Speaker 1: Kid a, Peter Hell, are you here? Welcome to you.
Speaker 1: Ain't seen nothing yet. The movie podcast where our chat
Speaker 1: to a movie lover about a classic or beloved movie
Speaker 1: they haven't quite got around to watching until now. Today's
Speaker 1: guests Stephen Gates or Gatesy from Tripod.
Speaker 2: Ever Dance with the Devil on the vale Line. I'm
Speaker 2: walking here, I'm walking here. Of all the gin joints
Speaker 2: in all the towns in all the world, she walks
Speaker 2: in the mine. Haven't any right now, don't see nothing.
Speaker 1: I had the absolute honor of being today's guest fairest
Speaker 1: Man at his wedding many moons ago. That's right, he
Speaker 1: had a best man and the fairest man, a best
Speaker 1: and fairest man. We became quite tired upon spending lots
Speaker 1: of time with each other on the road, specifically the
Speaker 1: Melbourne International Comedy Festival road Show way back in the
Speaker 1: year two thousand and We've been great mates ever since.
Speaker 1: Gatesy has always made me laugh. A member of the
Speaker 1: extraordinarily funny and heaps talented musical comedy trio Tripod Gates,
Speaker 1: he has been responsible for one of my very few
Speaker 1: ventures into musical comedy with Bevan the musical which we
Speaker 1: recorded for Triple J with American rosso way back in
Speaker 1: nineteen ninety nine, a three minute musical that tracked the
Speaker 1: rise and fall and rise again of Bevan adamsall from
Speaker 1: Young Talent Time. That year, it shot to number thirty
Speaker 1: five on Triple Jy's Hottest one hundred Durid beating out
Speaker 1: Silver Chair Take that. I think that's why they broke up.
Speaker 1: Gatesy is passionate about his art. He cares about the
Speaker 1: details of comedy. His execution is always thoughtful and considered.
Speaker 1: As a human being, Gatesy is kind, loyal, caring, honest
Speaker 1: and bloody hilarious. I'm stoked they have one of my
Speaker 1: best mates, Gatesy here with me today.
Speaker 2: Hello, my name is Stephen Gates. Three of my favorite films,
Speaker 2: all starting with B being John Malkovich. Shut Up, you overraded,
Speaker 2: Big Chill, Carold.
Speaker 1: Don't you have any other music like from this century?
Speaker 2: There's no other music of My House and Big Trouble
Speaker 2: in Little China.
Speaker 1: It's on the reflexes.
Speaker 2: But up until last night, I've never seen Parasite.
Speaker 1: It's gorgeous. South Korean visionary Bong June Hoes twenty nineteen
Speaker 1: social satire masterpiece is, in his words, a comedy without clowns,
Speaker 1: a tragedy without villains. We meet the Kim family, living
Speaker 1: in the submerged basement, half below ground, half above, scrambling
Speaker 1: for sunlight and Wi Fi. When opportunity knocks, they do
Speaker 1: more than open the door. They infiltrate the upper class
Speaker 1: Park family. A film of two halves. Parasite is extraordinary
Speaker 1: on every level, IMO, A master class in every element, writing, directing, design, performance,
Speaker 1: use of motifs, boy they love that? And theme, comedic, violent,
Speaker 1: thrilling and vital. Can the rich and Paul live alongside
Speaker 1: each other in perfect harmony? Will the Parks take the
Speaker 1: Kims in and become total b ffs? Or will the
Speaker 1: stench of poverty be a bridge too far for the
Speaker 1: affluent Parks. Parasite is the only international film to win
Speaker 1: both the Palm Dior and Best Picture Oscar and is
Speaker 1: a film they will have you asking who are the
Speaker 1: real parasites here? Gates you, do you have a multi
Speaker 1: level toilet at home?
Speaker 2: No? But after watching the film, gonna get one installed?
Speaker 1: I'm not sure. I wonder how how the sales in
Speaker 1: multi level toilets went after if somebody wasn't went no.
Speaker 2: Yeah, apparently the designer on the set designer one would
Speaker 2: say yeah, because everything was actually created. Yeah, well that
Speaker 2: was in a studio. They weren't filmed on location. But this,
Speaker 2: this toilet was specifically designed. I mean, I was do
Speaker 2: do people in South Korea sit on toilets? You know,
Speaker 2: depending on your class of course, But no, that was
Speaker 2: that was actually designed.
Speaker 1: Do you still like when you find that out? This
Speaker 1: film's a perfect example of it, going to go, oh wow,
Speaker 1: they went to all that trouble for a movie.
Speaker 2: Yeah, no, no, no, no, Well that's the thing about
Speaker 2: this movie though, every shot they went to a lot
Speaker 2: of trouble, you know, even the simplest ones, and just
Speaker 2: to convey that story, to tell that story. I was amazing.
Speaker 1: Was this an easy nomination for you and I? You know,
Speaker 1: because you you've read particular with your films.
Speaker 2: Wait, we see a lot of films together were over
Speaker 2: the over the course of our lives.
Speaker 1: And I think I've spoken about this some on of
Speaker 1: the podcast. One of my favorite movie going experiences recently
Speaker 1: was recently with you. It was by an accident. We
Speaker 1: saw Harold and Maud.
Speaker 2: Yes, why aren't we going to see.
Speaker 1: Was he something else like Us?
Speaker 2: I think I was Us, which is a very good
Speaker 2: parallel with Parasi.
Speaker 1: Absolutely it is.
Speaker 2: But it was a hal Ashby festival or something on
Speaker 2: it the Nova Cinema. Yeah, shout out to Nova.
Speaker 1: What a good one for that one. Yeah, we're getting
Speaker 1: a free Chuck top better.
Speaker 2: Yeah, but no what Harold and Maud.
Speaker 1: Harold and maudit So Geraldine Hickey discussed that and watch
Speaker 1: it for the first time for this podcast, and we
Speaker 1: just we just loved.
Speaker 2: It, loved it. It was. It was one of those
Speaker 2: great surprises, wasn't it?
Speaker 1: It really was? It really was.
Speaker 2: There's a reason why these movies popular and they rise
Speaker 2: to the top, isn't it?
Speaker 1: There is they call them classics.
Speaker 2: For I think they call them classics.
Speaker 1: I want to point it before we get into your
Speaker 1: three favorite films, and we'll come back to talk about Parasite.
Speaker 1: There's a lot to dive into. One of the things
Speaker 1: I love about your movie going approach is you have
Speaker 1: not watched trailers for a very long time. You refuse
Speaker 1: to watch trailers. I don't have the discipline I needed,
Speaker 1: I need and I love the art of a trailer.
Speaker 1: A good trailer, to be honest, and you probably watch
Speaker 1: it afterwards. You watch them afterwards.
Speaker 2: I devour everything afterwards, reviews, trailers.
Speaker 1: I don't read reviews before I go in. I know,
Speaker 1: leave that to maybe.
Speaker 2: Quite often a bad review is you know, the synopsis
Speaker 2: is in built, and I want to go in. I
Speaker 2: want to I want to go into every story fresh,
Speaker 2: wide eyed, bushy tailed. I don't even read the back
Speaker 2: of books. I don't want to read books. I don't
Speaker 2: read books. I've never read. I'd like to read more anyway,
Speaker 2: but no, it gets yeah.
Speaker 1: Yeah, okay, so no, no, you never tempted even when
Speaker 1: like a big like a Star Wars film, was that
Speaker 1: that what's been the toughest one where you've kind of gone, oh.
Speaker 2: Yeah, that was the heart? So yeah, okay, we'll go
Speaker 2: into it. I don't watch trailers. I basically don't. I'm
Speaker 2: on just completely. What is it? Radio silence when it
Speaker 2: comes to any discussion. That's why I think it's a
Speaker 2: it's a lonely way to live because you can't engage
Speaker 2: with your nerdy friends on you know, what possible scenario
Speaker 2: would be happening with the sequel or you know, no,
Speaker 2: it's just like I don't want I don't even want
Speaker 2: to be influenced by those kinds of conversations, because quite
Speaker 2: my friends have good ideas, you know, and what if?
Speaker 2: What if? Han solid is No, I don't want to,
Speaker 2: but I will be at the cinema with you. Put
Speaker 2: pete and put the headphones on during the trailers and
Speaker 2: rock back and forth like a mad man.
Speaker 1: You forgot about that you put your headphones.
Speaker 2: I put my headphones in and rock back and forwards
Speaker 2: like a mad man.
Speaker 1: I think I took a photo of you last time.
Speaker 1: Either put that in.
Speaker 2: I'm sure I did, because I had my eyes closed
Speaker 2: and I was rocking back and forth.
Speaker 1: That yeah, when I always see my friend's rocking back
Speaker 1: and forth.
Speaker 2: Yeah, but no, I understand the trailer. The idea is
Speaker 2: to sell the movie. But quite often, if it's a
Speaker 2: bad movie or even something I have a passing interest in,
Speaker 2: they'll feature all the good bits in the trailer. They'll
Speaker 2: feature the entire story at times, all three acts you know,
Speaker 2: in the trailer. And that just really gets me down.
Speaker 2: I actually, when I go in to see a movie
Speaker 2: like this, just completely completely free of any sort of
Speaker 2: any sort of intention. I another star gets added to
Speaker 2: this movie because you know, the surprises are there. You know,
Speaker 2: sometimes the credits come up on films like I remember
Speaker 2: Guardians of the Galaxy too. Kurt Russell is one of
Speaker 2: my favorite actors of all time. I didn't know that
Speaker 2: he was in it until the opening credits, and I
Speaker 2: was disappointed. This movie you're about to see features Kurt Russell. No,
Speaker 2: I wanted that little surprise you know, when he enters,
Speaker 2: this goes on screen. That's what I want. I want
Speaker 2: those little rewards that filmmakers, I reckon spend a long time,
Speaker 2: you know, developing. When do interest introduce that character? You know,
Speaker 2: when do we do that? So yeah, I just want
Speaker 2: to see the film as is.
Speaker 1: It is interesting when the marketing department take over, Yes,
Speaker 1: and I guess open credits that's a filmmaker choice. But
Speaker 1: in the marketing department, you know, I have last season
Speaker 1: of How to Stay Married to take a couple of times.
Speaker 1: So our marketing department you're giving the clips you're showing,
Speaker 1: is giving a little bit to We worked really hard,
Speaker 1: YEP to kind of you know, craft this season. And
Speaker 1: then when when to you know, let the audience in
Speaker 1: on the twist and the turns you. You're just you're
Speaker 1: choosing a few things that are just undoing some of
Speaker 1: the work we did over you know, a.
Speaker 2: Year commerce me so creativity.
Speaker 1: Yeah. So I was always like, take the clips from
Speaker 1: the front of an episode, like you're safer, like you
Speaker 1: know one you run it by me, but take the
Speaker 1: clips from the start of an episode, you know, as
Speaker 1: a reasonably safe thing to do.
Speaker 2: But one of my favorite things is to see a
Speaker 2: film with your good self. Yeah.
Speaker 1: Yeah, we've seen If You're Scary Ones twos.
Speaker 2: Or saw Together that was good. But we got to
Speaker 2: celebrate leew and El's rise to power in that one moment.
Speaker 2: It was such a great, a great day. It was.
Speaker 1: It was and I mean many great days ahead of us.
Speaker 1: Your three favorite films, you have.
Speaker 2: Three of my favorite films.
Speaker 1: Well, I noticed you said that. I mean the brief
Speaker 1: is your three favorite films, So top three. You're on record,
Speaker 1: these are your top three films.
Speaker 2: Yep, I will stand by them if a gun was
Speaker 2: held to my head.
Speaker 1: I remember seeing a media screening a preview has this
Speaker 1: Do you remember often living up a week where you
Speaker 1: see two or three films that are films that you like, Go, oh,
Speaker 1: there were all timers. They're in the Hall of Fame.
Speaker 1: I remember seeing being John Malkovich at a previous screening,
Speaker 1: and two days later I saw American Beauty. Wow, that's
Speaker 1: gonna I think, well, that's okay, that's yeah. You know,
Speaker 1: nineteen ninety nine was an extraordinary year for film. There's
Speaker 1: a great book called ninety ninety nine best movie year ever, really,
Speaker 1: and it's extraordinary. You had fight Club, you had the
Speaker 1: sixth Sense, Blair Witch Project came out that year.
Speaker 2: What was in the war do you think at that time.
Speaker 1: The fight Club was also run all around? Also, I
Speaker 1: think there's something about the book makes the case that
Speaker 1: the there was genuine tension. We laugh about it now,
Speaker 1: particularly as we deal with coronavirus. For the younger listeners.
Speaker 1: There was something called the Millennium Bargain and there was
Speaker 1: genuine and anxiety about that. And maybe even that coupled
Speaker 1: with the idea of heading into a new century reflection,
Speaker 1: you know that you can take stock where are we
Speaker 1: as a people? And that kind of artistically that inspired
Speaker 1: a lot of people. Exactly it would have been Election
Speaker 1: was that year. I think Magnolia was that year.
Speaker 2: Wow, Well that's it. So at the end of any decade.
Speaker 2: I guess it's quite exciting to think about what the
Speaker 2: decade remember, like in nineteen seventy nine or eighty nine,
Speaker 2: the next decade was exciting. Yeah, yeah, the potentiality, like and.
