WEBVTT - REPETE: Clare Bowditch and ROCKY

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<v Speaker 1>Gid He Peter, Hell, are you here? Welcome to You

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<v Speaker 1>ain't seen nothing yet? The Movie Podcast, where our chat

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<v Speaker 1>to a movie lover about a classic or beloved movie

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<v Speaker 1>they haven't quite got around to watching until now. And

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<v Speaker 1>today's guest singer, songwriter, musician, podcaster, broadcaster, author, entrepreneur mate

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<v Speaker 1>Claire Bonditch. The first rule of fake club is you

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<v Speaker 1>do not talk about fake club.

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<v Speaker 2>Now as you're afraid of you broke my heart. I

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<v Speaker 2>admy your luck, mister Bond, James Bond.

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<v Speaker 1>They couldn't happen any right now, You ain't seen nothing yet.

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<v Speaker 1>If the keys to a happy, healthy life is to

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<v Speaker 1>surround yourself with positive, creative people, than everyone to try

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<v Speaker 1>to become mates with Claire Bontage. Now, understandably, not everyone

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<v Speaker 1>is able to make that happen for a variety of

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<v Speaker 1>reasons geography, access, etc. But what you should do is

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<v Speaker 1>attempt to devour the creativity of Claire Bontage anyway you can.

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<v Speaker 1>And the great news is, due to the prolific and

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<v Speaker 1>neglecting nature of Claire's work, there is more opportunities than

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<v Speaker 1>with most people. Firstly, there is Claire's music from her

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<v Speaker 1>debut release Autumn Bone to What Was Left, featuring her

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<v Speaker 1>breakout hit Divorcee at twenty three. It's still such a

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<v Speaker 1>stunning song. The moon looked on the Winter. I chose

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<v Speaker 1>Happiness Incredible albums for me. My favorite and for many

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<v Speaker 1>is her seminal album Modern Day Addiction, with which is

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<v Speaker 1>a true masterpiece in my top five of all time.

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<v Speaker 1>I revisit it quite often, and if you haven't listened

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<v Speaker 1>to it, I urge you to do so. I have

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<v Speaker 1>been guilty of forcing people to listen to songs from

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<v Speaker 1>this album. At a post Logi's function, I made a

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<v Speaker 1>group of people listen to Claire's song Your Own kind

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<v Speaker 1>of Girl, and I said, if you have daughters, you

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<v Speaker 1>need to listen to this song and make them.

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<v Speaker 3>Listen to it.

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<v Speaker 1>I don't have daughters, so I'll just force other people

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<v Speaker 1>with daughters to listen to that song. It's such an

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<v Speaker 1>incredible song, so many incredible songs on that album. Please

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<v Speaker 1>listen to it if you haven't already, and I'm sure

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<v Speaker 1>you will love it. Using the title of that song,

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<v Speaker 1>Claire released her raw, honest and life affirming memoir Your

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<v Speaker 1>Own Kind of Girl, which again I have passed on

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<v Speaker 1>to many many people.

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<v Speaker 3>It is a stunning piece of work.

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<v Speaker 1>Claire is also a social entrepreneur, founding The Big Heart

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<v Speaker 1>of Business, which exists to teach creative people about business

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<v Speaker 1>and business people about creativity in ways that makes sense.

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<v Speaker 1>Claire was in Offspring. She hosted ABC Radio. She's a podcaster.

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<v Speaker 1>Claire is honest, believes in the power of positivity, but

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<v Speaker 1>he's not afraid to speak about her own demons and

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<v Speaker 1>self doubts. Claire is incredibly talented, compassionate, funny, and I'm

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<v Speaker 1>bloody stoked to be hanging with her today.

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<v Speaker 2>Hello, I'm Claiboditch. My three favorite films are as follows

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<v Speaker 2>one car Wires in the Mood for Love, I'm all

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<v Speaker 2>I'm going to take which one you have? The Sound

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<v Speaker 2>of Music? By the Sound of Music, O Ray Me

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<v Speaker 2>Do Rainy, and lastly Black Balloon by Alissa Down Why

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<v Speaker 2>Hello Hellou. But the truth is there's now another contender

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<v Speaker 2>in the mix. Until last night, I've never seen the

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<v Speaker 2>movie Rocky.

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<v Speaker 1>Surely this is one movie that barely needs a synopsis provided.

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<v Speaker 1>Is there anyone on this planet Earth who doesn't know

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<v Speaker 1>what Rocky is about? On November twenty five, nineteen seventy five,

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<v Speaker 1>we find a small time boxer getting heckled and ged,

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<v Speaker 1>and the rams shackled about in a dodgy gym. Despite

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<v Speaker 1>being declared the winner, the Italian Stallion claims forty four

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<v Speaker 1>dollars fifty five cents after locker, shower and twel charges

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<v Speaker 1>are deducted. If this isn't rock Bottom, it's pretty close.

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<v Speaker 1>For Rocky Balboa, played of course by Sylvester Stallone, who

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<v Speaker 1>also wrote the screenplayed living in a shithole, working for

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<v Speaker 1>a loan shark, barely able to get the attention of

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<v Speaker 1>local pet store worker Adrian, played beautifully by Talia Shaier,

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<v Speaker 1>but things eventually are on the way up. Heavyweight champion

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<v Speaker 1>of the World Apollo Creed Carl Weathers show boats into

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<v Speaker 1>town talking a big game, but that talk gets curtailed

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<v Speaker 1>when his opponent is injured. Determined not to miss out

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<v Speaker 1>on the chance for another payday, Apollo has the idea

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<v Speaker 1>to give an unknown fighter the chance of a lifetime.

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<v Speaker 1>Directed by John G. Elbertson said it in a fever.

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<v Speaker 1>The Crawati Kids Stand by Me, an iconic score by

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<v Speaker 1>Bill Conti, the highest grossing film of nineteen seventy six,

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<v Speaker 1>It won three Oscars for Best Film, Best Director and

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<v Speaker 1>Best Editing. Rocky is the ultimate underdog Rags the Riches movie,

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<v Speaker 1>Claire Boatage. Are you inspired enough to run up the

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<v Speaker 1>steps of Parliament House in Spring Street here in Melbourne?

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<v Speaker 2>Not only am I inspired enough? I already did it alone.

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<v Speaker 2>That's why I was laid.

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<v Speaker 3>Welcome to you ain't doing nothing yet.

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<v Speaker 2>Absolute treat. This is one of my favorite podcasts.

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<v Speaker 1>Oh well, you're very kind. And I had the treat

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<v Speaker 1>last night because I watched it last night as you did.

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<v Speaker 1>And I know you watched it because you sent me

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<v Speaker 1>love the little videos throughout throughout you. You were set up,

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<v Speaker 1>you had popcorn, we did Did you watch it by yourself?

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<v Speaker 3>As the family?

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<v Speaker 2>Myself, my cat, my dog, my husband Marty, and one

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<v Speaker 2>of my sons, Oscar. So the other kids were out,

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<v Speaker 2>that's the only reason they weren't watching. Yeah, I said

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<v Speaker 2>to them, guys, I was not allowed to watch this

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<v Speaker 2>when I was a child. I'm giving you the opportunity

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<v Speaker 2>now now they're fifteen, fifteen, and nineteen. So they were

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<v Speaker 2>so two of them left the house and with the

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<v Speaker 2>other one stayed and we got to watch it together.

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<v Speaker 1>Who there's a lot to talk about and we'll get

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<v Speaker 1>to it soon. So this is something you weren't allowed

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<v Speaker 1>to watch, and we spoke about as I do most guests.

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<v Speaker 1>There's a couple of films that we I ask you

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<v Speaker 1>that you haven't seen. There were I think Aaron Brockovich

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<v Speaker 1>may have been one that was tantalizing to chat to

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<v Speaker 1>you about. That would have been amazing. But I feel

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<v Speaker 1>like Rocky is such an iconic film and I we've

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<v Speaker 1>been close to maybe getting it done. Luke McGregor nominated

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<v Speaker 1>but then told me it's like three months earlier. They're

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<v Speaker 1>not the rules, Luke.

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<v Speaker 2>No, Luke. I mean, look, he's an artist, so he's

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<v Speaker 2>always pushing the boundaries. No, that's not the rules. And

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<v Speaker 2>I'm so grateful that they are the rules and that

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<v Speaker 2>you've stuck to them. Like, I appreciate this disciplinary sort

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<v Speaker 2>of streaking you because I've benefited greatly from it.

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<v Speaker 1>Well, I cannot wait to get stuck in talking about Rocky.

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<v Speaker 1>There's so much to talk about. Let's talk about your

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<v Speaker 1>three favorite films. Great Now, I thought the first one,

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<v Speaker 1>I have no idea what this film is. I thought

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<v Speaker 1>you were about to say Willy Wonk and my mind

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<v Speaker 1>with the chocolate Factory. Yeah, yeah, so my apologies, not

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<v Speaker 1>at all, not at all.

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<v Speaker 2>It was actually Jelly in the Chocolate Factory. The original

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<v Speaker 2>was one of my favorite films as a child. But

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<v Speaker 2>Wanka Wai is an incredible Shanghai based director whose beauty

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<v Speaker 2>and ability to play with light just broke my heart

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<v Speaker 2>when the first time I saw in the Mood for Love,

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<v Speaker 2>which is essentially a story, you know, a story about

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<v Speaker 2>two people who are engaging in falling in love. It

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<v Speaker 2>was made in two thousand, but the first time I

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<v Speaker 2>saw it, I just felt that I had seen something

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<v Speaker 2>that would stay with me for life, something that was

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<v Speaker 2>beautiful and true. Now the world felt the same way,

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<v Speaker 2>you know. It's one of the few films and few

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<v Speaker 2>filmmakers from Asia who was able to crack through into

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<v Speaker 2>a Western market. His movies are all subtitled, so they're

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<v Speaker 2>all in original language. But it's just a beautiful, contemplative story.

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<v Speaker 2>And as always, it's the soundtrack. Who I don't know

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<v Speaker 2>who wrote the soundtrack. Actually that's ridiculous, I'm making a

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<v Speaker 2>note here, but the soundtrack, the way it all worked

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<v Speaker 2>together and the gentleness of the movie was just so beautiful.

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<v Speaker 1>So it stuck in my heart all of these years,

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<v Speaker 1>and what's the film about.

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<v Speaker 2>It's really essentially about two people, two people who are

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<v Speaker 2>living quite small lives and find each other within that life.

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<v Speaker 2>They engage on what could be called an affair of

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<v Speaker 2>sorts or the contemplation of an affair for a lot

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<v Speaker 2>of it. So I won't spoil that for you, but

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<v Speaker 2>that's part of its beauty. It's about real people in

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<v Speaker 2>real life and the emotional struggle of trying to find

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<v Speaker 2>truth and connection in an environment where it's not encouraged.

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<v Speaker 1>You spoke about light, then we're actually having a conversation

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<v Speaker 1>about light the recording and you think about light a lot,

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<v Speaker 1>like you have a relationship with light, and that obviously

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<v Speaker 1>you when you perform, whether it be in a video

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<v Speaker 1>or on stage, you must be thinking about light a lot.

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<v Speaker 1>Did this Did this inform that? Were you? Were you

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<v Speaker 1>aware of your relationship with light when you watch us on?

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<v Speaker 1>Did this begin that relationship?

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<v Speaker 2>Let's just let's just go back track a bit and

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<v Speaker 2>explain this. When I say relationship with light, light, I

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<v Speaker 2>guess what Pete's referring to is, you know, previous conversation

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<v Speaker 2>we've had based on a renovation that we're doing where

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<v Speaker 2>myself and my lovely electrician. You know, we were learning

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<v Speaker 2>from each other. He was fascinated by the strength of

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<v Speaker 2>feeling that I had around the color, the warmth, and

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<v Speaker 2>the choice of light. So I'll explain it. We all

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<v Speaker 2>have our own sensitivities, things that sort of You know,

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<v Speaker 2>you might smell jackfruit and not like the smell. It's

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<v Speaker 2>very You know, your sense of smell is really strong.

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<v Speaker 2>One is too, But one of my strongest emotional reactions

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<v Speaker 2>and senses is sight and light. So if we're in

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<v Speaker 2>a room and there's white light, and I realized this

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<v Speaker 2>as a kid, I just don't feel great. I feel

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<v Speaker 2>cold and scared. If there is warm light, I feel

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<v Speaker 2>open and able to It's sort of like I feel

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<v Speaker 2>like I belong. Now call it synase easier or something

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<v Speaker 2>else if you like, that's fine, But I think it's

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<v Speaker 2>not uncommon. So I'm not sure if Wi's ability to

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<v Speaker 2>play with light, it probably did inform me. But I

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<v Speaker 2>think what it did was I responded to it because

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<v Speaker 2>I saw that he saw light in the same way,

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<v Speaker 2>or he felt the emotional quality of light in the

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<v Speaker 2>same way I do. It sounds ridiculous, but if I can.

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<v Speaker 1>It doesn't seem ridiculous at all. And the reason I

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<v Speaker 1>wanted to mention it because I just maybe think we

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<v Speaker 1>don't often take in. Everyone's so busy, we don't often

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<v Speaker 1>take in. We might go, oh, I like this, I

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<v Speaker 1>like the way that smells, or I love the way

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<v Speaker 1>you know that that thing looks, but we don't then go, Okay, well,

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<v Speaker 1>how do I make those choices in my life to

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<v Speaker 1>have these things surrounding me more often?

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<v Speaker 2>And I think what happens is some of us who

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<v Speaker 2>are sensitive to certain things, it really affects our life.

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<v Speaker 2>So that's why we're forced to sort of consider it.

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<v Speaker 2>And that's probably what happened with me. I just realize

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<v Speaker 2>I'm a perform and I would reflect back on performances.

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<v Speaker 2>Why was that useful? Well, like why did I kill

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<v Speaker 2>it that night and not another night? And so often

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<v Speaker 2>it had to do with the sensitivity the lighting in

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<v Speaker 2>the room, And it goes back to probably a basic

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<v Speaker 2>human or maybe mammalian impulse. Let's say cats don't give

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<v Speaker 2>birth in full light. Women prefer to give birth in

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<v Speaker 2>modest light as well, just because it's one less thing

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<v Speaker 2>to think about. You know, cats go to the back

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<v Speaker 2>of the cupboard where it's dark and they do their thing.

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<v Speaker 2>So anytime I'm vulnerable if the lights are bright. And

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<v Speaker 2>this is an interrogation technique, you know, it's been used,

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<v Speaker 2>breeans to the lights are bright, you're overwhelmed and you're

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<v Speaker 2>probably not responding to whatever that is that you want to,

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<v Speaker 2>the nuance of whatever it is, the subtlety of whatever

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<v Speaker 2>it is that's going on.

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<v Speaker 1>But it's why restaurants often use handles, Yes, you know,

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<v Speaker 1>as opposed to your spotlights.

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<v Speaker 2>It probably goes all the way back there. You know,

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<v Speaker 2>we were people around the campfire once. We were people

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<v Speaker 2>who didn't actually have any exposure to electric light until

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<v Speaker 2>the very first person who could call himself an electrician, Edison.

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<v Speaker 2>What luck he invented? Edison was the first electrician. We

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<v Speaker 2>think of it as a normal, you know, everyday trade

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<v Speaker 2>and very important trade. But it didn't exist until that

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<v Speaker 2>dude made it exists. Isn't that wild?

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<v Speaker 3>It's crazy?

0:13:21.720 --> 0:13:24.440
<v Speaker 2>And the same too with podcasters. I mean they didn't

0:13:24.440 --> 0:13:26.120
<v Speaker 2>exist until quite recently exactly.

0:13:26.280 --> 0:13:28.480
<v Speaker 3>And we're taking the will by storm, both of us. Claire,

0:13:29.040 --> 0:13:29.800
<v Speaker 3>go see that movie.

0:13:29.840 --> 0:13:31.040
<v Speaker 2>That's all I'm saying is beautiful.

0:13:31.440 --> 0:13:34.800
<v Speaker 3>Yes, when was it made two thousand and two, two

0:13:34.840 --> 0:13:36.160
<v Speaker 3>thousands great.

0:13:36.320 --> 0:13:39.400
<v Speaker 1>I think The Sound of Music is a movie that

0:13:39.520 --> 0:13:41.800
<v Speaker 1>we covered recently with the wonderful Judith Flucy.

0:13:42.000 --> 0:13:45.040
<v Speaker 2>I can't believe that Judah had not seen it more.

0:13:44.920 --> 0:13:47.600
<v Speaker 1>Than any other. I mean, I'm sure that you haven't

0:13:47.600 --> 0:13:52.280
<v Speaker 1>seen Rocky, but I understand it. Jude seemed to be

0:13:53.840 --> 0:13:58.320
<v Speaker 1>raised Catholic. I think you actually considered becoming a nun

0:13:58.880 --> 0:14:05.520
<v Speaker 1>like a movie buff. None of it made sense, and

0:14:05.840 --> 0:14:08.760
<v Speaker 1>I had seen it. I'd seen the Sound of Music.

0:14:09.360 --> 0:14:11.800
<v Speaker 1>Not as many times I've seen Star Wars, but kind

0:14:11.840 --> 0:14:12.960
<v Speaker 1>of in the vicinity.

0:14:13.960 --> 0:14:15.040
<v Speaker 2>Do you like the movie?

0:14:15.240 --> 0:14:16.000
<v Speaker 3>I love the movie.

0:14:16.080 --> 0:14:18.679
<v Speaker 2>Correct, Yeah, that's right, because that's the right answer. Now,

0:14:18.760 --> 0:14:20.640
<v Speaker 2>I don't trust people who tell me they don't like

0:14:20.680 --> 0:14:22.840
<v Speaker 2>the Sound of Music. I'm sorry if that's you. But

0:14:23.200 --> 0:14:27.200
<v Speaker 2>what's going on there? What? How can you not love

0:14:28.200 --> 0:14:28.760
<v Speaker 2>that movie?

0:14:29.320 --> 0:14:31.760
<v Speaker 1>Well, I mean you might have Jack with dude, that's right,

0:14:32.800 --> 0:14:33.360
<v Speaker 1>you know why?

0:14:33.760 --> 0:14:36.320
<v Speaker 2>Because I think you had to be indoctrinated early, you know,

0:14:36.480 --> 0:14:37.080
<v Speaker 2>maybe that's it.

0:14:37.200 --> 0:14:38.480
<v Speaker 1>I think there are a lot of movies like that.

0:14:38.600 --> 0:14:42.880
<v Speaker 1>I think this really this is one of those movies,

0:14:42.880 --> 0:14:46.280
<v Speaker 1>because I think Jude made some reasonable, reasonably good points

0:14:46.320 --> 0:14:47.800
<v Speaker 1>about the lack of plot.

0:14:48.160 --> 0:14:51.840
<v Speaker 2>In the movie and the extended plot and that you know, yeah, look,

0:14:52.080 --> 0:14:53.360
<v Speaker 2>she's not wrong, and.

0:14:53.440 --> 0:14:56.120
<v Speaker 3>It doesn't after the Nazis invade.

0:14:56.120 --> 0:14:58.200
<v Speaker 1>It kind of doesn't coome about Maria after that, after

0:14:58.240 --> 0:15:00.320
<v Speaker 1>the wedding doesn't really become about Maria became was kind

0:15:00.360 --> 0:15:03.160
<v Speaker 1>of Captain von Trapp's movie. And yeah, but.

0:15:06.480 --> 0:15:10.000
<v Speaker 2>The music and la costumes as well, but also the

0:15:10.080 --> 0:15:13.680
<v Speaker 2>spirit of the thing, which is again this story of

0:15:13.880 --> 0:15:18.600
<v Speaker 2>someone who is doggedly intent on being who she is

0:15:19.320 --> 0:15:22.520
<v Speaker 2>within the confines of society at that time. You know,

0:15:22.680 --> 0:15:25.920
<v Speaker 2>Maria V's she should never have been a nun like

0:15:26.360 --> 0:15:29.600
<v Speaker 2>we knew that from seeing her that was that was

0:15:29.680 --> 0:15:32.440
<v Speaker 2>not her fate. She was there to sing and share songs.

0:15:32.720 --> 0:15:35.320
<v Speaker 2>It is the ease with which she says shares songs

0:15:35.360 --> 0:15:37.480
<v Speaker 2>and the normalcy of that that I think I love

0:15:37.520 --> 0:15:40.000
<v Speaker 2>as an adults as well as a costume. So we

0:15:40.080 --> 0:15:41.920
<v Speaker 2>mentioned the costumes. I've actually got a dress that I

0:15:42.000 --> 0:15:45.440
<v Speaker 2>bought recently in the style of the Maria von Trapp

0:15:45.920 --> 0:15:48.920
<v Speaker 2>playsuits made out of the curtains. I wore that at

0:15:48.960 --> 0:15:52.040
<v Speaker 2>a show recently, great response. It's sort of white with green.

