Speaker 1: Good day, Pete Hally here, I want to say hi
Speaker 1: and thanks for coming back to all our listeners.
Speaker 2: I know it's been a while.
Speaker 1: It's been longer than I was hoping for to be
Speaker 1: between series three and four, and there is some good
Speaker 1: and bad news. The bad news is you're gonna have
Speaker 1: to wait a little bit longer for season four. We'll
Speaker 1: be pushing it out later in January. The good news is, though,
Speaker 1: I do have some new episodes for you. In one today,
Speaker 1: Brendan cow talking about broadcast news, and.
Speaker 2: We'll have a special Christmas episode next week.
Speaker 1: So if you hang to the end of the episode,
Speaker 1: I'll let you know the movie and the guest. But
Speaker 1: I just want to let you know that we are
Speaker 1: coming back for season four. It will be around about
Speaker 1: January twenty fourth. I'll let you know.
Speaker 2: I'll remind you when we get a little bit closer.
Speaker 1: So until then, enjoy today's episode and also the very
Speaker 1: special Christmas episode next week.
Speaker 2: Welcome to you Ain't Seen Nothing Yet?
Speaker 1: The Movie Podcast, where our chat to a movie lover
Speaker 1: about a classic or beloved movie they haven't quite got
Speaker 1: around to watching until now. And today's guest actor, author
Speaker 1: poet Mike Brendan Cow.
Speaker 3: You ever dance for the devil of the Dale of Light.
Speaker 2: I'm walking ahead. I'm walking ahead.
Speaker 3: Of all the gin joints in all the towns in
Speaker 3: all the world. She walks into mines.
Speaker 4: Haven't any right, don't see nothing here.
Speaker 1: One of the lovely things about sticking around long enough
Speaker 1: in this crazy business is you sometimes become mates with
Speaker 1: some you're a fan of, And that happened with today's
Speaker 1: guest and me, Brendan Cow. Between two thousand and four
Speaker 1: and two thousand and seven, my wife and I fell
Speaker 1: in love with the Australian series Loved My Way. Brendan
Speaker 1: was a massive part of the show's success, not only
Speaker 1: with his betrayal of Tom, but he also wrote on
Speaker 1: the series, which set a new benchmark for screenplays on
Speaker 1: Australians television. I urge you if you haven't checked out
Speaker 1: Loved My Way. It will break your heart. It'll make
Speaker 1: you cry, it'll make you laugh as well. It is
Speaker 1: absolutely brilliant. Brendan has continued to put his unique stamp
Speaker 1: on stage, screen, and indeed literature. Brendan has a main
Speaker 1: line into the suburban Australian male experience. His playturned movie
Speaker 1: Reuben Guthrie, which starred Peter the plum Lum, who is
Speaker 1: beginning to feel the effects of age and concussion, and
Speaker 1: when he begins interacting with the great poets of history,
Speaker 1: he has given a chance to change his life, if
Speaker 1: only he can just somehow muster enough courage to do so.
Speaker 1: I cannot recommend this book anymore. Brendan's credits also include
Speaker 1: Game of Thrones, Avatar, to Noise, the and with Francis
Speaker 1: O'Connor and Harriet Walter. Brandon is emotionally present as a
Speaker 1: crystal clear social insight is hilarious and bloody stokes to
Speaker 1: have my mate with me today.
Speaker 2: Good day.
Speaker 3: My name's Brendan cow And my three favorite films are
Speaker 3: The Blues Brothers, Wake In Fright and Punch Druck Laugh.
Speaker 3: And up until this week, I had not seen broadcast news.
Speaker 1: A TV anchor, man and news reporter and the producer
Speaker 1: are living there perfect lives.
Speaker 2: They've gotten exactly what.
Speaker 1: They've wanted ever since they were kids working on a
Speaker 1: big news network in New York. But now that they
Speaker 1: are adults, can they get what they really want? Or
Speaker 1: will the burden of their own ambitions cost them it all?
Speaker 1: A classic love triangle, combining substance and style in ways
Speaker 1: few achieved. Broadcast News, released in nineteen eighty seven, is
Speaker 1: romantic and comedic, but not quite a romantic comedy. Holy
Speaker 1: Hunter William Hurt and Albert Brooks a dynamite in this funny,
Speaker 1: smart dramedy about professionals who can't stop getting in each
Speaker 1: other's and their own way. All three actors were nominated
Speaker 1: for an Oscar. All three sadly lost.
Speaker 2: James L.
Speaker 1: Brooks comes off terms of endearment and rights and directs
Speaker 1: this gem, which was nominated for a total of seven Oscars,
Speaker 1: sadly no wins. Brennan Chal, have you ever sweated that
Speaker 1: much throughout any performance in your life?
Speaker 3: Wasn't that amazing? I mean the sweat, the sweat coming
Speaker 3: out of his head. I was just thinking, how did
Speaker 3: they create that? Did they have some kind of little
Speaker 3: balloon that released water? Because there was these thip thick drips,
Speaker 3: wasn't it?
Speaker 1: It was like and it was not perfectly timed, like creative.
Speaker 1: When they cut back to him, when they kind of
Speaker 1: fixed him up, they kind of mopped him up a
Speaker 1: little bit, and then a couple of seconds and then
Speaker 1: there it is so I was saying the same thing.
Speaker 1: I thought the makeup makeup should have been nominated for
Speaker 1: an Oscar was phenomenal.
Speaker 3: I don't know how they did it, like that Billie
Speaker 3: Eilish film clip where the black ink comes out of
Speaker 3: her eyes and you see in the inner documentary how
Speaker 3: they did that, and it's just amazing. They must have
Speaker 3: had something. But you know, we always lord actors for
Speaker 3: whether they can cry on cue, and perhaps we need
Speaker 3: to switch our attention to anyone can cry on cute,
Speaker 3: that's easy. Who can sweat?
Speaker 2: Who can sweat? Yeah, like that's the next level.
Speaker 3: Who can drop a leader from the forehead?
Speaker 2: Well, Albert Brooks obviously.
Speaker 1: Is there somebody now that you if you had to
Speaker 1: pin your life on soody backing somebody in to sweat
Speaker 1: on cue?
Speaker 2: Christian Bale?
Speaker 3: Yeah, Christian Bale, who they said he's done every transformation
Speaker 3: in Hollywood other than get shorter, you know, pretty much
Speaker 3: that's the only part he's got left, you know. And
Speaker 3: Christian Bale's got this park. He's three foot, he's three
Speaker 3: He's just done it. Yeah, he's got shot. Well do
Speaker 3: you know how he got short? I have no idea.
Speaker 2: Well, Brad Pitt did that.
Speaker 1: Benjamin Button somehow manage that so it has been done.
Speaker 3: Was extraordinary in this film. And he's such an interesting
Speaker 3: because in the rom com setup, you know, it's often
Speaker 3: he's the guy, you know, that that you kind of
Speaker 3: hope that they're with, and then there's the sexy guy
Speaker 3: that might not hang around that they're drawn to, and
Speaker 3: and it was kind of flipped in this movie. Well,
Speaker 3: William Hurts the kind of morally dubious and command and
Speaker 3: this guy is the good guy, but he's actually a
Speaker 3: little scary in the way that he loves it. So
Speaker 3: I love the way they kind of subverted the rom
Speaker 3: com you know tradition.
Speaker 1: There are so many I think brilliant choices James L.
Speaker 1: Brooks makes, and the screenplay level, and then at the
Speaker 1: directing level, and we'll get to all of that because
Speaker 1: there is so much to talk about with this with
Speaker 1: this movie.
Speaker 2: Why hadn't well, why did you nominate?
Speaker 1: I know there's a few movies you nominated, Yeah, and
Speaker 1: you said which ones? And I think I came back
Speaker 1: with two that you were on the list. I think
Speaker 1: Paper Moon might have been the other one. In broadcast news,
Speaker 1: Why had you seen broadcasting and what did you know
Speaker 1: about it?
Speaker 3: I think the other one was Lord of the Rings
Speaker 3: that and I think I tried to watch that, and
Speaker 3: I've got forty minutes in. I'm like, they haven't even
Speaker 3: left the cave. Bago Baggins or whatever his name is,
Speaker 3: Bill go Bogans. They're still in the bloody k forty
Speaker 3: five minutes in, I am and I fell as, I'm
Speaker 3: out of here. Rings? Yeah, well, there's not it. Where's
Speaker 3: the ring? There's nothing crazy happening.
Speaker 1: All You nominated that a while ago and I was like,
Speaker 1: and I was up for it, and I think we
Speaker 1: should definitely. I've been tuning in New Zealand.
Speaker 3: I've gone on so many tours of Wedder and stuff
Speaker 3: and they're like this, this is where the famous Sword
Speaker 3: of Thing. I'm like, oh yeah, and they look at
Speaker 3: me like you should be blown away. You're touching the
Speaker 3: sword of the Thing of Gandalf like it's a good sword. Mate,
Speaker 3: Well well done, Kevin. Did you build that? Did you
Speaker 3: you know? I'm hungry.
Speaker 1: I don't know how you were able to film in
Speaker 1: New Zealand for two years and then and not have
Speaker 1: seen Lord of the Rings.
Speaker 2: I know that's an incredible achievement.
Speaker 3: Thank you. It is maybe my finest.
Speaker 1: Possibly now you've got some credits. You've got some credits, yes,
Speaker 1: so broadcast news.
Speaker 3: I'll tell you why. I've never seen it, never heard
Speaker 3: of it. Really, I'd never heard of it. And when
Speaker 3: I look through that, I thought, is this like network
Speaker 3: or maybe I've you know, It's one of those movies
Speaker 3: you get twenty minutes in you went, oh, watch this
Speaker 3: with dad when I was ten, watching this at YUNI
Speaker 3: studied it, you know, and you go, okay, you know,
Speaker 3: like I watched The Last Supper again the other day. Oh,
Speaker 3: I was seen The Last Supper and the movie starts
Speaker 3: to remind you, but I drank so much in my thirties.
Speaker 3: I can't remember most of the things that I've done
Speaker 3: or seen, you know what I mean. So I was like,
Speaker 3: but I've never seen it, and I couldn't believe it.
Speaker 3: And that was what was so exciting. Well, this podcast
Speaker 3: is so great. It's like I just get to experience it.
Speaker 3: I didn't read up anything. I just pressed plays, sat back,
Speaker 3: turned the phone off and when it hit me and
Speaker 3: it was just beautiful, so funny, and the connections which
Speaker 3: you can't buy with rom coms. The connection between Holly
Speaker 3: Hunter and William hurt In it is palpable, and where
Speaker 3: that which guy's better option and her kind of situation
Speaker 3: that she's in, being this high powered, slightly anxious producer,
Speaker 3: and what it means to her to choose either of
Speaker 3: those men. It was really real.
Speaker 2: The casting is brilliant.
Speaker 1: And what I suspect has happened with me with broadcast
Speaker 1: news is I tried to watch it around the time
Speaker 1: it came out. Certainly none of the cinema I mean,
Speaker 1: I was my favorite film I think comes out that
Speaker 1: the year it was really just playing strains and automobiles,
Speaker 1: well my favorite comedy. The fact that this was an adult,
Speaker 1: you know, dealing with their own neuroses wasn't really capturing
Speaker 1: my attention.
Speaker 4: I reckon.
Speaker 2: What I did is is I tried to watch.
Speaker 1: It, maybe on video or even when it was on TV,
Speaker 1: and I couldn't quite It didn't hold my attention because
Speaker 1: I do remember and maybe this has just been replayed
Speaker 1: over the years. The famous in my mind is famous
Speaker 1: Joan Cuzak running through and diving under the filing cabinet
Speaker 1: and an amazing scene.
Speaker 3: Hitting a knee on the water Fountain then yeah.
Speaker 1: Yeah, so there were parts throughout it that were familiar
Speaker 1: to me, but I had no idea where it was going.
Speaker 1: So it was a lovely I guess rewatch or I've
Speaker 1: really felt like I was watching it for the first time.
Speaker 1: So there's so much to talk about with broadcastings. I
Speaker 1: want to talk about your three excellent nominations. I think
Speaker 1: officially Blues Brothers has gone past Princess Bright as the
Speaker 1: most nominated favorite film in this podcast.
Speaker 3: Now, yeah, and I thought, come on, be edgier than that.
Speaker 3: Choose a subtitles one show that you're deep. Then I thought,
Speaker 3: you know what, this is movie that I've watched most
Speaker 3: in the world because when I was I think twelve
Speaker 3: to twenty, I think I watched it two hundred times,
Speaker 3: you know, I mean two hundred, Like I just it
Speaker 3: was just kind of always on. And when Sean Batman,
Speaker 3: my best mart you know, Primisco, like, whenever it was
Speaker 3: have Blues Brothers on, it was just on and I
Speaker 3: knew every single line from it. And it was also
Speaker 3: when I was developing a passion for blues music that
Speaker 3: I just couldn't believe how good the music was. And
Speaker 3: it's kind of wild. Those movies in the nineties, like
Speaker 3: that Ferris Bueller movies and and say Anythings and those
Speaker 3: color you know, the sixteen Can some of those movies
Speaker 3: all of a sudden, you know, Blues Brothers and Ferris
Speaker 3: Bueller both suddenly are these tiny movies that then break
Speaker 3: into song and the whole city is in a dance piece.
Speaker 3: You know, Ferris Bueller, the Beatles song, shakes, twister, shower,
Speaker 3: and then and then it just goes back to them
Speaker 3: in the car. And you could do that in those
Speaker 3: nineties movies, and Blues Brothers just has that with you know,
Speaker 3: Ray Charles shake tail feather, all of a sudden, the
Speaker 3: whole city is dancing. Then you're back in the car.
Speaker 3: But those two actors together unbelievable, the love story, the adventure.
Speaker 3: Suddenly you've got Nazis chasing them. It was completely bonkers.
Speaker 3: It's an adventure, but it's a sibling story. Aretha Franklin's
Speaker 3: in it. It's it's incredible and wild that it even happened.
Speaker 4: Yeah.
Speaker 1: Yeah, there's a great book that I think I've mentioned
Speaker 1: a couple of times when whenever Blues Brothers gets mentioned,
Speaker 1: which I recommend to you and to anyone listening called
Speaker 1: wild and crazy guys, and it's about that generations. It
Speaker 1: focuses on like Belushi, Akroyd, Chevy Chase, Eddie Murphy and
Speaker 1: Bill Murray, I think, the ones and Steve Marttin, yes so,
Speaker 1: and the focus is on there, like transition from Saturday
Speaker 1: Night Live to movies becoming movie stars, and it's.
Speaker 2: It's a it's a great it's a great read.
Speaker 1: It was on the other it is one of those
Speaker 1: movies for me, it's like Princess Bright. It doesn't quite
Speaker 1: hold the same emotional real estate in my heart and
Speaker 1: a lot of obviously friends and movie lovers, but I really,
Speaker 1: I really love it. And when I watch it, I
Speaker 1: don't necessarily watched it. If it's on, I always watch,
Speaker 1: always watch it until the next set piece. For example,
Speaker 1: I watched it and it's coming up. Yeah, I'll watch Aretha.
