Speaker 1: Gid A Pete, 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 the
Speaker 1: movie they haven't quite got around to watching until now.
Speaker 1: And today's guests broadcaster comedian Ed Cavally, all below.
Speaker 2: I want to stay here with you.
Speaker 3: Why snake shucked? Why fail?
Speaker 2: It would be happening right so you don't seeing nothing yet?
Speaker 1: Very excited about today's episode, and I'll keep this intro
Speaker 1: quick for a couple of reasons. One I want to
Speaker 1: get into the episode. But two I'm recording this intro
Speaker 1: just into my phone at an apartment I'm staying at
Speaker 1: in Sydney because we're in Tampa. Peter and a Starcatcher
Speaker 1: coming soon to Brisbane as well. Book tickets if you can.
Speaker 1: But the episode you're about to hear was recorded in
Speaker 1: our studio, so the same quality on this introduction isn't
Speaker 1: as good as the actual episode. I beg, I beg
Speaker 1: for your forgiveness. But Ed Cavally is somebody who has
Speaker 1: perhaps been the most requested guests of YASNY. People who
Speaker 1: know Ed know that he is a massive cinephile, loves
Speaker 1: his movies, and it's taken a while for us to
Speaker 1: negotiate what movie it might be, or just to find
Speaker 1: the movie that Ed could watch for you and seeing
Speaker 1: nothing yet we have an extensive list and he's seen
Speaker 1: all the movies on our list. We managed to get
Speaker 1: Tony Martin early on for Top Gun. People thought there
Speaker 1: wouldn't be a movie Tony hadn't seen. Lucky Hume. We
Speaker 1: also we had on and with with Ed, I thought
Speaker 1: it wasn't gonna happen. And then finally he sent me
Speaker 1: a message saying, you know what movie you haven't seen?
Speaker 1: Eyes Wise Shut. I think might be the only Coo
Speaker 1: Rick film he haven't seen, so to close in his
Speaker 1: Cricke collection, He's gotting Eyes by Shut for us today.
Speaker 1: For those who may not live in Australia may not
Speaker 1: know Ed. He is a comedian broadcaster radio TV, perhaps
Speaker 1: now best known for his role on Have You Been
Speaker 1: Paying Attention? A comedy panel show that he is a
Speaker 1: series regular. Every week he'll be there alongside Sampang and
Speaker 1: hosted of course by Tom Weisner. And it is it
Speaker 1: has become an institution that show. I get to do
Speaker 1: it a few times a year and it's an absolute joy.
Speaker 1: People love it. It's one of the biggest shows on Freeware TV,
Speaker 1: and it's yeah, I'd love going on it and I
Speaker 1: love watching it as well. But Ed also he has
Speaker 1: made movies. I've been able to be in the couple
Speaker 1: of those movies. One big role in the movie is
Speaker 1: called Border Protection, and scum Bass was another one. And
Speaker 1: I'm not sure if if I can say this, but
Speaker 1: I know he's cooking something else up and hopefully that
Speaker 1: gets up. But yeah, it's a great guy, funny, smart,
Speaker 1: and I'm bloody stokes to be hanging with him today.
Speaker 3: Hello, im Ed Cavali and my three favorite films are Clerks.
Speaker 4: Everybody that comes in here is way too uptake.
Speaker 3: Still haven't begret if it wasn't for the fucking customers
Speaker 3: with nail and eye he's had miss weigh fifteen pounds
Speaker 3: on its own.
Speaker 2: Imagine the size of his balls.
Speaker 3: And life of Brian, my sire, I'm not the Merssiah,
Speaker 3: I say you are, and I should know.
Speaker 5: I've put it.
Speaker 3: A few but until this week, I had never seen
Speaker 3: Stanley Kubrick's final film, nineteen ninety nine's Eyes Wide Shut.
Speaker 1: May I have the password?
Speaker 2: Please?
Speaker 1: For Delia.
Speaker 5: That's right.
Speaker 6: That is the password for admit. But may I ask
Speaker 6: what is the password for the house? The password for
Speaker 6: the house? Yes, I'm sorry, Hey, I as seem to have.
Speaker 1: Forgotten it.
Speaker 3: That's unfortunate because here it doesn't matter whether you have
Speaker 3: forgotten it or if you never knew it.
Speaker 1: You will kindly remove your mask. It's nineteen ninety nine,
Speaker 1: possibly the best movie year ever, and Hollywood's biggest power couple,
Speaker 1: Tom Cruise and the Cole Kimmen have handed over their
Speaker 1: lives for over two years to want to Cinema's greatest director,
Speaker 1: Stanley Kubrick to make Eyes Wide Shut, an erotic psycho
Speaker 1: thriller that follows Cruiser's Manhattan doctor Bill over a night
Speaker 1: as he learns of his wife's unfulfilled longing for a
Speaker 1: naval officer. His wife played by, of course our Neck.
Speaker 1: As Bill cruises the streets of New York, he has
Speaker 1: a bizarre running with a grieving woman, visits a sex
Speaker 1: worker in her apartment, stumbles upon possibly the creepiest costume
Speaker 1: shop in the world. Hopefully innovation nigains are happening at Lombards,
Speaker 1: But when he gets up with his old college Pader
Speaker 1: Nick Nightingale played by Todd Field, who would go on
Speaker 1: and become a director of considerable esteem himself. It's this
Speaker 1: meeting that sends Bill into a covert, cult like orgy
Speaker 1: that will have fatal ramifications for some all the world,
Speaker 1: testing the strength of his marriage. Based on Arthur Schnitzler's
Speaker 1: novel tron Novale, written by Kubrick and Frederick Rafia Eyes,
Speaker 1: Wild Shut will be the Great Stanley Kubrick's final film,
Speaker 1: passing Away, a mere four days after presenting his cut
Speaker 1: to Warner Brothers, Ed Cavalley just checking you have the
Speaker 1: password for to Night's orgy, don't you? Yeah?
Speaker 3: Absolutely, I do.
Speaker 1: It's Lombards Lombard and it's a Gleisner's place.
Speaker 3: Yeah, yeah, yeah, which one? Do you know that in
Speaker 3: one of Tommy's mansions all the rooms locked from the outside,
Speaker 3: inside and below. Well, once you're in your yeah, which
Speaker 3: is what he'll often say, but it comes out because
Speaker 3: of course he's got his bag egg in.
Speaker 1: It's a hot start.
Speaker 3: Is that what we're here for?
Speaker 1: That's basically this is this is this. It feels like
Speaker 1: a big day for you. Ain't seeing nothing yet. You
Speaker 1: were one of the most requested I guess we've had
Speaker 1: for this podcast. We've spoken about you coming on, and
Speaker 1: it's just been it's been hard to find a film.
Speaker 1: I've got a huge list, and most people come back
Speaker 1: and they go, well, there's so many films I haven't seen.
Speaker 1: He's a dozen, pick one, and you were like, I've
Speaker 1: seen them all.
Speaker 3: Yes, I'm sorry. I didn't mean to be difficult, but
Speaker 3: I went through the list and well you were honest. Yeah,
Speaker 3: Well because Tone was on. When when Tone was on
Speaker 3: and he hadn't seen Top Gun, I was like, okay,
Speaker 3: we've got to change the framework a bit to go.
Speaker 3: And then when I listened to the show and I
Speaker 3: remember when Rossi hadn't seen Wake in Fright, I was like, okay,
Speaker 3: I sort of because you know, I listened to the
Speaker 3: show when Limo hadn't seen with Mail and I I
Speaker 3: was like, he's going to hate this, and of course
Speaker 3: he did, and I just remember thinking the fuck is
Speaker 3: wrong with that guy anyway. But so when you gave
Speaker 3: me the list, I wasn't trying to be a wanker,
Speaker 3: even though I am, I've seen them all. And then
Speaker 3: I went back because but why had I seen them all?
Speaker 3: People normally know why why have I seen them all, Pete?
Speaker 1: Because because you're no.
Speaker 3: Because I worked in a video store from the age
Speaker 3: of fourteen to twenty five, So because I was there
Speaker 3: three days a week, and I have told this story before,
Speaker 3: but I had two I was very lucky my two bosses,
Speaker 3: one Pete, who was an Englishman who was a music expert,
Speaker 3: and my other boss, Rob, he was a film expert.
Speaker 3: And so here I am fifteen year old kid, just
Speaker 3: want to play a bit of Super Nintendo please, and
Speaker 3: can I have a sprite? And why all the curls
Speaker 3: who come in here who are absolutely stunning, they are customed.
Speaker 3: The boyfriends that they brought with them were so much
Speaker 3: more interesting than I was. So I had a choice
Speaker 3: either be upset about it or go watch a film.
Speaker 3: So I would go watch a film. And so I
Speaker 3: would go and try and get like you know, Ernest
Speaker 3: goes to camp and Operation Jumbo drop and Dunston checks
Speaker 3: in and I would take them up. And my boss Rob,
Speaker 3: who was a writer, and he had a film in
Speaker 3: the video store that he had written. And ironically this
Speaker 3: is why also I picked Eyes White Shut, because of
Speaker 3: course I'm working at the video store in nineteen ninety
Speaker 3: nine and I have a bizarre link to this film
Speaker 3: which which hopefully will come to But Rob had a film,
Speaker 3: an erotic thriller that he'd written called Centerfold that when
Speaker 3: the studio got hold of they took out all of
Speaker 3: the thriller and turned it into a porner. So the
Speaker 3: man working at the video store with me had one
Speaker 3: film that he had written on the shelves, which was
Speaker 3: a porner, right, which he kept secret from me for
Speaker 3: years until a customer told me. Right, a customer once
Speaker 3: he was joking about it with him and I was like,
Speaker 3: what are you talking me? And he's like, all right,
Speaker 3: come on, and then he showed me the back of
Speaker 3: the box with his name, Robert Fogda. Anyway, so the
Speaker 3: reason I bring out of me. So I would bring
Speaker 3: sort of you know, shitty movies up to the counter
Speaker 3: and Rob and Pete would look at the and go
Speaker 3: you're not taking those, And I go what do you mean?
Speaker 3: They go, no, you can't watch that. You've got to
Speaker 3: watch and they would give me a list and they
Speaker 3: would send me back into the store. They were in
Speaker 3: news in Sydney, and my three bosses another guy call Dwayne,
Speaker 3: and they would send me back into the store with
Speaker 3: a list of good films to watch that I then
Speaker 3: had to go home and watch and then come back.
Speaker 3: And so I was forced into this sort of film
Speaker 3: education by these these by these these sort of film experts.
Speaker 3: So that's how I've ended up watching sort of everything.
Speaker 3: And that's why Tony liked me. Because when I first
Speaker 3: met Tony at the party for Boytown, I was twenty four,
Speaker 3: and he said, what's your favorite film? And I said,
Speaker 3: with Nail and I And he says to this day
Speaker 3: that's why. That's when he decided I was just going
Speaker 3: to put this kid and get this because he understands
Speaker 3: because no one says that. So that's sort of that's
Speaker 3: how it happened. But just quickly. The bizarre connection to
Speaker 3: this film is so in nineteen ninety nine when the
Speaker 3: film comes out, so Tom Cruise and Nicole Kidman are
Speaker 3: still married, right, Yeah, they don't break up. People think
Speaker 3: this film broke them up.
Speaker 1: Two years later, I think they broke up.
Speaker 3: She says many times that they were happily married during
Speaker 3: this Yep, so it didn't do that. But while they
Speaker 3: were while this film was coming out. I remember it
Speaker 3: because in nineteen ninety nine best film movie you ever.
Speaker 3: So anyway, those films start to come out on video
Speaker 3: at the end of ninety nine into two thousand so,
Speaker 3: and I remember very very clearly one day, so there
Speaker 3: was this weirdness because my boss sometimes would just disappear
Speaker 3: into the store with the customer Rob. He would just
Speaker 3: disappear into the store and he would do like a
Speaker 3: huge like a film festival for them and curate films
Speaker 3: for them. And here were the famous people that went
Speaker 3: to this video store. Tony Perrin, John Ibrahim, the last
Speaker 3: King of the Cross, right, right, and a Kimberly Joseph,
Speaker 3: and then a number of people who since then I'm
Speaker 3: meant to know who they are, but I didn't at
Speaker 3: the time, right, And this happened one day Rob disappeared
Speaker 3: into the store with this middle aged guy and he
Speaker 3: came back with more movies than I've ever seen anyone have,
Speaker 3: Like even the old guys that used to get ten
Speaker 3: pornos for ten dollars for a week, right, good guys,
Speaker 3: you did. And you always knew when they finished watching him,
Speaker 3: because they'd never rewind it. They just stopped where they were.
Speaker 3: So part of my day with just in the big
Speaker 3: with this big rewinding machine. You just go, all right,
Speaker 3: he must have that's a bit. And I'm like, I
Speaker 3: said to Rob Ones, why am I rewinding these? Why
Speaker 3: can't people just pick them up from where they left off?
Speaker 3: You know what I mean? Anyway, didn't They've got other
Speaker 3: things they need to do, true anyway, and what do
Speaker 3: he needs seven of them? Like, you can't just watch
Speaker 3: the end of this one anyway. So they he came
Speaker 3: back one day with this with they do the more
Speaker 3: movies I've ever seen in my life. And I was like,
Speaker 3: that happened, And then it happened again a week later,
Speaker 3: same dude during the day, sort of in the afternoon,
Speaker 3: just just you know, not knock about guy. No, no, no,
Speaker 3: I never thought anything of it, right, And then a
Speaker 3: year later I see Rob typing out a letter or
Speaker 3: sort of an email, an early email letter, and he's angry,
Speaker 3: and I go, what's so, who's that to? And he goes,
Speaker 3: that's to the studio. I said, the studio, what are
Speaker 3: you talking about? He goes, yeah, that guy. You know,
Speaker 3: they always money, they always they was like eighty bucks
Speaker 3: in late fees and two hundred dollars in late fees
Speaker 3: for this and two hundred dolls for and I go, okay,
Speaker 3: who what the guys? Who was that? And he goes,
Speaker 3: that guy his name is fucking Robert Town. He wrote Chinatown,
Speaker 3: and he's out here doing rewrites on Mission Impossible too
Speaker 3: with Tom Cruise, and he fucking knows this money right
Speaker 3: fucking now. So when I was like seventeen, there was
Speaker 3: my boss wandering and wandering the halls of the video store,
Speaker 3: helping Robert Town find movies for inspiration for Mission Impossible.
Speaker 3: To the bloke that wrote Chinatown.
Speaker 1: That is fucking incredible.
Speaker 3: Isn't that crazy?
Speaker 1: That's incredible? Yeah, Robert Town.
Speaker 3: Yeah, just wandering And I didn't know. I didn't know
Speaker 3: till and even then because then that made me watch Chinatown.
Speaker 3: That's what we think of it. I go, well, he right,
Speaker 3: he goes Chinatown, I know, I don't know, and goes
Speaker 3: God's sake here, and I said did, I said, why
Speaker 3: do you get him to sign our copy? And he's
Speaker 3: only want to be a fan because he was a writer,
Speaker 3: So he wanted to be a writer with Robert.
Speaker 1: Town, right, that great is amazing.
Speaker 3: So anyway, the reason I bring that up is because
Speaker 3: that's what Tom Cruise left this film to come and
Speaker 3: do in Sydney, and part of the reason they did
Speaker 3: it there was because he was still he was married
Speaker 3: to Nicole Kidman, and they coming back here after filming
Speaker 3: Eyes White Shut.
Speaker 1: And when he's filming Eyeswold Shut, Paul Thomas Anderson visits
Speaker 1: him on set to offer him the role of t. J.
Speaker 1: Mackett in Magnolia, which is one possibly Tom Cruise's greatest performance.
Speaker 1: And then he when he's out filming mission impossible to
Speaker 1: hear my friend Joel Perlman, who I show you organized
Speaker 1: organize the first audience, you know, test screening of Magnolia
Speaker 1: for Tom Cruise and Paul Thomas anders WHOA yeah, and
Speaker 1: it was even longer than like, And Joel tells me
Speaker 1: like it was almost like four hours and and people
Speaker 1: were leaving at some point, and Joel kind of chased
Speaker 1: him into the into the four and said, oh, you know,
Speaker 1: can I just get you a bit of feedback you're
Speaker 1: enjoying it is? Yeah, I love it, but I need
Speaker 1: to I'm going to get the kids a craation in
Speaker 1: the morning, you know, baby citizen. So yeah, there you go.