0:15:53.040 --> 0:15:56.160
<v Speaker 3>Have you ever sung any sound music live like thrown

0:15:56.240 --> 0:15:56.880
<v Speaker 3>in the little.

0:15:57.000 --> 0:16:00.680
<v Speaker 2>Yeah, I did a sort of chrissy. This one called

0:16:00.680 --> 0:16:06.680
<v Speaker 2>it quite a spooky, enchanting improv of you know, the

0:16:06.800 --> 0:16:10.920
<v Speaker 2>song farewell alvidazain adue to. I can't remember the name

0:16:10.960 --> 0:16:16.400
<v Speaker 2>of the action, but yeah, on the stairs. Recently at

0:16:16.440 --> 0:16:21.240
<v Speaker 2>a show it was responded too strongly, I think positively.

0:16:21.280 --> 0:16:21.920
<v Speaker 2>I'm not sure, but.

0:16:23.640 --> 0:16:24.680
<v Speaker 1>I did carry up the stairs.

0:16:26.840 --> 0:16:29.240
<v Speaker 2>It was at the forensics full room and the stick

0:16:29.440 --> 0:16:31.280
<v Speaker 2>there was a staircase, so that was all part of it.

0:16:31.360 --> 0:16:33.320
<v Speaker 2>And I was wearing the bond trap dress. But it

0:16:33.440 --> 0:16:35.760
<v Speaker 2>was in the spirit of a random creative adventure. You know,

0:16:35.840 --> 0:16:38.320
<v Speaker 2>sometimes we've got to try stuff that's a bit scary

0:16:38.520 --> 0:16:40.840
<v Speaker 2>and it makes us feel alive again. So that's why

0:16:40.840 --> 0:16:48.480
<v Speaker 2>I did that. But that that story of what creativity

0:16:48.520 --> 0:16:50.960
<v Speaker 2>can bring to her life, now, that was really important

0:16:51.000 --> 0:16:53.000
<v Speaker 2>for me as a little kid. We watched this. We

0:16:53.120 --> 0:16:55.720
<v Speaker 2>watched that movie with my family. I think it might

0:16:55.760 --> 0:17:00.280
<v Speaker 2>have been at Rye camping ground, local town hall. I

0:17:00.360 --> 0:17:04.119
<v Speaker 2>remember Albi Mangele's Adventures being there on there and also

0:17:04.200 --> 0:17:06.520
<v Speaker 2>the sound of music, and it was just a sort

0:17:06.560 --> 0:17:08.920
<v Speaker 2>of a show that was always on every time it

0:17:08.960 --> 0:17:10.560
<v Speaker 2>came on TV. But we'd all sit down and watch

0:17:10.640 --> 0:17:12.800
<v Speaker 2>it together, but we'd be sent to bed before the

0:17:12.880 --> 0:17:16.600
<v Speaker 2>Nazis came, you know, so we would usuerally watch the

0:17:16.640 --> 0:17:18.760
<v Speaker 2>first half of the second half. It was shocking as

0:17:18.760 --> 0:17:19.560
<v Speaker 2>an adult tatch it.

0:17:19.760 --> 0:17:23.280
<v Speaker 1>I did learn, maybe unsurprisingly, that when I was researching

0:17:23.400 --> 0:17:26.679
<v Speaker 1>for the Dudes episode, that in Germany, like a lot

0:17:26.720 --> 0:17:30.679
<v Speaker 1>of the German executives and film industry, they wanted basically

0:17:30.880 --> 0:17:33.119
<v Speaker 1>to end at the wedding, so that was where it

0:17:33.119 --> 0:17:33.679
<v Speaker 1>swised to end.

0:17:33.760 --> 0:17:37.040
<v Speaker 3>So you basically saw the German version of the elm.

0:17:37.560 --> 0:17:40.760
<v Speaker 2>I saw the German version, the thought that it is

0:17:40.920 --> 0:17:43.119
<v Speaker 2>actually based on a true story, The thought that that

0:17:43.400 --> 0:17:47.680
<v Speaker 2>von Trapp family did run away and find shelter in

0:17:47.760 --> 0:17:52.439
<v Speaker 2>the hills in some canton, you know, that's all extraordinary, and.

0:17:52.480 --> 0:17:55.359
<v Speaker 1>They left behind that they left behind that house like

0:17:55.520 --> 0:17:59.240
<v Speaker 1>they left with very little money. Eventually got to America

0:17:59.480 --> 0:18:01.680
<v Speaker 1>and and what was one of the fascinating things I

0:18:01.760 --> 0:18:06.240
<v Speaker 1>learned was the real Maria von Trapp had, like I think,

0:18:06.280 --> 0:18:08.399
<v Speaker 1>her parents died when she was very young. She was

0:18:08.480 --> 0:18:12.320
<v Speaker 1>raised by an uncle who was not very nice. And

0:18:13.320 --> 0:18:16.119
<v Speaker 1>it was when she actually when the kids showed her

0:18:16.240 --> 0:18:19.440
<v Speaker 1>love that was and they gave her a kiss that

0:18:19.560 --> 0:18:22.200
<v Speaker 1>was the first time she'd ever actually been kissed any

0:18:22.359 --> 0:18:24.320
<v Speaker 1>in any way, shape or form. And she fell in

0:18:24.400 --> 0:18:26.720
<v Speaker 1>love with the kids before she fell in love with

0:18:27.000 --> 0:18:27.840
<v Speaker 1>Captain von Trapp.

0:18:28.560 --> 0:18:31.920
<v Speaker 2>Wow, I mean, wouldn't be the first time a woman

0:18:32.040 --> 0:18:34.639
<v Speaker 2>has I mean maybe Von Trapp was a bit of

0:18:34.680 --> 0:18:36.880
<v Speaker 2>a pain in the a And you know, having.

0:18:36.680 --> 0:18:38.879
<v Speaker 1>That whistle like the whistle was whizzle was too much.

0:18:39.800 --> 0:18:40.480
<v Speaker 3>And the use of.

0:18:40.560 --> 0:18:43.280
<v Speaker 2>Soft lens in that movie too, I don't know, Look,

0:18:43.400 --> 0:18:45.840
<v Speaker 2>it just it blew my mind. Yeah, I didn't know

0:18:45.960 --> 0:18:47.440
<v Speaker 2>there was soft lens. All I knew is I was

0:18:47.480 --> 0:18:50.080
<v Speaker 2>looking at the screen suddenly everything was soft and sweet. Yeah,

0:18:50.280 --> 0:18:52.960
<v Speaker 2>but I think it was the sweetness perhaps of the film,

0:18:53.640 --> 0:18:56.760
<v Speaker 2>her rebellious nature within the strict confines of the time,

0:18:57.160 --> 0:18:59.040
<v Speaker 2>and also the frugality of it. So there they are

0:18:59.119 --> 0:19:02.080
<v Speaker 2>these you know, brilliant he's a millionaire, but she's using

0:19:02.160 --> 0:19:04.520
<v Speaker 2>what they have curtains and so on. Now, my mum

0:19:04.600 --> 0:19:08.000
<v Speaker 2>was brought up. I was born in Melbourne. Mom was

0:19:08.040 --> 0:19:09.879
<v Speaker 2>born in Amsterdam in forty two, in the middle of

0:19:09.920 --> 0:19:13.720
<v Speaker 2>occupied Amsterdam, one of eleven and she grew up through

0:19:14.600 --> 0:19:17.639
<v Speaker 2>the First World War and the aftermath of that, and

0:19:17.760 --> 0:19:21.119
<v Speaker 2>she often speaks about the cleverness with which people were

0:19:21.160 --> 0:19:24.879
<v Speaker 2>able to repurpose things. You know, they didn't have much food,

0:19:26.359 --> 0:19:29.520
<v Speaker 2>so sometimes people would because everything was on ration, so

0:19:29.600 --> 0:19:32.240
<v Speaker 2>sometimes people would just make soup out of potato peels.

0:19:32.720 --> 0:19:35.440
<v Speaker 2>So to see her making costumes out of the curtains,

0:19:35.800 --> 0:19:39.800
<v Speaker 2>I just love that. It was so deeply creative. But anyway,

0:19:39.880 --> 0:19:41.359
<v Speaker 2>so that's the sound of music, my gosh.

0:19:41.560 --> 0:19:43.600
<v Speaker 1>And another fun fact if you haven't listened to for

0:19:43.640 --> 0:19:47.479
<v Speaker 1>those who haven't listened to the episodes, this live too.

0:19:49.200 --> 0:19:50.920
<v Speaker 1>At this stage our only live performance. Will do some

0:19:51.000 --> 0:19:54.200
<v Speaker 1>more soon. But one of my favorite facts was the

0:19:54.560 --> 0:19:56.959
<v Speaker 1>money that the von Trap's got. The reason they got

0:19:57.000 --> 0:19:59.480
<v Speaker 1>so much money is not because of Captain von Trapp,

0:19:59.520 --> 0:20:05.040
<v Speaker 1>because his late wife and her great grandfather, I think,

0:20:05.040 --> 0:20:05.920
<v Speaker 1>invented the torpedo.

0:20:05.960 --> 0:20:06.920
<v Speaker 3>It was torpedo money.

0:20:07.760 --> 0:20:11.879
<v Speaker 2>That is fascinating. The other thing to mention about that

0:20:12.400 --> 0:20:15.320
<v Speaker 2>movie and why it's so deeply affecting still, it's like

0:20:15.480 --> 0:20:18.440
<v Speaker 2>all a lot of the stories that we see set

0:20:18.480 --> 0:20:21.760
<v Speaker 2>in that time, which is you see the courage of

0:20:21.800 --> 0:20:23.920
<v Speaker 2>people who stood up to what was clearly wrong and

0:20:24.040 --> 0:20:28.280
<v Speaker 2>the sacrifice that they made, and I just you know,

0:20:28.359 --> 0:20:30.400
<v Speaker 2>I just think when you can combine that with song

0:20:30.480 --> 0:20:34.159
<v Speaker 2>and dance, because you know, Rocky didn't have song and

0:20:34.240 --> 0:20:36.639
<v Speaker 2>dance Didy. We'll talk about that later, but when you

0:20:36.680 --> 0:20:39.119
<v Speaker 2>can combine that in that way, it's no wonder the

0:20:39.200 --> 0:20:41.600
<v Speaker 2>world fell in love with that movie. Yeah, I respect you,

0:20:41.840 --> 0:20:43.720
<v Speaker 2>but that's it. That's one of my favorites.

0:20:44.040 --> 0:20:46.399
<v Speaker 3>Yeah, I agree, I agree, Black Balloon.

0:20:46.800 --> 0:20:48.480
<v Speaker 2>It's hard for me to choose a favorite movie. There

0:20:48.520 --> 0:20:52.840
<v Speaker 2>are so many wonderful Australian directors and movies. A couple

0:20:52.880 --> 0:20:55.680
<v Speaker 2>of years back, I had the pleasure of working with

0:20:57.080 --> 0:20:59.200
<v Speaker 2>a crew on a television show, got Offspring. Now I'm

0:20:59.280 --> 0:21:02.960
<v Speaker 2>not an actor, but you'll be great work, Thanks Buddy.

0:21:04.800 --> 0:21:09.159
<v Speaker 2>During COVID Offspring came on a streaming service for the

0:21:09.200 --> 0:21:12.280
<v Speaker 2>first time and it's created a renaissance in my own

0:21:14.000 --> 0:21:18.240
<v Speaker 2>recognizability at the supermarket shallow stades. The point being I

0:21:18.280 --> 0:21:19.879
<v Speaker 2>had a very minor role is the truth of it.

0:21:19.960 --> 0:21:23.480
<v Speaker 2>But I had the pleasure there of understanding more about

0:21:23.560 --> 0:21:26.760
<v Speaker 2>how films are made and filmmakers create their work and

0:21:26.840 --> 0:21:30.680
<v Speaker 2>also directors. Black Balloon was made by one of the

0:21:31.200 --> 0:21:34.280
<v Speaker 2>incredible directors I got to work with on Offspring. Her

0:21:34.440 --> 0:21:38.680
<v Speaker 2>name is Alissa Down. She wrote and directed this film.

0:21:38.920 --> 0:21:43.000
<v Speaker 2>It was based on her life, really and to understand

0:21:43.040 --> 0:21:45.840
<v Speaker 2>the enormous effort it takes to create a film. You know,

0:21:45.960 --> 0:21:47.920
<v Speaker 2>that was my first insight into all of that. But

0:21:48.320 --> 0:21:50.080
<v Speaker 2>that's not why I love the film. When I watched it,

0:21:50.880 --> 0:21:54.520
<v Speaker 2>It's a powerful, beautiful story featuring a family who were

0:21:54.520 --> 0:21:57.760
<v Speaker 2>different yet again set I think in the seventies, late seventies,

0:21:57.800 --> 0:22:02.520
<v Speaker 2>early eighties, a number of unusual stars. Tony Collet's in there,

0:22:02.840 --> 0:22:05.200
<v Speaker 2>but also Jima Ward, who was a model at the time.

0:22:07.080 --> 0:22:09.280
<v Speaker 2>But the story itself is about it's sold through the

0:22:09.359 --> 0:22:14.920
<v Speaker 2>perspective of a brother whose brother is severely autistic in

0:22:15.000 --> 0:22:18.560
<v Speaker 2>a time where we really didn't understand what that meant

0:22:18.760 --> 0:22:22.440
<v Speaker 2>to live, what it meant within a family to live

0:22:22.960 --> 0:22:26.800
<v Speaker 2>with that kind of incredible difference. I'll just say that

0:22:27.800 --> 0:22:30.680
<v Speaker 2>it's a beautifully told film because it's true film. It

0:22:30.800 --> 0:22:35.600
<v Speaker 2>talks about the concepts of the time, the toughness of

0:22:35.680 --> 0:22:39.640
<v Speaker 2>the time, those Australian ideas of you know, you're weak

0:22:39.680 --> 0:22:42.760
<v Speaker 2>if you don't take care of your own but the

0:22:42.840 --> 0:22:45.720
<v Speaker 2>effect that having a sibling who's different in your family

0:22:46.080 --> 0:22:48.960
<v Speaker 2>can have on a family in both a difficult way

0:22:49.000 --> 0:22:51.920
<v Speaker 2>also in a really profoundly beautiful way. So there's a

0:22:52.000 --> 0:22:54.520
<v Speaker 2>depth to this story. As I said, it is based

0:22:55.080 --> 0:22:58.200
<v Speaker 2>somewhat on Melissa's own experience. I just thought it was

0:22:58.240 --> 0:23:01.320
<v Speaker 2>gorgeously executed. It's a comedy drama.

0:23:01.600 --> 0:23:03.360
<v Speaker 1>Yeah, it's a beautiful film. I did see it when

0:23:03.400 --> 0:23:05.000
<v Speaker 1>it came out. I don't think I could add anything

0:23:05.040 --> 0:23:07.840
<v Speaker 1>that as any more than what you've said, but I

0:23:07.880 --> 0:23:11.240
<v Speaker 1>remember being blown away by all the performances, by the

0:23:11.600 --> 0:23:13.879
<v Speaker 1>craft of the film, and then the power of it.

0:23:14.840 --> 0:23:15.640
<v Speaker 3>It's a beautiful film.

0:23:15.800 --> 0:23:17.800
<v Speaker 2>Even as I'm talking about I'm sort of stumbling over

0:23:17.880 --> 0:23:20.719
<v Speaker 2>it because I haven't seen it for a few years now,

0:23:20.800 --> 0:23:24.800
<v Speaker 2>but it's one that sat with me. One of the

0:23:24.880 --> 0:23:28.720
<v Speaker 2>things I really was delighted by was the performance of

0:23:28.800 --> 0:23:32.480
<v Speaker 2>jem Award. We don't expect much from you know, if

0:23:32.520 --> 0:23:34.680
<v Speaker 2>you don't know who she is. She's a person who

0:23:34.760 --> 0:23:37.000
<v Speaker 2>is very famous for being a model as a teenager,

0:23:37.640 --> 0:23:40.080
<v Speaker 2>I don't know what, and she's sort of gone quite quiet.

0:23:40.119 --> 0:23:42.600
<v Speaker 2>She's living quite a private life. Kate Bush Star, you know,

0:23:43.080 --> 0:23:46.600
<v Speaker 2>had a lot of success, prefers a privacy, and he's

0:23:46.680 --> 0:23:48.479
<v Speaker 2>unusual in that way too, so I find that all

0:23:48.560 --> 0:23:50.680
<v Speaker 2>quite fascinating. But her performance was so true. I don't

0:23:50.720 --> 0:23:52.840
<v Speaker 2>know that it stretched her terribly, and I've always wondered

0:23:53.160 --> 0:23:55.000
<v Speaker 2>what else she might have to offer to acting if

0:23:55.040 --> 0:23:58.520
<v Speaker 2>she wanted to. But it was a beautiful surprise. There's

0:23:58.560 --> 0:24:01.080
<v Speaker 2>a tenderness to that film. Yeah, it's a beauty.

0:24:01.240 --> 0:24:06.240
<v Speaker 1>It's a great nomination. Great three films. Now let's move

0:24:06.320 --> 0:24:08.920
<v Speaker 1>on and let's talk about the film we are here

0:24:09.000 --> 0:24:11.600
<v Speaker 1>to talk about nineteen seventy six. The highest grocing film

0:24:11.600 --> 0:24:15.199
<v Speaker 1>in nineteen seventy six won the Oscar written amazingly. When

0:24:15.240 --> 0:24:18.000
<v Speaker 1>people find out, I think people forget who wrote this film.

0:24:18.080 --> 0:24:21.240
<v Speaker 1>The star of the film wrote it. So it'sisterlone. It's

0:24:21.280 --> 0:24:27.560
<v Speaker 1>set up eight movies spanning over five decades. Eight. Yeah,

0:24:27.640 --> 0:24:28.040
<v Speaker 1>there you go.

0:24:28.160 --> 0:24:29.320
<v Speaker 2>I've got so much ahead of me.

0:24:29.480 --> 0:24:34.240
<v Speaker 1>Oh, you'll be coming back. Claire an incredible film, iconic

0:24:35.800 --> 0:24:37.640
<v Speaker 1>Claire Boatage. Did you enjoy Rocky?

0:24:38.400 --> 0:24:40.200
<v Speaker 2>I can't tell you how much I enjoyed Rocky.

0:24:44.080 --> 0:24:47.480
<v Speaker 1>Yes, I'm so glad. I mean when you came in,

0:24:47.760 --> 0:24:50.840
<v Speaker 1>you know you were making some motions towards enjoying it,

0:24:51.640 --> 0:24:54.200
<v Speaker 1>and you did send me a video last night of

0:24:54.359 --> 0:24:58.560
<v Speaker 1>you pumping the air when Rocky goes up the stairs.

0:24:58.880 --> 0:25:01.480
<v Speaker 2>I am surprised how much I loved it. I thought

0:25:01.720 --> 0:25:03.440
<v Speaker 2>that i'd watched it, actually, And when I look down

0:25:03.640 --> 0:25:06.760
<v Speaker 2>a sort of list of movies that of the era

0:25:07.440 --> 0:25:09.159
<v Speaker 2>that I hadn't watched it, I thought to myself, No,

0:25:09.280 --> 0:25:11.879
<v Speaker 2>I've never seen Rocky. What I'd seen a few of

0:25:11.920 --> 0:25:16.679
<v Speaker 2>the iconic images yep, of course Rocky pumping and pumping

0:25:16.760 --> 0:25:19.639
<v Speaker 2>fists in the air, running down the streets of Philly,

0:25:20.520 --> 0:25:23.120
<v Speaker 2>maybe smashing a clump of meat. I might have seen

0:25:23.160 --> 0:25:25.480
<v Speaker 2>that clip at some point. And of course I knew

0:25:25.480 --> 0:25:27.760
<v Speaker 2>the music extremely well, but not so well. I actually

0:25:27.760 --> 0:25:29.640
<v Speaker 2>thought I have the Tiger as part of Rocky One.

0:25:29.760 --> 0:25:32.520
<v Speaker 1>It's not it's so funny because I sent Derek here

0:25:32.520 --> 0:25:36.199
<v Speaker 1>at Casway Studios. I sent him either Tigers who will

0:25:36.200 --> 0:25:39.120
<v Speaker 1>played at the start? And he goes, it's actually Rocky too, Matey,

0:25:39.160 --> 0:25:41.240
<v Speaker 1>Hell it is too, Because I said him before I

0:25:41.320 --> 0:25:42.160
<v Speaker 1>watched it last night.

