Speaker 1: Good. It's Peter.
Speaker 2: Hell ay you here, Welcome to You ain't seen nothing
Speaker 2: yet in the Movie Podcast, where our chat to a
Speaker 2: movie lover about a classic or be loved movie they
Speaker 2: haven't quite got around to watching until now. In today's
Speaker 2: guest comedian Sam Towton, the.
Speaker 3: First rule of Fike Club is you do not talk
Speaker 3: about Fike Club.
Speaker 1: No, it was you afraid of you broke my heart.
Speaker 4: I admire your luck, mister Bond, James Bond.
Speaker 1: Haven An right now.
Speaker 3: You don't see nothing here.
Speaker 2: Sam Taughton has been slaying them on the Aussie comedy
Speaker 2: scene for half a decade now, building his audience through
Speaker 2: appearances on the Project Just for Last and Comedy Next Gen.
Speaker 1: He also hosted the show about Jordie Shaw, which I
Speaker 1: was asked not to mention. Sam.
Speaker 2: He's a bloody good golfer too, who seriously considered the
Speaker 2: option of heading to US colleges with a view of
Speaker 2: turning pro but made the financially wobbly.
Speaker 1: Choice to tackle comedy instead. His accountant needed have worried.
Speaker 2: The Herald Sun said, he's on the express elevator to
Speaker 2: stardom and it's.
Speaker 1: Hard to argue not that I would want to argue.
Speaker 2: Sam is brilliant to watch and fun to hang out with,
Speaker 2: so much so that I asked him to support my
Speaker 2: life shows in Sydney in twenty twenty. Sam's later show,
Speaker 2: Yo Yo Diablou has been killing it at the Melbourne
Speaker 2: International Comedy Festival and may just be passing through your city.
Speaker 2: Now check it out. You can thank me later. Sam's
Speaker 2: hits the Front. Hide's a genuinely lovely bloke from Naara.
Speaker 2: His comedy is urban, sharp seri and always relatable, and
Speaker 2: I'm bloody stoked to be hanging with him today.
Speaker 3: My name is Sam Taunton and my three favorite movies
Speaker 3: are The Wedding Singer, The Big Chill Deep and this
Speaker 3: is quite a hacked choice for a man that departed.
Speaker 3: It's a matter of smart ash you any fucking Shakespeare,
Speaker 3: But up until yesterday I had not seen the nineteen
Speaker 3: seventy nine classic Kramer versus Kramer.
Speaker 5: Yes, I did remembered to bring the truck to as
Speaker 5: cream home. And you're not going to have any of
Speaker 5: it until you eat all your dinner and then meet
Speaker 5: your meat and your corn.
Speaker 1: Where are you going? You get factor? Right now?
Speaker 5: Did you hear me? You better not do that. You
Speaker 5: better stop right there, Falla. I'm warning you, hey, did.
Speaker 1: You hear me? Now you listen to me.
Speaker 5: Don't be smart. Now you go bight back and put
Speaker 5: that back until you finish your dinner. I'm warning you
Speaker 5: take one bite out of that. You're in big trouble.
Speaker 5: Don't hey, don't you dare. Don't you dare do that?
Speaker 5: Did you hear me?
Speaker 1: Stop? Hold it right there?
Speaker 5: You put that ice cream in your mouth, and you
Speaker 5: are in very, very, very big trouble. Don't you dare
Speaker 5: go anywhere beyond that? Put it down right now. I
Speaker 5: Am not going to say it again. I Am not
Speaker 5: going to say it again.
Speaker 1: I am wow.
Speaker 5: Don't you kill me.
Speaker 6: You're not barking now. You are a spoiled, rotten little practice.
Speaker 7: I'll tell you right now and hang you and I
Speaker 7: hate you back.
Speaker 3: Your little shit.
Speaker 2: This divorce has never captured the imagination of the movie
Speaker 2: going public quiet like nineteen seventy nine's Kramer Versus Kramer. No,
Speaker 2: it's not a sign felt episode set in the multiverse.
Speaker 2: It's a Robert Benton directed drama starring white Hot Does
Speaker 2: Hoffman as Ted and the breakout performance by the acting
Speaker 2: goat herself. Meryl Streep as Joanna, who leaves both Ted
Speaker 2: and their young boy Billy to find herself and get
Speaker 2: her head straight and because she has fallen out of
Speaker 2: love with Ted.
Speaker 1: Justin Henry by the way, Peo play Billy Garner's an.
Speaker 2: Oscar nomination, which remains the youngest Oscar nominated actor to
Speaker 2: this day.
Speaker 1: He was aged eight.
Speaker 2: Kramer Versus Cremer is never saccarin or mawkish, yet it's
Speaker 2: never grimm. It's authentic, intimate, and it struck a chord.
Speaker 2: Kramer Versus Cremer was incredibly the highest grossing movie of
Speaker 2: nineteen seventy nine, winning five Oscars, nominated for ten. Kramer
Speaker 2: Versus Cramer is well written, but it is the performances
Speaker 2: by generational talents in Hoffman and Streep that elevate this
Speaker 2: film into classic status. Sam Tordon, how many times did
Speaker 2: you have to be told to put the ice cream back?
Speaker 3: That actually wasn't a recording for the movie. That was
Speaker 3: me my girlfriend, he was, I mean even plenty of
Speaker 3: opportunities exactly, he should have just done what he had
Speaker 3: to do. But that is like the indicative of the
Speaker 3: entire movie. Like there's so much dialogue where you're like,
Speaker 3: I feel like the plot isn't advancing, It's just I'm
Speaker 3: just seeing an insight into like you know, like a
Speaker 3: household that's on the brink of like falling apart.
Speaker 1: At any point, we'll get to like the fact that
Speaker 1: it's the highest grossing film of nine and seventy nine,
Speaker 1: Like I mentioned an intro.
Speaker 2: That is astonished, it's crazy that this is a talking film,
Speaker 2: Like this is just talking people talking on couches, people
Speaker 2: talking in parks, on benches, people talking in rooms.
Speaker 8: You know.
Speaker 1: It is other films released that year, the first Star Trek.
Speaker 2: Film, like Moonraker, James Bond, Apocalypse Man.
Speaker 3: Like these are huge, These are big, big film.
Speaker 1: There's a big movie film.
Speaker 2: Big big movie films, and this film about divorce hits
Speaker 2: a chord and becomes the highest grossing film, you know,
Speaker 2: of that year.
Speaker 3: I looked at it did something like one hundred and
Speaker 3: seventy million off for thirty million dollar budget or something,
Speaker 3: which is like insane like return. But also it's like
Speaker 3: I doubt that could happen now, Like you know, like
Speaker 3: now movies are like people go franchises or their reboots,
Speaker 3: and that seems to be the way to get generation
Speaker 3: or like to get interest, to get people into the cinema,
Speaker 3: so to have this talking movie. Maybe it was already
Speaker 3: hard to do it then, but now it seems inconceivable
Speaker 3: that you could release a movie like this and then
Speaker 3: everyone would flock to the cinema to see it. We
Speaker 3: have one marriage story, I think, so when I was
Speaker 3: watching this, I was like, oh, this is marriage story.
Speaker 3: Should be called out for just ripping off cram verse Grame.
Speaker 2: I think Crame Versus Creamate like inspires this kind of
Speaker 2: the wave of divorce movies. I think Ordinary People came
Speaker 2: the year after, which would have been in production and
Speaker 2: maybe even film, but by the time Crame Versus Crement
Speaker 2: came out, but like, uh, shoot the Moon I think
Speaker 2: comes out a few years later. There's a whole bunch
Speaker 2: of them that came.
Speaker 3: We've seen Blue Valentine in a similar vein it's kind
Speaker 3: of more of the relationship breaking down, but in a
Speaker 3: similar way that it just pulls on your heartstrings just
Speaker 3: watching this thing that was once beautiful collapse, And maybe
Speaker 3: people are drawn to that kind of I don't know, sadness,
Speaker 3: or maybe it's more relatable than anything else you could
Speaker 3: put on its screen.
Speaker 1: It's so weird.
Speaker 2: I was thinking that in nineteen seventy nine, for some reason,
Speaker 2: divorce was in the zeitgeist, Like you don't think we
Speaker 2: were trying to pick the zeitgeist to so funny and
Speaker 2: probably I'd love to know what you know what divorce
Speaker 2: rates kind of were happening around that, right, because that's
Speaker 2: when people first it would have become popular, being like,
Speaker 2: this is an option.
Speaker 3: We don't have to be together, we can separate.
Speaker 1: Women worked it out. They thought we can actually leave blokes.
Speaker 3: Well, there is a line in COVID Craber where it's
Speaker 3: like this women's live business. It's like off it so hard,
Speaker 3: but it's probably like totally like men were getting left
Speaker 3: and being like women are in powered now. They were
Speaker 3: hating it obviously.
Speaker 1: Yeah, so why did you choose? I know you came
Speaker 1: back with two choices.
Speaker 3: Yeah, I know, the two choices. I can't believe you
Speaker 3: chose this one.
Speaker 1: Well yeah, well what was the other one?
Speaker 3: The other one was Basic?
Speaker 1: Now I haven't.
Speaker 3: I haven't seen well, I've seen one scene in Basic
Speaker 3: many times? Yeah, many times. Well, no, as a young man,
Speaker 3: you do it just it's in your life. That one
Speaker 3: scene in Basic instinct growing up. But no, I hadn't
Speaker 3: seen it, and I thought for sure you were going
Speaker 3: to go with that, and instead you went with.
Speaker 1: Well because Kramer versus Kramer.
Speaker 2: I saw it when I was younger, like ten or eleven,
Speaker 2: and it didn't and I was on TV.
Speaker 1: Yeah, and it had no hook in for me.
Speaker 3: Well be hard as a kid to really it's just
Speaker 3: people talking.
Speaker 1: It's people talking. It's a drama. Put ads in that
Speaker 1: as well.
Speaker 3: You know, i't where do you even put the ads
Speaker 3: because there's no like big like crescendo at the end
Speaker 3: of each scene.
Speaker 1: That's true.
Speaker 2: So I don't think I ever finished watching it, So
Speaker 2: I had like a vague memories of, you know, watching it,
Speaker 2: and and so I was keen to going to revisit it,
Speaker 2: and I was Goinda, glad I did, we will get
Speaker 2: the basic instinct. Somebody else put forward basic instinct, And
Speaker 2: I chose.
Speaker 1: Another film we might have do it like a live
Speaker 1: and a few people based.
Speaker 3: Against because I always I feel I haven't seen Based
Speaker 3: Against hik. But I was talking to my friend about
Speaker 3: it and I'm like, oh, he gave me these two
Speaker 3: options to watch, and he was like, oh, yeah, you
Speaker 3: don't want to just have two dudes, straight men sitting
Speaker 3: around talking about like deconstructing based against him.
Speaker 1: We may have to get some ladies in. Yeah, I
Speaker 1: think Let'speaks of Love a bit. Yeah, exactly.
Speaker 2: Yeah, So we'll get to we'll come back. And I'm
Speaker 2: really fascinated with your thoughts on comesus, Cramer, But your
Speaker 2: three favorite films, we had Cameron James and recently hittd
Speaker 2: Parenthood as a fun episode if you haven't heard that one.
Speaker 2: But he also nominated The Wedding Singer. Did you know that? Well,
Speaker 2: you guys bonded over there.
Speaker 3: We have spoken. Cameron and I are quite good friends
Speaker 3: with it down the road from each other in Sydney,
Speaker 3: and we love we love the Wedding Singer.
Speaker 1: I don't know why.
Speaker 3: And I feel like all my three choices are quite
Speaker 3: like I listened to Lloyd's episode and he's like naming
Speaker 3: movies I've never liked these.
Speaker 1: Art house I've never heard of, and I'm like the Wedding.
Speaker 3: Singer, which is But I feel like all the things
Speaker 3: I've picked a drench did in stunger for me, like
Speaker 3: they're the things that i've movies that I've just gone
Speaker 3: back to and the Wedding Singer for some reason, is
Speaker 3: just a movie I've seen so many times in my life,
Speaker 3: and like, I feel like it was a pivotal role
Speaker 3: in my teens, especially my late teens, when I would
Speaker 3: like be smoking weed with my friends, we would put
Speaker 3: The Weddings Singer on and like laugh a lot, and like,
Speaker 3: I think it's easily Adam Sandler's probably best film. The
Speaker 3: plot is nothing amazing, but it's like him and Drew
Speaker 3: Barrymore hold the film in like such an incredible way,
Speaker 3: and it's funny. That's the other thing, Like it is
Speaker 3: actually funny, And there's lines in that that I still
Speaker 3: There's a line in it where Robbie, which is Adam
Speaker 3: sandler Zerman brother, Yeah, he he hates Glenn, who's the
Speaker 3: guy that Drew Barrymore is dating, and so he says,
Speaker 3: why don't you have a few drinks and drive home?
Speaker 3: And it's just like a stupid line, But that was
Speaker 3: like one of the first like real jokes that I
Speaker 3: ever like be like, you can just be mean to people.
Speaker 3: And I've said that in crowd work, Like I've stolen
Speaker 3: that doing stand up and been like someone's annoying me
Speaker 3: I'm like, you should have a few drinks and drive home,
Speaker 3: like so, I think the movie is great, even to
Speaker 3: the point I went to the new musical earlier this
Speaker 3: year in Sydney. It must have been Stokes well Pete.
Speaker 1: It took.
Speaker 3: I don't like musicals at all, like they're not for me.
Speaker 3: I know some people love them. And then I was like,
Speaker 3: but who cares, Like it's the wedding singer.
Speaker 1: I'll go.
Speaker 3: And then I sat down and within the first like
Speaker 3: four minutes, I realized Adam Sandler's not in this musical,
Speaker 3: or so is the character in there? No, the character is,
Speaker 3: but in my head it was going to be. I
Speaker 3: thought maybe Adam Sander would have something to do. And
Speaker 3: then all that they only did the two songs they
Speaker 3: did obviously the end song, you know, the grow old
Speaker 3: with You, and then they did the other song that
Speaker 3: you know when he's like, were your kill me? I
Speaker 3: want to do that? And then the rest were like
Speaker 3: shitty musicals, like you know, they're just like I'm not
Speaker 3: playing blah blah blah, she's getting married and just all
Speaker 3: this and it just sucked it, Like I didn't suck
Speaker 3: if anyone's a thing that was in it. You were
Speaker 3: terrific and your performances were incredible, but the.
Speaker 1: Idea, yeah you're saying, the idea behind it was on
Speaker 1: shaky ground. Yeah.
Speaker 3: I just think they were using the good name of
Speaker 3: a movie that a lot of people love with music
Speaker 3: in it, because I would have loved to have go
Speaker 3: and seen all the songs from the word, but I
Speaker 3: don't think they can license all the songs.
Speaker 1: To their musical.
Speaker 3: But it was still it still was entertaining, but it
Speaker 3: wasn't I think when you have so much love for
Speaker 3: one thing and then it gets redone in kind of
Speaker 3: another genre, it can be interesting to see my wife.
Speaker 1: I like the wedding singer. My wife really likes this.
Speaker 1: And I think watching Adam Sam Landrew Barrymore in any
Speaker 1: movie is fun. My fifty first dates I really enjoy.
Speaker 3: Yeah, you know, and it's all guilt free watching the
Speaker 3: other thing.
