Speaker 1: Goday. Welcome to you Ain't Seen Nothing Yet, the movie podcast,
Speaker 1: where I chat to a movie lover about a classic
Speaker 1: or beloved movie they haven't quite got around to watching
Speaker 1: until now. And today's guests comedian Ron Lewis.
Speaker 2: All below.
Speaker 1: I want to stay here with you. Get to the jobber.
Speaker 3: My hat, snake shucked, my hail.
Speaker 1: They couldn't be happening.
Speaker 2: Right, So you ain't seen nothing new.
Speaker 1: Ron Lewis is one to watch. There is no doubt
Speaker 1: about that. She has been rising and rising and rising
Speaker 1: through the Australian comedy scene over the last couple of years.
Speaker 1: She moved to Melbourne recently from Brisbane. There's something in
Speaker 1: the water in Brisbane. By the way, there are comedians
Speaker 1: at a level coming out of Brisbane that is unheard of.
Speaker 1: I think you've got Josh Thomas, Damien power melbuttele bron
Speaker 1: Lewis that there's something happening in Queensland. I'm keeping an
Speaker 1: eye on it. I'm keeping an eye on it. But
Speaker 1: bron Lewis is certainly at the forefront of the newer
Speaker 1: comedians that she's spectacular. She has It's like she's been
Speaker 1: doing for years and years and years. She moved down
Speaker 1: to Melbourne. I think I've got this right. I really
Speaker 1: hope I'm not confusing stories. But I believe it's Claire Hooper.
Speaker 1: A good friend, Claire Hooper who encouraged Broun to get
Speaker 1: into comedy. The kids go to the same school, and
Speaker 1: I think Hoop said you're funny. She do comedy, which
Speaker 1: I've got to say comedians don't say it very often
Speaker 1: to people because we don't like the competition. But it's
Speaker 1: part of Clare Hooper's legacy now. She helped start the
Speaker 1: career of this wonderful comedian. I've worked on stage with
Speaker 1: bron in Brisbane and in Melbourne and around the country
Speaker 1: with her, recently out in the Sticks a week ago,
Speaker 1: and she tore it up. She does a podcast with
Speaker 1: Brett Blake, who will be on the podcast in a
Speaker 1: couple of weeks, called work Hates, where they talk about
Speaker 1: their old jobs and other comedians and the bosses they
Speaker 1: love and hate. It's a fun podcast. Also check out
Speaker 1: her new show Cheering around the country. Obviously I saw
Speaker 1: do some of the material from it in the gig
Speaker 1: we did a few weeks ago. Very very funny. You
Speaker 1: would have seen it on have you been paying attention?
Speaker 1: She storms it on that. She's bloody delightful, she's hilarious,
Speaker 1: and I'm bloody stoked to be hanging with her today.
Speaker 3: I'm bron Lewis. My three favorite films are Missus, Doubtfire.
Speaker 4: Missie Let.
Speaker 2: The Water is Boiling.
Speaker 3: Hello.
Speaker 2: Oh, I'm sorry to frank you.
Speaker 3: I must look like a yetty in this get up
Speaker 3: in Bruce.
Speaker 1: Did I ask you, Ken? Will you do me a
Speaker 1: favor and become ray psychiatrists? Please? No? What I think
Speaker 1: I asked you was could you go blow is fucking
Speaker 1: ed Orf? For me?
Speaker 2: He's suicidal. I'm suicidal, You're suicidal.
Speaker 1: Everybody's fucking suicidal.
Speaker 4: We don't keep going on.
Speaker 1: About it as he killed himself yet No, So he's
Speaker 1: not fucking suicidal?
Speaker 2: Is he?
Speaker 3: And mister Holland's opus.
Speaker 2: In All we've been doing wrong, is lane. We've been
Speaker 2: playing the notes on the page.
Speaker 3: Well what else is there to play?
Speaker 2: Well? A lot more than music than notes on a page.
Speaker 3: And up until this week I had not seen two
Speaker 3: hands call I one three, call one three?
Speaker 1: What's it?
Speaker 3: Undersha see it's fun? That was just his nickname.
Speaker 1: It was John something.
Speaker 3: Robert Henry Fletcher.
Speaker 1: It was Robert Fletcher.
Speaker 3: Hello, good, I have a number for Robert Fletcher in.
Speaker 4: Botany What street?
Speaker 2: Fuck?
Speaker 1: I don't know. I mean I've been there a million times?
Speaker 3: Then how to get that somewhere in Botany?
Speaker 4: Uh?
Speaker 1: Botany Rode? There's a p Fletcher in Botany Rode.
Speaker 3: No, No, if they live down one back streets?
Speaker 1: Anything else under R and Botany?
Speaker 4: Ah?
Speaker 1: Nothing, that's very much nothing.
Speaker 3: Must be a start number.
Speaker 1: Sorry, Jim. Yes, that magnificent movie year that was nineteen
Speaker 1: ninety nine wasn't all about the Matrix, notting Hill and
Speaker 1: being John Malkovich. It was also about the emergence of
Speaker 1: two oussie actors. He would go on to dominate the
Speaker 1: international stage. It's summer in Sydney's pre Lockdown, King's Cross
Speaker 1: and Heath Ledger's Jimmy is a bouncer at one of
Speaker 1: the many many adult clubs along the infamous strip. But
Speaker 1: Jimmy wants for more. He wants to work for Pando
Speaker 1: Brian Brown in Ripping form Yep, everyone wants to work
Speaker 1: for Pando. But working for Pando is a dangerous game.
Speaker 1: And when a seemingly simple job goes pair shaped based
Speaker 1: on a combination of misfortune, bad timings, and a dubious
Speaker 1: decision to leave a shitload of money in the sand
Speaker 1: at one of the world's busiest beaches. I don't like
Speaker 1: leaving my forty dollars sunglasses unsupervised at the beach. Things
Speaker 1: go south very quickly. Written and directed by Gregor Jordan,
Speaker 1: Two Hands also gives us the Australian rose that is
Speaker 1: Roseburn in her feature film debut as Alex I want
Speaker 1: to be photographer, and his sunny demeanor amongst a bundle
Speaker 1: of thieves, cons and rascals, may bring Jimmy the piece
Speaker 1: that he doesn't know he needs yet. The cast is
Speaker 1: uniformly great. David Field gets his Chopper vibes going on here,
Speaker 1: the late great Tom Long, Steve Lamarquin, Susie Porter, Kiiran
Speaker 1: Darty Smith, among others. Coupled with some gems from Peak
Speaker 1: powder Finger, Two Hands deserves its place right at the
Speaker 1: top of Australian crime cinema. Bronwan Lewis, have you ever
Speaker 1: hidden ten thousand dollars on a beach before taking a dip?
Speaker 3: No? And that you're right? That is so stressful when
Speaker 3: he does that, And I like if you don't want
Speaker 3: to leave your sunglasses out. I can completely relate. I'm like,
Speaker 3: this is the perfect place for a thief. Even when
Speaker 3: you go to the pool, You're like, someone can steal
Speaker 3: my towel. No one wants it, but they could.
Speaker 1: He reminded Seinfeld does a very good routine about how
Speaker 1: we just will put the fortress that we make by
Speaker 1: putting a T shirt over over a wallet.
Speaker 3: We'll never know impenetrable.
Speaker 1: Thank you so much for coming to do you ainte
Speaker 1: nothing yet. It's great to have you. Thank you for
Speaker 1: having me two hands. I saw this at the cinema
Speaker 1: when it came out at nineteen ninety nine. There's a
Speaker 1: lot of buzz about it based on just the fact
Speaker 1: that I think it was a good film. Obviously, Powderfinger
Speaker 1: were in peak form around this time, so they were
Speaker 1: kind of connected to it. But Gregor Jordan was the
Speaker 1: first time director Heath Ledger was. You know, he'd just
Speaker 1: done one hundred and one things. He just shot that,
Speaker 1: but it hadn't come out, so he wasn't nicely on
Speaker 1: the international stage yet.
Speaker 3: And he does his first one was called Black Rock,
Speaker 3: so he'd been and he's so young. He got he
Speaker 3: started early yeah, he finished early too.
Speaker 1: He wasn't he did he did, he wasn't Home and away. Yeah,
Speaker 1: he did some home and away. He was off for
Speaker 1: that long and then he went on to do many
Speaker 1: things obviously, and of course rose Burn, yeah, you know,
Speaker 1: and this is her first proper feature film, So there
Speaker 1: was you know, it was just the fact that it
Speaker 1: was a good film that got people in. But what
Speaker 1: you hadn't seen it. I hadn't seen that did loom large?
Speaker 1: Or did did you? What did you know about it?
Speaker 3: I thought it was about a father and son. I
Speaker 3: was so I was just waiting for the dad to
Speaker 3: come in the whole time. And the end I was like,
Speaker 3: oh I thought it was a different maybe Okay, I
Speaker 3: thought it was great. I mean it was. And I've
Speaker 3: read a review about it where they did not like
Speaker 3: when it first came out. They hated because there's his
Speaker 3: older brothers in it who's a ghost, and a lot
Speaker 3: of people were like, this is dumb, Like, you know,
Speaker 3: they thought it was just a bit like a bit
Speaker 3: naff because he was you know, the opening scene, he's
Speaker 3: digging his way out of hell. And so with my
Speaker 3: initial reaction to that was like, oh, okay, this is
Speaker 3: going to be a bit a bit like left of center.
Speaker 3: But that's really as far as that goes. Like the
Speaker 3: brother is the only kind of like absurd part. But
Speaker 3: I liked the brother in that.
Speaker 1: Okay, well, I mean we won't get too far sorry
Speaker 1: into two Hands just yet, but you did you because
Speaker 1: I for me, it was when I think of two Hands, yes,
Speaker 1: and I hadn't seen it for a while. And when
Speaker 1: I think of two Hands, I think of Heath Ledger
Speaker 1: rose Burn the Emergency. Then I remember it was Gregor
Speaker 1: Jordan's debut film for your film, and I remember a
Speaker 1: powder Finger. I don't remember Brian Brown being great, being
Speaker 1: a very Sydney film. They're the things that I that
Speaker 1: I think of, so out of interest, How did you
Speaker 1: watch it? Did you watch it by yourself or did
Speaker 1: you actually.
