WEBVTT - REPETE: Dr. Chris Brown and Chopper

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<v Speaker 1>Good a. Peter Helly here, welcome to you. Ain't Seen

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<v Speaker 1>Nothing Yet the movie.

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<v Speaker 2>Podcast where I chat to a movie lover about a

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<v Speaker 2>classic or beloved movie they haven't quite got around to

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<v Speaker 2>watching until now. And today's guests who spoke to me

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<v Speaker 2>with my rather croaky voice. My apologies. He is my

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<v Speaker 2>great mate, TV vet broadcaster, photographer, doctor Chris Brown.

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<v Speaker 3>Do you any think you have a chance against us?

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<v Speaker 1>Mister cowboy? Open the podbay doors.

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<v Speaker 3>Hell, I'll have what she's happen happening right, don't see

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<v Speaker 3>nothing yet.

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<v Speaker 2>Doctor Chris Brown is one of the odd time great

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<v Speaker 2>blokes in Australian showbiz.

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<v Speaker 1>Both on screen and off screen. He's much loved.

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<v Speaker 2>He burst on our screens in two thousand and three

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<v Speaker 2>when he appeared on.

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<v Speaker 1>Harry's Practice with Doctor Harry Cooper.

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<v Speaker 2>And he was nominated that year for the most Popular

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<v Speaker 2>New Talent at the Logis. But certainly it was his

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<v Speaker 2>role as the Bondive Vet which sent him into the

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<v Speaker 2>strata sphere. It became a global TV hit and Chris

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<v Speaker 2>was obviously the face of it. He actually did mouth

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<v Speaker 2>the mouth do a dog once. Yeah, just keep that

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<v Speaker 2>in mind, and when you look at his face and

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<v Speaker 2>remember how handsome he is. Just remember her passions. Docs,

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<v Speaker 2>Just remember that I love Brownie. He's become a really

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<v Speaker 2>great mate over the years. You've seen him, of course

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<v Speaker 2>in the Living Room, A wonderful show with Amanda Cala.

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<v Speaker 2>Also what a legend. Hopefully a guest on this show

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<v Speaker 2>one day soon, Barry Dubois and of course Miguel oh mcgal,

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<v Speaker 2>what a legend. Also he teams up with his great

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<v Speaker 2>mate and my great mate to hilarious Julie Morris and

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<v Speaker 2>I'm a Celebrity, Get Me out of Here.

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<v Speaker 1>Those two have formed a formidable combination.

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<v Speaker 2>Waxing, lyrical, just a great pairing and have really become

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<v Speaker 2>not just because of the celebrities, but they're one of

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<v Speaker 2>the reasons why people tune in to I'm a Celebrity,

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<v Speaker 2>Get Me out of Here. Currently you can see him

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<v Speaker 2>on Channel ten's hit The Doghouse Australia.

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<v Speaker 1>Brown is generous despite the.

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<v Speaker 2>Fact, and this may come up in the episode myself,

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<v Speaker 2>Sam Mack and Brownie went to Chinatown in Sydney together

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<v Speaker 2>and let's say he skimped when the bill came.

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<v Speaker 1>He didn't do a runner, but he claimed he had

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<v Speaker 1>no money.

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<v Speaker 2>On him really, I mean, do you work on that

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<v Speaker 2>many shows? The fon diveat the living room. I'm a celebrity.

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<v Speaker 2>Harry's practice money will still becoming and I imagine Brandy's

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<v Speaker 2>become a great mate over the years. He obviously has

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<v Speaker 2>co hosted and filled him many times with us on

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<v Speaker 2>the project.

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<v Speaker 1>He was always such a pleasure.

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<v Speaker 2>Hanging out with him again, both on screen and off screen.

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<v Speaker 2>I love Brandy because he doesn't take himself too seriously.

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<v Speaker 2>He's genuinely hilarious. He is a great mate, he really is.

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<v Speaker 2>He is as genuine as they come, and I'm bloody

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<v Speaker 2>stoked to be hanging with him today.

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<v Speaker 3>Well, hello, it's Chris Brown here. Dr Chris Brown's I'm

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<v Speaker 3>not confused with the other one. My three favorite films

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<v Speaker 3>of all time are We Top Gun.

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<v Speaker 4>You screw up just this much, you'll be flying a

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<v Speaker 4>cargo plan full of Rubbert dog shit out of Hong Kong.

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<v Speaker 3>Sir, Dumb and Dumber Austria. Well then Good Day Mate,

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<v Speaker 3>and the Secret Life of Walter Mitty.

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<v Speaker 1>The a Jez She Moves Slack a woman.

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<v Speaker 3>I'm like that. The film I haven't seen is Chopper,

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<v Speaker 3>The Australian classic Chopper.

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<v Speaker 5>Don't sore at it trying to be general made. You're

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<v Speaker 5>fucking in it, rip into it, slash it off. Yeah,

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<v Speaker 5>the other one, Chop, I'm not gonna get me for

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<v Speaker 5>this later. Are you just get on with it? Your

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<v Speaker 5>fucking fairy to it? Get a screw, would you?

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<v Speaker 1>I can bleed, Chop, pase, gotta stop a bleeding. Okay,

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<v Speaker 1>you can get any COVID. What are you got to

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<v Speaker 1>get yourself into the shower?

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<v Speaker 3>Right?

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<v Speaker 6>Are you talking to me now?

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<v Speaker 4>A Hey, after all I've done for you, I took

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<v Speaker 4>you from tears to fucking glory and you do this

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<v Speaker 4>to me. I'm not angry at you, Jim just broke

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<v Speaker 4>my heart at all.

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<v Speaker 2>Yes, it's the movie that almost made us forget that

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<v Speaker 2>there was once a time when Eric Banner was Australia's

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<v Speaker 2>premier Ray Martin Impersonator two thousands, Chopper took everyone by

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<v Speaker 2>surprise the story of Celebrity hit Man Yep, that's right,

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<v Speaker 2>that's inking celebrity hit Man Mark A. Brandon Chopper read,

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<v Speaker 2>who had become a best selling author despite being semi illiterate.

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<v Speaker 2>It not only marked the arrival of Eric Banner on

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<v Speaker 2>the global stage, but also director Andrew Dominic, who went

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<v Speaker 2>on to direct the Assassination of Jesse James by the

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<v Speaker 2>Coward Robert Ford. Great film, starring with Brad Pitt and

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<v Speaker 2>Casey Affleck and also Killing Me Softly brad Pitt again.

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<v Speaker 1>It became the.

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<v Speaker 2>Highest grossing R rated movie in Australia until The Wolf

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<v Speaker 2>of Wall Street came along. It's violent, it's intense, and

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<v Speaker 2>somehow really funny. This, of course is thanks to Eric Banner,

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<v Speaker 2>whose performance is utterly mesmerizing and maybe one of the

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<v Speaker 2>best screen performances by a local doctor.

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<v Speaker 1>Chris Brown. Chopper was a big deal. Do you reckon?

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<v Speaker 1>He could have made it on too. I'm a celebrity,

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<v Speaker 1>Get me out of here.

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<v Speaker 3>It would have made the eating challenges a little interesting

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<v Speaker 3>to pick which year you were you were consuming at

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<v Speaker 3>the time. You know, there's already a lack of sleep

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<v Speaker 3>in the in the jungle camp, but I reckon if

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<v Speaker 3>you were, if you were sharing a campsite and a

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<v Speaker 3>number of hot pokers with with the Chopper, you probably

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<v Speaker 3>wouldn't sleep overly. Well, what a what a character? And look,

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<v Speaker 3>I want to say what a film, and we'll get

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<v Speaker 3>to that, But I'm mesmerized by the fact that I

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<v Speaker 3>haven't seen it. I don't know how I dodged this one.

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<v Speaker 2>Yeah, walk us through that, because I mean, it's been

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<v Speaker 2>nominated on this show as various people's favorite films for memory.

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<v Speaker 2>Samuel Johnson nominated it. I think Hughes he may have

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<v Speaker 2>nominated as well. Much Loved was made a lot of

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<v Speaker 2>noise because of Eric Banner's performance, you know, succeeded around

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<v Speaker 2>the world.

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<v Speaker 1>You have dismissed it.

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<v Speaker 2>Why why aren't you supporting Australian cinema and Eric Banner?

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<v Speaker 1>Chris Brown?

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<v Speaker 3>You know me, I mean I despise all of those things. No,

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<v Speaker 3>I think it just happened at a week in time.

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<v Speaker 3>I think it came out in two thousand and you

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<v Speaker 3>know that for me was that was a very critical

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<v Speaker 3>time in my veterory career. I was, I was in

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<v Speaker 3>what fourth year of my my veterory studies. I was,

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<v Speaker 3>that's pretty a pretty pretty tricky time to to really

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<v Speaker 3>sneak out and see a film. But at the same

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<v Speaker 3>time it was it was one of those films that

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<v Speaker 3>was so heavily quoted amongst your your mates, like the

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<v Speaker 3>lines from Nevill Bartos, like the I've got no cash mate, cash.

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<v Speaker 3>Anytime someone didn't have money, you would say that line.

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<v Speaker 3>I even used that line, but I didn't even know

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<v Speaker 3>what it meant or the context.

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<v Speaker 1>I think I've been there when you've used that line

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<v Speaker 1>as a certain incident in Chinatown with our good mate

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<v Speaker 1>Sam Mack.

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<v Speaker 3>Yeah, look, it was it was unfortunate that I didn't

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<v Speaker 3>have cash. I mean ironic really now, but I didn't

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<v Speaker 3>have cash to pay for that meal. But you know,

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<v Speaker 3>I would like to think you've got more than you know,

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<v Speaker 3>one hundred dollars worth of value out of retelling that

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<v Speaker 3>story and insinuating to the nation that I am arguably

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<v Speaker 3>astray as premier tighter, which which has been something you

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<v Speaker 3>haven't even gone close to stepping away from in terms

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<v Speaker 3>of an accusation.

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<v Speaker 1>No, no, but the already is that.

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<v Speaker 2>So we had a meal in Chinatown and and there's

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<v Speaker 2>the three of us are having a great time, and

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<v Speaker 2>you did you didn't have any cash and in need

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<v Speaker 2>of the cash, so you had no cash.

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<v Speaker 1>You said your cards, they're only accepting cash.

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<v Speaker 2>And we have turned that into yes, you being the

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<v Speaker 2>biggest Titus in the world, because the irony is the

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<v Speaker 2>fact that we've made such a big deal kind of

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<v Speaker 2>insinuates that where the tight us is really because the

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<v Speaker 2>mayor was probably it was probably forty bucks.

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<v Speaker 1>That's probably what it was.

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<v Speaker 3>Yeah, I mean, you're not letting it go. I have

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<v Speaker 3>felt many times that I would just like send you

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<v Speaker 3>an envelope with cash in it just to put an

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<v Speaker 3>end to this. But I've started to enjoy it because

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<v Speaker 3>it gives me an interesting peaking to your mindset and

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<v Speaker 3>the fact that you just simply cannot let things go.

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<v Speaker 3>And they were good did sims don't or dim sum

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<v Speaker 3>don't get me wrong, get it right, get it right. Yeah,

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<v Speaker 3>but we need to we need to move on. We

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<v Speaker 3>need to find a way through this.

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<v Speaker 2>Okay, Well, let's move on to your three favorite films.

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<v Speaker 2>And they respect to you, Chris Brown. Often people come

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<v Speaker 2>on to this show and they feel the.

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<v Speaker 1>Need to you know, big up there, hybrow, highbrow.

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<v Speaker 2>You know there's no French classics here, no French new wave.

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<v Speaker 2>Let's start with Dumb and Dumber. I mean to be honest,

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<v Speaker 2>Dumb and Dumber has been nominated a few times actually,

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<v Speaker 2>so you're not alone. I'm forgetting who nominated that. It's

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<v Speaker 2>been quite a few guests have nominated that Dumb and dumber,

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<v Speaker 2>So you're not alone.

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<v Speaker 1>Tell us about your love of the of the of

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<v Speaker 1>the classic.

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<v Speaker 3>So it's not just in my top three, it's actually

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<v Speaker 3>my number one film right all time.

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<v Speaker 1>Okay.

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<v Speaker 3>I just I love it, and I love it deeply,

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<v Speaker 3>and if I'm ever at a loose end, I will

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<v Speaker 3>put it on because I love the absurdity, the complete stupidity.

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<v Speaker 3>But I love the comedy and the setup to the

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<v Speaker 3>payoff of some of the best visual physical many you'll

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<v Speaker 3>you'll ever see. And I you know, there are some

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<v Speaker 3>some really incredible moments in there, like the and and

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<v Speaker 3>incredible lines, you know, like the John Denver's Full of Shit.

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<v Speaker 1>Man.

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<v Speaker 3>Is is just they're in a in the they're in

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<v Speaker 3>a van shaped like a dog, which like a sheep dog,

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<v Speaker 3>and and and they you know, they believe they're in

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<v Speaker 3>the Rocky mountains, and then they wake up and they're

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<v Speaker 3>on the planes of like Idaho or something. It's just just,

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<v Speaker 3>you know, and it's not the rocky mountains that John

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<v Speaker 3>Denver had sung about, so I and then the you know,

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<v Speaker 3>the taking the motorcycle through the rocky mountains and the

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<v Speaker 3>frozen solid to each other. It's it's a movie that

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<v Speaker 3>it's it's tricky to explain and do justice to without

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<v Speaker 3>sounding so absurd that it's it's it's actually ridiculous. But

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<v Speaker 3>I love. I love the character arcs. I love Mary's Sampson,

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<v Speaker 3>Sampson Ightes Wanson, I love I love the fact that

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<v Speaker 3>it is a love story. It's a story of unrequired love,

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<v Speaker 3>but in the most absurd way. And I love the

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<v Speaker 3>endings as well, the fact that they get to the

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<v Speaker 3>end and they're just trying to be somebody, They just

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<v Speaker 3>want to have somebody, and the the the bus pulls

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<v Speaker 3>up with the with the American Bikini Model team on it,

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<v Speaker 3>and they they need someone to rub oil on them

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<v Speaker 3>before they compete, and the guys don't realize that they're

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<v Speaker 3>offering the opportunity to them, and they think that they're

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<v Speaker 3>best served going to the nearest town because there's heaps

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<v Speaker 3>of people there. And it's you know, it doesn't have

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<v Speaker 3>the class classic Hollywood happy ending. It goes off in

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<v Speaker 3>a different direction. And I hear that Jim Carrey they

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<v Speaker 3>wanted him to shoot the ending where they did with

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<v Speaker 3>the two guys did get on the bus with the

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<v Speaker 3>American Bikini modeling team and it all ended happily, and

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<v Speaker 3>he would not even shoot the scene because he said

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<v Speaker 3>the studio will use it. These guys have got to

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<v Speaker 3>be losers to the end and completely missed the opportunity.

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<v Speaker 3>And so I respect that. I respect the story, I

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<v Speaker 3>respect the narrative, I respect that the costumes, I respect.

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<v Speaker 3>I just respect the whole thing.

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<v Speaker 2>I mean, I think we're getting a good look into

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<v Speaker 2>your soul right now, but you know, before respect It's

0:13:35.880 --> 0:13:39.960
<v Speaker 2>funny I chatted to Jim Carrey, had the honor of

0:13:40.040 --> 0:13:43.480
<v Speaker 2>chatting with them just after the Oscars. Actually it's quite

0:13:43.480 --> 0:13:46.520
<v Speaker 2>an interesting week because of the Will Smith and Chris

0:13:46.600 --> 0:13:50.080
<v Speaker 2>Ruck incident. But what I learned about Jim Carrey in

0:13:50.080 --> 0:13:52.719
<v Speaker 2>that interview is actually, to be honest, out of all

0:13:52.720 --> 0:13:57.160
<v Speaker 2>the interviews I've done on the project, it was the

0:13:57.160 --> 0:14:00.400
<v Speaker 2>most where I felt like I came away going, I reckon,

0:14:00.440 --> 0:14:02.439
<v Speaker 2>I've learned a little bit about you, you know, like.

0:14:02.920 --> 0:14:05.680
<v Speaker 1>Because what what what came out of it for me

0:14:06.520 --> 0:14:09.920
<v Speaker 1>was that Jim Carrey is an artist, you know.

0:14:10.240 --> 0:14:12.840
<v Speaker 2>And I kind of knew this, like I knew he painted,

0:14:12.880 --> 0:14:16.000
<v Speaker 2>and like I knew I knew that he considered himself

0:14:16.000 --> 0:14:19.320
<v Speaker 2>an artist. But talking to him, I could actually see

0:14:20.160 --> 0:14:22.800
<v Speaker 2>it made more sense to me, and he he would

0:14:22.840 --> 0:14:27.520
<v Speaker 2>do things like when he was becoming famous, like sabotage

0:14:27.680 --> 0:14:30.000
<v Speaker 2>his own stand up comedy gigs because he was like,

0:14:30.520 --> 0:14:33.320
<v Speaker 2>he goes in his mind, he was saying to the audience,

0:14:33.400 --> 0:14:35.480
<v Speaker 2>you think you know what you're going to get, and

0:14:35.560 --> 0:14:39.200
<v Speaker 2>I'm not going to give that to you. And so he'll, yeah,

0:14:39.200 --> 0:14:42.080
<v Speaker 2>sabotage his own gigs. And I think, and that's such

0:14:42.120 --> 0:14:43.960
<v Speaker 2>a great thing that he didn't shoot that ending, because

0:14:44.000 --> 0:14:45.920
<v Speaker 2>I mean, I've been in situations, you know, and I

0:14:45.960 --> 0:14:48.600
<v Speaker 2>think Rove taught it to me where you're doing a

0:14:48.640 --> 0:14:50.720
<v Speaker 2>photo shoot and a photographer say, Okay, let's just get

0:14:50.720 --> 0:14:51.440
<v Speaker 2>a silly.

0:14:51.120 --> 0:14:55.360
<v Speaker 1>One and no, and they're like, oh, why not, and he.

0:14:55.360 --> 0:14:58.320
<v Speaker 2>Goes because you'll use it, like you know, like, don't

0:14:58.320 --> 0:15:00.640
<v Speaker 2>give him if you don't believe in thin, don't give

0:15:00.680 --> 0:15:02.560
<v Speaker 2>them the option to use it.

0:15:02.560 --> 0:15:05.120
<v Speaker 3>It's completely I had a really interesting lesson in that.

0:15:05.880 --> 0:15:07.920
<v Speaker 3>A couple of had a really interesting lesson in that

0:15:08.680 --> 0:15:11.080
<v Speaker 3>a few years ago, a you know, the end of

0:15:11.080 --> 0:15:13.440
<v Speaker 3>the year, you have to give your You often get

0:15:13.440 --> 0:15:16.720
<v Speaker 3>approached by the newspapers to give your news resolutions. Yep,

0:15:18.000 --> 0:15:20.240
<v Speaker 3>and they just want they just want to cut they

0:15:20.240 --> 0:15:23.000
<v Speaker 3>want one sentence. They want simplicity because it has to

0:15:23.040 --> 0:15:24.720
<v Speaker 3>be put next to a photo of you with twenty

0:15:24.760 --> 0:15:27.760
<v Speaker 3>other people from neighbors home and away or you know,

0:15:27.840 --> 0:15:31.960
<v Speaker 3>and and you're like, okay. But I decided to try

0:15:32.000 --> 0:15:35.120
<v Speaker 3>to like be a little bit out there and give

0:15:35.160 --> 0:15:41.640
<v Speaker 3>them something unexpected. So my news resolution was was and

0:15:41.880 --> 0:15:44.960
<v Speaker 3>and I quote because we always do the opposite of

0:15:45.000 --> 0:15:48.960
<v Speaker 3>our news resolutions. My news resolution is to work less

0:15:49.000 --> 0:15:54.320
<v Speaker 3>and party more. And when it came to when they

0:15:54.360 --> 0:15:58.560
<v Speaker 3>published that article, it had doctor Chris Brown news resolution

0:15:59.120 --> 0:16:05.880
<v Speaker 3>work less, party moore, which raised a few eyebrows around

0:16:05.880 --> 0:16:06.320
<v Speaker 3>the network.

0:16:06.680 --> 0:16:07.560
<v Speaker 1>Yeah, and less.

0:16:07.560 --> 0:16:10.320
<v Speaker 2>People were bringing their dogs to be put down, you

0:16:10.360 --> 0:16:16.840
<v Speaker 2>know by you. That is hilarious. Yeah, you gotta be careful.

0:16:16.840 --> 0:16:19.200
<v Speaker 2>You gotta be careful. But the thing that I really

0:16:19.200 --> 0:16:21.840
<v Speaker 2>got out of the Jim Carrey thing was he he

0:16:21.960 --> 0:16:25.680
<v Speaker 2>knows that he lives in a crazy world, like he

0:16:25.760 --> 0:16:30.480
<v Speaker 2>lives in Hollywood. Well, he works in Hollywood, and he knows,

0:16:30.720 --> 0:16:34.960
<v Speaker 2>he recognizes that it's crazy, so he does things to

0:16:37.200 --> 0:16:40.600
<v Speaker 2>make sure that he is constantly aware that it's a

0:16:40.640 --> 0:16:45.520
<v Speaker 2>crazy world. Where Will Smith, on the other hand, I

0:16:45.560 --> 0:16:47.480
<v Speaker 2>think it got to the point and I've interviewed Will

0:16:47.520 --> 0:16:49.680
<v Speaker 2>Smith over the years a few times, and I've always

0:16:49.720 --> 0:16:51.840
<v Speaker 2>come away from the interviews been really impressed.

