Speaker 1: Gooday, Peter, Hell are you here? Welcome to You ain't
Speaker 1: seen nothing yet? The Movie Podcast, where I'll chat to
Speaker 1: a movie lover about a classic or beloved movie they
Speaker 1: haven't quite got around to watching until now. And today's
Speaker 1: guests from Mister Shif Australia, Melissa Leon Ever Dance with
Speaker 1: the Devil on the vail Line. I'm walking ahead. I'm
Speaker 1: walking ahead of all the gin joints in all the
Speaker 1: towns in all the world. She walks into mine. Haven't
Speaker 1: any right, No, you ain't seen nothing yet. It's hard
Speaker 1: to imagine a TV gig that had more pressure than
Speaker 1: replacing much loved Marster Chef, judges Matt, George and Gary
Speaker 1: on the Culinary TV Juggernaut. It was the talk of
Speaker 1: the town who would be the chosen ones? Big names
Speaker 1: Curtis Stone, Nigella Laws and Gordon Ramsay were bandied around.
Speaker 1: You would need big names, surely, Well, a rare thing happened.
Speaker 1: Marster Chef rolled the dice and hired three names most
Speaker 1: Australians were unfamiliar with. They just happened to be the
Speaker 1: three best people for the job. Alongside former contestant Andy Allen,
Speaker 1: Scottish Italian Ozzie Chef Jopson Frillo and food writer broadcaster
Speaker 1: Melissa Leong, and what a roll of the dice it was.
Speaker 1: Marster Chef All Stars became one of the most successful
Speaker 1: seasons of Marster Chef ever, with Ozzie's taking the newbie
Speaker 1: judges into their hearts and more importantly, into their lounde rooms.
Speaker 1: All three bloody fantastic, But I don't think I'm being
Speaker 1: particularly outrageous in stating that the standout was today's guest
Speaker 1: Melissa Lyon. Melissa exudes warmth, intelligence and empathy. Her ability
Speaker 1: to connect with the contestant's journey and to recognize in
Speaker 1: the moment what this moment means in the life of
Speaker 1: the person trembling in front of her with a slightly
Speaker 1: over piece of lamb is a joy to watch. Melissa
Speaker 1: Lyng is one of the brightest and joyous people to
Speaker 1: emerge on Australian TV in recent years, and I'm bloody
Speaker 1: stoked to be hanging with her today.
Speaker 2: Hello, my name's Melissa Leong, and my three favorite movies
Speaker 2: are Killed Bill, Bad.
Speaker 1: Woman deserves Revenge, Mean Girls.
Speaker 2: I mean, that's just like the rules of feminism.
Speaker 1: And Russia to eat nothing less than the finest chef
Speaker 1: in front.
Speaker 2: And until this week, I had never seen when Harry
Speaker 2: yet Sally.
Speaker 1: Yes, Harry Connick Junior sets the mood in rob rynders
Speaker 1: nineteen eighty nine watershed romantic comedy When Harry Met Sally,
Speaker 1: written by legend Nora Ephron. We meet Harry Burns, Billy Crystal,
Speaker 1: and Sally or Bright Meg Ryan in nineteen seventy nine,
Speaker 1: just as they meet at the University of Chicago, and
Speaker 1: they're about to spend eighteen hours in a car as
Speaker 1: they drive towards their futures in New York City. They
Speaker 1: don't exactly hate each other, but they don't exactly get
Speaker 1: along either. Harry's abrupt nature he's spitting pips out into
Speaker 1: the passenger seats window grind Sally's gears well had naivety
Speaker 1: and optimism rubs up against Harry straight shooting, slightly world
Speaker 1: weary way. It's along this trip that Harry shares his
Speaker 1: theory that frames this movie that men and women can
Speaker 1: never really be friends because the sex part always gets
Speaker 1: in the way. On arrival in New York, Harry and
Speaker 1: Sally go their separate ways until meeting five years down
Speaker 1: the track. Both their circumstances have changed, so have they
Speaker 1: as people, but not quite enough. They go their separate
Speaker 1: ways once again, only to meet up five years later,
Speaker 1: and this time something has shifted, something has changed. Their
Speaker 1: friendship becomes real, it's genuine. But can they ever really
Speaker 1: truly be just friends? Melissa Leong, my first question to you,
Speaker 1: you're a fashionable woman. Have you ever or would you
Speaker 1: have ever kept a wagon wheel coffee table?
Speaker 2: Oh? My god, that thing is horrific. I loved it.
Speaker 2: That was so funny. It's just there are so many
Speaker 2: moments in that. But yeah, that that wagon wheel coffee table.
Speaker 2: Any wagon bill coffee table, even in a place I
Speaker 2: think is a bit.
Speaker 1: I looked at a coffee table and thought, is this
Speaker 1: ahead of its time? Perhaps maybe that's the problem. It's
Speaker 1: too fashion forward up cycling.
Speaker 2: You know, we are in we are in a phase
Speaker 2: of life where we need to do with what we have,
Speaker 2: you know, So you know, who am I to knock it?
Speaker 2: I'm open mind. Someone presented me with a really attractive
Speaker 2: wagon reel coffee table. Look, I'd like to think that
Speaker 2: I could meet it with fresh eyes then, but in
Speaker 2: the context of the of the nineties, I think, yeah,
Speaker 2: maybe not, maybe not in my home.
Speaker 1: Maybe I like that to someone else's you are you
Speaker 1: are team Carrie Fisher on this on this one. So
Speaker 1: why did you welcome? First of all, it's it's such
Speaker 1: a I'm so excited to have you on the show.
Speaker 1: Why did you choose When Harry Met Sally?
Speaker 2: Well, because it sort of laid the blueprint for modern,
Speaker 2: you know, sort of comedic romance films. So many came
Speaker 2: after that that sort of referenced it in some way,
Speaker 2: and it really, in my mind, was one of those
Speaker 2: movies that whenever you speak to someone who loves film,
Speaker 2: it really set the bar for that sort of format
Speaker 2: of film. And you know, I love films from all
Speaker 2: kinds of genres. But I thought, well, you need I think,
Speaker 2: if you want to understand something or appreciate it, it's
Speaker 2: always good to go back to the beginning and go
Speaker 2: back to something that really sets the bars so you
Speaker 2: can kind of, you know, understand it in a slightly
Speaker 2: more complex fashion. And I thought, well, I've never seen it,
Speaker 2: and you know I do love a good rom com
Speaker 2: from time to time, so I thought, well, here we go.
Speaker 2: This is an opportunity to kind of tick some you know,
Speaker 2: tick some off the list of the bucket list of movies.
Speaker 2: You know, do you ever have do you have a
Speaker 2: have a notepad on my phone of whenever anybody mentions
Speaker 2: a show or a book or a movie, and that
Speaker 2: list keeps growing. So this is a really great one
Speaker 2: just to be able to remove at least one from
Speaker 2: that list.
Speaker 1: Well, this is what I've loved about doing this podcast.
Speaker 1: Sometimes it's a movie and I've seen When Harry Met Sally.
Speaker 1: I think I saw it when I first came out,
Speaker 1: and I've seen it many times since. I haven't seen
Speaker 1: it for a few years, so it was great to
Speaker 1: revisit it. But it's equally great for me to watch
Speaker 1: a movie that I love and have somebody watch it
Speaker 1: for the first time and watch it through almost their eyes.
Speaker 1: But also there are films that in this podcast that
Speaker 1: I've never seen. It was part of the reason I
Speaker 1: wanted to do it, you know, I've never seen film
Speaker 1: and Luise and they've seen that, and Butch Cassidy in
Speaker 1: The Sundance Kid. And there are so many films two
Speaker 1: thousand and one recently, you know, so that's exciting for me.
Speaker 1: And I've even learned a lot more about When Harry
Speaker 1: Met Sally than I knew just through watching it on
Speaker 1: the couch in my Trasi pants over the years. So
Speaker 1: there's a lot to talk about. And you make a
Speaker 1: very good point about what When Harry Met Sally means
Speaker 1: to romantic comedies, the modern romantic comedy. It's absolutely a
Speaker 1: landmark movie.
Speaker 2: Well, Noura from the name comes up in so many
Speaker 2: different references, and I remember watching Brooklyn ninety nine and
Speaker 2: you know, it's it sort of comes up as sort
Speaker 2: of this little shameful secret that noaur Efron movies or
Speaker 2: were one of the characters, main character is sort of
Speaker 2: favorite little things because it's sort of just this beautiful,
Speaker 2: you know, beautifully complex, sort of very New York sort
Speaker 2: of set of set of films and books and screenplays
Speaker 2: and all of the rest of it.
Speaker 1: So yeah, yeah, and we should we'll talk about where
Speaker 1: this fits in with all that stuff later on and
Speaker 1: even within the careers of Billy Crystla Meg Ryan, but
Speaker 1: I will just port out there's the frame Nora Efron.
Speaker 1: So she wrote like Heartburn, which is a huge novel,
Speaker 1: and then wrote the screenplay silk Wood, and then she
Speaker 1: writes she forms a relationship with Rob Ryan and they
Speaker 1: kind of consult and more. Everyone writes this while Rob
Speaker 1: Ryan is making other films, and we'll get to these
Speaker 1: other films. Rob Eriner has an extraordinary run in the Ages. Yeah, Ef,
Speaker 1: I went on to do Sleepers in Seattle. You've got Male,
Speaker 1: Julie and Juliet amongst others. So she is an absolute legend.
Speaker 1: So we'll come back to all of that. I want
Speaker 1: to know about your three favorite films. Okay, fascinatingly fascinating
Speaker 1: kill Bill.
Speaker 2: Let's start with that kill Bill Tarantino. I mean, whenever
Speaker 2: I think about how much Printon Parentine and Must go
Speaker 2: about music and film especially, it just blows my mind
Speaker 2: because I don't think I'll ever know anything about anything
Speaker 2: as much as he knows about cinema. It's crazy. But
Speaker 2: what I love about Chimal Bill is but I mean,
Speaker 2: I love Quentin Tarantino's filmmaking style. It's that sort of
Speaker 2: mash up of so many different genre as that come
Speaker 2: together in a way that just feels completely seamless and
Speaker 2: signature and visceral. And you know, there's there's violence and humor,
Speaker 2: and you know, references to spaghetti westerns and all kinds
Speaker 2: of things, and the soundtracks are the best soundtracks. I
Speaker 2: think they're really some of the best in that in
Speaker 2: the history of film, I think. And so I really
Speaker 2: just love how sort of intensely, you know, they make
Speaker 2: you feel about things. And so just the the story
Speaker 2: of kill Bill, you know, strong female lead and so
Speaker 2: many strong female characters in general, but it's just it's fun,
Speaker 2: and you know, everybody loves a little bit of indication
Speaker 2: as well.
Speaker 1: I think, yeah, yeah, And you make a great point.
Speaker 1: I love that Tarantino takes music is score is soundtrack,
Speaker 1: so seriously you know that, you know it really I
Speaker 1: might be wrong, but for I understand he thinks it's
Speaker 1: almost the first things he starts thinking about when he's writing,
Speaker 1: you know, and that's you know, I think that's so
Speaker 1: smart to do.
Speaker 2: Yeah, I think that a film score can really, you know,
Speaker 2: contributes to something that you're not necessarily thinking about, but
Speaker 2: you definitely feel and it really completes the picture. So
Speaker 2: thinking about like, I studied music a long time ago,
Speaker 2: and I remember back in school and we were sort
Speaker 2: of talking about like in your Morotony and his contributions
Speaker 2: to sort of that Spaghetti western style of film and
Speaker 2: it's classic and anytime you hear it, you don't necessarily
Speaker 2: have to know it, but you hear it and then
Speaker 2: you feel it and you can see the images sort
Speaker 2: of come to life for you. So I think it
Speaker 2: is a really intelligent sort of way of considering film.