Speaker 1: So I can't wait to get stuck into iwod shut
Speaker 1: it's already no, no, no, you haven't. This is amazing.
Speaker 1: But I want to talk about your three favorite films
Speaker 1: before we get into it. Let's start with Nail and
Speaker 1: Night it is it's funny. I had not seen it either,
Speaker 1: like when I with Limo, and it is a film
Speaker 1: that I regret not seeing earlier.
Speaker 3: Yeah, it's a like there's two things that can really
Speaker 3: give there's three things that can make a film almost
Speaker 3: impossible to watch outdated special effects, too much hype and
Speaker 3: a lack of sort of too much hype special effects,
Speaker 3: and sort of the look of it. What I mean
Speaker 3: by the look of it is like you put on
Speaker 3: Lawrence of Arabia now and you just like, holy shit,
Speaker 3: those are real horses. Like it's still what the fuck
Speaker 3: is going on?
Speaker 1: Right?
Speaker 3: But that with aline stuffers from a couple of things
Speaker 3: where and it's always in lists. Always beware of films
Speaker 3: in lists, because especially comedies, because I know it always
Speaker 3: an often tops comedy list. And to comedians, you tell
Speaker 3: a comedian, you tell us that something's funny, and it's
Speaker 3: the top of the list of that funny. In our head,
Speaker 3: we've already got a hierarchy of everything. You know, Rob
Speaker 3: Situways talks about how quickly comedians can build hierarchies in
Speaker 3: their head straight away they can give you their top five.
Speaker 3: That's just how part of our minds were. You can't
Speaker 3: watch it like that. You just can't. You can't watch
Speaker 3: with now night. It's too weird, it's too slow to
Speaker 3: get started. It's so hurt by that sort of jazz intro.
Speaker 3: It's so killed by that because you can't then enjoy
Speaker 3: it for what. You can't enjoy it after that. If
Speaker 3: you're coming to it now thinking this is going to
Speaker 3: be the funniest film of all time, and that's when
Speaker 3: to the joke start. That's exactly it's going on.
Speaker 1: I came so you can't do it, and then it
Speaker 1: was actually, by the end, I enjoyed it, and then
Speaker 1: I enjoyed it more. I think Limo did as well. Actually,
Speaker 1: and this happens quite a bit on this podcast where
Speaker 1: we chat about the film with this watch yeah, And
Speaker 1: I always make the point my guess is always and
Speaker 1: sometimes me as well. Processing a film they have just seen.
Speaker 1: This is not a film that has been on the
Speaker 1: top three five. So by the end the discussion was like, yeah, no,
Speaker 1: I'm gonna watch it again. I had watched, I have
Speaker 1: watched again, like in the last six months, and I
Speaker 1: enjoyed it a lot more. So I think it's it's
Speaker 1: anywhere close to my top three, top five, top ten. No,
Speaker 1: it's not. But but like I said, I still regret
Speaker 1: not seeing it earlier, but I enjoyed it more when
Speaker 1: the pressure was off.
Speaker 3: Yeah, one hundred percent. So you know, the other way
Speaker 3: to look at with Mail and I two is it's
Speaker 3: it's about it's weirdly exactly about now. So it's about
Speaker 3: two actors. They're struggling for work, and they're dealing with
Speaker 3: it in different ways. One's just trying to destroy himself
Speaker 3: through booze et cetera, et cetera, where the other ones
Speaker 3: just sort of calmly, sort of just trying to go
Speaker 3: through the motions of see, all right, can I get
Speaker 3: some work? And he end to sort of get some
Speaker 3: work in the end. It's incredibly modern because it's now.
Speaker 3: If you watched it now with none of that on
Speaker 3: top of it. Let's say they just remade it, and
Speaker 3: they just remade it today, and they had the same
Speaker 3: script and they just moved they weren't in there. They
Speaker 3: lived in a sort of semi share house in an
Speaker 3: inner city part of the world, somewhere like that, and
Speaker 3: they were just trying now to have a creative career.
Speaker 3: I guarante team millennials will be like, Yes, that's what
Speaker 3: I wish. I wish I want to be a YouTube star,
Speaker 3: I want to be this, I want to be that,
Speaker 3: because it's about ambition and not knowing what to do
Speaker 3: to close the gap between what you think your abilities
Speaker 3: are versus what you're being sort of dealt with and
Speaker 3: whose fault that is. It's about who's fault with our lives,
Speaker 3: about whose fault your life is like this and so
Speaker 3: then that, and so the jokes in it are all
Speaker 3: about frustration. Every single joke is about frustration. Even Uncle Monty,
Speaker 3: you know, when you realize you're never going to play
Speaker 3: the Dean and then and then he goes pulling the
Speaker 3: cancers to him he's insane, sxual and and you know,
Speaker 3: and Richardie Grant says to him, he's eccentric. Right, So
Speaker 3: the joke if I reckon, if you read the script,
Speaker 3: you would have got more laughs because there's jokes. There's
Speaker 3: so many jokes in it. But they're just not fraying
Speaker 3: that when the film starts. Bruce Robinson, cause it's all
Speaker 3: based on his life, right, So you know Monty is Fellini.
Speaker 3: So yeah, so no, the other one, the one that
Speaker 3: did the semi nude Romeo and Juliet, the Italian director. No,
Speaker 3: not for any of the other one. It'll come to me.
Speaker 3: Uncle Monty is based on his experiences working with a
Speaker 3: lecherous old director. So it's even more current if you
Speaker 3: put it in that context as well, rather than just
Speaker 3: sort of a posh English lord type. And so it's
Speaker 3: him working through that experience, working because Bruce Robinson's stunning
Speaker 3: when he's young, He's like the most beautiful young man
Speaker 3: in the whole world, and so he gets cast by
Speaker 3: this guy. I think it's in Romeo and Julia. I
Speaker 3: think that's the film he's talking about. And there's a
Speaker 3: line where Uncle Monty says to McGahan's character after he
Speaker 3: started to sort of you make love to him, and
Speaker 3: he says, I'm preparing myself to forgive you. And that
Speaker 3: is a line. Yeah, but that's a line that after
Speaker 3: this director, this Italian director of the real one, had
Speaker 3: seen the script, had said to said to Bruce Robinson
Speaker 3: after he read it and realized it was about him.
Speaker 3: I'm preparing myself to forgive you. And I know that
Speaker 3: because when I did get this with tone, he said
Speaker 3: to me, who would you like to interview?
Speaker 1: Right?
Speaker 3: And I just, you know, it's a freaking street card.
Speaker 3: I was, you know, it's a hand out the coach guy,
Speaker 3: and I said, my dream would be Richidie Grant from
Speaker 3: with Now And he was the first interview we ever had.
Speaker 3: The first interview we ever had was with Richard E. Grant.
Speaker 3: And then years later, I've got a photo in my
Speaker 3: phone which I can send to you of me interviewing
Speaker 3: Paul mcghan and I'm just nerding out. I was just
Speaker 3: having the best time in life. And I said to
Speaker 3: him that line, I'm preparing myself to forgive you, and
Speaker 3: he stops and he goes, that's so funny. Pick that
Speaker 3: up because it's weird. It's a different type of joke.
Speaker 3: And he goes, oh, that's so weird. That's brutes talking
Speaker 3: about this director, which he told me on set, that
Speaker 3: is amazing. That's great.
Speaker 1: Yeah, I do like I think. I think it's a
Speaker 1: film that I and I'm not just saying it's a
Speaker 1: film that I reckon, I'll watch again.
Speaker 3: What was the print like? Was it dark?
Speaker 1: It was?
Speaker 3: Yeah, so that's a print thing. So I had the
Speaker 3: VHS where it was dark. And then as a gift
Speaker 3: to one of the things first things Tone did is
Speaker 3: he gave me and it's Tony, He's got every print ever.
Speaker 3: He gave me a new print and he goes, no, no, no,
Speaker 3: you're missing it. It's not dark. And it was the
Speaker 3: VHS that we got in Australia with such a poor
Speaker 3: copy from handmade films because they just didn't care or
Speaker 3: didn't care, they didn't really have the technology or the money.
Speaker 3: And when you see it in the proper, when it's
Speaker 3: meant to look, it's bright and the backgrounds are like
Speaker 3: Kubrick are full of detail. So when they go from
Speaker 3: the shitty London gray that's on purpose, yes, of course.
Speaker 3: But then when they go to the country sid it's
Speaker 3: rich and it looks beautiful, and so you get, oh, okay, it's.
Speaker 1: Almost what you're doing. I feel the relief when they
Speaker 1: get to the country side, which is actually that's amazing.
Speaker 1: That's great, Yes, that is great. Let's say about clerks
Speaker 1: never apologize pleasing clerks. There's that the love of that
Speaker 1: come from, you know, being behind a desk at a
Speaker 1: video store. I no, clerks isn't set in the video store.
Speaker 3: Yeah, it is. Half of it is next Randall's next door.
Speaker 1: Yeah, there's like there's seven eleven and then there Randall's.
Speaker 3: And the video Yeah. Because so I'm obviously I'm twelve,
Speaker 3: No twelve, No, I'm fourteen. I walked to the local
Speaker 3: Civic Video at the time. I worked there so long
Speaker 3: that we were every single one. I was Civic, I
Speaker 3: was Blockbuster, I was Video Easy, I was independent. I've
Speaker 3: got the name tag from every single type. I worked
Speaker 3: there for so long, love it right. So one day
Speaker 3: I'm there in I never forget. I'm now sixteen sixteen, sixteen,
Speaker 3: fifteen six sixteen, I think it was. And my boss,
Speaker 3: he would go through. Pete would go through all of
Speaker 3: the magazines, the film magazines, to see what the what
Speaker 3: interesting movies were coming out. So we would get like
Speaker 3: one hundred copies of Dante's Peak. Right, But because we
Speaker 3: developed this reputation, anyone who's listening to this in Sydney,
Speaker 3: there were two of us. There was doctor Watt, which
Speaker 3: is in Bonda Junction, and there were Civic Video, Rose Bay,
Speaker 3: New South had Road and Old Tathead wrote and they
Speaker 3: were known as places that film like not buffs, but
Speaker 3: people who wanted good movies will go because of these
Speaker 3: dudes like Tarantino's story and know how Tarantino talks about
Speaker 3: him in Manhattan Beach with Robert Roger Avery, That's like
Speaker 3: that was exactly what was going on where I was.
Speaker 3: These two guys and Duyne. The other thing, they were
Speaker 3: so knowledgeable that people would just wandering and then just
Speaker 3: like just go and hang out with them, and you know,
Speaker 3: like I said, like well known people.
Speaker 5: It was.
Speaker 3: It was a wonderful place. And that's why I was
Speaker 3: there because they needed someone to stand behind the counter.
Speaker 3: So I would just sort of man the counter while
Speaker 3: they wandered off and did sort of personal film festivals
Speaker 3: for people. And one day my boss because it was
Speaker 3: r raided and I was too young, and he handed
Speaker 3: me a preview tape. We used to get preview tapes
Speaker 3: that you would take home and watch so you could
Speaker 3: see how many copies of the film you wanted to buy.
Speaker 3: The only two films that we never got were Jurassic
Speaker 3: Park and Pulp Fiction. They were the only two preview tapes.
Speaker 3: Tarantino didn't allow preview tapes, and Spielberg like, we didn't
Speaker 3: need to give out preview tapes because they worried about piracy.
Speaker 3: So he said, Okay, you're too young for this, but
Speaker 3: you are going to love this. You are going to
Speaker 3: love this film. This is going to change what you think.
Speaker 3: So okay, I took it home. People don't know it's
Speaker 3: black and white. Shot nineteen ninety four by Kevin Smith.
Speaker 3: Shot in the credit card and Pete as you and
Speaker 3: I know it's just jokes. Is it's designed for jokes?
Speaker 3: In this film he invents podcasting because there's a scene
Speaker 3: where two of the characters debate the labor policies of
Speaker 3: the workers in the Death Star That Die. That's a podcast. Yeah,
Speaker 3: he invents podcasting in that moment. He just he's so
Speaker 3: far ahead of his time that there's no there's not
Speaker 3: other scenes like that in other films.
Speaker 1: No, No, because this is Reservoir Dogs. Probably comes close,
Speaker 1: But what is that before or after?
Speaker 3: It's just after but already written. But that's designed. But
Speaker 3: Reservoir Dogs is trying to do something entirely different. Where
Speaker 3: reason why Dogs is you know, it's a crime, which
Speaker 3: is also wonderful, but.
Speaker 1: So about the conversations that were appeared in and Clerks
Speaker 1: where an editor or another writer could go, look, we
Speaker 1: haven't got time for that conversation hundred percent, and Reserved
Speaker 1: Dogs has has a pretty hefty plot where Clerks has none.
Speaker 1: And this is really what the Clerks is about, those conversations.
Speaker 3: Like you say, yeah, day in the life, it's so
Speaker 3: it's you know, Clerks is just about a day in
Speaker 3: the life of this shop and the characters, the two shops,
Speaker 3: the video shop, and the and the quick stops of
Speaker 3: the Quick Mount whatever you want to call it qu stop.
Speaker 3: And I just remember watching it and I didn't even
Speaker 3: know if I want. I didn't Pete, I didn't know
Speaker 3: what I wanted. It was at school and I just
Speaker 3: remember seeing it and going I could tell they had nothing.
Speaker 3: It was black and white, the music was weird, it
Speaker 3: was poorly shot, and it was hilarious. I'm just moving.
Speaker 3: These guy's got nothing. They have nothing, these people, and
Speaker 3: it's the best thing I've seen this year. And it
Speaker 3: just I still now every day I think about a
Speaker 3: joke that's in Clerks. And when you hear Kevin Smith speak.
Speaker 3: Now you know, he's obviously the best. And I don't know, Pete,
Speaker 3: that purity of all we ever do if we try
Speaker 3: and write. You know, you've written films, you've written television shows.
Speaker 3: The first what's the first thing that the so called
Speaker 3: experts and suits come for? The jokes, That's the first
Speaker 3: thing they come for, because as you know, it's sheet
Speaker 3: music and they can't read cheat music a lot of them,
Speaker 3: sometmes some kind. It's the first thing they come for.
Speaker 3: So even if you get further away from clerks and
Speaker 3: people say, oh, the language is age poorly, Oh, for
Speaker 3: God's sake, what are you talking about, that's when it
Speaker 3: came out. Yeah, like the Old Testaments language isn't aging
Speaker 3: that great. I've read it, so it's like, you know
Speaker 3: what I mean, Like, what are we talking about? The
Speaker 3: jokes are hilarious, absolutely hilarious.
Speaker 1: Films should be a time capture of their time. Yes,
Speaker 1: you know, and you don't get the revised yearly. It's
Speaker 1: true and it should be, you know, if you want
Speaker 1: to pay yourself on our back, the kind of go
Speaker 1: look how far we have come? Yeah, you know that's
Speaker 1: what it should be, not get rid of pieces of art. Yes,
Speaker 1: but Clerks was, like you say, so Kevin Smith's debut
Speaker 1: done on the credit card, like you say, and it
Speaker 1: was just like almost the rebirth of indie film, or
Speaker 1: like like it was more indie than indi. It was
Speaker 1: the most It was the indies film you possibly come
Speaker 1: up with.
Speaker 3: It made like Noah Bomback, who now secretly writes Barbie
Speaker 3: in the Shadows he is he So he was making
Speaker 3: these sort of talkie, preppy talkie films at the time.
Speaker 3: Right Wilt Stielman was making Barcelona and Last Days of
Speaker 3: which had at their core an era and an idea
Speaker 3: of a place. It was just here are people. They're here,
Speaker 3: they're preppies. They're trying to get it too disco clubs.
Speaker 3: It's not going that great. Let's see what they've got
Speaker 3: to say. Kicking and screaming. Same thing. Swingers as well,
Speaker 3: perfect swingers, perfect example. Here's a world, here's people that
Speaker 3: you don't really know, this is how they talk. Here's
Speaker 3: eighty minutes of it. What do you reckon? And there
Speaker 3: are so many absolute belters which are part of that.
Speaker 3: The Size of Watermelons, which is Paul Rudd's first film,
Speaker 3: is said in Venice about two people who can't really
Speaker 3: get a job in Venice. And it's okay, but there's
Speaker 3: bits in it like one of them sort of like
Speaker 3: a Dandy Warhol's sort of lead singer, another guy sort
Speaker 3: of at art school, and it's okay, but there's two
Speaker 3: or three scenes in it which are absolutely fantastic. So
Speaker 3: there's this whole era of sort of ninety five to
Speaker 3: two thousand and one with a door somehow Pete was
Speaker 3: cracked open slightly, and a lot of these small films.