0:16:51.440 --> 0:16:51.960
<v Speaker 1>With Will Smith.

0:16:51.960 --> 0:16:55.480
<v Speaker 2>I'm not This is not me slagging Will Smith, but

0:16:55.520 --> 0:16:58.440
<v Speaker 2>I think he maybe got to a point where he

0:16:58.600 --> 0:17:00.800
<v Speaker 2>forgot that he lives in a crazy world, that this

0:17:00.920 --> 0:17:03.880
<v Speaker 2>is the things that happened around him and that orbit

0:17:03.920 --> 0:17:08.960
<v Speaker 2>around him are not normal like hollywoods on a normal place.

0:17:09.040 --> 0:17:11.960
<v Speaker 2>The things, the way these people are treated by the

0:17:12.000 --> 0:17:15.560
<v Speaker 2>people around them is not normal. And I think Jim

0:17:15.600 --> 0:17:18.760
<v Speaker 2>Carrey recognized that, and I think potentially someone like I'm

0:17:18.760 --> 0:17:20.600
<v Speaker 2>just using Will Smith because he was the big story

0:17:20.640 --> 0:17:24.840
<v Speaker 2>at the time, he maybe lost I guess it's the

0:17:24.960 --> 0:17:26.200
<v Speaker 2>whole concept of losing touch.

0:17:26.280 --> 0:17:27.480
<v Speaker 1>He lost touch with reality.

0:17:28.680 --> 0:17:31.000
<v Speaker 3>I think, yeah, rather than drinking the kool aid, it

0:17:31.200 --> 0:17:34.600
<v Speaker 3>feels like Jim Carrey spikes it and then sits back

0:17:34.640 --> 0:17:37.919
<v Speaker 3>and watches the results. Almost He's an interesting guy and

0:17:38.240 --> 0:17:42.400
<v Speaker 3>very clearly a very deep thinker, despite what his films,

0:17:42.480 --> 0:17:45.760
<v Speaker 3>his comedy Dumb and Dumb and they suggest. But I

0:17:45.760 --> 0:17:49.360
<v Speaker 3>think the thinking that goes into the stupidity is what

0:17:49.720 --> 0:17:51.520
<v Speaker 3>I really like. And when you see it and you

0:17:51.560 --> 0:17:54.520
<v Speaker 3>see the depth of it, and you also appreciate the

0:17:54.560 --> 0:17:59.360
<v Speaker 3>fact that his role call of films, there are very

0:17:59.359 --> 0:18:02.439
<v Speaker 3>few people who could have brought the characters to life

0:18:02.760 --> 0:18:05.720
<v Speaker 3>like he did. You know, Cable Cable.

0:18:05.400 --> 0:18:05.879
<v Speaker 1>Guy, and.

0:18:08.119 --> 0:18:10.320
<v Speaker 3>You know, all of the mask and all those things,

0:18:10.359 --> 0:18:12.760
<v Speaker 3>which a lot of people were sort of put off

0:18:12.800 --> 0:18:16.560
<v Speaker 3>sometimes by the absurdity and by the level of performance.

0:18:16.640 --> 0:18:19.800
<v Speaker 3>But he just he just gives so much.

0:18:20.280 --> 0:18:20.600
<v Speaker 1>Yeah.

0:18:20.680 --> 0:18:25.320
<v Speaker 2>Yeah, it takes a lot, and it's genuine skills to

0:18:25.400 --> 0:18:27.479
<v Speaker 2>do what he what he does, and I mean, I

0:18:27.520 --> 0:18:30.800
<v Speaker 2>love I mean Cable Guy was my introduction to Jim Carrey.

0:18:30.840 --> 0:18:33.240
<v Speaker 2>For some reason, I was actually put off by the

0:18:33.560 --> 0:18:37.199
<v Speaker 2>bigness of Jim Carrey. So it wasn't until Cable Guy,

0:18:37.240 --> 0:18:40.400
<v Speaker 2>which I saw because I love Matthew Broderick, and I thought, ah,

0:18:40.440 --> 0:18:42.520
<v Speaker 2>I get it now. And then I kind of went

0:18:42.560 --> 0:18:45.640
<v Speaker 2>back and watched those films again and kind of had

0:18:45.760 --> 0:18:48.400
<v Speaker 2>a new appreciation for them. And then his work obviously

0:18:48.520 --> 0:18:51.600
<v Speaker 2>when he goes through his Robin Williams deep Pelt Society

0:18:51.640 --> 0:18:56.200
<v Speaker 2>stage and you know with The Truman Show and Eternal Sunshine,

0:18:56.200 --> 0:19:00.439
<v Speaker 2>the Spotless Mind, incredible incredible performer.

0:19:01.320 --> 0:19:04.240
<v Speaker 3>The warm up sequence when in Cable Guy, where Jim

0:19:04.240 --> 0:19:06.080
<v Speaker 3>Carrey has gone to play basketball with him and does

0:19:06.119 --> 0:19:08.720
<v Speaker 3>a warm up sequence where he does the shuttle runs

0:19:08.760 --> 0:19:11.040
<v Speaker 3>back and forth. It's one of my favorite scenes of

0:19:11.080 --> 0:19:14.360
<v Speaker 3>any movie ever. It is quite extraordinary.

0:19:14.440 --> 0:19:17.000
<v Speaker 2>If you haven't seen Cable Guy, you get the bonus

0:19:17.080 --> 0:19:22.160
<v Speaker 2>of early Jack Black Early Owen Wilson in the very

0:19:22.160 --> 0:19:27.160
<v Speaker 2>funny film Got a Dark Comedy, And I do remember

0:19:27.320 --> 0:19:29.480
<v Speaker 2>the line I love was I learned the facts. I

0:19:29.560 --> 0:19:32.000
<v Speaker 2>learned the facts of life by watching the Facts of Life.

0:19:34.000 --> 0:19:35.679
<v Speaker 2>That was one of the sitcoms that was pretty popular

0:19:35.760 --> 0:19:37.480
<v Speaker 2>now House Growing Up.

0:19:38.280 --> 0:19:41.120
<v Speaker 3>And Jim Carrey. Jim Carey also gave I reckon one

0:19:41.160 --> 0:19:47.280
<v Speaker 3>of the most authentic performances of rhinoceros being born in

0:19:48.000 --> 0:19:54.280
<v Speaker 3>Acepentura Pet Detective too, that scene where he's stuck inside

0:19:54.640 --> 0:19:59.480
<v Speaker 3>the fake rhinoceros and births himself in front of the tourists.

0:20:00.119 --> 0:20:02.720
<v Speaker 3>That is I don't think you'll see a comedy performance

0:20:02.800 --> 0:20:03.720
<v Speaker 3>better than that.

0:20:04.320 --> 0:20:07.119
<v Speaker 1>You're a vet was it accurate? Like? Were you watching it?

0:20:07.359 --> 0:20:08.679
<v Speaker 1>They've nailed this, They've nailed this.

0:20:09.560 --> 0:20:12.160
<v Speaker 3>That's what I was drawn to it. It's remarkably authentic,

0:20:12.320 --> 0:20:15.399
<v Speaker 3>and I mean they could have included that in the

0:20:15.480 --> 0:20:18.040
<v Speaker 3>vetory science syllabus. It's that good.

0:20:20.520 --> 0:20:23.080
<v Speaker 1>Let's move on to a Top Gun, my next typer

0:20:23.119 --> 0:20:23.560
<v Speaker 1>Ow film.

0:20:23.800 --> 0:20:28.399
<v Speaker 2>I know it's yeah, we did this with Tony Martin

0:20:28.440 --> 0:20:30.159
<v Speaker 2>had never seen Top Gun, believe it or not, and

0:20:31.160 --> 0:20:34.640
<v Speaker 2>we watched it. It's funny when you watch it as

0:20:34.640 --> 0:20:38.320
<v Speaker 2>an adult, and I watch it because I loved it

0:20:38.359 --> 0:20:42.000
<v Speaker 2>as a kid, and I like and I'm not I'm

0:20:42.040 --> 0:20:43.960
<v Speaker 2>not turning my back on Top Gun. But when you

0:20:44.000 --> 0:20:45.639
<v Speaker 2>watch it through the eyes of somebody watching it for

0:20:45.680 --> 0:20:49.000
<v Speaker 2>the first time, particularly like a cinephile like Tony, you

0:20:49.080 --> 0:20:51.359
<v Speaker 2>kind of go you see everything that's kind of silly

0:20:51.359 --> 0:20:53.520
<v Speaker 2>and wrong about it, as opposed to when I watched

0:20:53.520 --> 0:20:57.600
<v Speaker 2>it in the cinema in you know, eighty six and

0:20:57.640 --> 0:21:01.640
<v Speaker 2>then many times on VHS afterwards and just just loved it.

0:21:01.800 --> 0:21:04.520
<v Speaker 2>You know, I was all on board the tom Cruise Express.

0:21:05.840 --> 0:21:08.560
<v Speaker 2>It's it's a very different experience. So do you see it?

0:21:08.880 --> 0:21:09.960
<v Speaker 2>When did you first see it?

0:21:11.160 --> 0:21:13.320
<v Speaker 3>I saw it in the cinema when I when I

0:21:13.359 --> 0:21:17.199
<v Speaker 3>was a kid. And I mean I should preface this

0:21:17.280 --> 0:21:19.600
<v Speaker 3>by saying that that as a kid, I all I

0:21:19.640 --> 0:21:23.879
<v Speaker 3>wanted to do was be a pilot. Okay, I'm sex

0:21:23.960 --> 0:21:27.600
<v Speaker 3>with planes and still to this day I'm I can

0:21:27.720 --> 0:21:29.560
<v Speaker 3>you know, if a plane flies over, I can tell

0:21:29.560 --> 0:21:31.480
<v Speaker 3>you what sort of plane it is and probably where

0:21:31.480 --> 0:21:33.919
<v Speaker 3>it's going. It's a it's a little bit it's a

0:21:33.920 --> 0:21:38.160
<v Speaker 3>little bit rain Man esque. Another great film, but it's

0:21:38.440 --> 0:21:41.680
<v Speaker 3>I've always been fascinated with with aviation, and and I've

0:21:41.680 --> 0:21:44.800
<v Speaker 3>had a few flying lessons, but I've always been hampered

0:21:44.800 --> 0:21:49.160
<v Speaker 3>by the fact that I am significantly color blind, and

0:21:49.280 --> 0:21:52.119
<v Speaker 3>so I think a little bit of this film was

0:21:52.119 --> 0:21:57.200
<v Speaker 3>me living vicariously through this this this film, this film,

0:21:57.240 --> 0:22:01.520
<v Speaker 3>and this experience. So I when I watched it, I

0:22:01.680 --> 0:22:04.840
<v Speaker 3>just fell in love with the action. And it's an

0:22:04.840 --> 0:22:07.800
<v Speaker 3>action film, but it's an action film at you know,

0:22:07.920 --> 0:22:13.080
<v Speaker 3>ten thousand feet like it's and sure that the whole

0:22:13.119 --> 0:22:17.560
<v Speaker 3>film is predicated upon the you know, the time Tom

0:22:17.640 --> 0:22:22.240
<v Speaker 3>Cruise is inverted upside down with a MiG and they

0:22:22.280 --> 0:22:25.600
<v Speaker 3>get the polaroid shot between him and Goose, get this

0:22:26.040 --> 0:22:29.440
<v Speaker 3>polaroid shot of them flipping the bird at a MiG

0:22:29.480 --> 0:22:33.800
<v Speaker 3>pilot and the two canopies of the planes are about

0:22:34.160 --> 0:22:38.919
<v Speaker 3>like ten centimeters apart, and it completely ignores the fact

0:22:39.200 --> 0:22:47.240
<v Speaker 3>that the tales of those planes are about twenty meters high,

0:22:45.080 --> 0:22:50.359
<v Speaker 3>and like that was an aviation accident that should have

0:22:50.400 --> 0:22:54.160
<v Speaker 3>occurred but didn't, and so somehow the tails are ignored

0:22:54.160 --> 0:22:57.640
<v Speaker 3>in this they get upside down inverted, they get they

0:22:57.640 --> 0:23:01.080
<v Speaker 3>have this close contact. It makes Maverick Tom Cruise a

0:23:01.119 --> 0:23:04.000
<v Speaker 3>star within the Air Force, within the US Air Force,

0:23:04.520 --> 0:23:09.320
<v Speaker 3>and he's sort of propelled into Top Gun all based

0:23:09.320 --> 0:23:14.440
<v Speaker 3>on a lie. If you could get past that, then

0:23:14.920 --> 0:23:17.160
<v Speaker 3>then you're in for a rollicking good time.

0:23:17.800 --> 0:23:21.520
<v Speaker 2>I suspect Tom Cruise is also launched into the stratosphere

0:23:21.560 --> 0:23:25.600
<v Speaker 2>based on his volleyball shirtless volleyball skills.

0:23:26.400 --> 0:23:30.320
<v Speaker 3>Have you ever have you ever tried to play beach

0:23:30.400 --> 0:23:33.240
<v Speaker 3>volleyball on a summer's day in nothing but jeans?

0:23:33.800 --> 0:23:36.240
<v Speaker 1>I'm not sure why. Yeah, I mean put some boardies on.

0:23:37.320 --> 0:23:42.320
<v Speaker 3>It's it's it's so impractical, and you know, jeans limit

0:23:42.440 --> 0:23:46.480
<v Speaker 3>your movements in every in every sense, the sand, the sweat,

0:23:46.680 --> 0:23:51.280
<v Speaker 3>it's it's so I watched that scene wondering why. And

0:23:51.880 --> 0:23:55.959
<v Speaker 3>but then in the Top Gun Maverick sequel, they do it,

0:23:56.000 --> 0:23:58.200
<v Speaker 3>they do it again, and I was just like wow,

0:23:58.359 --> 0:24:01.439
<v Speaker 3>Like you're standing by your position on the on the

0:24:01.480 --> 0:24:05.000
<v Speaker 3>denim on the beach, whereas you know where I'm from

0:24:05.000 --> 0:24:07.920
<v Speaker 3>in Newcastle, you don't you don't wear you don't wear

0:24:07.920 --> 0:24:10.280
<v Speaker 3>denim on the beach unless you are a Westie and

0:24:10.640 --> 0:24:12.480
<v Speaker 3>you've never been to the beach before in your lot.

0:24:13.440 --> 0:24:16.800
<v Speaker 3>So like the even even in Bondi now, like if

0:24:16.840 --> 0:24:20.560
<v Speaker 3>the lifeguards see someone turn up to the beach in

0:24:20.680 --> 0:24:23.480
<v Speaker 3>jeans and go for a swim, even in jeans, like

0:24:23.560 --> 0:24:26.080
<v Speaker 3>they start rolling on Bondo Rescue because they know they're

0:24:26.119 --> 0:24:27.200
<v Speaker 3>onto They're onto something.

0:24:27.440 --> 0:24:30.879
<v Speaker 2>Immediately half of bond I Rescue people from the subcontinent

0:24:30.960 --> 0:24:32.600
<v Speaker 2>who are swimming in Wranglers.

0:24:33.200 --> 0:24:35.960
<v Speaker 3>Yeah, yeah, yeah, yeah, I mean it's it's I'd be

0:24:36.000 --> 0:24:40.160
<v Speaker 3>surprised if there isn't some sort of secret Wranglers sponsorship

0:24:40.200 --> 0:24:43.080
<v Speaker 3>of the Progrim because there's so much branding that you

0:24:43.160 --> 0:24:46.080
<v Speaker 3>see during during an episode of Bondo Rescue.

0:24:46.320 --> 0:24:47.400
<v Speaker 1>It is incredible, top Gun.

0:24:47.600 --> 0:24:49.919
<v Speaker 2>It really is the birth of a megastar with with

0:24:50.119 --> 0:24:53.959
<v Speaker 2>with the with Tom Cruise, like he just from there,

0:24:54.040 --> 0:24:55.639
<v Speaker 2>he just explodes.

0:24:55.680 --> 0:24:57.679
<v Speaker 1>He made I think a few films, you know, all

0:24:57.720 --> 0:24:58.720
<v Speaker 1>the right moves.

0:24:58.600 --> 0:25:01.600
<v Speaker 2>And taps and the for them, but I think that

0:25:01.720 --> 0:25:04.480
<v Speaker 2>kicks off, like you know, rain Man comes after that,

0:25:04.560 --> 0:25:06.640
<v Speaker 2>and then the Born of the July and and.

0:25:06.640 --> 0:25:08.560
<v Speaker 1>It really did this. He exploded after that.

0:25:08.640 --> 0:25:12.800
<v Speaker 3>Jerry Maguire yeah, yeah, And I think that the passion

0:25:12.800 --> 0:25:16.800
<v Speaker 3>that he delivers his role with. And but also he's

0:25:16.960 --> 0:25:21.720
<v Speaker 3>just obscene cleanliness in every scene. He's always perfectly manicured,

0:25:21.880 --> 0:25:24.800
<v Speaker 3>and and he's you know, the heart frog and the

0:25:25.560 --> 0:25:29.919
<v Speaker 3>the you know, the Kelly McGillis character call signed Charlie

0:25:30.960 --> 0:25:33.719
<v Speaker 3>she you know, is she's caught up in this. I mean,

0:25:33.720 --> 0:25:37.399
<v Speaker 3>it's an HR department nightmare. The fact that Kelly mcgillis's character,

0:25:37.560 --> 0:25:41.679
<v Speaker 3>Charlie she is she's working at Top Gun as an

0:25:41.680 --> 0:25:45.600
<v Speaker 3>instructor and as an advisor, and Tom Cruise is courting

0:25:45.600 --> 0:25:48.560
<v Speaker 3>her at the same time. And you know, but all

0:25:48.600 --> 0:25:51.119
<v Speaker 3>these things shouldn't happen in the workplace, but this is

0:25:51.160 --> 0:25:53.879
<v Speaker 3>the eighties, so they're allowed to happen in the workplace.

0:25:55.200 --> 0:25:57.960
<v Speaker 3>And you know, the singing of you've lost that loving

0:25:58.000 --> 0:26:01.879
<v Speaker 3>feeling in the in the air Force bar, which you know,

0:26:02.280 --> 0:26:10.640
<v Speaker 3>somehow miraculously impresses her. It's it's it's it's quite remarkable.

0:26:10.680 --> 0:26:13.600
<v Speaker 3>But but I think just bite de bite. It sort

0:26:13.640 --> 0:26:16.600
<v Speaker 3>of being this this incredible eighties action flick that's set

0:26:16.840 --> 0:26:20.719
<v Speaker 3>in the air it does actually bring you, i mean

0:26:20.800 --> 0:26:23.439
<v Speaker 3>quite literally crashing back to worth with the death of goose,

0:26:23.880 --> 0:26:27.359
<v Speaker 3>and that's becomes as such a surprise and and and

0:26:27.520 --> 0:26:31.440
<v Speaker 3>really hits you, hits It's a real gut punch of emotion.

0:26:31.720 --> 0:26:38.520
<v Speaker 3>And and I think that that moment is is something

0:26:38.520 --> 0:26:40.720
<v Speaker 3>that I actually I really enjoyed the film because I

0:26:40.960 --> 0:26:44.320
<v Speaker 3>feel like it's it brings brings a bit of depth

0:26:44.920 --> 0:26:46.840
<v Speaker 3>to the to the film, which which may not have

0:26:46.880 --> 0:26:49.600
<v Speaker 3>been there originally. But I just love I just love

0:26:49.680 --> 0:26:51.800
<v Speaker 3>the action, and I love the adventure, and I love

0:26:51.840 --> 0:26:54.760
<v Speaker 3>the excitement and and and I love the fact that

0:26:55.040 --> 0:26:58.680
<v Speaker 3>when Tom Cruise is finally like it looks like he's

0:26:58.720 --> 0:27:05.399
<v Speaker 3>finally won over Kelly mcgillis's character, he inexplicably decides he

0:27:05.440 --> 0:27:09.320
<v Speaker 3>has to leave and go and have a shower. He's

0:27:09.359 --> 0:27:11.840
<v Speaker 3>having drinks at a house. She's invited him to his

0:27:12.080 --> 0:27:17.680
<v Speaker 3>to a house. They're like making out and then for

0:27:17.720 --> 0:27:19.879
<v Speaker 3>no reason at all, he just s gets up and

0:27:19.960 --> 0:27:23.800
<v Speaker 3>leaves and goes and has a shower. Like, what is that's?

0:27:23.840 --> 0:27:24.080
<v Speaker 1>To me?

0:27:24.200 --> 0:27:27.879
<v Speaker 3>Is the biggest story? What? How bad is Tom Cruise's body?

0:27:27.880 --> 0:27:28.120
<v Speaker 1>Over?

0:27:29.680 --> 0:27:32.080
<v Speaker 3>How bad is Maverick's body? Odor that he has to

0:27:32.160 --> 0:27:34.159
<v Speaker 3>leave and have a shower right when he's about to

0:27:34.840 --> 0:27:35.920
<v Speaker 3>achieve his goal.

0:27:36.560 --> 0:27:40.360
<v Speaker 2>And the other big question is which we approach with Tony,

0:27:41.160 --> 0:27:43.679
<v Speaker 2>and nobody really seems to be able to answer this.

