Speaker 1: Good day, Peter Helly here, welcome to you Ain't Seen
Speaker 1: Nothing Yet?
Speaker 2: The movie podcast, where I chat to a movie lover
Speaker 2: about a classic or beloved movie they haven't quite got
Speaker 2: around to watching until now, and today's guests comedian Tommy Dasolo.
Speaker 3: He loove the speller play pop in the morning.
Speaker 4: Good morning, be now.
Speaker 5: I have come here to chew bubble gum and kick ass.
Speaker 1: And a wall part of Bobbles happening right now. You
Speaker 1: Ain't Seen Nothing Yet.
Speaker 2: Tommy Deslo is one hand of the podcasting phenomenon that
Speaker 2: is the Little Dumb Dumb Club, which he began way
Speaker 2: back in twenty ten with his partner in crime and
Speaker 2: former guests on this podcast Carl Chandler, who sat through
Speaker 2: Titanic for us.
Speaker 1: Thank you, Carl.
Speaker 2: Tommy also hosts the Filthy Casuals Are Comedy video game
Speaker 2: podcast with co hosts Ben Venell and Adam Knox. Tommy's
Speaker 2: been performing stand up comedy since I was thirteen years old,
Speaker 2: with acclaim shows at the Melbourne International Comedy Festival, which
Speaker 2: is also toured around the country with gems such as
Speaker 2: Little Golden Dassolo, Boarding Cherub and the controversially titled dreamboat Tommy.
Speaker 2: Tommy is smart, insightful, entrepreneurial, and bloody fun to be around,
Speaker 2: and I'm stoked to have him as my guest today.
Speaker 3: Hello, I'm stoked to be here. Where did you get that?
Speaker 3: I started when I was thirteen?
Speaker 1: I wanted to interrogate that a lot of bit that's
Speaker 1: on Wikipedia?
Speaker 6: Oh man, Yeah, there's there's a lot of There's a
Speaker 6: lot of misinformation on my Wikipedia. Which I think is
Speaker 6: the bane of doing a podcast is that you you
Speaker 6: mention your IMDb or your Wikipedia, and then people that
Speaker 6: listen decide they're going to get on and put that
Speaker 6: there's a thing on my Wikipedia that I review chicken
Speaker 6: schnitzels as a part time job. There's there's just so much.
Speaker 6: There's a thing on my IMDb says that I'm four
Speaker 6: foot tall. Yeah, there's barely anything about me on the
Speaker 6: internet is correct. But everything else you said is right though.
Speaker 2: The Little Dundune Club is a particularly interactive audience and
Speaker 2: engaged right.
Speaker 6: Yeah, it's performance art where it's like the the podcast
Speaker 6: is like one hour out of the week, and then yeah,
Speaker 6: it's it's the show with what happens after the show
Speaker 6: is recorded?
Speaker 1: Who are you what do you got to tell us?
Speaker 3: My name is Tommy Dassilo. My three favorite films, Ah Briggsby.
Speaker 1: Bear Everything, It's very big, It's really very big.
Speaker 3: Who framed Roger Rabbit?
Speaker 7: But tell me, Eddie, is that a rabbit in your pocket?
Speaker 7: You're just happy to see.
Speaker 3: Me and rabit? And up until very recently, I had
Speaker 3: never seen the.
Speaker 1: Shining his Johnny Well.
Speaker 2: To be more precise, here's Jack playing Jack Torrence, who
Speaker 2: takes up a gig as caretaker of the Overlook Hotel
Speaker 2: as it empties for the Halsh Winter Ahead, bringing his
Speaker 2: wife Wendy Shelley Devale and haunted some Danny Danny Lloyd.
Speaker 2: Jackie is attempting to get some writing done. What kind
Speaker 2: of writing good question? We don't really know, But Jack
Speaker 2: assures us that he just needs some peace and quiet
Speaker 2: to get the work done. But as Danny and his
Speaker 2: finger friend Tony begin having visions of daintily dressed twin girls,
Speaker 2: blood gushing from elevators, and general carnage, more and more
Speaker 2: questions begin piling up. In Stanley Kubrick's nineteen eighties classic
Speaker 2: horror flick from the book by Stephen King, who famously
Speaker 2: hates the film questions, Mike, what is the deal with
Speaker 2: Room two three seven? Why did Jack take the job?
Speaker 2: And seriously, what the fuck is up with that Teddy
Speaker 2: Bear Tommy Dassilo. Does all work and no play make
Speaker 2: Tommy a dull guy?
Speaker 1: Yeah?
Speaker 3: Very much so.
Speaker 8: It was.
Speaker 6: It was a very interesting experience watching this film in
Speaker 6: twenty twenty one, after a year of COVID of being
Speaker 6: trapped inside and going, you know what, I'm finally going
Speaker 6: to write that novel.
Speaker 3: This is it.
Speaker 1: I'm not sure why this has happened, but it's pure coincidence.
Speaker 2: But in the lockdown, the short lockdown we're having in
Speaker 2: Melbourne at the moment, and hopefully we're about to come
Speaker 2: out of it. The two films we've done are both
Speaker 2: in Kubrick Films, One Full Metal Jacket with Lisa mceuwn
Speaker 2: and Now and Now The Show Right with You?
Speaker 1: So yeah maybe and Adam Sandler film needs to be
Speaker 1: on the horizon.
Speaker 6: Yeah, get someone incredibly serious on who's like, I've never
Speaker 6: seen Billy Madison.
Speaker 1: Yeah, yeah, David Stratton has never once seen Haby Gilmore.
Speaker 1: Let's let's chat. Why had it you seen shiny habit
Speaker 1: loom large over your filmography.
Speaker 3: Oh absolutely, Yeah.
Speaker 6: I don't know, I just never I just it's one
Speaker 6: of those ones that just always escaped me. Like I'm
Speaker 6: I'm not a big horror fan in general, Like I'd
Speaker 6: not that I find them too scary or anything. I
Speaker 6: just don't get that same kind of giddy thrilled that
Speaker 6: some people get out of them. But I definitely, if
Speaker 6: for no other reason than to.
Speaker 3: Piece together the many, many Simpsons references that are in
Speaker 3: my head from this film from over the years, It's
Speaker 3: been one of those ones where it's like you've got
Speaker 3: You've just got to get around to it sometime.
Speaker 1: You know.
Speaker 6: It feels like, whether or not you have an interest
Speaker 6: in the genre, you have to have watched The Shining
Speaker 6: at some point.
Speaker 2: It feels like it is a regular occurrence. We almost
Speaker 2: need a sting whenever The Simpsons. We should have played
Speaker 2: a Simpsons theme whenever somebody watches a classic movie, which
Speaker 2: obviously this podcast is all about, and they go, oh,
Speaker 2: now there's all these Simpsons references. I get Mark Samuel Banano,
Speaker 2: it was like, oh, all those wow, Simpsons is basically
Speaker 2: an animated Citizen Kane right right.
Speaker 6: Well, The Shining even more so because there's like that
Speaker 6: whole It's basically got a whole episode that's just the
Speaker 6: plot of the Shining, Like, yes, not so much, just
Speaker 6: little references here and there, but it's yeah, they dedicated
Speaker 6: a whole chunk of a Halloween episode to it.
Speaker 2: So there's a whole bunch to get stuck into about
Speaker 2: the Shining. Let's talk about your three favorite films, which
Speaker 2: are films. I think one of them may have come up,
Speaker 2: but the first one, I'm very I haven't seen and
Speaker 2: I have a little clue as to what. Brigsby Needs
Speaker 2: a Bear.
Speaker 4: Yeah, you know what.
Speaker 6: I was kind of hoping that you hadn't seen this
Speaker 6: because you should watch it because I think you'd love it.
Speaker 6: It is a film from It's probably about four or
Speaker 6: five years old, and it's got Kyle Mooney in it
Speaker 6: from Saturday Night Live, and he plays an adult man
Speaker 6: who is living in this bunker with his parents because
Speaker 6: the Earth's atmosphere has become unbreathable, and he basically kills
Speaker 6: his time by watching this show called Brigsby Bear, which
Speaker 6: is it's sort of like an HR puff and Stuff
Speaker 6: style show, and he like obsesses.
Speaker 3: Over the law of it online.
Speaker 6: And then one day, the police turn up and it
Speaker 6: turns out that the air outside is breathable. Who he
Speaker 6: thinks that his parents have just been telling him that
Speaker 6: because he was kidnapped as a baby and they've been
Speaker 6: raising him as his own. So he is reunited with
Speaker 6: his real parents that he got stolen from when he
Speaker 6: was a baby, and he's readjusting to real life and
Speaker 6: at one point he's like, hey, when are we getting
Speaker 6: the new Brigsby Bear episode?
Speaker 3: And they're like what.
Speaker 6: And it turns out that his captive parents had been
Speaker 6: creating this show to keep him occupied while he was
Speaker 6: being raised by them, and so he kind of freaks
Speaker 6: out because he doesn't have access to this show. So
Speaker 6: he decides with some new friends that he's made, that
Speaker 6: he is gonna start making these new episodes and continue
Speaker 6: the story of Brisby Bear because he's been showing the
Speaker 6: tapes to people and they're like, this is great, and.
Speaker 3: Yeah, it's an incredible movie.
Speaker 6: It's funny, it's heartwarming, but then you're also like, oh,
Speaker 6: this kid has trauma, like this is this is like
Speaker 6: a deeply messed up story, but it's everyone and it
Speaker 6: is great. Mark Hamill plays the dad who kidnapped him
Speaker 6: who's been making Brisby Bear for all these years. It's
Speaker 6: it's really great, and it's really frustrating because I think
Speaker 6: I'd walked out of the cinema and immediately was like,
Speaker 6: that's an all timer, but no one has seen it.
Speaker 2: So not only haven't I seen it, Usually you know films,
Speaker 2: I don't think we've had a film that's been mentioned
Speaker 2: on this podcast where I've gone, oh, yeah, I'm aware.
Speaker 2: I'm aware of roughly what that's about, or who might
Speaker 2: be in or when it was made. But I have
Speaker 2: there's very little traction on the old rector scale over
Speaker 2: here that sounds phenomenal.
Speaker 3: I don't really know why that is.
Speaker 6: I saw it at the Melbourne International Film Festival, and
Speaker 6: I know it came out like in wider release here,
Speaker 6: but it just I don't know why it never quite
Speaker 6: got that foothold, because it's one of those rare films
Speaker 6: where I walked out of the cinema and when I've
Speaker 6: truly never seen anything like that, Like it's such a
Speaker 6: unique style and story and yeah, I really would love
Speaker 6: you to watch it and then hear what you think
Speaker 6: on my podcast that I'm going to start where I
Speaker 6: get a guest on every week who's never seen Brigsby Bear.
Speaker 3: Every week, I just talk about the same movie with
Speaker 3: a different I mean.
Speaker 2: God Montgomery might have a word to you, but well,
Speaker 2: I will definitely watch it, and I'll also I will
Speaker 2: trade you a film that I think you would also
Speaker 2: love if you love Brigsby Bear. There's a film that
Speaker 2: I saw, In fact, I probably saw it at the
Speaker 2: Melton International Film Festival as well, won the Palm Dior
Speaker 2: in nineteen ninety five and Kahn and it's a film
Speaker 2: called Underground, and it's a Serbian film about some black
Speaker 2: market kind of profiteers during World War Two who basically
Speaker 2: on the run. So they go they dig underground and
Speaker 2: they they start living underground and they stay there for
Speaker 2: years and years and years until they they're having their
Speaker 2: own community. They have babies are born underground, but one
Speaker 2: of them stays above ground, one of them, you know,
Speaker 2: stays underground. And then there's got a little bit of
Speaker 2: a love triangle. There's reasons why one's keeping the other.
Speaker 2: He's just pretending the war is still going to keep
Speaker 2: the keep his mate underground so he could basically have
Speaker 2: the have the woman the.
Speaker 1: Both are in love with so it's it's it's not
Speaker 1: it's got some amusing.
Speaker 2: Things about and it's very extremely stylistic, but it's an
Speaker 2: incredible film.
Speaker 3: Okay, great, Yeah, so I have to check it out.
Speaker 1: We'll do it. We'll do a trade Brings Me Bear
Speaker 1: and Underground because the last.
Speaker 6: Thing I recommended to you was the the Economy Archy
Speaker 6: food court when you're in Hiroshima, and I remember you
Speaker 6: getting giving me a good response back to that. So
Speaker 6: hopefully Brings Me Bear lives up to the lofty expectations
Speaker 6: that I've set with my recommendations.
Speaker 2: That was a brilliant recommendation. If you're ever in Tokyo,
Speaker 2: if you're had any over the Olympics, Olympians.
Speaker 3: Get there, car bload Cake.
Speaker 2: I saw who framed Roger Rabbit as a school excursion.
Speaker 2: What a cool school excursion and that was. And for
Speaker 2: those who may be too young, explain how like how
Speaker 2: massive this was when this kind of and how revolutionary
Speaker 2: this was when it was released.
Speaker 6: Yeah, like so many things about it, like the technology
Speaker 6: behind it quote unquote technology because it's all basically done
Speaker 6: by hand. But it's a hybrid live action two D
Speaker 6: animated film where cartoon characters exist in the real world.
