Speaker 1: Good apene ally here, welcome to you Ain't seen nothing yet?
Speaker 1: The movie podcast, where I chat to a movie lover
Speaker 1: about a classic or beloved movie they haven't quite got
Speaker 1: around to watching until now. Today's guest Matt Preston.
Speaker 2: Was it over a winner, Driman's bomb, Pearl Harmer?
Speaker 3: Hello?
Speaker 1: Sixty percent of the time it works every time.
Speaker 3: That doesn't make sense?
Speaker 4: Alright, it's green Beres for breakfast.
Speaker 3: Very hungry, haven't a right now?
Speaker 5: You ain't seen nothing here.
Speaker 1: Matt Preston arrived on Australian TV in two thousand and
Speaker 1: nine with his sharp suits, his cravats and his quick
Speaker 1: fire with He was the clear standout star in the
Speaker 1: very first season of The Juggernaut that became Master Chef
Speaker 1: Australia Apologies, George and Gary, a show that went on
Speaker 1: to become a global sensation, making Matt a household name
Speaker 1: in India, Spain, the UK, Portugal, South Africa, Singapore and
Speaker 1: a whole lot more. Matt is terrific company and has
Speaker 1: branched out into radio and books and new TV shows,
Speaker 1: namely Pad of Origin on Channel seven, Funny, Passionate, Generous
Speaker 1: and Thunderbee Around Let's see if Matt Preston Survived the
Speaker 1: Sunken Place.
Speaker 6: Hi, It's Matt Preston. My three favorite films are The
Speaker 6: Princess Bridehead to Kill.
Speaker 5: The Greatest Showman, People coming to My show for the
Speaker 5: pleasure of being hoodwink. I love to get him something
Speaker 5: and then I don't either Rocky Horror Picture Show, or
Speaker 5: Harold and Maude.
Speaker 1: I see your shiver with anticipant.
Speaker 6: Picture. But up until this week, I'd never seen get
Speaker 6: Out or Get Out fu get Out.
Speaker 1: Despite borrowing from the iconic films The Stepweed Wives, Rosemary's Baby.
Speaker 1: He guess he's coming to dinner and he'll even meet
Speaker 1: the parents. Jordan Peel's twenty seventeen debut feature horror flick
Speaker 1: Get Out feels wholly original. Young African American photographer Chris
Speaker 1: Daniel Kalua is heading to the countryside this weekend and
Speaker 1: meet his girlfriend Ross White, liberal woke parents Dean played
Speaker 1: by Bradley Whitford and Missy Catherine Keener. His visit starts
Speaker 1: with a sense of uneasiness and gets worse from their
Speaker 1: Matt Preston, welcome to you. Ain't seen nothing yet, thank you,
Speaker 1: So we'll get to get out soon. Because there's a
Speaker 1: whole heap to discuss, and you've.
Speaker 6: You've actually hooked on a few things that definitely to
Speaker 6: be discussed in terms of in terms of whether I
Speaker 6: love or don't love Get Out yep, which is fantastic.
Speaker 6: But yes, now, look, there are certain films that you keep,
Speaker 6: aren't there, the ones you're keeping the kit bag for
Speaker 6: that really bad day. I had another one, which was
Speaker 6: Mississippi Burni, which I actually watched two nights ago for
Speaker 6: the first time that I always saved it. I need
Speaker 6: to watch this on one day, and I watched it
Speaker 6: the other night and it was magnificent. So I love
Speaker 6: this idea of having something in the kit bag for later.
Speaker 1: I watched Miss mc burnie when I was quite young,
Speaker 1: and that was one of those films, you know, because
Speaker 1: I think JFK might have come out around you know,
Speaker 1: like around that kind of period and there's that kind
Speaker 1: of social injustice. It was like as a like fifteen
Speaker 1: year old I think I might have been when I
Speaker 1: saw that. It was just like that kind of gripped me.
Speaker 1: I saw missus B. I've probably seen Miss Zibbi Burnie
Speaker 1: close to ten times. Jean Happan win the Foe. It
Speaker 1: is just phenomenal. Let's talk about your three favorite films
Speaker 1: before we get to get out the one that keeps
Speaker 1: on coming up in this podcast, and I will listeners
Speaker 1: will know that Princess Bride doesn't hold the same place
Speaker 1: in my heart that it does to most of our guests,
Speaker 1: because it comes up time and time again. But I
Speaker 1: didn't see it like as a young a young youngster.
Speaker 1: I saw it in my twenties. So you I like it,
Speaker 1: I just don't have this look.
Speaker 3: I think.
Speaker 6: I think the way it comes sort of if you
Speaker 6: watch it in your if you watch it sort of
Speaker 6: eighteen nineteen, when you're still quite close to the fairy
Speaker 6: tales and those childhood stories and the way it skews those.
Speaker 6: But it also plays certain things really strong through it.
Speaker 6: That the Caster characters are amazing, Andrew the Giant obviously
Speaker 6: is a magnificent character in there, that the Jart with
Speaker 6: the gift for a rhyme, Wallace Sean as the kind
Speaker 6: of the slightly disruptible character who is employing the Giant.
Speaker 6: And then the central characters of Robin Robin Wright and
Speaker 6: obviously carry Elways are fantastic. And then Mandy the Great
Speaker 6: Mandy Many Petinka fantastic, fantastic performance.
Speaker 1: So is that is that when you get back to occasionally.
Speaker 6: Yeah, no, no, And I've watched with my children. I
Speaker 6: think I think it's interesting the films you go back to.
Speaker 6: So Animal Has Blues Brothers, Animal House Blues Brothers, Uh,
Speaker 6: Princess Bride. I've all watched watch all of those with
Speaker 6: my kids, and they they the Princess Bride is the
Speaker 6: one that really resonates more than anything else. I think
Speaker 6: I think that there's something about the theme that you
Speaker 6: know that that classic redemption story of that the man
Speaker 6: who's chasing down the villain who killed his father is fantastic.
Speaker 6: The kind of the honor, the humor, the kind of
Speaker 6: ridiculousness of idiots so BEAUTI and it's beautifully shot. The
Speaker 6: music is magnificent as well. That's not for.
Speaker 1: It's it's probably a pity that I, and maybe I
Speaker 1: was one of these people that The Princess Bride possibly
Speaker 1: put off boys because of its title. You know, I
Speaker 1: think there were probably some boys, you know, who just
Speaker 1: went and I think i've because I think I've recommended
Speaker 1: it to my boys.
Speaker 6: But but there's a great there's a great moment as
Speaker 6: as as Peter Folk is reading the story to a
Speaker 6: very young friend, savage savage, and and what do you see?
Speaker 6: The pirates are good and they're things like flesh eating eels.
Speaker 6: I mean, you know, there's there's enough in there which
Speaker 6: and I think it's those those little moments where it's
Speaker 6: kind of like it's so knowing in terms of knowing
Speaker 6: that boys are going to feel like that that very quickly.
Speaker 6: It plays with the idea he's there playing his baseball
Speaker 6: on the Nintendo when it starts. And it's a book
Speaker 6: grounded why so? I mean also it champions reading and
Speaker 6: children's stories and something close to your heart as well.
Speaker 1: Absolutely well. I was going to watch it with Oscar
Speaker 1: recently because it going to keeps on coming up. And
Speaker 1: I have seen it and I've enjoyed it, but I said,
Speaker 1: he just doesn't have the place in my heart, but
Speaker 1: I have. My youngest is twelve. And my plan is
Speaker 1: when Cinema's reopen where we are in Melbourne, because I
Speaker 1: know Cinema Nova in my lig On Street. I think
Speaker 1: they were doing because there's not a lot of new
Speaker 1: films opening, they're doing, you know, the nostalgic Classics and
Speaker 1: the Big Labowski and I was one, but I think
Speaker 1: the Princess Bride I was showing on the big screen,
Speaker 1: so I might have to lock that in the Greatest Showman.
Speaker 6: I don't know why, it just it just it just
Speaker 6: stuck up on me. I think it's I mean, I'm
Speaker 6: an I'm an inveterate cry in films, right, So there's
Speaker 6: there's there's tons of emotion there.
Speaker 1: Have you always been a cry or.
Speaker 3: I'm the man.
Speaker 6: I'm the man who went to the premier of Kindergarten
Speaker 6: Cop and my girlfriend at the time to turn around
Speaker 6: me and when you're crying in a fascinating, really moving
Speaker 6: it's a big guy the kids.
Speaker 3: Really, you know.
Speaker 6: So yeah, I am terrible, terrible, terrible, terrible.
Speaker 1: But that film there is something great about that film.
Speaker 1: It's very uplifting. I think I had a frog in
Speaker 1: my throat during some moments in that film. I went
Speaker 1: and saw that film as a preview because I think
Speaker 1: we're having zac Efron and Hugh Jack went on the project,
Speaker 1: so we went and saw it. So I didn't know
Speaker 1: if this was going to be any good and just
Speaker 1: walked out and I and I was like, I think
Speaker 1: that's a really great film. And my brother, who's doesn't
Speaker 1: watch as many like loves films, doesn't not doesn't deep
Speaker 1: dive as much as I do, loves this film my
Speaker 1: and listens to the soundtrack quite often. My brother in law,
Speaker 1: who's kind of works, you know, in vague terms as
Speaker 1: a trade and he has he saw this film at
Speaker 1: the cinema with my sister and then went back the
Speaker 1: next day and took his daughters to go see it,
Speaker 1: and it was he said, I was one of them
Speaker 1: to see it, but I was also seeing it for myself,
Speaker 1: like he loves like it's managed to pierce some hardened hearts, and.
Speaker 6: I think what it is and great musicals like that.
Speaker 6: There's not a there's not a dud song in there,
Speaker 6: so you kind of go from great set up to
Speaker 6: great setup. You've got amazing dances. There's an amazing bar
Speaker 6: dancing with Zach Afron and Hugh Jackman is spectaculm Jackman,
Speaker 6: I think is probably of all the things Jackman does
Speaker 6: as a dancer, that is his supreme skill. And it's
Speaker 6: got a motion, it's got you know, fighting against fighting
Speaker 6: against the forces of evil, and it's got a lovely
Speaker 6: outcome and it's got and it's got some you know,
Speaker 6: and it's got a beautiful kind of a beautiful love
Speaker 6: story at its core. But also then that kind of
Speaker 6: the that strange love affair he has with Jenny Linda
Speaker 6: as the Showman and how that works. And again there's
Speaker 6: something about that. There's something about someone you know, doing
Speaker 6: going out there and doing crazy things and it not
Speaker 6: working and then still fighting back. I mean that triumph
Speaker 6: of a tragedy is such a central core to probably
Speaker 6: all those films, is that idea of triumph of a tragedy,
Speaker 6: all those three that I picked, and that that is
Speaker 6: undoubted is a journalist, that's one of the great things
Speaker 6: that you're telling a story that's a great story you
Speaker 6: can tell as people who come back from adversity is
Speaker 6: far more powerful and people just who've always done well.
Speaker 1: The Greatest Showman is almost a is almost like a
Speaker 1: disguised X men, isn't it, because it's really kind of
Speaker 1: it's you've got the circus for you, you know, and
Speaker 1: that's that's what kind of it was the outsider elements
Speaker 1: for me that kind of really spoke to me. Not
Speaker 1: that I mean, you know, I'm not I don't feel
Speaker 1: like an outsider in very many you know, in many ways,
Speaker 1: but you still can't help but empathize and cheer for
Speaker 1: the underdog and for the outsider.
Speaker 6: People aren't going to logo, put on stage, counting on it,
Speaker 6: And I think that, but that, But isn't that the
Speaker 6: isn't that the essence of of of so many films
Speaker 6: and so many films I'm sore you like that that
Speaker 6: whole idea of the of the fish out of water,
Speaker 6: whether that smister Smith goes to Washington or any of
Speaker 6: those films, that kind of it underpins that idea of
Speaker 6: of how how you how you deal with those things?
Speaker 6: And then also his his role in his character is
Speaker 6: surprising as well. I think that there's there's lots of
Speaker 6: there's lots of depths and facets to what could often
Speaker 6: musicals is very black and white, the good guy, the
Speaker 6: bad guy, the hero and the love interest whatever.
Speaker 1: And surely there's nothing surer than I'm sure I have
Speaker 1: no idea if this is happening or not, but nothing
Speaker 1: more certain than the Greatest Showman Live like as a
Speaker 1: as a musical, as a musical theater.
Speaker 6: It's interesting, isn't it? When musical theater has been so strong,
Speaker 6: especially in Melbourne, of the last kind of ten years,
Speaker 6: and we've seen so much, but it it's surprising they've done.
Speaker 6: I think they've done a they've done a kind of
Speaker 6: live show. And obviously Hugh Jackman toured with toward toured
Speaker 6: with at least one of the cast members when he
Speaker 6: was here. Yes, but can you get that, can you
Speaker 6: get the scale?
Speaker 3: You know?
Speaker 1: And I mean nothing surprised me what they can do
Speaker 1: on those stages.
Speaker 6: Look, look, look, I would go. I mean, it's interesting.
Speaker 6: It's interesting because because obviously the you know, the strength
Speaker 6: of musical theater is that is that you don't need
Speaker 6: a you don't need a spectacular stage setting in order
Speaker 6: to films like like Me has worked amazingly because on
Speaker 6: mile film, because you can have the scale in Paris
Speaker 6: and the Great Show and have that whole thing in York,
Speaker 6: the big theaters and the elephants. Yeah, but you know,
Speaker 6: you think of something like you think of something like
Speaker 6: a boy from oz Or or Hamilton is a great example. Hamilton.
Speaker 6: It's a it's a best it's a bear stage basically,
Speaker 6: but it's incredibly, very powerful.