Speaker 1: On the stroke of midnight, we all dressed differently, didn't we?
Speaker 2: We all?
Speaker 1: We all did so being John Malkovich extraordinary film, Spike Jones,
Speaker 1: China Kaufman.
Speaker 2: Oh amazing it was. I walked out of the cinema
Speaker 2: after seeing that movie, and it was the first time
Speaker 2: and I think it's the only time I've ever said
Speaker 2: to myself, I just think I've I think I've seen
Speaker 2: my favorite film. I was just blown away by the creativity,
Speaker 2: I guess, and even the metadness of it. I didn't
Speaker 2: know much about John Malkovich, but I knew a lot
Speaker 2: by the end. But even though it's not about John Malkovich,
Speaker 2: it's not about it's just it's about a pupp and
Speaker 2: tears journey. But no, I thought all of the elements
Speaker 2: that Spike Jones brought to that cinematically was just so
Speaker 2: exciting to me, and it just ticked all my boxes.
Speaker 1: And the casting is so good. John Cusac is perfect
Speaker 1: in that role. Great casting of Cameron Diaz, who was
Speaker 1: you know, like unrecognizable, unrecognized, and I'm only seen as
Speaker 1: the hot model, you know, to play that hot the
Speaker 1: hot woman in movies. And she is so good, this brown,
Speaker 1: frizzy kind of perm that she has, and she's so
Speaker 1: she's so great. Catherine Keena. I remember, I think it's
Speaker 1: the first time I'd seen kath Keina. Just thought, wow,
Speaker 1: exactly what I gotta say. Amazing performance. It was one
Speaker 1: of the one of the sexiest performances in a role
Speaker 1: that's not like necessarily overtly sexy.
Speaker 2: Yes, yeah, well he's his relationship with her, or his
Speaker 2: relationship with everyone in that film is extraordinar as a
Speaker 2: distance to it, like he's he is a puppeteer, you
Speaker 2: can he spent all of his time staring at wooden
Speaker 2: blocks with faces. Yeah, but yeah, even throughout the film
Speaker 2: just littered with all these beautiful creative like the is
Speaker 2: it the fourteenth and a half floor or yeah, that's
Speaker 2: nothing's really explained or explained away with that. It's just
Speaker 2: what it is, and these people cope in this scenario.
Speaker 2: Is it a metaphor? Of course it is, But.
Speaker 1: It's funny you when you're in writers' rooms when sometimes
Speaker 1: we get bogged down, and I hate it, like when
Speaker 1: people say that character wouldn't do that, Why is that?
Speaker 1: It's like and I was watching some clips on the
Speaker 1: Parasite last night and reading up about Bond and Hoe
Speaker 1: and he just said in one of yours, I don't
Speaker 1: really know why that exists in my movie. I just
Speaker 1: want to make the audience curious. Yes, and there's something
Speaker 1: that was like it was almost like a moment for me.
Speaker 1: This is literally last night, just going that's all it
Speaker 1: needs to be. Make your audience curious, keep.
Speaker 2: It be interested in your ordering audience or interesting to
Speaker 2: your audience.
Speaker 1: That's just that this character is a bit strange or
Speaker 1: this things. But you know, the need to explain everything.
Speaker 2: But that's all that all works within the tone of
Speaker 2: And I think my favorite films are tonally kind of
Speaker 2: water tight. They're sort of bulletproof. There's nothing really exists
Speaker 2: outside it. Nothing. Oh you never say, you would never
Speaker 2: say a character wouldn't do that, you know, But but
Speaker 2: that's just the success of the storytelling, I think, because
Speaker 2: you know, in the wrong hands, those weird, those weird
Speaker 2: moments can really well.
Speaker 1: And yeah, you need to build. You build your own world,
Speaker 1: you know, and when you're writing something and it has
Speaker 1: to be consistent, Like if that appears in an episode
Speaker 1: of Blue Heelers, you think, yeah, what's happened there? Yeah,
Speaker 1: the elevator is obviously it stuck totally, you know, But.
Speaker 2: That must be so hard to actually convey what it tonally,
Speaker 2: even even though you must have a clear idea what
Speaker 2: you want, but to to tell whether cinematographer or the
Speaker 2: audio or you know, this is what we're going for.
Speaker 2: You know. It's like those stories of George Lucas doing
Speaker 2: Star Wars in seventy six or something, and no one
Speaker 2: on the set believed him. No one on the set
Speaker 2: understood what the hell, you.
Speaker 1: Know, we wanted to do over time, because this is
Speaker 1: what's going on.
Speaker 2: These puppets, and it's going a black outfit with a
Speaker 2: Northern accent. That's why Harrison forty is so good. He
Speaker 2: doesn't give a ship. He's perfect in it anyway. So
Speaker 2: it must be that's why into those films that really
Speaker 2: transcend I guess genre and become these classics. It's such
Speaker 2: a kudos to the filmmaker or you know, but it's
Speaker 2: the whole the whole team. It's just this magic combination.
Speaker 1: I think we you know, I'm sure we both love
Speaker 1: genre films, but actually there's a there's a you know,
Speaker 1: a parallel I think with Being John Malkovich and Parasite,
Speaker 1: where they what genre is This is a mash. It's
Speaker 1: a mash of genre and and they have confidence. I
Speaker 1: was thinking when I was watching Parasite that so much
Speaker 1: of this it's hard to think of unless you've kind
Speaker 1: of like gone through the creative process of writing something.
Speaker 1: But it's all guesswork. Like we see Parasite now as
Speaker 1: the Palm, the or Winder, the Oscoo. When we being
Speaker 1: John Malgo, which is revered. It's an indie darling and
Speaker 1: any think of course that exists always existed like that.
Speaker 1: But there are a whole bunch of brave choices and
Speaker 1: decisions that Spike Jones Charlie Kaufman made as a writer
Speaker 1: and Spike Jones made as a director. The actors made us,
Speaker 1: you know, in their performances that got to this. And
Speaker 1: you only get one version. You don't get you know,
Speaker 1: they don't release six different versions of a movie. This
Speaker 1: is the one for people who don't like it. It's
Speaker 1: so weird. This is ye and you don't realize that
Speaker 1: it is guesswork.
Speaker 2: But genie coming from genius. Can you imagine?
Speaker 1: So the confidence, that's what and that's why it's been
Speaker 1: our genius is they backed themselves in.
Speaker 2: That's it And is that what it is? Is that
Speaker 2: eighty percent of the job. Seriously, I do have I
Speaker 2: do have a clear idea what's going on, guys.
Speaker 1: Yea and people around you who have faith in you.
Speaker 1: And I think that's why these a lot of these
Speaker 1: famed directors will they assemble their own teams and it's
Speaker 1: like these these people.
Speaker 2: Know, now you've made me even more galvanized in my
Speaker 2: pre trailer or pre pre show idea of never seeing
Speaker 2: trailers because we've got a we've got a team that
Speaker 2: has nothing to do with the film trying to promote
Speaker 2: that film and tell that story or and it's the
Speaker 2: wrong one. It could be. I remember watching Hateful Eight Tarantino,
Speaker 2: and I had no idea what it was. I really
Speaker 2: enjoyed it great. I watched the trailer, and the trailer
Speaker 2: sort of gave me the impression that it was this
Speaker 2: sort of heist movie or you know who done it?
Speaker 2: Even like the way the trailer was presented, And if
Speaker 2: I'd seen that and seen The Hateful Eight, I would
Speaker 2: have been disappointed because I'm going into a oh cabin
Speaker 2: in the middle of nowhere. Someone's done something wrong. We've
Speaker 2: got to get to the bottom of this. But no,
Speaker 2: like a Tarantino film, ends in gunfire and a right,
Speaker 2: everyone blows each other up.
Speaker 1: You how's going to end? Yeah, okay, all right, The
Speaker 1: Big Chill Embarrassingly you've never seen it?
Speaker 2: Really, yeah, don't be embarrassingly. It's on my list. This
Speaker 2: is when you're saying favorite movies, and especially movies because
Speaker 2: people take them so seriously, you kind of want to,
Speaker 2: you know, hit the marks with your choices. But I
Speaker 2: just sort of decided instead of, you know, great movies
Speaker 2: or excellently put together movies, I went with my favorites,
Speaker 2: you know. And The Big Chill has a special place
Speaker 2: in my heart simply because there was something about the
Speaker 2: relationship between these grown ups in their mid thirties that
Speaker 2: really appealed to a sixteen year old kid. I loved
Speaker 2: the soundtrack, of course. I loved soul music and stuff
Speaker 2: growing up. Still do, and the soundtrack is famous, of course,
Speaker 2: you know, every time there is a kitchen, every time
Speaker 2: there is a dinner party i'd go to and we're
Speaker 2: cleaning up, I do want to put on some soul
Speaker 2: music and dance around in the kitchen, you know, cleaning up.
Speaker 2: That's quite sad.
Speaker 1: I haven't even seen the big Chill, and I know
Speaker 1: that that's a thing, and I reckon that's even when
Speaker 1: I think of dinner parties growing up, there was a
Speaker 1: big chill might have even been around, and maybe I've
Speaker 1: seen bits of it, you know, enough to inform that.
Speaker 1: But it's interesting what you say as a sixteen year
Speaker 1: old and you've seen these thirty year old I've always
Speaker 1: contended that teenagers don't always want to be watching teenagers
Speaker 1: on screen.
Speaker 2: No I don't, Yeah, totally.
Speaker 1: I think there's an aspirational element, you know, that worked
Speaker 1: for all of us. But I think that's why I
Speaker 1: think we we were, you know, in that scenes. We
Speaker 1: love Seinfeld. You know, we're watching thirty somethings in New York. Yeah. One,
Speaker 1: it's pissed funny, but also the sex in the city
Speaker 1: was an aspirational thing for you know, a lot of
Speaker 1: women in particular, you know, So I think there is
Speaker 1: that aspirational thing of like, I imagine if my life
Speaker 1: turned out and I had these friends in New York or.
Speaker 2: Whoever it might be, and at that moment moment of
Speaker 2: a young child's life fourteen fifteen, where you know, you
Speaker 2: feel like you're almost ready, prematurely, you're ready to get
Speaker 2: out into the world and be a grown up, but
Speaker 2: you can't. You've got three more years. So I'd find
Speaker 2: myself on a Friday night, putting the VHS tape in
Speaker 2: a big chill and just spending another two hour ninety minutes,
Speaker 2: two hours with these people that I kind of aspired
Speaker 2: to want to be when I grew up, Like they
Speaker 2: would have discussions around a table, talk and use words
Speaker 2: like rationalization and things like. You know, these are intelligent people.
Speaker 2: They all come together because a friend, a mutual friend,
Speaker 2: has died. So write it off the bat, you know,
Speaker 2: the tone that's being set. It's quite sad, you see.
Speaker 2: It starts off at the funeral, and then they all
Speaker 2: go to the house that's around the corner and spend
Speaker 2: the weekend there. And what they do on that weekend,
Speaker 2: nothing really happens. It's just conversation. Someone said, it's a cat. Yeah.
Speaker 2: In a way, or someone said to me, big chill,
Speaker 2: it's a character study. What what so that means it
Speaker 2: doesn't have to have a plot. There is there are
Speaker 2: there are subplots all over the place. There is a
Speaker 2: story there. But I think I was just attracted to
Speaker 2: that group of people, and there was a it's a
Speaker 2: whole collection of people. There's an actor, there's an out
Speaker 2: of work guy who now I think he's dealing drugs.
Speaker 2: There's a there's a family man. There's all these people,
Speaker 2: all the directions that could you could go as an
Speaker 2: when you've stepped into the larger world. They're they're all
Speaker 2: represented with a great banging soundtrack. And there's also Kevin
Speaker 2: Klein in there and Glenn Close and heard Yeah, Tom Baron,
Speaker 2: Joe what what what happened to?
Speaker 1: Just I always feel bad saying that, but like even
Speaker 1: recently we were saying what happened to Anthony Anthony McCarthy,
Speaker 1: and then all of a sudden weekly we put that
Speaker 1: in And then I heard him on Whilosophy. I haven't
Speaker 1: listened to the episode yet, but I saw him being
Speaker 1: promoted on Whilosophy. He's got in your book out, I think, right,
Speaker 1: So fans of Breakfast Club and class was class It
Speaker 1: wasn't It wasn't a breakast Cole. I think class was
Speaker 1: in class sat almost fire. Yeah, so yeah, check that out.
Speaker 1: Big Trouble in Little China. Come on, mate, I thought
Speaker 1: this might be there. Come on, mate, Kurt Russell. It's
Speaker 1: just snake number one, Snake plis. So I haven't seen
Speaker 1: Big Trouble a little time. I think I've just seen
Speaker 1: it the once. Maybe I've seen it twice.
Speaker 2: Well, listeners, before you know, some of you John carp
Speaker 2: and fans stopped, just stop screaming at the windscreen. We're
Speaker 2: not talking about Escape from New York. We're not talking
Speaker 2: about Snake Plisk, and it's talking about Jack Burton, Jack Burton, Sorry,
Speaker 2: talk about Jack Big Trouble in Little China. Maybe I
Speaker 2: have ul Well, what's fascinating about those two that that like?