Speaker 3: And I know the bits, like I know when Belushi
Speaker 3: looks at the camera in the shopping mall, you know
Speaker 3: what I mean, right on the drum beat, he looks
Speaker 3: at the camera, like when the car crashes into the
Speaker 3: makeup store, and like, I know all these funny little
Speaker 3: blueberry bits, and I you know, and and the Peter
Speaker 3: Gunn thing Boodoo do. It's just unbelievable right at the end.
Speaker 3: And they finally get to that bank for the enoughter
Speaker 3: car chase and which I often feel like this car
Speaker 3: but they get out of the car and then the
Speaker 3: car goes. The car just crumbles. Yeah, and they look
Speaker 3: at it and go, yeah, fair enough. But also such
Speaker 3: great timing and comedy in that movie and four hole
Speaker 3: fried chickens and a coke and all that stuff, you.
Speaker 2: Know, and the car chase is legitimate.
Speaker 4: It is.
Speaker 2: It is up there with French connection and bullet and yeah,
Speaker 2: you know.
Speaker 3: And Princess Leia trying to shoot him with the bersuoka
Speaker 3: in the tunnel because she loves him.
Speaker 1: I remembercause I hadn't Twiggy. I remember, I hadn't seen
Speaker 1: it for such a long time, Twiggers.
Speaker 3: And then I was like, oh, ship, that's Princess Layer,
Speaker 3: princess in love with John Belus. She's got out of prison.
Speaker 3: She's waiting for him, and because he yeah, they have history,
Speaker 3: she goes to shoot him with a cannon in the tunnel.
Speaker 1: When what he was his brothers made you know. So
Speaker 1: this is post Star Wars, wasn't it.
Speaker 2: It was.
Speaker 1: Star Wars seventy seven. Yeah, incredible Waking Fright. We we
Speaker 1: discussed this with Ross Noble. Really great chatter about Ross
Speaker 1: about Waking Fright.
Speaker 3: I was more original.
Speaker 1: No, no, no, that's he was watching for the first time.
Speaker 1: I'm not sure anyone's nominated as the as their favorite film.
Speaker 1: I love this film and I loved watching it again.
Speaker 1: I had seen it and I love watching it again.
Speaker 2: For that episode.
Speaker 1: What a punch to the Australian male psyche that.
Speaker 3: Is, yeah, which you know is on brand for me,
Speaker 3: if not my brand. So I'm kind of envious to
Speaker 3: this movie. And also the fact that you just couldn't
Speaker 3: make it again. I mean the kangaroo sequence, the reu
Speaker 3: hunting sequence that you go, is this really taking place? Yeah?
Speaker 2: Right now, it's funny.
Speaker 1: You hit a director talk about it now, and I
Speaker 1: think he's he's playing his cards, got a little bit
Speaker 1: close to his chest, so he's not he's kind of saying, oh,
Speaker 1: we obviously we shot it differently, like because the idea
Speaker 1: is that they went and shot that the kangaroo's being
Speaker 1: slaughtered on an actual kangaroo like culling things. So the
Speaker 1: shots and then the shots are shot separately and the
Speaker 1: reverse shots which we will get to during broadcast news obviously,
Speaker 1: but so that it's done separately, but it's still can't
Speaker 1: get away from the fact. I mean, and there's two issues,
Speaker 1: isn't It is one that you can talk about. The
Speaker 1: issue is like, is that should we should sin to
Speaker 1: me be going those areas and having that. But then
Speaker 1: there's the the riscal response you have as an audience
Speaker 1: when you disregard that and kind of go wow, that
Speaker 1: that is fucking full on.
Speaker 2: Yeah.
Speaker 3: And then when they finish that, they go back to
Speaker 3: a pub and they get drunk and they kind of
Speaker 3: have the most homo erotic bar fight. Yeah, you know,
Speaker 3: and the whole thing is homo erotic between these men
Speaker 3: that they can't have sex with each other. So they
Speaker 3: go out into the wild and they challenge kangaroos and
Speaker 3: then they fight each other and it's so hot and
Speaker 3: so sweaty, and he kind of does go home with
Speaker 3: the doctor who says I'm the local doctor olcomel, you know,
Speaker 3: and the what the globe is swinging and you're like,
Speaker 3: what exactly happened on that mattress that night? After the fight?
Speaker 2: How good is they're also good Donald Pleasants is.
Speaker 3: A same performance. It is just remarkable. But he's where
Speaker 3: is he at? A Bell and Gabba? But what's the
Speaker 3: town called the Yabba Yabba? Yeah, an English school teacher
Speaker 3: trying to get to the city to meet this girl
Speaker 3: that he keeps having fantasies about whether she exists or
Speaker 3: not who knows, And he, you know, starts his game
Speaker 3: of two up, thinking it's harmless, gets a bit into it,
Speaker 3: suddenly loses money. He's stuck. The pub's only got men
Speaker 3: in it, you know, the cops drinking four beers at once.
Speaker 3: Everyone just chips jeeps rafferty and suddenly he's out on
Speaker 3: He's like, I'm stuck here, and he just starts to
Speaker 3: lose his sanity, which I imagine is what would happen
Speaker 3: to an englishman out in the middle of Australia after
Speaker 3: for a while, you know, and what's real and what's
Speaker 3: not starts to kind of dissolve in his head as
Speaker 3: he becomes more and more carnal and starts to realize
Speaker 3: he ain't going to get that beach fantasy with the girl.
Speaker 3: He's going to have to do it here tonight, you know.
Speaker 2: And and he's probably never get it getting out.
Speaker 3: He's never getting out and you can't.
Speaker 1: It reminded me that when I watched it. I went
Speaker 1: and saw Parasite not long after in the cinema son,
Speaker 1: and I just said to my son, I said, they
Speaker 1: make really I want I want you to watch this
Speaker 1: film because and I hadn't seen it, but I said,
Speaker 1: you know, it was literally just out in cinemas, and
Speaker 1: I said, they do things very differently the way the
Speaker 1: Americans do cinema. Look at the opening scene without knowing
Speaker 1: what it was, and I guarantee you it'll say something
Speaker 1: about what this movie is about, and it does.
Speaker 2: It's that basement kind of half basement shot.
Speaker 1: And I thought of that because when I watched Wake
Speaker 1: in Fright, the opening shot is that kind of three
Speaker 1: sixties shot they do, you know, of that town. And
Speaker 1: it just for me that this foreshadows the this guy's
Speaker 1: in a loop and.
Speaker 3: Well he wakes up, he's going to end dark thinking
Speaker 3: I'm there. Yeah, I mean, Sidney's like, oh no, I'm
Speaker 3: in yeah, you know, and it's like, yeah, Australia, you
Speaker 3: can't leave, you can't. We got your buddy, So settling, settling,
Speaker 3: and and part of the argument is the best films
Speaker 3: about Australia are made from outside directors walk about, Wake
Speaker 3: and Fright, you know.
Speaker 2: And he's the Canadian director.
Speaker 3: Yeah, yeah, and I mean the director made Weekend Bernie's.
Speaker 3: Can you believe that?
Speaker 2: Is?
Speaker 3: It is because they come in Australia and go, you
Speaker 3: guys are crazy. You know, this place is mad, it's
Speaker 3: really hot, You're all really weird. You're disconnected with the
Speaker 3: original inhabitants of this land, Like what is going on here?
Speaker 3: You drink forty beers a day and you think it's
Speaker 3: normal and we can't see. They were like, oh, yeah, this,
Speaker 3: we're just doing the thing, you know, And outside directors
Speaker 3: come in, going, you guys are nuts. We're going to
Speaker 3: make a film about it, you know.
Speaker 2: Yeah.
Speaker 1: So for those who aren't really aware of it, one,
Speaker 1: I think the PALMDI or yeah, in car it's based.
Speaker 3: On a book based on again Lacey can that's.
Speaker 1: Yeah, that sounds roughly right now and then and it
Speaker 1: didn't do big business outside of France. The French loved it, yeah,
Speaker 1: and then it just disappeared. They lost to print and
Speaker 1: they only found the print in like and they restored it,
Speaker 1: but only about twelve years ago.
Speaker 3: So it's right because they started to release it on
Speaker 3: thirty five again in like the cremorn Orphium in Sydney,
Speaker 3: and I did a quote for the book for the
Speaker 3: re release of the book, so they must have had
Speaker 3: a resurgence of the book in the film. Yeah, you
Speaker 3: can get your hands on it. I've got a really
Speaker 3: good original poster of it in my place in London.
Speaker 3: It is just priceless and Australia. It's Australia in a
Speaker 3: movie to me. Yeah, yeah, and it was why when
Speaker 3: I made Ruben Guthrie, that's what I tried to kind
Speaker 3: of work on that tone, kind of just a wild
Speaker 3: hilarious but kind of ominous, kind of really interesting actually yeah,
Speaker 3: I and I want that unsettling yet hilarious set, like,
Speaker 3: holy shit, what's going on in the waters here?
Speaker 1: Feeling well Ruben Guthrie because it's it's you can look
Speaker 1: at waken fright and kind of go, that's them and
Speaker 1: that's the outback and that's what they do out there.
Speaker 1: And what is great about Reuben Guthrie and what I
Speaker 1: really connected with it is that, oh no, this is
Speaker 1: this happens in our cities, in our in our suburbs
Speaker 1: in our households. You know that that that pool of light.
Speaker 1: You're not going to stop drinking, are you mate?
Speaker 2: Yeah? Your dad doing that too.
Speaker 3: Just have one and and and that's what some of
Speaker 3: the criticism of Ruben Guthrie was, Oh, a white middle
Speaker 3: class advertising guy, a drinking probably, And I'm like, no, no,
Speaker 3: But that's the point is there's no reason for this
Speaker 3: guy to be this way. You know that it doesn't matter.
Speaker 3: You know, this is how it is in Australia, and
Speaker 3: I wanted to show that that it's not just about
Speaker 3: having a bad news story. And you know, and and
Speaker 3: coming from a difficult place, this is in built even
Speaker 3: with privilege.
Speaker 2: You know, that's almost about, isn't it.
Speaker 1: It's like Damien Power made a good point that, you know,
Speaker 1: it's important that those characters in Fight Club are white
Speaker 1: and in middle class because that's that is the point.
Speaker 3: And succession, you know, all those kind of Yeah, absolutely.
Speaker 2: I'm glad you said Punks Drunk Love.
Speaker 1: We will be doing boogie Nights this series with Beck
Speaker 1: Childhood and Mith for he has had a great chat
Speaker 1: about Magnolia that was one of her favorite films, but
Speaker 1: nobody yet has nominated Punch Drunk Love, and I still
Speaker 1: don't know.
Speaker 2: I love Paul.
Speaker 1: Thomas Anderson so much that I still I can't completely
Speaker 1: commit to which one is my favorite film, but Punk
Speaker 1: Drunk Love is definitely in the conversation.
Speaker 3: Yeah, Oh, I'm glad you feel that way because I
Speaker 3: did too. And everyone's so hardcore with Magnolia and Boogie Knights,
Speaker 3: which I think he was twenty nine when he made
Speaker 3: Boogie Knights.
Speaker 2: The Bastard incredible like and.
Speaker 3: But something about Punch Drunk Love. Adam Sandler in the
Speaker 3: lead role, who knew this is not a silly movie,
Speaker 3: and he just holds the emotional gravitas of this really
Speaker 3: disturbing film about falling in love. I just love this
Speaker 3: guy because he tells it the way it is.
Speaker 5: He's he's not a phony, and these and these guys,
Speaker 5: and this guy calls up and he's talking about his
Speaker 5: senior quote, and so TJ. Justice says, what was your
Speaker 5: senior pool? What was all great about it? He says,
Speaker 5: I stole an ancient proverb, and so he says, okay,
Speaker 5: and he says confusion, Say DJ Justice is confusion or confusions?
Speaker 5: And it was just so comical if DJ Justic just
Speaker 5: cut you.
Speaker 4: Down the sides.
Speaker 5: You know.
Speaker 4: That's that's my favorite part of the show. I laugh,
Speaker 4: I laugh and laugh even when I'm alone.
Speaker 3: Yeah, And you know, you've got other movies like Blue
Speaker 3: is the warmost color that make you go feel sick
Speaker 3: with that falling in love feeling. You know that it's
Speaker 3: it's it's so pleasant, it's unpleasant. The first love, you know,
Speaker 3: and the harmonium falling off the truck out the front
Speaker 3: of the warehouse in this weird spontaneous crash that makes
Speaker 3: no sense. And then this harmonium comes into the building
Speaker 3: and Adam Sandler starts pressing the buttons on it, going
Speaker 3: what is this? That's love? You know? And that's what
Speaker 3: I love about what PTA does is his films not
Speaker 3: only tell the story of something, the film itself embodies
Speaker 3: it in music, form and structure. You know, the movie
Speaker 3: is love. When they're at the height of their love,
Speaker 3: where do they go Hawaii? Yeah, because when you're in
Speaker 3: love Pta, like they said to Pta, why do you
Speaker 3: go to Hawaiian and goes, well, you know, when you're
Speaker 3: in love, everything's Hawaii, you know, And Adam Sandler has
Speaker 3: that line. He looks around, he goes, it's just so Hawaiian,
Speaker 3: and it's true. You know, love is a Hawaiian street festival.
Speaker 3: And they were Lucky Palel when they were shooting the
Speaker 3: street festivals on they went, oh my god, this is ridiculous.
Speaker 3: And you've got their moving through it. And that's what
Speaker 3: it's like. Nothing can go wrong when you're in love
Speaker 3: at that early stage, you know. And the soundtrack to
Speaker 3: this is spectacular love. The fact he's got all those sisters,
Speaker 3: because I've got two sisters and you know, and they
Speaker 3: have these opinions on what's wrong with you and everything,
Speaker 3: and even in the you know, in the warehouse, the forklift,
Speaker 3: the walls, the boxes, everything's falling over and unsteady, you know,
Speaker 3: and everywhere he looks that's love too.
Speaker 4: You know.
Speaker 3: And then Phillips my Hoffmann. He represents the past, which
Speaker 3: is when you fall in love, some shit might come
Speaker 3: and take it away that you used to do, that
Speaker 3: you did once, and there's phone calls that might come
Speaker 3: and they might find out about who you truly are
Speaker 3: and how you didn't treat someone well or your own
Speaker 3: money or whatever. You and you're like, no, I've changed,
Speaker 3: I've changed. I've changed, like no, you haven't.
Speaker 1: There's an a strange cricket captain who might be I
Speaker 1: want to check out Punchtruck Love at the moment, but
Speaker 1: seriously hard, sorryto biography.
Speaker 2: There's a lot of pain there.
Speaker 3: Anyway. What is the opposite of that? Hilariously hard?
