Speaker 1: Hey, I'm Derek Gasney's podcast manager Pete would like me
Speaker 1: to point out that in this episode of You Ain't
Speaker 1: Seen Nothing Yet, a scene involving rape is discussed. There
Speaker 1: is also some salty language, so use headphones if the
Speaker 1: kids are around. Also, this episode was recorded in ISO,
Speaker 1: with Alex in Boston and Pete in Melbourne, not in
Speaker 1: our usual comfy home castaway studios.
Speaker 2: Enjoy give A.
Speaker 3: I'm Peter Hally.
Speaker 4: Welcome to You Ain't Seen Nothing Yet, the movie podcast
Speaker 4: where I chat to movie lovers about classic or beloved movies.
Speaker 4: They haven't quite got around the scene until now.
Speaker 5: Was it hoveral winther Treman's Mine poorer Hell?
Speaker 6: Now?
Speaker 4: Sixty percent of the time it works every time that
Speaker 4: doesn't make sense.
Speaker 1: It's green Breeze for breakfast and nine very hundred.
Speaker 7: Right now, You Ain't Seen Nothing You.
Speaker 4: I first met Boston comic Alex Edelman after a Melbourne
Speaker 4: International Comedy Festival gala where we bonded over a couple
Speaker 4: of drinks, the Boston Celtics and Aaron Sorkin. Alex first
Speaker 4: on to the comedy scene, winning Best Newcomer at the
Speaker 4: Edinburgh Fringe in twenty fourteen, where he showed Millennial. I
Speaker 4: never got to see Millennial, but I did see He's
Speaker 4: Brilliant Just for Us, which covered one memorable night when
Speaker 4: he crashed a meeting of neo Nazis alex In because
Speaker 4: you don't know it's Jewish. The show was spectacular and
Speaker 4: had him nominated for the Barrier Award in Melbourne and
Speaker 4: the Best Show at the Edinburgh Fringe. Alex is a
Speaker 4: true gentleman, smart as a whip, bloody, hilarious and great company.
Speaker 2: Gooday, I'm Alex Adelin. My favorite films are Good Old
Speaker 2: Hunting and You're Not Gonna Found Me. I Feel the
Speaker 2: Dreams if you Feel what Happens Too, and The Truman Show.
Speaker 2: I think I'm mixed up in something, something big. But
Speaker 2: until last week I had never seen Thelma and Luiz.
Speaker 4: Hans Zimmer doing what hans Zimmer does best In Ridley's
Speaker 4: Goss ninety ninety one feminist road movie classic Filma and
Speaker 4: Louise that sees Geena Davis and Susan Sarandon on the
Speaker 4: run from the douchebag men in their Lives is a
Speaker 4: celebration of freedommen of women breaking the shackles of their
Speaker 4: douchebag men. Alex Abelman, first of all, thank you so
Speaker 4: much for joining us.
Speaker 2: Oh please, I mean you said, I feel like quarantine.
Speaker 2: A lot of people have been using this time to
Speaker 2: see stuff they haven't seen before, and and you know,
Speaker 2: we were texting and you mentioned I have a podcast
Speaker 2: of that, you know, folks who are seeing stuff they
Speaker 2: haven't seen before. And I'm like, there could be any
Speaker 2: you know, I actually had three or four films that
Speaker 2: could have fit the bill with Thelma and Luis is
Speaker 2: clearly the you know, the one of this Quarantine for me,
Speaker 2: and it's one of those movies where as soon as
Speaker 2: they saw it, I'm like, oh, I see why people
Speaker 2: love this film. I see why. You know, it's become
Speaker 2: such a staple for American for American women and Americans
Speaker 2: in general. It's a great American movie. And so it's
Speaker 2: a lot of fun.
Speaker 4: What I love about this podcast, alex Is is I
Speaker 4: love it when somebody says I haven't seen at you know,
Speaker 4: I get to watch one of my favorite movies again
Speaker 4: with somebody who's watching it for the first time. But
Speaker 4: even more so than that, I love watching movies that
Speaker 4: I haven't seen before. And it's come up a lot
Speaker 4: and already and Elman Louise was one of them. I
Speaker 4: had never seen this movie. I have no idea why,
Speaker 4: and I feel kind of bad. I'm not sure how
Speaker 4: you feel about not seeing I feel bad for not
Speaker 4: seeing it, maybe because I'm also interviewing Hannah Gad's be
Speaker 4: in the morning, and I just feel like I feel
Speaker 4: like I should have seen Delman Louise by now.
Speaker 2: Is what is Hannah pecked? Can I ask?
Speaker 3: No, Well, Hannah, I'm interviewing Hannah.
Speaker 4: At this stage for her show Douglas, So yeah, it's
Speaker 4: not for this, but I will be putting out the
Speaker 4: invitation of Hannah and I'll be interested to see.
Speaker 3: What she does pick.
Speaker 4: But I want to circle back to the films that
Speaker 4: you nominate before we get onto Thelman Louise. I did wonder,
Speaker 4: being a proud Bostonian, if Goodwill Hunting would make it in,
Speaker 4: and it did.
Speaker 2: See I love Good Oill Hunting because well, first of all,
Speaker 2: I think, honest, all the movies that I peck have this.
Speaker 2: You know, you gave me thirty seconds ago. What are
Speaker 2: your favorite films? And myself, oh god, some of my favorite.
Speaker 2: I almost picked Spartacus because Kirk Douglas's autobiography is sitting
Speaker 2: on the desk next to me on my childhood desk.
Speaker 3: We must stay true to ourselves.
Speaker 2: I love Goodwill Hunting because it's such a great story
Speaker 2: about male friendship and uh, it's such a good story
Speaker 2: about an individual who has a crazy dream. And Field
Speaker 2: Their Dreams is a story about an individual who has
Speaker 2: a crazy dream. And Truman and The Truman Show is
Speaker 2: a show about an individual who has a crazy dream.
Speaker 2: And I love those stories. I love stories about about
Speaker 2: about a person, about people who are nuts frankly and
Speaker 2: uh and and are compelled to do insane things. And
Speaker 2: so I mean, I think those stories are really resonant
Speaker 2: and really cool and uh, and Goodwill Hunting is it's
Speaker 2: so much fun. Maybe it's because I'm in Boston right
Speaker 2: now for for months I'm appreciating. Also, it's the movie.
Speaker 2: It's like the shash Ank Redemption, which is if you
Speaker 2: come across it on Kate. There's a law actually in
Speaker 2: Massachusetts that if you're scrolling through television channels and it's on,
Speaker 2: you have to stop whatever you're doing and wash it
Speaker 2: until the end. And you really got to hope that
Speaker 2: you're at least halfway through the movie. Otherwise you're wasting
Speaker 2: you know, two hours of your life. But I've seen
Speaker 2: Goodwill Hunting probably five six times.
Speaker 4: Do you think I know the first thing about how
Speaker 4: hard your life has been, how you feel, who you are.
Speaker 4: As you're making that point, it's the same thing popped
Speaker 4: into my head about Goodwill Hunting. And I think Shawshank
Speaker 4: Redemption is another movie that you mentioned that it fits
Speaker 4: in so perfectly you cannot stop watching it. You need
Speaker 4: to no matter what you're doing, no matter what moment
Speaker 4: the film is up. So you need to finish watching
Speaker 4: those movies.
Speaker 2: You know, the scenes, each scene follows the other scene,
Speaker 2: the other scenes. Really well, everything in the movie. Those
Speaker 2: movies are very dense. Nothing, nothing doesn't happen for a reason,
Speaker 2: you know. There there there's nothing that comes out of
Speaker 2: left field. There's nothing that I'm sorry the movie surprises you.
Speaker 2: But but each but the story moves forward in a
Speaker 2: really pacy way. Like Shawshank. The story is constantly moving forward,
Speaker 2: and even if it comes from different directions, Frank Derabah's
Speaker 2: screenplays really really pacy. And so what I love is
Speaker 2: a pacy movie, Like I think I have friends who
Speaker 2: are smarter than me, who like more ponderous stuff. But like,
Speaker 2: I love a movie where stuff just keeps happening, like
Speaker 2: Star Wars. Stuff just there's always something happening. And from
Speaker 2: the time that Luke thinks about leaving, you know, tattooing,
Speaker 2: until the end of Return of the Jedi, things just
Speaker 2: keep keep going a real breakneck pace. And uh and
Speaker 2: so yeah, I love I love Good Will Hunting for
Speaker 2: that because it's it's easy in an action film for
Speaker 2: that to happen, but for it to happen in a
Speaker 2: movie about a janitor. Is That's why those good about
Speaker 2: a janitor. It's the best one. A lonely janitor vandalizes
Speaker 2: school property is a good way to sum up a
Speaker 2: good hunt.
Speaker 3: There's bees and great janitor characters in movies before.
Speaker 4: But you're right, I can't think of another movie that
Speaker 4: centers is the protagonist is the janitor. But I also
Speaker 4: I love sorry, I liked The Truman Show when it
Speaker 4: came out.
Speaker 3: I quite liked it.