Speaker 2: Kurt Russell my favorite actor of all time. I love
Speaker 2: him so much. In Escape from New York the movie
Speaker 2: that was I guess nineteen eighty one eighty two, another
Speaker 2: John Carpenter joint. His character Snake Pisk was based on
Speaker 2: Clint Eastwood, like he would basically deliver all of his
Speaker 2: leans like this, and you want me to see the President.
Speaker 2: And then and he basically emulated Clint Eastwood, but with
Speaker 2: Big Trouble in Little China, he emulated John Wayne. So
Speaker 2: it's all about this now. If I'm not back in
Speaker 2: eight hours, kylled the President, you know, like and it
Speaker 2: was I love how clearly he just he just ripped
Speaker 2: Clint Eastwood off, and he just ripped John Wayne off.
Speaker 1: Who was he doing in Tango and Cash?
Speaker 2: I think he was doing Sylvester Still, Kurt, I thank Kurt.
Speaker 2: You know what I've never seen Tango and Cash. There's one.
Speaker 2: There's one I've never seen. Is that a pile of shamer?
Speaker 2: That is?
Speaker 1: Yeah? I mean I liked Tango Cash to watch it
Speaker 1: when it was I remember the big laugh I got
Speaker 1: in Tango and Cash was when Sebestis alone said Rambo
Speaker 1: was a pussy.
Speaker 2: Yeah right, okay that was a bit matter and yeah yeah,
Speaker 2: but oh we love that. We love when films reference
Speaker 2: other films. But know there's something about Sylvester Stallone. No,
Speaker 2: not really, but Big Trouble in Little China. Here we go.
Speaker 2: It's nineteen eighty six and I'm there see it with
Speaker 2: my friend George Rondez. Guy, I still catch up with okay, George,
Speaker 2: miss you mate, but we were so blown away of
Speaker 2: the about by the tone and again you're you're a kid,
Speaker 2: you're sixteen, and all you've got or you've been watching,
Speaker 2: really is this movie after movie of sort of alpha
Speaker 2: male chest beating, gun toading champions who's come in and
Speaker 2: gunned down literally hundreds of people to save the daughter,
Speaker 2: you know, and all of that lot of machismo and stuff.
Speaker 2: It never really appealed to me as a boy, but
Speaker 2: I got it, like, you know, my friends had. Look
Speaker 2: his legs come off, you know, well that's cool. But
Speaker 2: here comes this hero in Big Trouble in Little Train
Speaker 2: of Jack Burton, who was very bad at his job.
Speaker 2: He just didn't every every part of that movie, every
Speaker 2: appeal to to succeed or it's just thwarted. He doesn't
Speaker 2: like it's in the movie where it's the big finale
Speaker 2: and it's the big scene. It's one of my favorite
Speaker 2: moments in cinema. Everyone's going, ah, cut to another guy,
Speaker 2: they're ready to fight. Cut to Jack Burton. Ah, holds
Speaker 2: the gun aloft over his head, shoots the ceiling, the
Speaker 2: ceiling falls on his head, and then he's knocked out
Speaker 2: for the whole fight. He's just lying there and he's
Speaker 2: the hero. It's you know, and what you do a lot.
Speaker 1: Let's take in the Indiana Jones almost joke too far,
Speaker 1: that whole thing of the swords and not samuraized, but
Speaker 1: you know, we've got the swords in there, and he
Speaker 1: takes out the gun and shoots, and that's like, that's
Speaker 1: even a step up then and in Temple he was sick,
Speaker 1: that's what they did. So and then in Temple he
Speaker 1: goes and gets the gun. No, you don't get the whip,
Speaker 1: and then the whip's not there, so he gets the
Speaker 1: gun or yeah, there's one way he goes and he
Speaker 1: gets the gun, but his gun's not there. So I
Speaker 1: forget what he does. I think countries him. I think
Speaker 1: does he is you're talking about Doom Temple Doom, Yeah,
Speaker 1: because he's like a little call back and Doom. Yeah, Raiders,
Speaker 1: but sorry, no, that's all right, and I don't know
Speaker 1: that one.
Speaker 2: Okay, let's let's just move on to him was my
Speaker 2: favorite growing up until so was my exactly that, and.
Speaker 1: It changed back to Raiders at the Lost Act. I
Speaker 1: think when I realized what a perfect Raiders actually is.
Speaker 2: You realized that twelve what a good screenplay was.
Speaker 1: It was like in my late twenties. I think I'd
Speaker 1: seen both films. Again I thought, I think Raiders is
Speaker 1: better than them.
Speaker 2: It's like Jedi. Return of the Jedi was my favorite
Speaker 2: because more stuff happened, I guess. But you know, when
Speaker 2: you hit adulthood, you realize I've got to stop thinking
Speaker 2: about Star Wars and think about.
Speaker 1: Every week. Yeah, moment, I'm going to stop. Jedi is
Speaker 1: my favorite. It survives another.
Speaker 2: Week, just stop it. But Big Trouble, I think also
Speaker 2: the comedy action. I love an action I love I
Speaker 2: love comedy, right, I don't think. And again that's why Parasite.
Speaker 2: I guess it's funny, you know, And but I it again.
Speaker 2: It's like it's like being John Melkovich, just being constantly
Speaker 2: surprised with every frame of the decisions that the filmmakers make.
Speaker 2: With Big Trouble, I didn't know what movie I was
Speaker 2: watching the whole time. Is this a comedy? Is this?
Speaker 2: And doesn't matter? It doesn't matter because the idea of
Speaker 2: driving into Little China or Chinatown here in Melbourne and
Speaker 2: having this underworld underneath it, this you know, just sparked
Speaker 2: my imagination. Worlds within a world. I love that stuff.
Speaker 1: Yeah, it's super cool.
Speaker 2: But with with with Kurt Russell's performance, that's just flawless.
Speaker 1: If you ever see Phil Lloyd had to say marriage
Speaker 1: Phil Lloyd, he nominated The Big Tubbing Little China is
Speaker 1: one of his three favorite films. Really well, so it's
Speaker 1: it's it's not the first time it's come up, right,
Speaker 1: So we'll move on. No, no, no, I like it.
Speaker 1: When there's been a little bit of overlap. We'll take
Speaker 1: a quick break and then we'll come back and talk
Speaker 1: about Bong June host two thousand and night, Oscar winning
Speaker 1: Palm the or winning Parasite. All right, I need to know. Okay,
Speaker 1: we're fluffed around enough. Did you love Parasite? Did you
Speaker 1: hate it? Did you think it was okay? What do
Speaker 1: you think?
Speaker 2: I I've I've watched it a couple a couple of times. Yeah,
Speaker 2: I started. I sat down to watch it last night,
Speaker 2: and there was something about the heat in the room,
Speaker 2: the Korean language reading. I fell asleep, Pete, I fell asleep.
Speaker 1: And Korean, the Korean language.
Speaker 2: It was a combination. It was a combination, Pete, I
Speaker 2: can't definitively blame one thing. So so I went home
Speaker 2: late at last night and watched it again. What I
Speaker 2: was amazed by. I had no preconceived ideas going in.
Speaker 2: I remember Parasite. There was a film that my sister saw,
Speaker 2: or she came back. My sister's three years older than me,
Speaker 2: in like nineteen eighty two or something. She told me
Speaker 2: she'd just seen this horror movie called Parasite. So the
Speaker 2: words parasite and horror movie, you've always like, she's going,
Speaker 2: oh and then and then then his head exploded, blah,
Speaker 2: and like I'm just looking up at my sister going, oh,
Speaker 2: that sounds awful. She used to love going to see
Speaker 2: horror movies. In fact, we went went to the drive
Speaker 2: in once to see Spider Man Strikes Back and Poltergeist. Like,
Speaker 2: how do those? That is that double How is that
Speaker 2: double feature? Ever? Spider Man Strikes Spider Man Strikes a
Speaker 2: made for television movie that we got a cinema release
Speaker 2: here in Australia. Hello, yeah, I know, big time, big time.
Speaker 2: We didn't have televisions, I guess back but no, just
Speaker 2: sitting there watching Spider Man Strikes Back and then after
Speaker 2: that the credits roll come on, mom, let's go home.
Speaker 2: I no, no, you fall asleep in the back. We'll
Speaker 2: watch Poltergeist. Let's not do that, mum.
Speaker 1: So you say, was you don't watch trailers, but you've
Speaker 1: got this parasite reference.
Speaker 2: Get this parasite reference.
Speaker 1: So what do you know.
Speaker 2: I'm thinking he's done, the host, he's done. I'm thinking
Speaker 2: this is going to be a monster movie.
Speaker 1: Yeah, yeah, I saw this is a similar I took
Speaker 1: my when it came out in the cinemas. I took
Speaker 1: my oldest son Liam. The rest of the family were camping.
Speaker 1: We had to be in town for work and and
Speaker 1: Liam this wanted to behind. So I we said, let's
Speaker 1: go out. There's a new foreign language film. I hear
Speaker 1: it's pretty good. I don't know much about it, but
Speaker 1: I want you to look at the way different cinema,
Speaker 1: world cinema. It differentiates itself from American cinema and English cinema,
Speaker 1: like yes, English speaking cinema like that. You just noticed
Speaker 1: there'll be different choices they make. And and funnily enough,
Speaker 1: I said to him, I said, what's the first shot?
Speaker 1: Just before I said what's the first shot? I said,
Speaker 1: like everything's particularly with this filmmaker. Everything's done for a reason.
Speaker 1: So the first shot will tell you something, yes, one, Yeah,
Speaker 1: very good. I thought, like, I'm actually watched the first shot,
Speaker 1: and I did watch the first shot. I thought like,
Speaker 1: this is about class. Yes, So usually I have a
Speaker 1: bit more loading into my knowledge of what's going in
Speaker 1: because I do what's trailers, you know. But this was
Speaker 1: a lovely experience because I didn't know, and I, like you,
Speaker 1: I expected there might have been a monster element to this.
Speaker 2: Yeah, yeah, yeah, and there is. I mean it's quite
Speaker 2: it's quite clear. I mean, the conversation, what is who
Speaker 2: is the parasite? What's going on? You know, it's not
Speaker 2: really it's very clear what the parent I mean, it's
Speaker 2: a it's a modern capitalist fable, isn't it. Really?
Speaker 1: That's what that's They're all parasites.
Speaker 2: Well, the situation, the situation they live in is the
Speaker 2: parasite that that sucks their life force really from them.
Speaker 2: But yeah, that that first that first shot where the
Speaker 2: camera actually tilts down or floats down from from the
Speaker 2: street level to below the ground. It's like, yeah, and
Speaker 2: just to see that the boy with his phone, that verticality,
Speaker 2: that that was just a theme that goes all the
Speaker 2: way through it. I was very jealous when you said, Pete,
Speaker 2: come to the Come we'll do a podcast favorite films,
Speaker 2: And there was a list of films that I hadn't seen,
Speaker 2: or I'd seen a lot. I hadn't seen Citizen Kane,
Speaker 2: and I really wanted to talk about that because I've
Speaker 2: just seen it, and what I was sad. I felt
Speaker 2: sad when I watched Citizen Kane because it was a
Speaker 2: flawless I loved it so many, so many reasons. But
Speaker 2: there's so much language being delivered through visual storytelling or
Speaker 2: through the camera movements, through just composition, having a whole
Speaker 2: scene just play out within that frame, the trust and
Speaker 2: confidence he had in his performance or performers sorry to
Speaker 2: do that. I felt there was a real parallel between,
Speaker 2: you know, Citizen Kane and Parasite.
Speaker 1: Well there, you watch Citizen Kane, you will notice you
Speaker 1: see the influence.
Speaker 2: You see the influence.
Speaker 1: You see the influence in Finch films, in Kubrick films totally.
Speaker 2: But the sadness comes from why isn't this used more?
Speaker 2: Why aren't we Why aren't the confidence.
Speaker 1: Earlier? Imagine being like now you have monitors, you are
Speaker 1: watching all this through. Yeah, you can watch it. You've
Speaker 1: got playback, so you can watch what you got back
Speaker 1: with awesome Wells in nineteen, you know, fifty two whatever
Speaker 1: it was.
Speaker 2: He's doing that and doesn't know, doesn't know, doesn't know
Speaker 2: what exactly what he got exactly exactly. But now now
Speaker 2: everything you're saying, everything's sort of going going through these
Speaker 2: viewers and they do surveys and all that sort of stuff.
Speaker 1: No, I'm saying on set, yes, Bong June Hoe is
Speaker 1: the order is a different. Some love that that they
Speaker 1: got video village, you know, where it's all set up
Speaker 1: the video and you get your chair and usually it's
Speaker 1: a separate room. Some directors love being right next to
Speaker 1: the camera. Yes, yes, yes, I don't get that, I
Speaker 1: must say. And he's a famous direct with Quentin Tarantinos,
Speaker 1: who just loves being right next to it. So they
Speaker 1: want to be with the actors.
Speaker 2: Yea.
Speaker 1: The small amount of acting either, I find I would
Speaker 1: find that a little distracting. I don't know.
Speaker 2: Yeah, yeah, yeah, but it sort of depends again on
Speaker 2: the tone of this.
Speaker 1: And I do wonder if they have that conversation, you know,
Speaker 1: if he says that, Emma, do you mind if I'm
Speaker 1: going to be you know this, this is good for you,
Speaker 1: this is this is how I'm doing it.
Speaker 2: Yeah.
