Speaker 1: Kiday, Peter Hell, are you here? Welcome to you ain't
Speaker 1: seen nothing yet?
Speaker 2: The movie podcast wire Rotch out to a movie lover
Speaker 2: about a classic or beloved the movie they haven't quite
Speaker 2: got around to watching until now. And today's guest writer,
Speaker 2: actor legend Lucky Hume.
Speaker 3: Well below, I want to stay here with you, go
Speaker 3: to the jobber.
Speaker 1: Quite snake shucked?
Speaker 3: Why frail?
Speaker 1: But couldn't happening right?
Speaker 4: So don't see nothing.
Speaker 2: Here quite simply. Lucky Hue is Australian acting royalty. He
Speaker 2: broke into the beers by writing screenplays including Men with
Speaker 2: Guns and the controversial Let's Get Skase. But from there
Speaker 2: he has largely been a presence on screen, and what
Speaker 2: a screen presence. Lockeye is or Lockie is one of
Speaker 2: our most incredibly gifted actors. He can play everything from
Speaker 2: Leo Nazis to politicians, from Kerry Packard to Welt Frank Packer.
Speaker 2: Audiences saw a softer side in Lockey's as Martin Klegg
Speaker 2: in Offspring, which Australians audience has.
Speaker 1: Just absolutely loved.
Speaker 2: He was so brilliant as the socially awkward doctor, surrounded
Speaker 2: by other acting royalist such as Asha Kenny and Kat
Speaker 2: Stewart and of course Dead Mailman.
Speaker 1: I also urge you to check out his role as Rory.
Speaker 2: The sperm donating stripper in an episode of It's a
Speaker 2: Date we shot alongside another icon Magne Zebanski.
Speaker 1: Locky's credits also include.
Speaker 2: Gallipoli, The Matrix Films, George Miller's Three Thousand Years of Longing,
Speaker 2: Secret River, Macbeth Preacher, and of course, seeing Locky work
Speaker 2: on set and go about his business is is to
Speaker 2: witness a true professional.
Speaker 1: I've had the honor of doing it.
Speaker 2: He is absolutely dedicated to his craft, but Lucky is
Speaker 2: also incredibly considerate of all cast and crew. He knows
Speaker 2: for any production to work, it needs to be a
Speaker 2: team effort. But he's also happy to be a leader
Speaker 2: on set in a truly wonderful way. Lockey is one
Speaker 2: of the most passionate and loyal people I know. He's
Speaker 2: constantly supporting the Australian comedy scene. He's insightful, he's engaged,
Speaker 2: and he's dedicated. These are to some of the reasons
Speaker 2: I'm stoked to be hanging out with Lucky Hume today.
Speaker 5: Gooday, I'm Lucky Hume, Australia's actor and my three favorite
Speaker 5: films are The Godfather Part two nineteen seventy four, Francis
Speaker 5: Ford Coppola. We've got to college to get stipord really
Speaker 5: steal odd Father nineteen seventy two, Francis Ford Coppola.
Speaker 4: What have I ever done to make your taken service?
Speaker 6: Respectfully, if he'd come to me in friendship and the
Speaker 6: scum that wound your dollar would be suffering this very day.
Speaker 5: The Conversation nineteen seventy four, Francis Ford Copola. I need
Speaker 5: to have no work of nine. And since I don't
Speaker 5: want you to think I'm just obsessed with Copla, I'm
Speaker 5: going to give you a couple more. My fourth favorite film,
Speaker 5: Supergo nineteen seventy three, Sidney Lamett. Please I beg of
Speaker 5: your come out and potatoes come out. You're pretty fucking weird.
Speaker 5: All the President's Men nineteen seventy six, Alan J. Pecoola
Speaker 5: Follow the Money May. I can't tell you that, but
Speaker 5: up until this week, I'd never seen Awson Wells nineteen
Speaker 5: fifty eight film noir Touch of Evil. Some groovy tunes
Speaker 5: from Henry Mancini.
Speaker 1: You feel it.
Speaker 2: When a car bomb explodes on the American side of
Speaker 2: the Mexican American border killing a wealthy businessman and his
Speaker 2: blonde stripper mistress, Senior narcotics officer Mike Vargas Shelton Heston, Yes,
Speaker 2: Chelton Heston plays a Mexican. It just happens to be
Speaker 2: nearby smooching his new bride, Susan Vargas pre psycho Janet Lye.
Speaker 2: Such is his nature. Mike can't help but get involved.
Speaker 2: But when local law enforcer Hank Quinland arrives, played of
Speaker 2: course by Awson Wells in a fat suit and heavy prosthetics,
Speaker 2: He's keen to wrap this investigation up quickly. What follows
Speaker 2: is a study of justice, betrayal, racism, and corruption. Famous
Speaker 2: for its stunning opening, a four minute tracking shot. Touch
Speaker 2: of Evil is regarded by many as the last great
Speaker 2: noir film of the classic era. Citizen Kane, made by
Speaker 2: Well seventeen years earlier. May garanna or the kudos and acclaim,
Speaker 2: but there is just as much to admire in this
Speaker 2: dense thriller. Lucky Hume, be honest, have you ever planted evidence?
Speaker 5: Not since Breakfast? Well, this is a special episode, mate,
Speaker 5: Well it's funny you should mentioned now listen. I just
Speaker 5: want to get some of the ground rules on the
Speaker 5: show here, Pete, because you know I like flying blind
Speaker 5: a little bit. But can we do spoilers on the show?
Speaker 4: Yes?
Speaker 2: Okay, yes, So if you haven't seen a Touch of
Speaker 2: Evil now and this episode, this podcast, what is fascinating
Speaker 2: Lockie is I assume when we started this people would
Speaker 2: watch the movie.
Speaker 1: First and then listen to the podcast.
Speaker 2: But I've had a lot of anecdot evidence where people
Speaker 2: have been telling me that they will happily listen to
Speaker 2: the spoiler full episode and then go and happily watched
Speaker 2: the movie afterwards. So as long as it's the warning,
Speaker 2: you've been warned, spoilers all through this for a Touch
Speaker 2: of Evil and obviously Capola's entire filmography.
Speaker 5: A lot of people will shoot me because they say,
Speaker 5: you haven't got picked a couple of films, if you're
Speaker 5: your top two and you haven't got Apocalypse Now, And
Speaker 5: it's like, nah, but we'll talk about this later. He
Speaker 5: never got the final ten minutes right on Apocalypse Now.
Speaker 5: It's always been my big complaint. People have threaten to
Speaker 5: kill me over that. But anyway, we're not here to
Speaker 5: talk about Apocalypse and.
Speaker 2: Beig caause and we'll get to your favorite movie soon.
Speaker 2: But let's this is like a big episode because you
Speaker 2: have been seen as the Unicorn, my white Whale. How
Speaker 2: do I get lucky Hume? How do we find a
Speaker 2: movie you haven't seen? People thought Tony Martin would be difficult.
Speaker 2: Tony actually had quite a few. We haven't seen Top
Speaker 2: Gunners where we we got to Tony fantastic and we
Speaker 2: had We've had many conversations. We had like a three
Speaker 2: hour conversations during lockdown and we're talking about we got
Speaker 2: sidetracked and we talked about other things.
Speaker 1: Other things.
Speaker 2: When I say other things, movies, maybe a bit of
Speaker 2: footy as well. But recently you just text me out
Speaker 2: of the blue and said got it.
Speaker 5: Yeah, it's well. I mean I initially all this process started,
Speaker 5: you sent me a huge email with hundreds of movies
Speaker 5: on it saying pick one, this is how the show works.
Speaker 5: Come on and talk about something you haven't seen, and
Speaker 5: I guess sent back to seeing them all because I had.
Speaker 2: I went, well, it was one movie I hadn't seen
Speaker 2: what you refuse to do for this podcast, which is
Speaker 2: legally Blonde.
Speaker 5: Yeah, I've seen half of Legally Blond. I seen half,
Speaker 5: so it's like that was enough for me. So tell
Speaker 5: you what. I was watching Get Shorty, which was part
Speaker 5: of the sort of the Travolter comeback in the nineties.
Speaker 5: He did it right. I booked it right after you
Speaker 5: did Pulp Fiction for Tarantino. That's a great film, Get Shorty.
Speaker 5: If people haven't seen it, it's one of the funniest
Speaker 5: satires of Hollywood. And it's based on Elmore Leonard's novel
Speaker 5: of the same name. Fantastic movie. John Travolta, Gene Hackman,
Speaker 5: Renee Russo, Danny DeVito, on and on and on. And
Speaker 5: there's a scene where Travolta's character, he plays a sort
Speaker 5: of a standover man and a debt collector for the
Speaker 5: mob in Miami, but he's also a movie tragic and
Speaker 5: he goes off to he's in La finds himself through
Speaker 5: circumstance in Los Angeles and he goes to a revival
Speaker 5: movie house on Sunset Boulevard and he's watching Touch of Evil.
Speaker 5: So I was watching this on Blu Ray again. Yeah,
Speaker 5: I watching Travolta watching Touch of Evil. And I've seen
Speaker 5: Get Shorty many times, and it suddenly occurred to me.
Speaker 5: I don't think i've ever seen Touch of Evil, and
Speaker 5: it occurred to me because at the end of this
Speaker 5: sequence where Travolta's character is watching Touch of Evil, he
Speaker 5: is lip syncing or mouthing the dialogue that Marlena Dietrich
Speaker 5: who has a great cameo and Touch of Evil towards
Speaker 5: the end, and I'm going, he knows the dialogue, which
Speaker 5: means this must be a good film, and I haven't
Speaker 5: seen it. And I went get on the phone to
Speaker 5: Hellia straight away. It was like, Bang, we've got it, buddy.
Speaker 5: It's Touch of Evil and so great. You're excited. I'm
Speaker 5: excited for the listener at home. I'm a huge believer.
Speaker 5: I'm not a streamer. I don't I've been on shows
Speaker 5: that have been on streaming services and I've actually got
Speaker 5: a free subscription to Stand for Life, but I've never
Speaker 5: hooked it up because I actually believe in owning movies,
Speaker 5: and so I have a Sony Blu Ray multi region,
Speaker 5: which means I can just get a Blu Ray from
Speaker 5: anyone or plays DVDs as well, okay, and so it's
Speaker 5: great because you get like a DVD from the States,
Speaker 5: from the UK, from wherever you are, Blu Ray from
Speaker 5: wherever you want, and sometimes and you put it in,
Speaker 5: it says not compatible operating, you know, But with this machine,
Speaker 5: you just I always list laugh out loud, I see
Speaker 5: my caction and go we can play this game all night.
Speaker 5: So what you do is eject it and as you
Speaker 5: as you hit it to go back in, you hit
Speaker 5: one of the buttons and it gets suddenly, did you've
Speaker 5: got your movie going? So I ordered the Blu ray
Speaker 5: of Touch of Evil and it has there's three versions
Speaker 5: of it. Yes, So there is the work cut that
Speaker 5: Awsoin Will submitted to the studio in nineteen fifty eight.
Speaker 5: They took it out of his hands inherently, which often
Speaker 5: happened with Awesin Wells, and re started re editing the movie.
Speaker 2: Because he went on to another project. It wasn't because
Speaker 2: when you hear of somebody taking a project out of
Speaker 2: the creator's hands, you know, you think, yeah, yeah, these
Speaker 2: an image of what that must have looked like. But
Speaker 2: I think it really was almost out of frustration that
Speaker 2: this wasn't moving fast enough. And now he's gone to
Speaker 2: work on another project. This is not going to happen.
Speaker 5: Yeah, And you've got to remember that. I can't remember
Speaker 5: the name of the producer of Touch of Evil, but
Speaker 5: he was sort of one of the King of the
Speaker 5: B movies kind of guys who wanted those sort of
Speaker 5: get it done, get it done quick, get it done fast,
Speaker 5: get it into the cinemas, get it into the drive
Speaker 5: ins log Corman. Yeah, yeah, part of a double bill whatever.
Speaker 5: So Wells had gone off to act in another film,
Speaker 5: and so the studio and the producer assigning you editing
Speaker 5: team to it. So I've got that. I haven't watched
Speaker 5: that version. I've got that was the theatrical release version.
Speaker 5: But anyway, as a result of that happening, Austin Wells
Speaker 5: wrote a very impassioned fifty eight page, single spaceed memo
Speaker 5: to the studio outlining his vision for Touch of Evil,
Speaker 5: the changes he felt should be made to it that
Speaker 5: could still be made. It was ignored, but the memo
Speaker 5: became quite quite famous among movie buffs when the film
Speaker 5: was sort of rediscovered in the seventies by the sort
Speaker 5: of movie brat generation, the Spielberg's and the Coppolers and
Speaker 5: the Lucases and the Scorsesees and all those guys and
Speaker 5: part of that core, especially talking about Copler again, of course,
Speaker 5: he formed American Zootropy's own company up in San Francisco.
Speaker 5: There was a guy who worked for copeler still does,
Speaker 5: called Walter Mersch. Now Merks is one of the great
Speaker 5: film editors, but most famous in film history. When you
Speaker 5: see in the movie credits sound designer, that term was
Speaker 5: invented for Walter Merch for Coppola's film The Conversation, where
Speaker 5: he did the sound design for the film. And so Merch,
Speaker 5: who's part of that group of great filmmakers who believe
Speaker 5: in the restoration of films and the preservation of motion picture.
Speaker 5: He took Wells's fifty eight page memo, he got into
Speaker 5: the vaults at Universal. They found a lot of the
Speaker 5: footage had been discarded that Wells had addressed in his memo,
Speaker 5: and Walter Merk's painstakingly put the film back together, which
Speaker 5: was released in nineteen ninety eight to greater claim. So
Speaker 5: that's the version that I've watched, and that's the version
Speaker 5: of Pete's Watch Listener. There's a little sidebar to that though,
Speaker 5: that Usen Hill's daughter sued them, Beatrius Well yeah, yeah,
Speaker 5: sued them for doing this. So it sort of really
Speaker 5: gummed up the works. And getting this film out there.
Speaker 5: And then she said later she won the case, saw
Speaker 5: what they done, totally approved of it anyway, and so
Speaker 5: I wish they just told me that that's what they
Speaker 5: were doing. We wouldn't have had all this lawsuit to
Speaker 5: begin with. So I don't know where the lines of
Speaker 5: communications broke down there, but anyway, so we're going to
Speaker 5: be talking today about the I suppose you would call
Speaker 5: it the Awesome Wells Vision version of Dutch People. Courtesy
Speaker 5: of the fifty eight page memo and courtesy of Walter Merch.
Speaker 2: Possibly one of the earliest I guess director's cuts, because
Speaker 2: usually the director's cut is this we get used to
Speaker 2: you know, Tarantina doesn't do directors cuting. He guess, no,
Speaker 2: because I've got you know, I've got can't Blanche. I
Speaker 2: can make the film that you want to see. So
Speaker 2: this was one of the earlier examples of a director
Speaker 2: being able to, I guess put out his version even
Speaker 2: though he had passed. But based on this fifty eight
Speaker 2: page memo, so it's quite it's quite fascinating that Walter Merch.
Speaker 2: I don't want to get too deep because I want to,
Speaker 2: but it's fascinating can chatter about later Walter Merch, I
Speaker 2: assumed he did the Sema sign on the conversation.
Speaker 1: Yes he did, and then that comes out obviously the.
Speaker 2: Play would be fascinating that here different between the original
Speaker 2: towards the back of that film the third act with
Speaker 2: the surveillance, and and how that sounds because I was
Speaker 2: watching it, going this sounds amazing, Like the sound design
Speaker 2: on this is incredible.
Speaker 5: Are you talking about in Touch of Evil?
Speaker 2: Following? And the kind of switches perspectives, and I wonder
Speaker 2: I would love to listen to the original and see
Speaker 2: the difference even he made it to the sound as.
Speaker 5: I'm sure fascinating.
