1 00:00:00,200 --> 00:00:05,160 Speaker 1: Break the flick with on ninety How many Australians do 2 00:00:05,160 --> 00:00:09,360 Speaker 1: you think know what a crawdad is? Know what? I 3 00:00:09,400 --> 00:00:11,719 Speaker 1: thought it was like a shrimp or something. It's like 4 00:00:11,520 --> 00:00:14,240 Speaker 1: it's like a yabby, you know, like a like a jugie, 5 00:00:14,240 --> 00:00:19,319 Speaker 1: as we might say here in j I spent my 6 00:00:19,320 --> 00:00:22,240 Speaker 1: own time. So if you think a crawl dad, if 7 00:00:22,239 --> 00:00:23,720 Speaker 1: you think a crawdad is a weird name, it's like 8 00:00:23,760 --> 00:00:25,599 Speaker 1: the same as joggi. So, by the way, it's a bird, 9 00:00:25,720 --> 00:00:30,160 Speaker 1: not a jogie crawl dad, A crawdad. No, it's a bird. 10 00:00:30,280 --> 00:00:35,160 Speaker 1: Isn't it a crustacean? It's a fresh water crustacean. That's 11 00:00:35,159 --> 00:00:38,920 Speaker 1: pretty the confusing thing about the title of the book, right, Honestly, 12 00:00:38,960 --> 00:00:40,760 Speaker 1: I thought it was how far do you have to 13 00:00:40,800 --> 00:00:43,839 Speaker 1: go to hear the crawdad? It's a crawldad. It's not 14 00:00:43,920 --> 00:00:46,360 Speaker 1: much of it. It's not much of a song. It's like, yeah, 15 00:00:46,400 --> 00:00:49,400 Speaker 1: clip in their claws. But so anyway, we've digressed a 16 00:00:49,400 --> 00:00:52,520 Speaker 1: long way away from the film. So I think there's 17 00:00:52,520 --> 00:00:54,480 Speaker 1: good news and bad news when it comes to the 18 00:00:54,480 --> 00:00:57,680 Speaker 1: movie where the crawl dads sing, and the good news 19 00:00:57,680 --> 00:01:00,320 Speaker 1: which will come as as relief to all the people 20 00:01:00,320 --> 00:01:02,720 Speaker 1: who've read the book. And there are so many people 21 00:01:02,720 --> 00:01:04,440 Speaker 1: who've read this book. So it's been on the New 22 00:01:04,520 --> 00:01:07,040 Speaker 1: York Times bestseller list for one hundred and fifty weeks, 23 00:01:07,360 --> 00:01:10,480 Speaker 1: Right you Go, sold more than twelve million copies, and 24 00:01:10,840 --> 00:01:12,679 Speaker 1: two years in a row it was the top selling 25 00:01:12,720 --> 00:01:14,920 Speaker 1: book on the New York Times bestseller list. So it 26 00:01:15,120 --> 00:01:19,480 Speaker 1: is an insanely popular book, right And so in adapting it, 27 00:01:19,680 --> 00:01:21,199 Speaker 1: you have to make it. You have to make some choices, 28 00:01:21,240 --> 00:01:24,080 Speaker 1: right like do you stay faithful to the original material 29 00:01:25,000 --> 00:01:27,000 Speaker 1: and keep the readers happy, or do you kind of 30 00:01:27,000 --> 00:01:30,039 Speaker 1: focus on making a movie, in which case maybe you 31 00:01:30,120 --> 00:01:32,280 Speaker 1: divert a little bit from the plot you leave you 32 00:01:32,319 --> 00:01:34,320 Speaker 1: have to leave things out because you know, your average 33 00:01:34,319 --> 00:01:36,720 Speaker 1: screenplays about one hundred pages long. Your average book probably 34 00:01:36,720 --> 00:01:38,839 Speaker 1: about three hundred and fifty pages long. So you're gonna 35 00:01:38,880 --> 00:01:40,920 Speaker 1: have to leave stuff out no matter what. And in 36 00:01:40,959 --> 00:01:44,760 Speaker 1: this case, they've chosen to stay very faithful to Delia 37 00:01:44,840 --> 00:01:47,160 Speaker 1: Owens's book, which I think is good news for people 38 00:01:47,160 --> 00:01:50,960 Speaker 1: who like the book. And so I think readers of 39 00:01:51,000 --> 00:01:53,680 Speaker 