Speaker 1: Absolutely.
Speaker 2: But when I was invited to the wedding singer and
Speaker 2: I said to the bridge, do you want to go?
Speaker 1: Like you know?
Speaker 2: And I couldn't quite and we didn't go, And I
Speaker 2: think it was a timing thing in the end. But
Speaker 2: I couldn't quite get my head around how why or
Speaker 2: how they were doing this. Yeah, totally, And I think
Speaker 2: sometimes you know, and I'm always I give something a chance,
Speaker 2: so you know, like it was more of a time
Speaker 2: issue from us not getting there. My wife went and
Speaker 2: saw Jagie Little Pill and she had no idea you
Speaker 2: know what that was going to be. Like I was
Speaker 2: blown away by it, like this said, this is one
Speaker 2: of the like unlike any other things she's seen. She
Speaker 2: was maybe outside Hamilton, she was, and she loved it.
Speaker 2: A week later, still talking about Jague Little Pill. So
Speaker 2: so everyone else in that one, well done.
Speaker 3: Yeah I wasn't talking a week later about the wedding.
Speaker 3: Well the problem was it was years.
Speaker 1: Later you're talking about it. You won't shut up about it.
Speaker 3: They just like extended out I will stop talking about it.
Speaker 3: But this is my last point. It's like they just
Speaker 3: extended out scenes that weren't even big in the movie
Speaker 3: and became like these ten minute songs. And it's just
Speaker 3: like I don't know if you remember the scene, but
Speaker 3: there's a scene where he's he's in the bin after
Speaker 3: he like ruins a gig he's doing above MITSV or something,
Speaker 3: and then like Drew Barrymoll has to come and get
Speaker 3: get him, and it's like a two minute scene she's like,
Speaker 3: get out of the bin. But in the musical that
Speaker 3: was like a fifteen minute epic sing along where they're like,
Speaker 3: get out of the bin. You shouldn't be in the bin,
Speaker 3: and it's going for ever and ever and ever. So Yeah, Anyway,
Speaker 3: it also feels.
Speaker 2: That it's refusing to acknowledge that one of the best
Speaker 2: thing about the Wedding Sing is Adam Sandler and Drew
Speaker 2: Barry totally.
Speaker 3: That's actually where what it comes down to, like the
Speaker 3: script is that's the other thing. Watching the musical, I'm
Speaker 3: just like, oh, the plot of this is every other
Speaker 3: thing I've seen ever before. But the thing that makes
Speaker 3: it good is the dynamic and the chemistry between those two.
Speaker 1: Yeah, school of Rock got away with it. We saw
Speaker 1: a School of Rock in New York and with the kids,
Speaker 1: and that was fun. But you got I saw that.
Speaker 3: As I say, I hate musicals, but I did see that.
Speaker 1: Yeah, did you enjoy that? I liked it? Yeah? Yeah,
Speaker 1: because but you got the kids as well.
Speaker 2: Kids are great, and you know, it's not necessarily like
Speaker 2: the wedding sing is based on the chemistry between these two.
Speaker 2: You know, wonderful actors where where Jack Black gives an
Speaker 2: unbelievable performance, but it's not like he needs to build
Speaker 2: this chemistry with with you know, another actor.
Speaker 1: But I really enjoyed score of Rock, both movie and
Speaker 1: the musical.
Speaker 3: Yeah, Big Chill, Now do you know have you seen
Speaker 3: the Big Chill?
Speaker 1: I have?
Speaker 3: Yeah, Big Chill? I think is like the most nostalgic
Speaker 3: choice here for me because when I was growing up,
Speaker 3: not only did my parents have the movie on VHS
Speaker 3: and would make me watch it a lot, not make
Speaker 3: me watch it, but like I loved it, but then
Speaker 3: we would also we also had the soundtrack on vinyl,
Speaker 3: and the soundtrack is umble. It's all these old motown
Speaker 3: hits and.
Speaker 1: One of the first big soundtracks.
Speaker 3: Oh yes, like Aretha Franklin and like the band and
Speaker 3: like all these great acts, and it's like I still
Speaker 3: listen to it now, and like the opening scene has
Speaker 3: got like the rolling stones that you can't always get
Speaker 3: where you were, Like it's like iconic. And so this movie,
Speaker 3: like when I someone says the Big Chill, I think
Speaker 3: about the soundtrack playing and like the smell of like
Speaker 3: my mum having coffee, like brown coffee. So it's like,
Speaker 3: it's very vivid to me, this movie. But it wasn't
Speaker 3: until I probably got to like my early twenties that
Speaker 3: I then rewatched it and then realized how much I
Speaker 3: loved the movie as well. And it's probably because I
Speaker 3: think I watched it so much growing up in the soundtrack,
Speaker 3: but also just like, you know the concept of like
Speaker 3: friends going away, living different lives and then coming back
Speaker 3: together and stuff, and it's so applicable, especially in your
Speaker 3: early twenties or when you move into like a more
Speaker 3: serious point of adulthood.
Speaker 1: Yeah, it's like.
Speaker 3: You know, it's a bit more bang on.
Speaker 1: I haven't watched it for a while, but it was
Speaker 1: in my mind. It was one of those movies that
Speaker 1: was like one of the first based on the idea
Speaker 1: of like adults getting together a you know, like a
Speaker 1: beachside you know, or you know, a retreat, yeah, and
Speaker 1: hanging out and things coming up.
Speaker 3: Well, now it feels like every person's weekend ever they
Speaker 3: hire an airbnb and a.
Speaker 1: Bunch of friends.
Speaker 3: But like, yeah, I'm sure back then because it's like
Speaker 3: early eighties, I think the film might be yeah, or
Speaker 3: maybe late eighties, but then it does seem like they're
Speaker 3: there for a funeral for their friend. Yes, but it's
Speaker 3: like it ends up becoming this whole separate thing and
Speaker 3: they all hang.
Speaker 1: Around, but it is.
Speaker 3: Yeah, it's totally like an interesting not a coming of
Speaker 3: age thing, but it's it's not Dowur, but it's kind
Speaker 3: of quite uplifting in itself.
Speaker 2: Yeah, Kasten actually wrote and directed that, which I yeah,
Speaker 2: lines Casten obviously involved with Indiana Jones and and Star Wars,
Speaker 2: and I strikes back.
Speaker 3: Very different angle, very really, I'm not sure.
Speaker 1: I'm not sure which film you were watching didn't star
Speaker 1: warst with a funeral an.
Speaker 3: I've also shown this film to like every girl I've
Speaker 3: ever dated. It's been like real, it's like because you know,
Speaker 3: it's one of my things to be like if this
Speaker 3: is if you want to be nor like this is
Speaker 3: a thing that's important to me. None of them have
Speaker 3: ever like liked it as much as everyone's feel like, yeah,
Speaker 3: it's fine, like I don't see the and I'm like it,
Speaker 3: but the soundtrack's good as well, and they're like, yeah,
Speaker 3: so I know there's only one Rose Matafao who's now
Speaker 3: a superstar, like you know, the biggest whatever going around.
Speaker 3: She's one of the only people that I've ever met
Speaker 3: that loves this movie as much as I do and
Speaker 3: has a get We've talked about it for hours, just
Speaker 3: like different aspects about this movie. But everyone else is like, yeah,
Speaker 3: I mean it's a good film, but I wouldn't watch
Speaker 3: it again.
Speaker 2: Oh, people, I'm sure it has come up. I'll have
Speaker 2: to try to track it down. I've got we have
Speaker 2: to come up with a list, I think a spreadsheet
Speaker 2: everybody's favorite films, so I can have access to it
Speaker 2: straight away, because I it certainly come up in people's
Speaker 2: favorite films before on this podcast. I watched it when
Speaker 2: I was about fourteen or fifteen, so it'd be interesting
Speaker 2: that if I go back and watch it do it
Speaker 2: again as an adult, and maybe I've seen bits of
Speaker 2: it like on TV, but they never sat down and
Speaker 2: watched the whole thing since the rip, William hurt and
Speaker 2: it departed.
Speaker 3: Yes, now, surely someone supports this.
Speaker 1: This has come up. This has come up.
Speaker 2: I love Scorsese. For some reason, I didn't love the
Speaker 2: part of as much as I thought I was going.
Speaker 2: So many elements to it that should absolutely works. It's
Speaker 2: set in Boston, It's.
Speaker 1: Got great act years and I liked it.
Speaker 2: I hated the last shot of the movie. Oh really, yeah,
Speaker 2: the rat. I didn't like the rat now well on
Speaker 2: the nose.
Speaker 3: I mean it's really like, you know when there's like
Speaker 3: subtext in you know, when you see a comedy show
Speaker 3: and you're like, there's a subtext and the and they
Speaker 3: just say.
Speaker 1: So that show was about my man's there.
Speaker 3: Yeah, yeah, yeah, you're like, oh, well, yeah, we picked
Speaker 3: up on that. You didn't have to say that at
Speaker 3: the end.
Speaker 1: Yeah, it's been I thought it was a bit heavy headed.
Speaker 1: But I mean I and I watched it.
Speaker 2: Not that long ago again and I enjoyed, Like I'm
Speaker 2: not and I'm not surprised it comes up as people's
Speaker 2: favorite films. I was so excited. It might have been
Speaker 2: an expectation thing. Yeah, I look at all these magical
Speaker 2: pieces in this one film. I was looking forward to
Speaker 2: seeing it. I liked it. I just didn't love it
Speaker 2: as much as I thought.
Speaker 3: Yeah, well that's interesting. I watched it probably once a year.
Speaker 3: I'll rewatch it. And I just remember the first time
Speaker 3: I watched it, I was probably I don't know, seventeen
Speaker 3: or and just like my mind was like I'd never
Speaker 3: had been like that hooked and then been like like
Speaker 3: felt like the plot had just turned on its head
Speaker 3: at the end and we're like all that stuffs happened.
Speaker 3: That's crazy. And it was like all these cool men
Speaker 3: and I was like a young man and they're just
Speaker 3: like shooting guns or whatever and like tricking people. I
Speaker 3: was like, this is unbelievable. There was so much in
Speaker 3: it for me just to feast on. And so now
Speaker 3: I think it's another trip down memory late but also
Speaker 3: I think it but there's a few scenes that don't
Speaker 3: hold hold up. Jack Nicholson's trying to get I think
Speaker 3: their Koreans or Chinese, and they're bringing in microprocess It
Speaker 3: keeps saying we're going to get the microprocesses, and you're like,
Speaker 3: that doesn't hold it. We don't know what you're doing about,
Speaker 3: what the fuck is a microprocess.
Speaker 1: I really love films where like the detail, you know, whatever,
Speaker 1: they's just whatever they're shipping in. They keep it simple. Yeah, yeah, yeah, totally.
Speaker 1: I can keep it simple, Yeah, exactly.
Speaker 3: Don't now people need to make things knowing that it
Speaker 3: will date so quickly.
Speaker 2: I remember in the eighties on bombs were always a
Speaker 2: big thing, like yeah, yeah, I haven't no idea what bombs.
Speaker 3: I still don't know what they are. I have a
Speaker 3: friend that works in like finance, and I had to
Speaker 3: get her to explain them to me, and it still
Speaker 3: didn't really Nah, check out. But there's a lot going
Speaker 3: on and it's kind of dated, but it is like, man,
Speaker 3: there's some great performances in there. Mark Wahlberg, who I
Speaker 3: think sucks as an actor, he was great in it,
Speaker 3: and like, you know, Jack Nicholson.
Speaker 1: Is crazy in it.
Speaker 3: But yeah, I mean it is probably a bit heavy
Speaker 3: handed by think that's what I love about it.
Speaker 2: Oh, I mean it's you know, I mean those scenes
Speaker 2: when everything goes pair shape and everyone's getting you know,
Speaker 2: you know killed.
Speaker 1: Yeah, it's crazy. It is crazy.
Speaker 2: And I can never have never been able to quite
Speaker 2: put my finger on why I don't think.
Speaker 1: This is a classic.
Speaker 2: Well I'm hapy to accept it as a classic, but
Speaker 2: in my head that it hasn't reached that status.
Speaker 1: Yeah, I don't know. I don't know.
Speaker 3: Well, not to go back to the girlfriend test, but
Speaker 3: my current girlfriend the part of on the first date, Oh,
Speaker 3: I know, but I probably six months in I was
Speaker 3: like do you want watch this? And she's like, yeah,
Speaker 3: and she grew up in Argentina, so she's like there's
Speaker 3: a lot of like pop culture gaps that she has,
Speaker 3: Like she came to Australa when she was twelve, that
Speaker 3: I have that. I like try to show her. She
Speaker 3: falls asleep like ten minutes into the department and she's like,
Speaker 3: this sucks. And then I was talking to my friend,
Speaker 3: a mutual friend of ours, Tom Cashman. He tried to
Speaker 3: show his girlfriend that Departed. She falls asleep within ten minutes,
Speaker 3: and we're both like, but this movie is so good.
Speaker 3: This is crazy. These women are for all your sleep?
Speaker 3: What's wrong with them? And then he found out I
Speaker 3: think there's a Japanese remake of The Departed.
Speaker 2: No, it's actually the part is based on the jet
Speaker 2: it's actually Chinese. I think it's Infernal Affairs.
Speaker 3: Oh okay, so it's Chinese.
Speaker 1: Yeah, I think so.
Speaker 3: Well, so then he went so he showed his girlfriend
Speaker 3: the Chinese version and then she's like, well this is
Speaker 3: very cultured and nix so we're watching a foreign film.
Speaker 3: Watched it and loved it. So then in his head
Speaker 3: he never told her that, but in his head, he's
Speaker 3: like that was a win.
Speaker 1: She did like that could end up that could end
Speaker 1: up in divorce. It could be cash Mean versus Kash Cashman. Well,
Speaker 1: let's tat it about.
Speaker 2: Kramer versus kram In nineteen seventy nine, directed and written
Speaker 2: by Robert Benton from a novel from Avery Corman, starring
Speaker 2: of course, Dustin Hoffman and Meryl Street Sam Tauton.
Speaker 1: Who did you like it? I loved it?
Speaker 3: I thought it was great. Can I say so? We're
Speaker 3: recording this at the last weekend of comedy festival.
Speaker 1: I'm not sure your timeline. But what a time?
Speaker 3: This What a time to watch this one.
Speaker 1: I didnt actually think, fuck, I hope this film hasn't
Speaker 1: ruined the end of your festival.
Speaker 3: Like I'm like at the end, I'm like, my body
Speaker 3: is breaking down. I'm so tired, I'm so emotional. People
Speaker 3: like anything gets me. I haven't seen my girlfriend for weeks.
Speaker 3: And then we put this and I was just like
Speaker 3: watching it, just like having a can. I was like,
Speaker 3: this is the heaviest movie. It felt like the heaviest
Speaker 3: thing I've ever watched in my life. Like I was
Speaker 3: crying in the in the court scene when they're like
Speaker 3: going back and forth like talking about how bad the
Speaker 3: other person was, but they don't really mean it and
Speaker 3: they're like, I was like, why are you doing this?
Speaker 3: You should love each other. So I loved it, but
Speaker 3: my god, it was a heavy film to.
Speaker 1: Watch because you have history of divorce in your family. Well,
Speaker 1: my parents got divorced really young.
