WEBVTT - Ed Kavalee and Eyes Wide Shut 0:00:00.160 --> 0:00:02.040 Gid A Pete, Hell, are you here? Welcome to you 0:00:02.040 --> 0:00:04.360 Ain't seen nothing yet? The movie podcast where our chat 0:00:04.400 --> 0:00:06.760 to a movie lover about a classic or beloved the 0:00:06.760 --> 0:00:10.040 movie they haven't quite got around to watching until now. 0:00:10.440 --> 0:00:21.040 And today's guests broadcaster comedian Ed Cavally, all below. 0:00:21.480 --> 0:00:22.799 I want to stay here with you. 0:00:39.360 --> 0:00:41.880 Why snake shucked? Why fail? 0:00:43.080 --> 0:00:47.199 It would be happening right so you don't seeing nothing yet? 0:00:56.360 --> 0:00:59.160 Very excited about today's episode, and I'll keep this intro 0:00:59.400 --> 0:01:01.440 quick for a couple of reasons. One I want to 0:01:01.480 --> 0:01:04.280 get into the episode. But two I'm recording this intro 0:01:04.959 --> 0:01:08.000 just into my phone at an apartment I'm staying at 0:01:08.000 --> 0:01:10.600 in Sydney because we're in Tampa. Peter and a Starcatcher 0:01:11.280 --> 0:01:14.320 coming soon to Brisbane as well. Book tickets if you can. 0:01:14.640 --> 0:01:17.520 But the episode you're about to hear was recorded in 0:01:17.520 --> 0:01:20.840 our studio, so the same quality on this introduction isn't 0:01:20.880 --> 0:01:23.800 as good as the actual episode. I beg, I beg 0:01:23.959 --> 0:01:27.000 for your forgiveness. But Ed Cavally is somebody who has 0:01:27.200 --> 0:01:31.920 perhaps been the most requested guests of YASNY. People who 0:01:32.000 --> 0:01:37.280 know Ed know that he is a massive cinephile, loves 0:01:37.319 --> 0:01:40.760 his movies, and it's taken a while for us to 0:01:40.840 --> 0:01:44.479 negotiate what movie it might be, or just to find 0:01:44.840 --> 0:01:48.080 the movie that Ed could watch for you and seeing 0:01:48.080 --> 0:01:50.920 nothing yet we have an extensive list and he's seen 0:01:51.000 --> 0:01:54.520 all the movies on our list. We managed to get 0:01:54.520 --> 0:01:57.840 Tony Martin early on for Top Gun. People thought there 0:01:57.840 --> 0:02:01.480 wouldn't be a movie Tony hadn't seen. Lucky Hume. We 0:02:01.560 --> 0:02:06.600 also we had on and with with Ed, I thought 0:02:06.600 --> 0:02:09.359 it wasn't gonna happen. And then finally he sent me 0:02:09.360 --> 0:02:11.280 a message saying, you know what movie you haven't seen? 0:02:12.080 --> 0:02:14.240 Eyes Wise Shut. I think might be the only Coo 0:02:14.320 --> 0:02:17.520 Rick film he haven't seen, so to close in his 0:02:17.600 --> 0:02:20.240 Cricke collection, He's gotting Eyes by Shut for us today. 0:02:20.240 --> 0:02:23.200 For those who may not live in Australia may not 0:02:23.320 --> 0:02:30.400 know Ed. He is a comedian broadcaster radio TV, perhaps 0:02:30.960 --> 0:02:33.320 now best known for his role on Have You Been 0:02:33.320 --> 0:02:38.080 Paying Attention? A comedy panel show that he is a 0:02:38.200 --> 0:02:42.560 series regular. Every week he'll be there alongside Sampang and 0:02:43.000 --> 0:02:47.600 hosted of course by Tom Weisner. And it is it 0:02:47.639 --> 0:02:50.160 has become an institution that show. I get to do 0:02:50.200 --> 0:02:52.880 it a few times a year and it's an absolute joy. 0:02:53.120 --> 0:02:58.560 People love it. It's one of the biggest shows on Freeware TV, 0:02:59.000 --> 0:03:01.520 and it's yeah, I'd love going on it and I 0:03:01.520 --> 0:03:05.040 love watching it as well. But Ed also he has 0:03:05.120 --> 0:03:09.680 made movies. I've been able to be in the couple 0:03:09.760 --> 0:03:13.079 of those movies. One big role in the movie is 0:03:13.160 --> 0:03:18.200 called Border Protection, and scum Bass was another one. And 0:03:18.440 --> 0:03:20.600 I'm not sure if if I can say this, but 0:03:20.680 --> 0:03:25.040 I know he's cooking something else up and hopefully that 0:03:25.080 --> 0:03:28.280 gets up. But yeah, it's a great guy, funny, smart, 0:03:28.760 --> 0:03:32.280 and I'm bloody stokes to be hanging with him today. 0:03:36.120 --> 0:03:40.560 Hello, im Ed Cavali and my three favorite films are Clerks. 0:03:40.800 --> 0:03:42.880 Everybody that comes in here is way too uptake. 0:03:43.160 --> 0:03:45.800 Still haven't begret if it wasn't for the fucking customers 0:03:45.840 --> 0:03:48.320 with nail and eye he's had miss weigh fifteen pounds 0:03:48.320 --> 0:03:48.840 on its own. 0:03:51.440 --> 0:03:53.480 Imagine the size of his balls. 0:03:53.480 --> 0:03:58.400 And life of Brian, my sire, I'm not the Merssiah, 0:03:58.760 --> 0:04:00.800 I say you are, and I should know. 0:04:00.880 --> 0:04:01.440 I've put it. 0:04:01.480 --> 0:04:04.760 A few but until this week, I had never seen 0:04:05.360 --> 0:04:09.480 Stanley Kubrick's final film, nineteen ninety nine's Eyes Wide Shut. 0:04:10.480 --> 0:04:12.400 May I have the password? 0:04:12.520 --> 0:04:12.880 Please? 0:04:16.279 --> 0:04:16.839 For Delia. 0:04:18.279 --> 0:04:18.800 That's right. 0:04:20.440 --> 0:04:26.200 That is the password for admit. But may I ask 0:04:26.440 --> 0:04:36.719 what is the password for the house? The password for 0:04:36.839 --> 0:04:57.720 the house? Yes, I'm sorry, Hey, I as seem to have. 0:05:00.080 --> 0:05:00.600 Forgotten it. 0:05:03.320 --> 0:05:09.120 That's unfortunate because here it doesn't matter whether you have 0:05:09.560 --> 0:05:13.080 forgotten it or if you never knew it. 0:05:15.279 --> 0:05:22.240 You will kindly remove your mask. It's nineteen ninety nine, 0:05:22.320 --> 0:05:26.520 possibly the best movie year ever, and Hollywood's biggest power couple, 0:05:26.640 --> 0:05:29.360 Tom Cruise and the Cole Kimmen have handed over their 0:05:29.400 --> 0:05:32.440 lives for over two years to want to Cinema's greatest director, 0:05:32.520 --> 0:05:36.800 Stanley Kubrick to make Eyes Wide Shut, an erotic psycho 0:05:36.880 --> 0:05:41.240 thriller that follows Cruiser's Manhattan doctor Bill over a night 0:05:41.480 --> 0:05:44.640 as he learns of his wife's unfulfilled longing for a 0:05:44.760 --> 0:05:48.159 naval officer. His wife played by, of course our Neck. 0:05:48.600 --> 0:05:51.360 As Bill cruises the streets of New York, he has 0:05:51.400 --> 0:05:54.720 a bizarre running with a grieving woman, visits a sex 0:05:54.760 --> 0:05:59.320 worker in her apartment, stumbles upon possibly the creepiest costume 0:05:59.320 --> 0:06:02.839 shop in the world. Hopefully innovation nigains are happening at Lombards, 0:06:05.600 --> 0:06:07.599 But when he gets up with his old college Pader 0:06:07.720 --> 0:06:10.400 Nick Nightingale played by Todd Field, who would go on 0:06:10.440 --> 0:06:14.080 and become a director of considerable esteem himself. It's this 0:06:14.200 --> 0:06:17.640 meeting that sends Bill into a covert, cult like orgy 0:06:17.720 --> 0:06:21.800 that will have fatal ramifications for some all the world, 0:06:21.800 --> 0:06:25.840 testing the strength of his marriage. Based on Arthur Schnitzler's 0:06:26.000 --> 0:06:29.400 novel tron Novale, written by Kubrick and Frederick Rafia Eyes, 0:06:29.440 --> 0:06:32.400 Wild Shut will be the Great Stanley Kubrick's final film, 0:06:32.440 --> 0:06:35.720 passing Away, a mere four days after presenting his cut 0:06:35.960 --> 0:06:38.520 to Warner Brothers, Ed Cavalley just checking you have the 0:06:38.560 --> 0:06:40.000 password for to Night's orgy, don't you? Yeah? 0:06:40.040 --> 0:06:40.560 Absolutely, I do. 0:06:40.600 --> 0:06:44.640 It's Lombards Lombard and it's a Gleisner's place. 0:06:44.720 --> 0:06:49.120 Yeah, yeah, yeah, which one? Do you know that in 0:06:49.120 --> 0:06:53.800 one of Tommy's mansions all the rooms locked from the outside, 0:06:54.000 --> 0:07:02.680 inside and below. Well, once you're in your yeah, which 0:07:02.720 --> 0:07:05.040 is what he'll often say, but it comes out because 0:07:05.080 --> 0:07:06.520 of course he's got his bag egg in. 0:07:09.440 --> 0:07:10.360 It's a hot start. 0:07:12.280 --> 0:07:13.080 Is that what we're here for? 0:07:13.560 --> 0:07:19.360 That's basically this is this is this. It feels like 0:07:19.400 --> 0:07:21.200 a big day for you. Ain't seeing nothing yet. You 0:07:21.520 --> 0:07:23.800 were one of the most requested I guess we've had 0:07:24.560 --> 0:07:28.520 for this podcast. We've spoken about you coming on, and 0:07:28.560 --> 0:07:31.200 it's just been it's been hard to find a film. 0:07:32.080 --> 0:07:34.880 I've got a huge list, and most people come back 0:07:34.920 --> 0:07:36.800 and they go, well, there's so many films I haven't seen. 0:07:37.040 --> 0:07:40.200 He's a dozen, pick one, and you were like, I've 0:07:40.200 --> 0:07:40.720 seen them all. 0:07:40.800 --> 0:07:43.440 Yes, I'm sorry. I didn't mean to be difficult, but 0:07:43.520 --> 0:07:46.280 I went through the list and well you were honest. Yeah, 0:07:46.640 --> 0:07:49.600 Well because Tone was on. When when Tone was on 0:07:49.680 --> 0:07:52.360 and he hadn't seen Top Gun, I was like, okay, 0:07:52.840 --> 0:07:55.400 we've got to change the framework a bit to go. 0:07:55.520 --> 0:07:56.760 And then when I listened to the show and I 0:07:56.760 --> 0:08:00.440 remember when Rossi hadn't seen Wake in Fright, I was like, okay, 0:08:00.680 --> 0:08:01.920 I sort of because you know, I listened to the 0:08:01.920 --> 0:08:04.600 show when Limo hadn't seen with Mail and I I 0:08:04.640 --> 0:08:06.360 was like, he's going to hate this, and of course 0:08:06.400 --> 0:08:08.760 he did, and I just remember thinking the fuck is 0:08:08.800 --> 0:08:15.400 wrong with that guy anyway. But so when you gave 0:08:15.440 --> 0:08:17.440 me the list, I wasn't trying to be a wanker, 0:08:17.480 --> 0:08:19.320 even though I am, I've seen them all. And then 0:08:19.360 --> 0:08:21.680 I went back because but why had I seen them all? 0:08:22.000 --> 0:08:24.360 People normally know why why have I seen them all, Pete? 0:08:24.440 --> 0:08:26.720 Because because you're no. 0:08:26.800 --> 0:08:28.600 Because I worked in a video store from the age 0:08:28.640 --> 0:08:31.640 of fourteen to twenty five, So because I was there 0:08:31.680 --> 0:08:35.040 three days a week, and I have told this story before, 0:08:35.040 --> 0:08:37.200 but I had two I was very lucky my two bosses, 0:08:37.679 --> 0:08:41.200 one Pete, who was an Englishman who was a music expert, 0:08:41.320 --> 0:08:44.760 and my other boss, Rob, he was a film expert. 0:08:44.920 --> 0:08:46.840 And so here I am fifteen year old kid, just 0:08:46.840 --> 0:08:48.600 want to play a bit of Super Nintendo please, and 0:08:48.600 --> 0:08:51.280 can I have a sprite? And why all the curls 0:08:51.280 --> 0:08:54.240 who come in here who are absolutely stunning, they are customed. 0:08:54.280 --> 0:08:56.640 The boyfriends that they brought with them were so much 0:08:56.640 --> 0:08:59.040 more interesting than I was. So I had a choice 0:08:59.120 --> 0:09:00.840 either be upset about it or go watch a film. 0:09:00.840 --> 0:09:02.080 So I would go watch a film. And so I 0:09:02.080 --> 0:09:04.600 would go and try and get like you know, Ernest 0:09:04.640 --> 0:09:08.240 goes to camp and Operation Jumbo drop and Dunston checks 0:09:08.280 --> 0:09:10.800 in and I would take them up. And my boss Rob, 0:09:10.840 --> 0:09:12.800 who was a writer, and he had a film in 0:09:12.840 --> 0:09:15.560 the video store that he had written. And ironically this 0:09:15.600 --> 0:09:17.520 is why also I picked Eyes White Shut, because of 0:09:17.559 --> 0:09:19.760 course I'm working at the video store in nineteen ninety 0:09:19.800 --> 0:09:21.320 nine and I have a bizarre link to this film 0:09:21.320 --> 0:09:25.280 which which hopefully will come to But Rob had a film, 0:09:25.320 --> 0:09:28.760 an erotic thriller that he'd written called Centerfold that when 0:09:28.800 --> 0:09:31.480 the studio got hold of they took out all of 0:09:31.520 --> 0:09:35.520 the thriller and turned it into a porner. So the 0:09:35.559 --> 0:09:39.160 man working at the video store with me had one 0:09:39.240 --> 0:09:41.640 film that he had written on the shelves, which was 0:09:41.679 --> 0:09:44.000 a porner, right, which he kept secret from me for 0:09:44.160 --> 0:09:46.840 years until a customer told me. Right, a customer once 0:09:46.880 --> 0:09:48.960 he was joking about it with him and I was like, 0:09:48.960 --> 0:09:50.079 what are you talking me? And he's like, all right, 0:09:50.080 --> 0:09:51.520 come on, and then he showed me the back of 0:09:51.520 --> 0:09:53.679 the box with his name, Robert Fogda. Anyway, so the 0:09:53.720 --> 0:09:55.280 reason I bring out of me. So I would bring 0:09:55.360 --> 0:09:58.040 sort of you know, shitty movies up to the counter 0:09:58.480 --> 0:10:00.360 and Rob and Pete would look at the and go 0:10:00.360 --> 0:10:02.160 you're not taking those, And I go what do you mean? 0:10:02.200 --> 0:10:03.599 They go, no, you can't watch that. You've got to 0:10:03.600 --> 0:10:05.000 watch and they would give me a list and they 0:10:05.000 --> 0:10:06.679 would send me back into the store. They were in 0:10:07.240 --> 0:10:11.200 news in Sydney, and my three bosses another guy call Dwayne, 0:10:11.200 --> 0:10:12.960 and they would send me back into the store with 0:10:13.000 --> 0:10:15.440 a list of good films to watch that I then 0:10:15.520 --> 0:10:17.480 had to go home and watch and then come back. 0:10:17.760 --> 0:10:20.480 And so I was forced into this sort of film 0:10:20.600 --> 0:10:24.080 education by these these by these these sort of film experts. 0:10:24.200 --> 0:10:27.600 So that's how I've ended up watching sort of everything. 0:10:27.600 --> 0:10:29.480 And that's why Tony liked me. Because when I first 0:10:29.520 --> 0:10:33.199 met Tony at the party for Boytown, I was twenty four, 0:10:33.320 --> 0:10:35.640 and he said, what's your favorite film? And I said, 0:10:35.640 --> 0:10:37.960 with Nail and I And he says to this day 0:10:38.000 --> 0:10:39.440 that's why. That's when he decided I was just going 0:10:39.480 --> 0:10:41.120 to put this kid and get this because he understands 0:10:41.120 --> 0:10:43.360 because no one says that. So that's sort of that's 0:10:43.360 --> 0:10:45.800 how it happened. But just quickly. The bizarre connection to 0:10:45.840 --> 0:10:49.120 this film is so in nineteen ninety nine when the 0:10:49.120 --> 0:10:52.440 film comes out, so Tom Cruise and Nicole Kidman are 0:10:52.840 --> 0:10:56.240 still married, right, Yeah, they don't break up. People think 0:10:56.280 --> 0:10:57.160 this film broke them up. 0:10:57.440 --> 0:10:58.720 Two years later, I think they broke up. 0:10:58.800 --> 0:11:01.080 She says many times that they were happily married during 0:11:01.120 --> 0:11:03.760 this Yep, so it didn't do that. But while they 0:11:03.800 --> 0:11:06.080 were while this film was coming out. I remember it 0:11:06.160 --> 0:11:09.440 because in nineteen ninety nine best film movie you ever. 0:11:09.480 --> 0:11:12.040 So anyway, those films start to come out on video 0:11:12.120 --> 0:11:15.280 at the end of ninety nine into two thousand so, 0:11:15.600 --> 0:11:18.280 and I remember very very clearly one day, so there 0:11:18.320 --> 0:11:22.439 was this weirdness because my boss sometimes would just disappear 0:11:22.440 --> 0:11:24.439 into the store with the customer Rob. He would just 0:11:24.480 --> 0:11:26.040 disappear into the store and he would do like a 0:11:26.080 --> 0:11:28.640 huge like a film festival for them and curate films 0:11:28.640 --> 0:11:30.760 for them. And here were the famous people that went 0:11:30.800 --> 0:11:34.680 to this video store. Tony Perrin, John Ibrahim, the last 0:11:34.760 --> 0:11:38.880 King of the Cross, right, right, and a Kimberly Joseph, 0:11:39.040 --> 0:11:41.439 and then a number of people who since then I'm 0:11:41.600 --> 0:11:43.280 meant to know who they are, but I didn't at 0:11:43.280 --> 0:11:46.000 the time, right, And this happened one day Rob disappeared 0:11:46.000 --> 0:11:48.240 into the store with this middle aged guy and he 0:11:48.320 --> 0:11:50.760 came back with more movies than I've ever seen anyone have, 0:11:50.920 --> 0:11:52.559 Like even the old guys that used to get ten 0:11:52.600 --> 0:11:55.120 pornos for ten dollars for a week, right, good guys, 0:11:55.440 --> 0:11:57.840 you did. And you always knew when they finished watching him, 0:11:57.840 --> 0:11:59.920 because they'd never rewind it. They just stopped where they were. 0:12:05.440 --> 0:12:08.920 So part of my day with just in the big 0:12:08.920 --> 0:12:10.800 with this big rewinding machine. You just go, all right, 0:12:10.840 --> 0:12:14.040 he must have that's a bit. And I'm like, I 0:12:14.120 --> 0:12:16.040 said to Rob Ones, why am I rewinding these? Why 0:12:16.080 --> 0:12:18.280 can't people just pick them up from where they left off? 0:12:18.440 --> 0:12:21.160 You know what I mean? Anyway, didn't They've got other 0:12:21.200 --> 0:12:24.760 things they need to do, true anyway, and what do 0:12:24.760 --> 0:12:26.280 he needs seven of them? Like, you can't just watch 0:12:26.280 --> 0:12:28.240 the end of this one anyway. So they he came 0:12:28.240 --> 0:12:30.240 back one day with this with they do the more 0:12:30.320 --> 0:12:32.320 movies I've ever seen in my life. And I was like, 0:12:32.520 --> 0:12:34.439 that happened, And then it happened again a week later, 0:12:34.720 --> 0:12:37.120 same dude during the day, sort of in the afternoon, 0:12:37.320 --> 0:12:41.160 just just you know, not knock about guy. No, no, no, 0:12:41.360 --> 0:12:43.440 I never thought anything of it, right, And then a 0:12:43.520 --> 0:12:45.839 year later I see Rob typing out a letter or 0:12:45.880 --> 0:12:48.000 sort of an email, an early email letter, and he's angry, 0:12:48.280 --> 0:12:49.679 and I go, what's so, who's that to? And he goes, 0:12:49.679 --> 0:12:51.600 that's to the studio. I said, the studio, what are 0:12:51.640 --> 0:12:53.319 you talking about? He goes, yeah, that guy. You know, 0:12:53.360 --> 0:12:55.440 they always money, they always they was like eighty bucks 0:12:55.480 --> 0:12:57.680 in late fees and two hundred dollars in late fees 0:12:57.679 --> 0:12:59.600 for this and two hundred dolls for and I go, okay, 0:12:59.640 --> 0:13:01.400 who what the guys? Who was that? And he goes, 0:13:01.440 --> 0:13:04.319 that guy his name is fucking Robert Town. He wrote Chinatown, 0:13:04.600 --> 0:13:07.240 and he's out here doing rewrites on Mission Impossible too 0:13:07.280 --> 0:13:10.200 with Tom Cruise, and he fucking knows this money right 0:13:10.840 --> 0:13:14.760 fucking now. So when I was like seventeen, there was 0:13:14.760 --> 0:13:17.720 my boss wandering and wandering the halls of the video store, 0:13:17.960 --> 0:13:21.840 helping Robert Town find movies for inspiration for Mission Impossible. 0:13:21.840 --> 0:13:23.280 To the bloke that wrote Chinatown. 0:13:24.280 --> 0:13:25.920 That is fucking incredible. 0:13:25.920 --> 0:13:26.600 Isn't that crazy? 0:13:27.320 --> 0:13:29.840 That's incredible? Yeah, Robert Town. 0:13:29.679 --> 0:13:31.400 Yeah, just wandering And I didn't know. I didn't know 0:13:31.440 --> 0:13:34.160 till and even then because then that made me watch Chinatown. 0:13:34.160 --> 0:13:35.800 That's what we think of it. I go, well, he right, 0:13:35.840 --> 0:13:38.000 he goes Chinatown, I know, I don't know, and goes 0:13:38.200 --> 0:13:40.640 God's sake here, and I said did, I said, why 0:13:40.640 --> 0:13:42.760 do you get him to sign our copy? And he's 0:13:42.840 --> 0:13:44.800 only want to be a fan because he was a writer, 0:13:44.920 --> 0:13:46.680 So he wanted to be a writer with Robert. 0:13:46.520 --> 0:13:49.720 Town, right, that great is amazing. 0:13:49.920 --> 0:13:51.720 So anyway, the reason I bring that up is because 0:13:51.760 --> 0:13:54.360 that's what Tom Cruise left this film to come and 0:13:54.400 --> 0:13:57.320 do in Sydney, and part of the reason they did 0:13:57.360 --> 0:13:59.000 it there was because he was still he was married 0:13:59.040 --> 0:14:01.480 to Nicole Kidman, and they coming back here after filming 0:14:01.520 --> 0:14:02.319 Eyes White Shut. 0:14:02.920 --> 0:14:06.880 And when he's filming Eyeswold Shut, Paul Thomas Anderson visits 0:14:06.960 --> 0:14:08.520 him on set to offer him the role of t. J. 0:14:08.679 --> 0:14:12.599 Mackett in Magnolia, which is one possibly Tom Cruise's greatest performance. 0:14:12.679 --> 0:14:15.440 And then he when he's out filming mission impossible to 0:14:15.559 --> 0:14:19.040 hear my friend Joel Perlman, who I show you organized 0:14:19.240 --> 0:14:25.760 organize the first audience, you know, test screening of Magnolia 0:14:25.920 --> 0:14:28.960 for Tom Cruise and Paul Thomas anders WHOA yeah, and 0:14:29.000 --> 0:14:31.720 it was even longer than like, And Joel tells me 0:14:31.800 --> 0:14:33.760 like it was almost like four hours and and people 0:14:33.840 --> 0:14:36.120 were leaving at some point, and Joel kind of chased 0:14:36.160 --> 0:14:38.320 him into the into the four and said, oh, you know, 0:14:38.440 --> 0:14:40.240 can I just get you a bit of feedback you're 0:14:40.320 --> 0:14:41.680 enjoying it is? Yeah, I love it, but I need 0:14:41.720 --> 0:14:44.920 to I'm going to get the kids a craation in 0:14:44.960 --> 0:14:49.640 the morning, you know, baby citizen. So yeah, there you go. 0:14:49.760 --> 0:14:52.520 So I can't wait to get stuck into iwod shut 0:14:52.880 --> 0:14:55.840 it's already no, no, no, you haven't. This is amazing. 