Speaker 2: Is how it also scores and so that's and it's just,
Speaker 2: you know, music is just such a fun thing and
Speaker 2: it's a big part of my life as well. So yeah,
Speaker 2: I really really love Kill Bill and just the the
Speaker 2: styling of it, the you know, the just the I
Speaker 2: don't know, it's just really fun, good glory fun.
Speaker 1: It is extremely violent, is it. Do you think He's
Speaker 1: most violent film?
Speaker 2: Ah? Look, they're all violent in their way. I mean, look,
Speaker 2: you know when there's this then you know in the
Speaker 2: in the the in Tokyo when they're killing the Crazy
Speaker 2: eighty eight and there's just the limbs pissing blood everywhere,
Speaker 2: and just you know, it's just it takes violence to
Speaker 2: a comedic place, I think in that regard, and that's
Speaker 2: that's pretty great. But yeah, I mean they're all I
Speaker 2: like that violence is used as a mechanism in Tarantinose films,
Speaker 2: and you know, I love pulp fiction was definitely up
Speaker 2: there as well for me in terms of putting that
Speaker 2: on my list. But you know that's also pretty weird
Speaker 2: and violent in its own way too, So.
Speaker 1: Yeah about me. Nor there's a pixil film coming up,
Speaker 1: so there's a good balance.
Speaker 2: To bring some balance.
Speaker 1: Well, let's let's talk about Ratatoy. Really, it came up recently.
Speaker 1: Is somebody's favorite film Tommy Gashlo comedian. Yeah, and there's
Speaker 1: there's obviously a connection with with what you do with
Speaker 1: at a toy, So tell us, tell us about your
Speaker 1: love for rata to look.
Speaker 2: I came to ratistory quite late. I'm a little bit
Speaker 2: adverse to food films. I know that sounds like a
Speaker 2: very strange thing because people would assume, oh, you know,
Speaker 2: you're working food, you would love to consume every movie
Speaker 2: that sort of has a really strong food reference. But
Speaker 2: I'm generally quite averse to it because usually it's really
Speaker 2: bad or you know. I just food is my work
Speaker 2: and my world, but I kind of don't necessarily want
Speaker 2: to chase that in my fin and the going life.
Speaker 2: So I don't tend to kind of err on the
Speaker 2: side of those things. But I do like good Pixar film,
Speaker 2: and a couple of years ago, I was introduced to
Speaker 2: Ratatuy and I it was one of those movies that
Speaker 2: I watched and I wondered why I had held off
Speaker 2: for so long, because it is one of the most charming,
Speaker 2: adorably beautiful, emotional films. And now whenever I'm having like
Speaker 2: a shit day, that's something that I might put on.
Speaker 2: It's like a you know, it's like a safety blanket
Speaker 2: in a way. It's sort of a really lovely, lovely thing.
Speaker 2: And I think that there's room in the world, especially
Speaker 2: in the world right now, for creations that are soothing. Yeah, yeah,
Speaker 2: I love it.
Speaker 1: I think I made the point that Tommy when he
Speaker 1: brought up Ratatuy, that he it's also looks like the
Speaker 1: world of the critic, and it doesn't, you know. And
Speaker 1: I always find it's a hard balance for a film
Speaker 1: to get right too, because it's almost like they've got
Speaker 1: they've got game in talking about criticism, because that film's
Speaker 1: going to be critiques, and all the work everyone's ever
Speaker 1: done making that film has been critiqued in you know,
Speaker 1: their past projects. I think does a really good job
Speaker 1: of getting it right.
Speaker 2: Absolutely, And I just I think you know, it's setting
Speaker 2: up the world of food in such a beautiful way,
Speaker 2: because you know, food is the common denominator for all
Speaker 2: of us, every living every living thing on this planet
Speaker 2: requires food. And so you take something so granular, so simple,
Speaker 2: and so humble, like a dish of ratatuy, and then
Speaker 2: you sort of cast it into this world of elitism.
Speaker 2: And food is such an elite sport in so many ways.
Speaker 2: I know friends that prior to pandemic would fly around
Speaker 2: the world to collect restaurants and you know, and meals
Speaker 2: just to say they've done them. You know, like I
Speaker 2: know people that have flown to front for lat like
Speaker 2: it's insane. And so looking at that world of how
Speaker 2: you can take something so humble and make it so
Speaker 2: elite and it's perverse because it's really such a perverse thing.
Speaker 2: But then to sort of bust it back down to
Speaker 2: what really what is the what's the thing that we
Speaker 2: all love? There is something very simple, very accessible about that,
Speaker 2: that one thing, and and sharing that love of something humble,
Speaker 2: that that sustenance, that nourishment, I think is just such
Speaker 2: a beautiful universe about.
Speaker 1: The film Absolutely Mean Girls. We've also covered on It's
Speaker 1: a great film written by Tina Fey. You know she's
Speaker 1: she's the goat, I think, you know, and obviously Lindsay
Speaker 1: Lowen in her best performance ever, maybe her one truly
Speaker 1: great performance. Absolutely Amy Paula like, there's so much to
Speaker 1: love about this film. We covered it with Sam Mack,
Speaker 1: who really enjoyed it. Tell us that your love of
Speaker 1: mean girls.
Speaker 2: Look, I think as a as a any girl, like
Speaker 2: any woman, you know, you've gone through high school, you
Speaker 2: understand the clickiness of your own human existence, and so
Speaker 2: there's just something about firstly, just any kind of high
Speaker 2: school setup is just I love it because I think
Speaker 2: we're all you know, well, I'm definitely far up away
Speaker 2: from it to be able to laugh at it.
Speaker 1: Screen just being invaded by her one of her cats.
Speaker 2: My cats own my life and become that guy. Yeah,
Speaker 2: So mean girls, high school construct and just sort of watching,
Speaker 2: you know, watching things, you know, sort of play out
Speaker 2: the way that they do. You kind of you know,
Speaker 2: you're always routing for the underdog in that situation. But
Speaker 2: just looking I love that sort of the comparison to
Speaker 2: all the clicks in the high school to animals at
Speaker 2: the watering hole.
Speaker 1: Yeah, and just that.
Speaker 2: Very bag instinct that we have, you know, not just
Speaker 2: as high school as because I really have a theory
Speaker 2: that no matter how far you get away from high school,
Speaker 2: you stay in some kind of you know, personality or
Speaker 2: sort of click within that high school kind of thing.
Speaker 2: And there are people that were the you know, the
Speaker 2: bullied kid at school who is now winning at life
Speaker 2: but still carries some you know, little chip on their
Speaker 2: shoulder about being that person. So it's very very interesting.
Speaker 2: But it's just so beautifully written. It's it's so amazingly
Speaker 2: you know, performed as well. You think about Amanda say Freed,
Speaker 2: Rachel McAdam, who shot Little Bit of Film, Trivia, The Notebook,
Speaker 2: and Mean Girls in the same year, which is insane.
Speaker 2: I mean, what a year, like, what a career year.
Speaker 2: But it's just it's equal amounts of fun and snarkiness
Speaker 2: and come up and and all of those things. And
Speaker 2: just Amy Poehler, I mean.
Speaker 3: The cool mom, cool mom, the concrete fake boobs when
Speaker 3: she's holding the chihuaha and it's like fighting fighting her
Speaker 3: and she can't feel it because everything's just completely you know,
Speaker 3: completely plastic.
Speaker 1: Yeah, the the the what's so great about that scripts?
Speaker 1: And that's what Tina Faye does all the time in
Speaker 1: her in her TV shows or her films. There are
Speaker 1: so many jokes in there, Like like Tim Meadows as
Speaker 1: the principal is so funny that assembly speech they do
Speaker 1: where Tina Fay's character gives the really you know, the
Speaker 1: really great kind of speech about you know, I guess
Speaker 1: it's a it's a it's a kind of feminist kind
Speaker 1: of rally crying away, but it's she doesn't forget the
Speaker 1: jokes and it doesn't take away, it doesn't completely undercut
Speaker 1: what we've said. We still take all that on board. Yeah,
Speaker 1: but t Meadows talking about canceling the DJ and it's
Speaker 1: so funny. It's so funny, and it's you know, it's
Speaker 1: hard to do. And I think it's what the film
Speaker 1: we're about to talk about does really well, where it
Speaker 1: doesn't get what it is and you can't.
Speaker 2: You can't forget humor. I think sort of the thing
Speaker 2: that you know, while these three movies seem quite you know, disparate,
Speaker 2: is there is an underpinning as finding the humor and
Speaker 2: the heart in things. And I think that that's something
Speaker 2: that I always try to do in life and to
Speaker 2: do and work as well. And I think that that's
Speaker 2: something that as humans we gravitate towards, is sort of something,
Speaker 2: you know, something with substance and with meaning, and if
Speaker 2: it's communicated with humor, you know, it's that spoonful of sugar,
Speaker 2: isn't it.
Speaker 1: Absolutely Let's take a quick break and we're going to
Speaker 1: come back and talk about I really want to know
Speaker 1: what you thought about Rob Ryan as nine and eighty
Speaker 1: nine classics. Sorry, quickly, Crystal of Meg Ryan. When Harry
Speaker 1: met Sally go we're back with militaly On who has
Speaker 1: never seen up until this week when Harry met Sally,
Speaker 1: and I'm you know, we spoke about it very briefly
Speaker 1: at the start of the show, But what did you
Speaker 1: think about What.
Speaker 2: Did I think about it? I have mixed feelings about it,
Speaker 2: and I know that that Contravene's most critical reviews, because
Speaker 2: everybody in the history of you know, since nineteen eighty
Speaker 2: nine when it came out, loved it. From what I
Speaker 2: can see, I thought it was beautifully written, amazingly acted.
Speaker 2: And I also just I don't know if it's just
Speaker 2: because we're in quarantine and all of the rest of it,
Speaker 2: but just seeing New York that way was just it
Speaker 2: made me really miss New York and I've only ever
Speaker 2: been there a small handful of times, but it just
Speaker 2: is one of those cities that has such an act
Speaker 2: and in such a cliche when people sort of say, oh,
Speaker 2: you know, the New York is like the additional character
Speaker 2: in that movie, but it really is. It's such an
Speaker 2: amazing backdrop for the entire film to take place, so
Speaker 2: that in and of itself, and we can talk about
Speaker 2: cat Cictelli and all of that in a minute, but yeah,
Speaker 2: it was just really nice to be able to see
Speaker 2: New York in that way. And I, yeah, why do
Speaker 2: I have mixed feelings about it? I have mixed feelings
Speaker 2: about it looking back.
Speaker 4: In a movie that was made in nineteen eighty nine
Speaker 4: about ostensibly a straight white couple or you know, two
Speaker 4: friends sort of you know, navigating how they feel about
Speaker 4: the opposite sex and whether or.
Speaker 2: Not, you know, can men and women be friends, and
Speaker 2: all of the rest of it. So yeah, I mean
Speaker 2: it for what it is a moment in time. I
Speaker 2: thought it was really great. Does it stand the test
Speaker 2: of time in many ways yes, and in some ways no.
Speaker 2: I think that's sort of where I sort of come
Speaker 2: unstuck a little bit with that.
Speaker 1: If you are a progressive person who thinks about the
Speaker 1: world and where we are and where we've been, it
Speaker 1: is impossible not the watcher when Harry matt Salein have
Speaker 1: that thought of going, what does this mean? I've wrestle
Speaker 1: with it a little bit, you know, and even from
Speaker 1: a well I was wondering, Okay, well, if if gender
Speaker 1: is binary is the question they're asking, can people be friends?