Speaker 6: They're they're actors who are employed, and these and the
Speaker 6: cartoons that you see are actually filmed, and so yeah,
Speaker 6: they filmed it live and then they took the film
Speaker 6: cells and just drew over the top of them. So
Speaker 6: it's like very rudimentary technique compared to today, but not
Speaker 6: just the technology behind it. But there's a scene in
Speaker 6: it where Donald Duck and Daffy Duck are doing like
Speaker 6: a dueling pianos thing in a nightclub, like the kind
Speaker 6: of like nightclub acts on the side of being in
Speaker 6: these films, and just that at the time would have
Speaker 6: been huge, Like it's probably it probably doesn't quite have
Speaker 6: the same impact in a time now where like you know,
Speaker 6: Disney owns like one hundred different companies, so you know,
Speaker 6: if they wanted to make a film where Donald Duck
Speaker 6: and the Ewoks go on a road trip with up
Speaker 6: Poo from The Simpsons, they could.
Speaker 3: Just make that happen.
Speaker 6: Yeah, yeah, yeah, But like the amount of tech like
Speaker 6: legal wrangling they must have had to do to get
Speaker 6: that that one scene off the ground.
Speaker 3: How did that feel seeing it in the cinema at
Speaker 3: the time.
Speaker 2: I was amazing And I probably just want I'm not
Speaker 2: sure how much worker Poo's getting these days, but it was,
Speaker 2: it was so exciting, and that's you know, that's where
Speaker 2: you know, my love of movies I think came from,
Speaker 2: like those the memories of going to the cinema with
Speaker 2: you know, friends, and that was where I've got to
Speaker 2: go with all my friends because we went on a
Speaker 2: bus into the city to see this movie that we're
Speaker 2: all completely amped about. Yeah, and it was it was incredible,
Speaker 2: Like the technology was incredible. We all came out with
Speaker 2: crushes on Jessica Rabbit. Absolutely, you know, it was the
Speaker 2: best cartoon character of all time. And and you're right
Speaker 2: that that that Donald the Daffy Duck and Dougs Bunny
Speaker 2: dueling kind of pianos was. It's a bit almost the
Speaker 2: cartoon animated equivalent of my Robert de Niro and al
Speaker 2: Pacino in Heat, right.
Speaker 6: Yeah, yeah, it's I mean, I remember renting it at
Speaker 6: the video store and being drawn to it because it's
Speaker 6: you know, there's cartoons on the cover and the fact
Speaker 6: that it's live action blending looked really cool. But then
Speaker 6: it's also it's so dark, and it's kind of an
Speaker 6: intense film at times too, and that thing where like
Speaker 6: I don't know how old you were when you saw it,
Speaker 6: but I remember it had that great thing where it's
Speaker 6: very funny and there's cartoons in it, but there's a
Speaker 6: point where you feel like, oh, this is I'm not
Speaker 6: meant to be watching this, Like the like the end
Speaker 6: with Christopher Lloyd is just so like traumatizing.
Speaker 3: And like scary, you know what I mean, Like that
Speaker 3: great thing when you're a.
Speaker 6: Kid where you feel like you've snuck into something that
Speaker 6: you're not you're not quite ready to be watching yet,
Speaker 6: but you've somehow gotten away with it.
Speaker 2: Yeah, And I wonder, I must say, I don't have
Speaker 2: a clear memory of this, of this exactly, but I
Speaker 2: I wonder if the teachers were like going, oh this,
Speaker 2: should we have taken them the seat? Maybe we should
Speaker 2: have checked this film out first, like it's not Yeah,
Speaker 2: it's not a complete cartoon.
Speaker 6: I'm sure there was heaps of that when it came out. Yeah,
Speaker 6: would have been very misleading and this problem and this
Speaker 6: is like before the time where it's like, oh, cartoons
Speaker 6: can be for adults as well, Like there's no there's
Speaker 6: no Simpsons or anything like that.
Speaker 3: So yeah, it would have been a fair assumption to
Speaker 3: just see a cartoon character and go, oh, this is
Speaker 3: a kid's movie.
Speaker 1: Ratatuy Pixar is it's one of the it's one of
Speaker 1: the ones.
Speaker 2: It sometimes gets a bit lost in the you know, now,
Speaker 2: Pixar's got such an amazing canon of work now, but
Speaker 2: Radatuy I remember seeing it when it came out. I
Speaker 2: always try to see the Pixar movies as soon as
Speaker 2: they come out, and it's a great it's a great film.
Speaker 1: It gets for me, it gets, you know.
Speaker 2: When I think of Pixar films, my favorite ones are
Speaker 2: usually you know, the Wali's and Inside Out, But yeah,
Speaker 2: Toy Story emotionally is the one I go to, you know,
Speaker 2: from a just from a gut emotional But tell us
Speaker 2: about RATATOUI.
Speaker 6: Yeah, Radatui I think is probably still my favorite pixel
Speaker 6: And like putting together a top three list for the
Speaker 6: start of this is it was almost more stressful than
Speaker 6: the actual watching of the Shiny itself.
Speaker 3: Yeah, it's like, well, what do you want to do?
Speaker 3: Do you want to put?
Speaker 8: Like?
Speaker 6: I think there's films that are like maybe technically better
Speaker 6: made than the ones that are on my list, But
Speaker 6: I think the last year, especially has driven home the
Speaker 6: importance of like a comfort food film, right and all
Speaker 6: of these were that for me where in the lockdown,
Speaker 6: Like my girlfriend hadn't seen any of these and so
Speaker 6: I was like, great, put these on, you'll love it.
Speaker 3: And it's also it's just going to be a fun,
Speaker 3: enjoyable watch.
Speaker 6: That are you know, these films that are safe and
Speaker 6: comforting when there's not a lot of that going on.
Speaker 3: But right at TUI. I was pretty interested in when
Speaker 3: it got announced because I was a big fan of
Speaker 3: Patton Oswalt at the time, and I just thought it
Speaker 3: was really cool that this, like then relatively obscure stand
Speaker 3: up comedian was getting to be a voice in a
Speaker 3: Pixar film.
Speaker 6: I just thought that was so cool and like, yeah,
Speaker 6: I love the premise. I thought it seemed really interesting
Speaker 6: and funny. Like I remember when the trailers came out,
Speaker 6: I knew a lot of people who were like, this.
Speaker 3: Doesn't make sense. They got a rat that's that's cooking,
Speaker 3: Like this is such a dumb premise for a film,
Speaker 3: And I was like, what what picks? What have you
Speaker 3: been taking away from these other Pixar films, Like literally
Speaker 3: the first thing that happens in all of them is
Speaker 3: that a desk lamp comes to life and crushes a
Speaker 3: little bouncy all like, what am I going? Insane? But
Speaker 3: so I saw it in I was in.
Speaker 6: America when it came out, and this was back when
Speaker 6: our pix up films would come out kind of three
Speaker 6: months later here in Australia, and I was in New
Speaker 6: York and I'd gotten food poisoning almost immediately, and I
Speaker 6: had spent this my first time in I was twenty one,
Speaker 6: I was traveling by myself for the first time. I
Speaker 6: was so excited to be in New York and I
Speaker 6: was just like in bed with just this like awful
Speaker 6: food poisoning for a week, and my last day there,
Speaker 6: I finally started to feel a bit better and the
Speaker 6: only thing I could handle doing was going to the
Speaker 6: cinema and Ratatui.
Speaker 3: Had just come out.
Speaker 6: So I think that's part of like I was just
Speaker 6: so happy to be doing anything, and like I just
Speaker 6: found the film like so wonderful and joyous, and I
Speaker 6: think that like is a big part of why it's
Speaker 6: in my head as this like really positive thing, because
Speaker 6: I just.
Speaker 3: Dragged myself out of bed and I had this great
Speaker 3: time and I was getting to see this film a
Speaker 3: few months before it came out in Australia. Like, yeah,
Speaker 3: I think that's why it's so intrinsically linked in my head.
Speaker 3: As it's old timer.
Speaker 2: It's not always it's not always about what those three
Speaker 2: films about what's.
Speaker 1: On the screen.
Speaker 2: You're absolutely You're right, it's it's sometimes it is about
Speaker 2: and even whether it's your top three or not. I
Speaker 2: have such a very similar kind of vibe with Cable
Speaker 2: Guy because because I saw it. I remember my dad
Speaker 2: took me into work and sorry into the city and
Speaker 2: I had had an appointment. It might have been like
Speaker 2: a dental appointment, but then I had something else and
Speaker 2: I had like that three hours in between. I didn't
Speaker 2: really know how to, you know, spend my time in
Speaker 2: the city at that age. You know, I seventeen and
Speaker 2: sixteen seventeen, and I saw a Cable Guy was on
Speaker 2: and I love Matthew Broderick. I've got to say I
Speaker 2: wasn't a massive Jim Carrey fan at that stage.
Speaker 1: For some reason. He kind of annoyed me the mark.
Speaker 2: I'd never seen the mask, and even it just kind
Speaker 2: of I wasn't a massive fan of that really heightened,
Speaker 2: I mean Eric and comedy, I kind of for whatever reason,
Speaker 2: and I saw it despite my feelings about Jim Carrey,
Speaker 2: and it completely changed my mind on who Jim Carrey
Speaker 2: is and what he's capable of.
Speaker 6: And you've had, like your experience with the cable guys
Speaker 6: like the exact opposite to like everyone else on the planet.
Speaker 1: Exactly because you're a big roderick.
Speaker 3: Head, and it turned you the right way around on
Speaker 3: Gary like.
Speaker 2: And there are so many people who hate that film,
Speaker 2: like who don't into it was too because very it's
Speaker 2: very dark for you know, for a comedy and for
Speaker 2: a Jim Carrey comedy at the time.
Speaker 1: But it's so it's so good.
Speaker 2: Written and directed by Ben Stiller, one of Owen Wilson's
Speaker 2: maybe his first appearance, and Jack Black one of Jack
Speaker 2: Black's early ones as well. It's it's if you haven't
Speaker 2: seen it, it's great.
Speaker 3: Guy's incredible. It's so good.
Speaker 2: It's a good Leslie Man one of her first that's
Speaker 2: where jad Apatao and Leslie Man Matt the now married
Speaker 2: for almost since then.
Speaker 3: Yeah.
Speaker 2: Yeah, it's a crazy but a lot of it has
Speaker 2: to do with me kind of. I think you also
Speaker 2: whether yeah, you saw it at a cinema or hey,
Speaker 2: you saw it. Sometimes it's that the films that surprise you,
Speaker 2: right almost like you discovered I suspect brings me bear.
Speaker 1: A lot of it is that, ah, there's a sense
Speaker 1: of pride. You saw that film and now you've become
Speaker 1: like an ambassador.
Speaker 6: Oh absolutely, yeah, yeah, yeah, And especially when you see
Speaker 6: something at a film festival and like it's like a
Speaker 6: very wanky thing to say, but like you got in
Speaker 6: early and you feel like you're you know, often those
Speaker 6: films are they're on at a film festival for a bit,
Speaker 6: and then six months later they're on it like the
Speaker 6: Nova Cinema or a bit wider at Lease, and you
Speaker 6: get to be the one being like, oh, everyone's got
Speaker 6: to check this out.
Speaker 3: Like I got in and I had no expectation.
Speaker 6: But like the other thing about Ratato just very quickly
Speaker 6: that that I really what I remember, like really loving
Speaker 6: about it is the specifically the end where they talk
Speaker 6: a lot about criticism and the role of the critic
Speaker 6: compared to the role of the art.
Speaker 3: That they're criticizing.
Speaker 6: And I mean I was pretty early on, in relatively
Speaker 6: early on in doing comedy at the time well, I
Speaker 6: mean according to my Wikipedia, but at.
Speaker 3: That age we've been doing comedy for about eight years
Speaker 3: or something.
Speaker 6: But yeah, I just you know, I was pretty new
Speaker 6: into like doing the festivals and stuff and dealing with
Speaker 6: like putting so much work into something and then maybe
Speaker 6: getting like a bad review and that line at the
Speaker 6: end of Ratiitu where the critic is like, as a critic,
Speaker 6: we have to deal with the fact that even the
Speaker 6: worst thing that we review still holds more artistic merit
Speaker 6: than anything that we will ever produce, just in the cinema, Like, yes, and.
Speaker 1: I always find it it's such a tough line to straddle.
Speaker 2: I think when a writer and then a director or
Speaker 2: an actor you know, tackles the idea of criticism on
Speaker 2: screen or on stage as well, because it is it's
Speaker 2: vexed and it's there's emotional loading in that. So to
Speaker 2: get it right without appearing to be like fuck you
Speaker 2: all your garbage critics, which you know a lot of
Speaker 2: us feel like that many times. But there are there
Speaker 2: are good critics, you know, there are there are reasonable critics,
Speaker 2: so you know, so to get that right I think
Speaker 2: is impressive.
Speaker 6: It's tricky, yeah, and I mean it does feed into
Speaker 6: the actual story that they're telling in that film, and
Speaker 6: it's just it's so funny to have a film that
Speaker 6: is ostensibly a kid's film that has this big chunk
Speaker 6: that's just teeing off on arts critics, which is just
Speaker 6: like such an adult thing.
Speaker 1: Like, but it's what Pixar does so well.