1: the book will enjoy the film. I think they'll appreciate 40 00:01:53,720 --> 00:01:57,600 Speaker 1: the casting, which is probably lesser known actors like they 41 00:01:58,000 --> 00:01:59,960 Speaker 1: even though they could have, you know, sort of cast 42 00:02:00,360 --> 00:02:03,160 Speaker 1: big names in some of these roles. They opted for 43 00:02:03,320 --> 00:02:06,800 Speaker 1: Daisy Egga Jones, who if you've seen Normal People the 44 00:02:07,120 --> 00:02:11,560 Speaker 1: Irish kind of romantic drama series, people love her as KaiA, 45 00:02:11,680 --> 00:02:14,240 Speaker 1: the central character here who for people who don't know 46 00:02:14,240 --> 00:02:16,760 Speaker 1: the book, she is this girl who grew ups kind 47 00:02:16,760 --> 00:02:21,080 Speaker 1: of a traumatic upbringing in this remote marshlands of North 48 00:02:21,080 --> 00:02:27,000 Speaker 1: Carolina in the nineteen fifties. Sending for her siblings take 49 00:02:27,040 --> 00:02:29,880 Speaker 1: off because their dad's abusive, and then he kind of 50 00:02:29,880 --> 00:02:32,720 Speaker 1: disappears and she's left on her own and as a 51 00:02:32,760 --> 00:02:36,520 Speaker 1: result of kind of that upbringing, the local town just 52 00:02:36,560 --> 00:02:38,280 Speaker 1: call her the marsh Girl. You know, she's kind of 53 00:02:38,280 --> 00:02:40,400 Speaker 1: this weirdo that lives out in the swamp and na, 54 00:02:41,000 --> 00:02:46,000 Speaker 1: yeah exactly. And then when there's a murder of the 55 00:02:46,160 --> 00:02:49,600 Speaker 1: local heart throb and he would former high school quarterback 56 00:02:49,639 --> 00:02:53,080 Speaker 1: scene all American kid, the big star of the town, Chase, 57 00:02:53,400 --> 00:02:56,120 Speaker 1: who's played in this film, but of course played by 58 00:02:56,120 --> 00:02:58,560 Speaker 1: Harris Dickinson, who was in The King's Man a couple 59 00:02:58,600 --> 00:03:02,000 Speaker 1: of years ago. Up and come young British actor. Of course, 60 00:03:02,040 --> 00:03:03,799 Speaker 1: who else is the town gonna blame? Hi except for 61 00:03:03,840 --> 00:03:06,880 Speaker 1: the Marsh Girl and so then it turns into you know, 62 00:03:07,200 --> 00:03:10,079 Speaker 1: like a kind of a legal procedural, both in the 63 00:03:10,080 --> 00:03:12,760 Speaker 1: book and in the film, in which case she's got 64 00:03:12,800 --> 00:03:15,320 Speaker 1: a kind of fight for her innocence in the court 65 00:03:16,160 --> 00:03:18,360 Speaker 1: with amongst the jury of these townsfolk who hated her 66 00:03:19,000 --> 00:03:20,840 Speaker 1: and who don't really know it from a bar so 67 00:03:21,120 --> 00:03:24,040 Speaker 1: let's be honest, you didn't have one, and you kind 68 00:03:24,080 --> 00:03:26,639 Speaker 1: of piece it all together through a series of flashbacks 69 00:03:27,160 --> 00:03:29,239 Speaker 1: that happened in the film as well. Her lawyer and 70 00:03:29,320 --> 00:03:31,520 Speaker 1: then movie is played by the great David straight Then, 71 00:03:32,560 --> 00:03:36,480 Speaker 1: who is awesome and he although he does really pump 72 00:03:36,640 --> 00:03:40,800 Speaker 1: up the killer Mockingbird vibes because he's very Atticus Finchy 73 00:03:41,000 --> 00:03:43,240 Speaker 1: in this film. And look, the book is a bit 74 00:03:43,360 --> 00:03:46,280 Speaker 1: like it as well, with Kaya kind of like, you know, 75 00:03:46,400 --> 00:03:49,960 Speaker 1: the poor guy who was accused of the of the 76 00:03:50,040 --> 00:03:51,880 Speaker 1: rape and to kill a mockingbird. And she's also got 77 00:03:51,920 --> 