Speaker 1: I'm not.
Speaker 2: I guess, and I don't want to ruin it obviously, No.
Speaker 2: You know, a movie is a movie. It was a
Speaker 2: certain place in a certain time, and a writer's certain
Speaker 2: outlook on life. And if you think about Nora Efron
Speaker 2: growing up, you know, sort of in a Jewish family
Speaker 2: and Beverly Hills and New York and leading sort of
Speaker 2: quite a charmed existence, quite a privileged existence. That's her world,
Speaker 2: and it's beautiful and it's neurotic and it's amazing, and
Speaker 2: so there's nothing to be taken away from that. But
Speaker 2: like I sort of felt, you know, there's there's that question.
Speaker 2: Can I guess then, in today's parlence, two people who
Speaker 2: find each other attractive, can they be friends? If you
Speaker 2: were to remake it for today's audience, I suppose.
Speaker 1: But there's nothing, there's nothing that wouldn't work if this
Speaker 1: was a gay couple, you know, like it is really
Speaker 1: just what you said is absolutely right, It's perfect. Like
Speaker 1: can two people be attracted together to each other and
Speaker 1: he'll be friends? I think that works really well because
Speaker 1: I yes, that's what gives it a leave part, you know,
Speaker 1: a tick for me. And you know, it comes up
Speaker 1: a bit on this podcast of how we feel about
Speaker 1: films that were made, and there's there's a little bit
Speaker 1: of sometimes parking that it's worth noting absolutely and people
Speaker 1: can absolutely make their own their own judges. There are
Speaker 1: far worse examples. I think that, yeah, because that central
Speaker 1: question that frames the movie is you know, men and
Speaker 1: women be friends? It is it is a hard one
Speaker 1: to eat completely ignore.
Speaker 2: So yeah, absolutely, But I mean I think in terms
Speaker 2: of like the tension between the two main characters. I mean,
Speaker 2: when you mentioned the spitting the the great seeds at
Speaker 2: the window at the beginning of the movie, I was
Speaker 2: like I started watching and I was like, really, this
Speaker 2: is how it's starting. He's fitting like when he's when
Speaker 2: he spits the first great seed and the window of
Speaker 2: the car is up and he's like spat at the
Speaker 2: window and she's driving, and I you know, I'm nowhere
Speaker 2: near it Eurotic as as the characters as Meg Ryan's
Speaker 2: character in that movie. But my god, if someone just
Speaker 2: hopped in my car and I know that I'm going
Speaker 2: to be hanging out with them for eighteen hours and
Speaker 2: they just spat seeds, like firstly just spitting seeds out
Speaker 2: the window, like why are you even doing that? But
Speaker 2: the fact that the window was up, I'm just.
Speaker 1: Like, oh man, they really dialed the obnoxious level on
Speaker 1: Harry really high.
Speaker 2: Really yeah, I think, well, I think they did for
Speaker 2: both of them, and that really that's the whole setup
Speaker 2: of the movie, isn't it as sort of really showing
Speaker 2: you know that the character flaws very very early on
Speaker 2: ast why they why they really irritate each other, and
Speaker 2: both characters irritate the audience. I think you know her
Speaker 2: that you know, like, I am not friends with someone
Speaker 2: who will order the salad deconstructed with the dressing on
Speaker 2: the side, and what was it the She'll have the
Speaker 2: slice of pie, but she'll have it warm with strawberry
Speaker 2: ice cream instead of vanilla ice scope. See I can
Speaker 2: always remember the food elements strawberry ice giving seat of
Speaker 2: vanilla ice cream, and then the source on the side,
Speaker 2: but only if they had a particular kind of sort.
Speaker 2: But if there's no strawberry ice cream, then she'll have vanilla,
Speaker 2: but she won't have it warmed. And I'm just like,
Speaker 2: who's like, I just I hats off to the writing
Speaker 2: team to be someone is writing this so beautifully nuanced,
Speaker 2: fucking irritating dialogue and it was amazing, Like it did
Speaker 2: exactly what it was meant to do, which is set this,
Speaker 2: you know, set her up, set set Sally up to
Speaker 2: be this very controlling high like's. It was the introduction
Speaker 2: of high maintenance into sort of the whole dating world
Speaker 2: as a way to describe someone. I think I believe
Speaker 2: that was one of the first sort of times it
Speaker 2: was used. And then obviously haven't we haven't we taken
Speaker 2: that fallen run with it over the high maintenance. So yeah,
Speaker 2: she's really high maintenance and he's really irritating, but you
Speaker 2: can't help but notice that tension really fuels, you know,
Speaker 2: the fire, and then go off and don't see each
Speaker 2: other for a few years and come back and you
Speaker 2: can see how that's been tempered, but it's a it's
Speaker 2: a beautiful and very irritating set.
Speaker 1: Up and and great writing. And it comes up a
Speaker 1: bit with this podcast. Nothing there's no waste, it's it's
Speaker 1: everything's you know, there's an economy to it and that
Speaker 1: and also bits of dialogue will serve multi purposes, so
Speaker 1: that that idea is absolutely right, that Sally is high
Speaker 1: maintenance and that greats Harry, and it greats to the
Speaker 1: audience as well. But what but what it also does
Speaker 1: It sets up later on when we're seeing when these
Speaker 1: two are having a breakthrough and they're starting to think
Speaker 1: of each other as maybe maybe more than friends or
Speaker 1: at least, you know, best friends. Harry gives that great
Speaker 1: compliment when they're at that date of going you know, Sally,
Speaker 1: you know orders in a way that the chef doesn't
Speaker 1: even know how.
Speaker 2: Yeah, I absolutely I love it. And it's that that
Speaker 2: thing right when you fall in love with someone, you
Speaker 2: love that person for all of their little peccadillos, and
Speaker 2: that's what makes them your person is you love them
Speaker 2: not in spite of those things, but because of those things.
Speaker 2: And as their relationships sort of progresses over that twelve
Speaker 2: years of them sort of dancing around each other. You know,
Speaker 2: what starts off offers being so irritating just becomes the
Speaker 2: thing that makes each other, you know, makes Harry and
Speaker 2: Sally love each other so much and makes them know
Speaker 2: that they're meant to be together, which is a really
Speaker 2: beautiful symmetry. And there's so much, so much of that
Speaker 2: through the movie, even just the visuals of all the
Speaker 2: split screens, and they're on the phone to each other
Speaker 2: watching Casablanca, or they're calling you know, they're calling their
Speaker 2: friends and sort of relaying the what just happened to
Speaker 2: each other's friends, you know, and everything's in that that
Speaker 2: split screen kind of format. Just that visual, the physical
Speaker 2: visual of putting them next to each other, even though
Speaker 2: they don't want to be together, I thought was really lovely.
Speaker 1: So yeah, absolutely, and we'll get to those scenes because
Speaker 1: they shot those scenes in quite a remarkable way. Did
Speaker 1: you love how quickly this film started, like the economy
Speaker 1: of getting into this story. We basically start with Harry
Speaker 1: kissing his girlfriend Meg Ryan, arriving deep in the hall,
Speaker 1: and ninety seconds later they're in the car together and
Speaker 1: they are basically doing what they do for the rest
Speaker 1: of the movie.
Speaker 2: Yeah, yeah, it is. I sort of I'm not one
Speaker 2: for small talk, so I really like when people just
Speaker 2: get on with it. And this is a movie for
Speaker 2: people that hate small talk, because it just gets into
Speaker 2: the guts of what the movie is about straight from
Speaker 2: the get go. And you know, when they're just in
Speaker 2: the car and they're already so familiar with one another,
Speaker 2: I'm like, how is this going to go on for
Speaker 2: an entire however long the movie goes for, Because they're
Speaker 2: already in you know, they're already in it. They're already
Speaker 2: sort of like loving and hating each other. I thought, wow,
Speaker 2: But it's really testament to how beautifully written it is
Speaker 2: that you see it then grow and evolve and you go, okay,
Speaker 2: I see why, you know why this is the way
Speaker 2: that it is. And it's sort of you know, I
Speaker 2: love that very neurotic New York kind of you know
Speaker 2: writing and sense of humor that really sustains and gives it,
Speaker 2: gives it light and shade throughout the film.
Speaker 1: And what a great device it is. And I think
Speaker 1: Nora Referen's well aware of it to have a character
Speaker 1: who does is a straight shooter who puts the other
Speaker 1: one like it disarms the other one. In the I
Speaker 1: think Sally would be driving these conversations, but one character
Speaker 1: to overset the mark and to drive this.
Speaker 2: Yeah. Absolutely.
Speaker 1: What I also love is is that I think they
Speaker 1: evolve in a really natural way. And one of the
Speaker 1: big things that I've learned about this movie, which I've
Speaker 1: never really picked up on, is and this makes it
Speaker 1: a really unique movie in this genre, is there are
Speaker 1: no external forces driving this relationship. Usually in a romantic comedy,
Speaker 1: you will have something else happening, as in one of
Speaker 1: the couples is in a relationship already, so they can't
Speaker 1: be together, or there's a class division that they can't
Speaker 1: quite get over, there's a job that's keeping apart that they.
Speaker 2: Work on, obstacles each other, their.
Speaker 1: Own neurosis, the vaga this sort this ship out. But
Speaker 1: I think it's the message being that sometimes the timing
Speaker 1: is just not right, and I think it's a beautiful message.
Speaker 1: You know, to evolve as a person first before maybe
Speaker 1: you know, or set settling down with somebody you know, Yeah,
Speaker 1: and that mean settles in, you know, settle for someone
Speaker 1: I just mean, ye, building, yeah.
Speaker 2: Building a life with someone like I mean, there's that
Speaker 2: whole sort of you know cliche that gets bandied about,
Speaker 2: which is, you know, you can't really beat with someone
Speaker 2: else until you good with who you are, and so
Speaker 2: it is really and you don't see in this film.
Speaker 2: What I like is sort of seeing how each of
Speaker 2: these characters sort of go evolve through heartbreak and evolve
Speaker 2: through the all of the things that happen when you're
Speaker 2: you know, if you find yourself single in your thirties,
Speaker 2: you know, just all all of the different themes of failure,
Speaker 2: you know, a failure over a relationship. What am I
Speaker 2: doing now that I'm thirty something and single? And I
Speaker 2: just I love there's a scene where she says, I'm
Speaker 2: nearly forty and she's character's characters like you're thirty two.
Speaker 2: She goes, yeah, that's really tawny, and you know, I'm
Speaker 2: thirty nine years old and I'm currently single, and it's like,
Speaker 2: I just it's it's just hilarious because there are so
Speaker 2: many there are so many things about you know, in
Speaker 2: my human experience being a woman, that the expectations of
Speaker 2: society are placed upon you to sort of have ticked
Speaker 2: off certain things at certain ages, and when you don't
Speaker 2: meet them, and so many people don't meet them. You know,
Speaker 2: how do you respond to that? And these days it's
Speaker 2: so much easier to just be like, fuck it, I'm
Speaker 2: living my life. I'm happy, that's the main thing. Whereas
Speaker 2: you know, in that sort of eighties nineties construct of
Speaker 2: you know, I've got to be married by this age
Speaker 2: and having kids by this age, and buying the Brownstone
Speaker 2: in New York at this age or whatever it is
Speaker 2: that they've set up for themselves, you know, the humor
Speaker 2: and the fear of not meeting those those milestones. That's
Speaker 2: part of the obstacles that they're sort of trying to
Speaker 2: overcome because really they just want to be happy and
Speaker 2: they want to find their person. But yeah, the obstacles
Speaker 2: societal and more mental than they are sort of something
Speaker 2: happening in the movie.
Speaker 1: Yeah, I think they did. They're evolving on their own terms.
