Speaker 1: Good day, Peter Helly here, welcome to you Ain't Seen
Speaker 1: Nothing Yet? The Movie Podcast, where our check to a
Speaker 1: movie lover about a classic or beloved movie they haven't
Speaker 1: quite got around to watching until now. And today's guest
Speaker 1: Tony Armstrong.
Speaker 2: You ever dance with the Devil in the vale Light?
Speaker 3: I'm walking here, I'm walking here.
Speaker 2: Of all the gin joints in all the towns in
Speaker 2: all the world, she walks in the mine, but happening
Speaker 2: right now.
Speaker 4: You ain't seen nothing here?
Speaker 1: Where do we start with Tony Armstrong? Well, he played
Speaker 1: some AFL footy for the La Crows, Sydney Swan's and Collingwood,
Speaker 1: but it's been his more recent foray into the media
Speaker 1: where Tony has been turning heads with a smile that
Speaker 1: could light up the mcg. Tony is the host of
Speaker 1: indigenous AFL footy program The Brilliant Yucky, a collaboration between
Speaker 1: NITV and the AFL. Tony brings joy to mornings on
Speaker 1: ABC Breakfast with his sports report and has been joining
Speaker 1: us recently on the project where our audience are falling
Speaker 1: for him big time and the crew and carts are
Speaker 1: getting pretty smitten with him as well. Tony Armstrong delivers
Speaker 1: bad news segments on the weekly with Charlie Pickering. Also bloody,
Speaker 1: hilarious and I've got to say rather central. Tony is joyous,
Speaker 1: fun smart, funny and one of the biggest breaths of
Speaker 1: fresh air on Ossie TV in recent time. And I'm
Speaker 1: bloody stroke they have him as my guest today.
Speaker 3: Today, I'm Tony Armstrong.
Speaker 5: My three favorite films are Batman Begins.
Speaker 2: You're Just an Ordinary Man?
Speaker 3: And Keep ex Machina? Could you Program her to Flirt
Speaker 3: with Me? And Inception?
Speaker 4: Think about It?
Speaker 2: Ariadne, How did you get here? Where are you right now?
Speaker 5: But up until only recently there was a film that
Speaker 5: had really been sticking out as one that I hadn't seen.
Speaker 5: I'm a big fan of science fiction, and it's perhaps
Speaker 5: the og science fiction film two thousand and one, A
Speaker 5: Space Odyssey.
Speaker 1: Yes you ain't seen nothing yet, fan Zach Grubrickery in
Speaker 1: the venture continues as Stanley heads into outer space via
Speaker 1: the Dawn of Time, where apes have a territory war
Speaker 1: over a dirty puddle at least a year before Neil
Speaker 1: and Buzz walked on the Moon. In collaboration with writer
Speaker 1: Arthur C. Clark, two thousand and one of Space Odyssey
Speaker 1: is a film you need to create time for. It's
Speaker 1: a majestic third I think piece. It's evocaty of imagery
Speaker 1: will either entrance you or have you looking at your watch.
Speaker 1: Arthur C. Clark once said, if you understood two thousand
Speaker 1: and one, then we have failed. We wanted to raise
Speaker 1: more questions than we answered. On that note, it is
Speaker 1: a bloody triumph. Questions about our origins, the future, technology, philosophy, AI, humanity,
Speaker 1: and how do you take it dub in zero gravity exactly.
Speaker 1: It's time to kick off your grip shoes and let
Speaker 1: Held nine thousand guide you through. Tony Armstrong, be honest,
Speaker 1: did you wonder if your TV was broken for the
Speaker 1: first two minutes of this film?
Speaker 3: I mean, I'd no idea what I was watching it.
Speaker 3: At the start, I was like, this is this heat?
Speaker 3: It was pretty weird?
Speaker 4: Was it?
Speaker 3: Like?
Speaker 1: I paused it to see because I thought this audio
Speaker 1: is coming through. You got that black still with this
Speaker 1: orchestral music, which is amazing, and you're wondering. After a while,
Speaker 1: you're wondering, Okay, hang on, this is going on for
Speaker 1: a bit. Do you is something wrong with my TV?
Speaker 3: I've actually got a confession to make.
Speaker 5: So got on one of the streamers to watch it.
Speaker 5: Boarded off one of the streamers Amazon Prime, like, so
Speaker 5: rented it for a month and started playing it. And
Speaker 5: I'm sat there with my house mate David, and we're
Speaker 5: watching it and we stuffed up the audio ever so slightly,
Speaker 5: like it wasn't an obvious stuff up, but it was.
Speaker 5: It was basically it was describing everything that you could
Speaker 5: see at the start, so you know, like the space
Speaker 5: and it's and it's a you know, and it's a
Speaker 5: look into the void and there's nothing to see here.
Speaker 5: And I was like, oh wow, maybe like this is
Speaker 5: so meta that it's like telling me what I'm watching
Speaker 5: and I'm going to have a and then it's.
Speaker 1: Like having a golf commentation. It was, agree is going now,
Speaker 1: we're going in out of space. Second, it was seven
Speaker 1: would by the way, and we and we kind of
Speaker 1: looked at each other after five minutes, you know, after
Speaker 1: you kind of.
Speaker 3: You get to the ape spit and we're like, no,
Speaker 3: this can't be right.
Speaker 5: Right, So we fiddled around with the audio and I
Speaker 5: mean it was a bit of it. Well at least
Speaker 5: it made us think that we were watching the right thing. Yeah,
Speaker 5: because if I didn't have that, I would have thought
Speaker 5: I was I'd taken a wrong turn somewhere, all right.
Speaker 1: So I I thought for I think a few years
Speaker 1: that I had seen this film. I just kind of
Speaker 1: and I but I didn't really have many thoughts on it,
Speaker 1: which should have been the biggest indicator that I have
Speaker 1: not seen this film. So what I think though, because
Speaker 1: certain images and scenes I had seen. So what I
Speaker 1: think has happened is at some point when I was younger,
Speaker 1: I walked in on this film being played as it
Speaker 1: was playing and saw a certain section of it because
Speaker 1: I had no idea about that start the dawn of
Speaker 1: Man's stage with the with the Apes, I like, that
Speaker 1: was like, is this what's going on here? Amazingly, this
Speaker 1: is released the same year as Planet of the Apes,
Speaker 1: so if you're working on Planet of the Apes, you
Speaker 1: might be thinking, what the hell's care doing? It doesn't
Speaker 1: need that?
Speaker 3: Is a space movie that I mean it was. And
Speaker 3: then and then watching that at the start, you know,
Speaker 3: the apes were like like they're just with the bones
Speaker 3: and they touched the monolith.
Speaker 5: Yeah, and then and then it gives them this kind
Speaker 5: of divine intervention whatever you might call it. To start,
Speaker 5: I guess the weapon age or the age of tools. Yeah,
Speaker 5: and then it's pretty brutal. You see them, you know,
Speaker 5: belt the other ape and I'm like, oh my, what,
Speaker 5: Like where's space here?
Speaker 3: Like, I mean, get me on a.
Speaker 5: Ship as I want to see Where's Yeah, I mean,
Speaker 5: I'm happy for that crossover to happen. But like I
Speaker 5: was so confused, and then clearly the movie goes on.
Speaker 5: But I got to the end of it and I
Speaker 5: had no idea really, Like I had a few ideas
Speaker 5: as to what I'd watched, Like I loved a lot
Speaker 5: of it, but I.
Speaker 3: Mean, as as you said, Clark.
Speaker 1: Was it who Yeah, I have to see Clark so
Speaker 1: interestingly and move on before we get too deep into this.
Speaker 1: But arth to see Clark. This was interesting. They actually
Speaker 1: collaborated on this, and there's one of the rare instances
Speaker 1: where a film was being developed at the same time
Speaker 1: as a book. So the art see Clark kind of
Speaker 1: took care of the book, but they kind of worked together,
Speaker 1: which is an amazing way of doing it.
Speaker 5: That is, because obviously it's always not obviously normally it's
Speaker 5: the book. Then the movie and then everyone complains because
Speaker 5: the book, I mean sorry, because the movie just never
Speaker 5: goes in it as much depth as the book. Well,
Speaker 5: this this went into so much depth. I didn't know
Speaker 5: where I was. I didn't know how deep I was.
Speaker 1: Yeah, well, we'll go even deeper possible. We'll keep a
Speaker 1: shallow when we come back and speak about two thousand
Speaker 1: and one of Space. Obnestly, I think I told you
Speaker 1: that this is like the fourth It's the fourth Kubrick
Speaker 1: film we have done. One of the very early episodes
Speaker 1: of this podcasting series. One was a clock Ork Arrange
Speaker 1: with Christopher part What a film. Amazing. Then we've done
Speaker 1: The Shining last week with Tommy Dassolo, and the week
Speaker 1: before is that three he might be three in might
Speaker 1: we might have wedged one in between. Lisa Mchin did
Speaker 1: Full Metal Jacket. So we are on a Kubrick bent
Speaker 1: to the point where somebody else nominated Doctor Strange Love
Speaker 1: for an episode coming up, and I said, I'm not sorry, sorry,
Speaker 1: I need I need a break, and I finally have
Speaker 1: had watched it recently, but I thought, with this, I
Speaker 1: think the audience needs a break, So I'm sure we'll
Speaker 1: do Doctor Strangelove down a track. But let's get into
Speaker 1: your three favorite films. Let's start with Batman Begins. Why
Speaker 1: Batman begins? Over all the Dark Knight, because that's Dark
Speaker 1: Knight's come up a few times. Batman eighty nine has
Speaker 1: come up before. Why why Batman begins?
Speaker 5: Well, So, for me, what I loved about it A
Speaker 5: I was at the perfect time age wise for a
Speaker 5: film like that to come out. Loved superheroes, loved Batman
Speaker 5: rather than Suman.
Speaker 3: I find a lot of people of Batman vs. Superman.
Speaker 5: Yeah, I am huge Batman fan. I was fifteen sixteen
Speaker 5: when it came out, so just at the right age
Speaker 5: to get right around a big action film, but also
Speaker 5: redefined at the super the superhero genre.
Speaker 3: So it was the first.
Speaker 5: One that really went dark. Yeah, yeah, you know before
Speaker 5: that was like pow.
Speaker 3: Because that KaBlam, you know it.
Speaker 1: But this was well, it's interesting to say that because
Speaker 1: I was I was in the hitting zone when Batman
Speaker 1: was called Batman eighty nine, it was called Batman. Yeah.
Speaker 1: Michael Michael ketchaelgagh Keaton was an extent as Joker. Yeah,
Speaker 1: and that that felt dark like that was that that
Speaker 1: felt for me the first time it was like, oh,
Speaker 1: you like this is taking superheroes seriously and getting a
Speaker 1: bit darker. And then the the more that series went along,
Speaker 1: that when Joel Schumacher kind of took over. I think
Speaker 1: he had one film that kind of was still dark,
Speaker 1: but then it got a bit kind of.
Speaker 3: Was that when he was Forever.
Speaker 1: Yes, I forget the the order of it as Batman
Speaker 1: Batman Returns.
Speaker 5: It was Batman, Batman Returns, then Batman Forever.
Speaker 1: And then Batman and Robin Yes, the Clooney, Yes, Chris O'Donnell.
Speaker 1: So by that stage, I think by the third film,
Speaker 1: I think the Batman Returns, they got away with it
Speaker 1: and then it became a bit almost camp.
Speaker 3: Yeah, no it did.
Speaker 5: Yeah, so the one with like Clooney and whoever played Yeah,
Speaker 5: yeah O'Donnell, who played who played Robin?
Speaker 3: Like it was like a departure from reality, you know.
Speaker 5: And and and I think as much of a stretch
Speaker 5: as it is that a guy dresses up as a
Speaker 5: bat and runs around and fites crime, and of course
Speaker 5: that's ridiculous, it needs to be grounded in a real
Speaker 5: truth and a real reality. And I and that's what
Speaker 5: I found with Batman begins like you could you could
Speaker 5: actually believe this character again apart from the like being
Speaker 5: a billionaire or like all the stuff that is so obvious,
Speaker 5: but it was really really dark. It didn't really show
Speaker 5: him winning too much. He had his huge flaws. He
Speaker 5: was failing as in his relationships. So that was what
Speaker 5: I really really liked. I found the ones before it
Speaker 5: basically he was perfect. Yeah, yeah, you know, and the
Speaker 5: whole crux of Batman is he is actually really really flawed,
Speaker 5: deeply flawed, deeply troubled, deeply unwell guy. So yeah, and
Speaker 5: obviously it was just the perfect sweet spot for me.
Speaker 5: And then I found I felt like, I love the
Speaker 5: other two, but just for me, that will just it
Speaker 5: probably elevates itself with the level of nostalgia I have
Speaker 5: towards it.