0:27:43.800 --> 0:27:47.119
<v Speaker 2>In fact, I was able to interview Myles Teller and

0:27:47.320 --> 0:27:48.639
<v Speaker 2>I asked him, so I didn't get a chance to

0:27:48.640 --> 0:27:49.879
<v Speaker 2>ask Tom Cruise.

0:27:50.520 --> 0:27:54.680
<v Speaker 1>But who are they fighting at the end? Who is

0:27:54.720 --> 0:27:55.200
<v Speaker 1>the enemy?

0:27:56.800 --> 0:28:00.720
<v Speaker 3>It's an unknown or unnamed com me in a state

0:28:00.880 --> 0:28:04.840
<v Speaker 3>because they have it's red. The helmets of the opponents

0:28:04.840 --> 0:28:07.879
<v Speaker 3>are red. But they have a star like sort of

0:28:07.880 --> 0:28:14.080
<v Speaker 3>that communist star. But it's it's never stated, no, and

0:28:14.240 --> 0:28:17.000
<v Speaker 3>maybe maybe they don't need to know, maybe they don't

0:28:17.040 --> 0:28:19.720
<v Speaker 3>want to know, like it's it's It is odd, isn't

0:28:19.720 --> 0:28:22.480
<v Speaker 3>it that they've never well, they've never named.

0:28:22.200 --> 0:28:25.320
<v Speaker 2>It because if you follow the logic, and I think

0:28:25.320 --> 0:28:28.840
<v Speaker 2>it's kind of smart that they didn't, you know, give it,

0:28:29.200 --> 0:28:32.200
<v Speaker 2>you know, name the country. It doesn't need that kind

0:28:32.200 --> 0:28:35.280
<v Speaker 2>of movie doesn't need that. But what but the inference

0:28:35.400 --> 0:28:38.440
<v Speaker 2>is basically is America? Because these guys are you know,

0:28:38.800 --> 0:28:44.160
<v Speaker 2>we're in San Diego. I think top gunanies. Yeah, basically

0:28:44.320 --> 0:28:47.920
<v Speaker 2>this doesn't this mean America is basically being invaded? How

0:28:48.080 --> 0:28:51.480
<v Speaker 2>how far away does this happen? Like it doesn't seem

0:28:51.480 --> 0:28:53.760
<v Speaker 2>like it's a long way away. I kinda forget. Maybe

0:28:53.800 --> 0:28:55.600
<v Speaker 2>in the graphics they explain where it is in the

0:28:56.120 --> 0:28:59.959
<v Speaker 2>Indian Ocean, but yeah, that's the biggest story, that America

0:29:00.120 --> 0:29:02.680
<v Speaker 2>was being invaded and they stopped that invasion.

0:29:03.480 --> 0:29:06.360
<v Speaker 3>Yeah, yeah, Yeah, it's a it's sort of a rogue

0:29:06.440 --> 0:29:11.880
<v Speaker 3>state vibe. But you know from from you never hear

0:29:12.000 --> 0:29:14.440
<v Speaker 3>the enemy speak as well as there's never any accent.

0:29:14.720 --> 0:29:19.000
<v Speaker 2>Yeah, a very conscious decision not to not to get

0:29:19.040 --> 0:29:22.200
<v Speaker 2>themselves in hot water with any with any country by

0:29:22.320 --> 0:29:23.360
<v Speaker 2>by not naming them.

0:29:23.600 --> 0:29:25.520
<v Speaker 3>And even the pilots when you when they cut to

0:29:25.560 --> 0:29:29.400
<v Speaker 3>the cockpit of the pilots that they have visors down

0:29:29.440 --> 0:29:32.440
<v Speaker 3>so you can't even like identify some sort of ethnicity.

0:29:33.120 --> 0:29:39.360
<v Speaker 3>It's completely it's there's no reference to it whatsoever. But yeah,

0:29:39.680 --> 0:29:41.720
<v Speaker 3>before I can tell it's it's kind of one of

0:29:41.760 --> 0:29:46.880
<v Speaker 3>the sort of more this week invasion forces you've ever seen,

0:29:46.880 --> 0:29:48.680
<v Speaker 3>because it looks like they've got three planes and that

0:29:48.720 --> 0:29:50.440
<v Speaker 3>they decide they're going to take on the US with

0:29:50.520 --> 0:29:53.560
<v Speaker 3>three planes and that's and that's it.

0:29:53.560 --> 0:29:56.600
<v Speaker 2>It's incredible, it's incredible, it's you know, you know what,

0:29:57.400 --> 0:29:59.040
<v Speaker 2>I never thought of it at the time. It was

0:29:59.080 --> 0:30:03.440
<v Speaker 2>only many many years later I thought, So there we go.

0:30:03.800 --> 0:30:05.680
<v Speaker 2>They made the right choice.

0:30:06.240 --> 0:30:08.920
<v Speaker 3>I mean, I know I've kind of it sounds like

0:30:08.920 --> 0:30:12.000
<v Speaker 3>I'm shit canning it. But the reason I love it

0:30:12.040 --> 0:30:14.920
<v Speaker 3>is because of the kind of similar to Dumb and Dumber.

0:30:14.960 --> 0:30:17.640
<v Speaker 3>It's it's the escapism of the whole thing and the

0:30:17.720 --> 0:30:20.360
<v Speaker 3>adventure and and that's what I get out of That's

0:30:20.360 --> 0:30:22.640
<v Speaker 3>what I get out of films is I just love

0:30:22.760 --> 0:30:27.840
<v Speaker 3>to be transported into this alternate universe and and and

0:30:27.960 --> 0:30:31.760
<v Speaker 3>go on on a rollicking good time and feel like

0:30:32.240 --> 0:30:36.360
<v Speaker 3>this is, you know, just a beautiful distraction from from

0:30:36.360 --> 0:30:39.560
<v Speaker 3>everything else. And you know, with Top Gun, it's it's

0:30:39.600 --> 0:30:45.320
<v Speaker 3>the flying and the high speed sequences and and you know,

0:30:45.400 --> 0:30:49.800
<v Speaker 3>and Goose Goose's demise and and and the redemption for Maverick.

0:30:50.000 --> 0:30:53.920
<v Speaker 3>It's yeah, I just I've just always associated with with

0:30:54.520 --> 0:30:57.080
<v Speaker 3>just this feeling it gave me when I first watched it,

0:30:57.120 --> 0:31:00.640
<v Speaker 3>and then as a tribute, I actually my twin first

0:31:00.960 --> 0:31:04.160
<v Speaker 3>birthday party was Top Gun theme. Oh oh my god,

0:31:06.560 --> 0:31:09.680
<v Speaker 3>I have photos of this, and everyone came in like

0:31:09.800 --> 0:31:14.080
<v Speaker 3>aviators and flight suits and I sang, you've lost that

0:31:14.160 --> 0:31:17.800
<v Speaker 3>loving feeling. Of course at my twenty first, oh my god,

0:31:18.880 --> 0:31:21.600
<v Speaker 3>it was it was on It was actually at a

0:31:21.680 --> 0:31:25.960
<v Speaker 3>surf club in Newcastle, and which which which gave it

0:31:26.040 --> 0:31:27.760
<v Speaker 3>that sort of San Diego vibe.

0:31:27.880 --> 0:31:29.120
<v Speaker 1>Yeah, it was.

0:31:29.200 --> 0:31:32.920
<v Speaker 3>It happened at night, annoyingly, so we couldn't play, you know,

0:31:33.280 --> 0:31:36.479
<v Speaker 3>jeans clad beats volleyball. But it was just it was

0:31:36.720 --> 0:31:40.200
<v Speaker 3>like we were we're at fighter school, and that's that's

0:31:40.200 --> 0:31:42.040
<v Speaker 3>why it was just the perfect, the perfect thing.

0:31:42.280 --> 0:31:45.479
<v Speaker 2>I I am requesting that you provide a photo that

0:31:45.480 --> 0:31:49.720
<v Speaker 2>we can put on Socials when this episode goes out

0:31:50.520 --> 0:31:53.240
<v Speaker 2>the cigaret life of Waldemity. Ben's still a bit of

0:31:53.280 --> 0:31:56.800
<v Speaker 2>a passion project, I think for Ben Stiller, but a

0:31:56.880 --> 0:31:59.720
<v Speaker 2>really really amazing film. And when I think about the

0:31:59.720 --> 0:32:02.880
<v Speaker 2>sec what a MIDI I think about sometimes you get

0:32:02.880 --> 0:32:05.560
<v Speaker 2>a movie and maybe even this for the trailer where

0:32:05.560 --> 0:32:10.440
<v Speaker 2>there's a song that marries up perfectly to that movie,

0:32:10.800 --> 0:32:15.560
<v Speaker 2>and that song of Monsters and Men, which is I

0:32:15.600 --> 0:32:17.320
<v Speaker 2>think they I think they're Icelandic, aren't.

0:32:17.120 --> 0:32:18.920
<v Speaker 3>They They're from Rakvic?

0:32:19.240 --> 0:32:19.440
<v Speaker 1>Yeah?

0:32:19.840 --> 0:32:24.080
<v Speaker 2>Yeah, And that I remember thinking what a perfect you know,

0:32:24.160 --> 0:32:25.920
<v Speaker 2>I mean, the trailers is so good and and the

0:32:26.080 --> 0:32:29.400
<v Speaker 2>and that song I just thought fit it perfectly. And

0:32:29.400 --> 0:32:30.880
<v Speaker 2>then the movie delivered as well.

0:32:31.720 --> 0:32:35.720
<v Speaker 3>That the soundtrack to the whole film is one of

0:32:35.760 --> 0:32:40.280
<v Speaker 3>my most played things in you know, on my my Spotify,

0:32:40.920 --> 0:32:46.400
<v Speaker 3>because it is it's escapism music, and it's it's it's

0:32:46.680 --> 0:32:52.320
<v Speaker 3>music that's a soundtrack to adventure. And I think that's

0:32:52.320 --> 0:32:54.200
<v Speaker 3>what I love about the film is the fact that

0:32:54.920 --> 0:33:02.480
<v Speaker 3>it is kind of the this ultimate adventure travel film

0:33:03.000 --> 0:33:08.320
<v Speaker 3>where you are transported to this sort of magical part

0:33:08.360 --> 0:33:10.600
<v Speaker 3>of the world, this mysterious part of the world where

0:33:10.880 --> 0:33:15.400
<v Speaker 3>you know, Ben Steeler's characters is trying to find this

0:33:15.480 --> 0:33:20.960
<v Speaker 3>missing photographer and and and this missing photo And I

0:33:21.080 --> 0:33:27.960
<v Speaker 3>love photography, I love travel, and I love Scandinavia and

0:33:27.960 --> 0:33:32.240
<v Speaker 3>and so all those elements. It's it's like my sort

0:33:32.240 --> 0:33:36.800
<v Speaker 3>of dream trip combined in put into a film. And

0:33:37.200 --> 0:33:42.280
<v Speaker 3>I just I love the the little sidebars of of

0:33:42.400 --> 0:33:46.520
<v Speaker 3>adventure and experience that that that Ben Steller's character has

0:33:46.680 --> 0:33:48.320
<v Speaker 3>along the way. So it makes it just a really

0:33:48.360 --> 0:33:49.560
<v Speaker 3>aspirational watch.

0:33:50.040 --> 0:33:52.400
<v Speaker 1>Yeah, I remember really loving it.

0:33:53.360 --> 0:33:57.360
<v Speaker 2>And because it's it's a it's a Kirsten Wig as well,

0:33:57.440 --> 0:34:00.640
<v Speaker 2>isn't that She's Ben Stiller film? Because he goes on

0:34:00.680 --> 0:34:04.880
<v Speaker 2>this incredible adventure and if you haven't seen The cigare

0:34:04.960 --> 0:34:08.320
<v Speaker 2>Life of Water Meta get onto it's it's a cranker.

0:34:08.600 --> 0:34:10.439
<v Speaker 2>But at this time we should talk about the film

0:34:10.480 --> 0:34:12.520
<v Speaker 2>that we are here to talk about, written and directed

0:34:12.560 --> 0:34:15.880
<v Speaker 2>by Andrew Dominic from the year two thousand, starring of

0:34:15.880 --> 0:34:19.760
<v Speaker 2>course Eric Banner, also I mean Vince Colossimo, David Field,

0:34:20.000 --> 0:34:26.920
<v Speaker 2>Dan Wiley, Kate b and Simon Linden. The cast is incredible.

0:34:27.200 --> 0:34:31.120
<v Speaker 2>The movie is Chopper, Doctor Chris Brown.

0:34:31.400 --> 0:34:32.200
<v Speaker 1>Did you enjoy it?

0:34:34.440 --> 0:34:41.040
<v Speaker 3>Be honest, Yep, No, I didn't. Okay, I didn't like it.

0:34:41.360 --> 0:34:43.400
<v Speaker 2>I mean, this is this is a film, this is

0:34:43.520 --> 0:34:46.919
<v Speaker 2>and I say this always on this podcast. People will

0:34:46.960 --> 0:34:49.920
<v Speaker 2>watch a film and they you know, oft in the

0:34:49.920 --> 0:34:52.000
<v Speaker 2>morning of the night before. I think, in this case,

0:34:53.160 --> 0:34:55.239
<v Speaker 2>and it's a lot and this is a this is

0:34:55.239 --> 0:34:59.000
<v Speaker 2>a film that is well, it is divisive, it's it's

0:34:59.040 --> 0:35:02.319
<v Speaker 2>it's it's a maz in a way that so many

0:35:02.400 --> 0:35:05.719
<v Speaker 2>people love it because it is it's it's a bit

0:35:05.719 --> 0:35:08.080
<v Speaker 2>full on. It it's a bit full on. And and

0:35:08.160 --> 0:35:10.439
<v Speaker 2>I always make the point that people are often still

0:35:10.480 --> 0:35:12.319
<v Speaker 2>processing a film. We've had example, and I'm not saying

0:35:12.360 --> 0:35:13.960
<v Speaker 2>this is going to happen to you, Chris, but we've

0:35:13.960 --> 0:35:17.040
<v Speaker 2>had examples where people have come on and the more

0:35:17.040 --> 0:35:19.800
<v Speaker 2>we talk about the film, the more they may start

0:35:19.800 --> 0:35:21.319
<v Speaker 2>to think about it a bit more and enjoy it

0:35:21.320 --> 0:35:23.560
<v Speaker 2>a bit more. But this is this is that weird

0:35:23.640 --> 0:35:27.520
<v Speaker 2>mix of violence and comedy, which it doesn't doesn't always

0:35:28.160 --> 0:35:30.319
<v Speaker 2>work for everyone. But what what we what were your

0:35:30.680 --> 0:35:31.400
<v Speaker 2>what were your thoughts?

0:35:31.960 --> 0:35:39.880
<v Speaker 3>Look, it's gritty, it's dark, and I don't know, you

0:35:40.000 --> 0:35:42.919
<v Speaker 3>probably had had a bit of a scary insight into

0:35:43.040 --> 0:35:45.400
<v Speaker 3>into the way mine my mind works when it comes

0:35:45.440 --> 0:35:50.440
<v Speaker 3>to cinema and into film. I like I like escapism.

0:35:50.960 --> 0:35:55.319
<v Speaker 3>I like to go on an enjoyable ride. And when

0:35:55.520 --> 0:35:59.000
<v Speaker 3>the first half of Chopper is set in a prison,

0:35:59.360 --> 0:36:03.279
<v Speaker 3>a very dark, sort of gray prison, the concept of

0:36:03.400 --> 0:36:07.680
<v Speaker 3>escapism is not surprisingly a little foreign when you are

0:36:07.719 --> 0:36:14.040
<v Speaker 3>stuck inside a prison, and it just the dark humor

0:36:14.080 --> 0:36:17.720
<v Speaker 3>of it. I just I just found it a little,

0:36:18.040 --> 0:36:23.080
<v Speaker 3>I don't know, a little confronting. And I just find

0:36:23.120 --> 0:36:30.879
<v Speaker 3>Chopper's character such so confounding, like he's so contradictory. But

0:36:31.040 --> 0:36:35.920
<v Speaker 3>I know that's what made Mark Chopper read such and

0:36:36.000 --> 0:36:38.600
<v Speaker 3>a enigma in a way, was the fact that he

0:36:38.640 --> 0:36:44.799
<v Speaker 3>could combine humor, this dark charisma, but then this complete

0:36:45.120 --> 0:36:51.040
<v Speaker 3>brutality and and this you know, bordering on being a psychopath,

0:36:51.080 --> 0:36:53.360
<v Speaker 3>where he just doesn't seem to feel pain or sense

0:36:53.920 --> 0:37:00.600
<v Speaker 3>any sort of sorrow for anyone that you just found

0:37:00.600 --> 0:37:03.840
<v Speaker 3>it found it so so confusing, but not in a

0:37:04.280 --> 0:37:05.359
<v Speaker 3>but not in a good way.

0:37:05.960 --> 0:37:09.000
<v Speaker 2>Well it's crazy and that's why I kind of highlighted

0:37:09.040 --> 0:37:10.280
<v Speaker 2>it in my intro.

0:37:10.520 --> 0:37:12.200
<v Speaker 1>It is nuts.

0:37:12.200 --> 0:37:17.440
<v Speaker 2>And I know that celebrity and has almost gotten out

0:37:17.480 --> 0:37:20.239
<v Speaker 2>of control with you know who. It used to be

0:37:20.880 --> 0:37:23.840
<v Speaker 2>that you did something you apply to trade, whether it

0:37:23.880 --> 0:37:25.480
<v Speaker 2>be whether it be comedy or.

0:37:25.480 --> 0:37:28.560
<v Speaker 1>Presenting or singing or acting or dancing.

0:37:28.640 --> 0:37:30.640
<v Speaker 2>And that's and then and now, of course you can

0:37:30.680 --> 0:37:33.200
<v Speaker 2>get famous through a number of different things. And I'm

0:37:33.200 --> 0:37:35.960
<v Speaker 2>not that's not a complaint. Like you know, I think

0:37:36.000 --> 0:37:40.440
<v Speaker 2>it's great that people can make YouTube videos and find

0:37:40.480 --> 0:37:42.719
<v Speaker 2>fame through that because you know, like they're finding an

0:37:42.760 --> 0:37:46.920
<v Speaker 2>audience and obviously people it's a response. But the idea

0:37:47.239 --> 0:37:50.640
<v Speaker 2>that now, you know, twenty five years ago there was

0:37:51.160 --> 0:37:54.880
<v Speaker 2>a guy who became a best selling author and a

0:37:54.920 --> 0:37:57.600
<v Speaker 2>celebrity who was a.

0:37:57.600 --> 0:38:02.400
<v Speaker 1>Hit man, yes, a gang Lang Gang Lang figure.

0:38:02.440 --> 0:38:07.360
<v Speaker 2>This is all before you know, the underbelly juggernaut is

0:38:07.440 --> 0:38:10.800
<v Speaker 2>still incredible to me. Like he was and I remember

0:38:11.239 --> 0:38:13.200
<v Speaker 2>he was on talk shows, you know, he was doing

0:38:13.239 --> 0:38:15.879
<v Speaker 2>the talk show circuit. He was on the footage show.

0:38:15.880 --> 0:38:18.840
<v Speaker 2>He was doing I think some stand up comedy like

0:38:18.960 --> 0:38:23.719
<v Speaker 2>it was. It was bizarre and everyone but I'm sure

0:38:23.719 --> 0:38:26.040
<v Speaker 2>there were some dissenting voices at the time, but everyone

0:38:26.160 --> 0:38:29.560
<v Speaker 2>seemed to be going along with it. Now Chopper was

0:38:29.600 --> 0:38:37.680
<v Speaker 2>it was a Melbourne identity being in Newcastle? Did did

0:38:37.760 --> 0:38:40.720
<v Speaker 2>did he permeate they your your psyche?

0:38:40.800 --> 0:38:42.879
<v Speaker 1>Did he did he? Kind of? Yeah?

0:38:42.960 --> 0:38:45.480
<v Speaker 2>Was he as big in New South Wales or Newcastle?

0:38:45.520 --> 0:38:46.840
<v Speaker 2>Was he he was in Melbourne?

0:38:47.680 --> 0:38:51.879
<v Speaker 3>Not not as as big? And I think that that underworlds,

0:38:52.440 --> 0:38:56.759
<v Speaker 3>that Melbourne underworld was was quite far removed and was

0:38:56.840 --> 0:38:59.720
<v Speaker 3>kind of seen as you know, what what was happening

0:38:59.760 --> 0:39:02.239
<v Speaker 3>down there? And I was like whoa, like what what?