Speaker 1: There be so much we are chomping at the bit.
Speaker 5: Okay, let's get into what this story is about.
Speaker 1: You want, I want to ask you about your favorite films.
Speaker 5: Okay, so we're not going to talk about a Touch
Speaker 5: of It.
Speaker 1: No, we'll be coming bout the Touch of Evil.
Speaker 2: Don't worry about that. We are coming back to that.
Speaker 2: We want to wear Touch of It. So we won't talk.
Speaker 1: About all five films, but we can talk broadly.
Speaker 2: Maybe let's talk about Coppler for first of all, do
Speaker 2: you actually Godfather Part two? I also have like a
Speaker 2: bees dick gun to my head. It's Godfather Part two,
Speaker 2: just ahead of Godfather from me.
Speaker 5: Yeah, okay, what I always say with I was just
Speaker 5: trying to be good for your broadcast normally, normally, what's
Speaker 5: your favorite film? I always say Godfather one, Godfather too,
Speaker 5: Godfather to Godfather one. Okay, you can't have Godfather Too
Speaker 5: without Godfather one because you have no perspective. The Godfather
Speaker 5: is absolutely sublime. It's perfect cinema. As Stanley Kubrick said
Speaker 5: about it, if you put the two together, it becomes
Speaker 5: Part one and Part two. It's a six and a
Speaker 5: half hour viewing experience, and Kubrick said it is, hands down,
Speaker 5: over that six and a half hours, the greatest cast
Speaker 5: ever assembled in motion picture history. And he's right. I mean,
Speaker 5: it's just a shopping list of the greatest actors of
Speaker 5: all time. I think the thing about Godfather Part Two
Speaker 5: is the conception of it to do ultimately what it is.
Speaker 5: It's the story of a father and a son at
Speaker 5: the same point in their lives using flashback and flash
Speaker 5: forward device, but it takes it continues the story of
Speaker 5: the first Godfather film really through the eyes of Michael
Speaker 5: Corleyoni played by Albatuno, whose accumulation of power no longer
Speaker 5: centers around trying to tech the family. It actually becomes
Speaker 5: power for power's own sake, and it takes him down
Speaker 5: to the seventh level of hell, and he finds that
Speaker 5: he's perfectly comfortable being there. So it's a dissent. It's
Speaker 5: I rate Chino's performance in Part two is the greatest
Speaker 5: on screen male actor performance in the history of cinema.
Speaker 5: It is an incredibly subtle, an nuanced performance, and there's
Speaker 5: not a lot of arc for him to go on, okay,
Speaker 5: because he kind of starts bad, he just gets worse,
Speaker 5: you know what I mean. And it's done by degrees,
Speaker 5: and it's so subtle, the degrees, I mean, if you're
Speaker 5: just getting inst to the mechanics of acting. The flashback sequences. So,
Speaker 5: of course, in the first film, Marlon Brando most famously
Speaker 5: played Don Vito Corleone. For the flashback sequences for his
Speaker 5: origin story, they cast a young actor called Robert de
Speaker 5: Niro as the young Vito Corleone. I mean, it's just
Speaker 5: astonishing when you think about it, And interestingly, up until
Speaker 5: Heath Leger and then later or Kent Phoenix, both winning
Speaker 5: Oscars for playing Batman's enemy, the Joker. The only fictional
Speaker 5: character that's been awarded to Oscars was Brando for Godfather
Speaker 5: one for Veto and DeNiro for Godfather Part two for Veto. Okay,
Speaker 5: and it's interesting. I almosto a Batman fanic. So it's
Speaker 5: Godfather and Batman seem to be the go tos are
Speaker 5: you're gonna win Oscars. But I think with part one
Speaker 5: and Part two also, and I saw Alec Ball when
Speaker 5: interviewed about it once and he said, you almost feel
Speaker 5: like you're watching your own family movies when you watch it,
Speaker 5: because you become so invested in these characters, even though
Speaker 5: it's the gangster genre. It's very different for something like
Speaker 5: The Sopranos, where the characters in the Sopranos are actually
Speaker 5: really quite repellent and it's a real difficult watch The
Speaker 5: Sopranos just I found the verbal violence between the characters
Speaker 5: is so confrontational, particularly between Tony Soprano and Carmella, his wife,
Speaker 5: when they get into it, it's really oh Man. Whereas
Speaker 5: the differences with the Coleione crime family in the Godfather films,
Speaker 5: I think Albert Raddy, who produced the first one summed
Speaker 5: it up best. He said, We're going to make a
Speaker 5: film about ice, cold blooded killers that you love, and
Speaker 5: that's really what it is. You love these people. You know.
Speaker 5: I was talking with Rob Sich once about the Godfather films,
Speaker 5: and he said to me, if you notice that the
Speaker 5: only actor who takes it really seriously is Baccino said,
Speaker 5: everybody else plays it really light in the film. And
Speaker 5: it's true. You think about it. You think about in
Speaker 5: the opening scene of The Godfather where Monasarah, the Undertaker,
Speaker 5: is asking the don for revenge against the guys who
Speaker 5: raped his daughter, and you know, there's almost like a petulant,
Speaker 5: little child thing going on with Brando's performance. You know,
Speaker 5: he sort of shrugs. He said, I don't know if
Speaker 5: I want to do this. It's like, okay, all right.
Speaker 5: You know, if you look at James Kahn's performance is Sonny,
Speaker 5: which is my favorite character. I read a great interview
Speaker 5: with Jimmy carn where he said I couldn't get my
Speaker 5: handle on Sunny until one night in New York during
Speaker 5: rehearsal period. I went and saw Rodney Dangerfield at a club. Okay,
Speaker 5: and he said it wasn't Dangerfield that switched it on
Speaker 5: for me. It was the nice started thinking about Rickles,
Speaker 5: the insult comedian, and he said, so, Sonny is really
Speaker 5: don Rickles, that it was Roddy Dangerfield that sent him
Speaker 5: off down that path. Allegedly, that's the story goes, and
Speaker 5: it is. It's brilliant and so once he locked into that.
Speaker 5: I mean, you know that famous shot you in the
Speaker 5: wedding sequence at the high and wide shot with the
Speaker 5: FBI guys are taking down the license plates numbers of
Speaker 5: all the mafios were attending the wedding when James Kn't
Speaker 5: comes out, commit, commit, comme, come here, gimme it's my
Speaker 5: sister's wedding, and he smashes the camera and then throws
Speaker 5: the money at him. There was just action, do whatever
Speaker 5: you want. Yeah, you know they were so in the zone,
Speaker 5: which when you.
Speaker 2: Think about it, the film is really about the one
Speaker 2: member of the family who now has a responsibility.
Speaker 1: He needs a bit, the responsible one and he's just
Speaker 1: come back.
Speaker 2: From war, so you know, he's not coming back from
Speaker 2: the holiday. He is responsible and where the others have
Speaker 2: that response.
Speaker 5: You've got to think about them as trust fun kids. Yeah,
Speaker 5: in a lot of ways, you know what I mean.
Speaker 5: Whereas Michael. Now, this is the interesting thing about Michael.
Speaker 5: Everybody interviewed ever, you know, whether it be Spielberg talking
Speaker 5: about godfil films or anything, they always talk about the
Speaker 5: transformation of Michael from World War II hero to mafia boss.
Speaker 5: It's not a transformation. It's a simple transition now you
Speaker 5: think about it. Right, This guy joined the Marines on
Speaker 5: Pearl Harbor Day. Okay, all right, he was a college
Speaker 5: kid and joined the Marines. First of all, you choose them,
Speaker 5: they don't choose you. That's the United States Marine Corps. Right,
Speaker 5: fights in the South Pacific at Guadalcanal. That got down
Speaker 5: to hand to hand bayonet content combat against the Japanese. Okay,
Speaker 5: that was one of the most bloodiest campaigns of World
Speaker 5: War Two. Michael wins the Navy Cross for his bravery
Speaker 5: in that situation.
Speaker 2: It's fascinating because you don't like, they don't lean into
Speaker 2: that at all, right they which.
Speaker 5: In fact, they make a joke about it. When Sonny
Speaker 5: is another the army where you shoot him a mile away,
Speaker 5: you're gotting him, my course, like this, but a bang
Speaker 5: boy of the brens Olivia Saving League SILD right, Okay,
Speaker 5: Sonny's conception is that soldiers are in entrenches shooting rifles.
Speaker 5: Michael's reality of the war was getting a bayan out
Speaker 5: and cutting throats. Okay. So that's why he's so quiet
Speaker 5: about it. That's why they don't lean into it. Okay.
Speaker 5: But if you've done your background, if you read Pizzo's
Speaker 5: novel and Stuff, which Mary puss novel, which is based
Speaker 5: on hints at that. Michael's also loosely based on John
Speaker 5: the future President, John F. Kennedy, who was a great
Speaker 5: war hero. I also served in the South Pacific, not
Speaker 5: in close combat circumcisces like that. But if you look
Speaker 5: at the structure of the Colioni family, it's actually the
Speaker 5: Kennedy structure. Okay. You've got the favored son in Sonny,
Speaker 5: which is Joe, who died in the war in real life,
Speaker 5: and then you've got the middle son Jack, and then
Speaker 5: you've got the sort of perceived weakling son Ted, who's Freido. Okay.
Speaker 5: So Michael is sort of based on John F. Kennedy.
Speaker 5: So it's not a transformation into being a mafia killer
Speaker 5: and a cold blooded bastard. He already is one. Yeah. Okay,
Speaker 5: that's the key to understanding Bicino's genius in his performance.
Speaker 5: The quietness of him, the watchfulness of him. He's like
Speaker 5: a cobra. Okay, He's ready to strike, and no one knows.
Speaker 5: He's completely underestimated by everybody in his own family. You know,
Speaker 5: there's little hints.
Speaker 1: You know.
Speaker 5: Clemenza sort of gets it a little bit when he says,
Speaker 5: you know, we're all proud of you have being a
Speaker 5: war hero. Your father too, they know, you know, when
Speaker 5: Michael's down in Clemens's basement, in his garage, his workshop,
Speaker 5: practicing with the gun that he's going to use to
Speaker 5: kill salots on McCluskey, which by the way, is Michael's
Speaker 5: idea to do it up close, point blank, right, think
Speaker 5: about that, all right. Notice that Michael's wearing his army sweater.
Speaker 5: He's a Marine Corps sweater. He dressed militarily for that sequence.
Speaker 5: You know, there's little hints that's you know, that's all
Speaker 5: those little feathered details.
Speaker 1: It's so good. I love the assassination scene.
Speaker 2: I love it because and I had the pleasure of
Speaker 2: chatting to young young Miles Taller.
Speaker 5: Who plays Albert Ruddy in the offer.
Speaker 1: Absolutely fantastic series.
Speaker 2: If you haven't seen it, and and we spoke about
Speaker 2: that scene of the difference. It's just a the best
Speaker 2: scene you can show somebody to kind of go.
Speaker 1: This is how they used to make movies. Yeah, the
Speaker 1: best movies. Not every movie was made. Like the gun,
Speaker 1: Like the pouring of the wine when they sit down, fascin.
Speaker 5: I know, the pop of the pop of the wine
Speaker 5: bottle for stuff.
Speaker 2: Right, can you imagine now that would have been you
Speaker 2: have Michael say I'll pull the wine thanks, all you know,
Speaker 2: like get get the waiter away and let's start this scene.
Speaker 2: A couple of those that Now, this is the scene.
Speaker 2: It's the tension. The audience is fucking feeling every fucking
Speaker 2: absolutely and the play that out is so because he
Speaker 2: knows he's got this tense scene when he goes back
Speaker 2: for the gun where the tension even are even more.
Speaker 1: And then when he comes back out so this intention.
Speaker 5: I don't forget when he comes back out of the
Speaker 5: toilet where the gun has hid and take by. You know,
Speaker 5: I want somebody good and iman very good to plant
Speaker 5: that gun. I don't my brother coming out of that
Speaker 5: toilet with just he's dicking his hands right and and
Speaker 5: gets that he's got the gun, which, by the way,
Speaker 5: each take copyright. They keep moving the gun so that
Speaker 5: Piccino didn't know where it was. And of course, like
Speaker 5: I still remember the first time we ever saw The Godfather,
Speaker 5: and I was third eight on VHS, terrified, terrified, Oh
Speaker 5: my god, the gun's not going to be there now.
Speaker 5: Clemenza is instructed Michael. Remember when you come out, you
Speaker 5: shoot him two times. And they had a beast right, literally,
Speaker 5: as soon as you step out of the bathroom, that's
Speaker 5: when you do it. And so when Michael steps out,
Speaker 5: we're dirty over his shoulder in the shop where you
Speaker 5: see McCluskey and Salotso sitting at the table, and there's
Speaker 5: mcluskey wolfing down his veil trail. The veil's the best
Speaker 5: in the city. All right, Michael can shoot them. Then
Speaker 5: he doesn't.
Speaker 1: He's down.
Speaker 5: He stalks over very slowly and sits back down.
Speaker 4: All right.
Speaker 5: Brando wrote in his memoir that you know, it's the
Speaker 5: only film of Brando's that Brando's ever seen, was The Godfather.
Speaker 5: And it was only because he caught it late at
Speaker 5: night on cable years and years later, and he couldn't
Speaker 5: turn it off right, and he said watching My Boy
Speaker 5: Alpuccino as the camera slowly starts pushing in on him
Speaker 5: as he's making a decision. I've never been able to
Speaker 5: read an actor's mind. You can read his mind. That
Speaker 5: is true acting. And of course when he pulls the
Speaker 5: gun out and he's just point blank on these guys
Speaker 5: and he doesn't even blink while he's doing it. So
Speaker 5: this transformation theory is bullshit. It's just Michael doing what
Speaker 5: he does best. He didn't know how good he was,
Speaker 5: but he knows. I don't need I don't need my
Speaker 5: Marine Corps uniform to do this. I can just do
Speaker 5: it in a three piece suit.
Speaker 2: Now, So do you reckon that? Michael came back and
Speaker 2: he was expecting. He knows who his family is, what
Speaker 2: the family business is. So there's two ways. Is he
Speaker 2: coming back thinking I will get involved, it's not the
Speaker 2: way that's sold. He's certainly sold like he's coming back
Speaker 2: to restart it a new life. Yeah, he's almost awakened,
Speaker 2: so he's almost come back. I'm not part of the family,
Speaker 2: he tells, Kay, that's my family's business. I'm not part
Speaker 2: of the business. Obviously things change, so that awakens.
Speaker 5: It's interesting you said, Michael knows the family business. Michael
Speaker 5: knows the family business better than anyone. It's if you
Speaker 5: watch all of his interactions with his family. When it
Speaker 5: comes to the business, he's the only when it clearly
Speaker 5: understands the hierarchies, the systems, the codes. You know, when
Speaker 5: he's when after the Don's the assassination attempt on the Don,
Speaker 5: when they're all in the Don's office and just before
Speaker 5: you know, they're having the discussion about you know, I
Speaker 5: want Pauly gadd I want that's you know that strums
Speaker 5: he set up the old man. I want to dead
Speaker 5: meet it in the morning, your list, all that stuff,
Speaker 5: and Michael's sitting around and there's so basically, Mike, you
Speaker 5: stay out of this. You stay out of what we're
Speaker 5: doing here. But try Luca Bradsey again. Luca Bradzy, the
Speaker 5: great enforcer for the family, who's been bumped off earlier
Speaker 5: in the evening, and he's dial number when the when
Speaker 5: Tessio brings in Luca's body armor with fishing at what
Speaker 5: theell is this? It's a Sicilian message. She means, look
Speaker 5: Bright's he sleeps with the fishes. Before anyone else reacts,
Speaker 5: Michael just who's been ringing words of Brackley's house. Mike
Speaker 5: just hangs the phone up. It's like, I won't need
Speaker 5: to make that call. But it's like straight away, you know,
Speaker 5: when he proposes after McCluskey bashes him and breaks his
Speaker 5: jaw and disfigures him at the hospital where he's going
Speaker 5: to visit his father, he's saying, I'm with you now, Pop,
Speaker 5: I'm with you now. He's made the decision because he
Speaker 5: loves his dad. You know, I think the answer you earlier.
