WEBVTT - Cameron James and Parenthood

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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 podcast, where I chat to a

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<v Speaker 1>guest about a classic movie they haven't quite got around

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<v Speaker 1>to watching until now. And today's guest comedian actor podcaster

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<v Speaker 1>Cameron James.

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<v Speaker 2>The first rule of Flake Club is you do not

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<v Speaker 2>talk about fake club.

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<v Speaker 3>No, it was you afraid of You broke my heart.

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<v Speaker 4>I admire your luck, mister Bond.

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<v Speaker 1>James Bond, what happening right now?

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<v Speaker 2>Don't see nothing here?

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<v Speaker 1>Tom called today's guest the obvious next big Thing, and

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<v Speaker 1>Cameron James is certainly living up to his end of

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<v Speaker 1>the bargain. Known for his many collaborations with his great mate,

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<v Speaker 1>the very funny Becky Lucas cam has been making big

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<v Speaker 1>waves in the podcast world too with recent Yasny guests

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<v Speaker 1>Alexi Teleopolis with their Finding Drago and Finding Desperado series,

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<v Speaker 1>and some exciting news as the Boys have just received

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<v Speaker 1>development funds for a new web doco series, Finding Yeasas.

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<v Speaker 1>Camra is currently touring the country with his fantastic, brilliantly

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<v Speaker 1>funny show Electric Dreams about his early adulthood dream of

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<v Speaker 1>becoming a rock star. Check it out where and when,

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<v Speaker 1>you can. Cam is obviously inventive, funny, can actually play

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<v Speaker 1>guitar and hold a bloody tune. And I'm bloody stokes

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<v Speaker 1>to be hanging with him today.

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<v Speaker 2>Hey, I'm Cameron James. And three favorite films are this

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<v Speaker 2>is spinal tap, most go up to ten?

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<v Speaker 3>Exactly? Does that mean it's louder?

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<v Speaker 5>Is it any louder?

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<v Speaker 2>Well, it's one louder, isn't it? The wedding singer?

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<v Speaker 4>Get out of my van ale and T shirt before

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<v Speaker 4>you changse the band and they break up?

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<v Speaker 2>And no Country for old men?

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<v Speaker 3>What's the most you ever lost?

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<v Speaker 2>Go on Tosh. But up until this week, I had

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<v Speaker 2>never seen parenthood.

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<v Speaker 6>When you're slamming in the first and you're feeling something

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<v Speaker 6>versus diarrhea diarrhea when you heard and when you're using

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<v Speaker 6>the herd diarrhea, diarrhea, When you're slimming in the hole

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<v Speaker 6>and you're truckle full of pham, diarrhea, diarrhea. When you're

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<v Speaker 6>sitting in your chevy and you're sho feeling heavy diarrhea diarrhea.

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<v Speaker 2>Kevin, Honey, where'd you learn that song?

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<v Speaker 7>Last summer at camper Ah?

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<v Speaker 3>That was money well spent.

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<v Speaker 1>Yes, nine's Ron Howard directed parenthoods see's Steve Martin at

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<v Speaker 1>the peak of his powers in his first film as

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<v Speaker 1>a dad. Yes, before he was the father of the bride,

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<v Speaker 1>before he was the patriarch and cheaper by the dozen,

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<v Speaker 1>he was Gil Buckman, a Midwestern working father married to

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<v Speaker 1>Karen Mary Steenbergen, reminding us that not all Karens are

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<v Speaker 1>in fact Karen's. Gil and Karen are trying to navigate

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<v Speaker 1>life with three kids, the emotional Kevin, the projectile vomiting Taylor,

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<v Speaker 1>and the head butter of walls Justin. But it's not

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<v Speaker 1>just about Gil and Karen's family, and it's what makes

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<v Speaker 1>Parenthood quite remarkable. The ensemble spreads four generations of Buckman's,

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<v Speaker 1>from grandmother Buckman down to newborns, from teenagers discovering themselves

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<v Speaker 1>to toddlers solving intricate mathematical equations. Performances are uniformly brilliant

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<v Speaker 1>across the board. Joan Wish wins the Oscar for Best

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<v Speaker 1>Supporting Actress as Helen, the single mum desperately trying to

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<v Speaker 1>hang on to her daughter Martha Plimpton before she runs

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<v Speaker 1>off with that Todd Keanu Reeves, whilst also attempting to

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<v Speaker 1>connect with their looft teenage son Gary, played by a

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<v Speaker 1>young Waquin Phoenix aka Leaf. Written by lal Gans and

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<v Speaker 1>Babelou Mandel, Paranod strikes an interesting tone, finding moments of

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<v Speaker 1>melancholy around moments of joy. The worry of being a

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<v Speaker 1>parent is always front of mine, from perfecting a kid's

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<v Speaker 1>birthday party to the pressures of kids sports. There are

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<v Speaker 1>threats of divorce, a discussion about abortion, black sheep lives

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<v Speaker 1>in danger, sex, sex toys, pornography, unexpected pregnancies, and of

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<v Speaker 1>course cowboy Gil Cameron James. Have you ever driven home

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<v Speaker 1>with your pants full of foam?

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<v Speaker 2>Well, look, I famously have ibs, so yes, I have.

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<v Speaker 1>What is a different podcast? I wasn't expected to take

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<v Speaker 1>a turn so quickly. I mean, some people might have

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<v Speaker 1>said I didn't need to play the whole diarrhea song,

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<v Speaker 1>but I think they're getting the full context.

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<v Speaker 2>I did, you absolutely did. I also forgot. I've watched

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<v Speaker 2>it twice in the the last week, this movie, and

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<v Speaker 2>I forgot just then that they do the whole song

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<v Speaker 2>so long.

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<v Speaker 1>It is so long, and it is I don't know.

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<v Speaker 1>I obviously I saw this when it came out, when

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<v Speaker 1>I was fourteen years old. I saw it in the

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<v Speaker 1>cinema and that was one of the big takeouts for us,

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<v Speaker 1>and then more so when it got released on VHS,

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<v Speaker 1>so we had access to really hone in on the

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<v Speaker 1>lyrics and to find the layers in Kevin's diarrhea song.

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<v Speaker 2>It's a great song.

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<v Speaker 1>It's a great song. It's your amuso, yourself. You know,

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<v Speaker 1>you recognize it the June. You must have thought pretty

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<v Speaker 1>early on I'm in good hands here.

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<v Speaker 2>I did. I mean, that's kind of at the beginning

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<v Speaker 2>of the movie, isn't it. And yeah, it really does

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<v Speaker 2>set the tone, you know, I'm like, I mean quite genuine. Now,

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<v Speaker 2>it does set the tone for what this movie is,

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<v Speaker 2>which is that it's kind of a bit shaggy, and

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<v Speaker 2>it's a bit it's a bit messy, and it's about

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<v Speaker 2>it's about the mess It's about the phone.

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<v Speaker 1>Yeah, it is about the foam and we've all had

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<v Speaker 1>phone in that pants and it's about how we deal

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<v Speaker 1>with the foam in our pants. Now, why had you

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<v Speaker 1>had this been a movie that had like lingered over you,

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<v Speaker 1>had you considered seeing it? Had you you know, most

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<v Speaker 1>comedians of Steve Martin fans it was just one where

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<v Speaker 1>you thought, jeez, I haven't seen Parenthood yet, why did

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<v Speaker 1>you choose.

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<v Speaker 2>Parentlem Oh, well, that was the thing that got me

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<v Speaker 2>over the line with picking it for this podcast. I've

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<v Speaker 2>always been a Steve Martin fan, and I think I've

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<v Speaker 2>always prioritized silly Steve Martin over more dramatic Steve Martin.

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<v Speaker 2>And you know, for example, Three Migos is like a

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<v Speaker 2>go to movie for me. If I ever need to

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<v Speaker 2>just relax, I'll put on that. I've seen it a

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<v Speaker 2>million times. I love the jerky But there was something

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<v Speaker 2>about trying to think about what it was that has

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<v Speaker 2>kept me away from this movie. And I think it

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<v Speaker 2>is the fact that it seemed like a drama. It

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<v Speaker 2>seemed like more of a straight drama with you know,

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<v Speaker 2>like you mentioned four generations of people going through their

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<v Speaker 2>own trauma's intentions, and maybe I just didn't want to

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<v Speaker 2>see Steve Martin do that.

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<v Speaker 1>Yeah, you know, well, I think it's very it's a

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<v Speaker 1>fascinating tone. And we'll get to this because I want

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<v Speaker 1>to go through your your three favorite films. It's a

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<v Speaker 1>very fascinating tone. I think it's a fascinating performance by

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<v Speaker 1>Steve Martin In a movie that has I think, just

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<v Speaker 1>fascinating performances all the way through it. But let's come

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<v Speaker 1>back to that. Because you have nominated three fantastic films,

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<v Speaker 1>you'll be not surprised to know that this is spinal

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<v Speaker 1>tap has come up a couple of times.

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<v Speaker 2>Of course, Yeah, it's to go to, especially for comedy people.

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<v Speaker 2>I I said to you before we started recording this,

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<v Speaker 2>I found this incredibly daunting to try and narrow down

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<v Speaker 2>a top three.

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<v Speaker 1>I had no idea of the horror I was unleashing.

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<v Speaker 1>I just how do I start a podcast. Well, let's

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<v Speaker 1>get provide some context of the kind of movies they like.

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<v Speaker 1>Let's name it three favorite. Is that difficult? It turns

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<v Speaker 1>out of this.

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<v Speaker 2>It's so difficult because I think you you instinctively want

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<v Speaker 2>to pick the most important movies, all the most serious movies.

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<v Speaker 2>So when I first got this, you know you need

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<v Speaker 2>three questions, three faves. I started going to the heaviest

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<v Speaker 2>movies that I've ever seen. Okay, so I guess I'm

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<v Speaker 2>gonna have to say The Master and I'll probably have

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<v Speaker 2>to say Godfather Part two. And then I kind of went, no,

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<v Speaker 2>you know what, you have to really think about what

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<v Speaker 2>are the movies you would love to rewatch.

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<v Speaker 1>Yep.

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<v Speaker 2>That's how I'm defining it. And I decided to prioritize

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<v Speaker 2>comedies this time around.

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<v Speaker 3>Yep.

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<v Speaker 2>So and also for the record, I want your listeners

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<v Speaker 2>to know I nearly picked three different Adam Sandler movies.

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<v Speaker 2>I nearly picked Okay, the Wedding Singer, Punch, Drunk Love,

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<v Speaker 2>and Uncut Gems.

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<v Speaker 1>Wow, and they're three or two of them are very

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<v Speaker 1>much dramatic sam and puns. Strong Love is one of

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<v Speaker 1>my absolute favorite films, and Cut Gems is just fuck.

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<v Speaker 1>That's a tense film.

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<v Speaker 2>It's so good.

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<v Speaker 1>I don't think I felt that kind of tension in

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<v Speaker 1>the film that I was not expecting to feel that

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<v Speaker 1>kind of like besides an amazing performance by Boston's own

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<v Speaker 1>Kevin Garnett, KG is legitimately very good in that movie.

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<v Speaker 1>But yeah, I wasn't expecting, you know, I didn't really know.

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<v Speaker 1>I deliberately kept away from where it went and what

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<v Speaker 1>it was, but that was genuinely the feeling I had

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<v Speaker 1>was visceral.

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<v Speaker 2>Oh he was, Yeah, I know. I watched it. I

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<v Speaker 2>watched it so much in that first week that it

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<v Speaker 2>came out because I was I just loved it. I

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<v Speaker 2>got sucked into the world of it. I really lived

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<v Speaker 2>in it. But anyway, I didn't end up picking it,

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<v Speaker 2>so we can't talk about it.

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<v Speaker 1>We can't fALS Yeah, I love is also amazing. So

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<v Speaker 1>why did Wedding Singer?

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<v Speaker 2>The Wedding Singer became my Sandler pick for this because

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<v Speaker 2>I much like Three Amigos. I'll often put it on

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<v Speaker 2>if I just need something comfort, watching something on in

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<v Speaker 2>the background, if I'm doing work or doing washing up

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<v Speaker 2>or cooking or whatever. I love it. I think it

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<v Speaker 2>is so sweet, it's so beautiful, it's so funny. I

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<v Speaker 2>love seeing Adam Sandlers sing it kind of honestly, when

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<v Speaker 2>I watched that movie, It's the dream project that I

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<v Speaker 2>would make if I was a famous actor. You know,

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<v Speaker 2>where you get to be the funny guy, but you

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<v Speaker 2>also get to sing and play guitar in a band,

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<v Speaker 2>and then you also get to do the sweet stuff

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<v Speaker 2>and get the girl at the end of the day, you.

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<v Speaker 1>Get a history. Barry mud Yes, I mean because you

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<v Speaker 1>I mentioned it in the intro. But you are currently

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<v Speaker 1>touring Electric Dreams, which is about you're you know, you

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<v Speaker 1>wanted to be, you know, a rock star. Rockstar. So

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<v Speaker 1>I can see how this related to absolutely.

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<v Speaker 2>I mean he gets to sing classic eighties tracks in

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<v Speaker 2>that movie and then some original comedy songs as well. Truly,

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<v Speaker 2>it's like the Dream Project.

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<v Speaker 1>Did you see his down out specially imagine if you, oh, yeah,

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<v Speaker 1>how good? I think either directed or just Paul Thomas

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<v Speaker 1>Anderson had eyes on it.

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<v Speaker 2>And I think he filmed some of it, Yeah, and

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<v Speaker 2>then maybe helped with the edit or something.

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<v Speaker 1>Yeah, if you haven't seen, or if you if you're

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<v Speaker 1>somebody who has maybe given up on Adam Sandler for

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<v Speaker 1>whatever reason.

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<v Speaker 2>That most of you probably you know it goes by

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<v Speaker 2>the day.

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<v Speaker 1>I urge you not to give up on Adam Sandler.

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<v Speaker 1>But I but that special is one of the best

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<v Speaker 1>put together specially and one of the funniest, with a

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<v Speaker 1>sweet little kicker at the end. Yeah. So he basically

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<v Speaker 1>performs It's It's taken from lots of different performances, from

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<v Speaker 1>club gigs to arenas. But the editing is like you're

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<v Speaker 1>not missing a beat, Like it's not jarring at all.

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<v Speaker 2>It's so sharp. Sometimes it even cuts in the middle

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<v Speaker 2>of a song or a bit. You know, it'll cut

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<v Speaker 2>between the Carolines, comedy club in New York to an

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<v Speaker 2>arena in.

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<v Speaker 1>You know, Madison Square, Madison.

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<v Speaker 2>Square Garden, and it's amazing, it's so funny. Again, I've

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<v Speaker 2>watched that a lot as well, and that's and maybe

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<v Speaker 2>we're kind of tapping into something a little bit here,

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<v Speaker 2>because I think the older I get, the more my

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<v Speaker 2>comedy taste moves away from cynicism and moves towards sweetness.

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<v Speaker 2>And Sandler is the embodiment of that. His early comedy

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<v Speaker 2>is so snarky and annoying, and it's just about how

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<v Speaker 2>much he hates adults, you know, authority figures. And then

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<v Speaker 2>now I'm watching Adam Sandler become a guy who's happy

0:12:16.600 --> 0:12:18.520
<v Speaker 2>to sing a song about how much he loves Chris

0:12:18.520 --> 0:12:22.240
<v Speaker 2>Farley or you know, he's making films about families and

0:12:22.320 --> 0:12:25.400
<v Speaker 2>his family and his kids. And so I think, yeah,

0:12:25.480 --> 0:12:30.120
<v Speaker 2>maybe the Sandler pick and this movie that we're talking

0:12:30.120 --> 0:12:32.440
<v Speaker 2>about today is a bit of an embodiment of me

0:12:32.679 --> 0:12:36.640
<v Speaker 2>getting older and just enjoying sweetness and niceness a little

0:12:36.640 --> 0:12:37.400
<v Speaker 2>bit more than I used to.

0:12:37.720 --> 0:12:42.520
<v Speaker 1>Yeah, yeah, that's I agree. I mean I've always leant

0:12:42.600 --> 0:12:46.080
<v Speaker 1>towards things that aren't particularly you know, even in my

0:12:46.120 --> 0:12:49.679
<v Speaker 1>own personal life I'm not a confrontational person, you know,

0:12:49.720 --> 0:12:53.160
<v Speaker 1>and I would rather watch something that makes me happy.

0:12:53.320 --> 0:12:56.800
<v Speaker 1>Although were that said, I mean, yeah, actually, with that said,

0:12:57.800 --> 0:13:01.920
<v Speaker 1>there's no dictast of cinema like Underground is a movie.

0:13:01.960 --> 0:13:04.560
<v Speaker 1>There's like a Serbian movie called Underground, which is very

0:13:04.600 --> 0:13:06.080
<v Speaker 1>close to being in my top four, and there's nothing

0:13:06.080 --> 0:13:09.240
<v Speaker 1>particularly cheery about that. I love the Coen Brothers and

0:13:09.280 --> 0:13:12.760
<v Speaker 1>we got No Country in a second. But yeah, but

0:13:12.960 --> 0:13:15.559
<v Speaker 1>I do that those comfort movies for me, like planes,

0:13:15.640 --> 0:13:17.839
<v Speaker 1>trains and automobiles for me, Oh yeah, is just one

0:13:17.840 --> 0:13:22.679
<v Speaker 1>of the all time great joys, like listening to you

0:13:22.760 --> 0:13:25.760
<v Speaker 1>what the wedding singer gives you, Planes trains gives them.

0:13:25.840 --> 0:13:29.280
<v Speaker 2>Yeah, yeah, that's a great tone too. I think that's something.

0:13:29.400 --> 0:13:31.880
<v Speaker 2>I love that movie, and you're right, it's the It

0:13:31.920 --> 0:13:36.160
<v Speaker 2>has that mix of hard laughs, big jokes, big comedy moments,

0:13:36.200 --> 0:13:38.920
<v Speaker 2>but then it's all capped off with sweetness at the end,

0:13:39.400 --> 0:13:40.720
<v Speaker 2>and you leave feeling good.

0:13:41.000 --> 0:13:42.600
<v Speaker 1>You leave feeling good. I'm not sure how you left

0:13:42.600 --> 0:13:46.360
<v Speaker 1>the cinema when you saw No Country for Old Man. Hopefully,

0:13:46.920 --> 0:13:49.800
<v Speaker 1>hopefully game you didn't leave feeling good. Hopefully you didn't

0:13:49.840 --> 0:13:54.520
<v Speaker 1>have a swagger a springing your step No what are

0:13:54.520 --> 0:13:55.199
<v Speaker 1>the amazing.

0:13:55.280 --> 0:13:58.800
<v Speaker 2>No Country is? You know, this is a really hard

0:13:58.800 --> 0:14:01.559
<v Speaker 2>one to pick because I wanted the Collens on my list,

0:14:02.240 --> 0:14:06.040
<v Speaker 2>and they have every movie there is a different type

0:14:06.040 --> 0:14:08.600
<v Speaker 2>of movie, you know, and I love them all, and

0:14:08.640 --> 0:14:11.520
<v Speaker 2>I can never quite pick which one's my favorite. Some

0:14:11.600 --> 0:14:15.200
<v Speaker 2>weeks it's Lebowski, some weeks it's Fargo. It was Barton

0:14:15.320 --> 0:14:15.839
<v Speaker 2>Fink for.

0:14:15.800 --> 0:14:18.080
<v Speaker 1>A long time, but never Lady Kills.

0:14:18.760 --> 0:14:19.320
<v Speaker 3>It's never.

0:14:21.120 --> 0:14:26.280
<v Speaker 2>Never been Lady Killers. Unfortunately, that's weirdly, that's the one

0:14:26.320 --> 0:14:27.600
<v Speaker 2>I haven't rewatched much.

0:14:28.440 --> 0:14:30.680
<v Speaker 1>Comen Brothers and Tom Hanks. How could they fuck this up?

0:14:32.680 --> 0:14:37.320
<v Speaker 2>I know? But No Country, I think it's I love

0:14:37.360 --> 0:14:40.240
<v Speaker 2>it because I love the West. I'm a sucker for

0:14:40.280 --> 0:14:43.920
<v Speaker 2>a Western. I'm a sucker for that whole esthetic too,

0:14:44.120 --> 0:14:48.600
<v Speaker 2>you know, like I could, I could watch any movie

0:14:48.640 --> 0:14:51.640
<v Speaker 2>that's shot in Texas. I for some reason, I'm just

0:14:52.120 --> 0:14:53.880
<v Speaker 2>I can't take my eyes off the screen.

0:14:53.960 --> 0:14:55.560
<v Speaker 1>I agree. I mean, used to be old Hollywood, used

0:14:55.600 --> 0:14:57.640
<v Speaker 1>to make the big westerns, you know, said John Wayne

0:14:57.640 --> 0:14:59.280
<v Speaker 1>out in the West. But I love what they've done

0:14:59.560 --> 0:15:02.640
<v Speaker 1>more recent where there's been modern stories told. Because the

0:15:02.720 --> 0:15:06.080
<v Speaker 1>landscape is basically the same and you have the cowboys

0:15:06.120 --> 0:15:08.800
<v Speaker 1>living there still. I mean, you know, they popular of Yellowstone.

0:15:09.080 --> 0:15:12.240
<v Speaker 2>You know I love Yellowstone. I'm watching Yellowstone at the moment.

0:15:12.280 --> 0:15:13.080
<v Speaker 2>It's amazing.

0:15:13.160 --> 0:15:14.720
<v Speaker 1>I got so many people in the Yellowstone. But I

0:15:14.720 --> 0:15:16.360
<v Speaker 1>stopped the episode eight and people are coming up to

0:15:16.400 --> 0:15:18.160
<v Speaker 1>me going, thanks for getting into the yellow if you

0:15:18.160 --> 0:15:20.080
<v Speaker 1>finished series four, and no, I'm still in the eight

0:15:20.160 --> 0:15:25.000
<v Speaker 1>episode eight. So but another good one recently in a

0:15:25.040 --> 0:15:26.560
<v Speaker 1>few years ago was Helen high Water.

0:15:26.760 --> 0:15:27.760
<v Speaker 2>I nearly picked that.

0:15:27.760 --> 0:15:29.120
<v Speaker 1>That is such a good film.