Speaker 4: It was never one of my you know, my top
Speaker 4: absolute top films, but I watched it about two years
Speaker 4: ago because my son was watching had to watch it
Speaker 4: for school, So I watched it with him, and I
Speaker 4: just it was so much better than I had remembered.
Speaker 4: It was so maybe I got it more and it
Speaker 4: was so much it was so much more.
Speaker 3: It was funnier than I remembered.
Speaker 4: I mean, his best friend who keeps on coming around
Speaker 4: with a six pack of beers is just that made
Speaker 4: me laugh every time. And I don't think i'd noticed
Speaker 4: that when I watched it, you know, when I was younger.
Speaker 2: Yeah, it's almost like he was. They got Jim Carrey
Speaker 2: and put him in his least funny role and it's
Speaker 2: still hilarious. And I mean he was. He's incredible in
Speaker 2: that movie. It's his best movie by far. And Noah Emmerick,
Speaker 2: who plays the friend, is a really great actor who's
Speaker 2: been in like TV series like The Americans, and he's
Speaker 2: played the best friend of a million different shows. But
Speaker 2: he is he's crazy talented. Is that Peter is Peter?
Speaker 2: We're in Australian, Yes he is, Yes, yeah, yep, And
Speaker 2: like yeah, that movie is directed really well and apparently
Speaker 2: the guy who wrote it, Andrew Nickel, took a crack
Speaker 2: at directing it, or took a crack at directing, like
Speaker 2: the first draft of his screenplay and the studio. So
Speaker 2: there's actually there's a lost screenplay that a friend recently
Speaker 2: sent to me. There's a New York version of The
Speaker 2: Truman Show that takes place in New York and apparently somewhere,
Speaker 2: you know, at some studio in LA there's a room
Speaker 2: with with a with a print of Andrew Nichols attempt
Speaker 2: at trying to direct his own uh screenplay and they
Speaker 2: said it in New York and uh And apparently after
Speaker 2: like five minutes of shooting, the studios like, I'm sorry, no,
Speaker 2: we need a director, we need to shoot this. We
Speaker 2: love you, but we needs to be like in a
Speaker 2: community instead of imagine The Truman Show in New York City,
Speaker 2: it's like pretty dark, like they keep engineering stuff for
Speaker 2: him to see. So like I think in Andrew Nichols
Speaker 2: original screenplay, he like sees a woman get get like
Speaker 2: punched in the face or something like that and has
Speaker 2: to decide what to do. And then and I think
Speaker 2: the studio is like, why don't we make it? Probably
Speaker 2: make it as a community and it's just him, So
Speaker 2: it's a yeah, it's way better. I love I'm sorry,
Speaker 2: I don't know why I told you that. Like that's right.
Speaker 3: I love that.
Speaker 4: I love that, and you're you're you're a huge baseball fan.
Speaker 4: I'm noticed because you're very sweet. You gave me a
Speaker 4: book about some of baseball's kind of weed rules, and
Speaker 4: I'm not across baseball as much as I'm across basketball.
Speaker 3: It was a great book.
Speaker 4: I've always maybe I haven't thanked you for that, but
Speaker 4: I loved it, So Field of Dreams comes as nice surprise.
Speaker 2: I love Field of Dreams because it's the best baseball
Speaker 2: movie for one reason, which is that you don't need
Speaker 2: to know anything about baseball to enjoy the movie. Most
Speaker 2: sports movies have this big problem, which is, I think
Speaker 2: your listeners are going to be like, boy, this guy
Speaker 2: loves storytelling. But like the problem with Field of dream
Speaker 2: I'm sorry. The problem with every baseball movie that's not
Speaker 2: Field of Dreams is that it always comes down to
Speaker 2: whether or not someone can win the big game. And
Speaker 2: Field of Dreams just a movie about a dad and
Speaker 2: a son, and the son wants to play catch with
Speaker 2: his dad, and so the movie is really I have
Speaker 2: seen hard men cry at Field of Dreams, Like my
Speaker 2: grandfather doesn't cry anything, but I saw them cry at
Speaker 2: Field dreams like I've never seen you know, I've never
Speaker 2: seen my grandpa cry, but like, and I've mentioned it
Speaker 2: to a I mentioned it to a friend last week
Speaker 2: and he said to me, I saw a screening of
Speaker 2: it in like Hollywood at you know, one of those
Speaker 2: fancy like writers Guild theaters or something where everyone's a writer.
Speaker 2: And at the end of the movie, all these like
Speaker 2: guys who've seen a million movies and sappy movies and
Speaker 2: every kind. He's like, I look around the hitter and
Speaker 2: everyone's crying, and he's like, this is not the kind
Speaker 2: of thing when people cry. It's like an industry screening
Speaker 2: of it. And yeah, it's the number one movie that
Speaker 2: will make an American boy cry because it'll make them
Speaker 2: think of their their dad. So yeah, I just love
Speaker 2: the relationships between father and So. Have you seen that film, Peter.
Speaker 4: I have, And it's come up a couple of times
Speaker 4: already in people's favorite favorite films.
Speaker 3: And I've seen it.
Speaker 4: It hasn't lived in my imagination and my heart to
Speaker 4: the point where when whenever somebody mentions it, I'm like,
Speaker 4: I go to watch that movie again.
Speaker 3: I haven't revisited it since I saw it. I reckon.
Speaker 3: I must have been about twelve when I saw it.
Speaker 2: Oh my god. I mean, I'm curious as the father,
Speaker 2: as the father of boys, I'm wondering. I'm wondering how
Speaker 2: you feel about it as a dad? Now, okay, hey, dad,
Speaker 2: you want to have a catch I'd like that.
Speaker 4: I'm going to put it on my to do list
Speaker 4: to watch thriller Dreams again because I'm a big Kevin
Speaker 4: Costner fan.
Speaker 3: I love sports movies.
Speaker 4: Most Australians kind of, you know, we play a bit
Speaker 4: of catch up when we're watching American sports movies. We're
Speaker 4: going to go, okay, I think we know what needs
Speaker 4: to happen. Americans are less less inclined to do that
Speaker 4: with sports that aren't American sports.
Speaker 3: But yeah, I love it.
Speaker 4: I think baseball lends itself really well to sports for me,
Speaker 4: you know, even if it's you know, a league of
Speaker 4: their own or Major League. And yeah, Moneyball was once
Speaker 4: getting back to Aaron Sulkan, which was the most surprising
Speaker 4: baseball film of all.
Speaker 3: Surely you know.
Speaker 2: The funny thing is that I think there's a common
Speaker 2: threat in all my favorite movies, and it's a bit embarrassing,
Speaker 2: which is that I don't know if Australians have it.
Speaker 2: But Americans are so self obsessed that I think in
Speaker 2: a lot of the things that they watch, there's always
Speaker 2: a question which is like what does it mean to
Speaker 2: be American? You know, like what does it mean to
Speaker 2: see this great nation and the different aspects of this
Speaker 2: great and because like, you know, I think Field of
Speaker 2: Dreams is like Baseball's there's a big subplot where like
Speaker 2: Baseball is a part of America, and Google Hunting is like,
Speaker 2: this is an American person trying to achieve the American
Speaker 2: dream just because he's so smart, you know, And the
Speaker 2: Truman Show is like this guy has has it all.
Speaker 2: He's got a wife in a house, and he's got
Speaker 2: the American dream and like and so I think running
Speaker 2: through this is like is uh And even Thelman Louise
Speaker 2: is about this you know, exploration of America and uh.
Speaker 2: And I think a big part of it is they
Speaker 2: take this road trip across America, which is this this
Speaker 2: really this really amazing idea to you know, to Americans.
Speaker 2: So man, what a what a wonderful American thing to do?
Speaker 2: Take take a road trip, and so like, I don't
Speaker 2: know if Australians have the same thing, because like I
Speaker 2: don't I don't know if anyone watches Mad Max and
Speaker 2: they're like, what does it mean to be Australian?
Speaker 3: Do you want to get out of here? You talk
Speaker 3: to me? I remember? Uh? The one of the great
Speaker 3: American croon is jum bon Jovi to a dad and.
Speaker 2: And that sentence or that.
Speaker 4: It was for his solo album, which was called Destination Anywhere,
Speaker 4: and about that idea of jumping in a catalog, you know,
Speaker 4: and and taking across the yeah, the United States. And
Speaker 4: he said to the audience during you know, one of
Speaker 4: the you know, the interludes or whatever, he said Australia,
Speaker 4: I've got a tank full of gas and a six
Speaker 4: pack of beer.
Speaker 3: Who's coming with me?
Speaker 4: And the bloke behind me I'll never forget yelled out.
Speaker 4: Oh come John, but you're gonna need a shipload more beer.
Speaker 3: That's what it means to be Australian.
Speaker 2: Oh my god, that's so funny.
Speaker 3: Nineteen ninety one, Delwyn Luise comes out? Were You Born?
Speaker 3: That was two good?
Speaker 2: Two?
Speaker 4: Okay, so no excuses. You could have seen in the cinema.
Speaker 4: What did you know about it before going in? What
Speaker 4: did you what did you know You know.