Speaker 3: That's Ow Bottle Rocket, the first film of Wes Andersen.
Speaker 3: They just snuck in. They all just snuck in and
Speaker 3: got these turkey comedies and I just watched them all
Speaker 3: the whole time, and it ended up just sort of
Speaker 3: that genre then went into television. It sort of went
Speaker 3: into TV or whatever it became. But there's this little
Speaker 3: era there where they just jokes were allowed. Just people
Speaker 3: were allowed to talk to each other and they were
Speaker 3: allowed to be a ton of jokes and then just
Speaker 3: move on with your day. Yeah, and that was it.
Speaker 1: I thought he was doing a really high degree now
Speaker 1: I think, and maybe with a fraction a fraction more
Speaker 1: plot is Sean Baker.
Speaker 3: Okay, see, I'm not a Sean Baker guy. What should
Speaker 3: I watch? Well, I said, Red Rocket? I think is
Speaker 3: oh Red Rocket. I've never seen Red Rocket, and I've threatet.
Speaker 3: I've threatened to a number of times.
Speaker 1: I thought it was one of the best films of
Speaker 1: that year years ago. Florida Project is great either And
Speaker 1: at the time of recording this, Angora has not been released.
Speaker 1: You know. That's that's at Oscar bars about it.
Speaker 3: Yes, I'm just going to go back today with Franco
Speaker 3: ZEPHYRRELLI not Fellen, because that was going to bother me
Speaker 3: the guy, the Italian director, the Italian director. Yes, okay,
Speaker 3: so that was who it was with Bruce Robinson, as
Speaker 3: zephyr raally said to him, I'm preparing myself to forgive you.
Speaker 3: So there we go. Yes, so that's clerks.
Speaker 1: Let's talk about Life of Brian. All three of these
Speaker 1: films have come up in best Ye've got three best
Speaker 1: because they are you think comedies particularly, I think with
Speaker 1: NL Night and Life of Brian often on top of
Speaker 1: people's list. But when did you first see Life of Brian?
Speaker 3: The same time? So, same time, So my boss just said,
Speaker 3: my boss just handed me that because I'd watched very kindly,
Speaker 3: I'd got into Monty Python as a teenager and because
Speaker 3: it was cool not And then my boss, without me knowing,
Speaker 3: found a catalog that was releasing all of Flying Circus,
Speaker 3: their television show, not just the compilations, and so he
Speaker 3: secretly because he would just had this weird budget on
Speaker 3: the side. It was that he would just get things
Speaker 3: that he liked, just and then weird. Of course people
Speaker 3: then flocked to them. It was just it was really
Speaker 3: just Smay. It was just Smay. I just knew what
Speaker 3: people liked. And he bought the whole entire thing of
Speaker 3: Flying Circus, every single frame, and just put it on
Speaker 3: the shelf and then said, right, work your way through this.
Speaker 3: So I work my way through this, and of course
Speaker 3: you see sketch comedy, you go, all right, some suck,
Speaker 3: some sketches aren't great, but anything in compilation is fantastic.
Speaker 3: So by the time I got through that, and then
Speaker 3: he said, right, okay, time for life for Brian. And
Speaker 3: then he gave me life for Brian. And then I
Speaker 3: just couldn't believe. I couldn't believe that it was happening.
Speaker 3: It was just so funny, so quick, so simple. And
Speaker 3: I was talking to Gleisner about it the other day,
Speaker 3: and Gleisner was saying that he noticed something new the
Speaker 3: other day where he goes, have you ever noticed in
Speaker 3: and this is out of nowhere, by the way, We're
Speaker 3: just sitting there and he just turns to me. He
Speaker 3: just finished writing a book and he just you know,
Speaker 3: in an hour. And he turns to me and he goes,
Speaker 3: if you ever noticed in Life of Brian that when
Speaker 3: they come in from another scene, the pythons have realized, oh,
Speaker 3: we're going to just improvise something here, and they're always
Speaker 3: improvising a couple of lines before the scene starts. So
Speaker 3: there's a bit where when they drag in Brian before
Speaker 3: he gets sent to be executed. Michael Palin is one
Speaker 3: of the Romans, just just as it starts, is standing
Speaker 3: on the side of the sort of Roman villa talking
Speaker 3: to one of the centurions, and he goes and we're
Speaker 3: sort of going for like an etruscan sort of feel
Speaker 3: with this, And I was like, oh, yeah, right, I
Speaker 3: still haven't noticed that. But it's that type of movie
Speaker 3: where you just you keep noticing things over and over
Speaker 3: and over again. It's so unbelievably spot on.
Speaker 1: And also it probably would have been an early lesson
Speaker 1: for you and me. It's certainly one of my favorite
Speaker 1: films of the comedic set piece, you know, and the
Speaker 1: set pieces in films where they are action set pieces
Speaker 1: or that was the first time I've gone, oh, there's
Speaker 1: a story being thread through here that have been held
Speaker 1: together by these funny set piece.
Speaker 3: Yes, wouldn't it be funny if so? Essentially in that film,
Speaker 3: you know, Graha Chapman's character essentially just walked into sketches
Speaker 3: and then walked out of them and then walked into
Speaker 3: another sketch. The whole film is basically, he walks in
Speaker 3: a sketch, happens, and he walks out, and that's the
Speaker 3: whole movie. But they're all so good and the sketches
Speaker 3: are so good. And the other thing is because they're
Speaker 3: playing so many of the different roles. The pythons, they're
Speaker 3: doing that thing where you know it's them and they
Speaker 3: know you know it's them, but that gives them license
Speaker 3: to go bigger and have more fun with it, so
Speaker 3: even with each other. I want to interview John Cleek's
Speaker 3: and I said, because there was I remember watching it
Speaker 3: really clearly watching Flying Circus, and there's one sketch which
Speaker 3: is completely different to the others. So normally with the
Speaker 3: Monty Python thing, it is establishing shot. They're doing something
Speaker 3: dressed as Nanas or whatever, a couple of sort of murmuring,
Speaker 3: so people get the idea, oh, okay, they're playing Nana's
Speaker 3: so they get used to who they are and then
Speaker 3: the jokes start. But there's one scene where there was
Speaker 3: one in Flying Circus where out of nowhere Paler John
Speaker 3: Cleese is just standing on the street and it's handheld,
Speaker 3: which they never did. It's hand held and with a
Speaker 3: film camera and or not never but rarely and and
Speaker 3: and Cleese is just standing there as a bobby and
Speaker 3: he's sort of, you know, as an English policeman, bouncing
Speaker 3: on his heels. And Michael Paler runs up to me
Speaker 3: and excuse me, excuse me. I was just sitting on
Speaker 3: the park bench and I turned around. I turned around
Speaker 3: and make my wallet was gone. Thirty pounds was missing, right,
Speaker 3: well on a park bench thirty pounds, yeah right, And
Speaker 3: then there's a long pause and at the end of it,
Speaker 3: Palan's just sort of standing there. He's standing there, and
Speaker 3: then Palee goes, do you want to come back to
Speaker 3: my place? And Clice goes all right, and they walk
Speaker 3: off and the timing is so different, and I go
Speaker 3: to cleee, so what was what's going on?
Speaker 1: Like?
Speaker 3: Was just I might be insane? And he goes and
Speaker 3: he goes, he goes, that's so interesting. He goes, that's
Speaker 3: so interesting. He goes, that's the only improvised sketch we
Speaker 3: ever did. We were doing something else. I was early,
Speaker 3: we were waiting for something, and so pale and I
Speaker 3: came up with it on the spot. So when you're
Speaker 3: talking about the comedy set piece, that speaks to how
Speaker 3: much they thought they put into that, how much thought
Speaker 3: they put into the comedy set piece, the sort of
Speaker 3: exactitude of the comedy set piece. That's why it looked
Speaker 3: different when they were riffing. And that's the problem I
Speaker 3: think in a lot of films where well, you know,
Speaker 3: that's how comedy doesn't work anymore. What they're saying is
Speaker 3: it got too bloded with too much improv where people
Speaker 3: thought they were funnier than they were and they were
Speaker 3: too big. A does for people to say that wasn't
Speaker 3: as good as you thought it.
Speaker 1: Was I really shiver when I hear actors talk about
Speaker 1: how much to have improvised and listen. I do love
Speaker 1: Judd Apatow. He's one of my heroes. I do love him,
Speaker 1: and I can see how him and Adam McKay have
Speaker 1: kind of got it down where they're throwing lines in,
Speaker 1: and I think that's a different thing, to be honest,
Speaker 1: that's that's the writing process, yes, but I don't like it.
Speaker 1: I heard Vince Vaughan talk about and people will rave
Speaker 1: about how good an improviser he is, and I've got
Speaker 1: no doubt that he is a good improviser, but sometimes
Speaker 1: it doesn't work for the movie, and it's like it
Speaker 1: could it could be amusing. But and there's a time
Speaker 1: when he's talking about I think I think it was
Speaker 1: wedding crashes, and I just really I felt for the
Speaker 1: writer because he made it sound like they basically they
Speaker 1: ignored the scripts and it was all improvised. And I'm
Speaker 1: sure that is not true.
Speaker 3: That always you'll hear that a lot with actors, you know,
Speaker 3: and some actors a quote famous for it, where they go,
Speaker 3: it's not on the page, and all they're ever saying
Speaker 3: is all actors are ever really saying is I think
Speaker 3: I know better than the writer and I'm more important
Speaker 3: than them. They can shape it any way they want,
Speaker 3: but that is what they're saying. And when if they're
Speaker 3: ever if they're ever proved somewhat not correct, but if
Speaker 3: the lines ever go in and go well, well then
Speaker 3: you never work with that actor. You find out that interview,
Speaker 3: you find that interview, you listen to that, and you
Speaker 3: strike them off your list because they are coming in
Speaker 3: really hot with that in their mind that they are
Speaker 3: going to quote, improve it or rewrite it with you.
Speaker 1: Yeah, no, Dice, Yeah, I don't imagine there as much
Speaker 1: improvising going on in the film that we are about
Speaker 1: to talk about. Let's get into this.
Speaker 7: Leaving it a bad bad thing, leading it a bad
Speaker 7: bad THEE beat it a bad bad Thie beat it
Speaker 7: a bad bad thing.
Speaker 1: They did they nineteen ninety nine Stanley Kruebrigg, as we've
Speaker 1: mentioned his final film, it's hard to like put it
Speaker 1: into Like Tom the Cruise and Nicole Kibmen were as
Speaker 1: big as almost anyone has ever been. As as a
Speaker 1: cat goes, you know, it's certainly in that conversation. So
Speaker 1: Tom and Nicole ed Cavilly. Did you enjoy Eyes Wide Shut?
Speaker 3: Of course, because you've got so. First thing is to say,
Speaker 3: is it ninety ninety nine widely regarded as one of
Speaker 3: the best movie years of all time? Right, so it
Speaker 3: had some stiff competition when it came out, and it
Speaker 3: got lost in the shuffle somewhat, because however it was.
Speaker 3: It is Stanley Kubrick's most successful film. So it costs you.
Speaker 3: It took one hundred and twenty five right, you know,
Speaker 3: that's just box office. It's also the longest film ever
Speaker 3: made at four hundred days in the Guineas Book of Records,
Speaker 3: four hundred days of shooting. So, however, but the whole
Speaker 3: thing hinges because I went back and I watched the trailers,
Speaker 3: I looked at the posters, I looked at the articles
Speaker 3: around the time, and I was like, yes, that's right.
Speaker 3: And I remember this because sometimes because we're Australian, Pete,
Speaker 3: was it just because we had nical in it that
Speaker 3: we were thought and they, you know, because they could
Speaker 3: be seen around town, will be more obsessed with it.
Speaker 3: On Kubrick wanted to cast a real couple in the film.
Speaker 3: He absolutely wanted to do that, and I don't think
Speaker 3: you can underestimate how much the success of this film
Speaker 3: was based on the idea that it was that they
Speaker 3: were really a couple and could you tell if they
Speaker 3: really were going to break up? That's the narrative around it.
Speaker 3: The Tom cruise might be a bit left that's starting here.
Speaker 3: That actually, oh, hang on, what's going on with Tom?
Speaker 3: That's starting this time? And the fact that our nick
Speaker 3: was there and she was nowhere near the star he
Speaker 3: was at this point, but everyone comes out of it
Speaker 3: talking about her performance, not his, and it's so wildly successful,
Speaker 3: and do they actually hate each other? What's going on
Speaker 3: on set? Is Kubrick filming real sex? That was the
Speaker 3: number one narrative about this film, is Kubrick filming real sex?
Speaker 1: Well, that's also interesting that he didn't go the obvious
Speaker 1: angle of having there's the mirror scene with Tom Nicole,
Speaker 1: but he didn't take advantage necessarily. And we'll talk about
Speaker 1: the lengthy goes to to shoot some of the sex
Speaker 1: scenes soon. But it's almost surprising in a way that
Speaker 1: the easiest thing for him to do to promote the
Speaker 1: movie and to get some buzz around it. I mean
Speaker 1: there was already buzz around it, but is have a
Speaker 1: sex scene with like a you know, and this is
Speaker 1: the most graphic sex scene you'll ever see, and people,
Speaker 1: you know, like people would have flocked to that and
Speaker 1: it would have made more money. But he resists that.
Speaker 3: Well, he resist it because I think he knows that
Speaker 3: people are doing it for him, because if you watch
Speaker 3: the trailers, it's just Cruise, no kidman, Cruz Kubrick. And
Speaker 3: then baby did a bad, bad thing. You see the
Speaker 3: cole drop the dress and then you see you do
Speaker 3: see a bit of the mirror scene where they start
Speaker 3: to kiss and then the masks bang, we're home three
Speaker 3: images boom boom boom. So it's good. So cinephiles are going,
Speaker 3: pervs are going. And then they managed to do that
Speaker 3: thing what was that horrific film? And then they had
Speaker 3: to then they pretended Chris Pines spat on Harry's styles
Speaker 3: to try and drum up interest and it worked. Don't
Speaker 3: Worry Darling. So if anyone's wondering what this is like,
Speaker 3: this was this is where the Don't Worry Darling people
Speaker 3: got the idea for their promotion. What really happened on set?
Speaker 3: Do these people actually hate each other? And the director
Speaker 3: is so substitute director for two stars are actually sleeping together?
Speaker 3: And what can you tell from watching the film? What
Speaker 3: can you deduce from watching the film. That's how this
Speaker 3: was sold. Don't worry, darling. Is the modern version of
Speaker 3: what this put forward.
Speaker 1: Yeah, yeah, it's it's I saw it in the cinema
Speaker 1: when it came out. Who with I actually, yeah, ninety nine.
Speaker 1: It would have it could have been impossibly myself in
Speaker 1: a transcope. I don't remember making it like it wasn't
Speaker 1: a date movie. I don't think.
Speaker 3: Well, I think it was sold that. It was also
Speaker 3: sold as come and get freaky, come come here and
Speaker 3: test your relate. It was like a relationship test for
Speaker 3: people like see if your let's see how your marriage
Speaker 3: slash relationship stacks up against this.
Speaker 1: Yeah, well I would have I would have been with
Speaker 1: mine male wife from that time, so meeting her at
Speaker 1: least maybe it was just pre meeting her. But yeah,
Speaker 1: it's and I enjoy like like enjoyed it, but I
Speaker 1: never watched it again. No, that's the thing, and it
Speaker 1: was I really enjoyed watching this again in this moment
Speaker 1: of time. And I'm sure we'll get into you know,
Speaker 1: watching this now with these orgy scenes with you leaked
Speaker 1: in the shadow now of Epstein and.
Speaker 3: P did so one. Kubrick's telling us that there is yes,
Speaker 3: zero doubt because in my research for this today there's
Speaker 3: not even any shadow of any doubt that he is saying, boy,
Speaker 3: this is it. Much like with Clockwork Orange. He's saying,
Speaker 3: there was this thing called mk ultra, they had mind control,
Speaker 3: this is what they were doing with it, CIA, et cetera,
Speaker 3: et cetera. And then years later they go, wow, he
Speaker 3: was right. They actually did have all of those things. Now,
Speaker 3: I don't know how tinfoy hat you want to get,
Speaker 3: but I have to mention this.
Speaker 1: This is the editor editing, and.