0:15:29.160 --> 0:15:31.560
<v Speaker 2>I love it. I love it. That's a that's a go.

0:15:31.800 --> 0:15:33.920
<v Speaker 2>That's I've watched that a lot too, because.

0:15:33.960 --> 0:15:36.120
<v Speaker 1>And that's a Yellowstone connection, isn't it. I think, same

0:15:36.160 --> 0:15:37.520
<v Speaker 1>guy Sheridan.

0:15:37.880 --> 0:15:40.480
<v Speaker 2>But I love that movie, you know, because they make

0:15:40.520 --> 0:15:42.760
<v Speaker 2>the banks the bad guys. That's the thing about these

0:15:42.800 --> 0:15:46.480
<v Speaker 2>new modern westerns is there's a great commentary about the

0:15:46.520 --> 0:15:50.560
<v Speaker 2>government or the bank system more and it's all you know,

0:15:50.560 --> 0:15:52.160
<v Speaker 2>it makes you feel smart. When you watch it, you

0:15:52.240 --> 0:15:54.720
<v Speaker 2>kind of go, yeah, yeah, America is crazy.

0:15:55.560 --> 0:15:56.760
<v Speaker 1>Thank god we don't live there.

0:15:56.800 --> 0:15:59.800
<v Speaker 2>Ah yeah, but no. Country is just full of amazing

0:16:00.000 --> 0:16:04.280
<v Speaker 2>performances and offbeat performances. It's funny in its own way,

0:16:04.320 --> 0:16:06.600
<v Speaker 2>even though it's not laugh out loud, funny. You know,

0:16:07.160 --> 0:16:12.960
<v Speaker 2>Javier by DEM's hair is funny. Woody Harrelson gets some

0:16:13.000 --> 0:16:16.520
<v Speaker 2>great moments in there. I think, does Stephen Root pop

0:16:16.560 --> 0:16:18.880
<v Speaker 2>up in that? I think Stephen he does.

0:16:19.360 --> 0:16:22.000
<v Speaker 1>He pops up in every film, but he's the best

0:16:22.480 --> 0:16:24.960
<v Speaker 1>best actor. I think he's one of those. I think

0:16:24.960 --> 0:16:26.840
<v Speaker 1>there's a podcast. I haven't actually listened to it, but

0:16:26.840 --> 0:16:29.200
<v Speaker 1>there's a podcast about the actors who you kind of

0:16:29.320 --> 0:16:30.920
<v Speaker 1>like you kind of know their name, if you, if you,

0:16:31.320 --> 0:16:33.680
<v Speaker 1>if you, you know, like I I would have to

0:16:33.720 --> 0:16:37.480
<v Speaker 1>remember this, it's Stephen Stephen Rut And there's a like

0:16:37.560 --> 0:16:40.320
<v Speaker 1>he'd be right up there with actors who his name

0:16:40.440 --> 0:16:41.760
<v Speaker 1>might be on the tip of your tongue.

0:16:42.000 --> 0:16:45.280
<v Speaker 2>Yeah, yeah, his name is always on the tip of

0:16:45.320 --> 0:16:46.960
<v Speaker 2>my tongue. I love Stephen Ruth.

0:16:47.120 --> 0:16:47.760
<v Speaker 1>Yeah, but yeah.

0:16:48.080 --> 0:16:52.280
<v Speaker 2>It's full of these weird, little offbeat character choices, but

0:16:52.360 --> 0:16:54.920
<v Speaker 2>it's all anchored in reality. I think it's a really

0:16:55.280 --> 0:16:58.240
<v Speaker 2>it's like a very special film. No Country for All Men.

0:16:58.240 --> 0:16:59.880
<v Speaker 1>And the tension you feel, like when he goes into

0:16:59.920 --> 0:17:02.520
<v Speaker 1>the general story at the start and the old man

0:17:02.560 --> 0:17:05.520
<v Speaker 1>he's flipping the coin. Yes, you know it's not going

0:17:05.560 --> 0:17:06.000
<v Speaker 1>to be good.

0:17:06.160 --> 0:17:08.240
<v Speaker 2>I also think that Cohen's do such a good job

0:17:08.280 --> 0:17:13.760
<v Speaker 2>with making a fictional story feel real by having coincidences

0:17:13.840 --> 0:17:18.000
<v Speaker 2>happen and the fact that the main action, you know,

0:17:18.160 --> 0:17:21.440
<v Speaker 2>like you know, the main guy dies, we don't even

0:17:21.480 --> 0:17:24.639
<v Speaker 2>see it. It happens off screen, and then someone discovers

0:17:24.680 --> 0:17:27.640
<v Speaker 2>his body later. And they do similar things in Fargo

0:17:27.760 --> 0:17:30.240
<v Speaker 2>where it's sort of it makes it feel like a

0:17:30.280 --> 0:17:32.200
<v Speaker 2>true story that's been eted for the screen.

0:17:32.240 --> 0:17:34.320
<v Speaker 1>The first screen titler is based on the true story.

0:17:34.320 --> 0:17:35.359
<v Speaker 1>I mean, that's one way of doing it.

0:17:36.400 --> 0:17:38.080
<v Speaker 2>I think it's the best choice they ever made.

0:17:38.359 --> 0:17:41.639
<v Speaker 1>It is so incredible because, like, yeah, why doesn't need

0:17:41.640 --> 0:17:44.359
<v Speaker 1>to be It's part of the movie. You're watching a movie.

0:17:44.359 --> 0:17:45.439
<v Speaker 1>They can do whatever they like.

0:17:46.119 --> 0:17:47.080
<v Speaker 2>It's amazing.

0:17:48.880 --> 0:17:51.920
<v Speaker 1>Let's get onto it now. The movie you are here

0:17:51.960 --> 0:17:56.120
<v Speaker 1>to talk about nine to eighty nine's Parenthood, starring I've

0:17:56.119 --> 0:17:59.320
<v Speaker 1>Got Steve Martin, Diane Wheez, County Reeves, Young Mac and

0:17:59.320 --> 0:18:01.080
<v Speaker 1>Phoenix direct Ron Howard.

0:18:01.640 --> 0:18:05.480
<v Speaker 2>Did you like it, Pete? I loved this movie.

0:18:05.560 --> 0:18:10.920
<v Speaker 1>Yes, I'm really I'm always up for people not liking it.

0:18:11.119 --> 0:18:14.119
<v Speaker 1>Sometimes I'm more invested in others. But I am so

0:18:14.280 --> 0:18:16.240
<v Speaker 1>glad you love this film.

0:18:16.320 --> 0:18:18.439
<v Speaker 2>I loved this movie as I said, I watch it

0:18:18.440 --> 0:18:21.480
<v Speaker 2>twice this week, once for this and once for fun.

0:18:21.760 --> 0:18:24.159
<v Speaker 1>Oh wow, And I watched it twice as well, and

0:18:24.200 --> 0:18:26.200
<v Speaker 1>I kind of almost a little bit the same, just

0:18:26.359 --> 0:18:28.199
<v Speaker 1>going wow, this is like I hadn't seen it for

0:18:28.200 --> 0:18:31.320
<v Speaker 1>a while. Yeah, So tell me when you saw it

0:18:31.400 --> 0:18:34.320
<v Speaker 1>when you were fourteen at the cinema and did you.

0:18:34.560 --> 0:18:37.840
<v Speaker 2>I mean, it's not really aimed at teenage boys.

0:18:38.080 --> 0:18:40.520
<v Speaker 1>There are so many quotable things in this movie, like

0:18:40.560 --> 0:18:43.080
<v Speaker 1>the diarrhea song. Obviously. Yeah, I remember saying, you know,

0:18:43.240 --> 0:18:47.399
<v Speaker 1>quoting Cowboy Dan is coming, Cowboy Dan is coming with

0:18:47.440 --> 0:18:51.399
<v Speaker 1>my mates. And there are so many things. Every scene

0:18:52.440 --> 0:18:54.560
<v Speaker 1>has a gag at the end of it, you know,

0:18:55.280 --> 0:18:57.760
<v Speaker 1>like this, you know your grandmother's a Jeanieus. Why is

0:18:57.800 --> 0:19:00.480
<v Speaker 1>she sitting in the neighbors car? Like this. There's so

0:19:00.520 --> 0:19:02.080
<v Speaker 1>many good things and we'll kind of go through it.

0:19:02.119 --> 0:19:06.480
<v Speaker 1>We'll play some scenes that talk about but like there's

0:19:06.480 --> 0:19:08.480
<v Speaker 1>a start at the start like that. It's just a

0:19:08.560 --> 0:19:12.920
<v Speaker 1>very interesting way to start a movie with the flash

0:19:13.000 --> 0:19:15.800
<v Speaker 1>I mean, movies, you know, quite often start with a flashback.

0:19:16.040 --> 0:19:17.760
<v Speaker 1>But I thought this was in nine to eighty nine,

0:19:17.840 --> 0:19:20.679
<v Speaker 1>quite an interesting movie. You're at the baseball park with

0:19:20.800 --> 0:19:22.880
<v Speaker 1>the young guy. You're trying to work out already, because

0:19:22.920 --> 0:19:24.320
<v Speaker 1>you know Steve Martin's in it. You're trying to work

0:19:24.320 --> 0:19:26.000
<v Speaker 1>out is this a flashback? Oh this is maybe it's

0:19:26.000 --> 0:19:28.679
<v Speaker 1>Steve Martin. Yeah, but that works really well.

0:19:28.640 --> 0:19:31.639
<v Speaker 2>Well that that's what got me hooked in, you know,

0:19:31.640 --> 0:19:33.480
<v Speaker 2>because I thought it was going to be quite saccering

0:19:33.600 --> 0:19:38.240
<v Speaker 2>a little, you know, I mean, okay, the two riders

0:19:38.240 --> 0:19:41.240
<v Speaker 2>of this lowel Gans and Bubbaloo Mandel, who I'm a

0:19:41.240 --> 0:19:42.879
<v Speaker 2>bit obsessed with both of their names.

0:19:44.119 --> 0:19:47.560
<v Speaker 1>You might be obsessed with Bubbaloo Bubbaaloo, but they're great writers.

0:19:47.600 --> 0:19:50.840
<v Speaker 2>And they wrote City Slickers as well, which is another

0:19:50.880 --> 0:19:54.840
<v Speaker 2>great comedy, and it's very in their tone. This kind

0:19:54.840 --> 0:19:57.880
<v Speaker 2>of opening where it's it's sort of teeters on being

0:19:58.000 --> 0:20:02.360
<v Speaker 2>very saccaring and possibly too too sappy, but then it's

0:20:02.400 --> 0:20:05.240
<v Speaker 2>immediately undercut by a very clever meta joke, you know,

0:20:05.280 --> 0:20:07.879
<v Speaker 2>where the little kid sort of says to the usher,

0:20:08.960 --> 0:20:11.280
<v Speaker 2>this is He basically says, yeah, we're I'm this is

0:20:11.320 --> 0:20:14.560
<v Speaker 2>a flashback. This is a memory. You're an amalgam mover

0:20:15.400 --> 0:20:18.480
<v Speaker 2>many different ushers that had to sit with me. I mean,

0:20:18.600 --> 0:20:20.879
<v Speaker 2>that's that's when I got hooked in, just that moment

0:20:20.920 --> 0:20:24.040
<v Speaker 2>of undercutting it all and having having the usher go yeah, agreat,

0:20:24.040 --> 0:20:27.359
<v Speaker 2>you're having an existential crisis. I'm a freaking amalgam here.

0:20:29.359 --> 0:20:31.800
<v Speaker 1>It's so great. And the apparently if you watch a

0:20:31.800 --> 0:20:34.520
<v Speaker 1>baseball game, there's a guy who's like limping around and

0:20:34.520 --> 0:20:36.639
<v Speaker 1>they shot they shot so many takes. I think they

0:20:36.640 --> 0:20:39.080
<v Speaker 1>shot twelve takes that he actually did his hamstring. So

0:20:40.480 --> 0:20:43.120
<v Speaker 1>when you watch it next time, you'll see a guy

0:20:43.280 --> 0:20:47.560
<v Speaker 1>not actually sprinting the first base. It's so and then

0:20:47.560 --> 0:20:49.680
<v Speaker 1>we get the diarrhea scene and we're off. But what,

0:20:50.240 --> 0:20:52.560
<v Speaker 1>like you would know the amount of movies you watch

0:20:52.640 --> 0:20:56.400
<v Speaker 1>and what you create, like dealing with this many characters.

0:20:56.440 --> 0:20:59.760
<v Speaker 1>Oh my god, is in four generations. So you got

0:20:59.760 --> 0:21:04.359
<v Speaker 1>the kids, you know, the adults, the parents, and the

0:21:04.520 --> 0:21:08.840
<v Speaker 1>grand the grandmother. They do it so there's not one

0:21:08.960 --> 0:21:11.800
<v Speaker 1>character who you feel like you don't know and you

0:21:11.840 --> 0:21:14.040
<v Speaker 1>can't relate to on some level.

0:21:14.119 --> 0:21:18.520
<v Speaker 2>That's so true watching it, I kept thinking with this film,

0:21:18.720 --> 0:21:22.920
<v Speaker 2>it seems like it's the blueprint for all the sitcoms

0:21:23.400 --> 0:21:26.719
<v Speaker 2>that came after it. And I know that it became

0:21:26.960 --> 0:21:30.199
<v Speaker 2>a TV shows it adapted into it. I think twice

0:21:30.119 --> 0:21:30.840
<v Speaker 2>yea they did.

0:21:30.840 --> 0:21:33.119
<v Speaker 1>I think they had a shot pretty quickly after and

0:21:33.200 --> 0:21:35.880
<v Speaker 1>it didn't work. And then more I guess more recently,

0:21:36.000 --> 0:21:38.440
<v Speaker 1>maybe ten years ago, so they had a crack. I

0:21:38.440 --> 0:21:39.439
<v Speaker 1>think it ran for about five.

0:21:39.640 --> 0:21:42.880
<v Speaker 2>It did pretty well, and obviously Modern Family I don't

0:21:42.880 --> 0:21:46.399
<v Speaker 2>think the TV show Modern Family would exist without this movie.

0:21:46.480 --> 0:21:50.240
<v Speaker 1>Well this happens because I think Brian Grazer and Lol

0:21:50.320 --> 0:21:52.760
<v Speaker 1>Ann's and Badlue Mandel and Ron Howard come to get

0:21:52.760 --> 0:21:55.760
<v Speaker 1>together and say, I think there's a story in the

0:21:55.800 --> 0:21:58.160
<v Speaker 1>things that we kind of deal with. And it's amazing

0:21:58.200 --> 0:22:01.920
<v Speaker 1>to think now that was once a thought like this

0:22:01.960 --> 0:22:05.000
<v Speaker 1>is this area hasn't really been covered like it's incredible

0:22:05.040 --> 0:22:08.560
<v Speaker 1>because you Bodern family and house they married, you know,

0:22:09.320 --> 0:22:12.760
<v Speaker 1>amazing succumbs over the years, but you like it just

0:22:12.760 --> 0:22:17.800
<v Speaker 1>seems like such fertile area and now well drilled area areas.

0:22:18.560 --> 0:22:20.600
<v Speaker 1>But this was like it felt it felt actually pretty

0:22:20.640 --> 0:22:21.560
<v Speaker 1>fresh when it happened.

0:22:21.680 --> 0:22:23.520
<v Speaker 2>So, yeah, I was trying to put it in context.

0:22:23.720 --> 0:22:27.760
<v Speaker 2>Was there no were there movies like this that were

0:22:27.800 --> 0:22:30.760
<v Speaker 2>just kind of not they're not there isn't really a story.

0:22:30.800 --> 0:22:33.760
<v Speaker 2>It's just you're living in the lives of these people

0:22:34.320 --> 0:22:37.280
<v Speaker 2>for a year. Maybe it feels like it's about a

0:22:37.359 --> 0:22:38.200
<v Speaker 2>year in the life.

0:22:38.200 --> 0:22:40.720
<v Speaker 1>Well, babies are born, so it's at least, you know,

0:22:41.480 --> 0:22:43.440
<v Speaker 1>nine months, and then the lead up to that.

0:22:43.359 --> 0:22:47.639
<v Speaker 2>So I'd say a year and maybe maybe there's something.

0:22:47.680 --> 0:22:50.040
<v Speaker 2>There's some things that have been similar in tone, but

0:22:50.160 --> 0:22:54.440
<v Speaker 2>this particular tome where it's it's not a hard comedy,

0:22:54.480 --> 0:22:57.280
<v Speaker 2>it's not a hard drama. It's sort of that middle ground.

0:22:57.320 --> 0:22:59.720
<v Speaker 2>I don't know if it did it exist.

0:23:00.080 --> 0:23:03.800
<v Speaker 1>Comedy is leading into this felt like bigger, like bigger,

0:23:03.800 --> 0:23:07.760
<v Speaker 1>more higher concept three precedes this.

0:23:08.000 --> 0:23:10.320
<v Speaker 2>Yeah, right, you know that's so true.

0:23:10.440 --> 0:23:13.520
<v Speaker 1>Yeah, like bigger kind of create you know, Beverly Hills

0:23:13.520 --> 0:23:16.840
<v Speaker 1>can't action adventure comedies are very big, great in the

0:23:17.240 --> 0:23:20.000
<v Speaker 1>You're awesome, which you're awesome, But it's just kind of

0:23:20.000 --> 0:23:23.240
<v Speaker 1>this kind of hybrid of a comedy, you know, almost

0:23:23.320 --> 0:23:25.600
<v Speaker 1>maybe it's one of the early drama tis you know, That's.

0:23:25.440 --> 0:23:27.719
<v Speaker 2>What I'm thinking. I think this might be, yeah, like

0:23:27.760 --> 0:23:30.119
<v Speaker 2>the blueprint for the drama dye. And as I was

0:23:30.160 --> 0:23:33.679
<v Speaker 2>watching it, I kept thinking, I know, James L. Brooks

0:23:33.760 --> 0:23:36.800
<v Speaker 2>is maybe around the same time, and he sort of

0:23:36.960 --> 0:23:40.359
<v Speaker 2>he's in a similar ballpark, but Ron Howard, James L.

0:23:40.400 --> 0:23:45.800
<v Speaker 2>Brooks without these guys, maybe there's no Judd Apatow today.

0:23:45.960 --> 0:23:49.560
<v Speaker 2>Maybe there's no you know those sorts of Seth Rogany

0:23:49.640 --> 0:23:52.959
<v Speaker 2>movies that are just you know, slice of life watching

0:23:53.119 --> 0:23:56.600
<v Speaker 2>a family hang out. Yeah, and you know, thank god

0:23:56.640 --> 0:23:59.640
<v Speaker 2>because they're great. It's a really nice type of movie.

0:23:59.680 --> 0:24:03.440
<v Speaker 1>Because dramai means a comedy that doesn't isn't as funny

0:24:03.440 --> 0:24:05.439
<v Speaker 1>as it should be. Yeah, but this is like the

0:24:05.480 --> 0:24:09.959
<v Speaker 1>comedy is really funny, really good, and the drama is

0:24:10.200 --> 0:24:14.200
<v Speaker 1>really good. Like there's so much in this and it

0:24:14.280 --> 0:24:16.200
<v Speaker 1>kind of gets a bit, you know, in a way,

0:24:16.240 --> 0:24:19.200
<v Speaker 1>heavier as it goes on. So we're going to get

0:24:19.200 --> 0:24:23.160
<v Speaker 1>to some of the heavier scenes soon. But I think

0:24:23.800 --> 0:24:26.280
<v Speaker 1>Ron Howard's ability and the writer's ability and the actors

0:24:26.280 --> 0:24:29.640
<v Speaker 1>ability to perform these and not like they have flashbacks,

0:24:30.359 --> 0:24:33.000
<v Speaker 1>you know, feel like you're in the same film, Like

0:24:34.200 --> 0:24:35.440
<v Speaker 1>is I think really impressive.

0:24:35.560 --> 0:24:39.080
<v Speaker 2>I'm so amazed at the ability of these guys, of

0:24:39.080 --> 0:24:43.199
<v Speaker 2>this cast and of these creators to have moments that

0:24:43.280 --> 0:24:49.439
<v Speaker 2>are you know, heavy discussions on abortion or divorce budding

0:24:49.520 --> 0:24:53.439
<v Speaker 2>right up against incredibly cartoony moments where Steve Martin is

0:24:53.960 --> 0:24:57.320
<v Speaker 2>you know, doing balloon animals or he's having a fantasy

0:24:57.320 --> 0:24:59.920
<v Speaker 2>about his son being a school shooter and stuff like that.

0:25:00.160 --> 0:25:02.480
<v Speaker 2>It's amazing that they all exist within the one.

0:25:02.320 --> 0:25:04.919
<v Speaker 1>Move absolutely, and I think they did. It's really clever

0:25:05.240 --> 0:25:08.000
<v Speaker 1>how they've gone gone, Okay, we've got Steve Martin, how

0:25:08.040 --> 0:25:10.560
<v Speaker 1>do we use Steve Martin? And I'm not sure if

0:25:10.560 --> 0:25:12.800
<v Speaker 1>these if because I know Steve Martin, you know, spoke

0:25:12.840 --> 0:25:15.199
<v Speaker 1>to Ron Howard and you know, like most actors, you know,

0:25:15.520 --> 0:25:19.880
<v Speaker 1>do you know, leading men and women, they'll have conversations

0:25:19.920 --> 0:25:23.639
<v Speaker 1>about tone and all that. But I think they found

0:25:23.640 --> 0:25:27.119
<v Speaker 1>it really clever ways because this is like a dial

0:25:27.240 --> 0:25:29.239
<v Speaker 1>down Steve Martin for a lot of this like this

0:25:29.320 --> 0:25:33.040
<v Speaker 1>is not the Three Amigos Steve Martin or the jerk

0:25:33.040 --> 0:25:35.480
<v Speaker 1>Steve Martin. This is a more dial down. But they

0:25:35.560 --> 0:25:38.320
<v Speaker 1>have moments where he's let off the leash and it's

0:25:38.359 --> 0:25:42.400
<v Speaker 1>it's at the party playing cowboy Gill. In fact, let's

0:25:42.400 --> 0:25:45.160
<v Speaker 1>have a listen to maybe him as a as cowboy

0:25:45.160 --> 0:25:46.480
<v Speaker 1>Gill party.