0:14:55.880 --> 0:14:57.280 But I want to talk about your three favorite films 0:14:57.280 --> 0:14:58.960 before we get into it. Let's start with Nail and 0:14:59.040 --> 0:15:02.840 Night it is it's funny. I had not seen it either, 0:15:03.080 --> 0:15:07.400 like when I with Limo, and it is a film 0:15:07.440 --> 0:15:11.120 that I regret not seeing earlier. 0:15:11.240 --> 0:15:15.760 Yeah, it's a like there's two things that can really 0:15:15.840 --> 0:15:18.160 give there's three things that can make a film almost 0:15:18.160 --> 0:15:23.720 impossible to watch outdated special effects, too much hype and 0:15:24.400 --> 0:15:28.560 a lack of sort of too much hype special effects, 0:15:28.640 --> 0:15:31.320 and sort of the look of it. What I mean 0:15:31.360 --> 0:15:32.760 by the look of it is like you put on 0:15:32.800 --> 0:15:35.640 Lawrence of Arabia now and you just like, holy shit, 0:15:36.080 --> 0:15:38.760 those are real horses. Like it's still what the fuck 0:15:38.800 --> 0:15:39.280 is going on? 0:15:39.440 --> 0:15:39.680 Right? 0:15:39.920 --> 0:15:42.360 But that with aline stuffers from a couple of things 0:15:42.360 --> 0:15:46.480 where and it's always in lists. Always beware of films 0:15:46.480 --> 0:15:50.080 in lists, because especially comedies, because I know it always 0:15:50.400 --> 0:15:53.000 an often tops comedy list. And to comedians, you tell 0:15:53.040 --> 0:15:56.200 a comedian, you tell us that something's funny, and it's 0:15:56.200 --> 0:15:58.600 the top of the list of that funny. In our head, 0:15:58.600 --> 0:16:02.040 we've already got a hierarchy of everything. You know, Rob 0:16:02.040 --> 0:16:05.000 Situways talks about how quickly comedians can build hierarchies in 0:16:05.040 --> 0:16:07.160 their head straight away they can give you their top five. 0:16:07.440 --> 0:16:10.480 That's just how part of our minds were. You can't 0:16:10.480 --> 0:16:12.840 watch it like that. You just can't. You can't watch 0:16:12.840 --> 0:16:15.120 with now night. It's too weird, it's too slow to 0:16:15.160 --> 0:16:18.400 get started. It's so hurt by that sort of jazz intro. 0:16:19.160 --> 0:16:22.840 It's so killed by that because you can't then enjoy 0:16:22.880 --> 0:16:25.560 it for what. You can't enjoy it after that. If 0:16:25.600 --> 0:16:27.200 you're coming to it now thinking this is going to 0:16:27.240 --> 0:16:29.200 be the funniest film of all time, and that's when 0:16:29.240 --> 0:16:31.120 to the joke start. That's exactly it's going on. 0:16:31.360 --> 0:16:35.000 I came so you can't do it, and then it 0:16:35.040 --> 0:16:38.200 was actually, by the end, I enjoyed it, and then 0:16:38.240 --> 0:16:41.000 I enjoyed it more. I think Limo did as well. Actually, 0:16:41.280 --> 0:16:42.920 and this happens quite a bit on this podcast where 0:16:42.920 --> 0:16:44.840 we chat about the film with this watch yeah, And 0:16:44.880 --> 0:16:47.200 I always make the point my guess is always and 0:16:47.240 --> 0:16:49.840 sometimes me as well. Processing a film they have just seen. 0:16:49.880 --> 0:16:52.000 This is not a film that has been on the 0:16:53.120 --> 0:16:57.440 top three five. So by the end the discussion was like, yeah, no, 0:16:57.560 --> 0:16:59.440 I'm gonna watch it again. I had watched, I have 0:16:59.520 --> 0:17:02.040 watched again, like in the last six months, and I 0:17:02.160 --> 0:17:06.840 enjoyed it a lot more. So I think it's it's 0:17:06.920 --> 0:17:09.520 anywhere close to my top three, top five, top ten. No, 0:17:09.560 --> 0:17:11.960 it's not. But but like I said, I still regret 0:17:12.040 --> 0:17:16.200 not seeing it earlier, but I enjoyed it more when 0:17:16.240 --> 0:17:17.000 the pressure was off. 0:17:17.080 --> 0:17:19.800 Yeah, one hundred percent. So you know, the other way 0:17:19.800 --> 0:17:22.840 to look at with Mail and I two is it's 0:17:23.400 --> 0:17:27.680 it's about it's weirdly exactly about now. So it's about 0:17:27.720 --> 0:17:30.040 two actors. They're struggling for work, and they're dealing with 0:17:30.040 --> 0:17:32.359 it in different ways. One's just trying to destroy himself 0:17:32.359 --> 0:17:34.520 through booze et cetera, et cetera, where the other ones 0:17:34.560 --> 0:17:36.159 just sort of calmly, sort of just trying to go 0:17:36.200 --> 0:17:38.280 through the motions of see, all right, can I get 0:17:38.280 --> 0:17:39.600 some work? And he end to sort of get some 0:17:39.680 --> 0:17:43.040 work in the end. It's incredibly modern because it's now. 0:17:43.400 --> 0:17:45.119 If you watched it now with none of that on 0:17:45.160 --> 0:17:47.000 top of it. Let's say they just remade it, and 0:17:47.040 --> 0:17:49.240 they just remade it today, and they had the same 0:17:49.359 --> 0:17:51.880 script and they just moved they weren't in there. They 0:17:51.920 --> 0:17:54.480 lived in a sort of semi share house in an 0:17:54.560 --> 0:17:57.040 inner city part of the world, somewhere like that, and 0:17:57.080 --> 0:17:59.440 they were just trying now to have a creative career. 0:17:59.480 --> 0:18:02.000 I guarante team millennials will be like, Yes, that's what 0:18:02.080 --> 0:18:03.920 I wish. I wish I want to be a YouTube star, 0:18:04.000 --> 0:18:05.399 I want to be this, I want to be that, 0:18:05.600 --> 0:18:08.399 because it's about ambition and not knowing what to do 0:18:08.480 --> 0:18:10.879 to close the gap between what you think your abilities 0:18:10.880 --> 0:18:13.560 are versus what you're being sort of dealt with and 0:18:13.600 --> 0:18:16.560 whose fault that is. It's about who's fault with our lives, 0:18:16.600 --> 0:18:19.080 about whose fault your life is like this and so 0:18:19.119 --> 0:18:21.680 then that, and so the jokes in it are all 0:18:21.720 --> 0:18:25.399 about frustration. Every single joke is about frustration. Even Uncle Monty, 0:18:25.960 --> 0:18:28.760 you know, when you realize you're never going to play 0:18:28.800 --> 0:18:31.639 the Dean and then and then he goes pulling the 0:18:31.680 --> 0:18:35.800 cancers to him he's insane, sxual and and you know, 0:18:35.880 --> 0:18:40.359 and Richardie Grant says to him, he's eccentric. Right, So 0:18:40.440 --> 0:18:42.280 the joke if I reckon, if you read the script, 0:18:42.320 --> 0:18:44.920 you would have got more laughs because there's jokes. There's 0:18:44.960 --> 0:18:47.399 so many jokes in it. But they're just not fraying 0:18:47.480 --> 0:18:50.760 that when the film starts. Bruce Robinson, cause it's all 0:18:50.760 --> 0:18:53.119 based on his life, right, So you know Monty is Fellini. 0:18:53.880 --> 0:18:56.159 So yeah, so no, the other one, the one that 0:18:56.200 --> 0:19:00.480 did the semi nude Romeo and Juliet, the Italian director. No, 0:19:00.600 --> 0:19:02.040 not for any of the other one. It'll come to me. 0:19:02.840 --> 0:19:06.119 Uncle Monty is based on his experiences working with a 0:19:06.160 --> 0:19:09.280 lecherous old director. So it's even more current if you 0:19:09.280 --> 0:19:11.399 put it in that context as well, rather than just 0:19:11.440 --> 0:19:15.280 sort of a posh English lord type. And so it's 0:19:15.359 --> 0:19:19.280 him working through that experience, working because Bruce Robinson's stunning 0:19:19.320 --> 0:19:21.520 when he's young, He's like the most beautiful young man 0:19:21.560 --> 0:19:23.600 in the whole world, and so he gets cast by 0:19:23.600 --> 0:19:25.040 this guy. I think it's in Romeo and Julia. I 0:19:25.080 --> 0:19:26.879 think that's the film he's talking about. And there's a 0:19:26.920 --> 0:19:32.000 line where Uncle Monty says to McGahan's character after he 0:19:32.080 --> 0:19:35.199 started to sort of you make love to him, and 0:19:35.280 --> 0:19:38.159 he says, I'm preparing myself to forgive you. And that 0:19:38.320 --> 0:19:42.520 is a line. Yeah, but that's a line that after 0:19:43.000 --> 0:19:46.040 this director, this Italian director of the real one, had 0:19:46.080 --> 0:19:49.680 seen the script, had said to said to Bruce Robinson 0:19:49.720 --> 0:19:51.400 after he read it and realized it was about him. 0:19:51.920 --> 0:19:54.360 I'm preparing myself to forgive you. And I know that 0:19:54.440 --> 0:19:57.440 because when I did get this with tone, he said 0:19:57.480 --> 0:19:59.280 to me, who would you like to interview? 0:19:59.800 --> 0:19:59.919 Right? 0:20:00.040 --> 0:20:01.400 And I just, you know, it's a freaking street card. 0:20:01.560 --> 0:20:04.720 I was, you know, it's a hand out the coach guy, 0:20:05.240 --> 0:20:07.600 and I said, my dream would be Richidie Grant from 0:20:07.600 --> 0:20:09.560 with Now And he was the first interview we ever had. 0:20:09.760 --> 0:20:11.840 The first interview we ever had was with Richard E. Grant. 0:20:12.040 --> 0:20:13.480 And then years later, I've got a photo in my 0:20:13.480 --> 0:20:15.320 phone which I can send to you of me interviewing 0:20:15.320 --> 0:20:18.840 Paul mcghan and I'm just nerding out. I was just 0:20:18.880 --> 0:20:21.240 having the best time in life. And I said to 0:20:21.320 --> 0:20:24.399 him that line, I'm preparing myself to forgive you, and 0:20:24.440 --> 0:20:27.280 he stops and he goes, that's so funny. Pick that 0:20:27.320 --> 0:20:29.440 up because it's weird. It's a different type of joke. 0:20:29.680 --> 0:20:32.200 And he goes, oh, that's so weird. That's brutes talking 0:20:32.200 --> 0:20:35.520 about this director, which he told me on set, that 0:20:35.680 --> 0:20:36.600 is amazing. That's great. 0:20:37.160 --> 0:20:39.840 Yeah, I do like I think. I think it's a 0:20:39.840 --> 0:20:41.800 film that I and I'm not just saying it's a 0:20:41.800 --> 0:20:43.879 film that I reckon, I'll watch again. 0:20:44.359 --> 0:20:46.040 What was the print like? Was it dark? 0:20:46.480 --> 0:20:46.760 It was? 0:20:46.880 --> 0:20:49.119 Yeah, so that's a print thing. So I had the 0:20:49.240 --> 0:20:51.760 VHS where it was dark. And then as a gift 0:20:51.840 --> 0:20:53.720 to one of the things first things Tone did is 0:20:53.760 --> 0:20:56.560 he gave me and it's Tony, He's got every print ever. 0:20:57.000 --> 0:20:59.560 He gave me a new print and he goes, no, no, no, 0:20:59.560 --> 0:21:01.800 you're missing it. It's not dark. And it was the 0:21:01.880 --> 0:21:04.639 VHS that we got in Australia with such a poor 0:21:04.680 --> 0:21:07.600 copy from handmade films because they just didn't care or 0:21:07.760 --> 0:21:09.919 didn't care, they didn't really have the technology or the money. 0:21:10.080 --> 0:21:11.920 And when you see it in the proper, when it's 0:21:11.960 --> 0:21:14.879 meant to look, it's bright and the backgrounds are like 0:21:14.960 --> 0:21:18.160 Kubrick are full of detail. So when they go from 0:21:18.160 --> 0:21:21.320 the shitty London gray that's on purpose, yes, of course. 0:21:21.359 --> 0:21:23.160 But then when they go to the country sid it's 0:21:23.280 --> 0:21:27.200 rich and it looks beautiful, and so you get, oh, okay, it's. 0:21:27.040 --> 0:21:29.560 Almost what you're doing. I feel the relief when they 0:21:29.560 --> 0:21:32.040 get to the country side, which is actually that's amazing. 0:21:32.080 --> 0:21:34.520 That's great, Yes, that is great. Let's say about clerks 0:21:35.080 --> 0:21:38.800 never apologize pleasing clerks. There's that the love of that 0:21:38.880 --> 0:21:41.399 come from, you know, being behind a desk at a 0:21:41.480 --> 0:21:44.040 video store. I no, clerks isn't set in the video store. 0:21:43.920 --> 0:21:46.080 Yeah, it is. Half of it is next Randall's next door. 0:21:47.119 --> 0:21:50.720 Yeah, there's like there's seven eleven and then there Randall's. 0:21:50.400 --> 0:21:54.280 And the video Yeah. Because so I'm obviously I'm twelve, 0:21:54.560 --> 0:21:57.720 No twelve, No, I'm fourteen. I walked to the local 0:21:58.240 --> 0:22:00.000 Civic Video at the time. I worked there so long 0:22:00.119 --> 0:22:02.399 that we were every single one. I was Civic, I 0:22:02.480 --> 0:22:05.560 was Blockbuster, I was Video Easy, I was independent. I've 0:22:05.600 --> 0:22:07.920 got the name tag from every single type. I worked 0:22:07.920 --> 0:22:11.480 there for so long, love it right. So one day 0:22:11.480 --> 0:22:14.919 I'm there in I never forget. I'm now sixteen sixteen, sixteen, 0:22:14.960 --> 0:22:17.719 fifteen six sixteen, I think it was. And my boss, 0:22:17.840 --> 0:22:20.439 he would go through. Pete would go through all of 0:22:20.480 --> 0:22:23.600 the magazines, the film magazines, to see what the what 0:22:23.720 --> 0:22:25.800 interesting movies were coming out. So we would get like 0:22:25.840 --> 0:22:28.480 one hundred copies of Dante's Peak. Right, But because we 0:22:28.560 --> 0:22:31.520 developed this reputation, anyone who's listening to this in Sydney, 0:22:31.520 --> 0:22:32.880 there were two of us. There was doctor Watt, which 0:22:32.920 --> 0:22:35.280 is in Bonda Junction, and there were Civic Video, Rose Bay, 0:22:35.680 --> 0:22:37.359 New South had Road and Old Tathead wrote and they 0:22:37.400 --> 0:22:40.840 were known as places that film like not buffs, but 0:22:40.840 --> 0:22:43.199 people who wanted good movies will go because of these 0:22:43.280 --> 0:22:45.680 dudes like Tarantino's story and know how Tarantino talks about 0:22:45.720 --> 0:22:48.800 him in Manhattan Beach with Robert Roger Avery, That's like 0:22:49.280 --> 0:22:51.479 that was exactly what was going on where I was. 0:22:51.640 --> 0:22:53.840 These two guys and Duyne. The other thing, they were 0:22:53.880 --> 0:22:56.560 so knowledgeable that people would just wandering and then just 0:22:56.560 --> 0:22:58.159 like just go and hang out with them, and you know, 0:22:58.200 --> 0:22:59.359 like I said, like well known people. 0:22:59.359 --> 0:22:59.520 It was. 0:22:59.640 --> 0:23:01.840 It was a wonderful place. And that's why I was 0:23:01.840 --> 0:23:03.480 there because they needed someone to stand behind the counter. 0:23:03.840 --> 0:23:05.520 So I would just sort of man the counter while 0:23:05.520 --> 0:23:07.920 they wandered off and did sort of personal film festivals 0:23:07.920 --> 0:23:10.320 for people. And one day my boss because it was 0:23:10.400 --> 0:23:12.760 r raided and I was too young, and he handed 0:23:12.800 --> 0:23:14.720 me a preview tape. We used to get preview tapes 0:23:14.720 --> 0:23:16.120 that you would take home and watch so you could 0:23:16.119 --> 0:23:18.280 see how many copies of the film you wanted to buy. 0:23:18.520 --> 0:23:20.400 The only two films that we never got were Jurassic 0:23:20.440 --> 0:23:23.320 Park and Pulp Fiction. They were the only two preview tapes. 0:23:23.320 --> 0:23:26.400 Tarantino didn't allow preview tapes, and Spielberg like, we didn't 0:23:26.400 --> 0:23:28.840 need to give out preview tapes because they worried about piracy. 0:23:29.440 --> 0:23:34.119 So he said, Okay, you're too young for this, but 0:23:34.240 --> 0:23:36.760 you are going to love this. You are going to 0:23:37.440 --> 0:23:40.080 love this film. This is going to change what you think. 0:23:40.760 --> 0:23:43.200 So okay, I took it home. People don't know it's 0:23:43.240 --> 0:23:45.720 black and white. Shot nineteen ninety four by Kevin Smith. 0:23:45.760 --> 0:23:47.800 Shot in the credit card and Pete as you and 0:23:47.840 --> 0:23:51.520 I know it's just jokes. Is it's designed for jokes? 0:23:52.440 --> 0:23:55.480 In this film he invents podcasting because there's a scene 0:23:55.480 --> 0:23:59.760 where two of the characters debate the labor policies of 0:23:59.800 --> 0:24:03.880 the workers in the Death Star That Die. That's a podcast. Yeah, 0:24:03.920 --> 0:24:06.800 he invents podcasting in that moment. He just he's so 0:24:06.880 --> 0:24:09.159 far ahead of his time that there's no there's not 0:24:09.240 --> 0:24:11.160 other scenes like that in other films. 0:24:11.359 --> 0:24:16.639 No, No, because this is Reservoir Dogs. Probably comes close, 0:24:16.720 --> 0:24:19.320 But what is that before or after? 0:24:19.520 --> 0:24:22.040 It's just after but already written. But that's designed. But 0:24:22.320 --> 0:24:24.960 Reservoir Dogs is trying to do something entirely different. Where 0:24:25.160 --> 0:24:27.720 reason why Dogs is you know, it's a crime, which 0:24:27.760 --> 0:24:28.880 is also wonderful, but. 0:24:29.080 --> 0:24:34.400 So about the conversations that were appeared in and Clerks 0:24:34.440 --> 0:24:38.399 where an editor or another writer could go, look, we 0:24:38.520 --> 0:24:41.480 haven't got time for that conversation hundred percent, and Reserved 0:24:41.520 --> 0:24:45.480 Dogs has has a pretty hefty plot where Clerks has none. 0:24:45.600 --> 0:24:48.879 And this is really what the Clerks is about, those conversations. 0:24:48.880 --> 0:24:50.960 Like you say, yeah, day in the life, it's so 0:24:51.119 --> 0:24:52.840 it's you know, Clerks is just about a day in 0:24:52.840 --> 0:24:56.560 the life of this shop and the characters, the two shops, 0:24:56.560 --> 0:24:58.760 the video shop, and the and the quick stops of 0:24:58.760 --> 0:25:00.320 the Quick Mount whatever you want to call it qu stop. 0:25:00.800 --> 0:25:03.320 And I just remember watching it and I didn't even 0:25:03.320 --> 0:25:04.760 know if I want. I didn't Pete, I didn't know 0:25:04.760 --> 0:25:06.399 what I wanted. It was at school and I just 0:25:06.440 --> 0:25:09.119 remember seeing it and going I could tell they had nothing. 0:25:09.480 --> 0:25:11.760 It was black and white, the music was weird, it 0:25:11.800 --> 0:25:14.720 was poorly shot, and it was hilarious. I'm just moving. 0:25:14.800 --> 0:25:17.879 These guy's got nothing. They have nothing, these people, and 0:25:17.920 --> 0:25:20.639 it's the best thing I've seen this year. And it 0:25:20.800 --> 0:25:22.879 just I still now every day I think about a 0:25:22.960 --> 0:25:26.399 joke that's in Clerks. And when you hear Kevin Smith speak. 0:25:26.480 --> 0:25:31.639 Now you know, he's obviously the best. And I don't know, Pete, 0:25:31.640 --> 0:25:34.480 that purity of all we ever do if we try 0:25:34.480 --> 0:25:36.719 and write. You know, you've written films, you've written television shows. 0:25:37.040 --> 0:25:39.080 The first what's the first thing that the so called 0:25:39.280 --> 0:25:42.680 experts and suits come for? The jokes, That's the first 0:25:42.720 --> 0:25:46.120 thing they come for, because as you know, it's sheet 0:25:46.200 --> 0:25:47.840 music and they can't read cheat music a lot of them, 0:25:47.840 --> 0:25:49.920 sometmes some kind. It's the first thing they come for. 0:25:50.359 --> 0:25:52.320 So even if you get further away from clerks and 0:25:52.320 --> 0:25:55.199 people say, oh, the language is age poorly, Oh, for 0:25:55.280 --> 0:25:59.879 God's sake, what are you talking about, that's when it 0:25:59.880 --> 0:26:03.119 came out. Yeah, like the Old Testaments language isn't aging 0:26:03.119 --> 0:26:07.879 that great. I've read it, so it's like, you know 0:26:07.880 --> 0:26:10.359 what I mean, Like, what are we talking about? The 0:26:10.440 --> 0:26:13.080 jokes are hilarious, absolutely hilarious. 0:26:13.280 --> 0:26:16.280 Films should be a time capture of their time. Yes, 0:26:16.320 --> 0:26:19.680 you know, and you don't get the revised yearly. It's 0:26:20.000 --> 0:26:22.560 true and it should be, you know, if you want 0:26:22.560 --> 0:26:24.439 to pay yourself on our back, the kind of go 0:26:24.480 --> 0:26:26.320 look how far we have come? Yeah, you know that's 0:26:26.359 --> 0:26:29.560 what it should be, not get rid of pieces of art. Yes, 0:26:30.640 --> 0:26:34.719 but Clerks was, like you say, so Kevin Smith's debut 0:26:35.119 --> 0:26:36.479 done on the credit card, like you say, and it 0:26:36.520 --> 0:26:39.720 was just like almost the rebirth of indie film, or 0:26:39.760 --> 0:26:42.520 like like it was more indie than indi. It was 0:26:42.520 --> 0:26:44.719 the most It was the indies film you possibly come 0:26:44.760 --> 0:26:44.920 up with. 0:26:45.200 --> 0:26:48.040 It made like Noah Bomback, who now secretly writes Barbie 0:26:48.320 --> 0:26:51.560 in the Shadows he is he So he was making 0:26:52.000 --> 0:26:56.600 these sort of talkie, preppy talkie films at the time. 0:26:56.760 --> 0:26:59.800 Right Wilt Stielman was making Barcelona and Last Days of 0:27:00.560 --> 0:27:03.160 which had at their core an era and an idea 0:27:03.200 --> 0:27:05.520 of a place. It was just here are people. They're here, 0:27:05.720 --> 0:27:08.000 they're preppies. They're trying to get it too disco clubs. 0:27:08.040 --> 0:27:09.879 It's not going that great. Let's see what they've got 0:27:09.880 --> 0:27:13.120 to say. Kicking and screaming. Same thing. Swingers as well, 0:27:13.720 --> 0:27:17.119 perfect swingers, perfect example. Here's a world, here's people that 0:27:17.160 --> 0:27:19.520 you don't really know, this is how they talk. Here's 0:27:19.680 --> 0:27:21.800 eighty minutes of it. What do you reckon? And there 0:27:21.800 --> 0:27:24.600 are so many absolute belters which are part of that. 0:27:24.640 --> 0:27:28.200 The Size of Watermelons, which is Paul Rudd's first film, 0:27:28.480 --> 0:27:31.080 is said in Venice about two people who can't really 0:27:31.160 --> 0:27:34.600 get a job in Venice. And it's okay, but there's 0:27:34.640 --> 0:27:36.159 bits in it like one of them sort of like 0:27:36.200 --> 0:27:39.919 a Dandy Warhol's sort of lead singer, another guy sort 0:27:39.960 --> 0:27:42.280 of at art school, and it's okay, but there's two 0:27:42.400 --> 0:27:45.560 or three scenes in it which are absolutely fantastic. So 0:27:45.600 --> 0:27:47.680 there's this whole era of sort of ninety five to 0:27:48.000 --> 0:27:50.440 two thousand and one with a door somehow Pete was 0:27:50.480 --> 0:27:53.200 cracked open slightly, and a lot of these small films. 