Speaker 3: Well, my partner was supposed to watch it with me,
Speaker 3: but he fell asleep instantly.
Speaker 1: He was said to be a common theme on this podcast.
Speaker 3: Oh my god, he's so annoying. He can't he can't.
Speaker 3: I think since having kids, he cannot stay awake for
Speaker 3: longer than five minutes. With the Telly's on. He was
Speaker 3: disgusted that I had not seen it. He was like,
Speaker 3: you've not seen too. I think that that would have
Speaker 3: been a deal breaker when we met and he only
Speaker 3: learned that like twelve years later or whatever that I
Speaker 3: was supremely disappointed and all this was the thing that
Speaker 3: upset in But I watched it and then I had
Speaker 3: to actually leave from the telly because it was too
Speaker 3: little loud for the nine year old, so to go
Speaker 3: watch it on the laptop in my room. And I
Speaker 3: expected to go to sleep as well because I was tired.
Speaker 3: But I loved it. I stayed up the whole way
Speaker 3: and I loved it.
Speaker 1: Well, excellent. I want to get more into that super
Speaker 1: So let's talk about your three favorite films. Yes, this
Speaker 1: is embarrassing, embarrassing for me because I have never seen
Speaker 1: what Missus downtel.
Speaker 3: No, that makes no sense, It.
Speaker 1: Makes no sense. This podcast came about because people get
Speaker 1: on saying, yeah, you're a movie nerd and you know,
Speaker 1: and I am absolutely I love movies and film, but
Speaker 1: there's massive gaps in my filmography. This is film like
Speaker 1: you know, and I'm guilty of rewatching the films I love.
Speaker 1: And I think Missus doubt Fighters came along at an
Speaker 1: age where seeing a movie about you know, a man
Speaker 1: justing up as a woman. This didn't appeal to me
Speaker 1: that much, even though it was Robin Williams. And even
Speaker 1: though but I'm surprised since I haven't gone back.
Speaker 3: And you've seen bird Cage. It's a bird cage, okay.
Speaker 1: And I love, I love, I loved it, and I
Speaker 1: knew it was a big comedy, you know, So what
Speaker 1: do you love about missus? That fine?
Speaker 3: Oh my god. I've just recently watched it with my
Speaker 3: nine and eight year old and they laughed so much.
Speaker 3: There's this scene where she has he has to he's
Speaker 3: like his mask gets run over by her track, which
Speaker 3: is hilarious. And then he had he's speaking to a
Speaker 3: woman who thinks he's a woman still, so he has
Speaker 3: to put a cream pie on his face and just
Speaker 3: walk around the house with that and he's doloping like
Speaker 3: the cream is doloping into her tea, and just like that.
Speaker 3: It's so slapstick and it is just so wholesome, and
Speaker 3: even like when I rewatched it, I was like, oh gosh,
Speaker 3: this is probably going to be one of those films
Speaker 3: that over time has become problematic, you know, like you'll
Speaker 3: be like, oh, this is probably going to be a
Speaker 3: bit insensitive, And there's actually not many moments in it
Speaker 3: where you're like, like, there's a couple of times you're like, oh,
Speaker 3: I don't reckon, they would have done that today, But
Speaker 3: the rest of it, it's just like just joyful, Like
Speaker 3: he's just like at the start of the film, I
Speaker 3: don't want this, doesn't ruin anything. He's married to Sally Field,
Speaker 3: and she divorces him because he's a bad husband, like
Speaker 3: he doesn't help enough, and he always makes the house
Speaker 3: a bit feelthy, Like their son has a birthday and
Speaker 3: he celebrates by like getting all of these animals from
Speaker 3: like a farm and he puts them in the house,
Speaker 3: like there's like I think there's like a horse in
Speaker 3: their house. And she comes home from a hard day's
Speaker 3: work and she sees up like animals running around the
Speaker 3: house and she's like, well, I can't do this anymore,
Speaker 3: Like that's it. We're getting a divorce. You are a
Speaker 3: useless husband. And as a kid, I was like, gosh,
Speaker 3: she's horrible. What horrible, horrible effort.
Speaker 1: I mean, that's a bigger refort of most da.
Speaker 3: The kids are loving it, but her house is ruined
Speaker 3: and she has to be the one who cleans it
Speaker 3: up because he's the fun dad, like he is having
Speaker 3: a great time. The kids love it. And then when
Speaker 3: she says that's it, I'm getting I'm divorcing. I can't
Speaker 3: do this anymore. I just have three kids. I don't
Speaker 3: need four. As a kid, I was like, she's a monster,
Speaker 3: she's a man stir and then when and then as
Speaker 3: an adult watching it, I was like, oh my god,
Speaker 3: I would have called the police. He should have gone
Speaker 3: to jail for that, for sure, you know. So I
Speaker 3: guess I'm watching it as a kid and then watching
Speaker 3: it as it like it's obviously a different way to
Speaker 3: look at it, but it is. It's this really beautiful
Speaker 3: movie about a dad fighting to be in his kids lives.
Speaker 3: But it's funny as well, so it's like lovely and
Speaker 3: it gets you in the gets you right in the
Speaker 3: heart at the end, and it also I love it.
Speaker 3: What I love about missus doubt for the kids really
Speaker 3: want the parents to be back together, because that's nuclear family,
Speaker 3: especially because it was in the nineties that was like
Speaker 3: really like it was just the only way to be
Speaker 3: Like there was parent trap. I don't know if you
Speaker 3: remember parent trap. And then that was like two has
Speaker 3: a divorced like a you know, they love to say
Speaker 3: broken family in those days, and the dad lived in
Speaker 3: America and the mum lived in England, and these two
Speaker 3: girls just like conspire and then eventually make them fall
Speaker 3: back in love. And it's just so unrealistic because you
Speaker 3: just it's like, okay, fine, but that was like the
Speaker 3: happily ever after that they were going for, and so
Speaker 3: missus doubt fine. They didn't do that, even though the
Speaker 3: kids were like, oh, we just want you guys to
Speaker 3: be back together. In the end, they just it just
Speaker 3: becomes friendly, like they like can see each other and
Speaker 3: respect each other, but they're not like, oh, do you
Speaker 3: know what you're You're bringing horses into the house. Was
Speaker 3: pretty cool, You're right, I was a massive bitch, you know,
Speaker 3: like it was. I love it was just a nice
Speaker 3: realistic well you know, obviously not all of that, but
Speaker 3: it was. It was funny, but it was also wholesome
Speaker 3: and it had a good message at the end. It's
Speaker 3: like you can divorced families can still be fine.
Speaker 1: You know.
Speaker 3: Yeah, I think that was quite nice, and.
Speaker 1: That's you're right not to go not to tie it up.
Speaker 1: In a in a happy little bow for everyone at
Speaker 1: that time in the nineties was pretty special. You pivot
Speaker 1: pretty sharply now to em Bruges, which I'm very In fact,
Speaker 1: I was so excited because I write down because I
Speaker 1: never know what the films you are going to nominate,
Speaker 1: I guess, so I write them down as you say them.
Speaker 1: And I wrote that fire in Brush, and I was
Speaker 1: so excited to writing Bruges. I didn't actually get the
Speaker 1: third one, so we'll come back to the third one.
Speaker 1: But I love in Brush. We did it on this
Speaker 1: podcast with Tom Ballard who loved it as well. It's
Speaker 1: just a brilliant and brilliant film.
Speaker 3: I love a twist at the end. I'm a real
Speaker 3: sucker for one. I love when you know, in stand
Speaker 3: even in stand up, when the where the comedian changes
Speaker 3: gear so suddenly and then you're completely controlled by them,
Speaker 3: and it's just so like liberating to be like, I
Speaker 3: actually have no control over my emotions right now. Thank
Speaker 3: you for taking control of them and then giving them
Speaker 3: back to me at the end, and then you walk
Speaker 3: out and being like wow, I really just let myself
Speaker 3: be involved in that for that moment, for that entire
Speaker 3: hour and within Bruges. I just it was one of
Speaker 3: those ones where the twists and the turns and that
Speaker 3: how it all kind of comes together and things make
Speaker 3: sense and you leave being like you think about it
Speaker 3: for weeks afterwards, months where you're like, oh yeah, and
Speaker 3: then that guy was that and the fact that you know,
Speaker 3: I just I love those movies that make you go
Speaker 3: for ages you're still thinking about it.
Speaker 1: Yeah, you know, to take you to a place that
Speaker 1: you've never not just physically like Bruises in Belgium, but
Speaker 1: just like a painting, a world that you'd never have
Speaker 1: seen before, and you're in the hands of a filmmaker
Speaker 1: who has his vision that maybe inspired by others, but
Speaker 1: but you know, it's pretty singular as far as wow.
Speaker 1: Like Martin McDonough, who made the film, thinks his debut.
Speaker 3: Famous Playrouight Wow is his debut.
Speaker 1: Yeah, I'm sure, and he did. Recently they teamed up
Speaker 1: with Brendan Gleeson of course, and Commin Farrell with the
Speaker 1: Banches of Insurance. I love that. Yeah, that's great.
Speaker 3: That was another one that was going to make this.
Speaker 3: I didn't realize the same people.
Speaker 1: Brother Patrick also, he did a great film cavalry, uh,
Speaker 1: cavalry caveries about carving knife and but also he did
Speaker 1: the I guess someone confuted which one did which, but
Speaker 1: the three billboards outside of Being Missouri, which is an
Speaker 1: amazing film, dark Irish senses of humor, and I Bridge
Speaker 1: was just like, I think it's just perfect. The way
Speaker 1: it comes home. The music by Cardi Burwell is just
Speaker 1: so spot. I listened to the score quite a bit. Actually,
Speaker 1: sometimes I have it in the car playing.
Speaker 3: Wow, you're upset. I'm thrilled I has mentioned it.
Speaker 1: It's so great and great finds when he comes in
Speaker 1: as well.
Speaker 3: Like oh yeah, so good, Oh yeah.
Speaker 1: He about his kids and don't get you you've got
Speaker 1: my kids cut so good, all right. And I didn't
Speaker 1: write down the third film because yeah.
