Get a Peter Helly here, Welcome to you. Ain't saying nothing yet The movie podcast where I chat to a movie lover a better classic or but loved movie they haven't quite got around to watching until now. And today's guests writer actor, director, Funny Bugger Josh Lawson.
Do you really think you have a chance against us? Mister cowboy?
Open the podbay doors.
Hell, I'll have what she's having.
Me having right, don't see nothing yet.
Josh Lawson appeared on our screens about fifteen years ago on an original high concept show that we all loved called Thank God You're Here. I remember seeing justh doing it and I thought that guy is hilarious. His ability to impro his way through that crazy show was right up there with the best of them.
I did that show a couple of times.
I know how nerve racking walking through that blue door was, and Josh is always like three feet or three seconds in front of everybody else. Who was incredible that he has gone on to become one of the most interesting people I think in our industry is he creates work himself, but he's also targeted for work. He has been in TV shows. It's such as Cobra Kai, The Strange Chores, an animated series. More recently Superstore, which has loaded recently
on Netflix. Become a big favorite in Our House Movies as a Bombshell with Margot Robbie and Nicole Kidman. He was in the Campaign with Will Ferrell and Zach Galifanakis. He played Hoagues He bloody well played Hoagues Paul Hogan in a mini series. He was in House of Lies. He's done it, bloody all. He's also written and directed a couple of movies himself, one called The Little Death, which I really loved It's really really funny, and another
great one called A Long Story Short. Check them both out. He is both hilarious, thoughtful. He's completely engaged with cinema and movies. I did see him at a TV show recently. We were doing the same show. We were in the green room and I basically grabbed him by the collar and I said, mate. At first, I gave him a hug, it been a while, and then I said, you're doing my podcast.
You have no choice. And I have harassed him for a couple of weeks since.
He finally agreed to do it, and I'm bloody start to be hanging out with Josh today.
Good I I'm Josh Lawson, and my three favorite films are Back to the Future.
I came here in a time machine that you invented, Jaws.
You know, think about a shaggy a lifeless eyes, black eyes like a Dolls and Ghostbusters? Tell him about the Twinkie? What about the Twinkie? And up until last night, I had never seen The Last Picture Show.
Columbia Pictures presents the nineteen seventy one critically acclaimed film that earned Academy Award nominations for Best Picture, Best Cinematography, Best Screenplay, Best Director, and featured the Academy Award winning performances of Floris Leachman and Ben Johnson. The Last Picture Show, now for the first time on home video, comes the movie. Newsweek called a masterpiece, the most important work by a young director since Citizen King, and The New Yorker hated it.
A lovingly exact history of small town life. Jeff Bridges, Sybil Shepherd, Timothy Bonds, Randy Quaid, Ellen Burston, and Eileen Brennan also star in the bittersweet story of a small Texas.
Town pertain Can't see This Town without Somebody off in.
A hankerchief, Who's innocent lives so Lester's fault.
I want to do and stay with the.
Man I love.
I want to do that.
From Underscore, The not so innocent lives that grow up and live there.
Which you think can do if you found that shoot he knows that they have an excuse to steer rat.
From director Peter Bogdanovitch comes the Last picture show.
They really ease fuck All to do in an Texas oblique three store town in America's dust Bowl. This is the kind of town that invented tumbleweeds. Life moves painfully slow in nine point fifty one, post World War II, pre Korean War in this grim little town, and it certainly doesn't help that the local football team just cannot tackle. Undoubtedly, Annareene is doing a slow, quiet death, and in it, Sonny and Dwyane are best mates, played superbly by Timothy Bottoms.
Timothy Bottoms and a young and fetching Jeff Bridges. I'm sure Dwyane gets access to the pickup truck most nights, but there isn't much that gets between them until enter JC the town. Enginou played by Sybil Shepherd in her film debut, a girl who wants to lose her virginity so she can then court a rich husband. Yep, she's a little mixed up, but under the guidance of her board and neglected mother Lois screen legend Alan Burston, who could blame her. Everyone in this town is just trying
to fill in time. Legend Colois Leachman winjin Oscar for Best Supporting Actor as another neglected wife, that of the town football and basketball coach who begins an unlikely adulterous affair with Sonny and with only nine minutes and twenty four seconds of screen time, Ben Johnson seccures the film's second Oscar as Sam the Lion, the unofficial father figure
of the town. With this Oscar, Ben Johnson becomes also the first person and only person to win both an oscar and the Cowboy World Championship in Rodeo Go Ben, directed by legend Peter Bogdanovich in nineteen seventy two, from the novel by Larry McMurtry, who also adapted it. The Last Picture House is a study of a time and place, a slice of Americana of teenagers who are caught between busting out or Staying Home. It's one of the few films with a one hundred percent rating on Rotten Tomatoes.
Josh Lawson, did you have access to the pickup truck last weekend?
No?
And you well know Pete, I begged you for it. Yeah, but you were, you were necking with the misses.
Well it's our anniversary this week, Josh and yeah, yeah.
Well no, you're welcome to You're welcome to the pickup, but I wanted chemically cleans. When you return it to I'm going to run a black light over it so I'll know exactly what you two got up.
Thank you. What are those tosi sperm torches?
I I appreciate that, sperm tors.
Thank you so much for joining me, particularly because I basically accosted you in the green room at all, I lie to you. We were both doing the show on separate episodes to be seen on John ten Christy Swan, Charlie Pickering and Frank Woodley, of course, and it was great. We hadn't seen each other for quite a while. There were hugs and then, like you know, middle aged white men do, I asked you to be on podcast.
You begged me, You beg me. I thought I had a pretty clear I wasn't interested, but you really, well you've been pathetic and I felt sorry for you and eventually buckled.
And you know, we are never be afraid to be pathetic.
It pays awful to all, it really does. Hippie no look, And as I told you the night this, I didn't I wasn't aware of the podcast. But you know that's partly because I've been living in LA for so long, and partly because you know, I don't keep abreast of your career.
This podcast is available overseas. I mean, we haven't been a geographic paywall.
Sorry, well, there goes that excuse.
The second excuse is bobbly more just cut that is.
Yeah, I could I should have just started with that, but no, when you explained to me what the premise, I was like, oh my god, this couldn't be more out my alley. I love the idea of classic films. You've not seen it because you know not. I mean I up until recently, I hadn't even seen Dirty Dancing, And you know that are all those films where it's like how did I miss it? But this one, you know, I think I rattled off like twelve that I was like, oh, people have had this from this because I'm.
You haven't listened to your phone? Yeah you do.
I do. And there were so many that I wanted to, you know, like the Searchers of Seventh Samurai and all these classics that I was like, Oh, I haven't ever gotten to them. So I listened off a bunch and you said having the Last Picture show and I was like, well, that's as good as any I've never seen it. I don't know much about it, so let's go for it.
Yeah, And I was a bit the same. I hadn't seen it.
I basically knew that Peter Bogdanovitch directed it and that he started he's a long term affair. I think they may end up getting married with Sivil Shepherd. That's basically, And it was in black and white. That's basically what I knew. Yeah, yeah, and you.
Know, and people have done it. You didn't get into it later. But he had such an unusual career. He's considered a legend, but he had more flops than hits.
It's funny, like you you do realize what freaks people like Spielberg and Scorsese, a and even like something like Rob Rainer, you know, like who this had like hit after hit after hit, like they are the freaks, Like the absolutely one hit film is amazing, so they have. Bogdanovitch is done like I think the targets and he also did, but I had no idea he did mask I saw.
I was surprised by that as well.
We share and Eric Staltz is Rocky Dennis one of the most heartbreaking films you can ever see.
So yes, okay, we will.
We will get into the last week show and Bogdanovitch and simpl Shepherd and Jeff Bridges and all of that. There is so much to talk about, but your three favorite films. Can I just congratulate you. People often come on this podcast and they feel the need and like there's no judgment because you know, there's no judgment at all, but I feel the need this to with that.
You're peen one in there. You know that Art.
Is one of I got to say some judgment for me because I hear this, I know exactly what you're saying, that they're all they feel like the top three should be reserved for you know this really critically acclaimed blah blah blah, And I go no, no, no, no. The top three should be the ones you revisit time and time again, the ones you know almost every line too, the ones that you know you just enjoy the most, not those art house ones that you think is going to be
impressive if you say it. You know, no, no, no, no. So I'm every time someone's like, oh, no, no, it's this German it's a French slang. You had to watch that in high school as homework. You've never seen it again.
I'm just making a note not to reference four hundred blows when I talked about the last Picture House. But let's let's let's get into Back to the Future, one of the all time great films. And I'm going to eventually my top three films I've put out there many times. In fact, we listed one of them Sideways is in there. The Godfather Part one and two Part two. I can't really separate them Part two at a pinch and playing Strains and Automobiles.
They're my three, but I.
Reckon if and I will look to adding to it because I always just talk about those three films and maybe deciding on like a top ten, and I think Back to the Future would have to be in there.
Yeah. Well, firstly, your three are obviously excellent. And I've been to Bulton which is where they film Sideways. Yeah, and I've been at the Hitching Post there, which is that you know, famous restaurant where he picks up the waitress.
And yeah, yeah, Virginia, Yes, that's right.
Yes.
And I know you've said that Thomas Haden Church is one of the most unvalued comic actors. I couldn't agree with you more. I think he is such a talent and I think he really should have a bigger career than he does.
Yeah.
I've always been so impressed by him, and his voice is just so remarkable, and yeah, I'm a big fan. But yeah, I think the reason why I so easily put Back to the Future in number one all the time, I have for years. I mean, you know, two and three they're a little harder to place, but Back to the Future is an easy pick because I think it's what really made me fall in love with movies as
a kid. I mean, it made me believe that anything was possible, that you could go back in time, that you could be in a flying car and you can disappear, and you can go to high school with your parents, and I mean it made the impossible so possible. And I remember, over and over again, I'd be driving, you know, Mum would be driving us to school and we go, my Mum, I've got Eddie eight miles per hour because
it's Columbits here, we don't have miles. I don't know how much and what do you think is going to happen? But I must have watched it over and over and over and over again. I could recite almost every line. I don't know if you remember, but as a Michael J. Fox, Marney may Fly wakes up in sort of twisted positions in his face this, but I used to fall asleep like that, and I want to be like Michael J. Fox.