0:27:53.240 --> 0:27:56.200 That's Ow Bottle Rocket, the first film of Wes Andersen. 0:27:56.600 --> 0:27:59.320 They just snuck in. They all just snuck in and 0:27:59.359 --> 0:28:01.840 got these turkey comedies and I just watched them all 0:28:01.960 --> 0:28:05.040 the whole time, and it ended up just sort of 0:28:05.240 --> 0:28:08.000 that genre then went into television. It sort of went 0:28:08.040 --> 0:28:11.040 into TV or whatever it became. But there's this little 0:28:11.040 --> 0:28:15.080 era there where they just jokes were allowed. Just people 0:28:15.080 --> 0:28:16.359 were allowed to talk to each other and they were 0:28:16.359 --> 0:28:18.800 allowed to be a ton of jokes and then just 0:28:18.840 --> 0:28:20.399 move on with your day. Yeah, and that was it. 0:28:20.560 --> 0:28:22.680 I thought he was doing a really high degree now 0:28:22.720 --> 0:28:25.760 I think, and maybe with a fraction a fraction more 0:28:25.840 --> 0:28:27.159 plot is Sean Baker. 0:28:27.520 --> 0:28:30.440 Okay, see, I'm not a Sean Baker guy. What should 0:28:30.440 --> 0:28:33.199 I watch? Well, I said, Red Rocket? I think is 0:28:33.320 --> 0:28:35.680 oh Red Rocket. I've never seen Red Rocket, and I've threatet. 0:28:35.720 --> 0:28:37.040 I've threatened to a number of times. 0:28:37.320 --> 0:28:38.440 I thought it was one of the best films of 0:28:38.440 --> 0:28:42.120 that year years ago. Florida Project is great either And 0:28:42.280 --> 0:28:45.680 at the time of recording this, Angora has not been released. 0:28:46.480 --> 0:28:48.760 You know. That's that's at Oscar bars about it. 0:28:49.800 --> 0:28:51.760 Yes, I'm just going to go back today with Franco 0:28:51.840 --> 0:28:54.080 ZEPHYRRELLI not Fellen, because that was going to bother me 0:28:54.120 --> 0:28:57.960 the guy, the Italian director, the Italian director. Yes, okay, 0:28:57.960 --> 0:29:00.160 so that was who it was with Bruce Robinson, as 0:29:00.200 --> 0:29:02.680 zephyr raally said to him, I'm preparing myself to forgive you. 0:29:03.080 --> 0:29:04.520 So there we go. Yes, so that's clerks. 0:29:04.600 --> 0:29:07.160 Let's talk about Life of Brian. All three of these 0:29:07.160 --> 0:29:09.040 films have come up in best Ye've got three best 0:29:09.080 --> 0:29:11.920 because they are you think comedies particularly, I think with 0:29:12.040 --> 0:29:15.200 NL Night and Life of Brian often on top of 0:29:15.200 --> 0:29:17.600 people's list. But when did you first see Life of Brian? 0:29:17.680 --> 0:29:19.720 The same time? So, same time, So my boss just said, 0:29:20.120 --> 0:29:23.320 my boss just handed me that because I'd watched very kindly, 0:29:23.480 --> 0:29:27.760 I'd got into Monty Python as a teenager and because 0:29:27.760 --> 0:29:32.280 it was cool not And then my boss, without me knowing, 0:29:33.400 --> 0:29:37.040 found a catalog that was releasing all of Flying Circus, 0:29:37.120 --> 0:29:41.160 their television show, not just the compilations, and so he 0:29:41.560 --> 0:29:44.000 secretly because he would just had this weird budget on 0:29:44.040 --> 0:29:46.160 the side. It was that he would just get things 0:29:46.200 --> 0:29:49.120 that he liked, just and then weird. Of course people 0:29:49.160 --> 0:29:51.800 then flocked to them. It was just it was really 0:29:51.800 --> 0:29:53.000 just Smay. It was just Smay. I just knew what 0:29:53.040 --> 0:29:56.600 people liked. And he bought the whole entire thing of 0:29:56.800 --> 0:29:59.920 Flying Circus, every single frame, and just put it on 0:29:59.920 --> 0:30:01.920 the shelf and then said, right, work your way through this. 0:30:02.080 --> 0:30:03.360 So I work my way through this, and of course 0:30:03.400 --> 0:30:05.560 you see sketch comedy, you go, all right, some suck, 0:30:06.160 --> 0:30:10.200 some sketches aren't great, but anything in compilation is fantastic. 0:30:10.240 --> 0:30:12.440 So by the time I got through that, and then 0:30:12.440 --> 0:30:14.480 he said, right, okay, time for life for Brian. And 0:30:14.520 --> 0:30:17.000 then he gave me life for Brian. And then I 0:30:17.080 --> 0:30:19.720 just couldn't believe. I couldn't believe that it was happening. 0:30:19.760 --> 0:30:23.600 It was just so funny, so quick, so simple. And 0:30:23.640 --> 0:30:25.440 I was talking to Gleisner about it the other day, 0:30:25.600 --> 0:30:27.920 and Gleisner was saying that he noticed something new the 0:30:28.000 --> 0:30:30.400 other day where he goes, have you ever noticed in 0:30:30.760 --> 0:30:32.200 and this is out of nowhere, by the way, We're 0:30:32.200 --> 0:30:33.600 just sitting there and he just turns to me. He 0:30:33.640 --> 0:30:35.160 just finished writing a book and he just you know, 0:30:35.200 --> 0:30:36.440 in an hour. And he turns to me and he goes, 0:30:36.440 --> 0:30:37.960 if you ever noticed in Life of Brian that when 0:30:38.000 --> 0:30:42.200 they come in from another scene, the pythons have realized, oh, 0:30:42.280 --> 0:30:44.200 we're going to just improvise something here, and they're always 0:30:44.280 --> 0:30:46.720 improvising a couple of lines before the scene starts. So 0:30:46.760 --> 0:30:50.480 there's a bit where when they drag in Brian before 0:30:50.480 --> 0:30:53.920 he gets sent to be executed. Michael Palin is one 0:30:53.920 --> 0:30:56.640 of the Romans, just just as it starts, is standing 0:30:56.640 --> 0:30:58.880 on the side of the sort of Roman villa talking 0:30:58.880 --> 0:31:00.360 to one of the centurions, and he goes and we're 0:31:00.360 --> 0:31:02.520 sort of going for like an etruscan sort of feel 0:31:02.560 --> 0:31:07.120 with this, And I was like, oh, yeah, right, I 0:31:07.680 --> 0:31:09.400 still haven't noticed that. But it's that type of movie 0:31:09.400 --> 0:31:13.000 where you just you keep noticing things over and over 0:31:13.080 --> 0:31:15.880 and over again. It's so unbelievably spot on. 0:31:16.000 --> 0:31:18.719 And also it probably would have been an early lesson 0:31:19.240 --> 0:31:21.160 for you and me. It's certainly one of my favorite 0:31:21.200 --> 0:31:24.760 films of the comedic set piece, you know, and the 0:31:25.440 --> 0:31:27.360 set pieces in films where they are action set pieces 0:31:27.480 --> 0:31:30.880 or that was the first time I've gone, oh, there's 0:31:30.880 --> 0:31:34.760 a story being thread through here that have been held 0:31:34.800 --> 0:31:36.800 together by these funny set piece. 0:31:36.880 --> 0:31:40.000 Yes, wouldn't it be funny if so? Essentially in that film, 0:31:41.000 --> 0:31:44.240 you know, Graha Chapman's character essentially just walked into sketches 0:31:44.240 --> 0:31:45.760 and then walked out of them and then walked into 0:31:45.760 --> 0:31:48.480 another sketch. The whole film is basically, he walks in 0:31:48.600 --> 0:31:51.760 a sketch, happens, and he walks out, and that's the 0:31:51.800 --> 0:31:54.360 whole movie. But they're all so good and the sketches 0:31:54.360 --> 0:31:56.240 are so good. And the other thing is because they're 0:31:56.280 --> 0:31:59.280 playing so many of the different roles. The pythons, they're 0:31:59.280 --> 0:32:01.720 doing that thing where you know it's them and they 0:32:01.760 --> 0:32:04.479 know you know it's them, but that gives them license 0:32:04.520 --> 0:32:07.000 to go bigger and have more fun with it, so 0:32:07.080 --> 0:32:10.520 even with each other. I want to interview John Cleek's 0:32:10.640 --> 0:32:12.600 and I said, because there was I remember watching it 0:32:12.640 --> 0:32:15.400 really clearly watching Flying Circus, and there's one sketch which 0:32:15.440 --> 0:32:17.560 is completely different to the others. So normally with the 0:32:17.560 --> 0:32:21.080 Monty Python thing, it is establishing shot. They're doing something 0:32:21.200 --> 0:32:23.600 dressed as Nanas or whatever, a couple of sort of murmuring, 0:32:23.600 --> 0:32:25.960 so people get the idea, oh, okay, they're playing Nana's 0:32:26.000 --> 0:32:27.760 so they get used to who they are and then 0:32:27.800 --> 0:32:30.280 the jokes start. But there's one scene where there was 0:32:30.280 --> 0:32:34.600 one in Flying Circus where out of nowhere Paler John 0:32:34.640 --> 0:32:36.720 Cleese is just standing on the street and it's handheld, 0:32:36.720 --> 0:32:39.000 which they never did. It's hand held and with a 0:32:39.000 --> 0:32:41.960 film camera and or not never but rarely and and 0:32:42.680 --> 0:32:44.560 and Cleese is just standing there as a bobby and 0:32:44.560 --> 0:32:46.400 he's sort of, you know, as an English policeman, bouncing 0:32:46.400 --> 0:32:48.000 on his heels. And Michael Paler runs up to me 0:32:48.040 --> 0:32:50.400 and excuse me, excuse me. I was just sitting on 0:32:50.400 --> 0:32:53.280 the park bench and I turned around. I turned around 0:32:53.280 --> 0:32:57.719 and make my wallet was gone. Thirty pounds was missing, right, 0:32:57.800 --> 0:33:03.360 well on a park bench thirty pounds, yeah right, And 0:33:03.400 --> 0:33:06.240 then there's a long pause and at the end of it, 0:33:06.960 --> 0:33:09.040 Palan's just sort of standing there. He's standing there, and 0:33:09.040 --> 0:33:10.920 then Palee goes, do you want to come back to 0:33:10.920 --> 0:33:14.600 my place? And Clice goes all right, and they walk 0:33:14.640 --> 0:33:17.080 off and the timing is so different, and I go 0:33:17.080 --> 0:33:19.640 to cleee, so what was what's going on? 0:33:19.640 --> 0:33:19.680 Like? 0:33:19.800 --> 0:33:22.479 Was just I might be insane? And he goes and 0:33:22.480 --> 0:33:25.160 he goes, he goes, that's so interesting. He goes, that's 0:33:25.200 --> 0:33:27.360 so interesting. He goes, that's the only improvised sketch we 0:33:27.400 --> 0:33:30.440 ever did. We were doing something else. I was early, 0:33:30.680 --> 0:33:32.600 we were waiting for something, and so pale and I 0:33:32.600 --> 0:33:34.920 came up with it on the spot. So when you're 0:33:34.920 --> 0:33:37.640 talking about the comedy set piece, that speaks to how 0:33:37.720 --> 0:33:40.560 much they thought they put into that, how much thought 0:33:40.600 --> 0:33:43.560 they put into the comedy set piece, the sort of 0:33:43.640 --> 0:33:47.000 exactitude of the comedy set piece. That's why it looked 0:33:47.000 --> 0:33:49.800 different when they were riffing. And that's the problem I 0:33:49.800 --> 0:33:51.560 think in a lot of films where well, you know, 0:33:51.640 --> 0:33:54.360 that's how comedy doesn't work anymore. What they're saying is 0:33:54.680 --> 0:33:57.680 it got too bloded with too much improv where people 0:33:57.680 --> 0:33:59.360 thought they were funnier than they were and they were 0:33:59.400 --> 0:34:02.240 too big. A does for people to say that wasn't 0:34:02.240 --> 0:34:03.080 as good as you thought it. 0:34:03.080 --> 0:34:08.960 Was I really shiver when I hear actors talk about 0:34:09.000 --> 0:34:12.880 how much to have improvised and listen. I do love 0:34:13.000 --> 0:34:16.520 Judd Apatow. He's one of my heroes. I do love him, 0:34:16.840 --> 0:34:19.239 and I can see how him and Adam McKay have 0:34:19.640 --> 0:34:22.399 kind of got it down where they're throwing lines in, 0:34:22.960 --> 0:34:24.799 and I think that's a different thing, to be honest, 0:34:24.800 --> 0:34:28.920 that's that's the writing process, yes, but I don't like it. 0:34:29.320 --> 0:34:33.120 I heard Vince Vaughan talk about and people will rave 0:34:33.120 --> 0:34:34.960 about how good an improviser he is, and I've got 0:34:35.000 --> 0:34:37.560 no doubt that he is a good improviser, but sometimes 0:34:37.560 --> 0:34:39.640 it doesn't work for the movie, and it's like it 0:34:39.680 --> 0:34:43.400 could it could be amusing. But and there's a time 0:34:43.440 --> 0:34:44.719 when he's talking about I think I think it was 0:34:44.760 --> 0:34:47.560 wedding crashes, and I just really I felt for the 0:34:47.600 --> 0:34:51.120 writer because he made it sound like they basically they 0:34:51.120 --> 0:34:53.640 ignored the scripts and it was all improvised. And I'm 0:34:53.640 --> 0:34:54.719 sure that is not true. 0:34:54.840 --> 0:34:58.600 That always you'll hear that a lot with actors, you know, 0:34:59.080 --> 0:35:01.600 and some actors a quote famous for it, where they go, 0:35:01.800 --> 0:35:04.200 it's not on the page, and all they're ever saying 0:35:04.320 --> 0:35:08.640 is all actors are ever really saying is I think 0:35:08.680 --> 0:35:11.280 I know better than the writer and I'm more important 0:35:11.280 --> 0:35:13.160 than them. They can shape it any way they want, 0:35:13.600 --> 0:35:15.759 but that is what they're saying. And when if they're 0:35:15.800 --> 0:35:18.200 ever if they're ever proved somewhat not correct, but if 0:35:18.200 --> 0:35:22.000 the lines ever go in and go well, well then 0:35:22.040 --> 0:35:24.640 you never work with that actor. You find out that interview, 0:35:24.719 --> 0:35:27.600 you find that interview, you listen to that, and you 0:35:27.680 --> 0:35:30.360 strike them off your list because they are coming in 0:35:30.640 --> 0:35:33.359 really hot with that in their mind that they are 0:35:33.360 --> 0:35:36.239 going to quote, improve it or rewrite it with you. 0:35:36.680 --> 0:35:39.400 Yeah, no, Dice, Yeah, I don't imagine there as much 0:35:39.440 --> 0:35:42.560 improvising going on in the film that we are about 0:35:42.560 --> 0:35:45.240 to talk about. Let's get into this. 0:36:04.360 --> 0:36:08.279 Leaving it a bad bad thing, leading it a bad 0:36:08.360 --> 0:36:14.080 bad THEE beat it a bad bad Thie beat it 0:36:14.239 --> 0:36:15.279 a bad bad thing. 0:36:15.880 --> 0:36:20.080 They did they nineteen ninety nine Stanley Kruebrigg, as we've 0:36:20.120 --> 0:36:24.239 mentioned his final film, it's hard to like put it 0:36:24.320 --> 0:36:27.160 into Like Tom the Cruise and Nicole Kibmen were as 0:36:27.160 --> 0:36:29.880 big as almost anyone has ever been. As as a 0:36:29.880 --> 0:36:34.360 cat goes, you know, it's certainly in that conversation. So 0:36:34.440 --> 0:36:39.720 Tom and Nicole ed Cavilly. Did you enjoy Eyes Wide Shut? 0:36:40.040 --> 0:36:43.680 Of course, because you've got so. First thing is to say, 0:36:43.719 --> 0:36:45.560 is it ninety ninety nine widely regarded as one of 0:36:45.560 --> 0:36:48.520 the best movie years of all time? Right, so it 0:36:48.560 --> 0:36:50.799 had some stiff competition when it came out, and it 0:36:50.840 --> 0:36:54.719 got lost in the shuffle somewhat, because however it was. 0:36:55.120 --> 0:36:59.960 It is Stanley Kubrick's most successful film. So it costs you. 0:37:00.600 --> 0:37:02.759 It took one hundred and twenty five right, you know, 0:37:02.800 --> 0:37:05.680 that's just box office. It's also the longest film ever 0:37:05.680 --> 0:37:07.880 made at four hundred days in the Guineas Book of Records, 0:37:07.920 --> 0:37:12.400 four hundred days of shooting. So, however, but the whole 0:37:12.440 --> 0:37:15.560 thing hinges because I went back and I watched the trailers, 0:37:15.600 --> 0:37:17.760 I looked at the posters, I looked at the articles 0:37:17.800 --> 0:37:19.719 around the time, and I was like, yes, that's right. 0:37:19.719 --> 0:37:22.400 And I remember this because sometimes because we're Australian, Pete, 0:37:22.880 --> 0:37:24.600 was it just because we had nical in it that 0:37:24.640 --> 0:37:26.920 we were thought and they, you know, because they could 0:37:26.920 --> 0:37:29.440 be seen around town, will be more obsessed with it. 0:37:29.840 --> 0:37:33.720 On Kubrick wanted to cast a real couple in the film. 0:37:33.840 --> 0:37:37.960 He absolutely wanted to do that, and I don't think 0:37:38.000 --> 0:37:41.280 you can underestimate how much the success of this film 0:37:41.560 --> 0:37:45.399 was based on the idea that it was that they 0:37:45.400 --> 0:37:48.719 were really a couple and could you tell if they 0:37:48.840 --> 0:37:52.160 really were going to break up? That's the narrative around it. 0:37:52.680 --> 0:37:55.959 The Tom cruise might be a bit left that's starting here. 0:37:56.600 --> 0:37:58.560 That actually, oh, hang on, what's going on with Tom? 0:37:58.640 --> 0:38:02.719 That's starting this time? And the fact that our nick 0:38:02.840 --> 0:38:05.839 was there and she was nowhere near the star he 0:38:06.040 --> 0:38:08.520 was at this point, but everyone comes out of it 0:38:08.520 --> 0:38:12.560 talking about her performance, not his, and it's so wildly successful, 0:38:12.840 --> 0:38:15.640 and do they actually hate each other? What's going on 0:38:15.640 --> 0:38:19.359 on set? Is Kubrick filming real sex? That was the 0:38:19.480 --> 0:38:23.320 number one narrative about this film, is Kubrick filming real sex? 0:38:23.400 --> 0:38:26.680 Well, that's also interesting that he didn't go the obvious 0:38:26.760 --> 0:38:32.440 angle of having there's the mirror scene with Tom Nicole, 0:38:33.040 --> 0:38:35.720 but he didn't take advantage necessarily. And we'll talk about 0:38:36.000 --> 0:38:38.239 the lengthy goes to to shoot some of the sex 0:38:38.239 --> 0:38:42.680 scenes soon. But it's almost surprising in a way that 0:38:43.040 --> 0:38:45.840 the easiest thing for him to do to promote the 0:38:45.880 --> 0:38:47.920 movie and to get some buzz around it. I mean 0:38:48.040 --> 0:38:51.000 there was already buzz around it, but is have a 0:38:51.000 --> 0:38:52.960 sex scene with like a you know, and this is 0:38:53.239 --> 0:38:55.360 the most graphic sex scene you'll ever see, and people, 0:38:55.400 --> 0:38:57.080 you know, like people would have flocked to that and 0:38:57.120 --> 0:38:59.520 it would have made more money. But he resists that. 0:38:59.600 --> 0:39:01.320 Well, he resist it because I think he knows that 0:39:01.360 --> 0:39:03.400 people are doing it for him, because if you watch 0:39:03.480 --> 0:39:10.279 the trailers, it's just Cruise, no kidman, Cruz Kubrick. And 0:39:10.320 --> 0:39:12.520 then baby did a bad, bad thing. You see the 0:39:12.560 --> 0:39:14.839 cole drop the dress and then you see you do 0:39:14.920 --> 0:39:16.439 see a bit of the mirror scene where they start 0:39:16.440 --> 0:39:19.960 to kiss and then the masks bang, we're home three 0:39:20.080 --> 0:39:23.799 images boom boom boom. So it's good. So cinephiles are going, 0:39:24.400 --> 0:39:27.080 pervs are going. And then they managed to do that 0:39:27.120 --> 0:39:29.399 thing what was that horrific film? And then they had 0:39:29.400 --> 0:39:33.000 to then they pretended Chris Pines spat on Harry's styles 0:39:33.040 --> 0:39:35.680 to try and drum up interest and it worked. Don't 0:39:35.719 --> 0:39:38.200 Worry Darling. So if anyone's wondering what this is like, 0:39:38.800 --> 0:39:42.160 this was this is where the Don't Worry Darling people 0:39:42.280 --> 0:39:46.040 got the idea for their promotion. What really happened on set? 0:39:46.280 --> 0:39:49.360 Do these people actually hate each other? And the director 0:39:49.440 --> 0:39:52.920 is so substitute director for two stars are actually sleeping together? 0:39:53.239 --> 0:39:55.719 And what can you tell from watching the film? What 0:39:55.760 --> 0:39:59.319 can you deduce from watching the film. That's how this 0:39:59.440 --> 0:40:02.480 was sold. Don't worry, darling. Is the modern version of 0:40:02.520 --> 0:40:03.640 what this put forward. 0:40:04.000 --> 0:40:07.120 Yeah, yeah, it's it's I saw it in the cinema 0:40:07.120 --> 0:40:12.600 when it came out. Who with I actually, yeah, ninety nine. 0:40:12.640 --> 0:40:14.799 It would have it could have been impossibly myself in 0:40:14.840 --> 0:40:20.960 a transcope. I don't remember making it like it wasn't 0:40:21.000 --> 0:40:22.359 a date movie. I don't think. 0:40:22.400 --> 0:40:23.960 Well, I think it was sold that. It was also 0:40:24.040 --> 0:40:27.400 sold as come and get freaky, come come here and 0:40:27.440 --> 0:40:29.360 test your relate. It was like a relationship test for 0:40:29.400 --> 0:40:31.920 people like see if your let's see how your marriage 0:40:31.960 --> 0:40:34.279 slash relationship stacks up against this. 0:40:34.440 --> 0:40:36.000 Yeah, well I would have I would have been with 0:40:36.719 --> 0:40:40.120 mine male wife from that time, so meeting her at 0:40:40.200 --> 0:40:43.680 least maybe it was just pre meeting her. But yeah, 0:40:43.760 --> 0:40:47.480 it's and I enjoy like like enjoyed it, but I 0:40:47.640 --> 0:40:50.440 never watched it again. No, that's the thing, and it 0:40:50.520 --> 0:40:55.400 was I really enjoyed watching this again in this moment 0:40:55.440 --> 0:40:57.719 of time. And I'm sure we'll get into you know, 0:40:57.840 --> 0:41:00.480 watching this now with these orgy scenes with you leaked 0:41:01.280 --> 0:41:03.680 in the shadow now of Epstein and. 0:41:03.719 --> 0:41:08.279 P did so one. Kubrick's telling us that there is yes, 0:41:08.560 --> 0:41:13.879 zero doubt because in my research for this today there's 0:41:13.920 --> 0:41:19.880 not even any shadow of any doubt that he is saying, boy, 0:41:19.920 --> 0:41:22.439 this is it. Much like with Clockwork Orange. He's saying, 0:41:22.480 --> 0:41:25.160 there was this thing called mk ultra, they had mind control, 0:41:25.360 --> 0:41:27.279 this is what they were doing with it, CIA, et cetera, 0:41:27.360 --> 0:41:29.520 et cetera. And then years later they go, wow, he 0:41:29.600 --> 0:41:32.080 was right. They actually did have all of those things. Now, 0:41:32.480 --> 0:41:34.200 I don't know how tinfoy hat you want to get, 0:41:34.440 --> 0:41:35.800 but I have to mention this. 0:41:35.800 --> 0:41:37.160 This is the editor editing, and. 0:41:38.760 --> 0:41:40.520 We're going to get to that's that's interesting. 