0:25:42.680 --> 0:25:47.520
<v Speaker 2>It's Bill CONTI was the music maker of this Rocky soundtrack,

0:25:47.600 --> 0:25:50.520
<v Speaker 2>and you know, you know all the songs, you think

0:25:50.560 --> 0:25:53.159
<v Speaker 2>you know the movie. I'd never seen it. I just

0:25:53.240 --> 0:25:56.520
<v Speaker 2>didn't realize that there was a story there that was

0:25:56.640 --> 0:26:01.520
<v Speaker 2>beyond two like spashion each other and us getting sort

0:26:01.520 --> 0:26:03.879
<v Speaker 2>of inspo. And I always sort of knew that it

0:26:04.000 --> 0:26:07.560
<v Speaker 2>had some effect on dress code. You know, there's a

0:26:07.640 --> 0:26:10.680
<v Speaker 2>common dress code that i'd seen and spotted in the

0:26:10.760 --> 0:26:15.159
<v Speaker 2>eighties of men with fedoras on and leather jackets. I

0:26:15.200 --> 0:26:18.040
<v Speaker 2>didn't you know. Now I know where that came from.

0:26:18.280 --> 0:26:20.399
<v Speaker 2>You still see it around from time to time, and.

0:26:20.440 --> 0:26:21.960
<v Speaker 1>I like that he came in bouncing your squash ball

0:26:22.040 --> 0:26:26.159
<v Speaker 1>this morning too. Exactly did it reshape how you and

0:26:26.560 --> 0:26:28.520
<v Speaker 1>you just saw it last night? And this podcast? I

0:26:28.680 --> 0:26:32.879
<v Speaker 1>always remind people you're still processing what you saw last night.

0:26:33.000 --> 0:26:39.520
<v Speaker 1>So did it reshape in your mind? Sylvester Stallone, it

0:26:39.680 --> 0:26:40.160
<v Speaker 1>sure did.

0:26:42.160 --> 0:26:45.080
<v Speaker 2>You can hear that. I'm slightly speechless here because, of course,

0:26:45.119 --> 0:26:47.879
<v Speaker 2>after watching the movie, I haven't slept. I've been up

0:26:47.920 --> 0:26:52.200
<v Speaker 2>all night really finding out more about Sylvester his contribution.

0:26:52.600 --> 0:26:55.119
<v Speaker 2>I underrated him, is what I'm going to say. I

0:26:55.280 --> 0:26:58.800
<v Speaker 2>thought he was someone who got lucky. Somewhere along the line,

0:26:59.200 --> 0:27:01.320
<v Speaker 2>someone funded a few film and spawned you know, it

0:27:01.440 --> 0:27:04.560
<v Speaker 2>was really the beginning of spawning second, third, fourth, fifth,

0:27:04.600 --> 0:27:08.000
<v Speaker 2>et cetera. Serials of movies. None of that is true.

0:27:08.200 --> 0:27:12.440
<v Speaker 2>Sylvester Sallone was a kid who was maybe in his

0:27:12.560 --> 0:27:15.480
<v Speaker 2>thirties when this film finally got up. He wrote the

0:27:15.600 --> 0:27:20.560
<v Speaker 2>film himself after failing and failing and failing in his

0:27:20.760 --> 0:27:25.920
<v Speaker 2>career as an attempted actor in America in the seventies,

0:27:26.840 --> 0:27:30.200
<v Speaker 2>and this was his last chance Texico. You know, this

0:27:30.520 --> 0:27:33.840
<v Speaker 2>was a script that he wrote based on, you know,

0:27:34.440 --> 0:27:38.760
<v Speaker 2>some thoughts that he had, possibly even I think there

0:27:38.840 --> 0:27:40.960
<v Speaker 2>was a court case later on about who was actually

0:27:41.000 --> 0:27:43.320
<v Speaker 2>based on and so on. But he's telling a biographical

0:27:43.400 --> 0:27:45.960
<v Speaker 2>story and he put everything into it. And the same

0:27:45.960 --> 0:27:49.040
<v Speaker 2>way Rocky did. He refused to allow anyone to buy

0:27:49.160 --> 0:27:52.880
<v Speaker 2>the film the script of the film without him being

0:27:52.880 --> 0:27:55.639
<v Speaker 2>attached to it. He was offered an enormous amount of

0:27:55.720 --> 0:27:57.600
<v Speaker 2>money to sell it someone else would play it, and

0:27:57.720 --> 0:27:59.800
<v Speaker 2>he said no. So there was all that sort of

0:28:00.119 --> 0:28:02.160
<v Speaker 2>really interesting stuff about Sylvesterter line.

0:28:02.240 --> 0:28:04.200
<v Speaker 1>He said no with one hundred and six dollars in

0:28:04.240 --> 0:28:08.480
<v Speaker 1>the bank. Wow, And he was offered three hundred and

0:28:08.640 --> 0:28:12.040
<v Speaker 1>forty thousand dollars in nineteen seventy six.

0:28:12.200 --> 0:28:13.520
<v Speaker 2>What's that like? Fifteen million?

0:28:14.280 --> 0:28:16.200
<v Speaker 1>Yeah, it's it's something huge.

0:28:16.200 --> 0:28:18.600
<v Speaker 2>Iant to just do a calculator, Yeah, yeah.

0:28:18.440 --> 0:28:19.320
<v Speaker 3>Fifteen million dollars.

0:28:19.440 --> 0:28:22.680
<v Speaker 2>She had one, yeah, one, three, three.

0:28:22.920 --> 0:28:26.440
<v Speaker 1>But it is incredible because he also was playing these

0:28:28.280 --> 0:28:31.000
<v Speaker 1>roles where he was. He was the mugger. So I

0:28:31.119 --> 0:28:33.280
<v Speaker 1>told them, Stephen Colberts, I was always a mugger. I

0:28:33.400 --> 0:28:37.760
<v Speaker 1>mugged you know Kojack Jack Kojack and Edward Woodwood and

0:28:37.880 --> 0:28:39.520
<v Speaker 1>you know all these other guys in these TV.

0:28:39.400 --> 0:28:42.080
<v Speaker 2>Shows, and couldn't get a break, could Yeah?

0:28:42.080 --> 0:28:43.440
<v Speaker 1>And then he thought, well, what happens if I can

0:28:43.640 --> 0:28:46.360
<v Speaker 1>obviously people ask how people see me? What if I

0:28:46.440 --> 0:28:49.960
<v Speaker 1>create a character, whether I'm still like a mugger, but

0:28:50.160 --> 0:28:52.840
<v Speaker 1>I've got I've got more going on than people realize.

0:28:52.840 --> 0:28:56.320
<v Speaker 1>I've got something else that's worth, something that people can't

0:28:56.400 --> 0:28:57.000
<v Speaker 1>quite see.

0:28:57.800 --> 0:29:01.800
<v Speaker 2>And that's the classic Joseph Campbell hero's journey, but told

0:29:02.000 --> 0:29:04.640
<v Speaker 2>in the context of its time, with the language of

0:29:04.680 --> 0:29:07.240
<v Speaker 2>its time. We will talk about language maybe a little later,

0:29:07.360 --> 0:29:11.320
<v Speaker 2>or some of some of the perceptions that we would

0:29:11.400 --> 0:29:14.880
<v Speaker 2>now find questionable, which were really really interesting because there

0:29:14.960 --> 0:29:21.440
<v Speaker 2>it all was out in the open. That skill of

0:29:21.640 --> 0:29:24.240
<v Speaker 2>working with what you've got. I think that again we

0:29:24.360 --> 0:29:26.000
<v Speaker 2>talked about it before the sound of music, but that

0:29:26.080 --> 0:29:28.160
<v Speaker 2>again is really interesting to me. So not only was

0:29:28.240 --> 0:29:32.440
<v Speaker 2>Sylvester salone unable to find a break, had the clever

0:29:32.560 --> 0:29:34.760
<v Speaker 2>realization as an artist that this is how I'm seeing

0:29:34.760 --> 0:29:36.680
<v Speaker 2>so I'm going to work within that field. There's something

0:29:36.720 --> 0:29:41.040
<v Speaker 2>else about Sylvester's face that I found out that I

0:29:41.080 --> 0:29:45.560
<v Speaker 2>found really, really fascinating. I always thought he was affecting,

0:29:45.600 --> 0:29:48.800
<v Speaker 2>trying to affect a look on his face, like James

0:29:48.840 --> 0:29:52.360
<v Speaker 2>dean or. But the truth is I found out last

0:29:52.400 --> 0:29:55.800
<v Speaker 2>night that when he was born, it was a traumatic berth.

0:29:56.360 --> 0:29:58.400
<v Speaker 2>There was an obstetrician. The doctor had to use two

0:29:58.400 --> 0:30:02.640
<v Speaker 2>pairs of forceps to get that kid, Sylvester out and

0:30:03.200 --> 0:30:05.800
<v Speaker 2>in the course of that, one of the nerves in

0:30:06.080 --> 0:30:10.360
<v Speaker 2>Sylvester's face was was seve it. The reason he looks

0:30:10.760 --> 0:30:14.160
<v Speaker 2>and has the that look that we recognize him for

0:30:14.600 --> 0:30:17.880
<v Speaker 2>is because he's partially paralyzed in the bottom of his face.

0:30:18.720 --> 0:30:21.640
<v Speaker 2>He used again what that look said to the world

0:30:22.120 --> 0:30:24.720
<v Speaker 2>and told a story within the context.

0:30:24.440 --> 0:30:24.960
<v Speaker 4>Of who he was.

0:30:25.040 --> 0:30:28.040
<v Speaker 2>I just I just love that. Yeah, things before that

0:30:28.120 --> 0:30:29.160
<v Speaker 2>movie weren't going that well.

0:30:29.280 --> 0:30:33.520
<v Speaker 1>For No, he did a movie called Death Race two thousand.

0:30:33.600 --> 0:30:36.400
<v Speaker 1>He wasn't the lead, he was a smaller part, and

0:30:37.400 --> 0:30:40.120
<v Speaker 1>executives were watching that and I think they're even watching

0:30:40.200 --> 0:30:42.800
<v Speaker 1>the wrong person. Though there was a blonde had boken

0:30:42.920 --> 0:30:44.760
<v Speaker 1>there and they said, hang on space to be attained.

0:30:44.800 --> 0:30:46.800
<v Speaker 1>He's blonde, and they're like, oh, well, he'll make it work,

0:30:47.080 --> 0:30:49.680
<v Speaker 1>and they actually almost cast the wrong the wrong I'm

0:30:49.680 --> 0:30:51.320
<v Speaker 1>not sure how that happens, and that might that might

0:30:51.360 --> 0:30:53.920
<v Speaker 1>be a bit a bullshit anyway. But there was another

0:30:54.000 --> 0:30:56.520
<v Speaker 1>career he was he was going with. He had made

0:30:56.600 --> 0:31:01.600
<v Speaker 1>some some adults films otherwise akaography.

0:31:00.560 --> 0:31:03.600
<v Speaker 2>Soft porn. I haven't seen them myself, so I can't really,

0:31:03.760 --> 0:31:04.480
<v Speaker 2>I can't say.

0:31:04.560 --> 0:31:06.080
<v Speaker 3>Next week'spisode and you ain't seen nothing yet.

0:31:09.440 --> 0:31:12.160
<v Speaker 2>But he spoke about that later, didn't he? Do you

0:31:12.240 --> 0:31:14.600
<v Speaker 2>know anything about what it was revealed at the time

0:31:14.840 --> 0:31:16.760
<v Speaker 2>or was it something he got secret that came up

0:31:16.760 --> 0:31:17.400
<v Speaker 2>as a shame?

0:31:17.640 --> 0:31:21.480
<v Speaker 1>I thought it came later. Funny enough, I haven't. I

0:31:21.640 --> 0:31:26.240
<v Speaker 1>haven't gone down the rabbit hole of the flies a career.

0:31:26.520 --> 0:31:30.400
<v Speaker 2>Fair enough, fair enough? What we know just from you know,

0:31:30.480 --> 0:31:33.240
<v Speaker 2>it's a basic overview is yeah, he had to. He

0:31:33.480 --> 0:31:36.720
<v Speaker 2>was desperate to pay the rent. He had no way

0:31:36.840 --> 0:31:38.680
<v Speaker 2>of paying the rent. He was offered a role in

0:31:38.760 --> 0:31:41.520
<v Speaker 2>a soft porn film before a couple of years before

0:31:41.600 --> 0:31:44.160
<v Speaker 2>Rocky came out. It was either that or he mugged

0:31:44.240 --> 0:31:47.160
<v Speaker 2>someone and sole the rent money, he said, So he

0:31:47.320 --> 0:31:51.800
<v Speaker 2>chose the soft porn film. Now the fact that in

0:31:51.960 --> 0:31:55.080
<v Speaker 2>those times, if a woman had done that, they wouldn't

0:31:55.080 --> 0:31:58.200
<v Speaker 2>have been able to have a career. Even you know,

0:31:58.320 --> 0:32:01.560
<v Speaker 2>in today's day and age, we know everything about everyone.

0:32:01.640 --> 0:32:05.000
<v Speaker 2>But he would have thought to himself, I'll do this,

0:32:05.120 --> 0:32:07.120
<v Speaker 2>no one will ever see it, I'll pay my rent,

0:32:07.520 --> 0:32:11.520
<v Speaker 2>and I'll keep trying to sell my brilliant screenplay. He

0:32:11.640 --> 0:32:13.720
<v Speaker 2>did what he had to do to make the art.

0:32:13.840 --> 0:32:15.240
<v Speaker 2>I just got on him.

0:32:15.680 --> 0:32:15.880
<v Speaker 1>Yeah.

0:32:16.400 --> 0:32:17.960
<v Speaker 2>Like I said, I haven't seen the film, not sure

0:32:18.120 --> 0:32:21.520
<v Speaker 2>the quality of the work done there. But again, it's

0:32:21.560 --> 0:32:23.680
<v Speaker 2>a story within a story. It's a story of someone

0:32:23.720 --> 0:32:27.680
<v Speaker 2>who's constantly being given limited opportunity by the world and

0:32:27.880 --> 0:32:32.160
<v Speaker 2>still is carrying this little secret idea of victory in

0:32:32.240 --> 0:32:33.840
<v Speaker 2>his heart that maybe there's something more.

0:32:34.200 --> 0:32:38.480
<v Speaker 1>Yeah, and what this means is with this context, it

0:32:38.640 --> 0:32:41.400
<v Speaker 1>makes Rocky. We think of Rockies. This boxing movie. Now,

0:32:41.440 --> 0:32:43.280
<v Speaker 1>I would argue that it's not a boxing movie.

0:32:43.360 --> 0:32:46.760
<v Speaker 2>Well, yeah, maybe not. It did spawn the genre of

0:32:47.120 --> 0:32:49.200
<v Speaker 2>what do we call it, sport drama?

0:32:49.400 --> 0:32:50.000
<v Speaker 1>Sport drama?

0:32:50.320 --> 0:32:52.000
<v Speaker 2>Yeah, it's not a boxing film. Is that wild?

0:32:52.840 --> 0:32:55.840
<v Speaker 1>It's amazing, Like, there's so much non boxing going on

0:32:56.520 --> 0:32:58.400
<v Speaker 1>in this But when we know the story that you

0:32:59.040 --> 0:33:03.479
<v Speaker 1>so beautifully this line sly story. It's a much more

0:33:03.560 --> 0:33:06.440
<v Speaker 1>personal film than I think people remember it or give

0:33:06.480 --> 0:33:10.120
<v Speaker 1>it credit for being this really this is why because

0:33:10.320 --> 0:33:14.400
<v Speaker 1>he knock me. Yeah, absolutely, and that's why he knocks back,

0:33:14.640 --> 0:33:16.400
<v Speaker 1>you know, fifteen point when I think you did the

0:33:16.440 --> 0:33:20.719
<v Speaker 1>calcination before cli million dollars, when he has just over

0:33:20.760 --> 0:33:23.120
<v Speaker 1>one hundred bucks in the bank to play this role

0:33:23.240 --> 0:33:26.680
<v Speaker 1>they wanted. The budget they offered was two million dollars,

0:33:26.840 --> 0:33:29.080
<v Speaker 1>which at the time was a pretty decent budget. But

0:33:29.680 --> 0:33:31.800
<v Speaker 1>it had to be played by James Kahn or Burt

0:33:31.840 --> 0:33:35.520
<v Speaker 1>Reynolds or Ryan O'Neill. And so I said, no, it

0:33:35.640 --> 0:33:39.520
<v Speaker 1>has to be me, and big, big call, good, great

0:33:39.560 --> 0:33:41.560
<v Speaker 1>call for him, a great call on the producers, and

0:33:41.880 --> 0:33:43.680
<v Speaker 1>so they slashed a budget in half. They had one

0:33:43.720 --> 0:33:47.320
<v Speaker 1>million dollars to do it after that, and they did it. Yeah,

0:33:47.360 --> 0:33:47.600
<v Speaker 1>they did.

0:33:47.960 --> 0:33:50.400
<v Speaker 3>And he, you know, the commitment was that he would

0:33:50.400 --> 0:33:50.880
<v Speaker 3>play the part.

0:33:51.160 --> 0:33:53.080
<v Speaker 2>It's so interesting our raw. I mean, I don't know

0:33:53.120 --> 0:33:56.040
<v Speaker 2>if that added to the rawness of the settings, but

0:33:56.120 --> 0:33:58.680
<v Speaker 2>a lot of it's filmed in darkened rooms. A lot

0:33:58.760 --> 0:34:02.360
<v Speaker 2>of the lighting is natural. There's quite a few scenes

0:34:02.400 --> 0:34:05.000
<v Speaker 2>that are at night or early in the morning, so

0:34:05.040 --> 0:34:06.760
<v Speaker 2>they've used a lot of natural light in the way

0:34:06.800 --> 0:34:10.200
<v Speaker 2>that they filmed it too, because of probably the stock

0:34:10.280 --> 0:34:12.239
<v Speaker 2>that they use in those days. It looks beautiful. I

0:34:12.280 --> 0:34:14.160
<v Speaker 2>watched it in filmaker mode on my TV, so there's

0:34:14.200 --> 0:34:17.960
<v Speaker 2>that beautiful look too. But it's a capsule. It's a

0:34:18.040 --> 0:34:20.120
<v Speaker 2>time capsule, you know, the language of the time, the

0:34:20.800 --> 0:34:24.120
<v Speaker 2>obsessions of people in the time, and that idea of

0:34:24.280 --> 0:34:27.759
<v Speaker 2>trying to make a name for yourself yet again was

0:34:27.800 --> 0:34:30.840
<v Speaker 2>sort of played out by every single character. You know.

0:34:30.960 --> 0:34:33.200
<v Speaker 2>It wasn't I don't know if we're at that stage yet,

0:34:33.239 --> 0:34:35.560
<v Speaker 2>but it wasn't just him. It was his trainer, it

0:34:35.680 --> 0:34:38.719
<v Speaker 2>was his best mate, it was his girlfriend. And it

0:34:38.840 --> 0:34:41.680
<v Speaker 2>was also in the context of the times, you know,

0:34:41.760 --> 0:34:44.240
<v Speaker 2>this moment in time where there was all this American

0:34:44.400 --> 0:34:47.320
<v Speaker 2>pride around these discussions about what it is to be

0:34:47.680 --> 0:34:50.279
<v Speaker 2>in this great land of America, the land of opportunity,

0:34:50.440 --> 0:34:53.800
<v Speaker 2>you know. But because it was a fresh perspective, it

0:34:53.960 --> 0:34:56.160
<v Speaker 2>wasn't written by I don't think by committee. It was

0:34:56.160 --> 0:35:00.320
<v Speaker 2>written by a singular lens of singular original focus. This

0:35:00.480 --> 0:35:02.640
<v Speaker 2>is one of the reasons it's so fascinating.

0:35:02.280 --> 0:35:04.239
<v Speaker 1>And it's great. You mentioned the American Dream, which kind

0:35:04.280 --> 0:35:08.279
<v Speaker 1>of rocky doesn't really think he's he's invited to the

0:35:08.360 --> 0:35:11.000
<v Speaker 1>American Dream. Does he like he's just living this life?

0:35:11.040 --> 0:35:13.480
<v Speaker 3>He doesn't. He's got so much self doubt, you know.

0:35:13.760 --> 0:35:18.080
<v Speaker 1>And and it's only when you had the lawyers and

0:35:18.120 --> 0:35:20.600
<v Speaker 1>the promoters and the polo come to him and kind

0:35:20.640 --> 0:35:23.359
<v Speaker 1>of dangle the American Dream in front of him, even

0:35:23.400 --> 0:35:27.439
<v Speaker 1>though they didn't think it's really like. There's a great

0:35:27.520 --> 0:35:30.439
<v Speaker 1>line during the fight with a polo where his trainer says,

0:35:30.520 --> 0:35:32.520
<v Speaker 1>you know, once Rocky knocks him out and gives him

0:35:32.520 --> 0:35:35.239
<v Speaker 1>a bit of hope and all of a sudden, they've

0:35:35.280 --> 0:35:36.879
<v Speaker 1>got to fight in their hands. And the trainer says

0:35:36.960 --> 0:35:39.439
<v Speaker 1>to him, you know, you think this is a show.

