5>a couple.

0:24:59.359 --> 0:25:02.359
<v Speaker 3>Of times kidding in other people's top Mark.

0:25:02.240 --> 0:25:05.040
<v Speaker 5>Humphrey has had the end, and pretty honest, I hadn't

0:25:05.080 --> 0:25:05.440
<v Speaker 5>seen it.

0:25:05.600 --> 0:25:06.040
<v Speaker 3>Oh wow.

0:25:06.080 --> 0:25:07.920
<v Speaker 1>So this is not one that lives in marble, but

0:25:07.920 --> 0:25:11.440
<v Speaker 1>I've seen it since, partly because my company suggested it,

0:25:11.480 --> 0:25:14.879
<v Speaker 1>but also I'm also excited from a self interest a

0:25:14.920 --> 0:25:17.880
<v Speaker 1>little bit because I am currently in rehearsals doing Peter

0:25:18.000 --> 0:25:20.840
<v Speaker 1>and a Star catch Peter Pan origin story.

0:25:21.000 --> 0:25:21.960
<v Speaker 3>You've now mentioned that twice.

0:25:22.560 --> 0:25:25.600
<v Speaker 1>Reach thank you well, you gave you a perfect hook

0:25:25.840 --> 0:25:28.600
<v Speaker 1>into it. To be honest, it really sat up for you,

0:25:28.680 --> 0:25:36.920
<v Speaker 1>didn't it. Really, I'm playing me, are you actually? So

0:25:37.040 --> 0:25:38.960
<v Speaker 1>I've got to gone back and watch some of the

0:25:39.359 --> 0:25:43.720
<v Speaker 1>hook and so, yeah, the world is kind of I

0:25:43.840 --> 0:25:46.480
<v Speaker 1>understand the world a bit more now because everyone knows

0:25:46.560 --> 0:25:47.120
<v Speaker 1>Peter Pan.

0:25:48.880 --> 0:25:50.880
<v Speaker 5>But it's it's been nice to kind of delve into,

0:25:51.320 --> 0:25:52.199
<v Speaker 5>you know, a bit more of.

0:25:53.800 --> 0:25:54.119
<v Speaker 3>What it is.

0:25:54.200 --> 0:25:59.439
<v Speaker 1>But yeah, you know, Dustin Hoffman, Robin Williams, obviously, Spielberg's

0:25:59.480 --> 0:26:00.000
<v Speaker 1>Julia Robert.

0:26:00.200 --> 0:26:01.200
<v Speaker 3>Yeah, yeah, it's.

0:26:01.080 --> 0:26:02.600
<v Speaker 1>Pretty it's a magical movie.

0:26:02.720 --> 0:26:07.639
<v Speaker 3>It's magical, it was, I mean to I don't know

0:26:07.680 --> 0:26:09.960
<v Speaker 3>if it's blasphed me to talk about another movie podcast.

0:26:10.200 --> 0:26:16.280
<v Speaker 3>In a movie podcast, The Rewatchables did a great I

0:26:16.320 --> 0:26:17.520
<v Speaker 3>don't know if you listened to the one they did

0:26:17.560 --> 0:26:20.720
<v Speaker 3>on Missus Doubtfire, but it was they kind of went

0:26:20.720 --> 0:26:23.520
<v Speaker 3>back through the Robin Williams kind of like Era and

0:26:23.600 --> 0:26:26.639
<v Speaker 3>he's got this. He kind of lines up about, oh,

0:26:26.760 --> 0:26:28.959
<v Speaker 3>there's there's three or four great films in a row

0:26:29.040 --> 0:26:31.479
<v Speaker 3>there that that that are almost worth mentioning, and then

0:26:31.520 --> 0:26:36.359
<v Speaker 3>he does Hook and I don't know they they canned it,

0:26:36.960 --> 0:26:39.480
<v Speaker 3>and I think and it got canned at the time,

0:26:40.160 --> 0:26:41.399
<v Speaker 3>it really did because I.

0:26:41.440 --> 0:26:43.640
<v Speaker 5>Think it's somebody else's I think this is the third

0:26:43.680 --> 0:26:44.520
<v Speaker 5>time Hook has come up.

0:26:44.560 --> 0:26:47.880
<v Speaker 1>I am going to I'm working on also going back

0:26:47.920 --> 0:26:51.000
<v Speaker 1>over the episodes and working out how many times what

0:26:51.240 --> 0:26:53.760
<v Speaker 1>is the most popular movie that's been nominated movies? So

0:26:53.800 --> 0:26:57.760
<v Speaker 1>I think Princess Brian is probably in the lead. Oh really, yeah,

0:26:58.040 --> 0:27:02.240
<v Speaker 1>shp Hook come up? Let's say three times. Yeah, there's

0:27:02.280 --> 0:27:05.359
<v Speaker 1>part of me that was surprised because I don't remember

0:27:05.400 --> 0:27:07.960
<v Speaker 1>it being a hit or I don't remember that's.

0:27:07.840 --> 0:27:09.200
<v Speaker 3>What they were saying yeah, and it was obviously I

0:27:09.280 --> 0:27:11.199
<v Speaker 3>was too young to know that. I'm just looking at

0:27:11.240 --> 0:27:13.600
<v Speaker 3>it now. It's kind of in So he does this

0:27:13.800 --> 0:27:16.920
<v Speaker 3>really weird string of movies where you know, he has

0:27:17.000 --> 0:27:19.080
<v Speaker 3>a Dead Pot Society, which is you know, kind of

0:27:19.119 --> 0:27:21.640
<v Speaker 3>like puts him on the map into well, sorry, good

0:27:21.680 --> 0:27:24.560
<v Speaker 3>morning Vietnam is before that, which like really it's just like, wow,

0:27:24.600 --> 0:27:26.680
<v Speaker 3>here's this guy does Dead Pot's side. It's like, holy shit,

0:27:26.720 --> 0:27:29.040
<v Speaker 3>the guy's got range. And then he does he does

0:27:29.080 --> 0:27:31.400
<v Speaker 3>a couple of weird ones. He does the Fisher King

0:27:32.840 --> 0:27:35.520
<v Speaker 3>and Awakenings, which he's in and around that, and then

0:27:35.760 --> 0:27:40.240
<v Speaker 3>Hook Aladdin misses Doubt Fire and it's like wow, okay,

0:27:40.359 --> 0:27:43.480
<v Speaker 3>so it's kind of in his real golden era of

0:27:44.080 --> 0:27:46.280
<v Speaker 3>you know, this guy's easily the biggest screen star in

0:27:46.359 --> 0:27:48.720
<v Speaker 3>the world. I was just so obsessed with Peter Pan

0:27:48.800 --> 0:27:50.720
<v Speaker 3>growing up, just the idea of a kid that doesn't

0:27:50.720 --> 0:27:52.840
<v Speaker 3>have to grow up for lots of reasons. I just

0:27:53.080 --> 0:27:55.000
<v Speaker 3>loved that. It just kind of really sung to me.

0:27:55.359 --> 0:27:59.040
<v Speaker 3>And then to see my favorite actor playing the guy

0:27:59.200 --> 0:28:01.680
<v Speaker 3>that I loved so much was just everything to me.

0:28:02.359 --> 0:28:04.359
<v Speaker 3>We did a podcast about this little while ago, about

0:28:04.400 --> 0:28:07.640
<v Speaker 3>in a Child and the narrative. I think just really

0:28:07.680 --> 0:28:11.560
<v Speaker 3>spoke to me and about this this guy who gets

0:28:11.720 --> 0:28:15.679
<v Speaker 3>lost ironically, you know, he's a lawyer and he has

0:28:15.720 --> 0:28:18.000
<v Speaker 3>got he's got no connection to his kids. You know,

0:28:18.080 --> 0:28:19.760
<v Speaker 3>there's that scene in the plane at the start where

0:28:19.760 --> 0:28:21.760
<v Speaker 3>his kid's throwing the ball against the back of his head,

0:28:21.840 --> 0:28:23.879
<v Speaker 3>and I don't know if it reminded me of like

0:28:24.359 --> 0:28:26.399
<v Speaker 3>relationships with my parents, so what, I'm sure it reminded

0:28:26.400 --> 0:28:28.560
<v Speaker 3>a lot of people with relationships with their parents. Where

0:28:28.680 --> 0:28:30.320
<v Speaker 3>I was annoying. I was an annoying kid, like I

0:28:30.560 --> 0:28:33.680
<v Speaker 3>liked fiddling with things. I liked annoying things. And then

0:28:34.080 --> 0:28:36.800
<v Speaker 3>he goes away, and you know, the way that he

0:28:38.280 --> 0:28:42.280
<v Speaker 3>reconnects to his children is he has to find the

0:28:42.440 --> 0:28:46.880
<v Speaker 3>kid in himself. And that as a message was just

0:28:47.080 --> 0:28:49.560
<v Speaker 3>I just thought that was so beautiful. And again I

0:28:49.600 --> 0:28:51.440
<v Speaker 3>didn't obviously wasn't cognizant of this at the time, and

0:28:51.480 --> 0:28:52.720
<v Speaker 3>I was watching it as ten. I was like, Wow,

0:28:52.760 --> 0:28:55.600
<v Speaker 3>great in a child narrative therapy, guys, And I rewatched

0:28:55.640 --> 0:28:56.960
<v Speaker 3>it recently because I was going to watch it with

0:28:57.080 --> 0:29:01.120
<v Speaker 3>my daughter, and I was like, there's there's a genuine

0:29:01.160 --> 0:29:04.200
<v Speaker 3>suicide bit in this movie where where Dustin Hoffman's holding

0:29:04.240 --> 0:29:07.520
<v Speaker 3>a gun to his head as hook and he's like, dog,

0:29:07.600 --> 0:29:10.240
<v Speaker 3>make me do it, Smith, Smith, stop me, Smith, somebody

0:29:10.280 --> 0:29:12.560
<v Speaker 3>stop me, stop me, and you know, in high and

0:29:12.680 --> 0:29:16.680
<v Speaker 3>then Smee just grabs the gun, which fires off in

0:29:16.760 --> 0:29:18.480
<v Speaker 3>the cabin while the kids are doing their homework in

0:29:18.560 --> 0:29:21.560
<v Speaker 3>the background. So they really like, you know, you know,

0:29:21.840 --> 0:29:26.960
<v Speaker 3>adultified what was my childhood movie. But I obviously didn't

0:29:27.040 --> 0:29:28.040
<v Speaker 3>realize that at the time.

0:29:28.560 --> 0:29:32.800
<v Speaker 5>But there's always been darkness, you know, like in those.

0:29:33.160 --> 0:29:36.960
<v Speaker 3>So dark and even his i mean his story Barry,

0:29:37.480 --> 0:29:40.040
<v Speaker 3>what's his name, James Barry, Yeah, the guy who wrote it.

0:29:40.320 --> 0:29:43.360
<v Speaker 3>It's all comes from quite a dark place. Yeah, but

0:29:43.760 --> 0:29:45.080
<v Speaker 3>you know, and I think that's kind of what it

0:29:45.200 --> 0:29:47.360
<v Speaker 3>captured me about it. And looking back through my other

0:29:47.480 --> 0:29:50.320
<v Speaker 3>movies strictly bore Room, maybe not so much Unsandy, but

0:29:50.400 --> 0:29:51.720
<v Speaker 3>some of the other ones that are on the bench,

0:29:51.840 --> 0:29:54.320
<v Speaker 3>I think that being able to play I'm a huge

0:29:54.360 --> 0:29:56.160
<v Speaker 3>fantasy fan, so being able to put me in a

0:29:56.240 --> 0:29:59.040
<v Speaker 3>place which is pure imagination, I've just always been so

0:29:59.160 --> 0:30:02.880
<v Speaker 3>impressed by and always aspired to, you know, just and

0:30:02.960 --> 0:30:05.920
<v Speaker 3>everything about that movie, Like he's playing baseball on a

0:30:06.000 --> 0:30:09.040
<v Speaker 3>pirate ship, you know, like how fun is that. It

0:30:09.160 --> 0:30:11.080
<v Speaker 3>was just the way they did the Pirate Ship as well.

0:30:11.120 --> 0:30:12.960
<v Speaker 3>It wasn't just like, oh, you know, we're limited to

0:30:13.440 --> 0:30:15.960
<v Speaker 3>you know, just the just the timber and and the

0:30:16.200 --> 0:30:17.960
<v Speaker 3>you know, washing the deck and you know, scrubbing the

0:30:18.000 --> 0:30:20.080
<v Speaker 3>deck and all that sort of shit. It was like, no, no, no,

0:30:20.160 --> 0:30:22.840
<v Speaker 3>there's baseball out here. We're polishing hooks out here.

0:30:22.960 --> 0:30:23.120
<v Speaker 1>You know.

0:30:23.280 --> 0:30:26.480
<v Speaker 3>Like it was just this the scope of the fantasy

0:30:26.600 --> 0:30:30.800
<v Speaker 3>and the and the way that the Lost Boys fought

0:30:30.840 --> 0:30:32.480
<v Speaker 3>they made it. They didn't do it with bows and

0:30:32.600 --> 0:30:34.640
<v Speaker 3>arrows and stuff. They did it with gum balls and

0:30:34.920 --> 0:30:39.160
<v Speaker 3>you know, like cannonballs and throwing food. And I think

0:30:39.240 --> 0:30:42.320
<v Speaker 3>that that movie in terms of like realizing something and imagination,

0:30:42.480 --> 0:30:44.800
<v Speaker 3>I mean, that's what Spielberg's always been about, right. That

0:30:45.600 --> 0:30:47.360
<v Speaker 3>was just blew my mind.

0:30:47.560 --> 0:30:51.600
<v Speaker 1>Yeah, I really enjoyed watching it. Yeah, and two tickets

0:30:51.600 --> 0:30:56.720
<v Speaker 1>for Peter on the Starcatcher for you coming up. You've

0:30:56.760 --> 0:30:59.920
<v Speaker 1>even said things in the last couple of minutes, Yeah,

0:31:00.200 --> 0:31:03.239
<v Speaker 1>that he like explains some things that I haven't kind

0:31:03.240 --> 0:31:07.120
<v Speaker 1>of understood about the play in a way. There is

0:31:07.320 --> 0:31:09.440
<v Speaker 1>like a fight scene, yeah, and everyone's just kind of

0:31:09.480 --> 0:31:12.400
<v Speaker 1>grabbing objects they're finding with objects and like it's you know,

0:31:12.520 --> 0:31:14.280
<v Speaker 1>to the point where it's been a part of me.

0:31:14.360 --> 0:31:17.520
<v Speaker 1>That's kind of why don't they have swords? One of these.

0:31:17.440 --> 0:31:20.320
<v Speaker 3>Parts have yes, yes, yeah, yeah, yes, Well that's probably

0:31:20.400 --> 0:31:24.000
<v Speaker 3>you know, it's a kid's imagination. Yeah, so they're in

0:31:24.080 --> 0:31:27.240
<v Speaker 3>this playworld not to bang on. I mean, I could

0:31:27.240 --> 0:31:31.320
<v Speaker 3>talk about hook forever, but that food fight scene as well.

0:31:32.160 --> 0:31:35.960
<v Speaker 3>I just loved the idea. And like in hindsight, again

0:31:36.040 --> 0:31:38.080
<v Speaker 3>maybe it was just because I felt too much pressure

0:31:38.160 --> 0:31:40.520
<v Speaker 3>growing up, but like you had this guy who was

0:31:40.600 --> 0:31:44.240
<v Speaker 3>really successful, and the way out of him, the trap

0:31:44.320 --> 0:31:47.440
<v Speaker 3>that he built for himself, was to fuck around with

0:31:47.520 --> 0:31:51.080
<v Speaker 3>a whole bunch of kids. It was just so beautiful

0:31:51.240 --> 0:31:56.040
<v Speaker 3>and there were so many cool, really poignant moments in

0:31:56.120 --> 0:31:58.000
<v Speaker 3>that movie. When he has the coconut thrown at him

0:31:58.000 --> 0:31:59.920
<v Speaker 3>and he slices through it, when he has his hat,

0:32:00.040 --> 0:32:03.640
<v Speaker 3>he thought, and it's having a kid. And weirdly, this

0:32:03.760 --> 0:32:05.760
<v Speaker 3>is going to sound really cheesy, but when I had

0:32:05.840 --> 0:32:08.920
<v Speaker 3>my daughter, like Peter's happy thought when when he flies again,

0:32:09.000 --> 0:32:11.200
<v Speaker 3>Robin rob Williams happy thought when he flies again is

0:32:11.280 --> 0:32:14.080
<v Speaker 3>that he became a daddy, Right, that's his happy thought

0:32:14.440 --> 0:32:17.920
<v Speaker 3>to get him flying again, and he forgot that, Yeah,

0:32:17.960 --> 0:32:20.520
<v Speaker 3>because he got caught up in being a dad and

0:32:20.640 --> 0:32:22.840
<v Speaker 3>he forgot how happy he was to have kids again.

0:32:23.320 --> 0:32:25.000
<v Speaker 3>And it's funny. I remember when Max was born, when

0:32:25.040 --> 0:32:27.320
<v Speaker 3>my daughter was born, I had this like weirdly, I

0:32:27.440 --> 0:32:30.040
<v Speaker 3>was thinking about hook. I was like, I'm a daddy,

0:32:30.160 --> 0:32:32.320
<v Speaker 3>like and this was Peter's happy thought, and I was like,

0:32:32.960 --> 0:32:34.640
<v Speaker 3>this will be my happy thought now, like this has

0:32:34.720 --> 0:32:36.280
<v Speaker 3>to be my happy thought. This is so beautiful.

0:32:36.520 --> 0:32:41.240
<v Speaker 1>That's incredible. Yeah, that's incredible. Great three movies there. Let's

0:32:41.280 --> 0:32:43.000
<v Speaker 1>get into this one.

0:32:43.400 --> 0:32:58.680
<v Speaker 6>So table toy sant kanjo come, yes a sku. I said,

0:32:58.680 --> 0:33:02.680
<v Speaker 6>what I'm gonna boggie Ernie do come by some time?

0:33:04.160 --> 0:33:06.440
<v Speaker 7>He wanted to turn looking camera.

0:33:07.560 --> 0:33:15.080
<v Speaker 13>Okay, that's all he said, Yes, turned to camera, all right,

0:33:15.120 --> 0:33:18.280
<v Speaker 13>does you want me to to turn from the right

0:33:18.440 --> 0:33:20.320
<v Speaker 13>or turn.

0:33:23.960 --> 0:33:36.920
<v Speaker 7>Surday and camera discute? Jig?

0:33:38.000 --> 0:33:38.360
<v Speaker 4>What was that?

0:33:39.840 --> 0:33:40.479
<v Speaker 3>A more hacker?

0:33:40.920 --> 0:33:41.680
<v Speaker 4>I had a motation.

0:33:41.800 --> 0:33:47.120
<v Speaker 6>I get there comera come passion camera many.

0:33:47.560 --> 0:33:51.960
<v Speaker 7>Question with the intensity? Okay?

0:33:53.280 --> 0:33:55.320
<v Speaker 4>Is that everything? I mean? It seemed like you said

0:33:55.400 --> 0:33:56.320
<v Speaker 4>quite a bit more than that.