0:39:02.239 --> 0:39:04.319
<v Speaker 3>What the hell? Like? What how how they not got

0:39:04.320 --> 0:39:08.320
<v Speaker 3>this this whole thing under control? But he was certainly

0:39:08.520 --> 0:39:13.200
<v Speaker 3>a character that was a cult figure. And and you

0:39:13.239 --> 0:39:17.560
<v Speaker 3>know a lot of a lot of mates, often poorly,

0:39:17.719 --> 0:39:20.839
<v Speaker 3>would would do an impression of of Chopper. A lot

0:39:20.840 --> 0:39:26.279
<v Speaker 3>of people did Chopper impressions and and so you know,

0:39:26.480 --> 0:39:30.560
<v Speaker 3>I think you had an appreciation for this, this searing

0:39:31.360 --> 0:39:37.600
<v Speaker 3>character that had such a remarkable presence. But at the

0:39:37.640 --> 0:39:42.000
<v Speaker 3>same time, like that the darkness was never was never

0:39:42.040 --> 0:39:45.160
<v Speaker 3>too far away. What I found remarkable was was just

0:39:45.239 --> 0:39:48.960
<v Speaker 3>how seemly and I think this is like part of

0:39:48.960 --> 0:39:52.040
<v Speaker 3>the comedy of it, but the how contrive, how sorry

0:39:52.120 --> 0:39:56.440
<v Speaker 3>he is, Like you'll pull a gun on someone and

0:39:56.440 --> 0:39:58.960
<v Speaker 3>and and go to kill them on the spot, execute

0:39:58.960 --> 0:40:01.080
<v Speaker 3>them in cold blood, and then something will make him

0:40:01.239 --> 0:40:04.040
<v Speaker 3>not do it, and then he's like, oh, sorry, I'm sorry,

0:40:04.080 --> 0:40:08.200
<v Speaker 3>I'm so sorry, and it seems it seems so real

0:40:08.600 --> 0:40:14.040
<v Speaker 3>that he is he is apologetic. And I found that

0:40:14.040 --> 0:40:17.319
<v Speaker 3>that that side of his character so is so intriguing

0:40:17.760 --> 0:40:21.520
<v Speaker 3>the fact that he gives the impression of having such

0:40:21.560 --> 0:40:22.520
<v Speaker 3>a deep conscience.

0:40:23.560 --> 0:40:28.120
<v Speaker 2>Yeah, I I I completely agree, and it's see And

0:40:28.200 --> 0:40:33.880
<v Speaker 2>I do wonder if he was, if he was contrite

0:40:34.000 --> 0:40:38.200
<v Speaker 2>in those moments, you know, and he was remorseful and caring,

0:40:38.480 --> 0:40:41.720
<v Speaker 2>or was it part of his part of his act

0:40:41.960 --> 0:40:44.080
<v Speaker 2>was a performative, you know, the idea, because it's kind

0:40:44.080 --> 0:40:46.120
<v Speaker 2>of scarier in a way that he can stab somebody and.

0:40:46.080 --> 0:40:47.920
<v Speaker 1>Go, are you okay, mate? You know, like you're okay?

0:40:48.000 --> 0:40:50.160
<v Speaker 2>I mean, I mean, at the same time, it's probably

0:40:50.400 --> 0:40:53.120
<v Speaker 2>it probably is real because there's a scene, of course

0:40:53.600 --> 0:41:00.160
<v Speaker 2>when he is attacked by Jimmy, and I figure if

0:41:00.239 --> 0:41:03.239
<v Speaker 2>if the mask was ever gonna slip, it would be

0:41:03.280 --> 0:41:07.000
<v Speaker 2>when he actually has had a few knives. You know,

0:41:07.200 --> 0:41:09.319
<v Speaker 2>the ship's gone in a few times. In fact, let's

0:41:09.320 --> 0:41:12.400
<v Speaker 2>have a listen at at that scene where Jimmy Lafman

0:41:12.440 --> 0:41:15.680
<v Speaker 2>played by Simon Lindon tries to take down Chopper.

0:41:20.840 --> 0:41:21.719
<v Speaker 7>Come he mane.

0:41:24.920 --> 0:41:29.239
<v Speaker 3>Sorry, top, that's all right, that's all right.

0:41:36.680 --> 0:41:50.520
<v Speaker 6>Yeah, shit, Jimmy, if you keep stabbing, you're gonna kill me. Right, terrific,

0:41:50.600 --> 0:41:56.160
<v Speaker 6>snake gay, jim bloody, terrific. You obviously listen and learned, well,

0:41:56.200 --> 0:41:59.440
<v Speaker 6>didn't you always give credit where credit is due, Jimmy,

0:42:00.040 --> 0:42:02.000
<v Speaker 6>look in the top mark for treachery.

0:42:05.520 --> 0:42:09.319
<v Speaker 2>I mean it's I mean, if it keeps stabbing, stabbing me,

0:42:09.360 --> 0:42:10.120
<v Speaker 2>you're gonna kill me.

0:42:11.640 --> 0:42:14.560
<v Speaker 1>I mean, there's genuinely great lines in it.

0:42:14.880 --> 0:42:17.359
<v Speaker 2>But yeah, it makes me think that he was it

0:42:17.520 --> 0:42:20.120
<v Speaker 2>was just part of his his DNA that there was

0:42:20.160 --> 0:42:22.959
<v Speaker 2>obviously a little bit of there was performance, I think,

0:42:23.000 --> 0:42:25.080
<v Speaker 2>but the fact that he's being stabbed and he's still

0:42:26.000 --> 0:42:28.800
<v Speaker 2>the same chomper makes me think that this was actually

0:42:28.840 --> 0:42:29.319
<v Speaker 2>who he was.

0:42:29.920 --> 0:42:34.160
<v Speaker 3>Yeah, It's it's almost a little bit like Terminator esque,

0:42:34.280 --> 0:42:39.000
<v Speaker 3>where you just realize that you cannot kill him. And

0:42:39.000 --> 0:42:42.960
<v Speaker 3>and the fact that he is so emotionless to the

0:42:42.960 --> 0:42:47.680
<v Speaker 3>fact that this, you know, he supposed best mate is

0:42:47.840 --> 0:42:53.160
<v Speaker 3>stabbing him repeatedly, yet he's completely unmoved, unperturbed and just

0:42:53.200 --> 0:42:56.560
<v Speaker 3>carries on with with it. Doesn't break character, doesn't doesn't

0:42:56.840 --> 0:43:01.000
<v Speaker 3>it doesn't show any emotion and almost shows pity for him. Yeah,

0:43:01.320 --> 0:43:05.040
<v Speaker 3>but I think it is quite chilling in a way

0:43:05.160 --> 0:43:08.239
<v Speaker 3>that that he's able to do that, And you can

0:43:08.320 --> 0:43:13.360
<v Speaker 3>see in that cell the mood amongst sort of Jimmy

0:43:13.480 --> 0:43:18.080
<v Speaker 3>and Dan Wiley's character just instantly changed with the like, oh, no,

0:43:18.120 --> 0:43:20.200
<v Speaker 3>we've made a We've made a terrible mistake, because it

0:43:20.239 --> 0:43:22.799
<v Speaker 3>would be easier if he fought back, or if he

0:43:22.880 --> 0:43:25.680
<v Speaker 3>if he was if he was angry, to continue and

0:43:25.719 --> 0:43:29.360
<v Speaker 3>actually kill him. But the fact that he's just impervious

0:43:29.960 --> 0:43:34.520
<v Speaker 3>to these attacks. They just become incredibly frightened by by

0:43:34.560 --> 0:43:35.200
<v Speaker 3>that very thing.

0:43:35.480 --> 0:43:38.759
<v Speaker 2>The fact that his mood can can switch on a

0:43:38.840 --> 0:43:44.239
<v Speaker 2>knife's edge does give an intensity when he goes later

0:43:44.280 --> 0:43:48.640
<v Speaker 2>on to visit Jimmy because he suspects he's heard that

0:43:48.920 --> 0:43:51.360
<v Speaker 2>he may be going to carry out a hit on

0:43:51.400 --> 0:43:54.279
<v Speaker 2>behalf of Nevil Barchas and he's one minute he's telling

0:43:54.320 --> 0:43:54.840
<v Speaker 2>that the kid.

0:43:54.680 --> 0:43:56.560
<v Speaker 5>Look look, hello, hello, Hello.

0:43:57.360 --> 0:43:59.880
<v Speaker 2>He's doing all of that, and then he's having a

0:44:00.239 --> 0:44:01.880
<v Speaker 2>laugh and this is a bit swank, isn't it.

0:44:01.880 --> 0:44:05.040
<v Speaker 1>This is a great old laugh, I mean.

0:44:05.560 --> 0:44:08.440
<v Speaker 2>And then to go into now, Jimmy, I need to

0:44:08.520 --> 0:44:11.840
<v Speaker 2>you know, and and he's serious and he's got the

0:44:11.880 --> 0:44:15.080
<v Speaker 2>gun to his head, you know, like seconds later. It's

0:44:15.600 --> 0:44:20.120
<v Speaker 2>that kind of those characters who you just don't know

0:44:20.160 --> 0:44:22.239
<v Speaker 2>when they're going to switch a gold as far as

0:44:22.440 --> 0:44:24.239
<v Speaker 2>you know, a writer or a director goes or an

0:44:24.239 --> 0:44:26.000
<v Speaker 2>actor to be able to switch it up like that

0:44:26.160 --> 0:44:29.799
<v Speaker 2>is just it gives a very because the audience a

0:44:30.040 --> 0:44:32.360
<v Speaker 2>very intense feeling and experience.

0:44:33.200 --> 0:44:35.359
<v Speaker 3>And this is I guess this is the important thing

0:44:35.400 --> 0:44:40.680
<v Speaker 3>that I think Eric Banner's performance is actually like actually remarkable. Yeah,

0:44:41.239 --> 0:44:45.880
<v Speaker 3>you know, it's it's it's chilling, it's compelling, it it

0:44:45.960 --> 0:44:49.960
<v Speaker 3>has it has humor. You know. He does give like

0:44:50.040 --> 0:44:53.880
<v Speaker 3>one of the worst, one of the worst auditions for

0:44:53.920 --> 0:44:56.480
<v Speaker 3>a role in The Wiggles with that scene with the kids,

0:44:56.760 --> 0:44:59.880
<v Speaker 3>with the with with with Jimmy's daughter where he's doing that.

0:45:01.040 --> 0:45:05.440
<v Speaker 3>It's that's so disturbing because it's his take on how

0:45:05.719 --> 0:45:11.920
<v Speaker 3>Hard a Parent? But I yeah, I just I find

0:45:12.440 --> 0:45:16.920
<v Speaker 3>so many parts of the film so so challenging that

0:45:17.160 --> 0:45:20.160
<v Speaker 3>it's it's hard for me to relax into and enjoy.

0:45:20.239 --> 0:45:23.400
<v Speaker 3>If you like it's it's a harder watch of a

0:45:23.400 --> 0:45:26.680
<v Speaker 3>film rather than an enjoyable watch. It doesn't make it

0:45:26.719 --> 0:45:30.960
<v Speaker 3>a I guess, a terrible it's just it's just for me,

0:45:31.239 --> 0:45:33.120
<v Speaker 3>it's it's a harder film to watch.

0:45:33.520 --> 0:45:36.320
<v Speaker 2>Yeah, And I think we should point out for those

0:45:36.400 --> 0:45:42.160
<v Speaker 2>who are too young to remember. You know, this came

0:45:42.160 --> 0:45:46.239
<v Speaker 2>out of no seemingly came out of nowhere. Eric bandal I,

0:45:46.440 --> 0:45:48.680
<v Speaker 2>I was about to use you about it. I remember

0:45:48.680 --> 0:45:51.200
<v Speaker 2>when Eric Banner was cast. Before the movie came out,

0:45:51.200 --> 0:45:53.040
<v Speaker 2>we just heard that Eric Banner was going playing Chopper.

0:45:53.080 --> 0:45:56.759
<v Speaker 2>It was like he was the biggest sketch comedy star

0:45:57.320 --> 0:46:00.640
<v Speaker 2>in the country. He was doing impressions of of you know,

0:46:00.800 --> 0:46:03.279
<v Speaker 2>Ray Martin was one of his famous ones. He had

0:46:03.320 --> 0:46:06.800
<v Speaker 2>his character Peter, you know, and you know, his Bogan

0:46:06.880 --> 0:46:09.759
<v Speaker 2>kind of character. And then to hear that he was

0:46:09.760 --> 0:46:12.120
<v Speaker 2>playing it took a while to get our heads around it,

0:46:12.160 --> 0:46:15.640
<v Speaker 2>you know, like what And I remember doing a joke

0:46:15.719 --> 0:46:19.319
<v Speaker 2>on stage that I said, Eric Banner has been cast

0:46:19.320 --> 0:46:24.440
<v Speaker 2>as Chopper, I said. And in more breaking news, Mark Mitchell,

0:46:24.520 --> 0:46:27.240
<v Speaker 2>who was from the Comedy Company played on the Fruiter,

0:46:27.719 --> 0:46:29.400
<v Speaker 2>he's been cast as Martin Bryant.

0:46:29.640 --> 0:46:32.680
<v Speaker 1>You know, like it kind of it seemed.

0:46:33.520 --> 0:46:36.560
<v Speaker 2>You know, like it seemed like there was a mix

0:46:36.600 --> 0:46:38.800
<v Speaker 2>of excitement but also like, wow, this is going to

0:46:38.840 --> 0:46:42.200
<v Speaker 2>be interesting and and your fingers crossed for Eric and

0:46:42.200 --> 0:46:44.480
<v Speaker 2>then for him to deliver I think one of the

0:46:44.520 --> 0:46:49.920
<v Speaker 2>great Australian screen performances is incredible and that and that

0:46:50.000 --> 0:46:50.520
<v Speaker 2>launches him.

0:46:50.560 --> 0:46:53.960
<v Speaker 1>Brad Pitt basically sees this movie. He casts him in Troy.

0:46:54.719 --> 0:46:57.560
<v Speaker 2>Then he then gets the director Andrew Dominic to direct

0:46:57.880 --> 0:47:03.320
<v Speaker 2>you know, the assassination of James, and everyone just goes

0:47:03.320 --> 0:47:06.520
<v Speaker 2>from there and it's it's just it was an incredible

0:47:06.520 --> 0:47:09.040
<v Speaker 2>performance and the charming you know, like it was really

0:47:09.680 --> 0:47:11.840
<v Speaker 2>like I can understand. And one of the reasons I

0:47:11.880 --> 0:47:15.160
<v Speaker 2>get people to you know, tell me their top three

0:47:15.160 --> 0:47:17.239
<v Speaker 2>films at the start of the show is you are

0:47:17.280 --> 0:47:19.960
<v Speaker 2>giving us a little bit of an insight into what

0:47:20.040 --> 0:47:22.680
<v Speaker 2>you love and what you what you like, so to

0:47:22.719 --> 0:47:24.440
<v Speaker 2>be honest, and I didn't really think about because you know,

0:47:24.480 --> 0:47:26.560
<v Speaker 2>I basically, you know, heard your three films as as

0:47:26.560 --> 0:47:28.640
<v Speaker 2>you said them. But if you think about the three

0:47:28.640 --> 0:47:31.680
<v Speaker 2>films you nominated, Dumb and Dumber, Top Gun, and The

0:47:31.680 --> 0:47:35.440
<v Speaker 2>Secret Life of Walder Midi, it's probably no shock that

0:47:35.520 --> 0:47:37.960
<v Speaker 2>Chopper didn't sit well with you.

0:47:38.200 --> 0:47:42.080
<v Speaker 3>It's probably in hindsight, Yeah, it makes a lot more sense,

0:47:42.120 --> 0:47:45.880
<v Speaker 3>doesn't it. But you know, but it is you. You

0:47:45.920 --> 0:47:49.200
<v Speaker 3>do witness, as you say, a truly great performance. And

0:47:49.200 --> 0:47:54.680
<v Speaker 3>and I never once questioned Eric Banner as Chopper. You know,

0:47:54.800 --> 0:47:57.799
<v Speaker 3>and at a couple of moments, you just assume you're

0:47:57.840 --> 0:48:01.520
<v Speaker 3>watching Mark read like you actually feel like that that's

0:48:01.760 --> 0:48:04.839
<v Speaker 3>that is actually him, And it's almost a documentary, it's

0:48:04.840 --> 0:48:08.279
<v Speaker 3>almost real life vision because it's so it's such a

0:48:08.360 --> 0:48:13.680
<v Speaker 3>believable portrayal, and and he just commits so wholeheartedly that

0:48:14.280 --> 0:48:18.799
<v Speaker 3>you know it it is a tribute to him. I

0:48:18.840 --> 0:48:21.200
<v Speaker 3>did spend a lot of time in the film looking

0:48:21.200 --> 0:48:24.200
<v Speaker 3>at his ears, though, and I really, I really wanted

0:48:24.200 --> 0:48:25.759
<v Speaker 3>to know what they've done with the years. And I

0:48:25.800 --> 0:48:28.040
<v Speaker 3>was at one point, I'm like, they've just stuck heir,

0:48:28.120 --> 0:48:31.279
<v Speaker 3>They've just stuck hair over them to hide where like

0:48:31.600 --> 0:48:34.799
<v Speaker 3>they haven't chopped off part of his ears prosthetic. Ye,

0:48:34.920 --> 0:48:37.360
<v Speaker 3>what's going on? I was so obsessed with the years,

0:48:38.800 --> 0:48:41.120
<v Speaker 3>which are such a defining feature of the Chopper story

0:48:42.000 --> 0:48:45.120
<v Speaker 3>and continually are used like as a as a punchline

0:48:45.480 --> 0:48:48.359
<v Speaker 3>throughout the film as to why people don't like him

0:48:48.440 --> 0:48:51.040
<v Speaker 3>because because of his the fact he's missing his ears

0:48:51.120 --> 0:48:53.600
<v Speaker 3>and he's going to scare the children because of his ears,

0:48:53.680 --> 0:48:56.360
<v Speaker 3>and you know that they constantly back reference the years,

0:48:56.400 --> 0:48:58.239
<v Speaker 3>and I'm like, which I think is a risky It's

0:48:58.239 --> 0:49:01.480
<v Speaker 3>a risky play given given the relatively short views that

0:49:01.520 --> 0:49:04.160
<v Speaker 3>the Chopper has, but hey, they go there.

0:49:04.360 --> 0:49:11.200
<v Speaker 2>Yeah, I mean, the dad cheers big ears. I mean,

0:49:11.760 --> 0:49:15.840
<v Speaker 2>there is absolute craft, you know, in this movie, and

0:49:15.840 --> 0:49:17.799
<v Speaker 2>that's why Andrew Dominic has gone on and become you

0:49:17.840 --> 0:49:18.960
<v Speaker 2>know this, you know, one of the most sort of

0:49:18.960 --> 0:49:22.759
<v Speaker 2>after directors in the world. Not only does it look

0:49:22.840 --> 0:49:25.799
<v Speaker 2>great before, he gets great performances. But yeah, I love

0:49:26.280 --> 0:49:30.720
<v Speaker 2>where the movie starts. It's Chomper in e Cell watching

0:49:30.840 --> 0:49:35.280
<v Speaker 2>himself back do this interview. And I think that interview

0:49:35.680 --> 0:49:37.920
<v Speaker 2>is which, you know, I think he's almost verbatim in

0:49:37.920 --> 0:49:41.359
<v Speaker 2>an interview he gave and he's you know, a couple

0:49:41.440 --> 0:49:44.520
<v Speaker 2>of the screws are there watching and enjoying it with him,

0:49:44.560 --> 0:49:45.880
<v Speaker 2>and it kind of tells us a lot from the

0:49:45.880 --> 0:49:48.280
<v Speaker 2>get go. He tells us that, you know, he's charming

0:49:48.400 --> 0:49:50.720
<v Speaker 2>enough to you know, have the screws, you know, almost

0:49:50.719 --> 0:49:53.319
<v Speaker 2>be entertained. He's on TV, and the stuff he's saying

0:49:53.320 --> 0:49:55.920
<v Speaker 2>in that interview, I think actually rang true. And that's

0:49:55.920 --> 0:49:59.520
<v Speaker 2>why when we talk about how was there a hitman celebrity,

0:49:59.680 --> 0:50:02.799
<v Speaker 2>it's because I think the feeling was and I think

0:50:02.960 --> 0:50:05.239
<v Speaker 2>you kind of even sense it with the gang land

0:50:05.280 --> 0:50:08.400
<v Speaker 2>wars that go on now. I think the community are like,

0:50:09.080 --> 0:50:13.279
<v Speaker 2>if you guys, keep it in your own areas, if

0:50:13.480 --> 0:50:16.799
<v Speaker 2>innocent people aren't getting you know, affected by this, we'll

0:50:16.840 --> 0:50:19.160
<v Speaker 2>just watch on his entertainment, you know, like, but as

0:50:19.200 --> 0:50:22.200
<v Speaker 2>soon as you can cross that line where a civilian

0:50:22.640 --> 0:50:25.000
<v Speaker 2>and a c civilian gets gets hurt or harm, that's

0:50:25.000 --> 0:50:26.960
<v Speaker 2>when we're you know, that's when we're going to demand

0:50:26.960 --> 0:50:30.240
<v Speaker 2>action in a way. But otherwise just keep it to yourself.