Speaker 5: You know, your point being though, when Michael came back
Speaker 5: from the war, I don't think he really knew what
Speaker 5: he was going to do. Like a lot of veterans,
Speaker 5: they come back a bit directionless. He's gone back to Dartmouth, colleague,
Speaker 5: that's the plan. He's going to go back and continue
Speaker 5: his studies in history and English literature, which we of
Speaker 5: course John F. Kennedy's topics and political science, which is
Speaker 5: John F. Kennedy's major. Okay, at Harvard, not Dartmouth. Andover
Speaker 5: Isari goes. He goes to Andover College, and I think
Speaker 5: he's a bit directionless. He's got his beautiful girl, kay.
Speaker 5: You know, it's he needed something to yank him into action,
Speaker 5: and which is of course part of the hero's journey.
Speaker 5: There is the call to action or the anti hero's
Speaker 5: journey in Michael's case, you know, and it's the attempt
Speaker 5: on his father's life. And he knows that Sonny's too
Speaker 5: hot headed, even though he loves Sonny, and Sonny loves him.
Speaker 5: Fredo's beautiful but useless, you know, he says in Godfather Too.
Speaker 5: Fredo's got a good heart, but he's weak and stupid.
Speaker 5: All right, Okay, he knows he's the right man at
Speaker 5: the right moment in history. So when he goes and
Speaker 5: when they're sitting around on the Down's office later after
Speaker 5: McCluskey's bashed his face in and he says, I'll kill
Speaker 5: him both. I'll kill mcluskey in slants and they all
Speaker 5: start laughing, but he says it's the pros Salatso is
Speaker 5: the key. We've got to get rid of Salatza. Okay,
Speaker 5: but he's I'll kill him both. They all start cracking up, right,
Speaker 5: but test, after they had their bit of funny goes,
Speaker 5: you know, but make his right. You hear that in
Speaker 5: the background, Mike's right. Mikey knows it's the only way
Speaker 5: the key to this is getting rid of slaughter. Everything
Speaker 5: will fall into place once we've bumped that bastard off.
Speaker 2: And we always see a Godfather too is did Nero
Speaker 2: bring everything to Niro brings? But I think the other
Speaker 2: X factor with there's two other X factors for me
Speaker 2: Godfather Too, which may in my mind emotionally kind of
Speaker 2: makes it a bigger film than Got a slightly preferred
Speaker 2: film is the Fredo. The Fredo I've got sympathy for.
Speaker 2: I don't know where it comes on, to be honest,
Speaker 2: but that that member of the family who can't quite
Speaker 2: be part of the family business is not quite like
Speaker 2: this the way you described where Michael describes Fredo.
Speaker 1: Was simple and beautiful but stupid.
Speaker 2: And him finding his finding himself in his predicament and
Speaker 2: how Michael reacts.
Speaker 1: Yeah, the other X factor is Haymon Roth.
Speaker 5: Right, Well, let's talk about We'll talk about Friday too.
Speaker 5: Actually al Pacino's life. The two actors here, John Kazal,
Speaker 5: the late great John Cazal, who played his brother Freda,
Speaker 5: was Paccino's acting partner.
Speaker 1: A batter one hundred five films.
Speaker 5: Five films and every just as it's one of the
Speaker 5: great tribute questions what actor every single movie did he do?
Speaker 5: Was it either one or nominated for Best Picture? And
Speaker 5: that's John Gazzale did five films, and actually posthumously with
Speaker 5: the flashback scene and Godfather Part Three that was still
Speaker 5: nominated for Best Picture as well. So and of course
Speaker 5: Hayman Roth is played based on Maya Lanski. The famous
Speaker 5: gangster is played by acting coach Lee Strasburg, who, at
Speaker 5: the age of seventy two, did his first ever movie
Speaker 5: on al Pacino's recommendation, because I guess he was al
Speaker 5: Pacino's acting teacher. And the great thing about Godfather One
Speaker 5: and Godfather too are there villains. Godfather three doesn't have
Speaker 5: a great villain, and that's and the story suffers immensely
Speaker 5: for it. And Godfather One you've got slots O the Turk,
Speaker 5: You've got Captain McCluskey, and then you've got Milio buzz
Speaker 5: and I and Philips t Talia towards the end of it.
Speaker 5: And in Godfather Part two, in the flashbacks, first you've
Speaker 5: got Don Chicio in Sicily who d as Veto's family.
Speaker 5: Then you've got Don Finucci in the little Lialy scenes.
Speaker 5: He's like this great pantomime bad guy. He's just fantastic.
Speaker 5: But in the late nineteen fifty sequences the Michael storyline,
Speaker 5: we've got the character of Hyman Roth, who is the
Speaker 5: most insidious of all characters in the Godfather film because
Speaker 5: he's this little, wise, old man, gentle and self depreciating.
Speaker 5: He's actually a conniving, vicious snake who is simply motivated
Speaker 5: to kill Michael and destroy the Colioni family because at
Speaker 5: the climax of Godfather One, Michael orders the assassination of
Speaker 5: Moe Green and Vegas, who is Heimen Roth's spiritual brother.
Speaker 5: Mo Green based on the late Ben Buggsy Siegel and
Speaker 5: of course Hermon Roth is based on Maya Lansky, and
Speaker 5: they all grew up together in the slums, and of
Speaker 5: course Lansky s Hyman Roth gives the great speech about
Speaker 5: you know some aiden Morasketill gave the ida about who
Speaker 5: put the bullet in his eye, right talking about Moogreen,
Speaker 5: And that is what is motivating Hymen. That's it. That
Speaker 5: is it. It's as simple as that. And the other
Speaker 5: thing is it's overlooked. There's a great line. Everybody remembers
Speaker 5: the line from Harmon Roth. Michael we're bigger than us steel.
Speaker 5: It's what the line he says before that. Basically he's
Speaker 5: talking about, we're going to take over Cuba. It's going
Speaker 5: to fund our operations through the casinos, and that is
Speaker 5: going to fill up our coffers so that we get
Speaker 5: to pick the next president of the United States. That's
Speaker 5: what his master plan is. But he wants Michael out
Speaker 5: of the way because he wants it all for himself.
Speaker 5: And it's simply because of Magran. But the Heyman Roth
Speaker 5: character is so brilliantly played. Originally, I know what you
Speaker 5: can probably YouTube this. Coppola was really interested in the
Speaker 5: director Elia Kazan to play Harmon Roth. So the famous
Speaker 5: image in Godfather Part two where Michael goes over to
Speaker 5: Herman's penthouse suite at the casino this day out in Cuba,
Speaker 5: and he's lying on the couch with his shirt off,
Speaker 5: just wearing a pair of slacks that came from Copola
Speaker 5: going over to Elia Kazanne's bungalow on I think it
Speaker 5: might have been the Paramount lot or the Warner's lot
Speaker 5: or something. Went in to see Elia Kazan and he
Speaker 5: was lying it was the hot summer's day and he
Speaker 5: was lying on his catch with his shirt off, and
Speaker 5: it really struck Copola the image of an old man.
Speaker 5: He just I'm hot, I'm just taking my shirt if
Speaker 5: I don't care what anyone thinks. So he screen tested
Speaker 5: Kazan and this is what you might be able to
Speaker 5: find on YouTube. I just I'd type in Elia Kazan
Speaker 5: godfather test or something like that, and you can see
Speaker 5: why he's not right for it, because when you see
Speaker 5: the nuance that that Strasburg brings to the performers, especially
Speaker 5: in his interactions with Picture, you know, because it's they've
Speaker 5: known each other forever.
Speaker 1: I mean, it's the man's spreading the legs, breading on
Speaker 1: the couch.
Speaker 5: I mean.
Speaker 1: Not seriousness.
Speaker 2: It sounds like, you know, something kind of flipping that
Speaker 2: he's sitting on the counts, but he's got his leg
Speaker 2: draped over one one of.
Speaker 1: The art of counts.
Speaker 2: That's a that's a bold choice. That's somebody who obviously
Speaker 2: has a support of his co star, but also to
Speaker 2: director and somebody who knows his craft, because you know,
Speaker 2: there'd be a lot of actors who would have that
Speaker 2: in their mind and then not go through the on
Speaker 2: the day because they're like.
Speaker 5: Oh, I think you know, Coppola with those films certainly
Speaker 5: encouraged you know, real risk taking from his cast. I mean,
Speaker 5: the backing in of Brando and Piccino on the first
Speaker 5: film to begin with, you know, which wouldn't happen today.
Speaker 5: It's you know, a lot of people, there's this debate
Speaker 5: that goes on. You know, you only gay actors should
Speaker 5: play gay characters, and only this should play that, you know,
Speaker 5: in other words, let's just remove the whole concept of
Speaker 5: acting as a craft to begin with. People I've said,
Speaker 5: I've had actors saying to me, oh, you know, only
Speaker 5: gay actors should play gay characters, and I say, well,
Speaker 5: then therefore gay actors can't play stray characters. Is that
Speaker 5: what you're telling me?
Speaker 2: It's a it's a weird line. And you know, I mean,
Speaker 2: we'll get the chut on in Heston soon.
Speaker 5: Yeah, which is good. This is all precursor to go with.
Speaker 5: But just Visha, But today you wouldn't be able to
Speaker 5: cast you know, Marlon Brando as Veto because they'd say no, no, no,
Speaker 5: You've got to get a sixty five year old Sicilian
Speaker 5: American to do it. Yeah. Well, back then, you know, Coppola.
Speaker 5: They said, all right, find me somebody who's famous who
Speaker 5: can carry this film. Or do we get a forty
Speaker 5: six year old white boy from Omaha, Nebraska, Marlon Brando
Speaker 5: who happens to be the world's greatest actor, and make
Speaker 5: him look like a sixty five year old Sicilian American
Speaker 5: and let him act. Well, yes, that's what you do.
Speaker 5: I mean, David Chase created the Sopranos. He still pictures
Speaker 5: by saying, you know, Brando's not an Italian, and James
Speaker 5: Kahn was an Italian, so who cares? Their performances are brilliant.
Speaker 5: And you know Jimmy Kahn, who's actually a German Irish
Speaker 5: I think he won Italian American of the Year in
Speaker 5: New York two years running The Godfather.
Speaker 2: It is a strange one. I mean, there's the there's
Speaker 2: that film. There's a French film, the about the I'm
Speaker 2: sure it was paraplegic and in his care who was
Speaker 2: a black Frenchman, and they've remade it in the stage
Speaker 2: of Brian Cranston in the lead role. And there was
Speaker 2: some you know, some some corners of the internet that
Speaker 2: were upset that why didn't you get a you know,
Speaker 2: Brian Kranton's able body that how can he play this role?
Speaker 2: And Bill Byrd does I think a pretty great routine.
Speaker 2: And I'm not I'm very much paraphrasing it, but it's
Speaker 2: almost like who are your favorite paraplegic actors?
Speaker 1: You know?
Speaker 2: And there may be a fantastic actor, you know, actors
Speaker 2: who are paraplegic, But the fact is, and these were
Speaker 2: the grown up conversations have to kind of take place,
Speaker 2: and it needs to be a balance that there's some
Speaker 2: roles that some actors shouldn't play.
Speaker 1: I think it's carte blanche as far as you know.
Speaker 2: And again Charlton Heston, but I that movie doesn't get
Speaker 2: made if they don't. You don't have a name that
Speaker 2: people put. People putting money into this, they want to
Speaker 2: see it.
Speaker 5: I mean, it's called show business, not show friends.
Speaker 2: And there are lots of things that go into making it. Like,
Speaker 2: as you know, you've made so many movies. It's a
Speaker 2: miracle any of them get done. But the symmetry and
Speaker 2: the things that have to happen together, a perfect storm
Speaker 2: has to kind of brew for.
Speaker 1: Any film to be made, whether it's any good or not.
Speaker 2: So you know, I think some films just won't get
Speaker 2: made if certain people don't get cast.
Speaker 1: Like I said, it's called elements.
Speaker 5: That's basically called putting the elements together for the finances.
Speaker 5: That's really all it comes down to. And Brian Cranston
Speaker 5: is an excellent actor for a start, you know, I mean.
Speaker 1: He's off the back of breaking bad.
Speaker 5: Yeah, you know what I mean.
Speaker 1: And that's just one example. And I just it's a
Speaker 1: very nuanced debate.
Speaker 2: And I think in society now, nobody wants to be nuanced.
Speaker 2: They just want to be you know, you know, like
Speaker 2: I said, gay actors kind of play gay actors and
Speaker 2: that's not Yeah, I'm not sure if that's where the
Speaker 2: element of acting. I have a lot of people, you know,
Speaker 2: a lot of actors say this to me, we still
Speaker 2: need to allow actors to act it. We don't want
Speaker 2: to see lucky human be lucky hume.
Speaker 5: No, you know, I don't ever do that, you know
Speaker 5: what I mean. I try to be the master of disguise.
Speaker 2: Exactly exactly right. That's the art, that is the craft.
Speaker 2: All right, let's get We can talk about Coppler all day.
Speaker 5: And if you haven't seen Godfather one and Godfather to
Speaker 5: I envy you because you've got that to look forward
Speaker 5: to in your life.
Speaker 1: It really is one of those things.
Speaker 2: It's like, Wow, what a true And if you're gonna
Speaker 2: watch Godfather Part three, I urge you to do so.
Speaker 2: But what again, like Touch of Evil? Watch the recent
Speaker 2: one that got the code?
Speaker 5: Yeah? Yes, when Godfather three coda the Death of Michael
Speaker 5: Corleone is the full title.
Speaker 2: There are some tweaks, pretty small tweaks, but I think
Speaker 2: that's they're significant, and I think it's a much more
Speaker 2: enjoyable experience.
Speaker 5: Yes, But as we were saying, and Copler himself has
Speaker 5: said that the fatal weakness of part three is that
Speaker 5: we did not have a strong enough villain for Michael
Speaker 5: to combat, to outwit.
Speaker 2: I completely agree. Okay, lucky hu, let's get into it.
Speaker 2: Nineteen fifty eight, directed by Awson, Well written and directed
Speaker 2: by it written directed, Yes, that based on the book
Speaker 2: A Badge of Honor.
Speaker 5: Bage of Evil, Badge of Evil now Bage of Evil
Speaker 5: was written by a guy called Wit Masterson who I
Speaker 5: did a little research and that it has actually a
Speaker 5: pen name for two guys who used to write together,
Speaker 5: So it was actually the book is written by Robert Allison,
Speaker 5: Wade and h Bill Miller wrote Badge of Evil.
Speaker 1: Now, thank you for your work, gentlemen, if you're listening.
Speaker 5: But originally this producer hired Paul Monash, who was a
Speaker 5: TV writer, to come in and do the screenplay. Paul
Speaker 5: Monash sort of, I suppose he did a lot of
Speaker 5: good films. He famous for producing books Cassidy and The
Speaker 5: Sun Dance Kid, for example, and also paulsh wrote the
Speaker 5: screenplay for the Friends of Eddie Coyle Starr Bob Mixham
Speaker 5: many years later, but it was adapted. The original story
Speaker 5: is set in San Diego, so the whole all the
Speaker 5: events take place in San Diego. Charlton Heston gets attached
Speaker 5: to play not Miguel Vash the Mexican, but a guy
Speaker 5: called Mitch Holt, a detective. Okay, so it was Heston
Speaker 5: who goes to the studio and says, look, the script's
Speaker 5: not quite there. Why don't we get all some Wells
Speaker 5: convince him to direct it and do a rewrite. So Wells,
Speaker 5: I think, did a pass on the material. It took
Speaker 5: about four or five weeks everybody signed off on it.
