1 00:00:00,520 --> 00:00:05,440 Speaker 1: Great the flick with Ben o'she Good morning Ben, Good 2 00:00:05,440 --> 00:00:11,520 Speaker 1: morning guys. Australian theater, cinema, all of it royalty today 3 00:00:12,480 --> 00:00:13,200 Speaker 1: Hugo Weaving. 4 00:00:13,960 --> 00:00:17,639 Speaker 2: There's a bit of Ossie theater and Cinema Royalty in 5 00:00:17,680 --> 00:00:20,160 Speaker 2: this film. So Hugo Weaving has got a new film. 6 00:00:20,200 --> 00:00:23,079 Speaker 2: He's reached a really interesting time in his career, like 7 00:00:23,120 --> 00:00:25,440 Speaker 2: he's done, he's done at all. Like his big breakthrough 8 00:00:25,520 --> 00:00:28,320 Speaker 2: came on TV in the eighties with the Body Line 9 00:00:28,960 --> 00:00:33,120 Speaker 2: series about cricket with Don Bradman. He played Douglas Joking, 10 00:00:33,760 --> 00:00:36,120 Speaker 2: the English captain, and that was his first role out 11 00:00:36,120 --> 00:00:40,360 Speaker 2: of Nier, which was really really impressive performance. And then 12 00:00:40,400 --> 00:00:42,400 Speaker 2: he went on to do Ozsie films like Proof, which 13 00:00:42,479 --> 00:00:44,199 Speaker 2: was a classic, and then. 14 00:00:44,080 --> 00:00:47,040 Speaker 1: Of course the in different films, different. 15 00:00:46,680 --> 00:00:49,560 Speaker 2: Films, a very interesting career, and then of course Agent 16 00:00:49,640 --> 00:00:52,920 Speaker 2: Smith in The Matrix which is iconic, l Rond in 17 00:00:53,000 --> 00:00:55,880 Speaker 2: Lord of the Rings. And so he's done everything really 18 00:00:55,920 --> 00:00:58,120 Speaker 2: along the way, and now he's reached a stage in 19 00:00:58,120 --> 00:01:01,280 Speaker 2: his career sort of the Jack Thompson here where he's 20 00:01:01,320 --> 00:01:06,720 Speaker 2: playing these kind of curmudgeonally characters. But I would say 21 00:01:06,720 --> 00:01:09,960 Speaker 2: some of the best work of his entire long long 22 00:01:10,040 --> 00:01:12,160 Speaker 2: career in acting. Over the past few years, he was 23 00:01:12,160 --> 00:01:15,080 Speaker 2: in The Royal Hotel, that sort of psychological outback thriller 24 00:01:16,080 --> 00:01:18,680 Speaker 2: which was which is pretty good, and now in The Rooster. 25 00:01:18,840 --> 00:01:19,600 Speaker 1: It's a big call. 26 00:01:19,880 --> 00:01:21,720 Speaker 2: But I would say this would be in his top 27 00:01:21,880 --> 00:01:23,839 Speaker 2: three performances. 28 00:01:23,600 --> 00:01:27,560 Speaker 1: Of his life, and that is a big and. 29 00:01:27,560 --> 00:01:32,039 Speaker 2: I would say one of my top five Ossie performances 30 00:01:31,600 --> 00:01:33,399 Speaker 2: on a cinema screen that. 31 00:01:33,360 --> 00:01:35,600 Speaker 1: I've ever seen. Wow, that's impressive. 32 00:01:35,840 --> 00:01:38,759 Speaker 2: And not that the movie is probably at that level, 33 00:01:38,840 --> 00:01:40,800 Speaker 2: but in terms of Hugo Weaving, if you're a Hugo 34 00:01:40,840 --> 00:01:44,560 Speaker 2: Weeding or if you just yeah, we just appreciate fine acting. 35 00:01:45,080 --> 00:01:47,880 Speaker 2: Oh my gosh, this is just so incredible. My hair 36 00:01:47,960 --> 00:01:49,040 Speaker 2: is a standing up on the back of my neck 37 00:01:49,080 --> 00:01:52,320 Speaker 2: just thinking. So basically it's so. It's directed by Mark 38 00:01:52,400 --> 00:01:54,600 Speaker 2: Leonard Winter, who's an actor who you might have seen 39 00:01:54,680 --> 00:01:58,280 Speaker 2: in The news Reader, the ABC TV series. 40 00:01:58,000 --> 00:01:59,440 Speaker 1: Fires in Balabo. 