Speaker 3: Yeah, right, But I don't feel like that that really
Speaker 3: because I mean I was too young really to even
Speaker 3: know what was going on. Right, But like, I mean,
Speaker 3: I've been through breakups, you know, I know the pain.
Speaker 1: You know.
Speaker 3: I didn't feel for the kid who cares. I was
Speaker 3: more like I was like Dustin and Merril, you're good
Speaker 3: to get. Like they're so hot as well, like they're
Speaker 3: young at their peak, they're so attractive. I'm like, you
Speaker 3: guys can make this work.
Speaker 1: Come on, it's it's it's it's.
Speaker 2: Well, let's have a listen to the opening scene because
Speaker 2: it really sets up a lot well, obviously the plot
Speaker 2: of the movie, but and what we're about to be watching,
Speaker 2: but it sets up so many things that are so
Speaker 2: good about this movie. So this is where Meryl Streep's
Speaker 2: Joeba is announcers to Ted He's come home and you've
Speaker 2: got a promotion. He's pretty happy, he's making a quick
Speaker 2: phone call as she's telling him that she's leaving him.
Speaker 1: Please, I'm sorry.
Speaker 9: Now, don't don't make me go in there.
Speaker 8: Please, please don't make me go in there.
Speaker 9: Don't make me go in there.
Speaker 1: If you do, I.
Speaker 3: Swear one day, next week, maybe next year, I don't know.
Speaker 1: I go right out the window. What am I doing?
Speaker 1: I'm not taking in with me.
Speaker 9: I'm not good for him. I'm terrible with you.
Speaker 3: I have no patience.
Speaker 9: He's better off without me.
Speaker 10: Trump please, and I don't love you anymore.
Speaker 1: That's a kicker.
Speaker 3: Oh, because that's early in the movie.
Speaker 1: That's what have you done to me? Yeah, it's really
Speaker 1: it's basically the second scene we see the opening scenes.
Speaker 2: It's a lovely shot of Meryl Street saying goodbye to her.
Speaker 2: Somebody that really know exactly what's going on in the context.
Speaker 1: Yet.
Speaker 2: Then we go to Ted's office and he's talking about
Speaker 2: buying a jacket or something or whatever, and he's being
Speaker 2: you know, feed up on the desk, kind of do
Speaker 2: she kind of advertising exec you know, corporate world gets
Speaker 2: the promotion, goes out with his bus and then and
Speaker 2: then comes home to that. So there's some stuff that
Speaker 2: goes on in the apartment, then it goes out into
Speaker 2: the corridor, so the hall way. I assume you've seen
Speaker 2: the movie obviously if you're listening to this, But when
Speaker 2: she says, don't make me go back, and she's talking
Speaker 2: about the apartment, but yes, but what is when when?
Speaker 2: So when she says I'm leaving you, did you have thoughts?
Speaker 2: Because my head certainly went to, oh, he's had an
Speaker 2: affair or like, there's you know, there's you know, there's
Speaker 2: a real reason he's fucked up this marriage and she's
Speaker 2: leaving him. That was like, I think that's where Hollywood
Speaker 2: has kind of a year made my mind think and
Speaker 2: it becomes way more interesting as his scene players out.
Speaker 2: But did you have a feeling of what was going
Speaker 2: on early in that scene that maybe a misdirect or.
Speaker 3: Well, look, I think they had given us enough information
Speaker 3: with him being at work and being like, you know,
Speaker 3: busy at work or whatever. But also that's such a
Speaker 3: like you know, just like almost like a corny easy
Speaker 3: plot line to be like, oh he works too much
Speaker 3: and yeah, you know it doesn't you know, give his
Speaker 3: family enough attention or whatever. But I felt like as
Speaker 3: soon as you saw I think it's like mertle Street's
Speaker 3: performance in this scene especially, that is the thing that
Speaker 3: really it's like you just see a woman tortured with
Speaker 3: the decisions of where her life's ended up, you know,
Speaker 3: like and being like she needs to get out. So
Speaker 3: I didn't know, you don't know exactly what's happened, but
Speaker 3: I figured, you know, this woman's not happy in her
Speaker 3: like it doesn't really matter to be what's happened, yeah,
Speaker 3: because it's like it's not working out. You can see
Speaker 3: how distress she is. And like that scene when she
Speaker 3: tells him she's leaving is like one of the most relatable,
Speaker 3: like I feel like break ups because like everyone's broken
Speaker 3: up with someone before and it's like just one of
Speaker 3: the most gut wretched or you've been broken up with.
Speaker 3: And like seeing her she's like chainsmoking Ciggi's like on
Speaker 3: the couch before he comes in and you see him
Speaker 3: come in and just I just it was just brilliant
Speaker 3: because it's like that might be one of the most
Speaker 3: relatable kind of break up things I've ever seen, because
Speaker 3: that's what it's like, You've got to get yourself into
Speaker 3: a place to do it, and then it's gut wretching
Speaker 3: and then the person doesn't want you to do it
Speaker 3: and you've got to got to stay strong. But your
Speaker 3: words they're like it's hard to speak and speak like,
Speaker 3: I just think it's a really good it's a strong
Speaker 3: start to the film.
Speaker 1: Oh, it's such a strong start.
Speaker 2: And at the time and also break up time, like
Speaker 2: like it doesn't often says Ted says, way, you really
Speaker 2: know how to pick your moments. And what I love
Speaker 2: about this scene is is you can understand.
Speaker 1: Both points of view totally.
Speaker 2: Like you can understand that he's going, hey, I just
Speaker 2: I've been working really hard and before the you know,
Speaker 2: for the family, and like like it can come off,
Speaker 2: you know, you can come off as a bit asshole,
Speaker 2: you know, but if you actually put it in his
Speaker 2: frame of mind, it's like he's come home to celebrate
Speaker 2: with you. Promotion, whatever we're aiming for the next thing
Speaker 2: of life is probably gonna happen now, you know. And
Speaker 2: I'm about to tell you and this is this is
Speaker 2: what you're telling me. So in his headspace, I understand that.
Speaker 2: But when when she kind of says this is like
Speaker 2: she takes ownership of it. This is me, This is
Speaker 2: actually not about you. That's when a big scene becomes
Speaker 2: so much more interesting if it was about him having
Speaker 2: an affair, all that he said, working too hard, it
Speaker 2: feels like it's hacky. And in Meryl Streep's character Joan
Speaker 2: and never blames that you know it's about her. And
Speaker 2: this is in nineteen seventy nine. The idea I imagine,
Speaker 2: like a woman leaving well her husband and leaving the child.
Speaker 3: Well, that's what I because like that whole thing of
Speaker 3: like you're not really feeling sorry. I feel like the
Speaker 3: whole you're not even though I would say Dustin Hoffman's
Speaker 3: character is probably more the protagonist, like he's probably the
Speaker 3: central character. It's not like you are siding with him
Speaker 3: at any point, Like you completely understand both sides of
Speaker 3: the thing, and you totally right that when it came
Speaker 3: out in seventy nine, she's leaving, it feels like it's
Speaker 3: like maybe quite a progressive film for the time, Like
Speaker 3: I was trying to kind of because like now you
Speaker 3: would be like it's kind of a very common kind
Speaker 3: of this is how relationships do break down. But in
Speaker 3: seventy nine, just to leave your kid because you're unhappy
Speaker 3: in the relationship, It's like yeah, but also not be
Speaker 3: painted a complete villain by the film. So yeah, it
Speaker 3: feels it felt quite a progressive kind of.
Speaker 1: I completely agree. I write it down that it's a
Speaker 1: weirdly progressive film, which is really progressive moment.
Speaker 3: So he's that it's Christmas. Even he just kisses a
Speaker 3: random woman.
Speaker 2: Well, that's way fair. We'll get to that. Hears of
Speaker 2: kissing on the way out. He gets the job and
Speaker 2: he ends up kissing. It seems like a random just
Speaker 2: a random girl who happens to be in real life,
Speaker 2: a form of Miss Norway had a playboy pet. I'm
Speaker 2: not sure if it doesn't often just grabbed an extra
Speaker 2: on the way out.
Speaker 1: That's so funny, that's amazing. Definitely his idea, Yeah, yeah.
Speaker 3: Yeah, okay, well when you're Dustin you can but his decision.
Speaker 2: Probably not happening on the set in twenty twenty ten.
Speaker 2: But also like, yeah, what you say is absolutely true
Speaker 2: as far as he's nine seventy nine, and where how
Speaker 2: this would have been viewed, and also the term I'm
Speaker 2: not sure if the term mental health had been coined.
Speaker 2: And now we look through it and kind of go, yeah,
Speaker 2: I understand it, like go, I can.
Speaker 1: See your struggle, you know, play out in front of
Speaker 1: me now. But you do need to go and find
Speaker 1: help and whatever you need and this is what's best
Speaker 1: for you. Go do that.
Speaker 2: Yeah, But watching in nineteen seventy nine, there would have
Speaker 2: been men in the cinema just fucking furious.
Speaker 3: You're like, well, it's like they couldn't like now, like
Speaker 3: footy players take a week off because they've.
Speaker 1: Got mental health issues.
Speaker 3: Yeah, yeah, yeah, I mean that's how far we're come,
Speaker 3: do you know what I mean? Like back then, the
Speaker 3: idea of a man being like I need to talk
Speaker 3: to someone, or even like I feel like ladies in
Speaker 3: that situation needing to talk to like it just wouldn't
Speaker 3: You wouldn't speak about these things. You get married to
Speaker 3: stay together. That's why you're totally right in your initial
Speaker 3: point about divorce being in the zeitgards because it is
Speaker 3: really captured this moment where you can relationships can break
Speaker 3: down and it's okay, like you just have to get
Speaker 3: on with life.
Speaker 1: Yeah.
Speaker 2: And this this film never over dramatizer, considering its drama.
Speaker 2: Like the details and it's the ordinariness of what they
Speaker 2: go through and the impact divorce will have on the
Speaker 2: friends and work. Yeah, like the fact that we never
Speaker 2: know when Dustin Hoffman brings home a woman, you know,
Speaker 2: and very funny scene, you know, when she's naked like
Speaker 2: that doesn't get played out to be like traumatic for
Speaker 2: the kid, not at all.
Speaker 3: And I thought that was such a nice choice as well,
Speaker 3: because there was not the big scene where he had
Speaker 3: to sit down and be like, well, you know, she's
Speaker 3: a friend.
Speaker 1: Ye yeah, yeah, it was great.
Speaker 3: They just had like a nice moment of realness and
Speaker 3: then moved on, which is probably the reality of what
Speaker 3: would happen when your kid is seven years old or whatever.
Speaker 3: They would be like, oh, there's a lady in my house. Yeah,
Speaker 3: and then you'd move on with it.
Speaker 2: Before we move on, I just want to point out
Speaker 2: the breakup scene. There's something else had happened kind of
Speaker 2: in the production. And Dustn't Hoffan apparently not a great.
Speaker 1: Dude during the making of this film and a bit notorious,
Speaker 1: a bit notoriously difficult on sets.
Speaker 2: So when he makes TUTSI after a couple of years
Speaker 2: after this, and it was almost an in joke that
Speaker 2: he was playing this difficult actor.
Speaker 1: So and he he would.
Speaker 2: Do things like with Meryl Streep This is Meryl Streep's
Speaker 2: first film, so first all the clues were there that
Speaker 2: she was going to be in the go and in fact,
Speaker 2: that scene was the first scene she shot. Oh my god,
Speaker 2: and in the first scene of the first movie she's
Speaker 2: ever shot. In the first take Dustin Hoffman slapshirt, which
Speaker 2: is not in the script, oh my god, and that
Speaker 2: became like that was a fucking oh yeah, what what
Speaker 2: the was that? So they got to a weird start.
Speaker 2: But what's interesting to me is I don't think Dustin
Speaker 2: Hoffman with me say this understood the fucking scene if
Speaker 2: that's what he was doing, because what's.
Speaker 3: Great about his character for him to do that exactly.
Speaker 1: That's what's so great about that scene.
Speaker 2: And I think what makes this film so timeless, and
Speaker 2: I think it's actually dates really well outside of a
Speaker 2: couple of things we'll get to, is that both I
Speaker 2: think both characters act with dignity.
Speaker 3: Yes, one hundred percent, and they both hold themselves. And
Speaker 3: that kind of goes back to my point is that
Speaker 3: you're never like it's not like you're being like, I
Speaker 3: hope this side wins or I hope this side's wins.
Speaker 3: It's more just like an incredible. You're just watching a
Speaker 3: marriage or a relationship dissolve basically, and it's just sad,
Speaker 3: is what it is. Because they do for him to
Speaker 3: stop her. It's like that completely misrepresents what his cut,
Speaker 3: which is a man who is grappling, working hard, trying
Speaker 3: to do the right thing. Maybe he was misguided in
Speaker 3: his approach initially, but he wants to be a good
Speaker 3: parent and a good family man, like yeah, yeah.
Speaker 2: And also that comes up in the corporate seedings later on,
Speaker 2: but they told that when they outline everything.
Speaker 1: Does he drink? Does he has he ever been abusive?
Speaker 1: You know? He sent me in seeing one.
Speaker 2: Yeah, so and then and then it's nice. I like,
Speaker 2: you know, he wakes up in the morning, he said
Speaker 2: his son Billy one of the all time great child
Speaker 2: performances mentioned in the intro. Youngest acted to be nominated
Speaker 2: for an oscar you can win it, but incredible, still
Speaker 2: the youngest to this day. He doesn't flush. Did you
Speaker 2: know what to say?
Speaker 1: Oh, it doesn't flush, which may have been the reason
Speaker 1: Joanah left. I think this underlying you put the trauma
Speaker 1: on the kid. I think maybe you flushed the toilet.
Speaker 1: You would have stayed around. I think you may have
Speaker 1: started COVID to be honest, but the French host scene
Speaker 1: is I think it's it seems like, you know, it'd
Speaker 1: be easy to write this off as an easy scene
Speaker 1: to write and having there and it's a bit of
Speaker 1: you know, possible high jinks, but it's a really important
Speaker 1: scene because it shows well, it shows that he's he's
Speaker 1: going to try to keep things positive. You know, he's
Speaker 1: going to try to adopt you know, the more paternal
Speaker 1: role because he's been maybe a little bit absent with
Speaker 1: through work.
Speaker 2: But it shows that the biggest thing, it shows that
Speaker 2: he's trying. And we've spoken about this podcast. It's so important.
Speaker 2: We love characters who try.
Speaker 1: Yes, as soon as a character stops trying, it's like,
Speaker 1: oh fuck, I can't be bother man. I tried. I
Speaker 1: made him to get to the cinema to worry.
Speaker 3: Yeah, yeah, I put on I hit the button on Netflix.
Speaker 1: I don't mind. You need to try to try. Well.
Speaker 3: I think it's a great scene as well also because
Speaker 3: it kind of looked like nothing really I've seen before,
Speaker 3: like a real fumbling of like him trying to make
Speaker 3: French toast, to make breakfast through his kid, and it
Speaker 3: kind of was like it felt like, yeah, he's going
Speaker 3: to try it, which is great, like I want to
Speaker 3: see him try, but also he doesn't really know what
Speaker 3: to do, do you know what I mean? And it's
Speaker 3: kind of like my friend just had a baby two
Speaker 3: days ago and I was talking to him on the
Speaker 3: phone and he's like, it's crazy, man, they just I
Speaker 3: just had to bring it home from the hospital, and
Speaker 3: now they expect us to know what to do. And
Speaker 3: it's kind of similar to what he was got, like, yeah,
Speaker 3: they wake up, Meryl Street's gone and he's in charge,
Speaker 3: and he's like, well, i've heard she makes breakfast. I'll
Speaker 3: just have a go at breakfast. And you see him
Speaker 3: trying to do it and he's fucking around in the kitchen.