Speaker 1: And yeah, it got in first. I was like, oh wow,
Speaker 1: this is.
Speaker 5: We can do this. And now, even though the other
Speaker 5: two some people like more, I think the critically acclaimed
Speaker 5: one is Dark Knight yep, a Dark Knight where Heath
Speaker 5: Ledger of course posthumously won an Oscar. Yeah, so that
Speaker 5: one's obviously probably the most critically acclaimed one.
Speaker 3: But for me, it's Batman Begins Yep.
Speaker 1: Excellent, ex Machina is amazing, amazing film Seener.
Speaker 3: Yeah, what a film that is?
Speaker 4: It?
Speaker 3: Basically it plays plays.
Speaker 5: On the Turing test, which is, you know, the I guess,
Speaker 5: the final test of artificial intelligence, just to see if
Speaker 5: the machine can actually think for itself. And like the
Speaker 5: way that that's done is set set with this tech
Speaker 5: wizard who lives in the middle of in the middle
Speaker 5: of some sort of forest somewhere and this and this
Speaker 5: guy wins a prize off the back of being a
Speaker 5: genius within a robotics company and ends up basically being
Speaker 5: a human Turing test for this And it's just the
Speaker 5: questions that it makes you ask yourself about, like manipulation
Speaker 5: and you know what machines are doing to what machines
Speaker 5: are already doing to us We know machines. And the
Speaker 5: one that I think we all go to straight away
Speaker 5: is our phone and social media.
Speaker 3: Like we straightaways we know that that it's that it's.
Speaker 5: Influencing our behaviors, our thought patterns, the way we the
Speaker 5: way we act, the way we think. But then to
Speaker 5: kind of see it played out like that through the
Speaker 5: lens of this obvious robot who is still like weirdly
Speaker 5: beautiful it's it's it's it's so strange.
Speaker 1: It's Alicia for Canada. It's the first time I think
Speaker 1: I've even seen her on screens around an Oscar a
Speaker 1: couple of years later.
Speaker 5: But yeah, yeah, and and and just watching that, and
Speaker 5: watching his descent, and and and the way that she manipulates.
Speaker 3: The lead character, the Redhead fell I forgotten his name.
Speaker 1: He's the Dominal Glease. I think it's dominall. So he's
Speaker 1: he was in the recent Star Wars films, and he's
Speaker 1: the son of Brennan Gleason.
Speaker 3: He's also in He's also in an episode of Black Mirror, and.
Speaker 1: All the English actors are Yeah, I know, right, I
Speaker 1: take a ticket.
Speaker 5: But yeah, and and and just watching the way she
Speaker 5: pits him against against I guess the crazy tech billionaire.
Speaker 3: He's so brilliant and scary and captivating.
Speaker 1: I love films, And obviously two thousand and one of
Speaker 1: Space Obyusly is a big influence on X MAC And
Speaker 1: you know, obviously with all the always I guess the
Speaker 1: AI stuff. But I love films, science fiction films that
Speaker 1: are set closer to Earth, you know, like that that
Speaker 1: are kind of almost happening on Earth. Arrival I sure
Speaker 1: he's yeah yeah with Amy Adams and that's that's a
Speaker 1: brilliant simple film. But but is about so many massive things
Speaker 1: and like and Arrive, like.
Speaker 3: The tent, the kind of tension like what would you do?
Speaker 5: Yeah, yes, yeah shit, yeah, I'm not going in there.
Speaker 1: The simple bravery that character shows, yeah, is stunning. And
Speaker 1: you know, you can show bravery so many different ways,
Speaker 1: and where we see often where it's so obvious that
Speaker 1: they're being brave because they're going into a burning building,
Speaker 1: or they're taking on a massive monster, you know, but
Speaker 1: it's a subtle bullets fly, but it's exactly But in Arrival,
Speaker 1: that's a beautiful depiction of bravery.
Speaker 3: Yeah, you're exactly right.
Speaker 5: And I think as well with sci fi stuff, I
Speaker 5: like being freaked out, but it a bit in terms
Speaker 5: of I love getting existential dread. I also love like
Speaker 5: getting over thatesistential dread very fast after I've got it,
Speaker 5: But when it first comes, I'm like whoa, yeah, like
Speaker 5: who knows what's going to happen? And you know, it's
Speaker 5: not a not a movie. But I've already I've already
Speaker 5: mentioned it. Black Mirror, all of the Black Mirror stuff
Speaker 5: is so so fantastic because it does that you can
Speaker 5: see so simply and.
Speaker 3: So close to where we are, how this stuff can happen.
Speaker 1: I really admire people who can project. I mean, it's
Speaker 1: fun to take the piss out of futurists. Yeah, yeah, yeah,
Speaker 1: I get a real job. But you know, you know
Speaker 1: there's another way for that, guesser, But I want that kick,
Speaker 1: Yeah exactly, Yeah, I got putting your foot tips in.
Speaker 1: But I I admire anyone who can see the trends
Speaker 1: of where we're heading and kind of see how that
Speaker 1: will affect us ten years, twenty years, and even now
Speaker 1: in ways that we don't even know. I remember a
Speaker 1: friend of mine, Richard marsln sayly no longer with us,
Speaker 1: but he when he was very reluctant to have a
Speaker 1: mobile phone, and you know, kept it. He's really simple
Speaker 1: and he's I've been telling you, is the first person
Speaker 1: who put this idea in my head that's going this
Speaker 1: is a tracking device, and I'm like, mate, it's not
Speaker 1: a tracking device.
Speaker 3: Gets the tinpoil hat off your head.
Speaker 1: It's a telephone, mate, You call it, you use it
Speaker 1: to call me, and uh and you know it is
Speaker 1: like you know, it's yes, it is also a phone.
Speaker 1: It's also a camera, but you know these are my phone.
Speaker 3: It knows where we are?
Speaker 1: Is it where we are?
Speaker 4: You know?
Speaker 3: I don't know if you've ever.
Speaker 5: Seen the clip of David Bowie when the Internet first
Speaker 5: comes out and he's in an MTV interview and someone's going, oh,
Speaker 5: it's just another way of you know, trans transmitting information,
Speaker 5: and David is like, no, it's going to completely change
Speaker 5: the way we deliver information, the way we receive information.
Speaker 3: It's going to change all of our art mediums.
Speaker 5: It's he basically everything that he said in this in
Speaker 5: this clip, it goes for about a minute.
Speaker 3: And a half. He's like, no wonder, Like no wonder.
Speaker 5: David Bowie was able to do everything that he did
Speaker 5: in so many different art art forms because it was
Speaker 5: like he'd been to twenty twenty one and then and
Speaker 5: this interview would have been the mid nineties. It just
Speaker 5: and exactly to your point, but just on the guesses,
Speaker 5: do you know the other gig? I really want, you know,
Speaker 5: the feels like Guy for Weather.
Speaker 1: Ten twenty seven, but it feels like twenty six. Yeah,
Speaker 1: I don't understand.
Speaker 3: It feels like the other one. The pressure gauge in footage.
Speaker 1: I don't know how are they measuring that to eighty six?
Speaker 1: That's through the roof.
Speaker 3: That's good, I think, because there's red underneath it.
Speaker 1: Let's go to inception. We'll stay on the science fiction.
Speaker 1: I mean this, I remember seeing this in the cinema.
Speaker 1: In fact, I saw it before I got to see
Speaker 1: a previous I knew very little outside of it being
Speaker 1: Christopher Nolan and an amazing cast. But bloody hell, it
Speaker 1: is so good.
Speaker 5: I mean, what a great idea of you know, each
Speaker 5: like the layers of dreams and each dream you go down,
Speaker 5: time gets slower. And then the idea that you can
Speaker 5: put yourself into someone else's dream and then influence their
Speaker 5: thinking by making them bye, by conceivingly making them think
Speaker 5: that they've come up with a thought of their own volition. Yeah, brilliant,
Speaker 5: And then turning that into an action film. Yeah, and
Speaker 5: then being able to have levels of so basically you've
Speaker 5: got different levels of action sequences that are that are
Speaker 5: all within the same or within the same film, so
Speaker 5: you could like you could go anywhere. You know, they
Speaker 5: end up in the snow, whereas like at the very
Speaker 5: highest level, they're on a they're on a seven four
Speaker 5: seven from I think. I think it's La to Australia
Speaker 5: to Sydney.
Speaker 1: I thought I'm going through the island and lost, but
Speaker 1: maybe I miss maybe.
Speaker 5: I was like, no, no, no, that was two thousand
Speaker 5: and one.
Speaker 1: We'll get to that. So when you're watching a film
Speaker 1: like Inception, how important is it? How do you watch it?
Speaker 1: Are you trying to work it out? Or on first viewing?
Speaker 1: Do you come to understand it the more you watch it?
Speaker 1: Because I tend to watch those films like like that.
Speaker 1: Inception is a great example. You explained it then better
Speaker 1: than I ever could. But I watched it as almost
Speaker 1: a heist movie.
Speaker 3: Well it is.
Speaker 1: Exactly, and that's how I enjoyed it as a heist movie.
Speaker 1: I'm sure there are things that happen in the Inception
Speaker 1: that I don't understand, and I'm sure even the ending,
Speaker 1: I'm still just anyone know that. Well that's and we'll
Speaker 1: certainly get to that with two thousand and one. The
Speaker 1: idea of of do we have to know everything that
Speaker 1: happens in a movie? Sometimes people get frustrated with like
Speaker 1: not having it all tied up.
Speaker 3: I love it.
Speaker 1: Yeah, Yeah, I think there are ways of doing it
Speaker 1: where it really works. And I think itsception is a
Speaker 1: really good example of that seen movie Jim Jimmish movie
Speaker 1: with Bill Murray called Broken Flowers, and it was I
Speaker 1: really enjoyed that film, and he was about Bill Murray
Speaker 1: played a guy and he's going around to various I
Speaker 1: think X ex girlfriends of his and uh, I forget,
Speaker 1: I've only saent little once because the ending frustrated me.
Speaker 1: And and he I forget why he's going around to
Speaker 1: all of them, but he's and it's enjoyable. It's like
Speaker 1: watching these conversations between people, you know, Bill Murray's moving
Speaker 1: through his history with these people and he and then
Speaker 1: this ends with him the camera kind of he's in
Speaker 1: the middle of the street with I think, holding some
Speaker 1: flowers and the camera's kind of going around him, around him,
Speaker 1: and he's looking around and we're not I forget what
Speaker 1: he's what he's supposed to be looking for. And this
Speaker 1: goes around and that stops, and it's like, ah, I
Speaker 1: was not expecting the movie to end there, not like
Speaker 1: I still thought that there was more to come. And
Speaker 1: then I'm not sure exactly what that It felt like
Speaker 1: you ran out of film as opposed to you know,
Speaker 1: please Hasney at Yasney Podcast at gmail dot com if
Speaker 1: you have an explanation for the ending of Broken Flowers.
Speaker 1: But inception, I think, you know, it works on a
Speaker 1: different level.
Speaker 5: It can leave you with questions without Yeah, you're right.
Speaker 5: I think inception is a great one because it leaves
Speaker 5: you with so many questions, but also it's a perfect
Speaker 5: point to leave it because then you go, well, where
Speaker 5: will we like, at what level were we watching the film, Matt?
Speaker 5: Were we in a dreamscape? Were we in real life?
Speaker 3: Does it matter? Really?
Speaker 5: Like, you know, is he happy enough just going into
Speaker 5: that dreamscape and living there forever?
Speaker 3: Or is it? Or is it true? I mean brilliantly done.
Speaker 5: And you're right, there can be a nice juncture to
Speaker 5: or there can be a really nice point to do
Speaker 5: it where you leave people with questions but they still
Speaker 5: feel like they've got some.
Speaker 3: Form of closure.
Speaker 5: Yeah, and it sounds like that Bill Murray film.
Speaker 3: You're like, Oh, I would have liked to have had
Speaker 3: a few more signposts. Yeah, yeah, just a couple.
Speaker 1: Yeah, there are questions you can have with inception in
Speaker 1: two thousand and one, which I think are really healthy
Speaker 1: and great for discussion. And can enhance your enjoyment of
Speaker 1: the movie. What you don't want to do is a
Speaker 1: question of like what happened there? Like what what you know?
Speaker 1: What you're not giving me enough to kind of go
Speaker 1: on to discuss. Really like the Sopranos, I love the
Speaker 1: end of The Sopranos like this, you know it's it's
Speaker 1: you hear and and you might want to skip ahead
Speaker 1: if you haven't, if you if you plan on watching
Speaker 1: The Sopranos for the first time. But Tony is is
Speaker 1: there waiting at the cafe and all you hear is
Speaker 1: a bell ring and he looks up and you're not
Speaker 1: sure if that's if that's a family member, a friend,
Speaker 1: a colleague, or is it somebody there.