0:25:46.680 --> 0:25:50.400
<v Speaker 6>Pardner, you're Kevin's father, You're not cowboy Dan.

0:25:52.880 --> 0:25:58.520
<v Speaker 1>Right, they call me cowboy Gil as in Gil t.

0:26:03.880 --> 0:26:05.120
<v Speaker 3>I saw cowboy Dawn.

0:26:05.840 --> 0:26:07.520
<v Speaker 1>I didn't like to look on his face.

0:26:08.520 --> 0:26:10.960
<v Speaker 3>It was like this, so I killed him.

0:26:11.720 --> 0:26:18.679
<v Speaker 1>I blew a hole in them. This bit I was

0:26:18.680 --> 0:26:23.720
<v Speaker 1>about this big you know what I think about it.

0:26:23.800 --> 0:26:25.800
<v Speaker 2>That hole was about this bed.

0:26:29.000 --> 0:26:29.280
<v Speaker 8>Man.

0:26:29.440 --> 0:26:30.840
<v Speaker 3>His guts were stilled out.

0:26:30.720 --> 0:26:34.399
<v Speaker 2>All over the floor. As I was walking away, I

0:26:34.520 --> 0:26:35.880
<v Speaker 2>slip around on his gut.

0:26:37.400 --> 0:26:39.679
<v Speaker 9>A couple other people came by and they started slipping

0:26:39.720 --> 0:26:40.760
<v Speaker 9>on his guts too.

0:26:44.040 --> 0:26:45.560
<v Speaker 1>After I blow a hole in.

0:26:45.760 --> 0:26:49.200
<v Speaker 5>Somebody and slip around on their guts afterwards.

0:26:49.560 --> 0:26:54.000
<v Speaker 2>I always like to make balloon animals.

0:26:58.359 --> 0:27:01.280
<v Speaker 1>See mind giving upstown on Calming. So it was actually

0:27:01.320 --> 0:27:04.360
<v Speaker 1>always like watching totally a stand up gig there.

0:27:04.480 --> 0:27:06.520
<v Speaker 2>I was texting my wife while I was watching this,

0:27:06.600 --> 0:27:08.920
<v Speaker 2>and I was saying, you should watch you know, Parenthood.

0:27:08.920 --> 0:27:11.760
<v Speaker 2>I think you really like it, if only for the

0:27:11.800 --> 0:27:14.240
<v Speaker 2>because she loves Steve Martin. I think my wife would

0:27:14.320 --> 0:27:18.040
<v Speaker 2>cheat on me with Steve Martin has a huge crush

0:27:17.119 --> 0:27:20.080
<v Speaker 2>on And I was like, yeah, one of a very

0:27:20.119 --> 0:27:22.880
<v Speaker 2>special moment is he literally does his stand up act.

0:27:23.040 --> 0:27:25.359
<v Speaker 2>He does the balloon animals from his stand up act.

0:27:26.560 --> 0:27:26.879
<v Speaker 3>Yeah.

0:27:26.960 --> 0:27:29.800
<v Speaker 1>Yeah, So they find that he's even like when he

0:27:30.080 --> 0:27:32.680
<v Speaker 1>with the baseball that he does that kind of you know,

0:27:32.760 --> 0:27:35.919
<v Speaker 1>the crazy kind of funny walk that he know he

0:27:36.040 --> 0:27:39.359
<v Speaker 1>doesn't and they just found really fun moments for Steve

0:27:39.400 --> 0:27:41.400
<v Speaker 1>Martin to be Steve Martin, but it doesn't jar when

0:27:41.440 --> 0:27:43.680
<v Speaker 1>he goes back to being being guilt.

0:27:43.920 --> 0:27:46.480
<v Speaker 2>Isn't that such a That's a huge testament to him

0:27:46.480 --> 0:27:48.560
<v Speaker 2>as an actor, and it's something that maybe I'd never

0:27:48.640 --> 0:27:51.439
<v Speaker 2>even thought about him before, which is that he is

0:27:51.600 --> 0:27:54.680
<v Speaker 2>able to be a real human being, you know, because

0:27:54.680 --> 0:27:58.320
<v Speaker 2>we're so used to seeing him be you know, this crazy,

0:27:58.400 --> 0:28:00.920
<v Speaker 2>the wild and crazy guy, you know, but now he's

0:28:00.960 --> 0:28:04.280
<v Speaker 2>like in this movie, he really taps into being a

0:28:04.800 --> 0:28:08.359
<v Speaker 2>believable as a husband, believable as a dad, believable as

0:28:08.400 --> 0:28:12.240
<v Speaker 2>a guy who's struggling with his relationship with his father

0:28:12.560 --> 0:28:17.040
<v Speaker 2>and his own children. And then yet I also believe

0:28:17.119 --> 0:28:21.320
<v Speaker 2>him as probably the funniest guy in the neighborhood as well. Yeah, yeah,

0:28:21.400 --> 0:28:24.080
<v Speaker 2>it doesn't feel crazy to me that he would also

0:28:24.720 --> 0:28:27.160
<v Speaker 2>put on a cowboy suit and entertain all the kids

0:28:27.160 --> 0:28:27.800
<v Speaker 2>in the neighborhood.

0:28:27.840 --> 0:28:31.479
<v Speaker 1>It's and what I like also his relationship with Kevin.

0:28:32.000 --> 0:28:36.320
<v Speaker 1>You see so often in cinema the kids that are

0:28:36.359 --> 0:28:39.680
<v Speaker 1>the trouble kids, you know, and they've all the kids

0:28:39.680 --> 0:28:41.680
<v Speaker 1>have got their own kind of things going on, as

0:28:41.760 --> 0:28:45.760
<v Speaker 1>kids do. And obviously Diane Weese's character. Helen has some

0:28:45.760 --> 0:28:49.960
<v Speaker 1>stuff going on with her too, which you know, they

0:28:50.760 --> 0:28:53.280
<v Speaker 1>kind of behind their backs talk about how at least

0:28:53.320 --> 0:28:55.960
<v Speaker 1>that kids aren't as bad as Gary. Yeah. Yeah, but

0:28:56.480 --> 0:28:59.880
<v Speaker 1>I really like that. You know that Kevin loves his

0:29:00.120 --> 0:29:03.080
<v Speaker 1>dad and because there are kids, believe it, I'm not

0:29:03.240 --> 0:29:05.479
<v Speaker 1>like that. Who actually, you know, I just like their

0:29:05.560 --> 0:29:09.320
<v Speaker 1>dads and sometimes you don't see that. And I like that.

0:29:10.040 --> 0:29:12.720
<v Speaker 1>You got Kevin, who's a kid somewhere on the spectrum

0:29:13.600 --> 0:29:16.400
<v Speaker 1>we imagine, but he's but we see him. He's not

0:29:16.680 --> 0:29:19.760
<v Speaker 1>just a kid on the spectrum. We've see him be funny. Yeah,

0:29:20.520 --> 0:29:23.360
<v Speaker 1>the diary, he's caring. You know, he cracks up. His

0:29:23.440 --> 0:29:25.920
<v Speaker 1>sister's being a funny kid. You know, he's been the

0:29:25.960 --> 0:29:26.480
<v Speaker 1>funny brother.

0:29:26.760 --> 0:29:30.080
<v Speaker 2>Yeah, I know. It's really it's a really nice, nuanced performance.

0:29:30.480 --> 0:29:31.840
<v Speaker 1>I mean, I'm not sure you should have been expelled

0:29:31.840 --> 0:29:35.120
<v Speaker 1>from the school. I think that would be probably handled it,

0:29:35.320 --> 0:29:38.680
<v Speaker 1>possibly in a different way, hopefully in twenty two.

0:29:39.200 --> 0:29:41.120
<v Speaker 2>Yeah, I mean, some things have changed.

0:29:41.240 --> 0:29:42.760
<v Speaker 1>The kid makes a face. We can't have that in

0:29:42.840 --> 0:29:45.000
<v Speaker 1>this school, but it is.

0:29:45.160 --> 0:29:48.040
<v Speaker 2>I think it's pretty believable that the parents would be

0:29:49.560 --> 0:29:52.920
<v Speaker 2>having that conversation with their principal where they don't want

0:29:53.000 --> 0:29:54.600
<v Speaker 2>to take him out of that school. You know, they

0:29:54.640 --> 0:29:56.920
<v Speaker 2>want they want to They think they can solve the

0:29:56.960 --> 0:29:57.760
<v Speaker 2>problem themselves.

0:29:57.800 --> 0:30:00.160
<v Speaker 1>And I love that, he says. Steve Martin says, we

0:30:00.360 --> 0:30:02.760
<v Speaker 1>know there's a problem, we're aware of it, that we're

0:30:02.800 --> 0:30:04.760
<v Speaker 1>going to deal with it in our way.

0:30:06.240 --> 0:30:08.920
<v Speaker 2>It's kind of like their journey with their son is

0:30:09.040 --> 0:30:11.800
<v Speaker 2>like accepting that there's some things that they can't do,

0:30:12.080 --> 0:30:16.320
<v Speaker 2>you know, that they need to get help. Yeah, it's

0:30:16.400 --> 0:30:18.040
<v Speaker 2>kind of like in a way, because I was trying

0:30:18.040 --> 0:30:20.160
<v Speaker 2>to figure out what the message of the movie is,

0:30:20.200 --> 0:30:25.200
<v Speaker 2>and I guess it's like about accepting help really and

0:30:25.360 --> 0:30:28.320
<v Speaker 2>like reaching out to the people around you and letting

0:30:28.360 --> 0:30:30.840
<v Speaker 2>them in and letting them guide you in some way.

0:30:31.040 --> 0:30:32.280
<v Speaker 2>Like they all get a version of that.

0:30:32.560 --> 0:30:32.760
<v Speaker 3>Yeah.

0:30:32.960 --> 0:30:35.040
<v Speaker 1>I think what really makes it work and what makes

0:30:35.080 --> 0:30:39.400
<v Speaker 1>it feel honest is the idea that once you're a parent,

0:30:40.360 --> 0:30:42.880
<v Speaker 1>you are always going to worry about your kids. And

0:30:43.000 --> 0:30:45.680
<v Speaker 1>there's a scene it happens later in the you know,

0:30:45.760 --> 0:30:47.560
<v Speaker 1>but we might as well play it now, And it's

0:30:47.640 --> 0:30:52.400
<v Speaker 1>always been one of my absolute favorite moments in this film.

0:30:52.440 --> 0:30:54.960
<v Speaker 1>In fact, it's a favorite moment of mine in cinema.

0:30:55.040 --> 0:30:59.080
<v Speaker 1>It's the conversation between Frank and Gil. So Frank the

0:30:59.200 --> 0:31:04.480
<v Speaker 1>patriarch of the family. He's basically just realize that he's

0:31:04.640 --> 0:31:09.400
<v Speaker 1>the black sheep of the family. Larry has Is is

0:31:10.240 --> 0:31:14.960
<v Speaker 1>a loser and he's in the scene when he realizes this.

0:31:15.440 --> 0:31:18.000
<v Speaker 1>He realizes that he's back the wrong horse, you know,

0:31:18.160 --> 0:31:20.680
<v Speaker 1>because he says, I'm not Gil and there's a look

0:31:20.680 --> 0:31:23.640
<v Speaker 1>where was like, yeah, yeah, you're not Gil. So he

0:31:23.760 --> 0:31:27.280
<v Speaker 1>goes to Gil and us for advice. This is Steve

0:31:27.360 --> 0:31:28.520
<v Speaker 1>Martin and Jason Robarts.

0:31:29.240 --> 0:31:34.160
<v Speaker 8>I never should have had four. You know, when you

0:31:34.280 --> 0:31:38.200
<v Speaker 8>were two years old, we thought you had polio.

0:31:40.200 --> 0:31:40.760
<v Speaker 1>You know about that.

0:31:42.800 --> 0:31:46.160
<v Speaker 3>Yeah, Mum once said something, yeah wow for.

0:31:46.240 --> 0:31:52.040
<v Speaker 1>A week we didn't know. I hated you for that.

0:31:53.720 --> 0:31:59.400
<v Speaker 8>What I did, I did I hate I hated having

0:31:59.520 --> 0:32:04.400
<v Speaker 8>to go through that caring worry.

0:32:05.360 --> 0:32:08.160
<v Speaker 1>Dang, it's not for me.

0:32:09.960 --> 0:32:14.120
<v Speaker 8>And you know, it's not like that all ends when

0:32:14.200 --> 0:32:17.400
<v Speaker 8>you're eighteen or twenty one or forty one or sixty one.

0:32:17.600 --> 0:32:20.840
<v Speaker 1>It never never ends.

0:32:22.440 --> 0:32:25.440
<v Speaker 8>It's like your aunt Edna's ascid goes on forever, and

0:32:25.480 --> 0:32:31.760
<v Speaker 8>it's just as frightening. It's true, there is no end zone.

0:32:32.720 --> 0:32:35.680
<v Speaker 8>You never cross the gold Lin spike the ball and

0:32:35.800 --> 0:32:48.160
<v Speaker 8>do your touchdown there never I'm sixty four, Larry twenty seven,

0:32:51.680 --> 0:32:58.040
<v Speaker 8>and he's still my son, like Kevin and your son

0:33:01.000 --> 0:33:05.480
<v Speaker 8>the one and we get hurt, he's my son.

0:33:06.840 --> 0:33:10.280
<v Speaker 1>It's is a great gag in there. Yeah, but it

0:33:10.440 --> 0:33:14.400
<v Speaker 1>is like so honest. I mean, the idea of like basically,

0:33:15.640 --> 0:33:18.080
<v Speaker 1>there was a point in time where I wish I

0:33:18.120 --> 0:33:20.600
<v Speaker 1>didn't have you, you know, and this like this idea

0:33:20.600 --> 0:33:23.160
<v Speaker 1>because Gil knows he's not the favorite, and there's a

0:33:23.400 --> 0:33:26.040
<v Speaker 1>there's a weird relationship with his dad, and he's basically

0:33:26.120 --> 0:33:31.280
<v Speaker 1>just letting him know why the genesis, the origin story

0:33:31.560 --> 0:33:32.640
<v Speaker 1>of their relationship.

0:33:32.720 --> 0:33:35.680
<v Speaker 2>I was surprised by. I mean, first of all, I

0:33:35.720 --> 0:33:37.920
<v Speaker 2>didn't know Jason Robards was going to be in this movie.

0:33:38.400 --> 0:33:41.960
<v Speaker 2>I love Jason Robarts. I nearly picked Magnolia.

0:33:42.600 --> 0:33:47.080
<v Speaker 1>We haven't covered that. It's been mentioned, and I'm if

0:33:47.120 --> 0:33:49.080
<v Speaker 1>Warhurst mentioned it's one of her favorite films, as you

0:33:49.160 --> 0:33:52.800
<v Speaker 1>mentioned that, and and we haven't done Magnolia as a

0:33:52.920 --> 0:33:55.080
<v Speaker 1>as the whole movie, but I'm looking forward to it.

0:33:56.680 --> 0:33:58.600
<v Speaker 2>You might need to do it over two episodes, it's

0:33:58.680 --> 0:34:02.480
<v Speaker 2>too long. But but yeah, he's incredible and I think,

0:34:03.000 --> 0:34:05.320
<v Speaker 2>I mean, I just love him. I think he taps

0:34:05.360 --> 0:34:11.719
<v Speaker 2>into this emotional male thing which you don't see very often,

0:34:11.719 --> 0:34:16.000
<v Speaker 2>where it's he comes close to saying something really sweet

0:34:16.040 --> 0:34:18.480
<v Speaker 2>and really nice to his son, he never quite says it.

0:34:18.960 --> 0:34:21.120
<v Speaker 2>He never sits, He never says like I love you, Gil,

0:34:21.320 --> 0:34:23.880
<v Speaker 2>or you know you're You're the son I should have

0:34:23.920 --> 0:34:26.560
<v Speaker 2>been focusing on. He comes close, but he doesn't, and

0:34:26.680 --> 0:34:28.920
<v Speaker 2>it's the fact that he pulls back that makes my

0:34:29.480 --> 0:34:32.120
<v Speaker 2>I nearly burst into tears. You know, there's a moment

0:34:33.840 --> 0:34:38.240
<v Speaker 2>that comes after this where he realizes that his youngest son, Larry,

0:34:38.520 --> 0:34:41.560
<v Speaker 2>is going to leave and go do another scam and

0:34:42.040 --> 0:34:45.520
<v Speaker 2>he's going to leave his son Cool with them, which

0:34:45.600 --> 0:34:50.080
<v Speaker 2>is already great. We will discuss Cool very soon yet,

0:34:50.239 --> 0:34:53.560
<v Speaker 2>and you know, Cool says, is his dad coming back?

0:34:53.680 --> 0:34:57.080
<v Speaker 2>And robuts just says, nope, you want to stay here

0:34:57.160 --> 0:35:00.760
<v Speaker 2>with me? And he's like, yeah, I again, my heart broke,

0:35:01.200 --> 0:35:05.200
<v Speaker 2>doesn't He's not being overly warm, but the warmth is there,

0:35:05.440 --> 0:35:09.600
<v Speaker 2>it's behind, it's behind this male masculine thing. Yeah. It

0:35:09.719 --> 0:35:11.040
<v Speaker 2>does it for me, dude, I love it.

0:35:11.160 --> 0:35:13.800
<v Speaker 1>And for you to be feeling that when there's you know,

0:35:14.360 --> 0:35:19.239
<v Speaker 1>nearly twenty characters that Ron Howard is dealing with it is.

0:35:20.000 --> 0:35:24.000
<v Speaker 1>It really is quite incredible, and they do it with

0:35:24.160 --> 0:35:28.720
<v Speaker 1>little moments like there's a bit where Gilly's being cowboy

0:35:28.840 --> 0:35:33.560
<v Speaker 1>Gill and so everyone's enjoying it, and Jason Robards is

0:35:33.640 --> 0:35:36.760
<v Speaker 1>looking over there and he's he's poor. His poor wife

0:35:37.480 --> 0:35:39.160
<v Speaker 1>comes over it kind of like gives him a hag

0:35:39.160 --> 0:35:40.600
<v Speaker 1>because she's enjoying it too, and he kind of just

0:35:40.719 --> 0:35:42.000
<v Speaker 1>like looks at her and like, this is this is

0:35:42.120 --> 0:35:44.480
<v Speaker 1>not funny, and it tells us one it gives us

0:35:44.480 --> 0:35:48.080
<v Speaker 1>another glimpse, a reminder of the relationship between him and

0:35:48.160 --> 0:35:50.480
<v Speaker 1>his wife, but also the relationship between him and gil

0:35:50.520 --> 0:35:52.680
<v Speaker 1>Because if Larry was doing Cowboy Larry.

0:35:52.719 --> 0:35:55.040
<v Speaker 2>Even know he'd love it, he would love it.

0:35:55.200 --> 0:35:58.000
<v Speaker 1>And I think that let's actually play now the arrival

0:35:58.400 --> 0:36:02.719
<v Speaker 1>of Larry where Larry rocks up. Frank is so excited

0:36:03.360 --> 0:36:07.080
<v Speaker 1>and like this again, this has happening in reasonably early

0:36:07.120 --> 0:36:09.440
<v Speaker 1>in the film, and it just is the what Larry

0:36:09.520 --> 0:36:13.279
<v Speaker 1>says that each of his siblings is so is so

0:36:13.560 --> 0:36:17.520
<v Speaker 1>perfect and informs us one who he is. But also

0:36:17.600 --> 0:36:19.520
<v Speaker 1>this reminds us of maybe what they're going through as well.

0:36:19.840 --> 0:36:27.120
<v Speaker 2>Gilbo Larry, how long has it been three years? About

0:36:27.200 --> 0:36:34.840
<v Speaker 2>that stop wearing your turban. Yeah, my god, Susan, you

0:36:35.000 --> 0:36:35.520
<v Speaker 2>look great.

0:36:36.440 --> 0:36:37.759
<v Speaker 9>And you weren't my sister.

0:36:39.880 --> 0:36:40.160
<v Speaker 10>Ellen.

0:36:49.840 --> 0:36:51.920
<v Speaker 4>You were supposed to wait outside so I could introduce you.

0:36:56.000 --> 0:36:58.719
<v Speaker 7>Well, why don't you do it?

0:36:58.840 --> 0:36:59.000
<v Speaker 10>Now?

0:37:06.360 --> 0:37:06.840
<v Speaker 9>Everybody?

0:37:08.920 --> 0:37:15.400
<v Speaker 3>This is my son Cool? Did he say cool?

0:37:16.200 --> 0:37:19.040
<v Speaker 1>It is so good? And then you have the dinner

0:37:20.000 --> 0:37:22.160
<v Speaker 1>the dinner scene or the lunch scene. Yeah, and he's

0:37:22.200 --> 0:37:25.360
<v Speaker 1>explaining how, you know, Cool came into his life and

0:37:25.960 --> 0:37:28.640
<v Speaker 1>he's had he had an affair and this woman came

0:37:28.719 --> 0:37:31.840
<v Speaker 1>in and said, you take Cool. I just shot somebody

0:37:32.280 --> 0:37:35.080
<v Speaker 1>and he says, you call that a parent.

0:37:37.719 --> 0:37:40.160
<v Speaker 2>It's I was like, this is the role you'd want

0:37:40.200 --> 0:37:42.279
<v Speaker 2>to play, right, I think it's so it's such a

0:37:42.360 --> 0:37:43.839
<v Speaker 2>funny scene stealer.

0:37:43.520 --> 0:37:47.719
<v Speaker 1>Of and it's Tom Holston did and played not long after,

0:37:47.960 --> 0:37:50.839
<v Speaker 1>and he's so good in it. He makes every little

0:37:50.880 --> 0:37:51.879
<v Speaker 1>bit of his scenes count.

0:37:51.960 --> 0:37:55.000
<v Speaker 2>It's incredible. I mean, like, I mean, you're you're a writer,

0:37:55.239 --> 0:37:58.160
<v Speaker 2>so you tell me, like, is it is it hard

0:37:58.840 --> 0:38:03.960
<v Speaker 2>to balance all these types of characters. I don't know how.