And it's such an uncomfortable position, so sort of face and squished in his arms behind his back and he's like, but I was like, I just wanted to be him so much, and it just meant so much. That film is so fucking great. Although I do have one criticism about it, you know, only one thing, and I know this is rare to pick a favorite film and to criticize.
I have one thing as well, And I was like, Okay, it's really weird and I did addresses with Russ Noble and he kind of put my mind at the ease a little bit.
But what is your one thing?
My one thing is at the end when he's you know, he's changed the past and he's altered the present, and so he's woken back up in nineteen eighty five and oh my god, everything's different. And you know, his parents. My problem is that they're rich. And for me, it always made me feel like the lesson was being rich
is what made you happy? Right. I just wish they weren't rich at the end because I just felt like it was sort of a it was a bit of a cheap I just didn't love the message of it where it was like everything's fine now that we have money.
Yeah, right. I never thought about that.
That's the only thing I'd have changed in the script. I mean, they should have been happy, definitely. I love that he's now an author, that he you know, faced his fear and he finally got his work out there and he's a published author and all that stuff. But you know in this in the version that they shot the super waspy tennis player like sweater around draped over their shoulders, that like super rich, and just that was the only thing that left a bad taste in my mouth?
And did you come to that conclusion like the first time when you want?
That's been sudden?
That's what do you imagine when you're younger that you're probably not thinking about that?
But no, no, no, no, not only older as I've started to you know, as I've made films and written screenplays and stuff. It's the one thing as I rewatched Go, if I were giving notes on the script, that would have been a note. Yeah, it would have been my only note really to be like do they need to be rich? I don't know what's what are we trying to? What are we telling people?
Yeah, it's a good point. It's a good point. I'll throw that my my my thing.
That's always and it hasn't bugged me.
I know it's a movie conceit, but I'll see I there's anything you can tell me that maybe takes it out of the movie conceit territory and puts it in something logical. So when Marty's trying to get back to save Doc.
Yes from Olivia's Yeah.
In a time machine, why does he only give himself fifteen minutes to do that?
Yeah, it's a hell of a task, it is, right.
I'll be going back a year earlier and they're putting post it notes every day.
Just go remember on this date.
The only the only thing I would say to that is, I think one of the lessons he's learned in the film is not to alter too much of anything. Yes, because the knock effect is so great. So think the only thing in defense of I would say, well, fifteen minutes doesn't give him enough time to change too much. Yes, right, because I think the lesson here is God, if I give myself a year, then I'm going to have this same problem all over again, where I've changed too much stuff.
Right.
But if it's just to stop the olibyas well, that's probably enough. I'll just get him and the dog. The Libyans are coming. Let's get out of here. Yeah, and yeah, so I only change one thing instead of accidentally changing everything.
No, I do like that. I do like that a lot. Actually.
I think that's a very that takes it out of a movie, conceit and into logic, which I some.
Sort of logic which I like you. But but I would say to you know again, if that had been flagged in the writer's room and stuff. Easy thing to say, you know, easy thing I think to have explicitly said. If he's you know, punching back in what you know? He says, I've got a time machine.
I got all the time in the world exactly, and.
He goes, you know what, but fifteen minutes is that enough? I give myself more. No, no, no, no, because this is not going to happen all over again. Fifteen minutes, change one thing, then I'm done. Yes, right, if you could have said that right, and it wouldn't have been weird. He does talk to himself a lot, Yeah, he does, Yes, you know, so it wouldn't have been crazy. I can't believe it, Bob Gayle, if you want, I do.
I do find it weird sometimes when I when I'm making, you know, critiques, because I'm not I'm a movie lover.
I'm not.
I'm not a critic, but I I do love to deep dive into these movies and these classic movies. And I'm sure we'll do it again with another clas very soon. But but yeah, you find you have almost giving notes
to Scorsese or someone ridiculous. But and the other the other weird thing was always kind of made me laugh in that there's that shot where the the fire trailer is left, and like, I think they're basically standing right where the fight, like the special effects has a right, but I think they're they're aiming for between their legs, but they're actually literally standing in the fire like they're sneakers.
Would be will be catching fine.
Will be melting to the tarmac.
Yes, it's also like for those who maybe are younger, who really young, who don't you know, maybe have ye and watched Back to the Future you really should, but maybe didn't see it when it came out. It's worth noting just how massive Michael J. Fox was at this time, Like he was shooting the most popular sitcom on television, Family Ties, which is one of my all time favorites.
Alex P.
Keaton a great, great character, and he was shooting this because Eric Stults famously it took on the role and then it wasn't quite working, so they got Michael J.
Fox in.
But he was shooting Family Ties during the day I think, and shooting this at night.
Yeah, yeah, it was. The schedule was insane. It's remarkable. Yeah, although that I think that's part of what adds to the law of this film, the legends of it. You know, the fact that I don't know how many weeks they shot out My mind was they say two weeks or something with their exs. You can find stills of it online and Eric stots in certain scenes and the diner and stuff. But then you're right, they might. The Fox is this big star, and I yeah, I think for
the whole shooting he has gone back and forth. He's doing CBS or whatever it was, you know, as you say, for a few hours, and they'd wrap him early and he'd go off and back to the future. It must have been absolutely exhausted.
I mean, I'm doing this before the project today and I'm going to be buggered later on tonight.
Completely, you know. One of the other things about you know, I could go on, but I for my money, Alan Silvestri's score it's my favorite score of any film. It's of any beats, any John Williams and I love John Williams, but that score, I just fucking love it. I mean, I absolutely, it's my favorite score. It's funny, the Huey Lewis and you know the power of love and that the soundtrack, it just there were so many puzzle pieces that click to make that film so memorable.
It's beautiful.
And speaking of film law, your next film, Jow has a whole bunch of it. I did this film on this podcast with Celia Pacola.
Who loves she never seen it.
She'd never seen it, No wow, no wow. And I do love people's reaction when they're like, well they've never seen that. Like this podcast, every week there's somebody who hasn't seen the famous movie and people still can't believe, like like.
Well, the wait doesn't see Star Wars.
Yeah, but we watched it during the pandemic and it was really weird because it was really the movie is really about a lot of it's about public safety versus commercial gain, and there's this kind of weird thing going on watching in a pandemic.
It's like, oh, wow, we're living this right now.
I hadn't thought about that, but that's so true, you know, one of the things that you know, I love it for so many reasons, but you know, I keep on thinking, imagine if they made Jaws today, right, and they hadn't made it then, but they made it today, And I look at the casting. Roy Scheiner, Richard Dreyfus Robert Shaw today, it would be the Rock, ye, it would be the Rock, right, not an actual sorry, no offense to the Rock. But like, these guys are not tough guys and not at all.
They're just like regular human men. And I feel like that's so important to that story, is that they're not tough or strong. You know, Robert Shaw's character has become parodied or copied so many times over, but at the time that was that salty sea dog. You know, it would have been ridiculous in a sense had he not had that monologue about the Annapolis you know. Yeah.
Well, I mean I hadn't watched Jawis for a long time before I watched it for that episode of Celia, And that was a moment. I think that monologue, you know, when I was watching it as a kid, that's like, I'll get back to the shark. This is a little bit talking for me. So I didn't really pay I didn't take it in. And then to watch it as for the first time as well, you're probably in twenty years and to kind of realize that's a true and that's exactly right.
Holy fuck.
No.
I was the same way I remember as a kid, going, I'm boring, But then he watched it. You know, the way it even starts. They're laughing and the drinking compairing scars and it's such a great and then it as Robert Shaw's character Quinn, you know, it starts talking about this why he's obsessed with sharks, why he hunts them as this sort of revenge, you know, and those classic lies in black eyes like a doll's eyes. And it's the story that I had heard behind that is that
they've been trying to record it all day. Robert Shaw's just not nailing it for whatever reason, you know, doesn't feel great about it. And you know, Spielber's like, we got it, we got to find don't worry about it. We got it. And he leaves and the next day comes back and just give me what, just let me do it one more time, Let me get one more time, and they want to and Spiels like, if you think you need to, he does it once, crushes it. It's what you see in the film. He just I don't
know what change. I don't know what he needed.
To do, but was there something about potentially did he do it like drunk the first time, or might have heard.
That he was drinking.
Yeah, and then maybe the second time he wasn't drinking or might have been vice versa.
I think it was.
Do you recall it may there may have been our which.
You see the scene that you understand why you may have gone there, But no, I just think incredible film. And this the whole thing about almost like so many happy accidents in this film, like the idea that this idea, the scene hour was genius. That you don't see the shark for a long time, You don't see the shark a long time because the fucking shark wasn't working it.
It goes to show you that you just don't need it. You know that in a monster movie, the monster is sort of the least interesting character. You know, it taught us so much and so yes, of course, by today's standards, the shark looks absurd when you see it. It looks like a toy. It's terrible. But that's so not the
point of the film. It's it's just about these men, these these men, and you know how they grow and evolve and change over time, and because of this monster, they you know, the monster is the catalyst, but so not the most interesting part. Of the film. Uh yeah, it's it's it's Spielberg's best in my opinion. But and he's done some amazing things. But I just you know, it made me scared to go in the pool as a kid. Yeah, it affected me, you.
Know, I mean the influence that that that film has had on it. Like I said, not only cinema in the way we kind of you know, deal with you know, the murderers and the and the villains and then the monsters, but also the actual psyche of people who go to a beach.
You know, all around the world.
I mean, any time you're at a beach, you just your back of your brain is there's is going to be a shark out there. And part of that if you're you know, of a certain generation or you've seen this film, it's it's because of this fucking film.