0:35:39.560 --> 0:35:42.840
<v Speaker 1>He thinks this is a fight. And I love that line.

0:35:42.920 --> 0:35:47.000
<v Speaker 2>It's beautiful line. Yeah, it's always tempting to count ourselves

0:35:47.040 --> 0:35:49.680
<v Speaker 2>out and ford to bitterness when things don't go right.

0:35:49.800 --> 0:35:51.960
<v Speaker 2>I don't know about you, Pete. You've had a pretty

0:35:52.000 --> 0:35:54.920
<v Speaker 2>successful career. You seem to work a bit, but there

0:35:56.520 --> 0:35:57.640
<v Speaker 2>there are a lot of ups and down.

0:35:57.719 --> 0:35:58.400
<v Speaker 1>I want more.

0:36:00.120 --> 0:36:02.000
<v Speaker 2>A lot of ups and downs in life, you see.

0:36:02.000 --> 0:36:05.480
<v Speaker 2>And Rocky had this key moment in it seems that

0:36:05.560 --> 0:36:08.959
<v Speaker 2>the character had this key moment in his youth where

0:36:09.239 --> 0:36:11.320
<v Speaker 2>he did have that touch of self belief and it

0:36:11.440 --> 0:36:14.520
<v Speaker 2>wasn't matched by his coach at the time. He felt

0:36:14.560 --> 0:36:17.920
<v Speaker 2>that he wasn't seen, he wasn't given opportunity, and he

0:36:18.239 --> 0:36:22.000
<v Speaker 2>sort of settled, you know, he started working for I

0:36:22.040 --> 0:36:27.480
<v Speaker 2>Hope we don't spoil it for you guys, Spoil Heavy podcast,

0:36:27.800 --> 0:36:31.399
<v Speaker 2>Spoil Heavy. Then he took a job as a medium heavy,

0:36:31.760 --> 0:36:34.359
<v Speaker 2>collecting debt for someone who may or man have worked

0:36:34.400 --> 0:36:37.800
<v Speaker 2>in the mob. You know, he said, he settled that

0:36:37.960 --> 0:36:39.520
<v Speaker 2>was the best he could do. He was making the

0:36:39.560 --> 0:36:41.600
<v Speaker 2>best of the life that he could. He was taking

0:36:41.680 --> 0:36:45.320
<v Speaker 2>small risks in the way that was safe enough for

0:36:45.400 --> 0:36:48.080
<v Speaker 2>him to exist within the society he was in. But

0:36:48.280 --> 0:36:52.239
<v Speaker 2>then there's this beautiful scene where he's offered the chance

0:36:52.320 --> 0:36:55.680
<v Speaker 2>to fight Apollo and he says no, and someone reminds him.

0:36:55.760 --> 0:36:58.160
<v Speaker 2>The promoter reminds him, you know, this is your time

0:36:58.239 --> 0:37:02.040
<v Speaker 2>to shine. He says, yeah, okay, And then is it

0:37:02.280 --> 0:37:07.279
<v Speaker 2>Vinny who is the coach? Micky? Excuse me. Micky's a

0:37:07.360 --> 0:37:12.800
<v Speaker 2>seventy six year old man who has canceled Rocky's locker recently.

0:37:12.920 --> 0:37:15.600
<v Speaker 2>He's just looked at him and said, mate, you made

0:37:15.640 --> 0:37:18.279
<v Speaker 2>your choices. When you started working for the Heavy I

0:37:18.320 --> 0:37:20.520
<v Speaker 2>don't believe in your work anymore. If you're not going

0:37:20.560 --> 0:37:22.960
<v Speaker 2>to pick yourself and you have the potential for greatness,

0:37:23.560 --> 0:37:25.239
<v Speaker 2>you're out of the band. You know, you don't get

0:37:25.280 --> 0:37:30.239
<v Speaker 2>a locker at the gym anymore. But Micky then revises

0:37:31.520 --> 0:37:35.960
<v Speaker 2>his own point of view. When this opportunity comes up,

0:37:36.040 --> 0:37:39.719
<v Speaker 2>he has the vulnerability to knock on on a He's

0:37:39.800 --> 0:37:41.600
<v Speaker 2>knocking on rocky door and he says, you know what

0:37:41.719 --> 0:37:43.880
<v Speaker 2>you need. You need a manager, and I can do it.

0:37:44.000 --> 0:37:46.360
<v Speaker 2>I'm seventy six, I've got so much to give, and

0:37:46.520 --> 0:37:49.839
<v Speaker 2>Rocky says, get out, mate. He's bitter, he says, get out.

0:37:49.960 --> 0:37:52.120
<v Speaker 1>But let's have you want to listen to that scene please,

0:37:52.320 --> 0:37:54.239
<v Speaker 1>I've organized this scene. We'll listen to it in two parts.

0:37:54.280 --> 0:37:57.439
<v Speaker 1>So this is Mickey offering his management skills through Rocky,

0:37:57.480 --> 0:37:59.600
<v Speaker 1>who eventually goes into a room and locks him out.

0:38:00.280 --> 0:38:01.360
<v Speaker 3>I want to be your manager.

0:38:02.280 --> 0:38:04.719
<v Speaker 1>You follow that to you? FOD said, I don't need

0:38:04.840 --> 0:38:07.840
<v Speaker 1>no me, but you can't lie what I'm going to

0:38:07.880 --> 0:38:08.120
<v Speaker 1>give you.

0:38:08.280 --> 0:38:10.719
<v Speaker 2>I mean I got pain and I got experienced.

0:38:10.840 --> 0:38:12.799
<v Speaker 1>I got pain. I got experienced too.

0:38:14.440 --> 0:38:15.840
<v Speaker 3>Listen, kid, here you go.

0:38:16.040 --> 0:38:19.440
<v Speaker 5>He make what I need your help about ten years ago,

0:38:19.600 --> 0:38:21.759
<v Speaker 5>right ten years ago, you never helped me.

0:38:22.160 --> 0:38:22.719
<v Speaker 3>You didn't care.

0:38:23.120 --> 0:38:26.640
<v Speaker 2>Well if you wanted help, I say, if you wanted help,

0:38:26.719 --> 0:38:29.239
<v Speaker 2>why didn't you ask Why didn't you just ask me? King?

0:38:29.560 --> 0:38:31.480
<v Speaker 1>Look, I asked, but you never heard nothing.

0:38:33.239 --> 0:38:40.000
<v Speaker 5>Well, I uh, I'm seventy.

0:38:39.760 --> 0:38:40.480
<v Speaker 4>Six years old.

0:38:45.680 --> 0:38:53.879
<v Speaker 1>And Meredith burgesses Mikey, And there's so much we could

0:38:53.880 --> 0:38:55.719
<v Speaker 1>play so much more of that. That scene, it's a

0:38:55.760 --> 0:38:59.200
<v Speaker 1>beautiful moment earlier when he says, Mickey says something like

0:38:59.360 --> 0:39:02.200
<v Speaker 1>you've got art, and he says, I may have heart,

0:39:02.239 --> 0:39:05.160
<v Speaker 1>but I don't have my locker. And I think the

0:39:05.320 --> 0:39:09.120
<v Speaker 1>locker is You could argue that that is the thing

0:39:09.320 --> 0:39:12.080
<v Speaker 1>that actually is what we would you would call the

0:39:12.120 --> 0:39:16.320
<v Speaker 1>inciting incident that because it's it's a strangely kind of

0:39:16.360 --> 0:39:19.680
<v Speaker 1>formulated film in a way, it's kind of genius. But

0:39:20.440 --> 0:39:24.399
<v Speaker 1>but that the locker scene, he gets his he gets

0:39:24.760 --> 0:39:28.120
<v Speaker 1>they take his locker and he can't understand it, and

0:39:28.239 --> 0:39:30.439
<v Speaker 1>then he and then what happens after that, It says

0:39:30.480 --> 0:39:32.240
<v Speaker 1>he spied. It's the first time he gets really angry.

0:39:32.280 --> 0:39:33.840
<v Speaker 1>He goes in the Mickey and that they have a

0:39:33.880 --> 0:39:37.400
<v Speaker 1>screaming match, and then he tells he's still on the

0:39:37.440 --> 0:39:41.080
<v Speaker 1>Adrien and the pestor and he can't quite get her

0:39:41.120 --> 0:39:44.439
<v Speaker 1>attention or and she's kind of busy and he's talking

0:39:44.440 --> 0:39:49.000
<v Speaker 1>about the locker, and then the street kid. He takes

0:39:49.040 --> 0:39:53.000
<v Speaker 1>his street kid home, the young girl home, creeper, creeper,

0:39:53.160 --> 0:39:55.240
<v Speaker 1>and she calls him a and he calls him a creeper,

0:39:55.320 --> 0:39:58.200
<v Speaker 1>and then he says, how do you know what you're

0:39:58.239 --> 0:39:59.840
<v Speaker 1>talking about? Creeper? And then he kind of mumbles a

0:39:59.840 --> 0:40:02.440
<v Speaker 1>back to himself he had. So he's starting to believe

0:40:03.239 --> 0:40:06.160
<v Speaker 1>his confidence has just been being and he's self worth

0:40:06.200 --> 0:40:09.879
<v Speaker 1>has has been completely eroded. And then it's a whole

0:40:10.040 --> 0:40:12.799
<v Speaker 1>you go. Paulie invites Himo Thanksgiving and he's still did

0:40:12.840 --> 0:40:14.319
<v Speaker 1>you tell it? I'm coming? Did you tell her?

0:40:14.600 --> 0:40:15.680
<v Speaker 3>Because he just can't.

0:40:15.600 --> 0:40:19.879
<v Speaker 1>Believe that Adrian would actually be excited about him being there.

0:40:20.520 --> 0:40:23.040
<v Speaker 1>And then when he kind of finally believes that this,

0:40:23.280 --> 0:40:27.239
<v Speaker 1>you know, okay, I'm here for dinner, Paulie stuffed at

0:40:27.280 --> 0:40:31.120
<v Speaker 1>the moment and throws the turkey out of the house

0:40:31.360 --> 0:40:33.960
<v Speaker 1>in a very weird move. Weird and violent, moved, weird

0:40:33.960 --> 0:40:34.520
<v Speaker 1>and very violent.

0:40:34.680 --> 0:40:38.840
<v Speaker 2>Not a forgiveness for him has to be yes, and there's.

0:40:38.640 --> 0:40:40.440
<v Speaker 1>A lot to talk about Paulie. There's no doubt about that.

0:40:40.680 --> 0:40:43.560
<v Speaker 1>And then he kind of reluctantly in the end, kind

0:40:43.600 --> 0:40:45.319
<v Speaker 1>of through the door, and he had you know, he's

0:40:45.360 --> 0:40:48.520
<v Speaker 1>got these wonderful little lines. I never spoke to a

0:40:48.560 --> 0:40:51.840
<v Speaker 1>door before. And then it's important though, I think that

0:40:51.960 --> 0:40:53.400
<v Speaker 1>Adrian at this point opens the.

0:40:53.440 --> 0:40:55.600
<v Speaker 3>Door and she's ready to go out with him.

0:40:55.880 --> 0:40:59.120
<v Speaker 2>Spot on. He had to ask first. So and that's

0:40:59.160 --> 0:41:01.759
<v Speaker 2>what Mickey is saying, and that's what life keeps saying

0:41:01.800 --> 0:41:03.560
<v Speaker 2>to him, and that's what life keeps saying to us.

0:41:04.320 --> 0:41:07.880
<v Speaker 2>You can count yourself out anytime, but your nexus of control,

0:41:08.440 --> 0:41:10.640
<v Speaker 2>you know, the circumstances of your life you cannot control.

0:41:11.000 --> 0:41:12.880
<v Speaker 2>But you can keep showing up. You can talk to

0:41:12.920 --> 0:41:17.360
<v Speaker 2>a bloody door, feel like a full risk something. When

0:41:17.880 --> 0:41:23.080
<v Speaker 2>Rocky Is changes his mind and does yell out after Mickey,

0:41:23.160 --> 0:41:26.719
<v Speaker 2>wait wait, wait, you know, Okay, I admit I need help.

0:41:27.080 --> 0:41:29.719
<v Speaker 2>I need a manager. So he's sort of making the

0:41:29.800 --> 0:41:34.440
<v Speaker 2>best choices for the potential of possibility. But like all

0:41:34.480 --> 0:41:37.399
<v Speaker 2>great acts of courage, it is courageous not because we're

0:41:37.400 --> 0:41:39.400
<v Speaker 2>not scared, because we don't know what's going to happen.

0:41:40.200 --> 0:41:42.200
<v Speaker 2>He doesn't know if he's going to win. He doesn't

0:41:42.200 --> 0:41:44.719
<v Speaker 2>know if it's worth. His leg's hurt, his knees hurt.

0:41:45.120 --> 0:41:48.799
<v Speaker 2>Adrian won't talk to him. But what we find inspiring

0:41:49.400 --> 0:41:51.520
<v Speaker 2>and why we still love this film is that he

0:41:51.680 --> 0:41:53.959
<v Speaker 2>keeps showing up. He keeps showing up, and he keeps

0:41:54.040 --> 0:41:57.239
<v Speaker 2>making that little tiny choice where he can.

0:41:58.640 --> 0:42:01.360
<v Speaker 1>Let's have him. Listen to the second part of that scene.

0:42:01.400 --> 0:42:03.440
<v Speaker 1>I did take us away from it, you be beautifully

0:42:03.440 --> 0:42:06.600
<v Speaker 1>brought us back to it. Claire. This is Rocky yelling

0:42:06.640 --> 0:42:08.919
<v Speaker 1>as Mickey has already left the apartment, so he's yelling

0:42:08.960 --> 0:42:12.040
<v Speaker 1>down the stairs now. And this is all improvised by

0:42:12.160 --> 0:42:18.600
<v Speaker 1>svisister line forget two years, are going to my house,

0:42:20.400 --> 0:42:27.360
<v Speaker 1>my house, my house, stink. Try it sticks I have

0:42:28.239 --> 0:42:33.600
<v Speaker 1>from you, don't fall around me, your pry.

0:42:35.239 --> 0:42:35.839
<v Speaker 2>Brian Mack.

0:42:36.480 --> 0:42:37.840
<v Speaker 1>At least you have pride.

0:42:39.360 --> 0:42:42.120
<v Speaker 5>I know brid loot legs are going.

0:42:42.239 --> 0:42:44.799
<v Speaker 1>Everything that's going, no one's getting them. Knock. This guy

0:42:44.880 --> 0:42:47.080
<v Speaker 1>comes up on with me a fight. Do you want

0:42:47.080 --> 0:42:49.040
<v Speaker 1>to fight the fight? Yeah, I'll fight the big fight.

0:42:49.760 --> 0:42:51.320
<v Speaker 1>I wouldn't want to fight that big fight that was

0:42:51.360 --> 0:42:51.600
<v Speaker 1>gonna have.

0:42:52.120 --> 0:42:52.800
<v Speaker 2>I want to get that.

0:42:53.480 --> 0:42:58.000
<v Speaker 1>I already get that. You want to be excited, see

0:42:59.400 --> 0:43:00.319
<v Speaker 1>you are y are?

0:43:01.000 --> 0:43:02.239
<v Speaker 2>How do you do it?

0:43:02.320 --> 0:43:05.400
<v Speaker 4>Like late day working, nothing working?

0:43:05.640 --> 0:43:18.040
<v Speaker 1>They got god bake the check ol batas.

0:43:15.880 --> 0:43:17.560
<v Speaker 5>You come around here, you want to move in here

0:43:17.600 --> 0:43:22.040
<v Speaker 5>and they come are my house, real life, come in

0:43:22.120 --> 0:43:23.800
<v Speaker 5>and no steps.

0:43:25.200 --> 0:43:30.640
<v Speaker 1>To play steps I mean Swiss sillone is. So it's

0:43:30.719 --> 0:43:37.240
<v Speaker 1>such a beautiful, heartfelt, naturalistic moment, like that's an outburst,

0:43:37.320 --> 0:43:41.480
<v Speaker 1>and he has a couple of outbursts, but it's it's juxtaposed.

0:43:40.800 --> 0:43:44.680
<v Speaker 3>With these moments of tenderness throughout the whole film.

0:43:45.239 --> 0:43:47.800
<v Speaker 2>The way he was speaking there. So were listening to

0:43:47.880 --> 0:43:51.359
<v Speaker 2>it last night. I was watching it. Obviously, I had

0:43:51.400 --> 0:43:52.239
<v Speaker 2>to put on the.

0:43:53.840 --> 0:43:54.480
<v Speaker 3>Subtitles.

0:43:54.480 --> 0:43:57.120
<v Speaker 2>Subtitles actually, and again, you know we can sort of

0:43:57.200 --> 0:43:59.600
<v Speaker 2>laugh about it. We always did laugh about it. I

0:43:59.719 --> 0:44:05.040
<v Speaker 2>prevebviously thought that that was a choice that Sylvestis alone

0:44:06.280 --> 0:44:09.160
<v Speaker 2>was making. You know, I met, I became aware of

0:44:09.239 --> 0:44:11.040
<v Speaker 2>him when I was a kid, and he was already

0:44:11.040 --> 0:44:14.440
<v Speaker 2>by then. You know, his movies ran by Rocky, they

0:44:14.440 --> 0:44:16.560
<v Speaker 2>were huge. He was a cliche. I discern him with

0:44:16.680 --> 0:44:22.360
<v Speaker 2>some sort of lucky lucky dude. But he because of

0:44:22.480 --> 0:44:26.800
<v Speaker 2>that injury in his youth, parts of his tongue and

0:44:27.320 --> 0:44:31.879
<v Speaker 2>lip is paralyzed he has found a way to communicate

0:44:31.960 --> 0:44:35.040
<v Speaker 2>that is feel you know, it was Philly. He's a

0:44:35.080 --> 0:44:38.279
<v Speaker 2>Philly boy using language from the time that chunks. But

0:44:38.400 --> 0:44:42.080
<v Speaker 2>when you hear him really talk, even if I didn't

0:44:42.080 --> 0:44:44.200
<v Speaker 2>have the subtitles on, I know what he's saying, you know,

0:44:44.280 --> 0:44:48.880
<v Speaker 2>I know the I know the spirit of what he's saying.

0:44:49.000 --> 0:44:54.759
<v Speaker 2>And that emotional quality huge rare in an actor, rare

0:44:54.800 --> 0:44:57.759
<v Speaker 2>to sustain over a lifetime. But again, the fact that

0:44:57.800 --> 0:44:59.680
<v Speaker 2>it's all based in the originality of who he is

0:44:59.719 --> 0:45:02.840
<v Speaker 2>and we're within the limitations that life gave him. I

0:45:03.000 --> 0:45:04.280
<v Speaker 2>just find it bloody fascinating.

0:45:04.480 --> 0:45:06.719
<v Speaker 1>And then he takes a moment which we don't even

0:45:06.760 --> 0:45:09.320
<v Speaker 1>see on camera, and he just he you know, but

0:45:09.400 --> 0:45:11.439
<v Speaker 1>you can imagine it playing out where he's got Okay,

0:45:12.280 --> 0:45:14.879
<v Speaker 1>I do need a manager, and yeah, and Micky's good.

0:45:15.360 --> 0:45:16.120
<v Speaker 3>He has come to me.

0:45:16.880 --> 0:45:18.920
<v Speaker 2>At least I won't forward to bitterness.

0:45:19.280 --> 0:45:22.759
<v Speaker 1>Yeah, yeah, yeah. He chooses, he chooses to fight, and

0:45:23.840 --> 0:45:26.880
<v Speaker 1>he chooses literally Jesus to fight, and he goes to

0:45:26.960 --> 0:45:31.000
<v Speaker 1>Mickey and it's it's shot long lens and it's beautiful.

0:45:31.560 --> 0:45:31.719
<v Speaker 4>You know.

0:45:31.760 --> 0:45:33.880
<v Speaker 2>At the start of the film, he goes into the

0:45:33.920 --> 0:45:36.560
<v Speaker 2>pet shop where Adrian works Adrian doesn't talk very much.