Speaker 3: To do a hit on him exactly?
Speaker 5: And I think the brilliant thing about that is the
Speaker 5: motif the whole way through has been ding. They look
Speaker 5: up like that, You're gone, yeah, but we don't see him,
Speaker 5: like we don't see that. So you watch it and
Speaker 5: you think you know what happens, like I think he dies,
Speaker 5: but I don't know. And I love that. And I
Speaker 5: think us talking about this out loud, because I've never
Speaker 5: really spoken about the end of films that have or
Speaker 5: series that are unresolved.
Speaker 3: I think it's if you can leave it with a
Speaker 3: couple of.
Speaker 5: Paths from that last moment, I think audiences are happy, Yeah,
Speaker 5: because I can see why it's that path. I can
Speaker 5: see why it's that path, or I can see what's
Speaker 5: that path, or I can see what it's that path.
Speaker 5: I don't know, but I can justify each of them.
Speaker 5: So I still feel like I've got closure even though
Speaker 5: I don't know.
Speaker 3: Maybe, yes, well acolutely.
Speaker 1: And the great thing is you might think that Tony
Speaker 1: Soprano gets gets killed in that moment. I might think
Speaker 1: that he doesn't. Neither of us are wrong, Yeah, exactly,
Speaker 1: And then the creator they have changed it is more
Speaker 1: than happy for us to have that. He's not He's
Speaker 1: not asking us necessarily to you know, oh yeah, He's
Speaker 1: probably happy for us to healthily debate what it might mean.
Speaker 1: But and what I love about two thousand and one
Speaker 1: is that. And I was so relieved, and I read
Speaker 1: that quote from Arthur C. Clarke is if you understood
Speaker 1: we have failed, like we wanted to raise more questions.
Speaker 1: And that's what I think cinema can do and TV
Speaker 1: can do it. As well. I mean so many writers
Speaker 1: room where you know, I'm making different kinds of shows
Speaker 1: obviously than what we're talking about, but this idea that
Speaker 1: we need to know exactly the character's intentions all the time.
Speaker 1: It should always you should always be asking. You've always
Speaker 1: got to need to be ahead of your audience, and
Speaker 1: you always need to be having them curious as to
Speaker 1: or you're trying to make them curious. What does what
Speaker 1: does this mean?
Speaker 3: What does that character want?
Speaker 1: Are their intentions, as you know, as as easy as
Speaker 1: believable as what they're suggesting they are, Like, you know,
Speaker 1: you just keep asking questions. You want the audience to
Speaker 1: keep asking questions, because if the audience knows everything, you're
Speaker 1: dead in the water. And I think those kinds of
Speaker 1: endings great.
Speaker 4: Now.
Speaker 1: I'm not saying every show like there's been like that,
Speaker 1: Yeah exactly. There have been some movies and that have
Speaker 1: tied up nicely and they've been really satisfying. I don't
Speaker 1: necessarily prefer one or the other, no, but you know,
Speaker 1: it's it's how well they've done once they've chosen to
Speaker 1: go down a certain path.
Speaker 5: It's I mean, if I was to ever write something
Speaker 5: like this, which there's just no way. I just would
Speaker 5: never be able to get drunk again because people, so
Speaker 5: what are they? I'll tell you, you know, yeah, yeah,
Speaker 5: how would you keep it in?
Speaker 1: You know, like, well, we'll get to the ending of
Speaker 1: what I think Stanley Kubrick might be thinking.
Speaker 5: I just mean, ingenuously, if I wrote a brilliant cliffhanger
Speaker 5: like Inception or The Sopranos, any of these ones where
Speaker 5: you left there, you left there scratching your head, I'd
Speaker 5: be I'd be six drinks away from from from blowing
Speaker 5: the lid.
Speaker 3: Because I think.
Speaker 1: You're right. Because what's interesting is I think the creators,
Speaker 1: you know, and if they say the writers at that
Speaker 1: time they have made up their mind that they want
Speaker 1: the audience to debate for eternity whether Tonyrono got shot
Speaker 1: or not in that in that in that final scene.
Speaker 1: If they say I think Tony got killed in that
Speaker 1: in that last scene, then that becomes facts.
Speaker 3: Like younger, yeah, that is like you, you wrote it.
Speaker 1: You are the creators, so we we we now believe
Speaker 1: that as fact. So you do have to then, you know,
Speaker 1: so do you think they don't know? Like genuine like
Speaker 1: do you genuinely think? And I often think this is
Speaker 1: like the cynic of me goes, well, how can you
Speaker 1: not know? But then but then also maybe they don't.
Speaker 5: Yeah, no, I which would be the only way to
Speaker 5: do it, I think, without spilling the beans somewhere at
Speaker 5: some comic con or.
Speaker 1: Funnily enough, I was thinking about this recently, how I
Speaker 1: think the process of writing, and one of the most
Speaker 1: powerful things about writing is how it can unlock your
Speaker 1: subconscious you know, in ways. I'm not quite sure what
Speaker 1: else can do, but I think that when you write,
Speaker 1: there are times when you're writing and you don't know
Speaker 1: what you've actually really written and what it actually means
Speaker 1: until sometimes it's already it's been made and you kin't think, ah,
Speaker 1: I realize that actually was I was dealing with something.
Speaker 3: So I form a therapy perhaps absolutely absolutely cathartic.
Speaker 1: Yeah, And it doesn't always have to be therapeutic. It
Speaker 1: doesn't always have to be you dealing with but it's
Speaker 1: you exploring something that you decided to explore. So I
Speaker 1: think to even suggest that all creators and or writers
Speaker 1: know exactly what they work, like one hundred percent know
Speaker 1: exactly what that work means is not necessarily true. And
Speaker 1: I suspect Stanley Kubrick has and I think he's embraced it.
Speaker 1: I think he's smart enough to embrace that, you know,
Speaker 1: and kind of go, I don't. I don't really know
Speaker 1: exactly what this means, what this stargate means, what this
Speaker 1: you know, boss Baby at the end means. I think
Speaker 1: I think she was big. I think two thousand and
Speaker 1: one is the prequel the bos Baby.
Speaker 3: I'm pretty sure.
Speaker 1: I'm pretty sure that's where we get to at the end.
Speaker 3: But I.
Speaker 1: Really believe that. I think the reason the Coen Brothers
Speaker 1: are so reluctant to discuss their work in detail is
Speaker 1: I think they work on the same level where it's
Speaker 1: like this is we let us subconscious into our process
Speaker 1: and we embrace it. We don't try to fight it.
Speaker 1: We don't always try to understand everything. How fascinating is
Speaker 1: that when you see something on screen where you kind
Speaker 1: of go, I'm not exactly sure what that meant, but
Speaker 1: it was cool.
Speaker 3: It's cool. Yeah, Yeah, And I think I think that's
Speaker 3: a great.
Speaker 5: Point in that, you know, when you reflect on your
Speaker 5: own life and some and some decisions you make and
Speaker 5: all that kind of thing, because ultimately, I think writing
Speaker 5: you make a decision to write, You make a decision
Speaker 5: to write about something you might not understand as you're saying,
Speaker 5: what the true what the true intention is at the
Speaker 5: very beginning, but on a whim you might think it's
Speaker 5: on a whim, but it probably comes from some deep
Speaker 5: down intention to do it. And geez, like you'd have
Speaker 5: to be so self reflective to understand every single time.
Speaker 5: And then sometimes you know, when you sit down in
Speaker 5: front of the laptop now not necessarily in front of
Speaker 5: a patterm pen and you start tapping away like stuff
Speaker 5: just spills out and it's almost this flow state, right,
Speaker 5: and then you would go back and get, gee, that
Speaker 5: was actually pretty good.
Speaker 3: I don't know why that came out.
Speaker 5: So you would be I think quite naive to think
Speaker 5: that everything is so so so meticulously planned out. And
Speaker 5: then when I think about someone like a Wes Anderson,
Speaker 5: who I think has everything down to you know, like
Speaker 5: the millimeter, everything so planned from the choreography of the
Speaker 5: set means to you know, the tiny little whiskey tumbler
Speaker 5: that might be on a desk in the back, like
Speaker 5: he's like got everything. I still reckon there's happy accidents
Speaker 5: there that he doesn't realize he wanted. Absolutely that he
Speaker 5: didn't realize he wanted in, and then he saw and
Speaker 5: then he saw the happy accident, and then he reversed
Speaker 5: engineered stuff after that.
Speaker 1: Absolutely, And what's really interesting I bet this two thousand
Speaker 1: and one is that Kubrick is famous for nothing being
Speaker 1: like by chance, you know, and the shining we spoke
Speaker 1: about Tommy Dasley last week props in the background, it's
Speaker 1: a furniture, like the design of the architecture of the hotel,
Speaker 1: so many things, and not by a chance. I get
Speaker 1: the impression, even though I know there are things in
Speaker 1: this movie two thousand and one that have been obviously
Speaker 1: thought out to the nth degree. I think I think
Speaker 1: Stanley Kubrick has embraced the idea that he doesn't like,
Speaker 1: like he doesn't necessarily know why these things are happening,
Speaker 1: and he's actually embraced that. So he's almost and I
Speaker 1: might be wrong, but I feel like in a really
Speaker 1: beautiful way, he has relinquished some of that control, even
Speaker 1: though the way he directs is very controlling, to the
Speaker 1: point where I think he pissed off the cinematographer because
Speaker 1: he doesn't he didn't really collaborate, but he has embraced
Speaker 1: the idea that I don't completely understand all this. I
Speaker 1: may have my own you know, philosophies and all that,
Speaker 1: but I'm not. This is just this is you know,
Speaker 1: like a think piece. This is I want people to
Speaker 1: enjoy the evocative imagery of it. I want to enjoy it.
Speaker 1: You know, spaceships were really like at this stage, you know,
Speaker 1: I mean, this is still nine years away from Star Wars,
Speaker 1: you know, to the point, you know, so spacials were
Speaker 1: really fast, you know, like you know, they're really exciting,
Speaker 1: really slowed it down and had these long kind of
Speaker 1: you know.
Speaker 3: Sequences to go for five minutes.
Speaker 5: Yeah, you know of just like a spaceship going from
Speaker 5: the left of screen to the right of screen and
Speaker 5: just slow music.
Speaker 1: And that's why I think that's two minutes of black
Speaker 1: screen at the start with that music is a way
Speaker 1: of informing you, going this we are going to take
Speaker 1: what's coming.
Speaker 3: I had no idea that's where that music came from either, right.
Speaker 5: Yeah, yeah, yeah, you know, like I've heard that elsewhere
Speaker 5: in pop culture, and I just I just assumed I knew, well,
Speaker 5: I actually.
Speaker 3: Is that is that?
Speaker 1: Where is that original score or is that is that
Speaker 1: just classical music? I'm not actually sure. He listens are
Speaker 1: very good Hasney podcast at gmail dot com. Let us
Speaker 1: know if that because I thought the same thing. I thought, oh,
Speaker 1: this is where it comes from, and it maybe is
Speaker 1: where it was popularized.
Speaker 5: Yeah, but it could be a very very old song.
Speaker 5: That's but there was also there was stuff in it
Speaker 5: as well which I thought was so brilliant and just
Speaker 5: such a weird way to do things, and I was, look,
Speaker 5: can get it going? Half the time I was thinking,
Speaker 5: how have you shot this?
Speaker 3: Yes?
Speaker 1: So you know the scene treadmill almost like that where
Speaker 1: he's running.
Speaker 5: Yeah, I watched that without any thought of story. I
Speaker 5: was watching that just trying to, you know, being in
Speaker 5: and around TV now having some idea of shooting techniques
Speaker 5: and that kind of thing going.
Speaker 3: Is it on a runner like like.
Speaker 1: We've never done another maybe seat breakfast?
Speaker 4: Yeah?
Speaker 3: Yeah, I simply don't have the budget.
Speaker 1: Got a green screen that I play around with every
Speaker 1: now and then.
Speaker 5: Yeah, yeah, poorly, Yeah.
Speaker 1: But it's incredible. In fact, the first episode of this podcast,
Speaker 1: Tom Gleeson nominated two thousand and one of his favorite films,
Speaker 1: and one of the things he said when he watched it.
Speaker 1: I think a boarding school was watching it thinking how
Speaker 1: did they do this late? And that I still don't know,
Speaker 1: and I'm not sure that, you know, I haven't had
Speaker 1: time to do it enough deep diving to kind of
Speaker 1: know if there's stuff out there, there's out there, there's
Speaker 1: if if there's yeah, a video showing how they actually
Speaker 1: did it always been explained on.
Speaker 5: Because even one of the scenes where one of I
Speaker 5: guess the space waiters on the plane on the spaceship,
Speaker 5: she's walking along in the in the sticky shoes grip shoes, yeah,
Speaker 5: in the in the in the grip shoes, and then
Speaker 5: she goes she starts going up, but then like inverses
Speaker 5: on herself and then walks and then walks out, and
Speaker 5: you know, obviously there's cut points and.