Speaker 1: But yeah, so that is amazing to me that Awson
Speaker 1: Wells was the confidence of making those choices, backing that.
Speaker 2: In and such simple ideas, just like location of the
Speaker 2: actor within the frame, you know, and in Citizen Kane
Speaker 2: it's really overt. You know, the oppressive powers that that
Speaker 2: that sort of envelop him is is really present and
Speaker 2: clear just on the composition alone. And similarly to Parasite,
Speaker 2: I was struck by, I mean that the polar difference
Speaker 2: between the Kim family, the downtrodden poor family, and the
Speaker 2: that the park the park. Ye, it couldn't be more different.
Speaker 1: You have one living underground, you have one living above ground.
Speaker 2: Totally, but the scale of the geography, you can sense
Speaker 2: it as a person, they're having to having to crawl
Speaker 2: upstairs in order to reach the parks and vice versa.
Speaker 2: And you know, it comes to a head in the
Speaker 2: start of the second half the flood. But I was
Speaker 2: everyone's walking up and downstairs in and there's you can
Speaker 2: see the relationships between all these strangers just by the way,
Speaker 2: just by the blocking, just by the way the way
Speaker 2: the actors are moving.
Speaker 1: Well, I mean there's there's two big motifs in this
Speaker 1: is I think stair stairways are huge and this is long.
Speaker 1: June Hoe is not the first person to do stairways,
Speaker 1: but it's done so well here. So every time you
Speaker 1: see a character walking up the stairs, that's like the
Speaker 1: socially climbing the social ladder. If you're like and every
Speaker 1: and and it fits like when I'm going to try
Speaker 1: to get the n as good as when Ki wu
Speaker 1: the sun. Yes, you know, he first goes to the
Speaker 1: house and he's walking up the stairs to the tutor.
Speaker 1: That's him. He's climbing the social that's it. And then
Speaker 1: towards the end, and then at other times we see
Speaker 1: them going down like that's so that's sequence, and I
Speaker 1: don't want to get to the end too quickly, but
Speaker 1: that's sequence. When they're leaving the house during the flood
Speaker 1: and they keep going descending him the hell and the
Speaker 1: way the color changes during this storm, isn't it? And
Speaker 1: it is just artistry at its highest.
Speaker 2: What's the yeah, apparently the the door bell, it's it's
Speaker 2: when sort of when you say you said it in
Speaker 2: the instruction to films. It really is Toolok, look, hell
Speaker 2: you still for funny.
Speaker 1: Almost happens at the exact halfway point of the actual
Speaker 1: risk script, page seventy one of the one and two page.
Speaker 1: It's it's it's phenomenal and that and it is the
Speaker 1: movie becomes something else. And that sequence, just that sequence
Speaker 1: of when they go camping to the way, it all
Speaker 1: everything's revealed and and it's so seamless.
Speaker 2: But talking about stairs again, even when the when the
Speaker 2: doorbell hits and it's the previous, previous cleaner, previous helper. Yeah, yeah,
Speaker 2: your memory is.
Speaker 1: Amazing if you haven't written in front of me.
Speaker 2: But yeah, the door that descent into it's all one
Speaker 2: shot again. You know, you feel very safe in the
Speaker 2: basement until that that door is revealed and then you go,
Speaker 2: you descend again down. And it's such a simple, simple idea,
Speaker 2: but it's done so effectively because we understand it straight away.
Speaker 1: Well, let's go back to the start. We don't have
Speaker 1: to walk through every We're not going to walk through
Speaker 1: every scene, but I think it's worth mentioning the start
Speaker 1: and talking through the start a little bit, like, how
Speaker 1: did you what were your impressions of the family. In
Speaker 1: those verse opening scenes, we see them that they're and
Speaker 1: what were you taking out of it? They're folding pizza
Speaker 1: boxes for a job. They're they're scrambling to get Wi Fi.
Speaker 1: They're going but you know, but they're close. They're close.
Speaker 2: They're not even geographically, they're close, like they're they're bunched
Speaker 2: within certain frames. And again it's like a four shot,
Speaker 2: and he just lets that play out. The confidence in
Speaker 2: his performance and the confidence in his ideas is is amazing.
Speaker 2: And that's what you're just seeing confidence the whole time.
Speaker 2: And with a lesser director, they'd get coverage, you know,
Speaker 2: make sure they've got there here, and you know, no,
Speaker 2: just let that scene play out and it will be
Speaker 2: echoed later on.
Speaker 1: And often spoken to his podcasts about feeling like early
Speaker 1: in a movie that you are in safe hands and
Speaker 1: it can happen so much of an opening shot. I
Speaker 1: may watchcashit in the Sundance kid watching it, and I
Speaker 1: watch it for the first time for this podcast Bob Murphy,
Speaker 1: and I'm the first shot that's thinking, I'm in good
Speaker 1: hands here. I feel this. I love this movie already, Yeah, exactly,
Speaker 1: And and b is in this film and I think
Speaker 1: most of his films does that as well. Just you
Speaker 1: are like, you may not love. You may not absolutely
Speaker 1: love where a movie goes. You may not you may
Speaker 1: love snow Pierce. You may not love it as much.
Speaker 1: You know, but but you know the director is giving
Speaker 1: you exactly what he wants.
Speaker 2: To give you. Snowpeers is another fable, you know, like
Speaker 2: in that he loves obviously.
Speaker 1: Class is a massive looking it's.
Speaker 2: Yeah, and it's massive thing for everyone right now, you know,
Speaker 2: post pandemic, but post as in since it's like, I
Speaker 2: think the life for me has gone pre pandemic and
Speaker 2: post pandemic. That's I'm not saying it's over. That's that's
Speaker 2: the line in the sand now.
Speaker 1: But I think you're right. What I got from those
Speaker 1: early scenes was this is a family who love each other.
Speaker 2: Yeah.
Speaker 1: Yeah, they're fun, they have it. They have their own
Speaker 1: sense of humor. They're not afraid of work. You know,
Speaker 1: they're they're enterprising. There's an entrepreneurial kind of a streak
Speaker 1: about them. They're smart.
Speaker 2: There was their middle class. Apparently around that time they
Speaker 2: even mentioned it a couple of times that they had
Speaker 2: a number of experiments before the story begins. One is
Speaker 2: a fried chicken place, there is a cupcake joint and
Speaker 2: just say very flippantly, it's like that, you know, And
Speaker 2: apparently in that in this time, I watched a YouTube video.
Speaker 1: I think I watched the same one, but I'm really
Speaker 1: glad I did because I think it's a really fascinating detail,
Speaker 1: because that could be a detail that he kind of
Speaker 1: gets lost all you think, that's the funny, funny thing
Speaker 1: that this guy has lost his you know, lost his
Speaker 1: livelihood because his cake shot went.
Speaker 2: Well, that's it. Well, even that tiny detail is it
Speaker 2: just brings credibility to those characters that even if you
Speaker 2: don't you don't need to know the backstory of that.
Speaker 1: It's just explain what you know. Well, it's what we
Speaker 1: know because we watch a YouTube.
Speaker 2: There was, you know, a huge financial crisis that hit
Speaker 2: that hit South Korea especially, and it forced a lot
Speaker 2: of people who had jobs, whether with the government or otherwise,
Speaker 2: to be forced into trying to make a living for
Speaker 2: themselves and their family.
Speaker 1: And there was a chicken stores. It was the first
Speaker 1: got a wave that went.
Speaker 2: Through a trend to fight fried chicken stores. Apparently it
Speaker 2: was easy to get a loan for a business to
Speaker 2: start a business hard to keep that business going. And
Speaker 2: another one was when fried chicken.
Speaker 1: The Taiwanese cakes desserts became massively popular, so you know,
Speaker 1: and a.
Speaker 2: Lot of families did that. A lot of families went
Speaker 2: into that and they were they were fads, they were
Speaker 2: you know, and now they find themselves putting together putting
Speaker 2: together pizza boxes. You know, it's a real real thing.
Speaker 2: And it really hit me. We're talking about pandemic. You know,
Speaker 2: how many families and how many people have gone through
Speaker 2: the same thing because their their industries just evaporated or
Speaker 2: you know, and suddenly they're having to scrounge around. But
Speaker 2: still there is a warmth and a generosity and a
Speaker 2: love there with the with that family, even even though
Speaker 2: they're up to nefarious things.
Speaker 1: Oh and I think we'll get to that in a sect.
Speaker 1: But the also the window as much as it's a
Speaker 1: submerged kind of apartment, so you do have apparently that
Speaker 1: have any It gives you like, is almost like there's
Speaker 1: a sense of hope for this family. They're not completely
Speaker 1: like that. They still then that considered themselves at the
Speaker 1: bottom of the ladder. They've got some you know. And
Speaker 1: I love when the past control. Guys is doing the
Speaker 1: spray and they said close the windows, and the dad says, no,
Speaker 1: leave it open. You know we'll get free. Yeah, free.
Speaker 2: Yeah, At no point did they winge? At no point
Speaker 2: are they going we deserve better. We know they are.
Speaker 2: They are coping and they are coping as best they can.
Speaker 2: They're doing it well.
Speaker 1: We have the friend who's the university. We don't really
Speaker 1: get told why how they know each other, Which is
Speaker 1: kind of interesting because the idea that Bong June ho
Speaker 1: he introduces the jobs he introduces for the king family
Speaker 1: to infiltrate the Park family. A tutor or tutor your tutors,
Speaker 1: a driver, and a housemaid. He came up with those
Speaker 1: jobs because he thought they were really the only ways
Speaker 1: he could think of where a member of one spectrum
Speaker 1: of society could meet another. Yes, at the high level
Speaker 1: of society, but they're the only way. It's it's quite sad,
Speaker 1: actually the only way they would ever interact.
Speaker 2: Yeah, and it starts from least practical. This tutor who's
Speaker 2: teaching you know, the sun because he's showing some artistic flair.
Speaker 2: You know that is so bourgeois, you know that is
Speaker 2: Oh yes, we'll get I can't, I can't possibly engage
Speaker 2: with my child on that level. I'll get someone else
Speaker 2: to do it. I'll pay someone else to do it.
Speaker 2: And yeah, there's a coldness to that. You know, it's
Speaker 2: the obviously antithesis of the Kim family. But even that,
Speaker 2: Yeah you said windows, Like at the start of that
Speaker 2: opening opening frame, you know there's isn't it underwear being hung?
Speaker 2: And the foreground beyond that is the window that they
Speaker 2: can see out that offers some light during the day,
Speaker 2: tilts down to the sun. But in the in the
Speaker 2: parks house, that's that window just represents and see seeing
Speaker 2: seeing what's beyond that window represents so much.
Speaker 1: Instead of the ratio is the same as a TV
Speaker 1: AILM a movie what a nerd. So when they're on
Speaker 1: their luxurious couch looking out, it's like they are watching TV.
Speaker 1: They're watching, They're watching They're now on the inside and there, Yeah,
Speaker 1: there is it real?
Speaker 2: You know, it is what they're feeling real? Or are
Speaker 2: they watching a movie of their own life? Like? Yeah,
Speaker 2: that I love I loved all of I love the windows.
Speaker 1: Windows.
Speaker 2: How good with the windows?
Speaker 1: Windows are steps and the lines that the idea of
Speaker 1: like not crossing the line that he says, I liked,
Speaker 1: you know, I like the house because she doesn't cross
Speaker 1: the line. And there's even there's literally when we see
Speaker 1: the very first time, we see the mother out in
Speaker 1: the back and she's almost asleep, you know, slumped over
Speaker 1: the outdoor furniture, and we have a kiwu who's looking
Speaker 1: from the inside out and there is in the corner
Speaker 1: of the window there's literally a line that goes and
Speaker 1: the housekeeper actually like claps awake her up, and she
Speaker 1: crosses that. Lie.
Speaker 2: Yeah, it's almost like panels of a comic book, you know,
Speaker 2: And yeah, yeah, the carriages are crossing beyond them.
Speaker 1: So the university friend like, so I reckon bong June
Speaker 1: home maybe kind of like decides, I don't know how
Speaker 1: to explain the connection with this family, but we're just
Speaker 1: going to leave it in the ferriage. I'm so glad
Speaker 1: he didn't absolutely exactly these and these it's confidence going,
Speaker 1: you don't need you don't need to know that. So
Speaker 1: he brings this stone, scholars stone, which apparently is a
Speaker 1: very real thing in South Korea. It's and it's more
Speaker 1: the older generations will look for these stones and they
Speaker 1: are supposed to represent the search for wisdom or wealthy prosperity.
Speaker 1: And again we're expecting this to kind of have this
Speaker 1: a massive payoff at some point, to mean something. It
Speaker 1: really doesn't. You know, it's a weapon, Yeah, exactly, this
Speaker 1: thing of hope becomes a weapon.
Speaker 2: We imbue that object with hope because we told what
Speaker 2: it means and what it is. And even when you
Speaker 2: know the sun takes it down, you go, I was thinking,
Speaker 2: is he using that because it's something heavy like, or
Speaker 2: is he going to use this? What's going on?
Speaker 1: Like at that point he really believes in it, that
Speaker 1: doesn't it almost it almost feels like I think he
Speaker 1: says it needs me, and it almost feels like it's
Speaker 1: following him. And he says when he first gets it,
Speaker 1: it's metaphorical. Like he loves saying it's metaphorical. He's always
Speaker 1: saying it's metaphorical. DA's always saying something about the plan.