0:33:58.040 --> 0:34:01.440
<v Speaker 1>From two thousand and three erected but a great so

0:34:01.560 --> 0:34:06.200
<v Speaker 1>for your Coppola starring Bill Murray's Scolllet, Yo Hansen wilming Man.

0:34:06.520 --> 0:34:08.440
<v Speaker 5>Do you enjoy Lost in translation?

0:34:09.080 --> 0:34:11.799
<v Speaker 3>Yeah, I loved it. I mean I didn't. I gotta.

0:34:11.920 --> 0:34:14.680
<v Speaker 3>I'm gonna be honest. I found the first half half

0:34:14.719 --> 0:34:15.160
<v Speaker 3>an hour.

0:34:15.160 --> 0:34:18.720
<v Speaker 1>Hard, right, Yeah, Yeah, I did. Yeah. Interesting.

0:34:19.040 --> 0:34:22.879
<v Speaker 3>I'm a big I'm a big character development guy. I've

0:34:22.920 --> 0:34:26.080
<v Speaker 3>got to see I've got to start seeing some movement there.

0:34:26.800 --> 0:34:29.640
<v Speaker 3>And there was a lot of setting the scene. There

0:34:29.840 --> 0:34:31.759
<v Speaker 3>was a lot of you know, like you've got a

0:34:32.040 --> 0:34:34.640
<v Speaker 3>really good idea of who they were before they were

0:34:34.680 --> 0:34:35.920
<v Speaker 3>brought into each other's worlds.

0:34:36.160 --> 0:34:39.080
<v Speaker 1>Yes, it's half an hour, which you know, there's the

0:34:39.160 --> 0:34:41.800
<v Speaker 1>first I guess, you know, inciting incident. I guess is

0:34:42.160 --> 0:34:44.320
<v Speaker 1>Bill Murray and Scout at your hands and meeting in

0:34:44.400 --> 0:34:47.279
<v Speaker 1>the bar with the earlier that almost happens bang on

0:34:47.360 --> 0:34:49.920
<v Speaker 1>thirty minutes, which is you know, the save Save the

0:34:50.000 --> 0:34:53.239
<v Speaker 1>Cat fans will know, ye, yeah, thirty minutes in. Yeah,

0:34:55.680 --> 0:35:00.840
<v Speaker 1>it's I think if Bill Murray's not Bill Murray's so watchable,

0:35:01.080 --> 0:35:05.960
<v Speaker 1>and those I really like that of their master and

0:35:06.400 --> 0:35:10.680
<v Speaker 1>the feeling of what it's like to the discombobulation you

0:35:10.800 --> 0:35:13.000
<v Speaker 1>feel when you arrive in the jet lag and this

0:35:13.520 --> 0:35:13.879
<v Speaker 1>this city.

0:35:14.200 --> 0:35:15.760
<v Speaker 5>We should actually have you been in Tokyo.

0:35:16.000 --> 0:35:17.880
<v Speaker 3>I have, yeah, so I think I actually said to

0:35:17.920 --> 0:35:22.799
<v Speaker 3>you hilariously, I've been in the bar where it's all

0:35:22.880 --> 0:35:25.960
<v Speaker 3>films right in there in the Parkayat, because when I

0:35:26.040 --> 0:35:27.520
<v Speaker 3>was there, a friend of mine was like, oh, you know,

0:35:28.080 --> 0:35:29.799
<v Speaker 3>let's go to this joint. You know what's had one

0:35:29.840 --> 0:35:32.000
<v Speaker 3>drink because I think it's like three hundred dollars cocktail

0:35:32.040 --> 0:35:34.560
<v Speaker 3>these days. Yeah, you know, it's where Lost in Translation

0:35:34.680 --> 0:35:36.560
<v Speaker 3>was filmed. And I didn't admit to them the time

0:35:36.600 --> 0:35:39.080
<v Speaker 3>that I hadn't seen Lost in Translation because that was

0:35:39.239 --> 0:35:43.359
<v Speaker 3>like I was like, oh cool, and here look over there.

0:35:43.440 --> 0:35:44.880
<v Speaker 3>And then as I was watching the movie, I was like,

0:35:44.960 --> 0:35:47.720
<v Speaker 3>oh my god, I've been there. So it was pretty

0:35:47.719 --> 0:35:49.640
<v Speaker 3>funny watching it and knowing that i'd been there.

0:35:50.960 --> 0:35:52.719
<v Speaker 1>I've been there twice. I went there the same year,

0:35:52.760 --> 0:35:55.080
<v Speaker 1>the year that The Last Jedi came out, because I

0:35:55.160 --> 0:36:00.480
<v Speaker 1>went there with my family for a holiday Japan for

0:36:00.480 --> 0:36:03.400
<v Speaker 1>a few weeks, and then went back later that year

0:36:03.480 --> 0:36:07.560
<v Speaker 1>to interview Mark Hamill Walker himself on a junket for

0:36:07.640 --> 0:36:10.000
<v Speaker 1>the project. So it was just a lovely little surprise.

0:36:10.000 --> 0:36:12.239
<v Speaker 1>I could go for another extra few days and and

0:36:14.200 --> 0:36:18.400
<v Speaker 1>I love Tokyo and I think it's the perfect city.

0:36:18.480 --> 0:36:20.759
<v Speaker 1>So for a couple of I think has worked in

0:36:21.920 --> 0:36:24.080
<v Speaker 1>Tokyo a lot. I think she does some fashion stuff

0:36:24.080 --> 0:36:29.080
<v Speaker 1>through the Japanese label, So I think there's a love

0:36:29.160 --> 0:36:31.880
<v Speaker 1>and an understanding of the culture there is, like some

0:36:32.040 --> 0:36:35.239
<v Speaker 1>people who you know, and some Japanese people who some

0:36:35.520 --> 0:36:40.040
<v Speaker 1>critics who maybe thought it wasn't as sympathetic towards Japanese

0:36:40.120 --> 0:36:42.600
<v Speaker 1>or it's a bit stereotypical, possibly even racist.

0:36:43.239 --> 0:36:43.839
<v Speaker 3>I'm not sure.

0:36:44.480 --> 0:36:47.080
<v Speaker 1>I'm not completely you know, I mean, everyone's of course,

0:36:47.360 --> 0:36:49.319
<v Speaker 1>you know, if that's how you feel, that's that, that's

0:36:49.360 --> 0:36:51.280
<v Speaker 1>how you feel. But I do think they are trying

0:36:51.320 --> 0:36:55.840
<v Speaker 1>to capture Tokyo through the lens of two Americans.

0:36:55.920 --> 0:36:59.040
<v Speaker 5>Yeah, yeah, so it is an Americans view of Tokyo

0:36:59.440 --> 0:36:59.920
<v Speaker 5>landing and you.

0:37:00.520 --> 0:37:03.000
<v Speaker 3>Trying to make it an authentic I mean that. In fact,

0:37:03.080 --> 0:37:05.879
<v Speaker 3>if anything, she's at pains to point out that it's

0:37:05.960 --> 0:37:07.480
<v Speaker 3>not from the Japanese point of view.

0:37:07.600 --> 0:37:10.919
<v Speaker 1>Yes, exactly, that's the whole bit, right, exactly, right, Yeah,

0:37:11.000 --> 0:37:11.880
<v Speaker 1>it's and you know what.

0:37:11.840 --> 0:37:13.239
<v Speaker 5>It's like when you land in the city.

0:37:14.160 --> 0:37:17.439
<v Speaker 3>Yeah, well, Tokyo's Tokyo is comfortably the biggest culture shock

0:37:17.480 --> 0:37:18.640
<v Speaker 3>I've ever had in my life.

0:37:18.840 --> 0:37:19.799
<v Speaker 1>It's crazy and like.

0:37:20.040 --> 0:37:23.200
<v Speaker 3>Comfortably I remember, and I've traveled a lot, and I

0:37:23.239 --> 0:37:26.920
<v Speaker 3>remember getting there and being like, holy shit, I may

0:37:27.000 --> 0:37:30.600
<v Speaker 3>as well be on Mars because the first thing, and

0:37:30.719 --> 0:37:33.160
<v Speaker 3>even more so than Shanghai, Like I don't know why.

0:37:33.320 --> 0:37:36.560
<v Speaker 3>I feel like Shanghai maybe slightly was a little bit

0:37:36.600 --> 0:37:39.120
<v Speaker 3>easier to figure out it was it was, And I

0:37:39.160 --> 0:37:40.520
<v Speaker 3>think they did this well in the movie that it

0:37:40.600 --> 0:37:43.000
<v Speaker 3>was almost the lights and the colors. I had no

0:37:43.120 --> 0:37:44.719
<v Speaker 3>idea where I was, and I had no idea to

0:37:44.800 --> 0:37:48.080
<v Speaker 3>get anywhere, and no one spoke English. Yeah, so you're

0:37:48.160 --> 0:37:50.400
<v Speaker 3>just and then you just got lights and buzzers and

0:37:50.920 --> 0:37:54.160
<v Speaker 3>fucking vending machines and shit gone off, And yes I was.

0:37:54.840 --> 0:37:56.720
<v Speaker 3>I was rattled. It's yeah, rattled.

0:37:56.920 --> 0:37:59.000
<v Speaker 1>And I think sometimes I arrive in a city and

0:37:59.080 --> 0:38:01.839
<v Speaker 1>I'm like, I'm only there for like less than a day,

0:38:01.840 --> 0:38:03.840
<v Speaker 1>and I'm like a bit disappointed in this, like because

0:38:03.920 --> 0:38:06.320
<v Speaker 1>you're not comfortable in it. You know, even sometimes on

0:38:06.400 --> 0:38:08.360
<v Speaker 1>the way from the airport to that you kind of forget,

0:38:08.440 --> 0:38:10.480
<v Speaker 1>like if you you know, I love you, I'm a

0:38:10.600 --> 0:38:13.839
<v Speaker 1>Melbourney and I love my hometown. But if you drive

0:38:13.880 --> 0:38:16.440
<v Speaker 1>from Melbourne airport to the city it's a it's a

0:38:16.560 --> 0:38:19.400
<v Speaker 1>very unimpressive drive, so you're gonna be going, what the

0:38:19.680 --> 0:38:22.359
<v Speaker 1>fuck what do I come here for? And I still

0:38:22.440 --> 0:38:24.320
<v Speaker 1>fall for that trap every time I travel.

0:38:26.239 --> 0:38:29.759
<v Speaker 5>I really, this is Paris.

0:38:31.600 --> 0:38:34.640
<v Speaker 3>And it's the worst snapshot you can possibly Yeah, it's

0:38:34.640 --> 0:38:35.520
<v Speaker 3>got nothing to do with it.

0:38:35.680 --> 0:38:36.920
<v Speaker 1>No, No, you're not.

0:38:37.440 --> 0:38:39.920
<v Speaker 5>You're traveling this one other time when you go back

0:38:39.960 --> 0:38:40.440
<v Speaker 5>to the airport.

0:38:40.560 --> 0:38:45.239
<v Speaker 3>Yes, but I where's Tokyo. You're in it. You're you're

0:38:45.280 --> 0:38:48.000
<v Speaker 3>like having a Tokyo bath the moment you get off

0:38:48.040 --> 0:38:49.439
<v Speaker 3>the plane till the moment you leave.

0:38:49.760 --> 0:38:52.680
<v Speaker 1>It's so it's so one thing, and it's it's it's

0:38:52.960 --> 0:38:57.240
<v Speaker 1>there's this like duality of Tokyo that there is everyone's

0:38:57.400 --> 0:39:01.560
<v Speaker 1>so polite and respe backfall and like the trains are

0:39:01.640 --> 0:39:04.320
<v Speaker 1>really quiet, nobody really even talks on the trains. But

0:39:04.400 --> 0:39:08.480
<v Speaker 1>then there's this other side of Takeyo that but there's

0:39:08.480 --> 0:39:11.320
<v Speaker 1>a there's a scene where Scale hands and Charlotte is

0:39:11.440 --> 0:39:13.279
<v Speaker 1>looking over the shoulder of a bloke and he's got

0:39:13.440 --> 0:39:15.440
<v Speaker 1>his I think on the newspaper, but on the inside

0:39:15.440 --> 0:39:19.440
<v Speaker 1>he's pornographic run. And that is, no doubt a comment

0:39:19.920 --> 0:39:22.640
<v Speaker 1>on Japanese society. There is because there's so kind of.

0:39:25.400 --> 0:39:27.440
<v Speaker 3>Maybe the word that's exactly what it is. Yeah, that's

0:39:27.480 --> 0:39:28.520
<v Speaker 3>exactly what it is. Yeah.

0:39:28.640 --> 0:39:30.960
<v Speaker 1>And then there's there's another side of it, like they

0:39:31.239 --> 0:39:35.520
<v Speaker 1>in Japanese culture, they will workers will you know, you're

0:39:35.560 --> 0:39:38.360
<v Speaker 1>very respectful to you, to your boss at work, but

0:39:38.440 --> 0:39:40.080
<v Speaker 1>then they'll all go out and drink.

0:39:40.040 --> 0:39:43.480
<v Speaker 5>A lot that's right after work and it's just like

0:39:44.239 --> 0:39:46.400
<v Speaker 5>you know, you know, that's when you say let it out.

0:39:46.480 --> 0:39:50.840
<v Speaker 3>Yeah, yeah, there's actually so like the the Japanese so

0:39:50.920 --> 0:39:53.800
<v Speaker 3>like I think a lot of cultures are run on

0:39:53.880 --> 0:39:57.319
<v Speaker 3>a shame model, whereas Western cultures running a guilt model.

0:39:57.520 --> 0:39:57.719
<v Speaker 1>Yeah.

0:39:58.719 --> 0:40:00.760
<v Speaker 3>So shame is you know, you don't want to publicly

0:40:00.920 --> 0:40:03.560
<v Speaker 3>ever say out loud what's going on, and if you

0:40:03.680 --> 0:40:05.360
<v Speaker 3>have to do that, then you know, if you go

0:40:05.440 --> 0:40:08.960
<v Speaker 3>back to samurai time, you would rather kill yourself than

0:40:09.040 --> 0:40:13.080
<v Speaker 3>do that, because shame is right. In the Western culture,

0:40:13.400 --> 0:40:15.359
<v Speaker 3>we'll hold onto it, we'll just burn from the inside out,

0:40:15.520 --> 0:40:17.400
<v Speaker 3>you know, and we're happy to do that in our

0:40:17.440 --> 0:40:19.800
<v Speaker 3>own time, and we all do that, which is hilarious,

0:40:19.800 --> 0:40:25.520
<v Speaker 3>whereas over there everything is repressed because you don't lie,

0:40:25.800 --> 0:40:27.720
<v Speaker 3>you have to be honest, and you know, if you're honest,

0:40:27.800 --> 0:40:29.719
<v Speaker 3>then you know, you may as well kill yourself, as

0:40:29.719 --> 0:40:33.120
<v Speaker 3>I said. So I find it interesting that I read

0:40:33.160 --> 0:40:35.360
<v Speaker 3>an article a little while ago just on that shame

0:40:35.440 --> 0:40:40.480
<v Speaker 3>idea that after the Oscaca earthquakes, there was like one

0:40:40.560 --> 0:40:44.320
<v Speaker 3>in five people in Japan, one in five people in

0:40:44.400 --> 0:40:49.600
<v Speaker 3>Japan admitted to actually planning to kill their boss because

0:40:50.440 --> 0:40:52.080
<v Speaker 3>and this, and there's just a reflection of what had

0:40:52.120 --> 0:40:55.320
<v Speaker 3>happened the Oscaca earthquakes happened. There was you know, like

0:40:55.600 --> 0:40:58.680
<v Speaker 3>huge rips in the road, people's families, people's houses literally

0:40:58.719 --> 0:41:01.560
<v Speaker 3>just got subsumed by the earth earth and their boss

0:41:01.600 --> 0:41:03.759
<v Speaker 3>would call them and be like they call their boss

0:41:03.760 --> 0:41:05.400
<v Speaker 3>and be like, hey, I can't get to work earthquake,

0:41:05.640 --> 0:41:09.439
<v Speaker 3>and their boss would be like you're do at nine, Wow,

0:41:10.000 --> 0:41:12.560
<v Speaker 3>I'll see you soon. And so you're right, it's repressed.

0:41:13.320 --> 0:41:16.520
<v Speaker 3>But I think what the movie did really well is

0:41:17.440 --> 0:41:20.560
<v Speaker 3>it commented on that. But this is something that I

0:41:20.600 --> 0:41:22.160
<v Speaker 3>would love to talk to you about because it happened

0:41:22.160 --> 0:41:27.160
<v Speaker 3>a number of times whereby there were people laughing in

0:41:27.200 --> 0:41:30.960
<v Speaker 3>the background. Yes of these shots, Yes, so they were

0:41:31.120 --> 0:41:34.560
<v Speaker 3>clearly were they just did she I don't know if

0:41:34.560 --> 0:41:36.279
<v Speaker 3>you've done any research of this. Was she just walking

0:41:36.360 --> 0:41:38.200
<v Speaker 3>up to people going like, Hey, we're going to do

0:41:38.239 --> 0:41:40.680
<v Speaker 3>a scene where Bill Murray is going to ask this

0:41:40.800 --> 0:41:44.440
<v Speaker 3>guy over here what that contraption is, and can you

0:41:44.520 --> 0:41:47.000
<v Speaker 3>guys just keep sitting there and listen.

0:41:47.080 --> 0:41:48.800
<v Speaker 1>They shot this in twenty seven days and it was

0:41:48.920 --> 0:41:51.120
<v Speaker 1>a gorilla style shoot. They got a suit around the

0:41:51.200 --> 0:41:54.759
<v Speaker 1>hotel in the am like so basically, so they had

0:41:55.160 --> 0:41:56.840
<v Speaker 1>not a lot of access on the streets. They had

0:41:56.880 --> 0:42:00.359
<v Speaker 1>no permits, so they were just grabbing shots when they could.

0:42:00.520 --> 0:42:03.440
<v Speaker 1>So one of the things you probably talking about is

0:42:03.480 --> 0:42:05.600
<v Speaker 1>in the hospital waiting room when there's two women in

0:42:05.640 --> 0:42:06.440
<v Speaker 1>the background, he's.

0:42:06.320 --> 0:42:09.400
<v Speaker 3>Tossing himself somebody and they are just losing and.

0:42:09.440 --> 0:42:11.720
<v Speaker 1>You can tell that they know they're not probably supposed

0:42:11.719 --> 0:42:12.240
<v Speaker 1>to be laughing.

0:42:12.280 --> 0:42:13.719
<v Speaker 3>Well, there's a point where one of them sits and

0:42:13.760 --> 0:42:16.160
<v Speaker 3>goes to the others. She's like, come on, get it together.

0:42:16.600 --> 0:42:18.520
<v Speaker 3>We are on camera. And I loved that.

0:42:18.680 --> 0:42:19.520
<v Speaker 1>I loved it so much.