Speaker 1: Hilariously hilariously very fluids. I'm hilariously hard anyway, punstrang Love.
Speaker 1: What I love about puns strang Love is that Adam
Speaker 1: Sandler's character is hiding away. He's hiding away in that
Speaker 1: warehouse and that that harmonic what do you call it?
Speaker 3: I think it's a weird organ, Yeah, and.
Speaker 1: That comes to him, Emily Watson comes to him.
Speaker 2: He's not out looking for love, he's playing.
Speaker 1: He almost doesn't feel like he's deserving of it, I feel,
Speaker 1: you know. And then and his sisters pushing him into
Speaker 1: like meet this, you know, they bring Emily Watson to him.
Speaker 1: So it's like when you are watching a wedding speech
Speaker 1: made by you know, the father of the bride and
Speaker 1: it's completely against everything in his fiber to get up
Speaker 1: in front of two hundred people. And those moments make
Speaker 1: me anytime I see his speech, I don't necessarily want
Speaker 1: to see people like me.
Speaker 2: I don't want to see comedian making speech at the wedding.
Speaker 1: I don't want to go see the guy who's like,
Speaker 1: you know, the funny guy in the group.
Speaker 2: I mean, you know, I have a laugh. But what
Speaker 2: I love, what gets.
Speaker 1: Me, what punches me, and what pulls my heart strings,
Speaker 1: is a discomfort of like going this has taken me,
Speaker 1: This has taken courage for me to write these words
Speaker 1: and now have to perform. And the hands are shaking,
Speaker 1: And that's Adam Sandler throughout Punstrung Love that when they
Speaker 1: go on a date. And I had the absolute pleasure.
Speaker 1: And I think I've mentioned it my podcast. I forget
Speaker 1: what I mentioned when I haven't. I had the absolute
Speaker 1: One of my bucket list moments was I had dinner
Speaker 1: with poor Thomas Anderson and our friend Joel Perlman and
Speaker 1: and I was like, he was out here for the
Speaker 1: Master and I was like, I can't, I can't. I
Speaker 1: can't just geek out. I need to come, you know,
Speaker 1: just ride the waves and all that. But but the
Speaker 1: one conversation we had about was it was about puns
Speaker 1: Strung Love and that scene. I just love the scene
Speaker 1: where Adam Sandler is quoting the FM, the breakfast DJs
Speaker 1: and just saying how funny he is. And he you know,
Speaker 1: DJ Just I think his name is DJ Justice. He
Speaker 1: just really gets to them. He doesn't he doesn't get them.
Speaker 1: He doesn't let him get away with anything that I'm paraphrasing,
Speaker 1: but it's like, it's so it's so funny that he's
Speaker 1: the conversation he's having, he's it's basically saying how somebody
Speaker 1: else is, how charming and funny somebody else is, you know.
Speaker 1: And then he goes to the bathroom and he tears
Speaker 1: it up, and then he comes back and he gets
Speaker 1: comes over the way to come. The manager comes over
Speaker 1: and he says, did you just tear up the bathroom?
Speaker 1: And he's like, no, I don't, I don't know. Eventually
Speaker 1: this fuck off mate, you did, and he's gone.
Speaker 3: It's that anger that he has. It's really interesting. That
Speaker 3: kind of makes the movie surprising. Yeah, you know, and
Speaker 3: their combination and like one of the most beautiful love
Speaker 3: scenes I think I've ever seen the movie is when
Speaker 3: they're staring at each other, going, you're so I'll go,
Speaker 3: I want to punch you in the face. Yeah, you know,
Speaker 3: and there's just this weird like they're spitting into each
Speaker 3: other's mouths. In a way, there's this kind of like
Speaker 3: I just want to, you know, and say these horrible things,
Speaker 3: but it's love. It's like, I'm so angry at you.
Speaker 3: I'm so scared, I hate you for doing this to me.
Speaker 3: I'm so in love with you. Why have you come
Speaker 3: and ruined my life because now I'm never going to
Speaker 3: be the same again and you can see me and
Speaker 3: I'm really worried this is going to kill me, you know,
Speaker 3: And it's like that understanding of love like that. Also,
Speaker 3: you know, movies like in The Mood for Love and
Speaker 3: blue is the warmest color, seem to get the illness,
Speaker 3: the darkness and the rage inherent with true love.
Speaker 1: I thought it was just, well, we are so used
Speaker 1: to seeing films about people really searching for love and
Speaker 1: needing love and having love before and now wanting it
Speaker 1: again and you being on the rebound or whatever. This
Speaker 1: is about those who weren't looking for it. You know,
Speaker 1: from Adam Sandler's perspective, you can't do anything about it. Yeah,
Speaker 1: it's got its claws in you. Yeah, But that beautiful
Speaker 1: sequence and there's a proscenia march, all the commuters walking past,
Speaker 1: and they just move towards each other and kiss. So
Speaker 1: he has all those kind of old nods to those
Speaker 1: classic Bogardy kind of you know actually like all those
Speaker 1: old movies, has all those nods those movies. Yeah, I
Speaker 1: listened that a lot when I'm writing, Like, I listened
Speaker 1: to a lot of scores.
Speaker 3: I'm writing on the mood. But that's that's a fantastic
Speaker 3: thing to listen to. And and the scene where he
Speaker 3: runs up to Hoffman and says, I have so much
Speaker 3: is it? I have so much much love, so much
Speaker 3: power or strength in me?
Speaker 4: Yes?
Speaker 3: Yeah, yeah, he has love. Yeah, so I can tackle
Speaker 3: my past, I can tackle my demons, yeah, because I've
Speaker 3: got love in my heart.
Speaker 2: Yeah. And this run just runs through the streets.
Speaker 3: And then yeah, like is that when Hoffman does the
Speaker 3: phone shut up, shut up, shut up, shut up, shut up, shut.
Speaker 6: Up, shut the fuck right to take shut up, shut up,
Speaker 6: shut up, shut shut shut shut shut up, shut up?
Speaker 2: Now are you.
Speaker 3: Threatening me deck, which you know would have been Hoffman improvising. Ah,
Speaker 3: because when I worked with Hoffman, he tracked me in
Speaker 3: True West, you know, which changed my acting game and
Speaker 3: my life and and he if anyone doesn't know this,
Speaker 3: Philip Hoffbin's obsessed with one thing and that's the truth.
Speaker 3: And he just says, do not ever lie to the audience.
Speaker 3: And he does stakes and status. So he's obsessed with
Speaker 3: scenes and breaking down scenes to You're a status of
Speaker 3: ten here and the stakes are eight. Your status are
Speaker 3: two here and the stakes are four. You know, so
Speaker 3: you break it down in the numbers. And if you
Speaker 3: look through all his performances, you can see when he
Speaker 3: is playing stakes in Boogie Nights, he's playing status of
Speaker 3: one because it's like so in love with Markey wall Mark,
Speaker 3: but the stakes are ten.
Speaker 4: Yeah.
Speaker 3: This is the most important conversation in my life, talking
Speaker 3: about how much I bench with Mike Wahlberg's character.
Speaker 2: How much do you love my car?
Speaker 4: Up?
Speaker 3: But my status is won, yeah, you know, and then
Speaker 3: the stakes and then the status that he has in
Speaker 3: Boogie Knights it's ten. Yeah, shut up, shut up, shut up.
Speaker 3: You know what I mean. And the stakes of it
Speaker 3: is probably ten as well because of the money, you know.
Speaker 3: And you can see in all his performances how he's
Speaker 3: adjusting his stakes and his status, you know, from being
Speaker 3: the king in the in the hand of Cards to
Speaker 3: the Dance, the one you know, and you can just
Speaker 3: that performance him playing the ten is amazing.
Speaker 1: That thought seem a Hoffmann, not just because he's my
Speaker 1: doppel ganger, but I could just any anything, even the
Speaker 1: films where he's not disappearing, you know, or like, well
Speaker 1: he always disappears though, doesn't he I mean, like even Moneyball,
Speaker 1: the mistake you would make his thinking that was walking
Speaker 1: the park for him, and like I'm not sure if
Speaker 1: any performance was walking the parking, that's that's not giving
Speaker 1: him enough credit for the work.
Speaker 2: Under preparation, he would do.
Speaker 3: No, you kind of like I remember telling his wives
Speaker 3: that you can't be around on him when he's acting,
Speaker 3: like because he's there, Yeah, you know what I mean.
Speaker 3: And when he did true West John c Riley be
Speaker 3: reading the New York Times, Phillip be scratching his head
Speaker 3: against the wall to the bled to go on stage,
Speaker 3: you know what I mean, Like he's he's the real
Speaker 3: real deal when it comes to getting into that space.
Speaker 3: But yeah, he's extraordinary in it.
Speaker 1: Yeah, all right, let's talk about the movie We Are
Speaker 1: We are here for Broadcast News nineteen eighty seven.
Speaker 2: James L. Brooks.
Speaker 1: He wins three oscars for Terms of Endearment in nine
Speaker 1: and eighty three, so he has to back it up
Speaker 1: with something pretty special, and I reckon he has done
Speaker 1: the job. And speaking of interesting choices, don't you think
Speaker 1: there's this interesting choices all.
Speaker 2: Over all over this movie.
Speaker 1: But the very fact that like that Tom goes, you know,
Speaker 1: to Jane's hotel room after they meet, after that Q and.
Speaker 3: A yeah, and then straight away and she's like tries
Speaker 3: dabs X with him, yeah, which is completely in opposition
Speaker 3: to her character.
Speaker 2: Yeah, which is like, but you believe it, you believe it.
Speaker 3: She's kind of mad.
Speaker 1: It feels like there is some writer and directors la Port.
Speaker 1: I think, like James L. Brooks that understand that adults
Speaker 1: and people make sometimes choices that go against we're not
Speaker 1: we're not consistent.
Speaker 3: That's what we call behavior, yes, And I think that's
Speaker 3: what we go to watch. We go to watch human
Speaker 3: behavior that shocks us, but we understand it, We connect
Speaker 3: with it and go, oh, she's not she isn't. I
Speaker 3: cannot or don't keep doing it. And because we know,
Speaker 3: you know, and humans are opposite creatures. You know, animals
Speaker 3: are like hungry kill, you know, horny root, you know,
Speaker 3: scared hide and whereas adults are like hungry, confused, like
Speaker 3: we do the opposite. We cry at a wedding's laugh
Speaker 3: at funerals, where human behavior contradicts because of our conditioning
Speaker 3: and our luggage and everything, we don't always behave in
Speaker 3: the right way, which is why there's more than one
Speaker 3: documentary made about so we can have all these movies. Yeah,
Speaker 3: you know, because we keep doing stuff that doesn't make
Speaker 3: any sense, but that we connect.
Speaker 2: With movies and I think, let's let's let's clean all
Speaker 2: this up.
Speaker 4: Yeah.
Speaker 1: And it's the great movies and the great writers and
Speaker 1: the great directors and the great actors who see through
Speaker 1: that and kind of go, no, it's messier. Yeah, trust
Speaker 1: the audience to go with it, because it's we all
Speaker 1: know deep down, even if we're not articulating it, that
Speaker 1: we have made decisions that maybe go against their own
Speaker 1: sometimes even moral code sometimes.
Speaker 3: And people can come into your life and suddenly you're
Speaker 3: behaving in a really strange way. Yeah, you know, and
Speaker 3: you become.
Speaker 1: The It's almost every movie, though, isn't it, like yeah, yeah, yeah,
Speaker 1: you suddenly this is your life and something's going to
Speaker 1: come along that's going to change your life.
Speaker 3: And suddenly you're the ten year old in the school
Speaker 3: yard again, even though you're the high powered producer, which
Speaker 3: she is, you know, anxious, overworked work, a whole killer,
Speaker 3: you know. And but at the same time, she is worthy,
Speaker 3: she's earnest, you know, she's about stuff. And that's what
Speaker 3: the movie kind of gets to in the end is
Speaker 3: she has a moral decision to make with William Hurt,
Speaker 3: which if you look now at the way news is
Speaker 3: what William Hurt does. And I don't know if we're
Speaker 3: doing spoilers on this podcast, but.
Speaker 1: What we can do spoilers, I mean, I don't want
Speaker 1: to get to the ending too soon, so we might
Speaker 1: park that because I'll go back to the idea of
Speaker 1: you got the hotel room. And then he leaves, which
Speaker 1: is a great scene, and I want to ask you
Speaker 1: to talk to the flow of scenes. I think you'd
Speaker 1: be a perfect person to I'd love to hear you
Speaker 1: talk about it. But then he calls her from a
Speaker 1: a you know, his pre mobile, which I love the
Speaker 1: fact that it was all premobile mobile fianes, and he
Speaker 1: says that I'm actually I work, I'm working with you, you know,
Speaker 1: I didn't tell you that, which is actually, you know,
Speaker 1: whatever reason me shit anything to do, maybe not to
Speaker 1: declare that, to go back to somebody's room and not
Speaker 1: declare it. So you think then when he goes to
Speaker 1: work on the Monday, that this has been set up.
Speaker 1: There's a version, many, many, many versions of this film
Speaker 1: where they hate each other. You know, they can't stand
Speaker 1: each other because this is how they met and this
Speaker 1: is how they clashed, and it's awkward, and Holly Hunter's
Speaker 1: maybe a bit kind of like job focus, which is
Speaker 1: true to a character, and she's a bit you know,
Speaker 1: she keeps him at a distance.
Speaker 2: But they don't necessarily go to war with each.
Speaker 1: Other, and I think they would have been such an
Speaker 1: easy decision to make.
Speaker 3: No, they don't. And when they have that, no, I
Speaker 3: think it's a Libya war. And suddenly they have to
Speaker 3: jump into a story together.
Speaker 7: In the summer of nineteen eighty one, two Libyan jets
Speaker 7: suddenly attacked too American f fourteens pint.
Speaker 4: The golfs claim them.
Speaker 7: He does know that the golf is part of Libya's
Speaker 7: territorial watt to you and I shared by other nations,
Speaker 7: including the US.
Speaker 4: After a brief Die Dog Fate.
Speaker 7: Both Libyan jets were down by the American faders. Nathan
Speaker 7: Benchley is at the Pentagon, so that's great, Commander. It
Speaker 7: must have been a bit tougher today shooting down the
Speaker 7: med twenty one.
Speaker 4: The one you got was ne su twenty two.
Speaker 6: Was it like, at the moment's confrontation, what's.
Speaker 4: It like to be in a real dog fight?
Speaker 3: That's the love dance, Yeah, you know of the movie.
Speaker 3: That's the that's the moment where they go the two
Speaker 3: of us combined in this beautiful way. But at the
Speaker 3: same time, he's threatened by the fact that it was
Speaker 3: her brilliance in his face and you know, and he
Speaker 3: is threatened by the fact that she's brilliant and she's
Speaker 3: a woman, you know, and he's got to come to
Speaker 3: terms with that, and he wants to do his own thing.