Speaker 1: I feel like they're not. You know, Jack Nicholson in
Speaker 1: as good as It gets when he says the hell
Speaker 1: on Hunt, you know, you make me want to be
Speaker 1: a better person. And in Pretty Woman, Richard gear becomes
Speaker 1: a more well rounded person because he's met the sex
Speaker 1: worker Julia Robertson and and this just doesn't feel like
Speaker 1: that it feels like they are evolving in their own time.
Speaker 1: They meet at a time. I think that the film
Speaker 1: is better and I find the whole thing entertaining, But
Speaker 1: I think it gets more interesting and more enjoyable in
Speaker 1: the when they meet at the bookshop and they've both
Speaker 1: gone through their their relationships, you know, and they come
Speaker 1: out and they kind of it's two friends who don't
Speaker 1: know initially that they're becoming friends, but it's it's they're
Speaker 1: helping each other, they're trying to lift each other up.
Speaker 1: I think what they're doing, which I think is really
Speaker 1: love what's quote?
Speaker 2: I love it? And you know he's staring at her
Speaker 2: in the you know from the self help.
Speaker 1: Section person Personal Person, there's.
Speaker 2: A man in personal Growth. And it's just those those
Speaker 2: little genius moments where you're just like just what just
Speaker 2: it's just.
Speaker 1: Perfect and it seems like nothing, but bet your bottom
Speaker 1: dollar Nora Efron would have considered what section is standing in.
Speaker 1: She would have gone to the door and looked at
Speaker 1: every kind of okay person it is? How perfect is that? Yeah?
Speaker 2: Absolutely, It's just it's it's those tiny details I think
Speaker 2: that make this movie so, you know, so sort of
Speaker 2: famous and loved in that way is. Yeah, it's a
Speaker 2: sum of all of those little, tiny, tiny parts that
Speaker 2: make it beautiful.
Speaker 1: And then and the relationship is so streamlined, like the
Speaker 1: as far as the time shifts and all that. But
Speaker 1: we get told what their jobs are, you know, I
Speaker 1: think the second when they meet up, or they they
Speaker 1: want to be and.
Speaker 2: Then they end up becoming you know, more or less
Speaker 2: you know, within those those genres of what they what
Speaker 2: they thought they'd be.
Speaker 1: So yeah, and we never hear about it. Again, we
Speaker 1: don't hear about how easy. There's a version of this
Speaker 1: movie where they do get kept apart because Billy has
Speaker 1: to go on a road during an election campaign Harry,
Speaker 1: or that Sally has to go cover a big story,
Speaker 1: or they try to tie that into maybe they end
Speaker 1: up in Washington together.
Speaker 2: Yeah.
Speaker 1: I love that they ignored all of that. Yeah, I
Speaker 1: love that there's no talk about parents, about siblings. This
Speaker 1: is and it doesn't feel weird at all, like we're
Speaker 1: not thinking that these Harry and Sealey don't have full
Speaker 1: lives at any point in the movie.
Speaker 2: It's just just still get down to the interpersonal relationship
Speaker 2: between the two of them. But I will say, you know,
Speaker 2: in terms of like dating and all of the things
Speaker 2: that you encounter when you're dating and meeting people. Is
Speaker 2: this movie works on the assumption that these two people,
Speaker 2: while neurotic, are more or less pretty balanced nor more
Speaker 2: people when Harry met Sally doesn't work if one of
Speaker 2: them is a narcissist or the other person is, you know,
Speaker 2: has a lot of emotional baggage that they haven't dealt with.
Speaker 2: Like they're more or less healthy humans going through life.
Speaker 2: And yes, they're going through the trials and tribulations of
Speaker 2: being single or not finding their one, but they're more
Speaker 2: or less fine. But I think that in itself that
Speaker 2: is also sort of fine, because you know, there are
Speaker 2: so many, so many distractions in life. When you meet
Speaker 2: so many people of different characters throughout life, sometimes it's
Speaker 2: nice to imagine that life is a little more normal.
Speaker 2: But I mean, yeah, you know, it would be really
Speaker 2: nice to just assume the next person that I end
Speaker 2: up dating is fine.
Speaker 1: You never know, you never you never know. And yeah,
Speaker 1: the sequel to this could be very interesting. Who knows
Speaker 1: what they found out down the track exactly?
Speaker 2: What introduce the therapist?
Speaker 1: What did you make of the chemistry between Billy crystial
Speaker 1: and Meg Ryan.
Speaker 2: Well that's just what makes everything work exactly, like from
Speaker 2: the get go when she pulls up in the car
Speaker 2: and she's looking at Harry kissing the college girlfriend, and
Speaker 2: it's already there. It's like they're already in a relationship,
Speaker 2: like in terms of just the energy exchange between like
Speaker 2: towards them and then with each other when they're in
Speaker 2: the car together, and every scene, you know, it's just
Speaker 2: there is just something natural that works there and it's
Speaker 2: really really lovely to watch. And you know, I've you know,
Speaker 2: you read so many different stories about leading couples in films,
Speaker 2: and it works if they hated each other in real
Speaker 2: life or they really like each other in real life,
Speaker 2: because the tension is captured in a very similar way
Speaker 2: where there is something of an exchange between them. But yeah,
Speaker 2: I loved watching that, and there's just there's not one
Speaker 2: moment in that movie that you don't believe that that
Speaker 2: connection is real, which is testament to the performance.
Speaker 1: I want to play a scene which is the question
Speaker 1: that frames the movie, which is there, we can't be friends, basically,
Speaker 1: but before I do, they had met before Meg ran.
Speaker 1: We should point out this is her debut lead role.
Speaker 2: Which this is the movie that started everything.
Speaker 1: First, right, Yeah, So it's like when you watch Top
Speaker 1: Gun and you see basically the creation of Tom Cruise,
Speaker 1: this feels like watching the creation of Meg Ryan. And
Speaker 1: fundly though she was in Top Guns she played Goose's
Speaker 1: Anthony Edwards's wife is a small robb Wish is great
Speaker 1: in that she had made a a couple of films
Speaker 1: Armed and Dangers with John Candy in a space of
Speaker 1: Dennis Quaid, who went on to become her real husband,
Speaker 1: and then not eighty nine she makes this film, but
Speaker 1: she's she auditioned for Throwing Mama Off the Train, which
Speaker 1: Billy Crystal had just made before. When Harry met Sally.
Speaker 1: She didn't get the role, but Billy Crystal tested with
Speaker 1: her and thought they had the great chemistry. So when
Speaker 1: her name came up, he was like supportive, Yeah of this,
Speaker 1: So let's let's play and listen to some of the
Speaker 1: chemistry between Billy Crystal and Meg Ryan. In this pivotal scene,
Speaker 1: you realize, of course that we can never be friends.
Speaker 2: Why not.
Speaker 5: What I'm saying is, and this is not a come
Speaker 5: on in any way, shape or form, is that men
Speaker 5: and women can't be friends because the sex part always
Speaker 5: gets in the way.
Speaker 2: That's not true. I have a number of men friends
Speaker 2: and there is no sex involved. Yes I do, Yes,
Speaker 2: I do.
Speaker 5: Well, I think you do.
Speaker 2: You're saying I'm having sex with his memb without my knowledge.
Speaker 2: You no.
Speaker 5: What I'm saying is they want to have sex with you.
Speaker 2: They do not do too. They do not do too.
Speaker 2: How do you know?
Speaker 5: Because no man can be friends with a woman that
Speaker 5: he finds attractive. He always wants to have sex with him.
Speaker 2: So you're saying that a man can be friends with
Speaker 2: a woman he finds unattractive.
Speaker 5: No, you pretty much want to nail them too.
Speaker 2: What if they don't want to have sex with you doesn't.
Speaker 5: Matter because the sex thing is already out there. So
Speaker 5: the friendship is ultimately doomed and that is the end
Speaker 5: of the story.
Speaker 2: Well, I guess we're not going to be friends, then
Speaker 2: I guess not. It's too bad. You were the only
Speaker 2: person that I knew in New York.
Speaker 1: I mean, it's it's I mean the question aside, the
Speaker 1: chemistry is undeniable. It's it's a great Billy. Crystal is older.
Speaker 1: He's forty one, the thirty nine I think when they
Speaker 1: make this film and make Ryan it's forty one. Actually, yah,
Speaker 1: make Ryan's twenty eight. So it's a bit of a night.
Speaker 2: He loves it at the beginning with the week to
Speaker 2: make him make kids just come out of college, and
Speaker 2: it's like and then you see the hairline receding and
Speaker 2: the grays for treating, and it's just I mean, you
Speaker 2: know that it's all been made within a few months.
Speaker 2: But yeah, he's I think there's something about Billy Crystal's
Speaker 2: character though, that you you there's something very useful and
Speaker 2: cheeky about it that makes him a believable college graduate. Yeah,
Speaker 2: as well as an adult. You know. I think he's
Speaker 2: just a brilliant a brilliant actor.
Speaker 1: But because when I saw this, I was fourteen when
Speaker 1: it came out, so I it didn't those things didn't.
Speaker 1: I didn't register as much as far as like, hang on,
Speaker 1: he looks too old to be in college because yeah,
Speaker 1: so watching it, watching make face value, Yeah yeah, yeah,
Speaker 1: And I always wondered why I always thought American kids
Speaker 1: always looked older than Australian kids because you see him
Speaker 1: in movies, not knowing that Phonsie was probably thirty five.
Speaker 2: Yeah, exactly you take for It's like in Mean Girls,
Speaker 2: It's like all those girls are like in the mid
Speaker 2: twenties playing sixteen or seventeen year old kids, and you're
Speaker 2: just like, yeah, that's that's just the way it is
Speaker 2: a popular culture. But yeah, anyway, so back to the
Speaker 2: chemistry thing.
Speaker 1: Yeah, I like the Billy Crystal. I think it's Billy
Speaker 1: Crystal's best performance. And he'll go through some of his films.
Speaker 1: So he done spinal Tat with Rob Reiner in nine
Speaker 1: and eighty four, very small role he played at Let's
Speaker 1: We played a mime. Yeah, Princess Bride in eighty seven,
Speaker 1: which comes up so many times on this podcast.
Speaker 2: That would also Yeah, I was very tempted to put
Speaker 2: that into my favorites as well, because it is just
Speaker 2: all time. I mean anyway, Robin right, Penn brilliant.
Speaker 1: It's all the brilliant. Yeah, throw from the Train in
Speaker 1: eighty seven, and he makes this in eighty nine, so
Speaker 1: this was also like a very big role for him.
Speaker 1: He He's done a lot of TV SNL, a show
Speaker 1: called Soap, which is huge even State's bigger over there
Speaker 1: than he has been here. And then he kind of
Speaker 1: made Sidney Slickers in ninety one, and he makes me
Speaker 1: a Saturday Night ninety two, and then he kind of
Speaker 1: doesn't make a lot of great films after that. Analyzed
Speaker 1: this was probably the next big film he has with
Speaker 1: The Hero in ninety nine, and there's a few sequels
Speaker 1: here and there. He does the Monsters University or Monster
Speaker 1: Zinc voice, but God moreso becomes like a Broadway guy
Speaker 1: or like a host of the Oscars. He obviously became
Speaker 1: more famous for his hosting the Oscars in any of
Speaker 1: his movies. But he's really he's really great in this.
Speaker 1: He's really he's really believable. Even though I'll watch it
Speaker 1: now and I kind of go, I wonder, you know,
Speaker 1: and I don't think this is a good thing, but
Speaker 1: I wonder if this movie gets made, you know, like
Speaker 1: with do they find a hotter guy, you know, to
Speaker 1: be the part. I don't know, maybe maybe, maybe not,
Speaker 1: Maybe we have come.