0:42:19.560 --> 0:42:21.640
<v Speaker 3>I loved it. And then I think, you know, to

0:42:21.840 --> 0:42:23.880
<v Speaker 3>your point about you know, the movie being racist or

0:42:23.960 --> 0:42:27.520
<v Speaker 3>whatever like that, they're laughing about how ridiculous it is,

0:42:27.600 --> 0:42:29.680
<v Speaker 3>but it's not. And even that grab you plaid before

0:42:29.760 --> 0:42:32.759
<v Speaker 3>with that director and the advertisement, you can see a

0:42:32.880 --> 0:42:36.480
<v Speaker 3>guy in the background absolutely pissing himself. Yes, while all

0:42:36.600 --> 0:42:39.200
<v Speaker 3>of this is going on. So it's I don't know,

0:42:39.280 --> 0:42:43.000
<v Speaker 3>I feel as if that for me was almost like

0:42:43.080 --> 0:42:47.200
<v Speaker 3>the saving grace without letting it mock Japanese people because

0:42:47.280 --> 0:42:50.160
<v Speaker 3>they were in on the joke. Yeah, like this is ridiculous.

0:42:50.400 --> 0:42:54.319
<v Speaker 1>Yes, you know, I think so. I feel maybe because

0:42:54.320 --> 0:42:56.240
<v Speaker 1>I knew this a couple I had a love of Japan,

0:42:56.360 --> 0:42:59.160
<v Speaker 1>and I kind of maybe take that for granted, having

0:42:59.280 --> 0:43:01.319
<v Speaker 1>been the take out a couple of times, I kind

0:43:01.360 --> 0:43:04.200
<v Speaker 1>of felt like from my experience, you know, and this

0:43:04.360 --> 0:43:07.000
<v Speaker 1>is based on two characters who are there for about

0:43:07.040 --> 0:43:08.440
<v Speaker 1>a week, which is about the time I was there

0:43:08.520 --> 0:43:11.080
<v Speaker 1>for both times, and it kind of felt like my

0:43:11.239 --> 0:43:14.080
<v Speaker 1>impression of Japan to a degree.

0:43:14.200 --> 0:43:17.160
<v Speaker 3>Yes, definitely, you can't avoid the politeness.

0:43:17.840 --> 0:43:20.840
<v Speaker 1>You get bowed to, like somebody I went for so

0:43:20.880 --> 0:43:23.480
<v Speaker 1>many years ago, like when I was a teenager, you know,

0:43:23.840 --> 0:43:28.200
<v Speaker 1>I thought of I almost went to Tokyo once for

0:43:28.320 --> 0:43:31.120
<v Speaker 1>a weekend, but and I couldn't find my passport. So

0:43:31.320 --> 0:43:33.560
<v Speaker 1>is the last minute in fact, I'm going to I'm

0:43:33.560 --> 0:43:36.319
<v Speaker 1>going to I'm going to Tokyo. I had a mate

0:43:36.320 --> 0:43:40.920
<v Speaker 1>over there and didn't go, but it was fast enough

0:43:40.920 --> 0:43:43.880
<v Speaker 1>with the idea of going one day and somebody told me,

0:43:44.000 --> 0:43:46.440
<v Speaker 1>They said that they're so polite over there, like if

0:43:46.480 --> 0:43:48.320
<v Speaker 1>you if you stop on the street and pull a

0:43:48.360 --> 0:43:50.200
<v Speaker 1>map out, somebody will come over to you and they

0:43:50.239 --> 0:43:53.000
<v Speaker 1>will help you and where you will go. You got

0:43:53.080 --> 0:43:55.920
<v Speaker 1>to train with my family. We've got to train from

0:43:55.960 --> 0:43:58.879
<v Speaker 1>the airport too close enough to her accommodation, as close

0:43:58.920 --> 0:44:01.640
<v Speaker 1>as the train station was, got out, got to map

0:44:01.719 --> 0:44:02.879
<v Speaker 1>out as soon as we got out.

0:44:02.960 --> 0:44:07.440
<v Speaker 5>Somebody like this thing that somebody told years earlier, literally

0:44:07.800 --> 0:44:08.520
<v Speaker 5>the first time.

0:44:08.840 --> 0:44:15.120
<v Speaker 3>Yeah, they are incredible, yes, yes, almost obsequiously polite to

0:44:15.160 --> 0:44:17.200
<v Speaker 3>the point where you're like, I feel like you're pissing

0:44:17.239 --> 0:44:19.920
<v Speaker 3>in my pocket here. Yeah, you know you don't have

0:44:20.000 --> 0:44:20.320
<v Speaker 3>to do that.

0:44:20.520 --> 0:44:21.160
<v Speaker 1>Is that politeness.

0:44:21.200 --> 0:44:24.760
<v Speaker 5>But then you know there were vending machines with underwear,

0:44:25.400 --> 0:44:26.279
<v Speaker 5>you know they got rid of.

0:44:26.760 --> 0:44:28.880
<v Speaker 3>That's the repress. That's the part of thing. That's the

0:44:28.960 --> 0:44:29.919
<v Speaker 3>shame part of things.

0:44:30.040 --> 0:44:31.880
<v Speaker 5>Yes, yeah, with the shame thing.

0:44:31.960 --> 0:44:34.880
<v Speaker 1>There was an incident on set where one of the

0:44:35.000 --> 0:44:38.239
<v Speaker 1>location they shot ten minutes over is when they're having

0:44:38.280 --> 0:44:41.759
<v Speaker 1>their dinner later on, where things aren't going particularly well.

0:44:41.800 --> 0:44:43.880
<v Speaker 1>They're a bit frosty between the two of them, and

0:44:44.440 --> 0:44:46.440
<v Speaker 1>when they're at that place where they've got to put

0:44:46.480 --> 0:44:47.000
<v Speaker 1>their own.

0:44:47.200 --> 0:44:49.560
<v Speaker 3>Yes, yes, yes, yes, yes they which by the way,

0:44:49.680 --> 0:44:52.000
<v Speaker 3>I mean, like, how good was it just putting a

0:44:52.080 --> 0:44:54.239
<v Speaker 3>boiling pot in between them at that point?

0:44:54.360 --> 0:44:54.560
<v Speaker 1>Yeah?

0:44:54.920 --> 0:44:56.080
<v Speaker 3>They just as a metaphor.

0:44:56.320 --> 0:44:58.439
<v Speaker 1>It's just like, this is awesome, very nice.

0:44:58.440 --> 0:45:01.879
<v Speaker 3>I said, nothing and there's just steam between them.

0:45:02.120 --> 0:45:05.359
<v Speaker 1>So good. Yeah, it was so good. Yea. They shot

0:45:05.400 --> 0:45:07.719
<v Speaker 1>for ten minutes over and the location director came up

0:45:07.760 --> 0:45:10.640
<v Speaker 1>to the producer said I have to resign and he

0:45:10.680 --> 0:45:13.440
<v Speaker 1>said why. He goes, because you shot ten minutes over

0:45:13.800 --> 0:45:16.240
<v Speaker 1>and he goy, know, we'll pay for it, like everyone's

0:45:16.239 --> 0:45:17.320
<v Speaker 1>getting paid and we'll pay that.

0:45:17.760 --> 0:45:20.440
<v Speaker 5>She goes, no, no, but it's it's the designer.

0:45:20.600 --> 0:45:21.279
<v Speaker 3>Oh my god.

0:45:21.480 --> 0:45:24.799
<v Speaker 5>And then and then the the the Japanese crew who

0:45:24.920 --> 0:45:26.839
<v Speaker 5>going to work for him said we have to resign too.

0:45:27.080 --> 0:45:27.480
<v Speaker 3>Oh my.

0:45:28.560 --> 0:45:30.239
<v Speaker 1>They had to have a big meeting the next day,

0:45:30.440 --> 0:45:34.879
<v Speaker 1>and the American producers had to say we we okay,

0:45:35.040 --> 0:45:37.240
<v Speaker 1>there's been a cultural misunderstanding.

0:45:36.600 --> 0:45:39.239
<v Speaker 3>And genuinely lost in translation. Yeah.

0:45:39.360 --> 0:45:42.279
<v Speaker 5>Literally, there were so many lost in translation moments.

0:45:43.440 --> 0:45:45.280
<v Speaker 3>Which would have had they just had to have happened,

0:45:45.760 --> 0:45:48.680
<v Speaker 3>because that is actually how it is over.

0:45:48.600 --> 0:45:50.480
<v Speaker 1>There, and they were shooting, Like I said, I was

0:45:50.520 --> 0:45:53.200
<v Speaker 1>shooting like handheld cameras a lot, and then the grill

0:45:53.320 --> 0:45:57.560
<v Speaker 1>is just getting shouting those shots of Japan, especially shot

0:45:57.600 --> 0:45:58.200
<v Speaker 1>from a moving car.

0:45:58.320 --> 0:46:00.840
<v Speaker 3>But it's got sick. It's loved it. It works, and

0:46:01.360 --> 0:46:01.840
<v Speaker 3>I loved it.

0:46:01.920 --> 0:46:03.600
<v Speaker 1>It's because it's kind of how you feel when you

0:46:03.680 --> 0:46:07.239
<v Speaker 1>arrive and are looking out of the taxi exactly though,

0:46:07.480 --> 0:46:10.319
<v Speaker 1>exactly and grabbing shots. So the other thing we should

0:46:10.360 --> 0:46:13.040
<v Speaker 1>mention is that the Sophia Copple of what was going

0:46:13.080 --> 0:46:16.160
<v Speaker 1>on in her life. So Charlotte is basically her, right,

0:46:16.320 --> 0:46:21.600
<v Speaker 1>it is her? Yeah, So Scaletta Hansen is seventeen when

0:46:21.640 --> 0:46:23.600
<v Speaker 1>she makes this film. She's playing about a twenty five

0:46:23.640 --> 0:46:25.759
<v Speaker 1>year old, which is actually pretty rare that you play up.

0:46:25.920 --> 0:46:29.279
<v Speaker 1>Usually it's the other way around, like actual yeah yeah, yeah,

0:46:29.440 --> 0:46:32.239
<v Speaker 1>now yeah, So why did she pick her?

0:46:32.600 --> 0:46:34.680
<v Speaker 3>Like if she's seventeen, did she just grab her out

0:46:34.680 --> 0:46:35.400
<v Speaker 3>of drama school?

0:46:35.880 --> 0:46:39.480
<v Speaker 1>See? So she You know, we need to remind ourselves

0:46:39.600 --> 0:46:41.120
<v Speaker 1>when this came out scale your hands, it was not

0:46:41.160 --> 0:46:41.839
<v Speaker 1>scarlet your hands.

0:46:41.960 --> 0:46:43.400
<v Speaker 3>I'm saying, where did she get up?

0:46:43.480 --> 0:46:46.200
<v Speaker 1>She doesn't go a movie called ghost World, which I

0:46:46.239 --> 0:46:47.759
<v Speaker 1>remember seeing. It was a bit of an indie hit,

0:46:48.239 --> 0:46:51.080
<v Speaker 1>and there was no real clue that she was going

0:46:51.160 --> 0:46:54.800
<v Speaker 1>to become the lute icon. Yeah, yeah, you come. It

0:46:54.920 --> 0:46:57.400
<v Speaker 1>was you know, very much dressed down kind of indie

0:46:57.520 --> 0:47:02.120
<v Speaker 1>kind of yeah, you know, almost slightly maybe gothic kind.

0:47:01.960 --> 0:47:05.919
<v Speaker 3>Of Yeah, ribes okay, interesting and then the G word.

0:47:06.239 --> 0:47:08.600
<v Speaker 1>Yeah, yes I did. I'm not afraid to go there.

0:47:10.320 --> 0:47:10.480
<v Speaker 12>I know.

0:47:10.880 --> 0:47:13.719
<v Speaker 1>Would he come up the shirts a bit? Sometimes? Not me,

0:47:14.040 --> 0:47:19.560
<v Speaker 1>not on my own podcast, so he She apparently had

0:47:20.040 --> 0:47:25.040
<v Speaker 1>made contact with her about six years earlier for something right, Okay,

0:47:25.040 --> 0:47:28.160
<v Speaker 1>I think maybe for Virgin Suicides it was considered she

0:47:28.320 --> 0:47:30.640
<v Speaker 1>was too young and they're not quite But then.

0:47:30.680 --> 0:47:32.880
<v Speaker 3>But for a rum com with a fifty year old, well,

0:47:32.960 --> 0:47:34.359
<v Speaker 3>this is and and they're right in the sweet spot

0:47:34.480 --> 0:47:38.000
<v Speaker 3>and yeah, this is the questionable part of the movie.

0:47:38.160 --> 0:47:38.640
<v Speaker 3>It really is.

0:47:38.880 --> 0:47:41.400
<v Speaker 1>And we'll obviously we'll definitely will definitely get to that.

0:47:41.480 --> 0:47:44.440
<v Speaker 1>But so for a couple of I was married to

0:47:44.520 --> 0:47:49.160
<v Speaker 1>Spike Jones, the Spike Jones. He was actually in a

0:47:49.239 --> 0:47:53.000
<v Speaker 1>great movie, Got Three Kings Cubange Clooney and Mark Wahlberg,

0:47:53.239 --> 0:47:54.400
<v Speaker 1>made by David A. Russell.

0:47:54.880 --> 0:47:57.240
<v Speaker 5>I hopefully we'll cover that film one day on this podcast.

0:47:57.440 --> 0:47:59.920
<v Speaker 3>It was on the list it is on the list.

0:48:00.000 --> 0:48:00.400
<v Speaker 3>I've seen it.

0:48:00.440 --> 0:48:02.240
<v Speaker 1>It's a great film. Yeah, yeah, it's awesome.

0:48:02.360 --> 0:48:03.840
<v Speaker 3>It's really good. Yeah, I agree.

0:48:03.920 --> 0:48:07.040
<v Speaker 1>Yeah, and also so Spot Giants and then directs, you know,

0:48:07.080 --> 0:48:12.440
<v Speaker 1>Being John Malkovich, her great film. Yeah. So it's kind

0:48:12.480 --> 0:48:15.080
<v Speaker 1>of based on their marriage, him kind of you know,

0:48:15.680 --> 0:48:18.480
<v Speaker 1>getting into this world, her maybe feeling a little bit

0:48:18.560 --> 0:48:23.759
<v Speaker 1>kind of left behind. And the Anna Faris character supposedly,

0:48:24.200 --> 0:48:26.160
<v Speaker 1>right is based on Cameron Diaz.

0:48:26.400 --> 0:48:26.520
<v Speaker 14>Right.

0:48:26.640 --> 0:48:27.399
<v Speaker 4>Yeah, Oh my god.

0:48:27.560 --> 0:48:30.399
<v Speaker 3>I didn't as soon as she walked because I knew

0:48:30.440 --> 0:48:32.080
<v Speaker 3>it was about. What I knew is that it was

0:48:32.120 --> 0:48:37.520
<v Speaker 3>it was kind of semi bio autobiographical or biographical. And

0:48:37.640 --> 0:48:41.439
<v Speaker 3>then when Anna Faris walked on, I said to Sam,

0:48:41.560 --> 0:48:44.360
<v Speaker 3>I was like, my partner. I was like, they're definitely

0:48:44.440 --> 0:48:46.560
<v Speaker 3>making her look like Cameron Diaz. You're right there, you

0:48:46.640 --> 0:48:48.440
<v Speaker 3>go like, if I had it, she could have been

0:48:48.440 --> 0:48:52.160
<v Speaker 3>a body double for it. Yeah, straightened hair, she's so funny,

0:48:52.520 --> 0:48:55.799
<v Speaker 3>she was, she's so funny. It's it's yeah, they've done

0:48:56.840 --> 0:48:58.840
<v Speaker 3>Cameron Diaz was in Being John Malkovic, and that was

0:49:00.200 --> 0:49:02.319
<v Speaker 3>but there's no it's interesting because there's there's no.

0:49:04.080 --> 0:49:04.640
<v Speaker 1>I watched that.

0:49:04.760 --> 0:49:06.399
<v Speaker 3>They don't conclude it. They don't.

0:49:06.480 --> 0:49:10.760
<v Speaker 9>They don't conclude it saying that there was an affair

0:49:10.840 --> 0:49:11.480
<v Speaker 9>or anything going on.

0:49:11.719 --> 0:49:15.400
<v Speaker 1>It's just that they are. It's for me, it's and

0:49:15.480 --> 0:49:17.759
<v Speaker 1>I have no idea, and we don't need to even

0:49:17.800 --> 0:49:20.479
<v Speaker 1>go down the path of trying to guess if something

0:49:20.680 --> 0:49:23.040
<v Speaker 1>had happened but in real life. But yeah, the fact

0:49:23.160 --> 0:49:27.319
<v Speaker 1>is in the movie, it's just that he is going

0:49:27.360 --> 0:49:30.680
<v Speaker 1>into this world and and and and getting seduced by

0:49:30.800 --> 0:49:33.440
<v Speaker 1>this world, and she's not as seduced by it. Now

0:49:33.520 --> 0:49:35.799
<v Speaker 1>she's in her own kind of no headspace.

0:49:35.920 --> 0:49:38.720
<v Speaker 3>Yeah, well she she was going to say she's lost,

0:49:38.760 --> 0:49:43.160
<v Speaker 3>and then I was like, she's lost. Beautiful. I think

0:49:43.680 --> 0:49:45.719
<v Speaker 3>for me that was one of the more impressive things

0:49:45.719 --> 0:49:48.400
<v Speaker 3>about the movie if you think about I mean just

0:49:48.880 --> 0:49:52.920
<v Speaker 3>severe Gopplo as a person at that time. Is her

0:49:53.160 --> 0:49:58.440
<v Speaker 3>willingness to leave things open. Yeah, yes, like that takes

0:49:58.880 --> 0:50:03.680
<v Speaker 3>alles that and maturity. Like people aren't writing those sorts

0:50:03.680 --> 0:50:07.720
<v Speaker 3>of endings for you know, often much later in their careers.

0:50:07.800 --> 0:50:10.160
<v Speaker 3>Like I mean, if you're young and you're writing anything,

0:50:10.239 --> 0:50:13.640
<v Speaker 3>you're always looking for I don't know, it's just just

0:50:13.760 --> 0:50:16.239
<v Speaker 3>comes with being a young writer. You want to you

0:50:16.280 --> 0:50:17.680
<v Speaker 3>want to hit them over the head with a message

0:50:17.680 --> 0:50:18.960
<v Speaker 3>you want to go like, this is what I'm trying

0:50:19.000 --> 0:50:20.719
<v Speaker 3>to say here, and this is why this happens. And

0:50:20.840 --> 0:50:23.799
<v Speaker 3>you know that's just that's just a young person's movie

0:50:23.920 --> 0:50:27.280
<v Speaker 3>or a young person's script. But and there's probably five

0:50:27.520 --> 0:50:30.800
<v Speaker 3>or six loose ends at the end of that movie

0:50:31.280 --> 0:50:34.400
<v Speaker 3>where you just she just goes, I don't know, just

0:50:34.520 --> 0:50:37.439
<v Speaker 3>figure it out. And that's what makes it so good.

0:50:37.800 --> 0:50:42.040
<v Speaker 1>Yeah, Yeah, it just washes this. Maybe this washes over you. Yeah,

0:50:42.920 --> 0:50:45.319
<v Speaker 1>And there's a lot to think about, Like I guess

0:50:45.360 --> 0:50:48.000
<v Speaker 1>there is. There is judgment on on on the Anafaris

0:50:48.080 --> 0:50:49.200
<v Speaker 1>kind of character, you do, kind of.

0:50:49.400 --> 0:50:51.799
<v Speaker 3>She's made to look like a dickhead. Yes, the same

0:50:51.840 --> 0:50:53.480
<v Speaker 3>with her. She's doing the karaoke in the bar at

0:50:53.520 --> 0:50:56.480
<v Speaker 3>the end and they just openly laugh at her and

0:50:56.560 --> 0:50:57.279
<v Speaker 3>then run away.