Speaker 3: This one is probably least interesting to most people, but
Speaker 3: I love it. It's mister Holland's Opus. Did you ever
Speaker 3: watch it?
Speaker 1: No, I'm somebody I have to say. I don't watch
Speaker 1: a lot of Star Trek because I love Star Wars.
Speaker 1: So when mister Holland's Opus came out, I said, I've
Speaker 1: already seen that part Society. I don't need to see
Speaker 1: this film, which is the same. Yeah, and it's a
Speaker 1: sweeping I mean, the fact is, if the opportunity came
Speaker 1: up and I was looking for something to do and
Speaker 1: that was playing up, he would have watched it. But
Speaker 1: it just it just hasn't surfaced for me.
Speaker 3: Yeah, well it is brilliant. So I used to be
Speaker 3: a teacher, and it was like, I'm not saying it's
Speaker 3: inspired me to become a teacher, but it is. It's
Speaker 3: just a really profound movie about how important teachers can be,
Speaker 3: but also how the humans by themselves. So he is
Speaker 3: this music teacher and music is his whole life. He
Speaker 3: loves it so much, and he falls in love and
Speaker 3: then they have a son, and then his son right
Speaker 3: out his death, and so he's just ripped him to
Speaker 3: pieces because he's like, well, I can't show him the
Speaker 3: one thing that I know. I can't show him the
Speaker 3: one thing that I love with all my heart. He
Speaker 3: has this kind of fractured relationship with his son because
Speaker 3: he doesn't feel like he can connect with him, and
Speaker 3: he's quite a grumpy man, but he makes his He
Speaker 3: just inspires all of these kids to become better at music,
Speaker 3: just because his passion is there for it. Anyway, in
Speaker 3: the end, it's so beautiful this scene. I bare my
Speaker 3: eyes out every time. I love crying in movies. Do
Speaker 3: you like crying movies?
Speaker 1: I don't necessarily love crying movies. I'm opening, Yeah, I
Speaker 1: don't go I thank god, I'm crying right now. I
Speaker 1: need to go out. But if if I'm feeling it,
Speaker 1: I will absolutely involuntary for me, Like it's just like
Speaker 1: a tear the roof.
Speaker 3: Make sure that it never happens. I'm too tough now.
Speaker 3: This one was like this final The final scene is
Speaker 3: so beautiful between him and he's so because he has
Speaker 3: seemed to be a little bit resistant in learning sign language.
Speaker 3: His wife is like really invested because that's the only
Speaker 3: way they communicate with his son, and he thinks that
Speaker 3: if he can't communicate with music, then there's kind of
Speaker 3: almost no point. And so at the end there's this
Speaker 3: really beautiful music number where he sings and signs this
Speaker 3: song that's it's called beautiful Boy, and he's son by
Speaker 3: that stage as an adult. But I lose it. I
Speaker 3: lose it and I love it and I'm in it,
Speaker 3: and it's just all of the actors and all of
Speaker 3: the the cast is so good and like the storyline's
Speaker 3: really good. And again it's this thing where it's like
Speaker 3: it's not all like everything kind of lines up, things
Speaker 3: go wrong all the time, and they're all like and
Speaker 3: he's not like a perfect person. I love when the
Speaker 3: character is imperfect, like you know, the main like the
Speaker 3: protagonist is like just kind of flailing about. This is
Speaker 3: Doubtfire a very problematic person. Okay, but I love it well.
Speaker 1: I feel bad that I've lumped mister hollands Opus in
Speaker 1: this as a as a poor man's version of their
Speaker 1: Parts society, because will I will check both mister Holland's
Speaker 1: Opus and I'm committed now to find somebody for this season.
Speaker 1: If you won't seen nothing yet to do missus doubt
Speaker 1: Fire because it is embarrassing as a comedy that I
Speaker 1: haven't seen miss Holland's Opus. I'll give myself a pass
Speaker 1: on that, but I will check it out.
Speaker 3: I've seen School of Hard Rock, so I don't need
Speaker 3: to see mister Pelts. Yeah so good. I mean it's
Speaker 3: very different mister Hollands. O.
Speaker 1: That's what everybody says. Another movie about teachers, which as
Speaker 1: we're recording, hasn't been released. But when this goes out
Speaker 1: into the world. It may have been and hopefully we
Speaker 1: loved it. But the in Betweeners comes out I think
Speaker 1: around Christmas time in the year, which is Alexander Payn
Speaker 1: who did Sideways. One of my favorite films, The Descendence
Speaker 1: Poor GM Marty. It's about kids who can't take them
Speaker 1: for the holidays, so they've got to stay school and
Speaker 1: get looked after by the teachers. And it looks a
Speaker 1: very heartwarming, oh good kind.
Speaker 3: Of in between it. I was thinking about the TV
Speaker 3: series remember those those a British chat.
Speaker 1: I'm sure it's called in between Us, but definitely a
Speaker 1: TV show called in between scored in between Us as well. Okay,
Speaker 1: let's get into it here we are, let's get into
Speaker 1: this and it's a triple word score. So what have
Speaker 1: we got here? Two ten twenty twenty seven. That's eighty
Speaker 1: one and I used up only letters. That makes one
Speaker 1: hundred and thirty.
Speaker 2: One fuck.
Speaker 1: Ninety nine two hands Written and directed by Gregor Jordan Heath, Ledger,
Speaker 1: Rose Burn, Brian Brown, Susie Paul David Field, Tom Buzz, Salvatory,
Speaker 1: Coco from Heartbreak, Canor He gets in there as well.
Speaker 1: It is chock a block with Australian Acting Royalty, Ronwinis,
Speaker 1: did you enjoy two Hands?
Speaker 2: Yes?
Speaker 1: I did.
Speaker 3: Do you know what I love about it just is
Speaker 3: how none of the actors well, you know, and often
Speaker 3: this happens in Australian film is there's just one character
Speaker 3: where you're like, oh, I don't think they're I don't
Speaker 3: think they're a very good actor, and you're just saying
Speaker 3: you're like, everyone's really you'll just focus on them because
Speaker 3: that pool isn't huge. You've got lots of talent, the
Speaker 3: pool isn't huge, and then there's gonna be one person
Speaker 3: lets them down. Rose Burn's character is a little bit annoying,
Speaker 3: but that she plays it well, like she's just a
Speaker 3: psych small town girl from Mudgie. She's coming with her
Speaker 3: giant camera and the heart full of hope and she
Speaker 3: giggles a lot, a lot, a lot, but she does it.
Speaker 3: I think she plays the part perfectly well.
Speaker 1: She is like film debut, and I think it's the
Speaker 1: most underwritten character on paper, Like there's no real development.
Speaker 1: There's no story arc really for rose Burn, or no
Speaker 1: character arc for her. There's there is a story act,
Speaker 1: but there's it's undeniable, it's it's more in when she's
Speaker 1: almost in her quieter moments of her when she's looking,
Speaker 1: you know, and she's without the dialogue that I think
Speaker 1: she shines and shows a glimpse of what she will become.
Speaker 1: I mean, obviously she's stunning and the camera loves her.
Speaker 1: But it's interesting because we're so used now to rose Byrn,
Speaker 1: who is as good in that actor as there is
Speaker 1: in the world at the moment. There's a show called
Speaker 1: Physical and TV where she plays an eighties aerobics kind
Speaker 1: of she's trying to get into the aerobics game, but
Speaker 1: she's suffering from you know, bolimia and body images and
Speaker 1: mental health, and it is one of the most stunning
Speaker 1: performances I have seen on any TV show ever. It
Speaker 1: is incredible. I'm a massive Rosebyn fan. She was the
Speaker 1: cameo on the film I made many years ago. So
Speaker 1: when we know what rose Burn has become, it is
Speaker 1: interesting to look back at this role where it's almost
Speaker 1: there's not much for her to do, just hold on
Speaker 1: to just.
Speaker 3: Laugh and look sometimes. But she did it so well.
Speaker 3: That's because I just people going to the big smoke
Speaker 3: from a country town. It is overwhelming and you would
Speaker 3: be you would find yourself quite speechless, and so she
Speaker 3: does kind of laugh and she's she gravitates towards Jimmy
Speaker 3: he Fledge's character because he is like, he seems sure
Speaker 3: of himself, and she's like, well, that is amazing. And
Speaker 3: so all her character needs to do is giggle and
Speaker 3: look and say like and just seem like I'd overwhelmed
Speaker 3: and completely excited about the prospect of someone acknowledging her
Speaker 3: existence in not in like the disgusting way, you know,
Speaker 3: the other security guy who has a huge crush on her.
Speaker 3: So she obviously has standards. Yes, I loved that. So
Speaker 3: there was a little moments of her character being you know,
Speaker 3: quite rich in the fact that she was like, oh,
Speaker 3: I just need someone to look after me. If it's
Speaker 3: not my brother, it will be that guy. You know,
Speaker 3: she does have choice, which makes it a little bit
Speaker 3: more interesting. Yeah, she didn't have lots of lines, but.
Speaker 1: And the chemistry between her and Heath Leder is real
Speaker 1: and the dialogue is very like that. It's not flowery
Speaker 1: at all in this film. It's very realistic. It feels
Speaker 1: like they are too nervous early twenties, you know, late teenagers,
Speaker 1: you know, getting to know each other and they're nervous
Speaker 1: around each other.
Speaker 3: And then that's why he leaves the like their age
Speaker 3: is really important because that's where he buries a hole
Speaker 3: in the sand and puts ten thousand dollars in it,
Speaker 3: which in ninety ninety nine was four billion dollars. And
Speaker 3: then he runs into the ocean because he thinks he
Speaker 3: sees her, which is such a nineteen year old boy
Speaker 3: thing to do, to be like maybe I'll see a sideboob,
Speaker 3: you know, like it just like so excited to see
Speaker 3: the girl he has a crush on that he essentially
Speaker 3: ruins so many lives.
Speaker 1: And this was around the time, so pulp fiction comes out,
Speaker 1: like in ninety four, I think, okay, and in ninety nine,
Speaker 1: I think you start seeing the Tarantino effective. Like these
Speaker 1: narratives that and characters that kind of cross over each other,
Speaker 1: they kind of dance around each other, maybe slightly miss
Speaker 1: each other with that coming to contact with that really
Speaker 1: knowing it, and then kind of its spiraling into disastrous
Speaker 1: and fatal impacts like the butterfly effect.