Speaker 1: Harold and Maud I have a lovely spot in my heart.
Speaker 1: I only saw it a few years ago. Me and
Speaker 1: a great friend of mine, Stephen Gates from the comedy
Speaker 1: trio Tripod. We were due to go see a movie
Speaker 1: and I forget what movie it was, and we got
Speaker 1: our dates mixed up. It was actually opening the following week.
Speaker 1: So we're at Cinemanova and we just looked at the
Speaker 1: border and said, what else can we see? The next
Speaker 1: movie starting is Harold and Maud. Sure, let's go see it.
Speaker 1: Went and saw it and just were so glad that
Speaker 1: we got our times wrong and we witnessed Harold and
Speaker 1: Maud on the big screen.
Speaker 6: It's real. It's a real surprise, isn't it. It is
Speaker 6: because it doesn't do any of the things that Hollywood
Speaker 6: movie should do. No, it breaks almost every single convention,
Speaker 6: and it does it with such heart and style that
Speaker 6: it seems totally normal and natural and even and it
Speaker 6: even does you know, we're thinking, this is what this
Speaker 6: is twenty years before you know, Ned Stark gets his
Speaker 6: head cut off in Game of Thrones, and you know
Speaker 6: it had it plays with the same smashing of a
Speaker 6: narrative in the same way that that did. It's quite
Speaker 6: quite an amazing film.
Speaker 5: Who play.
Speaker 6: Doulty Gillian, give me, give me, give me the hell?
Speaker 3: You got nothing to talk about it in the locker room?
Speaker 1: Yeah no, I absolutely love it. And you did mention
Speaker 1: Rocky Horror, which is that has come up? I think
Speaker 1: once or twice did you see the film before this?
Speaker 6: I was born and brought up in Fulham in London,
Speaker 6: and said, around the corner from the the old the
Speaker 6: old Cinema which was converted into the first the first
Speaker 6: place Rocky horseshow originally on the King's Raid where the
Speaker 6: Rocky Hors regally started, so it was kind of part
Speaker 6: of my growing up. I thought I saw it love
Speaker 6: on stage about twenty times. So yeah, no, it's and
Speaker 6: it's a. It's a. It's a good. Often when you
Speaker 6: love a stage show and you see it transferred to film,
Speaker 6: it doesn't always work. But Rocky Horror Show is fantastic
Speaker 6: and Tim Curry is amazing, and you know, meatloads magnificent
Speaker 6: and Little Nell is brilliant, and you know, I love
Speaker 6: there's that there's such a kind of depth. Susan Sarandon
Speaker 6: is magnificent. It's a it's a and then again not
Speaker 6: not not a dud song.
Speaker 2: In a lot twice. Why up?
Speaker 1: Why all right, let's get stuck into it. There's so
Speaker 1: much to talk about this film, and I we don't
Speaker 1: with this podcast. I don't. We don't talk about our
Speaker 1: feelings and our thoughts about the film. So I'm itching.
Speaker 1: I'm chomping at the bit. What did you make of
Speaker 1: Get Out? I was a bit underwhelmed.
Speaker 6: And I know it's and I know it's been app absolutely,
Speaker 6: absolutely lauded, and it's you know, it's one of the
Speaker 6: few films in the last five years that in the
Speaker 6: top hundreds, more of the top hundreds. But I couldn't
Speaker 6: get past the fact that it was the Stepford Wife,
Speaker 6: it was the Stepford Wise and there's something was something
Speaker 6: so chilling about that nineteen seventy five film. You mentioned
Speaker 6: Aaron Levin and Rosbie Baby, who obviously wrote wrote the book,
Speaker 6: and William Goldman, who wrote William Princess Bride, did the
Speaker 6: first run of the script on the film as well.
Speaker 6: So it should be it should be everything that that
Speaker 6: I love, And I just kept thinking that it never
Speaker 6: had that chilling moment. And if you haven't seen The Stepwives,
Speaker 6: it's so worth watching it. That chilling moment when Ann
Speaker 6: Margaret comes face to face with the kind of the
Speaker 6: cyborg and the clone cyborg and Margaret with no eyes.
Speaker 6: That moment is so frightening and so chilling. And and
Speaker 6: again it that stephanid Lives does not have a happy ending. No,
Speaker 6: there it is, it is. It is brutal and and
Speaker 6: the evildoers get away with it and continue and they're
Speaker 6: happy with their lives and it and it's a and
Speaker 6: it's a it's it's a I think both Get Out
Speaker 6: and steph for Wives had some big political questions that
Speaker 6: can be unpacked probably by people with with with wives
Speaker 6: and minds and your mind and yours. But but yeah,
Speaker 6: so I did keep sitting there thinking, but isn't this
Speaker 6: just the same that you know, I can see why
Speaker 6: they've skewed it. They've given I felt that it was
Speaker 6: a cop out. They gave it a Hollywood ending to it.
Speaker 6: There's some great moments in it. I mean, and this
Speaker 6: is this is this is a problem about when you
Speaker 6: when you do you when you don't see a film
Speaker 6: because you think you're going to really love it, and
Speaker 6: you're saving it for the special occasion, your expectations are high.
Speaker 6: You're expecting to jump into your top hundred, and so
Speaker 6: when it doesn't deliver, you go, oh, oh, dear. And
Speaker 6: I'm sure you've been like that with certain Star Wars films.
Speaker 6: The expectation are so great, you're so excited and everything
Speaker 6: everything should be right about it. You know that the
Speaker 6: premise is good, and it starts well, and the and
Speaker 6: the scene at the there's a scene at at a
Speaker 6: at a kind of strange summer like cocktail party, which
Speaker 6: is basically, where are we like to talk spoilers here?
Speaker 1: Oh yes, yes, what are you doing listening to this podcast?
Speaker 1: If you haven't seen this film, go see a film
Speaker 1: and then come back and then exactly.
Speaker 6: Start right now. But but this whole idea, this whole
Speaker 6: idea of organ harvesting taken to to the nth degree,
Speaker 6: and we love that, you know, the whole idea of
Speaker 6: of harvesting organs from from poor people and then giving
Speaker 6: the rich people that they can live longer, and the
Speaker 6: whole quest for eternal life for people with the money
Speaker 6: to achieve that, which has been a universal thing for
Speaker 6: you know, thousands of years. So the idea of of
Speaker 6: of you know, this this young young woman going out
Speaker 6: dating men bringing them back and then they the body
Speaker 6: gets uptioned off. At this cocktail idy, there's a great
Speaker 6: moment where where it's a it's a very very white
Speaker 6: kind of almost connect to get type type family cocktail party.
Speaker 6: Everyone's white, there's there's one that there's one person of color.
Speaker 6: Then he just leans over and goes good. And then
Speaker 6: I thought, I thought that was very powerful because you,
Speaker 6: because you're kind of you were starting to but but
Speaker 6: for me, it was you could see what was coming.
Speaker 6: What I really what I really enjoyed about it was.
Speaker 1: Could you I'm surprised that you could see what was
Speaker 1: only because you know, only because I I certainly didn't
Speaker 1: see what was coming. The only thing I knew was
Speaker 1: he probably gets out like he probably like he probably
Speaker 1: and either they go for the the tragic ending where
Speaker 1: he gets he gets killed trying to get out, or
Speaker 1: he actually gets out. That's you. I didn't know how
Speaker 1: he was going to do it. And that's and that's
Speaker 1: when you say I knew it was going to happen,
Speaker 1: Like there are so many things that happened, even to
Speaker 1: the cotton wall obviously, which becomes you know, a thing,
Speaker 1: and obviously the symbolism there you're gonna even when he starts,
Speaker 1: you know, like you know, threading the cotton boll between
Speaker 1: his fingers. I'm like, okay, so that's obviously the weapon
Speaker 1: he's going to use to get out, But how's he
Speaker 1: going to use that to get out?
Speaker 6: But then but then there's all that he walks into.
Speaker 6: He walks into a room and there's a crash cut
Speaker 6: to a to a stag's head on the wall with
Speaker 6: really pointing out this, and you go, okay, there you go.
Speaker 6: You know, you know that bit is it the Punisher?
Speaker 6: There's a been the punisher whe where they do that.
Speaker 6: They're fighting and they keep cutting back to this combine harvester,
Speaker 6: you know, with these big spikes coming out of it.
Speaker 6: You know that dorf Legnan is going to end up
Speaker 6: on the spikes. You know, that's where it's going to happen.
Speaker 6: And so so there are all those things that kind
Speaker 6: of the visual language is there that you're coming in.
Speaker 6: I think the problem is because it's I could started
Speaker 6: to smell stap for wives, and I'm remembering the power
Speaker 6: at the end, and so I'm expecting the end to
Speaker 6: be that he you know, he ends up you know,
Speaker 6: being a hit with his you know, new sculptures in
Speaker 6: New York, and that was expected. I kind of cast
Speaker 6: that end of it, the kind of the dark end.
Speaker 6: And then when you know, and then my mate turns
Speaker 6: up with a with a gun and blah blah blah,
Speaker 6: and it's like, oh, it's all sorted out. It was
Speaker 6: all that was a bit kind of.
Speaker 1: Like really, okay, all right, what we need to do
Speaker 1: is take a step back and let's go, let's walk
Speaker 1: our way through get out. I I do love this film,
Speaker 1: and I love it the more times I see and
Speaker 1: I didn't watch it necessarily with the step third wives hovering,
Speaker 1: you know, I was, I noticed it like, you know,
Speaker 1: that's that's the film that you know, it feels like
Speaker 1: it's it's you know, Loom's largest over it. But it
Speaker 1: wasn't interfering with my kind of you know, the enjoyment
Speaker 1: or you know, being terrified of the film. So the opening.
Speaker 1: Do you ever get to the point in movies where
Speaker 1: you know there's an opening scene and you just decide
Speaker 1: really early on that you love this movie. Yeah, absolutely,
Speaker 1: and it can be it get me like a fast
Speaker 1: They could be a mission impossible film.
Speaker 6: I think I think that that's become even more, even
Speaker 6: more prominent now with it's kind of the binge culture.
Speaker 6: If you're not grabbed in the first five minutes of
Speaker 6: a TVC's you're gone. You moved on. You've moved on
Speaker 6: to something else. You're not going to watch the next
Speaker 6: you know, sixteen nights of yeah, three seasons of something.
Speaker 6: So yeah, it's absolutely crucial. I think that that's great.
Speaker 1: And it doesn't have to be, you know, a big
Speaker 1: action sequence. And I really was.
Speaker 6: I was really like, what grabbed you?
Speaker 1: I think, I mean part of it was for me.
Speaker 1: It was like subconstantly looking at the craft. I mean,
Speaker 1: that's a one shot opening opening sequence. Also, there's a
Speaker 1: black man kind of walking through a neighborhood because I
Speaker 1: knew going in, the only thing I really knew was
Speaker 1: basically the cart and then was the lead and I thought,
Speaker 1: I think he had his head down when he's okay,
Speaker 1: that's him, and then he puts his head on and
Speaker 1: that's not our main character, that's not Daniel, So okay,
Speaker 1: how does he tie in? And then like this is car,
Speaker 1: you know, creeping up and and it's it's just tense.
Speaker 1: It's just a really tense scene shot beautifully all in
Speaker 1: one shot, and everything in this film and the thing
Speaker 1: I've kind of get to this more throughout the podcast,
Speaker 1: but everything in this film when you watch it back,
Speaker 1: there's nothing that happens by accident, you know, Like you know,
Speaker 1: we find out later that it's the brother who has
Speaker 1: taken taken him because the way he's dragging him, which
Speaker 1: we see later on with near the door when he's
Speaker 1: trying to escape the Mississippi one Misissippi two, it is
Speaker 1: beautifully played out. I just wanting to mention some of
Speaker 1: the actors along the way that Keith Stanfield plays Andre.
Speaker 1: You may have seen him Knives Out, which is a
Speaker 1: great film, and Sorry to Body, which is also worth
Speaker 1: checking out. But I just love that when I first
Speaker 1: saw it, it was just like, okay, this is I feel.
Speaker 1: I felt tense straight away and that had me in
Speaker 1: And like I say, an opening scene doesn't need to
Speaker 1: be an explosion or a Tom Cruise moment. It just
Speaker 1: needs to be something where I felt where I feel
Speaker 1: safe in safe hands, that this the person making this
Speaker 1: film knows what they're doing and that they.
Speaker 6: Are It's an undone in asshure bit of filmmaking, but
Speaker 6: that is it that great story that you haven't seen before,
Speaker 6: where you don't know what's going to happen, where where,
Speaker 6: where you're not And I agree that there's you know,
Speaker 6: there's some that you know you need a certain amount
Speaker 6: of signposting because it lets you know what's happening. But
Speaker 6: but and the the most powerful thing about them was
Speaker 6: this idea that that that that although their their their mind,
Speaker 6: their their body is taken and possessed, their mind is
Speaker 6: still there, but you know, floating in the darkness and
Speaker 6: able to see and saying a thing, and occasionally occasionally
Speaker 6: they can fight that that subconscious can fight its way
Speaker 6: out through the host. I think that's very powerful. I
Speaker 6: think that that that concept is is really powerful, and
Speaker 6: more of that would have been been great. And I
Speaker 6: like the way that that that does come back in
Speaker 6: the that does come back in the end, and the
Speaker 6: final person who rescues him is a is a is
Speaker 6: a host body that's been taken over, and the subconscious
Speaker 6: manages to gain control for a couple of seconds in
Speaker 6: order so that that I that I thought was powerful,
Speaker 6: and I thought that that was great. I just I
Speaker 6: just I just didn't feel there was there was much
Speaker 6: to it. I don't know, but maybe that's because now
Speaker 6: we're used to seeing we're used to seeing stories that
Speaker 6: are so much more complex, you know that than the
Speaker 6: ninety of the Hollywood ninety minute hundred and eighty minute
Speaker 6: format is very hard when you're used to watching something
Speaker 6: unfold over six one hour episodes, you know, also or
Speaker 6: watching I watched Comy The Comy Rule the other day,
Speaker 6: which is great, and there's so much going on and
Speaker 6: things are twisting and turning, and you know, obviously it's
Speaker 6: reality as well, but so I kind of feel that
Speaker 6: that that I wanted. I wanted more, and I wanted more, like, oh,
Speaker 6: you know, and is that not? What is that not?