Speaker 1: But he does know what's great about it. He knows
Speaker 1: he needs her, like yeah the whole way through, like
Speaker 1: I love to set up as the kids. So I
Speaker 1: thought it was so yeah, I really enjoyed that. I
Speaker 1: really felt like, Okay, I think I'm going to enjoy this.
Speaker 1: But he is like he doesn't. He says he doesn't
Speaker 1: understand a lot of the new stories.
Speaker 2: He doesn't write.
Speaker 3: He's not the brightest crayon. He's so charismatic and he
Speaker 3: does care and he wants to make great stuff. And
Speaker 3: the tension they have which you can't buy, Like, I
Speaker 3: don't know if you've ever seen the auditions for The
Speaker 3: Notebook and you see Rachel McAdams and Ryan Gosling just
Speaker 3: in a rehearsal room, you know, look at and they're
Speaker 3: three feet apart, and you're like, just have sair, you know,
Speaker 3: and let me please like it there is and often
Speaker 3: in Hollywood you know, I've done it before. You have
Speaker 3: the chemistry test and it is a thing. And the
Speaker 3: tension when big tall William Hurd is standing there in
Speaker 3: a tiny little office between a desk and a door
Speaker 3: and she's looking up at him but she has all
Speaker 3: the power, it makes you breathless. You know there's something
Speaker 3: in the writing there and what they're talking about. And
Speaker 3: there's also two people, not unlike punched drunk love, who
Speaker 3: don't want this, and they want to stay with how
Speaker 3: they're doing, which is career focused money and burying their
Speaker 3: truth and burying their emotional wellbeing in work and just
Speaker 3: you know, don't look up, just keep keep going ahead
Speaker 3: with what you're doing, and they can't, you know what
Speaker 3: I mean. There's such a palpable attraction for them. And
Speaker 3: you know, the plot it weaves brilliantly by with the
Speaker 3: use of Albert Brooks coming in. Who you can tell
Speaker 3: is that guy that you know didn't get laid at
Speaker 3: high school. He really cares, he gets forgotten in the conversations,
Speaker 3: and he's just so in love with Holy Hunter's character
Speaker 3: and always has been. Yeah, you know, and he's probably
Speaker 3: the good guy, but he doesn't have the charm William Hurt,
Speaker 3: the effortless charm.
Speaker 1: Yeah, despite being funny. And that's what I love about
Speaker 1: the scenes. We see him being beaten up, and even
Speaker 1: as he's been beaten up, he's still throwing out one
Speaker 1: liners and yeah, yeah, he can think.
Speaker 2: He's way through.
Speaker 3: You'll never make more than nineteen thousand dollars a year,
Speaker 3: and I'm going to travel the world.
Speaker 2: That's it. That's it.
Speaker 1: And it's really interesting because it is this love triangle.
Speaker 1: At first, you kind of think, well, Albert Brooks, Aaron's
Speaker 1: obviously in the friend zone.
Speaker 3: I reckon Albert Brooks was totally in with a shot.
Speaker 3: That would be my controversial opinion.
Speaker 1: James ler Brooks did not know who Jane was going
Speaker 1: to end up with, and the actors didn't know. You're right, true,
Speaker 1: smack bang on the money. I only found that out
Speaker 1: through doing some research.
Speaker 3: She doesn't it. We don't want to give it away,
Speaker 3: but that he is so effortlessly charming, but he's too
Speaker 3: not predatorial. He's leaning on her too hard because he
Speaker 3: doesn't raid himself because of his bully, you know, because
Speaker 3: of that kid that was bullied in the yard. He
Speaker 3: thinks his dickhead is never going to get the girl.
Speaker 3: And he actually would have if he just stayed respectful
Speaker 3: and enthusiastic and supportive and curious about her instead of
Speaker 3: almost trapping her in his flat. Because of his jealousy
Speaker 3: towards William Hurt, he became Macavlian almost kind of really unhealthy,
Speaker 3: unwell looking man in front of her. He declared his
Speaker 3: spite and and Holly Hunter's like, no, that's not you.
Speaker 3: Why are you doing that? Yea, why are you behaving
Speaker 3: in that way? But it's because the effortless swagger guy
Speaker 3: had rolled into town that all his demons, school yard
Speaker 3: demons comes out. He was probably going to get there.
Speaker 1: You have all these complicated relationships with the characters because
Speaker 1: they all do really kind things and they all do
Speaker 1: really shitty things.
Speaker 2: Like it tries the kind things. You know.
Speaker 1: Tom teaches gives Aarronos tips about how to be you know,
Speaker 1: the jacket, yeah, and punching words and angles and this
Speaker 1: is your good angle.
Speaker 3: But like William Hurt, some of the scenes you imagine
Speaker 3: put trying to put in a movie now, you know.
Speaker 3: He goes into Holly Hunter's office, grabs her chair, pulls
Speaker 3: her chair towards him. You talking in my ear. It's
Speaker 3: like great sex, you know, and you're thinking, hang on,
Speaker 3: I don't think that would fly in a movie now,
Speaker 3: you know. And like when they're outside, she she skips
Speaker 3: that fancy dinner and they go outside and have a
Speaker 3: wine on this.
Speaker 1: Because she doesn't want to go through to the security
Speaker 1: scanners because she has condoms packed in her handbag.
Speaker 3: It's a great detail and she yeah, they go through.
Speaker 3: They have a dinner outside and then he kisses it once.
Speaker 3: He basically just puts his hand inside of blouse straight
Speaker 3: away and she's like, are you going to kiss me
Speaker 3: while you're doing that yes, whoa but it's also a
Speaker 3: declaration of who he is, which is a result driven man,
Speaker 3: you know, And that's what the revelation is in the
Speaker 3: denument of the fact that he doesn't care how he
Speaker 3: gets it as long as he gets it, which is
Speaker 3: the shot at the end, you know, how he gets
Speaker 3: the story. Yeah, as long as you get the shot
Speaker 3: doesn't matter if it's real, you know. And you can
Speaker 3: see Brooks is about no, it's this is this is
Speaker 3: journalism here, this is a human beings and that's Holy
Speaker 3: Hunter as well. It's this human beings on offer here.
Speaker 2: And we see both sides.
Speaker 1: We see, yeah, we see the acts of kindness, but
Speaker 1: we also see the odd behavior like what we just
Speaker 1: spoke about, but also the shitty things they all do.
Speaker 1: Like Aaron tells Jane about that, you know that, you know,
Speaker 1: like knowing that his best friend that we now know
Speaker 1: is in love with that Tom only had the one camera,
Speaker 1: so he basically spoils that moment. Jane sends Jennifer to
Speaker 1: fucking Alaska. The cover Alaska. Well, it's not setting exectly
Speaker 1: to the outback the cover the serial Killer, because Tom
Speaker 1: and her are starting to you know, and there you know,
Speaker 1: early stages of a relationship.
Speaker 3: So it's Romeo and Juliet, isn't it. It's it's Romeo
Speaker 3: and Julia. It's something that's a deaft hand. The letter, yeah,
Speaker 3: you know. And then the poison. No, it's not real poison.
Speaker 3: She's not dead, she's faking it from the friar. And
Speaker 3: if and if Romeo, if the letter Romeo said wasn't hidden,
Speaker 3: it's the notebook with the mum destroying the letters. Yeah,
Speaker 3: you know, it's it's a standard love story trope of
Speaker 3: like if only you got that information, why I was
Speaker 3: it thwarted? You know, if he didn't declare about the camera,
Speaker 3: she would have gone to William Hurt's house and they
Speaker 3: would have had sex, and they probably would have gone
Speaker 3: on that holiday at the end, and all those kind
Speaker 3: of you know, star cross lovers and it's actually the
Speaker 3: world that has more of a problem with them than
Speaker 3: they do, and all that kind of stuff. But in
Speaker 3: the end, she's dating someone, yeah, Albert Brooks as a kid, yep.
Speaker 3: And William Hurt's still interested in her, but he's still
Speaker 3: William Hurt's character, you know, he hasn't changed. Yeah, you know,
Speaker 3: And it's it's I love the ending because it's sad,
Speaker 3: but it's beautiful. And James L. Brooks cared so much
Speaker 3: about his characters. He did not And I imagine that
Speaker 3: in those we wouldn't have been zoom meetings because there
Speaker 3: wasn't zoom. But you know, in those production meetings, I
Speaker 3: imagine the investor and the network would have gone, oh,
Speaker 3: come on, we need a wedding here. Yeah, you know,
Speaker 3: and we'll have the news and they'll do it and
Speaker 3: they'll be on Staten Island or you know, come on, guys.
Speaker 1: And this is where this is where, you know, in
Speaker 1: the movie making business. The fact that he won three
Speaker 1: Oscars for Terms of Endement probably gives him the power
Speaker 1: to have the ending that he actually wanted. He did
Speaker 1: shoot an alternate ending, did he with William jumping in
Speaker 1: the cab and the airport and they basically just improved
Speaker 1: this dialogue. It's available online. You can easily YouTube it,
Speaker 1: and it goes about three minutes and they kiss quite passionately,
Speaker 1: and then they kind of they talk and William Hurt
Speaker 1: just goes, you make me.
Speaker 2: Crazy, you know, and all that. But so he's going
Speaker 2: to get on the plane. Yeah, and he gets off
Speaker 2: the plant.
Speaker 3: She's sitting on that chair going what is my life?
Speaker 2: She's in the cab at this stage.
Speaker 3: Yeah yeah, And then she gets in the cab. Yeah right,
Speaker 3: and and she goes, you can take the three Highway.
Speaker 3: It's quicker. Oh sorry, you know, so.
Speaker 1: Let's let's talk about We can even go back and
Speaker 1: talk about other stuff. But so the big one of
Speaker 1: the big things that happens here is that Tom does
Speaker 1: an interview with a victim of date rape and it's
Speaker 1: it's it's quite a powerful thing obviously, just with the
Speaker 1: woman's account. But then it cuts to a shot of
Speaker 1: Tom doing an interview and he's crying. The newsroom is
Speaker 1: watching it. It seems to me that Aaron, like Aaron,
Speaker 1: has a problem with it immediately for like many reasons,
Speaker 1: both on a professional level, this is crossing a line
Speaker 1: and on a personal level that he actually sees that
Speaker 1: the women in the office seem to be responding to this,
Speaker 1: and Jane seems to be, you know, responding to it,
Speaker 1: or at least he's trying to maybe cut it off
Speaker 1: at the past that you know, this is not this
Speaker 1: is this is no good. So and Jane says something
Speaker 1: that's I think really important, particularly for later on where
Speaker 1: she says when he when he asked, what did you
Speaker 1: think of it?
Speaker 2: She says, it was real and it got it got me.
Speaker 3: Yeah, you gut me.
Speaker 2: Yeah.
Speaker 1: And I think that's important because later on because well,
Speaker 1: and you talk about now when you watch it in
Speaker 1: twenty twenty one, and there's a great line that I
Speaker 1: think is really prevalent today that Tom says, he goes,
Speaker 1: I keep moving the line. Well, the line from nine
Speaker 1: to eighty seven to twenty twenty one has been shifted
Speaker 1: kilometers miles.
Speaker 3: You know.
Speaker 2: It is like, that's just not And.
Speaker 3: Also there's a different relationship with the line now, yes,
Speaker 3: you know. And I think that's what's hard for people
Speaker 3: like yourself comedians and myself artists, is like the line
Speaker 3: that we push, which is our role, and it's also
Speaker 3: what's funny and interesting. People are now going back, going
Speaker 3: that was bad what you said, and you're like, yeah,
Speaker 3: but the line was in a different spot, you know.
Speaker 3: And our role storytellers is to arrive at the line
Speaker 3: and question it, or not question it, but arise things
Speaker 3: from within. Comes from being in a relationship with the line.
Speaker 3: The line keeps moving, you can only really question people's
Speaker 3: relationship with a present line, you know what I mean.
Speaker 3: And if you look at him, he fakes tears basically
Speaker 3: for this story because there was one camera. She wasn't there.
Speaker 3: You know, when he did the tears, they turned around
Speaker 3: on him and he just kind of wet, you know,
Speaker 3: he just he didn't sweat like Albert Brooks. He had
Speaker 3: swept from the eyeballs, and so he manipulated something. You
Speaker 3: think now in terms of modern day news and storytelling,
Speaker 3: you like, is sorry, is that a problem? We are
Speaker 3: so morally barren now with what it takes. I mean, people,
Speaker 3: there's now a concept called fake news, which is like
Speaker 3: we decide whether that actually happened, not only whether it
Speaker 3: was crying on everyone cares if he's crying or not.
Speaker 3: Get the story, get the clickbait, get the link, push
Speaker 3: it out there, whether it's real or not. Nobody's cared
Speaker 3: about that for years.
Speaker 1: Everyone's got their own news service in their own head
Speaker 1: now in the Herman's head news service, you know. And
Speaker 1: I mean what I like about it though, is there's
Speaker 1: a gray area of because the when it was the
Speaker 1: camera person or whoever was said to him when they
Speaker 1: said the reversal shots so Tom explains to the interviewee
Speaker 1: what that means. And then the woman who's kind of
Speaker 1: setting up the whether it's the lighting, she goes, oh, wow,
Speaker 1: I thought you were about to cry that. Wouldn't that
Speaker 1: have been a great shot or something like that, And
Speaker 1: that puts the idea and he said, so somebody has
Speaker 1: recognized that he was close to tears. Oh that wasn't
Speaker 1: on camera, though, Let's reflect what I was feeling with
Speaker 1: a little bit of mayo on it. So it's kind
Speaker 1: of like.
Speaker 3: And you know what, maybe this helps the story, and
Speaker 3: the story is the thing? Yes, if I make this
Speaker 3: more powerful, am I doing more for victims of this issue?
Speaker 3: If this gets more and more interest globally? Yes, you know,
Speaker 3: if I do whatever it takes to make this a
Speaker 3: huge story, am I helping victims? It's like, what is
Speaker 3: the moral fire are inherent in that ultimatum? You know
Speaker 3: it's and that's him, He's willing to do what it takes.
Speaker 3: But the fact that Holy Hunter has such a high
Speaker 3: ground at that point, which in that period completely justified.
Speaker 3: I mean, that's what thwarts her ability to be with
Speaker 3: him and go on this funny holiday. And he says
Speaker 3: that sexy line, let's just have six days and see
Speaker 3: what we're like together out of this place. Yeah, And
Speaker 3: it's such a great sentence. It's like that is their
Speaker 3: only chance because their tension is this uncomfortable workplace and
Speaker 3: the tensions in the offices and the excitement and the
Speaker 3: fact that anything could go wrong on such an enormous level.
Speaker 3: In news, and I've been watching The Morning New Morning
Speaker 3: Wars Morning Wars, which I think has three different names
Speaker 3: depending on what country you're watching it in. I think,
Speaker 3: you know, and you see that kind of cutthroat Billy
Speaker 3: crouddup character, and you're like, William Hurt's characters come a
Speaker 3: long way. Yes, Billy Credit basically says, I hate myself,
Speaker 3: I have no soul, life is meaningless. Will you do
Speaker 3: this for me?