Speaker 2: I I hope not, because he's just perfect for that
Speaker 2: role and I couldn't imagine anyone else in it. But
Speaker 2: I hope not. I mean, I hope that even though
Speaker 2: we're in a very esthetically uniform place in the world
Speaker 2: right now, especially with things like Instagram that you could have,
Speaker 2: you know, you need that there's really something to be
Speaker 2: said in life and in film for character and for individualism.
Speaker 2: And I think that that's something that yeah, he brings
Speaker 2: is like could someone else have played it, Yes, sure,
Speaker 2: but would they have played it as well as he did?
Speaker 2: I don't want to imagine what that would have been like,
Speaker 2: because it was perfect the way that it is.
Speaker 1: Absolutely, and I think there's something to be said for
Speaker 1: these These are two new faces on the scene really
Speaker 1: when this is made relatively and I think, yeah, maybe
Speaker 1: we are seeing more of this on maybe through Netflix
Speaker 1: and the streaming services. Eli Wong you know, has had
Speaker 1: I think a show, you know, and it's like and
Speaker 1: it's just yeah, I mean that's exploded and it is
Speaker 1: great seeing new faces, and I think we should always
Speaker 1: keep that in mind.
Speaker 2: Yeah. Absolutely. I mean, Look, the discussion about diversity is
Speaker 2: something that I've been very much drawn into this with
Speaker 2: this Master Chef job and all the rest of it.
Speaker 2: I don't, you know, like, I don't know that I
Speaker 2: thought about it that much going into the job because
Speaker 2: I've been freelanced for so long. It's like someone's offering
Speaker 2: you an amazing opportunity to do what you do in
Speaker 2: whatever format, I'm going to say yes to that. But
Speaker 2: you know, having that discussion about representation and about diversity
Speaker 2: on all levels, whether or not that's in film or
Speaker 2: whether or not that's in here or television and entertainment,
Speaker 2: it's important to be able to see, you know, to
Speaker 2: see people, to see not just the same faces but
Speaker 2: lots of different bases and so it is. You know,
Speaker 2: it's definitely something that I've become more aware and passionate about,
Speaker 2: is vacating to be able to see that, you know,
Speaker 2: for people of not just different cultures, but also you know,
Speaker 2: abilities and perspectives and the way that they know the
Speaker 2: way that people want to represent themselves and see themselves.
Speaker 1: So yeah, yeah, it's come up a few times on
Speaker 1: this podcast, you know, diversity representation and how important of
Speaker 1: these We had Wili talking about Muslim representation. It's not
Speaker 1: great at the moment, you know, and you know, and
Speaker 1: you said, then you maybe you hadn't thought about a
Speaker 1: whole bunch until you became one of the you know,
Speaker 1: a stunning part of one of the biggest shows in
Speaker 1: the world, and then you you had to, I guess
Speaker 1: think about it, But how do you balance that weight
Speaker 1: of kind of going. I feel like I need to,
Speaker 1: you know, talk about it like your community maybe wants
Speaker 1: you to talk about it, like keeping your own heads straight.
Speaker 2: Well, I think, first and foremost, it's all about doing
Speaker 2: the best possible job that I can I can do
Speaker 2: because if I don't do that, then I'm not representing myself. Well,
Speaker 2: I'm not representing other people well as well. And then
Speaker 2: I guess the other part of it is just the
Speaker 2: way that I carry myself, both inside the Mastershire kitchen
Speaker 2: and outside of it as well, and the conversations that
Speaker 2: I partake in and then I bring to the four
Speaker 2: wherever I can, is to consider how that might be
Speaker 2: representing someone other than myself. And that's a weird thing
Speaker 2: because I've been alone wolf and for a really long
Speaker 2: time in my career, and I've only ever had to
Speaker 2: be responsible for myself, and to think about the way
Speaker 2: that I speak and the way that I represent affects
Speaker 2: other people is a really reasonably new concept to me.
Speaker 2: But I think it's something that no matter what you
Speaker 2: do in your life, we should all be considering a
Speaker 2: little bit more as well, because you don't know who's
Speaker 2: seeing you and who sees something of themselves in you.
Speaker 2: So I think it's always good to be mindful, to
Speaker 2: do the best job that you can, to be a
Speaker 2: good human because that matters to people that you don't
Speaker 2: even know.
Speaker 1: And I mentioned this in the intro, but I think
Speaker 1: it's it's good to say in front of you that,
Speaker 1: like when those who you know might be listening overseas
Speaker 1: who may not watch Musch of Australia, you may watch
Speaker 1: My Chief in your regions, Bangladesh or wherever you are
Speaker 1: listening from. But the you know you guys took over
Speaker 1: from three much loved, you know, hugely successful judges and
Speaker 1: it was like all eyes you know on the project.
Speaker 1: I was often like talking about who's it going to be,
Speaker 1: and like, you know, and I assumed it was going
Speaker 1: to be someone like a Curtis Stone, you know, you know,
Speaker 1: like you know, a big name in the industry. So
Speaker 1: when Channel ten and the producers of Marster Chef announced three,
Speaker 1: you know, three new judges who weren't household names. In fact,
Speaker 1: if you weren't paying attention you know to that that
Speaker 1: industry and that you know, they were new names and
Speaker 1: for you guys to pull off was one of the
Speaker 1: most stunning seasons, you know, last year. Back to that
Speaker 1: with another stunning season, I mean, is extraordinary and and
Speaker 1: pats on the back to do you who I think
Speaker 1: and no offense to Jock and Andy have has been
Speaker 1: the absolute breakout start and Andy, we love you. But
Speaker 1: in the same way, I think, in the same way
Speaker 1: Matt I think was you know, the breakout.
Speaker 2: It's a dynamic, right, It's a group dynamic. I think
Speaker 2: with with those things, yes, some I think I think
Speaker 2: we all take terms at you know, rotating in that
Speaker 2: in that sort of lead position. You know. We we
Speaker 2: love to sort of make a joke about like a
Speaker 2: flying Chefron sort of thing, like it's just different stages.
Speaker 2: Whatever we know and whatever we bring comes to the
Speaker 2: fore and that person sort of becomes the focus. And
Speaker 2: I think it's been beautiful this season seeing Jock really
Speaker 2: be there in terms of the conversation around mental health
Speaker 2: and men's mental health, especially, you know, talking about his
Speaker 2: worry beads and talking you know, when Brent left the show,
Speaker 2: just sort of why being able to put your hand
Speaker 2: up and say you're not okay is the right thing
Speaker 2: to do and is absolutely okay. You know, moments like
Speaker 2: that are really special. And you know, and the same
Speaker 2: thing with Andy as well, Like there are moments where
Speaker 2: we each step up and we all need to be
Speaker 2: able to do that. And I think that's what makes
Speaker 2: it really special, is is seeing that person really rise
Speaker 2: and to be there to support that person doing it.
Speaker 2: It's beautiful to be in both sort of both dynamics
Speaker 2: and that in that So I feel very lucky to
Speaker 2: be with those those guys because they are such sensitive,
Speaker 2: aware human beings and we couldn't do what any of
Speaker 2: us do without each other.
Speaker 1: So it's a really it's a really good point because
Speaker 1: I mean, I work in a team, you know, on
Speaker 1: the project, and I know that exactly that and it's
Speaker 1: a completely different show, you know as a live news
Speaker 1: show with a little bit of comedy in there. You know,
Speaker 1: yours a cooking show. But you know the amount of
Speaker 1: times I just know that Jalid and Carrie, we you
Speaker 1: need to have each other's back, you know, And the
Speaker 1: times when one of these is a bit off one
Speaker 1: night there's for whatever reason, the words aren't coming out,
Speaker 1: their mind's not working as clearly as it did the
Speaker 1: night before, and you know, and and the ability to
Speaker 1: those guys to recognize that in me or for me
Speaker 1: to recognize that in them is is really important.
Speaker 2: I think what I've learned about the group dynamic is
Speaker 2: and I'm sure it translates back into sort of what
Speaker 2: we're talking about in movies and performs, as well as
Speaker 2: the word generosity. You value so deeply being in an
Speaker 2: ensemble with generous people because they have you when you
Speaker 2: are having an off day, they celebrate you when you're
Speaker 2: on fire. You do the same for them. And that's
Speaker 2: what makes a successful group dynamic, you know, That's what
Speaker 2: really makes it seeing and makes it last, hopefully is generosity.
Speaker 1: So yeah, well, just waiting to your two co hosts
Speaker 1: Wing God logis that's when it gets really tough and
Speaker 1: it's really challenging. Melissa, got it, Let's go. I've got
Speaker 1: a feeling you might be the one who is the god. Anyway,
Speaker 1: let's go back to the film we're talking about. Okay,
Speaker 1: there is a scene we obviously need.
Speaker 2: To talk about the elephant in the room.
Speaker 1: I don't want to make this any more awkward than
Speaker 1: it needs, but with that said, we do need to
Speaker 1: play it. This is one of the most famous scenes
Speaker 1: in the history of movie ca and there's a lot
Speaker 1: to talk about how this scene came about. Let's let's
Speaker 1: have listen to the famous uh Meg Ryan in the
Speaker 1: New York Deli having a frankal gasm.
Speaker 2: Question. Nothing, It's just that all men are shirt never
Speaker 2: happened to them, and most women, at one time or
Speaker 2: another have done it.
Speaker 6: So you do the math.
Speaker 2: You don't think that I can tell a difference.
Speaker 1: No, get out him?
Speaker 7: Oh oh okay, oh oh god, oh oh god, oh
Speaker 7: oh oh oh god.
Speaker 8: Oh you're right there, oh oh oh oh oh god.
Speaker 8: Oh yes, yes, yes, yes, yes.
Speaker 2: Yes, oh yes, yes, yes.
Speaker 8: Yes, yes, yes, yes, yes yes, oh oh oh god.
Speaker 7: Oh.
Speaker 2: I'll have what she's having.
Speaker 1: That when I'm longer than I remember themrazing. Listening to
Speaker 1: it is even more awkward than watching it that I
Speaker 1: maybe maybe dragged in the channel ten hr. We're making
Speaker 1: you listen to that scene with my apologies, but it
Speaker 1: is such what I say, psychonic. Yeah, yeah, did you
Speaker 1: You must have known about this scene going and this
Speaker 1: is one of the things you knew about this movie.
Speaker 2: Yeah, absolutely, I mean that sounds that little sound clip
Speaker 2: or snippets of that that sound clip have been used
Speaker 2: in every film reference or you know, you know movie
Speaker 2: movie shows or whatever. It's always brought up, and you
Speaker 2: know it's it's iconic, right, It's it's just something that
Speaker 2: you know, you had, you had to talk, we have
Speaker 2: to talk about it. It's like it's like one of
Speaker 2: the most enduring scenes in modern cinema, I think, in
Speaker 2: many many ways, and I think she does a very
Speaker 2: good job.
Speaker 1: Great job she she it was her idea. It was
Speaker 1: Meg Ryan's idea, which I love. I love that. And
Speaker 1: this is the power of of empowering your the people
Speaker 1: around you to you know, consult and collaborate. And yeah,
Speaker 1: Meg Ryan said do this, and Billy Crystal adds the
Speaker 1: line that ends up going to Rob Ryaner's mum, yes,
Speaker 1: which is incredible.
Speaker 2: How is it that, yeah, the director's mum ends up
Speaker 2: being one, I'll have what she's having. And it's so
Speaker 2: you know, when you watch Billy Crystal and you see
Speaker 2: his sense of humor, of course it came. Yes, it
Speaker 2: had to be that that snappy one liner that brings
Speaker 2: this kind of awkward you know, you sort of seeing
Speaker 2: back down to earth and in such a snappy, smart, funny,
Speaker 2: lighthearted way. It was. It's beautiful it's it would have
Speaker 2: been funny to have it in there as a scene
Speaker 2: without it, but it's perfect with it.