Speaker 3: Stuff, but you just couldn't you couldn't see any And
Speaker 3: this is what sixty.
Speaker 1: Sixty eight, So this is a year before the moon landing.
Speaker 1: They are still working out like there's still new information
Speaker 1: coming in about the Moon's gravity, so they know a
Speaker 1: fair bit less than what we know now. And that's
Speaker 1: why I think the gravity rules in this movie are
Speaker 1: a little skew. If and I there are times when
Speaker 1: it's like, oh, hang on, why why isn't that floating?
Speaker 1: Or why isn't you know, yeah, why is this floating?
Speaker 3: But not that.
Speaker 1: Yes, yes, I think it's very forgivable, particularly because you know,
Speaker 1: man hadn't landed on the Moon, and I think like,
Speaker 1: in the as I'm making this film, there were some
Speaker 1: things discovered about the Moon's gravity, which may have even
Speaker 1: changed the way they would have done it had the time.
Speaker 1: But that scene, You're absolutely right, when he's running around.
Speaker 3: Is just it's incredible.
Speaker 4: Yeah.
Speaker 5: And one of the other things I was thinking as
Speaker 5: I was watching it, because I had to keep reminding
Speaker 5: myself that it was in sixty eight, I was like,
Speaker 5: I can kind of see why people think the Moon
Speaker 5: landing was fake, if you know, and made in a
Speaker 5: Hollywood basement, you know, like the Chili Pepper's lyric from Californication,
Speaker 5: you know, you know, it's it's like, well, I'm watching
Speaker 5: this movie and it looks like it looks pretty bloody real.
Speaker 5: Now imagine what that looked like in sixty eight.
Speaker 1: I kept on thinking the same thing, It's like, this
Speaker 1: would have been my Like we probably said before about
Speaker 1: other movies, and sometimes we watch movies now it's mind bling.
Speaker 5: But I think Blade Run of twenty forty nine, the
Speaker 5: epicness of some of those, like coming into into the
Speaker 5: post apocalyptic vegas like that kind of you're.
Speaker 1: Like, whoa right, yeah, So watching this in sixty eight though,
Speaker 1: like I mean, it smacked it unbelievable and it looks
Speaker 1: so good, Like it's funny when you take out fashion.
Speaker 1: Fashion is a big like you know, a cup holder
Speaker 1: in a way of going. This is when this film.
Speaker 3: Was making Jean's nineties.
Speaker 1: Yeah, exactly, exactly, and it can have a really quick
Speaker 1: technologies also that but what this does is like because
Speaker 1: it's it's space technology. I mean, they even get a
Speaker 1: bit of FaceTime going, you know, like, which is incredible.
Speaker 3: How do you know?
Speaker 1: Yeah again futurists, right yeah, and then they did work
Speaker 1: with you know, I think, you know, scientists and futurists
Speaker 1: and n'sa people from NASA to get the information right and.
Speaker 5: So you know when they first get to that, I
Speaker 5: guess that kind of the space station and they've got
Speaker 5: you know, I guess the European space crew there.
Speaker 3: Early early in the film, it looked like I've seen
Speaker 3: like officers.
Speaker 5: That look like that like open planned, modern kind of
Speaker 5: cool ergonomic furniture, you know, you know, like the red chairs.
Speaker 5: I was like, what Danish designers done these?
Speaker 3: You know, yeah, I was. I was looking at it.
Speaker 5: I was like, far rut, Like that's like it's I
Speaker 5: think what they went for. Rather than like, you know,
Speaker 5: being on trend with fashion, they were like, what is
Speaker 5: like timeless cool? That is like almost you could like
Speaker 5: like you could never conceive owning any of this stuff,
Speaker 5: but you could conceive that it exists.
Speaker 1: Well after c Clark was going to have his original
Speaker 1: idea was to have Hell nine thousand as a like
Speaker 1: mobile kind of robot. And then the reason he go
Speaker 1: with that is like is it this could date? You know,
Speaker 1: I imagine if you had Dexter from Perfect Match going
Speaker 1: around on on on that spacecraft. Yeah, that's it really quickly.
Speaker 1: So they had this, you know, this omnipresent red eye
Speaker 1: that becomes Hell nine thousand. You know how cools like amazing.
Speaker 3: I was the first thing that came to my mind.
Speaker 5: And I've forgotten his name from Futurama, the robot who's
Speaker 5: the robot in Futurama. I'm not a bend Bender, right,
Speaker 5: but yeah, like it's like that, you know, he's got yeah,
Speaker 5: and you're like you're like, uh, yeah.
Speaker 3: That's aged poorly.
Speaker 1: But but but yeah, if you can fu Durama's Cardo
Speaker 1: and it's almost a piss take, but yeah, that's on
Speaker 1: this movie.
Speaker 5: Yeah, it's it's it sticks out because as well, even
Speaker 5: though Futurama is like piss take, everything moves just as
Speaker 5: it should because it's it's a cartoon, so you know, yeah,
Speaker 5: whereas if that like the actual technology to move whatever
Speaker 5: robot it was, you wouldn't have been able to like
Speaker 5: that wouldn't have been able to hold up. So this
Speaker 5: omnipresent and the voice, the voice of how nine thousand Wow,
Speaker 5: it was so scary.
Speaker 3: From the first time you heard it. Yeah, from the
Speaker 3: first time you heard it, you like trouble, you know.
Speaker 1: And I think there's been so many films since two
Speaker 1: thousand and one have been influenced by two thousand and
Speaker 1: one where you kind of I think it's loaded into
Speaker 1: us now. I wondered watching it nine sixty eight is
Speaker 1: I'll be curious as when your sense of like something's
Speaker 1: not right with this, with this AI trick in the.
Speaker 3: First time that it was like something's malfunctioned.
Speaker 1: Yeah, would the penny have dropped then?
Speaker 3: Could be?
Speaker 1: Because I think maybe not, because why would you trust
Speaker 1: at that stage.
Speaker 6: We should advise you, however, that our preliminary findings indicate
Speaker 6: that you're on board niner dripplezer Ol computer is in
Speaker 6: error predicting the vault. I say again, in error predicting
Speaker 6: the vault. I know this sounds rather incredible, but this
Speaker 6: conclusion is based on the results from our twin niner
Speaker 6: triple zero computer. We are skeptical ourselves, and we are
Speaker 6: running cross checking routines to determine reliability of this conclusion.
Speaker 6: Sorry about this little snag, fellas, and we'll get this
Speaker 6: info to you just as soon as we work it out.
Speaker 6: X ray out the one. This is Mission control to
Speaker 6: zero four to nine er trends Mission concluded.
Speaker 2: I hope the two of you are not concerned about this. Oh,
Speaker 2: I'm not alt. Are you quite sure?
Speaker 1: Yeah?
Speaker 3: I'd like to ask you a question though, of course,
Speaker 3: how would.
Speaker 2: You count for this discrepancy between you and the twenty
Speaker 2: nine thousand. Well, I don't think there is any question
Speaker 2: about it. It can only be attributable to human error.
Speaker 2: This sort of thing is cropped up before, and it
Speaker 2: has always been due to human error.
Speaker 3: Listen, how there's never been an insince at all of
Speaker 3: a computer era occurring in the nine thousand series?
Speaker 4: Has it?
Speaker 2: None whatsoever? Frank? The nine thousand series has a perfect
Speaker 2: operational record.
Speaker 3: Well, of course, I know all a wonderful achievement of
Speaker 3: the nine thousand series. But are you certain there's never
Speaker 3: been any case of even the most insignificant computer.
Speaker 2: There, none whatsoever, Frank. Quite honestly, I wouldn't worry myself
Speaker 2: about that. Well, I'm sure you're right, Hall Fine, thanks
Speaker 2: very much.
Speaker 6: Oh, Frank, I'm having a bit of trouble with my
Speaker 6: transmitter and seapot.
Speaker 3: I wonder if you'd come down and take a look
Speaker 3: at it with me. Yeah, see her hut.
Speaker 5: Because yeah, well I suppose upon reflection the first time
Speaker 5: is you know, when he's at the space station and
Speaker 5: he's talking about going to I think it's the Moon.
Speaker 5: He's going to the Moon to find the next monolith. Yeah,
Speaker 5: and the European the other European space team who are
Speaker 5: heading back to Earth are like, oh haven't you heard
Speaker 5: about all the trouble anyone who's gone there?
Speaker 3: The their comms.
Speaker 5: Have been lost, you know, if I was to watch
Speaker 5: it again now obviously I know it now, but that's
Speaker 5: that's probably your first hint that something's not right.
Speaker 1: And it's a great filmmaking and storytelling, does it. It's
Speaker 1: I still fall into the trap sometimes early movies of
Speaker 1: not listening to those kind of casual conversations because of
Speaker 1: conversations that have really important details in them. And then
Speaker 1: once you know, on a second viewing or you can
Speaker 1: think back to it, like you haven't kind of gone,
Speaker 1: oh no, that was.
Speaker 3: I didn't I didn't pick up on it, you know,
Speaker 3: and even then.
Speaker 5: Like, obviously obviously it's a clue. But yeah, the way
Speaker 5: it's written, it's not written as a clue. It's written
Speaker 5: as I throw away detail that you're not really supposed
Speaker 5: to think about that now you're genius, genius and then
Speaker 5: you know, you speak of.
Speaker 3: That influencing further films.
Speaker 5: As soon as I saw How and heard how and
Speaker 5: then realized it was AI. And then when I really realized,
Speaker 5: you know, not just was AI to the point of
Speaker 5: being AI under you know, control, It was a I
Speaker 5: with a true mind of its own. I was like,
Speaker 5: this is where replicants came from with Blade Runner, you know,
Speaker 5: because you know the replicants they break like they have
Speaker 5: their own thoughts and and they break out Like obviously
Speaker 5: the Blade Runner story is amazing. But yeah, I was
Speaker 5: straightaway Blade Runner, that's where the replicants have come from.
Speaker 3: Anyway, it could be completely false.
Speaker 1: Oh no, I mean, I think the influence of this
Speaker 1: film is there's no doubt this is one of the
Speaker 1: most influential films of all time. It's one of the
Speaker 1: first times where like a studio film and an art
Speaker 1: house film kind of collidied. I think it's really interesting.
Speaker 5: Well yeah, like just like visually it could be you know,
Speaker 5: you could and they pretty much do. You could just
Speaker 5: play space music to it, and you could charge people
Speaker 5: two hundred and fifty bucks to go to a session
Speaker 5: at the ENGV and they'd be lining up around the corners.
Speaker 1: What is a Pink Floyd song that you can put
Speaker 1: on in a particular moment. I forget which track it is,
Speaker 1: but if you put it on a particular moment, it
Speaker 1: kind of because they were in conversations to perhaps provide
Speaker 1: a soundtrack. Oh really, because before you landed on all
Speaker 1: the classical stuff, he did like go through a number
Speaker 1: of different paths, and so there's a Pink Floyd track
Speaker 1: that if you play at a certain point, it fits perfectly.
Speaker 5: I've actually got one more if but before we move off,
Speaker 5: I guess the influence further on, So you know, in
Speaker 5: the last bit, in the last I guess act or
Speaker 5: stage or whatever you want to call it. I think
Speaker 5: it's off the top of my head, like Journey to
Speaker 5: Jupiter or something like that.
Speaker 1: I think, And I think that's the I think that's
Speaker 1: where the pig floids comes.
Speaker 5: Yeah, right, because so you know in Interstellar, which is
Speaker 5: another one of my favorite films, you know when I
Speaker 5: forgot Matthew McConaughey's character's name, but he's basically going back
Speaker 5: through that portal and like and like the ship's like shaking, yeah,
Speaker 5: and you know the portal at the end. But as
Speaker 5: soon as I was watching, I was like, oh, man,
Speaker 5: like derivative as you know obviously everything is, but almost
Speaker 5: a direct ode to.
Speaker 3: Two thousand and one.
Speaker 5: I was like watching it and even the you know
Speaker 5: the close up on the on their helmet.
Speaker 1: Yeah, you know that shot from kind of seen that before.
Speaker 5: Yeah, yeah, And it was it was where i'd where
Speaker 5: I went straight away was Matthew McConaughey's character in Interstellar.
Speaker 3: Yeah, and even the way the like the.
Speaker 5: Like bent bent ever so slightly exactly the same as
Speaker 5: as in interstell it's.
Speaker 1: It's it's it's incredible. And that there's the other The
Speaker 1: other famous thing in this film, I think is that
Speaker 1: the from Kubrick fans is that look which becomes where
Speaker 1: it's it's a character kind of looking down but eyes up.