Speaker 2: Yeah?
Speaker 3: You know, And that's his every line of dialogue.
Speaker 1: It's funny because breakfast podcast News I was expecting it
Speaker 1: more to be blasically of romantic comedy and have less
Speaker 1: to say about the news, like Network famously has a
Speaker 1: lot to say about the news when news is heading.
Speaker 2: But this has got a lot to say.
Speaker 3: But the fact that it involves Libya, and it involves Date Ray,
Speaker 3: which were issues at that time that were like whoa,
Speaker 3: and he plants these massive issues that clearly he wanted
Speaker 3: to bring up. Yeah, come on, guys, let's have a
Speaker 3: little chat about this. He hit them in a very
Speaker 3: Shakespearean way, like how the fool pops up in Macbeth,
Speaker 3: you know what I mean. And the fool can speak
Speaker 3: about anything because everyone's laughing at them. They get to
Speaker 3: say the most kind of disturbing stuff about the political
Speaker 3: situation at the time. And that's the Shakespearean notion of
Speaker 3: the fool, you know. And he does that really, really
Speaker 3: well in this movie You've Gone. This is a bouncy,
Speaker 3: romantic comedy with people in a sexy job in New
Speaker 3: York who are high flying. Will they have sex or
Speaker 3: won't they? Underneath I want to say stuff about the.
Speaker 1: World, yeah, and about the performative nature of news, and
Speaker 1: that's becoming performative and that Aaron actually says, oh, of course,
Speaker 1: because it's all about us now, isn't it all?
Speaker 2: You know?
Speaker 1: Like yeah, it's saying absolutely saying something the other important
Speaker 1: thing I feel like And the first time I watched
Speaker 1: I was like, I was like, Holy Jane, are you
Speaker 1: really giving up this relationship because of this, like, really,
Speaker 1: you can't get over that. And then I thought, well,
Speaker 1: hang on, there was the moment which I mentioned before,
Speaker 1: when she says, you know, you got me. It wouldn't
Speaker 1: be what I would have done, but it worked. You
Speaker 1: got me with the tear. So that's the moment for me,
Speaker 1: she emotionally falls in love with him. There's been an
Speaker 1: like a thing more of a physical infatuation with him
Speaker 1: at that up until then, so that moment that the
Speaker 1: tear is tied to her falling in love with him.
Speaker 1: And the other thing that I think is really clever
Speaker 1: is when they go to South America and the guys
Speaker 1: trying to put on his boots and Jane goes over
Speaker 1: there and you know, there's the camera guys saying, just
Speaker 1: put on your boots and will film it. And she
Speaker 1: runs over and goes, no, no, we are not here
Speaker 1: to interfere.
Speaker 2: You do exactly what you do.
Speaker 1: And the guy thinks about it, and then this puts
Speaker 1: on his boot and she's so proud and so happy
Speaker 1: with that footage and it's like, well, this is what's
Speaker 1: rerilling about James j Brooks. It plays as a comedic moment,
Speaker 1: you know, it's just a small little moment and that yeah, okay,
Speaker 1: she's great. Great, you've got a shot of somebody putting
Speaker 1: a boot on. But then at the end when she
Speaker 1: is tying herself to this moral post, it makes sense
Speaker 1: because I've seen her in the South American jungle kind
Speaker 1: of stop something and kind of going, no, this is important.
Speaker 1: We cannot impact the news. We are not the news.
Speaker 1: They're the news.
Speaker 2: Let's just put it.
Speaker 3: We put our agents or catalysts to information, and that's
Speaker 3: you know, wiki leaks, you know what I mean, It's
Speaker 3: like what is information? Who owns information? You know? And
Speaker 3: and they were kind of tapping on it back then.
Speaker 3: I mean, looks so dated and funny and hilarious the
Speaker 3: way Tho's gone in and her running through the room
Speaker 3: with a big beta tape going we've got to get
Speaker 3: it in there, you know. But he's obsessed with character
Speaker 3: Brooks and character is action in all these movies, and
Speaker 3: that's where all the drama comes from human behavior. The
Speaker 3: character's behaving. And you question, did William Hurt come up
Speaker 3: with this victim date rape news story to get Holy
Speaker 3: Hunter to cry and see that he is a beautiful,
Speaker 3: complicated man. You know what I mean, like, was that
Speaker 3: is he and he plays that fine line of grayness,
Speaker 3: and grayness is for me the greatest world for movies
Speaker 3: to be made in where audiences you're giving audiences a go,
Speaker 3: you're giving them, you're crediting them with intelligence, and you're saying,
Speaker 3: I don't know, it's messy. Isn't it a bit like life?
Speaker 2: You know?
Speaker 3: And you're like, is William hurt? Did he do that
Speaker 3: to get late or is he actually care about those victims?
Speaker 3: Who is this man? And when he goes for the
Speaker 3: the you know, when he goes to touch under her
Speaker 3: blouse after the first kiss and wants to get her home,
Speaker 3: but then and then once ago, and you're like, is
Speaker 3: he a normal alpha male or is he really really
Speaker 3: like does he have all these preordained thoughts? Is he
Speaker 3: quite manipulative in a way? You know? And he does
Speaker 3: that with Brooks. Brooks is this great guy, but at
Speaker 3: the same time he's so desperate and urgent and full
Speaker 3: of jealousy, you know. And and then Holly Hunter's like,
Speaker 3: you know that great romantic question for women in romantic
Speaker 3: comedies is life only complete when there's a guy you know?
Speaker 3: Which is in so many of those movies like, oh
Speaker 3: my god, when am I going to find mister rait?
Speaker 3: What I like about this film she's deciding whether to
Speaker 3: be that woman.
Speaker 2: Yeah, because and that's why I really like that one.
Speaker 2: She is the one pursuing him.
Speaker 4: Yeah.
Speaker 1: And I like the fact that it's it's initially it's
Speaker 1: about sex, like she's not She's not that one woman
Speaker 1: who is working out can she have it both?
Speaker 2: I don't think it's like I just want I've got something.
Speaker 1: There's a chemistry between us, and I need to explore
Speaker 1: that sexually and then and then that's what with the date,
Speaker 1: rape story and the tear, it becomes something else. And
Speaker 1: that's why it's like, Okay, I think I actually have
Speaker 1: feelings with this guy, and that's going to complicate things.
Speaker 2: I want. I want to play a.
Speaker 1: Scene in two parts, and this is the scene where
Speaker 1: after they kiss and they're big kisses, aren't they They're
Speaker 1: big over mouth kisses.
Speaker 3: I remember those days you just used to pash off, Yeah,
Speaker 3: full nineties tonguies, just rip right in. But there was
Speaker 3: a one kiss where their mouths were both open for
Speaker 3: about twenty seconds, and I thought, what goes on there?
Speaker 2: Yeah?
Speaker 3: And that you only see those pashes in TV because
Speaker 3: I wouldn't know how to do one, No, because the
Speaker 3: mouths are like frozen and they just twist their head
Speaker 3: find an eight degrees each way back and forth, and
Speaker 3: you're like, what's what is happening? And they just breathing.
Speaker 3: Is this like that John Ambulance course kind of you.
Speaker 2: Know, it's not COVID safe. It's not COVID safe.
Speaker 1: She goes back to Aaron's place and you know, like
Speaker 1: again a good friend, like I promise this is gonna happen.
Speaker 1: By the way, how how how funny is and brilliant
Speaker 1: is Aaron's debut of reading the news the sweating and
Speaker 1: well my faue apart with somebody knocks the set in
Speaker 1: the background and their hands holding it, somebody else go
Speaker 1: your hand, your hand, your hand.
Speaker 3: And shut, and the map starts fading and rip tearing
Speaker 3: down the middle. And everyone can relate to that moment
Speaker 3: where you go, I can actually be the front man.
Speaker 3: But then all your greatest fears manifest where you realize, no,
Speaker 3: you're just ordinary, yeah you know, and you're like, why
Speaker 3: do I ever think that I can go to this level?
Speaker 3: And his world just starts deteriorating in front of him.
Speaker 3: He doesn't have it.
Speaker 1: And again another great choice when Holly Hunter goes back
Speaker 1: and she asked how it went and she doesn't know
Speaker 1: and Aaron Aaron's responses and now what Brooks is such
Speaker 1: a funny guy. Like there's a version where it's like
Speaker 1: in most movies, do the whole it was my career
Speaker 1: is over.
Speaker 3: It was a contrast. I can't believe it. Yeah, why
Speaker 3: didn't they press star?
Speaker 1: Yeah it's there were calls, you know, I sweat so
Speaker 1: much I lost six six kilos. Yeah, there were calls,
Speaker 1: a really nice ones. They thought I was having a
Speaker 1: heart attack.
Speaker 3: But that's the character, isn't he. He's the like, you know,
Speaker 3: it's a very woody Alleny kind of trope that.
Speaker 2: Well, he's trying to stay upbeat and positive.
Speaker 1: But the one thing that will drag him back is
Speaker 1: the idea that when when Holly Hunter's Jane, he wants
Speaker 1: to get back to Tom. So let's let's have a
Speaker 1: listen to the first half of this scene where Aaron
Speaker 1: starts laying down a bit of a law for it
Speaker 1: for Jane.
Speaker 6: I've never seen you like this with anybody, so don't
Speaker 6: get me wrong when I tell you that Tom Well
Speaker 6: being a very nice guy.
Speaker 3: It is the devil.
Speaker 6: This isn't friendship. You're what do you think the devil's
Speaker 6: gonna look like if he's around God? Come on, No
Speaker 6: one's gonna be taking him by a guy to a long,
Speaker 6: great point detail. Come on, what's he gonna sound like? No,
Speaker 6: I'm semi serious here.
Speaker 3: You're sus He will be attractive, he'll.
Speaker 6: Be nice and helpful. He'll get a job where he
Speaker 6: influences a great, god fearing nation. He'll never do an
Speaker 6: evil thing, he'll never deliberately hurt a living thing. He'll
Speaker 6: just bit by little bit lower our standards where they're important,
Speaker 6: just a tiny little bit, just copx along, flash over substance,
Speaker 6: just a tiny little bit. And he'll talk about all
Speaker 6: of us really being salesman, and he'll get all.
Speaker 4: The great women.
Speaker 1: What a great line to finish on. Yeah, it's it's
Speaker 1: it's it's a crack. And I want I want to
Speaker 1: ask you I mentioned earlier. I want I want a
Speaker 1: lot that here. You talk about people, you know, listeners
Speaker 1: who may not you know. Most of our listeners don't
Speaker 1: write movies, they don't make movies. They love movies though,
Speaker 1: and they they're aware obviously even subconsciously of there's an
Speaker 1: emotional flow that goes through movies that there's a journey
Speaker 1: that the hero must go on over over the period
Speaker 1: of that film and arrive at a different place. But
Speaker 1: what we having haven't spoken about much on this podcast
Speaker 1: is the idea that that that's happening also in every
Speaker 1: single scene. There's an emotional journey happening in every scene.
Speaker 1: The idea that you cannot arrive at the same place
Speaker 1: wherever you start that scene the end of that scene
Speaker 1: cannot You cannot have your characters in the same emotional space.
Speaker 3: Unless to a degree. With Holly Hunter, it's running, you know,
Speaker 3: and she does. You know, characters walk down the street,
Speaker 3: they fall in a hole. The next time they go, oh,
Speaker 3: I better go around it, and then the third time
Speaker 3: they fall in it deeper. Then they really learn how
Speaker 3: to go around it. They build something that goes over
Speaker 3: the top of the hole, or whatever the metaphors may be,
Speaker 3: you know. And so you need your characters to not
Speaker 3: learn things too quickly, and that has to you know,
Speaker 3: torturer characters, which is the ultrop absolutely back them into
Speaker 3: a corner where you think they can't get out of this,
Speaker 3: challenge them till they until it seems impossible, and then
Speaker 3: at the end, you know, have them face their their
Speaker 3: deepest fear. And I think for holy hundreds it's intimacy.
Speaker 3: But she has a decision to make about what she
Speaker 3: values more, you know, in her work and in a relationship.
Speaker 3: Would she prefer to remain alone a spinster, you know,
Speaker 3: and be someone she can go to sleep at night
Speaker 3: knowing that she's doing her job for the goodness of humanity?
Speaker 3: Or is she willing to accept this guy and maybe
Speaker 3: just glaze over a few of the things that irked
Speaker 3: her in order to not be alone. Yeah, you know,
Speaker 3: and that's a pretty hefty conuntrum for a movie.
Speaker 2: James A.
Speaker 1: Brooks apparently two years after it he finished making it,
Speaker 1: watched it again and said that he realized the film
Speaker 1: was about three people who lost their opportunity to have
Speaker 1: intimate relationships.
Speaker 3: Yeah, it's really sad.
Speaker 2: Yeah it is. It is.
Speaker 1: And what's interesting about that is the idea, there's your
Speaker 1: relationship with your work change over the years. Have you
Speaker 1: reflected on something and kind of gone, oh, there's something
Speaker 1: in that that I can see that I was actually
Speaker 1: working through or dealing with, or saying something that I
Speaker 1: wasn't even I didn't know that I was saying at
Speaker 1: the time. I think people had this idea that when
Speaker 1: author sit down, they know they are in complete control
Speaker 1: of the messaging and what is going on. And that's
Speaker 1: true to an extent, but there must be I always
Speaker 1: and there's something else going on when you reflect on
Speaker 1: something down the track.
Speaker 3: Absolutely, And I would say I'm the opposite of the
Speaker 3: writer who writes what he knows. I write what I'm
Speaker 3: trying to know. I write what I don't know, and
Speaker 3: I think what stops me in my tracks and goes ooh.
Speaker 3: I think this is an idea is when I've had
Speaker 3: something happen to me and I don't understand who I
Speaker 3: became in that situation, and it threw up so many
Speaker 3: questions that brought out what we caught, what we were
Speaker 3: talking about before human behavior. I behaved in a really
Speaker 3: strange way, and so did the people around me, and
Speaker 3: I think there's got to be something in this. But
Speaker 3: I'm absolutely working on a question and I look back
Speaker 3: and I see, oh, you were wrestling with that and
Speaker 3: then you got through it. And I think I probably
Speaker 3: also write less from biography now, like a lot of
Speaker 3: my stories of the Reuben Guthries and how it feels
Speaker 3: were definitely even love my way, you know, in the
Speaker 3: character of Tom being a fucked up young man and
Speaker 3: Ruben Guthrie dealing with drinking in Australia and trying to
Speaker 3: work out, you know, how to manage being sober, which
Speaker 3: is an issue that I know longer and lost about,
Speaker 3: and how it feels, dealing with why we're also angry
Speaker 3: in Cronulla and why so many boys took their own
Speaker 3: lives and stuff. And now with Peter Lum, yeah, I'm fascinated.