Speaker 3: Everything's going everywhere, but he's positive and he's trying, but
Speaker 3: he's alone. Yeah.
Speaker 2: Yeah, and the frustration bursts, you know obviously when he
Speaker 2: burns the French toast and you should have realized probably
Speaker 2: sooner than smell on the sizzle, But it bubbles over
Speaker 2: and it's it's a lovely see because yeah, he's trying,
Speaker 2: and he is like his wife's left him and he
Speaker 2: doesn't I think at that stage though he still believes
Speaker 2: it's not over and she'll be coming back, so he.
Speaker 3: Should because like, yeah, I mean all we've seen at
Speaker 3: this point was they had a fight and she left,
Speaker 3: So you wouldn't think it's over forever.
Speaker 1: Yeah, and they do let out the detail I think.
Speaker 2: I think when he talks to his boss, who will
Speaker 2: get the boss in the second.
Speaker 1: I'm not sure if he gets through the pandemic, to
Speaker 1: be honest, Yeah, I mean some choices he's made. I'm
Speaker 1: not sure if yeah, you're aloud at the sack people
Speaker 1: because they.
Speaker 3: Yeah, I reckon, that's not on.
Speaker 1: I'm not sure if he's allowing people to work at
Speaker 1: home during the pandemic.
Speaker 3: He's not going to set up a home office.
Speaker 2: But he does mention that this has come up before,
Speaker 2: like this this idea that she'll come back, and you
Speaker 2: know that you know she's had these things, but you
Speaker 2: know we've.
Speaker 1: Gone through this before.
Speaker 2: But it'll be fine. But yeah, he does get that
Speaker 2: letter though, and it's a strange choice when he decides
Speaker 2: to read it blindly out loud to the kidder.
Speaker 1: I don't think I've ever done that before.
Speaker 3: Yeah, I mean, I guess they needed to do it
Speaker 3: to advance plot.
Speaker 1: Cinematically, of course it makes.
Speaker 3: Sense because he needs to you're not going to read
Speaker 3: it out loud to yourself, So of course he just
Speaker 3: traumatizes the poor cher Like I mean we're talking about,
Speaker 3: you know, like inherent childhood trauma. That think as if
Speaker 3: your dad reading out the letter of why she left,
Speaker 3: like at the moment, you wouldn't realize anything when you're
Speaker 3: twenty five year in.
Speaker 1: Therapy for sure. And then he just posted on the wall.
Speaker 3: Every thought you go to sleep, I want you to
Speaker 3: read this and remember why she left.
Speaker 1: And then.
Speaker 2: There was one scene, actually it was a very quick
Speaker 2: scene where he goes and picks him up from a party.
Speaker 2: This is like just starting the show that you know,
Speaker 2: he the compromises he has to make for work. And
Speaker 2: what was interesting for me is Billy when he said,
Speaker 2: Billy's are sitting on a seat near the door. It's
Speaker 2: obviously the birthday boy is completely given up on him.
Speaker 1: It's this kid. Do you remember going to parties ever
Speaker 1: where even.
Speaker 2: A sleepover where either you were going to sleep or
Speaker 2: you had people over where you just got completely over
Speaker 2: each other.
Speaker 1: By the time, I.
Speaker 3: Remember going to sleepovers, and I'd get to like you
Speaker 3: know'd get to eight pm and I'd be like, you know,
Speaker 3: I'm ready to go to sleep, and I'd be like, no,
Speaker 3: call my parents. I'm going to get him to come
Speaker 3: and pick me up. I don't want to be here anymore,
Speaker 3: Like I remember, Yeah, I used to, and I still
Speaker 3: get it sometimes, Like I'll be at the pub and
Speaker 3: I'll be having the best time and then it just
Speaker 3: hits eleven pm or something and everyone's still having fun
Speaker 3: and I'm like, I'm going I just need to leave
Speaker 3: so I can't be around you people.
Speaker 1: So you call my parents.
Speaker 3: You call my mum, please preferably on her landline, if
Speaker 3: that's possible.
Speaker 1: I do. Yeah, that that that will make a lot
Speaker 1: of memories to me. The sorry and then Joanna, So
Speaker 1: did you expect I assume you expected Joanna to return.
Speaker 1: I assume you knew.
Speaker 3: Well if she was going to. I mean, if it's one,
Speaker 3: I mean all I've probably because all I've heard about
Speaker 3: the film. Because that's the other thing with this film,
Speaker 3: pet is that, like I reference this film in conversation
Speaker 3: a lot to people, Like people will be like, oh,
Speaker 3: divorce are like yeah, like creamer, that's cream Like, because
Speaker 3: I've heard movie buffs talk about it quite a lot.
Speaker 3: So it's like, I'm like, oh, I did I did
Speaker 3: know some stuff that it's so I knew she was
Speaker 3: coming back.
Speaker 1: Did you do that with soviets choice as well? A
Speaker 1: lot people do it with CERVI Choice, Real choice Choice.
Speaker 3: I'm not sure I do it with like music, I
Speaker 3: do it with so much stuff that I haven't consumed,
Speaker 3: but I've consumed that the talking points around that thing,
Speaker 3: I just spit it back out to people. Well, it
Speaker 3: makes me sound more interesting, I do.
Speaker 1: I do think.
Speaker 2: And we've speke about divorce being the Zegast and the film,
Speaker 2: so I feel like, feel free to correct me if
Speaker 2: I'm wrong, if anyone listening knows, but at Yasney podcast
Speaker 2: at gmail dot com. But this feels like the first
Speaker 2: film that like really centered on divorce and took divorce seriously.
Speaker 2: I wasn't going to get distracted by other things going on.
Speaker 2: There's no real violence in this film. There's no there's
Speaker 2: no sex, there's nothing.
Speaker 3: There's so little in it. I can't says how little.
Speaker 3: It's just like domestic duties and like some heated arguments.
Speaker 3: That's all this is film like to make it spring
Speaker 3: to Life from the Page is incredible.
Speaker 2: Yeah, the highest grossing film. So Joanna, it turns in
Speaker 2: the window like it's like in a horror movie.
Speaker 1: It's staring at her kid.
Speaker 3: That was one part where I'm like, I don't know,
Speaker 3: Like I mean, I guess you would do I mean,
Speaker 3: you would do that if you wanted to see your
Speaker 3: son then you've been estranged or whatever. But yeah, it's
Speaker 3: just like she's there, just in the window, just staring
Speaker 3: at all.
Speaker 2: I felt like it made like a horror sting, some
Speaker 2: kind of you know, accordion.
Speaker 3: Or and then the movie takes a real weird Yeah.
Speaker 1: Well it could have easily gone that way. Billy falls in.
Speaker 2: The in the park and and this is it's important
Speaker 2: because Ted when they when he meets and we'll get
Speaker 2: to the meeting with him and Joanna soon, he kind
Speaker 2: of blames himself, yes, you know, and that comes up
Speaker 2: in the Corpors sedings later on. But the stunts was
Speaker 2: interesting because Billy seems.
Speaker 3: To fall.
Speaker 2: And land on his right cheek. And I didn't watch
Speaker 2: it back. I meant to watch it back to kind of.
Speaker 3: You know, I mean, it looks like the most seventies
Speaker 3: thing I've ever seen. In a field like you don't
Speaker 3: really know what's going on. It's like the camera's moving
Speaker 3: like yeah.
Speaker 1: And it's and it it feels like maybe this is
Speaker 1: why the rest of the film is a bit talky
Speaker 1: and a kind of because maybe Robert Bend know how
Speaker 1: to shoot action. Because he lands is a rock. I
Speaker 1: think he lands on lands something like that. But he
Speaker 1: seems to land on his right cheek, but the blood
Speaker 1: straight away is on his left.
Speaker 3: And if you watch the wells he falls to, I
Speaker 3: want to say, he falls to his right, is that correct?
Speaker 3: And then lands yes, down and then you're right, and
Speaker 3: then doesn't off carrying him like running down the street
Speaker 3: and there's blood streaming down the as.
Speaker 2: As soon as he lands' on the on the side
Speaker 2: facing up, yeah, which seems to me unless he's hit
Speaker 2: something else going down there was.
Speaker 3: Like maybe someone threw a rock at him as his
Speaker 3: mid fall or something, and maybe Joe, yeah, maybe Joan
Speaker 3: from the window broke.
Speaker 1: And then said you fell, you fall, Yeah, you're a
Speaker 1: bad far. I think they've cracked on the open. This
Speaker 1: is a sequel.
Speaker 3: Johanna's a Bitch's.
Speaker 1: A horror film. There's a horror film. Some good running.
Speaker 3: Great running because like, what's the child's characters name, Billy Billy,
Speaker 3: Billy is not that small.
Speaker 1: No, he's eight years old.
Speaker 3: He's eight years old and doesn't Hoffman, who's not a
Speaker 3: big man either. He's got him under his arm, just
Speaker 3: sprinting through New York traffic in like at full belt,
Speaker 3: full full belt.
Speaker 1: Gibson and crews get a lot of kudos for their
Speaker 1: running and they slide over cars or there's no sliding
Speaker 1: over cars here. I granted that it wouldn't great to
Speaker 1: see that.
Speaker 3: It's going not missing a beat, But.
Speaker 1: I think Be said that last time took everything out
Speaker 1: of me. I'm I'm not shooting another one.
Speaker 3: He's like, we don't have the budget.
Speaker 1: So and he's running. Use a dollars. It's actually the act.
Speaker 1: It's him. Yeah, and he's running and he's big. He's big.
Speaker 1: It looks big.
Speaker 3: It's uncomfortable.
Speaker 2: Yeah, and I assume I assumed there's a dolly shot
Speaker 2: like the cameras. It's pretty steady sometimes back in the
Speaker 2: seventies there with this jump in the car.
Speaker 1: And just hold yeah, but I think you'll see a
Speaker 1: bit more wobble than you Actually, it's pretty steady, pretty steady.
Speaker 3: They probably popped it on a dolly, But I mean
Speaker 3: he did run for a while. It's a lot like
Speaker 3: he would have have to been like maybe one hundred
Speaker 3: metes long or something.
Speaker 2: He does good running. He doesn't get the credit. He's
Speaker 2: a good running He runs at a wedding in the
Speaker 2: graduate as well.
Speaker 3: Yeah, right, I mean he is in good I always
Speaker 3: think he's in good shape. He's got a physique which
Speaker 3: I quite like Dustin Hoffman. It's like short but like
Speaker 3: but like built but not muscly. Does that make sense?
Speaker 1: Yeah?
Speaker 2: Absolutely, he doesn't like he's such a good actor, and
Speaker 2: this is him that he's probably the peak of his powers.
Speaker 2: You know, it's disappointing to hear the stories that he
Speaker 2: wasn't great. The Meryl strip he was going through. He
Speaker 2: almost didn't do this film because he was going through
Speaker 2: a messy divorce.
Speaker 3: Can you imagine then doing it, Yes, like that would
Speaker 3: be terrible.
Speaker 2: But he said that it was actually quite therapeutic because
Speaker 2: he could get a lot of it out and he
Speaker 2: actually helped, like this, tweak the script to make.
Speaker 1: It feel more real.
Speaker 3: That's so funny. Here I was thinking he was a
Speaker 3: great actor. He's just actually.
Speaker 2: Just turn the camera on, It'll come out, don't worry.
Speaker 2: And then Meryl Streep, she dated John Gazal who missed
Speaker 2: it one. I'm going to start calling him because he's
Speaker 2: potentially the only actor in the world. You know, he's
Speaker 2: made more than one or two films that has a
Speaker 2: one hundred percent strike rate with his films. Yeah, so
Speaker 2: he makes five films and they are the Godfather films
Speaker 2: one and two plays Fredo, the Conversation, Dear Hunter and
Speaker 2: Dog They afternoon.
Speaker 1: That's crazy, that's insane. Yeah, he dies after he makes
Speaker 1: a Deer Hunter. He was dating mill Street was also
Speaker 1: in a Deer Hunter. Yeah. Yeah, so she was still
Speaker 1: grieving him. She was in a weird space as well.
Speaker 1: So this is what you do. People die around.
Speaker 2: Yeah, bring the bring your trauma to work kids. But
Speaker 2: what one thing Hoffman will do to elicit emotion out
Speaker 2: of Meryl.
Speaker 1: Street besides slapping her.
Speaker 2: Besides slapping her, Hopefully the director took him a son
Speaker 2: and maybe less slapping.
Speaker 3: I know it's you can't do that, and you.
Speaker 2: Know, and you know it doesn't happen. Doesn't realize that
Speaker 2: it's Meryl Streep he's dealing with. Yet, Yes, of course.
Speaker 1: That's the other thing. Yeah, yeah, yeah, Like but what
Speaker 1: he would do with someone that's go up to her
Speaker 1: and whispered John Gazel's name.
Speaker 3: Yeah, that's crazy. That's worse than the slap, that's what. Yeah,
Speaker 3: that's like psychological warfare.
Speaker 1: It's full on.
Speaker 3: But I guess his argument that that would get her, I.
Speaker 1: Know, and we've spoken a bit about this on the podcast.
Speaker 2: The Shining is an example where they would you know,
Speaker 2: Kubrick could mess with Shelley del you know, like and
Speaker 2: to the point where it's like fun, this is what
Speaker 2: it's like, And it's like just hide the actors who
Speaker 2: can do the job.
Speaker 3: Well actors and directors. I think they hide behind the
Speaker 3: thing that they're like crazy artistic and they need to
Speaker 3: do this stuff to get the best performances out of
Speaker 3: people or themselves or whatever. But it's also like you're
Speaker 3: still at work, you know what I mean. Maybe it's okay,
Speaker 3: I don't know, but like whispering your dead the dead
Speaker 3: partner's name in someone's ear.
Speaker 1: Is like horrible.
Speaker 3: Although she did win an Academy Award.
Speaker 1: Wins they both they both say they both win the
Speaker 1: Oscars for Best Actor Hoffman and Best supporting actress Meryl
Speaker 1: Street when he gets to the hospital. This is something
Speaker 1: that has an age terribly. But it was a bit
Speaker 1: weird when the doctor says, you can't be in the room.
Speaker 1: What been doctor? Are you a pedophile?
Speaker 2: Just tell me that I'll get another doctor, because why
Speaker 2: can't I be in the room.
Speaker 1: We might himches.
Speaker 3: It's not like I thought the like birth was the
Speaker 3: only thing that they used to be, like, you can't
Speaker 3: come in stitches.
Speaker 1: It's like, what do you care if he sees the
Speaker 1: stitches opening him up?
Speaker 3: Yeah, you could do the stitches yourself. Probably let him
Speaker 3: be I guess again they wanted to see Hoffman get
Speaker 3: angry and be like he's my son him or whatever.