0:38:04.600 --> 0:38:06.000
<v Speaker 2>I don't know if I could wrap my head around

0:38:06.040 --> 0:38:06.520
<v Speaker 2>it is. No.

0:38:06.920 --> 0:38:10.759
<v Speaker 1>It's like I've written episodes where I know, you know,

0:38:10.960 --> 0:38:12.640
<v Speaker 1>like for say, how to Stay Mary, where we know

0:38:12.760 --> 0:38:15.960
<v Speaker 1>our family and we know how to deal with those characters.

0:38:16.320 --> 0:38:18.640
<v Speaker 1>But there's been episodes where we would bring the parents in,

0:38:18.880 --> 0:38:21.640
<v Speaker 1>you know, or have or have all the characters in

0:38:21.840 --> 0:38:24.080
<v Speaker 1>a scene together. And there's a few people from the

0:38:24.080 --> 0:38:25.640
<v Speaker 1>school who are going to be involved here, like we

0:38:25.719 --> 0:38:27.680
<v Speaker 1>had a Trivia nine episode one and the like, and

0:38:27.840 --> 0:38:30.040
<v Speaker 1>dealing and keeping an eye on all those characters over

0:38:30.760 --> 0:38:35.719
<v Speaker 1>over twenty two minutes. It's tricky. Let alone, you know

0:38:35.840 --> 0:38:38.320
<v Speaker 1>a feature film where you are trying to and I

0:38:38.400 --> 0:38:41.800
<v Speaker 1>think they have absolutely executed it here. They're trying to

0:38:41.840 --> 0:38:43.960
<v Speaker 1>give everybody an arc. Everyone has an arc.

0:38:44.000 --> 0:38:46.360
<v Speaker 2>Everyone gets an arc. And it's also I mean, I

0:38:46.719 --> 0:38:49.239
<v Speaker 2>don't know how you do it, but everyone gets to

0:38:49.320 --> 0:38:52.799
<v Speaker 2>be funny in their own way as well. It's not like, oh,

0:38:52.960 --> 0:38:56.719
<v Speaker 2>that's the serious character, that's the sad character. They all get.

0:38:56.960 --> 0:38:59.320
<v Speaker 2>They're all funny in their own specific little ways to

0:38:59.440 --> 0:39:01.759
<v Speaker 2>each other. They make each other laugh. They make us laugh.

0:39:02.280 --> 0:39:05.839
<v Speaker 2>Some of them, like Steve Martin, he makes he makes

0:39:05.920 --> 0:39:08.399
<v Speaker 2>us laugh because he's the voice of us who says

0:39:08.440 --> 0:39:13.480
<v Speaker 2>little sarcastic asides. Diane Weese gets amazing jokes.

0:39:13.719 --> 0:39:19.960
<v Speaker 1>Yeah, in a role that you know is so dramatically paper,

0:39:20.040 --> 0:39:22.759
<v Speaker 1>it's the sad one. Yeah, she's the sad character and

0:39:22.920 --> 0:39:26.880
<v Speaker 1>she's still got gags in there, but also she makes

0:39:27.400 --> 0:39:31.200
<v Speaker 1>she finds laughs. Yeah, you know in moments she truly

0:39:31.239 --> 0:39:31.759
<v Speaker 1>elevates it.

0:39:31.960 --> 0:39:35.000
<v Speaker 2>I'm such a big fan of hers. And the quote

0:39:35.040 --> 0:39:38.799
<v Speaker 2>that I always pull up is Brad pitt quote about her.

0:39:38.840 --> 0:39:42.880
<v Speaker 2>Have you ever heard that? Is around this time or

0:39:42.920 --> 0:39:46.320
<v Speaker 2>maybe the early nineties, when Brad Pitt was in his like,

0:39:47.040 --> 0:39:50.160
<v Speaker 2>you know, the hottest guy in the world must have

0:39:50.200 --> 0:39:52.840
<v Speaker 2>been after God, I don't know, one of those movies

0:39:52.880 --> 0:39:54.319
<v Speaker 2>that one of those movies that made him a hunk.

0:39:55.360 --> 0:39:59.080
<v Speaker 2>Interview of the Vampire something, and someone said to him,

0:39:59.440 --> 0:40:02.640
<v Speaker 2>who's the most beautiful woman in Hollywood? And he said

0:40:03.239 --> 0:40:07.120
<v Speaker 2>Diane Wete. He was like, she is stunning and every

0:40:07.360 --> 0:40:10.080
<v Speaker 2>she's so believable and I just every time I watch her,

0:40:10.120 --> 0:40:12.120
<v Speaker 2>I can't take my eyes off of And that's how

0:40:12.200 --> 0:40:15.520
<v Speaker 2>I feel when she is on screen. She is gorgeous,

0:40:15.640 --> 0:40:19.239
<v Speaker 2>so gorgeous, but like so real. She feels so like,

0:40:19.480 --> 0:40:22.120
<v Speaker 2>you know, authentic. I believe her as this woman.

0:40:22.239 --> 0:40:25.120
<v Speaker 1>Well, this is where you know we've discussed before. It's

0:40:25.200 --> 0:40:29.520
<v Speaker 1>came up. I'm trying to think of what roles but

0:40:29.840 --> 0:40:32.320
<v Speaker 1>a Holy Hunter in broadcast news is a good example

0:40:32.360 --> 0:40:37.360
<v Speaker 1>of someone who's who you feel an attraction to, and

0:40:37.480 --> 0:40:40.680
<v Speaker 1>it comes from a place of intelligence as far as

0:40:40.760 --> 0:40:43.480
<v Speaker 1>opposed to oh they're wearing a tank top, you know,

0:40:43.719 --> 0:40:46.480
<v Speaker 1>and or that, yeah, there's there's flesh, or there's a

0:40:46.600 --> 0:40:48.759
<v Speaker 1>blonde bombshell. It's not no, it's not that. There's something

0:40:48.800 --> 0:40:51.160
<v Speaker 1>I'm feeling something yeah for this character, and it comes

0:40:51.200 --> 0:40:54.680
<v Speaker 1>from a place of what they what they actually like

0:40:54.840 --> 0:40:58.200
<v Speaker 1>as a character. Is like as a person, I kind.

0:40:58.080 --> 0:41:00.840
<v Speaker 2>Of feel like that Holy Hunter lover and that, but

0:41:01.000 --> 0:41:04.000
<v Speaker 2>also yeah, Diane and this, I'm like, oh God, I

0:41:04.080 --> 0:41:06.479
<v Speaker 2>think I'm falling in love with her, Like I wish,

0:41:06.560 --> 0:41:08.759
<v Speaker 2>I wish I could sweep in and marry her and

0:41:08.920 --> 0:41:09.520
<v Speaker 2>raise Gary.

0:41:11.080 --> 0:41:12.160
<v Speaker 1>Give me a crack of Gary.

0:41:12.640 --> 0:41:13.560
<v Speaker 2>I could crack Gary.

0:41:14.160 --> 0:41:16.680
<v Speaker 1>It's it's and the cool, go back the cool and

0:41:16.719 --> 0:41:21.320
<v Speaker 1>we'll come back with to Helen and Julian Todden and

0:41:21.640 --> 0:41:26.760
<v Speaker 1>and Gary. But that moment where you know he brings

0:41:26.840 --> 0:41:29.440
<v Speaker 1>I mean, it's it's slightly weird, isn't it, Because I

0:41:29.480 --> 0:41:32.040
<v Speaker 1>mean the one thing that I would say hasn't aged

0:41:32.080 --> 0:41:33.600
<v Speaker 1>well in this and this is this is not a

0:41:33.680 --> 0:41:36.040
<v Speaker 1>shot of parenthood because it's it's almost true of every

0:41:36.080 --> 0:41:39.040
<v Speaker 1>movie that existed in you know, there's this, it's a

0:41:39.120 --> 0:41:41.359
<v Speaker 1>very white cast. There's no like if you if you're

0:41:41.360 --> 0:41:46.360
<v Speaker 1>making parentle now yeah, you know, you know one of

0:41:46.360 --> 0:41:48.160
<v Speaker 1>the people who are probably married into the family is

0:41:48.440 --> 0:41:51.160
<v Speaker 1>like totally yeah, it's it's more mixed racing.

0:41:51.320 --> 0:41:53.720
<v Speaker 2>Well, even like the show Modern Family is an example,

0:41:53.800 --> 0:41:56.560
<v Speaker 2>and that's still a very white show. Yeah, I've sort

0:41:56.600 --> 0:41:57.920
<v Speaker 2>of diversified it up a bit.

0:41:58.120 --> 0:41:59.759
<v Speaker 1>Yes, and this is very white and straight, like, there's

0:41:59.800 --> 0:42:05.000
<v Speaker 1>not my diversity had all going on in this. But

0:42:06.120 --> 0:42:08.279
<v Speaker 1>but cool is just I mean, just the fact they

0:42:08.400 --> 0:42:11.759
<v Speaker 1>called him cool, Like just say this little every little

0:42:11.880 --> 0:42:16.560
<v Speaker 1>moment has been thought about and considered by by the writers.

0:42:16.760 --> 0:42:20.600
<v Speaker 2>I know, it's kind of the perfect comedy name. It's

0:42:20.800 --> 0:42:23.480
<v Speaker 2>for the dipshit son to bring home, you know, like

0:42:24.080 --> 0:42:29.719
<v Speaker 2>he's named his son cool. It's just a funny. It's funny, gay,

0:42:29.960 --> 0:42:30.760
<v Speaker 2>it's so funny.

0:42:31.040 --> 0:42:33.760
<v Speaker 1>Let's talk about it. Let's let's talk about Helen Julie.

0:42:34.520 --> 0:42:36.720
<v Speaker 1>He's going out of Todd and Gary.

0:42:37.360 --> 0:42:39.560
<v Speaker 2>Yeah. Again, I didn't know where Keing Phoenix was going

0:42:39.600 --> 0:42:42.120
<v Speaker 2>to be in this. Yeah, that was a nice surprise.

0:42:42.560 --> 0:42:46.400
<v Speaker 1>And oh my god, I mean there's just you know,

0:42:46.560 --> 0:42:48.759
<v Speaker 1>so he's a bit lost. He's locking his door. You

0:42:48.840 --> 0:42:51.320
<v Speaker 1>were locked bedroom door kind of guy. I didn't have

0:42:51.440 --> 0:42:51.879
<v Speaker 1>a lock.

0:42:52.280 --> 0:42:54.520
<v Speaker 2>I was always jealous of seeing that in movies and

0:42:54.800 --> 0:42:57.520
<v Speaker 2>kids had a padlock on their door. Yeah, but I

0:42:57.760 --> 0:43:00.440
<v Speaker 2>definitely would shut my door every time I went in there.

0:43:00.520 --> 0:43:04.759
<v Speaker 1>Yeah, and he's he's walking around a brown tucker bag

0:43:04.920 --> 0:43:08.319
<v Speaker 1>like paper bag. Yeah, with porn. We find out it's

0:43:08.320 --> 0:43:09.920
<v Speaker 1>got porn in that. I'm not sure where he's going

0:43:09.960 --> 0:43:12.800
<v Speaker 1>to watch these? Yeah, h video tapes by the way.

0:43:12.920 --> 0:43:15.680
<v Speaker 2>Yeah is he where's he getting them from? Why is

0:43:15.719 --> 0:43:16.879
<v Speaker 2>he carrying them around town?

0:43:17.000 --> 0:43:17.120
<v Speaker 7>Well?

0:43:17.160 --> 0:43:18.759
<v Speaker 1>It was like me, he got from the dodgy bloke

0:43:18.800 --> 0:43:23.359
<v Speaker 1>in the milk bar under the counter. But for those

0:43:23.440 --> 0:43:26.440
<v Speaker 1>who didn't quite spot at the three movies, I think

0:43:26.440 --> 0:43:28.120
<v Speaker 1>he's apout the three movies that the cases are in.

0:43:28.320 --> 0:43:31.240
<v Speaker 2>Oh, I can't remember what was in the future.

0:43:31.360 --> 0:43:35.520
<v Speaker 1>Yeah, that's right, Dragnet and the Great Outdoors, Dragnet the film,

0:43:35.680 --> 0:43:40.200
<v Speaker 1>the film, Yeah, and Tom Hanks and Tom Hanks.

0:43:40.360 --> 0:43:40.560
<v Speaker 10>Yeah.

0:43:40.680 --> 0:43:44.439
<v Speaker 2>Yeah, I've never seen that, you know, so I've never seen.

0:43:44.440 --> 0:43:46.480
<v Speaker 1>It's not one that I've revisited a lot, but I

0:43:46.600 --> 0:43:47.480
<v Speaker 1>think it was pretty good.

0:43:47.480 --> 0:43:51.440
<v Speaker 2>I can't believe it exists. It's a reboot of the series.

0:43:51.760 --> 0:43:54.960
<v Speaker 2>Yeah yeah, yeah, yeah, comedy reboot of.

0:43:54.960 --> 0:43:55.800
<v Speaker 1>The comedy reboot.

0:43:55.880 --> 0:43:59.680
<v Speaker 2>Yeah, Bzar, I'd like to watch it, and I'd like

0:43:59.719 --> 0:44:01.160
<v Speaker 2>to watch the porno that's in there.

0:44:02.920 --> 0:44:06.239
<v Speaker 1>And Mildos or something, Yes, something like that. Let's have

0:44:06.320 --> 0:44:11.239
<v Speaker 1>a listen to because this is truly a heartbreaking set. Again,

0:44:11.320 --> 0:44:14.760
<v Speaker 1>this is talking about the comedy, which is always funny

0:44:14.880 --> 0:44:19.000
<v Speaker 1>in this And then there's a moment where Gary asks

0:44:19.520 --> 0:44:22.800
<v Speaker 1>his mum if he can call his dad, and and

0:44:23.840 --> 0:44:25.399
<v Speaker 1>there's I could have played it. I could have played

0:44:25.400 --> 0:44:28.240
<v Speaker 1>four minutes of this scene. It's better watching it because

0:44:28.360 --> 0:44:33.840
<v Speaker 1>you you see Dian Weeze is not barely tries to

0:44:33.920 --> 0:44:35.520
<v Speaker 1>talk him out of it, like has a little go

0:44:35.840 --> 0:44:40.360
<v Speaker 1>because she knows the result is going to be inevitable

0:44:40.400 --> 0:44:43.520
<v Speaker 1>and there's going to be heartbreak her watching Gary make

0:44:43.600 --> 0:44:45.920
<v Speaker 1>this phone call. It's a one sided phone call, so

0:44:45.960 --> 0:44:48.640
<v Speaker 1>you don't see Gary's father at the other end. The

0:44:48.719 --> 0:44:51.680
<v Speaker 1>performance by young Joaquin Phoenix is incredible.

0:44:51.920 --> 0:44:53.880
<v Speaker 2>Yeah, he already had it, didn't He already have the

0:44:53.960 --> 0:44:57.799
<v Speaker 2>ability to to be engaged emotionally in that way. It's

0:44:57.840 --> 0:44:58.560
<v Speaker 2>pretty great when.

0:44:58.480 --> 0:45:00.279
<v Speaker 1>You're watching it you're gonna go, oh, yes, yeah, by

0:45:00.280 --> 0:45:02.200
<v Speaker 1>its river finished his brother, and then you watch it

0:45:02.320 --> 0:45:05.000
<v Speaker 1>now and you're going to go, oh, we know everything

0:45:05.040 --> 0:45:07.279
<v Speaker 1>else makes sense. Yeah, he was as good as he is.

0:45:08.239 --> 0:45:12.080
<v Speaker 1>There's also another little little touch by Ron how when

0:45:12.080 --> 0:45:17.319
<v Speaker 1>you watch it, when Dinies try, you know, Hallan tries

0:45:17.360 --> 0:45:19.320
<v Speaker 1>to convince him not to you know that your dad's

0:45:19.360 --> 0:45:22.600
<v Speaker 1>busy and you don't know him like I do, and

0:45:22.680 --> 0:45:24.880
<v Speaker 1>he goes, no, I want her, and he asks for

0:45:24.960 --> 0:45:28.719
<v Speaker 1>the number, and as he as she's giving him a number,

0:45:28.760 --> 0:45:30.719
<v Speaker 1>he kind of walks towards the phone, which is further away,

0:45:30.760 --> 0:45:34.600
<v Speaker 1>and the camera just pans back away from Diane Weese,

0:45:34.760 --> 0:45:37.200
<v Speaker 1>almost from Gary's point of view, and then he ends

0:45:37.280 --> 0:45:41.160
<v Speaker 1>up almost with shutterers between them, and it's just again,

0:45:41.280 --> 0:45:44.920
<v Speaker 1>it's just a small touch. But I think you can

0:45:45.440 --> 0:45:50.760
<v Speaker 1>underestimate and underrate a director who I think the tricks

0:45:50.800 --> 0:45:53.879
<v Speaker 1>he's pulling off that's a really good or yeah, he's

0:45:53.920 --> 0:45:57.800
<v Speaker 1>just like that. The emotional distance between gets further is

0:45:57.880 --> 0:46:00.480
<v Speaker 1>in that moment, is getting further and further apart between

0:46:00.680 --> 0:46:06.160
<v Speaker 1>mother and son until there's something in between them potentially physically,

0:46:06.560 --> 0:46:09.320
<v Speaker 1>and that probably represents I think the father. Let's have

0:46:09.440 --> 0:46:12.040
<v Speaker 1>listened to Gary on the phone to his father asking

0:46:12.120 --> 0:46:14.359
<v Speaker 1>if he can come and stay for a while, which

0:46:14.480 --> 0:46:14.880
<v Speaker 1>is normal.

0:46:18.480 --> 0:46:24.200
<v Speaker 7>Well he'd be he'd be at work now.

0:46:25.560 --> 0:46:26.280
<v Speaker 2>So that's.

0:46:28.400 --> 0:46:47.359
<v Speaker 7>Two O sex five seven. No, no, yeah, yeah, Doctor.

0:46:47.120 --> 0:46:47.759
<v Speaker 5>Lamkin there.

0:46:50.200 --> 0:47:01.719
<v Speaker 7>His son. No, Dad, it's not Jewey, it's Gary.

0:47:01.719 --> 0:47:06.280
<v Speaker 5>Your other son. Well, I need to ask you something.

0:47:07.800 --> 0:47:14.320
<v Speaker 5>It'll just take a second. Oh, would it be okay

0:47:15.080 --> 0:47:15.960
<v Speaker 5>if I stay with you.

0:47:16.040 --> 0:47:20.600
<v Speaker 7>For a while a few months?

0:47:33.320 --> 0:47:33.640
<v Speaker 1>Okay?

0:47:40.480 --> 0:47:40.960
<v Speaker 5>Okay?

0:47:41.840 --> 0:47:49.920
<v Speaker 1>Shit, humph.

0:47:52.040 --> 0:47:53.560
<v Speaker 2>You didn't think it was just a good idea?

0:47:54.280 --> 0:47:54.440
<v Speaker 10>Oh?

0:47:55.960 --> 0:47:56.520
<v Speaker 7>I better go.

0:48:01.000 --> 0:48:04.360
<v Speaker 1>We've spoken on this podcast about we did Love actually

0:48:04.400 --> 0:48:08.400
<v Speaker 1>before Christmas, and we you know, Eddie Bannon tore it apart,

0:48:08.640 --> 0:48:10.400
<v Speaker 1>and I can understand why he did that, and I

0:48:10.480 --> 0:48:12.360
<v Speaker 1>agree with a lot that he had to say. But

0:48:12.440 --> 0:48:14.640
<v Speaker 1>the one thing you can always said up for about

0:48:14.640 --> 0:48:16.920
<v Speaker 1>Love actually is Emon Thompson's performance. And I think I

0:48:17.000 --> 0:48:19.960
<v Speaker 1>think dying Weed's in this threat the whole film, but

0:48:20.400 --> 0:48:23.720
<v Speaker 1>also in this moment, that that moment where in Love actually,

0:48:23.760 --> 0:48:26.920
<v Speaker 1>where Emmon Thomas is living listening upstairs to Johonni Mitchell

0:48:27.000 --> 0:48:29.440
<v Speaker 1>realizing that her husband might be having an affair like

0:48:29.960 --> 0:48:32.480
<v Speaker 1>is like, I put that in the same category as this,

0:48:32.640 --> 0:48:35.400
<v Speaker 1>like dionis not a lot of dialogue. But she's just

0:48:35.719 --> 0:48:40.040
<v Speaker 1>listening and listening to your son call his dad, knowing

0:48:40.120 --> 0:48:42.280
<v Speaker 1>he's going to be rejected and then for that to happen.

0:48:42.560 --> 0:48:46.520
<v Speaker 2>And also she's listening to him call his dad because

0:48:46.560 --> 0:48:48.719
<v Speaker 2>he doesn't want to live with her anymore. So there's

0:48:48.800 --> 0:48:52.280
<v Speaker 2>so much going on, yep, inside her. She's been rejected

0:48:52.320 --> 0:48:54.920
<v Speaker 2>by her son but also knowing that he's about to

0:48:55.000 --> 0:48:58.520
<v Speaker 2>be rejected by his own father. Very complex, you know.

0:48:58.560 --> 0:49:02.760
<v Speaker 2>I'm glad you. I'm glad you mentioned that that little

0:49:02.920 --> 0:49:06.400
<v Speaker 2>Ron how a little you know, the pullback, because I

0:49:06.680 --> 0:49:10.360
<v Speaker 2>think I don't think Ron Howard gets enough credit for

0:49:10.480 --> 0:49:11.600
<v Speaker 2>being a good director.

0:49:11.840 --> 0:49:12.040
<v Speaker 1>Yeah.

0:49:12.120 --> 0:49:14.839
<v Speaker 2>I think he kind of people think of him maybe

0:49:14.880 --> 0:49:19.120
<v Speaker 2>as like a journeyman who does these big Hollywood things,

0:49:19.200 --> 0:49:21.759
<v Speaker 2>you know, like he did Solo a couple of years ago,

0:49:21.840 --> 0:49:23.360
<v Speaker 2>the Han Solo movie, and we.

0:49:23.480 --> 0:49:26.560
<v Speaker 1>Came in to save that film. Yeah, yeah, which I

0:49:26.640 --> 0:49:28.640
<v Speaker 1>will always stand up for. I think it's a very

0:49:28.760 --> 0:49:31.000
<v Speaker 1>fun and I absolutely I would have it in my

0:49:31.080 --> 0:49:32.080
<v Speaker 1>top six Star Wars films.