Speaker 3: I think a little less with myself and more with
Speaker 3: others than human behavior. But in the same way, what
Speaker 3: Peter Lum's going through is something that I've been going
Speaker 3: through the last five years, which is how do you
Speaker 3: change your life as a bloke? And can you have
Speaker 3: a second chapter that doesn't look like the first one?
Speaker 3: You know, and how do you change in Australia and
Speaker 3: what is the effect on all your relationships and how
Speaker 3: do you share and stuff like that, how do you
Speaker 3: share your confusion and your pain and your stress. So
Speaker 3: absolutely I think writing, you know, when you're coming from
Speaker 3: a really personal place affects everybody. The more honest you are,
Speaker 3: even in the smallness, the absolute smallness, which is what
Speaker 3: broadcast news does so well, that's what makes it universal.
Speaker 3: Chekhov never lift his village, larsvon trere Belly leaves his village.
Speaker 3: But they speak about America, they speak about the world still,
Speaker 3: you know what I mean, because they're so personal and
Speaker 3: precise about their own experience.
Speaker 1: I think, and how important is it and broadcasting news
Speaker 1: as it? How far ahead of your audience do you
Speaker 1: like to be? Because I think I feel like it's
Speaker 1: something I remember writing It's a date PC And we
Speaker 1: would always meet with the actors to discuss any ideas
Speaker 1: they had, and just you know, we're really collaborative process.
Speaker 1: And the Dean Gardner, the wonder from the Dean Gardener
Speaker 1: said to me, she goes, you need to be ahead
Speaker 1: of your audience, like as soon as your audience catches
Speaker 1: up to you, you are dead in the water. And
Speaker 1: the Dean is brilliant, and she can be intense, you know,
Speaker 1: she's you know, and I remember looking at me straight
Speaker 1: in the eye and because we're taking her through and
Speaker 1: I think she just thought maybe the audience is with us,
Speaker 1: you know, like two with us.
Speaker 2: You know, you know, maybe they're in front of us.
Speaker 3: Or just involving the audience, which I think is what
Speaker 3: James L. Brook starts of going, What do you think
Speaker 3: is happening?
Speaker 4: Yeah?
Speaker 3: You know, do you think he's an asshole? Or do
Speaker 3: you think he's just like every other horny guy? Do
Speaker 3: you think he'd be a good boyfriend. Do you think
Speaker 3: they're well matched? Do you think it's just sex? Do
Speaker 3: you think she's always going to be alone? Do you
Speaker 3: think that's okay? You know, and he's kind of going,
Speaker 3: here go, I'm not going to tell you. I'm going
Speaker 3: to ask you constantly with my blurry human scenes that
Speaker 3: are so funny because they're so uncomfortable because you know,
Speaker 3: we don't know as humans.
Speaker 4: Well.
Speaker 1: It's often people think movies, even filmmakers would think movies
Speaker 1: are about giving answers, But they're more about raising questions.
Speaker 3: Active questions. Yes, you know, questions that are happening live
Speaker 3: in front of you that you are completely awoken by
Speaker 3: from your own life. But they're not you know, and
Speaker 3: we see it now in so many films and TV shows.
Speaker 3: You you're thirty seconds in and you go, oh, so
Speaker 3: I guess they'll have the fight, he'll go there, and
Speaker 3: then they'll end up together. And also, what pisses me
Speaker 3: off about those five minute trailers that you see now,
Speaker 3: you know, I think when we're coming through watching movies
Speaker 3: nowadays nineties, they just give you this forty second verse
Speaker 3: and you're like, what the fuck is that? I've got
Speaker 3: to see it. Yeah, I don't know what it is,
Speaker 3: but you just gave me a taster. And now you know.
Speaker 3: I watched PTA's Midnight Pizza or whatever it's called, Licoricris
Speaker 3: Pizza Li Greage Pizza. I got to the end of
Speaker 3: the five minute trailer and went, well, I've seen that.
Speaker 1: But if you notice, if you notice there's a twenty
Speaker 1: second trailer before the three minute trailer.
Speaker 2: Yes, yes, they say, this is the.
Speaker 1: There's a trailer before the trailer, a trailer teaser, a
Speaker 1: trailer teaser, which is immediately before the trailer.
Speaker 2: You are immediately into the Then you go.
Speaker 3: To the movie and they're like, this is the thirty
Speaker 3: seven minute cutdown. If you want to see the movie,
Speaker 3: you have to go down the road. And then you
Speaker 3: go down that we'll show you an hour. But we'll
Speaker 3: speed it up, you know.
Speaker 2: And you're like, where can those watch a movie? I
Speaker 2: want to watch you.
Speaker 1: Actually I forgot because it happens it's not audible. But
Speaker 1: what a reaction and what a choice Holy Hunt or
Speaker 1: Dangel Brooks, probably in collaboration makes when Aaron says I
Speaker 1: love you, she winces.
Speaker 3: You know, I'm not.
Speaker 6: Because I think we have the kind of friendship where
Speaker 6: if I were the devil, You'll be the only one
Speaker 6: I would tell, well, you were offully put to run
Speaker 6: at your time's help with all.
Speaker 3: Right, you want have y.
Speaker 6: And things have gone well for me tonight that I
Speaker 6: probably wouldn't be saying any of this.
Speaker 3: I grant you everything, but give me this.
Speaker 6: He personifies everything that you've been fighting against.
Speaker 4: And I'm in love with you. How do you like that.
Speaker 3: I buried the lead?
Speaker 1: Yeah, I mean that's there's a really tough line as well.
Speaker 1: Earlier when before you got to the correspondence to her
Speaker 1: where she's getting ready while he's there.
Speaker 2: And he says, can you at least pretend.
Speaker 1: This is awkward for you, which is both funny and heartbreaking,
Speaker 1: is like, oh, well, you are in the friend zone,
Speaker 1: aren't you.
Speaker 3: Yeah, And she is slightly she has she's verging on
Speaker 3: her personality disorder.
Speaker 2: Yeah, she doesn't entertained this idea. She doesn't like Listen,
Speaker 2: I'm just not you're my friend.
Speaker 1: There's never that scene where she goes, you are a
Speaker 1: great friend, and you are my friend, you know, I
Speaker 1: just don't feel that way about you.
Speaker 2: I love that that scene doesn't happen.
Speaker 3: But she that's what's wonderful about her character is that
Speaker 3: she kind of she doesn't need a guy to be
Speaker 3: complete in the eighties, and that she she's just completely
Speaker 3: besulted with this man who's just you know, he's just
Speaker 3: stopped her life. And it's the attraction and stuff like that.
Speaker 3: And and she said, who does she say it to?
Speaker 3: She goes, I think I'm in love with him.
Speaker 2: She says it to Brooks doesn't Yeah, yeah, yeah.
Speaker 3: I mean, what a strange because normally that would be
Speaker 3: with the gay friend or the sister at the bar gay,
Speaker 3: I think I'm in love with this guy. Don't know
Speaker 3: what to do? What should they do? Yeah, And instead
Speaker 3: she says it to the guy who's in love with her. Yeah,
Speaker 3: you know, And that's great riding, isn't it. It's like
Speaker 3: she confides in him, yeah, to break his heart.
Speaker 1: And then and then she calls Tom to kind of
Speaker 1: let know what's going on. And it's a really interesting again,
Speaker 1: It's it's asking questions of like is he being passive aggressive?
Speaker 1: Is he is he happy that she's.
Speaker 2: Not on his way? He says, oh, my dad's coming
Speaker 2: through in the morning.
Speaker 1: But he's also saying like that sounds like it important
Speaker 1: that he knows what's going on. He taped the newsballer
Speaker 1: than the sweating news. He knows that sounds more important.
Speaker 1: You stay there, I've got stuff to deal with. And
Speaker 1: he says something. He says, I'm not I'm not one
Speaker 1: of your chores. You need to tick to tick off. Yeah, yeah,
Speaker 1: which is slightly passive aggressive, but absolutely, but it's it's
Speaker 1: still he's still wondering is he is that fair enough?
Speaker 1: Like who's being unreasonable? You did go off to you know,
Speaker 1: your friend's house, you know, after a massive.
Speaker 3: And when she's walking down the corridor, Like I totally
Speaker 3: had that moment of like, keep just keep going, have sex,
Speaker 3: go and just enjoy us, or go and have love.
Speaker 3: Don't get caught up in this guy's resent, this guy's unhappiness.
Speaker 3: You know what I mean. And and but because she's
Speaker 3: a people pleaser, because she loves him, because she can't
Speaker 3: leave a guy. You know, she does love him as
Speaker 3: a friend. You know, she comes back into the room
Speaker 3: and gives up on her own love story, you know,
Speaker 3: and you're like, no, bust through the door. Totally different
Speaker 3: movie if she leaves down that corridor and those great
Speaker 3: New York apartments, you know, like the New York apartments.
Speaker 3: Just it's a character. It's so extraordinary the role that plays.
Speaker 3: And he sits on the couch, she comes around. It's
Speaker 3: just perfect cinema in those corridors. Remind me of you know,
Speaker 3: how Woody Allen stoles so much of that stuff from Bergmann.
Speaker 3: You know, I've using those corridors in that apartment to
Speaker 3: tell so much of the story. And Woody Allen, I think,
Speaker 3: you know, Hannah and her sister's Annie Hall. He kind of,
Speaker 3: you know, around the same time, was doing the slightly
Speaker 3: ambiguous romantic comedy as well. Annie Hall's a film about
Speaker 3: two people that kind of become friends at the end.
Speaker 3: You know, you know, Okay, we tried, You're weird. You're weird.
Speaker 3: I don't think this is going to work. Out, but
Speaker 3: I'll I'll always be in your life because you are amazing.
Speaker 3: And it's like this kind of slightly melancholy romantic comedy,
Speaker 3: you know, and the same with Hannah and her Sisters
Speaker 3: was like that. And what was the other one? I
Speaker 3: was just thinking about a kind of a similar nineties
Speaker 3: romantic comedy that kind of ends in that kind of
Speaker 3: kind of way. And I thought about Spotlight actually while
Speaker 3: I was watching it, because I thought, that's another news
Speaker 3: movie said in Boston about you know, the pedophile ring
Speaker 3: within the Catholic church, and and just how different that
Speaker 3: kind of the tone and aggressiveness of that movie is.
Speaker 3: And I love movies, you know, back in that time
Speaker 3: that gave characters so much time, and I think, you know,
Speaker 3: I talked to my nephews about film and stuff like that,
Speaker 3: and you know, and a lot of young people like,
Speaker 3: why is it taking so much time for them to
Speaker 3: get into you know? And we used to build movies
Speaker 3: through character and world and just give the audience more
Speaker 3: grayness and time. And now we're like smack bang.
Speaker 1: You can see the influence James L. Brooks has had
Speaker 1: on someone like Judd Apatow. Yeah, Like, because we always
Speaker 1: say why does jud Appatel's films need to be over
Speaker 1: two hours and you know, Brooks films are over to
Speaker 1: ours listen sometimes and sometimes I feel the criticism may
Speaker 1: be warranted with jud Aptel's films when it's just an
Speaker 1: ad lib fest, when it's just like I reckon, there's
Speaker 1: there's sharper stuff throughout this movie that you know, and
Speaker 1: sometimes you know, there's there's some lovely moments and that's
Speaker 1: those that's creative. But I feel like, and I'm okay,
Speaker 1: I'm personally okay with it, but I yeah, I remember
Speaker 1: up about our saying people say, why are your films
Speaker 1: so long? It's up because I'm dealing with the biggest
Speaker 1: things in the world. I'm dealing with love and loss,
Speaker 1: and you know, like these James similar things that James L.
Speaker 1: Brooks I think deals with.
Speaker 2: And I think I think James L. Brooks has more
Speaker 2: to say, though I think certainly broadcast.
Speaker 3: You know, I still think Apataz's films often run out
Speaker 3: with thirty seven minutes left and then it just goes
Speaker 3: to kind of penis jokes.
Speaker 1: And I feel like there's some films like this is
Speaker 1: forty I feel like so funny people I think was
Speaker 1: one film where I think probably Jadapetel had James L.
Speaker 1: Brooks in the back of his head like I feel
Speaker 1: like he was trying to say something yeah, a lot more.
Speaker 3: And which he did knocked up, like and I know that,
Speaker 3: you know.
Speaker 1: I think Je's films have more in them some people
Speaker 1: give him credit for.
Speaker 3: Because he was talking about, you know, when him and
Speaker 3: his wife got pregnant and they were living in this
Speaker 3: house with stoners and they had no idea, you know,
Speaker 3: like what are we doing? And that has that film
Speaker 3: and knocked up, Yeah, and that has that sense and
Speaker 3: you can tell it comes from an authentic place.
Speaker 1: What does that see? I think it's knocked up? Was
Speaker 1: that this is what he is that I think it's
Speaker 1: knocked up with poor Rad and Leslie Man a married couple.
Speaker 1: I think they're married in that movie and then they yeah.
Speaker 3: Yeah.
Speaker 1: And there's a great scene in the driveway where it's
Speaker 1: like she thinks he's having an affair, but he's going
Speaker 1: off and doing fantasy football. Yeah, and he has to
Speaker 1: admit that's what he's been doing, and he says like
Speaker 1: sometimes I just want to you know, the kids and
Speaker 1: all that. It's so hard and I just want to go.
Speaker 1: And you know, last week I watch Spider Man by
Speaker 1: myself and she's and she's almost like, there are times
Speaker 1: where I want to watch Spider Man. Yeah, and I like,
Speaker 1: I remember watching that and I almost cried because I
Speaker 1: know I was going through a stage. I young kids,
Speaker 1: and I often leave work early. When I was working
Speaker 1: on on Rod, leave an hour early and go see
Speaker 1: you and go see a film just because I like
Speaker 1: I needed something that wasn't home, and it wasn't work.
Speaker 2: It was my mind.
Speaker 3: Am I So that you thinkgrat at home? Yeah, so
Speaker 3: that you can because you love them so much.
Speaker 2: But that's a hard discussion to have. I need this.
Speaker 2: It's not because bridges.
Speaker 3: At home, you know, one of the and you earned
Speaker 3: a massage joint.
Speaker 2: Not that time, not that time I'll see Spider Man.
Speaker 2: But how good? Yeah. And James J.
Speaker 1: Brooks is just there's all these details in his movies
Speaker 1: that could easily be taken out in an at but
Speaker 1: you can imagine people saying over your shoulder, do you
Speaker 1: need that? Which sometimes yeah, it's always worth asking, but
Speaker 1: sometimes a character, Yeah, it's like it's all these little moments,
Speaker 1: her looking at the when she hears the door, and
Speaker 1: she thinks, you know, William Hurts walked through, and she
Speaker 1: he hasn't. And and William Hurt holding the kettle with
Speaker 1: his with his sleeve, and the older guy we've never
Speaker 1: seen before calling home asking his wife's there or something,
Speaker 1: and you know.