Speaker 3: Is that not? The great?
Speaker 6: The great change in in in telling a story nowadays
Speaker 6: is that pivot. It's the word of twenty twenty, but
Speaker 6: that moment you see it, it's the absolutely the new
Speaker 6: kind of the new kind of the Netflix model for
Speaker 6: a series that that things pivot in that last scene
Speaker 6: and everthing twists totally around and your whole so many
Speaker 6: preconceptions get get turned around. I didn't I didn't feel
Speaker 6: that there was much that who's good, who's bad, what's right?
Speaker 6: What's right?
Speaker 1: I think? And Jordan Peele says, watch when you rewatch it,
Speaker 1: like watch Allison, Sorry Rose Allison played by Alison Williams
Speaker 1: from Girls, and she is like almost the key. So
Speaker 1: this is one example, and this is what I think
Speaker 1: they do against so well. They just when you first
Speaker 1: watch it, it works when you think Rose is you know, good,
Speaker 1: and she sets up this this is the girlfriend every
Speaker 1: boy and every every man. Once I think Jordan Peele said,
Speaker 1: it's the kind of girl that you all every American
Speaker 1: boy dreamt of meeting on summer camp. You know she's
Speaker 1: she's and also Jordan Peele knows the fact that she
Speaker 1: is dating a black man means that we think automatically,
Speaker 1: subconsciously she's good. She is inherently good. And she when
Speaker 1: they go when they're heading away, they get pulled over
Speaker 1: by the policeman and she says, why do you need
Speaker 1: his idea? He wasn't driving, and that is obviously very
Speaker 1: much an isn't gone right now, and as I was
Speaker 1: in twenty seventeen, So it just it works like get
Speaker 1: in the car. Chris says, that was fucking hot, and
Speaker 1: we just think that's a great moment between them. Sir,
Speaker 1: can I see your license. Please wait? Why, yeah, state ID.
Speaker 3: I don't know he wasn't driving.
Speaker 1: I didn't ask who was driving. I asked to see
Speaker 1: his ID. Yeah, why that doesn't make any sense. You
Speaker 1: don't have to give him your idea because you haven't
Speaker 1: done anything wrong.
Speaker 4: Anytime there is an incident, we have every right to
Speaker 4: ask ma'am all right, I'm good. That headlight fixed and
Speaker 4: that mirror, Thank you, officer.
Speaker 1: But then when you watched a second time, you realize
Speaker 1: something completely different is actually happening. She's hiding evidence, she
Speaker 1: doesn't look the police to know that he was even
Speaker 1: she's destroying the paper trail.
Speaker 6: But this is not Do you enjoy it more the
Speaker 6: second time?
Speaker 1: I've seen this film about three or four times now,
Speaker 1: and did I watch it with my fifteen year old
Speaker 1: last night, who absolutely loved it. And I've enjoyed it
Speaker 1: more because of picking up yeah, these moments.
Speaker 3: So I think that's I think that's interesting.
Speaker 6: Undoubtly films like that, that that that you watch the
Speaker 6: first time you go when greatly Showman, I think it's
Speaker 6: probably one of the things you're watching. You go, that's
Speaker 6: pretty good, and you watch it again, you're actually actually
Speaker 6: that that's that's really nicely crafted. Yeah, you can you
Speaker 6: can see how that that's great and it becomes a
Speaker 6: becomes a appreciated on that basis. But you know, it's
Speaker 6: not Infinity War.
Speaker 1: We can general whole different you know what I mean.
Speaker 6: I mean, I mean there's there's there's there's a great
Speaker 6: example and Fanos clicks his fingers and half the people
Speaker 6: disappear and you go, what the.
Speaker 1: Of course, but when Katherine Keno when he goes into
Speaker 1: the sunken place, when Katherine Kena's you know, stirring her
Speaker 1: cup of tea, you know, that's a that's a what
Speaker 1: the is going on? Moment? Like that?
Speaker 6: Is that that's a bit when that's a bit. When
Speaker 6: Homer Simpson goes into that dark nether world, he falls
Speaker 6: into one of those those optical spiral things and he
Speaker 6: ends up there and he's floating around in in the
Speaker 6: kind of three dimensional blackness.
Speaker 1: I mean it is this is basically the Simpsons.
Speaker 6: You're right, And maybe that's you know, that's that's the
Speaker 6: great thing about you know, and that's a hard thing
Speaker 6: when you make in movies, is the references that you
Speaker 6: pick up, whether they're conscious or subconscious, and very that
Speaker 6: was not not not in there with the reason that
Speaker 6: they they automatically start they automatically start flicking a chip
Speaker 6: on one side of the ledger or the other. So
Speaker 6: so I think, so I think that didn't that didn't
Speaker 6: see it. Twilight Zone kind of so didn't. It didn't
Speaker 6: give me that, It didn't give me that that chilly moment,
Speaker 6: you know. And I think, you know, if you look
Speaker 6: at current horror stuff, something like black Mirror is far more,
Speaker 6: far more, far more chilling, and.
Speaker 1: It's a connection between Black Mirror and and and get Out.
Speaker 6: I mean it could be, but black Mirror, but the
Speaker 6: number of Black Mirrors you watch and obviously black mirrors
Speaker 6: trading on trading in Twilight Zone and all that, all
Speaker 6: that kind of great history of sixties fifties, sixties seventies
Speaker 6: kind of sci fi and stuff. But but every story
Speaker 6: is a different is a different story. And I think
Speaker 6: and I think maybe that's a and I think maybe
Speaker 6: that's a I think maybe that maybe they maybe that
Speaker 6: the the old cliches of Hollywood movie making, because it's
Speaker 6: kind of it's quite a traditional Hollywood film. You mentioned
Speaker 6: Knives Out, which is a great film, but but gee,
Speaker 6: that's the nineteen. That's a yeah, it's a it throws
Speaker 6: back to the Christie ther Cule Paro movies. And but
Speaker 6: but you know, we're coming We're coming into an era
Speaker 6: where where where the stories are drawn from the most
Speaker 6: popular movies are drawn from graphic novels that go in
Speaker 6: crazy different twists and turns, and you know, and and
Speaker 6: that the rules of the rules of the universe are
Speaker 6: totally are totally turned upside down. So I think, I
Speaker 6: don't know, do we do we? Do we expect more?
Speaker 6: I mean I think it's a combination of two things.
Speaker 6: Is I expected more? And and again I get back
Speaker 6: to that thing. I think the Statford Wife did it better.
Speaker 1: Like you can see the influences here, and there's also
Speaker 1: there's an Austrian film made I think in the nineties
Speaker 1: called Funny Games, and that kind of reminded me of
Speaker 1: that film a bit, which is basically, you know, it's
Speaker 1: the you are being held hostage. And but I think this,
Speaker 1: like I said in the introduction, this still felt even
Speaker 1: though I could see I could spot a lot of
Speaker 1: the influencers, it still felt original. And that there are
Speaker 1: you know, there there are musical artists, you know, bands, DJs,
Speaker 1: who you can see their influence, but they still feel they're.
Speaker 6: Doing and maybe get Out gets a sampled film.
Speaker 1: Well get Out it could be the first sample film.
Speaker 1: I'm surprised I didn't use Get Out of the House
Speaker 1: by Boom Crash off Ran Jordan Peele was living in
Speaker 1: Australia in the in the nineties. But I yeah, I was.
Speaker 1: I was completely gripped and there are things. Another thing
Speaker 1: I want to I was one of the point out
Speaker 1: is the credit sequence, because it's it struck me as strange.
Speaker 1: I do a little bit of digging around because it
Speaker 1: always seems me to credit sequences. So you have the
Speaker 1: opening scene and then you have, you know, a car
Speaker 1: going through like the country side with the trees you're
Speaker 1: blurring as the car goes fast, and there's a there's
Speaker 1: a song which is in Swahili and the lyrics are
Speaker 1: basically saying, basically saying, get out and trust your instincts.
Speaker 1: So I feel I do feel for Swahili audiences who
Speaker 1: are watching this going But then it goes into the
Speaker 1: house and or their apartment, and I think it's ross
Speaker 1: apartment and there are black and white photos. Actually I'm
Speaker 1: not sure wh's apartment. It might be in Christ's but
Speaker 1: because they're black and he's black and white photos.
Speaker 6: He's a photographytographer and a very very talented photographer.
Speaker 1: Yes, and there's a child childish Scambino song playing, and
Speaker 1: there are lyrics like stay woke, don't close your eyes,
Speaker 1: but it's it's some foreshadowing there, but it's just interesting.
Speaker 1: What strike me you originally was this essentially two separate
Speaker 1: kind of credit sequences, which I hadn't kind of seen
Speaker 1: done before. They felt very different. They felt like one
Speaker 1: the shots were different, you know, and then two different
Speaker 1: songs you so, and also you got Rose looking at
Speaker 1: the doughnuts, which you know again when you I think
Speaker 1: watch at the second even only notice at this time
Speaker 1: it's maybe my fourth of you, it's you know, it's
Speaker 1: it's her picking out which one she's going to choose next.
Speaker 1: And I think, like I said, I think Allison is
Speaker 1: is a master stroke. I think the family, when you
Speaker 1: meet the family, they just come across as you know,
Speaker 1: casually racist but trying trying to be you know, a
Speaker 1: good an embarrassing dad, you know, I think. And apparently
Speaker 1: Jordan Peel chose Bradley Whitford, who because he played Josh
Speaker 1: Lyman in West Wing fantastic show, and he really wanted
Speaker 1: that these characters to feel like, you know, white liberals
Speaker 1: and woke and you know, why not use somebody from
Speaker 1: the West Wing. But I thought he I thought he
Speaker 1: was great, and you know, he takes him on the
Speaker 1: tour of that house and some of the first time
Speaker 1: I watched it, like I didn't, I didn't kind of
Speaker 1: put in I even think, to be honest, the first
Speaker 1: time I watched it, the idea that George Geene, that
Speaker 1: Georgina was was grandma and Walsh his grandpa kind of
Speaker 1: washed ove of me a little bit watching it now.
Speaker 1: I don't know how it did, but it kind of did.
Speaker 1: And you have Bradley Whitford, the dad showing Chris around
Speaker 1: the house and the photos of the granddad who you know,
Speaker 1: we went up against Jesse Owens, and this is that
Speaker 1: blind where he says, you know, he lost to Jesse
Speaker 1: Owens and he almost got over it, which if you
Speaker 1: think about it, like that's like imagine like losing the
Speaker 1: Jesse Owens and not getting over it. That's like being
Speaker 1: beat by Michael Jordan and not getting over it. Like
Speaker 1: it's like which you you know, I think the connotation
Speaker 1: is that there's some racism going on there, like he
Speaker 1: got still a black man. That was that was embarrassing,
Speaker 1: It was humiliating for him. So I remember the first
Speaker 1: time I watched it, when you have Walter when he
Speaker 1: goes out for the cigarette before the.
Speaker 6: He that's one of the that's one of the great things.
Speaker 6: One of the great things is great is when is
Speaker 6: when the soa you're he's outside having a cigarette and
Speaker 6: the and the grandfather who's who's basically now the grounds keeper,
Speaker 6: just sprinted him at high speed across the lawn. Is
Speaker 6: really twisted and chilling and fantastic, and you go, what
Speaker 6: the Yeah, that's that. That that's a great that that's
Speaker 6: a great horror maybe moment you when that does give
Speaker 6: you that moment you go, what's going on here? This
Speaker 6: is this is truly weird?
Speaker 3: Why is he doing that?
Speaker 1: Up until then I thought there was some unease, you know,
Speaker 1: there's this discomfort, But that was the first like chill
Speaker 1: that I got that I felt like a visceral kind
Speaker 1: of oh fuck, and and yeah, something you kind of realize,
Speaker 1: of course he's running because he's he's trying to you know,
Speaker 1: he was a runner. He was a runner, and that
Speaker 1: kind of happens, and and he's but.
Speaker 6: He's also celebrating having having the powerful young body that
Speaker 6: he that he's lost.
Speaker 1: Absolutely there was Jordan Peele considered, I'm not sure be
Speaker 1: scripted it or just he decided not to. But when
Speaker 1: Walter kind of runs in at the end, and and
Speaker 1: we'll get to the end later because there's a bit
Speaker 1: of the cover and you obviously got some thoughts on that,
Speaker 1: but when he kind of traps Chris and he's got
Speaker 1: him on the ground, he tackles him to the ground.
Speaker 1: He was he was going to say, I finally got
Speaker 1: your Jesse, and he thought it was it was probably
Speaker 1: egging it a bit, a bit, a bit too much.
Speaker 6: But I think that that's the interesting thing is that
Speaker 6: went the certain films and you know that now he
Speaker 6: live in an era when you can you know, when
Speaker 6: you're watching when you're watching something on on for example, Stan,
Speaker 6: you can click on you can actually see who the
Speaker 6: actors are, you can check the you know, you can
Speaker 6: actually fully engage much more so than and dig much
Speaker 6: more deeper and get all that other stuff coming on
Speaker 6: rather than just going to going to a cinema, watching
Speaker 6: a movie, letting it wash over you, you know, and
Speaker 6: just kind of going.