Speaker 2: I mean, you know, I remember seeing the very first
Speaker 2: Toy Story in the cinema, yeah, by myself, and and
Speaker 2: and that was because I just heard that it was
Speaker 2: kind of revolutionary as far as the artwork goes, and
Speaker 2: you know, Pixar was a Pixar. Then it was just
Speaker 2: you know, it was just this movie was coming out
Speaker 2: and just going wow that this is this is I
Speaker 2: really I really really enjoyed that. And then I think
Speaker 2: they made the sequels and Monster's Ink might have been
Speaker 2: the next new film I think they did. But you
Speaker 2: could just tell there was something else going on in
Speaker 2: those films that it wasn't just it wasn't just for kids,
Speaker 2: setting us at play here.
Speaker 6: And Disney had kind of lost their sheen a little
Speaker 6: bit around that point. They'd sort of lost the magic touch,
Speaker 6: so it was just right for another company to kind
Speaker 6: of get in and do what they had been doing
Speaker 6: so well at the peak of their powers. But I
Speaker 6: think they did it with a bit more of an
Speaker 6: accessible like a lot more in it for adults than
Speaker 6: the than the than the Disney Golden Age films kind
Speaker 6: of tended to have.
Speaker 2: I got to chat to Pete Doctor for about an hour,
Speaker 2: like last year during lockdown for a festival here in Melbourne.
Speaker 2: It was online and the makers of Soul, the latest sound,
Speaker 2: the Pixar film, and I'm not sure. I'm sure if
Speaker 2: you put in Peter Halley, your Peak Doctor in you'll
Speaker 2: be able to find it. But I really just set
Speaker 2: up some questions for him, and but they listen to him,
Speaker 2: even if it's not that interview, but they listen to
Speaker 2: Peak Doctor talking about creativity and his story is quite
Speaker 2: inspiring for anyone who wants to getting to writing or
Speaker 2: just even to understand picks our films more and to
Speaker 2: know the person behind.
Speaker 1: Him, because he's he is incredible.
Speaker 2: I mean those some of those scenes inside Out, you
Speaker 2: know where you got the elephant, Yeah, the visible friend
Speaker 2: who when they're stuck at the bottom and it's just heartbreaking,
Speaker 2: and again they have these you know, these things happening
Speaker 2: in kids films is.
Speaker 6: Like, yeah, and I'd like to have had such huge
Speaker 6: success and to now be owned by Disney and you
Speaker 6: know all that kind of stuff. And they, you know,
Speaker 6: like anyone, they still have their they still have their
Speaker 6: slight missteps, but they're still pretty consistently. I thought Soul
Speaker 6: was great, Like they're still pretty regularly delivering the goods
Speaker 6: like that, Like all their films are still.
Speaker 3: Worth checking out.
Speaker 6: Which there's not too many companies that get to the
Speaker 6: size that they have and the and have the revered
Speaker 6: status that they have that are still able to, you know,
Speaker 6: do such a consistently great job.
Speaker 1: I would love to have Pixars missteps.
Speaker 6: I would love them, right yeah, Like yeah, if the
Speaker 6: worst thing that you've done is like Monsters university level,
Speaker 6: that's that's pretty admirable.
Speaker 2: Let's let's reasonably sharply change gears from Pixar to Stanley
Speaker 2: Kubrick's nineteen eighty classic The Shining starring Jack Niggson, Shelley Devell,
Speaker 2: and Daddy Lloyd. It's so, I'd seen this film years ago.
Speaker 2: It freaked me out a little bit, gave me the
Speaker 2: heavy gbis, But I like this, did you enjoy it?
Speaker 4: I did?
Speaker 3: Enjoy it. Yeah, So when did you see it?
Speaker 1: I wouldn't, I reckon, I would have seen it as
Speaker 1: a late teenager, I.
Speaker 6: Think, okay, right, Yeah, It's it's funny looking it up
Speaker 6: last night, because I think that's a bit of a
Speaker 6: part of why it had taken.
Speaker 3: Me so long to get around to it.
Speaker 6: It feels like any film like this that sort of
Speaker 6: looms so large culturally that you you can't just watch
Speaker 6: the film like you then have to like go and
Speaker 6: like do all the reading about it, and you can't
Speaker 6: just chuck it on for two hours and ago, well
Speaker 6: that's me done. It's like, no, it's it's had an
Speaker 6: influence on culture in the like forty years since it
Speaker 6: was made. Like, you've got to you've got to dig
Speaker 6: in a little bit. You've got to do some extra
Speaker 6: reading on it.
Speaker 1: It's like watching Mayor of Easttown and then going, let's
Speaker 1: watch Monsters University.
Speaker 6: Yeah, the prequel to Mayor of East Town where it
Speaker 6: goes into what that priest was doing before.
Speaker 1: Into the town, which is project.
Speaker 3: Yeah. No, I did.
Speaker 6: I did really enjoy it, but it's it's again, it
Speaker 6: would have been awesome to see it back in the
Speaker 6: day before you know, like a lot of things before
Speaker 6: just piecing it together going like, oh right, that's that
Speaker 6: bit from that Simpson's episode. It's because, yeah, I don't
Speaker 6: think that you some some things from this long ago.
Speaker 6: You do have to sit down and you know you
Speaker 6: have to watch it with the with the eye of
Speaker 6: you know, putting yourself in that era and going like,
Speaker 6: you know, this, this isn't going to feel like a
Speaker 6: film from today.
Speaker 3: I'm sure that's something that comes up pretty regularly on
Speaker 3: this show.
Speaker 6: But and someone said that to me before I watched it,
Speaker 6: that you know, you got to you got to really
Speaker 6: go in, you know, remembering that it came out in
Speaker 6: nineteen eighty. But I really don't think you'd have to
Speaker 6: give it too many concessions because like this style of film,
Speaker 6: the sort of suspenseful horror film, feels like it has.
Speaker 3: Come back around a bit more to being made in
Speaker 3: this kind.
Speaker 6: Of way where for a while they're all horror was
Speaker 6: like very bombastic, or it was like the sort of
Speaker 6: you know, sadistic torture style stuff of SA or whatever.
Speaker 6: But I don't think this is the pacing and the
Speaker 6: feel of this is a million miles away from something
Speaker 6: like Get out in terms of similar builds and then
Speaker 6: kind of all letting loose at the end.
Speaker 3: But most of both of those films are like you going, oh,
Speaker 3: what's what's going on here?
Speaker 1: Yeah?
Speaker 2: No, absolutely, I mean I think that's a really good,
Speaker 2: good reference to it. And what's amazing for me is
Speaker 2: how and this has come up with lots, but particularly
Speaker 2: films around the seventies, and this is obviously nineteen eighty,
Speaker 2: but how they don't give you all the details. They
Speaker 2: don't like they're very quickly get in or they come
Speaker 2: in late and they get out early.
Speaker 1: You know, Yeah, you're right, the very idea.
Speaker 2: In this film, we don't know really anything about Jack
Speaker 2: Nicholson's or Jack and Wendy's Matt. We do learn a
Speaker 2: little bit that it's you know, it's not a great marriage,
Speaker 2: but we're not sure when Jack turns, and this is
Speaker 2: the film works for me. But I think, and this
Speaker 2: is what was one of Stephen King's issues with it,
Speaker 2: is that when Jack turns, we're not sure if he's
Speaker 2: just been an asshole from the beginning, or if he's
Speaker 2: actually if this hotel is having its way with him
Speaker 2: in these moments. So I mean the fact that he
Speaker 2: takes the job. You know, like, what did you what
Speaker 2: did you say? Listen, sweet, I'm going to take this job.
Speaker 2: It's it's not you know, it's going to be pretty lonely,
Speaker 2: and I'll do it. I'll get some writing done. You
Speaker 2: and Danny stay here, I'll send the checks home.
Speaker 3: And yeah, because why you'd invite them along. It's like
Speaker 3: this is such a bummer hanging for the rest of
Speaker 3: the family.
Speaker 2: Yeah, yeah, so you kind of go, okay, is he's
Speaker 2: not a very thoughtful husband. At the most generous you
Speaker 2: could say, he's not a thoughtful husband. And then pretty
Speaker 2: quickly he starts he starts turning like there.
Speaker 1: You know. In fact, we might.
Speaker 2: Play the scene where he's working away and his wife
Speaker 2: Wendy comes in just to check on him, offer bringing
Speaker 2: some sandwiches. And let me say, if I reacted like this,
Speaker 2: it's a bridge on you. When she offered me sandwiches,
Speaker 2: you know, the blood might be coming out of my neck,
Speaker 2: to be honest. So let's have a little listen to
Speaker 2: this scene.
Speaker 7: Come on, huh, they'll be so grouchy. I'm not being grouchy.
Speaker 7: I just want to finish my work. Okay, I understand.
Speaker 5: I'll come back later on with a couple of sandwiches
Speaker 5: for you, and maybe you'll let me read something.
Speaker 7: Then, Wendy, let me explain something to you.
Speaker 5: Whenever you come in here and interrupt me, you're breaking
Speaker 5: my concentration, you're distracting me. And then well then taking
Speaker 5: time to get back to where I works understand.
Speaker 7: Yeah, fine, and we're going to make a new rule.
Speaker 5: Never I'm in here, you hear me typing, whether you
Speaker 5: don't hear me typing with them, the fuck you.
Speaker 9: Hear me doing in here?
Speaker 7: When I'm in here, that means that I am working.
Speaker 7: That means don't come in How do you think you
Speaker 7: can handle that?
Speaker 1: Yeah?
Speaker 7: Fine, why don't you start right now and get the
Speaker 7: fuck out of here?
Speaker 1: Not nice manners.
Speaker 6: I'm sure there's many like a narcissistic like creative type
Speaker 6: who's seen that bit in the film and gone, see, yes,
Speaker 6: that's what it's like.
Speaker 3: Hegets it is missing the point.
Speaker 2: Well, I honestly, if you, if you took this out
Speaker 2: of it, I've often thought about how what a selfish
Speaker 2: profession writing and yeah, even what we do a comedy.
Speaker 1: Can be.
Speaker 2: You do have to you do have to create time
Speaker 2: and space and sometimes that can be at the expense of,
Speaker 2: you know, being around your loved ones, that the birthday
Speaker 2: party is the weddings that you miss because you're on tour.
Speaker 2: You know, you know this is an extreme but I
Speaker 2: do wonder if Stephen King and Steve mc kubrick saw
Speaker 2: this as a comment on the selfishness of you know,
Speaker 2: that profession.
Speaker 6: It's funny, like, yeah, every now and then someone will
Speaker 6: talk about another comedian and they'll be like, oh, yeah,
Speaker 6: it's a bit of a narcissist, and it's like, yeah,
Speaker 6: of course, Like it's a profession of people that think
Speaker 6: that they're the funniest person in any given room that
Speaker 6: they're in life.
Speaker 3: But narcissis is like the baseline of the profession, right,
Speaker 3: But there's.
Speaker 6: That funny story where well not funny story, but anecdote,
Speaker 6: where is it that scene or the scene later was
Speaker 6: kind of Nicholson's idea where he he was telling Kubrick
Speaker 6: about he basically had that experience where he was like
Speaker 6: trying to write something and him blowing up at his
Speaker 6: first wife and he's.
Speaker 3: Like, yeah, that scene was my idea. It's like, why'd
Speaker 3: you ever admit that?
Speaker 2: I certainly heard the read that he that there was
Speaker 2: some some lines within that scene that that he had
Speaker 2: lived and brought to it, But I wasn't aware that
Speaker 2: there was the whole scene.
Speaker 1: But you're right, yeah, keep those cards close to your chest.
Speaker 6: Yeah, I mean, this is this is the era where
Speaker 6: you could just be a real piece of work on
Speaker 6: set and it's like, even if it does get out,
Speaker 6: it's not gonna there's no there's no clapback culture, there's
Speaker 6: no like, which I I think definitely works in Kubrick's
Speaker 6: favor if you if you read into some of the
Speaker 6: stuff about him with yeah pretty sorry.
Speaker 2: So yeah, so the reports and she Devo was openly
Speaker 2: spoken about, and that as is Jack Nicholson saying that
Speaker 2: Shelley Deval was treated pretty horribly well, you know, certainly
Speaker 2: kept on edge and almost a nervous breakdown.
Speaker 1: She was losing clumps of hair during this.
Speaker 3: Because you know, it is this that I want to
Speaker 3: start telling people that I was in a Kubrick film.
Speaker 1: How many, Tommy, how many?
Speaker 3: I was the little boy. I was a little boy,
Speaker 3: and I was so traumatized.
Speaker 1: You were Tony the actual your finger. But it's you know,
Speaker 1: it is that kind of and I hope this. I
Speaker 1: think this style of directing has.
Speaker 2: Gone away where you kind of you you just treat
Speaker 2: an actor, you know, with disdain and you know, disrespect
Speaker 2: to elicit a performance out of them. Like the idea
Speaker 2: should be that you hire an actor who is good
Speaker 2: enough to get themselves into whatever state you need them
Speaker 2: to be for that scene without being manipulated. And you know,
Speaker 2: I mean, Shelly developed in a couple of years ago
Speaker 2: did an interview where she goes, I still suffer trauma
Speaker 2: from there, and weekly she says she doesn't regret the experience, and.
Speaker 6: Right, I mean, that's what's hard about it, right, is
Speaker 6: the people who went through those kinds of experiences with
Speaker 6: in whatever sort of creative leadership role they're in, they
Speaker 6: do often talk about like, yeah, but it meant that
Speaker 6: I got to have a part in this thing that
Speaker 6: is now incredibly revealed, revered and and will be for
Speaker 6: you know, basically forever.