Speaker 2: The funny thing about Tomma and Louise is that it's
Speaker 2: one of the few films I've seen where I knew
Speaker 2: the ending before I started it, because the ending has
Speaker 2: been parodied so many times or mentioned so many times.
Speaker 2: And you know what, I'm actually not going to say
Speaker 2: exactly what happens at the end, just in case someone
Speaker 2: has sort of been able to navigate their life without
Speaker 2: knowing the ending of Film and Louise and is listening
Speaker 2: to this podcast and getting excited. I'm like, well, everyone
Speaker 2: knows the ending, and they're like, no, wait, but.
Speaker 4: This is this is the heavy spoiler podcast, So feel
Speaker 4: free if you haven't seen Film and Louise, turn off
Speaker 4: now and come back.
Speaker 2: Yeah, have about hit the fifteen second fast forward button.
Speaker 2: In three two one, them and Louise drive their car
Speaker 2: off a cliff and that's the ending of bel and Louise.
Speaker 2: And I knew that going in because I'd seen it
Speaker 2: parodied and so many.
Speaker 3: And so many.
Speaker 2: Up we're ten seconds and that's the secret of life.
Speaker 2: I'm sorry you, but yeah, it's one of the view
Speaker 2: films where I kind of knew where it was going
Speaker 2: to happen. So I got to watch it going how
Speaker 2: does this build to this dramatic ending that I've heard about?
Speaker 2: How does it earn this radical ending, which is, you know,
Speaker 2: in a movie about female friendship, something that's so extreme. Uh,
Speaker 2: And so that was that's I knew that going in.
Speaker 2: I knew that Brad Pitt was hot, so I was
Speaker 2: waiting for that because Brad Pit in nineteen ninety one
Speaker 2: Druele and and I was very excited to see exactly
Speaker 2: how hot Brad pet was, although I wasn't prepared for
Speaker 2: how hot Brad think his But.
Speaker 4: Let's pot bread paint on one song, because there's a
Speaker 4: whole conversation we need to have that Brad Pitt. But
Speaker 4: it would it would be fitting with the film's things
Speaker 4: to discuss Brad Pitt before we discussed them.
Speaker 2: So whatn't But but no, I didn't know. I didn't know.
Speaker 2: I knew hardly anything about the film. And also I'm
Speaker 2: not really familiar with the with the body of work
Speaker 2: of student Sarandon and Davis, so so I didn't know
Speaker 2: a ton about the movie going in other than that
Speaker 2: it was a delight. And also I'm a huge fan
Speaker 2: of Kelli Ka Hurry, who's the screenwriter of the film
Speaker 2: and has done a bunch of great work since then,
Speaker 2: including the television show the wildly underrated critically wild critically
Speaker 2: underrated hit, a show called Nashville, which was sort of
Speaker 2: a show about the country music world in the United States,
Speaker 2: And so I watched it the last couple of years
Speaker 2: and was a big fan of her writing and and
Speaker 2: her TV work.
Speaker 3: So I think she won the Best Origional Screenplay OSCO
Speaker 3: for this she did.
Speaker 2: It was her debut screenplay, and it really it's a
Speaker 2: huge upset, and as was Goodwill Hunting by the way,
Speaker 2: their first screenplay. But yeah, it's it's it's a brave
Speaker 2: she was a brave announced as a brave new voice.
Speaker 2: So I was really cure to see how the story
Speaker 2: sort of executed itself. But but yeah, it didn't know
Speaker 2: much going on.
Speaker 3: Yeah, I was a bit the same.
Speaker 4: I think almost exactly what you said were my impressions
Speaker 4: and my frame of references.
Speaker 3: For Thelm and Luise.
Speaker 4: I knew how it ended, even to the point of
Speaker 4: the photograph the polaroid kind of swirling up in the air,
Speaker 4: and I knew Brad Pitt was hot. So those are
Speaker 4: the things in fact, to the point where the dramatic
Speaker 4: and you know, dramatic car park rape scene happened.
Speaker 3: I was not prepared for that.
Speaker 4: I thought Thelmon Luise was a much more kind of
Speaker 4: just just a fun girls, just want to have fun
Speaker 4: style movie, and I probably hadn't thought about it enough
Speaker 4: over the years. But when that happened in the car park,
Speaker 4: I was like, Ah, so that's.
Speaker 3: That's what this is about. And I was a bit shocked,
Speaker 3: but I.
Speaker 2: Couldn't believe it when I I saw it happening, and
Speaker 2: a friend of mine, I convinced a friend of mine
Speaker 2: one of my favorite actors is this woman, Natalie Morales,
Speaker 2: and she's a great comedy actor and a great dramatic actor.
Speaker 2: She's in the new series Dead to Me on Netflix
Speaker 2: if you haven't seen it yet, and she really really
Speaker 2: like also one of the best people I know. And
Speaker 2: I told her that I read this, that I saw
Speaker 2: this movie and staid, Nat, if you haven't seen I'm
Speaker 2: blowing up her spot to someone who had never seen
Speaker 2: Thelma Louise recently, but I said, you got to see
Speaker 2: this movie and she and she texted me a couple
Speaker 2: of minutes in and I went, oh, man, there's a
Speaker 2: rape scene and I was shocked too, and I when
Speaker 2: I saw it, I couldn't believe. I couldn't believe it.
Speaker 2: But also it gives the movie. It gives the movie
Speaker 2: a really it gives the movie a real like I
Speaker 2: don't want to be the guy, gives it its edge
Speaker 2: that great it is. But it totally, it totally makes
Speaker 2: you aware of the stakes of the of what they're
Speaker 2: doing and sets up and sets up a thing that
Speaker 2: there are a couple of film critics who don't understand
Speaker 2: thomb and Louise, Like there's a there's a really horrible
Speaker 2: film critit named Kyle Smith who writes for the New
Speaker 2: York Post still and he wrote a scathing review a
Speaker 2: couple of years ago, like long after the movie come
Speaker 2: out about he.
Speaker 3: Just won't let it go, right, he just won't let
Speaker 3: it go.
Speaker 2: Yeah, now is the perfect time to take down Tom Louise.
Speaker 2: You know now that it's a beloved American institution, is
Speaker 2: selected as culturally significant, but the Library of Congress. Now
Speaker 2: it's time for me to make my stand. Thumb and
Speaker 2: Louise sucks hill and he says that it's anti men,
Speaker 2: and it's it's you know, lazily antimate and uh, and
Speaker 2: I don't think it is. I think it makes them.
Speaker 2: I think it really drives home that these women have
Speaker 2: been extremely underserved by the world that they live in.
Speaker 2: And and that and that scene is very violent because
Speaker 2: up until then it is girls just want to have fun.
Speaker 2: It's you know, until then, the biggest shock in the
Speaker 2: movie is Thelma eats a snicker someone's left in the freezer,
Speaker 2: like that's the biggest thing. And then they go dancing.
Speaker 2: And but you know what I love about that is
Speaker 2: that Thelma felt like I can't remember who, I can't
Speaker 2: remember which character has which name. So Geena Davis's character
Speaker 2: is almost yeah, okay. So Thelma is nearly raped but
Speaker 2: Louise doesn't, and Louise shoots the guy, but she doesn't
Speaker 2: shoot the guy while Thelma is being rape She shoots
Speaker 2: the guy from mouthing off to them afterwards. And I
Speaker 2: love that because it gives her character so much agency.
Speaker 2: You know, it doesn't because if if if she had
Speaker 2: done it mid assault, then uh, then Thelma, then then Louise.
Speaker 2: You know, she didn't decide to shoot that guy. She
Speaker 2: and and by the way, every couple of scenes, uh Thelma,
Speaker 2: Thelma or Louise goes, should we go to the police?
Speaker 2: And uh, and the other and and and usually and
Speaker 2: usually Louise. But I think once Selma goes, no, we
Speaker 2: can't go to the police, and uh. And I love
Speaker 2: that it keeps reminding you of that, the movie keeps
Speaker 2: reminding you why we're doing this. But yeah, that that scene,
Speaker 2: that scene gives Thelma that you seem gives Selma and
Speaker 2: Luis a lot of really sets everything up well. And
Speaker 2: it also it also really serves those characters in a
Speaker 2: really like fair way. The fact that the fact that
Speaker 2: she makes this decision to shoot this guy on her
Speaker 2: own because he's a bad guy, and like, it's it's
Speaker 2: that showdown afterwards when when uh, when Wesa goes, what
Speaker 2: did you say? And the guy goes, I should and
Speaker 2: just she blows him away. It's like it's a really
Speaker 2: it's a great moment. Actually it was a fucking asshole.
Speaker 6: I'm gonna splatter your ugly bist all over this nuss car.
Speaker 3: All right, Hey, hey, calm down.
Speaker 2: We just had a little fun.
Speaker 6: So it looks like you got a real fucked up
Speaker 6: i'dy of fun.
Speaker 2: Turn around.
Speaker 6: In the future, when a woman's crying like that. She
Speaker 6: didn't haven't any fun, bitch.
Speaker 5: I should have gone ahead and sucked her.
Speaker 3: What did you say, I said, suck my cock?