Speaker 1: Yeah, amazing. So do you I find do you prefer
Speaker 1: to having a wash over you? Yeah, things popping up saying, hey,
Speaker 1: this is an interesting fact. I'm happy to do that
Speaker 1: on my second or third viewing.
Speaker 6: I'd rather I'd rather watch it. I'd rather watch in
Speaker 6: the movie and be in that situation.
Speaker 3: Yeah.
Speaker 6: No, And you know, it's more it's more for that
Speaker 6: where do I Where have I seen that person? From
Speaker 6: the It's actually trying to shorten that period where you're
Speaker 6: out of the movie because obviously a great movie and
Speaker 6: a great horror movie especially, you should be you should
Speaker 6: be live in the moment. You should be absolutely you know,
Speaker 6: transfixed between you and the screen and nothing else is
Speaker 6: around you knowing else in the room. You know, the
Speaker 6: drink's not there. You know, it's just absolutely you know, you're, you're,
Speaker 6: you're really kind of melded in there. But I just
Speaker 6: I also wonder whether now when we're you know, when
Speaker 6: you're doing things like you know, video games is a
Speaker 6: is a great example of this, you know, playing a
Speaker 6: video game where you're totally immersed and it's it's the
Speaker 6: jumps and the jumps and frights are far more intense
Speaker 6: and far more real in that environment, and so do
Speaker 6: we need more? Do we need more?
Speaker 1: I think there was a deliberate because often those scares
Speaker 1: are cheap.
Speaker 3: Yeah sure, yeah, yeah, yeah, you know.
Speaker 1: And I never begrudge those, you know, and Jordan Peele,
Speaker 1: obviously I think made a decision not to do if
Speaker 1: any of those, I can't really there are one where
Speaker 1: it's a backfire and car I don't mind those, but
Speaker 1: I think it's I applaud the decision.
Speaker 6: I'm going to ask you, I'm going to ask you
Speaker 6: a questions. So you know, there's a you know, the
Speaker 6: fundamental idea of this, this of the daughter out hunting
Speaker 6: for hunting for bodies for them for the white community
Speaker 6: to harvest, right is you know, it's a it's an
Speaker 6: open housing idea. But the idea of the step for wives,
Speaker 6: the idea of of men taking them original I'm talking
Speaker 6: about the original, but the idea of men deciding to
Speaker 6: move their family to that white picket fence, classic kind
Speaker 6: of suburban, affluent suburban moving, moving your family there in
Speaker 6: order to harvest your wife without there and with without
Speaker 6: without their approval. It's so much more chilling. And the
Speaker 6: idea that there's the club with all the blokes go
Speaker 6: on a Friday, they kind of introducing the club, and
Speaker 6: that's what it's all about. This isn't the this is
Speaker 6: a this is a whole society where where where everyone
Speaker 6: has moved there in order to do that. I found
Speaker 6: that I found that as an idea so much more
Speaker 6: kind of it makes you, you know, that kind of
Speaker 6: nausea fear, It gives it naisyer fear because it because
Speaker 6: it's sore. For really the really there's not there's not
Speaker 6: a lot of you know other than it being you know,
Speaker 6: good broodstock that there's there's not a lot of that
Speaker 6: kind of It's very it's very it's very mercenary in
Speaker 6: terms of what they're doing. It's you know, because they're
Speaker 6: they're because of the auction basically that they go that
Speaker 6: they that they bring someone into the community, they orction
Speaker 6: them off, they buy them, they transfer, they transfer the
Speaker 6: mind into the body.
Speaker 3: It's it doesn't have that.
Speaker 6: It didn't give me the It didn't it was a
Speaker 6: serial killer type chill rather than a oh my god,
Speaker 6: this is someone that this is someone that that this
Speaker 6: person's fallen in love with and that is a genuine
Speaker 6: relationship both ways. But then he's just decided he wants
Speaker 6: a little bit more. And I find that I found
Speaker 6: that really and be a little bit more, being awful
Speaker 6: lot more. I found I found that had a real
Speaker 6: much more of an impact on me. But then maybe
Speaker 6: that's also because I watched that seventy five. I would
Speaker 6: a would have seen that at sixteen, and so they
Speaker 6: had a real impact. That had a real impact on me.
Speaker 6: Whereas where is this Maybe now I'm a bit you know,
Speaker 6: like it's not scary like Blair Witch. It doesn't. It
Speaker 6: doesn't have you.
Speaker 3: It doesn't have you going upstairs at the end of
Speaker 3: the night, checking checking under the bed.
Speaker 6: It doesn't.
Speaker 1: You know that well, I wonder Jordan Peele does referred
Speaker 1: to it as a horror film.
Speaker 3: But you know, it's not.
Speaker 6: It's not really horror.
Speaker 1: It's a suspense. It's a thriller, you know, and it's
Speaker 1: certainly got horror elements to it. I just want to
Speaker 1: talk about the dinner scene. I love that scene, like
Speaker 1: again setting up the family, they just see him again,
Speaker 1: the family in this scene outside of the brother which
Speaker 1: we'll get to in a second, says, seem like, you know,
Speaker 1: a lovely family. You know, they seem fun. Chris is
Speaker 1: is relaxed. Rose is telling the embarrassing story we've also
Speaker 1: when they go for a little walk with I think
Speaker 1: another really clever thing they do, when Bradley Whitford's character
Speaker 1: takes Chris around the yards, he kind of he owns
Speaker 1: he's aware of the fact that they've got black servants,
Speaker 1: and that awareness kind of okay. These guys are okay
Speaker 1: because they're at least they're aware of it, they're owning it.
Speaker 1: And there I guess you know a little bit.
Speaker 3: But have we not?
Speaker 6: But haven't we not? I mean that that's such a
Speaker 6: that dinner, that family dinner scene is such is such
Speaker 6: a trope in American films, and we've seen it so
Speaker 6: many times. And now we've seen that scene play out
Speaker 6: with I don't know, Sasha Baron Cohen doing it with
Speaker 6: real families and seeing it and seeing that and that's
Speaker 6: so much more chilling.
Speaker 1: But what I'm worrying but what Obviously there's been lots
Speaker 1: of dinner scenes in movies, but specifically have we seen
Speaker 1: in that perform.
Speaker 6: Well in terms in terms of the whole uncomfortableness and
Speaker 6: then the nature of people saying the wrong things and
Speaker 6: they're kind of trying hard.
Speaker 1: And but what intrigued me, because I think there's something
Speaker 1: else going on. What intrigued me when I was watching
Speaker 1: that scene was how many times do you think they've
Speaker 1: told that like that same Rose is told that same
Speaker 1: embarrassing story about biting her boyfriends time off because it
Speaker 1: was her first kiss and they're all laughing and she's
Speaker 1: embarrassed and all that.
Speaker 6: But performance, but that's but that's but that's the second watching. Yes,
Speaker 6: that's so, And I think this is and so I
Speaker 6: think this is interesting. This is the interesting question about
Speaker 6: about this. I think in order for a film to
Speaker 6: make it into the top your top five, I mean,
Speaker 6: you know, we talk about Princess Bride being twenty five times,
Speaker 6: you get to a point where where where you're familiar
Speaker 6: with the things you picked up, you're picking up all
Speaker 6: the nuances you know all about that. So maybe for
Speaker 6: a film to be to be that, it has to
Speaker 6: stand multiple watchings. That they're not a lot, they're not
Speaker 6: a lot of things that only get a single a
Speaker 6: single watch, which is something with with that's something with movies.
Speaker 6: That's so different to where the way television's go on,
Speaker 6: where pretty much people watch Vikings once or they watch
Speaker 6: Rome once and then they move on. So so I
Speaker 6: find that interesting.
Speaker 3: But you need to.
Speaker 6: You need to know that the reward are for me.
Speaker 6: I didn't did I will I watch it again? Now,
Speaker 6: I know I've talked you about it with that, with
Speaker 6: that in mind, but is that is that? Is that
Speaker 6: enough for it to be? It's certainly a film you
Speaker 6: should watch, but is it a film that immediately goes
Speaker 6: into the wow. I love that, you know, that moment
Speaker 6: you come out and go that was great.
Speaker 1: I remember that this year twenty seventeen, and I it
Speaker 1: was a quite a good year for indie films. This
Speaker 1: was nominated for four Academy Awards. Jordan Peel won Best
Speaker 1: Original Screenplay. That was the only Oscar Bay one. But
Speaker 1: that year some of the movies came out obviously only
Speaker 1: three few years ago. Three Billboards Outside Having Missouri, which
Speaker 1: was which great, which also had Caleb Landry Jones who
Speaker 1: plays Jeremy the brother who I want to get back
Speaker 1: to in the second. I think he's amazing, Dunkirk, The
Speaker 1: Shape of Ward one, Tanya Phantom Thread for Thomas Anderson,
Speaker 1: Lady Bird, which I remember, you know on Twitter kind
Speaker 1: of say these are my ten favorite films or twenty
Speaker 1: fairite films of the year. Ladybird was my favorite film
Speaker 1: of this year.
Speaker 6: Get Out is Crazy, Lady Ladybird is Ladybird is on
Speaker 6: my list of I want. I'm saving that Ladybird along
Speaker 6: with the the the Stiglass and trilogy that they're they're
Speaker 6: They're in my They're currently in my my kind of
Speaker 6: you know, in the my list of things.
Speaker 1: I want to want. You have you have some treats
Speaker 1: ahead of you or so. The last year I came out,
Speaker 1: played Round on twenty and forty nine and Call Me
Speaker 1: By Your Name, The Rise of Timothy Shell may So.
Speaker 1: I mean, as I was watching it last night, I
Speaker 1: was kind of going, which films of these are actually
Speaker 1: better for me than then?
Speaker 6: Then get Apps not not not not a strong year though,
Speaker 6: is it really well?
Speaker 1: I think I think Ladybird, I think, Yeah, By your Name.
Speaker 1: Three Billboards dun Kirk was amazing, Like I thought, dun Kirk, Yeah,
Speaker 1: that's a whole.
Speaker 6: That's not I loved I loved the long Shot. I
Speaker 6: love the styling of it. But as a as a
Speaker 6: war movie is it is it?
Speaker 3: I thought it was.
Speaker 6: It's a good again we're talking, you know what we
Speaker 6: what we're saying with all these things is you know,
Speaker 6: is it is as the horror movie is get Out
Speaker 6: up there with I don't know what's as to the
Speaker 6: Evil Dead or yeah, so I think it's and I
Speaker 6: don't think. I don't think. I think you're right doesn't
Speaker 6: play in that space. But you know, in terms of
Speaker 6: in terms of a thriller, you know, true to that
Speaker 6: first season the True Detective is far more disturbing. I
Speaker 6: found than watching get Out.
Speaker 1: That I would have it. I would, I would have
Speaker 1: had it on a par I think, yeah, I think.
Speaker 6: But I don't think you rewatch I rewatched two Detective,
Speaker 6: like look, there's some other stuff I god, which I
Speaker 6: enjoyed it, but I didn't have that. And I think
Speaker 6: that the really great movies, you know, and the list
Speaker 6: that I've got, things like I Know It's One of
Speaker 6: Life or Ninth Configuration or these are all things you
Speaker 6: you watch, you you come back to like a you
Speaker 6: come back like like it's more like an album. The
Speaker 6: movie becomes more like an album than a book. Book
Speaker 6: maybe read once, possibly twice. But the album you come
Speaker 6: back to you know, twenty thirty times. And I think
Speaker 6: there are certain movies like that that and maybe that
Speaker 6: that's the real strength, Maybe that's real strength to get out.
Speaker 6: But but I liked I loved it, Tony. I think
Speaker 6: it was great and Mugga always fantastic in it. But
Speaker 6: but was it one of those Was it the film
Speaker 6: that you you go back to all your mates. It's
Speaker 6: a bit like reviewing restaurants. You go back and the
Speaker 6: next day you go, you ring them and say the
Speaker 6: ultimate film is when you ring your mates and you
Speaker 6: ring them and you say, oh my gosh, I went
Speaker 6: to see blah blah blah.
Speaker 3: It was amazing. You need to go.
Speaker 6: I'll come with you, and you go back and watch
Speaker 6: it again the next night. That Star Wars, the first
Speaker 6: Star Wars was like that. Indiana Jones was like that.
Speaker 1: I didn't get that. Was like I remember hearing the
Speaker 1: buzz about you need to see this film, and I
Speaker 1: saw it so early. It made two hundred and fifty
Speaker 1: five million at the box office. So I know, when
Speaker 1: you're making that kind of money. I think a bit
Speaker 1: of that is sometimes you repeat business. It was the
Speaker 1: most profitable film of that year, made on the budget
Speaker 1: of four and a half million dollars.
Speaker 6: It's amazing, it's amazing.
Speaker 1: I want to go back to that dinner scene because
Speaker 1: there's something, there's something that I want to ask you
Speaker 1: just from the you know, as far as what you.
Speaker 3: I I.
Speaker 1: So, I think what happens is that they this is
Speaker 1: a dinner scene, that this is a performance, is all
Speaker 1: a performance, and I like that.
Speaker 3: I like that idea.
Speaker 6: I like that, and that that's something that hadn't the
Speaker 6: idea that it's just a repeat performance and it's what
Speaker 6: they always do and it's the same thing, and and
Speaker 6: and and that's that also adds the uncomfortments because they're
Speaker 6: not great access. But so so I think that's a
Speaker 6: really interesting concept. And again that gives you that idea
Speaker 6: of watching it again maybe maybe puts it into that
Speaker 6: that that realm of that, you know, the great album
Speaker 6: that you listen to again and again.