Speaker 1: And when he says it's metaphors, and he says it
Speaker 1: a few times, it made me laughed because I was
Speaker 1: trying to think what was supposed to take out of that,
Speaker 1: and I think possibly this is the reason I was
Speaker 1: making me laugh. I think it could have been long
Speaker 1: June Hoe having some fun kind of pointing out like obviously,
Speaker 1: like the movie is called Parasite, there's metaphors everywhere. Yeah,
Speaker 1: and the one thing where the character says this is
Speaker 1: a metaphor, is it actually like, is it actually was
Speaker 1: the stone a metaphor? It's not the one thing that
Speaker 1: wasn't a metaphor.
Speaker 2: The one thing that wasn't it's literally a rocket used
Speaker 2: to smash over someone's head. Yeah, and even but that's
Speaker 2: to me, I'm just there we go. If we're going
Speaker 2: to maybe stipulate some kind of meaning behind that being
Speaker 2: bashed on the head with this rock that symbolizes hope,
Speaker 2: that's just saying that this Kim family are never going
Speaker 2: to get They're never going to get higher, They're never
Speaker 2: going to accede. You know, this is being bashed on
Speaker 2: their head with the prosperity symbol. Yeah, it's pretty.
Speaker 1: Clear, right saying something. Yeah that he's saying something I
Speaker 1: did love. When he gets the forged, his sister Eke
Speaker 1: Young forges the thing for him, which apparently in the
Speaker 1: actual Korean version of the film it's Sole University. They
Speaker 1: change it in the translation to Oxford University because they
Speaker 1: didn't think he gave it a prestige for Western audiences,
Speaker 1: but the forgery and then when he gets it, he's
Speaker 1: really quite proud and he said, he says to his dad,
Speaker 1: once I'm done here, I'm going to finish university. I
Speaker 1: just printed the document early. And his dad's like, oh,
Speaker 1: you have a plan, and so impressed, so impressed.
Speaker 2: Great job.
Speaker 1: Yeah, And I think his dad just loves the idea
Speaker 1: of having a plan. And I'm not sure he's thinking
Speaker 1: if he knows what the plan is at that stage,
Speaker 1: because I think it feels to me that the plan
Speaker 1: gets made on the run as far as you know,
Speaker 1: he sees an opportunity.
Speaker 2: Yeah, but also, the system did nothing for them, you know.
Speaker 2: The it's why would he have any respect in a system,
Speaker 2: whether it be bureaucratic or otherwise that had that was
Speaker 2: not there for the for his family. So I completely
Speaker 2: understand that, you know, I understand the criminal mind. That's
Speaker 2: what you're saying, is what I'm saying.
Speaker 1: Well, you've been around, you've a lot of crime.
Speaker 2: Hey hey, hey, never being proven. But yeah, I do.
Speaker 2: I do love that healthy disrespect for authority, you know,
Speaker 2: in in this family because it sort of gives them
Speaker 2: the what I loved about this film too, which was
Speaker 2: so strange and maybe we're going to touch on it,
Speaker 2: but there's sort of no protagonist or antagonist in this film.
Speaker 1: I said in the intro, And I find it really
Speaker 1: interesting that Bong June has said it's comedy without clans
Speaker 1: and it's a villain it's a tragedy with that villains.
Speaker 2: Like tragedy with that villains really and it really really like.
Speaker 1: You don't they're all like they're all parasites. We don't know,
Speaker 1: like there's no the Park family could easily be like
Speaker 1: so much. They could be meaner, well that's it. They
Speaker 1: could be They could be the more of a stereotypical
Speaker 1: wealthy family that you hate and you just want this
Speaker 1: family to stick it.
Speaker 2: Up, and then the film would not be as fun, No,
Speaker 2: it would not let.
Speaker 1: The mum is hilarious in this is so I think
Speaker 1: the performs Kim, the Parks, the Park. I didn't know
Speaker 1: they're all they're all hilarious, But some of reactions made
Speaker 1: me love the most. The biggest laugh I had was
Speaker 1: actually when they come home after and they're planting the
Speaker 1: blood in the bin and the look on Key Tech's
Speaker 1: face of Dad when he pulls out the blood chili
Speaker 1: sauce and the look on his face is so funny.
Speaker 1: It's like, oh, you won't believe this.
Speaker 2: Yeah, how did that? How did they? Yeah? How did
Speaker 2: they convey so much with doing nothing with their face?
Speaker 2: I think there's again confidence in timing between cuts and
Speaker 2: between those edits. It's, you know, it leading to that
Speaker 2: finale moment where he smells, picks up the keys, smells
Speaker 2: it's off and that just sends the dad into this.
Speaker 1: I mean, the whole smell thing is is maybe the
Speaker 1: biggest the leads to or what happens. It's like the
Speaker 1: stench you cannot get the stench of poverty off you,
Speaker 1: And that's what you what you're saying before or like
Speaker 1: being whacked over the head by this prosperity stone isn't enough,
Speaker 1: Like you know that that's the exclamation point maybe, but
Speaker 1: it's really about Key Tach kind of realizing that he
Speaker 1: will never get this stench off him no matter they
Speaker 1: a spy. They talk about living in this house if
Speaker 1: they're in laws, we will will live in this house.
Speaker 1: And then and they're on the county during whiskey, they're
Speaker 1: fantasizing that they're they're looking at that window. They're brought
Speaker 1: into the fantasy. But then all of a sudden, the
Speaker 1: you know, minutes later, they're under under the table again,
Speaker 1: almost like underground on this on this multi leveled coffee
Speaker 1: table again levels and and you have them dry humping
Speaker 1: on the couch and they're still talking about you know,
Speaker 1: the smell and the subway smell and yeah, and it's
Speaker 1: it's heartbreaking fantasizing, fantasizing poverty, about poverty and that. And
Speaker 1: that's a big thing about this family, Like everything's just
Speaker 1: play for them. The appropriation of the American Indian is
Speaker 1: a play full thing to them. The idea like one
Speaker 1: of the big things which I would not have known
Speaker 1: if it wasn't you know, if I didn't read about it,
Speaker 1: was this is to becoming on climate change, how it affects,
Speaker 1: how it affects the you know, the top of society
Speaker 1: compared to the bottom of society, or the sewerage or
Speaker 1: the sewerage goes down, it's sewage only goes down, it
Speaker 1: doesn't go up. So when when you have a key
Speaker 1: on the door, you know, like smoking, which for a
Speaker 1: scene which has shit you burst is one of the
Speaker 1: most beautifully shot scenes. Vesals are amazing. But that's that
Speaker 1: sewerage has come from, if not the Park family, but
Speaker 1: those like them, it's come from the wealthy totally. The
Speaker 1: idea that climate change for people like the Kim family
Speaker 1: is catastrophic. It affects, it floods their house. Where for them,
Speaker 1: it interrupts a little camping trip they have plan, They
Speaker 1: come home, they have some noodles. Yeah, they get on
Speaker 1: with it. The next day they are planning a party
Speaker 1: and inviting friends around it at the shops there. You know,
Speaker 1: they're making fun of it.
Speaker 2: Oh well, meanwhile, the night before, Kim's have been covered
Speaker 2: in ship. Yes, just literally. Social dynamics do not affect
Speaker 2: the parks And I mean that's the big That is
Speaker 2: the big point. Isn't it that that the wealthy can
Speaker 2: afford to ignore their effects on society because they can
Speaker 2: afford it. And meanwhile, the people who can't, that's that's
Speaker 2: who bear the brunt of all these decisions.
Speaker 1: Let's talk about the way they were able to rid
Speaker 1: the Kim family of the of the workers within the
Speaker 1: Park family. So yeah, yeah, obviously he was brought in.
Speaker 1: Obviously he was brought in as the tutors say he
Speaker 1: had that job. I thought, I thought key young as
Speaker 1: the art therapy was so broad, I thought she was
Speaker 1: so great.
Speaker 2: I might have slept through that bit. So so she
Speaker 2: comes in and the first act is a little bit sketchy.
Speaker 1: Go on. The King Jong comes is brought in because
Speaker 1: he sees the artwork on the walls and he thinks
Speaker 1: it's a it's a I think it's a chimpanzee. That
Speaker 1: the mother says it's actually a self portrait. And then
Speaker 1: he just like in the moment, he just bluffs his
Speaker 1: way through and this. You know, I've got somebody who
Speaker 1: works in art therapy. Do you want I can you know?
Speaker 1: She went to the University in Illinois in America because
Speaker 1: there's a big thing in Korea where education in America
Speaker 1: is everything. Even that tent when they mentioned the tent
Speaker 1: it was made in America, has got no holes in it.
Speaker 2: But is that having a jab at China like with
Speaker 2: the tent, that tent, is it going to leak? Well
Speaker 2: it was made in the States, Yeah, well it's possibly. Yeah,
Speaker 2: the idea that everything coming from the States is fancier.
Speaker 1: Yeah and slightly class Yeah, if I was making it
Speaker 1: better while when you get a child, because exactly. But yeah,
Speaker 1: So she comes in and and she's just she's great.
Speaker 1: She kind of like talks about this, this is something
Speaker 1: in the corner of the of the painting, blanked on
Speaker 1: exactly what it is. It's a particular thing, and she
Speaker 1: recognizes it as being something that has deep, you know,
Speaker 1: meaning in the psychological space. So she sells the idea
Speaker 1: that she could ugly therapy. It's going to be very expensive,
Speaker 1: and the mother is like very much like, oh well,
Speaker 1: I'll be honest, and she's almost she refers as something
Speaker 1: that happened, like she's guessing all this did something happened
Speaker 1: to him, and she's like later on that it's the
Speaker 1: it's it's what he thinks is a ghost. Yeah, it's
Speaker 1: actually not the ghost.
Speaker 2: Which is great. Yeah, it was an amazing scene. But
Speaker 2: how resourceful these the Kim family is because of that,
Speaker 2: they've had to they've had to make they've had to
Speaker 2: learn things to survive. Whereas the parks are very furnished
Speaker 2: and they're in their reality, they would not they would
Speaker 2: not be able to know where to start. You know,
Speaker 2: we're so disengaged and.
Speaker 1: Because and I want to go outside of their social
Speaker 1: circle in the way, so they're only taking recommendations for those.
Speaker 1: Even the housekeeper is a recommendation from the previous homeowners.
Speaker 1: And and then and then you have the planning of
Speaker 1: the underwear in the car, which again you could poke
Speaker 1: holes in a lot of this kind of saying well,
Speaker 1: how as a plan, Yeah, you're really that, But again
Speaker 1: it's the world building. Yeah, and we believe, we believe it.
Speaker 2: We believe in it because we've not been shown, we've
Speaker 2: not been It's it's so fascinating because yes, he litters
Speaker 2: the screenplay and the screen with with these little hints
Speaker 2: or little themes, but it's never never hit They don't
Speaker 2: hit you over the head with it. So is this important?
Speaker 2: Is this? Is this a plot point? Is that No,
Speaker 2: some of them just don't. I think that's just wonderful.
Speaker 1: One of the great things about this film, I think
Speaker 1: is you can watch it just as a bit of
Speaker 1: as a thriller and watch it and be so entertained
Speaker 1: by it. But there is so much stuff going on,
Speaker 1: and I think that that's what qualifies to me is genius. Yeah,
Speaker 1: and makes it a masterpiece, I think, Yeah, I think,
Speaker 1: And it's not.
Speaker 2: What is it in pulp fiction. You've got that the box.
Speaker 2: You know, that's a lot of people, you know, the suitcase, briefcase.
Speaker 2: What does it represent? It doesn't really need to represent anything.
Speaker 2: It's just an interesting But to get away with that,
Speaker 2: you know, is the genius part. You could introduce any
Speaker 2: kind of red herring into your script or any sort
Speaker 2: of plot that goes nowhere what that can be.
Speaker 1: I think we're satisfying him absolutely. I think the track
Speaker 1: people might fall into if they want to go in
Speaker 1: their own writing, they want to go down that path.
Speaker 1: Is the trick is everything can't mean nothing, you know,
Speaker 1: like you can tease and you can have some things
Speaker 1: that maybe even as the filmmaker, I'm not exactly sure
Speaker 1: what that that that is, Yeah, but for me it's interesting.
Speaker 1: It's you know, it picks the interests of the audience.
Speaker 1: But if you're if you make it all about nothing,
Speaker 1: that's when And quite clearly this is a film that
Speaker 1: is about so much. And the way get Out I
Speaker 1: think spoke to a lot if you if you wanted
Speaker 1: to really get into the themes that get Out and
Speaker 1: spoke a lot about the African American experience. This says
Speaker 1: a lot about you know what's happening in South Korea.
Speaker 1: What's been happening, you know, but it's still but universal.
Speaker 2: Yeah, well because of capitalism, yeah, because of that. Yeah,
Speaker 2: it's a capitalist fable.
Speaker 1: And the dad comes in because he's a limo driver.
Speaker 1: And I love that, you know, printing up the card
Speaker 1: and no that he gives the card at the care
Speaker 1: but the dad comes in. I really I love the dad.
Speaker 1: I think he's worth pointing out. His name's at Kung
Speaker 1: Ho Song and he he's been in a lot of
Speaker 1: Bong Juno's films. He was in the host in Memories
Speaker 1: of Murder, which is a film. I went back and
Speaker 1: took my aid and my my second oldest son, sixteen
Speaker 1: year old. I took him to see a screening of that.