Speaker 3: We're going to get to that's that's interesting.
Speaker 5: Okay.
Speaker 3: So the Shining Lookout Mountain, so that the idea of
Speaker 3: the hotel on the top of the mountain based on
Speaker 3: a few different places. However, during in the sixties and seventies,
Speaker 3: in Laurel Canyon, there's a naval base, a secretive naval
Speaker 3: base on the top of Laurel Canyon. It's still there today.
Speaker 3: I'll tell you what happened to it in a moment
Speaker 3: right in this place. What do you think they're doing
Speaker 3: up there, Pete, is it radar?
Speaker 8: No?
Speaker 3: Are they developing weapons?
Speaker 8: No?
Speaker 3: It has the largest film studio in Los Angeles. Why
Speaker 3: they say it's for developing pictures that come back from space.
Speaker 3: But it's got a sound stage, it's got more cameras
Speaker 3: than anyone's ever had in their whole life. And that people,
Speaker 3: And so Kubrick has high level clearance at this place.
Speaker 3: He has a he's a think Reagan has it, Kubrick
Speaker 3: has it, carry Grant has it. That these are some
Speaker 3: of the people they said. They said that more films
Speaker 3: were made in that facility than the studios combined one year,
Speaker 3: and yet no one's ever seen a frame of them.
Speaker 3: So then when Kubrick goes to make two thousand one
Speaker 3: Doctor whatever, right, he thanks government facilities and government agencies
Speaker 3: in the in the credits of the film. They see
Speaker 3: that and go get the shit out of here, and
Speaker 3: they make him take it out. You can't make Kubrick
Speaker 3: take anything out of a film. And they go, mate,
Speaker 3: get our names out of those credits, and they do it,
Speaker 3: and years later the credits resurface. So Kubrick, the reason
Speaker 3: I bring that up is so anything you think people
Speaker 3: have just been crazy with Kubrick's films. No, they're not.
Speaker 3: He is one, and he thinks it's funny as well. Also,
Speaker 3: maybe he's funny. He thinks it's funny. Kuby thinks it's
Speaker 3: funny for people to do what we're doing now and
Speaker 3: sift through he finds that funny. Yeah, he's got that
Speaker 3: in his in his bag. But he's also got Yeah,
Speaker 3: what's going on with this guy? He's also got a
Speaker 3: huge bag of that.
Speaker 1: Yeah. Well he's working at different levels of like big ideas,
Speaker 1: big kind of you know, I'm telling you something here
Speaker 1: from a thematic point of view, and then there's Easter
Speaker 1: eggs like he was almost like the first of the
Speaker 1: you know, doing Easter. I mean everything is somebody say
Speaker 1: anything you can read, any sign you can read in
Speaker 1: the Kubrick film means something.
Speaker 3: So two six seven, So what's the room two three
Speaker 3: seven in the Shine two three seven. That's the number,
Speaker 3: the street number. Tom Cruise walks past everyone's names. His
Speaker 3: Cruise names are in there. At the end of this film,
Speaker 3: Tom Cruise has a copies of Kubrick's films in his flat.
Speaker 3: He put that there on purpose.
Speaker 1: Yeah, Now he's gotta be a rain Man in there
Speaker 1: as well.
Speaker 3: A Super Nintendo, so I had to get that. So
Speaker 3: he also, no, I'll come back to that because that
Speaker 3: that that that reminds me of that.
Speaker 1: Did you feel always asked did you feel comfortable as
Speaker 1: far as that you were going to like, you're watching
Speaker 1: a good film or a great film.
Speaker 3: So you've got so you you're not allowed to say
Speaker 3: if you watch a lot of movies. There's a certain
Speaker 3: threshold of movies that once you've seen a certain amount
Speaker 3: of films, you're not allowed to say that you don't
Speaker 3: really love Kubrick is like the Godfather because you then
Speaker 3: you just then you describe yourself as unserious to the
Speaker 3: other people who have seen that amount amount of films. Right,
Speaker 3: That's just what happens. You switch off, Like when Limo
Speaker 3: said he didn't get with No one night because he
Speaker 3: grew up on a farm in Adelaide. I'm out, he's
Speaker 3: going on so so then, but I didn't. I liked it.
Speaker 3: I liked it because I thought it was funny. I
Speaker 3: thought it was funny, and I thought he was trying
Speaker 3: not trying. He succeeds in doing whatever he wants, So
Speaker 3: I think you have to know stuff about this film.
Speaker 3: I think you have to know that Nicole and Tom
Speaker 3: were a couple. I think you have to know that
Speaker 3: they were the biggest couple in the world, and that
Speaker 3: he knew that in the seventies when he first had
Speaker 3: the idea. Do you know who he met with?
Speaker 8: No?
Speaker 1: Oh, no, Steve Martin?
Speaker 3: Yeah, yes, what the fuck?
Speaker 1: Yeah? Is it after the Jerk?
Speaker 3: Yes? So before the jerk he'd seen him do stand
Speaker 3: up in London. This is just before the jerk.
Speaker 1: So he imagined this, and so he had this for decades.
Speaker 3: So eighties, eighties is Steve Martin? So eighties because I'll
Speaker 3: get to it wasn't the seventies year.
Speaker 1: Yeah, and he got to be visious having making this
Speaker 1: as a comedy. I think, yeah, later even either meets
Speaker 1: or he has the idea that Adam Sandler could play it.
Speaker 3: Yes, he goes Woody Allen in the seventies, Steve Martin
Speaker 3: and then and Steve Steve Martin and then Adam Sandler.
Speaker 3: See that tells you thinking comedy. That tells you he
Speaker 3: thinks jokes are a crucial part of this.
Speaker 1: And he watches comedies and he loves comedies and and
Speaker 1: you know, like you said, he is putting jokes that
Speaker 1: in these films that you know, not for everyone, and
Speaker 1: some people won't recognize them as jokes. But he's chuckling away,
Speaker 1: he's having a good time. He's having a good time.
Speaker 3: Yeah, he's having a good time. So so when at
Speaker 3: the end, at the end, you want to do best
Speaker 3: Kubrick stories from this, because there's three or four which
Speaker 3: are just like you are going to absolutely be thrilled by.
Speaker 3: We may cover them, so I might. Let's save it
Speaker 3: to see if we get there.
Speaker 1: Well, let's so okay this and this is jump, We're
Speaker 1: going to jump all around. But that's what this does.
Speaker 1: Do you subscribe to the theory that this this cult,
Speaker 1: it's it's pedophilic cult.
Speaker 3: No, I subscribe to the idea that it is it's
Speaker 3: a group of people whose feet don't touch the ground,
Speaker 3: who are so rich and so out of there, and
Speaker 3: it's become boring that they have to keep trying to
Speaker 3: think of new orgies situations to keep themselves excited. And
Speaker 3: I had a weird thing happen whereby I was at
Speaker 3: a party, not like one of these things supiming was
Speaker 3: an annoying because I was in a maskings. Long story short.
Speaker 3: I was talking to someone who said, oh, you got
Speaker 3: to hear other person's story about what happened to them.
Speaker 3: I said, you'll love this. Then they said what I
Speaker 3: did for a living. And this person, who I didn't
Speaker 3: know was with someone I knew, said no, I'm not
Speaker 3: telling him. He'll tell them. I said, okay, I won't,
Speaker 3: which I am now because a couple of years ago,
Speaker 3: this person lives in Europe. This person is from money.
Speaker 3: This person is obscenely rich. They're so rich they don't
Speaker 3: wear anything that signifies wealth. So all my friends from
Speaker 3: high school would wear gold chains because they had no
Speaker 3: money signifier. You're in a Gemini, mate, You're not fooling anyone.
Speaker 3: That's your mum's sigma. I don't care that it's got rims.
Speaker 3: It's a sigma. Yeah. We've paid four hundred dollars for
Speaker 3: the midst of busy cult. You and I both know
Speaker 3: that that gold chain, it's not falling anyone werring fubu
Speaker 3: for God's sake, fubo. All right, you're not fooling anyone.
Speaker 3: So this dude was so rich that he was wearing
Speaker 3: just like a linen semi shirt pair of pants, and
Speaker 3: he would look bored. He he'd mastered the art of
Speaker 3: just looking bored at a place which was the best
Speaker 3: house I've ever been in my life, and he was
Speaker 3: managed to look bored. That was the first thing I
Speaker 3: noticed about it. And I thought, well, he looks bored.
Speaker 3: And I realized, Okay, he's saying this is shit compared
Speaker 3: to what I'm used to. Right, So this guy goes,
Speaker 3: just tell him he's Oh, for God's sake, alright, I'd
Speaker 3: fight because he knew I'd be thrilled by it. This
Speaker 3: dude says, I'm at an event in America. I go where,
Speaker 3: and he goes, you won't know it, Like we're in America, Pete,
Speaker 3: don't I know? Like you know what I mean, what
Speaker 3: a weird thing? I didn't say Transylvania. He said, you
Speaker 3: won't know it? And I was like, all right, was
Speaker 3: a chap equittic like word? Are we talking to it right?
Speaker 3: Because you won't know? I was fine, whatever, and he goes,
Speaker 3: I just got this dude says I've just been married
Speaker 3: and I was there with my new wife and she
Speaker 3: comes over to me and says, you'll never guess what
Speaker 3: just happened. And he goes what And she goes, I
Speaker 3: was talking to this man a little bit older who
Speaker 3: is from a family. I'm going to write it down.
Speaker 3: You can't say who it is, but I'm going to
Speaker 3: write it down so that you can react. Okay, And
Speaker 3: she says, I was just talking to X from X family,
Speaker 3: a family so historically well known that everyone would know
Speaker 3: it if they found out who it is.
Speaker 1: Before you show me, can I can? I throw out
Speaker 1: the name that comes to mind, Kennedy.
Speaker 3: They wish all right, okay, So underneath it I was
Speaker 3: white shirt. That is the name of the family.
Speaker 1: Okay, you got me? Yes, yes, yeah, yeah, yeah, new ship.
Speaker 3: Right, and and to this and I go wow, and
Speaker 3: I made a joke about what people know about them, right,
Speaker 3: And this person goes no, no, no, no. That person still
Speaker 3: carrying that surname invited me to a party and I
Speaker 3: said I was married, and he said we all are.
Speaker 3: I said I'm married, he said we all are.
Speaker 1: So this so I reckon when I watched it in
Speaker 1: ninety nine, I thought, this is the same fantasy sh
Speaker 1: sh and it's it's a bit much.
Speaker 3: And it's a bit much. That's a great way of
Speaker 3: putting it. Yes, A bit much ritualistic of all geez
Speaker 3: dudes in cloaks.
Speaker 1: But when you thought when you were dealing with people
Speaker 1: who live in a different stratosphere but have to walk
Speaker 1: amongst us, Yes, they they I imagine they will need
Speaker 1: someplace to go to not feel like they are. They
Speaker 1: feel like they are on another planet.
Speaker 3: One hundred percent. And that's why it's so crucial. It's
Speaker 3: said in New York, where you can literally at some
Speaker 3: point you've got to hit the street and someone might
Speaker 3: be shitting in it. That's why it's so crucial that
Speaker 3: it's set in New York. And I guess we'll get
Speaker 3: to the way he filmed it, et cetera, says, because
Speaker 3: it's all in London, we'll get to that, right, But
Speaker 3: that is why it's so crucial that it's in New York.
Speaker 3: That's why when it's originally the novella is set in Vienna,
Speaker 3: I believe, and the guy that wrote it was friends
Speaker 3: with Freud, right, yeah, but they Freud never wanted to
Speaker 3: meet him because everyone kept saying it parties, you should
Speaker 3: meet von what's his name, because you guys have got
Speaker 3: much a lot of similar ideas and you look the
Speaker 3: same and Freud said to I don't want to meet
Speaker 3: this guy because I don't want to be seen as
Speaker 3: a fraud in my own life. And then they became
Speaker 3: friends later in life. So that tells you what we're
Speaker 3: dealing with here.
Speaker 1: Yeah.
Speaker 3: Yeah, if you're going up to Sigmund Freud and going
Speaker 3: there is a dude who is just like you over there,
Speaker 3: you're already you're freaking the deed, right, So anyway to
Speaker 3: get back to say that, So that's exactly the case,
Speaker 3: and he's that's what he's saying back then, Man, he
Speaker 3: was right.
Speaker 1: See I think I think, I think there is a
Speaker 1: pedophilic thing going on now, and it might be that
Speaker 1: Kubrick is nudging us or winking at us. I think
Speaker 1: clearly the women who are there are not underage like that.
Speaker 3: They are the models. The models are not the thirties
Speaker 3: almost they're even not that, they're even not sort of
Speaker 3: early twenties. They're sort of older than that.
Speaker 1: Yeah, So I don't think he is going for me that,
Speaker 1: But I think because I think part of the reason
Speaker 1: he has done that because I don't think he would
Speaker 1: be able to make this feel You cannot have no
Speaker 1: naked fourteen year olds.
Speaker 3: You know, remember this dude made Lolita. So he's he's
Speaker 3: ridden this train and gone, okay, what you know that?
Speaker 3: So he's done that, he's done Lolita, and now he's
Speaker 3: come to this one hundred percent. Yeah, yes, are so.
Speaker 1: Then you have this you know, the Lombard not definitely
Speaker 1: not Lombards, but the costume place, and you have the
Speaker 1: this weird dude and he's.
Speaker 3: Doing a comedy routine.
Speaker 1: Yeah.
Speaker 3: Yeah, he's just a comedy character in the middle.
Speaker 1: And he's very welcome as far as like he is,
Speaker 1: like he bursts into it and grabs your attention. Yeah,
Speaker 1: because you know, there's a lot of characters in this
Speaker 1: film really like you know, like Tom Goes and some
Speaker 1: of them are you know, a bit more subdued. And
Speaker 1: so he's a little fire cracker. And then there's this
Speaker 1: weird thing going on with It's Lily. Yeah so, and
Speaker 1: there's two Japanese men who are clearly having sex with her.
Speaker 3: One of those dudes ended up in as a pilot
Speaker 3: in the Star Wars prequels.
Speaker 1: Oh really, check like a ruined Star Wars for me.
Speaker 1: And it's it's unclear.
Speaker 3: It's very clear he's pimping her out.
Speaker 1: He's piping around. Do you think he's he has caught
Speaker 1: caught them in the air.
Speaker 3: It's part of paying. Part of what they're paid for
Speaker 3: is to be to be caught. Ndred percent is to
Speaker 3: be caught.
Speaker 1: Because you see later on when he's when he Bill
Speaker 1: returns to the costume that they are leaving, and that's it.
Speaker 1: And then he's more open with the offer of like
Speaker 1: when you use anything, Yes, the daughter and.
Speaker 3: You actually whispers to him when she when he's getting
Speaker 3: his because he goes there to get the costume he
Speaker 3: needs for the party, she whispers something to him. What
Speaker 3: she says to him, She says, get a cloak with
Speaker 3: an lined with ermine, so she knows where he's going.
Speaker 3: And of course ermine is classic for aristocracy, and that
Speaker 3: was one of da Vinci's paintings, you know, the lady
Speaker 3: with the ermine cloak. So he's he's every moment, every
Speaker 3: chance he gets. Here's one, yeah, cop this well, this one.
Speaker 1: There's the pram at the end, this old fashioned pram,
Speaker 1: which is a nod to Rosemary's baby.
Speaker 3: No, it's the actual one.
Speaker 1: It is the actual one.
Speaker 3: It's the exact Rosemary. It's it's just like so how
Speaker 3: does he get this point? So he you know that
Speaker 3: he invented street view. So for this film, Stanley Kubrick
Speaker 3: invents street view because he gets his nephew to go
Speaker 3: on the Commercial Road in London and take a photograph.
Speaker 3: Because Kubrick said, no, no, no, no no, because this guy
Speaker 3: was like a normal human being, goes no, no, no, no no.
Speaker 3: You can't take it facing up or facing down because
Speaker 3: it will distort the buildings. It has to be taken
Speaker 3: from street level view street He calls it street level.
Speaker 3: So the dude goes with a camera with a camera,
Speaker 3: a film camera, and sets up a ladder, takes a photo,
Speaker 3: gets down from his ladder, gets a ladder, takes the
Speaker 3: next one right, gets them developed, takes them back to
Speaker 3: Koubry and has to sticky tape them together so that
Speaker 3: Kubrick can look at the commercial Road in a series
Speaker 3: of photographs in a row. So he invents street view
Speaker 3: for this film.