0:41:40.600 --> 0:41:40.880 Okay. 0:41:40.920 --> 0:41:45.000 So the Shining Lookout Mountain, so that the idea of 0:41:45.120 --> 0:41:49.960 the hotel on the top of the mountain based on 0:41:50.000 --> 0:41:53.800 a few different places. However, during in the sixties and seventies, 0:41:53.840 --> 0:41:57.480 in Laurel Canyon, there's a naval base, a secretive naval 0:41:57.480 --> 0:42:00.520 base on the top of Laurel Canyon. It's still there today. 0:42:00.560 --> 0:42:01.879 I'll tell you what happened to it in a moment 0:42:02.000 --> 0:42:04.000 right in this place. What do you think they're doing 0:42:04.080 --> 0:42:05.040 up there, Pete, is it radar? 0:42:05.200 --> 0:42:05.279 No? 0:42:05.600 --> 0:42:06.720 Are they developing weapons? 0:42:06.840 --> 0:42:06.960 No? 0:42:07.160 --> 0:42:12.040 It has the largest film studio in Los Angeles. Why 0:42:12.600 --> 0:42:16.040 they say it's for developing pictures that come back from space. 0:42:16.440 --> 0:42:19.320 But it's got a sound stage, it's got more cameras 0:42:19.360 --> 0:42:22.160 than anyone's ever had in their whole life. And that people, 0:42:22.200 --> 0:42:26.360 And so Kubrick has high level clearance at this place. 0:42:27.080 --> 0:42:30.080 He has a he's a think Reagan has it, Kubrick 0:42:30.120 --> 0:42:33.200 has it, carry Grant has it. That these are some 0:42:33.280 --> 0:42:36.520 of the people they said. They said that more films 0:42:36.520 --> 0:42:40.799 were made in that facility than the studios combined one year, 0:42:41.120 --> 0:42:43.080 and yet no one's ever seen a frame of them. 0:42:43.400 --> 0:42:46.160 So then when Kubrick goes to make two thousand one 0:42:46.520 --> 0:42:53.680 Doctor whatever, right, he thanks government facilities and government agencies 0:42:53.719 --> 0:42:56.000 in the in the credits of the film. They see 0:42:56.040 --> 0:42:57.719 that and go get the shit out of here, and 0:42:57.760 --> 0:42:59.760 they make him take it out. You can't make Kubrick 0:42:59.800 --> 0:43:02.399 take anything out of a film. And they go, mate, 0:43:02.600 --> 0:43:04.400 get our names out of those credits, and they do it, 0:43:04.960 --> 0:43:09.399 and years later the credits resurface. So Kubrick, the reason 0:43:09.440 --> 0:43:11.879 I bring that up is so anything you think people 0:43:11.920 --> 0:43:14.239 have just been crazy with Kubrick's films. No, they're not. 0:43:14.760 --> 0:43:16.719 He is one, and he thinks it's funny as well. Also, 0:43:16.800 --> 0:43:19.319 maybe he's funny. He thinks it's funny. Kuby thinks it's 0:43:19.360 --> 0:43:21.319 funny for people to do what we're doing now and 0:43:21.360 --> 0:43:24.319 sift through he finds that funny. Yeah, he's got that 0:43:24.360 --> 0:43:28.480 in his in his bag. But he's also got Yeah, 0:43:28.600 --> 0:43:30.560 what's going on with this guy? He's also got a 0:43:30.640 --> 0:43:31.400 huge bag of that. 0:43:31.800 --> 0:43:35.600 Yeah. Well he's working at different levels of like big ideas, 0:43:35.719 --> 0:43:38.160 big kind of you know, I'm telling you something here 0:43:38.320 --> 0:43:41.520 from a thematic point of view, and then there's Easter 0:43:41.600 --> 0:43:43.239 eggs like he was almost like the first of the 0:43:43.320 --> 0:43:46.239 you know, doing Easter. I mean everything is somebody say 0:43:46.880 --> 0:43:50.279 anything you can read, any sign you can read in 0:43:50.320 --> 0:43:51.920 the Kubrick film means something. 0:43:51.960 --> 0:43:54.560 So two six seven, So what's the room two three 0:43:54.600 --> 0:43:57.560 seven in the Shine two three seven. That's the number, 0:43:58.440 --> 0:44:02.920 the street number. Tom Cruise walks past everyone's names. His 0:44:03.080 --> 0:44:05.320 Cruise names are in there. At the end of this film, 0:44:05.640 --> 0:44:09.800 Tom Cruise has a copies of Kubrick's films in his flat. 0:44:11.840 --> 0:44:12.840 He put that there on purpose. 0:44:12.920 --> 0:44:14.640 Yeah, Now he's gotta be a rain Man in there 0:44:14.640 --> 0:44:15.040 as well. 0:44:17.200 --> 0:44:19.680 A Super Nintendo, so I had to get that. So 0:44:19.840 --> 0:44:22.719 he also, no, I'll come back to that because that 0:44:22.719 --> 0:44:24.120 that that that reminds me of that. 0:44:24.800 --> 0:44:28.160 Did you feel always asked did you feel comfortable as 0:44:28.200 --> 0:44:30.720 far as that you were going to like, you're watching 0:44:30.840 --> 0:44:32.360 a good film or a great film. 0:44:32.239 --> 0:44:35.399 So you've got so you you're not allowed to say 0:44:35.400 --> 0:44:37.080 if you watch a lot of movies. There's a certain 0:44:37.120 --> 0:44:39.760 threshold of movies that once you've seen a certain amount 0:44:39.760 --> 0:44:41.600 of films, you're not allowed to say that you don't 0:44:41.640 --> 0:44:44.560 really love Kubrick is like the Godfather because you then 0:44:44.600 --> 0:44:46.920 you just then you describe yourself as unserious to the 0:44:46.960 --> 0:44:49.160 other people who have seen that amount amount of films. Right, 0:44:49.400 --> 0:44:51.719 That's just what happens. You switch off, Like when Limo 0:44:51.760 --> 0:44:53.200 said he didn't get with No one night because he 0:44:53.200 --> 0:44:56.640 grew up on a farm in Adelaide. I'm out, he's 0:44:56.680 --> 0:45:02.640 going on so so then, but I didn't. I liked it. 0:45:02.880 --> 0:45:05.960 I liked it because I thought it was funny. I 0:45:05.960 --> 0:45:08.800 thought it was funny, and I thought he was trying 0:45:09.480 --> 0:45:13.000 not trying. He succeeds in doing whatever he wants, So 0:45:13.040 --> 0:45:15.440 I think you have to know stuff about this film. 0:45:15.600 --> 0:45:17.680 I think you have to know that Nicole and Tom 0:45:17.719 --> 0:45:19.520 were a couple. I think you have to know that 0:45:19.560 --> 0:45:20.960 they were the biggest couple in the world, and that 0:45:21.000 --> 0:45:23.359 he knew that in the seventies when he first had 0:45:23.360 --> 0:45:24.440 the idea. Do you know who he met with? 0:45:25.360 --> 0:45:25.600 No? 0:45:26.360 --> 0:45:28.080 Oh, no, Steve Martin? 0:45:28.160 --> 0:45:30.080 Yeah, yes, what the fuck? 0:45:30.160 --> 0:45:31.720 Yeah? Is it after the Jerk? 0:45:31.920 --> 0:45:34.400 Yes? So before the jerk he'd seen him do stand 0:45:34.480 --> 0:45:37.040 up in London. This is just before the jerk. 0:45:37.280 --> 0:45:40.160 So he imagined this, and so he had this for decades. 0:45:40.239 --> 0:45:42.400 So eighties, eighties is Steve Martin? So eighties because I'll 0:45:42.400 --> 0:45:43.359 get to it wasn't the seventies year. 0:45:43.400 --> 0:45:46.080 Yeah, and he got to be visious having making this 0:45:46.120 --> 0:45:48.640 as a comedy. I think, yeah, later even either meets 0:45:48.719 --> 0:45:50.799 or he has the idea that Adam Sandler could play it. 0:45:50.880 --> 0:45:54.440 Yes, he goes Woody Allen in the seventies, Steve Martin 0:45:54.880 --> 0:45:58.120 and then and Steve Steve Martin and then Adam Sandler. 0:45:59.239 --> 0:46:01.480 See that tells you thinking comedy. That tells you he 0:46:01.560 --> 0:46:03.400 thinks jokes are a crucial part of this. 0:46:03.960 --> 0:46:07.799 And he watches comedies and he loves comedies and and 0:46:08.080 --> 0:46:11.239 you know, like you said, he is putting jokes that 0:46:12.160 --> 0:46:15.400 in these films that you know, not for everyone, and 0:46:15.480 --> 0:46:19.000 some people won't recognize them as jokes. But he's chuckling away, 0:46:19.080 --> 0:46:20.640 he's having a good time. He's having a good time. 0:46:20.719 --> 0:46:23.839 Yeah, he's having a good time. So so when at 0:46:23.840 --> 0:46:25.839 the end, at the end, you want to do best 0:46:25.920 --> 0:46:29.120 Kubrick stories from this, because there's three or four which 0:46:29.120 --> 0:46:31.440 are just like you are going to absolutely be thrilled by. 0:46:31.520 --> 0:46:33.279 We may cover them, so I might. Let's save it 0:46:33.280 --> 0:46:34.160 to see if we get there. 0:46:34.320 --> 0:46:38.080 Well, let's so okay this and this is jump, We're 0:46:38.080 --> 0:46:39.919 going to jump all around. But that's what this does. 0:46:42.160 --> 0:46:45.800 Do you subscribe to the theory that this this cult, 0:46:46.080 --> 0:46:47.680 it's it's pedophilic cult. 0:46:48.160 --> 0:46:50.839 No, I subscribe to the idea that it is it's 0:46:50.880 --> 0:46:55.360 a group of people whose feet don't touch the ground, 0:46:55.600 --> 0:46:58.920 who are so rich and so out of there, and 0:46:58.960 --> 0:47:02.120 it's become boring that they have to keep trying to 0:47:02.120 --> 0:47:08.040 think of new orgies situations to keep themselves excited. And 0:47:08.080 --> 0:47:12.920 I had a weird thing happen whereby I was at 0:47:12.960 --> 0:47:16.160 a party, not like one of these things supiming was 0:47:16.160 --> 0:47:21.400 an annoying because I was in a maskings. Long story short. 0:47:21.800 --> 0:47:24.480 I was talking to someone who said, oh, you got 0:47:24.520 --> 0:47:28.680 to hear other person's story about what happened to them. 0:47:29.360 --> 0:47:31.680 I said, you'll love this. Then they said what I 0:47:31.680 --> 0:47:34.000 did for a living. And this person, who I didn't 0:47:34.040 --> 0:47:36.480 know was with someone I knew, said no, I'm not 0:47:36.520 --> 0:47:38.839 telling him. He'll tell them. I said, okay, I won't, 0:47:38.920 --> 0:47:41.000 which I am now because a couple of years ago, 0:47:42.400 --> 0:47:47.160 this person lives in Europe. This person is from money. 0:47:47.360 --> 0:47:51.920 This person is obscenely rich. They're so rich they don't 0:47:51.920 --> 0:47:55.839 wear anything that signifies wealth. So all my friends from 0:47:55.920 --> 0:47:59.080 high school would wear gold chains because they had no 0:47:59.120 --> 0:48:02.760 money signifier. You're in a Gemini, mate, You're not fooling anyone. 0:48:04.120 --> 0:48:07.200 That's your mum's sigma. I don't care that it's got rims. 0:48:07.800 --> 0:48:11.759 It's a sigma. Yeah. We've paid four hundred dollars for 0:48:11.760 --> 0:48:14.600 the midst of busy cult. You and I both know 0:48:14.680 --> 0:48:19.960 that that gold chain, it's not falling anyone werring fubu 0:48:20.120 --> 0:48:25.120 for God's sake, fubo. All right, you're not fooling anyone. 0:48:25.400 --> 0:48:31.720 So this dude was so rich that he was wearing 0:48:31.880 --> 0:48:34.360 just like a linen semi shirt pair of pants, and 0:48:34.360 --> 0:48:36.920 he would look bored. He he'd mastered the art of 0:48:37.040 --> 0:48:39.600 just looking bored at a place which was the best 0:48:39.600 --> 0:48:41.440 house I've ever been in my life, and he was 0:48:41.480 --> 0:48:42.840 managed to look bored. That was the first thing I 0:48:42.880 --> 0:48:44.320 noticed about it. And I thought, well, he looks bored. 0:48:44.360 --> 0:48:47.560 And I realized, Okay, he's saying this is shit compared 0:48:47.560 --> 0:48:51.080 to what I'm used to. Right, So this guy goes, 0:48:51.320 --> 0:48:54.000 just tell him he's Oh, for God's sake, alright, I'd 0:48:54.000 --> 0:48:56.360 fight because he knew I'd be thrilled by it. This 0:48:56.440 --> 0:49:01.040 dude says, I'm at an event in America. I go where, 0:49:01.280 --> 0:49:05.240 and he goes, you won't know it, Like we're in America, Pete, 0:49:05.239 --> 0:49:06.960 don't I know? Like you know what I mean, what 0:49:07.040 --> 0:49:08.840 a weird thing? I didn't say Transylvania. He said, you 0:49:08.880 --> 0:49:11.719 won't know it? And I was like, all right, was 0:49:11.719 --> 0:49:13.560 a chap equittic like word? Are we talking to it right? 0:49:13.600 --> 0:49:16.720 Because you won't know? I was fine, whatever, and he goes, 0:49:17.400 --> 0:49:19.640 I just got this dude says I've just been married 0:49:20.000 --> 0:49:22.000 and I was there with my new wife and she 0:49:22.160 --> 0:49:24.360 comes over to me and says, you'll never guess what 0:49:24.560 --> 0:49:27.640 just happened. And he goes what And she goes, I 0:49:27.640 --> 0:49:29.759 was talking to this man a little bit older who 0:49:29.880 --> 0:49:32.200 is from a family. I'm going to write it down. 0:49:32.640 --> 0:49:34.120 You can't say who it is, but I'm going to 0:49:34.160 --> 0:49:36.839 write it down so that you can react. Okay, And 0:49:36.920 --> 0:49:41.000 she says, I was just talking to X from X family, 0:49:41.200 --> 0:49:45.319 a family so historically well known that everyone would know 0:49:45.360 --> 0:49:46.799 it if they found out who it is. 0:49:47.280 --> 0:49:49.799 Before you show me, can I can? I throw out 0:49:49.800 --> 0:49:52.320 the name that comes to mind, Kennedy. 0:49:52.920 --> 0:49:56.920 They wish all right, okay, So underneath it I was 0:49:56.960 --> 0:49:59.280 white shirt. That is the name of the family. 0:50:01.000 --> 0:50:04.800 Okay, you got me? Yes, yes, yeah, yeah, yeah, new ship. 0:50:05.239 --> 0:50:09.160 Right, and and to this and I go wow, and 0:50:09.200 --> 0:50:11.759 I made a joke about what people know about them, right, 0:50:12.120 --> 0:50:16.719 And this person goes no, no, no, no. That person still 0:50:16.719 --> 0:50:22.120 carrying that surname invited me to a party and I 0:50:22.160 --> 0:50:23.759 said I was married, and he said we all are. 0:50:26.719 --> 0:50:28.359 I said I'm married, he said we all are. 0:50:31.400 --> 0:50:34.400 So this so I reckon when I watched it in 0:50:34.480 --> 0:50:38.400 ninety nine, I thought, this is the same fantasy sh 0:50:39.920 --> 0:50:41.600 sh and it's it's a bit much. 0:50:41.760 --> 0:50:43.640 And it's a bit much. That's a great way of 0:50:43.640 --> 0:50:48.160 putting it. Yes, A bit much ritualistic of all geez 0:50:48.600 --> 0:50:49.480 dudes in cloaks. 0:50:49.560 --> 0:50:52.560 But when you thought when you were dealing with people 0:50:52.600 --> 0:50:54.960 who live in a different stratosphere but have to walk 0:50:54.960 --> 0:50:58.240 amongst us, Yes, they they I imagine they will need 0:50:58.840 --> 0:51:02.640 someplace to go to not feel like they are. They 0:51:02.640 --> 0:51:04.440 feel like they are on another planet. 0:51:04.200 --> 0:51:06.200 One hundred percent. And that's why it's so crucial. It's 0:51:06.200 --> 0:51:08.920 said in New York, where you can literally at some 0:51:09.040 --> 0:51:11.319 point you've got to hit the street and someone might 0:51:11.360 --> 0:51:13.960 be shitting in it. That's why it's so crucial that 0:51:14.000 --> 0:51:15.759 it's set in New York. And I guess we'll get 0:51:15.760 --> 0:51:17.239 to the way he filmed it, et cetera, says, because 0:51:17.239 --> 0:51:19.120 it's all in London, we'll get to that, right, But 0:51:19.160 --> 0:51:21.000 that is why it's so crucial that it's in New York. 0:51:21.040 --> 0:51:23.920 That's why when it's originally the novella is set in Vienna, 0:51:23.960 --> 0:51:26.120 I believe, and the guy that wrote it was friends 0:51:26.160 --> 0:51:29.239 with Freud, right, yeah, but they Freud never wanted to 0:51:29.239 --> 0:51:31.479 meet him because everyone kept saying it parties, you should 0:51:31.520 --> 0:51:33.600 meet von what's his name, because you guys have got 0:51:33.640 --> 0:51:35.440 much a lot of similar ideas and you look the 0:51:35.440 --> 0:51:37.399 same and Freud said to I don't want to meet 0:51:37.400 --> 0:51:39.000 this guy because I don't want to be seen as 0:51:39.000 --> 0:51:40.680 a fraud in my own life. And then they became 0:51:40.719 --> 0:51:42.520 friends later in life. So that tells you what we're 0:51:42.560 --> 0:51:43.080 dealing with here. 0:51:43.280 --> 0:51:43.440 Yeah. 0:51:43.600 --> 0:51:45.560 Yeah, if you're going up to Sigmund Freud and going 0:51:45.560 --> 0:51:47.680 there is a dude who is just like you over there, 0:51:49.080 --> 0:51:52.360 you're already you're freaking the deed, right, So anyway to 0:51:52.400 --> 0:51:54.520 get back to say that, So that's exactly the case, 0:51:54.680 --> 0:51:57.840 and he's that's what he's saying back then, Man, he 0:51:58.000 --> 0:51:58.359 was right. 0:51:58.880 --> 0:52:02.799 See I think I think, I think there is a 0:52:02.840 --> 0:52:06.439 pedophilic thing going on now, and it might be that 0:52:06.560 --> 0:52:12.000 Kubrick is nudging us or winking at us. I think 0:52:12.040 --> 0:52:17.120 clearly the women who are there are not underage like that. 0:52:17.680 --> 0:52:20.840 They are the models. The models are not the thirties 0:52:20.840 --> 0:52:22.880 almost they're even not that, they're even not sort of 0:52:22.920 --> 0:52:24.560 early twenties. They're sort of older than that. 0:52:24.719 --> 0:52:27.680 Yeah, So I don't think he is going for me that, 0:52:27.800 --> 0:52:30.640 But I think because I think part of the reason 0:52:30.680 --> 0:52:32.359 he has done that because I don't think he would 0:52:32.480 --> 0:52:34.680 be able to make this feel You cannot have no 0:52:35.000 --> 0:52:36.600 naked fourteen year olds. 0:52:36.400 --> 0:52:40.200 You know, remember this dude made Lolita. So he's he's 0:52:40.280 --> 0:52:43.560 ridden this train and gone, okay, what you know that? 0:52:43.680 --> 0:52:46.440 So he's done that, he's done Lolita, and now he's 0:52:46.440 --> 0:52:49.000 come to this one hundred percent. Yeah, yes, are so. 0:52:49.040 --> 0:52:53.080 Then you have this you know, the Lombard not definitely 0:52:53.080 --> 0:52:56.880 not Lombards, but the costume place, and you have the 0:52:58.200 --> 0:53:00.920 this weird dude and he's. 0:53:00.680 --> 0:53:01.960 Doing a comedy routine. 0:53:02.160 --> 0:53:02.359 Yeah. 0:53:02.480 --> 0:53:05.000 Yeah, he's just a comedy character in the middle. 0:53:05.080 --> 0:53:07.799 And he's very welcome as far as like he is, 0:53:07.880 --> 0:53:10.960 like he bursts into it and grabs your attention. Yeah, 0:53:11.600 --> 0:53:14.800 because you know, there's a lot of characters in this 0:53:15.000 --> 0:53:17.640 film really like you know, like Tom Goes and some 0:53:17.680 --> 0:53:20.200 of them are you know, a bit more subdued. And 0:53:20.920 --> 0:53:24.160 so he's a little fire cracker. And then there's this 0:53:24.200 --> 0:53:29.000 weird thing going on with It's Lily. Yeah so, and 0:53:29.520 --> 0:53:32.480 there's two Japanese men who are clearly having sex with her. 0:53:32.640 --> 0:53:35.520 One of those dudes ended up in as a pilot 0:53:35.600 --> 0:53:37.560 in the Star Wars prequels. 0:53:37.840 --> 0:53:43.480 Oh really, check like a ruined Star Wars for me. 0:53:46.120 --> 0:53:48.560 And it's it's unclear. 0:53:48.080 --> 0:53:49.640 It's very clear he's pimping her out. 0:53:49.800 --> 0:53:53.320 He's piping around. Do you think he's he has caught 0:53:53.960 --> 0:53:54.759 caught them in the air. 0:53:54.880 --> 0:53:57.040 It's part of paying. Part of what they're paid for 0:53:57.200 --> 0:54:00.880 is to be to be caught. Ndred percent is to 0:54:00.920 --> 0:54:01.239 be caught. 0:54:01.280 --> 0:54:03.959 Because you see later on when he's when he Bill 0:54:04.000 --> 0:54:06.360 returns to the costume that they are leaving, and that's it. 0:54:06.440 --> 0:54:08.600 And then he's more open with the offer of like 0:54:08.640 --> 0:54:12.600 when you use anything, Yes, the daughter and. 0:54:12.680 --> 0:54:14.560 You actually whispers to him when she when he's getting 0:54:14.600 --> 0:54:16.360 his because he goes there to get the costume he 0:54:16.400 --> 0:54:18.800 needs for the party, she whispers something to him. What 0:54:18.840 --> 0:54:20.880 she says to him, She says, get a cloak with 0:54:20.920 --> 0:54:25.239 an lined with ermine, so she knows where he's going. 0:54:26.760 --> 0:54:30.759 And of course ermine is classic for aristocracy, and that 0:54:30.880 --> 0:54:32.839 was one of da Vinci's paintings, you know, the lady 0:54:32.880 --> 0:54:36.600 with the ermine cloak. So he's he's every moment, every 0:54:36.640 --> 0:54:41.000 chance he gets. Here's one, yeah, cop this well, this one. 0:54:41.040 --> 0:54:43.600 There's the pram at the end, this old fashioned pram, 0:54:43.600 --> 0:54:46.080 which is a nod to Rosemary's baby. 0:54:46.320 --> 0:54:47.239 No, it's the actual one. 0:54:47.280 --> 0:54:47.960 It is the actual one. 0:54:48.200 --> 0:54:52.600 It's the exact Rosemary. It's it's just like so how 0:54:52.640 --> 0:54:54.200 does he get this point? So he you know that 0:54:54.280 --> 0:54:57.520 he invented street view. So for this film, Stanley Kubrick 0:54:57.560 --> 0:55:00.719 invents street view because he gets his nephew to go 0:55:01.080 --> 0:55:04.520 on the Commercial Road in London and take a photograph. 0:55:04.600 --> 0:55:06.839 Because Kubrick said, no, no, no, no no, because this guy 0:55:06.920 --> 0:55:08.600 was like a normal human being, goes no, no, no, no no. 0:55:09.000 --> 0:55:12.160 You can't take it facing up or facing down because 0:55:12.160 --> 0:55:14.320 it will distort the buildings. It has to be taken 0:55:14.360 --> 0:55:17.280 from street level view street He calls it street level. 