Speaker 1: And you see that in the helmet, I think, you know,
Speaker 1: and that you see Game a pile in full metal
Speaker 1: jacket give that same look before he goes and ape
Speaker 1: shit and really, you know, gives him help, gives him hell.
Speaker 1: You see you see Jake Nicholson doing in the Shining,
Speaker 1: it's a very Kubricking kind of look. That light that
Speaker 1: stark on the gate is amazing. So I've got a
Speaker 1: little fun fact for you here at tone. So Stanley
Speaker 1: Kubrick goes to the ninety sixty four New York Worldfare
Speaker 1: and he sees a movie or a documentary called To
Speaker 1: the Moon and Beyond made by a guy called Douglas Trumble,
Speaker 1: and he had invented and it had some of the
Speaker 1: effects in it so he had invented this thing called
Speaker 1: he called slit scan where he achieves those colors. Because
Speaker 1: it's funny when you watch it now, we are just
Speaker 1: so used to assuming oh yeah, oh yeah, yeah, yeah,
Speaker 1: exactly what is that. There's the kind of you know,
Speaker 1: the flippancy of it, but there's also yeah, that was
Speaker 1: done by a computer. This was done by moving a
Speaker 1: camera rapidly past a lit artwork with a camera shutter
Speaker 1: held open open just enough to allow like a streaky.
Speaker 3: Like a slow so like a slower shutter speed.
Speaker 5: Yeah, so rather than getting a crisper image, everything's kind
Speaker 5: of blurt.
Speaker 1: And he is warped and yeah, you're just kind of
Speaker 1: capture whatever. So you know, you're really conting some control
Speaker 1: of what you actually get obviously, but you get these
Speaker 1: beautiful images and that's and that's how that is achieved,
Speaker 1: and that's that's incredible. And when you think again, we
Speaker 1: come back to nineteen sixty eight.
Speaker 5: Yeah, and yeah, so my mind went straight away to
Speaker 5: some kind of kaleidoscope, you know, like but but then
Speaker 5: I couldn't work out how you would do a colleidoscope.
Speaker 3: And turn it.
Speaker 5: Yeah, So I mean so I just again and we
Speaker 5: keep we keep saying this. I can't work out how
Speaker 5: this film was done. On the most part, Like normally,
Speaker 5: there'd be one or two things that I'd seen.
Speaker 3: I go, oh, that was cool.
Speaker 5: If I had half an hour, I reckon, I could
Speaker 5: have solid thinking, I reckon, I could I could work
Speaker 5: that out.
Speaker 1: Yeah, this this this stuff.
Speaker 3: I'd need, you know, a science degree.
Speaker 1: Yeah, it's incredible. And that's even if this doesn't work. Like,
Speaker 1: let's face it, there are some people who who would
Speaker 1: hate this film and would not have the patience for it.
Speaker 1: And that's and that's fine, completely fine. I get that.
Speaker 1: And I'll confess to last I watched it last night.
Speaker 1: Probably not under the perfect circumstances. I watched it. We
Speaker 1: had a final episode of Air, and I kind of
Speaker 1: forgot I probably should have watch this the night before,
Speaker 1: but I like to watch it the night before we
Speaker 1: come into discussing, so it's really fresh in my mind.
Speaker 1: So I watched it, and then I was kind of
Speaker 1: interacting with a little bit on social media, and then
Speaker 1: you know, messages from friends and family and cast members
Speaker 1: and crew members, and I was kind of interacting with that.
Speaker 1: So it was almost an hour later, about ten thirty
Speaker 1: I put on two thousand and one. It's quite a
Speaker 1: it's quite a mind jump to go from you know,
Speaker 1: a family comedy via that you've created to Stanley Kubrick's
Speaker 1: two thousand.
Speaker 5: To some of the challenges, Like it's almost aggressively challenging
Speaker 5: your mind, you know, yeah, exactly.
Speaker 1: So I prefer that watch these films for the podcast,
Speaker 1: you know, maybe a glass of wine, maybe a glass
Speaker 1: of Scotch in a relaxed frame of mind. You know,
Speaker 1: there was a part of me it's like, wow, this
Speaker 1: is gonna be late by the time I finished.
Speaker 3: You will laugh at how I watched it. So I
Speaker 3: did Brecky yesterday morning.
Speaker 1: So what's time you have to be up for breakay?
Speaker 5: So I get up at twenty to four. You've done
Speaker 5: Brecky shifts. You understand what it's like. It's crazy, it's hard,
Speaker 5: and you get tired, like like you're you're just tired
Speaker 5: basically all all the time. It's a great like like
Speaker 5: it's really fun to do, but you're tired.
Speaker 3: And I I got home. I had to do some
Speaker 3: other chores.
Speaker 5: So I got home at about two o'clock and I was like,
Speaker 5: I've got I've got to watch you it's either now.
Speaker 5: But I had to go film Yoka last night, so
Speaker 5: I was, oh, I've got to watch it now. So
Speaker 5: I watched it yesterday AVO, and it took me about
Speaker 5: four and a half hours to watch because I kept
Speaker 5: falling asleep because I was as you know, you're just
Speaker 5: so tired, and I was really enjoying it. But you
Speaker 5: have to be like in the right zone, I reckon
Speaker 5: to watch this film, you have to be ready to
Speaker 5: you have to be ready to go with it. It's
Speaker 5: the same as like a, ah, what are those So
Speaker 5: there's train spotting and then there's recuem for a dream.
Speaker 5: You can't watch those films in certain headspaces. You need
Speaker 5: to you need to be ready to go to watch
Speaker 5: those films. And it's the same as this. You've got
Speaker 5: to you ready to soak it in and sit in
Speaker 5: like what could be perceived as being as being bored.
Speaker 1: Yeah, we've got I mean there's a version of this film,
Speaker 1: and I full confession, I had to rewind I missed
Speaker 1: the bit where basically and we'll get to this bit
Speaker 1: soon where Dave goes and unplugs and plugs hell. You know,
Speaker 1: like people may maybe the people moment the film.
Speaker 3: Is going to say that was my most tense kind
Speaker 3: of scene.
Speaker 1: Yeah, and I was really enjoying because that's when he's
Speaker 1: you know, he's he's been trapped out and he has
Speaker 1: to kind of get his way through and it's amazing.
Speaker 1: I don't know how I was just you know, it
Speaker 1: was probably twelve thirty by this day, and my eyes
Speaker 1: went up. You know, I'm gonna shut down for a
Speaker 1: little while. Health conversation going on. So yeah, it's it's
Speaker 1: what was I going to say?
Speaker 5: Actually no, so no, So we're talking about the kind
Speaker 5: of film it isn't it's like it's it's it's like,
Speaker 5: it's not a film you can.
Speaker 3: Just chuck on like a like a shoot him up
Speaker 3: no where you're so easily entertained.
Speaker 1: And there's a version of this film, like you could
Speaker 1: do an edit on this film, like if you wanted
Speaker 1: to show it to my dad, you know, like who
Speaker 1: doesn't necessarily give aid all the themes and a lot
Speaker 1: of the philosophical questions it's posing, And you could start
Speaker 1: this after the Dawn of Man with that first spaceship
Speaker 1: cut out. Yeah, there's probably there's probably a seventy minute
Speaker 1: version of his film. It's a really good entertaining film,
Speaker 1: which is basically about an AI computer, you know.
Speaker 3: To try to take over.
Speaker 5: Yeah, yeah, yeah, will Because the original cut I was
Speaker 5: reading somewhere was like it was like one hundred and
Speaker 5: sixty one minutes.
Speaker 3: Something like that.
Speaker 1: It took it ninety minutes.
Speaker 3: Yeah, yeah, yeah, and there was that would have been
Speaker 3: that would have been a bit how you going?
Speaker 1: I laughed. I laughed when I read that he took
Speaker 1: out after the New York City.
Speaker 3: Yeah, he got smacked in the.
Speaker 1: Ninety minutes to help with the pacing.
Speaker 3: What were you doing with the other forty mate?
Speaker 1: The speed up the pacing about ninety minutes.
Speaker 5: You can you imagine being like a die hard like
Speaker 5: Kubrick critic back then, and you walk out and.
Speaker 3: Someone goes, so tone, did you like be honest? Yeah?
Speaker 3: Favorite bit the end.
Speaker 1: Yeah, there was a popular actor at the time. I
Speaker 1: forget who it was. I read about that that you
Speaker 1: walked out halfway through and this went can somebody tell
Speaker 1: me later on what this is all about?
Speaker 5: What happens in the end, and jokes on them, no one,
Speaker 5: can you gotta go see mate? Hell lardy, Hell, it's
Speaker 5: it's so yeah, at that moment where because Dave's just lost,
Speaker 5: Like if you go back sort of five minutes, Dave's
Speaker 5: just lost Frank.
Speaker 1: Question question about Frank. Why wasn't he tethered to.
Speaker 5: The I didn't understand that now, I mean, that's that's
Speaker 5: rookie era, that's space what I want, isn't.
Speaker 1: It space one one? Why would you not be tethered
Speaker 1: because if you miss yeah yees satellite, whether they fixed gone?
Speaker 5: Well, so my only my my only thought was that
Speaker 5: because I did have the same thought, I was like,
Speaker 5: perhaps he was, but it was like hooked up to
Speaker 5: something and you know how how has control over all
Speaker 5: the all the mechanics in the ship?
Speaker 3: My only thought was that how disconnected him?
Speaker 1: See, but I would have loved to have seen that,
Speaker 1: you know, and this is Kuber gives us what he
Speaker 1: wants to give us.
Speaker 3: Yeah exactly.
Speaker 1: In the end, it doesn't really matter. Like it's just
Speaker 1: one of those things that you think afterwards, like why
Speaker 1: is he even during I must says why is he?
Speaker 1: Why is he going for his spacewalk?
Speaker 3: And that's and that's see, that's one of those ones.
Speaker 5: If we think back to earlier, how we're talking about
Speaker 5: those those those happy accidents or those accidental that's a
Speaker 5: very deliberate decision. Yeah, that's a very deliberate decision to
Speaker 5: not to not show a tether, to leave us in
Speaker 5: a mind where we go, well, why wasn't he to
Speaker 5: say was he?
Speaker 3: And then how it's hard to believe that Arthur C.
Speaker 1: Clark and Stanley Kirk don't have a discussion about Okay,
Speaker 1: so he goes out. He's obviously tended to the spaceship
Speaker 1: because he's not going to go out and then oh
Speaker 1: what he said it? Yeah, well doesn't he doesn't need
Speaker 1: to be dead?
Speaker 5: What, No, he needs to be Yeah, yeah, there's there's
Speaker 5: no way. But so yeah, anyway, so Frank's hurtling off
Speaker 5: into space. Dave at this point is going like, I
Speaker 5: know that Howel's crook because they've had the conversation just
Speaker 5: before and you can see the bit. It's brilliantly done,
Speaker 5: and you don't I don't think you know at that
Speaker 5: point that Hal can read lips open the part doors please?
Speaker 4: Hell?
Speaker 2: Hello?
Speaker 3: Hell do you read me?
Speaker 4: Hello?
Speaker 1: Hell? Do you read me? You read me?
Speaker 4: Hell?
Speaker 6: Do you read me?
Speaker 3: Hell?
Speaker 4: Hello?
Speaker 1: Hell do you read me?
Speaker 2: Oh? Hell?
Speaker 3: Do you.
Speaker 1: Do you read me?
Speaker 2: How affirmative, Dave, I read you.
Speaker 3: Open the pod bay doors.
Speaker 2: Hell, I'm sorry, Dave, I'm afraid I can't do that.
Speaker 2: What's the problem. I think you know what the problem
Speaker 2: is just as well as I do.
Speaker 3: What are you talking about?
Speaker 4: Hell?
Speaker 2: This mission is too important for me to allow you
Speaker 2: to jeopardize it.
Speaker 3: I don't know what you're talking about.
Speaker 2: Hell, I know that you and Frank were planning to
Speaker 2: disconnect me, and I'm afraid that's something I cannot allow
Speaker 2: to happen.
Speaker 3: Where the hell did you get that idea?
Speaker 2: Hell? Hey, although you took very thorough precautions in the
Speaker 2: pot against my hearing you, I could see your lips.
Speaker 5: Move because they're because they're sat there in the perfect
Speaker 5: little I guess the window window.
Speaker 1: I mean the whole spaceship. They could have gone anywhere,
Speaker 1: they had to sit right in front of him. I
Speaker 1: imagine how everything.
Speaker 5: Like you said, omnipresent, and they had this conversation. They're like, well,
Speaker 5: we're left with no other choice but to disconnect.
Speaker 3: How he's clearly.