Speaker 1: Sound I could have just left the house and well.
Speaker 3: That's the other thing. Maybe you know, you know it's
Speaker 3: there right now if you want to go stand I
Speaker 3: do it. But mate, it is, I mean it is here.
Speaker 3: That dude had to spend a year taking photographs of
Speaker 3: front doors just so that they could find the right
Speaker 3: one for Tom Cruise.
Speaker 1: Yeah, so what the let's talk about We'll come back
Speaker 1: to the Colton and but let's talk about Kubrick and
Speaker 1: his methis he basically broke Shelley de Val in The Shine.
Speaker 3: Did it to the to the Twins in Shining? Never
Speaker 3: act again? Danny never acts again in The Shining. A
Speaker 3: couple of the guys from Full Metal Jacket never act again.
Speaker 3: The other soldiers. This is in his wheelhouse.
Speaker 1: Yeah, and he's doing things like making Tom Cruise walk
Speaker 1: through a door the ninety five times.
Speaker 3: Ninety five times. However, yes, what does he know about
Speaker 3: Tom Cruise to know that he can't crack him? Because
Speaker 3: when the Cock evens interviewed about this film later, she says,
Speaker 3: I would have done another year. Yeah, it was four
Speaker 3: hundred days. I would have easily done another year, no drama.
Speaker 1: So they signed open ended contract basically, so they are
Speaker 1: available to Stanley Kubrick for this movie for as long
Speaker 1: as Stanley Kubrick Craze signs, which ends up mission impossible
Speaker 1: getting pushed back in the sequel. So and this, you know,
Speaker 1: he is obviously obviously a genius who has made some
Speaker 1: of the most you know, the greatest films ever that
Speaker 1: will live forever, immortal films. There's a get to the
Speaker 1: point though, where you do go do you need thank you?
Speaker 1: The shoot the sex scene, a rugged sex scene with
Speaker 1: Nicole Kimmen and then who I thought was Aaron Akhart
Speaker 1: for a while I was googling and for six.
Speaker 3: Days, well yeah, I know, and it's only one it's
Speaker 3: only two angles right in the actual filming of it
Speaker 3: in the black and white, and so Alan Cumming, who
Speaker 3: plays their hotel clothes, that scene took a week. There's
Speaker 3: a scene between Sidney Pollack and Tom Cruise at the
Speaker 3: end of the film, which is two people talking in
Speaker 3: a pool room. That took six weeks.
Speaker 1: Right now, Harvey Kaytel left the production because he was
Speaker 1: going to play Sidney Pollack's character one hundred percent Victor,
Speaker 1: and this went no, I'm not, I'm not. I'm not
Speaker 1: walking through that door for you more than four times.
Speaker 3: And then you know what they started telling people. They
Speaker 3: started to try and make Harvey Cartell look bad.
Speaker 1: You know what.
Speaker 3: The room went out. Ah, so kit Tell just leaves
Speaker 3: goes I'm not doing eighty seven takes of walking through
Speaker 3: a door go fuck yourself? Right, I love that. Yeah.
Speaker 3: The rumor then went around, Oh no, no, it wasn't that.
Speaker 3: What happened was that kite tell the sex scenes that
Speaker 3: you know that Sidney Pollock was meant to have in
Speaker 3: the film. Kitell wanted to be masturbating for real, and
Speaker 3: he ejaculated on someone's leg, which ended up happening in
Speaker 3: grown Ups too.
Speaker 1: That's what I call it. I was gonna say, that's
Speaker 1: what that's why he plays mister White.
Speaker 3: So but I agree with you with so Obviously everyone
Speaker 3: wants to do the same thing. Everyone wants to go, hey, Stan,
Speaker 3: come here a minute on the screen of two takes.
Speaker 3: One is take thirty seven. One is take eighty seven,
Speaker 3: which is which, yeah, that's what you want to do. Yes,
Speaker 3: that's because he burns them all.
Speaker 1: Yeah. Well, and also it's you do get to the
Speaker 1: point where you go, Nicole Kimman, and it's not just
Speaker 1: it's it's a very it's a sex scene where you like,
Speaker 1: there are clearly hands on genitalia form and he's encouraging that,
Speaker 1: and he's ever saying rougher, rougher, ruffer at what point
Speaker 1: does somebody and I suspect if it was happening that
Speaker 1: imagine the itacy coordinator on Eyes by Shut In twenty
Speaker 1: twenty five. You know what it is that's amazing it like, yes,
Speaker 1: so none of that happens, and it's like I do
Speaker 1: it's and I'm not asking for Stanley Kubrick films to
Speaker 1: be canceled. I know it joins, but at some point
Speaker 1: you're going to go, it's ridiculous, Stanley, Like you don't
Speaker 1: need to be somebody should have been stepping in going no,
Speaker 1: you are not get you get this scene for a
Speaker 1: day exactly.
Speaker 3: But who is that person? Because what's his argument that
Speaker 3: he always comes back with, I came in under budget,
Speaker 3: which he does. So the reason that so that you've
Speaker 3: answered your own question, that person told me. The studio
Speaker 3: they never say anything because they know they've got a
Speaker 3: Stanley Kubrick film one and two is under budget. That's
Speaker 3: his key, the reason he gets away with it. The
Speaker 3: key bit is that he's under budget because they've got
Speaker 3: nothing to hit him with in terms of they do
Speaker 3: in terms of fucking let it go. But he's under
Speaker 3: budget every time, and that is his key. When I
Speaker 3: read that I was like, that's how he got him
Speaker 3: because he's under budget. That's why they don't give a ship.
Speaker 1: Nicole Keppan gets injured in that, in that, in that
Speaker 1: and yeah, yeah, like it's and and and the actor
Speaker 1: who's just like this model too, is this model wrote
Speaker 1: his name down somewhere Gary got or something Williams.
Speaker 3: Yeah, and he just that's his only bit. That's his
Speaker 3: only Yeah, he said his only credit. Yeah, and he
Speaker 3: kind of got that's unbelievable.
Speaker 1: He got he got signed and and and and wasn't
Speaker 1: really sure exactly what it was because obviously the secrecy
Speaker 1: around it, they're not giving telling you. Gary got the whole.
Speaker 3: Scripts, sorry page any one.
Speaker 1: So wow, Gary Gobber.
Speaker 3: No, Gary Gobby. You never guess why they call me Gary.
Speaker 1: There was over fifty erotic positions that were filmed. They
Speaker 1: go with basically to maybe forty seconds.
Speaker 3: Fifty fifty erotic positions. There aren't fifty.
Speaker 1: I've had three. I've counted three to three.
Speaker 3: You fax me the third one. I'd love to see it.
Speaker 3: They're on the slot adjustment adjustment. Yeah, as you get
Speaker 3: the swing right. Didn't make you want to go to
Speaker 3: an orgy?
Speaker 1: No? No, certainly did not. It did not.
Speaker 3: It did not make you want to go to a
Speaker 3: masked up orgy. No, No, okay, well well so pete, okay,
Speaker 3: let's just say p Hellier you get, you know, for Dalio,
Speaker 3: which is also the name of a series of secret experiments.
Speaker 3: So we'll get to that in a moment. Even that
Speaker 3: he's picked because it's a boatsart op er Bethoven if
Speaker 3: I can't remember which one it is. No, he's picked
Speaker 3: that because it's the name of secretive experiments. He knows
Speaker 3: what he's doing, right every time. All right, there you
Speaker 3: get the invite mask, and you're standing in the circle
Speaker 3: and they do the and one of the beautiful models
Speaker 3: gets up, comes over and gives you the mask kiss.
Speaker 3: You're not fired up?
Speaker 5: Uh?
Speaker 1: Well no no, because I kind of my first quess
Speaker 1: will be like, who's going to be there?
Speaker 3: These things?
Speaker 1: You don't no, no, you know, you don't know. Is
Speaker 1: it also weird that they're performing like sixty nine sexual
Speaker 1: position with masks? How does that work?
Speaker 3: It's it's really yeah, I was spilling. I was like,
Speaker 3: you wouldn't it made mask off?
Speaker 1: For that? Isn't some occasions it's.
Speaker 6: Going to be.
Speaker 3: Yeah, it's going to be a mask for that one.
Speaker 1: Having a plastic mask at the end of your it's.
Speaker 3: Not what I'm here for. Excuse me, Red Cloak? Can
Speaker 3: I get a different position? I understand there's fifty you
Speaker 3: want to get some variety and what about the city.
Speaker 3: So one of the first uses of CGI ever is
Speaker 3: to add extra blokes in black cloaks to to obfiscate
Speaker 3: the actual graphic nature of the sex being shot.
Speaker 1: Because he needs it to be our raided, but he
Speaker 1: doesn't want it to be like x Rader and and
Speaker 1: so he's watching films like Fatal Attraction, Show Girls. Yes,
Speaker 1: that's basic instinct that kind of work out how how
Speaker 1: how close they came to, you know, getting that rating
Speaker 1: or losing that rating. So yeah, I I love Stanley Kubrik,
Speaker 1: but I just kind of I don't is this like love.
Speaker 1: I love hearing the stories about it because it's you know,
Speaker 1: it's a film mystery, but also it's like, I I
Speaker 1: hopefully that that stuff never happens again.
Speaker 3: No, And I wouldn't last five minutes on one of
Speaker 3: his movies. I just wouldn't the pay I just be like,
Speaker 3: what are we fucking doing? Like Take twenty was fine.
Speaker 1: Yeah, well what you went for Working Dog, which have
Speaker 1: the opposite of like what Stanley Kubrik does, but they're
Speaker 1: like the great thing about doing Have you been paying attention?
Speaker 1: And I hope you Yeah, I've got my love. Have
Speaker 1: you been paying attention? A friend of the show shirt?
Speaker 1: And I'm proud. I'm very proud to get that is
Speaker 1: you go in and there's no fucking about like you
Speaker 1: go in, you get in the makeup, you go block
Speaker 1: the show for cameras and lighting, go to the groom
Speaker 1: and they load the audience and you start and it's
Speaker 1: it's joyous. Yeah.
Speaker 3: Because Tom, I asked Tom about this film in the
Speaker 3: lead up to this Tomm he goes, oh, yeah, I
Speaker 3: think I went to a media screening in nineteen ninety nine.
Speaker 3: Had you go? He goes, no, No, not for me.
Speaker 3: I said too slow, too slow, too slow. I had
Speaker 3: somewhere to be right. I like that is the so
Speaker 3: And I know what you mean because he always says
Speaker 3: that the budget buys him time. So that's Kubrick's thing.
Speaker 3: Time he thinks is just amorphous and he can just
Speaker 3: do what he wants with it. And so when you
Speaker 3: see that it was four hundred days to make this
Speaker 3: film and it wasn't finished. There is no way this
Speaker 3: film was finished.
Speaker 1: So well, yeah, yeah, you go for it. Do you
Speaker 1: want to? So there's Stanley Gery does deliver. Reportedly to
Speaker 1: bat Brothers.
Speaker 3: He did, that happened, There was a screening that happened.
Speaker 1: And he dies four days later. There are rumors that
Speaker 1: there was a recutting of this film to hide certain things.
Speaker 1: One of the biggest things pertains to the ending, which
Speaker 1: you have Nicole Kidman and Tom Cruise walking through the
Speaker 1: shop at Christmas. Great Christmas movie, by the way, fantasty
Speaker 1: Christmass raised along time along say try I'm for holidays.
Speaker 1: Let's let's have a little listen to uh Bill and analysis.
Speaker 1: They walked through the store and they discussed the ending.
Speaker 4: Maybe I think we should be grateful, grateful that we've
Speaker 4: managed to.
Speaker 9: Survive through all of our adventures, whether they were real
Speaker 9: or only adream.
Speaker 1: Are you.
Speaker 7: Are you sure?
Speaker 8: H am?
Speaker 3: I sure?
Speaker 2: Mhm h oh, only.
Speaker 8: Only as sure as I am that the reality of
Speaker 8: one night that alone matter a whole lifetime can ever
Speaker 8: be the whole truth.
Speaker 3: Mh And no dream is ever.
Speaker 10: Just a dream m hmm.
Speaker 1: There's a bit what we'll play uh uh botch. There's
Speaker 1: a couple of things. First of all, do you t
Speaker 1: into a theory that this is the Tom Cruise Bill?
Speaker 1: Is it's a dream?
Speaker 3: If it's that, then the movie sucks I completely. If
Speaker 3: it's a dream, this movie sucks so bad.
Speaker 1: Yes.
Speaker 3: And is he just buged it in to try and
Speaker 3: give himself an out or is he just trying to
Speaker 3: because you remember he says interesting is better than real,
Speaker 3: So that's Kubrick's motto in life, interesting is better than real.
Speaker 3: And I feel as though he's just bugged it in
Speaker 3: to go And I don't I haven't read them novella obviously,
Speaker 3: the Trouman novel, so I don't know. So I don't
Speaker 3: know if that's something he's kept from that or if
Speaker 3: something that he's written, or that's something that he's written
Speaker 3: on the set, which he was famous for rewriting the
Speaker 3: script while he was shooting it. He would do that
Speaker 3: all the time.
Speaker 1: And if Schnitzeler's friends with Freud, then yeah, dreams are
Speaker 1: probably always going to be a part of it.
Speaker 3: That's the point. That's what he That's what was apparently
Speaker 3: what drew him to it initially. So if that's it
Speaker 3: sucks so bad. It can't be a dream because people
Speaker 3: keep saying that, Pete, how shit is it was all
Speaker 3: a dream? Exactly the fucking worst. It's the fucking it's
Speaker 3: the worst thing you can do. It was all a dream.
Speaker 1: I love the idea. The fact that Alice has had
Speaker 1: these dreams and these thoughts, that's the interesting thing that
Speaker 1: she's having.
Speaker 3: Sends him off. Yes, so yeah, I reckon. That's one
Speaker 3: of the reasons people hate it. I reckon. One of
Speaker 3: the reasons that people really don't like this film is
Speaker 3: that it might be all we dream ah, and what
Speaker 3: have we been doing? Because it's as if someone has
Speaker 3: been telling you their dream for three hours, so, which
Speaker 3: is always awful. When someone tells you their dream, it's awful, right.
Speaker 3: And when you're young and single and an attractive woman
Speaker 3: says she'd like to tell you about a dream she had,
Speaker 3: you go, yeah, this sounds good. But when you've been
Speaker 3: married for teen years, like I have, my wife starts
Speaker 3: up about her dreams, I'm out of it.
Speaker 1: Yeah. I also don't think it's shot or there's enough
Speaker 1: dream like things going on it.
Speaker 3: So you know what they say, the claps, So there's
Speaker 3: a bit where Tom Cruise is walking through New York City. However,
Speaker 3: how was that shot that was he's on the treadmill?
Speaker 6: Was?
Speaker 3: And yeah, baby, he's on a treadmill with rear projection
Speaker 3: in nineteen ninety eight.
Speaker 1: Yeah, and it looks. It looks great, it looks great.
Speaker 1: There's one shot in the car. There's one shot in
Speaker 1: the car where it looks do it's a bit dodgy?
Speaker 3: Yeah, but and then he claps Yeah, and that's meant
Speaker 3: to snap it out of a dream state because he
Speaker 3: does it a few times. But if any of that's true,
Speaker 3: the whole movie sucks.
Speaker 1: Yeah.
Speaker 3: If I could cut one thing, I would just cut
Speaker 3: the idea again, No, mate, come on.
Speaker 1: So I just thought that was Cruse being Cruise.
Speaker 3: You know, I don't reckon. I don't reckon. Well, I
Speaker 3: hope it, I hope it is. That's something he had
Speaker 3: to do eighty times as well, or something like that,
Speaker 3: because you know that he would shoot the scenes on
Speaker 3: VHS first. So Kubrick would shoot the scene on VHS
Speaker 3: first and then show it to the actors back and
Speaker 3: go see that bit, do that again? See that I
Speaker 3: like that bit? So to do that?
Speaker 1: Do that?
Speaker 3: So he would do that first. So even though he's
Speaker 3: in eighty seven taps, he's already shot it on a
Speaker 3: VHS to show them. Yeah, how annoying.