0:45:36.600 --> 0:45:39.600
<v Speaker 2>Adrian is his love interests. But there's this one little

0:45:39.760 --> 0:45:42.520
<v Speaker 2>image that stuck with me. In there, he's buying a

0:45:42.640 --> 0:45:45.600
<v Speaker 2>turtle terrapin, you know, a domestic turtle. He's just buying

0:45:45.680 --> 0:45:47.279
<v Speaker 2>whatever he can to have a chance to chat with

0:45:47.920 --> 0:45:51.520
<v Speaker 2>with Adrian. And really, but in there, there's this huge

0:45:51.719 --> 0:45:56.359
<v Speaker 2>dog in a very small cage within the pet shop,

0:45:56.440 --> 0:45:59.320
<v Speaker 2>and I keep thinking about this image that you know,

0:45:59.400 --> 0:46:01.680
<v Speaker 2>that was him, this huge dog in a small cage,

0:46:01.719 --> 0:46:05.480
<v Speaker 2>and this is him realizing he wants more freedom, he

0:46:05.560 --> 0:46:08.440
<v Speaker 2>wants more choice. He you know, the cage is comfortable,

0:46:08.480 --> 0:46:11.840
<v Speaker 2>but he needs a way out. Throughout the watching of

0:46:11.920 --> 0:46:16.279
<v Speaker 2>this film, my husband kept saying the words Adrian, and

0:46:16.360 --> 0:46:18.239
<v Speaker 2>I'm like, what are you doing? Why do you say that?

0:46:19.120 --> 0:46:20.680
<v Speaker 2>What do you say? Are you giving me a clue?

0:46:20.719 --> 0:46:23.239
<v Speaker 2>What are you saying? And I couldn't work out why

0:46:23.719 --> 0:46:26.560
<v Speaker 2>he kept saying that, and I wanted him to shush

0:46:26.560 --> 0:46:28.640
<v Speaker 2>because I wanted to make up my own idea about

0:46:28.640 --> 0:46:31.160
<v Speaker 2>the film and so on. But anyway, we'll get to

0:46:31.239 --> 0:46:33.160
<v Speaker 2>that later. But there are a couple of times where

0:46:33.760 --> 0:46:37.400
<v Speaker 2>he's admitting he needs Adrian and he needs love and

0:46:38.320 --> 0:46:41.480
<v Speaker 2>he needs tenderness. That she's been denied by her life

0:46:41.520 --> 0:46:43.439
<v Speaker 2>as well. That's beautifully paid.

0:46:43.680 --> 0:46:48.520
<v Speaker 1>Well, it's about two people actually seeing each other, you know,

0:46:48.719 --> 0:46:53.719
<v Speaker 1>like Adrian feels invisible and worthless, and we know that

0:46:54.160 --> 0:46:57.840
<v Speaker 1>we can understand me through Paul's relationship. And you know

0:46:58.920 --> 0:47:01.680
<v Speaker 1>how volatiley he is the brother guys, you know that.

0:47:01.840 --> 0:47:05.360
<v Speaker 1>But yeah, who was In the original script, it was

0:47:05.400 --> 0:47:09.120
<v Speaker 1>supposed to be Adrian was Jewish, and that was going

0:47:09.200 --> 0:47:12.719
<v Speaker 1>to be a Jewish mother, like an overbearing Jewish mother,

0:47:13.560 --> 0:47:15.520
<v Speaker 1>and then they for whatever reason, they changed it to

0:47:16.200 --> 0:47:23.359
<v Speaker 1>her brother, an overpowering I see brother. Funnily enough as

0:47:23.400 --> 0:47:25.799
<v Speaker 1>the sequels go on with that, and they said, too

0:47:25.840 --> 0:47:30.040
<v Speaker 1>much becomes more of almost a comical must soften a character.

0:47:30.360 --> 0:47:33.000
<v Speaker 1>But I think it's about two people being seen, Like

0:47:33.200 --> 0:47:35.880
<v Speaker 1>Rocky feels worthless, feels like a bomb them in the

0:47:35.880 --> 0:47:37.120
<v Speaker 1>mint of times, you have.

0:47:37.120 --> 0:47:40.960
<v Speaker 2>A bum stink creeper, you know all those like screw you,

0:47:41.560 --> 0:47:45.200
<v Speaker 2>I'm a bomb, Like, yeah, just the language of the time,

0:47:45.880 --> 0:47:47.600
<v Speaker 2>so beautiful. We've got to bring those things back.

0:47:47.719 --> 0:47:49.560
<v Speaker 1>And the only thing he's got to talk about really

0:47:49.800 --> 0:47:52.239
<v Speaker 1>is boxing. And there's a beautiful scene they go on

0:47:52.320 --> 0:47:54.840
<v Speaker 1>this date it was supposed to be shot at a restaurant,

0:47:54.880 --> 0:47:57.080
<v Speaker 1>but they couldn't afford extras, so they can have the

0:47:57.160 --> 0:47:58.600
<v Speaker 1>idea of doing it. How about we do it at

0:47:58.600 --> 0:48:01.560
<v Speaker 1>someplace where it's it's it's empty and closed.

0:48:01.640 --> 0:48:02.160
<v Speaker 3>Ice hrink.

0:48:02.360 --> 0:48:03.920
<v Speaker 1>Yeah, let's have a listen to that. You know, I

0:48:03.960 --> 0:48:09.319
<v Speaker 1>got started fighting. Huh? No, am I talking too loud?

0:48:10.560 --> 0:48:15.840
<v Speaker 1>Three minutes? My father, he's a oh man, it was

0:48:15.960 --> 0:48:17.239
<v Speaker 1>never too smart. He says to me.

0:48:17.360 --> 0:48:19.359
<v Speaker 2>You weren't born much of a brain, you know, so, uh,

0:48:19.640 --> 0:48:22.080
<v Speaker 2>you better start using your body right, so I've become

0:48:22.120 --> 0:48:24.719
<v Speaker 2>a fighter, you know what I mean?

0:48:26.000 --> 0:48:27.479
<v Speaker 1>While you why you left?

0:48:29.160 --> 0:48:31.759
<v Speaker 2>My mother? She said the opposite thing.

0:48:32.080 --> 0:48:32.600
<v Speaker 4>What she said?

0:48:32.640 --> 0:48:36.880
<v Speaker 1>What you said the opposite? So you weren't born much

0:48:36.920 --> 0:48:38.640
<v Speaker 1>of your body, so you better develop.

0:48:38.360 --> 0:48:43.759
<v Speaker 2>Your brain, so she said. You time, I asked you

0:48:43.800 --> 0:48:44.240
<v Speaker 2>a question?

0:48:44.920 --> 0:48:49.480
<v Speaker 1>Absolutely, why do you want to fight? Because I can't

0:48:49.480 --> 0:48:56.120
<v Speaker 1>sting a dance? You? Hey, that was dura thing.

0:48:56.200 --> 0:48:56.960
<v Speaker 3>I'm pretty good at this.

0:48:58.239 --> 0:48:59.920
<v Speaker 1>He's very sweet.

0:49:00.400 --> 0:49:03.160
<v Speaker 2>It's super sweet. I can't see her dance. I love

0:49:03.239 --> 0:49:05.920
<v Speaker 2>that all those beautiful classics have playfulness.

0:49:06.000 --> 0:49:06.520
<v Speaker 3>That he has.

0:49:07.120 --> 0:49:09.120
<v Speaker 2>What we hear is like his battle with his own

0:49:09.160 --> 0:49:11.960
<v Speaker 2>inner critic and his own idea of an inner champion. Yeah,

0:49:12.200 --> 0:49:14.680
<v Speaker 2>and hers too, and how when they see each other

0:49:15.719 --> 0:49:17.319
<v Speaker 2>things shift for them. They're able to see each other

0:49:17.400 --> 0:49:20.040
<v Speaker 2>through each other's eyes, but it took uts on both

0:49:20.080 --> 0:49:22.080
<v Speaker 2>of their behalf. I can't imagine how that would have

0:49:22.560 --> 0:49:24.680
<v Speaker 2>how that the play would have been without that love

0:49:24.719 --> 0:49:25.440
<v Speaker 2>interest element.

0:49:26.320 --> 0:49:29.160
<v Speaker 1>Yeah, yeah, well they probably would have had to lean

0:49:29.280 --> 0:49:31.239
<v Speaker 1>into more boxing, I would imagine and make it this

0:49:31.440 --> 0:49:34.880
<v Speaker 1>more of a boxing movie than it actually actually is.

0:49:35.840 --> 0:49:37.560
<v Speaker 1>When I was watching it last night, and I always

0:49:37.600 --> 0:49:39.759
<v Speaker 1>think about the person watching the film, I thought, I

0:49:39.880 --> 0:49:42.880
<v Speaker 1>really hope you were really enjoy it, but I didn't think.

0:49:43.080 --> 0:49:44.920
<v Speaker 2>I was quite surprised. I really did love it.

0:49:45.320 --> 0:49:47.040
<v Speaker 1>Yeah, And the more I watched it and the more

0:49:47.040 --> 0:49:48.600
<v Speaker 1>I thought about, I thought, I think you're going to

0:49:48.680 --> 0:49:51.920
<v Speaker 1>relate to rock. You know that you you've written your

0:49:51.960 --> 0:49:55.000
<v Speaker 1>beautiful memoir, your Own kind of Girl, which I mentioned

0:49:55.239 --> 0:49:59.360
<v Speaker 1>at the start, like I followed your career, you know

0:49:59.560 --> 0:50:03.520
<v Speaker 1>when you know, since Divorce by twenty three came out

0:50:04.120 --> 0:50:06.040
<v Speaker 1>a long time ago, a long time ago, and I

0:50:06.080 --> 0:50:08.000
<v Speaker 1>continue to follow. And I went for new music. Clearly

0:50:08.520 --> 0:50:13.040
<v Speaker 1>we'll get to that. And you just assume people come

0:50:13.080 --> 0:50:16.720
<v Speaker 1>out fully formed and you know, ready for the bright lights,

0:50:16.760 --> 0:50:19.279
<v Speaker 1>and that with all the abilities and experience in the world.

0:50:19.320 --> 0:50:21.320
<v Speaker 1>But it takes, and you did it so beautiful in

0:50:21.320 --> 0:50:25.480
<v Speaker 1>your book to talk about the anxiety and how the

0:50:25.560 --> 0:50:27.800
<v Speaker 1>courage it takes to kind of make, you know, the

0:50:27.920 --> 0:50:30.640
<v Speaker 1>get to a stage and to stand on stage. So

0:50:30.840 --> 0:50:32.520
<v Speaker 1>when I I was thinking about that as I was

0:50:32.520 --> 0:50:34.640
<v Speaker 1>watching Rocky last night, I thought, I think you might

0:50:34.719 --> 0:50:36.360
<v Speaker 1>connect with this character.

0:50:37.320 --> 0:50:40.799
<v Speaker 2>Yeah, I didn't. I think in a way, the reason

0:50:40.880 --> 0:50:44.960
<v Speaker 2>we all do is because we all have these limitations,

0:50:45.239 --> 0:50:47.040
<v Speaker 2>you know, these things that happened to us and our

0:50:47.320 --> 0:50:50.560
<v Speaker 2>role in life. You know, we're lucky, We're eighty six

0:50:50.640 --> 0:50:54.840
<v Speaker 2>billion yeurons who somehow got to live life. But we

0:50:54.960 --> 0:50:58.960
<v Speaker 2>are wired for survival. And survival is you know, it's

0:50:59.040 --> 0:51:02.120
<v Speaker 2>right there and the most basic rung of Maslow's the

0:51:02.200 --> 0:51:04.560
<v Speaker 2>hierarchy of needs, and life keeps throwing all this stuff

0:51:04.640 --> 0:51:08.960
<v Speaker 2>at us, and to choose survival is wise. It's what

0:51:09.080 --> 0:51:11.799
<v Speaker 2>we all do. But we long for more as well.

0:51:12.040 --> 0:51:15.920
<v Speaker 2>So life and our brains are constantly telling us to

0:51:16.000 --> 0:51:19.080
<v Speaker 2>place more, and yet there's this other part of us

0:51:19.160 --> 0:51:23.279
<v Speaker 2>that's telling us to make courageous choices. We all are

0:51:23.320 --> 0:51:26.319
<v Speaker 2>fighting with those two forces and trying to find our

0:51:26.360 --> 0:51:29.920
<v Speaker 2>best way in. For me, writing a book talking about

0:51:31.800 --> 0:51:33.680
<v Speaker 2>the most difficult things that have happened in my life

0:51:33.719 --> 0:51:36.320
<v Speaker 2>and trying to bring the light out from them and

0:51:37.239 --> 0:51:41.759
<v Speaker 2>work out why, you know, why I had the brain

0:51:41.840 --> 0:51:44.120
<v Speaker 2>that I had and why I felt the ways that

0:51:44.239 --> 0:51:46.800
<v Speaker 2>I did to work out what to do with those things.

0:51:48.040 --> 0:51:50.400
<v Speaker 2>That's why I have the privilege of being a creative person.

0:51:50.560 --> 0:51:50.640
<v Speaker 5>Now.

0:51:50.719 --> 0:51:52.960
<v Speaker 2>If I could have done things differently, I might have.

0:51:53.040 --> 0:51:55.000
<v Speaker 2>If Rocky could have had a different kind of job,

0:51:55.080 --> 0:51:58.640
<v Speaker 2>he might have too. But we all see a little

0:51:58.680 --> 0:52:01.360
<v Speaker 2>bit of that current. We all have to call in

0:52:01.440 --> 0:52:04.439
<v Speaker 2>that courage right throughout our lives. That's a creative process.

0:52:04.520 --> 0:52:06.480
<v Speaker 2>That's why I always say everyone's creative because we're all

0:52:06.520 --> 0:52:09.400
<v Speaker 2>working within limitations and we're finding the best way to

0:52:09.440 --> 0:52:11.800
<v Speaker 2>mush them together and make stuff that's interesting and meaningful

0:52:11.840 --> 0:52:16.160
<v Speaker 2>and playfully comic and allows us to connect. So loved

0:52:16.920 --> 0:52:19.920
<v Speaker 2>I loved that. I love that that story became has

0:52:20.000 --> 0:52:23.560
<v Speaker 2>become a part of our popular culture now. Like I said,

0:52:23.760 --> 0:52:26.839
<v Speaker 2>I was always laughing about the music, and sometimes we'd

0:52:26.880 --> 0:52:30.320
<v Speaker 2>play Rocky. We play Rocky in the Rocky theme songs,

0:52:30.400 --> 0:52:32.600
<v Speaker 2>and I have the target from Rocky to in the

0:52:32.640 --> 0:52:35.279
<v Speaker 2>back room before a show, to pep Us up, you know,

0:52:36.280 --> 0:52:38.760
<v Speaker 2>But now I said, of no, right, So it's based

0:52:38.840 --> 0:52:41.160
<v Speaker 2>in something that was significant, you know. It was a

0:52:41.239 --> 0:52:46.680
<v Speaker 2>significant story told in a simple context, with limitations and

0:52:46.840 --> 0:52:50.640
<v Speaker 2>done masterfully. I would say, if you're a vegan, you

0:52:50.760 --> 0:52:54.239
<v Speaker 2>might want to be a little bit aware of you

0:52:54.360 --> 0:52:56.399
<v Speaker 2>might feel sensitive while watching this move. I just want

0:52:56.400 --> 0:52:58.920
<v Speaker 2>to give that heads up. Why am I saying that?

0:52:59.280 --> 0:52:59.920
<v Speaker 2>Why am I saying that?

0:53:00.080 --> 0:53:02.160
<v Speaker 1>Pete tell me, well, there's a lot of meat.

0:53:02.480 --> 0:53:04.960
<v Speaker 2>There's a lot of meat. That's right now, there's the

0:53:05.040 --> 0:53:07.440
<v Speaker 2>throwing of the turkey. What a waste. You know, we've

0:53:07.440 --> 0:53:10.839
<v Speaker 2>spoken about that. But again, working with what you've got

0:53:10.920 --> 0:53:13.320
<v Speaker 2>in the spirit of frugality, which is something that we

0:53:13.400 --> 0:53:15.839
<v Speaker 2>were all frigging force through in the last Maybe that's

0:53:15.880 --> 0:53:18.080
<v Speaker 2>part of it too. We've gone through here in this

0:53:18.200 --> 0:53:22.320
<v Speaker 2>state of victory, six very limiting, weird lockdowns in the

0:53:22.400 --> 0:53:25.480
<v Speaker 2>past two years, and we've learnt, you know, we laugh

0:53:25.560 --> 0:53:28.919
<v Speaker 2>about why sour dough became so important to us. Again,

0:53:28.960 --> 0:53:30.880
<v Speaker 2>it was within our nexcess of control. We could do

0:53:31.000 --> 0:53:35.920
<v Speaker 2>something we could explore with sour dough. Rocky doesn't have

0:53:36.080 --> 0:53:41.319
<v Speaker 2>access to the kind of gym that Sylvester sallone, now,

0:53:41.400 --> 0:53:46.600
<v Speaker 2>does you know or Chris Hemsworth might, so what's he doing, Pete?

0:53:46.640 --> 0:53:47.160
<v Speaker 2>What does he do?

0:53:47.800 --> 0:53:51.840
<v Speaker 1>Well? He gets access to a butcher's and just pounds

0:53:52.400 --> 0:53:56.280
<v Speaker 1>pounds downs very dead cows.

0:53:56.520 --> 0:54:00.839
<v Speaker 2>Yeah, that's right. He hall his mate poorly. It's horn meat,

0:54:01.440 --> 0:54:06.080
<v Speaker 2>and he practices cracking ribs on these animals who've already passed,

0:54:06.800 --> 0:54:10.279
<v Speaker 2>so that could be. It was confronting for Rocky at

0:54:10.360 --> 0:54:13.160
<v Speaker 2>first himself, what's with all this new? Who killed these animals?

0:54:14.160 --> 0:54:17.520
<v Speaker 2>And then he goes, okay, right, so they're already gone.

0:54:17.680 --> 0:54:18.480
<v Speaker 2>How can I use this?

0:54:18.920 --> 0:54:21.719
<v Speaker 1>It's all running and it's it's I mean, and I

0:54:21.840 --> 0:54:26.640
<v Speaker 1>loved last night knowing where it goes in the future movies.

0:54:27.560 --> 0:54:30.880
<v Speaker 3>Like the first montage was him like having the you know,

0:54:31.000 --> 0:54:32.560
<v Speaker 3>the yolk eggs and and.

0:54:33.840 --> 0:54:34.879
<v Speaker 2>That's where that came from.

0:54:35.080 --> 0:54:37.320
<v Speaker 1>Yeah, yeah, and then and then like going out and

0:54:37.760 --> 0:54:40.359
<v Speaker 1>his first run and he's almost like he looks sore

0:54:40.400 --> 0:54:43.000
<v Speaker 1>already when he's crawling down the stairs. And the music

0:54:43.080 --> 0:54:44.120
<v Speaker 1>they played during that.

0:54:44.400 --> 0:54:45.400
<v Speaker 3>Is so good.

0:54:46.760 --> 0:54:49.840
<v Speaker 1>That it's more like a slower version because it's the

0:54:49.960 --> 0:54:52.960
<v Speaker 1>first one. It's like it's like really like a tired

0:54:53.080 --> 0:54:54.400
<v Speaker 1>version of what we're going to hear later on.

0:54:54.600 --> 0:54:57.440
<v Speaker 2>There're all refrains of the same kind of motifs and

0:54:57.600 --> 0:55:01.040
<v Speaker 2>idioms but done with different lyric sometimes like that that

0:55:01.160 --> 0:55:04.320
<v Speaker 2>same song was played at the beginning with as a

0:55:04.400 --> 0:55:06.560
<v Speaker 2>song on the radio with a romantic scene. Again, this

0:55:06.680 --> 0:55:09.359
<v Speaker 2>might have been within the limitations of their budget. Yes,

0:55:09.520 --> 0:55:11.200
<v Speaker 2>they just would just reuse the same film.

0:55:11.480 --> 0:55:14.680
<v Speaker 1>And they were just running around shooting gorilla style, like

0:55:14.840 --> 0:55:17.239
<v Speaker 1>when the guy throws an orange at Rocky that he

0:55:17.360 --> 0:55:18.960
<v Speaker 1>had no idea what was going He saw it as

0:55:18.960 --> 0:55:21.040
<v Speaker 1>a camera and that was just like, that wasn't a plan.

0:55:21.160 --> 0:55:23.040
<v Speaker 1>There's no thing in the script that says man throws

0:55:23.160 --> 0:55:25.799
<v Speaker 1>orange at Rocky Bilboa and Rocky catches it. They were

0:55:25.880 --> 0:55:28.200
<v Speaker 1>just driving around, going, let's shoot something here, let's shoot

0:55:28.200 --> 0:55:30.680
<v Speaker 1>something here. Is I don't think only the third movie

0:55:31.520 --> 0:55:34.799
<v Speaker 1>in the world that you steady cam really yeah, which

0:55:34.880 --> 0:55:38.719
<v Speaker 1>is for those at home, it's when you see often

0:55:38.840 --> 0:55:41.480
<v Speaker 1>using when there's a lot of movement. Aaron Sorkin famously

0:55:41.560 --> 0:55:43.520
<v Speaker 1>uses a lot of steady cam with those walking shots.