0:50:57.360 --> 0:51:01.280
<v Speaker 5>It's like it is And the press comments is hilarious,

0:51:01.400 --> 0:51:01.560
<v Speaker 5>you know.

0:51:01.920 --> 0:51:06.400
<v Speaker 3>The press. We're both into.

0:51:10.600 --> 0:51:10.879
<v Speaker 5>The way.

0:51:11.000 --> 0:51:12.440
<v Speaker 3>I've got two dogs too.

0:51:14.160 --> 0:51:16.919
<v Speaker 1>I do you want to talk about the opening shot

0:51:17.000 --> 0:51:21.040
<v Speaker 1>of the film, which has drawn a lot of comment

0:51:21.600 --> 0:51:24.120
<v Speaker 1>over the years. The very first thing you see in

0:51:24.239 --> 0:51:29.480
<v Speaker 1>this film is Charlotte. You're handsome, lying down wearing almost

0:51:29.600 --> 0:51:35.759
<v Speaker 1>like sheard underwear see through. Yeah, and that's it's an

0:51:35.840 --> 0:51:39.520
<v Speaker 1>arresting image. There's no doubt. There is no doubt about it.

0:51:40.760 --> 0:51:43.200
<v Speaker 1>So a couple of has just said that she reminded

0:51:43.200 --> 0:51:45.879
<v Speaker 1>her of a painting she spake her skull your hands

0:51:45.920 --> 0:51:48.360
<v Speaker 1>and about it, Scully, you're handsome, you know, had to

0:51:48.400 --> 0:51:49.440
<v Speaker 1>be convinced.

0:51:49.160 --> 0:51:52.840
<v Speaker 3>That it was because she was forgetting that.

0:51:53.120 --> 0:51:58.640
<v Speaker 1>Yeah, yeah, I think And I'm not sure if it's

0:51:58.719 --> 0:52:01.279
<v Speaker 1>you know, talking about the male lens and the male

0:52:01.520 --> 0:52:05.879
<v Speaker 1>male gay, Yeah, for sure, you know, but I think

0:52:06.880 --> 0:52:09.200
<v Speaker 1>I think part of it is the more I think

0:52:09.239 --> 0:52:12.800
<v Speaker 1>about it, they just questioned a whole way through the film,

0:52:12.800 --> 0:52:16.239
<v Speaker 1>which is actually we will continue the discussion about what

0:52:16.440 --> 0:52:19.400
<v Speaker 1>this movie is about. Isn't about sex or is it

0:52:19.560 --> 0:52:21.759
<v Speaker 1>about friendship? Or is it about something else? And I

0:52:21.880 --> 0:52:24.399
<v Speaker 1>think by starting with that image, it kind of puts

0:52:24.440 --> 0:52:27.759
<v Speaker 1>a little expectation, Oh maybe this is about sex, you know,

0:52:28.640 --> 0:52:31.600
<v Speaker 1>and because up and right at the end without jumping

0:52:31.640 --> 0:52:33.880
<v Speaker 1>to the end of it, but when he's walking towards her,

0:52:34.040 --> 0:52:36.520
<v Speaker 1>the big question you're kind of asking is are they gonna.

0:52:36.400 --> 0:52:37.200
<v Speaker 3>Are they gonna hook up?

0:52:37.480 --> 0:52:40.400
<v Speaker 1>The hook up and and that kind of maybe the

0:52:40.520 --> 0:52:45.920
<v Speaker 1>sets that seed in the very first shot, that's one

0:52:45.960 --> 0:52:49.040
<v Speaker 1>of the things, yes, you know angles, but it's.

0:52:50.160 --> 0:52:52.959
<v Speaker 3>We actually had a moment. So I mean it sounds

0:52:52.960 --> 0:52:54.200
<v Speaker 3>like Sam and I are talking all the way through

0:52:54.200 --> 0:52:56.160
<v Speaker 3>the movie. We're not. But I think it's I think

0:52:56.160 --> 0:52:59.120
<v Speaker 3>it's a sign of a really good film where you

0:52:59.600 --> 0:53:04.440
<v Speaker 3>can both feel something without it being said, like what

0:53:04.480 --> 0:53:06.360
<v Speaker 3>I said about on Sunde, and you can feel it

0:53:06.480 --> 0:53:10.080
<v Speaker 3>on the other person, and I, you know, to give

0:53:10.080 --> 0:53:11.839
<v Speaker 3>you you watching it home or no, you're watching the movies,

0:53:11.840 --> 0:53:13.360
<v Speaker 3>you can feel it. You know, you can both you

0:53:13.480 --> 0:53:15.880
<v Speaker 3>both just breathe a little bit less, you know. And

0:53:16.560 --> 0:53:18.640
<v Speaker 3>I think when they went out they had that great

0:53:18.760 --> 0:53:22.239
<v Speaker 3>night which just looked like so much fun. Yes, and

0:53:22.680 --> 0:53:25.280
<v Speaker 3>it you know, this for me is the great tension

0:53:25.320 --> 0:53:27.040
<v Speaker 3>of the movie. And I think that this is why,

0:53:27.400 --> 0:53:29.400
<v Speaker 3>you know, I would almost go so far as to

0:53:29.400 --> 0:53:31.799
<v Speaker 3>say that it's a masterpiece, because I just don't think

0:53:32.640 --> 0:53:35.040
<v Speaker 3>that you can get and it comes down to the performances,

0:53:35.080 --> 0:53:38.000
<v Speaker 3>of course, but I think that with minimal dialogue, with

0:53:38.960 --> 0:53:41.320
<v Speaker 3>shots of Tokyo which had look like they're done in

0:53:41.360 --> 0:53:43.880
<v Speaker 3>a camquarder with a fifty two year old and a

0:53:43.920 --> 0:53:46.600
<v Speaker 3>seventeen year old, the fact that she manages to put

0:53:46.640 --> 0:53:50.239
<v Speaker 3>you in a place of permanent ambiguity for that long

0:53:51.400 --> 0:53:56.880
<v Speaker 3>without thinking it's cheesy or trite or too ambiguous or

0:53:56.960 --> 0:54:01.200
<v Speaker 3>deliberately ambiguous. Is the great feet of the film and

0:54:01.960 --> 0:54:03.839
<v Speaker 3>the bit where they go out they have that huge

0:54:03.920 --> 0:54:06.960
<v Speaker 3>karaoke night. They get home. He carries her home, he

0:54:07.000 --> 0:54:08.719
<v Speaker 3>puts her in a bed, he folds the blanket over

0:54:08.760 --> 0:54:11.319
<v Speaker 3>the top of her, and he's just looking at her

0:54:12.080 --> 0:54:13.920
<v Speaker 3>and he puts a hand on it, and all he

0:54:13.960 --> 0:54:17.000
<v Speaker 3>does he puts his hand on his shoulder. And I

0:54:17.080 --> 0:54:19.160
<v Speaker 3>said to Sam in that moment, I said, I really

0:54:19.320 --> 0:54:23.840
<v Speaker 3>hope they don't hook up. I really hope they don't

0:54:24.080 --> 0:54:27.960
<v Speaker 3>because this is beautiful. What the fact that this is

0:54:28.040 --> 0:54:35.000
<v Speaker 3>about two lost people finding companionship and they haven't entered

0:54:35.040 --> 0:54:40.120
<v Speaker 3>the sex conversation is brilliant, Like if this is the movie,

0:54:40.880 --> 0:54:44.080
<v Speaker 3>I am so happy with the fact that they haven't

0:54:44.120 --> 0:54:47.799
<v Speaker 3>gone there. I love that about it. And maybe that's

0:54:47.840 --> 0:54:50.080
<v Speaker 3>what I loved most about Bill Murray at that point

0:54:50.160 --> 0:54:52.919
<v Speaker 3>in that movie was I was like, thank god, there's

0:54:53.320 --> 0:54:55.239
<v Speaker 3>a fifty two year old guy. And maybe it ties

0:54:55.280 --> 0:54:56.960
<v Speaker 3>in with what you were saying before about the opening shot.

0:54:57.000 --> 0:54:59.319
<v Speaker 3>It's like, hey, look, here's a really attractive young woman

0:54:59.520 --> 0:55:01.640
<v Speaker 3>that's what they've gone for in the opening shot. I mean,

0:55:01.840 --> 0:55:05.400
<v Speaker 3>all bit, we don't know she's seventeen. So there's this

0:55:05.600 --> 0:55:07.200
<v Speaker 3>opening shot with her, and he goes, she's really attractive,

0:55:07.239 --> 0:55:09.759
<v Speaker 3>and then you've got Bill Murray, who's yeah, washed up

0:55:09.800 --> 0:55:14.040
<v Speaker 3>movies start and this in any modern context, if a

0:55:14.120 --> 0:55:17.120
<v Speaker 3>young woman is showing interest in a film style like that,

0:55:17.719 --> 0:55:19.600
<v Speaker 3>the sad part is that he's probably going to think

0:55:19.600 --> 0:55:21.160
<v Speaker 3>at some stage that she's hitting on him and he's

0:55:21.160 --> 0:55:23.160
<v Speaker 3>going to have a crack, right like that's that's the

0:55:23.280 --> 0:55:26.040
<v Speaker 3>sad reality of that situation. That's the grooming bit. But

0:55:26.160 --> 0:55:28.800
<v Speaker 3>he doesn't no, and you and you're just so on

0:55:28.920 --> 0:55:29.480
<v Speaker 3>board with that.

0:55:29.760 --> 0:55:31.239
<v Speaker 1>Yeah, I don't think. I don't think he's ever comes

0:55:31.239 --> 0:55:35.200
<v Speaker 1>across as predatory at all. In fact, he's gentle with her,

0:55:35.280 --> 0:55:38.120
<v Speaker 1>even when he leaves the hotel on the doors locked it.

0:55:38.440 --> 0:55:41.600
<v Speaker 5>These little touches yes that are in there, Yes that

0:55:42.800 --> 0:55:43.359
<v Speaker 5>I think help.

0:55:43.560 --> 0:55:45.160
<v Speaker 3>This is the bit that made it sad for me

0:55:45.360 --> 0:55:48.560
<v Speaker 3>is when you talk about that lunch. Right, So we're good,

0:55:48.600 --> 0:55:51.080
<v Speaker 3>we're good, we're good, we're good, just looking after each other,

0:55:51.360 --> 0:55:53.560
<v Speaker 3>you know. Is that flirting? No, that's cool, it's cool,

0:55:53.560 --> 0:55:55.839
<v Speaker 3>it's cool. Oh you know you know, after that scene,

0:55:55.840 --> 0:55:58.000
<v Speaker 3>he calls his wife and then he sleeps with another woman. Right,

0:55:58.239 --> 0:56:00.480
<v Speaker 3>so he's like he makes the decision when he puts

0:56:00.480 --> 0:56:03.799
<v Speaker 3>it to bed that night, this is really great. I'm

0:56:03.880 --> 0:56:06.719
<v Speaker 3>not going to fuck this up. Yeah, you can see

0:56:06.719 --> 0:56:08.200
<v Speaker 3>it in him like that. That's that's why he goes

0:56:08.239 --> 0:56:11.360
<v Speaker 3>and calls his family and then they go out for

0:56:11.400 --> 0:56:14.040
<v Speaker 3>this lunch. The first thing she says is well, at

0:56:14.120 --> 0:56:17.279
<v Speaker 3>least she's I suppose closer to your age and you

0:56:17.480 --> 0:56:22.640
<v Speaker 3>just like I groaned audibly. I was like, no, don't

0:56:22.840 --> 0:56:26.000
<v Speaker 3>don't give him that. He doesn't stand a chance now,

0:56:26.200 --> 0:56:30.600
<v Speaker 3>Like he's trying so hard, you know, And and not

0:56:31.040 --> 0:56:34.719
<v Speaker 3>not in a sense of the provocation or anything like that.

0:56:34.840 --> 0:56:36.239
<v Speaker 3>It's not. I don't think it's about that. I think

0:56:36.239 --> 0:56:38.839
<v Speaker 3>it's just like I think he decided in his head,

0:56:39.160 --> 0:56:41.839
<v Speaker 3>I'm not going to fuck this up by making a play.

0:56:42.320 --> 0:56:45.839
<v Speaker 3>And then she made a play, and I'm just like, ah.

0:56:46.680 --> 0:56:49.879
<v Speaker 1>The fact that people still talk about this film, yeah,

0:56:50.080 --> 0:56:52.640
<v Speaker 1>and you can watch it again and as I do,

0:56:52.800 --> 0:56:55.120
<v Speaker 1>and my mind changes each time, Like when I watched

0:56:55.120 --> 0:56:57.760
<v Speaker 1>it this week, is that right? I just kept watching

0:56:58.320 --> 0:57:01.440
<v Speaker 1>all the little touches, Yeah, all the like physical all

0:57:01.480 --> 0:57:04.040
<v Speaker 1>the times that they when they were holding hands in

0:57:04.120 --> 0:57:06.920
<v Speaker 1>the lift. There's the left where they've come home for

0:57:07.000 --> 0:57:09.400
<v Speaker 1>a night and they give each other a kiss on

0:57:09.480 --> 0:57:11.520
<v Speaker 1>the cheek because it's almost on the lip.

0:57:11.719 --> 0:57:15.640
<v Speaker 5>Yes, yes, and Charlotte almost yes, it is almost the

0:57:15.680 --> 0:57:16.440
<v Speaker 5>one almost.

0:57:16.280 --> 0:57:19.520
<v Speaker 3>Yeah yeah yeah yeah yeah yeah yeah yeah.

0:57:19.960 --> 0:57:22.360
<v Speaker 5>And then because they've taken the time to do that,

0:57:23.080 --> 0:57:23.880
<v Speaker 5>they missed the stop.

0:57:24.000 --> 0:57:28.760
<v Speaker 1>Yes, and they do it again yeah and yeah yeah yeah.

0:57:28.840 --> 0:57:31.640
<v Speaker 1>That felt like wow. And then there's a scene where

0:57:31.680 --> 0:57:34.480
<v Speaker 1>they're to get back to your point about one of

0:57:34.520 --> 0:57:36.760
<v Speaker 1>the hook up they hook up. This movie falls apart

0:57:37.840 --> 0:57:42.000
<v Speaker 1>because I think it's it's a unique, fascinating film that

0:57:42.120 --> 0:57:45.280
<v Speaker 1>lives in this space of ambiguity. Like you said that

0:57:45.600 --> 0:57:49.480
<v Speaker 1>that is so rewarding and the kid asking questions. Yes,

0:57:50.480 --> 0:57:53.600
<v Speaker 1>what makes this time special between them is there is

0:57:53.960 --> 0:57:56.080
<v Speaker 1>some cheating going on here when it's not sexual, but

0:57:56.560 --> 0:58:00.200
<v Speaker 1>there's an emotional definitely transactions going on that he's not

0:58:00.240 --> 0:58:02.520
<v Speaker 1>going to tell his wife exactly he laid on the bed,

0:58:03.040 --> 0:58:06.360
<v Speaker 1>you know, Yes, five year old, she's not going to

0:58:06.400 --> 0:58:08.320
<v Speaker 1>tell her husband that. You know, she did the same

0:58:08.360 --> 0:58:10.120
<v Speaker 1>thing with the fifty two year old. Yes, you know

0:58:10.200 --> 0:58:12.520
<v Speaker 1>that's a cheat. You know, I feel friend told you

0:58:12.640 --> 0:58:14.440
<v Speaker 1>that you'd a bit concerned to be like, hang on,

0:58:14.880 --> 0:58:16.640
<v Speaker 1>well that's going to be not cool.

0:58:16.720 --> 0:58:17.360
<v Speaker 3>Yeah, yeah, yeah.

0:58:17.560 --> 0:58:19.640
<v Speaker 1>Great thing about cinema, yeah, is we can come in

0:58:19.680 --> 0:58:21.480
<v Speaker 1>and have this kind of more holistic, kind of like

0:58:21.840 --> 0:58:24.600
<v Speaker 1>view of the world and we can hear yeah, and

0:58:24.720 --> 0:58:27.120
<v Speaker 1>we can see that they're both in weird they actually

0:58:27.160 --> 0:58:28.240
<v Speaker 1>need each other during.

0:58:28.120 --> 0:58:31.360
<v Speaker 3>This need each other. That's it, well said, he's.

0:58:31.200 --> 0:58:34.000
<v Speaker 1>Going through a midlife Christ like an earlier life Christ.

0:58:34.080 --> 0:58:35.080
<v Speaker 3>Ye Christ.

0:58:35.320 --> 0:58:37.680
<v Speaker 1>Yeah, and they kind of just need each other at

0:58:37.720 --> 0:58:42.520
<v Speaker 1>this point and that makes it, I think, really special.

0:58:42.560 --> 0:58:46.120
<v Speaker 1>And we hear it's funny that the phone calls to

0:58:46.240 --> 0:58:49.200
<v Speaker 1>home and you know, I'm sure you'll you'll be well

0:58:49.520 --> 0:58:52.320
<v Speaker 1>away and working and you know, we we live in

0:58:52.360 --> 0:58:54.640
<v Speaker 1>a fun little world where we get to hang out

0:58:54.680 --> 0:58:57.720
<v Speaker 1>with other adults sometimes and travel.

0:58:58.040 --> 0:58:58.240
<v Speaker 10>Yeah.

0:58:58.320 --> 0:59:00.600
<v Speaker 5>Yeah, sometimes you call home and those yeah.

0:59:00.520 --> 0:59:02.920
<v Speaker 1>I remember, particular when the kids are young, the tricky

0:59:03.000 --> 0:59:05.640
<v Speaker 1>phone calls that labrigate because how much how much do

0:59:05.720 --> 0:59:08.680
<v Speaker 1>you want to let them know that you know, you're

0:59:08.680 --> 0:59:10.920
<v Speaker 1>having a pretty fun time, Like you don't want to

0:59:10.920 --> 0:59:13.320
<v Speaker 1>go away and have a bad time. You don't want

0:59:13.320 --> 0:59:17.000
<v Speaker 1>to make you know, being hotel rooms depressing. Yeah, so

0:59:17.600 --> 0:59:19.080
<v Speaker 1>you know, you don't want to hide too much, but

0:59:19.120 --> 0:59:21.480
<v Speaker 1>you don't want to shove it in their faces. When

0:59:21.520 --> 0:59:25.640
<v Speaker 1>you hear the kids in the background exactly, he's he

0:59:25.720 --> 0:59:27.320
<v Speaker 1>wants to kind of connect you to kind of like

0:59:27.880 --> 0:59:29.160
<v Speaker 1>he's talk about the music that he.

0:59:30.640 --> 0:59:32.040
<v Speaker 5>I'm going to find out. I'm going to bring something

0:59:32.040 --> 0:59:32.440
<v Speaker 5>back for you.

0:59:32.520 --> 0:59:40.000
<v Speaker 1>Yeah, and he's why and the burgundy, and the wife

0:59:40.160 --> 0:59:42.160
<v Speaker 1>is like, I think there's one way you can you know,

0:59:42.280 --> 0:59:45.600
<v Speaker 1>the wife does come across as a bit kind of sturdy,

0:59:45.720 --> 0:59:47.960
<v Speaker 1>but yeah, at the same time, it's dirty if you

0:59:48.040 --> 0:59:48.560
<v Speaker 1>think about it.