00:03:53,320 Speaker 1: a bit of Boo Radley about her as well. I 78 00:03:53,360 --> 00:03:57,680 Speaker 1: Reckon's sort of combination of Tom and Boo. But then 79 00:03:57,800 --> 00:03:59,280 Speaker 1: that's not the only thing going on in this film. 80 00:03:59,280 --> 00:04:03,640 Speaker 1: There's also a love triangle that emerges between an unlikely 81 00:04:03,960 --> 00:04:07,080 Speaker 1: kind of KaiA Chase kind of romance and maybe it's happening, 82 00:04:07,240 --> 00:04:10,360 Speaker 1: but also also with Tate, who's kind of more of 83 00:04:10,400 --> 00:04:13,200 Speaker 1: a kindred spirit, with KaiA who she loves nature, she 84 00:04:13,320 --> 00:04:17,400 Speaker 1: loves and she becomes a naturalist right and starts sketching 85 00:04:17,440 --> 00:04:19,120 Speaker 1: all of the shells and feathers and things that she 86 00:04:19,200 --> 00:04:23,159 Speaker 1: sees in the marsh. And Tate is played by Taylor 87 00:04:23,240 --> 00:04:25,440 Speaker 1: John who you got coming up on the show, which 88 00:04:25,440 --> 00:04:27,920 Speaker 1: is pretty exciting. And so you've got the love triangle 89 00:04:28,040 --> 00:04:30,400 Speaker 1: going on with the court case, you've got the flashbacks, 90 00:04:30,960 --> 00:04:33,880 Speaker 1: you've got a lot of sunset shots of the marsh, 91 00:04:34,560 --> 00:04:36,520 Speaker 1: which is you know, kind of like a what he 92 00:04:36,640 --> 00:04:38,920 Speaker 1: was like a mangrovy kind of thing, I guess for 93 00:04:39,080 --> 00:04:42,800 Speaker 1: us here in Australia as alligators and birds and lots 94 00:04:42,839 --> 00:04:45,560 Speaker 1: of nature going on there. If you haven't read the book, 95 00:04:46,240 --> 00:04:48,920 Speaker 1: I think the movie might be a bit of a struggle. 96 00:04:49,520 --> 00:04:53,320 Speaker 1: It's because they're so slavishly devoted to the source text. 97 00:04:54,480 --> 00:04:56,440 Speaker 1: You know, they try and fit in so much plot, 98 00:04:56,640 --> 00:05:00,160 Speaker 1: they don't really dig into too much detail, and so 99 00:05:00,240 --> 00:05:03,400 Speaker 1: the character development is probably not where it needed to 100 00:05:03,480 --> 00:05:06,680 Speaker 1: be as a standalone movie, and so it kind of 101 00:05:06,720 --> 00:05:09,520 Speaker 1: comes across as one of those kind of breezy midday 102 00:05:09,600 --> 00:05:13,440 Speaker 1: movie kind of vibes. But look, if you haven't read 103 00:05:13,480 --> 00:05:15,840 Speaker 1: the book, you know, maybe maybe you probably wouldn't go 104 00:05:15,880 --> 00:05:17,839 Speaker 1: to take a movie. It's a movie for the people 105 00:05:17,880 --> 00:05:20,039 Speaker 1: who love them. Yeah, it's a movie, absolutely, a movie 106 00:05:20,080 --> 00:05:21,640 Speaker 1: for the people who love the book. And everybody that 107 00:05:21,720 --> 00:05:24,360 Speaker 1: I know in the industry who in the cinema industry 108 00:05:24,400 --> 00:05:27,280 Speaker 1: have who've seen the movie read the book. They're super happy. 109 00:05:27,279 --> 00:05:29,279 Speaker 1: They're happy, They're happy the happy. I haven't read the book, 110 00:05:29,279 --> 00:05:31,200 Speaker 1: but it felt like a TV movie to make. I 111 00:05:31,240 --> 00:05:36,760 Speaker 1: love the cinematography of cinema. It's beautiful, definitely sh she's 112 00:05:37,120 --> 00:05:40,880 Speaker 1: too clean. She's also too smart and sassy. Yeah, so's 113 00:05:42,400 --> 00:05:45,080 Speaker 1: I think. But this is the thing, some things are 114 00:05:45,160 --> 00:05:48,880 Speaker 1: just really hard to translate from the page onto the screen. 