0:50:31.040 --> 0:50:34.560
<v Speaker 3>Yeah. Yeah, And that constant through line of the fact

0:50:34.560 --> 0:50:38.239
<v Speaker 3>that he's having these regular meetings with the police who

0:50:38.280 --> 0:50:41.520
<v Speaker 3>are trying to just corral him into the place they

0:50:41.640 --> 0:50:44.080
<v Speaker 3>want him to be, and he keeps on wanting them

0:50:44.120 --> 0:50:48.560
<v Speaker 3>to admit the fact that he's almost running above the

0:50:48.680 --> 0:50:54.799
<v Speaker 3>law with his operations. I did find that quite quite

0:50:54.800 --> 0:50:56.920
<v Speaker 3>an enjoyable thing to say, and I think you're right

0:50:57.680 --> 0:51:02.680
<v Speaker 3>that's probably how the public assumed things were going. They

0:51:02.760 --> 0:51:05.520
<v Speaker 3>probably didn't want to know the reality of the fact

0:51:05.560 --> 0:51:09.560
<v Speaker 3>that he was he was killing people in cold blood ultimately,

0:51:09.680 --> 0:51:12.440
<v Speaker 3>but these people were bad people, and so that was

0:51:12.480 --> 0:51:17.040
<v Speaker 3>how it was. It was justified, and and so we

0:51:17.040 --> 0:51:19.120
<v Speaker 3>were able to sort of sleep at night. And he

0:51:19.160 --> 0:51:23.080
<v Speaker 3>does does talk about the fact that, you know, most people,

0:51:23.320 --> 0:51:26.560
<v Speaker 3>most people shouldn't be worried about Chopper because he's not

0:51:26.719 --> 0:51:28.759
<v Speaker 3>he's not he's not in their world, he's not them,

0:51:29.040 --> 0:51:31.640
<v Speaker 3>he's not coming after them. And I think that's a

0:51:32.280 --> 0:51:35.880
<v Speaker 3>that that that would that would certainly that would certainly

0:51:35.920 --> 0:51:40.200
<v Speaker 3>explain it. You know, his his celebrity status, but but

0:51:40.280 --> 0:51:44.080
<v Speaker 3>he you know, he does make for a chilling figure

0:51:44.120 --> 0:51:48.200
<v Speaker 3>when you're taken front row two to what what are

0:51:48.320 --> 0:51:53.279
<v Speaker 3>some some pretty robust killings of you know, Sammy the

0:51:53.360 --> 0:51:58.000
<v Speaker 3>Turk for example, which when you're talking about the director

0:51:59.120 --> 0:52:01.440
<v Speaker 3>Andrew Dominique and and what he does with that, that

0:52:01.840 --> 0:52:05.920
<v Speaker 3>the dramatic reenactment of that killing in almost like a

0:52:05.920 --> 0:52:11.439
<v Speaker 3>cartoon esque way is I found it's sort of maybe

0:52:11.520 --> 0:52:13.879
<v Speaker 3>sit up and go what what is? What is this?

0:52:14.040 --> 0:52:16.520
<v Speaker 3>But they almost make a comedy out of a cold

0:52:16.520 --> 0:52:19.320
<v Speaker 3>bloody killing. It's but it's done. It is done beautifully.

0:52:19.320 --> 0:52:21.520
<v Speaker 3>It's done very well and almost humorously.

0:52:22.080 --> 0:52:22.920
<v Speaker 1>Yeah.

0:52:22.960 --> 0:52:26.000
<v Speaker 2>Absolutely, And we'll have a listen to the bow Jangers

0:52:26.040 --> 0:52:29.840
<v Speaker 2>recital maybe soon. But it is like, it's those kinds

0:52:29.880 --> 0:52:36.680
<v Speaker 2>of stylistic decisions that Dominic makes that propels this film

0:52:36.719 --> 0:52:40.320
<v Speaker 2>into into something else. It's it's it's bad its performance obviously,

0:52:40.760 --> 0:52:44.279
<v Speaker 2>but it's also yeah, I love it when you get

0:52:44.280 --> 0:52:48.800
<v Speaker 2>this situation where it's the director or the creative team

0:52:49.080 --> 0:52:51.799
<v Speaker 2>just are all on the same page and and like

0:52:51.880 --> 0:52:55.120
<v Speaker 2>this this is not necessarily a tragedy, like it's a

0:52:55.400 --> 0:52:56.399
<v Speaker 2>it's kind of a tragic comedy.

0:52:56.440 --> 0:52:57.680
<v Speaker 1>I mean a lot of this is also.

0:52:57.440 --> 0:53:01.040
<v Speaker 2>About, you know, a man who who are more comfortable

0:53:01.080 --> 0:53:04.040
<v Speaker 2>on the inside than the outside, and that's we've seen

0:53:04.040 --> 0:53:06.600
<v Speaker 2>that many times. But Shure Shank Redemption is very much

0:53:07.320 --> 0:53:10.640
<v Speaker 2>about that. And it's that they don't overegg that point.

0:53:10.640 --> 0:53:14.120
<v Speaker 2>But it's quite clear that Chopper runs the show inside,

0:53:14.560 --> 0:53:16.399
<v Speaker 2>you know, h division, But as soon as he gets out,

0:53:16.440 --> 0:53:17.640
<v Speaker 2>he's looking over his shoulder.

0:53:17.640 --> 0:53:20.600
<v Speaker 1>You know, he doesn't know, he can't shake. He can

0:53:20.600 --> 0:53:21.799
<v Speaker 1>never shake, h division, It's.

0:53:21.680 --> 0:53:24.960
<v Speaker 2>Always going to be part of him, and that's that's

0:53:25.000 --> 0:53:25.719
<v Speaker 2>not a nice way.

0:53:25.800 --> 0:53:26.960
<v Speaker 1>It's not a nice way to live.

0:53:28.800 --> 0:53:32.080
<v Speaker 3>It's not but you know, he finds ways of spicing

0:53:32.080 --> 0:53:34.359
<v Speaker 3>it up by catching up with his good mates, like

0:53:34.360 --> 0:53:35.360
<v Speaker 3>like Nevil Bardos.

0:53:35.680 --> 0:53:38.920
<v Speaker 2>Yeah, well, let's just lean into Nevil Bartos for a second,

0:53:39.320 --> 0:53:42.080
<v Speaker 2>Vince Colossimo. I mean, it's hilarious from the get go

0:53:42.200 --> 0:53:45.200
<v Speaker 2>that Chopper can't remember his name, despite the fact he

0:53:45.239 --> 0:53:47.000
<v Speaker 2>did actually shoot him in the leg.

0:53:48.280 --> 0:53:51.719
<v Speaker 3>In the knee, right, yeah, which he takes credit for

0:53:51.840 --> 0:53:53.799
<v Speaker 3>because he could have shot him in the head, but

0:53:53.800 --> 0:53:55.880
<v Speaker 3>he decided to shoot him in the knee. So he's

0:53:55.960 --> 0:53:58.480
<v Speaker 3>looking for praise and thanks, yeah, from the.

0:53:58.440 --> 0:54:00.560
<v Speaker 1>Outset, because Chopper is the great.

0:54:00.560 --> 0:54:03.239
<v Speaker 2>Think about the character I think and the way Eric

0:54:03.280 --> 0:54:07.000
<v Speaker 2>plays him, he is well. He points out that he,

0:54:07.080 --> 0:54:08.960
<v Speaker 2>you know, he can barely read or write, but he's

0:54:09.000 --> 0:54:11.440
<v Speaker 2>become this great author. These you know, all these academics

0:54:11.440 --> 0:54:14.400
<v Speaker 2>and intellectuals, you know, can't get published or trying to

0:54:14.400 --> 0:54:16.200
<v Speaker 2>get get their books on shelves and they can't do it.

0:54:16.239 --> 0:54:19.480
<v Speaker 2>But here he is in his cell So he's not

0:54:19.800 --> 0:54:24.480
<v Speaker 2>well educated, but he sees himself as intelligent, you know,

0:54:24.520 --> 0:54:27.120
<v Speaker 2>the way the way he talks. You know, one of

0:54:27.120 --> 0:54:30.920
<v Speaker 2>the early quotes is, you know, even even Beethoven had

0:54:30.920 --> 0:54:36.440
<v Speaker 2>his critics, you know, name three, and Nevil Barts I

0:54:36.480 --> 0:54:38.480
<v Speaker 2>think is a similar kind of thing. He sees himself

0:54:38.480 --> 0:54:41.160
<v Speaker 2>as a businessman, you know, and he's you know, I

0:54:41.160 --> 0:54:44.279
<v Speaker 2>mean Vince Colossimo. I've had the chance to work with

0:54:44.360 --> 0:54:47.120
<v Speaker 2>Vince before. He directed him in an episode of It's

0:54:47.120 --> 0:54:47.439
<v Speaker 2>a Date.

0:54:48.239 --> 0:54:48.440
<v Speaker 1>You know.

0:54:49.160 --> 0:54:51.200
<v Speaker 2>I won't say he's an underrated comic actor because I

0:54:51.200 --> 0:54:53.120
<v Speaker 2>think a lot of people will realize how how good

0:54:53.120 --> 0:54:53.360
<v Speaker 2>he is.

0:54:53.400 --> 0:54:56.920
<v Speaker 1>He's also really good dramatically, but he's so good in this.

0:54:57.000 --> 0:54:59.280
<v Speaker 2>And then there's there's, of course, a famous scene where

0:54:59.360 --> 0:55:02.960
<v Speaker 2>Chopper goes, this is this weird relationship they have and

0:55:05.040 --> 0:55:08.239
<v Speaker 2>you're not sure if Chopper is playing Neville. Is it

0:55:08.239 --> 0:55:10.880
<v Speaker 2>a cat playing with a mouse, you know, or or

0:55:10.880 --> 0:55:13.680
<v Speaker 2>are these this instinctive choices that Choppers making along the

0:55:13.680 --> 0:55:16.799
<v Speaker 2>way we instinctive It's like I need money now, yeah,

0:55:16.840 --> 0:55:19.480
<v Speaker 2>I'm gonna go see Neville. Then he's apologizing and then

0:55:19.480 --> 0:55:21.200
<v Speaker 2>he's fucking him up again like that.

0:55:21.239 --> 0:55:23.000
<v Speaker 1>The fucking around with.

0:55:23.000 --> 0:55:26.840
<v Speaker 2>Nevill Bartos's head by Chopper is quite incredible. But he

0:55:26.880 --> 0:55:29.520
<v Speaker 2>finally goes to the house and of course he wants

0:55:29.520 --> 0:55:30.879
<v Speaker 2>some cash.

0:55:31.280 --> 0:55:31.600
<v Speaker 1>Never a.

0:55:33.400 --> 0:55:36.600
<v Speaker 6>Bloody sorry, mate, I've had a couple of dreams. I

0:55:36.640 --> 0:55:38.399
<v Speaker 6>get a bit bloody carried on. I've just been out.

0:55:38.520 --> 0:55:41.759
<v Speaker 6>You fucking sorrytybody goy.

0:55:42.000 --> 0:55:43.279
<v Speaker 3>I don't know who you think you're talking to him.

0:55:43.320 --> 0:55:44.359
<v Speaker 7>I think you're being very rude.

0:55:44.360 --> 0:55:47.200
<v Speaker 3>You understand, show me some respect. We are very very rude.

0:55:47.560 --> 0:55:48.320
<v Speaker 5>You have money.

0:55:48.400 --> 0:55:52.120
<v Speaker 6>I'm very embarrassed. You know I'm fucking embarrassed. I'm fucking sorry,

0:55:52.280 --> 0:55:54.239
<v Speaker 6>Nev I'm sorry.

0:55:54.719 --> 0:55:57.480
<v Speaker 3>All right, apology accepted. Now let it go. We relaxed,

0:55:57.520 --> 0:55:58.120
<v Speaker 3>take it easy.

0:55:58.160 --> 0:55:59.239
<v Speaker 5>Fuck, I'm trying to relax o.

0:56:06.920 --> 0:56:10.200
<v Speaker 6>But seriously, the like, how you holding for cash? I'm

0:56:10.239 --> 0:56:11.240
<v Speaker 6>a big bloody break.

0:56:13.480 --> 0:56:15.920
<v Speaker 7>This the mate. What are you talking about.

0:56:18.000 --> 0:56:20.560
<v Speaker 5>Cash?

0:56:21.000 --> 0:56:25.680
<v Speaker 8>There's no cash here here, there's no cash, all right, cash,

0:56:25.800 --> 0:56:27.319
<v Speaker 8>no Robbie.

0:56:26.880 --> 0:56:30.960
<v Speaker 3>No cash.

0:56:31.440 --> 0:56:34.399
<v Speaker 6>I'll tell you what you try getting from where you're

0:56:34.440 --> 0:56:38.239
<v Speaker 6>sitting to the front door, because I reckon I could

0:56:38.239 --> 0:56:40.719
<v Speaker 6>shoot you from where you're sitting to the front door.

0:56:40.840 --> 0:56:42.920
<v Speaker 6>Because that's about as long as you've got to produce

0:56:42.960 --> 0:56:46.440
<v Speaker 6>some money for me right now. I'll give you twenty

0:56:46.480 --> 0:56:50.319
<v Speaker 6>seconds to produce some cash as a fucking shoot you one.

0:56:50.719 --> 0:56:53.640
<v Speaker 9>Two. I've got no cash, mate, for I told you this,

0:56:53.800 --> 0:56:59.480
<v Speaker 9>you come here, we shut the fuck down.

0:57:00.160 --> 0:57:13.920
<v Speaker 3>What fifth? Oh god, what the fuck are you doing? Mate?

0:57:14.080 --> 0:57:15.240
<v Speaker 3>Jesus Christ relaxed.

0:57:15.239 --> 0:57:19.400
<v Speaker 9>He's not any w fucking is now, wouldn't he And

0:57:19.440 --> 0:57:23.919
<v Speaker 9>then and then supposedly drives him to the hospital, which

0:57:24.720 --> 0:57:27.600
<v Speaker 9>is again a very funny scene when he explains that

0:57:28.520 --> 0:57:32.000
<v Speaker 9>driving he's victim to the hospital defeats the purpose of

0:57:32.000 --> 0:57:36.040
<v Speaker 9>shooting him in the first place, which is.

0:57:36.440 --> 0:57:39.120
<v Speaker 3>It's probably one of the main Chopper quotes, isn't it

0:57:39.160 --> 0:57:43.080
<v Speaker 3>that that he that he gave and just explains sort

0:57:43.080 --> 0:57:46.560
<v Speaker 3>of the absurdity and the contradiction of of his life

0:57:47.200 --> 0:57:51.400
<v Speaker 3>almost perfectly in one in one statement. Yeah, yeah, you're

0:57:51.400 --> 0:57:55.200
<v Speaker 3>pretty convinced he did he did shoot him. I mean

0:57:55.240 --> 0:57:57.840
<v Speaker 3>he doesn't he doesn't have a short views, he doesn't

0:57:57.880 --> 0:58:03.840
<v Speaker 3>have a fews. It's just flips so so instantly into

0:58:03.920 --> 0:58:06.640
<v Speaker 3>into deciding he's gonna play this game with him and

0:58:06.880 --> 0:58:09.280
<v Speaker 3>shoot him if he doesn't produce cash in twenty seconds.

0:58:09.280 --> 0:58:12.920
<v Speaker 3>That it's It's again, it's that chilling nature of the

0:58:13.000 --> 0:58:15.720
<v Speaker 3>character where you never know exactly when it could turn.

0:58:15.760 --> 0:58:18.360
<v Speaker 3>And I think that's what makes him so so terrifying.

0:58:18.880 --> 0:58:21.520
<v Speaker 2>Yeah, absolutely, because the only time he really seems to

0:58:21.520 --> 0:58:26.560
<v Speaker 2>get emotional is with Tanya. He's he's he's sex worker

0:58:26.640 --> 0:58:29.920
<v Speaker 2>a girlfriend, which I imagine, you know, like if somebody

0:58:30.000 --> 0:58:32.439
<v Speaker 2>is prone to being jealous, and I think Tanya points

0:58:32.480 --> 0:58:35.760
<v Speaker 2>it out, you know, you're seeing who are you fucking?

0:58:35.800 --> 0:58:38.400
<v Speaker 2>And she's like, I'm a I'm a sex worker, you know,

0:58:38.920 --> 0:58:41.439
<v Speaker 2>and it's and I mean there's that scene of course

0:58:41.440 --> 0:58:44.360
<v Speaker 2>where he goes to her house and and and this

0:58:44.400 --> 0:58:47.919
<v Speaker 2>is what the sharpest example of that, in a way,

0:58:48.000 --> 0:58:51.720
<v Speaker 2>the tone of the movie of violence and you know,

0:58:51.880 --> 0:58:54.000
<v Speaker 2>in a way comedy kind of going so closely. He

0:58:54.120 --> 0:58:57.440
<v Speaker 2>actually he's strikes it's off camera, but you see him

0:58:57.560 --> 0:59:02.200
<v Speaker 2>kind of you know, striking Tanya, and it's really really

0:59:02.240 --> 0:59:04.920
<v Speaker 2>hard to watch. It's it's it's horrifying and any headbuts

0:59:06.280 --> 0:59:09.160
<v Speaker 2>his mum and that's really hard to watch. But then

0:59:09.200 --> 0:59:11.200
<v Speaker 2>he and you know that he kind of tries to

0:59:11.200 --> 0:59:15.680
<v Speaker 2>gather himself. He's apologizing, and then and then he says

0:59:15.720 --> 0:59:20.040
<v Speaker 2>this line which like should not be funny, it should

0:59:20.080 --> 0:59:24.080
<v Speaker 2>not be but he says, your mum's upset.

0:59:25.280 --> 0:59:28.200
<v Speaker 1>Man. It's it's like.

0:59:31.120 --> 0:59:33.840
<v Speaker 2>It's funny, and that is that is the movie in

0:59:33.880 --> 0:59:36.760
<v Speaker 2>it like it should not. This guy should not be funny,

0:59:36.960 --> 0:59:40.440
<v Speaker 2>and and and and it's a really tricky balance because

0:59:40.480 --> 0:59:42.680
<v Speaker 2>like I don't come in, I don't come out of

0:59:42.720 --> 0:59:45.920
<v Speaker 2>this going, oh I really you know, I really like

0:59:46.000 --> 0:59:48.560
<v Speaker 2>Chopper or you know, I'm you know, I'm even condoning

0:59:48.560 --> 0:59:51.720
<v Speaker 2>his actions because on top of yeah, he may have

0:59:51.800 --> 0:59:54.880
<v Speaker 2>murdered some people that as a society we may we

0:59:54.920 --> 0:59:56.920
<v Speaker 2>may not care about the drug dealers, and you know,

0:59:57.120 --> 1:00:03.600
<v Speaker 2>you know, getting murdered wrongly are rightly. But there is

1:00:03.640 --> 1:00:07.280
<v Speaker 2>you know, like that that scene was there were innocent

1:00:07.360 --> 1:00:11.400
<v Speaker 2>victims there, and and then he turns around and and

1:00:11.400 --> 1:00:15.080
<v Speaker 2>it's kind but it's also it's inherent in his character.

1:00:15.160 --> 1:00:17.680
<v Speaker 2>He's you know, he headbuts at the moment says, now

1:00:17.720 --> 1:00:20.640
<v Speaker 2>your UM's upset. But it's it's the same thing with

1:00:20.640 --> 1:00:24.400
<v Speaker 2>with Neville, like he's he's basically shot him in the

1:00:24.480 --> 1:00:29.200
<v Speaker 2>leg some years earlier. He found out that he's got

1:00:29.360 --> 1:00:33.320
<v Speaker 2>crime compensation for it, and then feels like he deserves

1:00:33.360 --> 1:00:36.120
<v Speaker 2>some of that money because it's like we almost like

1:00:36.160 --> 1:00:38.240
<v Speaker 2>we worked it out. This is you know, where's my

1:00:38.280 --> 1:00:39.000
<v Speaker 2>where's my cup?

1:00:39.800 --> 1:00:42.920
<v Speaker 3>It's like he feels like he's been the greatest entrepreneur

1:00:42.960 --> 1:00:45.040
<v Speaker 3>of his time because he's found his niche where if

1:00:45.040 --> 1:00:48.680
<v Speaker 3>he if he maims people, they make money out of it.

1:00:48.760 --> 1:00:50.920
<v Speaker 3>So he's the good guy in all of this. He

1:00:50.920 --> 1:00:54.840
<v Speaker 3>he doesn't tend to own his his mistakes mistakes too much,

1:00:54.920 --> 1:00:59.000
<v Speaker 3>but but more celebrates his his achievements has been the

1:00:59.040 --> 1:01:02.000
<v Speaker 3>greatest gift in there in their life. And the fact

1:01:02.080 --> 1:01:07.000
<v Speaker 3>Nell never can barely walk is beside the point. I mean,

1:01:07.400 --> 1:01:09.280
<v Speaker 3>as a side note, I think the fact that Nevill

1:01:09.280 --> 1:01:11.560
<v Speaker 3>Bartos can't walk is more due to the fact he's

1:01:11.600 --> 1:01:15.200
<v Speaker 3>carrying around sixty kilograms of gold chains around his neck

1:01:15.680 --> 1:01:20.080
<v Speaker 3>at any given opportunity, which would surely hamper his mobility.

1:01:20.400 --> 1:01:25.640
<v Speaker 3>But I think, yeah, it's it's incredible the way his

1:01:25.760 --> 1:01:28.520
<v Speaker 3>mind works. I think that's what makes him so so compelling.

1:01:28.960 --> 1:01:33.800
<v Speaker 2>Yeah, yeah, the I wasn't sure if I was gonna

1:01:34.080 --> 1:01:37.160
<v Speaker 2>actually talk about this or bring this up, and I'm

1:01:37.200 --> 1:01:38.840
<v Speaker 2>not sure if I've ever said this. Probably I met

1:01:38.920 --> 1:01:44.040
<v Speaker 2>Chopper really, he's a drink at my local pub in Collingwood.