Speaker 1: And then what I think happens is Jeremy kind of
Speaker 1: comes and he starts going rogue. He starts going you know,
Speaker 1: he starts asking about his genetic mate, you know, with
Speaker 1: your genetic makeup, and he starts talking about judo versus
Speaker 1: he loves ju jitsu. And there's also that you know
Speaker 1: one that's it's a great thing that he says he
Speaker 1: loves ju jitsu because you need to think three moves ahead,
Speaker 1: which comes back later on when they're struggling at the door,
Speaker 1: Chris thinks three moves ahead because he's got him in
Speaker 1: the headlock about the putting the sleep, and he realizes
Speaker 1: if he can open the door, which means us move,
Speaker 1: he will then shut the door with his leg, which
Speaker 1: is the second move, and the third movie is Chris
Speaker 1: stabbing him in the leg. So he thinks three moves ahead.
Speaker 1: I do love and I think this comes with you know,
Speaker 1: on the second or third or fourth viewing that you
Speaker 1: realize that I think Jeremy's going ROGI And that's where
Speaker 1: there's an uncomfortable that.
Speaker 6: He's gone from being a gone from being a sophisticated
Speaker 6: business model to being a serial killer. Yeah, a guy
Speaker 6: who's getting off on the thrill of taking people off
Speaker 6: the street. So why they why are they taking some
Speaker 6: people off the street, Why are they bringing some people in?
Speaker 6: Some people in as the boyfriend? How come they're getting
Speaker 6: these these two ways of.
Speaker 1: The being boyfriends so.
Speaker 3: The guy's taking off the three is a boyfriend Originally.
Speaker 1: That's a good question because that's and that's Andre, so
Speaker 1: was I'm sure there was a photo.
Speaker 6: Possibly again again a nice thinge that. Another one of
Speaker 6: the great scenes is that moment where you're you know something,
Speaker 6: you think, well, his lease has got now a in
Speaker 6: his girlfriend and he goes to the he's he's he's
Speaker 6: in the cupboard nosing around and pulls out the shoe box.
Speaker 6: And in the shoe box are all the pictures?
Speaker 1: Said, there's a photo of Andre and and her.
Speaker 6: And right, that's right, you know you're right now, so
Speaker 6: then you are.
Speaker 1: Ready and Walter and Georgina.
Speaker 6: Yeah, so the the grounds keeper and and and the
Speaker 6: help of both are both in that in that in
Speaker 6: that box.
Speaker 1: Yes, And I think part of I think Andre when
Speaker 1: he's on the phone, is he on the phone or texting?
Speaker 1: I think he's on the phone in that first time,
Speaker 1: is texting her? I think texting or talking to to Rose.
Speaker 1: That's my understanding of it. Even in the point where
Speaker 1: she says talking about this whole performance element where she
Speaker 1: says Dad would have voted Obama a third time if
Speaker 1: he could, and then Bradley Whitford's character. His name is Dean.
Speaker 1: He also says that now that could just be fat
Speaker 1: ongoing family joke. I take it as you know, they
Speaker 1: all know their parts, and he maybe, you know, maybe
Speaker 1: slipped by saying that that exact line.
Speaker 6: Right, So he's taken someone else's line.
Speaker 1: Yeah, or Rose has taken his line. The hypnosis scene,
Speaker 1: have you been Hypno?
Speaker 3: No, I haven't.
Speaker 2: No.
Speaker 1: They tried once. It was a radio stunt with me
Speaker 1: and I just I wasn't susceptible. Really, I could not.
Speaker 1: I could not do it. I could not go under.
Speaker 3: Wow.
Speaker 1: I tried to. I really wanted to. I couldn't do it.
Speaker 1: But what what did you? What did you make of?
Speaker 1: This is obviously probably the most famous scene.
Speaker 6: In the in the film, it reminded me of reminding
Speaker 6: me of I'm just trying to think of what the
Speaker 6: other films on nineteen eighty four where he's possibly vif
Speaker 6: Vendetta doesn't seem like that as well, isn't that right?
Speaker 1: Yeah?
Speaker 3: Yeah?
Speaker 1: At clockwork Orange, clockwork Orange.
Speaker 6: So yeah, the end, look, I mean, I mean, greaton
Speaker 6: kind of understand when you and you can I can
Speaker 6: see you can say it's all coming together and yes,
Speaker 6: that's it's a but did it did it?
Speaker 3: Did it?
Speaker 6: Did it give me that kind of like the clockwork
Speaker 6: Orange gives you, for example, where which is truly that
Speaker 6: that's truly horrifying, that that that scene when he's when
Speaker 6: they're kind of rectifying him, that that's that's horrendous. Did
Speaker 6: he have the same impact as that? Probably not.
Speaker 1: I mean the clockogk Orange when they're playing Nazi films
Speaker 1: to him and they're playing Beethoven's it's it's hard to
Speaker 1: watch even physically, his eyes are being forced open and
Speaker 1: pinned open. Yeah, yeah, this I felt my chest tightened,
Speaker 1: I think the first time. And I also thought, what
Speaker 1: the fuck is he got? Is he going to stay
Speaker 1: here for the rest of it? Is this movie turned on?
Speaker 1: The said is he going to stay in this place?
Speaker 1: And then he's gonna wakes up, you know, and you
Speaker 1: feel like it's a dream. And then he realizes when
Speaker 1: he speaks to Walter that it's not I think, what
Speaker 1: elevation it's this from, you know, not that it elevates
Speaker 1: over Steppard wise, but makes it you know, like you
Speaker 1: can't yeah, different is the race factor? Like and he
Speaker 1: you know, and the second place. For me, I assume
Speaker 1: it's about oppression. And you know the fact that Catherine
Speaker 1: Keene uses a silver spoon, you know, with signifying white privilege,
Speaker 1: and and and and he and.
Speaker 6: His whole performance that that whole that whole thing you
Speaker 6: touched on when they're pulled out by the police. I mean,
Speaker 6: he's he finds himself in the Sacon place, and his
Speaker 6: whole body language changes, his whole approach is his head's bound.
Speaker 6: He doesn't look at he doesn't look the office in
Speaker 6: the eye. You know, he's doing all the invery commons
Speaker 6: the things that he's expected to do in order to
Speaker 6: be avoid being stomped on. So yeah, I can I
Speaker 6: can see that. I can see that that echo, I
Speaker 6: can see that echo there.
Speaker 1: I have a lot of friends who this scene has
Speaker 1: really messed with. Yeah, they've really freaked out, like the
Speaker 1: sound of the silver spoon across the edges.
Speaker 2: Of the.
Speaker 6: Because yeh, I have a horrible feeing that Matt Lucas
Speaker 6: has ruined that for an awful lot of people around
Speaker 6: the moment that the moment that happens. You go, Okay,
Speaker 6: that's that's great, But I think that but I think
Speaker 6: that's I think that's that's the whole. That's the great
Speaker 6: thing about about consuming and we consume, we consume entertainment
Speaker 6: media so much now and we've got such an incredible
Speaker 6: wealth of stuff that so in the old days we
Speaker 6: probably would have been und to see things that you know,
Speaker 6: there were only ten films you probably went to see
Speaker 6: a year, but and there were probably only five TV series.
Speaker 6: But now you're you're consuming lots of stuff at different
Speaker 6: times individually, and so I think that. So I think
Speaker 6: then then obviously everything's gonna everything's got little individual hooks.
Speaker 6: Some get you, some don't.
Speaker 1: Yeah, the I mean, let's talk about then the there's
Speaker 1: one unrealistic portion of the film. The most unrealistic thing
Speaker 1: was me.
Speaker 6: Was is this this when the friend turns up? No,
Speaker 6: well that was pretty unrealistic.
Speaker 1: Rose Rose using being as a search engine.
Speaker 6: That is very funny. Being got into my computer and
Speaker 6: I couldn't get rid of it in the cap and
Speaker 6: it really shat me.
Speaker 3: I don't want it because it's a rubbish and you
Speaker 3: put it. No, I don't want to looking at her.
Speaker 3: Look the recipe. I do not want recipes from the Ravioli.
Speaker 3: Thank you, But what about But what about his mate.
Speaker 1: I mean, really, ok, let's talk about his mate.
Speaker 6: I mean, I mean, I look, I love the carry.
Speaker 6: I think he's a great but the performance, he's wonderful.
Speaker 6: He's great, he's like, he's funny. That the whole his
Speaker 6: whole attitude at the beginning is don't trust him. He's
Speaker 6: he's the kind of he's the kind of he's you.
Speaker 6: He's you sitting on the couch shouting at the screen.
Speaker 3: And I love that. I love that. But I mean
Speaker 3: he manages, he tracks down the house management and arrives
Speaker 3: at the right moment.
Speaker 6: I mean really well, I mean yeah, I mean, come on,
Speaker 6: it is a move.
Speaker 1: It is a movie. But of course there's gonna be
Speaker 1: some things that happened a little bit weird.
Speaker 6: But but it's but it's it's not like it's a
Speaker 6: it's not like a normally in a great movie, he
Speaker 6: would turn up and he would be sent away. You know,
Speaker 6: he would turn up and he'd be going and he
Speaker 6: would be or or even worse, he would he would
Speaker 6: suddenly he would then appear as as the next doors
Speaker 6: and the next door's chauffeur. You know that he would
Speaker 6: be taken, he would be he would be used he
Speaker 6: would be all the way.
Speaker 1: Not at this point of the film, at this part
Speaker 1: of the.
Speaker 3: The last scene and the last scene up up up
Speaker 3: a couple of police lights, and.
Speaker 1: He's okay, So so let's let's go. I want to
Speaker 1: leave the last that might be this this.
Speaker 6: Will that might be in a way. And I look,
Speaker 6: I take I know. And again I was saying, I
Speaker 6: enjoyed it. It was it was a good film?
Speaker 2: Was it?
Speaker 6: Was it a great film? Is it in my top
Speaker 6: one hundred? And I think, I think that's the that's
Speaker 6: what you're hoping that will happen. Like for example, Mississippi
Speaker 6: Burning for me apsutly would now be in my top
Speaker 6: on hundred. Think it's amazing film and an important film
Speaker 6: and amazingly behind but before its time, French Connections and another.
Speaker 6: You know, there are all those films you could you
Speaker 6: could live. Did does get maybe if I watched it
Speaker 6: two or three times? Perhaps?
Speaker 3: But but but the ending is of the ending is
Speaker 3: a big problem.
Speaker 1: Let's talk about now. Okay, it's a big problem.
Speaker 6: I loved the ending, and because it's delivered in the
Speaker 6: Hollywood fashion, Yeah, the cavalry arrived and it's all good.
Speaker 1: Well, but don't you have that moment, don't you have
Speaker 1: that moment where you see those lights and Rose sees
Speaker 1: and she knows she is saved. Yeah, that's what the
Speaker 1: genius of the moment for me was.
Speaker 3: Yeah.
Speaker 6: No, I love that. I love that that That's that's fantastic.
Speaker 1: Now, Jordan Peele did consider the ending that I think
Speaker 1: you probably wanted, which was it's a white police officer
Speaker 1: and and Chris gets taken away. That was that was
Speaker 1: I think in the first draft or his first thought,
Speaker 1: because he wanted he wanted to remind Americans that just
Speaker 1: because Barack Obama has been made president, that racism still exists.
Speaker 1: So that was what he wanted. But he did make
Speaker 1: the choice, and I'm glad he did that. He wanted
Speaker 1: he wanted the audience to feel a sense of hope.
Speaker 1: And I like when I saw when I saw Rod
Speaker 1: his TSA mate and frustratings listening or people, you know,
Speaker 1: wherever you are outside of America t s A at
Speaker 1: the airport workers. Americans don't like to explain these things.
Speaker 1: But yes, so it's he's an underdog, he's the comic relief.
Speaker 1: He's kind of the heart of the film. And I
Speaker 1: I just wanted to cheer when he when he came,
Speaker 1: and then when he says, you know, because I am
Speaker 1: ts motherfucker, It's just it.
Speaker 6: Was, it was, it was Jerry Brookhamer, it was very
Speaker 6: suddenly appears, appears and directs the last five minutes of
Speaker 6: the film, and I can and I can understand.
Speaker 1: Shoot himself in the head with the rifle moments before
Speaker 1: Jerry Brookham is not doing that.
Speaker 6: No, no, no, no, but no, but but but how
Speaker 6: much better if there had been the white cop and
Speaker 6: the and the the guy who who surfaces reserves his shoots,
Speaker 6: both shoots both the white cop and also and also
Speaker 6: the the and also the the daughter as well. That's
Speaker 6: far better, and then runs away. That's far better because
Speaker 6: you can't escape his ability to run. The sprints off
Speaker 6: and he's just left standing then and walks the cop
Speaker 6: walks out that that's that's that's the way you can
Speaker 6: There are ways I think you can do it that
Speaker 6: are cleverer than just having the cavalry turn up.
Speaker 1: And if you were, if you were to draw that
Speaker 1: rake across every horror film, I think you'd be left
Speaker 1: with very few horror films.
Speaker 3: No, I don't know. I think I think, I think,
Speaker 3: I think.
Speaker 1: I think people characters rocking up at convenient times is
Speaker 1: a mainstay.
Speaker 6: And and people people going through doors when they should
Speaker 6: go through doors.
Speaker 1: And and they're all coming, you know, being Oh they're
Speaker 1: they're no, they're not. The brothers actually not.
Speaker 6: Dead yet carry's fist coming out through the grave. Yeah,
Speaker 6: all those things. I agree, But I don't think this
Speaker 6: is a horror movie. And I think and I think
Speaker 6: that's and I think this is what you're this is
Speaker 6: what you're saying. This is a this is a this
Speaker 6: is a twenty first century thriller where you don't get
Speaker 6: to make those easy you don't get to make those
Speaker 6: easy decisions. So and it struck me the end when
Speaker 6: it struck me the end, and it struck me that
Speaker 6: the it's one of those movies where they where the
Speaker 6: studio puts it into market research and they go no, no, no, no, no,
Speaker 6: no no no, we're gonna have an up ending.