41 00:01:59,560 --> 00:02:02,160 Speaker 2: He's in a stuff himself, escape from Pretoria, and so 42 00:02:02,200 --> 00:02:05,040 Speaker 2: now this is this is one of his first feature 43 00:02:05,080 --> 00:02:08,080 Speaker 2: films and it was at Sinnyfest last year. It was 44 00:02:08,080 --> 00:02:10,960 Speaker 2: in competition for one hundred thousand dollars prize and it's 45 00:02:11,040 --> 00:02:13,680 Speaker 2: I guess on the surface level. It's a tale about 46 00:02:13,800 --> 00:02:17,880 Speaker 2: loneliness and how blokes in society can feel loneliness because 47 00:02:17,880 --> 00:02:19,040 Speaker 2: you know, they don't know how to reach out and 48 00:02:19,080 --> 00:02:21,399 Speaker 2: get emotional support, which is a story that we kind 49 00:02:21,400 --> 00:02:23,800 Speaker 2: of know, we know that that's a real thing. And 50 00:02:23,880 --> 00:02:27,680 Speaker 2: so it follows the journey of this young police officer 51 00:02:27,680 --> 00:02:29,680 Speaker 2: who's kind of separated from his wife. He's sort of 52 00:02:29,680 --> 00:02:35,000 Speaker 2: living by himself, played by Phoenix Rerai, a fairly new 53 00:02:35,040 --> 00:02:37,800 Speaker 2: actor to the scene, and he's living in the bush 54 00:02:37,800 --> 00:02:41,200 Speaker 2: in central Victoria. He's got a rooster and he keeps 55 00:02:41,560 --> 00:02:43,639 Speaker 2: he keeps a few chooks. Yeah, he's got chocks and 56 00:02:43,720 --> 00:02:46,440 Speaker 2: a rooster. Then, and he's kind of struggling with, you know, 57 00:02:46,440 --> 00:02:49,040 Speaker 2: what's going on in his personal life, with his wife 58 00:02:49,120 --> 00:02:51,120 Speaker 2: leaving him and you know, all that sort of stuff. 59 00:02:51,720 --> 00:02:54,880 Speaker 2: And then one day his rooster is eaten by a 60 00:02:54,919 --> 00:02:57,840 Speaker 2: fox and he's kind of it kind of really affects 61 00:02:57,919 --> 00:03:01,160 Speaker 2: him emotional and at the same time, his best mate, 62 00:03:01,160 --> 00:03:03,160 Speaker 2: who he hasn't really seen for a while they've kind 63 00:03:03,160 --> 00:03:05,679 Speaker 2: of become a bit of stranged, has died in sort 64 00:03:05,680 --> 00:03:08,600 Speaker 2: of mysterious circumstances in the bush. His body's found in 65 00:03:08,639 --> 00:03:10,960 Speaker 2: the bush and they're not sure if it's a suicide 66 00:03:11,040 --> 00:03:13,440 Speaker 2: or what has happened. He kind of goes out and 67 00:03:13,480 --> 00:03:16,840 Speaker 2: decides to camp for a few days at the scene 68 00:03:16,919 --> 00:03:19,399 Speaker 2: of where his mate died, just to kind of reconnect 69 00:03:19,600 --> 00:03:22,120 Speaker 2: emotionally to what might have happened. He's having a good 70 00:03:22,160 --> 00:03:23,520 Speaker 2: run now he's not having a good run at all. 71 00:03:23,560 --> 00:03:26,200 Speaker 2: And while he's in the bush, he hears some noises 72 00:03:26,280 --> 00:03:28,040 Speaker 2: and he sort of realizes there's someone else in the 73 00:03:28,040 --> 00:03:31,040 Speaker 2: bush with him, and it's this hermit played by Hugo 74 00:03:31,080 --> 00:03:33,640 Speaker 2: Weaving who's lived off the grid for. 75 00:03:33,680 --> 00:03:34,840 Speaker 1: Years and years and years. 76 00:03:35,080 --> 00:03:37,640 Speaker 2: And then all of a sudden, this fellow who's a 77 00:03:37,680 --> 00:03:39,560 Speaker 2: police officer starts to think, we hang on a minute, 78 00:03:39,600 --> 00:03:42,120 Speaker 2: maybe this hermit has actually been involved in the death 79 00:03:42,160 --> 00:03:44,400 Speaker 2: of my mate, or at the very least knows something 80 00:03:44,400 --> 00:03:46,880 Speaker 2: about it. And so sort of they start hanging out, 81 00:03:46,920 --> 00:03:50,640 Speaker 2: and then essentially this young police officer moves in with 82 00:03:50,760 --> 00:03:54,120 Speaker 2: Hugo Weaving's character in his little bush hut, and they 83 00:03:54,160 --> 00:03:59,040 Speaker 2: sort of have this exploration of their own histories and 84 00:03:59,120 --> 00:04:03,960 Speaker 2: emotional trauma together, and Hugo Weavings hermit is a loose 85 00:04:04,080 --> 00:04:07,880 Speaker 2: unit like at one moment he almost seems like a 86 00:04:07,960 --> 00:04:10,320 Speaker 2: larger than life sort of thespian and he sort of 87 00:04:10,360 --> 00:04:14,080 Speaker 2: spouts literature and then he's also drinking you know, bottles 88 00:04:14,080 --> 00:04:17,680 Speaker 2: of