0:49:32.239 --> 0:49:32.719
<v Speaker 2>I like it.

0:49:34.320 --> 0:49:35.080
<v Speaker 1>It's another podcast.

0:49:35.200 --> 0:49:37.560
<v Speaker 2>It's in my top six star Wars. But yeah, you know,

0:49:37.760 --> 0:49:40.120
<v Speaker 2>Da Vinci Code's and Apollo thirteen.

0:49:40.120 --> 0:49:44.239
<v Speaker 1>He's a bit of a mine. Yeah, but he has

0:49:44.360 --> 0:49:47.520
<v Speaker 1>he's a little interesting. He did like rush rush, like

0:49:48.080 --> 0:49:49.600
<v Speaker 1>he steps out of himself, can't you know?

0:49:49.920 --> 0:49:52.920
<v Speaker 2>Yeah, I think this is I think this is a

0:49:53.080 --> 0:49:56.920
<v Speaker 2>proof to me that he's he's a really artistic director.

0:49:57.120 --> 0:50:00.399
<v Speaker 2>This film, the ability to wrangle the cast, to make

0:50:00.440 --> 0:50:03.520
<v Speaker 2>those little choices. You know, we've already kind of talked

0:50:03.520 --> 0:50:06.960
<v Speaker 2>about how everyone gets an arc and everyone gets moments

0:50:07.000 --> 0:50:11.000
<v Speaker 2>to be funny but also surprising. Characters can move you

0:50:11.320 --> 0:50:17.920
<v Speaker 2>in this movie, and I got side, like blindsided by

0:50:18.440 --> 0:50:21.640
<v Speaker 2>the grandmother, who just seems like a comedy character in

0:50:21.719 --> 0:50:25.560
<v Speaker 2>this like a doddering old lady, and then she comes

0:50:25.600 --> 0:50:29.720
<v Speaker 2>in with this amazing monologue how life's a roller coaster,

0:50:30.480 --> 0:50:33.160
<v Speaker 2>and I didn't even know what was happening. I thought, Oh,

0:50:33.320 --> 0:50:35.880
<v Speaker 2>she's entered the scene. She's gonna say some non sequiteur

0:50:36.960 --> 0:50:39.400
<v Speaker 2>and then she'll she'll leave and we'll all laugh at

0:50:39.440 --> 0:50:41.880
<v Speaker 2>this silly old lady. But she ends up saying the

0:50:41.960 --> 0:50:45.760
<v Speaker 2>thing that sums up the movie's message, and I again

0:50:46.000 --> 0:50:48.880
<v Speaker 2>fighting back tears. As soon as I realized I was

0:50:48.920 --> 0:50:50.960
<v Speaker 2>watching the message of the movie come out of this

0:50:51.080 --> 0:50:54.000
<v Speaker 2>lady's mouth. I'm like, oh, god, Ron, you did it.

0:50:54.440 --> 0:50:54.920
<v Speaker 2>You got me.

0:50:55.200 --> 0:50:58.160
<v Speaker 1>I love the fact there's respect for like. She could

0:50:58.160 --> 0:51:00.239
<v Speaker 1>have been a comedy character in a mumbling. Could have

0:51:00.239 --> 0:51:02.520
<v Speaker 1>been when with the back around the head Yeah I

0:51:02.600 --> 0:51:06.600
<v Speaker 1>had the headbutting. Yeah, yeah, exactly. Oh that could have

0:51:06.640 --> 0:51:09.920
<v Speaker 1>made it too cool? Yeah, absolutely, But Jesus, she's a

0:51:10.000 --> 0:51:13.400
<v Speaker 1>source of generally fun, you know, I think in the

0:51:14.000 --> 0:51:15.920
<v Speaker 1>in the movie. But let's have a listen to her.

0:51:16.400 --> 0:51:18.400
<v Speaker 1>Her amazing roller coaster analogy.

0:51:18.640 --> 0:51:21.440
<v Speaker 10>You know, when I was nineteen, Grandpa took me on

0:51:21.560 --> 0:51:28.640
<v Speaker 10>a roller coaster. Oh, up down, up down.

0:51:29.600 --> 0:51:31.000
<v Speaker 2>Oh what a ride.

0:51:32.120 --> 0:51:34.480
<v Speaker 1>Yeah, what a great story.

0:51:35.560 --> 0:51:38.680
<v Speaker 10>I always want to go again. It was just interesting

0:51:38.760 --> 0:51:42.520
<v Speaker 10>to me that a rye could make me so so frightened,

0:51:43.120 --> 0:51:48.520
<v Speaker 10>so scared, so sick, so so excited, and and so

0:51:48.800 --> 0:51:55.880
<v Speaker 10>thrilled altogether. Some didn't like it. They went on the

0:51:55.960 --> 0:52:01.640
<v Speaker 10>merry go round, don't just go to wrong nothing.

0:52:04.400 --> 0:52:05.640
<v Speaker 7>I like the roller coaster.

0:52:06.920 --> 0:52:07.920
<v Speaker 1>You get my rod of it.

0:52:12.560 --> 0:52:14.960
<v Speaker 10>Well, I'll be seeing you in the car.

0:52:24.520 --> 0:52:25.720
<v Speaker 9>She's a very smart lady.

0:52:28.040 --> 0:52:29.720
<v Speaker 5>Come on, Taylor, your ears are ready.

0:52:30.160 --> 0:52:30.359
<v Speaker 1>Yeah.

0:52:30.680 --> 0:52:33.600
<v Speaker 9>A minute ago, I was really confused about life, and

0:52:33.680 --> 0:52:36.520
<v Speaker 9>then Grandma came in with her wonderful and affecting roller

0:52:36.600 --> 0:52:38.960
<v Speaker 9>coaster story and now everything's great again.

0:52:44.320 --> 0:52:46.480
<v Speaker 2>I happen to like the roller coaster.

0:52:46.640 --> 0:52:52.560
<v Speaker 7>Okay, as far as I'm concerned, your grandmother is brilliant.

0:52:54.160 --> 0:52:56.200
<v Speaker 2>Come on, Taylor, come on, hurry up.

0:53:01.320 --> 0:53:02.280
<v Speaker 3>Yeah, she's so brilliant.

0:53:02.280 --> 0:53:05.919
<v Speaker 1>How comes she's sitting in her neighbor's car? So yeah,

0:53:05.960 --> 0:53:10.640
<v Speaker 1>I mean that is and this is all happening whilst

0:53:11.200 --> 0:53:13.400
<v Speaker 1>I mean that conversation again, this is this idea of

0:53:13.960 --> 0:53:17.640
<v Speaker 1>the melancholy and and and the last kind of happening

0:53:17.960 --> 0:53:21.600
<v Speaker 1>kind of you know, concurrently sometimes you know, and they

0:53:21.680 --> 0:53:24.600
<v Speaker 1>just had a conversation. If I'm not mistaken, they've just

0:53:24.680 --> 0:53:29.920
<v Speaker 1>had a conversation about that. They had the conversation. Actually,

0:53:29.920 --> 0:53:32.719
<v Speaker 1>I'm trying to think now of of the abortion conversation, you.

0:53:32.760 --> 0:53:39.080
<v Speaker 2>Know, theola before the play and Gil. It's actually a

0:53:39.120 --> 0:53:42.279
<v Speaker 2>really sweet moment. Gil is just watching Mary Steinberg and

0:53:43.520 --> 0:53:45.640
<v Speaker 2>fix her kid's costume, and he just tells her he

0:53:45.719 --> 0:53:49.239
<v Speaker 2>loves her, and then she she's she's like, yeah, but

0:53:49.440 --> 0:53:50.640
<v Speaker 2>do you want to have a kid and all that

0:53:50.680 --> 0:53:51.160
<v Speaker 2>kind of stuff.

0:53:52.320 --> 0:53:56.200
<v Speaker 1>Yeah, is the abortion conversation and then the school the

0:53:56.320 --> 0:53:58.759
<v Speaker 1>baseball catch where you're going to realize is this has

0:53:58.800 --> 0:54:00.879
<v Speaker 1>put me in a mood now where I'm like, yeah,

0:54:01.239 --> 0:54:04.120
<v Speaker 1>and then he says I love you, which I think

0:54:04.320 --> 0:54:08.440
<v Speaker 1>only until you're married or you're in a long term,

0:54:09.200 --> 0:54:13.200
<v Speaker 1>a long term you know, relationship. Can you realize? Sometimes

0:54:14.200 --> 0:54:15.600
<v Speaker 1>when I've watched it as a kid, I thought, yeah,

0:54:15.600 --> 0:54:17.120
<v Speaker 1>well that's what married people did, they tell each other

0:54:17.160 --> 0:54:19.120
<v Speaker 1>they love Yeah. Yeah, But when you've been with the

0:54:19.200 --> 0:54:22.400
<v Speaker 1>part of a long time, you know, sometimes sometimes that

0:54:22.600 --> 0:54:26.040
<v Speaker 1>takes courage to actually say when you're actually not on

0:54:26.120 --> 0:54:28.040
<v Speaker 1>the best of terms right now. I know, yeah, to

0:54:28.080 --> 0:54:28.640
<v Speaker 1>say I love you.

0:54:28.920 --> 0:54:32.000
<v Speaker 2>I'm married or been married for seven years, but we've

0:54:32.040 --> 0:54:36.799
<v Speaker 2>been together for fifteen and yeah. Sometimes days go by

0:54:36.960 --> 0:54:39.680
<v Speaker 2>where you don't say it, and sometimes you're fighting and

0:54:39.800 --> 0:54:41.799
<v Speaker 2>you just think, I need to bridge the gap here

0:54:42.000 --> 0:54:44.759
<v Speaker 2>and I just need to say something incredibly nice so

0:54:44.880 --> 0:54:47.480
<v Speaker 2>that we can move through it. And even though we're

0:54:47.480 --> 0:54:50.239
<v Speaker 2>still angry at each other, I just want her to

0:54:50.360 --> 0:54:53.399
<v Speaker 2>know that I'm still here and I'll be here, you know. Yeah,

0:54:53.520 --> 0:54:55.879
<v Speaker 2>So it is sweet when you watch and again, I'm

0:54:56.000 --> 0:54:59.400
<v Speaker 2>just getting older and noticing these things in movies and

0:54:59.520 --> 0:55:03.040
<v Speaker 2>feeling moved by them. Yeah yeah, realizing that this is

0:55:03.200 --> 0:55:06.160
<v Speaker 2>life and these things that when I was younger, I

0:55:06.640 --> 0:55:10.759
<v Speaker 2>would have probably scoffed at or sneered at. Now I'm

0:55:10.800 --> 0:55:13.480
<v Speaker 2>looking at and going, that's real life. This movie has

0:55:13.600 --> 0:55:15.440
<v Speaker 2>captured moments of real.

0:55:15.360 --> 0:55:20.080
<v Speaker 1>Life absolutely, and like to be honest these days, when

0:55:20.080 --> 0:55:27.160
<v Speaker 1>they have that discussion and Steve Martin infers, you know,

0:55:27.440 --> 0:55:31.480
<v Speaker 1>he says, you know, this means I'm going to have

0:55:31.520 --> 0:55:33.439
<v Speaker 1>to work more, so you're going to have to find

0:55:33.480 --> 0:55:36.239
<v Speaker 1>help somewhere else, you know. And she says, why don't

0:55:36.239 --> 0:55:39.879
<v Speaker 1>you say what you're really thinking? And it's about having

0:55:39.880 --> 0:55:44.640
<v Speaker 1>an abortion, and he says, well, that's a choice only

0:55:44.680 --> 0:55:50.120
<v Speaker 1>a woman can make. Now, I mean, I love that.

0:55:50.320 --> 0:55:53.200
<v Speaker 1>I don't love that's his viewpoint, but I just love

0:55:53.239 --> 0:55:55.239
<v Speaker 1>that it's in the movie. And I'm not sure if

0:55:56.160 --> 0:55:58.520
<v Speaker 1>Now in twenty twenty two is progressive as we are

0:55:59.200 --> 0:56:02.080
<v Speaker 1>a writer, at least, I was making a completely really

0:56:02.239 --> 0:56:05.600
<v Speaker 1>edgy but in the mainstream comedy it would allow their

0:56:05.880 --> 0:56:10.080
<v Speaker 1>main character to have that viewpoint or to say that loud. Yeah,

0:56:10.760 --> 0:56:13.600
<v Speaker 1>I think it's really quite it's really quite cutting edge.

0:56:13.760 --> 0:56:15.680
<v Speaker 2>I think it's awesome. I loved it. I love that

0:56:15.760 --> 0:56:18.040
<v Speaker 2>whole argument. I couldn't believe it. You know, you never

0:56:18.160 --> 0:56:21.480
<v Speaker 2>see that anymore. It's always the leading man would be

0:56:21.600 --> 0:56:24.920
<v Speaker 2>incredibly woke and progressive, but this was he has almost

0:56:24.960 --> 0:56:29.040
<v Speaker 2>a conservative view when it comes to the gender dynamics

0:56:29.120 --> 0:56:33.279
<v Speaker 2>in a marriage. And and she calls him on it too,

0:56:33.480 --> 0:56:37.200
<v Speaker 2>you know, like she's amazing. She stands up for herself

0:56:37.280 --> 0:56:40.239
<v Speaker 2>and she tells him he's a dick basically, and they

0:56:40.320 --> 0:56:43.439
<v Speaker 2>have this big, real argument. It feels so real.

0:56:43.840 --> 0:56:45.400
<v Speaker 1>Yeah, yeah, I haven't.

0:56:45.200 --> 0:56:48.520
<v Speaker 2>Had this exact argument, but we've had big arguments where

0:56:48.560 --> 0:56:51.719
<v Speaker 2>you are lashing out at each other. Yeah, and it's

0:56:52.520 --> 0:56:53.759
<v Speaker 2>that's what this felt like.

0:56:54.120 --> 0:56:54.319
<v Speaker 8>Yeah.

0:56:54.560 --> 0:56:58.040
<v Speaker 1>Absolutely. And you mentioned earlier the flashback scenes or the

0:56:58.040 --> 0:57:01.160
<v Speaker 1>flash sorry, the flash forward scene or the fantasy scenes

0:57:01.200 --> 0:57:04.600
<v Speaker 1>if you like, of when the baseball scenes happens. Let's

0:57:04.640 --> 0:57:08.440
<v Speaker 1>have listened to at least the first one where he

0:57:09.520 --> 0:57:13.759
<v Speaker 1>gil puts his kid in and he sees that this

0:57:13.920 --> 0:57:17.400
<v Speaker 1>could be the defining moment in Kevin's life. And he

0:57:17.560 --> 0:57:20.680
<v Speaker 1>flashes forward to a bella Victorian speech given by a

0:57:20.760 --> 0:57:21.440
<v Speaker 1>future Kevin.

0:57:22.160 --> 0:57:26.520
<v Speaker 4>Now, it was my great pleasure to introduce our valedictorian.

0:57:27.400 --> 0:57:27.720
<v Speaker 2>Kevin.

0:57:28.480 --> 0:57:46.400
<v Speaker 1>But thank you.

0:57:48.000 --> 0:57:50.040
<v Speaker 4>You know, when I was nine years old, I had

0:57:50.120 --> 0:57:53.040
<v Speaker 4>kind of a rough time. A lot of people thought

0:57:53.040 --> 0:57:55.680
<v Speaker 4>I was pretty mixed up, but there.

0:57:55.720 --> 0:57:57.360
<v Speaker 9>Was one person who got me through it.

0:57:58.720 --> 0:58:02.080
<v Speaker 2>He did everything right, and thanks.

0:58:01.840 --> 0:58:07.440
<v Speaker 4>To him, today one of the happiest, most confident, and

0:58:07.520 --> 0:58:09.360
<v Speaker 4>most well adjusted person in this world.

0:58:11.880 --> 0:58:14.200
<v Speaker 7>Dad, I love you.

0:58:16.560 --> 0:58:19.160
<v Speaker 2>I mean standing ovation, standing ovation.

0:58:19.880 --> 0:58:23.160
<v Speaker 1>He's also projecting a world where Mary Steinberger's not even

0:58:23.440 --> 0:58:24.000
<v Speaker 1>not even there.

0:58:24.080 --> 0:58:26.280
<v Speaker 2>I noticed that too him, Like, why didn't they get

0:58:26.280 --> 0:58:29.200
<v Speaker 2>steenberg And into this shoot? It would have been surely

0:58:29.200 --> 0:58:30.760
<v Speaker 2>it would have been like an hour get her in.

0:58:31.040 --> 0:58:32.600
<v Speaker 1>Just hanging out with Ted Jedi dat not with Ted

0:58:32.680 --> 0:58:38.760
<v Speaker 1>dancing that day. But yeah, I think it's so funny.

0:58:38.760 --> 0:58:42.560
<v Speaker 2>And that's immediately followed up by the the other fantasy

0:58:42.680 --> 0:58:45.560
<v Speaker 2>where his son's become a school shooter and he's in

0:58:45.640 --> 0:58:48.720
<v Speaker 2>the bell tower taking people out. It's got that's full

0:58:49.160 --> 0:58:50.480
<v Speaker 2>Steve Martin off the leash moment.

0:58:50.600 --> 0:58:51.760
<v Speaker 1>Well that's another moment, isn't it.

0:58:52.000 --> 0:58:54.320
<v Speaker 2>Yeah, he's got the bullhorn and he's kind of calling

0:58:54.400 --> 0:58:57.240
<v Speaker 2>out to him and he starts singing the diarrhea song.

0:58:57.440 --> 0:58:59.440
<v Speaker 1>The singer, though, is like, let's sing one of the

0:58:59.480 --> 0:59:04.440
<v Speaker 1>old tune perfect callback, Like callback should always happen when

0:59:04.440 --> 0:59:06.280
<v Speaker 1>you know they should come out of left field where

0:59:06.280 --> 0:59:08.280
<v Speaker 1>you don't you're not you don't see them coming. Yeah,

0:59:08.360 --> 0:59:10.080
<v Speaker 1>and the fact that he's seeing that this is this

0:59:10.240 --> 0:59:13.360
<v Speaker 1>song that brought him so much, so much misery in

0:59:13.440 --> 0:59:16.439
<v Speaker 1>the car at the start, is now how he's trying

0:59:16.440 --> 0:59:19.640
<v Speaker 1>to reconnect with his son. He's shooting from a bell tower.

0:59:19.520 --> 0:59:21.520
<v Speaker 2>Calling it one of the old tunes as well. It's

0:59:21.680 --> 0:59:24.080
<v Speaker 2>so funny, like it's from the old country or something.

0:59:26.360 --> 0:59:29.640
<v Speaker 1>Let's also this is a quick mention to the parent

0:59:29.840 --> 0:59:32.720
<v Speaker 1>at the at the baseball game, whose son's obviously the

0:59:32.760 --> 0:59:36.360
<v Speaker 1>star of the Clint Howard, Clint Howard, Yes, so good.

0:59:36.480 --> 0:59:39.360
<v Speaker 1>Can we have a little this may be under no business.

0:59:39.760 --> 0:59:43.000
<v Speaker 1>Let's have listened to I've lived through, been at sporting

0:59:43.040 --> 0:59:45.760
<v Speaker 1>games where there's parents not dissimilar to this.

0:59:46.440 --> 0:59:54.840
<v Speaker 3>You're nosy out there business, no, yeah, out there.

0:59:58.920 --> 1:00:02.000
<v Speaker 1>That's all we need is And it's just it's just again,

1:00:03.320 --> 1:00:05.800
<v Speaker 1>if you've got a small role, make that role as

1:00:05.840 --> 1:00:06.720
<v Speaker 1>funny as possible.

1:00:06.880 --> 1:00:09.080
<v Speaker 2>I know, and they do it and cass Clint Howard,

1:00:09.120 --> 1:00:11.640
<v Speaker 2>you know, like that's that's when you know you're watching

1:00:11.680 --> 1:00:14.680
<v Speaker 2>a Ron Howard movie. I think Clint pops up. I'm

1:00:14.880 --> 1:00:17.440
<v Speaker 2>such a sucker for him as a character actor. Anytime

1:00:17.600 --> 1:00:20.280
<v Speaker 2>he shows up in something, he's always funny. He always

1:00:20.360 --> 1:00:26.200
<v Speaker 2>elevates it. He's got that bizarre look. He's so identifiable. Yeah,

1:00:26.320 --> 1:00:28.920
<v Speaker 2>really funny. And I with you. I've I played soccer

1:00:29.240 --> 1:00:33.160
<v Speaker 2>all through my childhood and my dad was probably more

1:00:33.240 --> 1:00:36.400
<v Speaker 2>of a gill, but there were plenty of other dads

1:00:36.440 --> 1:00:40.160
<v Speaker 2>who would just scream at us from the sidelines, and

1:00:40.240 --> 1:00:42.400
<v Speaker 2>I always thought it was insane. Even as a ten

1:00:42.480 --> 1:00:46.040
<v Speaker 2>year old, I thought, why are these grown men screaming

1:00:46.120 --> 1:00:46.480
<v Speaker 2>at us?

1:00:46.720 --> 1:00:49.320
<v Speaker 1>It's so I completely agree, and I've seen it as

1:00:49.320 --> 1:00:51.240
<v Speaker 1>an adult, and I've seen it when I was growing up.