And so and let's again, I'm got to go on about it. But the score, the Williams, I mean, it's become so ubiquitous, but that is that's genius. Yeah, that music is fucking amazing.
Yeah, you know, very few scores of people like you said, well, actually this will go into it in a certain moment. He might he might be because they're they're in the beach and in the ocean and they're having a laugh, but they might just be anything that might be danger impending danger.
Yeah, he people go.
That like a dark Vader kind of the Imperial March is kind of one that comes that comes to mind as well, Like, yeah, that's right.
I think I think that all of those elements, you know, but Roy Scheider, you know, just such such great cast that we're going to need a bigger boat, you know, the classic line that was purportedly improvised, those lines. I think that's what kind of makes that film so recognized, so memorable to me, you know, give me the head, the tailor of the whole damn thing. So much of that film I love.
And also those films in the seventies. I've spoken a little bit about this on this podcast. They just end, you know, they they they just once, once it's done, they end. So there's no there's no reunions of everyone like that. They're swimming back out of just killing the shart. They basically get to the shore and it ends. There's no reunions, Like there's no you know, there's no Peter Jackson, you know, a fifteen minute epilogue.
That's such a good point. I hadn't thought of that, and it's great. You just know everything's okay. You're right, you don't need there to be an ending, but you I think that's so true.
We have.
I think we've demanded, you know, completion more in today's the way we digest story.
Now, it's like they've listened to my mum my, my mom will watch a movie and kind of go oh, but I wanted to know, like, you know, when they got up with that person and what happened with that, and you know, all these kind of you know, kind of minor characters like no know Everything, Coloring Yourself, Ghostbusters, I mean so, I mean this comes out around you know, the time of Back to the Future as well, and those two films for me, both brilliant, but I do
remember like the marketing strategies behind and it really felt like when I think of marketing going into a movie, like those are the two films that I think, or maybe it was just the age I was in. I had a Ghostbusters. He slimed me tank top before I'd even seen the movie.
Oh look, you're so right. I mean I think perhaps those three the three films I've chose were films that you know, calcified into my in my psyche as a kid, and definitely made me fall in love with movies, definitely made me want to be in movies or be around movies. But you're right, I think I remember collecting, you know, like McDonalds, Hnry Jackson, whatever, had like Ghostbusters cups and stuff that you know, we used to collect. It was you just wanted, you wanted as much go I used
to collect the trading cards and stuff. I just wanted as much stuff as possible. And I remember being really scared of parts of Ghostbusters as again, particularly the opening library scene. You know, I was really frightened to that. But I think, certainly to my recollection, the first horror comedy I'd ever seen, so this sort of mash of genre that I'd never even known was kind of possible, you know, the chemistry of those three, you know, and
then ultimately four Ghostbusters. The music again so recognizable, so iconic, the costume so iconic, but I think it probably undeniable. The secret sources is Bill Murray. You know, he really elevates that film to something extra. I think it's that's sardonic you know, super super funny and sarcastic in the face of fear. Well, everyone else is frightened, you know that. You know, are you the gay kid? No, but I'm a friend of my a friend of his. He has
been a medium here. You know, he's sort of He's just so cool. He's so cool and I'm scared of anything. And I think that was so as a kid. I was like, I want to be that cool. I want to be I don't want to be scared of anything like.
Him, you know, yeah, yeah, and and and Rick Moranas and Sigourney Weaver and I mean, for me, on top of Bill Murray, the marshmallow Man was a revelation. It was just like, oh, well, this I wasn't I wasn't expecting it. I thought this was all going to be about ghosts and how I envisaged ghosts and and uh and then all of a sudden, this marshmallow Man was just just hilarious but also kind of frightening.
I I there a bit of a name drop. And I had worked with Dan Aykroyd in a film called The Campaign with and and Dan was in it with John Lithgow, and I was sort of playing the Coke Brothers, the sort of parody of the Coke Brothers and in the you know, these rich conservative in benefactors or whatever, and you know, we're sitting out there in betwe it takes some time, and I was nervously God I mentioned ghostbusters. I mean, he must get he must get this. All
the time. I was like, oh, Dan, I just sorry. I thought I had heard that your dad was an actual ghostbuster, right, and he goes, he dryly goes, no, it was my grandfather. We were talking and I said, was he really because absolutely all that stuff that we mentioned, you know, the symmetrical book stacking, and it's all real. It's all stuff that was documented. And he brought up with it, you know, listening to his grandfather or whatever about all this ghostbusting stuff. So it certainly was Dan.
I think it was dan Akroyd's conception. The idea of ghosts inspectors was dan akrod.
Yeah, and I have heard this the the you're killing it and we can talk more after before we got into the last bit of show.
But I will, I will take that point up. What do you like on that?
When you've got Will Ferrell there in, you know and command everyone who is in you know, in the Commen two and or on the campaign and you've got legends around you. You know, what do you like with the fangirl is it? Is it a case by case you'll have to be a case by case kind of situation.
Yeah, look at it totally is and it you know, it's really a testament to those actors, you know, to make you feel so comfortable you don't feel like fan girling out a bit. You know, they're just so comfortable. They make you feel included. You know, when you're sitting around it's not that you don't ever get the sense of all there are the celebrities and the rest of us. Sorry no, no, no. Will Will Ferrell is always you know,
it makes sure everyone's involved. Everyone. This is a you know, a collaboration and you know there's this collegiate feel to it. So you know, I'm always very reluctant to ask, you know, fanny type questions and I don't often need to. But I'll never take photos. That's one thing I'll never be like, do you want to make a photocause I always feel that's a bit tacky and I wouldn't even know what
to do with it. Even if I did, you know, but I think, you know, I remember with John Lithgow, I was asking all these theater questions and you could tell he was so excited to be talking about theater, you know, it was his other love. And and I think it's just about you know, it's so quickly the
celebrity thing wears off, you know, so so quickly. Yeah, sort of fifteen thirty minutes in and you just, I guess you could just it's another job and these are your colleagues and and you're just working together and if you're polite and respectful, and they almost all are. I very rarely have had an experience where the actors have been rude or or you know, makes it make you feel less than I haven't had much of that, so I've been really lucky. But they were all really, really lovely.
I remember Steve Carrell was he was quiet, you know, he was really quiet, and he kept himself in the down time, an incredibly intelligent guy, was always reading and we were like, I was lucky enough to just sit next to him on a flight from Sydney to la and part of the junket and that's where I really got to talk to him, and he was just the nicest guy and seemed interested in getting to know me as much as I was interested in getting to know him,
you know I was. I'll treasure those interactions forever, even though of course, you know, I wouldn't consider them close friends. I'd never be able to call them up. But those little chapters, they're really special. I'll remember them forever, really really fun.
It's funny people who have asked me my favorite interviews and who's a nice They.
Want to know, who are the nicest people?
Who?
You know, out of all the interviews I've done with Rove Live and Radio and the Project, and I still say Corral and Will Ferrer all are the two most grounded like superstars I have met. It's like because they
worked through their fate. And I first met Carrel and Will Ferrell at a time at Rogue Live when we're a lot Big Brother kind of you know, you intruders and people who have this exit of the Big Brother house come through our show like it is part of the network agreement that would have a Big Brother contestant on each week, and I saw, you know, kind of shittier rude of behavior from them than I did from these genuine ser stars.
You're so right, I mean almost always, so you hear this. Often the most famous people have nothing to prove, they don't, you know, And a lot of the time they're famous or because they've worked, really are, they've struggled. It's very rare that they just someone just handed it to them. So I think there's some gratitude there a lot of the time, and they realize they can all be taken away.
But you know, it's those D level A celebrities quote unquote that I've experienced the worst, you know, interactions.
With Yeah, I found yeah, so.
Yeah, I back you up on that for sure. It's never the most famous that in my experience.
Mate, Let's talk about this nineteen seventy two classic film from Peter Bogdanovich, written by Peter Bogdanovic and Larry McMurty based on his novel, starring Just a Parade of Legends, starting with Timothy Bottoms and Jeff Bridges, Sybil Shepherd, Alan Burston, Eileen Brennan, and of course Chloris Leachman who wins the Oscar alongside Ben Johnson. Did you enjoy the Last Picture Show, Josh Lawson?
You know, somewhere in the middle. Look, it drags for me a bit, for sure. It definitely doesn't have, you know, a traditional story structure, you know, that kind of three or five act structure where you know, set up to at the beginning get paid off of you. Not so much of that, but there is something hypnotic about it. I did get swept up a little bit in the minutia of it, you know. So initially I think I was watching of the black and White going, is this
a bit of a wag? I understand why you do it. It's set in the fifties. They're watching black and white movies at the picture shows, so I can, I can. I can understand the choice, but you know, I do get a little turned off if it's not authentically black and white. If it's a director's choice to do that, sometimes I do sort of roll my eyes a little bit and go, you.
Know, they did apparently consult with Awesome Wells, and Awesome Wells encourage them to do black and white because he thinks actors give better performances. I'm black and white. It's weird for me to think about that, because I would have thought you don't necessarily think about the film stock. But I guess you you direct differently and you make that yeah.
Yeah, And so Bogdanovich and Wells were good friends at the time, I believe, I think they were. I have a feeling I may have gotten this wrong. They may have even been living together for a time, the awesome Wells in like the spare room or I'm something odd. I don't know if I've gotten that totally right, but I certainly they were really really good friends. And they had a big falling out later in life about something else. I can't quite remember what, but but yeah, at that time,
You're right, they were quite close. And I think it was a huge coup for Bogdanavish to be referred to as Wellsian or the new Awson Wells or something. I mean, obviously for any director, but particularly for Bogdanovitch because of that friendship. But you know, look, it was It's an interesting film, as you say, a crazy parade of stars. I mean Sybil Shepherd, I guess wasn't a star at the time introducing Sybil Shepherd, yep, but you know she
was great. Jeff Bridges was great. Timothy Bottoms interestingly enough, you know, the lead of this film. It probably has the least impressive career of any of them.