0:55:44.120 --> 0:55:47.560
<v Speaker 1>It's a lovely they use it when he goes up

0:55:47.600 --> 0:55:51.760
<v Speaker 1>the stairs at the I think it's a state library.

0:55:52.960 --> 0:55:54.840
<v Speaker 1>And for the running shots they use a lot of

0:55:54.840 --> 0:55:55.920
<v Speaker 1>steady camm.

0:55:56.800 --> 0:55:58.920
<v Speaker 2>I reckon It's probably one of the first movies I've

0:55:58.920 --> 0:56:03.040
<v Speaker 2>ever mentioned the word prostrate as well prostate. Do you

0:56:03.040 --> 0:56:05.120
<v Speaker 2>remember that when I said prostrate, And I'm going to

0:56:05.160 --> 0:56:08.080
<v Speaker 2>say it's not correct because it's prostate. So you remember

0:56:08.120 --> 0:56:11.040
<v Speaker 2>when Buddy's in bad mood. Buddy was the driver of

0:56:11.280 --> 0:56:13.760
<v Speaker 2>the big shot you know who he was, the heavy

0:56:13.800 --> 0:56:17.440
<v Speaker 2>who was working for. And again we're realizing, like, this

0:56:17.600 --> 0:56:19.480
<v Speaker 2>is a tough environment, this is a tough world. Not

0:56:19.520 --> 0:56:22.279
<v Speaker 2>everyone's going to like you. Buddy's decided that he likes

0:56:23.000 --> 0:56:25.600
<v Speaker 2>he does not like Rocky r. He hates Rocky. He

0:56:25.640 --> 0:56:28.080
<v Speaker 2>gives him a hard time all the time. There are

0:56:28.080 --> 0:56:31.040
<v Speaker 2>all these challenges Rockies responding to, and it's like, Buddy's

0:56:31.040 --> 0:56:36.680
<v Speaker 2>in a bad mood. It's his prostrate. It's prostrate prostrate, prostate.

0:56:37.120 --> 0:56:39.200
<v Speaker 2>Buddies in bad moods is prostate. I was like, wow,

0:56:39.400 --> 0:56:43.120
<v Speaker 2>you know again, the rawness. Someone would have probably written that,

0:56:43.320 --> 0:56:45.480
<v Speaker 2>maybe written that out of the script if it had

0:56:45.520 --> 0:56:47.319
<v Speaker 2>been in a writer's room for years and years, which

0:56:47.320 --> 0:56:49.799
<v Speaker 2>I don't think it was. But there's a rawness too.

0:56:49.840 --> 0:56:52.520
<v Speaker 2>There's you know, fluff on the camera, there's filth on

0:56:52.600 --> 0:56:56.719
<v Speaker 2>the floor the apartment. Nothing's perfect in this world. And

0:56:56.840 --> 0:56:59.040
<v Speaker 2>that's why I think again, we respond to it because

0:56:59.040 --> 0:57:01.359
<v Speaker 2>it mirrors the real world, which is not everyone's going

0:57:01.400 --> 0:57:02.960
<v Speaker 2>to like us, and we've got to choose his opinion

0:57:03.000 --> 0:57:03.680
<v Speaker 2>we're going to believe in.

0:57:03.840 --> 0:57:07.600
<v Speaker 1>And also, what's good about that driver or the driver

0:57:07.800 --> 0:57:10.080
<v Speaker 1>of the loan shark. Not even the loan shark. He's

0:57:10.120 --> 0:57:10.719
<v Speaker 1>quite nice to it.

0:57:10.840 --> 0:57:13.400
<v Speaker 2>It's quite nice. He keeps giving him five fifty.

0:57:13.200 --> 0:57:16.560
<v Speaker 1>Bucks five bucks. Yeah, he's got support him, but it's

0:57:17.040 --> 0:57:20.440
<v Speaker 1>it's the driver that's giving Rocky shit like that. That's

0:57:20.480 --> 0:57:22.680
<v Speaker 1>how rock bottom they want to and that's the reason

0:57:22.720 --> 0:57:25.400
<v Speaker 1>they want to make him rock bottom. Even when the

0:57:25.520 --> 0:57:27.280
<v Speaker 1>loan Shark is saying, well, you've got to break his

0:57:27.400 --> 0:57:29.919
<v Speaker 1>thumb next time, break his thumb, which is a lovely Again,

0:57:30.000 --> 0:57:33.080
<v Speaker 1>he's because Rocky is not trying. We want our characters

0:57:33.600 --> 0:57:36.320
<v Speaker 1>to be good, have a sense of decency and goodness,

0:57:36.600 --> 0:57:39.240
<v Speaker 1>and then we want to see him try. And Rocky

0:57:39.280 --> 0:57:42.240
<v Speaker 1>takes a while before he believes enough of himself to try,

0:57:42.640 --> 0:57:44.640
<v Speaker 1>so we need to see him be good. And he

0:57:45.000 --> 0:57:47.880
<v Speaker 1>doesn't break the thumb. So there's all these little things,

0:57:47.920 --> 0:57:52.360
<v Speaker 1>and he's just generally kind to everyone. But even when

0:57:52.600 --> 0:57:54.600
<v Speaker 1>the loan Shark is and you need to break his thumb.

0:57:54.760 --> 0:57:58.280
<v Speaker 1>He's got an asthma pump. It's just a lovely this guy.

0:57:58.520 --> 0:58:00.000
<v Speaker 1>The guy is one day going to be the heavyweight

0:58:00.040 --> 0:58:01.960
<v Speaker 1>champion of the world. We don't know that yet, but

0:58:03.240 --> 0:58:07.040
<v Speaker 1>like the guy he's telling him off with the masthma part,

0:58:07.280 --> 0:58:08.959
<v Speaker 1>it's just a lovely little touch.

0:58:09.480 --> 0:58:11.800
<v Speaker 2>You know what else I really love is probably worth

0:58:11.920 --> 0:58:15.720
<v Speaker 2>a much bigger conversation. But again, the fact that Apollo

0:58:16.680 --> 0:58:22.520
<v Speaker 2>is a man of color, that the champion as portrayed,

0:58:22.560 --> 0:58:25.160
<v Speaker 2>you know, the dominant champion in the world is a

0:58:25.240 --> 0:58:29.400
<v Speaker 2>person of color with power and choice. It's good to

0:58:29.520 --> 0:58:34.800
<v Speaker 2>have an historical movie in which there are people of

0:58:34.840 --> 0:58:39.400
<v Speaker 2>different ethnicities, people of different skin colors, different genders, playing

0:58:39.480 --> 0:58:41.960
<v Speaker 2>power roles in different ways as well. Now how that

0:58:42.040 --> 0:58:44.840
<v Speaker 2>plays itself out over the course of Rocky or you know,

0:58:44.920 --> 0:58:47.960
<v Speaker 2>the final victory or so on, is also worthy of conversation.

0:58:48.120 --> 0:58:51.880
<v Speaker 2>But I enjoyed that because it showed again a reflection

0:58:52.040 --> 0:58:57.080
<v Speaker 2>of real life as opposed to so many of the

0:58:57.160 --> 0:59:01.200
<v Speaker 2>stories that we saw a victory, which ever included a

0:59:01.320 --> 0:59:03.960
<v Speaker 2>story of the victory of people who were different, you know,

0:59:04.080 --> 0:59:08.800
<v Speaker 2>people with a like Rocky himself being different, but also

0:59:09.240 --> 0:59:13.640
<v Speaker 2>people who came from different backgrounds. People who it came

0:59:13.720 --> 0:59:17.800
<v Speaker 2>from had different skin colors, people who had different ways

0:59:17.840 --> 0:59:20.200
<v Speaker 2>of thinking and so on. So that is another reason

0:59:20.240 --> 0:59:24.600
<v Speaker 2>why this is interesting. And we didn't often see intelligence

0:59:25.800 --> 0:59:28.800
<v Speaker 2>matched with boxing as well. I didn't even know, for example,

0:59:28.840 --> 0:59:31.000
<v Speaker 2>but I learned from this film that there's a word pulism.

0:59:31.400 --> 0:59:36.640
<v Speaker 2>Do you know what pugilism is? So it means the

0:59:36.680 --> 0:59:39.320
<v Speaker 2>professional hobby of boxing. It's a great word. Never heard

0:59:39.360 --> 0:59:42.320
<v Speaker 2>of it. I thought it meant something completely different. Learned

0:59:42.320 --> 0:59:43.080
<v Speaker 2>a lot from this film.

0:59:43.120 --> 0:59:46.600
<v Speaker 3>People learned a lot. And there's not a Polo played

0:59:46.600 --> 0:59:48.560
<v Speaker 3>beautify by Carl Weathers.

0:59:48.560 --> 0:59:51.800
<v Speaker 2>Incredibly complex and beautiful role.

0:59:52.120 --> 0:59:57.520
<v Speaker 1>Yeah, and it's beautifully written and realized because he is

0:59:57.920 --> 1:00:02.200
<v Speaker 1>a mirror image of Rocky. Now that goes beyond color.

1:00:02.640 --> 1:00:06.560
<v Speaker 1>It's that he is articulate and Rocky is a mumbler,

1:00:06.760 --> 1:00:10.600
<v Speaker 1>you know. It's that he's cocky and Rocky is rapped

1:00:10.600 --> 1:00:13.600
<v Speaker 1>through self doubt. He's technically proficient in the ring, where

1:00:13.920 --> 1:00:16.560
<v Speaker 1>Rocky is more of a brawler. He's a businessman. Rocky

1:00:16.600 --> 1:00:18.400
<v Speaker 1>does not have a cent to his name.

1:00:18.480 --> 1:00:21.720
<v Speaker 2>Get a leather briefcase. Kids don't get into sport, says Apolo.

1:00:21.760 --> 1:00:24.760
<v Speaker 2>Don't get into white stinks, don't be a stinker.

1:00:24.920 --> 1:00:29.120
<v Speaker 1>Got a leather breowcase and he's a businessman. I liked it. Also,

1:00:29.400 --> 1:00:34.320
<v Speaker 1>there wasn't strings possibility. It's a it's a Polo's idea

1:00:34.920 --> 1:00:38.160
<v Speaker 1>to you know, fight Rocky or to find this this

1:00:38.360 --> 1:00:41.360
<v Speaker 1>challenger is this one shot the American dream.

1:00:41.640 --> 1:00:43.560
<v Speaker 5>Without a rand contender. What this fighter is going to

1:00:43.640 --> 1:00:47.640
<v Speaker 5>need is a novelty. This is the land of opportunity rate.

1:00:48.680 --> 1:00:52.520
<v Speaker 5>So Apollo Creed on January first, gives a local underdog

1:00:52.640 --> 1:00:56.560
<v Speaker 5>fighter an opportunity, a snow white underdog, and I'm going

1:00:56.600 --> 1:00:59.280
<v Speaker 5>to put his face on his poster with me, and

1:00:59.360 --> 1:01:03.800
<v Speaker 5>I'll tell you why, Because I'm sentimental, and a lot

1:01:03.880 --> 1:01:06.320
<v Speaker 5>of other people in this country are justice sentimental, and

1:01:06.360 --> 1:01:09.400
<v Speaker 5>there's nothing they'd like better than the Apollo Creed give

1:01:09.440 --> 1:01:11.959
<v Speaker 5>a local Philadelphia boy, I shot at the greatest title

1:01:12.000 --> 1:01:15.400
<v Speaker 5>in the world on this country's biggest birthday. Now that's

1:01:15.440 --> 1:01:18.400
<v Speaker 5>the way I see it, and that's the way it's

1:01:18.440 --> 1:01:18.800
<v Speaker 5>gonna be.

1:01:19.720 --> 1:01:20.040
<v Speaker 4>Polo.

1:01:20.200 --> 1:01:20.760
<v Speaker 3>I like it.

1:01:21.920 --> 1:01:27.120
<v Speaker 4>It's very American, no Jergins, It's very smart.

1:01:32.960 --> 1:01:34.040
<v Speaker 2>Some more coffee, mister.

1:01:34.000 --> 1:01:41.800
<v Speaker 5>Creed, What do you think about Billy snow How about

1:01:41.840 --> 1:01:44.480
<v Speaker 5>the big Chuck Smith's too old and dull.

1:01:45.840 --> 1:01:48.000
<v Speaker 2>And then when we get Paolo who gives him this

1:01:48.120 --> 1:01:51.040
<v Speaker 2>chance at the American Dream, that's really interesting too.

1:01:52.240 --> 1:01:54.920
<v Speaker 1>I love saying him is the businessman. And then he's

1:01:55.400 --> 1:01:58.280
<v Speaker 1>he comes out of George Washington and it's like and

1:01:58.360 --> 1:02:01.680
<v Speaker 1>then and Rocky comes out and he's got shamrock meets that.

1:02:01.840 --> 1:02:03.840
<v Speaker 1>You know, Paulie's going to force this. You know that

1:02:03.920 --> 1:02:05.480
<v Speaker 1>Pauli's making more money out of it than Rocky.

1:02:05.560 --> 1:02:07.120
<v Speaker 2>You can make money out of my name, you do it?

1:02:07.160 --> 1:02:09.520
<v Speaker 2>You go ahead, Paoli, Yeah, you know, generosity.

1:02:09.720 --> 1:02:12.720
<v Speaker 1>And they realize apparently that that's that little money. They

1:02:12.800 --> 1:02:15.600
<v Speaker 1>realized that they had the wrong shorts to match the poster,

1:02:16.720 --> 1:02:19.800
<v Speaker 1>and then so so they wrote something just the handle

1:02:19.800 --> 1:02:22.160
<v Speaker 1>of that little moment where he says, you got the

1:02:22.200 --> 1:02:23.480
<v Speaker 1>wrong shorts and my shorts.

1:02:23.520 --> 1:02:25.880
<v Speaker 2>So this is Rocky going into the arena the night

1:02:26.000 --> 1:02:27.880
<v Speaker 2>before to have a look, you know I seeing I texted,

1:02:27.960 --> 1:02:29.760
<v Speaker 2>actually made of money? Who works at the ABC? If

1:02:29.760 --> 1:02:32.520
<v Speaker 2>you walk into the ABC officers in any city, there

1:02:32.560 --> 1:02:37.080
<v Speaker 2>are these huge posters of the presenters. And I wrote

1:02:37.080 --> 1:02:39.080
<v Speaker 2>to my mate Zen last night, I said, when you

1:02:39.160 --> 1:02:41.640
<v Speaker 2>walk into the ABC's how you feel you walk, you

1:02:41.680 --> 1:02:45.000
<v Speaker 2>know you walking. He's a huge post of yourself. But Rocky,

1:02:45.240 --> 1:02:48.040
<v Speaker 2>yet again, is choosing truth. He walks into the arena

1:02:48.160 --> 1:02:50.280
<v Speaker 2>and I didn't know about that fact. He walks into

1:02:50.320 --> 1:02:52.360
<v Speaker 2>the arena, empty arena the night before. He looks up

1:02:52.360 --> 1:02:55.400
<v Speaker 2>at the poster and instead of going, Wow, there's me

1:02:55.480 --> 1:02:57.720
<v Speaker 2>on a poster, he goes, the shots are wrong. You know,

1:02:58.560 --> 1:03:02.360
<v Speaker 2>he's saying he's not falling for the story of it.

1:03:02.560 --> 1:03:05.080
<v Speaker 2>He knows the risk. He wants things to be right.

1:03:05.520 --> 1:03:09.800
<v Speaker 1>And the promoter, the promoter basically says it doesn't matter,

1:03:10.000 --> 1:03:12.880
<v Speaker 1>doesn't matter, which again reminds the audience and reminds Rocky

1:03:13.040 --> 1:03:19.280
<v Speaker 1>that he's no chance. Yeah. And then also the robe

1:03:19.400 --> 1:03:21.360
<v Speaker 1>was too big for him. It was all big and

1:03:21.440 --> 1:03:24.160
<v Speaker 1>gold yeah, which which was apparently a mistake. And then

1:03:24.400 --> 1:03:30.040
<v Speaker 1>so they wrote that the little conversations he has with

1:03:30.160 --> 1:03:33.680
<v Speaker 1>agent just before he goes out is so lovely, like

1:03:34.120 --> 1:03:36.600
<v Speaker 1>the fact that he almost seems a bit maybe you'd

1:03:36.640 --> 1:03:39.360
<v Speaker 1>be worried that he's unfocused. You know, if you were

1:03:40.000 --> 1:03:42.000
<v Speaker 1>his coach or manager, he be going, come on, focus

1:03:42.080 --> 1:03:43.680
<v Speaker 1>on the ring. Agent probably shouldn't be here, get it,

1:03:44.120 --> 1:03:45.160
<v Speaker 1>you know, like just focus.

1:03:45.400 --> 1:03:45.960
<v Speaker 3>But he is.

1:03:48.240 --> 1:03:51.600
<v Speaker 1>Always charming Throughout this, he keeps.

1:03:51.360 --> 1:03:54.360
<v Speaker 2>Saying to it, doesn't he he keeps saying, don't leave town,

1:03:54.760 --> 1:03:57.240
<v Speaker 2>don't leave town. I'm sorry about my terrible accent. I

1:03:57.400 --> 1:04:00.080
<v Speaker 2>keep coming in, going into it unconsciously. I don't I

1:04:00.280 --> 1:04:03.360
<v Speaker 2>don't mean to be doing that. But he's saying to her,

1:04:03.480 --> 1:04:05.800
<v Speaker 2>you know, is it too baggy? And he keeps saying

1:04:05.800 --> 1:04:08.440
<v Speaker 2>to it, you're looking great today. He's doing the opposite

1:04:08.480 --> 1:04:11.800
<v Speaker 2>of what Apollo's doing, which is, you know, focusing, breathing

1:04:11.880 --> 1:04:14.440
<v Speaker 2>deep and so on. The stakes are so high that

1:04:14.560 --> 1:04:17.680
<v Speaker 2>he actually can't engage that. He's been playful, and he's

1:04:17.800 --> 1:04:22.120
<v Speaker 2>keeping that playfulness and that openness to possibility, and I

1:04:22.200 --> 1:04:25.000
<v Speaker 2>think it's delightful. He's not willing to acknowledge how much

1:04:25.080 --> 1:04:28.160
<v Speaker 2>is writing on it consciously, but he knows within himself.

1:04:28.280 --> 1:04:31.240
<v Speaker 1>There is that beautiful moment, though, when Apollo brings him

1:04:31.280 --> 1:04:34.360
<v Speaker 1>into the press conference and he's watching with Adrian, and

1:04:34.960 --> 1:04:36.800
<v Speaker 1>Apollo is going to make a few jobs and you

1:04:36.880 --> 1:04:39.520
<v Speaker 1>have nothing too over the top, but you know enough

1:04:39.600 --> 1:04:42.200
<v Speaker 1>that he's making fun, a little bit of making light

1:04:42.720 --> 1:04:45.200
<v Speaker 1>of Rocky and Rocky you know, he says, it doesn't matter,

1:04:45.240 --> 1:04:47.400
<v Speaker 1>it doesn't matter. And then when he leaves. He actually says,

1:04:47.520 --> 1:04:50.360
<v Speaker 1>you know what Apollo said, it did bother me. And

1:04:50.440 --> 1:04:54.120
<v Speaker 1>that's that's almost a first little thing of oh, hang on,

1:04:55.160 --> 1:04:58.680
<v Speaker 1>there's maybe more fighting than we think.

1:04:58.200 --> 1:05:02.240
<v Speaker 2>To thine self be true. I love the energy that

1:05:02.320 --> 1:05:04.120
<v Speaker 2>he gets and that we see him get, and it

1:05:04.200 --> 1:05:06.919
<v Speaker 2>was there right from the beginning in that very first fight. God,

1:05:07.320 --> 1:05:09.960
<v Speaker 2>you know that very first fight. I can't remember the

1:05:10.360 --> 1:05:13.480
<v Speaker 2>contender was a Spider or something. Spider, that's right. So

1:05:13.520 --> 1:05:16.200
<v Speaker 2>it opens, you know, the movie opens with this picture

1:05:16.240 --> 1:05:18.960
<v Speaker 2>of Jesus and from there were to the ring, you know,

1:05:19.040 --> 1:05:25.000
<v Speaker 2>the ultimate fight, and then he beats Spider, smokes a ciggy,

1:05:25.240 --> 1:05:28.120
<v Speaker 2>Spider has a beer there in the back room. The

1:05:28.200 --> 1:05:30.760
<v Speaker 2>reason he beat Spiders because Spider challenged him at a

1:05:30.840 --> 1:05:34.000
<v Speaker 2>certain point, or you know, there was some energy that

1:05:34.080 --> 1:05:36.280
<v Speaker 2>he gets every time someone doesn't believe in him. I

1:05:36.400 --> 1:05:38.320
<v Speaker 2>love the way he uses that, and that's used right

1:05:38.400 --> 1:05:41.040
<v Speaker 2>throughout until this point at the end, which we were

1:05:41.080 --> 1:05:41.640
<v Speaker 2>just talking about.