Speaker 1: Yes, absolutely, And apparently on the day Meg Ryan you know,
Speaker 1: started to do that scene and the first couple of
Speaker 1: takes were a bit timid, you know, she was was
Speaker 1: and I think I've spoken about this before. I think
Speaker 1: people when we watch movies and we shouldn't be thinking
Speaker 1: about this stuff. But you know, when an actor is
Speaker 1: on set, and it's one thing to be on set
Speaker 1: and doing a you know, a one hander with an
Speaker 1: actor or you know, with the cast that you're comfortable with,
Speaker 1: but when you are put in the situation where there
Speaker 1: are extras who you don't know, you know, who are
Speaker 1: real people who were all know that you know, you're
Speaker 1: the star of the movie and this is a you know,
Speaker 1: this is a scene and to do that, to be
Speaker 1: that vulnerable is takes a lot of bravery, you know,
Speaker 1: it takes courage. So she was a bit timid. And
Speaker 1: then Rob Ryaner said okay, and I love that Rob
Speaker 1: Ryaner did this. He goes, okay, I will this is
Speaker 1: how I think is how far I think you should go.
Speaker 1: And he sat there in her seat and like did
Speaker 1: a fool. This is Rob Ryaner, He's a big guy.
Speaker 1: Bed did a full light orgasm, you know. And that's
Speaker 1: how it's.
Speaker 2: Self vulnerable to allow her to feel comfortable enough to
Speaker 2: be just as vulnerable. And I think that's really testament
Speaker 2: to a good directorship, is leading from leading from the
Speaker 2: top and sort of saying, hey, I'm creating a space
Speaker 2: for you to be the best that you can possibly be,
Speaker 2: and that's what makes a successful you know, a success
Speaker 2: in the end.
Speaker 1: So yeah, and I love that. It's mate, Ryan, It's
Speaker 1: you could see this as just a it's a set
Speaker 1: play in a romantic comedy, but she is defending. It's
Speaker 1: like a defense of for women, for all women. You
Speaker 1: you like, you think you're getting away with this, but
Speaker 1: fuck you you're not.
Speaker 2: Yeah, absolutely, it's it's it's possibly the best sort of
Speaker 2: illustration of proving ever. But yeah, it's I love how
Speaker 2: and I think again speaking of generosity of of people
Speaker 2: that are in the scene, like the billy Crystal's character
Speaker 2: to sort of be as cocky, to fire her up
Speaker 2: to sort of to actually prove it, you know, oh well,
Speaker 2: it's never happened to me, you know, like I would know.
Speaker 2: It's like I would know. It's like, do you though really?
Speaker 2: And you know, women forever more will watch that scene
Speaker 2: and just be like, it's it's it's really giving every
Speaker 2: every man who thinks that they are the ship the
Speaker 2: bird really because you know women it's again, it's it
Speaker 2: comes back down to that interpersonal relationship between between people,
Speaker 2: and I guess sort of that whole how much do
Speaker 2: we know about the in this in this particular case,
Speaker 2: how much do we know about the opposite sex?
Speaker 1: Yeah? I want to a shout out to Carrie Fisher,
Speaker 1: who have mentioned before a place Kirby who plays jess One. Obviously,
Speaker 1: I'm a massive Star Wars fan, so I bow at
Speaker 1: the altar and we always carry fish and Deally, yes,
Speaker 1: she's so great in this and Bruno Kirby, I'm a
Speaker 1: massive who also is in my favort film of all time,
Speaker 1: which is The god Father Part two. Yeah, and is
Speaker 1: also there's such an I'm not sure if he's underrated.
Speaker 1: I don't know. He's Sadly he's not with us anymore.
Speaker 1: But he was also worked with Billy Crystal in City Slickers.
Speaker 1: He was great, but he's one of the funniest performances
Speaker 1: I think I've ever seen he's his performance in Good
Speaker 1: Morning Vietnam, Who Robin Williams. He's so good in that,
Speaker 1: and he's so good he's like effortlessly funny in this.
Speaker 1: But I love that these characters are in there because
Speaker 1: not only does a give Harry and Sally a sounding
Speaker 1: board too, you know, but that date they go on
Speaker 1: so great, It's so great for our whole Bundy, did
Speaker 1: you love the date?
Speaker 2: Absolutely brilliant, just the you know, because anybody, like when
Speaker 2: you sit around the table, whether or not that's four
Speaker 2: people or six people, there's inevitably the breakaway conversations that happen,
Speaker 2: but they're so clearly, you know, at the beginning, two
Speaker 2: very awkward things, two very awkward dates happening, and then
Speaker 2: when the configuration turns and you see the real date happen,
Speaker 2: and then you know, Harry and Sally just kind of
Speaker 2: have to step back and realize what's going on there.
Speaker 2: It's just it's so beautifully done. And I think that
Speaker 2: there's everybody can relate to sort of being and being
Speaker 2: in a position like that where you can see, you know,
Speaker 2: undeniable chemistry happening in front of you, and you just
Speaker 2: kind of have to step back and let it happen.
Speaker 2: But just the whole Oh you know, it's the stopping
Speaker 2: the two girls walking and stopping, Oh, I've wanted to
Speaker 2: buy a pair of shoes like that? Do you think
Speaker 2: do you think that? Do you like him? Because if
Speaker 2: you don't like him, like would I be able to?
Speaker 2: And then that also happening with the men as well,
Speaker 2: like that just you know, that just happens. It happens
Speaker 2: in life with friends when you sort of go on
Speaker 2: these those weird sort of you know, dates or whatever.
Speaker 2: So yeah, it was it was really really beautifully done,
Speaker 2: and just the whole I guess we don't hear much about,
Speaker 2: you know, all of the all of the backstory sort
Speaker 2: of stuff with the with the supporting couple, but apart
Speaker 2: from sort of ther her ponch on for being with
Speaker 2: a married man and not being and wondering why it's
Speaker 2: not working but how how is that? You know she's
Speaker 2: never going to leave him and so he's never going
Speaker 2: to leave her, and that whole sort of thing. But yeah,
Speaker 2: it's it's really beautifully done and sort of it's very
Speaker 2: illustrative of good supporting, great supporting roles.
Speaker 1: I think absolutely and it shows Harry and Sally what
Speaker 1: chemistry looks like. It shows the audience what chemistry looks like.
Speaker 1: When I mean they're trying their best, they're you know,
Speaker 1: Sally saying, know, oh, Harry, Marie is also from Brooklyn
Speaker 1: maybe I think it was, and they just say where
Speaker 1: they're from and then there's no, there's no continuation to
Speaker 1: that conversation. But also what bringing up his writing.
Speaker 2: Yes, I've never said, I've never I've never quoted, I've
Speaker 2: never quoted a line from a magazine before. And he's like,
Speaker 2: I've got to say, I really like hearing my lines
Speaker 2: being read back to me. Yeah, yeah, beautiful.
Speaker 1: It's so good. And so it also shows once you're
Speaker 1: out of the street that these are two best friends,
Speaker 1: how they react when they find the person who they
Speaker 1: want to be with, which foreshadows the line at the
Speaker 1: end of the movie, which is when you when you
Speaker 1: find somebody you want to spend the rest of your
Speaker 1: life with, you wanted to begin straight away. And Mary
Speaker 1: and Jess aren't waiting. They are, Yeah, they despite what
Speaker 1: they've just said, they're in.
Speaker 2: The cab and they're they're going home with each other
Speaker 2: straight away, and they absolutely know Yeah, it's it's it's
Speaker 2: beautifully done.
Speaker 1: Absolutely, So we get towards the end of the one
Speaker 1: thing I want to ask you about was, which I
Speaker 1: think is a beautifully constructed scene, is the museum scene
Speaker 1: when Harry or Sally to go to the movies, you know,
Speaker 1: they're doing the voices yea, and Sally has to tell
Speaker 1: him I can't, I'm going on a date.
Speaker 2: Yeah.
Speaker 1: It's such a beautifully observed kind of kind of a
Speaker 1: bit of a heartaching kind of scene them the way, because
Speaker 1: because you know, she's she didn't want to tell him.
Speaker 1: It's a very real scene. She didn't want to tell him,
Speaker 1: and then when he's okay with it, she's also upset
Speaker 1: with that.
Speaker 2: Yeah. Absolutely, Well, I guess it's sort of it brings
Speaker 2: it back down to the whole crux of the movie,
Speaker 2: which is, you know, if you're attracted to someone, can
Speaker 2: you actually just be friends? And I think they could
Speaker 2: just be friends when neither of them are seeing anyone
Speaker 2: else because the focus is on each other. And then
Speaker 2: you know, her not wanting to say that she had
Speaker 2: a date, and her not feeling comfortable with his being
Speaker 2: okay with it, are you know, really sort of testament
Speaker 2: to the fact that, like that's the pantomime part in
Speaker 2: the movie where you just kind of like, you can't
Speaker 2: you see that you are you know, you are meant
Speaker 2: to be together, and that's why this feels that, this
Speaker 2: feels funny. But I think there have definitely been, you know,
Speaker 2: moments in many people's lives where you kind of, you know,
Speaker 2: you're not aware of the fact that the person in
Speaker 2: front of you is the person you want to actually
Speaker 2: be with, and that's why there's tension there.
Speaker 1: Yeah, and I Love I Love You alluded to them
Speaker 1: earlier when they're on the phone almost a pillow talk
Speaker 1: and they're talking about Casablanca. Yeah, it's overlaid with these
Speaker 1: shots of them just hanging out, both being alone and
Speaker 1: but also hanging out and becoming friends. She's putting the
Speaker 1: mail in really slowly, she's going through each letter, yeah,
Speaker 1: and he eventually just takes all the letters and which
Speaker 1: is it's so great and it's so beautifully done. And
Speaker 1: then there's the scene, of course, which you also a
Speaker 1: little too earlier, the four way phone call scene, which
Speaker 1: I think is extraordinary and I think it's so beautifully executed.
Speaker 1: So the way they did that was they actually they
Speaker 1: all did them. They were on separate the same studio,
Speaker 1: but on separate kind of sets if you like. So
Speaker 1: it was all done at the same time. It wasn't.
Speaker 1: It was all shot at the same time, so the
Speaker 1: timing had to be absolutely They did sixty three takes.
Speaker 2: Oh my god.
Speaker 1: And so it's like it's like if you listen to it,
Speaker 1: it's it's like a dancing fact. Let's have a listen
Speaker 1: to it right now.
Speaker 7: Okay, yours Hello, I'm sorry to castle early.
Speaker 2: Are you all right? No, I know would call it
Speaker 2: the I did something terrible I wanted to do and
Speaker 2: I know would call it so awful.
Speaker 5: I need to talk what happened over the last night
Speaker 5: last night because I was upset that Joe was getting
Speaker 5: there and before I.
Speaker 2: Knew we were kissing.
Speaker 1: Make a long story. We did it.
Speaker 2: They did it. That's great, Sally. We've been praying for it.
Speaker 2: I should have done it in the first place. The
Speaker 2: once we've been saying you should do it. You guys
Speaker 2: belong together. It's like killing two birds with one stone.
Speaker 2: It's like two wrongs make a right how The during
Speaker 2: part was good, it was good, but then I felt suffocate.
Speaker 2: Then I guess it wasn't Jesus.
Speaker 1: I'm sorry. How to get at he just disappeared.
Speaker 2: I feel so bad. I'm so embarrassed.
Speaker 9: I don't blame you.
Speaker 2: That's hard. I think I'm coming down with I think
Speaker 2: I'm catching a cold. Look. Look, it would have been
Speaker 2: great if it worked out, but it didn't.