0:55:17.719 --> 0:55:20.480 So the dude goes with a camera with a camera, 0:55:21.040 --> 0:55:24.440 a film camera, and sets up a ladder, takes a photo, 0:55:24.760 --> 0:55:27.520 gets down from his ladder, gets a ladder, takes the 0:55:27.560 --> 0:55:30.040 next one right, gets them developed, takes them back to 0:55:30.080 --> 0:55:33.759 Koubry and has to sticky tape them together so that 0:55:33.840 --> 0:55:36.520 Kubrick can look at the commercial Road in a series 0:55:36.560 --> 0:55:39.839 of photographs in a row. So he invents street view 0:55:39.880 --> 0:55:40.759 for this film. 0:55:41.160 --> 0:55:42.800 Sound I could have just left the house and well. 0:55:42.640 --> 0:55:44.239 That's the other thing. Maybe you know, you know it's 0:55:44.280 --> 0:55:46.719 there right now if you want to go stand I 0:55:46.880 --> 0:55:48.680 do it. But mate, it is, I mean it is here. 0:55:49.840 --> 0:55:52.480 That dude had to spend a year taking photographs of 0:55:52.560 --> 0:55:54.920 front doors just so that they could find the right 0:55:54.960 --> 0:55:56.080 one for Tom Cruise. 0:55:56.920 --> 0:56:00.520 Yeah, so what the let's talk about We'll come back 0:56:00.560 --> 0:56:04.560 to the Colton and but let's talk about Kubrick and 0:56:04.600 --> 0:56:09.120 his methis he basically broke Shelley de Val in The Shine. 0:56:09.640 --> 0:56:12.799 Did it to the to the Twins in Shining? Never 0:56:12.800 --> 0:56:16.360 act again? Danny never acts again in The Shining. A 0:56:16.400 --> 0:56:19.040 couple of the guys from Full Metal Jacket never act again. 0:56:19.080 --> 0:56:21.680 The other soldiers. This is in his wheelhouse. 0:56:21.840 --> 0:56:25.759 Yeah, and he's doing things like making Tom Cruise walk 0:56:25.760 --> 0:56:27.440 through a door the ninety five times. 0:56:27.239 --> 0:56:30.880 Ninety five times. However, yes, what does he know about 0:56:30.880 --> 0:56:34.240 Tom Cruise to know that he can't crack him? Because 0:56:34.280 --> 0:56:36.799 when the Cock evens interviewed about this film later, she says, 0:56:36.840 --> 0:56:39.600 I would have done another year. Yeah, it was four 0:56:39.640 --> 0:56:42.840 hundred days. I would have easily done another year, no drama. 0:56:42.920 --> 0:56:47.040 So they signed open ended contract basically, so they are 0:56:47.719 --> 0:56:50.440 available to Stanley Kubrick for this movie for as long 0:56:50.480 --> 0:56:54.760 as Stanley Kubrick Craze signs, which ends up mission impossible 0:56:54.800 --> 0:56:59.759 getting pushed back in the sequel. So and this, you know, 0:56:59.840 --> 0:57:03.560 he is obviously obviously a genius who has made some 0:57:03.600 --> 0:57:07.319 of the most you know, the greatest films ever that 0:57:07.440 --> 0:57:11.000 will live forever, immortal films. There's a get to the 0:57:11.040 --> 0:57:15.879 point though, where you do go do you need thank you? 0:57:16.040 --> 0:57:20.280 The shoot the sex scene, a rugged sex scene with 0:57:20.360 --> 0:57:24.200 Nicole Kimmen and then who I thought was Aaron Akhart 0:57:24.200 --> 0:57:29.000 for a while I was googling and for six. 0:57:28.880 --> 0:57:33.000 Days, well yeah, I know, and it's only one it's 0:57:33.040 --> 0:57:36.000 only two angles right in the actual filming of it 0:57:36.120 --> 0:57:38.680 in the black and white, and so Alan Cumming, who 0:57:38.680 --> 0:57:41.560 plays their hotel clothes, that scene took a week. There's 0:57:41.560 --> 0:57:43.920 a scene between Sidney Pollack and Tom Cruise at the 0:57:44.000 --> 0:57:45.600 end of the film, which is two people talking in 0:57:45.600 --> 0:57:47.120 a pool room. That took six weeks. 0:57:47.320 --> 0:57:49.920 Right now, Harvey Kaytel left the production because he was 0:57:49.920 --> 0:57:52.280 going to play Sidney Pollack's character one hundred percent Victor, 0:57:52.680 --> 0:57:54.480 and this went no, I'm not, I'm not. I'm not 0:57:54.560 --> 0:57:56.240 walking through that door for you more than four times. 0:57:56.280 --> 0:57:57.960 And then you know what they started telling people. They 0:57:57.960 --> 0:57:59.959 started to try and make Harvey Cartell look bad. 0:58:00.080 --> 0:58:00.280 You know what. 0:58:00.400 --> 0:58:03.120 The room went out. Ah, so kit Tell just leaves 0:58:03.160 --> 0:58:05.120 goes I'm not doing eighty seven takes of walking through 0:58:05.120 --> 0:58:07.560 a door go fuck yourself? Right, I love that. Yeah. 0:58:08.600 --> 0:58:10.840 The rumor then went around, Oh no, no, it wasn't that. 0:58:11.200 --> 0:58:14.520 What happened was that kite tell the sex scenes that 0:58:14.640 --> 0:58:17.000 you know that Sidney Pollock was meant to have in 0:58:17.080 --> 0:58:19.880 the film. Kitell wanted to be masturbating for real, and 0:58:19.880 --> 0:58:24.560 he ejaculated on someone's leg, which ended up happening in 0:58:24.560 --> 0:58:25.080 grown Ups too. 0:58:25.160 --> 0:58:28.840 That's what I call it. I was gonna say, that's 0:58:28.840 --> 0:58:31.800 what that's why he plays mister White. 0:58:33.080 --> 0:58:37.040 So but I agree with you with so Obviously everyone 0:58:37.040 --> 0:58:39.840 wants to do the same thing. Everyone wants to go, hey, Stan, 0:58:39.920 --> 0:58:42.120 come here a minute on the screen of two takes. 0:58:42.320 --> 0:58:45.520 One is take thirty seven. One is take eighty seven, 0:58:45.720 --> 0:58:48.520 which is which, yeah, that's what you want to do. Yes, 0:58:48.560 --> 0:58:49.680 that's because he burns them all. 0:58:49.800 --> 0:58:52.440 Yeah. Well, and also it's you do get to the 0:58:52.480 --> 0:58:57.600 point where you go, Nicole Kimman, and it's not just 0:58:58.440 --> 0:59:01.400 it's it's a very it's a sex scene where you like, 0:59:01.840 --> 0:59:06.200 there are clearly hands on genitalia form and he's encouraging that, 0:59:06.240 --> 0:59:09.400 and he's ever saying rougher, rougher, ruffer at what point 0:59:09.400 --> 0:59:11.840 does somebody and I suspect if it was happening that 0:59:12.320 --> 0:59:15.760 imagine the itacy coordinator on Eyes by Shut In twenty 0:59:15.960 --> 0:59:19.160 twenty five. You know what it is that's amazing it like, yes, 0:59:19.560 --> 0:59:22.120 so none of that happens, and it's like I do 0:59:22.480 --> 0:59:25.640 it's and I'm not asking for Stanley Kubrick films to 0:59:25.640 --> 0:59:27.800 be canceled. I know it joins, but at some point 0:59:27.800 --> 0:59:30.880 you're going to go, it's ridiculous, Stanley, Like you don't 0:59:30.920 --> 0:59:33.840 need to be somebody should have been stepping in going no, 0:59:34.440 --> 0:59:36.800 you are not get you get this scene for a 0:59:36.880 --> 0:59:37.560 day exactly. 0:59:37.640 --> 0:59:39.760 But who is that person? Because what's his argument that 0:59:39.800 --> 0:59:42.400 he always comes back with, I came in under budget, 0:59:42.920 --> 0:59:45.560 which he does. So the reason that so that you've 0:59:45.560 --> 0:59:49.120 answered your own question, that person told me. The studio 0:59:49.680 --> 0:59:51.880 they never say anything because they know they've got a 0:59:51.880 --> 0:59:54.840 Stanley Kubrick film one and two is under budget. That's 0:59:54.840 --> 0:59:58.120 his key, the reason he gets away with it. The 0:59:58.400 --> 1:00:01.560 key bit is that he's under budget because they've got 1:00:01.560 --> 1:00:03.240 nothing to hit him with in terms of they do 1:00:03.320 --> 1:00:06.240 in terms of fucking let it go. But he's under 1:00:06.240 --> 1:00:08.680 budget every time, and that is his key. When I 1:00:08.680 --> 1:00:10.800 read that I was like, that's how he got him 1:00:10.840 --> 1:00:13.000 because he's under budget. That's why they don't give a ship. 1:00:13.160 --> 1:00:15.160 Nicole Keppan gets injured in that, in that, in that 1:00:15.320 --> 1:00:19.040 and yeah, yeah, like it's and and and the actor 1:00:19.080 --> 1:00:22.680 who's just like this model too, is this model wrote 1:00:22.680 --> 1:00:24.960 his name down somewhere Gary got or something Williams. 1:00:28.640 --> 1:00:30.640 Yeah, and he just that's his only bit. That's his 1:00:30.760 --> 1:00:32.960 only Yeah, he said his only credit. Yeah, and he 1:00:33.040 --> 1:00:34.560 kind of got that's unbelievable. 1:00:34.600 --> 1:00:37.000 He got he got signed and and and and wasn't 1:00:37.040 --> 1:00:39.480 really sure exactly what it was because obviously the secrecy 1:00:39.520 --> 1:00:42.240 around it, they're not giving telling you. Gary got the whole. 1:00:42.040 --> 1:00:45.880 Scripts, sorry page any one. 1:00:46.160 --> 1:00:48.840 So wow, Gary Gobber. 1:00:49.120 --> 1:00:54.080 No, Gary Gobby. You never guess why they call me Gary. 1:00:54.480 --> 1:00:57.560 There was over fifty erotic positions that were filmed. They 1:00:57.640 --> 1:01:01.280 go with basically to maybe forty seconds. 1:01:01.640 --> 1:01:04.960 Fifty fifty erotic positions. There aren't fifty. 1:01:07.080 --> 1:01:09.200 I've had three. I've counted three to three. 1:01:10.120 --> 1:01:12.400 You fax me the third one. I'd love to see it. 1:01:12.520 --> 1:01:15.640 They're on the slot adjustment adjustment. Yeah, as you get 1:01:15.680 --> 1:01:18.400 the swing right. Didn't make you want to go to 1:01:18.440 --> 1:01:18.960 an orgy? 1:01:19.720 --> 1:01:22.120 No? No, certainly did not. It did not. 1:01:22.200 --> 1:01:23.320 It did not make you want to go to a 1:01:23.400 --> 1:01:26.600 masked up orgy. No, No, okay, well well so pete, okay, 1:01:26.640 --> 1:01:29.680 let's just say p Hellier you get, you know, for Dalio, 1:01:30.000 --> 1:01:32.960 which is also the name of a series of secret experiments. 1:01:33.000 --> 1:01:34.440 So we'll get to that in a moment. Even that 1:01:34.480 --> 1:01:36.360 he's picked because it's a boatsart op er Bethoven if 1:01:36.360 --> 1:01:38.320 I can't remember which one it is. No, he's picked 1:01:38.320 --> 1:01:41.560 that because it's the name of secretive experiments. He knows 1:01:41.600 --> 1:01:43.600 what he's doing, right every time. All right, there you 1:01:43.600 --> 1:01:47.320 get the invite mask, and you're standing in the circle 1:01:47.680 --> 1:01:50.640 and they do the and one of the beautiful models 1:01:50.640 --> 1:01:52.680 gets up, comes over and gives you the mask kiss. 1:01:52.760 --> 1:01:53.440 You're not fired up? 1:01:54.400 --> 1:01:54.520 Uh? 1:01:55.120 --> 1:01:57.480 Well no no, because I kind of my first quess 1:01:57.480 --> 1:01:58.480 will be like, who's going to be there? 1:01:59.320 --> 1:01:59.760 These things? 1:01:59.760 --> 1:02:01.640 You don't no, no, you know, you don't know. Is 1:02:01.640 --> 1:02:06.520 it also weird that they're performing like sixty nine sexual 1:02:06.560 --> 1:02:09.440 position with masks? How does that work? 1:02:08.480 --> 1:02:12.520 It's it's really yeah, I was spilling. I was like, 1:02:12.520 --> 1:02:14.440 you wouldn't it made mask off? 1:02:14.440 --> 1:02:16.800 For that? Isn't some occasions it's. 1:02:16.640 --> 1:02:16.960 Going to be. 1:02:18.720 --> 1:02:21.320 Yeah, it's going to be a mask for that one. 1:02:21.840 --> 1:02:25.360 Having a plastic mask at the end of your it's. 1:02:25.040 --> 1:02:28.040 Not what I'm here for. Excuse me, Red Cloak? Can 1:02:28.040 --> 1:02:31.920 I get a different position? I understand there's fifty you 1:02:31.960 --> 1:02:34.080 want to get some variety and what about the city. 1:02:34.120 --> 1:02:36.560 So one of the first uses of CGI ever is 1:02:36.680 --> 1:02:41.720 to add extra blokes in black cloaks to to obfiscate 1:02:41.840 --> 1:02:44.800 the actual graphic nature of the sex being shot. 1:02:44.560 --> 1:02:45.880 Because he needs it to be our raided, but he 1:02:45.880 --> 1:02:48.200 doesn't want it to be like x Rader and and 1:02:48.400 --> 1:02:51.600 so he's watching films like Fatal Attraction, Show Girls. Yes, 1:02:51.600 --> 1:02:54.200 that's basic instinct that kind of work out how how 1:02:54.960 --> 1:02:57.720 how close they came to, you know, getting that rating 1:02:57.800 --> 1:03:03.800 or losing that rating. So yeah, I I love Stanley Kubrik, 1:03:03.840 --> 1:03:05.800 but I just kind of I don't is this like love. 1:03:06.000 --> 1:03:07.800 I love hearing the stories about it because it's you know, 1:03:07.840 --> 1:03:12.320 it's a film mystery, but also it's like, I I 1:03:12.720 --> 1:03:15.120 hopefully that that stuff never happens again. 1:03:15.200 --> 1:03:17.000 No, And I wouldn't last five minutes on one of 1:03:17.040 --> 1:03:19.920 his movies. I just wouldn't the pay I just be like, 1:03:19.960 --> 1:03:23.640 what are we fucking doing? Like Take twenty was fine. 1:03:23.440 --> 1:03:25.640 Yeah, well what you went for Working Dog, which have 1:03:25.880 --> 1:03:28.720 the opposite of like what Stanley Kubrik does, but they're 1:03:28.760 --> 1:03:31.480 like the great thing about doing Have you been paying attention? 1:03:31.520 --> 1:03:33.480 And I hope you Yeah, I've got my love. Have 1:03:33.520 --> 1:03:35.520 you been paying attention? A friend of the show shirt? 1:03:35.560 --> 1:03:38.440 And I'm proud. I'm very proud to get that is 1:03:39.240 --> 1:03:42.160 you go in and there's no fucking about like you 1:03:42.280 --> 1:03:45.840 go in, you get in the makeup, you go block 1:03:45.880 --> 1:03:47.760 the show for cameras and lighting, go to the groom 1:03:47.800 --> 1:03:50.200 and they load the audience and you start and it's 1:03:50.320 --> 1:03:51.440 it's joyous. Yeah. 1:03:51.480 --> 1:03:53.320 Because Tom, I asked Tom about this film in the 1:03:53.400 --> 1:03:55.440 lead up to this Tomm he goes, oh, yeah, I 1:03:55.440 --> 1:03:58.000 think I went to a media screening in nineteen ninety nine. 1:03:58.280 --> 1:03:59.760 Had you go? He goes, no, No, not for me. 1:04:00.400 --> 1:04:02.240 I said too slow, too slow, too slow. I had 1:04:02.280 --> 1:04:04.360 somewhere to be right. I like that is the so 1:04:04.440 --> 1:04:07.440 And I know what you mean because he always says 1:04:07.960 --> 1:04:11.720 that the budget buys him time. So that's Kubrick's thing. 1:04:12.120 --> 1:04:14.240 Time he thinks is just amorphous and he can just 1:04:14.240 --> 1:04:15.760 do what he wants with it. And so when you 1:04:15.840 --> 1:04:18.000 see that it was four hundred days to make this 1:04:18.080 --> 1:04:20.680 film and it wasn't finished. There is no way this 1:04:20.760 --> 1:04:21.560 film was finished. 1:04:22.000 --> 1:04:24.320 So well, yeah, yeah, you go for it. Do you 1:04:24.320 --> 1:04:30.600 want to? So there's Stanley Gery does deliver. Reportedly to 1:04:30.840 --> 1:04:31.919 bat Brothers. 1:04:31.600 --> 1:04:33.919 He did, that happened, There was a screening that happened. 1:04:33.720 --> 1:04:40.160 And he dies four days later. There are rumors that 1:04:41.000 --> 1:04:45.920 there was a recutting of this film to hide certain things. 1:04:46.240 --> 1:04:49.360 One of the biggest things pertains to the ending, which 1:04:50.520 --> 1:04:54.680 you have Nicole Kidman and Tom Cruise walking through the 1:04:55.080 --> 1:04:57.840 shop at Christmas. Great Christmas movie, by the way, fantasty 1:04:57.880 --> 1:05:06.520 Christmass raised along time along say try I'm for holidays. 1:05:07.640 --> 1:05:12.160 Let's let's have a little listen to uh Bill and analysis. 1:05:12.200 --> 1:05:14.720 They walked through the store and they discussed the ending. 1:05:16.240 --> 1:05:31.439 Maybe I think we should be grateful, grateful that we've 1:05:31.640 --> 1:05:32.919 managed to. 1:05:32.600 --> 1:05:41.960 Survive through all of our adventures, whether they were real 1:05:43.880 --> 1:05:52.520 or only adream. 1:05:52.560 --> 1:05:52.920 Are you. 1:05:55.200 --> 1:05:57.160 Are you sure? 1:06:00.800 --> 1:06:03.120 H am? 1:06:03.200 --> 1:06:03.680 I sure? 1:06:08.680 --> 1:06:17.439 Mhm h oh, only. 1:06:20.440 --> 1:06:24.600 Only as sure as I am that the reality of 1:06:24.720 --> 1:06:33.280 one night that alone matter a whole lifetime can ever 1:06:33.400 --> 1:06:34.600 be the whole truth. 1:06:37.880 --> 1:06:43.520 Mh And no dream is ever. 1:06:46.080 --> 1:06:50.880 Just a dream m hmm. 1:06:51.800 --> 1:06:56.480 There's a bit what we'll play uh uh botch. There's 1:06:56.480 --> 1:07:00.040 a couple of things. First of all, do you t 1:07:00.200 --> 1:07:02.600 into a theory that this is the Tom Cruise Bill? 1:07:02.720 --> 1:07:03.840 Is it's a dream? 1:07:04.000 --> 1:07:06.360 If it's that, then the movie sucks I completely. If 1:07:06.400 --> 1:07:08.480 it's a dream, this movie sucks so bad. 1:07:08.600 --> 1:07:08.760 Yes. 1:07:09.080 --> 1:07:10.720 And is he just buged it in to try and 1:07:10.720 --> 1:07:12.320 give himself an out or is he just trying to 1:07:12.360 --> 1:07:14.400 because you remember he says interesting is better than real, 1:07:14.480 --> 1:07:17.000 So that's Kubrick's motto in life, interesting is better than real. 1:07:17.480 --> 1:07:19.080 And I feel as though he's just bugged it in 1:07:19.240 --> 1:07:21.560 to go And I don't I haven't read them novella obviously, 1:07:21.680 --> 1:07:23.880 the Trouman novel, so I don't know. So I don't 1:07:23.920 --> 1:07:25.760 know if that's something he's kept from that or if 1:07:25.800 --> 1:07:27.680 something that he's written, or that's something that he's written 1:07:27.680 --> 1:07:29.880 on the set, which he was famous for rewriting the 1:07:30.360 --> 1:07:31.880 script while he was shooting it. He would do that 1:07:31.920 --> 1:07:32.360 all the time. 1:07:32.400 --> 1:07:35.640 And if Schnitzeler's friends with Freud, then yeah, dreams are 1:07:35.680 --> 1:07:36.840 probably always going to be a part of it. 1:07:36.880 --> 1:07:38.840 That's the point. That's what he That's what was apparently 1:07:38.880 --> 1:07:41.200 what drew him to it initially. So if that's it 1:07:41.320 --> 1:07:46.000 sucks so bad. It can't be a dream because people 1:07:46.120 --> 1:07:48.320 keep saying that, Pete, how shit is it was all 1:07:48.320 --> 1:07:52.280 a dream? Exactly the fucking worst. It's the fucking it's 1:07:52.280 --> 1:07:54.400 the worst thing you can do. It was all a dream. 1:07:54.520 --> 1:07:56.880 I love the idea. The fact that Alice has had 1:07:56.920 --> 1:07:59.360 these dreams and these thoughts, that's the interesting thing that 1:07:59.400 --> 1:07:59.840 she's having. 1:08:01.040 --> 1:08:05.240 Sends him off. Yes, so yeah, I reckon. That's one 1:08:05.280 --> 1:08:07.120 of the reasons people hate it. I reckon. One of 1:08:07.160 --> 1:08:09.160 the reasons that people really don't like this film is 1:08:09.160 --> 1:08:11.000 that it might be all we dream ah, and what 1:08:11.040 --> 1:08:13.360 have we been doing? Because it's as if someone has 1:08:13.360 --> 1:08:16.240 been telling you their dream for three hours, so, which 1:08:16.240 --> 1:08:18.400 is always awful. When someone tells you their dream, it's awful, right. 1:08:18.439 --> 1:08:20.240 And when you're young and single and an attractive woman 1:08:20.280 --> 1:08:21.720 says she'd like to tell you about a dream she had, 1:08:21.760 --> 1:08:24.000 you go, yeah, this sounds good. But when you've been 1:08:24.000 --> 1:08:26.479 married for teen years, like I have, my wife starts 1:08:26.520 --> 1:08:27.880 up about her dreams, I'm out of it. 1:08:28.240 --> 1:08:32.840 Yeah. I also don't think it's shot or there's enough 1:08:32.960 --> 1:08:34.599 dream like things going on it. 1:08:34.720 --> 1:08:36.559 So you know what they say, the claps, So there's 1:08:36.560 --> 1:08:39.639 a bit where Tom Cruise is walking through New York City. However, 1:08:39.640 --> 1:08:42.920 how was that shot that was he's on the treadmill? 1:08:42.960 --> 1:08:43.000 Was? 1:08:43.000 --> 1:08:46.400 And yeah, baby, he's on a treadmill with rear projection 1:08:46.760 --> 1:08:47.960 in nineteen ninety eight. 1:08:48.120 --> 1:08:49.920 Yeah, and it looks. It looks great, it looks great. 1:08:49.960 --> 1:08:51.760 There's one shot in the car. There's one shot in 1:08:51.760 --> 1:08:53.840 the car where it looks do it's a bit dodgy? 1:08:53.920 --> 1:08:56.840 Yeah, but and then he claps Yeah, and that's meant 1:08:56.840 --> 1:08:58.559 to snap it out of a dream state because he 1:08:58.560 --> 1:09:01.920 does it a few times. But if any of that's true, 1:09:02.160 --> 1:09:03.080 the whole movie sucks. 1:09:03.200 --> 1:09:03.400 Yeah. 1:09:03.479 --> 1:09:05.840 If I could cut one thing, I would just cut 1:09:05.840 --> 1:09:07.360 the idea again, No, mate, come on. 1:09:07.680 --> 1:09:09.439 So I just thought that was Cruse being Cruise. 1:09:09.840 --> 1:09:12.720 You know, I don't reckon. I don't reckon. Well, I 1:09:12.760 --> 1:09:14.400 hope it, I hope it is. That's something he had 1:09:14.439 --> 1:09:16.679 to do eighty times as well, or something like that, 1:09:17.080 --> 1:09:18.920 because you know that he would shoot the scenes on 1:09:19.000 --> 1:09:22.480 VHS first. So Kubrick would shoot the scene on VHS 1:09:22.560 --> 1:09:24.800 first and then show it to the actors back and 1:09:24.800 --> 1:09:26.240 go see that bit, do that again? See that I 1:09:26.320 --> 1:09:27.439 like that bit? So to do that? 1:09:27.479 --> 1:09:27.800 Do that? 1:09:27.920 --> 1:09:29.800 So he would do that first. So even though he's 1:09:29.800 --> 1:09:31.800 in eighty seven taps, he's already shot it on a 1:09:31.880 --> 1:09:34.639 VHS to show them. Yeah, how annoying. 