Speaker 5: Heard that, And that's what makes me think that he
Speaker 5: untethered Frank only in retrospect, because then we hear later
Speaker 5: on when Dave goes and grabs goes and grabs Frank
Speaker 5: with the robot arms out of a little the little
Speaker 5: rover whatever you want to call it, and he tries
Speaker 5: to come back to the ship, which is beautiful cinematography,
Speaker 5: you know, the two ships facing each other, and he's like,
Speaker 5: I'm sorry, like, you know, for this mission to go forward,
Speaker 5: I can't let you back on the ship. And you're like,
Speaker 5: oh my god, this he's taken it, like he's got
Speaker 5: the ship now. So that's that's the reason why I think,
Speaker 5: how how untethered Frank. But then it's that scene where
Speaker 5: he reconnects and he gets shot out of the out
Speaker 5: of the rover into the kind of holding bay, yeah,
Speaker 5: pulls it down.
Speaker 1: He's got yeah seconds, if you know, I think they've
Speaker 1: proven that you can actually survive of like fifteen seconds
Speaker 1: or something. But there's there's also if you apparently, if
Speaker 1: you try to hold your breath during it, you will explode.
Speaker 3: So there's like there's yeah, there's so many caveats.
Speaker 5: Yeah, but also like they're like, oh, yeah, you can
Speaker 5: you know, apparently you can survive fifteen seconds. Who's done, Yeah,
Speaker 5: you know, who's got yeah?
Speaker 1: Yeah, no, thanks, Yeah, absolutely. It's such a it's it's
Speaker 1: the best stretch of the movie for mine as far
Speaker 1: as yeah, because it feels like there is there's a
Speaker 1: it's all tension, it's a bit of action, and it's
Speaker 1: it's eerie because you know, how's he gonna, Yeah, how's
Speaker 1: he going to overcome? How he seems to be he
Speaker 1: seems to be completely in control, and yeah, he just
Speaker 1: goes and doesn't it switches him up. But that, you know,
Speaker 1: like that's a great sequence in that doesn't have to
Speaker 1: be action packed. You know, all he really does is
Speaker 1: go through a few passages. But it's it's Hell speaking
Speaker 1: as he's doing. As he's doing is in fact, we
Speaker 1: might have a listen to that. This is hell trying
Speaker 1: to convince Dave not to disconnect him.
Speaker 2: Love, Dave, I can see you're really upset about this.
Speaker 2: I honestly think you want to sit down, calmly, take
Speaker 2: a stress peel, and think things over. I know I've
Speaker 2: made some very poor decisions recently.
Speaker 1: You certainly have hell, and that like it goes up
Speaker 1: for quite a while. Stanley Cubbrick does not rush through
Speaker 1: this at all.
Speaker 5: And he's climbing up that that really claustrophobic ladder. You
Speaker 5: go on, my lord, and then he gets into that
Speaker 5: kind of I guess Hal's mainframe, whatever you want to
Speaker 5: call it. God, that room looked cool, you know, like
Speaker 5: like the red Dutch tilts.
Speaker 3: So you know, it's it's it's it's just off, you know,
Speaker 3: things are a bit cooked.
Speaker 5: And then it's like you get to the end, get
Speaker 5: to the end, and his voice starts changing as he
Speaker 5: starts taking out the memories.
Speaker 3: Oh, genius, genius.
Speaker 1: And he he's deleting the memory you know, he's bleeding
Speaker 1: on the pawn or the all. Then all of it's gone.
Speaker 3: I was gonna know, just incognito.
Speaker 1: The search history is gone. But it is, it is.
Speaker 1: It's fascinate. It's just so it's fascinating. I love it
Speaker 1: so much. Like I thought that was the best sequence.
Speaker 1: I think that was completely so. Then so this happens,
Speaker 1: and then then we kind of go back. He goes
Speaker 1: through that. Eventually he goes through that stargate which we're
Speaker 1: spoken about, and then what did you make oh of
Speaker 1: the bedroom in the bedroom and yeah, yeah.
Speaker 5: So basically almost like a floor of a house or
Speaker 5: you know, you could imagine it like the premiere suite
Speaker 5: at some swanky hotel, you know, like like three or
Speaker 5: four different rooms all connected with the rover in it.
Speaker 3: Yeah, yeah, and the rover was in it.
Speaker 5: I was also was the room of green screen and
Speaker 5: the rover just you know, I couldn't stop thinking about
Speaker 5: how they were making stuff because it was so amazing.
Speaker 4: Yeah.
Speaker 3: And then all of a sudden, you don't see him
Speaker 3: get out of the rover. He's just out of the rover.
Speaker 5: And then there's who I didn't realize or clock as
Speaker 5: being Dave look back at him. Yes, yeah, so I
Speaker 5: didn't clock that the first time. And so this this
Speaker 5: this figure turned around and looks at Dave, who's still
Speaker 5: Oh by the way, Dave at this point wrinkles all
Speaker 5: over his face as well, so has aged an eon.
Speaker 4: Yeah.
Speaker 5: I have to admit I wasn't sure what I was
Speaker 5: watching at that point, and I was I was going,
Speaker 5: you know, is he seeing himself in the future, Is
Speaker 5: he seeing himself in the past? Is this an alternate
Speaker 5: universe where he's you know, sort of watching time go
Speaker 5: by through a window. I wasn't sure. I really wasn't sure.
Speaker 5: And then it got like obviously weirder when the last
Speaker 5: Monoloth comes and then we see you know a big
Speaker 5: baby boss. Yeah, hang on old to young what you
Speaker 5: know it was? I didn't know what to make it?
Speaker 5: What did you make of it?
Speaker 1: I'm like, and I always say this about this podcast,
Speaker 1: and I feel like this is the perfect episode to
Speaker 1: point this out and to remind people is that we
Speaker 1: will have people listening to this who have seen this
Speaker 1: mayvie many times and have their own views on it.
Speaker 1: The beauty about this podcast is I have a guest
Speaker 1: who is who has just seen the movie and he's
Speaker 1: pro he's still processing it, hasn't had a chance to
Speaker 1: go back and watch it again. I and I'm in
Speaker 1: that chair as well for this one. I voll intensive
Speaker 1: purposes watched it for the first time last night outside
Speaker 1: of maybe seeing half an hour but many, many years ago.
Speaker 1: I was surprised how many snippets, like, how many bits
Speaker 1: of it seemed really new to me, like that, how
Speaker 1: many clips don't like that seemed fresh? Said, I didn't
Speaker 1: know about the apes at all, you know, like, so
Speaker 1: I didn't feel like I was Sometimes when you've seen
Speaker 1: bits of movies, you feel like, oh, you've seen this bit,
Speaker 1: I've seen this, but I was surprised. I had a
Speaker 1: little I had seen. To be honest, I think like
Speaker 1: maybe the the running around i'd seen that, but maybe
Speaker 1: i'd seen that, yeah somewhere else, a clip somewhere. I'm
Speaker 1: still like, I don't have a defenditily answer about what
Speaker 1: that actually means. I really don't. All I suspect is
Speaker 1: that Dave has been reborn to become boss baby. Yeah,
Speaker 1: and he's now looking at Earth and about to go back.
Speaker 2: Yeah.
Speaker 1: And that is that the birth of Is that his
Speaker 1: individual rebirth into you know? And will he go back
Speaker 1: to he will? Will he go back to Earth? Is
Speaker 1: that a whole new species species being born, a whole
Speaker 1: new superhuman species about to be born? And is it evolution?
Speaker 4: Is it? So?
Speaker 5: I was thinking, trying to rack my brain, and I
Speaker 5: was so glad when you said you weren't a hundred
Speaker 5: percent sure what was going on with the film too,
Speaker 5: so I didn't feel like I was so close.
Speaker 1: So really, when I've read that quote.
Speaker 5: A complete more on because I was on I was
Speaker 5: racking my brain on the way here, trying to think, Okay,
Speaker 5: so logically, what's the kind of logic flow of the
Speaker 5: way I've seen you know kind of in quotes humanoids
Speaker 5: in this film, and you know, we start off as
Speaker 5: a or it starts off with apes and it ends
Speaker 5: up with a baby. Bit in between, we've had someone
Speaker 5: we assume age and we assume it's all the same
Speaker 5: person in the same timeline, in the same yes universe.
Speaker 3: I've watched too much freaking Morty, you know, like all
Speaker 3: the multi verses.
Speaker 5: But so then, I, like you said, probably the closest
Speaker 5: I got to an idea was perhaps its evolution and
Speaker 5: you know, it's onto, it's onto the next phase, whatever
Speaker 5: that is.
Speaker 3: I got no idea what that is, but.
Speaker 1: I think a lot of it is it really is
Speaker 1: imagery and this Kubrick giving you an opportunity to be
Speaker 1: in the moment, to ponder, you know, to be inspired.
Speaker 1: I feel like it's a reasonably optimistic ending for them
Speaker 1: this film. I think there's a version of this which
Speaker 1: could have been a bit bleaker, but I think it's
Speaker 1: quite optimistic ending with the you know a boss baby,
Speaker 1: you know, new life being reborn. I feel like that's
Speaker 1: a reasoning up the mystic ending.
Speaker 3: Do you prefer happy endings?
Speaker 1: I I'm going to rephrase.
Speaker 3: That, do you like movies? That end on a positive.
Speaker 1: I was ignoring the ignoring the joke. I was quite
Speaker 1: proud of myself for and it took me a few
Speaker 1: seconds ago. No, don't, don't. Don't come on having a
Speaker 1: good discussion about one of the high arts film more time. Yes,
Speaker 1: I like hand jobs in it.
Speaker 5: I never thought you'd ask home, usually just take you
Speaker 5: out for lunch afterwards.
Speaker 1: No, it's I don't. In the same way we're discussing
Speaker 1: about open ended endings and also closed endings where everything's
Speaker 1: tied up. I don't necessarily have a preference. I'd just
Speaker 1: liken to be done well. And I thought this was
Speaker 1: for what they were going for, is done really well?
Speaker 1: Do I understand it?
Speaker 2: No?
Speaker 1: Not at this stage. I may have more conversations, I
Speaker 1: may do a bit more deep diving, and I'll you know,
Speaker 1: I could come back in the year's time. I have
Speaker 1: more and more thoughts.
Speaker 5: Do you think it's the kind of film that maybe
Speaker 5: they were wanting us to walk out or finish watching
Speaker 5: with a feeling inside rather than an answer?
Speaker 1: Yes, absolutely, I think that, Like you know, there.
Speaker 5: Are some films or even a lot of music does
Speaker 5: it And the first one that comes to my mind
Speaker 5: is a King's Leon song called the Bucket, very very sad,
Speaker 5: very sad song about someone kicking the bucket.
Speaker 3: But you sing that like.
Speaker 5: It's a summer song and we're going to catch up
Speaker 5: with mates and get milkshakes and stuff.
Speaker 1: Yeah, there's a bucket, bungs.
Speaker 3: Do you know what I mean?
Speaker 5: And I guess the meaning's kind of hidden a little
Speaker 5: bit in that song, And I would maybe that's what
Speaker 5: they were trying to do, hide the meaningly, like the
Speaker 5: meaning was only something they knew.
Speaker 3: Where left with a bunch of questions.
Speaker 1: But a feeling absolutely, And I think they're inviting you
Speaker 1: to contemplate life and where we've come from, where we're going.
Speaker 5: There's a lot of those questions, aren't there, And like thematically,
Speaker 5: you know, you've got unborn babies, you've got space, which
Speaker 5: everyone always starts getting existential about big classic music that
Speaker 5: evokes emotion. Yeah, yeah, I think I tend to agree.
Speaker 5: It's you're in no uncertain terms as to how you feel.
Speaker 5: You've just got no real idea why.
Speaker 1: Yeah, yeah, you're having a like an emotional response to it,
Speaker 1: or you just get frustrated with it. And I can
Speaker 1: in particular, I mean, I would like to go see
Speaker 1: this again, but you know, on on a big screen,
Speaker 1: you know, it does, it does, and I think they
Speaker 1: do do that quite often. In Factkate Lenbrook said to
Speaker 1: me that not she had seen this recently on a
Speaker 1: big screen. Apparently, when this came out, it wasn't a
Speaker 1: financial success. It was a bit slow to start, and
Speaker 1: they were going to pull it from screens, and a
Speaker 1: lot of theater owners in the States said, just hang on,
Speaker 1: We've noticed a lot of young adults coming in and
Speaker 1: taking taking their illicit drugs, and particularly yeah, for that
Speaker 1: Stargate scenes, and that kind of got it on a
Speaker 1: bit of a roll with that kind of stuff, and
Speaker 1: and hence it became more of a financial success.
Speaker 5: And some very influential musicians said it was one of
Speaker 5: their favorite films. That John Lennon, I think at the time,
Speaker 5: was saying he'd watch it once a week. David Bowie
Speaker 5: was a huge fan of it because he probably got it,
Speaker 5: you know, yeah, jerks a.