Speaker 1: They made it in two thousand and one. I bet
Speaker 1: a serial killer in South Korea. If you get a
Speaker 1: chance to see it, it's extraordinary.
Speaker 2: I will.
Speaker 1: And but he's yeah, he's been. He's in Snow Piercer.
Speaker 1: In fact, his name in snow Pierce is the same
Speaker 1: name as the architect is a little easter egg. Really yeah,
Speaker 1: Nam going yeah, yeah right, yeah, Ge you're happy with
Speaker 1: that word too.
Speaker 2: The name looking straight out right in the arm. Yeah,
Speaker 2: that was I love it. He's no, but he's amazing
Speaker 2: what he could do with just just his face in
Speaker 2: those in those moments and where how just to say
Speaker 2: that instead of a character responds with dialogue, just with nothing,
Speaker 2: responding to nothing. You know, I've been working on this
Speaker 2: video game musical thing. It's like a choose your own adventure,
Speaker 2: and you know, there's three sort of choices that character
Speaker 2: can make given a point in the story, to go,
Speaker 2: to do to react one of three ways, and one
Speaker 2: of three ways is to do nothing. And that is
Speaker 2: a really interesting scenario a places it deflects the responsibility
Speaker 2: back on the character who is inciting the incident, and
Speaker 2: you have to but to do And he's good. What
Speaker 2: I'm saying is he's good at doing nothing, and he's
Speaker 2: great at just staring. And each time he does that,
Speaker 2: he decides to do nothing because he's quite you know,
Speaker 2: proactive most of the time. But yeah, those moments are
Speaker 2: so beautiful, the stillness, you know, and of course that
Speaker 2: the moment where he sniffs the keys or you know,
Speaker 2: and sends him to he does something. Then of course, yes, well.
Speaker 1: The party, the Kim family have agency throughout this they
Speaker 1: are they are going for it. They are making they
Speaker 1: are making things happen, which kind of makes you like
Speaker 1: them because they are at doing something. They're doing something,
Speaker 1: but they're in a ship situation and they literally don't.
Speaker 1: You don't begrudge them because it's really interesting and one
Speaker 1: of the things I think the themes of the movie
Speaker 1: is how people even in the same class system. So
Speaker 1: if they're middle class, lower class, they turn they turn
Speaker 1: on each other. When down in the basement, the housemaid says,
Speaker 1: you know that begs for help, and she's like no,
Speaker 1: and she almost she kind of chunk hook kind of
Speaker 1: the mum. She she almost denies that they're in We're
Speaker 1: not in the same situation.
Speaker 2: That's it.
Speaker 1: Yeah, well where where you know, we've got a window
Speaker 1: at our house.
Speaker 2: Yeah you know we're not. Yeah, yeah, it's that, it
Speaker 2: really is. But and that's I mean, one of the
Speaker 2: sad points is, yes, the downtrodden do not. You know,
Speaker 2: they turn on each other simply because of survival, simply
Speaker 2: because they can't. You know, it happens time and time again. Families,
Speaker 2: you know, they vote a certain way because they're protecting
Speaker 2: their family, you know, they and and it's all about
Speaker 2: conserving that family rather than thinking beyond that. They can't
Speaker 2: afford to think beyond that, you know, I think even
Speaker 2: contemplating issues like climate change is so bourgeois. You know.
Speaker 2: It's like, I've got to take care of my family
Speaker 2: right now, and I don't know how to do that. So, yeah,
Speaker 2: I understand. I understand the plight.
Speaker 1: Oh this family. Absolutely, So then let's talk about it
Speaker 1: when it does. We've rered all a bit, but let's
Speaker 1: talk about when it does. This movie does flip and
Speaker 1: it becomes about the twist of what's downstairs. First of all,
Speaker 1: I want some of the physical stuff that goes on
Speaker 1: in this film, like it's it's I love because it's
Speaker 1: some of it's quite violent. But there's the falls. So
Speaker 1: we have the mum come down the stairs to find
Speaker 1: the housemateman trying to push She's like, she's just basically
Speaker 1: trying to push the cabinet case. She her feet on
Speaker 1: the wall. Yeah, it's suspended, and then she falls when
Speaker 1: eventually gets she falls straight down. Some of those stunts
Speaker 1: and then the push down the stairs later on in
Speaker 1: the film where she gets.
Speaker 2: Its like a wagon wheel almost she wagon wheels her
Speaker 2: way down the stairs and then.
Speaker 1: The sound of the head, back of the head hitting
Speaker 1: the wall. It's quite sickening. But there's some great stunts
Speaker 1: in this. But what when when they were heading down
Speaker 1: the stairs and I like that took me when handheld
Speaker 1: almost like we became we were like with the the
Speaker 1: King family as they kind of went down those stairs.
Speaker 1: What were you at that stage? What we what were
Speaker 1: you thinking was going to be down there? The monster?
Speaker 2: Yeah, totally, yeah, totally, of course, yeah, the parasite even
Speaker 2: but because you know, the the original maid, Housemaid whatever
Speaker 2: at the door, Just who is this insane cackling person?
Speaker 2: Who is this? Like the misdirection there, it's you know,
Speaker 2: the the real intruder, you know, the real infiltrator, Yeah,
Speaker 2: or the original one, you know who?
Speaker 1: Not what to think? But the king yeah, the King
Speaker 1: family of infiltrated. But yeah, so they are the parasites.
Speaker 1: But is a king queen parasign yeah yeah, ancient evil yeah,
Speaker 1: but yeah out parasited.
Speaker 2: Yeah. But even the beautiful misdirection of the music, I
Speaker 2: think even escalates as they descend the stairs and you
Speaker 2: know there's a number of stairs, and the tension that
Speaker 2: builds just in that twenty seconds is palpable, and to
Speaker 2: only to turn the corner to the left to reveal
Speaker 2: just this older man on a bed. You know, it
Speaker 2: was great simply because it was just not what I
Speaker 2: was expecting. Sort of more memorable that way than just
Speaker 2: because it was so innocuous. Really it was.
Speaker 1: There was there was some great foreshadowing, even with the
Speaker 1: husband in the in the in the car when he
Speaker 1: says that the maid's great, like we love her, she
Speaker 1: doesn't cross the line. The only thing she does sometimes
Speaker 1: she's eat a lot. She sometimes needs enough for two,
Speaker 1: which is this is a great because at the time.
Speaker 1: Great foreshadowing is when you don't your ears don't prick
Speaker 1: up in the moment, And yeah, I think about that.
Speaker 2: That was just like a often but how often do
Speaker 2: you do that? There is for obvious foreshadowing and it
Speaker 2: just kind of distracts you for the rest of the film,
Speaker 2: exactly waiting for it to come.
Speaker 1: And that's where I think. Sometimes it's when you're I've
Speaker 1: been in a situation where I've written TV shows where
Speaker 1: there's a twist, yes, and it's hard to know, it's
Speaker 1: hard to take yourself out of your own head and
Speaker 1: kind of go on, is this is this too obvious?
Speaker 1: Like the very first we did with myself and Lisa mchuene,
Speaker 1: which we did spin off of How To They Married,
Speaker 1: the whole twist at the end was like it was
Speaker 1: that we were actually married couple. You think you're watching
Speaker 1: two people on a date for the first time, and
Speaker 1: then and then you realize later on when I take
Speaker 1: her home that they're actually married, and you just thing,
Speaker 1: you just don't know. We're like, which do they know that? Two?
Speaker 2: Which balls to keep in the air? Which?
Speaker 1: So again it's that it's that guesswork. So when you're
Speaker 1: writing lies and you're doing with the foreshadowing, like you
Speaker 1: really I imagine kind of worrying. Is this you just
Speaker 1: imagine in your own head the audience going, oh, there's
Speaker 1: somebody in the base.
Speaker 2: What a challenge though, I'm trying to imagine. So this episode,
Speaker 2: you're at on a date with Lisa McCune. You your
Speaker 2: characters know they're married, but you're having a discussion or
Speaker 2: just and all. It's revealed at the end that you're
Speaker 2: heading into the same house and you were married. That
Speaker 2: is a extraordinary writing exercise, Pete. It's very ambitious. Yeah,
Speaker 2: what what what what what? What conversations do they embrace?
Speaker 2: What conversations do they avoid? You know all of this.
Speaker 1: The concept was that they were having like a playful
Speaker 1: night out and they Lisa's character one of the almost
Speaker 1: almost like so what do you do? You know, like,
Speaker 1: so they're having this kind of sexy night out where
Speaker 1: and they you know, she's role playing and Greg's kind
Speaker 1: of not really you know, he's not really into it
Speaker 1: because he's got some stuff going on at work. He's tired.
Speaker 1: So you just think you're on a date where the
Speaker 1: guy is not that and but she's kind of excited,
Speaker 1: you know. So it's Yeah, it was a really fun episode, right,
Speaker 1: but there were it was one of those ones we
Speaker 1: had to be disciplined about, sure, what are we giving away?
Speaker 2: And can ask a question do you miss those writing
Speaker 2: those smaller stories rather than.
Speaker 1: I love both, I do love the anthology. Yeah, you know,
Speaker 1: such a good idea. You co wrote that.
Speaker 2: I was fortunate, Yes you were, and.
Speaker 1: You were in an episode with Ronnie Chang and then
Speaker 1: win to Heney I played. It was one line that
Speaker 1: were you opening a CD store or a record store?
Speaker 2: No, I'm buying CD stores like they're going out of fashion.
Speaker 1: So you're buying basically all the sanities, buying them up.
Speaker 1: You're buying the stores they're going out of fashion.
Speaker 2: He thinks he's on a real winner. He thinks he's.
Speaker 1: Pretty happy with yourself.
Speaker 2: I love that people who don't know they're on a
Speaker 2: sinking ship. Yeah, and you co wrote that episode with me, Yes, yes,
Speaker 2: and and another one later on. So the twist is
Speaker 2: the twist to that, Lisa McEwen. One is that it
Speaker 2: went to series. Is that.
Speaker 1: Yes, that was horror because it was years five years.
Speaker 2: That's a long elongated twist.
Speaker 1: And also the Yeah, the foreshadowing we went to a goes.
Speaker 1: It's some lovely foreshadowing here. I do love the idea
Speaker 1: of the playing with the technology of the sending, almost
Speaker 1: using the scent button that when she films them when
Speaker 1: it's revealed, because they all the family fall outs, she
Speaker 1: quickly puts together the idea that, oh, hang on, you
Speaker 1: guys are not four separate employees. You guys are in
Speaker 1: on this and this explains why I've been booted. And
Speaker 1: she films they're all kind of wailing on the ground
Speaker 1: and the tables, and then she kind of uses the
Speaker 1: send button almost like a nuclear yea, that's.
Speaker 2: What it says, doesn't he says, It's like it's like
Speaker 2: the nuclear codes or something.
Speaker 3: Yeah.
Speaker 2: Yeah. But even even it's an interesting thing though too,
Speaker 2: because right at the beginning of the film, we have
Speaker 2: a family that is trying to find Wi Fi. You know,
Speaker 2: they're trying to get connected, yes, because they live underground.
Speaker 1: Do you want to get a feature revolutions?
Speaker 2: Yeah, exactly, just just the connection and here is like
Speaker 2: in the parks house, the house made about to send
Speaker 2: send like that could just dat in an instant, Yeah,
Speaker 2: total connection.
Speaker 1: Yeah.
Speaker 2: Yeah, it's good ad for Wi Fi modems, great out
Speaker 2: for I get your WiFi, murder your just in case
Speaker 2: this situation arises.
Speaker 1: It all plays out that the flood is incredible and
Speaker 1: so that that was the moment, and that was all
Speaker 1: built on water, like the sets were building, like the
Speaker 1: huge water tanks really allowed them to kind of basically
Speaker 1: flood flood the joint. Yeah, I didn't know that.
Speaker 2: You could say it was so impressive. But even sometimes
Speaker 2: filmmakers could go down the road of you know, you
Speaker 2: can smell, you can smell that you're almost dry wretching
Speaker 2: in your mouth because the delivery of the of the
Speaker 2: information is so good. This this flood, though, it was
Speaker 2: beautiful as well as terrifying. I just found that amazing.
Speaker 2: Even when the daughter's sitting on the toilet finding this
Speaker 2: this cigarette packet, and then it cuts to the wide
Speaker 2: shot and she's literally sitting on a toilet blocking ship
Speaker 2: that's being spurted up.
Speaker 1: That's come from the affluent.
Speaker 2: Yeah, on the on the on the on the what's
Speaker 2: it called the never toilet? The toilet that never existed, but.
Speaker 1: Just for the multilevel toilet.
Speaker 2: Yeah, I know, what a what a what a But
Speaker 2: I found that incredible that that a filmmaker could make
Speaker 2: something so horrific and so horrifying, but it wasn't there
Speaker 2: was a distance. You weren't in the middle of it,
Speaker 2: do you know what I mean? He could have gone
Speaker 2: for that.
Speaker 1: It could have also he could have gone for this flood,
Speaker 1: which is where their lives are in danger. And I
Speaker 1: really liked that he didn't that this is about This
Speaker 1: is not their lives unendangered, their livelihoods.