Speaker 1: I think if race wasn't in play here as a theme,
Speaker 1: as a major theme, the major theme, then if if
Speaker 1: Chris is played by Chris Hemsworth, then I agree with
Speaker 1: you the tears, but the fact that you have that
Speaker 1: moment of going, and Rose knows that she smiles. She
Speaker 1: starts yelling, help, officer, I'm in trouble here, and we
Speaker 1: can't see who's in the car. You have the moment
Speaker 1: going he's he's done, he's done, and it's it's.
Speaker 6: So unlikely that his mates could have found the house
Speaker 6: and turned up.
Speaker 1: Well, you have to make it as unlikely as possible,
Speaker 1: so we don't get there before Jordan Peele wants us
Speaker 1: to get there, So I I think they earn that
Speaker 1: if you like a moment of convenience. I mean, this
Speaker 1: guy has been looking for him and has had reason
Speaker 1: to go look for him. He's gone to the police.
Speaker 1: He's not like he's he's doing his own investigation.
Speaker 6: But the whole end, the whole end feels a little bit,
Speaker 6: a little bit. It's the movie changes maybe in the
Speaker 6: last eight minutes when he getting out, getting out, the
Speaker 6: fight scenes, all that stuff. It's all it's very quick,
Speaker 6: and it's very violent, and it's and it's a it's
Speaker 6: in total and it is in total contrast with really
Speaker 6: the rest of the film, which is quite of which
Speaker 6: is kind of thoughtful and tension building and.
Speaker 1: And but you need you you want things to get
Speaker 1: messed up, you know.
Speaker 6: And yeah, I just you know, but but normal but
Speaker 6: normally you don't get out, you know, you don't. You
Speaker 6: don't get out the first time. You get pulled back
Speaker 6: in and then you get it. It's got to be
Speaker 6: a second or a third chance.
Speaker 1: But it was it was like he got he got
Speaker 1: he got put into the you know, the chair.
Speaker 3: You know.
Speaker 1: When so when he when he got the cotton, when
Speaker 1: he saw the cotton, yeah, did you go, oh, he's
Speaker 1: going to use it as as e plugs?
Speaker 6: No, I didn't know that.
Speaker 2: I like that.
Speaker 3: That was good.
Speaker 6: Yes, didn't get that.
Speaker 1: Okay, So let's talk about the there's almost two escapes.
Speaker 1: There's the first one where he sees the photos, and
Speaker 1: that moment's are great, you know, where he sees the photos,
Speaker 1: he puts it together that she has rose, the scene,
Speaker 1: all these all these people, including Walter and and Georgina,
Speaker 1: and from that moment we're on I think even the
Speaker 1: moment where the brother is playing the ukulele plucking at
Speaker 1: that and they leading back into the house and there's
Speaker 1: a feeling of life. You're not yeah, deliverance it is, yeah,
Speaker 1: and it's like you're not coming out of here, you know,
Speaker 1: and that whole thing of the keys, the Rose, the keys, and.
Speaker 6: That was that the whole that scene, that scene, that
Speaker 6: that kind of that kind of polite desperation. Yeah, was
Speaker 6: fascinating no one, him not wanting to admit what he
Speaker 6: worried was going to go on because if he admits it,
Speaker 6: it suddenly changes dynamic and he's out numbered and blah
Speaker 6: blah blah. Is that's very powerful, and you just feel
Speaker 6: him kind of, you know, unable to to walk away,
Speaker 6: did you?
Speaker 1: I love and for me and I think certainly designed
Speaker 1: this way that Rose. We believe that Rose still may
Speaker 1: be good and on his side right up until she says,
Speaker 1: holds the keys up and says, you know, I can't
Speaker 1: give you the keys, babe, but did you? I mean,
Speaker 1: he's the photos I kind of say, Okay, something's going I.
Speaker 6: Think the photos of the moment. Yeah, but I think
Speaker 6: the photo of the moment, you know, you know it's
Speaker 6: not that they're all in this together. Yeah, because you
Speaker 6: can you can convince yourself, you can convince yourself that
Speaker 6: you convince yourself that the that she just doesn't know
Speaker 6: what her family's up to until the moment you see
Speaker 6: those box of those box of stuff you go, now, yeah,
Speaker 6: you're in trouble, now see.
Speaker 1: I think the first time I saw it, I was
Speaker 1: still going, oh, maybe she's maybe he's the guy she loves,
Speaker 1: you know, and that and that. I was right there.
Speaker 3: They're gonna run away and it's gonna be good.
Speaker 1: I was right there. And then she ends up chasing him,
Speaker 1: you know, off with a shotgun, which she just kind
Speaker 1: of mentioned earlier in one of the first scenes. I
Speaker 1: did love that. So then there's the escape from the chair,
Speaker 1: the cotton. I did like, I did like Rose upstairs,
Speaker 1: and I like she puts her hair up in a ponytail,
Speaker 1: like she's immediately a different person. She's almost she's like
Speaker 1: she's the goon almost really, and she's upstairs eating fruit
Speaker 1: loops and milk and listening to the dirty dancing. It
Speaker 1: was a nice one. I didn't see the cotton coming
Speaker 1: like the deer in hindsight, yes, but I didn't actually
Speaker 1: necessarily put that together. I just always thought, Okay, that's
Speaker 1: how they're watching him, the security, the security cameras in there.
Speaker 1: There was obviously a dem motif going on from from earlier.
Speaker 6: But because that's what he is he's he's the quarry,
Speaker 6: he's the prey.
Speaker 1: Yes, yeah, but uh, the order of the coagular. Do
Speaker 1: you know what a coagular? Do you know what a
Speaker 1: coagular was before this coagular? Yeah? No, well it's it
Speaker 1: was it like a some kind of butterfly or a
Speaker 1: caterpillar or or something there. Can you google coagular?
Speaker 6: He sure it's coagular coagular Yeah, yeah, like as in
Speaker 6: like like like blood coagulate.
Speaker 1: Well, well, unlet's his caligraphy. I don't know. But it's
Speaker 1: the order that's the cult. This is the cult. It
Speaker 1: is the order of the of the coagul.
Speaker 6: It's because it's the order of the butterfly.
Speaker 1: Yeah, so you you you you mm hmm. Any coagulated
Speaker 1: mess out curd it's not really telling as much.
Speaker 6: So that they could be they could be the Order
Speaker 6: of the Kurds there, yeah, the Cads.
Speaker 1: And I'm going to be concentrating on what a coagular is.
Speaker 1: I thought that a memory that there's there's like an
Speaker 1: image of like a some kind of caterpillar or kind
Speaker 1: of yeah, kind of opening up or or doing something.
Speaker 1: I think this is one of the most assured directorial debuts.
Speaker 6: You're so I think this is also interesting. So I
Speaker 6: mean you obviously as a as someone who's been directing,
Speaker 6: what now, five.
Speaker 1: Years, Well, yeah, I've done some episodes.
Speaker 6: Yeah, yeah, so you've started directing. So I think you
Speaker 6: you you love the craft. You love the craft of
Speaker 6: this film, yes, And you love the depth and you
Speaker 6: love I'm picking the depth and watching it three times
Speaker 6: and four times and still finding stuff out about it.
Speaker 6: And I think I came at it from I came
Speaker 6: from the perspective, which is a very different perspective coming
Speaker 6: a film where you're told it's one of the it's
Speaker 6: one of the ten best films made in the last
Speaker 6: ten years. Yep, it's it's it's a great horror film
Speaker 6: and it's going to and you So you come with
Speaker 6: those two things in your mind, and then the question
Speaker 6: is does that deliver? I think if I if you'd
Speaker 6: seen that on you know, your favorite cinema at Cinema
Speaker 6: and Nova on a wet Thursday, when you'd gone down,
Speaker 6: you couldn't get into it. You couldn't get into the
Speaker 6: itony bexuse it was booked out. You'd probably love it.
Speaker 6: You probably love it. But I think expectation is a
Speaker 6: really brutal thing because because and again also I mean
Speaker 6: this is an interesting it's also it's a it's a
Speaker 6: cursive criticism. Is the criticism tends to be looking for
Speaker 6: the negatives rather than enjoying the positives. That when you
Speaker 6: put yourself in a poltical position, as in watching a
Speaker 6: film because of knowing I'm doing this podcast, it puts
Speaker 6: me in the situation of wanting to unpick stuff. I
Speaker 6: wanted to say, what doesn't make this an amazing film,
Speaker 6: rather than you know, the greatest Showman, the greatest Showman.
Speaker 3: I think the first time it was all great, SHO
Speaker 3: was on.
Speaker 6: An airplane, the shittest place to watch a movie ever,
Speaker 6: and I just it just flowed over me in this
Speaker 6: kind of slightly bamboozled jet laggy state, and i've he can.
Speaker 3: Love it did of course of course the whole because
Speaker 3: he's such a good man. He never sleeps with Jenny Lynn.
Speaker 3: There's just that look, and you know, there's there's it's
Speaker 3: it's got, it's got everything. It is got, it's got,
Speaker 3: it's got everything. So so for me.
Speaker 6: And but also the other thing is that the other
Speaker 6: thing is that you know, the how much do we
Speaker 6: want to how much do we want a movie to
Speaker 6: to like like what what does more in terms of
Speaker 6: exposing and we're interesting. We talked about them get Out
Speaker 6: and also Mississippi Burning has come up, but in two
Speaker 6: different films, both talk about race and talk about and
Speaker 6: talk about the the the issues of race in the U.
Speaker 3: S A.
Speaker 6: The Mississippi Burning is very straightforward. Yeah, and you walk
Speaker 6: up and go, well, that's just straight wrong and that
Speaker 6: but that's real and that makes it really chilling. Where
Speaker 6: it's get Out is Yes, it's always a it's always
Speaker 6: a movie, and it's a construction, and it's kind of
Speaker 6: and it's a it's a it's a hyper and extension
Speaker 6: of stuff I think the I think in a way
Speaker 6: the I think in a way the.
Speaker 3: The casual kind of.
Speaker 6: That casual less center left racism that's kind of denied.
Speaker 6: But but obviously there the whole time is a really
Speaker 6: fascinating area to explore, because especially for Australian audience, is
Speaker 6: a fascinating area to explore. But but it ends up
Speaker 6: being a it ends up being a wham bam at
Speaker 6: the end.
Speaker 1: But you want that, I mean you want like you
Speaker 1: shouldn't I think you don't want to see a film
Speaker 1: that is overtly leading with its message, you know, And
Speaker 1: I think, yeah, and.
Speaker 6: I don't, But I think it doesn't.
Speaker 3: I think it.
Speaker 6: I think you don't need to leave the message that
Speaker 6: the message is there pretty pretty clearly all the way through.
Speaker 3: I just think there.
Speaker 6: I just think it. It gives you, It gives a
Speaker 6: very there's a very simple solution at the end, which
Speaker 6: is your mate turns up with a gun.
Speaker 2: Is that?
Speaker 6: Is that not the the end message of that film?
Speaker 6: Rather than there's no, it doesn't really seek to unpick
Speaker 6: or to or to reveal to or to chart away
Speaker 6: for a better America?
Speaker 3: Which which which which? If that's it, If the that's
Speaker 3: the aid of the film, then then then does that?
Speaker 3: Does that? Do that? Does that? Well?
Speaker 1: I think whenever somebody is trying to make a statement film,
Speaker 1: you have to get the balance right of if you
Speaker 1: lead too hard with the message, then you're going to
Speaker 1: scrap like it. Still, it still has to be a movie,
Speaker 1: and it still has to entertain first and foremost. And
Speaker 1: I think, uh he, Jordan Peele has done that for me.
Speaker 1: What I got out of it was the way you're
Speaker 1: absolutely right, the way sender left racism can you know,
Speaker 1: be disguised, you know, the casual racism can over over,
Speaker 1: can blanket some very real problems. That is as racism
Speaker 1: goes and the woke the wokeness of of the parents,
Speaker 1: and and is it's it's stay for everybody to see.
Speaker 6: Yeah, but and and I think that I think that
Speaker 6: that side, it's fascinating. I just wonder whether I just
Speaker 6: wonder whether you I wonder whether the insidious nature of
Speaker 6: it because we don't get any we don't get any
Speaker 6: We don't get any chapter two do we like we
Speaker 6: don't I mean, I don't know whether does he go
Speaker 6: what how what happens to the what happens to the
Speaker 6: order of the quaculence? Do they all now go to jail?
Speaker 6: Do they all get charged and not go to jail?
Speaker 6: Because we know with pretty much every one of these
Speaker 6: kind of every one of these, you know, great movements
Speaker 6: of change where we where we attack a major problem
Speaker 6: facing society, people don't go to jail, you know it
Speaker 6: things just continue. And that maybe is the epilogue the
Speaker 6: film needed that maybe the film needed an eploge log
Speaker 6: like that that just that just gave the fact that that.
Speaker 6: You know, he goes into the police station. No police,
Speaker 6: I was going to believe him, are they? I mean
Speaker 6: that that's going to be it's a you know, he
Speaker 6: can't go to police. He says he was there and
Speaker 6: then to get get ping for the murders?
Speaker 1: So well I did. I didn't think that, but I
Speaker 1: mean for me, for me, it was I was happy
Speaker 1: with the ending, even though I did wonder who gets
Speaker 1: who gets who these murders get pinned on? There are
Speaker 1: two bodies, two bodies, you know, lying dead on the road. Yeah,
Speaker 1: who gets who does that get pinned on? But I
Speaker 1: don't know?