1:01:44.200 --> 1:01:46.040
<v Speaker 2>I was living in Collingwood for a couple of years.

1:01:46.680 --> 1:01:48.480
<v Speaker 3>I mean, I wanted to make the point that I

1:01:48.520 --> 1:01:50.400
<v Speaker 3>think it's unlikely would have had such an open chat

1:01:50.400 --> 1:01:51.640
<v Speaker 3>about him if he was still alive.

1:01:51.720 --> 1:01:54.400
<v Speaker 1>Yeah, no, no, And I certainly gonna be telling this story.

1:01:54.600 --> 1:01:57.800
<v Speaker 2>But it was basically, it was a pretty quite a

1:01:57.800 --> 1:02:01.600
<v Speaker 2>little pub and I was there with my mate who

1:02:01.880 --> 1:02:04.680
<v Speaker 2>you know, we we were sharing a house together, and

1:02:06.320 --> 1:02:09.960
<v Speaker 2>we're playing pool and look over at the other side

1:02:09.960 --> 1:02:12.600
<v Speaker 2>of the bar and Choppers there with his his girlfriend

1:02:14.560 --> 1:02:16.440
<v Speaker 2>and he, you know, we have a few drinks and

1:02:16.480 --> 1:02:18.680
<v Speaker 2>he recognized him, and he comes over and we start

1:02:18.680 --> 1:02:21.440
<v Speaker 2>having a chat, and then we start we start having

1:02:21.480 --> 1:02:24.920
<v Speaker 2>a couple of laughs, and I'm you know, Chopper was

1:02:25.000 --> 1:02:27.440
<v Speaker 2>chopping like I was, like, you know, start, I started

1:02:27.440 --> 1:02:31.000
<v Speaker 2>asking questions and some all laughs, and then you know,

1:02:31.120 --> 1:02:34.800
<v Speaker 2>a couple more beers, and I remember at one point

1:02:35.400 --> 1:02:40.080
<v Speaker 2>going to the bathroom and maybe splashing a bit of

1:02:40.080 --> 1:02:42.320
<v Speaker 2>water on my face, maybe metaphorically doing that, and kind

1:02:42.320 --> 1:02:46.800
<v Speaker 2>of reminding myself, don't get fucking too comfortable, don't get

1:02:46.840 --> 1:02:47.480
<v Speaker 2>too cheeky.

1:02:48.160 --> 1:02:49.520
<v Speaker 1>This guy has murdered people.

1:02:50.480 --> 1:02:55.240
<v Speaker 2>You know, it's it's probably time to go home, because, yeah,

1:02:55.320 --> 1:02:57.120
<v Speaker 2>who knows he's drinking, you're drinking.

1:02:58.280 --> 1:03:00.520
<v Speaker 1>Who knows you might just get one of those wrong?

1:03:01.640 --> 1:03:04.080
<v Speaker 3>Yeah, had you seen the film by the time you

1:03:04.120 --> 1:03:05.120
<v Speaker 3>did that this encounter.

1:03:05.440 --> 1:03:07.320
<v Speaker 2>Yes, I would have seen the film actually, because this

1:03:07.480 --> 1:03:09.720
<v Speaker 2>is I saw it in cinemas as soon as it

1:03:09.800 --> 1:03:14.560
<v Speaker 2>came out, and this would have been around about a

1:03:14.640 --> 1:03:17.280
<v Speaker 2>year after the film came out. I reckon, so so

1:03:17.360 --> 1:03:20.000
<v Speaker 2>I had I felt like I had, you know, reference

1:03:20.040 --> 1:03:22.840
<v Speaker 2>points and things to ask about.

1:03:22.880 --> 1:03:25.160
<v Speaker 3>And then to not mention as well.

1:03:24.960 --> 1:03:26.360
<v Speaker 1>Well, yeah, exactly.

1:03:26.480 --> 1:03:28.320
<v Speaker 2>I kind of just went, no, you don't need to

1:03:28.400 --> 1:03:32.600
<v Speaker 2>know if he's killed people or you know, in details,

1:03:32.680 --> 1:03:34.240
<v Speaker 2>like just just kind of keep it light, keep it

1:03:34.280 --> 1:03:38.240
<v Speaker 2>about footy, you know. But then what happened, like, you know,

1:03:38.240 --> 1:03:39.840
<v Speaker 2>I bumped into him again. It was almost this very

1:03:39.840 --> 1:03:41.960
<v Speaker 2>similar situation. He was like, there's a few.

1:03:41.800 --> 1:03:44.160
<v Speaker 1>More people around, but he came up to me.

1:03:44.200 --> 1:03:45.880
<v Speaker 2>He had a bit of a chat, and he came

1:03:46.080 --> 1:03:47.480
<v Speaker 2>and then he went back to the bar and we

1:03:47.520 --> 1:03:49.960
<v Speaker 2>went necessarily hanging out, but you know, we past each

1:03:49.960 --> 1:03:51.400
<v Speaker 2>other as we go out of the bathroom or something,

1:03:51.720 --> 1:03:54.240
<v Speaker 2>and he came up to me and he gave me

1:03:54.680 --> 1:03:58.960
<v Speaker 2>this like clicklock bag of drugs, I'm telling you like,

1:03:59.280 --> 1:04:04.000
<v Speaker 2>and I, to my to my untrained eye, not not

1:04:04.040 --> 1:04:07.200
<v Speaker 2>a drug user, but it seemed to be I would

1:04:07.240 --> 1:04:12.720
<v Speaker 2>say marijuana laced with speed, which seems like two competing

1:04:12.760 --> 1:04:14.240
<v Speaker 2>forces to me.

1:04:15.040 --> 1:04:17.120
<v Speaker 3>At least call it at least call it goey. I mean, just.

1:04:20.920 --> 1:04:25.560
<v Speaker 2>So, just give me the bag of goeye and and

1:04:25.720 --> 1:04:28.640
<v Speaker 2>I I put it in my pocket at me because

1:04:28.640 --> 1:04:31.160
<v Speaker 2>I was like, I don't want to get spotted with this,

1:04:32.000 --> 1:04:33.320
<v Speaker 2>and and.

1:04:33.280 --> 1:04:36.120
<v Speaker 1>I kind of you really say much, And he goes

1:04:36.120 --> 1:04:36.600
<v Speaker 1>out there.

1:04:36.640 --> 1:04:39.280
<v Speaker 2>Mate, that's some fun, you know, and I'm like what,

1:04:40.400 --> 1:04:43.400
<v Speaker 2>And then I remember going home, you know, I say,

1:04:43.440 --> 1:04:46.640
<v Speaker 2>there for a while going home, I had this bag

1:04:46.680 --> 1:04:48.480
<v Speaker 2>and I don't know what to do with it. I said,

1:04:48.560 --> 1:04:51.320
<v Speaker 2>not a drug user. And in no way I was

1:04:51.360 --> 1:04:54.360
<v Speaker 2>going to you know, tending or even give this to anyone.

1:04:54.520 --> 1:04:56.880
<v Speaker 2>I was like, so I put it in my bedside

1:04:56.920 --> 1:05:00.680
<v Speaker 2>table and it was around the stat at that time

1:05:00.800 --> 1:05:06.720
<v Speaker 2>I was, I was, you know, seeing my now wife Bridge,

1:05:06.720 --> 1:05:09.720
<v Speaker 2>and I took a little while for me to tell her.

1:05:09.720 --> 1:05:12.200
<v Speaker 2>I said, oh, by the way, this weird thing happened

1:05:12.240 --> 1:05:17.320
<v Speaker 2>that Chopper gave me this bag of drugs. As she goes, really,

1:05:18.120 --> 1:05:20.600
<v Speaker 2>what did you do with it? And I said, I

1:05:20.680 --> 1:05:22.960
<v Speaker 2>just this in my bedside table.

1:05:23.080 --> 1:05:26.120
<v Speaker 1>And she's just what the fucking like, why didn't you

1:05:26.120 --> 1:05:28.480
<v Speaker 1>get rid of it? And I didn't really have an answer.

1:05:28.480 --> 1:05:29.840
<v Speaker 2>I think the only thing I could think of was

1:05:29.880 --> 1:05:32.200
<v Speaker 2>I just thought, what happened if Chopper says to me,

1:05:32.960 --> 1:05:34.400
<v Speaker 2>do you have that bag of drugs for me? Like

1:05:34.440 --> 1:05:36.800
<v Speaker 2>it was he giving it to me for me to

1:05:36.960 --> 1:05:39.880
<v Speaker 2>use or was it giving it to me to hold

1:05:40.520 --> 1:05:44.160
<v Speaker 2>until like it seemed to me, Yes, it seemed to

1:05:44.200 --> 1:05:47.480
<v Speaker 2>me like a significant amount of drugs. It wasn't like

1:05:47.520 --> 1:05:50.280
<v Speaker 2>a tiny little click bag with you know, somebody you

1:05:50.360 --> 1:05:52.800
<v Speaker 2>see the tiny bit to drug like the little bagges

1:05:52.840 --> 1:05:54.320
<v Speaker 2>what do they call them with with coconut.

1:05:54.760 --> 1:05:55.560
<v Speaker 1>It wasn't. It wasn't that.

1:05:55.600 --> 1:05:58.000
<v Speaker 2>It was like a significant you could you could fit

1:05:58.760 --> 1:06:02.800
<v Speaker 2>you know, a decent sandwich into this into this bag, you.

1:06:02.720 --> 1:06:06.040
<v Speaker 1>Know, Like my god, Yeah, it was a lot. So

1:06:06.600 --> 1:06:07.920
<v Speaker 1>I said, you're right.

1:06:08.560 --> 1:06:10.240
<v Speaker 2>You know, a few months had passed, I think since

1:06:10.520 --> 1:06:13.240
<v Speaker 2>he'd given it to me, so I threw it out,

1:06:14.120 --> 1:06:16.400
<v Speaker 2>you know, but I remember when he died.

1:06:16.960 --> 1:06:19.080
<v Speaker 1>For those who don't know he died.

1:06:18.880 --> 1:06:21.760
<v Speaker 2>Of I think you might have been cancer or it

1:06:21.840 --> 1:06:24.560
<v Speaker 2>was a liver living cancer. Yeah, yeah, I think what

1:06:24.720 --> 1:06:27.440
<v Speaker 2>liver related. But there was a part of it is like, okay, well,

1:06:27.480 --> 1:06:28.960
<v Speaker 2>thank god, he's not going to come back for the drugs.

1:06:29.600 --> 1:06:31.960
<v Speaker 2>He's I'm not gonna get a tap on the shoulder.

1:06:33.600 --> 1:06:36.600
<v Speaker 3>I feel like you had. Yeah, you go to those

1:06:36.680 --> 1:06:40.240
<v Speaker 3>charity options and you can like money come by experience.

1:06:40.320 --> 1:06:43.280
<v Speaker 3>I feel like you've got the Chopper experience. Someone someone

1:06:43.600 --> 1:06:46.520
<v Speaker 3>at an option bid for Peter Hellier to have the

1:06:46.520 --> 1:06:50.320
<v Speaker 3>full Chopper experience, and it was it included two drinks

1:06:50.840 --> 1:06:53.400
<v Speaker 3>and a bag of Goeye with Chopper in a pump.

1:06:54.040 --> 1:06:56.600
<v Speaker 3>And people would have bid, you know, signal like one

1:06:56.640 --> 1:06:59.880
<v Speaker 3>hundred thousand dollars for that experience, and someone someone's bought

1:06:59.880 --> 1:07:02.240
<v Speaker 3>that for you and you got to live like you

1:07:02.280 --> 1:07:05.760
<v Speaker 3>went on the Chopper ride. Yeah, and very few people

1:07:05.760 --> 1:07:10.720
<v Speaker 3>have done that and then lived or like or not

1:07:11.360 --> 1:07:13.840
<v Speaker 3>had a life of drugs and addiction after it. So

1:07:14.640 --> 1:07:16.400
<v Speaker 3>what what what an experience?

1:07:16.840 --> 1:07:21.760
<v Speaker 2>Yeah, it didn't get stabby, you know, I'm pretty sure

1:07:21.800 --> 1:07:23.720
<v Speaker 2>it was the last time I saw him too, so

1:07:23.960 --> 1:07:25.880
<v Speaker 2>I'm not I'm not sure when did it actually chop.

1:07:25.680 --> 1:07:27.960
<v Speaker 3>A dive thirteen? I think in the because it says

1:07:27.960 --> 1:07:28.800
<v Speaker 3>it at the end of the film.

1:07:28.960 --> 1:07:31.360
<v Speaker 2>Okay, right, okay, so it was it was a bit

1:07:32.200 --> 1:07:35.080
<v Speaker 2>longer after that. So there's plenty of opportunities, perhaps for

1:07:35.160 --> 1:07:40.479
<v Speaker 2>us to bump into each other, but fun times, let's

1:07:40.520 --> 1:07:43.960
<v Speaker 2>have it. Let's obviously I did want to ask you.

1:07:44.800 --> 1:07:46.960
<v Speaker 2>I mean, it takes a certain kind of individual, doesn't

1:07:47.000 --> 1:07:49.880
<v Speaker 2>it to you know, to be having a quiet chat

1:07:49.960 --> 1:07:54.280
<v Speaker 2>at a pub with the police officers and they get

1:07:54.320 --> 1:07:56.000
<v Speaker 2>the Johnson out at the same time.

1:07:56.080 --> 1:07:56.720
<v Speaker 1>I mean, that's.

1:07:58.120 --> 1:08:02.320
<v Speaker 3>That's I didn't want to know whether whether he got

1:08:02.320 --> 1:08:06.400
<v Speaker 3>it out when you're in the public him and what

1:08:06.560 --> 1:08:11.400
<v Speaker 3>was It wasn't as significant as as as it would appear.

1:08:11.280 --> 1:08:12.560
<v Speaker 1>No weird because I'd seen the movie.

1:08:12.600 --> 1:08:16.640
<v Speaker 2>I got mine out and didn't notice nobody noticed, So

1:08:16.680 --> 1:08:18.920
<v Speaker 2>it was very you know how embarrassing it is to

1:08:19.000 --> 1:08:22.200
<v Speaker 2>have it out there for fifteen twenty minutes and nobody's

1:08:22.200 --> 1:08:22.719
<v Speaker 2>saying anything.

1:08:23.320 --> 1:08:25.000
<v Speaker 3>You thought it was like almost the way Chopper shakes

1:08:25.000 --> 1:08:27.280
<v Speaker 3>hands and you just get it out and that's that's

1:08:27.320 --> 1:08:28.960
<v Speaker 3>the greeting that you use.

1:08:30.520 --> 1:08:31.519
<v Speaker 1>It is.

1:08:31.720 --> 1:08:37.800
<v Speaker 3>I've never done that personally, but I find a remindable

1:08:38.000 --> 1:08:41.640
<v Speaker 3>way that I just to carry yourself quite literally in

1:08:41.720 --> 1:08:47.439
<v Speaker 3>a pub. But yeah, I do find that it's again

1:08:47.600 --> 1:08:50.439
<v Speaker 3>like just one of the many layers of the man.

1:08:51.120 --> 1:08:53.599
<v Speaker 2>What's interesting about this film its structurally It's a really

1:08:53.840 --> 1:08:55.880
<v Speaker 2>impressive film because it just it gives you.

1:08:55.800 --> 1:08:58.439
<v Speaker 1>What it wants to give you. Like the idea that.

1:08:58.479 --> 1:09:00.920
<v Speaker 2>He gets taken out, he chops his years off, he

1:09:00.960 --> 1:09:07.200
<v Speaker 2>gets taken to you know, another prison, because he knows

1:09:07.240 --> 1:09:09.800
<v Speaker 2>that there's that they're coming for him. I mean, first

1:09:09.800 --> 1:09:12.280
<v Speaker 2>of all, his plan to get out of the way

1:09:12.560 --> 1:09:15.360
<v Speaker 2>was was nuts. Like the reason that Jimmy you know,

1:09:15.840 --> 1:09:19.480
<v Speaker 2>tries to kill him is because he knows that this

1:09:19.479 --> 1:09:22.519
<v Speaker 2>this plan, this guy's insane and either he's going to

1:09:22.520 --> 1:09:25.800
<v Speaker 2>get me killed or kill me or I have to

1:09:25.840 --> 1:09:28.360
<v Speaker 2>take him out. The idea that they're going to basically

1:09:29.479 --> 1:09:32.720
<v Speaker 2>basically knife everybody into you know, basically paralyze or make

1:09:32.760 --> 1:09:34.360
<v Speaker 2>everybody paraplegics.

1:09:34.479 --> 1:09:36.960
<v Speaker 3>He was going to take multiple hostages and then use

1:09:37.000 --> 1:09:40.439
<v Speaker 3>an ice pick to take out the spines of all

1:09:40.800 --> 1:09:41.639
<v Speaker 3>of his rivals.

1:09:41.760 --> 1:09:44.479
<v Speaker 2>Yeah, which is when everyone in that prison like it's

1:09:44.880 --> 1:09:47.840
<v Speaker 2>batshit crazy. That's what happens. So then basically you cut

1:09:47.880 --> 1:09:50.919
<v Speaker 2>from him getting transferred when he's gloating about getting transferred

1:09:50.920 --> 1:09:53.200
<v Speaker 2>to mister Beasley and all of that, and then it

1:09:53.280 --> 1:09:54.800
<v Speaker 2>just cuts to him walking down the street.

1:09:54.800 --> 1:09:57.040
<v Speaker 1>He's obviously put on some kg.

1:09:57.280 --> 1:09:58.720
<v Speaker 2>So that's all we need to know is time is

1:09:58.760 --> 1:10:02.360
<v Speaker 2>obviously passed and now he's out. We have no I

1:10:02.360 --> 1:10:05.360
<v Speaker 2>think it's even I think it's like a ninety four

1:10:05.400 --> 1:10:07.120
<v Speaker 2>minute film that a lot of people are talking about

1:10:07.160 --> 1:10:09.799
<v Speaker 2>these days. I see even Netflix now has a category

1:10:09.920 --> 1:10:12.879
<v Speaker 2>ninety minute films. I think people are kind of wondering

1:10:12.880 --> 1:10:14.519
<v Speaker 2>why everything that needs to be you know, two two

1:10:14.560 --> 1:10:16.720
<v Speaker 2>and a half hours now. But it tells us what

1:10:16.800 --> 1:10:19.519
<v Speaker 2>it was. We don't we start in prison. He doesn't

1:10:19.640 --> 1:10:22.439
<v Speaker 2>tell us. It tells us why he got into prison.

1:10:22.479 --> 1:10:26.760
<v Speaker 2>He kidnapped the judge. But you know, you know, there's

1:10:26.760 --> 1:10:28.680
<v Speaker 2>a version of this film where you start with the

1:10:28.760 --> 1:10:30.720
<v Speaker 2>kidnapping of a judge, and that you can imagine that

1:10:30.760 --> 1:10:33.640
<v Speaker 2>being a pretty interesting and intense scene.

1:10:33.400 --> 1:10:38.680
<v Speaker 1>But it doesn't. It goes exactly where Andrew Dominican wants

1:10:38.720 --> 1:10:39.200
<v Speaker 1>to take us.

1:10:40.400 --> 1:10:42.320
<v Speaker 3>And that's why I think it's funny you touch on

1:10:42.360 --> 1:10:46.559
<v Speaker 3>that because I watched it last night, and I was

1:10:46.560 --> 1:10:48.519
<v Speaker 3>watching it and it was it was getting late, and

1:10:48.560 --> 1:10:52.080
<v Speaker 3>I just pressed the remote just to see. I assume

1:10:52.160 --> 1:10:54.360
<v Speaker 3>that there must be an hour to go, because it

1:10:54.479 --> 1:10:57.640
<v Speaker 3>was still very much in his crime phase. You know,

1:10:57.760 --> 1:10:59.920
<v Speaker 3>he was dealing with Jimmy, in the fact, Jimmy wanted

1:10:59.920 --> 1:11:02.840
<v Speaker 3>to killing and I looked at and it said the

1:11:02.840 --> 1:11:06.280
<v Speaker 3>film had twelve minutes to go, So what how? How

1:11:06.520 --> 1:11:08.680
<v Speaker 3>how are we here? How are we How are they

1:11:08.680 --> 1:11:11.040
<v Speaker 3>going to wrap this up? How is this? How's this

1:11:11.080 --> 1:11:14.040
<v Speaker 3>going to finish? And it was sort of, it's it's

1:11:14.080 --> 1:11:17.559
<v Speaker 3>a film that doesn't have a clear arc in a

1:11:17.600 --> 1:11:20.439
<v Speaker 3>way or a clear resolution apart from the fact that

1:11:20.520 --> 1:11:25.840
<v Speaker 3>Chopper Dog eventually died. But it's it's it's I like that.