Speaker 3: So I wouldn't change it, but it is.
Speaker 6: It's a shame because like watching the film, like you
Speaker 6: go into the film, you know, seeing it now and
Speaker 6: all you've heard over the years is it's one of
Speaker 6: the great performances from Jack Nicholson, and.
Speaker 3: He is fantastic in it.
Speaker 6: But I always feel like any roles that get built
Speaker 6: up where the person, generally a male actor, is playing
Speaker 6: like a complete psycho, I kind of think that that's
Speaker 6: sort of easy because you've just got so much to
Speaker 6: work with and you get to have fun, like you
Speaker 6: get to you just get to run around and be mental.
Speaker 6: Not to say that there's no skill behind it, but
Speaker 6: I think that the sort of role that Shelley Devol
Speaker 6: is doing in this film is way harder than the
Speaker 6: sort of role that Jack Nicholson is doing, because you've
Speaker 6: got to just react and scream and look terrified for
Speaker 6: this hour and a half thing and have it be
Speaker 6: believable and probably feel a bit silly when you're just
Speaker 6: in a room that he's not even in and you're
Speaker 6: just screaming, Like, I think that's way more challenging, and
Speaker 6: you get far less credit and you know, legacy.
Speaker 3: From doing the role that she did.
Speaker 2: And Jack Nicholson, funnily enough, made a very similar point
Speaker 2: he and he was he wanted I think Jessica Lang
Speaker 2: casts in this role that Kubrick wanted Shelley Deval and
Speaker 2: but at the end, Jack Nixon said he thinks it's
Speaker 2: it's it's one of the finest performances he's seen from
Speaker 2: an actress, but.
Speaker 1: Also that one of the toughest, like the lenks she
Speaker 1: went to.
Speaker 2: And I guess he's probably referring to some of the
Speaker 2: treatment at Kubrick's hand, but he really respected the performance
Speaker 2: of Shelley Devel put out there under those circumstances and
Speaker 2: probably also recognizing that that can be a thankless role, right,
Speaker 2: you know, being the woman in distress, but she gives
Speaker 2: it more than that, Like she's also got this kind
Speaker 2: of like one of my favorite roles to see on
Speaker 2: the film is that kind of lioness when the mother
Speaker 2: just becomes the lion ness and you know, I'm going
Speaker 2: to do anything it takes to protect you know, my kid, and.
Speaker 1: And you know I love that to it as well.
Speaker 2: Yeah yeah, yeah, but just think back to because the
Speaker 2: idea in Stephen King's book is that the role of
Speaker 2: Jack is somebody more sympathetic. So and then you see
Speaker 2: that the hotel is the one that kind of starts
Speaker 2: turning turning that character. And I do agree with him,
Speaker 2: even though I do enjoy this film, but I just
Speaker 2: think I was a bit confused it's going so is
Speaker 2: he an asshof and the get go is he And
Speaker 2: I think it would have been really good to see
Speaker 2: him have a better relationship with his family and seem like,
Speaker 2: I think it's more powerful if it's a good guy
Speaker 2: who's turned bad as opposed to somebody who's already halfway there.
Speaker 6: Right, because that was his big That's King's big criticism
Speaker 6: is that he thinks that Nicholson was miscast because Nicholson
Speaker 6: comes in and he's already got the manic look. So
Speaker 6: from the get go you're like, what the hell is
Speaker 6: up with this guy? Which is which yeah, is completely fair,
Speaker 6: Like it would play completely differently like yeah, you get
Speaker 6: the sense with this that he early on is just
Speaker 6: a he's already unhinged and he's just looking for an
Speaker 6: excuse to just snap and go wild. There's a there's
Speaker 6: a thing that I read that when he's in there,
Speaker 6: when he's waiting to go into the job interview, that
Speaker 6: he's he's reading a playgirl magazine and Kubrick's so like
Speaker 6: detail oriented that nothing that's you know, no, no small
Speaker 6: thing like that is in there by accident. And there's
Speaker 6: a thing that I think that issue of Playgirl had
Speaker 6: an article about incest in it, which people think is
Speaker 6: meant to suggest that there's been some kind of like
Speaker 6: abuse of Danny in that regard.
Speaker 3: But then also the other thing is like what kind
Speaker 3: of job leaves a Playgirl magazine as reading material in
Speaker 3: the waiting room. So the other thing is like that's
Speaker 3: a bit of a clue of like that this is
Speaker 3: like a weird place, Like that's meant to set you
Speaker 3: up for that.
Speaker 1: Jump jump into it.
Speaker 2: But so there's so many theories about this film, and
Speaker 2: because is such a detail director, everything gets looked at,
Speaker 2: from the books that are right sitting on desks, to
Speaker 2: artwork on the walls, the carpet, the patterns of carpet,
Speaker 2: and there is I mean, it's mentioned in the film
Speaker 2: that this was you know this.
Speaker 1: The hotel was built on an old never ho a
Speaker 1: burial site.
Speaker 2: So and then there's there's a certain artwork on the
Speaker 2: wall that kind of backs that up as far as
Speaker 2: this may be the curse of the hotel may come
Speaker 2: from from the fact that that happened. But yeah, the
Speaker 2: one of the big theories which I've never picked up
Speaker 2: when I first watched it, and it was only doing
Speaker 2: a bit of deep diving last night. This this is
Speaker 2: what you mentioned, this, this whole thing of there may
Speaker 2: have been a sexual abuse happening between Jack and Danny,
Speaker 2: and it's it's that Playboy. I think it's played Girl magazine. Yeah,
Speaker 2: you obviously haven't for detail for those things.
Speaker 3: Yeah, the film, the film took. The film took six
Speaker 3: hours to watch because I paused on that bit.
Speaker 6: I was going through frame by frame with my girlfriend,
Speaker 6: like just I think it's going to give us a
Speaker 6: deeper enjoyment.
Speaker 1: I'm pretty sure I've got that addition. Actually, I think
Speaker 1: it's signed as well.
Speaker 2: But then because then there's that really weird bet scene
Speaker 2: where Shelley Devaul is running through the hotel and she
Speaker 2: sees basically what we would refer to, I believe now
Speaker 2: as a plushy somebody dressed up as a bear costume
Speaker 2: appearing to give a blowjob to an older man. Yeah,
Speaker 2: and then if you so, what's been pointed that if
Speaker 2: you earlier on when I think Danny's been a doctor
Speaker 2: saying to him and he's actually is in.
Speaker 1: A T shirt and he's underwear, but he's lying on
Speaker 1: a bear rug.
Speaker 2: And there's and there's another kind of photo of a bear,
Speaker 2: I think in the cub above his bed.
Speaker 1: So there's just these little kind of.
Speaker 2: Things are tied together because and the fact is that
Speaker 2: bear was maybe the weirdest.
Speaker 1: Thing in the film. If it doesn't mean anything, it's
Speaker 1: just purely weird.
Speaker 2: And maybe this is supposed to be weird and subversive
Speaker 2: or something, but but Kubrick doesn't just do that for
Speaker 2: for kicks.
Speaker 1: You know, everything does get tidy, and so I can't
Speaker 1: of suspect that it's true. And then when you when
Speaker 1: you think back to the scene where he's on the lap,
Speaker 1: you know, he calls him in the sit on his lap,
Speaker 1: and that's that was That was one of the more
Speaker 1: tense scenes for me.
Speaker 2: And that was before I kind of had, you know,
Speaker 2: kind of started reading about the possible sexual abuse of Danny,
Speaker 2: but that scene just from a the tension in that
Speaker 2: scene for me was Danny almost getting his innocently putting
Speaker 2: his mum in the pathway of the of the hurricane
Speaker 2: in the way by kind of saying, you know, innocently,
Speaker 2: you'll never hurt you know, mum, And I would you?
Speaker 2: And he's like, no, what did your mum tell you
Speaker 2: to say that? Or did you has your mum been
Speaker 2: saying something and you just think, you know, whether he's
Speaker 2: crazy or not. At this stage, it's like that, Okay,
Speaker 2: the hurricane is now you know, going to going to
Speaker 2: head towards Wendy.
Speaker 6: Yeah, because it's already it's it's explicitly stated in the
Speaker 6: film that the Jack's gotten drunk and.
Speaker 3: Physically abused Danny. Right, That's that's early on, so that that's.
Speaker 6: Kind of like on the record in the film, So
Speaker 6: it's not a huge stretch to assume that there's there's
Speaker 6: more going on other than just what the film tells you.
Speaker 6: And yeah, again, it does just feed into that thing
Speaker 6: of it makes him such a different character right to there,
Speaker 6: because one of the first things you hearing is like, oh,
Speaker 6: this guy got blind drunk and hit his kids. So
Speaker 6: it's like already just a completely an unsympathetic character who
Speaker 6: you know you're not. Yeah, it does change where you're
Speaker 6: not you don't feel you're not really watching him go
Speaker 6: as mad because it's like, this guy's already just a
Speaker 6: just an awful person.
Speaker 1: And maybe it's not Kubrick.
Speaker 2: Maybe it was Kubrick's point, the idea that you know,
Speaker 2: if he was and I'm not sure how much of
Speaker 2: that the abuse, you know, Danny's is in Stephen King's
Speaker 2: book Feel Free let us know.
Speaker 1: He has any podcast at gmail dot com.
Speaker 2: But but I wonder if he knows, if he's in
Speaker 2: his head that Jack has abused, actually abused Danny, then
Speaker 2: he's not probably looking for ways to lighten him.
Speaker 1: Up at the start and make it so connected. Perhaps
Speaker 1: you know, yeah, I mean.
Speaker 3: That's got to be.
Speaker 6: That's got to be brutal for Stephen King, Like you
Speaker 6: write this book and then then the director comes along
Speaker 6: and takes your character and goes, yeah, he's a pedophile.
Speaker 3: I've just made him a pedophile.
Speaker 1: So it's.
Speaker 3: My character, my vin character, my innocent Jack.
Speaker 2: I think the film looks like how do you as
Speaker 2: as the esthetic goes, because it's kind of like contained
Speaker 2: in this in this mansion, which doesn't outside the carpet.
Speaker 1: We've all been in hotels with with a weird cover.
Speaker 2: But it's it's it's not It didn't feel particularly dated
Speaker 2: with me, like, besides, you know, Wendy's smoking at the
Speaker 2: breakfast table and then not wearing a seat belt as
Speaker 2: they go by, you.
Speaker 1: Know, precarious cliffs. It felt like it hadn't aged a
Speaker 1: lot with me.
Speaker 2: I know you're kind of reference you know, as far
Speaker 2: as get Out, and I think you're probably talking about
Speaker 2: more the vibe of the horror and and and all the.
Speaker 6: Other pacing and stuff. But yeah, yeah, visually, I mean, yeah,
Speaker 6: it's that's the benefit of if you set something in
Speaker 6: a in a in just basically one location that's that's
Speaker 6: already meant to look pretty dated at the era that
Speaker 6: this film is said, it kind of makes it a
Speaker 6: bit evergreen again to reference the Simpsons, Like the Simpsons
Speaker 6: in its heyday was parodying stuff from fifteen years ago
Speaker 6: that was already like you know, I'm cool when they
Speaker 6: were parodying it. So it's like it's never going to date.
Speaker 6: And yeah, I'd love to see this. This is a
Speaker 6: weird thing to think, but I would love to see
Speaker 6: Where's Anderson do a remake of the Shining because like
Speaker 6: this the actual like the kind of weird dated opulence
Speaker 6: of the hotel. It is a bit like Grand Buddapest,
Speaker 6: Like you can imagine him just getting a setting like
Speaker 6: that and just really you know, getting his jollis off
Speaker 6: with that environment.
Speaker 2: That exterior shot of like, yeah, that's the exact same
Speaker 2: thought came into my head. Not necessarily I like to
Speaker 2: see the remake, but it's like, surely this played a
Speaker 2: part in We's Anderson's thinking for the grandpa to pest hotel.
Speaker 3: Yeah, We's Anderson, and he does it.
Speaker 6: He does one of his little stop motion film where
Speaker 6: it's like a little a little puppet Jack going insane.
Speaker 6: Have you seen the YouTube video about the guy who
Speaker 6: points out how just like none of the architecture makes sense.
Speaker 2: Yeah, so the idea that the manager's office, Yeah, in fact,
Speaker 2: that there's a window at the bat that looks appears
Speaker 2: to be looking outside because there's trees out there geographically
Speaker 2: as far as architecturally would be in the middle of
Speaker 2: the hotel.
Speaker 6: Yeah, someone's put it together and there's like there's hallways
Speaker 6: that don't make sense. But then there's someone who worked
Speaker 6: on the film in I think twenty twelve was asked
Speaker 6: about it in an interview and they're like, no, that's yeah,
Speaker 6: that was deliberate. It's meant it's meant to feel like
Speaker 6: the hotel is sort of you know, it's meant to
Speaker 6: make you feel like you're going crazy, And it's like,
Speaker 6: twenty twelve is such a long time after the fact
Speaker 6: to address that. It's like, that's the most convenient, Like
Speaker 6: if you're making a psychological horror film, it's like the
Speaker 6: most convenient thing to go.
Speaker 3: No, this era, it's it's meant to be in there.
Speaker 3: It's you know, it's yeah, that's deliberate.