Speaker 2: Oh my god, Oh my god, get the car.
Speaker 5: Oh Jesus Christ, Louise, you shot him, Oh my god.
Speaker 3: Yeah, it's completely satisfying. And you're right.
Speaker 4: And there's a moment later in the film where they're
Speaker 4: having a discussion they're washing themselves in the in the
Speaker 4: sink outside the roadhouse, and and and Louise makes the
Speaker 4: point that you just made, like film is trying to say,
Speaker 4: we were justified, you know, and she's got no, we had.
Speaker 3: We had already walked away. We had we had walked away.
Speaker 4: And and so it's a great point you make, and
Speaker 4: up until then, because for the to get to where
Speaker 4: it gets to, with them doing what they do, you
Speaker 4: do need to be something as as horrible as what
Speaker 4: happened in the in the in that car park, as
Speaker 4: opposed to I think, you know, there are some really
Speaker 4: lovely ways they show how the girls are disrespected by
Speaker 4: the men in their in their lives, particularly Geena Davis's
Speaker 4: husband Darryl. It's not necessarily subtle, but it's just stuff
Speaker 4: like you know, when you know, the first he made
Speaker 4: it by the way, Geena Davis's husband played by Christopher
Speaker 4: McDonald shoot McGavin.
Speaker 2: I mean as as they saw, I was like, of
Speaker 2: course he's going to play this perfect track. And he's
Speaker 2: really such a piece of chef.
Speaker 4: He was so good when he said when he says
Speaker 4: to her, that's what that's why you're not a regional
Speaker 4: manager and swings He's going to keys around and.
Speaker 2: He's so proud of it. He goes out of regional man.
Speaker 2: You know what I love is first of all, that
Speaker 2: his job is that he sells carpets. Yes, that's what
Speaker 2: he's super proud of. And also when the police are
Speaker 2: questioning him for the first time, Sorry, you're standing in
Speaker 2: your pizza. Excuse me, you're standing in your pizza.
Speaker 4: Oh shit, which apparently was a genuine mistake and they
Speaker 4: ran with it. Also when the police tell them they're
Speaker 4: going to tap their phone, and he asked if he
Speaker 4: has to pay for it, as you.
Speaker 7: Know, we've tapped your phone in the event that she
Speaker 7: calls in.
Speaker 2: Is that going to cost me?
Speaker 4: And also when Thelma rings home and she's been gone
Speaker 4: for a few days and he's kind of like angry
Speaker 4: at her, but then he stops, he stops listening to her,
Speaker 4: puts the phone to his chest to watch some football game,
Speaker 4: explaining John what's going on in the situation, and he's
Speaker 4: not even he's not even listening.
Speaker 3: So that there are really.
Speaker 4: Lovely moments and ways they demonstrate it, but that's all
Speaker 4: that stuff's not enough for them to eventually do what
Speaker 4: they do at the end, you know, so you need
Speaker 4: that that that's saying the compact I think.
Speaker 2: You know, I think about I've thought of. It's the
Speaker 2: thing I've thought about the most since the because I
Speaker 2: didn't know it came to such a surprise, and it's
Speaker 2: it's also you know, it's also not what the movie,
Speaker 2: the movie's got to really I think it's obviously it's
Speaker 2: an incredible feminist film, but the message of the movie
Speaker 2: is that, uh, you know, these two women are actually
Speaker 2: in very tough their status quo is very tough, and
Speaker 2: all they have is this really good friendship. And the
Speaker 2: movie is about and you know, some critics, miss I
Speaker 2: have misidentified it, but clearly, clear really clearly the movie
Speaker 2: is about this wonderful female friendship and uh and and
Speaker 2: how it builds and how it's a true North for
Speaker 2: these women and how it's immortal and uh and yeah,
Speaker 2: everything is set against the background of this of this
Speaker 2: of this female friendship and because it's so authentic, it
Speaker 2: makes the film totally riveting. But but yeah, my favorite,
Speaker 2: my favorite moment with Darryl is when the phone is
Speaker 2: tapped by the cops and uh and and Geena Davis
Speaker 2: calls in. Felma calls home and he goes honey, and
Speaker 2: she hangs up right away and she's like, you know,
Speaker 2: like like he's not even finished saying hello, but he's
Speaker 2: on these night words. She's like, he knows. And again,
Speaker 2: the movie is so great because it reminds you every moment,
Speaker 2: but in a really organic way why stuff keeps happening
Speaker 2: and what is that speake and what is going on?
Speaker 2: And how these women can't catch a break and how uh.
Speaker 2: And Josh Harmon, who's one of my favorite playwrights. Every
Speaker 2: every week or so, Josh and I read it read
Speaker 2: a different play and catch up and we talk about
Speaker 2: the play. And I mentioned that I had just seen
Speaker 2: Thelma and Luis this is a week ago, and Josh
Speaker 2: lit up, He's like, that's my favorite movie. He's like
Speaker 2: I've seen that movie dozens of times. He's like, I've
Speaker 2: seen it so many times, and he's like, do you
Speaker 2: know what's my favorite Why it's my favorite movie? And
Speaker 2: I'm like, because every scene follows the scene before it perfectly.
Speaker 2: He's like, yes, He's like, the structure is brilliant.
Speaker 7: They're always reminding you of the states, like and Josh's
Speaker 7: Josh is a really really great grasp of dramatic structure,
Speaker 7: and and everything here follows the scenes before it brilliantly,
Speaker 7: and they re up the stakes on the road brilliant
Speaker 7: Like it would be so easy for this movie to
Speaker 7: be a turd.
Speaker 2: Frankly, it's just the plot is a road trip. That's
Speaker 2: the whole movie. But it's it's totally brilliant.
Speaker 4: It's what you're saying rung true. Because I was just
Speaker 4: listening to a conversation Lawrence Kasden where was having on
Speaker 4: the scriptnes podcast, which is a fantastic podcast if you're
Speaker 4: indo screenwriting or everyone should listen to it. The service
Speaker 4: that John August and Craig Maze and are giving to
Speaker 4: anyone who loves screenwriting is amazing. It's better than any
Speaker 4: course you could do it in any book you can
Speaker 4: read and Lawy's Kasin was talking about Empire Strikes Back
Speaker 4: and I was talking about well, Craig Mazin was making
Speaker 4: the point that the great scene between Yoda and Luke
Speaker 4: where you know, Luca's achieved a sense of calm, they've
Speaker 4: got him to where he needs to be, but they
Speaker 4: know they can't. You need to sling shot into the
Speaker 4: next scene and you can't just have Luke being happy.
Speaker 4: So the final line in that scene is Luke saying,
Speaker 4: I'm not you know, I'm not afraid, and Yoda says,
Speaker 4: you will be, and it's just it's perfect, It's just
Speaker 4: and it's just that idea of sling shotting you into
Speaker 4: the next scene. So there's there's there's you're leaving with intention.
Speaker 2: My favorite line in that in the film is do
Speaker 2: or do not? There is no try because it just
Speaker 2: sets up. So it's another thing that reminds you of
Speaker 2: mistakes that like, it could be so easy for you
Speaker 2: to be like, as long as you try, that's the
Speaker 2: important thing, because that's the trope that we've seen so
Speaker 2: many times in a movie that the most important thing
Speaker 2: is to try to make the effort to go you know,
Speaker 2: and you know, it's like either do it or you don't.
Speaker 2: That's that's that's how this works. It's the fate of
Speaker 2: fate of the universe, buddy. So so we gotta gotta
Speaker 2: be sharp.
Speaker 4: And I mean Yoda kind of you know, introduced it.
Speaker 4: This is god of the point that they make. I'm
Speaker 4: borrowing it. Yoda introduced really the idea of zen and
Speaker 4: he sounds like a yoga teacher like, and that was
Speaker 4: he was the first one you of issues that idea
Speaker 4: to Western audiences.
Speaker 2: Yeah, it's a great it's a great movie. It's right
Speaker 2: over there on my my shove. It's the movie I
Speaker 2: was Most those movies are movies I was obsessed with
Speaker 2: as a kid. But all these movies that I love
Speaker 2: seem to share this great DNA about people with you know,
Speaker 2: impossible impossible tasks, and each scene follows the other end.
Speaker 2: And uh, I mean, I'm wondering if you didn't know
Speaker 2: the ending in this movie, how you'd feel about the ending.
Speaker 3: We often this has come up a few times in
Speaker 3: this podcast.
Speaker 4: People like loving that they have finally seen Butchercassidy in
Speaker 4: the Sun, Dance Kid, or you know, Clockwork Orange And
Speaker 4: now for me, Thelma and Louise. And the thing you
Speaker 4: think about is like, wow, I imagine if I if
Speaker 4: I didn't know what happened at the end, or you know,
Speaker 4: imagine if if you know, I guess Dave O'Neill is
Speaker 4: that he imagine seeing Shrek is what Shrek for the
Speaker 4: first time. So imagine not knowing that Princess Fiona, you know,
Speaker 4: you know, yeah, that was her story and a journey,
Speaker 4: and yeah, I thought about that after I saw it.