Speaker 5: But what Wells did was then set the milieu on
Speaker 5: this border town which is brilliant.
Speaker 2: Yeah, I think that's almost like I can't imagine it
Speaker 2: not being partly about that.
Speaker 5: That's right, and he wanted that wells wanted it because
Speaker 5: it brings in all these political implications, particularly to do
Speaker 5: with race and the whole bit. So the Mitch Holt
Speaker 5: character gets changed to Miguel Vargas. Now the thing is
Speaker 5: Heston's attached. He's a pretty big star at the time,
Speaker 5: so he is now playing a Mexican cop and prosecutor.
Speaker 5: My problem is getting back to this thing about you know,
Speaker 5: casting the right actor in the right role is you
Speaker 5: take on responsibilities as an actor. Then if you are
Speaker 5: going to be playing Vito Corley, only you better look
Speaker 5: and sound like a Sicilian man. Okay, years ago, at
Speaker 5: an awards night, an actor came up to me, I
Speaker 5: won't say who. He just finished playing a very infamous
Speaker 5: Australian businessman in a mini series and he came up
Speaker 5: to me and he said, he introduced himself to me,
Speaker 5: and he said to me, I hope this does for
Speaker 5: me what Kerry Packer did for your career when I
Speaker 5: played Kerry Packer, and how I had seen the mini
Speaker 5: series in preview and I just said, look, I'm going
Speaker 5: to give you a bit of advice. Don't get your
Speaker 5: hopes up. And he said why And I said, because
Speaker 5: the pro tip would be, when you're going to play
Speaker 5: a real life person, try and look and sound like
Speaker 5: that person. And you made no effort with either. Wow. Yeah,
Speaker 5: And I said, you asked me, and I'm telling you,
Speaker 5: And so don't get your hopes okay. And this gets
Speaker 5: back to Heston with Charlton Heston, going from Mitch Holton
Speaker 5: mcgwell Vargas is Heston makes no effort at all to
Speaker 5: have any Mexican accent inflection anything. He's speaking like he's
Speaker 5: in the like the Wells has got the line and
Speaker 5: you don't sound like a Mexican. It's like, yeah, no, ship, dude.
Speaker 5: He sounds like he's doing freaking king we yes. Well,
Speaker 5: you know.
Speaker 2: Occasionally there's like there's like an inference in some of
Speaker 2: his dialogue that you're gonna go maybe in that scene
Speaker 2: he's tried to nudge it towards something something Mexican, but
Speaker 2: like it's a very subtle inference. But he actually has
Speaker 2: been on the record to say his biggest regret is
Speaker 2: not doing a Hispanic accent.
Speaker 5: He has said that, Okay, well, then I kind of
Speaker 5: because it's almost like the fatal floor of the movie
Speaker 5: because it by not really leaning into the mexicanness of
Speaker 5: this man. He's a Mexican man, he's married a white
Speaker 5: American woman that in itself there's so much fodder. By
Speaker 5: not leaning into it, you've robbed the audience of all
Speaker 5: the implied racism of Arson Well's corrupt cop Hank Quinn learnon.
Speaker 5: You know, it just removes a layer from the film
Speaker 5: that I would have added more menace, more threat to
Speaker 5: it all. And it's just disappointing. It's like, man, come on,
Speaker 5: you had a god. It's almost like, oh, well, they've
Speaker 5: just changed the name. So I put a bit of
Speaker 5: darker makeup on to sort of make my skin more olive,
Speaker 5: and I'll dye my hair black and that'll do.
Speaker 1: Yeah, it will bush out the eyebrows.
Speaker 5: Yeah, no, no, no, it's a little bit more effort
Speaker 5: would have been required.
Speaker 2: Yeah, And I mean the hackback obviously to our conversation earlier.
Speaker 2: I think if this film is remade, Brad Pitt or
Speaker 2: George Clooney doesn't play this role.
Speaker 1: This guy's a heavier bad Damn Well it's interesting.
Speaker 5: I did a little bit of research what famous Mexican
Speaker 5: American actors were there of that era. Number one Anthony Quinn, Right, okay, yeah,
Speaker 5: Anthony Quinn would have been perfect as Vargas. Yeah, you
Speaker 5: know what I mean, you really got You've got some
Speaker 5: juice that there's no point we're all playing Monday Morning
Speaker 5: quarterback on it. I mean, look, the fact is Heston
Speaker 5: did it. We're stuck with that, and it's interesting. It
Speaker 5: becomes more Quinlan's story as a result.
Speaker 2: Yeah, I completely agree. This is this movie as much
Speaker 2: as it starts. And we're talking about the stunning start
Speaker 2: of this movie in a second, but I feel it's
Speaker 2: Quinland's movie too, like you know, yeah, but let's just
Speaker 2: start from the start.
Speaker 1: This opening shot.
Speaker 2: It's funny when I watched it back, I watched it
Speaker 2: and then I just basically rewound it and you know,
Speaker 2: click back and watch it again. And I noticed when
Speaker 2: they the first thing you see is that the bomb
Speaker 2: and the times and like the old egg time bomb,
Speaker 2: And I was how long is and I reckon, it's
Speaker 2: exactly three and a half minutes, That's what I thought,
Speaker 2: So I timed it and three and a half minutes
Speaker 2: later exactly boom boom.
Speaker 5: Okay, So we'll set the scene for you listener. So
Speaker 5: we're in this sort of border town and it's it's grubby,
Speaker 5: there's news bits of old news paper for scattering the wind,
Speaker 5: and there's dust everywhere, and it's festive, you know, but
Speaker 5: it's sort of border town stuff. So it's brothels and
Speaker 5: strip clubs and it's sleazy and dirty. And we open
Speaker 5: on this shot of this young hand setting the egg
Speaker 5: timer on the dynamite, putting it in the back of
Speaker 5: a cadillac. Then this old guy, white guy gets into
Speaker 5: the cadillac with his stripper girlfriend and off they go.
Speaker 5: And as we start following the car. The cinematographer on this,
Speaker 5: by the way, is Russell Metti, whose next film is Spartacus,
Speaker 5: which he won the Oscar for. Okay, and we'd later
Speaker 5: work with Heston again on The Amiga Man, which is
Speaker 5: one of my all time favorite cult films, which was
Speaker 5: later remade as I Am Legend with Will Smith. Yeah, anyway,
Speaker 5: and so we start following the car and then into
Speaker 5: this this comes Charlton Heston's Vargas with his is it
Speaker 5: Susie who yeah, played by Janet Lee, whose daughter Jamie
Speaker 5: Lee Curtis just won an oscar Hollywood Royalty. They're walking along,
Speaker 5: it's date night and they're going to head across the
Speaker 5: order and then Bluey the car bomb goes off. But
Speaker 5: it is this astonishing tracking shot. But it's just one
Speaker 5: of many the whole film. I mean, it's like you
Speaker 5: can see the influence on, for example, Goodfellas. You know
Speaker 5: the way Michael Bauhaus and Scurse is you put Good
Speaker 5: Fellas together where the camera is constantly restless and moving,
Speaker 5: and I mean even just for they'll do a quick
Speaker 5: push in and a til top just for one shot.
Speaker 5: You know, it's it's so brilliantly shot, and it's in
Speaker 5: black and white. And the great advantage of black and
Speaker 5: white you can get incredible deep focus on your shots too,
Speaker 5: so you can fill the frame a lot easier than
Speaker 5: you could with color. It's just a fact, you know.
Speaker 5: That's why Bogdanovic shot The Last Picture Show in black
Speaker 5: and white. Wells actually told him, if you want to
Speaker 5: get that focus, yeah, you know, you want to do
Speaker 5: it in black and white.
Speaker 2: But episode of Josh Lawson, if you haven't listen to
Speaker 2: that one, that one that's a good episode. But what
Speaker 2: I love about that opening shot is I mean, I
Speaker 2: wouldn't be surprised if that if the term ticking time
Speaker 2: bomb came from this this same because you are it
Speaker 2: is just the car is moving slowly through and it's
Speaker 2: it's almost weaving. There's a lot of pedestrians on the road,
Speaker 2: but it's enough for the weave through. It's going on
Speaker 2: one side of the road to the other. And there's
Speaker 2: a dance that's going on between between Mike and Susie
Speaker 2: and the car, and you know there's a bomb in
Speaker 2: the car. This is going to second So it heightens.
Speaker 5: The tension because you're thinking, we haven't even started in
Speaker 5: our are we going to do this? In flashback? Our
Speaker 5: hero is going to we know there, yeah heros are
Speaker 5: they going to get blown up at the beginning of
Speaker 5: the film, So you are You're still getting a little
Speaker 5: antsy right from the get go.
Speaker 2: And then there's a conversation happening with the border guards. Yeah,
Speaker 2: and then they're informing us we learned that they're just married.
Speaker 1: They're on their honeymoon.
Speaker 5: And we know that that Fargas is well known because
Speaker 5: when he mentions to the border guard that the American
Speaker 5: border guar because they're crossing over to the American side. Yeah,
Speaker 5: we just got married. He's like, ah, great, because wow,
Speaker 5: Fargas is a big man on campus. That's great. So
Speaker 5: it's so cleverly setting all the and bobs up. When
Speaker 5: the bomb goes off, suddenly Vargas finds himself launched into
Speaker 5: unexpectedly investigating what the hell has happened here? You know,
Speaker 5: technically it happened on the American side, so it's not
Speaker 5: his turf, so he's in. But he's the first senior
Speaker 5: officer on the scene. So he's injecting himself into other
Speaker 5: people's business effectively. And when I say other people's business,
Speaker 5: I mean awesome well's business. As Detective Hank Quinlan, this obese,
Speaker 5: grask grotesque looking creature, walks with a cane. We find
Speaker 5: it much later it's because he took a bullet for
Speaker 5: his partner, Mensies, and Mensies is one of this sycophanic
Speaker 5: hero worshiping Queenland guys that've been on the force together
Speaker 5: a long time. But it doesn't take long for us
Speaker 5: to figure out that with Quinlan, corruption has now become
Speaker 5: simply second nature to him and it's disturbing. It's disturbing
Speaker 5: how quick he is to plant evidence, how quick he
Speaker 5: is to lie. And he keeps referring to it as
Speaker 5: my instinct. I am an instinct for things.
Speaker 4: You know.
Speaker 5: She's famous hunctures that he has. Yes, so they get
Speaker 5: their hands on this young kid who is secretly about
Speaker 5: to get married to the blown up guy's daughter. Yes, okay,
Speaker 5: And turns out he's a rich American businessman and the
Speaker 5: daughter is now slumming it with this Mexican guy who
Speaker 5: works in a shoe shop.
Speaker 2: And can I just can I just say how quickly
Speaker 2: they get the daughter to identify the body is everything
Speaker 2: happens when that bomb goes off. Everything it's like the
Speaker 2: body's identified or the daughter arrives on the scene within
Speaker 2: a minute and identifies the body and then talks about,
Speaker 2: I don't know my father's girlfriend. So there's there's a
Speaker 2: bit of friction there, which is which pays off later.
Speaker 2: But yeah, it's almost it's almost comical how quickly things happen.
Speaker 1: And then if you have.
Speaker 2: Charlton Heston's character Michael Vargas, who's kind of taking care
Speaker 2: of his wife but kind of not you know, he
Speaker 2: could have done a better job of getting.
Speaker 1: Her to safety. But he's he's all about the job,
Speaker 1: even more so than you know, the marriage.
Speaker 5: Yeah, which leads to a big sequence segment which we'll
Speaker 5: get to the motel sequence, the gang rape sequence in
Speaker 5: the motel. Yes, it's family viewing this one touch of
Speaker 5: evil it is. Look, we should just point in this.
Speaker 5: This is dark stuff. It's dark.
Speaker 1: It has to do.
Speaker 2: It's in the film, but it's also it's got the
Speaker 2: title A touch of evil.
Speaker 1: You can ask Molly coddle your way.
Speaker 5: Yeah, that's right. First of all, there's a great score
Speaker 5: through all of this by Henry Mansoni, by the way,
Speaker 5: we should point out out it who's famous for the
Speaker 5: Pink Panther school. But there's that.
Speaker 2: Well, guys, ask you about the music, yeh, was it
Speaker 2: just a stylistic because there's a music playing all the
Speaker 2: way through this?
Speaker 1: Is it playing through the radio you know in cars?
Speaker 1: Is it playing in that?
Speaker 2: And we'll get to the hotel stuff later, but the
Speaker 2: speaker into the hotel room constantly, and it's also playing,
Speaker 2: and the piano.
Speaker 1: From the pianola the pole.
Speaker 2: Yeah, kids going, so is that do you think is
Speaker 2: that the style realistic? Purely stylistic or is there something
Speaker 2: else that they're trying to do with the music.
Speaker 5: Oh, I don't know. I'd have to do a deeper
Speaker 5: dive into really just paying attention to the music. Firstly,
Speaker 5: you've got Mancini's score, which is very tense, very cool.
Speaker 5: It's almost very sort of Leila Shiffer and almost type score.
Speaker 5: Then you've got that bit of music you're playing earlier,
Speaker 5: that pianola, which is the closing music, which reminded me
Speaker 5: very much of the zither music from Third Man and
Speaker 5: which Wells didn't direct, but of course started and Caro
Speaker 5: Read directed it. And it's almost a similar ending, you know,
Speaker 5: with the walk off into the distance of the woman.
Speaker 2: Started at school Harry Lyon characters, Great great film, Great
Speaker 2: novelty by Graham Green.
Speaker 5: So it's an interesting question. Yeah, the music is a
Speaker 5: constant thing. Noise is a constant in it.
Speaker 1: It's a very busy film, is it's clatter.
Speaker 5: And noise, and there's very very huge down moments in
Speaker 5: terms of quietness. For there's very few moments of reflection.
Speaker 5: But let's get to the Quinland character. This guy we
Speaker 5: find out very quickly that he's been on the wagon
Speaker 5: hasn't had a drink in a long time. He bumps
Speaker 5: into an old girlfriend who's sort of like a played
Speaker 5: by a cameo by Marlana Dietrich, who's kind of like
Speaker 5: a prostitute slash fortune teller, kind of a woman who
Speaker 5: he reminds her that, you know, we once spent two
Speaker 5: weeks going through a whole case of whiskey together, and
Speaker 5: she points out to him that now your habit seems
Speaker 5: to be candy bars to explain his obesity.
Speaker 1: So he comes back to that point quite a few times.
Speaker 1: You really hammers that hard.
Speaker 5: That's right. It's interesting. You know you said earlier that
Speaker 5: Wells was wearing a fat suit. I wouldn't be so
Speaker 5: sure about that.
Speaker 2: Well he might be one of those things that he
Speaker 2: said he was wearing a fat suit, but maybe he
Speaker 2: was forty TuS he's playing somebody, you know, twenty odd years.
Speaker 5: Yeah, he might have had a fat suit on him,
Speaker 5: had a fake nose, oh, and a lot of fake
Speaker 5: and a lot of prosthetic under the eyes, and the
Speaker 5: whole bit. It's a a stony when we grow test
Speaker 5: character really like Java the hut, Yes, you know what
Speaker 5: I mean. So he claims the investigation, and he's you know,
Speaker 5: Hank Clinland is one of those guys likes to wrap
Speaker 5: things up quickly, and he doesn't like the interjection of
Speaker 5: this Mexican cop Vargas, which gets back to what we
Speaker 5: were saying about, had you know, heston Land into the
Speaker 5: Mexican Mexican accent of a Latino aspect on him, it
Speaker 5: would have made for a much more effective performance and
Speaker 5: movie overall. But anyway, they get their hands on the
Speaker 5: on the daughter's boyfriend, the shoe salesman, and they've got
Speaker 5: him in this fancy apartment, and Vargas goes off to
Speaker 5: freshen up in the bathroom and he accidentally knocks over
Speaker 5: this empty shoe box into the into the sink, and
Speaker 5: he picks it up and puts it back where it was.