Speaker 6: Well, and it is the issue does it get does it?
Speaker 6: Does it get pinned on? The does he get pinned on?
Speaker 6: The grandfather? Does the grandfather end up going to because
Speaker 6: his his fingerprints are all over the gun?
Speaker 1: But the grandfather's dead.
Speaker 6: Does he commanally got shot as well? Didn't he forgot
Speaker 6: about that?
Speaker 1: Yeah?
Speaker 6: But like so what I'm what I'm saying is I
Speaker 6: think it's great to come out. I mean, I love love.
Speaker 6: We all love movies with a message, whether it's an
Speaker 6: avert message or a subversive messages are often more powerful.
Speaker 6: But I just feel it kind of it, just at
Speaker 6: the end of the film just feels like normally the
Speaker 6: audience is definitely thing we need to change this, because
Speaker 6: we need to change this as well.
Speaker 3: We're going there.
Speaker 6: Needs to be a My my sense is that is
Speaker 6: that it needed it needed, it needed that that last
Speaker 6: chapter where where, because nowadays we live and we live
Speaker 6: with where where there aren't winners. You know this this
Speaker 6: image for so many movies and TV shows, you know,
Speaker 6: there aren't There aren't winners. You don't win, you know,
Speaker 6: the the it's not you don't get the girl and
Speaker 6: the big house and the yacht that doesn't happen. You
Speaker 6: end up it ends up costing you almost as much
Speaker 6: as it's cost the people, the people who who perpetrated
Speaker 6: problems against you. So I just wonder whether that's a bit,
Speaker 6: whether that's whether that's a bit you know that Hollywood
Speaker 6: is such a different why it's a very Hollywood ending,
Speaker 6: and and and and it's not a Hollywood film.
Speaker 1: I know what you're saying. But I think the moment
Speaker 1: that makes it makes it a deserved ending is that
Speaker 1: that moment where you have where you think he's done.
Speaker 1: He actually puts his hands in the air and we
Speaker 1: think he's caught Rosy smiling, she's yelling at to the police.
Speaker 1: It's right in those eye. Guys know exactly what the
Speaker 1: situation is and that the amount of times its just
Speaker 1: played out across America. So to have that relief, I
Speaker 1: personally think if I'm sitting through, you know, a horror film,
Speaker 1: a thriller where you know, I've been a little bit
Speaker 1: you know, tense, the whole way through, that feeling I
Speaker 1: had at the end of that film was like made
Speaker 1: it made me watch it another three times. Yeah, you know,
Speaker 1: because it's like, I want a sense of hope at
Speaker 1: the end of my my films. That's I mean, you know,
Speaker 1: I'm not up for a down ending, you know, occasionally
Speaker 1: if it's if it's something that's you know, it really
Speaker 1: is and this is this is the film that really
Speaker 1: going on.
Speaker 6: But I think, but I think you can. I think
Speaker 6: you can deliver hope but also deliver a sense of
Speaker 6: unfinished business. And I think that's what that's what I'm saying.
Speaker 6: I think you can have You're going to he can escape,
Speaker 6: he can get away that that's not a problem. But
Speaker 6: but you want, you want a sense of unfinished business
Speaker 6: more than anything. Else because you want you want to
Speaker 6: give him just made two hundred and twenty five million dollars.
Speaker 3: You won't get out too well.
Speaker 1: They're talking about that. Funnily enough there, Blumhouse Films made
Speaker 1: this film with Jordan Peel. They've said they are absolutely
Speaker 1: up for it, but it's up to Jordan Peel if
Speaker 1: he has the idea. And he said, if I have
Speaker 1: the idea, I will do.
Speaker 6: It, because he said, I think there's you know, if
Speaker 6: we if we cast back to the nineteen seventy five
Speaker 6: step Ward Wide movie and we think of that idea,
Speaker 6: if we take that idea, that and Margaret, that and
Speaker 6: Margaret and it's interesting, you know that the the if
Speaker 6: you look at and Margaret back then if Ann Margaret
Speaker 6: had killed, if Ann Margaret had killed the kind of
Speaker 6: the leader of the country club and the doctor and escaped,
Speaker 6: you know, you know that that that that would have
Speaker 6: just continued. That that's the horror. That's even if you escaped,
Speaker 6: there would be an escape because of another generation of
Speaker 6: people coming through and that and I did I get
Speaker 6: the sense sense that the order would still continue and
Speaker 6: that they would still continue doing that. Do you think
Speaker 6: the order is dead?
Speaker 1: Is there I mean, that's a good question, and that
Speaker 1: could that could form I imagine if Jordan Peele is
Speaker 1: considering Get Out too, I assume that's going to play
Speaker 1: a part.
Speaker 6: Well, you know what, they're gonna go and watch it again.
Speaker 1: Who I we'll be fascinating. And it's interesting. There's been
Speaker 1: a few examples during this podcast where the ones that
Speaker 1: I think of, Rachel Corbett watched Castaway, Whitnail and I
Speaker 1: with Limo one coming up with my good mate Adam
Speaker 1: Christy from Canada, who we watched Wall Street. There's been
Speaker 1: films we've got of gone either both of us or
Speaker 1: my guests haven't enjoyed it as much and after the
Speaker 1: discussion like, actually I might give it another chance. Whitnail
Speaker 1: and I Limo and I actually kind of both were
Speaker 1: a bit underwhelmed and by the end of it we're like, yeah,
Speaker 1: we probably watch it again. Actually, you know, so it'll
Speaker 1: be fascinated.
Speaker 3: Will with Nail.
Speaker 6: I mean back when in the UK, I used to
Speaker 6: I used to be involved in a lot of premiers,
Speaker 6: like reader screenings of movies and we did things like
Speaker 6: Reaperman and After Dark and a lot of films look
Speaker 6: like that. That that were there were two or three times,
Speaker 6: two or three time watch films that they get better
Speaker 6: the second the third time you see them. They're not
Speaker 6: the kind of the so so I think that I
Speaker 6: think often that there is an advantage about that, and
Speaker 6: and some stuff doesn't doesn't grab me the first time.
Speaker 6: I've just gone through that with Ship's Creek. I watched
Speaker 6: It's Creek. That watched this of four episodes.
Speaker 1: And when yeah, so many people and I love shitsch.
Speaker 3: I know, I love it. I've watched it. I love it.
Speaker 1: I mean so many people have that same reaction.
Speaker 6: But but but but but again, that that's the we are,
Speaker 6: you know, where the too long did not read generation
Speaker 6: where the we are the people that you make a
Speaker 6: decision quickly and you go yeah, and then you move
Speaker 6: on because there's there's there's always there's always ten other
Speaker 6: things to watch.
Speaker 1: But sometimes I sometimes I will hang off watching something
Speaker 1: until I hear compleicarly TV series, until I hear enough
Speaker 1: people say to me, you need to watch the Boys.
Speaker 6: Yeah, yeah, and that is one actually watched Secession.
Speaker 1: Yeah, well literally Succession is amazing. Literally silly picoles it
Speaker 1: to me last night, you need to watch the Boys.
Speaker 1: And I'm like, your that recommendation. Your recommendation is the
Speaker 1: one is now, like I've heard enough times now that
Speaker 1: I trust on you know, it's worth my time, so
Speaker 1: I'm going to jump into it as opposed to jumping
Speaker 1: in straight away.
Speaker 6: But rose Have is another example like that. Rose Haven
Speaker 6: is something you could you can easily watch the first
Speaker 6: You can dip in maybe halfway through that first season
Speaker 6: and go nah, and then you and then you come
Speaker 6: back into it and you you hit the rhythm of
Speaker 6: the show and then you go, this is magnificent.
Speaker 3: I love it.
Speaker 6: And it's very funny, and you get the and you
Speaker 6: get the quirk and the character, and that's that's that's
Speaker 6: that's the terrible challenge for Hollywood now is now they're
Speaker 6: competing with you know, first season of House of Cards,
Speaker 6: amazing amazing storytelling that you can do in depth and
Speaker 6: with greater subtlety, and you can really let things develop
Speaker 6: and you can have multiple storylines running at the same time.
Speaker 6: Game of Thrones where you throw all the narrative conventions
Speaker 6: out the window and it's you know, and that you
Speaker 6: kill off your central characters not once but twice in
Speaker 6: the first two seas. I mean, you can do all
Speaker 6: that stuff. So with Hollywood, where you've got where you've
Speaker 6: only got you know, ninety minutes, an hour and two hours,
Speaker 6: you've you've got to you rely on certain conventions.
Speaker 3: In order to do it.
Speaker 6: And so I think that's so. And I wonder and
Speaker 6: I wonder whether that's a I wonder whether that that's
Speaker 6: a that's a that's a challenge, especially now when people
Speaker 6: have got surround sam big screens at home. You know
Speaker 6: that a lot of the a lot of the traditional
Speaker 6: a lot of the things, you know, the music hall,
Speaker 6: the music hall gets gets whether whether movies where the
Speaker 6: movies are going to die out as a as an
Speaker 6: art form because of the fact that we're willing to
Speaker 6: spend four hours, you know, of an evening watch. Well,
Speaker 6: maybe back to back episodes of Borgen.
Speaker 1: Maybe get Out Too should be a TV series?
Speaker 6: Well, I mean and I think that, I mean, I
Speaker 6: think that's an interesting the Fargo, that Fargo has an
Speaker 6: interesting model like that that that I think. I think
Speaker 6: doing Fargo as a TV series was a was a
Speaker 6: great idea. And you think of something like like Ozark,
Speaker 6: which is Ozark as a movie would be terrible and
Speaker 6: there would be they'd have to take shortcuts, but to
Speaker 6: allow those characters to develop and to change and to morph.
Speaker 6: And it's a you know, it's a difference between a
Speaker 6: you know, a twenty twenty game and a five day
Speaker 6: a five day game. Isn't it a difference between you know,
Speaker 6: a five set tennis match and the straight sets victory
Speaker 6: that you want you I think the great thing about
Speaker 6: about storytelling is not is not that linear a B
Speaker 6: CDE but it's that that idea that jumps all over
Speaker 6: the place. And when you think of when you think
Speaker 6: now that you know, people are you know, people in
Speaker 6: terms of screen entertainment are going for fifteen seconds or
Speaker 6: ten second reels or TikTok, or they're going for twenty
Speaker 6: eight hours playing a video game and immersing themselves.
Speaker 3: In a world.
Speaker 6: That that that that very short, that very short kind
Speaker 6: of hit of a movie makes it really hard. So
Speaker 6: it has to be spectacular and big, and that's undaudly
Speaker 6: well those superhero movies have done so well, or it's
Speaker 6: got to be a beautiful story, well.
Speaker 1: Told, well said. I'm just going to point out one
Speaker 1: last thing, one last fact. I mentioned that on a
Speaker 1: budget of four point five million, dollars and made two
Speaker 1: hundred and fifty five me the most profit of film
Speaker 1: of twenty seventeen. It was shot in twenty three days.
Speaker 3: That's amazing.
Speaker 1: It is amazing.
Speaker 3: But is it is it? Is it amazing?
Speaker 1: Well?
Speaker 6: It isn't it because because you come you come from
Speaker 6: a TV background, you know, you don't you don't shoot
Speaker 6: three minutes of footage a day, two minutes of footage
Speaker 6: a day.
Speaker 1: No, we shoot, we shoot closer to you know, we
Speaker 1: would shoot closer the nine minutes.
Speaker 6: Yeah, neighbors, neighbors shoes, neighbors shootes twenty three minutes yeah,
Speaker 6: so so so too.
Speaker 1: So I really didn't think neighbors was going to come
Speaker 1: up during that.
Speaker 6: Well you know, you know, you know, you know it's
Speaker 6: a secret love of my neighbor away from two thousand
Speaker 6: and from ninety three to ninety eight the and I
Speaker 6: think that's it's I think that's that that's interesting. I
Speaker 6: think that that idea of shooting off the hip. But
Speaker 6: I think we've we've seen a lot of stuff. And
Speaker 6: Birdman's another one of those that's.
Speaker 3: Do you like Birdman?
Speaker 1: Yeah? Birdman?
Speaker 6: Yeah, yeah, you see you see. For me, that was
Speaker 6: another moment. Oh, it's really clever. I can't I get that,
Speaker 6: but it wasn't.
Speaker 1: I've said it a couple of times because yeah, technically
Speaker 1: one of the teams.
Speaker 3: Yeah, it does.
Speaker 1: This hits me in the right places more than bird.
Speaker 6: But I like that, So I think so, I think
Speaker 6: it is that interesting. We we are living in an
Speaker 6: interesting time where where are the ways that we consume
Speaker 6: stories are very very different now and more so maybe
Speaker 6: like books where you've got like a thousand pages of
Speaker 6: Chantam or two thousand pages of the Lord of the
Speaker 6: Rings trilogy as opposed to you know, the the the
Speaker 6: Matthew Riley short story. Yeah, both which both which fantastic.
Speaker 6: But yeah, certainly advise people, certainly advice people to go
Speaker 6: and if they haven't seen, get out to watch it
Speaker 6: and then to make their own opinions of it. But
Speaker 6: I would also advise people to watch to watch that
Speaker 6: that's very you know the nineteen seventy five and Margaret
Speaker 6: step from was It's perilously slow and boring and it's
Speaker 6: probably not as good a film, but the in terms
Speaker 6: of that moment, and I think that there's moment when
Speaker 6: you when you I love a movie in when it's
Speaker 6: when you're in this genre when you walk away and
Speaker 6: you're going, oh, but what about how does that unfold? Yeah,
Speaker 6: you know the thing where you wake up at three
Speaker 6: in the morning and you go, oh, but what about that?