Speaker 3: But surely in the seventies you could still watch someone
Speaker 3: get stitches, like that's they used to just I mean,
Speaker 3: that's the seventies. But like before they used to just
Speaker 3: make you eat some wood, have a shot of whiskey,
Speaker 3: and they would saw your leg off if you like
Speaker 3: how to cut anyone was allowed to watch that. Yeah,
Speaker 3: and then what they moved into not being able to
Speaker 3: see stitch. It's like, come on, crazy, we need to
Speaker 3: be better. They meet, They meet finally Joanna calls and this,
Speaker 3: this feels like the scene we were waiting for. We
Speaker 3: knew it was going to happen. What did you What
Speaker 3: did you like about it? What didn't you like?
Speaker 1: When?
Speaker 3: So they at the rest of the restaurant get the restaurant.
Speaker 1: I liked it.
Speaker 3: I liked I liked how it started. They were very friendly,
Speaker 3: and I thought that is that is true of how
Speaker 3: you would kind of be if you hadn't seen someone
Speaker 3: for fifteen months that you were very close with and
Speaker 3: you shared a child like and they were both kind
Speaker 3: of unexpected. They were kind of like not sure of
Speaker 3: what was going to happen. At least Hoffman especially. I
Speaker 3: feel like he was more excited.
Speaker 2: I feel like his mind was open to what could
Speaker 2: potentially hold to the point where it's just her coming back, yes,
Speaker 2: And the way she was like quite excited and felt
Speaker 2: open as well. When she sat in that You're like, oh,
Speaker 2: maybe it's going to be a reconciliation. But then her,
Speaker 2: I mean, she's so brilliant in this sea and she's like, oh,
Speaker 2: I had some I had stuff planned I wanted to say,
Speaker 2: And it slowly becomes apparent that she is there to
Speaker 2: say the worst thing possible like that he could ever
Speaker 2: hear like truly, She's like, I'm here to take Billy.
Speaker 2: I want custody, And it's like the exact It's like
Speaker 2: a dagger in his heart.
Speaker 3: He's finally reconciled with becoming a parent and like doing,
Speaker 3: and he's okay with the domestic duties, and he's it's
Speaker 3: his life. And then this is just the biggest curve
Speaker 3: bull you could throw.
Speaker 2: It's like it's like a coming of age film in
Speaker 2: a way, but it doesn't halfman coming of age. He's
Speaker 2: learning how to parent. They are such they're so tight.
Speaker 2: It's like when Meryl Streek comes back. This isn't a
Speaker 2: basketball analogy. It'd be like if Kyrie Irving said next year,
Speaker 2: I'm going back to Boston and Boston be like, no,
Speaker 2: but we're good now. Actually know Fingerscus we won the championship.
Speaker 1: What he do?
Speaker 2: We don't know what? Yeah, it doesn't make sense. Let's
Speaker 2: have a listen to that. See Meryl Streep doesn't Hoffman.
Speaker 9: Don't try to bully me.
Speaker 1: I'm not getting defensive. Who will gone to the house fifteen?
Speaker 5: I don't care.
Speaker 9: I am still his mother.
Speaker 1: Yes.
Speaker 10: From three thousand miles away, and just because you've sent
Speaker 10: a few pulse codes, it gives you the right to.
Speaker 1: Come back here.
Speaker 8: Never stop wanting him.
Speaker 1: What makes you so sure he wants you?
Speaker 9: What makes you so sure he doesn't want me?
Speaker 10: Okay, look we're going to sit here in Bactis, back
Speaker 10: and forth like it worst for eight years. Makes it's
Speaker 10: like all times.
Speaker 5: Well, you can't deny met, tell me about what I
Speaker 5: can or cannot do.
Speaker 10: Don't talk to me that way. I don't want to
Speaker 10: get out.
Speaker 1: You're going to have to do it. You're going to
Speaker 1: have to do it. I'm going to have to do it.
Speaker 9: I'm very sorry about this.
Speaker 1: You can just do what you have to do.
Speaker 2: So another fun fact that glass smash was improvised and
Speaker 2: Meryl Strep had no idea it was going to happen.
Speaker 3: It was a good it caught my eye the glass
Speaker 3: because from it was the quickest backhand like glass smack
Speaker 3: I've ever seen. I was like, it did seem like
Speaker 3: it was instinctive.
Speaker 2: Yeah, And so he told the cinematographer I think maybe
Speaker 2: the director you as well, So that he was he
Speaker 2: was at the table and the cinematographer was like this,
Speaker 2: like course, this like moving his hand lettle be close
Speaker 2: a little bit, so he's telling you where to place
Speaker 2: it so you wouldn't hit Meryl Streep. What I've noticed,
Speaker 2: which i've actually and I've watched a few people talk about,
Speaker 2: including Meryl Streep and and and Dustin Hoffman talk about
Speaker 2: this scene. But one thing that nobody's mentioned. I'm surprised
Speaker 2: Hoffman doesn't mention it because he moves to glass at
Speaker 2: one point, like when he got decides I'm not here that.
Speaker 1: Yeah, he's all of a sudden not a celebratory.
Speaker 3: He's quite shaky though as well in the whole thing
Speaker 3: with his hands moving around.
Speaker 2: Yeah, So he moves a glass away almost towards towards
Speaker 2: meew Street with the center of the table, and then
Speaker 2: he kind of about a beat later, he takes it
Speaker 2: back and places it closer to him, closer to the edge.
Speaker 2: And I can only assume it's actually it's actually Dustin
Speaker 2: Hoffmann as opposed to Ted realizing either glass needs actually
Speaker 2: be over here.
Speaker 1: Oh totally, yeah, it's I'm about to do.
Speaker 3: It's like when you're doing stand up and you're forgotten
Speaker 3: the next bit, and then you're doing the bit and
Speaker 3: you're like trying to think about how you can link
Speaker 3: to whatever. Yeah, he would have been doing the scene
Speaker 3: and being like, oh shit, I need to smash that glass.
Speaker 2: Yeah back, So like I do, remains in character. And
Speaker 2: she has been so generous with talking about this, Like
Speaker 2: she doesn't deny there was some stuff that she did
Speaker 2: not appreciate.
Speaker 3: Yeah, right, so I haven't seen anything about this extra
Speaker 3: stuff about the film.
Speaker 2: But what she says is, I've got no interest in
Speaker 2: shaming somebody who's matured the has gone on their own
Speaker 2: journey totally, you know, and like you know, it's Mel Streep,
Speaker 2: you know, if you if you know, without going down
Speaker 2: to cancel culture of the route, but Mel show is
Speaker 2: a very mature outlook on you think, yeah.
Speaker 1: Because you know, it was quite shocking. It's it's a
Speaker 1: violent act.
Speaker 2: It really is, like you know, if you don't know
Speaker 2: they have glass shatter in a war right next to
Speaker 2: you and.
Speaker 3: Not like have I mean, you can see in his
Speaker 3: psycho brain how it would have been, Like that's that'll
Speaker 3: create the realism that we need. Like her being shocked
Speaker 3: about the guys shattering it's like, I'm.
Speaker 1: Surprised that didn't come up.
Speaker 2: And maybe because it was who knows, Who knows how
Speaker 2: they if they shot it chronologically or but I wonder
Speaker 2: you hope.
Speaker 3: It wasn't the best the slap then he doesn't.
Speaker 1: It's just gonna happen in every scene.
Speaker 3: Get a break, it hit something, because it's.
Speaker 2: The only time we see him really act down from memory,
Speaker 2: you know, in that kind of close environment kind of way.
Speaker 2: But I'm surprised in the way he didn't come up
Speaker 2: in court proceedings.
Speaker 3: Well, no, he does lose or that the glass. Yea, yeah,
Speaker 3: you're totally right. He does get angry in the court proceedings,
Speaker 3: but that's it. Like when he smashed the glass. It
Speaker 3: did come It's like so out of character for him,
Speaker 3: because he does get angry a few times, but he
Speaker 3: seems so mature and hold it then for him to
Speaker 3: smash the glass, I guess it is actually quite you know,
Speaker 3: it helps his scene because I feel like it really
Speaker 3: just shows how height and the emotions are when people
Speaker 3: are talking about their kids and custody battles, Like how
Speaker 3: angry you can get and how devastating a blow what
Speaker 3: she said.
Speaker 1: Was to him.
Speaker 3: But yeah, it is interesting, especially considering the other stuff
Speaker 3: that gets brought back up in the corp proceeding that
Speaker 3: she wasn't like he smashed the glass in front like.
Speaker 1: I would have been. Yeah, absolutely, And that's because it
Speaker 1: was improvised.
Speaker 2: Maybe when they you think they film the corp proceedings before, Yeah,
Speaker 2: it explains why it wasn't if that's a scripted moment,
Speaker 2: you know. Yeah, Ted smashes glass, you know, and walks out.
Speaker 2: Then I think when you're writing that, you're kind of thinking, well,
Speaker 2: this should actually yeah, yeah, yeah, it should pay a.
Speaker 3: Oh that's so interesting.
Speaker 1: To the point.
Speaker 2: And this is to the point where also like that's
Speaker 2: what a slap doesn't.
Speaker 1: It doesn't make sense, you know, like I think the
Speaker 1: glass does.
Speaker 3: Because I think the glass really works smashing.
Speaker 2: I think it's a month of feeling of being abandoned
Speaker 2: in a way, yeah, you know, and and then getting
Speaker 2: the phone call.
Speaker 1: He's he's clearly there in a good mood. Everyone will
Speaker 1: have their own interpretation.
Speaker 2: My interpretation is that he thinks this is the potentially
Speaker 2: getting the family back to I.
Speaker 3: Feel like it is as well. The way he comes
Speaker 3: in and like he's almost like talking like a little schoolboy,
Speaker 3: like he's very excited. He's like, good, does it hell?
Speaker 3: You know, and they're like both giggling. It feels that way,
Speaker 3: and it's really set up so for it to end
Speaker 3: that way with the glass smashing. It's like just zeroed
Speaker 3: a hundred, like just bottoming out.
Speaker 2: Yeah, and it's it's you know, comes up in this
Speaker 2: podcast a bit like in every scene really, I think
Speaker 2: McKeith talks about you should have, like if you have
Speaker 2: like a positive emotion going into a scene. So everyone's
Speaker 2: like if looking at it doesn't Hoffin's perspective, He's feeling
Speaker 2: positive at the end of this scene. By the end
Speaker 2: of that scene. It should always happen in every scene.
Speaker 2: You want a negative you want a negative emotion, yeah,
Speaker 2: emotional energy, and this is like a prime example of that.
Speaker 1: Oh exactly. Yeah, it's so good.
Speaker 2: Then we get to the court case we know it's coming,
Speaker 2: or he goes to all the job stuff.
Speaker 1: He gets fired.
Speaker 3: It's so weird when he gets fired.
Speaker 1: Yeah, let's have a listen a ted getting fired. You
Speaker 1: don't know how badly I feel.
Speaker 7: I've been getting a lot of pressure from the guys
Speaker 7: upstairs and there wasn't anything else I could do.
Speaker 1: Listen. I thought about this a lot, and it's really better.
Speaker 1: This way.
Speaker 5: I mean, if I was to take away your stripes,
Speaker 5: if I was to put you on some schlock account,
Speaker 5: you'd hate it.
Speaker 7: You'd hate me for doing it to you.
Speaker 1: This way, it's a clean break. And believe me, that's
Speaker 1: the best thing.
Speaker 10: You know that my wife is just finding me from custody.
Speaker 10: You know that we're going to court. Do you know
Speaker 10: what my chances are? I'm not if I one of
Speaker 10: a job. Now.
Speaker 1: Look, I understand that you're said.
Speaker 10: I mean, I'm God sakes, I don't want to beg
Speaker 10: I'm asking you please.
Speaker 1: As a friend.
Speaker 10: Huh, ted I'm asking you.
Speaker 1: You're an extremely bright guy. You really are. You gonna
Speaker 1: hell up a talent. You're gonna be okay, You're gonna
Speaker 1: land on your feet. You're gonna survive, Teddy.
Speaker 9: Look, I mean, maybe a little shorter cash, no.
Speaker 1: Big worry about paying us back.
Speaker 9: Shame on you.
Speaker 1: Again, handling himself with dignity.
Speaker 3: He did, yeah, smastically. And there's a lot of glasses
Speaker 3: on the table and that Yeah, they're all drink red wine.
Speaker 1: There's water glasses. He had the opportunity.
Speaker 3: It's also like he storms out at the end of
Speaker 3: that scene, and I was thinking about it because I've
Speaker 3: never been fired like face to face, which would be
Speaker 3: I'm sure it's a hell of an experience. But he
Speaker 3: doesn't offer to pick up the tab or in any
Speaker 3: way be like, so should we split this? He gets
Speaker 3: stormed out, which would kind of feel so powerful to do.
Speaker 1: It would be a great comedic moment though if the
Speaker 1: boss said as doesn't Hoffe was walking out ted. It
Speaker 1: turns around, should we split this?
Speaker 3: Do you want to try? I can pick it up
Speaker 3: if you transfer me, we'll just item you had to.
Speaker 2: Because the scene starts with him saying about this funny
Speaker 2: moment and how cute is and he said, if you
Speaker 2: put on weight, that's gone to your noose, and and
Speaker 2: the boss is not is this not.
Speaker 3: Well, I think that's it's the previous scene. It just
Speaker 3: is like and we're just going down, just ending in
Speaker 3: another low point.
Speaker 2: Absolutely, and yeah, the boss, this idea of the boss
Speaker 2: is going.
Speaker 1: You hate it.
Speaker 2: You know I'm doing you a favor. You hate it
Speaker 2: so well, No, because I'm getting a divorce, I need
Speaker 2: a job. So if you need to put me into
Speaker 2: it into another area, I'm happy to do that. Yeah,
Speaker 2: that was one of the things, and it works. It
Speaker 2: doesn't disrupt the movie. But that was one of the
Speaker 2: things if when I think about it, it's like, this
Speaker 2: could have been worked out potentially.
Speaker 1: I think think now it would have been worked out.
Speaker 3: I mean, it's hard, a lot hard to de fire
Speaker 3: someone in twenty twenty two, especially in a big organization.
Speaker 3: You get repositioned and you know there's mediation and there's
Speaker 3: an HR. You don't just get taken the lunch and
Speaker 3: they're like, I'm not enjoying you spending more time with
Speaker 3: your sons. So you're like, it's crazy just to fire
Speaker 3: him without any reason except being like, I'm not liking
Speaker 3: your current vibe. Really, but anyway, Yeah, it did it
Speaker 3: kind of I guess needed to happen for the film.
Speaker 3: It was like, yeah, and then it does help. It
Speaker 3: does come back because he had to take a lower
Speaker 3: paying job.
Speaker 1: Yes, so it helps the court. And there's that courtroom
Speaker 1: line where he says, you're the only person taking a
Speaker 1: climbing the ladder, climbing the ladder taking a pay cut cut. Yeah, yeah,
Speaker 1: let's go to the court case. There's some fine work
Speaker 1: going on. So Meryl Streep stood in just the best.
Speaker 1: She's the best, she's great. Do you think she's the
Speaker 1: greatest actor about like you know, of our lifetime.
Speaker 3: Well, not having seen her in this, like obviously I
Speaker 3: I thought it was great, but then I was like
Speaker 3: blown away by that because she's not in it as
Speaker 3: much as Dustin Hoffmann. He's kind of the same, and
Speaker 3: he's brilliant in this as well, but it's like every
Speaker 3: scene she is in, even with him, she dominates that.