1:11:26.040 --> 1:11:28.120
<v Speaker 3>I do respect that, I know I'm doing what you

1:11:28.160 --> 1:11:30.519
<v Speaker 3>said I might do, which is sort of coming around

1:11:30.560 --> 1:11:33.360
<v Speaker 3>to the majesty and the magic of the film. But

1:11:34.120 --> 1:11:37.040
<v Speaker 3>I do like the fact it doesn't necessarily follow the

1:11:37.160 --> 1:11:42.000
<v Speaker 3>rules of a classic a classic crime drama, whether there's

1:11:42.080 --> 1:11:45.600
<v Speaker 3>some sort of beautiful tied in a bow resolution at

1:11:45.640 --> 1:11:49.800
<v Speaker 3>the end. It's it's sort of it just continues to

1:11:49.800 --> 1:11:52.760
<v Speaker 3>be dark, and the story of Sammy the Turk is

1:11:52.840 --> 1:11:57.280
<v Speaker 3>kind of the lasting sort of legacy of the whole

1:11:57.280 --> 1:12:00.479
<v Speaker 3>thing and the stats around how many people he apparently

1:12:00.560 --> 1:12:04.280
<v Speaker 3>killed versus how many people he ever got actually charged

1:12:04.280 --> 1:12:05.599
<v Speaker 3>and then acquitted for.

1:12:05.760 --> 1:12:08.040
<v Speaker 2>Yeah, it's fascinated because every film usually it's about a

1:12:08.080 --> 1:12:11.840
<v Speaker 2>Journey's about your protagonist journey, and he starts they start

1:12:11.880 --> 1:12:15.679
<v Speaker 2>at a at a certain point and then they they

1:12:15.760 --> 1:12:19.120
<v Speaker 2>may want something, but usually it's you know, we don't

1:12:19.120 --> 1:12:21.320
<v Speaker 2>give them what they want, they actually get what they need.

1:12:21.360 --> 1:12:24.240
<v Speaker 2>And that's and that's the journey with with Chopper. There's

1:12:24.320 --> 1:12:28.360
<v Speaker 2>not there's not really those there's not even really the

1:12:28.360 --> 1:12:30.920
<v Speaker 2>traditional kind of obstacles you put in their way, because

1:12:30.920 --> 1:12:34.800
<v Speaker 2>he seems impervious to obstacles. He just walks around the obstacles.

1:12:35.080 --> 1:12:38.760
<v Speaker 2>So there's no sense of this journey that Chopper has

1:12:38.800 --> 1:12:41.519
<v Speaker 2>gone on from seeing one to you know, the final scene.

1:12:41.960 --> 1:12:45.160
<v Speaker 2>It's he's not he's not rehabilitated. You know, we know

1:12:46.320 --> 1:12:49.559
<v Speaker 2>he doesn't really you know, see the light and you know,

1:12:50.000 --> 1:12:51.759
<v Speaker 2>and whatever comes out of his mouth. To be honest,

1:12:52.120 --> 1:12:54.200
<v Speaker 2>where can we believe it? I mean, the fact that

1:12:54.240 --> 1:12:59.160
<v Speaker 2>even that there's you know, I think the opening you know,

1:12:59.400 --> 1:13:03.400
<v Speaker 2>credits on this green like this is base of the paraphrase.

1:13:03.400 --> 1:13:05.680
<v Speaker 2>It's something like this is based on the autobiography. But

1:13:05.720 --> 1:13:07.160
<v Speaker 2>we had no idea if this is true or not.

1:13:07.240 --> 1:13:09.840
<v Speaker 2>You know, it's I think the tagline of the film

1:13:09.920 --> 1:13:13.559
<v Speaker 2>was the truth, the half truth, and nothing like the truth.

1:13:13.720 --> 1:13:15.439
<v Speaker 3>You know what's interesting about the film when you have

1:13:15.600 --> 1:13:18.439
<v Speaker 3>your ninety three minutes all about Chopper. You would think

1:13:18.439 --> 1:13:22.080
<v Speaker 3>that it ultimately glorifies his character, but I didn't really

1:13:22.160 --> 1:13:24.240
<v Speaker 3>feel that way. I didn't really feel that by the end,

1:13:24.320 --> 1:13:27.880
<v Speaker 3>you think the world of this guy, you're happy to

1:13:28.160 --> 1:13:32.160
<v Speaker 3>sort of let go of the murderous, murderous ways and

1:13:33.080 --> 1:13:35.599
<v Speaker 3>really love him. You don't come out of it loving him.

1:13:35.600 --> 1:13:39.160
<v Speaker 3>You sort of come out of it intrigued by the

1:13:39.200 --> 1:13:44.920
<v Speaker 3>contradictions of his life. But I sort of came out

1:13:44.920 --> 1:13:46.920
<v Speaker 3>of it with probably the same feeling about him that

1:13:46.960 --> 1:13:50.599
<v Speaker 3>I had before, which is sort of just a bit

1:13:50.640 --> 1:13:52.840
<v Speaker 3>more a bit stand offish and a bit sort of

1:13:53.160 --> 1:13:58.280
<v Speaker 3>confused by about how we sort of reach this celebrity status. Yeah,

1:13:58.200 --> 1:13:59.240
<v Speaker 3>which is which is interesting.

1:14:00.680 --> 1:14:04.840
<v Speaker 2>Yeah, And I think I think it's a beautiful final scene.

1:14:06.720 --> 1:14:08.519
<v Speaker 1>And we'll get the same same the Turke in the second.

1:14:08.560 --> 1:14:12.920
<v Speaker 2>But the final scene, maybe it is maybe the journey

1:14:13.120 --> 1:14:15.679
<v Speaker 2>is that he starts off it's almost a reverse journey.

1:14:16.080 --> 1:14:18.920
<v Speaker 2>It's he starts off being happy and watching himself on

1:14:18.960 --> 1:14:21.280
<v Speaker 2>the TV, and we go back to that moment, you know,

1:14:21.280 --> 1:14:23.280
<v Speaker 2>we see him give the interview to Renee Brack and

1:14:23.320 --> 1:14:26.160
<v Speaker 2>then he's he's watching it back and we you know,

1:14:26.280 --> 1:14:29.760
<v Speaker 2>the bits of what we've seen before. But then you know,

1:14:29.880 --> 1:14:32.559
<v Speaker 2>the screws, it's all laughter, it's all like, you know, oh,

1:14:32.600 --> 1:14:33.519
<v Speaker 2>this is great publicity.

1:14:33.520 --> 1:14:35.320
<v Speaker 1>How much will that you know costs?

1:14:35.360 --> 1:14:38.360
<v Speaker 2>Usually you know, and he's really wrapped with himself and

1:14:38.400 --> 1:14:40.519
<v Speaker 2>he's he's the king, he's living the life.

1:14:40.920 --> 1:14:44.000
<v Speaker 1>And then the screws kind of you know, leave him alone.

1:14:44.080 --> 1:14:47.680
<v Speaker 2>They lock the door, and he's in a he's in

1:14:47.720 --> 1:14:50.559
<v Speaker 2>a cell by himself, and it's and then what a.

1:14:50.520 --> 1:14:53.400
<v Speaker 1>Horrible way, what a horrible existence that is?

1:14:53.400 --> 1:14:55.000
<v Speaker 2>So I think you're right in the same way that

1:14:55.400 --> 1:14:58.880
<v Speaker 2>you know, somebody thought the train Spotting was was glamorizing Heroin.

1:14:58.920 --> 1:15:01.320
<v Speaker 2>It's like, how can you watch that movie and come

1:15:01.360 --> 1:15:04.960
<v Speaker 2>away thinking that Heroin was a good option for any

1:15:04.960 --> 1:15:07.960
<v Speaker 2>of those characters. It's it's I feel the same with Chopper.

1:15:08.920 --> 1:15:11.679
<v Speaker 3>It's a it's a tragic end in a way because

1:15:11.720 --> 1:15:16.200
<v Speaker 3>you see this man when there is no bluster and

1:15:16.320 --> 1:15:21.479
<v Speaker 3>bluff and and performance that it's it's actually it's a

1:15:21.560 --> 1:15:25.000
<v Speaker 3>front to what is a fairly sad existence.

1:15:25.320 --> 1:15:32.000
<v Speaker 2>Yeah. Absolutely, let's see send Me to Turk. So he's

1:15:32.040 --> 1:15:35.200
<v Speaker 2>basically a minor character up until the end.

1:15:35.200 --> 1:15:35.400
<v Speaker 3>Here.

1:15:35.720 --> 1:15:38.040
<v Speaker 2>You know, there's a few glances, and I love those

1:15:38.080 --> 1:15:40.519
<v Speaker 2>at first nightclub scene where Chop ends up shooting the

1:15:40.520 --> 1:15:42.960
<v Speaker 2>place up because it feels like he's going through a

1:15:43.000 --> 1:15:47.599
<v Speaker 2>haunted house and it's like he doesn't know who's out

1:15:47.640 --> 1:15:50.080
<v Speaker 2>there getting there's never Bartos over there. There's this guy

1:15:50.560 --> 1:15:53.120
<v Speaker 2>to Turk that's looking over him, and he's just he's scared.

1:15:53.200 --> 1:15:57.800
<v Speaker 2>I actually see for the first time, even though there's

1:15:57.880 --> 1:16:01.920
<v Speaker 2>no doesn't seem to be any imminent danger, like he's

1:16:01.920 --> 1:16:04.280
<v Speaker 2>been in a much more dangerous place in h division.

1:16:04.560 --> 1:16:06.200
<v Speaker 2>But all of a sudden you actually see fear on

1:16:06.240 --> 1:16:07.680
<v Speaker 2>his face for the first time, which I think is

1:16:07.720 --> 1:16:12.120
<v Speaker 2>really interesting. But towards the end, Sammy to finally gets

1:16:12.160 --> 1:16:15.000
<v Speaker 2>his attention and and takes him out to the car park.

1:16:15.760 --> 1:16:18.759
<v Speaker 6>Much because you'll touch me for the talk, you buddy,

1:16:18.800 --> 1:16:19.679
<v Speaker 6>homosexual or something?

1:16:19.680 --> 1:16:20.280
<v Speaker 8>Why are you scared?

1:16:20.280 --> 1:16:20.920
<v Speaker 5>I don't touch you.

1:16:21.000 --> 1:16:21.519
<v Speaker 1>I'm scared.

1:16:21.560 --> 1:16:23.840
<v Speaker 5>Just don't touch me, you buddy.

1:16:24.200 --> 1:16:25.800
<v Speaker 8>Where's your cart?

1:16:25.840 --> 1:16:26.040
<v Speaker 3>There?

1:16:26.760 --> 1:16:27.439
<v Speaker 5>Which one.

1:16:29.240 --> 1:16:29.719
<v Speaker 6>Kick going?

1:16:30.040 --> 1:16:30.280
<v Speaker 9>Where?

1:16:34.640 --> 1:16:36.680
<v Speaker 3>Hey? Here is that gun?

1:16:36.800 --> 1:16:37.000
<v Speaker 9>Huh?

1:16:37.640 --> 1:16:38.160
<v Speaker 4>It's a gun?

1:16:38.200 --> 1:16:39.960
<v Speaker 6>It's fucking porn to at you know? Who's taming you on?

1:16:41.840 --> 1:16:41.880
<v Speaker 1>What?

1:16:43.200 --> 1:16:44.800
<v Speaker 8>Whose team?

1:16:45.000 --> 1:16:45.880
<v Speaker 3>Are you on?

1:16:46.960 --> 1:16:47.600
<v Speaker 5>Team?

1:16:47.840 --> 1:16:48.360
<v Speaker 7>That's great?

1:16:49.240 --> 1:16:50.400
<v Speaker 8>Fucking comedian too, are you?

1:16:50.800 --> 1:16:51.040
<v Speaker 1>Yeah?

1:16:53.439 --> 1:16:54.800
<v Speaker 5>What'd you fucking bring me out here?

1:16:55.880 --> 1:17:01.880
<v Speaker 3>What no, chop you you you bring me here?

1:17:02.439 --> 1:17:07.120
<v Speaker 6>Huh fucking good answer.

1:17:07.640 --> 1:17:09.040
<v Speaker 3>Yes, I'm good. I'm friends to you.

1:17:09.120 --> 1:17:12.040
<v Speaker 6>Yeah, oh yeah, you're a fucking friend ancher bringing me

1:17:12.080 --> 1:17:13.479
<v Speaker 6>out here in the middle of the fucking night.

1:17:13.400 --> 1:17:14.960
<v Speaker 3>Before sick line.

1:17:15.080 --> 1:17:17.320
<v Speaker 5>Huh sick line?

1:17:17.560 --> 1:17:19.960
<v Speaker 4>What what's that mean?

1:17:21.080 --> 1:17:21.320
<v Speaker 1>You are?

1:17:21.360 --> 1:17:22.080
<v Speaker 3>You want English?

1:17:22.720 --> 1:17:23.280
<v Speaker 5>Fucking English?

1:17:23.439 --> 1:17:23.880
<v Speaker 7>A slayer?

1:17:24.120 --> 1:17:24.439
<v Speaker 3>Fuck you?

1:17:24.520 --> 1:17:30.640
<v Speaker 8>And know it's English.

1:17:30.720 --> 1:17:33.840
<v Speaker 2>And then and then Chopper again goes into his like

1:17:33.920 --> 1:17:37.439
<v Speaker 2>almost apologetic and you came out quite.

1:17:38.479 --> 1:17:39.719
<v Speaker 1>It's it's it's quite.

1:17:40.720 --> 1:17:44.280
<v Speaker 2>It's yeah, I mean he's himself to the end.

1:17:44.760 --> 1:17:47.960
<v Speaker 1>And then of course we we we go to you know,

1:17:48.439 --> 1:17:49.200
<v Speaker 1>we learn.

1:17:49.720 --> 1:17:52.680
<v Speaker 2>What actually was supposed to take place and and and

1:17:52.760 --> 1:17:56.719
<v Speaker 2>what went wrong or right, I guess in Chopper's case

1:17:57.640 --> 1:18:02.000
<v Speaker 2>with again lovely you mentioned it before, Lovely Flourish from

1:18:02.040 --> 1:18:05.280
<v Speaker 2>writer director Andrew Dominique. To do this like this, I

1:18:05.280 --> 1:18:09.880
<v Speaker 2>think was a It was just a beautiful touch. But

1:18:09.960 --> 1:18:12.080
<v Speaker 2>just sometimes you can go for these you have these

1:18:12.120 --> 1:18:14.519
<v Speaker 2>ideas and these creative ideas, and you're seeing films and

1:18:14.560 --> 1:18:17.639
<v Speaker 2>it doesn't quite fit. It's a bit jarring. But this

1:18:17.720 --> 1:18:21.879
<v Speaker 2>is fit the mood and the vibe of the film perfectly.

1:18:21.880 --> 1:18:24.400
<v Speaker 2>This is the Bojangles Recital.

1:18:25.920 --> 1:18:27.439
<v Speaker 5>Jimmy and the boys will be in the car.

1:18:28.040 --> 1:18:29.640
<v Speaker 4>You helped set up the big fella.

1:18:29.760 --> 1:18:30.719
<v Speaker 3>It'll make you a star.

1:18:31.600 --> 1:18:34.000
<v Speaker 6>They said they had it farmed out, they had it consted,

1:18:34.880 --> 1:18:36.720
<v Speaker 6>but when I walked out the door, they just let

1:18:36.800 --> 1:18:37.280
<v Speaker 6>me posted.

1:18:38.680 --> 1:18:39.679
<v Speaker 9>The game was for real.

1:18:39.800 --> 1:18:42.360
<v Speaker 3>It was no lark. But the twitch took him out

1:18:42.360 --> 1:18:45.880
<v Speaker 3>of the wrong car park. Silly boys.

1:18:46.400 --> 1:18:49.160
<v Speaker 6>That's all the chop I had to say, Poor little

1:18:49.160 --> 1:18:56.040
<v Speaker 6>semi god, blown away the knuckleheads. I could have shot

1:18:56.120 --> 1:18:58.799
<v Speaker 6>him in both kneecaps and finished a game of cards

1:18:58.840 --> 1:19:00.679
<v Speaker 6>before this crew of retail. It's got there.

1:19:02.280 --> 1:19:06.000
<v Speaker 2>Yeah, there's a bit of a chop referring to himself

1:19:06.000 --> 1:19:07.920
<v Speaker 2>in the third person as well. He doesn't he doesn't

1:19:07.920 --> 1:19:11.040
<v Speaker 2>mind doing that.

1:19:10.439 --> 1:19:12.519
<v Speaker 3>From the opening scene to the last that that is

1:19:12.560 --> 1:19:16.040
<v Speaker 3>a recurring, a recurring theme of the third person. But

1:19:16.040 --> 1:19:19.519
<v Speaker 3>but you're also he's almost poking it spends a lot

1:19:19.560 --> 1:19:21.400
<v Speaker 3>of time in the film, I think poking fun of

1:19:22.520 --> 1:19:25.640
<v Speaker 3>just the lack of intelligence of of most criminals and

1:19:25.680 --> 1:19:27.719
<v Speaker 3>the fact that he does see himself as being above

1:19:28.200 --> 1:19:31.400
<v Speaker 3>above that because he's a he's a smarter operator, and

1:19:31.439 --> 1:19:34.240
<v Speaker 3>it stands out, and that that's I think what he

1:19:34.640 --> 1:19:38.559
<v Speaker 3>enables him to endure through those moments, and that's one

1:19:38.640 --> 1:19:42.479
<v Speaker 3>great example where just bumbling fools a lot of the time.

1:19:42.960 --> 1:19:48.280
<v Speaker 2>Yeah, yeah, it's it's it's a mesmerizing performance by Eric

1:19:48.360 --> 1:19:52.439
<v Speaker 2>Banner and everyone is so good. We had Jimmy Luffman there,

1:19:52.760 --> 1:19:55.840
<v Speaker 2>Simon Lyndon, you know, Kate b And as Tanya I

1:19:55.840 --> 1:20:00.599
<v Speaker 2>think is great. David Field as Keithy you know at

1:20:00.600 --> 1:20:03.080
<v Speaker 2>the start he's one of my favorite Australian actors.

1:20:03.280 --> 1:20:05.040
<v Speaker 1>David Field is awesome that he's.

1:20:04.920 --> 1:20:06.960
<v Speaker 2>In the great One called Every Night, Every Night if

1:20:07.000 --> 1:20:10.560
<v Speaker 2>you ever get a chance to, if you're like a

1:20:10.600 --> 1:20:13.040
<v Speaker 2>prison drama, it's seemed a bit more full on than

1:20:13.800 --> 1:20:14.760
<v Speaker 2>than Chopper.

1:20:15.280 --> 1:20:18.040
<v Speaker 3>You know, Dan put boot polish, boot polish in your

1:20:18.080 --> 1:20:20.400
<v Speaker 3>hair to hide a bald spot. That is a that

1:20:20.479 --> 1:20:22.000
<v Speaker 3>is a master class in that as well.

1:20:22.240 --> 1:20:25.920
<v Speaker 1>It really is mate, mate, thank you so much.

1:20:25.960 --> 1:20:28.679
<v Speaker 2>You are one of the busiest men in the Berz

1:20:29.240 --> 1:20:32.960
<v Speaker 2>and for you to watch a movie about h division

1:20:33.000 --> 1:20:37.640
<v Speaker 2>when you would rather be following Ben Stiller through the

1:20:37.680 --> 1:20:43.560
<v Speaker 2>scenic landscapes of Iceland. It was quite quite remarkable that

1:20:43.600 --> 1:20:44.880
<v Speaker 2>we chose this film.

1:20:45.160 --> 1:20:47.720
<v Speaker 3>You know what, I not two months ago I did

1:20:47.760 --> 1:20:51.720
<v Speaker 3>actually go on a Ben Stiller inspired journey through the

1:20:51.800 --> 1:20:56.439
<v Speaker 3>fjords of Iceland, almost retracing the secret life of Walter

1:20:56.520 --> 1:21:00.439
<v Speaker 3>Mite journey. So I look, this was coming. I needed

1:21:00.680 --> 1:21:04.240
<v Speaker 3>a reality check back to the underworld of Melbourne, and

1:21:04.280 --> 1:21:07.519
<v Speaker 3>you provided it. And for that I will be eternally grateful.

1:21:08.160 --> 1:21:12.280
<v Speaker 3>I had I feared nightmares last night. I didn't. I

1:21:12.320 --> 1:21:15.559
<v Speaker 3>didn't have them. But but I am now so across

1:21:15.600 --> 1:21:21.200
<v Speaker 3>the world of Chopper, of Bojangles, and the fact that

1:21:21.920 --> 1:21:25.160
<v Speaker 3>if someone asks you for cash, just give them the cash.

1:21:25.280 --> 1:21:26.479
<v Speaker 3>That that is my advice.

1:21:26.880 --> 1:21:30.880
<v Speaker 2>And next time you see me, maybe you know at

1:21:30.880 --> 1:21:34.519
<v Speaker 2>the logis, you know, if I'm at a bar, just

1:21:34.520 --> 1:21:35.599
<v Speaker 2>just cast your eyes downwards.

1:21:35.600 --> 1:21:37.040
<v Speaker 1>I might have a little surprised for here.

1:21:37.840 --> 1:21:41.640
<v Speaker 3>Just look in the pocket in the skyrocket when you

1:21:41.680 --> 1:21:43.439
<v Speaker 3>said you throw it out. I don't believe a word

1:21:43.479 --> 1:21:45.320
<v Speaker 3>of that. I think. I think it's it should be

1:21:45.320 --> 1:21:47.959
<v Speaker 3>in a museum. That should be a museum piece somewhere.

1:21:48.360 --> 1:21:51.400
<v Speaker 3>The bag that Chopper gave you, I think is the

1:21:51.479 --> 1:21:54.280
<v Speaker 3>remarkable piece that I think. You know, how how is

1:21:54.320 --> 1:21:56.400
<v Speaker 3>the Victorian Museum not snapping that up?