0:59:48.680 --> 0:59:52.760
<v Speaker 5>Beautiful word, well, if you think about it, like she's running.

0:59:52.480 --> 0:59:55.240
<v Speaker 3>A hat that is, and he's over there making money,

0:59:55.560 --> 0:59:56.120
<v Speaker 3>he's having.

0:59:56.400 --> 1:00:01.360
<v Speaker 5>Been drinking, you know, doing karaoke and you know, experiencing.

1:00:00.880 --> 1:00:04.000
<v Speaker 3>There's a line. There's a line I think. I mean,

1:00:04.040 --> 1:00:05.520
<v Speaker 3>I don't know whether this is just Bill Murray, but

1:00:05.560 --> 1:00:07.240
<v Speaker 3>that bit where he's in the bath and he calls

1:00:07.280 --> 1:00:13.200
<v Speaker 3>her and and what does she say is she's like, he.

1:00:13.240 --> 1:00:15.680
<v Speaker 1>Says, I want I want to start eating Japanese food that's.

1:00:15.600 --> 1:00:17.920
<v Speaker 3>Right every day and yeah, I want to get my

1:00:17.920 --> 1:00:19.080
<v Speaker 3>ship together. I want to be healthy.

1:00:19.520 --> 1:00:21.520
<v Speaker 1>Yeah. And if you love it so much, want to

1:00:21.920 --> 1:00:25.400
<v Speaker 1>stay there forever. But it's not it's not said out

1:00:25.440 --> 1:00:27.600
<v Speaker 1>of anger. I think it's it's kind of set out

1:00:27.640 --> 1:00:29.080
<v Speaker 1>of annoyance.

1:00:29.120 --> 1:00:33.240
<v Speaker 3>It's like or whatever, mate, like you're in Japan, I'm

1:00:33.320 --> 1:00:36.760
<v Speaker 3>here screaming in the background. Yeah that's so true.

1:00:36.840 --> 1:00:39.640
<v Speaker 1>Yeah, I think I think there's a way you can

1:00:39.720 --> 1:00:42.760
<v Speaker 1>be really judgey on. I think lidiar. I think is

1:00:42.960 --> 1:00:43.600
<v Speaker 1>the yes.

1:00:43.760 --> 1:00:47.840
<v Speaker 5>Yes, I think if you imagine from her point of view, what.

1:00:47.880 --> 1:00:48.840
<v Speaker 3>Are you complaining about?

1:00:49.320 --> 1:00:50.120
<v Speaker 1>Yeah, I have that.

1:00:50.200 --> 1:00:52.240
<v Speaker 3>I have that conversation with Sam all the time, like

1:00:52.880 --> 1:00:55.080
<v Speaker 3>I'm just you know, I'm like, oh, it's really tough,

1:00:55.120 --> 1:00:59.560
<v Speaker 3>and she's like shut up, like shut up, like you

1:00:59.680 --> 1:01:01.760
<v Speaker 3>were just you know what. Our jobs can feel like

1:01:01.960 --> 1:01:04.680
<v Speaker 3>you were here, you were there, you were staying there,

1:01:04.920 --> 1:01:08.520
<v Speaker 3>you had dinner with them, Like shut up, like whatever.

1:01:09.000 --> 1:01:12.640
<v Speaker 1>It is hard enough when you're just you know, away,

1:01:13.120 --> 1:01:15.440
<v Speaker 1>and put a time zone on that in a different

1:01:15.480 --> 1:01:18.280
<v Speaker 1>time when he's drunk, she's fixing breakfast.

1:01:18.440 --> 1:01:21.600
<v Speaker 3>It's just it's it's a good commentary. And maybe I

1:01:21.680 --> 1:01:24.480
<v Speaker 3>was actually thinking about you watching this because you know,

1:01:24.920 --> 1:01:28.600
<v Speaker 3>I feel as if it's like she's obviously Seville Cobble

1:01:28.680 --> 1:01:31.000
<v Speaker 3>was in you know, entertainment. She spending the entertainment her

1:01:31.000 --> 1:01:34.360
<v Speaker 3>whole life obviously with her dad, and it just felt

1:01:34.520 --> 1:01:37.400
<v Speaker 3>like a commentary in general on because he's a film star,

1:01:37.720 --> 1:01:40.560
<v Speaker 3>Yeah right, and just it felt like there's a really

1:01:40.600 --> 1:01:43.640
<v Speaker 3>interesting commentary on the fact that because he obviously doesn't

1:01:43.760 --> 1:01:46.040
<v Speaker 3>like what he does, like he's you know, it's been

1:01:46.080 --> 1:01:48.080
<v Speaker 3>ages since you made him. You know, there's an initial

1:01:48.080 --> 1:01:49.480
<v Speaker 3>conversation with the kids with him in the bar and

1:01:49.560 --> 1:01:51.040
<v Speaker 3>they're like, oh, did you do your own stunts? And

1:01:51.080 --> 1:01:52.680
<v Speaker 3>he's like, yeah, I did, and then he walks off.

1:01:53.440 --> 1:01:58.680
<v Speaker 3>He hates it, and he's there completely bereft, clearly only

1:01:58.720 --> 1:01:59.400
<v Speaker 3>there for the money.

1:02:00.120 --> 1:02:00.760
<v Speaker 5>That's it, is it.

1:02:01.160 --> 1:02:03.800
<v Speaker 3>He's only there for the money. He's doing the cheesiest

1:02:04.080 --> 1:02:07.520
<v Speaker 3>ad of all time, and he's searching for something that

1:02:07.720 --> 1:02:11.840
<v Speaker 3>he's he's just not getting. There's clearly a lack of

1:02:11.880 --> 1:02:14.280
<v Speaker 3>connection in terms of who he is. And you know,

1:02:14.320 --> 1:02:16.640
<v Speaker 3>there's all these funny shots of him playing golf and

1:02:16.720 --> 1:02:19.680
<v Speaker 3>him on a you know, the cross trainer, as you mentioned,

1:02:19.720 --> 1:02:24.200
<v Speaker 3>like is constant search for who you are. And I

1:02:24.280 --> 1:02:26.680
<v Speaker 3>mean this is going to sound potentially kind of controversial,

1:02:26.800 --> 1:02:29.840
<v Speaker 3>but that for me was what they what he found

1:02:29.920 --> 1:02:34.240
<v Speaker 3>in her was he found the connection that he was

1:02:34.320 --> 1:02:39.040
<v Speaker 3>looking for this whole time, which and it's funny he

1:02:39.080 --> 1:02:41.680
<v Speaker 3>has that. He has that speech you know at the

1:02:41.760 --> 1:02:44.040
<v Speaker 3>end where you know the famous line about kids and

1:02:44.200 --> 1:02:45.600
<v Speaker 3>you know, the most terrifying daut of your life. But

1:02:45.800 --> 1:02:47.560
<v Speaker 3>the line from me which is most memorable for that

1:02:47.720 --> 1:02:49.720
<v Speaker 3>is she's like, does it get easier? And he's like,

1:02:49.800 --> 1:02:52.160
<v Speaker 3>you know, you well, once you get older, you kind

1:02:52.160 --> 1:02:54.040
<v Speaker 3>of you figure out more of what you want and

1:02:54.080 --> 1:02:56.040
<v Speaker 3>then you stop. Then you know who you are and

1:02:56.280 --> 1:02:57.640
<v Speaker 3>you know you know what you want, and then you

1:02:57.680 --> 1:03:00.960
<v Speaker 3>stop worrying about things as much. Let's you've got it.

1:03:02.000 --> 1:03:04.400
<v Speaker 1>Let's I've got these in two parts, because they almost

1:03:04.480 --> 1:03:07.960
<v Speaker 1>cover her off and then they cover from his perspective,

1:03:08.480 --> 1:03:10.880
<v Speaker 1>this is as close as they get to her betrayal.

1:03:11.160 --> 1:03:14.400
<v Speaker 1>I think lying in a bed, you know, hotel bed

1:03:14.880 --> 1:03:16.280
<v Speaker 1>with it, you know, like you actually put it in

1:03:16.360 --> 1:03:21.120
<v Speaker 1>your own you know, like life, it's there's no denying

1:03:21.160 --> 1:03:23.480
<v Speaker 1>it to betrayal. Like I said, were coming with in

1:03:23.600 --> 1:03:25.920
<v Speaker 1>cinematic great thing that films, we can kind of see

1:03:26.000 --> 1:03:28.200
<v Speaker 1>they do need each other. She needs as much as

1:03:28.240 --> 1:03:30.360
<v Speaker 1>he does. Because one of the saddest moments in the

1:03:30.400 --> 1:03:32.760
<v Speaker 1>film is when she calls she calls a friend back home,

1:03:33.600 --> 1:03:36.560
<v Speaker 1>and she's clearly upset. She says, I went and saw

1:03:36.640 --> 1:03:38.720
<v Speaker 1>some monks. They were chanting, and I felt nothing. And

1:03:38.840 --> 1:03:42.040
<v Speaker 1>now my husband is using hair products, new hair. Brother

1:03:42.120 --> 1:03:44.720
<v Speaker 1>don't know I'm married. She's clearly upset, and her friend

1:03:44.760 --> 1:03:49.760
<v Speaker 1>does not give a fuck so bad. Yeah, have fun,

1:03:49.960 --> 1:03:54.320
<v Speaker 1>you know, not listen. I suspect she doesn't have a

1:03:54.440 --> 1:03:55.760
<v Speaker 1>large friendship grip anyway.

1:03:56.440 --> 1:03:58.720
<v Speaker 3>So then and and and she finds in him like

1:03:58.840 --> 1:04:00.720
<v Speaker 3>he forgets like I feel like a lot of this

1:04:00.800 --> 1:04:04.680
<v Speaker 3>film is about like just forgiving another person for who

1:04:04.880 --> 1:04:08.280
<v Speaker 3>and what they are, because they both in their relationships

1:04:08.720 --> 1:04:11.240
<v Speaker 3>don't get forgiven by their partners for being who they are.

1:04:11.520 --> 1:04:14.720
<v Speaker 3>She says to him, what's his name? Thinks I'm snotty

1:04:15.400 --> 1:04:18.560
<v Speaker 3>And he obviously there's no understanding from his partner as

1:04:18.560 --> 1:04:21.000
<v Speaker 3>to what he is either, and probably because he doesn't

1:04:21.000 --> 1:04:22.440
<v Speaker 3>be like you can tell her whatever it is. But

1:04:22.520 --> 1:04:24.520
<v Speaker 3>they find each other, and you know, the first time

1:04:24.560 --> 1:04:27.000
<v Speaker 3>he walks into her apartment, he goes, my bathroom's messy

1:04:27.040 --> 1:04:29.080
<v Speaker 3>with the yours, and then he goes and grabs the

1:04:29.800 --> 1:04:32.720
<v Speaker 3>soul Searching CD. And whether or not he's got that

1:04:32.800 --> 1:04:34.600
<v Speaker 3>CD or not, I'm going to say he probably doesn't.

1:04:34.840 --> 1:04:36.840
<v Speaker 3>He goes, who's is this and she says, I don't know,

1:04:37.000 --> 1:04:39.640
<v Speaker 3>and he's like, oh, okay, that's clearly yours. So to

1:04:39.720 --> 1:04:41.840
<v Speaker 3>make you feel better, I've got that too.

1:04:42.200 --> 1:04:42.439
<v Speaker 1>Yeah.

1:04:42.600 --> 1:04:45.320
<v Speaker 3>So I just it's funny that you can have a

1:04:45.400 --> 1:04:47.800
<v Speaker 3>relationship with this person that you're destined to be with

1:04:47.960 --> 1:04:50.120
<v Speaker 3>and think that this is it and everything, but then

1:04:50.160 --> 1:04:52.120
<v Speaker 3>as soon as you meet someone outside of that who

1:04:52.200 --> 1:04:56.480
<v Speaker 3>forgives you for who you are, that's that's what the

1:04:56.640 --> 1:04:57.600
<v Speaker 3>relationship should be.

1:04:57.920 --> 1:05:02.040
<v Speaker 1>Well, I think this movie is this relationship is not

1:05:02.320 --> 1:05:05.120
<v Speaker 1>necessarily a romance or a friendship, but it's something more.

1:05:05.160 --> 1:05:08.400
<v Speaker 1>I think what it is is that these two people

1:05:09.600 --> 1:05:12.680
<v Speaker 1>have met each other, had this deep connection, but they

1:05:12.840 --> 1:05:15.720
<v Speaker 1>know nothing can happen, not just because they're both married,

1:05:15.760 --> 1:05:19.360
<v Speaker 1>it's just and the ages, it's just it's almost like

1:05:19.400 --> 1:05:23.800
<v Speaker 1>a past lives. It's almost like these two people it's

1:05:23.840 --> 1:05:26.760
<v Speaker 1>almost what they knew each other in the past. Yeah,

1:05:27.480 --> 1:05:30.520
<v Speaker 1>and then they can't quite Have you seen that Past Lives?

1:05:30.560 --> 1:05:31.800
<v Speaker 1>I fucking obsessed with that movie.

1:05:31.880 --> 1:05:35.400
<v Speaker 3>Unbelievable, It's so unbelievable. Yeah, yeah, that was so good.

1:05:35.600 --> 1:05:38.960
<v Speaker 3>Similar ending as well, Yes, right, in terms of this,

1:05:39.240 --> 1:05:41.440
<v Speaker 3>like Hey, what is it?

1:05:41.560 --> 1:05:41.600
<v Speaker 12>What?

1:05:41.840 --> 1:05:42.800
<v Speaker 3>What the hell was that?

1:05:43.400 --> 1:05:45.200
<v Speaker 1>I don't know what to do that you left it

1:05:45.240 --> 1:05:48.920
<v Speaker 1>a bit open and making interesting choices with the other characters,

1:05:49.040 --> 1:05:50.960
<v Speaker 1>like like with the Lydia and and the you know

1:05:51.520 --> 1:05:53.840
<v Speaker 1>where you don't the husband in that movie.

1:05:54.200 --> 1:05:56.840
<v Speaker 5>I love that they didn't I could turn him into.

1:05:58.120 --> 1:06:01.000
<v Speaker 3>So good about it. I've that was I thought that

1:06:01.120 --> 1:06:03.240
<v Speaker 3>was one of the great feats of that movie is

1:06:03.320 --> 1:06:05.720
<v Speaker 3>that it wasn't and and and the other part of

1:06:05.760 --> 1:06:09.600
<v Speaker 3>that movie was that similar to this, although I I

1:06:09.680 --> 1:06:11.800
<v Speaker 3>didn't look my first watch, but I feel like she

1:06:11.960 --> 1:06:14.280
<v Speaker 3>leant down there there was something going on with these

1:06:14.320 --> 1:06:17.760
<v Speaker 3>two because of the kiss. But in Past Lives, what

1:06:17.920 --> 1:06:21.760
<v Speaker 3>I loved about that was that it went the other way. Yeah,

1:06:22.160 --> 1:06:26.400
<v Speaker 3>it was this this is great And I think I

1:06:26.480 --> 1:06:30.680
<v Speaker 3>think that's maturity in love or in life. Is there's

1:06:31.080 --> 1:06:36.320
<v Speaker 3>a difference between swearing yourself to somebody through commitment and

1:06:36.560 --> 1:06:41.120
<v Speaker 3>like knowing what that brings versus if we all just

1:06:42.000 --> 1:06:44.160
<v Speaker 3>hooked up with everyone we had a connection with, like

1:06:44.440 --> 1:06:47.440
<v Speaker 3>what would it mean? Yes, but to be able to

1:06:47.600 --> 1:06:50.480
<v Speaker 3>stand you know, your own ground, like at the end

1:06:50.520 --> 1:06:52.520
<v Speaker 3>of Past Lives and be like, yeah, look cool, there

1:06:52.560 --> 1:06:55.200
<v Speaker 3>was something really beautiful there, but I've made a choice

1:06:55.240 --> 1:06:59.800
<v Speaker 3>here and respect yourself for that. And I thought, that's

1:06:59.840 --> 1:07:01.480
<v Speaker 3>what That's what I loved about Bill Murray for so

1:07:01.600 --> 1:07:04.520
<v Speaker 3>much of this movie is there was this clearly this tension.

1:07:04.880 --> 1:07:09.920
<v Speaker 3>He's a guy, she's smoking hard. There's a connection that

1:07:10.160 --> 1:07:11.720
<v Speaker 3>that for me, it was that was the character study

1:07:11.800 --> 1:07:14.160
<v Speaker 3>for me that that I was most interested in. It

1:07:14.280 --> 1:07:15.840
<v Speaker 3>was like, what are you going to do? And I

1:07:15.880 --> 1:07:17.400
<v Speaker 3>think that's why I like movies, That's why I like

1:07:17.440 --> 1:07:19.520
<v Speaker 3>stories so much. That's why I liked her character so much.

1:07:19.640 --> 1:07:22.800
<v Speaker 3>Is this constantly putting making you as an audience member,

1:07:22.880 --> 1:07:26.560
<v Speaker 3>putting you in the whoever's on the screens shoes going

1:07:26.920 --> 1:07:29.760
<v Speaker 3>what are you doing there? Yeah, that's what you're talking about?

1:07:29.800 --> 1:07:33.040
<v Speaker 3>It is that a betrayal? He touched her foot? The

1:07:33.160 --> 1:07:35.959
<v Speaker 3>touching on her foot is like a bit weird.

1:07:36.280 --> 1:07:40.480
<v Speaker 1>Yeah, but that was for me, like, that's that's getting

1:07:40.480 --> 1:07:43.720
<v Speaker 1>almost too intimate, like that, that is certainly a crossing

1:07:43.760 --> 1:07:44.800
<v Speaker 1>of a of a line.

1:07:44.880 --> 1:07:45.080
<v Speaker 3>Yeah.

1:07:45.920 --> 1:07:48.600
<v Speaker 5>Yeah, not not in a in a kind of oh

1:07:48.760 --> 1:07:49.600
<v Speaker 5>creepy kind of way, but.

1:07:49.600 --> 1:07:53.680
<v Speaker 1>It's that that tells me that he's easy's yeah, yeah,

1:07:53.680 --> 1:07:56.680
<v Speaker 1>they're something there and yeah, and it could be that

1:07:57.280 --> 1:08:00.240
<v Speaker 1>you know, Another version is he tried to kissing, doesn't

1:08:00.240 --> 1:08:02.720
<v Speaker 1>do that, but he feels enough of a connection to

1:08:02.800 --> 1:08:06.280
<v Speaker 1>kind of touch her naked. Yeah, yeah, yeah yeah.

1:08:06.280 --> 1:08:07.880
<v Speaker 3>And it's in Japan, I mean, the home of the king,

1:08:10.720 --> 1:08:12.680
<v Speaker 3>where feet rains the bread or wicked.

1:08:12.480 --> 1:08:15.280
<v Speaker 1>Feet is probably born. I assume, I assume you scut

1:08:15.360 --> 1:08:17.120
<v Speaker 1>your hands and as many photos of her feet on

1:08:17.320 --> 1:08:20.120
<v Speaker 1>Wiki feet. Funnily enough, she she mentions she doesn't know

1:08:20.200 --> 1:08:22.320
<v Speaker 1>what she wants to do, and she tried photography, but

1:08:22.439 --> 1:08:24.280
<v Speaker 1>she yes, right, she took a photo of her own

1:08:24.320 --> 1:08:25.320
<v Speaker 1>feet A couple of.