Speaker 3: You know, like they're just if only if that one
Speaker 3: little thing didn't happen, everyone would be alive.
Speaker 1: Well, let's have a listened to and this is the
Speaker 1: bit of the narration from the brother, which we spoke
Speaker 1: a little bit earlier, and we'll get we'll get back
Speaker 1: to him. But this is, this is on the beach,
Speaker 1: and this is this is the turning point of the movie.
Speaker 4: Sometimes small things can magnify themselves into big things. The
Speaker 4: flap of a butterfly we can turn itself into a
Speaker 4: raging tornado. A tiny little ripple can end up as
Speaker 4: a devastating title wave. One careless decision can affect the
Speaker 4: way the rest of your life will unfold. The trick
Speaker 4: is to think very hard before you take the high
Speaker 4: road for the low road, because the wrong choice can
Speaker 4: really fuck you up big times.
Speaker 1: So interesting little fact here. So the actor he played
Speaker 1: the brother, the Ghost Brother, is really fine acting god
Speaker 1: Stephen Vidler. But the voice he was revoiced because Gregor Jordan,
Speaker 1: when he watched it in the edit, thought he had
Speaker 1: like a husky kind of voice, and he thought it's
Speaker 1: not quite working and he wanted more of a baritone.
Speaker 1: So Richard Carter, who's a journey journeyman actor and voiceover guy,
Speaker 1: does the voice and gives it that kind of.
Speaker 3: And it's the same voice from the VB ads for
Speaker 3: a hard earned post.
Speaker 1: That's probably I'd love to find that out. It sounds
Speaker 1: exactly and he is like, like, he's not Richard Carter
Speaker 1: is not just like a you know, a jobbing, successful
Speaker 1: Australian actor. But yeah, he's very much massively in the voiceover.
Speaker 1: So so you're probably right, We're gon we're gonna find
Speaker 1: that out. We will find that out.
Speaker 3: I'm just thirsty for a VB. Every time we talked,
Speaker 3: it's worked on me.
Speaker 1: It is. It is a movie about bad desitions and
Speaker 1: the fact that he was warned about this because he
Speaker 1: had a Kiwi Bob I think had made a similar
Speaker 1: mistake where he went and I think somebody was hanging
Speaker 1: washing out the back or taking a dumb or something
Speaker 1: and he assume they went home. So then so this
Speaker 1: is almost like a repeat of something that's already happened
Speaker 1: to Panda and the Jimmy's done it again, which I
Speaker 1: guess drives the frustration in him. But yeah, it's it's
Speaker 1: a big choice to bury that much money.
Speaker 3: Yeah, but also, did you ever wonder why couldn't one
Speaker 3: of those idiots in that he's in the part like,
Speaker 3: why didn't Pando just give The job was so simple.
Speaker 3: All he had to do was take ten thousand dollars
Speaker 3: to that lady's flat and give it to it and
Speaker 3: then he got five hundred dollars, which in ninety ninety
Speaker 3: nine was two bazillion dollars. He was it was a convert. Yeah,
Speaker 3: that was confusing, Like I was like, is this are
Speaker 3: they stitching you mart? But then he did you know that?
Speaker 1: I think potentially, I think I could sell it as
Speaker 1: they wanted to get Jimmy Happy to kind of get
Speaker 1: Jimmy in there. They want to kind of get people tests,
Speaker 1: a test, and this was like a simple enough job,
Speaker 1: just delivering a package basically ten dollars.
Speaker 3: You idiots, he's nineteen, he's gonna fuck it up. He's
Speaker 3: gonna bury it in the sand, and two neglected children
Speaker 3: are gonna watch him do it and they're gonna steal it.
Speaker 3: Like I can see this happening. Yeah, you idiot, Panda,
Speaker 3: you idiot. You're so good at scrabble, but you're bad
Speaker 3: at everything else.
Speaker 1: It's his obsession with scrabble potentially origami as well, that
Speaker 1: he's taking his eye off the ball here. Let's just
Speaker 1: stay with Heath Ledger and Jimmy. He is like this.
Speaker 1: You can see he only makes two more Australian films.
Speaker 1: That's what I think makes two Hands a pretty special film.
Speaker 1: He makes Candy with Abby Cornish and then he re
Speaker 1: teams with Gregor Jordan and make Neid Kelly, which is
Speaker 1: its own thing, and he has the Irish accent in that.
Speaker 1: So this and Candy the only times we can see
Speaker 1: Heath Ledger with his you know, native accent acting. And
Speaker 1: this is a better film. I think Candy is a
Speaker 1: good film, but this is I think this is the
Speaker 1: better film. He is an absolute superstar in this, and
Speaker 1: you can see how he becomes the actor he became
Speaker 1: obviously tragically cut short. But why he wins the oscar
Speaker 1: for Dark Night and Breakba. He stunts in Broakeback Mountain.
Speaker 3: He's all there, so good on the train because if
Speaker 3: he is I'm assuming that he is close he's I know,
Speaker 3: his actors supposed to be nineteen. I'm sure he's close
Speaker 3: to that age himself. But then all of the scenes
Speaker 3: are so good because he doesn't overdo it. He doesn't
Speaker 3: overact any of the things because he is a nineteen
Speaker 3: year old who's you know, they've got very few things
Speaker 3: to say, and he doesn't say many things. You know,
Speaker 3: when you give you see someone overacting, like my best
Speaker 3: example of this and he's not Australian, but if you
Speaker 3: ever watched Modern Family, Yeah, the son called Luke is
Speaker 3: the worst actor I think that it has ever existed. Okay,
Speaker 3: and he and they had to they had to, like
Speaker 3: they roll the dice. They had chose a child. Children
Speaker 3: are usually pretty bad, like the girl Lily, like the
Speaker 3: other like the other young person, she's also very bad.
Speaker 3: But they were like, that's okay, after a few episodes,
Speaker 3: that will get better and we'll have we have so
Speaker 3: much money in this series, like we'll just give him
Speaker 3: heaps of training and they'll be great. He never gets better,
Speaker 3: and he overacts everything, and he talks like he's got
Speaker 3: you know, peanut butter in his gums, and he just
Speaker 3: is so annoying and so he's overacting kills me and
Speaker 3: he Ledger could do that, but not in one moment
Speaker 3: does he over trying try and oversell something.
Speaker 1: And look looks looks kind of bad acting. He's also
Speaker 1: mixed in with the awkwardness that he's maney. He's going
Speaker 1: through puberty. Many is he's also a tough watch.
Speaker 3: But he fled, yes, but on the train, so if
Speaker 3: he has so he doesn't overact anything. But then on
Speaker 3: the train when his ghost brother touches him on the face,
Speaker 3: and then his entire body reacts to that. But you
Speaker 3: know he's acting like he's he's actually like, uh, you
Speaker 3: know these organs is being like squished, like he's just
Speaker 3: it's not too much like it's so good, you like,
Speaker 3: because you don't know what it feels. I want a
Speaker 3: ghost touches your face, but apparently it's an entire body sensation.
Speaker 1: Yeah, even if you're on public transport, you will not
Speaker 1: you will not try to just quieten things down, and
Speaker 1: you will just react. It's that propulsive. So he yeah,
Speaker 1: I mean, we're going to talk about he fleds it
Speaker 1: the whole way through here, and Jimmy, so let's talk
Speaker 1: about the ghost brother. Okay, and may we've referred to
Speaker 1: him a couple of times. But did you you love
Speaker 1: the ghost Brother? Yep, you did because because you're right.
Speaker 1: You read a review and it's wild. It's it's widely
Speaker 1: In fact, I spoke to I won't say who it
Speaker 1: is because I don't want to throw Hi under the bus,
Speaker 1: but you know, Austrain acting royalty this week, and I
Speaker 1: mentioned we were doing two Hands, and he loves two hands.
Speaker 1: In fact, he was the one who told me about
Speaker 1: the Steve Vidler and Chicago. Yeah, and he said the
Speaker 1: only thing he hadn't seen it for a while, it
Speaker 1: is the only thing that didn't work was the brother.
Speaker 1: And I was reading actually for your reviews, like yourself,
Speaker 1: and like, yeah, it was wild widely, kind of condemned
Speaker 1: in a way, and there's superfluous to the plot. You
Speaker 1: can make all those arguments. But I didn't mind it.
Speaker 3: No. I thought, well, he's, like you said, like with
Speaker 3: Quentin Tarantino, this obviously being the influence of like the
Speaker 3: absurd non naturalism and naturalism. I thought it was a
Speaker 3: nice easy balance. I also thought that I didn't know
Speaker 3: it was his. I thought it was him because in
Speaker 3: the opening scene is him with a gun to his head,
Speaker 3: Jimmy with a gun to his head. Well, he's not
Speaker 3: going to get out of this. He's stuffed up the address.
Speaker 3: They're very angry. And then so I thought that that
Speaker 3: was him.
Speaker 1: Yeah, right, how long I did, because I think I
Speaker 1: do say he does mention that he's his brother.
Speaker 3: Not right at the start though, Yeah, so it must
Speaker 3: have been until they mentioned they mentioned it. But he
Speaker 3: doesn't come in too much and he's like, you know,
Speaker 3: the narrator, and we learn we learned that he is
Speaker 3: a victim of Pando's because he stuffed something up.
Speaker 1: Yeah.
Speaker 3: I thought it was Yeah, I thought it was good.
Speaker 1: I don't like this guardian angel kind of element to it,
Speaker 1: because also he does when he goes into the laundry,
Speaker 1: he obviously kind of affects those bullets that because he
Speaker 1: comes in, you know, echo David Field, the excellent David Field.