Speaker 3: Her storming in and abusing William Hurt, and his dad's there,
Speaker 3: and then the dad says, I don't think that woman's
Speaker 3: ever going to be affectionate to you. Yeah, you know,
Speaker 3: it's like what.
Speaker 1: Yeah, you take out of the movie and nothing happens,
Speaker 1: No exactly, but it's there and something happens.
Speaker 3: And there's that great comedy trope of just keep surprising
Speaker 3: the audience every five pages with something, just another big moment,
Speaker 3: big revelation, big twist. You know that. You go, oh god,
Speaker 3: I thought I was watching Oh I thought I was
Speaker 3: watching that. Oh I thought I was watching that.
Speaker 1: How good is Holy Hunter? By the way, the three
Speaker 1: of them are fantastic, But how good is it? And
Speaker 1: this is a very rare role for a woman in
Speaker 1: the nine to eighty seven I had this complicated center
Speaker 1: at this absolute send, not.
Speaker 3: Necessarily in a movie that says she will only be
Speaker 3: whole once she gets together with a very handsome American
Speaker 3: successful man. Yeah, yeah, you know, pretty ahead of his
Speaker 3: time because rom Gons had to catch up again ten
Speaker 3: years ago, you know, and they're still doing it.
Speaker 1: But how satisfying is that when there is a sectionist
Speaker 1: to a character that comes from who they are as
Speaker 1: a person, as opposed to they're looking hot in a shot,
Speaker 1: you know, a short skirt or something, you know, like
Speaker 1: whatever it might, or a sex scene. You know, like
Speaker 1: it's like she's sexy because she is good at her
Speaker 1: job and complicated and real vulnerable, all.
Speaker 3: Exact flawed and actively flawed, yes, you know, and active
Speaker 3: flaws driving drama. Yeah, like it's just that's writing. That's
Speaker 3: great writing.
Speaker 1: Yeah, she gets the role. She hadn't done much. She
Speaker 1: did she did Raising Arizona.
Speaker 2: The same year.
Speaker 3: Oh is that wrong?
Speaker 1: Yeah, in nine eighty seven, Raising Arizona of course with
Speaker 1: the Coen Brothers. She did a voice in Barton Fink.
Speaker 1: She had some TV credits and yeah great, yeah, let's
Speaker 1: not get started on the button. I think, but she
Speaker 1: she basically they Debra Winger.
Speaker 2: Was the first choice for the role Share the pull out.
Speaker 2: I think she was pregnant.
Speaker 1: They did a massive search they went through all the
Speaker 1: Alis actors though, three days out from shooting apparently, and
Speaker 1: these stories like sl.
Speaker 3: I remember, I was telling me the fatal attraction story,
Speaker 3: you know, because she'd done well so that that big
Speaker 3: chill and they were like, you know you're warm, You're
Speaker 3: warm in a cashmere jumper. You're the loving warm woman.
Speaker 3: She's like, let me, let me and beg for the audition.
Speaker 3: I think turned up. I think Santa Tapan turned up
Speaker 3: and when you will see me and they're like, no,
Speaker 3: you're warm, wholesome, you know, big chill, and she's like,
Speaker 3: give me a shot. And then she sat there and
Speaker 3: did that scene where she turns the lights on and off,
Speaker 3: and they went, oh, my god, changed your career forever.
Speaker 1: She got nominated that year, eight eighty seven, one eight.
Speaker 1: I'll get to the Oscars that year because it's quite
Speaker 1: an interesting.
Speaker 2: Thing.
Speaker 1: But your Holy Hunter goes to the audition. Basically they've
Speaker 1: seen everybody else, they said, is.
Speaker 2: There anyone else?
Speaker 1: And she arrives the person who greets people thought she
Speaker 1: was a PA and she goes, I actually no, I'm
Speaker 1: here to actually hit an audition. She gets the role
Speaker 1: almost immediately. She starts rehearsing, and next day she's filming.
Speaker 1: Three days later, at the end of the first week filming,
Speaker 1: she I think has she actually has a breakdown. She
Speaker 1: blames on the medical illness and and and bronchitis or something,
Speaker 1: and William Hurt says to her, no, you're scared, and
Speaker 1: Holy Hunter said, it changed everything. It changed the dynamic
Speaker 1: between her and William Hurt because she said, in that moment,
Speaker 1: William Hurt saw through her. He wasn't saying her, yeah,
Speaker 1: he saw her, and he wasn't saying as in like.
Speaker 3: A condesceny way condesces anyway. It's like, it's okay, he's
Speaker 3: probably saying I'm scared too.
Speaker 2: Yeah.
Speaker 3: Yeah.
Speaker 1: And it's like and that and that is where that
Speaker 1: you talk about the chemistry between them.
Speaker 2: It starts. It starts from that.
Speaker 3: That's why I never get nervous in front of other
Speaker 3: movie stars, not other movie stars, movie stars and actors,
Speaker 3: no matter who. I've met Hoffman's and well I was
Speaker 3: a bit nervous in front of Hoffman, but he's directing me.
Speaker 3: But yeah, Brad, you know whenever I met because I
Speaker 3: just go, I know that you're just as scared as
Speaker 3: I am. When the movie rolls, and I know that
Speaker 3: you're just as scared with your next part, and I
Speaker 3: know you're trying to be brilliant, and I know you're
Speaker 3: trying to do a good job and make sure everyone
Speaker 3: thinks you're believable, and that the next job is the
Speaker 3: most scary one you've ever done. And every actor is
Speaker 3: the same, and so I never get nervous because I
Speaker 3: look in their eye and go, yeah, I know.
Speaker 1: I literally, I literally listened to an interview with George
Speaker 1: Clooney on Marke Marin's WTF podcast yesterday and he was
Speaker 1: saying exactly that, Well, George Clooney, he's intimidated by other actors,
Speaker 1: you know, and you know he's been wiped off the
Speaker 1: floor by young actors, you know, act.
Speaker 2: That he hadn't heard of. It'd come along, and yeah.
Speaker 3: And I don't know if I'm saying that. I'm just saying, like,
Speaker 3: I don't, I know, not to revere them because they're
Speaker 3: so vulnerable. And that's you know, our feelings are on
Speaker 3: the surface, and we live in a state of fear
Speaker 3: that we'll get it, We're going to get it right,
Speaker 3: and we'll be able to expose it. We'll be able
Speaker 3: to are we going to be able to nail it
Speaker 3: and tell the story? And I don't necessarily worry if
Speaker 3: an actor is going to wipe the floor with me,
Speaker 3: because I don't think of it in those terms of
Speaker 3: who's better. I'm just like, I know you are just
Speaker 3: as shit scared as the guy coming out of film school.
Speaker 1: And good actors I assume I and you've worked with
Speaker 1: a lot more actors and done a lot more acting
Speaker 1: by a whole country more than I have. But I
Speaker 1: imagine good actors know that we're we're we are in
Speaker 1: this together like we are. We are trying to create
Speaker 1: a piece of work here. And if you're if I'm
Speaker 1: no good for you and you're not good for me,
Speaker 1: this is not going to work.
Speaker 3: Yeah, and if you come into an acting job going
Speaker 3: So I just want to let you guys know I've
Speaker 3: kind of got this nailed. I know my character, I
Speaker 3: know I'm going to do this funny walk, I'm going
Speaker 3: to throw those looks. So I don't know what you
Speaker 3: guys are doing, but I'm.
Speaker 2: Sortied like there's no discussions.
Speaker 1: Yeah, so you have to be vulnerable for it to work, Yeah,
Speaker 1: you know, whereas when I'm around musicians, I'm so nervous
Speaker 1: and I'm like, how do you do the thing you
Speaker 1: do because I'm a failed musician, you know.
Speaker 3: With actors, I'm like, hey man, how you going? Yeah? Yeah,
Speaker 3: I know.
Speaker 1: I love seeing actors like on set who are comfortable,
Speaker 1: like not like coming into going I've got all this,
Speaker 1: you know, like yeah, yeah, like comfortable in the vulnerability, yes,
Speaker 1: comfortable in the unknown, yes.
Speaker 4: Yeah.
Speaker 3: And the best actors are like, the best actors are
Speaker 3: kind listening, scared yeah you know, And you say, and
Speaker 3: then I'm talking about the really successful ones. Really really
Speaker 3: they're bloody lovely, they're bloody curious, and it's like it's
Speaker 3: their first day on set. Yeah. But I mean they're confident, yeah, absolutely,
Speaker 3: but they're open, yeah, you know, and that's why they're good.
Speaker 2: Yeah, mate. Pete Pinklige is did you know he's doing
Speaker 2: a sereno?
Speaker 1: Yes, I was nearly in that, which basically it'spectually especially
Speaker 1: a sequel to I Love You Too, Isn't it isn't it?
Speaker 2: Has that been around for a bit longer? I mean
Speaker 2: it's basically.
Speaker 3: Because he's putting the words in his mouth.
Speaker 1: Yes, well see, And I was, you know, an inspiration
Speaker 1: for I Love You Too.
Speaker 3: And now Steve Martin does a great one, doesn't.
Speaker 1: He bron Yeah, it's great. Now he's looking forward to
Speaker 1: seeing that. I just thought I quickly mentioned it, but
Speaker 1: I want to talk about it before we let you go.
Speaker 1: The nineteen eighty eight Oscars hosted by Chevy Chase. Do
Speaker 1: you know who won the Little Best Picture of You?
Speaker 1: It's a film that nobody is seen, like like nobody
Speaker 1: like it's a well regarded film, but like it doesn't.
Speaker 2: It doesn't expert, it doesn't.
Speaker 1: Get I don't know when you're in a team more
Speaker 1: team when what was it? Last Emperor by Bernardouchi that
Speaker 1: nominally for nine Oscars, that it was up against broadcast News,
Speaker 1: Fatal Attraction, Hope and Glory and Moonstruck and Glory. I
Speaker 1: must say it wasn't It didn't. It doesn't feel like
Speaker 1: a banner year for the Oscars. Good character, good movies, Yeah,
Speaker 1: good yeah, good good got good adult movies.
Speaker 3: Hope and Glory.
Speaker 1: That's not Matthew Broderck, Yeah, Matthew Roderick on a horse. Yeah,
Speaker 1: it's Matthew Broderick. Gonna hold no, hang on a sec
Speaker 1: that's Glory. Yeah, I I was thinking it was Matthew.
Speaker 3: Broder on a horse in glory, which is looking because
Speaker 3: to ferret, what's fairest doing on a horse in the war.
Speaker 1: It was a big shift. Yeah, maybe too big a shift.
Speaker 1: I love Matthew Roderick.
Speaker 3: You can count on me how good is he? And
Speaker 3: you can count on me as the boss who's upset
Speaker 3: with all the fonts on the screen. So in my office, Yeah,
Speaker 3: what fun to are you using? He's amazing in.
Speaker 2: That and Ruffalo raffles.
Speaker 1: That isn't laurd Lenny Lord Lenny, laud Lannie is so
Speaker 1: good in that Their brother brother sister, No, no brother sister.
Speaker 3: It starts car crash. Ye, parents died in a car crash.
Speaker 3: They were in the back. They survived. He's trouble. She's
Speaker 3: got a son and a Culkin culcn they're everywhere now.
Speaker 3: She's got a Culcin son, yes, and she's a bit.
Speaker 3: She's working at a bank.
Speaker 2: And this kiaring Coalkan, isn't it.
Speaker 3: It's kiering Co. He's amazing, Yeah, because she's like, you
Speaker 3: got your backpack, it's a knapsack. It's not a backpack.
Speaker 2: Mom's napsack.
Speaker 3: And and he just falls in love and he Marc
Speaker 3: Ofolo comes back from Alaska. He's got to get some money.
Speaker 3: I think to post back to a girl. Something's happened.
Speaker 3: He's been out in jail.
Speaker 2: Yeah, he's like a black sheep.
Speaker 3: Brother admits to her and he smokes the joint before
Speaker 3: he has lunch with her. And it's so beautiful.
Speaker 1: That it's Kenneth long Agan, it's Manchester to see recently
Speaker 1: my weekly. My seventeen year old son has seen it
Speaker 1: like watch Manchester to see like a few times now
Speaker 1: and loves it.
Speaker 3: And it's what you can count on me if you haven't. Yeah, listeners,
Speaker 3: it is incredible, it really is. But literally wins there.
Speaker 3: Jane job Brooks does not get nominated.
Speaker 1: This is the whole comedy being judged differently, even though
Speaker 1: you could argue that there's there's a lot more. This
Speaker 1: is not a straight out comedy broadcast news and then
Speaker 1: like a lot of directors who wouldn't be necessary household
Speaker 1: names for our listeners. Adrian Lynn for a Fatal Attraction
Speaker 1: gets nominated and he has done nine and a half weeks.
Speaker 2: He's done flash Dance.
Speaker 1: He went under those indecent proposal, unfaithful, He obviously had
Speaker 1: an area that he was comfortable. Yeah, but it's interesting
Speaker 1: because there is a bias against movies outside of Europe.
Speaker 2: I think that deal with sex. Do you think like that?
Speaker 2: It's hard.
Speaker 1: I feel like any movie that looks at sex and
Speaker 1: it's like you know, at the forefront, feels like they
Speaker 1: get kind of derided a little bit that come out
Speaker 1: of America.
Speaker 2: Well, those films maybe eyes.
Speaker 3: In videotapes changed that a lot. One Sun Dance and
Speaker 3: people went, well, a movie about sex, yeah, completely kind
Speaker 3: of rocked to America. A really small movie about sex
Speaker 3: really rocked America. But American sexuality is so weird.
Speaker 1: Yeah, you know, they are freaks. And then John Borman
Speaker 1: wants it's hope and glory. He made the Tailor of
Speaker 1: Panama later on and the exos to Norman Jewison had
Speaker 1: had he had made. He'd been nominated for Heat of
Speaker 1: the Night and Fiddler on the Roof. He did Moonstruck
Speaker 1: and Lassie Halstrom. Of course, my Lofe is a dog
Speaker 1: Swedish darling.
Speaker 3: He's just making a film now from my friend Maeve
Speaker 3: Dermody's in it. Oh really yeah, he's making a film
Speaker 3: in Sweden.
Speaker 1: Yeah, awesome, so you'll know his films or he's more
Speaker 1: English language film Side of House Rules, Shock a Lot.
Speaker 2: And what's it in?
Speaker 1: Gilbert Great Michael Douglas wins a Fatal Attraction up against.
Speaker 3: How does Glenn not win?
Speaker 1: Well, Glenn Glenda Glen does not win Close for Fatal Attraction,
Speaker 1: she loses the share So Share one for Moonstruck beats
Speaker 1: Holy Hunter, Glenn Close, Sally Kirtlin for a film called Anna,
Speaker 1: she played the title role.
Speaker 3: Look, if I could turn back time, I would give it.
Speaker 2: You would give the oscar to Glenn?