1:09:35.840 --> 1:09:40.240 He's very annoying. So okay, so let's do back the dream. Well, 1:09:40.439 --> 1:09:42.400 we recommend you watch it with It's not a dream, 1:09:42.400 --> 1:09:45.360 its happening. It's not a dream, it's happening. So this 1:09:45.600 --> 1:09:48.640 ending so that their daughter, they basically don't take their 1:09:48.680 --> 1:09:51.240 eye off the door to be mindful of her, and 1:09:51.240 --> 1:09:55.360 then they kind of they see her walk off, and 1:09:55.400 --> 1:09:58.240 then they don't and they almost like they're allowing it, 1:09:58.560 --> 1:10:01.360 and she walks off with two the man too, gray Head, 1:10:02.040 --> 1:10:05.920 the older man who we do see at the party 1:10:05.960 --> 1:10:08.040 at the start when they're walking up the stairs, and 1:10:08.479 --> 1:10:12.719 it's all very subtle, but it's there. And a theory 1:10:13.400 --> 1:10:19.080 is that they are basically sacrificing their daughter to this cult, 1:10:20.040 --> 1:10:22.479 which would lend the idea that this is actually a 1:10:22.520 --> 1:10:24.040 pedophilic thing going on. 1:10:24.520 --> 1:10:28.880 And yes, so two questions. Roger Avery on The Joe 1:10:28.960 --> 1:10:32.360 Rogan Show this week said he's got a shooting script 1:10:32.520 --> 1:10:35.840 from the set, and that absolutely happened. They did. That 1:10:36.000 --> 1:10:37.400 was the pedophilic thing. They were trying to take it 1:10:37.400 --> 1:10:39.439 out and that there's a voice over missing and you 1:10:39.479 --> 1:10:41.080 can tell because of there are gaps in the film, 1:10:41.120 --> 1:10:43.880 particularly when he's at the Morgan he's looking over. I'm paraphrasing, 1:10:44.160 --> 1:10:46.920 but he says, one hundred percent there's a pedophilic thing 1:10:46.920 --> 1:10:49.439 which which they've cut. They've the studio said cut it, 1:10:49.640 --> 1:10:51.920 and that the part of what gives it away is 1:10:51.920 --> 1:10:54.760 the fact that there's no voiceover and that certainly footage 1:10:54.840 --> 1:10:56.360 was cut because there's things that if you're a real 1:10:56.400 --> 1:10:58.479 deep filmmaker like he is and in Quentin, that they 1:10:58.520 --> 1:11:00.679 can notice to go, hang on, that's not that's off, 1:11:00.760 --> 1:11:03.280 that's not Kubrick right, because they're students of his stuff. 1:11:03.600 --> 1:11:05.880 One hundred percent believe that, and I also believe that 1:11:05.880 --> 1:11:08.800 that is what he's alluding to there. And the fact 1:11:08.840 --> 1:11:10.800 that every woman in the film is a redhead who 1:11:10.800 --> 1:11:13.280 looks like Nicole Kidman. The idea is that is that's 1:11:13.320 --> 1:11:15.400 what she was. The idea is that she used to 1:11:15.439 --> 1:11:19.320 be one of the hookers at these parties. Because when 1:11:19.360 --> 1:11:21.479 she drops the dress at the start, she drops it 1:11:21.520 --> 1:11:23.360 the same way they drop the cloak. So she drops 1:11:23.360 --> 1:11:25.160 her black dress at the start and you see her 1:11:25.160 --> 1:11:27.200 body and they all do the same thing, and that 1:11:27.280 --> 1:11:29.639 she's basically it's this is a cycle that has been 1:11:29.760 --> 1:11:32.920 going sort of infinitum, around around it goes, and so 1:11:32.960 --> 1:11:34.800 that her job now is to breed the next Her 1:11:34.880 --> 1:11:37.479 job is to breed the next generation of girls that 1:11:37.520 --> 1:11:39.120 are going to be part of this, which says it 1:11:39.360 --> 1:11:42.120 just won't stop. And then so now I was reading something, 1:11:42.120 --> 1:11:44.720 but Nicole Kidmer said, she said that her and Stanley, 1:11:44.840 --> 1:11:46.840 Her and Stanley came up with that dress drop, and 1:11:46.880 --> 1:11:48.519 that she didn't like the dresses, so that was just 1:11:48.560 --> 1:11:51.000 her dress that she had, and that they came up 1:11:51.000 --> 1:11:53.040 with that way of dropping it. But it's exactly the 1:11:53.080 --> 1:11:54.600 same as the way the women drop the cloaks and 1:11:54.600 --> 1:11:57.479 they all look like Nicole Kidman. So I go with that. 1:11:57.200 --> 1:11:59.439 I think that's what he's getting it. I think he's saying, Yep, 1:11:59.439 --> 1:12:02.000 there's a pediph cult and that it's been going, you know, 1:12:02.160 --> 1:12:04.640 in forever, and that she was part of it and 1:12:04.640 --> 1:12:06.880 now she's she's producing the next generation for it. 1:12:06.960 --> 1:12:11.519 And what I love about this film is, particularly watching 1:12:11.560 --> 1:12:17.439 it in this time, is the level of like it 1:12:17.479 --> 1:12:21.120 doesn't become an investigation about what he's not, Like, Bill's 1:12:21.160 --> 1:12:24.320 not trying to expose. There's a version of this film 1:12:24.360 --> 1:12:26.640 and maybe in Lesser Hands where it becomes about the 1:12:26.640 --> 1:12:29.280 politics of this and who are these people you know? 1:12:29.680 --> 1:12:31.640 And why does it exist? He's not doing it. It 1:12:31.720 --> 1:12:36.519 still remains about the marriage. What thoughts are we allowed 1:12:36.520 --> 1:12:40.360 to have? Like I did an episode that I want 1:12:40.400 --> 1:12:42.519 to you know well, I half kind of wrote for 1:12:42.560 --> 1:12:46.000 How to Stay Married, and it was basically Greg my 1:12:46.120 --> 1:12:49.040 character got caught having a wank, you know, by Am 1:12:49.120 --> 1:12:51.040 and the whole idea for the episode was like, what 1:12:51.320 --> 1:12:54.320 are you allowed to have in your own head when 1:12:54.320 --> 1:12:57.520 you're you're you're married? And what was he working about? 1:12:58.320 --> 1:13:01.160 The idea? He was actually waking about one of their friends. 1:13:02.880 --> 1:13:05.360 You cast that actress. That's where your own marriage gets 1:13:05.360 --> 1:13:09.120 in trouble. Did when you go to cast that actress, 1:13:09.560 --> 1:13:10.519 your wife goes, who's this? 1:13:10.680 --> 1:13:12.560 I did do an episode of It's which actually was 1:13:12.600 --> 1:13:15.080 the like I guess the prequel of How to Stay 1:13:15.080 --> 1:13:18.920 Married because my character was was the same character. Basically 1:13:18.920 --> 1:13:21.080 had to say marriage with a spin off and it 1:13:21.120 --> 1:13:23.320 was like, my character does get at light dance from 1:13:23.320 --> 1:13:28.280 the white white It's not like a regular thing. It's 1:13:28.560 --> 1:13:33.040 nudity is a regular thing, said well to be honest. 1:13:33.360 --> 1:13:36.120 That storyline is actually an easy act because that storyline 1:13:36.160 --> 1:13:38.160 was based on something that actually happened with my wife 1:13:38.200 --> 1:13:41.679 and I early on in their relationship with another couple, 1:13:41.920 --> 1:13:44.920 and the two women said, wouldn't it be fun if 1:13:44.920 --> 1:13:46.120 we all went to a strip club that we have 1:13:46.200 --> 1:13:47.840 none of us have been to a strip club before that, 1:13:48.200 --> 1:13:49.639 none of us have been the strip club before where 1:13:49.640 --> 1:13:51.040 me and my mate this looked at our shoes and yeah, 1:13:51.040 --> 1:13:51.360 none of us. 1:13:53.880 --> 1:13:58.360 So for daily and you're seeing you went to the 1:13:58.360 --> 1:13:59.080 strip club which. 1:13:58.960 --> 1:14:03.479 One uh, I think it was samant Rhino, and the 1:14:03.479 --> 1:14:05.160 same thing happened, like a woman came over to my 1:14:05.200 --> 1:14:06.679 wife and I said, I'll give you a lap dance 1:14:06.920 --> 1:14:09.720 and then she started that and my wife kind of said, 1:14:09.840 --> 1:14:13.320 I think we're going to leave now because she thought 1:14:13.400 --> 1:14:16.960 I was giving the lap dancer look. It was her look, 1:14:17.360 --> 1:14:20.240 and I was like, well no, because I'm I know 1:14:20.280 --> 1:14:22.080 what it's like to be an audio, you know, a performer, 1:14:22.439 --> 1:14:24.040 and I'm like respecting. 1:14:23.520 --> 1:14:25.920 I'm a great audience, I'm a great audio. 1:14:25.960 --> 1:14:29.559 And it's like and it sounds like bullshit, but it's 1:14:29.600 --> 1:14:34.160 sincere if I was like, sit there and there's like, look, 1:14:34.520 --> 1:14:37.040 you know you know at the walls. 1:14:37.439 --> 1:14:40.040 That's how would she feel? How would the lady dancing 1:14:40.120 --> 1:14:40.559 lady feel? 1:14:40.560 --> 1:14:40.880 Exactly? 1:14:41.320 --> 1:14:41.640 Get it? 1:14:41.760 --> 1:14:42.000 That was? 1:14:42.000 --> 1:14:44.400 So that was that's the closest you. So you are 1:14:44.400 --> 1:14:46.280 closer to eyes white chat than you think I am. 1:14:46.479 --> 1:14:47.280 You actually been. 1:14:47.439 --> 1:14:51.280 Maybe I would go to this audio baby, maybe maybe 1:14:51.280 --> 1:14:54.200 that is Oh wow, so fun story. 1:14:54.360 --> 1:14:55.080 It is a fun story. 1:14:55.080 --> 1:14:57.000 I believe you fell for that. Let's all go to 1:14:57.040 --> 1:14:58.400 a strip club. What are you doing? 1:14:58.640 --> 1:15:00.800 That's a setup, But I'm go and I did because 1:15:00.800 --> 1:15:04.679 I got this this adventure. Life happened and something is something, 1:15:04.680 --> 1:15:05.479 we learned something what. 1:15:05.520 --> 1:15:06.719 You may do? Was he reading one? 1:15:06.920 --> 1:15:07.040 Uh? 1:15:07.280 --> 1:15:09.840 No, I actually because we we just left after that 1:15:10.120 --> 1:15:13.880 he stayed. I think they stayed. Yeah, okay, and I've 1:15:13.880 --> 1:15:15.719 never seen him since I got my God, that's a lifestyle. 1:15:15.760 --> 1:15:21.880 Big shout out to Cusic. Why is that story not true? 1:15:23.320 --> 1:15:24.640 He's banned from sparm h. 1:15:26.640 --> 1:15:27.400 Only during the day. 1:15:27.520 --> 1:15:30.800 Yeah, during the day all strip clumps with animals in 1:15:30.840 --> 1:15:33.479 the title, David is no longer welcome out. So that 1:15:33.520 --> 1:15:36.120 means no crazy horse, no spimitt rhino, no kittens. 1:15:39.600 --> 1:15:42.000 So let's get back as well as shut before we 1:15:42.040 --> 1:15:46.640 get sued. Yeah. I do love the level where this 1:15:46.720 --> 1:15:50.799 conspiracy is played. But like, there may not be anything 1:15:50.800 --> 1:15:53.040 more we need to say about the Epstein stuff, but 1:15:53.320 --> 1:15:56.320 I do agree and the Paddy stuff that. 1:15:56.320 --> 1:15:57.320 Okay, So where's that hang it? 1:15:57.439 --> 1:15:58.599 Now? Is I going? 1:15:59.040 --> 1:15:59.120 Like? 1:15:59.200 --> 1:16:01.920 It makes it makes you think about those things very 1:16:01.920 --> 1:16:04.600 differently and go, okay, this is he was trying to 1:16:04.600 --> 1:16:04.880 warn us. 1:16:04.920 --> 1:16:07.360 Okay, so where is he? Where's the party? Where's the 1:16:07.400 --> 1:16:10.439 actual party? Like the first party? I know, the sorry 1:16:10.479 --> 1:16:13.679 that the orgy house. Did they film that in I'm 1:16:14.040 --> 1:16:17.160 not aware a house built by one of the Rothschild's 1:16:17.280 --> 1:16:21.519 banking dynasty dynasty? Yes, yeah, come on. And it was 1:16:21.560 --> 1:16:25.400 the first portrait gallery in the world, right, and you 1:16:25.439 --> 1:16:27.160 know a lot of the art was Dunbay his wife 1:16:27.360 --> 1:16:29.400 in the that are on the walls that aren't based 1:16:29.400 --> 1:16:31.599 on real ones. And if you look at the masks, 1:16:31.680 --> 1:16:37.360 the masks are just a catalogue of art history and symbolism. 1:16:37.600 --> 1:16:40.680 Where there's a guy wearing an Illuminati face mask just 1:16:41.120 --> 1:16:44.479 flat out just right there, pyramid eye and you always 1:16:44.479 --> 1:16:45.720 shut up at what are you talking about? Don't know? 1:16:45.880 --> 1:16:49.240 Stanley chose every single mask, of course, And this great 1:16:49.280 --> 1:16:51.800 bit where the wardrobe master had been looking at g 1:16:51.920 --> 1:16:54.680 strings for a year. I heard that Yes, gets their 1:16:54.760 --> 1:16:57.360 day one and goes, don't like them, go get more 1:16:57.400 --> 1:17:01.120 g strings. What is saying? And this is where what 1:17:01.520 --> 1:17:02.280 is happening? 1:17:02.400 --> 1:17:04.160 And I'm kind of conflict because they're going to go, Yes, 1:17:04.160 --> 1:17:06.840 he makes great art and the results are all there 1:17:06.880 --> 1:17:09.040 on screen, but could he have got the results with 1:17:09.120 --> 1:17:12.080 the It's still the same film with a different g 1:17:12.720 --> 1:17:13.439 It's not that. 1:17:13.320 --> 1:17:14.920 He just won't. He just won't do that. And that's 1:17:14.960 --> 1:17:18.280 what Kobridge Boxes is about. The great documentary John Ronson 1:17:18.280 --> 1:17:20.240 made it in two thousand and six where you see 1:17:20.280 --> 1:17:23.120 all the boxes of all of the stuff that he's 1:17:23.240 --> 1:17:27.479 kept of research throughout his journey with films, right, every 1:17:27.520 --> 1:17:30.040 single thing that he's kept, and he kept every bit 1:17:30.080 --> 1:17:33.320 of fan letter and he had FP fan Positive, fan 1:17:33.640 --> 1:17:36.760 FN fan Negative and then CRANK for Crazy People. And 1:17:36.760 --> 1:17:38.519 they ask his assistant why do you keep all the letters? 1:17:38.560 --> 1:17:40.160 He goes, oh, they were like people in the field 1:17:40.200 --> 1:17:42.880 for us, because someone would write in from like Ohio 1:17:43.160 --> 1:17:45.720 and say hey love two thousand and one. It was 1:17:45.720 --> 1:17:47.800 a bit dark when I saw it, and Kubrick would 1:17:47.840 --> 1:17:51.080 read it, ring up the cinema or get them to 1:17:51.120 --> 1:17:53.240 send the print back to make sure it was done correctly. 1:17:53.960 --> 1:17:55.759 He almost look at every print before it goes. 1:17:55.600 --> 1:17:57.200 Out, did every look every print? And then he would 1:17:57.240 --> 1:17:59.800 he would measure every ad in the newspapers to make 1:17:59.800 --> 1:18:01.680 sure he wasn't getting less than he'd been argued that 1:18:01.800 --> 1:18:04.680 he was allowed to have. So just that's the dude. 1:18:05.800 --> 1:18:07.320 A fun guy to work with, so much fun. 1:18:07.360 --> 1:18:10.280 But that's the other thing. They all stay for thirty years, 1:18:10.479 --> 1:18:12.040 all of the people in his thing because they were 1:18:12.040 --> 1:18:13.640 such a small crew. So you go, goy, this guy 1:18:13.720 --> 1:18:16.120 must be a nightmare. No, they all love him except 1:18:16.120 --> 1:18:18.320 the actors. He destroys. The minds of actors seem to 1:18:18.320 --> 1:18:20.400 be the one group of people where he doesn't. These 1:18:20.520 --> 1:18:22.400 I just destroy their mind. I just ruined their life. 1:18:22.439 --> 1:18:24.559 So Nicole Keipman seems to have a great time. 1:18:25.000 --> 1:18:27.320 A year more, she said, I would have done a 1:18:27.360 --> 1:18:28.000 year more. 1:18:27.880 --> 1:18:30.879 Where Tom Cruise I think had I think. 1:18:30.920 --> 1:18:34.719 Now he's very deferential, and he says Stanley was difficult, 1:18:34.760 --> 1:18:39.960 not difficult, but interesting. However, however, this is the film 1:18:39.960 --> 1:18:46.000 that pushes him out of anything even resembling human relations. Ever, again, 1:18:46.960 --> 1:18:50.800 so he does this, He does Magnolia quickly, he does 1:18:50.920 --> 1:18:52.439 Vanilla Sky. I think it's called I can't remember, right, 1:18:52.520 --> 1:18:56.000 Vanilla Skuy's right. And then he goes, this isn't for me, 1:18:56.560 --> 1:18:59.880 and he goes into action Man, Edge of Tomorrow, Oblivion, 1:19:00.479 --> 1:19:04.040 Mission Impossible, them reydes Maverick. This is the film that 1:19:04.080 --> 1:19:06.640 makes him go into personal relationships. Not for me in 1:19:06.760 --> 1:19:08.760 term in trying to make stuff. 1:19:08.960 --> 1:19:11.800 That's interesting, isn't it? Because he was he was very good. 1:19:12.360 --> 1:19:12.880 He was great. 1:19:13.080 --> 1:19:15.680 Yeah, and both of them, we should say, I think 1:19:15.720 --> 1:19:17.519 both of them. I think Nicole Kimman, who actually won 1:19:17.560 --> 1:19:19.600 I think the Blockbuster Performer of the Year award. You 1:19:19.640 --> 1:19:21.639 would have got a vote in that most did, Yeah, yeah? 1:19:25.320 --> 1:19:29.360 And and and Tom. Look Tom, he's wonderful, is Tom. 1:19:29.680 --> 1:19:33.880 He's still Tom Cruise, But it's great to see him. Yeah, 1:19:33.920 --> 1:19:35.720 play somebody who's not trying to save the world, and 1:19:35.720 --> 1:19:37.519 I still like him trying to. I think Tom Creuse. 1:19:37.600 --> 1:19:41.400 I am pro Tom Cruise. I think he is the 1:19:41.439 --> 1:19:43.240 movie star of our time. 1:19:43.320 --> 1:19:47.280 YEP, that's a fair court. And so so he loves 1:19:47.400 --> 1:19:49.360 so he's like, oh, I don't know about something, Now 1:19:49.400 --> 1:19:51.160 do you want to? And so when do we get 1:19:51.200 --> 1:19:55.000 to most interesting tidbits from this movie? 1:19:55.280 --> 1:19:55.519 Now? 1:19:55.800 --> 1:20:01.599 Okay, ready, okay. One Kubrick's daughter, one of the daughters 1:20:01.640 --> 1:20:03.679 who was a photographer and going to be a filmmaker 1:20:03.720 --> 1:20:05.080 and was going to be a score films. She would 1:20:05.080 --> 1:20:10.120 score them under a pseudonym leaves London, leaves the family 1:20:10.640 --> 1:20:13.679 during the production of this to go to Los Angeles 1:20:13.680 --> 1:20:15.880 to join Scientology. 1:20:15.920 --> 1:20:16.400 You got it? 1:20:17.479 --> 1:20:18.400 Holy shit? 1:20:19.760 --> 1:20:20.040 Wow? 1:20:20.240 --> 1:20:23.759 Okay, Like, which is what more do you need? Friends? 1:20:24.000 --> 1:20:24.080 Like? 1:20:24.360 --> 1:20:27.000 Holy shit? And this is the point in Tom's life 1:20:27.000 --> 1:20:30.320 where he's drifted. So every time there's scientoldist, there has 1:20:30.320 --> 1:20:31.599 to be two around, so that one of the other 1:20:31.640 --> 1:20:34.320 actresses in this film with scientologists, right, they sort of 1:20:34.360 --> 1:20:36.760 go in twos anyway, big shout out to them if 1:20:36.760 --> 1:20:40.160 they're listening. Okay, So there's okay. So then the roth 1:20:40.240 --> 1:20:42.599 childs the wardrobe. Yeah, here we go, Harvey Kai tell 1:20:42.720 --> 1:20:43.400 that's a good one. 1:20:44.080 --> 1:20:46.840 The Cribricks daughter, do you know if she stayed with Scientology? 1:20:46.880 --> 1:20:48.680 Oh yeah, they don't. You don't. She's like sitting in 1:20:48.680 --> 1:20:51.200 her sixties now and you don't hear anything. I was 1:20:51.200 --> 1:20:54.880 looking up yesterday. You don't hear anything after this one. 1:20:55.320 --> 1:20:56.080 Isn't that nuts? 1:20:56.640 --> 1:20:56.920 Okay? 1:20:57.040 --> 1:20:59.880 Here's a memo that's Stanley so Camery Stanley Kubrick kept 1:20:59.880 --> 1:21:04.000 all memos that he sent to people. Of course, always 1:21:04.520 --> 1:21:08.800 please always have three, always have melon on set. Never 1:21:08.920 --> 1:21:10.800 less than three Stanley. 1:21:10.600 --> 1:21:11.479 Melon or melons. 1:21:13.200 --> 1:21:15.960 Isn't that great? I have to have three melons on set. 1:21:16.439 --> 1:21:19.880 Three melons. That's that's yeah. 1:21:20.160 --> 1:21:22.280 I mean he's just is everything you ever want him 1:21:22.280 --> 1:21:22.800 to be, all right. 1:21:22.880 --> 1:21:26.879 I mean is that because he likes like eating melons? 1:21:26.960 --> 1:21:28.799 Like or the superstition? 1:21:29.000 --> 1:21:31.120 I think. See that's the thing no one ever knows. 1:21:32.360 --> 1:21:35.040 No one ever knows. Here's the last one. How goes this? 1:21:35.360 --> 1:21:38.640 Kubrick's in the jazz bar and he looks at the 1:21:38.680 --> 1:21:42.560 camera twice, amateur, I know, it's so funny. It's like, 1:21:42.880 --> 1:21:44.640 what are you doing? He looks at the camera and 1:21:44.720 --> 1:21:46.679 looks at Tom Cruise twice. So he's got a cameo 1:21:46.760 --> 1:21:48.840 in his own film and he looks at the camera. 1:21:50.240 --> 1:21:52.519 It's just the weirdest thing. It is the weirdest piece 1:21:52.560 --> 1:21:54.840 of cinema you've ever seen in your whole life. 1:21:55.080 --> 1:21:56.639 We should give a shout out that the Todd Field 1:21:56.680 --> 1:21:59.680 who plays Nick. So for those who don't know who, 1:21:59.720 --> 1:22:03.080 he directed recently Tar with Kate Blanchette. Then there's another 1:22:03.320 --> 1:22:04.200 Cape Blanchett connection. 1:22:04.520 --> 1:22:05.680 Okay, if you want to do it? Or should I 1:22:05.680 --> 1:22:10.200 do it? She voices the masked woman who tells Tom 1:22:10.240 --> 1:22:12.720 he's in danger at the sex party. How good is that? 1:22:12.880 --> 1:22:12.960 Now? 1:22:13.080 --> 1:22:15.200 When it ready for a todd Field full story, Full circle? 1:22:15.640 --> 1:22:18.760 He directs it in the bedroom right when you had 1:22:18.840 --> 1:22:21.040 Tony on and he talked about Top Gun and he 1:22:21.400 --> 1:22:24.200 was his favorite story of talking about nineties and talking 1:22:24.240 --> 1:22:27.519 about when people just had conversations. And he says, there's 1:22:27.560 --> 1:22:30.120 a film in there's this bit in the there's a 1:22:30.200 --> 1:22:33.519 bit in a film where Quentin Tarantino is talking to 1:22:33.600 --> 1:22:35.920 someone at a party and he's describing why Top Gun 1:22:36.080 --> 1:22:38.479 is a homo erotic film. Isn't he talking to todd 1:22:38.479 --> 1:22:39.200 Field in that scene? 