Speaker 1: He's very annoying. So okay, so let's do back the dream. Well,
Speaker 1: we recommend you watch it with It's not a dream,
Speaker 1: its happening. It's not a dream, it's happening. So this
Speaker 1: ending so that their daughter, they basically don't take their
Speaker 1: eye off the door to be mindful of her, and
Speaker 1: then they kind of they see her walk off, and
Speaker 1: then they don't and they almost like they're allowing it,
Speaker 1: and she walks off with two the man too, gray Head,
Speaker 1: the older man who we do see at the party
Speaker 1: at the start when they're walking up the stairs, and
Speaker 1: it's all very subtle, but it's there. And a theory
Speaker 1: is that they are basically sacrificing their daughter to this cult,
Speaker 1: which would lend the idea that this is actually a
Speaker 1: pedophilic thing going on.
Speaker 3: And yes, so two questions. Roger Avery on The Joe
Speaker 3: Rogan Show this week said he's got a shooting script
Speaker 3: from the set, and that absolutely happened. They did. That
Speaker 3: was the pedophilic thing. They were trying to take it
Speaker 3: out and that there's a voice over missing and you
Speaker 3: can tell because of there are gaps in the film,
Speaker 3: particularly when he's at the Morgan he's looking over. I'm paraphrasing,
Speaker 3: but he says, one hundred percent there's a pedophilic thing
Speaker 3: which which they've cut. They've the studio said cut it,
Speaker 3: and that the part of what gives it away is
Speaker 3: the fact that there's no voiceover and that certainly footage
Speaker 3: was cut because there's things that if you're a real
Speaker 3: deep filmmaker like he is and in Quentin, that they
Speaker 3: can notice to go, hang on, that's not that's off,
Speaker 3: that's not Kubrick right, because they're students of his stuff.
Speaker 3: One hundred percent believe that, and I also believe that
Speaker 3: that is what he's alluding to there. And the fact
Speaker 3: that every woman in the film is a redhead who
Speaker 3: looks like Nicole Kidman. The idea is that is that's
Speaker 3: what she was. The idea is that she used to
Speaker 3: be one of the hookers at these parties. Because when
Speaker 3: she drops the dress at the start, she drops it
Speaker 3: the same way they drop the cloak. So she drops
Speaker 3: her black dress at the start and you see her
Speaker 3: body and they all do the same thing, and that
Speaker 3: she's basically it's this is a cycle that has been
Speaker 3: going sort of infinitum, around around it goes, and so
Speaker 3: that her job now is to breed the next Her
Speaker 3: job is to breed the next generation of girls that
Speaker 3: are going to be part of this, which says it
Speaker 3: just won't stop. And then so now I was reading something,
Speaker 3: but Nicole Kidmer said, she said that her and Stanley,
Speaker 3: Her and Stanley came up with that dress drop, and
Speaker 3: that she didn't like the dresses, so that was just
Speaker 3: her dress that she had, and that they came up
Speaker 3: with that way of dropping it. But it's exactly the
Speaker 3: same as the way the women drop the cloaks and
Speaker 3: they all look like Nicole Kidman. So I go with that.
Speaker 3: I think that's what he's getting it. I think he's saying, Yep,
Speaker 3: there's a pediph cult and that it's been going, you know,
Speaker 3: in forever, and that she was part of it and
Speaker 3: now she's she's producing the next generation for it.
Speaker 1: And what I love about this film is, particularly watching
Speaker 1: it in this time, is the level of like it
Speaker 1: doesn't become an investigation about what he's not, Like, Bill's
Speaker 1: not trying to expose. There's a version of this film
Speaker 1: and maybe in Lesser Hands where it becomes about the
Speaker 1: politics of this and who are these people you know?
Speaker 1: And why does it exist? He's not doing it. It
Speaker 1: still remains about the marriage. What thoughts are we allowed
Speaker 1: to have? Like I did an episode that I want
Speaker 1: to you know well, I half kind of wrote for
Speaker 1: How to Stay Married, and it was basically Greg my
Speaker 1: character got caught having a wank, you know, by Am
Speaker 1: and the whole idea for the episode was like, what
Speaker 1: are you allowed to have in your own head when
Speaker 1: you're you're you're married? And what was he working about?
Speaker 1: The idea? He was actually waking about one of their friends.
Speaker 3: You cast that actress. That's where your own marriage gets
Speaker 3: in trouble. Did when you go to cast that actress,
Speaker 3: your wife goes, who's this?
Speaker 1: I did do an episode of It's which actually was
Speaker 1: the like I guess the prequel of How to Stay
Speaker 1: Married because my character was was the same character. Basically
Speaker 1: had to say marriage with a spin off and it
Speaker 1: was like, my character does get at light dance from
Speaker 1: the white white It's not like a regular thing. It's
Speaker 1: nudity is a regular thing, said well to be honest.
Speaker 1: That storyline is actually an easy act because that storyline
Speaker 1: was based on something that actually happened with my wife
Speaker 1: and I early on in their relationship with another couple,
Speaker 1: and the two women said, wouldn't it be fun if
Speaker 1: we all went to a strip club that we have
Speaker 1: none of us have been to a strip club before that,
Speaker 1: none of us have been the strip club before where
Speaker 1: me and my mate this looked at our shoes and yeah,
Speaker 1: none of us.
Speaker 3: So for daily and you're seeing you went to the
Speaker 3: strip club which.
Speaker 1: One uh, I think it was samant Rhino, and the
Speaker 1: same thing happened, like a woman came over to my
Speaker 1: wife and I said, I'll give you a lap dance
Speaker 1: and then she started that and my wife kind of said,
Speaker 1: I think we're going to leave now because she thought
Speaker 1: I was giving the lap dancer look. It was her look,
Speaker 1: and I was like, well no, because I'm I know
Speaker 1: what it's like to be an audio, you know, a performer,
Speaker 1: and I'm like respecting.
Speaker 3: I'm a great audience, I'm a great audio.
Speaker 1: And it's like and it sounds like bullshit, but it's
Speaker 1: sincere if I was like, sit there and there's like, look,
Speaker 1: you know you know at the walls.
Speaker 3: That's how would she feel? How would the lady dancing
Speaker 3: lady feel?
Speaker 1: Exactly?
Speaker 3: Get it?
Speaker 1: That was?
Speaker 3: So that was that's the closest you. So you are
Speaker 3: closer to eyes white chat than you think I am.
Speaker 3: You actually been.
Speaker 10: Maybe I would go to this audio baby, maybe maybe
Speaker 10: that is Oh wow, so fun story.
Speaker 1: It is a fun story.
Speaker 3: I believe you fell for that. Let's all go to
Speaker 3: a strip club. What are you doing?
Speaker 1: That's a setup, But I'm go and I did because
Speaker 1: I got this this adventure. Life happened and something is something,
Speaker 1: we learned something what.
Speaker 3: You may do? Was he reading one?
Speaker 2: Uh?
Speaker 1: No, I actually because we we just left after that
Speaker 1: he stayed. I think they stayed. Yeah, okay, and I've
Speaker 1: never seen him since I got my God, that's a lifestyle.
Speaker 3: Big shout out to Cusic. Why is that story not true?
Speaker 3: He's banned from sparm h.
Speaker 1: Only during the day.
Speaker 3: Yeah, during the day all strip clumps with animals in
Speaker 3: the title, David is no longer welcome out. So that
Speaker 3: means no crazy horse, no spimitt rhino, no kittens.
Speaker 1: So let's get back as well as shut before we
Speaker 1: get sued. Yeah. I do love the level where this
Speaker 1: conspiracy is played. But like, there may not be anything
Speaker 1: more we need to say about the Epstein stuff, but
Speaker 1: I do agree and the Paddy stuff that.
Speaker 3: Okay, So where's that hang it?
Speaker 1: Now? Is I going?
Speaker 2: Like?
Speaker 1: It makes it makes you think about those things very
Speaker 1: differently and go, okay, this is he was trying to
Speaker 1: warn us.
Speaker 3: Okay, so where is he? Where's the party? Where's the
Speaker 3: actual party? Like the first party? I know, the sorry
Speaker 3: that the orgy house. Did they film that in I'm
Speaker 3: not aware a house built by one of the Rothschild's
Speaker 3: banking dynasty dynasty? Yes, yeah, come on. And it was
Speaker 3: the first portrait gallery in the world, right, and you
Speaker 3: know a lot of the art was Dunbay his wife
Speaker 3: in the that are on the walls that aren't based
Speaker 3: on real ones. And if you look at the masks,
Speaker 3: the masks are just a catalogue of art history and symbolism.
Speaker 3: Where there's a guy wearing an Illuminati face mask just
Speaker 3: flat out just right there, pyramid eye and you always
Speaker 3: shut up at what are you talking about? Don't know?
Speaker 3: Stanley chose every single mask, of course, And this great
Speaker 3: bit where the wardrobe master had been looking at g
Speaker 3: strings for a year. I heard that Yes, gets their
Speaker 3: day one and goes, don't like them, go get more
Speaker 3: g strings. What is saying? And this is where what
Speaker 3: is happening?
Speaker 1: And I'm kind of conflict because they're going to go, Yes,
Speaker 1: he makes great art and the results are all there
Speaker 1: on screen, but could he have got the results with
Speaker 1: the It's still the same film with a different g
Speaker 1: It's not that.
Speaker 3: He just won't. He just won't do that. And that's
Speaker 3: what Kobridge Boxes is about. The great documentary John Ronson
Speaker 3: made it in two thousand and six where you see
Speaker 3: all the boxes of all of the stuff that he's
Speaker 3: kept of research throughout his journey with films, right, every
Speaker 3: single thing that he's kept, and he kept every bit
Speaker 3: of fan letter and he had FP fan Positive, fan
Speaker 3: FN fan Negative and then CRANK for Crazy People. And
Speaker 3: they ask his assistant why do you keep all the letters?
Speaker 3: He goes, oh, they were like people in the field
Speaker 3: for us, because someone would write in from like Ohio
Speaker 3: and say hey love two thousand and one. It was
Speaker 3: a bit dark when I saw it, and Kubrick would
Speaker 3: read it, ring up the cinema or get them to
Speaker 3: send the print back to make sure it was done correctly.
Speaker 1: He almost look at every print before it goes.
Speaker 3: Out, did every look every print? And then he would
Speaker 3: he would measure every ad in the newspapers to make
Speaker 3: sure he wasn't getting less than he'd been argued that
Speaker 3: he was allowed to have. So just that's the dude.
Speaker 1: A fun guy to work with, so much fun.
Speaker 3: But that's the other thing. They all stay for thirty years,
Speaker 3: all of the people in his thing because they were
Speaker 3: such a small crew. So you go, goy, this guy
Speaker 3: must be a nightmare. No, they all love him except
Speaker 3: the actors. He destroys. The minds of actors seem to
Speaker 3: be the one group of people where he doesn't. These
Speaker 3: I just destroy their mind. I just ruined their life.
Speaker 1: So Nicole Keipman seems to have a great time.
Speaker 3: A year more, she said, I would have done a
Speaker 3: year more.
Speaker 1: Where Tom Cruise I think had I think.
Speaker 3: Now he's very deferential, and he says Stanley was difficult,
Speaker 3: not difficult, but interesting. However, however, this is the film
Speaker 3: that pushes him out of anything even resembling human relations. Ever, again,
Speaker 3: so he does this, He does Magnolia quickly, he does
Speaker 3: Vanilla Sky. I think it's called I can't remember, right,
Speaker 3: Vanilla Skuy's right. And then he goes, this isn't for me,
Speaker 3: and he goes into action Man, Edge of Tomorrow, Oblivion,
Speaker 3: Mission Impossible, them reydes Maverick. This is the film that
Speaker 3: makes him go into personal relationships. Not for me in
Speaker 3: term in trying to make stuff.
Speaker 1: That's interesting, isn't it? Because he was he was very good.
Speaker 3: He was great.
Speaker 1: Yeah, and both of them, we should say, I think
Speaker 1: both of them. I think Nicole Kimman, who actually won
Speaker 1: I think the Blockbuster Performer of the Year award. You
Speaker 1: would have got a vote in that most did, Yeah, yeah?
Speaker 1: And and and Tom. Look Tom, he's wonderful, is Tom.
Speaker 1: He's still Tom Cruise, But it's great to see him. Yeah,
Speaker 1: play somebody who's not trying to save the world, and
Speaker 1: I still like him trying to. I think Tom Creuse.
Speaker 1: I am pro Tom Cruise. I think he is the
Speaker 1: movie star of our time.
Speaker 3: YEP, that's a fair court. And so so he loves
Speaker 3: so he's like, oh, I don't know about something, Now
Speaker 3: do you want to? And so when do we get
Speaker 3: to most interesting tidbits from this movie?
Speaker 1: Now?
Speaker 3: Okay, ready, okay. One Kubrick's daughter, one of the daughters
Speaker 3: who was a photographer and going to be a filmmaker
Speaker 3: and was going to be a score films. She would
Speaker 3: score them under a pseudonym leaves London, leaves the family
Speaker 3: during the production of this to go to Los Angeles
Speaker 3: to join Scientology.
Speaker 2: You got it?
Speaker 3: Holy shit?
Speaker 1: Wow?
Speaker 3: Okay, Like, which is what more do you need? Friends?
Speaker 4: Like?
Speaker 3: Holy shit? And this is the point in Tom's life
Speaker 3: where he's drifted. So every time there's scientoldist, there has
Speaker 3: to be two around, so that one of the other
Speaker 3: actresses in this film with scientologists, right, they sort of
Speaker 3: go in twos anyway, big shout out to them if
Speaker 3: they're listening. Okay, So there's okay. So then the roth
Speaker 3: childs the wardrobe. Yeah, here we go, Harvey Kai tell
Speaker 3: that's a good one.
Speaker 1: The Cribricks daughter, do you know if she stayed with Scientology?
Speaker 3: Oh yeah, they don't. You don't. She's like sitting in
Speaker 3: her sixties now and you don't hear anything. I was
Speaker 3: looking up yesterday. You don't hear anything after this one.
Speaker 3: Isn't that nuts?
Speaker 1: Okay?
Speaker 3: Here's a memo that's Stanley so Camery Stanley Kubrick kept
Speaker 3: all memos that he sent to people. Of course, always
Speaker 3: please always have three, always have melon on set. Never
Speaker 3: less than three Stanley.
Speaker 1: Melon or melons.
Speaker 3: Isn't that great? I have to have three melons on set.
Speaker 1: Three melons. That's that's yeah.
Speaker 3: I mean he's just is everything you ever want him
Speaker 3: to be, all right.
Speaker 1: I mean is that because he likes like eating melons?
Speaker 1: Like or the superstition?
Speaker 3: I think. See that's the thing no one ever knows.
Speaker 3: No one ever knows. Here's the last one. How goes this?
Speaker 3: Kubrick's in the jazz bar and he looks at the
Speaker 3: camera twice, amateur, I know, it's so funny. It's like,
Speaker 3: what are you doing? He looks at the camera and
Speaker 3: looks at Tom Cruise twice. So he's got a cameo
Speaker 3: in his own film and he looks at the camera.
Speaker 3: It's just the weirdest thing. It is the weirdest piece
Speaker 3: of cinema you've ever seen in your whole life.
Speaker 1: We should give a shout out that the Todd Field
Speaker 1: who plays Nick. So for those who don't know who,
Speaker 1: he directed recently Tar with Kate Blanchette. Then there's another
Speaker 1: Cape Blanchett connection.
Speaker 3: Okay, if you want to do it? Or should I
Speaker 3: do it? She voices the masked woman who tells Tom
Speaker 3: he's in danger at the sex party. How good is that?
Speaker 6: Now?
Speaker 3: When it ready for a todd Field full story, Full circle?
Speaker 3: He directs it in the bedroom right when you had
Speaker 3: Tony on and he talked about Top Gun and he
Speaker 3: was his favorite story of talking about nineties and talking
Speaker 3: about when people just had conversations. And he says, there's
Speaker 3: a film in there's this bit in the there's a
Speaker 3: bit in a film where Quentin Tarantino is talking to
Speaker 3: someone at a party and he's describing why Top Gun
Speaker 3: is a homo erotic film. Isn't he talking to todd
Speaker 3: Field in that scene?
Speaker 8: Ah?
Speaker 3: I think he might be y, Yes, yes, Now we're
Speaker 3: in the kup brick zone. Yeah, fun, isn't it?
Speaker 1: Yeah? Well, little children, Little Children was the other one
Speaker 1: he made, Yes, and yeah.
Speaker 3: It's I think that's all the craziness I've got. There's
Speaker 3: so much, one more, one more, one more. He was
Speaker 3: such an expert in lighting that he would sometime times
Speaker 3: secretly go and help light sequences for other films. Kubrick
Speaker 3: is responsible for the lighting is Going Star Wars in
Speaker 3: the major action sequence of the rain of the James
Speaker 3: Bond film The Spy Who Loved Me? Right, what the
Speaker 3: fuck is that ship?