Speaker 2: I mean we're already obviously spoken about Kubrick and nothing's
Speaker 2: by chance. That feels a bit like when anticipate the
Speaker 2: arrival of Internet nerds.
Speaker 3: Yeah, absolutely, something like that.
Speaker 6: I don't imagine because yeah, unless you were shooting in
Speaker 6: the actual hotel and so what like it did all
Speaker 6: make sense, Like I can't imagine that's something you'd ever
Speaker 6: really think about too deeply back in the day.
Speaker 2: I love the the Danny's is it a tricycle or
Speaker 2: I'm sure what those things that he rides around on.
Speaker 2: Let's call it a trick. What a great what a
Speaker 2: great tool one to give us a tour of the hotel. Yeah,
Speaker 2: you know, in a really kind of fun, fun way.
Speaker 2: But the way they use the sound design when he's
Speaker 2: on floorboards, yes, then onto the carpet, back onto the floorboards,
Speaker 2: back onto the carpet, and it's just sound design almost
Speaker 2: like a muted drum roll.
Speaker 1: He's on the floorboards. It's it's so good.
Speaker 3: Yeah, it looks great.
Speaker 1: Was that?
Speaker 6: And again that was that's parodied in like I think,
Speaker 6: I think an episode of Family Guy, I remember that.
Speaker 6: I mean, this is a film where plenty of films
Speaker 6: have like one kind of bit that's iconic, that sort
Speaker 6: of sticks out. But this film, like nearly every scene
Speaker 6: has some element to it that has just become so
Speaker 6: iconic in the last forty years, like nearly every shot
Speaker 6: has become referenced in some way or another.
Speaker 2: Yeah, well culture, I mean, you know, his Johnny is
Speaker 2: probably the you know, the the most quitable, which is
Speaker 2: apparently an ad lib line from Jack Nificent and Kubrick,
Speaker 2: who based himself in England and didn't really fly much
Speaker 2: because he had a fear of flying, made most of
Speaker 2: his films, if not all, in England. The studio where
Speaker 2: this was shot also Empire Strikes Back was shot there.
Speaker 2: I think this because when overtime it held up filming
Speaker 2: on Raiders of the Bust Dark.
Speaker 6: He didn't I'd like how he he didn't show up
Speaker 6: to when they were filming the opening, like the opening
Speaker 6: scene where they're like driving through the mountains. Yeah, Krubrick
Speaker 6: just didn't rock up because he's like, doesn't Yeah, it
Speaker 6: doesn't want to leave England, which is which is crazy.
Speaker 3: It's like the first the first bit of your movie
Speaker 3: that people are seeing. You're like, nah, someone else can
Speaker 3: handle this, and it does.
Speaker 2: And they shot that aren't using a helicopter. This is
Speaker 2: obviously pre drones, so they basically strapped the camera to
Speaker 2: a helicopter. And and you know, I'll tell you what
Speaker 2: if you didn't have the music, if you had a
Speaker 2: bit of Dave Dobbin there, that's a New Zealand tourist campaign,
Speaker 2: a spice of heaven.
Speaker 3: I mean, there is.
Speaker 6: Something unreal about this, Like i'minous score and then seeing
Speaker 6: the name Scatman Cruthers come up in huge Players, I
Speaker 6: could not feel like it's slightly undermined the vibe.
Speaker 2: What a great name, a great performance, Scatman, Scatman Ruthers plays,
Speaker 2: He's so good and he plays hollerin and I want
Speaker 2: to put an ode make it sound irish but hand
Speaker 2: And apparently he was also quite traumatized by the amount
Speaker 2: of takes the Stanley Kubrick would make him do, like
Speaker 2: often a hundred takes and will get quite emotional.
Speaker 1: I was just watching a little bit.
Speaker 2: There's some great documentaries online about the making of the
Speaker 2: Shining that Vivian Kubrick did and some great behind the
Speaker 2: scenes stuff. But and there's an interview where he with
Speaker 2: let's call him the Scatman and asking him what was
Speaker 2: like the work of young Danny. He has tears welling
Speaker 2: up in his eyes and he makes the point, he
Speaker 2: goes that he's a happy tears, but you do wonder
Speaker 2: like if, like Shelley Develle, he's also experienced some you know,
Speaker 2: some trauma, no like with Scatman, because he like just
Speaker 2: obviously it was bringing up a lot of emotional memories.
Speaker 2: And this is done at the time, so and he's
Speaker 2: on the record, and it's on the record that he
Speaker 2: was quite traumatized by the amount of takes Kubrick would
Speaker 2: make him do. The next film he does is with
Speaker 2: Clint Eastwood, and Clint Eastwood's is the opposite he's famous
Speaker 2: doing if you get anything, one take, you get any
Speaker 2: one take and we move on. And apparently he did
Speaker 2: his first take and he basically cried and just just
Speaker 2: had a gratitude, almost broke down and gratitude of saying
Speaker 2: thank thank God. And you would like going from a
Speaker 2: film where you are doing one hundred takes, yeah, of
Speaker 2: scenes where you kind of think, surely we have this.
Speaker 1: Like we spoke about Full Metal Jacket.
Speaker 2: There's a scen where they're mopping the floors and they
Speaker 2: did like sixty it's a short little scene they did
Speaker 2: like sixty sixty takes of that baseball bat scene.
Speaker 3: Is is that it's in the Guinness Book of World Records.
Speaker 3: It's like the most number of takes, like one hundred
Speaker 3: and twenty seven takes or something like that.
Speaker 1: Yes, that's right.
Speaker 3: Yeah, assume that's.
Speaker 6: Still current because it's again, this is a thing where
Speaker 6: you just now, you wouldn't get away with this. You
Speaker 6: wouldn't get like, yeah, you wouldn't get Judd Apatow going
Speaker 6: now boys, sorry, Seth, you got to do that laugh
Speaker 6: four hundred times, so we know we've got the right one.
Speaker 1: Yeah. And I I was chatting with the police of
Speaker 1: McCune about it and in the Full Metal Jacket episode,
Speaker 1: and because you get my instinct is like that's ridiculous. Surely.
Speaker 2: My attitude was like, well, cribbage. Obvio was having a
Speaker 2: bad day and he's, oh, he doesn't know. He doesn't
Speaker 2: want to move on to the next setup for whatever reason.
Speaker 2: But we kind of maybe stumbled upon the point. Maybe
Speaker 2: it's about putting the actors in an emotional state again,
Speaker 2: which he seems to like to do. So it's not
Speaker 2: about getting the perfect tait. He probably knows he's got
Speaker 2: the perfect take in take twelve, or he's got it
Speaker 2: by take twelve, but for whatever reason, he wants the
Speaker 2: actors to be in an emotional state for the next
Speaker 2: scene that he's going to film, or even sure, yeah,
Speaker 2: in five days time, we're going to be shooting another scene,
Speaker 2: and I want you know, I wanted the frustration.
Speaker 6: Yeah, you want people to be like genuinely exhausted and
Speaker 6: worn down. I mean I can also see it in
Speaker 6: the sense of, like, you know, doing stand up you
Speaker 6: can never have the perfect gig right, so you know,
Speaker 6: you feel like you've you know, everything can be going
Speaker 6: completely right and you can have a great one, but
Speaker 6: you can there'll still be like one little thing where
Speaker 6: you're like, ah, I could see that one person in
Speaker 6: the front row didn't love that bit as much as
Speaker 6: it So I sort of can understand it in that
Speaker 6: sense a little bit. It's like, no, it's still not
Speaker 6: quite because he also with this, I mean, I think
Speaker 6: Kubrick's just a weird guy in general, but like this,
Speaker 6: the shining is off the back of him having had
Speaker 6: a big bomb, right, So yes, So so he's he's
Speaker 6: presumably coming into this being like this one's got to
Speaker 6: be dynamite like this, this one's got to get my
Speaker 6: got to save my reputation a little bit and make money.
Speaker 1: Yeah, we have talk reckon.
Speaker 2: We obviously talked about two thousand and one and the
Speaker 2: Clockwork Orange and and the Shining and Full Metal Jacket.
Speaker 1: But you know, there are films that you know, along
Speaker 1: the way.
Speaker 2: That that didn't go you know, he wasn't he wasn't
Speaker 2: necessarily hit factory, and even a lot of these films
Speaker 2: weren't necessarily you know, critically acclaimed when they were released
Speaker 2: or big box office, you know, clock of Orange, you know,
Speaker 2: I think was was taken off screens right.
Speaker 1: In was the US.
Speaker 2: I think them in the US because I think and
Speaker 2: I think Kubrick did it because there was a spate
Speaker 2: of like almost imitation kind of crimes, you know, and
Speaker 2: then he felt guilty about that, so he actually took
Speaker 2: took it off screens, didn't it didn't reappear it was
Speaker 2: even in the UK or the US, and didn't repeat
Speaker 2: in that country until like, you know, years, almost like
Speaker 2: a decade later.
Speaker 6: Finally if he did the same thing with this, like
Speaker 6: too many people are convinced they can write a novel.
Speaker 3: Now we got to what if I created? But he
Speaker 3: did change. He recut this after it had already been
Speaker 3: out for a weekend. Right, he changed the ending.
Speaker 1: Oh is that right? I didn't know that.
Speaker 3: Yeah, it had been out for a weekend, and he
Speaker 3: took this whole ending scene out.
Speaker 2: But the here we go, So it's not uncommon for
Speaker 2: a film's ending the changing pace production, but Kubrick he
Speaker 2: changed the ending of the film after been playing in
Speaker 2: theaters for a weekend. The film version is lost, but
Speaker 2: pages from the screenplay do exist, and the scene that
Speaker 2: takes place after Jack dies in the snow, Olman visits
Speaker 2: Wendy in the hospital. Yes, I did read actually I
Speaker 2: did see that in one of the behind the scenes stoccos.
Speaker 2: So yeah, yes, he visits a Wendy in the hospital.
Speaker 2: So that's that's gone now, so.
Speaker 3: Yeah, and the and the they say that A.
Speaker 6: Copp had gone over the over the place of the
Speaker 6: fine tooth comb, and they didn't find the slightest evidence
Speaker 6: of anything at all out.
Speaker 7: Of the ordinary.
Speaker 6: That's the film meens with text over black. The Overlook
Speaker 6: Hotel would survive this tragedy, as it had so many others.
Speaker 6: It is still open each year from May twentieth to
Speaker 6: September twentieth. It is closed for the winter, but.
Speaker 1: To end on.
Speaker 2: Yeah, it's funny though, isn't it, Because I can imagine
Speaker 2: why that makes sense. It's why I keep saying about
Speaker 2: these films of this era where they just get out early,
Speaker 2: Like yeah, with Jaws, they kill the shark, they basically
Speaker 2: they swim back and we don't even see the celebratory
Speaker 2: kind of reunion with the loved ones. It's just like,
Speaker 2: you know, we're the film's over. The credits are rolling
Speaker 2: before they make it back to short And I kind
Speaker 2: of love that, like.
Speaker 6: I sort of especially you know a lot of films
Speaker 6: now there's this expectation that they'll go for two hours minimum,
Speaker 6: and you've had a good time and then everything's wrapped
Speaker 6: up and you get in there. Here's one year later
Speaker 6: and we're all hanging out it's like I'm just mentally
Speaker 6: checked out. I'm already in the car on the way home.
Speaker 1: Like, yeah, I think we've all been burnt by Peter
Speaker 1: Jackson's Return of the King.
Speaker 4: What did you do?
Speaker 1: You feel like you have a handle on what the shining.
Speaker 3: Is?
Speaker 6: Yeah, it's like it's basically telepathy, right, It's you can
Speaker 6: you can read minds, and I guess in Danny's case,
Speaker 6: he can he no, he, I mean he can see
Speaker 6: into the past because all the stuff he's seeing is stuff.
Speaker 3: That's happened in the in the hotel previously.
Speaker 2: Yes, and he And also this idea that the hotel
Speaker 2: also has. It's it's not just people who can have
Speaker 2: the shining that if the hotel is kind of drawing
Speaker 2: people into it.
Speaker 3: Yeah, I mean I have to admit that final shot
Speaker 3: where it's the it's the very old photo from the forties,
Speaker 3: and I think it is yeah.
Speaker 6: All right, sorry, yeah, nine twenty one and Nicholson's just
Speaker 6: in it in the center. I thought that was really cool,
Speaker 6: but I did have to go and look it up
Speaker 6: and think about it afterwards because I was like, I
Speaker 6: don't really quite get what this is, what this is
Speaker 6: meant to mean?
Speaker 3: What this is symbolizing.
Speaker 2: Yeah, So I think one of the pivotal scenes is
Speaker 2: actually takes place in the bathroom when the waiter spills
Speaker 2: drinks on Jack and they go to the bathroom, and
Speaker 2: then he recognizes the name earlier when the manager has
Speaker 2: said that about the groundskeeper who went crazy and he
Speaker 2: gives him a name, which that name escapes me right
Speaker 2: now to say it Stasoloe. So he recognizes the surname,
Speaker 2: but it's not the first he has a different first name,
Speaker 2: and it's this idea that he's they've both been there forever. Basically,
Speaker 2: I think is that there's there's a reincarnation I think
Speaker 2: element that goes on. I don't think they're saying that
Speaker 2: that's Jack as we know him now, because we assume
Speaker 2: this this is taking place in modern day, which is
Speaker 2: nineteen eighty in the film, and he's nineteen twenty one
Speaker 2: and he looks slightly younger. But there's a like a
Speaker 2: reincarnation element, so that the person went crazy was a
Speaker 2: distant relative of that waiter.