And I thought he was I thought he was so good, solid and felt like so modern in a way, like he like that could have been Timothy Chamlay.
You know, yeah, you know quite easily. See.
So after when I'm watching a film, I there's a moment and where I feel like I am confident, like it's got me and it happened.
It can happen really early, like.
What's casting in the Sundown's kid the opening frame the steam train and it's in a bit of CPA and there's a lovely score, and I just went I watch it for the first time with Bob Murphy for this podcast, and I was just like, I love this film.
I'm gonna I know, I'm gonna love this film. I am in.
This didn't happen for me straight away like it was this is, this is And for those I think this is a really interesting film for this podcast because there's all different kinds of people who watch listen to this podcast. People who absolute rabid film nerds who just have seen all the films and would have would have seen the Last Picture Show. And then there are some who are more casual movie lovers who you know will have seen you know, twenty five percent of the movies they should
have seen or have been told to see. So I feel like there's a fair few listeners who will not have seen this movie as I. As I hadn't obviously, and I watched it twice. I watched it about two weeks ago and then not long after I saw You because and then I was going off the shoot a little something. And then I watched it again last night, and I must say I enjoyed it. I got through it the first time, and I did enjoy it. I got through the stage about it. It did grow It's a slow burn.
But it's a slow burn.
It got me.
And the second time this last night, I kind of loved it. Actually, I was like, yeah, ah, yeah, I see it now and all these kind of pieces and all these sad characters who are trying to just get by and and survive and the you know, and then you have these legends who they all have their moment, they all have these little, great little monologues and there's some beautiful little insights and heartbreaking with you. Yeah.
No, it definitely grew on me. And I know exactly what you're talking about. I think if I did watch it again, I'd appreciate it more knowing now what to expect. I think, you know, when you when you go in with a slight expectation of this is a classic Oh my god, one hundred percent of rotten tomatoes or two oscars, this thing is going to be killer, And when it doesn't, you know, quite fit the space that you've made for it in your brain. You know, it takes a while
for that schizm to start, you know, settling down. If I were to rewatch it, I'd be able to go in a little bit more relaxed. You I know what this is. This is sort of a you know, an atmospheric a collection of vignettes over the course of one year in this Texas town. And yes you're following one guy, but it's really the tentacles are reaching out and all the misadvantage. You know, there is something I think I like the idea of when did it kind of grab you?
I think the bit where I leaned forward was this the bit when Simple Shepherd's character Jace ends up going to the pool hall with you know, the guy that sort of embrum has been kind of sleep or something that was the weird kind of oh my god, she's sleeping with the guy and mom's sleeping with and then and then she kind of this beautiful shot where she puts her fingers through the baskets on the pool table.
Yeah for that, Yeah, I was like, this is this.
Kind of got me. This is That's the moment where I went, I mean into this.
It's kind of like I imagine this film is it's nineteen seventy two, so there's you know, they're starting to make you know, films and that are there's a bit more nudity and sex come of portrayed. But I still imagine this would have been reasonably scandalous this film.
I don't know if you spotted there was this moment in it when you know, Jeff Bridges is kind of dejected at this party at you know, the tiny little community hall, and Jasey's gone off with Randy Quaid's character Lester, and they're all out. All the boys are outside and they're talking about what do we do. We got to go pick up We're gonna go find a girl. We gotta go get some pussy, they say. And I don't know if you spotted this one of them very casually
suggests that they go on fuck a cow. Do you do you remember this? Oh, I swear to God.
Well, because they they start talking about the heifers and then and that's how they get on to talk, you know, to.
The talk about the Jimmy sue. Yeah, Jimmy suit that text working. But do you think, yeah, my uncle's got a got a heifer because and I was like, oh, we can do better than that. And then one of them goes, hey, pussy's pussy. I don't think it is guys, you're talking about fucking a cow. Like, firstly, it does not sound this is the first time you've suggested fucking. This sounds like a pretty regular thing that the cow is on the menu at all times. I had to
rewatch it. I was like, who wha are these students? Are these high school boys talking, really talking about fucking a.
Con and this is nineteen seventy two, wagus not even invented. I mean, it's it's like, wait for them.
Dude, I think it will forever. Unfortunately it's just a throw away line, but it will always be the cow fucking film for me. I don't know how to get past that.
Well, let's work at getting through the cow fucking let's let's talk about let's talk a simple shepherd. J C does really help this film, I think, because she's this is kind of fascinating character and it's it's it's her in combination with Lois Elan Burston amazing Elan Burston's green
Legend Elan Burston. More recent younger fans may have seen her in Recreem for a Dream, a dream she had like a like a senior's career moment with that, if you like and if you don't have that relationship with the mum, you kind of she's another kind of you know, gene in genus, in genue, the word always see that word and never and she's the tentress and you know, you kind of it's it could be a bit shallow, but when you see the relationship with the mom and
the ideas that Lois is putting into her daughter his head about what you need to do to you know, to climb the ladder and why don't you sleep with a few times first and realized it's no good and then you know, like it's just there's that moment actually when she comes home after that, you know, having sex on the pool table, and Lois thinks, this guy that is kind of the cool I do forget his name he's had I think.
It's Evelene, Yeah, Evelene or Avelene. Yeah.
So he comes, he sees she sees the car, thinking she's coming for him for me. Yeah, very early booty calls.
Going on in this movie.
By the way, everyone's everyone which is which is like small to understand.
And and there's.
That moment where she walks through the door and you see the look on Alan Berson's face and then she kind of breaks down into tears and they have this kind of in fact, let's have a listen to that discussion, because she then goes into perhaps selling the idea of Sonny. So it's JC considering Sonny.
Oh he's just awful, Mama, What are you fool with him?
He's a nice a man in him it neither he's.
Sure is beautiful.
Your daddy's a very nice man. I ought to have been given, I believe, Helen.
I don't know what I'm gonna do. Bobby was the last one. Just gonna be an old moon, honey.
That's just the way it goes sometimes, you know, you win a few.
You lose a.
Kids, what do you do?
Nothing's ever to win, it's supposed to be at all.
You're right, come on, I wanna take something. What I've done has not worked out too well. I think maybe we better think of something else for you right now. I guess Ruth Proper's thought about it as good as set up a for sure. I think Sunny's a reasonably good looking he's gonna call for don't you know about Dad? That's been going on about six months now. I thought you kids.
May silly thing I ever heard of.
She's forty years.
Old, so my honey, it's kind of lichly age one.
An orange Honey's always want to go with me.
I mean, her ability to pivot is impressive.
Yeah, oh look, it's a great that's a really good scene. Now that is you know what else you notice in that is how they talk over the top of each other, and that is such it's a lost art. And the why I think that happens is because we've so we filmmakers very rarely do two shots anymore, and they keep the actors in the same shot so they're able to talk over the top of each other. There's so many
performances are saved in posts. Now, you know, I think acting is getting sloppier, and so you just do these singles and they can't talk over the top of each other because they have to splice between the lines, and so it's it's it actually stands out to me when in older films when they start muddying the dialogue, because it doesn't happen nearly as much anymore. It's very rare,
and I find it so realistic. But it's largely because you know of those long two shots where the actors aren't going to you know, mess up the editing because they're in the same frame.
Yeah, I love that.
And in fact, I know that Bogdanovitch almost got fired because in the scene where Jeff Bridges comes back and they fight, they have a punch on over JC. He didn't get a master and which for those at home, is like the wide shot that kind of covers all the action that often will save you in the edit. And luckily, because it just ended up working, he didn't need it. But yeah, it's it's it's interesting. He was obviously making very interesting choices back then.
Yeah, and you know we're talking about that jac character
with the simple Shepherd. I agree with you. When it started off, I was sort of like, this is a bit two dimensional and the cutest girl in school and all the boys won her, and I was thinking, I get it, you know, female characters certainly have become a lot more interesting in screen, you know, But actually that was a bit of a mysterirect because she really becomes so pivotal to every Yeah, her she's I wouldn't say machiavellian because she is just a child in it, but
she makes a very unexpected decision. She is really selfish in a way, and she's as you say, you can understand where it comes from because of her mom. But she ends up being probably the most interesting character. And I think Civil Stepper's performance in it is really good to someone who's really young. I think she's like twenty twenty one years old or something. I was really young.
Yeah, yeah, and she's you know, I mean, she's shot very well, and there's some gorgeous shots of her.
Ellen Burston's gorgeous as well. I mean, and she's forty forty year forty years old or she's forty years old. How well is that?
And Cloris Leachman, I think gives I mean, she wins the Oscar for this performance, but I think she gives a really kind of nuanced role.
I could imagine if.
You're making if there's an Australian remake of the Last Picture show like A Cat's Stewart would be amazing.
Kind of a really real, really good.
Acting chops and and kind of going from tragic to kind of you know, hopeful and and and all those gear changes that she makes is I think really impressive.
And the way that you know Claras Leachman's character, Ruth Popper's comes into contact with Sonny this bizarre sort of May December romance, is that he's he gets asked by the basketball coach Ruth's husband to drive it to the clinic. Do we ever find out why? What has going on to the clinic?
Yeah?
I don't think we ever do find out. The second time I watched, I was trying to keep an ear out for that, But I don't think because it's not the first time I thought, is it an abortion?
Is it?
And then and but they're not. They're clearly not having sex. Well, I don't I don't know.
I don't think so.
But Cloris Leachman says said, and she said, this is not necessarily even in the book, I don't think, but she believed in fact what got her through, you know, I'm preparing for the role that she believed her husband was closeted was a closet gay man. So that kind of informed her motivation.