Speaker 1: Here's something. He goes into the laundry and the baskets
Speaker 1: on the ground which was it was on the washing machine,
Speaker 1: and then he notices the bullets that have got all
Speaker 1: the powder on it, which is one of the great
Speaker 1: details of this. You know that the fact that only
Speaker 1: in the Australian crime thriller comedy does somebody get saved
Speaker 1: because somebody put their bullets in their shorts. In the
Speaker 1: shorts was a glovely detail that made it more Australian
Speaker 1: for me. In their shorts and they put them through
Speaker 1: to wash. Amazing. So he has in a way, he
Speaker 1: does end up saving Jimmy because that's the thing that
Speaker 1: saves him in the end. The only thing I would
Speaker 1: add is I think what it would have what I
Speaker 1: would have liked to have seen, because the big question is, Okay,
Speaker 1: so if Jimmy's brother work for Pando, and Jimmy's brother
Speaker 1: was killed by Pando, why does Jimmy want to work
Speaker 1: for Pando?
Speaker 3: Because and I love that you bring this up, Okay,
Speaker 3: because this is what we do. It's a generational thing.
Speaker 3: When we are brought up in a type of class
Speaker 3: or a you know, an environment, we just it's cyclical.
Speaker 3: We'll just do whatever our parents. And that's why there's
Speaker 3: lots of there's lots of women who've had kids young.
Speaker 3: Their kids will sometimes have kids, often have kids young.
Speaker 3: That thing was like, okay, so what's happened before me
Speaker 3: is my it's my lot in life, and that's it.
Speaker 3: And accepting that. This way, you see these two the
Speaker 3: two kids who take the money, who are obviously like
Speaker 3: they're quite young. They'd be like twelve or maybe even younger.
Speaker 3: These two kids who find the money, they the choices
Speaker 3: that they are making are not sensible and obviously you
Speaker 3: can assume the choices that their parents made were not
Speaker 3: sensible for them to be in the position that they
Speaker 3: are in. So it's it's a cyclical thing of like
Speaker 3: what someone like me with my family line, what am
Speaker 3: I supposed to do in life? And it's with Jimmy.
Speaker 3: His brother chose that, and he goes, well, that's that's
Speaker 3: just what I will choose. He doesn't know that he
Speaker 3: shot his brother until but he knows that his brother
Speaker 3: dies in that environment. He knows that his brother has
Speaker 3: chosen that, you know, that lifestyle, and he ends up dying.
Speaker 3: Does he know that he's dead until that's I knows
Speaker 3: he's dead.
Speaker 1: But this is the thing because and I think this
Speaker 1: because I think this is almost a perfect film. But
Speaker 1: I do the more I think about this brother, and
Speaker 1: I said, I.
Speaker 3: Liked that hate the brother.
Speaker 1: Now I wonder if there was an opportunity to you know,
Speaker 1: but Jimmy never talks about his brother. Really, I can't
Speaker 1: think of a scene where and I think if there was, well,
Speaker 1: it would have been very interesting, I think. And the ending,
Speaker 1: I think he's perfect, So I don't want I'm not
Speaker 1: This is just like an and or if we knew
Speaker 1: that Jimmy was going to work for Pando or even
Speaker 1: at some point realized that Pando had killed his brother
Speaker 1: and then kind of thought, I'm going to fucking take
Speaker 1: care of Pando or if the opportunity comes. And then
Speaker 1: when he has that, you know, he's holding a gun
Speaker 1: to his head at the end, and he chooses not to.
Speaker 1: It even makes it more powerful, as powerful as already is,
Speaker 1: and it it works completely, it works. But I do
Speaker 1: wonder just giving us something more that connects Jimmy with
Speaker 1: his brother or what was that relationship, Like, was he
Speaker 1: was his hero? Was he? You know?
Speaker 3: Were they I think that's the fact that he took
Speaker 3: a gun there in the first place. That is his revenge,
Speaker 3: Like that is as far as he can go. Otherwise
Speaker 3: he's the same as Pando. So I think if he
Speaker 3: just canded over the money and was like that's it,
Speaker 3: we're good, we're fine, you're not going to kill me,
Speaker 3: all right, see you later, and then left, that's where
Speaker 3: we'd be like, oh wow, he didn't He genuinely didn't
Speaker 3: care if his brother died or not. But the fact
Speaker 3: that he brings a gun to be like, don't ever
Speaker 3: come to me and scaring shit out of them. Don't
Speaker 3: ever even think about mentioning my name again. Like, don't
Speaker 3: come anywhere near me. I will kill you. That was
Speaker 3: his like, no I care, I know what you did.
Speaker 3: I don't want peace with you. I just want you
Speaker 3: to never contact you know what I mean, like like
Speaker 3: we're not good. We are with Sevet, Yes.
Speaker 1: So, and I I agree with that, But I also
Speaker 1: didn't necessarily tie emotionally. I wasn't thinking about the brother
Speaker 1: being tied in with that. I was just thinking, you
Speaker 1: have put me through fucking hell.
Speaker 4: You have.
Speaker 1: You know, there's a guy dead on the road as
Speaker 1: being shopped by the police here because the butterfly effect
Speaker 1: of admittedly it was Jimmy's mistake by bearing the money
Speaker 1: and the beach, but yeah, I wasn't thinking this was
Speaker 1: you know, when he was holding the gun at Pando's head,
Speaker 1: I wasn't thinking this is revenge for my brother some
Speaker 1: re I just don't think the connection. I would have
Speaker 1: liked a scene with Jimmy maybe talking with Alex Rosebyrn
Speaker 1: about his brother and like just that a sense of
Speaker 1: that loss or wonder about maybe what happened. Maybe he
Speaker 1: doesn't know, you know, Yeah, just a little inroad that
Speaker 1: kind of connects those two worlds.
Speaker 3: I quite like that he because I assume that he's
Speaker 3: he's had an upbringing not dissimilar to the kids that
Speaker 3: were quite trouble, the kids who took the money, because
Speaker 3: he's made bad decisions, his brother's made his brother made
Speaker 3: bad decisions. He works like as a bounce of the
Speaker 3: strip club, so he's constantly surrounded by quick money, probably
Speaker 3: some pretty seedy people, and that's just what he's accepted.
Speaker 3: He's accepted there's no no one in there is really
Speaker 3: talking about their feelings, and he never does it, not
Speaker 3: even with Rose, Like he doesn't really say anything particularly
Speaker 3: beautiful to her, even though he's obsessed with her. So
Speaker 3: there's this thing of like, well, no one's ever told
Speaker 3: him he was This is what I assume. No one's
Speaker 3: ever said, hey mate, I love you so much. And
Speaker 3: his brother's way of looking after him is by this.
Speaker 3: You know, so many people remove of tampering with bullets
Speaker 3: that eventually save him, but he never understands that. So
Speaker 3: there's this disconnect between how people are feeling and what
Speaker 3: they say, and that is quintessentially like a nineteen year
Speaker 3: old Australian boy thing to do. Yeah, so I reckon
Speaker 3: if he had had that scene with Rose, like, I
Speaker 3: appreciate that it would have been quite it would have
Speaker 3: been moving and nice and there would have been something
Speaker 3: tied together.
Speaker 1: But I don't.
Speaker 3: I don't reckon it would be honest to that character
Speaker 3: for him to ever say anything about that.
Speaker 1: I think it's a very good point, and I do
Speaker 1: love the naturalism of their discussions. It's like there's a
Speaker 1: lot going on, but there's it's not through the dialogue.
Speaker 1: It's gigly, it's yeah, it's nervous and it's really really Yeah,
Speaker 1: I do take that that point on. I do love
Speaker 1: when he ends up breaking down in Pando's office at
Speaker 1: the end, that that just freaks all the Australian It's
Speaker 1: just like that's like come to when the gun comes out, I.
Speaker 3: Think, oh, thank god, he's gonna kill it. Okay, he's okay,
Speaker 3: put an end to this.
Speaker 1: Jimmy's also so like he's a dumb character, like you know,
Speaker 1: he's he makes stupid choices the whole way through this.
Speaker 1: So what Gregor Jordan does really cleverly and the way
Speaker 1: he betrays it, like he gives him he makes me
Speaker 1: he's a beautiful young man, you know, like not you know,
Speaker 1: physically he is, but like emotionally, like he wants to
Speaker 1: be this tough guy. We see him beating up in
Speaker 1: this little you know, kind of at the gym, little
Speaker 1: fight club moment, and so he can handle himself and
Speaker 1: he wants to be tough and one of the guys.
Speaker 1: But he's really sweet, like he checks he checks in
Speaker 1: on his neighbor, you know, and make sure that the
Speaker 1: people didn't hurt her or you know, u Oka, and
Speaker 1: I'll fix that thing for you when when I get back. Yeah,
Speaker 1: he makes this all these little things. He's honest enough
Speaker 1: to call Pando and tell him what happened like that.
Speaker 1: Usually in these films that doesn't usually happen, but it's
Speaker 1: usually the characters trying to keep that information for as
Speaker 1: long as they can. He rings Pando and says, I
Speaker 1: lost the money, sorry, but it's gone.
Speaker 3: Yeah, he is likable, but he's in the wrong world,
Speaker 3: whereas there's someone who is absolutely unlikable. Because I think
Speaker 3: Brian Brown's character is quite is quite likable because he
Speaker 3: has this soft moment with his son where he's like
Speaker 3: looking after his boy and is like, he's very gentle
Speaker 3: and he's obviously a family man making og. Yeah, but
Speaker 3: the one who is the one who's completely you cannot
Speaker 3: relate to at all, is is it aka Acho who
Speaker 3: hits the kid he drives over the kids? Dreadful scene.
Speaker 3: Oh my god, Pete Elliott, that got me a real word.
Speaker 3: I was like, no, because the kids so sad, and
Speaker 3: this kid who no one was looking after, just gets
Speaker 3: hit by the worst character and then he just picks
Speaker 3: him up and lumps into the side of the road,
Speaker 3: and his mate is watching on has no regard because
Speaker 3: even though the guy he's in the car is like,
Speaker 3: holy shit, like we just hit a we just hit
Speaker 3: a kid, and he just drives off. So I think
Speaker 3: that there's so we have this character who is horrible,
Speaker 3: like just pure evil if who is who stuffs up
Speaker 3: and can't kill Heath Ledger in the end. So it's
Speaker 3: even more joyful when when his gun stuffs up, because
Speaker 3: you're like, great, you're the worst and you definitely would
Speaker 3: have shot him and you wouldn't have felt bad about it,
Speaker 3: which as an audience member, you're like, we like that one,
Speaker 3: Please don't do that to him. It's a really satisfying
Speaker 3: moment when that happens, because that character is so crap.