Speaker 6: Yeah, which is slightly strange because you the whole build
Speaker 6: up to it is like, Okay, there's something going on
Speaker 6: with this kid, and he's doing the thing with the finger,
Speaker 6: and he's seeing all this stuff, and then you know,
Speaker 6: the guy takes him aside and it's like, hey, you've
Speaker 6: got this gift. You can you know, you can communicate,
Speaker 6: you can read thoughts and all this kind of stuff,
Speaker 6: and you go, Okay, something bad's going to happen here,
Speaker 6: and you know, maybe this kid is the center of it.
Speaker 6: Maybe the kid is going to be in some way
Speaker 6: causing the bad stuff to happen. And then it's it's
Speaker 6: all of a sudden, it's just this like, yeah, this
Speaker 6: whole theme of Jack seeing these ghosts and this reincarnation idea,
Speaker 6: it's it's sort of this really sharp like kind of
Speaker 6: you turn away from what it's set you up to
Speaker 6: feel like the themes of it are going to be.
Speaker 1: Yeah. I think it's a really good point.
Speaker 2: I think, particularly when I saw it, and obviously you
Speaker 2: saw it sweet, but we've seen all those shows, you know,
Speaker 2: the Chucky and the Demonic Kids, and you know, yeah,
Speaker 2: and it feels like this. When I first saw it,
Speaker 2: I certainly thought that Danny was going to be the troublemaker,
Speaker 2: like he's the one who's going to cause all this carnage.
Speaker 6: Yeah, I mean, him riding around is kind of creepy,
Speaker 6: like it's got this vibe of like sizing up the place.
Speaker 3: Kind of thing.
Speaker 1: Yeah.
Speaker 2: Absolutely, so the fact that he has all these visions
Speaker 2: and he's got he's got his you know, Tony his voice,
Speaker 2: which is it's pretty creepy. But then you're right, it
Speaker 2: kind of like it's all it's all Jack that happens,
Speaker 2: and it seems to kind of like swing away from
Speaker 2: from Danny and it's and we don't see we don't
Speaker 2: really even see Jack have any of these visions really,
Speaker 2: like we you know, we see him have a dream,
Speaker 2: but we don't see the dream. We don't Yeah, yeah,
Speaker 2: we don't see Jack get traumatized by the hotel really,
Speaker 2: which is I think really interesting.
Speaker 6: But again, it happens so quickly, and it's like he's
Speaker 6: he just seems very willing and ready for this to happen,
Speaker 6: like yeah, he's almost into it, like he's just like
Speaker 6: he's just pumped, he's just gotten it. It just feels
Speaker 6: like this real dirt bag who's just like stoked that
Speaker 6: he's got an excuse to take the handbreak off and
Speaker 6: just really yeah, let loose.
Speaker 2: Yeah, I completely agree. What did you make a room
Speaker 2: Chief thirty seven. What does Do you have any theories
Speaker 2: about what might have been going on there?
Speaker 1: Yeah?
Speaker 3: Again, I tend to watch things pretty kind of surface level. Really,
Speaker 3: I don't.
Speaker 6: I'm not someone who kind of goes away from something
Speaker 6: and really digs into it. Again, I'm fine with stuff
Speaker 6: existing just purely because it's aesthetically interesting or it's a
Speaker 6: good vibe for the scene, and I think it just
Speaker 6: kind of does all those things without I didn't feel
Speaker 6: the need to kind of go away and pick it apart.
Speaker 6: I was just like, yeah, that was a cool scene.
Speaker 6: If that's the only reason it's in there, then I'm
Speaker 6: fine with that.
Speaker 1: And I had a new lady in that You're sick.
Speaker 3: Oh yeah, there is a neod lady in there, isn't there?
Speaker 7: Yeah?
Speaker 4: Right right?
Speaker 3: Yeah, No, I've got a few theories about that element
Speaker 3: of it. If you want to hear it, maybe you're fair.
Speaker 3: I've done some drawings that I can use to help
Speaker 3: get the point across.
Speaker 2: It was when I was reading about the actress who
Speaker 2: played that she hadn't been in the film before. I
Speaker 2: think she was a London model who hadn't been in
Speaker 2: an actress before. Was never in one sense, but apparently
Speaker 2: he was like loved basically, it was it was very
Speaker 2: happy to take out the take of you know, pashing
Speaker 2: Jack Nichols cinemas.
Speaker 1: Very okay.
Speaker 2: They offer her, like addressing Gammetwen takes, She'll be like, nah,
Speaker 2: I'm good, I'm good.
Speaker 1: That's great.
Speaker 3: The one person on set that's not traumatized by Cobrick,
Speaker 3: like getting to get it on with Jackie Boy.
Speaker 1: Yeah, good on her.
Speaker 6: It's funny how they the hotel wanted the because in
Speaker 6: the book it's Room two seventeen, and the actual, the
Speaker 6: real life hotel asked them to change it because they
Speaker 6: didn't want to put people off.
Speaker 3: But then all these people just end up requesting Room
Speaker 3: to seventeen.
Speaker 1: Yeah.
Speaker 2: Anyway, Yeah, there's a big conspiracy theory where, you know,
Speaker 2: back in the day when conspiracy theories were fun, but
Speaker 2: that Kubrick made two thousand and one as a rehearsal
Speaker 2: to then film the fake moon landing.
Speaker 1: Yeah.
Speaker 6: So there's a doco about this called Room two three
Speaker 6: seven that I kind of only just found out about
Speaker 6: this morning, which sounds awesome.
Speaker 3: I got to watch it.
Speaker 2: Yeah, well I haven't seen that, check in with it
Speaker 2: and that's so the changing of two three seven means
Speaker 2: something about about the distance to the moon. But apparently
Speaker 2: the sums are all wrong, right, And Danny's wearing a
Speaker 2: Polo thirteen like or a rocket ship on his you know,
Speaker 2: his sweater, and there's some tang in the storage room
Speaker 2: and apparently I think that's what they had, you know,
Speaker 2: on the on the oh Man on the So there's
Speaker 2: a whole bunch of nutbag tinfoil stuff happening.
Speaker 6: I love the idea of someone checking into room two
Speaker 6: seventeen in the real hotel and then call in the
Speaker 6: front desk and going, Hi, there's no nude woman in
Speaker 6: the bath in this hotel. I'd like to I'd like
Speaker 6: to request I be moved immediately.
Speaker 2: And they're like, yeah, we haven't got the new woman
Speaker 2: in the bath. We have the older scavvy woman available,
Speaker 2: and we can send her up with the BLC if
Speaker 2: you like. But yeah, it's it's it's there's so much,
Speaker 2: you know, jump online, there's so many things. Mirrors are
Speaker 2: a big thing as well, the way they use mirrors
Speaker 2: in this film. There's also that scene where the tennis
Speaker 2: ball kind of is rolled to Danny when he's playing
Speaker 2: with those toys and if you do notice if you
Speaker 2: look back the carpet, but the way it's it's it's
Speaker 2: patterned is is like he's there and he's got his
Speaker 2: has driving around the patterns, using them like little mini roads,
Speaker 2: I guess. But then when the ball comes, the pattern
Speaker 2: changes and it's he's all of a sudden there's an
Speaker 2: opening with them gets closed off, which is just the
Speaker 2: attention of detail that kind of subliminately say that anyone
Speaker 2: who notices that now Danny is trapped.
Speaker 6: Yeah, which is yeah, which is so interesting to put
Speaker 6: these little kind of small obscure details in because it
Speaker 6: is a film of such big performances that it's it's
Speaker 6: so like, that's what you're drawing the first time you
Speaker 6: watch it, that's all you're drawn to, because it is
Speaker 6: so bombastic.
Speaker 3: In any other way.
Speaker 6: But then to have all these other, like really really
Speaker 6: little minuscule things kind of dotted around it for the
Speaker 6: for the repeat viewing at a time when yeah, nineteen eighty,
Speaker 6: so what what's the home There's there's home media at
Speaker 6: that point, but certainly not to the extent of you know,
Speaker 6: this like freeze framing and this obsessive going back and
Speaker 6: noticing all the stuff, like who were they putting this
Speaker 6: stuff in for? That's that's what's so interesting about it.
Speaker 1: Yeah, exactly.
Speaker 2: And and I think one of the things it has
Speaker 2: touched on that doesn't date the film is that that
Speaker 2: lack of there's no phones.
Speaker 1: They haven't got you know, like they've got the old
Speaker 1: speaker thing to the to the I guess the two
Speaker 1: A radio or whatever, rangers and all that.
Speaker 2: But there's no There's a little bit of TV when
Speaker 2: Haller ends watching, when he starts getting the you know,
Speaker 2: the signals that that Danny might need help. But outside
Speaker 2: of that, there's there's very little stuff going on, you know.
Speaker 2: So it's quite a classic aesthetic.
Speaker 6: What's the what's the Scapman brothers is on his bed
Speaker 6: and he's what's the like the picture that he's got
Speaker 6: behind him on his bed?
Speaker 3: Is this this like big picture of a nude woman,
Speaker 3: isn't it?
Speaker 2: Yeah, it's a new a new black woman. And above
Speaker 2: the TV there's another nude black woman. So like, I'm
Speaker 2: not I'm not sure if that's scap Man's wife or something.
Speaker 2: They're great, I mean they're great fights. If you have anyone, yeah,
Speaker 2: sent them my way. Yeah, I'm sure Bridge mind.
Speaker 1: Merch.
Speaker 3: It's merged from my favorite film.
Speaker 1: It was either a lightsaber out of Star Wars or
Speaker 1: scatman for others.
Speaker 3: Nude painting from his bedroom.
Speaker 4: The I like the.
Speaker 3: Story about how h Danny the finger thing was kind
Speaker 3: of his idea. So funny because they because he's.
Speaker 6: Like five, they told him he was filming a drama
Speaker 6: and he comes in with this just like insane, like
Speaker 6: sadistic idea.
Speaker 4: It's like, what.
Speaker 2: Yeah, when I first saw the film, I was like, Oh,
Speaker 2: this is gonna like Tony is really going to be
Speaker 2: like the evil. Yes, he's going to read some habit.
Speaker 2: He's going to be about a little Tony. But it
Speaker 2: kind of what wasn't I think in the book that
Speaker 2: that representation is basically Danny's older self, like ten years
Speaker 2: into the future, like his older teenage self letting him know,
Speaker 2: like trying to guide him. I think, so it's again
Speaker 2: quite quite a quite a departure. What did you think
Speaker 2: of the so We've got the maze? There was a great,
Speaker 2: a great sequence. You know, it looks amazing in the book,
Speaker 2: there's no there's no maze, but there are some hedge
Speaker 2: animals that come to life, right, which is, you.
Speaker 1: Know, obviously a very different thing.
Speaker 2: Also, the boiler, the boiler explodes and kind of burns
Speaker 2: the hotel down. Obviously that doesn't happen. But I like,
Speaker 2: I like Danny's nouse to kind of walk backwards in
Speaker 2: his footsteps to the trick. Yes, Jack, And I think
Speaker 2: I think there's probably a walking backwards kind of theme
Speaker 2: because Wendy's walking backwards with the axe, so with the
Speaker 2: baseball bat up the stairs as as she gets away
Speaker 2: from from Jack as well.
Speaker 6: And I mean he can kind of see but you know,
Speaker 6: back into time, right, So that's kind of what gives
Speaker 6: him the heads up that this.
Speaker 3: Is going to happen.
Speaker 2: Yeah, absolutely, But what did you think? I think I
Speaker 2: almost chuckled the hard cut because it's so unexpected, but
Speaker 2: almost like the hard cut, when Jack sits down, when
Speaker 2: he's almost given up, he's like Danny has disappeared, and
Speaker 2: then he kind of see them jump in the snowmobile
Speaker 2: and into old mister plow and head off to take
Speaker 2: to the driveways of Springfield. Yeah, and then so Jack
Speaker 2: sits down, and then it's quite a hard cut to
Speaker 2: daylight to.
Speaker 1: A frozen Jack. And my first thought was that's Prince Philip.
Speaker 6: Yeah, I think that I hate to say it, like
Speaker 6: kind of the sting of that was taken out for
Speaker 6: me from The Simpsons because I so after watching this,
Speaker 6: I then went back and watched that whole Treehouse of
Speaker 6: Horror segment again and it's it's so like it's they've
Speaker 6: designed the backgrounds to look exactly the.
Speaker 3: Same and all of that. But yeah, as soon as
Speaker 3: they went out into.
Speaker 6: The snow, I just remembered that bit from The Simpsons
Speaker 6: where it's like and they do that same hard cut
Speaker 6: as well, where it's they're sitting there, they're watching the
Speaker 6: little portable TV and then it's the sound effect and
Speaker 6: so I kind of again, I think that's so like
Speaker 6: of its time and so vibey. Like I would have
Speaker 6: loved to have seen that without the context of, you know,
Speaker 6: sort of knowing that it was coming, because like it's, yeah,
Speaker 6: it's great, Like it's so abrupt and weird, like and
Speaker 6: I don't think if you were making a scene like
Speaker 6: that now you would make it in that way.
Speaker 3: But I think it's so it's so effective.