1:22:39.800 --> 1:22:40.000 Ah? 1:22:41.120 --> 1:22:44.160 I think he might be y, Yes, yes, Now we're 1:22:44.200 --> 1:22:46.600 in the kup brick zone. Yeah, fun, isn't it? 1:22:46.680 --> 1:22:48.800 Yeah? Well, little children, Little Children was the other one 1:22:48.840 --> 1:22:50.400 he made, Yes, and yeah. 1:22:50.600 --> 1:22:53.960 It's I think that's all the craziness I've got. There's 1:22:54.000 --> 1:22:56.080 so much, one more, one more, one more. He was 1:22:56.120 --> 1:23:00.320 such an expert in lighting that he would sometime times 1:23:01.240 --> 1:23:06.280 secretly go and help light sequences for other films. Kubrick 1:23:06.439 --> 1:23:12.439 is responsible for the lighting is Going Star Wars in 1:23:12.560 --> 1:23:15.920 the major action sequence of the rain of the James 1:23:16.000 --> 1:23:18.960 Bond film The Spy Who Loved Me? Right, what the 1:23:19.160 --> 1:23:20.080 fuck is that ship? 1:23:20.200 --> 1:23:24.360 Imagine coming up the set, you might have had a look, 1:23:28.800 --> 1:23:30.000 we've got three more days of ship? 1:23:31.320 --> 1:23:31.600 Has that? 1:23:32.720 --> 1:23:36.000 Yeah, that's that's incredible. What about the rainbow theory? 1:23:36.400 --> 1:23:38.519 Oh yeah, yeah, Well, because you know there's three rainbow 1:23:38.680 --> 1:23:41.400 rainbow lens flares in the film now a lens flair. 1:23:42.240 --> 1:23:45.080 He's such a perfectionist that he left them in and 1:23:45.200 --> 1:23:46.760 it's like he would never do that. 1:23:47.000 --> 1:23:48.519 Well, there's a rainbow in the in the in the 1:23:48.600 --> 1:23:51.920 costumes as part of the signage. And also that when 1:23:52.120 --> 1:23:54.280 Tom Cruise is being led out at that party. But 1:23:54.400 --> 1:23:56.840 the two you know, gorgeous women, they you want to 1:23:56.840 --> 1:23:58.160 hear where we're going. We're going to the end of 1:23:58.160 --> 1:23:58.599 the rainbow. 1:23:59.600 --> 1:24:03.400 So so yes, that's basically yes, he's doing it, and 1:24:03.439 --> 1:24:05.080 he's doing it on purpose and that's why he's there. 1:24:05.160 --> 1:24:05.280 Now. 1:24:05.439 --> 1:24:10.520 Also that costume shop, he had his nephew photographed costume 1:24:10.560 --> 1:24:15.240 shops in London for a year to get the right look. Yeah, 1:24:15.680 --> 1:24:18.080 I reckon, I got it close on a rack and 1:24:18.200 --> 1:24:22.840 a aisle in the middle and some costumes in the window. 1:24:23.160 --> 1:24:25.400 Yeah, and we can change the costumes. If you're life 1:24:25.439 --> 1:24:28.000 you want the stand, we can bring other costumes. If 1:24:28.040 --> 1:24:29.559 you have anyone, you have you back, if you want mate, 1:24:29.600 --> 1:24:31.840 No one cares. How funny is there a cage at 1:24:31.880 --> 1:24:37.439 the door, Uncle Stan? Most costume shops don't have a 1:24:37.520 --> 1:24:42.479 cage at the door. Lombards is more trusting that have 1:24:42.520 --> 1:24:44.960 a security alarm, but they don't have a cage. 1:24:45.439 --> 1:24:47.800 There's there's a stand. You'll be shocked. There's a very 1:24:47.840 --> 1:24:50.519 few ram raids to get Austin Powers costumes. 1:24:53.280 --> 1:24:55.439 Let's just have a listen to what really sets this. 1:24:56.000 --> 1:24:59.519 It's almost the turning point or the inciting incident, which 1:24:59.560 --> 1:25:03.080 is a converse. What do you think of Nicole's stoned 1:25:03.160 --> 1:25:04.040 acting terrible? 1:25:04.200 --> 1:25:06.920 Yeah, but she's terrible in the way that she's doing 1:25:07.120 --> 1:25:09.519 what she's being asked to do. So that took a 1:25:09.640 --> 1:25:13.160 week or two weeks that scene. Imagine this, everyone, You're 1:25:13.200 --> 1:25:16.400 in one room with your then husband pretending to be 1:25:16.520 --> 1:25:20.320 stone for two weeks while a man with glasses says, 1:25:20.400 --> 1:25:22.559 do it again, do it again? Do it again? Yes, 1:25:22.760 --> 1:25:23.559 you would go crazy. 1:25:23.960 --> 1:25:26.000 And she has gone crazy and I know that, and 1:25:26.040 --> 1:25:29.120 I got the highest opinion of Nicole Kim and there's 1:25:29.120 --> 1:25:31.880 an artist, I think, and she would have given other 1:25:31.960 --> 1:25:35.599 performances which to us may have appeared like a better 1:25:35.680 --> 1:25:38.680 version of Stone that Stanley obviously has not gone with. 1:25:38.760 --> 1:25:41.000 This is the version after shooting that many takes that 1:25:41.080 --> 1:25:43.680 he went with because I think Tom was even like, oh, 1:25:43.680 --> 1:25:45.160 I want to do something a bit different, and he's 1:25:45.200 --> 1:25:46.240 like he wanted Tom Cruise. 1:25:46.360 --> 1:25:50.720 Yes, but he's trying. I personally, my personal theory is 1:25:50.760 --> 1:25:52.360 that he's thought I might be able to break Tom 1:25:52.400 --> 1:25:55.040 Cruise here to get the Tom out of Tom Cruise, 1:25:55.320 --> 1:25:57.800 and Tom Cruise won that battle of wills. I think 1:25:57.880 --> 1:25:59.200 this is the thing that this is why I bring 1:25:59.240 --> 1:26:00.599 it up again. I reckon and this is the thing 1:26:00.640 --> 1:26:02.960 that steals Tom Tom Cruise to go nap. 1:26:03.600 --> 1:26:03.840 I am. 1:26:04.240 --> 1:26:07.200 I am unbreakable no one, and I'm going to be 1:26:07.280 --> 1:26:10.000 Tom Cruise from now on because there's no way, no 1:26:10.160 --> 1:26:12.200 way am I going to sit here and have someone 1:26:12.240 --> 1:26:14.880 else tell me to not be Tom Cruise. I'm Tom Cruise. 1:26:15.320 --> 1:26:16.960 That's it. That's what we're doing from now on. From 1:26:17.000 --> 1:26:19.240 now on, I'm being Tom Cruise, and you just can 1:26:19.280 --> 1:26:19.599 get fun. 1:26:19.840 --> 1:26:21.280 I'm going to Tom Cruise the fun out, you know what. 1:26:21.320 --> 1:26:23.040 I mean, because that's what he does. After this, he goes, no, 1:26:23.439 --> 1:26:24.120 I'm tom Cruise. 1:26:24.439 --> 1:26:28.200 Yeah, yeah, let's have a listened to the fantasy that 1:26:28.400 --> 1:26:31.360 she let's just see himrom their weekend or the week 1:26:31.400 --> 1:26:33.320 away at Cape Cod Done. 1:26:34.400 --> 1:26:45.640 Afternoon, Helena went to the movies with her friend and you, 1:26:50.560 --> 1:26:58.639 and we made plans about our future, and we talked 1:26:58.680 --> 1:26:59.759 about Helena. 1:27:02.479 --> 1:27:03.240 And yet. 1:27:05.360 --> 1:27:06.960 At no time. 1:27:09.360 --> 1:27:11.120 Was he ever. 1:27:13.120 --> 1:27:23.600 Out of my mind. And I thought, if he. 1:27:25.479 --> 1:27:33.920 Wanted me, even if it was only for one night, 1:27:39.360 --> 1:27:42.479 I was ready to give up everything. 1:27:44.880 --> 1:27:59.520 You Helena, my whole fucking future, everything. 1:28:00.200 --> 1:28:02.840 I mean, it's it's it's a great it's a great 1:28:03.120 --> 1:28:05.479 device or whatever you want to call it to send 1:28:06.080 --> 1:28:08.920 Bill off onto this this night of like what the 1:28:09.080 --> 1:28:13.280 fuck is going on? Yes, you know. And it's the 1:28:13.360 --> 1:28:17.040 addition of not just that she's prepared to cheat on Bill, 1:28:17.120 --> 1:28:18.439 that she was prepared to give up. 1:28:18.640 --> 1:28:19.080 That's the bit. 1:28:19.200 --> 1:28:21.040 Her child is the thing to be actually. 1:28:20.880 --> 1:28:24.479 Okay, so that's the bit that people say is when 1:28:24.560 --> 1:28:29.080 she's falling back into her previous role as this sexual 1:28:29.680 --> 1:28:33.320 object because he's a naval officer for powerful uniformed people. 1:28:33.680 --> 1:28:35.960 So she slipped back into it there. So she's dropped 1:28:35.960 --> 1:28:39.360 the program this she's gone back into the programming that 1:28:39.479 --> 1:28:41.799 she had as a child for that and she slipped 1:28:41.840 --> 1:28:43.519 back into it, and the drugs bring it out of 1:28:43.600 --> 1:28:46.519 her to tell Tom what she was, what her life 1:28:46.600 --> 1:28:49.479 actually is, and who she really is, and that everything 1:28:49.520 --> 1:28:51.600 else is her trying to put a fucking lid on it. 1:28:51.960 --> 1:28:53.840 That everything else. I don't do it, don't do that, 1:28:53.920 --> 1:28:56.720 don't do that. Like in the Other Guys, when Will 1:28:56.760 --> 1:28:59.559 Ferrell becomes the pimp when he's really the pimp if 1:28:59.600 --> 1:29:02.799 the gate, Yeah, it's that, that's that, and that I'm 1:29:02.840 --> 1:29:05.880 going and I'm absolutely can I think that's absolutely the case. Otherwise, 1:29:05.880 --> 1:29:08.000 why make that the fantasy? Why make that the idea? 1:29:08.640 --> 1:29:11.960 Why make her say that like it's it's too on 1:29:12.160 --> 1:29:13.800 purpose not to be like that? 1:29:13.920 --> 1:29:16.360 I do love that. There's also a theory about the 1:29:16.479 --> 1:29:19.400 letter that Tongue When Tongue when Bill goes back to 1:29:19.920 --> 1:29:23.519 the roth Childs and a man comes out and hands 1:29:23.600 --> 1:29:27.439 him a letter, and it's pretty it just kind of says, 1:29:28.120 --> 1:29:32.680 don't don't stop asking questions, Yeah, move on, and the 1:29:32.800 --> 1:29:35.280 reaction seems a. 1:29:35.640 --> 1:29:38.200 Bigger like a startled yes, huge. 1:29:38.600 --> 1:29:41.560 So there's a theory that the letter, which could have 1:29:41.640 --> 1:29:46.880 easily have been reshot that the letter says something about 1:29:47.400 --> 1:29:48.280 give us your daughter. 1:29:48.320 --> 1:29:50.439 It's the insert, because that's an insert. That's one of 1:29:50.800 --> 1:29:52.960 that's one of. And now that that's triggered the memory 1:29:52.960 --> 1:29:55.439 I've got of Roger Avery and and bring that up again. 1:29:55.479 --> 1:29:57.360 But that's one of the things he mentions. He mentions 1:29:57.439 --> 1:30:00.240 inserts not looking like the rest, and that that is 1:30:00.240 --> 1:30:02.439 an insert. So if you watch it, Kubrick never does that. 1:30:02.520 --> 1:30:04.919 He'll go like, you know, the newspapers, all the newspaper 1:30:04.960 --> 1:30:07.200 headlines are lucky to be alive, and they're all really 1:30:07.280 --> 1:30:10.320 on purpose. And I actually watched a short documentary about 1:30:10.360 --> 1:30:13.439 how meticulous Kubrick was about the articles that were in 1:30:13.520 --> 1:30:16.000 the newspapers. He got a New York Post journalist to 1:30:16.160 --> 1:30:18.639 write all the articles so that they looked like genuine 1:30:18.720 --> 1:30:20.720 articles in a genuine newspaper. 1:30:20.720 --> 1:30:23.240 Shot something like an Italian version of it, like different 1:30:23.320 --> 1:30:24.639 languages for those. 1:30:24.600 --> 1:30:26.560 Markets, so that they could read their own newspaper. So 1:30:26.640 --> 1:30:28.479 that tells you how much he cares about stuff like 1:30:28.560 --> 1:30:30.400 that and the idea, and it's never an insert. That's 1:30:30.439 --> 1:30:33.599 a great point. He never goes to single shots of props. 1:30:34.200 --> 1:30:38.679 Never not the mask you remember the the perfect companion 1:30:38.840 --> 1:30:41.679 film for this is The Mask. And I've always wondered 1:30:41.720 --> 1:30:43.000 the Jim Carey comedy. 1:30:43.080 --> 1:30:47.439 Honestly, not the Eric Stalts, not the Rocky Dallas slightly. 1:30:47.520 --> 1:30:48.960 Yeah, well we can always wet that one. It's a 1:30:48.960 --> 1:30:49.519 greatful wank. 1:30:49.600 --> 1:30:49.920 So they. 1:30:51.439 --> 1:30:54.320 They are desperate to speak to the people who wrote 1:30:54.360 --> 1:30:58.160 the Mask, yep, to go write or Kubrick, whichever comes, 1:30:58.600 --> 1:31:01.640 remember which one rocked up for because he chucks on 1:31:01.680 --> 1:31:04.240 the mask and then Cameron Das likes him and the 1:31:04.280 --> 1:31:06.760 whole thing. You know, the mask literally gives him, gives 1:31:06.840 --> 1:31:09.200 him those powers. These films, these two movies are in 1:31:09.320 --> 1:31:12.800 perfect conversation with each other about the idea of a 1:31:12.960 --> 1:31:15.200 mask and what it leads you to. And the reason 1:31:15.240 --> 1:31:18.320 I bring that up is that's NonStop inserts of look 1:31:18.360 --> 1:31:20.559 at the Mask, Oh my god, the Mask, Oh look 1:31:20.600 --> 1:31:22.600 what it did. And Kuby just doesn't do any of that. 1:31:22.840 --> 1:31:25.439 And that's why that insert of the letter is so striking. 1:31:25.680 --> 1:31:28.120 That's a great point. Yeah, it's a great point. I 1:31:28.200 --> 1:31:28.760 never thought of that. 1:31:28.920 --> 1:31:32.040 Yeah, I do think that that sense and if you 1:31:32.120 --> 1:31:34.040 watch it again, look at it was. 1:31:34.160 --> 1:31:36.920 Reaction was over the top for you know, Yeah, I 1:31:36.960 --> 1:31:38.519 remember thinking that. I remember when I'm thinking when he 1:31:38.600 --> 1:31:41.120 got the letter, I do remember thinking why do they 1:31:41.200 --> 1:31:43.000 leave that in? Because I'm always thinking about the takes 1:31:43.240 --> 1:31:45.200 now that I watch this film, I'm always thinking about 1:31:45.280 --> 1:31:46.720 trying to guess what take number it was. 1:31:46.800 --> 1:31:50.400 So this was re edited after Kubrick dies, and they're 1:31:50.400 --> 1:31:52.479 probably not thinking at that level of like their reaction, 1:31:52.560 --> 1:31:55.400 doesn't we'll change the letter? Yeah, And that's all this 1:31:55.479 --> 1:31:59.679 because if you imagine the reaction of Tom Cruise, Bill, 1:32:00.160 --> 1:32:03.320 you know, stop asking questions. It's probably more like a. 1:32:04.640 --> 1:32:07.439 Or like looking or yeah Tom so Tom Cruise. Tom 1:32:07.520 --> 1:32:09.800 Cruise is Tom Cruise, right. And in moments where even 1:32:09.840 --> 1:32:11.320 in this he sort of breaks through a little bit. 1:32:11.400 --> 1:32:12.920 So the sometimes you see a look he barely have 1:32:12.960 --> 1:32:16.080 a smiles credit itself. I guarantee hes told him not 1:32:16.120 --> 1:32:18.559 to smile, because as soon as he smiles, he's Tom Cruise. 1:32:18.880 --> 1:32:21.400 You're no longer a character, You're Tom Cruise, right, And 1:32:21.560 --> 1:32:25.280 so he would normally just give a glance up back 1:32:25.400 --> 1:32:27.519 to the security camera and then back to him and 1:32:27.600 --> 1:32:29.000 put it in his pocket. That's what he does for 1:32:29.080 --> 1:32:33.040 everything else. He internalizes every other reaction essentially, even the 1:32:33.600 --> 1:32:36.040 brooding on his wife's sort of non affair. That's the 1:32:36.120 --> 1:32:37.880 claps seem so big because it's the first sort of 1:32:37.920 --> 1:32:41.320 his strong reaction he gets. And then so that you're right, 1:32:41.439 --> 1:32:44.599 that is so incongruous. Even when six guys from Yale 1:32:44.760 --> 1:32:47.120 start yelling homophobic slurs at him, he has less of 1:32:47.160 --> 1:32:47.559 a reaction. 1:32:47.920 --> 1:32:50.479 Yeah, yeah, yeah, yeah, absolutely weird. 1:32:50.479 --> 1:32:54.800 Did they improvise their lines? Well, did they improvise their lines? 1:32:54.840 --> 1:32:57.240 Because it's the worst piece of writing, Yes, in the 1:32:57.360 --> 1:32:58.120 history of cinema. 1:32:58.479 --> 1:33:02.280 Yeah, it was horrible. Think the whole thing, that whole 1:33:02.360 --> 1:33:04.719 thing is just felt weird to me, like that doesn't 1:33:04.760 --> 1:33:08.200 really doesn't really fit with everything else. But yet I 1:33:08.560 --> 1:33:11.040 do believe Yeah, watching that, I think he is he 1:33:11.160 --> 1:33:14.479 has been startled by that whatever's in that letter, and 1:33:14.920 --> 1:33:16.360 it does the reaction does not. 1:33:16.800 --> 1:33:18.280 God, I wish I could get in such of Roger Avery. 1:33:18.320 --> 1:33:19.400 Wonder what says in the script? 1:33:20.120 --> 1:33:22.040 Yeah, yeah, I'm sure he'll come on the podcast I 1:33:22.080 --> 1:33:24.920 Reckon one day. I mentioned before how they ain't really 1:33:25.120 --> 1:33:28.439 dig deep into the the conspiracy theory of such it's 1:33:28.439 --> 1:33:30.040 it's there and you can try to work with that 1:33:30.120 --> 1:33:32.840 for yourself and this theories, which is great. And then 1:33:32.880 --> 1:33:34.240 you mentioned a voice over. They're supposed to be a 1:33:34.280 --> 1:33:37.280 voiceover because the scores are so much heavy lifting. 1:33:37.880 --> 1:33:39.639 It takes away because that was done, that was done 1:33:39.680 --> 1:33:41.840 after he's done, after and she never did another film. 1:33:41.960 --> 1:33:43.760 Let's have it. Listen to that. God, it's terrible, but 1:33:43.960 --> 1:33:47.799 it's just it really does. It puts you at unease, 1:33:49.439 --> 1:33:53.360 and it's for me. It's it's doing exactly what it's 1:33:53.360 --> 1:33:53.880 supposed to do. 1:33:55.040 --> 1:33:55.720 I do, I do. 1:33:55.840 --> 1:33:58.840 I think it's supposed to feel like it's it's ominous. Yeah, 1:34:00.040 --> 1:34:00.839 and it's uneasy. 1:34:01.560 --> 1:34:04.599 Yeah, that's fair, but it is also shit in terms 1:34:04.640 --> 1:34:06.840 of it's all they've got. 1:34:07.000 --> 1:34:07.200 Yeah. 1:34:07.360 --> 1:34:10.160 Yeah, And he and so he famously would do test screenings, 1:34:10.240 --> 1:34:12.439 so he changed every single one of his films or 1:34:12.479 --> 1:34:15.320 the Ladder films after an audience saw it, and score 1:34:15.439 --> 1:34:17.320 was often one of them. So they did this without 1:34:17.439 --> 1:34:19.920 him after it was done. There's no way, I don't 1:34:19.920 --> 1:34:21.519 reckon there's any way he would have left it the 1:34:21.520 --> 1:34:21.960 way it was. 1:34:22.160 --> 1:34:24.200 There is a theory that so in Congress that somebody 1:34:24.400 --> 1:34:26.599 said that when he presented the Warner brothers with the cut, 1:34:27.040 --> 1:34:30.280 they were outside of the room and they heard screamingsae y, yeah, 1:34:30.520 --> 1:34:31.480 you're not taking. 1:34:31.240 --> 1:34:33.479 It out, you know, yet like that, which is weird 1:34:33.520 --> 1:34:38.639 because you go, I've heard executives since then who worked 1:34:38.680 --> 1:34:41.360 with Kubrick and they never talk like that about him. 1:34:41.400 --> 1:34:43.080 There's one guy who tells a story about how he 1:34:43.200 --> 1:34:46.799 was on holiday and Kubrick was annoyed at something tiny 1:34:46.840 --> 1:34:49.439 piece of minutia about the world release of a film, 1:34:49.600 --> 1:34:51.720 and this guy didn't have the guts to tell him 1:34:51.720 --> 1:34:53.880 he was on holiday with his family until then finally 1:34:53.920 --> 1:34:55.439 said it, and Stanley he was, oh, sorry, all right, 1:34:55.479 --> 1:34:57.960 and then then got off the phone. It just doesn't 1:34:57.960 --> 1:35:00.200 seem as anyone dealt with Stanley Kubrick that way. 1:35:00.680 --> 1:35:03.639 Yeah. I take that with a huge grain of salt. 1:35:04.520 --> 1:35:07.240 I reckon there's a possibility they said to the family, Hey, 1:35:08.280 --> 1:35:10.360 we want this to come out. Yeah, we don't want 1:35:10.400 --> 1:35:14.479 Stanley's wishes to be correct. We can't release your We 1:35:14.560 --> 1:35:19.400 can't release your beloved patriarch's final film with this stuff 1:35:19.400 --> 1:35:19.560 in it. 1:35:19.800 --> 1:35:20.000 Yeah. 1:35:20.160 --> 1:35:22.439 I honestly think that that to me, You and I 1:35:22.520 --> 1:35:25.479 both know what that that's a far more realistic pressure 1:35:25.960 --> 1:35:26.800 that could have been put on. 1:35:26.960 --> 1:35:29.280 And sometimes we like to demonize the ties and suits 1:35:29.320 --> 1:35:32.960 and the execut studios and all that, and sometimes roughly so, 1:35:33.280 --> 1:35:35.840 but there is an adult conversation that sometimes needs to 1:35:35.840 --> 1:35:38.160 be had by going but this is the market, that's right. 1:35:38.240 --> 1:35:40.479 We cannot that's right, whether it's pressures from you know, 1:35:40.720 --> 1:35:43.040 whatever the last or just we cannot get this in 1:35:43.080 --> 1:35:43.519 the cinemas. 1:35:43.600 --> 1:35:45.519 No, because certainly can't get it in without it being 1:35:45.600 --> 1:35:47.320 NC seventeen, which means it's going to lose all its 1:35:47.360 --> 1:35:48.280 money and never be seen again. 1:35:48.360 --> 1:35:50.759 Yeah, yeah, I love that. Let's us have a final 1:35:50.840 --> 1:35:53.479 listen Sidney Pollack, So he comes in for the. 1:35:55.880 --> 1:35:58.200 Why they apparently they bring in Sidney Pollack because he'd 1:35:58.240 --> 1:35:59.920 work with crews on the firm and he knew that 1:36:00.040 --> 1:36:02.320 cruise respected him and that he was like a cruise 1:36:02.320 --> 1:36:04.240 whisper where he could keep him, keep him calm. 1:36:04.560 --> 1:36:06.720 Yeah that makes sense. Well, let's have a little listen 1:36:06.760 --> 1:36:14.080 to the city public listen, Bill, nobody killed anybody, someone died. 1:36:14.120 --> 1:36:18.640 It happens all the time. Life goes on. 1:36:19.920 --> 1:36:22.280 It always does until it doesn't. 1:36:24.520 --> 1:36:28.760 But you know that, don't you. So let's just I 1:36:28.840 --> 1:36:30.360 just want to play because I wanted his city Pulics. 1:36:30.760 --> 1:36:33.479 He's so good, he ain't doing fuck and so he's 1:36:33.479 --> 1:36:33.720 the best. 1:36:33.720 --> 1:36:35.679 Michael Clayton he's just the best. 1:36:35.720 --> 1:36:37.759 He's just the best because he ain't doing nothing. Sometimes 1:36:37.800 --> 1:36:41.519 some people, Pete are just stand on screen, be yourself 1:36:42.400 --> 1:36:44.840 and let us do the work. We will imbue you 1:36:44.960 --> 1:36:46.800 with brilliance. All you got to do is you think. 