1:08:25.520 --> 1:08:25.760
<v Speaker 4>To do that.

1:08:25.880 --> 1:08:26.360
<v Speaker 3>You're kidding.

1:08:26.479 --> 1:08:29.320
<v Speaker 1>Yeah, no, there was so much about it that I

1:08:29.439 --> 1:08:31.960
<v Speaker 1>was like, oh, this is yeah. Let's ever listened to

1:08:32.000 --> 1:08:34.240
<v Speaker 1>that conversation on the bed. This is the first half

1:08:34.280 --> 1:08:34.400
<v Speaker 1>of it.

1:08:34.920 --> 1:08:35.759
<v Speaker 12>Does it get easier?

1:08:37.280 --> 1:08:43.240
<v Speaker 4>No, yes, it gets us.

1:08:44.960 --> 1:08:47.120
<v Speaker 12>Oh yeah, at you.

1:08:50.040 --> 1:08:55.600
<v Speaker 4>Thanks. And the more you know who you are and

1:08:55.760 --> 1:09:01.400
<v Speaker 4>what you want, the less you like things upset you.

1:09:04.000 --> 1:09:08.560
<v Speaker 12>Yeah. I just don't know what I'm supposed to be.

1:09:10.439 --> 1:09:10.600
<v Speaker 5>You know.

1:09:12.320 --> 1:09:16.160
<v Speaker 12>I tried being a writer, but I hate what I write.

1:09:16.560 --> 1:09:23.600
<v Speaker 12>And I tried taking pictures, but there's some mediocre you know,

1:09:23.920 --> 1:09:28.280
<v Speaker 12>every girl goes through a photography phase, you know, like

1:09:28.439 --> 1:09:34.160
<v Speaker 12>horses you know, take a dumb pictures of your feet.

1:09:37.080 --> 1:09:41.439
<v Speaker 4>You'll figure that out. And I'm not worried about you

1:09:44.000 --> 1:09:44.599
<v Speaker 4>keep riding.

1:09:50.680 --> 1:09:51.479
<v Speaker 2>I'm so mean.

1:09:52.320 --> 1:09:56.320
<v Speaker 5>Yeah, it's so honest and it's not not flowery, like

1:09:56.479 --> 1:09:56.840
<v Speaker 5>it's just.

1:09:58.840 --> 1:09:59.880
<v Speaker 1>A yeah.

1:10:00.400 --> 1:10:03.120
<v Speaker 3>I also love. The thing that struck me about that

1:10:03.520 --> 1:10:09.599
<v Speaker 3>scene was he's he sits there and goes, the more

1:10:09.800 --> 1:10:13.000
<v Speaker 3>you know what you want, the less that things upset you, right,

1:10:13.800 --> 1:10:17.080
<v Speaker 3>And she goes, I just don't know who I need

1:10:17.160 --> 1:10:23.519
<v Speaker 3>to be. Right. Ironically, for me, she at that point

1:10:23.560 --> 1:10:26.240
<v Speaker 3>of the film is the antithesis of she's really getting

1:10:26.240 --> 1:10:28.519
<v Speaker 3>an understanding of what she wants and it's clearly not

1:10:28.640 --> 1:10:32.800
<v Speaker 3>upsetting her anymore. Yeah, And he has no idea what

1:10:32.880 --> 1:10:33.599
<v Speaker 3>he needs anymore.

1:10:33.920 --> 1:10:34.160
<v Speaker 1>Yeah.

1:10:34.360 --> 1:10:38.160
<v Speaker 3>So they kind of like both describe each other's narrative,

1:10:38.240 --> 1:10:40.400
<v Speaker 3>but he's giving it as advice to her and it's like,

1:10:40.880 --> 1:10:44.000
<v Speaker 3>can you listen to yourself? And she's trying to say

1:10:44.160 --> 1:10:46.800
<v Speaker 3>and she's saying to him, this is who you are, mate,

1:10:46.800 --> 1:10:48.320
<v Speaker 3>You've got no idea who you are. And I thought

1:10:48.360 --> 1:10:51.680
<v Speaker 3>that that, for me was like really genius, and I

1:10:51.720 --> 1:10:55.120
<v Speaker 3>suppose that was the great You know, there's so many

1:10:55.200 --> 1:10:57.680
<v Speaker 3>moments that are lost in translation. There's the director, and

1:10:57.760 --> 1:11:00.360
<v Speaker 3>there's there's him there, there's him at the time, doctors

1:11:00.400 --> 1:11:03.760
<v Speaker 3>waiting room. There's their relationship, there's their relationship with both

1:11:03.800 --> 1:11:06.200
<v Speaker 3>of their partners. There's their relationship they have with the city. Like,

1:11:06.240 --> 1:11:08.360
<v Speaker 3>there's all these things that are lost in translation, But

1:11:08.400 --> 1:11:10.479
<v Speaker 3>the biggest thing he's lost in translation with both of

1:11:10.520 --> 1:11:13.200
<v Speaker 3>them is their relationship they have with themselves. Yeah, they're

1:11:13.280 --> 1:11:17.000
<v Speaker 3>both so out of their depth.

1:11:17.680 --> 1:11:20.600
<v Speaker 1>Yeah, they just don't know what this is, and they

1:11:20.680 --> 1:11:25.200
<v Speaker 1>both know that it can't actually progress really in any

1:11:25.280 --> 1:11:28.439
<v Speaker 1>kind of real way for lots of different reasons. But yeah,

1:11:28.640 --> 1:11:30.439
<v Speaker 1>and yeah, the other way looking at is more of

1:11:30.479 --> 1:11:33.599
<v Speaker 1>a father father daughter sole a relationship. When you listen

1:11:33.640 --> 1:11:35.960
<v Speaker 1>to that, you know, when you take away the image

1:11:36.000 --> 1:11:37.320
<v Speaker 1>of them in the bed and you listen to what

1:11:37.400 --> 1:11:40.120
<v Speaker 1>he's saying when he says, I'm not worried about you. Yeah,

1:11:40.160 --> 1:11:42.120
<v Speaker 1>you're gonna be as a very fatherly thing to say,

1:11:42.320 --> 1:11:44.320
<v Speaker 1>and then that touch in the foot can become a

1:11:44.400 --> 1:11:48.360
<v Speaker 1>bit more you know, Yeah, just everything will be okay. Yeah,

1:11:48.960 --> 1:11:51.080
<v Speaker 1>you know, there's two different ways, a couple different ways

1:11:51.120 --> 1:11:51.560
<v Speaker 1>you can look at it.

1:11:51.760 --> 1:11:53.760
<v Speaker 3>That's it's funny you mentioned their feet thing, because I

1:11:53.840 --> 1:11:56.320
<v Speaker 3>actually hadn't. I forgot about the feet line. But she

1:11:56.439 --> 1:11:59.400
<v Speaker 3>mentions feet and then he touches their foot. Yeah, so

1:11:59.840 --> 1:12:02.080
<v Speaker 3>it's one point.

1:12:06.680 --> 1:12:07.800
<v Speaker 4>We used to have a lot of fun.

1:12:09.320 --> 1:12:12.439
<v Speaker 14>Oliviya would come with me when I made the movies

1:12:12.520 --> 1:12:18.200
<v Speaker 14>and we would laugh about it all. Now she doesn't

1:12:18.200 --> 1:12:20.720
<v Speaker 14>want to leave the kids, and she doesn't.

1:12:23.280 --> 1:12:26.200
<v Speaker 4>Need me to be there.

1:12:26.280 --> 1:12:32.639
<v Speaker 14>The kids miss me, but they're fine, and it gets

1:12:32.680 --> 1:12:34.639
<v Speaker 14>a whole lot more complicated.

1:12:34.720 --> 1:12:35.559
<v Speaker 4>When you have kids.

1:12:36.640 --> 1:12:37.639
<v Speaker 12>Yeah, it's scary.

1:12:41.080 --> 1:12:43.240
<v Speaker 4>It's the most terrifying day of your life, the day

1:12:43.280 --> 1:12:44.280
<v Speaker 4>the first one is born.

1:12:46.800 --> 1:12:47.880
<v Speaker 12>Nobody ever tells you that.

1:12:49.800 --> 1:12:57.599
<v Speaker 4>Your life as you know it is gone now a return.

1:13:00.640 --> 1:13:02.559
<v Speaker 4>But they learn how to walk, and they learn how

1:13:02.600 --> 1:13:03.200
<v Speaker 4>to talk, and.

1:13:05.120 --> 1:13:09.599
<v Speaker 14>And you want to be with them, and they turn

1:13:09.680 --> 1:13:14.439
<v Speaker 14>out to be the most delightful people you will ever

1:13:14.560 --> 1:13:15.519
<v Speaker 14>meet in your life.

1:13:16.000 --> 1:13:18.599
<v Speaker 1>What I love about it, it's not he's obviously going

1:13:18.680 --> 1:13:22.839
<v Speaker 1>through a bit of a malaise, you know, within his marriage,

1:13:23.080 --> 1:13:25.800
<v Speaker 1>But it's not there's a version of this where like

1:13:26.680 --> 1:13:30.639
<v Speaker 1>we keep doing Aboutlydia could have been aggressive or hostile

1:13:30.680 --> 1:13:32.720
<v Speaker 1>towards each other. It's not that. It's just they're just

1:13:32.800 --> 1:13:36.240
<v Speaker 1>in a bit of a funk, you know, and maybe

1:13:36.280 --> 1:13:38.320
<v Speaker 1>he's in more of a funk than sheese or we

1:13:39.000 --> 1:13:41.160
<v Speaker 1>see it more from his sod, but he's not. He's

1:13:41.200 --> 1:13:44.680
<v Speaker 1>not slagging the marriage, you know, and he's recognizing, Yeah,

1:13:45.120 --> 1:13:48.080
<v Speaker 1>it can be working, it can be tough, but there's beauty. Yeah.

1:13:48.800 --> 1:13:51.280
<v Speaker 3>Yeah, Yeah, I think that's a really good point. He

1:13:51.479 --> 1:13:56.880
<v Speaker 3>really like of all the betrayals that he makes, if

1:13:56.920 --> 1:13:58.720
<v Speaker 3>we want to call them betrayals in terms of the

1:13:59.400 --> 1:14:01.960
<v Speaker 3>emotional cheating that goes on, and I think there is

1:14:02.720 --> 1:14:06.120
<v Speaker 3>definitely a degree of that. He never slags on his

1:14:06.720 --> 1:14:11.120
<v Speaker 3>current relationship. No, Yeah, he does fuck the singer from

1:14:11.160 --> 1:14:11.479
<v Speaker 3>the bar.

1:14:14.280 --> 1:14:17.679
<v Speaker 1>Which which it's interesting that it kind of happens because

1:14:18.400 --> 1:14:19.479
<v Speaker 1>you kind of wonder why.

1:14:19.880 --> 1:14:21.880
<v Speaker 3>He's doing He's doing it because he's trying to prove

1:14:22.000 --> 1:14:24.519
<v Speaker 3>himself that he doesn't want to be with Charlotte.

1:14:24.680 --> 1:14:28.680
<v Speaker 1>Yeah, and whether it's also just there's just there's this

1:14:28.920 --> 1:14:33.400
<v Speaker 1>tension that's built in him. Yeah, it's been this chemistry

1:14:33.439 --> 1:14:37.000
<v Speaker 1>and true I kind of I'm gonna And whether he's

1:14:37.240 --> 1:14:42.200
<v Speaker 1>articulated that to himself or it's just yeah in that moment, Yeah, hilarious.

1:14:42.200 --> 1:14:46.760
<v Speaker 1>By the way, when he wakes up, that's all. It's

1:14:46.840 --> 1:14:50.320
<v Speaker 1>so you barely see her. She's just by the way.

1:14:50.439 --> 1:14:53.679
<v Speaker 5>So a couple of saw her an Australian singer Louncinger.

1:14:53.800 --> 1:14:55.439
<v Speaker 1>Yeah, I was going to say she's an Aussie she

1:14:55.680 --> 1:14:58.679
<v Speaker 1>Catherine Lambert is a couple of saw her in Tokyo

1:14:59.479 --> 1:15:01.400
<v Speaker 1>and got the used to the tracker down she'd move

1:15:01.479 --> 1:15:04.640
<v Speaker 1>back to South Australia and yeah, so I found her

1:15:04.680 --> 1:15:09.280
<v Speaker 1>in awesome. Yeah, so those touches. I love when filmmakers

1:15:09.720 --> 1:15:14.479
<v Speaker 1>go to the first all yes, yes, authenticity, it's it's great.

1:15:14.720 --> 1:15:16.360
<v Speaker 1>Let's get to the we have to wrap things up,

1:15:16.360 --> 1:15:19.720
<v Speaker 1>so let's get to a famous ending. I guess there's

1:15:19.800 --> 1:15:23.160
<v Speaker 1>two goodbyes. Yeah, this is the first one in that

1:15:23.240 --> 1:15:25.920
<v Speaker 1>takes place in the hotel room. He rings up asking

1:15:26.000 --> 1:15:28.320
<v Speaker 1>for his jacket and this leading know that he's about

1:15:28.360 --> 1:15:34.320
<v Speaker 1>to leave, and she eventually comes down, What are you

1:15:34.400 --> 1:15:35.200
<v Speaker 1>doing here in Japan?

1:15:35.960 --> 1:15:41.680
<v Speaker 4>I have to go right now? Hi, Hi, thank you,

1:15:42.280 --> 1:15:43.680
<v Speaker 4>you're welcome. I've missed you.

1:15:49.000 --> 1:15:49.760
<v Speaker 10>How are you going right now?

1:15:50.080 --> 1:15:50.280
<v Speaker 3>Yeah?

1:15:50.479 --> 1:15:56.680
<v Speaker 4>And my body goes right here. All right, aren't you

1:15:56.760 --> 1:15:59.599
<v Speaker 4>going to wish me in have a good freight or something?

1:16:00.120 --> 1:16:00.320
<v Speaker 8>Yeah?

1:16:00.439 --> 1:16:09.599
<v Speaker 7>Right, okay, bye, can I give.

1:16:11.200 --> 1:16:11.439
<v Speaker 12>Sure?

1:16:14.439 --> 1:16:14.639
<v Speaker 7>Hey?

1:16:16.040 --> 1:16:17.960
<v Speaker 1>Well, of course you don't see with just listening to

1:16:18.000 --> 1:16:20.120
<v Speaker 1>the audio is Bill Murray's face as she walks away,

1:16:20.200 --> 1:16:22.519
<v Speaker 1>like he's having his photo taken and he's not smiling.

1:16:22.560 --> 1:16:25.280
<v Speaker 3>He's he just doesn't do that, does he. No, he

1:16:25.360 --> 1:16:28.920
<v Speaker 3>doesn't do those sorts of shots, which is why it

1:16:29.160 --> 1:16:33.320
<v Speaker 3>hits so hard. I was like, is he he's acting

1:16:33.360 --> 1:16:37.000
<v Speaker 3>there like he's upset? He doesn't. I don't know. Bill

1:16:37.080 --> 1:16:38.560
<v Speaker 3>Murray just seems like one of those guys for me

1:16:38.640 --> 1:16:41.080
<v Speaker 3>where he kind of plays the same person in every

1:16:41.120 --> 1:16:43.280
<v Speaker 3>movie because he is just that's all you want to do.

1:16:43.360 --> 1:16:44.840
<v Speaker 3>You just want to capture that on camera, and you

1:16:44.880 --> 1:16:47.640
<v Speaker 3>see it in nearly every scene in that movie is

1:16:47.760 --> 1:16:51.040
<v Speaker 3>just they've clearly just gone okay, let's just roll for

1:16:51.120 --> 1:16:51.559
<v Speaker 3>ten minutes.

1:16:51.760 --> 1:16:54.160
<v Speaker 1>Yes, there are scenes. I think with the more comedic scenes,

1:16:54.200 --> 1:16:56.800
<v Speaker 1>he was given permission to ad live and I mean

1:16:56.840 --> 1:16:58.200
<v Speaker 1>we should actually even.

1:16:58.080 --> 1:17:01.000
<v Speaker 3>In that scene. Yeah, it felt like that was very much.

1:17:01.560 --> 1:17:05.920
<v Speaker 3>He makes that joke about the fight or fright a

1:17:06.000 --> 1:17:08.880
<v Speaker 3>good fright, and sam My partner, she said this to

1:17:08.960 --> 1:17:10.839
<v Speaker 3>me and she was like, you can tell the moments

1:17:10.840 --> 1:17:13.040
<v Speaker 3>in the movie where he genuinely makes her laugh. Yeah,

1:17:13.439 --> 1:17:16.000
<v Speaker 3>you see with the black toe in the bar that

1:17:16.400 --> 1:17:18.200
<v Speaker 3>you know he makes it. He does make her laugh

1:17:18.280 --> 1:17:18.559
<v Speaker 3>a lot.

1:17:18.840 --> 1:17:21.880
<v Speaker 1>He does, he does. There was a tough shoot for

1:17:22.439 --> 1:17:25.320
<v Speaker 1>Scale at Your Hands, Like I said, she's seventeen a

1:17:25.360 --> 1:17:29.280
<v Speaker 1>few times fifty two heard like third movie. You know

1:17:29.320 --> 1:17:34.040
<v Speaker 1>Bill Murray's a legend. Yeah, Bill Murray, so he fired

1:17:34.080 --> 1:17:37.320
<v Speaker 1>his agents, you know, famously years ago and basically has

1:17:37.360 --> 1:17:38.200
<v Speaker 1>an answer machine.

1:17:38.479 --> 1:17:40.720
<v Speaker 3>I heard this, So that's the best thing ever.

1:17:40.880 --> 1:17:44.960
<v Speaker 1>So Sophia Coppler had to like ring up people, like

1:17:45.080 --> 1:17:48.200
<v Speaker 1>she literally rang al Pacino and said, I've got this

1:17:48.360 --> 1:17:50.960
<v Speaker 1>role for a film. Can you put me in touch

1:17:50.960 --> 1:17:53.320
<v Speaker 1>with it? Like say I want you for I want

1:17:53.360 --> 1:17:54.880
<v Speaker 1>to give Bill, Can you put me in touch with

1:17:54.880 --> 1:18:00.240
<v Speaker 1>Bill Murray? And like everyone's way he's elusive and wrote

1:18:00.280 --> 1:18:02.200
<v Speaker 1>for Bill Murray, she said, if he doesn't play it

1:18:02.200 --> 1:18:03.240
<v Speaker 1>in the film's like any made.

1:18:03.280 --> 1:18:04.800
<v Speaker 3>Joking so sick.

1:18:05.000 --> 1:18:08.280
<v Speaker 1>So left messages trying to get go through Where's Anderson

1:18:08.400 --> 1:18:13.000
<v Speaker 1>who had done Rushmore and yeah and the friends through

1:18:13.080 --> 1:18:17.760
<v Speaker 1>Jason Schwartzman, who's a cousin of Severe Coppola and did

1:18:17.840 --> 1:18:21.559
<v Speaker 1>not know it, like went to Japan, that's so cool.