Speaker 4: You imagine if I didn't know that I actually we
Speaker 4: were about to do what they did.
Speaker 2: Do you know? I think I don't want to misattribute it,
Speaker 2: but I think josh Harmon, the playwright, I was mentioning
Speaker 2: who loves Thumba? And Luis told me, I think this.
Speaker 2: Joshu told me this. Actually, I'm nearly certain told me
Speaker 2: something amazing I didn't know about it, which is that
Speaker 2: in the original version of the movie, a version that
Speaker 2: they screened for audiences first when they were testing it again.
Speaker 2: Now fast forward in fifteen seconds. If we haven't seen
Speaker 2: the ending in three two one, but when the cargoes
Speaker 2: off the cliff, it hits the canyon floor and we
Speaker 2: see it explode, and that was the original ending of
Speaker 2: the movie, and audiences hated it, absolutely hated it. Couldn't
Speaker 2: couldn't get over that they were what they were seeing.
Speaker 2: And so really, Scott put in a fade to white
Speaker 2: before that happens, so you know what's what's happened, but
Speaker 2: you don't see you don't see this fate for your
Speaker 2: favorite characters. And so audiences like that a lot more,
Speaker 2: like a lot, a lot a lot more. And I
Speaker 2: think there is something about the fade to white that
Speaker 2: makes it makes them seem immortal and like fixed an
Speaker 2: amber and is really uh is really perfect and so
Speaker 2: uh I had I admired that, uh, that that move.
Speaker 2: But you know, I wonder, uh, yeah, I wonder how
Speaker 2: it would feel if I just if I just got
Speaker 2: to experience it, I would I would feel upset because, uh,
Speaker 2: I know, I'd feel upset because I was upset by it,
Speaker 2: knowing what was coming. I was visally disappointed because you know,
Speaker 2: sometimes I watch a sad movie or a movie with
Speaker 2: an ending that that is a bit of a downbeat,
Speaker 2: and I think to myself, well, maybe it'll be different
Speaker 2: this time. You know, I don't be a dozen times,
Speaker 2: but maybe maybe maybe he doesn't die at the end
Speaker 2: of this maybe, butch And and Sun dance shoot their
Speaker 2: way out and we get a sequel, you know, like.
Speaker 3: I'll do that with sports.
Speaker 4: I will come home, I'll go to the MCG to
Speaker 4: watch a game of football, which I know you have done,
Speaker 4: you win of Melbourne games, and I'll come I'll come
Speaker 4: back home and I'll watch the replay, even if we've lost,
Speaker 4: just to make sure they got the scores right.
Speaker 2: Yes, that happens to me constantly, especially now when they're
Speaker 2: re airing classic sports games, and I'll watch classic sports
Speaker 2: games with outcomes that I don't love and I'll h
Speaker 2: and I'll think to myself, but you know, maybe it
Speaker 2: was wrong. And the Patriots win the Super Bowl. I
Speaker 2: know I agonized for a year about about them not winning. Thankfully,
Speaker 2: thankfully for me that knew him. And Patriots have been
Speaker 2: good enough that every year after they've they've last, they've
Speaker 2: they've come back and and and been really competitive and
Speaker 2: usually won the next time, but very far and maybe
Speaker 2: maybe maybe they don't lose to their Eagles and the
Speaker 2: Super Bowl one.
Speaker 4: I'm not sure how much sympathy you're going to get
Speaker 4: for your Patriots, but to go back to butchercashing in
Speaker 4: the Sundance Kid. That is obviously it ends in a
Speaker 4: very similar way. And I'm sure Ridley Scott considered this
Speaker 4: when he finished, because that was really George roy Hill,
Speaker 4: who directed Butch just found it too upsetting. He thought
Speaker 4: needs to be too upset the CDs characters die. And
Speaker 4: also there was the had a different thing going on
Speaker 4: as well, where there's kind of conspiracy theories that Butcher
Speaker 4: and Sundance may have actually lived and gotten out of
Speaker 4: Bolivia and returned.
Speaker 3: To the state.
Speaker 4: So they were leaving the the option to think maybe
Speaker 4: they got away. That's not going on here with Elm
Speaker 4: and Luais. There was like jumpy castle at the bottom
Speaker 4: of that canyon.
Speaker 2: No, there's no oh, no, you've told them, You've told
Speaker 2: the person and successfully fast forward it. Yeah, but I
Speaker 2: I think I think it's a it's a tiny bit
Speaker 2: of a comp out when films do that, And even
Speaker 2: even Butcher and Sunnets, which I do love, and George
Speaker 2: roy Hill literally might be the greatest underrated commercial American
Speaker 2: director who's done so many so he did so many
Speaker 2: great films, and uh, and it isn't remembered as one
Speaker 2: of the all time greats uh here the way he
Speaker 2: clearly should be. I think he did a great funny
Speaker 2: sports film Slapshot as well. But but but but for
Speaker 2: thelm On, like I think there is something to seeing
Speaker 2: your hero gun down in that moment of because the
Speaker 2: audience has earned the closure of the story. And maybe
Speaker 2: I'm a sick puppy, but I want to see my
Speaker 2: favorite characters killed if that's what's going to happen, I
Speaker 2: want to see. I very rarely enjoy an ambiguous sending.
Speaker 2: I don't need to see them smashed the bets the
Speaker 2: way the original one is, but I do want to
Speaker 2: know for certain. But they're feeders, I think.
Speaker 4: I wondered about this. I wondered if alternative ending would
Speaker 4: be that the car and I don't mind about spoiling this.
Speaker 4: They've been warned enough, Alex, So the car, the car
Speaker 4: comes up, and if the camera was to stay at
Speaker 4: a certain point and let the car leave the frame,
Speaker 4: and then the explosions kind of like sense from underneath,
Speaker 4: even if it's eventually after a few seconds, you see
Speaker 4: the smoke gonna come up through the frame, you know,
Speaker 4: with the blue sky and the canyon in the background,
Speaker 4: just the Blue Sky.
Speaker 3: I think that would have worked.
Speaker 2: Yeah, but I think the idea is that they're you know,
Speaker 2: soaring into eternity because it's still a very Ridley Scott movie.
Speaker 2: The movie is like, first of all, Scott apparently doesn't
Speaker 2: know what America looks like, because occasionally, like they're all
Speaker 2: over the place Atlas wise, they're just like they go
Speaker 2: to a desert. The desert's in Arkansas. They're driving around
Speaker 2: like like sometimes they'll drive the state that's not next
Speaker 2: to the state before it. You'll see a sign on
Speaker 2: a window that says like Victorville, California. And then it's
Speaker 2: like like we're in Texas or there were in Oklahoma,
Speaker 2: And I'm like, really, ten minutes ago, you were in Victorville, California,
Speaker 2: Like how is any of this is possible? So like
Speaker 2: but Ridley Scott, like it feels I Ridley Scott, that
Speaker 2: these guys like, you know, sore sore into sore, into immortality. Yeah,
Speaker 2: and so I mean I do think it very much,
Speaker 2: It very much fits. But but yeah, really Scott really
Speaker 2: needed was there no one with a map to tell
Speaker 2: him that, like there's no desert in Arkansas, Like it's
Speaker 2: every I was watching it on Amazon, and Amazon will
Speaker 2: give you fun facts about the movie as you watch
Speaker 2: it if you have the X ray on the little
Speaker 2: and Amazon is like, really, Scott is actually wrong here.
Speaker 2: There's no you know, there's no ganyser and there's no
Speaker 2: geyser in Arizona. Like it's one of those it's one
Speaker 2: of those kinds of things where where the geography is
Speaker 2: on that stuff.
Speaker 4: It's a lot of I love the sequence in the
Speaker 4: in the motel where j D comes back into uh
Speaker 4: the same film, and then you've got Susan Sarandon and
Speaker 4: uh Michael Madsden, two of the risible dogs who appear
Speaker 4: in this film in Happy Catail. But it's just a
Speaker 4: great thing because you got Jimmy and and uh Louise
Speaker 4: having a very adult conversation about where they are in
Speaker 4: their relationship, and it's a very it's a very serious conversation.
Speaker 4: It's a kind of a heartbreaking conversation. And then in
Speaker 4: the next room you have you know, Thelma and JD
Speaker 4: playing these hands slappy games and jumping on the bed
Speaker 4: and then having you know, awesome Brad Pitt Steamy six.
Speaker 2: Yeah, It's like I watched it and I was like, God,
Speaker 2: can now can we talk about everybody now? Because wow,
Speaker 2: I was like, wow, he's not been under sault, like
Speaker 2: he's his body is ridiculous in this movie.
Speaker 3: It is it's unnatural.
Speaker 2: I'm like how And by the way, not for nothing.
Speaker 2: Gina Davis is gorgeous. Yes, like she's like six I
Speaker 2: was like, is this woman six foot ten? Like she's
Speaker 2: extremely tall, She's very like she's got this like you know,
Speaker 2: beautiful beautiful like innocence about her, but with an edge.
Speaker 2: She's so gorgeous and so and so like sexy, like
Speaker 2: she's like her whole I don't know, the character really
Speaker 2: fits the actor and and I absolutely loved it. But yeah, JDS.