1:36:47.080 --> 1:36:49.120 And he's one of those people where he just there's 1:36:49.160 --> 1:36:50.400 the look of him. I don't know what. He's not 1:36:50.680 --> 1:36:53.479 entirely that handsome, he's just there's a presence about him 1:36:53.560 --> 1:36:56.960 being comfortable on a screen that just makes you go, 1:36:57.160 --> 1:37:00.280 fucking oath. Gary Oldman has it. Richardy Grant as it 1:37:00.640 --> 1:37:02.479 so many there are so many great actors. That's just 1:37:02.600 --> 1:37:04.679 like fuck an oath. Like when you watch old Elizabeth 1:37:04.680 --> 1:37:07.400 Taylor movies and you're like, why did everyone like Elizabeth Taylor? 1:37:07.760 --> 1:37:09.840 And you go and then she turns around in clear 1:37:09.880 --> 1:37:13.479 Patrick Jesus and you go, wow, holy moly, and you 1:37:13.560 --> 1:37:15.479 go there you go, That's what I'm talking about. That's 1:37:15.479 --> 1:37:17.280 why do you like watching screen tests. 1:37:18.160 --> 1:37:20.280 When I'm making something or just just dream In general, 1:37:21.080 --> 1:37:23.439 I don't sort them out as such. 1:37:23.560 --> 1:37:26.960 No, I urge everyone to watch as many screen tests 1:37:27.120 --> 1:37:29.680 just for fun on YouTube as you possibly can and 1:37:29.840 --> 1:37:33.599 see how much start, how much you can realize when 1:37:33.640 --> 1:37:36.040 people go holy money, because I was a reader at auditions. 1:37:36.120 --> 1:37:39.280 When I first started, I was a reader at auditions, 1:37:39.320 --> 1:37:41.439 so I saw all the big actors of the day 1:37:41.560 --> 1:37:44.080 and up and coming actors come through and do auditions, 1:37:44.360 --> 1:37:46.720 and I remember so clear I got it. After a 1:37:46.800 --> 1:37:49.080 while I realized, I was like, Oh, it's nothing to 1:37:49.160 --> 1:37:51.320 do with the acting at all. It had nothing to 1:37:51.560 --> 1:37:55.640 do with the acting. It was just what their person was, 1:37:55.720 --> 1:37:57.760 the way it shone through when it came through the 1:37:57.800 --> 1:37:59.439 little cam quarters. So I got to the point where 1:37:59.479 --> 1:38:01.360 I could start. At first, I was like, was the acting? 1:38:01.400 --> 1:38:03.360 And then the casting person was like nah. And then 1:38:03.400 --> 1:38:04.600 it got to the point where I could start to 1:38:04.680 --> 1:38:07.400 pick who they were going to go with, and often 1:38:07.439 --> 1:38:09.639 pete they had the role before the lines had started. 1:38:09.680 --> 1:38:11.880 I remember there was a young she's now very famous, 1:38:11.920 --> 1:38:13.920 a young actor that came in and she read for 1:38:13.960 --> 1:38:17.120 an American show and her accent was shit and she 1:38:17.320 --> 1:38:19.880 was nervous. And then but there was a couple of 1:38:20.000 --> 1:38:21.439 lines at the start where she was just sort of 1:38:21.479 --> 1:38:22.680 doing a thing, and then she looked up and I 1:38:22.840 --> 1:38:24.080 was like, Oh, that wasn't very good. She's like and 1:38:24.160 --> 1:38:25.320 she's like, what are you talking about? I was like, Oh, 1:38:25.560 --> 1:38:26.840 she didn't really. Her accent wasn't very good. 1:38:26.840 --> 1:38:27.000 And so. 1:38:28.479 --> 1:38:30.240 What do you mean, because she's going to be huge, 1:38:31.360 --> 1:38:32.720 what are you talking about? She no, no, no, watched 1:38:32.760 --> 1:38:34.599 this and we watched the first part of it again. 1:38:34.640 --> 1:38:37.639 I was like, yeah, you win. She had so much charisma, 1:38:38.040 --> 1:38:40.320 so much natural ability, and that's your big stuff. 1:38:40.640 --> 1:38:41.959 Yeah, that's incredible. 1:38:42.840 --> 1:38:44.479 It's the opposite of what happened to me on Blue Heelers. 1:38:47.360 --> 1:38:49.639 My final question for you, I'm going to let Nicole 1:38:49.720 --> 1:38:50.920 kim and ask the question I might behave. 1:38:51.640 --> 1:38:54.680 There is something very important do we need to do 1:38:54.840 --> 1:38:55.919 as soon as possible? 1:38:58.000 --> 1:39:02.800 Question? Fuck? 1:39:04.880 --> 1:39:05.200 How good? 1:39:05.240 --> 1:39:05.439 Is she? 1:39:05.840 --> 1:39:06.720 So very good? 1:39:06.760 --> 1:39:09.120 Why is that there? The last line? Well, are there 1:39:09.160 --> 1:39:12.000 a couple? Yes, yes, and that the film's over. 1:39:12.280 --> 1:39:16.000 The film's over, and you could depending on what we 1:39:16.080 --> 1:39:18.000 want to what theories you want to take into it, 1:39:18.520 --> 1:39:25.439 is that them choosing to remain a couple, the union remains, 1:39:25.880 --> 1:39:27.080 they have sacrificed their daughter. 1:39:27.360 --> 1:39:29.640 Yeah, yeah, sort of. 1:39:29.720 --> 1:39:32.880 Yeah. I mean it's it's interesting because you're watching you're 1:39:32.880 --> 1:39:35.080 watching the movie as is presented to us. Yes, and 1:39:35.160 --> 1:39:39.719 then we're also trying to ascertain what Santacoric which saying. 1:39:39.520 --> 1:39:42.920 Which is what he wants. Yes, that's longevity. So there's 1:39:42.960 --> 1:39:45.720 different types of longevity with films. There's this is great, 1:39:45.760 --> 1:39:47.680 you need to see it. There's oh, there's this bit 1:39:47.760 --> 1:39:49.679 of this that I really like, There's this, Oh there's 1:39:49.720 --> 1:39:52.080 this aspect of this that I really like, and then 1:39:52.160 --> 1:39:54.479 there's what the fuck was going on here? And he 1:39:54.760 --> 1:39:57.840 is He is so good at what the fuck is 1:39:57.880 --> 1:40:00.920 going on here, whilst also being geez, that was really good. 1:40:01.080 --> 1:40:02.479 But this is the one where it's this is the 1:40:02.520 --> 1:40:05.719 one where it falls down. It's not great. The acting 1:40:05.920 --> 1:40:10.320 is slow, the rhythms are slow and on purpose, and 1:40:10.360 --> 1:40:12.200 there's aspects of it you're right where it's like, is 1:40:12.720 --> 1:40:15.639 this dream stuff? Irks so many people? But what gets 1:40:15.720 --> 1:40:17.439 him through? And what gets it? I can't tell you 1:40:17.479 --> 1:40:20.200 how many podcasts there are about this and YouTube because 1:40:20.200 --> 1:40:23.519 I've listened and watched them all this week and more 1:40:23.560 --> 1:40:26.920 the best one. And there's three documentaries, possibly four, And 1:40:27.120 --> 1:40:29.800 that's what keeps that's what keeps this film going, is 1:40:30.040 --> 1:40:32.759 what on earth is going on? And let's be honest 1:40:33.000 --> 1:40:34.920 that history has sort of proved this guy correct. 1:40:35.040 --> 1:40:37.040 Well, that's the thing. I think that there are some 1:40:37.200 --> 1:40:39.320 films that are still alive, you know, they still have 1:40:39.439 --> 1:40:42.200 blood pumping through their veins, and I think this is 1:40:42.280 --> 1:40:46.759 one of those contagion obviously. Yes, you know Will Anderson 1:40:46.840 --> 1:40:48.880 for this podcast, and it's like, well, this film of 1:40:48.960 --> 1:40:49.519 a sudden. 1:40:49.320 --> 1:40:51.679 Feels yes, you know, it feels so relevant. 1:40:51.800 --> 1:40:54.120 Yeah, and if like Citizen Kane, you can watch it 1:40:54.240 --> 1:40:55.519 kind of go this feels you know, with the rise 1:40:55.520 --> 1:40:56.840 of Trap all of a sudden, you kind of go, yeah, 1:40:56.920 --> 1:40:58.240 this feels like it's. 1:40:58.520 --> 1:41:03.320 Blood's good like that. Josie and the Pussycats a forgotten 1:41:03.560 --> 1:41:06.839 nineties comedy about a set of a band of girls 1:41:07.360 --> 1:41:10.120 who are four who are sort of taken through the 1:41:10.200 --> 1:41:13.519 music industry. I strongly recommend anyone to go back and 1:41:13.680 --> 1:41:16.240 have a look see at Josie and the Pussycats and go, 1:41:16.680 --> 1:41:21.879 holy shit, that's Taylor Swift, that's Sabrina Carpenter, that's Olivia Orrigo. 1:41:22.520 --> 1:41:25.479 What the fuck is going It's framed as a girl band, right, 1:41:25.560 --> 1:41:28.040 sort of a girl rock band. That's and then you go, 1:41:28.880 --> 1:41:31.439 that is amazing, that is that's got so much in 1:41:31.560 --> 1:41:37.840 the margins of wow, wow, oh that's remember being it 1:41:37.920 --> 1:41:40.200 wasn't that, it was nothing, No one cared, No one 1:41:40.280 --> 1:41:42.080 cared about it. And then I don't know why, but 1:41:42.160 --> 1:41:44.320 I just remember actually my boss, my boss said because 1:41:44.600 --> 1:41:47.000 that's right. My boss, who was a Pete the music guy, 1:41:47.400 --> 1:41:50.240 he would we would watch Beach Boys documentaries NonStop. That 1:41:50.400 --> 1:41:51.680 was one of his things. And then we watched Red 1:41:51.800 --> 1:41:54.679 led Zeppelin documentaries, and then we would watch Elvis documentary 1:41:54.800 --> 1:41:56.479 and all of these things. And then one day he goes, 1:41:56.840 --> 1:41:58.280 this film came out and he's like, you, this is 1:41:58.320 --> 1:42:00.360 really good, Josie and the Pussycats. What are you doing 1:42:00.400 --> 1:42:02.000 man this And he said, no, no, trust me. He goes, 1:42:02.200 --> 1:42:04.360 this is this is this is telling us how the 1:42:04.479 --> 1:42:07.720 music industry works an incredible way. They just people have 1:42:07.800 --> 1:42:08.240 just ignored it. 1:42:08.360 --> 1:42:11.839 So okay, yeah, jose and the Pussycats. I wasn't expecting 1:42:11.880 --> 1:42:12.600 to finish. 1:42:12.800 --> 1:42:14.680 On I saw I wish I saw it again. 1:42:15.920 --> 1:42:18.559 Hell where I been paying attention. 1:42:19.200 --> 1:42:20.599 I've got to give you the last fact. 1:42:20.840 --> 1:42:22.559 Yeah yeah, yeah, okay. 1:42:23.120 --> 1:42:26.240 So, nestled in the squiggly Los Angeles streets above the 1:42:26.320 --> 1:42:29.599 Sunset Strip Wonderland Avenue requires those blah blah blah blah 1:42:29.640 --> 1:42:36.080 blah is a secret Cold war military compound in California, 1:42:37.680 --> 1:42:41.640 where a portrait into a secret of Cold War Hollywood 1:42:41.720 --> 1:42:50.080 Propaganda Films facility at Laurel Canyon, Stanley Krubeck. There a 1:42:50.240 --> 1:42:55.320 lot secret, has the pass, has the clearance? Can wander in? 1:42:56.160 --> 1:43:01.400 They shut it down? Sure now own to buy the 1:43:01.520 --> 1:43:08.880 private residence of mister Jared Leto. Oh isn't that great? 1:43:09.000 --> 1:43:09.240 Leader? 1:43:09.840 --> 1:43:10.599 Isn't that great? 1:43:10.840 --> 1:43:15.240 Yes? Oh, I'm going to be Jared Leder might have 1:43:15.360 --> 1:43:17.519 to forget the chance to chat to him again. 1:43:17.560 --> 1:43:20.280 I ask him about that I interviewed Jared. I'll leave 1:43:20.280 --> 1:43:22.160 you with this. I interview Jared Edo twice in two 1:43:22.240 --> 1:43:30.040 days for no, twice in a month, maybe twice. Whatever 1:43:30.280 --> 1:43:33.960 point is I need to be both Jared Leedo's So 1:43:34.320 --> 1:43:37.320 first time I introduw Jared Edo was for a film, right, 1:43:37.680 --> 1:43:43.679 I can't remember which one? Clear eyed, nice enough actory answers, 1:43:44.360 --> 1:43:48.839 no dramas. Working for Triple Am, I got the privilege 1:43:48.880 --> 1:43:51.519 of coming in on a Saturday to interview Jared Leedo 1:43:51.760 --> 1:43:54.479 one on one for his band thirty seconds to Mars 1:43:55.240 --> 1:43:59.400 that day, sunglasses, T shirt, sitting back in his chair, 1:44:00.040 --> 1:44:00.920 less than one word. 1:44:00.760 --> 1:44:03.720 Answers, So is this like a day apart what you're saying? 1:44:03.760 --> 1:44:07.479 I was close together and so he had just gone 1:44:07.600 --> 1:44:08.840 what am I doing? Music? Great? 1:44:08.920 --> 1:44:10.880 Glasses, so he's playing a role. 1:44:10.960 --> 1:44:13.920 Yeah, it was amazing. I'll never forget. I was like, 1:44:14.200 --> 1:44:19.280 holy shit, how perfectly self aware is that. Yeah. 1:44:20.840 --> 1:44:24.080 Sometimes it's like you hear Jim Carrey speak about, you know, 1:44:25.080 --> 1:44:27.400 the things he likes to talk about, and and you 1:44:27.520 --> 1:44:29.800 kind of you dismiss it as like, oh, and I 1:44:29.840 --> 1:44:31.280 did an interview with Jim Carrey and it's one of 1:44:31.320 --> 1:44:33.439 my favorites just after the Oscars, the Will Smith Know 1:44:34.280 --> 1:44:37.240 and he kind of spoke about he goes in trouble 1:44:37.280 --> 1:44:41.040 with Will Smith is he doesn't know that everything's crazy 1:44:41.080 --> 1:44:44.479 around him. Like, and what I walked away from that 1:44:44.640 --> 1:44:47.479 interview going, oh, Jim Carrey makes a lot more sense, 1:44:48.520 --> 1:44:50.680 you know, because he's aware of the craziness. 1:44:50.880 --> 1:44:53.439 Yeah, that's why he's a good impressionist. Yeah, he's a 1:44:53.479 --> 1:44:55.560 good impressionist. One of the reason he's a good impressionist 1:44:55.680 --> 1:44:58.800 is he goes, Oh, that's what they're hiding, or that's 1:44:58.840 --> 1:45:02.120 what they're that's what they're pushing forward. I know what 1:45:02.160 --> 1:45:04.439 they're pushing forward. I can, I can, that's I can 1:45:04.479 --> 1:45:06.240 pick up on that. Have you seen him as Matthew 1:45:06.280 --> 1:45:09.759 McConaughey on the Saturday on Saturday Live Jeopardy sketch replays 1:45:09.760 --> 1:45:13.439 Matthew McConaughey. Holy shit. The thing he gets perfectly right 1:45:14.200 --> 1:45:17.880 is the which I've interviewed, you know, mcconniey a few times. 1:45:18.080 --> 1:45:22.200 Is McConaughey trying to seem intelligent by waiting and sifting 1:45:22.320 --> 1:45:25.040 through answers with his eyes until he delivers the one 1:45:25.080 --> 1:45:27.479 he believes will make you go, wow, this guy's deep. 1:45:28.080 --> 1:45:29.960 And that's the bit he gets absolutely right. 1:45:34.520 --> 1:45:37.320 All right, let's let's wrap it up now because we 1:45:37.400 --> 1:45:40.240 have taken up a lot of your time, and think mate, 1:45:40.280 --> 1:45:43.040 thank you. Jane Kennedy gets the you won't See Nothing 1:45:43.120 --> 1:45:46.120 Yet Award for Most Dedication because you watched. 1:45:46.280 --> 1:45:50.200 Lord of the Rings trilogy trilogy and Lady and Maniac. 1:45:50.320 --> 1:45:52.360 She would have almost want it just for watching the 1:45:52.840 --> 1:45:54.599 Fellowship of the Ring. She went and watched to direct 1:45:54.600 --> 1:45:59.599 the start of all three. The research you have done 1:46:00.600 --> 1:46:02.960 after your own bat, you win the research. 1:46:03.040 --> 1:46:04.519 No, no, no, it wasn't off my own bat. And 1:46:04.840 --> 1:46:06.479 it's just because I was angry at the lack that 1:46:06.600 --> 1:46:14.599 Limo had done. It was a spite research. That's one 1:46:14.640 --> 1:46:18.280 of my key motivators. And the fact that when Hughesy 1:46:18.360 --> 1:46:21.200 did it he hadn't seen Pretty in Pink and I 1:46:21.439 --> 1:46:23.160 was like, yeah, but I bet we can't find a 1:46:23.560 --> 1:46:26.080 none false for a local farmboy film you haven't seen. 1:46:31.439 --> 1:46:33.600 Well. What I love about his podcast is that you 1:46:33.680 --> 1:46:39.120 can we interview I guess, range from you know, cinephiles 1:46:40.200 --> 1:46:43.080 like genuine film lovers, to people just love their movies 1:46:43.120 --> 1:46:46.240 and and and that's and that's what I do love. 1:46:46.280 --> 1:46:48.439 But I have love this is this films. Like I said, 1:46:48.439 --> 1:46:50.680 when you nominated this, I kind of thought, oh, geez one, 1:46:50.720 --> 1:46:52.800 it's a long film, and two am I gonna I 1:46:52.840 --> 1:46:54.160 didn think it'd be fun to talk to you back 1:46:54.160 --> 1:46:57.120 because it is Tom and the Cole. But I enjoyed 1:46:57.160 --> 1:46:59.920 this film so much more, Like I said, watching it 1:47:00.080 --> 1:47:01.640 for this podcast knowing I was going to chat to 1:47:01.640 --> 1:47:05.599 you about it in this time period, and I think 1:47:05.600 --> 1:47:06.880 I'll probably go back and watch it again. 1:47:06.960 --> 1:47:09.240 Oh yeah, if anyone hasn't seen it, it bears a watch. 1:47:09.280 --> 1:47:12.080 And then normally I so what's happened with film now 1:47:12.240 --> 1:47:15.000 is the whole world of compendiums and sort of like films. 1:47:15.120 --> 1:47:19.360 So Tony Martin was IMDb before IMDb was IMDb right, 1:47:19.400 --> 1:47:22.880 because he just remembers things. Now you can spend like 1:47:22.960 --> 1:47:25.600 this film, you can watch it and then I strongly 1:47:25.680 --> 1:47:27.360 recommend people if they're going to do it, go and 1:47:27.439 --> 1:47:29.080 listen to some of the podcasts and see some of 1:47:29.120 --> 1:47:31.120 the YouTube stuff. And some of these people are crazy, 1:47:31.479 --> 1:47:34.439 but there will research crazy and sometimes they're not because 1:47:34.640 --> 1:47:37.320 you're if someone wants you to pick up on things 1:47:37.400 --> 1:47:40.040 or not pick up on things. This is a great 1:47:40.160 --> 1:47:42.760 way of finding new stuff in films. It's just so 1:47:42.960 --> 1:47:45.080 good this era we're living in Pete. There's never been 1:47:45.080 --> 1:47:47.200 a better time to watch a film that you haven't 1:47:47.240 --> 1:47:50.160 seen and then see what see what went into getting 1:47:50.160 --> 1:47:53.000 it done, because it's just even there's twenty seconds of 1:47:53.040 --> 1:47:56.120 Harvey kai tell saying he just maybe walk through a 1:47:56.160 --> 1:47:57.920 door for the sixtieth time and just said fuck off. 1:47:58.320 --> 1:48:00.600 Even that you're like that is fantastic. 1:48:00.840 --> 1:48:03.639 Yeah, yeah, yeah, absolutely right. There is so much it's 1:48:03.720 --> 1:48:06.200 easy to dig deep. Used to be only twenty years ago, 1:48:06.560 --> 1:48:08.960 maybe twenty five years ago, it was just hopefully it's 1:48:08.960 --> 1:48:10.960 got a DVD commentary on it. Yeah, Now it's just 1:48:11.160 --> 1:48:12.960 it's just typed the film in and you can go 1:48:13.000 --> 1:48:15.080 down rabbit holes as well. Hey, thank you for having me, 1:48:15.280 --> 1:48:18.040 Thank you so much, mate, and let's just because you 1:48:18.080 --> 1:48:22.320 love this music, let's just go out on this. Okay, 1:48:22.560 --> 1:48:36.320 maybe this one in there you go, Ed Cavalley, I 1:48:36.600 --> 1:48:40.479 loved that chat. And I got to say when he 1:48:40.560 --> 1:48:44.120 nominated Ies Wide shirt, I was a bit Okay. I'd 1:48:44.160 --> 1:48:47.640 seen the film when it came out, and yeah, I 1:48:47.720 --> 1:48:50.120 hadn't really thought too much about it since. But like 1:48:50.200 --> 1:48:54.320 we mentioned watching it in twenty twenty five in the 1:48:54.400 --> 1:48:58.320 Shadow of Pddy and Epstein, it's a different watch and 1:48:58.560 --> 1:49:01.000 I really urge you, if you haven't check it out, 1:49:01.960 --> 1:49:04.479 to watch it again. And I think there are things 1:49:04.520 --> 1:49:06.840 I think, as Ed said, I think Kubrick was trying 1:49:06.880 --> 1:49:10.000 to tell us some things, some disturbing things. But yeah, 1:49:10.000 --> 1:49:12.760 thanks for making the time very busy man, and thank 1:49:12.840 --> 1:49:16.120 you for listening. Jasney Podcast at gmail dot com. If 1:49:16.120 --> 1:49:17.840 you want to send us an email or get on 1:49:17.920 --> 1:49:22.519 our speak pipe, follow the links and yeah, we'd love 1:49:22.600 --> 1:49:25.200 to love to hear from you. Next week on the show, 1:49:25.240 --> 1:49:27.400 we have a very special guest love. We had we 1:49:27.479 --> 1:49:29.920 had Lee Wenell a couple of weeks ago for Wolfman, 1:49:30.360 --> 1:49:32.160 and that was a bit of a different episode. And 1:49:32.280 --> 1:49:38.040 this also involves somebody on a junket and it's tricky 1:49:38.160 --> 1:49:41.720 to have people watch, you know, an entire film and 1:49:41.880 --> 1:49:43.960 to do some of the research and then come in 1:49:44.040 --> 1:49:46.080 and chat to me about that whilst they're doing a 1:49:46.120 --> 1:49:49.080 thousand other interviews. So I'm happy for the right people 1:49:49.160 --> 1:49:55.120 to play with the with the rules of Yasni, and 1:49:55.240 --> 1:49:57.559 this one will be worth it. He's an actor who 1:49:57.560 --> 1:50:00.840 I've admired for a long time and it really stroked 1:50:00.840 --> 1:50:04.320 to have him on Child Out of Four is a man. 1:50:05.520 --> 1:50:08.320 He's in town for Bridget Jones mad about the Boy, 1:50:08.720 --> 1:50:11.120 so we'll be chatting to him about that, but we'll 1:50:11.160 --> 1:50:13.400 also be chatting about some of the films he's made 1:50:13.640 --> 1:50:16.240 over the years. One in particular, I'm looking forward to 1:50:16.280 --> 1:50:19.400 chatting him about his Children of Men. What a movie 1:50:19.880 --> 1:50:24.680 that just every year seems to grow and grow. You know, 1:50:24.920 --> 1:50:27.519 there's movies that we look back and go, I wasn't 1:50:27.720 --> 1:50:30.839 a Blade Runner, Saw Shake, Redemption, films that weren't necessarily 1:50:31.120 --> 1:50:34.840 a massive hit upon release, but just grow and grow 1:50:34.960 --> 1:50:36.720 over the years, and I think Children of Men, more 1:50:36.760 --> 1:50:39.120 than any other film maybe made this century, is the 1:50:39.160 --> 1:50:41.960 film that's doing that. Also. Love Actually he was in 1:50:42.680 --> 1:50:45.560 Kinky Boots and of course Twelve Years of Slave, so 1:50:45.720 --> 1:50:48.439 there's a lot to talk that child had all about, 1:50:48.479 --> 1:50:52.280 and I cannot wait to sit down with him next time. 1:50:52.600 --> 1:51:04.560 You wint see nothing yet until then bucking out, And 1:51:04.800 --> 1:51:05.719 so we leave. 1:51:05.600 --> 1:51:07.360 Old Pete safe and soult. 1:51:08.400 --> 1:51:10.760 And to our friends of the radio audience, we've been 1:51:10.800 --> 1:51:12.439 a pleasant good night