Speaker 5: And that's a little diversion, because there's going to be
Speaker 5: something for the audience, because what happens is they start
Speaker 5: accusing this young kid of dynamiting the old man because
Speaker 5: he won't approve of the marriage to the daughter. And
Speaker 5: so Mensies, the sickopandy partner of Quentland, goes into the
Speaker 5: bathroom goes, hey boss, hey boss, Hank, I found it.
Speaker 5: I found the dynamite, and he brings up the shoe
Speaker 5: box and these two sticks of dynamite in it.
Speaker 1: Let's have a listen. Let's have listened to something. Let's
Speaker 1: say that's impossible.
Speaker 4: I found two sticks like fox, right number?
Speaker 5: Where did you find this?
Speaker 1: Right here?
Speaker 4: And you were you headed stas? Of course?
Speaker 5: What are you trying to do?
Speaker 4: Trying to strap you to the electric chair?
Speaker 5: We don't like it.
Speaker 4: One innocent people have blown to jelly in our town.
Speaker 7: There's an old lady on main street last night picked
Speaker 7: up a shoe. Shoe had a foot in it. We're
Speaker 7: gonna make you pay for them.
Speaker 4: They're trying to railroad me. I don't know why.
Speaker 5: I never stole any dynamite. So you know, sent.
Speaker 4: Hindu for a mother.
Speaker 7: He swears on his mother's grave that there has never
Speaker 7: been any dynamite in this apartment.
Speaker 4: Sure, sure, take him in. Book him. Let's go. You
Speaker 4: say you found this dynamite their bathroom? Pete founded. Can't
Speaker 4: you do something to help me? What are you scared of?
Speaker 7: Point that stuff is nearly as easy to blow up
Speaker 7: as people seem to think.
Speaker 4: It doesn't go off quick any you found the dynamite
Speaker 4: in this box. Yeah, Pete found it towards you.
Speaker 5: Then I looked in that box just now, there wasn't
Speaker 5: anything there.
Speaker 4: I know how you feel, sure, I do you people
Speaker 4: are touchy.
Speaker 7: It's only as human and water come to the defense
Speaker 7: that you fell a countryman.
Speaker 5: Wow.
Speaker 2: Regon in that saying you can as one of those
Speaker 2: things I was talking about where you can hear very
Speaker 2: subtle inflection in Heston's kind of accent where he's just
Speaker 2: he's just hinting at, you know, being Mexican. Not not enough.
Speaker 2: Obviously he hasn't. He certainly hasn't gone full blown. But
Speaker 2: really performance by Wells.
Speaker 5: That is it's if you noticed that in the performance,
Speaker 5: the overlapping almost sort of precursing Robert Oltman's sound layouts
Speaker 5: things like Nashville and stuff to come. How it's like
Speaker 5: he's he's constantly rumbling through like he can't hear properly,
Speaker 5: or it's just it's it's not almost a David Mannett
Speaker 5: style dialogue where it's you know, so through it. But
Speaker 5: that's the first indication of he's just happy to frame
Speaker 5: somebody now, which he doesn't really because it turns out
Speaker 5: the kid did do it. My corrector I didn't. I've
Speaker 5: watched the film twice.
Speaker 1: Well yeah, yeah.
Speaker 2: So right at the end, which is it's it struck
Speaker 2: me as a tad strange. It almost feels tagged on
Speaker 2: or that it's significant because the idea.
Speaker 1: Is that Hank was actually right. Yes, his instincts were right.
Speaker 2: Yes, So if he hadn't gone to war with maybe
Speaker 2: Vargas and actually just follow through it a proper investigation, yes,
Speaker 2: he could.
Speaker 5: Have actually got it. I'm still unclear about. It's still
Speaker 5: been ambiguous to me because they say, oh, the kid confessed,
Speaker 5: but yeah, they could have been using the rubber hose
Speaker 5: on him or a phone book over his bloody head.
Speaker 5: So it's and we know that quinlandns this crappy two
Speaker 5: acre little turkey farm where that's where the dynamite came from.
Speaker 5: So it's all a bit ambiguit, but it's it's not.
Speaker 5: It's meant to be ambiguous. There is meant to be
Speaker 5: ambiguity and ambiguity.
Speaker 2: And and in the way, it's not really about this
Speaker 2: bomb and this case. It's about it's about a career.
Speaker 2: It's about the rise and fall of Handkuick.
Speaker 5: It is, and it's also about Vargas trying to bring
Speaker 5: down a crime family. So the implication is is did
Speaker 5: this crime family the Grandees. Did they plant the bomb
Speaker 5: at the start knowing that the car would be going
Speaker 5: past Vargas and Susie on their walk. That's another possibility.
Speaker 5: So now let's talk about the Grande family because they're
Speaker 5: the real bad guys of the peace. Yes, so Quinlan,
Speaker 5: sorry not Quentlan. Vargas decides to get put Susie out
Speaker 5: Hahn's way as the investigations the plot starts to thicken,
Speaker 5: and he gets Mensies Quinlan's partner to take him take
Speaker 5: her out to this remote motel.
Speaker 2: Like before we get to that remark, there's a very
Speaker 2: weird there's a I mean, I would say, I just
Speaker 2: it's it's weak. What what this this scene as far
Speaker 2: as motivation, certainly by modern standards. So Susie is going
Speaker 2: back to the hotel. I think by this stage she's
Speaker 2: actually walking by herself. She's confronted by a local tough
Speaker 2: is one of the grande one of one of the Grande's. Yeah,
Speaker 2: so he says, come with me, and she's like, no,
Speaker 2: I'm married, and you know, and then that is she's
Speaker 2: surrounded by three.
Speaker 1: Or four men. You know, it's daunting, scary.
Speaker 2: And he says, no, wants I need to tell you
Speaker 2: something about your your your husband.
Speaker 1: And she says, okay, well, what have I got to lose.
Speaker 1: You've got your fucking life to lose. The switch from
Speaker 1: going Now I'm a married woman and this is a
Speaker 1: frightening situation I got to lose.
Speaker 5: I know, yeah, I know.
Speaker 1: It's even as a piece of dialogue. The fact that
Speaker 1: she goes is one thing.
Speaker 5: And Janetly, who I adore as an actor because I
Speaker 5: will never performance in The Manchurian Candidate, is still undelible
Speaker 5: to me. It's a brilliant that everybody's bringing in that film.
Speaker 5: But she plays suit you with a sort of a
Speaker 5: lightness of touch in that scene that there, it's like, yeah,
Speaker 5: it's so fro away that you go, oh my god.
Speaker 5: Will they lead her anyway? Now? Willingly to meet the uncle,
Speaker 5: the brother of the Grande boss whose Vargas is put
Speaker 5: behind bars, and so we get this show down with him,
Speaker 5: and that's all a bit weird, and.
Speaker 2: They take a photo outside of the which they present
Speaker 2: to her like ten minutes later, and that doesn't really
Speaker 2: go anywhere of it.
Speaker 5: It's all, yeah, it's you know, I forgive ambiguity, but
Speaker 5: it's all it's it's it's I think that her characters
Speaker 5: is a little undercooked in terms of the writing process.
Speaker 5: And janetly was from all accounts, you know, she wasn't
Speaker 5: backward and coming forward about She's a very assertive woman.
Speaker 5: And I suspect I get a feeling like all that
Speaker 5: sort of stuff is sort of tacked on a little
Speaker 5: bit because she might have said, I need more to
Speaker 5: do here because I'm just a bit of a you know,
Speaker 5: an object being pushed around the chessboard here.
Speaker 1: Who knows?
Speaker 5: Who knows?
Speaker 1: She said, awesome, Myles was very collaborative, which it comes
Speaker 1: with surprise.
Speaker 5: And so that's why I suspect you might have said, well,
Speaker 5: come on, can we do some more with this that
Speaker 5: or the other? But anyway, it's all a bit weird
Speaker 5: and cut a long story short. Yeah, Vargas says, to wherever,
Speaker 5: we're going to put you on a plane and get
Speaker 5: you out of here, and somehow that goes out the
Speaker 5: window and instead of doing that, we're going to take
Speaker 5: you to this remote motel in the middle of nowhere,
Speaker 5: where you'll be the only guest.
Speaker 1: Yeah.
Speaker 2: After the photo is presented and she's about a show
Speaker 2: and it says from a thousand with a thousand kisses
Speaker 2: from yeah, yeah, yeah Pancho.
Speaker 5: Or he brushes over her. Yeah. He is, like it's like,
Speaker 5: look what they're trying to do. They're obviously trying to
Speaker 5: set us up. There's something more going on here. But
Speaker 5: he's being the bigger seriti of Charlton Heston man instead
Speaker 5: of saying, no time for that, dear, We've got to
Speaker 5: get you out of here. And that's so that goes
Speaker 5: nowhere alloy.
Speaker 2: Yeah, And but she has this again another switch of
Speaker 2: going going no, I'm not leaving my husband. I'm going
Speaker 2: you know, but I want to stay on the American
Speaker 2: side of the border, because you know, for comfort, not safety.
Speaker 1: She's trying to, you know, iron iron across that.
Speaker 5: She is playing it though, like she's exhausted. I'm really
Speaker 5: not making I'm not thinking clearly. I just want to
Speaker 5: get to bed. I just want to get rest. She's
Speaker 5: doing that well yeah, yeah, yeah from a performance point
Speaker 5: of view, So I buy that. It's like, you know what,
Speaker 5: I'm sick and tired, I'm full, I've had a big dinner,
Speaker 5: I just want to go home now. It's that kind
Speaker 5: of energy that she's bringing to it. Can we just
Speaker 5: move things along now.
Speaker 2: So I get to the hotel and talk about lightness
Speaker 2: of touch. Can talked about Dennis Weaver's performance.
Speaker 5: The great Dennis Weaver. I was a big fan of
Speaker 5: was it McLeod that he did when he played the
Speaker 5: cop on Horseback? The TV series? But of course Jewel
Speaker 5: Spielberg's Jewels, which I think this.
Speaker 1: Really this was the performance that got him that role.
Speaker 5: I know wouldn't because Jewel was seventy one. This is
Speaker 5: fifty eight, so it's pretty pretty big leap.
Speaker 1: Spielberg saw.
Speaker 2: I'm not sure what he saw because I just thought
Speaker 2: this guy was in a different film, and I like, like,
Speaker 2: I wasn't sure if it was an offensive performance or not,
Speaker 2: but I just thought he was in a different movie.
Speaker 2: And I know that Austin Wells wanted it to be
Speaker 2: more comedic, and he encouraged him to go for a.
Speaker 1: Shakespeare in loon.
Speaker 5: Yes, that's right, So, folks, Dennis Weaver plays the nightman,
Speaker 5: the night caretaker at this desolate motel on the outskirts
Speaker 5: of Nowhere. Just picture in your mind, like anybody who's
Speaker 5: seen No Country for Old Men. Pretty much every motel
Speaker 5: in No Country for Old Men is like this plays
Speaker 5: the Coen Brothers. By the way, I'm not an advocate
Speaker 5: of remakes, but if you put this material in the
Speaker 5: Coen brother's hands, you'd have a very interesting.
Speaker 1: I think there is a case of remakes, honest with
Speaker 1: you anyway.
Speaker 5: So but he plays what I suppose you would call
Speaker 5: a simpleton, you know, to use that. I'm doing air
Speaker 5: quotes here, folks, you can't see it, but this podcast
Speaker 5: is a visual medium.
Speaker 2: Imagine Forrest had at a brother, and Forrest was a
Speaker 2: smart one in the family.
Speaker 1: You know. It's like by by a lengthy And so we've.
Speaker 5: Got the band tuning up outside. I don't know whether
Speaker 5: you can hear that, folks, that's all right. And so
Speaker 5: he tries to be helpful. So we checked Channet Lee
Speaker 5: into this motel and she just wants to get some sleep.
Speaker 5: But there's this big wall mounted speaker in the motel,
Speaker 5: and our friend Dennis Weaver the nightmare and day man
Speaker 5: too apparently, because he's the only one who works there.
Speaker 5: So it's Norman Batsy, you know, it's a bit baits
Speaker 5: motelly vibe. He cranks out this jukebox music into her room,
Speaker 5: where it's like, wouldn't you just pick up the phone
Speaker 5: straight away and say can you cut the music please?
Speaker 5: You're going to get some sleep here.
Speaker 2: Yeah, you know, because he's saying I need to get
Speaker 2: some sleep, and I'm you know, and don't don't disrupt
Speaker 2: and and yeah, this music keeps on. That's why I'm
Speaker 2: not quite sure, because that's him doing it, and he's
Speaker 2: not part of this conspiracy theory, you know, he's not
Speaker 2: part of the you know, the Grundies.
Speaker 5: So, as it turns out own the motel.
Speaker 1: Yes, so they move in the gang, the gang move
Speaker 1: in Vargas.
Speaker 5: You would think the man who put the head of
Speaker 5: the Grande family criminal empire away might know where some
Speaker 5: of their assets are, where some of the money's hidden,
Speaker 5: like this desolate motel where you've just made sure your
Speaker 5: wife goes to. Well, then again, Fargas doesn't take her there.
Speaker 5: It's Men'sies. It takes her there, So maybe he's in
Speaker 5: on it from that point of view.
Speaker 2: Well, I think Mensies, I really I think you can
Speaker 2: make a case that Mensi is almost the heart of
Speaker 2: this film because I feel like he's the one you
Speaker 2: talk about betrayal and you think when he and there's
Speaker 2: important that see me just listen to Hank says, you know,
Speaker 2: Pete found it, so we think and he's his biggest
Speaker 2: you know, cheers squad.
Speaker 1: He is Hank. He's done it again.
Speaker 2: Yeah, and he's so happy and he has you know,
Speaker 2: and he's happy with not being part of this partnership,
Speaker 2: you know. And he knows that Hank's the genius and
Speaker 2: he is the guy who helps out, but he hasn't
Speaker 2: realized that he has been part of this conspiracy unwillingly.
Speaker 2: And we're not sure. I kind of thought while they're
Speaker 2: both in on it together, but he we learn later
Speaker 2: that Pete's not in on it, and he's kind of
Speaker 2: really hurt.
Speaker 4: Well.
Speaker 5: The scene in the records room, which is my one,
Speaker 5: it's my probably my favorite scene in the whole movie,
Speaker 5: where Vargas gets actually he knows this is after all
Speaker 5: the young kid away on the charges of blowing up.
Speaker 5: Where Vargas knows the dynamite has been planted. We've sent
Speaker 5: Susy on her way to the middle of nowhere now
Speaker 5: teaming up with Schwartz, the local da. Vargas gets access
Speaker 5: to the record room because what he immediately knows is,
Speaker 5: I'm going to go through all of the arrest reports,
Speaker 5: all the convictions that Quenland's got. Don't forget Quinland said
Speaker 5: in that scene, I'm going to send you to the
Speaker 5: electric chair. You know, we're going to send you to
Speaker 5: gas chamber.
Speaker 1: Yeah, he's gone straight there, that's boom.
Speaker 5: Straight away because because a little old lady picked up
Speaker 5: his shoe and it still had a foot in it,
Speaker 5: and you're going to pay for that. So he goes
Speaker 5: to the records room and he starts going through all
Speaker 5: the old Queenland case files and it cause every single
Speaker 5: case involves a piece of miraculous magic evidence that was
Speaker 5: planted because he knows it was planned, because every person
Speaker 5: who was convicted denied of and seeing that thing before,
Speaker 5: every defense attorney said it's rubbish, it was planted. Anyway,
Speaker 5: Mensies comes to confront Vargas at the record room, which
Speaker 5: is brilliant set piece. This the whole design of the
Speaker 5: records room, and it's like, literally, you know, it's something
Speaker 5: out of Citizen Kane, it really is. And that's the
Speaker 5: most of You're right, you know, Mensis is the heart
Speaker 5: of the piece because he can be so distressed. You know,
Speaker 5: when Vargas points out the bleeding obvious to him, it's like,
Speaker 5: you know, there was a piece of false there was
Speaker 5: some false teeth found at the crime scene and that
Speaker 5: linked to the suspect. There was this found at the
Speaker 5: crime scene. Quinlan's thirty. He's been doing this for years
Speaker 5: and you've been helping him.