Speaker 1: Little light fair for David is at it.
Speaker 3: I knew, I knew.
Speaker 5: I knew from the I knew from the second the
Speaker 5: ape picked up the bone.
Speaker 3: What do I said? Two hours for then?
Speaker 5: Mate?
Speaker 1: You know we should we should point out one of
Speaker 1: the great movie transitions of all time that the bone
Speaker 1: going up turning into a spaceship and turned into a spaceship,
Speaker 1: which which is what they're saying, is that this is
Speaker 1: the first weapon.
Speaker 3: Into a webs.
Speaker 1: So yeah, and you mentioned earlier we took go back
Speaker 1: to the monolith, arrives and the apes are not sure
Speaker 1: how to deal with it. One eventually touches it, and
Speaker 1: that ape, which I believe is called moon Mongazer, he
Speaker 1: is the one who then works out this can we
Speaker 1: consume estions, we can use this, and then that gives
Speaker 1: them so they kind of they take on. They beat
Speaker 1: their rival to death and then they they're eating that
Speaker 1: they can get they can feed themselves. Now it's the
Speaker 1: first weapon. And then he goes he throws it in
Speaker 1: the air and we see that the spacecraft and that's
Speaker 1: the space station, and that's almost like the ultimate weapon,
Speaker 1: you know, millions of years into the future.
Speaker 5: And also because I had to read about this film
Speaker 5: after I've watched it it.
Speaker 1: Walk away and go okay, well that's done.
Speaker 3: Yeah, yeah, yeah, I had to read about it, which
Speaker 3: is great.
Speaker 5: You know, it left me with a lot of questions
Speaker 5: and it said as well that the monolith like whenever
Speaker 5: the monolith turned up and it was and it was touched,
Speaker 5: it expanded horizons. So the first time with the apes
Speaker 5: they touch it and then all of a sudden, weapons
Speaker 5: the next the next time, the monolith is on the
Speaker 5: Moon and they go down on the Moon and then
Speaker 5: they touch it and they look at it, and then
Speaker 5: it lets out that shriek and it's basically like a
Speaker 5: warning or whatever it is.
Speaker 3: It's like an alarm to.
Speaker 5: The next monolith, which is i think on Jupiter. And
Speaker 5: then they go from there and expands it expands the
Speaker 5: horizons again.
Speaker 1: To that's really interesting. That explains That explains a lot.
Speaker 5: And then and then the last one you see on
Speaker 5: Jupiter sends them through that stargate, sends them through the
Speaker 5: Star game. And then the very last one we see
Speaker 5: is old Dave in the bed and he's like again
Speaker 5: I think I think it's one of those Kubrick looks
Speaker 5: where he's like in the bed and and he's kind
Speaker 5: of looking through his furhead brow at this at the monolith.
Speaker 5: As the it's almost like an eclipse with the monolith
Speaker 5: with I'm assuming A's Sun. And then go and then
Speaker 5: I think the boss Baby ends up there.
Speaker 1: So and there's the nod to Michaelangelo, I think too,
Speaker 1: when he's reaching out, always his fingers pitching out, that's
Speaker 1: supposed to be a nod suggesting that this monolith is
Speaker 1: actually a god.
Speaker 3: Yeah.
Speaker 1: Yeah, I really like the monolith as far as I
Speaker 1: was sure it was actually supposed to be like even
Speaker 1: an alien life form as such, or is it like
Speaker 1: what what is it? Is it a god? Is it
Speaker 1: a life form? Kubrick was almost going to have alien
Speaker 1: life forms appear in this and then.
Speaker 3: Are you glad he didn't?
Speaker 1: Absolutely? I think's a happy accident. The reason he didn't
Speaker 1: do it because of budget. He realized that they'll running
Speaker 1: out of budget. But then he so he convinced himself,
Speaker 1: and I think rightfully so that we don't need to
Speaker 1: see them, you know. I think he was credited to
Speaker 1: see you know, you don't see God, you know. So
Speaker 1: I think I love the the rectangular black monolith, that
Speaker 1: this mass that we you know, this matter that we
Speaker 1: don't exactly know obviously, we don't know what it's like
Speaker 1: to touch it, and they don't really describe it. But
Speaker 1: it's just what you said about that because I was
Speaker 1: wondering what happened there, and I think that the idea
Speaker 1: that it just expands your horizon I was thinking as
Speaker 1: something like almost an awakening and awareness.
Speaker 3: Well the same thing.
Speaker 1: Yeah, ape has to discover.
Speaker 3: Have you have you have you seen a TV.
Speaker 1: Series called Dark No Oh, it's.
Speaker 5: Just brilliant German TV series, three, three seasons, German.
Speaker 3: You don't of all of all of them Germans? The
Speaker 3: one you don't do?
Speaker 1: No, no, I don't love German. Answer in fact that
Speaker 1: lives of others run alla rum it's my favorite. That's Booty.
Speaker 1: They have TV or TV.
Speaker 3: Have you seen Babylon Berlin.
Speaker 1: I've seen episodes of it.
Speaker 3: It's that's fantastic anyway, I digress.
Speaker 1: My dad's watching it at the moment, actually recommend at
Speaker 1: the head of the day.
Speaker 3: Jeez, me and your dad.
Speaker 5: Huh, you're probably surprised. I enjoyed two thousand and five
Speaker 5: but in and I've only just clocked it now. So
Speaker 5: it's this it's this show where basically they don't just
Speaker 5: time like, it's not just about time travel. It's it's
Speaker 5: about like parallel universe travel as well. So like the premises,
Speaker 5: it's not like we aren't just everywhere where, every when?
Speaker 5: And so you know, it's like, so then the question
Speaker 5: become where are you or it's not just.
Speaker 3: Where are you?
Speaker 1: When are you right?
Speaker 5: And basically the thing they use to get from one
Speaker 5: place to the other is dark matter. And now that
Speaker 5: I now that I've seen this, I think to myself,
Speaker 5: is that a you know, am I going to find
Speaker 5: Am I going to see little nods to a space
Speaker 5: I mean to a space O to see everywhere I
Speaker 5: look now? Or is that going to be confirmation by yeah?
Speaker 3: Do you know what I mean? Yeah?
Speaker 1: Yeah, that's fascinating.
Speaker 3: Yeah, Like I just wonder if I'll see them now and.
Speaker 5: At least for the next little bit, I won't be
Speaker 5: able to stop looking because it's it's it's It's got
Speaker 5: me with more questions obviously than I've got answers.
Speaker 1: Yeah, I mean, there's no doubt though that the influence
Speaker 1: of this has been It's like you were discuss Citizen
Speaker 1: Kane on this before and even the Shining and certainly
Speaker 1: if you've watched The Simpsons and this keeps on coming
Speaker 1: up on it on this on this podcast, you know
Speaker 1: a lot of a lot of my guests will watch
Speaker 1: movies for the first time. Going now, I understand that
Speaker 1: that reference yea, all the you know and and the
Speaker 1: Shining and Sis and Kane. They go for it on
Speaker 1: both those films over the years. But that's That's one
Speaker 1: more thing I just wanted to discuss, was had he
Speaker 1: Whenever I see a space film where somebody's floating in
Speaker 1: space like, it does give me.
Speaker 3: I really I have.
Speaker 1: A like a physical react, physical reaction to it. I
Speaker 1: feel a little bit nauseous when I see it. That
Speaker 1: that film Gravity with Sandra Bullock. I'm an show you
Speaker 1: So that was a great film, and that was like
Speaker 1: terrifying to me.
Speaker 5: So you speak of like, I'm not sure how they
Speaker 5: did it? God, that looked real as Yeah.
Speaker 1: Yeah, the movement of all these because I was because
Speaker 1: I was watching as closely as I could.
Speaker 3: Is a leg flailing where it shouldn't be.
Speaker 5: You know, I think he's dead already, so is the
Speaker 5: leg everything was put and the weird axis that they
Speaker 5: had him on in you know, Frank spinning around really strangely.
Speaker 5: And yeah, no, I'm quite the same, especially when they
Speaker 5: do the thing with the audio where you just hear
Speaker 5: the breath. Have you ever scuba dived.
Speaker 1: Yes, I have actually, but I also did It's Snouba
Speaker 1: recently in Hawaii, which is a slightly different things, a
Speaker 1: bit of an easier way of doing it. But I
Speaker 1: know you mean that that breath and apparently this is
Speaker 1: Stanley Kubrick's breath. Oh really fun fact. Yeah, love that.
Speaker 5: But the thing is, if you've ever scuba dived, which
Speaker 5: I would think must be the closest thing to being
Speaker 5: tethered into space in that you're going into another environment.
Speaker 5: If you take it off, you're cooked. But when you
Speaker 5: first go down, your mind forgets that you can breathe.
Speaker 3: So you'll actually hear your breath go and that's all
Speaker 3: you can hear.
Speaker 5: And that's freaky out and you need to like literally
Speaker 5: say to yourself, hey, tone like.
Speaker 1: Yeah.
Speaker 5: And then when they do, like when they couple like
Speaker 5: a spacewalk with the breath, that gives me a very
Speaker 5: very physical reaction.
Speaker 3: I don't thought of it. I don't like it.
Speaker 1: No, I completely know what you're talking about. And but
Speaker 1: that that's that feeling of watching somebody going, Wow, you
Speaker 1: cannot be more lost than you are right now, like.
Speaker 3: You're untethered idiots, Like, how.
Speaker 1: Do you get back outside of you know, the shuttle
Speaker 1: being able to come and pick you up somehow, and
Speaker 1: you know, and we've seen that happen, happens in gravity.
Speaker 1: But how do you like? Yeah, you are so. I'm
Speaker 1: not scared of heights, but I don't like sitting standing
Speaker 1: too close to an edge where like you could possibly fall,
Speaker 1: you know. I don't think most people are probably want
Speaker 1: risk it. Yeah, why risk it? So to see somebody
Speaker 1: like that far up and just loading away, it would say,
Speaker 1: is just terrifying.
Speaker 3: It's so out of control.
Speaker 5: Yeah, yeah, And I think most people don't really like
Speaker 5: being out of control.
Speaker 1: I think that's exactly what it is. But like of control, mate,
Speaker 1: it's been a bloody blast. I've got some fun more
Speaker 1: fun facts. I've weaved some in. Do you know the
Speaker 1: idea that there are conspiracy theories saying that the moon
Speaker 1: landing was actually almost produced or directed by Stanley Kubrick
Speaker 1: and they used unused footage from this film and spacecraft
Speaker 1: and some of the props to fake the moon landing.
Speaker 5: So I didn't know that, but I did say earlier
Speaker 5: that I reckon, well not not, I reckon. I can
Speaker 5: see why people are moon landing, can can especially theorists,
Speaker 5: conspiracy theorists, because of how legit it all looked. So
Speaker 5: I get it, yeah idiots, but I get it wrong.
Speaker 5: But but like, yeah, I was watching it and there
Speaker 5: was some stuff I was like, this is so realistic.
Speaker 1: Yeah, it's still now. You could have made this in
Speaker 1: the eighties. It used to be going, wow, this is
Speaker 1: I can't believe this is made in the eighties or
Speaker 1: even the nineties. It's incredible.
Speaker 5: Yeah, and you look, and I think you touched on
Speaker 5: it earlier. The best thing they did because as soon
Speaker 5: as one I think as soon as one thing dates,
Speaker 5: everything dates. So if you were to have had an
Speaker 5: alien life form in there, it would have dated everything
Speaker 5: that you've seen. So that's why I think it holds
Speaker 5: up against so many of the.
Speaker 3: Other space movies.
Speaker 5: Until probably recently from effects point of view, because you're like, well,
Speaker 5: alien looks like you know plastic, Yeah, you know, like
Speaker 5: like like the prop sis, and then that just gives
Speaker 5: away the whole conceit of everything else.
Speaker 1: Hence why it was as a brilliant idea not to
Speaker 1: have the dexter robot as hell. So it was nominated
Speaker 1: for thirteen oscars, only won the one for special effects.
Speaker 1: Stanley Kubrick was awarded that because he was oversaw a
Speaker 1: special effects department. A lot of the people who were
Speaker 1: who worked on the special effects thought it was unfair
Speaker 1: that he was the sole recipient of that OSCAR because
Speaker 1: it was seen as a team effort, which I think
Speaker 1: is complotely fair enough. They did tighten up the oscars
Speaker 1: the rules around that as a result. Vivian Kudrick is
Speaker 1: Stanley's daughter obviously, and she plays the Floyd's daughter who
Speaker 1: we see on the FaceTime video. That's her daughter, and
Speaker 1: I think she is the one who the daughter who
Speaker 1: did the which made about the Shining doco behind the
Speaker 1: scenes where she's kind of following Jack Nicholson around and
Speaker 1: shots from really lovely shot a little one for the
Speaker 1: I think for the BBC, a little behind the scenes
Speaker 1: of the Shining and she and she made that.