Speaker 1: Imagine coming up the set, you might have had a look,
Speaker 1: we've got three more days of ship?
Speaker 3: Has that?
Speaker 1: Yeah, that's that's incredible. What about the rainbow theory?
Speaker 3: Oh yeah, yeah, Well, because you know there's three rainbow
Speaker 3: rainbow lens flares in the film now a lens flair.
Speaker 3: He's such a perfectionist that he left them in and
Speaker 3: it's like he would never do that.
Speaker 1: Well, there's a rainbow in the in the in the
Speaker 1: costumes as part of the signage. And also that when
Speaker 1: Tom Cruise is being led out at that party. But
Speaker 1: the two you know, gorgeous women, they you want to
Speaker 1: hear where we're going. We're going to the end of
Speaker 1: the rainbow.
Speaker 3: So so yes, that's basically yes, he's doing it, and
Speaker 3: he's doing it on purpose and that's why he's there.
Speaker 8: Now.
Speaker 3: Also that costume shop, he had his nephew photographed costume
Speaker 3: shops in London for a year to get the right look. Yeah,
Speaker 3: I reckon, I got it close on a rack and
Speaker 3: a aisle in the middle and some costumes in the window.
Speaker 10: Yeah, and we can change the costumes. If you're life
Speaker 10: you want the stand, we can bring other costumes. If
Speaker 10: you have anyone, you have you back, if you want mate,
Speaker 10: No one cares. How funny is there a cage at
Speaker 10: the door, Uncle Stan? Most costume shops don't have a
Speaker 10: cage at the door. Lombards is more trusting that have
Speaker 10: a security alarm, but they don't have a cage.
Speaker 3: There's there's a stand. You'll be shocked. There's a very
Speaker 3: few ram raids to get Austin Powers costumes.
Speaker 1: Let's just have a listen to what really sets this.
Speaker 1: It's almost the turning point or the inciting incident, which
Speaker 1: is a converse. What do you think of Nicole's stoned
Speaker 1: acting terrible?
Speaker 3: Yeah, but she's terrible in the way that she's doing
Speaker 3: what she's being asked to do. So that took a
Speaker 3: week or two weeks that scene. Imagine this, everyone, You're
Speaker 3: in one room with your then husband pretending to be
Speaker 3: stone for two weeks while a man with glasses says,
Speaker 3: do it again, do it again? Do it again? Yes,
Speaker 3: you would go crazy.
Speaker 1: And she has gone crazy and I know that, and
Speaker 1: I got the highest opinion of Nicole Kim and there's
Speaker 1: an artist, I think, and she would have given other
Speaker 1: performances which to us may have appeared like a better
Speaker 1: version of Stone that Stanley obviously has not gone with.
Speaker 1: This is the version after shooting that many takes that
Speaker 1: he went with because I think Tom was even like, oh,
Speaker 1: I want to do something a bit different, and he's
Speaker 1: like he wanted Tom Cruise.
Speaker 3: Yes, but he's trying. I personally, my personal theory is
Speaker 3: that he's thought I might be able to break Tom
Speaker 3: Cruise here to get the Tom out of Tom Cruise,
Speaker 3: and Tom Cruise won that battle of wills. I think
Speaker 3: this is the thing that this is why I bring
Speaker 3: it up again. I reckon and this is the thing
Speaker 3: that steals Tom Tom Cruise to go nap.
Speaker 2: I am.
Speaker 3: I am unbreakable no one, and I'm going to be
Speaker 3: Tom Cruise from now on because there's no way, no
Speaker 3: way am I going to sit here and have someone
Speaker 3: else tell me to not be Tom Cruise. I'm Tom Cruise.
Speaker 3: That's it. That's what we're doing from now on. From
Speaker 3: now on, I'm being Tom Cruise, and you just can
Speaker 3: get fun.
Speaker 1: I'm going to Tom Cruise the fun out, you know what.
Speaker 3: I mean, because that's what he does. After this, he goes, no,
Speaker 3: I'm tom Cruise.
Speaker 1: Yeah, yeah, let's have a listened to the fantasy that
Speaker 1: she let's just see himrom their weekend or the week
Speaker 1: away at Cape Cod Done.
Speaker 5: Afternoon, Helena went to the movies with her friend and you,
Speaker 5: and we made plans about our future, and we talked
Speaker 5: about Helena.
Speaker 8: And yet.
Speaker 5: At no time.
Speaker 1: Was he ever.
Speaker 2: Out of my mind. And I thought, if he.
Speaker 11: Wanted me, even if it was only for one night,
Speaker 11: I was ready to give up everything.
Speaker 2: You Helena, my whole fucking future, everything.
Speaker 1: I mean, it's it's it's a great it's a great
Speaker 1: device or whatever you want to call it to send
Speaker 1: Bill off onto this this night of like what the
Speaker 1: fuck is going on? Yes, you know. And it's the
Speaker 1: addition of not just that she's prepared to cheat on Bill,
Speaker 1: that she was prepared to give up.
Speaker 3: That's the bit.
Speaker 1: Her child is the thing to be actually.
Speaker 3: Okay, so that's the bit that people say is when
Speaker 3: she's falling back into her previous role as this sexual
Speaker 3: object because he's a naval officer for powerful uniformed people.
Speaker 3: So she slipped back into it there. So she's dropped
Speaker 3: the program this she's gone back into the programming that
Speaker 3: she had as a child for that and she slipped
Speaker 3: back into it, and the drugs bring it out of
Speaker 3: her to tell Tom what she was, what her life
Speaker 3: actually is, and who she really is, and that everything
Speaker 3: else is her trying to put a fucking lid on it.
Speaker 3: That everything else. I don't do it, don't do that,
Speaker 3: don't do that. Like in the Other Guys, when Will
Speaker 3: Ferrell becomes the pimp when he's really the pimp if
Speaker 3: the gate, Yeah, it's that, that's that, and that I'm
Speaker 3: going and I'm absolutely can I think that's absolutely the case. Otherwise,
Speaker 3: why make that the fantasy? Why make that the idea?
Speaker 3: Why make her say that like it's it's too on
Speaker 3: purpose not to be like that?
Speaker 1: I do love that. There's also a theory about the
Speaker 1: letter that Tongue When Tongue when Bill goes back to
Speaker 1: the roth Childs and a man comes out and hands
Speaker 1: him a letter, and it's pretty it just kind of says,
Speaker 1: don't don't stop asking questions, Yeah, move on, and the
Speaker 1: reaction seems a.
Speaker 3: Bigger like a startled yes, huge.
Speaker 1: So there's a theory that the letter, which could have
Speaker 1: easily have been reshot that the letter says something about
Speaker 1: give us your daughter.
Speaker 3: It's the insert, because that's an insert. That's one of
Speaker 3: that's one of. And now that that's triggered the memory
Speaker 3: I've got of Roger Avery and and bring that up again.
Speaker 3: But that's one of the things he mentions. He mentions
Speaker 3: inserts not looking like the rest, and that that is
Speaker 3: an insert. So if you watch it, Kubrick never does that.
Speaker 3: He'll go like, you know, the newspapers, all the newspaper
Speaker 3: headlines are lucky to be alive, and they're all really
Speaker 3: on purpose. And I actually watched a short documentary about
Speaker 3: how meticulous Kubrick was about the articles that were in
Speaker 3: the newspapers. He got a New York Post journalist to
Speaker 3: write all the articles so that they looked like genuine
Speaker 3: articles in a genuine newspaper.
Speaker 1: Shot something like an Italian version of it, like different
Speaker 1: languages for those.
Speaker 3: Markets, so that they could read their own newspaper. So
Speaker 3: that tells you how much he cares about stuff like
Speaker 3: that and the idea, and it's never an insert. That's
Speaker 3: a great point. He never goes to single shots of props.
Speaker 3: Never not the mask you remember the the perfect companion
Speaker 3: film for this is The Mask. And I've always wondered
Speaker 3: the Jim Carey comedy.
Speaker 1: Honestly, not the Eric Stalts, not the Rocky Dallas slightly.
Speaker 3: Yeah, well we can always wet that one. It's a
Speaker 3: greatful wank.
Speaker 8: So they.
Speaker 3: They are desperate to speak to the people who wrote
Speaker 3: the Mask, yep, to go write or Kubrick, whichever comes,
Speaker 3: remember which one rocked up for because he chucks on
Speaker 3: the mask and then Cameron Das likes him and the
Speaker 3: whole thing. You know, the mask literally gives him, gives
Speaker 3: him those powers. These films, these two movies are in
Speaker 3: perfect conversation with each other about the idea of a
Speaker 3: mask and what it leads you to. And the reason
Speaker 3: I bring that up is that's NonStop inserts of look
Speaker 3: at the Mask, Oh my god, the Mask, Oh look
Speaker 3: what it did. And Kuby just doesn't do any of that.
Speaker 3: And that's why that insert of the letter is so striking.
Speaker 3: That's a great point. Yeah, it's a great point. I
Speaker 3: never thought of that.
Speaker 1: Yeah, I do think that that sense and if you
Speaker 1: watch it again, look at it was.
Speaker 3: Reaction was over the top for you know, Yeah, I
Speaker 3: remember thinking that. I remember when I'm thinking when he
Speaker 3: got the letter, I do remember thinking why do they
Speaker 3: leave that in? Because I'm always thinking about the takes
Speaker 3: now that I watch this film, I'm always thinking about
Speaker 3: trying to guess what take number it was.
Speaker 1: So this was re edited after Kubrick dies, and they're
Speaker 1: probably not thinking at that level of like their reaction,
Speaker 1: doesn't we'll change the letter? Yeah, And that's all this
Speaker 1: because if you imagine the reaction of Tom Cruise, Bill,
Speaker 1: you know, stop asking questions. It's probably more like a.
Speaker 3: Or like looking or yeah Tom so Tom Cruise. Tom
Speaker 3: Cruise is Tom Cruise, right. And in moments where even
Speaker 3: in this he sort of breaks through a little bit.
Speaker 3: So the sometimes you see a look he barely have
Speaker 3: a smiles credit itself. I guarantee hes told him not
Speaker 3: to smile, because as soon as he smiles, he's Tom Cruise.
Speaker 3: You're no longer a character, You're Tom Cruise, right, And
Speaker 3: so he would normally just give a glance up back
Speaker 3: to the security camera and then back to him and
Speaker 3: put it in his pocket. That's what he does for
Speaker 3: everything else. He internalizes every other reaction essentially, even the
Speaker 3: brooding on his wife's sort of non affair. That's the
Speaker 3: claps seem so big because it's the first sort of
Speaker 3: his strong reaction he gets. And then so that you're right,
Speaker 3: that is so incongruous. Even when six guys from Yale
Speaker 3: start yelling homophobic slurs at him, he has less of
Speaker 3: a reaction.
Speaker 1: Yeah, yeah, yeah, yeah, absolutely weird.
Speaker 3: Did they improvise their lines? Well, did they improvise their lines?
Speaker 3: Because it's the worst piece of writing, Yes, in the
Speaker 3: history of cinema.
Speaker 1: Yeah, it was horrible. Think the whole thing, that whole
Speaker 1: thing is just felt weird to me, like that doesn't
Speaker 1: really doesn't really fit with everything else. But yet I
Speaker 1: do believe Yeah, watching that, I think he is he
Speaker 1: has been startled by that whatever's in that letter, and
Speaker 1: it does the reaction does not.
Speaker 3: God, I wish I could get in such of Roger Avery.
Speaker 3: Wonder what says in the script?
Speaker 1: Yeah, yeah, I'm sure he'll come on the podcast I
Speaker 1: Reckon one day. I mentioned before how they ain't really
Speaker 1: dig deep into the the conspiracy theory of such it's
Speaker 1: it's there and you can try to work with that
Speaker 1: for yourself and this theories, which is great. And then
Speaker 1: you mentioned a voice over. They're supposed to be a
Speaker 1: voiceover because the scores are so much heavy lifting.
Speaker 3: It takes away because that was done, that was done
Speaker 3: after he's done, after and she never did another film.
Speaker 1: Let's have it. Listen to that. God, it's terrible, but
Speaker 1: it's just it really does. It puts you at unease,
Speaker 1: and it's for me. It's it's doing exactly what it's
Speaker 1: supposed to do.
Speaker 5: I do, I do.
Speaker 1: I think it's supposed to feel like it's it's ominous. Yeah,
Speaker 1: and it's uneasy.
Speaker 3: Yeah, that's fair, but it is also shit in terms
Speaker 3: of it's all they've got.
Speaker 1: Yeah.
Speaker 3: Yeah, And he and so he famously would do test screenings,
Speaker 3: so he changed every single one of his films or
Speaker 3: the Ladder films after an audience saw it, and score
Speaker 3: was often one of them. So they did this without
Speaker 3: him after it was done. There's no way, I don't
Speaker 3: reckon there's any way he would have left it the
Speaker 3: way it was.
Speaker 1: There is a theory that so in Congress that somebody
Speaker 1: said that when he presented the Warner brothers with the cut,
Speaker 1: they were outside of the room and they heard screamingsae y, yeah,
Speaker 1: you're not taking.
Speaker 3: It out, you know, yet like that, which is weird
Speaker 3: because you go, I've heard executives since then who worked
Speaker 3: with Kubrick and they never talk like that about him.
Speaker 3: There's one guy who tells a story about how he
Speaker 3: was on holiday and Kubrick was annoyed at something tiny
Speaker 3: piece of minutia about the world release of a film,
Speaker 3: and this guy didn't have the guts to tell him
Speaker 3: he was on holiday with his family until then finally
Speaker 3: said it, and Stanley he was, oh, sorry, all right,
Speaker 3: and then then got off the phone. It just doesn't
Speaker 3: seem as anyone dealt with Stanley Kubrick that way.
Speaker 1: Yeah. I take that with a huge grain of salt.
Speaker 3: I reckon there's a possibility they said to the family, Hey,
Speaker 3: we want this to come out. Yeah, we don't want
Speaker 3: Stanley's wishes to be correct. We can't release your We
Speaker 3: can't release your beloved patriarch's final film with this stuff
Speaker 3: in it.
Speaker 1: Yeah.
Speaker 3: I honestly think that that to me, You and I
Speaker 3: both know what that that's a far more realistic pressure
Speaker 3: that could have been put on.
Speaker 1: And sometimes we like to demonize the ties and suits
Speaker 1: and the execut studios and all that, and sometimes roughly so,
Speaker 1: but there is an adult conversation that sometimes needs to
Speaker 1: be had by going but this is the market, that's right.
Speaker 1: We cannot that's right, whether it's pressures from you know,
Speaker 1: whatever the last or just we cannot get this in
Speaker 1: the cinemas.
Speaker 3: No, because certainly can't get it in without it being
Speaker 3: NC seventeen, which means it's going to lose all its
Speaker 3: money and never be seen again.
Speaker 1: Yeah, yeah, I love that. Let's us have a final
Speaker 1: listen Sidney Pollack, So he comes in for the.
Speaker 3: Why they apparently they bring in Sidney Pollack because he'd
Speaker 3: work with crews on the firm and he knew that
Speaker 3: cruise respected him and that he was like a cruise
Speaker 3: whisper where he could keep him, keep him calm.
Speaker 1: Yeah that makes sense. Well, let's have a little listen
Speaker 1: to the city public listen, Bill, nobody killed anybody, someone died.
Speaker 1: It happens all the time. Life goes on.
Speaker 2: It always does until it doesn't.
Speaker 1: But you know that, don't you. So let's just I
Speaker 1: just want to play because I wanted his city Pulics.
Speaker 3: He's so good, he ain't doing fuck and so he's
Speaker 3: the best.
Speaker 1: Michael Clayton he's just the best.
Speaker 3: He's just the best because he ain't doing nothing. Sometimes
Speaker 3: some people, Pete are just stand on screen, be yourself
Speaker 3: and let us do the work. We will imbue you
Speaker 3: with brilliance. All you got to do is you think.
Speaker 3: And he's one of those people where he just there's
Speaker 3: the look of him. I don't know what. He's not
Speaker 3: entirely that handsome, he's just there's a presence about him
Speaker 3: being comfortable on a screen that just makes you go,
Speaker 3: fucking oath. Gary Oldman has it. Richardy Grant as it
Speaker 3: so many there are so many great actors. That's just
Speaker 3: like fuck an oath. Like when you watch old Elizabeth
Speaker 3: Taylor movies and you're like, why did everyone like Elizabeth Taylor?