Speaker 2: And he's also before because before this is also witness
Speaker 2: Hank go across the road with Grunde Grundy.
Speaker 1: It's at a bar which.
Speaker 5: I don't want to get we'll get to that because
Speaker 5: that becomes a major plot point. But this mensi says
Speaker 5: this incredible apps where he says you're going to ruin
Speaker 5: his life's work, and it's so heartbreaking. You can say
Speaker 5: that's the patheticness of it and how easy years has
Speaker 5: all become for these guys. It's just like, we've got
Speaker 5: your guilty, will plant the evidence to prove it. Even
Speaker 5: if you know there's railroading people, so they're not really
Speaker 5: doing police people or are they, Because you know that's
Speaker 5: the question. Maybe Quenland's instincts hunctures are correct and he
Speaker 5: just fills in the blank to get the conviction done,
Speaker 5: who knows it's ambiguity yet again, So that's a brilliant sequence.
Speaker 5: And Vargas vows to bring Quinlan down. So now we're
Speaker 5: right getting into the meat and potatoes of what the
Speaker 5: story really is about. It's a battle of wills between
Speaker 5: an old school cop and a new school cop, and
Speaker 5: obviously could have been a far more fascinating battle of
Speaker 5: wills if it was also a real culture clash y Sarga,
Speaker 5: but anyway, two little too late on that. So meanwhile,
Speaker 5: Grande takes Quenland across to his bar to hash your plan.
Speaker 5: He says, we've both got the same problem, and that
Speaker 5: problem is Fargas. Vargas is going after my family. Vargas
Speaker 5: is going after your reputation. Okay, wow, dance.
Speaker 2: Party, party happening without us, and I'm not getting invited
Speaker 2: to these things.
Speaker 5: And so they go to get together in this bar,
Speaker 5: just the two of them, now, bearing in mind, folks
Speaker 5: that Quenland hasn't touched to drop and like something like
Speaker 5: eleven twelve years or something that they mention. And the
Speaker 5: first thing Grande does is poured two big double bourbons
Speaker 5: and puts one down in Quentland in front of Quinland.
Speaker 5: It's like bait. It's like it's like literally, it's cheese
Speaker 5: and the mouse trap. Show him. Okay, and what happens
Speaker 5: Quentlan starts drinking again and Grande knows he's got him.
Speaker 5: I'll just keep him looking up and I'll get him
Speaker 5: thinking my way, which is what starts to happen. Yeah, okay,
Speaker 5: We're going to jump forward a little bit where Quentland
Speaker 5: says Vargas is a drug ad actors. His wife's in
Speaker 5: it too. In fact, I saw the hypodermics, you know,
Speaker 5: straight to the chase of corruption. Anyway, I'm jumping ahead
Speaker 5: a little bit there.
Speaker 1: No, it's great.
Speaker 2: There's a great scene then when Hank so Hank goes
Speaker 2: and confronts Vagus.
Speaker 1: I want to get to the bottom of it. And
Speaker 1: and uh, and there's.
Speaker 2: A great debate about what the job of law enforces
Speaker 2: actually is and what makes a dirty cop, what makes
Speaker 2: a clean cup.
Speaker 1: Let's listen to this friend.
Speaker 7: Vargas has some very special ideas about police procedure.
Speaker 4: He seems to think it don't.
Speaker 7: Matter whether he kills Hangaring not, so long as we
Speaker 7: may the fine.
Speaker 4: I don't think a policeman should work like a dog ketchen,
Speaker 4: criminals behind bars.
Speaker 7: Now, in any free country, a policeman, you're supposed to
Speaker 7: enforce the law, and the law protects the guilty.
Speaker 4: Is tough enough, it's supposed to be. It has to
Speaker 4: be tough. Policeman's job is only easy in a police state.
Speaker 4: That's the whole point. Captain, who is the boss the
Speaker 4: cup with the law? Where's your wife? What do you
Speaker 4: what do you mean?
Speaker 5: You know where she is as well as I do?
Speaker 4: Certain mensis drovers us at the motel. You're still here. Yes,
Speaker 4: I'm checking out now enjoining it. Do you have a reason,
Speaker 4: no special reasons.
Speaker 8: I just wondering, Well, you know other pigeon in the
Speaker 8: nest pigeon, Captain, you did buy seven?
Speaker 5: Done?
Speaker 4: You are checking your story of argus. I don't have
Speaker 4: to answer your question. I attended to a rat, says
Speaker 4: he sticks. We've been spying on it, my rat, for
Speaker 4: my knowledge, Hank.
Speaker 7: You use fifteen sticks of dynamite, Quinn, and that leaves
Speaker 7: two sticks missing, and two sticks were found in that
Speaker 7: shoe box.
Speaker 1: He's just asking, Hank, Hank.
Speaker 2: So that's there's a lot, a lot to be taken
Speaker 2: in there, because it is about they are two different men.
Speaker 2: They Hank just wants to get the results and and
Speaker 2: Vargas follows the process and the procedures. Is a great
Speaker 2: line where I think Vargas says, who's the master cop
Speaker 2: or the law?
Speaker 5: Yeah, it's such good dialogue.
Speaker 1: It is so good.
Speaker 5: I mean, just listening to that again, I mean, watched
Speaker 5: it again last night. That's it. I mean, it's I
Speaker 5: think that you forgive so much because there are so
Speaker 5: many memorable moments in this film.
Speaker 2: Well, that's right, because there are things about this film.
Speaker 2: There's and we're kind of creeping up behind characters there,
Speaker 2: you know that there is things that are I said,
Speaker 2: you know, Susan's kind of flipping of you know, like
Speaker 2: don't you touch me?
Speaker 1: To say, okay, what have I got to lose?
Speaker 2: There are some weird things and some performances that don't
Speaker 2: quite hit. But the performances that do hit, and the
Speaker 2: moments and the artistry on the screen, you don't worry
Speaker 2: about any of that.
Speaker 1: It's phenomenal.
Speaker 5: It's the Kubby Broccoli theory.
Speaker 4: You know.
Speaker 5: Ubby Brockley produced the James Bond films. You know, he
Speaker 5: before Spy Loved Me Opened he said said sometimes of
Speaker 5: the movie. You just got to sit down in your seat,
Speaker 5: open the top of your skull, take your brain out,
Speaker 5: put it underneath the chair, and enjoy. Just enjoy the
Speaker 5: show exactly. Yeah, you know, and it's true. It's true.
Speaker 5: It's got moments. So you forgive, you forgive things. You know.
Speaker 5: It's talking about this the other day with some buddies,
Speaker 5: and we're talking about, you know, when you right yourself
Speaker 5: into a corner, how you can get out of jail
Speaker 5: really quickly. And one of the best examples of that
Speaker 5: is Raiders of the Lost Arc. Okay, the foot chase
Speaker 5: through the streets of Cairo where Marion gets into the basket. Okay,
Speaker 5: Indy's chasing it. The bad guys have got her in
Speaker 5: the basket, Indy, and he's chasing her down all the
Speaker 5: dead ends and the alleys and the whole bit. They
Speaker 5: put her in the back of the truck loaded with explosives.
Speaker 5: Indy blows it up. Boom. Marion's dead. Okay. Later when
Speaker 5: he's when he gets to the to the dig site
Speaker 5: with Salah when they're gonna they're on the hunt for
Speaker 5: the Ark of the Covenant and they're undercover and to
Speaker 5: avoid some Nazi troops walking past. He sort of quickly
Speaker 5: Indiana Jones ducks into the tent and there's Marion alive,
Speaker 5: tied up against the pole with the gag in her mouth,
Speaker 5: and he's like, Marion, you're alive.
Speaker 9: They must have switched baskets. Why would they, Hey, they
Speaker 9: didn't switch baskets. We know they didn't switch baskets. I'm
Speaker 9: not an idiot. I watched that sequence. Why would they
Speaker 9: switch baskets anyway? On the off chance that the truck
Speaker 9: was going to blow up? But that would handle on
Speaker 9: that okay.
Speaker 5: So, but this is how they get out of it,
Speaker 5: because the second you start pulling threads on stuff like that,
Speaker 5: you're doomed. So this is how they get out of it.
Speaker 5: And they wrote themselves into a complete and utter corner.
Speaker 5: And Lawrence Kasden, the screenwriter, gets us out of it
Speaker 5: so quickly by distracting us with shiny baubles. And we
Speaker 5: are easily distracted as the human species with movies. We're
Speaker 5: also film literate without even knowing it, but we're also
Speaker 5: still children when you go to the movies and it's like, oh,
Speaker 5: what's show anything over there?
Speaker 4: Now?
Speaker 5: Yeah? Okay. And the way they get us to look
Speaker 5: over at the shiny bable is. He starts getting ready
Speaker 5: to escape with Mary and he's going to untire or
Speaker 5: they're going to get out of there, and he suddenly
Speaker 5: has a thought because she's gonna get me out of here.
Speaker 5: Jone's getting out here, and he suddenly has this thought,
Speaker 5: and he starts putting the gag back in her mouth
Speaker 5: and going, if they know if they find you missing,
Speaker 5: they'll know I'm here, and that means I won't be
Speaker 5: able to get to the Ark. And you go, oh, yeah, right,
Speaker 5: that's what it's all about. So you completely forget right
Speaker 5: because the shiny buble is, Oh my god, Yeah, we're
Speaker 5: gonna go after the Ark. That's the mission of the movie,
Speaker 5: and so you forgive them. You knows. Ark arguably one
Speaker 5: of the greatest movies ever made in the action adventure genre.
Speaker 5: Some people say the greatest action adventure film ever made.
Speaker 5: It's got some riding into the corner stuff that you
Speaker 5: get out of real quick, so it's perhaps far more
Speaker 5: definitely handled than saying I'm a married woman, I'm not
Speaker 5: going with you guys, Oh what have I got to lose?
Speaker 5: I think that touch of evil's not quite as ingenious
Speaker 5: as Lawrence Kesden's screenplay for Raiders. But you forgive films.
Speaker 1: You do, and and this and this it plays with.
Speaker 2: Apparently there's many many more scenes with the Grundy family
Speaker 2: that were lighter, that they were going to even bring
Speaker 2: a bit more comic relief, because Joe Grandi is quite
Speaker 2: is quite an essentric kind.
Speaker 5: Of he reminded me talking about the Coen Brothers, the
Speaker 5: late great John Polito who appeared in a lot of
Speaker 5: the Coen Brothers films, you know, and Martin Finky's like,
Speaker 5: you know, he plays the fat Italian. My boss is
Speaker 5: constantly upset. He's slapping his should and it's like, oh no, darling,
Speaker 5: come here. It's kind of like a John Polito character
Speaker 5: who's also in The Big Lebowski is the private detective
Speaker 5: and all that kind of stuff. He really is. It's
Speaker 5: it's Amarov who played it to me, am I think
Speaker 5: I'm getting wrong. Who's excellent he is. It's like a
Speaker 5: Danny de Vito, a kind of yeah character, you know,
Speaker 5: where's sleazy but sort of likable but could turn on
Speaker 5: you at any moment kind of thing. But he's thoroughly
Speaker 5: lighting up the screen with his energy. Of the performance.
Speaker 5: Now he meets a particularly brutal.
Speaker 2: And so before we get to that, we mbhouldn't cover
Speaker 2: off you refer to it earlier and this moment where
Speaker 2: the gang going to Genetly's.
Speaker 5: Yeah motel room. So basically the party shows up, so
Speaker 5: you can imagine the Grande Boy gang. The boys in
Speaker 5: the gang, they're all the grande boys. They're kind of
Speaker 5: like traditional greases. You know. They've got the jeans, they've
Speaker 5: got the white T shirts, they got the leather jackets,
Speaker 5: they've got the ducky roll haircuts and the whole bit.
Speaker 5: And one of them, the sort of leader of the pack, Menacingly,
Speaker 5: takes over from the night watchman played by Dennis Weaver.
Speaker 5: And every time she starts ringing to say, you know,
Speaker 5: could you turn the music down, he says, oh, yeah,
Speaker 5: we'll get that done for your straight away, Missus Vargas,
Speaker 5: and then chearings again, can you put me through to
Speaker 5: this number? That comps and he goes, oh, the number
Speaker 5: is busy at the moment, Missus Vegas. So this sort
Speaker 5: of the starts increased ractioning up the tension and leading
Speaker 5: to the inevitable where they burst into her room. Now
Speaker 5: they've also got to part in the expression bull dyke
Speaker 5: by ky.
Speaker 1: Chicks with them, one of them being, of course.
Speaker 5: For those who don't know who Mercedes McCambridge was, if
Speaker 5: you've seen The Exorcist, she is the voice of the
Speaker 5: possessed Reagan. Your mother sucks catc in ol.
Speaker 2: And she has a shilling line. Her one line is
Speaker 2: I want to watch watch terrifying it. And she was
Speaker 2: having she did this as a favorite awesome while she
Speaker 2: was having lunch with him, and she said, he said,
Speaker 2: can you can.
Speaker 1: You do this part today or tomorrow whenever?
Speaker 2: It was so she basically Austin Wells cut her hair
Speaker 2: and they got her in the leather jacket and she
Speaker 2: won the oscar for all the King's Men.
Speaker 1: Yes, and also was in a giant as well.
Speaker 5: Wonderful great, one of the great voice actors of all time.
Speaker 5: But she talk about leaning into the Mexican side of
Speaker 5: the character. She comes on set with the full Mexican accent,
Speaker 5: hair cut and dyed, looking the part scary as she's
Speaker 5: the one with the hypodermic needles. She's the one with
Speaker 5: the married Juana. Then when they've got they go, hey, lady.
Speaker 5: In the next room. He generally puts her eer up
Speaker 5: against the wall. He goes, what and he goes, do
Speaker 5: you know marijuana? You know the Madi Jame. She goes, yeah, maybe,
Speaker 5: but what's it got to do with me?
Speaker 2: I don't really know what the marijuana was really doing
Speaker 2: outside of drugging her, because she ends up drugged, which.
Speaker 5: I remember they said to her though we blew it
Speaker 5: all over her body. The whole idea is that this
Speaker 5: is Grande's plan that he hatches with Hank offscreen, is
Speaker 5: that we're going to make Vargas look corrupt, that he's
Speaker 5: actually in on the narcotics racket that he claims to
Speaker 5: be busting wide open. He's just as bad as the
Speaker 5: people he's going on, so he can't accuse me of
Speaker 5: being bad when he's worse. That's what it's all about.
Speaker 1: So do you then, because when the door shuts and there.
Speaker 2: He says, grab her, grab her ankles, ankles, and and
Speaker 2: you think there's a rape about occur, and then later
Speaker 2: on they say it didn't didn't happen.
Speaker 5: Yes, I don't buy that. I think that is something
Speaker 5: studio imposed probably saying no, no, no, you can't. You
Speaker 5: can imply it. But then you've got to get out
Speaker 5: of jail on that one and say no, no, no, no,
Speaker 5: we just make her think that that's what happened. There's
Speaker 5: absolutely no way that those guys didn't rape her. There's
Speaker 5: no way. I mean, you don't end a scene with
Speaker 5: the door closing with her there's like six guys and
Speaker 5: two women grabbing, screaming, generally off the bed, physically off
Speaker 5: the bed, and the last line is grab her ankles. Yeah,
Speaker 5: and they start spreading her legs and the door closes.