1:00:51.320 --> 1:00:53.760
<v Speaker 1>In fact, one of my teammates had a dad who

1:00:53.880 --> 1:00:57.720
<v Speaker 1>was famous for yelling at and usually mostly encouraging them,

1:00:58.000 --> 1:01:01.400
<v Speaker 1>not always, not always even to us or to the opposition,

1:01:01.760 --> 1:01:04.040
<v Speaker 1>but I will. The other thing it captures is, though,

1:01:04.800 --> 1:01:07.040
<v Speaker 1>and I notice now as an adult and that my

1:01:07.120 --> 1:01:09.280
<v Speaker 1>boys who have played sport and they've all thankfully they've

1:01:09.280 --> 1:01:12.520
<v Speaker 1>all won at least one premiership beach is the joy

1:01:13.280 --> 1:01:16.240
<v Speaker 1>that exactly if one had a missed out it would

1:01:16.240 --> 1:01:18.680
<v Speaker 1>have been tough. One just recently lost to a basketball

1:01:18.720 --> 1:01:23.040
<v Speaker 1>grand final, which is it's all character building, But the

1:01:23.320 --> 1:01:25.840
<v Speaker 1>joy that it does give you, even if it's not

1:01:25.880 --> 1:01:28.440
<v Speaker 1>a grand final, even if it's a tight game, the

1:01:28.680 --> 1:01:31.960
<v Speaker 1>joy it gives you. I'm a massive Collingwood fan. I

1:01:32.080 --> 1:01:35.040
<v Speaker 1>love going to watch Collinwold, always have, but I will

1:01:35.120 --> 1:01:39.840
<v Speaker 1>take watching my kids in a game like over. It

1:01:39.960 --> 1:01:43.640
<v Speaker 1>most weet unless it's a big Collingwood game, But there

1:01:43.760 --> 1:01:47.400
<v Speaker 1>is a joy that So that elevation that Steve Martin

1:01:47.440 --> 1:01:49.400
<v Speaker 1>has I kind of thought I understood as a kid,

1:01:49.480 --> 1:01:52.600
<v Speaker 1>but now that I've gone through, I do know how

1:01:52.720 --> 1:01:56.400
<v Speaker 1>it can actually just make your day, your week. And

1:01:56.480 --> 1:02:00.480
<v Speaker 1>that's that springboards him into kind of you know, you know,

1:02:00.720 --> 1:02:02.560
<v Speaker 1>a point where he's prepared to say I love you

1:02:02.720 --> 1:02:04.040
<v Speaker 1>too to his wife.

1:02:04.320 --> 1:02:08.440
<v Speaker 2>I it made me feel guilt for how shit I

1:02:08.600 --> 1:02:11.440
<v Speaker 2>was at soccer because I just thought my dad had

1:02:11.480 --> 1:02:14.320
<v Speaker 2>to really watch me for about ten years be bad

1:02:14.400 --> 1:02:18.080
<v Speaker 2>at this game. He had to come along every week

1:02:18.320 --> 1:02:22.960
<v Speaker 2>and be supportive and just know that he was watching failure.

1:02:24.400 --> 1:02:26.880
<v Speaker 2>It must have been so heartbreaking for him because he's

1:02:26.880 --> 1:02:29.560
<v Speaker 2>a good player. My dad's a good, you know, football player.

1:02:29.600 --> 1:02:33.080
<v Speaker 2>But it must have just really upset him that I wasn't.

1:02:34.440 --> 1:02:37.200
<v Speaker 1>I hopefully comes to your comedy shows and yeah, yeah,

1:02:37.280 --> 1:02:41.040
<v Speaker 1>hopefully just quickly before we go back to Helen and

1:02:41.280 --> 1:02:44.280
<v Speaker 1>told him not talking about Counta Reeves. And we haven't

1:02:44.280 --> 1:02:46.920
<v Speaker 1>even talked about We haven't talk about this. It's insane.

1:02:46.920 --> 1:02:47.720
<v Speaker 1>It's an insane film.

1:02:48.040 --> 1:02:51.800
<v Speaker 2>Nathan and Susan, Oh my god, we haven't even talked about.

1:02:51.840 --> 1:02:52.480
<v Speaker 2>Rick moranis.

1:02:52.600 --> 1:02:54.000
<v Speaker 1>Rick moranis what the hell?

1:02:55.040 --> 1:02:55.160
<v Speaker 2>You know?

1:02:55.760 --> 1:02:59.360
<v Speaker 1>It's a Canadian comedy god. And you know he's so

1:02:59.440 --> 1:03:03.320
<v Speaker 1>good obviously in Ghostbusters, Yeah, and obvious hunging out rot

1:03:03.360 --> 1:03:06.480
<v Speaker 1>the kids in those films, but done Little Shop of Horrors.

1:03:07.080 --> 1:03:08.360
<v Speaker 2>I love I love Little Shop.

1:03:09.480 --> 1:03:12.800
<v Speaker 1>It's this acod like Rick moranis is really funny in this.

1:03:13.480 --> 1:03:16.560
<v Speaker 1>That relationship is really funny. It's not the one, it's

1:03:16.600 --> 1:03:18.800
<v Speaker 1>not the one you kind of think about going forward.

1:03:18.960 --> 1:03:22.480
<v Speaker 2>No, it's a it's a pretty restrained Morana's performance too.

1:03:22.520 --> 1:03:24.840
<v Speaker 2>You know if he used to Seeing him in Ghostbusters

1:03:24.880 --> 1:03:27.800
<v Speaker 2>where he's dialed all the way up in full geek mode.

1:03:28.640 --> 1:03:32.640
<v Speaker 2>It's interesting because he's he's an alpha in this. He's

1:03:32.760 --> 1:03:36.520
<v Speaker 2>like an intelligent alpha male. And even the way his

1:03:36.680 --> 1:03:39.800
<v Speaker 2>wife talks about him is like it's like they're describing

1:03:39.840 --> 1:03:42.880
<v Speaker 2>another actor. I find it so interesting. Yeah, she's like,

1:03:43.040 --> 1:03:46.000
<v Speaker 2>he was so hot back in college and he used

1:03:46.040 --> 1:03:48.640
<v Speaker 2>to go down on him in the car and then

1:03:48.680 --> 1:03:50.640
<v Speaker 2>you kind of there's a bit of a disconnect with

1:03:50.640 --> 1:03:53.040
<v Speaker 2>be going. She's talking about Rick moranis which makes it.

1:03:53.200 --> 1:03:57.560
<v Speaker 1>So much more interesting and funny. And and by the

1:03:57.600 --> 1:04:05.160
<v Speaker 1>way that the BJA scene, that is a perfectly executed scene.

1:04:05.200 --> 1:04:08.520
<v Speaker 1>I wasn't gonna say, b J, we don't see.

1:04:08.400 --> 1:04:10.400
<v Speaker 2>That, We don't see that great comedy cut.

1:04:10.760 --> 1:04:12.840
<v Speaker 1>It is a great comedy cut. So you have the

1:04:13.120 --> 1:04:18.520
<v Speaker 1>idea that Steve Martin Gill's feeling the tension. Mary Steinberger

1:04:18.960 --> 1:04:22.000
<v Speaker 1>clocks it, and then she goes down on him, and

1:04:22.320 --> 1:04:25.040
<v Speaker 1>it's just a perfect cut to you almost say the

1:04:25.120 --> 1:04:28.360
<v Speaker 1>steam first coming out out of the the engine, and

1:04:28.440 --> 1:04:30.240
<v Speaker 1>then you're kind of pan down you see the engine.

1:04:30.280 --> 1:04:32.400
<v Speaker 1>It's a laugh there, and then it kind of just

1:04:32.520 --> 1:04:36.160
<v Speaker 1>moves across and I think Gil comes out with you

1:04:36.200 --> 1:04:38.720
<v Speaker 1>and he's's got a tissue to his head, he's obviously

1:04:38.760 --> 1:04:43.280
<v Speaker 1>cut his brow or something. And then she Mary. He

1:04:43.440 --> 1:04:47.680
<v Speaker 1>moves towards the camera Mary Steinberg and says she's embarrassed

1:04:47.680 --> 1:04:52.160
<v Speaker 1>and apologizing. Enter the police. Police officer, what happened here?

1:04:52.520 --> 1:04:54.880
<v Speaker 1>Steve Martin says, honey, why don't you show him?

1:04:54.880 --> 1:04:55.240
<v Speaker 2>I mean.

1:04:57.560 --> 1:05:02.960
<v Speaker 1>That is again, comedy directors don't get the kudos they deserve. Yeah,

1:05:03.040 --> 1:05:04.840
<v Speaker 1>and we're talking about a lot of the nice touches.

1:05:05.480 --> 1:05:08.520
<v Speaker 1>But it's so easy to fuck up a comedy, get

1:05:08.560 --> 1:05:09.120
<v Speaker 1>in its way.

1:05:09.800 --> 1:05:13.200
<v Speaker 2>I know that it's honestly masterful the way that they

1:05:13.280 --> 1:05:16.040
<v Speaker 2>handle that scene. I couldn't believe how funny it was.

1:05:16.160 --> 1:05:18.120
<v Speaker 2>You know, it's twenty twenty two and I was cracking

1:05:18.240 --> 1:05:24.080
<v Speaker 2>up jokes from nineteen eighty nine. But yeah, like Mirani's

1:05:24.200 --> 1:05:28.439
<v Speaker 2>character in this, I think pretty will be underrated. Maybe

1:05:28.520 --> 1:05:30.600
<v Speaker 2>it's kind of maybe he gets lost in the mix

1:05:30.640 --> 1:05:33.520
<v Speaker 2>a little bit, but it's a great type of guy,

1:05:33.760 --> 1:05:38.520
<v Speaker 2>the guy that wants his kid to academically succeed and

1:05:38.800 --> 1:05:42.240
<v Speaker 2>be a genius. And I guess it's dialed up by

1:05:42.280 --> 1:05:44.640
<v Speaker 2>the fact that he's actually just putting a lot of

1:05:44.640 --> 1:05:46.720
<v Speaker 2>pressure on a four year old girl or something. You

1:05:46.760 --> 1:05:51.080
<v Speaker 2>know that it is funny, but it's not played for laughs.

1:05:51.320 --> 1:05:53.840
<v Speaker 2>It's kind of played a bit more of a dramatic Yeah.

1:05:53.920 --> 1:05:56.120
<v Speaker 1>I mean the very first time, I think you see

1:05:56.240 --> 1:05:58.800
<v Speaker 1>then he's played for life. That is the reveal that

1:05:59.080 --> 1:06:02.000
<v Speaker 1>the reveal that he's talking too. You know, he's very young,

1:06:02.040 --> 1:06:05.560
<v Speaker 1>he's just three daughter, But I think it's still I

1:06:05.600 --> 1:06:07.440
<v Speaker 1>think I think we're supposed to be laughing. But I

1:06:07.560 --> 1:06:11.200
<v Speaker 1>think I like that Rick moranis doesn't doesn't overplay it.

1:06:11.560 --> 1:06:15.560
<v Speaker 1>And again there's just all these little moments where in

1:06:15.640 --> 1:06:18.400
<v Speaker 1>the writing they're's reminding us of everybody's story. When the

1:06:18.480 --> 1:06:20.800
<v Speaker 1>idea when Larry, so, when Larry comes home, the chain

1:06:20.880 --> 1:06:23.600
<v Speaker 1>reaction of that means that grandmother has to go and

1:06:23.680 --> 1:06:26.440
<v Speaker 1>live somewhere else, And Nathan says, well, this would be

1:06:26.520 --> 1:06:30.400
<v Speaker 1>would be a great multi generational influence on Patty. Again,

1:06:30.480 --> 1:06:34.080
<v Speaker 1>it's just finding moments, whatever moment you can to remind

1:06:34.120 --> 1:06:36.080
<v Speaker 1>the audience of You kin'd of have everyone to kind

1:06:36.080 --> 1:06:38.800
<v Speaker 1>of have six big scenes to get their story across. Yeah,

1:06:39.560 --> 1:06:41.320
<v Speaker 1>so you just have these little moments.

1:06:41.480 --> 1:06:45.640
<v Speaker 2>They get a nice The moment where she tells him

1:06:45.680 --> 1:06:48.360
<v Speaker 2>she wants to break up with him is played through

1:06:48.480 --> 1:06:53.200
<v Speaker 2>the cards. Yeah, I think that's hilarious, really great way

1:06:53.280 --> 1:06:55.160
<v Speaker 2>to do that too, to take what could be a

1:06:55.240 --> 1:06:58.080
<v Speaker 2>really heavy moment and turn it into a comedy beat.

1:06:58.440 --> 1:07:00.360
<v Speaker 1>And when she says, you know, when you she has

1:07:00.400 --> 1:07:02.480
<v Speaker 1>the cart I'm leaving you, and he says, you're leaving me,

1:07:02.920 --> 1:07:03.280
<v Speaker 1>and then.

1:07:03.200 --> 1:07:06.640
<v Speaker 2>The next cart is yes, so funny, so good, so funny.

1:07:06.880 --> 1:07:08.960
<v Speaker 2>It's so good and then they get the payoff where

1:07:09.280 --> 1:07:12.520
<v Speaker 2>he does the big grand emotional gesture to her by

1:07:12.560 --> 1:07:16.440
<v Speaker 2>singing whier birds suddenly appear in front of all her class.

1:07:17.160 --> 1:07:19.800
<v Speaker 2>It's cheesy, yes, but it works.

1:07:19.960 --> 1:07:21.800
<v Speaker 1>It works. I think it works, and I think they

1:07:21.880 --> 1:07:24.440
<v Speaker 1>earn these moments because they have gone to like more

1:07:24.640 --> 1:07:28.120
<v Speaker 1>interesting areas as as the movie has has played out,

1:07:28.360 --> 1:07:30.800
<v Speaker 1>and we'll talk about the end soon. I'll tell you

1:07:30.840 --> 1:07:34.680
<v Speaker 1>the best performance in the movie is young Justin, Young Justin,

1:07:35.120 --> 1:07:39.320
<v Speaker 1>who is the youngest of the Backman kids. So when

1:07:39.360 --> 1:07:43.800
<v Speaker 1>you watch it again, look at every scene Justin's in.

1:07:44.520 --> 1:07:47.520
<v Speaker 1>You could not get a better performance out of a

1:07:47.560 --> 1:07:49.800
<v Speaker 1>two year also took one at a team the only

1:07:49.840 --> 1:07:55.000
<v Speaker 1>full frontal nudity scene in the film. Yeah, yeah, you

1:07:55.080 --> 1:07:58.920
<v Speaker 1>could not. I've directed it, you know, some episodes of television,

1:07:58.960 --> 1:08:03.800
<v Speaker 1>and I've directed young young people, and I swear you

1:08:03.880 --> 1:08:08.439
<v Speaker 1>could not. From his physicality to his expressions on his face,

1:08:08.680 --> 1:08:10.680
<v Speaker 1>how I would like I would love to top to

1:08:10.760 --> 1:08:13.200
<v Speaker 1>Ron how and say how did you get that? That's

1:08:13.320 --> 1:08:15.600
<v Speaker 1>like and it's luck and it's it's like in a bottle.

1:08:15.600 --> 1:08:17.479
<v Speaker 1>You're asolutely right and sometimes use this. You put a

1:08:17.520 --> 1:08:18.920
<v Speaker 1>camera on and you kind of wait, for him to

1:08:19.600 --> 1:08:21.920
<v Speaker 1>because there's a bit where he's in that scene where

1:08:22.080 --> 1:08:23.960
<v Speaker 1>Rick Randas comes in and they talk about the you

1:08:24.040 --> 1:08:26.200
<v Speaker 1>know how powerful he is at sex and and and

1:08:26.360 --> 1:08:29.200
<v Speaker 1>and then the DJ stuff, and then he comes in

1:08:29.360 --> 1:08:31.320
<v Speaker 1>with the bucket on his head and rams the wall

1:08:31.600 --> 1:08:33.360
<v Speaker 1>and he rams all and then he said he's gonna

1:08:33.360 --> 1:08:34.679
<v Speaker 1>come back from all and he's feeling a bit dizzy,

1:08:34.800 --> 1:08:37.120
<v Speaker 1>and then his hand as gently goes up against the wall.

1:08:37.479 --> 1:08:38.840
<v Speaker 2>It's like he steadies himself.

1:08:38.880 --> 1:08:39.719
<v Speaker 1>He steadies himself.

1:08:40.080 --> 1:08:41.759
<v Speaker 2>It is it's really funny.

1:08:42.560 --> 1:08:46.080
<v Speaker 1>It's a perfect Now I'm not saying there are other

1:08:46.160 --> 1:08:48.640
<v Speaker 1>performances that deserve more attentionent but if you watch it,

1:08:49.040 --> 1:08:51.240
<v Speaker 1>there's not a single frame that he's in that it's like, oh,

1:08:51.320 --> 1:08:53.519
<v Speaker 1>that's a kid. That's just the kid, you know. That's

1:08:53.720 --> 1:08:55.040
<v Speaker 1>that's the best they could get out of him.

1:08:55.120 --> 1:08:57.800
<v Speaker 2>He gets, you know, and you can tell he's taking

1:08:57.920 --> 1:09:00.000
<v Speaker 2>direction too. There's a part towards them where he's looking

1:09:00.120 --> 1:09:02.880
<v Speaker 2>at a poster of it's like that iconic poster of

1:09:02.880 --> 1:09:05.640
<v Speaker 2>all these little babies with their bums out, yeah, and

1:09:05.720 --> 1:09:07.360
<v Speaker 2>he's looking at it, and then he starts looking at

1:09:07.400 --> 1:09:10.400
<v Speaker 2>his own bomb, yeah, and kind of touching it and like, oh,

1:09:10.600 --> 1:09:12.960
<v Speaker 2>that's that's a kid taking direction. They would have told

1:09:13.040 --> 1:09:14.680
<v Speaker 2>him to do that, and he did it.

1:09:14.760 --> 1:09:18.479
<v Speaker 1>At the play. That's my sister, Yeah, my sister. It's

1:09:18.840 --> 1:09:21.720
<v Speaker 1>it's it's incredible. Before we get to the end, I

1:09:21.800 --> 1:09:23.160
<v Speaker 1>want to go back to. I do want to go

1:09:23.240 --> 1:09:25.160
<v Speaker 1>back to because I haven't spoken about County Reeves and

1:09:25.200 --> 1:09:27.960
<v Speaker 1>that's yeah, people will be yelling at for doing that.

1:09:29.040 --> 1:09:31.200
<v Speaker 1>This is like this is pre Bill and Ted's I think,

1:09:31.280 --> 1:09:31.880
<v Speaker 1>is it is it?

1:09:32.439 --> 1:09:35.080
<v Speaker 2>It must be around this around that time. But he's

1:09:35.080 --> 1:09:38.439
<v Speaker 2>certainly in that he's in mode. Yeah, but it's really

1:09:38.800 --> 1:09:42.360
<v Speaker 2>really good. I did not know he was in this movie.

1:09:42.400 --> 1:09:44.840
<v Speaker 2>I also love Martha Plimpton. Didn't know she was in it,

1:09:44.880 --> 1:09:47.360
<v Speaker 2>so that was a big surprise to have them both

1:09:47.960 --> 1:09:51.000
<v Speaker 2>be as great as they are in this. They they

1:09:51.200 --> 1:09:54.599
<v Speaker 2>got my favorite arc in this whole story because it's

1:09:54.720 --> 1:09:59.639
<v Speaker 2>so teenage. That intense love you feel for your first

1:10:00.680 --> 1:10:04.960
<v Speaker 2>proper boyfriend or girlfriend. You think it's world ending, like

1:10:05.120 --> 1:10:07.200
<v Speaker 2>I need to be with this person forever. I will

1:10:07.280 --> 1:10:09.800
<v Speaker 2>move out. I want to live with them. I want

1:10:09.800 --> 1:10:12.080
<v Speaker 2>to I'll sneak them into my home. I'll get a

1:10:12.200 --> 1:10:16.160
<v Speaker 2>haircut for them. You know, you do feel that intensity

1:10:16.320 --> 1:10:18.880
<v Speaker 2>and and you know, as Diane Wee says in the movie,

1:10:18.960 --> 1:10:21.679
<v Speaker 2>it's probably not gonna last, but it's what she wants,

1:10:21.800 --> 1:10:22.920
<v Speaker 2>so I have to support it.

1:10:23.040 --> 1:10:25.320
<v Speaker 1>You know, that's such a such a sweet moment. And

1:10:26.160 --> 1:10:28.400
<v Speaker 1>I mean when they get the I'm not sure if

1:10:28.439 --> 1:10:30.400
<v Speaker 1>you ever recorded your love on a Kodak camera and

1:10:30.439 --> 1:10:34.600
<v Speaker 1>a Kodak I mean, it's I mean, I said, I

1:10:34.600 --> 1:10:36.280
<v Speaker 1>don't think this film is dated much at all. Like

1:10:36.400 --> 1:10:40.000
<v Speaker 1>outside of the diversity, I think most of it holds

1:10:40.080 --> 1:10:42.439
<v Speaker 1>up really well. I mean there's always stuff like there's

1:10:42.479 --> 1:10:44.479
<v Speaker 1>videotapes and all that, But that was a reminder the

1:10:45.080 --> 1:10:47.599
<v Speaker 1>but the it reminded me of the you know, going

1:10:48.280 --> 1:10:50.120
<v Speaker 1>before you could take a photo on your phone and

1:10:50.120 --> 1:10:53.599
<v Speaker 1>see it straight away, like you the courage it would

1:10:53.640 --> 1:10:55.840
<v Speaker 1>take to make, you know, to record your love on

1:10:56.000 --> 1:10:59.240
<v Speaker 1>camera and to take it into you know, same day photos,

1:11:00.120 --> 1:11:02.360
<v Speaker 1>day photos to get developed. The developer scene a copy

1:11:02.360 --> 1:11:04.000
<v Speaker 1>of the guy that both has heard about it. So

1:11:04.080 --> 1:11:04.639
<v Speaker 1>he's having a look.

1:11:04.760 --> 1:11:05.479
<v Speaker 2>Yeah, everyone's look.

1:11:05.680 --> 1:11:08.400
<v Speaker 1>I was looking at photos and I would be sending

1:11:08.479 --> 1:11:11.000
<v Speaker 1>somebody else to pick up those photos. Otherwise I'd be

1:11:11.040 --> 1:11:12.240
<v Speaker 1>wearing a very heavy disguise.

1:11:12.360 --> 1:11:16.679
<v Speaker 2>But I mean, I've never taken nude photos and certainly

1:11:16.800 --> 1:11:20.720
<v Speaker 2>never had them developed or anything like that. But gay good.

1:11:20.960 --> 1:11:24.360
<v Speaker 2>But I did. When I was a teenager and I

1:11:24.479 --> 1:11:29.200
<v Speaker 2>had a girlfriend, we sent each other sexy text messages.

1:11:29.800 --> 1:11:32.679
<v Speaker 2>And this is in the era, the nokiat era, where

1:11:32.760 --> 1:11:36.000
<v Speaker 2>you type the text first. Then the next thing is

1:11:36.360 --> 1:11:37.960
<v Speaker 2>you select the number that it's going to.