Speaker 2: Yeah, And it's just it is amazing to me that
Speaker 2: you don't even get an interior shot inside the snamobile
Speaker 2: of Wendy and Danny, just that relief of them leaving.
Speaker 1: He doesn't even give us the bay. It's it's it's incredible, Yeah, incredible,
Speaker 1: They're gone.
Speaker 3: Jack's dead. It's like, that's that'll do. That's all you
Speaker 3: need to know.
Speaker 6: I mean, yeah again, Now, if you made this film,
Speaker 6: the temptation would be what you see them back at
Speaker 6: home and everything seems normal, but you know, Danning's still
Speaker 6: showing some signs of you know, something weird and what's.
Speaker 3: Going to happen in the sequel. Right, That's that's how
Speaker 3: they'd set it up.
Speaker 2: Now, yeah, yeah, before we wrap up, and I'll give
Speaker 2: you some fun facts. You may even have some more
Speaker 2: fun facts you want to share. But there is there's
Speaker 2: one scene that we refre to before, but I wouldn't
Speaker 2: one playing it, which is the bar scene where Jack
Speaker 2: finds an empty bar and it appears to be empty
Speaker 2: until it's not.
Speaker 7: A hand on god damn it, I didn't.
Speaker 8: I wouldn't touch one hair on his goddamn lad.
Speaker 1: I love the little son of a bitch.
Speaker 8: I'd do anything for him, any fucking thing for him,
Speaker 8: that bitch, as long.
Speaker 7: As I live. She'll never let me forget what happened.
Speaker 8: I didn't hurt him once, Okay, it was an accident,
Speaker 8: completely unintentional, could have happened to anybody, And.
Speaker 1: It was three goddamn years ago.
Speaker 8: A little fucker had thrown all my papers all over
Speaker 8: the floor.
Speaker 1: All I try to do is pull them up.
Speaker 8: The moment loss of muscular coordination, few sprawl foot.
Speaker 7: Pounds of energy per second per second.
Speaker 2: Yeah, you watching that scene, it reminded me that sometimes
Speaker 2: we forget how brilliant Jack Nicholson's face isn't how rubbery
Speaker 2: it is in an almost Jim Carrey style way, like
Speaker 2: the muscles he's working in his face in that scene
Speaker 2: is is incredible.
Speaker 6: Yeah, I hadn't watched Jack Nicholson in anything for a
Speaker 6: little while before watching this, And yeah, Jim Carrey, you
Speaker 6: could definitely see that he's been influenced. I got a
Speaker 6: lot of Jack black the like the kind of wild
Speaker 6: eyebrows thing. You can definitely tell that that's a thing
Speaker 6: that he's taken away from it. But yeah, also, just
Speaker 6: hearing that clip reminded me, so we haven't talked about yet,
Speaker 6: that you can through the whole film, you can hear that,
Speaker 6: like that faint like the wind and the snow like
Speaker 6: blowing in the in the background throughout the whole film.
Speaker 6: It's just that just does such a great job of
Speaker 6: setting this tone of just this like isolation and this
Speaker 6: like barricaded in feeling like that.
Speaker 3: It's just subtly there through the whole film, like no
Speaker 3: matter what, no matter what room they're in, that you
Speaker 3: can hear that is just such a great call.
Speaker 2: It's such an impressive film in that. I mean, and
Speaker 2: I can understand if people don't like this film, like
Speaker 2: because it's it raises more questions, I think than sometimes
Speaker 2: it answers. But like the idea that this what does
Speaker 2: all this mean? You know, with the bartender all of
Speaker 2: a sudden appearing and then later on there's a you know,
Speaker 2: it's filled with people who appears to be from the twenties,
Speaker 2: you know, ye all dressed up.
Speaker 1: Not everyone has the patience to kind of do their
Speaker 1: own digging about and reading about what this means. Even
Speaker 1: when you do your own reading and digging about it
Speaker 1: is different intations as to what this means. So you're
Speaker 1: either up for that kind of experience or you're not.
Speaker 1: And I know I really, I really enjoy this film.
Speaker 1: I'm surprised I maybe haven't revisited for you know, probably
Speaker 1: thirty years, but I enjoy doing so.
Speaker 6: I like that you can, yeah, that you can dig,
Speaker 6: but you can also just treat it as purely aesthetic
Speaker 6: and purely a.
Speaker 3: Vibe and it still works.
Speaker 6: It's like, like I said earlier, even if the decision
Speaker 6: was only just like, oh, we'll have this ghost bartender
Speaker 6: in this nineteen twenties party because it just looks cool
Speaker 6: and it'd be fun to shoot, it's like, all right, yeah,
Speaker 6: you're not wrong. It's like, yeah, it's it's unexpected that
Speaker 6: he's in this abandoned hotel and then all of a
Speaker 6: sudden there's this party around him. It's it's interesting, it's unexpected.
Speaker 2: Yeah, And he says in that scene, I'd sell my
Speaker 2: soul for a beer, and you know, if you wanted to,
Speaker 2: you could just see that as the entire movie. That's
Speaker 2: what he did, you know, like he literally sold his soul.
Speaker 2: Didn't actually have a beer in the end, had a bourbon.
Speaker 2: But but yeah, it's it's yeah, I really, I really,
Speaker 2: I really enjoy it. I've got some fun facts before
Speaker 2: we let you go with it's been a big episode,
Speaker 2: and you may know some of these facts and feel
Speaker 2: free to jump in with anymore you have, Tommy, but
Speaker 2: Danny Lloyd, he played Danny, didn't see the film until
Speaker 2: he was seventeen, which is eleven years after, and Kubrick
Speaker 2: was very protective of him. As you mentioned earlier, he
Speaker 2: was told that this was a drama, not so much
Speaker 2: a horror, so they I guess they use different tricks
Speaker 2: to get reactions from him. I know in the scene
Speaker 2: when Wendy accuses Jack of abusing him with the neck
Speaker 2: rash that she was actually holding a dummy once. When
Speaker 2: you see her she's holding him, it's actually a manequin
Speaker 2: to do it, you know, keep him more away from
Speaker 2: all that stuff he's Johnny seen obviously improvised by Jack.
Speaker 2: Nicholson took three days, according to Shelley, develop the film,
Speaker 2: and sixty doors were broken.
Speaker 6: There's a great clip on YouTube of Nicholson pumping himself
Speaker 6: up before that, yes, where he's just like they're setting
Speaker 6: up cameras and he's just like running around swinging an axe,
Speaker 6: like jumping up and down, like getting himself hyped.
Speaker 3: Like, oh man, it would have been intense to be
Speaker 3: around American.
Speaker 2: Well, but it's funny though, because I've seen that clip
Speaker 2: and I've seen that the bits that lead into that,
Speaker 2: and Vivian Kubrick, who was Stanley Kubrick's daughter, and she
Speaker 2: starts shooting well without Jack realizing, and he's on the
Speaker 2: phone ordering saying something like just put some something with
Speaker 2: rice and noodles, and then he notices that he's been filmed,
Speaker 2: and he's quite okay with it.
Speaker 1: He's kind of laughing.
Speaker 2: He's kind of saying, well, what happens if I was
Speaker 2: doing something talking business or something a bit more private,
Speaker 2: you know, But he's kind of joking about it, and
Speaker 2: then he wants to go to have go to the toll.
Speaker 2: He goes, you're sure you don't want to come in
Speaker 2: and film? He here, he's having he's having fun, and
Speaker 2: then he kind of goes, I'm not sure if it's
Speaker 2: all one shot. I don't think it's all one shot,
Speaker 2: but it's all done. He's getting ready to shoot this scene.
Speaker 2: So then he kind of goes in and then he
Speaker 2: starts doing that kind of I think what you've seen
Speaker 2: where he's like psyching himself up. So I get the
Speaker 2: impression that he wasn't necessarily you know, like a method
Speaker 2: as such, like he was just you know, and.
Speaker 6: Yeah, but at the same time, someone who like him
Speaker 6: in that era, so he's like a huge star and
Speaker 6: there's no there's no accountability at this point of people
Speaker 6: in this era, like you can just imagine being a
Speaker 6: bit of a piece of work.
Speaker 2: Like I mean, you imagine all of them being you know,
Speaker 2: but based on I guess I'm just basing and on
Speaker 2: what I like, he wasn't. He wasn't walking around with
Speaker 2: an axe like you know, because you have Yeah, the
Speaker 2: Christian Bale method would would possibly be that he walks
Speaker 2: around with an actually the entire morning, on the entire
Speaker 2: day and doesn't talk to anyone. But he was actually
Speaker 2: just happily chatting, you know, with crew members before he
Speaker 2: amped himself up, which is really seeing you do where
Speaker 2: you need some adrenaline and you that's what you should
Speaker 2: be doing. You should be kind of like getting yourself
Speaker 2: into that adrenalized.
Speaker 6: Yeah, I mean, Daniel day Lewis would have made it
Speaker 6: his mission to actually murder a crew member at some
Speaker 6: point to keep in the in the vibe of the
Speaker 6: film he was shooting.
Speaker 1: He killed seventeen men and there will be blood. That's
Speaker 1: a fact.
Speaker 2: Robert de Niro, Robin Williams, Harrison Ford were all considered
Speaker 2: for the lead by Stanley Kubrick. Yeah, and he was
Speaker 2: put off by Morecamindy. He saw more Comindy and said, no,
Speaker 2: that's not our guy.
Speaker 6: I reckon he would have been kind of perfect for
Speaker 6: the thing that we've been talking about the whole way
Speaker 6: through this, that that lightness at the start and but
Speaker 6: seeing him kind of turn and you can see him
Speaker 6: putting in a great performance of going crazy in the
Speaker 6: same way by the end, but having that sort of
Speaker 6: warmth in the beginning.
Speaker 2: Yeah, I think directors have gotten better at not pigeonholing
Speaker 2: actors and like seeing the opportunity for somebody who we
Speaker 2: may perceive as a comedic actor. And Rob when he
Speaker 2: is a great example later on in his career with
Speaker 2: the Google Hunting and Dead powert Society. Let me see
Speaker 2: Jim Carrey do the same thing with the Truman Show,
Speaker 2: you know, and maybe at this stage, you know, directors
Speaker 2: were less involved here, although you know, he was working
Speaker 2: with Peter Sellers, and you know, obviously we thought the
Speaker 2: strange Eno, which was comedic ye, his Johnny one was
Speaker 2: I mentioned was improvised. Kubrick almost didn't use it because he,
Speaker 2: because he was based in England, wasn't really familiar with
Speaker 2: Johnny Carson, which seems amazing that any American, you know,
Speaker 2: it wasn't familiar with Johnny Carson because of the legacy
Speaker 2: he now has, but was didn't really understand it and
Speaker 2: was almost going to cut it, but it was committed
Speaker 2: to keep it in there. It's all shot in order,
Speaker 2: so they which means that all the sets had to
Speaker 2: be built, they had to be pre lit and ready
Speaker 2: to go, which is rarely happens. Couric secretary took months
Speaker 2: to write out the words all work and no play
Speaker 2: makes Jack a dull boy.
Speaker 3: I read somewhere that there's a rumor that it was
Speaker 3: actually Kubrick did it himself.
Speaker 6: Oh right, yeah, which is just, like I guess, easy
Speaker 6: to believe because he's a weirdo and he's meticulous. And
Speaker 6: I think that typewriter, that model of typewriter has like
Speaker 6: an auto thing that you could have done, but because
Speaker 6: each line has like one a little different mistake in it,
Speaker 6: like it has to have been done by hand.
Speaker 1: Yeah, that's interesting.
Speaker 3: I hope that's true. I love the idea that it's him.
Speaker 1: Oh yeah, yeah, And it kind of rings true that
Speaker 1: it would be him.
Speaker 2: The final one I just make about Jack Nicholson, it's
Speaker 2: quite interesting to look at his career up until this point.
Speaker 1: So he's made his first break at and this is
Speaker 1: back in the day where they would make lots.
Speaker 2: Of movies before they had the movie that broke through,
Speaker 2: Like now it feels like, you know, your second or
Speaker 2: third film is you are Ryan Gosling all of a sudden,
Speaker 2: you know. But now, back back they would have to
Speaker 2: make twenty thirty films before they had that one that
Speaker 2: kind of explored, And that happened in nineteen sixty nine
Speaker 2: for Jack Nicholson with Easier Rider with Dennis Hopper in
Speaker 2: seventy he makes five easy Pieces seventy one Carnal Knowledge,
Speaker 2: seventy three of the Last Detail, seventy four, Chinatown, seventy
Speaker 2: five one flew Over the Cookie's Nest, and then he
Speaker 2: doesn't make many films between seventy five and eighty, but
Speaker 2: then he makes The Shining and he's in Reds, which
Speaker 2: we shot pretty quickly after this, which came out in
Speaker 2: eighty one with Warren BET's big directorial debut.
Speaker 1: I think it was.
Speaker 2: But then it's then it feels like there's a changing
Speaker 2: of you know, like the kind of films that he
Speaker 2: starts making. He makes after this he makes Pretty's Honor Heartburn,
Speaker 2: which is of Eastwick Broadcast News, and then eighty ninety
Speaker 2: makes Batman, So he kind of really goes from being
Speaker 2: that kind of crazy. I wonder if it was like
Speaker 2: him saying, I can't keep playing this loose unit all
Speaker 2: the time.