And you know that so interesting. That would explain so many other questions that I had. One is the whole town knows about the affair, right that that becomes clear that as Genevieve, I mean Brennan's character says in it, you cut sneeze in this town without someone from your handkerchiefs, right, So everyone knows about this affair. And the whole time, I'm going, well, if everyone knows, why isn't the husband
doing anything about it? Yeah, but I guess he wouldn't if he's like good, I'm not attracted tour anyway, I'm like, man, you know. But because she does, he does say something at the start where Sonny says something to Ruth where it's like, you know what, I don't you know? It's ignorant to the whole situation, and Ruth says, you really don't have a clue. Somebody's in that affair. That's right, It would that would make sense if she's sort of saying, oh,
you don't really you don't know that he's gay? You know, really, yeah, there's something there. I really don't know.
I think you're right, actually, because when she said that, and even though I did maybe I kind of clocked that read about claras Sleichman's belief afterwards, But yeah, I think you're right. I think what does that mean? What does you really don't have a clue because it gets explained, No, because it has something bigger than we're just not getting along in our marriage totally.
No, No, it looks bigger than that. But it does never get explained. But you remember she says about that. She comes back into the car after going to the clinic, she breaks her she's crying, and he's like, oh, is it something bad? And she goes know, something dreary. Do you remember that. That's an interesting one too. It is something dreary, and it never gets explained. I'd love to know why she was in the clinic more than once she goes back. She's going back multiple.
Yeah, these are multiple trips. And then she goes back with.
That in this dreary reason I wonder what it is if anyone she's only forty you know, she's not an old woman in the in the movie, you.
Know, no, because if anyone does know he has any podcasts at gmail dot com or you can get onto our speak pipe and actually leave a voice message and let us know what you think or what you know, because if that is something involving.
Mental health, that's yeah, that's that. I think it's phenomenal.
And like totally yeah.
Moving to nineteen seventy two and something dreary. I don't know. That feels like she's getting some maybe some uppers or something. I don't know. It was something to help her through Oh, and I thought.
That amazing sent at the end where basically Sonny chooses Jace that you know, because suddenly Jacy sort of goes, oh, I didn't know Sonny wanted someone else. Okay, well I want him now basically, you know, great, and she goes off and sort of wraps him around her little finger and and and so without any explanation, Sonny just doesn't ever show up to Ruth's place ever again, and she's left wondering, you know where he is anyway, So at the very end of the film, he turns back up.
I guess sort of apologize and and you know she has this great monolog. I would say it's it's the monolog that gets.
To the Oscar Well, I can tell you. Let's have a listen to her. I know we are jumping around, but let's have a listen to it. Because they did not she wanted to rehearse the scene, Bogdanovitch said, no, let's not rehearse it. Let's keep it nice and fresh.
Ruth, sorry, Chloris.
Chloris reluctantly agrees and does the same, and this is the result.
Sonny returns to Ruth.
What am I doing apologizing to you? Why am I always apologizing to you? You little pleasant? Three months, I've been apologizing to you, and I've even been here. I haven't done anything wrong. Why can't I quit apologizing? You're the one ought to be sorry. How would spit in a basketball but I hadn't been for you. I had my clothes hours ago. You're the one made me quit, cared if I got dressed or not. I guess just because your friend got killed, you want me to forget
what you did and make it all right. I'm not sorry for you. You don't left Billy too, just like you left me. I bet you left him plenty of nights whenever JC whistled, I wouldn't tat a.
Dog that way.
I guess you thought I was so.
Old and ugly.
You didn't owe me any explanation. You didn't need to be careful of me. There wasn't anything I could do about you and her. Why should you be careful of me?
You didn't love me.
Look here, don't you need to look?
And then there is a beautiful hand ballet that goes on. And what's really interesting is that scene starts she answers the door in her dressing gown, obviously, but she's been crying. But the sound that you hear is the can laughter of a radio sitcom or a TV SI calm playing in the background, which again is often you know, people the obvious choices to go with some sad music playing, but they go with this laughter, which is a lovely contradiction.
She does that scene, Josh, and she says.
Bogdanovich says perfect, you got it, and she goes, I think I can do better, and he says to her, no, you just won the Oscar.
Oh wow, so you your instincts serve you well, sir.
Yeah, well, there's always I do always feel like there's a moment in every Oscar winning performance that really secures you know, it's not it's you know, often the olds, the whole film it's like, yeah, of course, everyone's you know, the whole performance is strong. There's often just one scene, one moment that's the nail in the coffin, and it felt, you know, like that moment for me. I love that line she says, you're the one who may be quit caring whether I got dressed or Yeah, that's a that's
a great line. And and what strangers you say about that hand ballet is I was really expecting her to pull her hand away after he reaches out like this, But it's so much messier than that. You see, she's so broken and she has this moment of strength, but in fact, it looks as if she kind of takes him back after that.
Yeah, I mean, I think, and that's that's the I mean, just before this, we have to remember he's he's left town, like he's he's having his Springsteen moment. He's busting out, and it's the saddest you turn in movie history potentially, like he just pulls aside of road and he turns around. So these two people, I think area stuck here. Jc's gone, she's left to college.
Yeah, she's got a college. She's gone.
Yeah, you know. Dwayne's gone to Korea. He's serving in Korea. So these two, you know, kind of left with each other and we can in our own minds we can work out, you know, and and theorize whether they work it out or not.
But there's a beautiful line as well.
And there's so many great lines in this movie that are not flowery and they're easy to miss, like the one you just said is you know, it is beautiful. And she says, you didn't need to be careful of me, you know, because I'm older and Jac's the pretty, the pretty young thing. You decided that you didn't need to be careful of me. And I think that's a really insightful line because it actually was what he had subconsciously at least decided this was a thing that there's not
that I don't need. It doesn't need to be handled with with with with care, m you know.
And there's this yeah, you're right, there are so there are so many intimate moments between them that yeah, it's not only was it filmed in the seventies but said in the fifties, but felt really contemporary. It felt like these are still things that humans talk about and bicker about it and wrestle with and yeah, you know.
Well there's one there's one bit where his girlfriend when he breaks up with his girlfriend originally Sonny, and she says, give me back my pictures. I don't want you telling the other boys how hot I am. But is like revenge porn?
This is revenge n fifty one.
Yeah, let's talk about Jeff Bridges because I mean, he's I assume you you love a bit of Jeff Bridges.
I mean, who doesn't love Uncle Jeff. He's he it's you know, he's the best. Lebowski is probably my favorite Coen Brothers film. You know, but it's his voice. Yes, his voice is so iconic. You know, I can't I wish I could an impression on it. I'm not an impressionist, but you know, but even back then, you sort of can get a glim.
He is so good.
That's so you're gonna see, you know, like Timothy Bottoms, I gonna say, it's gotta been Timothy Chamlay. But but sometimes you see you're gonna go. Yeah, I can see why Jeff Bridges has become not just a star, but I like and that, like, you know, like such a brilliant actor, you know, like he's there's something he's he's got that charisma, he's got something there. They're both really good actors, but Jeff Bridges has got something that kind of just bursts through.
It's true he's a movie star, whatever that thing is. Yeah, he's a movie star, you know. And for me, probably the most powerful scene, the one that stayed with me, is that, you know, because of course he's with the cutter school at school and everyone, you know, Oh my god, they're the sort of the it couple. And but she's being a bit cagy about giving him her virginity, and it's going on and on and you know, for a while, and eventually she says, I'll let you take my virginity.
And meanwhile she's sort of she's playing check chess. Well he's playing checks, you know, because she wants to eventually go, as you say, to this richer guy, and he won't touch unless she loses her virginity. So she's like, I know, exactly who to lose my marginity too, Jeff Bridges. And they finally get into this motel room and he can't get it up. He can't. It's pressures all too much, and it's a really sad but totally human and normal,
totally normal normal. It's normal. I don't know what you've heard, but it's very normal.
Can I just point out there as directed our dysfunction adds that I'm on Facebook are a hoax, so your doctors please.
Nasal delivery technology. It doesn't work, but you know, she keeps saying what's wrong, and he keeps saying, I don't know. Yeah, no, he just doesn't know. He doesn't he's confused, and he's like, I.
Don't know, and he doesn't say it, says it like four times. It's almost all he says, which I think, so just.
Repeats it, and his look on his face is pretty minimal. I mean, there's you know, his acting is really underplayed, and he's like, I just don't know. And then and then there's this great moment after that where they're singing in a choir at school and he chooses that moment to turn to give me another shot. I could do it. I know I can do it.
You know, let's there's also, of course, sandal Line played by Ben Johnson, who I mentioned earlier, won the Oscar nine minutes fifty four seconds of screen time well used. He the role was off of the Jimmy Stewart. Initially he loved it, but was feeling something else so had to pass on it. Ben Johnson almost didn't take it up because he thought that there was too many woods
in it. Yeah, he was famously Uh, John Wayne's coming off on his sidekick, and somebody, somebody said to him that this could be you know, you're gonna be John Wayne's psychic forever. Why don't you step out of the shadows a bit? And he takes a job on nabs the oscar and he, uh, this is him uh defending Billy.
Which one of you blooded his nose. I've told you all not to fight with Billy because he don't understand about the fight. What happens, Sonny.
There weren't none of us saying no, it was Jimmy Sue.
Jimmy Sue, how do you get messed up with her?
We all chipped in, bought in peace. Ass thought he was getting tired of being a virgin. She got mad about something and blooded his nose.
You boys can get on out of here. I don't want to have no more to do with you scaring up poor unfortunate creature like Billy, just so as you could have a few laughs. I've been around that trashy behavior all my life. I'm getting tired of putting.
Up with it.
You can stay out of this pool, all out of my cafe and my picture show too. I don't want no more of your business.
We didn't mean for anything bad to happen. Saying we.
Didn't even have the decency to wash his face.
I mean, you can actually imagine he's a very Jimmy Stewart. He's got the best moral compass I think in the film.
Oh yeah, you didn't even have the decency to wash his face.
There we go, Here we got.
That's that's why Jimmy store depression. Which one have you do this to? Billy? I said it before, I said it again. None of that would have happened if they just fucked.
All right.