1:11:38.200 --> 1:11:39.360
<v Speaker 1>Oh it's dangerous, isn't it.

1:11:39.800 --> 1:11:42.880
<v Speaker 2>Her name started with M, which is very close to mom.

1:11:45.120 --> 1:11:49.000
<v Speaker 2>And I sent a particularly graphic text to my mum

1:11:49.800 --> 1:11:54.360
<v Speaker 2>and I felt my whole like soul leave my body,

1:11:54.479 --> 1:11:56.960
<v Speaker 2>you know, and my mum rang me and she was crying.

1:11:57.040 --> 1:11:59.000
<v Speaker 2>It was very similar to this scene in the movie

1:11:59.040 --> 1:12:01.719
<v Speaker 2>where she was crying. I just didn't I can't believe

1:12:01.760 --> 1:12:03.479
<v Speaker 2>I had to see that. Why would you use you know,

1:12:03.680 --> 1:12:07.520
<v Speaker 2>what would you send that? It's it's it's truly mortifying

1:12:08.160 --> 1:12:10.880
<v Speaker 2>to reveal, like to have your parents find out that

1:12:10.960 --> 1:12:14.400
<v Speaker 2>you're a sexual person in that way, and to.

1:12:14.479 --> 1:12:19.920
<v Speaker 1>Find like again the performances dining watching is so funny.

1:12:20.600 --> 1:12:21.960
<v Speaker 1>You can see his face in this one.

1:12:22.040 --> 1:12:23.599
<v Speaker 2>Yeah, I love that. I'm going to save this one

1:12:23.640 --> 1:12:24.240
<v Speaker 2>from my wallet.

1:12:25.520 --> 1:12:27.760
<v Speaker 1>And I love that Keanu is not in that scene

1:12:27.760 --> 1:12:31.799
<v Speaker 1>because it makes sense. You wouldn't when you realize what's happened,

1:12:32.120 --> 1:12:34.320
<v Speaker 1>you would have been taking your boyfriend to have that conversation.

1:12:34.560 --> 1:12:37.160
<v Speaker 2>But he gets He gets to do a lot more

1:12:37.240 --> 1:12:38.960
<v Speaker 2>in this movie than you'd think. You know, he gets

1:12:39.040 --> 1:12:41.599
<v Speaker 2>the really sweet moment with Gary, he gets to connect

1:12:41.680 --> 1:12:46.439
<v Speaker 2>with Diane by you know, fulfilling in the father role

1:12:46.600 --> 1:12:47.479
<v Speaker 2>essentially for Gay.

1:12:48.479 --> 1:12:50.280
<v Speaker 1>Well, this is each characters got their own art, but

1:12:50.320 --> 1:12:52.840
<v Speaker 1>they've also got a little connections between them. Like even

1:12:53.280 --> 1:12:56.400
<v Speaker 1>with that, you know, in that family, like there's something

1:12:56.600 --> 1:13:00.439
<v Speaker 1>happening between you know, Helen and and you know Martha

1:13:00.520 --> 1:13:04.960
<v Speaker 1>Plimpton's character Julie, and then there's something happened between Helen

1:13:05.000 --> 1:13:07.360
<v Speaker 1>and Todd. There's a relationship there that develops. There's obviously

1:13:07.400 --> 1:13:09.479
<v Speaker 1>Helen and Gary. You know, there's Gary and Todd, and

1:13:09.560 --> 1:13:13.599
<v Speaker 1>there's you know, Gary and Julie. It's it's all. It's

1:13:13.720 --> 1:13:17.800
<v Speaker 1>so there's it's so interconnected in such a beautiful and

1:13:18.280 --> 1:13:21.560
<v Speaker 1>seemingly effortless way. Even though we know that things this

1:13:21.680 --> 1:13:24.720
<v Speaker 1>would the storyboarding that would have gone on and the

1:13:25.680 --> 1:13:28.599
<v Speaker 1>mapping out of the of where each character was at

1:13:28.640 --> 1:13:36.120
<v Speaker 1>each time. Bubba and they worked hard, they worked hard

1:13:36.160 --> 1:13:38.320
<v Speaker 1>on this, and then they got the rewards because it's

1:13:38.320 --> 1:13:41.920
<v Speaker 1>a great film. Let's ever listen to Keanu Reeves in

1:13:42.040 --> 1:13:44.120
<v Speaker 1>a wonderful performance of Dying where he's in the kitchen

1:13:44.160 --> 1:13:49.000
<v Speaker 1>after he's just chatted to Gary and revealed that well,

1:13:49.080 --> 1:13:51.160
<v Speaker 1>he's been slapping the salami.

1:13:51.880 --> 1:13:53.920
<v Speaker 4>He was afraid there was something wrong with him, you know,

1:13:54.920 --> 1:13:56.599
<v Speaker 4>like he was a per route or something.

1:13:57.240 --> 1:13:59.200
<v Speaker 1>I told him that's what little dudes do.

1:14:00.600 --> 1:14:01.640
<v Speaker 9>We've all done it.

1:14:02.960 --> 1:14:03.759
<v Speaker 4>That made him happy.

1:14:05.880 --> 1:14:06.719
<v Speaker 7>Gary was happy.

1:14:07.760 --> 1:14:09.600
<v Speaker 4>Man, he even smiled.

1:14:10.840 --> 1:14:12.200
<v Speaker 10>I never even knew he had teeth.

1:14:15.479 --> 1:14:17.960
<v Speaker 5>I guess the boy Gary's ads really needs a manner.

1:14:18.320 --> 1:14:21.000
<v Speaker 4>Yeah, well, hm, hm.

1:14:22.800 --> 1:14:23.760
<v Speaker 1>Depends on the man.

1:14:25.160 --> 1:14:26.080
<v Speaker 2>I had a man around.

1:14:26.880 --> 1:14:28.360
<v Speaker 4>He used to wake me up in the morning by

1:14:28.400 --> 1:14:32.040
<v Speaker 4>flicking the cigarettes at my head. Hey, asshole, get up

1:14:32.400 --> 1:14:39.200
<v Speaker 4>and make me breakfast. You know, miss buckman, you need

1:14:39.240 --> 1:14:42.920
<v Speaker 4>a license to buy a dog or drive a car. Hell,

1:14:43.040 --> 1:14:46.880
<v Speaker 4>you need a license to catch a fish. But don't

1:14:47.000 --> 1:14:49.400
<v Speaker 4>let any but memon asshole be a father.

1:14:50.600 --> 1:14:51.200
<v Speaker 1>It's that good.

1:14:51.320 --> 1:14:53.800
<v Speaker 2>It's great because it's a he's playing a comedy character

1:14:53.920 --> 1:14:56.000
<v Speaker 2>in this. You know, he's essentially playing Ted from Bill

1:14:56.080 --> 1:14:59.120
<v Speaker 2>and Ted like a real like browe. He has that

1:14:59.280 --> 1:15:03.040
<v Speaker 2>surfa kind of accent, but there's still layers to it,

1:15:03.280 --> 1:15:06.640
<v Speaker 2>and he still gets to do lovely stuff like that.

1:15:06.920 --> 1:15:09.320
<v Speaker 1>Oh when when he would have read that script and

1:15:09.560 --> 1:15:11.720
<v Speaker 1>you know, read the first half and go okay, I

1:15:11.760 --> 1:15:14.320
<v Speaker 1>think I know what this is for the ride? Yeah,

1:15:15.280 --> 1:15:17.800
<v Speaker 1>but then the read the moment where about his dad

1:15:17.920 --> 1:15:21.360
<v Speaker 1>looking cigarettes at him, you know, almost took me back

1:15:21.400 --> 1:15:23.240
<v Speaker 1>to Judd Nelson in the Product Club.

1:15:23.920 --> 1:15:26.280
<v Speaker 2>I was thinking, what about you dad? Yeah?

1:15:26.520 --> 1:15:28.760
<v Speaker 1>Yeah, and it's it's done in a very different way.

1:15:29.640 --> 1:15:31.960
<v Speaker 1>And then he has that little week on shakes himself

1:15:32.000 --> 1:15:32.280
<v Speaker 1>out of it.

1:15:32.360 --> 1:15:32.840
<v Speaker 8>So what was that?

1:15:34.000 --> 1:15:37.360
<v Speaker 1>Yeah? So nice? That's what I mentioned. A biology teacher. Yeah,

1:15:37.479 --> 1:15:39.160
<v Speaker 1>I mean it's not one of the great performances. It's

1:15:39.160 --> 1:15:40.400
<v Speaker 1>almost like they run out of budget.

1:15:41.200 --> 1:15:43.080
<v Speaker 2>Who they get for that again, I'm trying to remember

1:15:43.080 --> 1:15:43.360
<v Speaker 2>who the.

1:15:43.760 --> 1:15:46.880
<v Speaker 1>I didn't write his name teacher down. It's the only

1:15:46.960 --> 1:15:49.680
<v Speaker 1>performance that kind of took me out of the of

1:15:49.840 --> 1:15:53.760
<v Speaker 1>the movie momentarily. He has this line where, you know,

1:15:54.160 --> 1:15:56.040
<v Speaker 1>you know, it's it's a hard line, probably the make

1:15:56.160 --> 1:15:58.280
<v Speaker 1>work because it's supposed to be a cheesy line. But

1:15:58.320 --> 1:16:01.160
<v Speaker 1>when they're coming in from the car, dying wises thanks

1:16:01.160 --> 1:16:02.760
<v Speaker 1>for taking me to the carnival, and he says, you

1:16:02.840 --> 1:16:04.960
<v Speaker 1>thought that was the carnival that was my parents' house.

1:16:06.000 --> 1:16:08.720
<v Speaker 2>Yeah, I mean, I guess they wanted him to be

1:16:08.800 --> 1:16:09.519
<v Speaker 2>a dog, you know.

1:16:09.840 --> 1:16:11.960
<v Speaker 1>Yeah, absolutely, like it fits.

1:16:12.200 --> 1:16:12.920
<v Speaker 2>Yeah, yeah, yeah.

1:16:12.960 --> 1:16:16.400
<v Speaker 1>It was just the only little performance that kind of

1:16:16.400 --> 1:16:18.439
<v Speaker 1>took me out. This for a so true.

1:16:18.560 --> 1:16:19.479
<v Speaker 2>They run out of budget.

1:16:19.520 --> 1:16:21.760
<v Speaker 1>They got some poor link I think his name, yeah,

1:16:21.800 --> 1:16:22.240
<v Speaker 1>Paul Link.

1:16:22.479 --> 1:16:25.360
<v Speaker 2>He does fine work. But you know, that could have

1:16:25.439 --> 1:16:27.240
<v Speaker 2>been That could have been God, that could have been you.

1:16:27.760 --> 1:16:28.360
<v Speaker 2>You could have done that.

1:16:28.439 --> 1:16:29.519
<v Speaker 1>I could I could have could have.

1:16:29.560 --> 1:16:31.080
<v Speaker 2>Been you could have knocked that out of the past.

1:16:31.120 --> 1:16:33.519
<v Speaker 1>Absolutely, I'm not sure I could have gone such an

1:16:33.520 --> 1:16:36.320
<v Speaker 1>IMPRESSI mustache and a ment. I would have been hanging

1:16:36.360 --> 1:16:38.040
<v Speaker 1>out with dying weis, which would have That's not bad,

1:16:38.120 --> 1:16:42.639
<v Speaker 1>that's good. That's a good couple of weeks. Another scene

1:16:42.640 --> 1:16:44.679
<v Speaker 1>that I I I'd love. So you have the moment

1:16:44.760 --> 1:16:50.000
<v Speaker 1>where Frank sits down with Larry and says, Okay, this

1:16:50.160 --> 1:16:52.040
<v Speaker 1>is the plan I'm gonna I'm going to save you.

1:16:52.160 --> 1:16:54.280
<v Speaker 1>Let's get the gangsters off your back. But you know,

1:16:54.320 --> 1:16:56.320
<v Speaker 1>I'll take care of them. But then Monday you come

1:16:56.400 --> 1:16:59.360
<v Speaker 1>to work for me, and it's like, okay, he's done that.

1:17:00.200 --> 1:17:03.880
<v Speaker 1>And then and as he's leaving the table, he says

1:17:03.920 --> 1:17:09.080
<v Speaker 1>to him, Okay, before we put the Frank Buckman, how

1:17:09.120 --> 1:17:11.440
<v Speaker 1>about this? And he sells him on another.

1:17:11.680 --> 1:17:15.400
<v Speaker 2>Hot tip from Brazil or something like South America, and

1:17:15.479 --> 1:17:15.760
<v Speaker 2>no one.

1:17:15.720 --> 1:17:17.600
<v Speaker 1>He's going to go the South America to follow this

1:17:17.680 --> 1:17:20.519
<v Speaker 1>hot tip. He's going to leave cool behind. And it's

1:17:20.600 --> 1:17:24.559
<v Speaker 1>like and and Frank just kind of nods and says, Okay,

1:17:24.920 --> 1:17:25.400
<v Speaker 1>I love that.

1:17:25.640 --> 1:17:28.519
<v Speaker 2>I mean, it could have been it could have been

1:17:28.560 --> 1:17:31.760
<v Speaker 2>a big opportunity for the screenwriters to script in you know,

1:17:31.920 --> 1:17:34.240
<v Speaker 2>the dad, you know, tearing his son a new one

1:17:34.320 --> 1:17:35.760
<v Speaker 2>and kind of saying you need to stand up and

1:17:35.840 --> 1:17:39.200
<v Speaker 2>be a father. But to make the choice to have

1:17:39.360 --> 1:17:43.639
<v Speaker 2>him just accept his son's flaws and still be kind

1:17:43.800 --> 1:17:46.240
<v Speaker 2>to him and let him go around and be an asshole,

1:17:46.400 --> 1:17:49.599
<v Speaker 2>and but know that he's he's going to be there

1:17:49.640 --> 1:17:51.800
<v Speaker 2>to take care of his grands. I think it's really lovely.

1:17:52.400 --> 1:17:55.240
<v Speaker 1>One of the sometimes people do when they think of

1:17:55.280 --> 1:17:56.960
<v Speaker 1>this film, if they haven't seen it for a long time,

1:17:57.040 --> 1:17:59.280
<v Speaker 1>or if they haven't seen the film, they might view

1:17:59.360 --> 1:18:03.679
<v Speaker 1>this as possible saccer and kind of you know, a film.

1:18:04.120 --> 1:18:08.720
<v Speaker 1>Sometimes I think that the accusation comes from possibly the

1:18:08.760 --> 1:18:12.960
<v Speaker 1>final sequence, which is some beautiful kind of music. And

1:18:13.280 --> 1:18:16.040
<v Speaker 1>as a newborn, did you did you guess who the newborn?

1:18:16.400 --> 1:18:16.759
<v Speaker 1>You didn't?

1:18:16.840 --> 1:18:18.960
<v Speaker 2>I liked that there was a little mystery there, Yeah,

1:18:19.080 --> 1:18:19.799
<v Speaker 2>for a few seconds.

1:18:19.800 --> 1:18:21.160
<v Speaker 1>And there are actually a couple of newborns that was

1:18:21.160 --> 1:18:23.840
<v Speaker 1>also littlest on the idea. Yeah, and you see the

1:18:23.960 --> 1:18:26.040
<v Speaker 1>family together, What do you think of that?

1:18:26.720 --> 1:18:30.200
<v Speaker 2>So I it's exactly the type of scene that I

1:18:30.240 --> 1:18:32.679
<v Speaker 2>would have turned my nose up at a few years ago.

1:18:32.800 --> 1:18:38.000
<v Speaker 2>But I really liked how the dialogue gets taken out

1:18:38.200 --> 1:18:40.000
<v Speaker 2>so we can't really hear. You know, they're all in

1:18:40.080 --> 1:18:42.240
<v Speaker 2>the hospital room together, they're all celebrating the birth of

1:18:42.320 --> 1:18:45.000
<v Speaker 2>this newborn baby. We can't hear what they're saying to

1:18:45.120 --> 1:18:48.920
<v Speaker 2>each other. The Randy Newman score is up, and we're

1:18:49.000 --> 1:18:51.880
<v Speaker 2>just watching them for I think it feels like two minutes.

1:18:52.120 --> 1:18:55.360
<v Speaker 2>We're just watching a family celebrate and have little conversations.

1:18:55.600 --> 1:18:59.040
<v Speaker 2>We can't hear what they're saying. And I found myself

1:18:59.400 --> 1:19:02.320
<v Speaker 2>kind of moved it because I was just watching people

1:19:03.240 --> 1:19:06.280
<v Speaker 2>a family engage with each other the way they normally do,

1:19:06.560 --> 1:19:09.320
<v Speaker 2>and they're having little laughs and they're kind of hugging

1:19:09.400 --> 1:19:13.559
<v Speaker 2>each other, and there's a nice moment where Steve Martin's

1:19:13.600 --> 1:19:16.960
<v Speaker 2>character is changing the nappy of his own newborn while

1:19:17.000 --> 1:19:19.800
<v Speaker 2>he's just talking to his sister about I don't even know. Yeah,

1:19:20.320 --> 1:19:22.280
<v Speaker 2>I think that's kind of nice that we're just watching

1:19:22.320 --> 1:19:25.479
<v Speaker 2>them interact. It almost felt like a documentary for a moment.

1:19:26.240 --> 1:19:28.800
<v Speaker 1>I mean when I saw it originally, I loved it

1:19:28.880 --> 1:19:31.759
<v Speaker 1>and it gave me all the feels, and I continued

1:19:31.760 --> 1:19:34.120
<v Speaker 1>to I did wonder how I was going to feel

1:19:34.120 --> 1:19:36.280
<v Speaker 1>about it. Was it going to be too sugary? But

1:19:36.640 --> 1:19:38.639
<v Speaker 1>I think, like I said, because they have all these

1:19:39.840 --> 1:19:43.000
<v Speaker 1>moments and you are going through the trials and tribulations

1:19:43.439 --> 1:19:47.200
<v Speaker 1>of a family, so and I don't think they're saying, oh,

1:19:47.320 --> 1:19:50.360
<v Speaker 1>everything's good now. Yeah, this is like one perfect moment

1:19:50.479 --> 1:19:52.920
<v Speaker 1>in time. Yeah. Yeah, And that's how we're finishing our film.

1:19:53.000 --> 1:19:54.920
<v Speaker 1>This is there'll be something else that happens next week.

1:19:55.000 --> 1:19:56.360
<v Speaker 2>Yeah. And that's a nice way to look at it.

1:19:56.439 --> 1:19:58.719
<v Speaker 2>It's like a little freeze frame. You know, we can't

1:19:58.840 --> 1:20:01.200
<v Speaker 2>hear them, it's just he is a nice moment where

1:20:01.200 --> 1:20:04.080
<v Speaker 2>they're all happy. Yeah, and you're right, next week, I don't.

1:20:03.920 --> 1:20:07.080
<v Speaker 1>Know, Julie and Garry want to go back to his

1:20:07.200 --> 1:20:07.639
<v Speaker 1>dad again.

1:20:07.840 --> 1:20:12.320
<v Speaker 2>Kim jacking off you know Rick moranis will be an

1:20:12.320 --> 1:20:15.000
<v Speaker 2>asshole of his wife again. Yeah, you're right. I mean,

1:20:15.040 --> 1:20:17.240
<v Speaker 2>I think the fact that the movie has such big

1:20:17.439 --> 1:20:21.160
<v Speaker 2>laughs in it earns the sugary sweetness. And that's fine.

1:20:21.520 --> 1:20:22.840
<v Speaker 1>You know, I love it.

1:20:22.920 --> 1:20:26.400
<v Speaker 2>Fine with it, I got. I can't stress enough. I

1:20:26.600 --> 1:20:28.640
<v Speaker 2>did not think I was going to like this. I

1:20:29.000 --> 1:20:31.519
<v Speaker 2>really loved it. I think anyone who's a fan of

1:20:31.600 --> 1:20:34.639
<v Speaker 2>comedy should watch it. And I think if you enjoy

1:20:35.560 --> 1:20:38.880
<v Speaker 2>the Judd Apatow model of film, this is like a

1:20:38.920 --> 1:20:42.240
<v Speaker 2>precursor to it, and it's it's really cool to see.

1:20:42.840 --> 1:20:45.559
<v Speaker 2>It's really cool to see all these comedy actors working

1:20:45.640 --> 1:20:47.559
<v Speaker 2>within this tone. I think it's really nice.

1:20:47.680 --> 1:20:51.000
<v Speaker 1>I'm not sure where this film would lay in my

1:20:51.320 --> 1:20:53.360
<v Speaker 1>favorite films word time, but I think watching it a

1:20:53.439 --> 1:20:57.240
<v Speaker 1>couple of weeks now talking to you about it, I

1:20:57.320 --> 1:21:00.280
<v Speaker 1>think it's skyrocketed me too, somewhere in my you know,

1:21:00.640 --> 1:21:02.960
<v Speaker 1>it may be top ten, top twenty, or I.

1:21:03.000 --> 1:21:06.160
<v Speaker 2>Think when people ask me what my top movies, I

1:21:06.320 --> 1:21:08.200
<v Speaker 2>always stress out, But this is going to become a

1:21:08.280 --> 1:21:11.040
<v Speaker 2>go to mention. I think I'm going to say top

1:21:11.120 --> 1:21:11.720
<v Speaker 2>ten for sure.

1:21:12.120 --> 1:21:15.280
<v Speaker 1>Well, a couple of quick fun facts before we wrap up,

1:21:16.160 --> 1:21:18.800
<v Speaker 1>Steve Martin was forty four when this was shot. He

1:21:18.880 --> 1:21:23.080
<v Speaker 1>plays He mentioned this thirty five something. Executives, we're worried

1:21:23.080 --> 1:21:26.559
<v Speaker 1>about that. It didn't seem to No, No, I didn't

1:21:26.560 --> 1:21:27.479
<v Speaker 1>notice it. I don't realize.

1:21:27.600 --> 1:21:29.400
<v Speaker 2>Oh yeah, that's right. He is thirty five.