Speaker 3: And you go and then she turns around in clear
Speaker 3: Patrick Jesus and you go, wow, holy moly, and you
Speaker 3: go there you go, That's what I'm talking about. That's
Speaker 3: why do you like watching screen tests.
Speaker 1: When I'm making something or just just dream In general,
Speaker 1: I don't sort them out as such.
Speaker 3: No, I urge everyone to watch as many screen tests
Speaker 3: just for fun on YouTube as you possibly can and
Speaker 3: see how much start, how much you can realize when
Speaker 3: people go holy money, because I was a reader at auditions.
Speaker 3: When I first started, I was a reader at auditions,
Speaker 3: so I saw all the big actors of the day
Speaker 3: and up and coming actors come through and do auditions,
Speaker 3: and I remember so clear I got it. After a
Speaker 3: while I realized, I was like, Oh, it's nothing to
Speaker 3: do with the acting at all. It had nothing to
Speaker 3: do with the acting. It was just what their person was,
Speaker 3: the way it shone through when it came through the
Speaker 3: little cam quarters. So I got to the point where
Speaker 3: I could start. At first, I was like, was the acting?
Speaker 3: And then the casting person was like nah. And then
Speaker 3: it got to the point where I could start to
Speaker 3: pick who they were going to go with, and often
Speaker 3: pete they had the role before the lines had started.
Speaker 3: I remember there was a young she's now very famous,
Speaker 3: a young actor that came in and she read for
Speaker 3: an American show and her accent was shit and she
Speaker 3: was nervous. And then but there was a couple of
Speaker 3: lines at the start where she was just sort of
Speaker 3: doing a thing, and then she looked up and I
Speaker 3: was like, Oh, that wasn't very good. She's like and
Speaker 3: she's like, what are you talking about? I was like, Oh,
Speaker 3: she didn't really. Her accent wasn't very good.
Speaker 6: And so.
Speaker 3: What do you mean, because she's going to be huge,
Speaker 3: what are you talking about? She no, no, no, watched
Speaker 3: this and we watched the first part of it again.
Speaker 3: I was like, yeah, you win. She had so much charisma,
Speaker 3: so much natural ability, and that's your big stuff.
Speaker 1: Yeah, that's incredible.
Speaker 3: It's the opposite of what happened to me on Blue Heelers.
Speaker 1: My final question for you, I'm going to let Nicole
Speaker 1: kim and ask the question I might behave.
Speaker 4: There is something very important do we need to do
Speaker 4: as soon as possible?
Speaker 1: Question? Fuck?
Speaker 3: How good?
Speaker 2: Is she?
Speaker 1: So very good?
Speaker 3: Why is that there? The last line? Well, are there
Speaker 3: a couple? Yes, yes, and that the film's over.
Speaker 1: The film's over, and you could depending on what we
Speaker 1: want to what theories you want to take into it,
Speaker 1: is that them choosing to remain a couple, the union remains,
Speaker 1: they have sacrificed their daughter.
Speaker 3: Yeah, yeah, sort of.
Speaker 1: Yeah. I mean it's it's interesting because you're watching you're
Speaker 1: watching the movie as is presented to us. Yes, and
Speaker 1: then we're also trying to ascertain what Santacoric which saying.
Speaker 3: Which is what he wants. Yes, that's longevity. So there's
Speaker 3: different types of longevity with films. There's this is great,
Speaker 3: you need to see it. There's oh, there's this bit
Speaker 3: of this that I really like, There's this, Oh there's
Speaker 3: this aspect of this that I really like, and then
Speaker 3: there's what the fuck was going on here? And he
Speaker 3: is He is so good at what the fuck is
Speaker 3: going on here, whilst also being geez, that was really good.
Speaker 3: But this is the one where it's this is the
Speaker 3: one where it falls down. It's not great. The acting
Speaker 3: is slow, the rhythms are slow and on purpose, and
Speaker 3: there's aspects of it you're right where it's like, is
Speaker 3: this dream stuff? Irks so many people? But what gets
Speaker 3: him through? And what gets it? I can't tell you
Speaker 3: how many podcasts there are about this and YouTube because
Speaker 3: I've listened and watched them all this week and more
Speaker 3: the best one. And there's three documentaries, possibly four, And
Speaker 3: that's what keeps that's what keeps this film going, is
Speaker 3: what on earth is going on? And let's be honest
Speaker 3: that history has sort of proved this guy correct.
Speaker 1: Well, that's the thing. I think that there are some
Speaker 1: films that are still alive, you know, they still have
Speaker 1: blood pumping through their veins, and I think this is
Speaker 1: one of those contagion obviously. Yes, you know Will Anderson
Speaker 1: for this podcast, and it's like, well, this film of
Speaker 1: a sudden.
Speaker 3: Feels yes, you know, it feels so relevant.
Speaker 1: Yeah, and if like Citizen Kane, you can watch it
Speaker 1: kind of go this feels you know, with the rise
Speaker 1: of Trap all of a sudden, you kind of go, yeah,
Speaker 1: this feels like it's.
Speaker 3: Blood's good like that. Josie and the Pussycats a forgotten
Speaker 3: nineties comedy about a set of a band of girls
Speaker 3: who are four who are sort of taken through the
Speaker 3: music industry. I strongly recommend anyone to go back and
Speaker 3: have a look see at Josie and the Pussycats and go,
Speaker 3: holy shit, that's Taylor Swift, that's Sabrina Carpenter, that's Olivia Orrigo.
Speaker 3: What the fuck is going It's framed as a girl band, right,
Speaker 3: sort of a girl rock band. That's and then you go,
Speaker 3: that is amazing, that is that's got so much in
Speaker 3: the margins of wow, wow, oh that's remember being it
Speaker 3: wasn't that, it was nothing, No one cared, No one
Speaker 3: cared about it. And then I don't know why, but
Speaker 3: I just remember actually my boss, my boss said because
Speaker 3: that's right. My boss, who was a Pete the music guy,
Speaker 3: he would we would watch Beach Boys documentaries NonStop. That
Speaker 3: was one of his things. And then we watched Red
Speaker 3: led Zeppelin documentaries, and then we would watch Elvis documentary
Speaker 3: and all of these things. And then one day he goes,
Speaker 3: this film came out and he's like, you, this is
Speaker 3: really good, Josie and the Pussycats. What are you doing
Speaker 3: man this And he said, no, no, trust me. He goes,
Speaker 3: this is this is this is telling us how the
Speaker 3: music industry works an incredible way. They just people have
Speaker 3: just ignored it.
Speaker 1: So okay, yeah, jose and the Pussycats. I wasn't expecting
Speaker 1: to finish.
Speaker 3: On I saw I wish I saw it again.
Speaker 1: Hell where I been paying attention.
Speaker 3: I've got to give you the last fact.
Speaker 1: Yeah yeah, yeah, okay.
Speaker 3: So, nestled in the squiggly Los Angeles streets above the
Speaker 3: Sunset Strip Wonderland Avenue requires those blah blah blah blah
Speaker 3: blah is a secret Cold war military compound in California,
Speaker 3: where a portrait into a secret of Cold War Hollywood
Speaker 3: Propaganda Films facility at Laurel Canyon, Stanley Krubeck. There a
Speaker 3: lot secret, has the pass, has the clearance? Can wander in?
Speaker 3: They shut it down? Sure now own to buy the
Speaker 3: private residence of mister Jared Leto. Oh isn't that great?
Speaker 1: Leader?
Speaker 3: Isn't that great?
Speaker 1: Yes? Oh, I'm going to be Jared Leder might have
Speaker 1: to forget the chance to chat to him again.
Speaker 3: I ask him about that I interviewed Jared. I'll leave
Speaker 3: you with this. I interview Jared Edo twice in two
Speaker 3: days for no, twice in a month, maybe twice. Whatever
Speaker 3: point is I need to be both Jared Leedo's So
Speaker 3: first time I introduw Jared Edo was for a film, right,
Speaker 3: I can't remember which one? Clear eyed, nice enough actory answers,
Speaker 3: no dramas. Working for Triple Am, I got the privilege
Speaker 3: of coming in on a Saturday to interview Jared Leedo
Speaker 3: one on one for his band thirty seconds to Mars
Speaker 3: that day, sunglasses, T shirt, sitting back in his chair,
Speaker 3: less than one word.
Speaker 1: Answers, So is this like a day apart what you're saying?
Speaker 3: I was close together and so he had just gone
Speaker 3: what am I doing? Music? Great?
Speaker 1: Glasses, so he's playing a role.
Speaker 3: Yeah, it was amazing. I'll never forget. I was like,
Speaker 3: holy shit, how perfectly self aware is that. Yeah.
Speaker 1: Sometimes it's like you hear Jim Carrey speak about, you know,
Speaker 1: the things he likes to talk about, and and you
Speaker 1: kind of you dismiss it as like, oh, and I
Speaker 1: did an interview with Jim Carrey and it's one of
Speaker 1: my favorites just after the Oscars, the Will Smith Know
Speaker 1: and he kind of spoke about he goes in trouble
Speaker 1: with Will Smith is he doesn't know that everything's crazy
Speaker 1: around him. Like, and what I walked away from that
Speaker 1: interview going, oh, Jim Carrey makes a lot more sense,
Speaker 1: you know, because he's aware of the craziness.
Speaker 3: Yeah, that's why he's a good impressionist. Yeah, he's a
Speaker 3: good impressionist. One of the reason he's a good impressionist
Speaker 3: is he goes, Oh, that's what they're hiding, or that's
Speaker 3: what they're that's what they're pushing forward. I know what
Speaker 3: they're pushing forward. I can, I can, that's I can
Speaker 3: pick up on that. Have you seen him as Matthew
Speaker 3: McConaughey on the Saturday on Saturday Live Jeopardy sketch replays
Speaker 3: Matthew McConaughey. Holy shit. The thing he gets perfectly right
Speaker 3: is the which I've interviewed, you know, mcconniey a few times.
Speaker 3: Is McConaughey trying to seem intelligent by waiting and sifting
Speaker 3: through answers with his eyes until he delivers the one
Speaker 3: he believes will make you go, wow, this guy's deep.
Speaker 3: And that's the bit he gets absolutely right.
Speaker 1: All right, let's let's wrap it up now because we
Speaker 1: have taken up a lot of your time, and think mate,
Speaker 1: thank you. Jane Kennedy gets the you won't See Nothing
Speaker 1: Yet Award for Most Dedication because you watched.
Speaker 3: Lord of the Rings trilogy trilogy and Lady and Maniac.
Speaker 1: She would have almost want it just for watching the
Speaker 1: Fellowship of the Ring. She went and watched to direct
Speaker 1: the start of all three. The research you have done
Speaker 1: after your own bat, you win the research.
Speaker 3: No, no, no, it wasn't off my own bat. And
Speaker 3: it's just because I was angry at the lack that
Speaker 3: Limo had done. It was a spite research. That's one
Speaker 3: of my key motivators. And the fact that when Hughesy
Speaker 3: did it he hadn't seen Pretty in Pink and I
Speaker 3: was like, yeah, but I bet we can't find a
Speaker 3: none false for a local farmboy film you haven't seen.
Speaker 1: Well. What I love about his podcast is that you
Speaker 1: can we interview I guess, range from you know, cinephiles
Speaker 1: like genuine film lovers, to people just love their movies
Speaker 1: and and and that's and that's what I do love.
Speaker 1: But I have love this is this films. Like I said,
Speaker 1: when you nominated this, I kind of thought, oh, geez one,
Speaker 1: it's a long film, and two am I gonna I
Speaker 1: didn think it'd be fun to talk to you back
Speaker 1: because it is Tom and the Cole. But I enjoyed
Speaker 1: this film so much more, Like I said, watching it
Speaker 1: for this podcast knowing I was going to chat to
Speaker 1: you about it in this time period, and I think
Speaker 1: I'll probably go back and watch it again.
Speaker 3: Oh yeah, if anyone hasn't seen it, it bears a watch.
Speaker 3: And then normally I so what's happened with film now
Speaker 3: is the whole world of compendiums and sort of like films.
Speaker 3: So Tony Martin was IMDb before IMDb was IMDb right,
Speaker 3: because he just remembers things. Now you can spend like
Speaker 3: this film, you can watch it and then I strongly
Speaker 3: recommend people if they're going to do it, go and
Speaker 3: listen to some of the podcasts and see some of
Speaker 3: the YouTube stuff. And some of these people are crazy,
Speaker 3: but there will research crazy and sometimes they're not because
Speaker 3: you're if someone wants you to pick up on things
Speaker 3: or not pick up on things. This is a great
Speaker 3: way of finding new stuff in films. It's just so
Speaker 3: good this era we're living in Pete. There's never been
Speaker 3: a better time to watch a film that you haven't
Speaker 3: seen and then see what see what went into getting
Speaker 3: it done, because it's just even there's twenty seconds of
Speaker 3: Harvey kai tell saying he just maybe walk through a
Speaker 3: door for the sixtieth time and just said fuck off.
Speaker 3: Even that you're like that is fantastic.
Speaker 1: Yeah, yeah, yeah, absolutely right. There is so much it's
Speaker 1: easy to dig deep. Used to be only twenty years ago,
Speaker 1: maybe twenty five years ago, it was just hopefully it's
Speaker 1: got a DVD commentary on it. Yeah, Now it's just
Speaker 1: it's just typed the film in and you can go
Speaker 1: down rabbit holes as well. Hey, thank you for having me,
Speaker 1: Thank you so much, mate, and let's just because you
Speaker 1: love this music, let's just go out on this. Okay,
Speaker 1: maybe this one in there you go, Ed Cavalley, I
Speaker 1: loved that chat. And I got to say when he
Speaker 1: nominated Ies Wide shirt, I was a bit Okay. I'd
Speaker 1: seen the film when it came out, and yeah, I
Speaker 1: hadn't really thought too much about it since. But like
Speaker 1: we mentioned watching it in twenty twenty five in the
Speaker 1: Shadow of Pddy and Epstein, it's a different watch and
Speaker 1: I really urge you, if you haven't check it out,
Speaker 1: to watch it again. And I think there are things
Speaker 1: I think, as Ed said, I think Kubrick was trying
Speaker 1: to tell us some things, some disturbing things. But yeah,
Speaker 1: thanks for making the time very busy man, and thank
Speaker 1: you for listening. Jasney Podcast at gmail dot com. If
Speaker 1: you want to send us an email or get on
Speaker 1: our speak pipe, follow the links and yeah, we'd love
Speaker 1: to love to hear from you. Next week on the show,
Speaker 1: we have a very special guest love. We had we
Speaker 1: had Lee Wenell a couple of weeks ago for Wolfman,
Speaker 1: and that was a bit of a different episode. And
Speaker 1: this also involves somebody on a junket and it's tricky
Speaker 1: to have people watch, you know, an entire film and
Speaker 1: to do some of the research and then come in
Speaker 1: and chat to me about that whilst they're doing a
Speaker 1: thousand other interviews. So I'm happy for the right people
Speaker 1: to play with the with the rules of Yasni, and
Speaker 1: this one will be worth it. He's an actor who
Speaker 1: I've admired for a long time and it really stroked
Speaker 1: to have him on Child Out of Four is a man.
Speaker 1: He's in town for Bridget Jones mad about the Boy,
Speaker 1: so we'll be chatting to him about that, but we'll
Speaker 1: also be chatting about some of the films he's made
Speaker 1: over the years. One in particular, I'm looking forward to
Speaker 1: chatting him about his Children of Men. What a movie
Speaker 1: that just every year seems to grow and grow. You know,
Speaker 1: there's movies that we look back and go, I wasn't
Speaker 1: a Blade Runner, Saw Shake, Redemption, films that weren't necessarily
Speaker 1: a massive hit upon release, but just grow and grow
Speaker 1: over the years, and I think Children of Men, more
Speaker 1: than any other film maybe made this century, is the
Speaker 1: film that's doing that. Also. Love Actually he was in
Speaker 1: Kinky Boots and of course Twelve Years of Slave, so
Speaker 1: there's a lot to talk that child had all about,
Speaker 1: and I cannot wait to sit down with him next time.
Speaker 1: You wint see nothing yet until then bucking out, And
Speaker 1: so we leave.
Speaker 3: Old Pete safe and soult.
Speaker 1: And to our friends of the radio audience, we've been
Speaker 1: a pleasant good night