I was starting to get past that. This made the cow fucking movie for you. But we're still okay. There's still some work to be done.
Sorry, Sorry, always no, and.
Then samd the line gives it and it's probably like you said with with Ruth when she gives the amazing speech that wins Chlorus the Oscar ben Jonson has a speech on the river and he talks about, yeah, this the wild girl who he took and you know, and it had fun and they swam and they did crazy stuff to down by the river, who we later find out to be Lois. Lois says something and again another just amazing, amazing line, and she says something like this the sonny she's in regards to Sam and she was
the girl down by the river. How sad it is that she's only met one person who has seen worth in her? And it's it's really this, this woman who has is crying out for love. She's not getting it from her husband and she's having, you know, various affairs on the side. And Sam is send the Lion who she gave that nickname to. She was maybe the one person she had a connection with this small town. But for whatever reason that that relationship couldn't actually prevail.
And do you remember there's that moment in that scene where that you're talking about with her in the car and at the end of it again, it just seems to speak to this small town thing where everyone's fucking everywhere. There's this sort of look between Sonny and Lois. Well, you go, wait, are they gonna are they going to yes? No? No, because Lois goes no, you know what, I'm just gonna go home exactly whoa whoa No.
I know, like, there are these choices that have seen way more progressed. And you know, I film made in nineteen seventy two, based in nineteen fifty one, it's that that was an incredible moment like that. I find the relationship the Allen Burston and j C characters really fascinating, and not just and.
Even Genevieve, the way the waitress she was kind of maybe there was a bit of sexual chemistry there going and I'm like, oh god, this whole town is so weird.
Yeah, and then the look she gives jay Z when you know she arrives yeah outside, Yeah, really some fuck you energy.
There's that. You've mentioned that Ben Johnson, who I actually didn't know him as an actor at all, but you know, Niman is the screen time. I would be so curious to know what the shortest amount of screen time is for an OSCAR winner. I bet you you know who I bet you was up there. I have not looked this up, and I'll be curious time. I bet you Judy Densher's up there for Shakespeare in Love. I remember her hardly being in that movie.
Yes, I think you might be right.
I know when this was given, and up until recently this was the shortest of maybe male supporting actor.
I didn't mean to look up.
If that record still holds again, get onto us at gmail dot com, dot au or on the part that let us know the shortest amount of screen time for a OSCAR, whether it be lead or supporting. We'd love to know that. But that's it's it's it's time certainly well spent. It's I remember.
Just another bit of movie trivia for you that I remember is in Fargo Can'd Brothers Fargo, of course, where Fress Dorman ends up winning Best Actress Rifle. But she was on screen less, you know, for a fewer amount of amount of minutes than William H. Macon, who was nominated for supporting right so so so he was nominated for supporting her for Lead Actress, but he was on screen for longer, which I thought was an interesting little bit of trivia for for Fargo.
That's that is, and you think about it because it is such an ensemble that film.
But you because you've got mashimi.
Of course, and yeah, yeah, it's so they boys go to Mexico, they bust out, they finally go to Mexico. It's a very weird thing because they basically they go and then it cuts This is like they ain't they ain't fuck around. They go all happy and we go, okay, we're gonna we're gonna see some Mexican drinking scenes here, and then it cuts to them returning basically wearing sombreros. That was you know, they've been the Mexico they hung over.
So I thought the sombreros were a little heavy handed.
He's saying a sombrero with Mexico embroidered, and it was a bit heavy handed.
Yeah, okay, look, you know sometimes the show don't say but yeah, you're right. And add to that, of course, the huge news that they return to is the death of San du Lion, and again an interesting film choice to not show it. You know, one of the lead characters. We you know, normally you'd sort of I think you'd show the death. You'd have producers down your ear going, no, we've got to see the death of sand the Lion.
He's a big character. We're gonna make sure we, you know, pull on the heartstrings, show him dying.
Yeah, I see it.
Absolutely, we don't see We don't see jay c leaving town. We see her father kind of taking her away and you know, saying this wedding is not happening, but we don't see her. You know, you could have easily written, you know, a scene where Sonny witnesses her leaving, or she actually lets him know she's leaving, or he finds out, but he just at one point he just knows that she's gone to Kansas, like it's not and it's it's funny, It's okay. You're a filmmaker, Josh. This is this is
what's interesting about this film. I think this is a film that's largely about boredom. Right, how does he make it? And obviously you're and I've said, I said, off the one of these podcasts, you just saw this film last night.
You are still processing.
Often I've had people come on and they kind of after a discussion, they go, actually, I might chick it out again and maybe I like a little bit more. I know with Nyale and I that happened for Limo and myself. But how does Bugdanovitch make this film work? Like, how do you how do you represent boredom without at being boring?
That's a really good question, you know. They they say that good books make bad movies, bad books make good movies. And what they're saying really is that a bad book quote unquote is plot driven. You know, Airport sort of novel like that, you know, the DaVinci code or fifty Shades of Grant that. You know, the purists would say that's a bad book, right, but it's a great movie
because it's plot and plot. But a good book is what I expect something like this book was Last Picture Show by mcmurchentry is this sort of you know, patience examination of a town and its people and psychology and you know, and in a book, in a novel, you have time to explore those sorts of things. And often that doesn't quite translate to film because we're wanting something
a little more exciting than that. But you bring up a good point because somehow it worked for this now, certainly at the time, it worked in a major way. I mean, critics and audiences alike just fell over backwards for this movie. Yeah, what was it? I mean, I think I think it is. There is something really exciting sexually about the film. I do think that. I think in the seventies, for sure, there was there was a
lot of that going on. But this movie, you know, with high schoolers and puberty and sexuality, there is something pretty exciting about that. I think, probably more so even at that time. I mean, you'll get more explicit things on in any given TikTok now, but you know, back then, I think that would have been pretty riveting. You know, skinny dipping and a young high school girl sleeping with an older guy and all those sorts of things, you know, and a young high school boy sleeping with an older
woman and those sorts of things. I feel like that's part of it. But you know, as you say, talk about, you know, highlighting the you know how boring this town is. It almost opens with Billy, the simple minded kid, sweeping the street. They're sweeping the dust off the street and there's no one around. It's just him just sort of sweeping the dust on the road, and you're like boy is that is that what's going on in this town has anything else to do here?
And what should we fas what should be fascinating is when he actually he gets killed by a bunch of men who have clearly not done us. In John's ambulance, of course there is there seemed to be no effort to in fact, and you know, one of them says, well, I have had breakfast, yet I'm going to go have some. Seriously, it is like the care factory is fucking zero. But they also say, why was he out here cleaning sweeping the street anyway? And it's like the first shot, you're right,
one of the first shots we see him. So he's always doing this, that's his thing, and this in this small town where there's only a handful of people, they still have not noticed this kid who's been there sweeping the street all these years.
Is yeah, yeah, you know, it's a you know, I think you're right. I think on second, third watch, you'd really uncover a lot. There's a lot going on in this movie if you care to see it. As you know, even as you mentioned that, I hadn't really focused on that in the first year, but there's a lot going on. There's also that bizarre little moment, little chapter of one of the high school boys or former high school boys who ab ducts.
A little girl, Molly. Yeah, little Molly.
I mean that's sort of not in it much. But there's a strange moment where he abducts her and they find her in a parked car and Sonny keeps saying, he says, this again, really odd because no, he didn't do nothing. He didn't do nothing. He just got her to take her underpants off. And I'm like, well, hold on, no, that's not nothing.
Yeahs yes, what.
I think there's something like he wasn't brave enough to do something, or he was too scared to do something, which yeah, I think we know that. He means he's like, he's obviously a troubled youth. And then they're thinking he's got no sun.
Yeah.
Yeah.
So it's it's it's it's it comes out of nowhere.
It really does, and then it disappears again. It's sort of over before it begins, And you know this, I wonder how much of the book did not make it into the film. I'd be curious to know if there are other little chapters like that that just there were there wasn't time.
It's funny because the football team really doesn't play a part, considering the first couple of minutes, which I kind of thought was funny, like the pounding of how bad this team was? Can you tackle? Can you please take? Like after like the third or fourth one, you've had a laugh.
You're on a guy Karek, and I reckon that they've probably done it with the tackling and the town people you know, standing over them, and then there's they go again, and they go again, and there's a guy in the tooth thing that looks at them and there walks away like but then there's not really much talk of the football team really considering they've invested a fair bit in that, you know, of setting up that this football team means
a lot to this town. You know, there's a shot of them towards the back end when I think Dwayne comes back and Sonny's at the football, but there's yeah, thats just it's almost a location more than it is about about any kind of football related story.
The other thing that kind of it might be worth mentioning is that Sam the Lion seems to be you know, the heavy hitter a business owner in the town. He owns the diner, the same the pool hall, and the picture show and the theater, the movie theater, and when he dies, he gives the movie theater to miss Mosley I think he works there, yep. And he gives the diner to Genevieve, the waitress there, and she owns it now.
And then gives the pool hall to Sonny, who from recordar I mean who I think is seventeen years old or.
Something like yeah, yeah, now, so he's not the.
Owner of a pool hall at seventeen. I was like, dude, that's that's a big responsibility.
Yeah, you cannot even drink alcohol for another four years, but yeah, good luck, good luck with that. One of the nice little fact is that the movie they see even like sorry, even when Dwayne comes back in, they have the fight, which is I quite I quite enjoy that scene.
I mean that the.
Hit to the bottle, hit to the head was like occasionally the movie is clunky, which is this occasion there are like shots where you kind of go that shot.
Was the clunkiest. Yeah, yeah, it's a it's a glass bottle, be a bottle to get smashed in Sonny's eye. Yes, I of all places. But yes, the shot of it is a bit it's a bit uneven. You know, when it cuts to it, it's you know, you sort of go oh, that doesn't fit really, Yes, it's an unusual shot.
The motion, the motion doesn't quite add up. Yeah, but then in fact, let's have it. I think we can have a listen to that. That just that scene. This is uh Dwyane and Sonny going out of.