Speaker 3: But he yeah, he's in this bad world where he
Speaker 3: has to do some pretty ordinary things, but we never
Speaker 3: see him do any ordinary things.
Speaker 1: No, no, and he's just he's, like he said, he's
Speaker 1: really sweet. He's checking in on people. I mean, go
Speaker 1: back to that scene one that comes out of nowhere. Yes,
Speaker 1: so it's shocking, it's shocking. And then to double that
Speaker 1: up with the apathy of Acho who gets out checks
Speaker 1: the headlight. It's the first he checks the headlight of
Speaker 1: the car, check damage on his beloved car, or the
Speaker 1: baddies drive Fords by the way, or the goodies drive holding.
Speaker 2: Really on me.
Speaker 1: And then and he doesn't take a cigarette of his mouth.
Speaker 1: He's you know, like yeah, and then he just picks
Speaker 1: him up, puts him on the side of the road,
Speaker 1: you know, like a and it's it's such a brutal
Speaker 1: moment because when those street kids came in. I remember thinking,
Speaker 1: you know, like I hadn't seen this film for probably
Speaker 1: fifteen years, and I really forgot how good it was.
Speaker 1: To be honest, like I said, I I just remembered
Speaker 1: the teeth ledger in Roseburn and Jordan Palladfinger And so
Speaker 1: when the street kids popped up, I knew they had
Speaker 1: something to do with the plot, but I was like,
Speaker 1: I don't. I didn't try to think too much about it,
Speaker 1: but I was like, yeah, one of these kids doing
Speaker 1: it again. I was always like, get past these kids.
Speaker 1: I did like that. I was talking about, you know,
Speaker 1: the first scene they're talking about the indigenous of the
Speaker 1: area and and and all that a detail, and then
Speaker 1: when they see him on the beach, you're going, Okay,
Speaker 1: that's right. They get tied into.
Speaker 3: This as a butterfly effect.
Speaker 1: Yeah, yes, And the performance by that actress Mary mclaory,
Speaker 1: Helen has her name. She's just great and we won't
Speaker 1: get to that, we won't jump to the end just yet,
Speaker 1: but she is really good.
Speaker 3: Well, this is what these street kids. They are just
Speaker 3: like representative of Heath and his brother. So there's that,
Speaker 3: you know, I guess not really looked after. There's no
Speaker 3: They opportunistic, like they see something they don't really think
Speaker 3: about the consequences, and then one ends up dying, and
Speaker 3: then the other one is left by themselves and has
Speaker 3: to try and work out how to make sense of that.
Speaker 3: And so this is where we see Heath at the end,
Speaker 3: and there's this one of the best moments in the
Speaker 3: entire film is when in a horrible staircase that goes
Speaker 3: to Panda's office, which is a strip club staircase, so
Speaker 3: grows like there's a weird, horrible line and it's like
Speaker 3: just you just know, gross things have happened in that
Speaker 3: staircase and that child walking up the stairs and Heath
Speaker 3: Ledger walking down the stairs and the eye contact. It's
Speaker 3: so beautifully shot, and they have this moment whereas like
Speaker 3: which goes for ages and you just don't want it
Speaker 3: to win because and you don't want them to talk,
Speaker 3: Like I'm like, please don't say anything to each other
Speaker 3: right now.
Speaker 1: They haven't met each other, they haven't liked they've crushed
Speaker 1: paths unwittingly.
Speaker 3: Yeah, And because you also know like she's seen him, as.
Speaker 1: Seen him, Yeah, so she may she probably recognizes him
Speaker 1: or you know, could It's it's not about her and
Speaker 1: him having any kind of connection, but they do have
Speaker 1: this connection because they've both been through the worst day
Speaker 1: of their lives and that will connect them, whether they
Speaker 1: realize it or not. And it's just so Jimmy's come
Speaker 1: out of the office where he's chosen good. I guess
Speaker 1: you know, he's chosen to be good and the light
Speaker 1: he decides not to execute Pando, but then he crosses
Speaker 1: pars with somebody who's going to.
Speaker 3: Choose absolutely ready to yeah, because they are like I
Speaker 3: think that they mirror each other in a lot of ways.
Speaker 3: But she's you see him in the stage of his
Speaker 3: life where he is, like, you know, a charming nineteen
Speaker 3: year old who has a job at a girl that's
Speaker 3: interested in him. Sure he's made heaps mistakes, but there
Speaker 3: seems like there's flickers of hope for him. Whereas Helen
Speaker 3: is this young girl who's absolutely needs parents and they're
Speaker 3: nowhere to be seen. And the only person who ever
Speaker 3: saw her really was a little boy who she had
Speaker 3: something in common with, which just breaks my heart. And
Speaker 3: then she watches him die, and then not only that,
Speaker 3: she watches his life be so dismissed in the most
Speaker 3: callous way where that man picks him up, lumps him
Speaker 3: on the ground and then just like looks at her,
Speaker 3: acknowledges that she is there. But what makes it so
Speaker 3: much worse is that he doesn't acknowledge that she matters
Speaker 3: at all and what she's just seen matters. And then
Speaker 3: he gets in his car and he drives away, and
Speaker 3: she's left there with this lump which was her best mate,
Speaker 3: and not only a best mate, like her parents, her friends,
Speaker 3: every single thing was in this life of this boy
Speaker 3: who's covered in all these new clothes there. And then
Speaker 3: the difference between them is not only that they have
Speaker 3: different characters, but their storylines kind of mirror each other
Speaker 3: for a long time, up until the end where she
Speaker 3: chooses to kill all of those people who took the
Speaker 3: only thing that mattered to her away from her. But
Speaker 3: he has other things going on, so he's like, well,
Speaker 3: I could kill you, but I don't want to be
Speaker 3: like you, whereas it doesn't really matter to her whether
Speaker 3: she's like them or not because there's nothing left for her,
Speaker 3: which is the saddest.
Speaker 1: It's the saddest, and I mean that scene where they
Speaker 1: cross paths in the nightclub is also The other element
Speaker 1: to this is from a film point of view, is
Speaker 1: These Days by a powder Finger, which I don't think
Speaker 1: there's been a piece of music in an Australian film,
Speaker 1: or I won't even say a film that has hit
Speaker 1: me as much as when those opening coors of these
Speaker 1: Days come in. I think Jimmy gets the gun out,
Speaker 1: and then it builds to when Helen and Jimmy cross paths.
Speaker 1: It was written for this movie by Ben really, yeah,
Speaker 1: and it was I don't know what the process was
Speaker 1: if they were shown the scene and then kind of
Speaker 1: wrote it around that scene. I'm sure there was a
Speaker 1: description of thematically what it was or at least the
Speaker 1: vibe they were going for, but it is just perfect
Speaker 1: and it raises it to a whole new level.
Speaker 3: Yeah, it was so good that scene. It was so thrilling.
Speaker 3: Like I said, I was, I thought I was going
Speaker 3: to fall asleep in movie because it was late at night,
Speaker 3: but that I was like, could not have been more awake.
Speaker 3: It was so powerful. And then yeah, I'm so thrilled
Speaker 3: that there was no talking. They just acknowledged each other.
Speaker 3: I completely saw each other. Where As I've just said, like,
Speaker 3: she never feels seen, like no one ever really sees her,
Speaker 3: and she's just come this consequential kind of person who's
Speaker 3: just forgotten about and dismissed all the time until the end,
Speaker 3: she's the biggest impact on everyone because she's like, well,
Speaker 3: I'm kind of killed a lot, and she has great
Speaker 3: shot like who taught her that? Again, neglect it. Someone
Speaker 3: taught her that.
Speaker 1: Someone taught her, and it just is a really strong
Speaker 1: choice by the writer director. Agree with John that you know,
Speaker 1: we were all being pretty satisfied and Jimmy took care
Speaker 1: of out of that, but we didn't kind of see
Speaker 1: this coming. So when he's walking out like, hey, this
Speaker 1: is interesting, he's going to leave them okay, there's no
Speaker 1: justice for and then all of a sudden, it's like
Speaker 1: she's walking into the Okay corral. It's just it is brilliant. Yeah,
Speaker 1: it's so good. A lot of these. I mentioned that
Speaker 1: pulp fiction comes down ninety four, so we start seeing
Speaker 1: the effect of Tarantino around this time in movies like Go,
Speaker 1: which came out in ninety nine. Doug Lymon directed that,
Speaker 1: John August wrote it. Or the Guy Richie films Block
Speaker 1: Stock and Twos Making Barrels Run, Lola Run by Tommy Tiker,
Speaker 1: and so this was like the Australian nomination for you know,
Speaker 1: those those kinds of films, and parts of those films
Speaker 1: are the little breadcrumbs that are thrown in along the
Speaker 1: way and the coincidences that things reappear, like the one
Speaker 1: hundred dollar note. I think it's such a great little
Speaker 1: device that Tom Long's character. I think it's was a no,
Speaker 1: that was kim Dusty Smith. Any Tom Long's character. He's
Speaker 1: drawing before Jimmy arrives. He's drawing the little text to
Speaker 1: the gun and the blowing the brains out of whoever's
Speaker 1: on a hundred dollar note. Sorry, Kathy Freeman, No, Daddy
Speaker 1: Freeman's brains. Ny, it's an old white guy. Makes it
Speaker 1: much better that he drops these little things that you
Speaker 1: think either just a little nice little detail, little joke
Speaker 1: perhaps you know the radio contest that you think.
Speaker 3: Oh my god.
Speaker 1: And when that pays off and he sees a bumper
Speaker 1: sticker and they're riding next to you think, oh, maybe
Speaker 1: this is how he uses this to And he's got
Speaker 1: the radio off at that point, they've turned the radio off,
Speaker 1: so he doesn't hear that. It is a little confusing
Speaker 1: because you do hear the radio, and you're not sure
Speaker 1: where that radio is coming from, but they have turned
Speaker 1: the radio so they don't really hear it. So it's
Speaker 1: not really kind of he hasn't joined those darts, and
Speaker 1: he runs him off the road.