Speaker 2: And what's Mercedes mc cambridge. Then what's what's what's her line?
Speaker 2: What's she watching? You know, she watching people blows, She's
Speaker 2: here to watch the rape? And when because when Joe
Speaker 2: Grundy says that, who does he say that, Sue?
Speaker 5: Because he says it to Hank and when they go
Speaker 5: into where she's been taken back.
Speaker 2: To this she could actually be almost kind of you know,
Speaker 2: covering the freeze actually happened in the.
Speaker 5: Game, and that's what I think it is. But it
Speaker 5: seemed studio imposed to me. But he might be saying, yeah,
Speaker 5: you're right. I mean, logically he could be saying to Queenland, no.
Speaker 2: No, no, we didn't we're just making it, making it all,
Speaker 2: make a good job making happen, but it will serve.
Speaker 5: Your purpose just from looking bad. So they get her back.
Speaker 5: She's been knocked out, are they said, with sodium pentathol,
Speaker 5: which doesn't make any sense because sodi and penthes all
Speaker 5: his truth serum, right, that's what you inject into That's.
Speaker 1: Just that's exactly what I don't want.
Speaker 5: Yeah, exactly. I mean they just said, we used to
Speaker 5: said it, right, but they don't. They say, sodi and pentadon.
Speaker 5: I think back then in the fifties to the implication
Speaker 5: of marijuana, the demon and Sodi and pentho, what's that?
Speaker 5: It all sounds spooky with his reality marijuana. If they
Speaker 5: were all high, they wouldn't be sitting around doing gang rapes.
Speaker 5: It would have been sitting around going where's where's the
Speaker 5: mark shows?
Speaker 4: Man?
Speaker 5: Ye know what I mean? Yeah, but you know, back
Speaker 5: then it was a reef for madness and all that
Speaker 5: kind of bizar. So they get her back to Grande's hotel,
Speaker 5: the Ritz, which he owns. It's part of his empire,
Speaker 5: and so genetly he's sweaty and she's in this dimly
Speaker 5: lit room and Quinlan comes in Grande, and Grande is saying, look,
Speaker 5: we've done the job for you. She reeks of marijuana.
Speaker 5: You know, there's needle marks in her arms. So with
Speaker 5: the setup of Vargas is going to be complete, because
Speaker 5: you got earlier that bit. He goes, oh, Vigus, you
Speaker 5: know he's he's worse than the Grande's. He's worse. He's
Speaker 5: in on the rack and men he's going, oh you
Speaker 5: think he's in on it, chief, And he's like, I
Speaker 5: know it for sure. I've seen the hypodermics. He goes, well,
Speaker 5: I never saw no hyperdermis. He goes, oh, well, you
Speaker 5: don't have my hunction. You know, all that stuff and
Speaker 5: that that that's one of those shocking scenes that he gets.
Speaker 1: He's just so quick, he's so quick on his feet.
Speaker 5: Just for the frame up. He's got a down pat.
Speaker 2: Like we said earlier, not any framing, but sending someone
Speaker 2: through the chair. Yeah, it's it's phenomenal.
Speaker 7: Yeah.
Speaker 5: Yeah. And so now you're gonna remember, folks, Quinlan is
Speaker 5: now absolutely shit faced. He's been on the booze now
Speaker 5: for like twenty four hours. Okay, he's literally necking bottles
Speaker 5: of bourbon. Okay, and so he comes into the room
Speaker 5: where Genitly he is, and yes, it's one of those God,
Speaker 5: anything could happen, he is. So there's Grande Quinland and
Speaker 5: there's Genitly. He passed out on the bed. Okay, it's
Speaker 5: all going to be to frame up mcgwell, her husband mcgwell,
Speaker 5: Vargas and earlier. Quentland sets it up about the best
Speaker 5: way to kill somebody.
Speaker 2: He is with strangle, to strangle them, you can leave
Speaker 2: fingerprints on string, that's right. And his wife he explains
Speaker 2: that his wife had been murdered that way and the
Speaker 2: one crime he didn't he wasn't able to solve that
Speaker 2: he was the guy could was caught in Belgium and
Speaker 2: murdered or God took care of him or something like that.
Speaker 5: Yeah, And so they're they are in the room. And
Speaker 5: so now we're getting into the Quinland tying up all
Speaker 5: the loose ends, which anybody who's ever seen a story
Speaker 5: about police corruption is it's one of the great thrilling
Speaker 5: tropes of the police corruption saga, whether it be Dudley
Speaker 5: Smith and l a Confidential tying up the loose ends everywhere,
Speaker 5: or you know, snelamitz Q and a where Nicknldy's cop
Speaker 5: Cop is to you know, all the loose ends getting
Speaker 5: it's it's the to me, there's a lover of crime
Speaker 5: and corruption films. It's like, oh here we gow how
Speaker 5: does the bad guy win? How does the bad guy win?
Speaker 5: And so what does he do? He chokes Grande to death,
Speaker 5: He garrets him in the in the in the hotel.
Speaker 1: Room, over and unconscious.
Speaker 5: It's literally over her.
Speaker 1: She's asleep, so she wakes up to this coming.
Speaker 5: The guide cul lo tongue lolling out literally Jara the
Speaker 5: Heart style when Jarba.
Speaker 2: Gets Chokedson Wells wanted an ox tongue like to almost
Speaker 2: have it even more grotesque, and they tried it and
Speaker 2: it just said that's okay, that's too much, right, Yeah,
Speaker 2: because it's it's full on already.
Speaker 5: The way it is, it's a terrific seen and you know,
Speaker 5: and always in the precursor' always seen this shot in
Speaker 5: the movies. But I reckon Wells might have pioneered it
Speaker 5: in Touch of Evil where the bad guys pull the
Speaker 5: pools on the black leather gloves. And when he starts
Speaker 5: doing that is he's talking to Grande and the gloves
Speaker 5: start coming on in years go, here we.
Speaker 1: Go, that's the moment.
Speaker 5: Yeah, we go, and of course chokes him to death,
Speaker 5: and quite a terrifying scene too, because Grande's trying to escape.
Speaker 5: He's in his own premises and he's going to be killed.
Speaker 5: And it's all part of Quinland saying, look how depraved
Speaker 5: the Vargases are. They're doing drugs, that killing the hotel owner.
Speaker 5: It's all that kind of thing. And so Grande is dispatched,
Speaker 5: which leads us to what happens after that, because we're
Speaker 5: riding to the final the CLINICX of the show.
Speaker 2: Yeah, around this time, this is where I think Pete
Speaker 2: is putting, putting the pieces together, Mensis Pete mensis. So
Speaker 2: then so Hank then tells people to get the vice
Speaker 2: boys and come down there. He's found Susan. That happens
Speaker 2: there is and that's when Vargas he is looking for
Speaker 2: his wife, and then he you know, finds out what
Speaker 2: may have happened, and there's the bar fight and.
Speaker 1: He oh, he takes on everyone. His shirt gets a
Speaker 1: bit rips.
Speaker 5: And then when he says, when we say the bar
Speaker 5: fight we're talking about, he takes on the punks who
Speaker 5: raped his wife.
Speaker 2: Yeah, yeah, so's he's starting to cross that line, you know,
Speaker 2: and you know we understand why. And and then also
Speaker 2: Pete shows then the cane was found, the cane behind.
Speaker 5: The cane, so we have were sort of lift this out.
Speaker 5: Of course, Quinland gets around, hobbling around with his walking
Speaker 5: stick and idiotically leaves it in the heat of the
Speaker 5: moment in the room where Janetly has Bridge just committed
Speaker 5: the murder, where Genetly is so and why because he's
Speaker 5: drunk and he's not thinking clearly, you see what I mean?
Speaker 5: So what does he do? He staggers off, then to Marlene.
Speaker 5: Back to Marlene and Diecres joint to sit alone, listen
Speaker 5: to the p andol are playing, where she's basically saying,
Speaker 5: get out. You know you have no future, You have
Speaker 5: no future. You know that's it. You know you're doomed.
Speaker 5: You're doomed. So what happens. Vargas convinces Quentland's loyal dog
Speaker 5: Mensies to wear a wire and we're going to get
Speaker 5: him on tape admitting what he's done and that he's
Speaker 5: behind all this corruption, okay, and which is heartbreaking, fad.
Speaker 5: Now he's got to redeem himself he knows that the
Speaker 5: line there's no future for you also applies to Menzies,
Speaker 5: you know, so he's going to go well, he.
Speaker 2: Knows he's been betrayed out and not just on this one. See,
Speaker 2: because the fascinating thing about this movie is it's Hank
Speaker 2: Quinland's self righteousness because this crime had nothing to do
Speaker 2: with him. Really, it was the fact that somebody was
Speaker 2: trying to encroach on his space and he.
Speaker 1: Felt it was his pride.
Speaker 5: Pride was hurt.
Speaker 2: And he could have he could have, like if he
Speaker 2: had a follow procedure, he would have actually, finally enough,
Speaker 2: if we were to believe that Sanchez actually did confess,
Speaker 2: you know, honestly, you know, and not under and not
Speaker 2: under dress duress, he would have solved the crime. But
Speaker 2: he gets himself in this because of pride. He gets
Speaker 2: himself in this, this awful situation where I.
Speaker 5: Think it's not killing people, not just pride, but I
Speaker 5: think paranoia too, because if you've got somebody else encroaching
Speaker 5: on your turf, God knows what they'll turn up, which
Speaker 5: is what happens.
Speaker 1: And it's race as well, isn't it.
Speaker 2: Like I mean, you know, it's always you people, and
Speaker 2: you people this and you know, a foreigner looking at
Speaker 2: my turkey farm. You know, there's a lot of which
Speaker 2: I think is played, you know, for the time pretty
Speaker 2: you know, pretty well, it's it's it's it's certainly there,
Speaker 2: but in a way that you know, I think ages
Speaker 2: you know, it's not like hard to watch because of it,
Speaker 2: if you know what I mean, Like it feels like
Speaker 2: part of the story and it's not grat shuitous.
Speaker 1: Yeah.
Speaker 2: So then and then well let's have a bit of
Speaker 2: a listen to our final scenes of Pete trying to
Speaker 2: get a confession.
Speaker 5: Yeah, and bear in mind though we've got to get
Speaker 5: we've got to get Quenland out of Marlene and Dietrich's
Speaker 5: chamber because the p and ole is playing, so they
Speaker 5: won't get a good recording. And we should also point
Speaker 5: out when we're talking about wearing a wire, this is
Speaker 5: nineteen fifty eight technology, okay, folks. So it's not just
Speaker 5: like putting a little subtle microphone under the lapel, and
Speaker 5: you know, the recording places like in you know, Miami,
Speaker 5: which you can get away with. Now, no, no, no,
Speaker 5: Vargas is going to have to follow with the recording
Speaker 5: equipment with the antenna up close by. But we've got
Speaker 5: a lure quinlan out of the house.
Speaker 1: First and then and then there's there's all.
Speaker 5: The high suspension wise much the oil dereks are pumping
Speaker 5: up and downside.
Speaker 2: This scene is about that's about the money. And he's
Speaker 2: and he's like, I could have you know, I could
Speaker 2: have earned a lot more, you know, And I've.
Speaker 5: Got my co lakers, a couple of Lakers in a
Speaker 5: Turkey fun yeah.
Speaker 2: And and and I mean the you know, the allegory
Speaker 2: going on here with you know, there's the the dirty river,
Speaker 2: there's the mess that's in the river. There's there's all
Speaker 2: this stuff going on. It's it's pretty perfect. And listen
Speaker 2: to the sound design, as we refer to earlier. Between
Speaker 2: we we got to switch perspectives between Hank and Vargas.
Speaker 5: Who's tailing him under the bridge?
Speaker 6: Bargash feeling place around here.
Speaker 4: Close to me? Wait, Vigas, why should you sound kind
Speaker 4: of nervous? Game leg it's starting to talk to me.
Speaker 6: Burgush. Maybe he's tailing me with the bug recording.
Speaker 4: Hey are you carrying a bag for him? A microphone and.
Speaker 5: Met nod you better commit that gun?
Speaker 4: Where is he? Where I see how did you figure
Speaker 4: the frame Vargus with the framed husband?
Speaker 5: Frank?
Speaker 4: Where is he?
Speaker 6: August?
Speaker 1: Where is he? Heck?
Speaker 7: Look, I'm talking to Vargas now, August, hear me.
Speaker 9: Talk to you through this this walking microphone to.
Speaker 1: Work for me.
Speaker 4: No, I ain't working for Bigus.
Speaker 5: I'm working for the department, Hank. But they give me
Speaker 5: the Vigus is good.
Speaker 4: Okay here this stupid.
Speaker 1: Maybe shot? Yeah, bye bye, Hank.
Speaker 5: Yeah, talking about telling all the loose ends. Yeah, but
Speaker 5: also the sense of betrayal from both of them. But
Speaker 5: you know, yeah, of course he fucking shoots him and
Speaker 5: now correct him wrong, it's Vargas is gun.
Speaker 2: That he is so then, so then Hank tries to
Speaker 2: He basically tells him he's not he's not killed. Hank
Speaker 2: goes down to the river because he's he's hurt, and
Speaker 2: he's drunk. He's drunk, and he basically stumbles back in
Speaker 2: and he's lying down and he has one more interaction
Speaker 2: with Vargas, who has appeared now, and he tries to
Speaker 2: convince him that Hank Quinland he's still going to come
Speaker 2: out on top.
Speaker 4: Well, Captain, I have a friends. Family is something you
Speaker 4: can't talk your way out of you want him back,
Speaker 4: you'll kill him.
Speaker 5: Bars commander, give me my gun back.
Speaker 4: Yeah, it's just tell me you killed Pete. Bullet is
Speaker 4: from your gun. Do you think anyone would believe that?
Speaker 4: They always believe me anyway. I never believe I killed
Speaker 4: him a gun. You're resisting arrest. How could you arrest
Speaker 4: me here? This is my country, This is where you're
Speaker 4: gonna die.
Speaker 5: There wasn't no miss pocus.
Speaker 1: I was just to turn you around.
Speaker 4: I don't want to shoot turn my back. I should
Speaker 4: rather right around for it.
Speaker 2: So it's a brilliant shot in the film shot, not
Speaker 2: the actual gun shot. Then we have pet not quite dead,
Speaker 2: hanging and gets a shot off, and we don't know
Speaker 2: if it's a fatal shot. Well it's not because he
Speaker 2: could who knows how he dies in the end, but
Speaker 2: he's probably died from the gunshot or his ground.
Speaker 1: But he goes over and he says, this is a
Speaker 1: second bullet.
Speaker 2: I'm taken for you, which doesn't really I thought long
Speaker 2: and hard, what was the first bullet?
Speaker 1: There was a scene that was taken out.
Speaker 5: No, no, no, this is where the limp comes from.
Speaker 5: I've always assumed that that's where the limp comes from
Speaker 5: is that during many years ago, he took a bullet,
Speaker 5: took a bullet for Pete and he's got the limp
Speaker 5: and saved him.
Speaker 2: Yeah, so there's a scene that was cut that was
Speaker 2: explained that went into that a little bit more, which
Speaker 2: I'm not sure if you completely need. I mean, I'm
Speaker 2: not saying it's a perfous, but it made that line
Speaker 2: at a critical moment in the movie where everything should
Speaker 2: mean something that this is a second bullet took for
Speaker 2: you didn't quite land for me.
Speaker 5: Well, what is the implication is that you've shot So
Speaker 5: there's a logic to it because you say you just
Speaker 5: shot me and that's the second bullet I took for you.
Speaker 5: But is he saying by taking that bullet, I'm saving
Speaker 5: your neck because I go out the bad guy? You
Speaker 5: draw that bow from it, you know, And of course
Speaker 5: that causes Quinlan the stagger back into the into the
Speaker 5: sewer basically and drown and float away like a turd. Basically.
Speaker 5: He goes back from whence he came.