Speaker 2: JD is like the funniest I do get Kyle Smith,
Speaker 2: the New York Post guy that I do get one
Speaker 2: one element of his shitty review, which is that he's like,
Speaker 2: men aren't Men aren't real characters in this in this movie,
Speaker 2: He's like, men are he? I think of all the characters,
Speaker 2: JD is the most pestichie, but it's so much fun,
Speaker 2: Like he's so much fun to watch every moment on screen.
Speaker 2: He's just like this delicious, delicious, like hunk of man
Speaker 2: pie and it's very it's very good and bad. Pitt
Speaker 2: deserves everything that he has in his life and and h.
Speaker 4: And that's a credit to Brad Pitt that he hasn't
Speaker 4: just played shirtless due to you know who have amazing
Speaker 4: sex scenes in motel rooms, like you know he he
Speaker 4: I think he did Legends of the Fall after this,
Speaker 4: was it Leedgards of Fall or a River runs through
Speaker 4: it or one of those kind of movies.
Speaker 3: And then a few years later he was doing Twelve
Speaker 3: Monkeys and seven and he's, you know, amazing film. Yeah, yeah,
Speaker 3: did you think.
Speaker 2: So?
Speaker 3: I watched it twice. I watched it Friday night.
Speaker 4: I had a couple of wines, and I thought I
Speaker 4: better watch it again because I couldn't understand some of
Speaker 4: my notes. But did you think j D was always
Speaker 4: going to rip film or off? Was that his plane alone?
Speaker 2: Yeah?
Speaker 4: Yeah, because he basically tells her, He tells her that
Speaker 4: doesn't like that. He tells her how he's almost going
Speaker 4: to do it, you know, in in in bed when
Speaker 4: they're flirting before they kind of start getting on and
Speaker 4: he and he kind of goes through basically how he's
Speaker 4: going to do it.
Speaker 3: He doesn't do it.
Speaker 2: Exactly like that.
Speaker 3: He doesn't.
Speaker 4: It doesn't, but yeah, he's he takes it. He takes
Speaker 4: it through. He's method of.
Speaker 3: Doing it more so than you know the a non
Speaker 3: robbery etcent what you do?
Speaker 2: I'm a robber, you're a bank robber? No, no, I'm
Speaker 2: rubbing no banks?
Speaker 5: Come on, would you rob?
Speaker 1: Mm hmm.
Speaker 5: Well let's see said it up here. I robbed a
Speaker 5: gas station, a couple of convenience stores, liquor stores.
Speaker 2: Oh my god, how.
Speaker 5: Okay, we'll see first, speak your place right, and I
Speaker 5: just sit back and watch it for a little while,
Speaker 5: wait for that right moment to make my move. See,
Speaker 5: and that's something you gotta know up here. That ship
Speaker 5: cannot be taught. And then uh, oh shit, I want
Speaker 5: to talk about that.
Speaker 6: Like there.
Speaker 2: All right, Then.
Speaker 5: I waltz right in.
Speaker 3: Yeah.
Speaker 5: Then I just kind of waltz on in and I say, ladies, gentlemen,
Speaker 5: let's see when surprize keeping their cool. Simon says, everybody
Speaker 5: down on the floor.
Speaker 2: Now nobody lose their head. Then nobody loses their head.
Speaker 2: Uh you sir, Yeah, you do the honors.
Speaker 5: Take that cash and put in that bag right there.
Speaker 2: You got an amazing story. Tell your friends.
Speaker 5: If not, you got a tag on your toe, you sigh,
Speaker 5: simple as that. Then I just slip on out and
Speaker 5: uh the hell have Dodds? Yeah? H my goodness, you're
Speaker 5: sure gentlemanly about it. Well, now, I've always believed that
Speaker 5: done properly on robbery doesn't have to be a totally
Speaker 5: unpleasant experience. What you realize that laun aren't well, maybe
Speaker 5: an Eland on him, but you don't want to steal
Speaker 5: my heart? Smart.
Speaker 2: The person I was watching with my my my, my
Speaker 2: friend Hannah. We were using where we hit play at
Speaker 2: the same time and then watched and texted through the movie.
Speaker 2: She wrote me and said, he's gonna he's gonna steal it.
Speaker 2: He's gonna steal her money. And uh, in yeah, from
Speaker 2: the minute she said that, I found it impossible not
Speaker 2: to see it. It was. It's very clear that he
Speaker 2: was gonna that he was going to take her cash
Speaker 2: and and and run. And uh it's heartbreaking because it's
Speaker 2: such a good romantic scene and and him going although
Speaker 2: he gets some real come upance at the end with
Speaker 2: Harvey kaitel So and and also him basically saying to
Speaker 2: shoot a McGavin. I slept in their way life. It's
Speaker 2: very satisfying in a way because he's he's such a
Speaker 2: peg and uh and it's the it's it's such a
Speaker 2: it's such a great heighteen moment. But yeah, I knew
Speaker 2: he was. I felt like, uh, I felt like Kenna
Speaker 2: pointed that out halfway through the sax scene, and I
Speaker 2: was like, Fuck, that's definitely. That's definitely.
Speaker 3: One thing I wanted to ask you about.
Speaker 4: Are American diners has lifted throughout America as they appear
Speaker 4: to be in the movies. We don't have that diner
Speaker 4: set up here in Australia.
Speaker 3: We don't.
Speaker 4: You know that that's great. You know obviously that they're
Speaker 4: they're they're in delin Lui's pulp fiction. You know that
Speaker 4: they're kind of littered, silver linings, playbook. Every second movie
Speaker 4: seems to be the great places. There's set scenes American diners,
Speaker 4: but we don't have any that style here. Are they
Speaker 4: as everywhere as the movie My Cat?
Speaker 2: There's so much there's so much fun a diner. A
Speaker 2: diner is so much fun because it's another big First
Speaker 2: of all, like you say, they are ubiquitous, like and
Speaker 2: there's a real sense of they're the most American place
Speaker 2: to eat, and they are naturally scattered across the the
Speaker 2: American South and Texas, and so I do think that
Speaker 2: there is a and everyone's got a favorite one. My
Speaker 2: favorite diner in the world is in Victorville, California, which
Speaker 2: is which is really you know, two hours outside of
Speaker 2: Los Angeles, and the diners called Emma Jean's Holland Berger
Speaker 2: Cafe and it and there's something so romantic and again
Speaker 2: there's something about what is America to a diner, and
Speaker 2: you could say that, you know, the most American thing
Speaker 2: is this place where people of all kinds and all
Speaker 2: you know, all races and genders and sexes and orientations
Speaker 2: and economic backgrounds can come together and get the same
Speaker 2: humble fries in a shake. And so yeah, it's it's
Speaker 2: And also there's something affordable about a diner, which adds
Speaker 2: to its mystique a little bit, which is, if you're
Speaker 2: down on your luck, you go to a diner because
Speaker 2: you're not finding cheaper food than you'd find it a diner.
Speaker 2: And so and so the fact that Thelmo and luis
Speaker 2: so much of it takes place in these American institutions
Speaker 2: is like, you know, clearly, irresistibly romantic. So so, yeah,
Speaker 2: diners to answer your question, they are as ubiquitous, but
Speaker 2: they would have been even more so, you know, twenty
Speaker 2: years ago when the film.
Speaker 4: Is Kay, that's I love watching for somehow, I just
Speaker 4: love watching scenes in American DNA.
Speaker 2: Is you've been to one, though, Pete Shirley, I.
Speaker 4: Have, but not necessarily out in the open ryo, you know,
Speaker 4: like not not out of the cities, you know, not
Speaker 4: certainly not in the South.
Speaker 3: I haven't been to the South for some reason. I
Speaker 3: don't know.
Speaker 4: It's really just stating arrangements really, but they are always
Speaker 4: They're always fun to be.
Speaker 2: But don't you guys have an equivalent right the bar
Speaker 2: in the middle of nowhere?
Speaker 3: The have you been to?
Speaker 2: Have you been to a local? Because the real thing
Speaker 2: to a diner is that it's a local spot in
Speaker 2: a place that you don't live, or it's your local spot. Yeah,
Speaker 2: so American films, a diner is either the ultimate local
Speaker 2: spot or the ultimate foreign place. So in Thelma and
Speaker 2: luis like, you know, to me, being in a diner
Speaker 2: on the open road, if I'm in Victorville or the
Speaker 2: Inland Empire or upstate New York or Pennsylvania, wherever I've
Speaker 2: stopped in, it's me seeing basically the folks that live
Speaker 2: in that place, and there's something really special about that.
Speaker 2: So I always imagine, actually that I would have thought
Speaker 2: that Australia does have, you know, these roads tape.
Speaker 4: The closest I can think of would be probably the
Speaker 4: small town bakeries. We can go in and sit down
Speaker 4: and every every town claims they've won the best custard
Speaker 4: tart four years running.
Speaker 2: The metal class. I was assuming. I was assuming that
Speaker 2: an Australian roadside that Australia is felled the place that
Speaker 2: we can get a free nafe in the nap if
Speaker 2: you if you sit down and the.