Speaker 2: A house that they currently live in is in danger.
Speaker 1: Yes, absolutely, so they're going to live through this and
Speaker 1: they're going to have to rebuild.
Speaker 2: Yeah, totally and get through this like you would.
Speaker 1: Have been in a way you might have them lives
Speaker 1: in dangers almost like just just get away with it,
Speaker 1: let it go.
Speaker 2: And when when the it sort of cuts to the
Speaker 2: mother and she's in the limo being driven by the
Speaker 2: king father and she's talking about how beautiful the rain was,
Speaker 2: and you know, for me, that was a foreshadowing. That
Speaker 2: was you know, if if Bong had just dropped her
Speaker 2: boun you know, like, Okay, we're going where we're in,
Speaker 2: We're we're starting the wheels. Someone's going to die, aren't they.
Speaker 2: So there was a part of me that felt at
Speaker 2: that point in time we were starting to get a
Speaker 2: bit broader stroked with these I mean, the story had
Speaker 2: to go somewhere, so I understand that, but I was
Speaker 2: starting to have my doubts about or have things confirmed
Speaker 2: in terms of where the story's going.
Speaker 1: Yeah, that great conversation. I think the mums when she
Speaker 1: talked about I would be nice, I would be nice too,
Speaker 1: how nice park family? I would be nice to if
Speaker 1: I had money, which is a really fascinating concept. And
Speaker 1: I think she got money is an I and it's
Speaker 1: it's moves out everything.
Speaker 2: Yeah, yeah, yeah, or the assumption that if you're wealthy
Speaker 2: or rich, that you'd be nasty or you'd have to
Speaker 2: be nasty to get there. But most of the more
Speaker 2: horrifying part of the film is that the Parks family
Speaker 2: aren't nasty people. They're problematic. Yeah, they're just rich people. Yeah,
Speaker 2: So do we feel sorry for these people because they're
Speaker 2: so cold and alienated with each other as opposed to
Speaker 2: the Kim fam. He was so warm and engaging, and.
Speaker 1: He does a nice job of us escalating towards the
Speaker 1: back of the film, of making us more aware of
Speaker 1: what the problems are here and the attitudes of the
Speaker 1: Park family towards to begin with, it's more about their
Speaker 1: own employees and the problems that have a risen, whether
Speaker 1: it be that there's tuberculosis in the house now or
Speaker 1: that there's the limo drivers having sex with people in
Speaker 1: the backseat of our car, Which is that's scrushing the line, you.
Speaker 2: Know, But got some questions for you, Pete.
Speaker 1: And then later on, later on, I see where I
Speaker 1: could take the joke about your own car, and anyway, enough,
Speaker 1: let's sit with the movie. So yeah, and then later on,
Speaker 1: like once the flood happens, you really long. June Hoe
Speaker 1: does a great job of like you really see the
Speaker 1: Park family and how far away and how removed from
Speaker 1: any you know, the society they are, and they deliberately
Speaker 1: remove themselves, and that they live in their own bubble
Speaker 1: when they're organized in a party, whilst we see a
Speaker 1: whole whole community has been displaced, yesually you know, at
Speaker 1: a stadium for you know, being refugees all of a sudden,
Speaker 1: you know so and then and then the party happens
Speaker 1: and it's it's extraordinary, and it's.
Speaker 2: That the horror again element for me is that the
Speaker 2: Parks they don't see what they do, how they live,
Speaker 2: and how they live affects and this is what we're
Speaker 2: dutched on twenty minutes ago. But that is horrific. That's
Speaker 2: the horror that this family are unaware of the damage
Speaker 2: that they do or their contributional lack they're off to
Speaker 2: society does to to the Kims, which.
Speaker 1: As a thought piece you kind of go, well, that's
Speaker 1: more powerful, isn't it? From us? As a if you're
Speaker 1: watching this thoughtfully, then you probably recon you know a
Speaker 1: lot of people who you know would be in this situation.
Speaker 1: We'll go, well, well, that's kind of me as well.
Speaker 1: That's like I'm sure you know, even myself literally talking
Speaker 1: about me. I yeah, there's probably stuff that I do
Speaker 1: that we thought thoughtlessly affects people down down the chain.
Speaker 2: And even though the choice of house or the design
Speaker 2: of that house, it is a kind of house that
Speaker 2: for some reason we all aspire to live in, you know,
Speaker 2: in nature, a floor to ceiling windows that we can
Speaker 2: we all like, how many grand designs have we watched
Speaker 2: where this same freaking house has been made by these
Speaker 2: wealthy freaking anyway, But if that's what we aspire to,
Speaker 2: this sort of fully glass three sixty view where it's
Speaker 2: quite cold and it's sanitized and everyone's distance, but we
Speaker 2: still if I had a bunch of money, Pete, I'd
Speaker 2: go out get screw society. Yeah this is my this
Speaker 2: is my I would go out into the bush and
Speaker 2: build one of those houses and live happily out there.
Speaker 2: That's sort of that is separating myself, you know that
Speaker 2: I own a.
Speaker 1: House like this.
Speaker 3: I love.
Speaker 1: I own a house, you know, like you know, not
Speaker 1: not exact the same as this, but like you know,
Speaker 1: like large property. And it was very so so proud
Speaker 1: everything I ever wanted and and and we love that house.
Speaker 1: But there was you know, and there's there's reasons why,
Speaker 1: you know, as far as distance from we're traveling and
Speaker 1: all that. But you know, there can be what we
Speaker 1: what we've loved about where we are now we've moved
Speaker 1: closer into the city. But it's a much smaller house.
Speaker 2: Yes, could be.
Speaker 1: This was almost you know, friends would call it the compound.
Speaker 1: But there's we I love having the kids a little
Speaker 1: bit closer to me, you know, like we're in a house.
Speaker 1: It's just it's a sensible house. Yeah, it doesn't have
Speaker 1: all the bells and whistles. But we love where we
Speaker 1: are so much more because it's ony. It's more manageable. Yes,
Speaker 1: that's one thing. You have seen this in this the park,
Speaker 1: well the park flamy wouldn't be well, I guess they do.
Speaker 1: They are hiring people to take care of.
Speaker 2: Everything because they cannot manage.
Speaker 1: Yes, yes so, But what we've learnt really is is yes,
Speaker 1: you and we tell friends is when they're considering, you know,
Speaker 1: buying new house, and we say, begav like we dream
Speaker 1: of the big house, a grand design house, what you said,
Speaker 1: But it's not it doesn't deliver anything real.
Speaker 2: You're always you're cut to the family in Grand Designs
Speaker 2: and you know Dad's reading a book in that seat
Speaker 2: that was specifically bought for that little area so he
Speaker 2: could read a book.
Speaker 1: And great, think about books. I know you're you're getting
Speaker 1: you want to get into reading. The great thing about
Speaker 1: books you can read them anywhere, anywhere. Reading You don't
Speaker 1: even need to stop nobody.
Speaker 2: And you know what, you don't need a battery. You
Speaker 2: don't need to charge them up.
Speaker 1: You don't need a bat You open them up. So
Speaker 1: unless you are in a vacuum sealed bag, you can
Speaker 1: read a book.
Speaker 2: And the books they take you places, don't they. You know,
Speaker 2: So if you're sitting on that beautiful chair in that
Speaker 2: nice nook and your Grand Designs home, screw you, by
Speaker 2: the way if you no. But but it is interesting you.
Speaker 2: We've had friends. I've had friends that that's the end
Speaker 2: of my story. I've had I've had a friend who
Speaker 2: did went really got really, went really well in his career,
Speaker 2: bought a house in the middle of you know, nowhere,
Speaker 2: up in near byron and stuff. And the moment he
Speaker 2: moved in, realized, oh, I've just removed myself from the
Speaker 2: whole world.
Speaker 1: Yeah, now, well that was a part of it. Why,
Speaker 1: you know, we wanted to be around more people in
Speaker 1: a way. We wanted the boys to be closer to
Speaker 1: their friends. We were isolated were it was five acres
Speaker 1: against properties. There were also five acres.
Speaker 2: So yeah, that's right.
Speaker 1: I don't remember it was, you know. But let let's
Speaker 1: talk about before we wrap up, Let's talk about the
Speaker 1: like the final moments of the film. What did you So?
Speaker 1: We have obviously the stabbing and the weird way it's
Speaker 1: almost a knife that brings all these three groups together,
Speaker 1: in all three families, but we have Kep Tech takes
Speaker 1: off and we learned that he's he's gone into the
Speaker 1: into the bunker. What I thought was stunning what he did.
Speaker 2: Think, well, just on a story level, there was part
Speaker 2: of me like things that escalate into violence don't don't
Speaker 2: appeal to me. You know. It's like we're talking about tarantine. No,
Speaker 2: you know, I love I love, I love him so much,
Speaker 2: love his stuff. But you know, for to always end
Speaker 2: in violence, I got dang it. But through the through
Speaker 2: the lens of seeing watching Parent as a fable where
Speaker 2: death has to has to occur, and but and but
Speaker 2: because the build up was so beautifully measured and you know,
Speaker 2: all question marks were happening all over the shop. Once
Speaker 2: the you know when when he when he ascends the
Speaker 2: original the original helper sends from the thing with a
Speaker 2: knife and just walks out to the to the to
Speaker 2: the to the backyard. He's not really noticed. Again, like
Speaker 2: a bloody man with is not noticed. And sure we're
Speaker 2: in the middle of this sort of cowboys and Indian situation,
Speaker 2: but that again the horror for me, and why this
Speaker 2: should be a horror film is because literally you as
Speaker 2: a viewer, are horrified by what eventuates, because the pressure
Speaker 2: is it escalates so much, the bubble has to burst.
Speaker 2: He walks straight out into the into the garden and
Speaker 2: stabs the doord. Initially I went ah, but then as
Speaker 2: everything was, you know, in that, I wanted it to
Speaker 2: be different than bloodshed. I wanted something. Sometimes Bong doesn't
Speaker 2: really hit the mark for me. No, I'm beginning, No,
Speaker 2: it's he's any way to end it.
Speaker 1: But also it was equally shocking, you know, the idea
Speaker 1: that you know, the bloke had been downstairs all this
Speaker 1: time stabbed the daughter. That was very shocking. And then
Speaker 1: and then it's almost equally shocking a surprising that key
Speaker 1: Tech then stabs Dongik. And what I love about it,
Speaker 1: which is, you know, like the the reasons is the
Speaker 1: way he did it. He did it because he saw
Speaker 1: in this not being able to tolerate the smell of
Speaker 1: poverty when he's trying to get literally the keys to
Speaker 1: his car, and just a reminder that key TeX's daughter's
Speaker 1: been stabbed and he's dying. Dong's Dongy his son has fainted. Yeah,
Speaker 1: that's like that, and he he's trying to get the
Speaker 1: key from the from the body of the blog he
Speaker 1: has just been stabbed and then can't stand smell. And
Speaker 1: that's what sets totally sets him off. And I think
Speaker 1: that's what separates from many other films where it's just
Speaker 1: and it works because we've seen it all all the
Speaker 1: lead up and he takes his opportunity and he kills him.
Speaker 1: I think he kills him. He dies.
Speaker 2: Yeah, Well, it's not verbalized with everything in this film,
Speaker 2: it's just it's shown and yeah, just something so seemingly
Speaker 2: innocuous and smelling his hands and because.
Speaker 1: Also these family like mister Park, I think so, mister
Speaker 1: Kim thinks that he's they're friends. There's there's a there's
Speaker 1: a respect level. And even the guy on the ground
Speaker 1: comes up and he says respects and he doesn't know
Speaker 1: like he's looking at he has no idea who this
Speaker 1: guy is, mister park, I don't know who you are
Speaker 1: like that.
Speaker 2: And so but the kid did the kid who fainted, Yes,
Speaker 2: you know the idea that you know, the kid's seen
Speaker 2: this guy before.
Speaker 1: And there for shotowing the boy scouts, you know, you
Speaker 1: know that there's a boy scout and I think kim
Speaker 1: Wu was a boy scout so they can read the
Speaker 1: moss code is brilliant.
Speaker 2: And the American Indian thing was an interesting choice. And
Speaker 2: that's where a foreigner, you know, I don't think an
Speaker 2: American could make this film, or that the the plight
Speaker 2: of the Native American and the story of the Native
Speaker 2: American and how it's been commodified as just an outfit.
Speaker 2: But while while the two dads are talking and you know,
Speaker 2: we want to make this good, we have to you know,
Speaker 2: just how insensitive they are.
Speaker 1: They are play it's all playful. Its decoration. Yeah yeah,
Speaker 1: and even the way they set you.
Speaker 2: Think they could go this is cultural appropriation. Guys like what, No, No,
Speaker 2: they wouldn't. They wouldn't. It's just an out.
Speaker 1: Even the way they set up the the seeding for
Speaker 1: the party is based on a battle plan of about massacre.
Speaker 1: It's it's but again, the thought that has gone into
Speaker 1: this is extraordinary and that the final So I want
Speaker 1: to get your thought on the very final moment. So
Speaker 1: kim Wu realizes his dad's making contact with him through
Speaker 1: the Morse code light, which is also great. That the
Speaker 1: dad who's in the house earlier just thinks that that
Speaker 1: doesn't even like he's makes somebody to fix it. But
Speaker 1: he thinks it's a motion sensor. He thinks, every time
Speaker 1: he steps up, it turns on. Okay, fine, every time
Speaker 1: something has been done, even when the mum is fixing
Speaker 1: the chair in the backyard. The dad's almost got his
Speaker 1: back turned. Everything a bit of maintenance that goes on
Speaker 1: in that house he had nothing nothing to do with.