Speaker 6: What about you know, the the the threads that are
Speaker 6: there underhanging the you know, and that's where we go
Speaker 6: back to Infinity War when when Thanals does that?
Speaker 1: That's like what the yeah, yeah, how are they going
Speaker 1: to get out of that?
Speaker 6: And then of course the answer is it is Patrick
Speaker 6: Duffy and Dallas and it was all a dream sequence.
Speaker 1: The I just want to before we go. The cast,
Speaker 1: I think is uniformly great. This is a good example
Speaker 1: of a film.
Speaker 6: Yeah, you didn't need and it helps there aren't big stars, Yes.
Speaker 1: I think it does. If it was Denzel Washington as
Speaker 1: as Chris's probably to want to play that role. But
Speaker 1: you know, and and you know, I take pick Jennifer
Speaker 1: Anderson as as a Rose, it just becomes a completely
Speaker 1: different They're probably clumsy examples, but but they're just so
Speaker 1: Dan your Coluia, who also was in a great film.
Speaker 6: Perform His performance is fantastic, is his his his kind
Speaker 6: of embarrassed anger bubbling under the surface. Frustration is really
Speaker 6: really good, and.
Speaker 1: I think he's really relatable because you know what it's
Speaker 1: like too.
Speaker 6: Well, because where there are elements, there are elements that
Speaker 6: meet the fockers and yeah, you know in terms of
Speaker 6: that that uncomfortable fish out of water and people really
Speaker 6: making an effort to make you fit in obviously when
Speaker 6: you realize in retrospect not for the reason why they
Speaker 6: want to feel relaxed and comfortable fitting in. But yeah,
Speaker 6: I mean his his all the performances are universally very
Speaker 6: strong in it as well.
Speaker 1: Yeah, and that party scene that was quite interesting. I
Speaker 1: remember hearing Jordan Peel talk about this a while ago.
Speaker 1: They didn't have it, they didn't have the budget to
Speaker 1: have enough. Actually it supposed to be like a much
Speaker 1: bigger scene, so he did have to space everyone out.
Speaker 1: But then when he kind of looked at it, he
Speaker 1: got that this feels it feels better because it feels creepier.
Speaker 1: It feels it's not quite right. The people that are
Speaker 1: standing in these little groups of three and four, and
Speaker 1: every time, every time Chris, if you if you notice
Speaker 1: in the background people are kind of like looking at
Speaker 1: him and looking it up and down. I kind of
Speaker 1: almost evaluating him.
Speaker 6: Well, and and you're right, and and your immediate reaction
Speaker 6: is that they're looking him because he's he's a he's
Speaker 6: a he's a It's that.
Speaker 1: It's almost exotic.
Speaker 6: Well, I was thinking it's that moment in Sex in
Speaker 6: the City when when Miranda is starts getting invited drinks
Speaker 6: parties because she's a lesbian, and she becomes she becomes
Speaker 6: the you know, the the lesbian friend everyone wants to
Speaker 6: have to to kind of to add to their their
Speaker 6: repertoire to make them look look extra woke.
Speaker 1: Yeah, because because but I agree.
Speaker 6: I think I think that that that that that sense
Speaker 6: of uncomfortableness is a really is a really a very
Speaker 6: powerful thing in movies and actually makes it quite hard
Speaker 6: to watch things like that sometimes.
Speaker 1: Yeah, because you're a fellow Collingwood fan and a big
Speaker 1: football fan, I I talked football. But what I'm going
Speaker 1: to ask you to do, I thought.
Speaker 6: We should talk to about the club because really, that
Speaker 6: is one of the great ones that was so close
Speaker 6: to being on my list. Jack Thompson.
Speaker 1: I'm waiting for somebody to nominate the club.
Speaker 3: Because because if you haven't seen it, it's a big miss.
Speaker 3: And actually I've had that great moment. I was in there.
Speaker 6: I was flying back for Sydney a couple of years
Speaker 6: ago and Jack Thompson was in. It was like sitting
Speaker 6: next door and I went and leble to say, you're
Speaker 6: one of the two reasons you and far up the
Speaker 6: two reasons I came to Australia. I love the club.
Speaker 6: I thought it was fantastic club before. Oh yeah, back
Speaker 6: in I would have watched what was the Club? After
Speaker 6: it came out? It was fantastic. I loved it.
Speaker 1: Great film that is amazing.
Speaker 6: With the with the mighty Rennie Kink, the towels.
Speaker 1: As a as a young fellow.
Speaker 6: Maybe magnificent. Yeah, great film and his performance is fantastic.
Speaker 6: Yeah anyway, So yeah, but what do you want to say?
Speaker 6: What do you want to say?
Speaker 1: What I was going to get you to do is
Speaker 1: do the votes for this film. I want you to
Speaker 1: give a three to two one to the cast. Those
Speaker 1: who are not AFL fans. Three votes means best best
Speaker 1: on ground, second best on ground, and one vote is
Speaker 1: the best done ground.
Speaker 3: And we're voting as an ensemble.
Speaker 1: Well, anyone in the cast you can nominate for each
Speaker 1: each of those votes.
Speaker 6: So I think that's I think that's the same of
Speaker 6: the film is that it's universe. The performance is the
Speaker 6: university strong and then not overdrawn, and I think that
Speaker 6: that's one of the real strengths of the film.
Speaker 1: Well, I'm giving I'll give you my votes. You know
Speaker 1: Daniel Kalua as Chris straight away absolutely it gets three votes.
Speaker 1: He was nominated for Best Actor. Gary Oldman wins that
Speaker 1: year for Churchill, which wasn't called ChEls called something else
Speaker 1: the Darkish dugs down. Yes, two votes. I'm giving to
Speaker 1: his friend because he's funny.
Speaker 6: No, you're not gonna give in two votes?
Speaker 3: Why not?
Speaker 1: Rose Allison Williams gets two votes. I love that she
Speaker 1: She did not give anything away. And like I said,
Speaker 1: when you watch it the second time it performs, it
Speaker 1: gets even better because you know what's going on. And
Speaker 1: one vote I'm giving a friend.
Speaker 3: Yeah, good.
Speaker 1: D comes and saves. The movie isn't quite friendly.
Speaker 3: I wouldn't mind.
Speaker 6: I wouldn't mind if you will. The spin of Let's
Speaker 6: just have rod He's funny.
Speaker 1: Rodney's hilarious, kind of like kind of like a kind
Speaker 1: of like a moll cop copt little rel rail. Howary
Speaker 1: is his name? And he's he's a comic and uh,
Speaker 1: you know he's a musician as well. He's he's a star.
Speaker 1: He's a breakout movie for him.
Speaker 6: You know, and he's he's he's the guy that he's
Speaker 6: the guy. If he saw those two, he would be
Speaker 6: one of the he would be one of the two
Speaker 6: characters you want to follow.
Speaker 1: Special mention I want to give Catherine Keener. He's always great,
Speaker 1: you know, it's Lucky and Bradley Whitford. Long Live the
Speaker 1: West Wing. But how many pages notes do you write
Speaker 1: on a few notes? There's like eight pages of notes.
Speaker 1: The actor I want to mention is Kayleb Landry Jones,
Speaker 1: which is the brother I thought he was. That scene
Speaker 1: in the in the Dinner Party had a touch of
Speaker 1: Mendo about it for me Ben Mendelssohn in Animal Kingdom.
Speaker 1: That kind of simmering your life. Yes, guy's loose, but
Speaker 1: I don't know what's about to happen here.
Speaker 6: But that's like, that's like going your best, your best
Speaker 6: gourmet burger and your big mac. Because that Mendo and
Speaker 6: Animal Kingdom is terrifying.
Speaker 1: Well, Mendo has a big but his.
Speaker 6: Performance is absolutely genuinely terrifying, and you just don't know
Speaker 6: what's going on, and this guy is just another he's
Speaker 6: just a load of dime store villain.
Speaker 1: No that, I'm happy for you to introduce a turn
Speaker 1: dimestore villain into this podcast. Will I will take that
Speaker 1: with me. But I know I find him. He's not
Speaker 1: as menacing as Mendo in Animal Kingdom, but he there
Speaker 1: is something and those kind of characters like David Wenham
Speaker 1: in The Boys, not the TV series speaking out the
Speaker 1: greatest Traine film, The Boys, there's just that it's just
Speaker 1: like that, that that it's a simmering tension that he
Speaker 1: could be a capable of anything. Although my my son
Speaker 1: did say my thing Aiden loved the film and he
Speaker 1: did think at some point that he might actually end
Speaker 1: up being a good guy and actually end up saving.
Speaker 6: Well that see that that would have been interesting. That
Speaker 6: would an interesting twist. And then and then getting killed
Speaker 6: by one of the family.
Speaker 1: Yeah, yeah, So did you agree with those votes or
Speaker 1: do you you wanna you wanna.
Speaker 6: Yeah, no, no, no, I'm fine with them. I'm fine
Speaker 6: with those folks.
Speaker 1: Those excellent Thank you so much. Mate, It's I was
Speaker 1: I was really excited when you're nominated this film and
Speaker 1: you know, I'm I'm well, I've always thought when somebody
Speaker 1: comes here and they haven't enjoyed the film and like it,
Speaker 1: it's happened. It's happened a couple of times. I think
Speaker 1: you've been the most resolute about not being hugely into
Speaker 1: this film. But I've always well, how do we get
Speaker 1: through the podcast? But it's been wonderful to chat about
Speaker 1: Look Look.
Speaker 3: And I think that's it.
Speaker 6: I think the important thing to remember with with with
Speaker 6: this is that you know, if you haven't go and
Speaker 6: see it with those expectations and you'll enjoy it. And
Speaker 6: it certainly wasn't.
Speaker 1: It was not.
Speaker 6: This was not an ishtime moment. This was not a
Speaker 6: moment where you sat there going resenting, resenting design. And
Speaker 6: I have, in my time as a you know, doing
Speaker 6: doing the casual film review, had to sit through films
Speaker 6: that were a pain. They were painful to watch and
Speaker 6: you had to see And I am someone who has
Speaker 6: to watch the end. I have to watch and see
Speaker 6: if if there's miraculous dead all gets better at the end,
Speaker 6: in some fantastic deniuement at the end, in the last
Speaker 6: three minutes, that makes the whole previous ninety seven minutes
Speaker 6: worthwhile run the well, and and and it doesn't dance.
Speaker 6: So it's you know, it's it's undoubtedly, it's undoubtedly a
Speaker 6: good film. But is it?
Speaker 3: But is it a film? Is it a film that's
Speaker 3: that that should sit there in my in my top three?
Speaker 2: No?
Speaker 6: Is it a film that should sits in my top twenty?
Speaker 3: Is it? Is it?
Speaker 6: If someone came to me and said, should you watch
Speaker 6: Get Out? I'd say, yeah, you need to see it?
Speaker 6: But I wouldn't go and tell them, wouldn't ring them
Speaker 6: and say or when they said watch we watch night,
Speaker 6: wouldn't It wouldn't be in my first it wouldn't be
Speaker 6: in my recommendation of films to put up. So that
Speaker 6: that's I'm saying, it's a I'm saying it's a.
Speaker 3: It's an. It's an it's an enjoyable watch. It's an
Speaker 3: enjoyable watch. But it's not.
Speaker 6: It's it's no, it's no Rosemaries baby.
Speaker 1: Thanks mate, and we're back, yes, Season two up and running.
Speaker 1: What a fascinating man. Matt Preston is, Like I said,
Speaker 1: I come here, I have no idea if my guests
Speaker 1: enjoyed the film or hated the film. And that was
Speaker 1: somewhere in between. He again said to me off there,
Speaker 1: he will go back and watch it again, so I
Speaker 1: will keep you in touch as to how Get Up
Speaker 1: grows on him if it indeed does. Thank you everybody
Speaker 1: coming back for season two. I'm really excited. We've got
Speaker 1: some great guests coming up. We've got Tony Martin, hadn't
Speaker 1: seen Top gun Nath, Valvo, Beeble Juice, Adam Christie, my
Speaker 1: best Canadian friend, hadn't said Wall Street. Cilli Pacuola has
Speaker 1: promised to watch The Jaws. There's a whole lot going
Speaker 1: to be happening, So stay tuned, subscribe like us if
Speaker 1: you can. I want to thank my podcast manager, Deck
Speaker 1: Meyers from Castaways Studios dot com dot au if you're
Speaker 1: trying to get a podcast up. Derek is the man
Speaker 1: that the chat too. I love being back in the studio.
Speaker 1: That's why we held off for a couple of weeks because,
Speaker 1: as you know, as much as recording online, you know,
Speaker 1: we got it done. But I hope you're enjoying the
Speaker 1: clearer quality the Castaways Studios provides. Derek is also working
Speaker 1: on while at Ali's podcast as well, which is called
Speaker 1: So Now What And That's about what happens now in
Speaker 1: relations to coronavirus. So it's fascinating podcast. You can check
Speaker 1: that out. Circustreet Sounds Jimmy and Tom put all the
Speaker 1: bells and whistles into all the opener and I thank
Speaker 1: you guys. If you need some sounds and some audio,
Speaker 1: some jingles, some music for your project, get on the
Speaker 1: Circus Tree Sounds Jimmy and Tom, they're the ones you
Speaker 1: want to speak to. So thank you to everyone involved.
Speaker 1: Next week on the show episode so Nath Valvo has
Speaker 1: not seen Beetlejuice, so if you can check it out
Speaker 1: during the week and we will chat to Nath. I'm
Speaker 1: looking forward to that one. Until then, bye, and so
Speaker 1: we leave old Pete, save man soul and to our
Speaker 1: friends of the radio audience, we've been a pleasant good name.