Speaker 4: Wrong there there's so many pubs that you wouldn't want to,
Speaker 4: you know, go into. And certainly, but I'm not sure
Speaker 4: if I was driving a truck across Australia, I'm not
Speaker 4: really sure where they do stop. It might be this
Speaker 4: gas stations or sorry, petrol stations that they can grab
Speaker 4: a coffee or a coke.
Speaker 2: Bat Americans think of of of Australian roads tape places
Speaker 2: you stop in. You've been driving for four days straight,
Speaker 2: You're one fiftieth across Australia. You walk through the doors
Speaker 2: of the roadhouse and they are the cowboy styles submoon doors.
Speaker 2: You walk in. Paul Hogan I fifty other men who
Speaker 2: look like Paul Hogan are sitting there. You walk up
Speaker 2: to the bar, completely oblivious, while all these men in
Speaker 2: leather vests watch you. You go, can I have a beer?
Speaker 2: And the bartender says what kind of beer? And you go,
Speaker 2: and this is your biggest mistake. You go, I'll have
Speaker 2: a stella artois And the bartender stops wiping the bar
Speaker 2: and he goes, you want to what, mate, And you say,
Speaker 2: I'll have a stella artois and he goes, we don't
Speaker 2: have any godden damn. You have ten different kinds of fosters,
Speaker 2: and you'll drink it and you'll like it, and they
Speaker 2: bury you in the middle of nowhere and no one
Speaker 2: ever finds your body and the world continues like that
Speaker 2: is how Americans think of.
Speaker 3: That happens to all of us, at least once you know.
Speaker 2: I'll have a stellar the least Australian beer.
Speaker 4: Before we before we go. One other point I want
Speaker 4: to make about I love I love a road movie.
Speaker 4: In fact, some of my favorite films, you know, planes
Speaker 4: trains and automobiles, sideways, which sideways. I thought of sideways
Speaker 4: quite a bit in this because the characters are set
Speaker 4: up in a similar kind of way that you know,
Speaker 4: Louise wants to kind of really kind of you know,
Speaker 4: have a bit of a girl strip away and this
Speaker 4: you know, has some time and anytime the men come up,
Speaker 4: she's like shoes them away. So she's more than Paul
Speaker 4: g and Mahardi character here and Delmas more Thomas Hayden
Speaker 4: Church who's maybe up for a good time and some
Speaker 4: some distractions. It works really well because in all these
Speaker 4: kinds of road movies they have to help each other out,
Speaker 4: you know, and they get the balance really well here,
Speaker 4: and it's it's mainly Louise helping Thelma out for the
Speaker 4: first half ish, you know, really until j D does
Speaker 4: the runner and then and then Jimmy leaves. You know,
Speaker 4: they've they've kind of said they're going to go their
Speaker 4: separate ways, and then it's Thelma's turn to pick up
Speaker 4: pick up Louise, and it's it's all road movies need
Speaker 4: to have that where there it can't just be one
Speaker 4: person helping the other, you know, And I think this
Speaker 4: does it really well, it's.
Speaker 2: A truly great friendship. Like it's a really good that
Speaker 2: never gets compromised. Actually the two are man at each other,
Speaker 2: but the story never moves forward because one of them
Speaker 2: betrays the other or one of them. You know, Thelma
Speaker 2: is a little bit more she's not an airhead, but
Speaker 2: she's a little bit you know, less on it than Louise's.
Speaker 2: I even think, you know, the characters are are sort
Speaker 2: of painted that way and thought of that way, but
Speaker 2: they never let each other down Morley, you know, like Thelma,
Speaker 2: let's j D. Thelma's ripped off by j D. But
Speaker 2: but it's you know, then she goes and and robs
Speaker 2: the gas station, which is wildly out of character for her.
Speaker 2: And and you know, the the truck driver that's seen
Speaker 2: with the truck driver at the end is so fun
Speaker 2: and and and funny when they when they blow up,
Speaker 2: when they blow up his struck. He is a real
Speaker 2: uh he is a bit pastig, that guy.
Speaker 3: He's a work. He was on the white on Australian
Speaker 3: pub I think in the app back.
Speaker 2: Yeah, yeah, yeah, that that it's never even heard of.
Speaker 2: But but I but yeah, it's it's a great movie
Speaker 2: about about friends and It is a really fun watch
Speaker 2: because their interplay is so delightful and the subplot is
Speaker 2: how great are these two women? That is the The
Speaker 2: subplot is these these these women haven't It is a
Speaker 2: great feminist film because I don't be like, here are
Speaker 2: two white men discussing why but the film isn't isn't
Speaker 2: about brad Pet's apps. The film is about these these
Speaker 2: two women who have a really tough situation. But for
Speaker 2: you know, an hour and a half, you get lost
Speaker 2: in in this wonderful friendship between the two. You can't
Speaker 2: help but be transported by it. And it's so elegantly done,
Speaker 2: and the writing is so so so perfect. I would
Speaker 2: love to I wonder what Kelly Kohi has has said
Speaker 2: about this. It's our first screenplay and it's a big
Speaker 2: It's a really big one.
Speaker 4: It's really really it's it's fantastic. And I just want
Speaker 4: to point out one more thing which was in the
Speaker 4: leert this. As I was watching, I did a little
Speaker 4: dive into some behind the scenes stuff. The final shot,
Speaker 4: which I've spoken about before. We don't need to go
Speaker 4: back over a game, but the final shot, Uh, it's
Speaker 4: our film in Luise and their little final tree.
Speaker 3: They shot that in forty five minutes.
Speaker 4: They had they had spent so much time shooting Harvey
Speaker 4: Kaiitel's stuff, and the sun was going down, so they
Speaker 4: only had forty five minutes to shoot Elwen Louise and
Speaker 4: their final act.
Speaker 3: Which I understand.
Speaker 4: You know, I make television, I've made a film, and
Speaker 4: I understand that light can get to you and trap
Speaker 4: you at the end of the day. But for a
Speaker 4: for a landmark feminist film to spend more time shooting
Speaker 4: Harvey Kaito than the final scene with their two protagonists,
Speaker 4: you know, I think it's a little bit off brand.
Speaker 2: Sure, I mean, but it works. That final scene, that
Speaker 2: final scene really does the movie. Someone used a phrase
Speaker 2: perfect movie to describe it, and it's hard to sorry.
Speaker 2: I can hear my brother running a bath in the background.
Speaker 2: That's making me crazy. That's what quarantine as. I'm like,
Speaker 2: I'm trying to work here. My brother, like I need
Speaker 2: a bath. That can't be a shower. You need to
Speaker 2: be a bath. But this problem of the small house, and.
Speaker 3: He's an Olympic wrestler. You let him take his bath, yeah,
Speaker 3: but I'm not.
Speaker 2: I'm not going to master him. He can take his bath.
Speaker 2: But but, but I do think Harvey Kitel is so
Speaker 2: good in this movie.
Speaker 4: I wanted to bring up Harvey Cartel because that's an
Speaker 4: you know, he has an interesting you know change of heart.
Speaker 4: Obviously throughout this scene he's obviously he's trying to track
Speaker 4: them down. You know, you don't really I didn't really
Speaker 4: see it coming that he was going to soften and
Speaker 4: kind of see it from you know, maybe start putting
Speaker 4: the pieces together. Okay, I think there's more to this
Speaker 4: case and more to these women they were given them
Speaker 4: a given credit for.
Speaker 2: But also I think the movie rewards the movie isn't
Speaker 2: just feminist because it's about female friendship. It also rewards
Speaker 2: a different kind of prioritize intelligence. Different emotional intelligence is
Speaker 2: the most important thing in the movie. And Harvey kayitell
Speaker 2: what he is as emotionally attuned to what's happening. He's
Speaker 2: not just like a square headed cop being a square
Speaker 2: headed copy. He understands what these women are going through
Speaker 2: and what's going on in the pressure that they must
Speaker 2: be under with stupid husbands and shitty roadhouse situations. And
Speaker 2: so I think that Keli Kahurry and really Scott really
Speaker 2: reward characters for having emotional growth and emotional even when
Speaker 2: j D is explained to it at the police station
Speaker 2: what he's done to the women by forcing them into
Speaker 2: a really bad situation, you get a sense that he's
Speaker 2: given a little bit of grace for sort of being
Speaker 2: made aware what's happened. And so I think it prioritizes
Speaker 2: Harvey Kaytell's and Hebrew you'd say, see like his sort
Speaker 2: of like getting it is the most important thing in
Speaker 2: this movie, and Harvey Kytel gets it, so I think,
Speaker 2: and clearly was shot with some with you know, with
Speaker 2: with the utmost priority for forgetting.
Speaker 4: Yeah, when he says, when Harvey Caytell says that Brad Pitt,
Speaker 4: do you think your actions put these women in a
Speaker 4: dangerous place? Kind of really sums up probably the entire
Speaker 4: theme of the movie really, the actions of men that
Speaker 4: put women in dangerous places.