115 00:05:49,000 --> 00:05:51,880 Speaker 1: Because you're reading something, you've got chapters and chapters to 116 00:05:51,960 --> 00:05:53,600 Speaker 1: build your own picture in your mind of what a 117 00:05:53,680 --> 00:05:56,280 Speaker 1: character is. In a film, you've got maybe one scene 118 00:05:56,320 --> 00:05:58,400 Speaker 1: to do that to set things up. It's just really 119 00:05:58,440 --> 00:06:00,360 Speaker 1: hard to do. And we've seen so many atteds in 120 00:06:00,440 --> 00:06:02,479 Speaker 1: recent years that's just not that great, like the Girl 121 00:06:02,560 --> 00:06:04,440 Speaker 1: on the train, the woman in the Woman the window. 122 00:06:04,960 --> 00:06:08,320 Speaker 1: It so hard to do, and so at least in 123 00:06:08,400 --> 00:06:11,040 Speaker 1: this case, it's a movie that won't disappoint the fans 124 00:06:11,080 --> 00:06:12,760 Speaker 1: of the book, which I think you know probably is 125 00:06:12,800 --> 00:06:15,040 Speaker 1: the most important thing, right Ben, What was your take 126 00:06:15,120 --> 00:06:16,600 Speaker 1: care near the end of the film. We won't give 127 00:06:16,600 --> 00:06:18,880 Speaker 1: anything away, but the aging process seemed very rushes that 128 00:06:18,960 --> 00:06:20,760 Speaker 1: sometimes in the edit you lose a bit because it's 129 00:06:21,000 --> 00:06:23,840 Speaker 1: very very quick, not the pacing at the end, and 130 00:06:24,440 --> 00:06:27,920 Speaker 1: it's not amazing, like I say, But the interesting thing 131 00:06:27,960 --> 00:06:30,640 Speaker 1: for me is the screenplay was written by Lucy Alaba, 132 00:06:30,760 --> 00:06:32,839 Speaker 1: who wrote Beasts of the Southern Wild, which is an 133 00:06:32,880 --> 00:06:35,800 Speaker 1: OSCAR nominated film, a fantastic film set in the same 134 00:06:37,720 --> 00:06:39,279 Speaker 1: and so I'd say, like, if you haven't read Where 135 00:06:39,279 --> 00:06:42,000 Speaker 1: the Crawdads Seen, go see Beasts of the Southern Wild 136 00:06:42,880 --> 00:06:45,000 Speaker 1: stream that it's probably a better movie set in the 137 00:06:45,040 --> 00:06:47,760 Speaker 1: same world. But you know, if you've read the book, 138 00:06:47,920 --> 00:06:50,920 Speaker 1: go along and see it. Grab grab your friends, probably girlfriends, 139 00:06:50,920 --> 00:06:52,960 Speaker 1: because I don't know if it's if it's really something 140 00:06:53,000 --> 00:06:55,360 Speaker 1: that blokes will get into as much it is a 141 00:06:55,440 --> 00:07:00,200 Speaker 1: chick flip. I wouldn't tell chick lit. Yeah it. I 142 00:07:00,240 --> 00:07:02,240 Speaker 1: didn't want to say that, but yeah, I think I 143 00:07:02,279 --> 00:07:04,360 Speaker 1: think you probably hit the nail on the chick flicks 144 00:07:04,400 --> 00:07:07,560 Speaker 1: and we both know. I know, I just spies them, 145 00:07:08,000 --> 00:07:10,600 Speaker 1: but this one was different. And David Streight, so what 146 00:07:10,680 --> 00:07:13,200 Speaker 1: are you giving it? So this one for me look 147 00:07:14,080 --> 00:07:16,920 Speaker 1: as purely from a film perspective, it's probably it's probably 148 00:07:17,400 --> 00:07:19,440 Speaker 1: a two and a half right in the middle, two 149 00:07:19,440 --> 00:07:23,200 Speaker 1: and a half crawdads, And isn't that funny? No, so 150 00:07:23,280 --> 00:07:24,960 Speaker 1: two and a half crawl dads. Or maybe give it 151 00:07:25,040 --> 00:07:27,120 Speaker 1: five jilgies if you've read the books, throw them on 152 00:07:27,160 --> 00:07:29,800 Speaker 1: the barbie and love it. Thank you, bad guys.