Speaker 3: He put out of it. He would have run him
Speaker 3: off the road anyway.
Speaker 1: Even if he knew. He's got a situation he's dealing with.
Speaker 3: Yeah, and even we haven't talked about the bank robbery
Speaker 3: because that in itself, Oh my gosh, but this is
Speaker 3: so odd. I love so much about the bank robbery
Speaker 3: is their environment is so grim, but it's it's normal
Speaker 3: to them. All of this crime, it's so normal. Like
Speaker 3: they're planning a bank robbery. One of the blokes holding
Speaker 3: a baby. There's two little kids playing on the ground.
Speaker 3: They're talking about, I can't do it tomorrow. I've got
Speaker 3: the kids, and she's like, it's all right, I'll look
Speaker 3: after them. Like it's really suburban like family vibe, and
Speaker 3: they're just discussing and planning a really really dangerous bank robbery.
Speaker 3: And the slapstick of the guy knocks himself out in
Speaker 3: the back during the bank robbery, and that is and
Speaker 3: then watching that that that goes from like this fast
Speaker 3: pace like go go go, go, go, go, go go go,
Speaker 3: and Heed just holding the gun and all these people
Speaker 3: on the ground and then he trips and knocks himself
Speaker 3: out and then he has to stand there in silence
Speaker 3: where all of the people on the ground are looking
Speaker 3: at him like, so is it over? Are you giving up?
Speaker 2: Are we?
Speaker 3: Are we okay? To stand up? He's like, does that out?
Speaker 3: And then he's like has to shake it, get the
Speaker 3: other Oh. That whole thing is so funny but also
Speaker 3: so really sad because the guy who was holding the
Speaker 3: baby gets shot dead and yeah, but then they just
Speaker 3: have to carry on. So this is like, this is
Speaker 3: I think that the bank robbery scene I think was
Speaker 3: really important to show not only how desperate Heath was,
Speaker 3: but how normal this like this life was and so
Speaker 3: he didn't see. So Pando was even though he was
Speaker 3: a very bad person and his brother died when he
Speaker 3: worked with him. He didn't know how he died. But
Speaker 3: I guess he just knew that his brother's life came
Speaker 3: to an end. What else was that? That was the pinnacle? Yeah,
Speaker 3: the fact that Pando was like his security guard mate
Speaker 3: was like, do Pano give you a job?
Speaker 1: Oh?
Speaker 3: Mate, that's huge, well done, You've made it. So there
Speaker 3: was no way for him to turn that down. Why
Speaker 3: would he?
Speaker 1: Yes? And the point you make about also his mate
Speaker 1: say mate on the door, you know, like talking about Panda.
Speaker 1: Are you working for Panda? And they're so cool about
Speaker 1: how they set things up. That's just a brilliant I mean,
Speaker 1: we've already seen Pandoa with the gun to the head,
Speaker 1: so we know the Paneas are dangerous to but they
Speaker 1: take every opportunity in a pretty quick a short amount
Speaker 1: of time to tell us that the Panda is a
Speaker 1: fucking serious guy. And when things go pair shape, we
Speaker 1: know calling Pando and telling the truth is a fuck
Speaker 1: a bad idea. And we know that if Jimmy doesn't
Speaker 1: find the money, he's dead, and even if he finds
Speaker 1: the money, he may end up dead. And I think
Speaker 1: you need your villains to be nasty, like in Bruges,
Speaker 1: Like when Ray France comes in, we know he's a
Speaker 1: serious guy and he's a dangerous guy, and that Colin
Speaker 1: Farrell's in a bit of trouble. So the other thing
Speaker 1: I just wanted to talk about was the bank Rubber
Speaker 1: is I think just hilarious. And the confidence of the
Speaker 1: director to dedicate time often you're under pressure. I mean,
Speaker 1: it's a good this is only like a ninety minute movie,
Speaker 1: which is I think lovelyrs around that time. But they
Speaker 1: have to dedicate the time in the edit and on
Speaker 1: the day to give Heath the time to actually play
Speaker 1: that out after he's hit his head, which is fucking hilarious,
Speaker 1: and then he's like he's not sure what to do,
Speaker 1: like what there's a version of that where he kind
Speaker 1: of goes, oh shit, and then he kind of go
Speaker 1: straight up to the window and he's bang on the
Speaker 1: window and all that. But no, he actually kind of
Speaker 1: he has to process it and he's thinking about and
Speaker 1: he's not sure exactly what to do, but what do
Speaker 1: I do? And then he eventually moves over the door
Speaker 1: and bangs that not bangs, he gently taps the window
Speaker 1: makes it funnier and Kieran Darcy Smith's in now I
Speaker 1: think that's what was I saying, what what what? What's
Speaker 1: going on? You need to come out like it's so cold,
Speaker 1: it's so good and the poor bugger gets done and
Speaker 1: the yeah, but it is so good to see, like
Speaker 1: this feels like a very Sydney film and that it
Speaker 1: was made in the right city. I mean, of course
Speaker 1: there's a version of this you could have done, you
Speaker 1: know in the city kind of clubs of Saint Kilda
Speaker 1: and you know around that time in Melbourne. This feels
Speaker 1: like it was made in the right city. It was
Speaker 1: they have BONDI been so iconic in there, and but
Speaker 1: he just felt such a They dressed in the stubby
Speaker 1: shorts and cuteos to Brian Brown. Because when Brian Brown
Speaker 1: gets out of that car, when they take Jimmy away
Speaker 1: and he walks towards rose Byrn, he's not armed. Yeah,
Speaker 1: he's basically wearing thongs, stubbies and you know, a polo
Speaker 1: and it's still menacing.
Speaker 3: Do you need to get I'll give you twenty bucks
Speaker 3: to get home, you know, like, do you name You're
Speaker 3: what's his name? Sister? I think he's gonna hurt it.
Speaker 3: I'm like, get roast run. He's so dangerous, but he's like, yeah,
Speaker 3: he's still quite likable in that way of like he's
Speaker 3: not completely evil compared to his henchmen.
Speaker 1: Yeah, it's the ying and the yang. I think they
Speaker 1: set up at the start with the tattoos and but yeah,
Speaker 1: he's only armed with a with a handlebar mustache, a
Speaker 1: very good handlebar mustache, it has to be said. But
Speaker 1: it was just really good to see Sydney on screen again.
Speaker 1: I think this makes it an important film because it's changed,
Speaker 1: you know, and the cross is basically gone, you know,
Speaker 1: for better or worse. Many would argue for better, some
Speaker 1: would argue for worse, but you know, the lockdown laws
Speaker 1: kind of changed the landscape a little bit. So to
Speaker 1: see Sydney pre that, I think is a really special thing.
Speaker 1: It's just a beautiful I know. I think Sidney looks
Speaker 1: great in this film, as dark as it.
Speaker 3: Is sweltering, like the when he goes for a walk
Speaker 3: on the beach because it's boiling hot, Like you can
Speaker 3: do the whole film. They're always sweaty. Oh my god.
Speaker 3: They looks so when they have to wear like the
Speaker 3: tires and the shirt when they're standing front of the thing,
Speaker 3: and they just like both covered in sweat. Like it's
Speaker 3: so funny that like they're trying to look formal in
Speaker 3: that kind of heat. But when he tries to deliver
Speaker 3: the money and he can't, and then he goes to
Speaker 3: the beach, he's walking along and it's packed and everyone's swimming,
Speaker 3: and he's so hot and he sits down. It's blistering heat.
Speaker 3: And then he goes into the water and there's this
Speaker 3: like maybe a second of relief. As an audiencement, you
Speaker 3: feel like you're like, oh God, he's in the water,
Speaker 3: but it's like it's gone almost immediately when you realize
Speaker 3: the kids have taken the money and he's absolutely screwed.
Speaker 3: The movie's full of that. Jimmy's life would have been
Speaker 3: like that. There's always this like anytime you feel something good,
Speaker 3: there's a consequence. And then he meets Alex and he goes,
Speaker 3: she's amazing, But there's always a consequence to that, Like
Speaker 3: even when he's like, oh, I'm in heats of danger
Speaker 3: and she's like, John, meet up to the pub, and
Speaker 3: he's like, oh fuck, all right, just all right, fine,
Speaker 3: we'll go to this pub and then we'll meet there
Speaker 3: and it'll be we'll just really quickly just don't tell
Speaker 3: any one or I don't even think he says that,
Speaker 3: but she's accidentally told the worst person to tell in
Speaker 3: the world, and he realizes that information. So he sees
Speaker 3: her for I don't know two minutes and they're chatting
Speaker 3: and then she goes, oh God, there's that guy that
Speaker 3: who was at the house. God's annoying. And then he
Speaker 3: realizes that, like it's ruined there, and then he sees them,
Speaker 3: so any moment that he feels like something good is
Speaker 3: about to happen or something good is happening, it's just
Speaker 3: washed away so quickly, which is exactly the same storyline
Speaker 3: as the Two Street Kids, where something amazing has happened,
Speaker 3: Like the kid steals someone's wallet at the start, and
Speaker 3: then he's like, yes, I've got a little bit of money,
Speaker 3: and then he you know, gets chased because obviously the
Speaker 3: guy works it out, and then they find ten thousand
Speaker 3: dollars and they're like yes, and then they go by
Speaker 3: like one hundred dollars worth of lollies. Adorable, adorable, and
Speaker 3: then he dies, you know, like it's just never in
Speaker 3: that environment that they're all in with this kind of
Speaker 3: like not enough support or not enough people to look
Speaker 3: after him, like their relief is always so temporary. And
Speaker 3: then that's so I guess I love how all of
Speaker 3: the people like if that they think that something's good
Speaker 3: going to happen, it's immediately washed away.
Speaker 2: Yeah.
Speaker 1: Absolutely, And you do feel like he needs needs to
Speaker 1: get out of Sydney, like this is not this is
Speaker 1: not going to work for him, you know. So the
Speaker 1: Ray of Light is Alex Rose BYRN and and maybe
Speaker 1: you know like, as much as she doesn't have a
Speaker 1: great character arc, she's important, Like she's not unimportant in
Speaker 1: this movie, Like she's there kind of the rescue him,
Speaker 1: I think. And you know, there are a lot of
Speaker 1: movies about men rescuing women, but it's just really her
Speaker 1: rescuing Jimmy, I think. And I just want to play
Speaker 1: before we wrap up the effortlessness of somebody told me once.