1:21:29.560 --> 1:21:31.400
<v Speaker 1>That's a thirty five. I mean he's always he's a

1:21:31.479 --> 1:21:33.280
<v Speaker 1>great Yeah. I think it was. You know, we used

1:21:33.320 --> 1:21:36.280
<v Speaker 1>to Steve Martin by then, so you know his face

1:21:36.439 --> 1:21:39.920
<v Speaker 1>is pretty young. But he actually didn't become a father

1:21:40.040 --> 1:21:42.040
<v Speaker 1>unto sixty seven, only like ten years ago.

1:21:42.520 --> 1:21:44.280
<v Speaker 2>Unbelievably played is very believable.

1:21:44.320 --> 1:21:48.640
<v Speaker 1>He is extremely believable. I think I said maybe this

1:21:48.760 --> 1:21:50.280
<v Speaker 1>was in the intrad this might have been his first

1:21:50.439 --> 1:21:52.520
<v Speaker 1>role as a father, of course, playing trains and automobiles.

1:21:52.560 --> 1:21:55.479
<v Speaker 1>He's playing a father, but we don't. It's kind is

1:21:55.600 --> 1:21:59.479
<v Speaker 1>estrange from his kids home back to Chicago. Dame Helen

1:21:59.560 --> 1:22:05.200
<v Speaker 1>Mirren said of this film she never ever regretted not

1:22:05.360 --> 1:22:08.679
<v Speaker 1>having kids, something that she's been very comfortable with, except

1:22:08.760 --> 1:22:11.120
<v Speaker 1>when she watched this movie and for a period of

1:22:11.120 --> 1:22:15.240
<v Speaker 1>about twenty minutes she sobbed, just realizing when when Jason

1:22:15.320 --> 1:22:18.080
<v Speaker 1>Robard said, the idea that you you know, you worry

1:22:18.240 --> 1:22:20.240
<v Speaker 1>that you know, you always you're always a parent, You're

1:22:20.240 --> 1:22:23.200
<v Speaker 1>always worry. She said, she sobbed, thinking that she'd never

1:22:23.640 --> 1:22:25.880
<v Speaker 1>experience that that kind of phenomenon.

1:22:27.360 --> 1:22:29.800
<v Speaker 2>I thought it was very so relatable. I don't have kids,

1:22:29.840 --> 1:22:32.920
<v Speaker 2>and yeah, my wife and I won't have children, I

1:22:32.960 --> 1:22:36.280
<v Speaker 2>don't think. But yeah, this movie made me kind of

1:22:36.400 --> 1:22:39.560
<v Speaker 2>want to go through what looks like a horrible experience.

1:22:40.280 --> 1:22:43.120
<v Speaker 1>It's the roller coaster. Yeah, it is the roller coaster.

1:22:43.240 --> 1:22:44.440
<v Speaker 2>Yeah, that's really relatable.

1:22:44.640 --> 1:22:47.599
<v Speaker 1>Good on your Helen and another Helen. Helen Shaw played

1:22:47.640 --> 1:22:50.599
<v Speaker 1>the grandmother and this was her final film. She died

1:22:50.640 --> 1:22:53.639
<v Speaker 1>eight years later, Cracked the Ton. It was one hundred

1:22:53.680 --> 1:22:57.120
<v Speaker 1>when she died two when she shot this, and she

1:22:57.479 --> 1:23:01.599
<v Speaker 1>passed away nineteen ninety seven. Again, it was really great,

1:23:01.680 --> 1:23:03.960
<v Speaker 1>even that moment where she's smoking the you know, pretend

1:23:04.040 --> 1:23:06.320
<v Speaker 1>to smoke the cigar when you know.

1:23:06.760 --> 1:23:10.120
<v Speaker 2>The dad's she has a helium. Gags, he gags.

1:23:10.560 --> 1:23:14.599
<v Speaker 1>Yeah. Steve Martin has daughter in this, Allison Porter, when

1:23:14.680 --> 1:23:16.840
<v Speaker 1>und to play Curly Suit. But it was also his

1:23:17.040 --> 1:23:18.600
<v Speaker 1>daughter in Planes, Trains and Automobiles.

1:23:18.920 --> 1:23:21.040
<v Speaker 2>Oh really, yeah, Curly Sue.

1:23:21.080 --> 1:23:24.320
<v Speaker 1>That's the John Hughes, Yes, John Hughes movie. Funny enough.

1:23:24.320 --> 1:23:26.960
<v Speaker 1>The Great Outdoors, one of the porn that covers is

1:23:26.960 --> 1:23:31.400
<v Speaker 1>a John Hugh movie as well, so they are the

1:23:31.479 --> 1:23:34.400
<v Speaker 1>fun facts. This is one of the movies that I

1:23:34.560 --> 1:23:38.360
<v Speaker 1>loaded up with so many clips, more than they usually have,

1:23:39.280 --> 1:23:41.400
<v Speaker 1>and there were there were another five or six more

1:23:41.479 --> 1:23:43.160
<v Speaker 1>that I would have loved. We haven't even spoken about

1:23:43.160 --> 1:23:44.519
<v Speaker 1>the buildo. Oh my god.

1:23:44.560 --> 1:23:46.360
<v Speaker 2>You know that's the only thing I knew about this movie.

1:23:47.479 --> 1:23:49.880
<v Speaker 2>I remember that from when it was on television when

1:23:49.920 --> 1:23:51.840
<v Speaker 2>I was a kid. I think my parents were watching it.

1:23:51.960 --> 1:23:56.000
<v Speaker 2>I remember that moment. It still lands. It's still really funny.

1:23:56.040 --> 1:24:03.720
<v Speaker 1>And again go to grandmother, was mate. This podcast comes

1:24:03.760 --> 1:24:05.680
<v Speaker 1>with homework. I really appreciate you doing it.

1:24:05.800 --> 1:24:08.800
<v Speaker 2>Oh I loved doing the homework. And I also when

1:24:08.840 --> 1:24:10.519
<v Speaker 2>I watched it. I watched it twice, and then I

1:24:10.600 --> 1:24:13.080
<v Speaker 2>watched This Is forty by Jade Appatow. And now I'm

1:24:13.080 --> 1:24:15.320
<v Speaker 2>going to watch broadcast News when I get home. I'm

1:24:15.360 --> 1:24:17.120
<v Speaker 2>in the zone for this type of movie.

1:24:17.640 --> 1:24:20.320
<v Speaker 1>We did Broadcast News with Brendan caw but pretty Christmas

1:24:20.439 --> 1:24:25.240
<v Speaker 1>and I hadn't seen it. I thought i'd seen it.

1:24:25.560 --> 1:24:27.240
<v Speaker 1>I hadn't. You're in for a treat.

1:24:27.640 --> 1:24:27.880
<v Speaker 10>It is.

1:24:29.160 --> 1:24:31.720
<v Speaker 1>It's so much fun. It's so much fun. Cam. If

1:24:31.760 --> 1:24:33.800
<v Speaker 1>you get a chance to go see Electric Dreams. You're

1:24:33.840 --> 1:24:38.200
<v Speaker 1>touring the country, go check it out. Very funny, getting

1:24:38.280 --> 1:24:40.880
<v Speaker 1>rave reviews, selling out of the Malton International Comedy Festival.

1:24:41.400 --> 1:24:45.240
<v Speaker 1>So get along and see Cam wherever you get a chance. Also,

1:24:45.320 --> 1:24:49.280
<v Speaker 1>congratulations on the recent commission for Finding Ye Sus.

1:24:49.400 --> 1:24:49.680
<v Speaker 2>Thank you.

1:24:49.920 --> 1:24:53.280
<v Speaker 1>Yeah, so that is so you're not finding Kanye as such,

1:24:53.360 --> 1:24:54.720
<v Speaker 1>but it's related.

1:24:54.439 --> 1:24:56.439
<v Speaker 2>To this is the least he told you about it?

1:24:56.680 --> 1:24:58.000
<v Speaker 1>No, I actually read about it.

1:24:58.120 --> 1:24:58.439
<v Speaker 2>Okay.

1:24:58.720 --> 1:25:00.920
<v Speaker 1>So it's a video game.

1:25:01.240 --> 1:25:05.320
<v Speaker 2>Video game on the internet called Kanye Quest, which is

1:25:05.960 --> 1:25:09.760
<v Speaker 2>a Kanye West themed video game, and the rumor or

1:25:09.880 --> 1:25:12.599
<v Speaker 2>urban legend is that it was a game created by

1:25:12.640 --> 1:25:17.320
<v Speaker 2>a cult as a recruitment tool for their members, and

1:25:17.479 --> 1:25:21.439
<v Speaker 2>so Alexi and I are investigating whether that's true or not.

1:25:21.600 --> 1:25:23.360
<v Speaker 2>We've gone pretty deep down the rabbit hole.

1:25:23.439 --> 1:25:24.439
<v Speaker 1>And when can people see that?

1:25:24.680 --> 1:25:27.559
<v Speaker 2>That will be on That'll be on YouTube on Auntie

1:25:27.640 --> 1:25:31.320
<v Speaker 2>Donna's YouTube channel, which is called Grousehouse.

1:25:31.800 --> 1:25:32.920
<v Speaker 1>They're doing some amazing stuff.

1:25:33.000 --> 1:25:35.760
<v Speaker 2>Yeah, that'll be coming out, I think, you know, pro

1:25:36.120 --> 1:25:38.200
<v Speaker 2>I'd imagine towards the end of the year. We're working

1:25:38.240 --> 1:25:39.040
<v Speaker 2>on it at the moment, so.

1:25:39.360 --> 1:25:40.960
<v Speaker 1>We'll keep an eye out for it. Cam, thanks for

1:25:41.040 --> 1:25:41.679
<v Speaker 1>joining us, man.

1:25:41.600 --> 1:25:42.280
<v Speaker 2>Thanks for having me.

1:25:43.160 --> 1:25:43.880
<v Speaker 3>Helln's fine.

1:25:53.200 --> 1:25:56.560
<v Speaker 1>I really enjoyed that. Cameron James, what a delight, what

1:25:56.680 --> 1:26:00.679
<v Speaker 1>a funny man, and really glad. I'm and I'm always

1:26:01.080 --> 1:26:04.639
<v Speaker 1>hopeful that my guest hasn't wasted their time and watched

1:26:05.080 --> 1:26:08.559
<v Speaker 1>a movie they didn't like. Path from Judith Lussey, who

1:26:08.560 --> 1:26:10.240
<v Speaker 1>I kind of knew wasn't going to like Sound of Music.

1:26:10.320 --> 1:26:13.160
<v Speaker 1>Well I didn't know, but I had an inkling. But

1:26:13.280 --> 1:26:15.160
<v Speaker 1>she was hilarious about it and we had a lot

1:26:15.160 --> 1:26:18.920
<v Speaker 1>of fun in that live broadcast. But really, because I think,

1:26:19.000 --> 1:26:21.200
<v Speaker 1>like I said, Fatherhood, I think it's skyrocketed back up

1:26:21.320 --> 1:26:24.840
<v Speaker 1>into my favorite films. Really enjoyed it, the fact we

1:26:24.920 --> 1:26:26.920
<v Speaker 1>both watched it twice this week. If you haven't seen it,

1:26:27.040 --> 1:26:30.240
<v Speaker 1>some people do listen to this podcast without seeing the movies.

1:26:30.680 --> 1:26:33.400
<v Speaker 1>Obviously there's spoilers all the way through. But if you

1:26:33.640 --> 1:26:36.880
<v Speaker 1>are one of those people, and I really urge you

1:26:37.320 --> 1:26:40.599
<v Speaker 1>to watch Parenthood it is. I think it's a beautiful

1:26:40.600 --> 1:26:44.120
<v Speaker 1>piece of work, very funny. I'm a castaway Studios. Derek

1:26:44.200 --> 1:26:48.160
<v Speaker 1>Meis is the man who puts all this together. Derek

1:26:48.680 --> 1:26:50.479
<v Speaker 1>god A, have you seen Parenthood.

1:26:51.240 --> 1:26:51.960
<v Speaker 3>Look, I sure have.

1:26:52.120 --> 1:26:53.840
<v Speaker 9>Parenthood's got a bit of a funny story for me.

1:26:53.960 --> 1:26:56.080
<v Speaker 9>I probably came out when I was about twenty three.

1:26:57.040 --> 1:26:59.439
<v Speaker 1>Yeah, which a bit of a weird time. I imagined,

1:26:59.479 --> 1:27:04.080
<v Speaker 1>like parent because you hear the young and you kind

1:27:04.080 --> 1:27:06.160
<v Speaker 1>of like get the sillyness of it, like I was

1:27:06.240 --> 1:27:08.640
<v Speaker 1>fourteen when I saw it, or you watch it when

1:27:08.640 --> 1:27:11.160
<v Speaker 1>you're older, and maybe you are a parent in your twenties,

1:27:11.160 --> 1:27:13.519
<v Speaker 1>you're probably out, you're doing different stuff than you connect

1:27:13.560 --> 1:27:14.040
<v Speaker 1>with it at all.

1:27:15.320 --> 1:27:18.679
<v Speaker 3>I don't that's the thing. You assume it's a comedy.

1:27:18.880 --> 1:27:21.120
<v Speaker 3>You were saying before, how it's a drama?

1:27:21.240 --> 1:27:23.760
<v Speaker 9>Did you say drama d I've never heard that word before,

1:27:23.840 --> 1:27:27.720
<v Speaker 9>but that's that nails it, and we weren't used to that,

1:27:27.840 --> 1:27:29.840
<v Speaker 9>so I guess you go in thinking it's a comedy.

1:27:29.920 --> 1:27:32.920
<v Speaker 9>Then I actually had a bit of a cry and

1:27:33.040 --> 1:27:36.160
<v Speaker 9>I watched that film and I never really looked into why.

1:27:36.280 --> 1:27:38.439
<v Speaker 3>I just thought that's weird at a comedy. Must be

1:27:38.520 --> 1:27:39.160
<v Speaker 3>something wrong with me.

1:27:40.479 --> 1:27:45.040
<v Speaker 9>Never right, And it wasn't until last night when I

1:27:45.160 --> 1:27:47.840
<v Speaker 9>watched it again, I realized, well, it's not just a

1:27:47.920 --> 1:27:49.080
<v Speaker 9>comedy and I'm a weirdo.

1:27:49.360 --> 1:27:51.120
<v Speaker 3>It was touching on lots of different stuff.

1:27:51.280 --> 1:27:53.680
<v Speaker 1>Yeah, I thought I wonder what.

1:27:53.880 --> 1:27:55.840
<v Speaker 3>I wonder what it was though, because it's too long ago,

1:27:55.920 --> 1:27:57.439
<v Speaker 3>and I thought maybe maybe I.

1:27:57.479 --> 1:28:00.960
<v Speaker 9>Saw myself as Larry Run Maybe I was worried about

1:28:01.360 --> 1:28:04.000
<v Speaker 9>letting my dad down or something like who knows, yeah,

1:28:04.080 --> 1:28:06.800
<v Speaker 9>weird father thing or whatever. But such a good film

1:28:06.880 --> 1:28:09.080
<v Speaker 9>though across the board, so many things as a parent

1:28:09.200 --> 1:28:12.880
<v Speaker 9>now it's a whole nother world of interesting stuff.

1:28:12.880 --> 1:28:14.400
<v Speaker 1>Well, I think it's timeless because I think it's a

1:28:14.520 --> 1:28:18.880
<v Speaker 1>very honest look at at parenting. Obviously, it's a Hollywood film,

1:28:19.080 --> 1:28:21.920
<v Speaker 1>and it's a mainstream Hollywood film, so there are things

1:28:21.960 --> 1:28:24.439
<v Speaker 1>that pan out the way they do. Kevin of course

1:28:24.560 --> 1:28:27.640
<v Speaker 1>was going to take that catch, but these things to

1:28:27.760 --> 1:28:30.840
<v Speaker 1>have you experience those moments, and there is the rollercoaster

1:28:31.800 --> 1:28:33.720
<v Speaker 1>of emotions that you go through as a parent. The

1:28:33.840 --> 1:28:36.920
<v Speaker 1>constant worrying is I think what they got absolutely right,

1:28:37.120 --> 1:28:39.640
<v Speaker 1>Like is Kevin, you know, is this something we need

1:28:39.720 --> 1:28:41.519
<v Speaker 1>to be worried about? Or is this is something do

1:28:41.640 --> 1:28:44.479
<v Speaker 1>we need to talk about? Kevin? You know? Like, I

1:28:44.680 --> 1:28:49.439
<v Speaker 1>just think it really still rings true. Another really beautiful

1:28:49.479 --> 1:28:52.559
<v Speaker 1>touch from Ron Howard and the writers. When he arrives,

1:28:52.920 --> 1:28:57.080
<v Speaker 1>he gives that his dad Frank model car and it's

1:28:57.240 --> 1:29:00.519
<v Speaker 1>the same car that he has. And then later on

1:29:01.000 --> 1:29:03.040
<v Speaker 1>it's a bit of a foreshadowing going on because later

1:29:03.160 --> 1:29:06.840
<v Speaker 1>on he basically try he takes that car with a

1:29:06.960 --> 1:29:09.720
<v Speaker 1>view of maybe selling it to make the money. So

1:29:09.920 --> 1:29:12.000
<v Speaker 1>it's just, you know, again, it's just telling us that

1:29:12.400 --> 1:29:17.920
<v Speaker 1>this guy Larry, he takes more than he gives. He

1:29:18.040 --> 1:29:20.560
<v Speaker 1>gives us tiny car and takes the big car. But

1:29:20.920 --> 1:29:24.479
<v Speaker 1>of course people can email us at yasny podcast at

1:29:24.600 --> 1:29:28.360
<v Speaker 1>gmail dot com. So reach out, let us know we

1:29:28.479 --> 1:29:31.920
<v Speaker 1>want to do another live broadcast. Let us know what

1:29:32.240 --> 1:29:35.880
<v Speaker 1>movie you'd like us to either do live or even

1:29:35.920 --> 1:29:38.559
<v Speaker 1>in the studio, or who you would like to see

1:29:39.320 --> 1:29:41.479
<v Speaker 1>us reach out to to ask as far as our

1:29:41.520 --> 1:29:44.320
<v Speaker 1>guests go, and hopefully we can marry those two things up,

1:29:44.360 --> 1:29:46.200
<v Speaker 1>but we would love to do My brain is ticking

1:29:46.280 --> 1:29:50.439
<v Speaker 1>over as to a venue and a live another live event,

1:29:50.479 --> 1:29:53.200
<v Speaker 1>because it was just joyous, the one with Judith Lucy.

1:29:53.240 --> 1:29:54.800
<v Speaker 1>If you haven't if you weren't there, you can listen

1:29:55.080 --> 1:29:57.479
<v Speaker 1>even if you were there. It was released a couple

1:29:57.479 --> 1:29:59.360
<v Speaker 1>of weeks ago. You can find that a couple of

1:29:59.400 --> 1:30:03.840
<v Speaker 1>episodes back. But also, what's this speak pipe? You keep

1:30:03.880 --> 1:30:04.800
<v Speaker 1>banging on about Derek.

1:30:05.080 --> 1:30:07.519
<v Speaker 9>The speak pipe is just a really easy way for

1:30:07.600 --> 1:30:10.559
<v Speaker 9>people to just to open up a website and leave

1:30:10.600 --> 1:30:13.840
<v Speaker 9>a little leave a little vocal message.

1:30:13.800 --> 1:30:16.000
<v Speaker 3>Yep to us. So it's like sending an email, but

1:30:16.080 --> 1:30:17.160
<v Speaker 3>you get to read it yourself.

1:30:17.360 --> 1:30:18.920
<v Speaker 1>We would love to hear it from you.

1:30:19.080 --> 1:30:19.360
<v Speaker 2>Not just.

1:30:20.920 --> 1:30:24.680
<v Speaker 1>Read your thoughts, but why not put a voice to it.

1:30:25.160 --> 1:30:27.320
<v Speaker 1>We would love to hear you on our speak pipe

1:30:27.320 --> 1:30:29.080
<v Speaker 1>and we'll play it back and we'll answer any questions

1:30:29.520 --> 1:30:32.200
<v Speaker 1>or thoughts that you have next week on the show.

1:30:32.280 --> 1:30:34.280
<v Speaker 1>This is a big one and it'll makes sense both.

1:30:34.360 --> 1:30:36.800
<v Speaker 1>It's an epic movie and a massive guess. He's a

1:30:36.840 --> 1:30:39.720
<v Speaker 1>three time God LOGI win a man who's had an

1:30:39.840 --> 1:30:44.240
<v Speaker 1>enormous impact on my career and my life. It's Rove mcmaus,

1:30:44.280 --> 1:30:47.800
<v Speaker 1>my great mate, and this is a movie. When I

1:30:47.840 --> 1:30:49.760
<v Speaker 1>asked him to do it, I feel like he's taking

1:30:49.800 --> 1:30:52.360
<v Speaker 1>a bullet for the team. He's only a mate would

1:30:52.360 --> 1:30:54.439
<v Speaker 1>do this. He has agreed to watch a movie that

1:30:54.640 --> 1:31:01.200
<v Speaker 1>runs for three hours and fifteen minutes. That's right, that

1:31:01.360 --> 1:31:04.000
<v Speaker 1>some A movie that some people would argue is the

1:31:04.040 --> 1:31:08.160
<v Speaker 1>greatest film of all time certainly was released in the

1:31:09.120 --> 1:31:12.960
<v Speaker 1>maybe the greatest film Year of All Time, nineteen thirty nine,

1:31:13.080 --> 1:31:19.519
<v Speaker 1>Clark Gable, vivianly the sweeping yet problematic epic that is

1:31:19.760 --> 1:31:24.400
<v Speaker 1>gone with the wind. That's right, Rove, and I tackle

1:31:24.479 --> 1:31:28.639
<v Speaker 1>it for all it's glory and all it's shame. It'll'll

1:31:28.720 --> 1:31:31.200
<v Speaker 1>be laid bare next week, and you ain't seen nothing yet.

1:31:31.240 --> 1:31:34.120
<v Speaker 1>Gone with the wind, with roving matters until then, both

1:31:34.160 --> 1:31:47.919
<v Speaker 1>for now, and so we leave all Pete Saint Mansel,

1:31:49.000 --> 1:31:51.360
<v Speaker 1>and to our friends of the radio audience, we've been

1:31:51.400 --> 1:31:53.040
<v Speaker 1>a pleasant good name.