1:05:41.720 --> 1:05:42.640
<v Speaker 3>Let's hut about the end.

1:05:42.720 --> 1:05:46.840
<v Speaker 1>Did you did you expect You've probably been groomed now

1:05:46.960 --> 1:05:51.440
<v Speaker 1>to expect the protagonists to win at the end.

1:05:52.120 --> 1:05:55.440
<v Speaker 2>Yeah, look, a lot of people had won already throughout

1:05:55.480 --> 1:05:58.120
<v Speaker 2>the film, so you know, you've got Adrian there with

1:05:58.280 --> 1:06:02.080
<v Speaker 2>a text of her time being told by her brother

1:06:02.200 --> 1:06:05.720
<v Speaker 2>that she's broken because you know she's not a virgin

1:06:06.240 --> 1:06:10.400
<v Speaker 2>and she's one. She's chosen victory and moved out in

1:06:10.520 --> 1:06:11.080
<v Speaker 2>the meantime.

1:06:12.640 --> 1:06:17.880
<v Speaker 1>It is a great scene. Talia Shai, great performance and

1:06:18.080 --> 1:06:23.800
<v Speaker 1>just takes it. I do love that stallone well as

1:06:23.840 --> 1:06:26.040
<v Speaker 1>a writer, and Rockie as the character allows her to

1:06:26.160 --> 1:06:30.640
<v Speaker 1>have that victory, like does not try to like she's

1:06:31.240 --> 1:06:33.680
<v Speaker 1>He recognizes that she's in control of this now and

1:06:33.800 --> 1:06:34.480
<v Speaker 1>this is her fight.

1:06:34.560 --> 1:06:38.440
<v Speaker 3>I'm here, but you take it up to him.

1:06:38.520 --> 1:06:38.720
<v Speaker 1>Yeah.

1:06:39.080 --> 1:06:41.680
<v Speaker 3>I think that's really good until he.

1:06:41.760 --> 1:06:43.240
<v Speaker 1>Goes too far when she's left the room, and he

1:06:43.280 --> 1:06:46.240
<v Speaker 1>goes too far, and he just goes over and says, enough.

1:06:46.520 --> 1:06:47.080
<v Speaker 2>Enough now.

1:06:49.080 --> 1:06:49.520
<v Speaker 4>It's cool.

1:06:49.640 --> 1:06:50.520
<v Speaker 1>That's so poorly.

1:07:00.960 --> 1:07:03.880
<v Speaker 2>I don't want you missing Hull, and I don't raise

1:07:03.920 --> 1:07:07.520
<v Speaker 2>you to go with this scumbu. Yeah, come on, hit me,

1:07:07.600 --> 1:07:07.880
<v Speaker 2>come on.

1:07:08.320 --> 1:07:10.240
<v Speaker 4>I'll break both arms so they don't work for you.

1:07:15.120 --> 1:07:16.640
<v Speaker 4>I'm not good enough to meet with Kaso.

1:07:16.880 --> 1:07:19.240
<v Speaker 1>True, that's like to a Kaso now you're a big

1:07:19.280 --> 1:07:20.400
<v Speaker 1>shot fighter on the way up.

1:07:20.400 --> 1:07:21.919
<v Speaker 4>You don't even draw a clumpty of friend.

1:07:22.040 --> 1:07:24.840
<v Speaker 5>Paulie when I gonna get your meet every morning.

1:07:25.280 --> 1:07:27.680
<v Speaker 2>You forgot that night. I even give you white sister, dude,

1:07:29.560 --> 1:07:30.160
<v Speaker 2>I'm a pink.

1:07:31.320 --> 1:07:32.479
<v Speaker 1>A pink gets you the best.

1:07:34.440 --> 1:07:34.920
<v Speaker 3>Lost.

1:07:35.000 --> 1:07:38.520
<v Speaker 2>I don't get married because of you. You can't look

1:07:38.560 --> 1:07:39.160
<v Speaker 2>by your arm.

1:07:40.240 --> 1:07:41.600
<v Speaker 1>I put your do to get on.

1:07:41.840 --> 1:07:44.480
<v Speaker 4>You can't you all me?

1:07:47.960 --> 1:07:48.440
<v Speaker 2>You owe me.

1:07:50.080 --> 1:07:51.520
<v Speaker 4>You're supposed to be good to me?

1:07:52.720 --> 1:07:54.120
<v Speaker 1>Who are fine?

1:07:55.160 --> 1:07:55.360
<v Speaker 2>Hell?

1:07:55.640 --> 1:07:55.840
<v Speaker 4>Yeah?

1:07:56.240 --> 1:08:00.760
<v Speaker 2>I mean just good? I feel idea, don't glad.

1:08:01.480 --> 1:08:04.160
<v Speaker 1>I didn't care you poie, I don't know you know that,

1:08:05.440 --> 1:08:07.480
<v Speaker 1>and you made me feel like a loader.

1:08:10.680 --> 1:08:11.440
<v Speaker 2>You're busted?

1:08:11.680 --> 1:08:11.720
<v Speaker 3>What?

1:08:17.880 --> 1:08:29.040
<v Speaker 2>Just OK. There's quite a few opportunities for victory and

1:08:29.120 --> 1:08:32.280
<v Speaker 2>quite a few victories throughout it, and there's also poorly

1:08:32.760 --> 1:08:34.720
<v Speaker 2>you know, we don't get a clean victory for him

1:08:34.800 --> 1:08:39.320
<v Speaker 2>because he's a broken character, but he keeps getting included

1:08:39.560 --> 1:08:42.479
<v Speaker 2>even though he's broken, and he eventually, you know, makes

1:08:42.520 --> 1:08:44.680
<v Speaker 2>him cash gets a different job. So there are all

1:08:44.720 --> 1:08:49.559
<v Speaker 2>those victories along the way. Did I expect Rocky to win? Yes,

1:08:50.560 --> 1:08:52.160
<v Speaker 2>except for the fact that I knew that there were

1:08:52.240 --> 1:08:54.479
<v Speaker 2>all these other movies that came afterwards, and I wondered,

1:08:54.760 --> 1:08:56.960
<v Speaker 2>how can you end it? I was press paused at

1:08:56.960 --> 1:09:01.479
<v Speaker 2>about five minutes before the end, and I went, I wonder,

1:09:01.520 --> 1:09:04.360
<v Speaker 2>what's going to happen here. Normally we're indoctrinated to have

1:09:04.479 --> 1:09:06.000
<v Speaker 2>more of a round up at the end or so,

1:09:06.120 --> 1:09:10.080
<v Speaker 2>and so I liked I actually really enjoyed how one.

1:09:10.120 --> 1:09:13.559
<v Speaker 2>And I think it was right too, that you know Apollo.

1:09:13.680 --> 1:09:16.800
<v Speaker 2>In that context, Rocky got his nose broken for the

1:09:16.840 --> 1:09:20.280
<v Speaker 2>first time, Apollo got sort of the life in, he

1:09:20.400 --> 1:09:23.360
<v Speaker 2>got terrified of losing for the first time. Neither of

1:09:23.400 --> 1:09:27.280
<v Speaker 2>them wanted to rematch. I'm left curious what happens now.

1:09:27.800 --> 1:09:30.120
<v Speaker 1>Well, what happens now is you need to go and

1:09:30.240 --> 1:09:33.400
<v Speaker 1>watch every other version. Do you take on the challenge

1:09:34.280 --> 1:09:36.920
<v Speaker 1>and the invitation to watch Rocky too, and then one

1:09:37.000 --> 1:09:37.720
<v Speaker 1>day come back to.

1:09:37.800 --> 1:09:41.559
<v Speaker 2>Us I do. I'm a bit scared, though, Pete, because

1:09:41.600 --> 1:09:45.559
<v Speaker 2>I've really you know, it's hell't We've gone pretty deep,

1:09:45.640 --> 1:09:47.920
<v Speaker 2>Like we didn't have many laughs during this year, and

1:09:48.000 --> 1:09:51.639
<v Speaker 2>I and I realized that, you know, but I think

1:09:52.160 --> 1:09:54.280
<v Speaker 2>with the amount of coffee I've drunk this morning, the

1:09:54.400 --> 1:09:56.320
<v Speaker 2>lack of sleep that we both had, and the effect

1:09:56.360 --> 1:09:58.799
<v Speaker 2>that this movie had on us, it's been quite somber.

1:09:59.120 --> 1:10:01.000
<v Speaker 2>I've enjoyed it. If if I go and watch the

1:10:01.120 --> 1:10:06.400
<v Speaker 2>next Rockies are their highs? And lows yes, and.

1:10:06.479 --> 1:10:09.120
<v Speaker 1>I think they get Listen, Rocky is the best of

1:10:09.240 --> 1:10:09.760
<v Speaker 1>the lot of them.

1:10:10.000 --> 1:10:10.960
<v Speaker 2>Okay number one?

1:10:11.120 --> 1:10:14.599
<v Speaker 1>Yeah, right, so and then and then two. They're very

1:10:14.680 --> 1:10:17.560
<v Speaker 1>good and they get they get. There's there's some you know,

1:10:18.320 --> 1:10:23.280
<v Speaker 1>decreasing value as it goes along, but it's certainly the

1:10:23.360 --> 1:10:27.600
<v Speaker 1>Apollo and the Rocky story continues into In fact, it

1:10:27.720 --> 1:10:30.840
<v Speaker 1>kind of takes place pretty almost there's not much space

1:10:30.960 --> 1:10:34.000
<v Speaker 1>between this movie and what happens. It almost flows straight

1:10:34.080 --> 1:10:37.479
<v Speaker 1>on right for memory. Watched it for a while, but

1:10:37.640 --> 1:10:42.000
<v Speaker 1>I think it's I think it's certainly watching you watch two.

1:10:43.040 --> 1:10:45.439
<v Speaker 2>All right, all right, I'll tell you what. My life

1:10:45.560 --> 1:10:48.639
<v Speaker 2>is definitely richer. For one. You know, I've got I've

1:10:48.680 --> 1:10:51.920
<v Speaker 2>got new sayings in my heart, like you know, like

1:10:52.320 --> 1:10:54.559
<v Speaker 2>colon people a coconut or a yo yo. I mean

1:10:54.600 --> 1:10:58.000
<v Speaker 2>they've fallen from public culture. It's also, of course, you know,

1:10:58.240 --> 1:11:00.600
<v Speaker 2>mix saying things like you're going to crap done. You know,

1:11:00.720 --> 1:11:03.000
<v Speaker 2>I've got all these wonderful sayings in my head. I'm

1:11:03.040 --> 1:11:05.880
<v Speaker 2>newly inspired as a person. And it did make sense

1:11:05.920 --> 1:11:09.639
<v Speaker 2>at the end, of course, when Rocky is yelling Adrian

1:11:10.680 --> 1:11:12.120
<v Speaker 2>and I looked at MARNI, when is that what you

1:11:12.160 --> 1:11:15.600
<v Speaker 2>were talking about. He goes, right, good on you for

1:11:15.640 --> 1:11:16.320
<v Speaker 2>spoiling it for me.

1:11:17.960 --> 1:11:20.040
<v Speaker 1>Thank you telling me the last scene of the film.

1:11:20.200 --> 1:11:24.880
<v Speaker 1>Thank you so much that even that moment Taralia shi Adrian,

1:11:26.000 --> 1:11:28.479
<v Speaker 1>like when Rocky says to her, you Adrian at the

1:11:28.520 --> 1:11:31.640
<v Speaker 1>press cont she's a little bit embarrassed by it. What

1:11:31.680 --> 1:11:33.240
<v Speaker 1>did you think of that? She goes, why did you

1:11:33.360 --> 1:11:35.479
<v Speaker 1>do that? I'm not sure about that? And then she

1:11:35.640 --> 1:11:37.479
<v Speaker 1>finds the carriage. She ever comes to a shyness to

1:11:37.680 --> 1:11:41.919
<v Speaker 1>run into a boxing ring is kind of incredible.

1:11:42.000 --> 1:11:46.280
<v Speaker 2>Rocky's let's recreate it. I'll be I'll be Rocky and

1:11:46.479 --> 1:11:50.080
<v Speaker 2>uba a Rocky.

1:11:51.960 --> 1:11:54.639
<v Speaker 1>Rocky amazing, amazing.

1:11:55.080 --> 1:11:56.120
<v Speaker 3>Well I got shivers.

1:11:56.720 --> 1:11:59.280
<v Speaker 1>So really, if there's a Rocky nine or Apollo three,

1:11:59.560 --> 1:12:02.840
<v Speaker 1>because that's what happens down the track is that the

1:12:02.960 --> 1:12:05.240
<v Speaker 1>recent reboots have been about a polo, which is a

1:12:05.320 --> 1:12:08.040
<v Speaker 1>polo's son. What's the best frisingly good?

1:12:08.280 --> 1:12:08.479
<v Speaker 4>Yeah?

1:12:08.520 --> 1:12:10.960
<v Speaker 2>Good, okay, yeah, maybe I'll go, I mean, do I go?

1:12:11.600 --> 1:12:16.080
<v Speaker 1>I think it one by one the next step as

1:12:16.160 --> 1:12:16.759
<v Speaker 1>we go along.

1:12:17.680 --> 1:12:20.000
<v Speaker 2>What I've learned from this is just a reminder of

1:12:20.040 --> 1:12:23.280
<v Speaker 2>all the things that seemed to matter. Originality and courage,

1:12:23.320 --> 1:12:26.439
<v Speaker 2>when combined, can create great work. We must have the

1:12:26.520 --> 1:12:29.080
<v Speaker 2>courage to keep counting ourselves in when nobody else sees us.

1:12:29.680 --> 1:12:32.120
<v Speaker 2>That requires a commitment on our own behalf to do

1:12:32.400 --> 1:12:36.040
<v Speaker 2>the difficult work of not knowing how the outcome is

1:12:36.040 --> 1:12:37.559
<v Speaker 2>going to be. But we've got to keep showing up.

1:12:38.000 --> 1:12:40.800
<v Speaker 2>Love's worth fighting for. The meat that you're eating may

1:12:40.840 --> 1:12:44.000
<v Speaker 2>have been punched by someone. It was an original training

1:12:44.080 --> 1:12:46.960
<v Speaker 2>method that he voked, which is now normal. But I

1:12:47.040 --> 1:12:49.599
<v Speaker 2>think I found myself quite inspired by the whole thing.

1:12:49.720 --> 1:12:52.200
<v Speaker 2>And I'm really really glad that you made me watch it. Mate.

1:12:52.280 --> 1:12:55.640
<v Speaker 1>Well that is a beautiful sentiment in summation, and thank you.

1:12:55.840 --> 1:13:02.920
<v Speaker 1>Clear vote please before we quickly go any new anytime soon? Yeah, yeah, yeah,

1:13:03.280 --> 1:13:03.759
<v Speaker 1>I got.

1:13:03.680 --> 1:13:04.639
<v Speaker 2>So much new stuff.

1:13:05.479 --> 1:13:07.640
<v Speaker 1>Yeah, what can you tell? What can you tell us?

1:13:07.720 --> 1:13:07.880
<v Speaker 3>Now?

1:13:08.800 --> 1:13:12.240
<v Speaker 1>It should be out literally very slightly in a week

1:13:12.400 --> 1:13:12.519
<v Speaker 1>or so.

1:13:13.000 --> 1:13:15.599
<v Speaker 2>Well, yeah, you're not going to get the music by then.

1:13:15.520 --> 1:13:18.000
<v Speaker 1>Beat, I'll tell you that much better throw to a track.

1:13:19.120 --> 1:13:20.560
<v Speaker 2>What I do want to tell you is that I

1:13:20.680 --> 1:13:24.200
<v Speaker 2>am out there doing the jog in the morning, punching

1:13:24.280 --> 1:13:26.920
<v Speaker 2>the meat and climbing up and down those stairs, and

1:13:27.560 --> 1:13:35.280
<v Speaker 2>I'm wearing loose tracksuits and I'm yelling Adrian all the time. Yeah,

1:13:35.280 --> 1:13:37.160
<v Speaker 2>I got some new stuff, and I tell you what,

1:13:37.880 --> 1:13:40.200
<v Speaker 2>you'll be the first to know, I promise. But thank

1:13:40.240 --> 1:13:43.000
<v Speaker 2>you for the encouragement and saying that you actually care

1:13:43.240 --> 1:13:44.800
<v Speaker 2>and want to hear new stuff. That means a lot

1:13:44.840 --> 1:13:44.960
<v Speaker 2>to me.

1:13:45.120 --> 1:13:47.880
<v Speaker 1>I completely and I said in the intro that all

1:13:48.000 --> 1:13:51.280
<v Speaker 1>your albums are incredible, but modern day addiction in particular

1:13:51.439 --> 1:13:53.439
<v Speaker 1>is in my top five and I go back to

1:13:53.520 --> 1:13:56.080
<v Speaker 1>it so often as I do. What was left and

1:13:57.320 --> 1:13:59.880
<v Speaker 1>the window I chose happiness. But thanks, we just need

1:14:00.120 --> 1:14:01.400
<v Speaker 1>some new clear votus music.

1:14:02.040 --> 1:14:04.360
<v Speaker 2>I'm going to bring it to you. I promise, I promise.

1:14:04.920 --> 1:14:07.479
<v Speaker 2>I just need a Is there a Mickey out there

1:14:07.720 --> 1:14:08.519
<v Speaker 2>who would like to?

1:14:10.640 --> 1:14:13.719
<v Speaker 1>There was seventy eight year old give.

1:14:13.560 --> 1:14:15.040
<v Speaker 2>Me seventy six six.

1:14:15.160 --> 1:14:16.799
<v Speaker 1>Sorry Mickey, love a bit of wisdom.

1:14:17.600 --> 1:14:20.240
<v Speaker 2>Good love you, lots, hie everyone. Thanks for having me.

1:14:28.640 --> 1:14:32.839
<v Speaker 1>Well, that was a fun way to finish this season.

1:14:33.439 --> 1:14:36.880
<v Speaker 1>Oh you ain't seen nothing yet. I'm so glad Claire

1:14:37.280 --> 1:14:39.680
<v Speaker 1>loved Rocky and not only just loved it, but it

1:14:39.760 --> 1:14:44.400
<v Speaker 1>had so much to offer and to reflect on, so articulate,

1:14:44.920 --> 1:14:48.080
<v Speaker 1>so thoughtful. I really really loved that chat about the

1:14:48.200 --> 1:14:50.559
<v Speaker 1>film that I hadn't seen for a little while. I've

1:14:50.600 --> 1:14:52.640
<v Speaker 1>seen it in my adult life, but not for a

1:14:52.720 --> 1:14:54.760
<v Speaker 1>few years. So it was great watching it last night

1:14:54.840 --> 1:14:56.360
<v Speaker 1>knowing that I was going to be chatting to Claire

1:14:56.520 --> 1:14:59.240
<v Speaker 1>about it. So thank you so much Claire again for

1:14:59.360 --> 1:15:02.719
<v Speaker 1>doing that. This podcast comes with homework. It also comes

1:15:03.560 --> 1:15:06.280
<v Speaker 1>with you know, production, and the man behind that is

1:15:06.360 --> 1:15:10.680
<v Speaker 1>Derek Meyer some castaway studios, Gido, Derek, good mate. It's

1:15:10.800 --> 1:15:13.519
<v Speaker 1>our final ride before we rude out to the sunset,

1:15:13.600 --> 1:15:16.040
<v Speaker 1>before we take a little break before we come back

1:15:16.080 --> 1:15:18.600
<v Speaker 1>with season five. Can you believe it?

1:15:18.880 --> 1:15:21.759
<v Speaker 4>It's hard to believe four seasons is now. That's epic.

1:15:22.280 --> 1:15:26.360
<v Speaker 1>That's amazing. I mean the exciting thing about season five

1:15:26.600 --> 1:15:30.600
<v Speaker 1>is it's going to have our one hundredth episode in it,

1:15:31.000 --> 1:15:33.040
<v Speaker 1>So we'll see if we can come up with something special,

1:15:33.600 --> 1:15:34.559
<v Speaker 1>maybe a live event.

1:15:35.120 --> 1:15:35.880
<v Speaker 4>Can we have a banner?