Sure, I've been going with her.
Why not?
I said, I don't blame you for it. I don't blame you much. I thought you'd do me that way. I thought we were still best friends.
We are what you're so mad for. I've never done that to you.
I get screwing my girl ain't nothing to you.
Screwing her?
Hell, you ain't pla ain't.
She's not your girl, and she is not girl.
I don't care.
We didn't break up.
I didn't make a way.
Don't make no difference. I always live here. I'm getting her back. I'm telling you right now, she's gonna marry me one of these days, when I get a little bit more money.
I'm married. Sure she will.
We always meant to get married.
She's going off to college. Soon. I doubt I'll ever get to go with her again myself when she gets old. Yeah, I never saw what I could hurt to go with her this summer though.
She's never gonna Mary.
She is back.
I don't you tell me she won't. She never lets you screw her, that's for sure. Hell, I'll just seeing how honest you was, Jesse. He never lets you screw you. Ain't that good a cocksman? You never even screwed Charlne Dugs all that time.
You went with her.
Of course I didn't you know why, because you had to pick up all time Saturday night.
That's why nobody could have screwed it. Might have had a screwed her in five minutes. I wouldn't even need no pickup.
Oh yeah, Well, the only reason she went with you as long as she did was because she was in the backfield. And that was in the goddamn line.
What you're talking about me?
And that was in love?
Oh you was?
She liked me just much share like you.
That's a lie.
I'll stay here all night one of these nights too. She done promised you won't either, That's why, Well, why shouldn't I? She done told me you couldn't even do it at that time. What's you tall falls?
What about a yeah, it's it goes from this.
Even the blows to the stomach were a bit yeah, a bit forced.
Yeah, no, no, no, for anyone who hasn't seen the film and just listening to the yes, those moans were blows that they didn't start making out, you couldn't. It did sound like heavy petting there they started fighting, but yeah, uh it's yes. Just listening to that, Timothy bottoms again. He remains pretty calm for that. For most of the fight. He was like, I don't think I didn't see it was. I don't know why you get some upset about it.
You don't even live here, you know. But it's it's a good scene.
Yeah.
Yeah.
Have you been to a pool party recently? Have you been?
Oh?
No, they they won't let me in anymore. I've been banned from all poor parties. Yeah no, I think I know what you're referring to. This this poor party that jac.
Goes to and Wichita, Wichita.
Yeah.
Randy Quaid takes her to this pool party where the initiation is to get undressed on the diving board with the creepy little brother with the goggles.
Underneath. And yeah, I imagine.
That scene in particular was quite a titillating and shocking one making nineteen seventy two.
But you know the use of silence in that as well, like my score, which she's just on the she's just on the board of the diving board, looking down. All the faces takes their time. I mean that seems that her undressing goes for quite a while. Yeah, and it's really awkward, gross and creepy, you know, everyone looking at her and stuff, but just silence, this said, utter silence. I found it so uncomfortable.
Also, there's a scene where Sonny and Ruth actually have sex for the first time and they are undressed, and it's really awkward, like like he's getting his cowboy bats, but she's actually also having trouble getting her Like it's a couple of seconds of her wrestling with her address dress.
Yeah, those sorts of things. You know, it's there's such good moments. I do feel like film might have become too slick, you know, like this idea that we have to make everything so perfect. You know, I if you rewatch all the Presidents man again and you know, it might be a good one to do on the show. But they it's very clearly fuck up lines in it. Hoffman and Redford, like they mess up lines. It stays in the movie. Yeah, I promise you can notice it.
The director is obviously I can't even remember the director is. The director's like people think up in life. It stays.
Yeah, but they mess up.
They even laugh at their own lines and stuff, and those that sort of messiness is going from movies. You don't see it nearly as much anymore. Everything's so clean.
But the confidence of the director to take their time with a moment like the temptation to get them those two characters into bad for that for that moment must be pretty attempting. But to have this the awkwardness and you feel it and it plays out, I mean, I've spoken.
The scene I keep coming back to is The Godfather Part two, when the assassination scene and they they go, you go in there and you wait for the cupola makes us wait for the waiter to pour three glasses of wine, you know, and there's there's lots of you know, there's reasons why you don't need to see the waiter pour the wine. We're not interested in, you know, how much wine? Issy? Are they all three leveled bottles? Glasses
of wine. It's not about that, obviously, It's about us knowing what's about to happen and what must be going through Michael's head and the sit in that, in that tension is what I think great filmmaking is about.
But Pete, I got to say, I reckon that these days, to film stuff like that, you have to be a famous director, because I promise you would have a million executives going boring. Get to the assassination, yeah, and you'll be like, oh no, I really want to, Yeah, I really want to. You nobody you do what we say. It's our money. Fuck you get to the you.
Know, that's why that stuff.
So, yes, if you're Tarantino or Scorsese or whoever else, you can get away with it, and you can do that stuff because you call the shots. But if you are not at that level, if you're not a prestige director like that, you would get a lot of pushback. Do it these days, yeah, because you get a lot of people go, hey, let's get to it. People are bored. We've got two thousand shows dropping on Netflix on Friday.
So if you want to compete. You're going to be interesting every second of the you know, you won't let us show breathe as much anymore.
It is scary to think how algorisrhythms.
We've seen it with music, and they know all the algorithms for what you need on the Spotify to you know, get your streams, and and you can see it happening with movies and television a lot more too.
Absolutely. Well, let's not forget that Netflix is a tech company. It now masquerades as a you know, a theatrical release at a TV station, and you know, but it is at its heart a Silicon Valley tech company. It always will be, and so of course it's going to be run by algorithms and stuff. And that's that, as you say, a dangerous element for art, because I'm not quite sure
you could boil down art two algorithms. Yeah, as much as they want that to be true, I still think there are outliers and you know, artists who allbut trans and change minds and you know all the time, and so well, yeah, I'm critical of you know, streamers like that because I feel like it is Yeah, I don't know if movies are generally getting better I'm not sure they're getting longer. Have you noticed it's getting longer now there is going on there.
There's a few with the Oscar season where everything seemed to be two and a half hours. And I like, to be honest, the cinema is my happy place. I'm I'm happy to be in there. But when all of them seemed to be that long, it's like, ah, they don't.
All need to be that long, to be honest.
But I remember, you know again, Mark Twain said, I'd have written you a shorter letter if I had more time. It is harder to be brief. Brevity is the soul of wet, said mister Shakespeare. It is tough to cut, you know. I remember there was a you know, a fix Spike Jones had done her you know, and one of my faves, and he couldn't cut it down. He was like, oh my god, this thing is so long, but I don't know what to cut. It's everything in
there is is necessary. And I think he gave it to his friend Sodaberg and Soderberg where gave it back to it after the weekend and cut an hour out of it and went, no, not everything is necessary. You're just too close to it.
Yeah, it is, and he cut it.
Down to ninety minutes or something and it was a much much better film.
Kill you darlings, mate, there's there's a fast facts. We love a fun fact here before we let you go. Sybil Shepherd had an option in the contract to back out of any of the nude scenes if she felt uncomfortable beforehand. Not just in the moment. We have intimacy advisors on sets now, but even beforehand she could have
actually newwd any ideas of the nude scenes. And she but she asked the opinion of the three actresses on set, which was Chloris Leachman, Alan Burston and Eileen Brennan, and they encouraged her to do it.
So interesting, very interesting.
Yeah.
And now, so, as you mentioned earlier, Sibil Shepherd and Bogdanovich of course.
Ignited on this set.
Yeah.
Bogdanovitch was is married with kids to this the art designer, I think one of the prop designers, Polyplatt, and yeah, yeah, ruined the marriage obviously, and I think they stayed together for a long time. Sibil Shepherd and bogged Down they did.
Yeah, and no bad blood. I mean Sybil my understanding. Civil Shepherds always been spoken very very highly of Bogdanovitch. So when they were were however that relationship ended. I think it ended very.
Amicably, to the point where I think when she had a sitcom Sybil, he actually appeared in it.
All right, so they were still friends.
Yeah, yeah, but then but.
Then you know, hold on, maybe I'm getting ahead of you on the fast facts thing. But Bogdanovich is bizarre girlfriend. Later on, do you know about this story?
Was this one?
So he is with I can't remember her name, he's got he's madly in love with this woman, this model, and she gets murdered by her ex boyfriend, who then kills himself. It is murder suicide, so very scandalous thing that you know Bogdanovich ends up being involved in. Yeah, he's you know, has she has a very you know, possessive ex boyfriend. He comes down from Canada to a place in Los Angeles, murders her, kills himself, and bongd
down of it just broken, absolutely flattens it. Yeah, as you can imagine that step, really that would ruin your week.
The music in the in the is all basically popular music, and it was one of the first movies to do this, and it's all done. I think you might even know a term for it, Josh kind of escapes from my mind. But it's all basically played through things that are actually on the set.
So a record.
Music, Yeah, that's right, so practical meaning in situe a film. Yeah, so Tarantino famously does that. Only uses soundtrack, not score. I'm pretty sure if you've gotten that right. I don't think he scores this film. He only users pre published pre record of music. But yeah, it's all and not just music, as you said. You know, some of the soundtrack is television movies, even a Christian radio like preachers
sort of preaching. You hear that kind of drone of a preacher in the background and stuff in this little not you know, Texas town. It's a it's a pretty effective soundtrack, I have to say. And the other thing I think that is unusual is he'll often repeat the same song over and over again.
Yeah.
I think is pretty common on radio at the time, but I don't think it would happen very often. You'd be like, oh, no, we've heard that one before, but he's like, no, it's it's it's it's all happening within the space of a year. This is a popular song. It would be on repeat.
Yeah, yeah, absolutely in the movie house.
The last BITCHU I see is red River with John Wayne and actually has look that up. It has Ben Johnson. He's actually in that film. He's on the scrouting catch whoels eviels on the screen in that scenes, in those scenes.