Speaker 2: You should be a film critic. I'm not. I'm not
Speaker 2: being like I really think that you, but you although
Speaker 2: I want to see I want to see I want
Speaker 2: to see Peter give a film two thumbs down. And
Speaker 2: I want to know what I don't I know all
Speaker 2: your favorite movies, Peter, I want to know which movie
Speaker 2: you despise so much.
Speaker 4: The only movie I've walked out on I wouldn't really
Speaker 4: call it the movie, but in bed with Madonna, I
Speaker 4: walked out of that.
Speaker 2: What a hard hitting opinion to not like Madonna.
Speaker 4: Well, there are those movies that you, yeah, you watch
Speaker 4: before they're supposed to make sense to you. And I think,
Speaker 4: you know, we mentioned Field of Dreams for whatever reason
Speaker 4: when I was twelve. Even though I feel like I
Speaker 4: should have connected with it for some reason, I didn't.
Speaker 4: And it'll be to see if I reconnect when I
Speaker 4: watch it again.
Speaker 3: You know.
Speaker 2: I wonder that to that point, that whether or not
Speaker 2: I would have enjoyed this movie or understood it in
Speaker 2: the same way when I was a teenager, because I
Speaker 2: think this movie means more to people at different points
Speaker 2: in their life, Like for me seeing it was different
Speaker 2: than my friend Hannah and Josh Harmon the playwright, and
Speaker 2: Natty and Natalie, like, I think all of us had
Speaker 2: different all positive the movie is incredible, but all of
Speaker 2: us had different reactions to it. I thought, Oh, you
Speaker 2: know what Natalie pointed out, which is really brilliant. She said, Wow,
Speaker 2: I was like the cinematographer knows how to shoot women.
Speaker 2: It reminds me of the cinematography and Alien and it's
Speaker 2: the same guy. It's Adrian Biddle, who's a great director
Speaker 2: of photography. And the way that you know, he lights
Speaker 2: sweat on a face, in the way that he puts
Speaker 2: that that he that he's able to sort of define
Speaker 2: the jaws of these women to give them really powerful
Speaker 2: set look. You know, is he These women are lit
Speaker 2: like they're in an action movie act. They have this
Speaker 2: great conversation and there's still a softness to them, but
Speaker 2: they're lit and shot, as Natalie points out, the same
Speaker 2: way you know, they're they're shot and alien and uh,
Speaker 2: and Adrian Biddle did the cinematography for Aliens as well.
Speaker 2: But like, but yeah, it's it's really the whole movie
Speaker 2: emphasizes the power of these of these women in a
Speaker 2: way that's really authentic. And I think that's why.
Speaker 4: Absolutely, Mike, I'm so grateful for you to get up
Speaker 4: that you have during this week quarantine period. Uh, it's
Speaker 4: it's so much fun to chat with you about about
Speaker 4: movies and life.
Speaker 3: And yeah, I really appreciate you joining us.
Speaker 2: Are you kidding? This has been the highlight of my Uh,
Speaker 2: there's been so much so much, so much fun for me,
Speaker 2: and thank you so much for having me on this
Speaker 2: and uh and what a what a thrill to see
Speaker 2: to see you this is, this is so nice.
Speaker 4: Okay, then listen, let's not get caught.
Speaker 2: What are you talking about?
Speaker 6: Let's keep going.
Speaker 2: What do you mean?
Speaker 3: Go you sure?
Speaker 2: Yeah?
Speaker 3: M hm.
Speaker 5: Hi.
Speaker 4: So there you have it, another episode of You Ain't
Speaker 4: Seen Nothing Yet, the first international episode we have recorded
Speaker 4: with Alex Edelman. What a lovely guys, like I said
Speaker 4: in the intro, so smart and so generous and a
Speaker 4: Bostonian and a fellow Celtics follower. Even things out, we
Speaker 4: do have a Toronto Raptor coming up in the season two.
Speaker 4: Seen that yet in Adam Christie Alex's conversation chat was
Speaker 4: done before the playoff.
Speaker 3: In fact, I think before we went into the bubble
Speaker 3: the NBA.
Speaker 4: I spoke to Adam on the eve of the Boston
Speaker 4: Toronto series and as I record this, I am hoping
Speaker 4: Boston can wrap up the series either in Game six
Speaker 4: or Game seven.
Speaker 3: Fingers crusted.
Speaker 4: That actually reminds me that the season of first season
Speaker 4: that You Ain't Seen Nothing Yet is coming to an end.
Speaker 4: We've got two weeks left next week we had Limo
Speaker 4: with wit Nail and I. It's a movie that I
Speaker 4: hadn't seen either, and it's kind of considered particularly amongst
Speaker 4: the British comedy fraternity.
Speaker 3: I must see. I think I have probably lied about
Speaker 3: seeing it over the years to British friends.
Speaker 4: So we sit down and we watched that. It was
Speaker 4: very conversation, and then there'd be one more episode after that.
Speaker 4: For this season, I'm still tossing up whether to take
Speaker 4: a little break. So I'm not going to chase in
Speaker 4: my tail to get them all out and putting my
Speaker 4: fantastic podcast manager Dooke Myers from Passways Studios dot com
Speaker 4: dot A. You under under pressure, so it may we
Speaker 4: may take a week or two off. I don't want
Speaker 4: to take too long. I've got know still people who
Speaker 4: are around the world are still dealing with lockdown, and
Speaker 4: so there's a chance we may still continue to go
Speaker 4: through or extend season one and take a break later on.
Speaker 3: We still have some great podcasts episodes up our sleeve.
Speaker 4: So also thank you to the circustry Sounds, Jim and
Speaker 4: Tom Dan Murphy's for your ongoing support. Dan Murphys dot
Speaker 4: com dot AU for all your alcohol and Lockdown needs.
Speaker 4: Thank you also for everyone who has been inundating us
Speaker 4: with emails at Yasney podcast dot com and this one
Speaker 4: some Simon Lindsay, Hey ta for good listenings.
Speaker 3: You really saw that gap in the market for movie podcast.
Speaker 4: One of the great pleasures of Lockdown has been the
Speaker 4: time podcasts and movies to get through.
Speaker 3: It's been a treat.
Speaker 4: I've been rewatching the personal faves, but also just stack
Speaker 4: up as pretty.
Speaker 3: Perfect movies in that people order.
Speaker 4: This's listened a few Alien Blade on Cargo, No Country
Speaker 4: of role Men, there will be blood, Jurassic Park, this
Speaker 4: is Spinal Tap, Flying High, Gremlins. He also loves a sequel.
Speaker 4: He says it's fucking bonkers, which he loves. Seven Oceans
Speaker 4: Eleven shut The Shining Dunkirk. He thinks it's a bit underrated.
Speaker 4: I think most people kind of considered Dunkirk a great film.
Speaker 4: Great back Mountain Duck Soup also a big David Lynch fan.
Speaker 4: Lost Highway could be his favorite film ever. And he's
Speaker 4: also be Cronerberg fans or anything for those guys if
Speaker 4: you If I want some weirdness in the mix, all
Speaker 4: of those movies would be great to cover in this
Speaker 4: in this podcast, also more importantly given the latest Heat
Speaker 4: podcast with Dave Thornton, he's Tom Hilliston doing the diner
Speaker 4: scene to de Niro on Graham Norton.
Speaker 3: He's almost as good as day. So I have a listen.
Speaker 4: It's on YouTube. It's Tom Hilliston on Graham Norton doing
Speaker 4: Robert de Niro. It's a fair bit of fun. So
Speaker 4: thank you very much Simon for doing that, and also
Speaker 4: to Jamie Jamie Shaw, who's thoroughly in joining the podcast.
Speaker 4: He says, I haven't seen many of the classic movies
Speaker 4: that have been talked about before listening, but I did
Speaker 4: watch them afterwards. I had never seen The Godfather or
Speaker 4: Hate before, but I watched them both and thought they
Speaker 4: were incredible. So thank you for reinvigorating my interest in
Speaker 4: great movies. I've always been a suck at the time
Speaker 4: travel movies myself, and the Back to the Future trilogy is.
Speaker 3: My all time favorite. Nothing wrong with that. Plus second
Speaker 3: would Momento fantastic and the Butterfly Effect. Thanks make keep
Speaker 3: up the great work. Thank you Jamie for listening and
Speaker 3: I really do appreciate it. And again at Yasney podcast
Speaker 3: dot com, thank you so much. Next week we have
Speaker 3: Limo a great mate, Limo Whitdale and I check it out.
Speaker 3: I know, I'm sure a lot of you haven't seen it.
Speaker 4: It's more of a culty kind of film because you
Speaker 4: can compare to some of the films we've covered so far.
Speaker 4: But we've both had a pretty interesting reaction to it.
Speaker 4: It's one of those movies that happened a couple of
Speaker 4: times where I think we kind of talked to each
Speaker 4: other around to it a bit.
Speaker 3: We both watched it night before and yeah, it was.
Speaker 3: It was a great chat. So that's next week on.
Speaker 3: You won't say nothing yet until then, look out of yourselves.
Speaker 4: And so we leave old Pete, save Manselt, and to
Speaker 4: our friends of the radio audience, we've been a pleasant
Speaker 4: good night