Speaker 3: It's like you can't look away, and it's like the
Speaker 3: range she can show emotion is like maybe unlike anyone else,
Speaker 3: it's like you feel it, you feel it more. It's
Speaker 3: like cutting the way she can kind of display something
Speaker 3: that you've somehow felt that didn't even you didn't even
Speaker 3: know you'd like felt.
Speaker 2: Yeah, And the way she releases words in it from
Speaker 2: her mouth, she the pausing.
Speaker 3: That's a great way to describe it, the release, because
Speaker 3: that's what it is. Like I've done a bit of acting,
Speaker 3: not as much as you, and I'm horrific at it.
Speaker 3: But it's like the decisions you have to make about
Speaker 3: how you want to save something. You think you just
Speaker 3: say it, you'd be like, oh, I'm leaving you, but
Speaker 3: there's like so much you have to kind of consider
Speaker 3: and yeah, you're right. The release of the words is
Speaker 3: is and the way she other is beautiful and on
Speaker 3: point every time.
Speaker 2: Well, that restaurant scene when she doesn't have and he's waiting, yeah,
Speaker 2: you know, it's probably the best example of he's waiting
Speaker 2: for her to say I'm coming back and she said
Speaker 2: I want my son back. Yeah, you know, like, oh,
Speaker 2: it wasn't the words, it was the fucking gaps between
Speaker 2: the words.
Speaker 1: So she she believed, so take any mind.
Speaker 2: Kramer Versus Kramer is directed by a man, written by
Speaker 2: a man, based on a novel by a man. Fella
Speaker 2: male producers, a male.
Speaker 3: And two men discussing it right now and two men
Speaker 3: discussing it.
Speaker 2: We cannot get away from it. So Meryl Street believed
Speaker 2: that Joanna was the villain in this piece of the
Speaker 2: weight was written. So she she kind of stepped and
Speaker 2: in particular in this court scene, she stepped in and said,
Speaker 2: I her thing was, the audience doesn't really get to
Speaker 2: hear from Joanna in her own words, why she why
Speaker 2: she left. She's just kind of villainized and so and
Speaker 2: they all had a meeting, her Benton and Dustin Hoffman,
Speaker 2: and she put her case forward and Robert Benton said
Speaker 2: it doesn't oft't had a slightly different kind of.
Speaker 1: Take on it.
Speaker 3: I can't imagine.
Speaker 1: Yeah, thankfully there's no glass and there's not another person
Speaker 1: in the room. So they all went off and wrote
Speaker 1: their own monologue for this song.
Speaker 3: Really that's great.
Speaker 1: And Street thankfully won.
Speaker 2: So what we hear and let's have a listen to
Speaker 2: her Meryl Streep's court room in the in the in the.
Speaker 1: I guess the witness box. She's on the stairs, on
Speaker 1: the stand's whatever.
Speaker 3: That's probably not the stair.
Speaker 1: That's probably the stand. I think. I think the stand.
Speaker 3: We'll call it a stand.
Speaker 1: Well, the stand. And then this was written by Meryl Street.
Speaker 8: I'm not saying he doesn't need his father, but I
Speaker 8: really believe he needs me more. I was his mummy
Speaker 8: for five and a half years, and Ted took over
Speaker 8: that role for eighteen months. But I don't know how
Speaker 8: anybody can possibly believe that I have less of a
Speaker 8: steak in mothering that little boy than mister Kramer does.
Speaker 8: I'm his mother.
Speaker 1: I'm his mother so good.
Speaker 2: So yeah, and it's not flowery like she could have
Speaker 2: gone away. Well, I would love to kind of read
Speaker 2: what happened, came up with it could have been so flowering,
Speaker 2: over the top, hawkish, but she just keeps it.
Speaker 1: It's so real.
Speaker 3: It's so real. It's just actually the emotion coming out
Speaker 3: being like whatever you want to say.
Speaker 1: It's like, this is my case.
Speaker 3: I'm his mother of this kid.
Speaker 2: And what's so good about the whole film And we've
Speaker 2: mentioned a couple of times, but it's worth repeating during
Speaker 2: this court case is that they're both you feel for
Speaker 2: both of them. It's a horrible situation. I've never been
Speaker 2: through a divorce. My parents are still together.
Speaker 1: Must be nice. Oh earlier you were like, I got
Speaker 1: over rolls.
Speaker 3: For forty five minutes, you're gonna whisper my dad's name
Speaker 3: in my ear?
Speaker 1: But yeah, so it I I I lost my train
Speaker 1: of thought.
Speaker 3: You've never been through a divorce, but to see it
Speaker 3: play out.
Speaker 1: Yeah, the sat play out like it's it's painful. I remember,
Speaker 1: you know, I'm sure he won't mind me saying, like
Speaker 1: a friend, you know, Lawrence Mooney, he said to me
Speaker 1: he'd been through it, and he said ours was pretty,
Speaker 1: you know, pretty amicable.
Speaker 2: You know, but even when the amicable circumstances, it's fucking awful,
Speaker 2: it's so painful.
Speaker 3: Well, that's the thing, and this is why, I mean,
Speaker 3: they don't seem to hate each other. And I think
Speaker 3: that audio you just played, there's a series of I mean,
Speaker 3: the first half of that speech, she says something and
Speaker 3: Dustin Hoffman Mount's mouth something back to her on the
Speaker 3: stand and says, yeah, I can't remember what, but I
Speaker 3: think it says it's not your fault.
Speaker 1: I think I think that.
Speaker 2: I think that happens when she's been cross examined and
Speaker 2: she's been thrilled and they're like, you know, are you
Speaker 2: a bad mother?
Speaker 1: Yeah? And he's like, you know, saying no, yeah, you're not.
Speaker 2: And that that the fact that I handle themselves with
Speaker 2: so much dignity, and the fact that you can absolutely
Speaker 2: see both sides, both points of view, is what makes
Speaker 2: this movie, I think timeless, and I imagine why it
Speaker 2: was the highest grossing film.
Speaker 1: Yeah, exactly.
Speaker 3: And the whole thing about the villain, about Meryl Streep's
Speaker 3: character being played at the villain, it's like, I don't
Speaker 3: think definitely in the first half you could make the
Speaker 3: argument because she's so absent, and she needs to be absent,
Speaker 3: because that's how you create the realism. But it's like,
Speaker 3: you know, you could argue towards the end that she's
Speaker 3: actually the hero of the film.
Speaker 1: Yeah, well absolutely yeah, And we'll get to that very soon,
Speaker 1: because let's have listened to also Ted on the Stand,
Speaker 1: one of the original Ted Talks.
Speaker 3: Yes, that's why you got all right, Thanks God, that's good.
Speaker 1: I'm out of here. Well done. Let's have listened to
Speaker 1: Ted on the Stand.
Speaker 7: You know, I have a lot of time think about
Speaker 7: what does it make somebody a good parent? You know.
Speaker 7: It has to do with constancy. It has to do
Speaker 7: with with with patience. It has to do with listening
Speaker 7: to him, has to do with pretending to listen to
Speaker 7: him when you can't even listen anymore. It has to
Speaker 7: deal with love, like like like she was saying, and
Speaker 7: I don't know where it's written, it says that a
Speaker 7: woman has has a corner on that market, that a
Speaker 7: man has any less of those emotions than than a
Speaker 7: woman does. Billy has a home with me. I made
Speaker 7: it the best I could. It's not perfect. I'm not
Speaker 7: a perfect parent. Sometimes I don't have enough patience and
Speaker 7: I forget that he's a it's a little kid.
Speaker 1: But I'm there.
Speaker 7: I get up in the morning, and then we eat
Speaker 7: breakfast and he talks to me, and then we go
Speaker 7: to school, and at night we have dinner together and
Speaker 7: we talked inn and I read to him, and.
Speaker 10: We built a life together and we love each other.
Speaker 1: I mean, it's sold. It's great. Did he write that
Speaker 1: one as well?
Speaker 2: But also I mean he may have because he, uh,
Speaker 2: as I mentioned earlier, contributed to the scripts basically his
Speaker 2: own experiences, And I feel I feel like he's lawyer
Speaker 2: let him down a little bit, or maybe the court
Speaker 2: let him down. Because the reason Billy ends up, we'll
Speaker 2: joining a wins custody of Billy really comes down to
Speaker 2: that playground.
Speaker 1: That's how you made the feel and so alsome. But
Speaker 1: also not is that the fact that he lost his
Speaker 1: job recently? Yes, and he starts turning.
Speaker 3: I also looked up how much because they were like
Speaker 3: thirty grand or something.
Speaker 2: They're early Yeah, so he was on about twenty grand
Speaker 2: apparently that's about one hundred and fifty seven thousand dollars today.
Speaker 1: That's right.
Speaker 3: I mean, they're doing it all right, they're doing all right.
Speaker 1: Yeah, it's not like they're maybe they should get back together.
Speaker 3: Back together double double that income three hundred grand a year,
Speaker 3: you could maybe buy a house in Sydney.
Speaker 1: How much will that apartment in New Y'll be worth? Now?
Speaker 1: Oh yeah, tell that Cramer's get your shit.
Speaker 3: Together, Come on, Cramer.
Speaker 2: But I feel like, like, surely that's an easy cross
Speaker 2: examine the idea that he's on a lower paying wage. Now, yes,
Speaker 2: only by about three thousand dollars, which is probably ninety
Speaker 2: thousand dollars.
Speaker 3: That yeah, it's two million.
Speaker 1: Dollars, two million dollars.
Speaker 2: But surely to make the argument is a simple argument
Speaker 2: to make he took a lower wage to look after
Speaker 2: his son.
Speaker 1: Well, that's what I slammed dunking court.
Speaker 3: Yeah, instead they flipped that being like you're a bad
Speaker 3: parent because you and he didn't even rebuttle with being like, no,
Speaker 3: I got to be.
Speaker 1: Kicking the lawyer in machines. Gun get up up.
Speaker 3: There and tell them that I did it because I'm
Speaker 3: a better parent. Yeah, I think that the progressiveness thing.
Speaker 3: I just thought about this and then coming through listening
Speaker 3: back to that audio, it's like him using the point
Speaker 3: is like, I don't know where it says that a
Speaker 3: man can't be as good a parent as like, I mean,
Speaker 3: you know in this world we live in now of
Speaker 3: like gender being more of a concept and on a
Speaker 3: sliding scale or whatever, it is so ahead of its
Speaker 3: time to be now talking about why does gender play
Speaker 3: this right? Obviously there's like maternal aspects that you know,
Speaker 3: mothers have with children, like biological factors, but it is
Speaker 3: so it's so relevant now being like gender doesn't matter.
Speaker 3: It's about love and like who loves their child and
Speaker 3: who's bringing them up in a better home. And it's yeah,
Speaker 3: it's really like it's you could watch this like, I
Speaker 3: mean I watched it yesterday and it's like absolutely at
Speaker 3: home right now in twenty twenty two.
Speaker 2: Yeah, and the scene where we played the first see
Speaker 2: we played the ice cream scene a little ship by
Speaker 2: the way, I mean, I love that equitum a little
Speaker 2: shit because I was just one of my kids.
Speaker 1: Of course, I.
Speaker 2: Remember being in we went traveling and we went the
Speaker 2: crack out in Poland. And my oldest kid, who's I
Speaker 2: must say, brilliant, he's nineteen hour and a brilliant kid
Speaker 2: has given us so little trouble over the years, like Touchwood,
Speaker 2: but he was just in a mood like hell, you
Speaker 2: just and you know you're in cafes, and you're so
Speaker 2: nervous when you go to a cafe when you got
Speaker 2: kids and spilling stuff, and you feel like this, let's
Speaker 2: just get in it out. We're bothering everybody. Let's just
Speaker 2: get in and out.
Speaker 3: I love that you feel that way, because that's how
Speaker 3: I feel when people bring them. Well, I'm like, can
Speaker 3: you not burden us all in this tiny cafe with
Speaker 3: your life choices?
Speaker 2: Well, you know what I encourage. I encourage people to
Speaker 2: not feel flustered. I was wrong to feel flustered if
Speaker 2: I had kids. Now with my life experience, now I'd
Speaker 2: go in and the fucking be a boss about it,
Speaker 2: you know what. You know what, Yeah, I've got a
Speaker 2: kid and he's carrying on airplanes. So what you've got
Speaker 2: noise canceling headphones? Put them on.
Speaker 3: Yeah, but I mean it's just life. Yeah, just exactly.
Speaker 3: So I you are the most annoing guys, embrace my
Speaker 3: screaming child. It's your problem, not mine.
Speaker 1: But that's not how I was, by the way, But
Speaker 1: now my kids are actually teenagers that they generally aren't
Speaker 1: pissing people off in the small adults in the restaurant.
Speaker 1: So it was in a bit of a moon that day,
Speaker 1: and we tried everything.
Speaker 2: We tried everything, you know, from you know, kind of
Speaker 2: some stern words, you know, across the table, to giving
Speaker 2: him the eye. I call it the death grip, you
Speaker 2: know where you get their hands smack anymore. You just
Speaker 2: hold their hand, give a little twist and get your
Speaker 2: thumb and it's like buried into It's like, you know,
Speaker 2: and the people at the table next public.
Speaker 3: That's fine because.
Speaker 1: People at the next table, they think, look at those
Speaker 1: why why don't we hold hands at the table like
Speaker 1: the family next to us.
Speaker 3: So just upgrade to a Chinese burden China.
Speaker 1: Chinese burst still happened.
Speaker 3: I don't know, but they were big when I was Yeah,
Speaker 3: I mean I never got one from a parent.
Speaker 1: But when you start getting hair in your arms, oh really,
Speaker 1: no good. So I got to the point where I
Speaker 1: had taken down an alleyway in crack out the cobble stone,
Speaker 1: and they said, mate, you are giving me the fucking ships.
Speaker 1: You gotta fucking stop it. You're acting like a little ass.
Speaker 1: That's good. And he and I may have only dropped
Speaker 1: the one F bomb, but look on his face a shot,
Speaker 1: look at his face.
Speaker 3: If it worked, you do you swear in front of
Speaker 3: well when they were younger, did you swear in front
Speaker 3: of the No?
Speaker 1: No, not a whole bunch. So this was quite shocking,
Speaker 1: yeah to them.
Speaker 2: But there certainly been times with myself and my wife
Speaker 2: had like you know, called them like a little ship
Speaker 2: or anything like that where.
Speaker 1: We've been So at the end of our tether a
Speaker 1: little ship, I came.
Speaker 3: I was a little ship as well. It's like whatever
Speaker 3: I got, I deserved, Like.
Speaker 2: Yeah, I had no issue with smacking, like like like
Speaker 2: in my being smacked as a kid, like there's no trauma.
Speaker 3: Oh yeah, I got associated with Wooden't spoon it's broken
Speaker 3: on my well.
Speaker 1: I I have made about this before. I'm not sure
Speaker 1: about it on this podcast.
Speaker 2: But when we had Lean being our oldest, he got eats
Speaker 2: some smacks, you know, like and then we stopped. He
Speaker 2: got to point, you know, when he was seventeen eighteen. No,
Speaker 2: but we stopped because we're like, this doesn't it's not
Speaker 2: working and it makes you feel bad.
Speaker 1: And that's that's why I love about that scene.