1:15:36.320 --> 1:15:38.599
<v Speaker 1>Definitely a banner. We're gonna run to a banner. Yeah, yeah,

1:15:38.600 --> 1:15:39.800
<v Speaker 1>we're both going to run it. I'm not sure he's

1:15:39.800 --> 1:15:45.200
<v Speaker 1>gonna hold it. That's the only thing. Somebody two guests

1:15:45.800 --> 1:15:48.679
<v Speaker 1>to hold the banner. Hey, let's talk about Rocky before

1:15:48.720 --> 1:15:52.320
<v Speaker 1>we head off. You'd be a Rocky fan, wouldn't you. Yeah?

1:15:53.720 --> 1:15:55.200
<v Speaker 4>Definitely, Yeah, most Definitely.

1:15:55.400 --> 1:15:57.960
<v Speaker 1>It wasn't the most convincing, but I feel there's a

1:15:58.000 --> 1:15:59.840
<v Speaker 1>caveat coming a bit of.

1:15:59.840 --> 1:16:00.559
<v Speaker 4>A Rocky two.

1:16:01.240 --> 1:16:06.920
<v Speaker 1>Okay, Rocky two, three and four. Wow, that's interesting because

1:16:07.680 --> 1:16:09.479
<v Speaker 1>it's out a clear I was going to watch Rocky two,

1:16:10.000 --> 1:16:12.200
<v Speaker 1>so we'll take it one by one. I won't commit

1:16:12.240 --> 1:16:15.120
<v Speaker 1>you to watching you know, all of them, but I said,

1:16:15.160 --> 1:16:17.320
<v Speaker 1>I said, listen, Rocky is probably the best of them.

1:16:17.720 --> 1:16:20.679
<v Speaker 1>But with that said, they do become more soap oper

1:16:21.240 --> 1:16:23.599
<v Speaker 1>operatic as they go along. But Rocky, too, I think

1:16:23.680 --> 1:16:26.559
<v Speaker 1>is very good. And I remember as a kid loving

1:16:26.680 --> 1:16:29.680
<v Speaker 1>Rocky three and loving Rocky four. I just got a

1:16:29.720 --> 1:16:31.599
<v Speaker 1>feeling when I go back and watch them as an adult,

1:16:31.720 --> 1:16:36.799
<v Speaker 1>I'm probably gonna enjoy Rocky as a movie. Definitely, definitely

1:16:37.320 --> 1:16:40.400
<v Speaker 1>more than that. It's more clarify, it gets more more

1:16:40.439 --> 1:16:42.200
<v Speaker 1>popcorns involved as we go along.

1:16:42.360 --> 1:16:44.960
<v Speaker 4>Yeah, I definitely Rocky is a way better movie than

1:16:45.000 --> 1:16:47.599
<v Speaker 4>the rest. Yeah, But to me, that was my era,

1:16:47.880 --> 1:16:49.800
<v Speaker 4>and it was just like they were coming out while I.

1:16:49.920 --> 1:16:53.120
<v Speaker 1>Was, yeah a young man, and of course Club of Land.

1:16:53.080 --> 1:16:55.679
<v Speaker 4>And it was topical two with the whole jargo.

1:16:57.120 --> 1:16:58.360
<v Speaker 3>Yeah, very typical.

1:16:58.439 --> 1:17:02.559
<v Speaker 1>Now open that can of words, Hey, a few little

1:17:02.680 --> 1:17:07.519
<v Speaker 1>facts that I've got to get to. Claire mentioned earlier

1:17:07.720 --> 1:17:11.599
<v Speaker 1>in the podcast that there was some conjecture about where

1:17:11.600 --> 1:17:13.680
<v Speaker 1>the story came from. It certainly obviously did come from

1:17:13.840 --> 1:17:18.720
<v Speaker 1>slice the loan's own experiences and his own thoughts as

1:17:18.800 --> 1:17:21.600
<v Speaker 1>far as where his acting was and the way he

1:17:21.720 --> 1:17:25.200
<v Speaker 1>was feeling that an event inspired it was a guy

1:17:25.280 --> 1:17:28.680
<v Speaker 1>called Chuck Wetner who was like a middleweight kind of

1:17:28.720 --> 1:17:31.720
<v Speaker 1>out of the boxer who was, you know, I'm not

1:17:31.720 --> 1:17:36.040
<v Speaker 1>sure how to describe it, like a solid boxer, average boxer.

1:17:36.840 --> 1:17:39.040
<v Speaker 1>But he got the chance to fight Muhammad Ali and

1:17:39.160 --> 1:17:43.200
<v Speaker 1>he knocked Ali down once and he didn't win, but

1:17:43.280 --> 1:17:47.040
<v Speaker 1>he knocked him down so that you could kind of

1:17:47.120 --> 1:17:51.280
<v Speaker 1>see that, imagine that inspiring Sevestillone to write the way

1:17:51.360 --> 1:17:54.599
<v Speaker 1>he did and the climact in particular. Funnily enough, Chuck

1:17:54.640 --> 1:17:56.800
<v Speaker 1>Witner then goes on the fight, has it like an

1:17:56.840 --> 1:18:00.200
<v Speaker 1>exhibition fight against Andre the Giant, which you know what

1:18:00.240 --> 1:18:06.360
<v Speaker 1>happens in Rockie three. PAULK. Cogan, Yes, hold thunderlips, and

1:18:07.200 --> 1:18:10.519
<v Speaker 1>they actually Chuck Wender did sue. He did a suit

1:18:11.040 --> 1:18:14.640
<v Speaker 1>stallone a couple of times. Eventually they privately settled in

1:18:14.760 --> 1:18:19.080
<v Speaker 1>two thousand and three, we mentioned if you don't Stallone

1:18:19.160 --> 1:18:21.800
<v Speaker 1>knocking back a pretty big offer to sell the rights

1:18:21.840 --> 1:18:24.519
<v Speaker 1>to United Artists. He refused, he wanted to be in

1:18:24.600 --> 1:18:28.200
<v Speaker 1>the film. The right call was made. Also, the good

1:18:28.240 --> 1:18:32.200
<v Speaker 1>news is he wasn't. He was paid twenty thousand for

1:18:32.280 --> 1:18:35.600
<v Speaker 1>the script and a sag that's a screen act. This

1:18:35.680 --> 1:18:38.040
<v Speaker 1>good minimum of three hundred and fifty dollars per week

1:18:38.080 --> 1:18:40.040
<v Speaker 1>to make the movie. But he did have some back

1:18:40.160 --> 1:18:42.040
<v Speaker 1>end on it, and I think he ended up making

1:18:42.080 --> 1:18:44.760
<v Speaker 1>a round about twenty two million from the film, so

1:18:46.000 --> 1:18:49.679
<v Speaker 1>pretty pretty cool. Some choices to play Adrian were also

1:18:49.800 --> 1:18:53.120
<v Speaker 1>Susan Sarandon, a Cher, and Bett Midler was offered the role,

1:18:53.280 --> 1:19:00.160
<v Speaker 1>she said no. Stallone wins Oscars for Best Screenplay, was

1:19:00.200 --> 1:19:03.960
<v Speaker 1>nominated for writing the screenplay and acting, and up until

1:19:03.960 --> 1:19:05.960
<v Speaker 1>a few years ago, the only other two people who

1:19:06.040 --> 1:19:09.559
<v Speaker 1>had done that, I believe was Charlie Chaplin and Awson Wells.

1:19:10.040 --> 1:19:12.400
<v Speaker 1>Not bad company to be in. I haven't gone back

1:19:12.439 --> 1:19:14.320
<v Speaker 1>and looked at who's won since, but I know Bradley

1:19:14.360 --> 1:19:16.920
<v Speaker 1>Cooper comes to mind with the Star is Born as

1:19:16.960 --> 1:19:20.880
<v Speaker 1>far as writing and acting and being nominated. So in

1:19:21.000 --> 1:19:23.400
<v Speaker 1>one final fact that actually blew me away a little

1:19:23.439 --> 1:19:26.479
<v Speaker 1>bit in the first draft. Stalone writes the draft, the

1:19:26.560 --> 1:19:29.640
<v Speaker 1>first draft over three days, and there's a lot of

1:19:29.720 --> 1:19:32.560
<v Speaker 1>rewrites goes on. In fact, Mickey was quite racist in

1:19:32.640 --> 1:19:36.400
<v Speaker 1>the first draft. Adrian was Jewish, Pauli was a Jewish.

1:19:36.400 --> 1:19:38.720
<v Speaker 1>Step matther I mentioned that during the podcast. I got

1:19:38.760 --> 1:19:40.479
<v Speaker 1>to say, Mickey's a little bit racist in this one.

1:19:40.720 --> 1:19:42.720
<v Speaker 1>But in the end, what was supposed to happen in

1:19:42.840 --> 1:19:45.240
<v Speaker 1>the end was Rocky was going to throw the fight

1:19:46.040 --> 1:19:48.760
<v Speaker 1>and then use the money to open a pet store

1:19:48.800 --> 1:19:52.880
<v Speaker 1>with Adrian. Can you believe that? Can you believe that

1:19:53.120 --> 1:19:55.720
<v Speaker 1>being the ending of Rocky. I don't think you get

1:19:55.840 --> 1:20:00.360
<v Speaker 1>Rocky two, Rocky three, Rocky four, or the Apollos. Rocky

1:20:00.400 --> 1:20:03.040
<v Speaker 1>is opening a pet store. That sounds more like a

1:20:03.080 --> 1:20:05.400
<v Speaker 1>Pixar film to me. That was great. That was great fun.

1:20:05.439 --> 1:20:08.559
<v Speaker 1>I really enjoyed that so much. Thank you Claiboutich. Once again,

1:20:08.640 --> 1:20:11.080
<v Speaker 1>thank you Derek for all your work throughout this season.

1:20:11.320 --> 1:20:13.080
<v Speaker 1>We're going to take a shorter break. I know the

1:20:13.160 --> 1:20:15.280
<v Speaker 1>last time we took like it was almost a three

1:20:15.680 --> 1:20:17.400
<v Speaker 1>close to a three month break. It's would be close

1:20:17.439 --> 1:20:19.479
<v Speaker 1>to a bit of a three week break. The suits

1:20:19.520 --> 1:20:21.200
<v Speaker 1>of iHeartRadio. I want me to get back quicker than

1:20:21.200 --> 1:20:24.280
<v Speaker 1>I did last time. We are with iHeartRadio now still

1:20:24.320 --> 1:20:27.439
<v Speaker 1>being produced by Castways Studios and recording here, but it'll

1:20:27.439 --> 1:20:30.080
<v Speaker 1>be a shorter break. We're going to record some episodes

1:20:30.200 --> 1:20:32.960
<v Speaker 1>to get ahead of the pack, and we'll come back

1:20:33.000 --> 1:20:36.559
<v Speaker 1>with some great guests and some great movies. Please send

1:20:36.600 --> 1:20:40.040
<v Speaker 1>your emails to yasny podcast at gmail dot com, or

1:20:40.479 --> 1:20:43.160
<v Speaker 1>you can jump on our speak pipe if you follow

1:20:43.240 --> 1:20:45.800
<v Speaker 1>the links and leave a voice message for us, and

1:20:45.840 --> 1:20:48.160
<v Speaker 1>you're going to hear your own voice on our podcast.

1:20:48.439 --> 1:20:49.840
<v Speaker 1>We do have an email that we wanted to read

1:20:49.880 --> 1:20:52.439
<v Speaker 1>to court our attention. Derek, who's that front before we

1:20:52.760 --> 1:20:53.519
<v Speaker 1>before we wrap up?

1:20:53.600 --> 1:20:59.120
<v Speaker 4>This one's from Mark in Queensland. Beauty. Hi, Pete. Love

1:20:59.200 --> 1:21:03.040
<v Speaker 4>the podcast, but damn you Hellier, you have plunged me

1:21:03.240 --> 1:21:09.200
<v Speaker 4>into financial ruin. Haven't done that because every time you

1:21:09.320 --> 1:21:11.839
<v Speaker 4>review a movie or talk up one of the reviewers

1:21:11.920 --> 1:21:15.000
<v Speaker 4>top three, I have to sign up to another streaming.

1:21:16.280 --> 1:21:18.400
<v Speaker 4>I'm with Mark and that one happens to me.

1:21:20.600 --> 1:21:22.160
<v Speaker 1>Well, if you're working entertainment, you can claim it on

1:21:22.280 --> 1:21:23.800
<v Speaker 1>tax Mark. That's just you need. You need to work.

1:21:23.840 --> 1:21:25.800
<v Speaker 1>I had to work in the industry and then you

1:21:25.880 --> 1:21:29.000
<v Speaker 1>disclaim it all on tax I didn't know that, but

1:21:29.800 --> 1:21:31.120
<v Speaker 1>you should be doing that. You should be doing that

1:21:31.960 --> 1:21:32.439
<v Speaker 1>just in time.

1:21:32.880 --> 1:21:36.320
<v Speaker 4>I also can't believe that nobody has done pulp fiction.

1:21:37.080 --> 1:21:37.479
<v Speaker 1>Mm hmm.

1:21:38.200 --> 1:21:41.240
<v Speaker 4>There is so much to discuss and unravel in this classic.

1:21:41.600 --> 1:21:45.280
<v Speaker 1>It's funny. We had somebody recently talk about, you know,

1:21:45.439 --> 1:21:48.880
<v Speaker 1>requesting more Tarantino films. I do when I put out

1:21:48.920 --> 1:21:52.519
<v Speaker 1>the list to any potential guests, I kind of sometimes say,

1:21:52.960 --> 1:21:56.840
<v Speaker 1>you know, we're keen to do you know, some Tarantino

1:21:57.000 --> 1:21:59.640
<v Speaker 1>or some Hitchcock or some foreign language films. There have

1:21:59.720 --> 1:22:02.560
<v Speaker 1>been some stuff that's been requested, so it's just a

1:22:02.640 --> 1:22:08.000
<v Speaker 1>matter of finding that right person. So certainly a classic film,

1:22:08.040 --> 1:22:10.920
<v Speaker 1>and you know, I would love to talk polp fiction

1:22:11.200 --> 1:22:13.360
<v Speaker 1>with someone I know, Peter. And Peter Gat, one of

1:22:13.400 --> 1:22:17.719
<v Speaker 1>our most fervent listeners, I have to say, loves the podcast.

1:22:17.800 --> 1:22:20.479
<v Speaker 1>It often reminds me that the podcast has come out

1:22:20.520 --> 1:22:23.599
<v Speaker 1>each week on Twitter for some reason, he hates pulp fiction.

1:22:23.760 --> 1:22:26.679
<v Speaker 1>So we may actually lose one of our most passionate

1:22:27.000 --> 1:22:29.080
<v Speaker 1>followers for one week if we do pop fiction. But

1:22:29.600 --> 1:22:31.000
<v Speaker 1>I think at some point we will have to do it.

1:22:31.080 --> 1:22:32.720
<v Speaker 1>So polp fiction, I'm sure we'll get to it at

1:22:32.760 --> 1:22:35.960
<v Speaker 1>some point, and of course reservoir dogs absolutely.

1:22:36.040 --> 1:22:39.680
<v Speaker 4>And he comes a good bit. Talking of classics, I

1:22:39.800 --> 1:22:42.400
<v Speaker 4>had a laugh when you were discussing with Luke McGregor

1:22:43.000 --> 1:22:45.280
<v Speaker 4>whether you can include Harry Potter as it might not

1:22:45.400 --> 1:22:46.080
<v Speaker 4>be a classic.

1:22:46.479 --> 1:22:49.160
<v Speaker 1>Well, if that's fair enough, here's the burden.

1:22:49.439 --> 1:22:55.600
<v Speaker 4>But you did have weird science classic really regards.

1:22:55.200 --> 1:22:59.040
<v Speaker 1>Mark Oh, Mark, Well, I mean I take your point.

1:22:59.720 --> 1:23:03.679
<v Speaker 1>I do take your point, but we'd science does. There's

1:23:03.760 --> 1:23:08.560
<v Speaker 1>different genres and yeah, I mean we may have. We

1:23:08.680 --> 1:23:10.960
<v Speaker 1>may have scraped the one that I the other one

1:23:11.160 --> 1:23:14.240
<v Speaker 1>is Ronnie Chang doing made in Manhattan, but I would

1:23:14.320 --> 1:23:18.600
<v Speaker 1>still argue that, you know, as a romantic comedy, it's

1:23:18.720 --> 1:23:20.720
<v Speaker 1>up there. Yeah, I take your point. I take you

1:23:21.520 --> 1:23:25.639
<v Speaker 1>Sometimes we scrape, we we we shoehorn them in because

1:23:25.640 --> 1:23:28.960
<v Speaker 1>it's it's about developing, you know, covering genres as well,

1:23:29.040 --> 1:23:31.600
<v Speaker 1>and different kinds of films, which is fun. Maybe you

1:23:31.600 --> 1:23:33.439
<v Speaker 1>should have been Porky, so maybe make would been happy

1:23:33.479 --> 1:23:37.240
<v Speaker 1>with Porky's or Zapps. All great films, all great films.

1:23:37.360 --> 1:23:43.439
<v Speaker 1>I want to thank listeners really sincerely, I'm blown away.

1:23:43.600 --> 1:23:47.120
<v Speaker 1>This started as a labor of love, really, just the

1:23:47.200 --> 1:23:50.840
<v Speaker 1>filling the gaps in my own filmography, and I have

1:23:51.040 --> 1:23:53.879
<v Speaker 1>loved watching these films and having these conversations and feedback

1:23:54.240 --> 1:23:58.000
<v Speaker 1>I've received both through the yasny podcast, a Gmail, and

1:23:58.280 --> 1:24:03.200
<v Speaker 1>just on my Instagram and Twitter feeds. People come up

1:24:03.200 --> 1:24:05.880
<v Speaker 1>to me personally and then saying how much after gigs. Yeah,

1:24:06.080 --> 1:24:09.240
<v Speaker 1>it's been really really touching. I'm so glad we're building

1:24:09.280 --> 1:24:11.000
<v Speaker 1>this community, and that was always the dream that we

1:24:11.040 --> 1:24:14.160
<v Speaker 1>could build this, you know, a community of film lovers

1:24:14.439 --> 1:24:17.920
<v Speaker 1>who love talking about films. There'll be more live events.

1:24:18.080 --> 1:24:21.280
<v Speaker 1>I would love to get one hundred episode live event

1:24:21.400 --> 1:24:24.600
<v Speaker 1>going and one or two more. We might aim to

1:24:24.680 --> 1:24:28.599
<v Speaker 1>do maybe three live events in season five. That would

1:24:28.640 --> 1:24:32.200
<v Speaker 1>be amazing, So thank you, Thanks to all the amazing

1:24:32.320 --> 1:24:35.400
<v Speaker 1>guests in season. In season four, we start with Osha

1:24:35.520 --> 1:24:38.439
<v Speaker 1>Ginsburg doing Roman Holiday. You know, it seems like a

1:24:38.479 --> 1:24:40.600
<v Speaker 1>while ago now in Kate Lainbrook with Fight Club and

1:24:41.120 --> 1:24:45.040
<v Speaker 1>everyone who's just been on it for the twenty odd episodes.

1:24:45.320 --> 1:24:47.840
<v Speaker 1>We have done some big names. I've been talking to

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<v Speaker 1>visit us in season five, some big movies. What I

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<v Speaker 1>might do next time is maybe release in advance who

1:24:56.200 --> 1:24:59.559
<v Speaker 1>we have coming up so people can actually watch the movies.

1:25:00.160 --> 1:25:02.400
<v Speaker 1>Have requested that a little bit of time to be

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<v Speaker 1>able to get the movies watched before the episodes come out,

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<v Speaker 1>so we might try to put out a little calendar

1:25:09.960 --> 1:25:11.960
<v Speaker 1>of what might be coming up. Sometimes, you know, we

1:25:12.080 --> 1:25:14.040
<v Speaker 1>can't always do that. Sometimes that we do record it

1:25:14.160 --> 1:25:17.840
<v Speaker 1>literally days before you hear it. Sometimes they are more

1:25:17.880 --> 1:25:20.960
<v Speaker 1>in advance. So thank you so much, thanks for listening.

1:25:21.120 --> 1:25:23.840
<v Speaker 1>Thank you Derek, and we will see you in a

1:25:23.920 --> 1:25:27.280
<v Speaker 1>few weeks for season five of You Ain't See Nothing

1:25:27.360 --> 1:25:41.160
<v Speaker 1>Yet until then, take care, and so we leave old

1:25:41.240 --> 1:25:44.840
<v Speaker 1>Pete save Van Sult, and to our friends of the

1:25:44.920 --> 1:25:47.760
<v Speaker 1>radio audience, we've been a pleasant good name.