Speaker 1: So the moscow goes out. He realizes, he writes a
Speaker 1: letter which he narrates what did you And and for
Speaker 1: a moment you think because he says, all you need
Speaker 1: to do is walk up the stairs.
Speaker 2: And the shot that again, the simplicity of you know
Speaker 2: in that moment go, holy hell, he got away with it.
Speaker 2: He did, he got it.
Speaker 1: I was so there when I saw it.
Speaker 2: I was so camera is on a tripod at the corner.
Speaker 2: It shoots that the place that we all know, which
Speaker 2: is the stairwell to the downstairs area, and the camera
Speaker 2: just pans to the left and reveals the door. It's
Speaker 2: so beautiful, how literally a corner has been made. I'll
Speaker 2: turned a corner. Sorry, But then it cuts back to
Speaker 2: the end, where which is the sun again, back where
Speaker 2: we started.
Speaker 1: So in case you were under any illusion, it's like,
Speaker 1: does not get it?
Speaker 2: Stuffed me up? It really did, because I loved I
Speaker 2: was going, this is beautiful, and I was buying into
Speaker 2: the fable. I was buying into the yeah, we can
Speaker 2: have the happy ending. But again, Bong was so very
Speaker 2: good at foreshadowing that they will never get there. And
Speaker 2: of course I did that thing what you do after
Speaker 2: seeing a movie and have a look at what other
Speaker 2: people have aught about reviews and things, and that ending
Speaker 2: was discussed a lot. And there was a song in
Speaker 2: the credits apparently.
Speaker 1: Yeah who, sung by the actor who plays Kiwu, and
Speaker 1: one of the lines in it is or at least
Speaker 1: explores the idea that to buy that house, he would
Speaker 1: have to work in Korea, South Korea for five hundred
Speaker 1: and sixty four years.
Speaker 2: To get the money to buy that So there is
Speaker 2: no in this structure, this capitalist structure. Doesn't mean you
Speaker 2: don't need to live in South Korea to know this,
Speaker 2: but yeah, the future for younger generations is so much
Speaker 2: harder to actually accomplish what the Parks accomplished, you know,
Speaker 2: just generationally speaking. And yeah, that the director said, my
Speaker 2: children aren't are probably never going to be able to
Speaker 2: own a house, you know, that's pretty amazing. Yeah, not
Speaker 2: off the bat of their own bad anyway, it's extraordinary.
Speaker 1: Some fun facts before one more thing. I was one
Speaker 1: of the mentioned we mentioned about the space and the design,
Speaker 1: but also the way food is looked at in this
Speaker 1: So you see you see that eating like bread, this
Speaker 1: out of the out of the getting out of the pack,
Speaker 1: you know when he's at home. And then the way
Speaker 1: this food is just like laid out, the way fruit
Speaker 1: is laid out. Yes, at the Park Fame.
Speaker 2: When they start by, they're literally folding pizza cartons. Yeah, yeah,
Speaker 2: the the the transport option for a pizza for food itself.
Speaker 2: They don't even get the food.
Speaker 1: Yea, and then oh man, it's extraordinary, it's extraordinary. So
Speaker 1: speaking of food though, the the that that dish that
Speaker 1: she makes when they're they're eight minutes away from arriving
Speaker 1: home and they asked for some ram doong. It's a
Speaker 1: made up dish, so that is basically it's a working
Speaker 1: class kind of meals lower class's. Yeah yeah, yeah, yeah,
Speaker 1: but they it's why the wife adds a sur lime
Speaker 1: because she can't even even though it's just it's for
Speaker 1: the sun, who will probably you know, even if you're
Speaker 1: living in that house, but you probably eat anything you
Speaker 1: feel like your two minute noodles, and and she can't
Speaker 1: quite have that, so she gets in there the sur
Speaker 1: line in the fridge, which but they came up with that,
Speaker 1: They kind of came up with that name because the
Speaker 1: translation didn't quite work. And so ram dong, if you
Speaker 1: go into a Korean South Korean restaurant in order ram dong,
Speaker 1: it's probably not on the.
Speaker 2: On the right.
Speaker 1: Yeah, don't do it people, it's a it's a combination
Speaker 1: of udon and and rahman, you got bonded, you got bonded,
Speaker 1: and most of my fun facts have come out through
Speaker 1: the conversation, which is always like whenever that happens, This
Speaker 1: one final fact just on Bong June Hoe. I think
Speaker 1: it's a good one to end on. And this involves
Speaker 1: more Snow Pierce. But this is the kind of I
Speaker 1: think character he is. I think I'm really fascinated by him.
Speaker 1: When he was making snow Pierce up there was a
Speaker 1: scene where he there's a fish that's scattered, and it
Speaker 1: was made for Mirramax, and Harvey Weinstein had already taken
Speaker 1: like twenty five minutes out of the film, and he
Speaker 1: wanted that taken out of the film. It's almost like
Speaker 1: it's weird kind of battle ritual before they go to battle,
Speaker 1: the fish that gets scuttered. And bon Jingo really wanted it,
Speaker 1: and so he said to him, no, I need this
Speaker 1: in there. It's a tribute to my father. He was
Speaker 1: a fisherman and it's personal. I want this in And
Speaker 1: Harvey Weinstein, you know, said okay, well, all right, I
Speaker 1: guess it can stay later on Bond And I said,
Speaker 1: that's bullshit. My dad's not a fisherman. Yeah, I just yeah,
Speaker 1: I lied. Yeah, So good good on you over getting
Speaker 1: one over Harvey Weinstein.
Speaker 2: Yeah, Harvey Weinstein. But it's a trick, though, isn't it.
Speaker 2: When you're negotiating creativity with people, you often work out
Speaker 2: ways of Okay, if I know that they're going to
Speaker 2: have a problem with this, but I really want to
Speaker 2: keep this, So you almost reverse engineer your approach because
Speaker 2: you know that they'll want to cut something. As long
Speaker 2: as they cut that bit. That doesn't mean you know
Speaker 2: what I mean what the little games you have to
Speaker 2: play in order to get certain things across the line.
Speaker 1: You do have to choose your battles as well. Sometimes,
Speaker 1: and mate, thank you so much for this comes with homework,
Speaker 1: this podcast, and you did your homework. I appreciate watching
Speaker 1: the first quarter of your essay. May have been a
Speaker 1: little bit scared. Oh look, you know, yeah there's a
Speaker 1: ten minute period, but I had to fee you in on.
Speaker 1: But thank you, mate, thank you so much. You're a
Speaker 1: wonderful human being. I love you. We are going to
Speaker 1: go have lunch now and maybe get into our silk pajamas.
Speaker 2: Look out, I love it.
Speaker 1: Well, Well, we'll order an on what's it called random?
Speaker 2: Yes, and we'll order it knowingly like we know we
Speaker 2: know it's a made up dish.
Speaker 1: Have we just watched a move so long with yours
Speaker 1: so loan please thanks mate.
Speaker 2: Thanks for having me mate.
Speaker 1: Hope you enjoyed that I did. Parasite has been one
Speaker 1: of my favorite films of recent years, and Gates is
Speaker 1: one of my favorite people. I've known him for the
Speaker 1: like over twenty years now and he's a great mate,
Speaker 1: always always sort his hot takes on cinema. We love
Speaker 1: hearing from you. We also would love you to rate
Speaker 1: the podcast. We recommend five stars on your iTunes page
Speaker 1: wherever you get your podcasts. Just rate us and leave
Speaker 1: comments on it. That helps the algorithms, I'm told, and
Speaker 1: it just helps spread the love and the word of
Speaker 1: the show. So thank you for doing that. And you
Speaker 1: can also email us Yasney podcast at gmail dot com.
Speaker 1: We are reading all of them that are coming through.
Speaker 1: There's one that caught my attention from Heidi Schwegler. Good
Speaker 1: a Heidi. Derek Meyers from Cosmeo Studios dot com. How
Speaker 1: are you you good?
Speaker 3: Yeah?
Speaker 1: Great, super You're going to read it. You read this
Speaker 1: one out mate, I've been talking for the last hour.
Speaker 1: Can when you do something come on? You push buttons
Speaker 1: over there?
Speaker 3: All right? Heidi says, Hi Peter, as a passionate movie lover,
Speaker 3: I stumbled across your podcast last year, right after the
Speaker 3: start of the extended four month Melbourne Lockdown.
Speaker 2: Nice.
Speaker 3: Generally speaking, I'm not a person who listens to.
Speaker 2: Podcasts, what.
Speaker 3: Come on, Heidi, But I thought I would give yours
Speaker 3: a go, especially because I was looking for things to
Speaker 3: do in lockdown.
Speaker 1: Yes, with the ability to leave.
Speaker 3: The house for two hours of exercise, I chose to
Speaker 3: listen to your podcast, and I found it passed the
Speaker 3: time fabulously. Ah, Peter, I love, love, love your podcast.
Speaker 1: Ah, thank you so much, Heidian. Like people listening from
Speaker 1: all over the world, and I am certainly happy that
Speaker 1: we have been able to provide. We started this in
Speaker 1: lockdown last year. I'm happy it has given people a
Speaker 1: chance and the reason perhaps to go back and watch
Speaker 1: classic films. So I'm glad it's giving you some joy.
Speaker 1: So thank you, Haidy, and thank you everyone. Already also
Speaker 1: doesn't bullet points, She actually breaks it down what she
Speaker 1: loves about the podcast. She likes the winny banter between
Speaker 1: myself and the guests. She loves also the top three
Speaker 1: movies of each of our guests, I've really love that.
Speaker 1: Like I come here to do the podcast and I
Speaker 1: can't wait to find out what my guests think of
Speaker 1: the movie we've chosen. But I'm also equally cannot wait
Speaker 1: to find out what their three favorite films are. And
Speaker 1: I've said this on the podcast before. I don't ask beforehand,
Speaker 1: so I get to react in real time. Sometimes I've
Speaker 1: seen the film, sometimes I haven't, But yeah, I love
Speaker 1: hearing that. And she loves Hardy loves our keen and
Speaker 1: sometime's quirky insights into the movies chosen, pointing out minus
Speaker 1: scenes or characters they had an impact on the movie,
Speaker 1: exploring the meaning behind people's scenes, and delving into the
Speaker 1: backstories of the actors, directors, or other people who bring
Speaker 1: these movies to life. She did find that Matt presidn't
Speaker 1: get Out of episode a bit hard to listen to
Speaker 1: it because Matt didn't love get Out, and there's been
Speaker 1: some reactions to that episode. I love Matt, you know
Speaker 1: he is, Yeah, Matt is a critic at heart, like
Speaker 1: where he started, you know, food criticism. You know, he's
Speaker 1: a great guy. I love Matt. You know we disagreed
Speaker 1: on get Out, but this is a democracy. Hardy goes
Speaker 1: on to say it's made her watch rewatch many movies
Speaker 1: and others she has not seen. And no, she says,
Speaker 1: I haven't seen the Princess Bride yet. Yes we will.
Speaker 1: There is somebody and I don't want to say in
Speaker 1: case of changes, but there's somebody who is much loved
Speaker 1: in this country who has said they haven't seen their
Speaker 1: Princess Bride. So I just want to confirm that they're
Speaker 1: going to do it before I bring you that name.
Speaker 1: But it does get nominated quite a bit. Heidi goes on,
Speaker 1: Thanks for bringing your passion for movies to life with
Speaker 1: this podcast and keeping up and please keep up the
Speaker 1: amazing work. We will you call yourself a loyal listener
Speaker 1: and a passionate fan. Thank you, Heidi, thank you so much.
Speaker 1: Your three faite films you're telling me are The Accused,
Speaker 1: The Hangover, and Sure Shank Redemption. I'm sure we'll get
Speaker 1: to all those films at some point very soon. It
Speaker 1: is great. This is a direct these little community we're building.
Speaker 1: The emails of Flooding in Yasney Podcasts at gmail dot com.
Speaker 2: That's fantastic.
Speaker 1: Love it, love it, and you know we are there's
Speaker 1: some noises being made about a live show soon enough,
Speaker 1: so it'd be great that we can all get together
Speaker 1: and hang out and chat movies. So thank you. Next
Speaker 1: week on the show, I'm so excited. A genuine legend
Speaker 1: of the Australian entertainment and comedy scene, she hosted the
Speaker 1: Big Gig from the late eighties into the early nineties,
Speaker 1: The One, the Only Wendy Harmer will be joining me.
Speaker 1: I'm so excited to talk about the nineteen eighty four
Speaker 1: classic The Karate Kid, saying Ralph Maccio, I cannot wait.
Speaker 1: I watched her so many times as a kid on
Speaker 1: VHS and I cannot wait to watch it again and
Speaker 1: relive it with the One, the Only, the gold standard
Speaker 1: Wendy Harmer. Until then, Derek, bye for now, Bye by yeah,
Speaker 1: And so we leave old Pete safe and soult and
Speaker 1: to our friends of the radio audience, we've been a
Speaker 1: pleasant good night.