red every other minute. And he has this busted 89 00:04:17,720 --> 00:04:19,800 Speaker 2: up old ping pong table that he's just set up 90 00:04:19,800 --> 00:04:21,760 Speaker 2: in the bush and he just hits the ball to 91 00:04:21,839 --> 00:04:24,560 Speaker 2: himself and then he starts playing ping pong and he says, 92 00:04:24,600 --> 00:04:26,200 Speaker 2: you know, the point is not to win, it's just 93 00:04:26,240 --> 00:04:28,240 Speaker 2: to keep playing. You just got to keep going, keep 94 00:04:28,240 --> 00:04:30,680 Speaker 2: getting the ball back, which is kind of his you know, 95 00:04:30,720 --> 00:04:32,960 Speaker 2: sort of ethos for life, Like that's kind of his 96 00:04:33,080 --> 00:04:36,360 Speaker 2: man trait exactly. And so then as as this sort 97 00:04:36,360 --> 00:04:38,440 Speaker 2: of unfolds, as these two blokes get to know each other, 98 00:04:38,480 --> 00:04:40,880 Speaker 2: you start to realize that, you know, there's some stuff 99 00:04:40,920 --> 00:04:44,960 Speaker 2: going on in Hugo Weaving's character's background that has kind 100 00:04:45,000 --> 00:04:47,080 Speaker 2: of led to where he is now sort of some 101 00:04:47,680 --> 00:04:50,960 Speaker 2: really really heartbreaking stuff that he's never really been able 102 00:04:51,040 --> 00:04:53,640 Speaker 2: to process or get past. And so his relationship with 103 00:04:53,680 --> 00:04:55,880 Speaker 2: this young police officer maybe gets him a bit closer 104 00:04:55,920 --> 00:04:59,800 Speaker 2: to some of that resolution. And so it is it's 105 00:04:59,839 --> 00:05:03,440 Speaker 2: a deeply affecting movie. It's some incredible scenes in the 106 00:05:03,480 --> 00:05:06,400 Speaker 2: Victorian Bush, like the nature is a real character in 107 00:05:06,440 --> 00:05:10,840 Speaker 2: the film as well, like you know, Phoenix RERAI as 108 00:05:10,880 --> 00:05:13,719 Speaker 2: this young police officer. You know, you know, maybe not 109 00:05:13,960 --> 00:05:16,279 Speaker 2: quite to the same level of Hugo Weaving, but I 110 00:05:16,279 --> 00:05:18,960 Speaker 2: think the challenge for this young actor is, you know, 111 00:05:19,000 --> 00:05:21,160 Speaker 2: like how do you keep up with one of Australia's 112 00:05:21,240 --> 00:05:24,320 Speaker 2: best actors in one of their greatest performances, Like you 113 00:05:24,400 --> 00:05:25,280 Speaker 2: just just can't. 114 00:05:25,440 --> 00:05:27,599 Speaker 1: It was in the Heights, Yeah, that's yeah. I knew 115 00:05:27,600 --> 00:05:29,240 Speaker 1: I read has. 116 00:05:29,200 --> 00:05:31,080 Speaker 2: A fine young actor and I think, you know, in 117 00:05:31,120 --> 00:05:33,880 Speaker 2: this film, I think he's a really interesting casting choice. 118 00:05:34,200 --> 00:05:35,920 Speaker 2: But you know, he's pushing it up hill a bit 119 00:05:36,080 --> 00:05:39,360 Speaker 2: like sharing scenes with Hugo who is just on song. 120 00:05:40,920 --> 00:05:42,520 Speaker 2: But you know, this is a film that you would 121 00:05:42,560 --> 00:05:45,760 Speaker 2: absolutely just watch to see Hugo Weaving as a master 122 00:05:45,839 --> 00:05:48,839 Speaker 2: class in acting, and you know it really gets you, 123 00:05:49,040 --> 00:05:50,760 Speaker 2: gets you by the end for sure, Like this is 124 00:05:50,800 --> 00:05:53,360 Speaker 2: This Is It's a kind of a simple premise, but 125 00:05:53,360 --> 00:05:56,440 Speaker 2: it's well executed and it's it's an example of you know, 126 00:05:56,520 --> 00:05:58,839 Speaker 2: I guess what Australian films can be when they don't 127 00:05:58,839 --> 00:05:59,440 Speaker 2: try too hard. 128 00:06:00,000 --> 00:06:03,200 Speaker 1: All right, Well, how many cocodoodle doos are you get? Good? 129 00:06:04,000 --> 00:06:05,600 Speaker 1: I'm going to give it three three and a half 130 00:06:05,720 --> 00:06:09,600 Speaker 1: Cocood very good. It's good. I just want to see 131 00:06:09,600 --> 00:06:12,800 Speaker 1: it for his acting performance now, Thanks Ben, Thanks guys.