Speaker 6: I should never go to bed with anyone when you
Speaker 6: found out your last boyfriend is getting married.
Speaker 2: Who is that talking? Who is that just on the phone?
Speaker 2: Fun on? It's Brian Compbell.
Speaker 1: You want to come over for breakfast?
Speaker 2: No, I feel too awful. Good, I mean it's so early.
Speaker 2: Call me later if you want, I'll call you later.
Speaker 1: Okay, okay, bye bye, bye bye. It's so good, you
Speaker 1: can say, how when you listen to it, knowing that
Speaker 1: they're all doing at the same time, it almost has
Speaker 1: to be done like that, Yeah, to get that that rhythm.
Speaker 2: Yeah, it's it's like verbal choreography. Yeah, you know, it's
Speaker 2: really interesting. Actually just listening to it instead of just
Speaker 2: instead of watching it, it takes everything else away and it
Speaker 2: makes that just made me much more appreciative of that
Speaker 2: scene because it is just so you couldn't slide a
Speaker 2: piece of paper in between, you know, each of the
Speaker 2: parts that just all just sort of works so seamlessly together. So, yeah,
Speaker 2: sixty three takes My god, I can you imagine doing
Speaker 2: that sixty three times?
Speaker 1: At least they were lying in bed, Yeah, at least,
Speaker 1: I think. So, let's let's get to the end of
Speaker 1: the film and we might play the clip where they
Speaker 1: finally I mean, did you before we get to it,
Speaker 1: did you? I assume you did? You want them to
Speaker 1: get together?
Speaker 2: You were you. Look, there's a very there's a small
Speaker 2: part of me that was didn't want them to get
Speaker 2: together because that's so predicted. That's what the that's what
Speaker 2: sort of the foregone conclusion is. But I suppose if
Speaker 2: you think about it as being this is one of
Speaker 2: the original rom coms, it had to happen. You know,
Speaker 2: now films that have been made that sort of take
Speaker 2: these cues, it's better when they don't end up together
Speaker 2: because then there's a sense of longing or whatever. But
Speaker 2: this was the one that set the bar, so it
Speaker 2: had to be that way that they ended up together.
Speaker 2: But I love how resistant she was to it right
Speaker 2: to the very last. You know, she was just sort
Speaker 2: of like in doing this because there's no one else
Speaker 2: and all of the rest of it, and then he
Speaker 2: wins her over and so there is this Yeah, there's
Speaker 2: a very small amount in need it. It's like, I wonder
Speaker 2: what would happen if she, you know, didn't didn't sort
Speaker 2: of lent and allow this thing to happen. But she,
Speaker 2: you know, it's a choice for the both of them.
Speaker 2: And so I think in the same way that they've
Speaker 2: always been defiantly themselves the entirely they in their own
Speaker 2: way and choosing to be together, which is kind of great.
Speaker 1: And Rob ryaner by the way, he originally they weren't
Speaker 1: going to They're going to have that ending where they
Speaker 1: didn't get together. He was a bit divorced at that
Speaker 1: time from Penny Marshall, and he was, you know, a
Speaker 1: bit like I'm never going to meet anyone again anyone.
Speaker 1: How does anyone meet anyone? And so he was going
Speaker 1: to have him not get together, and then he finally
Speaker 1: enough met somebody during the making of this film who
Speaker 1: he's now went on the marriage and they are still married,
Speaker 1: three kids, and so he's live perspective change and of
Speaker 1: course they have to get together. So and I think
Speaker 1: you're absolutely right, like this, this is the movie. It's like,
Speaker 1: this is obviously there are romantic comedies as you know,
Speaker 1: Roman Holiday if you go back, you know, for the
Speaker 1: you know, for the story, but this was you know,
Speaker 1: the re emergence.
Speaker 2: Like yeah, like it's the modern romantic comedy format. It's
Speaker 2: very Yeah, it was. It was the obviously there have
Speaker 2: been romance films, you know, since the beginning of film,
Speaker 2: but in terms of this sort of this format that
Speaker 2: were used to that we may never have seen when
Speaker 2: Hae Met Sala or You've Got Mail or any of those,
Speaker 2: but they're accused from this genre, the echo forward you know,
Speaker 2: through every you know, through every rom com we've ever seen,
Speaker 2: and so yeah, it kind of had to kind of
Speaker 2: had to go that way. But isn't it interesting about
Speaker 2: life perspective about oh no, they shouldn't get together, and
Speaker 2: then when you feel a love and you're like, of
Speaker 2: course it's a real together, and it's just how that
Speaker 2: influences work. Yeah, it's very interesting.
Speaker 1: I think it's fascinating, and I think when you're writing
Speaker 1: something like this, everyone kind of likes the idea of
Speaker 1: giving the ending that is not necessarily.
Speaker 2: The predictable one or the perfect ending.
Speaker 1: Yeah, but it's it's really hard to really commit to that,
Speaker 1: you know, because the execution needs to be more spot
Speaker 1: on than when you are giving the crowd pleasing ending.
Speaker 2: It needs to be a very clever, justifiable reason as
Speaker 2: to why. Yeah, and I guess in a way, you know,
Speaker 2: sometimes it's okay to have the happy ending. Yes, sometimes
Speaker 2: it's okay to sort of have things end neatly. So
Speaker 2: much of life is messy, So it's actually so satisfying
Speaker 2: sometimes to be able to watch something like this and go, yeah,
Speaker 2: they ended up together whatever, happily. Ever afternoons in real
Speaker 2: life versus movies, it's sometimes really nice to be able
Speaker 2: to see it.
Speaker 1: So Harry decides he wants to be with Sally. He
Speaker 1: races to a New Year's Eve party, and therefore laying
Speaker 1: the blueprint for the next thirty years of romantic comedies.
Speaker 1: Just ever listen, I've been doing a lot of things
Speaker 1: I love.
Speaker 2: What How do you expect me to respond to this?
Speaker 1: How bad? You love me too?
Speaker 2: All that I'm.
Speaker 9: Leaving doesn't when I said mean anything to you.
Speaker 1: I'm sorry, Harry.
Speaker 2: I know it's New Year's Eve, I know you're feeling lonely,
Speaker 2: but you just can't show up here, tell me you
Speaker 2: love me, and expect that to make everything all right.
Speaker 2: It doesn't work this way.
Speaker 9: Well how does it work?
Speaker 1: I don't know, But not this way. How about this way.
Speaker 9: I love that you get cold when it's seventy one degrees.
Speaker 9: I love that it takes you an hour and a
Speaker 9: half to order a sandwich. I love that you get
Speaker 9: a little crinkle above your nose when you're looking at
Speaker 9: me like I'm nuts. I love that after I spend
Speaker 9: a day with you, I can still smell your perfume
Speaker 9: on my clothes.
Speaker 1: And I love that you are the last.
Speaker 9: Person I want to talk to before I go to
Speaker 9: sleep at night. And it's not because I'm lonely, and
Speaker 9: it's not because.
Speaker 1: It's New Year's Eve.
Speaker 9: I came here tonight because when you realize you want
Speaker 9: to spend the rest of your life with somebody, you
Speaker 9: want the rest of your life to start as soon
Speaker 9: as possible.
Speaker 8: You see, that is just like you, Harry. You say
Speaker 8: things like that, and you make it impossible.
Speaker 2: For me to hate you. And I hate you, Harry,
Speaker 2: I really hate you.
Speaker 1: I mean it's pretty great. I mean, if you take
Speaker 1: this as an island of the film and kind of
Speaker 1: go this exists and there's been no other films made.
Speaker 1: You know, it's great, And yeah, the film I made
Speaker 1: I Love You Too back in twenty ten, you know,
Speaker 1: like we went exactly to this when Harry met Sally
Speaker 1: played but we had Brendan Kwe delivered this speech to
Speaker 1: Evonstrahovsky and you know it's their fun speeches are right,
Speaker 1: but that's I think that's the goat as far as
Speaker 1: that that that kind of scene.
Speaker 2: Yeah, absolutely, yeah, it's it's I don't think he could.
Speaker 2: I don't think he could make it any better than that.
Speaker 2: It's just absolutely lovely and you'd have to have a
Speaker 2: heart of stone not feel something in that moment for
Speaker 2: those two and just every knowing that the twelve years
Speaker 2: or whatever it is that passes from when they meet
Speaker 2: to when that happens, and everything that's happened in between
Speaker 2: to lead to that moment is beautifully, beautifully done.
Speaker 1: So yeah, I think you're right. I think it's they've
Speaker 1: earned that speech. I think sometimes people make the mistake
Speaker 1: and I've probably made it as well with my film
Speaker 1: where he gives a similar speech, but we haven't seen
Speaker 1: with Harry and Sally it's they are. They've rubbed against
Speaker 1: each other for so much of the movie when they
Speaker 1: first met. Yeah, so for him to kind of to
Speaker 1: announce that all the things that he has kind of
Speaker 1: said annoys him, that they don't annoy him anymore. Yeah,
Speaker 1: in fact, in fact, he's grown. The love them is perfect.
Speaker 2: And it's so he's so earnest in that moment because
Speaker 2: so much of the movie he's spent being you know,
Speaker 2: clever and a little bit cynical in his humor, but
Speaker 2: in that moment, he's very you know, very serious about it.
Speaker 2: And I think that that's why you take it seriously,
Speaker 2: is you know that for all the kidding and the falling,
Speaker 2: he's revealed that he, just like anybody else, wants to
Speaker 2: be happy. And I think that that's that's the universal
Speaker 2: truth of love.
Speaker 1: Right absolutely. And one more thing that they do, which
Speaker 1: Reburina does before we wrap up, and I'll just quickly
Speaker 1: take you through Roberina's extraordinary run is most most films
Speaker 1: come up with conceits to keep the characters together. This
Speaker 1: does the opposite. This separates them. You know, for the
Speaker 1: first half hour the film that they're being separated and
Speaker 1: coming back together, which is a really lovely device and
Speaker 1: it's quite a unique device. All right, before I let
Speaker 1: you go and thank you so much. This as this
Speaker 1: this podcast comes with homework, and I do appreciate you
Speaker 1: taking the time.
Speaker 2: I absolutely loved it. It's you know, it's it was
Speaker 2: an invitation for me to just ship. And there have
Speaker 2: been I've been so busy lately that I haven't had
Speaker 2: I haven't had the time. I haven't been able to
Speaker 2: justify just being able to sit down and watch something.
Speaker 2: So it's really lovely just to be able to watch
Speaker 2: something and not have devices nearby, but just immerse yourself
Speaker 2: in it. And I think that that's a lovely invitation
Speaker 2: that you give your guests to be able to do that.
Speaker 1: So thank you, oh thank you. And your your ability
Speaker 1: on Martyschef to to articulate something you have just seen
Speaker 1: is like and in a compassionate manner, but also you
Speaker 1: know it's it's a critique, so you're giving feedback. I
Speaker 1: think it's extraordinary and you were such a bout of
Speaker 1: fresh air on a strange television and more will be
Speaker 1: seeing you for many many years to come, absolutely no doubt.
Speaker 1: But to go back to Rob Ryiner, so This is
Speaker 1: if you're looking for films to also check out if
Speaker 1: you haven't seen them. He so. Rob Ryaner is an
Speaker 1: American child actor in All of the Family Showed. It
Speaker 1: was much bigger in the States than it was here
Speaker 1: in Australia. But his father's Carl Reiner, who is a legend,
Speaker 1: works a lot with mel Brooks, an absolute legend like
Speaker 1: one seventeen Emmys, heaps of awards. Rob Ryaner kind of
Speaker 1: adored his father, Laudaaliz's father. Kind of even being you know,
Speaker 1: an actor in one of the big biggest TV shows
Speaker 1: at the time wasn't enough. He kind of wanted to
Speaker 1: impress his dad and make him proud of him. So
Speaker 1: he decides to go into directing and this is how
Speaker 1: he does it. His debut film is one of the
Speaker 1: quintessential comedy is one of the most groundbreaking comedies a comedy.