But there was a sequel. I much if you were aware.
I heard about this, have not seen it called Texas Film Texasville.
Yeah, so I don't know much about it. Civil Shepherd, I know is in it.
Jeff Bridge. I definitely they're all in. I thin Timothy Bondomy imagine.
I imagine they don't do it without, you know, the majority of casts getting back for it. So fascinating stuff, mate. I bailed you up at the green room a couple of weeks ago at what I like to you is great to see you, mate. You are killing it, by the way. I know you've done it a while ago. But Superstar has just found this amazing new audience it seems on Netflix. Im it's become huge in our house
over the last bobby eighteen months or so. Are you finding that that that's that's kind of totally very surprising.
Yeah, you're right. It was during the pandemic, and you know, the timing was good, and it had you know, transitioned off its network in the States and found Netflix and then as everyone was desperate for content during the pandemic lockdowns. Yes,
Superstar had the Second Life. And so now I've found it's probably one of the things that people recognized me the most from, which is you know, surprising because I just did a few episodes, you know, about ten episodes or something that began as a favor for a friend who was one of the producers on it. We just hey, do you mind doing one episode of this thing? And I was like, yeah, of course, whatever, happy to help
out and did it. And they sort of discovered that this character was you know, deliciously unlikable and u and they had the writers had a lot of fun writing for him, and yeah, he came back time and time again, and uh uh. And so it's a it's a really funny show.
I mean it's really it's really sharp.
I mean I don't know why, because it's you know, it's the pedigree is really good. Like, you know, there's people who made the Office and and and like that. So it's it's and it's really sharp, it's really got. It's a social commentary in there. But it's funny, there's hilarious characters, the performances are all great. It's a it's a cracker. And the other one, which I must say,
I haven't got around to watching it. I'm embarrassed that say, because I've had so many people say that I would love it and I need to watch it, is Cobra Kai. Being a big fan of the Karate Kid growing up. We actually covered the Karate Kid with Wendy Harmer on this podcast. What a bizarre kind of yeah surprise success.
Well, yeah, so I was a die hard Karate Kid fan as a kid, and that's one of my other you know, classic films that just was were with me, you know, as a kid, and shaped my other film. And so when these really talented guys Hayden and Josh and John I think I've got those names, sorry if I blank on them.
They're great guys, They are listening.
They are big fans in America. I know it plays over there, and they they had, you know, always wondered, oh, whatever happened to the bully? Whatever happened to Johnny Lawrence, you know, and YouTube Read was a streamer at the time and that's now defunct, and they started Cobra Kai there. But as a fan of Karate Kid, I was keenly aware of this new show, Cobra Kai coming out, so I was a fan when it was back on YouTube Red.
Cut to years later. I'm I'm doing like a general meeting with those guys, and we're talking about, you know, collaborating on some new TV stuff, and I write a pilot for them and it doesn't go anywhere, but we have a great time doing it. And then yeah, they called me one day and said, hey, listen, we wrote your a small cameo in one of the episodes in season five. Do you want to fly to Puerto Rico and do it? You? You had me, do you want to be in Cobra Kai? I was in. It was
a lot of fun. But yeah, very quick little appearance.
And do you have and do you have? I know you've always got stuff up your sleeve. You've written and directed The Little Death and Long Story Short and great great films.
Check them out if you haven't seen them. But what's what's next?
Yeah, like a couple of things that in the pipeline that you know, probably too early to talk about as you well know these things, but you know, look so promising developments on them on the feature front. And a couple of things again I can't quite say at the moment, partly because I'm scorted a secrecy, partly because they're not even official yet. I could fall through at any moment, but not nothing, I mean, certainly doing it. This year
was a big writing year. It was a big year of just start stock filing scripts, you know, get content because you know what, the wheels turn so slowly in this industry, so you know, if it moves quickly from script to screen, it might be five years.
Yeah, that would be quick.
So you know, this was just about get those scripts in place so that as the wheels turn over the next few years, you've got you know, there's stuff going on.
Yeah, yeah, mate, Like I said, I'll say it again. You were accosted, you were defenseless, you had no choice. You said no fourteen times, I think because I wrote down every single time.
I was wondering what you're doing with the pen and pad.
I admire you so much.
You exist in this thing like this this.
I don't know where you even came from.
I just saw you on TV once doing Thank God You're here, and I thought, fuck, that guy's hilarious, not only hilarious, and I've got to meet you annuably generous and fun and funny. And I love I love watching your career unfold, and as it continues to unfold, hopefully you'll come back again one day and have a chat.
Well, Pete, the Philly is very mutual. I've loved every second of it. And you know, chatting with a friend about movies is my favorite thing in the world. So it's any time, anytime you want me back. My list remains long of classic films, and so if you're short on guests, you just give me a call.
What do you want tomorrow?
Busy?
Busy?
Actually I know how it works.
I'm going through a tunnel.
Thanks legend.
That was fun. Thank you so much. The Josh Lawson.
He is a busy man. And basically I had him up against a wall in the green room at What I Lie to You, and he came through for me and Love the Discussion. Love the Discussion made his three favorite films, three blockbusters, and also, of course the Last Picture show, and I've got a feeling he maybe by the end of that discussion like that movie even more than when we started.
I just got a hunch. And funnily enough, not long after.
We recorded the episode, in fact, literally an hour later, I received this message on my phone from Josh Jesus Christ Pete.
Looks like they fucking toned it down for the film. The film they just talk about fucking. I guess in the book they actually fuck a blind cow. I have to read this book.
So yes, I'm not sure if he's ever going to get over the whole cow fucking element of the Last Picture Show, and maybe we'll have to do a you ain't read nothing yet. In addition, where Josh comes back and reads passages from the book weird stuff. I'm glad they didn't go into too much detail for the movie. I think that was a right call, the right call made. We have a speak pipe we are behind on and please keep them coming. There's been a bit of a
patchwork quilt recording this. Recently, I've been doing some shooting and so yes, so we'll behind with the speak pipes. But this is one from a lovely lady. The sounding lady named Felicity Takeaway Felicity.
Hi Pete, this is Felicity. I came across your Yasni podcast night last year when Wali Daly joined you for the Empire Strikes Back, one of my old time favorites. I enjoyed it so much I've spent the month since then keeping up with your new guests, going back through earlier podcasts. I really appreciate that. It's sometimes it's a case of gaining insight into a movie I've never previously been inspired to watch, and at other times it's a case of being reminded how good it is to rewatch
some classics. Now I have a request, and it may not be a popular one, since since Western's aun't everyone's cup of tea. But you've already reviewed Butchcassidy in The Sundance Kid, so I'll ford your head bravely. Please consider adding to your list the nineteen eighty five movie Silverado. There are so many fabulous actors in it, and they cover every emotion. I must admit my feminist leanings rebeal
against the whole Madonna Hall thing. But other than that, it's great storytelling, rich characters, and just lots of fun acting. All the best with your future episodes. Please keep them coming. Just loving it. Cheers.
I gotta say Silverado is not on the list, but I will whack it on for nine to eighty five memory my memory, I've never seen it, but it's Kevin Costner, I'm sure Scott Glenn maybe maybe Danny Glover's in.
There as well. I will put that on the list.
I love your passion for a felicity and I'm glad you're enjoying the podcast.
And that's what I hope.
I hope people are listening to the podcast some entice, perhaps by a movie they love, but also at the same time a movie they've never heard of though this has peaked their interest, or maybe it's the guest a variety of reasons to listen to episodes.
I'm always fascinated of how people get through them.
Some people will, of course just listen in order, but hopefully I think The Last Picture Show Today is a movie that a lot of people listening to this podcast may not have been familiar with. Also, I had an email from Christian Christian villal On. Christian says there was a comment made. This is after the Todd Sampson Shure
Sake Redemption episode. He got to me at Yasney g there was a comment made about Tim Robbins height and that he would never see him acting in a movie with Tom Cruise and he got me And as soon as.
I read this, I was like, oh, bloody hell, bloody hell.
Well, the fact is that Tim Robins played the part of Goose in Top Gun, so yes, they have already acted in the movie together. But snap, Christian, tim Robbins did not play Goose. That in fact was Anthony Edwards. I actually just realized as I was reading it. Tim Robbins played another character, a lesser character in that movie, in the same movie, but he wasn't Goose.
Let's call it the draw, Christian. Is that a deal?
Also in today's episode, Josh put out the shortest screen time for an oscar, and that has come back and Josh went to work again.
He found it on TikTok.
I'm embarrassed because we've actually covered it on this podcast. The shortest amount of screen time for an oscar is Beatrice straight from the movie Network, which I did with television producer and great mate Chris Walker, and she won an Oscar after being on screen for five minutes and two seconds. That is the record, even less than Judy Dench in Shakespeare in Love. An incredible effort, so thank you very much, of course. Dereck Myers from Coastwaystudios dot
com dot a you for putting this show together. Also, some news has broken since I last recorded, which is I am leaving my much beloved show that I've been working on for ten years. It has been we did accidentally reported as eight, but it's actually ten ten years the project on Channel ten, this time for new adventures. I feel great that I've announced it to the world.
There's been lots of love and support. It gives me more time for some passion projects and also some things I've already got locked in that need my attention for next year in my headspace. So thank you so much for everyone who's reached out and in that and it means it's easier to do this podcast, So thank you. Next week on the show, The Good Doctor is in
the house. Doctor Chris Brown a great mate, bloody talented guy and he has never seen the movie The Australian classic, the one that launched Eric Banner and also director Andrew Dominic Chopper. That's right, Chris Brown has never seen Chopper. How an Australian is that. We'll get to the bottom of why he hates to straight in the cinema and Eric Banner next week. He doesn't really, of course, he loves it, but that's next week and you mentioned nothing yet Chris Brown watching Chopper until then.
Bye for now, and
So we leave Old Pete save fan soul, and to our friends of the radio audience, we've been a pleasant good name.