1:18:21.800 --> 1:18:26.040
<v Speaker 1>Went to Japan to set up the preproduction, still not

1:18:26.240 --> 1:18:30.040
<v Speaker 1>knowing if Bill Murray was going to show up. It

1:18:30.200 --> 1:18:33.560
<v Speaker 1>seems crazy and kind of impossible to me, and they

1:18:34.320 --> 1:18:37.040
<v Speaker 1>arrived like two weeks before filming.

1:18:37.120 --> 1:18:38.000
<v Speaker 3>It's better and better.

1:18:38.560 --> 1:18:43.080
<v Speaker 5>Yeah, so no real rehearsal my god, so, oh my god,

1:18:43.160 --> 1:18:43.960
<v Speaker 5>that's so good.

1:18:44.200 --> 1:18:46.000
<v Speaker 1>And the scene that Bill Murray was either like in

1:18:46.439 --> 1:18:50.000
<v Speaker 1>performing it was an Academy Award, but I think I

1:18:50.080 --> 1:18:51.560
<v Speaker 1>mentioned so a couple of did we also win the

1:18:51.600 --> 1:18:56.400
<v Speaker 1>Best Original Screenplay for this film? Well deserved? Yeah it was.

1:18:56.960 --> 1:19:00.280
<v Speaker 1>Scalia Hansen has been very I think very and they're

1:19:00.320 --> 1:19:02.120
<v Speaker 1>both very respectful to each other. But I think I

1:19:02.200 --> 1:19:07.160
<v Speaker 1>don't think they they acknowledged that the chemistry on on

1:19:07.600 --> 1:19:09.960
<v Speaker 1>screen was electric. Something happened when the cameras were rolling

1:19:10.040 --> 1:19:11.599
<v Speaker 1>off screen. They weren't.

1:19:12.200 --> 1:19:15.439
<v Speaker 5>They weren't, like you know, it kind of makes sense on.

1:19:18.040 --> 1:19:19.840
<v Speaker 1>Different styles of work, different you know.

1:19:20.240 --> 1:19:21.960
<v Speaker 3>What are they going to talk about? Well, yeah, like

1:19:22.120 --> 1:19:24.200
<v Speaker 3>what in the world are they going to talk about? More?

1:19:24.320 --> 1:19:25.759
<v Speaker 3>Probably kids, he owned at that stage.

1:19:26.520 --> 1:19:29.559
<v Speaker 5>I do wonder if if you to do it now,

1:19:29.880 --> 1:19:31.479
<v Speaker 5>whether Sofia Coppler would I.

1:19:31.479 --> 1:19:32.800
<v Speaker 3>Don't think you'd be able to have the end.

1:19:33.120 --> 1:19:35.840
<v Speaker 1>I think she said that she's not sure she could

1:19:35.880 --> 1:19:40.240
<v Speaker 1>make the film, but I do wonder, you know, whether

1:19:40.600 --> 1:19:42.880
<v Speaker 1>she would be more alert to the fact that there's

1:19:42.880 --> 1:19:44.880
<v Speaker 1>a seventeen year old and a fifty teen year old.

1:19:44.840 --> 1:19:48.400
<v Speaker 3>And definitely helping, definitely, or she would have had to

1:19:48.479 --> 1:19:50.960
<v Speaker 3>have been yeah, rather than two thousand and three. Right, yeah,

1:19:51.120 --> 1:19:54.160
<v Speaker 3>like come on, I mean, this is this is it

1:19:54.240 --> 1:19:57.560
<v Speaker 3>and amongst everything that goes on in Hollywood at this time. So,

1:19:57.840 --> 1:20:01.559
<v Speaker 3>like you know, it's the fact that that wasn't even

1:20:01.680 --> 1:20:04.160
<v Speaker 3>mentioned or considered. It doesn't surprise me at all. I mean,

1:20:04.320 --> 1:20:07.240
<v Speaker 3>through one lens that the movie is a grooming film. Yeah, yeah,

1:20:07.439 --> 1:20:10.560
<v Speaker 3>a guy that grooms a young girl. That is that

1:20:10.760 --> 1:20:12.439
<v Speaker 3>is definitely a lens that you can view this through.

1:20:12.560 --> 1:20:15.800
<v Speaker 3>So but that just wasn't on anyone's radar at that stage.

1:20:15.960 --> 1:20:19.479
<v Speaker 1>No, No, And it's it's the skill biosophia couple of

1:20:19.520 --> 1:20:23.040
<v Speaker 1>both in the script and the direction and the performers.

1:20:24.360 --> 1:20:27.840
<v Speaker 1>Skolja Hansen has always had like an older, like a

1:20:27.960 --> 1:20:32.680
<v Speaker 1>wiser vibe the deep which you know, like.

1:20:34.160 --> 1:20:38.280
<v Speaker 3>She doesn't she doesn't behave like a seventeen year old girl.

1:20:38.320 --> 1:20:41.240
<v Speaker 3>Well certainly not seventeen old girls that I hung out with.

1:20:41.520 --> 1:20:44.000
<v Speaker 5>Yeah, you know that she and she is playing twenty five.

1:20:44.280 --> 1:20:46.280
<v Speaker 1>I know we mentioned it. It's important that we know

1:20:46.400 --> 1:20:48.559
<v Speaker 1>the character is not seventeen, Yes it is, but from

1:20:48.600 --> 1:20:51.479
<v Speaker 1>a from a production point of view, yes, yeah, so

1:20:51.680 --> 1:20:54.200
<v Speaker 1>a couple of does. But I meant to mention there's

1:20:54.520 --> 1:20:56.240
<v Speaker 1>a big theme that runs through all of her movies.

1:20:56.439 --> 1:20:59.879
<v Speaker 1>Often it is it is a woman in a privileged

1:21:00.080 --> 1:21:03.519
<v Speaker 1>isn't in a way? It's a park Height in Lost

1:21:03.560 --> 1:21:10.519
<v Speaker 1>in Translation, vigin Suicide as a house, Mari Enterlinette for sure,

1:21:10.680 --> 1:21:14.719
<v Speaker 1>So Somewhere was a great film in the Chateau my Moont.

1:21:15.000 --> 1:21:17.280
<v Speaker 1>So it's definitely a theme that comes.

1:21:17.120 --> 1:21:19.040
<v Speaker 3>From you just saw On the Rocks as well.

1:21:19.479 --> 1:21:21.080
<v Speaker 5>On the Rocks is fun, isn't it?

1:21:21.200 --> 1:21:23.920
<v Speaker 3>Yeah? With Bill Murray as well, obviously, so yeah, and

1:21:24.000 --> 1:21:24.599
<v Speaker 3>I love.

1:21:24.479 --> 1:21:27.840
<v Speaker 1>That Rashida Jones as well. Jones Yeah great, yeah, great, Yeah.

1:21:28.200 --> 1:21:30.640
<v Speaker 1>We get to the final goodbye. So this is on

1:21:30.800 --> 1:21:35.240
<v Speaker 1>the street, he sees her, he gets out, what happens next?

1:21:35.720 --> 1:21:36.160
<v Speaker 14>Hey you.

1:22:05.960 --> 1:22:06.160
<v Speaker 8>Come?

1:22:36.439 --> 1:22:38.400
<v Speaker 1>Usually I wouldn't play a grab for a minute with

1:22:38.680 --> 1:22:44.200
<v Speaker 1>basically no dialogue, but famously, this this this ending, people

1:22:44.240 --> 1:22:46.559
<v Speaker 1>have tried to come and listen in what did he say?

1:22:46.680 --> 1:22:47.400
<v Speaker 3>What did he say?

1:22:47.560 --> 1:22:47.600
<v Speaker 12>That?

1:22:48.080 --> 1:22:50.640
<v Speaker 1>Nobody is the filmmakers, the actors. I don't think I've

1:22:50.640 --> 1:22:53.320
<v Speaker 1>ever said what he did? Actually say, even on the

1:22:53.439 --> 1:22:58.120
<v Speaker 1>day or what you think he said. But it's kind

1:22:58.160 --> 1:23:00.519
<v Speaker 1>of it's kind of magic. I mean, do Yeah, we

1:23:00.600 --> 1:23:02.799
<v Speaker 1>have to acknowledge they do kiss. It's certainly a kiss.

1:23:03.280 --> 1:23:04.920
<v Speaker 3>At the end there, there's definitely a kiss.

1:23:05.040 --> 1:23:06.519
<v Speaker 1>It's not like a one on the cheek.

1:23:06.680 --> 1:23:08.280
<v Speaker 3>Is it a hug kiss or a kiss? Hug?

1:23:08.439 --> 1:23:11.040
<v Speaker 1>It's a hug. It's a hug first. I think it's

1:23:11.040 --> 1:23:11.360
<v Speaker 1>a kiss.

1:23:11.600 --> 1:23:13.960
<v Speaker 3>That was the roller coaster I went through. I was like,

1:23:14.080 --> 1:23:15.960
<v Speaker 3>don't kiss her, don't kiss her, don't kiss that. They

1:23:16.120 --> 1:23:20.000
<v Speaker 3>hugged and I was like great and they kissed. Yeah,

1:23:20.120 --> 1:23:23.559
<v Speaker 3>and I was like fuck because I I didn't want

1:23:23.640 --> 1:23:26.080
<v Speaker 3>that in my head because I liked what it was.

1:23:26.560 --> 1:23:29.800
<v Speaker 3>But I mean, it all depends what he says, like

1:23:30.080 --> 1:23:32.000
<v Speaker 3>what what does he say to lead them to kiss.

1:23:32.360 --> 1:23:36.000
<v Speaker 1>I don't think even the kiss. I can understand you're

1:23:36.000 --> 1:23:38.519
<v Speaker 1>saying you didn't necessarily want that, And I think it

1:23:38.640 --> 1:23:42.240
<v Speaker 1>works with or without it. Yeah, I think for me

1:23:42.400 --> 1:23:45.120
<v Speaker 1>it doesn't change it. These two still had this connection.

1:23:45.439 --> 1:23:47.200
<v Speaker 3>Yeah, for sure, that was it.

1:23:47.280 --> 1:23:49.479
<v Speaker 1>Probably it probably does. Yeah, you probably have to accept,

1:23:49.960 --> 1:23:52.840
<v Speaker 1>oh there was something. You don't kiss your daughter like that,

1:23:53.680 --> 1:23:59.200
<v Speaker 1>you know, no drop off, so you know, like if

1:23:59.240 --> 1:24:01.559
<v Speaker 1>you if you were prone to going down the father

1:24:01.680 --> 1:24:05.280
<v Speaker 1>door to kind of path that probably the spells it

1:24:05.280 --> 1:24:08.120
<v Speaker 1>a little bit. Yeah, like I said, I'd like to

1:24:08.439 --> 1:24:09.880
<v Speaker 1>at least what I love about the film. Everyone can

1:24:10.000 --> 1:24:12.479
<v Speaker 1>have different I said. I did kind of track all

1:24:12.520 --> 1:24:14.320
<v Speaker 1>the touching that goes on when they come back into

1:24:14.320 --> 1:24:16.680
<v Speaker 1>the into the bar, when they're laughing at you know,

1:24:16.800 --> 1:24:19.839
<v Speaker 1>the Anna Paris character sing karaoke. They are holding hands

1:24:19.920 --> 1:24:22.680
<v Speaker 1>like they're arm in arm. You know, there are all

1:24:22.720 --> 1:24:23.559
<v Speaker 1>these little touches.

1:24:23.720 --> 1:24:27.800
<v Speaker 9>Really, did you had a little touching tally the corner

1:24:27.840 --> 1:24:29.920
<v Speaker 9>of your note? I should have had an next our spreadsheet.

1:24:30.000 --> 1:24:36.400
<v Speaker 9>Actually they are like, yeah, they are elevator peck twice.

1:24:38.320 --> 1:24:40.240
<v Speaker 1>And Okay, when you watch it again, and I think

1:24:40.280 --> 1:24:43.439
<v Speaker 1>you will revisit this, Yeah, it's hard not to many times,

1:24:43.560 --> 1:24:46.080
<v Speaker 1>you know, over the years, like you will just you

1:24:46.160 --> 1:24:48.519
<v Speaker 1>may even have a different response to it, like it's

1:24:49.200 --> 1:24:49.720
<v Speaker 1>what do you think?

1:24:49.760 --> 1:24:50.160
<v Speaker 3>He said?

1:24:50.880 --> 1:24:53.559
<v Speaker 1>I think it was like obviously not word for word,

1:24:53.640 --> 1:24:56.760
<v Speaker 1>but no, I suspect it's probably like things are going

1:24:56.800 --> 1:24:59.160
<v Speaker 1>to turn out. Okay, You're going to be fine, and

1:24:59.200 --> 1:24:59.920
<v Speaker 1>I'm glad I met you.

1:25:00.160 --> 1:25:01.519
<v Speaker 3>Something like that.

1:25:01.760 --> 1:25:06.240
<v Speaker 1>Yes, in real life, this movie came out and Sophie

1:25:06.240 --> 1:25:09.040
<v Speaker 1>a couple of separated from Spike Jones not long after,

1:25:09.360 --> 1:25:11.400
<v Speaker 1>like this was like this and obviously, I mean you've

1:25:11.400 --> 1:25:15.680
<v Speaker 1>see this film and it's not it's not kind, it's

1:25:15.720 --> 1:25:18.200
<v Speaker 1>not you know, Spike.

1:25:18.880 --> 1:25:21.320
<v Speaker 5>Let's call him the Spike Jones character photographer. You know,

1:25:21.400 --> 1:25:22.080
<v Speaker 5>he's just he's.

1:25:21.960 --> 1:25:26.000
<v Speaker 1>Busy and he has to get he's a massive but

1:25:26.240 --> 1:25:28.560
<v Speaker 1>they could make him more of a toy.

1:25:28.160 --> 1:25:30.439
<v Speaker 5>Could more of a you know, they could have cranked

1:25:30.439 --> 1:25:31.880
<v Speaker 5>that up even even more.

1:25:32.760 --> 1:25:32.920
<v Speaker 4>Yeah.

1:25:32.920 --> 1:25:37.360
<v Speaker 1>And Michelle Gondree, who's a great directed directed Eternal Sunshine

1:25:37.400 --> 1:25:41.200
<v Speaker 1>of the Spotless Mind and Big Kind rewind and good

1:25:41.280 --> 1:25:46.360
<v Speaker 1>good friends with Spike Jones, and they he apparently had

1:25:46.400 --> 1:25:48.759
<v Speaker 1>a bit of a cobbles saying I think your portrayal

1:25:48.800 --> 1:25:54.040
<v Speaker 1>of him was unfair. But you know, it's her story, it's.

1:25:54.479 --> 1:25:56.240
<v Speaker 3>From her perspectives, that's the whole bit.

1:25:56.400 --> 1:25:56.599
<v Speaker 1>Yeah.

1:25:57.280 --> 1:25:59.360
<v Speaker 3>I find it really fascinating that you said that the

1:25:59.560 --> 1:26:05.960
<v Speaker 3>chemistry between Scarlett and Bill was strained. Strained. This is

1:26:06.000 --> 1:26:08.000
<v Speaker 3>what makes it a good performance because I was so

1:26:08.240 --> 1:26:12.439
<v Speaker 3>invested and that final scene I was, Yeah, there was

1:26:12.479 --> 1:26:13.880
<v Speaker 3>a part of me when he was running up behind

1:26:13.960 --> 1:26:16.320
<v Speaker 3>her where I was like, I hope it's not I know,

1:26:17.160 --> 1:26:20.560
<v Speaker 3>I thought it might not have been her, you know,

1:26:20.640 --> 1:26:21.880
<v Speaker 3>but I was like, oh, it's going to be a

1:26:21.920 --> 1:26:24.280
<v Speaker 3>bit cheap if we kind of go with that trick.

1:26:25.360 --> 1:26:28.320
<v Speaker 3>But she seems so beautifully reassured by what he says

1:26:28.360 --> 1:26:31.560
<v Speaker 3>to her. Yes, like there's a real sense of like

1:26:31.800 --> 1:26:35.120
<v Speaker 3>thank you. And even when he kissed her, Yeah, it

1:26:35.200 --> 1:26:36.600
<v Speaker 3>was like it was like she was one of his

1:26:36.680 --> 1:26:39.800
<v Speaker 3>own kids. But you're right, it's you don't kiss you,

1:26:39.840 --> 1:26:43.040
<v Speaker 3>don't kiss you. I was actually doing a bit of Reddit.

1:26:43.160 --> 1:26:44.840
<v Speaker 3>I was actually I'm a big Reddit. I wasn't read

1:26:44.920 --> 1:26:47.920
<v Speaker 3>it afterwards, and one of the comments was it was

1:26:48.000 --> 1:26:51.200
<v Speaker 3>just someone who said I specifically looked up. I was like,

1:26:51.280 --> 1:26:53.800
<v Speaker 3>what did he say? Yeah, because I was like, I

1:26:54.080 --> 1:26:56.360
<v Speaker 3>just did anyone does anyone actually know? It might be

1:26:56.439 --> 1:26:58.280
<v Speaker 3>like a nice bit of production note And I was

1:26:58.280 --> 1:27:01.560
<v Speaker 3>going to blow your mind here there was something. So

1:27:01.680 --> 1:27:05.640
<v Speaker 3>there was someone who'd slowed it down and like analyzed

1:27:05.680 --> 1:27:08.920
<v Speaker 3>it and it's not what you think either, like I.

1:27:09.000 --> 1:27:10.439
<v Speaker 1>Got up greater than business on the way on the

1:27:10.479 --> 1:27:10.880
<v Speaker 1>flight time.

1:27:15.040 --> 1:27:18.040
<v Speaker 3>No, so he said. You can listen to the evidence

1:27:18.040 --> 1:27:21.240
<v Speaker 3>of the following cup through some quite disconcerting reverberation. The

1:27:21.320 --> 1:27:24.800
<v Speaker 3>apparent line is I have to be leaving, but I

1:27:24.920 --> 1:27:29.760
<v Speaker 3>won't let that come between us, Okay, right, which is

1:27:29.960 --> 1:27:35.320
<v Speaker 3>hard down there. This is a relationship. Yeah, so apparently,

1:27:35.720 --> 1:27:39.840
<v Speaker 3>I mean obviously the only people that on set that

1:27:39.920 --> 1:27:45.000
<v Speaker 3>knew about it were Sophia, Bill and Scarlet, so no

1:27:45.040 --> 1:27:47.320
<v Speaker 3>one else actually knows. And then this guy went through

1:27:47.400 --> 1:27:49.720
<v Speaker 3>and you know, slowed it right down and like analyzed

1:27:49.760 --> 1:27:54.439
<v Speaker 3>it with you know, whatever technology used and like that.

1:27:54.520 --> 1:27:56.439
<v Speaker 3>For me that when I read that, I was like

1:27:56.479 --> 1:27:58.000
<v Speaker 3>that that can that for me completely ruined it.

1:27:59.000 --> 1:27:59.200
<v Speaker 1>Yeah.

1:27:59.280 --> 1:28:02.000
<v Speaker 8>Well, and we really didn't want to know that, No,

1:28:02.280 --> 1:28:06.360
<v Speaker 8>but I would I would almost discard it because because

1:28:06.880 --> 1:28:09.080
<v Speaker 8>the filmmaker is not one of us to know what

1:28:09.320 --> 1:28:09.639
<v Speaker 8>was said.