Speaker 2: He says he calls him a little ship, slams the door,
Speaker 2: he goes any fact that you know what you do
Speaker 2: when you're a parent and you do that, you fucking
Speaker 2: go to another room and you immediately feel bad. So
Speaker 2: that's so true. And and that's why I stopped. I thought,
Speaker 2: this is not making I don't feel any better. There's
Speaker 2: no release of energy in emotion. It makes it worse
Speaker 2: for me. He's not learning, you know, he's not learning
Speaker 2: anything from it.
Speaker 3: He's just getting more annoyed.
Speaker 1: He's getting more annoyed.
Speaker 2: So and when it was older, like early kind of teenagers,
Speaker 2: I apologize for it. Oh really, yeah, I said, I said,
Speaker 2: you copt a couple of smacks. You know, it was
Speaker 2: always on the bum by the way, but once a
Speaker 2: day you.
Speaker 3: Just give him some boxing gloves. He had a let's
Speaker 3: go to let's go to work.
Speaker 2: It's where we work things out the hell your house
Speaker 2: or garage. So and I said, you know, for some reason,
Speaker 2: smacking kind of came up. He was in the news
Speaker 2: or it was a movie.
Speaker 1: And I said, mate, you cut a couple of smacks,
Speaker 1: you know, on the bum where you do you remember?
Speaker 3: He goes, oh, not really, and you're like, yeah, it
Speaker 3: didn't happen then, yeah, yeah, yeah, not in this house.
Speaker 1: It never did. Or like high fives yeah, like high
Speaker 1: fives to your bum, aggressive high fives and so andy.
Speaker 1: But he appreciated.
Speaker 2: I think I mentioned because yeah, these brothers never got
Speaker 2: smacked because you know, I stopped doing.
Speaker 1: It, but he was. They got off.
Speaker 2: Yeah, so yeah, Billy then has the choice and when
Speaker 2: he actually they go back in and they make up.
Speaker 1: Yeah, and they had that lovely time, which is again
Speaker 1: there's all these little really.
Speaker 2: Progressive comments on marriage, and I think it's in that
Speaker 2: scene he says something like I thought if I was happy,
Speaker 2: she was happy. Yeah, And there's there's some stuff which
Speaker 2: is like really incredible. I think I'll be married twenty
Speaker 2: years next year. And I do get ask occasionally, like
Speaker 2: you know what sometimes in interviews it's not like friends
Speaker 2: kind of sourcing me out for it relationship advice, Pete,
Speaker 2: their relationship and when you do a seriously how to
Speaker 2: stay married?
Speaker 1: I could ask a lot about you know, you know
Speaker 1: that kind of stuff, Pete.
Speaker 3: What is your number one?
Speaker 1: Two? Well, well i'll tell you. I'll tell you sent
Speaker 1: on before you propose to you Argentina, your beauty. You
Speaker 1: can ever be on auto pilot, you know, like so
Speaker 1: you always have to engage in your marriage as soon
Speaker 1: as you kind of stop thinking of the other person,
Speaker 1: and then I might say there have been times that
Speaker 1: hasn't happened in my own marriage, but there haven't been
Speaker 1: the good times. You know.
Speaker 2: It's when you are engaging and thinking of the other person.
Speaker 2: Are they happy? Are they getting what they need out
Speaker 2: of this marriage? That your marriage is going to be
Speaker 2: really strong, I think, And I think he has that
Speaker 2: realization in that scene where he kind of says, you know,
Speaker 2: I was happy, So I assume she was happy, and
Speaker 2: you know, he was having a great career and she
Speaker 2: actually hadn't really thought about this. She actually not getting
Speaker 2: what she needs or what she wants. Yeah, I don't
Speaker 2: think that's really Again, another progressive It's.
Speaker 3: Such a progressive thing because it is kind of like
Speaker 3: touching on what I guess was like the stereotypical relationship
Speaker 3: of the man goes to work and the woman's stay home.
Speaker 1: With the kid.
Speaker 3: But that is not what a living, breathing relationship is.
Speaker 1: It's not.
Speaker 3: I mean, that's also great advice that he's like in
Speaker 3: that monologue to be like I thought of I was happy,
Speaker 3: she would be happy. It's like everyone should take that.
Speaker 3: It's not about it's like you both have separate lives
Speaker 3: in a relationship, but you do have to have this
Speaker 3: bit in the middle that coexists that you kind of
Speaker 3: feed into. And it's and it's more than being separate
Speaker 3: and both being happy. You know, there's so many things
Speaker 3: in a relationship that I'm still learning about and like,
Speaker 3: you know, like it's okay if someone changes in a
Speaker 3: because people changed, you know what I mean. And part
Speaker 3: of being in a relationship is seeing your partner changing
Speaker 3: and being okay with them, not being like, well, that's
Speaker 3: not the opinion you had when we got together. It's
Speaker 3: like being okay with the change and like living with
Speaker 3: it and growing with it. It's like this living, breathing
Speaker 3: thing you can't be too, you know, blindfolded the whole
Speaker 3: time to what you're doing.
Speaker 1: So basically this is you say to your girlfriend, you
Speaker 1: need to watch it. At the part of the game,
Speaker 1: just give it one more.
Speaker 3: Juels if you listen, get such a great movie. They
Speaker 3: all get killed at the end. You know you've got
Speaker 3: to watch it.
Speaker 1: So it comes then down.
Speaker 2: To uh uh, Joanna gets the rights and which you
Speaker 2: always feel that's going to happen, is going to happen,
Speaker 2: you know, and I'm not sure what the situation is
Speaker 2: in courts, these family courts these days, but it's always
Speaker 2: traditionally the mother's always had more power as far as
Speaker 2: custody goes. So it's not unexpected that Joanna ends up
Speaker 2: getting the rights.
Speaker 1: And then Ted's going to challenge it.
Speaker 2: And he's going to spend as much money as needs
Speaker 2: be and then it's and then it comes down to
Speaker 2: would you put Billy on the stand, because that's what
Speaker 2: it's going to come down to. And when he decides, well,
Speaker 2: it's over, then yeah, totally, which.
Speaker 1: Is really cool.
Speaker 3: Yeah, I mean that's such a great thing to like.
Speaker 3: I mean, he will read out the letter to Billy
Speaker 3: that like, he will traumatize Billy to an extent, but
Speaker 3: that's where he draws a line.
Speaker 1: You can't put him on this. He can only the
Speaker 1: kid's head so much.
Speaker 3: Yeah, exactly, he's dropped him. He's read the letter out,
Speaker 3: but he's not going to put him on the stand.
Speaker 2: So you never had to make did you ever made?
Speaker 2: Because I like that we don't see Billy have to
Speaker 2: make that choice. He's eight years old. I can't because
Speaker 2: that would have been an emotional scene, so you know, like, yeah,
Speaker 2: you can imagine the scene where Ted saying, who do
Speaker 2: you want to Yeah?
Speaker 1: Yeah, yeah, don't you want to be?
Speaker 3: Well, look, my experiences of divorce, Pete, is that, like,
Speaker 3: you don't especial because I was young. I was no,
Speaker 3: I was probably like ten maybe okay old Billy.
Speaker 1: Older than Billy. Yeah, you're flushing.
Speaker 3: I was flushing and I wasn't falling a playground.
Speaker 1: Aquipment, that's for sure.
Speaker 3: But I have vague memories of it. But it's like
Speaker 3: it is all it's quite separate to you, unless like
Speaker 3: there's horrible things going on, like you know, best violence
Speaker 3: or something like that, but it was all very separate
Speaker 3: from me. And it's like and I feel I like
Speaker 3: that in this film as well, Yeah, that it is
Speaker 3: separate from Billy. Like obviously he knows his parents aren't
Speaker 3: together anymore, but it's not like he's not involved in
Speaker 3: this in fighting and he's not getting dragged into the
Speaker 3: courtroom or like you know, going for one side. He's
Speaker 3: just kind of a bystander, which I do think is
Speaker 3: maybe you know, a more accurate like perception of what
Speaker 3: a divorce kind of looks like for the kids. I'm
Speaker 3: only speaking from my like, yeah, what I went through.
Speaker 3: But I mean, and it wasn't traumatic at all. Like,
Speaker 3: but yeah, I think I like that that, you know,
Speaker 3: And he didn't want to put Billy on the stand,
Speaker 3: and Billy didn't have to make a choice. He didn't
Speaker 3: have to sit there. They weren't sitting down being like,
Speaker 3: we love you a lot, who do you want to
Speaker 3: live with? Because that's crazy to ask a kid to
Speaker 3: do that.
Speaker 2: Yeah, I think they make some really good choices in
Speaker 2: this movie where they could have really amped up the drama,
Speaker 2: but they didn't have to.
Speaker 3: They didn't at all.
Speaker 2: And it's a good lesson for any screenwriters. But so
Speaker 2: then the French toast scene play plays out, and it's
Speaker 2: fucking beautiful. This is what we call a callback in comedy.
Speaker 2: We would call it a callback absolutely and it works.
Speaker 2: So the mannicness of you know, the day one of
Speaker 2: their journey. Yes, and he's there's this little touches like
Speaker 2: at the start he's putting, he's dipping the bread in
Speaker 2: a cup.
Speaker 1: He's got the egg and the milk and break he's
Speaker 1: got to break the bread and now he's worked. You
Speaker 1: do it in the bowl, of course, you get a bowl,
Speaker 1: and that's how you make your friend's toast. And it's calm,
Speaker 1: it's serene, and it's it's it's a it's a beautiful scene.
Speaker 3: It's great, and it just you know, it shows just
Speaker 3: how far in the simplest way, it shows a full
Speaker 3: kind of progression and change and that it's like a
Speaker 3: new person and a new relationship and a comfort, comforting
Speaker 3: kind of message that things are okay. But they did
Speaker 3: it in such a simple, such a simple.
Speaker 1: Way, and the and the and the look on Billy's face,
Speaker 1: justin Henry, it's it's an incredible for me.
Speaker 2: If you watch it again, let's check out the look
Speaker 2: before it when they give him the harge. It's a
Speaker 2: look of like it's almost melancholy. It's like, yeah, I'm
Speaker 2: enjoying this moment, but I realized that this is the
Speaker 2: last time we're going to make French toast.
Speaker 3: That's like the that's the vibe. Melancholy is like the
Speaker 3: vibe of the whole film. Like I watch it and
Speaker 3: I feel that, like I don't feel sad in all
Speaker 3: the places, but I feel this will weight on me
Speaker 3: and I'm enjoying it, but it's this weight and that's
Speaker 3: like the underselling of the drama as well, like they
Speaker 3: don't beef up any scenes, and that almost makes it
Speaker 3: more melancholy because it's so real, because in real life
Speaker 3: you don't have the big dramatic kind of moments and
Speaker 3: fights and like everything is like overly produced. It's just
Speaker 3: real and what's happened. And I think that is why
Speaker 3: this is actually so dramatic and tugs on the heartstrings
Speaker 3: more and is more melancholy because it is so just
Speaker 3: real and undersold.
Speaker 1: And there's one last twist.
Speaker 2: When they're waiting for Joanna to arrive to take Billy home,
Speaker 2: they're packed, it gets a call and as Johanna danstairs,
Speaker 2: asking him to come down to the for you.
Speaker 9: What woke up this morning? I kept thinking about Billy
Speaker 9: and I was thinking about him waking up in his room.
Speaker 9: And there's little clouds all around that I painted, and
Speaker 9: I thought I should have painted clouds downtown because you
Speaker 9: would think that he was waking up at home. I
Speaker 9: came here to take my son home, and I realized
Speaker 9: who already is home?
Speaker 2: Okay, lots of good stuff face, It's good to the
Speaker 2: all time breaks in absolute white hot form, and and
Speaker 2: then you have there's another.
Speaker 1: Little callback here is the elevator. Oh yeah, we see
Speaker 1: the elevator.
Speaker 2: In the first scene where they were She walks out
Speaker 2: and she says, I don't love you as the elevator
Speaker 2: closes on him, and this time.
Speaker 1: Meryl Streep says, Joanna says, how do I look.
Speaker 2: She's trying to getting the tears and adjusting her makeup
Speaker 2: and he says I think.
Speaker 1: He says, you look terrific. Yeah.
Speaker 3: He says something like, yeah, is it look terrific?
Speaker 1: You look terrific? Yeah, and then the elevator closes on Yeah.
Speaker 3: It's a great it's a great end to the film.
Speaker 3: Like it's because.
Speaker 1: I was wondering, how are they gonna stick this landing.
Speaker 3: Well, it's a hard thing to do, and it almost
Speaker 3: you know, makes everything completely you know, like it's like,
Speaker 3: what was it all worth?
Speaker 1: Do you know what I mean?
Speaker 3: But it shows that it's like for her to get
Speaker 3: to that position to be content, they had to go
Speaker 3: through all that kind of trauma and heartbreak and for
Speaker 3: her to get into the position the mindset where she
Speaker 3: is okay for Billy to live with her dad, they
Speaker 3: had to go through all of that.
Speaker 2: Yeah, I do wonder what it does say what we're
Speaker 2: expected to take out of the fact that Johanna comes
Speaker 2: to this conclusion, like, is it saying I'm still not
Speaker 2: ready to.
Speaker 3: Well, no, I think it just shows. I think it
Speaker 3: shows that they are both I might be wrong here,
Speaker 3: but they both care about their son so much, and
Speaker 3: they both love their son, and they don't hate each other. Like,
Speaker 3: it's not like she has no vendetta against him, do
Speaker 3: you know what I mean? She just doesn't want to
Speaker 3: been a relationship with him, and she wants to see
Speaker 3: her son, and she's like, oh, that's the best place
Speaker 3: for him right now. It's like a very mature response.
Speaker 1: Yeah. I think that's a good reason.
Speaker 3: I think if it was twenty twenty two, she would
Speaker 3: have done that speech over text message though I realized
Speaker 3: he is home, so I'm going to leave him with you,
Speaker 3: Like it would have been a quick test being like, hey,
Speaker 3: let's forget about it.
Speaker 1: You hold onto him with an embarrassing emoji.
Speaker 3: Yeah, yeah, yeah, we'd like the emerging with your hands
Speaker 3: over your eyes. I guess that court case was for nothing.
Speaker 2: Justin Henry goes on to big does a little bit
Speaker 2: of acting the only role that you may recognize. What
Speaker 2: did he end up going on to do acting here
Speaker 2: and there and then kind of like leave him. But
Speaker 2: he's in sixteen Candles, Molly World's younger brother in Jh's
Speaker 2: classic sixteen Candles, so you can see him there.
Speaker 3: But he's kind of tough for a child, you know,
Speaker 3: when you're it's like.
Speaker 1: And so good. He's like he's peaked, yeah in his
Speaker 1: first film.
Speaker 3: Yeah, and doesn't get to like get any of the benefits,
Speaker 3: like if you peak at twenty five, you're a movie star,
Speaker 3: you get to do all the cocaine people would to
Speaker 3: have sex with you.
Speaker 1: Apparently. Yeah, yeah, great, doesn't hop and took him under
Speaker 1: his wing.
Speaker 2: Imagine that going through a messy divorce and just hanging
Speaker 2: out with that year old coastart.
Speaker 1: Coke.
Speaker 3: This is how you, This is how your special glass.
Speaker 2: Hollywood highest grossing movie in nineteen seventy nine. Have I
Speaker 2: mentioned that? No, these are the films that were released
Speaker 2: in nine and seventy nine. I mentioned I mentioned star
Speaker 2: tracking on but also just to add to that, a
Speaker 2: cuck list now Alien was released Mad Max.