Speaker 1: In fact, I think I've mentioned on this podcast before,
Speaker 1: as Joel legend One said, you know, there's different ways
Speaker 1: you can show people falling in love in movies. You
Speaker 1: know you can. It can be complicated ways, but sometimes
Speaker 1: it really is just about moving into somebody and playing
Speaker 1: some music, cute to music, moving to the other person,
Speaker 1: their eyes locking, they're in love. You know. That's the
Speaker 1: language of cinema, and they do it really well. Here
Speaker 1: that the photo that he takes, he's got to take
Speaker 1: of it and then it's gorgeous. But along with that
Speaker 1: is the love chemistry between Rose and Hey, let seven
Speaker 1: will listen to it. Hey, what about you go any photos? No?
Speaker 5: Not really, Hey, let me take one to you. Come on,
Speaker 5: let me tell you one. I'll promise you I'm not
Speaker 5: going to run off with your camera. Yeah, we gotta
Speaker 5: do something. Do you want me to do?
Speaker 2: I don't know something.
Speaker 5: M here's your camera. So when are you gonna get
Speaker 5: him a done developed?
Speaker 1: I don't know, probably just later on.
Speaker 5: Do you want to show up to me?
Speaker 3: Yeah?
Speaker 5: Okay, all right, oh courier or something maybe.
Speaker 3: Yeah, all right, I'll give you my number.
Speaker 1: It's just it's just genuinely really sweet, isn't it? Nothing
Speaker 1: flowery about it? And I said, I think he rose
Speaker 1: does a really great job of doing a lot with
Speaker 1: not a lot on the page.
Speaker 3: Absolutely, this is a giggling it's that country girl vibe.
Speaker 3: But also I love that moment where he's taking a
Speaker 3: photo of it with because she laughed almost the whole
Speaker 3: way through the movie, like she's all nervously laughing. But
Speaker 3: then when you go to take a photo of her,
Speaker 3: she doesn't smile, and it's this moment of someone actually
Speaker 3: being genuinely, like genuinely looking at him and being seen
Speaker 3: so powerful. I love that she didn't smile in that
Speaker 3: shot and how he was like, that is the most
Speaker 3: beautiful face I've ever seen, and he's not wrong. She's
Speaker 3: so beautiful, stunning, absolutely stunning. And then they go away
Speaker 3: together and I do. I just want to mention the
Speaker 3: final scene where they are at the counter trying to
Speaker 3: buy a ticket. I think they're going to like the
Speaker 3: North Coast, maybe Coughs or something like that, and you
Speaker 3: know he doesn't know whether to pay for card or
Speaker 3: cash or pay for it.
Speaker 1: Yeah, you're gonna pay for bananas. And the giggling. I
Speaker 1: feel like Rose has been slightly disserviced in the end
Speaker 1: because I'm pretty sure that giggling at the end felt
Speaker 1: like it was eighty R which is additional dialogue replacement
Speaker 1: when you go into a studio after the films we
Speaker 1: made and you because it didn't seem like it was
Speaker 1: coming out of her in a way the volume was
Speaker 1: wrong on it was that kind of made it a
Speaker 1: bit weirder for me. I might be wrong, but.
Speaker 3: I'll have to go back and look at this, yeah
Speaker 3: scene again.
Speaker 1: But she's amazing. A couple of quick facts before we
Speaker 1: finish up, when they go to the Star Hotel, there's
Speaker 1: that little easter egg. There's a prize at the front
Speaker 1: that says ten thousand dollars. It's another opportunity for Jimmy
Speaker 1: to potentially, if he had seen that to find another
Speaker 1: way out without taking people with him. Could to see
Speaker 1: a monorail there as well. Eight to twenty thirteen, Rest
Speaker 1: in Peace?
Speaker 3: Why do not finish?
Speaker 1: I'm not sure why they tore it down, To be honest,
Speaker 1: I'd forgotten they had torn it down, even though I've
Speaker 1: been seeing many, many, many many times, and kind of
Speaker 1: never you haven't been on there for ten twelve years.
Speaker 1: And the final fact which actually kind of you'd be
Speaker 1: I think interested in Echo's X A Falcon which tragedy
Speaker 1: runs over the young bloke. He's director writer Gregor Jordan's
Speaker 1: actual car.
Speaker 3: What wait, the one because the one that he hit
Speaker 3: was that white and the one that he gets.
Speaker 1: That's the one that it's the one that Jimmy takes.
Speaker 3: Sorry, yeah, okay, so that's so that's that's the director's.
Speaker 1: Actually so not the car that hits the boy. Right, Yes,
Speaker 1: that's Gregle Jordan's car, but it was bought by somebody
Speaker 1: who brought it off him. Who lives in our world.
Speaker 3: Kathy Freeman.
Speaker 1: Not you're determined to get Kathy.
Speaker 3: She's really important.
Speaker 1: She is important, great Australian, very much. Mary Watts what, Yeah,
Speaker 1: it's funny because I remember I remembered this and then
Speaker 1: I was just you know, there's not a lot of
Speaker 1: Two Hands trivia online. I have to say this is
Speaker 1: a film. Glad we're doing this episode because I feel
Speaker 1: like it does deserve a pump up. But Meys brought
Speaker 1: the car and not long after the film was made
Speaker 1: and then sold of the auction in twenty eleven. I
Speaker 1: have to check out he's returning soon to do, he
Speaker 1: continued to Richard Link later before Sunrise series. So I'm
Speaker 1: about to check out what he did.
Speaker 3: He would he have made more money on that because
Speaker 3: it was in that film, surely.
Speaker 1: I mean I think so because it was a pretty
Speaker 1: you know, there was an after glow of Two Hands
Speaker 1: in Australia, so.
Speaker 3: It probably would have even increased in value after Heath
Speaker 3: Ledger died because people loved him even more after he died.
Speaker 3: Everyone's like, oh my god, you're right. He was one
Speaker 3: of the greatest. Should have kept him mass as you idiots.
Speaker 1: Got it too early early, brother Lewis, this podcast comes
Speaker 1: with homework. You are a busy lady. You got your
Speaker 1: Melbourne Facial comedy trio coming up, sir, I do what's
Speaker 1: it called?
Speaker 3: It's called obviously, obviously obviously, and it's obviously exactly it's
Speaker 3: all about like the women who've come before me and
Speaker 3: how they've always got advice for me, even if they've
Speaker 3: never been in a situation I'm in because everything is
Speaker 3: always very obvious to a sixty year old woman.
Speaker 1: And you're traveling that around the country.
Speaker 3: Yeah, Perth. I'm going Perth next month, Perth and then
Speaker 3: Adelaide and then Melbourne and then Sydney and then Brisbane
Speaker 3: and then eventually Canberra.
Speaker 1: Fantastic, go and see bron Lewis. I've mentioned this in
Speaker 1: the intro, but we've worked together in across many states,
Speaker 1: Queensland in here, in Melbourne of course at Wineries, and
Speaker 1: you are absolutely killing it. Well done, congratulations and you're
Speaker 1: a pleasure to share a state with and turns out
Speaker 1: the studio with as well.
Speaker 3: Thank you very much for having.
Speaker 2: We pleasure.
Speaker 1: Bron Lewis. She's funny, she's smart. I like her, like
Speaker 1: hanging out with her on stage and off stage. Check
Speaker 1: her out at the festivals around the country in obviously
Speaker 1: and great to talk about it. A great ozy film.
Speaker 1: I really enjoyed watching Two Hands again. I thought it
Speaker 1: holds up. It really does hold up so many fun
Speaker 1: elements to that film and great chatting le Bron about it.
Speaker 1: Thank you for listening to this podcast. I really do
Speaker 1: appreciate it, and it's growing and growing, and we do
Speaker 1: have a live show at a Melbourne International Comedy Festival
Speaker 1: coming up with Nick Cody that will be on April eighteen.
Speaker 1: I think I forget one of these Google it for me.
Speaker 1: You ain't seen Nothing Yet live or Yasney Live at
Speaker 1: the Melbourne International Comedy Festival. My special guest is Nick
Speaker 1: Cody and we'll be discussing the film which he's never
Speaker 1: seen until now, Back to the Future. It's a big film,
Speaker 1: it's a classic film. We're gonna have some other special
Speaker 1: guests along for the ride as well. Check it out
Speaker 1: at the Melbourne International Comedy Festival, Nick Cody, Back to
Speaker 1: the Future and yeah, come along. But we will love
Speaker 1: you to support the podcast anyway. You can jump on iTunes,
Speaker 1: give us a five star rating and a review would
Speaker 1: be a nice I recommend five stars and a nice review.
Speaker 1: That's just me, though. You make your own choices. Next
Speaker 1: week on the show. Wow to be one. It's actually
Speaker 1: a really interesting one because it's a film that I
Speaker 1: have known about for many years, obviously, but I've never
Speaker 1: seen myself Mike Nichols. And the film is Carnal Knowledge
Speaker 1: early Jack Nicholson, Garfunkel in a rare acting role from
Speaker 1: Simon and Garfunkel. Yeah, that one, and they're together for
Speaker 1: Carnal Knowledge. It's a saucy one, I believe. Yeah. So
Speaker 1: we're looking at that with a man who has become
Speaker 1: a good friend over the last few years, Kuren Wheitley Nicholson.
Speaker 1: He was following this current weekly and became Kuren Weekly
Speaker 1: Nicholson when he married the love of his life, the
Speaker 1: very funny Reece Nicholson. What a couple they make. They
Speaker 1: run the Comedy Republic, one of the best comedy venues,
Speaker 1: not only in Australia but the world. People were known
Speaker 1: from Triple J various podcasts. We'll chat more about that
Speaker 1: next week. But he's very funny, very smart, and I
Speaker 1: cannot wait to chat to him about all things Mike
Speaker 1: Nichols and Carnal Knowledge. So until then, life and hour,
Speaker 1: and so we leave Old Pete save Fansa and to
Speaker 1: our friends of the radio audience, we've been a pleasant
Speaker 1: good night