Speaker 1: Yeah, if you would give the usk the go and
Speaker 1: Sean Connery wins for The Untouched was which I have
Speaker 1: no problem with. Adolf for Best Supporting Actor beats Albert Brooks,
Speaker 1: Morgan Freeman, Vincent Gardenia, and Denzel Washington for christ Freedom
Speaker 1: And just before we go, one thing, we should mentioned
Speaker 1: Jack Nicholson in this Why That's what I meant to.
Speaker 3: Mention, how crazy is that Jack Nicholson's in this movie
Speaker 3: was not credited in any of the marketing or poster
Speaker 3: and in fact refused to be paid for it.
Speaker 2: Did it as a favorite obviously in terms of indeement, But.
Speaker 3: Like what did you What was he coming out of
Speaker 3: at that time?
Speaker 2: Was he big? Well he mustn't mean, but he did
Speaker 2: in terms of indiem he must have made you know,
Speaker 2: this is he's something shining.
Speaker 3: It's you.
Speaker 1: He's done this Jack, He's one about seventies films, he's
Speaker 1: done forty. Yeah, he's on one floor floor of the
Speaker 1: Cookie's nest.
Speaker 2: He's done. He's done, you know the last detail. He's done.
Speaker 2: Like some of them aren't nessary massive films, but he's done.
Speaker 3: He goes to work with this director and.
Speaker 1: I think he's done as a fab in ninety seventeen
Speaker 1: years later, ten years later, So yeah, hasn't done.
Speaker 3: And you can handle the truth that's later.
Speaker 1: That's about five years. I reckon it's ninety two.
Speaker 2: But did you find it?
Speaker 4: Did you?
Speaker 2: I found it distracting.
Speaker 3: You have to when one of the acts is too famous.
Speaker 1: So why And it's not a massive problem, but I
Speaker 1: just think I was expecting more when he comes back
Speaker 1: for the retrenchments and he's like, I'm going to take
Speaker 1: everyone out. Okay, that's going to be he's going to
Speaker 1: have He's going to impact our story. Yeah, this doesn't
Speaker 1: impact the story in any way like that could have
Speaker 1: been played by a character actor, but.
Speaker 3: It's the gravitas.
Speaker 2: Oh he does that, and you understand why I.
Speaker 3: Think it's with another actor. You go, Okay, there's the
Speaker 3: news there's the news man. When it's Jack, the stakes
Speaker 3: are higher, and the fact that they're trying to get
Speaker 3: his approval and he never likes anything. And he says
Speaker 3: to her, why don't you come up to New York.
Speaker 3: She goes, I didn't write the whole story. I just
Speaker 3: worked on it. And he goes, call me, you know,
Speaker 3: and you go, he liked it. And the fact that
Speaker 3: he's the god and he's the one that kind of
Speaker 3: says to you know, his minions, I accept you. We
Speaker 3: will do this, you know.
Speaker 1: Jack gives that, and and and that scene where he
Speaker 1: talked the Holy Hunter but not Albert Brooks. And then
Speaker 1: that beautiful actor where Albert Aaron whispers to Jane, yeah
Speaker 1: my heart is broken, but singly funny and laugh out loud,
Speaker 1: and she does it in such a great way, and
Speaker 1: then it's it's so, it's so beautiful.
Speaker 3: But they would have gone in for half a day,
Speaker 3: two days, two days and kept all his suits.
Speaker 1: The one other little, I thin thing I want to
Speaker 1: go about the Holy Hunter is the crying like, you're
Speaker 1: you're such a brilliant actor, what like, explain how hard
Speaker 1: that is one just crying? But she's crying with no
Speaker 1: external provocation.
Speaker 3: But female actors are insanely good at it. Like, and
Speaker 3: what I like about her crying is it's not poor
Speaker 3: me crying. It's I'm so invested in this and I'm
Speaker 3: so lost and I'm so passionate about it. It's like
Speaker 3: it's it's almost comic in the way that she cries
Speaker 3: in different moments, and her crying is active and it's
Speaker 3: got story in it. Yeah, while she's crying, you know,
Speaker 3: whereas we see so many crying scenes where I go,
Speaker 3: I'd love to see another choice. You know, I think
Speaker 3: there's way too much crying. You know. I remember seeing
Speaker 3: that show The Sinner Jessica Biel. She cries in every scene.
Speaker 3: I think it should have been called the Sobber. She's
Speaker 3: just crying, and I'm like, come on, guys, let's have
Speaker 3: some other scenes that doesn't have crying. I know it's
Speaker 3: a tough time, but also when you get a bit
Speaker 3: more used to tragedy, you do stop crying and you're
Speaker 3: hard en up. And you know that's more interesting for
Speaker 3: me to watch people trying not to cry. It's really interesting.
Speaker 1: People say, people trying not to cry is way more
Speaker 1: powerful than seeing people crying.
Speaker 3: Yeah, I love it in Shine where Noah hits the
Speaker 3: ground and this single tear comes out of his thing,
Speaker 3: his head and he knows where he's you know that
Speaker 3: the rest of his life's already ordained, and like really
Speaker 3: interesting choices with crying, I think good not choices. Maybe
Speaker 3: it's just what happened. But I'm not a great cryer.
Speaker 3: I can work myself up by putting the headphones on,
Speaker 3: getting the cat power playing, you know, channeling heart bro.
Speaker 2: We're behind a curtain.
Speaker 3: Now, yeah, channeling. Yeah, we're in the actor studio, and
Speaker 3: I can go, okay, I'm ready and roll camera and
Speaker 3: I'll fucking go and I'll get to sobbing and there'll
Speaker 3: be snot and that's but then once that takes done,
Speaker 3: I'm probably done for the day. You know, I can't
Speaker 3: like I'm cried out. If that's Monday. I can maybe
Speaker 3: cry again on Thursday, and that's me done. So if
Speaker 3: you want one, give me half an hour and then
Speaker 3: I'll come at you as a noise canceling headphones, your
Speaker 3: noise can seeing headphones, and then you know, I'll need
Speaker 3: to go for a swim, and then I need to
Speaker 3: go see my mom and then you know, But these
Speaker 3: actors can, they can whack it. I remember Patrick Bramle
Speaker 3: and Reuben Guthrie telling the story of his friend died.
Speaker 3: He just went bang bang, fourteen takes in a row, like, yeah, yeah,
Speaker 3: I can't do that. Yeah, I'm guilty of grabbing the
Speaker 3: tear stick and rubbing it under the eyes, no problem.
Speaker 1: I spoke to a director a little while ago who
Speaker 1: said they worked with an actress who was wonderful, like
Speaker 1: a really gave a stone performance, but but she literally
Speaker 1: cried in every scene. Like they're not scenes where there's
Speaker 1: no reason they had to c g I out.
Speaker 3: Yeah, does it all the time. She loves to cry.
Speaker 3: But it's like it's not their fault, it's director, And
Speaker 3: it's just like, don't smile on every scene, like let's
Speaker 3: have some different stuff. Yeah, you know, and and but
Speaker 3: I don't think it's anyone's fog. I think people have
Speaker 3: been told that that's what acting is, actings crying. How
Speaker 3: often do you cry as a human, Like not heaps.
Speaker 2: I've had three christs today.
Speaker 3: Yeah, you're doing a podcast with me, you know what
Speaker 3: I mean? So, why why are we seeing someone's crying
Speaker 3: when crying is such a rare thing in life? Yeah,
Speaker 3: you know, like it's and I think sometimes I cry,
Speaker 3: you know, text him a nephew and he got a
Speaker 3: job of McDonald's in the nugget section, and I'm like,
Speaker 3: while I'm texting, you know, sometimes I have an amazing apple.
Speaker 3: You look at the stripes on a beetle and you
Speaker 3: cry and you go, fucking hell, how good are beatles?
Speaker 2: Is that weird tear that this comes down with no
Speaker 2: no reason.
Speaker 3: That's interesting to me, Like, what's going on there? Why
Speaker 3: did that come up? Maybe you're happy?
Speaker 2: Yeah, there's tear that falls down. It's like.
Speaker 1: There's no sadness that I'm aware of in me at
Speaker 1: the moment, and it just just meant something. Yeah, you know, mate,
Speaker 1: it is so good to see you in the flesh.
Speaker 1: I'm glad we were able to do this.
Speaker 2: Person.
Speaker 1: Thank you so much for doing your homework and watching.
Speaker 1: I know it comes with homework broadcast. It is great homework.
Speaker 1: I gave it a big plug at the start. But
Speaker 1: your book plum which I have spoken to you personally. Well,
Speaker 1: so I was quarantining with COVID. I ripped through it
Speaker 1: and it is extraordinary. It is another extraordinary addition to
Speaker 1: a conversation about masculinely in Australia. You have a main
Speaker 1: line into what it means to be an Australian male
Speaker 1: battling demons in suburbia. And it is and it is funny,
Speaker 1: it is heartbreaking, It pulls at all the right things
Speaker 1: and it's wholly original.
Speaker 3: Oh thanks man. Yeah, it's out there in the bookstores now.
Speaker 3: And you know, I got a DM from a lady
Speaker 3: this morning who said, you know, I know what to
Speaker 3: do with my boy who's in year eleven. Now, I'm
Speaker 3: going to give him words. I'm going to talk to
Speaker 3: him about words. And it's just like suck. I'll suck
Speaker 3: crying at that because I'm like that really at the
Speaker 3: end of the day, I've got a bit of money, Okay,
Speaker 3: I've got a house if I can do that, like
Speaker 3: I really am, just like you know. And a guy
Speaker 3: said he listened to me on ABC Conversations and he
Speaker 3: played it to the Year nine boys and said, this
Speaker 3: is how men can talk to each other me and
Speaker 3: Richard Weidler, and it's like, you know, Plum Peter the
Speaker 3: plumb Lum rugby league play with concussion issues. He's probably
Speaker 3: going to die, and he's like, how do I not die?
Speaker 3: I've got to change? How do I change? I might
Speaker 3: have to not do what I've been doing my whole
Speaker 3: bloody life. Oh shit, do I reach out? No? I
Speaker 3: Hi drink run? That didn't work. What do I do? Share?
Speaker 4: Now?
Speaker 3: I can't do that? Hi drink run? Okay, maybe I'll share.
Speaker 3: How do I do that? Write some stuff down, you know,
Speaker 3: and some dead poets come in and help him. And
Speaker 3: it's really hard and not just men, women, you know
Speaker 3: what I mean, like humans, human behavior. It's so hard
Speaker 3: to share our confusion. And maybe that's right and down,
Speaker 3: maybe it's you know, whatever it is for different people.
Speaker 3: But I love that it's you know, the reviews are
Speaker 3: great that you know, line and print and people are
Speaker 3: loving it. But I just love hearing from people the
Speaker 3: actual effect that it's had, and they've that it's been
Speaker 3: of use, yeah, you know, And that's really more and
Speaker 3: more just what I want my art to be. I
Speaker 3: just want it to be of use to people.
Speaker 1: Well, It's fascinating because it's it's a it's about a man.
Speaker 1: They're trying to make a big change in his life.
Speaker 1: And I feel like you do get to an age
Speaker 1: where you're like, oh, well, this is who I am
Speaker 1: and it could be as simple as you know, the way.
Speaker 2: What you weigh or the way you dress, and you're
Speaker 2: gonna go, well, I can't. I've just like this my
Speaker 2: whole life. I'm not going to I wrack up in
Speaker 2: a Hawaiian shirt now.
Speaker 3: Yeah, And it's kind of a coming out story Peter
Speaker 3: p it is. He's not going guys, I love dr
Speaker 3: He's going all write poems sometimes.
Speaker 2: Yeah, I expectence.
Speaker 3: You know, he's got a barret on. He's having a
Speaker 3: gabinet instead of the schooner's. You know, it's just like
Speaker 3: it's really hard to change, you know, but he has
Speaker 3: to or he'll die. And are those guys that are
Speaker 3: with you on the punt and on the piss you
Speaker 3: know that we have those mates? Are they there when not?
Speaker 3: When life comes a knocking because you're in trouble? Mate,
Speaker 3: can you use those mates?
Speaker 4: You know?
Speaker 3: Who can you use? Because you can't do it alone
Speaker 3: in this world? You need connection connections the opposite of fear.
Speaker 3: You know, when you connect, the fear goes away. When
Speaker 3: there's other people you know who are going through what
Speaker 3: you're going through and you can share it with them,
Speaker 3: Suddenly you've got muscles in the game, you know. And
Speaker 3: that's what I'm kind of trying to say. It's okay
Speaker 3: to admit your confusion and your weakness and your fear.
Speaker 1: Here here it is. It is brilliant. I highly recommend
Speaker 1: Plum in all the bookstores. Check it out or order
Speaker 1: book book Type is always a good place to order Melbourne.
Speaker 3: I've just gone the Reddings, Carlton and Avenue and the
Speaker 3: leaf Shop and yes, the Saurs, so there should be
Speaker 3: some Sewing copies all around Melbourne.
Speaker 2: Brilliant mate. I love you, Yeah you too.
Speaker 3: My brother into this every week. If I could therapy,
Speaker 3: I'll bring you back. Lord of the Rings. Bloody Baggin's
Speaker 3: still in the cave.
Speaker 4: Big finish.
Speaker 2: That was fantastic, Brendan Calee, bloody hell. I love that movie.
Speaker 2: Broadcast News.
Speaker 1: I really really enjoyed revisiting that and I'm glad Brennan
Speaker 1: loved it as much as I did. So yes, just
Speaker 1: to repeat, if you skipped through the first bit. We
Speaker 1: are coming back later in January. I just wanted to
Speaker 1: get this episode out one just to give you something
Speaker 1: to get you by, and also to promote Brennan's book, Plum.
Speaker 2: It is a fantastic book. Check it out.
Speaker 1: It's great for Christmas if you look for something to
Speaker 1: read over summer as well.
Speaker 2: So Plumb by Brennan cale in all good bookstores now.
Speaker 1: It is absolutely brilliant, already been nominated for various awards.
Speaker 1: Next week on the show, a very Christmas episode and
Speaker 1: then we'll take an official break. But Christmas episode next
Speaker 1: week is Love Actually with a great mate of mine.
Speaker 1: He's an Irish comedian who has been living in Australia
Speaker 1: for quite a while.
Speaker 2: Not Jim Owen.
Speaker 1: We'll get Jamalon another time, but it is a very
Speaker 1: funny man called Eddie Bannon. He's been working in radio
Speaker 1: and Adelaide for many years and he has refused to
Speaker 1: see Love Actually for so many years, and he has
Speaker 1: finally agreed to watch Love Actually for you ain't seen
Speaker 1: nothing yet. I think he's gonna hate it, but we'll
Speaker 1: see next week and you ain't seen nothing yet. A
Speaker 1: Christmas edition Eddie Bannon watching finally love actually, until then,
Speaker 1: take care. And so we leave old Pete see fan
Speaker 1: Sol and to old friends of the radio audience, we've
Speaker 1: been a pleasant good name.