Speaker 3: Alien, Yeah ten are you kidding this?
Speaker 2: Mad Ma t It was a massive like sex comedy
Speaker 2: with Bo Derek and more. Amityville Horror was actually the
Speaker 2: second highest grossing film that year.
Speaker 1: Life of Brian Life came out.
Speaker 3: This is a hot year.
Speaker 2: It's a hot year being there Peter Sallers, who he
Speaker 2: was nominated for that. That was one of Peter Sellers's
Speaker 2: like great performances.
Speaker 1: Manhattan.
Speaker 2: Woody Allen, Meryl Street was shooting that as you was
Speaker 2: shooting this. I think that's why that's why Joe left.
Speaker 3: She well, she should have bought that up in the
Speaker 3: court proceeding was shooting working Woody Allen. Do you know
Speaker 3: Woody Allen? But I don't, actually don't seventy nights, so
Speaker 3: it's okay to no Woody Allen.
Speaker 2: At this point of Rocky two comes out that year, Nah,
Speaker 2: and Cramer versus Crame makes more money than Rocky two.
Speaker 3: That's insane. Also the amount that I said, well, I
Speaker 3: mean total it's made one seventy the box office or
Speaker 3: whatever on whatever. It's tiny budget warts, that's a huge
Speaker 3: amount of money. Huge.
Speaker 1: The Mother movie came out that year, or that The Champ,
Speaker 1: the tear Jerk of the Champ with Rockie Schroeder.
Speaker 3: I want to live in nineteen seventy a year to.
Speaker 1: Go to the movies.
Speaker 2: Roger Benton also wrote Bonnie and Clyde and the Superman
Speaker 2: Original Superman Movie Great. He went on to direct Still
Speaker 2: of the Night Places in the Heart Billy Barthgate with
Speaker 2: dusn't Hoff and Nicole Kim. That wasn't a big hit,
Speaker 2: that one, Nobody's Full with Paul Newman, and Twilight Right
Speaker 2: for starring Paul Newman, Susan surrounding Gene Hackman. You know
Speaker 2: that one. Haven't covered that one in.
Speaker 1: The It hasn't come up hot year for Best Actor.
Speaker 1: Hoff And wins.
Speaker 2: Peter Seller's nominated for being there, Jack Lemon, This is
Speaker 2: a really hot category, Jack Lemon, the China syndrome, Roy Scheider,
Speaker 2: who a lot of people thought Mate not ripped off.
Speaker 2: It was probably the next in line for all that
Speaker 2: jazz doesn't. Hoffen wins for Creme Versus Creme and Al
Speaker 2: Pacino Oh for a movie called and Justice for All,
Speaker 2: which I must say I have not seen.
Speaker 3: Really dipping into, like, you know, a cultural point in history.
Speaker 3: This yeah, do you know what I mean? It's like,
Speaker 3: this is a point you look back on and this
Speaker 3: is this changes film, you know.
Speaker 2: Absolutely yeah, And this podcast will change podcasts of course
Speaker 2: is the episode I watched Ustin Hoffin's speech. It's actually
Speaker 2: a good speech. Oh really, Yeah, he gives a good speech.
Speaker 2: He thinks, he mentions the idea that I refuse to
Speaker 2: believe that. You know that Peter Seller's lost tonight or
Speaker 2: that Jack and that's good.
Speaker 1: You know, I like it good.
Speaker 3: It's like when I watched two boxes fight and they
Speaker 3: hug at the end and say they respect the other person. Yeah,
Speaker 3: actually makes me so happy.
Speaker 2: And and weirdly, Will Smith got up and smacks him.
Speaker 1: Really, I'm surprised that has not been mentioned for years.
Speaker 1: Doing it for years.
Speaker 2: You can't trust you can't trust him. Apparently the ice
Speaker 2: cream scene was improvised. It's not a little fun factors. Yeah,
Speaker 2: I was improvised.
Speaker 1: Mate.
Speaker 2: This podcast comes with homework and you you are killing
Speaker 2: it at.
Speaker 1: The Melbourne International Comedy Festival. I mentioned in the intro.
Speaker 2: You'll be truing, You'll be cheering around check check check
Speaker 2: your Instagram page.
Speaker 3: Yeah, I'll just tie my name into Google.
Speaker 1: It's it's when people say links. It's just is Google.
Speaker 3: Just write my name into Google.
Speaker 1: And number live and you'd be passing through towns and
Speaker 1: cities with yoyo, Diablo, that's it my new hour show.
Speaker 1: Please come a.
Speaker 2: Little smashing it rave reviews and to watch Kramer Versus
Speaker 2: Cramer as you're heading to the final week and the moment.
Speaker 2: International Comedy Festival is a Lucian effort.
Speaker 3: You don't understand how I was. Just I had in
Speaker 3: bed holding a lap I didn't even watch it on
Speaker 3: a TV screen. I shut the I'm staying with my friends,
Speaker 3: so I shut the door, just watching it on a laptop,
Speaker 3: just in a world of pain, just being like, if
Speaker 3: it wasn't Peter Hellier, there's no.
Speaker 1: Well, mate, I appreciate it. Let's go get some munch. Yeah,
Speaker 1: love it. Thanks being.
Speaker 2: That was fun. I love watching Kramer Versus Kramer. Like
Speaker 2: I mentioned to Sam, I'd watched it half it when
Speaker 2: I was younger. I couldn't quite get my claws into
Speaker 2: it because I just couldn't relate to that adult subject
Speaker 2: matter when I watched it.
Speaker 1: And all the ads, bloody ads. But really, such a
Speaker 1: brilliant move and so fascinating.
Speaker 2: I'm obsessed with the fact that it was the highest
Speaker 2: grossing movie of nineteen seventy nine every.
Speaker 1: Time, and I do thank the guests obviously, in front
Speaker 1: of them. You hear that.
Speaker 2: But again a shout out to Sam who you know
Speaker 2: in the closing moments of the Melbourne International Film Festival,
Speaker 2: which has been a massive festival this.
Speaker 1: Year in terms of just getting through it. To be honest,
Speaker 1: there's been various COVID outbreaks, comedians canceling shows, audiences sometimes
Speaker 1: having the canceled being at shows. So for Sam to
Speaker 1: find some time the watch Cremer Vesu Creamer, an emotional
Speaker 1: movie was just above and beyond. So if you get
Speaker 1: a chance to support Sam's following him on Instagram or
Speaker 1: Twitter or seeing him live more.
Speaker 2: So, please do so. He's a great guy. I really
Speaker 2: enjoyed hanging out with him. Derek Meyers is the man
Speaker 2: behind Castaways Studios, where we record you Ain't Seen Nothing
Speaker 2: Yet in Collingwood, a stone's throwaway from the coolest street
Speaker 2: in the World, as nominated by Time Out Magazine, Smith Street. Derek,
Speaker 2: you are the man who puts this together. Have you
Speaker 2: watched Crama Versus Kramer?
Speaker 1: Yeah? I had.
Speaker 6: It came out when I was a kid. Yeah, like
Speaker 6: a lot of people, and it didn't Yeah, like you,
Speaker 6: it didn't kind of make any sense to me at all.
Speaker 6: There was no real point, and eventually I would have
Speaker 6: just seen it as my parents.
Speaker 1: Watched it and stuff like that.
Speaker 6: Yeah, so there's no divorcing, and I mean it means
Speaker 6: a lot more now.
Speaker 1: Well, you can watch it when you're older.
Speaker 2: You can watch it three even if you haven't, I
Speaker 2: must say, thankfully in touch wood, I have not been,
Speaker 2: at this stage in my life touched a whole lot
Speaker 2: by divorce.
Speaker 1: There hasn't been a lot of divorce around me.
Speaker 2: My siblings are all married, my parents are still married,
Speaker 2: my in laws are married.
Speaker 1: There's been no divorce.
Speaker 2: Actually there has been, sorry, but long ago before I
Speaker 2: was on the scene on my wife's side. All my friends,
Speaker 2: miraculously are still married. It has been a divorce between them.
Speaker 1: I'm sure.
Speaker 2: I'm sure there's one ahead of us somewhere. But you
Speaker 2: can still watch it through the prism of your own relationships.
Speaker 2: If you've got kids, what that must be like the
Speaker 2: little billy. So, Yeah, the older you get in, the
Speaker 2: more life experience you get, there's certainly ways for it
Speaker 2: to get hooks into you, no doubt.
Speaker 6: Quite often you hear when your friends, like a few
Speaker 6: people I know, have gone through real ugly custody stuff,
Speaker 6: and you only hear about like there's probably ten times
Speaker 6: as many people you know who've been through amicable custody stuff. Yeah,
Speaker 6: where they've done, you know, back down or done what's
Speaker 6: best for the kid or whatever. So you kind of
Speaker 6: get a weird, twisted notion of that. It's an evil
Speaker 6: sort of.
Speaker 1: Yeah, and that's what I really loved about this film.
Speaker 1: And I think what kind of saying is even when
Speaker 1: two sides are acting, you know, with good faith, it's
Speaker 1: really hard. It's really emotionally exhausting.
Speaker 6: It took the world by storm, just that, just throwing
Speaker 6: that notion up. Yeah, in the middle of like this
Speaker 6: huge year for film.
Speaker 2: Yeah, and of all the films we've watched that you know, say,
Speaker 2: more than thirty years old, and this is over forty
Speaker 2: years old. Now, I feel like this is one of
Speaker 2: the films that has aged as well as any of them.
Speaker 6: Yeah, and it is it is the rhetoric like Crema
Speaker 6: versus Kramer is. Yeah, just means that, it means the
Speaker 6: custody battle, like it's like a brevel or a hoover
Speaker 6: or something.
Speaker 1: Yeah. Yeah, absolutely, it's Crame is a great name for it.
Speaker 1: Even though when you.
Speaker 2: Google it, you get a whole lot of Michael Richards stuff.
Speaker 2: It had it been Slensky versus Shlensky, you know, like
Speaker 2: it doesn't have the same it's got I'm not sure
Speaker 2: how they came up with those names and how much
Speaker 2: thought you know, to get the right name, and when
Speaker 2: the title came was it an afterthought or was it
Speaker 2: always creame versus Cremer?
Speaker 1: But yeah, a good title.
Speaker 2: If you're listening to the podcast and we want to
Speaker 2: thank everyone for your support, you can please follow and subscribe.
Speaker 2: You can leave a comment on the iTunes page just
Speaker 2: whenever you get a chain answers to tell your mates
Speaker 2: about it. It all, it all works, It all helps
Speaker 2: us give us a five star rating on the iTunes page.
Speaker 1: It all helps.
Speaker 2: It also just keeps the algorithm in our favor and
Speaker 2: just spreads the podcast to people far and why. You
Speaker 2: can also email us at yasny podcast at gmail dot
Speaker 2: com and you can be sharing thoughts about episodes, answering
Speaker 2: any questions we put out your own thoughts about episodes,
Speaker 2: and another way you could also contact this which is
Speaker 2: I think a more fun way is through this speak pipe,
Speaker 2: which is like an answering machin message I've got my
Speaker 2: head around it now.
Speaker 1: Derek.
Speaker 2: You basically followed the link we get the podcasts, and
Speaker 2: you'll find the link that says speak pipe. Click on that,
Speaker 2: and it's like a yeah, just leave a message, and
Speaker 2: I believe somebody has done that, and we've got so
Speaker 2: we're gonna have a speak pipe and we're gonna have
Speaker 2: also an email. We're gonna get both old fashioned and
Speaker 2: new fashioned. We've got an email from Emily.
Speaker 1: I believe.
Speaker 6: Yes, it's a nice one from Emily, and it goes
Speaker 6: like this, Hi, Pete, just dropping a line to say,
Speaker 6: I'm so grateful for this podcast. You and your guests
Speaker 6: have some great insights. I love learning the reasons behind
Speaker 6: why other people love particular movies, stories, and characters. You're
Speaker 6: clearly a very informed movie lover, and your approach is
Speaker 6: a unique, refreshing and entertaining, unlike some screenwriting classes I've
Speaker 6: taken in books i've read.
Speaker 1: Keep up the good work. Cheers, Emily, Thank you, Emily,
Speaker 1: thank you very much.
Speaker 2: You know this podcast it's really just about, well, want
Speaker 2: to get a chance to watch movies that I either
Speaker 2: love or I've seen many times, but sometimes movies I
Speaker 2: haven't seen. Sometimes I just note things that I think
Speaker 2: are interesting for anyone interested in screenwriting, whether to actually
Speaker 2: do screenwriting or just how movies up put together. I
Speaker 2: appreciate that you have noted that I'm certainly not trying
Speaker 2: to make this a how to write a screenplay on
Speaker 2: a pot, but this little things that I find interesting
Speaker 2: I like to pass on if you are interested in screenwriting.
Speaker 2: The podcast that I'll absolutely be listening to is called
Speaker 2: script Notes by Craig Mason and John August. It's a
Speaker 2: fantastic service those two gentlemen are providing screen lovers. It's
Speaker 2: a real masterclass. So but thank you Emily for your email.
Speaker 2: I'm glad you're enjoying the podcast. And now we go
Speaker 2: to a speak pipe message.
Speaker 6: I believe Derek, yes, use the speak pipe if you
Speaker 6: want to avoid having me playing the part of you
Speaker 6: in your emails.
Speaker 1: I gotta say, you sound nothing like Emily.
Speaker 2: I've never met Emily, but in Emily's Emily, if you're listening,
Speaker 2: that wasn't an impression of you.
Speaker 1: That was this Derek being Derek and reading the words
Speaker 1: that you sent. But it's a very good point if
Speaker 1: you want to actually hear yourself on this podcast. Do
Speaker 1: what this lady did.
Speaker 6: Then here we go.
Speaker 4: Hey guys, my name's Ash. I just wanted to say
Speaker 4: thank you for such a great podcast. I love listening
Speaker 4: to it on way to and from work, hoping that
Speaker 4: you might be able to aim for Kira Knightley's Atonement
Speaker 4: sometime soon. It always gets me. It's a great movie.
Speaker 4: It's got that twist at the end. Anyway, thanks for everything.
Speaker 2: Babe, Thank you Ashley. Yeah, a Tonement. I'm not sure
Speaker 2: I have to see you for Atonements on the list.
Speaker 2: So Joe Wright directed that I reckon about fifteen odd
Speaker 2: years ago. Perhaps I read the book. The book was
Speaker 2: Ian McEwen. It's great book, great author, Ian McEwen. Yeah,
Speaker 2: Kieran Knightley and James McAvoy are in that. So okay,
Speaker 2: I'll put a Tonement on the list. If it isn't
Speaker 2: on already. I think it's I think it works as
Speaker 2: a classic. It's a period piece that always helps. But yeah, okay,
Speaker 2: I'll put a Tomement on. But thank you so much
Speaker 2: for your comments and for jumping on the speed pipe.
Speaker 1: Ash.
Speaker 2: I really appreciate that. Really glad that you're enjoying it.
Speaker 2: And yeah, we've got plenty more episodes to come for
Speaker 2: this season, Season four, R of you Ain't saying nothing yet,
Speaker 2: And next week speaking of Adam, Richard is in the house,
Speaker 2: And so we
Speaker 3: Leave Old Pete save Fanselt, and to our friends of
Speaker 3: the radio audience, we've been a pleasant good night