Speaker 5: How brilliant on that is the footage behind the scenes
Speaker 5: of Jack Nicholson getting ready to go through the door.
Speaker 1: Yeah, yeah, yeah, it's great.
Speaker 5: It's unbelievable just watching him like descend into this complete
Speaker 5: deranged madman that he's scary.
Speaker 1: There is a good deep diving to be had with
Speaker 1: the Shining absolutely. There's one joke in this movie, just
Speaker 1: not the joke it's it's I think it was Dave.
Speaker 1: Dave's looking at basically how to go to the toilet
Speaker 1: in out of space, and they've got the how to
Speaker 1: how to how to take a dump in out of space.
Speaker 1: Kubrick said that was the only the singular joke in
Speaker 1: this in this film.
Speaker 5: Putting that in, I thought there was another joke when
Speaker 5: you know, when they come with the first time they
Speaker 5: lean on the moon and he comes with the with
Speaker 5: like all like the space food, I guess, and one
Speaker 5: of them makes the comedies like.
Speaker 3: Oh, they're getting better and better at these all the time.
Speaker 5: Yeah, And then maybe that was just an earnest space dude.
Speaker 1: Yeah, yeah, yeah. I think it probably plays as a
Speaker 1: joke for them, where there's a joke that's designed to
Speaker 1: make the audience laugh. So I I think I agree
Speaker 1: with that.
Speaker 3: I'm not going to challenge Stanley. I just thought there
Speaker 3: was another year.
Speaker 1: Well Stanley won't won't refute it. So yes, I think
Speaker 1: I think that's I think we worked in a lot
Speaker 1: of our the apes were mimes, and I'm not sure
Speaker 1: if you kind of they were so good, like I mean, obviously,
Speaker 1: when the camera got a bit closer, you could see
Speaker 1: that these weren't.
Speaker 3: Real apes, but they were great from a distance.
Speaker 1: When you stayed away a bit, they you would have
Speaker 1: believed they were real APPEs.
Speaker 5: And and again, I know we keep harping on it,
Speaker 5: but you've got to remember when people are seeing this.
Speaker 3: Yeah, like straight up you were straight up you're believing if.
Speaker 1: You're seeing in the cinema in nine and six, you're
Speaker 1: watching it, I think you believe that he's a you.
Speaker 5: Know, you you think that they've somehow got apes and
Speaker 5: trained apes soundly.
Speaker 1: Could be one of the insurance policy in case aliens
Speaker 1: were discovered before the film was released. Lloyd's of London
Speaker 1: knocked him back. But it would have been a pretty
Speaker 1: good payday actually, for if they had taken that up,
Speaker 1: to be honest, so they missed out, would have been
Speaker 1: a huge payday, huge payday, mate, Thank you so much,
Speaker 1: Thanks Pete. This comes with a bit of homework, and
Speaker 1: this is you know, I'm chuffed with the amount of
Speaker 1: my guests who, whether it was by design or just
Speaker 1: through some naivety, have chosen two and a half hour films.
Speaker 1: And this is another one.
Speaker 3: I had no idea.
Speaker 1: So Sampang was very smart. He chose a ninety minute film.
Speaker 5: I was going to say I could have done a
Speaker 5: ninety minute How had Sampang not seen the cast?
Speaker 1: Oh well that has been discussed many times and we
Speaker 1: still don't know. Really, he doesn't know how, but he
Speaker 1: loved it and we always recommend The Castle to the
Speaker 1: Hitting Zone.
Speaker 3: It's one of the best films. Well.
Speaker 1: He also works with those people who made that, so
Speaker 1: it's it's kind of incredible. Mate. You are an absolute
Speaker 1: joy to hang out with, loving having you on the
Speaker 1: on the project. We'll see you on there. This week
Speaker 1: ABC Breakfast was where you can see Tony Ye spose
Speaker 1: we people catch your guys.
Speaker 5: So your guys on an I t V. I think
Speaker 5: it's on Fox as well. I think the AFL website
Speaker 5: streams it as well. So yeah, Base and maybe SPS.
Speaker 3: Showed it as well. Yeah, so it's all over the place.
Speaker 1: You've got no excuse.
Speaker 3: If you've got a TV. I shall be on in
Speaker 3: your house.
Speaker 1: No excuse not they have Tony Armstrong on your house.
Speaker 1: It's if you love your foot you get onto it.
Speaker 1: It's a cracking footy show mate. Thank you so much.
Speaker 3: What a pleasure. That was awesome.
Speaker 4: Ex give me your all four from you.
Speaker 1: Yes, hell nine thousand is gone. The batteries have been
Speaker 1: taken out. His such history has been erased. I love
Speaker 1: that chat with my friend Tony Armstrong. Catch him on YOCKEYE,
Speaker 1: the Project, ABC Sports. He is killing it at the
Speaker 1: moment and the bloody joy to be around and the
Speaker 1: big commitment to watch to watch two thousand and one
Speaker 1: of Space Odyssey whilst doing Breakfast TV. Three votes t Armstrong,
Speaker 1: maybe the first time he got three votes. You're still
Speaker 1: hearing his noddings. There we go, Derek Myers some Casways
Speaker 1: Studios dot com dot If you want to get your
Speaker 1: your podcast up and going, this is the studio to
Speaker 1: do it. Derek is demand to talk to Derek. I
Speaker 1: know for a fact that you had seen two thousand
Speaker 1: and one of Space Odyssey.
Speaker 7: Oh god, yeah, I'm obsessed. I was obsessed with it
Speaker 7: when I was young. The only time I've ever in
Speaker 7: fact taken a day off or wagged school was because
Speaker 7: I couldn't put the book down. Oh wow, yeah, when
Speaker 7: I was sixteen.
Speaker 1: That is that is the most impressive nerdiest reason not
Speaker 1: to go to school.
Speaker 3: But only moment.
Speaker 1: Anyone, any kid. I suggest, any kid who wants to
Speaker 1: read a book and not go to school should be
Speaker 1: allowed to do just that, particularly if it's Frankie Fish
Speaker 1: in a Sonic Suitcase or any of the Franki Fish
Speaker 1: books available in all good bookstores now, kids and parents.
Speaker 7: True enough, my daughter I had to tell her off
Speaker 7: several times because she was sitting up in bed sneakily
Speaker 7: reading Frankie Fish.
Speaker 3: Ah weeks ago.
Speaker 1: Oh, fan, you've raised the daughter. Well, but we won't.
Speaker 1: Let's go about in two thousand and one. But yeah,
Speaker 1: frank Fish is available in more good books. So and
Speaker 1: you you did an assignment on two thousand and one
Speaker 1: the space Hoders, Is that right? I did I know?
Speaker 7: We had to do a school assignment in probably form
Speaker 7: year ten on Evolution. And I was obviously a big
Speaker 7: fan of the film. It was probably around in nineteen
Speaker 7: eighty two, and I simply just described the ape scene
Speaker 7: at the beginning and how they clearly the ones with
Speaker 7: the bones and the violence were the ones that were
Speaker 7: going to evolve because the other ones were dead already,
Speaker 7: they weren't going to breed. And I got a zero
Speaker 7: publicly humiliated by the teacher, and I still stand by
Speaker 7: the fact that it was a valid theory of evolution.
Speaker 1: Yeah, zero's a bit harsh read the book.
Speaker 7: I have an apology to make though to David Bowman,
Speaker 7: because all these years I've been quoting him wrong, all
Speaker 7: these years saying open the podb door. How Yeah, he
Speaker 7: says please, And I only realized when I rewatched it,
Speaker 7: open the pod bay door, how please?
Speaker 1: I think please a few times. I mean it's quite.
Speaker 1: It's quite the back and forth between Hell and himself.
Speaker 1: It's one of the very few movies should we should apologize.
Speaker 1: I think it's the only movie we've ever discussed where
Speaker 1: we haven't actually spoken about or mentioned even mentioned the actors,
Speaker 1: and I guess it's it's a you know this, this
Speaker 1: Kubrick is. It's really about Kubrick, you know, more so
Speaker 1: than the aplis. But the actors are very good. Kaya
Speaker 1: al Kia Delia played Dave Bowman and Gary Lockwood played
Speaker 1: Doctor Frank Paul William Sylvester played Doctor Haywood. Floyd Daniel
Speaker 1: Richter was the moon Watcher, which is the ape, so
Speaker 1: he was I guess the mime there. So names that
Speaker 1: are not certainly not household names, and like I said, apologies,
Speaker 1: but there's bigger things going on than than just the
Speaker 1: actors here. I think absolutely we got some ale.
Speaker 7: Yes, I've got one from Lachlan.
Speaker 1: What does Locklan have to say?
Speaker 7: Hey, Peter, my name is Lachlan. Hey, I'm thirty three
Speaker 7: years old and my three favorite films are Star Wars, Yes,
Speaker 7: A New Hope inception, Oh Tony, Be Happy, and The Incredibles.
Speaker 3: Good choice.
Speaker 7: I've been a fan of yours since watching Rove Live
Speaker 7: every week as a teenager and a young man, good Man,
Speaker 7: and I'm thoroughly enjoying the podcast.
Speaker 1: Thank You.
Speaker 7: I think we all have a list of movies that
Speaker 7: we endeavor to watch at some point in our lives,
Speaker 7: so the concept really resonates with me. There's a few
Speaker 7: episodes I've had.
Speaker 3: To skip what what.
Speaker 7: As I have not seen the movie discuss fair enough,
Speaker 7: but I intend to get to them once I tick
Speaker 7: those films off my list, good Man. I very much
Speaker 7: enjoy the chats with all your guests, but particularly the
Speaker 7: open and honest chat with Samuel Johnson.
Speaker 1: That was a fantastic chat. I want to take this
Speaker 1: opportunity actually to give all of our love and strength
Speaker 1: and our love to Sam, who who you may have
Speaker 1: read recently, was involved in a serious accident. We pray
Speaker 1: for your recovery. Sam, We love you and yes all
Speaker 1: the best of Sam Johnson and his family and that
Speaker 1: knows around him. So and then I might take over
Speaker 1: here this to also Lachlan watched I see he watched
Speaker 1: Aliens for the first time, even though he had seen
Speaker 1: Aliens years ago. I just had him go around to
Speaker 1: the sequel. So I don't know how long your movie
Speaker 1: list is already, but a couple of suggestions of movies
Speaker 1: i'd recommend if people haven't seen them. Inception. He obviously
Speaker 1: loves it. It's a great action, a good great cast,
Speaker 1: interesting plot, Cassino Royale, that is the he's thinking the
Speaker 1: Craig Bond side to Craig Daniel Craig to say Craig
Speaker 1: David and then fight Club. He wants fight Club of course,
Speaker 1: what a classic from David Fincher, Brad Pitt and Ed Norton.
Speaker 1: I better leave it at that. This is already a
Speaker 1: massively long email, and you're a very busy man, not
Speaker 1: busy enough to take your email, Lachlan, So thank you
Speaker 1: very much and cheers. For all thetainment you've provided over
Speaker 1: the years, and thanks again for making this informative and
Speaker 1: entertaining podcast. Lachlan, it is feedback like that that keeps
Speaker 1: us going in his fuel for our engine. Well, I
Speaker 1: really appreciate it. I got a hockey dad by the
Speaker 1: name of Brent. It might have been Brett Brett or
Speaker 1: Brent came up to me and told me how much
Speaker 1: he has loved that he's loving the podcast and how
Speaker 1: it's reinvigorated his love of movie. So it's just all
Speaker 1: this is great. This is our own little startup, little podcast,
Speaker 1: and it's very much DIY as far as Derek and
Speaker 1: myself putting it together, and we really appreciate it and
Speaker 1: all the guests who come on. Speaking of which, next
Speaker 1: week we have a returning guest for our fiftieth episode.
Speaker 1: That's right, we've done fifty of these things, unbelievable, fifty
Speaker 1: films and fifty guests. Well quite fifty, guess because we've
Speaker 1: had a couple of returning guests. Next week, our returning
Speaker 1: guest as promised, just like Luke McGregor before him, who
Speaker 1: What's Godfather Part One? And had to come back to
Speaker 1: do Godfather Part two? When Wali Dali nominated Star Wars,
Speaker 1: we knew he had to come back to discuss Empire
Speaker 1: Strikes Back. Oh, one of my all time favorite films,
Speaker 1: possibly the greatest sequel of all the time, but probably
Speaker 1: got fither. Part two pipsit at the post. The Empire
Speaker 1: Strikes Back with Wild Ali for episode number fifty next week,
Speaker 1: and you ain't seen nothing yet until then. Bye. And
Speaker 1: so we leave old Pete save Fan Soult, and to
Speaker 1: our friends of the radio audience, we've been a pleasant
Speaker 1: good name.