1:28:09.880 --> 1:28:12.639
<v Speaker 1>Yeah, so it could have been that's what he said.

1:28:12.640 --> 1:28:14.600
<v Speaker 1>It could be the person's wrong, yeah, but.

1:28:14.720 --> 1:28:16.040
<v Speaker 3>Or they could have just said, Bill, say whatever the

1:28:16.080 --> 1:28:18.000
<v Speaker 3>hell you want, because we're never going to tell anyone.

1:28:18.160 --> 1:28:19.040
<v Speaker 1>Yeah, exactly.

1:28:19.400 --> 1:28:23.320
<v Speaker 3>So, as you said, it's not editorialized, which means it's

1:28:23.360 --> 1:28:25.360
<v Speaker 3>deliberately not meant to be in the movie, so it

1:28:25.400 --> 1:28:26.120
<v Speaker 3>doesn't mean anything.

1:28:26.400 --> 1:28:26.599
<v Speaker 1>Yeah.

1:28:26.840 --> 1:28:29.240
<v Speaker 3>Yeah, well mate, that was so good.

1:28:29.560 --> 1:28:32.840
<v Speaker 1>I was really excited that you chose this, and and

1:28:33.080 --> 1:28:36.280
<v Speaker 1>I thought you'd get Sometimes I'm confident that someone's going

1:28:36.320 --> 1:28:39.439
<v Speaker 1>to enjoy a film, and I was, you were going

1:28:39.520 --> 1:28:40.960
<v Speaker 1>to enjoy it. I love your movies and.

1:28:41.960 --> 1:28:43.680
<v Speaker 3>So perverted relationships.

1:28:45.880 --> 1:28:48.680
<v Speaker 1>I have a messusse or sex wiker coming in. She

1:28:48.760 --> 1:28:51.920
<v Speaker 1>wants you to lick her stockings or something. Such a

1:28:52.080 --> 1:28:57.960
<v Speaker 1>good so bizarre. Yeah, it was funny, and then it

1:28:58.040 --> 1:28:58.240
<v Speaker 1>was like.

1:29:00.400 --> 1:29:01.160
<v Speaker 3>She fell over.

1:29:01.680 --> 1:29:07.599
<v Speaker 1>Yeah, mister mister Harris, mister Harris, let's let's go out

1:29:07.640 --> 1:29:08.840
<v Speaker 1>on some suntory.

1:29:08.680 --> 1:29:12.800
<v Speaker 4>For relaxing times. Make it suntory time.

1:29:19.240 --> 1:29:19.960
<v Speaker 1>Did you let you go?

1:29:20.080 --> 1:29:22.000
<v Speaker 5>The fun fun fact?

1:29:22.080 --> 1:29:22.280
<v Speaker 3>Yeah?

1:29:22.360 --> 1:29:22.639
<v Speaker 1>Please?

1:29:23.560 --> 1:29:25.040
<v Speaker 3>So many great ones about this well.

1:29:24.920 --> 1:29:27.600
<v Speaker 1>Frank of all, Coppola did actually go to Japan to

1:29:27.680 --> 1:29:34.000
<v Speaker 1>shoot a whiskey commercial with a Kisara, legendary Japanese filmmaker,

1:29:35.080 --> 1:29:37.320
<v Speaker 1>so that was kind of part of the I think

1:29:37.479 --> 1:29:39.920
<v Speaker 1>Nicholas Cage also went over who's a cousin of Sophia

1:29:39.960 --> 1:29:42.960
<v Speaker 1>Coppola part of the you know, the family to shoot

1:29:43.000 --> 1:29:45.640
<v Speaker 1>one where he sung and it's I think you can

1:29:45.680 --> 1:29:49.160
<v Speaker 1>find that only it's pretty bizarre. That's awesome, it's pretty bizarre.

1:29:50.560 --> 1:29:54.479
<v Speaker 1>So Sophia couple won the Best Original Screenplayer. Did mentioned that?

1:29:55.120 --> 1:29:58.920
<v Speaker 1>So four million dollar budget forty four and a half

1:29:59.000 --> 1:30:02.000
<v Speaker 1>million in the US one hundred and twenty million worldwide.

1:30:02.080 --> 1:30:03.800
<v Speaker 1>Wow shot in twenty seven days.

1:30:03.920 --> 1:30:04.160
<v Speaker 4>Wow.

1:30:04.600 --> 1:30:07.840
<v Speaker 1>Yeah, it's brilliant. It's so good. Sometimes when I did

1:30:07.840 --> 1:30:09.519
<v Speaker 1>this podcast, I watch a film that I know I

1:30:09.680 --> 1:30:12.000
<v Speaker 1>really enjoy and I go, I think I enjoyed.

1:30:11.760 --> 1:30:12.200
<v Speaker 5>It even more.

1:30:12.320 --> 1:30:13.879
<v Speaker 3>Yeah, right the rewatch.

1:30:14.000 --> 1:30:16.800
<v Speaker 1>Yeah, this could even be like, yeah, I got to

1:30:16.840 --> 1:30:18.599
<v Speaker 1>do my top ten because this could be this could

1:30:18.600 --> 1:30:20.800
<v Speaker 1>be a top ten. Yeah really I think so.

1:30:20.920 --> 1:30:24.200
<v Speaker 3>I think it's really it gets support. I get that

1:30:24.400 --> 1:30:28.519
<v Speaker 3>last shot. Yeah, I was like the fact that there

1:30:28.760 --> 1:30:30.479
<v Speaker 3>was that, the fact that you didn't let you know

1:30:30.600 --> 1:30:34.560
<v Speaker 3>what he said that, As I said, the deliberate ambiguity

1:30:34.600 --> 1:30:37.400
<v Speaker 3>of the film is it's genius. Yeah, you just don't

1:30:37.520 --> 1:30:41.439
<v Speaker 3>get a movie that that goes for that long, which

1:30:41.560 --> 1:30:45.439
<v Speaker 3>for what I'm gonna say, ninety of the one hundred

1:30:45.479 --> 1:30:47.280
<v Speaker 3>and forty minutes or whatever it is, one hundred and

1:30:47.280 --> 1:30:49.200
<v Speaker 3>twenty minutes. It's not that it wasn't that long, was it?

1:30:49.280 --> 1:30:49.559
<v Speaker 10>How long?

1:30:49.640 --> 1:30:51.720
<v Speaker 1>Was it's about one bet one hundred and forty that's

1:30:51.720 --> 1:30:54.120
<v Speaker 1>one hundred and forty yeah, yeah, of ninety of that,

1:30:54.360 --> 1:30:56.840
<v Speaker 1>I was like, I've got no idea what's going on? Yeah,

1:30:57.240 --> 1:30:58.200
<v Speaker 1>but I'm still interested.

1:30:58.280 --> 1:30:59.760
<v Speaker 3>But that that's they put you in.

1:30:59.760 --> 1:31:01.479
<v Speaker 1>A play and to put you on a feeling. And

1:31:01.920 --> 1:31:05.719
<v Speaker 1>I love it, mate, Thank you so much. Keep kicking goals,

1:31:05.920 --> 1:31:08.599
<v Speaker 1>Will and Wooding. Absolutely. How long has it been there?

1:31:08.640 --> 1:31:09.200
<v Speaker 1>Twelve years?

1:31:09.680 --> 1:31:12.240
<v Speaker 3>It's been a long time. Yeah, yeah, ten years.

1:31:12.320 --> 1:31:16.360
<v Speaker 1>Yeah, it's increasing, I said in an introduction for somebody

1:31:16.360 --> 1:31:19.120
<v Speaker 1>who's had a crack at that, an unsuccessful crack at

1:31:19.200 --> 1:31:21.840
<v Speaker 1>that time. Slot to do twelve years, I mean to do.

1:31:22.000 --> 1:31:24.000
<v Speaker 1>To be honest, it gets resigned once in that in

1:31:24.040 --> 1:31:27.040
<v Speaker 1>that kind of role, is it doesn't happen. Thank you,

1:31:27.320 --> 1:31:29.920
<v Speaker 1>continue to get resigned. It's always a joy to visit

1:31:29.960 --> 1:31:33.479
<v Speaker 1>you guys in your studio and great hanging out with

1:31:33.479 --> 1:31:33.840
<v Speaker 1>you today.

1:31:33.960 --> 1:31:34.960
<v Speaker 3>You too, man, Thanks having me.

1:31:34.960 --> 1:31:36.000
<v Speaker 10>On, Thank you.

1:31:37.479 --> 1:31:39.240
<v Speaker 1>Thanks? What can I get you?

1:31:41.520 --> 1:31:42.320
<v Speaker 12>I'm not sure.

1:31:45.720 --> 1:31:49.920
<v Speaker 4>For relaxing times, make it suntory time.

1:31:53.240 --> 1:31:53.760
<v Speaker 10>I'll have a.

1:31:55.680 --> 1:32:03.439
<v Speaker 4>Thanks. So what are you doing here?

1:32:05.840 --> 1:32:09.040
<v Speaker 11>A couple of things, taking a break from my wife

1:32:09.200 --> 1:32:13.679
<v Speaker 11>forgetting my son's birthday and uh, getting paid two million

1:32:13.720 --> 1:32:15.920
<v Speaker 11>dollars to endorse a whiskey.

1:32:16.640 --> 1:32:18.799
<v Speaker 4>When I could be doing a play somewhere.

1:32:20.920 --> 1:32:21.080
<v Speaker 2>Mm.

1:32:23.200 --> 1:32:33.400
<v Speaker 4>But the good news is the whiskey works. What are

1:32:33.400 --> 1:32:33.720
<v Speaker 4>you doing?

1:32:37.040 --> 1:32:41.519
<v Speaker 10>My husband's a photographer, so he's here working and I

1:32:41.640 --> 1:32:44.120
<v Speaker 10>wasn't doing anything, so I came along and we have

1:32:44.200 --> 1:32:45.080
<v Speaker 10>some friends that live here.

1:32:46.520 --> 1:32:48.040
<v Speaker 4>How long you have been married? Mm?

1:32:48.120 --> 1:32:48.400
<v Speaker 1>Thank you?

1:32:49.720 --> 1:32:51.599
<v Speaker 10>Mm two years?

1:32:53.040 --> 1:32:54.439
<v Speaker 4>Twenty five long ones. M.

1:32:56.520 --> 1:32:58.919
<v Speaker 10>You're probably just uh having a mid life crisis.

1:33:00.160 --> 1:33:01.120
<v Speaker 4>Did you buy a Porsche yet?

1:33:03.840 --> 1:33:04.000
<v Speaker 12>You know?

1:33:04.080 --> 1:33:07.320
<v Speaker 1>I was thinking about playing a Porsche all it's always

1:33:07.439 --> 1:33:11.640
<v Speaker 1>suntory time. That was Will McMahon from The Will and

1:33:11.840 --> 1:33:16.240
<v Speaker 1>Woody Show, the Hit Show, and that was a joy.

1:33:16.560 --> 1:33:19.240
<v Speaker 1>I had a feeling Will would enjoy this movie Lost

1:33:19.280 --> 1:33:25.400
<v Speaker 1>in Translation. But I'd never count my chickens before they hatch.

1:33:25.640 --> 1:33:29.000
<v Speaker 1>Is that the saying I think it is? And yes,

1:33:29.040 --> 1:33:32.360
<v Speaker 1>I'm glad that he watched the right movie, unlike Dan

1:33:32.520 --> 1:33:36.040
<v Speaker 1>Connell a couple of years ago, when he realized as

1:33:36.080 --> 1:33:36.479
<v Speaker 1>I was doing.

1:33:36.479 --> 1:33:39.919
<v Speaker 5>Introduction that he'd watched the wrong movie. Not Lost in Translation.

1:33:40.040 --> 1:33:42.920
<v Speaker 1>He watched Fear and Loathing in Las Vegas for reasons

1:33:43.280 --> 1:33:46.120
<v Speaker 1>that I only really known to Dan Connell. Still a

1:33:46.160 --> 1:33:47.920
<v Speaker 1>fun episode, that one, though, And this one was a

1:33:47.960 --> 1:33:50.639
<v Speaker 1>great one. I loved that it was almost a conversation

1:33:50.760 --> 1:33:52.720
<v Speaker 1>I was hoping to have that where it was a

1:33:52.800 --> 1:33:55.760
<v Speaker 1>lot of movie talk but also around the themes of

1:33:55.880 --> 1:33:59.920
<v Speaker 1>the movie. And so much going on behind the camera

1:34:00.120 --> 1:34:03.639
<v Speaker 1>in Lisson translation and also on camera. It is such

1:34:03.640 --> 1:34:07.759
<v Speaker 1>a rewatchable film. To borrow a phrase from the podcast,

1:34:08.960 --> 1:34:11.639
<v Speaker 1>thank you for listening to you and see nothing yet

1:34:12.280 --> 1:34:15.880
<v Speaker 1>we are back. We'll have a whole bunch of episodes

1:34:16.479 --> 1:34:19.639
<v Speaker 1>for you, and new ones are coming up. Some big

1:34:19.760 --> 1:34:24.599
<v Speaker 1>guests coming up, some fine comedians and actors coming up

1:34:24.920 --> 1:34:26.640
<v Speaker 1>to give you a hit. Some of the movies that

1:34:26.760 --> 1:34:28.720
<v Speaker 1>you might want to check out before we get to them.

1:34:28.760 --> 1:34:31.519
<v Speaker 1>You might want to check out Cool Hand Luke. You

1:34:31.640 --> 1:34:33.920
<v Speaker 1>might want to check out The Big Chill This Thing,

1:34:34.000 --> 1:34:36.960
<v Speaker 1>Good morning vietnamm A Lei next week before I get

1:34:37.000 --> 1:34:39.800
<v Speaker 1>to that. Actually, thank you for enjoying the show. I

1:34:39.880 --> 1:34:42.760
<v Speaker 1>love your feedback. Jasney Podcasts at gmail dot com. If

1:34:42.760 --> 1:34:44.360
<v Speaker 1>you want to drop us a line, that'd be great.

1:34:44.680 --> 1:34:46.400
<v Speaker 1>If you want to get your voice on the podcast,

1:34:46.760 --> 1:34:49.519
<v Speaker 1>follow the links and leave us a voice message, that

1:34:49.640 --> 1:34:52.560
<v Speaker 1>would be great to hear your voice. So I'm not

1:34:52.680 --> 1:34:54.920
<v Speaker 1>just in the studio talking to myself at this point,

1:34:55.200 --> 1:34:59.040
<v Speaker 1>so that'd be great. Go to iTunes and give us

1:34:59.120 --> 1:35:02.560
<v Speaker 1>a rating, commend five stars. It keeps everything moving in

1:35:02.640 --> 1:35:04.719
<v Speaker 1>the right direction, gets the word out for you. Ain't

1:35:04.760 --> 1:35:07.120
<v Speaker 1>seen and nothing yet, So that'd be lovely if you

1:35:07.120 --> 1:35:09.479
<v Speaker 1>could do that. Leave a review, some nice words, that'd

1:35:09.520 --> 1:35:12.280
<v Speaker 1>be nice next week on the show. A comedian who

1:35:13.160 --> 1:35:15.639
<v Speaker 1>I've admired for a long time because he did something

1:35:15.680 --> 1:35:17.519
<v Speaker 1>that not a lot of austraining comedians have done. He

1:35:18.880 --> 1:35:21.840
<v Speaker 1>left Australia to pursue his comedy and didn't go to

1:35:21.920 --> 1:35:24.400
<v Speaker 1>the UK, which is a well worn path for a

1:35:24.439 --> 1:35:27.160
<v Speaker 1>lot of ossie comedians. Maybe they go to Edinburgh and

1:35:27.200 --> 1:35:31.479
<v Speaker 1>then they stay there. But Monty Franklin journeyed to the

1:35:31.600 --> 1:35:35.000
<v Speaker 1>City of Lights, to Los Angeles and started applying his

1:35:35.120 --> 1:35:39.480
<v Speaker 1>craft over there. I have met him kind of sporadically

1:35:39.560 --> 1:35:41.599
<v Speaker 1>over the years. I hung out with him and saw

1:35:41.640 --> 1:35:44.200
<v Speaker 1>him do comedy with a Knight. I think myself and

1:35:44.240 --> 1:35:47.160
<v Speaker 1>Tommy Little were over in LA and we hung out

1:35:47.160 --> 1:35:50.639
<v Speaker 1>with Monty. Great guy, funny guy. Got a movie coming

1:35:50.720 --> 1:35:52.960
<v Speaker 1>up about the Emy Wars that he's written with John

1:35:53.040 --> 1:35:56.280
<v Speaker 1>Clees and Rob Schneider. Believe it or not, I wasn't

1:35:56.280 --> 1:35:58.960
<v Speaker 1>expecting that that should be a hoot. There's another EMU

1:35:59.040 --> 1:36:01.240
<v Speaker 1>Wars film that's been has been out, which I think

1:36:01.280 --> 1:36:03.360
<v Speaker 1>started as a web series and then they turned it

1:36:03.400 --> 1:36:05.599
<v Speaker 1>into a film that's got a lot of great people

1:36:05.880 --> 1:36:07.800
<v Speaker 1>in it as well. This will be I think, a

1:36:07.880 --> 1:36:09.760
<v Speaker 1>bit of a different beast. We'll talk a bit about

1:36:09.760 --> 1:36:12.479
<v Speaker 1>that next week. But Monty Franklin will be joining us.

1:36:13.280 --> 1:36:13.920
<v Speaker 5>He's in town.

1:36:14.000 --> 1:36:16.519
<v Speaker 1>We've nabbed him and he will be chatting about a

1:36:16.560 --> 1:36:18.639
<v Speaker 1>movie that I've been wanting to cover for a while.

1:36:19.040 --> 1:36:22.200
<v Speaker 1>We're going back to Paul Newman again because Paul Newman

1:36:22.760 --> 1:36:26.320
<v Speaker 1>is a beautiful man and beautiful to watch, and this

1:36:26.439 --> 1:36:28.680
<v Speaker 1>is one that I've seen. I watched when I was

1:36:28.680 --> 1:36:31.519
<v Speaker 1>a bit younger. I love it. Guns and Roses fans

1:36:31.640 --> 1:36:35.160
<v Speaker 1>know it. Cool Hand Luke. That's right, Paul Newman, Cool

1:36:35.200 --> 1:36:38.200
<v Speaker 1>Hand Luke. It's a cracking film. If you love Shawshank

1:36:38.240 --> 1:36:41.400
<v Speaker 1>Redemption and you haven't in Cool Hand Luke, check out

1:36:41.439 --> 1:36:43.800
<v Speaker 1>Cool Hand Luke before you listen to the podcast. It's

1:36:43.840 --> 1:36:45.880
<v Speaker 1>a beauty. I love it. Can't wait to chat the

1:36:45.960 --> 1:36:48.400
<v Speaker 1>Monty about it. It's gonna be a big one Monty

1:36:48.439 --> 1:36:51.760
<v Speaker 1>Franklin next week, Cool Hand Luke. Until then, back an

1:36:51.800 --> 1:37:04.479
<v Speaker 1>hour and so we leave Old Pete safe and soult

1:37:05.520 --> 1:37:07.880
<v Speaker 1>and to our friends of the radio audience, we've been

1:37:07.920 --> 1:37:09.559
<v Speaker 1>a pleasant good night