Speaker 1: This is in This is Spinal Tap in nine and
Speaker 1: eighty four. There'll be in that No, There'll be no
Speaker 1: Waiting for Guffman and Best in Show without Spinal Tap.
Speaker 1: The influence of that film is extraordinary. It follows up
Speaker 1: with a lovely film which I watched when it came out,
Speaker 1: called The Sure Thing with John Cusack. It's a lovely
Speaker 1: little film. Check that out stand by Me in nineteen
Speaker 1: eighty six, extraordinary, The Princess Bride in eighty seven, and
Speaker 1: then when Harry met Sally in eighty nine. Now that's
Speaker 1: an extraordinary run of comedy films. Then it decides to
Speaker 1: diversify a bit. He makes Misery in nineteen ninety with
Speaker 1: Kathy Bates and James Kahn, an extraordinary film from that genius.
Speaker 1: I love that film of Stephen King book makes it
Speaker 1: changes again. In ninety two he makes a Few Good
Speaker 1: Men with Tom Cruise and Jack Nicholson off an Aaron
Speaker 1: Sorkin screenplay, and that is a great courtroom drama. I
Speaker 1: watch it. I've watched that film many many times, and
Speaker 1: it's a very easy film to watch. Then he makes
Speaker 1: a film Good North, which doesn't go as well. It's
Speaker 1: got Bruce willis a big ensemble cast. He makes a
Speaker 1: film which I just wanted to give a shout out
Speaker 1: to because it gets played in our house a lot.
Speaker 1: If you look for a romance film with some comedy
Speaker 1: and written by Aaron sork And, it's almost like a
Speaker 1: precursor to the West Wing. The American President is Michael Douglas.
Speaker 1: And The net Bear is really smart. It's got some
Speaker 1: weird things in it, like talking about fossil fuels and
Speaker 1: gun control like way back in nineteen.
Speaker 2: Ninety four, very foreshadowy stuff.
Speaker 1: It really is and it's worth a look at. But
Speaker 1: Rob Ryan I think deserves I'm not sure again, it's
Speaker 1: hard sometimes to know if anyone's underrated, but he deserves.
Speaker 1: Sometimes when people make commercial hits, they don't get the
Speaker 1: same kulos as a director that maybe you know the
Speaker 1: Cauren Brothers or Wes Anderson, but Rob Ryaner that is
Speaker 1: right at the top of directors for me.
Speaker 2: Yeah, absolutely. I mean, you think about that, if you'd made,
Speaker 2: if any everyone would have made one of those films,
Speaker 2: you'd be able to live your life knowing you made
Speaker 2: something really awesome. But to you know, to listen to
Speaker 2: it back like that and think about all of that
Speaker 2: work and how much it's you know, there are infinite
Speaker 2: quotes from those movies that if you'd never seen the film,
Speaker 2: you would have heard. You know, you want the truth,
Speaker 2: you can't handle the truth, or you know, whatever it
Speaker 2: happens to be. It's that contribution to popular culture into
Speaker 2: the zeitgeist is. It's pretty exceptional stuff.
Speaker 1: Yeah, absolutely, Rob Ryana, if you're listening, we love you.
Speaker 1: Come on the show one day, why not listen. Thank
Speaker 1: you so much once again. I know again it takes
Speaker 1: homework and we can't wait to see you again. Hopefully
Speaker 1: get a little break and then you again on mauch
Speaker 1: Chef this celebrity edition, Celebrity mass Chief coming up.
Speaker 2: Yes, yeah, absolutely, I think October.
Speaker 1: Thank you so much, Thank you.
Speaker 5: What does the song mean my whole life?
Speaker 9: I don't know what the song means. I mean, should
Speaker 9: all the acquaintance be forgotten?
Speaker 5: Does that mean that we should forget.
Speaker 2: All the acquaintances?
Speaker 9: Doesn't mean that if we haven't to forget them, we
Speaker 9: should remember them, which is not possible because we've already
Speaker 9: forgot them.
Speaker 2: Well, maybe it just means that we should remember that
Speaker 2: we forgot them or something.
Speaker 7: Anyway, it's about old friends.
Speaker 1: Odd Lang sign. We hear it again. We spoke about
Speaker 1: it in an early episode. It's a Wonderful life with
Speaker 1: Brodan Kelly. It makes me emotionally every time I hear it.
Speaker 1: I think I love it. I love that movie. Rob Ryaner,
Speaker 1: well done and well done to everyone involved. A lot
Speaker 1: of point at that. Barry Sononfield was a dop on
Speaker 1: this movie. The director of photography you might know that name.
Speaker 1: So Barry Stenfield had doped the Coen Brothers early films
Speaker 1: Blood Simple, Raising Arizona. Then he did Throw Number off
Speaker 1: the Train where he met Billy Crystal, did big with
Speaker 1: Penny Marshall, Rob Briner's ex wife. Then he did when
Speaker 1: when Harry met Sally. Then he makes Miller's Crossing a Misery,
Speaker 1: another co Brothers film, and another rob Riyana film, and
Speaker 1: then he goes into the miseries. At the last film
Speaker 1: he d ops. He goes on to the direct Adam's
Speaker 1: Family and Adam Adam Family Values, which are highly regarded films,
Speaker 1: Get Shorty. The one he's known for, though, is the
Speaker 1: Many Black series. He directs the Many Black series and
Speaker 1: more recently, in fact, right now he's directing episodes of
Speaker 1: Schmiger Dooon, which you can see on Apple TV. But
Speaker 1: a great contribution to this film, as did, of course,
Speaker 1: Harry Knick Jr. Who was Blood. He was huge around
Speaker 1: his time. Wasn't he direct You remember Harry Cokonck Jr.
Speaker 6: Yeah, big time? Didn't We all just love him. All
Speaker 6: the ladies loved him.
Speaker 1: He was really big because he was like Michael Bublay
Speaker 1: before Boublay, and it was was you know, it was,
Speaker 1: it was huge. Probably the last thing he was really
Speaker 1: known for, probably here in Australia, was appearing on Red
Speaker 1: Faces and Hey Hayes Saturday when he caught out the
Speaker 1: Jackson the Jackson give for their pretty horrendous black face
Speaker 1: sketch on on Red Faces. But yeah, I always seemed
Speaker 1: like a really cool guy. Harry Conck Jr. I'm not
Speaker 1: really sure what he's up to now. He got into
Speaker 1: some acting. He made a movie called Copycat where he
Speaker 1: played a serial killer and I'm not sure how that went,
Speaker 1: but yeah, obviously plays a big part in this movie.
Speaker 1: There's one other fun fact I wanted to point out.
Speaker 1: Tom Hanks was scoff for the role of Harry in
Speaker 1: this film. I thought it was too lightweight. Funnily enough,
Speaker 1: he wouldn't go on and make slips in Seattle and
Speaker 1: You've Got Mail with Meg Ryan arguably two films that
Speaker 1: are more lightweight than Where Harry Met Sally. And also
Speaker 1: one more quick fast fact. Joe, who Sally hooks up
Speaker 1: with at the Airport's going out with He's played by
Speaker 1: Stephen Ford, who is the son of former US President
Speaker 1: Gerard Ford. There you goo. Actually a lot of the
Speaker 1: fun facts were thrown into the discussion. How good is
Speaker 1: Melissily Young by the way, Derek, how good? I mean?
Speaker 1: She has been such a breath of fresh air on
Speaker 1: Austraine television last the most that job had so much
Speaker 1: pressure on it. It was a massive franchise, you know.
Speaker 1: It meant a lot the network and that production company
Speaker 1: to keep that show going, you know, to walk in
Speaker 1: and to not only do a great job, I think,
Speaker 1: to elevate the job, to be honest, and I think
Speaker 1: she's been just stunning in it.
Speaker 6: I think she's amazing. I think they all are. I
Speaker 6: had another look at Master Chef, you know, I got
Speaker 6: word that they had a new set of judges on
Speaker 6: and I had a look and I was absolutely blown
Speaker 6: away by the just that warm feeling, like the other
Speaker 6: one was when I first started. Everyone watched it, didn't
Speaker 6: they Everyone in the country watched it, but people like
Speaker 6: me that don't really cook much. It really just adds anxiety.
Speaker 6: Oh god, why would you cook? It looked frightening, you know,
Speaker 6: But the support I really really really been enjoying it,
Speaker 6: and I think they're doing it. It reminds me of Akadaca
Speaker 6: in a way, you know, with Bond Scott and then
Speaker 6: yes they replaced him and came out with Back in Black,
Speaker 6: which to me is one of the best Australian albums
Speaker 6: ever made.
Speaker 1: I I you said this round your Acadaca, I was like,
Speaker 1: where are you going with this? The Bond Scott into
Speaker 1: Brian Johnson is a very good comparison. So well played,
Speaker 1: well played. Derek Yasny podcast at gmail dot com is
Speaker 1: where we would love you to send all your emails
Speaker 1: questions that you have. I'm going to or so ask
Speaker 1: you to if you can. If you love the show
Speaker 1: the podcast, we it's just Derek and myself running the show,
Speaker 1: so any help we're really grateful for. So you can
Speaker 1: do that by one subscribing to the podcast, telling your
Speaker 1: friends about it, but also getting on iTunes leaving a
Speaker 1: review on iTunes, rating it we recommend five stars. That
Speaker 1: helps us keep us keep our algorithm nice and busy
Speaker 1: and yeah, just just keeping the word out. Become feel
Speaker 1: free to become an ambassador for the show. The bigger
Speaker 1: the show gets and it's you know, we're stunted at
Speaker 1: the amount of people who are listening. But even you know,
Speaker 1: the guests. You know we can look at you know,
Speaker 1: international guests and stuff like that doing live shows. You know,
Speaker 1: had the confidence of doing that kind of stuff. So yeah,
Speaker 1: but thank you for listening. We'd love everyone when we
Speaker 1: hear from you at Yesney podcast at gmail dot com. Okay,
Speaker 1: I really enjoyed that episode. Got a lot of time
Speaker 1: from Melissa and a lot of time for that movie.
Speaker 1: So next week on the show, we have a we
Speaker 1: have a great made of mind. I'm really excited to
Speaker 1: have Justin Hamilton. He is a comedian who was raised
Speaker 1: and lived in Adelaide, moved to Melbourne as as an
Speaker 1: adult when his comedy career was taking off, and now
Speaker 1: lives in Sydney's He's a journeyman, but he is one
Speaker 1: of my favorite people. He's not my favorite person to
Speaker 1: speak about movies with and all pop cultural things. He
Speaker 1: has a great podcast called The Big Squid Podcast all
Speaker 1: kinds of podcasts, music, movies, TV shows, comic graphic comics.
Speaker 1: So it's check that out and next week we'll be
Speaker 1: discussing we've had been in the eighties to the last
Speaker 1: few weeks. We're going to go back a little bit further.
Speaker 1: We're going back to nineteen seventy one for the Gene
Speaker 1: Hackman Roy Scheider cop classic from William Freakin. It is
Speaker 1: the French Connection. It is a riveting ride. That'll be
Speaker 1: next week and you ain't seen nothing yet with my
Speaker 1: great mate Justin Hamblon until then. Bive an out and
Speaker 1: so we leave all Pete save fan sal and to
Speaker 1: our friends of the radio audience, we've been a pleasant
Speaker 1: a time.