Speaker 1: You know, I need to you know, like mix things
Speaker 1: up a bit.
Speaker 6: May And maybe it's also a bit like you know,
Speaker 6: this goes the back to back, well not quite back
Speaker 6: to back, but you know, one flow of the Cooko's
Speaker 6: Nest and then the shining there's just a bit less
Speaker 6: to prove now, like he's you know, maybe would.
Speaker 3: Have I don't think it was.
Speaker 6: It wasn't that critically revered at the time, right, Like
Speaker 6: that took a bit of time to kick in, but
Speaker 6: certainly over time he would have gotten a sense of like,
Speaker 6: you know what, I've made one of the all time greats.
Speaker 6: I don't really have to stress about my legacy as
Speaker 6: a as an artist. Like that's that's set in Stone,
Speaker 6: So yeah, play the Joker.
Speaker 2: Yeah, And in fact, this film was nominated for two Rasies,
Speaker 2: by the way, which really yes for Shelley Deval, which
Speaker 2: is really unfair. And I think maybe the screenplay or
Speaker 2: might have even met Kubrick's direct But yeah, but how
Speaker 2: incredible for Jack Nicholson to kind of make these kind
Speaker 2: of you know, like more art serious kind of pieces
Speaker 2: and then turn to you know, lighter fair but still
Speaker 2: you know, still saying something and still be and yeah,
Speaker 2: it's still be Jack.
Speaker 1: Nicholson and still you know.
Speaker 2: And then yeah, and then you've got ninety You've got
Speaker 2: a few good men as good as it gets, you know,
Speaker 2: So totally yeah, making all these great films.
Speaker 6: So I mentioned I hadn't seen Jack Nicholson in anything
Speaker 6: for quite a while before watching this, and then yeah,
Speaker 6: came away from it going the great man. Like I
Speaker 6: said to my girlfriend, like, let's do a let's do
Speaker 6: a Nicholson a thumb, let's let's you know, let's let's boot.
Speaker 3: Up some old some other Nicholson's.
Speaker 6: And then the next night we watched another Jack Nicholson film,
Speaker 6: which was my girlfriend's choosing do you do you want
Speaker 6: to guess?
Speaker 3: Which Nicholson film we watched.
Speaker 1: Is it more recent than the ones I've mentioned, Yes, it.
Speaker 6: Was Something's Got to Give. I really would recommend if
Speaker 6: you've not seen both of those films.
Speaker 3: Still and back to back, because it's just cut out
Speaker 3: everything in the middle and go straight to like one
Speaker 3: of the last films he's done, where the whole conceit
Speaker 3: of Something's Got to Give is like Jesus Christ, this
Speaker 3: guy's old, isn't he.
Speaker 4: Well.
Speaker 2: One of my favorite more recent Nicholson film roles, and
Speaker 2: I say more recent, it's probably going back now nearly
Speaker 2: twenty years is about Schmidt with Alexander Payne, which and
Speaker 2: that's when that was one of the first roles I
Speaker 2: think where he accepted that he was old, Like he
Speaker 2: went from still like having the younger women as girlfriends
Speaker 2: and you know, yeah, even as good as a guest
Speaker 2: Helen Hunt is that you know, they love interest to
Speaker 2: know I am old and I'm going to look old.
Speaker 1: I'm going to you know.
Speaker 2: And part of one of the great lines in these
Speaker 2: is you know you ever wake up in the morning
Speaker 2: and think who is this? And look in the mirror
Speaker 2: and think who is this old guy sitting stand in
Speaker 2: front of me, like.
Speaker 6: He says yes to an Adam Sandler film where the whole,
Speaker 6: the whole conceit of the film is basically like, how
Speaker 6: funny would it be if we got Jack Nicholson in
Speaker 6: one of these?
Speaker 3: And he's just like, all right, yeah, I'm happy to
Speaker 3: do it. Can I share a Can I share a
Speaker 3: tidbit that?
Speaker 1: I yes, that I quite like.
Speaker 6: The different foreign translations of All Work and No Play
Speaker 6: makes Jack a dull boy.
Speaker 2: Yes, yes, please share some. I know they did different
Speaker 2: for each Yeah, many markets.
Speaker 3: Yeah.
Speaker 6: Kubrick wanted them to all be slightly different in different languages.
Speaker 6: So in German it's don't put off till tomorrow what
Speaker 6: you can do today. In Spanish it's although one will
Speaker 6: rise early, it won't dawn sooner. And in Italian he
Speaker 6: who wakes up early meets a golden day, which are
Speaker 6: all which are all kind of saying the same thing,
Speaker 6: which which is a very different sentiment to what like
Speaker 6: the whole thing of you know, he's he's basically writing
Speaker 6: in the English language, he's basically going I'm going insane. Yeah,
Speaker 6: And then all of the foreign language ones are like,
Speaker 6: you know, a bird in the hand is worth two
Speaker 6: in the bush lin It just like.
Speaker 2: Yeah, I believe the AUSTRAI release was get a dog
Speaker 2: up here, Tommy. I know this, this podcast comes with homework.
Speaker 2: I very much appreciate you putting the yards in and
Speaker 2: checking out the Shining for us.
Speaker 3: Thanks mate, no, thank you, thank you for having.
Speaker 7: Me little pigs, Little pigs, let me come in.
Speaker 1: Not buying the hair on your che chun chin.
Speaker 2: And I'll pass and I'll blow your house here, Tommy
Speaker 2: Dassilo the Shining, I really, I really enjoyed that. Say,
Speaker 2: when I finished the project one night and I knew
Speaker 2: I had to go home and watch the Shining for
Speaker 2: the podcast. I gotta say sometimes I'm like, I'm not
Speaker 2: sure if I feel like watching a Kubrick film tonight,
Speaker 2: or you know, a two and a half hour film.
Speaker 2: It's two hours, I think, but I you know, as
Speaker 2: it always happens, as soon as I sit down and
Speaker 2: the movie starts, I realized I'm in the hands of
Speaker 2: a master, you know, filmmaker. And I really enjoyed watching
Speaker 2: it again and learning a bit more about it. I'm
Speaker 2: glad Tommy got something out of it again. The Little
Speaker 2: Dumb Dumb Club. Check it out. It's incredible what he
Speaker 2: and Cayl Chandler doing. So that's an engaged audience, so
Speaker 2: check it out. So Derek Myers, welcome by to Caasawaystudios
Speaker 2: dot com and you are doing great work in the
Speaker 2: podcasting space. We love recording in the studio. This episode
Speaker 2: with Tommy was done in hopefully the final stages of
Speaker 2: Lockdown Lockdown four in Melbourne.
Speaker 1: So hopefully back in the studio next week. But did
Speaker 1: you get your shine on?
Speaker 4: I did? It was It was an interesting experience for me.
Speaker 10: When I was a kid my brother the seventies and
Speaker 10: my brother used to collect Mad magazines or buy them
Speaker 10: when they came out, and we got our knowledge of
Speaker 10: grown up movies. The plot from Mad magazines, The Shinning
Speaker 10: Clockwork Lemon and the Poop Side Down Adventure. Those those
Speaker 10: three come to mind, and we said, you sort of
Speaker 10: roughly learned the plot. And I must admit that Clockwork
Speaker 10: Orange still didn't make sense even when you know I
Speaker 10: didn't understand.
Speaker 4: I think. I asked my father, I said, Dad, what
Speaker 4: Clockwork Orange? Have you ever seen it? And he said, oh, yeah,
Speaker 4: yeah I did. I was wandering around London with nothing
Speaker 4: to do, and I thought I'll pop in and watch this,
Speaker 4: and he goes, oh, and he just shook his head.
Speaker 8: I don't know.
Speaker 4: So so anyway, the Shinning was fascinating.
Speaker 10: And I was probably fourteen when it came out, and
Speaker 10: when I first saw it it was like a scary
Speaker 10: horror movie.
Speaker 4: I'm now old enough to watch, so I reckon.
Speaker 10: I watched it as a Stephen King thing, you know,
Speaker 10: and you just absorb it, you know, on a shallow
Speaker 10: level and go, jeez, that was bloody scary. But then
Speaker 10: this time around, I guess even just when I went
Speaker 10: to put it on, you know, just the start, you
Speaker 10: know that what would normally be that beautiful mountains and
Speaker 10: a little Volkswagen. You go, oh, this is idyllic, but
Speaker 10: that but that score, you're going immediately whoever's in.
Speaker 4: That car is fucked. They're in trouble bomb form sort
Speaker 4: of there.
Speaker 1: And Danny wasn't wearing a seat, so you get onto that.
Speaker 1: That's that's great.
Speaker 2: We love getting emails and correspondence at Yasne Podcast at
Speaker 2: gmail dot com.
Speaker 1: We read them all. And you have one an email
Speaker 1: of the week.
Speaker 4: Yeah, I've got one from Satif.
Speaker 10: And it says, Hi, Peter, I really enjoy your podcast,
Speaker 10: Could you please review some culturally diverse movies, recent movies
Speaker 10: like Parasite or Minari, or famous foreign films that have
Speaker 10: won multiple awards in the past like A Separation and
Speaker 10: Crouching Tiger, Hidden Dragon, et cetera.
Speaker 2: Cheers, thanks enough the excellent email and all excellent films.
Speaker 2: And I saw Manari in the cinemas just before we
Speaker 2: went into lockdown, and without knowing really much about it
Speaker 2: at all, and it blew me away.
Speaker 1: I really, I really loved it. It was great.
Speaker 2: I've seen Parasite probably five times now. I took my
Speaker 2: kids to see it.
Speaker 1: They love it.
Speaker 2: And of course Crouching Tiger, Hidden Dragon was a huge
Speaker 2: smash it. I saw it in a cinemas and I
Speaker 2: saw A Separation as well, the great Iranian film about
Speaker 2: a couple going through well in a separation, really fascinating.
Speaker 2: I urge everyone to see that if you can. Certainly
Speaker 2: Parasite and Crouching Tiger are on the list that I
Speaker 2: give people. It is when I approach people, I basically,
Speaker 2: you know, find out. I approach friends of mine and
Speaker 2: the process is that I send them a list of
Speaker 2: films and they kind of choose. So yeah, the show
Speaker 2: works best if if it's a film that they're usually
Speaker 2: they're like, oh yeah, I know. Often that they know
Speaker 2: straight away the film the classic film they haven't seen.
Speaker 2: But with that said, I'm happy to maybe you know,
Speaker 2: nudge somebody to watch some of these films. And I
Speaker 2: would like actually to do the Three Colors trilogy. That
Speaker 2: would be great. But a movie Underground, which I mentioned
Speaker 2: a Serbian film would be a great one to do
Speaker 2: as well. But yes, Parasite, Minari, Crouching Tiger, Him, Drag
Speaker 2: and a Separation or really great films, and yeah, let's
Speaker 2: let's see if we can find somebody to check them out.
Speaker 2: Have you seen any of those films?
Speaker 4: Derek Crouching Tiger.
Speaker 10: My wife is constantly nagging the kids, We've gotta watch this,
Speaker 10: We've gotta watch this.
Speaker 4: They don't seem interested. For some weird reason. I don't
Speaker 4: get it.
Speaker 2: It was one of those movies that kind of like
Speaker 2: when it came out, was like, it was one of
Speaker 2: those it felt like it this took filmmaking, you know,
Speaker 2: another step forward.
Speaker 10: Our generation got into the hype and now we're you know,
Speaker 10: we've got a real link to.
Speaker 4: It going right.
Speaker 10: You've got to watch this kid, this is amazing and yeah,
Speaker 10: it really hit hit home. We just recently watched Parasite.
Speaker 4: Which is amazing.
Speaker 1: Yeah.
Speaker 2: I took my oldest boy to see Parasite in the
Speaker 2: cinemas and then when it started getting a bit more
Speaker 2: traction a couple of months later around the Oscars, my
Speaker 2: sixteen year old also wanted to watch it, and he's
Speaker 2: watched it, I think twice. I think they've both watched
Speaker 2: it twice and now they they love it, which is
Speaker 2: which is great, so great. Email said, thank you so
Speaker 2: much for reaching out, and yeah, we will. I'd love
Speaker 2: to check out any of those films with somebody for
Speaker 2: the first time.
Speaker 9: Next week on you Ain't Seen Nothing yet.
Speaker 2: The one the only one of my favorite people in
Speaker 2: the world right now, he said Tony Armstrong from the
Speaker 2: Yuckeye Footy Show, also from ABC Sports. He's seen him
Speaker 2: recently on the project. He's a fantastic individual. Amanda is
Speaker 2: full of joy, he's smart, he's funny, and he's going
Speaker 2: to be keeping the Kubrickian theme going.
Speaker 9: That's right.
Speaker 2: I don't know why, it just seems to be happening.
Speaker 2: Everyone's nominating Stanley Kubrick films, so not only did we
Speaker 2: do the Shining with Tommy Dassolo today, and we've done
Speaker 2: full middle jacket with Lisa mchown recently. We are going
Speaker 2: we are going to space next week two thousand and one,
Speaker 2: a Space odyssey with Tony Armstrong next week.
Speaker 9: And you ain't seen nothing yet until then. Bye, And
Speaker 9: so we leave all Pete see.
Speaker 2: Van Salt, and to our friends of the radio audience,
Speaker 2: we've been a pleasant good name.
Speaker 7: Zero