1:21:58.520 --> 1:22:01.080
<v Speaker 2>I wish I forget which have been if I threw

1:22:01.080 --> 1:22:05.240
<v Speaker 2>in the recycle being all the garbage, But yeah, I

1:22:05.280 --> 1:22:08.040
<v Speaker 2>want to. I assume it's it's been dispensed. Maybe somebody

1:22:08.080 --> 1:22:10.600
<v Speaker 2>found it. I don't know. I certainly wasn't going to

1:22:10.640 --> 1:22:15.040
<v Speaker 2>be responsible for giving it to anybody, but yeah, fun times,

1:22:15.120 --> 1:22:16.400
<v Speaker 2>fun times with Uncle Chop Chop.

1:22:16.439 --> 1:22:18.799
<v Speaker 3>I had a similar experience in an l A nightclub

1:22:19.400 --> 1:22:24.680
<v Speaker 3>with with Courtney Love and Lindsay Lowe and and a

1:22:24.720 --> 1:22:27.720
<v Speaker 3>bag that was just was appeared in a bathroom that

1:22:28.040 --> 1:22:30.559
<v Speaker 3>I just saw and took a photo of because I thought,

1:22:30.560 --> 1:22:32.160
<v Speaker 3>you know what, that's going to be a fun story

1:22:32.200 --> 1:22:34.800
<v Speaker 3>to retail one day. And I don't know who owned it,

1:22:34.840 --> 1:22:37.200
<v Speaker 3>which are those people owned it? But one of them did,

1:22:37.600 --> 1:22:39.280
<v Speaker 3>and that's enough for me.

1:22:39.600 --> 1:22:42.439
<v Speaker 2>I just I mean, I'll just remind you that both

1:22:42.439 --> 1:22:44.880
<v Speaker 2>those people are still alive, at least at least Choppers there.

1:22:46.760 --> 1:22:50.000
<v Speaker 3>In hindsight, a terrible, terrible retelling story.

1:22:52.960 --> 1:22:56.760
<v Speaker 2>But you're a legend, and thanks for joining us and

1:22:57.520 --> 1:22:59.040
<v Speaker 2>we'll catch up against So no doubt.

1:23:00.040 --> 1:23:00.519
<v Speaker 3>Really enjoyed it.

1:23:00.520 --> 1:23:08.840
<v Speaker 1>Thanks so much, mate, that was fun.

1:23:09.240 --> 1:23:15.439
<v Speaker 2>And I think another episode where somebody maybe didn't love

1:23:15.479 --> 1:23:19.160
<v Speaker 2>a film, but then maybe the more.

1:23:19.040 --> 1:23:21.880
<v Speaker 3>We discussed it.

1:23:20.760 --> 1:23:24.800
<v Speaker 2>Maybe came around a little bit, maybe not completely, but

1:23:24.960 --> 1:23:27.280
<v Speaker 2>just a little bit it's interesting when we actually get

1:23:27.280 --> 1:23:31.000
<v Speaker 2>a chance to discuss films, it's, you know, we do

1:23:31.080 --> 1:23:34.280
<v Speaker 2>find appreciation. And the fact is every week on this

1:23:34.320 --> 1:23:37.240
<v Speaker 2>podcast we're talking about a classic movie. So the you know,

1:23:37.320 --> 1:23:39.400
<v Speaker 2>as my dad will say, they're classics for a reason.

1:23:40.000 --> 1:23:42.200
<v Speaker 2>And so sometimes when you just do a little bit

1:23:42.200 --> 1:23:46.320
<v Speaker 2>of deep diving, you start maybe appreciating it a little.

1:23:46.160 --> 1:23:47.040
<v Speaker 1>More, hopefully. You know.

1:23:47.600 --> 1:23:50.920
<v Speaker 2>Chris well, I know that he enjoyed that. He said so,

1:23:51.240 --> 1:23:54.439
<v Speaker 2>and I believed him. Thank you, Chris, and apologies for

1:23:54.600 --> 1:23:57.760
<v Speaker 2>my voice being a bit croaky. We had some some

1:23:57.840 --> 1:24:00.880
<v Speaker 2>farewell drinks from my colleague Curry More couple of days

1:24:00.880 --> 1:24:02.879
<v Speaker 2>ago before this episode was recorded, so.

1:24:03.680 --> 1:24:06.599
<v Speaker 1>It's it's unblaming her. It'd be better for next episode.

1:24:06.640 --> 1:24:10.360
<v Speaker 2>I'm sure Derek Myyers and Casways Studios dot com au

1:24:10.920 --> 1:24:13.240
<v Speaker 2>is in the building of course, as he always is

1:24:13.240 --> 1:24:13.799
<v Speaker 2>in the studio.

1:24:15.000 --> 1:24:16.840
<v Speaker 1>Derek, you'd be a big Chopper Fanily.

1:24:17.400 --> 1:24:21.920
<v Speaker 7>Chopper was amazing. It was just that weird thing, that

1:24:22.120 --> 1:24:25.240
<v Speaker 7>Kubrick esque kind of vibe where there's someone you're kind

1:24:25.240 --> 1:24:30.800
<v Speaker 7>of tricked into sort of barracking for who's just not good,

1:24:30.920 --> 1:24:31.679
<v Speaker 7>not a good person.

1:24:31.800 --> 1:24:35.800
<v Speaker 2>I mean, I think with movies generally, I mean we

1:24:35.920 --> 1:24:40.120
<v Speaker 2>always it's always the protagonist that we kind of root for,

1:24:40.240 --> 1:24:44.040
<v Speaker 2>you know, like I very rarely do you not root

1:24:44.040 --> 1:24:47.160
<v Speaker 2>for the And there's a reason Tony Soprano. We love

1:24:47.200 --> 1:24:50.519
<v Speaker 2>Tony Soprano. You know, there's there's a reason, you know what.

1:24:50.640 --> 1:24:54.639
<v Speaker 2>We're white, you know, they're we We're okay with people

1:24:54.680 --> 1:24:57.599
<v Speaker 2>doing bad things in movies, you know, like as long

1:24:57.640 --> 1:25:01.479
<v Speaker 2>as we can see and understand them a little bit more. Now,

1:25:01.520 --> 1:25:04.160
<v Speaker 2>Chopper is a fine line with him, whether we how

1:25:04.240 --> 1:25:06.880
<v Speaker 2>much insight we get as to why Chopper became Chopper.

1:25:07.520 --> 1:25:12.000
<v Speaker 2>But it's a fascinating character study. And I think it's

1:25:12.040 --> 1:25:13.799
<v Speaker 2>a brilliant, brilliant film.

1:25:13.920 --> 1:25:14.360
<v Speaker 1>I really do.

1:25:14.720 --> 1:25:18.720
<v Speaker 2>All the elements from production came together and and I

1:25:18.720 --> 1:25:19.719
<v Speaker 2>think it's a cracker.

1:25:19.840 --> 1:25:22.360
<v Speaker 7>Yeah. Did the production team and the writers and the

1:25:22.360 --> 1:25:27.000
<v Speaker 7>director and Eric Banner and the other actors in there

1:25:27.400 --> 1:25:30.800
<v Speaker 7>you've seen years and years later doing amazing work I

1:25:31.000 --> 1:25:34.839
<v Speaker 7>know their names. Yeah, But did they make him seem funny?

1:25:35.200 --> 1:25:38.160
<v Speaker 7>Did Chopper love this? Afterwards? I also ran in him

1:25:38.200 --> 1:25:42.280
<v Speaker 7>in a bar he did, Yeah, And you just go,

1:25:42.520 --> 1:25:45.160
<v Speaker 7>I wonder if he is that same a year or

1:25:45.160 --> 1:25:48.320
<v Speaker 7>so after the film. I wonder if he was a

1:25:48.360 --> 1:25:51.600
<v Speaker 7>real funny guy or whether they just whether the movie

1:25:52.320 --> 1:25:54.840
<v Speaker 7>was just a genius it was just really well made.

1:25:55.200 --> 1:25:57.560
<v Speaker 2>I think he was a pretty charming guy, you know,

1:25:57.720 --> 1:26:00.760
<v Speaker 2>like he I think he cerently had I think he

1:26:00.800 --> 1:26:02.640
<v Speaker 2>had a good turn of phrase as far as you know,

1:26:03.520 --> 1:26:05.880
<v Speaker 2>the way he would put things. I think it was

1:26:06.439 --> 1:26:08.479
<v Speaker 2>I think it was pretty funny, you know, like whether

1:26:08.520 --> 1:26:11.000
<v Speaker 2>that you know, there's probably a reason why it's down

1:26:11.040 --> 1:26:14.000
<v Speaker 2>up comedy didn't take off for you know, you know,

1:26:14.240 --> 1:26:16.400
<v Speaker 2>you can be funny at a bar, and that's a

1:26:16.439 --> 1:26:19.759
<v Speaker 2>very different thing as being funny, you know, being professionally funny.

1:26:19.760 --> 1:26:22.920
<v Speaker 1>I guess if you like, but a fascinating guy.

1:26:23.000 --> 1:26:25.400
<v Speaker 2>And yeah, you're right. The cast is incredible. You got

1:26:25.439 --> 1:26:29.639
<v Speaker 2>Dan Wiley, you got David Field, Kate b and Simon Linden,

1:26:30.280 --> 1:26:34.719
<v Speaker 2>Vince Colossimo of course, you're really really strong cast.

1:26:34.920 --> 1:26:37.519
<v Speaker 1>And yeah, it's it's a real good one, all right.

1:26:38.160 --> 1:26:39.519
<v Speaker 2>If you if you want to get onto us, you

1:26:39.560 --> 1:26:42.559
<v Speaker 2>can send us an email at Jasney Podcast at gmail

1:26:42.680 --> 1:26:43.320
<v Speaker 2>dot com.

1:26:43.320 --> 1:26:45.000
<v Speaker 1>That's the that's one way you can do it.

1:26:45.120 --> 1:26:47.720
<v Speaker 2>What we would love is to hear your voice and

1:26:47.760 --> 1:26:51.160
<v Speaker 2>you can get onto our speak pipe through the There's

1:26:51.160 --> 1:26:53.679
<v Speaker 2>a link on the on the page and leave a message,

1:26:53.720 --> 1:26:56.040
<v Speaker 2>but actually love to hear your voice with loving to

1:26:56.080 --> 1:26:58.479
<v Speaker 2>speak pipes coming through, and I believe we have another

1:26:58.520 --> 1:26:59.719
<v Speaker 2>one today, Derek.

1:27:00.080 --> 1:27:02.599
<v Speaker 7>We've got a great one here from Pete Davis from

1:27:02.640 --> 1:27:04.240
<v Speaker 7>the lyrics of the Lost podcast.

1:27:04.400 --> 1:27:08.760
<v Speaker 8>Hello Team YASNI loved the podcast. Last episode with Dave

1:27:08.840 --> 1:27:14.000
<v Speaker 8>Callen was great. Those stories of mistaken identity, the actors

1:27:14.560 --> 1:27:17.840
<v Speaker 8>signing up with the wrong director and directors hiring the

1:27:17.880 --> 1:27:20.760
<v Speaker 8>wrong actor with the same name. I have one for

1:27:20.880 --> 1:27:23.680
<v Speaker 8>you from the same era. I heard it at a

1:27:23.720 --> 1:27:28.280
<v Speaker 8>film industry talk in the mid eighties. Rosanna Raquette was

1:27:28.280 --> 1:27:32.679
<v Speaker 8>getting really big and she noticed this exciting new Australian director,

1:27:32.840 --> 1:27:35.400
<v Speaker 8>George Miller, who had so far done a couple of

1:27:35.479 --> 1:27:39.160
<v Speaker 8>brilliant Mad Max films plus the only good chapter in

1:27:39.200 --> 1:27:42.720
<v Speaker 8>the Twilight Zone movie. She eagerly signs up to his

1:27:42.800 --> 1:27:48.879
<v Speaker 8>next project, The Aviator, with Christopher Reeve of Superman. Oops,

1:27:49.479 --> 1:27:52.479
<v Speaker 8>she's got the wrong Australian George Miller. She got the

1:27:52.479 --> 1:27:54.760
<v Speaker 8>one that did the Man from Snowy River, but also

1:27:55.080 --> 1:27:58.639
<v Speaker 8>Les Patterson, says the world and Cybermutt the Bionic Dog.

1:27:59.120 --> 1:28:01.360
<v Speaker 8>Hope she can laugh about it now. Thanks Pete.

1:28:01.479 --> 1:28:07.800
<v Speaker 2>By Well, thank you, Pete. That's I never heard that

1:28:07.840 --> 1:28:11.400
<v Speaker 2>story before. That is another great case of mistaken identity.

1:28:11.479 --> 1:28:14.320
<v Speaker 2>I think pet was referring to. I think we spoke

1:28:14.360 --> 1:28:19.439
<v Speaker 2>with Dave about Joel Cohen, who Bill Murray famously signed

1:28:19.479 --> 1:28:22.000
<v Speaker 2>up to do the Garfield movies, thinking that Joel Cohen,

1:28:22.280 --> 1:28:25.200
<v Speaker 2>that Joe Cohen was the same. Joe Cohen is in

1:28:25.479 --> 1:28:29.439
<v Speaker 2>one half of the Coen Brothers, the famous iconic legendary directors,

1:28:29.920 --> 1:28:32.320
<v Speaker 2>the Coen Brothers, And it was only when he got

1:28:32.320 --> 1:28:36.240
<v Speaker 2>to set that he realized that completely different guys, completely

1:28:36.240 --> 1:28:38.880
<v Speaker 2>different guys. So thank you. That's great lyrics at the

1:28:38.880 --> 1:28:42.720
<v Speaker 2>last podcast. Yeah, I haven't heard the podcast, but I

1:28:42.760 --> 1:28:45.600
<v Speaker 2>will to check it out. And yeah, fans, if you

1:28:45.640 --> 1:28:47.880
<v Speaker 2>love movies, it sounds up Pete's loves his movies too,

1:28:47.920 --> 1:28:52.080
<v Speaker 2>So check that out. And I believe we have a

1:28:52.080 --> 1:28:57.360
<v Speaker 2>couple of emails. In fact, there's a debate. That's not right.

1:28:57.360 --> 1:29:00.280
<v Speaker 2>I won't say he's raging. It hasn't got too and

1:29:00.280 --> 1:29:05.880
<v Speaker 2>that fun of Cello stages just yet. But we had

1:29:06.080 --> 1:29:11.160
<v Speaker 2>a conversation during an episode where we were speaking about

1:29:11.200 --> 1:29:15.160
<v Speaker 2>tom Cruise and its actually with Todd Sampson when we

1:29:15.600 --> 1:29:18.800
<v Speaker 2>short Shak Redemption, and we're talking about Tim Robins height,

1:29:19.479 --> 1:29:22.519
<v Speaker 2>and we were saying I made off the carf remark

1:29:22.640 --> 1:29:24.439
<v Speaker 2>because I had to shoot around Tim Robins height. It

1:29:24.439 --> 1:29:26.639
<v Speaker 2>was quite tricky that this is why you'll never see

1:29:26.680 --> 1:29:30.479
<v Speaker 2>Tim Robbins and Tom Cruise in the same movie. Somebody

1:29:30.479 --> 1:29:32.120
<v Speaker 2>got in touch with me pointed that, of course they

1:29:32.120 --> 1:29:34.400
<v Speaker 2>were in Top Gun together. They also pointed out that

1:29:34.439 --> 1:29:37.120
<v Speaker 2>Tim played Goose. He didn't actually play Goose. So I'm

1:29:37.160 --> 1:29:39.120
<v Speaker 2>calling out a draw, but I believe we have another

1:29:39.160 --> 1:29:40.639
<v Speaker 2>email on this subject.

1:29:41.479 --> 1:29:47.080
<v Speaker 7>Yes, the saga continues. This is called Tim and Tom

1:29:47.800 --> 1:29:54.120
<v Speaker 7>from Christopher Hi, Pete love the podcast. I've been stewing

1:29:54.120 --> 1:29:57.400
<v Speaker 7>over the debate whether Tim Robbins and Tom Cruise had

1:29:57.439 --> 1:30:00.280
<v Speaker 7>ever acted together, and then thought it was going to

1:30:00.320 --> 1:30:02.800
<v Speaker 7>be settled at the end of the Josh Lawson episode.

1:30:03.000 --> 1:30:06.120
<v Speaker 7>Yes they were in Top Gun together, but they also

1:30:06.360 --> 1:30:09.879
<v Speaker 7>had shared a pivotal scene in War of the World's

1:30:10.200 --> 1:30:12.360
<v Speaker 7>thank you for doing what you do. Cheers Chris.

1:30:12.479 --> 1:30:16.040
<v Speaker 2>Oh, Chris, Jesus is getting bigger. We're through the looking

1:30:16.040 --> 1:30:18.960
<v Speaker 2>glass now. I didn't realize it was a second film

1:30:19.720 --> 1:30:22.000
<v Speaker 2>out there. Okay, So Tim Robins and Tom Cruise have

1:30:22.120 --> 1:30:25.800
<v Speaker 2>actually appeared in Top Gun in Our War of the World.

1:30:25.920 --> 1:30:27.800
<v Speaker 2>I can't remember that scene. I think I've only seen

1:30:27.840 --> 1:30:30.120
<v Speaker 2>the movie once or maybe twice. Yeah, I have to

1:30:30.160 --> 1:30:31.479
<v Speaker 2>go back and watch. I mean, I take your word

1:30:31.479 --> 1:30:33.800
<v Speaker 2>for it. I'm not disputing it, but I'll go back

1:30:33.840 --> 1:30:35.599
<v Speaker 2>and check that scene out. I want it'll be interesting

1:30:35.600 --> 1:30:39.200
<v Speaker 2>to see how they frame that scene. Yeah, Okay, if

1:30:39.200 --> 1:30:42.920
<v Speaker 2>anyone knows the third film that Tom Cruise and Tim

1:30:43.000 --> 1:30:46.320
<v Speaker 2>Robbins have been starring in together, let me know. Let's

1:30:46.320 --> 1:30:49.639
<v Speaker 2>crack this thing wide open. Thank you Chris for getting

1:30:49.640 --> 1:30:52.839
<v Speaker 2>in touch. I'm very much amused by this. Next episode

1:30:52.920 --> 1:30:55.919
<v Speaker 2>of You Ain't Seen Nothing Yet, we complete the Holy Trinity.

1:30:56.200 --> 1:30:58.200
<v Speaker 2>We have the third member of Nie Donna. We've had

1:30:58.200 --> 1:31:03.599
<v Speaker 2>Broden who did each wonderful line, Mark did Citizen Kane.

1:31:04.479 --> 1:31:07.880
<v Speaker 2>So next week Zach will be joining as Zach Ruan

1:31:08.280 --> 1:31:10.680
<v Speaker 2>will be joining us to talk about film that up

1:31:10.760 --> 1:31:15.040
<v Speaker 2>until recently, it was my favorite Australian movie ever, first

1:31:15.080 --> 1:31:18.320
<v Speaker 2>strained film to win the Palm Dior at the Kahn

1:31:18.439 --> 1:31:26.879
<v Speaker 2>International Film Festival, starring Edward Woodward starring Jack Thompson, Brian Brown,

1:31:28.000 --> 1:31:35.719
<v Speaker 2>Chris Hayworth, Olf Floody, Stewart, Rod Malmer, bud Tingwell, they're

1:31:35.760 --> 1:31:39.840
<v Speaker 2>all there. Lewis Fitzgerald in his film debut it is

1:31:39.960 --> 1:31:43.680
<v Speaker 2>you probably worked at that by now, Breaking Morant an amazing,

1:31:43.920 --> 1:31:47.519
<v Speaker 2>amazing film that is still timely to this day. If

1:31:47.520 --> 1:31:50.240
<v Speaker 2>you haven't seen Break Him Morund, check it out. You

1:31:50.280 --> 1:31:52.519
<v Speaker 2>will thank me later. A little fun fact. One of

1:31:52.520 --> 1:31:55.479
<v Speaker 2>the source materials I'm sure I don't believe it was

1:31:55.520 --> 1:31:58.599
<v Speaker 2>based on, but Kick Denton wrote a great book about

1:31:58.680 --> 1:32:02.559
<v Speaker 2>Breaking Round, which for some of the background for this movie.

1:32:02.560 --> 1:32:06.479
<v Speaker 2>I believe Kick Denton is the father of mister Andrew Denton.

1:32:06.520 --> 1:32:08.000
<v Speaker 2>So there you got a little fun fact. But next

1:32:08.000 --> 1:32:10.120
<v Speaker 2>week on the show, you went say nothing yet, Zach

1:32:10.200 --> 1:32:13.880
<v Speaker 2>for money Donna Breaking Morant from nineteen eighty It'll be fun,

1:32:13.920 --> 1:32:18.200
<v Speaker 2>trust me, love Zach Love Breaking Morant until then, By

1:32:18.320 --> 1:32:32.000
<v Speaker 1>For now, and so we leave old Pete, save fan soul,

1:32:33.080 --> 1:32:35.439
<v Speaker 1>and to our friends of the radio audience, we've been

1:32:35.479 --> 1:32:37.120
<v Speaker 1>a pleasant good name.