Speaker 2: And Alena arrived and she said, is anyone going to
Speaker 2: fish him out? And they said, yeah, they will soon.
Speaker 2: There's no real.
Speaker 5: Yeah, and that's of course when she says the line,
Speaker 5: what can you say about any man?
Speaker 4: You know?
Speaker 5: Was he he was? What was the line? He was
Speaker 5: a good detective but.
Speaker 2: A bad cowsy cop, but he was a man?
Speaker 5: And what can you say about any man? Which brings
Speaker 5: us full circle, because that's the lines that John Travolta
Speaker 5: as Chili Palmer is mouthing in the scene from Get Shorty,
Speaker 5: which made me go, oh, ship, I better ring Ellie
Speaker 5: and I haven't sent tounchs of evil.
Speaker 2: That's how you wrap up podcast, ladies and journal that
Speaker 2: is that is a man who knows how to tell
Speaker 2: a story. And there are a couple a few little
Speaker 2: fun little facts that I want to share.
Speaker 5: And how we get to that? Can I get it?
Speaker 5: Now that you've seen it? How do you feel about it?
Speaker 5: I feel about it?
Speaker 1: Listen. So I watched it twice.
Speaker 2: The first time I watched it, I wasn't sure about it.
Speaker 2: It was a second time watching it family enough with
Speaker 2: subtitles on. Sometimes I find with older films, I don't
Speaker 2: know it's my ear or the sound. The sound I
Speaker 2: just don't often pick up some detail. And there is
Speaker 2: if it's some overlase.
Speaker 5: There is a lot of subtlely in the performances too.
Speaker 2: Yeah, so I enjoyed it more and I've picked up
Speaker 2: a lot more the second time I watched it. I
Speaker 2: really like it. It's stunning. It's you know, like you said,
Speaker 2: there are things you forgive in this film, but I
Speaker 2: I really.
Speaker 5: Yeah, I look, I sear. I watched it the first time,
Speaker 5: like you, I thought to myself, there's a lot of
Speaker 5: mist here. But I couldn't stop thinking about it now.
Speaker 5: I kept thinking myself, I can't wait to watch it again,
Speaker 5: and I put it off, put it off until last night,
Speaker 5: knowing i'd be seeing you today and so it was
Speaker 5: going to be really fresh. And I love it, you know.
Speaker 5: I tell you that my favorite shot in the film,
Speaker 5: this is going to be a weird one. When Schwartz
Speaker 5: and Vargas decide they're going to team up together, and
Speaker 5: there's a shot where they're racing off in the convertible,
Speaker 5: but they've got a huge dolly that's on a crane
Speaker 5: chasing after them from sort of almost like a bird's
Speaker 5: eye point of view as they race off between me.
Speaker 1: What's that scene? I thought this looks amazing because it's
Speaker 1: so used.
Speaker 2: It was one of the first shots ever where dialogue
Speaker 2: was shot on the moving car.
Speaker 5: Yeah, and can you know too, people can no. I mean,
Speaker 5: obviously your audience on this show, you've got a lot
Speaker 5: of movie lovers, but you've got to remind people sometimes
Speaker 5: the size of the cameras back then to get away
Speaker 5: with these camera moves. We're talking if Pete and I
Speaker 5: pretty big guys. It's like like six of us, you
Speaker 5: know what I mean, Like we didn't you know, filmmaking
Speaker 5: wasn't changed until the patiflects came out, you know, in
Speaker 5: the late sixties, which allowed Dennis Hopper to go off
Speaker 5: and make Easy Rider. That's when you could just pick
Speaker 5: the camera up and put it on your shoulder and go.
Speaker 5: These things were behemoth. It's like the Imax cameras are now.
Speaker 5: They're huge. They sound like lawn mowers when you start
Speaker 5: cranking the film through them.
Speaker 1: So some of the.
Speaker 5: Shots, I'm just going, man, who's ever in your grips
Speaker 5: department on this one? Where's the oscars for those guys?
Speaker 4: Yeah?
Speaker 5: You know what I mean. But it just the thing
Speaker 5: about the film, folks, is it sticks with you. It's haunting.
Speaker 5: You can see the influence on films like Chinatown. You
Speaker 5: can see the influence La Confidential in particular. La Confidential
Speaker 5: actually lifts some shots directly from it. But it is
Speaker 5: really one of the last great film noirs of American cinema,
Speaker 5: and it's almost like it's really Wells's last great film
Speaker 5: as direct A lot of people love Is for Fake,
Speaker 5: but that was sort of cobbled together over many years,
Speaker 5: which you meant, you know, borrowing money here, there and
Speaker 5: wherever to get the film made. This is your sort
Speaker 5: of last really big, great studio film, and they bug
Speaker 5: it around with it, but you know, welcome merch fortunately
Speaker 5: got it all back together. I highly recommend it. I'm
Speaker 5: going to out of five stars of deduct a star
Speaker 5: for Heston not leaning into the Mexican.
Speaker 1: Accident, yeah okay, yep.
Speaker 5: And but for everything else, yeah, four stars out of.
Speaker 2: Five I reckon fantastic and I'm I'm so glad you
Speaker 2: loved it. I assumed you you would at least find
Speaker 2: it interesting, so you know, and now you can tick
Speaker 2: it off that you've seen a touch of evil and
Speaker 2: we'll spend another three years finding the next film for.
Speaker 1: You to come back and talk about this.
Speaker 2: I think as a premier one of the early screenings
Speaker 2: was in the nine to fifty eight Brussels World Fair
Speaker 2: and at one top prize. Two of the judges was
Speaker 2: Jean Luke Gottarde and Francis to a true faux who
Speaker 2: they make Got Jean Luke Got makes Breathless two years
Speaker 2: later and Trifoe makes four hundred Blows a year later.
Speaker 1: So obviously those films will be.
Speaker 2: They would have been prepping, but they both say this
Speaker 2: was a big influence and seeing that although at least
Speaker 2: inspired by this, so you know, who knows with editing
Speaker 2: choices and even production choices, how that kind of manifested
Speaker 2: Marlon Dietrich. There was a lot of favors being done,
Speaker 2: he mentioned, says mc cambridge. Malena Dietrich did this as
Speaker 2: a favor to Owen Wilson. Owen Wilson I wrote, my
Speaker 2: notes have shortcuts. Ow Well, do you imagine.
Speaker 5: Hey, you nothing gets by you, buddy, mister movie elliot.
Speaker 1: But she even the executives weren't.
Speaker 2: It was kept top secret, and the executives didn't even
Speaker 2: know that she was appearing in this movie. And and
Speaker 2: and shot all her in one night.
Speaker 4: Oh wow.
Speaker 1: And he was awsome.
Speaker 2: Welles was so paranot about having any executives on set
Speaker 2: that the first day of shooting, knowing there was going
Speaker 2: to be like studio spies on set.
Speaker 1: In fact, he might have actually known that they're on
Speaker 1: set for the first day.
Speaker 2: So he just organizes quite simple shots for him and
Speaker 2: he started at nine am, finished the second one at
Speaker 2: nine to fifteen, had the second one done by nine
Speaker 2: twenty five. The execu kidve ran over to the phone
Speaker 2: and said, no, I think we're all safe for you.
Speaker 2: He ran over and then he shot like a two
Speaker 2: day scene as soon as they left, which is it's
Speaker 2: great generally broken arm before filming, and they kind of
Speaker 2: covered that up in various ways. I mentioned that has
Speaker 2: one of the big scenes which if you watch the
Speaker 2: original scene and one of the things that Auson Wells
Speaker 2: was really fighting for.
Speaker 1: In that opening scene.
Speaker 2: In the original they had credits going over, which Austin
Speaker 2: Wells did not want. He wanted this, you know, opening
Speaker 2: scene to speak for itself. And as you know, the
Speaker 2: older movies they have all the all the all the
Speaker 2: credit of course, yeah, you.
Speaker 1: Know they you know.
Speaker 5: Well, it was not only Studio Post because it became
Speaker 5: part of the Directors Guild of America that that had
Speaker 5: to happen, which famously led to the showdown between George
Speaker 5: Lucas and the DGA over Star Wars because there's no
Speaker 5: credits at the start of Star Wars, so he had
Speaker 5: to quit the DGA, and which is why Spielberg did
Speaker 5: not direct a Return of the Jedi, because Spielberg didn't
Speaker 5: want to give up his DGA membership.
Speaker 1: Rather, that's amazing, Yeah, that's fanta. I love that. I
Speaker 1: love it.
Speaker 2: And the final one, the custom officer at the boomgates.
Speaker 2: This is the one tracking shot and he kept on
Speaker 2: fucking up his lines. You must know you would have
Speaker 2: been in his scenes where you know the pressure of
Speaker 2: even a long you have when you have maybe lines
Speaker 2: at the end of it.
Speaker 5: No, mate, I can tell you. I've just come off
Speaker 5: a film where big scene, whole cast in the scene,
Speaker 5: big long walk up, me walking up into close up line.
Speaker 1: Fuck hit your mark line line. Oh the pressure.
Speaker 2: Well, this custom officer kept on fucking up his line
Speaker 2: and eventually all some wells because I'm losing the Actually
Speaker 2: think there's one lunchhot towards you. You can see a
Speaker 2: little bit of morning light, you know, because they're losing
Speaker 2: they losings.
Speaker 1: And and so also Wells.
Speaker 2: I said to him, just if you forget your line,
Speaker 2: just mouth the words. Just mouth something and I will
Speaker 2: put it in in posts. Whatever whatever you do, don't
Speaker 2: say again, I'm sorry, mister Wells.
Speaker 5: So do you know how many takes they had to
Speaker 5: do to get that opening track?
Speaker 2: I'm not exactly sure how many. It's probably it's probably around,
Speaker 2: it's probably available.
Speaker 5: That would have been a whole night's worth of work, though.
Speaker 5: I mean they would have set up the timing and everything,
Speaker 5: blocked it during day and then had dinner break and
Speaker 5: then we're working. Let's go.
Speaker 1: Got it done, Got it done?
Speaker 2: Well, mate, this this podcast comes with homework.
Speaker 1: I appreciate you doing it.
Speaker 5: Like absolute pleasure.
Speaker 2: But did you watch it your you're a man of ownership,
Speaker 2: so you actually had to wait for the criterion.
Speaker 1: It's not the.
Speaker 5: Criteria I was hoping. I couldn't find it on criteria.
Speaker 5: I'm sure it's been done on criterion, but wait for
Speaker 5: the three version version to come. But I only watched
Speaker 5: the ninety eight cut twice.
Speaker 2: Well, mate, you've gone above and beyond it. I love
Speaker 2: it as I knew you would, mate, love you. And
Speaker 2: there's an exciting things happening in the next thing, you know,
Speaker 2: which none of which we can talk about, none of
Speaker 2: witch you talk about.
Speaker 5: But I'll tell you what this this this thing that
Speaker 5: I'm working on, not the film that I just shopped at,
Speaker 5: this thing that we're going to be doing hopefully later
Speaker 5: in the year. Yes, you will be getting a tap
Speaker 5: on the shoulder, but you will be involved.
Speaker 2: Oh well, I wasn't fishing, but I got more time
Speaker 2: in my hands, and so.
Speaker 5: Well we all do, we all do? So yes.
Speaker 4: No.
Speaker 5: I was talking with Cavalier about it and said, you know,
Speaker 5: Hellia would be perfect for this part, and Ed said, yeah,
Speaker 5: you're right, that'll be that'll work.
Speaker 1: It's on public record now, so that's good.
Speaker 5: So I just deny it and backpedal, and so just
Speaker 5: say I wasn't sober for that podcast. I the hell
Speaker 5: you're talking.
Speaker 2: About When the investors go no, we actually we go
Speaker 2: on Hall, We were on Hughes.
Speaker 5: Yeah, we don't we want hem? Which one? Anyone?
Speaker 1: Just not HELLI Now, thanks so much, man.
Speaker 2: After an hour I've talking there, almost two hours of
Speaker 2: talking to you, I'm not sure if I want to
Speaker 2: watch another movie or watch some footy.
Speaker 1: I'm not sure. I'm confused.
Speaker 5: Bring on the weekend, Bring on the weekend.
Speaker 1: Love you mate, Thanks, love you too.
Speaker 4: Brother.
Speaker 5: Come on read my future for me.
Speaker 2: You haven't got any There you go the Unicorn episode.
Speaker 2: What a way to kick off season six. Have You
Speaker 2: Ain't Seen Nothing Yet? With Lucky Hume? We thought he
Speaker 2: had seen everything. We finally found one. When I got
Speaker 2: that text measure saying we you know I found one,
Speaker 2: I genuinely felt like it was Christmas. It was so
Speaker 2: exciting to get it, so exciting to finally find the
Speaker 2: time for both of us to sit down together and
Speaker 2: wrap this one out. And you know, I went and
Speaker 2: picked Locky up before the podcast.
Speaker 1: We drove over here. It was very hard.
Speaker 2: We had to stop us force ourselves not to talk
Speaker 2: about this movie.
Speaker 1: We always want to feel fresh.
Speaker 2: So yes, Lucky Hume is finally seen a touch of
Speaker 2: evil and we're all the better for it.
Speaker 1: Such a passionate.
Speaker 2: Guys, as encyclopedia, as far as his knowledge of film
Speaker 2: and many things, and it's always I just love being
Speaker 2: in his company. So thank you, Lockie, You're a bloody legend,
Speaker 2: mat and thank you. Welcome back everyone to season six
Speaker 2: of You Ain't Seen nothing yet, we are in a
Speaker 2: new studio. We're at our iHeart Radio Studios for this season.
Speaker 2: I want to thank Derek and Castaways Studios for all
Speaker 2: their support over the first five seasons. They're still part
Speaker 2: of the family absolutely, And if you're trying to get
Speaker 2: your podcast up, go visit Derek at Carswaystudios dot com
Speaker 2: dot au. He has been so instrumental in getting me
Speaker 2: and my head around putting a podcast out and you'll
Speaker 2: do the same for you. And no doubt there'll be
Speaker 2: times and we'll be back in that studio. Also, if
Speaker 2: you want to reach out to us, get onto us
Speaker 2: at yasny Podcasts at gmail dot com.
Speaker 1: That's the best way to do it.
Speaker 2: Also, you can go through the page and find the
Speaker 2: speak Pipe. Would love to hear your voices on our podcasts.
Speaker 2: So I should point out that I'm touring at the
Speaker 2: moment around the country. We still have Risbone and Sydney
Speaker 2: and Melbourne and Hobart and Perth and lots of towns
Speaker 2: in between to come. So my new show is Deconstructed Origami.
Speaker 2: I would love to see you there and it's had
Speaker 2: a lot of fun. Fun at the Adelaide Fringe Festival
Speaker 2: We also had a live recording at the La French
Speaker 2: Festival with Ross Noble, and that episode will be coming
Speaker 2: out in a few weeks where we chatted about Risky Business.
Speaker 2: Thanks to everyone who came to the live record and
Speaker 2: also the screening of Risky Business, and thanks to the
Speaker 2: folks at Palace Nova for organizing that. So that's all
Speaker 2: to come to be more live shows coming up next
Speaker 2: week on show a returning guest. I'm so excited. He's
Speaker 2: one of my new favorite people. I meet him for
Speaker 2: the first time when he came and did the podcast
Speaker 2: last time. It's Alexi Toleopolis and he will be watching
Speaker 2: for the very first time. One of my favorites, Robin
Speaker 2: Williams Peter were together at last Dead Poet Society. Not
Speaker 2: waite to find out what Alexi thinks about that, trying
Speaker 2: to check it that during the week, and we're gonna
Speaker 2: have a lot of fun with Alexi.
Speaker 1: Gonna be fun till then bye for now, and
Speaker 2: So we leave Old Pete saved themselves and to our
Speaker 2: friends of the radio audience, we've been a pleasant good
Speaker 2: night